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红玫瑰与白玫瑰
◑张爱玲中短篇小说集。收录创作于1944年至1947年创作的中短篇小说，包括《年轻的时候》《花凋》《鸿鸾禧》《红玫瑰与白玫瑰》《散戏》《殷宝滟送花楼会》《桂花蒸阿小悲秋》《等》《留情》《创世纪》《郁金香》《多少恨》。
◑生在这世上，没有一样感情不是千疮百孔的。——《留情》
◑也许每一个男子全都有过这样的两个女人，至少两个。娶了红玫瑰，久而久之，红的变了墙上的一抹蚊子血，白的还是“床前明月光”；娶了白玫瑰，白的便是衣服上沾的一粒饭黏子，红的却是心口上一颗朱砂痣。——《红玫瑰与白玫瑰》
◑只有年轻人是自由的。年纪大了，便一寸一寸陷入习惯的泥沼里。不结婚，不生孩子，避免固定的生活，也不中用。孤独的人有他们自己的泥沼。——《年轻的时候》
◑全新精装，臻美典藏，月亮构筑起的永恒传奇。
◑生在这世上，没有一样感情不是千疮百孔的。——《留情》
◑也许每一个男子全都有过这样的两个女人，至少两个。娶了红玫瑰，久而久之，红的变了墙上的一抹蚊子血，白的还是“床前明月光”；娶了白玫瑰，白的便是衣服上沾的一粒饭黏子，红的却是心口上一颗朱砂痣。——《红玫瑰与白玫瑰》
◑只有年轻人是自由的。年纪大了，便一寸一寸陷入习惯的泥沼里。不结婚，不生孩子，避免固定的生活，也不中用。孤独的人有他们自己的泥沼。——《年轻的时候》
◑全新精装，臻美典藏，月亮构筑起的永恒传奇。
296 pages, Hardcover
First published June 1, 1993
46 people are currently reading
1350 people want to read
About the author
Eileen Chang
84 books673 followersEileen Chang is the English name for Chinese author 張愛玲, who was born to a prominent family in Shanghai (one of her great-grandfathers was Li Hongzhang) in 1920.
She went to a prestigious girls' school in Shanghai, where she changed her name from Chang Ying to Chang Ai-ling to match her English name, Eileen. Afterwards, she attended the University of Hong Kong, but had to go back to Shanghai when Hong Kong fell to Japan during WWII. While in Shanghai, she was briefly married to Hu Lancheng, the notorious Japanese collaborator, but later got a divorce.
After WWII ended, she returned to Hong Kong and later immigrated to the United States in 1955. She married a scriptwriter in 1956 and worked as a screenwriter herself for a Hong Kong film studio for a number of years, before her husband's death in 1967. She moved from New York to Los Angeles in 1972 and became a hermit of sorts during her last years. She passed away alone in her apartment in 1995.
She went to a prestigious girls' school in Shanghai, where she changed her name from Chang Ying to Chang Ai-ling to match her English name, Eileen. Afterwards, she attended the University of Hong Kong, but had to go back to Shanghai when Hong Kong fell to Japan during WWII. While in Shanghai, she was briefly married to Hu Lancheng, the notorious Japanese collaborator, but later got a divorce.
After WWII ended, she returned to Hong Kong and later immigrated to the United States in 1955. She married a scriptwriter in 1956 and worked as a screenwriter herself for a Hong Kong film studio for a number of years, before her husband's death in 1967. She moved from New York to Los Angeles in 1972 and became a hermit of sorts during her last years. She passed away alone in her apartment in 1995.
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Displaying 1 - 30 of 74 reviews
March 18, 2016
Her short story collection Lust, Caution and Other Stories, is one of the greatest collections I have ever read, this one is not as great, but I am not sure if she can surpass that work with any other.
In here we get the story of the love life of a man, well, the complicated love-life of this particular man, who has a thing for women that are independent in a culture that at the time did not support it, as well as this same view repelling him. Yes, he is a very confusing man. He is also not likable, because of what he believes in, how he speaks, and acts, and all his secrets, but he was enthralling to read about, particularly his experiences.
"There were two women in Zhenbao's life: one he called his white rose, the other his red rose. One was a spotless wife, the other a passionate mistress. Isn't that just how the average man describes a chaste widow's devotion to her husband's memory - as spotless, and passionate too?
Maybe every man had two such women - at least two. Marry a red rose and eventually she'll be a mosquito-blood streak smeared on the wall, while the white one is 'moonlight in front of my bed'. Marry a white rose and before long she'll be a grain of sticky rice that's gotten stuck to your clothes; the red one, by then, is a scarlet beauty mark just over your heart."
In here we get the story of the love life of a man, well, the complicated love-life of this particular man, who has a thing for women that are independent in a culture that at the time did not support it, as well as this same view repelling him. Yes, he is a very confusing man. He is also not likable, because of what he believes in, how he speaks, and acts, and all his secrets, but he was enthralling to read about, particularly his experiences.
"There were two women in Zhenbao's life: one he called his white rose, the other his red rose. One was a spotless wife, the other a passionate mistress. Isn't that just how the average man describes a chaste widow's devotion to her husband's memory - as spotless, and passionate too?
Maybe every man had two such women - at least two. Marry a red rose and eventually she'll be a mosquito-blood streak smeared on the wall, while the white one is 'moonlight in front of my bed'. Marry a white rose and before long she'll be a grain of sticky rice that's gotten stuck to your clothes; the red one, by then, is a scarlet beauty mark just over your heart."
November 26, 2013
Written beautifully, but my god was he a total douchebag.
June 18, 2013
Red Rose, White Rose by Eileen Chang is set in Shanghai during the 1940s. The novella revolves around Tong Zhenbao and his attitude towards women as well as life in general. Stemming from a poor family he is the prototype of a social climber and self-made man who subordinates everything and everyone to his plans. He is the product of an education that still treasured traditional Chinese – i.e. strictly patriarchal – values while society was already heading into modern times. He has been faithful to his resolution to “create a world that was ‘right’, and to carry it with him wherever he went” and has no reason to complain. And yet, he isn’t happy in his ideal world. Love is a particularly difficult matter for Zhenbao because his view of life requires that he is the absolute master of his “little pocket-size world” including the women around him. Strong women who do as they wish, especially if they trespass the bounds that society sets them, shake him and attract him at the same time.
It’s a rather unsentimental picture of love and marriage that Eileen Chang paints in her novella Red Rose, White Rose. The simple and despite all powerful language of the author leaves hardly any doubt about relationship being in her eyes nothing but a constant fight for control over the other.
For the full review please click here my blog Edith's Miscellany!
It’s a rather unsentimental picture of love and marriage that Eileen Chang paints in her novella Red Rose, White Rose. The simple and despite all powerful language of the author leaves hardly any doubt about relationship being in her eyes nothing but a constant fight for control over the other.
For the full review please click here my blog Edith's Miscellany!
September 22, 2013
This book offers many slices of life of Chinese middle glass men and women of the 1920 era. A much worthy and insightful book.
March 21, 2019
That's one good story!
Chang's poetic and striking imagery evokes emotions and moods that perfectly express the humanity of the characters she writes about. Even when said characters are completely horrible, she finds a way to highlight the fact that they're just human and suffering in their own, sometimes small and petty, way.
In the end, Chang finds a way to use words in the most effective and beautiful way possible. Truly great.
Chang's poetic and striking imagery evokes emotions and moods that perfectly express the humanity of the characters she writes about. Even when said characters are completely horrible, she finds a way to highlight the fact that they're just human and suffering in their own, sometimes small and petty, way.
In the end, Chang finds a way to use words in the most effective and beautiful way possible. Truly great.
November 14, 2025
Wow! i have been greatly looking forward to Eileen Chang and she's every bit as good as I had heard. It's been so long since I've been so completely blown away by a writer and she manages it effortlessly even in translation! Love this! I'm looking forward to reading more from her very soon!
June 22, 2024
1940s occupied Madonna whore Shanghai ! My mom told me Eileen Chang was formative for her at my age and I understand why // am glad she is a feminist. Wanna read more of her stuff!!
February 21, 2022
因為下晝看了電影《色‧戒》，近來又多在看民初的人事，覺得意猶未盡，遂着令朋友推薦幾本張愛玲的作品，不消一晚看了三篇。說來慚愧，高中後不太看小說，更不要說愛情故事。對不上胃口倒是一回事，我也挺享受張的文字，讓我可以多沉溺一會在民初時法租上海和英屬香港的光景，也暗合我對當時的幻想。
雖然讀得張不多，趁記憶猶新，歸納出她筆下的幾個特點。人物的背景對性格甚有影響，而且背景很寫實，像是有故事原型似的，尤其多是負笈海外，這一點相信與她的家世有關。另外女性角色的內心描述經常會佔了很大篇幅，深入卻無贅詞，多半是發自內心。我不曉得她是否縱橫情場，但每一篇的愛情大概都是她的一刻反思。又像簡奧斯汀的小說般，必是圍繞着女主人翁，即使在起用男性為主角的《紅玫瑰和白玫瑰》中，振保只給故事起黏合的作用，他凋零且普通的故事只配貫穿嬌蕊和煙鸝的故事，說穿了就是另一個王士洪。可能張未必有興趣寫男性的心理變化，因為須老實承認她也挺掌握男人的腦迴路，可能即是男人沒有太多盤算。最後一點，就是她的故事總要往不好的方向發展，這讓我很是納悶，不過我理解，又多少察覺到《紅樓夢》的影響，反正不是為悲劇而悲劇，只不過情感太複雜，很難圓。而且扳成大團圓結局，會很浪費前面鋪墊的劇情，寧願每個角色忠實自己，不合則分。因為「苟且」不是我在這三篇汲收到的訊息，相信亦不在張的字典裡。
說一說每篇最喜愛的部份（非劇透，盡量用自己文字轉述）。《茉莉香片》——是傳慶翻箱倒櫃都找不到丹朱父贈予他母親的雜誌，乾脆讓自己愣在窗旁，讓斜暉烤着。以及傳慶後來發覺自己多情的惱羞成怒，卒之命運又糊弄着他，把他帶回原點。這一個命定論的結局，挺像我對《色‧戒》電影劇本的感想。《金鎖記》——是七巧貫徹始終的惡，雖然長白長安是無辜的，但每當看到七巧又打起精神來再從中作梗，我就覺得這個故事是值得看。要說她的瘋是為勢所逼的嗎？我卻無法理順她的惡，所以任她盡量作惡吧，我才不會因為她得或不得善終而心生一絲憐憫。《紅玫瑰和白玫瑰》——是振保想盡辦法堅守自己臨別玫瑰時所展現的操行，卻始終拜倒在嬌蕊的石榴裙下。他見煙鸝如此唾手可得，便不會珍惜，始亂終棄。我最喜歡的一句是：「男子憧憬一個女子的身體的時候，就關心到她的靈魂，自己騙自己說是愛上了她的靈魂。唯有佔領了她的身體之後，他才能夠忘記她的靈魂。」
期待明天讀《傾城之戀》、《半生緣》同《封鎖》。
雖然讀得張不多，趁記憶猶新，歸納出她筆下的幾個特點。人物的背景對性格甚有影響，而且背景很寫實，像是有故事原型似的，尤其多是負笈海外，這一點相信與她的家世有關。另外女性角色的內心描述經常會佔了很大篇幅，深入卻無贅詞，多半是發自內心。我不曉得她是否縱橫情場，但每一篇的愛情大概都是她的一刻反思。又像簡奧斯汀的小說般，必是圍繞着女主人翁，即使在起用男性為主角的《紅玫瑰和白玫瑰》中，振保只給故事起黏合的作用，他凋零且普通的故事只配貫穿嬌蕊和煙鸝的故事，說穿了就是另一個王士洪。可能張未必有興趣寫男性的心理變化，因為須老實承認她也挺掌握男人的腦迴路，可能即是男人沒有太多盤算。最後一點，就是她的故事總要往不好的方向發展，這讓我很是納悶，不過我理解，又多少察覺到《紅樓夢》的影響，反正不是為悲劇而悲劇，只不過情感太複雜，很難圓。而且扳成大團圓結局，會很浪費前面鋪墊的劇情，寧願每個角色忠實自己，不合則分。因為「苟且」不是我在這三篇汲收到的訊息，相信亦不在張的字典裡。
說一說每篇最喜愛的部份（非劇透，盡量用自己文字轉述）。《茉莉香片》——是傳慶翻箱倒櫃都找不到丹朱父贈予他母親的雜誌，乾脆讓自己愣在窗旁，讓斜暉烤着。以及傳慶後來發覺自己多情的惱羞成怒，卒之命運又糊弄着他，把他帶回原點。這一個命定論的結局，挺像我對《色‧戒》電影劇本的感想。《金鎖記》——是七巧貫徹始終的惡，雖然長白長安是無辜的，但每當看到七巧又打起精神來再從中作梗，我就覺得這個故事是值得看。要說她的瘋是為勢所逼的嗎？我卻無法理順她的惡，所以任她盡量作惡吧，我才不會因為她得或不得善終而心生一絲憐憫。《紅玫瑰和白玫瑰》——是振保想盡辦法堅守自己臨別玫瑰時所展現的操行，卻始終拜倒在嬌蕊的石榴裙下。他見煙鸝如此唾手可得，便不會珍惜，始亂終棄。我最喜歡的一句是：「男子憧憬一個女子的身體的時候，就關心到她的靈魂，自己騙自己說是愛上了她的靈魂。唯有佔領了她的身體之後，他才能夠忘記她的靈魂。」
期待明天讀《傾城之戀》、《半生緣》同《封鎖》。
October 18, 2011
Red Rose, White Rose is the type of book that translates into English well. The short, snappy syntax gives the book a stoic tone that fits well with the main character's personality. It also creates suspense as the book charts the main character's relationships. You are constantly wondering if he will maintain his composure or not, and the book builds up to several of these critical moments along the way. I was surprised to find it so riveting, but there you have it.
October 1, 2017
散文集没读完
December 11, 2022
What an odd ‘ending!’ If I can even call it that?? I’m left with a quizzical look on my face, my brows thoughtfully furrowed. The ending feels like an ellipsis instead of a period. All that build up, that battering storm and heavy rain! but what’s left is a small stagnant puddle - still - muddled with dirt that’s settled at the bottom.
Nevertheless, I would honestly read anything Eileen Chang has written. Her mail, a contract, her grocery list, a post-it note. Her writing truly evokes!
Nevertheless, I would honestly read anything Eileen Chang has written. Her mail, a contract, her grocery list, a post-it note. Her writing truly evokes!
December 5, 2020
Decided to read this because of the 1994 movie. It was alright and the prose is nothing to write home about. The movie is prettier.
June 18, 2024
it's a story you want to enjoy and like, as it has all elements of something riveting, but unfortunately it lacks soul.
June 9, 2023
A beautifully crafted story about the pitfalls of patriarchy for women, and a fascinating example of early feminist Chinese writing. Lovely language and perfectly subtle.
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May 26, 2025[2025.05.26_78]
------〈連環套〉------
照片這東西不過是生命的碎殼；紛紛的歲月已過去，瓜子仁一粒粒嚥了下去，滋味各人自己知道，留給大家看得唯有那滿地狼藉的黑白瓜子殼。〈連環套〉
唯一的維持她的自尊心的方法便是隨時隨地的調情——在色情的圈子裏她是個強者，一出了那範圍，她便是人家腳底下的泥。〈連環套〉﹝霓喜是這樣，〈留情〉裡的楊太太也是這副德性。﹞
鐵烈絲是英國人，卻用法文叱喝道：「走開！走開！」那狗並不理會，鐵烈絲便用法文咒罵起來。有個年青的姑子笑道：「您老是跟牠說法文！」鐵烈絲直著眼望著她道：「牠又不通人性，牠怎麼懂得英國話？」〈連環套〉
筵席上吃的是葡萄酒。散了席，回到客室裏來喝咖啡，又換上一杯威士忌。霓喜笑道：「怎麼來了這一會兒，就沒斷過酒。」米耳先生道：「我們英國人吃酒是���著時候的，再沒錯。」霓喜笑道：「那麼什麼時候你們不吃酒呢？」米耳先生想了一想道：「早飯以前我是立下了規矩，一滴也不入口的。」〈連環套〉
做人做了個女人，就得做個規矩的女人。規矩的女人偶爾放肆一點，便有尋常的壞女人夢想不到的好處可得。
———〈年青的時候〉———
（潘汝良認為父親喝酒不是在酒吧間，點）「威士忌，不擱蘇打！」然後用手托住頭發起征來，頭髮頹然垂下一綹子，掃在眼睛裏⋯⋯那是理所當然,可同情的。雖然喝太多也不好，究竟不失為一種高尚的下流。（講到姊姊）塗脂抹粉，長的不怎麼美而不肯安分。
會話書的作者沒有一個不是上年紀的人，鄭重而囉嗦。
黃昏的天淹潤寥廓，年輕人的天是沒有邊的，年輕人的心飛到遠處去。可是人的膽子到底小。世界這麼大，他們必得找點網羅牽絆。
那天只有她（沁西亞）妹妹麗蒂亞在家，一個散漫隨便的姑娘，長得像跟她一個模子裏印出來的，就是發酵粉放多了，發得東倒西歪，不及她齊整。
———〈紅玫瑰與白玫瑰〉———
（佟振保）他是正經人，將正經女人與娼妓分得很清楚。⋯⋯朋友中沒有一個不知道他是坐懷不亂的柳下惠。他這名聲是傳出去了。（高級酸）
嬌蕊將殘茶一飲而盡，立起身來，把嘴裏的茶葉吐到闌干外面去，笑道：「中國也有中國的自由，可以隨意的往街上吐東西。」
男子憧憬一個女子的身體的時候，就關心到她的靈魂，自己騙自己說是愛上了她的靈魂。唯有佔領了她的身體之後，他才能夠忘記她的靈魂。
不論中外的「禮教之打防」，本來也是為女人打算的，使美貌的女人更難到手，更值錢，對於不好看的女人也是一種保護，不至於到處面對著失敗。
———〈留情〉———
然而還是那些年青痛苦，倉皇的歲月，真正觸到了他的心，使他現在想起來，飛灰似的霏微的雨與冬天都走到他眼睛裏面去，眼睛鼻子裏有涕淚的酸楚。〈留情〉
﹝楊太太笑敦鳳﹞「闊人就是這個派頭！不小氣，也就闊不了了。」〈留情〉
生在這世上，沒有一樣感情不是千瘡百孔的。〈留情〉
------
玉清的臉光整坦蕩，像一張新鋪好的床；加上了憂愁的重壓，就像有人一屁股在床上坐下了。〈紅鸞禧〉﹝形容面貌﹞
﹝婁太太﹞團白臉，想小孩子學大人的樣捏成的湯糰，搓來搓去，搓得不成模樣，手掌心的灰揉進麵粉裏去，成為較複雜的白了。〈紅鸞禧〉﹝形容面貌﹞
﹝匡老太太﹞從前她是個美女，但是她的美沒有給她闖禍，也沒給她造福，空自美了許多年。
【3 May 2025 / kobo / 187】
------〈連環套〉------
照片這東西不過是生命的碎殼；紛紛的歲月已過去，瓜子仁一粒粒嚥了下去，滋味各人自己知道，留給大家看得唯有那滿地狼藉的黑白瓜子殼。〈連環套〉
唯一的維持她的自尊心的方法便是隨時隨地的調情——在色情的圈子裏她是個強者，一出了那範圍，她便是人家腳底下的泥。〈連環套〉﹝霓喜是這樣，〈留情〉裡的楊太太也是這副德性。﹞
鐵烈絲是英國人，卻用法文叱喝道：「走開！走開！」那狗並不理會，鐵烈絲便用法文咒罵起來。有個年青的姑子笑道：「您老是跟牠說法文！」鐵烈絲直著眼望著她道：「牠又不通人性，牠怎麼懂得英國話？」〈連環套〉
筵席上吃的是葡萄酒。散了席，回到客室裏來喝咖啡，又換上一杯威士忌。霓喜笑道：「怎麼來了這一會兒，就沒斷過酒。」米耳先生道：「我們英國人吃酒是���著時候的，再沒錯。」霓喜笑道：「那麼什麼時候你們不吃酒呢？」米耳先生想了一想道：「早飯以前我是立下了規矩，一滴也不入口的。」〈連環套〉
做人做了個女人，就得做個規矩的女人。規矩的女人偶爾放肆一點，便有尋常的壞女人夢想不到的好處可得。
———〈年青的時候〉———
（潘汝良認為父親喝酒不是在酒吧間，點）「威士忌，不擱蘇打！」然後用手托住頭發起征來，頭髮頹然垂下一綹子，掃在眼睛裏⋯⋯那是理所當然,可同情的。雖然喝太多也不好，究竟不失為一種高尚的下流。（講到姊姊）塗脂抹粉，長的不怎麼美而不肯安分。
會話書的作者沒有一個不是上年紀的人，鄭重而囉嗦。
黃昏的天淹潤寥廓，年輕人的天是沒有邊的，年輕人的心飛到遠處去。可是人的膽子到底小。世界這麼大，他們必得找點網羅牽絆。
那天只有她（沁西亞）妹妹麗蒂亞在家，一個散漫隨便的姑娘，長得像跟她一個模子裏印出來的，就是發酵粉放多了，發得東倒西歪，不及她齊整。
———〈紅玫瑰與白玫瑰〉———
（佟振保）他是正經人，將正經女人與娼妓分得很清楚。⋯⋯朋友中沒有一個不知道他是坐懷不亂的柳下惠。他這名聲是傳出去了。（高級酸）
嬌蕊將殘茶一飲而盡，立起身來，把嘴裏的茶葉吐到闌干外面去，笑道：「中國也有中國的自由，可以隨意的往街上吐東西。」
男子憧憬一個女子的身體的時候，就關心到她的靈魂，自己騙自己說是愛上了她的靈魂。唯有佔領了她的身體之後，他才能夠忘記她的靈魂。
不論中外的「禮教之打防」，本來也是為女人打算的，使美貌的女人更難到手，更值錢，對於不好看的女人也是一種保護，不至於到處面對著失敗。
———〈留情〉———
然而還是那些年青痛苦，倉皇的歲月，真正觸到了他的心，使他現在想起來，飛灰似的霏微的雨與冬天都走到他眼睛裏面去，眼睛鼻子裏有涕淚的酸楚。〈留情〉
﹝楊太太笑敦鳳﹞「闊人就是這個派頭！不小氣，也就闊不了了。」〈留情〉
生在這世上，沒有一樣感情不是千瘡百孔的。〈留情〉
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玉清的臉光整坦蕩，像一張新鋪好的床；加上了憂愁的重壓，就像有人一屁股在床上坐下了。〈紅鸞禧〉﹝形容面貌﹞
﹝婁太太﹞團白臉，想小孩子學大人的樣捏成的湯糰，搓來搓去，搓得不成模樣，手掌心的灰揉進麵粉裏去，成為較複雜的白了。〈紅鸞禧〉﹝形容面貌﹞
﹝匡老太太﹞從前她是個美女，但是她的美沒有給她闖禍，也沒給她造福，空自美了許多年。
【3 May 2025 / kobo / 187】
September 8, 2013
A neat little novella that evocatively uses its late-modernist, Western-influenced-yet-still-Chinese, 1940s Shanghai setting to elaborate on the opening passage:
"There were two women in Zhenbao's life: one he called his white rose, the other his red rose. One was a spotless wife, the other a passionate mistress. Isn't that just how the average man describes a chaste widow's devotion to her husband's memory - as spotless, and passionate too?
Maybe every man had two such women - at least two. Marry a red rose and eventually she'll be a mosquito-blood streak smeared on the wall, while the white one is 'moonlight in front of my bed'. Marry a white rose and before long she'll be a grain of sticky rice that's gotten stuck to your clothes; the red one, by then, is a scarlet beauty mark just over your heart."
Chang's novella is, among other things, a subtle examination of how gender dynamics shape relationships. Zhenbao's women are divided into polar extremes reminiscent of the 'Damned Whores and God's Police' of Anne Summers' book of that name. I liked how Chang cleverly tantalises the reader with a closer, more rounded examination of the female characters, only to have Zhenbao re-enter the scene and pull the character profile back into the male subjectivity where the characters are once again viewed through his judgement.
"There were two women in Zhenbao's life: one he called his white rose, the other his red rose. One was a spotless wife, the other a passionate mistress. Isn't that just how the average man describes a chaste widow's devotion to her husband's memory - as spotless, and passionate too?
Maybe every man had two such women - at least two. Marry a red rose and eventually she'll be a mosquito-blood streak smeared on the wall, while the white one is 'moonlight in front of my bed'. Marry a white rose and before long she'll be a grain of sticky rice that's gotten stuck to your clothes; the red one, by then, is a scarlet beauty mark just over your heart."
Chang's novella is, among other things, a subtle examination of how gender dynamics shape relationships. Zhenbao's women are divided into polar extremes reminiscent of the 'Damned Whores and God's Police' of Anne Summers' book of that name. I liked how Chang cleverly tantalises the reader with a closer, more rounded examination of the female characters, only to have Zhenbao re-enter the scene and pull the character profile back into the male subjectivity where the characters are once again viewed through his judgement.
October 20, 2024
Here on this lovely spring afternoon, Zhenbao looked around at the world he had made. There was no way to destroy it.
This feels like I've uncovered a secret of some sorts but it looks like something I already know. I feel like I have met every single one of these people before. The prose was honestly so fitting for the tone set here -- very firm, very upright, no-nonsense and yet so vivid. It's definitely not what I would describe as mind-blowing but that's what I love about it. It FITS. I'd kill to be able to have this congruency. The way Chang writes metaphors (the fuckin "marry a red rose" starting paragraphs might just now be one of my favourite openers ever) is so addictive and yet it feels so essential to me somehow. Like it's salt in meat.
I suppose my one gripe is the final sentence of this: What is THAT supposed to mean. What IS a good man. Was he ever actually one? I know Chang probably had very literary valid reasons for just ending the story like this after that constrained denouement with Zhenbao in the bathroom but ???????? ok
This feels like I've uncovered a secret of some sorts but it looks like something I already know. I feel like I have met every single one of these people before. The prose was honestly so fitting for the tone set here -- very firm, very upright, no-nonsense and yet so vivid. It's definitely not what I would describe as mind-blowing but that's what I love about it. It FITS. I'd kill to be able to have this congruency. The way Chang writes metaphors (the fuckin "marry a red rose" starting paragraphs might just now be one of my favourite openers ever) is so addictive and yet it feels so essential to me somehow. Like it's salt in meat.
I suppose my one gripe is the final sentence of this: What is THAT supposed to mean. What IS a good man. Was he ever actually one? I know Chang probably had very literary valid reasons for just ending the story like this after that constrained denouement with Zhenbao in the bathroom but ???????? ok
August 2, 2016
This is a book about a man, Zhenbao, in Shanghai in the 1940s and all the women he's met, slept with and loved. Some passages are brilliant, I loved the style and her way with words is enviable but story-wise this was lacking something. When he falls in love with a married women and they decide to give their relationship a shot, I really started liking the plot too. But then he decides it would be shameful for his mother, leaves her and marries a woman he does not like one bit. While maybe realistic, it left me disappointed.
That said: I was so impressed by Chang's writing style that I definitely want to read more of her. This is the "bad" thing about these Penguin Mini Classics. So many great authors to discover, so little time.
That said: I was so impressed by Chang's writing style that I definitely want to read more of her. This is the "bad" thing about these Penguin Mini Classics. So many great authors to discover, so little time.
September 3, 2013
The story of the persevering and successful career man, Zhenbao, and the intricacies, challenges and tragedy of his bi-polar love life. Unfortunately, somewhere between the energetic passions and childlike insouciance of his mistress and the tranquil nullity of his wife, is a man divorced of purpose, and as the novella's content follows its form, so does the story lose purpose as it gradually trails off into a tired reminiscence of a life devoid of vitality.
August 11, 2024
3.5
Writing that lures you in. Tactical and elusive character building and sharp story telling to top it all off.
A fun read making you loath its character and question the ending yet sigh at the conclusion, moral greyness of it all.
Writing that lures you in. Tactical and elusive character building and sharp story telling to top it all off.
A fun read making you loath its character and question the ending yet sigh at the conclusion, moral greyness of it all.
February 19, 2014
Not interesting, depressing, and I just wasn't impressed.
February 9, 2014
get the point
June 5, 2015
Eileen Chang has a talent for grasping the character of people and their everyday life, their struggles and flaws. That is exactly what she does here. Her characters become alive through her words.
August 9, 2014
Beautiful writing and insightful.
June 3, 2016
读的第一本张爱玲，最喜欢的也是《红玫瑰与白玫瑰》，《年轻的日子》、《多少恨》也很好。
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February 7, 2017张爱玲的小说总是很深入浅出，一句话或一个词就能点出文章背后的思想。
September 23, 2018
Poetic and human. Men are pigs.
December 8, 2018
Chinese fiction at its best; this one, a romance.
August 21, 2019
One of the better, quicker shorts in Love in a Fallen City. Bit of a bland ending though, but maybe the reality behind so much drama.
November 24, 2020
经典中的经典了，把男女在追求爱情的过程里在一个人身上不能得到全部的满足这样的心情表达地淋漓尽致。
这本书是我高二的时候，在女生宿舍里，熄了灯之后，打着手电筒在被子里看完的。张爱玲的很多文章都是那个时候这样看完的。那时候我也才16 17岁吧，没有交过正式的男朋友，但是喜欢读爱情小说。好像读一遍想象一遍就像自己经历过了一样。
慢慢的回忆。
这本书是我高二的时候，在女生宿舍里，熄了灯之后，打着手电筒在被子里看完的。张爱玲的很多文章都是那个时候这样看完的。那时候我也才16 17岁吧，没有交过正式的男朋友，但是喜欢读爱情小说。好像读一遍想象一遍就像自己经历过了一样。
慢慢的回忆。
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