Media & Recognition媒體與榮譽

Shi recalled being overwhelmed by the Met’s expansive view of the world on his first visit in 2012. Though he could recognize painters from a distance, its Egyptian, Greek, Roman and other collections made him aware of how much he did not know. He described the collection as a juxtaposed history of civilization, showing changes from making objects to making gods, and from painting and sculpture to materials, crafts, technology and aesthetic fashion. This comparative history spans time and geography, allowing viewers to trace the exchanges and influences between civilizations.時向東表示他在2012年第一次參觀大都會博物館，被其浩渺的“世界觀”所震懾，“雖然我遠遠就能喊出某幅繪畫的創作者名字，但在埃及館、希臘羅馬館及許許多多收藏面前，感覺到了自己的無知。大都會博物館的收藏象是一部人類文明的“並置史”，生動的解釋了人類社會從造物到造神，從繪畫、雕塑到材料、工藝、技術和審美時尚的變化。這種“並置”就是一部體現時間、地域縱橫交流的立體的藝術對比史，每個觀衆都可以從中感受到文明在不同民族間相互流動和影響的腳印。”

After beginning a life of travel in early 2017, Shi gradually made the Met his place of study. Each week he traveled from the countryside to spend a day with art from around the world. Whenever something struck him, he wrote an illustrated reflection, eventually accumulating more than one hundred pieces. This study led to on-site art classes at the Met and online courses about museums worldwide. Six years of research and teaching culminated in the book. Flushing Library deputy director Qiu Xinye welcomed a professional artist’s detailed Chinese-language introduction to the collection, helping readers understand the value of art and museums.時向東在2017年初開始旅居生活，而大都會博物館漸漸成了他的研修基地。每週他都會從鄉下進城去博物館呆上一天，與來自世界各處的藝術忘年交們近距離溝通，遇有“心得”總要寫出一篇“體會”，不知不覺，累積百餘篇圖文並茂的材料。這樣的研修也促使他開設了大都會博物館藝術現場課及世界博物館線上課程，歷經六年的研習和課程積累，終匯成《時博士講大都會博物館》一書。法拉盛圖書館副館長邱辛曄表示很高興看到有專業的藝術家用中文去深入介紹大都會博物館的藏品，讓大家真正理解藝術和博物館的價值。

Shi studied at China’s Central Academy of Arts and Design and the Academy of Arts and Design at Tsinghua University. He has won international art awards and designed the commemorative stamps for the 21st Summer Universiade. His work is held by the Chinese Academy of Sciences, the Beijing municipal government, and private collectors in China and overseas.據悉，時向東先後畢業於中國中央美術工藝美術學院和清華大學美術學院，曾獲得諸多國際藝術獎項，也是第二十一屆世界大學生運動會紀念郵票的設計者。他的作品被中國科學院、北京市政府等機構以及海內外私人收藏。

Chen Xi, director of the library’s New Americans Program, hosted the event. Flushing Library director Zeng Yang welcomed guests and praised the poems’ beauty and emotion. The audience of nearly one hundred brought a lively response to the library’s programming.發佈會由皇后圖書館移民服務部總監陳曦主持，法拉盛圖書館館長曾陽致歡迎詞並表示，顧月華的詩集記錄了她對生活的愛，詩文優美，字裏行間更充滿感情。本次發佈會聽衆反應熱烈，約有近百人到場，爲圖書館的節目錦上添花。

Nancy, president of the New York Chinese Women Writers Association, said the launch was the association’s third “Flower Rain” literary talk, on the theme of love in life. She described Gu’s short poems as a crystallization of love and her writing as positive and romantic, yet grounded in an understanding of difficult realities. Gu remains energetic and continually creative.紐約華文女作家協會會長南希表示，本次顧月華新詩集發佈會，亦是紐約華文女作家協會第三次“花雨”文學講座，講座主題是“生命裏的愛”。顧月華的三行詩雖短，卻是愛的結晶，她是積極的浪漫主義，但在參透生活和悲苦現實下，寫出來的詩句，她充滿能量，始終在創作。

Gu explained that Predestination was her sixth book. Expressing something clearly in three lines is difficult; conveying what lies beyond the words is harder still. Thinking that two hundred poems would make a thin volume, she created two hundred accompanying illustrations. Returning to painting helped her recover something of herself each day, and the book became a way of finding herself again.顧月華表示，《宿命》是她的第六本書，三句詩很有意思，三句話說清楚一些事情或觀點，己是不易，然而關鍵是話外有話，要表述話外之意就有難度和挑戰。她想出本詩集但200首會顯得書太薄，便動手配了200張圖，在此期間，她重拾畫筆，每一天都會找回一點自己的影子，這本書的出版讓她重新找回自己。

Writer Chen Jiu, actor Sun Sihan and publisher Sonia Hu spoke at the launch and shared their reading experiences. Members of the women writers association read selections together, bringing the event to a high point. Publisher and critic Hong Junzhi and writers Tang Jian and Rao Lei also offered appreciative responses.紐約文學界著名作家陳九、演員孫思瀚、出版人胡桃等出席發佈會併發言，和讀者分享讀詩心得。數位女作協會員聯手朗讀詩集精彩片段，將發佈會推向高潮。出版人、評論人洪君植和唐簡、饒蕾等紐約作家、詩人分享了閱讀新詩集的感受，並給予了很高的評價。

New York Chinese writer Sonia Hu launched Reminiscence of Fleeting Time at Flushing Library in Queens. Her first collection devoted to nonfiction biographical writing contains nineteen recent essays about her family’s past.紐約華人作家胡桃近日在皇后區公共圖書館法拉盛分館舉行新書「往事經年流水夢」發布會，推出其首部非虛構傳記文學專集，收錄近年所作以家族往事為主題的19篇紀實文學。

Sonia Hu said fourteen of the nineteen essays had appeared in Taiwan’s Biographical Literature journal. They follow her search for her paternal family’s roots. Knowing little about earlier generations, she began exploring in 2011 through historical research, interviews with relatives and friends, and visits to family hometowns. Gradually she came to know her great-grandfather Hu Shiyu, a noted poet of the late Qing and early Republican periods. Reading his work moved her deeply.胡桃表示，一直以來都以筆名「紐約桃花」發表文章，此次書中的19篇作品中有14篇曾被刊登在臺灣「傳記文學」期刊，內容紀錄自己對於父親家族的「尋根之旅」；由於並不瞭解父輩世代的歷史，機緣巧合下從2011年起開始通過查閱史料、採訪親友和回鄉走訪等方式自我探索，最後逐漸認識曾祖父、清末民初著名詩人胡石予等人，並拜讀其作品，深受震撼和觸動。

That year marked the beginning of Hu’s nonfiction writing. She finds it more demanding than fiction, particularly when reconstructing historical lives. Beyond selecting material from real experiences, she checks events and timelines, fills in details, and studies photographs and records of Shanghai from 1920 to 1949 to recreate the world in which her subjects lived.從那年起，胡桃開始了非虛構的寫作。她說，非虛構寫作的難度遠超虛構，尤其撰寫歷史往事，不僅需要根據真實人物的經歷進行主題篩選，還要核對相關歷史事件、時間線及對細節進行補充，查閱許多1920年到1949年間上海的照片和資料，完整刻畫筆下人物生活的時代背景。

Chen Xi, director of Queens Public Library’s New Americans Program, hosted the launch. Guests included Gu Yuehua, lifetime honorary president of the New York Chinese Women Writers Association, its president Nancy, and publisher Hong Junzhi.發布會由皇后區圖書館新移民服務部總監陳曦主持，紐約華文女作家協會終身名譽會長顧月華、紐約華文女作家協會會長南希和出版人洪君植等嘉賓出席。

Yesterday afternoon I attended Sonia Hu’s launch of Reminiscence of Fleeting Time. Friends gathered at Flushing Library in Queens to hear Sonia Hu tell true stories of an era: her father’s, grandfather’s and great-grandfather’s generations, and the love, conflict and changing fortunes of a prominent family.昨天下午去參加了，胡桃老師的《往事經年流水夢》新書發表會。一羣朋友聚集在皇后區法拉盛圖書館。聽紐約桃花（胡桃）老師講一個時代的真實故事。關於桃花父輩祖輩曾祖輩，名門望族與時代變遷的愛恨情仇。

I have always liked oral-history books. Individual experiences make history vivid without the weight of an enormous historical framework. One story after another creates something like time travel. I bought several of her books to read at home. Outside was spring sunshine; inside, the heating was still on, making the gathering warmer still. Hu glowed onstage while friends chatted happily below. Alongside familiar faces, I met someone from my hometown of Xi’an, and we quickly switched to the local dialect. Meeting a fellow Xi’an native was a delight, as satisfying as a roujiamo sandwich.我向來喜歡口述歷史方面的書，從個人遭遇能夠體味到鮮活的歷史。躲過了宏大的歷史結構負擔，讀起來有趣而不累，隨着一個個小故事講下來，大概就是一種穿越的感覺吧。隨即就買了幾本桃花老師的著作準備回家細讀。 在春天的陽光裏，圖書館裏竟還開着暖氣，現場的氣氛就愈加有溫度了。臺上人面桃花相映紅，臺下左鄰右座相談甚歡。現場除了幾位熟悉的面孔，碰巧遇到了西安鄉黨。我們克里馬擦就轉到了西安方言，老鄉見老鄉肉夾饃，美滴很！

After hearing poet and publisher Hong Junzhi’s remarks on the book, I found him learned but approachable. I went up to introduce myself and received a signed poetry collection. During our conversation, he connected me on WeChat with the renowned poet Yi Sha, my writing teacher when I was an undergraduate at Xi’an International Studies University more than twenty years ago. What a rewarding afternoon!聽完詩人、出版人洪君植先生對桃花新書的點評後，感覺這位老哥高深不莫測。我果斷上去套磁，獲贈他的簽名詩集。閒談間竟通過洪先生加上了伊沙老師的微信（著名詩人，我20多年前西安外院上本科時的寫作老師）。這下子真是收穫滿滿。

The launch was successful, enjoyable and filled with a sense of history, bringing together old friends and new acquaintances. I hope Hu continues producing excellent books and holding more such gatherings. Her work brought us together, and I am glad of it.總之，桃花的新書發表會是一個成功的、有趣的、有歷史感的、連接了新朋故交的聚會。希望桃花姐姐今後多出佳作，發表會多多搞。因您的作品大家相識，很高興。

Edited by Sonia Hu and Hong Junzhi, Stone’s Mona Lisa includes a foreword by poet and painter Yan Li and an afterword by Sonia Hu. It was jointly published by New World Press in the United States and Long Publishing.《石村的蒙娜麗莎》由紐約桃花和洪君植主編，詩人畫家嚴厲撰寫序言，胡桃撰寫後記，並由美國新世界出版社和龍出版社聯合出版。

Research began in early 2018 and continued for more than a year. The resulting collection covers twenty-six years of writing about Stone.該書自2018年初經過一年多的資料收集，最終編纂成書，該書涵蓋石村26年間與他相關的文章。

At the launch, Stone said his experiences and work were unusually controversial. Individual reports interpret him through their writers’ perspectives, yet no single article can fully describe him. Combining voices from different places, times and professions offered an engaging new approach. Reading the completed book felt like revisiting his past or hearing his own recorded voice: initially different from his self-understanding, but gradually converging with it over time. Taiwanese journalists had once called him an unsettled soul; he resisted the description then, but now recognizes its truth. The book helped him understand himself and see that, more than a musician, he is a painter: painting alone gives him peace.石村在發佈會上表示，他與一般的藝術家不同，其藝術經歷和作品都極具爭議。不少有關他的報道都是以筆者的角度進行解讀，但他本身難以用一篇文章進行解讀。何不綜合各路人馬的文章成爲該書出版的緣由。通過不同的地域、時間、經歷和人羣來介紹他，是一個有趣且新穎的創作。他翻看成書後，如同回顧過去，猶如通過錄音機傾聽自己的聲音，與自己的解讀不同，卻經過時光的磨礪，逐漸重合。早期他在臺灣時，媒體的報道認爲他是不安定的靈魂，那時的他對此定義並不認同，但現在看來，他誠然發現當時確實不安定。該書讓他更好地認清自己，並認識到比起音樂，他更是一名畫家，只有繪畫讓他感受到平和。

Zhiguang and I were born thirty years apart, a full generation. Yet many details in her autobiographical novel Youth in the Red and Black Era feel familiar, recalling my 1970s childhood in Nanjing’s Ji’e Lane. During the upheaval of house searches in 1967, the protagonist Peimin and her classmates secretly rescued foreign novels from piles of burning books. They could not understand the novels’ scenes of drinking coffee: none of them had ever tasted it.雖然我跟之光大姐出生年代相差了30年，相隔整整一代人。她撰寫的自傳體小說《紅黑時代的青春》，其中好多細節卻是我非常熟悉的，讓我想起自己七十年代在南京雞鵝巷度過的童年。比如說， 女主人公培敏和她的同學們，1967年抄家的動亂中，從燒書的紙堆邊偷偷撿了外國小說拿回家來讀，外國小說中喝咖啡這個情節她們卻不能理解，什麼是喝咖啡？培敏赫的她周圍的夥伴們從來沒有喝過咖啡。

I encountered similar difficulties reading Russian novels as a child. We lived in crowded conditions, so the sitting rooms and drawing rooms repeatedly mentioned in Anna Karenina puzzled me. Material differences made children raised under the red flag feel like visitors from another planet in the world of Western civilization.小時候我讀俄國小說，遇到過類似的困難。比如那時我們都住得特別擁擠，《安娜.卡列寧娜》文中時時提起的“起居室”，女眷的客廳 （drawing room ）卻讓我一直費解，物質生活的差異，讓我們這些紅旗下的蛋成爲西方文明世界的外星人。

As Zhiguang and the generations around her grow older, memories of China from 1949 to 1979 increasingly become historical recollections. Chinese publishing often carefully avoids these thirty years, leaving gaps in the written record. Interviews and stories passed from person to person offer traces. The memory of constant hunger is one example. I once heard Chen Jiaying recall never feeling full, so that by middle age everything tasted delicious. He had read widely as a boy, obtaining books as Peimin did: from private libraries confiscated by Red Guards during campaigns against the “Four Olds.”1949年到1979年這三十年的中國的記憶，隨着之光大姐以及前後兩代人的衰老，漸漸走入純粹的歷史回憶。中文出版對這三十年小心翼翼地繞過，讓記錄的文字呈現空白。我們只能從採訪和民間的口口相傳中找到蛛絲馬跡。比如關於貫穿始終的飢餓的記憶，之前我聽陳嘉映的採訪時他說過：“從來就是餓，從來沒有喫飽過，以至於到中年以後喫什麼都覺得特別好喫。”陳嘉映少年時代起就博覽羣書，書籍的來源則跟培敏們完全一樣———紅衛兵抄家破四舊繳獲的私人圖書。

Peimin could climb trees to collect the tenderest locust leaves for her mother to cook. Her agility briefly made her mother proud. Only those who lived through the era can fully understand that bitterness, so close to black comedy.培敏擅爬樹，能摘到最嫩最多的槐樹葉子，帶回家給母親做飯，讓母親難得地對女兒的身手敏捷自豪一下，這種近於黑色喜劇的辛酸，只有經歷過那個時代的人懂得。