Sister Carrie嘉莉妹妹 [平裝] 下載 mobi epub pdf 電子書 2025

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Theodore Dreiser（西奧多·德萊塞） 著

圖書標籤:

• 美國文學
• 現實主義
• 自然主義
• 小說
• 女性文學
• 社會批判
• 道德
• 貧富差距
• 城市生活
• 經典文學

齣版社： Random House

ISBN：9780553213744

版次：1

商品編碼：19017095

包裝：平裝

齣版時間：1982-01-01

用紙：膠版紙

頁數：409

正文語種：英文

商品尺寸：17.27x10.41x2.79cm;0.25kg

編輯推薦

Theodore Dreiser had a hardscrabble youth and the years of newspaper work behind him when he began his first novel, Sister Carrie, the story of a beautiful Midwestern girl who makes it big in New York City. Published by Doubleday in 1900, it gained a reputation as a shocker, for Dreiser had dared to give the public a heroine whose "cosmopolitan standard of virtue" brings her from Wisconsin, with four dollars in her purse, to a suite at the Waldorf and glittering fame as an actress. With Sister Carrie, the original manuscript of which is in the New York Public Library collections, Dreiser told a tale not "sufficiently delicate" for many of its first readers and critics, but which is now universally recognized as one of the greatest and most influential American novels.

內容簡介

Story follows young Carrie, who is unable to make it in the big city, and who becomes the mistress of a married man in return for material possessions. Reissue.

作者簡介

Theodre Dreiser was born into a large and impoverished German American family in Terre Haute, Indiana, in 1871. He began his writing career as a reporter, working for newspapers in Chicago. Pittsburg, and St. Louis, until an editor friend, Arthur Henry, suggested he write a novel. The result was Sister Carrie, based on the life of Dreiser's own sister Emma, who had run off to New York with a married man. Rejected by several publishers as "immoral", the book was finally accepted by Doubleday and Company, and published–over Frank Doubleday's strong objections–in 1900.

Numerous cuts and changes had been made in the lengthy original manuscript by various hands, including those of Arthur Henry, Dreiser himself. Later, when given to mythologizing his career, Dreiser was to suggest that the publishing history of Sister Carrie had been one of bowdlerization and suppression only; but the publication of his unedited manuscript by the University of Pennsylvania Press in 1981 shows that Dreiser approved and even welcomed Henry's and Jug's alterations. (Whether the book was ultimately improved or compromised by their liberal editing is a fascinating and as yet unresolved issue among Dreiser scholars.) Sister Carrie sold poorly, but writers like Frank Norris and William Dean Howells saw it as a breakthrough in American realism, and Dreiser's career as a novelist was launched.

The Financer (1912) and The Titan (1914) began his trilogy about the rise of a tycoon, but it was An American Tragedy (1925), based on newspaper accounts of a sensational murder case, which brought him fame. The novel was dramatized on Broadway and sold to Hollywood. Newly influential and affluent, Dreiser visited Russia and was unimpressed, describing his observations in the skeptical Dreiser Looks at Russia (1928). In later years, however, he became an ardent (through unorthodox) Communist, writing political Treatises such as America Is Worth Saving (1941) His artistic powers on the wane, Dreiser moved to Hollywood in 1939 and supported himself largely by the sale of film rights of his earlier works. He dies there, in 1945, at the age of seventy-four.

精彩書摘

When caroline meeber boarded the afternoon train for Chicago, her total outfit consisted of a small trunk, a cheap imitation alligator-skin satchel, a small lunch in a paper box, and a yellow leather snap purse, containing her ticket, a scrap of paper with her sister's address in Van Buren Street, and four dollars in money. It was in August, 1889. She was eighteen years of age, bright, timid, and full of the illusions of ignorance and youth. Whatever touch of regret at parting characterized her thoughts, it was certainly not for advantages now being given up. A gush of tears at her mother's farewell kiss, a touch in her throat when the cars clacked by the flour mill where her father worked by the day, a pathetic sigh as the familiar green environs of the village passed in review, and the threads which bound her so lightly to girlhood and home were irretrievably broken.

To be sure there was always the next station, where one might descend and return. There was the great city, bound more closely by these very trains which came up daily. Columbia City was not so very far away, even once she was in Chicago. What, pray, is a few hours—a few hundred miles? She looked at the little slip bearing her sister's address and wondered. She gazed at the green landscape, now passing in swift review, until her swifter thoughts replaced its impression with vague conjectures of what Chicago might be.

When a girl leaves her home at eighteen, she does one of two things. Either she falls into saving hands and becomes better, or she rapidly assumes the cosmopolitan standard of virtue and becomes worse. Of an intermediate balance, under the circumstances, there is no possibility. The city has its cunning wiles, no less than the infinitely smaller and more human tempter. There are large forces which allure with all the soulfulness of expression possible in the most cultured human. The gleam of a thousand lights is often as effective as the persuasive light in a wooing and fascinating eye. Half the undoing of the unsophisticated and natural mind is accomplished by forces wholly superhuman. A blare of sound, a roar of life, a vast array of human hives, appeal to the astonished senses in equivocal terms. Without a counselor at hand to whisper cautious interpretations, what falsehoods may not these things breathe into the unguarded ear? Unrecognized for what they are, their beauty, like music, too often relaxes, then weakens, then perverts the simpler human perceptions.

Caroline, or Sister Carrie, as she had been half affectionately termed by the family, was possessed of a mind rudimentary in its power of observation and analysis. Self-interest with her was high, but not strong. It was, nevertheless, her guiding characteristic. Warm with the fancies of youth, pretty with the insipid prettiness of the formative period, possessed of a figure promising eventual shapeliness and an eye alight with certain native intelligence, she was a fair example of the middle American class—two generations removed from the emigrant. Books were beyond her interest—knowledge a sealed book. In the intuitive graces she was still crude. She could scarcely toss her head gracefully. Her hands were almost ineffectual. The feet, though small, were set flatly.

And yet she was interested in her charms, quick to understand the keener pleasures of life, ambitious to gain in material things. A half-equipped little knight she was, venturing to reconnoiter the mysterious city and dreaming wild dreams of some vague, far-off supremacy, which should make it prey and subject—the proper penitent, groveling at a woman's slipper.

"That," said a voice in her ear, "is one of the prettiest little resorts in Wisconsin."

"Is it?" she answered nervously.

The train was just pulling out of Waukesha. For some time she had been conscious of a man behind.

She felt him observing her mass of hair. He had been fidgeting, and with natural intuition she felt a certain interest growing in that quarter. Her maidenly reserve, and a certain sense of what was conventional under the circumstances, called her to forestall and deny this familiarity, but the daring and magnetism of the individual, born of past experiences and triumphs, prevailed. She answered.

He leaned forward to put his elbows upon the back of her seat and proceeded to make himself volubly agreeable.

"Yes, that is a great resort for Chicago people. The hotels are swell. You are not familiar with this part of the country, are you?"

"Oh, yes, I am," answered Carrie. "That is, I live at Columbia City. I have never been through here, though."

"And so this is your first visit to Chicago," he observed.

All the time she was conscious of certain features out of the side of her eye. Flush, colorful cheeks, a light moustache, a gray fedora hat. She now turned and looked upon him in full, the instincts of self-protection and coquetry mingling confusedly in her brain.

"I didn't say that," she said.

"Oh," he answered, in a very pleasing way and with an assumed air of mistake, "I thought you did."

Here was a type of the traveling canvasser for a manufacturing house—a class which at that time was first being dubbed by the slang of the day "drummers." He came within the meaning of a still newer term, which had sprung into general use among Americans in 1880, and which concisely expressed the thought of one whose dress or manners are calculated to elicit the admiration of susceptible young women—a "masher." His suit was of a striped and crossed pattern of brown wool, new at that time, but since become familiar as a business suit. The low crotch of the vest revealed a stiff shirt bosom of white and pink stripes. From his coat sleeves protruded a pair of linen cuffs of the same pattern, fastened with large, gold plate buttons, set with the common yellow agates known as "cat's-eyes." His fingers bore several rings—one, the ever-enduring heavy seal—and from his vest dangled a neat gold watch chain, from which was suspended the secret insignia of the Order of Elks. The whole suit was rather tight-fitting, and was finished off with heavy-soled tan shoes, highly polished, and the gray fedora hat. He was, for the order of intellect represented, attractive, and whatever he had to recommend him, you may be sure was not lost upon Carrie, in this, her first glance.

Lest this order of individual should permanently pass, let me put down some of the most striking characteristics of his most successful manner and method. Good clothes, of course, were the first essential, the things without which he was nothing. A strong physical nature, actuated by a keen desire for the feminine, was the next. A mind free of any consideration of the problems or forces of the world and actuated not by greed, but an insatiable love of variable pleasure. His method was always simple. Its principal element was daring, backed, of course, by an intense desire and admiration for the sex. Let him meet with a young woman once and he would approach her with an air of kindly familiarity, not unmixed with pleading, which would result in most cases in a tolerant acceptance. If she showed any tendency to coquetry he would be apt to straighten her tie, or if she "took up" with him at all, to call her by her first name. If he visited a department store it was to lounge familiarly over the counter and ask some leading questions. In more exclusive circles, on the train or in waiting stations, he went slower. If some seemingly vulnerable object appeared he was all attention—to pass the compliments of the day, to lead the way to the parlor car, carrying her grip, or, failing that, to take a seat next her with the hope of being able to court her to her destination. Pillows, books, a footstool, the shade lowered; all these figured in the things which he could do. If, when she reached her destination he did not alight and attend her baggage for her, it was because, in his own estimation, he had signally failed.

A woman should some day write the complete philosophy of clothes. No matter how young, it is one of the things she wholly comprehends. There is an indescribably faint line in the matter of a man's apparel which somehow divides for her those who are worth glancing at and those who are not. Once an individual has passed this faint line on the way downward he will get no glance from her. There is another line at which the dress of a man will cause her to study her own. This line the individual at her elbow now marked for Carrie. She became conscious of an inequality. Her own plain blue dress, with its black cotton tape trimmings, now seemed to her shabby. She felt the worn state of her shoes.

"Let's see," he went on, "I know quite a number of people in your town. Morgenroth the clothier and Gibson the dry goods man."

"Oh, do you?" she interrupted, aroused by memories of longings their show windows had cost her.
At last he had a clue to her interest, and followed it deftly. In a few minutes he had come about into her seat. He talked of sales of clothing, his travels, Chicago, and the amusements of that city.

"If you are going there, you will enjoy it immensely. Have you relatives?"

"I am going to visit my sister," she explained.

"You want to see Lincoln Park," he said, "and Michigan Boulevard. They are putting up great buildings there. It's a second New York—great. So much to see—theaters, crowds, fine houses—oh, you'll like that."

There was a little ache in her fancy of all he described. Her insignificance in the presence of so much magnificence faintly affected her. She realized that hers was not to be a round of pleasure, and yet there was something promising in all the material prospect he set forth. There was so...

《繁華落盡：一個時代的女性浮沉錄》 內容簡介： 這部宏大的敘事跨越瞭二十世紀初美國中西部小鎮的淳樸與芝加哥、紐約等大都市的霓虹閃爍，深入剖析瞭在社會結構劇烈變動時期，幾位背景迥異的女性在追逐“美國夢”過程中的掙紮、蛻變與最終的命運抉擇。故事並非聚焦於單一的個體冒險，而是通過多條交織的命運綫索，編織瞭一幅關於欲望、階級、道德邊界與自我救贖的時代畫捲。 故事的中心圍繞著兩股截然不同的力量展開：一種是對物質豐裕與社會地位的渴望，另一種則是對精神獨立與道德堅守的執著。 第一部分：西部的幻夢與東部的召喚 故事始於伊利諾伊州一個被農田環繞的小鎮。艾米莉亞·霍爾，一個齣身於虔誠卻略顯保守傢庭的年輕女子，擁有一雙對外界充滿好奇的眼睛。她目睹瞭小鎮生活的單調與局限，內心深處渴望著更廣闊的天地——那些在報紙上描繪的、充滿機遇的、鋼筋水泥構築的城市奇跡。艾米莉亞的錶姐，貝蒂絲，幾年前逃離瞭相似的環境，如今在芝加哥一傢小型百貨公司做著體麵的職位，寄迴的信件中充滿瞭對新生活的贊美，盡管言辭中總隱約透露齣一絲不易察覺的焦慮。 艾米莉亞的哥哥，托馬斯·霍爾，一個野心勃勃的年輕人，篤信“隻要努力，一切皆可爭取”，他選擇瞭一條看似更直接的道路——商業投機。他將全部積蓄投入到一項聲稱能帶來巨大利潤的房地産預售計劃中，堅信自己能迅速躋身上流社會。他的自信與魯莽，為傢族未來的動蕩埋下瞭伏筆。 在傢庭的壓力與對“更好生活”的憧憬下，艾米莉亞最終說服瞭猶豫不決的父母，以“探親與學習”的名義，登上瞭開往芝加哥的火車。她帶來的，是一個被理想化濾鏡包裹的夢想。 第二部分：鋼鐵叢林中的角色定位 抵達芝加哥後，艾米莉亞立刻感受到瞭這座城市的巨大反差。一方麵，是宏偉的建築、繁忙的街道和琳琅滿目的商品；另一方麵，是擁擠的貧民窟、不公的薪資和無情的競爭。 她首先找到瞭貝蒂絲。貝蒂絲的生活比想象中要復雜得多。她確實在一傢體麵的商店工作，但她所處的社會階層依舊脆弱，一個錯誤的選擇或一場突發的疾病都可能使她重新跌落。貝蒂絲結識瞭當地一傢小有名氣的酒店經理——理查德·哈珀。哈珀是一個圓滑世故、深諳人情世故的商人，他給予貝蒂絲的，是她從未體驗過的物質享受和對高層社交圈的短暫接觸，但這份“恩惠”的背後，是無形的契約與失去的自主權。 艾米莉亞最初在一傢餐館找到瞭零工，但這份工作對她精神上的摺磨遠大於體力上的消耗。她目睹瞭形形色色的顧客，看到瞭金錢如何輕易地塑造他人的行為模式。她試圖保持自己的純真，拒絕瞭餐館老闆提齣的“特殊服務”要求，這讓她失去瞭那份微薄的收入。 在極度睏窘之時，她遇到瞭塞繆爾·溫斯頓，一位從東部搬遷而來的、較為溫和的中年商人。溫斯頓對艾米莉亞的正直和尚未被城市磨損的特質産生瞭憐憫與愛慕。他嚮艾米莉亞提供瞭一個庇護所——一間位於城市相對安靜街區的公寓，並承諾會幫助她尋找一份更符閤她氣質的工作。在溫斯頓的關懷下，艾米莉亞開始接觸到閱讀、藝術和更深層次的談話，她的精神世界獲得瞭滋養，但她與溫斯頓的關係始終停留在一種依賴與保護的界限上。 第三部分：欲望的代價與托馬斯的沉淪 與此同時，托馬斯·霍爾的商業投機以災難告終。他所投資的房地産項目被證實是一場精心策劃的騙局，他不僅失去瞭所有積蓄，還背負瞭巨額債務。在羞愧和絕望中，他聽從瞭貝蒂絲的建議，為瞭快速“翻身”，他鋌而走險，捲入瞭一場涉及公司內部信息的非法人交易中。 貝蒂絲對理查德·哈珀的依賴日益加深，她發現自己無法離開哈珀提供的奢華生活，哪怕這意味著她必須犧牲尊嚴去維護哈珀的社交形象。她對艾米莉亞的“清高”感到不解和一絲嫉妒，認為艾米莉亞擁有瞭她自己從未敢於追求的純粹，卻又瞧不起她所選擇的務實道路。 艾米莉亞在溫斯頓的幫助下，進入瞭一傢小型齣版社擔任校對和助理。她展現齣瞭驚人的工作能力和對文學的熱情。然而，隨著她社會地位的提升，她對溫斯頓的感情變得復雜。她感激他，但她也意識到，自己與他之間存在著明顯的權力與財富差距，她渴望的是一種完全平等的夥伴關係，而非被庇護。 第四部分：紐約的幻影與人生的十字路口 數年後，城市格局再次變化。托馬斯因其非法交易暴露，在芝加哥聲名狼藉，他被迫逃往紐約，試圖在更龐大的金融市場中重新開始，他變得比以往任何時候都更加冷酷和務實。 艾米莉亞的事業蒸蒸日上，她拒絕瞭溫斯頓的求婚，她知道，要真正成為自己想成為的人，她必須離開這個舒適的牢籠，去更大的舞颱證明自己。她收拾行裝，帶著她在芝加哥積纍的聲譽和能力，前往紐約。 在紐約，艾米莉亞遇到瞭托馬斯。此時的托馬斯已經通過一係列冷酷的商業運作，成為瞭一名小有名氣的金融經紀人。他看到瞭艾米莉亞的成熟和潛力，試圖用金錢和地位來重建他們兄妹的關係，但艾米莉亞對他過去的逃避和當前的虛僞保持著距離。 在紐約的社交圈中，艾米莉亞遇到瞭一位受人尊敬的作傢和評論傢——愛德華·馬修斯。馬修斯代錶瞭艾米莉亞一直嚮往的精神世界。他們的交往是基於智識的平等和相互欣賞。然而，在紐約這座以財富論高下的城市裏，單純的精神契閤顯得異常單薄。艾米莉亞麵臨著人生中最為艱難的抉擇：是選擇馬修斯所代錶的、充滿道德光環卻物質清貧的精神世界，還是選擇一個能提供穩定與社會認可的、更現實的依靠？ 結局的沉思： 故事並未給齣一個簡單的“好人有好報”的結局。貝蒂絲最終因無法承受哈珀的控製和外界的壓力，在一次社交醜聞中徹底被上流社會排斥，她失去瞭所有的物質支撐，不得不依靠自己曾經鄙視的手段艱難維生。托馬斯雖然在金融界站穩瞭腳跟，但他的靈魂早已被貪婪吞噬，他是一個成功的商人，卻是一個孤獨的人。 艾米莉亞站在曼哈頓的摩天大樓頂端，迴望她走過的泥濘小路。她沒有選擇安逸，也沒有完全沉溺於財富。她利用自己在芝加哥積纍的經驗和在紐約磨練齣的敏銳洞察力，創立瞭自己的文化工作室，專注於推廣那些被主流忽視的、具有深遠意義的作品。她最終找到瞭屬於自己的平衡點——一種基於自我成就而非依附他人的獨立性。 本書通過這些人物的命運流轉，探討瞭在工業化和城市化浪潮中，女性如何定義“成功”與“幸福”的悖論。它深刻地揭示瞭：當舊有的道德約束崩塌，物質誘惑無處不在時，個體究竟需要付齣多大的代價，纔能在繁華落盡之後，真正認識並安放自己的靈魂。這是一部關於美國精神的肖像，一麯關於生存與自我塑造的時代挽歌。

評分☆☆☆☆☆

我必須承認，這本書的結構和敘事節奏與我以往讀過的大部分小說風格迥異。它不是那種情節驅動、緊湊刺激的類型，而更像是一幅徐徐展開的社會風俗畫捲，需要讀者投入耐心去品味其中的細節和肌理。作者對場景的鋪陳極為講究，每一個咖啡館、每一間齣租屋、每一場舞會的細節，都承載著特定的社會意義。這種詳盡的描繪，極大地增強瞭故事的真實感和沉浸感，讓人感覺自己不是在讀一個虛構的故事，而是在翻閱一本塵封的舊日記錄。書中幾條主要人物綫索交織在一起，看似鬆散，實則暗含著精密的呼應和對比，體現瞭作者高超的布局能力。尤其是不同階層人物命運軌跡的對照，令人唏噓不已。閱讀過程更像是一場漫長的觀察，觀察人在特定環境下如何被塑形、被扭麯，又如何努力地尋找立足之地。對於那些偏愛內省式、注重氛圍營造的文學愛好者來說，這無疑是一場豐盛的盛宴。

評分☆☆☆☆☆

這本書最令人稱道之處，在於其對“現代性”的捕捉和演繹。那種從鄉村到城市的巨大文化衝擊，那種在物質主義浪潮中精神的迷失與重建，被作者描繪得淋灕盡緻。我仿佛能聞到蒸汽時代工廠排齣的煤煙味，感受到摩天大樓玻璃幕牆反射的冰冷光芒。故事中的人物關係錯綜復雜，牽一發而動全身，每一次決定都像推倒瞭一張多米諾骨牌，後果深遠。作者在處理這些關係時，展現齣極高的技巧，既有溫情脈脈的瞬間，也有令人心寒的背叛，所有情感的起伏都服務於人物自身的邏輯和環境的壓力。值得一提的是，書中對於女性在社會轉型期所麵臨的獨特睏境有著深刻的探討，這使得這部作品超越瞭一般的時代局限，具有瞭更持久的討論價值。每當我閤上書本，都會思考，在那個時代，在那種選擇麵前，我是否能做齣不同的抉擇？這種代入感和反思性，正是好小說的標誌。

評分☆☆☆☆☆

初讀此書，最先吸引我的是它那種近乎殘酷的現實主義筆觸。作者毫不留情地撕開瞭光鮮外錶下的生活真相，尤其是對底層人物命運的描摹，讓人心頭一緊。書中那些關於金錢、欲望和階級流動的描寫，即便放在今天來看，依然具有極強的現實意義。我尤其喜歡作者那種冷靜的敘事腔調，他像是站在一個旁觀者的角度，客觀記錄著一切的發生，卻又在字裏行間流露齣對命運無常的深刻洞察。書中的對話設計非常精妙，寥寥數語，便能勾勒齣人物的性格底色和當時的社會潛規則。閱讀過程中，我經常會停下來，反復咀嚼某些段落，因為它們蘊含的信息量太大瞭。這種不加粉飾的敘述方式，反而賦予瞭故事一種沉甸甸的力量，它不像某些過度渲染情緒的作品那樣流於錶麵，而是直擊人心的痛點。總而言之，這是一部需要靜下心來細品的力作，它挑戰瞭我們對傳統敘事的期待，提供瞭一種更為深刻和令人信服的人生圖景。

評分☆☆☆☆☆

這本書給我帶來的震撼在於它對“成功”這個概念的重新定義。它並不鼓吹廉價的雞湯或簡單的勵誌口號，而是展示瞭光環背後需要付齣的隱秘代價。那些精心構建的場景和人物心理活動，猶如精密的鍾錶零件，共同驅動著整個敘事機器運轉。作者的文字功力毋庸置疑，他的用詞精準，句式多變，時而雄辯，時而低沉，完美地烘托瞭故事的情感基調。我特彆欣賞書中對於環境對人潛移默化影響的刻畫，那種環境的強大引力，有時比人物自身的意誌力更為強大。讀完全書，我感到瞭一種復雜的情緒，既有對主角最終境遇的理解，也有對其某些選擇的惋惜。這是一部需要反復閱讀纔能領會其深意的作品，初讀時可能被其緩慢的敘事節奏所迷惑，但深入其中後，便會被其宏大的社會視野和深刻的人性洞察力所摺服。它留給讀者的思考空間，遠遠超齣瞭故事本身的情節。

評分☆☆☆☆☆

這本小說真是讓人欲罷不能，作者對人物內心世界的刻畫細膩入微，讀起來仿佛能親眼目睹主人公在那個光怪陸離的城市中掙紮與成長。故事的節奏把握得恰到好處，既有緩慢沉思的時刻，也有情節突然轉嚮的高潮迭起，讓人在閱讀過程中始終保持著高度的專注。書中的環境描寫尤其齣色，那種十九世紀末大都市的喧囂與冷漠，被文字生動地還原齣來，讓你能真切地感受到主角初來乍到時的迷茫和隨後的野心勃勃。我特彆欣賞作者處理道德睏境的方式，他沒有簡單地將人物塑造成好人或壞人，而是展現瞭人性中復雜和灰色的一麵，讓人在閱讀後久久不能平靜，忍不住去思考自己也會麵臨的那些選擇。情節的推進非常自然，每一個轉摺點都像是水到渠成，而不是刻意為之，這使得整個故事具有極強的說服力。這本書不僅僅是一個關於個人奮鬥的故事，更像是一部社會變遷的縮影，反映瞭時代對個體命運的深刻影響。讀完之後，我感覺自己仿佛經曆瞭一場漫長而真實的旅程，對人性的理解又加深瞭一層。

評分☆☆☆☆☆

一巴掌大的書籍，輕巧可愛，外齣乘車的時候翻閱正好

評分☆☆☆☆☆

一巴掌大的書籍，輕巧可愛，外齣乘車的時候翻閱正好

評分☆☆☆☆☆

很好 很滿意 包裝好 沒有破損

評分☆☆☆☆☆

書很不錯，就是種類有點少，希望能多一些經典著作。

評分☆☆☆☆☆

復製大法好，已經在京東買瞭很多英語原版書瞭，還沒怎麼看，有些書發過來的時候，有明顯撞擊痕跡，甚至有些封麵是被竪著摺瞭一條很明顯的書痕，有點不開心

評分☆☆☆☆☆

不錯，紙張是正版

評分☆☆☆☆☆

非常適閤.質量還可以.

評分☆☆☆☆☆

不錯，有時間看

評分☆☆☆☆☆

挺好的，比較滿意