Chapter 2 one

Prologue: (2) Readers have probably noticed that this novel rejects any level of description, as well as the usual manipulation of plot logic.It is perhaps the most extreme in this respect of any novel of its kind.Although all the novels I write can be called vertical novels, as short stories, this style of writing may be easier for readers to accept.For such a long work, it seems too bizarre to describe every place deep into the heart of the earth.I'm certainly not doing this for the sake of being different.I am like Joe in the novel, with an impossible ambition--I want to wipe out all the stale superficial things and create a self-contained, brand-new world, a world that I can enter at any time. , a vast place, where almost everyone has everything it has.Such an ambition is of course impossible, but such an effort should be seen in this novel.Going deeper and deeper, this is my creative attitude.The result of this is that the actions and encounters of a single character become allegories.Why do you do this and not that; why you go to those strange places with similar characteristics; what each character is looking for all day long; clue.I hope that when readers read these places, they will put themselves in and recall those emotional knots in their life like an old man (even if you are young yourself).Perhaps in doing so, your time will cross mine, and together we will return to the past of humanity and transform ourselves into that open possibility.

In my opinion, almost every reader with spiritual pursuit will have an emotional knot in his heart that cannot be untied for life.My novel will not give people any comfort. It is an analysis of pain and a deep interpretation of contradictions. In short, it is an example of understanding human pain.As long as one survives spiritually one day, recognition is inevitable.So Maria went to a village called "North Island" hidden in the bamboo forest, where she saw the inside story of people's inappropriate intercourse; Vincent ran to Lisa's birthplace "Looking for roots"; and Joe, came to the hut halfway up the mountain and experienced a terrible night... We must have the courage to go back to the limit. The eyes turn to the distant past (that is, the future) in the fog, and try to identify, identify, until the outline of something appears.What I tell in my novels is my own story, and I am a writer who always tells only my own story.But I long to communicate with my readers, because my particular story can only exist through communication.That is to say, my time experience must be confirmed by the reader's time experience, so that my work will be extended, otherwise it will not exist.

In my novel, there is a woman named Ada who escaped from the mudslide that destroyed her family and wandered in the world.Perhaps my works are closer to those readers who have had destructive experiences (not referring to external experiences), and she (he) will better understand the determination in the works: the persistence in the illusion that swallows everything, the A kind of spirit that even if you die, you have to die clearly.It has been 3 months since I finished writing the novel today, and I finally understand what Ada is after and looking for—she wants to return to the past that has disappeared, because that is her spiritual support.Worldly love brings her great anxiety, but she cannot give up, and she will not give up (otherwise her body will disappear).In order to get the best of both worlds, she can only return to the pain all the time, refresh the pain, and love in the pain.

Finally, I would like to talk about the title of this book——.There are several lovers in the book, who are both beautiful and profound.So, who is the last lover?I would like to leave this riddle to the reader to guess, and I think it is worth guessing. Finally, I would like to talk about the title of this book——.There are several lovers in the book, who are both beautiful and profound.So, who is the last lover?I would like to leave this riddle to the reader to guess, and I think it is worth guessing.