具体描述
A first-generation Chinese-American woman recounts growing up in America within a tradition-bound Chinese family, and confronted with Chinese ghosts from the past and non-Chinese ghosts of the present.
作者简介
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.
目录信息
读后感
大一的時候寫的傻逼文章啊，來美國的第二個學期。 In China, it is not hard to distinguish a poet. When poets feel sad, they do not speak out about their feelings. Instead, they write about flowers falling in the late spring; they write about grasses dying in...
评分 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 评分用户评价
这本书对我个人来说，更像是一面镜子，映照出我在面对“身份认同”这一永恒命题时的困境与挣扎。它不是一本关于文化“融入”的教科书，而是一部关于如何在两种看似不相容的文化土壤上，培育出属于自己的、独一无二的生存方式的实践记录。作者展示了那种“既非此也非彼”的中间状态，这种状态虽然充满张力与痛苦，但也孕育了巨大的创造力。我尤其欣赏作者在描述个人与集体期望之间的拉锯战时所展现出的韧性。那些关于打破沉默的努力，那些试图定义自己的勇敢尝试，虽然时常伴随着失败和挫折，但正是这些不完美的努力，构成了最动人的叙事弧线。它让人认识到，文化不是一个被动接受的遗产，而是一个需要不断地与之对话、抗争、并最终重塑的过程。读完之后，我感觉自己对自身经历中的那些矛盾点，似乎多了一份理解和释然。
评分这本书的语言本身就具有一种令人难以抗拒的魔力，它仿佛拥有两种截然不同的声调，一种是来自古老传说的、韵律悠长的吟唱，充满了意象和象征，带着某种神话色彩的厚重感；另一种则是现代都市生活中那种尖锐、直接、甚至带着些许粗砺的日常对白。作者在这两种语境之间穿梭自如，使得文本既有深厚的文化底蕴，又不失现代读者的阅读快感。这种语言上的二元性，恰恰呼应了书中主题的冲突核心。阅读过程中，我时常需要停下来，回味某一句措辞，因为一个简单的词语，在特定的语境下，会爆发出远超其字面意义的情感能量。它挑战了我们对“清晰”和“明确”叙事的固有期待，鼓励读者去拥抱那些模糊地带，去倾听那些隐藏在字里行间、被压抑的低语。这绝不是一本可以被囫囵吞枣的书，它要求读者全身心地投入到语言的迷宫中去探索。
评分从文学技法的角度来看，这本书的非线性叙事处理得极为高明。它拒绝提供一个简单的“答案”或“结论”，而是将各种碎片化的经验——无论是梦境、亲人的讲述，还是切身的遭遇——并置在一起，让读者自行去搭建理解的桥梁。这种“拼贴”式的结构，恰恰模仿了记忆和文化传承的真实样貌：它们从来都不是一条笔直的线，而是无数个闪回、无数个被重复讲述的故事的重叠。这种处理方式要求读者保持高度的专注，去辨识哪些是事实，哪些是经过时间滤镜美化或扭曲的“真相”。这种模糊性并非是作者的偷懒，反而是一种深刻的洞察：真正的自我认知，往往需要我们学会与那些不确定的部分共存。它教会我们，有些问题，也许根本就没有一个可以被清晰写下的答案，而过程本身就是意义所在。
评分读完这本书，我最大的感受是那种强烈的情感共鸣，但这种共鸣并非建立在“完全理解”作者的经历之上，而是源于作者对“不被理解的痛苦”那种淋漓尽致的表达。那些关于沉默、关于误解、关于那些无法用语言完全传达的内心世界，被作者用一种近乎残忍的坦诚展现了出来。文字的节奏感非常独特，有时是快速的、近乎喘息的独白，充满了青春期的焦躁与反抗；而另一些段落则慢下来，沉静得像一口古老的井，映照着那些世代积累下来的、沉重的期待与规训。这种叙事上的张弛有度，让读者在紧张与放松之间不断切换，每一次呼吸都仿佛是为下一次情绪的冲击做准备。特别是那些关于女性角色之间复杂关系的描写，那种既互相依偎又互相折磨的矛盾，非常真实，让人不禁反思自己生活中那些微妙的权力动态和情感羁绊。它不是在宣扬什么宏大的口号，而是在细微之处展示了生存的重量。
评分这本书的叙事结构真是令人着迷，它像一张层层叠叠的地图，带领读者深入到一个既熟悉又无比陌生的文化肌理之中。作者的笔触时而细腻得如同工笔画，描绘着日常生活中那些难以言喻的情感波动和细微的家庭互动；时而又变得磅礴有力，仿佛山洪爆发般，直面那些历史的沉重与身份的撕扯。我尤其欣赏作者在处理“记忆”这个主题时的手法，它不是一条清晰的时间线，而更像一团不断被搅动的迷雾，过去与现在、真实与传说、个体的经历与集体的神话，都在叙述中相互渗透、相互定义。你会感觉到，每一个被讲述的故事，都不仅仅是关于一个人的成长，更是关于一种文化如何在新的土壤中挣扎着开花结果的过程。那种介于两个世界之间的疏离感和归属感的拉扯，被作者捕捉得极其精准，读起来让人心头一紧，仿佛自己也站在了那道无形的界限之上，进退两难，却又无法回避。这种对复杂人性的挖掘，远超出了简单的传记范畴，更像是一部关于“我是谁”的哲学探讨，只不过它包裹在如此生动、充满生命力的故事外衣之下。
评分我非常喜欢啊
评分Every woman is a warrior. Fight with the world with the weapons they own, with the pride they hold and with the memory they cherish. 对于这个与我们有一半血统一样的种族，不理解还是理解，迷迷蒙蒙得与Kingston一起做几个梦。
评分胡亂一氣！就像左宗棠雞
评分古代神话民间故事打包再贩卖...
评分对花木兰➕岳飞➕圣女贞德的blending这种方式是理解的，毕竟文学不仅仅是细节，还关于珍贵的想象力，至于文化性别这种双重困惑，无法感同身受
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