The Wind Rises in Taklimakan

This is a uniquely charming work, with a unique perspective and rich connotation, showing you an unrepeatable legend of the times. The work cleverly combines documentary literature, humorous style and rich regional characteristics of Xinjiang. It is unfolded from the perspective of the first person "I" and takes you deep into Xinjiang in the mid-to-late 1990s. On this backward yet lively stage, the unique Western style comes to mind, making you feel like you are in an era full of opportunities and challenges. The story revolves around a design graduate from an art school who came to Xinjiang with an artistic dream, but encountered a huge gap between trendy design concepts and the local backward decoration level. From a "vase" serving tea and water in the design institute to a designer who can independently undertake large-scale projects, his growth process is full of cultural collisions and jokes. This is not only a story of advancement in the workplace, but also a growth epic of an idealist who sticks to his original artistic aspirations in the harsh reality and becomes a "son doll" on the construction site. The struggle in the workplace and the conflict between ideals and reality can arouse widespread resonance. The dramatic space of the work is extremely broad, spanning the four dimensions of geography, industry, culture, and era. It goes deep into the little-known Xinjiang decoration industry in the 1990s, satisfies your curiosity and provides you with a strong sense of time and place. The literati temperament of the protagonist collides violently with the roughness of the construction site, which naturally generates countless jokes, and the use of Xinjiang witticisms adds a unique linguistic interest.