六神磊磊讀金庸：金庸文學－沒明說的戀愛學、成功學與處世智慧

 

（點此前往博客來購書）

功夫和武俠小說是華人獨有的文化資產，而五、六年級生想必都曾聽過武俠小說大師金庸。他撰寫的系列著作，早就被改編、重製成數不清的影視作品、動漫與遊戲，可以說是全球華人文創的共同資產，也像是活水源頭。擁有如此地位的文字作品，當然隨之而來的就是不斷地被研讀、解析。而這本《六神磊磊讀金庸》正是一本內容豐富、觀點獨到的評論作品，指點金庸迷們如何看出門道，瞧出故事情節中的言外之意。

其實解析作品就像時下的二創一般，非常考驗作者本身是不是有料，能在雅俗共賞的大眾文學中，看出別人沒有察覺的隻字片語，而這點筆名六神磊磊的王曉磊確實是做到了。全書內容涵蓋了《射鵰英雄傳》及《神鵰俠侶》、《倚天屠龍記》、《書劍恩仇錄》、《雪山飛狐》及《飛狐外傳》、《連城訣》及《俠客行》、《天龍八部》、《笑傲江湖》、《鹿鼎記》，挑了金庸武俠系列中最知名的作品。評論的角度相當五花八門，從最單純的兩性關係／戀愛學，到職場處事／成功學，甚至討論到組織管理／企業文化等。其實這些觀點與智慧，都是王曉磊本身肚子裡的墨水，只能透過金庸文學的內容牽引出來，讓讀者們更能心領神會。

能讓評論者各抒己見、自由發揮，又顯出原作小說的人物個性塑造何等生動、深刻，有如真人般活靈活現。如同王曉磊在書中所言，一流的小說家是由書中人物帶動故事走向，相反地，二、三流的小說家才會以故事當主體，角色只是像表演般唸台詞推進劇情。書中講到武當派和少林寺對武學研究的經營，有著形式主義和實用主義的分別，完全能帶入企業經營裡有沒有積極進取的研發精神。最後也提到《鹿鼎記》的故事中，金老爺子在角色的描述上，已經超脫正邪兩派的非黑即白，絕大多數的人都是黑裡摻灰的灰色地帶，些許透顯出後期他對人間世事的體悟。

隨著短影音、網路文學的普及與興盛，新一代的年輕人是否願意給金庸文學一個機會，好好坐下來享受這些經典巨作，是個大問哉。但可以肯定的是，要充分享受閱讀《六神磊磊讀金庸》的樂趣，讀者非得是下過功夫看過一回金庸作品，並且有點年歲、有點社會經驗，才能體會出評論裡講的觀點和道理。那不是流於空想和好發議論，而是踩過人生中種種的雷，才累積出的點滴心得。

Kung fu and martial arts novels are unique cultural treasures of Chinese people. People who grew up in the 1970s and 1980s have probably heard of Jin Yong, one of the most famous writers of martial arts novels. His works have long been adapted and remade into countless movies, TV shows, anime, and video games. They can be seen as a shared cultural treasure of Chinese people around the world, and also as a source of endless creative inspiration. Works of literature with such an important place in Chinese culture are naturally studied and analyzed again and again. This book, *Liu Shen Lei Lei Reads Jin Yong*, is a rich and interesting collection of essays with many unique ideas. It shows Jin Yong's fans how to look deeper into his stories and discover the hidden meanings behind the plots.

Actually, analyzing a work is a lot like today's "fan creations." It really tests whether the writer has something to offer. The writer needs to find things that other people have not noticed in popular literature that can be enjoyed by both serious readers and ordinary readers. And Wang Xiaolei, who writes under the pen name "Liu Shen Lei Lei," has certainly done that. The book covers some of Jin Yong's most famous works, including *The Legend of the Condor Heroes*, *The Return of the Condor Heroes*, *The Heaven Sword and Dragon Saber*, *The Book and the Sword*, *Fox Volant of the Snowy Mountain*, *The Young Flying Fox*, *A Deadly Secret*, *Ode to Gallantry*, *The Demi-Gods and Semi-Devils*, *The Smiling, Proud Wanderer*, and *The Deer and the Cauldron*. The topics discussed are also very diverse, ranging from simple topics such as relationships between men and women and love, to dealing with people at work and the secrets of success. The book even talks about organizational management and company culture. In fact, these ideas and insights all come from Wang Xiaolei's own knowledge and experience. Jin Yong's stories simply provide the material that brings these ideas out, allowing readers to understand them more deeply.

The fact that commentators can freely express their own opinions and develop their own ideas also shows how vivid and deep the characters in the original novels are. They feel almost like real people. As Wang Xiaolei says in the book, a first-class novelist lets the characters drive the story forward. In contrast, second- and third-rate novelists make the story the main focus, while the characters simply say their lines and move the plot along like actors on a stage. The book also discusses how the Wudang School and Shaolin Temple approach the study and development of martial arts. One represents more of a formalistic approach, while the other is more practical. This can easily be compared with whether a company has an active and progressive spirit when it comes to research and development. The book also talks about *The Deer and the Cauldron*. In this story, Jin Yong's descriptions of his characters have moved beyond the simple idea of good versus evil. Most people are neither completely good nor completely evil. Instead, they exist somewhere in the gray area between black and white. This seems to show some of Jin Yong's later thoughts and understanding of human nature and the world.

With the growing popularity of short videos and online literature, it is a big question whether the younger generation will give Jin Yong's works a chance and sit down to enjoy these classic masterpieces. But one thing is certain. To fully enjoy reading *Liu Shen Lei Lei Reads Jin Yong*, readers need to have spent some time reading Jin Yong's works themselves. It also helps to have some age and some experience in life. Only then can they truly understand the ideas and lessons discussed in the book. These are not simply ideas made up in one's head or empty opinions. They are small pieces of wisdom gained from going through all kinds of difficulties and problems in life.

上白石萌音的心情點滴

 

（點此前往博客來購書）

在初中一年級就因為參加東寶灰姑娘甄選而步入演藝圈的上白石萌音，因在同屆比賽中和妹妹上白石萌歌一起獲獎，一門雙姝聯手拿下被公認為日本美少女魚躍龍門的大賽，幾乎可說是前無古人，後無來者。更值得稱讚的是，兩姐妹不因天生麗質的外貌而恃寵而驕，認真努力地一步一腳印，在競爭激烈的日本藝能圈裡累積作品和人氣。

《上白石萌音的心情點滴》這本書，是典型出版給粉絲閱讀、珍藏的散文寫真書。其實我對日本藝人也沒有太多了解，這本書是我友人買來放在書架陳列的，我閒來無事，就當成睡前讀物把它翻完。其實也曾經看過她主演的日劇，不過在讀過這本書後，才更進一步對她本人的經歷和個性有了更多的了解。

書中以散文的形式，撰寫出有如日記般的隨筆。一來驚豔於上白石萌音除了表演藝術外，也能寫出漂亮、舒服的文字作品，才貌雙全真的就是用來形容這樣的人。二來從文字中可以感受到，她在待人處事上有種老派而踏實的堅持，有如嚴以待己、寬以待人的大氣。另外，她恰好是一位重症的愛書人，不論是閱讀書籍，或是單純喜歡書的觸感、聞起來的味道，這又增添了我對她的好感。總而言之，對於粉絲來說，這本書不能不收；而對於不是粉絲的人，翻翻書，看看美少女平日在想什麼，也是挺有趣的，不是嗎？

Mone Kamishiraishi entered the entertainment industry when she was only a seventh grader, after taking part in the “Toho Cinderella Audition.” In that same competition, she and her younger sister, Moka Kamishiraishi, both won awards. It was quite a remarkable achievement for two sisters from the same family to win a competition widely regarded as a major stepping stone for young Japanese beauties. You could almost say it was something that had never happened before and may never happen again. What is even more admirable is that the sisters never let their natural beauty go to their heads. Instead, they have worked hard, taking things one step at a time and steadily building up their body of work and popularity in Japan’s fiercely competitive entertainment industry.

*Mone Kamishiraishi’s Little Moments* is a typical photo-essay book published for fans to read and treasure. To be honest, I don’t know that much about Japanese entertainers. A friend of mine bought this book and put it on the bookshelf as part of the collection. One day, with nothing much to do, I picked it up and ended up reading the whole thing as a kind of bedtime read. I had actually seen one of the Japanese TV dramas she starred in before, but it wasn’t until I read this book that I gained a better understanding of her background and personality.

The book consists of essays written in a diary-like, casual style. For one thing, I was impressed to discover that, besides being a talented performer, Mone Kamishiraishi can also write beautifully and comfortably. “Beauty and brains” really does seem like the perfect phrase to describe someone like her. For another, you can sense from her writing that she has an old-fashioned, down-to-earth determination when it comes to dealing with people and conducting herself. There is a certain generosity in the way she holds herself to high standards while being forgiving toward others. She also happens to be a serious book lover. Whether she is actually reading books or simply enjoying the feel of a book in her hands and the smell of its pages, this side of her makes me like her even more. All in all, for her fans, this is definitely a book worth owning. And for those who aren’t fans, it’s still fun to flip through the pages and see what this beautiful young woman thinks about in her everyday life. Isn’t it?

台灣小妹，美國大姊

 

（點此前往博客來購書）

人的一生說長不長，再加上時空、地理等外在因素的侷限，每個人能經歷的人生體驗總是有限。然而，透過閱讀，我們就能在極短的時間內，瀏覽、品鑑別人一生的起落與故事。這本由邱瀟君所寫的《台灣小妹，美國大姊》，和前陣子看過的《偽魚販指南》同屬一類，是相當私人的家書型作品；內容卻更貼近家庭與生活，而書中的文章也都曾刊載於《聯合報》。

這本書記載著她大半輩子走過的悲歡離合，時間軸幾乎橫跨一家三代的日常點滴。而她的故事也展現了一種外省第二代子女的典型：上一代原本在對岸家世良好、生活無憂，卻因國共內戰而流亡來到台灣。長輩在經濟困苦的環境下拉拔子女成長，並受惠於一併帶來的中華文化中尊師重道的傳統教育思維，這群外省第二代多半在學業、事業上都小有成就，更有不少人憑藉優異成績赴海外留學，最後直接移居美國、加拿大。

這樣的一群人一住就是數十年，在異國生活的時間，甚至比待在台灣還長。台灣對他們而言，只是生命中如過客般的一個逗點；人生最重要的奮鬥與美好，反而都建立在美、加的旅居歲月裡。不過，當年他們為了移居海外，忍受外國人的歧視，放棄年少時的夢想，只為了生存而從事各種工作。等同於耗費大半生的光陰，只為了在海外獲得一方安身立命的天地。這正是許多第一代移民的寫照。最後受惠的，則是那些一出生便擁有綠卡的第二代移民，他們甚至已經不認得台灣在哪裡。

如果常去百貨公司美食街用餐，或是在星巴克裡喝咖啡，偶爾聽見幾位白髮蒼蒼的老太太茶餘飯後聊天，說著外省人口音字正腔圓的國語，忽然冒出一句：「我在溫哥華……怎樣怎樣。」說不定，她就是移居海外多年，最後因為年紀大了，覺得回台灣看病比較方便，而返國定居的僑胞呢。

A person's life is not all that long. With the limitations of time, place, and circumstance, the range of life experiences any one of us can have is naturally limited. Reading, however, allows us to witness the rise and fall of someone else's life in a very short time. Through books, we are able to explore and appreciate stories that took others a lifetime to live. *Taiwanese Little Sister, American Big Sister*, written by Chiu Hsiao-chun, belongs to the same category as *A Fake Fishmonger’s Guide*, which I read not long ago. Both are highly personal works, almost like collections of family letters. This one, however, focuses even more on family life and everyday experiences. The essays in the book were originally published in the *United Daily News*.

The book records the joys and sorrows of the author's life over several decades, covering the everyday lives of nearly three generations of her family. Her story also reflects the typical experience of many second-generation mainlander families in Taiwan. Her parents' generation once enjoyed comfortable lives on the Chinese mainland, but the Chinese Civil War forced them to flee to Taiwan. Despite growing up in poverty, they worked hard to raise their children while passing on the traditional Chinese values of respecting teachers and valuing education. As a result, many people of this generation achieved success in both academics and their careers. Quite a few also earned opportunities to study abroad because of their excellent academic performance, eventually settling permanently in the United States or Canada.

Many of them stayed overseas for decades, spending more years abroad than they had ever lived in Taiwan. For them, Taiwan gradually became little more than a brief pause in life, while their greatest achievements and happiest memories were built during their years in North America. Of course, moving overseas was never easy. They endured discrimination, gave up the dreams of their youth, and accepted whatever jobs they could find simply to survive. Many devoted the better part of their lives to building a place where they could finally call home. Their stories represent the experiences of countless first-generation immigrants. The greatest beneficiaries, however, were their children—the second generation, many of whom were born with permanent resident status or citizenship. Some of them have grown so distant from Taiwan that it has become little more than the place where their parents once came from.

If you often eat at department store food courts or enjoy a coffee at Starbucks, you may occasionally overhear a group of elderly ladies chatting after a meal. Speaking flawless Mandarin with the distinctive accent of Taiwan's mainlander generation, one of them might suddenly say, "Back when I was in Vancouver..." Chances are, she is someone who spent decades living overseas before returning to Taiwan in old age, finding it a more convenient place to receive medical care and spend her retirement.

哦NO！不要跟我去旅行

 

ISBN：9789573330950

國中時期，我因病在家休養了一年，在沒有課業壓力可以自我放飛的情況下，每天打著電視遊樂器配著廣播節目的悠閒日子，至今都是屬於我個人酸中帶甜的回憶。而在每天例行收聽的廣播節目，就以主持人羅懿芬的節目最令我喜愛和期待。也因為這個節目的緣故，認識到常被邀請的來賓侯文詠、施寄青和苦苓，更間接地讓我去購買、閱讀課外書籍，就此養成閱讀紙本書的習慣。在那個沒有網路、網紅和名嘴的年代，這四位廣播四人幫在節目中的對話、互動，不論是內容和娛樂性，都遠遠優於今日的網路內容。

許多年青人聽到苦苓，只會以為他是一位愛蹭議題，在臉書上大發議論的老人家。其實他真的是一位能寫、能說、能議論也能罵大街的全方位媒體人。更難得的是他還是位樂在旅遊，行遍全球的重度旅行家。《哦NO！不要跟我去旅行》全書便是他集結數年出國旅行的經驗與回憶，以他平實自然又帶點毒舌嘲諷的筆風，將自身遭遇過的酸甜苦辣，毫不保留地分享給讀者。

其實如果是認識苦苓，看過他上節目的老朋友們，看到那篇和老太太坐經濟艙的故事，肯定會翻白眼地大喊，這笑話我聽你講過八百次了！沒錯，全書裡描途的故事和片段，十有八九早就曾在各種傳播媒體上發表過了。畢竟人生的經驗就那些，他印象深刻覺得有趣的小故事當然有限。苦苓就像是一個專業的領隊般，在書中講著倒背如流的笑話和豆知識，娛樂著你我這些素不相識，只有一面之願的過客。好笑，就夠了。

When I was in junior high school, I had to stay home for a year because of an illness. Without the pressure of schoolwork, I was free to enjoy my days. I spent my time playing video games while listening to radio programs. Even today, those relaxing days remain sweet memories with a little sadness for me. Among all the radio programs I listened to every day, the one hosted by Lo Yi-fen was my favorite. Through her program, I got to know the regular guests, Hou Wen-yong, Shih Ji-ching, and Ku Ling. They also inspired me to buy and read books outside of school, and that was how I developed the habit of reading printed books. Back then, there was no Internet, no influencers, and no online commentators. The conversations between these four people on the radio were not only interesting but also very entertaining. In my opinion, they were much better than much of today's online content.

Many young people today only know Ku Ling as an old man who likes to comment on popular topics on Facebook. But in fact, he is a talented media personality. He can write, speak, discuss, and even criticize people with sharp words. What makes him even more special is that he loves traveling and has visited many countries around the world. In *Oh No! Don't Travel with Me*, he shares stories and memories from many years of traveling abroad. With his simple, natural, and slightly sarcastic writing style, he honestly tells readers about the happy and difficult moments he experienced during his journeys.

If you have known Ku Ling for a long time and have watched his TV shows before, you will probably roll your eyes when you read the story about sitting in economy class with an old lady. You might even say, "I've heard this story hundreds of times!" And that's true. Most of the stories in this book have already appeared in different kinds of media. After all, there are only so many unforgettable experiences in one person's life. Reading this book feels like joining a tour led by an experienced guide. Ku Ling tells the jokes and interesting facts he knows by heart, entertaining readers who may be strangers but happen to travel with him through this book. As long as it's funny, that's enough.

請問侯文詠：一場與內在對話的旅程

 

ISBN：9789573331278

相信在柯文哲成為台灣知名度最高的台大醫師之前，侯文詠絕對是公認能見度最高的台大醫師。他以風趣幽默的文筆成為暢銷書作家，在那個只有無線三台的年代，也以來賓身分登上各種電視、廣播節目，真的可說是家喻戶曉。而後，他放棄醫師身分，專心投入寫作，又陸續推出許多頗受好評的小說作品。《請問侯文詠：一場與內在對話的旅程》則是他開創的另一種創作方向，以人生經驗、生活哲理的角度，融合自身生命中的體悟，一方面看似與讀者分享，另一方面也像是在回顧自己的人生。

這本書的目標受眾設定為仍在求學的年輕學子，以問答形式回應許多人生的大哉問。從侯文詠的回覆中，可以汲取他歸納、梳理後的人生智慧。在外人眼中，他是台大醫師、形象良好的公眾人物，也是多產的暢銷書作家，活生生就是典型的人生勝利組。不過從書中可以看到，人人都有各自的煩惱，即使是天之驕子也不例外。對已經名利雙收的他來說，或許真正所在乎的，是能不能為社會、為青年多做一些有價值的事。因此，他將許多想法化為這本書，用自己最擅長的說故事手法，把許多正向、積極的人生態度，以入世而誠懇的方式娓娓道來。

像是內在價值與外在價值孰輕孰重，人究竟該追求夢想還是腳踏實地過生活，這些困擾學子的問題，他總是以自身的小故事點化、引導提問者走向較為理想的方向。和柯 P 一樣具有醫師背景的侯文詠，由於累積了許多照顧重症患者的臨床經驗，在討論生死議題時，總能給讀者更直指核心的觀點。像他引用康德所說的「把生命當成目的本身，而不是達成目的的手段」，就是一句值得珍藏的格言。其他的主題，像是「興趣可以當飯吃嗎？」、「如何克服緊張？」等，也都是以學生為導向的問題。整體而言，這本書相當適合學生族群閱讀，當然，侯文詠的書迷們也不容錯過。

Before Ko Wen-je became the most well-known physician from National Taiwan University in Taiwan, Hou Wen-yong was undoubtedly the doctor most widely recognized by the public. With his witty and humorous writing style, Hou established himself as a bestselling author. In an era when Taiwan had only three terrestrial television channels, he frequently appeared as a guest on television and radio programs, becoming a household name. Later, he gave up his medical career to devote himself entirely to writing and went on to publish numerous highly acclaimed novels. *Ask Hou Wen-yong: A Journey of Inner Dialogue* marks yet another direction in his creative career. Drawing upon his life experiences and personal philosophy, he blends his own reflections into a work that feels both like a conversation with readers and a retrospective look at his own life.

The book is primarily aimed at young students who are still in school, presenting its ideas through a question-and-answer format that tackles many of life's big questions. From Hou's responses, readers can gain insight into the wisdom he has distilled from years of reflection and experience. To outsiders, Hou appears to embody every definition of success: an NTU-trained physician, a respected public figure, and a prolific bestselling author. Yet the book reminds us that everyone carries their own burdens, and even those who seem destined for greatness are no exception. Having already achieved both fame and fortune, what truly concerns him now may be whether he can contribute something meaningful to society and to younger generations. This motivation inspired him to transform his thoughts into this book, where he employs his signature storytelling style to convey positive values and optimistic attitudes toward life in a sincere and down-to-earth manner.

Whether discussing the relative importance of intrinsic versus extrinsic values, or whether one should pursue dreams or choose a more practical path, Hou addresses the dilemmas that trouble many young people by illustrating them through personal anecdotes and gently guiding readers toward thoughtful answers. Like Ko P, Hou's background as a physician has given him extensive experience caring for critically ill patients. As a result, when writing about life and death, he often offers observations that cut straight to the heart of the matter. One memorable example is his quotation of Immanuel Kant: "Treat life as an end in itself, not merely as a means to an end." It is a maxim well worth remembering. Other topics, such as "Can your passion become your livelihood?" and "How can you overcome nervousness?", are likewise geared toward students and young adults. Overall, this is an excellent book for younger readers, while longtime fans of Hou Wen-yong will certainly find it equally rewarding.

五月花修道院

 

ISBN：9789861332499

 

在 YouTube 尚未成為你我日常休閒娛樂主要媒體之前，部落格和書本是人們分享、吸收他人生活經驗的重要媒介。透過各個作者妙筆生花的文字功力，再加上讀者自行腦補、將文字轉換成畫面的想像力，在那個年代，即便是異國旅遊、美食開箱或各種人生際遇，都能成為創作題材，並出版成一本本散文著作。

鄭華娟是五、六年級生耳熟能詳的詞曲創作者；除此之外，她也是一位多產的散文作家。因與德國夫婿相戀後遠嫁德國定居，便陸續將生活中的所見所聞，以及有趣的異國文化與民情，轉化成十餘本有如家庭手札般的個人作品。《五月花修道院》描寫的，則是她一時興起購買一棟百年老宅，並親手翻修入住的過程。若換成今日，這大概就是 YouTube 影音創作者會拍成三部影片供網友觀看的常見題材，再搭配家具廠商的置入性行銷，觀眾頂多花上三十分鐘便能看完。

然而，在那個以書本與文字傳遞訊息和知識的年代，這樣的內容卻足以化為近兩百頁的篇幅，集結成冊。讓讀者在書店中偶然與之相遇，再花上幾個小時慢慢翻閱，與作者一同體驗那段自己來不及參與的人生歷程。這種老派而悠閒的娛樂形式，有如泡老人茶一般，只能細細品味。 

Before YouTube became the dominant form of everyday entertainment, blogs and books were among the primary ways people shared their experiences and learned from the lives of others. Through the vivid prose of talented writers, combined with readers' own imagination that transformed words into mental images, almost anything—from overseas travel and food discoveries to the various twists and turns of life—could become the subject of a published collection of essays.

Hua-Juan Cheng was a songwriter and lyricist well known to those who grew up in Taiwan during the 1970s and 1980s. Beyond her achievements in music, she was also a prolific essayist. After falling in love with and marrying her German husband, she moved to Germany and gradually turned her observations of daily life, along with the country's unique culture and customs, into more than a dozen personal works that read like family journals. *Mayflower Abbey* tells the story of her spontaneous decision to purchase a century-old house and renovate it into a home. If the same story were told today, it would likely become a three-part YouTube series. Accompanied by a few furniture sponsorships and product placements, the entire experience could probably be consumed in less than thirty minutes.

Yet in an era when books and the written word served as the primary vehicles for sharing knowledge and stories, material like this could easily fill nearly two hundred pages and be published as a book. Readers might stumble upon it in a bookstore and spend a leisurely afternoon turning its pages, accompanying the author through a chapter of life they themselves never had the chance to experience. It was an old-fashioned and unhurried form of entertainment—one that, much like slowly brewing and savoring a pot of traditional tea, could only be fully appreciated by taking one's time.

偽魚販指南

 

ISBN：9789864062867

 

在書局裡看到《偽魚販指南》的書名，猜想是台灣最近時興的各行各業職人出版系列。果不其然，這本書有如日漫《築地魚河岸三代目》加上《做工的人》融合而成的作品，作者是三代經營市場海產零售業的林楷倫。內容從各個角度講賣魚：以市場、以從業者、以他個人。文字讀來不只是平鋪直述，更多了點文字創作的轉折和變化。如果是抱持著想瞭解台灣魚市場人事物來閱讀本書，可能會略有遺憾；反之，若不預先假設能獲得什麼，而去享受閱讀的過程，這本書確實能用一個魚販的觀點，帶來許多觸動讀者思緒的文字。

從書名裡的偽魚販就隱喻地說出，林楷倫並不是出於自願而從事市場工作。書中也全盤揭露他因為父親沉迷賭博，加上親情勒索，使他不得不從國中起就半工半讀，在家幫忙魚攤生意。雖然一路上有著敬愛的阿公相伴學習成長，成為足以獨當一面的魚市場職人，但晝伏夜出的日子，以及腥臭黏膩的海鮮髒污，構成了現實人生的魚販日常，不像漫畫《築地魚河岸三代目》般只有積極正向、充滿人情義理，多得是為經濟壓力奮鬥以及送往迎來的眾生相。有如他在書中所說，做魚販真的好賺，這也是他持續從事這行的根本理由。書中也描寫了各形各樣的魚販樣貌，每個人都有其獨特的故事，讀來栩栩如生。

其實在閱讀這本書時，讓我感觸最深的是林楷倫描述他父親的那些篇章。對於五、六年級生的讀者來說，相信多半成長在數十人的大家族之中。在親戚間，也許就會出現這種類型的長輩，他們的共同特點多半是長子、遊手好閒以及沉迷賭博。源自早期封建社會思維，在阿公、阿媽特別寵愛、溺愛長男的教養風氣下，這類倖囝不孝的案例不算少數，輕則讓家族糾紛不斷，重則敗壞家運，最終一拍兩散。毒和賭兩字發音相似，讓人上癮、腐蝕人心的副作用也雷同，智者當戒之、慎之。

以下證言將被全面否認 【2067年，台海爆發戰爭二十年後，五組人說出他們在戰時的奇特遭遇⋯⋯】

 

近日娛樂圈正因為《世紀血案》電影，改編自林宅血案卻未獲得當事人家屬同意，且欺騙演員、劇組工作人員而引發軒然大波。另外，對於懸而未決的命案真兇，編劇也帶入個人臆測，將之指向眾所皆知的已故政治人物。這類在歐美影視創作中以陰謀論為創作起點的作品，像《誰殺了甘迺迪》、《索命黃道帶》等電影，並不算少見。但想依樣畫葫蘆，運用台灣史實改編創作，從台灣社會大眾對《世紀血案》的質疑和反彈來看，還言之過早。

離題了，回頭來說說這本《以下證言將被全面否認》吧。作者朱宥勳成功將全書塑造成（偽）歷史文本，用人文紀事／報導文學的筆法，描寫中國和台灣爆發戰爭後的種種面向。以五個獨立故事，像瞎子摸象般從各個角度旁敲側擊，引領讀者逐步揭開作者心中所推想的台海戰爭未來式。正是因為朱宥勳在描繪這場戰爭的起因、過程和結局時，細節的鋪陳都合乎情理，甚至像是一種預言式的文本，身為台灣人，讀起這本書的心情絕對是沉重而灰濛濛的。

當然，以台灣最終慘勝打贏這場戰爭，或許只是作者一廂情願的樂觀盼望，但運用五個不同視角、時間軸來刻畫一個構思完整的空想歷史事件，這樣的閱讀體驗對我來說是罕見而有趣的。據說日本電影《羅生門》的故事是描寫同一事件，由不同人眼中產生出不同的解讀。那本書《以下證言將被全面否認》就像是《羅生門》的鏡像版本，五個短篇故事都是在講述同一個假定的台海戰爭始末。如果不排斥兩岸衝突這個敏感的主題，這本書值得一讀，說不定書中描寫的正是量力子學理論的多元宇宙無數可能性中的一種呢。

5分鐘後的意外結局：藍色推理

 

對於需要長時間通勤的上班族來說，利用交通往返途中滑滑手機，是消磨零碎時光的不二法門。如果你已經厭倦了社群平台上的置入性廣告與親友的炫耀照，不妨翻閱這本《5分鐘後的意外結局：藍色推理》。

每個短篇故事只需要三到五分鐘閱讀時間，不必費心記住人物姓名和他們之間的關係，卻篇篇都能帶來出人意表的驚奇結局。或許你自認看過不少好萊塢電影、習慣了劇情反轉再反轉的橋段，會以為自己很難再被驚喜。那你可就小看了日本人的創意與巧思。雖然這些故事多半改編自西洋的小品小說，但其中八、九成的結局真的會讓人拍案叫絕，真的是不到最後一刻，無法預料走向。

甚至我認為，如果影視從業者能以這本書為基礎，拍出一系列半小時篇幅的推理劇集，將會是非常適合作為新演員出道的平台。全書讀完不用一天，卻很適合隨身攜帶，在零碎時間中翻閱。推薦給大家。

北投機車快遞

 

由於最近搬家了，通勤時非得仰賴台北捷運紅線。而紅線上最知名的觀光景點，除了 101 外，相信就是淡水和北投。年輕人可能不知道，北投一帶在五、六十年前可是燈紅酒綠、聲色犬馬的繁華地帶，絕不是現代台北林森北路可以比肩的。由於地形多山、路多斜坡，加上道路狹小，為了滿足往返不同溫泉會館的旅客和工作人員的交通需求，便成了在地居民的商機。因此，在電腦尚未發明的那個時代，就已出現了類似 Uber 的機車載客服務，真的不能小看台灣人的生意頭腦。

《北投機車快遞》正是一本將故事場景設定在現代北投的小說，藉由男主角替阿公代班機車快遞工作時的點點滴滴，讓讀者和他一起透過與不同長輩的人際互動，耳聞那個有著那卡西、女將、公娼的熱鬧北投，卻也在字裡行間感受到繁華過去後所要面對的落寞。相較於現在流行的魔幻、穿越故事情節，本書的故事完全走寫實路線，角色個性的刻劃也很生動，像是現實生活中會遇到的人事物。

原本以為這本書是一本報導文學取向的著作，翻開第一頁才發現是現代文學小說。好在內容仍圍繞北投機車快遞的描述，所以也不算離題太遠。較可惜的是，作者雖然有嘗試，但未能成功將更多地景、特色融入故事中，讓讀者產生非去一遊的想望。故事中多的是對過去美好時光的緬懷，那些曾經紙醉金迷的燦爛夜生活產業確實早已離北投遠去。如同金瓜石、九份一樣，這些地區都已以另一種樣貌展現在世人眼前。

刀背藏身：徐皓峰武俠短篇集

 

如果你覺得王家衛執導的一代宗師是寫真派武俠電影的代表作，那你肯定要一睹徐皓峰編導的硬派武俠電影師父。裡面沒有成龍打諢插科的笑料，也沒有徐克電影飛簷走壁的套招武打。有的是有血有肉的角色刻畫，以及符合物理學的比試過招，和民初的時代背景鋪陳。

刀背藏身除了收錄師父的原著外，也包含其它已經被拍成電影作品的倭寇的蹤跡和民國刺客柳白猿，還有短篇的國士和刀背藏身。如同徐皓峰在書中自述，他在執筆撰寫這些小說時，是抱持著它們未來都能被改編成電影劇本的期許。所以不論在角色的安排、對話的台詞以及劇情的節奏，都是限制在可以用兩個小時的影片長度說故事的格局。而且在一連串看過這五個短篇集後，也可以發現文本裡一定會穿插男女歡愛橋段這種增進電影看頭的調味料。

書中結尾徐皓峰講評中國電影產業困境的內容，反而變成本書的另一個亮點。他觀察到好萊塢影視產業的存在，是為了服務在工商社會中已經智竭力乏的普羅大眾得以娛樂。劇本務求邏輯清楚，台詞講究淺顯直白，更有甚者，會安排在畫面中安排解說員的演員，自言自語地獨白說給觀眾聽。而這卻不是電影這門藝術最初、最值得追求的形式，一切都是商業掛帥的緣故。

因此徐皓峰編寫的故事不見得符合邏輯脈絡，角色對話有時也挺曖昧不清。此如他所說，電影總是呈現著人會怎麼活的一種觀點與角度，而人與人相處時，說話總是留三分，言外之意說的才是真實人生。處處留白和可自行腦補的開放式結局，是他為腦力健的觀眾保留的影視佳肴，老派卻充滿浪漫。

道士下山

家裡有裝有線電視的朋友們，應該或多或少已經看過電影道士下山。片中林志玲婀娜多姿的風情與郭富城和張震略帶腐味的感情，有別於他們以往的螢幕形象，確實令人印象深刻。某日遊逛恰好看到徐皓峰所著的原作小說道士下山，好奇之下隨手翻幾頁，覺得開頭節奏輕快便埋首翻閱下去。以我為例，道士下山和我是傳奇一樣，都是先看過電影再讀文字小說，恰好兩部都是電影劇情和原作內容大異其趣，讀起來沒有被破哏的疑慮。陳凱歌改編的那部電影，甚至可以說是與原作截然不同的二創，書本故事中精彩豐富的人物與情節，只被略取一二到劇本裡。

道士下山的主角何安下是一位下山入俗的道士，但有近三分之一的篇幅和比武與練功有關，不怪乎本書被分類成武俠小說。徐皓峰擅於描寫中國近代的江湖與武林，而且是非常貼近真實的那種。想當然耳，武林高手外表多半貌不驚人，而比武較量就是生死相搏，勝負大多僅止一招。被金庸小說、成龍功夫電影、日本少年動漫餵養長大的閱聽眾，第一次見識到徐皓峰式的武林高手對決，肯定覺得「啥，就這樣？」。但細思深慮後肯定會認同徐皓峰那些動作場面的呈現，畢竟武功就是殺人術，一出手更是你死我亡的大事，怎麼可能有如舞蹈般賞心悅目，打個半小時都沒完。

除了武功以外，何安下也算佛道雙修，他和佛法與修行有著深厚的機緣，也碰到收妖與飛升等靈異現象。讓此書突然從本格硬派的武俠小說，一轉眼跳躍為中國式奇幻小說，中間還穿插帶點故作玄虛的哲學佛理。故事走向轉折之大，也難怪電影作品無法將其一一收錄，只挑選閱聽大眾最會買單的武俠部份當主題。書裡還有第三種調味料，時代背景設定在民國初期，穿針引線地帶入中統局和日本特務等神秘組織。這兩個機構裡的特務們，也成為故事情節推進的催化劑。

對比以西方文化背景為原素的奇幻小說如哈利波特、魔戒，有著中國文化底蘊的當代小說容易讓兩岸華人有投入感。畢竟佛、道教、中醫、武功等觀念，人們早已耳濡目染不用作者添加註記、說明。不論是虛構人物個性的塑造、武功較量的描繪、民初時代真實人物的穿插點綴，全書整體讀來輕快不沉重，一篇篇短篇的形式也是作者特意為之，正適合通勤時翻閱。其中幾篇故事有形容人性貪婪醜惡的面貌，用得力道恰到好處，也帶有意在言外的反諷惡趣味。雖然最後的開放式結局令人有些詫異，但做為一本娛樂用途的小說，它已經是無法挑剔的極品，推薦給大家。
 

逆轉人生

 

不經意在有線電視頻道上轉到逆轉人生這部電影，看到妮可基嫚徐娘半老扮演俏麗女秘書依舊亮麗動人。這部美國電影描述金字塔頂端的富翁，因飛行傘意外後全身癱瘓，卻意氣用事聘請算是社會邊緣人的有色人類看護。在許多曲折互動後，位於社會階級正負極端的兩人，卻建立起意料之外的友情與牽絆。全片劇情流暢又略帶幽默插曲，一晃神就把全片看完，看到片尾字幕寫著改編自真貫故事與原著逆轉人生，不經想把原作拿來翻翻看。

原來美國的逆轉人生電影是翻拍自法國電影第二人生，故事中的主人翁菲利普是位出生名門世家貨真價值的法國貴族。而他口中的惡魔看護阿布戴則是來自阿爾及利亞，是一位熟知低層社會生存法則的街頭硬漢，習慣用上勾拳教導陌生人啥叫禮貌。由於作者僅剩頸部以上有知覺，所以全書是用錄音和眨眼選字撰寫而成。脊椎受損後引起周邊神經痛的後遺症，所以即便電影裡的菲利普已經讓人心生憐憫，真實世界裡的他更是有如活在煉獄。

長久的知覺喪失以及不曾間斷突如其來的劇烈疼痛，讓作者的意識很難像常人般持續地維持穩定。有如書裡的前言，長期的痛苦粉碎了菲利普的記憶力。所以雖然逆轉人生試圖以一本回憶錄的形式書寫，但全書內容是夾雜著記事與天空行馬的喃喃自語，描繪出作者從小到大的經歷、與摯愛的相知相惜，以及元配罹病、自己癱瘓、摯愛因病離世等等一連串生命旅程中的刻痕。菲利普充沛的情感與多彩多姿的回憶是肥沃的養份，孕育出全篇華美而奇幻的文字，有如蒲公英般迎風飛起，超越有形的驅體侷限，散落在全世界有緣翻閱的讀者心頭。

【新．福爾摩斯】絲之屋

 

在名偵探柯南和名演員班奈狄克.康柏拜區主演的新世紀福爾摩斯推波助瀾下，現在的年青人應該還認得這個推理小說界的帝王福爾摩斯吧。說起福爾摩斯和亞森羅蘋的推理小說，那可是我在國中小學時相當熱門的課外讀物，無論是這種古典推理小說或是金庸武俠小說，都是陪伴學子度過寒暑長假的最佳良伴。不過在網路資訊量爆炸的今天，這些都已成了追憶。

拿到這本絲之屋後，即便曾是熱愛閱讀小說的我，一開始都難以投入到小說描寫的故事中。故事風格筆法如昔，但對每日接觸大量網路影片、短文的讀者而言，面對繁複堆疊的文字所描繪的場景與人物，因為陌生導致距離，進而難以融入。特別絲之屋是走古典推理小說風格，前半段章節都在鋪陳人物、背景，以及看不出關聯的支微末節，很難吸引對不斷有爆點的短內容上癮的網路世代。幸好我算是老派的閱聽人，打起精神堅持唸過前二章後，就完全被故事吸引，手不釋卷地翻下去。

絲之屋是由柯南.道爾家族欽點的作家安東妮.赫洛維茲所撰寫，筆風和故事設計都遵循正宗福爾摩斯小說，如同賣座電影會上映的前傳，讓熱愛此系列的讀者們繼續臣服於主角福爾摩斯的超人觀察力，也稱羨他和華生之間的默契與堅定的友情。停止滑動的手指，放下手中昂貴的手機，來讀本推理小說，如何？

江山風雨情

 

要寫出好的歷史小說相當有挑戰性，構思故事既要生動有趣，經緯主軸又不能離史事太遠。在人、事、時、地、物五元素中，更動的部份要順應情理，情節若還呼應歷史事件的關鍵時點，就更難能可貴。江山風雨情就是本令人回味再三的佳作，描述明朝未年崇禎皇帝登基到亡國的故事。

書中有吳三桂與陳圓圓的愛情、大太監王承恩的權謀手段、滿清皇太極與群臣的勵精圖治。但最讓讀者掩卷嘆息的是，看到崇禎這位有心中興大明的「好」皇帝，如何一步步地領導權臣走向國破家亡的局面。志高才疏、心胸狹窄應該是多數讀者留給崇禎的評價。即便已經病入膏肓，內有流寇外有滿清，大明王朝依舊有能人如袁崇煥、洪承疇足以力挽狂瀾扭轉困局，卻皆失敗於崇禎的一念之間，讓千古名句的君非亡國之君，臣皆亡國之臣更加諷刺。

江山風雨情雖是小說之言，但從中也能梳理出國富民強的治國法門。不論那個朝代，官員的貪汙腐敗都是國家衰敗的警示燈。而領導人用人的肚量與格局，則是會影響組織可用人材的廣度與深度。市井之間常開玩笑說如果爸爸是王永慶的話…，感嘆自己命不夠好，未能出生權貴、富豪之家。要深知，如果沒有三兩三的本事，即便讓你平白無故的坐上那個位子，最後也只是變成富不過三代的八卦週刊話題。崇禎帝就是個好例子，不是嗎？

江湖夜雨讀金庸

 

金庸武俠小說在華人文學作品的地位，甚至超越建構出哈利波特宇宙的JK羅琳。純正的金庸迷一看到「飛雪連天射白鹿，笑書神俠倚碧鴛」這口訣馬上會心一笑。這些經典娛樂了數個世代的華人，也延伸出各種影視作品，造就各種二創文化產物問世。

未細讀之前，本以為金庸文學評論，會充斥著「誰武功比較強」、「如果...會...」等空想的類PTT文章。出乎意料之外，「江湖夜雨讀金庸」的作者「馬大勇」，讀金庸作品三十年，可謂滾瓜爛熟。才學出眾的他更能引經據典來講論金庸，從史學、佛學、儒教、文學和清談觀點切入，廣泛周全地品嘗金庸武俠文字背後的韻味。

書中也論及為何金庸無法獲頒諾貝爾文學獎的原因。金庸小說可謂華人文化的百科全書入門，但也形塑出一道高聳的文化門檻。俠客精神、中醫穴道、氣與武術、詩詞歌賦這些文化素材，建構出扎實、豐富的金庸武俠宇宙。但你能想像用英文如質如實地翻譯書中所描述的情節與背景嗎？舉個慘痛的例子，「降龍十八掌」就曾經被翻成「拍打龍的十八種方法」。更別說「降龍掌法」的中文招式名稱，還有引用「易經」文句。假設為求周全，小說還得標注內文提及的中國文化思想，這本小說該要有多厚？

馬大勇深入地分析金庸武俠裡核心的「俠」文化在中國文化的源起，大體上可以回溯自春秋戰國的「墨家」與「儒家」兩種哲理與思想。至於「武」的精神，以執政當局的角度來看，有著鼓勵「以武犯禁」風險，成為歷代的社會禁忌。與「武」相關的文學創作，自可連結到中國古典四大文學名著「水滸傳」。

「江湖夜雨讀金庸」言之有物，在具深度的主題下立論經考據，言談不嘩眾取寵。文中更有馬大勇為讀者們整理、爬梳，中國文化作品在文、史、哲觀念中的微言大義。讀遍金庸全集的資淺金庸書迷們，在愛屋及烏的心態下，能不翻翻這本骨灰級同好的文學評論作品嗎？

失控的照護

 

資訊發達的今日，要文以載道管道繁多，讀者投書、社群媒體門檻低，肚子有點墨水的人，則可以出書立作。葉真中顯的「失控的照護」用小說，揭露了日本少子化、高齡化一條道兒走到黑的苦果。

在迷信市場經濟能使效率最大化的前提下，政府將老人照護的社會福利，規劃成讓民間逐利的商業行為。由於服務需求量體超大，等於塑造出內需經濟的新興產業，又能成功將開支龐大的長照責任推諉出去，這種空手套白狼的絕妙政策，又有那個政府不傾全力推動？

理想很豐滿，現實很骨感，社會福利的出發點是「我為人人」，私企經營講究的是「將本求利」，硬把兩種極端的價值觀結合在一起，下場就是個悲劇。如同故事寫到，隨著政府公權力介入調整長照企業的給付標準後，原本賺錢的事業體變得舉步維艱，只能以過勞和遊走法律邊緣硬撐下去。在惡性循環下換來的是徒具形式的長照服務以及尾大不掉的「照護慘產」。

另外故事中也確切地描寫出少子化的核心家庭，在面對老人照顧時常見的困境與磨難。對非資產階級的一般人，家中只要出現一位失智、失能的長輩，就足以形成經濟上、生活品質上的強烈風暴。雖然是老掉牙的結論，但親友間的相互扶持與政府社福機制的適時介入，還是改善老人照護問題的良藥。

常在看新聞的朋友們，可以察覺近年來「老老照護」和「照護者謀殺」的事件逐步增加。這正是少子化、高齡化社會對政府社福政策失能留下的血手印。台灣和日本不論在政治、經濟體制與社會、文化觀念上都有極大的相似性，更令人膽寒的是台灣在少子化的趨勢更是領先全球。「失控的照護」如同一本預言書，向讀者展示一個悲慘又無力阻擋的台灣未來。

蒼蠅王

 

「蒼蠅王」被列為20世紀百大英語小說，內容啟發了眾多日本作品，包括「漂流教室」、「大逃殺」等。故事環繞一群因意外迫降到無人島的小孩，在遠離文明社會的大自然中，為生存和獲救做出種種努力。隨著時日漸長，人際間的衝突愈加劇烈，社群越來越失序、失控，最終造成無法抹滅的悲劇。

作者「威廉‧高汀」是歷經二戰的小說家，「蒼蠅王」一書中赤裸呈現他堅信「人性本惡」的觀點。刻意挑選潔白如紙的學齡前孩童為主角，描寫出尚未十足社會化的人性，是多麼容易受到嫉妒、恐懼等情緒驅使，去採取暴力與非理性行為。讓我聯想到網路平台裡匿名網友間的霸凌、攻訐，有如公權力無法介入的網路孤島「蒼蠅王」。

一但人類社群尚失國家力量來維持基本法制秩序，持強欺弱、豪取強奪將橫行於世，文明與理性有如水晶杯般罕見與脆弱，它僅能活在由尊重法律、規範的人類社群打造的溫室中，當白紙黑字的條約被束之高閣，理性和文明也將隨之而去。

或許是在戰場上目擊的種種讓高汀對人性失望，因此劍走偏鋒，但他的觀點確實一針見血。「一念天堂、一念地獄」，善惡兩端皆是人性。無論是烏克蘭戰場上的屠殺與虐囚，還是近日新聞報導的中國河北唐山暴力事件，人與人之間失序失控的傷害從不曾停止，暴力和非理性源自你我的天性。透過教育淺移默化提高國民的德性，同時建立公平公正令人信服的法制環境，或許能適當地「減災」，型塑出安和樂利的社會。

動物農莊

 

以「1984」反烏托邦小說具體描述「老大哥」留名於世的「喬治.歐威爾」，也針對專制體制的形成與統治手法以反諷、寓意的文字寫成「動物農莊」。像童話般將動物擬人化，講述動物們自己當家做主的歷程。讀者隨著故事的推進，看到位居統治階層的動物，如何一步步控制與操弄局勢，讓普羅大眾處於困頓又無法改變現況的情境。

書中描寫的許多政治操作手法，時至今日依然是相當方便實用，即使不是極權政府的民主國家，也時常可以看到執政當局用類似的技巧來影響輿論，強化施政正當性或削弱反對黨的挑戰。這些熟悉又歷久彌新的做法包括了:
- 向大眾許諾一個的美好未來，卻缺乏實質執行的步驟。(貨出去人進來，高雄發大財)
- 針對施政缺失的檢討玩弄文字遊戲。(好有既視感...保證不缺電，沒保證不限電)
- 組織具行動力又容易煽動的青年族群，賦予使命感針對特定議題影響輿論走向。(對岸的五毛或台灣的網軍)
- 強調統治階級的特殊性，禁止其它階級能進入統治階級。(極權政體)
- 製造外部敵人轉移內部施政不利的焦點。(各國最愛用的一招，例子數不清)
- 片面修改歷史與調整制度規章，為施政正當性背書。(所以編修教科書內容是政治問題，不單是文化教育問題)

「動物農莊」是一本優秀的作品，甚至有資格列入民主教育的課外教材。它以說故事的方法教導讀者如何辨識常見又粗糙的政治操作，培養我們在面對重大的政治、社會議題應當三思而行，避免遭人利用變成為虎作猖的工具人而不自知。

 

我的相親路上滿是珍禽異獸：只要堅強地活下去，總會遇到更奇葩的人喔

 

最初對這本「我的相親路上滿是珍禽異獸」留下印象，是源自於在網路上看到的「丹頂鶴先生」短篇。第一時間就覺得這作者也太妙了，居然有勇氣把自身相親的過程一五一十的和大眾分享。另外也「佩服」她相親的次數居然能多到彙整成一本書，如果每個對象都有如「丹頂鶴先生」般令人莞爾，那讀者真的得替她的命格留下同情的眼淚了。

作者筆名「酸菜仙兒」，說起話來有著對岸特有的機靈巧語，酸人不帶髒字反而令人覺得趣味十足。更可貴的是，書中內容多的是反酸自己的自嘲與幽默感，這種有別於台灣人的文字風格，算是另類的中華文化常見於對岸的現代散文中。翻閱數十頁後我才發覺這本書原來是小說，不是我想像中的「相親心得報告」，「珍禽異獸」是有，但也不多，那是鋪陳做為開場破題的開胃菜，「愛情小說」才是滋豐味美的主菜。

即然是愛情題材的作品，當然少不了「高帥富」愛上平凡姑娘的劇情。先是被書中各角色的描寫與對話逗笑，接著又好奇故事中男主角隱藏不說的秘密。最後就一股腦地兩三天讀完，開開心心地接受自己讀了本現代愛情小說。「我的相親路上滿是珍禽異獸」題材不落俗套，略帶點笑點和解謎成份，即使翻拍成電視劇相信也能大獲好評，想看點輕鬆讀物的朋友們可以翻翻。