“洁西,当月光在草地上逗留着,在消失不见之前,我的心充满思念。我轻轻地哼着,不是乐曲,是别的,别的地方,永远怀念的地方,人没有去过的草原,除了鹿。你增加了我的怀念……”这是加拿大电影《大河之恋》里的一段独白,我觉得很美,就顺手记了下来。对水的依恋是生命之初的体验,当初选择这部电影时,也许我已经在纵容自己对童年记忆的追逝。莫言先生曾多次提到过自己的童年,他是受过苦难的人,童年的经历在他的一生中烙下的绝不是印记问题,他的血液里已经饱含了对饥饿与恐慌的拒绝。苏童也提童年视角,对于混沌的解释,一个童年心态是否代表了整个人类的童年时期? “Jessie, when the moonlight in the grass to stay, before disappearing, my heart full of thoughts .I gently hum, not music, is something else, somewhere else, always miss, people do not go The pasture, except deer, you added my miss ...... ”This is a soliloquy in the Canadian movie“ The Love of the River ”, I feel very beautiful, then smoothly recorded. Attachment to the water is the beginning of life experience, the original choice of this movie, maybe I have condoned their memory of childhood gone. Mo Yan has mentioned his childhood many times. He is a suffering person. The childhood experience branded in his life is by no means a matter of imprinting. His blood is full of rejection of hunger and panic. Su Tong also mentioned childhood perspective, the interpretation of chaos, a childhood mentality represents the entire human childhood?