On the afternoon of November 24, a 28-year-old Korean female artist Goo Hara passed away at home.
More than a month ago, her friend and colleague Cui Xueli committed suicide at home. He also made his debut as a teenager and was a member of the women's group. The sudden departure of a good friend made Goo Hara, who has been in a depression in recent years, even more traumatic pain. The two girls have left many group photos. In the photo, they hugged and laughed freely like twin flowers, leaving behind the short youth and charming light in this world.
Article | An Xiaoqing
The Array of Nothing
On the afternoon of November 24, the 28-year-old Korean female artist Goo Hara passed away at home.
has one month left, which is Christmas and New Year. But the Christmas tree in the house, which had been arranged at the door, could not wait for the girl to return home. The
police entered Koo Hara’s home to investigate. The Christmas tree has been placed in his home. As an artist and female Koo Hara,
has spent the tormented and turbulent 2018 and 2019.
More than a month ago, her friend and colleague Cui Xueli committed suicide at home. He also made his debut as a teenager and was a member of the women's group. The sudden departure of a good friend made Goo Hara, who has been in a depression in recent years, even more traumatic pain. The two girls have left many group photos. In the photo, they hugged and laughed freely like twin flowers, leaving behind the short youth and charming light in this world.
Six months ago, Koo Hara, who was tortured by mental illness, was found to have committed suicide in his residence. After being sent to the hospital by the agent for rescue, Goo Hara, who was originally a patient, had to issue an apology to the public through the media: I am really sorry, I will work hard to make my soul stronger and let everyone see my health again. appearance. I'm really sorry this time.
A year ago, Goo Hara was investigated by the police for allegedly committing violence to her boyfriend. Although the investigation proved to be framed by her boyfriend, Goo Hara's career and reputation have reached the lowest point since his debut. This relationship, which lasted for two years, brought Goo Hola unimaginable pain-being violently beaten and threatened and intimidated by public intimate videos. Although South Korean women took to the streets with the slogan "My sister is here", they opposed violence in intimate relationships and accused all men who filmed, disseminated, and watched the video. They mustered up the courage to sue the other party, Goo Hara, and fell overwhelmed. In the huge spiritual quagmire.
She hasn't worked hard. After the
suicide incident, Goo Hara, who had been suspended for more than half a year, picked up her mind and body and chose to make a comeback in Japan. However, when she performed on stage, she had an accident that her tube top skirt slipped down. Although she did not go out, many Korean netizens attacked her for her comeback. topic. At the same time, the lawsuit with her ex-boyfriend Cui Zhongfan gave her a new and huge blow-the court only sentenced Cui Zhongfan to one and a half years in prison, suspended for three years.
The late Taiwanese writer Lin Yihan once answered a reporter about "What is the most scary thing in the whole writing" during his lifetime and said, "I write for eight hours a day. I feel painful and tearful in the process of writing. After finishing writing Looking at it later, the most terrifying thing is: the most terrible thing I wrote turned out to be something that actually happened. And all I can do is write-the girl is hurt. The girl reads this passage The moment of the conversation is being hurt. And the wicked person is still hanging high on the sign..."
In the case of Goo Hara and Cui Xueli, the wicked person not only did not get the punishment equivalent to the crime, but what is more desperate and angry is that big Most wicked people do not regard themselves as evil:
"I never let Shirley die, and I don't care whether she died or not."
"I can still be an artist with such a weak mental power? After all, I have to stand in front of the public."
"Because of the bad reviews, I think it's better not to be an artist."
This is an interview with some netizens who have maliciously attacked Cui Xueli on the Internet by a Korean show recently. The words and deeds of the critics hardly remind people of the concept Lu Xun once put forward-"Unconscious Murder Group".
"Unconscious Murder Group", adhering to the mediocre evil is not evil. And the most terrifying thing is that when people who have been victimized, attacked, and humiliated try to find an object of revenge and resistance, they can't find a specific object of revenge for this hatred and hatred.
is like entering a fog-filled "array of nothing."
Finally, after the wind knife and frost sword, they were crushed into mud. In the faint blood and tidal attention after death, he was sold as an idol and female artist before his death,The fate of being watched, objectified, consumed, insulted, damaged, and commented is still repeated and reincarnated.
-They are not Lin Yihan, Cui Xueli, or Gu Hara, but the "most beautiful full-scale baby", "Peach in the world" and "Ant waist". After
Cui Xueli passed away, in SM's official announcement published on the Internet, her bravery, her pain, and her "non-cooperation" were still not seen. She "boldly revealed new and new aspects of personal freedom and freedom of expression." , A symbol of the new generation; a victorious player who happily kicks off the ethical guidelines that exudes sour and old antique taste", "she has taken out the courage that no one else can match, and lived a great life", "towards freedom and resists with her whole body strength "Practice it with my own life" (actor Liu Yaren)'s life course is still selectively obscured and ignored by capital, large companies and the entire mainstream social structure.
In the official announcement, she is still just the "peach on earth" that causes beauty and sin at the same time. The East Asian patriarchal society always expects and is committed to shaping the "cute girl with a bright smile", "her beauty, her gentle Our heart will be remembered forever and cherished in our hearts."
Yes, whether behind Lin Yihan, Cui Xueli, or Gu Hara, those old adjectives are remembered and cherished-bright, cute, girly, beautiful, gentle... resisting at the expense of life In front of, practice, resistance and "revenge", these adjectives are so dazzling and vain.
Two days after Cui Xueli's death, Goo Hara, who worked in Japan and couldn't return to Korea, cried and promised to live with Shirley's "share": "Shirley! O'Neill is in Japan I can’t go there, I’m sorry! I can only say goodbye to you like that, I’m so sorry! Do what you want to do in that place, and have a good time! O’Neill will live with your hard work and will work hard..."
However, 40 days later, this tired and broken girl who had been devastated in the past few years, extinguished the charcoal of her own little life, she took with her unfulfilled promises to friends and what she wanted to fulfill so much. "Sisterhood", left. She took Shirley's "that share of life" with her own and took it away. Zhao Nanzhu, the author of "Jin Zhiying Born in 1982" once wrote at the end of this controversial book, "I sincerely hope that every daughter in the world can have greater and more infinite dreams."
But those daughters who chose to leave are no longer possible.
In the vast "Array of Nothing", in the mediocre and average evil of ordinary people, the Korean entertainment industry is like the most complete, sophisticated, efficient, and highest-productivity star-making machine in the contemporary era. The East Asian world continuously manufactures and produces standardized idol products. It is like a "meat grinder" in the entertainment industry that has never stopped enjoying and devouring the flesh of young lives. In the past few decades, this East Asian patriarchy has been cruelly exhibited. In this society, how traditional conservative gender concepts and the entertainment industry controlled by capital chaebols have joined forces to create an atmosphere of "misogyny" that is as ubiquitous as the air.
And the huge star-making machine and idol manufacturing pipeline (New York Times) that this country is proud of, how much glory it has created, how much desire, fame, interest and power has been created, is the other side of it that devours the lives of young idols. "Meat grinder" is correspondingly so exquisite, bloodthirsty and cool-this huge machine with two sides in one body, on the one hand, creates world-class illusion mirages and idol products, on the other hand, it is the most typical and violent mapping and reproduction. He created the cultural norms and gender rights structure of the East Asian Confucian cultural circle that lasted for thousands of years but never wavered.
Cui Xueli and Gu Hara's photo
The diffuse "misogyny"
Cui Xueli and Gu Hara are just the latest prey of this "meat grinder". In the past 15 years alone, many actresses in the Korean entertainment industry have died of suicide due to overwhelming burdens.
On February 22, 2005, South Korean actress Lee Eun-joo committed suicide due to depression; on January 21, 2007, singer U-Nee was found hanged himself in an apartment in Incheon; in the early morning of February 10, 2007, artist Jeong Dabin She committed suicide in the bathroom of her boyfriend Lee in Seoul; on October 2, 2008, actress Choi Jin was found to have committed suicide at her home in Seocho-gu, Seoul; in 2009, actress Jang Ziyeon was unable to bear the work arranged by the agency.Suicide; on October 10, 2011, actress Han Chae-won hanged herself at her home in Seoul on the morning of August 25 due to mental stress...
Recently, why the Korean entertainment industry has frequently committed suicides by female artists has repeatedly become a topic of public concern. A horizontal comparison between the developed capitalist countries where South Korea is located and the entertainment industries of the three East Asian countries does not seem to find a case similar to the South Korean entertainment industry.
may be able to find the structural secrets behind the successive fall of young idols from the experience faced by "Jin Zhiying Born in 1982" in South Korea after its release. After
actress Zheng Youmei announced on the Internet that she would star in the movie version of "Kim Jiyoung Born in 1982", she received thousands of insults and curses. Netizens accused her of "provoking social hatred and causing misogyny", and others cursed "this It will be Zheng Youmei's last play." The movie has not yet been released, and nearly 10,000 people have hated the movie, and some netizens have petitioned the Blue House to try to stop the filming.
Picture source "Kim Jiyoung born in 1982"
was labelled as "inciting social hatred and causing misogynistic trends" just because he appeared in a drama film with not intense values. This shows that Korean society has a long history How strong is "misogyny" already.
After the book was published in 2016, Red Velvet Captain Irene and Girl's Generation member Xiuying and others have stated that they have read the book during online or offline activities. Subsequently, Irene was attacked by netizens. Some male fans cut or burned Irene's photos, while Xiuying was attacked as a "feminist" by a large number of netizens. Apink member Na Eun just caused controversy because of using the phone case with the text "GIRLS CAN DO ANYTHING", and suffered a lot of attacks and accusations. On the Internet, the actor Liu Yaren, who supported Zheng Youmei in the film adaptation of the novel, was attacked as "a girl who has never served as a soldier!"
's contempt and dwarfing of women, and the beastly resistance and fear of gender equality awareness, are annoying. The feminine atmosphere permeates Korean society everywhere like air.
In May 2018, a South Korean adult website exposed a large number of nude women. One of the victims was the famous South Korean anchor Liang Yewon. On May 16, Liang Yewon used a 25-minute video to tell about her passive posture of shame due to the last resort and fear. After seeing her video on the website, she once thought about suicide, but finally decided to stand up because she was a victim. The
incident quickly attracted public attention in South Korea. Some netizens initiated a petition to the Blue House, hoping that the government could face the issue of illegal filming. After the news, in order to get more people to support and support the victims of illegal filming, South Korean artist Bae Suzy uploaded a screenshot of the Blue House petition webpage that agreed to investigate "Illegal nude filming by XX studio" on the Internet. After
participated in the petition, due to the inaccuracy of the photography studio information in the Blue House petition, it spread to another photography studio. Many netizens seized this error and attacked Suzy, and some netizens petitioned the Blue House with the subject of "Request for the death penalty of Suzy." , And 274 people agreed. Not to mention the female bodies in the "Li Shengli Case" who were slaughtered and circulated as exchanges and social resources, and the emotional blackmail and physical and psychological violence committed by Koo Hara in the past two years by his ex-boyfriends using intimate videos as the grounds .
In film and television works outside of reality, we can easily capture the diffuse atmosphere of "misogyny" in East Asian society. In "Pretty Sister Who Eats Often", "Jin Zhiying Born in 1982", "Question Restaurant", "Sky City", "Spring Night", "Home on the Ramp", "Fang Siqi's First Love Paradise" and "Carnival", all The female story line, like a jigsaw puzzle, constitutes an ordinary, average, seemingly "natural" but has been shaped by the patriarchal society and misogyny society and shaped the life of East Asian women:
"a pot of freshly steamed rice," It’s only natural to flourish first in the order of father, younger brother, and grandma."
"Boys are like this, the more you like girls, the more they will bully her."
"Girls should be careful in everything, dress conservatively, and behave." Check that dangerous times and dangerous people must know how to avoid them."
"As long as new people come, the youngest women will take the initiative to do some trivial chores. Obviously no one asks them to do these things. But men. New employees won’t be like this...Why do girls take the initiative to do these things?"
201In April of 2009, Chizuko Ueno, professor of sociology at the University of Tokyo, caused a huge response worldwide for his congratulatory speech at the entrance ceremony of the University of Tokyo. Chizuko Ueno is the most prestigious and theoretically productive scholar in Asian feminism research, and the most important and influential book in her academic career is "Misogyny: Female Disgust in Japanese Society".
Chizuko Ueno translates misogyny as misogyny, or female contempt. The so-called misogyny means "never regard women as the subject of sex equal to oneself, but objectify and other women, more directly, it is discrimination and contempt." A society with core mechanisms is called a patriarchal society."
In a patriarchal society, men are at the core of the dual gender order. Ueno believes that under this order from traditional Confucianism, "no one can escape misogyny, regardless of man or woman. Misogyny is pervasive. Under this order system, it is like the gravity of an object, because it is too natural to make people hardly aware of its existence."
is imperceptible misogyny like gravity and air, which manifests as female contempt in men and self-loathing in women. For example, among those netizens who frantically attacked Shirley's freedom of dressing on the Internet and treated them with "slut humiliation", many of them were women.
The "misogynistic" society advocates submissive, well-behaved, and controllable female categories. It promotes "saint" women and suppresses the so-called "witches" and "wicked women." This kind of divide and conquer exactly reflects the fear and discomfort of the male as the dominant position towards the female who is out of control.
And it is in this gender subconscious frame that we can understand why Cui Xueli, who tries to get out of the shackles of idols to be ourselves, Cui Xueli who practices freedom of dressing, and Cui Xueli who tries to become the subject of her own desires and body, have been in the past few years. , Which greatly challenged and offended the sense of security and subjectivity of men in Korean society, and therefore incurred countless attacks, bad reviews and verbal abuse.
Ueno Chizuko wrote that men are used to be the initiators and controllers of desire, and they are the subject of desire. The so-called "witch" and "wicked woman" are "women who do not obey the control of men and are sexually surplus. If you don't like this term, you can change it to "women who use their sexual bodies freely". In short, it is: " Without the permission of Lao Tzu!""
It is this full autonomy and self-determination that made Cui Xueli become the bravest, rebellious and vivid non-cooperative person in the society of misogyny in Korea shrouded like an iron curtain. It's the obedient object in the girl group and East Asian culture. Behind
Shirley, the netizen @王丽兮 wrote, “Everyone is too harsh on women. Female artists must be beautiful and young. This is not enough. You must obey. You must not have your own ideas. In East Asia, you must obey Male chauvinism. Just fall in love with an older rapper, don’t wear bra, send ins, and then everyone can’t accept it, all kinds of bad reviews, all kinds of humiliation, all kinds of misunderstanding, attacked her, I can't imagine her should How brave she is to face the harsh insults of various patriarchs and patriarchs... and she just wants to control her body and her life, and she chose a different idol life..."
40 years ago , Vanity Fair’s new actress Madonna tries to regain power and becomes the subject of desire to express desire, rather than the object of desire to be watched and stared at. She succeeded, she offended everything and became a legend on the revolutionary road and an idol all over the world. And forty years later, on the Internet of East Asian modern society, there are still actresses who do not wear underwear, wear low-cut suspenders, and accidentally emptied themselves during performances. Netizens use filthy language and poisoned arrows like witches in the Middle Ages. "Hunting" of the bad reviews.
Cui Xueli
Patriarchal swallowing
"Misogyny" is just a symptom. The root cause of the
disease is the operating logic of Korean patriarchal society that has lasted for thousands of years and has never been strongly interrupted by revolution, war, or national ideology.
Perhaps few people would believe that only ten years ago, Korean women could not remarry within 6 months after divorce, and the time for men to remarry was not restricted by law. After marriage, both the wife and children are recorded in the husband's "household registration" like appendages. In daily life, if signatures are required, such as family payment, bank withdrawals, children's application for school, etc., they must have the husband's signature to take effect. Ten years ago, when the mother was divorced, the mother could not raise her children. The children had to live with their father after the divorce.Can follow the mother's last name. In inheritance, women cannot have equal parental property rights as other male members. Even for a long time in the past, as long as the husband is Korean, the wife and children can obtain Korean nationality. If the wife is Korean, even if the husband and children live in Korea, they can only hold foreign nationality.
All of the above systems that violated basic human rights and the United Nations Convention on the Elimination of Discrimination against Women were formally abolished by the South Korean government on January 1, 2008, which contained provisions that violated personal dignity and violated the spirit of equality between men and women. The abolished "head of household system" represents the spiritual core of the Korean patriarchy. It strictly implements the Confucian ritual of male superiority to females, and regulates family relations in contemporary Korean Confucian society in the form of laws, making women subordinate to men and making Patriarchy has become a firm cornerstone of the operation of society.
Therefore, when we try to explore the Korean entertainment industry and Korean gender concepts, why are they located at the two poles of "exquisiteness" and "cruel", "conservative" and "modern" at the same time, forming a rare Korean idol manufacturing "assembly line" in East Asia and the world And meat grinder", then maybe history will give us some meaningful answers.
has been abolished from the legal level for ten years, and stipulates the Korean family tradition and gender culture. It is mainly derived from the patriarchy and clan system left over from the Li Dynasty and the patriarchal system during the Japanese rule. Both of these come from traditional Confucian culture, and the core of which is the patriarchal system of Confucianism. Due to the mandatory provisions of the law, the culture of giving priority to men and women inferiority has continued into modern times. For example, unlike most countries where politicians are printed on currency, the heads printed on Korean Won are all representatives of Confucianism, such as Lee Toe Hee and Master Li Gu.
Although Korean women began to awaken in the 1970s to fight for their rights, the household head system that has lasted for thousands of years is still as strong as an iron curtain in South Korea, and it was officially abolished in 2008. However, the termination of the system did not allow the gender concept of male superiority and inferiority to South Korea's democracy, politics, and economy to change and take off together. Patriarchy, which has been loosened but has never been fundamentally touched, is still the country's strongest historical and cultural logic and gender concept background.
Due to the strong vitality of patriarchy in South Korea, even with higher education, women are still expected to return to the family to take care of their children after marriage and childbirth. This is the "call to go home" under the conspiracy of traditional family concepts, capitalist workplace logic, and national ideology. Here, I once bid farewell to the patriarchy of the feudal household system, and stood side by side with capitalism.
Ten years ago, only the patriarchy above the legal provisions was terminated. For ten years, the ghost of patriarchy has never left with the new social form.
In "Missing Mothers: New Strategies for Patriarchal Narratives in Movies", scholar Dai Jinhua believes that we don’t need to constantly discover patriarchy and patriarchy, because "this day is the heaven of patriarchy, and this place is patriarchal. "Earth", it has long been ubiquitous. Don't just say, "Ah! Patriarchy is oppressing us." The important thing is to "discover their variations. What kind of face and path did the patriarchy appear this time..." At the same time maintain a true critical and penetrating ability."
As many scholars have expressed, "the highest form of contemporary patriarchy is modern capitalism."
And it is in Korea, in the Korean entertainment circle that best reflects the power relationship and capitalist production, the patriarchy uses this field to regain its full power, open its mouth, swallow and strangle more and more Young life. At the same time, South Korea, a developed capitalist country, always presents a weird social landscape of feudalism and modernity, making it the least valued of women's rights in developed capitalist countries, and at the same time the country with the most patriarchal atmosphere.
In the shadow of patriarchy and capitalism's pursuit of maximizing benefits, South Korea has built an exquisite and fierce entertainment industrial kingdom based on limited land resources.
Since the mid-2000s, the Korean pop music market has experienced double-digit growth. Korean pop music was named "Korea's greatest export product" by "Time" magazine, and "The Economist" called Korean pop culture "the most important trend leader in Asia" (quoted from the paper "Whether "Korean Wave" Increased gender inequality in South Korea). With the support of the national cultural development strategy,
Korean entertainment companies recruit young people from 12 to 19 years old from all over the world. This is the fresh raw material needed by the idol manufacturing line. Reasonable from the market economyHair, the younger the artist makes his debut, the more likely it is to create as much economic profit as possible for the company. At the same time, this is also in response to the interruption of the idol career caused by the Korean military service system. Because the age of debut is as early as possible, in order to profit for the capital as long as possible.
In addition, when male idols and men’s groups go for military service, in order to fill the gap in the market, the agency found that "girl groups and celebrities are life-saving drugs" (quoted from the paper "Idol Factory SM Company's Star Making Strategy Analysis"). At the same time, in order to be able to occupy different target audience markets, increase the chances of artists becoming famous, and ensure that the company's investment will not be completely destroyed, Korean brokerage companies have always been obsessed with creating group idols.
In this way, in a constrained geographic environment, Koreans invented a manufacturing industry based on idols, desires, and worship in order to maximize the benefits of commodities and minimize risks. The combination of traditional dignity and inferiority, gender order, and modern Western corporate systems gave birth to a Korean entertainment industry workplace culture with a strong patriarchal style.
's paper from a Korean University, "Does "Korean Wave" Exacerbate Gender Inequality in South Korea", the author found through nearly 5,000 questionnaires that the gender discrimination displayed in Korean entertainment industry products is the same as "South Korea's "enduring" The patriarchy" is related to the culture of gender discrimination. The paper argues that “the description of gender discrimination in the Korean media and the sexual objectification of women in the Korean entertainment industry have strengthened Korea’s enduring patriarchal culture and hindered the progress of gender equality. The paper points out that despite Korea’s successful economic The modernization of infrastructure and education, but lags far behind in achieving gender equality. The data and rankings of
also corroborate the observations of the Korean entertainment industry and Korean society.
was included in the 2015 Global Gender Gap Index (GGGR 2015) , "Korea ranks only 115th out of 145 countries, tied with countries in South Asia or the Middle East and North Africa, and these countries are known for their high discrimination against women, and their rankings are far lower than Japan, which is the supreme patriarch." .
In addition, the gender wage gap in South Korea is also the largest among all developed countries. "The Economist" has a "Glass-ceiling index" (Glass-ceiling index), since the establishment of the index, South Korea ranked the lowest among all OECD countries.
In 2013, Korean director Choi Seung-ho adapted the movie "Plaything" based on the "Zhang Ziyan Incident". According to the survey data at the end of the movie, 45.3% of South Korean female artists have been asked to accompany wine and 62.8% have been asked to have sex. Behind
being regarded as a "plaything" is a common spiritual crisis among practitioners in the Korean entertainment industry. South Korean actor Park Jinhee published a master's thesis in 2009-"Research on Actors' Stress, Melancholy and Suicidal Thoughts". The paper points out that 38.9% of actors suffer from depression and 40% have thought about suicide. In his thesis, Park Zhenxi argued that malicious messages, unstable income, and anxiety about the future are the main causes of depression and suicide.
In October 2008, while Park Jinxi was writing his thesis, Korea’s most famous actress Choi Jin committed suicide by public opinion. From Cui Zhenzhen who was born in 1968, to Cui Xueli who was born in 1994 and Goo Hara who was born in 1991, the world did not get any better.
Cui Zhenzhen’s tomb map source Visual China
After Cui Zhenzhen’s death, South Korean media person Park Soo Na once commented, “Korean society does not like strong women and thinks that single mothers have personality disorders, just like Hawthorne’s writings. "The Scarlet Letter" is the same."
The "Red Letter" in Korean entertainment circles is different from Hawthorne's. Here, as long as you are born as a female, your forehead will be marked with a striking "red letter" by the misogyny atmosphere of the patriarchal society. Even an artist like Cui Zhenzhen, who was hailed as a national actress at the time, her gender still determines her destiny-like many of her kind, she is oppressed and oppressed by the highly developed entertainment industry meat grinder and the strongest patriarchal society. Boil. After
married the baseball player Zhao Chengmin, although the latter's reputation and income are far less than her, Cui Zhenzhen still works as a full-time housewife. The husband committed domestic violence to her and ended their marriage. After the divorce, Cui Zhen, who was originally a victim, had to face tremendous social pressure because "under the influence of the orthodox Confucian culture, most Koreans regard divorce as a tragedy, and single mothers are generally not welcomed by society. After Cui Zhenzhen, who had two children, divorced, film and TV producers who believed in Confucianism were taboo to give her a heavy role.The reason is because of the identity of a single mother. In contrast, the ex-husband Zhao Chengmin remarried soon after his divorce (quoted from "Cui Zhenzhen Suicide and the Double-edged Sword of Confucianism", Wang Xiaohua).
After Choi's death by suicide, some Korean scholars believe that "Cui's death has once again exposed the important shortcomings of Korean Confucianism: it has not yet completed the transformation required by the modernization process. Fraud has delayed the process of (Korea) modernization"."
"I want all human beings to receive the rightful happiness"
In the postscript of "Misogynistic", Chizuko Ueno said that he never thought of writing "Such an unpleasant book." book". Then, "a book that the author writes unpleasantly and the reader reads unpleasantly", why write it?
"Because, no matter how unpleasant, the reality that we can't close our eyes to see exists there, and also because we also understand that no matter how difficult it is, as long as we know that reality, there is the possibility of changing it. "
Goo Hara, who had just left for a day, also thought about the "possibility of change." She once wanted to live on "that share" of her good friend Cui Xueli. Lin Yihan, who has been away for two and a half years, once thought about the "possibility of change"
is also at the end of the book. Lin Yihan said to "Yiting" through the mouth of "Yiwen":...You can pretend No one in the world takes pleasure in raping little girls; pretending that no little girl has ever been raped... you can live a bourgeois and peaceful life; pretending that there is no spiritual cancer in the world... but you can also choose to experience all Siqi The pain you have felt, learn all the efforts she made to resist these pains... You have to go to university for Siqi, go to graduate school, fall in love, get married, have children, maybe be dropped out of school, maybe divorced, maybe stillbirth . However, Siqi couldn't even experience the most vulgar, dull, and rigid life. Do you understand? You have to experience and firmly remember all her thoughts, thoughts, feelings, feelings, memories and fantasies, her love, hatred, fear, weightlessness, barrenness, tenderness and desire. You have to embrace Siqi’s pain tightly, you Can become Siqi, and then live for her, and live with Siqi's share. "
Faced with these "blood scratches" of different shades, all human beings who have empathy, imagination and resonance for the pain of others should firmly remember all the thoughts of "their" , Thoughts, feelings, feelings, memories and fantasies, "their" love, hatred, fear, weightlessness, desolation, tenderness and desire, we must embrace "their" pain tightly, and then live for "their". At the same time, remember, "Patience is not a virtue. Treating patience as a virtue is the way this hypocritical world maintains its distorted order, and anger is a virtue."
Faces the ghostly patriarchal oppression and superpower in the pre-modern structure. The ugliest and most direct trampling, ravages, and deprivation in the capital and entertainment industry, don’t forget, don’t forgive, "Patience is not a virtue," "Anger is."
The last photo of Gu Hara posted on social media before his death
