近似无赖的平民刘邦，却能登上皇位；建立雄伟功业的汉武帝，晚年却要“轮台悔过”；聪慧的明帝却严苛得不近人情；汉室将亡，汉灵帝却大建裸游馆、宫中市和卖官店……两汉时期，雄才大略的皇帝迭出，然而也陷入后继无人或正统绝嗣的困境，只好幼儿继位，寡母执政，这一孤儿寡母的时代特征胜过任何一朝，其结果就是宦官与外戚交替控制皇权。两汉四百多年，是中华民族历史上最激动人心、最令人迷惑和惋惜的时期之一，通过对两汉二十四位皇帝的近距离的正面的客观叙述，我们可以共同解读大汉帝国的兴衰演变。

For the CDT Bookshelf, China Digital Times invites experts on China to recommend a book to CDT readers. This month, Paul G. Pickowicz, Professor of History and Chinese Studies at the University of California, San Diego, recommends "A Daughter of Han: The Autobiography of a Chinese Working Woman" by Ida Pruitt, Stanford University Press, 1967: When the editors of China Digital Times invited me to write a series of articles recommending classic books on China that are no longer widely read, the first title that came to mind - - one of my all-time favorites - - was Ida Pruitt's A Daughter of Han: The Autobiography of a Chinese Working Woman. I still assign it to my students at the University of California, and I am pleased to say I have never met a student who did not like it. This fascinating book was originally published by Yale University Press in 1945. Stanford University Press, to its eternal credit, picked up the rights in 1967 and has kept it in print ever since. In many respects A Daughter of Han is as fresh today as it was 60 years ago when it first appeared. I recommend it without reservations and will be surprised if readers of China Digital Times are disappointed by it. A Daughter of Han was the brainchild of Ida Pruitt, an American who was born in Penglai, Shandong province in 1891, the daughter of Southern Baptist missionaries. Pruitt died in 1985 at the ripe old age of 94. If we use the academic language of today, we would have to call A Daughter of Han a pioneering oral history project or an early attempt at doing the history of Chinese women. It tells the complicated and gripping story of one rather poor and underprivileged Chinese woman, Ning Lao Taitai (Old Lady Ning), from her childhood in the late 1860s to her experiences during the Japanese invasion of China in the late 1930s. The project began when Pruitt asked a Chinese friend if she knew of anyone who had intimate knowledge of "the old customs of Chinese families in childbirth and marriage and death." The friend recommended Old Lady Ning. For two years Pruitt and Ning met at breakfast every Monday, Wednesday, and Friday to talk about what the old woman had experienced in life. The account is at once tender and gut-wrenching, full of unexpected twists and turns. Over the decades, critics have raved about this simple, unpretentious narrative. Pacific Affairs said, "Ida Pruitt has rendered a great service to the Chinese people." The American Journal of Sociology called it "the warmest, most human document that has ever come out of China." The Far Eastern Quarterly asserted that the narrative is "part of that wider social and imaginary world from which Chinese draw meaning to their life." A Daughter of Han allows us access to the mental world of an ordinary Chinese woman born in the middle of the nineteenth century. The book is both charming and informative because we hear Old Lady Ning telling her own story in her own words. Because Pruitt wisely refrains from comment, the reader is left to struggle with the "meaning" of this highly personal tale. No heavy handed scholar is there to "tell" us in an authoritative introduction what the account means. A Daughter of Han makes wonderful classroom reading for high school and college students who invariably take passionate delight in debating its import. For instance, Old Lady Ning speaks often of the role played by "fate" in her sad life. This leaves the impression that there was nothing she could do to change her fate. It seems she accepted her "fate." Referring to starvation in the late 1880s, she recalled: "Day after day I sat at home. Hunger gnawed. What could I do? . . . When my husband brought home food I ate it and my children ate with me. A woman could not go out . . . I did not know enough even to beg. So I sat home and starved. I was so hungry one day that I took a brick, pounded it to bits, and ate it. It made me feel better." But Old Lady Ning also mentions concrete actions she took to change her life. Speaking of the early years of her difficult marriage to a destitute opium addict who had sold everything in the house to feed his habit, she recalled her decision to do something about her plight despite being hobbled by bound feet: "When Mantze was two and I was big with another child I left my husband and the village. This was the first time I left him and I went on foot. It was the first time I had walked from my husband's home to my mother's. Respectable women did not walk in the streets of Penglai." It seems that she did not accept her fate after all. A Daughter of Han is filled with tensions and incongruities of this sort. As such, it opens a delightful window on the complexities and contradictions of ordinary daily life in China in the late nineteenth and early twentieth centuries

"Spider Eaters" is at once a moving personal story, a fascinating family history, and a unique chronicle of political upheaval told by a Chinese woman who came of age during the turbulent years of the Cultural Revolution. With stunning honesty and a lively, sly humor, Rae Yang records her life from her early years as the daughter of Chinese diplomats in Switzerland, to her girlhood at an elite middle school in Beijing, to her adolescent experience as a Red Guard and later as a laborer on a pig farm in the remote northern wilderness. She tells of her eventual disillusionment with the Maoist revolution, how remorse and despair drove her almost to suicide, and how she struggled to make sense of conflicting events that often blurred the line between victim and victimizer, aristocrat and peasant, communist and counterrevolutionary. Moving gracefully between past and present, dream and reality, the author artfully conveys the vast complexity of life in China as well as the richness, confusion, and magic of her own inner life and struggle. Much of the power of the narrative derives from Yang's multi-generational, cross-class perspective. She invokes the myths, legends, folklore, and local customs that surrounded her and brings to life the many people who were instrumental in her life: her nanny, a poor woman who raised her from a baby and whose character is conveyed through the bedtime tales she spins; her father; her beloved grandmother, who died as a result of the political persecution she suffered. Spanning the years from 1950 to 1980, Rae Yang's story is evocative, complex, and told with striking candor. It is one of the most immediate and engaging narratives of life in post-1949 China.

该书是美国汉学家艾恺与“最后的儒家”梁漱溟1980年访谈的双语精选本，1980年8月，艾恺来京对梁漱溟先生进行了连续14天的采访。这次访谈内容由北京“一耽学堂图书室”根据录音资料整理，随后由艾恺教授将之翻译成英文，以Has Man a Future? –Dialogues with the Last Confucian为题由外语教学与研究出版社于2010年出版。本书以上述资料为底本，精选最能体现梁漱溟先生思想与经历的谈话内容，将原来按时间顺序整理的访谈文本按主题与逻辑顺序重新调整结构，划分为梁漱溟的“思想”、“历史经历与社会交往”以及“品评当年人事”三大部分，以期重现山河破碎时中国知识分子的持守与担当，品评毛泽东、周恩来、陈独秀、李大钊、梁启超、蔡元培、陶行知等风流人物，回顾梁漱溟风云激荡的一生。

Empress Dowager Cixi (1835–1908) is the most important woman in Chinese history. She ruled China for decades and brought a medieval empire into the modern age. At the age of sixteen, in a nationwide selection for royal consorts, Cixi was chosen as one of the emperor’s numerous concubines. When he died in 1861, their five-year-old son succeeded to the throne. Cixi at once launched a palace coup against the regents appointed by her husband and made herself the real ruler of China—behind the throne, literally, with a silk screen separating her from her officials who were all male. In this groundbreaking biography, Jung Chang vividly describes how Cixi fought against monumental obstacles to change China. Under her the ancient country attained virtually all the attributes of a modern state: industries, railways, electricity, the telegraph and an army and navy with up-to-date weaponry. It was she who abolished gruesome punishments like “death by a thousand cuts” and put an end to foot-binding. She inaugurated women’s liberation and embarked on the path to introduce parliamentary elections to China. Chang comprehensively overturns the conventional view of Cixi as a diehard conservative and cruel despot. Cixi reigned during extraordinary times and had to deal with a host of major national crises: the Taiping and Boxer rebellions, wars with France and Japan—and an invasion by eight allied powers including Britain, Germany, Russia and the United States. Jung Chang not only records the Empress Dowager’s conduct of domestic and foreign affairs, but also takes the reader into the depths of her splendid Summer Palace and the harem of Beijing’s Forbidden City, where she lived surrounded by eunuchs—one of whom she fell in love, with tragic consequences. The world Chang describes here, in fascinating detail, seems almost unbelievable in its extraordinary mixture of the very old and the very new. Based on newly available, mostly Chinese, historical documents such as court records, official and private correspondence, diaries and eyewitness accounts, this biography will revolutionize historical thinking about a crucial period in China’s—and the world’s—history. Packed with drama, fast paced and gripping, it is both a panoramic depiction of the birth of modern China and an intimate portrait of a woman: as the concubine to a monarch, as the absolute ruler of a third of the world’s population, and as a unique stateswoman.

与抑郁症顽强搏斗的李兰妮，1988年罹患癌症，三次手术、五次化疗；这些年，她一直服用赛乐特、奇比特等抗抑郁药。疾病的折磨让她感到：活着比死去更难！ 然而，李兰妮活了下来！走了出来！她不再忌讳说自己的病，而且从病人变成了半个专家。 《旷野无人(一个抑郁症患者的精神档案)》（作者：李兰妮）完全真实地呈现了抑郁症的病状和治疗的过程，以及生理、心理和家族、社会、文化的成因。 相信《旷野无人(一个抑郁症患者的精神档案)》能给饱受抑郁症折磨的人们提供实实在在的帮助。

《卑鄙的圣人:曹操8》内容简介：历史上的大奸大忠都差不多，只有曹操大不同！曹操的计谋，奸诈程度往往将对手整得头昏脑涨、找不着北，卑鄙程度也屡屡突破道德底线，但他却是一个心怀天下、体恤众生的圣人；而且他还是一个柔情万丈、天才横溢的诗人；最后他还是一个敏感、自卑、内心孤独的普通男人。公元189年秋，曹操逃避董卓追杀，躲到老友吕伯奢家。吕家人磨刀杀猪款待曹操，曹操却疑心他们要谋害自己，断然砍杀吕氏全家；逃出门正好遇到吕伯奢打酒归来，问他猪杀好没？曹操惊愕中将热情的吕伯奢一刀捅死。公元194年，曹操攻打吕布，为激励士气，他火烧城门断绝后路，但一开战就中了埋伏，几乎全军覆没，赶紧仓皇回撤，穿过自己刚才点燃的熊熊大火，胡子烧焦了一半，正在残余人马垂头丧气的时候，满脸烟灰的曹操沉思半晌，突然下令立即夜袭吕布，因为他算到吕营刚刚得胜，此时必然松懈！果然得计。公元220年3月15日，临终前，这个一代枭雄的遗言却如此温柔：老婆们要学会做鞋子来卖，挣钱养活自己，想改嫁的就改嫁，说完永远合上了他的眼睛。翻开《卑鄙的圣人:曹操8》，您将了解中国历史上这个独一无二的家伙，进入曹操尘封了两千年的精彩内心世界。 海报：

《从小李到老李》共三册，是一部自传体的长篇漫画，作者通过三千余幅画面，描绘了一个普通中国人自20世纪50年代到现在的人生经历，是了解当代中国半个多世纪曲折历程的不可多得的史诗长卷。 本册分为火红的年代、沸腾、我是一个兵三个篇章，从1950年开始，讲述了小李一家在“大跃进”、三年自然灾害以及“文革”中的坎坷命运。在历史巨轮的推动下，个人的命运有时不可捉摸，有时又被牢牢牵引。无论是工作、婚恋还是个人前途，一切的一切都与国家的命运息息相关。

本书内容为著名编剧李樯的最新作品，以民国时期女作家萧红为主线，讲述了那群自由追求梦想与爱情的青年，那个民气十足、海阔天空的时代。《黄金时代》的故事背景是上世纪二十至四十年代的中国，一群年轻人经历了一段放任自流的时光，自由地追求梦想与爱情，有人在流离中刻骨求爱，有人在抗争中企盼家国未来。萧红，一个特立独行的女子，一路流亡，从北方到南方，从哈尔滨到香港，一边躲避战乱，一边经历着令人唏嘘又痛彻心扉的爱情与人生。对生的坚强对死的挣扎在她笔下穿透纸背，她的人生亦是如此。

本书是徐志摩和陆小曼在上个世纪二十年代顶住来自家庭和社会各方面的压力真心相爱、相许所写下的一组日记和书信。这些书信表现了徐志摩作为恋人、作为诗人的热烈情感，也透露了种种难以摆脱的痛苦，同时也记述了他和陆小曼之间的感情波澜。他们之间那刻骨铭心的倾城之恋，完完整整地公之于世，二十世纪中国文学史也因此而增添了一部唯真唯美的散文佳作。

文革”已经过去，它对众多人的生活产生了深刻的影响。“文革”是什么？“文革”的真相到底是什么？“文革”到底对人产生了什么样的影响？《一百个人的十年》为我们似乎提供了一个清晰的答案。作者冯骥才试图以一百个各不相同的经历，尽可能反映这一经历十年、全社会大劫难异常复杂的全貌。通过记录普通人的经历，反映生活本质的真实。这本《一百个人的十年》将使“文革”的受难者们感受到某种东西以使内心获得宁静，使那些“文革”的制造者们从中受到人类良知的提醒而引起终生不安。

在本书中，李敦白对自己的一生做了详尽的回顾和分析，从出生、家庭、求学、树立信念、追求理想、参加美国共产党，到与毛泽东、周恩来等人的交往，参加“文革”的经历，两次长达16年的牢狱之灾，在中国收获的爱情，以及80年代重新回到美国。他自称是一个“中国的美国人”，在访谈中涉及大量中国当代史上的重要事件和重要人物，以及他对中国革命、中国历史、人类前途命运等的观察和思考。

《匠人》讲述了作者申赋渔的家乡——申村中一个个手工艺匠人及其家族的命运故事，有花匠、雕匠、铁匠、裁衣……从这些故事中，展现了苏北一个几万人大村的乡土、生活变迁，追忆了作者失落的故乡。申村的兴亡衰落，既是时代变迁，也是人世间的因缘际遇，令人叹息，深觉悲凉。

1.中国第一情景喜剧《我爱我家》台前幕后全揭秘 20周年珍藏纪念 廿年不忘 致敬经典 家迷必收 2.导演英达 编剧英壮 长篇独家专访 主演 杨立新 梁天 赵明明 关凌 沈畅 李眉…… 客串明星 韩影 金雅琴 李明启 何冰 杨青…… 细数陈年爆笑段子 重温拍摄温馨花絮 深情追忆逝者 3.导演英达、《泰囧》编剧束焕推荐作序。 4.大量珍贵图片首度公开，赠送签名剧照。 《我爱我家》是中国情景喜剧的开山之作，同时也是难以超越的巅峰之作。该剧1994年首播，2014年是该剧播出20周年。本书作者郑猛是一位职业记者，也是《我爱我家》的资深爱好者与研究者，历时数月采访了包括主演、客串明星、主创人员、幕后工作人员等等当事人演职人员30余位，获得大量珍贵的台前幕后第一手资料。本书既是《我爱我家》20周年的回顾与致敬之作，可以使观众更深入了解该剧的方方面面，也对喜剧从业者、爱好者，影视专业人士等有一定的借鉴价值。 二十年前，一群演艺界名不见经传的青年人，用无法想象的创作热情，组成了无法复制的精英团队，在简陋的物质条件下，书写了一段传奇，中国第一部情景喜剧《我爱我家》成为了一代代观众心目中永远的经典。 二十年来，“我家”背后的故事鲜为人知，却令人念念不忘。中国最好的情景喜剧到底是如何炼成的？有哪些天时地利人和因素，以至于二十年的努力仍旧难以企及最初的高度？ 二十年后，作者带我们敲开了“202”那扇亲切而略带神秘的大门，寻访该剧数十位主演、客串明星、主创与幕后，在一位位“我家”成员的追忆和讲述中，当年创作现场终于重现。我们这才惊觉，回不去的不仅有辉煌的九十年代，还有精诚团结、亲如一家的剧组，比明星光环更加耀眼的是不随时间推移而消逝的情谊。 喜剧是人类生存和社会发展的软动力和润滑剂，是柔韧而坚强的生命意志，是生存状态幸福的标志。不懂悲剧的人做不了喜剧，对人生五味体验不全的人也做不了喜剧。喜剧是含泪的笑。喜剧是鼓舞的笑，它对时代的进步有会心的理解与配合。 ——英达 他（梁左）和英达先生合作推出的一百二十集情景喜剧《我爱我家》是这一盛行世界的喜剧形式在我国的首创。该剧在观众中获得的巨大反响和广泛认同深刻改变了我们的喜剧观念和欣赏趣味，开拓了我们的视野，并造成了这一形式在我国荧屏的流行和推广，造就了一代喜剧新人。该剧达到的高度至今仍是一座无人超越的山峰。 ——王朔 《我爱我家》其实有点悲剧色彩，难以逾越的原因是它有一个特殊的创作环境。比如编剧部门丰富的社会阅历和深厚的生活积淀，不是每个编剧、每次创作都能有这样的基础。再比如演员几乎没有一个是冲着钱来的，那时候演员的用功也不可想象,现在起码不是所有人都这样。 ——英壮 《我爱我家》是观众眼中的经典，也是学习喜剧创作的优秀教科书。这本书不光是纪念一部优秀作品的诞生，也是纪念辉煌的九十年代，和我们逝去的青春。

《算命:清影纪录中国(2009)》为“《清影纪录中国》系列丛书”的第一本，在向读者展示作品和作者思想的同时，也展现了我国近三十年来，尤其在近十年高速发展的过程中，现代化与传统民俗之间的冲突、经济发展所引发的社会问题，以及许许多多鲜活的个体生命，他们的故事和他们的命运。 《清影纪录中国》系列丛书是清影工作室根据其免费影像放映计划，以纪录片作者访谈为主，兼有对作品的介绍，努力记录下导演与观众交流的每一个精彩问答并认真地录音整理而形成：这将是目前国内最大规模的独立纪录片导演访谈。

Iris在一九九七年之前寫作《南京大屠殺》一書時，由於每天接觸到大量的日軍殘暴屠殺中國人民的具體史料，精神上受到很大的震撼。該書出版之後，獲得了空前的成功，受到學術界和讀書界的好評，連續十個月成為《紐約時報》的暢銷書，洛陽紙貴，並被《紐約時報》列為優良讀物，讀書人書評(Bookman Review syndicate)稱讚它是年度最佳書籍之一。 本書從三個不同度—日本人、中國受難者與當時在場的歐美人士的敘事觀,點，全方位地呈現整個大屠殺事件；另一方面,抽絲剝繭地檢視這長達五十多年的黑暗勢力，探討日本政府如何處心積慮地抹煞世界對大屠殺的記憶。 寫這本書毫無疑問需要無比的勇氣，面對無法想像、不忍卒睹的殘忍暴行，絕大部分的人反應是別過臉去，只有最勇敢、最有正義感和最義憤填膺(sense of moral outrage)的人才會對這些暴行加以正視、凝視，甚至審視。 作者蒐集海峽兩岸、歐美、日本許多第一手資料並且整合大屠殺倖存者的訪談紀錄，重新呈現南京大屠殺的完整面貌。過流利、細緻的文字，讀者可以完整了解南京大屠殺歷史的始未，同時省思歷史事件留予世人的寶貴教訓。 教訓要記取，仇恨要遺忘；只有在見證了人性的醜惡之後，仍能保持寬容、保留對人類的熱愛，才是真正的人道主義者。 - 長久以來，日本政府一直想盡辦法抹滅大屠殺的罪行，更企圖讓侵略中國的行為合理化，更可悲的是：西方各國甚至中國自己竟然也同等壓抑這段南京悲歌。身為美籍華人的作者，憑著幼時雙親敘述大屠殺慘烈故事的記憶，抽絲剝繭找出南京浩劫的真相，寫成第一本討論南京大屠殺的專書。作者蒐集大量檔案資料，親自走訪南京、日本等地，訪問倖存者、受難家屬、目擊者、施虐者並親見當年留在淪陷區的外籍商人、傳教士、醫生、記者等留下的日記和影片，同時與歷史學家深入討論，完整呈現一段不容歷史遺忘的悲慘事件。

《比我老的老头》一书出版后广受读者追捧，被评为“全国优秀畅销书”。此次增订珍藏版，补收入了黄永玉刚完成的新作《为什么老头儿号啕大哭？》和一篇回忆聂绀弩先生的长文，并特邀著名漫画家丁聪先生为书中所写人物绘制肖像插图。 在这本具有黄氏独特风格的书中，黄永玉先生用风趣且另类的语言给我们讲述他相识的那些“比他老的老头”：钱钟书、沈从文、李可染、聂绀弩、张乐平、林风眠、张伯驹、许麟庐、廖冰兄、黄苗子、郑可、陆志庠、余所亚……通过这些中国当代最优秀的艺术家们鲜为人知的感人故事，在与这些艺术大师的相遇、相识、相知中，最值得细细品味的是他们的精神追求和人格魅力。 此书制作印刷精美，是高档礼品书，且具收藏价值。

这是一位老革命家的回忆录，与其说是回忆录，不如说是对历史问题的反思批判书，书中的历史问题不是秦皇汉武，不是唐宗宋祖，也不是弯弓射大雕的一代天骄，更不是华盛顿罗斯福，而是我党从延安到文革时期那段最惊心动魄却又最鲜为人知的历史。 这段历史，只有这样有过切身经历又有反思精神的老革命写出来，才有真实性，才具震撼力。不信？请看！延安整风时，组织上对待那些不与党“一条心”的“两条心”们，作者写道：当时把追查称为劝说，由三四个人组成一个劝说小组，每个人劝说两三小时，三四个人轮流劝说。而被劝说（追查）多则一天二十四小时都不能休息，其身体的疲乏和思想紧张的程度非身历其境的人所能想像。所谓劝说，就是要你“坦白”。你“坦白”一点，他们再追问一步，一直要把你追向成“特务”，才能了事。为了要你坦白，他们有的可以跪在地上劝你，说你只要“坦白”，就可以和党“一条心”干革命了，否则你不可能在革命阵营中有一立足之地。再比如，抗战胜利，作者在河北永年做县委书记，某次审讯汉奸宋品忍时，愤怒的群众冲向审判台，竟活剐了汉奸，后到的人只能捡了两三根骨头，边走边说：“吃不了你的肉，拿你的骨头回家让狗啃，也算解恨了。” 还比如，1957年反右时，人民大学的葛佩琦经组织上反复动员，针对党说了几句很一般的话，谁知却先被《人大周报》，后被《人民日报》诬为“要推翻共产党，杀共产党人 ”， 最终弄得妻离子散，家破人亡，连哥嫂也不能幸免。 这样的故事在书中比比皆是，没有经历过的人哪能想象得出来，并写出来！当然，作为回忆录，作者还回忆了几位当初一起闹革命的朋友，作家王小波的父亲王方名多才多艺，书法篆刻皆通，因组织上的原因，可惜晚年得了“精神飘逸症”，作家李锐的父亲李成之（李直）比作者还早闹革命，因为几次政治运动上的错划，最后却迟迟落实不了政策。

《典型文坛》引“叙事”为学术方法。通过“叙事”将材料和对材料的细读、阐发加以整合，既实现了历史的还原，也规避了直接、生硬和抽象的议论，把对个人及文学史的认知寓于实感形态。书中书写了丁玲、周扬、胡风、老舍、赵树理、夏衍等十一位当代文学“典型人物”。他们身份各异，领域不同，既有作家诗人、理论批评家，也有文坛领导，构成广泛代表性。作者的解读透彻而新颖，富于创见。