A Chinese American woman tells of the Chinese myths, family stories and events of her California childhood that have shaped her identity.
Maxine Hong Kingston, (born October 27, 1940, Stockton, California, U.S.), American writer, much of whose work is rooted in her experience as a first-generation Chinese American. Maxine Hong was the eldest of six American-born children of Chinese immigrant parents. Hong’s father, a scholar, had left China in 1924 and immigrated to New York City; unable to find work as a poet or calligrapher, he took a job in a laundry. Hong’s mother had remained behind in China and joined him in the United States in 1939. Hong attended the University of California, Berkeley, as a scholarship student, graduating in 1962. At Berkeley she met aspiring actor Earll Kingston. They were married in November 1962 and had a son in 1964. The couple taught at Sunset High School in 1966–67 in Hayward, California, then moved to Hawaii, where she held a series of teaching jobs for the next 10 years. In 1976 Kingston published her first book, The Woman Warrior: Memoirs of a Girlhood Among Ghosts. It combines myth, family history, folktales, and memories of the experience of growing up within two conflicting cultures. The book was an immediate critical success, winning the 1976 National Book Critics’ Circle Award for nonfiction. In her second memoir, China Men (1980), Kingston tells the story of Chinese immigration through the experiences of the men in her family. Using the narrative techniques of The Woman Warrior, she relates their stories of virtual slave labour, loneliness, and discrimination. China Men won the American Book Award for nonfiction. In Tripmaster Monkey: His Fake Book (1989), the main character—Whittman Ah Sing, named after Walt Whitman—narrates a peculiarly 20th-century American odyssey; the book combines Eastern and Western literary traditions while emphasizing the Americanness of its characters. In To Be the Poet (2002), written mainly in verse, Kingston presented a rumination on elements of her own past and the acts of reading and creating poetry. The Fifth Book of Peace (2003) combines elements of fiction and memoir in the manner of a Chinese talk-story, a tradition in which elements of both the real and imagined worlds become interpolated. I Love a Broad Margin to My Life (2011) is a “memoir-in-verse.” Kingston also published poems, short stories, and articles. Her collection of 12 prose sketches, Hawai’i One Summer (1987), was published in a limited edition with original woodblock prints and calligraphy. Beginning in 1993 Kingston ran a series of writing and meditation workshops for veterans of various conflicts and their families. From these workshops came the material for Veterans of War, Veterans of Peace (2006), a collection edited by Kingston containing prose and verse on the experiences of war, domestic violence, drug abuse, and other traumatic experiences. In 2014 Kingston received the National Medal of Arts.
最初看到封面上的推荐语,‘那些初来美国的人,如果不是百折不挠,就只能年纪轻轻客死他乡。’对于一个常年漂泊在外,中间在几个国家生活过的人来说,看到这句话,泪已经开始翻涌。当你身在异乡,面对什么都不熟悉的社会,什么的不熟悉的一切,恐慌扑面而来。但它不会留给你有...
评分 评分《女勇士》用五个不同的故事来讲述中国女性的地位,从妈妈的口述中得知那些素未谋面的女性的命运,它向我们充分展示了传统中国父系社会里女性的卑贱与悲哀。它不仅描述了中国的社会面貌,也向我们表达了美籍华裔的心路历程,透露了他们的艰辛与不易。这不仅向世界展示了我们中...
评分故事带有移民文学的特色,作者以五个故事讲述了女人要如何在社会责任与自我认知之间保持平衡。 女勇士,the women worrier是20世纪美国华裔文学的标志之一。 五个民间故事融合了传记的形式表达出来,尽管一直受到真实性的质疑,但是作为一本小说,五个故事还是很吸引人的。我最...
评分初读此书,给我以一种 “毛骨悚然”的阅读感受,会不由地蹙眉哑默,会有读不下去乃至一些读不懂的不适。作者用独特的写作方式,带领读者不断地立足现实,坠入虚构,回归过去又跌入编织的梦境,如此跳跃,循环往复。难免令人有坐过山车似的眩晕感。此外,对这个拥有极端复杂性格...
不得不提的是,这本书在处理“文化冲突”时所展现出的复杂性和深刻性,远远超出了我对这种题材的想象。它没有采取简单的“好人与坏人”或者“先进与落后”的二元对立结构。相反,作者笔下的人物,无论身处何方,都在努力地从自己拥有的文化资源中汲取力量,即使这些资源本身充满了矛盾和痛苦。我特别着迷于她如何将那些古老的民间传说和现代社会的压力编织在一起。那些传说,与其说是迷信,不如说是祖先在面对无法解释的苦难时,为自己构建的一种心理防御机制。当主人公试图挣脱这些束缚时,她并没有完全否定它们,而是以一种成年人的视角,重新审视和解释了这些故事的意义。这使得整个叙事充满了层次感,没有廉价的对立,只有对“如何活下去”这个永恒命题的深刻探讨。这种对文化遗产的继承与重塑,是这本书最让我感到震撼的地方。
评分初次翻开这本书时,我被那种强烈的“异乡感”深深吸引住了。这不是那种典型的移民故事,它更像是一部关于如何在两种文化夹缝中生存的内心独白。作者的语言充满了张力,她时而用极其简洁、近乎冷酷的笔触描绘生活的残酷面,时而又突然爆发出一连串华丽、充满民俗色彩的比喻,这种语气的剧烈变化,让人仿佛置身于两个截然不同的世界之间,一种是理性克制的现代都市,另一种是充满鬼神和古老智慧的故土。我尤其欣赏她处理“家族秘密”的方式,那些被缄默下来的历史和代代相传的重担,没有被简单地揭露或批判,而是像幽灵一样盘旋在人物的言行之间,影响着他们的每一个选择。每一次家庭聚会,都像是一场无声的战争,每个人都在努力扮演着被期望的角色,而真正的自我却被深埋在心底。这种对家庭内部权力结构和性别角色的细腻观察,让我产生了强烈的共鸣,仿佛看到了自己家族历史的某种缩影。她没有提供简单的答案,而是把那个巨大的、无法调和的矛盾直接抛给了读者,让人在合上书后仍久久不能平静。
评分从文学技巧的角度来看,这本书无疑是大师级的作品。作者的文字功力炉火纯青,她擅长使用那些你以为自己理解了,但下一秒就会发现内涵远超想象的词汇。那些富有诗意的描述,绝不是为了炫技,而是为了精确地捕捉那些转瞬即逝的、难以名状的情感状态。举个例子,她描述“沉默”的方式,简直可以单独拿出来分析,那不是简单的没有说话,而是充满了重量、意图和历史的沉默。这种对语言边界的不断探索,使得阅读过程本身变成了一种智力上的享受。我发现自己不得不经常停下来,回味那些句子,试图理解它们在上下文中的全部含义。这绝对不是一本可以边看手机边读的书,它要求你完全投入,将自己的全部注意力奉献给作者所构建的这个独特的世界。读完之后,我感觉自己的词汇量和对表达复杂情感的理解力都得到了极大的提升,它挑战了我的阅读习惯,并最终以其卓越的艺术成就赢得了我的尊敬。
评分这本书的节奏掌握得非常高妙,简直像一首精心编排的交响乐。你知道的,有些小说从头到尾都是一个调子,平稳得让人昏昏欲睡,但这本完全不是这样。它有沉静如水的段落,让你有时间去沉思那些关于命运和宿命的哲学思考;但紧接着,作者会突然用一种近乎狂暴的、近乎神话般的语调,描绘那些充满力量感的瞬间。那些关于勇气和反抗的描绘,不是那种好莱坞式的英雄主义,而是更内在的、对自我定义权的争取。我感觉作者是在不断地测试读者的耐心和接受度,她不断地打破常规的叙事期望,让你时刻处于一种被挑战的状态。有那么几章,我几乎要放弃了,觉得情节太散、太晦涩,但只要坚持读下去,总能在一个意想不到的地方,发现一个无比精妙的伏笔被兑现,或者一个关键的转折点被突然点亮。这种阅读体验,更像是一场探险,你得靠着直觉和对作者风格的把握,去穿过那些迷雾。
评分这本书简直是本迷宫,读起来让人既兴奋又头疼。作者的叙事手法太跳跃了,感觉像是在看一部意识流的电影,场景和时间线不断地闪回、交织,你得时刻保持高度警惕,才能跟上她那跳跃的思绪。我花了很大力气才把那些看似毫无关联的片段串联起来,比如某个童年的微小片段,突然就映射到了成年后某个重大的决定上。这不是那种平铺直叙、让你一眼望到底的小说,更像是一块巨大的、打磨得极其精细的拼图,每一块碎片都藏着一种情绪,一种文化的张力。读到后半部分,我才真正体会到这种“碎片化”叙事带来的震撼力,它模仿了记忆本身的不确定性和复杂性,让人不得不去思考,到底什么是真实的故事,什么是我们自己构建出来的神话。那些反复出现的意象,比如水流、石头、古老的歌谣,它们不是简单的装饰,而是构成叙事骨架的关键锚点,每一次重现都带着新的重量和解读空间。这本书要求读者付出极大的努力,但回报也是巨大的,它强迫你慢下来,去品味那些潜藏在文字背后的、那些难以言喻的文化断裂感和身份认同的挣扎。
评分I would still be young if we lived in China. 魔性。 居然有些地方被感动了。 What does your mother call him? She calls him father of me.
评分华裔女性作家视角果然有我喜欢的特别~希望有机会能好好研究吧
评分发现自己阅读速度惊人,慢的惊人
评分not sure i like her too obvious femenist conscious, though all symptoms about chinese are unmistakenly true, which is very uncomfortably acheing to admit being a chinese myself. the last two chap is bit denument compared to the first three. But the novel fell short of my expectation on the whole.
评分才发现副标题是Memoirs of a Girlhood Among Ghosts。还是那样,一开始再不喜欢的书,看到最后时也觉得深深的舍不得,没有任何人是讨厌的。
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