【圖書簡介】 The novel turns on this event， while giving forth the past： Mark's infidelity to Eva， their divorce， Eva's marriage to John， the friendship Mark comes to feel for Eva and John， the children's adjustments to changed life ： in other words， the stitching together of this family， with all its fault lines and tremors. When John dies， things shatter again， and the whole process must begin anew. We see into the heart of Eva， worried about the slow recession of her grief， the healing that is taking place within her; we are privy to the longing Mark feels， falling in love with his ex-wife all over again; and we see Daisy， the younger daughter， beginning to realize her power as a woman， experiencing her grief with acts of secret defiance， and finally becoming involved with the husband of her mother's best friend. We follow these strains of narrative back and forth and occasionally even forward， far into the future. For Miller rather daringly jumps forward in time， past the boundaries of the story's time-line. Here is a passage from a chapter about Daisy and her affair. The man， Duncan， following her on her way home from school， is driving slowly along beside her. "Steering with one hand， his body leaned across the front seat toward her." She sees that it's him and has the thought that she "was sorry she wasn't wearing any lipstick， or a prettier top." The passage continues："And with that response came an unconscious dawning of awareness ： awareness of why he was there， and what he was doing， speaking her name， calling her over to him. . . . She understood that he'd come on purpose， that he had thought about her and sought her out."Years later when she tried to explain it to Dr. Gerard， she said that it was as though her unconscious mind knew everything that her conscious mind hadn't a clue about yet; and this was the moment when they began to communicate with each other." This device of leaping years into the future is neither intrusive nor as jarring as it might seem. It is all part of the seamless prose surface Miller has constructed with such artfulness. These passages startle the reader rather wonderfully into a visceral understanding of the essential nature of this fine novel， which is in fact gently comic. For， as we know， comedy in literature stresses the community， and its ongoing life， while tragedy stresses the individual， who is doomed. Lost in the Forest is a comedy in the exact and best literary sense， for it stresses beautifully the continuation of the social unit with which it is concerned. Do I sound like a sociologist？ Listen to the novelist， describing her an older Daisy as she rehearses for the part of Miranda in "The Tempest"："It's the people， she realizes . . . their sheer number and their beauty. The creatures， the mankind： the people！ That's where she should put the emphasis， that's what will make it new." Sue Miller has been making it new now for a long time， and Lost in the Forest is a shining affirmation that her power only continues to grow.
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