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陆犯焉识
陆焉识本是上海大户人家才子+公子型的少爷，聪慧而倜傥，会多国语言，也会讨女人喜欢。父亲去世后，年轻无嗣的继母冯仪芳为了巩固其在家族中的地位，软硬兼施地使他娶了自己的娘家侄女冯婉喻。没有爱情的陆焉识很快出国留学，在美国华盛顿毫无愧意地过了几年花花公子的自由生活。毕业回国后的陆焉识博士开始了风流得意的大学教授生活，也开始了在风情而精明的继母和温婉而坚韧的妻子夹缝间尴尬的家庭生活。
五十年代，陆焉识因其出身、更因其不谙世事的张扬激越而成为"”反革命“”， 在历次运动中，其迂腐可笑的书生气使他的刑期一次次延长，直至被判为无期。这位智商超群的留美博士由此揣着极高的学识在西北大荒草漠上改造了二十年。精神的匮乏、政治的严苛、犯人间的相互围猎与倾轧，终使他身上满布的旧时代文人华贵的自尊凋谢成一地碎片。枯寂中对繁华半生的反刍，使他确认了内心对婉喻的深爱。婉喻曾是他寡味的开端，却在回忆里成为他完美的归宿。
“文革”“结束后，饱经思念的陆焉识和冯婉喻终于可以团聚，然而回到上海家中的陆焉识却发现岁月和政治彻底改变了他的生活，他再也找不到自己存在的位置：一生沉沦、终成俗庸小市民的儿子一直排斥和
五十年代，陆焉识因其出身、更因其不谙世事的张扬激越而成为"”反革命“”， 在历次运动中，其迂腐可笑的书生气使他的刑期一次次延长，直至被判为无期。这位智商超群的留美博士由此揣着极高的学识在西北大荒草漠上改造了二十年。精神的匮乏、政治的严苛、犯人间的相互围猎与倾轧，终使他身上满布的旧时代文人华贵的自尊凋谢成一地碎片。枯寂中对繁华半生的反刍，使他确认了内心对婉喻的深爱。婉喻曾是他寡味的开端，却在回忆里成为他完美的归宿。
“文革”“结束后，饱经思念的陆焉识和冯婉喻终于可以团聚，然而回到上海家中的陆焉识却发现岁月和政治彻底改变了他的生活，他再也找不到自己存在的位置：一生沉沦、终成俗庸小市民的儿子一直排斥和
479 pages, Kindle Edition
First published October 1, 2011
50 people are currently reading
162 people want to read
About the author
Geling Yan
83 books231 followersGeling Yan (嚴歌苓) is one of the most acclaimed novelists and screenwriters writing in the Chinese language today and a well-established writer in English. Born in Shanghai, she served with the People's Liberation Army (PLA) during the Cultural Revolution, starting at age twelve as a dancer in an entertainment troupe.
After serving for over a decade with the PLA (including tours in Tibet and as a war correspondent during the Sino-Vietnam border conflict), Ms. Yan was discharged with a rank equivalent to Lieutenant Colonel. She published her first novel in 1986 and ever since has produced a steady stream of novels, short stories, novellas, essays and scripts. Her best-known novels in English are The Secret Talker, published by HarperCollins; Little Aunt Crane published in the UK by Random House affiliate Harvill Secker; The Flowers of War, published in the U.S. by The Other Press and elsewhere by Random House's Harvill Secker; The Banquet Bug (The Uninvited in its UK edition - written directly in English); and The Lost Daughter of Happiness, (translated by Cathy Silber) both published by Hyperion in the US and Faber & Faber in the UK. She has also published a novella and short story collection called White Snake and Other Stories, translated by Lawrence A. Walker and published by Aunt Lute Books.
Many of Geling Yan's works have been adapted for film and television, including internationally distributed films Xiu Xiu: The Sent-Down Girl (directed by Joan Chen) and Siao Yu (directed by Sylvia Chang; produced by Ang Lee). Chinese director Zhang Yimou made The Flowers of War, a big-budget film based on her work set during the 1937 Rape of Nanking, starring Academy Award winning actor Christian Bale; Coming Home 归来, based on her novel The Criminal Lu Yanshi 陆犯焉识, and One Second 一秒钟, also based on that novel.
Ms. Yan has also written numerous scripts based on her own and other authors' work, both in English and Chinese, including a script for a biopic on the iconic Peking opera star Mei Lanfang for director Chen Kaige (released as Forever Enthralled 梅兰芳) starring Leon Lai and Zhang Ziyi. She wrote the script for Dangerous Liaisons 危險關係, a Chinese-language film directed by South Korean director Hur Jin-ho and starring Zhang Ziyi, Jang Dong Gun and Cecilia Cheung. Her novel Fang Hua 芳华 is the basis a film of the same name (English title Youth) directed by Chinese director Feng Xiaogang 冯小刚. Her novel A City Called Macau 妈阁是座城 was made into a film directed by Li Shaohong 李少红, released in 2018.
Geling Yan a member of the Academy of Motion Picture Arts and Sciences and of France's Société des Gens de Lettres. She is affiliated with the Hollywood screenwriters' union, Writers' Guild of America, west, and is a former member of the Chinese Writers' Association (中国作家协会).
Geling Yan went to the United States at the end of 1989 for graduate study. She holds a Master's in Fine Arts in Fiction Writing from Columbia College, Chicago. To date she has published over 40 books in various editions in Mainland China, Taiwan, Hong Kong, the US, the UK and elsewhere; has won over 30 literary and film awards; and has had her work adapted or written scripts for numerous film, TV and radio works. Her works have been translated into twenty-one languages: Arabic, Bulgarian, Czech, Dutch, English, Farsi, French, German, Hebrew, Italian, Japanese, Korean, Portuguese, Romanian, Russian, Spanish, Swedish, Thai, Uyghur, and Vietnamese, and her English-language novel The Banquet Bug/The Uninvited was translated into Chinese. She currently lives in Berlin, Germany.
She has been subject to an unofficial but effective ban in China since March 2020, when she wrote and promulgated an essay on the Chinese government's initial handling of COVID-19. Her future Chinese-language work will be published by her own publishing company, New Song Media GmbH.
For non-Chinese language publishing she is represented by Agence Astier-Pécher.
After serving for over a decade with the PLA (including tours in Tibet and as a war correspondent during the Sino-Vietnam border conflict), Ms. Yan was discharged with a rank equivalent to Lieutenant Colonel. She published her first novel in 1986 and ever since has produced a steady stream of novels, short stories, novellas, essays and scripts. Her best-known novels in English are The Secret Talker, published by HarperCollins; Little Aunt Crane published in the UK by Random House affiliate Harvill Secker; The Flowers of War, published in the U.S. by The Other Press and elsewhere by Random House's Harvill Secker; The Banquet Bug (The Uninvited in its UK edition - written directly in English); and The Lost Daughter of Happiness, (translated by Cathy Silber) both published by Hyperion in the US and Faber & Faber in the UK. She has also published a novella and short story collection called White Snake and Other Stories, translated by Lawrence A. Walker and published by Aunt Lute Books.
Many of Geling Yan's works have been adapted for film and television, including internationally distributed films Xiu Xiu: The Sent-Down Girl (directed by Joan Chen) and Siao Yu (directed by Sylvia Chang; produced by Ang Lee). Chinese director Zhang Yimou made The Flowers of War, a big-budget film based on her work set during the 1937 Rape of Nanking, starring Academy Award winning actor Christian Bale; Coming Home 归来, based on her novel The Criminal Lu Yanshi 陆犯焉识, and One Second 一秒钟, also based on that novel.
Ms. Yan has also written numerous scripts based on her own and other authors' work, both in English and Chinese, including a script for a biopic on the iconic Peking opera star Mei Lanfang for director Chen Kaige (released as Forever Enthralled 梅兰芳) starring Leon Lai and Zhang Ziyi. She wrote the script for Dangerous Liaisons 危險關係, a Chinese-language film directed by South Korean director Hur Jin-ho and starring Zhang Ziyi, Jang Dong Gun and Cecilia Cheung. Her novel Fang Hua 芳华 is the basis a film of the same name (English title Youth) directed by Chinese director Feng Xiaogang 冯小刚. Her novel A City Called Macau 妈阁是座城 was made into a film directed by Li Shaohong 李少红, released in 2018.
Geling Yan a member of the Academy of Motion Picture Arts and Sciences and of France's Société des Gens de Lettres. She is affiliated with the Hollywood screenwriters' union, Writers' Guild of America, west, and is a former member of the Chinese Writers' Association (中国作家协会).
Geling Yan went to the United States at the end of 1989 for graduate study. She holds a Master's in Fine Arts in Fiction Writing from Columbia College, Chicago. To date she has published over 40 books in various editions in Mainland China, Taiwan, Hong Kong, the US, the UK and elsewhere; has won over 30 literary and film awards; and has had her work adapted or written scripts for numerous film, TV and radio works. Her works have been translated into twenty-one languages: Arabic, Bulgarian, Czech, Dutch, English, Farsi, French, German, Hebrew, Italian, Japanese, Korean, Portuguese, Romanian, Russian, Spanish, Swedish, Thai, Uyghur, and Vietnamese, and her English-language novel The Banquet Bug/The Uninvited was translated into Chinese. She currently lives in Berlin, Germany.
She has been subject to an unofficial but effective ban in China since March 2020, when she wrote and promulgated an essay on the Chinese government's initial handling of COVID-19. Her future Chinese-language work will be published by her own publishing company, New Song Media GmbH.
For non-Chinese language publishing she is represented by Agence Astier-Pécher.
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Displaying 1 - 30 of 45 reviews
May 31, 2016
故事很棒，每个人都很生动很复杂，没有哪一个人是标准的好人或者坏人，好几个人物都能让人回味很久。婉喻去世时老两口的那几句悄悄话看的差点儿哭了。严歌苓的文字和叙事方式也很有意思，有一些很奇特又很精准的比喻。还没看电影，但是估计这么丰富的内容电影是拍不出来的…
June 1, 2021
I was never a fan of 严歌苓. I had decided long time ago not to spend time, on paper at least, with suppressed women who took a lifetime to convince themselves they were somewhat loved, who wore their suffering like a proud badge--the worse they were treated, the greater virtue they believed themselves to have. Their supposed endurance and patience became too stereotypical that I was left with a bitter and sour taste. My limited reading experience of 严歌苓 has told me there are plenty of such characters in her books.
I am glad this book is different. It's the history of 20th century China through the life of a man who was a rich playboy, a rebellious son, a proud scholar, a wartime professor, a prisoner then an ex-prisoner. The protagonist's reluctance to abandon his scholarly pride, his desire to stay out of politics, his disdain of stabbing people in their backs, and above all, his wish to be himself, eventually landed him in prison for life.
A large portion of the book is the protagonist's life in a prison labour camp. The 1960s' famine is excruciating to read. Other best characters are the classmate and the Party opportunist, the child prisoner, and the prison supervisor. There is also a love story, which is probably my least favorite part. (I won't watch the movie because a love story it has been reduced to.) The book contains equal criticism towards Chinese Nationalist Party and Chinese Communism Party. Culture Revolution is rather rushed through.
Towards the end, the protagonist and his wife seem to have gained certain mystic quality. The ending feels surreal to me.
I am glad this book is different. It's the history of 20th century China through the life of a man who was a rich playboy, a rebellious son, a proud scholar, a wartime professor, a prisoner then an ex-prisoner. The protagonist's reluctance to abandon his scholarly pride, his desire to stay out of politics, his disdain of stabbing people in their backs, and above all, his wish to be himself, eventually landed him in prison for life.
A large portion of the book is the protagonist's life in a prison labour camp. The 1960s' famine is excruciating to read. Other best characters are the classmate and the Party opportunist, the child prisoner, and the prison supervisor. There is also a love story, which is probably my least favorite part. (I won't watch the movie because a love story it has been reduced to.) The book contains equal criticism towards Chinese Nationalist Party and Chinese Communism Party. Culture Revolution is rather rushed through.
Towards the end, the protagonist and his wife seem to have gained certain mystic quality. The ending feels surreal to me.
June 5, 2017
一个贯穿中国近现代70年的爱情史诗？其实不然，背景很大但格局很小，也可能是某些问题过于敏感，所以只能藏着掖着。故事很好，埋的伏笔，前后串联都做得很棒，也非常有画面感，给人极强的代入感（而且不少上海话，上海风土也特别有感情）
September 20, 2022
啊 這部作品太棒了 在你國能出版也算奇蹟。。並沒有過度渲染殘酷的政治環境，但寫得已經很明瞭了。
這個故事讓我想起了《日瓦戈醫生》，但陸焉識的經歷要悲慘很多。
這個故事讓我想起了《日瓦戈醫生》，但陸焉識的經歷要悲慘很多。
May 24, 2014
先是看了电影，觉得电影里节奏不太对，这缺点儿铺垫那缺点儿解释，于是找来书看。
两三天的时间里看完一世浮沉，感慨万千。在这世上混迹，其间人情冷暖，各有体会。人情练达皆文章。
另外，这两位老人相亲相爱得跟童话似的，好是羡慕，可也明白都是岁月沉积下来的，所以羡慕羡慕也就作罢了。
两三天的时间里看完一世浮沉，感慨万千。在这世上混迹，其间人情冷暖，各有体会。人情练达皆文章。
另外，这两位老人相亲相爱得跟童话似的，好是羡慕，可也明白都是岁月沉积下来的，所以羡慕羡慕也就作罢了。
January 11, 2016
话说世上情爱 大概 三分靠感觉 七分靠想象 吧
世事毁了一个人一生 却成就了一对挚爱
世事毁了一个人一生 却成就了一对挚爱
April 19, 2021
以前有人问我为什么想移民呢 有个pr不是挺好 留个护照以后多条路 想回去了还能回去 我总说因为我上学时候读书不行 在国内找不到工作挣不到钱 其实也没那么复杂 就是你已经看过了大海 不能假装没有见过 有些事我已经知道了 我也不会忘记它 我也没法和自己的念头和解 我就是不行
新仇旧恨一起算 公义私怨一起来 我恨共产党 我和中共不能共存
新仇旧恨一起算 公义私怨一起来 我恨共产党 我和中共不能共存
December 28, 2021
严歌苓的文字像糖浆。它远看好似冰面般安静顺滑地闪着光，引诱着你一探究竟，却在你探脚的那一刻将你捕获。每个句子都是有重量的，读过后如同粗糙的树干碾过皮肤，生疼。《陆犯焉识》有三个世界。老上海的人情与讲究很像王安忆的文风，琐碎、潮湿、温暖，像是在梅雨季吹南方的海风。而陆焉识在大西北囚禁的段落则将残忍毫无保留地摔在你面前。发臭的牙齿、同作尿壶与饭桶的老棉帽、越狱时从恶臭的大衣上一片片揭下几周前粘上的糖片：它们让我惊心动魄。更有甚者，陆焉识对老上海、对美国、对冯婉喻纯洁的回忆总是穿插在最恶臭的监狱写实之中。这syuzhet让人读得更为悲凉：若是陆焉识没有见过好日子，那倒也罢了。只是他照相机一般的记忆不断提醒他过去的美好——这美好宛若是讽刺，但在另一个语境下，也是他在苦难生活中的动力与自由。
自由是《陆犯焉识》中的一大命题。陆焉识逃离与冯婉喻的包办婚姻到美国去做风流公子，便是为了追求他的恋爱自由。他似是逃开了恩娘的眼泪、婉喻单薄身影下激情一瞥，却终究没有办法委身于炽热而自由的旺达。他为了学术自由而不顾政治环境，却因为被打成反革命、判无期徒刑，在漫长的二十年中缴械自己所有的自由。但监禁的不自由也依然不是彻底的。即使在最黑暗的紧闭中，他也能够拥有思想的自由，在头脑中盲写给婉喻的信、理清自己对爱情的头绪。而婉喻做了七十年大家闺秀，受尽了时代加给她的不公正，却在最后才让我们看到她彻彻底底的自由——老年痴呆让她与过去的苦痛放手，赤身裸体让她与社会的眼光放手，出口无遮拦让她与几十年的缄默放手。也许所有的自由与监禁都是相对的，在不同的政治与社会语境下是能够相互转换的。只有头脑里的东西——焉识写给婉喻的信、婉喻对焉识的信任与等待、两人几十年愈演愈烈的相互惦念——才是最终属于自己的自由。小说的最后，九十年代的中国是自由的社会，而新上海市井气的第三个世界却逼得焉识如囚禁的日子一般不自由。婉喻过世了、焉识去流浪了，这都不是悲剧，而是从现世微妙的“自由囚禁”中解脱了。
之前读Dispossessed的时候有吐槽过它毫无意义的fabula/syuzhet，现在读《陆犯焉识》时觉得严歌苓对章节顺序的安排真是非常聪明。囚犯与书生的故事相互穿插，不仅让人倍感无言痛苦，更是对陆焉识精神状态的现实反射。他脑子中的世界、回忆，都是不需要依照社会章法的。这些回忆中的段落因而不需要依照时间线整理，而是依照逻辑整理：前一个故事里出现了一个新人物，后一个回忆中就讲这个新人物的故事。这更是文学结构对于陆焉识“头脑自由”的反映。
冯婉喻。我很难描述她的形象，只能说她占据了我心上的白月光。小说最开头讲陆焉识如何对可怜的女人没有任何抵抗力，但婉喻在结尾的形象——夜晚“搬家”、一个人推翻饭桌搅黄饭局、拉着焉识离开儿子愚昧的说教、以自己的身体交换焉识的减刑——完全是可怜的反义词。忘不了她连夜为焉识徒手剥出的蟹黄、忘不了她在囚犯转场时夜以继日的等待、忘不了她娟秀的小楷，一卷卷地整理好几十年里远方的来信。我想，我的中式审美永远都不会交付于欧美那样直白露骨的表达。虽不愿诅咒自己拥有婉喻的人生，但是我真的想要成为婉喻那样隐忍、沉静、强大的女性。她不是可怜，只是她的气力需要男人几十年的阅历才能读懂。
书里有一处首尾呼应相当有趣。焉识最初计划越狱时想，”要是他跑到婉喻面前，跟她说，我和你发生了一场误会……也许我跟自己发生了一场误会；我爱的，却认为不爱。一代代的小说家戏剧家苦苦地写了那么多，就是让我们人能了解自己，而我们人还是这么不了解自己。一定要倾国倾城，一定要来一场灭顶之灾，一场无期流放才能了解自己，知道自己曾经是爱的。“ 但他终于与早已老年痴呆的婉喻相聚时，这样讲，“他伸出手，搂住了婉喻单薄的肩膀。那肩膀没有变过，跟四十多年前一样单薄，但似乎更知寒暖，更懂呼应，因此更美好。难道一定要经过二十多年的分离，经过陪绑沙场、饥荒和人吃人，才能领略它们的妙曼？” 我不知道这第二段感悟是懊悔还是淡然。是什么发生了变化？焉识是否一定要经过这几十年的放逐才能认识自己的爱？我们是否有另一种选择故事与人生的方式，还是必然想naturalism所说的一样命中注定？
自由是《陆犯焉识》中的一大命题。陆焉识逃离与冯婉喻的包办婚姻到美国去做风流公子，便是为了追求他的恋爱自由。他似是逃开了恩娘的眼泪、婉喻单薄身影下激情一瞥，却终究没有办法委身于炽热而自由的旺达。他为了学术自由而不顾政治环境，却因为被打成反革命、判无期徒刑，在漫长的二十年中缴械自己所有的自由。但监禁的不自由也依然不是彻底的。即使在最黑暗的紧闭中，他也能够拥有思想的自由，在头脑中盲写给婉喻的信、理清自己对爱情的头绪。而婉喻做了七十年大家闺秀，受尽了时代加给她的不公正，却在最后才让我们看到她彻彻底底的自由——老年痴呆让她与过去的苦痛放手，赤身裸体让她与社会的眼光放手，出口无遮拦让她与几十年的缄默放手。也许所有的自由与监禁都是相对的，在不同的政治与社会语境下是能够相互转换的。只有头脑里的东西——焉识写给婉喻的信、婉喻对焉识的信任与等待、两人几十年愈演愈烈的相互惦念——才是最终属于自己的自由。小说的最后，九十年代的中国是自由的社会，而新上海市井气的第三个世界却逼得焉识如囚禁的日子一般不自由。婉喻过世了、焉识去流浪了，这都不是悲剧，而是从现世微妙的“自由囚禁”中解脱了。
之前读Dispossessed的时候有吐槽过它毫无意义的fabula/syuzhet，现在读《陆犯焉识》时觉得严歌苓对章节顺序的安排真是非常聪明。囚犯与书生的故事相互穿插，不仅让人倍感无言痛苦，更是对陆焉识精神状态的现实反射。他脑子中的世界、回忆，都是不需要依照社会章法的。这些回忆中的段落因而不需要依照时间线整理，而是依照逻辑整理：前一个故事里出现了一个新人物，后一个回忆中就讲这个新人物的故事。这更是文学结构对于陆焉识“头脑自由”的反映。
冯婉喻。我很难描述她的形象，只能说她占据了我心上的白月光。小说最开头讲陆焉识如何对可怜的女人没有任何抵抗力，但婉喻在结尾的形象——夜晚“搬家”、一个人推翻饭桌搅黄饭局、拉着焉识离开儿子愚昧的说教、以自己的身体交换焉识的减刑——完全是可怜的反义词。忘不了她连夜为焉识徒手剥出的蟹黄、忘不了她在囚犯转场时夜以继日的等待、忘不了她娟秀的小楷，一卷卷地整理好几十年里远方的来信。我想，我的中式审美永远都不会交付于欧美那样直白露骨的表达。虽不愿诅咒自己拥有婉喻的人生，但是我真的想要成为婉喻那样隐忍、沉静、强大的女性。她不是可怜，只是她的气力需要男人几十年的阅历才能读懂。
书里有一处首尾呼应相当有趣。焉识最初计划越狱时想，”要是他跑到婉喻面前，跟她说，我和你发生了一场误会……也许我跟自己发生了一场误会；我爱的，却认为不爱。一代代的小说家戏剧家苦苦地写了那么多，就是让我们人能了解自己，而我们人还是这么不了解自己。一定要倾国倾城，一定要来一场灭顶之灾，一场无期流放才能了解自己，知道自己曾经是爱的。“ 但他终于与早已老年痴呆的婉喻相聚时，这样讲，“他伸出手，搂住了婉喻单薄的肩膀。那肩膀没有变过，跟四十多年前一样单薄，但似乎更知寒暖，更懂呼应，因此更美好。难道一定要经过二十多年的分离，经过陪绑沙场、饥荒和人吃人，才能领略它们的妙曼？” 我不知道这第二段感悟是懊悔还是淡然。是什么发生了变化？焉识是否一定要经过这几十年的放逐才能认识自己的爱？我们是否有另一种选择故事与人生的方式，还是必然想naturalism所说的一样命中注定？
December 20, 2021
A new thought: Romance novels (like this one) can design the plot in a certain way so that it zeros out all the other variables (e.g., the era, physical closeness, money), and highlight only one remaining variable (i.e., love in this case). When people still feel the beauty, then the beauty is attributed to this remaining variable.
This method is similar to what is used in the following books or movies:
- Mens Search For Meaning: What is the remaining meaning of life after almost everything is deprived.
- Life Is Beautiful: Hope for life and a father's love in a concentration camp and at the cost of his own life.
- To Live (活着): Life can only be about living itself. The novel depicts a person's life deprived of wealth, art, family, dignity, etc.
This method is similar to what is used in the following books or movies:
- Mens Search For Meaning: What is the remaining meaning of life after almost everything is deprived.
- Life Is Beautiful: Hope for life and a father's love in a concentration camp and at the cost of his own life.
- To Live (活着): Life can only be about living itself. The novel depicts a person's life deprived of wealth, art, family, dignity, etc.
June 16, 2020
《陆犯焉识》说白了无非是浪子回头的故事，但是脱离了大时代大背景的爱情故事可能就没有那么深刻和感人了。
书中最打动我的一句话是“原来坏人也有人爱啊！”，在那个给人定性贴标签的年代，坏人是应该受到狠狠的惩罚，是应该遭到家人抛弃，更不配拥有婉喻这样忠贞的女人去爱，去“舍身奉献”。对不起，但这令“好人们”失望了。
严歌苓去刻画的陆焉识，风度翩翩，才华横溢，哪个女人不爱？这是大多数男人心之向往，立志达到的人生巅峰吧。陆焉识虽然早有家室，但内心活脱脱一个花花公子，渣男心理，不论其才华，这是一个男人本质上的劣点。严歌苓不是在塑造一个女人想要的男人的形象，她是展示了一个真实的男人，女人心目中的男人和真实的男人相差十万八千里。
再来说婉喻这个女人，女人身上那点傻劲儿和痴情，全都集中在婉喻身上了，小说是夸大点儿了，放到现实生活中难道就真的没有这样甘心乐意奉献的女人么？别说她傻，这是女人的天性，是本质，是命运，注定了要在感情上吃亏。这是我看到过最好的爱情小说，没有歌颂太平盛世，没有霸道总裁，没有峰回路转，没有破镜重圆，没有相伴到老，只有血淋淋的现实摆在你的眼前告诉你这就是爱情，这就是命运，你再生气再挣扎也无能为力。爱情是一场男女之间的战争，注定会有一个输赢，注定会有人牺牲多一点。
电影《归来》没有拍出小说的精髓，导演编剧也是不得已而为之，毕竟拍电影很辛苦花费很高，不能“过关”的电影卖不上座，付出的成本就得泡汤。但是感谢张艺谋选择了陈道明和巩俐来主演，他们的形象很符合小说原定人物的特色形象，带着这两个形象读《陆犯焉识》更有一番滋味在心头，电影就不要浪费时间去看了。
书中最打动我的一句话是“原来坏人也有人爱啊！”，在那个给人定性贴标签的年代，坏人是应该受到狠狠的惩罚，是应该遭到家人抛弃，更不配拥有婉喻这样忠贞的女人去爱，去“舍身奉献”。对不起，但这令“好人们”失望了。
严歌苓去刻画的陆焉识，风度翩翩，才华横溢，哪个女人不爱？这是大多数男人心之向往，立志达到的人生巅峰吧。陆焉识虽然早有家室，但内心活脱脱一个花花公子，渣男心理，不论其才华，这是一个男人本质上的劣点。严歌苓不是在塑造一个女人想要的男人的形象，她是展示了一个真实的男人，女人心目中的男人和真实的男人相差十万八千里。
再来说婉喻这个女人，女人身上那点傻劲儿和痴情，全都集中在婉喻身上了，小说是夸大点儿了，放到现实生活中难道就真的没有这样甘心乐意奉献的女人么？别说她傻，这是女人的天性，是本质，是命运，注定了要在感情上吃亏。这是我看到过最好的爱情小说，没有歌颂太平盛世，没有霸道总裁，没有峰回路转，没有破镜重圆，没有相伴到老，只有血淋淋的现实摆在你的眼前告诉你这就是爱情，这就是命运，你再生气再挣扎也无能为力。爱情是一场男女之间的战争，注定会有一个输赢，注定会有人牺牲多一点。
电影《归来》没有拍出小说的精髓，导演编剧也是不得已而为之，毕竟拍电影很辛苦花费很高，不能“过关”的电影卖不上座，付出的成本就得泡汤。但是感谢张艺谋选择了陈道明和巩俐来主演，他们的形象很符合小说原定人物的特色形象，带着这两个形象读《陆犯焉识》更有一番滋味在心头，电影就不要浪费时间去看了。
December 2, 2022
这本书写时代写人性都很好，唯独爱情，让我深刻体会到了文学的虚伪，让人如鲠在喉。
陆焉识其人，隐瞒已婚事实交往意大利女朋友，妻子为他生儿育女，他教书时在外与人同居，并堂而皇之被对方包养几年之久。
倘若非要扯他本就不情愿接受继母安排的婚姻做遮羞布，又何必来一波大反转让陆焉识入狱后转头爱上家里的糟糠妻，他真的坦荡吗？敢把自己婚后所作所为对妻子坦诚相告吗？
冯婉瑜的一生何其不幸，有这样的丈夫与姑母（婆婆），她生命里唯一幸运的事情就是足够无知，让她可以心甘情愿蒙住眼睛，相信自己拥有完美的婚姻。
这无知让她几十年如一日爱着虚幻的陆焉识，而陆焉识又爱上无知地爱着虚幻自己的陆婉瑜。
从头到尾，都是泣血谎言。
读后感如此。
这是一本好书。
然，文学玷污了爱情。
陆焉识其人，隐瞒已婚事实交往意大利女朋友，妻子为他生儿育女，他教书时在外与人同居，并堂而皇之被对方包养几年之久。
倘若非要扯他本就不情愿接受继母安排的婚姻做遮羞布，又何必来一波大反转让陆焉识入狱后转头爱上家里的糟糠妻，他真的坦荡吗？敢把自己婚后所作所为对妻子坦诚相告吗？
冯婉瑜的一生何其不幸，有这样的丈夫与姑母（婆婆），她生命里唯一幸运的事情就是足够无知，让她可以心甘情愿蒙住眼睛，相信自己拥有完美的婚姻。
这无知让她几十年如一日爱着虚幻的陆焉识，而陆焉识又爱上无知地爱着虚幻自己的陆婉瑜。
从头到尾，都是泣血谎言。
读后感如此。
这是一本好书。
然，文学玷污了爱情。
February 14, 2025
几个月前，我找到了一位初中同桌。脑中沸腾起来的居然不是叙旧之情，而是一个让我苦等了五年的问题：那时候你坐我旁边，有没有注意到我读的那本书叫什么名字？你又蛮有想法的提出，这本书结尾记录了“大人们才会做的事情”，而捧着这本书的我便是十分的难堪。你还记得这本书吗？它的封面上刻着四个大字，你还能想起它们吗？
当然想不起来了。
今年年初，我才找到了它。读完之后发现结尾并没有同桌所说的龌龊情景，便又愈发觉得奇怪，然而转念一想，大抵是我弄混淆了，读过了太多书的缘故，而真正流进脑子里的没有几本。
陆犯焉识讲的是劳改犯人陆焉识的一生，由晚年的他口述，自己的孙女抄写。字字句句中充满了浩浩荡荡的革命风情，陆家人的命运被这段风吹的零零落落。我本以为严歌苓会指名道姓的抨击吹出这股风的人，或者至少点出几个名字，毕竟大家心里都清楚，想看她骂的有多有劲；可惜我还是太年轻了，实在是太年轻了。
我是在读了一半之后才发觉出不对劲的。几个敏感的数字不断地被严歌苓提起，但跟随着它们的只有黑色的标点符号，红色的背景被她藏得一滴不漏。好像整个世界都是围绕着陆焉识展开的; 1966年的他住在这里，1976年的他住在那里。除此之外并无他物，干净的令人可怕。伤痕文学批判的那个人去哪里了？那个人身后的组织去哪里了？了无音讯，蒸发了一样。舞台的灯光打在了摇摇欲坠的陆焉识，其他什么也看不清。
也许这就是严歌苓想要表达的：看看这个上海男人，看清楚他的惨状，看清楚他遭受的这些无法提起的罪。组织犯下的错误永远是人民来承担，施暴者到了最后也可以全身而退，严严实实的藏进历史的幕布后；严严实实的躲进书页中，怎么找也找不到。留下来的只有奄奄一息的受暴者，奄奄一息的陆焉识。不幸的是，这个无恶不作的大坏人到了今天也没有要离开的意图；你要找的人是鲁迅，和我周树人有什么关系？
不知道这个情景再现会是什么时候，但就目前形势来看，有生之年。
当然想不起来了。
今年年初，我才找到了它。读完之后发现结尾并没有同桌所说的龌龊情景，便又愈发觉得奇怪，然而转念一想，大抵是我弄混淆了，读过了太多书的缘故，而真正流进脑子里的没有几本。
陆犯焉识讲的是劳改犯人陆焉识的一生，由晚年的他口述，自己的孙女抄写。字字句句中充满了浩浩荡荡的革命风情，陆家人的命运被这段风吹的零零落落。我本以为严歌苓会指名道姓的抨击吹出这股风的人，或者至少点出几个名字，毕竟大家心里都清楚，想看她骂的有多有劲；可惜我还是太年轻了，实在是太年轻了。
我是在读了一半之后才发觉出不对劲的。几个敏感的数字不断地被严歌苓提起，但跟随着它们的只有黑色的标点符号，红色的背景被她藏得一滴不漏。好像整个世界都是围绕着陆焉识展开的; 1966年的他住在这里，1976年的他住在那里。除此之外并无他物，干净的令人可怕。伤痕文学批判的那个人去哪里了？那个人身后的组织去哪里了？了无音讯，蒸发了一样。舞台的灯光打在了摇摇欲坠的陆焉识，其他什么也看不清。
也许这就是严歌苓想要表达的：看看这个上海男人，看清楚他的惨状，看清楚他遭受的这些无法提起的罪。组织犯下的错误永远是人民来承担，施暴者到了最后也可以全身而退，严严实实的藏进历史的幕布后；严严实实的躲进书页中，怎么找也找不到。留下来的只有奄奄一息的受暴者，奄奄一息的陆焉识。不幸的是，这个无恶不作的大坏人到了今天也没有要离开的意图；你要找的人是鲁迅，和我周树人有什么关系？
不知道这个情景再现会是什么时候，但就目前形势来看，有生之年。
July 7, 2017
去DC旅行途中读的，故事情节很容易上瘾，在宾馆熬夜读到凌晨四点，然后又因为情节伤感得睡不着（感觉自己的旅行都像是找个借口换个地方把几本书读完）。故事写得很棒，作者把时代背景及人物的性格描述的十分具体，可以鲜明地感觉里面人物的心理斗争，即使在今天看来这个人真的很混／傻，却可以原谅他／她。电影《归来》据说就是根据这本书改编的，庆幸在看电影之前先读了这本书（据说电影只是根据最后部分改编的）。好多那个时代的书读起来都很沉重。
January 16, 2018
严歌苓的文字有种精致的残忍 或者说是昭示本质的赤裸 一开始是说不上喜欢的 但就这样慢慢读下来觉得这可能也是一种画骨画魂的功力 画那样的时势如何把人性像橡皮泥一样来捏 画“淡淡的无耻” 画中庸软弱 也画坚强和静水流深 上海前后两段时期的风物 西北的严酷苍凉 画面清晰 我想作者应该是有阅历的 所以呈现时可以有不费力气的真实 读这个故事时 就算带着冷静的态度来 也难免有怒其不争的时刻 但每每触碰到那些娓娓自白中宁静的深沉 又觉得这个故事无从评判悲喜 只能说时间可以把一切都回归某种意义上的圆满 有些默契 心知肚明 也就足够了
September 18, 2021
整本书里大家都在站队，前面看时还觉得不稀奇，毕竟是那个年代，但到了结尾，丹珏的继子们一同仇视“老几”时，我真的生气了。即使现在也有这么一群人，为了剔除异类，他们忽视人的本性，只为利益着想，宁愿相信别人告诉他们的畸形的话语，也不肯用自己的心去发掘真相，他们早已抛弃了自己的主见，变成了一群纯粹的家畜。这大概就是恩娘和焉识提过的“本事”吧。而且结尾看得人一肚子脏话，如果不愿在这群吃人的人中间周旋，居然只能躲到大草漠上去？？什么时候这群人能死绝啊cnm（别想了永远不可能的呵呵
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June 22, 2022
As always, a well-written book, and one that makes its reader feel absolute loathing for what the revolution did to China's culture, its people, and its spirit. I truly hope they fix their government one day, because I'd love to live there otherwise.
February 29, 2024
The description of the tragic fate of the intellectuals who were forced to go to the countryside during the Cultural Revolution in China may be fictionalised, but the background of the story is real and the history recorded is true.
December 19, 2024
好看是真好看，但是这个女人等人一生的故事也太男性爽文了，所以少一星。有种you don't know you're beautiful - but that's what makes you beautiful的意思，真不利于解放女性抛弃恋爱脑
不过结尾是很美的，整本书可读性也强，两个晚上就刷完了，对大西北和那个时代的种种，严歌苓是太会写了的
乍看是悲剧，其实又是喜剧的一本书，现在我们华语文学再也没这样的作家了
不过结尾是很美的，整本书可读性也强，两个晚上就刷完了，对大西北和那个时代的种种，严歌苓是太会写了的
乍看是悲剧，其实又是喜剧的一本书，现在我们华语文学再也没这样的作家了
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January 14, 2017终于又一次加了一本正经书，略自豪。书是某批搜罗来导入电子书的，在16年夏天在飞机上拿出来时因乱码甚至连名字都不知道，但拿起就一直读了下去（又一次忽略了睡眠的需要）；停在85%左右的地方至到再一次在飞机上拿出来。记忆其实相当混沌了，但印象中故事娓娓道来，说了家庭说了性格说了爱情，但背景中铺开的是那个年代的写照。
January 17, 2018
很厚重很伤感，缺点与优点同样明显的一本书。
March 25, 2018
陆焉识在海外的描写，几次都看得差点流泪。女人的可怜和牺牲男人的自暴自弃很有点张爱玲的味道。但是严歌苓比张爱玲要笔下留情，她对于笔下的男女主人公是带着喜欢的，不像张爱玲般对笔下人物从残忍出发却又生出悲悯来。如托翁一般本来是想写一个浪荡的女人，却让读者对跟着安娜的境遇一起哭一起笑。
April 25, 2018
言语简洁不华丽，但却很打动人。 言语是如此，内容更是。
July 21, 2018
很难不为在悲剧背景中的抗争、顺从动容。
September 11, 2019
感叹于人的生命力和适应力，好日子总会过习惯，而坏日子熬也能熬的过去，无论好坏，心里有些盼头，这日子才能过下去。感谢书籍，让我的人生故事里穿插了各种各样别人的人生。
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March 19, 2020作家出版社
October 14, 2021
看完终于明白当年原著党为什么要批评电影。感动于这细腻幽怨的爱情。这历史害了多少家庭与正常人。该有的道歉，今天陆焉识们等到了吗？
March 9, 2022
😭😭😭
好痛苦，好浪漫
好痛苦，好浪漫
May 22, 2022
玛丽苏男主生错了时代。命运啊
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