1. Not all girls think riding a bicycle is romantic. Of course, if you get tired of driving a Mercedes-Benz, it would seem more romantic to ride a bicycle with your rich boyfriend. We have to understand that after the actresses in Korean and Japanese dramas ride on the actor's bicycle in the beautiful countryside, they all drive a Mercedes-Benz and BMW back to the city, not a bicycle. Of course, romantic we should call it a bicycle. ?——Han Han

2. The country roads are like long bridges with no beginning or end! From our feet, it leads to the distant junction of heaven and earth; those two tall trees like the Great Wall line up the vast expanse of waves on the green field. Oh, the country road is like a golden silk ribbon! All cities, villages, mountains, and plains are called jewels strung together; these strings of jewels are intertwined and connected to create our embroidered country! ?——Guo Xiaochuan

3. Literature finally left the rural land, left the military castle, came to the farmer's market, and came to the city streets. It is mixed in with the bizarre urban symbols, and it is not inferior at all. It sometimes even looks down on drama, painting and music, and often competes with movies and television, flirting with each other, competing for the media's attention, competing for the center position of the symbol system, and robbing citizens of their remaining time. ?——Zhang Ning

4. I have reason to make this analogy: urban centralism is like Western centralism; rural areas are like the Third World; contemporary China’s elitism is like the West in front of Chinese farmers Although they are still Third World people in the eyes of Westerners, this is the same as the relationship between farmers who work in cities and farmers who work in rural areas; the migration of farmers to cities and the migration of urbanites overseas are essentially the same thing; fiction ( The imaginary rural world is like the imaginary Eastern world of Westerners. The East speaks through the imagination of Western "Orientalist" scholars; the peasants speak through the imagination of writers. ?——Zhang Ning

5. Farmers’ gazes can be divided into two categories: fixed gazes and wandering gazes. The frozen gaze took place in the rural environment they were familiar with, and they knew everything about the people's hearts and the environment. This is a quiet gaze, which has a neutral character, with neither attack information nor intimacy information, and the active content of life is sealed away. Because as a member of the same clan body, the functions of closeness, attack, and violation of eyes can be completely replaced by other parts of the body (especially the limbs). ?——Zhang Ning

6. There is a basic routine for identifying Jia Pingwa’s novels, which is that he especially likes to do something, connect the countryside and the city alone, and "temporarily return to his hometown" Intellectuals have several times played the main characters in his novels. "Gao Laozhuang" has such a structure, and "Remembering the Wolf" has a similar approach. The narrative vision of "Qin Opera" has never left Qingfeng Street, but the novel describes events in two worlds. ?—— Yan Jingming

7. There is a kind of spring that cannot be waited for. This is the spring of life. The spring of life often has nothing to do with age, but it is just a kind of awakening. This kind of awakening is like the wild roses on the fence in a remote village. The flowers are blooming brilliantly, but the image is only bright, simple, honest and peaceful. ?——Chi Li

8. The river is full of delicious food, and the mountain family is busy trying to save things. The purple silkworms and mulberries are all old, and the green and wheat seedlings on the water are half yellow. The words of swallows seem to urge spring things to go away, and the hairspread is not as long as the guest's sorrow. The young people in the countryside don't know this, and they are clamoring for Cuju games everywhere.

?——Lu You