Omission
Tags
Summary
Editor's review
From a professional perspective, the book's distinctiveness lies in its narrative stance. It avoids the usual nostalgic sentimentality or accusatory historical reflection, instead adopting a calm, restrained, even slightly detached tone for an almost archaeological excavation of memory. This approach gives private experience a dimension of public reflection and guides readers to reconsider their own relationship with history. The book's capture of detail is especially moving: seemingly trivial objects, smells, and fragments of conversation constitute the solid texture of memory and are precisely what is most easily lost in mainstream historical records.
The value of reading this book lies in the methodological insight it offers for re-viewing personal and family history. It does not provide definitive answers or a complete story, but demonstrates a way of handling fragmented memory and living with a silent past. For contemporary readers, in an age of information overload yet homogenized memory, this cherishing and recovery of the "omitted" is undoubtedly a valuable effort to resist forgetting and enrich the perception of life.
Who it's for
A good fit for
- Readers interested in the relationship between memory, history, and individual narrative
- Readers who appreciate the delicate, restrained style of literary nonfiction
- Those attempting to sort through their own or family memories and seeking possibilities for writing
- Observers of ordinary people's lived experience amid contemporary Chinese social change
Not a good fit for
- Traditional fiction readers expecting tight plotting and a complete storyline
- Readers seeking definitive historical conclusions or grand narratives
Reading tips
- It is advisable not to rush in search of a linear story; instead, follow the author's fragments of thought and feel the texture and warmth of memory itself.
- While reading, reflect on your own experiences and consider which moments belong to your own 'omissions'—this may lead to deeper resonance.
- This book is best read immersively during a relatively quiet, uninterrupted period for the best effect.
About the publisher
Jinan University Press is a comprehensive university press known for publishing in language and writing, history and culture, and medicine. Judging from the 2,481 titles in the database, its publishing focuses on language and writing research, the compilation of unearthed documents, Chinese culture and Eastern philosophy, traditional Chinese medicine, and grassroots medical standards. Representative books include the Chinese Dictionary (Second Edition), the series on the collected interpretation and modern translation of Warring States documents from the Language Services Series and the series on the language of unearthed documents, Chinese Cultural Psychology (6th Edition), Illustrated Compendium of Traditional Chinese Medicine Processing Techniques, and Construction and Technical Standards for Standardized Bronchoscopy Rooms in Primary-Level Pediatrics. In terms of authors, scholars such as Zhu Cheng, Zhang Yujin, Wang Fengyan, Zheng Hong, Cao Hui and Ma Zhiguo form its author base in language and documents, cultural psychology, and traditional Chinese medicine. In terms of publishing characteristics, the press emphasizes the collected interpretation and modern translation of unearthed documents and language service research, while also systematically organizing cultural psychology and medical techniques. Public information on specific matters such as overseas Chinese-language education is limited and is therefore not elaborated here.
Contents
- 版权信息
- 卷一 灵魂与存在
- 灵魂与存在
- 向死亡告别
- 秋天的石榴
- 金秋与金鱼
- 晚秋的池边
- 遗漏
- 在名声之外
- 立春
- 妈妈你听
- 再等一等
- 书画世界
- 清明时节听鸟鸣
- 钓者
- 下落不明
- 面目皆非的碑文
- 写生
- 因为你年轻
- 八大山人的石境
- 建筑工棚
- 贺姐
- 小胖
- 不弃
- 天真
- 秋天远了
- 诗人
- 冬月的下午
- 孩子般的五月
- 黄梅时节家家雨
- 给你
- 你若爱过
- 自由舞蹈
- 鲜花与牛粪
- 满天星
- 爱上这里
- 爱着黑夜
- 我的心
- 消失的爱人
- 回家路上
- 在情人节
- 灰塑与国画
- 一个与另一个
- 新年诗会
- 光是一道咒语
- 行为艺术
- 扔石子
- 公鸡
- 行走
- 向死而生
- 盲目的时代
- 成熟
- 九月的歌声
- 虚度光阴
- 风景
- 高原的石榴
- 战争
- 一只鸟与另一只鸟
- 伙伴
- 有趣的灵魂结伴而行
- 临摹魏碑
- 你若寻求美
- 爱与慈悲
- 一个热爱秋天的人
- 我说死亡
- 今夜星光灿烂
- 健康
- 最后的一个下午
- 神不在的时日
- 玻璃夹缝中的母鼠
- 三八节这天
- 米兰的忧伤
- 四月的火中
- 你就是天使
- 人类的智慧
- 2018年元旦
- 被劫持的年
- 草说真理
- 影子越来越清晰
- 带不走的孩子
- 无形的手
- 水中朽木
- 人生若只如初见
- 十六的月亮
- 走进金秋
- 无知与漏洞
- 看到了
- 卷二 天真之书
- 一席之地
- 窗里与窗外
- 月是故乡圆
- 记忆在散失
- 十月的第一天
- 十月的第二天
- 十月的第三天
- 烛者
- 情
- 未来已来
- 圣诞祈祷
- 即将消失的
- 生活简单如一声鸟鸣
- 一个读诗的人
- 夜
- 二月
- 什么也不是
- 母亲说我能站起来
- 母亲下午走了
- 小天使
- 三月的宽阔
- 浮云
- 威尼斯的烦恼
- 里斯本
- 空无一物
- 未来得及
- 又见母亲
- 六月荷花
- 我要赞美的父亲
- 十一月
- 书
- 树
- 雨
- 空
- 十二月
- 活人的墓志铭
- 水鸟
- 水泡
- 雪地
- 看得见的幸福
- 善
- 从不知道
- 宁静的马
- 任性的父亲
- 玄机
- 哑口无言
- 大理诗国
- 缅怀
- 九月哦九月
- 无奈
- 穴位
- 诗歌
- 落日余晖
- 秋天的果实
- 假日玫瑰
- 生于玫瑰
- 你还爱着吗
- 小雪
- 我们
- 孕妇
- 但他说过
- 她是快乐的
- 悼诗
- 梦境
- 父亲啊,父亲
- 一张纸
- 不知道
- 我爱着你的虚无
- 送葬
- 何其相似
- 你未见过的二月
- 婚姻那根线
- 三月你见证了
- 四月离歌
- 这个季节
- 静默
- 清明的早晨
- 诗在暗处涌动
- 四月,最后的四月
- 快乐的母亲
- 阴瑜伽
- 坚持
- 初夏的午后
- 解脱
- 可以买卖的灵魂
- 晨练瑜伽及休息术
- 我生来就是飞翔之物
- 随之而去
- 一味柴胡
- 松赞林寺
- 转动的经筒
- 火把节
- 平常的日子
- 你是我的眼
- 文珍
- 诗与远方
- 你没见过
- 九月
- 哈哈,小小的口误
- 哈利·波特
- 午后的诗人
- 光源
- 光年,光年……
- 那该有多好
- 山鸟依依
- 刀刃
- 盛大
- 小鹿
- 卷三 天真之歌
- 禅泥
- 天堂与地狱
- 秋天
- 我的生活
- 梦话
- 无声
- 我爱你
- 说爱
- 云
- 哥哥,你不必忧伤
- 星火
- 向日葵
- 拾起就可以爱
- 一片树叶
- 生命如风
- 梦无痕
- 腊八节
- 昙花一现
- 秋后
- 马儿
- 它展开羽毛
- 遥远就这样形成了
- 我欣然接受
- 母亲
- 我的情诗
- 我坐在阳光下
- 我亲吻过的事物
- 我不再奢求什么
- 父亲
- 走,去大理
- 2020年清明
- 消失在光的盲点处
- 一个人的风景
- 白云深处
- 鸟儿在树枝上鸣唱
- 第三次看山楂树
- 声音
- 鱼儿
- 消失的泥
- 恩典
- 自我
- 清明
- 自律的人
- 在水一方
- 浅笑
- 因爱而活
- 上升时
- 因为春天
- 十四楼的女人
- 喝孟婆汤
- 庚子春月
- 春天的伤口
- 四月四日悼文亮
- 年初七,人日
- 神佑
- 要有光
- 2020年广州新年诗会
- 一池鱼
- 朗诵
- 恬静无为
- 尘埃落定
- 大地的儿子
- 牵着她的手
- 松雪梅
- 活着的正在腐烂
- 猫与瑜伽猫式
- 不再执着
- 年末
- 过去了的人
- 脱口而出
- 女人
FAQ
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About the author
Zhenzhen is an author about whom little public information is available. Three of the author's works are currently held in the library, touching on art, classical poetry, and modern poetry. The volume pairing the Dao De Jing with a hundred poems in cursive script shows an engagement with both the classical Daoist text and traditional verse, presented through the art of cursive calligraphy, indicating attention to the act of writing beyond reading alone. The Book of Songs · Nursery Rhymes turns to the early roots of classical poetry, approaching the classic through the form of children's rhymes and suggesting an effort to make traditional verse more accessible to readers. Judging from its title and its usual classification, the remaining work, Omissions, belongs to modern poetry and reflects the author's expression in a contemporary idiom. Taken together, Zhenzhen's writing moves across calligraphy, classical verse, and modern poetry; though the subjects vary, they all revolve around language and text. Because basic details such as dates of birth and death and nationality are not clearly recorded, the author's personal history cannot be introduced here, and readers may come to know the work mainly through the titles mentioned above.