An Empty Room经典读后感有感

《An Empty Room》是一本由Mu Xin著作，New Directions出版的Paperback图书，本书定价：USD 14.95，页数：160，特精心收集的读后感，希望对大家能有帮助。

《An Empty Room》读后感(一)：木心中英文都有那个味道(中性，非褒义)

第一口英文小说，木心的文字很独特，而且中英文永远是那个感觉。傅元峰说木心的文字，因为大家读的少所以觉得他厉害(《文学回忆录》绝对如此，诚然，而那种传奇的独特色彩是有的。基本是《温莎墓园日记》的英译本 Tomorrow, I'll Stroll No More 忘了看没看过 我那本的第一篇是《童年随之而去》，清甜的忧愁？ Xia Mingzhu, A Bright Pearl 少爷在大家庭里，会碰见父亲的妾 SOS 还没有看中译本 The Moment When Childhood Vanished An Empty Room 非常独特，是梅和梁在山里的爱情故事，空空的房子只剩下手稿，木心居然还写了一二三四，真的有意思 My First American Friend Fong Fong No.4 方方和丁琰。形象吸引力的残酷。不必按门铃的圣诞夜 The Boy Next Door 我的童年，因为被烧毁没有留下照片，邻居像我小时候，可他过了几年长大并不像 Eighteen Passengers on a Bus(太明显) 不要管大巴司机的私事，不然他会带着全车人下悬崖，(庸俗的)正义也不要伸张 Workers on the Street Quiet Afternoon Tea 我是少爷，继承舅妈的财产，他们经历过二战，舅舅有一次晚归，舅妈无奈的等，于是这样几十年，解不开，每天下午茶都再说 My Perfect Girl Friend Fellow Passengers Halo 光环，菩萨和僧侣，赵叔叔认识弘一法师，而我们十八个人的光头就像十八罗汉 Sounds of Drums from Lincoln Center The Windsor Cemetery Diary 温莎墓园日记 Michael and Michael Weimar in Early Spring 魏玛早春 海涅歌德席勒 地下室手记 经常记录大陆的特殊时期，什么反动分子，不革命云云 →而我却发现了这些手稿

《An Empty Room》读后感(二)：《空房》成为长篇

出版这本小说集的 New Directions 是一家很有声望的出版社，常出版各国著名作家的英语翻译作品。木心的十三篇本是不同的短篇，但经作者和译者的合作，成为一个长篇小说。英语里这中长篇的安排有一个专用术语：a short story cycle. 其他的例子有：海明威的 In Our Time, 安德森的 Winesburg, Ohio. 这本书的正式出版日期是 5月23日，但有些书店和网站已经开始出售，美国读者的评论也在网上开始出现。

下面是来自"Hey Small Press" （一个网站）的评论。

Before picking up An Empty Room, I had never read a book by a Chinese writer. This us a gap in my reading I’m excited to correct, and Mu Xin was a wonderful place to begin. The first of Xin’s books to appear in English, An Empty Room explores 20th Century China in short vignettes. The horrors and scars of the Cultural Revolution are ever-present, but on the whole the book offers a subtle and beautiful spirituality, exploring the past without hollow nostalgia and sentimentalism. My favorite story was Quiet Afternoon Tea, a distressing look at memory, domestic life, and old age. I look forward to more of Mu Xin’s work appearing in English.

《An Empty Room》读后感(三)：《出版人周刊》推荐

英文版的书刚刚上市。 美国《出版人周刊》给了一个“明星推荐” （starred review）。评论短文如下：

Characters occupy a haunting world of ambivalence and moral decay in Mu's English language debut, a collection about people unmoored by the changes that took place in 20th-century China. The author elides most of the horrors of WWII and the Cultural Revolution ("without getting into too much detail, what followed was a long, dark period of feeling neither dead nor alive"), but the psychological scars left by both lie at the heart of these stories: people are murdered, sent to labor on farms, and imprisoned for "decadent thoughts," offering context for the small but lacerating sorrows at the forefront of each story. A small boy loses a cherished object in "The Moment Childhood Vanished," an event that is both trivial and darkly ominous. Petty slights lead to shocking violence in "Eighteen Passengers on a Bus." Perhaps the most telling work is "Fong Fong No. 4," in which a young girl reinvents herself to suit the whims of history, becoming an intellectual, then a farm laborer, then a businesswoman, in the process shedding her identity, her sentimentality, and, finally, some of her humanity. These stories have an exquisite, crystalline quality ably captured by Liu's flawless translation. (May)

《An Empty Room》读后感(四)：童明的英文

部分文章：http://weibo.com/2141239811/B55y4lGUg

狱中手稿部分：名优之死

I. Death of a Diva

It’s ironic that in this dungeon, forced into the life of an ascetic, I should feel like St. Anthony. As long as I can mentally resist the temptation of illusions, I will have my respite; yet I know that another storm will come, and that the punishment will continue, so that in the future when I remember the here and now, I might even call it the “good old days.” In front of me is a dark blue inkbottle and a gray ashtray made of fine china. The ink bottle is provided by the work unit. Being public property, it is perhaps “socialist” in nature. The ashtray used to be a sugar bowl, part of a tea set made in England that I brought here with me. I guess that makes it “capitalist” in nature. When I first came to the dungeon I would smoke a pack of cigarettes a day; recently I have cut down to half a pack. With a wave of my hand, the matchstick with which I light my cigarette goes out. This, I discovered some time ago, could be used for my entertainment. All I had to do was plant the stick gently into the ashes in the ashtray and watch it burn from top to bottom, a tiny bright-red pillar of flame. The pillar would then turn gray, bend, break, and become a circle of ash among ashes. For several months I have been successfully directing the same drama: the ashtray resembles a circular stage on which the matchstick, like a legendary diva, sings her swan song before she slowly falls to the ground and dies.

木心原文：

一、名优之死

我现在反而成了圣安东尼，地窖中终年修行，只要能拒绝内心的幻象的诱惑，就可清净一段时日，明知风波会再起，形役还将继续，未来的 我，势必要追忆这段时日而称之为嘉年华。摆在我眼前的是一瓶蓝黑墨水，一只褐色的瓷烟缸。墨水及其瓶子是官方给的，属于公家财产，社会主义性质。烟缸原系 一套英国制造的咖啡饮具中的糖缸，我自己带来的，故作资本主义性质论。初入地窖时每日抽掉一包烟，近期减为半包。火柴，在点着烟卷后，一挥而熄，我发觉这 是可以藉之娱乐的，轻轻把它竖插着烟缸的灰烬中，凝视那木梗燃烧到底，成为一条名红的小火柱......忽而灰了，扭折，蜷曲在烬堆里—几个月来我都成功 地导演这出戏，烟缸像个圆剧场。火柴恰如一代名优，绝唱到最后，婉然倒地而死......

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