Li Jianwu commented on "Ninety-Nine Degrees": "There is only one such article, the most modern"

I don't understand how content and form are separated. A general's armor is just armor, not a general: peel off the armor and the general breathes. Kill the general, the armor is still there. This is not a proper metaphor. If "Dostovsky is often regarded as a general who does not wear a uniform", it should not be to harm Dostos for his greatness. So armor is not a form, but a rhetoric. Form and content cannot be separated, just as the skin and flesh cannot be uncovered. The form is basic and decisive: rhetoric, used appropriately, increases beauty; otherwise it is too late, Fu pink is red, the name is elegant, in fact, the village custom. A great writer seeks not the effect of rhetoric, but the complete harmony of vientiane. He may be biased, but he does not mean to be "biased", it is just the existence of his entire personality. Therefore, the critic is afraid to take the liberty of calling this "partial" and look for other words to symbolize, such as strength, profundity, penetration, and so on. His works (works produced by a whole personality) are based on his entire life, and the direction of the work is mostly dominated by his innate disposition. The harmony of a work and disposition is often the perfect symbol.

There is nothing more simple than life, nothing more complex than life, everything depends on what angle to observe; it is objective, but it is based on his disposition; it is subjective, but he has reason to drive. And completion is subject to choice or trade-off; in other words, skill. A literary work is different from another, not in the story, but in the use of the story; not in the plot, but in the domination of the plot; not in the rhetoric, but in the author's consistency with the work.

Because of the similarities of ideas or backgrounds, the reader can deny the use of certain materials, but has absolutely no right to erase their existence.

The modernity of a work is not only in the material (we better avoid the words of formal content), but mostly in observation, selection and technique.

That's why in 1935, I wanted to introduce a short story from 1934, which was published in the first issue of Xuewen magazine, "Ninety-Nine Degrees", produced by Ms. Lin Huiyin. I believe that the reader rarely reads this novel, and even if he does, pays considerable attention to it. I heard a professor at the Faculty of Letters of a National University confess to me that he did not understand anything less than fifteen thousand words. What he has is learning, what he lacks is to use a little more imagination. True creation is often not something that rotten formulas can limit. The existence of a masterpiece is not only about following tradition; however, it cannot abandon tradition, because true tradition is often not just a bond, but a smooth step. But leaving those preliminary conditions, a masterpiece must have to be different. A writer and a writer have formed a vastly different human nature. According to his respective endowments, he observes; a kind of individual observation, the activity of the whole body and soul; there is no room for laziness. From the observation of choice, from selection to writing, this long list of spiritual effects, the completion of the production of an imaginary work, the intermediate passage is inevitable, by no means accidental; only in this way, consistently, it is difficult for us to interpret a work in terms of formal content, unless the work itself is ugly, cracked, and can be torn down word for word like a uniform.

A work must be self-reliant, either because of materials, or because of skill, or both. A basic starting point is the author's different views on life. Due to different views, a work can be extremely traditional or extremely modern. I have gone around many bends, just to prove that "Ninety-Nine Degrees" in the production of our past short stories has a greater temperament and more factual material, but there is only one such one, the most modern; only here contains a unique view, which regards life as a piece of wood that cannot be hugged, and "Ninety-Nine Degrees" is a cross-section of life. In such a hot Beiping, the author reveals all kinds of things about the day before our eyes, there is no organization, but there is organization; there is no organization, but there is order; there is no story, but there are stories, and so many stories; there is no skill, but everywhere reveals ingenuity. This is the ordinary life of an individual, a book of its original appearance, in its full range of activities, presenting a complex organism. With her cunning and sharp brushstrokes, the author leads us, following the burden of the restaurant, into an ordinary but bustling world: there are lost loves, there are lovemakers, there are birthday celebrations, there are married, there are blessings, there are hot deaths, there are debts, there are boring ,...... All so kind, yet so calm——— I almost want to say transparent; in this multitude of thoughts, the author vaguely ambushed the next analogy, and this comparison, not publicized for the author, but expressed her human sympathy. The delicate and imbued emotions of a woman, everything here gently resonates, but gently slides away like the sparkling water streaks.

It is strange that in an era when many of our men cannot control their enthusiasm, there is such a female writer who uses the sharpest and clearest lens (reason) to take a fragment of life, and shrinks on such a short piece of paper (length). All I have to ask is how much influence she has endured from the modern British novel. No work breaks through the rocks and becomes an insulated system in its own right. So despite the influence, the Ninety-Nine Degrees of The Middle still achieve a very high attainment based on a particular view.