The novel “Sands of A Cross Section” takes the homonym of “killing”. Between two storylines of suspenseful narrative, the protagonist either traveled through mountains hills, valleys, cliffs, swamps, or went back and forth between high-altitude battlefields, low altitude villages and human gathering residences in the border areas. Sands, dirt, ashes filled everywhere, where life went by in the blink of an eye. Yet the passers-by in the daily pace had mistaken collective madness for prosperity and collective hypnosis as sweetness. In all the interactions that can and cannot be chosen, human beings inevitably developed multiple aspects. From then on, all resistances of individuals equaled merely surviving.
Perhaps killing never represented killing, freedom never represented freedom, engulfing never represented engulfing, and war never represented war. Choosing to exist or not, to stay or to leave, we were all members of the accomplice structure before our final jump. The term “Cross Section” originated from the special route pattern of mountains in Taiwan. The process of crossing the ridgeline also contained dangerous obstacles that many long-day mountaineers faced. The scene in this novel reminded Yunjie of some distant dreams that she had deeply fallen for, and the midway of her and many others’ fading life. At the same time, through the residential buildings in the war zone and the short-lived desert cities, she examined the past that she had witnessed and experienced in person which had yet sort out in detail. The novel was based on Yunjie’s real encounters, along with fiction narratives, through writing and recollection, she sought reconciliation for all the moments that could no longer come back to life.