A Review of Xuan'er's Work

This article is reprinted in <<Social Science Front>> Issue 6, 1998?

The Pursuit of Life's Realm of Freedom

-Review of Xuan'er's Long Novel "Gone with the Wind"

Ho Ching-chi

Entering the nineties, the vigorous development of women's narrative literature has constructed a bright landscape in the literary world. Among them, subjective perspective, strong self-narrative color, and personalized writing are the main colors in this landscape. Many women's novels narrate women's existence, life consciousness, inner experience and emotional flow with conscious female consciousness, showing the colorful sky of women's writing from multiple sides and perspectives. Jilin young writer Xuan'er's long novel "Gone with the Wind" has sketched out a splendid piece of this sky with flowing modern poetry and classical romantic feelings, and painted a different scene.

I

"Gone with the Wind" is a long novel with a strong self-narrative, in which the author narrates in the first person the personal growth and emotional journey of Ying Ni, a beautiful, kind and emotional heroine who was left behind until her death. Ying Ni was born to face a broken family, her mother died of postpartum bleeding, and her father soon renewed his marriage and worked away from her in the provincial capital. Her childhood and teenage years are spent under the care of her grandparents. But the shadow of this absence always overshadowed her mind, and she was always eager to make up for it. As a result, her longing for her father's and mother's love was stronger than the average person's, and she even went so far as to express it in a self-mutilating way. However, when she realized that it was a "shore that could never be reached "1, she "began to help herself turn her grief into a piece of sunshine, a beautiful song". Thus, the obsessive pursuit of love constitutes the main chain of Inny's life. It is expressed in the adult Inny's affectionate remembrance of all those who have given her love and care, and in her passionate praise of the affectionate love, friendship and love she has felt. Along with the expansion of the protagonist's emotional world, we see that although Ying Ni grew up in a love-starved family, she was surrounded by love, namely, her grandmother and grandfather, who gave her affectionate love, her mother Wang, who nurtured her at one time, and her father's love, which drifted through her heart like a cloud. In the heart of the young girl Yingni, the legendary love story of her grandmother and grandfather, the keys made for her by her grandfather with his beard, the curiosity about the secret of procreation with her childhood friends, the loneliness and loss of not having been loved by her mother and the desire to be loved by her father, and the sadness of her grandmother's passing have all become the beautiful fairy tale in her heart. It can be said that "West Side Story" is more about the love of family. In this regard, the author's sensitive female point of view to carry out a deep description, not only for us to show the beauty of human nature and a young girl's honesty and innocence, but also for the novel as a whole paved the heavy color of love, so that the novel has been filled with a lyrical and soft tone from the beginning to the end.

However, the novel does not stay in the depiction of the surface of love, but integrates the main consciousness of the characters into the pursuit of love. Whether it is the beautiful memories of "Butterfly Flight", or the emotional waves in "Rose Knight", whether it is the heavy and poignant "Maiden Prayer", or the "Love Ceremony", or the "Love Ceremony", the novel is not just about love, it is also about the love of a woman. Whether it is the heavy and poignant "Maiden's Prayer" or the affectionate recounting of the "Love Ceremony", the protagonist is in the persistent pursuit of love and constantly obtains the generation of new ideas. On the one hand, the characters in the work, such as Grandma, Mom, and Ying Ni, have all experienced the taste of orphanhood, so they know more about the preciousness of love, and they all have the idea that "when you are benefited by a drop of water, you should return the favor by pouring it from the spring", and they are eager to dedicate themselves to those who have cared for them with ten times the amount of love. It is also based on this pure and simple understanding, Ying Ni in the journey of life to give their love and care of friends of the same sex or opposite sex "are in mind, and give sincere return". This "return" is a demonstration of the protagonist's belief in goodness and love. On the other hand, the novel has many descriptions of various kinds of love and sexual love between the sexes, but no matter which kind of love, it is all carried out under the premise of mutual love and appreciation, and both sexes have the Garden of Eden built by ****, even if the love that passes away has left behind memorable thoughts, presenting the spirit of life full of freedom and vigor, and thus constructing a new subjective consciousness of the women. The reason why it is called new is that it is neither a "one-man war" that excludes the opposite sex, nor a textual confrontation between "men's rights" and "women's rights", but a mutual love, appreciation and ownership between men and women. Instead, it is constructed in the mutual admiration, mutual appreciation, and mutual possession of both sexes, and in the protagonist's "return" of love. To a certain extent, this is also the novel's spiritual rejection of the paranoia of some contemporary women's writing texts.

Two

If "Gone with the Wind" constructs a new female subjective consciousness in the protagonist's obsessive pursuit of love, then the novel bursts into eulogies of the free realm of life in the narration of Ying Ni's love, which brings the female subjective consciousness constructed in the novel to a new realm.

Because of her beauty, kindness, and intelligence, Ying Ni naturally attracted the admiration and pursuit of many people of the opposite sex, but the love that really made Ying Ni's heartfelt love was between her and Luo Chuan. The love between Ying Ni and Luo Chuan is full of romance and passion, and during the short and joyful moments in P City, they pour out their inner love, but they realize the reality "with higher and deeper rationality": this is a love without marriage. It's not that Ying Ni can't realize the love of marriage, but she doesn't want to bind their love in the form of marriage, which will inevitably lead to "mutual harm and mutual sacrifice". What they seek is a spiritual union, "souls that are forever intertwined with each other, that float high above our bodies, that meet and love each other wherever they are". Inny takes a unique view of Grandma and Grandpa's traditional and legendary love marriage: "Grandma and Grandpa had a lifetime together, and were even buried together after their deaths, but it is possible that Grandma drowned Grandpa when they were really together for good, and that since then Grandpa has lost the space that he had all alone, and that at a certain point in his life he was suffocated by Grandma's love". 's love suffocated." She believes that "Grandma's strength and independence came at the expense of Grandpa's, which was unfair from Grandpa's point of view; Grandma's life was a brilliant success, but Grandpa's was a failure." In the common people's view, the marriage love between Yingni's grandmother and grandfather may be close to the ideal model, but Yingni is from the height of the philosophy of life, realizing that such an ideal marriage where the shortcomings are, so she bravely pursued the love without marriage, and even spared no effort to play the role of a single mother for the crystallization of their love, until the end of her life, she did not call Luochuan to come to her side. She pursued a kind of "love is not possession, but dedication, love is to love the person you love and his side can bring him happiness everything". She has always been for this love to hold on to this holy place, not for all kinds of temptation. It can be said that the protagonist Ying Ni holds a transcendent concept of love, the pursuit of a love of the highest realm, is the ultimate freedom of life, is the author of the text of the ideal construction of love between the sexes. It is still far away from reality. Analyzing the text from the perspective of aesthetics of acceptance, we see that the freedom of life that Ying Ni pursues is, to a certain extent, at the cost of her sacrifice. After Luo Chuan breaks up with her, he never comes to see her again. Is it because Luo Chuan is too short of romantic feelings, or too pragmatic, or is it the sadness of the times? Is it because Luo Chuan lacks romantic feelings, or is he too pragmatic, or is it just the sadness of the times? Because in the post-modern context of China, people seem to pay more attention to sensual pleasures and the fulfillment of desires, and classical love has taken a back seat. When grandfather Ying Haichen could abandon his family's wealth and leave home with his grandmother, it was because of the power of love. In today's increasingly materialistic world, how many people are willing to pay such a heavy price for love? The fact that Luo Chuan has a love of his own soon after saying goodbye to Ying Ni explains everything. So far, the text of the novel presents a paradox in the intention of love: if the reader agrees with the love between Yingni and Luochuan, he will certainly blame Luochuan for not returning, as if Luochuan holds a cynical view of love that "does not ask for a long time, as long as a momentary possession," which is in strong contrast to Yingni's persistent adherence to love, which is very unfair to Yingni. This is very unfair to Yingni. However, if the author depicts Luo Chuan as a modern-day knight in shining armor, is he not repeating the mistakes of her grandfather, Ying Haichen? That would be a new round of reversion, and in Ying Ni's words, "it's still not fair". Perhaps the author was already sensitive to this paradox and solidified the "eternal and sacred" love that Inny was seeking in "The End of Time". But this does not mean that the paradox is over. With modern concepts, how can we achieve the perfect love for both sexes? This is precisely the deeper exploration of the text. From this, we say, although the genre of love can be questioned a lot, but the author should be fully recognized for the forward-looking consciousness shown in it. If Yingni's grandmother's "success" reflects the instinctive female subjective consciousness of that generation, which is still satisfied and stays at the stage of possession of love, then Yingni's concept of love rises to a new height of life. Her eulogy of the free realm of life, her independence and perseverance, not only in the text of the new subjective consciousness of women, but also "many aspects of the woman as a human being to show the significance and value of the human emancipation of their own power, so that the female personality is more natural, more open, and therefore more perfect." ②It shows a beautiful development trend for the future, which is "to strive for the maximum freedom of human beings on the basis of the harmony between the two sexes". Originally, the world is composed of both sexes, since Adam and Eve ate the forbidden fruit, men and women have become each other's indispensable half, Yang and Yin, white and black, positive and negative, left and right, etc., the loss of any other party is difficult to set up; the sun and the moon to constitute the starry sky, the mountains and water are linked to the feeling of the mountains and the magnificent; men and women can only live in harmony, in order to create the splendor of life. It is in this sense that the text of the novel tries to "start from the perfection of human nature - to establish a cultural conception without prejudice "4, which makes the text from a new perspective to obtain the refinement and sublimation of artistic aesthetics.

When we see in too many texts that passion has receded, the ideal of truth, goodness and beauty is far away from us, chivalrous love is already yesterday's scenery, and desire is performing a one-man show with unprecedented craziness, Xuan'er opens the door of poetic watchfulness for us and weaves a basket of love, which makes people feel as if they have gone from the hustle and bustle of the noisy downtown to the "pure land" of the lake, with its beautiful scenery, which makes them feel as if they are entering the "pure land" from the hustle and bustle of the noisy downtown.

Weaving the flower basket of love, it makes people feel as if from the noisy downtown into the "pure land" of the lake and mountains, which makes people relaxed and happy and forget to come back, so that people can get the purification of the soul and spiritual upliftment in the pleasure of the beauty, which is also the spiritual and cultural value of the novel text.

Three

While "Gone with the Wind" highlights the inner emotional world of the protagonist Ying Ni, it is not like some texts which are only written in a zero-degree "no historical context", but it is integrated with the author's deep contemplation of history and reality. The author makes the emotional flow of the main character intertwine with the trajectory of the times, and many major turning points in Yingni's life are accompanied by the workings of contemporary history and major changes. The transcription of those passionate stanzas of lyrics not only takes one back to the familiar years that have passed, but also serves as an expression of the author's emotional realm of beauty. The metaphorical descriptions, such as "Shi Yunfeng, who was sentenced to death at the 10,000-person public sentencing meeting in those days" and "the sound of explosions ringing out in P-city on a certain mysterious night", all give rise to many associations. It allows us to see that the author in the female inner monologue, on the reality and history of the dirty and ugly behavior did not hold a cold eye or go with the flow of the attitude, but full of passionate implicit strokes to make their own "value judgments," so that the work in the butterfly fly like a beautiful and dynamic text flashes the critical edge of reality, the candles light up the author of the humanitarian spirit of goodness and beauty. The humanitarian spirit of the author's goodness to the beauty of the underlying, people can not help but think of Balzac, Stendhal, Mérimée, Dickens and other masters of the nineteenth-century European critical realism name.

At the same time we also feel that the work is imbued with a profound tragic sentiment. First of all, the name of the novel, "Gone with the Wind," is in itself a sad atmosphere, which not only symbolizes the fleeting life of the main character, Inny, but also demonstrates the uncertainty of the character's fate. As Ying Ni said, "In my destiny, affection is constantly blocked, and one by one, the people who once made me feel passionately are like the wind whistling in front of me, and after blowing a whirlwind, their shadows become invisible". The work explores a meaning for human life in the "passing with the wind", and asks metaphysical questions about death, life, and human love. Secondly, although the loneliness that Ying Ni suffers in "The End of Time" comes from her own wish, it also makes people feel that the realm of freedom that she seeks for her life is still far away from the lives of ordinary people while transcending the history and reality, and she has a feeling of "not being able to escape the cold from the heights". Therefore, the loneliness that Ying Ni felt and her quiet passing away were all characterized by the sadness of spiritual martyrdom. This kind of loneliness is also the loneliness that all forward-looking thinkers and artists have felt. It is similar to the artistic aesthetic effect produced by the tragedy of the times implied by the author's subtle strokes, which, as Engels said, "is the tragic conflict between the inevitable demand of history and the practical impossibility of realizing this demand",5 and also reflects the author's humanistic concern. It can also be said that the tragic sentiment impregnated in the work, the value judgment it makes makes the text shine with the light of humanism from the beginning to the end.

Xuan'er, as a new generation of writers, has absorbed more of the nourishment of the world's literary trends in her art than in the accepted traditions, and has continuously enriched her artistic exploration. In Gone with the Wind, Latin American magic realism becomes Xuan'er's means of communication, flowing into her writing. The novel breaks the traditional linear narrative structure, inverts time and space, past, present and future, and interlaces dream and reality, but it is not a deliberate imitation, but a creative way to provide a broad space for the characters' inner emotional flow to freely express themselves, so as to make the borrowed things more suitable for the expression of today's real life of the Chinese people, and then make the text present a diversified and open structural characteristics. A beautiful donkey" appears several times in the text, and each time it appears, it is accompanied by the end of a life. Undoubtedly, the "donkey" plays a role of foreshadowing, which paints a mysterious and unpredictable fatalistic color on the work. Ying Ni names her beloved son, the fruit of her love for Luo Chuan, "Hero", which is also a profound symbol. It not only expresses Ying Ni's "worship of heroes and men with heroic qualities", but also her hope for the future. Since Xuan'er's literary creation began with poetry, the text of her novel is filled with the artistic beauty of prose poetry, and the language is fresh and intriguing. Such as: "That August summer, my father was like a rainbow in the sky after the rain, hanging high in my heart. Those sunny days were filled with an even more beautiful aura because of that rainbow." ...... This description vividly and imaginatively expresses the feeling of father's love and the mood of stronger expectation for father's love that Yingni once had in her childhood, and the language is full of color and vitality. Similar descriptions can be found throughout the text of the novel, and the words are full of poetic flavor.

Notes:

① All quotations are from "Gone with the Wind," Times Literary Publishing House, March 1997 edition, except where noted.

②③④ Liu Huiying, Out of the Fence of Male Tradition, Sanlian Bookstore, April 1995 edition.

⑤ Selected Works of Marx and Engels, vol. 4, p. 346.

This article is reprinted in Heilongjiang Morning Post

The Epic and Tragedy of the Writer

Caiwei In contemporary women's writings, there are few people like Xuan'er who write the sorrow and joy of the two sexes in their novels in a way that is tear-jerking and mournful, and that touches upon the essence of life's helplessness and loneliness. Instead of reminiscing the youth and love of the 80's to avoid the world of the 90's, which is far away from the spiritual thinking brought by the rapid development of the profiteering, the novel is more of a background of 10 years of personnel changes and fluctuations, and it condenses the human nature of the most beautiful, the most good, the most affectionate, and the most sexually oriented, and displays it to the world. Xuan'er's novels are so beautiful that it is shocking, and so sad that it is unbearable to read. She links youth with art, innocence, love, freedom and other ideologies, as if the only moment in life that can be captured is the blossoming of youth, while the rest of the time is hidden behind and can only give way to it. Xuan Er thus provides a set of the most romantic and tender love pictures that are hard to part with but have to give up. After the most brilliant flowers bloom, there is bound to be red all over the ground, extremely bleak. And people, would rather look at the moment of splendor, like a moth to the flame, head down, rather than dragging the tired body waiting for the old will come. Therefore, the original unformed marriage will certainly not bind a pair of people who have sworn an oath. People who love each other can never return to the original story because they have taken different paths. That story was meant to be told by two people.

The novel traces my love for Wai Tung from the time we got married without a marriage license, through betrayal and separation to Wai Tung's development and remarriage in a reminiscent tone. The whole process, though jumping around, is so delicate that you can touch every inch of the characters' expressions. Since the author uses a kind of "me" to narrate the story, the distance from reality is invisible. History becomes distant in the memory narrative, and only 10 years seem like a lifetime ago. The author chooses to set the story in a decade of the most dramatic changes in the lives of individuals in China's history. Weidong stopped painting and started his own company. Lanchuan, the poet with whom I had an affair, eventually chose to become a producer. It seemed as if all the men were doing something very practical to earn money and had abandoned their first love of art. I, as a woman, was on a path of literary obsession and had to break up with Weidong and Lanchuan, men who symbolized the glamour of materialism and reality.

The novel is an epic and a tragedy for the writer. It is epic because the woman who chooses to make writing her life and noble must sadly face the decline of literature and art and walk alone. While achieving spiritual freedom through writing, I lost the most precious thing in my worldly life - love. The two men who once gave me infinite love, except for reminding me of the beautiful spiritual life in the 80's, were unable to enter my spiritual world in reality - that free and lonely world. My tragedy is that I know I can't do it, but I do it. I exchanged worldly happiness for spiritual loneliness. What is Xuan'er saying about the fate of her characters?

Author:Caiwei

Source:Heilongjiang Morning Post

Editor:Li Xu This article is reprinted from White Deer Books

"Mom I Want to Go Home" was published in Chinese Writers, Issue No. 5, 1996

Published by Writers' Publishing House in 1997, the book was changed to "Tortured Flowers. Post-"autobiographical"

-Reading Xuan'er's novel "Mom I Want to Go Home"

Zhao Yihang author Xuan'er would have frowned at the title, and "I" in the novel, long before I thought of making any comment, had already pressed on with a warning: Grandpa said that the family was going home. warned: Grandpa said that there was a grandmother in the house, an old companion that Grandpa had found.

My heart sank. Why "after" again:

After mom, after grandma?

The latter grandma is too new to make "me" suffer; the latter mom can make "me" break my heart. Although as a stepmother, this stepmother does not seem to be too out of the ordinary.

But "I" could not resist the semantics of the narrative

Scattering tormented: many years later "I" in a southern provincial city to participate in a literary meeting, there are two pioneering critics have been talking about the post-modern, post-romantic, post-new! The theorists were wronged by the association of ...... with such a period. "My emotional reaction even went into a fortune-telling reasoning: "I think those two critics must have had a happy childhood, and there is absolutely no one among them who has gone through the family breakup and the loss of their mother like me.

I myself have read a little bit of numerology, and my "post" theorist's psychological background is not quite the same. Can't discuss this with fictional characters though, if that's a problem. Anyway, the "I" in the novel has its own reasons for being "I". It is because the whole of my life, and of course the whole of the novel that I have narrated, is faced with the bleakness of the "after" world. After" in the bleak indifference. That is not only the destruction of the body, but more importantly, the loss of all dignity and self-confidence, which is the complete destruction of everything for a person who pays attention to the heart and the inner world. ...... "After" is a great sin. But for the novel in front of us, it can be said that no "after" is a book. It is the keyword for us to understand the whole work.

It can be said that it is difficult for any art to escape the personal life experience as the background; it can be said that most novels can't hide all kinds of "self" signals; it can be said that women writers are more likely to use their own lives as the basis of their novels; it can be said that contemporary women writers are more eager to write about themselves. After this kind of rigorous reasoning of literary theory, it will not be criticized by too many critics to say that Mama I Want to Go Home is a work with "strong autobiographical meaning". The only one who may dispute this is the author, Xuan Er, but if she uses the facts of her own life to explain the autobiographical or non-autobiographical nature of this novel, it is against the basic principles of literary theory. Because we will be discussing a special kind of autobiography - "post" autobiography.

Once a novel approach to criticism of all kinds, it is as old as time, and may still be considered one of the methods. The novel we are dealing with, however, shatters all existing critical boxes.

The narrator's subconscious always gives us

the least grounded opinion, but often the only possible explanation.

As soon as the narrator hears the word "after," the traumas of childhood immediately loom large, and this novel is precisely what the word "after" suggests - that everything is the past, and nothing can be repaired. Everything is in the past, nothing can be repaired, what "I" didn't have time to catch, the narrative can't catch either. At the beginning of the novel, the mother has not yet appeared (without entering "my" consciousness), she has already left, and she has never looked back. At the end of the novel, "I", scarred by the wounds of the world and suffering, have not been able to find my mother. Losses drive the entire novel: before it begins, everything is already beyond repair, and by the time it ends, it is already too late, too "after".

The way "I" searched for my mother was to find a stage documentary of a large-scale opera "The East is Red, the Sun is Rising" from more than thirty years ago, to search through the faces of the thousands of actors and actresses, to freeze the faces of every actor and actress "who might be similar", and then finally to "technically process" the faces of all the actors and actresses. With "technical processing" and "extensive consultation", I was able to identify an actress who "convinced me to doubt" that she was the one. I'm sure I'll be able to find an actress that I'll be able to "firmly doubt". Then I interviewed all the cast members and gray-haired people from the bullpen who had long since dispersed. The result was predictable, and "I" tried to "keep trying".

Loss/recovery, wounding/healing, pursuit/hope, these processes, which could form the core of a general "autobiographical novel", are some of the driving forces, but now it seems to be based on a flickering image of the past. Though fascinatingly beautiful, with light shining in the background, they are old archival footage for hanging on to, for nostalgia, for study, but not for substantive restoration, much less for a hint of warmth that can be embraced by the self. The process itself denies itself before it even begins, making its retrospective nature (restoration, like narrative, is always retrospective) a form of self-deception.

The unsearchability of the mother also predetermines the impossibility of finding a home, or building one, or even dreaming of one, for the rest of my life. "Home" is the only place where the subconscious can hide under the pressure of life, where there is no need to rationally review the instinctive reactions of the self. We are not talking about the modern family problems discussed in sociology, the divorce rate, children's education and other statistics. This is a symbol, a goal pursued by the restless soul behind the work of art, the point of convergence where tens of thousands of words in the novel are endowed with meaning -- the claim that the novel cries out poignantly from its title onward.

What we see underpinning the novel is a self that has been divided since childhood.

The step-grandmother shows even more hypocritical malice than the stepmother, who doesn't show you indifference, but excessive enthusiasm. This enthusiasm is like a stream of water vapor, damp and cloying. For example, she took me by the hand and called me her granddaughter. I felt sick that she thought sweet words were enough to win people over.

The child's insensitivity is the natural reaction of a traumatized child's mind, but I say this only to appreciate the novel's psychological subtlety. The "autobiographical" nature of the novel creates a paradox here: the adult "I" as narrator cannot correct the infant "I" as character, because the "I" has just been born. The "I" is born too late. Once I become an "after", there is no question of value judgments such as beauty, ugliness, goodness, or evil; everything is of the same value, and all elements are united. It doesn't matter if my stepmother leaves me alone or my stepgrandmother warms up to me. Not knowing the difference between good and bad is the reason why "I" fail in my efforts to establish any relationships throughout the novel, and this reason is not "my" responsibility, the culprit is the lagging position in the time chain/plot chain.

And, as "postmodernist" theory involuntarily defends, negative values, in the name of plurality, happily prevail over all others. "All my relationships with men have been marred by my self-destructive impulses and have ended in failure. "Nan is a loving man and my only hope of finding a place to call home, while Wang has moved from over-ambitious to worldly. At the moment when "Nan" proposed to me, "Wang", who had disappeared for four years and suddenly reappeared, mesmerized me for a whole day. "Nan", disappointed by her loss of love, went to the United States, while "Wang" went to the United States. "Nan, disappointed by her loss, goes to America, while Wang goes to make TV movies for money and sleeps with other women. This is a very emotional novel about a love that is lost and regretted for the rest of one's life, but it is so solemn and self-possessed that it does not even have a sense of tragedy. The impossibility of love is the impossibility of value.

Of course, writing about the impossibility of love has been a skill accumulated by several generations of women writers, and possible love is now only the monopoly of popular novelists. But in the "post" world, where values are predetermined to be divided, the narrator is unable to destroy the good things - and love is one of them - for all to see, the good things that the subconscious mind rejects most stubbornly. The beautiful things are the things that the subconscious mind rejects most tenaciously. There is no more tragedy in the "post" world; the "post" world is inherently sad and joyless.

Other novels may have written about the absence of love; this one is about the aftermath of love.

So the final loss of life opens the way to death. The novel movingly describes several suicidal impulses that "I" have felt since childhood, to destroy the hardest of all good things, the self. Until this impulse is cut short by an even more painful destruction: the death of the only person who loves me, and the only person I love, the suicide of my brother, the death of the object that replaces the death of the self.

As a novel, of course, this treatment is not necessary, but as an "autobiographical novel," it is the only alternative, because "I" must survive to narrate this life. Narrative is by definition after the fact, but autobiographical narrative has to be before life becomes "after". In order to save this paradox, another life, one that is higher than the self in the sense of absolute value (in the sense of brotherly affection, in the sense of patriotism for those who return home at their own expense, and in the sense of being a thinker as a teacher of philosophy), had to be destroyed in the most brutal way.

So we read the creepiest part of the novel, the chapter that I myself think is the best written: "I" meet a strange woman on the train, "wearing white gloves", "with eyes so big you couldn't see the light in them", "with eyes so big you couldn't see the light in them", "with eyes so big you couldn't see the light in them". I couldn't see the light in them" and "there seemed to be no tongue in her mouth". This ghastly-looking goddess of fate charmed me, and I almost followed her out of the station's underpass, where the lights were already on. The woman's mouth had touched the windowpane, and I realized that it was not a lipstick mark on the glass, but "a deep indentation in the glass, which I felt with my hand, and it was very smooth".

Apparently, Destiny's kisses are deadly and can burn glass with a single touch. "She moved her lips closer to mine and kissed them gently. I would say that she kissed the lips, not the cheek, not the forehead."

The narrator uses an interpretive intervention here that seems strange to read, "What I'm trying to say is" to emphasize that it's not the face, not the mind, but "I" that is being burned away from "my "'s sexually sensitive parts. In this way, "I"'s desire to establish any human relationship is dissolved by the desire to die.

All that remains is then no longer of the character of becoming a heirloom, but a series of paradoxes, a series of continual degradations. Just as "I" hosted the radio program "Life and Sunshine", advising young people to pull themselves together, my brother committed suicide on the railroad; "I" was in the middle of a conversation with a man "I" despised; "I" was in the middle of a conversation with a man "I" despised. After kissing a man I despised and dancing the night away to the sweet strains of "Liang Zhu," I opened my suitcase and saw the mesh white gloves of my female companion in the car.

Perhaps the Grim Reaper is the mother that "I" can't find? Then the emotional-sounding cry, "Mom, I want to go home," is a stark resolution: "Death, I demand destruction.

"I" was born by my mother, that is, when the novel was launched, when "I" was abandoned by my mother, and the life of "I" in the novel can only be a misplaced life. The life of "I" in the novel can only be a misplaced life.

The narrator discovers too late in the novel that everything is

too late even for self-destruction, and what we are faced with can only be a post-autobiographical novel that is bleakly incapable of destroying itself.