《风暴预警期》是一本由朱山坡著作，上海文艺出版社出版的平装图书，本书定价：CNY 32.00，页数：224，文章吧小编精心整理的一些读者的读后感，希望对大家能有帮助。
《风暴预警期》读后感(一)：绝望的哀号响彻云霄
“地方性”与自我的敞开，是朱山坡《风暴预警期》的内在标识。那些粗犷潮湿的南方故事，荒诞不经的市井传奇，在他笔下徐徐展开，只为追怀童年记忆里的“南方”。在那无尽的岁月里，当摧枯拉朽的台风骤然降临时，一切挺立的东西都心怀恐惧，绝望的哀号响彻云霄……然而，南方终究消失了。或者说，它跟北方一样，跟所有的地方一样，变得“遥远而陌生”了。于是，深情追忆正在消失的“南方”，就成了《风暴预警期》里撼人心魄的仪式。在遥远的蛋镇，风暴以及风暴中的人与事，那些散乱迷离的人物群像，无不让人惊奇而感慨。小说呈现了1980年代初期时代变迁的社会风俗场景。在此，一群生活在南方的小人物，他们孤独、苦闷、冷漠、狂热、挣扎、探寻，追求理想，寻求理解，渴望爱和被爱，以及无法遮蔽的伤痛，都在时空交错中抵达纵深和宽阔，而叙述的活力也得以迸发。当然更为重要的是，小说借此最大限度地修复了个体的“南方”记忆，使其消失的步伐来得更加缓慢一些。（徐刚）
《风暴预警期》读后感(二)：谢有顺：《风暴预警期》是一部迟到的70后作家的杰作
人民网南宁10月14日电 （伍迁）“《风暴预警期》是一部迟到的70后作家当中的杰作。”10月12日下午，中山大学中文系教授、博士生导师、著名文学评论家谢有顺在南宁举行的广西民族大学八桂学者文学创作岗创作团队成员朱山坡长篇小说《风暴预警期》推介会上如是说。
“我觉得朱山坡是很有代表性的一个作家，我觉得他可以是我们这一代作家当中写乡村记忆，包括个人的成长记忆最好的作家之一。”“读朱山坡的小说，尤其是《风暴预警期》能感觉到他是真正的有自己的腔调，有自己的口气，有自己的叙述风格的作家，这是很难得的。”
“朱山坡最精彩的，是他往往对现实做一些扭曲，做一些变形，做一些放大，能够让我们看到生活下面那些细微的东西。”“他写到了人性中幽暗的部分，往往这个部分的揭示和敞开是朱山坡小说中最有意思，可能也是最有价值的。”
谢有顺表示，“正是因为朱山坡有自己叙述的腔调，有自己观察和理解人物的角度，有自己对人性复杂性的理解，使得《风暴预警期》确实成了70后作家当中很特殊的一部小说。所以，我觉得确实是一部迟到的70后作家当中的杰作，我个人觉得是一部很好的长篇。”
朱山坡是广西北流人，长篇小说《风暴预警期》是他继《懦夫传》之后推出的又一长篇小说新作，首发于《江南》杂志今年第3期，现已由上海文艺出版社正式出版。同时,这也是广西民族大学八桂学者文学创作岗创作团队“五年完成十部长篇”计划中的第六部作品。
广西文艺理论家协会主席、广西教育学院党委书记容本镇表示，朱山坡有着很强的求新求变的意识，他的小说创作往往不按常理出牌。《风暴预警期》就给人一种全新的阅读感受，也让人的心灵受到一种强烈的震动。《风暴预警期》在结构上很有特点，有点类似于中国画的散点透视这样的结构。这是对长篇小说传统结构的一种反叛和颠覆，给人一种新的审美体验，一种陌生化的阅读感受。
《南方文坛》杂志主编、广西文艺理论家协会副主席张燕玲认为，《风暴预警期》是一部颇具艺术追求的用心之作，可以说是一则关于当下社会与民众生存和精神困境的寓言。朱山坡通过三个方面来体现他的艺术追求：一是继续为当代草根人物立传，二是继续写实主义与理想主义融合介入，三是继续以小人物写大历史。
鲁迅文学奖获得者、广西大学驻校作家田耳表示，从《风暴预警期》可以看到当年先锋写作的流风逸韵，它非常好看。但同时，我觉得朱山坡还是交出了一份中规中矩的答卷，好看，但并不独特，在小说中我们总还是能看到一些似曾相识的东西。倒退20年，我觉得这部书会是横空出世的先锋小说，它内涵的技术含量不亚于当年的先锋小说。但是，时代真的不一样了，写作一定要有很俗的方向，不要老把它推到高大上的地位。我觉得写作中，我们作为一个作家、小说家，还得是在正确的时间干正确的事，确实要有一些策略上的对应。
《风暴预警期》呈现了上世纪80年代初期的时代变迁和鲜明特点。一群普通人，孤独、苦闷、冷漠、狂热、挣扎、探寻，追求理想，渴望爱和被爱，寻求理解和尊重，对外面世界有强烈向往和美好想象。无法遮蔽的伤痛，风暴将至的隐喻，在时空交错中抵达纵深和宽阔。
故事发生在在既远又近的蛋镇。蛋镇每年都经历台风和洪水的袭击。面对即将到来的台风，蛋镇的人心态各异，惊慌、兴奋、疯狂、暴躁、焦虑、压抑、绝望、恐惧……
“我”生活在一个六口之家，养父荣耀是一个曾身经百战的国民党老兵，我和四个哥哥都是来自街头的弃婴，被荣耀收养。我们对荣耀感情复杂，对他心怀敌意，甚至恨之入骨。兄弟们性格各异，亲情淡薄，关系冷漠。
这一年，又到台风预警期，荣耀意外被一个肥胖的女人压死了。此时，长兄荣春天正在试验制造汽水，二兄荣夏天正筹办一场还不确定的婚礼，不问世事的三兄荣秋天只沉迷于给军委写信，四兄荣冬天为了赚更多的钱正在夜以继日地剥青蛙皮，而“我”正准备一声不响地逃离蛋镇……
风暴唤醒了良知，洪水洗刷着人心。在街坊的压力下，在暴风骤雨中，我们决定齐心协力为荣耀办一场像样的葬礼。（完）
《风暴预警期》读后感(三)：洪水洗刷心灵
“风暴”有物理上（自然）的，也有心理上的。这是一股摧枯拉朽的力量。蛋镇上的人每年都要等待台风来临，依靠台风清污去垢，除恶扬善，恢复公平正义，也试图依靠台风改变自己命运，改变固有的秩序。每一个人对风暴满怀期待，却又害怕被摧毁一切。蛋镇人人心里都有风暴，仿佛每个人都患上了风暴依赖症。但他们单纯得从来不追问“风暴”到底是什么东西？这是一种奇特的心理。
世界藏污纳垢，人心也并非纯洁无瑕。顽固的一切无法自己消融，撕裂的人心无法自己痊愈，唯有等待台风和洪水。如期而至的台风是蛋镇的“宿命”，台风洪水与每一个人息息相关，与生俱来，人心或许被摧残，受破损，被扭曲，已麻木，已颓败；然而，也有可能相反，风暴唤醒了良知，重塑人心，整合支离破碎。
《风暴预警期》读后感(四)：文学并不一定都是阳光明媚、鲜花盛开
来源：http://gx.people.com.cn/n2/2017/0226/c179462-29769548-2.html
人民网南宁 2月26日电（伍迁）
“文学并不一定都是阳光明媚，鲜花盛开，写到满目疮痍、悲愤填膺处我不能粉饰太平，故作轻松。”2月25日下午，广西作家协会专职副主席、青年作家朱山坡在广西壮族自治区图书馆举办的悦心·读书会第6期上如是说。“人间既有温暖的力量，也有悲凉的震撼。作家必须有揭示世界真相、戳穿残酷现实的担当，读者也应该有直面沉重和苦难的勇气。”
“朱山坡是70后小说家中风格独具的一位，他的叙述带有浓郁的先锋气质，《风暴预警期》正是这样的作品。”本期悦心·读书会主题为“我的南方，我的暴风雨——从《风暴预警期》进入朱山坡的小说世界”，主持嘉宾、青年学者王迅表示，《风暴预警期》写出了一种人类面对世界末日的情境，一种善与恶的对峙格局中面对灾难的复杂心态。通过少女的眼光，写出一种压迫、一种绝望、一种破败、一种阴森，这些都是朱山坡小说中的审美常数，是他区别于其他70后作家所独有的南方气质。
说到南方，通常是指江南。朱山坡认为，南方不止是江南，南方以南还有更广阔的地域和空间。南方以南，甚至更有一股野蛮生长和热气腾腾的狠劲，蛮烟瘴雨，巫气缭绕，飞禽走兽，有独特的气息和粗砺的个性。广西作家陆地、东西、鬼子、林白等都是典型的南方写作。广西是一个地理风貌和人文环境都很特别的地方，能给北方和江南一种陌生感、神秘感。这为文学提供了无限可能。
朱山坡表示：“我从没有忘记自己南方作家的身份，我一直在提醒自己：南方！南方！南方作家跟北方作家有很大的区别，北方作家坐享丰富的历史人文资源，作品可以写得大气磅礴，千里冰封，万里雪飘，朝代更替，战事频仍，千年演化史，百年家族史，文学资源比煤炭还要丰富。南方作家要发挥、张扬南方的优势。要写出南方的独特性和丰富性。《风暴预警期》便是我的一个努力结果。”
“从《风暴预警期》可以看到当年先锋写作的流风逸韵，海葵的形象，她既是一种象征，又带有魔幻性。”王迅说，但很明显的是，朱山坡近期作品中有了新的美学立场，那就是写南方，他特有的南方气质。小说以南方为背景，南方的经验，南方的腔调，散发着南方尤其是广西的独特气息。“它对乡土、对伦理的观察和辨析中，那些人性中的幽暗成分，那种忧郁、潮湿、温润的南方气息，都是朱山坡小说中在溢出的美学质素。”
记忆中的风暴，已融化到我的血液
朱山坡特别提到了“风暴”，也就是台风。“台风差不多是我童年最深刻的记忆了。现在，很多年了过去了，我依然记得风暴将要来时的兴奋和惶恐。那是我记忆中的风暴，是我的风暴，它已经融化到我的血液中去了。……但我开始想念台风和洪水，想念我在小镇上读书的少年时光。台风激活了我。我的想象被打开，我的构造开始了。于是便有了《风暴预警期》。”
《风暴预警期》的故事发生在一个南方小镇——蛋镇。王迅说，《风暴预警期》虽然写小镇，而这个小镇让我们想起福克纳的南方小镇，是具有普遍经验性的小镇，孤独、绝望、恐惧、死亡，小说中的人物的命运也是我们人类命运的写照。
“蛋镇是一个虚构的地方，是我家乡六靖镇的原形。每一条街道的名字都具有浓郁的南方气质。临近大海，有江河，与南洋有着千丝万缕的关系。”朱山坡说：“为了把蛋镇写得扎实，我反复画了几幅地图，把每一条街道（巷子）、每一间店铺、每一幢建筑物（房子）、每一座桥梁（道路）等都画得清清楚楚。我还查阅了不少地方志资料，听一些人讲述当年的旧事，找到事实的观照和虚构的基础。”
隐喻无处不在，台风也是一个隐喻
王迅认为，“朱山坡善于写小人物成长中的隐痛，而人物往往都带有一种病态的人格特质。”正如华师李遇春教授称，是为“野生人物”立传。从马旦、光耀及其收养的五个孩子等人物身上，我们读到小人物的生存哲学。比如，养父荣耀是一个曾身经百战的国民党老兵，身份卑微，性格怪异、暴烈、懦弱，却有悲悯和好管闲事之心。
在《风暴预警期》中，这些有些“病态”的人物，却带有很强的理想主义色彩，他们都有自己的生命诉求并不断为之所努力。“我”坚持要逃离“蛋镇”去寻找并不存在的妈妈，一次又一次出逃，却没有一次成功。荣春天在越南战场上失去一条腿后立志后郁郁不处志，要孤掷一注做出世界上最好喝的汽水。只会拉《莫斯科郊外的晚上》的手风琴艺术家、“半边脸”李旦坚持在小镇传播“艺术”……
“他们的理想也是病态的。在一个狂风暴雨的世界里，每一个人都会萌生各种想法和追求，也是一种抗争。看似人人与众不同，但实际上都逃不脱宿命的牢笼。这些人物荒唐可笑，却又让我的心隐隐生疼。”风暴来临，内心躁动；风暴远去，躁动平息，如死灰般沉寂。周而复始，是无法制止的轮回。然而，这恰恰也是他们的日常生活。朱山坡表示，我想我写出了隐喻。世界是一个巨大的隐喻。台风本身也是一个隐喻。《风暴预警期》中，隐喻无处不在。正是因为这些隐喻，使得这个小说有了些许价值。
《风暴预警期》读后感(五)：我与台风的神奇对话——《风暴预警期》的由来
转自朱山坡新浪博客http://blog.sina.com.cn/u/1311944675
我与台风的神奇对话
——《风暴预警期》的由来
My Love-and-Hate Dialogue with Typhoons – Why I wrote "Beware of a Typhoon!"
我生长在中国南方以南，两广交界，台风频繁光顾之地。我从小对暴风雨特别感兴趣，尤其是台风，自东南方向来，往西北方向去，不知为何而来，也不知为何而去。小时候，从乡村广播里听到台风预警，心里便充满了期盼，好像在等待一位远方的客人。但与热情款待客人不同的是，我们得把值钱的东西藏起来，不让台风卷走。台风有时候到了半路，突然掉头离去，或改变路线与我们擦肩而过。我会很失落，会责怪人们怠慢了台风，咒骂了台风，从而得罪了台风。台风是大自然的神灵，我们心里想什么，它们都知道。一个连台风都不愿意抵达的地方，是没有希望的。
I grew up in a small place at the further most southern tip of South China, between Guangdong and Guangxi(within the administrative jurisdiction of Guangxi) ,plagued by storms perennially. I was particularly infatuated with all the tropical cyclones when young, especially typhoons which usually form from the southeast and move northwest wise. For a kid, this natural force spring up out of nowhere and disappears for no reason. I recalled typhoon warnings would be routinely issued from the village radio loudspeaker which instantly ignited my curiosity and put me into a festival mood waiting for a family guest from afar. However, unlike the way the home guest was treated and showered with generosity, villagers and my parents were sent into panic by hiding all provisions and livestock, evacuating the people to avoid being devastated by the subsequent flooding. The typhoons sometimes stalked halfway and then suddenly turned back, or changed course to pass by us, a moment which really let me down. I surmised villagers must have incurred the displeasure of typhoons and even cursed adults for resisting typhoons. Typhoons are the divinities of nature, omniscient and omnipotent. I reasoned my village was a pariah since even typhoons refused to visit us.
我的家乡正是穷乡僻壤，乏善可陈，我觉得自己是被世界遗弃了的孩子。说好了要来的台风又一次变卦，加剧了我的自卑感，愈加觉得自己与世界太遥远太隔绝，一年到头也见不到几个陌生人，除了村子里的乡亲再也没有谁知道我的存在。我找不到通往世界的方式，也无法告诉世界我很孤独很想离开此地，只好寄希望于台风。台风有时候白天来，有时候半夜到。不管什么时候，我都欢迎，都热情相拥。我知道，它们经过大海，翻山越岭，见多识广，让身处封闭状态中的我仿佛看到了全世界，听到了大海。我与世界的距离一下子缩短为零。我相信，台风是为我而来，带来神秘的信息，至少它们来告诉我，世界没有将我遗忘，而是等待我慢慢成长，总有一天是要带我离开的。我认为我读懂了台风。
My hometown was a hopeless economic back water, not even close to a tiny stamp, perhaps a replica of Faulkner’s Yoknapatawpha, “and in a condition of stasis, unaware of changed time”. The failure of the warned typhoon to appear only exacerbated the bitterness of my inferiority. We did not even meet with a few strange faces all year round .Were we totally left out of the larger scheme of things？ I wondered. Lack of any exit here, I had no means of communicating with the world beyond and delivering a ISO we are stranded and please help us out. A typhoon in this way was the last ray of hope in my life . Come what may, typhoons were always a blessing in disguise , in the broad daylight ,in the middle of the night, any time was a good time for me. I was full of sadist joy and fear. Regardless of what grown ups might think, I was very stubborn in my adolescent reasoning that the omniscience of typhoons, over the mountains and across the rough sea might rip a hole in the extreme physical isolation of my Yoknapatawpha to let me peep through to see the world and hear the thundering sea. A fanciful mind reader of typhoons, I was convinced the typhoon came for me and brought me some mysterious messages that the world did not forget me but actually waited for me to grow up and took me away.
一年之中，它们会来三两次。我躲在摇摇欲坠的房子里，透过千疮百孔的窗户看台风，与它们对话。听它们劈头盖脸的说教，也告诉它们我心中的秘密，比如，我喜欢邓丽君，喜欢巨大的轮船，喜欢永远看不到尽头的大海。我还告诉它们今年村霸又做了哪些坏事，是该把他带走扔到海里喂鱼了。一个人，与台风窃窃私语。没有人知道我与台风如此亲密，彼此了解，建立了深厚感情。
Twice or thrice a year, typhoons did visit or hit us. I hid myself in a rickety shanty gasping at the typhoon through the gritty windows and struck up an imaginary conversation with them. While thunders exploded and storms pelted down, I nevertheless, confided in them about my little secrets, for example, I was a fan of Teresa Teng, a Taiwan popular singer, and of huge ships sailing over the solemn mains, and of course, of the sea rough and measureless down to the ends of the world. I also lodged a complaint about the bad things the village tyrant had done this year and pleaded him to be snatched away and eaten by the fish in the sea. It was the besotted confession of a farmer’s kid to be so intimate with typhoons and I even fancied there was a very good rapprochement and tacit understanding between us.
然而，台风带来的并非童话般的天真烂漫，而是可怕的末日景象。天地昏暗，杀气腾腾。风暴所至，摧枯拉朽，一切挺立的东西都心怀恐惧，绝望的哀号响彻云宵。村民们手忙脚乱，惊慌失措，在台风中抢收农作物，加固房子，给果木安装支架，给猪圈牛栏临时加筑防风墙……那时候台风的破坏力是很强的，因为房子不坚固，经不起台风的折腾，5、6级的台风都已经很厉害了，如果是7、8级的台风，屋顶的瓦片会一片不剩，甚至房子被摧跨。随之而来的洪水。山洪暴发，山体滑坡，河水逃离河床，稻田、原野、桥梁和房屋都被淹没，都变成茫茫一片汪洋大海，桥梁和道路被冲垮，原先熟悉的地方变得陌生，一片狼藉，满目疮痍…
…However, the real typhoon is not a fairy-tale for fun. They were some of the most destructive forces on earth, the worst scenario one could expect in his life. Typhoons are the beginning of sorrows as New Testament writers describe “ shall the sun be darkened, and the moon shall not give her light, and the stars shall fall from heaven, and the powers of the heavens shall be shaken.” In their wake, dry weeds and dead wood were first to be crushed , any living thing upright standing collapsed and there was human wailing and animal crying everywhere. Villagers ,like bow-shy birds, panic-stricken, bustled about salvaging crops in the fields or stratifying their pigsties, stables or cowsheds. This was only a routine topical storm. When real typhoons came onto the scene, not a single roof top was left and the bare structure would go down amidst floods, landslides, while river beds changed course giving way to an open sea engulfing all the rice paddies, the plains, bridges and farm houses, roads. What was once the cozy community ,however impoverished, all of a sudden became a hellish, doomsday place beyond recognition.
我家也是台风的受害户，房子几度崩塌，家里种芭蕉树，种果树，眼看果就要成熟了，一阵台风过来全部倒下。我家几次因风灾返贫，债台高筑，我几乎因为交不起学费而辍学。但我没有因此憎恨过台风。只是希望它们不要来得太频繁，因为我需要时间思考，在我还没有想清楚要跟它们说什么之前，请它们不要来。即便是我已经准备就绪，也最好等庄稼收获后再来。还有，最好不要推倒我家的房子，不要将我家屋顶上瓦片全部卷走……
My family bore the brunt of them several times due to the proximity to the typhoon path .Our house went down time and again. The banana trees and fruit trees around were gone at the time of maturity, the last straw on the backs of debt ridden parents. We had to start over again .I was forced to skip school because I could not afford my tuition fees. However, I did not hate typhoons. I just hoped that they did not frequent our village at a wrong timing because I needed time to figure out what was what and that they might come when the harvesting season was over and we were ready for their visitation. One last wish: do save our humble dwelling or stop rolling away our rooftop.
这是小时候的台风和小时候的我。我几乎对每一次台风都记得清清楚楚，时至今日，每次听到台风预警时，我都会自然想起小时候的台风。我至今仍然相信台风是有魔力有灵性的，蕴藏着神秘的信息，只要你用心倾听，总能从中读懂些什么。你告诉台风什么，它们会将你的话带到遥远的世界尽头。
This much is still vivid and fresh in my memory-the fatalist relationship of a country boy with killer typhoons. Almost every typhoon that hit us is something stored in the inner recesses of the mind for immediate retrieval. Until this day, a typhoon warning still triggers all the adolescent recollections. Believe it or not, I still trust that a typhoon is magical and spiritual, carrying some mysterious message. As long as you listen carefully, you can always read something into it. Whatever you want to tell the typhoon, it will take your words to the furthermost end of the world.
现在我居住在城市里，铜墙铁壁，一切固若金汤，台风再也伤害不到我。我还是喜欢那么台风。台风来了，仿佛是一群发疯了的饿虎为我而来。我躲在高高的房子里观察着它们，既战战兢兢，又莫名亢奋。有时候，故意打开窗户，让风进来一会，让它们也知道我的存在。它们鱼贯而入，张牙舞爪，把我房间内的东西横扫一气，打翻桌子上的茶杯、花瓶和孩子们的玩具，同时也唤醒了沉睡多时了的物品，使得满屋子都充满了惊慌和混乱，理所当然般的安逸和娴静瞬间荡然无存
ow that I am a city dweller inhabiting a flat ,cement stratified, impregnable with four walls of iron and steel, totally free from the lethal impact of a typhoon. Yet I still retain a childlike liking for it as it stalks like a pack of wolves at me. Lying low in my high-rise stronghold , I keep gazing and gasping at it, trembling and inexplicably exciting. Sometimes, I even deliberately open the windows and let the winds come in for a while, as if challenging it “I am here. Come for me.” They get my hint and troop in, baring their fangs and brandishing their claws, jostling and elbowing their way before sweeping cups, vases and toys off the table and even awakening other small items lying dormant in the invisible corners and nooks of the house.
当台风要反客为主鸠占鹊巢时，我及时而艰难地关上窗户，切断了它们的来路，它们便变成了普通的空气留在房间里。我闻着它们的味道，分辩它们，跟小时候的气息依然相似，异常熟悉、亲切。我愿意相信，这些台风中蕴藏着过去世界的全部秘密，它们将一直保存下去。因而，我小时候说过的话，也被台风储存着。坐在窗台前，在风暴对窗玻璃的猛烈撞击中悠然自得地读几页书，这种享受，与风和日丽的境况截然不同。当我老去，我还愿意与台风为伍，因为台风中还有许多的秘密等待我去破译，去体味。
However, before they wreak a real havoc and reduce the house to a total mess, I will close the windows in time to cut short its path as if to reenact a long forgotten typhoon in miniature. I will pause to sniff at it, figure out and try to identify which is which. The same old scent, the familiar breath, so sweet and bitter and intimate. I would like to believe that these typhoons contain and preserve all the secrets of the past world, my adolescence. Therefore, after the dramatic rehearsal, I will sit in front of the windowsill, in pensive mood again, with my eyes glued to a book while the storms continue hard beating at the lighted windows, an experience beyond deｓｃｒｉｐｔion ,say, when d the sun shines brilliantly and peacefully in a clear sky. I admit one day I am getting advanced in years, I would join in the ranks and files of the elusive typhoons and head anywhere with them on earth in a humble and mad attempt to comprehend even a tiny portion of their indecipherable secrets.
因此，写一部与台风有关的小说的念头由来已久。2016年，我终于完成了一部长篇小说《风暴预警期》（上海文艺出版社出版）。我虚构了一个蛋镇，写了蛋镇的漫长历史，揭示了卑微人物的命运，尤其是让台风成为这部书最惊心动魄的意象。在台风中，人性的光亮与幽暗得以放大，隐喻的力量足够与台风抗衡。地域特色赋予了小说神奇的气息，也使它充满了秘密。我相信我读懂了台风，更重要的是，我处理的是历史、记忆与现实的关系，我讲述的都是中国的故事，南方的故事，台风的故事，是我这一代人的集体记忆和童年经验。《风暴预警期》是我与台风的神奇对话，是我献给台风的礼物，台风会将它带走。
Therefore, the idea of writing a novel about typhoon has brewed in me for long. In 2016, I finally completed a full-length novel Beware of a Typhoon! (published by Shanghai Literature and Art Publishing House). This trumped story occurs in a fictitious town called Egg Town, chronicling and depicting the fate of a group of townsfolk with typhoon as its central image. Against the devastation and horrendousness of the typhoon, the light and gloom of human nature are magnified while the metaphorical power of human beings and whimsical typhoons are tugging in opposite directions. Regionalism imbues the novel with an atmosphere, at once magical and tantalizingly inscrutable, an ambiance redolent of adolescence vanished. I believe that I have now read more into the mind of the typhoon than ever. More significant is the increasing skill of me as a novelist to deal with the relationship between history, memory, and reality. Beware of a Typhoon! is a pure Chinese story, from South China, about typhoons which form such an archetypal collective consciousness of my people. The " Beware of a Typhoon! " is a love-and-hate dialogue between me and the typhoon as a gift on my part to ensure that my hometown and its miserable and dignified people will not be forgotten or ignored in this new age of globalization.
2018年4月16日，中国社科院外文所，在2018国际写作计划中外作家研讨会上的发言