具体描述
SISTER OUTSIDER presents essential writings of black poet and feminist writer Audre Lorde, an influential voice in 20th century literature. In this varied collection of essays, Lorde takes on sexism, racism, ageism, homophobia, and class, and propounds social difference as a vehicle for action and change. Her prose is incisive, unflinching, and lyrical, offering a message of struggle but also of hope?one that still resonates with us after more than 20 years. This commemorative edition is, in Lorde's own words, a call to ?never close our eyes to the terror, to the chaos which is Black which is creative which is female which is dark which is rejected which is messy which is. . . .?
作者简介
Audre Lorde is a revolutionary Black feminist. Lorde's poetry was published very regularly during the 1960s — in Langston Hughes' 1962 New Negro Poets, USA; in several foreign anthologies; and in black literary magazines. During this time, she was politically active in civil rights, anti-war, and feminist movements. Her first volume of poetry, The First Cities (1968), was published by the Poet's Press and edited by Diane di Prima, a former classmate and friend from Hunter College High School. Dudley Randall, a poet and critic, asserted in his review of the book that Lorde "does not wave a black flag, but her blackness is there, implicit, in the bone."
Her second volume, Cables to Rage (1970), which was mainly written during her tenure at Tougaloo College in Mississippi, addressed themes of love, betrayal, childbirth and the complexities of raising children. It is particularly noteworthy for the poem "Martha", in which Lorde poetically confirms her homosexuality: "[W]e shall love each other here if ever at all." Later books continued her political aims in lesbian and gay rights, and feminism. In 1980, together with Barbara Smith and Cherríe Moraga, she co-founded Kitchen Table: Women of Color Press, the first U.S. publisher for women of colour. Lorde was State Poet of New York from 1991 to 1992.
目录信息
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这是一部极具时代精神的作品，它深刻地捕捉了后现代语境下个体身份建构的碎片化和多重性。阅读这本书的过程，与其说是被动接受信息，不如说是一种主动的共创体验，因为作者留下了足够的解读空间，让读者的个人经历和文化背景得以融入文本之中，从而使每一次阅读都带有独一无二的意义。我被其中那种近乎外科手术般精准的社会观察所震撼，它毫不留情地撕开了许多建立在舒适错觉之上的社会契约。从细微的日常互动到宏大的政治隐喻，作者总能找到那个隐藏的连接点，将二者无缝对接。它成功地将晦涩的理论问题转化为可感、可触的生命体验，这种文学上的转化能力令人赞叹。合上书的那一刻，我感觉自己仿佛刚刚完成了一场高强度的思维体操训练，精神被极大地拉伸和锻炼，对复杂世界的理解也因此变得更为立体和富有层次。
评分这本书给我的总体感觉是关于“在场”与“缺席”的辩证法。它探讨了当一个人被定义为“局外人”时，他/她所处的特殊空间——那个既不完全属于内部，也无法彻底逃离外部的世界。这种“阈限空间”的描绘，极其精准地捕捉了文化张力下的生存状态。那些看似零散的札记和反思，实际上共同构建了一个宏大的哲学框架，讨论的是我们如何与世界建立联系，以及当这种联系被系统性地阻断时，个体如何自我修复和重建意义。我特别留意到作者对语言本身的警惕，她似乎在不断地挑战既有词汇的局限性，试图发明一种新的语言来承载那些无法被现有词汇囊括的体验。每一次阅读，都像是在攀登一座由概念和情感构筑的高塔，每一次向上，视野都变得更加开阔，但也更加孤独。
评分文字的密度和能量让人喘不过气，简直像是一连串猛烈的、精准的拳击，直击思想的要害。这种文学表达的力度和穿透力，在近些年的阅读体验中是极其罕见的。叙事结构本身就像是一座迷宫，看似随意散落的观察和回忆，实则暗藏着精巧的布局，每一次转折都将你引向更深层的悖论。我欣赏作者拒绝提供简单答案的态度，与其说是提供解决方案，不如说是提供了一种面对困境的勇气和视角。那些关于权力结构如何渗透到最私密的人际关系中的描述，尖锐而令人不安，但正是这种不安感，构成了作品的核心张力。它让你意识到，很多我们习以为常的“自然”状态，其实都是精心建构的结果。阅读时，我常常需要停下来，去消化那些层层递进的比喻和象征意义，每一句话都仿佛被反复锤炼过，去除了所有多余的装饰，只剩下核心的、赤裸的真实。
评分这是一部关于身份认同与边缘经验的震撼之作，阅读过程仿佛经历了一场深刻的自我对话。作者以极其个人化和坦诚的笔触，剖析了在主流叙事之外，那些被忽视的声音所承受的复杂情感。我尤其被其中对“他者化”现象的细腻描摹所打动。那些关于身体、性别、种族等议题的探讨，并非停留在理论层面，而是通过一个个鲜活的场景和人物的内心挣扎得以呈现。书中那种游走于清晰与模糊之间的叙事方式，恰恰精准地捕捉了边缘群体在寻求归属感时的那种永恒的漂泊感。读完之后，我不得不重新审视自己对“正常”和“主流”的既有认知。那些看似毫不相干的片段，最终汇集成一张密不透风的情感之网，让你在合上书本时，仍能感受到其中强劲的脉动。它不是一本轻松的读物，但它带来的思考价值，远超寻常。它迫使你走出舒适区，去倾听那些日常生活中被我们习惯性忽略的低语。
评分从文学技法的角度来看，这本书展现了一种高超的控制力，尤其是在处理情绪的起伏和节奏的把握上。它不是那种一气呵成的流畅叙事，而是充满了断裂、跳跃和回声，这完美地模拟了记忆和创伤被处理时的非线性状态。我能清晰地感受到作者在不同的声音之间切换，那种语气的微妙变化，从讽刺的冷峻到近乎恳求的温柔，展现了极强的共情能力。它探讨了“看”与“被看”之间的复杂动态关系，揭示了在被凝视时，个体如何被迫重塑自我以适应观察者的期待。这种对“观看”的解构，无疑是当代批判性理论的绝佳文学实践。通篇下来，我仿佛置身于一个持续的辩论场中，作者不断抛出挑战性的观点，迫使我这个局外人也必须站队、表态，或者至少，进行更深入的反思。
评分感觉就是一记一记重锤。
评分In order to perpetuate itself, every oppression must corrupt or distort those various sources of power within the culture of the oppressed that can provide energy for change.
评分Black Feminism必读。语言简练很容易读，经常跳出很经典的句子。
评分感觉就是一记一记重锤。
评分Audre Lorde, “Poetry is Not a Luxury”
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