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소지
The debut collection of stories by 이창동 (Lee Chang-Dong), the Oscar-nominated director of the films Green Fish (1997), Peppermint Candy (2000), Oasis (2002), Secret Sunshine (2007), Poetry (2010), and Burning (2018).
391 pages, Paperback
First published October 31, 2003
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Displaying 1 - 20 of 20 reviews
September 19, 2021
找不到鹿川就先来读这本，写得真好，写大时代落在小人物头上的一粒沙，也写人世间最最普通的际遇。不知道是不是先入为主了，觉得每篇都很有电影感。
July 28, 2024
Love it. Ruthless documentation of the rupture of the social class, irony of fighting "communism", people deprived of opportunities and dreams, and, lastly, desire. One of my favorite scene is the dancing wife.
October 18, 2020
李沧东的小说关注于两种题材，一种是大时代给个体造成的绵延的伤痛，例如韩战和镇压民主运动；一种是工业化和城市化过程中被落下的农民和贫民。对于大时代的创伤，他笔下的主人公会在日常生活中长久地经受这些伤痛，甚至会成为代际和家庭中无法言说的永恒裂痕，或是在精神上背叛曾经的自己，成为背负罪恶的“成功人士”；对于贫民和农民，工业化下快速变革的城市和消费欲望会在小说里变成具象的压抑符号：帮老板看家的大别墅里锁上的房间、美国人留下的狗、海滩边住不起的酒店，这些压抑作用于主人公的精神上，模糊了真实和主观感受的界限。他的作品都有很强的画面感，强烈的情感潜藏于平静的人物表现之下，隐藏在日常生活之中。最喜欢《火与灰》《大雪纷飞的日子》和《战利品》，都是关于主人公如何解决/解决不了威权政府的镇压造成的永久伤痛的故事
July 4, 2021
整本书收录了上世纪十二篇短篇小说，每一篇都从韩国普通甚至底层民众的生活描写上升到忧国忧民的沉思和对生与死的哲学探讨。封建传统思想和麻木不仁在当时根深蒂固，民主运动浴血的牺牲没有唤起民众对自由的追求，当时动荡的社会和维持生计的重压让普通人很难喘气，何况还有不知何时会降临的不幸遭遇。
虽然开篇韩文翻译的文风让我适应了很久，后来发现每篇都饱含深意，有种当代鲁迅的感觉。读懂这部作品除了需要熟识南北战争和光州民主运动以外，对文化民俗也需有一定了解，剩下的就是发挥读者的想象力了。
虽然开篇韩文翻译的文风让我适应了很久，后来发现每篇都饱含深意，有种当代鲁迅的感觉。读懂这部作品除了需要熟识南北战争和光州民主运动以外，对文化民俗也需有一定了解，剩下的就是发挥读者的想象力了。
August 3, 2020
書裏每個主人公都有著一張疲憊的臉。暗淡陰沈的工業社會天空下，個體只能被時代發展的潮流裹挾著跌跌撞撞，往前走找不到方向，往後看不到故鄉，最後一場火，歸宿只是漢灘江上揚起的一把灰。
January 4, 2021
最后几个故事带着一点魔幻现实主义的味道。整本书的几套故事仿佛也对应着李沧东的几种电影题材，不变的是对底层和边缘人物的关照
October 23, 2021
李沧东的笔力之强劲，让我感觉到时代的悲情像一块巨大的乌云如影随形地笼罩着每个人，让人在许多生活的细节里都看到时代强烈的隐喻和投射。对革命，贫穷，西化的观察犀利，又充满怜悯。其中以《火与灰》，《烧纸》和《大雪纷飞的日子》最好。
November 15, 2021
底层左翼青年的失败，失落，失意。喜欢战利品、火与灰、祭奠。
January 30, 2022
可能是因为已经知道李沧东是作家转导演，所以看书的时候会自动带入想象的画面，因而也觉得看完这11部短片就像是看完了11场电影。喜欢《为了大家的安全》和《脐带》，隐隐的痛。
February 16, 2022
本来以为用力过猛，但是也觉得在情理之中，主要还是一种沮丧的无力感，连一点抗争都没有，就是顺其自然，看似平铺直叙，一琢磨有点儿跟自己较劲。
August 8, 2022
《大雪纷飞的日子》让我想起《薄荷糖》。
他很擅长从不堪的现实里挖掘人性剩余的微光。
他很擅长从不堪的现实里挖掘人性剩余的微光。
March 29, 2024
每篇都很有力量。主人公都是充满矛盾的人，矛盾来自时代的伤痕，或者自身与时代的冲突。作者正视这些矛盾，就像正视这些鲜活的生命。
July 13, 2024
最后一篇的文笔最喜欢。很好奇情景之间不空行隔开是原文如此还是译版的决定，虽然影响不大但读起来有点膈应。
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November 4, 2024和电影一样的后劲
February 10, 2025
看得出来很擅长通过对话来描写人物，奈何我对韩国历史实在没什么了解不太感冒
May 21, 2025
李滄東還是相當注重情節的，因此閱讀的感受是相當好的。站穩左翼立場，故事都與民主運動或直接或間接有關係，市井小民被時代洪流沖著跑而無能為力。根據附錄所收的文學批評家/學者秦炯俊所寫的解析，是在暗示李滄東本人有喪子的親身經歷嗎？不過秦炯俊寫得很隱晦就是了，初步查了資料也沒看到這點。
October 25, 2025
有些故事有很熟悉的味道 一种90年代的味道 但是更多故事又不是很懂 没有看完
January 15, 2025
导演有非常严重的阉割焦虑。
不推荐。
不推荐。
July 28, 2021
The debut collection of stories by 이창동 (Lee Chang-Dong), the festival darling whose works (in my opinion) are far more memorable than that of his more widely-exported compatriots.
Before Lee rose to global renown in film, he worked as a fiction writer. His debut collection was published in 1987, and the title "소지" (烧纸) translates literally to "burning paper," which refers to the paper that is set aflame in funerals across Korea and Asia. Burning paper can be understood as a ritual of (among many things) evanescence, mourning, sacrifice, and purification.
These themes flicker in every story in the collection. All of the characters are confronted with insurmountable loss -- whether it is the loss of a democratic revolution, or the loss of a child. The loss of the very possibility of a completed nation, or a complete family, or a completed self.
Like Lee's films, his prose is also subtle and quiet, yet the quiet is not that of peace. Rather, it is the quiet of a moral silence. The quiet of everyday dehumanization, in which we are all complicit. We can't cover our ears to the sound because it comes from within.
It was a pleasure to encounter these stories for the first time this year, after decades of following and familiarizing his work in film. Here, Lee captures the bloody upheavals of the 1980s, a particularly tumultuous decade in Korea (is there any other kind?) -- a decade that burned and burned.
Before Lee rose to global renown in film, he worked as a fiction writer. His debut collection was published in 1987, and the title "소지" (烧纸) translates literally to "burning paper," which refers to the paper that is set aflame in funerals across Korea and Asia. Burning paper can be understood as a ritual of (among many things) evanescence, mourning, sacrifice, and purification.
These themes flicker in every story in the collection. All of the characters are confronted with insurmountable loss -- whether it is the loss of a democratic revolution, or the loss of a child. The loss of the very possibility of a completed nation, or a complete family, or a completed self.
Like Lee's films, his prose is also subtle and quiet, yet the quiet is not that of peace. Rather, it is the quiet of a moral silence. The quiet of everyday dehumanization, in which we are all complicit. We can't cover our ears to the sound because it comes from within.
It was a pleasure to encounter these stories for the first time this year, after decades of following and familiarizing his work in film. Here, Lee captures the bloody upheavals of the 1980s, a particularly tumultuous decade in Korea (is there any other kind?) -- a decade that burned and burned.
July 29, 2023
社会问题和我们的也差不多
Displaying 1 - 20 of 20 reviews