2023 Reading List
✿ 70/80 ✿
TOP 10 BOOKS
✿ 70/80 ✿
TOP 10 BOOKS
[韩国🇰🇷]
01-03-2023
[中国🇨🇳]
01-05-2023
[美国🇺🇸]
01-06-2023
在科幻里体会不同物种间最最简单和纯粹的感情和联结（真的好喜欢rocky噢！呜呜
[德国🇩🇪]
01-10-2023
苦难造就伟大的民族和伟大的文学。
追寻着在自己年幼时投河自尽的母亲的故事，徐徐展开一段鲜被关注和提及的二战东方劳工史。
民族的苦难是如何和一个“没有过去和未来"的家族的命运相互牵连羁绊的。
管中窥豹，我也更了解乌克兰这个命运多桀的民族一点点。
Suffering creates great nations and great literature.
Following the story of his mother, who drowned herself in a river when he was young, a lesser-known and rarely mentioned history of Eastern laborers during World War II gradually unfolds.
How the suffering of a nation becomes intertwined with the fate of a family "without a past or future."
Through this glimpse, I also come to understand a little more about the fate-ridden nation of Ukraine.
[美国🇺🇸]
01-18-2023
[尼日利亚🇳🇬]
01-20-2023
【不做沉默的见证者】
在翻开书页之前，我其实只简单查阅了尼只利亚在google百科上最基础的信息：尼日利亚是非洲人口最多的国家，非洲最大的经济体。
全书围绕奥兰娜和凯内内这对出身在“特权社会的“伊博族孪生姐妹，大致分为两段时间线（六十年代初、末）和两种丰线视角：乌：奥兰娜“革命情人”的男仆以及凯肉内的英国情人理查德，通过描述尼日利亚内战前后去人公们以及周边世界的遭遇和变化，以第三人称的口吻探讨了关于殖民和后殖民主义、反战、种族、社会阶级、女性主义、爱情、友情、亲情，家庭关系等问题。
因为原本对尼日利亚的南北纷争一无所知，因此在看到屠杀行为“突然发生”的时候才带着震惊和疑惑的情绪了解了一下尼日利亚从被英国殖民到现今的历史。于是对于这个可以说得上是完全陌生的国家和国民有了更多的基础认知，而不是带着先入为主的偏见去继续读Ta们的故事。
在南北战争中，因部落屠杀而起建立的比亚法拉共和国给陷于苦难和悲愤中的以伊博族为主的“南方群体“曾来了辉煌的希望，一如国旗与散发光芒的半轮黄日，一度让人们相信沉重的突难可以被结束，政府不会再是哪方势力的傀儡，但是战争和封锁却让几百万平民死于饥饿、疾病和连绵不断的炮火。
随着军事经济实力的悬殊和南方精神领袖元首“逃出海外”，终于两年多人民的苦难终止于1270年比亚法拉政权的投降。可是内战被结束了，战争给予人们身体和心灵上镌刻地深深的创伤又该 何去何从，如何被平息和修复呢？阿迪契告诉我们：铭记历史的苦难，永远不做冷漠的旁观者。
这本书的女性角色的刻画都有血有肉，人物形象丰满。作为主角的“精英女性“的代表的奥兰娜和凯内内出身富裕的家庭，受过良好的教育，在很多节点上怼于息己的人生有全的决定权，在家庭和社会上有拥有更高的地位和话语权；与她们的母亲和很多底层女性的“沉默、顺从”的命运形成了鲜明的对比。教育和权力让女性有机会拥有超脱社会阶级、性别、种族的眼界和“说话有人听”的力量。
Before opening the book, I had only briefly checked the most basic information about Nigeria on Google: Nigeria is the most populous country in Africa and has the largest economy on the continent.
The book revolves around Olanna and Kainene, twin sisters from the privileged Igbo society, and is roughly divided into two timelines (early and late 1960s) and two narrative perspectives: Ugwu, Olanna's "revolutionary lover's" servant, and Richard, Kainene's British lover. Through the experiences and changes of the protagonists and the surrounding world before and after the Nigerian Civil War, the third-person narrative explores issues such as colonialism and post-colonialism, anti-war sentiments, race, social class, feminism, love, friendship, family relations, and familial bonds.
Since I initially knew nothing about Nigeria's North-South conflicts, I was shocked and confused when the massacres "suddenly occurred," which prompted me to learn more about Nigeria's history, from being colonized by the British to the present day. As a result, I gained a more informed understanding of this country and its people, rather than continuing to read their stories with preconceived biases.
In the Nigerian Civil War, the Republic of Biafra, established amidst tribal massacres, brought a glorious hope to the suffering and grieving southern Igbo population. Like the rising sun on their flag, it once made people believe that their heavy suffering could end and that the government would no longer be a puppet of any faction. However, war and blockades led to millions of civilians dying from hunger, disease, and relentless shelling.
As the military and economic disparity grew and the southern spiritual leader fled abroad, the people's suffering finally ended with Biafra's surrender in 1970 after more than two years. Yet, even though the civil war ended, how were the deep physical and psychological wounds inflicted by the war to be healed? How could peace be restored? Adichie tells us: Remember the suffering of history, and never be a cold, indifferent bystander.
[俄罗斯🇷🇺]
01-22-2023
实则是在探讨社会制度和个体自由。乌托邦也可能是地狱的角度很巧妙。但真的受不了充满男凝的文字，扣一星。
It is essentially exploring the relationship between social systems and individual freedom. The perspective that even a utopia can be a form of hell is quite clever.
[日本🇯🇵]
01-25-2023
[美国🇺🇸]
01-26-2024
[美国🇺🇸]
01-28-2023
[马来西亚🇲🇾]
01-31-2023
※未读完
[意大利🇮🇹]
02-01-2023
[意大利🇮🇹]
02-03-2023
[台湾]
02-06-2023
从台湾花莲到摩里沙卡的林场一副上世纪台湾原住民的民俗画卷
关于自然关于人 关于动物 和信仰与爱的力量
From Hualien, Taiwan to the Morisaka forest, it unfolds a folkloric painting of Taiwan's indigenous peoples from the last century—
A story about nature, about people, about animals, and the power of faith and love.
[英国🇬🇧]
02-08-2023
“有时候，人可以非常忠诚，但并不爱，这您也知道：在某种情况下，忠诚是对爱情本身的一种报复、讹诈和惩罚的形式。忠诚并不是爱情。”
"Sometimes, a person can be extremely loyal without love, as you know: in certain situations, loyalty becomes a form of revenge, extortion, and punishment against love itself. Loyalty is not the same as love."
[美国🇺🇸]
02-12-2023
从种族原罪到自我厌弃
Morrison 审视的不限于容貌，还有午后大街上的寂静、光线和忏悔的氛围。
而“美不单单是眼中所见，它也可以是手中所为。”
From the burden of race to self-hatred, Morrison doesn’t just focus on looks—she captures the quiet of afternoon streets, the light, and the feeling of guilt in the air.
“Beauty isn’t just what you see; it’s also what you do with your hands.”
[美国🇺🇸]
02-21-2023
[美国🇺🇸]
02-23-2023
[前苏联]
03-22-2023
[美国🇺🇸]
03-23-2023
[中国]
03-29-2023
[南非🇿🇦]
03-31-2023
殖民主义父权制 社会等级历史和文化的压迫原始欲望生而为人无法逃脱的“耻”感 库切以男性身份和视角 直白且残忍的“自我刨析”
三月读到得最好最好的一本书！
Colonial patriarchy, social hierarchy, the oppression of history and culture, primal desires, and the inescapable "shame" of being human—Coetzee, from a male perspective, offers a blunt and brutal "self-dissection."
[中国🇨🇳]
04-07-2023
[英国🇬🇧]
04-15-2023
书写得一般但是真的是好鲜活的一老太太！
[英国🇬🇧]
04-22-2023
13/16的女性视角
最喜欢《母性》这一章：作者认为“母性本能”其实是男权社会—特定文化的发展产物，而非女性的自然属性。生育与否女性自己应当有对身体的完全掌控和决定权。在这种个体折磨（生物特性）无法被消灭/取代的前提条件下，给予女性的社会补偿是远远不够的。即使有些男性可以承担起（一部分）家庭责任，生育依然是只有女性在面对的“会带来死亡的特权”。
3/16的男性视角
写得都很坦率。《彻底湮没》这章虽然是男性视角，但写得很好！孩子是父母权势的接力棒以及作为父母的约束性责任这两点都很有启发性。
13/16 from the female perspective
My favorite chapter is "Motherhood": the author argues that the so-called "maternal instinct" is actually a product of patriarchal society and specific cultural development, not a natural trait of women. Women should have full control and decision-making power over their bodies when it comes to childbirth. Given that the individual burden (biological nature) cannot be eliminated or replaced, the social compensation provided to women is far from enough. Even if some men take on (part of) the family responsibilities, childbirth remains a "privilege that can bring death" faced only by women.
3/16 from the male perspective
The writing is honest. The chapter "Complete Annihilation," though from a male perspective, is really well-written! The idea that children are both an extension of parental power and a binding responsibility for parents is quite insightful.
[法国🇫🇷]
04-25-2023
[法国🇫🇷]
04-26-2023
[南非🇿🇦]
05-02-2023
[秘鲁🇵🇪]
05-11-2023
[中国🇨🇳]
05-21-2023
[中国🇨🇳]
06-02-2023
[澳大利亚🇦🇺]
06-04-2023
[美国🇺🇸]
06-08-2023
[中国🇨🇳]
06-11-2023
[中国🇨🇳]
06-16-2023
※未读完 看不懂
[美国🇺🇸]
06-18-2023
[法国🇫🇷]
06-20-2023
[韩国🇰🇷]
07-10-2023
※没看完 太长了
[中国🇨🇳]
07-15-2023
[法国🇫🇷]
07-21-2023
[美国🇺🇸]
08-12-2023
[中国🇨🇳]
08-13-2023
最近重温了很多以前爱的原耽，反复被童子惊艳到。这就是人们穷极一生想要寻找的所谓soulmate吧，果然只存在在书里 ; (
[俄罗斯🇷🇺]
08-14-2023
陀说没有人在自传或者自我剖析（以文字的形式）的时候会完全坦诚，因为总会预设“观众”而虚荣心让自己一边自省一边忍不住给予自己的丑恶以包装。我的确在很久很久一段时间里（现在也依旧如此）又清高又奉承，于是充满着极端的自我厌恶。忍不住觉得自己好像更“清醒”所以高贵可是生而为人的阴暗面我无法摆脱，因此就像地下室人一样偶尔只能偶尔把内化的痛苦甘之如饴得消化掉，甚至变成活着（或者说和世界和解）的养分。
陀没给什么答案，当然也没给什么缘由，只是提出问题。但我觉得他已经很坦诚了，非常坦诚，因为人大致的确就是这么黑暗丑陋的东西，我也是。
Dostoevsky once said that no one is ever completely honest in an autobiography or self-analysis, because there's always the assumption of an "audience." Vanity leads one to wrap their ugliness in a façade, even while in self-reflection. For a long time (and still now), I have been both proud and ingratiating, filled with extreme self-loathing. I can't help but feel as though I’m more "aware," and thus superior, but I can't escape the darker side of being human. Like the man from the underground, I sometimes have no choice but to digest the internalized pain, savoring it as though it's sweet, even turning it into fuel for living—or perhaps, for reconciling with the world.
Dostoevsky doesn't offer any answers, of course, nor reasons—he merely poses the question. But I feel he was already quite honest, brutally so, because humans are largely just this dark and ugly. I know I am too.
[美国🇺🇸]
08-17-2023
海明威的巴黎，“几年巴黎，一生巴黎”文学。我相信人的生命中的确是值得有特定的阶段，在特定的地点和特定的人，在不一定年轻但最合适的年纪来一场或短或长，但一定是游离在自己成长的那种生活之外的经历的。苦还是甜不一定，总之时光永远会狡猾地它套上一层岁月滤镜。因无法长久地活在那种状态里于是怀念。其实应该是属于很私人很主观的一些感受，但能走进那个时代名家的日常还是很！有趣！另外，了解男作者的真实生活真的，有助于祛魅（）
Hemingway's Paris, a "few years in Paris, a lifetime of Paris" literature. I believe that in one's life, there should indeed be specific phases spent in particular places with certain people. At an age that's not necessarily young but most suitable, one should have an experience - be it short or long - that exists outside of one's typical growth journey. Whether it's bitter or sweet is uncertain, but time will always craftily apply a filter of nostalgia. Because we can't live in that state forever, we reminisce. These should be very personal and subjective feelings, but it's still very interesting to step into the daily lives of famous figures from that era!
Moreover, understanding the real lives of male authors truly helps to demystify them lol.
[中国🇨🇳]
08-21-2023
[中国🇨🇳]
08-24-2023
高中毕业七八年以后的重温，还是很惊艳！童子的文笔真好啊。双线交织的巧妙，人物塑造的病态美和脆弱感，感情的张力，一部置于特定题材/小众领域绝对算得上上乘的作品。
[西班牙🇪🇸]
09-01-2023
一段女性视角书写的人生，贯穿了西班牙内战的时期。然而它没有提及任何关于宏大的战争场面，而是聚焦战争前后一个平凡的女人生活中的琐碎细节：碎花床单、陶瓷杯子、路灯，饥饿。
娜塔莉亚对于丈夫随波逐流加入前线并最终失去生命的情感，从最初的不解和担忧渐转变为期待，最终转变为冷漠。婚姻和母职交织着娜塔莉亚的青春，她在年轻时就迈入了婚姻，紧接着便是生育，从没有空隙没有机会也没有动力和原因去思考生命的真正意义和自我的追求。
乔，她的丈夫，用一个甜蜜的爱称完成了对她自我身份和人格的剥离；新婚之夜，也不过是“玫瑰之路的结束和泪水之路的开始”。至此，娜塔莉亚的生活好像变成了一团隐秘的乱麻，就像楼上的鸽舍一样，好像装满了新生和希望，但也混杂着肮脏、血液、粪便和纷乱的羽毛，令人窒息。
在娜塔莉亚买完毒药准备杀死孩子和结束自己的生命的时刻，杂货店老板拦住了她。这个场景像《圣经》中罗得之妻在索多玛回头时的情节，但与之不同的是，娜塔莉亚没有遭受沦为盐柱的命运，而是在开始另一端婚姻的橄榄枝下得到了救赎。可这又真的是救赎吗？只是知道在那个惊醒的深夜，她走在街上黎明前的黑暗里，在曾经的房门上刻下了那个爱称"以后，还是止不住发出了地狱般的尖叫。
WOMEN'S STORIES ARE OFTEN SAD STORIES
A life story written from a woman's perspective, spanning the period of the Spanish Civil War. However, it doesn't mention any grand war scenes, but instead focuses on the trivial details in the life of an ordinary woman before and after the war: floral bed sheets, ceramic cups, street lamps, hunger. Natalia's emotions towards her husband's decision to go with the flow and join the front line, ultimately losing his life, gradually change from initial confusion and worry to expectation, and finally to indifference.
Marriage and motherhood intertwine with Natalia's youth. She entered marriage at a young age, immediately followed by childbirth, never having the space, opportunity, motivation, or reason to ponder the true meaning of life and pursuit of self. Joe, her husband, completed the stripping of her self-identity and personality with a sweet pet name. The wedding night was nothing more than "the end of the rose path and the beginning of the tear path."
From this point on, Natalia's life seems to become a tangled mess, like the pigeon loft upstairs, seemingly full of new life and hope, but also mixed with dirt, blood, feces, and chaotic feathers, suffocating.
At the moment when Natalia bought poison, ready to kill her children and end her own life, the grocery store owner stopped her. This scene is reminiscent of Lot's wife turning back in Sodom in the Bible, but unlike her, Natalia did not suffer the fate of becoming a pillar of salt. Instead, she found redemption under the olive branch of starting another marriage. But is this really redemption? We only know that on that startling deep night, she walked in the darkness before dawn on the street, carved that pet name on the door of her former home, and still couldn't help but let out a hellish scream.
[中国🇨🇳]
09-04-2023
很喜欢关于生死和自然的讨论的几章。被下放到另一种生活的经验未必全部都是苦难。只是不免觉得人如草芥，很多自由的选择不过是另一种隐秘地随波逐流。
I particularly enjoyed the chapters discussing life, death, and nature. The experience of being sent down to a different way of life isn't necessarily all about suffering. However, one can't help but feel that human life is as fleeting as grass and weeds, and many of our supposedly free choices are just another form of secretly going with the flow.
[德国🇩🇪]
09-06-2023
被奇特的related到了。特殊战争年代劳工的“独特体验着/过“的饥饿感，尽头空无一物的乡愁，梦境里萦绕着的逃不脱的脑海中的“集中营”。身处在有联结的土地上，但却觉得自己是异乡人；那片想逃离又忍不住怀念的土地。我也被笼罩在了不是嘴巴的饥饿感和应该不是仅仅专属于我的饥饿天使的怀抱里，却意外地发现食物和进食的举动的确可以填补我灵魂里空缺的一部分。
赫塔米勒真的是语言天才！为什么有人可以把乡愁、饥饿感、二战劳工史写得充满了残酷却轻盈的美感。
有些地方作为人的肉体离开了，心和精神却会被困住一辈子。遗忘、回忆、创伤都是可以被转化的象征，因建立在具体之上于是对人产生效力。
而在很多个当下的时刻里，故乡比集中营更让人想逃离。就像她说的，“随着时间流逝，乡愁变得空洞，只剩无火的微烟，真的消耗殆尽，因为它与实实在在的家已毫不相干”。
I felt strangely related to it. The unique experience of hunger felt by laborers in the special war years, the homesickness that leads to emptiness, the inescapable "concentration camp" lingering in dreams. Being on connected land, yet feeling like a stranger; that land one wants to escape from but can't help but miss. I too am enveloped in a hunger that's not of the mouth and in the embrace of a hunger angel that shouldn't be exclusively mine, yet surprisingly discover that food and the act of eating can indeed fill a void in my soul. Herta Müller is truly a language genius! How can someone write about homesickness, hunger, and the history of World War II labor in a way that's full of cruel yet light beauty?
There are places where one's physical body may leave, but the heart and spirit remain trapped for a lifetime. Forgetting, remembering, and trauma are all transformable symbols, effective because they're built on the concrete. And in many present moments, the homeland is more escape-worthy than a concentration camp. As she says, "With the passage of time, homesickness becomes hollow, leaving only smokeless embers, truly exhausted, because it has nothing to do with the actual home anymore."
[中国🇨🇳]
09-10-2023
记得以前读简媜《四月裂帛》，她说“深情即是一桩悲剧 ，必得以死来句读， 你真是一个令人欢喜的人，你的杯不应该为我而空”，当时不懂，只觉得矫情。
读邱妙津又想到了这句话，才明白确实如此，对于一些太感性、敏敏感且早惠的灵魂来讲，死亡也许是唯一的出路。这当然不是脆弱或逃避，
只是一种与世界与自我和解的方式罢了。
I remember reading Su Weizhen's "April Silk Splitting," where she said, "Deep love is a tragedy, it must be punctuated by death. You are truly a delightful person, your cup should not be emptied for me."
At the time, I didn't understand and thought it was overly sentimental. Reading Qiu Miaojin reminded me of this quote, and I finally understood that it's indeed true. For some souls that are too emotional, sensitive, and precociously gifted, death might be the only way out. This is certainly not weakness or avoidance, but rather a way of reconciling with the world and oneself.
[英国🇬🇧]
09-12-2023
这不是一本自传，只是一段人生；当然这也不是旁观者的非洲游记，这是非洲土地上野蛮生长出来的故事。好羡慕能找到自己热爱一生的事情，并且做好为之付出一切情感、时间甚至生命的准备呀。有时候会觉得我的人生不是不好，只是稳定而无趣。
This is not an autobiography, but merely a segment of life; of course, this is also not an Africa travelogue by an observer, but a story that grew wild on African soil. I'm so envious of those who can find something they love for a lifetime, and are prepared to devote all their emotions, time, and even life to it. Sometimes I feel that my life is not bad, just stable and uninteresting.
[中国🇨🇳]
09-17-2023
[荷兰🇳🇱]
09-20-2023
在“不属于我们”的世界，母语是最后的庇护所。
回家是死亡，流亡是失败，唯一真正自由的是决定离开的时刻，疼痛如影随形，是明明真实地活在任何士地上却都像解离似的状态。
她说荷兰就像一个付费的喘息地，至于之后要去哪里，毫无头绪；当荷兰语代泰自虫，母语成为负想，同胞之间的交流不是对话，是相互抚慰地抚摸和舔舐。人们靠国家赋予的共同的创伤辨别同类，因为她最盛产的就是伤痕。
语言、文化、信仰、国籍，民族认同被放置在个人安稳之后，都作为和过去决绝告别的象征，是可以等有空了再怀念一下的东西。而还是忍不住买下来的和国旗同色的塑料袋，连带所有被放弃掉的，维系一种生存的本能，却慢慢地成为了后代们的负担和债务，或者说，诅咒。
这似乎被永远刻在基因深处、无法愈合的痛苦。是发现目己迷路在长大的城市里的失洛无措，是和故乡刀别以后不同流速的时间，是每次回家都像在参加一次自己的葬礼，是明明大家都已经那么努力地向不同的远方逃走了，但还是在哪里一样地崩塌掉了。是流亡者们的故事。
In a world that "doesn't belong to us," mother tongue is the last refuge.
Going home is death, exile is failure, the only truly free moment is when deciding to leave. Pain follows like a shadow, it's like being in a dissociative state while living genuinely on any soil. She says the Netherlands is like a paid breathing space, as for where to go next, there's no clue. When Dutch replaces Thai, mother tongue becomes a burden, communication between compatriots is not dialogue, but mutual comforting caresses and licks. People identify their kind through the common trauma bestowed by the nation, because what it produces most are scars.
Language, culture, faith, nationality, ethnic identity are placed after personal comfort, all symbols of a decisive farewell to the past, things to reminisce about when there's time. Yet the irresistibly purchased plastic bag in the colors of the national flag, along with everything abandoned, maintains a survival instinct, but gradually becomes a burden and debt for future generations, or rather, a curse. This seems to be an unhealing pain forever etched deep in the genes.
It's the disorientation of finding oneself lost in the city where one grew up, it's the different flow of time after parting with the homeland, it's like attending one's own funeral every time returning home, it's everyone trying so hard to escape to different distant places, yet still collapsing in the same way somewhere. These are the stories of exiles.
[美国🇺🇸]
09-22-2023
[英国🇬🇧]
10-06-2023
[英国🇬🇧]
10-10-2023
困局中的女性，向左走向右走都是错的。
两个女人，一对姐妹的故事：一个和令自己心动家人满意的男人走入了婚姻，一个挣脱了世俗意义上女人应成为的样子的枷锁。是否无论做出什么选择的女性都不能得到幸福？是人的问题还是【是女人】的问题？这个问题我没办法给出答案。只是如人饮水，活在世界上也许就是会不断、不断、不断的羡慕其他人和后悔自己的选择。Richard Yates用平实的的语言不加修饰的描绘了女人会面对的残忍但真实的生活景象，但很流畅好读！我还是愿意相信在两种人生之外会有别的路，且走且看啦。
In the face of adversity, women often find that whether they turn left or right, the outcome is fraught with difficulty.
Consider the story of two sisters: one steps into marriage with a man who meets her and her family's expectations, while the other breaks free from societal constraints of what a woman should be. Do women, regardless of their choices, inevitably find themselves unhappy? Is this a human issue or a specifically feminine dilemma? I cannot provide a definitive answer. It seems that life might involve an endless cycle of envying others and regretting one's own decisions. Richard Yates portrays the harsh but authentic realities that women face with unadorned, straightforward language, yet his writing remains compelling and readable. I prefer to hold onto the belief that beyond these two paths, there may be other routes to explore. Let’s continue to journey and see what unfolds.
[中国🇨🇳]
10-12-2023
五星给还愿意记录的之骅。
[意大利🇮🇹]
10-15-2023
卡爾維諾說「革命没有发生是因为我们生活在一个事事有因而无果的国家里」，但卻在這個國家裡塑造出了一個出塵入世的形象，一段通過遠離來抵抗混沌的人生——男爵在樹上的一生兼具偏執、慷慨、自由，時而也孤獨；他是革命者、冒險家，詩人；他愛過、被愛過、被接納過也被怨恨過，但他真誠、善良，旦始終擁有完整的自我。
在閱讀的過程中，我一直在想卡爾維諾會給男爵創造什麼樣的結局呢？因為我的確跳脫不出生命終究是該塵歸塵土歸土的傳統思維。
直到看到他說，「柯希莫•皮奥瓦斯科迪•隆多—生活在樹上始終熱愛大地—升入天空。」真的是天馬行空的想像力，的確是沒有更好的結局了（當然即便如果是沈入了大海也一樣美好。
總之，土地，說到做到不要回去就對了嘛！
或許為人無法擺脫的撕裂感來源於什麼都想要，也又什麼都沒有特別想要呢。
Calvino once said, “Revolution does not happen because we live in a country where everything has a cause but no effect.” Yet within this very country, he crafts an ethereal and grounded figure—a life spent resisting chaos by retreating from it. The Baron in the Trees embodies a blend of obsession, generosity, and freedom, occasionally touched by solitude. He is a revolutionary, an adventurer, a poet; he has loved, been loved, accepted, and resented. Yet, he remains sincere, kind, and consistently true to himself.
As I read, I pondered what kind of ending Calvino might create for the Baron, for I struggled to escape the traditional notion that life must ultimately return to dust. It wasn’t until I read, “Cosimo Piovasco di Rondò—living in the trees yet forever loving the earth—ascended into the sky,” that I encountered the true scope of imagination. Indeed, there could be no better ending (though sinking into the sea would be just as beautiful).
In the end, it’s about the land—keeping promises and not looking back! Perhaps the inherent struggle of humanity comes from wanting everything yet not particularly desiring anything in particular.
[意大利🇮🇹]
10-16-2023
在精神虚无的年代，碎片化飘荡着的自由意识、理性和规则竟然奇迹般地凝结成了一个不会停止思考并坚定追求崇高理想的骑士，也由此开始了一个中世纪味道十足的童话故事：隐居城堡里和路过的男人们交欢使具沦洛成乞丐的寡妇化、二生票欲最后在洞不里和泰千乱伦的修女、英勇正直又充满浪漫情怀的骑士和他可以变幻成世间万物的疯子随从，基督徒和异教徒之间残酷却荒唐的古战场。
不存在的骑士代表真正的骑士精神，被世人敬仰尊崇的圣杯骑士团其实是压迫百姓的野蛮人。
卡尔维诺仿照在绘制地图时勾线条的方式绘制出三条探险的道路，把三维的故事赋予了四维的观感。他在几个主要角色之间探讨为人的存在究竟是寄托于精神还是肉体的问题，却让故事落墨在修女终于扔掉记录所有故事的笔，打开门勇敢地奔赴爱情。
小说的意义永远不会高于现实生活，名字也因人的存在才会具有独特含义，不存在的骑士的铠甲一旦被别人穿上便不再圣洁无暇，而所有的困惑、疑虑，纠结和找不到出口的时刻，就像卡尔维诺说的，放下笔，跑出去，下一个拐弯就会有精彩奇遇。
In an era of spiritual void, where fragmented notions of freedom, reason, and rules drifted aimlessly, a miraculous knight emerged—one who would never cease to think and steadfastly pursue lofty ideals. Thus began a fairy tale rich in medieval flavor: a widow who, having fallen from grace into poverty, indulges with passing men; a nun caught in scandalous relations; a gallant and romantic knight accompanied by a madman who can transform into anything; and a harsh yet absurd battlefield between Christians and pagans.
The nonexistent knight represents true chivalry, while the revered Holy Grail knights are revealed to be mere oppressors. Calvino, with a cartographer’s precision, maps out three adventurous paths, imbuing the three-dimensional story with a four-dimensional perspective. He explores whether human existence relies on spirit or flesh through several key characters, yet the story culminates with the nun casting aside her pen and bravely pursuing love.
The significance of the novel can never surpass the reality of life, and names only acquire unique meanings through human presence. Once the nonexistent knight's armor is donned by another, it loses its sanctity. In moments of confusion, doubt, and unresolvable entanglements, as Calvino suggests, put down the pen and venture out—the next turn may hold a wondrous adventure.
[意大利🇮🇹]
10-18-2023
[美国🇺🇸]
10-24-2023
故事性强的同时兼具人文关怀。
很喜欢所以写了一片长评>-<！金钱利益驱使下披着文明外衣的压迫与剥削，无数被残害的印第安人的血泪，在历史和时间的长河里，罪恶被有组织的掩盖，唯有受害者的伤痛挥散不去。
The story is rich in narrative while also embodying humanistic concern.
Under the guise of civilization driven by financial gain, oppression and exploitation persist. The blood and tears of countless abused Indigenous people are buried in the annals of history and time, where evil is systematically concealed, and only the pain of the victims remains ever-present.
[法国🇫🇷]
二十歲時澤農以為已經擺脫了世俗桎梏，擁有了為人全部的自由，然而這份自由卻是用一生的流離歷練一點一點獲得的。
在信仰狂熱的年代，澤農質疑兜售信仰是偽善的口號，宗教宣揚的慈悲止步於個體的自我救贖和對周遭苦難的漠不關心。人類以信仰的分歧為名，互相仇恨、攻擊，殺戮；柔軟的慈悲甚至變成了需要與之抗衡人性的暇疵。因此與其信仰打著幌子招搖過市的宗教，不如回歸自我肯定，而非被宗教的虛偽籠罩控制。
儘管作為宗教權威的懷疑者，澤農卻和虔誠的天主教徒—修道院院長建立了深厚的友誼和信任，一種「在矛盾之外相會」的關係。我們接受和拒絕的一切塑造了我們，但在對立的觀念之外，是對他者經歷的痛苦的共情和悲憫把我們聯結在一起的。
澤農出走、遊歷、求索、體驗、打破邊界、懷疑、思考、不断否定、重建，最終以瀆神的信仰殉道。儘管自殺被基督教視為大罪，但澤農的自我獻祭卻让他成为了永恒的泽农，堅守了窮盡一生追尋的真理，也實現了真正的自由—即掌控自己死亡方式的自由。
死亡前的路是澤農可以帶讀者走到最遠的地方了，但在故事的最開始，澤農其實就說過：我出發是因為「一個人在別處等著我。我正朝他走去」，而那個人就是我們自己。
At twenty, Zeno believed he had cast off the shackles of the mundane world and attained complete freedom. Yet, this freedom was earned through a lifetime of wandering and experience, gained little by little.
In an era of religious fervor, Zeno questioned the hypocrisy of faith sold as a slogan. He found that the compassion preached by religion often ended at personal salvation and indifference to the suffering around him. Humanity, under the guise of differing beliefs, fostered hatred, attacks, and killings; even the softest compassion became a flaw needing to be countered. Thus, rather than being swayed by the hypocrisy of religion, it is better to return to self-affirmation, free from its deceptive control.
Despite his skepticism toward religious authority, Zeno forged a deep friendship and trust with a devout Catholic—the head of a monastery—a relationship characterized by "meeting beyond contradictions." What shapes us is everything we accept and reject, but beyond opposing views, it is the empathy and compassion for others’ suffering that truly connects us.
Zeno's journey—his departure, travels, searches, experiences, boundary-breaking, doubts, reflections, constant negations, and reconstructions—culminated in a sacrilegious faith and martyrdom. Although suicide is deemed a grave sin in Christianity, Zeno's self-sacrifice elevated him to eternal Zeno, upholding the truth he pursued throughout his life and achieving true freedom—the freedom to control the manner of his own death.
The path before death was the farthest Zeno could take readers, but at the very beginning of the story, he had already said: "I set out because 'someone is waiting for me elsewhere. I am walking toward him,'" and that person is ourselves.
[日本🇯🇵]
11-20-2023
伊藤比吕美写自己，写女人之间隐秘却透明但又心照不宣的月经和荷尔蒙波动，写五十岁也逃不脱的美役，写每个女人都会经历的更年期和闭经带来的一系列生理变化：掉落的头发、松弛干燥的皮肤、无法抑制的燥热、缓慢到几近停滞的代谢、无法再进行的性生活（当然是有男的不行了的原因xs），写想杀死女儿的诗，写相爱却怨恨、亲密又疏离的母女关系，写终于从生理到心理变成了母亲的样子。真实坦诚，文笔没有。写夫和爹的部分可以全跳过，受不了日女字里行间这股子卑顺的爱男味儿一点。
Hiromi Ito writes about herself and the secret yet transparent, unspoken aspects of menstruation and hormonal fluctuations between women. She explores the beauty standards that persist even at fifty, and the series of physiological changes brought about by menopause and the cessation of menstruation: falling hair, loose and dry skin, uncontrollable hot flashes, a metabolism that slows to near stagnation, and a diminished sex life. She writes of a poem expressing the desire to kill her daughter, of a mother-daughter relationship marked by both love and resentment, intimacy and estrangement, and ultimately, of transforming into the archetype of a mother both physically and psychologically. Her writing is raw and sincere, though lacking in polish.
[英国🇬🇧]
12-03-2023
[美国🇺🇸]
12-08-2023
每个女性角色的成长都很完满。先让自己变得自信，强大，就会收获爱与尊重。（以及我喜欢对圣经，耶稣和亚当的拆解：男的，白人，造物主，当然不会理解有色人种和女人的痛苦。
The growth of each female character is thoroughly fulfilling. By first becoming confident and strong, one will find love and respect. (And I also appreciate the deconstruction of the Bible, Jesus, and Adam: as a male, a white person, and a creator, they would naturally be unable to understand the suffering of people of color and women.)
[墨西哥🇲🇽]
12-14-2023
[韩国🇰🇷]
12-20-2023
一百年，四代女性，走过幽暗长夜，然后看到熹微的天光。
A hundred years, four generations of women, journeying through the dark, long night, only to witness the first light of dawn.
[美国🇺🇸]
12-22-2023
[美国🇺🇸]
12-24-2023
[西班牙🇪🇸】
12-30-2023
选择死亡是只要一次勇气去做的事，而活着意味着无可避免我们被伤害、捶打被命运或者周围的世界捏来捏去或者干脆就被打碎重新塑造，为什么还是会对既定的终点充满抵触呢?Ted说天堂和大地之间是雕花滚筒，那生命和死亡之间呢？
我总在想命运，好像从来就在接受被给予的会不断变化的东西。但人在社会中活着又没办法是不渴望联结的而那种会被硬生生割裂开周围世界的恐惧和失去期待和见证期待的沟壑太深了我们不想也不想让在乎的人跨过去。但其实好像活着就像暗夜行路，死亡是被随机放置在脚下的隐形路障，而生命可贵在可以抓住可以抓住的。
所以我不懂为什么人总羞于表达喜欢、感恩和爱，如果生命是只来一次的机会，而我们又已知它短暂。不过语言又的确是最最空洞和虚伪的表达方式了，辗转反侧的夜 无数次下意识的想念 流过的眼泪缩成一团的心脏 我的关心 亏欠 矛盾 后悔 感激 能见到你的喜悦 如果这些都能让你感受到就好了，可惜最后我也依然是即便在心里演练了几万次还是脱口而出了平淡的话。
就明明相互需要却忍不住彼此猜忌 小心翼翼 如履薄冰 怕被伤害又总恶意揣测别人 在交流里面误会恒生 到头来谁也没有真的开心。
I don’t want to translate this one because it’s not actually related to this book, lol. Just some random nonsense things I wrote down.