Step on the brake lightly and be watched by the characters, like the documentary "Room"

May 18, 2022

"Don't say that so quickly", "Don't go there so quickly" When seeing clues that you thought were familiar, there seemed to be such reminders. Change the form to convey, one with two sides.

Step on the brake lightly and be watched by the characters, like the documentary "Room"

On the eve of the launch of TIDF, after reading "Room", it is also like a long and delicate documentary. There are vivid and realistic scenes of each workplace and family, and there are characters like the narratives that are accentuated by the camera, and there are slow or gentle methods to bring out History and Issues. The plot, the symbols, and the proportions of the scenes have some vague axes in the stories of sentient beings.

The clearest meaning, read to the end, is also presented in the title: Slower, longer, it doesn't matter. Recalling the camp many years ago, most things are forgotten, and the few profound ones are also the sentence: fast temptation.

Many of the characters and events in "Room" are that I would read the sentences, and I wanted to quickly jump out some "judgments" and some "answers", but I didn't do this in the book, sometimes in the description, Sometimes the rhythm of the paragraph seems to be deliberately stepping on the brakes a little. "Don't say that so quickly", "Don't go there so quickly" When seeing clues that you thought were familiar, there seemed to be such reminders. Change the form to convey, one with two sides.

I like daily and profound documentaries. Compared with reality, I often take a direct and direct "asking the right question" path. In particular, because it is a relatively familiar background, there may be a little emotion in the narrative, and if you add your own emotions, it is full enough. For example, in Huang Huizhen's "Daily Dialogue", mother T's Taiwanese "I know you hate me" directly hits That way.

After I first got "Room", I used to read a little bit before going to bed every night, as a companion. I wanted to tell a story that crossed the era and read it slowly. It should be very suitable. Until the May Day holiday, when I returned to Kaohsiung, I did not take the book with me, but the feeling of the story did not break. When I returned to Taipei, I felt that there is no more reflection of "room" than this hurried return to the hometown. Matters: Family matters, if you don't slow down, you may not know what to do. That, of course, is another matter.

Going back to the story of the protagonist Liao Xi, seeing the back, I became more and more involved and involved. Among the many character stories, even though some are more similar in objective conditions, such as age, identity and behavior, there are actually few opportunities to actually "bring in", perhaps this is also a kind of leeway. Who the space and brushstrokes brought in are left to in the story, and it's hard not to be moved after seeing it.

More often, when I read it, I will smile and sting, and some passages will accidentally move in time and space and run to other places. For example, in the passage of "Sex, class, and environment are all politics, and they all contain unequal power structures, which cannot be exempted from the test of democratic practice. "Progress" is a bone that can't be swallowed, and her mouth is full of soreness. She wanted to vomit. The sun was fierce, the wind was blowing, and the snow melted into a river without banks, overflowing everywhere. Maybe what she hated the most was Youchun’s magnanimity? It seemed like she was the one who should be ashamed.”

Another example is the identity, politics and story of the father and son surnamed Yu, and details such as suspending and jumping in the waiting line to jump in the queue; Yu’s father suddenly suspected the spy, and suddenly understood the lines of migrant worker exploitation. High-density descriptions of social media, nursing homes, tattoos, students with the theme of white terror, alcohol and drugs, military villages and cities, wars and wars, sometimes have to take a breath. The most profound thing is that the new mother's job as a cleaner allows everyone to return to normal before discovering the abnormality. She uses her body to remember the pain and "was abnormal".

We look at the characters, and the characters look at us. After the counter lady made "the appropriate arrogance and smile that a famous store waiter should have" when the passenger came, the shopping crowd "scattered and poured in like locusts. It is scribbled to make a grid, and the palms of sweat stained across the glass cabinet just wiped." This description. That's really a view that can only be seen from the perspective of the back of a department store's cabinet. At times like this, we are also watched by the characters.

Very often people talk about the boy in "Yi Yi" who wrote "I think I'm getting old too" in the workbook. The young general of "Room" talked to Xiao Li about the ancestors' spirits, surrounded by a hundred-year-old camphor tree, and Xiao Li exclaimed, "The child is getting old!" Then he put his finger on the lower eyelid and pulled down and said, "Look, I am getting old too." One scene, I think it should be remembered for a long, long time.

Step on the brake lightly and be watched by the characters, like the documentary "Room"

"The air letter 30 years ago connected many lives." The unmindful experience, book excerpts, comments and associations of the novel "Room".

(00:00:00) Introduction by Gu Yuling
(00:05:36) A novel like a documentary
(00:08:25) Slow like "with brakes"
(00:10:09) Every keyword has its leeway
(00:12:15) Paragraph - Betrayal of youth
(00:16:09) Paragraph - The flowers are also crazy
(00:22:23) Paragraph - the mystery has long been revealed
(00:27:48) The feeling of being watched by a character
(00:29:31) Paragraph - The black rain has fallen
(00:31:27) Paragraph - To hunt, you must first learn to fly
(00:35:41) Real vehicle

【Soundtrack】
Lucid Dreaming - Chelsea McGough
Hold this Place - Alice In Winter