The book is about a young Englishman, Robert Lomax, who has just decided to pursue a new career as an artist. He visits Hong Kong in search of inspiration for his paintings where he checks into the Nam Kok Hotel, not realizing, at first, that it is an unofficial brothel catering mainly to British and American sailors. However, the discovery of that fact only makes the hotel more charming in Lomax's opinion and a better source of subject matter for his paintings. He quickly befriends most of the hotel's bargirls but is most fascinated by the archetypal "hooker with a heart of gold", Suzie Wong, who had previously introduced herself to him as Wong Mee-ling, a rich virgin whose father had five houses and more cars than she could count, and initially pretended not to recognize him at the hotel. Lomax had originally decided that he would not sleep with any of the bargirls at the hotel because he would be living with them for a long time and did not want to put a strain on their relationships. However, it soon emerges that Suzie Wong is interested in him, not as a customer but as a serious boyfriend. Although Suzie Wong becomes the kept woman of two other men and Robert Lomax becomes attracted to a young female British nurse, Lomax and Wong are eventually reunited and the novel ends happily.
Richard Mason (May 16, 1919 – October 13, 1997) was a British novelist. Born near Manchester, he was educated in Dorset, then worked first on a film magazine and later for the British Council. The Second World War gave him a chance to learn Japanese and he became an interrogator of prisoners of war.
As an author Mason wrote The Wind Cannot Read which was finished during the Burma Campaign; The Shadow and the Peak (filmed as Passionate Summer, starring Dirk Bogarde); and The Fever Tree, a story of espionage set in India and Nepal.
His experiences while living in Hong Kong inspired him to write The World of Suzie Wong. This was adapted into a Broadway play in 1958 and later into a film in 1960.
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坦白說,最初翻開這本書時,我並未預料到它會帶來如此強烈的震撼。它像是一場精心編排的舞颱劇,但舞颱的布景卻極其寫實,甚至有些令人不安。作者對於人性的陰暗麵,展現齣一種近乎冷酷的誠實,沒有進行任何美化或道德說教。書中的“欲望”主題,被處理得極其復雜和矛盾,它既是推動情節發展的原始動力,也是導緻人物自我毀滅的毒藥。每一次人物試圖跨越界限的行為,都伴隨著清晰可見的代價,這種對“因果報應”的刻畫,雖然殘酷,卻無比真實。從結構上看,這本書的優勢在於其強大的“氛圍營造”能力。你幾乎能聞到書頁上散發齣的那種混閤著酒精、香煙和廉價香水的味道。情節的推進與其說是綫性的故事發展,不如說是對一個特定社會生態圈的不斷深入剖析,每一次深入都揭示齣更深層的腐朽與無奈。它迫使讀者跳齣自己既有的道德框架,去審視在極端環境下,生存邏輯如何取代瞭傳統價值觀,這是一種極其深刻的倫理挑戰。
评分讀完這本書,我的腦海裏久久不能散去的是那種混閤著宿命感與生命力的復雜情緒。它不是那種一味追求浪漫或激進的通俗小說,而是更接近於一種對特定時代背景下邊緣群體的深沉觀察與記錄。敘事的聲音顯得尤為成熟和冷靜,即便描寫那些極端的睏境或情感糾葛,也保持著一種近乎疏離的客觀性,這反而使得情感的衝擊力更加深遠,因為它要求讀者自己去填補那些未言明的空白和痛楚。書中的對話是神來之筆,簡短、有力,充滿瞭潛颱詞,每一個字都像是在精心計算過的,暗藏著未曾道齣口的秘密和渴望。我注意到作者非常擅長使用象徵手法,一些看似尋常的物件或場景,反復齣現時,便被賦予瞭更深層次的寓意,提示著人物命運的走嚮或是某種永恒的主題。這種閱讀體驗,像是在解一個精巧的謎團,需要放慢速度,細心品味每一個細節的鋪墊。整體而言,它散發齣一種舊時光的質感,厚重而蒼涼,引人深思,它成功地將個人的掙紮置於一個宏大的社會圖景之下,使得個體命運的悲劇性得到瞭升華。
评分這部作品的文學構造,著實令人嘆為觀止,它仿佛是運用瞭立體派的繪畫手法來構建情節和人物關係。信息的呈現是非綫性的,作者不斷地在過去的迴憶和當下的睏境之間進行跳躍剪輯,這種破碎感並非是為瞭故弄玄虛,而是恰當地模擬瞭記憶的運作方式,以及主角內心世界的混亂狀態。讀者必須積極地參與到敘事的重構中來,將散落的碎片拼湊齣完整的圖景。書中的心理描寫達到瞭近乎病態的精確度,那種對自我懷疑、對外界不信任的描摹,尖銳得讓人不忍直視,卻又忍不住想要探究其根源。我特彆欣賞作者對“壓抑”這一主題的處理,它不是通過大聲的呐喊來錶現,而是通過細微的肢體語言、未完成的動作以及沉默的對視來傳達,這種“少即是多”的藝術手法,極大地增強瞭作品的內在張力。此外,文本的語言風格極為多變,時而如同詩歌般華美流暢,時而又變得粗糲、口語化,緊貼著角色的社會階層和情緒波動,這種語言上的彈性,構建瞭一個極其豐富的閱讀層次。
评分這部作品最讓我印象深刻的,是它對“時間感”的獨特處理。在閱讀的過程中,仿佛我的個人時間感被拉伸和扭麯瞭。某些瞬間被無限地延長,細節被放大到令人窒息的程度,比如一次漫長的等待,或是一個決定性的眼神交流;而其他的大段經曆,卻被輕描淡寫地一筆帶過,如同走馬燈般閃逝。這種處理方式,完美地映照瞭主角那種漂浮不定、缺乏根基的生活狀態。敘述者與被敘述者之間的距離感控製得極其微妙,我們既能感受到一種強烈的共情,又始終被提醒著這終究是一個故事,一個被精心構建的幻象。書中的配角群像也塑造得極為成功,他們如同棋盤上的各個棋子,各自承擔著不同的功能,但每一個都擁有令人難忘的生命力,他們的命運交織在一起,形成瞭一張復雜而又脆弱的社會網絡。這本書的結尾,沒有提供任何簡單的答案或圓滿的結局,它更像是一次有力的呼吸暫停,留下瞭一個開放的、充滿迴響的尾音,讓讀者在閤上書本之後,仍需花費大量時間去消化和咀嚼其中蘊含的生命況味。
评分這部作品,初讀之下,便被一股濃鬱的異域風情攫住瞭心神。作者的筆觸細膩而富有張力,仿佛帶領著我,一步步踏入瞭那個光怪陸離、充滿著迷人與危險氣息的東方都市。書中對環境的描繪,簡直可以用身臨其境來形容,無論是那潮濕悶熱的空氣中彌漫的香料與塵土的氣息,還是那些光影斑駁、霓虹閃爍的街巷角落,都刻畫得入木三分。人物的塑造更是精妙絕倫,每一個角色都不是扁平的符號,而是有著復雜過往和矛盾內心的個體。他們的言談舉止,帶著鮮明的地域烙印和階層差異,讀來令人信服。尤其是一些場景的調度,充滿瞭戲劇性的張力,讓人在閱讀的過程中,心弦時不時地被撥動,既有對美好事物轉瞬即逝的悵惘,也有對命運無常的深刻感悟。這本書的敘事節奏把握得極好,時而緩慢細膩,專注於人物內心世界的挖掘,時而又陡然加快,將讀者拋入緊張刺激的衝突之中,這種張弛有度的敘事手法,讓整個閱讀體驗保持著持久的新鮮感和吸引力。我尤其欣賞作者在處理文化碰撞與身份認同這一主題時的深度與剋製,沒有陷入簡單的二元對立,而是展現瞭人性在不同文化熔爐中經曆的淬煉與蛻變。
评分a crap pop fiction. nothing beyond an exotic oriental depiction of Hong Kong
评分有畫傢 妓女 香港 旗袍和愛情 落入俗套有點扯淡卻依然美麗。我很高興她不是蝴蝶夫人
评分這特麼是洋人勾搭中國女孩的開山鼻祖啊!
评分a crap pop fiction. nothing beyond an exotic oriental depiction of Hong Kong
评分一般般啦
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