作家如何看待迷宫皮艾蕾特·弗勒西厄解释说,迷宫就是她的一生。我的写作甚似迷宫,她进一步说道,我每天都有小说构思,到处都是,我开始写,然后什么都没留下。文字要留存下来就必须和内心深处思想的河流汇合。在那里,长久以来潜意识集聚了种种事物。想法每天都有,但或许每四年才会有一部小说:当我的内心世界在酝酿着的时候,我胡思乱想,半睡半醒。我正胡思乱想时,听到安妮和我谈研讨会,谈在中国的聚会,于是我的故事就从一次研讨会开始,会上一名女子遇见了一名男子,他向她打招呼,问她是否记得他们过去的一位老师;但是这名女子从没见过这名向她提问的男子,她不认识他。苏童也明确表示,迷宫就是我们的一生。他说,作家面临迷宫也好, 面临生活也好,一切在于出路,难就难在找到出口。探讨这个主题可以有不同的方式:通过诞生或者死亡,这两种都是对生活的一种思考。我倾向选择诞生,而我的法国大姐倾向选择死亡。 How the writer treats the maze Pière Fleusseau explains that the maze is her life. My writing is like a maze, she further said, I have a novel idea every day, everywhere, I started to write, and then nothing left. To survive, the text must converge with the river of thoughts deep inside. There, it has long subconsciously gathered everything. Ideas are everyday, but maybe there’s a novel every four years: When my inner world is brewing, I cranky, half-asleep. When I was cranky, I heard Annie talk to me about the seminar and the gathering in China, so my story started with a seminar where a woman met a man who said hello and asked if she I remember one of their past teachers; but this woman had never seen the man who had asked her questions, and she did not know him. Su Tong also made it clear that the maze is our life. He said that the writer is facing a maze or a life-threatening one, and that all lies with the way out, and it is hard to find an exit. There are different ways in which this theme can be explored: through birth or death, both are a reflection of life. I tend to choose the birth, and my French sister tends to choose death.