Now available in English for the first time, Eileen Chang’s dark romance opens with Julie, living at a convent school in Hong Kong, on the eve of the Japanese invasion. Her mother, Rachel, long divorced from Julie’s opium-addict father, saunters around the world with various lovers. Recollections of Julie’s horrifying but privileged childhood in Shanghai clash with a flamboyant, sometimes incestuous cast of relations that crowd her life. Eventually, back in Shanghai, she meets the magnetic Chih-yung, a traitor who collaborates with the Japanese puppet regime. Soon they’re in the throes of an impassioned love affair that swings back and forth between ardor and anxiety, secrecy and ruin. Like Julie’s relationship with her mother, her marriage to Chih-yung is marked by long stretches of separation interspersed with unexpected little reunions. Chang’s emotionally fraught, bitterly humorous novel lifts a fractured mirror directly in front of her own heart.
Eileen Chang (1920–1995) was born into an aristocratic family in Shanghai. Her father, deeply traditional in his ways, was an opium addict; her mother, partly educated in England, was a sophisticated woman of cosmopolitan tastes. Their unhappy marriage ended in divorce, and Chang eventually ran away from her father—who had beaten her for defying her stepmother, then locked her in her room for nearly half a year. Chang studied literature at the University of Hong Kong, but the Japanese attack on the city in 1941 forced her to return to occupied Shanghai, where she was able to publish the stories and essays (collected in two volumes, Romances, 1944, and Written on Water, 1945) that soon made her a literary star. In 1944 Chang married Hu Lan-ch’eng, a Japanese sympathizer whose sexual infidelities led to their divorce three years later. The rise of Communist influence made it increasingly difficult for Chang to continue living in Shanghai; she moved to Hong Kong in 1952, then immigrated to the United States three years later. She remarried (an American, Ferdinand Reyher, who died in 1967) and held various posts as writer-in-residence; in 1969 she obtained a more permanent position as a researcher at Berkeley. Two novels, both commissioned in the 1950s by the United States Information Service as anti-Communist propaganda, The Rice-Sprout Song (1955) and Naked Earth (1956), were followed by a third, The Rouge of the North (1967), which expanded on her celebrated early novella, “The Golden Cangue.” Chang continued writing essays and stories in Chinese and scripts for Hong Kong films, and began work on an English translation of the famous Ch’ing novel The Sing-Song Girls of Shanghai. In spite of the tremendous revival of interest in her work that began in Taiwan and Hong Kong in the 1970s, and that later spread to mainland China, Chang became ever more reclusive as she grew older. She was found dead in her Los Angeles apartment in September 1995. In 2006 NYRB Classics published a collection of Chang’s stories, Love in a Fallen City, and in 2007, a film adaptation of her novella Lust, Caution, directed by Ang Lee, was released.
特约记者 黄今 【评价】 我觉得是张爱玲的顶峰之作。 您如何评价这部小说,有港台论者说不如《倾城之恋》这些作品。 《金锁记》、《倾城之恋》都是张爱玲二十多岁的作品。她的风格后来有变化。读者或者评论家看惯了某一阶段的小说,对这变化不能接受。这不是人家写得不好。...
评分男人大凡曾被一个女人爱过,他一辈子都会神经兮兮的认为这女子会或多或少的想着他,这是男人普遍的虚幻,也是男人普遍的自恋。这一点若看不透,上则不能安排好自己的恋爱婚姻,弄的丝丝连连当断不断;下则很难心甘情愿心平气和的读完《小团圆》。 上周从浅浅那里借来《小团圆...
评分 评分特约记者 黄今 【评价】 我觉得是张爱玲的顶峰之作。 您如何评价这部小说,有港台论者说不如《倾城之恋》这些作品。 《金锁记》、《倾城之恋》都是张爱玲二十多岁的作品。她的风格后来有变化。读者或者评论家看惯了某一阶段的小说,对这变化不能接受。这不是人家写得不好。...
评分男人大凡曾被一个女人爱过,他一辈子都会神经兮兮的认为这女子会或多或少的想着他,这是男人普遍的虚幻,也是男人普遍的自恋。这一点若看不透,上则不能安排好自己的恋爱婚姻,弄的丝丝连连当断不断;下则很难心甘情愿心平气和的读完《小团圆》。 上周从浅浅那里借来《小团圆...
前面好像好一点,后面好像翻译烦了似的,越译越差,不过对于张爱玲和小团圆来说,译成这样也就可以了
评分前面好像好一点,后面好像翻译烦了似的,越译越差,不过对于张爱玲和小团圆来说,译成这样也就可以了
评分??英文版?
评分前面好像好一点,后面好像翻译烦了似的,越译越差,不过对于张爱玲和小团圆来说,译成这样也就可以了
评分前面好像好一点,后面好像翻译烦了似的,越译越差,不过对于张爱玲和小团圆来说,译成这样也就可以了
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