Reviews of the best poetry books, collections and anthologies; discover poems and up-and-coming poets across all cultures, genres and themes.
After reading the Talmud
I have just started to read, and I am trying to write some reading notes of this book. I first learned about this book through the "We media" on Toutiao. After reading several sections, I felt that I was exaggerating the book (other people are actually specialized in selling books). The structure of this book is to summarize some basic principles through stories. But I think this story is not delicate enough, the details of the things less vivid, always seems to feel almost what. And truth this thing, know does not mean to do, do not equal to do not know. So in that sense, looking at the book is essentially but not really useful. But there are 10,000 Hamlets in 10,000 people's eyes, and it's possible that someone will see one of these stories and be touched and inspired. And this book is a classic of Jewish culture, whether it teaches us anything or not, in order to understand the cultural differences of other peoples, we can also read it. At least that's how Jews thought in some places
Read "A Dream of Red Mansions" feeling
I read a dream of Red Mansions feeling is stubborn, I think Cao Gong is to express a sentence: daughter is made of water. It is therefore aesthetic and eternal. The tragedy of the daughter is a tragedy of beauty, there is no more tragic tragedy! Tragedy is to tear up valuable things for people to see, Lu Xun's words, I agree. But the Golden bottle plum is inferior to the Dream of Red Mansions enough to be higher than the other three classical literary masterpieces. Because, for three or four hundred years, we can no longer write about sex but Xiao Xiao Sheng, write about daughter and write about love, we can no longer write about Cao Xueqin.
life and death fatigue
"Fatigue of Life and Death" is Mo Yan's latest novel, with a length of 450,000 words. Even with Mo Yan's prolific and vigorous pen, it can be regarded as an extremely ambitious attempt in recent years. Mo Yan claimed that in order to write this book, he abandoned the computer and returned to manuscript paper, using a "disposable soft pen" (perhaps what we call a gel pen?), working hard and sleeping only two or three hours a day for a month and a half. It was completed, and he said that he got a lot of fun and a sense of accomplishment from the action of "handwriting" again. He also did not forget to emphasize that this story had been pondering in his mind for decades, and this time it was only when the time came that he finally decided to write it down in a flash. Despite the painstaking editing and proofreading, the thought of the thick stack of manuscripts is indeed fascinating. There are many writers who claim that writing novels is not only a great challenge to one's spirit and life habits, but also requires excellent physical strength. Mo Yan's process of writing "Life and Death Fatigue" may be another example. This book is said to have a printing volume of 120,000 copies in the early spring of 2006, and it will be reprinted soon, although it can not be compared with the best-selling book with millions of copies. A higher price, to have such a response, is a rare "high standard" among Chinese writers. This novel continues the theme of "Dahe Family Epic" in "Red Sorghum Family" and "Big Breasts and Fat Hips". In terms of narrative skills, Mo Yan takes the narrative point of view of the landlord "Ximen Nao" who has fallen into the "six paths of reincarnation" and reincarnated repeatedly as animals as the main axis of the first-person narrative. He writes all the way from 1950 to 2000. The flashback dialogue between "Liberation" and "Big Head" is interspersed with the narrative angle of the character "Mo Yan that kid" in the story, to complement the point of view that the first-person narrative cannot reach. In this way, it can not only get the effect of omniscience and omnipotence, but also effectively advance the plot, and try to avoid the limitation of omniscience and omnipotence "having the final say" with multiple perspectives that are indistinguishable from the true and false. Not strenuous. Mo Yan admitted that in the early 1980s, reading a large number of Latin American novels imported from mainland translations was an extremely important enlightenment experience for him. Looking at the representative works of Mo Yan's several novels, "narrative point of view" and "narrative language" have always been the focus of his thoughts here. The exploration of the novel, the obsession with "epic", and the style of combining the "big national narrative" with the "small family history" also make us seem to have a glimpse of the Latin American novelist Bagas. The influence of Llosa and Marquis. The early "Red Sorghum Family" (1987) has a refreshing narrative angle of "my grandfather and my grandmother", and the fusion and appropriation of folk opera and folk music in "The Song of Garlic in Paradise" (1988) and "Sandalwood Punishment" (2001), more It is his experiment to expand the territory of "fiction language". This time, Mo Yan borrowed the concept of "Six Paths of Reincarnation" to tell stories from the eyes of animals. Following the "Sandalwood Punishment" in the form of "multiple people taking turns monologue", he once again found a new "story telling mouth", which is indeed ingenious. As for the multiple perspectives of jumping, it is the "old man" that various senior novelists have used for many years, and it is also a trick that Mo Yan has repeatedly performed in the past. Finding the "correct" narrative style and grasping the overall structure of the novel is indeed crucial, which allows Mo Yan to "tell the story smoothly". But I think what really matters is still "language" and "role". Mo Yan's language is still hearty, whether it is line drawing or character dialogue, it is very vivid, and it is an example of a first-class novelist. It is a pity that this time he repeated the mistakes of "Big Breasts and Fat Hips" (2000). In the last part, the rhythm was messed up, and the ending was a little sloppy. "The Voice of the Novelist" rushed out. Footnotes and lessons have been added to many scenes and plots that could have had a little aftertaste. When they are all explained, the meaning is small. We don't necessarily mind Mo Yan's wild horses, endless diversions, and lots of writing performances for the sake of showing off. These chattering and cluttered details are actually the inseparable pleasures of reading Mo Yan's works. However, the top-heavy structure and hurried ending of "Life and Death Fatigue" still makes people feel lost. How much I hope Mo Yan can stick to the narrative rhythm of the first 400 pages in the last 100 pages, with sand and mud, and the extremely dramatic scene where the important characters withdraw from the stage one after another, just like the finale orchestra of a Broadway stage play. It might be better to end the book with a forceful explanation like the big climax, or in another way, to let the book end within four hundred and eighty pages, rather than leaving a "rabbit tail" as it is now. Still, Life and Death Fatigue is a great book anyway, with some of the best passages that make you cry. Compared with the previous work "Forty-One Cannons" (2003), I don't know Yiyu Hudi, "Life and Death Fatigue" returns to the spirit of "Zhang Huiti" and "retelling a story from the beginning", which is gratifying anyway. Intellectually I understand that there are inescapable flaws in the structure of this book, but emotionally I embrace it wholeheartedly and appreciate it. In my mind, Mo Yan's "perfect masterpiece" doesn't seem to have been written yet - I mean, like Marquez's "One Hundred Years of Solitude", Bagas. The great system like Llosa's "Long Talk at the Bar" and Grashi's "Tin Drum", the balance of characters, structure and language, makes it possible to take into account the grand ambition and the attention to detail. With Mo Yan's talent and vigor, he is a young man in his early fifties. There should be more than one splendid work of the same level hidden in his body. We are very willing to continue to wait.
My thoughts after reading A Brief History of the Future
In the vast books, choose a book, read a book, this is a very predestined thing. So, for every book I can take down from the huge shelf, there must be a reason to take it. So what is my reason for taking down A Brief History of the Future?
"Ordinary World" after reading
The book "Ordinary World" has brought me a lot. I was going to bring them to me, list them all, but I don't think so. For a thousand people reading Hamlet, there are a thousand Hamlets. One thousand people read "Ordinary world", there are one thousand kinds of ordinary world. What gives you a big shock may not give another person a shock.
After reading the Analects of Confucius
Feel the transcendence and limitation of the ancients. Confucius's many words all and is very anxious that saint, but there are also a lot of theory is not adapt to the current age, need to re-examine, his desire for the restoration of rites, for example, is clearly inappropriate, today the collapse of the old order and transition period for the formation of new order will produce so-called ceremony music bad phenomenon is normal, if so will open the back of history,
"Ordinary World" after reading
People would rather worry about the eating, drinking and minutias of a crappy movie actor than understand the turbulent inner world of an average person.
"Robinson Crusoe" after reading
A few days of leisure time, in a hurry to browse the Robinson Crusoe, not to mention accuracy, let's use the way of notes here for a simple sentiment and review it;
Blog This Blog That
It's 1 a:m Did you know, that a:m is ANTE MERIDIEM It means b4 midday in Latin & yes I spelt b4 as b4 Bcuzz 2'hell with grammar at 1 a:m IN THE MORNING!¡
How do we return to hope?
A cloud the moment before rain. The seed of action in the second before movement. A pregnant pause before the unacknowledged is said aloud – or not, and forgotten as a new decision is made by someone else. How do we return to ourselves in the moments we want to embody our desires, longing for change, and ideas in a time when we look around at the world and feel powerless? By reading poems, of course!
Chaucer’s Parliament of Fowls
Chaucer was and still is one of the greatest influences in the literary world. Some see Chaucer as the father of literature possibly because of the way he wrote poetry not ordinarily but with words that were glossed over to make it even sound poetic. He was mostly known for the Canterbury Tales. “The Parliament of Fowls” starts off as Nature telling the birds to decide who to love because it is almost spring and the birds need to procreate and produce offspring before they all become extinct. Chaucer’s views on class are exposed in Parliament of Fowls by having Nature choosing to speak to the eagle first, the eagle can be expressed as a representation of noble society and the birds that are chosen last are the smaller and weaker species, which represents the lower classes. But, how does Chaucer’s use of language contribute to lines from 365 to 378 create meaning within the context as a whole?
For The Doc
normally i am pretty careless but when it came to Jenny i was jealous i could hear all of the noise which was coming from the desperate boys