Several years ago, I tried my best to search everything about Sinkiang, wondering what kind of life people on that land are living. There is no question that the land in news report is more grand and lacking details about daily life. Thus, it makes us feel one-sided and distant. Of course, through descriptions about daily life by Liu Liangcheng in his book In Sinkiang, I see a place more close to my imagination, where its climate is dry and it is easy to keep one’s dream.
　　Same as Someone’s Village, In Sinkiang is just Liu Liangcheng’s Sinkiang. However, this time you can see his observation about the reality and his own judgment. As people have talked enough about difference between urban and rural areas, it is not new for us to see descriptions about the land. But through those clean words, you can smell a kind of rural simplicity and his care about the place where he grow up.
　　He tries not to criticize and to find a reasonable explanation of their tolerance. Those common Mehmets have a simple but freestyle life. That barber who has graduated three years from Department of Law, Xinjiang University but never finds a job starts his own barbershop. He goes nowhere but knows many things about the town. “People have to do something. Anything. Though I am not rich, I can live with pancakes. But if I have nothing to do, I’d rather kill myself.” See, this is his philosophy. He is not the only one to think in that way. When Liu Liangcheng walks in Sinkiang’s bazaar, everything he sees in the fair can prove that people always manage to kill time.
　　Time is supposed to be a door to Liu’s literature world. In Intermediary he describes traffickers in antiquities. “If you see old, then you see time”. In the eyes of the trafficker Tuohuti, life in this place has never changed. Life itself is a bigger antiquity, which is not collected by anyone and cannot turn to money, but it has more value. “Time does not pass here. Many old things are still there or many things become old there. Waiting itself is old and people here live a kind of life called waiting”.
　　Waiting perhaps is a common face expression of local people. Because of harsh natural conditions, people have too many things to deal with. But in such difficulty which can be seen everywhere in Sinkiang, the author finds philosophy as well: people have make difficulty into tolerance. Amuti, who guards in front of Thousand-Buddha Cave, has to find water not only for himself, but for those two elms at the entrance to the cave. The elms are left by previous guarder. “We have kept them for many years. They are as important as our families.” Liu Liangcheng always shocks us through common life. What is more exciting than knowing how to live?
　　He claims that he is too familiar with that land to tell it. But he still uses freehand brushwork to demonstrate it. From his narration, we get to know Sinkiang, for a little bit.
　　Through shallow understanding, those individuals under his pen suffer too many hardships because of poverty. Over ten years ago, Liu Liangcheng attracted attention by his Someone’s Village and some critics labeled it as countryside philosophy. Superorganic things are too difficult to understand. After covering In Sinkiang, I am impressed with the end of Fate of the Tree, “I wanted to buy it. But I don’t have a private place in Urumchi to place it. ” Such abstract philosophy only belongs to the land.