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Book Description
From Haruki Murakami, internationally acclaimed author of The Wind-Up Bird Chronicle and Norwegian Wood, a work of literary journalism that is as fascinating as it is necessary, as provocative as it is profound.
In March of 1995, agents of a Japanese religious cult attacked the Tokyo subway system with sarin, a gas twenty-six times as deadly as cyanide. Attempting to discover why, Murakami conducted hundreds of interviews with the people involved, from the survivors to the perpetrators to the relatives of those who died, and Underground is their story in their own voices. Concerned with the fundamental issues that led to the attack as well as these personal accounts, Underground is a document of what happened in Tokyo as well as a warning of what could happen anywhere. This is an enthralling and unique work of nonfiction that is timely and vital and as wonderfully executed as Murakami’s brilliant novels.
From Publishers Weekly
On March 20, 1995, followers of the religious cult Aum Shinrikyo unleashed lethal sarin gas into cars of the Tokyo subway system. Many died, many more were injured. This is acclaimed Japanese novelist Murakami's (The Wind-Up Bird Chronicle, etc.) nonfiction account of this episode. It is riveting. What he mostly does here, however, is listen to and record, in separate sections, the words of both victims, people who "just happened to be gassed on the way to work," and attackers. The victims are ordinary people bankers, businessmen, office workers, subway workers who reflect upon what happened to them, how they reacted at the time and how they have lived since. Some continue to suffer great physical disabilities, nearly all still suffer great psychic trauma. There is a Rashomon-like quality to some of the tales, as victims recount the same episodes in slightly different variations. Cumulatively, their tales fascinate, as small details weave together to create a complex narrative. The attackers are of less interest, for what they say is often similar, and most remain, or at least do not regret having been, members of Aum. As with the work of Studs Terkel, which Murakami acknowledges is a model for this present work, the author's voice, outside of a few prefatory comments, is seldom heard. He offers no grand explanation, no existential answer to what happened, and the book is better for it. This is, then, a compelling tale of how capriciously and easily tragedy can destroy the ordinary, and how we try to make sense of it all. (May 1)Forecast: Publication coincides with the release of a new novel by Murakami (Sputnik Sweetheart, Forecasts, Mar. 19), and several national magazines, including Newsweek and GQ, will be featuring this fine writer. This attention should help Murakami's growing literary reputation.
From Library Journal
The deadly Tokyo subway poison gas attack, perpetrated by members of the Aum Shinrikyo cult on March 20, 1995, was the fulfillment of every urban straphanger's nightmare. Through interviews with several dozen survivors and former members of Aum, novelist Murakami (The Wind-Up Bird Chronicle) presents an utterly compelling work of reportage that lays bare the soul of contemporary Japan in all its contradictions. The sarin attack exposed Tokyo authorities' total lack of preparation to cope with such fiendish urban terrorism. More interesting, however, is the variety of reactions among the survivors, a cross-section of Japanese citizens. Their individual voices remind us of the great diversity within what is too often viewed from afar as a homogeneous society. What binds most of them is their curious lack of anger at Aum. Chilling, too, is the realization that so many Aum members were intelligent, well-educated persons who tried to fill voids in their lives by following Shoko Asahara, a mad guru who promised salvation through total subordination to his will. For all public and academic libraries. Steven I. Levine, Univ. of Montana, Missoula
From Booklist
After living abroad for eight years, novelist Murakami returned to Japan intent on gaining a deeper understanding of his homeland, a mission that took on an unexpected urgency in the aftermath of the Tokyo poison-gas attack in March 1995. Inspired by a letter to the editor from a woman whose husband survived the subway attack but suffered terrible aftereffects, Murakami set out to interview as many survivors as he could find who were capable of overcoming the Japanese reluctance to complain or criticize. With great sensitivity, insight, and respect, Murakami coaxed a remarkable group of people into describing their harrowing experiences aboard the five morning rush-hour trains on which members of the Aum Shinrikyo cult released deadly sarin gas. Unlike a journalist, Murakami doesn't force these searing narratives into tidy equations of cause and effect, good and evil, but rather allows contradictions and ambiguity to stand, thus presenting unadorned the shocking truth of the diabolical and brutal manner in which ordinary lives were derailed or destroyed. The most haunting aspect of these accounts is the eerie passivity of the passengers both during and after the assault, a phenomena echoed in Murakami's courageous interviews with Aum members, frank conversations that reveal the depth of these individuals' spiritual longings and the horror of their betrayal at the hands of their corrupt and insane leader. Shaped by his fascination with alternative worlds and humanity's capacity for both compassion and abomination, Murakami's masterful and empathic chronicle vividly articulates the lessons that should be learned from this tragic foray into chaos.
Donna Seaman
Book Dimension :
length: (cm)20.3 width:(cm)13.3
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原文赏析:
村上将奥姆真理教的封闭世界同伊斯兰原教旨主义世界加以比较,认为二者的共通之处在于:如果你有疑问,总会有人提供答案,只要你继续相信,就会一直很幸福。但在开放式的世界中,一切都是不完全的,有很多困惑和缺憾。“在大多数情况下我们都谈不上幸福,更多的反而是困惑和压力。但至少情况是开放式的。你有选择权,你可以决定你生活的方式…
在採訪時筆者首先提出的問題,是各個受採訪者的個人背景。在什麽地方出生,如何長大,有什麽興趣,從事什麽樣的工作,和什麼樣的家庭成員一起生活——這些事情。尤其對工作問得相當詳細。
像這樣採訪撥出許多時間和部分在被採訪者的個人背景上,是想讓每一位「被害者」的容貌細部都盡可能更明確真實地浮現出來。因為我不想讓每個活生生在那裡的肉身的人,只成為「沒有臉的許多被害者中的一個(one of them)」而敷衍了事。或許因為身為職業作家也有關係,我對「綜合性的、概念性的」資訊這東西不太感興趣。而只對每一個人具體的——不可能(難以)交換的——存在方式感到興趣。因此當我面對被採訪者時,在有限的兩小時左右之間,便集中精神試著努力更深入具體地去了解「這個人是什麽樣的人」,并希望依照原樣傳達給讀者,努力以這個基準化為文章。雖然實際上有很多是因為被採訪者的特殊內情而無法化為活字的。
我之所以採取這樣的態度採訪,是因為「加害者=奧姆關係者」每一個人的相貌和人物介紹(profile)都經由大眾傳播媒體的採訪而連細部都明確顯示出來,以一種魅惑性的資訊或故事向世間廣泛地傳播了;而相對地另一方面對處理「被害者=一般市民」的人物介紹(profile),卻像是一個模子定型了似的。其中所有的情況幾乎都只是在扮演被賦予的角色(「路人A」),極少提供人們會想要側耳傾聽的故事。而且那些少數的故事,也只是以被定型化的文脈述說。
或許那是因為一般大眾傳播媒體的文脈,是想將那些被害者以「受傷害的無辜一般市民」的形象確實地固定下來吧。如果更進一步說的話,那就是那些被害者沒有真實的臉,文脈比較容易展開。而且由於「(沒有臉的)健全市民」對「有臉的惡黨們」這種古典對比,畫面就容易畫得多了。
可能的話,我想盡可能打破這樣的固定公式。因為照理說那天早晨,搭地下鐵的每一位乘客,應該都各有臉、有生活、有人生、有家人、有歡喜、有煩惱、有戲...
我理解不了他们干的事。或许因为理解不了才恨不起来。
村上将奥姆真理教的封闭世界通伊斯兰教原教旨主义世界加以比较,认为两者的共通之处在于:如果你有疑问,总会有人提供答案,只要你继续相信,就会一直很幸福。但在开放式的世界中,一切都是不完全的,有很多困惑和缺憾。
当今最为可怕的,就是由特定的主义、主张造成的类似‘精神囚笼’那样的东西。多数人需要那样的框架,没有了就无法忍受。……。“因此,村上认定【物语】必须是对抗体制及其造成的”精神囚笼“的武器。
当时没有人说“好奇怪”或者问“是否感觉呼吸困难”什么的吗?我想大家都应该感觉有些异样才是……
毒蝇碱作用,即有机磷中毒。
在这种集体灾难中最重要的是“伤病员鉴别分类”,也就是为患者安排治疗顺序。
其它内容:
书籍介绍
在线阅读本书
Book Description
From Haruki Murakami, internationally acclaimed author of The Wind-Up Bird Chronicle and Norwegian Wood, a work of literary journalism that is as fascinating as it is necessary, as provocative as it is profound.
In March of 1995, agents of a Japanese religious cult attacked the Tokyo subway system with sarin, a gas twenty-six times as deadly as cyanide. Attempting to discover why, Murakami conducted hundreds of interviews with the people involved, from the survivors to the perpetrators to the relatives of those who died, and Underground is their story in their own voices. Concerned with the fundamental issues that led to the attack as well as these personal accounts, Underground is a document of what happened in Tokyo as well as a warning of what could happen anywhere. This is an enthralling and unique work of nonfiction that is timely and vital and as wonderfully executed as Murakami’s brilliant novels.
From Publishers Weekly
On March 20, 1995, followers of the religious cult Aum Shinrikyo unleashed lethal sarin gas into cars of the Tokyo subway system. Many died, many more were injured. This is acclaimed Japanese novelist Murakami's (The Wind-Up Bird Chronicle, etc.) nonfiction account of this episode. It is riveting. What he mostly does here, however, is listen to and record, in separate sections, the words of both victims, people who "just happened to be gassed on the way to work," and attackers. The victims are ordinary people bankers, businessmen, office workers, subway workers who reflect upon what happened to them, how they reacted at the time and how they have lived since. Some continue to suffer great physical disabilities, nearly all still suffer great psychic trauma. There is a Rashomon-like quality to some of the tales, as victims recount the same episodes in slightly different variations. Cumulatively, their tales fascinate, as small details weave together to create a complex narrative. The attackers are of less interest, for what they say is often similar, and most remain, or at least do not regret having been, members of Aum. As with the work of Studs Terkel, which Murakami acknowledges is a model for this present work, the author's voice, outside of a few prefatory comments, is seldom heard. He offers no grand explanation, no existential answer to what happened, and the book is better for it. This is, then, a compelling tale of how capriciously and easily tragedy can destroy the ordinary, and how we try to make sense of it all. (May 1)Forecast: Publication coincides with the release of a new novel by Murakami (Sputnik Sweetheart, Forecasts, Mar. 19), and several national magazines, including Newsweek and GQ, will be featuring this fine writer. This attention should help Murakami's growing literary reputation.
From Library Journal
The deadly Tokyo subway poison gas attack, perpetrated by members of the Aum Shinrikyo cult on March 20, 1995, was the fulfillment of every urban straphanger's nightmare. Through interviews with several dozen survivors and former members of Aum, novelist Murakami (The Wind-Up Bird Chronicle) presents an utterly compelling work of reportage that lays bare the soul of contemporary Japan in all its contradictions. The sarin attack exposed Tokyo authorities' total lack of preparation to cope with such fiendish urban terrorism. More interesting, however, is the variety of reactions among the survivors, a cross-section of Japanese citizens. Their individual voices remind us of the great diversity within what is too often viewed from afar as a homogeneous society. What binds most of them is their curious lack of anger at Aum. Chilling, too, is the realization that so many Aum members were intelligent, well-educated persons who tried to fill voids in their lives by following Shoko Asahara, a mad guru who promised salvation through total subordination to his will. For all public and academic libraries. Steven I. Levine, Univ. of Montana, Missoula
From Booklist
After living abroad for eight years, novelist Murakami returned to Japan intent on gaining a deeper understanding of his homeland, a mission that took on an unexpected urgency in the aftermath of the Tokyo poison-gas attack in March 1995. Inspired by a letter to the editor from a woman whose husband survived the subway attack but suffered terrible aftereffects, Murakami set out to interview as many survivors as he could find who were capable of overcoming the Japanese reluctance to complain or criticize. With great sensitivity, insight, and respect, Murakami coaxed a remarkable group of people into describing their harrowing experiences aboard the five morning rush-hour trains on which members of the Aum Shinrikyo cult released deadly sarin gas. Unlike a journalist, Murakami doesn't force these searing narratives into tidy equations of cause and effect, good and evil, but rather allows contradictions and ambiguity to stand, thus presenting unadorned the shocking truth of the diabolical and brutal manner in which ordinary lives were derailed or destroyed. The most haunting aspect of these accounts is the eerie passivity of the passengers both during and after the assault, a phenomena echoed in Murakami's courageous interviews with Aum members, frank conversations that reveal the depth of these individuals' spiritual longings and the horror of their betrayal at the hands of their corrupt and insane leader. Shaped by his fascination with alternative worlds and humanity's capacity for both compassion and abomination, Murakami's masterful and empathic chronicle vividly articulates the lessons that should be learned from this tragic foray into chaos.
Donna Seaman
Book Dimension :
length: (cm)20.3 width:(cm)13.3
精彩短评:
作者:四正子 发布时间:2011-10-23 10:51:38
柯林斯是朋友的推荐的。作为大学生得我还是比较喜欢的。但是有些单词的解释过于学术化。不是一看就懂的。虽然是整句翻译的。但对英语水平的提高还是很好的
作者:Esaka 发布时间:2014-03-24 11:27:05
结尾部分的叩问非常有力量。
作者:狐梨酱 发布时间:2016-10-24 20:56:34
本书第一部分是对幸存者的采访,故事虽然令人震撼但都大同小异。第二部分对Aum Cult成员的采访则有趣得多,这些人都是极为聪明又喜爱思考的人,他们在这个世界中格格不入,对着人生和社会有着独特的看法。读的时候既是有些猎奇地想看“他们为什么会那么想”,又惊叹于他们对人生、哲学和宗教的看法。最令人惊奇的是,Aum的初始教义完全建立在佛教中,而成员们都在人生某个时刻想过要“retire from the world”。佛教的“无我”,放弃attachments,和“万念皆苦”恐怕也是我现在对其感到疏离的最大原因,对我来说,有什么比爱和幸福的感觉更重要的东西呢?也许我就跟Leon一般,终其一生不过是在找寻attachments,可以放下我的根。大概哲学和宗教也如同绝世武功,一不小心就容易走火入魔。
作者:Alci 发布时间:2015-11-10 15:59:58
Logic, especially in language, is unreliable. If one's goal relies on a perfectly sound logical system, they could commit something horrible. Maybe, only maybe, the guidance could be humanism, but still, science, technology, or other human endeavors can go very wrong when only guided by logic.
作者:天天 发布时间:2012-03-15 19:29:19
Pain is invisible and known only to the sufferer
作者:李戴斯 发布时间:2014-11-11 11:48:57
覺得我在causes of war 這樣的課上必須要讀村上春樹也是醉了......教授說讓你們學習一下如何在寫research log時寫出鮮活的“人”....於是在總想翹課的星期二我讀著讀着,心裡像吞了好大一口芥末。
深度书评:
《地下》书评:如果没有“物语”
作者:鸢都依然 发布时间:2012-02-12 20:34:15
原文发表于博客:
http://mynewslab.com/2012/underground
作为村上春树长期读者,我偶然知道《地下》这本书,还是在不经意间打开卓越网的微博时看到的。这本书的小众显而易见,在豆瓣上,读过这本书的只有577人,而其最新小说“1Q84”系列,读者的零头都比这个数字大。畅销书作家如村上,当然知道写什么样的东西才会有人买账,耗时一年多采写一本不会畅销的书,其实是在表达他的价值取向。
东京地铁沙林案在国内也颇有名气,最大的原因应是当年反对某邪教的时候,媒体不断提及他国邪教组织的危害,而奥姆真理教是被提到最多的之一。村上作为一个小说家,写纪实作品也独有一套,值得新闻记者认真研读。例如,关于这一事件,村上有几段极为精彩的开头,将其时间、地点、残忍程度展现的淋漓尽致:
“时间是一九九五年三月二十日,星期一。一个令人心旷神怡的晴朗的初春早晨。昨天是星期日,明天春分休息,即连休的“山谷”。也许你心想今天也休息多好。但遗憾的是,由于种种缘由你无法请假休息。
这样,你在平日那个时刻睁开眼睛,洗脸,吃早餐,穿上西服走去车站,像往常那样钻进拥挤的地铁上班。平平常常的一如平日的清晨,人生中无从区别的普普通通的一天。
在五个化装男子将用研磨机磨尖的伞杆尖头捅进装有奇妙液体的塑料袋之前……”
事实上,正是这几段打动我买这本书的。作为新闻专业的学生,当然长期关注非虚构写作,读过的作品也有一些,但即使看过最好的特稿,也没有这样的力度,将这世界最美丽的一面,寥寥数语,转化为最残酷的可能性。这几段是本书“写在前面”部分的结尾,随后就是干净利落的当事人讲述。
讲述分为五部分,分别是被投放沙林的五条地铁线路,“千代田线”、“丸之内线(开往荻洼)”、“丸之内线(开往池袋/区间车)”、“日比谷线(中目黑始发)”、“日比谷线(北千住始发,开往中目黑)”。最后呈现在树上的有60位当事人,包括受害者、地铁员工、医生、受害者家属等多类,如果从新闻角度看,少了官方信源,不过作家并没有义务去呈现官方说法,他的选择也是一种价值取向的体现。
村上春树称这种写作方式为非文学写作(nonfiction),但从实际的写作来看,还是难以摆脱一个作家的影子,他没能让自己从作品中隐遁,将采访到的事实本身呈现给读者,当然,那是新闻记者应该做的事情。村上是一个足够好的小说家,这使得此书有别于一般非虚构写作——故事性特别强,每个事件都有一个大概的故事线,隐约现于读者脑中,如果翻书够快,在每一条地铁线路的当事人讲述中,似乎能看到他们的生命在某一刻串成一条歪歪扭扭的线,谁也不能逃脱,改变就此降临。村上将这种写作方式称作“物语”,顾名思义,就是故事,一个个真实发生的故事,看上去媒体记者也有能力获得,但作家的采访和观察,却使其力透纸背,刀刀刻在日本这个国家上,他几乎要用后记来呐喊:我的祖国是怎样一个国家?
这样的问题当然不能用一本书来解答,事实上,这本书有更多的野心。村上意图在书里寻找,那五个化装男子为何残忍至斯,他们明明是普通的日本人,甚至不乏才华横溢的精英人士。让一个普通人放弃自己,去做一件需要极力挣扎的错事,需要多么强大的精神力量?
村上显然认为,这也要用“物语”来解释,作为个体,在这个世界上总需要排解孤独,需要自己扮演自己的主客体,为自己制造故事,自己享用这个故事,正常情况下,相安无事。但是,有没有这样一种情况,一个人不能为自己制造这样的故事,怎么办?
故事乃是人存在于这世界上,被大大低估的范畴。这世界上传播的方法有千万种,但绝大多数有目的性的传播,究其根本,只不过是在传递一个故事,故事讲的好坏,直接决定传播是否是成功的。这样说虽然武断,但其道理不言自明,人就是这样一种动物。小说家之强于记者,也在于此。
恰恰日本就有相当一大批人,制造不出属于自己的故事。这种情况下,只有一条路可以走,那就是诉诸他人所提供的“物语”,将自我同化为他人的“自我”,这种情况下,狂热的、简单的、教义独特的、能给人心理以充实与满足的“物语”,将是最受欢迎的,因为没有自我的人,其焦虑程度不是一般人可想象,所以其日后的狂热程度也会令人瞠目结舌。
这些都是村上春树想要探讨的日本,这样的日本才是他觉得没能了解的。借助于媒体的报道,关于这个国家的表象,他时时刻刻关注,但这个号称最安全的国家,何以酝酿出最惨的悲剧,却是他始料未及的。得益于小说家的敏锐观察,他在一年勤勉的采访后,终于找到了自己的答案。
这个结论对他的影响没有在书出版后停止,熟读他作品的读者知道,“1Q84”系列里,也有一个神秘的组织,那个组织也对人进行了精神控制,并使世界走向了一个全新的1Q84年。
村上所担忧的精神控制,有别于一般讨论的范畴,他忧心一个国家的人民没有了为自己制造“物语”的机会,也就有了被控制的可能性。而这种现状的出现,不得不归罪于体制。一个社会管理的高度发达,高度成熟,使得不适合这个社会的人感到痛苦。如果能将这种痛苦交付出去,便可以不用再付出痛苦思索的代价,获得真正的惬意。而精神上的愉悦才是人生真正的愉悦,为了这个,忠实的信徒们足以放弃一切,所以,无论社会教化付出多大的努力,教徒曾是怎样的精英,在面临扎不扎破沙林袋子这个问题上,尽管他们都曾有过犹疑不定,最终,再强大的伦理、道德、法律标准,都没能阻挡他们的脚步。
聪明的你,如果将这一切逻辑和分析,切换到你所身处的土地,试试看可以不可以。
为每一个人的人生所折服
作者:门柱 发布时间:2011-10-20 16:31:48
1995年3月20日奥姆真理教制造的东京地铁沙林毒气事件之后9个月,村上春树开始了这个为期一年的项目:尽可能地采访这一事件的亲历者,将他们的讲述写下来集结成册,名为《地下》。
2008年有一部电影叫《二十四城记》,副题是“中国工人访谈录”,讲述了国企转制中的个人历史与遭遇。看过这部作品的人可能还记得,吕丽萍等职业演员的表演是多么苍白而拙劣,而与之相比,那些来自真正下岗工人的叙述和影像又具有着多么大的力量。《地下》是一部更有分量的作品,比《二十四城记》的真实部分还沉,村上春树的62个采访对象,诉说的不是历史,而是一个令人类惊慌失措、让社会意义产生重大疑问的瞬间。
村上春树在采访之初,就立志避免像媒体报道一样只传达“事实的假面”,而是力图能原封不动地采用原装话语。我们相信村上,因为他诚实,并且对人类潜意识中习惯的漠视与伤害怀有警惕,所以书中不只是成为植物人但仍积极康复的明石志津子、已故的和田荣二的家人等重度受害者的故事痛彻心扉,其他人即便平常的回忆,在纤毫毕现的过往背景和被毒气事件改变之后的人生轨迹对照中,也不动声色地拥有了巨大的密度。村上春树说:“我为每一个人的人生、为每一句出口的话语所折服,实在无可抗阻。人这东西、人生这东西,凝眸细看之下,原来竟各有各的深奥,我不能不为之心悦诚服,甚至对其深度感慨万端。”诚哉斯言。
很多人会低估作为小说家的村上春树写作这部纪实类作品的意义,也许会认为它太具象、太依仗时代背景、是一起突发的意外事件、无关人类困境之宏旨。但实际上《地下》至少在哲学、生活、文学三个层面都有很重要的意义。
《地下》比虚构类作品更直接地体现了村上春树的世界观,用他自己的话叫“共有一种对照双面镜式的影像”。记得《挪威的森林》中那句著名的话吧:“死并非生的对立面,而作为生的一部分永存”——1987年尚显混沌的村上哲学,偶然间借助这样一句话冒出了头。而到了《地下》时期,他更多进行了直接思辨,对同时存在于“异质世界”与“同质世界”的暴力,对体制对人的异化与重构,对自身与他者、体制和人性关系的思索都前所未有地清晰。而他后来惯为使用的双线写作,也是这一世界观的微观表现。
在生活方面,《地下》提示每一位读者对于这样的都市灾难、作为“现代病肿瘤”的恐怖犯罪应有预判意识。体制对人的改变令人惊讶,在遭遇极不寻常的状况时,书中真实地记录到有不计其数的被采访者说自己当时“满脑子只是一定要去上班”“非要去买牛奶不可”“今天要是迟到公司怕是要垮掉”,从而耽误了宝贵的逃跑时间。被采访的初岛诚人对此做了一些思索:“我这才体会到,人这东西,如果没有足够的预见性依据,仅凭瞬间的判断无论如何是不行的”。即便只作为防灾经验手册,你也能从前车之鉴中学到很多东西。
至于文学,村上春树写作此书的主要愿望是用文字形式还原每一个人的口述,而他本人完全创作的对每个采访人的简介,那短短800字的白描仍极见功力。若想做小说家,去观察和接触别人,去练习仅仅依靠自己的灵魂、而非读者的需求或利益的驱使而描写,这会是一条辛苦但具有本质性帮助的路。但也诚如村上春树的自省:“我不得不再次认真地深入思考自己的语言这个东西的价值”。是的,当真的抛弃臆想、直面人生时,不知你还会不会觉得文字对这个世界是有作用的。
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