2024 Reading List
✿ 97/100 ✿
TOP 10 BOOKS
✿ 97/100 ✿
TOP 10 BOOKS
[南非/South Africa]
01-03-2024
不仅仅是个体存在的焦虑，同时也有移民身份认同的焦虑，对于艺术追求与自我认知矛盾的焦虑。生活在英国，好像离南非，家人，文化，甚至曾经的自己都足够远了，但依然没有办法隔绝掉和一片土地之间的关联。永远无法融入的异乡，他们无法感同身受的“我”穷尽一生想逃离的耻辱，困在对生活、爱情、诗歌和生命的困惑里，接受思考给予的永远的凌迟。
This work reflects not only the existential anxiety of the individual but also the identity anxiety of being an immigrant, along with the internal conflict between artistic pursuit and self-awareness. Living in the UK seems to offer enough distance from South Africa, family, culture, and even a former self, yet it cannot sever the connection to that land. Forever unable to fully assimilate into a foreign country, the protagonist remains alienated from the "I" whose shame they have spent a lifetime trying to escape. Trapped in confusion about life, love, poetry, and existence, the character is perpetually subjected to the relentless dissection brought about by introspection.
[南非/ South Africa ]
01-05-2024
[加拿大/Canada]
01-08-2024
灵动 尖锐 思考与反击
Fluid, sharp, reflective, and defiant.
[荷兰/Nederland]
01-11-2024
说阅读过程是一种漂浮感我很认同：破碎的、爱与死亡之间的、色调灰暗的散文故事集。对故事以及人物很难产生共情，好像体验一种悬在半空的审视感的参与。
I completely agree with the sense of floating while reading: a fragmented, darkly toned collection of stories hovering between love and death. It's difficult to feel empathy for the characters or the stories, as if you're participating in an experience of detached observation, suspended in mid-air.
[法国/France]
01-14-2024
[韩国/South Korea]
01-18-2024
[意大利/Italy]
01-19-2024
卡尔维诺轻盈灵动的想象力。不过对于我爱的城市，我的确是在不断讲述它的过程中不断失去它的... :(
Calvino's light and fluid imagination. However, when it comes to the city I love, I find myself gradually losing it as I keep telling its story... :(
[美国?U.S.A]
01-21-2024
非常好的一本非虚构！不仅深入探讨了社会对精神健康障碍的认知与治疗方法，还剖析了这类疾病对家庭成员（特别是对母亲和女性成员）所造成的指控与压力。书中揭示了罕见疾病如何摧毁一个家庭，患者在治疗过程中如何忍受偏见的双重痛苦，以及这一过程与现代医学发展的紧密联系。虽然好像在现代公众舆论中“精神疾病”好像都不算是一种“罕见”的疾病了。
An excellent non-fiction work! It not only delves deeply into society's understanding and treatment of mental health disorders but also examines the accusations and pressures these conditions place on family members, particularly mothers and female relatives. The book reveals how rare diseases can devastate a family, how patients endure the double burden of prejudice during treatment, and how this process is closely linked to the development of modern medicine. While it may seem that in contemporary public discourse, "mental illness" is no longer considered a "rare" condition.
[南非/South Africa]
01-23-2024
在《彼得堡的大师》中，库切以复调叙述的形式呈现了一段虚构的陀思妥耶夫斯基的故事，并借此探讨了无政府主义、革命思想、宗教信仰、情欲，家庭关系等议题。
不仅在讲述俄罗斯的历史和文化，更深刻描绘了新旧时代不断交替上演的思想碰撞。通过将陀及其作品中的角色，与自身的思考和文学追求相互映射。在向陀致敬的同时，库切自我反思：探究文学中现实与虚构的微妙界限，审视创作者的伦理责任，剖析父子间权力关系的演变与传承。
在全文的结尾，即陀开始创作《群魔》之际，库切塑造了一个既是创作者又是作品中角色的陀——以书写黑暗为媒介，将人性的堕落转化为灵魂的升华，附着于疯狂、阴暗和罪恶之上，在深渊中发出最振聋发聩的拷问，最终超脱于国家、文化、时代，化作永恒和光明本身。
In *The Master of Petersburg*, Coetzee presents a fictional story of Dostoevsky through a polyphonic narrative, exploring themes such as anarchism, revolutionary thought, religious faith, desire, and family relationships.
This novel not only delves into Russian history and culture but also vividly depicts the ongoing clash of ideas between old and new eras. By intertwining Dostoevsky and the characters from his works with his own reflections and literary pursuits, Coetzee pays homage to Dostoevsky while engaging in self-reflection: probing the subtle boundaries between reality and fiction in literature, examining the ethical responsibilities of creators, and analyzing the evolution and inheritance of power dynamics between fathers and sons.
At the conclusion of the work, as Dostoevsky begins writing *Demons*, Coetzee shapes a Dostoevsky who is both a creator and a character in his own narrative—a figure who uses the medium of writing about darkness to transform human depravity into the elevation of the soul. Rooted in madness, darkness, and sin, this Dostoevsky issues the most deafening of questions from the depths of the abyss, ultimately transcending nation, culture, and era, becoming the embodiment of eternity and light itself.
[意大利/Italy]
01-26-2024
[英国/U.K]
01-31-2024
第二本观鸟文学！感觉我在大自然和飞鸟面前的人生寡淡又渺小,呜呜呜呜呜！下辈子绝不当人的决心又喜+1
This is the second book on birdwatching literature that I've read! I feel that my life seems so dull and insignificant compared to the grandeur of nature and the birds, sob sob sob! My resolve to never be human in my next life has strengthened once again!
[中国/China]
02-09-2024
打发时间的小册子 不推荐
[南非/South Arica]
02-12-2024
前往一个远离现代文明的地方。在那里，任何常规的规则都会失去效力。我们从未经思考便欣然接受的刻板社会准则里挣脱出来，拒绝被同化，拒绝被归类，直到我们成为我们世界中的流亡者。
所有人都在劝导k臣服—用威逼，用利诱，祈祷一个「游离于体系之外的、没有被教条和历史触碰过的灵魂」可以像其他所有人一样被驯化，然而外表脆弱的K却拥有坚定不屈的意志：他绝不安分地停留在社会为他划定的位置上，宁愿成为一个在规则之外，别人眼中“凄惨的“却自由漂泊的边缘人，只对种子和大地保持热爱与忠诚。
（库切也太会写 • ︡ᯅ•︠
Head to a place far from modern civilization. There, any conventional rules lose their power. We break free from the rigid societal norms we have unthinkingly accepted, rejecting assimilation, rejecting categorization, until we become exiles in our own world.
Everyone urges K to submit—through threats, through temptations, praying that a "soul untouched by dogma and history," one that exists outside the system, can be tamed like everyone else. Yet, the outwardly fragile K possesses a steadfast will: he will never passively remain in the position society has assigned to him. He would rather become a "miserable" yet freely drifting outcast, existing outside the rules, holding only a love and loyalty for seeds and the earth.
[意大利/Italy]
02-15-2024
[英国/U.K]
02-18-2024
[法国/France]
02-20-2024
一个女人的故事，我母亲的故事。
A woman's story, my mother's story.
[法国/France]
02-27-2024
寡淡但温情的城市童话 但异乡人的生活即使有奇遇依然无法摆脱悲伤的底色（以及读到辰辉说自己会去书店借阅笛安的书的时候我还是恍惚了一秒没忍住再次确认了一下作者的确是法国男性（）挺奇妙的
A bland yet heartwarming urban fairy tale. Even with adventures, the life of a stranger remains tinged with an underlying sadness.
[日本/Japan]
03-02-2024
Sooner murder an infant in it's cradle than nurse unacted desires. 认同这句话的鸟最后却选择了承担养育可能一生只能像植物一样生长的孩子的责任，放弃了【去非洲】的梦想和情投意合的情人。大江健三郎的描写瑰丽又阴森森的，一路纠结一路阴暗，但在结尾还是给与了鸟成为不再逃避的人的希望，只是这份转变又是好的吗？谁知道呢。
"Better to murder an infant in its cradle than to nurse unacted desires." The character Bird, who agrees with this sentiment, ultimately chooses to take on the responsibility of raising a child who might only grow like a plant throughout their life, abandoning both the dream of going to Africa and a beloved partner. Kenzaburo Oe’s portrayal is both splendid and eerie, filled with turmoil and darkness throughout. Yet, in the end, it still offers Bird a hope of becoming someone who no longer evades responsibility. But is this transformation truly a good thing? Who knows?
[俄罗斯/Russia]
03-06-2024
[美国/U.S.A]
03-07-2024
作者的每一点质疑都震聋发聩：书的存在对于人类精神文明的意义；焚书和不读书是否同等恶劣；用享乐逃避思考的代价作用在自我还是整个社会，以及在权威监控之下如何维护独立思考和识别虚伪的真实。后记中探讨的问题也是也是我一直在思考的一个问题，即因一本书的时代局限性而全面否定其所有的文学价值是不是矫枉过正。
我想，文学作品被创作以后，便自然面对着不同读者的审视和批判。只是随着时代变迁，不同观点的人会在不同的作品里发现与自己价值观念相左的内容，但就像作者说的，不认同并不赋予任何人全盘否定的权力。大浪淘沙，每个人都可以发出自己的声音，表达自己的想法，寻找同类，这也是自由的体现。
Every point of doubt raised by the author is deafening and profound: the significance of a book's existence for human spiritual civilization; whether burning books and not reading books are equally detrimental; the cost of using pleasure to avoid thinking on oneself versus society as a whole; and how to maintain independent thinking and recognize falsehoods under the surveillance of authority. The issues discussed in the afterword are also something I have been pondering—whether completely denying the literary value of a book due to its temporal limitations is an overreaction.
I think that once a literary work is created, it naturally faces scrutiny and criticism from different readers. However, as times hange, different viewpoints may find content in various works that conflict with their own values. But, as the author suggests, disagreement does not give anyone the power to completely negate a work. Amidst the vast waves, everyone can voice their thoughts, express their ideas, and seek kindred spirits, which is also a manifestation of freedom.
[波兰/Poland]
03-12-2024
如果对苦难的掩盖和修饰成为了未来的人道主义，要不要吃下一颗能保证自己永远沉浸在美好幻想里的药丸呢？
If the concealment and embellishment of suffering become the future of humanitarianism, should one swallow a pill that guarantees eternal immersion in a beautiful illusion?
[奥地利/Austria]
03-13-2024
[挪威/Norway]
03-18-2024
[中国/China]
03-22-2024
我真的无！法！理！解！也拒！绝！接！受！金庸在新版修改了梅超风被赶出桃花岛的原因是黄药师的求而不得（
[日本/Japan]
03-26-2024
人的一生是短短数十年虚无的游戏。在追求被无边的黑暗像浓雾般包裹着的所有美好且明亮的东西时，产生想毁掉它们的念头，的确往往是在凝视美的一瞬间萌生的。
三岛通过金阁寺的隐喻探讨了美的双重性：一方面金阁寺代表了对美终极追求的理想；另一方面也象征着世俗道德对追求个人存在的束缚。在每一次和金阁寺的抗衡里，欲望、贪念，所有阴暗的情绪永远自惭形秽。因此“我”意识到只有彻底摧毁阻碍我忠于自我的金阁寺，才能真正反抗美的统治：以残缺对抗美的霸权，以毁灭实现美本身的永恒。
他对罪恶和美的反思超越了传统的道德判断：罪恶和美都是人类经验的组成部分。将罪恶完全放逐出道德边界之外，仿佛它们根本不存在，不过是一种傲慢的偏见和无谓的臆想，只有观察恶，才能理解真正的美。
A human life is a fleeting game of a few decades. In the pursuit of all the beautiful and bright things shrouded by boundless darkness like dense fog, the impulse to destroy them often arises in the very moment of contemplating beauty.
Mishima, through the metaphor of the Golden Pavilion, explores the duality of beauty: on one hand, the Golden Pavilion represents the ideal pursuit of ultimate beauty; on the other, it symbolizes the constraints of secular morality on the pursuit of individual existence. In every struggle against the Golden Pavilion, desire, greed, and all dark emotions are forever shameful. Thus, “I” realize that only by completely destroying the Golden Pavilion, which obstructs my loyalty to myself, can I truly resist the rule of beauty: to combat beauty’s hegemony with imperfection, and to achieve beauty's own eternity through destruction. His reflection on sin and beauty transcends traditional moral judgments: both sin and beauty are components of human experience. Completely banishing sin from the moral boundary, as if it does not exist, is merely a form of arrogant prejudice and futile imagination; only by observing evil can one understand true beauty.
[中国/China]
03-31-2024
[韩国/Southh Korea]
04-03-2024
崔恩荣未免也太善于勾勒女性视角和描绘女性之间的羁绊了吧。她的文字平实又细腻地描绘普通而善良的女性们，如何在人生的旅途中，有意识或者无意识地伤害别人以及被别人伤害，如何跨越时间、国籍、阶层、文化的隔阂相遇相知相伴，然后渐行渐远。
相比较于金爱烂充满灵气、热烈而尖锐剖析痛苦、展现为人注定挣扎的宿命的风格，我还是更喜欢崔恩荣用温柔的笔触描绘人与人之间微妙而敏感，看似牢固但实质很脆弱的关系。在她的故事里，分别往往是一场无声或无意识的告别，经年后也许突然会被强烈地怀念，但大都淡然地止步于此。 可是那些共同经历的记忆就像细碎的光点，遥远却温暖地点缀着普通人的人生。有伤痛、误会、争吵和无数泪水，但是也有理解、欢笑、和解，沉默的陪伴和共情的友善；是无数段平凡又不平凡的人生，是值得被看到和珍视的每个人的独特的生活
Choi Eun-ryung is remarkably skilled at depicting the female perspective and the bonds between women. Her writing, both simple and delicate, portrays ordinary and kind women as they consciously or unconsciously hurt others and are hurt by others along life's journey. She shows how they meet, understand, and accompany each other across barriers of time, nationality, class, and culture, only to gradually drift apart.
Compared to Kim Ae-ran’s vibrant, intense, and sharply analytical style that delves into suffering and the destined struggles of life, I prefer Choi Eun-ryung's gentle touch in portraying the subtle and sensitive, seemingly solid yet fundamentally fragile relationships between people. In her stories, separations are often silent or unconscious farewells that might be intensely missed after many years but generally remain at that. However, the shared memories are like scattered points of light—distant yet warmly illuminating the lives of ordinary people. There are pains, misunderstandings, arguments, and countless tears, but also understanding, laughter, reconciliation, silent companionship, and empathetic kindness. These are countless segments of ordinary yet extraordinary lives, each unique and deserving of being seen and cherished.
[哥伦比亚/Colombia]
04-09-2024
[南非/South Africa]
04-11-2024
库切巧妙地对《鲁滨逊漂流记》进行了重新构想和解构。
首先，《Foe》可以看作是对作者丹尼尔·迪福(Daniel Defoe)的deconstruction，通过引入Susan——在荒岛上与鲁滨逊和星期五一同生存过，最后和星期五一起被救的女性角色，讽刺了传统文学作品中作者对叙事和角色的绝对控制权。
Susan和星期五在获救后试图通过作者Foe记录和传述自己在荒岛的生活。她在此期间的挣扎和失败象征着了女性在传统叙事中经常遭遇的失语状态。与Defoe原作中以男性殖民者鲁滨逊为中心，强调西方帝国主义扩张的叙事角度形成了鲜明对比。通过赋予女性角色主体性，探讨“被殖民者”的话语权和自由，质疑了传统殖民叙事的框架。借由星期五“失去舌头”的事实，库切深化了关于语言本质的思考，提出沉默的双重性：一种是由于丧失自主权可以随意被外界塑造和解释的沉默；另一种则是基于主动思考后的选择性沉默，这种沉默不意味对他人解读的全然接受，而是保留随时发声和反驳的可能性。这一观点突显了语言作为殖民工具的复杂能动性，以及个体对沉默的抗争和反思。
库切认为语言即是殖民手段。相比较于赤裸裸的殖民者，后现代殖民虚伪地维护沉默的个人，却在无形中享受并努力维持个体的沉默。故事中Susan试图教会星期五语言和遭到Foe反对的情节，彰显了恢复历史真相的困难性。因为想要还原历史以真实，单一的语言和声音是不够的。在故事的最后，从星期五张开的嘴巴里面流出了一道无尽的细流，朝着南方和北方流向了世界尽头，象征库切对于未来人类文明彼此沟通和理解的美好憧憬。《Foe》不仅仅是对语言与文字权威性的反思，也是对性别与权力差异、殖民主义以及宗教绝对权威的质疑和批判。虽然库切作为男作者用女性视角书写稍显别扭，但真的没有人读完会不爱上库切吧quq。
Coetzee skillfully reimagines and deconstructs Robinson Crusoe.
First, Foe can be seen as a deconstruction of the author Daniel Defoe by introducing Susan—a female character who survived on the island with Robinson and Friday and was eventually rescued with Friday. Susan’s presence satirizes the absolute control that traditional literary works grant to authors over narration and characters.
After their rescue, Susan and Friday attempt to record and convey their experiences on the island through the author Foe. Susan’s struggles and failures during this process symbolize the silencing of women in traditional narratives. This stands in stark contrast to Defoe’s original work, which centers on the male colonizer Robinson and emphasizes the narrative of Western imperialist expansion. By giving a female character agency, Coetzee explores the discourse and freedom of the "colonized," questioning the framework of traditional colonial narratives. Through the fact that Friday has "lost his tongue," Coetzee deepens the discussion on the nature of language, proposing a duality of silence: one is a silence that can be shaped and interpreted by external forces due to the loss of autonomy; the other is a selective silence based on active thought, which does not imply complete acceptance of others' interpretations but retains the possibility of speaking out and rebutting. This perspective highlights the complex agency of language as a colonial tool, as well as the individual’s struggle and reflection on silence.
Coetzee views language as a colonial instrument. Compared to the overt colonialist, the postmodern colonizer hypocritically maintains individual silence while covertly enjoying and striving to preserve that silence. The plot in which Susan tries to teach Friday language and faces opposition from Foe underscores the difficulty of restoring historical truth. To faithfully reconstruct history, a single language and voice are insufficient. At the end of the story, a continuous stream flows from Friday's open mouth, extending toward the ends of the earth in the south and north, symbolizing Coetzee’s hopeful vision for future human communication and understanding. Foe is not only a reflection on the authority of language and text but also a critique of gender and power differences, colonialism, and religious absolutism. Although Coetzee’s portrayal of female perspectives might seem somewhat awkward from a male author, it’s hard to find anyone who finishes reading and doesn’t fall in love with Coetzee.
[法国/France]
04-17-2024
莫泊桑你写得太好了！文笔优美，又细腻又生动！我好像真的和约娜一起度过了她的人生。从充满憧憬的离开修道院开始，到又再次充满希望的离开火车站为止，交织着甜蜜、伤痛、期待、悔恨的一生。
只是在读到约娜说“我们离开修道院的那天也是这么大雨的时候“还是没忍住流lui了QoQ。
Maupassant wrote so beautifully! His prose is exquisite, detailed, and vivid! I really felt like I spent Joanna’s life with her. From the hopeful departure from the convent to the hopeful departure from the train station, her life is intertwined with sweetness, pain, anticipation, and regret.
But when I read Joanna saying, “It was raining just as heavily the day we left the convent,” I couldn’t help but shed a tear.
[法国/France]
04-19-2024
[俄罗斯/Russia]
04-28-2024
我想只有善良 坦诚 真的有在爱【人类】不停思考、反思 以至于自我折磨的作家 才能创作出这样的作品吧。
12.18补书评（我发誓以后一定读完尽量立刻写书评）
旷世巨作，文学史上无可质疑的明珠，赞美陀！！！
借由卡拉马佐夫家族的弑父悲剧，陀探讨了关于自由意志、道德伦理和信仰本质的永恒问题。 宗教大法官和法庭审判两章尤其好：一场是关于上帝是否存在的辩论，一场是关于则是关于道德的哲学裁判，是构成整部作品思想深度的巅峰。
在《宗教大法官》这章，陀以二哥伊万虚拟的预言解构了：为什么耶稣”该死”，和宗教即：地上的面包和天国的面包，到底该如何选择？的问题。面对魔鬼的三个诱惑（奇迹，神秘和权威） ，耶稣拒绝了以牺牲人类自由为代价的拯救。这一选择看似荒谬，实则触及了人类存在的根本悖论： 真正的信仰不应以牺牲自由为代价换取廉价的安全感。 上帝、耶稣、宗教大法官、面包、自由不过是象征性的符号。无神论者同样不能避免这些问题，因为任何人都有原始欲望和高雅精神的需求（面包和自由）； 每个群体都需要一个精神旗帜 （如上帝和耶稣）；都会产生扛起这面旗帜的统治阶级和被统治阶级（如宗教大法官和教徒）；也都会孕育出卡拉马佐夫三兄弟式的芸荟众生。
《审判》一章则跳出法律责任的框架，深入追问更深层次的道德困境：什么是罪？什么是救赎？米佳是否有罪已不再是唯一关键的问题，真正重要的是：人如何面对自身的弱点与欲望？如何在良知与救赎中寻求平衡？
在故事的最后，陀借阿廖沙之口告诉孩子们：嘲笑善良美好的东西是错误的。我们要善良，要诚实，要永不相忘。真正的宗教力量就是道德的力量，这种力量是崇高而强大的。
A timeless masterpiece, an undeniable gem in the history of literature—praise Dostoevsky!
Through the tragic patricide of the Karamazov family, Dostoevsky explores eternal questions about free will, moral ethics, and the essence of faith. The chapters "The Grand Inquisitor" and "The Trial" are particularly brilliant: one is a debate about the existence of God, and the other is a philosophical judgment on morality. Together, they form the intellectual peak of the entire work.
In the chapter "The Grand Inquisitor," Dostoevsky uses Ivan’s fictional parable to deconstruct two questions: Why did Jesus “deserve to die”? And what should religion prioritize—the bread of the earth or the bread of heaven? Confronted by the devil's three temptations (miracle, mystery, and authority), Jesus chooses to reject salvation at the cost of human freedom. This decision, seemingly absurd, actually touches on a profound paradox of human existence:
True faith should not trade freedom for cheap security.
God, Jesus, the Grand Inquisitor, bread, and freedom are all symbolic figures. Even atheists cannot avoid these questions, because all humans have both basic desires and higher spiritual needs (bread and freedom). Every community requires a spiritual banner (such as God or Jesus); every society inevitably creates leaders to carry that banner (like the Grand Inquisitor) and followers to submit to it. These dynamics give rise to the complexities of humanity, as reflected in the three Karamazov brothers.
The chapter "The Trial" goes beyond the legal framework of responsibility, delving into deeper moral dilemmas: What is sin? What is redemption? Whether Dmitri is guilty or not is no longer the most important question. The real issue is how humans confront their own weaknesses and desires, and how they find balance between conscience and redemption.
At the end of the story, Dostoevsky uses Alyosha’s words to remind the children: "It is wrong to mock things that are kind and beautiful. We must be kind, honest, and never forget one another." True religious power lies in moral strength—a strength that is noble and immense.
[法国/France]
05-07-2024
在《恶心》中，萨特写脆弱的人类文明基础、存在的偶然性以及经验的无用论。通过安托万·罗冈丹记录日记的形式，萨特刻画了一个个体在现代社会中的逐步觉醒：认识到自己是如何被现代性同化，以及在哲学式审视世界后感受到的自由思想引发的异化感，无尽的焦虑与烦闷。同时萨特也指出了语言的诡辩性——文字和思想之间存在巨大鸿沟，文字一旦被记录下来就会偏离真实，被加以润色，以服务于记录者塑造”奇遇“的目的。
安托万对生活的厌恶感源于自我生活中的不断重复、厌倦和逃离：他尝试在不同国家生活，但每次体验短暂的新鲜感后，总是会再次不可避免地重陷于单调雷同的日常叙事。安托万思考事物的定义和本质，以及无生命体命运和反抗。缺乏独立思想的人们在社会的牵引下无知无觉地随波逐流，清醒的人们则以自己独特的方式挑战命运和社会规定的身份。在这种挑战中所经历的迷茫、疏离、焦虑、抑郁和痛苦，在追寻个人存在意义的过程中的反思和隔阂感，正是书名中所指的“恶心”。萨特认为，事物的存在先于本质，人们所谓的选择自由，往往不过是踏上了社会已经预设好的轨迹。
雨天读萨特有奇异的阅读感受：透过雨雾覆盖的玻璃窗向外望，萨特描绘的异化世界就在眼前——自然景象和行人在水波中扭曲溶解。感观在静寂锐利的空气中被放大，时间的流失感在静止里坍塌萎缩，自我意识就像宇宙中微小的褶皱被反复压缩。
In *Nausea*, Sartre explores the fragile foundations of human civilization, the contingency of existence, and the futility of experience. Through the diary of Antoine Roquentin, Sartre portrays an individual's gradual awakening in modern society: the realization of how one is assimilated by modernity and the alienation experienced from the freedom of philosophical contemplation, accompanied by endless anxiety and unease. Sartre also highlights the dialectical nature of language—there is a vast gap between words and thoughts. Once recorded, words deviate from reality, being polished to serve the recorder’s purpose of creating a “unique adventure.”
Antoine's aversion to life stems from the repetitive, monotonous, and escapist nature of his existence. He attempts to live in different countries, but each brief period of novelty inevitably plunges him back into the drudgery of a repetitive daily narrative. Antoine contemplates the definitions and essence of things, as well as the fate and resistance of inanimate objects. People lacking independent thought unknowingly drift along with societal currents, while the awake challenge fate and societal roles in their unique ways. The confusion, estrangement, anxiety, depression, and pain experienced in such challenges, and the reflection and sense of alienation in the quest for personal meaning, embody the “nausea” referred to in the title. Sartre argues that existence precedes essence, and what people consider freedom of choice often simply follows pre-set societal paths.
Reading Sartre on a rainy day provides a peculiar experience: looking out through a rain-drenched window, Sartre’s alienated world seems to unfold before one’s eyes—natural scenes and passersby dissolve and twist in the water’s ripples. Sensory perception is magnified in the still, sharp air, with the sense of time slipping away collapsing and shrinking in the stillness, and self-awareness compressed like a tiny fold in the cosmos.
[英国/U.K]
05-08-2024
[葡萄牙/Portugal]
05-15-2024
某种意义上非常难读的作品：多视角的转换，意识流地写作，不停被突然插入的词句打断的描写；但阅读起来意外地也很流畅（比福克纳好读太多）
【博士老爷】和与之一生相交错的不同人的碎片化的人生片段，同一段经历，不同的视野，贯穿的对葡萄牙殖民文化的映射与思考。权力异化之下社会的阶级问题，不同人组成了复调，同样扭曲与背叛。
In a certain sense, it’s a very challenging work: the multiple perspective shifts, stream-of-consciousness writing, and frequent interruptions by suddenly inserted phrases can make it difficult to read. However, it’s surprisingly fluid (much more readable than Faulkner).
The fragmented life episodes of "Doctor Lord" and the various people who intersect with his life offer different viewpoints on the same experiences. The work explores and reflects on Portuguese colonial culture, the societal class issues under the distortion of power, and the polyphony of different characters, each embodying their own distortions and betrayals.
[台湾/Taiwan]
05-16-2024
”刻板印象“之外的张爱玲。
“Beyond the Stereotypes” of Eileen Chang.
[南非/South Africa]
05-19-2024
[荷兰/Nederland]
05-22-2024
杜布拉夫卡说，城市的建立无非是复制粘贴旧的刻板印象然后再打破重塑新的刻板印象的过程。
移民群体对于家园构建的执念不仅仅是物理空间的行为，更是一种对自我人文身份与自我认同的追寻和保持的执念。这种身份认同是一种面对排斥和不同的自我保护，但也可能变成一种自我限制——即在努力保持文化根源的同时不自觉地加固心理和社会的分界线。家园作为避难所当然为流亡者提供了必要的安全感，但这种安全感往往是以与外界某种程度的隔离为代价的。
在美国的每一天我都觉得自己是流浪者（说实话我知道无论自己到哪里可能都一样），总有一种潜意识不断不断提醒我依然处于居无定所的游离状态，不知道哪个下一秒就会打包行李踏上一片未知的天地。这种状态下的人当然不适合养植物或者动物。固定的、整洁的居所，填充需要照料的生命，本身就暗示一种生活的许诺：许诺自己的现状是稳定的、安全的，持久的；许诺自己的内核足以支持持续不断地给予关心、爱护当然还有责任，无论大小。不过我想安全感也许不过是变相的枷锁，尤其是当你在不同的地方漂来漂去的时候，是可以抓住垂下来的那一枝休息一下的。但也只是休息一下，再久就不好玩了。
Dubravka says that the establishment of cities is essentially a process of copying and pasting old stereotypes and then breaking and reshaping new ones.
The obsession of immigrant communities with constructing a homeland is not merely a physical act but also a pursuit and preservation of self-identity and cultural heritage. This identity is a form of self-protection against exclusion and difference but can also become a form of self-limitation—unconsciously reinforcing psychological and social boundaries while striving to maintain cultural roots. While a homeland provides necessary security for exiles, this security often comes at the cost of a certain degree of isolation from the outside world.
Every day in the U.S., I feel like a wanderer (to be honest, I know it might be the same wherever I go). There is a subconscious reminder that I am still in a state of homelessness, not knowing which moment might prompt me to pack my bags and venture into the unknown. In this state, one is certainly not suited for keeping plants or animals. A fixed, tidy home that includes living things requiring care implies a promise of stability, safety, and permanence; a promise that one’s core is capable of sustaining continuous care, love, and responsibility, regardless of scale. However, I wonder if security might merely be a disguised shackle, especially when you’re drifting from place to place. You can grasp onto that dangling branch for a rest, but it’s only a rest; staying too long can become tedious.
[美国/U.S.A]
05-23-2024
在<斩首之邀>中，纳博科夫精心构筑了一个梦魇般的反乌托邦世界。辛辛纳特斯因其思想的“不透明性”——与世俗社会的人们截然不同——而被判处死刑。
面对未知的死期，他被困于狭小的牢房和悬而未决的命运之中。辛视床铺作舟，以牢狱为海，在等待的煎熬中航行。他回顾自己孤独与迷惘的一生，身边的所有人都在用自以为是的方式塑造他：不忠的妻子、装腔作势的监狱长、虚伪献媚的侩子手，承诺他温情和自由的无知少女以及被雇来提供亲情表演的“母亲”，都带着冷漠的温柔面具，对他绝望的哭喊视而不见。
在这种荒诞和绝望的等待里，辛抓住了表达的勇气，他的文字成为对抗世界的武器。随着字句流淌而出，伪装的世界开始摇摇欲坠。在辛被押解离开牢房时，四周的墙壁轰然坍塌。在故事最后，辛辛纳特斯从断头台起身，毅然走向了自己的路，”死亡“则引领他找到了真正的归属。
作为被投掷进囚室的反叛者、即使世俗的诱惑像淬毒的蜜糖，辛也能始终坚持在极致的自我中思考，拒绝不想要的东西，无畏地记录与表达，最终在完全脱去所有束缚后，获得了重新审视世界的独立与自由。
In *Invitation to a Beheading*, Nabokov intricately constructs a nightmarish dystopian world. Cincinnatus, condemned to death for his "opacity of thought"—his profound difference from the secular society—finds himself imprisoned in a narrow cell, awaiting an uncertain fate. He views his bed as a boat, the prison as a sea, and navigates through the agonies of anticipation.
Reflecting on his lonely and bewildered life, Cincinnatus is surrounded by people who, in their own self-righteous ways, mold him: the unfaithful wife, the pompous warden, the hypocritical executioner, the ignorant girl who promises him warmth and freedom, and the "mother" hired to perform familial affection, all wearing masks of indifferent tenderness, ignoring his desperate cries. Amidst this absurd and despairing wait, Cincinnatus finds the courage to express himself, using his words as weapons against the world. As his sentences flow out, the facade of the world begins to crumble. When he is led away from the cell, the walls around him collapse with a thunderous crash. At the story's end, Cincinnatus rises from the guillotine and walks resolutely towards his path, with "death" guiding him to his true belonging.
As a rebel thrown into his cell, Cincinnatus, despite the secular temptations like poisoned honey, maintains his extreme self-reflection, rejects what he does not want, and fearlessly records and expresses. Ultimately, by shedding all constraints, he attains the independence and freedom to reassess the world.
[中国/China]
05-23-2024
很知音的小集子，打发时间读一读还行。
[爱尔兰/Ireland]
05-29-2024
《魔术师》不仅是科尔姆·托宾对托马斯·曼的文学传记，更是一部对其深刻人生观的艺术再现。在书中，托宾细腻地描绘了曼家族几代人的颠沛流离的命运以及他们的人生如何紧密交织在战争的阴影、文学的光辉与政治的漩涡之中。托马斯·曼对德国文学的价值兼具热爱与批判：他赞美德国歌德式的典雅文学，同时也深刻地指出德国文学中根深蒂固的野蛮性，这种文化土壤不仅孕育了纳粹，也塑造了纳粹的支持者。
托马斯通过丰富的历史细节和精致的文笔，重塑了托马斯·曼这位文坛巨匠的形象，展示了他在二战期间面对纳粹和共产主义态度的犹豫不决；对自我内心中同性欲望的痛苦挣扎和晚年接纳。《魔术师》像一部华丽的家族史 ，以托马斯·曼的家庭成员为叙事中心，将个人的挣扎与历史的洪流巧妙地融为一体，展现了一个伟大作家在文学创作之外的多面性和人性的复杂。
*The Magician* is not only Colm Tóibín's literary biography of Thomas Mann but also a profound artistic representation of Mann's worldview. The book intricately portrays the tumultuous fate of the Mann family across generations, showing how their lives were deeply intertwined with the shadows of war, the brilliance of literature, and the whirlpool of politics.
Tóibín reveals Mann's ambivalent stance towards German literature: he both admires the elegance of Goethe's German literature and critically points out the deep-seated barbarism within it. This cultural soil, while nurturing the Nazis, also shaped their supporters.
Through rich historical details and exquisite prose, Tóibín reconstructs the image of Thomas Mann, depicting his indecision during World War II between Nazism and Communism, his internal struggle with homosexual desires, and his later acceptance. *The Magician* reads like a grand family saga, centering on Mann's family members and blending personal struggles with the torrents of history. It presents the multifaceted nature and complex humanity of a great writer beyond his literary achievements.
[阿根廷/Argentina]
05-30-2024
在《文学课》中科塔萨尔讲述了他的文学创作经历是如何从个体视角到集体视角的演变：从纯粹的美学，到形而上学，再到在文学作品中承载政治使命；即从”我”到“你”，再到"我们“。他深入剖析了拉美文学中独特的魔幻现实主义的历史根源，分析了幻想、音乐、幽默、情色，游戏性等元素在塑造故事、丰富文本韵律、提升文学与美学价值中的重要作用。
当科塔萨尔得知其作品在阿根廷被禁售后，深感悲痛与绝望，他意识到，正是从这一刻起，自己才真正成为了流亡作家。身处异乡，坚持母语写作，不仅是对文化身份的捍卫，也是与故土读者的"精神交流”。尽管政治风暴下这座桥摇摇欲坠，但他依然坚守这一脆弱的纽带。流亡作家的作品不只是文本，更是精神抵抗——是对抗遗忘和文化同化的盾牌，为无法出走的同胞投掷的救生圈。
科塔萨尔认为文学的价值不在于给与答案，而是提出问题。他提醒读者反思社会中约定俗成的规则，警惕语言/字词施加在思维中的惯性影响，鼓励读者大胆想象，拒绝传统语言的机制，重塑对文明的认知。因为在任何领域的边界，无限可能都存在于未知之中。而在特殊的时代里，只聚焦于文学的文学性和美学价值，对于周边现实视而不见的作品，不过是白痴讲述的荒唐故事，充满着喧哗与骚动，却没有任何意义。文学的使命就是不对周遭现实世界发生的一切闭口不谈。毕竟，“他们不需要烧毁国会图书馆就能摧毁整片大陆的文化，杜撰虚假的价值观念”。
In *Literature Class*, Julio Cortázar explores the evolution of his literary creation from an individual perspective to a collective one: from pure aesthetics to metaphysics, and finally to a political mission within literary works; transitioning from "I" to "you" and then to "we." He delves into the unique historical roots of Latin American magical realism, analyzing how elements such as fantasy, music, humor, eroticism, and playfulness play crucial roles in shaping narratives, enriching textual rhythms, and enhancing literary and aesthetic value.
When Cortázar learned that his works were banned in Argentina, he felt profound sadness and despair. It was at that moment he realized he had truly become an exile writer. Writing in his native language while in a foreign land was not only a defense of his cultural identity but also a form of "spiritual communication" with his readers back home. Despite the political storm threatening this fragile bridge, he remained committed to this tenuous link. For the exile writer, the work is not merely text but a form of spiritual resistance—a shield against forgetting and cultural assimilation, a lifeline thrown to compatriots who cannot escape.
Cortázar believed that the value of literature lies not in providing answers but in posing questions. He urged readers to reflect on the conventional rules of society, be wary of the habitual influence of language and words on thought, and to imagine boldly, rejecting traditional language mechanisms to reshape their understanding of civilization. For in the boundaries of any field, infinite possibilities lie within the unknown. In times of crisis, focusing solely on the literary and aesthetic value of literature, while ignoring the surrounding realities, amounts to foolishly recounting absurd stories filled with noise and commotion but lacking in meaning. The mission of literature is to speak out about everything happening in the surrounding world. After all, "they do not need to burn down the Congress Library to destroy the culture of an entire continent; they fabricate false values."
[美国/U.S.A]
05-30-2024
[美国/U.S.A]
06-03-2024
★★★
A book that is both entertaining and educational, the author uses the technique of anthropomorphizing animals and plants, which is understandable. However, the translation contains many terms that are quite uncomfortable. Also, in nature, the female is definitely the primary sex :))
[美国/U.S.A]
06-05-2024
学院派一生的故事，平凡却伟大的对于自我追求的坚持。是万千人缩影的一生，可能也是我的。
A life devoted to academia, ordinary yet great in its unwavering pursuit of the self. It is the story of countless individuals, and perhaps, it is also mine.
[中国/China]
06-12-2024
小时候读心驰神往的土地和人生啊，怎么会想到长大了还是被困在围城里。从书里汲取离我很远很远很远的自由，然后在梦里实现它。
The kind of land and life I yearned for so much as a child—who would have thought that as an adult, I’m still trapped in a besieged city. I draw freedom from books that seem so far away, and then live it out in my dreams.
[台湾/Taiwan]
06-18-2024
张爱玲对中文文字的运用炉火纯青。她在描写场景和人物心情时，常常借助味道、颜色以及质感，使文字具备强烈的画面感。在她的笔下，时代局限背景中的女性形象也被刻画得细腻入微，既深刻又富有共情力。
所谓通感（就像胡里奥·科塔萨尔在《文学课》中提到的一些西语文学中交融的音乐感），能够感受、捕捉并描绘出这种感觉，绝对是一种天赐的才能。如果有一种文学最好是通过【读】而非【听】来品味的，那她的书无疑就是了。
Eileen Chang's mastery of the Chinese language is exquisite. When depicting scenes and characters' emotions, she often uses taste, color, and texture, giving her words a strong sense of imagery. Under her pen, female characters within the constraints of their era are portrayed with remarkable depth and empathy.
The so-called synesthesia (similar to the musical quality found in some Spanish literature that Julio Cortázar mentions in Literature Class)—the ability to perceive, capture, and depict such sensations—is truly a divine talent. If there is a kind of literature best appreciated through reading rather than listening, her books are undoubtedly it.
[美国/U.S.A]
06-20-2024
这 本 太 难 读 了
So difficult to read 😓
[中国]
06-22-2024
了解中国真实的历史的文学-。-
没什么文学性的体验想谈只是感觉不解的同时很可怕：这种政体，好像巨大的模具工厂把所有形状的人都在强大且暴力的国家机器面前压制得如出一辙，毫无灵魂。而排着队等着被改造的那些，甚至还在羡慕这些一模一样的东西的规范和整齐。有时候想想的确，把后果全部归结到一个人、一种规范里未免笼统，人人都负有责任，只能这么说。
Understanding the true history of China's Great Leap Forward period through literature—there's little literary experience to discuss, just a feeling of bewilderment and fear. This regime seems like a colossal mold factory, where every shape of person is pressed into a uniform, soulless form by a powerful and violent state machine. And those waiting in line to be transformed even envy the uniformity and order of these identical products. Sometimes, it's indeed overly simplistic to attribute all the consequences to one person or one standard; everyone should responsiable for it. This is all I can say.
[奥地利/Austria]
07-21-24
顺着规则活就会顺着规则死。
社会对个体的压迫无处不在、逃无可逃。那些看不到源头的审判犹如无形却沉重的砝码，从四面八方，各式各样的人身上密不透风地压在我们身上。人们一方面努力抵抗，试图不被其左右，但另一方面，却又在不知不觉中屈从于周遭的期望。
往往徒劳无功地挣扎————即算不上是堂堂正正的自我反抗也算不上是彻底妥协的委曲求全。
于是最终，在一片混乱与迷茫中，人们迎来被规则吞噬，悄无声息地消亡。
Living according to the rules leads to dying according to the rules.
The oppression of individuals by society is everywhere and inescapable. Those judgments, which cannot be traced to their sources, are like invisible yet heavy weights pressing down on us from all directions and various people. People, on one hand, struggle to resist and try not to be swayed, but on the other hand, they unwittingly submit to the surrounding expectations.
Often, the struggle is in vain—not truly a dignified self-resistance nor a complete compromise. Thus, in the midst of confusion and bewilderment, people ultimately find themselves consumed by the rules and quietly disappear.
51 《基督山伯爵》 - The Count of Monte Cristo
[法国/France]
07-23-24
08-07-2024 读完惹
入狱和开始复仇的部分特别流畅引人入胜，中间的巴黎部分有点冗长
这本书女性角色的塑造真的差强人意，充满了男凝视角。但是考虑到时代局限和这本来就是一本以男性为主题的复仇爽本也就不强求什么了
毕竟，善有善报恶有恶报的朴素价值观谁不爱啊。
人生~就是~希望和等待~
The parts about imprisonment and the beginning of the revenge are particularly engaging and fluid, while the Paris section feels a bit lengthy. The portrayal of female characters in this book is indeed disappointing, filled with a male gaze. However, considering the limitations of the time and that the book is primarily a revenge story centered on male characters, it's understandable.
After all, who doesn’t love the simple belief that good will be rewarded and evil will be punished?
Life is all about hope and waiting.
[德国Germany]
07-24-24
我一边读一边吧嗒吧嗒掉眼泪，每一个移民都不能不读赫塔·米勒。
I found myself shedding tears as I read, realizing that every immigrant must read Herta Müller.
[美国/U.S.A]
07-25-24
亨利·米勒在《北回归线》中，以大量的色情描写和跳脱、怪诞的叙事手法，展现了对现代文明的深刻厌恶和对人类命运的悲观态度。
相比海明威笔下充满可能性、希望和无限艺术灵感的巴黎，米勒眼中的巴黎是一座堕落混乱、道德沦丧、充满绝望和痛苦的城市。
米勒认为，每个既成的事物都是必死的：文化、语言、民族、种族注定走向灭亡；城市、国家、宗教不过是终将消亡的抽象名词。人类在艺术、思想和行为上正持续不断地衰败。文明如同人类的枷锁，政府、法律、道德、准则、理想皆无法拯救饥肠辘辘的灵魂。米勒笔下，唯有跳脱文明规则，成为色情者、疯子、罪犯或反叛者，才是真正的自由表达。他主张艺术应当是“战栗的、疯狂的、有污染性的”。任何事物精致华丽的外表下，隐藏的都是腐烂的恶臭和被剥削的血肉。
文明本应是流动的自由，如今却被严密包裹，成为生命的坟茔。
In *Tropic of Cancer*, Henry Miller uses extensive erotic descriptions and unconventional, bizarre narrative techniques to convey a profound disdain for modern civilization and a pessimistic view of human fate.
In contrast to the Paris depicted by Hemingway, full of possibilities, hope, and boundless artistic inspiration, Miller's Paris is portrayed as a city of decay, chaos, moral corruption, despair, and suffering.
Miller believes that everything established is doomed to perish: culture, language, ethnicity, and race are all fated to extinction; cities, nations, and religions are merely abstract terms that will eventually disappear. Humanity is in a continuous state of decline in art, thought, and behavior. Civilization is like a shackle for mankind, with government, law, morality, standards, and ideals failing to save the starving soul. In Miller's view, true freedom of expression can only be achieved by stepping outside the bounds of civilization, becoming a sexual deviant, lunatic, criminal, or rebel. He advocates that art should be "trembling, crazy, and contaminating." Beneath the refined and glamorous exterior of any thing, there lurks rotting stench and exploited flesh.
Civilization was meant to be fluid freedom, but now it is tightly encased, becoming a tomb for life.
[英国/U.K]
08-06-2024
我终于能看下去并且看完了一本推理小说了，感谢阿婆！对于我这种毫无推理能力的人来说，环环相扣的谋杀、引人入胜且流畅的情节和一个大概还算得上正义而作案的动机，也没什么好挑的了~
I'm finally able to finish a detective novel, and I’m so grateful to Agatha! For someone like me with no knack for solving mysteries, the tightly woven plot, gripping and smooth narrative, and a motive that’s somewhat justifiable make it hard to find any faults.
[法国/France]
08-07-2024
好像故事的最后，最快能从感情里抽离出的和最没有羞耻心的，反而活得最快乐。也许人生最好不要既要又要，就一条路走到黑，这样至少是无愧于心吧。
12.18补书评
福楼拜笔下的艾玛·包法利，是一个被浪漫小说和现实剧烈冲突撕裂的女性。她痴迷于通过书本和想象构建理想生活，却为乡村医生丈夫查理的平庸感到窒息。每一次试图逃离的情感冒险——无论是与风流倜傥的鲁道尔夫，还是虚伪轻浮的莱昂， 都不过是摆脱单调生活的短暂幻想。
她的外遇不仅仅是对浪漫幻梦的苦苦追寻，更是对资产阶级婚姻制度的绝望反抗。当爱情破灭，艾玛用奢侈的消费填充内心的空虚，最终却被债务和社会道德的双重枷锁彻底击垮。她的悲剧在于，越是追求理想，现实就越是无情地将她推向毁灭。当最后一切幻想破灭，死亡成为她唯一的出路和最决绝的反抗。
艾玛·包法利的命运，是一场资产阶级社会对女性灵魂最常见、最残忍也最隐秘的谋杀。她的悲剧不仅仅是个人的，而是整个时代对女性的系统性压迫的缩影。在父权社会编织的华丽牢笼里，所有奢靡的幻想、浪漫的爱情、理想的情人，都是让女性自我迷失的诱饵，也是最终会压垮她们的枷锁。
艾玛的孤独是所有女人的孤独，艾玛的困境是所有女人的困境，艾玛的悲剧也可能成为所有女人的悲剧。她永远心存期待，永远不满足，于是当理想和现实之间的裂缝变成不可逾越的鸿沟，就只能在失望和绝望中一步步走向毁灭。当理想过于完美，现实便会变成无声的屠刀，收割每一个沉迷在幻梦里的女人。
In Flaubert's novel, Emma Bovary is a woman torn apart by the violent clash between romantic novels and reality. She is obsessed with constructing an ideal life through books and imagination, yet suffocates in the mundane existence of her country doctor husband, Charles. Each emotional adventure - whether with the charming Rodolphe or the shallow Leon - is merely a brief fantasy of escaping her monotonous life.
Her affairs are not just a desperate pursuit of romantic dreams, but a hopeless rebellion against the bourgeois marriage system. When love collapses, Emma fills her inner emptiness with luxurious spending, ultimately crushed by the double chains of debt and social morality. Her tragedy lies in the fact that the more she pursues her ideals, the more ruthlessly reality pushes her toward destruction. When all fantasies finally shatter, death becomes her only escape and most radical resistance.
Emma Bovary's fate is a murder of the female soul - the most common, cruel, and secret assassination by bourgeois society. Her tragedy is not just personal, but a microcosm of systematic oppression of women in her era. In the beautiful cage woven by patriarchal society, all lavish fantasies, romantic love, and ideal lovers are both bait that leads women to lose themselves and the locks that will ultimately crush them.
Emma's loneliness is the loneliness of all women, her struggles are the struggles of all women, and her tragedy could become the tragedy of every woman. She always hopes, never satisfied, so when the crack between ideal and reality becomes an unbridgeable chasm, she can only step by step toward destruction in disappointment and despair. When ideals are too perfect, reality becomes a silent blade, harvesting every woman lost in her dreams.
[加拿大/Canada]
08-12-2024
[英国/U.K]
08-15-2024
[奥地利/Austria]
08-17-2024
大雪降至是一部工整，风格传统的作品，篇幅虽然短小，却沉重，优美。
艾格尔的一生在这短短的文字间展现得淋漓尽致，仿佛一场悄然而至的大雪的一片雪花，出现与坠落都轻盈得几乎无人在意。雪的意象在书中贯穿始终，象征着人生中那些无法被主观决定的瞬间。雪的降落与消融，就如同那些突如其来的命运安排，寒冷而沉重。然而，当雪融化，春天总会到来。也许人生也正如此吧，不过是万千人的轮回往复，但每个人的经历都独特而不凡。
A Whole Life is a meticulously crafted and traditionally styled work. Though brief in length, it carries a sense of weight and beauty.
Eiger's life unfolds vividly within this short piece, like a single snowflake in a quietly falling snowstorm, whose appearance and descent are so light that they almost go unnoticed. The imagery of snow runs throughout the book, symbolizing the moments in life that cannot be controlled by one's will. The falling and melting of snow mirrors the sudden and heavy hand of fate. Yet, when the snow melts, spring always comes. Perhaps life is like this too—a cyclical journey experienced by countless people. But each person's experience is unique and extraordinary.
[中国/China]
08-19-2024
[南非/South Africa]
08-27-2024
库切依然在他一贯擅长的题材里稳定发挥——以冷静克制的笔触描绘了“中年人和老年人”之间的一段affair。整篇作品如同古典主义画作般淡然推进，流动的情感也是缓慢克制、不动声色的。但是随着波兰人的去世以及比阿特丽兹翻译诗集开始，原本平静到毫无波澜的故事突然浓烈深刻起来。真正打动人心的，不是生死的隔离与后知后觉的珍视，而是两个人终于能摒弃文化、种族、年龄、阶层、教育和性别偏见以后对彼此的【看见】与[理解]。
库切说，波兰人和比阿特丽兹用英语做爱，但这种语言的情欲领域却不对他们开放。 真的太绝了。
"Pole"既象征着遥不可及的极点，也象征着可以支撑人们跨越偏见与顽固观念的支撑点。但在依然相信爱的纯粹和绝对质疑爱的纯粹之间，该如何完美又平衡地表现出冲突与和谐呢？库切或许想告诉我们，当穿透一切以为穿不透的东西，最后那个最简单和不可能的，也许就是答案。
Coetzee continues to deliver reliably in his favored themes—portraying an affair between "middle-aged and elderly" individuals with his trademark restrained and measured prose. The entire work advances with the calm detachment of a classical painting, and the emotions flow slowly and subtly. However, with the death of the Pole and the start of Beatrice’s translated poetry collection, the previously placid narrative suddenly deepens and becomes intensely poignant. What truly moves the heart is not the separation by life and death or the belated appreciation, but rather the way two people, after discarding cultural, racial, age, class, educational, and gender biases, finally achieve a genuine [seeing] and [understanding] of each other.
Coetzee notes that the Pole and Beatrice make love in English, yet the realm of sensuality in that language remains closed to them. It’s truly remarkable. The term "Pole" symbolizes both the unreachable extreme and the point that can support people in overcoming prejudices and stubborn beliefs. But how can one perfectly and harmoniously portray the conflict and harmony between believing in the purity of love and doubting its purity? Coetzee might suggest that when penetrating everything believed to be impenetrable, the simplest and most improbable answer may be the one that emerges.
[阿根廷/Argentina]
09-04-2024
是Julio的短篇小说合集。胡里奥用不断跳转的空间、时间、讲述着视角塑造了或温情、或深刻，但都非常有想象力的故事。最喜欢的故事是《南方高速》《病人的健康》《正午的海岛》《万火归一》，《给约翰·霍维尔的指令》这篇需要沉浸地再读一遍。
It's Julio's collection of short stories. Julio uses constantly shifting spaces, times, and perspectives to craft stories that are either warm or profound, but always highly imaginative. My favorite stories are "The Southern Highway," "The Patient’s Health," "The Island at Noon," and "The Fire Burns On." The story "Instructions to John Howell" is one that needs to be re-read deeply.
09-08-2024
原生家庭、青春期的悸动和少女之间纯粹的友谊，短小但是很温暖的青春文学。
It’s a brief but warm piece of youth literature, exploring themes of the original family, the stirrings of adolescence, and the pure friendship between girls.
[日本/Japan]
09-11-2024
结构非常简单的在海岛上的一段故事。简单质朴到散发着“泥土、雨水和海洋的咸涩腥味”的相遇和爱情。
三岛的文字一如既往的优美，但和《金阁寺》相比，《潮骚》是原始的、澄澈的，被阳光洒满的。
A simple story set on an island, with a structure so straightforward and unadorned that it exudes the "earthy, rainy, and salty scent of the sea." It’s about an encounter and love. Mishima's writing is as beautiful as ever, but compared to *The Temple of the Golden Pavilion*, *The Sound of Waves* is primitive, pure, and bathed in sunlight.
[英国/U.K]
09-17-2024
在意、观察和记录大多数人认为微不足道的一群人、一种文化和一片小世界。作者用非常真诚和生动的笔触记录了西非部落的经历和见闻。
人类要到哪里去和我们能走多远，在我看来，是和探寻我们从哪里来和肯定每一个生命的价值同样重要的事情。以及，科学与医学也许有先进与落后的分别，但文明与文明之间是不存在这种界限的。
Paying attention to, observing, and documenting a group of people, a culture, and a small world that most consider insignificant. The author records the experiences and observations of West African tribes with a very sincere and vivid touch.
To me, understanding where humanity is going and how far we can go is just as important as exploring where we come from and affirming the value of every life. Additionally, while science and medicine may differ in terms of advancement, such boundaries do not exist between civilizations.
[英国/U.K]
09-19-2024
一百年前，弗吉尼亚·伍尔夫作为二十世纪最著名的女作家之一，在刚刚结束“女性与小说”的演讲后，却因性别被拒于剑桥图书馆门外。这份屈辱与不甘，成为她创作《一间属于自己的房间》的契机。
独自游走在剑桥幽静的庭院，穿梭于觥筹交错的晚宴之间，伍尔夫的目光如炬，透过奢华地表象，聚焦于隐匿在历史阴影中的无名女性。她们曾用汗水灌溉了这片土地，却在几百年的时光长河中未能在文字的殿堂留下足够的印记。伍尔夫剖析男性主导的文学史肌理并发出追问：究竟是什么剥夺了女性表达与书写的权利？
跟随伍尔夫的思考，我们看到：经典文学中女性地"神圣"形象与她们在现实中所承受的真实压迫之间存在巨大的反差。面对文学创作中根深蒂固的性别偏见，那些逆流而上的女性作家是如何在重重阻碍与诋毁中坚持创作的？她们又为何选择小说这一形式作为表达的载体呢？
伍尔夫告诉我们：每位女性都应该拥有一间属于自己的房间和每年五百英镑的收入。这两点不仅是物质层面的需求，更是象征着精神的自由与经济的独立。属于自己的房间，代表了思考的独立，够隔绝外界干扰，让人自由思考；而稳定的收入，则是保证女性摆脱依附，进行独立选择与创造的物质保障。女人想要真正获得自由，两者缺一不可。
我们如今所走的路，正是无数女性用血与汗铺就的路。伍尔夫邀请我们一起想象莎士比亚那位"同样才华横溢却默默无闻地死在酒馆门外的妹妹"，以及所有被困于厨房与家庭、奉献一生托举弟弟、儿子、丈夫的才华横溢的女性。如果每一位女性都勇敢探索、坚持创造、无畏表达，努力实现自我的价值。终有一天，莎士比亚的"妹妹"也能走在阳光大道，生活在女性拥有与男性平等的表达与创作权利的世界。
A hundred years ago, as one of the most renowned female writers of the twentieth century, Virginia Woolf had just finished her lecture on "Women and Fiction," only to be denied entry to the Cambridge library because of her gender. This humiliation and frustration became the catalyst for her writing A Room of One's Own.
Wandering alone through the quiet courtyards of Cambridge and moving between lavish dinners, Woolf's sharp gaze penetrated the surface of luxury and focused on the nameless women hidden in the shadows of history. These women had watered the land with their sweat, yet over the centuries, they had failed to leave enough of a mark in the halls of literature. Woolf dissected the male-dominated literary tradition and posed a question: What had stripped women of their right to express and write?
Following Woolf’s reflections, we see a stark contrast between the "sacred" image of women in classical literature and the real oppression they endured in life. How did those women writers, who swam against the current, continue to create in the face of overwhelming obstacles and slander? And why did they choose the novel as their means of expression?
Woolf tells us: Every woman should have a room of her own and five hundred pounds a year. These two requirements are not just material needs, but symbols of spiritual freedom and economic independence. A room of one's own represents independent thought, a space shielded from external interference where one can think freely. A steady income is the material foundation that allows women to break free from dependency, enabling independent choices and creativity. To attain true freedom, both are indispensable.
The path we walk today has been paved by the blood and sweat of countless women. Woolf invites us to imagine Shakespeare's "equally gifted sister, who died in obscurity outside a tavern," as well as all the talented women confined to kitchens and homes, dedicating their lives to lifting up their brothers, sons, and husbands. If every woman courageously explores, persistently creates, and fearlessly expresses herself, striving to realize her own value, then one day, Shakespeare's "sister" will walk on the sunlit path, living in a world where women have the same right as men to express and create.
[法国/France]
09-22-2024
拿破仑复辟失败后的时代，战争的阴影虽已远去， 但社会中依然弥漫着一种通过个人奋斗跨越阶级的幻象。于连的悲剧正是这个时代的缩影：旧贵族复权后社会阶级日益固化，像他这样出身卑微的人被夹在新旧阶级之间，难以找到自己的位置。于连悲剧的根源是他对上层社会的厌恶和对自身阶级的不满——以平民意识对抗封建阶层，当然会遭遇一些人的支持，还有更多既得利益者的反对和阻碍。 一方面，于连有强烈的野心和渴望上升的欲望，但另一方面，他又深深厌恶这个他试图融入的上层社会的虚伪与腐朽。
美丽的外表对于于连既是恩赐也是诅咒，女人和爱情成为了于连证明自我价值的工具，在与德·雷纳和玛蒂尔德两位女人的纠葛中，很难说于连的爱是出于纯粹的内心情感，还是为了证明自身魅力和维系个人尊严的手段。
在自己的社会野心被德·雷纳夫人的信彻底破灭后，于连绝望地采取了极端行动，这其中也有于连无法掌控女性权力的愤怒。而在命运的最后，于连在法庭上和临行前表现出的坦诚和不屈服——不为自己的行为悔恨，而是坦然接受自己的命运，可以说是一种悲壮的自我毁灭，反倒成就了于连完整的个人形象。
In the aftermath of Napoleon's failed restoration, the shadow of war has receded, but a lingering illusion remains in society: the belief that one can transcend class through personal effort and ambition. Julien's tragedy epitomizes this era: with the restoration of the old aristocracy, social classes have become increasingly rigid, leaving individuals like him, of humble origin, caught between the old and new classes, struggling to find their place. The root of Julien's tragedy lies in his disdain for the upper class and dissatisfaction with his own social status—his attempt to combat the feudal hierarchy with a sense of commonality naturally meets some support, but also the opposition and obstruction of many vested interests.
On one hand, Julien possesses a strong ambition and a desire to rise; on the other hand, he harbors a deep contempt for the hypocrisy and decay of the upper class he seeks to join.
His beautiful appearance is both a blessing and a curse for Julien, as women and love become tools for him to prove his self-worth. In his entanglements with Madame de Rênal and Mathilde, it is difficult to determine whether Julien's affection stems from pure inner feelings or is merely a means to validate his charm and maintain his dignity.
After his social ambitions are utterly shattered by Madame de Rênal's letter, Julien takes desperate and extreme action, fueled by his anger at being unable to control the power of women. In the end, during the trial and before his execution, Julien's display of honesty and defiance—accepting his fate without remorse for his actions—can be seen as a tragic form of self-destruction that ultimately shapes a complete portrait of Julien's character.
[印度/India]
09-24-2024
阿兰达蒂·洛伊的《微物之神》如同一幅绚丽而忧伤的织锦，以乱序的时间线为经纬，编织出一个关于命运、压迫与微小希望的故事。
小说从透露结尾处一场必然发生的悲剧开始，在不同时间维度的碎片中跳跃，像拨开层层迷雾般逐步揭示每个角色的命运。这场死亡并非每个人悲剧命运的起点，亦非终点，而是在所有人生命流动和缠绕的过程中，一个注定会发生的节点，转动却未能扭转他们的人生。
在印度这个被殖民主义、父权制和种姓制度重重压制的社会里，人们如同命运线上的傀儡，挣扎着寻找自我与归属。殖民遗留的等级观念依然根植于社会：外来者压迫印度人，男人压迫女人，高种姓压迫低种姓。底层人通过宗教试图摆脱旧的评价体系，却在殖民者离去后成为两不相容的局外人；女性在父权制的压迫下挣扎，从父亲到丈夫，命运在压迫和剥削中不断轮回，婚姻中女人只是在复制母亲的悲剧。"像石墨一样挂在母亲脖子上"的孩子们，天真单纯的视角交汇成人世界的恶意——情绪在孩子们的眼中化作庞大的飞蛾，潜伏在屋子里最阴暗的角落；那些试图跨越阶级、挑战陈规的人，怀着追求爱的勇气与社会秩序抗衡，最终却因谎言和偏见，默默无声地死在午夜的警察局。
在洛伊笔下，被社会遗忘的"微物"是真正的主角。他们如尘埃般微小,却在命运的风暴中顽强生存，以自己的方式对抗不公。在看似不可撼动的社会结构中,真正的改变往往始于最微小的个体。每一次微小的反抗，每一次跨越偏见的爱，都是对压迫性制度的一次冲击。“微物之神"是所有弱小生命的守护者，在充满不公与痛苦的环境中，爱成为弱小生命反抗命运的力量。爱比“爱的律法”更古老更强大。当文明试图规定”谁该被爱，如何被爱，以及得到多少爱“以后，爱就变成幽暗长河中的点点星火。
Arundhati Roy's The God of Small Things is like a vibrant yet sorrowful tapestry, woven with a disordered timeline that tells a story of fate, oppression, and small hopes. The novel begins with the inevitable tragedy revealed at the end, jumping between fragments of different time dimensions, gradually peeling away the layers of mist to uncover each character's destiny. This death is neither the starting point nor the endpoint of everyone's tragic fate; instead, it's a predetermined node in the intertwining flow of all their lives, a turning point that fails to change their paths.
In a society like India, heavily oppressed by colonialism, patriarchy, and the caste system, people are like puppets on the strings of fate, struggling to find themselves and a sense of belonging. The hierarchical notions left behind by colonial rule are still deeply rooted in society: outsiders oppress Indians, men oppress women, and higher castes oppress lower castes. The lower classes try to break free from the old value system through religion, yet become incompatible outsiders after the colonizers leave; women struggle under patriarchal oppression, moving from fathers to husbands, with their destinies endlessly cycling through oppression and exploitation, where a woman in marriage merely replicates her mother’s tragedy. The "children hanging like graphite around their mothers' necks" see the innocence of their perspective colliding with the malice of the adult world—emotions turn into enormous moths in the children’s eyes, lurking in the darkest corners of the house. Those who attempt to cross class lines and challenge conventions do so with the courage of love against social order, only to silently die in the midnight police station, victims of lies and prejudice.
In Roy's writing, the "small things" that society has forgotten are the true protagonists. They may be as insignificant as dust but fight fiercely for survival in the storm of fate, resisting injustice in their own way. In what seems like an unshakeable social structure, real change often begins with the tiniest individuals. Every small act of resistance and every love that transcends prejudice delivers a blow to oppressive systems. The "God of Small Things" serves as a guardian for all fragile lives; in a world filled with injustice and pain, love becomes the strength of the weak against fate. Love is older and more powerful than the "law of love." When civilization tries to dictate "who should be loved, how to love, and how much love to receive," love becomes just a flickering spark in a dark, long riv
[韩国/South Korea]
09-29-2024
伤痛历史文学。在我看来这种书的现实意义大于文学性——通过虚构的第一人称视角，看到群体受害者中个体的感受，记录和讲述她们的故事，不是为了强化仇恨而是谨记人类文明的底线并以此为戒，是很有意义的。
Books about painful histories. To me, the real-world importance of these kinds of stories matters more than their literary style. They give us a way to see how individual people within a group of victims felt, through a fictional first-person view. Sharing their stories isn’t about stirring up hatred, but about reminding us of the basic moral lines of human civilization, and why we need to remember them. That’s what makes it meaningful.
斯蒂芬•茨威格 (Stefan Zweig)
[奥地利/Austria]
10-04-2024
茨威格不愧是心理描写的大师，《恐惧》是主线是女性视角在几天内的心理变化，但是全文非常细腻，被困在名义是粉饰的谎言的囚笼里的恐惧一点也不会比坦率地面对过错的审判更轻松。
最喜欢《一个女人一生中的二十四小时 》。故事开始于一场令人瞠目结舌的私奔——一位为人妻母的女子抛夫弃子，与一位在酒店里相识仅几日的年轻男子悄然离去。其他旅客对此充满嘲讽与道德谴责。然而“我”的看法却截然不同：“这并非一时冲动的叛逃，而是一个女人对内心原始欲望的诚实回应”。
在谈话中始终保持沉默的英国老妇人，听完“我”的观点后，向“我”讲述了她年轻时一个出乎意料的二十四小时。短短一百页的自述，情感的波澜几乎要溢出纸张。老妇人绵长而沉重的腔调中透露着难以释怀的怅然，仿佛即使在数十年后，她仍被囚禁在那一天，无法逃脱。
究竟是哪个瞬间让一个女人义无反顾地爱上另一个人？夹杂着拯救意图的一夜情，能否能称之为爱？为何在拯救了一个自甘堕落的灵魂后，反而陷入了经年的愧疚？没有任何女人能抗拒成为他人神明的诱惑，尤其是当这种崇拜感交织着原始欲望与神圣母性时。然而，这短暂、冲动、狂热、失常的二十四小时，却成为了半生循规蹈矩的她再也没能摆脱的枷锁。
人们常常试图给万物以定义，让爱与性之间泾渭分明，但当时间被压缩到二十四小时，这条界限便开始模糊不清。一个人可能会突然萌生一种抛弃一切的冲动，渴望逃离平淡无奇的生活，道德规范的天平不再平衡，在某一瞬间的失序占上风时，人就不自觉地滑向另一边。被定义的贞洁与放荡，只是同一枚硬币的两面；贞女与荡妇的区别，往往只在一念之间。坦诚地遵循内心真实的
欲望，难道不算真正的坦诚？做讲述者或者沉默的听众，不审判，毕竟在分叉路口，每个人都有权决定自己向左走还是向右走。
Stefan Zweig really is a master of psychological portrayal. In *Fear*, the main storyline is told from a woman's perspective, exploring her emotional changes over just a few days. But the writing is so delicate. The fear of being trapped in a cage of lies that only pretends to be pretty is definitely no easier than facing the judgment of one’s own mistakes head-on.
My favorite is *Twenty-Four Hours in the Life of a Woman*. The story kicks off with a jaw-dropping elopement—a married woman, a mother, abandons her husband and children to run off with a young man she met at a hotel just a few days before. Other travelers are full of mockery and moral outrage about it. But my perspective is completely different: "This isn’t a momentary act of rebellion; it’s a woman’s honest response to her primal desires." An English old lady, who has been quiet throughout the conversation, shares with me a surprising twenty-four hours from her youth after hearing my thoughts. In just a hundred pages, her story is so emotionally charged that it nearly spills off the pages. Her long, heavy tone reveals a lingering sadness, as if she’s still trapped in that day decades later, unable to escape.
What moment makes a woman fall head over heels for another person? Can a one-night stand, mixed with the intent to save someone, really be called love? Why does saving a fallen soul lead to years of guilt? No woman can resist the allure of becoming someone else's goddess, especially when that feeling mixes primal desire with a sense of sacred motherhood. Yet, those brief, impulsive, passionate, and crazy twenty-four hours become the shackles she can never shake off after a lifetime of following the rules.
People often try to define everything, to make a clear distinction between love and sex. But when time is condensed into twenty-four hours, that line starts to blur. Someone might suddenly feel an urge to throw everything away, craving an escape from a mundane life. When the scales of moral norms tip out of balance, at that one moment of chaos, a person can unknowingly slide to the other side. The defined concepts of purity and promiscuity are just two sides of the same coin; the difference between a virtuous woman and a promiscuous one often comes down to a single thought. Isn’t it truly honest to follow your heart's real desires? Whether you're the storyteller or the silent listener, no judgment—after all, at a crossroads, everyone has the right to choose whether to go left or right.
[阿根廷/Argentina]
10-05-2024
拉美魔幻文学短片合集小册子，题材很多，读完一周基本忘光了。不过《音乐大脑》这篇的画面感很强，还能记得在大脑里现在一起的矮人双胞胎，和广场上下蛋的鸟人（？）
A collection of short stories from Latin American magical realism, with a wide variety of themes. After finishing it in a week, I basically forgot everything. However, the vivid imagery in 'The Music Brain' is quite memorable, especially the scene with the short dwarf twins and the bird man (?)
[加拿大/Canada]
10-06-2024
[爱尔兰/Ireland]
10-16-2024
在《都柏林人》中，詹姆斯·乔伊斯完全打破了传统短篇小说的模式——布追求戏剧性的紧凑结构，也不设置强烈的冲突或安排欧亨利式的反转结尾。相反，乔伊斯选择通过普通人的日常生活切片，以线性叙事的方式推动情节，令意义自然而然地浮现。
这种平淡中见深邃的写作手法，使得小说在多个维度上打动读者：具体的场景指向永恒的主题，个人的困惑映照社会的命运，表象下的描写暗含着深刻的思考。在《死者》的结尾，纷纷扬扬的雪花象征着整个爱尔兰的精神状态——那份寂静、灰暗中却又蕴藏着某种净化的希望。
乔伊斯没有采用宏大的叙事，而是通过细腻的日常生活描写，隐晦地展现了不同阶层的爱尔兰人在文化认同与精神困境中的挣扎。通过这些生活片段，读者得以窥见那些被忽视的声音与情感，感受到个体在历史洪流中的渺小与挣扎。
In 'Dubliners,' James Joyce totally breaks the mold of traditional short stories. He doesn't go for the usual dramatic structure, strong conflicts, or O. Henry-style twist endings. Instead, he tells the story in a straightforward, linear way, focusing on slices of everyday life, which lets the meaning come through naturally.
This style, which finds depth in the ordinary, really resonates with readers on several levels. The specific scenes point to timeless themes, personal struggles reflect societal issues, and the details hint at deeper thoughts. At the end of 'The Dead,' the falling snow symbolizes the overall spirit of Ireland—a quiet, gray feeling that still holds some hope for renewal.
Joyce doesn’t use grand narratives; instead, he subtly shows how people from different backgrounds in Ireland struggle with their cultural identity and spiritual challenges through detailed depictions of daily life. Through these snapshots, readers can catch a glimpse of overlooked voices and emotions, feeling the smallness and struggles of individuals amid the flow of history.
[美国/U.S.A]
10-18-2024
12.18 补书评
南方炽热的阳光像一面镜子，映照出人性最隐秘的阴影。种族、宗教与道德交织成破损的网，在这张网中，每一个角色都挣扎于善恶模糊的边界。她的笔触像手术刀，冷静而精准地剖析着伪善的表皮，揭露藏匿在虚假仁慈背后的冷漠与自私。她塑造的人物的灵魂犹如南方烈日下龟裂的土地，干涸、破碎，却在绝境中生长出一种扭曲而惊心动魄的美。
高悬的审判力量无处不在，隐秘的丑恶无处遁形——审判如同冷静无情的南方烈日，总以不一定公正但必然降临的方式洞穿每一个黑暗的角落。
Under the scorching Southern sun, a mirror reflects the most concealed shadows of human nature. Race, religion, and morality intertwine into a fractured net, where every character struggles along the blurred boundaries of good and evil. Her prose, sharp as a surgeon’s scalpel, dissects the veneer of hypocrisy with cool precision, revealing the indifference and selfishness hidden beneath a facade of false benevolence. The souls of her characters resemble the parched and cracked earth under the relentless Southern heat—dry, fragmented, yet sprouting a twisted and haunting beauty in the face of despair.
The omnipresent force of judgment looms high, leaving no secret ugliness unexposed—judgment, like the unrelenting Southern sun, pierces every shadowed corner with a detached inevitability. It may not always be fair, but it is inescapable.
[中国/China]
10-19-2024
美好洒脱怅然的结尾——
白马带着她一步步的回到中原。白马已经老了，只能慢慢的走，但终是能回到中原的。
江南有杨柳、桃花，有燕子、金鱼……汉人中有的是英俊勇武的少年，倜傥潇洒的少年…但这个美丽的姑娘就像古高昌国人那样固执：「那都是很好很好的，可是我偏不喜欢。」
[法国/France]
10-21-2024
高强度吸收齐奥朗的人生哲理金句。感受是：人生一场大梦，人类必须灭绝。
In this book, as I take in Cioran's life philosophy, my feeling is: life is a big dream, and humanity must come to an end.
伊塔洛·卡尔维诺 (Italo Calvino)
[意大利/Italy]
10-23-2024
充满童趣的小合集，天真、纯净。在城市里做贫穷的人，但要有一双能看到自然和发现美好的眼睛owo。
A collection full of childlike innocence, pure and simple. Living in a boring, tedious city, even as someone poor, it's important to have eyes that can see nature and discover beauty, owo
[美国/U.S.A]
10-24-2024 - 11-12-2024
斯嘉丽几乎集合了所有我不喜欢的性格特质：傲慢、自负、自私、轻佻、头脑简单，势利又庸俗。从年少有意识开始，从年少起，她便习惯了依仗美貌，在男人的吹捧中周旋；因赌气草率地嫁给一个刚认识的人，不久便成了战争牺牲者的寡妇。她为金钱不择手段：用谎言骗走妹妹的未婚夫，为了生意嫁给瑞德。然而在几段婚姻中，她始终觊觎把她视为姐妹的善良、美好的瑞丽的丈夫——阿希礼。最终，在她因偷情被揭发，瑞丽去世后，她也失去了唯一看穿她本质还真心爱她的人。
当然，斯嘉丽并非一无是处。她勇敢而坚韧，有野心和旺盛的生命力，从不轻易屈服：为了财富，她可以抛开仇恨，与侵略过自己家园的人交好；为了事业，她敢于挑战当时对女性的偏见。她有缺陷，却生动鲜活。然而她矛盾：她家中的黑人奴隶，却根深蒂固地认为白人优于黑人；为了节省成本，她也会毫不犹豫地剥削囚犯的劳动力。也许她一生中唯一不功利的事就是爱阿希礼，然而她却从未真正解阿希礼：不理解他在新旧观念间的痛苦和挣扎，看不透他的多愁善感、软弱和善良。她一厢情愿地给阿希礼塑造了一座虚幻的丰碑，却也只是借他填补自己求而不得的虚荣心。
不过，文学作品中的人物正因复杂与矛盾而立体。就像《红与黑》中的于连——出身贫寒，凭借才智和社交手段试图打破阶级桎梏。他利用女人，攀附上流社会，为了野心委身于自己所憎恶的阶级，但他死得自洽。而在《飘》中，斯嘉丽作为贵族阶级的既得利益者，为了“维护应有的地位”采取的手段，就真的更为合理吗？她对穷人和黑人的偏见与压迫，并不会因她的“顽强”而被合理化。尽管米切尔在书中反思了战争，但字里行间对南方旧制的偏袒显而易见，甚至不断通过角色之口美化奴隶制度，几乎将这段血腥的历史包装成一段浪漫主义的爱情故事。
这是一本献给奴隶制的情书，根本不是什么大女人成长史。
Scarlett embodies nearly every trait I dislike: arrogance, vanity, selfishness, frivolity, simplicity, snobbery, and vulgarity. From a young age, she was accustomed to relying on her beauty, maneuvering her way through the adoration of men. She impulsively married a man she had just met out of spite, only to quickly become a war widow. For money, she was ruthless: deceiving her sister’s fiancé into marrying her with lies, and later marrying Rhett for the sake of business. Yet, throughout her marriages, she was constantly coveting Ashley—her friend Melanie's kind and noble husband, who treated Scarlett like a sister. In the end, after her affair with Ashley was exposed and Melanie died, Scarlett lost the only person who truly saw through her flaws and loved her anyway.
Of course, Scarlett isn’t without redeeming qualities. She is brave, resilient, ambitious, and full of vitality, never bowing easily to adversity. For wealth, she could put aside hatred and befriend those who had once invaded her home. For her career, she dared to challenge the era’s gender prejudices. Flawed yet vivid, Scarlett is undeniably alive. But she is also contradictory: while living among the Black slaves of her household, she internalized a deep-seated belief in white superiority. To cut costs, she unhesitatingly exploited convict labor. Perhaps the only thing Scarlett pursued without self-interest was her love for Ashley, yet she never truly understood him—his torment over reconciling old and new ideals, his sentimental nature, his weakness, and his kindness. Scarlett projected her own fantasies onto Ashley, turning him into an imaginary paragon, when in reality, he was little more than a crutch to fill her own unfulfilled vanity.
But literary characters are compelling because of their complexity and contradictions. Take Julien Sorel from The Red and the Black, for example—a poor man who uses intelligence and social maneuvering to break free from the constraints of class. He manipulates women, attaches himself to the upper class, and sacrifices his ideals to ambition, yet he dies on his own terms. By contrast, Scarlett, as a beneficiary of the aristocratic class, resorts to all means necessary to "maintain her rightful position." But does that make her actions more justifiable? Her prejudice and oppression toward the poor and Black people cannot be excused by her so-called “resilience.” Although Mitchell reflects on the devastation of war in Gone with the Wind, her bias toward the old Southern order is glaring. The text repeatedly romanticizes the institution of slavery, packaging a bloody history into a sentimental love story.
The Wind is not an empowering tale of a strong woman’s growth—it’s a love letter to slavery masquerading .
[韩国/South Korea]
10-24-2024
以六段视角，韩江展现出1980年韩国光州民主化运动中血与泪交织的历史画卷。在本该充满青春与生机的夏天，学生们面临政权倾泄而下的武装镇压，生命如草芥般在枪口下消逝，街道与礼堂成为尸体的无声墓碑。暴力与死亡如同失衡的天平，沉重地碾压过光州这座城市。
数十年后，幸存者和遇难者的家属依然深陷在无休止的悔恨、不安、恐惧、怀疑与自责中挣扎，身体上的伤痕已经愈合，但心灵的创伤却和他们的灵魂永远紧密相连。
韩国文学为历史的直面与现实的反思提供了广阔空间：在文字的土壤中， 真相得以揭示，历史的伤口得以被重新审视。通过书籍和影视，韩国人不断拷问、追寻并思考被遗忘或被刻意隐藏的过往。而在另一片土地上，历史却被篡改、删减，真相被锁进隐秘的角落，人们选择视而不见，麻木地活在预设的叙事框架里。
韩江坦言，创作这本书的过程伴随着巨大的痛苦，然而面对不被承认的历史，讲述者的声音尤为珍贵。只有铭记和传承，逝去的生命才不是白白消散。 面对禁声，最有力的反抗是告诉他们——我们全都记得。
借由角色之口，她发出质问——“岁月的史书里，你为何不在场？”——勇敢站出来的人，不仅承受肉体的痛苦，更背负良心的拷问，而冷眼旁观甚至作恶的人，却能心安理得地继续生活。这种不公与荒诞，却正构成了现实。韩江说：“良心是最可怕的东西”，因为它迫使人们直面无法逃避的历史重负，但良心同时也是无法被掩盖的光，穿透黑暗与沉默，始终有直达人心的力量。
Through six different perspectives, Han Kang unveils a historical tapestry woven with blood and tears from the 1980 Gwangju Democratization Movement in South Korea. In a summer that should have been filled with youth and vitality, students faced a violent crackdown by the regime’s armed forces. Lives were snuffed out like blades of grass under the gunfire, and the streets and auditoriums became silent tombs for the dead. Violence and death weighed like an unbalanced scale, crushing the city of Gwangju under their immense pressure. Decades later, survivors and the families of the deceased continue to struggle in an endless cycle of regret, anxiety, fear, doubt, and guilt. Though the physical wounds have healed, the emotional scars remain forever intertwined with their souls.
Korean literature provides a vast space for confronting history and reflecting on the present: in the soil of words, truths are revealed, and the wounds of the past can be revisited. Through books and films, Koreans continually question, seek, and reflect on the forgotten or deliberately hidden past. Meanwhile, in another land, history is rewritten, edited, and reduced. Truth is locked away in hidden corners, and people choose to turn a blind eye, numbly living within preordained narratives.
Han Kang confessed that the process of writing this book was fraught with pain, but in the face of unacknowledged history, the voice of the storyteller becomes all the more precious. Only through remembrance and inheritance will the lives of the lost not fade away in vain.
Against silence, the most powerful form of resistance is to tell them—we remember everything.
Through her characters, she poses the question: “Why are you absent from the annals of time?” Those who bravely stand up endure not only physical suffering but also the burden of conscience, while those who watched indifferently or acted with malice are able to continue their lives with ease. This injustice and absurdity are, in fact, the cruel reality.
Han Kang says, “Conscience is the most terrifying thing,” because it forces people to confront the inescapable weight of history. Yet at the same time, conscience is a light that cannot be obscured—it penetrates the darkness and silence, and always holds the power to reach the depths of the human heart.
[法国/French]
10-25-2024
tbc
[法国/French]
10-28-2024
没读完 读不懂
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[美国/U.S.A]
11-11-2024
疼痛在文明历史中是一个被沉默的领域，人类的词汇始终不足以精确地捕捉和描绘个人的疼痛感受。在医疗系统中，疼痛被笼统地量化、分级，但在个人体验里，疼痛总会存在偏差，无法被归类。病人听着晦涩的治疗建议，在昏迷中接受手术，摘除或修复身体的一部分，服用未知成分的药物，在迷惑中等待诊断，在沉默中被痊愈或死去。
随着资本渗入医疗领域，尤其是癌症治疗，医疗系统不再单纯地追求治愈，患者的身体逐渐被异化为实验品、数据和获利工具。化疗和特效药物在消灭疾病的同时，也摧毁身体里还完好的一部分。资本在污染环境、制造疾病和医治患者之间构建了一个近乎完美的剥削循环。未患病的健康群体掌握公共领域关于疾病经验的话语权和主导叙事，而真正的患者被脸谱化、商品化成励志故事和营销卖点。
乳腺癌作为一个突出的例证，它不仅剥夺了女性的身体完整性，也剥夺了她们的社会性别认同。以粉色丝带为代表的乳腺癌慈善标志，本质上是将患者的苦难商业化、符号化，将病人的痛苦、孤独和异化感转化为市场策略——针对脆弱的、需要认同感的人们的盈利工具。想办法缓解患者痛苦之前，资本甚至将患者的创伤商品化——消费者可以自由定制新乳房的材料和尺寸哦——贴心得令人作呕。
疾病，尤其是癌症，它抹去标签、甚至人的特性，迫使人们只看到两重极端：要么积极乐观，要么悲痛绝望。然而，癌症的叙事不应局限于此。我们需要关注更宏大的结构性问题：利益驱动的医疗体系、虚伪的慈善机构、看不见的角落里的女性护理劳动、社会福利的不足，以及根深蒂固的性别、种族和文化偏见。毕竟，没有人可以逃脱疾病和死亡，它不分阶层、性别，是人类共同的存在状态。
这不是英雄主义的故事，而是对疼痛的剖析、对疾病的思考，以及对现有社会结构的质疑与抵抗。疾病并非有输赢的斗争，它是生理变化、社会压迫和个人意义重构的复杂交织。患者在医治过程中的损耗与疏离中，重新构筑起关于健康、性别和生存的意义。
Pain has historically been a silenced domain in the history of civilization, as humanity's vocabulary has always fallen short of precisely capturing and describing individual experiences of pain. Within the medical system, pain is crudely quantified and categorized, yet on a personal level, it remains subjective and resistant to classification. Patients listen to obscure treatment recommendations, undergo surgeries while unconscious to remove or repair parts of their bodies, take medications with unknown components, await diagnoses in confusion, and either recover or die in silence.
With the infiltration of capital into healthcare—particularly cancer treatment—the system has shifted from purely seeking cures to commodifying patients' bodies as experimental subjects, data, and profit-generating tools. Chemotherapy and targeted drugs, while combating diseases, also destroy the healthy parts of the body. Capital has established an almost perfect cycle of exploitation between polluting the environment, creating diseases, and treating patients. In this system, healthy individuals dominate the public discourse about disease, while actual patients are reduced to stereotypes and commodified as inspirational stories or marketing tools.
Breast cancer is a prime example. It not only strips women of bodily integrity but also deprives them of their gendered social identity. The pink ribbon, a symbol of breast cancer charities, essentially commercializes and symbolifies patients' suffering, turning their pain, loneliness, and alienation into market strategies aimed at profiting from vulnerable individuals seeking a sense of belonging. Before addressing patients' pain, capital has already commodified their trauma—offering consumers the option to customize the material and size of their new breasts, a gesture disturbingly considerate to the point of nausea.
Illness, particularly cancer, erases labels and even humanity, forcing people to see only two extremes: either optimism or despair. However, the narrative of cancer should not be confined to these binaries. We must pay attention to broader structural issues: profit-driven healthcare systems, hypocritical charities, the invisible labor of female caregivers, insufficient social welfare, and entrenched gender, racial, and cultural biases. After all, no one can escape illness and death, which transcend class and gender and represent a shared human condition.
This is not a story of heroism but an analysis of pain, a reflection on disease, and a critique and resistance against existing social structures. Illness is not a battle to be won or lost but a complex interplay of physiological changes, social oppression, and personal reconstruction of meaning. In the depletion and alienation patients experience during treatment, they rebuild new understandings of health, gender, and survival.
[英国/U.K]
11-13-2024
不服从世俗标准和准则的，"不正常"的人，该痛苦地无声的死去还是格格不入地活在被异化的世界。是不是只有会心软的人要遭受痛苦，冷漠的人只需要把头扭过去装作看不到就好？最后只有生下怪胎的母亲是罪人，承担了所有责怪和折磨。
Those who defy societal standards and norms—the "abnormal" ones—are they destined to suffer in silent death or live as misfits in an alienating world? Is it only the soft-hearted who must endure pain, while the indifferent can simply turn away and pretend not to see? In the end, it is always the mother who gives birth to a "monster" who is condemned, bearing the full weight of blame and torment.
[哥伦比亚/Columbia]
11-20-2024
在马孔多这片魔幻的土地上，布恩迪亚家族七代人的命运如同一面镜子，映照出拉丁美洲文明兴衰的缩影。加西亚·马尔克斯以跳跃穿插的叙事结构，将人类最深沉的孤独编织进家族的血脉：一代又一代的家族成员们以爱情、欲望、权力或知识试图填补心灵的虚空，却总在命运的涡流中徒劳挣扎。
他的文字美得像画——四年零两个月的绵密雨季，何塞死后全城绽放悼亡的鲜花，裹着洁白床单升天的蕾梅黛丝，梅梅心头缠绕不去的黄色蝴蝶。马孔多是一片承载矛盾的土地——蓬勃的生命力与无解的愁苦交织，远古的传说与入侵的现代性碰撞。在文明的更迭中，血液在集市间逆行，夜晚的火车驶入大海，会飞的魔毯消失不见；人们染上永恒的失眠症，在新语言的标签化秩序中逐渐遗忘旧时光的意义。
香蕉公司赋予马孔多现代化的繁荣表象，却掩盖着对劳动者的压迫与自然的掠夺。文明的剥削不仅是资源的侵占，更是对灵魂与文化的侵蚀：在将马孔多原有的生命力榨干后，只留下空洞的废墟。布恩迪亚家族的命运映照着人类文明的命运：时光的指针在圆环表盘上行走，前进不过是周而复始的重演。
加西亚马尔克斯展现了人类几乎所有形式的孤独：如无意义的迷茫的孤独、如情欲燃尽后的孤独，如恐惧未知而固守原地的孤独，如相伴相依却无法触及内心的疏离的孤独。无法被破解的羊皮卷，正如人类永远无法回答的关于自我存在的疑问。最终，百年孤独的布恩迪亚家族随风消散。通过一个家族的史诗，加西亚·马尔克斯映照了拉丁美洲写满血泪的历史，也揭示了人类文明在痛苦、辉煌与毁灭之间永不停歇的循环。人世间唯有孤独如影随形，无法摆脱。
On the magical land of Macondo, the seven generations of the Buendía family serve as a mirror, reflecting the rise and fall of Latin American civilization. Gabriel García Márquez, through a non-linear and interwoven narrative structure, weaves humanity's profound loneliness into the veins of the family. One generation after another, the family members try to fill the void in their souls with love, desire, power, or knowledge, only to struggle in vain against the whirlpool of fate.
His prose is as beautiful as a painting—rain that lasts four years and two months, flowers blooming across the town to mourn José’s death, Remedios the Beauty ascending to the heavens wrapped in white sheets, and the yellow butterflies that linger in Meme’s heart. Macondo is a land of contradictions—a place where vibrant vitality collides with inescapable sorrow, where ancient myths clash with encroaching modernity. As civilization shifts, blood flows backward through the streets, nighttime trains plunge into the sea, and flying carpets vanish into oblivion. People fall victim to a perpetual insomnia, gradually forgetting the meaning of the old times as they adjust to the rigid order of a new language.
The banana company brings the appearance of modern prosperity to Macondo, but it conceals the oppression of workers and the exploitation of nature. Civilization's exploitation is not only the plundering of resources but also the erosion of soul and culture. Once Macondo’s vitality is drained, all that remains is a hollow ruin. The fate of the Buendía family mirrors the fate of human civilization: time moves in a circular loop, and progress is but the repetition of what has come before.
García Márquez portrays nearly every form of human loneliness: the loneliness of meaningless bewilderment, of love and desire burned to ash, of clinging to the familiar out of fear of the unknown, and of shared existence marred by unbridgeable emotional distance. The indecipherable parchments are like the eternal questions about selfhood that humanity can never answer. In the end, the Buendía family is swept away by the wind, lost to time. Through the epic of one family, García Márquez reflects Latin America's history, written in blood and tears, and reveals the unending cycle of pain, glory, and destruction in human civilization. In the world of humankind, only loneliness is ever-present, inescapable, and eternal.
[哥伦比亚/Columbia]
11-22-2024
献给全世界上校在全文最后说的俩字儿（怒吼）
[哥伦比亚/Columbia]
11-24-2024
他死在一场凶手为了不行凶而事先张扬的谋杀中，死在无数个被欲言又止的挽救和阻止中，死在周围人冷眼旁观的冷漠中，死在人性的恐惧、逃避，责任的推诿中。
集体冷漠和个人逃避如何共同酿成悲剧？马尔克斯用简练的文字和戏剧性的场景勾勒出一幅荒诞的社会画像，展现了人们在面对即将发生的悲剧时的麻痹与无能—— 谋杀不仅仅发生在凶手的行动中，更发生在每一个旁观者的冷漠与沉默里。 当危难临近时， 每个旁观者都可能成为间接的共谋。当救赎的可能性与道德软弱产生冲突——人们既渴望拯救，又恐惧介入——每一个"欲言又止"的时刻，都是一次道德的失败，每一次沉默，都是对生命尊严的背叛。
He died in a murder that the killers had announced beforehand to avoid committing it, in countless unspoken attempts to save and stop him, in the cold indifference of those who stood by and watched, in the fear and evasion of human nature, and in the shirking of responsibility.
How do collective apathy and individual avoidance come together to create tragedy? Márquez, with concise language and dramatic scenes, paints a tragic portrait of society, revealing people’s numbness and helplessness in the face of an impending disaster.
Murder does not only occur in the actions of the killers but also in the indifference and silence of every bystander.
When danger approaches, every bystander has the potential to become an indirect accomplice. When the possibility of redemption clashes with moral weakness—when people long to save but fear to intervene—every moment of hesitation is a moral failure, and every silence is a betrayal of the dignity of life.
[哥伦比亚/Columbia]
11-26-2024
*光恰似水这篇太美太灵了
[法国/France]
11-27-2024
流眼泪读完这本书。想抱抱曾在爱、崇拜或救赎的名义下受到伤害的女孩和男孩。当一个有名望的、成年的男性试图得到一个未成年的小孩时，全社会都在合谋把她/他们推向他。在公众舆论上，警惕、反对成年人和未成年人发生亲密关系当然不是道德秩序的“倒退”。在权力、社会阅历和性知识的不对等面前，提醒和预防弱势一方可能的面临的伤害，无可厚非。
Finished the book in tears. I just want to hug the girls and boys who have been hurt in the name of love, worship, or redemption. When a prominent, adult male tries to pursue a minor, the entire society seems to conspire to push her/them toward him. In terms of public opinion, being vigilant and opposing intimate relationships between adults and minors is certainly not a "regression" of moral order. In the face of imbalances in power, social experience, and sexual knowledge, it is perfectly reasonable to remind and prevent the vulnerable party from potential harm.
[英国/U.K.]
11-30-2024
[加拿大/Canada]
12-03-2024
阿特伍德奶奶创造了一个男性极权统治下的反乌托邦社会。她对男性集权的想象并非凭空而来，而是基于对历史与现实的深刻洞察。在基列共和国，女性被剥夺了一切权利与自主性，沦为生育的工具、行走的子宫。这种控制以宗教的名义被堂而皇之地实施，而宗教本身则成为巩固权力、维护父权制的借口。
基列共和国的运行逻辑反复暗示：当“神”被性别化为男性时，神学与权力便会天然地向男性倾斜，而女性则注定沦为次要且被控制的存在。只有当“神”超越性别的束缚，才能真正做到对所有性别一视同仁。否则，一神论的父权制宗教只会借助“神”的名义，推导出向男性倾斜的教义，并用神话般的逻辑解释性别差异，从而抬高男性的地位。
无论是对女性生育功能的工具化，还是利用恐惧来维持统治，基列共和国的世界并非完全虚构。它的雏形早已深植于历史之中，只不过当下表现得更加隐蔽、更温和，但绝不遥远。
Atwood created a dystopian society ruled by male authoritarianism. Her idea of male-dominated power is not made up but comes from her deep understanding of history and reality. In the Republic of Gilead, women are deprived of all their rights and autonomy, turned into tools for reproduction—walking wombs. This control is justified in the name of religion, which becomes the perfect tool to strengthen power and support patriarchy.
The system in Gilead shows again and again that when "God" is defined as male, theology and power will naturally favor men, while women are pushed into secondary and controlled roles. Only when "God" is free from gender can true equality for all genders happen. Otherwise, patriarchal monotheistic religions will keep using “God” to create teachings that favor men, using myths to explain gender differences and raise men’s status.
Whether it’s turning women into tools for having children or using fear to keep control, Gilead’s world is not entirely fictional. Its early forms already exist in history, even though today they are more hidden and gentle—but still very real.
[美国/U.S.A]
12-5-2024
[意大利/Italy]
12-7-2024
作者把资本主义的原始积累与“大猎巫”事件结合在一起（串联圈地运动、殖民侵略、黑奴贸易），阐释了历史上资本如果运用对底层女性的迫害（污名化、生育控制，“无偿劳动”来实现对女性群体的力量的压制并消除无产阶级的“反叛”力量的。
在经济匮乏的时期，妇女因无力承担养育成本而选择堕胎，却被指控为女巫因而被施加以极其严酷的惩罚。这一背景下，当局开始引入男医生进入产房（并不是因为传统产婆的技艺不精），开始重新定义和控制生育权。随着产婆被逐步边缘化，女性失去了对自身生育的控制权，而男性医生则摇身一变成为“生命的赐予者”。由此，“胎儿生命优于母亲生命”的观念逐渐形成并盛行。同时，一个更深层的性别权力转移表现为：原本在女性生育期间形成的女性群体支持逐渐被男性主导的医学体系瓦解，女性对生育的自主权和话语权随之被监视和剥夺。这种对男性开始逐渐主导的生育控制不仅重塑了社会对生命和母职的理解，也强化了性别权力的不平等。于是最终， 原始积累将男性变成工资的奴隶，而猎巫将女性变成男性工人的奴隶。
The author intertwines the primitive accumulation of capitalism with the "Great Witch Hunt" events (connecting the enclosures, colonial aggression, and the transatlantic slave trade) to illustrate how, throughout history, capital has utilized the persecution of lower-class women (through stigmatization, reproductive control, and "unpaid labor") as a means to suppress the power of women and eliminate the "rebellious" forces of the proletariat.
In times of economic hardship, women, unable to bear the costs of childrearing, resort to abortion, only to be accused of witchcraft and subjected to severe punishment. Against this backdrop, authorities begin to introduce male doctors into the delivery room—not due to the incompetence of traditional midwives—but in order to redefine and control reproductive rights. As midwives are progressively marginalized, women lose control over their own reproduction, while male doctors rise to the status of "givers of life." As a result, the notion that "fetal life is superior to the life of the mother" gradually takes root and becomes widespread. Simultaneously, a deeper shift in gender power dynamics occurs: the solidarity among women that once formed during childbirth is progressively undermined by the male-dominated medical system, and women's autonomy and agency over reproduction are increasingly monitored and stripped away. This emerging male-dominated control over reproduction not only reshapes society's understanding of life and motherhood but also reinforces gender-based power inequalities. Ultimately, the process of primitive accumulation transforms men into wage slaves, while the witch hunts turn women into the slaves of male workers.
[韩国/South Korea]
12-8-2024
从十几岁被强迫吃不喜欢的生鱼片开始时就横亘在嗓子里的鱼刺；变成丧尸的父亲和终会消散的伤痕；轮回想要拯救婚姻里的痛苦的母亲——这是女性的困境，无数个苦难的反复上演，挣不脱的暴力牢笼。软弱的承受和寄希望于改变，不如用鲜血去反抗。轮回的宿命，最终以死为句读，但其实，我们本可以选择不参与这场游戏。
This is the dilemma of women, the endless repetition of suffering, and the inescapable cage of violence. Weakly enduring and hoping for change is not as powerful as fighting back with blood. The cycle of fate ends with death, but in the end, we could have chosen not to play this game.
[古希腊/ Ancient Greek]
12-8-2024
这本除了前言之外不值得一读。
[中国香港/China]
12-9-2024
李碧华的书散发一股阴森森的独特气质。语言营造的氛围像潮湿土壤，滋养女性对爱情卑微却无望的渴求与寄托；粘腻的情感描绘里是女性“求而不得”的痴缠与执念。通过食物这一媒介，她书写女性对被爱和青春的追逐。当恐怖情节与历史背景（计划生育的残酷）关联，交织成一种吊诡而充满张力的叙事风格。但在猎奇之外，我还是不习惯阅读香港的语言风格lol。
Li Bihua's books have this eerie, one-of-a-kind vibe. Her writing feels like damp soil, nurturing women’s humble yet hopeless longing and attachment to love. The sticky, tangled emotions show women obsessing over desires they can’t reach. Through food, she writes about women chasing love and youth. When horror elements mix with historical contexts, like the harsh one-child policy, it creates this weirdly tense and twisted narrative style. But honestly, I’m just not used to the way people from Hong Kong express themselves.
[英国/U.K]
12-10-2024
选择一个作者作品的阅读顺序真的很重要！《达洛维夫人》对目前的我来说难度很大，读完依然一知半解，肤浅地解读一下8！
这本书没有清晰的情节主线，背景是伦敦六月某个普通白天——伍尔夫用流动的笔触无缝地切换不同叙述主体，心理描写、回忆与当下的对话在同一时空中发生。她将这些碎片编织在一起，描绘了几段看似毫无关联却又隐秘相连的人生。伍尔夫的文字就像春风，总是忽然一下子就吹到别的方向去了，于是读者被裹挟在和煦的、温柔的风里，被吹动着，旋转着，散落或轻抚过不同的地方。当然微风经过之后是没什么痕迹的留下的。
就像书中每个人的命运都悬而未决，伍尔夫不解释，不评判——她让我们看到陷入心理创伤中的人（塞普蒂默斯）和“旁观者”的无力（他的妻子露克丽霞）；她通过克拉丽莎、彼得·沃尔什和理查德·达洛维之间的情感纠葛，揭示出人生选择的复杂性：激情与安全、浪漫与现实之间的抉择，以及每个过往选择可能带来的后果。回忆与当下的感受交错流动，时间与缺憾不动声色地塑造人们的一生。而人生，或许只在无数个不确定的瞬间里才是真实而具体的。
The order in which you read an author's works really matters! Mrs. Dalloway feels quite challenging for me right now—I finished it but still only grasped parts of it, so here’s my shallow interpretation!
This book has no clear plotline. It takes place on an ordinary June day in London, and Woolf’s flowing prose seamlessly shifts between different narrative perspectives. Inner thoughts, memories, and conversations in the present all happen in the same space and time. She weaves these fragments together to portray lives that seem unrelated yet are secretly connected.
Woolf’s writing is like a gentle breeze, suddenly drifting in another direction. The reader is swept along, carried and spun softly by the warm, tender wind, scattered or brushed across different places. Of course, once the breeze has passed, it leaves behind almost no trace.
In the same way, the characters' fates feel unresolved. Woolf does not explain or judge—she shows us the pain of those trapped in psychological trauma (like Septimus) and the helplessness of the “onlookers” (like his wife, Lucrezia). Through the emotional entanglements of Clarissa, Peter Walsh, and Richard Dalloway, she reveals the complexity of life’s choices: the tension between passion and security, between romance and reality, and the consequences that come with those choices.
Memories and present feelings flow together, and time and regret quietly shape a person’s life. Perhaps life is only real and concrete in those countless uncertain moments.
[南非/South Africa]
12-16-2024
在强权与抵抗、救赎与施虐的纠葛中，行政官对盲眼少女的照料像一场道德实践，情欲只是其中很小的一部分。他对她的伤痕和残缺的凝视，对少女近乎仪式化的照顾，都是为了弥补自己的道德空缺。通过凝视和触摸少女的伤痕，他试图超越自身作为殖民者的欲望，赋予这段关系一个"更高"的意义。然而，这种善意根本无法逃脱殖民权力的压迫本质和男性身份的局限。在送女人部落的过程中，他从未询问女人是否需要这份"归还"。自我满足的善意更像是他内心对赎罪的渴望，期待通过这种行为获得宽恕与温情的回应。
行政官并非一开始便是清醒的反叛者，而是在目睹暴力和酷刑后才做出站在对立面的选择。但是，如果殖民规训采取温和、潜移默化的途径，他是否会沉默地旁观呢？在现代殖民理论中，文化同化、语言抹除等规训形式往往比显性的暴力更难察觉，但也更具侵蚀性。行政官的觉醒未必是彻底的。他选择反抗更多也许是出于道德洁癖，而不是真正脱离文明中心主义的框架。
在小说结尾，行政官所在的区域陷入荒凉与混乱，文明的内部秩序也随之崩塌。偏执者死去，冷漠者远走，而留下的人——究竟是对权力秩序崩塌的无力接受，还是另一种对新道德的固守？ 行政官不是英雄，也不是彻底的叛徒，他没有离开，也没有完全放弃抵抗，他始终无法摆脱文明的阴影，永远地被困在了"中间地带"。
In the entanglement of power and resistance, redemption and oppression, the administrative official's care for the blind girl resembles a moral practice, with sexual desire being only a small part of it. His gaze upon her wounds and disabilities, his near-ritualistic care for the girl, are all attempts to compensate for his moral deficiency. By gazing at and touching the girl's wounds, he tries to transcend his desires as a colonizer, imbuing this relationship with a "higher" meaning. However, this benevolence fundamentally cannot escape the oppressive nature of colonial power and the limitations of male identity. Throughout the process of returning her to her tribe, he never once asked the woman if she needed this "return". His self-satisfying kindness is more like an inner desire for redemption, hoping to obtain forgiveness and a warm response through this act.
The administrative official was not initially a lucid rebel, but chose to stand in opposition only after witnessing violence and torture. But would he have silently stood by if colonial discipline had taken a gentle, subtle approach? In modern colonial theory, disciplinary forms such as cultural assimilation and language erasure are often more difficult to detect than overt violence, yet more insidious. His awakening may not be complete. His choice to resist is perhaps more a result of moral fastidiousness, rather than a true departure from the framework of civilizational centrism.
At the novel's end, the region where the administrative official resides descends into desolation and chaos, and the internal order of civilization collapses accordingly. The fanatic dies, the indifferent depart, and those who remain—are they powerlessly accepting the collapse of the power order, or clinging to a new moral rigidity? The administrative official is neither a hero nor a complete traitor. He has not left, nor has he entirely abandoned resistance. He remains perpetually unable to escape the shadow of civilization, forever trapped in the "middle ground".
[美国/U.S.A]
12-18-2024