By Qian Zhongshu (錢鍾書); Edited with an introduction by Christopher G. Rea
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Qian Zhongshu
(錢鍾書) was one of twentieth-century China's most ingenious literary stylists, one whose insights into the ironies and travesties of modern China remain stunningly fresh. Between the early years of the Second Sino-Japanese War (1937-1945) and the Communist takeover in 1949, Qian wrote a brilliant series of short stories, essays, and a comedic novel that continue to inspire generations of Chinese readers.
With this long-awaited translation, English-language readers can immerse themselves in the invention and satirical wit of one of the world's great literary cosmopolitans. This collection brings together Qian's best short works, combining his iconoclastic essays on the "book of life" from
Written in the Margins of Life (寫在人生邊上) (1941) with the four masterful short stories of
Human, Beast, Ghost (人獸鬼) (1946). His essays elucidate substantive issues through deceptively simple subjects-the significance of windows versus doors, for example, or the blind spots of literary critics—and assert the primacy of critical and creative independence. His stories blur the boundaries between humans, beasts, and ghosts as they struggle through life, death, and resurrection. Christopher G. Rea situates these works within China's wartime politics and Qian's literary vision, highlighting significant changes that Qian Zhongshu made to different editions of his writings and providing unprecedented insight into the author's creative process.
(Excerpt from amazon.com)
莫內把印象派的理想，所謂「光的神祕」，將全部身心投入奉獻進去。他也是創造「組畫」的畫家，從來沒有一位畫家，將一種主題以不同時辰、不同季節、不同氣氛來表現。因為他的畫都在戶外寫生，而且尋覓到那麼多「畫點」，所以現在有所謂「莫內繪畫之旅」的導覽。
《楊絳傳》以溫暖的筆觸敘寫了楊絳的百年人生，包括童年成長、家庭變遷、求學歷程，以及同錢鐘書半個多世紀相濡以沫的愛情，盡現其博學、睿智、寬容、韌性的純德名媛風範。
Why is the story of romance in books, magazines, and films still aimed at women rather than at men? Even after decades of feminism, traditional ideas and messages about romantic love still hold sway and, in our “postfeminist” age, are more popular than ever. Increasingly, we have become a culture of romance: stories of all kinds shape the terms of love. Women, in particular, love a love story.
本書主要以“圖像”為線索，運用敘事研究、文化研究的方法，對發生於20世紀中國的關涉文學、美術諸領域的一組個案加以解讀和剖析，主要涉及幾方面問題：晚清至民國時期海派刊物“女性”主題圖像的含義生成和圖式衍變問題；早期媒體傳播中女性肖像照的公共性與私人性僭越問題；“五四”背景下西方美術圖像的引進、譯介、闡釋，與本土表達的銜接，這一過程所隱含的“五四”知識分子自我身份定位問題；20世紀中國女藝術家“自畫像”與女性自我認知問題，20世紀中國美術的人文圖式構建問題，20世紀二三十年代身處生存夾縫中的中國現代主義藝術家藝術追求的多熏性、分裂性問題，等等。本書經由相關個案解讀，考察“圖像”背后文化運作的跡象、內在意圖及其在多方力量的制衡下形成的格局。 
In recent years numerous films, television series, comic books, graphic novels and video games have featured time travel narratives, with characters jumping backward, forward and laterally through time. No rules govern time travel in these stories. The fluid forms of imagined time travel have fascinated audiences and prompted debate since at least the 19th century.
-- Provided by publisher. 
