跳岛FM

Peter Hessler is always focusing on presenting ordinary people’s lives. It has been more than ten years since the publication of his China Documentary Trilogy. In 2019, Peter returned China and settled in Chengdu, Sichuan Province with his wife Leslie Chang and their twin daughters. Since then, he has been working as a teacher at Pittsburg College of Sichuan University. During the past ten-odd years, moving from one country to another has already become a way of living for him. For this reason, Peter is always regarding himself as an outsider no matter where he live. As a writer, the outsider identity keeps his mind sharp, makes it easier for him to observe the world.

In Peter’s writing class at Sichuan University, why did he invite his students to think about their social class? What does he think of China’s writing education? With so many nonfiction writing materials, how does China establish its own tradition and market? How does he receive and consider about Chinese contemporary literature? In his eyes, what kind of reporting tradition should we stick to ?

In this August, we went to Chengdu and had a conversation with Peter Hessler. The conversation, lasting for three hours, is divided into two episodes and the latest one is online this week, available in both English and Chinese. The Chinese version is translated by Li Xueshun, the Chinese translator of River Town, Strange Bones and Country Driving, who was also Peter’s former colleague in Fuling. In the previous episode, Peter shares with us his life in Chengdu, especially his observation on Covid-19. He also called back the backstories of writing the Chinese Documentary Trilogy. For this week, he mentions about his long-lasting friendship with his former students and colleagues, his teaching life in Sichuan University, and also his opinions on non-fiction writing, education system, class solidification and the value of establishing face-to-face connections with people in the fast-changing world.

【Timeline】

03:00 Facing more intense competition, students from one-child family nowadays work even harder than those students in Fuling over 20 years ago.

【Host】

【Guest】

【Recommendation】

【Music】Shanghai Restoration Project

【Graphic Design】

【Post Production】

【Production Manager】

【Translator】

【Voice Actor】

【Platform】

【Contact Us】

这是中文配音版节目，英文原版节目同步上线，欢迎关注跳岛FM，在播放列表中点击收听。

何伟（Peter Hessler）一直专注于观察和书写普通人真实的生活状态，而今距他写就“中国三部曲”已经过去了十几年。2019年，何伟和妻子张彤禾、女儿们重回中国，定居四川成都，任教于四川大学匹兹堡学院，教授非虚构写作课。在不同的国家居住已经成为何伟和一家人生活的常态，不管是在中国、埃及还是在美国，何伟都有意保持着“局外人”的状态，他认为，对于作家来说，这样的视角能更敏锐地对世界进行观察。

在川大教授非虚构写作课的一年，何伟为何要引导学生从社会阶级的角度去思考问题？何伟如何评价国内的写作课？中国有大量非虚构素材，处于萌芽状态的中国非虚构写作如何建立传统和市场？中国的当代文学在何伟看来有着怎样的特点？何伟推崇的新闻报道传统是什么？

今年8月，跳岛FM去到成都，和何伟展开了一次3小时的对话，节目分为上下集呈现，同时上线中英文版本。中文版配音内容由《江城》《寻路中国》《奇石》译者，也是何伟当年在涪陵的同事李雪顺翻译。在上一期节目中，我们和何伟谈到了他对疫情的观察，回到成都后的生活和他对“中国三部曲”的回顾。本期节目，我们继续与何伟进行对话，聊聊他和学生、同事之间多年的情谊，现在在川大的非虚构写作课，对非虚构写作、教育制度和社会阶级的观察，以及在中国社会不断变化的今天，如何真正实现与人的连接。

微信添加跳岛FM助手（ID：TDFMZS）进入听众群，欢迎与我们交流。

【主持】

【嘉宾】

【时间轴】

【本期嘉宾推荐图书】

【音乐】上海复兴方案

【视觉设计】孙晓曦

【后期制作】陈进键 施骅伦

【制作总监】韩玉莹

【翻译】李雪顺

【配音】赵哲

【收听方式】

【联系我们】

【本节目由中信出版·大方出品，JustPod制作】

Peter Hessler is always focusing on presenting ordinary people's lives. It has been more than ten years since the publication of his China Documentary Trilogy. In 2019, Peter returned China and settled in Chengdu, Sichuan Province with his wife Leslie Chang and their twin daughters. Since then, he has been working as a teacher at Pittsburg College of Sichuan University. During the past ten-odd years, moving from one country to another has already become a way of living for him. For this reason, Peter is always regarding himself as an outsider no matter where he live. As a writer, the outsider identity keeps his mind sharp, makes it easier for him to observe the world.

In Peter's writing class at Sichuan University, why did he invite his students to think about their social class? What does he think of China's writing education? With so many nonfiction writing materials, how does China establish its own tradition and market? How does he receive and consider about Chinese contemporary literature? In his eyes, what kind of reporting tradition should we stick to ? 

In this August, we went to Chengdu and had a conversation with Peter Hessler. The conversation, lasting for three hours, is divided into two episodes and the latest one is online this week, available in both English and Chinese. The Chinese version is translated by Li Xueshun, the Chinese translator of River Town, Strange Bones and Country Driving, who was also Peter's former colleague in Fuling. In the previous episode, Peter shares with us his life in Chengdu, especially his observation on Covid-19. He also called back the backstories of writing the Chinese Documentary Trilogy. For this week, he mentions about his long-lasting friendship with his former students and colleagues, his teaching life in Sichuan University, and also his opinions on non-fiction writing, education system, class solidification and the value of establishing face-to-face connections with people in the fast-changing world.

【Host】

Li Weiqi

Media worker and literary critic (Weibo ID@BeulahDong) 

Gu Yu

Former foreign media journalist and former PR in Alibaba

【Guest】

He Wei, or Peter Hessler

(born June 14, 1969) an American journalist, non-fiction writer and a staff writer in New Yorker who is the author of three books(River Town, Country Driving and genius Grant) about China

【Timeline】

03:00 Facing more intense competition, students from one-child family nowadays work even harder than those students in Fuling over 20 years ago.

08:53 The discussion of social class in writing class: George Orwell is the Lu Xun of England; analyzing social class gives people a special perspective.

13:43 The success of River Town doesn't change any other' lives more than Peter's.

17:02 Peter's long-lasting friendship with his former colleague Li Xueshun and students Willy and Emily.

20:30 He's an "outsider" wherever he lives, and this keeps his mind sharp to observe the world.

24:10 On education system: "The United States is too relaxed and China is too hard. I think a middle path would be the best."

25:38 Both Peter Hessler and Lesile Zhang spent a lot of time doing math exercises in order to help their daughters.

28:42 China's writing courses in He Wei's eyes: "You memorize these set phrases, you use them as a writer. It's often not so much on expressing yourself."

29:49 Students in China must recite many poems, which is unusual in the U.S. This behavior connects people with their tradition.

32:40 Non-fiction writing materials can be found everywhere in China. But China hasn't yet established a market big enough to support the tradition.

34:58 "If I'm going to support myself as an independent writer, I have to be smart with money and investments."

38:28 Chinese students majoring in journalism prefer theory learning to practical reporting.

39:15 Peter is impressed by many Chinese novels such as Wolf Totem. He realized that Chinese writers tend to use symbols to describe about the society. 

46:49 In Peter's mind, it's of great value to interact with people face to face. He consider himself as a dinosaur in the times of social media. 

50:58 Class solidification do exist in China, but there still remains some fluidity.

【Recommendation】

My Brilliant Friend

By Elena Ferrante 

【Music】Shanghai Restoration Project

Opening Music - Public Poet

Ending Music - There and Then

【Graphic Design】Sun Xiaoxi

【Post Production】Chen Jinjian / Shi Hualun

【Production Manager】Han Yuying

【Translator】Li Xueshun

【Voice Actor】Zhao Zhe

【Platform】

Listen to our podcast on apps like Xiaoyuzhou App, Netease Music, Himalaya, Qingting FM, Lizhi FM, Qingmang, Apple Podcasts, Castro and Pocket Casts.

【Contact Us】

Wechat：Tiaodao FM

weibo@跳岛FM 

Email：[email protected]

【本节目由中信出版·大方出品，JustPod制作】

这是中文配音版节目，英文原版节目同步上线，欢迎关注跳岛FM，在播放列表中点击收听。

何伟（Peter Hessler）一直专注于观察和书写普通人真实的生活状态，而今距他写就“中国三部曲”已经过去了十几年。2019年，何伟和妻子张彤禾、女儿们重回中国，定居四川成都，任教于四川大学匹兹堡学院，教授非虚构写作课。在不同的国家居住已经成为何伟和一家人生活的常态，不管是在中国、埃及还是在美国，何伟都有意保持着“局外人”的状态，他认为，对于作家来说，这样的视角能更敏锐地对世界进行观察。

在川大教授非虚构写作课的一年，何伟为何要引导学生从社会阶级的角度去思考问题？何伟如何评价国内的写作课？中国有大量非虚构素材，处于萌芽状态的中国非虚构写作如何建立传统和市场？中国的当代文学在何伟看来有着怎样的特点？何伟推崇的新闻报道传统是什么？

今年8月，跳岛FM去到成都，和何伟展开了一次3小时的对话，节目分为上下集呈现，同时上线中英文版本。中文版配音内容由《江城》《寻路中国》《奇石》译者，也是何伟当年在涪陵的同事李雪顺翻译。在上一期节目中，我们和何伟谈到了他对疫情的观察，回到成都后的生活和他对“中国三部曲”的回顾。本期节目，我们继续与何伟进行对话，聊聊他和学生、同事之间多年的情谊，现在在川大的非虚构写作课，对非虚构写作、教育制度和社会阶级的观察，以及在中国社会不断变化的今天，如何真正实现与人的连接。

微信添加跳岛FM助手（ID：TDFMZS）进入听众群，欢迎与我们交流。

【主持】

里维奇，媒体人、文学评论人。（微博@BeulahDong） 

谷禹，前外媒记者、阿里巴巴公关，目前是四处闲逛的无业游民。

【嘉宾】

何伟（Peter Hessler），美国记者、非虚构作家。生于1969年，《纽约客》杂志特约撰稿人，著有关于中国的非虚构作品《江城》《寻路中国》《奇石》。

【时间轴】

03:00 家庭规模缩小、教育资源集中和社会竞争加剧：现在的独生子女学生比90年代涪陵的学生更刻苦

08:53 何伟在非虚构写作课上和学生讨论“阶级”：乔治•奥威尔是英国的鲁迅，阶级概念为现在中国带来新视角

13:43 何伟认为《江城》没有改变书中任何人的命运，被改变的是自己

17:02 何伟与译者李雪顺、涪陵学生威利和艾米丽持续了多年的友谊

20:30 不论在中国、埃及还是美国，何伟都是一个“局外人”，这样的视角能让人保持敏锐的观察

24:10 “我认为理想的教育制度应该介乎中国和美国之间。”

25:38 何伟和张彤禾为了女儿们的教育，花大量时间学习中国的数学题

28:42 何伟眼中的国内写作课：“你去背固定搭配，再像一个作家那样来用它，那往往不是在表达你自己的思想。”

29:49 中国语文课爱背诗，美国人却不然，何伟认为背诗会让人找到自己与传统的联系

32:40 中国有大量的非虚构题材，但未建立起传统和市场

34:58 “如果我想以独立作家的身份活下去，就必须学经济学。”

38:28 中国新闻专业的学生偏重理论，缺少实际报道经验

39:15 中国当代文学如《狼图腾》给何伟留下深刻印象，通过寻找符号的方式阐释事物

46:49 不使用社交媒体的何伟，谈面对面交流的意义

50:58 中国存在阶级固化的现象，但仍有一定的流动性

【本期嘉宾分享图书】

《我的天才女友》[意]埃莱娜·费兰特

【音乐】

片头 - Public Poet/上海复兴方案 

片尾 - There and Then/上海复兴方案 

【视觉设计】孙晓曦

【后期制作】陈进键 施骅伦

【制作总监】韩玉莹

【翻译】李雪顺

【配音】赵哲

【收听方式】

你可以在小宇宙App、网易云音乐、喜马拉雅、蜻蜓FM、荔枝FM、轻芒小程序，以及Apple Podcasts、Castro、Pocket Casts等泛用型播客客户端上找到我们，订阅收听「跳岛FM」。

【联系我们】

微信公众号：跳岛FM

微博@跳岛FM 

邮箱：[email protected]

【本节目由中信出版·大方出品，JustPod制作】

He Wei (Peter Hessler), an American non-fiction writer, is renowned for his China Documentary Trilogy among Chinese readers. Having come to China in late 1990s, he taught in Fuling for two years and wrote his observation on Chinese society as an outsider. After leaving China for many years, he, together with his wife Leslie Chang and his twin daughters, came back here, a land of familiarity and strangeness, in 2019. He now teaches non-fiction writing at Pittsburg College of Sichuan University. Also, as a witness to the spread of the pandemic earlier this year, he published an article How China Controlled the Coronavirus on New Yorker, which triggered extensive discussion.

Why did he decide to return to Chengdu? What did he think of what happened in Danwei (a kind of administrative unit in China) and communities during the coronavirus epidemic? How did he look back on the written China stories in China Documentary Trilogy? What did he feel about the significant changes taking place in China over these years? Why did he - who once concentrated on writing stories of nobody and ordinary people - now decide to write more about celebrities? And why did he accept the teaching job in Sichuan University instead of being a reporter?    

In August, we came to Chengdu and had a conversation with He Wei for three hours. The interview has been divided into two episodes and the latter one will be broadcasted next week. These two programs will be available for both English and Chinese. The Chinese dubbing draft of these programs is translated by Li Xueshun, the translator of River Town, Strange Stones and Country Driving. And next week, He Wei will talk about his opinions on non-fiction writing and children' s education. Stay tuned.

【Host】

Li Weiqi

media worker and literary critic (Weibo ID@BeulahDong) 

Gu Yu

former foreign media journalist and former PR in Alibaba

【Guest】

He Wei, or Peter Hessler

(born June 14, 1969) an American journalist, non-fiction writer and a staff writer in New Yorker who is the author of three books (River Town, Country Driving and genius Grant) about China

【Timeline】

02:18 On returning to Sichuan: for Sichuan cuisines, Sichuan dialect and connecting with the people there.

03:55 For establishing connections with people, I decided to be a teacher in Sichuan University instead of a reporter.

05:30 Banquets, Worldly Wisdom and Jielong with body temperature: about the experience in my Danwei.

07:00 I wrote an article for New Yorker about how China controlled. coronavirus, because I think it's very important for Americans to see what happened here.

08:00 People in communities did a lot of intimate-contact tracing. They would help a lot with the epidemiologists who's directing the virus.

12:55 I became interested in China during my travel in Asia after leaving Oxford, so I decided to be volunteer in China.

18:00 Portraying life accurately in Fuling is all I can do. Because humor was part of their reality.  

19:55 As a writer, to get rid of cliché and be respectful, it's more important to analyze than to judge those people whom you are writing.

39:10 Having different sexual identities and ethnic groups, He Wei and his Wife Leslie Chang may write about Chinese from different perspectives.

43:45 An anecdote about Zhang Tonghe tells me that taking notes is an important part in our writing, because memories are unreliable.

50:47 It's important to write about ordinary people. But I think I probably should write about successful people as well.

【Recommendation】

The Years of Lyndon Johnson: The Path to Power

By Robert A.Caro

【Music】

Opening Music - Public Poet/Shanghai Restoration Project

Ending Music - There and Then/Shanghai Restoration Project

【Graphic Design】

Sun Xiaoxi

【Post Production】

Chen Jinjian / Shi Hualun

【Translator】

Li Xueshun

【Voice Actor】

Zhao Zhe

【Production Manager】

Han Yuying

【Platform】

Listen to our podcast on apps like Xiaoyuzhou App, Netease Music, Himalaya, Qingting FM, Lychee FM, Qingmang, Apple Podcasts, Castro and Pocket Casts.

【Contact Us】

Wechat: Tiaodao FM

Weibo@Tiaodao FM 

Email: [email protected]

He Wei（Peter Hessler）, an American non-fiction writer, is renowned for his China Documentary Trilogy among Chinese readers. Having come to China in late 1990s, he taught in Fuling for two years and wrote his observation on Chinese society as an outsider. After leaving China for many years, he, together with his wife Leslie Chang and his twin daughters, came back here, a land of familiarity and strangeness, in 2019. He now teaches non-fiction writing at Pittsburg College of Sichuan University. Also, as a witness to the spread of the pandemic earlier this year, he published an article How China Controlled the Coronavirus on New Yorker, which triggered extensive discussion.

Why did he decide to return to Chengdu? What did he think of what happened in Danwei( a kind of administrative unit in China) and communities during the coronavirus epidemic? How did he look back on the written China stories in China Documentary Trilogy ? What did he feel about the significant changes taking place in China over these years? Why did he——who once concentrated on writing stories of nobody and ordinary people——now decide to write more about celebrities? And why did he accept the teaching job in Sichuan University instead of being a reporter?

In August, we came to Chengdu and had a conversation with He Wei for three hours. The interview has been divided into two episodes and the latter one will be broadcasted next week. These two programs will be available for both English and Chinese. The Chinese dubbing draft of these programs is translated by Li Xueshun, the translator of River Town, Strange Stones and Country Driving. And next week, He Wei will talk about his opinions on non-fiction writing and children’s education. Stay tuned.

【Timeline】

【Host】

【Guest】

【Recommendation】

【Music】Shanghai Restoration Project

【Graphic Design】

【Post Production】

【Translator】

【Voice Actor】

【Production Manager】

【Platform】

【Contact Us】

非虚构作家何伟（Peter Hessler）以“中国三部曲”而为中国读者熟知，他在上世纪90年代来到中国，在涪陵教了两年书，并以一种“局外人”的视角写下了他对当时中国社会的观察。离开中国多年后，在2019年，何伟再次回到这片熟悉又陌生的土地，和同为作家的妻子张彤禾、双胞胎女儿定居成都，目前在四川大学匹兹堡学院教授非虚构写作和大一作文课。今年，何伟在中国经历了一场疫情，他在《纽约客》上发表了一篇名为《中国是如何控制住新冠疫情的》的文章，引发了众多讨论。

为什么这次何伟选择回到成都教书？他对疫情期间的封锁、单位、社区有怎样的观察？如今他会怎样回顾“中国三部曲”里的中国故事？多年后重回中国，他又是如何看待这些剧烈的变化？曾经关注和书写小人物、普通人的他，为何会在今年开始关心并研究成功人士？这次，他为什么没有选择做一名记者，而是在单位里教书、写作呢？

今年8月，跳岛FM去到成都，和何伟展开了一次3小时的对话。我们的节目将分为上下集，在本周和下周连续呈现，并同时上线中英文版本。在下期节目里，何伟会和我们分享他对写作课、语文教育、非虚构写作的观察，敬请期待。

微信添加跳岛FM助手（ID：TDFMZS）进入听众群，欢迎与我们交流。

【主持】

【嘉宾】

【时间轴】

【本期嘉宾推荐图书】

【音乐】上海复兴方案

【视觉设计】孙晓曦

【后期制作】陈进键 施骅伦

【制作总监】韩玉莹

【配音】赵哲

【收听方式】

【联系我们】

【本节目由中信出版·大方出品，JustPod制作】

这是中文配音版节目，英文原版节目同步上线，欢迎关注跳岛FM，在播放列表中点击收听。

非虚构作家何伟（Peter Hessler）以“中国三部曲”而为中国读者熟知，他在上世纪90年代来到中国，在涪陵教了两年书，并以一种“局外人”的视角写下了他对当时中国社会的观察。离开中国多年后，在2019年，何伟再次回到这片熟悉又陌生的土地，和同为作家的妻子张彤禾、双胞胎女儿定居成都，目前在四川大学匹兹堡学院教授非虚构写作和大一作文课。今年，何伟在中国经历了一场疫情，他在《纽约客》上发表了一篇名为《中国是如何控制住新冠疫情的》的文章，引发了众多讨论。

为什么这次何伟选择回到成都教书？他对疫情期间的封锁、单位、社区有怎样的观察？如今他会怎样回顾“中国三部曲”里的中国故事？多年后重回中国，他又是如何看待这些剧烈的变化？曾经关注和书写小人物、普通人的他，为何会在今年开始关心并研究成功人士？这次，他为什么没有选择做一名记者，而是在单位里教书、写作呢？

今年8月，跳岛FM去到成都，和何伟展开了一次3小时的对话。我们的节目将分为上下集，在本周和下周连续呈现，并同时上线中英文版本。节目中文配音由《江城》《寻路中国》《奇石》的译者李雪顺翻译。在下期节目里，何伟会和我们分享他对写作课、语文教育、非虚构写作的观察，敬请期待。 

微信添加跳岛FM助手（ID：TDFMZS）进入听众群，欢迎与我们交流。

【主持】

里维奇，媒体人、文学评论人。（微博@BeulahDong） 

谷禹，前外媒记者，前阿里巴巴公关。

【嘉宾】

何伟（Peter Hessler），美国记者、非虚构作家。生于1969年，《纽约客》杂志的特约撰稿人，著有关于中国的非虚构作品《江城》《寻路中国》《奇石》。

【时间轴】

02:18 为什么回到写作灵感来源地四川：川菜、四川话、四川人

03:55 当记者与人有疏离感，选择在川大做老师是为了建立与人的关联

05:30 酒局、人情和体温接龙：何伟在中国的单位

07:00 何伟谈《纽约客》上发表的关于疫情的文章：“我觉得很有必要让美国人看到这里的情况。”

08:00 中国社区在密接追踪方面做的工作，对流行病调查工作者帮助很大

12:55 从牛津大学毕业后的亚洲旅行，让何伟对中国产生了兴趣，因此决定来中国

18:00 《江城》中用诙谐书写生活中的困难：“幽默”不是打趣、嘲讽，而是忠实呈现

19:55 从对工人有刻板印象到观察到他们的丰富生活，对作家而言分析比判断更重要

39:10 裔族、性别之别：何伟和妻子张彤禾与中国人打交道的不同方式如何影响写作

43:45 何伟谈记笔记的习惯和重要性：张彤禾曾丢失笔记本，找回后对照发现记忆和笔记全然不同

50:47 以普通人为写作主题的何伟，认为自己也许也该写写成功人士

【本期嘉宾分享图书】

《权力之路》[美]罗伯特·A.卡洛

【音乐】

片头 - Public Poet/上海复兴方案 

片尾 - There and Then/上海复兴方案 

【视觉设计】孙晓曦

【后期制作】陈进键 施骅伦

【制作总监】韩玉莹

【翻译】李雪顺

【配音】赵哲

【收听方式】

你可以在小宇宙App、网易云音乐、喜马拉雅、蜻蜓FM、荔枝FM、轻芒小程序，以及Apple播客、Castro、Pocket Casts等泛用型播客客户端上找到我们，订阅收听「跳岛FM」。

【联系我们】

微信公众号：跳岛FM

微博@跳岛FM 

邮箱：[email protected]

“干一天玩三天”，吃5元一碗的“挂逼面”，抽5毛钱一根的散装红双喜，有钱就在网吧里待到天亮，没钱就睡大街……这是一群“停滞”在深圳龙华三和人力市场附近的九零后、零零后，他们远离故乡，也不融入城市，依靠日结工作为生。

《岂不怀归：三和青年调查》中写道：“在这样的环境中，不用努力工作，也不会失落无聊，没有羞耻感的生活让他们失去了奋斗动力。”在越来越不需要廉价劳动力的今天，三和青年是否注定要成为时代浪潮之下的“零部件”？最近出版的法国社会学家迪迪埃·埃里蓬的《回归故里》，也一定程度上回应了这些问题，从底层青年成为社会精英，是个人奋斗使然，还是纯粹的偶然？

本期节目我们邀请了《岂不怀归》的作者田丰，他是中国社会科学院社会发展战略研究院研究员，还有在巴黎旅居九年的索邦大学文学博士张博，聊聊在阶级愈发固化的当下，我们如何透过教育制度、人口流动等现象，靠近那群被符号化的三和青年。一起思考迷茫的年轻人如何在城市落脚，又如何回归故乡。

微信添加跳岛FM助手（ID：TDFMZS）进入听众群，欢迎与我们交流。

【主持】

【嘉宾】

【时间轴】

【节目中提到的书】

【本期嘉宾推荐图书】

【音乐】上海复兴方案

【视觉设计】孙晓曦

【后期制作】韩韩

【制作总监】王若弛

【收听方式】

【联系我们】

【本节目由中信出版·大方出品，JustPod制作】

“干一天玩三天”，吃5元一碗的“挂逼面”，抽5毛钱一根的散装红双喜，有钱就在网吧里待到天亮，没钱就睡大街……这是一群“停滞”在深圳龙华三和人力市场附近的九零后、零零后，他们远离故乡，也不融入城市，依靠日结工作为生。

《岂不怀归：三和青年调查》中写道：“在这样的环境中，不用努力工作，也不会失落无聊，没有羞耻感的生活让他们失去了奋斗动力。”在越来越不需要廉价劳动力的今天，三和青年是否注定要成为时代浪潮之下的“零部件”？最近出版的法国社会学家迪迪埃·埃里蓬的《回归故里》一书可以作为一种对照，从底层青年成为社会精英，是个人奋斗使然，还是纯粹的偶然？

本期节目我们邀请了《岂不怀归》的作者田丰，他是中国社会科学院社会发展战略研究院研究员，还有在巴黎旅居九年的索邦大学文学博士张博，聊聊在阶级愈发固化的当下，我们如何透过教育制度、人口流动等现象，靠近那群被符号化的三和青年。一起思考迷茫的年轻人如何在城市落脚，又如何回归故乡。

微信添加跳岛FM助手（ID：TDFMZS）进入听众群，欢迎与我们交流。

【主持】

里维奇，媒体人、文学评论人。（微博@BeulahDong ）

【嘉宾】

田丰，学者，中国社会科学院社会发展战略研究院研究员。

张博，青年译者、学者。译有《愤怒与神秘：勒内·夏尔诗选》。

【时间轴】

05:04 “挂逼”、“日结”等三和术语：戏谑之下的环境区隔和身份认同

07:54 日结的工作模式：三和青年的非传统“罢工”？ 

16:54 手机和彩票：三和青年的“精神鸦片” 

21:49 “我们活下去的方式就是去跳楼”折射三和群体的关系网络难以维系 

25:12 无法落脚的“落脚城市”：人口流动需要“中转站”，三和青年只能一直处于中转之中

29:28 三和青年个体沉沦的背后是教育制度、人口流动等社会问题

32:52 迪迪埃·埃里蓬《回归故里》：底层出身的耻辱感如同卡夫卡笔下永远上不了法庭的自我审判

38:27 埃里蓬对雷蒙·阿隆的反驳：特权阶级往往意识不到自己的阶级归属

45:05 阶级流动越来越难，未来的婚姻中还会有奥斯汀小说里的达西先生吗？

49:45 埃里蓬反对个人奋斗至上的叙事，成功跨越阶层的背后充满了偶然性

52:53 被合理化的“贫穷文化”是社会结构性问题的“帮凶”

【节目中提到的书】

《岂不怀归：三和青年调查》田丰、林凯玄 著

《回归故里》[法]迪迪埃·埃里蓬 著

《空间与政治》[法]亨利·列斐伏尔 著

《落脚城市》 [加拿大]道格·桑德斯 著

《傲慢与偏见》[英]简·奥斯汀 著

《审判》[奥地利]弗朗茨·卡夫卡 著

《正常人》[爱尔兰]萨利·鲁尼 著

【本期嘉宾分享图书】

《第七天》余华 著

《国家与生活机遇》周雪光 著

【音乐】

片头 - Public Poet/上海复兴方案 

片尾 - There and Then/上海复兴方案 

【视觉设计】孙晓曦

【后期制作】韩韩

【制作总监】王若弛

【收听方式】

你可以在小宇宙App、网易云音乐、喜马拉雅、蜻蜓FM、荔枝FM、轻芒小程序，以及Apple Podcasts、Castro、Pocket Casts等泛用型播客客户端上找到我们，订阅收听「跳岛FM」。

【联系我们】

微信公众号：跳岛FM

微博@跳岛FM 

邮箱：[email protected]