For example, single

Author: Eyeless
Publisher:
Publish Date: 2007-01-01
Features: The story of four people isn’t much to talk about. How can we be any different? We can’t surpass the strangeness of theater or the moving power of stories. It’s just back and forth—love me, I don’t love you, I love him, he loves her, or at most, he loves him. In the end, it’s still love or not love, not love or love, loving what you don’t want, and wanting what you don’t love. Written down, it looks fake. The "we" in the story is growing. This growth is like a vine plant, starting from the same root, winding and twisting, climbing, toward all sorts of possibilities. The more it grows, the more lonely it becomes. We separate and reunite at the distance, loving and being loved. Three stories, just three fleeting moments glimpsed by strangers: What Kind of Feeling: Xiao Xiao loves Lei, An loves Mang, Lei loves An, and does Mang love Lei? A tangle of four people, starting with a play and ending with the same play. Knowing whether to love or not, it can’t be more strange than theater, but like children or patients, they plunge headfirst without thinking it through. For Example, Single: The lovers are separated by time and the ocean, while memories are dissolved by the tangles between people; Come, Let’s Tell a Story: The story of Lola and Zika. Twin siblings grew up dependent on each other, but every moment, they were still lonely. When one person tells the growth of another, they can only be helpless bystanders, watching others’ stories as if they were happening to themselves. Eyeless uses a peculiar line-breaking style to highlight the rhythm of the text, expressing emotions through rhythm. Shorter, longer, faster, slower—like the different glows of youth. The light is pure, and the rhythm makes the reader feel that the one telling the story is themselves. Look forward, look backward, look deeper, look in all directions. Readers can’t easily escape until they start imagining their own youth and growth.