那時候跟印度人提微物之神，感覺得出他對小說不以為然，他說他比較相信的是追風箏的孩子這樣的。
paul auster的小說也會讓人覺得巧合，可是實在沒有追風箏的孩子讀來那種強烈的操控感manipulated，不管是情節的轉折，還是想傳達的訊息，明顯in a particular purpose。是這樣的意圖讓我覺得小說讀來總是太重總是少了後勁。
是個人的偏愛，我還是比較喜歡曖昧一些，得自己感覺暗流那種的寫法。
印度人則被Amir受罪惡感之苦和Hassan完全的良善深深感動，他說他有這樣如同兄弟的朋友。
我發現我最喜歡的段落是Amir爬上爸爸房子後面的山丘，找到童年和Hassan老愛爬上的石榴樹，樹上那幾乎看不見可是還在的刻痕。像是時光膠囊，心底深深的nostalgia。
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"Hassan had said in his letter that the pomegranate tree hadn't borne fruit in years. Looking at the wilted, leafless tree, I doubted it ever would again. I stood under it, remembered all the times we'd climbed it, straddled its branches, our lega swinging, dappled sunlight flickering through the leaves and casting on our faces a mosaic of light and shadow. The tangy taste of pomegranate crept into my mouth.
I hunkered down on my knees and brushed my hands against the trunk. I found what I was looking for. The carving had dulled, almost faded altogether, but it was still there: "Amir and Hassan. The Sultans of Kabul." I traced the curve of each letter with my fingers. Picked small bits of bark from the tiny crevasses."
