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在他鄉寫作
《读中文系的人:真是想你知道,文学是永恒感人的》共收二十二篇长短不等的文章，作者把它们分为三类：第一部是分文随笔类；第二部是赏析评论类；第三部是近年来翻译《源氏物语》的相关文章。作者之所以把这三种类型不同的文章收在一起，乃是因为尽管内容性质有别，却都是读中文系的人始终努力用功的三个方向。每个方向又与在台大读中文系的那一段日子有深厚而又温暖的关联，因此书名也已《读中文系的人》命之。
这并不是一本计划周详、深思熟虑、结构严谨的书。
你将会看到的是我在日常生活中能够蒐集到的事物。某些观点和音见属个人观感。
如果你发觉内容和任何人有雷同，大概就是那人了。
如果你买了这本书，请再多买一本送人。
谢谢所有的朋友们和粉丝们，感谢你们的参与，为了支持建设更美好的世界，你们都贡献了宝贵的作品。
特别向Hank Leung, Karina Ha, Virginia Yeung and my mom致谢。
啤啤八月面世
Muchos Gracias Soul Boy 功夫大同
——方大同
★名人推薦：
在世界各大宗教傳統之中，唯有猶太教與道教對書寫文字有著神聖的崇拜與強調，然而在這方面一直欠缺
學術性的研究，本書的出版補足了這種學術上的失衡。本書是對道教經典關鍵概念的深化研究，其焦點在
靈寶經「天文」觀念的考察。儘管本人對靈寶經進行了近三十年的深入研究，閱讀本書依舊讓我受益匪淺。
其中本書探討靈寶經中「大梵隱語」對佛教經典的模仿尤為細緻，而對天真皇人這個角色在靈寶經中的重要
性亦作了完整的考察，也是我過去所未加注意的重要課題。仔細閱讀本書中的章節總會讓我重新思考我們對
靈寶經典的種種預設。
美國亞利桑納州立大學(Arizona State University)宗教研究系
柏夷(Stephen R. Bokenkamp)教授
靈寶經派既傳承天師道的傳統，也受容佛經譯介所引進的文化激發，更切要的就是積極回應儒家經典「原道」、
「徵聖」、...
(展开全部)
本书汇聚了“苦僧诗人”周夢蝶的五部诗集（共计66首诗），分别是《孤独国》（作于二十世纪五十年代）、《还魂草》（作于二十世纪六十年代）、《十三朵白菊花》（作于二十世纪七八十年代）、《约会》（作于二十世纪九十年代）和《有一种鸟或人》（作于二十一世纪初）。这些诗质朴纯净，笔端轻松幽默，饱含诙谐从容趣味，与时代脉搏强烈呼应，具有很高的文学价值。
“花在整理泪水的时间比写的时间长几倍”，成就苏伟贞“本命写作”之书。
“我没赶上他出生，却无奈要送别他死，这是我写《时光队伍》的理由。”——苏伟贞
梁文道《我执》专文推荐 内地版首次引进
2006香港《亚洲周刊》中文十大小说奖
2006《中国时报》“开卷十大好书”奖
“死亡是一个不断被拿出来写透透的普遍性故事，如何在这个十分普遍性的故事里写出自己独特的意义，我希望这个文本是清清楚楚属于张德模的，我无意为张德模立碑，他也不会因为死了就成为一个英雄或完人。我的打算是，小说表面是写死，但这里并没有死，反而是写生。明明白白勇气十足的生，接近永恒。”
“站在一个妻子的角度，我看见他亲眼目睹自己死的过程，从头到尾没掉过一滴泪，没有一丝感伤，彻底实践‘怕死也是死，不怕也是死’的生死理念，他死的样子就像他活的样子。”
笑傲七十年：李敖有话说（全八册），ISBN：9787505726574，作者：李敖 著
《纽约客》是白先勇在六十年代就已着手创作的小说系列，《纽约客》之名或许借自美国著名文学杂志New Yorker，却与《台北人》正好成为一个浑成的佳对。从收录在《纽约客》尔雅版这个集子中的六篇小说来看，《谪仙记》和《谪仙怨》写于二十世纪六十年代，《夜曲》和《骨灰》发表在二十世纪七、八十年代，《Danny Boy》和《Tea for Two》则是最近几年创作的作品。仔细对照这些分属不同时期的小说，或许可以发现，体现在白先勇《纽约客》中的创作立场，经历了一个从上个世纪的国族（中国）立场，到近年来的世界主义的变化过程。
《四喜忧国》的出版是张大春真正意义上被大陆引进的第一本小说。这部短篇小说集里不但包含台湾版的所有7篇小说，另外还增添了6篇小说，基本囊括了他初期的成名代表作：1975年得到第九届时报小说甄选首奖的《将军碑》、当年题材大胆“犯禁”的《四喜忧国》、早期的《悬荡》、《鸡翎图》等一篇篇热闹又有门道的短篇作品。此外，张大春还专门为大陆版撰写了一篇精彩的序言《偶然之必要》。
首輯共八本，分別為馮明珠副院長的＜清宮檔案叢談＞、書畫處前處長王耀庭＜古書古畫今日看＞、登錄保存處處長嵇若昕的＜雙溪文物隨筆＞、器物處處長蔡玫芬的＜雜說說雜＞、書畫處副處長李玉珉的＜佛陀形影＞、器物處鄧淑蘋研究員的＜古玉新詮＞、器物處前研究員廖寶秀的＜茶韻茗事－故宮茶話＞及書畫處劉芳如副研究員的＜丹青之間＞。
這八冊叢書所涉主題甚廣，介紹內容包含書法、繪畫、佛教藝術、玉、陶瓷、漆等各類器物、珍玩、茶藝與文獻檔案等，為讀者提供多元閱讀選擇。
此书曾于2004年出版，引起小说界和学界的瞩目，更是受到广大小说爱好者的追捧。此次为修订版，作者亲自写了一篇精彩纷呈的长序《志怪应逢天雨粟》。
喜欢读小说、写小说的人应该能体贴胡适把明、清之际的许多小说家“拉拔”到和古文家等高甚至更高一等的地位上去。虽然胡适的《白话文学史》只写到中唐的元、白诗便戛然而止，压根儿没从小说上说明白：中国文学是如何“永永脱离了盲目的自然演化的老路，走上了有意创作的新路”的。然而，在《白话文学史》书成近70年后，胡适的意见乃至于诸多考证研究与观念的发明，不该只被看成是“奖掖小说”、“揄扬当代”而已。他所触及的课题倘若不被进一步发现、开展，喜欢读小说、写小说的人恐怕也“永永”不会明白：从施耐庵到吴跌人是如何……
在《小说稗类》中，由庄子始，张大春炫技似地学舌马奎兹、戏仿司马中原……极尽耍痞嘲弄之能事。难得他如此杂学百家、博古通...
(展开全部)
《寂寞的十七岁》收入白先勇早期、中期的短篇小说多篇。白先勇早期小说可分两类 ：一类是或多或少凭借自己切身经验改头换面写成的小说：《金大奶奶 、《我们看菊花去》、《玉卿嫂》、《寂寞的十七岁》，多少表露出作者童年、少年时代的自己。第二类， 幻想（fantasy）的成分较重，最显著的例子是《青春》，此外，《闷雷》、《黑虹》、《小阳春》、《藏在裤袋里的手》，也多少是幻想的产物。夏志清认为白先勇是当代中国短篇小说家中的奇才，五四以来，艺术成就上能与他匹敌的，从鲁迅到张爱玲，五六人而已。
十九世纪末期，东莞农村小女孩黄得云被人绑架到香港做了红妓，后来母因子贵，成了香港上层社会的名流。一个苦难少女及其后人的际遇经历，构成了完整的三部曲；作者用以折射出香港自1842年开埠以来的发展历程。
《我折叠着我的爱》简介：台湾著名女诗人席慕蓉的诗，澄明热烈，真挚动人，充满了田园式的牧歌情调和舒缓的音乐风格。她多写爱情、人生、乡愁，写得美极，淡雅剔透，抒情灵动，饱含着对生命的挚爱真情，充满着对人情、爱情、乡情的领悟。
她的诗作上世纪八十年代被引进大陆后，风靡一时，曾经深深影响了整整一代人的成长历程。这次作家出版社特取得席慕蓉独家授权，并由席慕蓉亲自审订，集中推出席慕蓉目前所有诗集六册，即《七里香》《无怨的青春》《时光九篇》《迷途诗册》《边缘光影》《我折叠着我的爱》，这是目前国内最为严整的席慕蓉诗集。
《白垩纪》是当代散文大家，文坛重量级作家席慕容最新散文集。在这个忘却诗歌和书信的年代，席慕蓉的书一如一位时时陪伴身边的好友。她那优美动人的文字，让我们看到了幸福的时刻，看到感人的情怀，看到生命流转中，那些更幽微更辽远的牵连。
《时光九篇》简介：台湾著名女诗人席慕蓉的诗，澄明热烈，真挚动人，充满了田园式的牧歌情调和舒缓的音乐风格。她多写爱情、人生、乡愁，写得美极，淡雅剔透，抒情灵动，饱含着对生命的挚爱真情，充满着对人情、爱情、乡情的领悟。
她的诗作上世纪八十年代被引进大陆后，风靡一时，曾经深深影响了整整一代人的成长历程。这次作家出版社特取得席慕蓉独家授权，并由席慕蓉亲自审订，集中推出席慕蓉目前所有诗集六册，即《七里香》《无怨的青春》《时光九篇》《迷途诗册》《边缘光影》《我折叠着我的爱》，这是目前国内最为严整的席慕蓉诗集。
「測量」的基礎是先從其中一個物體開始
以下帶大家複習這個用來測量描繪相對位置的工具要怎麼使用。
「測量」工具：在確認構圖和比例（proportion）時，請注意取景框一定要保持水平或垂直，並好好地固定住。當描繪對象位於視線高度的上方或下方時，要以自己望向描繪對象中央附近的視線為準，並把取景框維持直角的角度。每次重新測量時，都必須注意不要讓取景框的位置有所偏移。
取景框（Dessin Scale）：除了有B尺寸紙張專用（右圖）之外，也有炭筆紙專用的，請配合繪畫用紙自行準備。
測量棒：用來觀察描繪對象的中心軸、測量比例用。
取景框的拿法：將背打直，身體正面朝向描繪對象，並拿住取景框下方的黑框部分，小心謹慎地讓取景框呈現水平、垂直狀態。
為了讓要畫的東西看起來能更清楚，背景最好為白色的牆壁，且四周保持空無一物的狀態。
如果底座會晃動，請塞入紙等物品，使其安...
(展开全部)
全書分成四大部分，共29篇專文：當代電影研究、電影導讀、從實驗電影到當代藝術、導演專訪。內容包括台灣導演蔡明亮訪談及電影分析、香港導演王家衛作品之研究、西方實驗電影、當代藝術、攝影等的歷史分析。
《七里香》：她的诗作曾经深深影响了一代人的成长历程；迄今最为严整的席慕蓉诗集；她的爱憎情仇，并非一人一时一地一族一国所可范围，那是宇宙庞伟的光影下永恒的母题和眩惑!
歷史寫作為歷史研究中極重要的一環，而其寫作的基本原則與所有人文社會學科皆相通。如何寫出清晰、流暢、具邏輯性、同時內容又嚴謹豐富的研究論文，一直是許多學子的難題。
本書從最基本的寫作原則談起，引導讀者思考歷史、分析史料、訂立主題、找資料，並教導讀者切入主題的方式與安排論述的層次，一步一步帶領讀者進入歷史書寫的世界。
文坛有名的朱家三姐妹，如今都已挥别青涩的少年时代，成为思想成熟的现代女性。其中…名是单身贵族，一名是袋鼠族，一名是丁克族，三姐妹三种身份，但是在这里，她们都借由小同的笔调和人生经历，来抒发她们对同一事件的不同观点。她们的文字活泼俏皮，观念新颖有趣，是一首好听的三重唱。
本书是香港作家陈宁向法国作家雷蒙•格诺（Raymond Queneau）的致敬之作。这位法国老先生在听完巴赫的赋格曲后，把音乐变奏的概念移植至文字，一则小故事可以幻化成九十九种不同的叙事风格。陈宁被格诺的文字迷倒，遥借此实验精神，延续风格的变奏，在方块文字里述说一则又一则生活小故事。
这一则则小故事或发生在香港、巴黎、台北、伦敦、上海……或抒写任何她感到兴趣的领域：音乐、文学、电影、饮食、感官……作者游离于时光隧道，不停转移视点，不断回溯记忆与经验，剪辑那些过往的韶光掠影，用典雅精致的文字，写出她这些年来的人生历练与漫游体会。
金牌华语电影人深度访谈，讲述不为人知的幕后故事。受访对象包括徐克、陈可辛、顾长卫、许鞍华、尔冬升、赖声川、刘镇伟、陈德森等。详细讲述当今最具影响力的导演们的电影情感及心路历程。访谈文字如朋友间促膝交谈，真实洒脱而无矫饰，或睿智或诙谐，读者可于问答间翻开一幕幕光影，得窥著名电影人作品背后的喜怒哀愁，在回忆中拼接出一段段光阴，咀嚼摄影镜头之外的时代变迁。
童年的阅读，阅读的记忆与困惑，阅读的方法与知识，乃至于阅读的梦境，勾勒出面对书籍与文字的百般心情，即使书本丰饶的世界有所限制，但仍叫唤出我们共同的心事与希望。以扎实...
这并不是一本计划周详、深思熟虑、结构严谨的书。
你将会看到的是我在日常生活中能够蒐集到的事物。某些观点和音见属个人观感。
如果你发觉内容和任何人有雷同，大概就是那人了。
如果你买了这本书，请再多买一本送人。
谢谢所有的朋友们和粉丝们，感谢你们的参与，为了支持建设更美好的世界，你们都贡献了宝贵的作品。
特别向Hank Leung, Karina Ha, Virginia Yeung and my mom致谢。
啤啤八月面世
Muchos Gracias Soul Boy 功夫大同
——方大同
★名人推薦：
在世界各大宗教傳統之中，唯有猶太教與道教對書寫文字有著神聖的崇拜與強調，然而在這方面一直欠缺
學術性的研究，本書的出版補足了這種學術上的失衡。本書是對道教經典關鍵概念的深化研究，其焦點在
靈寶經「天文」觀念的考察。儘管本人對靈寶經進行了近三十年的深入研究，閱讀本書依舊讓我受益匪淺。
其中本書探討靈寶經中「大梵隱語」對佛教經典的模仿尤為細緻，而對天真皇人這個角色在靈寶經中的重要
性亦作了完整的考察，也是我過去所未加注意的重要課題。仔細閱讀本書中的章節總會讓我重新思考我們對
靈寶經典的種種預設。
美國亞利桑納州立大學(Arizona State University)宗教研究系
柏夷(Stephen R. Bokenkamp)教授
靈寶經派既傳承天師道的傳統，也受容佛經譯介所引進的文化激發，更切要的就是積極回應儒家經典「原道」、
「徵聖」、...
(展开全部)
本书汇聚了“苦僧诗人”周夢蝶的五部诗集（共计66首诗），分别是《孤独国》（作于二十世纪五十年代）、《还魂草》（作于二十世纪六十年代）、《十三朵白菊花》（作于二十世纪七八十年代）、《约会》（作于二十世纪九十年代）和《有一种鸟或人》（作于二十一世纪初）。这些诗质朴纯净，笔端轻松幽默，饱含诙谐从容趣味，与时代脉搏强烈呼应，具有很高的文学价值。
“花在整理泪水的时间比写的时间长几倍”，成就苏伟贞“本命写作”之书。
“我没赶上他出生，却无奈要送别他死，这是我写《时光队伍》的理由。”——苏伟贞
梁文道《我执》专文推荐 内地版首次引进
2006香港《亚洲周刊》中文十大小说奖
2006《中国时报》“开卷十大好书”奖
“死亡是一个不断被拿出来写透透的普遍性故事，如何在这个十分普遍性的故事里写出自己独特的意义，我希望这个文本是清清楚楚属于张德模的，我无意为张德模立碑，他也不会因为死了就成为一个英雄或完人。我的打算是，小说表面是写死，但这里并没有死，反而是写生。明明白白勇气十足的生，接近永恒。”
“站在一个妻子的角度，我看见他亲眼目睹自己死的过程，从头到尾没掉过一滴泪，没有一丝感伤，彻底实践‘怕死也是死，不怕也是死’的生死理念，他死的样子就像他活的样子。”
笑傲七十年：李敖有话说（全八册），ISBN：9787505726574，作者：李敖 著
《纽约客》是白先勇在六十年代就已着手创作的小说系列，《纽约客》之名或许借自美国著名文学杂志New Yorker，却与《台北人》正好成为一个浑成的佳对。从收录在《纽约客》尔雅版这个集子中的六篇小说来看，《谪仙记》和《谪仙怨》写于二十世纪六十年代，《夜曲》和《骨灰》发表在二十世纪七、八十年代，《Danny Boy》和《Tea for Two》则是最近几年创作的作品。仔细对照这些分属不同时期的小说，或许可以发现，体现在白先勇《纽约客》中的创作立场，经历了一个从上个世纪的国族（中国）立场，到近年来的世界主义的变化过程。
《四喜忧国》的出版是张大春真正意义上被大陆引进的第一本小说。这部短篇小说集里不但包含台湾版的所有7篇小说，另外还增添了6篇小说，基本囊括了他初期的成名代表作：1975年得到第九届时报小说甄选首奖的《将军碑》、当年题材大胆“犯禁”的《四喜忧国》、早期的《悬荡》、《鸡翎图》等一篇篇热闹又有门道的短篇作品。此外，张大春还专门为大陆版撰写了一篇精彩的序言《偶然之必要》。
首輯共八本，分別為馮明珠副院長的＜清宮檔案叢談＞、書畫處前處長王耀庭＜古書古畫今日看＞、登錄保存處處長嵇若昕的＜雙溪文物隨筆＞、器物處處長蔡玫芬的＜雜說說雜＞、書畫處副處長李玉珉的＜佛陀形影＞、器物處鄧淑蘋研究員的＜古玉新詮＞、器物處前研究員廖寶秀的＜茶韻茗事－故宮茶話＞及書畫處劉芳如副研究員的＜丹青之間＞。
這八冊叢書所涉主題甚廣，介紹內容包含書法、繪畫、佛教藝術、玉、陶瓷、漆等各類器物、珍玩、茶藝與文獻檔案等，為讀者提供多元閱讀選擇。
此书曾于2004年出版，引起小说界和学界的瞩目，更是受到广大小说爱好者的追捧。此次为修订版，作者亲自写了一篇精彩纷呈的长序《志怪应逢天雨粟》。
喜欢读小说、写小说的人应该能体贴胡适把明、清之际的许多小说家“拉拔”到和古文家等高甚至更高一等的地位上去。虽然胡适的《白话文学史》只写到中唐的元、白诗便戛然而止，压根儿没从小说上说明白：中国文学是如何“永永脱离了盲目的自然演化的老路，走上了有意创作的新路”的。然而，在《白话文学史》书成近70年后，胡适的意见乃至于诸多考证研究与观念的发明，不该只被看成是“奖掖小说”、“揄扬当代”而已。他所触及的课题倘若不被进一步发现、开展，喜欢读小说、写小说的人恐怕也“永永”不会明白：从施耐庵到吴跌人是如何……
在《小说稗类》中，由庄子始，张大春炫技似地学舌马奎兹、戏仿司马中原……极尽耍痞嘲弄之能事。难得他如此杂学百家、博古通...
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《寂寞的十七岁》收入白先勇早期、中期的短篇小说多篇。白先勇早期小说可分两类 ：一类是或多或少凭借自己切身经验改头换面写成的小说：《金大奶奶 、《我们看菊花去》、《玉卿嫂》、《寂寞的十七岁》，多少表露出作者童年、少年时代的自己。第二类， 幻想（fantasy）的成分较重，最显著的例子是《青春》，此外，《闷雷》、《黑虹》、《小阳春》、《藏在裤袋里的手》，也多少是幻想的产物。夏志清认为白先勇是当代中国短篇小说家中的奇才，五四以来，艺术成就上能与他匹敌的，从鲁迅到张爱玲，五六人而已。
十九世纪末期，东莞农村小女孩黄得云被人绑架到香港做了红妓，后来母因子贵，成了香港上层社会的名流。一个苦难少女及其后人的际遇经历，构成了完整的三部曲；作者用以折射出香港自1842年开埠以来的发展历程。
《我折叠着我的爱》简介：台湾著名女诗人席慕蓉的诗，澄明热烈，真挚动人，充满了田园式的牧歌情调和舒缓的音乐风格。她多写爱情、人生、乡愁，写得美极，淡雅剔透，抒情灵动，饱含着对生命的挚爱真情，充满着对人情、爱情、乡情的领悟。
她的诗作上世纪八十年代被引进大陆后，风靡一时，曾经深深影响了整整一代人的成长历程。这次作家出版社特取得席慕蓉独家授权，并由席慕蓉亲自审订，集中推出席慕蓉目前所有诗集六册，即《七里香》《无怨的青春》《时光九篇》《迷途诗册》《边缘光影》《我折叠着我的爱》，这是目前国内最为严整的席慕蓉诗集。
《白垩纪》是当代散文大家，文坛重量级作家席慕容最新散文集。在这个忘却诗歌和书信的年代，席慕蓉的书一如一位时时陪伴身边的好友。她那优美动人的文字，让我们看到了幸福的时刻，看到感人的情怀，看到生命流转中，那些更幽微更辽远的牵连。
《时光九篇》简介：台湾著名女诗人席慕蓉的诗，澄明热烈，真挚动人，充满了田园式的牧歌情调和舒缓的音乐风格。她多写爱情、人生、乡愁，写得美极，淡雅剔透，抒情灵动，饱含着对生命的挚爱真情，充满着对人情、爱情、乡情的领悟。
她的诗作上世纪八十年代被引进大陆后，风靡一时，曾经深深影响了整整一代人的成长历程。这次作家出版社特取得席慕蓉独家授权，并由席慕蓉亲自审订，集中推出席慕蓉目前所有诗集六册，即《七里香》《无怨的青春》《时光九篇》《迷途诗册》《边缘光影》《我折叠着我的爱》，这是目前国内最为严整的席慕蓉诗集。
「測量」的基礎是先從其中一個物體開始
以下帶大家複習這個用來測量描繪相對位置的工具要怎麼使用。
「測量」工具：在確認構圖和比例（proportion）時，請注意取景框一定要保持水平或垂直，並好好地固定住。當描繪對象位於視線高度的上方或下方時，要以自己望向描繪對象中央附近的視線為準，並把取景框維持直角的角度。每次重新測量時，都必須注意不要讓取景框的位置有所偏移。
取景框（Dessin Scale）：除了有B尺寸紙張專用（右圖）之外，也有炭筆紙專用的，請配合繪畫用紙自行準備。
測量棒：用來觀察描繪對象的中心軸、測量比例用。
取景框的拿法：將背打直，身體正面朝向描繪對象，並拿住取景框下方的黑框部分，小心謹慎地讓取景框呈現水平、垂直狀態。
為了讓要畫的東西看起來能更清楚，背景最好為白色的牆壁，且四周保持空無一物的狀態。
如果底座會晃動，請塞入紙等物品，使其安...
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全書分成四大部分，共29篇專文：當代電影研究、電影導讀、從實驗電影到當代藝術、導演專訪。內容包括台灣導演蔡明亮訪談及電影分析、香港導演王家衛作品之研究、西方實驗電影、當代藝術、攝影等的歷史分析。
《七里香》：她的诗作曾经深深影响了一代人的成长历程；迄今最为严整的席慕蓉诗集；她的爱憎情仇，并非一人一时一地一族一国所可范围，那是宇宙庞伟的光影下永恒的母题和眩惑!
歷史寫作為歷史研究中極重要的一環，而其寫作的基本原則與所有人文社會學科皆相通。如何寫出清晰、流暢、具邏輯性、同時內容又嚴謹豐富的研究論文，一直是許多學子的難題。
本書從最基本的寫作原則談起，引導讀者思考歷史、分析史料、訂立主題、找資料，並教導讀者切入主題的方式與安排論述的層次，一步一步帶領讀者進入歷史書寫的世界。
文坛有名的朱家三姐妹，如今都已挥别青涩的少年时代，成为思想成熟的现代女性。其中…名是单身贵族，一名是袋鼠族，一名是丁克族，三姐妹三种身份，但是在这里，她们都借由小同的笔调和人生经历，来抒发她们对同一事件的不同观点。她们的文字活泼俏皮，观念新颖有趣，是一首好听的三重唱。
本书是香港作家陈宁向法国作家雷蒙•格诺（Raymond Queneau）的致敬之作。这位法国老先生在听完巴赫的赋格曲后，把音乐变奏的概念移植至文字，一则小故事可以幻化成九十九种不同的叙事风格。陈宁被格诺的文字迷倒，遥借此实验精神，延续风格的变奏，在方块文字里述说一则又一则生活小故事。
这一则则小故事或发生在香港、巴黎、台北、伦敦、上海……或抒写任何她感到兴趣的领域：音乐、文学、电影、饮食、感官……作者游离于时光隧道，不停转移视点，不断回溯记忆与经验，剪辑那些过往的韶光掠影，用典雅精致的文字，写出她这些年来的人生历练与漫游体会。
金牌华语电影人深度访谈，讲述不为人知的幕后故事。受访对象包括徐克、陈可辛、顾长卫、许鞍华、尔冬升、赖声川、刘镇伟、陈德森等。详细讲述当今最具影响力的导演们的电影情感及心路历程。访谈文字如朋友间促膝交谈，真实洒脱而无矫饰，或睿智或诙谐，读者可于问答间翻开一幕幕光影，得窥著名电影人作品背后的喜怒哀愁，在回忆中拼接出一段段光阴，咀嚼摄影镜头之外的时代变迁。
童年的阅读，阅读的记忆与困惑，阅读的方法与知识，乃至于阅读的梦境，勾勒出面对书籍与文字的百般心情，即使书本丰饶的世界有所限制，但仍叫唤出我们共同的心事与希望。以扎实...
200 pages, Paperback
First published November 1, 2008
About the author
Ha Jin
63 books854 followersHa Jin is the pen name of Jin Xuefei, a novelist, poet, short story writer, and Professor of English at Boston University.Ha Jin writes in English about China, a political decision post-Tiananmen Square.
Ha Jin grew up in mainland China and served in the People’s Liberation Army in his teens for five years. After leaving the army, he worked for three years at a railroad company in a remote northeastern city, Jiamusi, and then went to college in Harbin, majoring in English. He has published in English ten novels, four story collections, four volumes of poetry, a book of essays, and a biography of Li Bai. His novel Waiting won the National Book Award for Fiction, the PEN/Faulkner Award, and was a finalist for the Pulitzer Prize. Ha Jin is William Fairfield Warren Distinguished Professor in English and Creative Writing at Boston University, and he has been elected a fellow of the American Academy of Arts and Letters and the American Academy of Arts and Sciences. His writing has been translated into more than thirty languages. Ha Jin’s novel The Woman Back from Moscow was published by Other Press in 2023.
Ha Jin grew up in mainland China and served in the People’s Liberation Army in his teens for five years. After leaving the army, he worked for three years at a railroad company in a remote northeastern city, Jiamusi, and then went to college in Harbin, majoring in English. He has published in English ten novels, four story collections, four volumes of poetry, a book of essays, and a biography of Li Bai. His novel Waiting won the National Book Award for Fiction, the PEN/Faulkner Award, and was a finalist for the Pulitzer Prize. Ha Jin is William Fairfield Warren Distinguished Professor in English and Creative Writing at Boston University, and he has been elected a fellow of the American Academy of Arts and Letters and the American Academy of Arts and Sciences. His writing has been translated into more than thirty languages. Ha Jin’s novel The Woman Back from Moscow was published by Other Press in 2023.
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Displaying 1 - 30 of 30 reviews
February 21, 2018
A slim book in which Ha Jin contemplates on the writer being an immigrant. The book explores what does leaving home do to writer's art, his ideas of home and his being in the world. The book contains three essays, 'The Spokesman and The Tribe', 'The Language of Betrayal' and 'An Individual's Homeland'. In these three essays, the author dwells on varied tropes of writer's life as a migrant.
Almost all the writers, books that are discussed somehow defend, justify the role of a writer as an migrant; its importance, what this can do and what are the challenges involved in such a position; both personal as well as professional– especially in relation to writer's art. Though the book is concise, it does touch upon these key issues and discusses authors such as Naipaul, Rushdie, Nabokov, Conrad, Solzhenitsyn and so forth.
The writer in unfamiliar lands often struggles with language and content– in which language to write and what should be the material. The writer is expected to follow some established patterns– but it is difficult for the migrant writer to do so. It is his very situation that makes his struggle with writing unique. Oftentimes, he has to face some real and imagined accusations on his art.
For example, Conrad is cited as an ideal example. There was no writer before Conrad who was like Conrad, who destroyed the myth that one could not 'really' 'write in a language that one did not grow up in. So Conrad's example is great as it is empowering and non -essentialist. Another important stereotype about immigrant writers is that they cannot be really playful in their adopted language. While this might be true but there are many shiny examples that indicate the opposite. Nabokov has so successfully demonstrated what a serious writer can do. He not only did it but he set an impossible benchmark even for the native writers to reach.
Of course, language does pose a great many challenges for writers writing in other languages. However, writing itself does not become easier when done in one's native language. It still requires discipline and immense struggle; this aspect definitely makes the struggle for immigrant writers even more arduous.
Clearly, such a position of the writer being in exile comes with its very specific challenges but it could also open other doors, other ways of looking at language, home and the self. Something vital gets lost and but something precious can also be gained. The book in some ways celebrates the act that there is a whole tradition of migrant writers at least in Anglophone literature; there is no need for writers who find themselves in such spaces to despair.
Almost all the writers, books that are discussed somehow defend, justify the role of a writer as an migrant; its importance, what this can do and what are the challenges involved in such a position; both personal as well as professional– especially in relation to writer's art. Though the book is concise, it does touch upon these key issues and discusses authors such as Naipaul, Rushdie, Nabokov, Conrad, Solzhenitsyn and so forth.
The writer in unfamiliar lands often struggles with language and content– in which language to write and what should be the material. The writer is expected to follow some established patterns– but it is difficult for the migrant writer to do so. It is his very situation that makes his struggle with writing unique. Oftentimes, he has to face some real and imagined accusations on his art.
For example, Conrad is cited as an ideal example. There was no writer before Conrad who was like Conrad, who destroyed the myth that one could not 'really' 'write in a language that one did not grow up in. So Conrad's example is great as it is empowering and non -essentialist. Another important stereotype about immigrant writers is that they cannot be really playful in their adopted language. While this might be true but there are many shiny examples that indicate the opposite. Nabokov has so successfully demonstrated what a serious writer can do. He not only did it but he set an impossible benchmark even for the native writers to reach.
Of course, language does pose a great many challenges for writers writing in other languages. However, writing itself does not become easier when done in one's native language. It still requires discipline and immense struggle; this aspect definitely makes the struggle for immigrant writers even more arduous.
Clearly, such a position of the writer being in exile comes with its very specific challenges but it could also open other doors, other ways of looking at language, home and the self. Something vital gets lost and but something precious can also be gained. The book in some ways celebrates the act that there is a whole tradition of migrant writers at least in Anglophone literature; there is no need for writers who find themselves in such spaces to despair.
October 25, 2009
These are three essays on the notion of migration for the writer, mostly explained through other writers such as Nabokov, Conrad, Kundera and Naipaul.
In the first essay, The Spokesman & the Tribe, Jin explores the balance between the individual and the collective, and asks to what extent a writer can 'speak for' his nation or people, especially if he has abandoned them to live in a new country. I was interested in his initial desire as a young writer to write "on behalf of the downtrodden Chinese". He makes it clear that he later abandoned this position, but I would have liked to know more about how and why.
In fact, throughout the whole book I would have liked to know more about Ha Jin's thoughts on migration. His journey, after all, was an interesting one - from an uneducated teenage soldier in the Chinese army during the Cultural Revolution to a professor at Boston University and author of five novels, a couple of which I've read and greatly enjoyed. I would have liked him to draw on his own experience of migration, but he does so only rarely, in small glimpses like the one mentioned above. Mostly what we have is a survey of other writers and their thoughts on migration - quite interesting, but for me ultimately unsatisfying because there was no clear overall argument or point of view to draw the whole thing together.
In any case, it was interesting to learn about Solzhenitsyn's life in America, how he lived in rural Vermont but never really settled, never took citizenship, was always waiting to go back to Russia. After the fall of the Soviet Union he got his chance, but the interesting thing was that after moving back home, he struggled to speak effectively on behalf of the new Russia, as he had spoken on behalf of the old while in exile. His later books Russia in Collapse (1998) and Two Hundred Years Together (2001) were coldly received, and he was seen as out of touch. Even his radio show was cancelled due to low ratings. Ha Jin's point is that he was loved for his earlier masterpieces, but even that did not give him the right to speak on behalf of the people - when his views no longer matched theirs, they rejected him.
The second essay, The Language of Betrayal, deals with the decision to write in another language. Again, Jin does not speak of his own decision to write in English and whether he feels this is a betrayal -- instead we hear about Joseph Conrad being criticised for abandoning the Polish language, and Nabokov's difficulty writing poetry in English even though he was a master of prose.
An Individual's Homeland explores the difficulty of returning home -- the way that Odysseus initially didn't recognise Ithaka when he returned after his twenty years of exile, because both he and the land itself had changed. As Jin says, "One cannot return to the same land as the same person." He talks of using art to survive, as the character Max Ferber does in W.G. Sebald's book The Emigrants. He ends by referring to the Greek poet CP Cavafy, who positions 'Ithaka' as a destination for life's journey, but not necessarily a return to the homeland. The homeland becomes a part of the past that can be used "to facilitate our journeys".
As you'd expect from an English professor, the analysis of writers and books here is astute and interesting. I just got the feeling sometimes that he was talking about other writers to avoid talking about himself. Using literary examples is a good idea, but I'd have preferred them to be used to support a clearer argument from Ha Jin himself, drawing on his own experiences to give us his unique, original perspective instead of a summary of other people's.
In the first essay, The Spokesman & the Tribe, Jin explores the balance between the individual and the collective, and asks to what extent a writer can 'speak for' his nation or people, especially if he has abandoned them to live in a new country. I was interested in his initial desire as a young writer to write "on behalf of the downtrodden Chinese". He makes it clear that he later abandoned this position, but I would have liked to know more about how and why.
In fact, throughout the whole book I would have liked to know more about Ha Jin's thoughts on migration. His journey, after all, was an interesting one - from an uneducated teenage soldier in the Chinese army during the Cultural Revolution to a professor at Boston University and author of five novels, a couple of which I've read and greatly enjoyed. I would have liked him to draw on his own experience of migration, but he does so only rarely, in small glimpses like the one mentioned above. Mostly what we have is a survey of other writers and their thoughts on migration - quite interesting, but for me ultimately unsatisfying because there was no clear overall argument or point of view to draw the whole thing together.
In any case, it was interesting to learn about Solzhenitsyn's life in America, how he lived in rural Vermont but never really settled, never took citizenship, was always waiting to go back to Russia. After the fall of the Soviet Union he got his chance, but the interesting thing was that after moving back home, he struggled to speak effectively on behalf of the new Russia, as he had spoken on behalf of the old while in exile. His later books Russia in Collapse (1998) and Two Hundred Years Together (2001) were coldly received, and he was seen as out of touch. Even his radio show was cancelled due to low ratings. Ha Jin's point is that he was loved for his earlier masterpieces, but even that did not give him the right to speak on behalf of the people - when his views no longer matched theirs, they rejected him.
The second essay, The Language of Betrayal, deals with the decision to write in another language. Again, Jin does not speak of his own decision to write in English and whether he feels this is a betrayal -- instead we hear about Joseph Conrad being criticised for abandoning the Polish language, and Nabokov's difficulty writing poetry in English even though he was a master of prose.
An Individual's Homeland explores the difficulty of returning home -- the way that Odysseus initially didn't recognise Ithaka when he returned after his twenty years of exile, because both he and the land itself had changed. As Jin says, "One cannot return to the same land as the same person." He talks of using art to survive, as the character Max Ferber does in W.G. Sebald's book The Emigrants. He ends by referring to the Greek poet CP Cavafy, who positions 'Ithaka' as a destination for life's journey, but not necessarily a return to the homeland. The homeland becomes a part of the past that can be used "to facilitate our journeys".
As you'd expect from an English professor, the analysis of writers and books here is astute and interesting. I just got the feeling sometimes that he was talking about other writers to avoid talking about himself. Using literary examples is a good idea, but I'd have preferred them to be used to support a clearer argument from Ha Jin himself, drawing on his own experiences to give us his unique, original perspective instead of a summary of other people's.
October 19, 2017
I must admit that reading this book gave me a somewhat melancholy feeling as someone who has long written and lived with a certain sense of estrangement from my roots [1]. This experience is surely not unique, as the author manages to discuss a great many people who managed to write and write very well despite being cut off from their native roots, from Dante to Nabokov, and from Joseph Conrad to V.S. Naipal, all of which are writers I am familiar with and generally fond of. The experience of being an exile carries with it a certain tension about where we belong and who our audience is, and whether it is best to write in our native language or to accommodate ourselves to the language of where we happen to be. In my own experience, as a native speaker and writer of English and as someone who started learning Spanish very young as well, I am perfectly content to write in both languages, although I greatly prefer to write in English. Not everyone is fortunate enough to have as their native languages major languages, though, and face a deeper problem as they seek to live as writers in the midst of the problems of being cut off from one's homeland.
This short book of less than 100 pages is made up of three essays from the author on the problem of the writer as an exile. After a short preface the author begins his discussion with a thoughtful examination of the spokesman and the tribe, pointing out that the writer as an exile faces a difficult problem in seeking to speak for a people he no longer lives around, for to abandon one's citizenship or one's native language makes it very difficult to maintain credibility as a spokesmen for one's native people, a problem that Joseph Conrad faced being a writer in English despite being a native Pole, but one that was better navigated, for example, by Solzhenitsyn, who despite his mistreatment ended up maintaining his credibility with the Russian people as a spokesman. The second essay takes up the theme of the language of betrayal, again focusing on Joseph Conrad and writers who sought (not entirely successfully) to distinguish themselves from him as people who wrote literature in English as a second language. The third and final essay looks at the nature of an individuals homeland through a discussion of Odysseus' Ithaca and its various meanings and implications in contemporary poetry and literature. Throughout the author manages to strike a delicate balance between the individual and the collective while pointing out that while a writer cannot help but be moral, there are strong limitations as to the sort of moral change that writers can promote through their writings.
What is it that made me sad to read these essays? For one, the author himself is an exile, a native Chinese writer who had been a part of the PLA but who managed to become a professor at Boston University as well as a successful writer of Chinese literature, by no means a popular genre of literature in the mainstream American market. The author's own personal experiences, and my own experiences as an exile, give this book a poignancy that shows the sense of loss that results from having to make one's way among strangers who do not understand us. The author's discussion, for example, of the tragic eponymous hero of Nabokov's Pnin, and the way that he is continually misunderstood by others, is something that strikes a deep chord with me personally. I found myself in reading these essays a sense of kinship with those who wrote of the desire to find home and the tension between doing what is best for oneself and also seeking the support and encouragement of others without which writing is not of any profit and of precious little enjoyment. Perhaps we may not be alone in being alone, though, and if we are far from home and caught between hopes for the future and looking back to the past, certainly there are others we can relate to, and that makes the journey a less lonely one.
[1] See, for example:
https://edgeinducedcohesion.blog/2014...
https://edgeinducedcohesion.blog/2017...
https://edgeinducedcohesion.blog/2014...
https://edgeinducedcohesion.blog/2014...
https://edgeinducedcohesion.blog/2012...
This short book of less than 100 pages is made up of three essays from the author on the problem of the writer as an exile. After a short preface the author begins his discussion with a thoughtful examination of the spokesman and the tribe, pointing out that the writer as an exile faces a difficult problem in seeking to speak for a people he no longer lives around, for to abandon one's citizenship or one's native language makes it very difficult to maintain credibility as a spokesmen for one's native people, a problem that Joseph Conrad faced being a writer in English despite being a native Pole, but one that was better navigated, for example, by Solzhenitsyn, who despite his mistreatment ended up maintaining his credibility with the Russian people as a spokesman. The second essay takes up the theme of the language of betrayal, again focusing on Joseph Conrad and writers who sought (not entirely successfully) to distinguish themselves from him as people who wrote literature in English as a second language. The third and final essay looks at the nature of an individuals homeland through a discussion of Odysseus' Ithaca and its various meanings and implications in contemporary poetry and literature. Throughout the author manages to strike a delicate balance between the individual and the collective while pointing out that while a writer cannot help but be moral, there are strong limitations as to the sort of moral change that writers can promote through their writings.
What is it that made me sad to read these essays? For one, the author himself is an exile, a native Chinese writer who had been a part of the PLA but who managed to become a professor at Boston University as well as a successful writer of Chinese literature, by no means a popular genre of literature in the mainstream American market. The author's own personal experiences, and my own experiences as an exile, give this book a poignancy that shows the sense of loss that results from having to make one's way among strangers who do not understand us. The author's discussion, for example, of the tragic eponymous hero of Nabokov's Pnin, and the way that he is continually misunderstood by others, is something that strikes a deep chord with me personally. I found myself in reading these essays a sense of kinship with those who wrote of the desire to find home and the tension between doing what is best for oneself and also seeking the support and encouragement of others without which writing is not of any profit and of precious little enjoyment. Perhaps we may not be alone in being alone, though, and if we are far from home and caught between hopes for the future and looking back to the past, certainly there are others we can relate to, and that makes the journey a less lonely one.
[1] See, for example:
https://edgeinducedcohesion.blog/2014...
https://edgeinducedcohesion.blog/2017...
https://edgeinducedcohesion.blog/2014...
https://edgeinducedcohesion.blog/2014...
https://edgeinducedcohesion.blog/2012...
January 22, 2016
A very interesting book about the writing of writers who left their native countries and in different ways managed to exist in their adopted ones. How much do they want to come back to their home countries? (And what is "home" by the way?) To what extent do they feel they belong to the countries where they were born and to what extent do they feel they belong to the countries where they live? How do they define themselves and their writing between their present and the past that never goes away? What language(s) do they employ for their writing, why, and how does it affect their writing? In less than 100 pages, Ha Jin, who is a "writer in exile" himself, gives his answers to these (and other) questions, unveiling some hidden layers of the lives and writing of some well-know authors such as Aleksandr Solzhenitsyn, Lin Yutang, Vladimir Nabokov, Joseph Conrad, Shiva Naipaul, and Milan Kundera. Beautiful and poetic analyses in story-telling style. He makes me want to try reading all of the writers he mentions in this book, and himself as well. An easy-to-read for every average reader without having to know anything about famous writers and the art of writing.
November 7, 2017
Some intriguing ideas. I find the second essay the most interesting and useful, while the first is for me annoyingly judgmental (too many generalized "should" and "must" formulations). The third convinced me to read _The Odyssey_ at long last.
Unfortunately, the book is filled with grammatical issues, infelicitous phrasings, punctuation errors, and other disturbing distractions. Shame on you for your carelessness here, U. of Chicago Press!
Unfortunately, the book is filled with grammatical issues, infelicitous phrasings, punctuation errors, and other disturbing distractions. Shame on you for your carelessness here, U. of Chicago Press!
September 17, 2023
Lo anecdótico está interesante, pero se le enredan las inducciones (de un solo ejemplo establece según él una generalidad) y la argumentación es floja. Errores de edición (p. 44, p. 88 y otros typos aquí y allá).
Y otra cosa es que en sus páginas palpita un anhelo de auto-justificación velada que, como no se hace explícita, se queda en mera sospecha.
Y otra cosa es que en sus páginas palpita un anhelo de auto-justificación velada que, como no se hace explícita, se queda en mera sospecha.
December 2, 2011
Ha Jin has become the Chinese writer Americans look to to Know Stuff About China -- supplanting Chinese American writers like, say, Amy Tan --but he speaks/writes rather convincingly against this notion in this book's first essay. Citing Alexander Solzhenitsyn and Lin Yutang, he argues that actually attempts by writers to be socially engaged or to be a spokesman for their people are ultimately useless: "The writer should enter history mainly through the avenue of his art."
In the end, the book manages to be Ha Jin's explanation of his own work without ever claiming to be so. In explicating the authors who inspired him, he gets to the heart of why he does what he does, and what is gained and lost when a writer leaves his homeland and mother tongue. Worth reading even if you are not familiar with his work, though.
In the end, the book manages to be Ha Jin's explanation of his own work without ever claiming to be so. In explicating the authors who inspired him, he gets to the heart of why he does what he does, and what is gained and lost when a writer leaves his homeland and mother tongue. Worth reading even if you are not familiar with his work, though.
April 28, 2016
A bit heavy if you're not a big literature buff. Ha Jin draws on V.S. Naipaul, Nabokov, Joyce, and a number of other names to make observations about writing from abroad and writing in a language that is not your native tongue. My favorite passage has to be when he rebuts the idea that becoming a writer in another language limits you only to being a writer that can be understood, not playful, as he draws on examples that prove otherwise and demonstrate the unique position exile or expat writers hold in regard to language. Not a long , certainly thought provoking when it comes to language, identity, and movement though the title probably tells you that.
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April 10, 2014highly intelligent, nuanced, esp thoughts on humor in your second language.
September 8, 2018
Home is not where your heart is. It's where you is, bro.
May 28, 2024
Although this little volume of essays has its flaws, or rather lacks something—I can’t quite place what yet—it is a very important book for me, one that I have no doubt will be revisiting several times. As a writer writing in the English language but have no “roots” in any Anglo Saxon country, my father being French (his dad being half Vietnamese half French) and my mother being Filipino, who grew up between both countries but has had an English education, this has planted important seeds of thought and placed some important literary works to explore on my horizon. I’be been reading this coincidentally in parallel with “A Feather on the Breath of God” by Sigrid Nunez, which the author speaks of in the last essay, which has been an enriching and captivating addition to the reading experience. I had also coincidentally intended to read W.G Sebald’s The Emigrant soon after, which he also talks about at length in the last essay. Something tells me I’m on the right track… to somewhere, someplace, significant.
April 6, 2024
i added so many books to my TBR as i was reading this!!!
February 11, 2023
Remarkable literary criticism. I’d love to sit down with these essays/lectures again after I’ve (eventually) read more of the works discussed.
January 15, 2019
Why write in the second language and how well can one achieve by writing in the second language.
June 3, 2012
This slim volume is focused on the immigrant/migrant experience of writers. However, as so many in the United States leave their birthhome to make their home in other states, there are applications to writers who domestically relocate, never to return. At play are nostalgia, longing, representing a land, culture or people that the writer him/herself may no longer have firsthand knowledge of and the changes in identity that both the homeland and the writer experience.
July 1, 2013
Ha Jin had used many writers'examples in this book.He had collected a few private life stories of those writers, so as to find some proofs for his arguments. However, I felt this book is more like his own bibliography.
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December 12, 2015Un ensayo sobre uno de mis temas preferidos en la literatura: el exilio.
April 15, 2018
Interesting perspectives on the writer as a migrant. Good read for students of literature or people interested in literature.
June 14, 2025
A great short book about the struggle of the migrant when writing in a language that it is not his native tongue. About adaptation and immigration. Through the lense of various great writers that were migrants, some exiled and some expats. How there is a reason to pick up another language especially english when writing, as a universal language. As a language detached from identity, detached from feeling. It talks about how it is seen as the migrant always betrays it's country by leaving or by abandoning native tongue but never the country is told that they have failed the individual. If someone is migrating it means they are looking for something better because they have been failed or silenced.
I enjoyed the definition he gave of homeland. By definition is the land that someone calls home. It is not the land that saw us be born. It is the land where we found our home, where we erect our families and where we can find our peace. It gave me peace about the struggle of leaving and creating a new life away. It is the first depiction of immigration that does not romanticize coming back to the native land that I have read and it resonates with me. It talks about the nostalgia of going back to a country that no longer exists. The thought that it will be like it was when you left but it is only an illusion because just as we have changed time has moved and our former country has changed as well.
It is an interesting exploration on the importance of language and identity, and how language can be polarizing when we talk about the country that we are born in. For me, the book gives me the words to recognize feelings of alienation that I had not been able to name, and at the same time a new tongue to communicate ideas that were repressed in the land I was born in. Defining homeland as the land where I will create my family and plant my roots felt liberating from the constant internal struggle of being a migrant.
I enjoyed the definition he gave of homeland. By definition is the land that someone calls home. It is not the land that saw us be born. It is the land where we found our home, where we erect our families and where we can find our peace. It gave me peace about the struggle of leaving and creating a new life away. It is the first depiction of immigration that does not romanticize coming back to the native land that I have read and it resonates with me. It talks about the nostalgia of going back to a country that no longer exists. The thought that it will be like it was when you left but it is only an illusion because just as we have changed time has moved and our former country has changed as well.
It is an interesting exploration on the importance of language and identity, and how language can be polarizing when we talk about the country that we are born in. For me, the book gives me the words to recognize feelings of alienation that I had not been able to name, and at the same time a new tongue to communicate ideas that were repressed in the land I was born in. Defining homeland as the land where I will create my family and plant my roots felt liberating from the constant internal struggle of being a migrant.
May 15, 2022
Es un trabajo literario bastante amplio que aborda a los escritores migrantes, expone sus obras y saca conclusiones de sus sentimientos.
La verdad tiene de ejemplos expuestos bastantes interesante que me harán comprar muchos libros que mencionan.
Mi problema es que muchas veces quiere llegar al mismo resultado en cada ejemplo que aborda, haciendo un poco pesada la lectura .
La verdad tiene de ejemplos expuestos bastantes interesante que me harán comprar muchos libros que mencionan.
Mi problema es que muchas veces quiere llegar al mismo resultado en cada ejemplo que aborda, haciendo un poco pesada la lectura .
December 8, 2019
Essay collection.
June 18, 2021
Very well narrated, concise and clear. 除了对移民的讨论（身份、离散、错位等等），哈金散文的写法很值得借鉴。
Want to Read
November 29, 2021@2020-02-24 18:35:15
July 10, 2023
I felt as though I was re-introduced to authors I already loved, but I still came out of it... Not really knowing Jin and his views as much
December 8, 2023
An interesting concept and some really lovely observations drawn from the writer-migrant hybrid. However, I often got lost in the done-to-death examples of canonical texts used to the point where I procrastinated reading on.
December 25, 2025
interesting book. Not at all what I thought it was when we got it but turned out to be horizon expanding for me.
January 8, 2026
Was hoping this book was more like murakami harukis writer as a vocation. But it’s more academic. It’s super short so there’s that.
March 7, 2026
In fact, Nabokov himself might have been aware of this defect. When asked by an interviewer, "Do you feel you have any conspicuous or secret flaw as a writer?" Nabokov admitted: The absence of a natural vocabulary. An odd thing to confess, but true. Of the two instruments in my possession, one — my native tongue- I can no longer use, and this is not only because I lack a Russian audience, but also because the excitement of verbal adventure in the Russian medium had faded away gradually after I turned to English in 1940. My English, this second instrument I have always had, is however a stiffish, artificial thing, which may be all right for describing a sunset or an insect, but which cannot conceal poverty of syntax and paucity of domestic diction when I need the shortest road between warehouse and shop. An old Rolls-Royce is not always preferable to a plain Jeep.33 Despite his emphasis on his difference from Conrad, Nabokov here reveals a Conradian plight — that is, his departure from his mother tongue crippled him linguistically. In general, he would not voice this pain explicitly, yet here is a clear admission: "My complete switch from Russian prose to English prose was exceedingly painful-like learning anew to handle things after losing seven or eight fingers in an explosion."24 We can see that he suffered from the same affliction as Conrad. - pp. 50
The tragedy is not that he might have written better in his mother tongue but that he had to give the prime years of his creative life to English, a language in which he never felt at home.
Many exiles, emigrants, expatriates, and even some immigrants are possessed with the desire to someday return to their native lands. The nostalgia often deprives them of a sense of direction and prevents them from putting down roots anywhere. The present and the future have been impaired by their displacements, and their absence from their original countries gives them nothing but pain. - pp. 63
To live and work in one's mother tongue, the migrant writer must root his existence in the language. If he does not use it frequently, his mother tongue will shrink and gradually lose its freshness, suffering from a 'linguistic lag' from the current idioms spoken back in his native land. - pp. 78-79
For most migrants, especially migrant artists and writers, the issue of homeland involves arrival more than return. The dichotomy inherent in the word "homeland" is more significant now than it was in the past. Its meaning can no longer be separated from home, which is something the migrant should be able to build away from his native land. Therefore, it is logical to say that your homeland is where you build your home. - pp. 84
The tragedy is not that he might have written better in his mother tongue but that he had to give the prime years of his creative life to English, a language in which he never felt at home.
Many exiles, emigrants, expatriates, and even some immigrants are possessed with the desire to someday return to their native lands. The nostalgia often deprives them of a sense of direction and prevents them from putting down roots anywhere. The present and the future have been impaired by their displacements, and their absence from their original countries gives them nothing but pain. - pp. 63
To live and work in one's mother tongue, the migrant writer must root his existence in the language. If he does not use it frequently, his mother tongue will shrink and gradually lose its freshness, suffering from a 'linguistic lag' from the current idioms spoken back in his native land. - pp. 78-79
For most migrants, especially migrant artists and writers, the issue of homeland involves arrival more than return. The dichotomy inherent in the word "homeland" is more significant now than it was in the past. Its meaning can no longer be separated from home, which is something the migrant should be able to build away from his native land. Therefore, it is logical to say that your homeland is where you build your home. - pp. 84
Want to Read
November 29, 2021@2020-02-24 18:35:01
July 12, 2023
arrival is a euro-centric idea
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