Death's End读后感1000字

《Death's End》是一本由Cixin Liu著作，Tor Books出版的Hardcover图书，本书定价：USD 26.99，页数：592，特精心收集的读后感，希望对大家能有帮助。

《Death's End》读后感(一)：随便一说

民主是要有物质基础的

女性权益，反种族歧视，lgbt平权，在历史长河中看，都是最近才开始的。

然后因为难民，欧洲先开始保守了，然后美国选了这么个货，国际大国全都不要humanity了

一下打回原形

humanity还是个刚出生的婴儿，就被勒死了。

有种说法这货当选是因为“政治正确太长时间了，人们的利己主义难以适应要反扑了”

excuse me？真的不是开放思想镇压了利己主义，而是，人类社会一直保守，因为生产力上来了所以慢慢有了民主的苗头，结果现在很快又被保守派镇压了。

可以说还是没到天时地利人和吧，毕竟它还是个婴儿。

然而，真正的共产主义，生产力大爆发所有人都有足够的生活资料就能达到人人平等吗

首先，什么是足够？还有你把人性中的恨（歧视，恐惧，嫉妒）都放在哪里？

所以，在这个世道，是要更加“政治正确”为女权运动，为所有平权运动高呼吗？

是的，就因为前面一片灰暗，所以必须发声。

刘对于女性的描写也是醉

第一部 一个因为受挫就不相信自己种族，自毁毁人的alpha真女主

第二部 一个靠男主幻想呈现的人，类似东欧邮购新娘或被抓到山里的女大学生。来了以后就是生孩子，结果还跑路两次

第三部 一个充满母性，看到小孩就不能自己的人（对母性的最大误读，没有母性没有人类好吗，你怎么出生的，你婴幼儿时期屁都不行没人抚养你行吗）每次错误选择都只是为了自己良心不受煎熬，在强大的男性中寻求庇护（爱wade，看到common era 肌肉男就眩晕，还有云天明那颗星星）

虽然瑕不掩瑜吧，但性别成见简直狗屁啊

不用标签直男癌，直女癌

有个看法，啊，你们女性就默默耕耘证明你们价值就完了，何必成天不干正事宣扬女权

真是excuse me，你们老板说你就天天干最苦最累最烧脑的活就可以了，不要嚷嚷着自己做了什么，不要想着升职加薪

你干吗

不知道该说是封建主义残留思想还是什么思想，给新兴的思想扣上“不道德”，“不正确”的帽子，请问欺压阶级，到底是谁不道德呢

《Death's End》读后感(二)：译自Tor.com的评论

瓶中信：《三体3：死神永生》

尼尔•亚历山大

对刘慈欣的《三体》系列的译介工作是近年科幻界的一大亮点。这部传奇的首部曲即斩获雨果奖，一开始就融合了物理学、农业、哲学和第一次接触，仅仅是开始而已。他塑造的世界非常美妙，科学描写惊人；尽管作者选择“叫做‘人类’的人”作为叙事主题，因此有些缺乏生气，但《三体》还是很有深度。

一年后，《黑暗森林》出版。有人评价“一个复杂的主人公，引人入胜、扣人心弦的情节还有超凡脱俗的设定，因此《黑暗森林》将更加优秀。”这本书不但解释了前作的疏忽，也让《地球往事三部曲》更加绚烂，那层出不穷的电子足以让资深幻迷都惊叹不已。

不过，“天下没有不散的筵席。一切皆有尽头。凡事如此。”如果你关心的事物真的走到那一步，你只希望结尾收得漂亮。

一开始，我从没见过这么汪洋恣肆的叙述。很多书说到底是人类简史，而《死神永生》不一样。这是从1453年起，关于银河中所有人类的故事，尽管比较简短。之后与《三体》和《黑暗森林》平行发展，而结尾则是在千万年之后。总之，刘慈欣决定描写的故事广度绝对震撼。

不过，《死神永生》中聚焦在一个角色上，而不是像过去有那么多角色。程心非常聪明而敏感，她是21世纪初一位航天工程师——那时，正是三体危机，于《三体》中记载的灾难性第一次接触后发生：

三体危机带来的文化冲击，其影响之深远也远超过人们当初的想象。[…]在生物学上，相当于哺乳动物的远祖从海中爬上陆地；在宗教上，相当于亚当和夏娃被逐出伊甸园；而在历史和社会学上,根本找不到类比，人类文明所经历的一切与这一事件相比都微不足道。事实上，这一事件从根本上动摇了人类社会的文化、政治、宗教和经济的根基。

也就是说，共同的敌人即将到来，地球上的人类必然团结起来，执行各种生存计划。《黑暗森林》中的面壁者是其一；阶梯计划是其二：程心计划在三体舰队中安插一个间谍（将一个冰冻的大脑送入太空）。这很孤注一掷，没错，不过危机时刻需要这种办法。

可惜，阶梯计划打开始就是失败，至少看似如此，因为大脑（碰巧来自爱慕主角的人），还未达到必要的速度就偏离了航线。这一小事故意味着三体舰队很难发现它；当程心第一次进入低温冷冻，表面上是等待阶梯计划的下一步，实际上只是讨好曾寄希望于她的人，足见可能性多低。

在历史学家看来，阶梯计划是典型的危机初期激情和冲动的产物，是一次没有经过周密计划就草率进行的冒险。除了结局的完全失败，在技术上也没留下什么有价值的东西。[…]谁也没有想到，在近三个世纪后，阶梯计划为绝境中的地球文明带来了一线曙光。

程心得以见证。甚至是感受。但是，她苏醒时，已是翻天覆地！人类已进入了威慑纪元。《黑暗森林》中，面壁者制造一个僵局，因此三体舰队不再前进。

但是还有其他威胁。“宇宙是丰富多彩的，什么样的‘人’或世界都有。有归零者这样的理想主义者，有和平主义者，有慈善家，还有只专注于艺术和美的文明，但它们不是主流，不可能主导宇宙的走向。”那么，宇宙将走向何方？为什么，我们都走向那里： “死亡是唯一一座永远亮着的灯塔，不管你向哪里航行，最终都得转向它指引的方向。一切都会逝去，只有死神永生。”

如果不然呢？如果个体的生命，还有宇宙的生命能延长到死神本身终结呢？“那么那些现在就冬眠的幸运者（如程心）就踏上了永生的第一个台 阶。这样,人类历史上第一次连死神都不公平了,其后果真的难以预料。”

不过你不会了解的。不是因为我不告诉你，而是因为《死神永生》傻傻地充满了这些震撼的想法，以至很多在提出后，就被直接抹去了。你刚发现威慑纪元结束了，广播纪元开始了，马上就被掩体纪元取代，掩体纪元之后又是银河纪元，银河纪元之后又是黑暗统治。

这本书里的内容足够写三部曲的，而书中也描写了不少。一段与四维实体的抽象对话令我战栗，我也为一架宇宙飞船逃脱而激动不已。这就是说，过于丰富的某些内容有些拖累《死神永生》了。以程心为例。她是叙述的主题，她一次次从冬眠中苏醒，带领读者适应新的时期。同时她有着主角的性格，也就是说，你也懂的…没有。她很美，很敏感，无需多言，她是女性，而从各方面来看，她很接近《三体》中，平淡的“叫做‘人类’的人”，而不像《黑暗森林》中，性情乖戾的中心人物般复杂。

总之，在《死神永生》中，刘慈欣倾向于用想法而非人物来吸引读者。应该主要写巨大的野心，而不是时不时地聚焦次要的情节。而且，这…让人失望，我敢说。但那不算煞风景。我是说，如果你想讲述一个关于银河系中全人类的故事，就像刘慈欣尝试的，那么如此宏大叙事下的核心人物注定无足轻重。

确切地说，《死神永生》贪多嚼不烂，而且没有《黑暗森林》中的情感支持，所以更像《三体》，而不是做到平衡的《地球往事》三部曲的第二部。不过，如我之前所说，结尾我再重复一遍：《三体》非常好，无论怎么说《死神永生》也一样宏大。

《Death's End》读后感(三)：新视角下的当代历史及未来

最准确的评论之一，来自goodreads的读者H.：http://www.goodreads.com/review/show/1728449657？book_show_action=false&from_review_page=2

关键词：无神论，社会评论，虚无主义，文明灾变，程心的两面性

With its completion with Death’s End, I can now say that the Remembrance of Earth’s Past is my all-time favorite science fiction series (says the noob of a sci fi fan). It opens just like you would expect the final volume of an insanely ambitious hard science fiction series to open, with a magician offering to help the emperor prevent the Fall of Constantinople in 1453. Wait, what？ This has never been a series interested in hewing to convention. And so we get a story spanning a few million years (specifically, 1453 – 18906416).

“Once, ancient Romans had whistled in their grand, magnificent baths, thinking that their empire, like the granite that made up the walls of the pools in which they floated, would last forever. No banquet was eternal. Everything had an end. Everything.”

(SPOILERS for the first two books in the Remembrance of Earth’s Past series below.)

Did I say that Death’s End is insanely ambitious？ It purports to encompass most of the history of humanity, and of the universe, within its scope. And, indeed, all things must end. But nor is “life . . . nothing but a fragile, thin, soft shell clinging to the surface of this planet.” As another work of science fiction put it, “Life finds a way.”

After a prologue that is bizarre and kind of awesome and strictly not necessary, and a brief interlude with Yang Dong shortly before she commits suicide, the story proper opens shortly after the Trisolaris invasion fleet becomes public knowledge (the Crisis Era). Yun Tianming is a sad sack, a loner, an entirely undistinguished scientist. But the thread of his life has the chance to play a greater role in the pattern of human history when it comes back into contact with his college crush, Cheng Xin.

Yun Tianming is a bit of a head fake. Cheng Xin is not only Death’s End protagonist, but is far more central to the story, heck, to the entire series, than any of the characters from the first two books. Cheng Xin is, in at least one way, the best protagonist in the series. That is, she is the most memorable. Not the best, but she is the easiest to keep distinct in your mind as a character. Or at least that was my experience. She is no Luo Ji, though. The Trisolarans are right—Luo Ji is a mighty warrior. We do see Luo Ji again, but Cheng Xin’s story dominates the book in a way that Wang Miao and Luo Ji never did.

The Wallfacer project isn’t the UN’s only response to the Trisolarans. Cheng Xin becomes a part of the parallel Staircase Program. The Staircase Program ultimately settles on a truly science fictional idea—using nuclear pulse propulsion to send a frozen brain light years through space.

“At the same time, in Russia and China, Topol and Deongfeng missiles were also rising in the sky. The scene resembled a doomsday scenario, but Cheng Xin could tell by the curvature of the rocket trails that these were orbital launches instead of intercontinental strikes. These devices, which could have killed billions, would never return to the surface of the Earth. They would pool their enormous power to accelerate a feather to 1 percent of the speed of light.”

We’re not going to spend the entire book stuck back in the Crisis Era, though. The same hibernation Luo Ji took advantage of in The Dark Forest is available to Cheng Xin, and she makes good use of it. When she first reawakens, Luo Ji singlehandedly holds the Trisolarans at bay as Swordholder. He wields Dark Forest deterrence.

Ok, now this is REALLY SPOILER territory for The Dark Forest. In The Dark Forest, humans discovered why the universe is so quiet. Given an infinite number of stars, there are infinite habitable planets, infinite civilizations, infinite supercivilizations, and infinite supercivilizations that view any intelligent life as a potential threat. And if you’re a supercivilization, you don’t need to build a system the size of a small moon to destroy a planet.

“‘Dark forest attacks all share two qualities: one, they’re casual, two they’re economical.’ ‘Elaborate, please.’ ‘These attacks are not part of some interstellar war, but a matter of conveniently eliminating possible threats. By “casual,” what I mean is that the only basis for the attack is the exposure of the target’s location. There will be no reconnaissance or exploration conducted against the target beforehand. For a supercivilization, such exploration is more expensive than a blind strike. By “economical,” what I mean is that the attack will employ the least expensive method: using a small, worthless projectile to trigger the destructive potential already present in the target star system.’”

At least now we know what happened to the Moon in Seveneves.

If that doesn’t sound bad enough, things get worse.

Death’s End continues and expands on the best aspect of The Dark Forest—balls-to-the-wall crazy science, and lots of it. There are gigantic space cities. “[A] regular cylinder that stimulated gravity with the centrifugal force generated by spinning. With a length of seven kilometers, its useable interior surface area was 659 square kilometers, about half the sizes of ancient Beijing. Once, about twenty million inhabitants had lived here.” There are a few dozen more, like that or not. There is light speed travel. Well, near-light speed travel—“If there really were a Creator, the only thing he welded shut in all Creation was the speed of light.” And then there are antimatter weapons, artificial black holes, multiple dimensions, a circumsolar particle accelerator, and, for lack of a better word, vacuoles.

But the Remembrance of Earth’s Past series has always been science fiction with a capital SCIENCE. Not only does Death’s End have a more relatable protagonist. It has, by a fair margin, the best writing of the series, especially the pacing and plotting. Liu (The Lius？) can throw out a hell of a wham line. “Tianming, did you know that the euthanasia law was passed specifically for you？”

By the way, the Trisolarans make great villains (I’m not so sure they qualify as antagonists; the antagonist is more often physics and humanity’s current understanding of it.) They aren’t wantonly cruel, but they give as little thought to humanity’s pain as the wolf gives that of the sheep. One trend in modern villainy I’ve really come to find annoying is the bad guy going out of his way to show just how EVUL he is. Think Alan Rickman’s Sheriff of Nottingham killing Guy of Gisbourne for little to no reason. In reality, even despots need allies. Apropos, I just finished reading a biography of King John. He had a distinct tendency toward cruelty, and it made him a weak king. Tywin Lannister wouldn’t have been the most feared man in England, he would have been the most hated, and it would have cost him power. One of the high marks for Amazon’s Sneaky Pete is that the bad guy played by Bryan Cranston is so rational, which doesn’t stop him from being evil but does make him a much more dangerous foe. Ok, digression over.

The Remembrance of Earth’s Past has always been chock full of social commentary, albeit rarely of the Anvilicious sort (perhaps aided by the language and cultural barriers). He sees environment as having an enormous influence on human society, and humans also as being prone to cyclical thinking reacting against the past as much as the environment. Thus humanity vacillates wildly: “The repressive militaristic uniformity of the Great Ravine; the optimism and romanticism of the latter half of the Crisis Era; the hedonistic freedom and indolence of the Deterrence Era.” Like Joe Haldeman in The Forever War, Liu touches on the idea of a trend toward feminization. Men in the Deterrence Era are so feminine that Cheng Xin initially doesn’t realize that they are men. Liu seems to tie this directly to a “half century of peace and ease brought about by the Deterrence Era [that] accelerated the trend.” When things get hard again later, the trend reverses. I’m not so sure. It is perhaps no accident that Haldeman and Liu are both men. If you don’t think “masculinity, as traditionally defined, [i]s considered an ideal,” just pick up a romance novel. Any era that makes Mike Rowe a sex symbol still puts a premium on masculinity.

I find Death’s End, and the series in general, most fascinating, though, as a product of atheism. Not just a work influenced by atheism, or the product of an atheist (I have no idea if Cixin Liu is or isn’t), but a work that is the product of an atheistic society. And not just in the more direct ways it addresses religion (“The discovery of the dark forest state of the universe was a giant blow to most major religions, especially Christianity”). Or even Cheng Xin repeatedly playing the role of either Eve or Messiah (“I want to tell all those who believe in God that I am not the Chosen One. I also want to tell all the atheists that I am not a history-maker. I am but an ordinary person.”)

I distinguish between a work written by an atheist and the product of an atheistic society because works written by Western atheists, especially American atheists, are still working from essentially a Judeo-Christian perspective. Even if they are reacting against it, their work can still be defined in relation to it. The typical nihilism in modern storytelling, then, is an act of rebellion that we can try to rationalize away—for there to be a rebellion, there must be a dominant order. The nihilism of Death’s End, on the other hand, is pervasive, and thus terrifying. Other books are dark in a way that makes you happy you can set them aside and return to normal life after you’re done reading. The darkness of Death’s End is fundamental, and reaches beyond the four corners of the book. The Trisolaran threat, the threat of a Dark Forest strike, the mindboggling timescale, space itself, all serve to reinforce that underlying nihilism. After all, is there anything more frightening than space to the atheist？ They look up and see not the glory of God’s creation but instead an infinite emptiness creating ever more oppressive loneliness. Liu returns to it, again and again.

“Death is the only lighthouse that is always lit.” “The child that was human civilization had opened the door to her home and glanced outside. The endless night terrified her so much that she shuddered against the expansive and profound darkness, and shut the door firmly.” “She finally understood how she was but a mote of dust in a grand wind, a small leaf drifting over a broad river.”

But because I could not so easily dismiss it, I was left wondering as I read the book, and am left wondering still today weeks after finishing it, whether it meant as hopeful. Keynes was right. “In the long run we are all dead.” Toggle the end date for your book far enough and you’ll get there. Even the Bible ends with Revelation. Humanity escapes catastrophe miraculously, but it’s going to get us all eventually.

And so we return to the opaque allegory of Cheng Xin, our Eve and Messiah. Is she savior of bringer of destruction？ Is her weakness a damnation of us or merely of herself？ Is it even really weakness at all？