Terry Pratchett's 2001 Carnegie Medal Winner Speech

I’m pretty sure that the publicists for this award would be quite happy if I said something controversial, but it seems to me that giving me the Carnegie medal is controversial enough. This was my third attempt. Well, I say my third attempt, but in fact I just sat there in ignorance and someone else attempted it on my behalf, somewhat to my initial dismay.

The Amazing Maurice is a fantasy book. Of course, everyone knows that fantasy is 'all about' wizards, but by now, I hope, everyone with any intelligence knows that, er, what everyone knows...is wrong.

Fantasy is more than wizards. For instance, this book is about rats that are intelligent. But it also about the even more fantastic idea that humans are capable of intelligence as well. Far more beguiling than the idea that evil can be destroyed by throwing a piece of expensive jewellery into a volcano is the possibility that evil can be defused by talking. The fantasy of justice is more interesting that the fantasy of fairies, and more truly fantastic. In the book the rats go to war, which is, I hope, gripping. But then they make peace, which is astonishing.

In any case, genre is just a flavouring. It's not the whole meal. Don't get confused by the scenery.

A novel set in Tombstone, Arizona, on October 26, 1881 is what– a Western? The scenery says so, the clothes say so, but the story does not automatically become a Western. Why let a few cactuses tell you what to think? It might be a counterfactual, or a historical novel, or a searing literary indictment of something or other, or a horror novel, or even, perhaps, a romance – although the young lovers would have to speak up a bit and possibly even hide under the table, because the gunfight at the OK corral was going on at the time.

We categorize too much on the basis of unreliable assumption. A literary novel written by Brian Aldiss must be science fiction, because he is a known science fiction writer; a science fiction novel by Margaret Attwood is literature because she is a literary novelist. Recent Discworld books have spun on such concerns as the nature of belief, politics and even of journalistic freedom, but put in one lousy dragon and they call you a fantasy writer.

This is not, on the whole, a complaint. But as I have said, it seems to me that dragons are not really the pure quill of fantasy, when properly done. Real fantasy is that a man with a printing press might defy an entire government because of some half-formed belief that there may be such a thing as the truth. Anyway, fantasy needs no defence now. As a genre it has become quite respectable in recent years. At least, it can demonstrably make lots and lots and lots of money, which passes for respectable these days. When you can by a plastic Gandalf with kung-fu grip and rocket launcher, you know fantasy has broken through.

But I’m a humourous writer too, and humour is a real problem.

It was interesting to see how Maurice was reviewed here and in the US. Over there, where I've only recently made much of an impression, the reviews tended to be quite serious and detailed with, as Maurice himself would have put it, 'long words, like "corrugated iron."' Over here, while being very nice, they tended towards the 'another wacky, zany book by comic author Terry Pratchett'. In fact Maurice has no wack and very little zane. It's quite a serious book. Only the scenery is funny.

The problem is that we think the opposite of funny is serious. It is not. In fact, as G K Chesterton pointed out, the opposite of funny is not funny, and the opposite of serious is not serious. Benny Hill was funny and not serious; Rory Bremner is funny and serious; most politicians are serious but, unfortunately, not funny. Humour has its uses. Laughter can get through the keyhole while seriousness is still hammering on the door. New ideas can ride in on the back of a joke, old ideas can be given an added edge.

Which reminds me... Chesterton is not read much these days, and his style and approach belong to another time and, now, can irritate. You have to read in a slightly different language. And then, just when the 'ho, good landlord, a pint of your finest English ale!' style gets you down, you run across a gem, cogently expressed. He famously defended fairy stories against those who said they told children that there were monsters; children already know that there are monsters, he said, and fairy stories teach them that monsters can be killed. We now know that the monsters may not simply have scales and sleep under a mountain. They may be in our own heads.

In Maurice, the rats have to confront them all: real monsters, some of whom have many legs, some merely have two, but some, perhaps the worse, are the ones they invent. The rats are intelligent. They're the first rats in the world to be afraid of the dark, and they people the shadows with imaginary monsters. An act of extreme significance to them is the lighting of a flame.

People have already asked me if I had the current international situation in mind when I wrote the book. The answer is no. I wouldn't insult even rats by turning them into handy metaphors. It's just unfortunate that the current international situation is pretty much the same old dull, stupid international situation, in a world obsessed by the monsters it has made up, dragons that are hard to kill. We look around and see

foreign policies that are little more than the taking of revenge for the revenge that was taken in revenge for the revenge last time. It's a path that leads only downwards, and still the world flocks along it. It makes you want to spit. The dinosaurs were thick as concrete, but they survived for one hundred and fifty million years and it took a damn great asteroid to knock them out. I find myself wonder wondering now if intelligence comes with its own built-in asteroid.

Of course, as the aforesaid writer of humourous fantasy I'm obsessed by wacky, zany ideas. One is that rats might talk. But sometimes I'm even capable of weirder, more ridiculous ideas, such the possibility of a happy ending. Sometimes, when I'm really, really wacky and on a fresh dose of zany, I'm just capable of entertaining the fantastic idea that, in certain circumstances, Homo Sapiens might actually be capable of thinking. It must be worth a go, since we've tried everything else.

Writing for children is harder than writing for adults, if you're doing it right. What I thought was going to be a funny story about a cat organizing a swindle based on the Pied Piper legend turned out to be a major project, in which I was aided and encouraged and given hope by Philippa Dickinson and Sue Coates at Doubleday or whatever they're calling themselves this week, and Anne Hoppe of HarperCollins in New York, who waylaid me in an alley in Manhattan and insisted on publishing the book and even promised to protect me from that most feared of creatures, the American copy editor.

And I must thank you, the judges, in the hope that your sanity and critical faculties may speedily be returned to you. And finally, my thanks to the rest of you, the loose agglomeration of editors and teachers and librarians that I usually refer to, mostly with a smile, as the dirndl mafia. You keep the flame alive.

Links are updated!

I finally connected and updated links between my Notes pages for Stars of Chaos!

Stars of Chaos - All The Notes List

All The Seven Seas Books Masterlist

I hope you enjoy them and find them useful.

And let me know if anyone wants an Audio Guide to the names, like I did for Erha.

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stars of chaos priest

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weishenmewwx

1 year ago

“If I can play a monkey and shoot illogical dramas, how difficult can these problems be?”

Words to live by 🥰

I love you, 朱一龙！

Zhu Yilong: No time to swell

EN translation of Zhu Yilong's Esquire Sept 2018 Cover Issue Feature Interview by wenella

朱一龙：我来不及膨胀

Zhu Yilong: No time to swell

ESQ: When did you realise that you became popular?

Zhu Yilong: I was filming (note: My True Friend) so I didn't feel anything... But when I went to record Happy Camp in Changsha, I was shocked to see so many people at the airport. Even the police was mobilised.

ESQ: Your fans praise you for maintaining the integrity of your acting despite a bad script. How did you do it? What do you think of imperfect dramas?

Zhu Yilong: I managed to develop pretty good tolerance over the years. If the script isn't great or is illogical, I will sort out the character's development and his lines to make it better. If not, it will be impossible to act.

ESQ: How do you feel about your previous acting experiences?

Zhu Yilong: How many good dramas are produced in a year now? Good dramas that excite audiences, that are praised by the industry, that feature excellent actors & directors? Probably one drama a year? With such limited good productions, it is hard for actors to land themselves in good roles. In fact, even though many actors are constantly acting in new shows, they rarely get the chance to play a role that they they really want. Well, one can choose to say, "I will not act if it isn’t a role that I like." But if you don’t act, who will approach you with roles in the future? If I didn’t accumulate a decade of acting experiences after graduating, how can I be sure that I will do well when I receive a a good script? Hypothetically, I could have taken up my role in Guardian even as a fresh graduate, but the result would definitely be different.

ESQ: Probably a tricky question; what motivated you to create your role as Savage in Hunting Savage (2011)?

Zhu Yilong: I was quite resistant initially. I thought, a savage? How do I play a savage? When I first started, I felt that I had to sort out the character's story. I was on very good terms with the director and we came to a consensus: let's just have fun. And we did.

ESQ: What did you learn from this experience?

Zhu Yilong: That all actors need experiences like this. It will help to build your resilience. After filming Hunting Savage, I found it easier to face other problems. I mean, what problems? If I can play a monkey and shoot illogical dramas, how difficult can these problems be? Therefore, whenever I encounter any problems with my scripts now, it isn't as devastating as before. I am able to resolve the issues. I have a better mindset and I do not shy away from any difficulties or challenges.

ESQ: Can you share if there were any dramas or roles played by you that were integral in shaping your acting style and approach?

Zhu Yilong: There are three shows. "Family Banquet," "Love for Three Lifetimes," and "The Story of Minglan."

Let’s start with Family Banquet. Feng Douzi’s personality is really different from mine. He is a bad student and all he wants to do is to make money. He sells houses, gets into illegal pyramid schemes; well, he is basically a rascal. I was only a year out of college when I played this character.

Looking back, I was glad that I did it. I can’t possibly do aloof and cool roles all the time. When I acted as Chi Rui in Love for Three Lifetimes, I wasn’t confident as I had very few lines. At that time, audiences often criticized actors for being expressionless. I mean, everyone loves animated and vivid performances, but Chi Rui was written as an aloof, icy, and expressionless character; what could I do about it?

ESQ: So it became a test of your emotional scenes......

Zhu Yilong: Yes, but audiences probably weren't able to understand this. I was very worried during the filming and kept discussing my scenes with the director. In the end, I didn't express Chi Rui's emotions through his facial expressions, but internalized them instead. I took his love & hatred to extremes and differentiated them.

ESQ: How did "The Story of Minglan" impact you?

Zhu Yilong: I tried to do something different in The Story of Minglan; that is, I did not design anything for my character. In the past, I had to be sure of the character’s logic and development before the filming and hence, I'd prepare extensively for my role. This was to ensure that my acting was consistent & logical. But Qi Heng had very limited scenes and the director had full control over the drama's pace. It was hard for me to tell what the eventual result would be like, so I couldn't follow my instinct.

ESQ: So what did you do this time?

Zhu Yilong: I didn't prepare much. When I first joined the set, I kept discussing my role with the director. I asked Director Zhang Kaizhou, "So what do you think of Qiheng?" I trusted him a lot. Director Zhang was very insightful and had a totally different personality from Qi Heng. Thus, he was able to look at this character more objectively. I adjusted my acting according to his demands. And as the filming progressed, I kept reminding myself to be more open-minded.

ESQ: What do you think of the relationship between an actor and good looks?

Zhu Yilong: Firstly, I don't think they contradict one another. There is no correlation between good looks and acting skills. Some genres require actors to look good. If not, it would be hard for the audience to accept them as the character. In film and tv, being good-looking can help an actor enhance the character's charisma, but this is also dependent on how the actor uses his good looks. He can’t behave in a way that impresses on audiences that all he does is to try and look good.

ESQ: You acted in a theatrical adaptation of “Devils on the Doorstep” (Dir. Jiang Wen, 2000) in college?

Zhu Yilong: Yes! I played Er Bozi (Second Neck) and all my lines were in Tangshan dialect. “I have a mouth just like my mum’s; it can’t keep secrets.” The previous version was played by Huang Bo. Several students from my cohort are particularly fond of director Jiang Wen, so we produced a new version.

ESQ: You're different from Jiang Wen. He's more flamboyant than you.

Zhu Yilong: Actually, we are pretty similar. I think flamboyance stems from one’s confidence. If you are like Jiang Wen and made a successful film such as In the Heat of the Sun (1995), you should express yourself confidently; your ideas are probably right as whatever that you say is based on the success of the work. However, if you insist on flaunting despite not having what it takes or if you think that being ignorant is cool, it is impossible for you to gain the recognition of others.

ESQ: Have you ever taken risks in your acting?

Zhu Yilong: I've always taken risks, but not without fear. I think I was a bit more daring when I first started filming. I thought that no one would watch those late-night movies on TV anyway, so I experimented with different acting styles.

ESQ: You’ve picked up some acting techniques by now, such as swallowing fake blood before puking or playing lame by stuffing a rock in your shoe. Why don't you try a smarter method instead? For example., you can get a sense of how it feels to be lame for a few days and you remove the stone from your shoe during the actual filming.

Zhu Yilong: I don't think there are any short cuts to acting. I can definitely try the smarter method. However, after reading the interviews and biographies of foreign actors, I realised that I haven't been able to immerse myself in my role as much as they did. This is something that I hope to achieve. (The former method) may be more harmful for my body, but I feel that it is more meaningful as I get to immerse myself in the character during the filming. If not, what is the point of acting? Using short cuts and techniques? What’s the point?

ESQ: You've played a lot of roles that are very different from yourself. Looking back, do you feel surprised by your performance? Do you feel a sense of accomplishment?

Zhu Yilong: To be honest, those roles aren’t great. I think the characters are rather superficial. Actors can express a range of emotions and play a variety of roles, but it takes a lot more to make a character deep. No actor can play one role today and another role the next day. Every role is contingent on one's experiences; you need to invest time to experience a character’s life.

ESQ: Have you been this sober since you were a kid?

Zhu Yilong: I don't know. In retrospect, it might have something to do with my dad. My dad loves to talk to me about life & values. When I was 13 years old, my dad dragged me into the snow on New Year's Eve and told me that "people need to decide how to lead their entire life." My dad is a loving father; he has never scolded or hit me. Whenever my dad was in a good mood, he’d come to pick me up from school and took me to play games. My mum would chase after us and drag me back home. She’s pretty strict.

ESQ: Your parents treat you very differently.

Zhu Yilong: Yes, I looked better when I was a child. I had curly hair and big eyes. My mum loved to tie my hair into a ponytail, apply red nail polish on my nails, and dress me in skirts or dresses. My dad, who used to practice Sanda, was very upset with my mum over this. He threw me into a Sanda training team as a way of developing my masculinity. Looking back, parental education has a direct impact on a child's development.

ESQ: You said you want life to be simpler, but characters you play to be more complicated. Why?

Zhu Yilong: Because I’m lazy (laughs). Life is so complicated every day. There are so many things to think about, it is tiring. I like a simple life; to keep interactions with people simple. To keep things simple. As for my roles, I like them to be more complicated & layered. I don’t want to play a role that will allow people to predict what will happen to him in the last episode just based on the first.

ESQ: Some people say that your generation of actors debuted at the wrong time.

Zhu Yilong: When we just graduated, the main characters on TV were played by actors such as Sun Honglei and Zhang Jiayi. We could only play their son or younger brother. We didn't have opportunities to play more sophisticated characters as we weren’t senior enough.

And when we finally made it into our 30s to play the roles that we want, audiences seem to prefer very young actors. It is as though we have missed out on something.

ESQ: Do you feel upset?

Zhu Yilong: Not really, I don't think too much about this. I'm neither a young fresh meat nor a veteran actor. If I can't play the role I want, I'll just try something else. I mean, I've played a monkey before, there is nothing that I can’t act, right?

Post translation note: It warms my heart to read a 2018 article and realise how Zhu Yilong has grown closer to his acting goals since then. This interview was probably done in Aug 2018 after Guardian concluded. I like it because it focused a lot on getting Zhu Yilong to express his views on the craft of acting, rather than to answer the usual (and meaningless) questions regarding “high traffic stars” or “idol vs. actor.” Happy reading. If you want to re-translate this thread into another language, pls DM me for permission and credit + share the link to the original post. Thanks!

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guardian zhen hun zhu yilong zhuyilong esquire magazine

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weishenmewwx

1 year ago

(We’re taking a calculus final. The TA is a well-known Lord of the Rings fan, and we’ve had running LotR jokes all semester.)

TA: “Okay, guys, everyone look at me. We’ve been over the rules, but just in case: no notes, pencil your answers in on the scantron sheet, and graphing calculators only – no more ‘can I just used my cell phone’ nonsense.”

Student: “[TA's name], my calculator batteries just died! What should I do?”

TA: “Here, I’ve got a big box of spares.”

Student: *struggling* “I can’t get this packaging open…”

Student 2: “Here, I’ve got a pocket knife.”

TA: “And I’ve got a pair of scissors if you need them.”

Student 3: *from the back of the room* “OR MY AXE!”

(Everyone starts laughing.)

TA: “The only axes allowed on the exam are in the graph section.”

(Everyone groans.)

TA: “Oh, come on, you’re in a math class. Deal with the math jokes.”

(The professor enters with a stack of exams. With him are two exam proctors.)

Professor: “Tolkien jokes already, [TA's name]?”

TA: “Hey, I didn’t start it.”

(The professor starts handing stacks of exams to the TA and proctors.)

Professor: “But I’m about to finish it. [TA], take these exams down the left flank. [Proctor 1], follow the desks down the center. [Proctor 2], take your exams right, along the wall.”

(At this point, many of the students have realized where this is going: Theoden’s lines from ‘Return of the King.’)

Professor: “Forth, and fear no problems! Solve! Solve, students of calculus! Points shall be taken, scores shall be splintered! A pencil day! A red-ink day! Until three thirty!”

(The professor pulls out a pencil, holding it out like a sword, and runs down the first row holding it out. Students hold up their pencils, hitting his as he passes.)

Professor: “Solve now! Solve now! Solve to good grades and the class ending! MAAATH!”

Entire Class: “MAAATH!”

Professor: “MAAAAATH!”

Entire Class: “MAAAAAATH!”

Professor: “Forth, exam-takers!”

(The entire class rises to their feet and gives him a standing ovation. A week later, we get an email from the professor.)

Professor: *at the end of the email* “PS: I appreciate all of you who wrote in their evaluations that I was the one professor to rule them all, but the best one yet was the student who called me ‘Mathrandir.’”

Tags

lord of the rings lotr math good teachers

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weishenmewwx

2 years ago

My new reading list! So far, I’ve got 杀破狼 done.

hunxi’s danmei awards 2.0! (aka 2022 edition)

Featuring the return of some categories such as:

Best Worldbuilding

Best Interrogation of Themes (aka the “Rent-Free Award”)

Best Moment That Wrecked Me (aka the Knifiest Award)

Best Beleaguered Side Character Award

Best Unreliable Narrator

As well as never-before-seen categories like:

Best Himbo

Most Brilliant Moment of Backstabbery

Most Ambitious Scope

Most Heartwrenching Line Delivery in an Audiodrama

…and more!

This year’s candidates in the running:

《小蘑菇》 Xiao Mo Gu by 一十四洲 Yi Shi Si Zhou

《不小心救了江湖公敌》 Bu Xiao Xin Jiule Jianghu Gong Di by 六木乔 Liu Muqiao (有声漫画 audiomanhua season 1)

《无双》 Wu Shuang by 梦溪石 Meng Xishi

《问鹿三千》 Wen Lu San Qian by 光合积木 Voicegem, 吼浪文化 Houlang Studio, and 斗木獬编剧工作室 Doumuxie Screenwriting Studio

《师弟还不杀我灭口》 Shidi Hai Bu Sha Wo Mie Kou by 子鹿 Zi Lu

《默读》 Mo Du by priest

《督主有病》 Du Zhu You Bing by 杨溯 Yang Su

《海中爵》 Hai Zhong Jue by 七药 Qi Yao

《哏儿》 Gen’er by 南北逐风 Nan Bei Zhu Feng

《杀破狼》 Sha Po Lang by priest

《金牌助理之弯弯没想到》 Jin Pai Zhu Li zhi Wan Wan Mei Xiang Dao by (nominally) 非天夜翔 Fei Tian Ye Xiang and (mostly) 传奇火箭队 The Legendary Rocket Team

(unmarked spoilers, including but not limited to these titles, under the cut. for introductions of these titles, click here. for last year’s danmei awards, click here)

Keep reading

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reading list I read danmei list hunxi recommends

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weishenmewwx

3 years ago

WHEN SANITY IS NOT HOME

Starring: DaGe, Director Nie, ErGe, and Yaomei.

Sorry, I can't breathe👻

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mo dao zu shi two-frame animation headbanging

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weishenmewwx

3 years ago

!!!!!!! Now, can anybody tell me about the quality of the translation before I buy copies for all my friends?

Tags

mdzs mxtx novels barnes and noble mxtx books

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weishenmewwx

3 months ago

Stars of Chaos 杀破狼

Volume 4

I finally finished Volume 4! It was great. I love Chang Geng and Gu Yun. And poor Shen Yi and awesome Chen QingXu.

I have a a bunch of little Interesting Cultural Tidbits; maybe two alternative translations; and two places where retaining the webnovel's paragraph breaks would have been very helpful. Here we go:

Yah, so -- they were not planning on visiting friends over the next few days while they were busy infiltrating the rebels; rather, they had, over the last few days, made some good friends and built relations strong enough to make "come over for dinner" seem like a reasonable next step.

No, Gu Yun is not about to eat an American Hamburger; rather, he says that he wants "车大的烧饼把拉车的活驴夹成火烧" which is, roughly, a northern Chinese flatbread sandwich (meat layered between two pieces of flatbread). Word-by-word, this "donkey burger the size of a horse cart is

车大的烧饼flatbread as big as a horse cart

把拉车的活驴 take the live donkey pulling the cart

夹成火烧 and put it in between, to make it into a hot sandwich.

Donkey burger!

Here, Fake Prince Yan is calling his companion, the Fake Xu Ling, "少东家 Young Master" because that's a polite way to refer to your boss's son (or any big boss's son?) when you are talking to him. In normal English, this would read like "Even you have gotten embroiled in this mess."

I think the grammatical tense on this might be off. He hasn't had his birthday yet, so I think it might read more smoothly as "...noodles on his birthday, and he would also have to publicly confess his errors in governance that day." ... 过个生日连碗面都没人给下，还要当着天下痛陈自己执政过错。

Three-headed and six-armed god of war! It's a Nezha reference. You all know Nezha, right? Nezha 哪吒 is my favorite god <3

“Fish in muddy waters" is 浑水摸鱼, which means "to take advantage of a crisis for personal gain" (www.mdbg.net)

This is one my favorite idioms: 瓜田李下， which is short for 瓜田不纳履，李下不整冠, which means "don't fix your shoes in a melon field; and don't adjust your hat/hair-crown in a plum orchard," which we can summarize as "Don't act suspicious."

top: 睁眼说瞎话 eyes open, speak blind words. Blatantly lie. It sounds really cool in Chinese.

bottom: “千金之子，坐不垂堂” I had to look this up. It's a saying from the Han Dynasty. The situation is that roof tiles would sometimes fall and hit anyone sitting below, so they discouraged rich kids from sitting under the eaves where the tiles could fall.

"... and behave yourself!" is a very good translation for the meaning of this sentence.

But it's so much cooler in Chinese: 不准作妖！ which means "don't be a 妖," and 妖 means (mbdg.net again) "goblin / witch / devil / bewitching / enchanting / monster / phantom / demon"

Here's another place where the translation is perfectly good, but 下毒手 is so much cooler. By itself,

毒 = poison, 手 = hand,

下毒手 = to attack murderously / to strike treacherously

You all know the idiom 螳螂捕蝉，黄雀在后, yah? Here comes mdbg.net again: "the mantis stalks the cicada, unaware of the oriole behind (idiom, from Daoist classic Zhuangzi 莊子｜庄子); to pursue a narrow gain while neglecting a greater danger."

把腰扭到胯上。 "...undulating his hips until they were level with this waist..." which I guess means that he was walking with a prominent sway to his hips?

This is the perfect translation for this idiom. The idiom, in Chinese, is 一朝被蛇咬，十年怕井绳 = (modified mdbg.net) once bitten by a snake, scared for ten years at the sight of the rope used for drawing water out of the well.

大人有大人的道，小人有小人的路。

大人 here is (mdbg.net) "title of respect toward superiors"

小人， in contrast to 大人, means （mdbg.net) "person of low social status (old) / I, me (used to refer humbly to oneself) / nasty person / vile character"

I think it makes a little more sense if it reads "Lords and ministers have their bright open boulevards; small petty people have their own paths."

Never had Fang Qin 碰过这么硬的钉子 since the day he'd left his mother's womb.

碰钉子 literally means "hit nail"; figuratively, it means (mdbg.net) "to meet with a rebuff."

这么硬的钉子 = such a hard nail.

So 碰过这么硬的钉子 gives the image of Fang Qin running into a fence or something with a long, hard nail sticking out of it. :)

Pg 241. 侧耳过去听 just means "turned/leaned his ear (head) closer to listen (better)". No one was putting their ear on Gu Yun's lips here.

发作 means "to lose one's temper". I feel like "bite his head off" is a bit extreme for anyone to except of Prince Yan -- Prince Yan is too refined to bite anyone's head off.

In English, I feel like "what's the matter with you" is very confrontational and accusatory.

The Chinese here is 你到底怎么回事？, which I feel translates better as "What is actually going on with you?" or, more awkwardly, "What is the full situation of what is going on with you?"

This is so cute: "little bastard" is 兔崽子 which literally "bunny-rabbit child" and figuratively (mdbg.net) "brat / bastard". So...

Gu Yun: Which baby bunny was standing guard and ratted me out!?

Chang Geng: I am that baby bunny.

The "pawn" here is a not pejorative. 马前卒 is "lackey / errand boy / lit. runner before a carriage" (mdbg.net).

In the online version I read, there is a paragraph break and a time frame here that really helps with understanding what's going on.

"....civil official who could barely ride a horse.

One year ago, survivors of the navy...."

"In less than a month..." (just showing that they have been there for a few weeks.)

"Silver tongue" in Chinese is 见人说人话、见鬼说鬼话的三寸不烂之舌。

见人说人话、See people, speak people language.

见鬼说鬼话的 See monsters, speak monster language.

三寸不烂之舌。 three inches not <soft / rotten /worn out> tongue.

Cool way to say "silver tongue," yah?

I think the grammatical tense should be brought forward. The ship is falling apart right now, in book-time.

Another paragraph break that I feel should have been retained to show that we are moving from outside the temple, where we can see the flames, to inside the temple, where Chen QingXu is suffering from the smoke.

__________________________

And that's it! Volume 4. I love you, Chang Geng. You have my heart, Gu Yun!

Stars of Chaos - All Notes Links

My DanMei Literary Adventure Masterpost

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novel stars of chaos sha po lang seven seas priest

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