The sun shines on Swan Island.

Author: Liu Jiming
Publisher:
Publish Date: 2003-01-01
Features: The story of The Sun Shines on Swan Island alternates between two locations: Heke Town, known as the "Little Hankou," and Swan Island. Geographically, Swan Island is not far from Heke Town, "located in the heart of the former Yangtze River course, it is a desolate, grassy, reed-covered ancient islet with sparse human habitation." This starkly contrasts with Heke Town, which has been thoroughly "bathed in modern civilization." In Heke Town, not only are dance halls playing deafening pop music, but the neatly arranged hair salons also symbolize the town's prosperity. This striking contrast is vividly portrayed by the author at the beginning of the story. If Heke Town is, in the author's eyes, a complete replica of "modern civilization," then Swan Island, at the beginning of the story, still retains an atmosphere of resistance against "modern civilization." "Every autumn, when the reeds bloom, the island is covered in silver, as if it has snowed; with the wind blowing, the flying reeds fill the sky, it's breathtaking." The author uses elegant prose to depict the natural beauty and primitive simplicity of life on Swan Island, evoking a romantic fantasy in the readers. Such a paradise-like place is not the best escape for modern people from "modern civilization"? Yet the author's pen takes a sudden turn in this romantic atmosphere, revealing that changes have occurred on this ancient land of Swan Island. First and foremost, although it is called Swan Island, there are no real swans there anymore. This change itself turns the name "Swan Island" into a symbol with a dreamlike, illusory quality. Before the question of the swans' whereabouts can even be raised, a deer reserve is being established on Swan Island, protecting an animal commonly known as the "Four-No-Like." It is this creature that has become the favorite of today's Swan Island, receiving special protection. Protecting the "Four-No-Like" has made the island less desolate. Red-brick houses have replaced the low and dilapidated thatched ones, and a wide, smooth asphalt road leading to Heke Town and the county has begun construction. The traces of "modern civilization" are becoming increasingly evident on the desolate Swan Island. However, attentive readers will notice that this "modern civilization" invasion differs from that in Heke Town. If "modern civilization" in Heke Town is unrestrained, bringing desires and corruption, then on Swan Island, it plays the role of a savior. New houses, scientists with modern technology and compassion, and even vigorous promotion by modern media—all are messengers of "modern civilization" arriving on Swan Island. The author has painstakingly crafted a fusion of "modern civilization" and the natural characteristics of Swan Island, making its identity somewhat ambiguous. The only justification for this ambiguity is the protection of the "Four-No-Like." But what is the "Four-No-Like"? It is a creature with a strange appearance and poor survival skills. The "Four-No-Like" itself is ambiguous in appearance. With a deer-like head and a donkey-like body, it is more like a hybrid, mixing various traits in a way that makes it difficult to define precisely. After the pure and noble swans disappeared from Swan Island, this ambiguous creature took their place, adding to the island's own ambiguity. The primitive, natural Swan Island has become a hybrid of nature and "modern civilization," while the original, naturally protected swans have vanished, yet efforts are made to protect the "Four-No-Like" that replaced them. The story revolves in this ambiguous atmosphere, and the romantic aura of Swan Island from the beginning, like the swans, also disappears. Just as the story on Swan Island is confusing, the tragedy in Heke Town is unfolding in earnest. The protagonist, Xiaomì, is the most popular hairdresser in the bustling Pink Powder Hair Salon in Heke Town. At the age of 18, Xiaomì is beautiful and exudes a strong youthful aura, "making you feel her presence from ten steps away." But youth on Xiaomì is also an ambiguous sign. On one hand, it means she is somewhat distant from "modern civilization" and has not fully immersed herself in it. But as a hairdresser, youth seems to have become a target of "modern civilization," an object it seeks to conquer. From the beginning of the novel, she has already fallen into the layers of temptation and siege of "modern civilization." Sister Xu, the of "modern civilization," also becomes the guide for Xiaomì to enter "modern civilization." "In fact, some things can only be done if you are willing to do them. If you make up your mind not to do them, even if someone points a gun at you, they can't do anything about it. What's to be afraid of?" This teaching gives Xiaomì a wrong estimate of "modern civilization," even making her believe she can fully master it, at least in the Pink Powder Hair Salon, where she plays the role of a star. But she doesn't know that "modern civilization" is gradually dragging her into the abyss. Her idol, Sister Xu, is also a victim of "modern civilization." "When Vice-Mayor Xiao was panting and climbing onto Sister Xu, he muttered, 'Don't worry, I'm still the deputy head of the town's social security and governance leading group.'" The salon clients, owners of "modern civilization," try to use Xiaomì as an object of conquest and a channel for venting their desires. Although they vary in profession and personality, their essence is the same. Whether they are teachers, clothing store owners, or tricycle riders, they pursue Xiaomì throughout the story. Xiaomì's significance to them lies in her being a "virgin," and here, "virginity" becomes the last barrier between Xiaomì and "modern civilization." These pursuers want to break this barrier, completely assimilating Xiaomì into "modern civilization." Chief Zhou Bin of the police station, who appears to be the creator of Xiaomì's disaster, is actually playing an unwitting helper role. His arbitrary actions remind Xiaomì of Swan Island once again, making it a savior in her story, connecting with the tragedy unfolding in Heke Town. When Xiaomì, in the colorful and morally ambiguous world of Heke Town, is humiliated and hurt, her first thought is to flee to Swan Island, where she once had a happy home. Here, Xiaomì "feels herself shrinking bit by bit," and in the midst of the torment of "modern civilization," she seems to rediscover her childhood. Childhood means innocence, carefree, and also being protected, and Xiaomì longs for the childlike protection of Swan Island. Xiaomì reminds readers easily of the "Four-No-Like" being protected on Swan Island. She is no longer the pure and noble swan; her ambiguous relationship with "modern civilization" makes her an undeniable "Four-No-Like." The focus of the story shifts back to Swan Island once again. Can this "earth" truly save the "Four-No-Like" Xiaomì? The author does not give the "Four-No-Like" Xiaomì a perfect ending. In fact, from the day she steps onto the Swan Island reserve, she has been living in anxiety. The pursuit of "modern civilization" for Xiaomì has not stopped, and poachers appearing intermittently on Swan Island create a constant atmosphere of terror. Even Chief Zhou Bin, who once unknowingly helped Xiaomì, joins the ranks of the pursuers, and for him, whether Xiaomì is a "virgin" also holds extraordinary significance. "If Xiaomì is really still a virgin, what then?" Zhou Bin's position might be in jeopardy. The "Four-No-Like" Xiaomì ultimately does not receive the protection she deserves and becomes a victim of "modern civilization." "This is my blood. This is really my blood," Xiaomì thought dazedly, as the image of Luo Hai's fiery eyes flashed in her mind. She suddenly opened her mouth and cried bitterly like a child; she trembled all over, crying so heartbrokenly that the entire sky seemed to darken." "Modern civilization" itself is already riddled with tumors, and it is impossible for it to save itself through its own strength. In this almost pessimistic tone, the author conveys his persistent cultural concern. The "Four-No-Like," though ambiguous and weak, also craves and cherishes emotions. "When facing rivals in love, they show rare ferocity," they fight, struggle, and even sacrifice for their love. This primal natural force is increasingly rare under the influence of "modern civilization." Luo Hai is the only one in this novel who possesses such natural force. Although he has also become a "Four-No-Like," he dares to resist the entire world of "modern civilization" to protect the one he loves. "I love this girl so much, no matter what, I can't let her be harmed anymore. I must protect her well, even if it means my death, I would be willing!" This is the only glimmer of light left in the author of this novel. However, ironically, this normal love between men and women is seen at the beginning of the story as evidence of Xiaomì's fall and even "crime." The so-called representatives of justice, like Zhou Bin, cannot distinguish truth from lies, and the hope of relying on them to help save Xiaomì becomes a fantasy. The novel begins with a search for the "earth" but ultimately fails to find it. The "earth" is not on Swan Island; where then? Liu Jiming ends his search for the "earth" with such a cruel conclusion. The novel's critique is aimed directly at "modern civilization," but has humanity realized the conspiracy of "modern civilization"? Are they ready to repair this civilization itself? Swan Island then becomes an experiment, where in this ambiguous and blended place, a hybrid of nature and technology is used to once again protect the "civilized product" that humanity has tormented— the "Four-No-Like." Unfortunately, this experiment ultimately fails.