The Gun of the Beginning of the End
Tags
Summary
Editor's review
Who it's for
A good fit for
- Readers who enjoy combining historical backgrounds with science fiction premises and savor the process of speculation
- Readers interested in the geography and power structure of Northeast China during the Russo-Japanese War
- Long-form readers who prefer mission-line narratives and suspense that escalates layer by layer
- Readers who have read Liang Qingsan's work and want to see how he turns to historical subjects
Not a good fit for
- Readers who only want light adventure and are unwilling to bear heavy personal history and the shadow of war
- Readers unfamiliar with the historical background who do not want to look things up while reading
- Those expecting pure hard sci-fi technical detail and not very interested in spy-style clue-chasing
Reading tips
- Spend ten minutes before reading to understand the basic situation of the Russo-Japanese War in Northeast China; the characters' actions will be clearer.
- Pay attention to each place where the "never misses" premise is redefined; those are the key nodes of the book's speculation.
- Keep a separate note of the clues to Zhang Ju's past; when you look back in the latter half, you'll find the echoes.
- Don't rush toward the ending; the maneuvering among forces during the mid-section gun hunt is itself a core pleasure of the reading.
About the publisher
New Star Press focuses on classic works, mystery and detective fiction, science fiction, history, foreign literature and art, and its 602 titles in the library show a balance between popular reading and humanistic depth. Representative books include The Complete Works of Shakespeare: Illustrated Collector's Edition, And Then There Were None, Murder on the Orient Express, The Player of Games, Local Government in Qing China, A Good Man Is Hard to Find and A Collection of Fine Ukiyo-e Prints, spanning classic literature, detective fiction, science fiction, local history and visual art. Its authors and contributors include William Shakespeare, Agatha Christie and Iain M. Banks, as well as translators such as Zhu Shenghao and Su Fuzhong and illustrators such as John Gilbert and George Cruikshank. Known for the detective series Midnight Library and for social-science and humanities titles, the press emphasizes edition design and reading experience; public information is limited, so this profile highlights the publishing features reflected in the library's books.
Contents
- 版权信息
- 第一章 我们的结局临近，我们的日子满足，我们的结局来到了。
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- 第二章 寻找有时，失落有时；保守有时，舍弃有时。
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- 第三章 那人常住在坟茔里，没有人能捆住他，就是用铁链也不能。
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- 第四章 我们经过的日子都在你震怒之下；我们度尽的年岁好像一声叹息。
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- 第五章 你们知道分辨天地的气色，怎么不知道分辨这时候。
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- 第六章 光真美好，能够看见阳光真好。
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FAQ
Do I need to know the history of the Russo-Japanese War before reading this book?
Is the "never-missing gun" a real historical premise or fictional?
Does Zhang Ju's past take up much space? Will it affect the pace of the main plot?
Comments
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About the author
Liang Qingsan is an author about whom limited public information is available; the library currently holds two works by this author, touching on the genres of war and military fiction and social fiction. Judging from the title and classification of the representative work The Gun at the Beginning of the End, the writing may explore how individual lives rise and fall against the backdrop of war, while The Shanghai-Style Girl in the Kitchen turns its gaze to everyday domestic life, carrying the observational flavor of social fiction. The two works are set in quite distant territories—one leaning toward the tense atmosphere of war and military life, the other settling into scenes of the kitchen and women's lives—suggesting that the author does not cling to a single genre but is willing to move between very different narrative spaces. Because exact information such as dates of birth and death, educational background, and creative experience is lacking, a full assessment of the author's writing remains difficult; one can only infer from the existing works an interest in characters' circumstances and the details of daily life. Readers who wish to understand this author's style may begin with these two works and sense the shifts between serious subjects and everyday urban narrative.
