Stop the cooking pot.

Author: Di Dou
Publisher:
Publish Date: 2003-01-01
Features: I seriously chose to write about "Want to Give Up," and I dare say, "Want to Give Up" is no less deliberate in Sophie's choice. And Sophie's choice, her resolute decision regarding her attitude towards life and way of living, is even more meticulous and earnest. In other words, even if there is still a sense of desolation in my novel that can evoke sadness and sorrow, it is not subject to anyone's will. The novel is a self-consistent world. Yes, Sophie's choice is indeed tragic. If possible, I really don't want her to resort to mass murder. I truly wish for her to have a happy love life. I sincerely hope everything goes well for her. But Sophie, born in my mind, is independent of my pen. Her choice is her pearl's inevitable destiny, rooted only in the conflicts, confusions, and anxieties of her own desires and thoughts, as well as the struggles in her despair and helplessness. As for this, both she and I are powerless.
The car is red, like spilled blood, splashed outside the window, downstairs, and beside the orange-petal-shaped streetlights on the right side of the road. That spot is often used for parking. At the edge of the road, there are several flat blue stone curbs. Due to repeated collisions, ( means "compaction" or "crushing" in this context), and disturbances by wheels, they haven't been firmly embedded in the ground at this moment. Instead, they are loosely floating above the surface and are even crookedly pushed into the lawn. At this moment, the car's two right wheels are resting on the edge of the grass, with that ambiguous contact—something between separation and connection—the relationship between the wheels and the lawn shows the owner's carelessness and haste when parking: definitely not intentionally damaging the lawn.