The moon is hazy, the birds are hazy

Author: Qiong Yao
Publisher:
Publish Date: 2004-07-01
Features: Mentioning love stories set in Hong Kong and Taiwan, Qiong Yao is indeed a "brand" that spans over thirty years. In fact, since the publication of her debut novel By the Window in 1963, she has established a significant position in the romance genre, publishing over 40 long novels in nearly two decades. Qiong Yao's novels can be divided into three phases: Early novels include By the Window (1963) to the publication of Water Spirit and White Fox in 1971, primarily composed of ancient love stories derived from Chinese folk legends across different dynasties. Mid-period novels begin with Where the Seagulls Fly and end with Burn, Firebird! They mainly depict contemporary Taiwanese love stories, with the exception of I Am a Cloud, most of which have happy endings. Late-period novels start with the publication of Xue Ke in the 1980s, shifting the setting back to ancient times. These novels attempt to explore the changing love perspectives of urban in transition, and try to break away from the early tragedies of fate and the formulaic happy endings of the mid-period. Twice Through the Sunset Red is a significant work in Qiong Yao's literary creation, characterized by interwoven timelines, numerous characters, and complex plots. It can represent the features of a romance novel. The two main storylines take place in Chongqing during the Anti-Japanese War and in Taipei in the 1960s. The first story follows the young days of the heroine Meng Zhu, who falls in love with He Mu Tian, a university student from Kunming, but faces opposition from her mother, leading to many thrilling events. Later, Meng Zhu marries Yang Ming Yuan, a close friend of He Mu Tian, and settles in Taipei. The second part of the novel follows Meng Zhu's daughter Xiao Shuang's romance. Xiao Shuang's love interest, Wei Ru Feng, is He Mu Tian's nephew and works at the company He Mu Tian founded. This sets off a series of intertwined old and new grievances. Later, Xiao Shuang and Wei Ru Feng finally become a couple, Meng Zhu remains with Yang Ming Yuan, and He Mu Tian retires to the mountains, living away from the world. This work, both in content and structure, resembles a television drama series—complex plots, climactic moments, intense and exaggerated emotional expression, entangled relationships due to family feuds, misunderstandings between people leading to lifelong regrets and enmities, and the revelation of secrets and mysteries of the protagonists' backgrounds, as well as war, separation, and reunion—all undeniably the "basic elements" of a melodrama.
In summary, in Qiong Yao's kingdom of love, love is the source that nourishes and energizes women. Without love, a woman's self will wither and die. Under these circumstances, Qiong Yao's female characters are inevitably portrayed as passive and. In fact, during the May Fourth Movement era, the concept of "love" was a public ideological trend, primarily a rebellion and challenge against China's patriarchal system. However, in Qiong Yao's romance novels, it belongs entirely to the private sphere, with descriptions of love entirely from a female perspective, which has also been criticized by figures like Li Ao for the blandness of the female protagonists. Yet, such a dreamlike world, taken to its extreme, also has ideological support, reversing the power and obligations of hierarchy in patriarchal families, compelling parents or men with resources and power to dedicate themselves wholeheartedly to their helpless children, especially women, under the moral call of emotions. This is also the essence of romance novels.
Chronology
1938 Born in Chengdu, Sichuan, father Chen Zhi Ping, mother Yuan Xing Shu
1942 Moved back to hometown Hunan with family; later relocated to Sichuan due to the outbreak of the Anti-Japanese War
1947 Moved to Shanghai; published her first novel Poor Little Qing in the Da Gong Bao
1949 Moved to Taipei; father taught at the Chinese Department of Normal University, mother taught at the Founding Middle School
1959 Married
1963 Published the novel By the Window in the Crown magazine; soon after, it was published as a standalone book, becoming Qiong Yao's first published work
1964 Divorced
1965 First film adaptation of her work, including Wan Jun's Cousin, Asphodel, Foggy Rain, and Deep Affection for a Mute Girl
1968 Founded the Phoenix Company; filmed Full Moon Over the West Tower and Stranger (adapted from the novel Lucky Grass)
1976 Founded the Mega Star Company
1979 Married Ping Xin Tao
1985 Published Bing Er, the only novel without parental roles
1986 Launched the television drama series Twice Through the Sunset Red
1988 First return to mainland China
1990 Published Xue Ke, her first historical costume novel
Excerpt:
Liu Lingshan first met Wei Chu Chu on an afternoon in October. If she hadn't met Wei Chu Chu, Lingshan's life would have been completely ordinary, without any waves or miracles. It would have been the same as the past twenty-two years of her life—ordinary, happy, content, and at ease. Even love, marriage, and raising children would have been a natural progression. But on that October afternoon, she met Wei Chu Chu. For Lingshan, the afternoon was nothing special. Lunch was eaten at home, and after finishing, she went to the "Ai Er" kindergarten as usual to teach the afternoon class. She sang, danced, played games, and told stories with the children until 5 p.m., when the class ended. She returned to her own home—the "Anju Building" located on Zhongxiao East Road. Since the "buildings" in Taipei City began to sprout up, Lingshan's parents' friends had gradually moved into these large buildings. Soon, Lingshan's father Liu Siqian couldn't resist the trend, and they moved into the "Anju Building." That year, Lingshan had just turned eighteen. Now, four years later, she had already lived in this building. Lingshan had a strange discovery: when she didn't live in a building, neighbors easily made friends and became familiar with each other. But in the building, even though each household might be just a few steps away, people could live side by side for years without recognizing each other. For example, her family lived in D-4, and there were five households on the fourth floor. Lingshan had never figured out who lived in the other four households. Occasionally, she heard the housekeeper Cui Lian mention that the people in E had moved out, and A had new owners. But none of it mattered to her—she didn't know these people anyway.