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芳华
上世纪七十年代，一些有文艺才能的少年男女从大江南北挑选出来，进入某部队文工团，担负军队文艺宣传的特殊使命。 郝淑雯、林丁丁、何小曼、萧穗子在这个团队里朝夕相处，她们才艺不同、性情各异，碰撞出不乏黑色幽默的情境。严格的军纪和单调的训练中，青春以独有的姿态绽放芳华。 小说用四十余年的跨度，展开她们命运的流转变迁，是为了讲述男兵刘峰的谦卑、平凡及背后值得永远探究的意义。
215 pages, Hardcover
First published January 1, 2016
12 people are currently reading
109 people want to read
About the author
Geling Yan
85 books238 followersGeling Yan (嚴歌苓) is one of the most acclaimed novelists and screenwriters writing in the Chinese language today and a well-established writer in English. Born in Shanghai, she served with the People's Liberation Army (PLA) during the Cultural Revolution, starting at age twelve as a dancer in an entertainment troupe.
After serving for over a decade with the PLA (including tours in Tibet and as a war correspondent during the Sino-Vietnam border conflict), Ms. Yan was discharged with a rank equivalent to Lieutenant Colonel. She published her first novel in 1986 and ever since has produced a steady stream of novels, short stories, novellas, essays and scripts. Her best-known novels in English are The Secret Talker, published by HarperCollins; Little Aunt Crane published in the UK by Random House affiliate Harvill Secker; The Flowers of War, published in the U.S. by The Other Press and elsewhere by Random House's Harvill Secker; The Banquet Bug (The Uninvited in its UK edition - written directly in English); and The Lost Daughter of Happiness, (translated by Cathy Silber) both published by Hyperion in the US and Faber & Faber in the UK. She has also published a novella and short story collection called White Snake and Other Stories, translated by Lawrence A. Walker and published by Aunt Lute Books.
Many of Geling Yan's works have been adapted for film and television, including internationally distributed films Xiu Xiu: The Sent-Down Girl (directed by Joan Chen) and Siao Yu (directed by Sylvia Chang; produced by Ang Lee). Chinese director Zhang Yimou made The Flowers of War, a big-budget film based on her work set during the 1937 Rape of Nanking, starring Academy Award winning actor Christian Bale; Coming Home 归来, based on her novel The Criminal Lu Yanshi 陆犯焉识, and One Second 一秒钟, also based on that novel.
Ms. Yan has also written numerous scripts based on her own and other authors' work, both in English and Chinese, including a script for a biopic on the iconic Peking opera star Mei Lanfang for director Chen Kaige (released as Forever Enthralled 梅兰芳) starring Leon Lai and Zhang Ziyi. She wrote the script for Dangerous Liaisons 危險關係, a Chinese-language film directed by South Korean director Hur Jin-ho and starring Zhang Ziyi, Jang Dong Gun and Cecilia Cheung. Her novel Fang Hua 芳华 is the basis a film of the same name (English title Youth) directed by Chinese director Feng Xiaogang 冯小刚. Her novel A City Called Macau 妈阁是座城 was made into a film directed by Li Shaohong 李少红, released in 2018.
Geling Yan a member of the Academy of Motion Picture Arts and Sciences and of France's Société des Gens de Lettres. She is affiliated with the Hollywood screenwriters' union, Writers' Guild of America, west, and is a former member of the Chinese Writers' Association (中国作家协会).
Geling Yan went to the United States at the end of 1989 for graduate study. She holds a Master's in Fine Arts in Fiction Writing from Columbia College, Chicago. To date she has published over 40 books in various editions in Mainland China, Taiwan, Hong Kong, the US, the UK and elsewhere; has won over 30 literary and film awards; and has had her work adapted or written scripts for numerous film, TV and radio works. Her works have been translated into twenty-one languages: Arabic, Bulgarian, Czech, Dutch, English, Farsi, French, German, Hebrew, Italian, Japanese, Korean, Portuguese, Romanian, Russian, Spanish, Swedish, Thai, Uyghur, and Vietnamese, and her English-language novel The Banquet Bug/The Uninvited was translated into Chinese. She currently lives in Berlin, Germany.
She has been subject to an unofficial but effective ban in China since March 2020, when she wrote and promulgated an essay on the Chinese government's initial handling of COVID-19. Her future Chinese-language work will be published by her own publishing company, New Song Media GmbH.
For non-Chinese language publishing she is represented by Agence Astier-Pécher.
After serving for over a decade with the PLA (including tours in Tibet and as a war correspondent during the Sino-Vietnam border conflict), Ms. Yan was discharged with a rank equivalent to Lieutenant Colonel. She published her first novel in 1986 and ever since has produced a steady stream of novels, short stories, novellas, essays and scripts. Her best-known novels in English are The Secret Talker, published by HarperCollins; Little Aunt Crane published in the UK by Random House affiliate Harvill Secker; The Flowers of War, published in the U.S. by The Other Press and elsewhere by Random House's Harvill Secker; The Banquet Bug (The Uninvited in its UK edition - written directly in English); and The Lost Daughter of Happiness, (translated by Cathy Silber) both published by Hyperion in the US and Faber & Faber in the UK. She has also published a novella and short story collection called White Snake and Other Stories, translated by Lawrence A. Walker and published by Aunt Lute Books.
Many of Geling Yan's works have been adapted for film and television, including internationally distributed films Xiu Xiu: The Sent-Down Girl (directed by Joan Chen) and Siao Yu (directed by Sylvia Chang; produced by Ang Lee). Chinese director Zhang Yimou made The Flowers of War, a big-budget film based on her work set during the 1937 Rape of Nanking, starring Academy Award winning actor Christian Bale; Coming Home 归来, based on her novel The Criminal Lu Yanshi 陆犯焉识, and One Second 一秒钟, also based on that novel.
Ms. Yan has also written numerous scripts based on her own and other authors' work, both in English and Chinese, including a script for a biopic on the iconic Peking opera star Mei Lanfang for director Chen Kaige (released as Forever Enthralled 梅兰芳) starring Leon Lai and Zhang Ziyi. She wrote the script for Dangerous Liaisons 危險關係, a Chinese-language film directed by South Korean director Hur Jin-ho and starring Zhang Ziyi, Jang Dong Gun and Cecilia Cheung. Her novel Fang Hua 芳华 is the basis a film of the same name (English title Youth) directed by Chinese director Feng Xiaogang 冯小刚. Her novel A City Called Macau 妈阁是座城 was made into a film directed by Li Shaohong 李少红, released in 2018.
Geling Yan a member of the Academy of Motion Picture Arts and Sciences and of France's Société des Gens de Lettres. She is affiliated with the Hollywood screenwriters' union, Writers' Guild of America, west, and is a former member of the Chinese Writers' Association (中国作家协会).
Geling Yan went to the United States at the end of 1989 for graduate study. She holds a Master's in Fine Arts in Fiction Writing from Columbia College, Chicago. To date she has published over 40 books in various editions in Mainland China, Taiwan, Hong Kong, the US, the UK and elsewhere; has won over 30 literary and film awards; and has had her work adapted or written scripts for numerous film, TV and radio works. Her works have been translated into twenty-one languages: Arabic, Bulgarian, Czech, Dutch, English, Farsi, French, German, Hebrew, Italian, Japanese, Korean, Portuguese, Romanian, Russian, Spanish, Swedish, Thai, Uyghur, and Vietnamese, and her English-language novel The Banquet Bug/The Uninvited was translated into Chinese. She currently lives in Berlin, Germany.
She has been subject to an unofficial but effective ban in China since March 2020, when she wrote and promulgated an essay on the Chinese government's initial handling of COVID-19. Her future Chinese-language work will be published by her own publishing company, New Song Media GmbH.
For non-Chinese language publishing she is represented by Agence Astier-Pécher.
Ratings & Reviews
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Displaying 1 - 21 of 21 reviews
February 23, 2018
比电影好看太多了，也写实、残酷太多了，于是觉得有点儿短。
语调不紧不慢，仿佛置身事外，导致一早觉得这个口气很有距离感，但后来却喜欢这种叙事法，也终于明白电影开场那句“这个故事是属于他们的”——相比电影来说，这本书整体都有一种刘峰的气质：我与你接近，你却与我无关。
语调不紧不慢，仿佛置身事外，导致一早觉得这个口气很有距离感，但后来却喜欢这种叙事法，也终于明白电影开场那句“这个故事是属于他们的”——相比电影来说，这本书整体都有一种刘峰的气质：我与你接近，你却与我无关。
December 30, 2017
文笔流畅，只是觉得不够深刻
January 27, 2018
我不喜欢这本书，但这本书让我爱上了那代人的青春。
故事没有具体的时间线，看起来像是一个个小故事穿起来的，读起来稍微有点凌乱，但主题让人震撼。
不同于其他的小说，这本书揭露的是人性的两面性和社会的黑暗面。
何谓真情？何谓青春？何谓爱？何谓永恒？
读完这本书之后，我觉得自己真的还差的太远，没有经历，根本不配谈论爱和永恒。
青春就是把爱藏在一个个小甜饼里，青春就是有讨厌的人毫无忌惮地骂，青春就是拥有着美貌疯狂的随性挥霍……
刘峰到死都没有爱上悉心照料他的小曼，因为他心里有一个完美的林丁丁。
尽管曾经爱过，被伤过，痛过，
但一生的真情真的只够给一个人。
一生只够爱一个人，那个你在年少无知的时候放肆的爱过的人。
故事没有具体的时间线，看起来像是一个个小故事穿起来的，读起来稍微有点凌乱，但主题让人震撼。
不同于其他的小说，这本书揭露的是人性的两面性和社会的黑暗面。
何谓真情？何谓青春？何谓爱？何谓永恒？
读完这本书之后，我觉得自己真的还差的太远，没有经历，根本不配谈论爱和永恒。
青春就是把爱藏在一个个小甜饼里，青春就是有讨厌的人毫无忌惮地骂，青春就是拥有着美貌疯狂的随性挥霍……
刘峰到死都没有爱上悉心照料他的小曼，因为他心里有一个完美的林丁丁。
尽管曾经爱过，被伤过，痛过，
但一生的真情真的只够给一个人。
一生只够爱一个人，那个你在年少无知的时候放肆的爱过的人。
August 27, 2018
一个好人的平凡的一生 却其实波澜壮阔犹如史诗
电影还是停留在了坎坷但似乎迎来了幸福的瞬间，而小说则真实的撕去了一切幻想，大时代的背景下，有弄潮儿，但更多的可能是被时代车轮碾过而没有一丝痕迹的普罗大众
电影还是停留在了坎坷但似乎迎来了幸福的瞬间，而小说则真实的撕去了一切幻想，大时代的背景下，有弄潮儿，但更多的可能是被时代车轮碾过而没有一丝痕迹的普罗大众
March 11, 2026
從小看過無數眷村故事、白色恐怖小說，也追過馮小剛的電影。嚴歌苓的《芳華》，我是在台北誠品買的簡體版──雖然封面樸素，但一翻開就停不下來。讀完後，我反覆想著那些女孩的「芳華」到底去了哪裡。
這本書在台灣不算冷門，尤其馮小剛同名電影上映後，很多人都好奇原著小說到底多狠、多真。故事以第一人稱「蕭穗子」視角，講述上世紀七十年代末，一群從全國各地挑選來的文藝少年少女，進入西南某部隊文工團。他們會跳舞、會唱歌、會寫詩，表面上過著集體主義的浪漫生活，骨子裡卻是青春的暗湧、階級的暗算、時代的暗箭。
嚴歌苓的筆觸極其細膩又殘酷，她不喊口號、不煽情，只用最日常的細節──一雙磨破的舞鞋、一句不經意的閒話、一場突然的批鬥──就把那個時代的荒誕與溫柔全挖出來。這種「冷眼旁觀卻心疼到底」的寫法，在台灣讀來特別有共鳴，因為我們自己的文學傳統，從白先勇的《孽子》到朱天文的《荒人手記》，也最擅長用細碎的生活碎屑，堆出時代的巨大傷口。
這本書最大的特點，是它對「軍人家庭」與「青春被國家徵用」的描寫。我們台灣也有眷村文學、也有軍中故事（像《我的少年時代》或侯孝賢電影裡的那些大頭兵），但《芳華》裡的文工團女孩們，命運更殘酷一層：她們不是普通軍眷，她們是「文藝兵」，青春直接被打包成宣傳工具。郝淑雯的驕傲、何小曼的卑微、林丁丁的算計……這些女孩的愛恨，背後全是文革尾聲與改革開放大潮的拉扯。我讀著讀著，就想起台灣戒嚴時期那些被「黨國」徵召的文藝青年，他們的才華也曾經被框在「反共抗俄」的大旗底下。兩岸的年輕人，其實都曾經把最美的芳華，獻給了一個時代的「大敘事」，只是中國這邊多了一層「階級鬥爭」的血腥，台灣這邊則多了「白色恐怖」的陰影。嚴歌苓寫得那麼真，讓我忍不住替她們心疼，也替我們自己那一輩的前輩心疼。
電影版我當然也看了，馮小剛拍得漂亮，但小說更狠、更深。電影把焦點放在「懷舊」與「致敬」，小說卻把刀子直插進人性的暗處──友情如何變質、愛情如何被階級出賣、青春如何在一次次政治運動裡被消耗。尤其何小曼那條線，讀完讓我徹夜難眠。嚴歌苓自己就是文工團出身，這本書帶著強烈的自傳色彩，卻又跳脫出來，用「蕭穗子」的旁觀視角，把四十多年後的悔悟與寬恕，輕輕放在最後。那種「我回頭看自己青春」的蒼涼感，特別像一部跨海的《牯嶺街少年殺人事件》──同樣是青春、同樣是暴力、同樣是時代把人壓扁後留下的餘韻。
要說缺點，大概就是結局稍稍收得快了一點，讓人還想知道這些人改革開放後的後半生。但也正因為留白，才更像真實的人生。
總之，讀這本《芳華》，是一種既心疼又療癒的經驗。它讓我們看見中國那個時代的傷口，也照見自己歷史的影子。推薦給所有喜歡眷村故事、喜歡嚴歌苓的讀者──即使你沒看過電影，也會被這些女孩的芳華徹底打動。因為在任何時代，能把青春活得那麼用力、那麼真實，就是一種勝利。
這本書在台灣不算冷門，尤其馮小剛同名電影上映後，很多人都好奇原著小說到底多狠、多真。故事以第一人稱「蕭穗子」視角，講述上世紀七十年代末，一群從全國各地挑選來的文藝少年少女，進入西南某部隊文工團。他們會跳舞、會唱歌、會寫詩，表面上過著集體主義的浪漫生活，骨子裡卻是青春的暗湧、階級的暗算、時代的暗箭。
嚴歌苓的筆觸極其細膩又殘酷，她不喊口號、不煽情，只用最日常的細節──一雙磨破的舞鞋、一句不經意的閒話、一場突然的批鬥──就把那個時代的荒誕與溫柔全挖出來。這種「冷眼旁觀卻心疼到底」的寫法，在台灣讀來特別有共鳴，因為我們自己的文學傳統，從白先勇的《孽子》到朱天文的《荒人手記》，也最擅長用細碎的生活碎屑，堆出時代的巨大傷口。
這本書最大的特點，是它對「軍人家庭」與「青春被國家徵用」的描寫。我們台灣也有眷村文學、也有軍中故事（像《我的少年時代》或侯孝賢電影裡的那些大頭兵），但《芳華》裡的文工團女孩們，命運更殘酷一層：她們不是普通軍眷，她們是「文藝兵」，青春直接被打包成宣傳工具。郝淑雯的驕傲、何小曼的卑微、林丁丁的算計……這些女孩的愛恨，背後全是文革尾聲與改革開放大潮的拉扯。我讀著讀著，就想起台灣戒嚴時期那些被「黨國」徵召的文藝青年，他們的才華也曾經被框在「反共抗俄」的大旗底下。兩岸的年輕人，其實都曾經把最美的芳華，獻給了一個時代的「大敘事」，只是中國這邊多了一層「階級鬥爭」的血腥，台灣這邊則多了「白色恐怖」的陰影。嚴歌苓寫得那麼真，讓我忍不住替她們心疼，也替我們自己那一輩的前輩心疼。
電影版我當然也看了，馮小剛拍得漂亮，但小說更狠、更深。電影把焦點放在「懷舊」與「致敬」，小說卻把刀子直插進人性的暗處──友情如何變質、愛情如何被階級出賣、青春如何在一次次政治運動裡被消耗。尤其何小曼那條線，讀完讓我徹夜難眠。嚴歌苓自己就是文工團出身，這本書帶著強烈的自傳色彩，卻又跳脫出來，用「蕭穗子」的旁觀視角，把四十多年後的悔悟與寬恕，輕輕放在最後。那種「我回頭看自己青春」的蒼涼感，特別像一部跨海的《牯嶺街少年殺人事件》──同樣是青春、同樣是暴力、同樣是時代把人壓扁後留下的餘韻。
要說缺點，大概就是結局稍稍收得快了一點，讓人還想知道這些人改革開放後的後半生。但也正因為留白，才更像真實的人生。
總之，讀這本《芳華》，是一種既心疼又療癒的經驗。它讓我們看見中國那個時代的傷口，也照見自己歷史的影子。推薦給所有喜歡眷村故事、喜歡嚴歌苓的讀者──即使你沒看過電影，也會被這些女孩的芳華徹底打動。因為在任何時代，能把青春活得那麼用力、那麼真實，就是一種勝利。
October 15, 2020
让众人感到神一般存在的刘峰，在文工团是给女演员伸胳膊蹬腿翻筋斗练功的陪练——“托举哥”。这一职业就他所在的单位来说，靠业务能力难有出头之日。好在他待人和善、乐于助人，获得荣誉无数，被誉为“活雷锋”。就是这么一位几乎毫无毛病的活生生的人，被一干同事“感到不真实”，对他利用、讽刺、暧昧，最后终于倒在了“杨柳腰”上坏了金身。众人似乎喜闻乐见神像的倒塌，除了何小曼------这个有着一头浓密头发带着体味的女孩。
大众批判是那个时代司空见惯的事情。对这个平时帮助过自己的人，人们并没有口下留情，当然除了何小曼。逃离是刘峰唯一的选择，甚至想到了死，想在战场上死去，最后却仅伤残活了下来。在被流放之前，唯一去看望他的同事也是何小曼——这个当时并不入他法眼的女人。不过因这机缘把他那一箱子荣誉证书和奖章，丢给何小曼处置。他不能靠业务能力上位，也失去了政治觉悟上升的通道，这些奖章奖状对他而言毫无用处了。复员后他投身商海，仍以一己之力援助发廊妹，帮她做了几年好人。这说明他乐于助人是出自内心的，即便在离开了那种生存体制后仍然存在。
何小曼发疯是这本书比较有意思的环节。原本在战场上搀扶伤员一截路的护士，被军宣发扬放大如刘晓庆在《小花》
李谷一-绒花(电影《小花》插曲)
来源: 爱奇艺
里面背、拖、爬几十里路的情节，让她也当上了英模。不过小曼却在英模事迹报告会上发了疯，盛名之下其实难“负”，她在两千尸体中翻趴寻找刘峰的恐惧都没能让她发疯，却在莫大荣耀的报告会上发作了，这对比实在是太讽刺了。她上战场，很大可能是因为刘峰，正因为后来她定居北京一样也是为了离刘峰近些。而救助伤员，仅仅是她偶然碰到后下意识的反应，和刘峰一样出自本心，并没有过多功利权衡。这样一种人之常情的本能行为被拔到这么一个高度，怕是小曼自己万万想不到的，也难以承受的。
刘峰因是劳模被落井下石，小曼因本能救助之举被捧上神殿导致精神分裂，前者是众人承受不了神的存在，后者是自己承受不了。名誉在这个世上被颠倒，每个人都难以承受。 与其说人造的神失去了信徒，不如说是信仰毁灭预示着新时代的来临。
大众批判是那个时代司空见惯的事情。对这个平时帮助过自己的人，人们并没有口下留情，当然除了何小曼。逃离是刘峰唯一的选择，甚至想到了死，想在战场上死去，最后却仅伤残活了下来。在被流放之前，唯一去看望他的同事也是何小曼——这个当时并不入他法眼的女人。不过因这机缘把他那一箱子荣誉证书和奖章，丢给何小曼处置。他不能靠业务能力上位，也失去了政治觉悟上升的通道，这些奖章奖状对他而言毫无用处了。复员后他投身商海，仍以一己之力援助发廊妹，帮她做了几年好人。这说明他乐于助人是出自内心的，即便在离开了那种生存体制后仍然存在。
何小曼发疯是这本书比较有意思的环节。原本在战场上搀扶伤员一截路的护士，被军宣发扬放大如刘晓庆在《小花》
李谷一-绒花(电影《小花》插曲)
来源: 爱奇艺
里面背、拖、爬几十里路的情节，让她也当上了英模。不过小曼却在英模事迹报告会上发了疯，盛名之下其实难“负”，她在两千尸体中翻趴寻找刘峰的恐惧都没能让她发疯，却在莫大荣耀的报告会上发作了，这对比实在是太讽刺了。她上战场，很大可能是因为刘峰，正因为后来她定居北京一样也是为了离刘峰近些。而救助伤员，仅仅是她偶然碰到后下意识的反应，和刘峰一样出自本心，并没有过多功利权衡。这样一种人之常情的本能行为被拔到这么一个高度，怕是小曼自己万万想不到的，也难以承受的。
刘峰因是劳模被落井下石，小曼因本能救助之举被捧上神殿导致精神分裂，前者是众人承受不了神的存在，后者是自己承受不了。名誉在这个世上被颠倒，每个人都难以承受。 与其说人造的神失去了信徒，不如说是信仰毁灭预示着新时代的来临。
October 13, 2017
青春里的东西真该这样一笔笔记下来。
March 10, 2018
文笔优美，但在追求长句的情况下缺乏流畅性。严歌苓用较为简单朴实的文字写下了深刻的，有血有肉的自我论述，不过太过于个人而不够客观，也许这正是此书打动人的地方吧，但在反映文化大革命那一代年轻人的真实描摹上有所欠缺。
January 9, 2018
好多入微的小细节，可以看到作者的生活观察功底。但有的地方就觉得累赘，太慢。聚会时回观以往的丑陋的面目，一种批判，印象很深。
July 10, 2018
Come to this book because of the movie, but get slightly disappointed.
July 28, 2018
最后体会到了“You Touched Me”的含义。数十年巨大且荒诞的社会变迁之中，正是那几条纤细却坚韧的感情线，串联起了几个战友的一生。
October 11, 2018
太喜欢严歌苓近乎冷酷的理性，对人性的阴暗毫无畏惧，不动声色地摊开给人看，她到底有多强大的内心才能这样写故事啊！
December 29, 2018
比电影好看很多，更加深刻，也让我开始体会到严歌苓作品的魅力。之后读的是陆犯焉识，强烈推荐
April 26, 2019
YOU TOUCHED ME .
一本有鲜明时代特色的书。
一本有鲜明时代特色的书。
October 20, 2020
东拉西扯叙事方式糟糕，油腻黏糊又刻薄。
February 13, 2021
总是被严歌苓的作品打动
May 25, 2024
你自己都说不明白为什么做这些事，但你就是做了，几十年后才明白，那就是青春里复杂摸不清的人性。严歌苓的文字神似陀思妥耶夫斯基。
May 7, 2025
读的上瘾。怎么这么短啊！拿陆犯焉识百分之一的功夫来写多点儿不好吗！！
February 22, 2024
文笔有力量。中间写给小曼吃鸡嗉子里米饭啥的时候给我看干呕了 ，当时正赶上发烧头也晕 吃一点东西就想吐
January 19, 2018
Maybe it's just me and my lack of appreciation for 严歌苓 's writing style in which she always chooses to put herself into the story as a narrator, but I really felt that the recently released movie of this book actually managed to be better than the book itself. But either way, this story serves as an important window into the events that went on during the era in which my parents were in their 芳华 :)
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February 14, 2018电影热映但妈妈似乎对不想看情感强烈，应用上有书便说翻开看看，但很勉强才停下来；今天发现其实已经读了大半，于是直接读完了。一个年代一个群体的青春故事，但这么说大约过于轻佻了，毕竟于他们是生活更是相当程度上决定了他们余生的那些年那些事。叙事从他们中一员的视角进行，却是多年后记录回忆的形式，不是线性的时间，甚至都不是完全按人物叙述，语气也是极似旁观的角度，于是更有真实感，也更突出了当时到“现在”的时间流逝。语言不煽情甚至极少外露的感慨，包含的是难以言明的情绪，比如被触动很喜欢的一段：“...笑得嘎嘎响。不快乐的人，都懂得我们这样的笑。放下了包袱，破碎了梦想，就是那种笑。笑我们曾经认真过的所有事儿。...明明破罐子，也破摔不起，摔了连破的都没了，那种笑。”
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