《Colorless Tsukuru Tazaki and His Years of Pilgrimage》读后感摘抄

《Colorless Tsukuru Tazaki and His Years of Pilgrimage》是一本由Haruki Murakami著作，Knopf出版的Hardcover图书，本书定价：USD 18.74，页数：400，特精心收集的读后感，希望对大家能有帮助。

《Colorless Tsukuru Tazaki and His Years of Pilgrimage》读后感(一)：Colorless Tsukuru Tazaki 浅薄的读后感

一开始读这本书完全是被封面吸引的，在TED上一个做包装设计工作的演讲者讲述了他是如何设计这本书的封面的，一个没有颜色的人和他四个颜色强烈的朋友的故事。

我读的是英文版的，而作为一个non-English speaker，我想说，这本书即使几经碾转翻译而成，依旧有种强烈的直抵内心的冲击。可见村上春树的功力。

我觉得我的人生也如同Tsukuru一样，体会着各种分离，然后慢慢习惯，却还是禁不住地思念着。沉重的思念，使得自己有意识地产生了第二种人格。

有一段，Tsukuru和16年未见的少年伙伴在芬兰见面了。他们一起追思3年前被杀害的朋友，都怀着一种内疚和切肤的痛感。Tsukuru说：“我有时候觉得，是我杀了她。在那个雨夜，是我去了她家，用皮带把她勒死的。”

朋友说：“我也觉得是我，我独自去了她的住处，没有告诉任何人，我杀了她，就像杀了另一个我自己。”

那一刻，在他们心底里，他们真的犯罪了，而这罪行却没有受到任何谴责，他们不得不背负着这样的罪行继续活着，活下去。

迄今为止的人生，曾经的挚友如不同轨迹的列车一样，一个一个在生命中消失，这样的消失没有渐变，显得突兀。回忆过去，也讲不清一个道理，一个逻辑来解释这样逝去的人。只好在心底里怀念。

《Colorless Tsukuru Tazaki and His Years of Pilgrimage》读后感(二)：color of death

Many puzzles left unanswered. I guess novels aren't obligated to make everything crystal clear. Questions are room for imagination, up to the interpretation of readers. He again mingles reality and imagination. I was fascinated by Haida who remained a mystery until the end. The unusually slow and fact based development towards the end really dragged beyond. So what is his pilgrimage, exactly？ His past？

Although I was never a part of a close-knit group, I am like Tsukuru in many other aspects. I also think that I am average. I also think too much and over-interpret things, leading to unnecessary burdens. It was really sad how everything is inevitable in the end.

《Colorless Tsukuru Tazaki and His Years of Pilgrimage》读后感(三)：那个淡淡的男子

The Colorless Tsukuru Tazaki and His Years of Pilgrimage

没有色彩的多崎作和他的巡礼之年

这是我读的第二本英文版的村上春树小说。第一本是The Wind-up Bird Chronical（发条鸟编年史）。选择英文版有三个原因。

首先，从前我觉得中日文化相近，日本作家的作品读英文译本必然是舍近求远，然而读过几本村上的中译本小说后，发现依然是翻译体，并未因此增加语感的亲切，有些对白倒反而让我不由自主地联想到阿信，星矢。

或许这就是村上说的“终究悲哀的外国语”吧。

其次，母语阅读往往容易熟视无睹一目十行，被情节催促，而用第二语言阅读能更多体会叙述的语感，节奏（当然译者功力如何就是另外一回事了）。就像左手用筷子，需要你重新集中精力去调整协调肌肉，也是回复初心体验的一种方式吧。

最后，村上的日语据说本身就是接近英文的翻译体。他自述当初写处女座《其听风吟》时写完初稿完全废弃，重新用英文写了个开头，然后翻译成日语，慢慢找到语感才接着往下写。所以，或许英译本更接近村上表达的本意。

所以，都是译本，在译者葛布瑞尔和施小炜先生之间我选择了前者。

说得如此诚恳以示并非矫情，实际上标题里除去人名的6个单词里就有一个主要单词不认识。Pilgrimage，搜了一下，是宗教用词，中文译作“朝圣”，英文解释更强调朝圣的旅程本身。相比中文译名里直接沿用日文里的“巡礼”一词，反倒教人不知所云。

回到这本小说本身（为了叙述方便，我又去找了中文版对照了一下人物名字，后面人物都用中文译名），如果把村上春树的小说比作麦当劳食品，这本小说就是经典麦辣鸡腿汉堡，标准村上程式化制作，笔法正宗，意象典型，连封底引用的各媒体推荐语都和他以前的作品大同小异：扣人心弦(Mesmerizing),身临其境(immersive)，hallucinogenic（致幻的），seductive(引诱的)

一个性格淡淡的男主角(light-mannered)，开场即要开始他的寻找。猫，古典乐，离奇的春梦，几段情节上毫无关联又隐隐和主题有所呼应的副线（钢琴手绿川的故事，神秘的灰田和他神秘的消失，白的离奇死亡）。

没有一名作者可以在小说里花这么多笔墨构建出一个个悬念，最终不给答案，读者却全盘照收毫无抱怨。

至少我是这样，对于那些未解之谜我竟然没有强烈缺憾，仿佛很豁达地把它们归结于那些生活中让你若有所悟又无从考证的道听途说。

村上的叙述在评论界早有公论：冷静，孤独，偶尔掺些冷幽默。以我个人喜好来看，我仰慕作者在叙述中对距离的超常把控，他以场景描写见长，深入细节，娓娓道来，场景真实到你伸手可触碰，他却又能完全置身事外，不被这真实所束缚。这种对距离几近冷血的克制，使得他可以在现实到虚幻之间作无缝切换。而读者才会毫无抵抗地接受这转换，不觉得生硬突兀。

村上在这本书中的弱点也是明显的。描写过于拖沓。有时候车轱辘话来回说。本书中有两处已经让我到了无法忍受的地步：

第一处是小说最后一章，长篇幅的车站场景描写，节奏明显慢于前面的章节；对日本人生活的评论也插入得生硬。几次好容易镜头拖回主人公身上，以为故事即将延续，稍作停留又拖回远处车站里面目模糊的人群。这样的描写即使是为了铺置气氛场景也不应该出现在最后一章，卖关子的意味太明显，而且从剩下的篇幅长短读者就可以判断出后面是不会解开沙罗和陌生男人的谜团，提前失去了悬念的力量（想来可能作者到了此处也是无所谓了）。

第二处是个小细节，简直让我笑场，暗叹村上在此处粗糙幼稚得简直如同一个霸道总裁爱上抹布女式的网络写手。

多琦作和惠理（黑）见面后拥抱了两次。

第一次：

“作把黑从椅子上扶起来，从正面抱着她。一对丰满的乳房像某种证据一般紧紧贴上了他的胸膛。” （天晓得一对丰满的乳房和证据是怎么一回事，但是在比喻上出新意一直是村上致力所求，所以有时候绝妙，有时候莫名其妙也是常事。）

“Her full breasts lay tightly against his chest, as if testimony to something”

6页之后，时间跨度大概一两个小时，两人告别在木屋外再拥抱一次，结果……

“她那丰满的乳房中满满的充盈着生命的力量。”

“Her full breasts pressed against him，filled with the vitality to keep on living.”

Full breasts twice in 6 pages ？! 看到这里我不禁感叹这个英文译者葛布瑞尔先生可能也饿了。

然而，仿佛深夜电视直销广告中的情形，销售员大手一挥，But wait! There’s more! （等一下！还没完！）

7页之后，多琦作从芬兰回到日本，半夜醒来胡思乱想，然后……

“惠理那丰满的乳房轻轻触碰到他身体的触感。”

“The feel of Eri's breasts pressed against him.”

真所谓“一见杨过误终身，大胸妹子回味深”，短短十几页毫无新意的重复描写，简直让人想到低劣武侠小说中的女人“嘤咛一声”，男人“虎躯一震”。

《Colorless Tsukuru Tazaki and His Years of Pilgrimage》读后感(四)：A tale of self discovery and redemption

Haruki Murakami has the gift of creating a very different world than the one we reside in. In his world, the characters can be ordinary yet fascinating, like the colorless Tsukuru in this novel. As an engineer devoted his time to building the train stations, his life changed forever after he was cut off by his circle of friends from high school, with no explanation. The novel was about his soul searching and redemption. It focused on the psychology and the thought process more than anything. Along the way, we met his four friends from high school, his friend in later years, and his object of affection, who was probably the brightest and the most intelligent of the bunch, because she had seen through him, his problems, and because she cared enough about him and wanted to further their relationship, she helped him on his journey of discovery. As a result, he discovered not only the truth (even just partially), but also himself, as well as his true feelings.

The novel has a plot that was clean, simple, yet very powerful, it grabbed my attention from the very first page. The prose was eloquent, and the intermittent reference to different pieces of music made it all very poetic and mesmerizing, it made you feel like sitting in a lounge, at night, undisturbed, listening to jazz.

The following are some of the passages I loved -

“Yet when he was with this young friend he could, by and large, forget those four people. No, forget wasn’t the right word. The pain of having been so openly rejected was always with him. But now, like the tide, it ebbed and flowed. At times it flowed up to his feet, little by little, at other times it withdrew far away, so far away he could barely detect it. Tsukuru could feel, little by little, that he was setting down roots in the new soil of Tokyo, building a new life there, albeit one that was small and lonely. His days in Nagoya felt more like something in the past, almost foreign.”

“And in the moment, he was finally able to accept it all. In the deepest rescues of his soul, Tsukuru Tazaki understood. One heart is not connected to another through harmony alone. They are, instead, linked deeply through their wounds. Pain linked to pain, fragility to fragility. There is no silence without a cry of grief, no forgiveness without bloodshed, no acceptance without a passage through acute loss. That is what lies at the root of true harmony.”

“You can hide memories, but you can’t erase the histories that produced them. ”

https://m.youtube.com/watch？v=FDWUvc5wv7U&aal=MTYzODEzNzc%3D-cc31bedce1f547599e5d61bedc7f99e0e9329f9d&feature=youtu.be