In memories that rise like wisps of ghosts, LuLing Young searches for the name of her mother, the daughter of the Famous Bonesetter from the Mouth of the Mountain. Trying to hold on to the evaporating past, she begins to write all that she can remember of her life as a girl in China. Meanwhile, her daughter Ruth, a ghostwriter for authors of self-help books, is losing the ability to speak up for herself in front of the man she lives with and his two teenage daughters. None of her professional sound bites and pat homilies works for her personal life; she knows only how to translate what others want to say.
Ruth starts suspecting that something is terribly wrong with her mother. As a child, Ruth had been constantly subjected to her mother's disturbing notions about curses and ghosts, and to her repeated threats to kill herself, and was even forced by her mother to try to communicate with ghosts. But now LuLing seems less argumentative, even happy, far from her usual disagreeable and dissatisfied self.
While tending to her ailing mother, Ruth discovers the pages LuLing wrote in Chinese, the story of her tumultuous and star-crossed life, and is transported to a backwoods village known as Immortal Heart. There she learns of secrets passed along by a mute nursemaid, Precious Auntie; of a cave where dragon bones are mined, some of which may prove to be the teeth of Peking Man; of the crumbling ravine known as the End of the World, where Precious Auntie's scattered bones lie, and of the curse that LuLing believes she released through betrayal.
Like layers of sediment being removed, each page reveals secrets of a larger mystery: What became of Peking Man? What was the name of the Bonesetter's Daughter? And who was Precious Auntie, whose suicide changed the path of LuLing's life? Within LuLing's calligraphed pages awaits the truth about a mother's heart, what she cannot tell her daughter yet hopes she will never forget.
Set in contemporary San Francisco and in a Chinese village where Peking Man is being unearthed, The Bonesetter's Daughter is an excavation of the human spirit: the past, its deepest wounds, its most profound hopes. The story conjures the pain of broken dreams, the power of myths, and the strength of love that enables us to recover in memory what we have lost in grief. Over the course of one fog-shrouded year, between one season of falling stars and the next, mother and daughter find what they share in their bones through heredity, history, and inexpressible qualities of love.
美国华裔女作家,自1989年发表成名作《喜福会》以来,早已超越了一位少数民族或者流行小说家的身份,成为美国乃至于西方的最为著名的一流作家之一。
接骨师之女,关于家族 关于苦难 关于爱 关于母女 茹灵,很好听的名字 就像她本人一样。我不能具体想象出她的美貌,但我感受得到她的美,像她的母亲宝姨一样,一样的倔强一样的坚强一样的美丽。 她是那个逝去的故事中的主人公,那个幼时躺在宝姨怀抱里的襁褓中的...
评分 评分比《喜福会》更能打动我,因为叙述母女三代的故事情感比较集中,不像前者叙述好几对母女的故事太分散。 小说结构明了,第一部分是露丝与茹灵的现代美国生活,看得挺痛苦因为没有家庭生活的代入感,种种琐碎小事略略读过,但是埋下了许多关于陈年往事的坑。第二部分是茹灵为第一...
评分比《喜福会》更能打动我,因为叙述母女三代的故事情感比较集中,不像前者叙述好几对母女的故事太分散。 小说结构明了,第一部分是露丝与茹灵的现代美国生活,看得挺痛苦因为没有家庭生活的代入感,种种琐碎小事略略读过,但是埋下了许多关于陈年往事的坑。第二部分是茹灵为第一...
评分睡不着爬起来,想写日记,发现很多东西放在心里沉淀了就没有好说的。 想起来今天看实验室新到的「周末画报」,新闻版的最后几页里居然有一页谭恩美的简短介绍和访谈,当时觉得很惊异,好好看了一遍,其中印象深刻的是她提到母亲一直教导她的人生观,她说了一段话,大意是你可...
这本小说简直是一场感官的盛宴,作者的文字如同细密的蛛网,将我牢牢地困在了故事的氛围之中。从翻开第一页开始,那种古老、略带霉味的空气似乎就穿透了纸张,直抵鼻腔。我尤其欣赏作者对环境细节的描摹,那种中世纪欧洲小镇的阴郁与压抑,被刻画得入木三分。街道的鹅卵石泛着湿冷的微光,狭窄的巷弄里仿佛总有窃窃私语的回声。人物的内心世界更是细腻到令人心惊,每一个犹豫、每一个不经意的动作,背后都隐藏着深层的动机和历史的重量。故事的节奏把握得极其巧妙,时而如缓慢流淌的蜜糖,让人沉醉于角色的日常琐碎和情感纠葛中;时而又如同蓄势待发的暴风雨,在不经意间抛出足以颠覆一切的线索,让人喘不过气。我很少看到一部作品能将民间传说与深刻的社会批判结合得如此天衣无缝,它不仅仅是一个关于过去的传说,更像是一面映照当下人性困境的镜子。读完后劲极大,那种挥之不去的宿命感和对个体自由的探讨,会让人在接下来的好几天里,不断地在脑海中重温那些令人心悸的场景。
评分说实话,我对哥特式小说的情节推进通常抱有一种既期待又警惕的心态,因为太多作品最终会沦为故作姿态的恐怖堆砌。然而,这部作品的高明之处在于,它将“恐惧”植根于“真实”之中。它营造的恐怖不是靠突然的尖叫或血腥的场面,而是来源于对人性深处黑暗的揭示——那种源自家族遗传的、无法逃脱的诅咒或秘密。书中关于“记忆”与“遗忘”的探讨尤其深刻。角色们试图摆脱过去的桎梏,却发现自己每一次挣扎,都只是更深地陷入了祖辈所设下的圈套。作者构建了一个极其精密的心理迷宫,让我全程处于一种高度紧张的“期待最坏发生”的状态。我特别喜欢其中关于“沉默的代价”的描写,那些没有说出口的话语,比任何呐喊都更有穿透力,它们在角色之间无声地流动,腐蚀着彼此的关系。这种内敛的、渗透性的恐惧,远比外放的惊吓更持久、更令人毛骨悚然。对于那些喜欢深度挖掘角色心理创伤的读者来说,这本书无疑是一场盛宴。
评分我必须承认,这本书的叙事手法着实考验了读者的耐心,但这绝对是值得的投入。作者似乎故意采用了非线性的叙事结构,时间线在不同角色和不同年代之间跳跃穿梭,像是在拼凑一幅极其复杂的历史挂毯。起初,我感到一丝迷茫,那些看似毫不相关的片段是如何连接起来的?但随着阅读的深入,那些散落在各处的碎片开始以一种近乎神启的方式聚合,最终形成了一个宏大而令人震撼的整体画面。这种“自己动手解谜”的过程,极大地增强了阅读的参与感和智力上的满足感。更让我赞叹的是,作者对于那些边缘人物的刻画,他们往往是推动情节发展的关键,却总是被主流历史所忽略。他们卑微的命运与宏伟的时代背景形成了强烈的反差,让人不禁思考,真正的历史是由谁书写的?文字的密度极高,每一个句子都经过了精心的打磨,充满了隐喻和象征,读起来需要放慢速度,甚至需要反复咀嚼,才能捕捉到其中丰富的文化内涵和哲学意味。这不是一本可以用来消遣的快餐读物,它更像是一份需要静心研读的学术著作,只是披着小说华丽的外衣。
评分阅读体验中,最让我印象深刻的是作者对于地域性的把握,这简直是一部文学的“地方志”。小说的背景地——那个虚构但又无比真实的村落——仿佛拥有了独立的生命力。作者细致入微地描述了当地的习俗、迷信、食物的香气,甚至连那特有的口音和交流方式都栩栩如生地呈现在眼前。这种强烈的地域色彩,使得故事拥有了一种扎根于泥土的厚重感,而不是漂浮在空中的抽象故事。我甚至能感觉到海风带来的咸湿,或者炉火旁烘烤面饼的温暖。角色的命运和这个地域紧密地捆绑在一起,土地既是他们的庇护所,也是他们的牢笼。这种地方文学的质感,让我想起了某些二十世纪初期的经典名著,那种对乡土文化近乎偏执的迷恋和记录。通过这部小说,我仿佛进行了一次长途旅行,体验了一种完全陌生的生活方式,学习了新的生存法则。它提醒我们,我们是谁,往往由我们脚下的这片土地决定。
评分如果要用一个词来概括这部作品带给我的感受,那一定是“沉郁的华丽”。它的语言风格达到了极高的美学水准,充满了古典的韵味和一种近乎巴洛克式的繁复装饰感。句子结构复杂而优美,用词考究,充满了生僻但精确的词汇,需要读者具备一定的词汇量和专注力。然而,这种华丽绝非空洞的辞藻堆砌,它服务于故事核心的悲剧性主题。作者总能在描绘美好事物(比如一朵罕见的夜间开花的植物,或者一件祖传的精美工艺品)时,不着痕迹地植入衰败和毁灭的预兆,形成一种强烈的对比美学。这种“美之下的腐朽”的主题,贯穿始终,令人叹服。我尤其欣赏作者处理情感的方式——它极其克制,但一旦爆发,那种力量是毁灭性的。它没有廉价的宣泄,只有深埋的痛苦和对命运的无声反抗。这本书的美感是复杂的,带着伤痕,却又因为这些伤痕而更加动人心魄,是一次真正值得细细品味的文学之旅。
评分Amy Tan always has a powerful pen. I enjoyed the keen observation with which she penetrated through space and time, countries and generations. But not very fond of the odd destinies of characters.
评分Amy Tan always has a powerful pen. I enjoyed the keen observation with which she penetrated through space and time, countries and generations. But not very fond of the odd destinies of characters.
评分Amy Tan always has a powerful pen. I enjoyed the keen observation with which she penetrated through space and time, countries and generations. But not very fond of the odd destinies of characters.
评分This is a great book! Very touching...The mother-daughter relationship has always be tense but as the daughter finds out her mother's past, she starts to understand why her mother behaves the way she does. Her way of love is different but it is always there!
评分This is a great book! Very touching...The mother-daughter relationship has always be tense but as the daughter finds out her mother's past, she starts to understand why her mother behaves the way she does. Her way of love is different but it is always there!
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