We go back to our room, lock the door, shut the window, and switch on the light. We only read letters from the family and refuse to think about all the sorrows of everyday life, but they still slip through the cracks, letting in hallucinations of the disaster site. In many years, when everything is gone, will there still be a feeling of absence in the air? Will those digital photos that were stored in cloud storage be left behind just like what happened to those old photos? But still, it was only our father’s writing from long ago that was able to trigger secret tears that have been hidden for years—we didn’t realize how rude we were to those who loved us with all their hearts. From here, I will finally learn to face death peacefully and to forget – as one day we will be remembered as long as we have really lived. If only there was such thing as a real life.
When our life is given back to the hands of time.
- Page 77
How do words become a vehicle for the experience of art? In Into the Outdoor Setting of the World (Silent Attempt), the author is looking for the secret tunnel between the experiences of literature and art. As a form of “silent attempt” in the quotidian time, to write is to capture, question, approach, activate and save the genuine experience of the encounters with art. The book is less intended to be a collection of eassys but rather a construction of a “borrowed view”(just as in the Chinese garden), so as to contemplate the various portraits of the mind in our time and journey upon the different situations in the human life.
We didn’t realise how far we’d come. The faraway has already penetrated into our life – like the way air penetrates into our bodies, night into day, stars into the night sky, and you into me.
- Page 57
Into the Outdoor Setting of the World (Silent Attempt)
Design by Somely So Lai Ping
112 pages | 21.6×13.6cm | Hardcover
Text and Image from The Pavilion, © Author, The Pavilion, 2017
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