喜福会
出版社:上海译文出版社
出版日期:2006-5
ISBN:9787532739714
作者:谭恩美
页数:261页
作者简介
《喜福会》是1989年美国四大畅销书之一，多次获奖并拍成电影。小说描写解放前夕从中国大陆移居美国的四位女性的生活波折，以及她们与美国出生的女儿之间的心理隔膜、感情冲撞、爱爱怨怨，令人感慨万千。
书籍目录
千里鸿毛一片心
喜福会
伤疤的故事
红烛泪
中秋之夜
道道重门
棋盘上的较量
凌迟之痛
信仰和命运
慈母心
美国游戏规则
饭票丈夫
美国女婿拜见中国丈母娘
离婚之痛
哎唷妈妈！
西天王母
姨太太的悲剧
男人靠不住
在美国和中国间摇摆
共同的母亲
母女情深——《喜福会》译后感
编辑推荐
《喜福会：谭恩美作品》是1989年美国四大畅销书之一，多次获奖并拍成电影。小说描写解放前夕从中国大陆移居美国的四位女性的生活波折，以及她们与美国出生的女儿之间的心理隔膜、感情冲撞、爱爱怨怨，令人感慨万千。全书分别从母亲和女儿两个体系来安排，两者呼应得十分融洽，既可独立成章，又可连成一体。同时《喜福会：谭恩美作品》翻译时保持了原作的诙谐和美国式的幽默，更符读者的阅读习惯。阅读《喜福会：谭恩美作品》，我们不仅可以了解到美籍华人的心态和观念，感受血浓于水的骨肉亲情！
前言
给我的母亲 且谨以此纪念她的母亲 有一次您问过我 我将留下怎样的回忆 喏，就是这本书，还有这以外的很多很多……
内容概要
谭恩美（Amy Tan），美国华裔作家。1952年出生于美国加州奥克兰，曾就读医学院，后取得语言学硕士学位。她因处女作《喜福会》而一举成名，成为当代美国的畅销作家。著有长篇小说《灶神之妻》、《灵感女孩》和为儿童创作的《月亮夫人》、《中国暹罗猫》等，作品被译成20多种文字在世界上广为流传。如今谭恩美已然成为美国文坛少数民族作家的一位代表人物，而在当今美国社会倡导多元文化的大背景下，她的地位早已渐渐超越了一位少数民族或者流行小说家的身份，而成为整个美国乃至西方最为著名的作家之一。
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精彩书评 (总计42条)
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在书中看到了作为女儿我的影子，婚后才发现自己开始理解母亲了。好喜欢书中的一段话“女孩就像一棵树。你必须挺起身子，听站在你边上的妈的话，唯有这样，你才能长得挺拔强壮。加入你俯身去听别人的话，那你就会变得佝偻软弱，一阵风就把你吹倒了。”如果有一天我有了女儿，一定会让她看这本书。 -
The most important scene in The Joy Luck Club by Amy Tan is the death of An-mei’s mother (Tan 270). After realizing that her status in WuTsing’s house was diminishing, Mother committed suicide. This led the superstitious WuTsing, afraid that Mother’s ghost would return, to give An-mei a high status in the house.Mother’s change of character made her death significant. On their first meeting, she told An-mei to passively accept her fate. However, Mother later found being a Fourth Wife to be humiliating as the overbearing control of the Second Wife was inevitable. She refused to suffer in silence. Just a few days before her planned suicide, Mother changed from a timid and traditional wife into a strong willed woman who ingeniously used her death as a weapon to secure An-mei’s future.The setting played an important role in this scene. The story took place in a traditional male-dominated Chinese society where women were taught to be meek and to conceal their pain. When Mother was raped by and then forced to marry WuTsing, she did not protest but instead left her home to avoid bringing disgrace to her family. As a third concubine she accepted her fate and desired nothing for herself. However, as Mother’s status deteriorated with the arrival of Fifth Wife, she began to worry for her daughter.The death of Mother was a touching scene because it gave her daughter power and independence. The story was told by An-mei to show that she had been impacted by her mother’s sacrifice since childhood. She knew it was useless to cry because that would only fill up someone else’s joy, instead, An-mei crushed the fake pearl necklace in front of the Second Wife, and learned to shout. -
The Joy Luck Club is Amy Tan’s debut to the world, and to be honest, this is the first time I finished an English novel. It drives me into a fancy world where I can find a dramatic China, coiling her body between the tradition and the modernity. Four pair of mothers and daughters being obedient or independent to the past and future, their stubbornness and the confusion between the two different cultures and their identities is quite touching. Unfortunately, it seems that the world manifested by Cheng Naishan etc. is relatively different form the world Amy Tan created. I did not realize the problem until I picked up their translation text just for scanning, after the reading of the English version . The problem blooms so seriously that I am beginning to doubt the contemporary translation circumstance in China, combining other reading experiences I had before.As the translation theories have developed rapidly since the 20th century, the source text is no longer unchangeable. Translators’ subjectivity is taken into consideration in common discussion, “equivalence” generally replaces “faithfulness” as the standard of translation, and “Catford’s linguistic theory of translation and Eugene Nida’s dynamic equivalence are the two most representative theories concerning “equivalence”. “Their theories on the one hand admit the status of the author and the original text, and on the other hand they also confront the personal involvement of translator in his or her work.”(陈燕敏，13) But how to keep balance between the authors’ authorities and translators’ freedom is not an immediately solvable question concerning both translation theorists and translators.I chose Part 1, chapter 2 AN-MEI HSU: Scar and Part 2, chapter 7 ROSE HSU JORDAN: Half and Half (mainly because these two chapters constitute half of one mother-daughter story: AN-MEI HSU and ROSE HSU JORDAN’ story) to show the pessimistic statistics. 53 phrases and sentences are not completely translated into Chinese, including 2 entire paragraphs deleted ; 57 Paraphrases, 33 alterations with less changing of meaning while 20 “modifications” with sharp changing in significance and 4 changes in sentence patterns; 12 creations, which the author actually does not mention at all. 1. The Missing Organs.The missing tissues can be easily fond throughout the whole book, some are acceptable: ST ：Mrs. Jordan also had a few words to say. Ted had casually invited me to a family picnic, the annual clan reunion held by the polo fields in Golden Gate Park. (Tan, Amy, 117, emphasis added)Cheng’s translation: 同时，特德的母亲乔顿太太那边，对此也有一番话了。那天，特德偶尔发兴，请我去金门公园参加一个他们家族一年一度的家庭野餐。(程乃珊，100)This sentence is taken from ROSE HSU Jordan’s explanation on the attitude towards Rose and Ted’s relationship from Ted’s mother. Here the “clan reunion” and “by the polo field” is not stated in the Chinese translation, but it has less effort on purport expression, thus this deletion is permissible.But some are quite serious:ST: My mother did not let her chin fall down. She walked back to the beach and put the Bible down. She picked up the thermos and teacup and walked to the water’s edge. Then she told me that the night before she had reached back into her life, back when she was a girl in China, and this is what she had found.“I remember a boy who lost his hand in a firecracker accident,” she said. “I saw the shreds of this boy’s arm, his tears, and then I heard his mother’s claim that he would grow back another hand, better than the last. This mother said she would pay back an ancestral debt ten times over. She would use a water treatment to soothe the wrath of Chu Jung, the three-eyed god of fire. And true enough the next week this boy was riding a bicycle, both hands steering a straight course past my astonished eyes!”And then my mother became very quiet. She spoke again in a thoughtful, respectful manner.“An ancestor of ours once stole water from a sacred well. Now the water is trying to steal back. We must sweeten the temper of the Coiling Dragon who lives in the sea. And then we must make him loosen his coils from Bing by giving him another treasure he can hide.”My mother poured out tea sweetened with sugar into the teacup, and threw this into the sea. And then she opened her fist. In her palm was a ring of watery blue sapphire, a gift from her mother, who had died many years before. This ring, she told me drew coveting stares from women and made them inattentive to the children they guarded so jealously. This would make the Coiling Dragon forgetful of Bing. She threw the ring into the water. (Tan, 128~129, emphasis added)Cheng’s translation: 妈并不泄气，她回到沙滩上，拎起热水瓶和茶杯，来到大海边上。事后，当她恢复过来后，曾跟我说过，从前在中国时，人们都用这方法来祭海，以平息龙王的怒气。而这通常是很有效的。此刻，妈把茶倒入杯中，加了白糖，再抹下手上一只蓝宝石戒，那是外婆留给她的遗物。如今外婆去世多年了。这枚戒指，母亲不止一次得意地对我说过，不知吸引过多少女人的羡慕和注意。现在，她把这枚戒指也献给龙王，希望龙王会放出平。她把戒指扔入海里。(程乃珊, 110, emphasis added)This short passage is taken from ROSE HSU JORDAN‘s memory on AN-MEI HSU’s effort to get her son, Bing back from drowning in the sea. Obviously the translators rewrite the plot here, completely delete the story which AN-MEI told her daughter and the prayer she said before the symbolic ceremony. All the legends and stories told by the mothers in the frame tales create a mysterious and unfamiliar scene of China for Chinese readers, offering ways to know how the author understands and interprets her native culture and to glimpse what the image of China it is in the eyes’ of Chinese Americans. The stories may be too eccentric to be translated, but the abridgement diminishes the sentimental expression and reduced the vivid story to a quite pale narrative.2. The Pathological Blood VesselsThe pathological blood vessels are most common problems in the translation text, due to the abuse of free translation. The method of paraphrase does help the local readers comprehend foreign text better, but sometimes it will lead to transformations of significance:ST: “An-mei,” she (Popo) murmured, now more gently. “Your dying clothes are very plain. They are not fancy, because you are still a child. If you die, you will have a short life and you will still owe your family a debt. Your funeral will be very small. Our mourning time for you will be very short.” (Tan, 47, emphasis added)Cheng’s translation: “安梅，”这下，她(婆婆)的语气温柔一点了。“你的寿衣很素净，一点不鲜艳，因为，你还只是个孩子，即便你的寿数短了点了，你还是亏欠了养育你的长辈，因此，你的丧事也将是简单的。我们会很快把你忘掉的。”(程乃珊, 34, emphasis added)This is from AN-MEI HSU’s childhood memory when she is dying. Cheng comprehends Popo’s words “Our mourning time for you will be very short.” as “we will forget you soon (我们会很快把你忘掉的).” This might be a way of interpreting, but “mourning time” can also represent the special period that Chinese people mourn for the defunct family members, usually will be seven days or forty-nine days, even three years for parents in ancient China. A short mourning time, as Popo explained in the text, is because kids owed family a debt when they died young. It is a common tradition that the funeral for seniority is more magnificent than funeral for children in China; whereas “We will forget you soon” lose all the information above and simply bring an extra emotional influence that AN-MEI’s relatives in Ningpo are unconcerned with her, she is not even worth a usual mourning time, thus a more negative portrait for Popo is furbished. Another paraphrase case, which is related to rhetoric:ST: “Ted, if you want me to go, I’ll go.” (Said Rose)And it was as if something snapped in him (referred Ted). “How the hell did we ever get married? Did you just say ‘I do’ because the minister said ‘repeat after me’? What would you have done with your life if I had never married you? Did it ever occur to you?” This was such a big leap in logic, between what I said and what he said, that I thought we were like two people standing apart on separate mountain peaks, recklessly leaning forward to throw stones at one another, unaware of the dangerous chasm that separated us.But now I realize that Ted knew what he was saying all long. He wanted to show me the rift. Because later that evening he called from Los Angeles and said he wanted a divorce. (Tan, 120, emphasis added)Cheng’s translation: “特德，如果你要我去，我就去。”他好像被火烙了，暴跳如雷地对我吼道：“真见鬼，我们到底怎么会结婚的！在婚礼上，瞧你一本正经地跟着牧师：我会做个好妻子，我会与你共患难……统统见鬼去吧，你只不过是跟着牧师在鹦鹉学舌。如果我不娶你，你将怎么过？也是这样不肯作任何决定，不肯承担一点责任吗？”从逻辑上来说，是我们各自的所作所为，导致了我们间感情的恶化，那简直是个一百八十度的大突变。我俩就像分别站在两个山头上互扔石头的家伙，肆意的攻击，最终导致了这场婚姻的破裂。然而现在我意识到了，在特德，他是早有准备的，或者说，早有此居心了。他这是故意在制造事端。因为自那晚不久，他就从洛杉矶打电话过来，正式向我提出离婚。(程乃珊, 102~103, emphasis added)This part is taken from ROSE HSU JORDAN’s narration on the quarrel between Ted and her, starting from Ted’s querying if Rose wanted to come along with him to Los Angeles for a dermatology course. What the narrator (Rose) mentioned here “This was such a big leap in logic” is referred to “between what I said and what he said”, because just before Ted‘s roaring they were talking about Rose’s decision on going or not, a casual topic at home but suddenly Ted started to roar about how did they get married; while the “big leap” in translation text is point to “our behaviors lead to the crash of relationship”. The denotation of the words has been switched.The simile which narrator used to describe the broken relationship shrink to something not so pathetic in the translation: “unaware of the dangerous chasm that separated us.” is translated into “finally lead to the divorce (最终导致了这场婚姻的破裂。)”. “The dangerous chasm” implies that the marriage is in danger, but expressing it as a declaration causes it to lose so much poetic imagination and sentiment within the expressions. The reason to make this change in rhetoric seems unreasonable and doubtable, since from my point of view, it is beyond the essentials. And two instances of sentence pattern transformation: ST 1: And when I say that it is certainly true, that our marriage is over, I know what else she will say: “Then you must save it.” (Tan, 116, emphasis added)Cheng’s translation: 就算我向她一再明白表示，我和特德的婚姻已经过去了，她一定还会这样说：“一点也没法挽救了？”(程乃珊, 99, emphasis added)ST 2：I see him standing by the wall, safe, calling to my father, who looks over his shoulder toward Bing. How glad I am that my father is going to watch him for a while! (Tan, 125, emphasis added)Cheng’s translation: 我看见他背靠墙面站定，没任何危险的征兆。他在叫着爸爸。 爸爸回头答应着他。我很高兴爸能代我看管他一阵。(程乃珊, 107, emphasis added)In the first case, instead of the original declarative sentence “Then you must save it.”, an interrogative sentence “It can not be saved at all? / You can not save it at all? (一点也没法挽救了？) ” takes position; While in the second case, the translators use a declarative sentence “I’ m glad that my father is going to watch him for a while. (我很高兴爸能代我看管他一阵。) ” to replace the exclamatory sentence “How glad I am that my father is going to watch him for a while!”. Generally speaking, various intimations and emotions can be touched though different sentence patterns, to translate the sentence patterns which author used to describe certain feelings is not that difficult to do, then why the translators choose to change them remains a query from the readers . 3. The Tumors.The translators’ subjectivity continues functioning, besides cutting off and replacing, they create some brand-new expressions to demonstrate their abilities:ST 1: After her prayer, her faith was so great that she saw him, three times, waving to her from just beyond the first wave. “Nale!” ----There! And she would stand straight as a sentinel, until three times her eyesight failed her and Bing turned into a dark spot of churning seaweed. (Tan, 128)Cheng’s translation: 她的坚定不移的信念，竟令她在一片朦胧中三次见到平，在白花花的浪尖上向他挥手。“哪？呵，在那里！”她犹如一个尽责的哨兵，直挺挺地伫立着，目光力图穿透那片海与天之间，张挂着的触摸不着的白纱。但每次，平一出现，即隐去，我们只能看见黑黢黢地浮游着的海草丛。(程乃珊, 110, emphasis added)ST 2: “He’s there,” she said firmly. She pointed to the jagged wall across the water. “I see him. He is in a cave, sitting on a little step above the water. He is hungry and a little cold, but he has learned now not to complain too much.” (Tan, 129)Cheng’s translation: “他就在那里。”妈的双脚像两根大理石的石柱，牢牢地插定在沙滩上。几乎不是凭着意识，而是单凭着肌肉的力量，她一只手举着指定对面那片锯齿形的黑色剪影，海湾那边的围墙，固执地说，“我看见他了，他就在山洞里，坐在漫浸着水的石台阶上，又饿又冷。但他已老成多了，学会了忍耐。”(程乃珊, 111, emphasis added)It seems that the beautiful sentences translators add on should not be blamed; it creates a more vivid scene and reinforces the charm of the plot. However, translation is not an activity of composing; translators should not over exaggerate while some small creating methods are acceptable.After the author completes the book with the last drop of ink and sends it to the publisher, the work should be considered as a lively creature; nothing can be easily cut off or added on. However, the translation cannot be done only though literal translating, multiple strategies and methods such as free translating, proper deletion and some appropriate transformations do perfect the translation text and make it easier for readers to understand. As Cheng Naishan states in the postscript of the 2006 version: “both literal translation and paraphrase strategies are adopted in order to cater for Chinese readers’ habits and preserve the jocoseness and American humor in the original text. This version has deleted some explanations which aim to help foreign readers who don’t know Chinese traditions too much. (为了照顾中国读者的阅读习惯，尽量保留原作的诙谐和美国式的幽默，在翻译过程中，直译与意译相结合；这个版本删除了一些作者原为照顾不了解中国习俗的外国读者而作的一些注释)” (程乃珊, 260) But if this is the case, the Chinese culture in author’s mind will be blurred and the world author created will be distorted, compare to the original text. Since the translator’s subjectivity involves a large number of factors, as Meng Xiaoqing puts, “the translator’s ideology, thinking patterns, aesthetic-orientation, empathy, and personal experiences and so on. It is related to circumstances more individual in nature such as one’s origin, race, education, gender, age, social class, sexual orientation, political convictions, moral values, religious beliefs, personal experiences, relationships and interests, all factors contributing to the positional of the translator” (Meng Xiaoqing, 22)，responsible translators should be prudent to use the strategies and methods (especially when translating the foreign books into native language.) for assuring the original meaning and tastes. ReferencesGraham, D. Edward. “Unquiet on the Western Front: The ‘Orientalism’ of Contemporary Chinese-American Women Writers.” Oriental Prospects: Western Literature and the Lure of the East. Ed. C.C. Barfoot and Theo d' Haen. Havard: Rodopi B.V.Editions, 1998Meng, Xiangqi. Translator, subjectivity and Translation Norms. Beijing: Beijing Language and Culture University, 2004.Schell, Orville. “Your Mother Is in Your Bones.” New York Times 19 March, 1989.Tan, Amy. The Joy Luck Club. New York: Penguin Books, 2006.陈燕敏. Back Translation and Reproduction of Author’s Style in Chinese American Literature----A Case Study of Joy Luck Club. 上海：上海外国语大学学位论文库，2009.谭恩美. 程乃珊、贺培华、严映薇（译）.《喜福会》. 上海：上海译文出版社，2006.肖薇.《異質文化語境下的女性書寫——海外華人女性寫作比較研究》. 成都：四川出版集團巴蜀書社，2005.
精彩短评 (总计50条)
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简直恐怖片。。 -
基本上是拿到之后就一口气读完了。母亲的POV宛若玄幻巨制，女儿的POV才是精华所在。写的比较空，书中提到的”美国思维”和”中式思维”仅停留在口中而已。最有趣的就是不管是一代移民还是二代移民的中国女性还是保留着沉默这一特质，可以当做女性文学来读。 -
看的Kindle版。前后呼应在很多篇里都有出现，说不清是一种技巧用到滥竽还是真的精妙。这样的母女关系一直在中国生活是写不出来的。这本书让人感觉到母亲也有童年也有过去，不是生下来就是一个中年妈妈的啊！ -
似曾相识的母亲对待下一代的方式。 -
看到中国式母爱是一味的奉献与牺牲就呵呵了 -
文化的冲突以及母女之间的代沟在Amy Tan笔下妙趣横生。我不知道那一时期的移民在美国要承受多大生存的压力，但站在现在，一切都应该是值得的吧！Amy Tan最喜欢的华裔作家。 -
不变的是浓浓的亲情。 -
三星半，比电影丰富和沉稳一些，前四章看的是外研社版。 -
英语系学生每人都应该读过的异质文化碰撞教科书。（没有贬义） -
就是不喜欢，乱，隔，悬乎 -
一部值得看好几遍的书，写母亲与女儿之间的故事，和现实中的我们很像，谭恩美写母女很厉害 -
两代人，八个女人的爱情命运 -
讲述移民到美国的中国妈妈和出生在美国的下一代女儿的文化冲突，每个妈妈都有一段属于自己的故事，并在潜移默化中影响着自己的女儿们。俞飞鸿老师在这里面很美！ -
因为女票要写毕业论文看的。八个不同的叙述者来讲一个中国与美国，母亲与女儿的故事，作为中国后裔的作者的隔膜视角非但不是作品的缺陷，反而作为作品风貌的一部分，生动地展现了血缘与文化之间及其各自的冲突与认同，以及打破隔膜的努力与必然性。 -
一开始都差点读不下去.喜欢里面的故事,真实.糟糕,我好想写不出什么其他了. -
千里鸿毛一片心 -
一只天鹅的故事 -
很好看 -
发现现在看不太进去小说了 -
又一离散文学，一个个的故事揭示出中美文化之间的矛盾，几代人间的矛盾，描述了第一代移民融入美国文化的不易，第二代移民在深入骨髓的美国文化下对中国文化的不解，但同时又被两边文化同視为“他者”的苦恼。当小故事读的，有些对中国的描写显得牵强而不实 -
非常不错！讲的四个家庭的故事，每个都各不相同，相似点是都比较坎坷，看这电影，很有代入感，让人很深切的体会到上世纪中国存在的一些腐朽思想…她们的故事与遭遇的磨难挺感人，父母与孩子之间的矛盾也让人深思，有些传达出来的一些阅历经验对现在的未婚已婚孩子也挺有用的！看完觉得感触颇深。 -
中美两国对中国文化的认识还是有很大差距。。 -
可能吸引老外读这个是出于猎奇中国式的生活方式，我读这个也是在猎奇中国传统大家庭的思维生活方式。毕竟即使同为中国人，差别也已经很大了。看了觉得还不错，挺细腻的文笔。 -
看完之后想带给我妈看 -
2009-39 -
中国式母爱是伟大的，壮阔的。 -
看的电子版，错别字比较多，但还是不掩字里行间流露出的深情。母亲与女儿，互相之间爱的很深，可是却难以走进对方的心里，总是以好心，好愿望，却换来对方的不理解乃至反抗，于是，悲剧就这样一天天地上演着。到底应该怎样才能减少类似的悲剧呢？我想，学习爱，提升自己爱的能力，这样才能减少隔膜和误解，才能爱的更顺畅。 -
不错 -
我对你，永远都只有希望，希望你最好！ -
母亲都希望自己的女儿优秀，但是中国妈妈和美国女儿在沟通上有代沟，身处的环境不同所致。不管是君的妈妈，还是薇的妈妈多美，都没有错，可能是沟通方式上面的问题。四位妈妈都以他们妈妈传授她们的经验告诉着她们的美国女儿如何正视自己的价值。很好的片子，每对母女的故事都很让人感动。 -
2015.6.26 -
华侨文学，老师推荐的，可以了解华侨的生活跟儿女之前的感情隔阂 -
还不错，挺感人的。 -
感情描写得不错，但妈妈们在民国期间的故事太尼玛扯淡了，咱能不瞎编乱造吗？ -
评分是不是有问题？实在读不下去 -
从女儿的角度讲述妈妈，读起来连我自己都受不了那些母亲。但是看到母亲们的自述，又觉得她们也是可怜人。分篇讲述不同的人，不同的故事，有点混乱。 -
四对母女，两代移民的故事，有两代人不同文化观念的冲突，复杂的母女深情，也有母女各自的悲喜、困惑与释怀。 -
几乎是以短篇小说用丝线串成长篇的。每一个女人都不容易，都能活成半本历史。中国女性不容易的悲惨生活。移民至少改善了很多吧，虽然有文明重读和寻根愿望。 -
很有趣的书，关于命运和自主选择、传承和摒弃。把女性心理刻画得生动极了。说了成长过程中许多信则有，不信则无的事。 -
电影和书我都挺喜欢的，谭恩美写新移民背景下的母女关系总是微妙又正中肯綮。 -
2016年第45本：相对于电影夸张地戏剧化的表达方式，作为一本小说的《喜福会》多了一些含蓄、优美。与以沉默为主的父子关系不同，母女关系多了一种剑拔弩张的“热闹”。而正是这种分庭抗礼、叽叽喳喳的对抗，让我们的生活如此的充满生气。 -
小说在图书馆没找到完整版，但找到了电影版，电影里很多事没交待清楚，但不失为一部好的电影。让我们了解那个时代的中国妇女，还有那个时代移民到美国去的一些事，还有中美文化的不同，恩，影片颜值很高，真的，很美。推荐，电影版A站有，1993年版。英文发音也不错。语速较慢。 -
小小的一本书，力量无穷。 -
相比中美文化冲突和母女的隔阂，更喜欢书中的女人们从依靠别人成长为依靠自己的部分。
另外，翻译不错，可能因为作者是华裔，翻译腔很弱，有种读中文小说的感觉 -
大概在18岁以前，我还是一直觉得。我跟我爸爸更亲。
可是我不知道什么时候我开始变得更依赖我妈妈。虽然她脾气不好。我们老是吵架。
可我现在终于知道，那些嘶吼声中，全都是她对我浓浓的爱。
大概血浓于水，大概知道是最亲的人，这一辈子不管怎么样还是会在身边。
可是感情也需要用爱去灌溉是吗。我会努力做好以后的每一件事。不在事后再后悔。没有那么多时间留给我了。 -
看影评说原著好看就跑来看原著了。大概知道为什么影片拍得支离破碎了，原著就没有能够理出一条特别清晰的线。 -
看这类书总觉得这些人离自己很远，时间远，距离也远，但就像是在探索一种新的生活，就像我一直说的，我喜欢听故事，不喜欢听别人讲道理。
唯有你出生在中国，否则你无法感到和想到自己是中国人，总有一天你会体会到的，这种感觉融化在你的血液中，等着沸腾的时刻。
既有美国的开化又有中国的传统，孝顺，忍受，顺从。牺牲，无私，伟大。但又有隔阂。
一代一代传承。
我也更喜欢女儿篇，可能更能感同身受。 -
母女情深。
中国式的母爱。
还有中西文化的差异。
译者很棒。 -
还记得七年前第一次观看电影《喜福会》时，我抱着赵的电脑哭成泪人。最近终于读完了小说。四对母女，八段人生，我从她们身上看到了太多母亲和我的影子。我们以各自的方式爱着彼此，却不一定是对方所希望的 ，因此难免产生隔阂。但我们终究是母女，这种血浓于水的亲情是无法阻断的。 -
2015.11.16