Second-hand vastness

Author: David
Publisher:
Publish Date: 2004-01-01
Features: I generally do not associate with tall and bulky men, except women. On the contrary, I am fond of tall women and find it enjoyable to look at them—like a straight and tall Chinese fir, even if they are bulky, it doesn’t bother me; it’s just that a bit more snow has settled on the fir. Look at the women—they are all beautiful. Being with a tall and bulky man is always troublesome. If he stands in front of me, he is like a wall; if he stands behind me, he is like a door. I can neither pass through the wall nor break the door, so I can only retreat with caution. Unfortunately, David happens to be both tall and bulky, so when we first met, I kept my distance and showed respect. Later, after a few interactions, I became overconfident—forgetting his height and bulk—and realized we had a certain connection. From then on, I thought the wall was transparent, and the door was open. He is honest, knows what’s good, relaxed, and has a sense of reverence—he also knows how to laugh. Especially his ability to laugh—how many of us can truly laugh?
Recently, Yunnan People’s Publishing House published two books by David, one titled Love Stock Market and the other, the thick collection I’m holding, Second-hand Vastness. Compared to the two, I prefer Second-hand Vastness, a collection of essays. I believe the genre of essays and prose is truly a writer’s bedroom—what kind of bedding they use, what kind of cool mats they place, what’s on the bedside table, and what books are beside their pillow. I’m interested in watching people sleep and dream. I almost see David lying on a cool mat, covered in cotton bedding, dreaming. His dreams are cold and hot, upside down, half cold and half hot, and neither cold nor hot. In Second-hand Vastness, the cold is cold satire, the hot is hot irony, and the lukewarm is the humor of gritting one’s teeth. Humor that allows you to grit your teeth is the kind that brings a knowing smile and a thoughtful reflection. I laughed, I reflected, and that’s good. David’s writing is a bit teasing, a bit self-deprecating, and a bit helpless, but all of it is so carefree! A person who never teases or self-deprecates is definitely lacking in wit; yet, when carefree is rooted in helplessness, there is a beauty in simplicity. Cling to simplicity, avoid cleverness—this is the way of writing. Second-hand Vastness has a touch of the Wei and Jin style, because the Wei and Jin style is truly a second-hand style, making it all the more intriguing.
Ruan Xian’s Letter to His Aunt contains only one sentence (some say it may be fragmented): “The barbarian maid gave birth to a barbarian child.” I believe Letter to His Aunt consists of just this sentence—how full and expressive! It made me realize the art of writing. “Gave birth,” writing is like something that is born—it must be born, cannot be born, and must be born. David’s writing has another feature: the titles are carefully chosen, vivid, and lifelike—not like thinly sliced lamb, but like lamb tripe, chewy and invigorating.