##It was at an age even younger than the then Buruma when I sensed that my own destiny waiting ahead is what he said, to be déraciné is to be on the road forever. But I also couldn’t help thinking how his whiteness promised this kind of freedom of being a gaijin forever.
评分##七十年代的日本文化圈,比较熟悉的有寺山修司、黑泽明和三岛由纪夫,还有宝冢和浅草。作为一个gaijin,作者遗憾自己始终不能融入日本社会,最终选择离开。但反观西方人写日本或东亚,大多也带着猎奇滤镜,エロ、グロ、ナンセンス,彼此彼此吧。就像书里有句话说的:we were both gaijin for life.and we felt safer together.
评分##每个在东京常驻的人都经历过一个只属于自己的东京
评分##这个时代的日本男权真是糟透了。前半部分日本的情欲怪诞文化太猎奇了,后半部分感觉作者被唐十郎PUA了?对这个导演无兴趣,看起也无趣。outsider就是一种无法动摇的身份,作者的融入失败更印证了Freedom is better than belonging. 之前有看到过友邻提到为什么移民会感到清净,因为本地人并不关心你。
评分##a gaijin's memoir of Japan in 1970s, about the Ero guro nansensu
评分##Nothing too profound, but Buruma writes well, a globalized form of good English. Interesting anecdotes about an era that I know little of.
评分##伊恩·布鲁玛公共历史书写之外的私人回忆录,一种久居游客的 exoticism 和反向凝视。多么幸运有人的二十若干岁能如此度过。
评分##想象的乡愁
评分##Nothing too profound, but Buruma writes well, a globalized form of good English. Interesting anecdotes about an era that I know little of.
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