《A Man's Place》经典读后感有感

《A Man's Place》是一本由Annie Ernaux著作，Seven Stories Press出版的Paperback图书，本书定价：USD 15.76，页数：96，特精心收集的读后感，希望对大家能有帮助。

《A Man's Place》读后感(一)：有点相似的父亲

作者非常冷静，但是又饱含情感地记录了父亲的一生，他父亲身上似乎可以看到很多父亲的影子，那种在家里承担很多责任，作为家庭权威到逐渐意识到孩子的成长和超越，叠加年龄和身体以及时代的变迁，内心逐渐发生变化。作者从父亲的死亡开始，缓缓展父亲的故事，其中也有很多自己成长的经历，而其中母亲的角色似乎不是那么突出，但是总是在很多细节里出现，比如给作者写信，逛街，接作者回家，是家中很重要的调节角色。

《A Man's Place》读后感(二)：文字对现实的整合

文字试图整合现实的尝试是否总是失败的，现实打散、重组，国别体纪传体章回体还是编年体，埃尔诺抵挡住了"invent memories"的冲动，but seems to fail to even "wavering between the two", as she claimed she'd ended up doing. The more I go along with my reading, the more alienation instead of happiness I felt. Now this verdict per se is not to be trusted tho cos it is entangled with my own experience in which feeling of alienation flood haunts me wherever I go, hence my failure to acknowledge Ernaux's attempt to revisit her "Happiness" with her father. Now while I am writing about this failure, I realise I'm also refusing her "happiness" by refusing to revisit the novel to find more "objective" evidence, by which point, I would, almost invariably, start to question the necessity of going back, and the necessity of the question itself, until I'm struck by exactly the same question, and refuse in exactly the same manner, the reality.

本意是要写埃尔诺整合现实的尝试，但最终文字像埃尔诺写得那样“takes over and ideas seem to develop their own accord"。人是多么无聊呀，你的人生的大命题就那几个，性别阶级故乡身份。无论读什么、写什么，你的文字你的思考都一定在你意料到之前就带你回到这些大命题里。埃尔诺对快乐的描摹是印象派的模糊，对alienation疏离的描述则是古典派的细致。

《A Man's Place》读后感(三)：A Man's Place

如果你喜欢《回归故里》或费兰特的书，那你应该也会喜欢Annie Ernaux的《A Woman’s Story》和《A Man's Place》，“阶级”议题如一条丝线串起这几本书散落的虚构、回忆与自我剖析。相比《回归故里》迪迪埃有意写得更为“宏观”，Annie Ernaux的落笔之处却无一不是细微之处，一切关于那些琐碎、流畅的日常叙事。

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阶级与语言

“The habit was so deep-rooted that my father — who applied himself to speaking properly in front of other people — would automatically revert to Norman French and to his broad accent and aggressive tone whenever he told me not to climb on to the heap of rubble in the yard. This ruined his effort to create a good impression.” 努力实现阶级跃升和追求“得体”的父母在不经意间（咒骂孩子、与下层人交流时）使用方言。这个情节在费兰特《成年人的谎言生活》里也曾出现，成为知识分子的父亲在提到“我”的姑姑时会不自觉转换成“粗俗”的家乡话。语言联系了一种生活方式，用更广阔的语境来说，语言作为一座桥梁连接了个体与某种历史和文化。

实现了“阶级跃升”的人们总羞耻于自己的过去，最外显的表现是羞耻于自己的“家乡话”。这好像是一种全球的文化现象？不论是意大利、法国的文学记述还是在我听到过的东亚的经历中。我想是因为语言作为某种历史和文化的代理，是一种文化区隔的最为外显的形式，所以“语言是一种privilege”其实很对。

以上探讨的是语言的形式，而关于语言的内容：“At least he was happy to feed me. We talked about the same things we used to when I was a little girl. Nothing else.” 除了儿时那些的共同记忆以外，Annie Ernaux和父亲没有共同语言。结合我自己的经验来说，这段描述很真实。这种“无话可说”像幽灵一般的困境，反复烦扰、无形、你知道这是你一辈子也无法解决的问题（直至父母死亡）。

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母亲与父亲

Annie Ernaux写得很克制，努力保持了一种客观的距离，除了阶级的因素，这种写作方式也许是本书读起来有些疏离感的一个原因。我觉得光是想象一下父母的死亡，通常会有难以克制的情绪喷涌而出（不管是好或坏）。而她描写父亲的文字里则是更像隐隐地流露出悲伤、或喜悦、或幸福，比如写到带孩子回家省亲，却发现父亲即将死亡。Annie Ernaux如此自然地将生活的细节将父亲即将到来的死亡糅合在一起，是如此地让人心碎，又仿佛暗隐着“死亡是一件平常事”：“The child was playing in the garden. I kept an eye on him while I tried to read Les Mandarins by Simone de Beauvoir. It was a long book and I couldn’t get into it. I knew that when I reached a certain page, my father would no longer be alive.”

《A Woman’s Story》中描写母亲的文字透出的情感则更加强烈。她写母亲的死并非写的是绝望感，而是一种世界上最难以承受的悲伤，就书中最后一句: “The last bond between me and the world I came from has been severed.” 读《A woman’s Story》时我感觉她就如一根漂浮的羽毛、一根脆弱的芦苇，被这种悲伤沉沉压着。很明显，她对母亲的感情比父亲要深，也许这样特别的亲缘关系的联系和纽带只有女作家能写得出来。

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用书的末尾的非常震撼的描述父亲的一句话作为结尾： “His greatest satisfaction, possibly even the raison d’être of his existence, was the fact that I belonged to the world which had scorned him.” 短短一句贯穿了整本书的核心。