赵卡的小说固执地反应残酷现状,立足于他生活和观察的那个世界,以及那个世界的不被承认的人的状况。与都市现实主义小说那种表现欲不同的是,他像个突入底层和乡村的外来客,以一种冷峻的、长镜头般的眼光打量着如同墨西哥边境的一片死亡沙漠地带,一片不值一提、放眼即是的地带。正是这种突入的冰晶般寒冷、镇静、忠实的眼光,让毁坏的、经不起凝视的、遍布砖石瓦砾的现实有了被穿透、被回收、被容纳、被组织的可能,让废墟本身成为一道景观,甚至成为文化余味,成为内蒙古 ZHAO’s novel is stubbornly reflective of the brutal status quo, based on the world in which he lives and observes, as well as the state of unrecognized persons in that world. Unlike urban realist novels, he is like an alien into the grassroots and rural areas, looking at a cold, long-shot look at a desert of death like the Mexican border, Mention, that is, the zone. It is this inhuman ice-cold, calm, loyal eye that allows the destroyed, unobscured, masonry-rubble reality to be penetrated, recycled, contained, organized The ruins themselves become a landscape, and even become a cultural aftertaste, becoming Inner Mongolia