具體描述
SISTER OUTSIDER presents essential writings of black poet and feminist writer Audre Lorde, an influential voice in 20th century literature. In this varied collection of essays, Lorde takes on sexism, racism, ageism, homophobia, and class, and propounds social difference as a vehicle for action and change. Her prose is incisive, unflinching, and lyrical, offering a message of struggle but also of hope?one that still resonates with us after more than 20 years. This commemorative edition is, in Lorde's own words, a call to ?never close our eyes to the terror, to the chaos which is Black which is creative which is female which is dark which is rejected which is messy which is. . . .?
作者簡介
Audre Lorde is a revolutionary Black feminist. Lorde's poetry was published very regularly during the 1960s — in Langston Hughes' 1962 New Negro Poets, USA; in several foreign anthologies; and in black literary magazines. During this time, she was politically active in civil rights, anti-war, and feminist movements. Her first volume of poetry, The First Cities (1968), was published by the Poet's Press and edited by Diane di Prima, a former classmate and friend from Hunter College High School. Dudley Randall, a poet and critic, asserted in his review of the book that Lorde "does not wave a black flag, but her blackness is there, implicit, in the bone."
Her second volume, Cables to Rage (1970), which was mainly written during her tenure at Tougaloo College in Mississippi, addressed themes of love, betrayal, childbirth and the complexities of raising children. It is particularly noteworthy for the poem "Martha", in which Lorde poetically confirms her homosexuality: "[W]e shall love each other here if ever at all." Later books continued her political aims in lesbian and gay rights, and feminism. In 1980, together with Barbara Smith and Cherríe Moraga, she co-founded Kitchen Table: Women of Color Press, the first U.S. publisher for women of colour. Lorde was State Poet of New York from 1991 to 1992.
目錄資訊
讀後感
用戶評價
從文學技法的角度來看，這本書展現瞭一種高超的控製力，尤其是在處理情緒的起伏和節奏的把握上。它不是那種一氣嗬成的流暢敘事，而是充滿瞭斷裂、跳躍和迴聲，這完美地模擬瞭記憶和創傷被處理時的非綫性狀態。我能清晰地感受到作者在不同的聲音之間切換，那種語氣的微妙變化，從諷刺的冷峻到近乎懇求的溫柔，展現瞭極強的共情能力。它探討瞭“看”與“被看”之間的復雜動態關係，揭示瞭在被凝視時，個體如何被迫重塑自我以適應觀察者的期待。這種對“觀看”的解構，無疑是當代批判性理論的絕佳文學實踐。通篇下來，我仿佛置身於一個持續的辯論場中，作者不斷拋齣挑戰性的觀點，迫使我這個局外人也必須站隊、錶態，或者至少，進行更深入的反思。
评分這是一部關於身份認同與邊緣經驗的震撼之作，閱讀過程仿佛經曆瞭一場深刻的自我對話。作者以極其個人化和坦誠的筆觸，剖析瞭在主流敘事之外，那些被忽視的聲音所承受的復雜情感。我尤其被其中對“他者化”現象的細膩描摹所打動。那些關於身體、性彆、種族等議題的探討，並非停留在理論層麵，而是通過一個個鮮活的場景和人物的內心掙紮得以呈現。書中那種遊走於清晰與模糊之間的敘事方式，恰恰精準地捕捉瞭邊緣群體在尋求歸屬感時的那種永恒的漂泊感。讀完之後，我不得不重新審視自己對“正常”和“主流”的既有認知。那些看似毫不相乾的片段，最終匯集成一張密不透風的情感之網，讓你在閤上書本時，仍能感受到其中強勁的脈動。它不是一本輕鬆的讀物，但它帶來的思考價值，遠超尋常。它迫使你走齣舒適區，去傾聽那些日常生活中被我們習慣性忽略的低語。
评分這本書給我的總體感覺是關於“在場”與“缺席”的辯證法。它探討瞭當一個人被定義為“局外人”時，他/她所處的特殊空間——那個既不完全屬於內部，也無法徹底逃離外部的世界。這種“閾限空間”的描繪，極其精準地捕捉瞭文化張力下的生存狀態。那些看似零散的劄記和反思，實際上共同構建瞭一個宏大的哲學框架，討論的是我們如何與世界建立聯係，以及當這種聯係被係統性地阻斷時，個體如何自我修復和重建意義。我特彆留意到作者對語言本身的警惕，她似乎在不斷地挑戰既有詞匯的局限性，試圖發明一種新的語言來承載那些無法被現有詞匯囊括的體驗。每一次閱讀，都像是在攀登一座由概念和情感構築的高塔，每一次嚮上，視野都變得更加開闊，但也更加孤獨。
评分這是一部極具時代精神的作品，它深刻地捕捉瞭後現代語境下個體身份建構的碎片化和多重性。閱讀這本書的過程，與其說是被動接受信息，不如說是一種主動的共創體驗，因為作者留下瞭足夠的解讀空間，讓讀者的個人經曆和文化背景得以融入文本之中，從而使每一次閱讀都帶有獨一無二的意義。我被其中那種近乎外科手術般精準的社會觀察所震撼，它毫不留情地撕開瞭許多建立在舒適錯覺之上的社會契約。從細微的日常互動到宏大的政治隱喻，作者總能找到那個隱藏的連接點，將二者無縫對接。它成功地將晦澀的理論問題轉化為可感、可觸的生命體驗，這種文學上的轉化能力令人贊嘆。閤上書的那一刻，我感覺自己仿佛剛剛完成瞭一場高強度的思維體操訓練，精神被極大地拉伸和鍛煉，對復雜世界的理解也因此變得更為立體和富有層次。
评分文字的密度和能量讓人喘不過氣，簡直像是一連串猛烈的、精準的拳擊，直擊思想的要害。這種文學錶達的力度和穿透力，在近些年的閱讀體驗中是極其罕見的。敘事結構本身就像是一座迷宮，看似隨意散落的觀察和迴憶，實則暗藏著精巧的布局，每一次轉摺都將你引嚮更深層的悖論。我欣賞作者拒絕提供簡單答案的態度，與其說是提供解決方案，不如說是提供瞭一種麵對睏境的勇氣和視角。那些關於權力結構如何滲透到最私密的人際關係中的描述，尖銳而令人不安，但正是這種不安感，構成瞭作品的核心張力。它讓你意識到，很多我們習以為常的“自然”狀態，其實都是精心建構的結果。閱讀時，我常常需要停下來，去消化那些層層遞進的比喻和象徵意義，每一句話都仿佛被反復錘煉過，去除瞭所有多餘的裝飾，隻剩下核心的、赤裸的真實。
评分In order to perpetuate itself, every oppression must corrupt or distort those various sources of power within the culture of the oppressed that can provide energy for change.
评分《the uses of anger》
评分《the uses of anger》
评分數個午後，靠在小鹿懷裏聽她讀書，好像靈魂都在共振。是女性特有的柔軟和堅強啊。
评分感覺就是一記一記重錘。
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