Gyeongsan-Anne Baby: Over a thousand sails, obstinately

A writer's book accompanies you for twenty-one years, and these books begin to become like a wife, and twenty-one years of mutual encounters are exchanged for a word. You know its goodness, and you know what is bad about it, but the mind that supports you to continue to walk has not been extinguished, which shows that your karma is not exhausted.

Qingshan, who used the pen name Baby Anne, published his latest collection of essays and essays, "All Things", at the end of 2021, with 352 pages, which is a collection of diaries, daily observations and experiences in two years. Some readers are surprised: It seems that Weibo, which has been woven for two years, is it necessary to publish it?

"All Realms", author: Qingshan, edition: People's Literature Publishing House, November 2021

It's not just pen names that have changed

I had been reading this writer's books for twenty-one years, and I rarely talked about her books, for understandable reasons, but also some regrets—most of my peers who grew up reading Baby Anne's "Cruel Tales of Youth" were ashamed to talk about this history again, as if it were some kind of taboo of youthful emotions. Talking about Baby Anne in serious literary circles is more complicated than shameful: she's a best-selling author, but she may not play by the rules of the game. Some envy her best-selling reality, but disdain to talk about the labels that have been attached to her: consumerist writing and petty bourgeois sentiment in the early stages, and middle-class spiritual preaching in the later stages. Gyeongsan-Anne Baby, while winning a large number of readers, is also suffering from a lot of misunderstandings.

She is aware of her controversial nature, and most of the time she remains silent, and there is no shortage of time to concentrate on responding to questions. Writing is too lonely, let alone twenty-one years of continuous writing. Over the years, she has deliberately isolated the interaction of the mainstream literary circle, isolated from the warmth of her peers, away from mutual praise, awards, literary activities, and various specious circles, and chooses to have direct contact with readers. Gyeongsan-Anne Baby captures the essence of the problem: the author writes the book, the reader reads the book, and the rest is insignificant. I originally admired her approach, but after reading the new book "All Circumstances", I had a new confusion: What is the real reader? It is true that understanding and love are the secret of the companionship of the author and the reader, but what about criticism? Kindness and constructiveness come not only from understanding and love, but also from sincere criticism. Because true criticism never detracts from the texture of the work. What is puzzling is that in "All Things" you can only read praise and love from readers, but you can't see a word of criticism.

I admit that my own mindset as a reader is really screwed. Just like every time I write a sentence, I will write the name "Gyeongsan - Baby Anne", which is not the same, obviously this writer has already signed the work with "Gyeongsan", but I still added the strange suffix of "Baby Anne". This is not to remind you that I am talking about the "Qingshan" that was once called "Baby Anne", but there are deeper psychological factors: from Baby Anne to Qingshan, she has changed not only her pen name, but from flesh and blood to a self-willing transformation of bones and bones, and she has always been obstinate.

What exactly is Baby Anne's style?

For a writer, if there must be a position in the orthodox judgment coordinates of "literary history", I think this positioning should not be the evaluation of greatness, second-rate, excellent, and bad, but should be - recognition. What is his/her style, whether it is unique, whether it is not imitatable. Writing, although facing the world, is ultimately just a person's voice. To get past the hustle and bustle of the times, his/her audio must be different.

Baby Anne is a new generation of culture that appeared at the turn of the century, and she brought novel collections such as "Farewell to Vivian" and "August Weiyang" from the online literary front to traditional literary publishing. The girl who likes to wear a white cotton dress, a man named Lin, the dim city light, writing death and love, farewell and wandering, material addiction and emotional fall, and so on become her label. In fact, in China after the tide of the market economy in the 1990s, all solid things were disappearing, and the public was on the way to a modernist lifestyle, and literature became a kind of subculture. Even in the intellectual circles after the "Great Discussion on the Humanistic Spirit", in the face of the cultural development trend of Focus and the embarrassing reconfirmation of self-identity, intellectuals are actually not very clear about how to get along with the mass culture that has kept a distance from the past. However, mass culture is a self-existing existence, with its own development channel. Internet Literature, Under the Banyan Tree, Leper Cai, Body Writing, Wei Hui, Mian Mian, Guo Jingming... These difficult and elegant keywords gradually occupy the main channel of popular literature in popular culture. And, of course, baby Anne.

While intellectuals are confused about where they are going in the economic tide, or imprison themselves in cultural systems such as ivory towers, "popular writers" such as Cai Zicai, Han Han, and Wei Hui have firmly attracted the interest of mass culture to literature in the most traditional way of literature. The backwardness of the literary judging mechanism (which still exists) has obscured the value of these writers for a long time. I say this not to re-encode these former "literary landscapes," but to lay the groundwork: Baby Anne's contribution to contemporary Chinese urban literature may be more than we think. Professor Gao Yuanbao of Fudan University has a meticulous analysis of this, which is convincing to read.

What exactly is Baby Anne's style? Many readers say that "Lotus" is a watershed moment in Baby Anne's creation. Novels and essays have always been two forms of writing that she has gone hand in hand with. For twenty-one years, she has continued to write at an average rate of one new book per year. Usually her writing habit is to organize and publish a collection of essays for each long story. "The Other Side of the Flower" is followed by "Rose Island", "Lotus" is followed by "Su Nian Jinshi", "Spring Feast" is followed by "Sleeping Sky", and after "Summer Valley" there is "All Realms". In the progression of this alternating text type, her writing became more and more quiet. Once upon a time, the young female writer with fierce affection and strong will reflected in the turmoil and became a middle-aged female writer with a feeling as light as water and a will like a tree.

Once upon a time, the reader followed the author and sank in the sea of emotions. With "that determination to plunge into danger and freedom", she wrote words like fireworks blooming in the night sky, decadent, beautiful, cold, which is like a spiritual opium reading for the reader. Faced with the danger of addiction of the reader, Baby Anne has no intention of continuing to please. With the advancement of the life course, drifting, traveling, the death of relatives, the departure of distant homes, the birth of children, and various changes, this writer, who has always attached the greatest importance to the "meaning of writing", began to explore metaphysical issues such as the meaning of life in a deeper way. "Lotus", completed in 2006, has a pure white cover, like a newborn. Keisei and Inland River, a flower-like woman, and a man named Zensei tell each other about their understanding of life on the road to the symbolic Merdeka pilgrimage. From the beginning of this book, Baby Anne becomes like a spiritual ascetic, "born to be a passer-by, trekking through the void". Her writing, as a result, embarked on a journey of obstinate behavior.

Baby Anne's writing has always been a stubborn gesture. Whether it is the sinking of flesh-and-blood love in the past, the anger and indifference of individuals with negative energy exploding, or the indulgence and self-appreciation that focuses on material details, her posture is like a bird that jumps from the top floor of a tall building with its eyes closed, and her heart is determined. This abundant but destructive energy has grown since "Farewell to Vivian", and is unbridled in "Flowers on the Other Side", and in "Spring Feast", the flowers bloom to the end. Baby Anne in the context of this novel, after a thousand sails, she ended a part of herself. From then on, as she herself put it, "some themes were completely put to an end, and each of them was put in their place." ”

"All Realms": The process is full of loopholes, reflecting the author's truth

The "All Realms" we read today are already other themes, the meridians that grow out of the vein of the Lotus. Originally, "All Realms" belonged to the works in the prose system of Qingshan (from here onwards, called Qingshan), and it seemed that the context of the combing should be from the earliest beginning of his prose, "Rose Island", along with works such as "The Awakening Chronicle", "Su Nian Jinshi", "Moon Tong Du River" and other works, to explore the unique temperament of his prose writing, but I realized that the reason why "All Realms" presented the controversy of "whether it is preaching or understanding" and "whether it is preaching or literature" that is today's mixed reputation, all start from the long novel "Lotus".

Although my selfishness has always been "Rose Island" and considers it her best work, this little book is only the beginning of the writer's future changes in the writing context. It is a turning point in the state of mind, and after the state of mind changes, everything can gradually change. Rose Island is a book dedicated to his father. The sudden death of a loved one takes away a part of a writer's life and re-injects something new. "Rose Island" is about a woman walking along Southeast Asia, which is formally like travel literature, but it is supported by private memories and whispers. The desperate woman of the past, her anger at the world gradually faded. Because of her father's death, she was forced to face the dilemma of life and death.

The rebirth of the soul begins with The Lotus. In the book, she writes, "The first half of my life has passed, the second half of my life has not yet begun, and I have been stopped." And this book, "about the morals, about the history of the mind, about the path that man has taken." "The three protagonists of the novel are all people who have banished their lives to the margins in pursuit of the purity of the soul. The final ending, after Keishaki and Zensei arrive in Metuo on foot, they learn that the river they are looking for together is dead, but they do not lead to the usual "powerlessness" in Baby Anne's novels. Female writers who have experienced the puzzle of life and death no longer think that life is just a firework, and have been able to calmly accept the truth of life. The lotus flower, indeed, is like a new life, reflecting that this writer will turn a corner on the road of obstinate will, and go deeper into the depths.

The delicate reader will find that from "Lotus" onwards, Baby Anne's writing tone has become more and more diluted, the prose is simple, and the words used in the novel have a classical charm. On the other hand, the plot is basically the same, and the core of the story is very similar, nothing more than the realization of several men and women trying to reach the soul level after the sea of material desires and emotions in the world has floated and sunk. The writer's path of turning is already clear—she has given up the eerie and rich ocean of literature and has since chosen to walk alone in the bottomless tunnel of spiritual exploration.

What is the meaning of writing? This question runs through the entire creative process from Baby Anne to Qingshan. In almost every book, she has a lot of inspiration for writing. At first she saw writing as a healing device to heal some kind of original emotional trauma; gradually, she realized that writing "represents an introspection, represents the transcendence of appearances"; until "Spring Feast", she responds to the reader's monotonous criticism of her story with the help of novel characters: "When you understand the structure of human nature with experience and knowledge accumulation, you will gradually understand that all stories are similar, but there are slight differences between the time and the details of karma. Under the daily circumstances, there is nothing new. One does not need intense curiosity. The rules and orders that have been crushed on each person ultimately come from the same force. In the new book "All Circumstances", her straightforward expression of the concept of writing is even suspicious: "Most literary and artistic creations, literary expressions, are questions and no answers." Trying to answer is a truly responsible and ultimate writing. From this point of view, her understanding of the meaning of writing is no longer something that literature can carry alone.

The 2013 essay collection Sleeping Void is seen by Gyeongsan as the beginning of a new prose phase, "entering a phase that focuses more on exploring philosophy and documenting the present." The structure tends to be loose, but it also leaves more room for spiritual capture and conscious thinking. "The 2016 essay collection "Moon Boy Du River" continued to go deeper, until the end of 2021, the essay collection "All The Realm", may be a peak of Qingshan fragmentary essay writing." The occasional record of three words and two words, the intuition of the moment", scattered with fragments, read with ease, the theme is from her writing to the content that has been consistent since the beginning of her writing: using the source of mixed meditation perception interspersed and penetrated into all the feelings of daily customs and personnel changes, thus revealing her original intention of exploring the inner mind and transmitting the energy of cultivation.

The catalogue of "All Realms" is simple in style, just like the white snowy mountains on the cover, which shows that this is another book about individual cultivation. The confusion about this book slowly struck after reading it all, like a dull stick, and the dull pain slowly arrived, and it was more and more unpleasant. The feeling of something wrong stems first from the rebuttal. In "All Realms", Qingshan discusses the enlightenment text of individual cultivation, quoting, paraphrasing and reprocessing a large number of sexual and spiritual writings from mixed sources. The sources are roughly Tibetan Buddhism, Japanese Zen Buddhism, Hinduism, Islamic Sufism, Christianity, Shamanism, Nan Huaijin, Indian witchcraft, etc., and Qingshan conveys these spiritual aspects of her daily learning in fragmented ways "extremely real and profound memories, emotions, feelings and ideas" in a fragmented way. It is true that, as the author said, the words and opinions in the book are "a mixture of personal temperament", and Qingshan's prose writing line has constructed a certain highly private discourse space. But as a serious publication, if it is true as the author hopes, "if you can use writing as a tool, as a way, first help yourself a journey, and then help others with understanding." This is a service. "The state presented by the publication, then, should at least be a solid state at a certain stage. The path of thought is open, but the flow of thinking is like the process of making a draft, and if you pour all the scratch paper into the reader, I am afraid that people will have indigestion.

Reading these jagged "words of the guru" in All Realms, if the reader is lazy, may stay in Qingshan's arrangement of these philosophies. Writers themselves are learning in a frenzied manner, and if the reader does not have more diligent willpower and curiosity, I am afraid that he will be satisfied with "second-hand learning". The trouble is that these truths, which have been "transformed" by Qingshan's personal practical experience, really have a soothing effect. However, the transmission of a large number of such philosophies, whether to drink to quench thirst, or bitter medicine, whether it is sermon chicken soup, or as Qingshan said" "truth", the readers may not be able to reach a consensus.

But whether the reader agrees or not, it doesn't matter. Readers who have been reading Gyeongsan will understand the reason why this writer has expressed several times that she is eager to study so many sources of sexual spiritual classics without feeling awkward. In "Moon Boy Du River", she once said, "The experience of going to church with my grandmother in my early years to worship, read the Bible, and sing hymns, and now reading Buddhist scriptures, Indian yoga classics and other works, does not make me feel contradictory or divided." Humans don't have to use concepts and classifications to limit and imprison each other. All faiths are rivers that face the same source. One should not bind oneself and try to bind others. ”

It can be seen that the reason why there are so many sources of disparaging understanding in "All Realms" stems from the writer's belief that "all beliefs are rivers facing the same source" and that "all schools of thought are ultimately unified." But the fatal thing is that even though all things are one, there are thousands of paths to arrival in the world, and a person can only choose one path. Unfortunately, of the many philosophical aphorisms about personal practice thrown out in All Realms, the only thing that Gyeongsan himself chooses is the belief that Gyeongsan himself chooses, and this is the energy that a writer should convey to the reader through writing.

What I read was her contradictions. The writer who wrote about love and joy in his early years now writes that "those who can realize in their twenties that the love between men and women is unreliable, and have no expectations for marriage and children, are the wisdom roots of how many lifetimes they need." On other pages, it reads, "Women decide and procreate, and if out of respect for the cosmic energy that life belongs to, they will seriously experience this process, connect with new life, and grow up with their children." On the one hand, she wrote that "when I was young, I was crazy about love and spent too much energy." Looking at it now, it's all delusional. On the one hand, she wrote, "Before the age of forty, it is good to roll in the red dust." The experience and suffering of going up the knife mountain and going down to the sea of fire was borne when he was young and strong. In this way, you will be willing to become an ordinary person. ”......

The contradiction between the lines of the words shows the writer's inner sense of struggle. She may really want to reach the state of mind of "spring light to find the mountains, and the bright moon to sense the mirror lake", but after all, she is a mortal with extraordinary developed sensory perception ability, and there are too many thoughts and experience biases that make it impossible for her to "extinguish delusions", so she has many inconsistent feelings. Because the sources of the practice are mixed, the individual has not formed a stable belief, and he wants to pass on the results of this stage of practice to the reader, one moment it is very reasonable, the other moment it is simply inexplicable, all kinds of misplaced, only by understanding, can we be compassionate. Because she is not a spokesperson for truth, but a learner who is willing to open up the process. The loopholes in the process reflect her reality.

The limitation of All Realms is that it does not see the possibility of diversity in individual practice

Only listing the symptoms, not exploring the crux of the problem, such a comment undoubtedly scratches the itch of the boot. Twenty-one years after writing, Qingshan seems to be obstinate, but in fact, she has not departed from the life path of Chinese traditional knowledge. The appearance of Qingshan is just another modern example of "retreating and being alone" under the influence of the humanistic environment of classical Chinese humanism.

In "Literature is a New Theory of Anthropology", Li Jie analyzed the core of classical Chinese humanism: one is the Confucian benevolent person who loves the other, and the other is Zhuang Zen's self-improvement. The former led to universal sympathy for the suffering of the people, while the latter led generations of intellectuals to seek a peaceful balance of soul in the midst of the suffering and impermanence of life. This article talks a little bit about the latter. The self-perfecting life choice of the intellectual Lao Zhuang has a strong sense of birth.

Qingshan once said, "It is difficult to change the outside world, what you can do is to change your mentality towards the outside world, at least make yourself calm and strong, and discover good meaning in life." And the theme of her attention is the individual's trek, introspection and self-improvement, "this is not a small matter, but a real focus on the texture of our own and the hearts of others, rather than choosing to be careless and hidden in a collective." From this, it can be seen that in the face of a difficult life, Qingshan's pursuit is the purity of his own personality, keeping a distance from the muddy outside world.

However, what kind of path will this individual personality take? Li Jie has analyzed this, "This kind of Gao Jie, due to its almost spotless idealization, determines that their personality construction is not an open stretch but a closed type of solitary self-appreciation, that is, through self-regulation of self-cultivation tends to a deep and empty clear realm." ”

Although this pursuit does have a powerful self-generating, self-soothing effect, "because this personality construction, because of a transcendent sanctification, it is easy to lead to the state of sanctification, and the self is reduced to a quiet silence, turning self-perfection into self-satisfaction that ignores everything, thus pushing humanitarianism from another side to religion." ”

Here, I quote a lot of the text of "Literature is a New Theory of Humanities", but I just want to provide the essential orientation behind Qingshan's writing of "All Realms" reflecting "individual cultivation" as a life topic. Such a path of "individual practice," whether or not it will form a "cultural and psychological stereotype," as Li Jie put it, is undoubtedly private and closed.

What are the limitations of individual practice in All Realms? In my opinion, just as the book's groundbreaking excerpt of many of the reader's praises is staggering, this embarrassment is superficially the reader's criticism that the author is "narcissistic, spiritually ostentatious, and self-proclaimed", and the essence may be because Qingshan has always been self-effacing and unwilling to deliver, so it is not thorough. Whether it is spiritual cultivation or worldly trekking, you can't go all the way to the black. Sometimes it is too fast to abandon the past, sometimes it can make her tears when she hears the words "seeing the mountains and rivers and the earth without the slightest trouble", and sometimes she says, "A thought flashes at the dinner table, and people should live freely, even if they die early..."

But this self-effacing private discourse space, no matter how violently oscillating and revised it is experiencing internally, will naturally repel questioning and attacks from the outside because of its closed nature. Unfortunately, in the attack on Qingshan, there are many demons from the reader's heart, magnified shame, anger, jealousy and hatred, but also many ulterior motives and verbal violence, the world is indeed sinister, and it is indeed difficult for people to communicate with each other. But while dumping the child with the bath water and closing the criticism channel, it also shuts out hope and connection. True criticism from sincere readers, do these really damage the practice?

An everyday ecclesiastical book that masks doubts has in fact abandoned literature and followed the path of spiritual exploration to a rare place. Along the way, Qingshan lost a large number of readers, which seems to be the result of her active filtering. On the edge of self-willingness, it is like a person drinking water, cold and warm self-knowledge, but paradoxically, this revealed road makes me as a reader suspicious.

In the large semantic repetition of daily perceptions in "All Realms", Qingshan spends a lot of time expounding the concept that "breaking through dualistic oppositions is basic common sense", but many contradictory expressions in the text reveal the subconscious mind that opposes daily life and individual practice duality. Standing on this shore, I strongly yearn for the situation on the other shore, disgusted with the turbidity of this shore, but coveted the color and fragrance of this shore.

In fact, secular life and individual cultivation are not dualistic opposites, and the limitation of "All Realms" lies precisely in the fact that we cannot see the diversity of individual cultivation possibilities, and we cannot see the various heroes in ordinary life. The American psychologist Philip Zimbardo has a famous theory called "Everyday Hero", advocating that ordinary people constantly reflect on how to change some of the flaws in life, so that their families are more harmonious, their schools are more perfect, and their communities are more pleasant." Zimbardo's examples include Rosa Parks, the first civil rights woman in the United States who refused to give up her seat to white passengers on a segregated bus, and Lin Hao, a 9-year-old boy who twice rushed into a collapsed classroom during the Wenchuan earthquake in 2008 to rescue his trapped classmates, so it can be seen that such a "daily hero" still requires the extraordinary courage of ordinary people, asking individuals not to be disconnected from the environment, and have a warm will to improve the surrounding environment, which is undoubtedly very different from the sense of escapism that Qingshan has always wanted. However, who can say that the practice of moving away from the turbid world and saving the unrighteousness of the everyday life will be more cloudy in the soul than the former?

Zimbardo's "Hero of the Day" theory is, after all, not low moral requirements for mortals, and more in line with Gyeongsan's prose writing that focuses on "individual trekking, introspection, awareness, and attempt to improve", is actually the Czech writer Bohumir Hrabar. The writer, who lived in the World of Cold War Eastern Europe, excelled at writing about the kindness and poetry of people "on the garbage heap of the times" in their daily lives. After earning his juris doctorate, Hrabar gave up the one-eyed lifestyle and chose to work in a harsh environment. He worked as a salesman, a warehouseman, a steelmaker, a waste paper recycler packer, and so on, and his experience gave him a lot of contact with small people on the edge, and he once said, "All these ordinary, ordinary-looking people are the yardstick for me to measure everything and events." He coined the term Pábitelé to define the little characters in his novels. He described "Babidère" as a person who can still discover the beauty of the world through the "diamond hole of inspiration" in the gray daily life, and a person who can laugh and dig out the meaning of life in the midst of misery.

In contrast, in "All Realms", from time to time, the disgust for women chasing Korean dramas and square dancing aunts, and the harsh words for ordinary people who are old, "People without faith can only play mahjong, dance square dance, tease children and grandchildren, play pets, watch TV after they are old... Pass the time", these old people are described as "weak or heavy, the face is gradually fleshy, the eyes are cloudy, and the look is sluggish". The incomprehension and uncarriage of sentient beings, and the author's own attempt to convey the compassion and tolerance that practitioners need, present a clear opposition, not to mention the inability of those "Babidals."

At this point, it seems that I am a negative gesture to "All Things", which is not the case, and the criticism of some of the values of this book is precisely to expect to gain personal experience from reading. "All Things" is still a remarkable book. To be precise, Qingshan's prose writing in the context of "All Realms" has a unique literary value.

One of the values lies in Qingshan's grasp of the beauty of the Chinese language. Her prose language is simple and elegant, and she likes to use short sentences, especially marked by frequent periods. Some people question this as a pretentious "little fresh" writing, but I think it is not right. Qingshan's use of written Chinese is more condensed in prose than in fiction. She herself is partial to Chinese classics in terms of reading purpose, and she especially likes to read ancient historical, philosophical and religious classics. The history of Chinese writing has a tradition of "still short", the so-called Spring and Autumn brushwork, concise and meaningful, small words and big meanings, short poems have always been classics of the Chinese language, and now it seems to occupy the center of the literary world of novels or a large number of Europeanized sentence patterns that appear because of imitation of Western culture/translation, which are only the result of the past hundred years. Qingshan likes short sentences, pursues Chinese almost harshly, and has a clean habit and a certain classical tendency in the choice of words. The sculpted text is presented on paper, giving people a simple and truthful feeling, to cite two examples:

"Torrential rain, brilliant daylight, mercilessness of all things, no memory. It's only every moment. Every day I don't want to go anywhere, I just want to watch the flocks of birds flying by in the treetops, butterflies flying by, dragonflies flying by, listening to the sound of rain, the sound of wind, birds. Wander the void. Long silence. Watch every moment of this solid life. ”

"Woke up in the morning to find that it had snowed late at night. After homework, I went to the river, and although there was a chill, I still couldn't stop the spring weather. Seasons have their own rules. The first two hours of a day is important. Magpie nests are set up everywhere in the trees on the side of the road, and gray geese fly on the river. ”

Qingshan once expressed his understanding of the Chinese language through the mouth of the characters' trust in the novel "Spring Feast", "Chinese characters do not have the established strict and harsh rules, and when you master it to a certain extent, you can use your imagination to open its scope." It will flow, change, develop with consciousness and emotion, and it will be up to you. This is its vitality and transcendence. "Chinese characters with strong ideographic characteristics are precisely the imaginative and developed artistic synaesthesia of successive generations of writers, and still express exquisite beauty through the ever-changing combination of methods. At this point, Gyeongsan and many contemporary Chinese writers who "flaunt modernity" have parted ways.

Finally, I would like to briefly talk about the point raised at the beginning of the article: the degree of recognition may be the most important criterion for judging a writer's position in the coordinate system of literary history. I have no intention of elevating Qingshan in this article, which is neither necessary nor meaningful. Look at our present, the new crown epidemic that has swept the world for two years and cannot be seen, technology is moving forward, people's hearts are retreating, long-term isolation, blocked traffic, restricted emotional communication, people's hearts are facing the danger of shrinking. In such a decadent river of time, Qingshan has always continued her writing exploration of mental nature, carrying out her own thinking on life and death, sexual spirit, faith and other issues, although thinking has caused many controversies and criticisms, but this criticism itself is a precious gift that reading can bring.

I remember Kant saying that Hume thought that in metaphysics "Hume did not bring any light to this kind of knowledge", but on the other hand, he also believed that "Hume has struck a Mars, and this spark of stars has been carefully protected and let it rise, and from this Mars can be illuminated." Perhaps, on the theme of the exploration of the mind of modern people, Qingshan can also hit a Mars. After all, her writing concerns have wandered outside the mainstream literary world, but she stubbornly insists on going her own way, and maybe after "All Realms", there will be a new realm.

The author | Pauline

Editor | Zhang Jin

Proofreading | Lucy