Confession in the Fog

The worries of youth are often hidden in half-dreams and half-awakes. Lin Xia's heartbeat began with a vague rumor - that the boy named Chen Ye liked her, but the distance between them made her instinctively shrink back. It wasn't until he suddenly sat next to her in the self-study class that she saw the face that looked exactly like Zeng Jinghua clearly for the first time, and her heartbeat suddenly went out of order. But this belated thrill was dampened by his excited words in a blink of an eye: "I like a girl. She has schizophrenia and is very cool." The comics in the library became a new metaphor. The twisted and enthusiastic painting style made her speculate about the status of the author for no reason, but she accidentally discovered that the comics were the work of that girl. The admiration and love in Chen Ye's eyes made her ask repeatedly in her inferiority complex: Can an ordinary self still have the qualifications to be liked? When the dream brought her to the edge of the loess under the deep blue sky, she finally plucked up the courage to express her feelings, but Chen Ye's smile gradually dissipated in the incoming mist. This heartbeat that started from rumors and ended in mist turned out to be the most gentle farewell to regret in the subconscious. Purpose: The "hindsight" and regretful nature of youthful emotions: The novel uses dreams as a carrier to restore the common emotional dislocation in youth - when "I" (Lin Xia) was wary of Chen Ye, whom I had never met, I did not notice the bud of good feelings; when I saw his face clearly and my heart palpitated, I missed his emotional track. This setting of "the heartbeat is always half a beat too slow" illustrates the regretful nature of youthful emotions: many likes start by chance, end with a lack of timely response, and ultimately turn into secret concerns in the heart. The implicit game between self-awareness and emotional inferiority: Chen Ye's appreciation and cherishment of "girls with schizophrenia" became a trigger point for "me" self-doubt. "I" position myself as an "ordinary pebble", in contrast to the other person's "specialness", and repeatedly ask "Can I still like him?" The essence is the game of self-worth recognition and emotional desire in youth - when faced with the "preferred special", ordinary people often fall into the implicit inferiority complex of "am I worthy of being liked?" This entanglement is a true portrayal of self-exploration in growth. Dreams gently release subconscious emotions: The entire story is framed by "dreams", from rumored love, missed moments in reality, to confession and dissipation in fantasy scenes. In fact, it is the subconscious sorting out and releasing real emotions. In reality, "I" may hide unspoken likes and regrets about missing out, but never reveal them due to timidity or passivity. However, through the plot of "Confession in the Mist", the dream not only completes a brave emotional catharsis, but also ends with "The Chen Ye Dissipates". It gently accepts the reality that "regret is the norm" and achieves self-reconciliation at the subconscious level. Implicit thinking on the multiple forms of "like": Chen Ye's love for "girls with schizophrenia" breaks the inherent perception of "perfect fit" in youthful emotions - he appreciates the other person's talent and specialness, rather than viewing "schizophrenia" as a flaw. This setting implicitly conveys a diverse understanding of "like": true liking may have nothing to do with labels and secular standards, but the recognition and cherishment of individual uniqueness, which also makes the entanglement of "me" deeper - "my" inferiority stems not only from "ordinaryness", but also from the cognitive limitations of "like form".