For more than three decades, Svetlana Alexievich has been the memory and conscience of the twentieth century. When the Swedish Academy awarded her the Nobel Prize, it cited her invention of “a new kind of literary genre,” describing her work as “a history of emotions . . . a history of the soul.”
In The Unwomanly Face of War, Alexievich chronicles the experiences of the Soviet women who fought on the front lines, on the home front, and in the occupied territories. These women—more than a million in total—were nurses and doctors, pilots, tank drivers, machine-gunners, and snipers. They battled alongside men, and yet, after the victory, their efforts and sacrifices were forgotten.
Alexievich traveled thousands of miles and visited more than a hundred towns to record these women’s stories. Together, this symphony of voices reveals a different aspect of the war—the everyday details of life in combat left out of the official histories.
Translated by the renowned Richard Pevear and Larissa Volokhonsky, The Unwomanly Face of War is a powerful and poignant account of the central conflict of the twentieth century, a kaleidoscopic portrait of the human side of war.
“But why? I asked myself more than once. Why, having stood up for and held their own place in a once absolutely male world, have women not stood up for their history? Their words and feelings? They did not believe themselves. A whole world is hidden from us. Their war remains unknown . . . I want to write the history of that war. A women’s history.”—Svetlana Alexievich
THE WINNER OF THE NOBEL PRIZE IN LITERATURE
“for her polyphonic writings, a monument to suffering and courage in our time.”
Svetlana Alexievich was born in Ivano-Frankivsk, Ukraine, in 1948 and has spent most of her life in the Soviet Union and present-day Belarus, with prolonged periods of exile in Western Europe. Starting out as a journalist, she developed her own nonfiction genre, which gathers a chorus of voices to describe a specific historical moment. Her works include The Unwomanly Face of War (1985), Last Witnesses (1985), Zinky Boys (1990), Voices from Chernobyl (1997), and Secondhand Time (2013). She has won many international awards, including the 2015 Nobel Prize in Literature “for her polyphonic writings, a monument to suffering and courage in our time.”
今年对二战题材颇为着迷。把书架上跟二战相关的一切书籍都拿来读。不得不说,这本书给了我很大的冲击力。我们一直生活在父权社会中,关于战争,好像只是男人之间相互搏杀的事情。这本书让我知道了原来二战东线战场中,苏联红军里有至少100万女兵。她们不只是护士、通信员、炊事...
評分“有一次运来了一位伤员……躺在担架上,全身上下都扎了绷带,连脑袋也受了伤,脸几乎一点也没露出来。他活不了多久了。可是,也许我使他想起了谁,他对我叫道:“拉莉莎……拉莉莎……亲爱的……”显然他是在呼唤着他爱的一个姑娘。可是我正好也叫这个名字。我走近他,莫名其...
評分生活中,我们听到过太多感人肺腑的母爱故事,保护孩子简直是种本能。产后虚弱的母亲,听得婴儿哭声,立刻抱起安抚;恶犬扑来,母亲将孩子挡在身下,自己身被重伤;饥馑年代,母亲吃糠咽菜,也要将仅有的肉留给孩子。 但在S.A.阿列克谢耶维奇笔下,母爱本能又不尽然如我们理解...
評分如果可以选择,这本书里的任何一个女人大概都不会选择战争吧! 但战争从未给过她们选择的机会。 作者在后记里说,自己从未喜欢过战争书籍,她是卫国战争的孩子,小时候从不知道没有战争的世界是怎样的,那么她的这本书,就是为了告诉今人有战争的世界是怎样的。 所以,这本书写...
評分——评《我是女兵 也是女人》 文/蓦烟如雪 “祖国履行了我的责任,可我却会为自己打过仗而忧伤,为我所知道的一切而难过。”这一句话,就可以道尽了整本书的内核,这是一本痛苦的书,也是一本真相的书。 阿列克谢耶维奇在写这本作品的时候,周边了全国,几十趟的旅行,数百盒...
太痛瞭 There can't be one heart for hatred and another for love. We only have one, and i always thought about how to save my heart.
评分這是一本關於痛苦的書,也是一本關於真相的書。作者走訪瞭上百位曾在蘇德戰爭(偉大衛國戰爭)時期參戰的蘇聯女兵,傾聽她們的訴說,記錄她們的苦難,然後用一段段真實的迴憶文字,嚮讀者展示被宏大敘事和輝煌勝利所掩蓋的無數普通人的犧牲和淚水。在春節假期的這幾天,我無數次地被殘酷的真相所震撼,被高貴的人性所感動……
评分如果去掉作者嘮嘮叨叨的前十章就更好瞭…
评分(1985) R4 戰爭中暫時得到瞭平等,戰後又是男人的附屬和歧視對象
评分Brigitte的聖誕禮物
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