Amy Tan is the author of The Joy Luck Club, The Kitchen God’s Wife, The Hundred Secret Senses, The Bonesetter's Daughter, The Opposite of Fate, Saving Fish from Drowning, and two children’s books, The Moon Lady and The Chinese Siamese Cat, which has been adapted as Sagwa, a PBS series for children. Tan was also the co-producer and co-screenwriter of the film version of The Joy Luck Club, and her essays and stories have appeared in numerous magazines and anthologies. Her work has been translated into more than twenty-five languages. Tan, who has a master’s degree in linguistics from San Jose University, has worked as a language specialist to programs serving children with developmental disabilities. She lives with her husband in San Francisco and New York.
Amy Tan’s beloved, New York Times bestselling tale of mothers and daughters. Nominated as one of America’s best-loved novels by PBS’s The Great American Read. Four mothers, four daughters, four families whose histories shift with the four winds depending on who's "saying" the stories. In 1949 four Chinese women, recent immigrants to San Francisco, begin meeting to eat dim sum, play mahjong, and talk. United in shared unspeakable loss and hope, they call themselves the Joy Luck Club. Rather than sink into tragedy, they choose to gather to raise their spirits and money. "To despair was to wish back for something already lost. Or to prolong what was already unbearable." Forty years later the stories and history continue. With wit and sensitivity, Amy Tan examines the sometimes painful, often tender, and always deep connection between mothers and daughters. As each woman reveals her secrets, trying to unravel the truth about her life, the strings become more tangled, more entwined. Mothers boast or despair over daughters, and daughters roll their eyes even as they feel the inextricable tightening of their matriarchal ties. Tan is an astute storyteller, enticing readers to immerse themselves into these lives of complexity and mystery.
这本书与作者的《接骨师之女》是在一块儿读完的。心里很是难受。 个人感觉,相对于《接骨师之女》,这部小说的文笔青涩了许多。甚至看起来都不太像小说,像一篇篇散文,娓娓道来,不疾不徐。 母亲一辈的坎坷在历史书里学过,女儿们的叛逆与反思,我半懂不懂。隔...
评分书中对四位移居美国的中国女性的命运以及与她们在美国出生的女儿之间的心理隔膜及文化冲突描写的非常出色。另外,书中展示的既有两种文化也有两代人之间的冲突,抛开文化差异,与国内普通的母女之间的关系也有共通之处,能够强烈地引起读者共鸣,这大概也是这本书打动我的另一...
评分这本书与作者的《接骨师之女》是在一块儿读完的。心里很是难受。 个人感觉,相对于《接骨师之女》,这部小说的文笔青涩了许多。甚至看起来都不太像小说,像一篇篇散文,娓娓道来,不疾不徐。 母亲一辈的坎坷在历史书里学过,女儿们的叛逆与反思,我半懂不懂。隔...
评分女性书写之里程碑作品《简•爱》在1847年出版时以柯勒•贝尔(Currer Bell)这一性别不明的笔名出版;乔治•艾略特这一男性笔名和其行文风格常常使读者认为其作者理所应当为男性;伊莱娜•内米洛夫斯基1929年寄往出版社的《大卫•格德尔》除了留下了邮箱外没有其他...
评分这本书与作者的《接骨师之女》是在一块儿读完的。心里很是难受。 个人感觉,相对于《接骨师之女》,这部小说的文笔青涩了许多。甚至看起来都不太像小说,像一篇篇散文,娓娓道来,不疾不徐。 母亲一辈的坎坷在历史书里学过,女儿们的叛逆与反思,我半懂不懂。隔...
男权社会渗透于女性意识深层的自我贬低排斥,自我抹杀的传统观念,是一种集体无意识。在这样的观念之下,她们自然永远无法达到母辈的要求,也无法正视原本的自我。母女们的悲欢故事大部分都是以沉默和打破沉默这条主线编织起来的,沉默已经变成了一个象征,它那巨大的毁灭性力量摧毁着女性赖以生存的自尊,自信和勇气,使她们在沉重的压抑之中丧失生存的能力。然而一旦打破沉默,这毁灭性的力量就会立刻消失,被压抑已久的人性就将得到复苏,平衡和谐的关系就会得到恢复。年轻一代的女性从母亲身上汲取了精神的营养与力量,以积极乐观的态度面对新的生活。是小说的结尾处吴晶梅在母亲去世之后代表母亲去大陆寻找她失散多年的双胞胎姐姐一幕所象征的。
评分我第一次这么痴迷地读着一本英文小说。作者的手法很独到,用第一人称分不同人物去描写,如果用上第三人称就没有这样的味道了。就像村上的1Q84,分不同视角但是却用上了第三人称去写,人物的心理活动自然而然就不会那么细腻地表露出来。想这样的小说买了真是值得,读的过程真是顺畅,用语也很简朴。以后要是有机会要再读多几遍才好。
评分我第一次这么痴迷地读着一本英文小说。作者的手法很独到,用第一人称分不同人物去描写,如果用上第三人称就没有这样的味道了。就像村上的1Q84,分不同视角但是却用上了第三人称去写,人物的心理活动自然而然就不会那么细腻地表露出来。想这样的小说买了真是值得,读的过程真是顺畅,用语也很简朴。以后要是有机会要再读多几遍才好。
评分看到中间的时候只想吐槽,各种描述中国传统服饰的奇怪词汇,故事也没什么意思,看到最后一篇的时候才觉得整本书串联起来所传达的信息挺动人的
评分Amy Tan是个很好的Narrator,可是她不懂中国。书里充满了词不达意的中文短语,牵强附会的中国智慧。
本站所有内容均为互联网搜索引擎提供的公开搜索信息,本站不存储任何数据与内容,任何内容与数据均与本站无关,如有需要请联系相关搜索引擎包括但不限于百度,google,bing,sogou 等
© 2025 book.quotespace.org All Rights Reserved. 小美书屋 版权所有