I am a slow reader, and I seldom finish reading Anne's short chapters. Maybe Anne's writing posture suits me, and her strange words suit my inner pain.
Because of this book, I am not reading other famous works, including Anne's later works, but I just enjoy reading Wenyou's works on the website. I'm just addicted to reading in her early hazy and unfamiliar words. I'm worried that reading other people's works will change the influence of Anne's words on me, because I like her depressed and unfamiliar words and works with pain.
The love I wrote about Lin Nansheng is a realistic expression beyond normal rational thinking. Lin Nansheng's love is helpless to reality and the limitation of moral responsibility, which leads to Lin Nansheng's love being painful, depressed and sad. He doesn't have the courage to wear away secular moral concepts, stick to marriage and don't want to live in reality. Home is just his accustomed way of life, and he always flinches before morality. His love is always divorced from marriage, suffering from parting and forgetting. This can't help but say that Lin Nansheng also has a fragile side, showing the gentleness of men and women. Lin Nansheng is a contradictory complex.
This novel is also influenced by Anne's works, and there are not too many dialogues and broken sentences. It looks a bit messy, irregular and irregular. Some predecessors have seen this problem. And gave me pertinent advice, but it may not change my writing style. I've never been bound by norms. Like free and natural flow, like other unique styles.
I'm always not interested in the description of the running account. I think we should describe in detail what is inside human beings. It is different from TV series, which is just a language expression of inner feelings translated from novels.
The most frequently used words in her works are "about: insomnia, loneliness, loneliness, pain, gloom, strangeness, trauma, despair, death, degeneration, withering, etc." In addition, there are lotto, white cotton shirts, dirty jeans, men's coats, barefoot sandals and so on.
Because of Joe's pain.
Let me write a series of "Joe's Puzzlement" which is stranded now, because some people say that my Joe has a tendency to be ignorant, has self-expansion outside marriage, and even speculates on my personality and dignity. It is really unfair to put me and the novel in a correct position and imagine an immoral person who eats, drinks, gambles and gambles, so I have to stop and consider whether it violates human morality.
Both Joe's incomprehension and Lin Nansheng's love are out of admiration and respect for Anne's works.
Joe and Lin Nansheng are both protagonists in Anne's works. Anyone who has seen Anne's works can see at a glance that I use the name used in Anne's works. I don't know whether it is a reference or a quotation, and whether it is characterized as plagiarism. I only know that it is just a gesture and expression of love and respect. I wonder if Annie can accept my idea.
Annie said that "everyone's words have their own appearance", and words are like people's hearts. Many people are wondering whether the work reflects her, but I assume it is Anne, which makes me feel more realistic to read. Reading Anne's works is like reading Anne's mental journey. It seems that she has experienced a lot of inner sadness and helplessness, endured a lot of loneliness and loneliness, and her heart is gloomy and painful.
Anne wrote in the preface of this book: "This is a novel set in a real place, that is, the novel comes from fiction completely. Because of fiction, the place gives a hint, as if it were written in another place, and its relationship with the truth becomes subtle. Wade across the water to the other side. "
"When the novel is written in the second half, it stops the habit of writing and listening to songs, goes through that tunnel and reaches the core of memory, imagination and understanding, so what writing ultimately needs is silence." "Use this book. To my father, to my mother, to all those who love me. By 2004 10 and 2005, it will be a small but precious commemoration. "
In the middle of the blank page on the last page of the preface, there is a passage of biblical revelation: I have seen a new world again, because the former heaven and earth have passed and the sea is gone. "This is a hint, I want to have a new way of writing according to your work, this is a new world. The book is divided into five parts: Lotus, Wake Up, T.A., Farewell to Wei 'an and Rose Island.
Turning to the title page, the color of black, white and red has become dim and yellow after countless touches. Due to the polishing of time, the original skin color has lost, and it has a deeper and deeper connotation. When reading a book, the position of the thumb inadvertently touched Anne's face countless times, and her face became blurred. Like a long memory, seaweed-like long hair is vaguely draped over the shoulders, and deep eyes are more blurred. The book is covered with earthly dust, with a strong smell of confrontation with reality, a smell of Anne and I mixed together, a smell of depression and strange pain unique to literature, an irresistible sinking realism spirit, mixed with loneliness and loneliness.
This book is generally about the real life of people living on the edge of big cities, reflecting a group, a real group in reality, maybe you, maybe me. They have no household registration, no fixed residence, and live in big cities with certain skills. This wandering life has brought unsafe and unstable factors to their love and marriage. People who love each other often can't be together, can't give each other happiness, and are doomed to be separated.
Just like Bing Xin's poem: "Love is on the left, affection is on the right, walking on both sides of the road of life, sowing and flowering at the same time, decorating this long journey of life with flowers and flowers, so that people who wear flowers and help leaves will feel pain and tears will not be sad."
They walked all the way, loved all the way, parted, mourned, loved, hated, and then left and forgot. Let your love be broken and numb without feeling pain.
This book also embodies the silent conflict between belief and ideal reality.
Reading Anne's works seems to be reading herself and telling some of her peers. Writing here seems to be in another place, just like her novel Flowers on the Other Side has virtual elements, but these elements are the real feelings inside. Her words are like blood flowing from the deepest part of my heart, emitting a kind of gloomy and strange emotion and erotic atmosphere, which is neither obscure nor sunny, and has a rational reality of human nature.
This kind of breath will quickly anesthetize readers, or create an illusion, and follow the delicate psychological description of stories and words, and feel extremely painful inside. This kind of pain has a pleasure of sinking, which makes you want to stop.
When I first read The Collection of Anne, I felt that the layout of the book was wrong. There were many periods in the book and few dialogue languages. Even if there is a dialogue, there is no need to use quotation marks, but to separate it with periods. Sometimes it's not clear whether she said it or she said it. Careful taste will make it clear. Annie's words are like eating. Only by chewing slowly will it taste, and the digestive system will digest it further, giving you more nutrition, making your thinking clearer and having a sense of dependence on her words. As Annie said: "Words are poisonous, and once they are deeply infiltrated, they cannot extricate themselves."
She described her words as written by water, and her understanding of this sentence is still unclear. It is really difficult to understand a book, because I don't know much about Anne's real life, and I know too little about her writing background, thoughts and feelings. I only feel her soul thought in her works, which always makes me feel that her works represent the life reality of city college students after graduation.
Her works are sensational because she writes about the real social situation of contemporary youth in this society. Her words reached the hearts of these people and produced a strong * * * sound. For example, insomnia, depression, loneliness, loneliness, trauma, desire, despair, decadence, withering and so on, these are the unique characteristics of this group of people, catering to their inner pain, and they are also willing to drown themselves in this pain.
Just like wine, although it tastes bad, it indulges the wild torrent of the heart like alcohol anesthesia, releases the pent-up feelings in your heart, gives you instant relief and restores a helpless short-lived freedom. Only at this time, they belong to themselves completely, instead of living with masks. Living with a mask is really tiring. In order to save themselves, people have to pretend to be hypocritical and strong. In fact, their inner sadness is only clear to them. Like a fish in the deep sea, I know it well, including myself.
One of Anne's books has a great influence on me. It brought me into the palace of literature and made me interested in the combination of other words. It's like a brick building. We envy its grandeur, luxury and prosperity, but behind it is the support of words. Words are the backbone of literature, words are bones, and articles are meat. Literature is a thoughtful person, a person with flesh and blood and soul. Its beauty is gorgeous words and an artistic combination of rhetoric and sentence-making. Writers often become the soul engineers of writing.
Therefore, I yearn for the aestheticism of words. The book has its own golden house, the book has its own Yan Ruyu, and the book has its own happiness and happiness we want.
A book can change a person, a book can shape a person, and a book can make a person. Just like a great thought, it will affect the struggle course of a generation.
One of Anne's books has given me the greatest influence, which is to guide me into literature, work hard for literature, enjoy the spiritual comfort and comfort brought by words, sublimate my soul in pain, reflect on my inner fragility and loss, and establish the courage and confidence to treat life rationally and realistically.