Eileen Chang (1920–1995) was born into an aristocratic family in Shanghai. Her father, deeply traditional in his ways, was an opium addict; her mother, partly educated in England, was a sophisticated woman of cosmopolitan tastes. Their unhappy marriage ended in divorce, and Chang eventually ran away from her father—who had beaten her for defying her stepmother, then locked her in her room for nearly half a year. Chang studied literature at the University of Hong Kong, but the Japanese attack on the city in 1941 forced her to return to occupied Shanghai, where she was able to publish the stories and essays (collected in two volumes, Romances, 1944, and Written on Water, 1945) that soon made her a literary star. In 1944 Chang married Hu Lan-ch’eng, a Japanese sympathizer whose sexual infidelities led to their divorce three years later. The rise of Communist influence made it increasingly difficult for Chang to continue living in Shanghai; she moved to Hong Kong in 1952, then immigrated to the United States three years later. She remarried (an American, Ferdinand Reyher, who died in 1967) and held various posts as writer-in-residence; in 1969 she obtained a more permanent position as a researcher at Berkeley. Two novels, both commissioned in the 1950s by the United States Information Service as anti-Communist propaganda, The Rice-Sprout Song (1955) and Naked Earth (1956), were followed by a third, The Rouge of the North (1967), which expanded on her celebrated early novella, “The Golden Cangue.” Chang continued writing essays and stories in Chinese and scripts for Hong Kong films, and began work on an English translation of the famous Ch’ing novel The Sing-Song Girls of Shanghai. In spite of the tremendous revival of interest in her work that began in Taiwan and Hong Kong in the 1970s, and that later spread to mainland China, Chang became ever more reclusive as she grew older. She was found dead in her Los Angeles apartment in September 1995. In 2006 NYRB Classics published a collection of Chang’s stories, Love in a Fallen City, and in 2007, a film adaptation of her novella Lust, Caution, directed by Ang Lee, was released.
Now available in English for the first time, Eileen Chang’s dark romance opens with Julie, living at a convent school in Hong Kong, on the eve of the Japanese invasion. Her mother, Rachel, long divorced from Julie’s opium-addict father, saunters around the world with various lovers. Recollections of Julie’s horrifying but privileged childhood in Shanghai clash with a flamboyant, sometimes incestuous cast of relations that crowd her life. Eventually, back in Shanghai, she meets the magnetic Chih-yung, a traitor who collaborates with the Japanese puppet regime. Soon they’re in the throes of an impassioned love affair that swings back and forth between ardor and anxiety, secrecy and ruin. Like Julie’s relationship with her mother, her marriage to Chih-yung is marked by long stretches of separation interspersed with unexpected little reunions. Chang’s emotionally fraught, bitterly humorous novel lifts a fractured mirror directly in front of her own heart.
尊敬的主持人,尊敬的宋以朗先生,尊敬的各位嘉宾以及在座的所有朋友,今天下午荣幸能够参加《小团圆》中国内地版的首发式。在今天上午从上海到北京的飞机上我在想,我的发言该有一个怎么样的开场白。为了寻找这个开头,我在登机前特地看了上海浦东机场的书店,我有一个想象,...
评分去年某天上天涯,一进首页,头条一行大字撞进眼来:“一对狗男女”。因为个人一向钟爱这句话,不免好奇谁跟谁又惹群众生气了。兴冲冲地点开,居然又是批胡张的,太没有创意了。大笑而出。不管是得意如他还是撇清如她,不管群众怎样鄙视,粉丝怎样互掐,他们这才叫生生死死不得...
评分 评分在没看《小团圆》之前,我就有思想准备,这将不是一本令人愉悦的书。有张迷甚至在论坛上发帖说,“非张迷勿读《小团圆》。张迷慎读《小团圆》”很不以为然,一笑置之。我在小团圆出版的第一时间就读了港版,妖哥还很奇怪的问我,你又不是张迷,那么尝鲜干嘛?我说因为我相信张...
前面好像好一点,后面好像翻译烦了似的,越译越差,不过对于张爱玲和小团圆来说,译成这样也就可以了
评分并不是译笔不好,只不过真的太太太太不像Eileen Chang了_(:з」∠)_
评分并不是译笔不好,只不过真的太太太太不像Eileen Chang了_(:з」∠)_
评分??英文版?
评分并不是译笔不好,只不过真的太太太太不像Eileen Chang了_(:з」∠)_
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