她的孤独是在木板腐朽开裂的桥上走,望不见彼岸,而时间却在这深一脚浅一脚中溜走。如果同在南方成为苏童追随其作品的一个原因,那确实是奇妙而浪漫的巧合。他们潮湿而阴郁的格调,在画面感极其强烈的叙述中慢慢浸入读者的心脾。《一生的文学珍藏——影响了我的二十篇小说》中,苏童写道剔除“谋杀”和“血腥味”的残酷:国内的第一个译者李文俊说起麦卡勒斯民谣般叙事风格的柔软; Her loneliness is on the bridge of decaying and cracking wooden boards, hopeless of seeing the other side, and the time is slipping away in this deep, shallow kick. It is indeed a marvelous and romantic coincidence if it is one of the reasons why Su Tong followed his work in the South. Their damp and gloomy style slowly immerses the mind of the reader in extremely graphic narratives. “Life’s Literary Collections - Affecting My Twenty Fictions”, Su Tong writes out the cruelty of “murder” and “bloody”: Li Wenjun, the country’s first translator, talked about McCullough Si folk rhyme narrative style of soft;