“史詩般的”“令人驚嘆的”“雄心勃勃的”“杰出的”“深刻的”“天才之作”——這些是用戶在書評平臺Goodreads上經(jīng)常用來評價(jià)劉慈欣的《三體》三部曲終章《死神永生》的詞匯。

"Epic", "stunning", "ambitious", "brilliant", "profound", "genius" — these are some of the words often quoted by users on the book review platform Goodreads, who rated

Death's End

, the final installment in

the Three-Body Problem

trilogy by Chinese writer Liu Cixin.

在Goodreads上，《死神永生》獲得了超過16萬用戶的評分，平均得分為4.41分（滿分5分），而第一部《三體》和第二部《黑暗森林》的評分用戶分別超過40萬和20萬。這與三部曲的英國出版商宙斯之手的總經(jīng)理尼古拉斯·奇瑟姆對其在英國的反響的評價(jià)相呼應(yīng)。

More than 160,000 users have rated the novel on Goodreads, giving it an average score of 4.41 out of 5, although the first book,

The Three-Body Problem

, and the second,

The Dark Forest

, have ratings by more than 400,000 and 200,000 users, respectively. It echoes what Nicolas Cheetham, managing director of the trilogy's British publisher, Head of Zeus, says about its reception in the United Kingdom.

英國宙斯之手出版社總經(jīng)理尼古拉斯·奇瑟姆

“50%讀過《三體》的人不喜歡它，但喜歡它的人非常喜歡……所以我們的《三體》銷量比《黑暗森林》高出50%，但《黑暗森林》的銷量與《死神永生》完全一樣?！彼f。

“隨著時(shí)間的推移，越來越多的人讀完了整個(gè)三部曲……每一部都越來越好，這實(shí)際上也反映了我自己的感受。我認(rèn)為第一部很出色，但第三部堪稱杰作?！彼f。

"As time went on, we got more people who read through to the end of the trilogy. … It gets better and better with every single book, which actually also reflects my own feeling. I thought the first was brilliant, but the third was a masterpiece," he says.

8月底，奇瑟姆飛往中國中部河南省的鄭州，參加一場活動，討論自第一部書出版以來十年間該三部曲在全球產(chǎn)生的影響。該書于2015年獲得雨果獎最佳長篇小說獎，引起了全世界的關(guān)注。

在活動上發(fā)布的一份關(guān)于《三體》系列國際影響力的報(bào)告中，北京外國語大學(xué)國際新聞與傳播學(xué)院教授何明星表示，該三部曲在全球的銷量、認(rèn)可度和反響方面創(chuàng)下了多項(xiàng)紀(jì)錄。

根據(jù)報(bào)告，截至2024年12月，三體系列已出版23個(gè)語種，在海外售出近650萬冊。其中，美國（英語）版銷量占總銷量的57.7%。德語、法語和西班牙語版分別售出642,300冊、444,200冊和305,600冊。波蘭語和捷克語版的銷量分別達(dá)到244,000冊和128,100冊。

By December 2024, the trilogy had sold nearly 6.5 million copies overseas in 23 languages, according to the report. The sales of US (English) editions account for 57.7 percent of the total. German, French and Spanish editions sold 642,300, 444,200 and 305,600 copies, respectively. Polish and Czech editions reached 244,000 and 128,100 copies, according to the report.

《三體》海外譯本合集

三體系列的日語翻譯版在英文版發(fā)布五年后推出，第三部于2021年5月在日本上市，已在日本售出65萬冊，包括紙質(zhì)和數(shù)字版本。

The Japanese translation of

the Three-Body

series was released five years after the English version, with the complete trilogy available in May 2021. It has sold 650,000 copies in Japan, both in print and digital formats.

報(bào)告稱，三體系列為當(dāng)代中國文學(xué)作品的歐洲語言和日語譯本的銷量創(chuàng)下了新紀(jì)錄。

These figures set new records for sales of translated contemporary Chinese literature in European languages and Japanese, the report concludes.

何明星指出，三體系列的全球影響力還體現(xiàn)在其在全球圖書館的館藏也創(chuàng)造了新的紀(jì)錄。根據(jù)報(bào)告，截至2025年3月，《三體》在全球有1552家圖書館館藏，《黑暗森林》在1240家圖書館館藏，而《死神永生》在1184家圖書館館藏。

Goodreads的統(tǒng)計(jì)數(shù)據(jù)顯示，隨著小說被翻譯成更多語言并在更多國家出版，其讀者群不斷擴(kuò)大，目前已覆蓋58個(gè)國家和地區(qū)。美國的讀者最多，其次是西班牙和德國。

西班牙語版的《三體》于2016年9月發(fā)布。一個(gè)月后，劉慈欣訪問了巴塞羅那，并舉行了一場“史詩般的簽售會”，西班牙出版商N(yùn)ova的三部曲編輯瑪爾塔·羅西奇形容這次活動就像一場“夢”。

The Spanish edition of

The Three-Body Problem

was released in September 2016. A month later, Liu visited Barcelona and held an "epic signing" event, which Marta Rossich, the trilogy's editor at Spanish publisher Nova, described as a "dream".

西班牙新星出版社文學(xué)總監(jiān)瑪爾塔·羅西奇

她回憶說，2013年春天，在上海的一家餐館里，一位中國朋友向她談起《三體》是多么令人震撼。她當(dāng)時(shí)正在巴塞羅那的編輯工作中休假，便向同事推薦了這本書，而同事們對此表示懷疑，認(rèn)為一本1500頁的中國科幻小說在西班牙不太可能成為暢銷書。

然而，羅西奇在閱讀英文版時(shí)感到“這可能是本世紀(jì)最好的科幻小說?！彼赋觯瑒⒋刃涝谛≌f中傳達(dá)的信息深深植根于典型的中國視角，但同時(shí)又能產(chǎn)生普遍的共鳴。

Reading the books in English, however, Rossich feels that "it could be the best science fiction of the century". The messages Liu imparts in the novels are deeply rooted in a quintessentially Chinese perspective, yet they remain profoundly universal, she notes.

她表示，這個(gè)系列的強(qiáng)大之處在于其無縫融合了三層現(xiàn)實(shí)：對現(xiàn)代中國的現(xiàn)實(shí)描繪、人類面臨挑戰(zhàn)的探索，以及對外星生命的宇宙沉思。

The trilogy's strength lies in its seamless blend of three layers of reality: a realistic portrayal of modern China, an exploration of humanity's challenges, and a cosmic contemplation of extraterrestrial life, she says.

劉慈欣巧妙地將硬科幻轉(zhuǎn)化為一部富有哲學(xué)深度的具有娛樂性的敘事。她補(bǔ)充道：“這種獨(dú)特的神秘感和異國情調(diào)為故事增添了深度和吸引力，使其成為一本讓人愛不釋手的書?！?/p>

Liu skillfully transforms hard science fiction into an entertaining narrative enriched with philosophical depth. "This unique blend of mystery and exoticism adds significant depth and intrigue to the story," she adds, "making it an absolute page-turner."

在西班牙，書的銷量證明羅西奇的直覺是正確的。三部曲的銷量即將達(dá)到100萬冊，“這對于我們的市場來說是一個(gè)不可思議的里程碑。”她說。

她觀察到，在西班牙，科幻市場長期以來被來自德國和美國的白人男性作家主導(dǎo)，但中國作家劉慈欣正在改變這一格局。

“現(xiàn)在，西班牙讀者喜歡閱讀來自其他國家、傳統(tǒng)和語言的科幻作品。這是非常重要的?！彼a(bǔ)充道。

"Now, Spanish readers like to read science fiction from other countries, traditions and languages. That's absolutely important," she adds.

小說在英國的出版也經(jīng)歷了類似的曲折。

在《三體》之前，奇特姆花了十年時(shí)間思考中國的科幻寫作。他認(rèn)為，由于中國正在經(jīng)歷快速發(fā)展，中國人“可能幾乎過著科幻般的生活”。

Before

The Three-Body Problem

, Cheetham had spent a decade wondering what sci-fi writing was happening in China. He thought that since the country was experiencing rapid development, Chinese people were "probably almost living a science-fictional existence", he says.

在2014年倫敦書展上聽到一位美國同行推薦劉慈欣的作品后，奇特姆立即向他的同事們建議這本書，但遭到了拒絕。然而，作為一個(gè)科幻迷，奇特姆在自己閱讀這本書后，確信其潛力，并決定在英國出版。英國和美國的版本都于2014年11月發(fā)行。

他說：“當(dāng)我讀到這本書時(shí)，我知道這是一部龐大而富有挑戰(zhàn)性的科幻書，它會讓你的大腦興奮得直冒泡，把你帶到從未去過的地方?！?/p>

"When I read it, I knew that it was a big, challenging science fiction book that was going to put bubbles in your brain and take you to places that you have never been before," he says.

小說中所展現(xiàn)的廣闊尺度讓他著迷。第三本書從君士坦丁堡的陷落開始，延伸到1800萬年后的未來，直至宇宙的盡頭。

“很難想象有比這更大的尺度?！彼f，并補(bǔ)充道，這就是宏大畫面、宏大思想的科幻小說，是其他任何文學(xué)題材都無法比擬的。

"It's hard to actually imagine a greater scope," he says, adding that this is big-picture, big-idea science fiction that no other genre can match.

即使是書中沒有發(fā)生的事情也是史詩般的，他說。這句引自《泰晤士報(bào)文學(xué)增刊》中他最喜歡的一篇評論。

Even what doesn't happen is epic, he says, quoting one of his favorite reviews in the Times Literary Supplement.

“怎么能寫出一個(gè)關(guān)于地球和三體兩個(gè)文明沖突的故事，而地球和三體人之間從未有過直接會面呢？這絕對是天才。這是我喜歡這本書的原因之一?！逼嫣啬氛f。

"How can you have a story about conflicts between two civilizations where you never actually have a direct meeting between Earth and the Trisolarans? That is just absolute genius. That's one of the things I love about the book," says Cheetham.

他認(rèn)為劉慈欣的作品提升了科幻寫作的標(biāo)準(zhǔn)。

在20世紀(jì)50年代和60年代，西方迎來了科幻小說的黃金時(shí)代，美國作家艾薩克·阿西莫夫和英國作家阿瑟·克拉克在這一時(shí)期創(chuàng)作出以宏大構(gòu)思為動力的科幻小說。

“我覺得我們必須等上幾十年，才從大劉那里得到類似的作品?！彼f。

“要做出像大劉這樣宏大的作品，需要相當(dāng)?shù)挠職猓驗(yàn)樗〉昧巳绱司薮蟮某晒?。我希望這能激勵新一代作家去考慮大局，以及未來和宇宙是什么樣子。”奇特姆說。

"You have to be quite brave to do something as big as Da Liu, because it has been such a success. I hope it's inspiring a new generation of writers to consider the big picture and what the future and the universe look like," says Cheetham.

“要考慮整個(gè)人類，而不是某個(gè)特定國家在征服太空中的角色。我認(rèn)為《星際迷航》之類的東西是非常西方的未來觀?！度w》則更加泛人類?！?/p>

"Think about humanity as a whole rather than one particular nation state's role in conquering space. I see Star Trek and things like that as very Western views of the future. Three-Body is much more panhuman."

在圓桌會議上，研究并教授科幻的南方科技大學(xué)教授吳巖分享了一篇挪威學(xué)者的文章，該文章探討了《三體》在全球的成功。

“文章說，劉慈欣在《三體》三部曲中融入了他對世界科幻歷史的理解，使讀者能看到來自世界各地不同年代科幻作家的影響……這是它能夠贏得眾多國際讀者的一個(gè)非常重要的原因。”吳巖說。

"It says that Liu Cixin incorporates his understanding of the world's sci-fi history into

The Three-Body Problem

trilogy so that readers can see the influence of sci-fi writers of different ages from around the world …which is a very important reason why it has been able to win so many international readers," Wu says.

“第二個(gè)原因是它代表了中國對現(xiàn)代化的一系列回應(yīng)。對現(xiàn)代化的回應(yīng)是一個(gè)全球現(xiàn)象。世界各國都在以自己的方式回應(yīng)現(xiàn)代化?！彼f。

"The second reason is that it represents a series of China's responses to modernization. The response to current advancements is a global phenomenon. Countries around the world are responding to modernization in their own ways," he says.

“第三點(diǎn)是，它揭示了我們需要超越自戀的思想，即將人類視為宇宙的中心……《三體》教會我們打破這種觀點(diǎn)，顯示人類只是一個(gè)更大宇宙的一部分，其中包含各種生命形式，比如三體人。這些主題具有普遍性，在全球范圍內(nèi)引起共鳴，使得該作品在世界范圍內(nèi)產(chǎn)生了影響力?！彼f。

"The third is that it reveals an idea that we need to transcend our narcissism, which takes humanity as the center of the universe …

The Three-Body Problem

teaches us to break this view, showing that humans are just one part of a larger cosmos with various forms of life, like the Trisolarans. These themes are universal and resonate globally, making the work impactful worldwide," he says.

對他來說，這部三部曲在全球流行的重要影響之一是它讓中國科幻進(jìn)入了世界科幻史，這一觀點(diǎn)得到了位于中國西南成都的科幻出版商八光分文化創(chuàng)始人楊楓的認(rèn)同。

成都八光分文化傳播有限公司創(chuàng)始人楊楓

自從《三體》在2015年獲得雨果獎以來，中國涌現(xiàn)出了一些專注于科幻出版或電影制作咨詢的公司，八光分就是其中之一。

在圓桌會議上，楊楓表示，這一獎項(xiàng)和劉慈欣的作品激勵了中國的許多科幻愛好者和讀者，是許多人生活中的一個(gè)重要轉(zhuǎn)折點(diǎn)。

Speaking at the roundtable discussion, Yang Feng, founder of sci-fi publisher Eight Light Minutes Culture, said that the award and Liu's works have inspired many science-fiction enthusiasts and readers in China, marking a pivotal change in many people's lives.

“中國的科幻界在不斷努力的推動下，正從小眾走向主流，也從本土走向全球，標(biāo)志著中國科幻黃金時(shí)代的到來?！彼f。

"China's sci-fi scene, propelled by ongoing efforts, is transitioning from niche to mainstream and also from local to global, signaling the arrival of a golden age for Chinese science fiction," she says.

記者：楊陽

實(shí)習(xí)生：孫藝菡

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