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埋伏
本書《埋伏》共收錄八篇推理傑作。
「埋伏」：以倒敘手法，透過一個埋伏的刑警的眼睛，暗中窺伺著一個女人生活中的一動一靜，展開了他的埋伏……此篇為松本清張於一九五五年發表的推理處女作，亦可被視為日本社會派推理創始作。
「臉」：榮獲第十屆日本偵探作家俱樂部獎（即今「日本推理作家協會獎」）。故事描述劇團演員井野良吉因精湛的演技和獨特的樣貌獲得電影導演的青睞，開始在大銀幕上嶄露頭角，但隨著自己的臉在電影螢幕上曝光的鏡頭越多，他變得越來越不安……
「聲」：主角是一名善辨人聲，只需透過電話中「喂」一聲，就能把公司幾百個人的聲音區別出來的接線員，竟因誤撥電話意外與殺人兇手對話，從此埋下殺機……松本清張在本篇佈置了高超的不在場證明。
「買地方報紙的女人」：平成國民作家宮部美幸與社會派作家橫山秀夫的最愛。一名訂報的女子，一份乏人問津的地方報紙，當有人開始對女子的訂報動機產生懷疑，殺機便在好奇心出現的剎那間萌生？！
「鬼畜」：鬼和畜生，指性格轉變殘酷的人。描寫經營印刷廠、情人丟下三個孩子消失了身影、被妻子逼著逐步處理掉孩子，逐漸被現實逼迫的男人的身影！在高度的犯罪氛圍中，「鬼畜」極度刻畫人類產生新的犯罪過程的心裡，使人緊張不安的「潛在景象」！
「等我一年半」：在刑法審判中，有一條「一事不再理」原則，當判決一旦確定，即使事後出現對被告更加不利的事實，亦不予改判。當人走投無路時，很可能會被激發出令人意想不到的殘酷潛能，甚至計畫出連法律都束手無策的縝密詭計。
「投影」：描寫一名抑鬱不得志的報社記者到鄉下的小報社任職，卻逐步捲入一起涉及政治鬥爭的意外死亡事件……本篇具有濃厚的社會派推理氛圍，並精心設計了令人匪夷所思的殺人手法。
「卡爾內亞德斯船板」：靈感來自刑法「緊急避難」原則之傑作，其觀念為古希臘學者卡爾內亞德斯著名的「自衛學說」－－發生海難時，兩人同時抓著一塊浮木，但浮木只足以支撐一人。其中一人為了獲救，於是將另一人推下海。但活下來的人並不構成犯罪……在現實世界的學術競爭中，同樣的自衛法則也能成立嗎？
「埋伏」：以倒敘手法，透過一個埋伏的刑警的眼睛，暗中窺伺著一個女人生活中的一動一靜，展開了他的埋伏……此篇為松本清張於一九五五年發表的推理處女作，亦可被視為日本社會派推理創始作。
「臉」：榮獲第十屆日本偵探作家俱樂部獎（即今「日本推理作家協會獎」）。故事描述劇團演員井野良吉因精湛的演技和獨特的樣貌獲得電影導演的青睞，開始在大銀幕上嶄露頭角，但隨著自己的臉在電影螢幕上曝光的鏡頭越多，他變得越來越不安……
「聲」：主角是一名善辨人聲，只需透過電話中「喂」一聲，就能把公司幾百個人的聲音區別出來的接線員，竟因誤撥電話意外與殺人兇手對話，從此埋下殺機……松本清張在本篇佈置了高超的不在場證明。
「買地方報紙的女人」：平成國民作家宮部美幸與社會派作家橫山秀夫的最愛。一名訂報的女子，一份乏人問津的地方報紙，當有人開始對女子的訂報動機產生懷疑，殺機便在好奇心出現的剎那間萌生？！
「鬼畜」：鬼和畜生，指性格轉變殘酷的人。描寫經營印刷廠、情人丟下三個孩子消失了身影、被妻子逼著逐步處理掉孩子，逐漸被現實逼迫的男人的身影！在高度的犯罪氛圍中，「鬼畜」極度刻畫人類產生新的犯罪過程的心裡，使人緊張不安的「潛在景象」！
「等我一年半」：在刑法審判中，有一條「一事不再理」原則，當判決一旦確定，即使事後出現對被告更加不利的事實，亦不予改判。當人走投無路時，很可能會被激發出令人意想不到的殘酷潛能，甚至計畫出連法律都束手無策的縝密詭計。
「投影」：描寫一名抑鬱不得志的報社記者到鄉下的小報社任職，卻逐步捲入一起涉及政治鬥爭的意外死亡事件……本篇具有濃厚的社會派推理氛圍，並精心設計了令人匪夷所思的殺人手法。
「卡爾內亞德斯船板」：靈感來自刑法「緊急避難」原則之傑作，其觀念為古希臘學者卡爾內亞德斯著名的「自衛學說」－－發生海難時，兩人同時抓著一塊浮木，但浮木只足以支撐一人。其中一人為了獲救，於是將另一人推下海。但活下來的人並不構成犯罪……在現實世界的學術競爭中，同樣的自衛法則也能成立嗎？
400 pages, Paperback
First published December 1, 1965
12 people want to read
About the author
Seichō Matsumoto
593 books672 followersSeicho Matsumoto (松本清張, Matsumoto Seichō), December 21, 1909 – August 4, 1992) was a Japanese writer.
Matsumoto's works created a new tradition of Japanese crime fiction. Dispensing with formulaic plot devices such as puzzles, Matsumoto incorporated elements of human psychology and ordinary life into his crime fiction. In particular, his works often reflect a wider social context and postwar nihilism that expanded the scope and further darkened the atmosphere of the genre. His exposé of corruption among police officials as well as criminals was a new addition to the field. The subject of investigation was not just the crime but also the society in which the crime was committed.
The self-educated Matsumoto did not see his first book in print until he was in his forties. He was a prolific author, he wrote until his death in 1992, producing in four decades more than 450 works. Matsumoto's mystery and detective fiction solidified his reputation as a writer at home and abroad. He wrote historical novels and nonfiction in addition to mystery/detective fiction.
He was awarded the Akutagawa Prize in 1952 and the Kikuchi Kan Prize in 1970, as well as the Mystery Writers of Japan Award in 1957. He chaired the president of Mystery Writers of Japan from 1963 to 1971.
Credited with popularizing the genre among readers in his country, Matsumoto became his nation's best-selling and highest earning author in the 1960s. His most acclaimed detective novels, including Ten to sen (1958; Points and Lines, 1970); Suna no utsuwa (1961; Inspector Imanishi Investigates, 1989) and Kiri no hata (1961; Pro Bono, 2012), have been translated into a number of languages, including English.
He collaborated with film director Yoshitarō Nomura on adaptations of eight of his novels to film, including Castle of Sand.
Matsumoto's works created a new tradition of Japanese crime fiction. Dispensing with formulaic plot devices such as puzzles, Matsumoto incorporated elements of human psychology and ordinary life into his crime fiction. In particular, his works often reflect a wider social context and postwar nihilism that expanded the scope and further darkened the atmosphere of the genre. His exposé of corruption among police officials as well as criminals was a new addition to the field. The subject of investigation was not just the crime but also the society in which the crime was committed.
The self-educated Matsumoto did not see his first book in print until he was in his forties. He was a prolific author, he wrote until his death in 1992, producing in four decades more than 450 works. Matsumoto's mystery and detective fiction solidified his reputation as a writer at home and abroad. He wrote historical novels and nonfiction in addition to mystery/detective fiction.
He was awarded the Akutagawa Prize in 1952 and the Kikuchi Kan Prize in 1970, as well as the Mystery Writers of Japan Award in 1957. He chaired the president of Mystery Writers of Japan from 1963 to 1971.
Credited with popularizing the genre among readers in his country, Matsumoto became his nation's best-selling and highest earning author in the 1960s. His most acclaimed detective novels, including Ten to sen (1958; Points and Lines, 1970); Suna no utsuwa (1961; Inspector Imanishi Investigates, 1989) and Kiri no hata (1961; Pro Bono, 2012), have been translated into a number of languages, including English.
He collaborated with film director Yoshitarō Nomura on adaptations of eight of his novels to film, including Castle of Sand.
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Displaying 1 - 3 of 3 reviews
December 29, 2019
4.5 stars.
The first couple of short stories are pretty great (especially the first story), but I just had to skim the last two stories due to lack of patience.
PS: but...I don't get it... in one of the stories, when facing an abusive husband, the wife could have gotten a divorce and hopefully moved on to her new boyfriend, right? So why couldn't she do this? ....did the Japanese society back in the 1950s to 1960s really so harsh on women?
PSS: Here's my kinda sorta 2020 New Year banner:
The first couple of short stories are pretty great (especially the first story), but I just had to skim the last two stories due to lack of patience.
PS: but...I don't get it... in one of the stories, when facing an abusive husband, the wife could have gotten a divorce and hopefully moved on to her new boyfriend, right? So why couldn't she do this? ....did the Japanese society back in the 1950s to 1960s really so harsh on women?
PSS: Here's my kinda sorta 2020 New Year banner:
August 16, 2019
騷不到癢處的偵探小說。
本書著重懸案的發展、推理的過程，八篇短篇小說的背景概要比中間的懸疑鋪陳還多，推理的過程固然有趣，但就少了點刺激。
其中最喜歡「臉」這一則短篇故事，在我看來是懸疑刺激感最高的一篇。一個事業終於要走上巔峰的電影明星，為了成功脫逃八九年前犯下的殺人罪，想盡辦法在電影上映前殺掉目擊者，而目擊者因為對犯人已無記憶逃過死劫。正當電影明星得意以為自己的罪行不會被揭發，劇情卻急轉直下...
本書著重懸案的發展、推理的過程，八篇短篇小說的背景概要比中間的懸疑鋪陳還多，推理的過程固然有趣，但就少了點刺激。
其中最喜歡「臉」這一則短篇故事，在我看來是懸疑刺激感最高的一篇。一個事業終於要走上巔峰的電影明星，為了成功脫逃八九年前犯下的殺人罪，想盡辦法在電影上映前殺掉目擊者，而目擊者因為對犯人已無記憶逃過死劫。正當電影明星得意以為自己的罪行不會被揭發，劇情卻急轉直下...
August 5, 2025
8 short pieces of detective stories, it started out quite plain with the titular story, but as pages evolve, the stories are getting stronger than the previous one. The story of 臉 is my favorite of all.
4.5/5
4.5/5
Displaying 1 - 3 of 3 reviews