人活着的最佳状态是自由，极简和内在的充盈。
The best state of human existence is freedom, minimalism, and inner fulfillment.
能欣赏自我，更坚定自己想要什么，能不断调整自己的身心状态，在狠下决心规划好的心灵之城日复一日打造精品。
Being able to appreciate oneself, be more determined about what one wants, constantly adjust one's physical and mental state, and create high-quality products day after day in the determined and planned city of the soul.
给自己赋能，每天和自己喜欢的人、物、事在一起。幸福不在别处，就在自己心里。跟风，效仿，等他人赋能太过疲惫，倾听心声，关注并约束自我毕竟容易得多。
Empower yourself to be with the people, things, and things you love every day. Happiness is not elsewhere, it is within oneself. Following the trend, imitating, and waiting for others to empower is too exhausting. Listening to one's voice, paying attention to and restraining oneself is much easier after all.
不必艳羡他人，自己亦是风景。根植于内心的修养，无需提醒的自觉，以约束为前提的自由，为他人着想的善良，可以成为每个人最基本的"文化"内涵。
Don't envy others, you are also a scenery. The cultivation rooted in the heart, self-awareness without reminders, freedom based on constraints, and kindness that considers others can become the most basic "cultural" connotations for everyone.
有"文化"则不迷茫，不迷茫才能自立自尊自强。绝仰人鼻息的感觉，多自我成就的快感。这样的人生顺遂内心的指向，满足自我成长，每天都有阳光和温暖的希望。
Having 'culture' means not being confused, and only by not being confused can one be independent, self respecting, and self reliant. The feeling of leaning on someone's nose and breathing, the pleasure of self achievement. This kind of life follows the inner direction smoothly, satisfies self growth, and has sunshine and warm hope every day.
四月的库尔勒，绿树成荫，花团锦簇。春雨过后满眼都是绿，流淌着生命的勃勃生机。飞鸟翱翔、人头攒动。在这美好的季节里，人们纷纷走出家门，踏春郊游和梨花亲吻和大自然拥抱，寻找一种返璞归真的轻松与惬意。
In April, Korla is shaded by green trees and adorned with clusters of flowers. After the spring rain, my eyes are filled with green, flowing with the vibrant vitality of life. Flying birds soar and crowds gather. In this beautiful season, people step out of their homes, go on spring outings, kiss pear blossoms, and embrace nature, seeking a relaxed and comfortable return to simplicity.
谷雨前后新疆库尔勒“梨香园”的两万余株牡丹竞相绽放。市民们都从四面八方赶来和“牡丹仙子”约会，享受着一年一度的花语邂逅。
Before and after the Grain Rain, more than 20000 peonies bloomed in the "Pear Fragrance Garden" in Korla, Xinjiang. Citizens came from all directions to date the "Peony Fairy" and enjoy the annual flower language encounter.
你看，牡丹园里好不热闹，很多家庭是扶老携幼全家出动，和牡丹合影，在花丛中寻找传说中的花魁、花仙。姚黄、魏紫、葛巾紫、玉板白、二乔······这些名贵的品种在这里都可以找到。各种牡丹争妍斗艳、姹紫嫣红，纷纷展开迷人的笑脸，迎接着一批又一批游人。我慕名从70公里以外的博湖赶来，一睹牡丹的容颜。随着看牡丹的长龙，我只有从人缝里走走停停。几只蝴蝶在花间嬉戏，一会儿亲亲黄色牡丹，一会儿亲亲红牡丹，为这美丽与宁静增添了生机与活力。
Look, the Peony Garden is so lively. Many families come together to take photos with peonies and search for the legendary courtesans and immortals among the flowers. Yao Huang, Wei Zi, Ge Jin Zi, Yu Ban Bai, Er Qiao... These precious varieties can all be found here. Various peonies compete with each other in beauty, blooming with enchanting smiles, welcoming one group after another of tourists. I came from Bohu, 70 kilometers away, to admire the beauty of peonies. As I watched the long dragon of peonies, I had to walk and stop through the gaps between people. A few butterflies are playing among the flowers, sometimes kissing the yellow peony, sometimes kissing the red peony, adding vitality and energy to this beauty and tranquility.
花园里的牡丹真美！有完全盛开的；有羞涩的低着头的；有含苞欲放的；有刚露花骨朵的，一朵有一朵的风韵，一朵有一朵的个性。我觉得能够和牡丹盛会赴约不虚此行。我想选择满树开放的红牡丹合个影，可拍照的人太多只有焦急的等待。我前方一个80多岁，满头银发的老奶奶，在女儿的搀扶下，非要和牡丹合影比美，她说；“我要照一张最漂亮的牡丹图，洗出来挂在家里，她要让牡丹每天陪着自己度过晚年”我被老奶奶的行为感动，也不停按响了相机快门。
The peonies in the garden are so beautiful! Fully bloomed; Some shyly bow their heads; There are buds about to bloom; There are those who have just bloomed, each with its own charm and personality. I think it's worthwhile to make an appointment with the Peony Festival. I want to take a photo of a red peony tree in full bloom, but there are too many people taking pictures and they are just anxiously waiting. In front of me, there is an elderly lady in her 80s with silver hair. With the help of her daughter, she insists on taking a photo with Peony to compare her beauty; I want to take the most beautiful picture of peonies, wash it out and hang it at home. She wants peonies to accompany her through her old age every day. "I was moved by the grandmother's behavior and kept pressing the camera shutter.
话语间了解到老奶奶是一名老军垦战士，50年代随部队来的新疆屯垦戍边，把自己的青春和子孙贡献给了新疆。她的老家在洛阳是牡丹的故乡，她年轻时很喜欢牡丹，会绣形形色色的牡丹。为了新中国的建设，她依然参军从兰州走到了南疆，把自己的青春和梦想奉献给了新疆。在新疆奋斗的几十年来就没有见过牡丹。没想到现在库尔勒也有了 “牡丹园”。洛阳、菏泽的十几个品种的牡丹在新疆这片土地开出来更加耀眼的花。真是不简单啊！她还打算把今天拍的图片发发朋友圈，让内地的亲戚都看看新疆的牡丹。我不禁伸手为她连连点赞。
During the conversation, it was learned that the old lady was an old soldier who came with the army to Xinjiang in the 1950s to cultivate and guard the border. She dedicated her youth and descendants to Xinjiang. Her hometown in Luoyang is the hometown of peonies. When she was young, she loved peonies very much and could embroider various types of peonies. For the construction of New China, she still joined the army and traveled from Lanzhou to southern Xinjiang, dedicating her youth and dreams to Xinjiang. I haven't seen peonies in the decades of struggle in Xinjiang. I didn't expect that Korla now has a 'Peony Garden'. More than ten varieties of peonies from Luoyang and Heze bloom even more brilliantly in Xinjiang. It's really not easy! She also plans to post the pictures she took today on her social media, so that her relatives in mainland China can see the peonies in Xinjiang. I couldn't help but reach out and give her continuous likes.
由于近年来，新疆库尔勒积极打造全国卫生城市，各种花卉装扮这座美丽的城市，春天来到梨城各种花木争奇斗艳，和雪白的梨花融为一体，花开之处十里飘香沁人心脾。让你感觉，人在花中走，景在心中留，赏花成为人们生活中必不可少的一部分，这里已经成了名副其实的花城。
In recent years, Korla in Xinjiang has actively been building a national health city, with various flowers decorating this beautiful city. In spring, various flowers and trees compete with each other in the pear city, blending in with the snow-white pear blossoms. The fragrance of the flowers fills the air for ten miles, refreshing the heart and soul. It makes you feel that people walk in the flowers, scenery stays in your heart, and appreciating flowers has become an essential part of people's lives. This has become a true flower city.
渐渐地我发现中国人对“国花”牡丹的感情从来没有改变，国色天香，雍容华贵、端庄大方······世间最华丽的辞藻形
Gradually, I realized that the Chinese people's love for the "national flower" peony has never changed. It is the most magnificent form of language in the world, with a natural fragrance, elegance, and grace
细数郭楠近几年的创作，我们会发现有一个明显的脉络贯穿其中。不论是《白色水母》中暴饮暴食的妻子和漠然不作为的丈夫，还是《强奸》中一个渴望施暴、一个接受被施暴，并因而进入某种荒诞微妙关系的小职员与女上司，甚至《金银财宝路》中并无生意头脑却苦苦维持自己“还在做事情”这一感觉的老板，都与“残缺的人”这一文学母题相关。到了《海上列车》，郭楠更是将两个从学生时代起就在潜意识里渴望成为对方的闺蜜，从持续多年的博弈到最终被迫面对并接纳自身的残缺的过程，描写得细致又惊心。似乎，这几年来，郭楠的小说大多指向了“个人生命之完整”，或者具体一点说，是在探寻当不完整的个人生命状态，在被投射到对个体生命表现得无动于衷的外部世界、投射到另一个也不完整的个体身上时，会发生什么。《花团锦簇》，就是在这种探索中产生的。
Looking closely at Guo Nan's creations in recent years, we will find a clear thread running through them. Whether it's the gluttonous wife and indifferent husband in "The White Jellyfish," the petty clerk and female boss in "Rape," who crave violence and accept it, and thus enter into some absurd and subtle relationship, or even the boss in "Treasure Road," who has no business acumen but struggles to maintain the feeling of "still doing something," they are all related to the literary theme of "disabled people. In 'The Sea Train', Guo Nan vividly depicts the process of two friends who have been subconsciously longing to become each other since their student days, from years of continuous game to finally being forced to face and accept their own shortcomings, in a detailed and heart wrenching manner. It seems that in recent years, Guo Nan's novels have mostly focused on the "completeness of individual life", or more specifically, on exploring what happens when an incomplete state of individual life is projected onto the external world that is indifferent to individual life, or onto another incomplete individual. Flower Blossoms "emerged from this exploration.
《花团锦簇》由一个留学新加坡的男人写起，看似以一簇簇花朵串联起他的整个情史，实则是以他的情史，铺垫出他的探寻自我与接受自我的道路。在即将毕业而却因找不到工作而面临被遣送回国的时候，主人公梁晓被一个拥有家族企业的当地家庭看中，成为这个富足之家的女婿。这在外人看来，简直是幸运得无以复加。但是结婚前夕，他才知道未婚妻的过往——受情伤，精神状况很差——这个家庭之所以选择他，是因为他善良，尤其因为他此时的无助（这简直已经是收留了）。回国，回到养父母身边，忍受没有血缘关系的弟弟的警惕与讽刺？他不能接受。于是他接受了这个婚姻，从此陷入挣扎，落花流水一样在不同的女人身边漂过，一路漂流，一路认清自己认清妻子和家庭。
Flower Blossoms "is written by a man studying abroad in Singapore. It may seem like clusters of flowers connect his entire love story, but in reality, it is his love story that paves the way for him to explore and accept himself. When the protagonist Liang Xiao is about to graduate but faces deportation to his home country due to the inability to find a job, he is targeted by a local family that owns a family business and becomes the son-in-law of this wealthy family. To outsiders, this seems incredibly fortunate. But on the eve of their marriage, he only found out about his fianc é e's past - being emotionally wounded and in a poor mental state. The reason why this family chose him was because of his kindness, especially because of his helplessness at this moment (which was almost like taking him in). Returning to my home country, to my adoptive parents, enduring the vigilance and ridicule of my younger brother who is not related by blood? He cannot accept it. So he accepted this marriage and fell into a struggle, drifting around different women like flowers and water, recognizing himself and his wife and family along the way.
“个人的完整”成为一个被咀嚼、被反刍甚至被深深缠绕的对象，并不是现代人面临的特有的状态。柏拉图在《会饮篇》中就有“半球人”的比喻，几千年来，人们都将这个比喻作为自己寻求爱情的依据——不完整的自我，对自己的另一半的呼唤与敞开，是一种多么天然的感情。然而，柏拉图立足的是“爱”，人世间的爱，从可能性上讲，它的实现并不只有爱情这一个途径，它可以从朋友那里获得，如《海上列车》中两个闺蜜通过对方来塑造自己；甚至可以从对外部世界的深度介入获得，最典型的莫过于《奥德赛》中俄底修斯的十年漫游与归家之路，他从对环境的战胜中，获得了幸福感与满足感，获得了自身的强力。
The 'personal integrity' becomes an object that is chewed, regurgitated, and even deeply entangled, which is not a unique state faced by modern people. Plato used the metaphor of a "hemisphere man" in his "Symposium" as a basis for seeking love for thousands of years - the incomplete self, the call and opening up to one's other half, is such a natural emotion. However, Plato is based on "love". In terms of possibility, the realization of love in the world is not only through love, but can also be obtained from friends, such as in "The Sea Train" where two best friends shape themselves through each other; It can even be obtained from deep intervention in the external world, the most typical of which is undoubtedly the ten-year journey of Odysseus' wandering and returning home in the Odyssey. He gained happiness and satisfaction from his victory over the environment, and gained his own strength.
在各种技术、物质都不像现代社会那般过剩的年代，人对外部世界的介入的成果，是相对可见的，只要一个人有足够的意愿，他就可以凭借自身的能量获得——毕竟，开荒狩猎，春耕秋收，给人带来的满足感与成就感是显而易见的。而进入工业社会以后，人面对巨大的国家机器，面对时刻更新的知识与世界，想要获得人类历史上曾经有过的满足感与掌控感，是异常困难的。人面对眼前的这个世界时，常常是虚弱的，杂乱的。这也是马尔库塞在《单向度的人》中所秉持的观点：“工业社会是极权社会，压制了反对声音，产生了单向度的人和社会，在这种环境下所产生的个体大都是缺乏否定、批判和想象能力的人。”然而，“直接经验的世界——我们发现自己生活于其中的世界——必须被理解、改变甚至颠覆，以便显露出它的实际面目。”但是，理解直接经验的世界，这对我们是多么难啊——“我们社会的突出之处是，在压倒一切的效率和日益提高的生活水准这双重的基础上，利用技术而不是恐怖去压服那些离心的社会力量。以前是革命，现在是技术。”“在一个商品社会，人们在其商品中认出自己，在他们的汽车、高保真音响和错层式住宅、厨房设备中找到自己的灵魂。”于是，“人，好像什么也没有了，变成了全面的奴隶。人们所谓的自由，是自由选择主人的自由，却改变不了主人与奴隶的身份。主人是什么？主人就是奇怪的生产和消费，永无止境的生产和消费。”
In an era where various technologies and materials are not as abundant as in modern society, the results of human intervention in the external world are relatively visible. As long as a person has sufficient willingness, they can obtain it with their own energy - after all, the satisfaction and sense of achievement brought by land reclamation and hunting, spring plowing and autumn harvest are obvious. After entering the industrial society, it is extremely difficult for people to obtain the satisfaction and sense of control that they once had in human history when facing the huge state machinery, constantly updated knowledge and the world. When people face the world before them, they are often weak and chaotic. This is also the viewpoint upheld by Marcuse in "The Unidirectional Man": "Industrial society is a totalitarian society that suppresses opposition and produces one-dimensional people and society. The individuals produced in this environment are mostly those who lack the ability to deny, criticize, and imagine." However, "the world of direct experience - the world in which we find ourselves living - must be understood, changed, or even overturned in order to reveal its true face." But how difficult it is for us to understand the world of direct experience - "The outstanding feature of our society is that, on the basis of overwhelming efficiency and increasingly improving living standards, we use technology instead of terror to subdue those centrifugal social forces. It used to be a revolution, now it's technology In a commodity society, people recognize themselves in their goods and find their souls in their cars, high fidelity speakers, staggered houses, and kitchen equipment. Thus, "people seem to have nothing left and become complete slaves. What people call freedom is the freedom to choose their masters, but it cannot change the identity of masters and slaves. What is master? Master is strange production and consumption, endless production and consumption
在《花团锦簇》中，首先映入读者眼睛的就是新加坡华人圈富足无忧的生活：颜太太和林太太家的别墅，豪车，聚会，做慈善。在这个圈子里，女人妆容精致积极正能量，男人热爱运动矜持而身材良好——这一切，都组成了一个标准不过的阶级印象。这个阶级里的人，都在自觉维护着这个阶级形象，对于他们而言，“这个世界就是我的牡蛎”；而不在这个阶级里的人，如面临工作无着落的梁晓，“这个世界就是牡蛎壳，生腥冰冷，坚硬锋利”。
The first thing that catches the reader's eye in "Flowers of Blossoms" is the affluent and worry free life of the Singaporean Chinese community: Mrs. Yan and Mrs. Lin's villas, luxury cars, gatherings, and charity work. In this circle, women have delicate and positive makeup, while men love sports and are reserved with a good figure - all of these form a standard class impression. People in this class are consciously maintaining their class image, and for them, 'this world is my oyster'; And for those who are not in this class, such as Liang Xiao who faces job insecurity, 'this world is like oyster shells, fishy and cold, hard and sharp'.
在面对浩瀚无垠、对个人那可怜的有限的能力表现得无动于衷的世界时，一个本就不完整的个体，已经没有办法像俄底修斯那样去改变和战胜他面前的世界了。他只能转向人世之爱，求助于另一个人——这个人也许是随手抓住的，也许是他认为可以跟他一起变得完整的人。所以当瘦小的、少女般让人怜惜的林舒怡被林太太带到了梁晓面前时，他终于“有一种一切在他掌握之中的轻松”。林舒怡有他所没有的优渥的生活环境，有他想要而不敢要的确定的身份，更重要的，她看上去那么柔弱，需要他呵护。面对更弱者，一个弱
In the face of a vast and boundless world that remains indifferent to the pitiful and limited abilities of individuals, an already incomplete individual can no longer change and overcome the world before them like Odysseus. He could only turn to the love of the world and seek help from another person - perhaps someone he had easily grasped, or perhaps someone he believed could become complete with him. So when the petite and pitiable Lin Shuyi was brought to Liang Xiao's face by Mrs. Lin, he finally felt a sense of ease that he had everything under his control. Lin Shuyi has a comfortable living environment that he doesn't have, a certain identity that he wants but doesn't dare to have, and more importantly, she looks so fragile and needs his care. Facing the weaker, a weaker
者会暂时收拾起自己的脆弱，去充当更弱者的支撑，这也是一个人意识到自己的力量，生命意识开始觉醒的开端。
People will temporarily pick up their vulnerability and act as a support for the weaker, which is also the beginning of a person realizing their own strength and awakening their life consciousness.
跟其他的探索生命意识的作品不同，在郭楠的小说中，与其说是人在自觉探索自我的残缺，不如说是人在面对世界、面对自己不完整的时候，从极端无助、极端脆弱的中绝境重生。梁晓是没有力量直面这个世界的，他要生存，他是被世界，被环境裹挟着走的，甚至连面对自己欲望的勇气和能力都没有。不管是《花团锦簇》中的梁晓、林舒怡，还是《海上列车》中的曾丹，他们并没有主动探索这个世界以发现自我的能力，而只是在努力地应对这个世界。他们不是被火热的时代裹挟着走，而是被冷漠的时代，抛在了“牡蛎”之外，或闭锁在痛苦的“牡蛎”之中。更残酷的是，当牡蛎壳外的人进入了牡蛎壳之内，才发现，牡蛎内的人也在用自己的生命去痛苦地磨沙子。小说中的林太太，卓心慧，易珺，包括婚后看似生活无忧的梁晓林舒怡，或经历着婚姻上的不堪，或忍受着精神上的危机。对于这些人而言，这个世界只是一个牡蛎，壳内与壳外的都不幸福。这些不完整的人，只要一天不能与自己的不完整和解，一天不解决这个不完整，就要受一天的折磨。
Unlike other works that explore life consciousness, in Guo Nan's novels, it is not so much about people consciously exploring their own shortcomings, but rather about people being reborn from extreme helplessness and fragility when facing the world and their own incompleteness. Liang Xiao does not have the strength to face the world directly. He wants to survive. He is carried away by the world and the environment, and even lacks the courage and ability to face his own desires. Whether it's Liang Xiao and Lin Shuyi in "Flower Blossoms" or Zeng Dan in "Sea Train", they haven't actively explored this world to discover their own abilities, but are just struggling to cope with it. They were not carried away by the hot era, but were thrown out of the "oyster" or locked in the painful "oyster" by the indifferent era. Even more cruelly, when the person outside the oyster shell enters the oyster shell, they realize that the person inside the oyster is also painfully grinding sand with their own lives. In the novel, Mrs. Lin, Zhuo Xinhui, Yi Jun, and even Liang Xiaolin Shuyi, who seemed to have a worry free life after marriage, either experienced unbearable marital problems or endured mental crises. For these people, the world is just an oyster, and neither inside nor outside the shell is happy. These incomplete people, as long as they cannot reconcile with their own incompleteness for a day, will suffer a day of torment until this incompleteness is resolved.
在其他作家那里，对个体的关注总是要与时代相关联的，尤其对生活在国外的作家而言，对个体的关注，至少与对自己文化身份的体认相关。但是在郭楠这里，情况又不一样。就像我们在《花团锦簇》中发现的那样，时代对于梁晓这样的人而言太宏大了，宏大到，几乎对他失去了影响力：他的弟弟梁夕一遍又一遍地向他描述国内是如何快速发展、机会如何多的时候，他是无动于衷的，对他而言，不管是新加坡的社会现实，还是中国本土的社会现实，都跟他没有什么关系。甚至文化身份，在郭楠的小说里也不是主人公首先要解决的问题：《海上列车》中，相对安稳富足的“我”才会注意到故乡与德国意大利的不同，但始终为生活甚至生存挣扎的曾丹，则更加关注的是如何让朋友看到她在异国已经是一个“主人”，如何让她朋友看到她是多么幸福。所以，我们也许可以说，即使在异域，在或散发着芒果香气或被意大利美食引诱的远方，面对自己，面对自己的缺陷和孤独，依然是郭楠小说主人公的首要问题。
In other writers, the focus on individuals is always related to the times, especially for writers living abroad. The focus on individuals is at least related to the recognition of one's own cultural identity. But in Guo Nan's case, the situation is different. As we found in "Flowers of Blossoms", the era was too grand for someone like Liang Xiao, so grand that it almost lost its influence on him: when his brother Liang Xi repeatedly described to him how rapidly China was developing and how many opportunities there were, he remained indifferent. For him, whether it was the social reality in Singapore or the local social reality in China, it had nothing to do with him. Even cultural identity is not the first problem that the protagonist needs to solve in Guo Nan's novels: in "The Sea Train", the relatively stable and prosperous "I" only notices the difference between her hometown and Germany and Italy, but Zeng Dan, who has always struggled for life and even survival, is more concerned with how to show her friends that she is already a "master" in a foreign country and how to show her friends how happy she is. So, perhaps we can say that even in a foreign land, in a faraway place where mango aroma emanates or Italian cuisine seduces, facing oneself, facing one's flaws and loneliness, is still the primary problem for the protagonist of Guo Nan's novel.
在漂过一个又一个与他一样生活残缺的女人身边之后，梁晓以为他找到了真爱，找到了“主导”的感觉。麦原跟他认识的所有女人都不一样，笃定，坚强。她不像梁晓那样去假装融入，她不回应那个圈子里的问候，不在意那个圈子的评价：“那些幸福的太太们，仿佛性这件事不存在的太太们，没完没了给我发照片发朋友圈，加了滤镜没加滤镜的，都是没完没了的幸福，没完没了的积极，没完没了的正能量，实在是让人烦……”可惜，这个敢于说皇帝没穿衣服的孩子不需要梁晓；同时也幸运的是，梁晓在她身上，理解了自己，理解了妻子。在林舒怡终于将真实的自我袒露给梁晓，由梁晓自己选择是留下还是离开时，陷入沉默良久的梁晓以“谁又……”这样的含糊不清的两个字，结束了自己的漂泊，也结束了林舒怡的漫长的治愈。“谁又……”是什么意思呢？“谁又说要走了？”“谁又不是伤害别人的那个人呢？”没说出来的话，比说出来的话，更熨帖，更能抹掉那些他们已经决定要抛开的东西。
After drifting past one woman after another who lived a life full of disabilities like him, Liang Xiao thought he had found true love and found the feeling of "dominance". Maiyuan is different from all the women he knows, determined and strong. She doesn't pretend to fit in like Liang Xiao, she doesn't respond to the greetings in that circle, and doesn't care about the evaluations of that circle: "Those happy ladies, as if sex doesn't exist, constantly send me photos and share them on their social media, with or without filters, they are all endless happiness, endless positivity, endless positive energy, which is really annoying..." Unfortunately, this child who dares to say that the emperor is not wearing clothes doesn't need Liang Xiao; Fortunately, Liang Xiao understood himself and his wife through her. When Lin Shuyi finally revealed her true self to Liang Xiao and let Liang Xiao choose whether to stay or leave, Liang Xiao, who had been in silence for a long time, ended her wandering and Lin Shuyi's long recovery with vague words like "Who...". What does' who... 'mean? Who said they were leaving? "" Who isn't the one who hurt others? "Unspoken words are more soothing and can erase the things they have already decided to leave behind than spoken words.
《花团锦簇》的技巧有着显而易见的精密，每一种花代表着一个人，花事就是心事，心事就是花事，花落了，心事也就解开了。这也是一个女性作家的浪漫吧，细腻的，精巧的，忧郁的，沉思的，明朗的。在小说结尾，梁晓与林舒怡，抛弃了并不真解其意、却又劝说自己去信服、忍受的虚假的“宁静致远”，抛弃了宁静表面下的挣扎与伤害，迎来了一株“纤细、谦恭、柔软”的水梅，这种“纤细、谦恭、柔软”正是生命本初的状态。梁晓个人的花团锦簇的漂泊流亡之路终于完结，而眼前庭院中的锦簇花团，乍一看热烈明艳，却也是沉甸甸彼此扶持着的，有着生命难以承受但更不能失去的重量。
The technique of "Flower Blossoms" has obvious precision, each flower represents a person, flower affairs are worries, and worries are flower affairs. When the flower falls, the worries are also resolved. This is also the romance of a female writer, delicate, intricate, melancholic, contemplative, and bright. At the end of the novel, Liang Xiao and Lin Shuyi abandon the false "peaceful far-reaching" that they do not truly understand but persuade themselves to believe and endure, abandon the struggles and injuries beneath the surface of tranquility, and welcome a "slender, humble, and soft" water plum, which is the original state of life. Liang Xiao's personal journey of wandering and exile, full of colorful flowers, has finally come to an end. The blooming flowers in the courtyard before him, at first glance lively and bright, are also heavily supporting each other, carrying a weight that life cannot bear but cannot lose.
