"Falando em acessibilidade, a nova editora Aboio passou a disponibilizar de graça os ebooks de todo o seu catálogo —"Luz dos Monstros", do premiado escritor gaúcho Paulo Scott, "Ervas Daninhas", do gigante chinês Lu Xun, e "Ossada Perpétua", da estreante carioca Anna Kuzminska. O argumento é que o ebook como modelo de negócios "não colou no Brasil", segundo o editor Leopoldo Cavalcante, e a tecnologia é mais útil para aproximar leitores e leitoras do trabalho feito pela casa" (Folha de SP)

2018-01-14 20:40:38
中学读过，在暨大北门二手书店买了79年版，原价0.25，购买价8元，在回家的火车上读完。此书是鲁迅的散文集，极强的象征手法，比较难读，总体还是表达出作者对于时代的苦闷与讽刺，对于了解历史与审视现实都还是很好的作品。

Like any good book of poetry, I really don't know what the heck some of these were even about. But they at least all sounded good, though.

At the cusp of change in China, Lu Xun's writings capture the weird, messy feelings of a weird, messy time. Bomber planes flying "like students going to school" and Jesus's bones cracking on the cross, Lu Xun also still finds time to include a little wry humor and hope in between some really depressing, nihilistic, and kinda awesome images.

Some of my favorites:

"The Kite"-- I like a poem that calls out kites as being stupid (and touches on the problems with forgiveness)

"On Expressing an Opinion"--I'm glad to see early 20th century China also recognized how dumb it is when people fish for compliments on their unremarkable babies.

"The Wiseman, the Fool, and the Slave"--'No good deed goes unpunished' is really timeless, ain't it?

"Revenge (II)" -- A really interesting take on the crucifixion of Jesus story. They didn't just execute 'Jesus;' that was a man they killed in a really cruel way.

Some poems were quite a bit head-scratching ("Dead Fire" has an amazing but tremendously bummer ending). But I enjoyed it all, and will probably chew on Wild Grass for a while longer.

鲁迅的风格还是属于那种文艺类型，对于目前的我来说，只能说不是很喜欢这样的。所以三星吧。

Feliz e finalmente cadastrada essa edição super elegante. Bilíngue, foi traduzido por
Calebe Guerra e publicada pela Editora Aboio sob o título "Ervas Daninhas". Um primor.
Com um tipo diferente de escrita dos demais textos de Lu Xun que tive contato, mais experimental, arisco até, mas igualmente profundo e melancólico, o verdadeiro retrato de um coração pesado.

dreams and nightmares of vibrant flowers and static violence; life right next to death.

Something wonderful, terse, magnetic and lucid about his writing. Some of the stories are shorter than a page. Slight surrealist feeling to the works. It’s always interesting to see how one language is translated into another (side-by-side English – Chinese). The Chinese, in this case, had a lot more bite to it. I would’ve loved to have been able to finish the book. A book to savoured slowly, story by story, not to be read through in one or two sittings.

read this on the plane but now attempting to read it in chinese… struggling…

Bilingual editions of classic texts in poetry are always wonderful, and this edition of Lu Xun's short anthology is no exception. I am not able to read Chinese (yet), but it is enormously comforting to know that this book will be waiting for me on my shelf when I finally learn the language. Because poetry as an art-form (perhaps moreso than any other) is enmeshed in the intricacies and nuances of how the writer uses, exploits, and violates the syntactic and grammatical rules of their language, and how they build sensations through deeply contextual associations, a translation can never wholly re-present the original for audiences in other languages. So, almost by default, bilingual editions of poetry will always be more 'complete' than simple translations. Lu Xun in particular is known for his fusion of both classical and vernacular forms of Chinese in his poetry, something that is impossible to capture in an English translation. The result is that in translation the poems read a lot like prose, especially since the introduction does not contextualise the technical elements of poetic compositions at this point in history.

Because of this, I can really only rate this book according to the poetic images it evokes. In this sense it is a genuinely astounding little book. It builds up images which are both viscerally dense and imaginatively rich by using very simple components: shadows, conversations, the weather, light, silence, life and death, and so on. These very simple ideas are put into relations that make for alienating and uncanny situations and images that offer complex and twisted insights that occasionally feel like existential parables. There is an incredible psychological depth and literary vibrancy to the simplicity of Lu Xun's poetry. There is no need for complicated abstract experiments with poetic form: all the provocative and elemental energy of the poetic drive is channelled into synthesising concrete sensuous images which are nevertheless infinitely complex. On those merits the poems in this anthology are extremely powerful - they do not search for the right sensation or image to correspond to an idea, nor do they attack the literary establishment and strive to intellectually disturb the reader, they openly seek to create new ways of thinking and feeling through components that are immediately familiar to even novice readers (at least in this translation).

If you haven't read Lu Xun, then you are a deviationist, anti-ist with a laughable genital. He's one of the greats of anywhere, anytime, creator of a school of FuckYouism that is more relevant to the America of today than anything since his own time.
"Wild Grass" is a collection of dark musings written in the mid 1920s during the heyday of the warlords tearing apart northern China. These are called "prose poems". They're more like miniature nightmares, with a few nice ones tossed in for good measure. Brief, succinct and weird, you should love them. If you don't, Lu Xun will make fun of your hairy back, your drink ordering, and/or the invisible pocks on your soul-face.

Una estupenda edición con un prólogo abundante, orientación sobre la obra y tabla cronológica del autor. La colección es de poesía y son más bien relatos poéticos, a veces impresiones, en general de una o dos páginas.

[4.5/5]