Amy Tan is the author of The Joy Luck Club, The Kitchen God’s Wife, The Hundred Secret Senses, The Bonesetter's Daughter, The Opposite of Fate, Saving Fish from Drowning, and two children’s books, The Moon Lady and The Chinese Siamese Cat, which has been adapted as Sagwa, a PBS series for children. Tan was also the co-producer and co-screenwriter of the film version of The Joy Luck Club, and her essays and stories have appeared in numerous magazines and anthologies. Her work has been translated into more than twenty-five languages. Tan, who has a master’s degree in linguistics from San Jose University, has worked as a language specialist to programs serving children with developmental disabilities. She lives with her husband in San Francisco and New York.
Amy Tan’s beloved, New York Times bestselling tale of mothers and daughters. Nominated as one of America’s best-loved novels by PBS’s The Great American Read. Four mothers, four daughters, four families whose histories shift with the four winds depending on who's "saying" the stories. In 1949 four Chinese women, recent immigrants to San Francisco, begin meeting to eat dim sum, play mahjong, and talk. United in shared unspeakable loss and hope, they call themselves the Joy Luck Club. Rather than sink into tragedy, they choose to gather to raise their spirits and money. "To despair was to wish back for something already lost. Or to prolong what was already unbearable." Forty years later the stories and history continue. With wit and sensitivity, Amy Tan examines the sometimes painful, often tender, and always deep connection between mothers and daughters. As each woman reveals her secrets, trying to unravel the truth about her life, the strings become more tangled, more entwined. Mothers boast or despair over daughters, and daughters roll their eyes even as they feel the inextricable tightening of their matriarchal ties. Tan is an astute storyteller, enticing readers to immerse themselves into these lives of complexity and mystery.
终于囫囵吞枣地看完这部小说。 像一座并不复杂的迷宫,但需要你时时回到起点,停下来,慢慢理清。四对母女,女儿、母亲各自讲述,母亲们的故事瑰丽,却总带悲怆的底色,是一段段的传奇。女儿们的故事则较为寻常,更多带有现实的无奈。 母亲总有一些奇怪的道理和超能力,在华裔...
評分《喜福会》的卷首是一个名为“千里鸿毛一片心”的故事。单从题目来看,任何有着中国传统文化的背景的人,都会不由想到那个“千里送鹅毛”的故事,送礼物的人原本是要给友人带去一只稀有的天鹅,没想到半路不慎让它飞走,即便如此,他还是坚持赶路,直到把一片看似微不足...
評分女性书写之里程碑作品《简•爱》在1847年出版时以柯勒•贝尔(Currer Bell)这一性别不明的笔名出版;乔治•艾略特这一男性笔名和其行文风格常常使读者认为其作者理所应当为男性;伊莱娜•内米洛夫斯基1929年寄往出版社的《大卫•格德尔》除了留下了邮箱外没有其他...
評分“我们就像是台阶一样,一级接着一级。”在外婆、妈妈和我这个台阶上,我从来,并且永远都是位于第三的位置——虽然,在以后的岁月里,我很有可能在不同台阶上更换位置,譬如说,我有了女儿,女儿又有了她的女儿。但这也改变不了我曾经忽视她们的事实。 打从我一生下...
評分女性书写之里程碑作品《简•爱》在1847年出版时以柯勒•贝尔(Currer Bell)这一性别不明的笔名出版;乔治•艾略特这一男性笔名和其行文风格常常使读者认为其作者理所应当为男性;伊莱娜•内米洛夫斯基1929年寄往出版社的《大卫•格德尔》除了留下了邮箱外没有其他...
行文簡單,感情深厚,怪不得被國內外校選作中學教材。我等DS比人傢遲瞭十幾年!
评分讀這種書會不時浮現自己和媽媽的往日情景。
评分無論是否被評論傢們稱之為迎閤外國人的口味而寫作,譚恩美確實在寫她眼中的中國人,語言情緒到位不做作。寫女人間的媚態、舊中國甚至有些愚昧的傳統,還有移民潮下個體如何對待中西文化的矛盾,年輕一代又如何處理自己的尷尬的身份以及與父輩的代溝。語言上原版比中譯本精緻很多,讀起來饒有味道,中譯本反倒顯得生硬和矯揉。
评分看到中間的時候隻想吐槽,各種描述中國傳統服飾的奇怪詞匯,故事也沒什麼意思,看到最後一篇的時候纔覺得整本書串聯起來所傳達的信息挺動人的
评分看到中間的時候隻想吐槽,各種描述中國傳統服飾的奇怪詞匯,故事也沒什麼意思,看到最後一篇的時候纔覺得整本書串聯起來所傳達的信息挺動人的
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