Got more painful love? Don't believe you to see

　　With nothing to do, "I" took the northbound train to Gagdachi. In the car, I met an uncle who played the accordion and told me a long and complicated love story: the man was called Gamble, and the woman was called Song Ye (sound aid, meaning "where"). This entanglement of life and death between men and women spans time and space, occurring both in ancient times and in the future, both in China and in the West. The story has kings, Paris, revolution, Song Dynasty, official government gates, fashion magazines, hip-hop music, etc., with a variety of elements and scenes, far more charming than the northern scenery outside the car window.

　　The Book of Gamber is not a typical crossover novel. The time and space settings of the traversal story are independent of each other and have to be traveled because of their independence. And this book integrates a variety of elements at the same time in a time and space, rich and somewhat difficult to say. The story sees at the end, buried countless grass snake gray lines.

　　Give great surprises, or great wisdom, or great ambitions. If you can't read a work, first look at the author's experience, the words are all projections of human destiny. Born in the 1960s, the author Zhang Guangtian has been in the avant-garde art field for decades from music to poetry, from drama to novel, witnessing the decline of a society from idealism to traffic colonization, and the sacrifice of generations from blood to indifference.

　　Some people either endure or let their peers become new ghosts, but some people can't bear it, they want to shout, they have to fight, they are almost hoarse and even provocative, although the ending is unshakable, but they have tried their best, at least in their own hearts, they can be a little at ease, not in vain.

　　Or it can be said that the technique of this book itself is also a metaphor: those who seem prosperous but excessively plump are also strange and strange. Just as the world is facing a variety of colorful information every day, as if entering the six great viewing gardens, ancient and modern Chinese and foreign idiots and women are integrated into the square inch of a screen, like a prophet holding a crystal ball, peering through thousands of destinies, but after self-consistency, the heart is also empty.

　　The fate of mankind is a history of failure. Arbitrarily, good stories can't end, and love is even more so. I don't believe you to ask Jia Baoyu, Yu Lian, Duras, Qiao Feng, Wang Qiyao; The essence of "Love in the Fallen City" is also a tragedy, Bai Liusu and Fan Liuyuan relive old dreams, but they hitch a ride on a city, but the story ends at a climactic node, but the author does not continue to state that it is a chicken feather in the future.

　　The same is true of this book, as the author begins: "The pain of not having love has been written too much, and now I want to write about a thing that is painful because of love." "It is an even greater tragedy to increase love and resentment because of what is sought.

　　Love is, and so is everything else, and the whole history of mankind is.

　　I don't want to use the term "magical reality", I prefer to classify the book as a novelization of poetry, and the author mentions French and Baudelaire more than once: "He still likes to talk about Baudelaire, but when he revisits "The Flower of Evil" at this age, his mood is completely different." The evils he had seen in the past were all social and institutional; The evil he experienced today came from his own nature. ”

　　Referring to the author's previously published narrative poem "Jade Lonely Zhi", Baudelaire's reference and quotation, it can also be asserted that this is his literary master's inheritance: the absurdity of the enchanting book, the darkness of colorful words, the ugliness of desire, and the metaphor of contemplation with pleasure.

　　In today's era of the end of the novel, when the long narrative is in decline, the author has an avant-garde writing style, and it is difficult to determine in the current dimension: is it an elegy of the Kangbo cycle? Or is it some kind of ZTE or even opening up a new path?

　　The times no longer have patience, but if a small number of readers still adhere to the simplicity of hindsight, and turn back to this book a few years later, they may have a newer perspective and a more ironed concept.

　　Calvino says in the preface to The Invisible City: "A book is a space in which the reader moves around and may get lost in it, but at some point, find an exit, perhaps multiple exits, a possibility to open a way out." ”

　　Reading the Book of Gamber also has the experience of having this kind of flowery charm and then falling in vain. "Look for non-territorial people and things in hell, learn to discern them, keep them alive, give them space."

　　May we all have such tolerance and good fortune.