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哥伦比亚的倒影
《哥伦比亚的倒影》是木心的第一部简体中文版作品，内中选编《九月初九》、《哥伦比亚的倒影》、《上海赋》等最能表现木心行文风格的散文13篇，并全文刊印1986年5月9日纽约《中报》副刊《东西风》发起的“木心的散文专题讨论会”文本。
192 pages, Kindle Edition
First published October 1, 2010
21 people are currently reading
37 people want to read
About the author
Mu Xin
33 books25 followersMu Xin (1927-2011) was the pen name of a renowned Chinese diasporan writer and artist who once lived in the New York area. Mu Xin was born in Wuzhen, South China, into a wealthy aristocratic family with business interests in Shanghai. He was among the last generation to receive a classical education in the literati tradition, but he was also exposed through voluminous reading to the highest achievements of Western art and culture.
From 1947 to 1949, Mu Xin attended Shanghai Institute of the Arts. From 1949 until 1982, when he came to the United States, MuXin lived in China. Although he wrote profusely in that period, all of his earlier manuscripts were confiscated and destroyed during the Cultural Revolution. Since 1982, MuXin published twelve books of fiction, prose, and poetry (in Chinese) and contributed to literary columns in Chinese journals and newspapers outside the PRC. Among the Chinese diaspora, MuXin’s works have attracted an intense following.
Few Chinese writers in modern history have as firm a mastery of the Chinese cultural and linguistic heritage as MuXin did. Innovatively combining fiction, sanwen (a Chinese genre which blends characteristics of the essay, fiction, and poetry), and philosophical reflections, MuXin’s writing is both profoundly Chinese and reminiscent of the internalization and unconventionality of Western modern masters. In addition to his literary accomplishments, MuXin was also a well recognized artist whose paintings are preserved, among other places, at Yale University and Harvard University Art Galleries.
From 1947 to 1949, Mu Xin attended Shanghai Institute of the Arts. From 1949 until 1982, when he came to the United States, MuXin lived in China. Although he wrote profusely in that period, all of his earlier manuscripts were confiscated and destroyed during the Cultural Revolution. Since 1982, MuXin published twelve books of fiction, prose, and poetry (in Chinese) and contributed to literary columns in Chinese journals and newspapers outside the PRC. Among the Chinese diaspora, MuXin’s works have attracted an intense following.
Few Chinese writers in modern history have as firm a mastery of the Chinese cultural and linguistic heritage as MuXin did. Innovatively combining fiction, sanwen (a Chinese genre which blends characteristics of the essay, fiction, and poetry), and philosophical reflections, MuXin’s writing is both profoundly Chinese and reminiscent of the internalization and unconventionality of Western modern masters. In addition to his literary accomplishments, MuXin was also a well recognized artist whose paintings are preserved, among other places, at Yale University and Harvard University Art Galleries.
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Displaying 1 - 9 of 9 reviews
October 17, 2019
早闻木心的儒雅脱俗，读他的书之前就很好奇，到底是怎样的风格。
他的文学评述，以我的水平，读得费劲。他用词已然看出脱俗，但也不是不能理解。问题是他的视角完全站在读过万卷书，和对中外文化长年生活与思量的基础上，总结出很广阔的论点。我虽然读懂了他的字，却没有对他论述产生共鸣的能力。我就好像在看一辆高速驶过的列车，偶尔能看清一两个镜头般的片段景象，大部分时间我只是得到个大概的印象而已。
幸好，他并不总是写些文化思考的文章。他的散文，特别有江南文人的细腻敏感。但是我觉得木心应该是个内心孤傲的人。他的文字，很多就是自言自语。也不在乎读的人是谁，读懂了前因后果没有，他追求一种遗世独立的完美片段感。
值得一提是他写的“上海赋”，文采斐然，行云流水，寥寥数段就把上海的前世今生完美呈现。他用了“魔性”一词形容上海，这该是我读过“魔都”的最早溯源。
这个似乎永远学不会用句号的儒者。文如其人，难与世界融入，用一辈子找寻与人生最合适的距离。
他的文学评述，以我的水平，读得费劲。他用词已然看出脱俗，但也不是不能理解。问题是他的视角完全站在读过万卷书，和对中外文化长年生活与思量的基础上，总结出很广阔的论点。我虽然读懂了他的字，却没有对他论述产生共鸣的能力。我就好像在看一辆高速驶过的列车，偶尔能看清一两个镜头般的片段景象，大部分时间我只是得到个大概的印象而已。
幸好，他并不总是写些文化思考的文章。他的散文，特别有江南文人的细腻敏感。但是我觉得木心应该是个内心孤傲的人。他的文字，很多就是自言自语。也不在乎读的人是谁，读懂了前因后果没有，他追求一种遗世独立的完美片段感。
值得一提是他写的“上海赋”，文采斐然，行云流水，寥寥数段就把上海的前世今生完美呈现。他用了“魔性”一词形容上海，这该是我读过“魔都”的最早溯源。
这个似乎永远学不会用句号的儒者。文如其人，难与世界融入，用一辈子找寻与人生最合适的距离。
November 17, 2020
木心的文字之美需要完全静下心来才能体会到。2017年买的这本书，翻了几篇就看不下了，一放就是几年。如今疫情横行，蛰居家中，反倒能细细品味所有类型的文字，读出作者的匠心之独到之处，也算因祸得福。
木心的文字让我想起读老一辈文人作品的感觉，比如废名，李健吾，郁达夫，朱自清等。上个世纪三四十年代的文人，既受过中国私塾古文教育，又受到西方文化的熏陶，行文间有一股独特的韵味，姑且称之为民国味吧。如今商业文案和网络鸡汤式的文字兴盛流行，很久没有感受到这种纯粹的文字之美和独特气韵了，这本集子，让我仿佛跟着一位风度翩翩，温文尔雅的先生，穿越旧时光，体会他古雅的慢生活，领略上海租界的灯红酒绿。
木心的文字让我想起读老一辈文人作品的感觉，比如废名，李健吾，郁达夫，朱自清等。上个世纪三四十年代的文人，既受过中国私塾古文教育，又受到西方文化的熏陶，行文间有一股独特的韵味，姑且称之为民国味吧。如今商业文案和网络鸡汤式的文字兴盛流行，很久没有感受到这种纯粹的文字之美和独特气韵了，这本集子，让我仿佛跟着一位风度翩翩，温文尔雅的先生，穿越旧时光，体会他古雅的慢生活，领略上海租界的灯红酒绿。
May 31, 2023
很喜欢木心先生的文字。读到纸质版很幸福。
其中两篇，《哥伦比亚的倒影》、《上海赋》，一个西方一个东方，各有各的味道。
写西方，便真的读来“洋气”，但没有如读一些外文译本时累赘眩目的感觉；写东方，又非文绉绉，而是松松动动的语气，加入典雅的国学，读来也轻松有趣。就算是清清淡淡的东西，在他的笔下也能有滋有味。清清淡淡的，好闻的气息。
看到 《两个朔拿梯那》，就想读很多历史的地理的书，看夕阳撒在罗马街道和复活节岛。想跟着《文学回忆录》读书，看莎士比亚，看《艾玛》。想写很多字，中文很美。碰巧那天读到一句，“温柔而繁华”。
《林肯中心的鼓声》、《明天不散步了》，也很喜欢。
其中两篇，《哥伦比亚的倒影》、《上海赋》，一个西方一个东方，各有各的味道。
写西方，便真的读来“洋气”，但没有如读一些外文译本时累赘眩目的感觉；写东方，又非文绉绉，而是松松动动的语气，加入典雅的国学，读来也轻松有趣。就算是清清淡淡的东西，在他的笔下也能有滋有味。清清淡淡的，好闻的气息。
看到 《两个朔拿梯那》，就想读很多历史的地理的书，看夕阳撒在罗马街道和复活节岛。想跟着《文学回忆录》读书，看莎士比亚，看《艾玛》。想写很多字，中文很美。碰巧那天读到一句，“温柔而繁华”。
《林肯中心的鼓声》、《明天不散步了》，也很喜欢。
October 22, 2017
木心的文字与李安的电影 - 木心笔下上海人与李安电影饮食男女
August 8, 2020
［純粹的個人讀後感，毫無參考價值］
文學這種東西，若是喜歡，倒也沒甚麼判斷標準。
倘若有那麼一篇槌響了內心的共鳴，閉上眼後看得到聽得到摸得到聞得到還隱約感受到微風撫過手臂，五顆星便給的心滿意足。
文學這種東西，若是喜歡，倒也沒甚麼判斷標準。
倘若有那麼一篇槌響了內心的共鳴，閉上眼後看得到聽得到摸得到聞得到還隱約感受到微風撫過手臂，五顆星便給的心滿意足。
July 31, 2025
木心是遗留在二十世纪的古典诗人。 遣词造句又美又灵动，又极具想象力。
December 14, 2015
第一次读木心，一下就被这种风格吸引到了。之前只在南方周末上看过众人怀念木心的文章，不知道其人其文到底是怎样的，现在开始看起也还不算晚
July 19, 2016
诗样的记事，十分意识流...
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October 13, 2017重新意识到美好的文字的力量。
Displaying 1 - 9 of 9 reviews