DATE

8/12/25

TIME

12:05 AM

LOCATION

Oakland, CA

There’s No User Manual for Life(#5)

人生没有使用手册(#5)

Genre: Fiction #2A


我有点心烦意乱,根本静不下心来做任何事。我想做点什么让自己分心,但还是坐下来尝试看看书。手边的猫在跑来跑去,时不时拿她的尾巴轻轻擦过我的手,然后又快速的卷在地上,露出肚皮,扭着自己毛茸茸的身体,一副毫无防备的样子。但其实,如果你现在摸她的肚子,她一定会咬你,但摸背就不会。她会咕噜。

每次靠近Luna的时候,她都会先愣一下,然后快速露出舒服的表情,不出半分钟,开始大声咕噜。和Moira不一样,Luna每次想被摸就会跑到我手边,想cuddle就会跑到我身上来窝着。喜欢我,就会大声咕噜。而moira,想要我抱的时候只是会悄悄地走到我边上,坐下。或者在我写作的时候,从我们前走过,偏头看我几眼,假装不在意。其实是在说,快来跟我玩。如果我没反应,她会如此反复几次。假设我还没留意到,她才叼着她的玩具,边喵边过来找我。但不论她多么开心,她都不会咕噜。不管她多么想被抱,也要假装是我主动的样子。我理解她的别扭。她的爱很深刻,我知道我对她来说是独一无二的,也就不介意她的害羞了。

直到被救助站从半死不活的状态中救过来之前,Moira是只从来没有过长期稳定生活环境的猫,居无定所,吃了上顿没下顿,更别说“朋友”了。从她刚到救助站的状态来看,她应该和其他猫也处的不好。动不动就敌意全开,动手打人。这样的她,真的很难想象她现在会在我床上每天等着我去睡觉,也会在我睡着的时候默默的挪过来,靠在我脚上。好像靠着我,她睡的更加安稳。好像只要我在,她才能完全的放松。

Daiga说,每次我晚上很晚不回家,Moira就会开始有些焦虑。不断的观察走廊的状况,时不时在门口等我。最近直接在我床上等,但也是半睡不醒的趴在床上,没有完全放弃等待的样子。这样的moira时常让我觉得我不配拥有她。曾经人见人怕的她,怎么就被我收服了。可能是因为我爱她吧。她知道,我知道,我知道她知道。

Moira曾经谁也不相信,但在救助站的帮助下,她开始慢慢学会和人相处,和人沟通,和人表达。直到现在,她看到穿scrubs的人,不管是不是兽医,都会冲上去蹭。这样的她让我想保护,虽然她并不需要保护,但我想给她个家。她已经为她自己奋斗很久了,可以退休了。我这么想的。我给她我能给的最好环境,她也开始慢慢的理解我生活的规律,什么时候我需要被打扰,什么时候我需要一个人待着,什么时候我抑郁了、整天躺在床上不起来,什么时候我焦虑了,她会默默坐在我旁边。她经常比我更快意识到我的情绪,而我,常常不知道自己的感觉是什么。我的感觉是错位的、滞后的、需要慢慢反思的。但Moira可以立刻知道。

和人相处的过程的moira是别扭的。不像luna想要什么就问、喜欢就表达,Moira的表达更隐晦、更内敛、更深沉。并不是说Luna肤浅的意思,但我可以感觉到Moira的深度。这很奇怪,她是只猫。我想上辈子她一定是人,至于她做了什么,这辈子变成猫了,我不知道。也可能是她自己选的吧,做我的猫确实还不错。如果不介意退休的话。


夏天的夜晚总是这么美妙。虽然据说是旧金山近几十年来最冷的夏天,前几天上山还大雾下雨。但事实上,我很喜欢这样的天气。每天大太阳有点让人没准备好,又得打起精神开始重新一天的感觉。阴雨蒙蒙反而给人偷懒休息的借口,干脆顺势在床上躺一天,放着音乐昏昏欲睡,也很美好。

我开始看《荒野侦探》,据说作者1990年就有“流浪诗人团体”的核心想法,但只是写了零散片段、诗。1997年-1998年才开始集中写作,那个时候从诗转向小说。初稿只花了大约一年,1998年完成了全书的草稿。看起来几乎没怎么打磨,就直接出版了。我手上的这本648页,一年完成、不算周末的话,也就是平均每天2.5页左右。按照我现在的写作速度,也不是不可能,不如就这样继续写下去,直到拼凑成一本书吧,我认真想了想。薄点也行。

I felt a bit restless, unable to calm down enough to do anything. I wanted to distract myself with something, but in the end I still sat down and tried to read. My cat was darting back and forth nearby, occasionally brushing her tail lightly against my hand, then quickly rolling onto the floor, belly up, twisting her furry body in a completely unguarded pose. But in truth, if you touched her belly right then, she’d definitely bite you. Touch her back instead, and she’ll purr.

Whenever I get close to Luna, she freezes for a moment, then quickly shifts into a look of comfort; in less than half a minute, she’s purring loudly. Unlike Moira, Luna will run to my hand when she wants to be petted, and when she wants to cuddle she’ll come and curl up on me. If she likes me, she purrs—loudly. Moira is different. When she wants to be held, she’ll quietly walk over and sit beside me. Or, when I’m writing, she’ll stroll past me, turn her head to glance at me a few times, pretending not to care, but actually saying: come play with me. If I don’t react, she’ll repeat this several times. If I still don’t notice, she’ll finally bring me her toy, meowing as she comes over. But no matter how happy she is, she never purrs. No matter how much she wants to be held, she has to make it look like it’s my idea. I understand her awkwardness. Her love runs deep; I know I’m unique to her, so I don’t mind her shyness.

Before she was rescued from a half-dead state, Moira had never had a stable, long-term home—always wandering, never knowing where her next meal would come from, let alone having “friends.” Judging from her condition when she first arrived at the shelter, she probably didn’t get along with other cats either—ready to bare her claws and strike at the slightest provocation. It’s hard to imagine that this same cat now waits for me on my bed every night, or quietly shifts closer to my feet after I’ve fallen asleep, as if she sleeps more soundly when leaning against me. As if she can only fully relax when I’m there.

Daiga says that whenever I’m out late at night, Moira gets anxious—constantly watching the hallway, waiting by the door from time to time. Lately she’s been waiting right on my bed, half-asleep, but never fully giving up on me coming home. In those moments, I often feel unworthy of her. How did I manage to win over the cat that once terrified everyone? Maybe it’s because I love her. She knows, I know, and I know she knows.

Moira once trusted no one, but with the shelter’s help she slowly learned how to interact with people, communicate, and express herself. Even now, whenever she sees someone in scrubs—veterinarian or not—she rushes over to rub against them. That makes me want to protect her, even though she doesn’t really need protecting. I want to give her a home. She’s fought for herself for so long; she’s earned her retirement. That’s how I see it. I give her the best environment I can, and she’s begun to understand the rhythms of my life: when I want to be interrupted, when I need to be alone, when I’m depressed and lying in bed all day, when I’m anxious. She’ll quietly sit next to me. Often she senses my emotions before I do. My own feelings are misaligned, delayed, needing reflection before I recognize them. Moira knows instantly.

Moira’s way of relating to people is awkward. Unlike Luna, who asks for what she wants and expresses her affection openly, Moira’s expressions are subtler, more restrained, deeper. Not that Luna is shallow, but I can feel Moira’s depth. It’s strange—she’s a cat. I’m convinced she must have been a human in her last life. What she did to end up as a cat this time, I have no idea. Maybe she chose it herself. Being my cat isn’t such a bad deal—if you don’t mind retiring, that is.


Summer nights are always so wonderful. They say this is the coldest summer San Francisco has had in decades; a few days ago, going up the hill, there was thick fog and rain. But honestly, I like this weather. A blazing sun every day feels like being caught unprepared, forced to summon the energy to start all over again. Cloudy, drizzly days, on the other hand, give you an excuse to be lazy—stay in bed all day, music playing, drifting in and out of sleep. That has its own kind of beauty.

I started reading The Savage Detectives. They say the author had the core idea for a “wandering poets collective” as early as 1990, but only wrote scattered fragments and poems at first. It wasn’t until 1997–1998 that he began concentrated work, shifting from poetry to fiction. The first draft took only about a year, completed in 1998. It seems he barely revised it before publishing. The edition I have is 648 pages. If it took a year to write, that’s an average of about 2.5 pages a day. At my current writing pace, it’s not impossible. Maybe I should just keep writing like this until it comes together into a book. I thought about it seriously.




I felt a bit restless, unable to calm down enough to do anything. I wanted to distract myself with something, but in the end I still sat down and tried to read. My cat was darting back and forth nearby, occasionally brushing her tail lightly against my hand, then quickly rolling onto the floor, belly up, twisting her furry body in a completely unguarded pose. But in truth, if you touched her belly right then, she’d definitely bite you. Touch her back instead, and she’ll purr.

Whenever I get close to Luna, she freezes for a moment, then quickly shifts into a look of comfort; in less than half a minute, she’s purring loudly. Unlike Moira, Luna will run to my hand when she wants to be petted, and when she wants to cuddle she’ll come and curl up on me. If she likes me, she purrs—loudly. Moira is different. When she wants to be held, she’ll quietly walk over and sit beside me. Or, when I’m writing, she’ll stroll past me, turn her head to glance at me a few times, pretending not to care, but actually saying: come play with me. If I don’t react, she’ll repeat this several times. If I still don’t notice, she’ll finally bring me her toy, meowing as she comes over. But no matter how happy she is, she never purrs. No matter how much she wants to be held, she has to make it look like it’s my idea. I understand her awkwardness. Her love runs deep; I know I’m unique to her, so I don’t mind her shyness.

Before she was rescued from a half-dead state, Moira had never had a stable, long-term home—always wandering, never knowing where her next meal would come from, let alone having “friends.” Judging from her condition when she first arrived at the shelter, she probably didn’t get along with other cats either—ready to bare her claws and strike at the slightest provocation. It’s hard to imagine that this same cat now waits for me on my bed every night, or quietly shifts closer to my feet after I’ve fallen asleep, as if she sleeps more soundly when leaning against me. As if she can only fully relax when I’m there.

Daiga says that whenever I’m out late at night, Moira gets anxious—constantly watching the hallway, waiting by the door from time to time. Lately she’s been waiting right on my bed, half-asleep, but never fully giving up on me coming home. In those moments, I often feel unworthy of her. How did I manage to win over the cat that once terrified everyone? Maybe it’s because I love her. She knows, I know, and I know she knows.

Moira once trusted no one, but with the shelter’s help she slowly learned how to interact with people, communicate, and express herself. Even now, whenever she sees someone in scrubs—veterinarian or not—she rushes over to rub against them. That makes me want to protect her, even though she doesn’t really need protecting. I want to give her a home. She’s fought for herself for so long; she’s earned her retirement. That’s how I see it. I give her the best environment I can, and she’s begun to understand the rhythms of my life: when I want to be interrupted, when I need to be alone, when I’m depressed and lying in bed all day, when I’m anxious. She’ll quietly sit next to me. Often she senses my emotions before I do. My own feelings are misaligned, delayed, needing reflection before I recognize them. Moira knows instantly.

Moira’s way of relating to people is awkward. Unlike Luna, who asks for what she wants and expresses her affection openly, Moira’s expressions are subtler, more restrained, deeper. Not that Luna is shallow, but I can feel Moira’s depth. It’s strange—she’s a cat. I’m convinced she must have been a human in her last life. What she did to end up as a cat this time, I have no idea. Maybe she chose it herself. Being my cat isn’t such a bad deal—if you don’t mind retiring, that is.


Summer nights are always so wonderful. They say this is the coldest summer San Francisco has had in decades; a few days ago, going up the hill, there was thick fog and rain. But honestly, I like this weather. A blazing sun every day feels like being caught unprepared, forced to summon the energy to start all over again. Cloudy, drizzly days, on the other hand, give you an excuse to be lazy—stay in bed all day, music playing, drifting in and out of sleep. That has its own kind of beauty.

I started reading The Savage Detectives. They say the author had the core idea for a “wandering poets collective” as early as 1990, but only wrote scattered fragments and poems at first. It wasn’t until 1997–1998 that he began concentrated work, shifting from poetry to fiction. The first draft took only about a year, completed in 1998. It seems he barely revised it before publishing. The edition I have is 648 pages. If it took a year to write, that’s an average of about 2.5 pages a day. At my current writing pace, it’s not impossible. Maybe I should just keep writing like this until it comes together into a book. I thought about it seriously.




sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunnyspaceundefined@duck.com

website designed by Daiga Shinohara

©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2023, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,23年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。