Beyond Rain and Shine

更新 發佈閱讀 11 分鐘

☆☆☆

vocus|新世代的創作平台


Mountain

His wife didn’t sleep well last night. He knows.

Yesterday afternoon. The doctor turned the monitor toward him. He leans in. Irregular tissue. The doctor says a few things. He hears himself say, “Oh.”

Breakfast is porridge, an egg, some greens, pickles.

He reassures his wife, tells her to go to the office as usual. “Maybe help me figure out my savings and my properties.”

He used to drink a lot. Ate a lot of cured meats.

That was probably why. But there’s no point thinking about it now.

He fills a water bottle. Two buns, some mints, an orange.

A mountain breeze. Sunlight slips through the leaves, scattering over the stone steps. Almost too bright.

He finds himself in the mountains of Datun.

Roaming slowly, wandering at ease. That is how Liu Zongyuan wrote in his notes on the hills.

Liu Zongyuan also loved drinking, and often hiked. Perhaps he even fished often. He only lived to forty-seven.

And he has already reached this age. Not a loss.

On the trail, he meets three young Western girls. They say they’re from Paris.

“Paris?” he says. “I was there. Had an old classmate teaching at university.”

Girls are delighted — finally someone to talk to. They chatter all the way, asking questions.

He smiles, answers them. Something is on his mind, but he doesn’t say it:

That old classmate, François — he’s been gone for years.

Paris. The basement. Hanging.

On the way home, he drives along Balaka Highway. The sky darkens.

Lately, François often shows up in his dreams.


A Dead Friend

“Am I dead too?” he asks François, standing before him.

“Why ask that?” “Because you’re dead,” he says.

“Is that so…?” François looks pale, distracted.

“Your wife and kids took your ashes back to Taiwan. I even went to your hometown in Miaoli to burn incense for you.”

“Oh…” François nods, as if remembering something. “Has it been many years?”

“Long enough.”

“Long enough…” He knows François is just going along with him.

“So what have you been doing, after dying?” he asks, just to make conversation.

“Just dead. Nothing else.”

“That’s it? Nothing at all?”

“No. Nothing,” François says.

He looks at his old friend. He had meant to ask more —

Do people feel anything after death? Heaven? Hell? Judgment?

Back on campus, they argued about these things every day.

But he doesn’t ask. François says nothing either.

The sound of wheels — from far away, bit by bit, slowly — reaches his ears.

He opens his eyes.

The hospital ceiling slides past, grid after grid. He’s being wheeled into the operating room.

Stage III.


Crossing

A gray emptiness.

A boat comes alongside.

A figure stands on it. Face unseen.

“Get on.”

“To where?”

“Across. Get on.”

“What’s over there?”

“Nothing. Get on.”

“Then why get on?”

“Do you have anywhere else to go? Get on.”

“I’ll think about it.”

“Then… drink this.”

“What for?” “

No worries anymore.”

“I am not.”

The boat moves off.

He stays.


Xiaolan

A pressure. He can’t breathe.

Still the ceiling.

But now it’s still — neatly fixed in square panels, unlike at home.

François stands there again, pale as ever.

“Sit,” he says.

“I’ll stand.” François doesn’t move.

“So this time, I really died?”

“What do you think?”

He moves his hands, his feet. All there, but very weak. He can’t sit up.

He tries to recall the past days.

He was sick. What illness? Did he have surgery?

“Is dying frightening?” he asks.

During those days, at the stone table by Drunken Moon Lake, they drank, argued about such things still far away.

“It depends.”

“You? Were you afraid?”

“Afraid?” François rolls his eyes at him. “I hanged myself, remember?”

“So you know you can scare people,” he smiles faintly.

“I saw Xiaolan,” François says after a pause. “At night. Wandering over the lake.”

“Her…?”

“Didn’t go closer.”

“I only remember her with braids.”

“She still looks the same.”

“By the way, that summer…”

He doesn’t finish. He sees François’s lips move — as if about to say something, or maybe just a smile.

Neither of them speaks.

Before long, François fades, bit by bit, like a photograph losing its color.

Outside the window, no rain, but not sunny either.

He closes his eyes.

A seam of light — he can’t tell if it’s dawn or dusk — settles quietly on his eyelids. And strangely, it has weight, like a feather.

He feels he could just be here, quietly, for a while.

留言
avatar-img
Marc 的沙龍
1會員
3內容數
自創短文
Marc 的沙龍的其他內容
2026/03/17
山 亡友 小蘭 昨天。醫生把電腦螢幕轉過來。 他湊近看,是些不規則的細胞組織。 醫生說了幾句話,他聽見自己的聲音:「噢。」
Thumbnail
2026/03/17
山 亡友 小蘭 昨天。醫生把電腦螢幕轉過來。 他湊近看,是些不規則的細胞組織。 醫生說了幾句話,他聽見自己的聲音:「噢。」
Thumbnail
2025/11/12
六月三十日,盛暑,溽熱難擋。獨走淡蘭古道 。 溯坪溪,踩水而上。沿途溪水淙淙,蟬鳴不止,人行水中,沁涼浸膚,暑氣頓消。 行未久,兩岸林木益見高聳茂密,遮敝天日,溪水湍急,流沫成輪,游魚穿動,未知深淺。遂上岸,暫倚溪畔一黑色巨石小憩。 忽聞人聲:「汝為何坐我頭上?」驚起,見一黑面男子立於眼前,笑
Thumbnail
2025/11/12
六月三十日,盛暑,溽熱難擋。獨走淡蘭古道 。 溯坪溪,踩水而上。沿途溪水淙淙,蟬鳴不止,人行水中,沁涼浸膚,暑氣頓消。 行未久,兩岸林木益見高聳茂密,遮敝天日,溪水湍急,流沫成輪,游魚穿動,未知深淺。遂上岸,暫倚溪畔一黑色巨石小憩。 忽聞人聲:「汝為何坐我頭上?」驚起,見一黑面男子立於眼前,笑
Thumbnail
看更多
你可能也想看
Thumbnail
若說易卜生的《玩偶之家》為 19 世紀的女性,開啟了一扇離家的窄門,那麼《海妲.蓋柏樂》展現的便是門後的窒息世界。本篇文章由劇場演員 Amily 執筆,同為熟稔文本的演員,亦是深刻體察制度縫隙的當代女性,此文所看見的不僅僅是崩壞前夕的最後發聲,更是女人被迫置於冷酷的制度之下,步步陷入無以言說的困境。
Thumbnail
若說易卜生的《玩偶之家》為 19 世紀的女性,開啟了一扇離家的窄門,那麼《海妲.蓋柏樂》展現的便是門後的窒息世界。本篇文章由劇場演員 Amily 執筆,同為熟稔文本的演員,亦是深刻體察制度縫隙的當代女性,此文所看見的不僅僅是崩壞前夕的最後發聲,更是女人被迫置於冷酷的制度之下,步步陷入無以言說的困境。
Thumbnail
長期以來,西方美學以《維特魯威人》式的幾何比例定義「完美身體」,這種視覺標準無形中成為殖民擴張與種族分類的暴力工具。本文透過分析奈及利亞編舞家庫德斯.奧尼奎庫的舞作《轉轉生》,探討當代非洲舞蹈如何跳脫「標本式」的文化觀看。
Thumbnail
長期以來,西方美學以《維特魯威人》式的幾何比例定義「完美身體」,這種視覺標準無形中成為殖民擴張與種族分類的暴力工具。本文透過分析奈及利亞編舞家庫德斯.奧尼奎庫的舞作《轉轉生》,探討當代非洲舞蹈如何跳脫「標本式」的文化觀看。
Thumbnail
死亡徘徊在我身邊 從出生開始 漫長等待死亡歷程 漫步一碑一坯里程 漫不經心的行跡 訃聞上簡單言語 還聊當茶餘飯後   學庸94.07.03
Thumbnail
死亡徘徊在我身邊 從出生開始 漫長等待死亡歷程 漫步一碑一坯里程 漫不經心的行跡 訃聞上簡單言語 還聊當茶餘飯後   學庸94.07.03
Thumbnail
本文深度解析賽勒布倫尼科夫的舞臺作品《傳奇:帕拉贊諾夫的十段殘篇》,如何以十段殘篇,結合帕拉贊諾夫的電影美學、象徵意象與當代政治流亡抗爭,探討藝術在儀式消失的現代社會如何承接意義,並展現不羈的自由靈魂。
Thumbnail
本文深度解析賽勒布倫尼科夫的舞臺作品《傳奇:帕拉贊諾夫的十段殘篇》,如何以十段殘篇,結合帕拉贊諾夫的電影美學、象徵意象與當代政治流亡抗爭,探討藝術在儀式消失的現代社會如何承接意義,並展現不羈的自由靈魂。
Thumbnail
那是父親的身體,用午睡的慣常姿勢側臥著,但我知道那不是他,他已經離開了,離開那個讓他覺得痛苦的身體。他去哪裡了?我很明確的知道他還在這個房間裡,但是我不知道他在何處。不再具象的父親,還是他嗎? 那是女孩的身體,用千篇一律的方式躺在木盒子裡。我們有著血緣關係但其實不太熟悉,上一次見面是在加護病房,當時
Thumbnail
那是父親的身體,用午睡的慣常姿勢側臥著,但我知道那不是他,他已經離開了,離開那個讓他覺得痛苦的身體。他去哪裡了?我很明確的知道他還在這個房間裡,但是我不知道他在何處。不再具象的父親,還是他嗎? 那是女孩的身體,用千篇一律的方式躺在木盒子裡。我們有著血緣關係但其實不太熟悉,上一次見面是在加護病房,當時
Thumbnail
全新版本的《三便士歌劇》如何不落入「復刻經典」的巢臼,反而利用華麗的秀場視覺,引導觀眾在晚期資本主義的消費愉悅之中,而能驚覺「批判」本身亦可能被收編——而當絞繩升起,這場關於如何生存的黑色遊戲,又將帶領新時代的我們走向何種後現代的自我解構?
Thumbnail
全新版本的《三便士歌劇》如何不落入「復刻經典」的巢臼,反而利用華麗的秀場視覺,引導觀眾在晚期資本主義的消費愉悅之中,而能驚覺「批判」本身亦可能被收編——而當絞繩升起,這場關於如何生存的黑色遊戲,又將帶領新時代的我們走向何種後現代的自我解構?
Thumbnail
一個有趣的想法🚀。 這是關於我們所有人都不可避免地走向死亡以及如何想像它的故事。我把它想像成一條傳送帶,慢慢地從出生到死亡。當你進入這個世界時,你會自動被排在隊伍的最後。傳送帶始終處於運動狀態。無論你在生活中做什麼,或是如何分散自己的注意力,傳送帶都會無情地繼續前進。 我們都有一個號碼。隊列中
Thumbnail
一個有趣的想法🚀。 這是關於我們所有人都不可避免地走向死亡以及如何想像它的故事。我把它想像成一條傳送帶,慢慢地從出生到死亡。當你進入這個世界時,你會自動被排在隊伍的最後。傳送帶始終處於運動狀態。無論你在生活中做什麼,或是如何分散自己的注意力,傳送帶都會無情地繼續前進。 我們都有一個號碼。隊列中
Thumbnail
本文講述了一位年僅13歲的孩子關於死亡和生命的思考和體驗。從這位孩子的視角展開了對“死”的一種理解。從未有過的感受,這種靜謐的平和感覺遙遠而虛無縹緲,拼盡全力翻身,用手撐著地面,想站起來。原來,這是“死亡”的感覺。抑制了劇烈的疼痛和極度的恐懼,這個世界已經與他人不相干。這種回憶,如此的平和。
Thumbnail
本文講述了一位年僅13歲的孩子關於死亡和生命的思考和體驗。從這位孩子的視角展開了對“死”的一種理解。從未有過的感受,這種靜謐的平和感覺遙遠而虛無縹緲,拼盡全力翻身,用手撐著地面,想站起來。原來,這是“死亡”的感覺。抑制了劇烈的疼痛和極度的恐懼,這個世界已經與他人不相干。這種回憶,如此的平和。
追蹤感興趣的內容從 Google News 追蹤更多 vocus 的最新精選內容追蹤 Google News