2025 Reading List
✿ 21/100 ✿
✿ 21/100 ✿
出版社: 光启书局
[中国/China]
01-01-2025
开年第一本想读个轻松的非虚构纪实文学，结果也不是很轻松。作者作为女儿，书写在深圳务工的妈妈和妈妈们的故事，她们是清洁工、保姆、小商贩，维修工，她们无处不在，但她们的声音和存在却常常被忽略。这些妈妈们本该在退休年龄安享晚年，却为了子女（尤其是为了托举儿子）的未来背井离乡，从事着缺乏劳动保障的工作。客观来说，这本书作为2024年豆瓣榜单图书，名过其实了，但真诚的书写确实打动人心。
在记录妈妈的人生时，重新思考一座城市的运转：为什么最不可或缺、造福最多人的工作，在社会上往往得到最少的回报？苦难的生活不该被歌颂，但看到被忽略群体的挣扎与努力很重要，以及思考我们能做些什么？除了在日常生活中给予底层服务业者应有的尊重、有意识地在使用公共设施时减少污染和损耗外，更应关注劳动法规的完善，让这些劳动者获得应有的权益保障和劳动尊严。
For my first book of the year, I wanted to read something light and chose this non-fiction narrative, but it turned out not to be so light after all. The author, writing as a daughter, tells the stories of her mother and other mothers who work in Shenzhen. They are cleaners, housekeepers, small vendors, and maintenance workers - they are everywhere, yet their voices and existence are often ignored.These mothers should be enjoying their retirement years, but instead, they leave their hometowns to work in jobs with little labor protection, all for their children's future (especially their sons). Objectively speaking, this book, as one of Douban's best books of 2024, , is somewhat overrated, but its sincere writing truly touches the heart.
While documenting her mother's life, the author makes us rethink how a city functions: why do the most essential jobs that benefit the most people often receive the least reward in society? While we shouldn't glorify hardship, it's important to see the struggles and efforts of these overlooked groups and think about what we can do. Beyond showing proper respect to service workers in daily life and consciously reducing pollution and waste when using public facilities, we should pay more attention to improving labor laws, ensuring these workers receive proper rights protection and dignity in their work.
译者: 徐友敬
出版社: 上海译文
[奥地利/Austria]
01-02-2025
茨威格笔下的巴黎第一次让我对这座城市心生向往。在他眼中，战前的巴黎（乃至整个欧洲）宛如一座闪耀着理想主义光辉的乌托邦。塞纳河畔，自由的种子破土而出，平等的旗帜在伟人们的呐喊中高高飘扬。那是一个青春永驻的时代：街巷里回荡着欢乐的旋律，屋檐下孕育着无限的可能性。这个巴黎不再只是文学中的象征，而是一座承载人类最纯粹理想的精神花园，每个人都能在自由与平等的晨曦中找到自己的位置。
然而，象征着人类理想的城市终究未能逃脱时代的洪流。从战前的繁荣到两次世界大战后的毁灭，茨威格以亲身经历见证了理想主义的破灭与人性的幽暗。他告诉我们，了解一座城市、一个国家，乃至一个民族，仅仅靠书本与匆匆游览是远远不够的，真正的理解需要与其人民建立深厚的情感联结。个体的命运常常被时代的风暴裹挟，历史的齿轮一次次碾碎美好的希望： 在极权政治的阴影下，理想破灭者服毒自尽，狡诈之徒趁乱攫取荣华，而剩下的芸芸众生在命运长河中随波逐流，苟且偷生。
整部作品闪耀着深刻的人文关怀，不仅记录了历史，更深刻反思了人类的命运。尽管茨威格的视角是少数的、精英的、幸运的，但他对人性本质的洞察与对和平的呼吁却具有普遍意义 人类文化的建构能否压制内心的原始性，抑或这只是另一个历史循环的起点？ 只是当所有美好的记忆被摧毁、金色的时光化为灰烬时，自我毁灭也未免不是一种保存理想的抗争方式。
Zweig's Paris was the first to make me yearn for this city. In his eyes, pre-war Paris (and indeed all of Europe) was like a utopia shining with the light of idealism. Along the Seine, seeds of freedom sprouted, and flags of equality flew high amid the calls of great figures. It was an age of eternal youth: joyful melodies echoed through the streets, and endless possibilities grew under the eaves. This Paris was no longer just a symbol in literature, but a spiritual garden carrying humanity's purest ideals, where everyone could find their place in the dawn of freedom and equality.
However, this city symbolizing human ideals could not escape the torrents of time. From pre-war prosperity to destruction after two world wars, Zweig personally witnessed the collapse of idealism and the darkness of human nature. He tells us that understanding a city, a country, or even a nation cannot be achieved merely through books and hasty tours; true understanding requires deep emotional connections with its people.
Individual destinies are often swept up in the storms of their times, with history's gears repeatedly crushing beautiful hopes: under the shadow of totalitarian politics, idealists took their own lives by poison, the cunning seized glory amid chaos, and the remaining masses drifted along the river of fate, barely surviving.
The entire work shines with profound humanistic care, not only recording history but deeply reflecting on human destiny. Although Zweig's perspective was that of a privileged minority elite, his insights into human nature and calls for peace hold universal significance. Can human cultural constructs suppress our primitive inner nature, or is this just the beginning of another historical cycle? Perhaps when all beautiful memories are destroyed and golden times turn to ashes, self-destruction becomes a form of resistance to preserve ideals.
译者: 陈英 / 王彦丁 / 黄语瞳
出版社: 人民文学
[意大利/Italy]
01-03-2025
埃莱娜·费兰特通过一场沙滩上的偶遇，探讨了女性在母职与自我实现之间是否真的可以找到微妙的平衡点。她精准地描绘了母女关系中复杂而深刻的情感纽带——既有深沉的爱，也有难以启齿的恨；既有本能的疼惜，也有隐秘的控制欲；既有无私的奉献，也有难以抑制的嫉妒与竞争。这种情感交织，是任何男性作家都难以真实捕捉的独特体验。
自我的议题贯穿每个人生命始终，但与母亲的关系何尝不是同样难以逃离的命题？作品中的主人公面临着一个永恒的困境：在传统母职期待与个人自我实现之间，是否真的只能二选一？ 那些因自我意识强烈而逃离家庭的母亲究竟是懦弱，还是在进行勇敢的抗争？ 传统母职叙事用罗网将母亲塑造成无私奉献的圣人，仿佛在成为母亲的那一刻，就必须与过往的不成熟彻底切割，可是她们真的准备好了吗？ 母亲首先是人，是有自我意识和个人渴望的完整个体，而不是某种被理想化的工具。
费兰特的笔触如同一把手术刀，细腻而精准地剖开了母亲的心理世界，揭示了母女之间那种既紧密相连又暗藏裂隙的关系。剖开后流出的，是血、是眼泪，是黑水、是周而复始的回响、是潜藏的渴望、不甘与无法言说的阴暗。母爱背面是挣扎、失落和渴望，而暗处的女儿们，则在母亲的阴影中成长，继承着她们的特质，在生命的长河中延续着这场永恒的循环。 她们或重复，或抗拒，或超越母亲的命运，但无论如何，但母女之间深刻的情感纽带始终像一根无形的丝线，将她们的生命编织在一起。这种深沉而复杂的联结，既是负累，也是力量。
Through a chance encounter on the beach, Elena Ferrante explores whether women can truly find a delicate balance between motherhood and self-realization. She precisely portrays the complex and profound emotional bonds in mother-daughter relationships - deep love alongside unspoken hatred; instinctive tenderness with hidden desires for control; selfless devotion mixed with uncontrollable jealousy and competition. This emotional interweaving represents a unique experience that male writers find difficult to capture authentically.
The question of self runs throughout everyone's life, but isn't the relationship with one's mother equally inescapable? The protagonist faces an eternal dilemma: between traditional maternal expectations and personal self-realization, must it really be an either-or choice? Are mothers who flee their families due to strong self-awareness cowardly, or are they engaging in brave resistance? Traditional maternal narratives cast mothers as selfless saints with their web of expectations, as if the moment of becoming a mother requires a complete break from past immaturity - but are they truly ready?
A mother is first and foremost a human being, a complete individual with self-awareness and personal desires, not some idealized tool. Ferrante's writing is like a surgical knife, delicately and precisely cutting open the psychological world of mothers, revealing the relationship between mothers and daughters that is both intimately connected yet harboring cracks. What flows out after the incision is blood, tears, dark water, recurring echoes, hidden desires, resentment, and unspeakable darkness.
Behind maternal love lies struggle, loss, and yearning, while in the shadows, daughters grow in their mothers' shade, inheriting their characteristics, perpetuating this eternal cycle in the river of life. They may repeat, resist, or transcend their mothers' fate, but regardless, the profound emotional bond between mother and daughter remains like an invisible thread, weaving their lives together. This deep and complex connection is both a burden and a source of strength.
出版社: 上海译文出版社
译者: 王道乾
[法国/Italy]
01-05-2025
看过电影再读原著，才能感受到影视化改编对原作的偏离与简化。电影将故事重塑为一段跨越种族与阶级的浪漫爱情，通过精心的镜头语言、音乐配乐和演员表演，将这段关系渲染得富有诗意与美感。两人最终的分离被描绘成命运的无奈，仿佛少女和商人之间是一出爱而不得的爱情悲剧。然而在原著中，杜拉斯笔下的爱情并非少女回忆在越南殖民地生活的重点，甚至都不是她生活中最重要的部分。在种族差异依然巨大的殖民时代，少女和商人之间实质是一场建立在种族上的不平等、社会阶层上的不平等、财富水平上的不平等、文化上的不平等之上的非正常包养关系，而非单纯的爱情故事。电影中营造的浪漫色彩和"禁忌之恋"的错觉，与杜拉斯的创作本意截然不同。
原著的核心远不止是描述一段跨越种族和社会阶层的爱情，而是聚焦在殖民时代的压迫性结构下，女性在缺乏家庭支持和父爱的环境中对于欲望和感情的自我探索。少女对于家庭的逃离欲望，不仅仅是对爱情的渴望，更是对社会规训和家庭结构压迫的本能反叛。她不仅是这段关系中的被动承受者，更是绝对的主体。
杜拉斯运用了大量意识流的叙事手法，使得整部作品在时间和空间上呈现出一种迷乱感。她用文字营造历史、情感、家庭和社会构建的多重迷宫。对于任何问题的答案，她都并未提供直接的解释，而是通过人物内心的流动、对时间和空间感知的模糊化，逐层揭示出深层的冲突与欲望。这种独特的叙事风格在电影中未能得到很好的呈现——影片采用更为直白的线性叙事，因此忽略了原著中那种氛围的流动性和情感的复杂性。
电影改编削弱了小说深层的政治、文化和心理层面的探讨——少女在殖民地、家庭和不伦恋情中的探索，是殖民历史中种族歧视、社会结构不平等和失衡家庭伦理作用下的产物，也是对女性在压迫中的挣扎与自我发现的深刻呈现。
Only after watching the film and then reading the original novel can one appreciate how much the screen adaptation deviates from and simplifies the source material. The film reshapes the story into a romantic love affair transcending race and class, using carefully crafted cinematography, music, and performances to render the relationship poetic and beautiful. The final separation is portrayed as an inevitable twist of fate, as if it were a tragic love story between a young girl and a merchant.
However, in the original novel, Duras doesn't focus on the love story as the central point of the girl's memories of colonial Vietnam - it's not even the most important part of her life. In the colonial era when racial differences remained vast, the relationship between the girl and the merchant was essentially an irregular arrangement based on multiple inequalities - racial, social class, wealth, and cultural - rather than a pure love story. The romantic atmosphere and illusion of 'forbidden love' created in the film completely contradicts Duras's original creative intent.
The novel's core goes far beyond describing a love affair that crosses racial and social class boundaries. Instead, it focuses on a woman's self-exploration of desire and emotion under colonial oppressive structures, in an environment lacking family support and paternal love. The girl's desire to escape her family isn't merely a yearning for love, but an instinctive rebellion against social discipline and family structural oppression. She isn't just a passive recipient in this relationship, but rather the absolute subject.
Duras employs extensive stream-of-consciousness narrative techniques, creating a sense of disorientation in both time and space throughout the work. She uses words to construct multiple mazes of history, emotion, family, and social construction. Rather than providing direct explanations to any questions, she gradually reveals deeper conflicts and desires through the flow of characters' inner thoughts and the blurring of temporal and spatial perceptions.
This unique narrative style isn't well represented in the film - the movie adopts a more straightforward linear narrative, thus neglecting the fluidity of atmosphere and complexity of emotions present in the original work. The film adaptation weakens the novel's deeper exploration of political, cultural, and psychological aspects - the girl's exploration in the colonial setting, family, and illicit relationship is a product of racial discrimination, social structural inequality, and unbalanced family ethics in colonial history. It's also a profound presentation of women's struggle and self-discovery under oppression.
托马斯·哈代 (Thomas Hardy）
译者: 张谷若
出版社: 理想国
[英国/U.K]
01-05-2025
很喜欢哈代细腻又悲悯的描写。苔丝的悲剧，是一个美丽却贫穷的女人被迫承受家庭、社会和宗教多重压迫的缩影。她出生于一个好吃懒做、胸无大志却幻想通过嫁女儿改变命运的家庭。在19世纪的社会语境中，家庭负担、社会规训、宗教苛责，都是桎梏一个女人，尤其是一个受到侵害的女人的巨大枷锁。苔丝因所遭受的创伤而抬不起头，因为不够“纯洁”而被爱人遗弃，最终被命运再次推向自己的加害者。这样的命运悲剧怎么能归咎到苔丝身上呢？当苔丝终于奋起反抗、杀死罪人时，这一私刑式的报复却换来了众人的围剿与死刑的惩罚。所谓的道德原则成为了压死苔丝的判决书，这种伪善的道德所带来的系统性的压迫，不仅是苔丝们身上最沉重的镣铐，也是时代的原罪。
刻画女性友情时，哈代也同样展现了细腻而温柔的笔触。在苔丝和另外三位女伴同时爱上克莱之后，她们的相处并未充满嫉妒与争夺，而是温和、克制又和谐。 至于克莱，他被哈代刻画为“本来有先进的思想、善良的用意，是最近二十五年以来这个时代里出产的典型人物。但虽然他极力想要以独立的见解判断事物，一旦事出非常，他不知不觉地还是信从小的时候所受的训教，还是成见习俗的奴隶。”克莱的挣扎与妥协，正是我们每个人的缩影：我们总以为自己拥有独立的思想，却依然常常不自觉地受制于成见和传统的枷锁。
I really appreciate Hardy’s delicate yet compassionate portrayal. Tess’s tragedy is a microcosm of a beautiful yet impoverished woman forced to endure the multiple oppressions of family, society, and religion. She was born into a family that is lazy, ambitionless, yet harbors the illusion of changing their fate by marrying off their daughter. In the social context of the 19th century, the burdens of family, the discipline of society, and the harsh judgment of religion all became enormous shackles restraining a woman—especially one who had been violated. Tess is weighed down by the trauma she suffered, abandoned by her lover for not being “pure” enough, and ultimately pushed back into the hands of her perpetrator by fate. How could such a tragic destiny ever be blamed on Tess herself? When she finally rises in resistance and kills her oppressor, her act of vigilante justice is met with public condemnation and the punishment of execution. The so-called moral principles become the verdict that crushes her. This hypocritical morality, bringing systemic oppression, is not only the heaviest chain shackling women like Tess but also the original sin of the era.
Hardy’s delicate and gentle touch is also evident in his portrayal of female friendship. When Tess and her three companions fall in love with Angel, their interactions are not filled with jealousy or rivalry, but rather with restraint, harmony, and mutual understanding. As for Angel, Hardy portrays him as “a man of progressive thought and kind intentions, a typical product of the last twenty-five years. However, though he strives to judge things with independent insight, when faced with extraordinary circumstances, he unconsciously falls back on the teachings of his childhood and remains a slave to conventional prejudices.” Angel’s struggles and compromises are a reflection of us all: we often believe we possess independent thinking, yet unknowingly remain bound by preconceived notions and the chains of tradition.
译者: 郑桥
出版社: 新星
[英国/U.K]
01-10-2025
读阿婆的第二本推理小说~
规则与道德的灰色地带，人性的悲悯， 也许正因法律无法给予受害者正义的时刻而存在其意义 （虽然理智告诉我不应该鼓吹私刑的合理化，但是当有些罪恶逍遥法外，我们很难不去奢求一种力量来伸张正义。而在这种审判迟迟未到之前，我们自己能不能充当执法者呢？）
It’s my second Agatha Christie mystery novel~
The gray area between rules and morality, the compassion within human nature—perhaps it holds meaning precisely because there are moments when the law fails to deliver justice to victims.
(Rationality tells me that I shouldn’t justify vigilante justice, but when certain evils go unpunished, it’s hard not to long for a force to uphold justice. And before the long-awaited judgment arrives, can we ourselves take on the role of enforcers?)
翻译:陈太乙
出版社: 上海三联
[法国/France]
01-13-2025
没有读《苦炼》时的惊艳感了，中间偶尔被尤瑟纳尔奶奶的话击中偶尔读得昏昏欲睡。一本至少要了解一些古罗马文化以后再应该去读的书，以后有空会再读一遍的（握拳！
翻译:杨雪梅
出版社: 北京联合 / 明室Lucida
[韩国/South Korea]
01-15-2025
1.21补书评，对着每章德标题结果大部分内容都想不起来了，但崔恩荣就是淡淡的~
《德比张》讲述了喜欢上宗教但受到宗教性别刻板的区别对待以后决定把爱上帝变成爱小狗的小女孩的故事..
出版社: 上海译文
译者: 侯小翊
[美国/U.S.A]
01-18-2025
理查德·耶茨未免也太会写中产阶级女性心理、情感与婚姻关系了吧🥲
在《革命之路》中，April对巴黎的向往，仿佛是照亮她平庸生活的一束光。巴黎，是她追求艺术、自由与真实生活的象征。在那里，她相信自己可以成为一个真正鲜活、独立的人，摆脱中产生活对女性的束缚，逃离母职与妻职的桎梏。她渴望远离被体面、安稳与循规蹈矩所填满的生活，去寻找一种更富有激情和意义的人生。然而，现实的桎梏和生活的琐碎逐渐将她的理想侵蚀得千疮百孔——日复一日的等待、Frank的敷衍与退缩，最终让她的希望一步步滑向绝望。
与April的执着追求相比，Frank对巴黎的态度始终模棱两可。他并不相信巴黎能改变人生，在他看来，那更像是一个暂时逃避现实的借口，一个可笑的幻想。比起真正的改变，他更擅长在无所事事的日常中寻找自我安慰，在酒精、出轨和自我辩解中维持着那微不足道的优越感。他既无法像April那样全情投入于梦想，也无力真正面对眼前的庸常，只能在两者之间踟蹰、妥协，在自欺与沉沦中耗尽最后的挣扎。于是，April对巴黎的憧憬最终被Frank的敷衍、生活的沉闷以及不可逆的现实拖垮。当梦想逐渐消散，耶茨便具体而准确地揭开了爱情与婚姻甜蜜表象背后深藏的暗流——隐秘的冷暴力、话语里的轻蔑讽刺、彼此的虚伪与空洞。看似体面的郊区派对、例行的晚餐对话，无不暗藏着无法言说的失望与压抑。而April和Frank作为父母，更是无意识中成为孩子悲剧的缔造者。他们沉溺于自身的情感漩涡，彼此折磨，也在无形中碾碎了下一代的希望。
生活往往如此：在某个瞬间，人们仿佛挣脱日常的叙事，直觉般地触碰到生活的荒诞与无望。然而，下一秒，熟悉的喧嚣便会将这短暂的清醒与所有改变的可能一并淹没。于是，人们继续在惯性中麻木前行，最终在平庸里逐渐老去。这正是耶茨笔下世界最残酷的地方——真正的绝望，不是突如其来的崩溃，而是日复一日的妥协与让步。
Richard Yates is exceptionally skilled at capturing the psychology, emotions, and marital dynamics of middle-class women.
In *Revolutionary Road*, April’s longing for Paris seems like a beam of light illuminating her mundane life. To her, Paris symbolizes the pursuit of art, freedom, and an authentic existence. She believes that in Paris, she can become a truly vibrant and independent person, breaking free from the constraints of middle-class life and escaping the shackles of motherhood and wifely duties. She yearns to leave behind a life filled with propriety, stability, and routine in search of one with more passion and meaning. However, the relentless grip of reality and the trivialities of daily life gradually erode her ideals—day after day of waiting, Frank’s indifference and retreat, ultimately pushing her hopes into despair.
In contrast to April’s unwavering pursuit, Frank’s attitude towards Paris remains ambiguous. He does not believe that Paris can change their lives; to him, it is merely an excuse to temporarily escape reality, a laughable fantasy. Instead of seeking genuine change, he finds solace in the trivialities of daily life, clinging to a fragile sense of superiority through alcohol, affairs, and self-justification. Frank is neither capable of fully committing to dreams like April, nor brave enough to confront the mediocrity of his present life. He hesitates and compromises between the two, exhausting his last struggles in self-deception and decay. Thus, April’s dream of Paris is ultimately crushed by Frank’s evasions, the monotony of life, and the inescapable reality. As their dreams fade away, Yates vividly and precisely unveils the undercurrents hidden beneath the sweet facade of love and marriage—covert emotional abuse, the subtle mockery in their words, and their mutual hypocrisy and emptiness. The seemingly respectable suburban parties and routine dinner conversations are all laced with unspoken disappointment and repression. As parents, April and Frank unwittingly become the architects of their children’s tragedy. Immersed in their emotional turmoil and mutual torment, they unknowingly shatter the hopes of the next generation.
Life is often like this: in a fleeting moment, people seem to break free from the narrative of their daily existence, intuitively touching the absurdity and despair of life. Yet in the next second, the familiar noise drowns out this brief awakening and all possibilities for change. And so, people continue to move forward numbly, eventually growing old in mediocrity. This is the most brutal aspect of Yates' world—the true despair does not come from sudden collapse, but from the slow, daily compromises and concessions.
刘震云 (Liu Zhenyun)
出版社: 长江花城
[中国/China]
01-21-2025
一部浸透乡土气息的小说，字里行间是非常浓厚的中国特色。小说中几代人、几十年的变迁、上百个人物形象，每一个都被刻画得栩栩如生，有血有肉，刘震云在人物塑造上的功力真的很强。出延津记的结尾尤其好，回延津记的部分如果没有其实根本没必要的性描写就更好了。但瑕不掩瑜，还是值得五星。
人穷极一生，经历无数苦难和孤独，到头来不过是为了寻找一个能真正倾听、能够理解自己的人。就像书名，找到这样一个人，一句话顶一万句。 以及，日子是"过以后"，而不是"过以前"。但人最难的莫过于放下执念向前看。不过这些颠扑不破的大道理多听听也挺好的~
This novel is full of the atmosphere of rural life and has a strong Chinese flavor throughout. The changes spanning several generations, decades, and over a hundred characters are all vividly portrayed, with each feeling real and fleshed out. Liu Zhengyun's skill in character creation is truly impressive. The ending of "Leaving Yanjin" is especially good. The "Returning to Yanjin" part would have been even better without the unnecessary sexual descriptions. But this flaw does not detract from the overall merit, and it is still worthy of five stars.
A person may struggle their whole life, experiencing countless hardships and loneliness, only to ultimately seek someone who can truly listen to and understand them. Just like the book's title suggests, finding such a person is worth more than ten thousand words.
Additionally, life is about "living forward" rather than "living in the past". But letting go of one's obsessions and looking ahead is perhaps the most difficult thing for people. However, it's good to be reminded of these simple, unquestionable truths.
出版社: 后浪
译者: 陈欣言
[美国/U.S.A]
02-02-2025
去年特朗普的大选胜利让我非常不解：为什么一位备受高知群体诟病的候选人能够赢得普通民众如此强烈的支持？霍夫施塔特的《美国生活中的反智主义》提供了很有洞察力的论点，即特朗普的崛起是美国反智传统的一个极致体现。虽然这本书太理论了看的中途睡着了好几次，但是写得很好，果然自己人骂起自己的文化来得比较深刻有趣。
看似先进的美国教育系统实际上是美国反智文化的重要催生者。过度强调功利主义和实用主义的教育体系系统性地削弱了公民的独立思考和理性分析能力。全民教育的推广不仅没有提升社会理性，反而制造了更容易被情绪化论述和简单化叙事俘获的群体。民主制度看似给予每个人平等的表达权，实际上可能为无知提供了一种看似正当的外壳；美国基础通识教育并非真正在启蒙和建立批判性思维，而是被设计成制造顺从的人民的机器。
I was very puzzled by Trump's victory in last year's election: why was a candidate so heavily criticized by intellectuals able to win such strong support from ordinary people? Hofstadter's "Anti-Intellectualism in American Life" offers an insightful argument that Trump's rise is an extreme manifestation of America's anti-intellectual tradition. Although the book was too theoretical and put me to sleep several times while reading it, it is very well-written. It turns out that people can be more profound and interesting when criticizing their own culture.
The seemingly advanced American education system is actually an important catalyst for America's anti-intellectual culture. An education system that overemphasizes utilitarianism and pragmatism systematically weakens citizens' capacity for independent thinking and rational analysis. The promotion of universal education has not only failed to enhance social rationality but has created groups more easily captivated by emotional discourse and simplistic narratives. The democratic system, while appearing to give everyone equal rights of expression, may actually provide a seemingly legitimate shell for ignorance; American general education is not really about enlightenment and building critical thinking but is designed to be a machine for producing obedient citizens.
出版社: 先觉得
译者: 林雅芬
[巴勒斯坦/Palestinian]
02-11-2025
因为未婚怀孕，舒雅德的姐夫在她父母的授意下，准备用汽油将她活活烧死。当她奇迹般地活了下来，在病床前等待她的，竟是母亲递来的一杯毒药..在人权组织SURGIR的帮助下逃往欧洲的十五年后，来自巴勒斯坦的舒雅德成为了第一个敢于揭露「荣誉谋杀」的受害者，尽管说出真相可能会让她有再次陷入生命危险的可能。同时作为一位母亲，她也面临着另一个难题：如何让在欧洲出生的女儿们既能理解她的祖国，又不会对那片土地和那里的男人充满仇恨。
在一些阿拉伯国家，每年有数千名女性因所谓的"家庭荣誉问题"被杀害，这个数字不包括被伪装成意外或被迫自杀的案例。而施暴者往往是受害女性的至亲 —父亲或兄弟。而在法律和文化的默许下，罪犯们不仅会获得从轻处罚，甚至会被视为捍卫家族荣誉的英雄。这些女性从小生活在被剥夺教育权利的环境中，家庭和社会灌注的扭曲的价值观让她们误以为这种不正常的处境才是常态。更令人心痛的是，大多数人道主义组织会把这类案件归类为"文化"或"个案"，而对被伤害和杀死的女性避而不谈。真的很难想象，这样的事情，依然在地球上的另一片土地上不断发生。 如今，在地球的另一端，仍有无数女性正在经历着同样的命运。看见她们的存在、了解她们的故事是第一步，因为只有先看见，才会有改变的可能。
Because she became pregnant out of wedlock, Souad's brother-in-law, under the instructions of her parents, was preparing to burn her alive with gasoline. When she miraculously survived, what awaited her at her hospital bed was a cup of poison handed to her by her mother. Fifteen years after escaping to Europe with the help of the human rights organization SURGIR, Souad, a Palestinian, became the first victim to dare to expose "honor killings," even though speaking the truth could put her life in danger again. At the same time, as a mother, she also faces another dilemma: how to let her daughters born in Europe understand her homeland without being filled with hatred for that land and the men there.
In some Arab countries, thousands of women are killed each year due to so-called "family honor issues," a number that does not include cases disguised as accidents or forced suicides. The perpetrators are often the victims' closest relatives—fathers or brothers. With the tacit consent of the law and culture, criminals not only receive lenient punishments but are even seen as heroes defending the family's honor. These women grow up in an environment deprived of the right to education, and the distorted values instilled by family and society make them mistakenly believe that this abnormal situation is the norm. What's even more heartbreaking is that most humanitarian organizations classify these cases as "cultural" or "individual," avoiding discussing the women who are harmed and killed.
It's really hard to imagine that such things continue to happen on another piece of land on Earth. Today, on the other side of the planet, countless women are still experiencing the same fate. Seeing their existence and understanding their stories is the first step because only by seeing can there be the possibility of change.
出版社: 上海译文
译者: 岳麟
[俄罗斯/Russia]
02-12-2025
在《罪与罚》中，陀思妥耶夫斯基探讨了几个核心问题：个人自由与道德约束的边界在哪里？理性主义与精神信仰如何调和？罪恶与惩罚之间的关联是什么？爱的力量能否拯救堕落的灵魂？
全文的核心在于'超人理论'和道德困境的探讨。卡佳认为：人类分为两类——普通人和超人。像拿破仑这样的超人有权超越常规道德约束，为了更崇高的目标而行使'生杀大权'。在他看来，为了推动人类进步，这些超人的行为不应受到普世道德标准的束缚。陀通过卡佳的命运无情地拆解了这种理论，揭示了当个体试图凌驾于道德之上时必然面临的精神崩溃。联想到Luigi Mangione案件，我越看Luigi越像卡佳：从犯罪前的自我孤立，到犯罪后的自我辩护，再到民众的复杂反应都惊人地相似。为什么在不同时代总有人试图通过暴力行为对抗他们认为的社会不公？原来陀早在150多年前就在拆解和解答类似的道德困境了。 如果说卡佳杀害典当老太太是为了心中的正义和对个人权力自由的边界探索，可以被他的理论所"合理化"，那杀害她无辜的妹妹则完全是出于恐慌和自保的本能反应，这一刻暴露了他理论的空洞与自欺欺人。他的"罪"不仅是对两位女性的谋杀，更是他自我认知与现实生活之间的脱节，是他试图凌驾于道德之上的狂妄自大。他的"罚"不止是法律监禁，更是良心的折磨、灵魂的分裂，以及在服刑期间仍然不认为自己有罪的痛苦不甘。
但《罪与罚》最最最美好的部分是在结尾陀以几乎宗教般的救赎方式——索尼娅无条件的爱来挽救卡佳堕落的灵魂。"我愿意和你一起背负十字架"，简直是世界文学中最伟大的爱的表白QoQ。索尼娅的爱不求回报，不计后果，超越了世俗的道德判断，我想是因为索尼娅代表了陀对人性最终的信念：即使是最堕落的灵魂，也有获得救赎的可能。 卡佳在小说中对索尼娅下跪了两次，这两次行为有着截然不同的意义。第一次是"向全人类的苦难下跪"，但总给我一种他是救赎主的高高在上感；而第二次下跪发生在结尾处，这才是卡佳真正的自我救赎，也是陀思妥耶夫斯基对整个俄罗斯（乃至全人类）精神的期许。
在充满虚无主义和道德相对论的当代社会，在绝对信仰破灭的年代，陀向我们揭示了现代人类面临的终极二选一——要么在纯粹理性的孤独中自我毁灭，要么在爱或者信仰中寻求救赎。
补充：除了作为主角的邪恶与善良并存的卡佳~其他的人物都完全不单一非常立体。索尼娅在社会环境的压迫下沦为妓女，却保持着内心的纯洁与信仰。她的无私与牺牲精神与卡佳的自我中心形成鲜明对比。卡捷莉娜·伊凡诺芙娜是落魄贵族的遗孀，她在酒鬼丈夫、贫困家庭和继女自我牺牲的多重压力下，仍然努力维持着自己的尊严。她的悲剧命运和死亡是19世纪俄国社会现实的缩影，但她又把造成自己困境的责任转嫁给了索尼娅，形成了一种悲剧的传递。 卢仁呢，则代表了社会的冷漠与功利主义，他的自傲与利己主义就是卡佳理论的另一种具体表现。可是陀却巧妙地写他赴死时的决绝与卡佳的犹豫怯弱（甚至差点就逃走了）形成了鲜明的对比和道德思考的维度。此外作为“引导者”的警察的形象（这一点补充是听了树的播客：对比雨果的《悲惨世界》以后很认同的）还有卡佳的朋友，正直善良的拉祖米欣，这本书可以分析的点太多了ToT。
In "Crime and Punishment," Dostoevsky explores several core questions: Where is the boundary between individual freedom and moral constraint? How can rationalism and spiritual faith be reconciled? What is the connection between sin and punishment? Can the power of love redeem a fallen soul? The core of the text lies in the discussion of the "superman theory" and moral dilemmas.
Raskolnikov believes that human beings are divided into two categories - ordinary people and supermen. Supermen like Napoleon have the right to transcend conventional moral constraints and exercise the "power of life and death" for loftier goals. In his view, the actions of these supermen should not be bound by universal moral standards in order to promote human progress. Through Raskolnikov's fate, Dostoevsky ruthlessly deconstructs this theory, revealing the inevitable spiritual collapse when an individual tries to rise above morality.
Thinking of the Luigi Mangione case, the more I look at Luigi, the more he resembles Raskolnikov: from self-isolation before the crime, to self-defense after the crime, to the complex reactions of the public, they are strikingly similar. Why in different eras do people always try to confront what they perceive as social injustice through violent acts? It turns out that Dostoevsky was deconstructing and resolving similar moral dilemmas more than 150 years ago.
If Raskolnikov's murder of the pawnbroker woman was for the sake of his inner justice and exploration of the boundaries of individual power and freedom, which could be "rationalized" by his theory, then the murder of her innocent sister was purely an instinctive reaction out of panic and self-preservation. At this moment, the hollowness and self-deception of his theory were exposed. His "sin" is not only the murder of the two women but also the disconnect between his self-perception and reality, his arrogance in trying to rise above morality. His "punishment" is not merely legal imprisonment but also the torment of conscience, the split of his soul, and the painful resentment of not considering himself guilty even during his imprisonment.
But the most, most, most beautiful part of "Crime and Punishment" is at the end, where Dostoevsky uses an almost religious way of redemption - Sonya's unconditional love - to save Raskolnikov's fallen soul. "I am willing to bear the cross with you" is simply the greatest declaration of love in world literature. Sonya's love is selfless, regardless of consequences, and transcends secular moral judgments. I think it is because Sonya represents Dostoevsky's ultimate belief in human nature: even the most fallen soul has the possibility of redemption.
Raskolnikov kneels before Sonya twice in the novel, and these two acts have completely different meanings. The first time is "kneeling before the suffering of all humanity," but it always gives me a sense that he is a superior savior; the second kneeling occurs at the end, which is Raskolnikov's true self-redemption and also Dostoevsky's expectation for the spirit of the entire Russia (and even all mankind). In a contemporary society full of nihilism and moral relativism, in an era of the collapse of absolute faith, Dostoevsky reveals to us the ultimate binary choice facing modern humanity - either self-destruct in the loneliness of pure reason or seek redemption in love or faith.
PS:
Apart from Raskolnikov, the protagonist who embodies both evil and goodness, all the other characters are completely non-singular and very three-dimensional. Sonya has fallen into prostitution under the oppression of social circumstances, yet maintains her inner purity and faith. Her selflessness and spirit of sacrifice form a stark contrast to Raskolnikov's self-centeredness. Katerina Ivanovna is the widow of an impoverished nobleman. Under the multiple pressures of her drunkard husband, impoverished family, and stepdaughter's self-sacrifice, she still tries to maintain her dignity. Her tragic fate and death are a microcosm of the reality of 19th-century Russian society, but she also shifts the responsibility for her plight onto Sonya, forming a tragic transference.
Luzhin, on the other hand, represents the indifference and utilitarianism of society. His arrogance and selfishness are another concrete manifestation of Raskolnikov's theory. However, Dostoevsky cleverly contrasts his determination in the face of death with Raskolnikov's hesitation and cowardice (he almost fled), forming a sharp contrast and adding another dimension to the moral contemplation. In addition, the image of the police as a "guide" (this point I agree with after listening to Shu's podcast comparing it to Victor Hugo's "Les Misérables") and Raskolnikov's friend, the upright and kind-hearted Razumikhin - there are too many points to analyze in this book.
出版社: 花山文艺出版社
[中国/China]
02-25-2025
表面上其实是一个有点俗套的主题——知识分子在理想与现实之间的挣扎。但是老舍用直白又隽永的文笔为看似平常的人物和故事赋予了独特的魅力。结合中国特色的官僚体系与人际交往文化，把几个小人物的命运刻画得栩栩如生：老张被周遭世界打磨得圆滑而无棱角的妥协、小赵利益至上周旋于人物之间的狡诈，不同几对夫妻在婚姻中殊途同归的痛苦、愤怒、无奈、心酸都历历在目。
在故事的最后，老李的幻梦彻底碎在马夫人沉默的小屋和冷清的夜色里。他和曾经不屑一顾的"无名英雄"丁二一起，逃离城市喧嚣，奔向乡村寻求平静又踏实的生活。老舍没有给出他们能否真正找到宁静的答案，而是让故事在对平凡生活的向往里划下温柔的句点。
On the surface, it is actually a somewhat cliché theme - the struggle of intellectuals between ideals and reality. However, Lao She uses a straightforward yet enduring writing style to give unique charm to seemingly ordinary characters and stories. Combining the Chinese-style bureaucratic system and the culture of interpersonal interactions, he vividly portrays the fates of a few small characters: Old Zhang's compromise, smoothed and made faceless by the surrounding world; Xiao Zhao's cunning, putting interests first and maneuvering among people; the pain, anger, helplessness, and heartache of different couples in their marriages, all clearly visible.
At the end of the story, Old Li's dream is completely shattered in the silent room of Madam Ma and the cold, quiet night. He, along with the once disdained "unknown hero" Ding Er, escapes the hustle and bustle of the city and rushes to the countryside in search of a calm and down-to-earth life. Lao She does not give an answer as to whether they can truly find tranquility, but instead lets the story draw a gentle period in the yearning for an ordinary life.
出版社: 上海三联书店
[英国/U.K]
02-27-205
是友邻去年的年度书籍，意外地发现的确是一本很好的回忆录（跟着友邻的推荐读书果然比跟着榜单读书更不容易踩雷♥）
其实阿尔巴尼亚对我而言是一个完全陌生的国度，但乌皮的回忆录让我惊讶地发现，这个欧洲国家的历史脉络竟然与中国有惊人的相似之处。作为一个经历过共产主义，且比中国更彻底践行了这一意识形态的国家，乌皮所成长的世界充满了谎言与谨慎。她的青春期横跨三个政权，见证了两种制度（共产主义与资本主义）的兴衰更迭。在经历过对民主的憧憬与幻灭后，她深刻地意识到：“ 一种制度的崩塌是多么简单的事情”。
乌皮对政治的认知是一个渐进的过程。从幼年时的懵懂无知，到变革初期的憧憬，理想破灭后的迷惘，到最终选择了学习马克思主义。她在成长中学会了不盲目接受或彻底否定任何“主义”，而是在不断反思与探索中寻找属于自己的立场。
"We are each a product of both family and country." 这句话在乌皮的生命中得到了最生动的诠释。她出身显赫，虽然在共产主义时期这成了她的“原罪”，但在封闭的环境中，家人却给予她最大的精神自由。在政治变动时期投身政坛，宣称“把决定自己命运的权力掌握在自己手中"的坚毅果敢的母亲；在经济改革中承受巨大压力却仍为吉普赛人的命运而落泪和抗争的温和善良的父亲；坚持让乌皮学习不同语言，以便透过世界的裂隙窥见更广阔可能的学识渊博的奶奶，家人们在对立的观念间彼此碰撞，却也努力寻找共识。
书中那些细微的生活片段：长辈们在孩子面前低声耳语的政治讨论，邻里间既亲密又彼此提防的关系，孩子们在校园里为红领巾自豪的场景——共同勾勒出铁幕之下人们的生存质地。历史的洪流冲散了许多人的生活，朋友和家人被迫离散，逃离的人们在一道道封闭的国境前无措。面对那些曾在政治变革时伸出援手却又在移民与难民问题上紧闭大门的西方国家，乌皮发出令人心碎的追问：But what valued does the right to exit have if there is no right to enter? Were borders and walls reprehensible only when they served to keep people in, as opposed to keeping them out?
从个人、家庭到社会与国家，乌皮以冷静而克制的笔触，展现了在剧烈的社会变革中普通人究竟能保持多少以及如何保持自主性和独立思考的能力。自由与牢笼的边界也许只在分寸之间。我们矗立在随时可能倾塌的悬崖边，但或许正因如此，才更需要撕开既定的框架，在裂隙中寻找另一种可能的出路。
Albania was actually a completely unfamiliar country to me, but Ypi's memoir surprised me by revealing that the historical context of this European country has a striking similarity to that of China. As a country that has experienced communism and practiced this ideology more thoroughly than China, the world in which Ypi grew up was filled with lies and caution. Her adolescence spanned three regimes and witnessed the rise and fall of two systems (communism and capitalism). After experiencing the longing for and disillusionment with democracy, she profoundly realized: "How simple it is for a system to collapse."
Ypi's understanding of politics was a gradual process. From the ignorance of childhood, to the aspiration at the beginning of the transformation, the confusion after the shattering of ideals, to the final choice to study Marxism. She learned in her growth not to blindly accept or completely deny any "ism," but to find her own stance through constant reflection and exploration.
"We are each a product of both family and country." This sentence finds its most vivid interpretation in Ypi's life. She was born into a prominent family, although this became her "original sin" during the communist period. But in a closed environment, her family gave her the greatest spiritual freedom. Her resolute and decisive mother, who entered politics during times of political change, claiming to "take control of the power to determine her own destiny"; her gentle and kind father, who endured great pressure during economic reform yet still wept and fought for the fate of the Roma people; her erudite grandmother, who insisted that Ypi learn different languages to glimpse broader possibilities through the cracks of the world. Her family members collided with each other between opposing ideas, yet also strove to find consensus.
Those subtle snippets of life in the book: the low-voiced political discussions of the elders in front of the children, the intimate yet guarded relationships among neighbors, the scenes of children being proud of their red scarves on campus - together they outline the texture of people's existence under the Iron Curtain. The torrent of history scattered the lives of many people, friends and families were forced to disperse, and those who fled were at a loss in front of one closed border after another. Facing those Western countries that extended a helping hand during political changes yet slammed the door shut on issues of immigrants and refugees, Ypi raises a heartbreaking question: But what value does the right to exit have if there is no right to enter? Were borders and walls reprehensible only when they served to keep people in, as opposed to keeping them out?
From individuals, families to society and the country, Ypi uses a calm and restrained touch to show how much and how ordinary people can maintain autonomy and independent thinking in the midst of drastic social changes. The boundary between freedom and prison may be just a matter of inches. We stand on the edge of a cliff that could collapse at any time, but perhaps it is precisely because of this that we need to tear open the established framework and seek another possible way out in the cracks.
出版社: 明室Lucida
[美国/U.S.A]
03-04-2025
1860年的作品！先锋、哥特，前卫。
既然疯癫是他们施与女性的罪名，那就让疯癫成为女人“挣脱”的方式，撕掉黄色墙纸，从男人身上爬过去。
A work from 1860! Pioneering, Gothic, avant-garde.
Since madness is the accusation men impose on women, let madness become a way for women to 'break free,' tear down the yellow wallpaper, and crawl over the men."
出版社: 读客文化
[葡萄牙/Portuga]
03-05-2025
一部充满隐喻的作品，萨拉马戈通过荒诞但新奇的叙事手法，对于现代社会人的异化与尊严/物的拟人化与主体性进行了解构与批判；把宗教与古希腊神话的隐喻在结合现代语境中进行颠覆和重构（我没能完全理解。
This book is full of metaphors. Saramago uses strange but creative storytelling to criticize how modern society makes people feel disconnected and affects their dignity. He also explores how objects are given human qualities and their own importance.
Saramago mixes religious and ancient Greek myth references within modern settings, turning these familiar ideas upside down and rebuilding them in new ways (which I didn't fully understand).
出版社: 人民文学出版社
译者: 刘辽逸
[俄罗斯/Russia]
03-07-2025 - tbc
出版社: 上海人民出版
译者: 甘露
[法国/France]
03-17-2025
1963年，在堕胎还是犯罪的法国，23岁的大学生安妮·埃尔诺发现自己怀孕了。这个意外事件在她生命中划下一道无法逆转的分界线，将她从纯洁的女大学生推入一个隐秘、危险，无助且被污名化的灰色地带。
决定堕胎的埃尔诺被正规医院的医生们以职业道德为由拒绝提供帮助，可日益臃肿的身体却逼迫她不得不寻找别的出路。在自行服用药物失败后，她来到了一位女护士简陋的住所里。躺在冰冷的桌面上铺就一张薄薄的塑料布上，在渗透着铁器的寒意和消毒水的刺鼻气味的午后，长针被刺进她子宫，疼痛如电流般攀爬上脊椎，世界缩小成了一团锋利而冰冷的刺痛。那些从未涉足此地的纯洁女同学们，她们仍生活在一个不需要知晓生育体验重量的世界里。而她的前男友则在彻夜狂欢，为自己逃脱责任而如释重负，仿佛这件事与他毫无关系。女性的身体成为唯一承受一切后果的战场。
带着身体里的长针回到寝室后，她突然大出血而濒临死亡。医生终于提供了正规的医疗帮助，却一边拯救她一边审判她的"罪行"。男医生的目光像法官的探照灯，试图放大她身体上的每一处"罪证"。她生死一线地躺在病床上，耳边回响着医护人员冷漠的抱怨："我又不是水管修理工。"埃尔诺说："那一刻，我杀死了我体内的母亲。"
康复后，埃尔诺怀揣着对死去胎儿的复杂情感走进教堂，试图在信仰的庇护中找到某种救赎。然而她很快发现宗教的慈悲照不到堕胎过的女人身上。那扇忏悔的门对她和所有不被承认的罪恶女性紧闭，她们被丢弃在世俗暗无天日的污泥里。血污、疼痛和耻感交织的世界里，非正常怀孕的、堕胎过的、未婚生育的女人们，抬起头只能看到一片被撕裂的天空。法律不保护她们，道德谴责她们，社会将她们逼入废墟，她们在废墟中寻找出口，用自己的身体或者生命作为代价换取有尊严地活下去的权利。
埃尔诺把痛苦的个人经验转化为社会见证，剥开女性身体政治学的层层伪装，揭示了社会对女性身体的双重标准与暴力控制，以及权力是如何通过控制生育权来控制女性的。女人们是命运共同体，我们在其他女人的经历中看到自己可能的命运。阅读埃尔诺的痛苦，就是在品尝我们可能会遭遇的苦难。她用文字为所有曾在历史夹缝中挣扎的女性留下见证和警示：在一个女性依然无法完全掌握自己身体的世界里，所有女性都不会真正安全。
In 1963, when abortion was still a crime in France, 23-year-old university student Annie Ernaux discovered she was pregnant. This unexpected event drew an irreversible dividing line in her life, pushing her from being a pure college student into a secret, dangerous, helpless, and stigmatized gray area. After deciding to abort, Ernaux was refused help by doctors in regular hospitals citing professional ethics, yet her increasingly swollen body forced her to seek other options. After failing to self-administer medication, she arrived at a nurse's modest residence. Lying on a thin plastic sheet spread over a cold table, in an afternoon permeated with the chill of metal instruments and the pungent smell of disinfectant, a long needle was inserted into her uterus. Pain climbed up her spine like an electric current, and the world shrank into a sharp, cold sting. Those pure female classmates who had never ventured into this territory still lived in a world where they didn't need to know the weight of childbearing experiences. Meanwhile, her ex-boyfriend spent the night reveling, relieved to have escaped responsibility, as if the matter had nothing to do with him. The female body became the only battlefield bearing all consequences.
After returning to her dormitory with the needle still inside her body, she suddenly experienced severe bleeding and was near death. Doctors finally provided proper medical help, yet simultaneously judged her "crime" while saving her. The male doctor's gaze was like a judge's searchlight, attempting to magnify every "evidence of guilt" on her body. As she lay on the brink of death, she heard the cold complaints of medical staff echoing: "I'm not a plumber." Ernaux said: "At that moment, I killed the mother inside me."
After recovery, Ernaux entered a church carrying complex feelings about the lost fetus, trying to find some redemption under the protection of faith. However, she soon discovered that religious mercy doesn't extend to women who have had abortions. The door of confession remained closed to her and all women with unacknowledged sins; they were abandoned in the dark, sunless mud of the secular world. In a world interwoven with blood, pain, and shame, women with abnormal pregnancies, who had abortions, or gave birth out of wedlock, could only look up to see a torn sky. The law didn't protect them, morality condemned them, and society drove them into ruins. They searched for exits among the ruins, using their bodies or lives as the price for the right to live with dignity.
Ernaux transformed her painful personal experience into social testimony, peeling away the layers of disguise in female body politics, revealing society's double standards and violent control over women's bodies, and how power controls women through controlling reproductive rights. Women are a community of shared destiny; we see our possible fate in other women's experiences. Reading Ernaux's pain is tasting the suffering we might encounter. Through her words, she leaves a testimony and warning for all women who have struggled in the cracks of history: in a world where women still cannot fully control their own bodies, no woman is truly safe.
出版社: 上海译文出版
译者: 主万
[美国/U.S.A]
03-19-2025
**主万的译本不推荐**
在完整、缓慢且煎熬地读完《洛丽塔》以后我想说纳博科夫的《洛丽塔》真不是老登文学（嚎叫）
纳博科夫在书中完 全 没 有 美化或试图美化恋童。亨伯特的形象是直观而赤裸裸的扭曲——他变态、虚伪，矫揉造作。第一人称和解剖式的叙事角度构成了对权力、控制与暴力的批判与演绎。洛丽塔的声音和想法被刻意压制，读者只能通过亨伯特的视角窥见她的存在以及想象她的形象，这本身就象征着洛丽塔作为个体被剥夺主体性的事实。
亨伯特试图用"追求爱"和"保护美与纯真"来掩饰自己的罪行，但这种美完全是畸形、扭曲，不平等的。尽管他文采斐然，在自我辩护时试图通过华丽的辞藻和引经据典操控读者的同情和理解，但文字的巧言令色能洗刷他对未成年少女的侵害吗？答案显然是否定的。如果我们跳脱出第一人称的陷阱，透过文本的细枝末节窥见真正的洛丽塔——我们会看到多洛雷斯·黑兹，年仅12岁的孤儿，身高145厘米的少女，被剥夺了正常的童年和青春期。在亨伯特的控制下，她甚至无法理解和经历健康的成长。成年后的她艰难地从一个魔爪逃离，却又跌入另一个恶魔的陷阱，最终在贫困和创伤中度过余生。
亨伯特不仅在故事中掌控洛丽塔，还试图在文本层面控制读者的感知——以花言巧语让读者沉醉于语言的美感，不自觉地成为他操纵的对象。纳博科夫不仅写了一个关于控制的故事，还在文本层面上再现了这种控制。近乎炫技的文学技巧，语言与文本的游戏。
文学不仅仅可以讲述故事，还能够制造幻象、操纵认知；语言是欺骗与自欺的工具，营造美与罪的交织让人难以分辨真实和谎言。这正是为什么在欣赏文字之美的同时必须保持道德清醒，因为即使最美的语言也不能粉饰最丑陋的罪行。
出版社: 上海译文出版
译者: 李佳纯
[美国/U.S.A]
03-22-2025
《乔瓦尼的房间》的文字色气而不色情，大胆炽热却恰到好处地撩人。我是在初春的湖边读完这本书的，微风轻拂，浪花拍打着沙滩和岩石，空气里浮动的潮湿与书中沉积在情欲与自我挣扎间的阴郁氛围，产生了奇异的共振。
鲍德温笔下的巴黎再次展现了她千人千面的特质——既开放又冷漠，既充满诱惑又冷峻无情。她向每个迷失的灵魂热情地敞开怀抱，却从不承诺归宿。有人在她的胸膛里获得滋养，有人则被她冷漠地吞噬。乔瓦尼所期待的温暖从未降临，巴黎只是旁观他如何被自己的炽热的期望灼伤。
他的悲剧并非只源于爱情，而是更深层的困境——环境的压迫，身边人的目光，他自身的脆弱，以及无处安放的希望。大卫从未真正理解乔瓦尼，甚至未曾试图理解。他或许对乔瓦尼怀有短暂的依恋，但更多是寂寞时的慰藉和欲望的出口。在这段关系中，激情与欢愉远远少于焦灼、恐惧和痛苦。他没有勇气直面自己，更没有勇气与乔瓦尼共同承担爱与伤痛。他一边在乔瓦尼的房间里寻求庇护，一边拼命想要逃离。乔瓦尼的房间对他而言，既是避风港，也是囚笼。当他最终跨出那间阴暗潮湿的阁楼，他甩开的不仅是乔瓦尼枯萎的爱情，更是自己始终不愿直面的灵魂。
或许，根本不存在某个"直面自我"的顿悟时刻。我们只是在无数个乔瓦尼的房间里穿行，在潮起潮落之间，不断与那些被海浪冲上岸的、支离破碎的自我重逢。
The writing in Giovanni's Room is sensual but not vulgar, bold and passionate, yet just the right amount of tempting. I finished reading the book by the lake in early spring, with a soft breeze blowing and waves hitting the shore and rocks. The damp air, combined with the dark atmosphere in the book, filled with desire and inner struggle, created a strange connection.
Baldwin's Paris once again shows her many faces—both open and indifferent, full of temptation but also cold and harsh. She welcomes every lost soul warmly but never promises to offer a home. Some find comfort in her embrace, while others are swallowed by her indifference. The warmth Giovanni hopes for never comes, and Paris just watches him get burned by his own burning expectations.
His tragedy is not just about love, but deeper struggles—pressure from his surroundings, the way others see him, his own weakness, and the hope that has nowhere to go. David never really understood Giovanni, and he never tried to. Maybe he felt a brief attachment to Giovanni, but it was more out of loneliness and a need for desire. In this relationship, passion and joy were much fewer than anxiety, fear, and pain. He didn’t have the courage to face himself, let alone face love and pain with Giovanni. While seeking shelter in Giovanni’s room, he also tried desperately to escape. Giovanni's room was both a refuge and a prison for him. When he finally left the dark, damp attic, he was not only leaving behind Giovanni’s fading love but also his own soul, which he had always refused to face.
Maybe there’s no true moment of “facing oneself.” We just walk through countless Giovanni’s rooms, in the rise and fall of the tides, constantly meeting those broken parts of ourselves that the waves have washed ashore.
出版社:
译者:
[智利/Chile]
04-03-2025
出版社: 云南人民出版社
译者:
[台湾/Taiwan]
04-15-2025
粗粝、阴森与恐怖。口舌的暴力、肢体的暴力、精神的暴力在林市的生活中交织。饥饿，既是身体的饥饿，也是精神的饥饿；性，凌虐的工具，男性控制和统治女性的手段。
林市在错乱和迷茫的精神状态下对陈江水的杀戮和肢解，背后是女性在婚姻中无数沉默的忍让和传统封建乡村的集体失语与无动于衷，村民们对悲剧的漠视、猎奇和嚼舌根，将女性的深重苦难降格为一场日常消遣。而暴力的循环——男人对动物的屠宰，对女人的残害，甚至女人和女人之间的相互伤害，在暴力的继代轮回和扭曲的社会结构中，谁又会是下一个受害者呢？
出版社: 上海人民出版社
译者: 王辉
[法国/France]
04-16-2025
出版社: 明室Lucida
译者: 钟皓楠
[奥地利/Austria]
04-17-2025
这是一场对于存在主义的思考：当一个人被完全隔绝于人类社会，只剩下自然和动物为伴时，生命的意义会如何重构？
与《鲁滨逊漂流记》 将自然视为征服对象的叙事不同，《隐墙》描绘的是一种温和的、坚韧的，与自然和谐共处的图景。鲁滨逊以殖民者的姿态改造环境，而《隐墙》中的她则选择了接受、适应，回归本源的生活节奏。她用学习和劳作抵御孤独与无意义的侵蚀，尽管为了生存也不得不杀戮，但她从未变得麻木，始终会感受到痛苦和矛盾。在绝对孤独中，她努力维持理智，在无穷尽地重复里保持着自我的尊严，同时也尽量不去干预大自然中自然的规律和发展。在大世界的一隅自若地生活好自己的三寸方圆。
虽然书中贯穿的回忆录式叙述，使得小狗的死亡早有预兆，但小狗的离开依然是整部作品中唯一带来钝痛感的事件。被隔绝的世界中，即使是最纯真的关系也无法逃脱悲剧的命运。这种痛苦与自然规律导致的其他分离（如猫的离开）形成了强烈的对比。当平淡的、恬静的、原始的、按部就班的生活，在最后一页画上了句点。新的生命依然在坚韧地萌发延续。如何在看似无望的孤独中找到继续前行的勇气，或许正是这个故事提出的永恒命题——无论我们是否真正被隔绝于人群之外。