Living in Languages
Volume 4
2026

Feather and Freedom: A Fabled Land in the Mind

Yuan Tao

Set in the deceptively tranquil Honest Town, “The Feather of Sister Zandan” is narrated from the perspective of Zaan, a younger brother, revealing his complicated feelings toward his sister. Written in a fable-like style infused with magical realism, the story explores the tension between restraint and longing, culminating in an abrupt and poignant ending that evokes the emotional sting of an O. Henry-style twist. The short story won the Gemini Prize for Short Fiction of China in 2021. According to the award citation, Lan Du’s writing demonstrates emotional depth, dazzling imagination, and striking narrative tension. Her storytelling defies conventional logic, employing nonlinear structure and poetic language to unfold her fantastical and heterogeneous worlds that bear her distinct personal and spiritual signature. Her works have been published in leading literary journals across China, including Harvest, October, People Literature, and Shanghai Literature, etc. The translation strives to maintain the rich imagination, romantic imagery, and ethnic aesthetics embedded in Du’s surreal narrative landscape.

A Multilingual Author in a Multiethnic Setting

Lan Du is a Mongolian writer of the post-1990s generation. Born in Kulun Banner, Tongliao city of Inner Mongolia, China, she grew up in a multiethnic and multilingual environment, educated in both Mongolian and Chinese. Her name, which signifies “crossing waves” in Chinese and “warmth” in Mongolian, reflects her parents’ wish that she would navigate life’s challenges while bringing warmth to those around her. She holds a BA from Inner Mongolia University and an MA from Hong Kong Metropolitan University.

Deeply influenced by the integration of nomadic grassland culture and modern urban experience, Du is renowned for her explosive and poetic imagination grounded in the ethnic culture. She has published her works in top-tier literary journals in China, including Harvest, People’s Literature, October, Shanghai Literature, Young Writers, and Hong Kong Literature. Her short story collection Uneg the Fool Disappeared (2022) and novel Common Customs (2025) have further established her reputation. She has received many literary awards, among them the 6th Chinese Young Writers Awards, the 11th Ding Ling Literary Prize, the New Writer Prize, and the Prairie Literature Prize.

The Feather of Sister Zandan: A Magical-Realist Story

“The Feather of Sister Zandan” is a magical-realist short story first published in Young Writers in 2020, inspired by Du’s viewing of a movie depicting tribal chiefs who preserve the feathers on their headdresses with mothballs to prevent moth damage. The magical anecdote ignited the imaginative core of the story, which, while seemingly centered on familial affection, unfolds as a symbolic exploration of the protagonist’s inner world. Sister Zandan first appears in the form of a feather, embodying freedom and pleasantness. The feather shimmers “like mercury and brightening agents”; whereas for the protagonist, Zaan, it acquires weight and solidity, becoming a presence which he must safeguard. His obsessive attachment to this intangible and elusive entity engenders a sense of intrusion and inner turmoil (Du, Personal Communication).

The short story has attracted critical acclaim and received many awards. Scholars frequently interpret it through the lens of bildungsroman psychology. The feather of Sister Zandan metaphorically reflects the alienation within individual and family relationships, revealing the protagonist’s attachment to his sister, anxiety and pain during the process of coming-of-age (Li). Zaan’s departure from home and subsequent experiences mark his awakening to both selfhood and desire (Jiang and Chen). The story was awarded the Gemini Prize for Short Stories at the 6th Chinese Young Writers Awards. The Award Citation states that the works of Lan Du are imbued with rich emotion, dazzling imagination, and astonishing textual vitality. Her narratives break away from conventional logical inevitability, employing a non-linear and poetic language to tell her fantastical and heterogeneous stories, thereby leaving a distinct imprint of her personal spirit on her creations.

Among her short stories, “Uneg the Fool Disappeared” (2019) was first translated and published, presenting the tensions between nature and modernity as well as Mongolian spiritual and cultural contexts (Du and Tao). The translation of “The Feather of Sister Zandan” conveys the story’s fertile imagination and wild vitality, while foregrounding its fusion of surrealist themes, distinctive aesthetics, and elements of magical realism.

Mapping the Surreal and Subconscious World in Translation

Cloaking itself in absurdity and fantasy, the story reveals the complexities of the subconscious mind. Translating such a surrealist text poses unique challenges because its language moves fluidly between reality and imagination, requiring the conveyance of embedded themes through subtle linguistic and symbolic choices. In approaching this work, I try to reveal the central theme through the title, proper names, narrative conflict, and dreamlike imagery.

Firstly, I sought to evoke the sister’s ethnic identity and the narrative development through the translation of the title and proper names. The sister’s original name, Sandan, was replaced with the Mongolian feminine name Zandan, reflecting both her ethnic identity and the story’s thematic core. The name Zandan carries the connotations of sandalwood, whose rich and mellow fragrance lingers gently and endures over time, as indicated in the footnote of the translation. The fragrance resonates with the sweet scent of the feather depicted in the narrative. Moreover, the feather functions as a metaphorical extension of the sister, symbolizing freedom and bliss, thereby forging a close textual and symbolic connection between the object and the absent yet ever-present sister.

The second emphasis of this translation is to foreground a stark contrast in both description and plot. In contrast to the lightness associated with the feather of sister Zandan, the protagonist’s name, Zaan, is annotated to mean “elephant,” which evokes heaviness, mass, and endurance. The weight of the elephant against the feather’s airy grace mirrors the story’s central conflict, heightening the tension between freedom and burden, transcendence and attachment. Through the proper names, the narrative threads together ethnicity and symbolism, transforming the main characters into carriers of cultural and symbolic meaning.

Physical contrasts between the tall and vigorous sister and her small brother are rendered through lexical choices such as “the innate power of amphibians” and “short-handled tin ladle,” which evoke not only their bodily disparity but also the juxtaposition of fragility and clumsiness. Furthermore, the translation foregrounds the contrast between Zaan’s profession and his inner world. As a dentist, he “filled the gaping holes with twisted copper wires” in the teeth of Honest Town villagers. Yet the mechanical labor coexists with his acts of negligence. The girl’s piecing interrogation, “Why did you leave the window open?!” (emphasis mine) employs emphatic punctuation, exposing the spiritual voids concealed within his subconscious.

The contrast is further articulated through the divergent emotional tones between Zaan’s overt emotional intensity and Zandan’s implicit and action-based affection. Surrealist literature often depicts desire as a powerful, sometimes irrational force that drives human thought and behavior (Stockwell 32). In the narrative, Zaan demonstrates an obsessive attachment to his sister, interwoven with undertones of an Oedipus complex (Ai). The translation preserves the emotional depth and his desperate longing for “his elder sister’s affection” and his tendency to follow her around “humbly.” The image that he would be the first to find her if his sister Zandan sank to the bottom of the river as a fallen leaf intensifies his devotion. I use the subjunctive mood to accentuate the emotional dimension and foreground his yearning. By contrast, Zandan’s emotional restraint is conveyed indirectly through dynamic verbs and sensory descriptors. In the winter river-crossing scene, the translation underscores forceful verbs: she “hugged her brother”, “stepped into the river without hesitation,” “gritted” her teeth, and tensed her muscles, alongside adjectives such as “drenched” and “frostbitten.” The grammatical and linguistic choices heighten the emotional polarity between the siblings and the sense of helplessness, poignancy, and shattered dreams, culminating in Zaan’s confrontation with the truth about the feather.

Thirdly, Du constructs a surreal and highly imaginative world suffused with romantic imagery and ethnic features. The narrative unfolds within an imagined realm of intrusion: burdened by his obsession with protecting the feather of Zandan, Zaan immerses himself in a dreamlike mental landscape. He encounters a procession of figures drawn by the feather’s lingering sweetness—a lanky stranger, a child in the kitchen, a girl chewing strawberry stems and leaves, and brothers carrying the tangerine-like scent. These intruders symbolize the forces that encroach upon his inner world. This cadence accentuates the feather’s magnetic allure, Zaan’s obsessive attachment, and the imagined intrusions that unsettle his psyche. The translation preserves the rhythm of the original text, presenting the narrative to unfold with fluid motion and subtle suspense. In addition, characters endowed with heightened imagination, such as the lanky stranger with “wind-worn, smoothly-feathered hen” and hands “as thin as a strip of paper,” as well as “spore-like outsiders,” are rendered literally, maintaining Zaan’s dreamlike consciousness. Symbolically, these grotesque figures embody the trials and influences that accompany his coming-of-age, reinforcing the story’s magical-realist resonance.

Moreover, Du’s writing is characterized by the juxtapositions of reality, surrealism, and distinctive ethnic features. Although it may seem absurd, magical realist fiction remains deeply grounded in reality because it scrutinizes and reconstructs the individual’s experience of living in a “complex and frequently confusing world” (Hegerfeldt 7). Du’s surrealist descriptions are grounded in a culturally situated world shaped by the ethnic features of household items and landscape imagery. The translation interweaves the ethnic reality with the imagist qualities that define the fictional universe, creating a space where cultural specificity and surreal perception coexist. I preserve the ethnic particularity by translating quotidian objects such as a Qagaanhuu desk, aaruul, and lamb blood sausage, anchoring the narrative in a recognizable pastoral lifeworld. By foregrounding and embedding the ethnic and cultural specificity, the translation evokes the distinctive atmosphere of northern grasslands. At the same time, the translation retains the surrealist imagery that defines this realm:

The birds, as large as wild boar hide wine pouches, hovered between the trees, while herds of cherry-colored horses passed through the forest, their chaotic hoofbeats scratching the herdsman’s shoulders. The trees had been stripped of their bark by the pincers of peach-red-necked longhorn beetles, leaving them bare—yet unashamed of their raw sensuality (emphasis mine).

The author portrays a landscape that is both alive and surreal, distinguished by ecological culture and ethnic specificity, embodied in figures such as wild boar hide, herdsman, and longhorn beetles. The imagery conveys not only the boundless vitality of the steppe but also the distinctive energy and natural vigor associated with Mongolian culture. The translation preserves the ethnic particularity and surreal exaggeration to produce the aesthetic effects, visualizing the grassland as both a concrete and ethnically rooted environment and a mythic space, where cultural identity, natural vitality, and inner psychological landscapes converge.

In this context, translation operates as a form of intervention within postcolonial literary translation between “metropole and the periphery of literary cultures” (Orsini and Srivastava 325). It not only facilitates cross-cultural understanding, but also promotes multiculturalism by foregrounding marginal communities and the ethnically specific communities (Buden et al. 198). Furthermore, the demonstration of ethnic aesthetics in translation fosters cultural identity and newness of hybridity (Bhabha 212). Through the evocation of a lived-in ethnic atmosphere and the infusion of dreamlike imagination, the translation recreates the magic and surreal quality of Du’s fictional grassland.

“The Feather of Sister Zandan” exemplifies the fusion of surrealist imagination, magical realism, and Mongolian cultural specificity that characterizes Du’s storytelling. By preserving the symbolic resonance of the title and proper names, the contrasts, and the rich surrealist imagery, the translation strives to convey the magical-realist essence and the nuanced workings of the protagonist’s subconscious. It provides readers with ample imaginative space, inviting engagement with layered emotions and psychological depth.

Works Cited

Ai, Jiachen. “Du Lan xiaoshuo zhongde yuwangshuxie” [The writing of desire in Lan Du’s novels]. Golden Key, vol. 5, 2024, pp. 73-88.

Bhabha, Homi K. The Location of Culture. Routledge, 1994.

Buden, Boris, et al. “Cultural Translation: An Introduction to the Problem, and Responses.” Translation Studies, vol. 2, no. 2, 2009, pp. 196-219.

Du, Lan. Shazi Wunige xiaoshi le [Uneg the Fool Disappeared]. Beijing October Literature Press, 2022.

---. Personal communication. October 16, 2025.

Du, Lan and Yuan Tao. “Exploring a World of Tranquility and Freedom: Translation of Proper Names in ‘Uneg the Fool Disappeared.’” Delos, vol. 39, no.2, 2024, pp. 343-365.

Hegerfeldt, Anne C. Lies that Tell the Truth: Magic Realism Seen through Contemporary Fiction from Britain. Rodopi, 2005.

Jiang, Lei and Ganglong Chen. “Lun Du Lan xiaoshuo zhong de tonghua tezhi” [On the fairy-tale characteristics of Du Lan’s novels]. Studies in Contemporary Chinese Literature, vol. 3, 2021, pp. 153-159.

Li, Wang. “Wenxueshi shiye yu mengguzu ‘zhongshengdai’ ‘xinshengdai’ xiaoshuo de xushu gexin” [Narrative innovations in Mongolian “middle generation” and “new generation” novels from a literary-historical perspective]. Journal of Ethnology, vol. 2, 2022, pp. 84-89.

Orsini, Francesca and Neelam Srivastava. “Translation and the Postcolonial.” Interventions: International Journal of Postcolonial Studies, vol. 15, no. 3, 2013, pp. 323-331.

Stockwell, Peter. The Language of Surrealism. Palgrave, 2016.

Translation · English

The Feather of Sister Zandan

Lan Du

“Zaan1, your elder sister is sick. It seems like she’s starting to grow feathers. Your younger sister asked me to pass this box to you.” Dayin sat across from Zaan, speaking to him soothingly. Yesterday, he went to Zaan’s hometown because of the pepper tree.

“I will.” Zaan spoke slowly. He opened the box, revealing a feather exuding a rich, sweet fragrance and several camphor balls placed inside to prevent insect damage. The feather resembled a photographic film or a pair of gold-rimmed pince-nez glasses—its contours were distinct and gleaming. Its shaft was filled with solemn thoughts, while its barbs seemed intoxicated in spring, humming softly in a buzzing melody, colored like mercury and brightening agents. The down feathers growing beneath the main feather were fresh and pristine, neatly aligned like asbestos pipes. The feather was incredibly sweet, emitting its scent even with the box tightly shut.

“Dayin, have you seen my sister Zandan2?”

“No, I haven’t. I only saw all of your younger sisters.”

“Did they say anything else?”

“Well... I don’t remember. Wait, what is the feather?” Dayin scratched his head, squinting at the sweet feather inside the box. Due to cerebral arteriosclerosis, his memory had been deteriorating year by year. He couldn’t retain things for long and forgot quickly.

“Will Sister Zandan take her feather back?” Zaan cut in, asking anxiously.

“Of course, you know her. She was just frightened. After a while, she’ll start to miss it—after all, it’s her first feather. She’ll come to you and take back her feath—” Dayin couldn’t continue speaking because Zaan’s face flushed and started crying with soft, childlike sobs, as if he had been sweetly humiliated. A vague uneasiness surfaced on his bashful face.

“Aren’t you happy?” asked Dayin in confusion.

Of course not! The poor Zaan was overjoyed!

Sister Zandan had an intense familial emotion and always protected her fourteen younger sisters from falling into the idle and disrespectful gazes of the lecherous men in the town. But she was totally indifferent to her younger brother. To her, he was nothing more than a bird hidden among dead branches, or a shadow cast on the corridor floor. She would kiss her sisters on their necks, bellies, cheeks, and even the soles of their feet—but she would never kiss her younger brother. She said touching him felt like rough ferns, which scratched her lips.

When Zaan was a child, he was short and unpleasant-smelling, resembling a short-handled tin ladle. He had a long and oval-shaped face and lips as square as a tombstone. Desperate for his elder sister’s affection, he would always follow her around humbly, longing for her focused and gentle gaze. However, his tall sister’s disregard for him was so blatant that it was hardly worth discussing. He obsessively and tirelessly observed and interpreted her every glance and movement. Even if Sister Zandan sank to the bottom of a river, camouflaging herself as a fallen leaf, Zaan would undoubtedly be the first to find her.

Because Zaan always bullied his younger sisters, Zandan threw him out of home when he was twenty-nine. By then their parents had passed away, and she had become the head of the family. Exceptionally intelligent, Sister Zandan immersed herself in her work in the most direct way. Her erudition and insight astounded those around her, to the point where people even began considering writing a biography about her. The woman who decided the family’s fate stood at the door, holding their youngest sister in her arms, and watched her younger brother who was about to leave.

She spoke just one line, “To control the situation, first, learn to slow down its rhythm.”

Zaan couldn’t refuse. Though the moment he heard Sister Zandan’s decision, his face twisted into a cunning and reckless expression. However, it was nothing more than a pitiful bluff and he left in silence in the end.

After leaving home, Zaan relied on his remarkable twenty-nine years of failure experience to open a dental clinic, which was built in a place known as “Honest Town.” It had only 670 residents, all as honest as little irises—incapable of telling a single lie. However, honesty wasn’t the reason that Zaan chose to set up his clinic here. He picked this place because adults in the town were addicted to sweet Filipino bananas and sugar-coated butter cassava sticks, while children licked caramel fingers—until their teeth rotted away. Their teeth were so riddled with cavities that wind could pass freely through them. Every day, Zaan’s disinfected decayed teeth with light brown iodine solution and filled the gaping holes with twisted copper wires, a low-cost but high-profit business.

With the box in his hands, Zaan felt a sense of joy—because Sister Zandan was to visit him. He also felt uneasy—because the sweet feather might very well be eaten by the townspeople. His longing for his elder sister had become so refined that even he himself could no longer bear it. Dayin, who did not understand Zaan, found his almost-crying expression puzzling.

After Dayin left, Zaan began to rack his brain: how to protect the feather of Sister Zandan? It must never fall into the hands of the townspeople. Finally, he placed the box on the desk by the window and stuck a piece of paper on it, which read: “Do not touch the feather of Sister Zandan.” Zaan felt relieved because he knew that the honest townspeople would never steal the feather. They would never, ever disobey the note’s command.

Supporting the box was a small, short, and sturdy Qagaanhuu desk, a common brand. On top sat a green metal tin containing sunscreen. Zaan’s diary was also there—its pristine white cover starkly contrasted with its dreadful contents, making it look like a giant white fly perched on the desk. Inside was a lonely nest, filled with his belief—Sister Zandan. No sign of nervous breakdowns could be traced from Zaan’s worn-out desk lamp; it sat there, as calm as a black cow. In the corner of the desk, a black-blue plate held a few pieces of aaruul3, which had grown mold in the water and air, emitting a misty green glow that lured insects. Yet, the clutter on the desk could no longer hold Zaan’s attention. He was captivated by the box containing the feather. He gazed at it with a wide smile. But as he smiled, a wave of sorrow washed over him—he suddenly realized that nearly all his joy came from Sister Zandan. He could not create happiness on his own.

Pessimistically, Zaan believed that the fastest thing in the world was rushing toward suffering. He was the complete opposite of Sister Zandan, who was cheerful and optimistic, deeply responsible, and effortlessly navigating between reality and fantasy. She seemed to possess the innate power of amphibians—creatures that could live in both water and on land, adapting seamlessly to two worlds.

He braced his hands against the table, exerting great effort to creakily push open the rusty iron window. It was rough, the paint clipped and worn. The smell from outside hit him all at once, and Zaan felt as though opening the window was a torment to his own breath. How could he experience the continuity of nature with his fragmented breaths?

Looking out into the distance, he could see the solemn rows of towering black locust trees stretching endlessly along the path leading here. Though the tall and straight trees belonged to the same species, their lush and gracefully curved leaves gave each tree its own unique identity. The birds, as large as wild boar hide wine pouches, hovered between the trees, while herds of cherry-colored horses passed through the forest, their chaotic hoofbeats scratching the herdsman’s shoulders. The trees had been stripped of their bark by the pincers of peach-red-necked longhorn beetles, leaving them bare—yet unashamed of their raw sensuality. Life overflowed and thickened, signaling the quiet ripening of a mysterious season. Zaan stared through the window. Everything he saw conveyed a single message in a continuous or alternating rhythm—children cherished by their elders grew plump, effortlessly loved by all. But no matter how swollen he had been as an infant, even if he had grown to the size of a muskmelon, no one would have loved him. He pinched his flat bones, narrow and filled with trivialities, forever confining him within the range of others—Zaan had no domain of his own, no space to create or control. What he would become in the next moment, and whether he even possessed life, were unpredictable and changing with time.

Zaan propped a book against the window to keep the wind from shutting it. Resting his arms on the desk, he gently stroked a box that hid the feather within. His gaze stretched far beyond the horizon, tracing every path leading here.

The first resident drawn in by sweetness arrived on a Sunday morning.

That morning, Zaan was in the kitchen, slicing steaming lamb blood sausage into even strips when he heard a strange noise from the bedroom. He hesitantly set the knife down, and pushed open the kitchen door, craning his neck toward the bedroom. His eyes were wide open, and his heart pounding violently.

A figure emerged from the bedroom, striding to the dining table. He placed a wind-worn, smoothly-feathered hen that he had been carrying onto the surface. The stranger was thin and elongated, his head already brushing against the ceiling—with his neck bent, he wore a melancholy air. It was undeniable that all biological species undergo slow and steady change—but what happened to the man? He had turned the long-standing formula of evolution into a vague and unsettling imagination. “This kind of person would never possess any sense of social etiquette,” Zaan thought. The stranger’s face, suspended like a lightbulb, was so narrow that there was hardly any space for facial features. Zaan’s fear nearly robbed him of his sense of smell. Why was he so silent? His entire presence exuded an air of unfulfilled longing.

“Get out! Are you a thief?” shouted Zaan.

“Have breakfast,” the stranger said.

“Did you eat Sister Zandan’s feather? You villain!”

“No.”

Zaan let out a sigh of relief. He returned to the kitchen, plated the lamb blood sausage, and carried it to the dining table. The stranger’s hands, as thin as a strip of paper, rested on the table. Zaan tried to tug at it but found it wouldn’t budge—the stranger was like a horse tethered to a post. Zaan slipped under the stranger’s arm and reached out to pinch the hen he had brought—astonishingly, it was alive, radiating warmth, its feathers coated in an almost imperceptible layer of dust. He returned to the kitchen and brought out fried rice, butter, sugar, and milk tea, setting them on the table before sitting down across from the stranger.

Obviously, the hen had no appetite, standing on the table like a round roly-poly toy. Its gaze was intriguing, somewhere between indifference and sinister intent. It had unknowingly swallowed something, causing a small bulge in its neck—perhaps a glass marble. The man slowly lifted a scar on his chin. Using this open wound, he ate a large bowl of fried rice mixed with butter and sugar, drank a bowl of milk tea with soaked aaruul, and devoured seven pieces of lamb blood sausage.

The “guest” crunched away relentlessly. Zaan could hear the eerie and monotonous sound coming from deep within the man’s long, thin body. He watched as the man’s thin belly swelled. His eyes never strayed from the stranger’s terrifying, ever-changing physique. Zaan couldn’t even swallow a single spoonful of fried rice, staring in agony at the man across from him.

“Do you need me to wash the dishes?” the stranger asked after finishing breakfast. Zaan was too distressed to respond. The stranger patted his stomach, picked up his hen, and retraced his steps. He was so tall that it took an excruciatingly long time for his entire body to pass through the window. Zaan finished clearing the table and washing the dishes, yet when he came back out, the man had only just managed to move his thigh through the frame. His thin feet pushed against the windowsill as he struggled. “His skills are inconsistent,” Zaan thought. “Right now, he should push the door.”

The stranger finally squeezed out through the window, leaving greasy fingerprints all over the glass. The table was filthy as well. His rudeness, selfishness, and bizarre presence had already broken Zaan’s heart—but the worst was yet to come. Zaan soon discovered that his diary was also covered in fingerprints. The Mr. lanky, who had crawled in through the window, hadn’t just peeked at Zaan’s diary—he had meticulously corrected every single typo, grammatical error, punctuation mistake, and even the incorrect weather records.

“He only did it to mock me,” Zaan said to himself. On the last page of the diary, the stranger had written one line: “I encourage you to suffer.”

Besides that, he had also described Zaan as: “A servant of the new century,” “a horrifying love,” and “the black sticky clay brought back by a boot.” He even drew a long vertical line next to Zaan’s entry about “Zandan’s thick black hair,” adding a comment: “An excess of outdated lines.” Next to “I bought a new belt for Sister Zandan,” he noted “Riddled with traces of materialism.” There is a kind of labor in this world that is more exhausting than moving objects—it is the labor of manipulating people. All Zaan could do was cry silently and curse the deeply prejudiced stranger. His longing for Sister Zandan had been misdiagnosed as filthy desire—an utterly absurd conclusion! We use words to express our emotions, only to find ourselves betrayed by them—They are nonsense, straying far from the writer’s intended path.

After hiding the diary in his cabinet, he wiped the window and table. Holding onto the box, Zaan gazed out the window, momentarily overjoyed after mistaking a red toad for the hem of Sister Zandan’s skirt.

As the saying goes, “Once a mouse spots a grain sack, you know it will come back.”

It was yet another morning destined to be anything but ordinary. The tranquility of life had no chance of survival. Zaan was jolted awake by a thunderous noise. He leapt out of bed, shouting. The book on dental sterilization that had been resting beside his pillow was knocked to the floor by the impact. It had remained unmoved for an entire year, as firmly fixed as a seashell welded to a rock—utterly immobile. Yet now, the book had been startled into flight, proof that the sound had been perfectly tuned to a level that no object could ignore.

Zaan’s heart pounded wildly. He hastily picked up his book from the floor and found a dark brown tea-winged stink bug crushed against its back cover.

“Isn’t it only summer?” he muttered, flicking the bug off with the zipper pull of his jacket. He wiped away the sticky yellow fluid with his thumb before placing the book back beside his pillow. His bed had already been claimed by a swarm of feathery, triangular moths. Their fragrant, curled proboscises were embedded in his pillow—no one but Zaan could have found the pillow hidden beneath them.

The sound had probably come from the kitchen—but Zaan didn’t yet have the courage to go there. Instead, he got up and walked over to the table, where he noticed clear footprints on a box—right in plain sight. Whenever they deliberately appeared before him, whether covered in paper scraps or smeared with horse dung, they were always a cause for distress. Why did they follow the scent of sweetness? No hypothesis in the world could rationalize such behavior, just like the materials of black bed sheets or nameless fruits—things people deemed unnatural hybrids, met with a deep sense of incomprehension.

“It must have been a child,” Zaan thought. “Because the footprints are only as long as my palm.” It is terrifying that only footprints leading in were found—none going out. Had the intruder left through the door? Or was he still inside the house? Zaan wiped the tears welling at the corners of his eyes, his heart heavy with unease. Trembling, he traced the footprints toward the kitchen. When he pushed open the kitchen door, he found his refrigerator smashed to pieces.

The white fridge had shattered like a block of ice, scattering glittering shards across the floor. Lemon-yellow wires jutted toward the ceiling. The once-frozen meat lay sprawled on the ground, now thawed, like red snails crawling out of their shattered white shells. A swarm of black flies had gathered on his beloved dairy products, filling the air with a rancid stench that mingled with the decay of blackened carrots. Every single leek was swollen and inflamed, burning hot to the touch. The floor was a chaotic mess of multicolored food remnants. The cigarettes Zaan had stored in the fridge had been soaked by melting ice, their despairing remains reflected deep within his lungs. Whoever had done this was evidently a performer at heart—sincere, yet full of deceit. For amid the wreckage of the refrigerator lay a radical note with words brimming with unwavering belief in a violent revolution:

“Damn sissy. You’ve imprisoned winter in a box!”

What kind of harsh environment had bred such an extreme creature in this area? This had almost become a missing link in the field of biology. Had the vandal grown weary of the endless summer? Had he mistakenly believed Zaan had trapped winter itself? Even in a land overflowing with candy, the children were still unsatisfied. Since childhood, Zaan had been terrified of trivialities. He didn’t clean up the kitchen. Instead, he placed his hopes in the fungi to erase everything for him. He summoned the cunning, rotting agents from the plate, set them atop the limp flesh, and shut the door tightly.

“They all got the season and location wrong,” Zaan thought. But soon, he realized something was amiss. When he entered the kitchen, the ice cubes were almost completely melted, indicating the fridge had been broken for some time. But when he heard the loud noise, Zaan had woken up. The sound he had heard wasn’t the fridge being smashed. And there were footprints... “Damn it!” Zaan’s face went pale. He quickly turned around, pushed the door open, and rushed into the kitchen, diving into the fridge debris and food, frantically searching. Sure enough, Zaan found a little boy dressed in a dark brown down jacket under the compressor and insulation panels of the fridge. His head had been crushed. The sound might have been the last whimper the child made before dying. Zaan didn’t know what life was, but when the opposite appeared in front of him, he instantly understood what life was.

“Have you eaten up the feather of Sister Zandan, kid?"

The child obviously couldn’t answer; he had no head. Zaan had no choice but to cut open his cold stomach and examine it, and indeed, there was no feather of Sister Zandan. The boy’s hand was tightly clenched, not sure what he was holding. The feather couldn’t possibly fit in his little fist. Zaan exhaled. He ran to the living room to call the doctor, but in his haste, he forgot to put away his germs. By the time the doctor and the boy’s parents arrived, the child had already been devoured by the germs, leaving only thin bones and the down jacket.

Zaan stood frozen in fear, while the doctor and the child’s family, who had already been stunned, started spreading their stunned expressions everywhere.

The sweet-toothed residents kept coming endlessly.

When Zaan woke up at night, he found a young woman lying beside him. She might have just come of age, calmly lying on her back, chewing on the crisp and delicious strawberry stems and leaves. She wore a nightdress, with her muscular thighs tightly pressed together. Sometimes she crossed her hands over her chest, and sometimes she clenched her fists by her sides. Perhaps the strength of the power she held depended on the position or posture of her hands which were constantly under threat yet continuously restored. The girl’s hair was bravely contemplating the limits of humanity, with each strand having a different texture. Even if strands with the same texture touched each other in a particular three-dimensional space, they would not result in stagnant stillness, only leaving behind a long, intermittent pause.

Zaan saw her at the clinic. The girl’s teeth always seemed on the verge of falling out, but the owner of the teeth was incredibly strong. Her father’s face was covered in white spots, with invisible magic filling his tongue, but his only daughter paid no attention to his words. She was self-aware, thorough, and beautiful, ignoring her father. She was like one of the fourteen younger sisters dearly loved by Sister Zandan. They possessed magical powers, able to produce clear and adorable vowels from childhood. They always wore thick clothes, small and doll-like, like an unsolvable riddle. Sister Zandan was like a large tree, carefully arranging her leaf-like sisters to minimize their overlapping spaces—ensuring each sister received the same amount of love, but in different forms.

“You must be the fifteenth.”

“What nonsense are you talking about?” she looked extremely calm, yet her mouth was scolding her cat furiously.

“How I envy you,” wide awake, Zaan stared at her greedily.

“Shut up.”

“But why did you come in?”

“Why did you leave the window open?!” The girl raised her voice.

“The feather of Sister Zandan needs to be kept in a ventilated place; the box is stuffy.” The word “feather” sounded particularly deep and secretive coming from Zaan, as though it were the safeguard for his own survival.

“You idiot! You should be more patient—think carefully before making decisions.”

“Did you eat the feather of Sister Zandan?”

“Hmph, of course not.”

The girl’s body exuded a dense fragrance, and the strawberry stems and leaves in her mouth were reduced to mere crumbs, their juices swallowed entirely. She was deeply cherished and couldn’t comprehend Zaan’s pain and obsession. Her cuteness would eventually be tangled in her white hair and dentures—yes, it lasts forever.

Zaan envied her, and couldn’t help but gaze at her with admiration. She tilted her head back arrogantly, her hands continuously shifting in position and posture. Modernism prioritizes the visual, suppressing other human senses such as smell. Zaan couldn’t smell anything except the bitter scent of the strawberry stems and leaves; he longed for the girl’s body scent, her stench, everything about her, because only these things could attract Sister Zandan. He approached her, foolishly attempting to absorb some of the scent that drew Sister Zandan. Little did he know that this was an impolite gesture, and the girl, seemingly unaware, didn’t realize how dangerous it was to be lying in her pajamas on a strange man’s bed—Zaan’s frailness made her relax. In any case, they collided.

The collision of their skin sparked—the girl’s eyes remained still, and she puffed out her stomach, as if sulking or venting her frustration. She tightened her muscles, her strong thighs full of power. For a moment, Zaan was timid, but his desire to win Sister Zandan’s affection overcame everything.

“Give it to me,” said Zaan.

“Give you what?”

“Your magic.”

“What magic?”

Zaan didn’t respond. He carefully and thoughtfully expressed his loyalty to Sister Zandan in his mind, and this endless loyalty was the inevitable condition of its end—but clearly, Zaan, not being very clever, didn’t realize this.

Zaan thought that they had just had a sweet philosophical conversation.

She turned over, facing Zaan’s face. Her eyelids were heavy, but her gaze was sharp. The Zaan in front of her was almost entirely naked, his ears filled with the beaks of moths. He stunk, his small features filled with torment. The girl stared at his face, immersed in the miracle of ugliness. Perhaps she only wanted to smell the sweetness of the feather, while scolding her cat in another spot. Little did she know how the master here reeked.

The girl spat the chewed-up strawberry stems and leaves onto his face.

“I’ve seen you in your clinic, but you’re even more terrifying at night,” she said. “Feel what it is that makes you so useless.” She seemed to be asking Zaan for self-reflection, but if reflection is meant to supplement the original longing, Zaan clearly couldn’t perform this task—his longing had already been fully satisfied, and nothing more could be added. “You misunderstood,” Zaan thought to himself. Perhaps Zaan wanted to gain a certain degree of autonomy through this silence, or perhaps he was just too anxious to speak.

The girl couldn’t hear Zaan’s inner voice, so she jumped up from the bed and forcefully kneeled into Zaan’s abdomen. He let out a dry retching sound, and almost as soon as she jumped up, he began to cry. He tried to get up, but the heavy girl was pressing him down firmly. She expected his pain to be as raw and natural as possible. Zaan screamed, struggling to roll off the bed, and the girl was pulled down with him. She let out a startled cry. Zaan, with tears streaming down, rolled on the floor, his face covered in mud. She was wild and unreasonable, reaching out to grab him, using her bones to strike his bones.

He realized they had to stop some kind of suspicion, but the young girl, filled with brute strength, turned her doubts about the “magic” he mentioned into violence. She believed the atmosphere of faith was right for her to actively begin rebuilding anything that was disharmonious. Thus, her fists were incredibly powerful, her feet as heavy as marble, her bones clattering, and she created a beautiful yet incomprehensible violence—Zaan was in excruciating pain, near death.

It wasn’t surprising, he thought, after all, even swan wings could break a person’s arm.

“Admit it, you’re just a selfish bastard, a greedy coward… the bees devouring the honey on a woman’s hips,” she cursed, supporting her hand on his chest and biting his nose. Zaan hugged her tightly, vaguely seeing something inside her ear. He wanted to get closer to look, but the girl struggled to rise and ran away. The strawberry-leafed girl seemed to be followed closely by the night, because when she left, the summer sunlight easily pierced through something. He wanted to get closer to look, but the girl struggled to rise and ran away. The strawberry-leafed girl seemed to be followed closely by the night, because when she left, the summer sunlight easily pierced through his tanned feet and the tears made of flesh, slowly and patiently separating Zaan from his smile. Zaan’s sadness would not grow due to the sunlight’s mistake. He didn’t get the magic he desired, only fourteen broken bones.

If the heart had bones, he thought, then it would be the fifteenth.

Due to the broken bones, Zaan felt helpless, and no one came to help him.

Eventually, a doctor came in. To his dismay, the doctor turned out to be the same line of shoving copper wires into a decaying tooth. Zaan was in pain all over, and he felt that it wasn’t worth it—if only the strawberry-leafed girl had revealed even a little bit of the magic formula after beating him, he wouldn’t have been so heartbroken. He had gained nothing.

The helplessness at that moment forced Zaan to think back to the painful past. Zaan, who once lived in a different place, encountered his pain. He realized that no matter what, he couldn’t exit this farce early. Those attracted by the sweetness had obtained ownership of his suffering in all kinds of ways, forms, and shapes. The spore-like outsiders had taken root here, lingering, showing vibrant vitality. The corgi sheepdog, bred to be closer to the ground, had the heel of backward livestock. Zaan felt that his small body must have some special purpose. Perhaps nature longed for him to bite the heel of some creature, though more often, it was others who came to bite his heel. Even Sister Zandan, couldn’t see him due to his small size.

“No, it’s not true. Sister Zandan doesn’t always fail to see me,” Zaan suddenly recalled something from the past.

It was one winter.

Zaan believed that his smile in winter was infectious, so he grinned and stuck close to sister Zandan. Sister Zandan went across the river to her uncle’s house to borrow some oil. It was so cold that no younger sister followed her. It was a great opportunity. Zaan followed closely behind his elder sister as she crossed the bridge and borrowed the oil. Sister Zandan kept walking ahead, as if Zaan didn’t exist at all. On the way back home, they found that the bridge was broken, but the river had not frozen, swirling and steaming with cold air. Sister Zandan stood by the river, staring straight at their home across the river. All she had to do was shout so that her mother or some other elder would come out to help. Or, she could return to her uncle’s house. But Sister Zandan didn’t do that.

She tied the oil around her waist, turned around, and picked up Zaan. Sister Zandan held her younger brother tightly. Her arm was placed under his bottom, while the other arm wrapped tightly around him. She hugged her brother with all her strength, fearing that he might fall. Sister Zandan stepped into the river without hesitation. The icy river water rose to her waist, and she gritted her teeth, tensing her muscles as she lifted her younger brother up and placed him on her shoulders. Zaan sensed his sister’s loneliness, as if she were an antelope separated from the herd. He didn’t understand why—everyone loved her, after all.

When they got home, Sister Zandan was drenched, her hands and feet nearly frostbitten, and the oil she borrowed had spilt. But Zaan was completely intact, not even the hem of his pants was wet. Zaan still didn’t understand why his sister did this. Was it because of his smile? That strange winter, Sister Zandan had picked up her ugly and stinky younger brother, whom she had never cared for, and waded through the freezing river to return home. Along the way, she silently poured out her loneliness to him.

This unique memory seemed to raise more questions than it did emotions, full of contradictions, yet it made Zaan’s heart feel warm, deeply appreciating the pleasant bond of family. Even though the thousands of branches on the great tree stretched in all directions, they were all interconnected. All the questions would eventually be connected, and sometimes the truth didn’t matter. Zaan felt that this precious memory didn’t deserve a simple answer; it should be kept like a cherished family photograph. He couldn’t predict where his life would go, but Sister Zandan always moved forward—she was free, and her heroic actions had immersed Zaan since the moment he was born.

If Sister Zandan had come in and seen her only brother lying on the ground with broken bones, what would she have done? Would she kiss my forehead like a robe? Maybe the feather was just an excuse, and Sister Zandan wanted to see me. Zaan stopped staring out the window. It didn’t matter who came through, taking something or leaving something—he no longer cared. Zaan hadn’t thrown the disturbances and harms brought by the residents into a forgiving oblivion. He was just tired of their “coming and going game” and no longer wanted to build any pretentious relationships with them. Now, he only closed his eyes, waiting for Sister Zandan’s knock on the door.

It had become a belief, so vast that Zaan, standing before it, felt incredibly small.

The last ones to enter his home were two brothers. Both were smart and capable, their clean t-shirts carrying the tangerine-like scent from crested auklets. Especially the younger brother—who showed an admirable moral seriousness and a proper sense of self-sacrifice throughout. His ears seemed a bit problematic, always tilting his head when listening to his elder brother. The elder brother, on the other hand, seemed charming and generous, confidently walking through the room despite his poor eyesight, never stepping on Zaan’s fingers. They looked around Zaan’s house, examining it. The brothers liked to solve problems with a lot of self-awareness and clues. They curiously looked at the white box, intelligently noticing the stubborn lack and deadlock in the room, as well as the self-destructive awareness of the house’s owner, all stemming from the box. They opened it and peeked inside, whispering to each other.

“So much?”

“Half is left…”

“Alas, leave it alone.”

The younger brother took a piece of paper from Zaan’s desk, dipped his fingertip in the mud from the footprints on the desk, and drew an ear and an eye on the paper. He showed it to his older brother and pointed at Zaan who lay on the floor like scales on a fish. When his brother indicated understanding, he emphasized that the task must be done with love and care. In the end, sharing brought the brothers closer—they embraced after reaching agreement.

The brothers did their work in the mornings to avoid disturbing Zaan’s sleep.

They carefully cleaned Zaan’s house—the messy kitchen, the dusty living room, the sad bedroom. They found that most of the furniture was gone, some destroyed, some stolen. So they spent their own money to buy brand-new furniture. They took the photos off the wall and burned them in the woods. They thought the color of the walls was too dull, so they brought a small can of yellow paint and repainted the walls. The walls emitted a lemon light, cracking in the summer, showing an untamable power, without flaws of human works. The brothers looked at the newly refreshed house, their faces showing satisfaction. Cleaning a room is often a scattered and passive task for children, but the brothers always had smiles, filled with gratitude.

Zaan lay on the floor, looking at his shimmering walls—that could be walls or just a vague space—with a puzzled expression. Is space just where things happen? If a time comes when a space and a fairy tale story truly matter, it’s now—once again, the brothers were cleaning the house. Their efforts were enough to scare away the boldest imagination. They strived for perfection, spending most of the time in silence.

Two days later, the brothers began to check the house’s plumbing and wiring. After confirming everything was fine, they returned to Zaan, adjusting his limbs.

“What are you going to do?” asked Zaan.

“We want to help you stand up, sir. Stand up and see your new house,” said the younger brother.

“Be brave,” added the older one.

But how could Zaan, with fourteen broken bones, possibly stand? He breathed weakly and shook his head.

“You can’t stand up?” The younger brother reached out to pull him up, and Zaan cried out in pain.

“So your bones are broken,” the brothers realized, “We thought you were just lying down lazily.”

In the distance, the barking of dogs fell on the window frame’s corners, and the window trembled slightly. Flying insects fluttered in and out of the sunlight, their figures swaying in the bedroom—almost as if they filled the whole Earth at the same time. Zaan stared at them while the brothers smiled. Facing these two hardworking uninvited guests, Zaan was already very calm. Besides, the brothers seemed harmless, and Zaan found them endearing.

“Did you eat the feather of Sister Zandan?”

The older brother was amused by his question and slapped his thigh, laughing heartily. The younger brother covered his mouth, anxiously saying, “Of course not! It’s written on the paper that we shouldn’t even touch it. We just opened the box to have a look.”

“That’s right, we didn’t eat them,” the older brother nodded, still smiling.

“Such a beautiful sweet thing. Sister Zandan is a miracle,” the brothers kept talking, trying to fill the silence in the room with their words. As they praised Sister Zandan, they used the remaining plaster to set Zaan’s broken bones. Eight weeks later, when Zaan healed, they cheered and clapped as if they had accomplished something grand. The brothers checked Zaan’s house again—yellow walls, plumbing, and wiring—and then threw out the trash. They left behind a handwoven flower blanket before their departure.

When the pain disappeared, Zaan’s sense of smell returned. He realized that he couldn’t smell the feather of Sister Zandan anymore.

He walked over to the desk and picked up the box, now covered in various fingerprints. In a panic, he started digging at the grooves on the box. He was caught in a web of conspiracy, predicting a large, absurd, and meticulous public plot. The fragrance of the feather couldn’t be contained in the box. Zaan thought, could the feathers have been eaten? That was impossible—no matter how much the residents drowned in their own saliva, they wouldn’t touch the feather. Now, the note on the box seemed like a joke, held at gunpoint, its glorious career abruptly cut short, reduced to an impotent symbol. But its terrifying enemy—humans—who possessed the unique ability to separate their speech, actions, feelings, and expressions, were using symbols with incredible flexibility.

What on earth had really happened?

Just as Zaan hesitated over whether to open the box, a creaking sound came from inside, like a puppy running around. Zaan shook the box hard, his eyes wide. The next scene made his hair stand on end. He screamed in shock, nearly throwing the box away. His hands trembled, beads of sweat dripping from his forehead. Then, one after another, tiny woodworms crawled out from the cracks of the box, climbing up his arms. These dense brown bugs, smooth and rounded, with hammer-shaped antennae waving happily, and their small lumps like motionless faces, quickly scurried with their little legs, executing their monotonous duty. They seemed to scorn Zaan’s dry, rough skin, and eventually piled up in his sweaty armpit, jostling together, making it impossible for him to lower his arm. Zaan stared at the box, feeling the stinging in his armpit, his face contorted into a tragic, carefully crafted expression. His jaw slackened, and cold breaths escaped between his teeth.

Even the woodworms in Honest Town craved sweetness, Zaan thought. The earth cannot cast off its dead, and Zaan cannot cast off his pain. In this moment of despair, Zaan’s phone rang—it was from home. Zaan picked it up and called out, “Sister.” The woodworms in his armpit stirred at his movement, causing him pain, and he let out a whimper like a puppy.

“No, Zaan, it’s me, your little sister.”

“Ah, little sister. I’m so sorry… I messed up again. These thieves stole the camph…” Zaan began to speak incoherently as tears began to fall. He tried to pry the woodworms off his armpits, but they had teeth. A few were pulled off, wriggling, their tiny legs still clinging to his flesh, biting into his meat lumps. He tossed them to the ground, stomping them with his feet. Zaan couldn’t stop jumping. The fear and helplessness rendered him incapable of stopping. He reached up to touch his face, feeling it like the skin of an orange. The woodworms had already covered his face, swirling around his features like a tornado. Zaan’s eyelashes and the tip of his nose were scraped off, and he could see nothing. The sour, rancid smell of the worms surged into his nose, and he knew he was about to become their next meal.

Damn, twisted residents in Honest Town, who went mad for sweetness. Enraged by the order in the note inside the box, they took their revenge on Zaan—the one who wrote the order. They had stolen the camphor balls from the box.

“Zaan, I don’t understand what you’re saying. Anyway, hurry and bring Sister Zandan here. A famous doctor came to town recently, and they can treat this strange illness. It’s wonderful, we had given up hope!” Zaan’s younger sister’s voice was full of joy and expectation.

“Bring Sister Zandan back? What do you mean? Sister Zandan hasn’t come to see me…”

“Oh, Zaan. Sister Zandan is sick. Her muscles have atrophied terribly, and in the end, she turned into a feather. When she was sick, she kept saying—‘I miss Zaan, I miss my little brother…’ So, we asked Dayin to bring her to you. What, didn’t Dayin tell you?”

Notes

  1. Zaan means “elephant” in Mongolian. ↩ Return

  2. In Mongolian, Zandan means “sandalwood,” a precious wood known for its rich and mellow fragrance that lingers for a long time. ↩ Return

  3. Aaruul is a traditional Mongolian dried milk snack produced through fermentation. ↩ Return

Original · 中文

三丹姐姐的羽毛

渡澜

“扎那,你姐姐病了,她似乎开始长羽毛。你妹妹让我将这个盒子转交给你。”大音坐在扎那的对面,轻声安慰他。他昨天因胡椒树的事情去了一趟扎那的老家。

“我会的。”扎那慢慢腾腾地说。他打开了盒子,里面有一根甜香四溢的羽毛和几个为了防止虫蛀而放置的樟脑丸。羽毛像是一张照相用的相纸或是一副金丝边夹鼻眼镜,轮廓分明,熠熠闪亮。它的羽轴里充满严肃的想法,羽片仿佛春意微醉,嗡嗡直鸣,是水银和光亮剂的颜色。生长在正羽下方的绒羽清新干净,整齐划一,像石棉管道。羽毛非常甜,哪怕盒子紧闭,也可以闻到它散发的味道。

“大音,你见到三丹姐姐了吗?”

“没有,我只见到了你全部的妹妹。”

“妹妹们还说了些什么吗?”

“这……这我不记得了。等等……这羽毛是什么来着?”大音挠了挠头,眯着眼看盒子里的甜羽毛。他因为脑动脉硬化,记忆力在逐年衰退。记不住东西,忘得也快。

“三丹姐姐会取回自己的羽毛吗?”扎那打断他,焦急地问。

“当然,你了解她的。她只是被它吓坏了,过一阵子,她就会思念它——毕竟是自己的第一根羽毛。她会来找你,然后拿回自己的羽……”大音无法继续说下去了,因为扎那红着脸哭泣,发出小孩子的抽泣声,仿佛受了什么甜蜜的侮辱。他羞怯的面庞上浮现着一种朦胧的不安。

“你不开心吗?”大音困惑地问他。

当然不!可怜的扎那高兴坏了!

三丹姐姐有着凶猛的家庭感情,总是将自己的十四个妹妹保护起来,不至于落入镇上好色男士们的闲散不敬。但对自己的弟弟则毫不在乎,对她来说,弟弟就是枯枝里的小鸟,印在走廊上的一片影子。她亲吻妹妹们的脖子、肚子、脸蛋甚至脚掌,但她不会亲吻弟弟,她说弟弟的触感好似粗糙的蕨类,会刮破自己的嘴唇。

小时候的扎那,是个矮小的、难闻的、短柄锡勺一样的男孩,有着一张长长的椭圆形的脸和墓碑一样的方嘴唇。扎那因为渴望姐姐的疼爱,总是低声下气地跟在姐姐的身后。他要求的是三丹姐姐专注式的、温柔的凝望,然而高个子的三丹姐姐对他的忽视甚至露骨得不值得去讨论。他痴迷而孜孜不倦地观察并解读着姐姐的每一个眼神和动作,哪怕三丹姐姐沉在水底伪装成落叶,扎那也一定是第一个找到她的人。

因为总是欺负妹妹,扎那在二十九岁那年被姐姐赶出了家门。那时父母已经去世,她成为了一家之主。聪明过人的三丹姐姐以一种最直接的方式投身于工作中,她的博学与洞见震惊众人,他们甚至开始决定为她写一本传记。这位决定家族命运的女人站在门前,抱着自己最小的妹妹,注视着即将离开的弟弟。

她只说了一句话:“你想掌控局面,先把节奏缓下来。”

扎那无法拒绝,虽说他在听到三丹姐姐的决定的一刹那,露出了一种奸诈且不顾后果的表情,但那只不过是一种可怜的虚张声势,最后他闷声离开了。

离家后的扎那凭借自己长达二十九年的杰出失败经验,经营起了一家牙医诊所。它被建在一个被人们称为“诚实乡”的小镇里。这里只有六百七十位居民,全部似小鸢尾那般诚实,一句谎话也不会说。不过,这并不是扎那将牙医诊所建在“诚实乡”的目的。他之所以选择这里,是因为“诚实乡”的大人们贪恋着甜蜜的菲律宾香蕉和撒了糖的黄油果条,孩子们舔着焦糖做的手指——全部吃坏了牙齿。他们的牙齿布满孔洞,可以让风自由地通过。扎那每日的工作就是用浅棕色的碘伏消毒蛀牙,再用纠缠的铜丝填补那些蛀牙上的孔洞。这是一项投入少而收入多的工作。

此时,手捧盒子的扎那感到喜悦,是因为三丹姐姐要来看他了。他感到不安,是因为这根甜丝丝的羽毛有很大的可能性会被居民们吃掉。扎那思念姐姐的痛苦心情,已经精致考究得无法被他自己所忍受。大音不了解扎那,所以才会觉得他那要哭不哭的表情很奇怪。

扎那在大音走后,开始动脑筋思考:该如何保护三丹姐姐的羽毛呢?这片羽毛万万不能落入居民们的手掌心。最后,他将盒子放在靠窗的书桌上,并在盒子上贴上了一张纸,纸上写着:“不要碰三丹姐姐的羽毛。”扎那安心了,因为他知道,诚实的居民们绝不会偷吃羽毛。他们百分百不会违背纸条上的命令。

托举着盒子的是常见的查干呼牌小书桌,矮小坚硬。上面有一个绿色的铁罐,盛放着防晒品。桌子上还有扎那的日记本,洁白的封面和糟糕的内容,令这本日记看起来就像一只停在桌子上的巨大的白色苍蝇,里面是孤独的巢穴,写满了他的信仰——三丹姐姐。人们不能从放在桌子上的扎那破旧的台灯身上寻出一点神经衰弱的预兆,它被摆在那里,好像黑色的母牛一样沉静。桌角处黑蓝色的盘子里盛着几块奶豆腐,它们在水和空气中生了霉菌,发出如纱似雾的浅绿色光芒吸引昆虫。桌上繁杂的物品再也无法吸引扎那的视线。他被装着羽毛的盒子俘虏了。扎那注视着盒子,满面笑容。可笑着笑着,他就悲伤地意识到,自己的喜悦几乎全部来自于三丹姐姐。他无法自创快乐。扎那消极地认为世上跑得最快的东西是奔向自己的苦难。他与三丹姐姐截然不同。三丹姐姐乐观开朗,富有责任心,在现实和幻想中自由行走。她仿佛拥有着蛙类动物的天然力量,它们能够同时在陆地和水中生活,面面俱圆。

他用手撑着桌子,使了好大劲儿嘎吱嘎吱地推开锈住了的铁质窗户。它非常粗糙,油漆已经斑驳了。窗外的气味扑鼻而来,扎那觉得打开窗户就是在折腾自己的呼吸。他该如何用不连续的呼吸去体会连续的大自然呢?向窗外远眺,可以看见通向这里的小径两旁,庄严肃穆的泓森槐绵延不断。这些高大挺拔的树木,虽说是同一品种,却因生长着婀娜多姿的厚叶而拥有了不同的身份。野猪皮酒囊一样的大鸟徘徊在林间,樱桃色的马群从林中走过,马蹄声凌乱,抓伤了牧马人的肩胛。树被桃红颈天牛的钳子剥下了树皮,全身赤裸,却并不羞于展示性感。所有溢出的生命都开始变稠,预示着一个神秘的季节正在悄然成熟。扎那看着窗外的风景,他所见的一切,都在连续或交替地向他传达一个信息——被长辈疼惜的儿童是肥胖的,不费力而人人都爱他。可他哪怕在婴儿时期膨胀到甜瓜大小,也不会有人爱他。扎那捏着自己扁扁的骨头,狭窄的骨头里堆塞着琐碎,令他总是在别人的范围之内——扎那没有自己的范围,没有他可以创造及控制的空间。下一刻他会是什么样子,他是否拥有生命,这些随时间而变,不可预测。

扎那用书本抵住窗户,防止它被风关上。他趴在桌子上,抚摸着藏着羽毛的盒子。扎那遥遥望着窗外的景色,望着每一条通向这里的小路。

第一位被甜味勾引来的居民在星期日的清晨来到。

那天早晨,扎那正在厨房将热腾腾的羊血肠切成均匀的长条,突然听到卧室里响起了奇怪的声音。他疑惑地放下菜刀,推开厨房的门,拉长了脖子向卧室的方向看去。扎那的眼睛睁得大大的,心里怦怦作响。

一人走出卧室,大摇大摆地在餐桌旁坐下来,将随身携带的被风磨得光溜溜的母鸡放在了桌上。陌生人又瘦又长,头已经抵在了天花板上,他甚至还弯着脖子,一副忧郁的样子。所有生物物种都在经历着缓慢而稳定的变化,这是毋庸置疑的——可这人是怎么回事——他将长久以来的进化公式,变成了一种模糊的联想。“这种人无论如何是不会有什么社交礼貌的。”扎那想。陌生人像灯泡一样高高悬挂的、狭窄的脸上没有放置五官的空间。扎那因为恐惧差点失去了自己的嗅觉。他怎么一点动静都没有?全身都散发着未满足的气息。

“快滚出去!你是个小偷吗?”扎那大喊。

“吃早饭吧。”他说。

“你吃掉三丹姐姐的羽毛了吗?坏蛋!”

“没有。”

扎那松了一口气,他转身回到厨房,将羊血肠盛在盘子里,端上了餐桌。陌生人像纸条一样单薄的手搭在桌子上,他尝试着拽了拽,却发现根本拽不开,陌生人好似一匹马被拴在了桩上。扎那又从他的腋下钻过去,用手指捏了捏它带来的母鸡——竟是活着的,发着热气,羽毛上铺满了细不可感的尘土。扎那又回到厨房,端出了炒米、黄油、白糖、奶茶,他把它们放在桌子上,然后在陌生人的对面坐了下来。

母鸡显然没有胃口,像个圆圆的不倒翁一样立在桌子上。它的眼神很耐人寻味,介于冷漠和居心叵测之间,它不知误食了什么东西,脖子凸出了一小块,也许是一个玻璃球。那人慢条斯理地揭开自己下巴上的一条伤疤,用这条打开的伤疤,他吃了一大碗黄油和白糖拌的炒米,喝了一碗泡着奶豆腐的奶茶,又吃了七根羊血肠。

“客人”咔嚓咔嚓嚼个不停。扎那听到他瘦长的身体深处发出邪恶又单调的声音,看到他薄薄的肚皮鼓了起来。他注目的焦点从未离开过陌生人可怕而多变的身体。他一勺子炒米都吞不下去,痛苦地注视着对面的人。

“需要洗碗吗?”吃完早饭后,陌生人问。扎那难过极了,没有说话。陌生人拍着肚皮,抱着自己的母鸡原路返回。他太长了,从头到脚全部通过窗户需要漫长的时间。扎那收拾好餐具,洗完碗,再出来时他才刚刚把大腿移出窗户,细长的脚向后用力蹬着。“他的水平时好时坏。”扎那想,“现在他应该推门出去。”最后陌生人还是从窗户钻了出去,窗玻璃上沾满他油腻腻的指纹,桌子也被弄脏了。陌生人的无礼、自私和多彩缤纷伤透了扎那的心。可更伤心的还在后面呢,因为扎那发现自己的日记本上也沾上了指纹。爬窗进来的长条先生不仅偷看了扎那的日记,还认认真真地修改了日记里的全部错别字、病句、标点符号和错误的天气。

“他只是想骂我。”扎那想,日记的最后一页,陌生人写了这么一句话——“我鼓励你受苦。”

除此之外,他说扎那是——“新世纪奴仆”“一份骇人的爱”和“靴子带回的黑黏土”。他甚至在扎那写下的“三丹姐姐浓密的黑头发”旁画了长长的竖线,批注上“过时线条的过剩”,在“我为三丹姐姐买新腰带”旁批注“满是拜物主义的痕迹”……世界上有一种很费力的事情,不是搬弄物体而是搬弄人。现在扎那只能闷声哭泣,咒骂这位有着根深蒂固的偏见的陌生人。他对三丹姐姐的思念被误诊为肮脏的欲望,这简直不可理喻!我们用文字来表达自己的情感,却只会发现自己被文字出卖了——它胡言乱语,不听指挥。

他将日记藏在柜子里,将玻璃和桌面擦干净。扎那抱着盒子望向窗外,因错把一只红蟾蜍当作三丹姐姐的裙摆而空欢喜了一场。

俗话说得好,“一旦被老鼠看到谷物袋,我们就知道它会回来的。”

又是一个注定不平凡的清晨,恬静的生活也无存留的机会了。扎那被一声巨响惊醒,他大喊着从床上蹦了起来。放在枕头边关于消毒牙齿的书本也被巨响弹到了地上。这本书已经一年没有移过位置了,它就像海洋贝壳被焊在岩石上一样稳固,绝不会被移动,如今却被吓得飞了起来,可见那响声被完美地调整到了不可被任何物体忽略的程度。

扎那的心跳得飞快,他慌忙从地上捡起自己的书,发现书背面粘着一只被压死的黑褐色茶翅蝽。

“不是才夏天吗?”他用拉链上的拉头将它挤下去,用拇指擦去黏在书上的黄色体液,重新把书本放在了枕头边。扎那的床,密生翎毛的三角形夜蛾们已经占据了它。他的枕头上插满夜蛾芳香扑鼻的弯曲的喙。除了扎那,没人能找到隐藏在喙之中的枕头。

响声大概是从厨房传来的——扎那暂时没有勇气去厨房。他站起来,走到桌子旁边,发现盒子上有明显的脚印——它们被印在平凡可见的地方。当它们故意出现在扎那眼前的时候,无论是沾满纸屑的还是粘满马粪的……都会让人操碎了心。他们为何追随甜味?这世上恐怕没有任何假设可以使这些行为变成人们可理解的,就像黑被单的原材料或是没有名字的水果——人们认为那是杂交的物,对此抱有不理解的态度。

“应该是个孩子。”扎那想,“因为脚印只有我的手掌那么长。”可怕的是,只有进来的脚印,没有出去的脚印。难道是从门那边出去了?还是他还在房子里?扎那擦了擦眼角的泪珠,满腹委屈,颤颤巍巍地顺着脚印摸索到了厨房,推开厨房的门,他发现自己的冰箱被砸烂了。

雪白的冰箱像冰块一样碎成亮晶晶的碎片,柠檬黄的电线直指天花板。原本被冻上的肉趴在地上,全部化了,像红蜗牛爬出了粉碎的白壳。扎那最爱的奶制品上聚集了黑压压的蝇群,发出酸臭味,和黑色胡萝卜混在一起。所有的韭菜都发炎红肿了,手指头摸上去火辣辣的。地板上五颜六色的,到处都是食物的残渣。扎那放在冰箱里的香烟被融化的冰块浸透了,成群结队的悲伤倒映在扎那的肺上。这显然是一位热爱表演的人干的好事,真挚之中包含着诡计,因为他在冰箱的碎片上留下了一张激进的纸条,上面的文字代表了他走向血腥革命的坚定信念,上面写着:

“死娘娘腔,你在盒子里圈养了冬天!”

这片区域究竟是因何等的恶劣天气,才出现了这般偏激的生物——这几乎成为了生物学中亟待破解的一环。搞破坏的孩子是厌倦了漫长的夏季吗?错以为是他监禁了冬天?在这糖果遍地都是的地方,孩子们竟然也会不满足。扎那从小就对鸡零狗碎的事物感到恐惧,他没有将厨房打扫干净,他期待真菌帮助他消灭这一切。扎那请来了盘子里诡计多端的腐败分子们,将它们放在软趴趴的肉上,死死关上了门。

“他们都搞错季节和地点了。”他想。但很快扎那就发现了不妥之处,他进厨房的时候,冰块都要化干净了,显然冰箱被砸坏有一段时间了。可听到巨响的一瞬间扎那就醒了,他听到的响声并不是冰箱被砸坏的声音。还有脚印……“见鬼!”扎那的脸都苍白了,他急忙转身推开门,冲进了厨房,扑到冰箱碎片和食物上,疯狂翻找着。果然,扎那在冰箱压缩机和隔热板下发现了一个穿着黑褐色羽绒服的小男孩,脑袋已经被压烂了。那声音也许是这孩子死前发出的最后呜咽。扎那不清楚生命是什么,但当对立面出现在他眼前时,他立刻就明白何为生命了。

“你吃掉三丹姐姐的羽毛了吗,孩子?”

孩子当然说不了话,他没有脑袋了。扎那没有办法,只能割开他冰凉凉的胃翻看,里面确实没有三丹姐姐的羽毛。男孩紧紧握着手,不知道拿着什么。他的小拳头里不可能藏下一根羽毛,扎那呼出了一口气。他跑去客厅给医生打电话,但匆忙间他忘记收回自己的菌了,等医生和男孩的父母赶来时,孩子已经被菌吃得干干净净,只剩下细细的骨头和羽绒服。

扎那因为惊恐愣在原地,而医生和孩子的家人却已经呆愣完毕,转而开始到处传播他们的发呆方式。

嗜甜的居民源源不断。

当扎那在夜晚醒来,发现身旁躺着一位妙龄女子。她可能刚刚成年,冷静地仰躺着,咀嚼着香脆可口的草莓茎叶。她穿着睡裙,肌肉结实的大腿紧紧贴着。她有时将双手交叉放在胸前,有时将双手握拳放在身体两侧。也许她身上的某种力量的强弱,是取决于她双手的位置或姿势的,而这些位置和姿势不断受到威胁,又不断被复原。少女的发丝正在勇敢地思考人类的极限,每一根都是不同的质感,哪怕拥有着同样质感的头发在某一个三维空间触碰彼此,也不会产生死水一潭的状况,只留下一段长长的间歇。

扎那在诊所里见过她。这位少女的牙齿总是摇摇欲坠,牙齿的主人却坚固无比。她有一位布满了白斑的父亲,隐形的魔力注满他的舌头,唯一的女儿对他的话充耳不闻。她自觉、彻底、美丽,忽视自己的父亲。她就像三丹姐姐疼爱的十四个妹妹中的其中之一。她们拥有着神奇的魔力,从小就可以发出清晰可爱的元音,总是穿厚衣服,娇小如人偶,像个不解之谜。三丹姐姐就像一棵大树,将叶片一样的妹妹们安排妥当,来最小化她们重叠的面积一一确保自己的妹妹们接受着同量但不同样的爱。

“你一定是第十五个。”

“您在说什么鬼话?”她的神情看起来平淡极了,嘴巴里却狂热地训斥着自己的猫。

“我真是羡慕你。”扎那毫无睡意,贪婪地盯着她。

“闭嘴吧。”

“可是你为什么要进来呢?”

“谁叫您开着窗户!”少女提高了嗓音。

“三丹姐姐的羽毛得放在通风处,盒子里非常闷。”羽毛这个词由扎那说出来便显得格外的深沉而秘密,仿佛“羽毛”是他生命得以延续的保障。

“您真是个傻子!您应该耐心点儿--好好想一想再做决定。”

“你吃掉三丹姐姐的羽毛了吗?”

“哼,当然没有。”

少女的身上传来密实的香味,嘴巴里的草莓茎叶也只剩下了碎渣,汁水全部被咽下去了。她备受宠爱,无法理解扎那的痛苦和执看。她的可爱会在很久后搅进她的白发和假牙里,是的一这种东西永远都在。

扎那羡慕她,不由得用一种钦佩的目光注视她。她高傲地仰着脖子,双手依旧不断地变换着位置和姿势。现代主义把视觉摆在第一位,压抑了人类的其他功能,比如嗅觉。扎那除了苦涩的草莓茎叶的味道什么也嗅不到,他渴望少女的体香、少女的臭味、少女的一切,因为只有这些才可以吸引三丹姐姐。他靠近她,妄想吸取她身上吸引三丹姐姐的某种味道。殊不知这是一种无礼的表现,而这位少女显然也并没有意识到,自己穿着睡衣躺在陌生男人的床上是一件多么危险的事情-一扎那的瘦弱令她放松。总之他们碰在了一起。

皮肤间的碰撞迸出火花--少女的眼球无变动,她鼓起了自己的肚子,好似赌气或泄愤。她绷紧了肌肉,结实的大腿里充满了力量,扎那有那么一瞬间是胆怯的,但他想获得三丹姐姐的宠爱的欲望战胜了一切。

“给我吧。”扎那说。

“给您什么?”

“你的魔力。”

“什么魔力?”

扎那不说话了,他在心中慎重细致地表达了对三丹姐姐的忠诚,这种忠诚的不结束性是它结束的必然条件,但显然不聪明的扎那并没有意识到这点。

扎那认为,他们刚刚只不过是进行了一场甜蜜的哲学对话。

她翻了个身,正对着扎那的脸。她眼皮沉重,目光却犀利。她眼前的扎那几乎浑身赤裸,耳朵里填满夜蛾的喙。他真是难闻极了,细小的五官里挤满了折磨。少女盯着他的脸,沉浸在丑陋的奇迹中。她或许只是想闻一闻羽毛的甜味,顺便换个地方训斥自己的猫。怎知此处的主人是如此的难闻。

少女将嘴里嚼得稀烂的草莓茎叶吐在了他的脸上。

“我在您的诊所见到过您,但是夜晚的您更加可怕,”她说,“好好感受一下为什么这一切会让您如此一无是处吧。”她似乎是在要求扎那进行反思,可是如果反思是为了对最初的向往做出补充,那扎那显然无法进行这项工作--他的向往已经盆满钵满了,无法添加任何东西。“你误会了。”扎那在心里想着。或许扎那是想用这沉默获得一定的自主权,又或许只是太焦虑了说不出话来。

少女听不到扎那的心声,于是从床上跳起来狠狠用膝盖撞扎那的腹部。扎那发出干呕声,几乎在她跳起来的一瞬间就开始落泪了。他尝试着爬起来,但沉甸甸的少女死死压在他身上,少女期待他的痛苦像自然一样赤裸。扎那发出尖叫声,挣扎着滚下了床,少女也被他扯下了床,她发出惊呼声。扎那满脸泪水,翻滚在地板上,滚了一脸泥。她蛮横无理,伸手抓住了他,用自己的骨头打击他的骨头。

他意识到他们必须终止某种怀疑,但浑身蛮力的妙龄少女却因对他口中的“魔力”的疑惑催生出了暴力,她认为此时信仰的气氛良好,她可以积极地开始着手重建任何不和谐的事物。于是她的拳头力大无比,她的双脚沉重如大理石,她的骨头铮铮作响,她创造出了美丽而难以理解的暴力-扎那疼痛难忍,奄奄一息。

这没什么奇怪的,他想,毕竟天鹅翅膀也能折断人的手臂。

“您承认吧,您就是个自私鬼,贪婪的懦夫……女人臀上狼吞虎咽的蜜蜂。”她说着,撑着他的胸膛咬他的鼻子。扎那用力抱住了她,模模糊糊地看见她耳朵里好像塞着什么东西。他想凑近了看,少女挣扎着起身,跑开了。草莓茎叶少女的身后似乎紧随着夜晚,因为当她离去,夏日阳光就轻而易举地刺穿了么东西。他想凑近了看,少女挣扎着起身,跑开了。草莓茎叶少女的身后似乎紧随着夜晚,因为当她离去,夏日阳光就轻而易举地刺穿了他晒黑的脚和肉做的泪水,以悠久的耐性将扎那与笑容分开。扎那的悲伤不会因阳光的过失而滋长。他并没有得到他所渴望的魔力,只获得了十四根断掉的骨头。

如果心脏有骨头,他想,那它就是第十五个。

因为断骨头扎那倍感无助,没有人来帮助他。好不容易钻进来了一个医生,问了一下竟然也是个往蛀牙里塞铜丝的。扎那全身都疼,他觉得这些疼痛是不值得的一一如果草莓茎叶少女在殴打他后透露了少许魔力的配方,扎那也不至于如此伤心,他一无所获。

此时的无奈逼迫扎那回想起了痛苦的曾经。原本异地而居的扎那和扎那的痛苦相遇了。扎那发现自己无论如何也不能从这场闹剧中先行退出,这些被甜味吸引的人以各种方式、各种形态或形式获得了扎那痛苦的所有权。孢子一样的外来者,在这里生根发芽,长久逗留徘徊,展现出蓬勃的生命力。柯基牧羊犬被育种成为贴近地面的样子落后的牲畜的脚跟。扎那觉得自己矮小的身体定有着什么特殊的用处,也许大自然也渴望着让他啃咬某一生物的脚跟。但往往是别人来咬他的脚跟,三丹姐姐也因他的矮小看不见他。

“不对,三丹姐姐并不总是看不见我。”扎那突然想起了一件往事。

那是一个冬天。

扎那自认为冬季的自己笑起来很有感染力,于是露出牙齿,与三丹姐姐形影不离。三丹姐姐去河对面的舅舅家借油,因为太冷了,没有妹妹跟着她,这是个大好机会。扎那紧紧跟着自己的姐姐过了桥,借了油,三丹姐姐一直走在前面,仿佛扎那根本不存在。当他们返家时,发现桥坏了,而河水并没有结冰,翻滚着,冒着寒气。三丹姐姐站在河边直直望着河对面的家,她只要喊一下,母亲或是其他长辈就会走出来帮助她了。或者她可以回去找自己的舅舅。但三丹姐姐并没有那么做。

三丹姐姐将油拴在腰间,转身抱起了扎那。三丹姐姐紧紧抱着自己的弟弟,她的手臂横放在扎那的屁股下,另一只手臂用力环住他。她用全身的力气抱住了自己的弟弟,生怕他掉下去。

三丹姐姐毫不犹豫地一脚踏进了河里。冰凉的河水漫过她的腰,她紧紧咬着牙齿,绷紧肌肉,将弟弟举起来,让他坐在自己的肩膀上。扎那敏感地感受到了姐姐的孤独,她像是一只离群的羚羊。他不明白姐姐为什么是孤独的,明明所有人都爱着她。

回家时,三丹姐姐全身都湿透了,双手双脚差点冻伤,借来的油也全部洒了。可扎那却完完整整,连裤脚都没湿。扎那至今都不知道三丹姐姐为什么那么做,是他的笑容起作用了吗?三丹姐姐在那个奇异的冬季,抱起自己从未疼爱过的、丑陋难闻的弟弟,蹚着冰冷刺骨的河水回了家-她一路上都在无声地向扎那倾诉着自己的孤独。

这一独特的记忆似乎疑惑大于感动,其中有很多冲突,但它依旧令扎那的心头热乎乎的,深感亲情的美好。尽管苍天大树上的上万条树枝都朝着不同方向延伸,但是它们却彼此相连--所有的疑问必定接连,真相有时并不重要--扎那觉得这个可贵的记忆并不适合一个轻巧的答案,它应该被当作一张珍贵的家庭照片收藏起来。扎那无法预知自己将走向何处,但三丹姐姐永远是向前走的,她是自由的,她英雄般的行动方式令扎那一出生就沉浸于其中。

如果三丹姐姐推门进来,看见自己唯一的弟弟断了骨头躺在地上,她会是什么反应呢?姐姐会像袍子一样亲吻我的额头吗?也许羽毛是个借口,三丹姐姐只是想来看看我。扎那不再盯着窗外看了,不管什么人从窗外钻进来,拿一些东西或是丢弃什么东西,扎那都不在乎了。扎那并没有将居民们带来的骚扰或伤害,投入到宽恕性的遗忘里。他只是厌倦了这群人的“来去游戏”,懒得再同他们建立起作秀一般的关系。他现在只闭上眼,等待三丹姐姐的敲门声响起。

这已经成为了一种信仰,它是如此巨大,引发了它的扎那在它面前却显得无比渺小。

最后进来的是一对兄弟。他们都是聪明能干的人,干净的汗衫上散发着冠小海雀的橘子香味。尤其是弟弟 --自始至终,都展现出令人钦佩的道德严肃性和得体的自我牺牲精神。他的耳朵似乎有些毛病,听哥哥说话时总是歪着脑袋。哥哥则显得风流而慷慨,虽说有着衰弱的视力,却可以自信满满地行走在房间里,而不踩到扎那的手指。他们上上下下观察着扎那的房子,兄弟俩喜欢用大量的自觉和线索努力解决问题,他们好奇地看着白盒子,并聪明地发现-一屋子里固执的缺失和僵局,以及房子主人的自我毁灭意识,几乎全部来自这个盒子。他们打开盒子研究,窥视着里面,窃窃私语。

“还剩一半……”

“哎呀,别管了。”

弟弟从扎那的书桌里抽出一张纸,用指肚蘸着桌上脚印里的泥浆在纸上画了一个耳朵和眼睛。他向自己的哥哥展示这张纸,并指了指地上的扎那--他躺在地板上,像鱼鳞伏在鱼儿身上。当哥哥表示理解时,他又强调了一下这项工作必须满怀着爱与关怀。事实证明,共有的东西能让兄弟俩的关系更加紧密--意见统一后,他们拥抱了彼此。

兄弟俩尽量在早上进行自己的工作,为的是不打扰扎那的睡眠。

他们认真地清扫了扎那的房子。脏乱的厨房,落满尘土的客厅,悲伤的卧室。他们发现家具已经少了大半,有被人破坏的,也有被偷走的。于是他们自掏腰包又购置了崭新的家具。兄弟俩将墙上的照片拿下来在树林里烧了。他们认为墙壁的颜色实在烦闷,于是又搬来一小罐黄,将墙壁着色。墙壁发出柠檬的光,在夏日迸裂,展示出一种难以驯服的力量-动消极。兄弟俩却总是满脸笑容、心怀感激。

扎那躺在地上,看着自己闪闪发光的墙壁--那可以是墙壁或者仅仅是模模糊糊的空间--露出了困惑的表情。空间只是事情发生的地方吗?如果历史上即将有个空间与童话故事真的那么要紧的时期的话,那就是此时此刻-兄弟俩又开始打扫房间了。他们的努力足以吓退最为大胆的想象力,他们力争完美,大多数时间都在沉默。

“你们要干什么?”扎那问。

“让您站起来,先生,起来看看您的新房子。

“原来您的骨头断了,”兄弟俩这才恍然大悟,“我们一直以为您只是躺在地上偷懒呢。”

远处的犬吠坠落在窗框四角,窗子震颤了一下。飞虫在阳光中进进出出的身影晃动在卧室里--它们的身影无处不在,几乎在同一时间充斥了整个地球。扎那睁大眼看着他们,兄弟俩面带微笑。面对这两位勤劳的不速之客,扎那已经非常冷静了,更何况兄弟俩看起来毫无冒犯之意,扎那觉得他们亲切可爱。

“你们吃了三丹姐姐的羽毛吗?”

哥哥被他的问题取悦,拍着大腿哈哈大笑。弟弟捂住了哥哥的嘴巴,焦急地说:“当然没有!纸上写了,碰都不能碰。我们只是打开盒子看了眼。”

“对,我们没有吃。”哥哥也摇了摇头。嘴角一直挂着笑容。

“真是个漂亮的甜物,三丹姐姐是个奇迹。”兄弟俩喋喋不休,妄想去弥补房间里的沉默。他们一边赞美三丹姐姐,一边用剩下来的石膏固定扎那的断骨。八周后,当扎那痊愈,他们像是完成了一件大事,欢呼鼓掌。兄弟俩重新检查了一下扎那的房子--黄色的墙壁,水管和电线,然后丢掉了垃圾。他们离开前还留下了自己手织的花毯。

当身体上的疼痛消失,嗅觉就回来了。扎那发现自己闻不到三丹姐姐羽毛的味道了。

扎那走到桌旁拿起了盒子,上面已经沾满了形形色色的指纹,扎那惊慌失措地抠挖着盒子上的凹槽。扎那被一张阴谋巨网罩住了,他预测到了一种庞大、荒谬和缜密的公开诡计。羽毛的香味是盒子关不住的,扎那想,莫非羽毛已经被人吃掉了?不可能的,居民们就算被自己的口水淹死,也不会碰触羽毛的。现在,盒子上的纸条就像一个笑话,被十几杆滑膛枪抵着脑袋,是的,它辉煌的职业生涯已经夭折了,它只是一个无能为力的符号,可它可怕的敌人-人类,他们具有不同于其他生物的特殊技能,能够把自己的言说和行动,感受及其表达隔离开来。他们灵活地运用着符号。

到底发生了什么呢?

就在扎那犹豫着要不要打开盒子时,盒子里传出了咯吱咯吱的声音,像是小狗在里面跑。扎那瞪大眼睛用力摇了摇盒子。接下来的场景让扎那汗毛倒竖,他发出啊的一声尖叫,差点把盒子丢出去。扎那双手颤抖,额头沁出豆大的汗珠。只见一群接着一群的细小的蠹虫从盒子的缝隙里爬出来,顺着他的手臂上升。这些密集的褐色小虫,光滑圆满,锤状的触角欢快地摇摆,身上的小瘤像无数张静止不动的脸。蠹虫们弯曲的小脚飞快挪动,执行着自己单调的责任。它们谴责扎那干燥粗糙的皮肤,最终它们堆积在了他汗臭的腋窝里,你推我挤,搅作一处,令扎那无法放下自己的手臂。扎那盯着盒子,感受着腋窝里的刺痛,脸上是一种精心的、殷勤的悲惨表情。他的颌关节松弛,齿间不断涌出冰冷的气息。

就连“诚实乡”的蠹虫都是嗜甜的,扎那想。大地无法抛出自己的死者,扎那无法抛出自己的痛苦。就在这绝望的时刻,扎那的电话响了,是家里打来的。扎那接了起来,叫了一声姐姐。腋下的蠹虫们因他的动作而骚动,扎那疼得发出小狗的叫声。

“不,扎那,我是你妹妹。”

“啊呀,妹妹。对不起……真抱歉,我又搞砸了。这群畜生偷走了樟…”扎那语无伦次,开始掉眼泪。他想把腋下的蠹虫扒拉下来,谁知它们有牙齿。零星的几个被他拽下来,扭动着脚,嘴里还咬着他的肉疙瘩。他把它们丢在地上,跳着踩碎。扎那无法停止蹦跳的动作,他一直在向上跳,恐惧和委屈令他无法做出任何改变。他摸了摸自己的脸,感觉它摸起来像橘子皮。密密麻麻的蠹虫已经笼罩了他的脸,龙卷风一样席卷他的五官。扎那的眼睫毛和鼻头都被刮了下来,他什么都看不到了。虫子的酸臭味一股接着一股往扎那鼻子里涌,他将成为它们的下一餐。

该死的、扭曲的、“诚实乡”的居民们,为一切甜物疯狂。纸条上的命令激怒了他们,于是他们对下命令的扎那展开了疯狂的报复--他们偷走了盒子里的樟脑丸。

“扎那,我听不懂你在说什么。总之,你快点把三丹姐姐带过来,最近镇里来了个名医,可以治这种怪病。真是太好了,我们原本已经放弃了。”妹妹的声音里充满了喜悦和期待。

“把三丹姐姐带回去?你什么意思?三丹姐姐没有来看我呀。”

“哦,扎那。三丹姐姐生病了,她肌肉萎缩得厉害,最后变成了一根羽毛。姐姐生病时一直在说—我想扎那了,想弟弟了……我们就拜托大音将她送去你身边。怎么,大音没有告诉你吗?”