In 1841, a Japanese fishing vessel sinks. Its crew is forced to swim to a small, unknown island, where they are rescued by a passing American ship. Japan’s borders remain closed to all Western nations, so the crew sets off to America, learning English on the way. Manjiro, a fourteen-year-old boy, is curious and eager to learn everything he can about this new culture. Eventually the captain adopts Manjiro and takes him to his home in New England. The boy lives for some time in New England, and then heads to San Francisco to pan for gold. After many years, he makes it back to Japan, only to be imprisoned as an outsider. With his hard-won knowledge of the West, Manjiro is in a unique position to persuade the shogun to ease open the boundaries around Japan; he may even achieve his unlikely dream of becoming a samurai.
*STARREDreview from Booklist *
Manjiro is 14 when a freak storm washes him and his four fishing companions onto a tiny island far from their Japanese homeland. Shortly before starving, they are rescued by an American whaling ship. But it’s 1841 and distrust is rampant: the Japanese consider the whalers “barbarians,” while the whalers think of the Japanese as “godless cannibals.” Captain William Whitfield is different—childless, he forges a bond with the boy, and when it comes time for Manjiro to choose between staying with his countrymen or going to America as Whitfield’s son, he picks the path of adventure. It’s a classic fish-out-of-water story (although this fish goes into the water repeatedly), and it’s precisely this classic structure that gives the novel the sturdy bones of a timeless tale. Backeted by gritty seafaring episodes—salty and bloody enough to assure us that Preus has done her research—the book’s heart is its middle section, in which Manjiro, allegedly the first Japanese to set foot in America, deals with the prejudice and promise of a new world. By Japanese tradition, Manjiro was destined to be no more than a humble fisherman, but when his 10-year saga ends, he has become so much more. Wonderful back matter helps flesh out this fictionalized companion to the same true story told in Rhoda Blumberg’s Shipwrecked! The True Adventures of a Japanese Boy (2001). — Daniel Kraus
*STARRED review from Kirkus Reviews *
In 1841, 14-year-old Manjiro joined four others on an overnight fishing trip. Caught by a severe storm, their small rowboat was shipwrecked on a rocky island. Five months later, they were rescued by the crew of a whaling ship from New Bedford. Manjiro, renamed John Mung, was befriended by the captain and eventually lived in his home in New Bedford, rapidly absorbing Western culture. But the plight of his impoverished family in Japan was never far from Manjiro’s mind, although he knew that his country’s strict isolationist policy meant a death sentence if he returned. Illustrated with Manjiro’s own pencil drawings in addition to other archival material and original art from Tamaki, this is a captivating fictionalized (although notably faithful) retelling of the boy’s adventures. Capturing his wonder, remarkable willingness to learn, the prejudice he encountered and the way he eventually influenced officials in Japan to open the country, this highly entertaining page-turner is the perfect companion to Shipwrecked! The True Adventures of a Japanese Boy, by Rhoda Blumberg (2001). (historical note, extensive glossary, bibliography.) (Historical fiction. 9-13)
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从主题的深度来看,这部作品探讨的核心问题非常引人深思,远超出了简单的动作冒险范畴。它细腻地触及了“荣誉”与“生存”之间永恒的悖论。在特定的社会结构下,一个人如何定义自己的价值?是恪守那些看似僵硬的信条,还是为了保护身边的人而做出必要的妥协?作者并没有提供一个简单的答案,而是将主角置于无数个道德的十字路口,每一次选择都伴随着巨大的代价。这种对伦理困境的挖掘,使得人物的行为逻辑异常真实可信。此外,作品对“忠诚”这一概念的解构也颇为精彩,它展示了盲目的服从如何导致灾难,以及真正的忠诚可能意味着质疑甚至反抗。每一次情节推进,都像是在揭开一层关于人性局限和潜能的真相。这种对宏大哲思的探讨,并非生硬的说教,而是通过人物的鲜活经历自然流淌出来,让人在合上书本之后,依然会在脑海中不断回味和辩论那些未解的命题,引发了对自身价值观的审视。
评分这部作品的叙事节奏把握得相当精准,作者似乎深谙如何将宏大的历史背景与个体命运的细微波动巧妙地编织在一起。开篇便将读者猛地抛入了一个充满张力的环境中,那种初临异乡或初入困境时特有的那种敏感和戒备,通过细腻的心理描写展现得淋漓尽致。我特别欣赏作者在构建场景时的那种不动声色的力量,你几乎可以闻到空气中弥漫的尘土味和远方寺庙传来的香火气。人物的动机并非扁平化的善恶对立,而是涂抹着各种灰色地带,即便是那些看似立场坚定的角色,其内心深处也隐藏着脆弱和矛盾。例如,主角在做出某个关键抉择时,那种内心的挣扎和权衡,那种“明知不可为而为之”的悲壮感,着实扣人心弦。读到中段,情节的转折更是出乎意料,它并非是刻意的反转,而是水到渠成的必然,是角色长期积累的压力在特定时刻的集中爆发。这种叙事手法让读者在阅读过程中始终保持着一种高度的参与感,仿佛自己就是那个身处漩涡中心的观察者,为每一次小小的胜利而屏息,为每一次无可挽回的失误而扼腕。更难得的是,即便是复杂的政治阴谋或武力冲突,作者也从未让它们喧宾夺主,而是始终将其作为烘托人物内心成长的背景板。
评分这本书的语言风格简直是一场感官的盛宴,它不像某些历史小说那样堆砌辞藻,显得僵硬和刻意,反而带着一种浑然天成的韵味。行文之中,大量运用了富有画面感的比喻,那些对自然景色的描绘,并非简单的风景速写,而是与人物的心境紧密相连,风吹过竹林的沙沙声,似乎都在低语着某种不为人知的秘密。我尤其喜欢作者在处理对话时的那种克制与精准,角色的台词往往言简意赅,却蕴含着深层的含义,很多时候,角色没有说出口的话,比他们真正说出来的话更重要,这种“留白”的艺术,极大地提升了文本的层次感,迫使读者主动去解读和填补信息。阅读起来,你会感觉到一种流畅的音乐感,有些段落如行云流水般一气呵成,适合快速推进情绪;而另一些关键性的场景,则会故意放慢速度,用近乎诗歌的节奏来雕琢每一个词语的重量。这种节奏的张弛有度,使得即便是对历史背景不甚了解的读者,也能凭借着强大的情感共鸣而沉浸其中,这无疑是高超的写作技巧的体现。它读起来让人想起那些被时间打磨过的老物件,表面光滑,内里却藏着复杂而温暖的纹理。
评分要评价这本书,不能不提它的结构设计,这简直是一门精密的建筑艺术。作者没有采用完全线性的叙事方式,而是巧妙地穿插了闪回和对未来的预示,但这种穿插处理得非常干净利落,绝不会造成读者的困惑。每一个闪回都精准地服务于当前的情节,解释了某个角色的某个习惯,或揭示了一段被隐藏的历史,极大地丰富了人物的厚度和背景的复杂性。特别是故事的结尾部分,处理得尤为高明,它既给了读者一个可以接受的落点,允许角色完成他们的旅程,但又留下了一些恰到好处的开放性,让读者可以自行去想象后续的可能性。这种不把话说死的处理方式,是对读者智商的尊重。通篇读下来,你会发现所有的线索,无论看起来多么微不足道,最终都精准地汇集到了预定的终点,没有一丝冗余或遗漏,这种结构上的严谨性,让作品散发出一种成熟的、无可挑剔的光芒,显示出作者非凡的掌控全局的能力。
评分我必须提及这部作品在氛围营造上的成功,它成功地营造了一种既古典又略带宿命感的基调。整体上,世界观的构建是令人信服的,作者对那个时代的社会阶层、风俗习惯乃至日常的饮食起居,都有着扎实的考据和细腻的描摹,使得虚构的故事拥有了坚实的现实基础。这种沉浸感,很大程度上归功于作者对“环境如何塑造人”这一命题的深刻理解。你仿佛能感受到那种自上而下的威压,以及底层人物为求生存所展现出的坚韧。然而,即便在最为压抑的时刻,作品也总能找到一抹亮色,也许是某人之间短暂的温情互动,也许是主角对美好未来的微小坚持,这些微弱的光芒,正是支撑读者读下去的强大动力。它不是一部让人读完后感到轻松愉悦的书,但它绝对是一部能让人感受到深刻震撼和精神洗礼的作品,它像一场突如其来的暴雨,洗刷了表面的浮华,露出了事物的本质,让人在震撼中感受到一种奇异的平静。
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