It would be too superficial to characterize Lu Yingmeng as a mistress just because Xu Shizhe and Zhang Wanyi are married, and then dislike such a character.

In fact, before Xu Shizhe fell in love with Zhang Wanyi, he and Lu Yingmeng were the most co-starring "sexual partner" relationship, commonly known as "pao friends". They may have everything, but there is no love. Therefore, the relationship between the two is very relaxed and pleasant. They can talk about art, aesthetics, poetry, etc. all day, and of course they have to have sex while talking.

Neither of them thinks there is anything sacred about having sex. People need to eat and drink water, and of course they also need to have sex.

Lu Yingmeng didn't care that Xu Shizhe had many "sex partners" because she also had many lovers, among which the lover gave up his family and wanted to marry her because he fell in love with her during physical communication, but he was undoubtedly rejected by Lu Yingmeng, who just wanted to make her life light and light.

For countless men, her versatile and stunning beauty is like a poppy, which makes people addicted. But after being addicted, she wants to get closer to her, but she finds that she is like a cloud in the sky, drifting farther and farther away, she is obviously addicted to drugs, but after being forced to quit drugs, the extreme pain...

The lover who gave up her family for her found that her past obsession with marriage was ridiculous and purely an unnecessary hypothesis. Perhaps if she wanted to be with Lu Yingmeng forever, she had to become a person like Xu Shizhe who could completely separate the spirit and flesh.

In summary, "Love and Sex" appears to be a triangular love story of a man and two women. Various H descriptions make it a magical material for solving the desires of single dogs in this era, but it is essentially a philosophical novel. As long as readers look at the essence through H, they will fall into thinking about a series of problems, such as lightness and heaviness, spirit and flesh, emotion and sex.

In the book, Wang Defu proposed a series of survival codes such as emotion, nature, spirit, flesh, memory, and weakness, and corresponded to the characters one by one, supporting their respective living conditions, showing the duality between the mind and the body.

And each keyword is a aspect of the different possibilities of the characters.

Possibility is the most positive way to fight one-time, so his masterpiece can be seen as a disintegration of self-righteousness.

Due to the lack of absolute meaning, life has become without support and support, and is even less certain than feathers flying in the wind.

Therefore, the ending of the novel will certainly make readers feel confused. In order to reflect the impermanence of life, Xu Shizhe and Zhang Wanyi finally got together again and died in a car accident. At that time, Zhang Wanyi chose to leave because she could not tolerate Xu Shizhe's behavior. Xu Shizhe finally discovered that he actually cared more about "love" than "sex".

Unfortunately, whether they can be together perfectly is controlled by a pen from Wang Defu.

The reason why he thought of such an ending was of course to end it when it was finished. The protagonist is dead, so what else should I write?

It can only be said that even awesome writers can make readers feel that this ending has a "deep meaning" and symbolizes the impermanence of life.

As for Lu Yingmeng, she obviously hates loyalty and any kitsch that pleases the public, but it is worth ironic that her profession is an actress. In life, she refuses kitsch, but on the screen, she is always in kitsch.

When human existence, everyone pursues the meaning of life differently and has different ways.

In the book, Wang Defu tried different ways of choosing the meaning of life through Xu Shizhe and Lu Yingmeng. The common feature of the two is the rebellion against "kids".

Wang Defu believes that kitsch is a common problem in human beings, and it is an act of pleasing the public and winning the society by lying and destroying personality.

In the works, Xu Shizhe and Lu Yingmeng both embody anti-"kids" vulgarity".

The difference is that Xu Shizhe denies "kittenance" with a kind of superficial concessional resistance; while Lu Yingmeng is a betrayal and a runaway resistance.

But in the end, they could not break free from the "kittenance", just like his "Love and Sex". If there is no kitsty content to please readers, how many people will come to read his works? The philosophical thinking he wants to express naturally cannot be conveyed to more readers.

Of course, the pure literature of Qu Gao and Wu can't be liked by everyone. For ordinary readers, it is enough to just be a book of hooking up by romantic poets. As long as they become the male protagonist, it is of course very pleasant. Which man doesn't fantasize about his top-notch appearance and talent, and a girl will post it if he hooks his fingers?

It is certainly not as easy for other writers to write the character of the poet's protagonist as Wang Defu. Unless the writer is good at writing poetry, otherwise if you just use words to describe how talented the poet is, but you can't come up with any works to press on his head, then this description is empty and powerless.

Wang Defu directly pressed "Farewell to Cambridge", "Accidental" and "A Night of Fei Leng Cui" on Xu Shizhe. Those literary and artistic young people who like modern poetry in this era would never have thought that they would go to a masterpiece to look for poetry one day.

Wang Defu spent a week finally writing the opening of "Love and Sex". One of the highlights in it is "Farewell to Cambridge", which attracts literary and artistic youth. For ordinary readers, the highlight of the opening is of course the male protagonist playing a foreign horse abroad. He used delicate brushstrokes to depict a blonde beauty with a hot figure. Her style in bed is different from that of an oriental woman, which can definitely attract readers who have never been to eat foreign meat.

After all, there are no European and American cat films in this era, and there is no vernacular about how Chinese men make foreign girls. This is why Wang Defu is confident that his opening can attract ordinary readers.

After finishing the opening, Wang Defu also thought of a pseudonym for himself to conceal his true identity. Although the New Culture Movement is now vigorous, his "Love and Sex" is still too explicit, and may be reader who cannot understand the profound connotation of his work. After masturbating, he scolded him for being vulgar, so the pseudonym is very necessary.

Wang Defu thought for a moment and came up with an interesting pseudonym - Ms. Yiren.

Don’t think this pseudonym is strange. In fact, male literati in the Republic of China period of Wang Defu once seemed to be eager for women’s clothing in their hearts, so they happily added the word “Ladies” to their feminine pseudonym.

For example, Mao Dun has a pen name "Ms. Feng Xu", Liu Bannong has a pen name "Ms. Fan Nudong", Zhou Zuoren has a pen name "Ms. Pingyun", "Ms. Biluo", Zhao Jingshen has a pen name "Ms. Luming", "Ms. Aisi", and Sun Xizhen has a pen name "Ms. Zhiyun". The most interesting thing is that Liu Yazi, the old poet, actually has a pen name "Ms. Songling".

Some female literati in the Republic of China probably didn't stand the phenomenon that some male literati used feminine pseudonyms at that time, so some real female literati gave themselves masculine pseudonyms, such as the female writer Bing Xin. She may have been moved by this and wrote articles under the pseudonym of "men", which is really full of personality.

Wang Defu is paying tribute to the masters and by the way, he missed the unknown online writer he once liked.

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Second update~~~ Please give me rewards, collections, recommendation tickets~~~!!!
Chapter completed!