Haimen No. 1 cover

Haimen No. 1

Rating 2.8
Word count
124K words
Chapters
34
ISBN
9787512522343

Tags

Summary

Because of a sudden typhoon.

Two fishing boats, one from Taiwan and one from the mainland, met.

That was the first time Lu Dahai came to understand homing pigeons.

And he had not foreseen it either.

Those two homing pigeons that Susu gave him.

Brought him love.

And also gave him a long parting…

Editor's review

Haomen No. 1 opens with a highly cinematic encounter: a typhoon brings two fishing boats—one from Taiwan, one from the mainland—together on the open sea. This is where Lu Dahai first encounters carrier pigeons, and where two pigeons given to him by Susu draw him into a fate woven of love and a long parting. What makes the novel valuable is that it does not turn the cross-strait encounter into grand slogans; instead it settles on ordinary people, everyday objects, and concrete emotions, using the symbolic image of carrier pigeons to link chance, longing, and separation. Reading it, one senses a restrained lyricism; the plot moves forward not through sharp conflict but through the subtle probing and quiet concern between characters. It suits slow reading in quiet hours—approach it as a novel about waiting and longing rather than a genre story chasing dense reversals. For readers drawn to cross-strait themes and to lyrical narratives that lodge feeling in objects, this book offers emotional layers worth savoring.

Who it's for

A good fit for

  • Literary readers who appreciate emotion conveyed through images such as carrier pigeons and fishing boats
  • Readers interested in stories of ordinary people from both sides of the strait meeting and caring for one another
  • Readers who prefer restrained lyricism and a slow, unhurried narrative pace
  • Readers hoping to feel the themes of waiting and separation in fiction

Not a good fit for

  • Readers seeking strong plot reversals and fast-paced storytelling may find the pacing slow
  • Readers who prefer clear genre labels such as mystery or science fiction may not find a fit
  • Readers unaccustomed to emotional threads carried by symbolic objects should choose with care

Reading tips

  1. Begin with the typhoon encounter in the opening scene and treat it as the starting point of the book's emotional tone
  2. Jot down passages where the carrier pigeons appear and observe how the image drives the characters' relationships
  3. Don't rush toward a resolution in the separation passages; reading slowly by chapter will better reveal the emotional layers

About the publisher

国文出版社 China · Founded in 1984

Founded in 1984, Guowen Publishing House focuses on works in philosophy, economics, politics, history, and literature, and also publishes calligraphy, art, and photography titles as well as social science works from Hong Kong, Macao, and Taiwan. Judging from the 40 titles in the database, the press has built a presence in biography, applied psychology, popular science, and philosophy. Representative books include Elon Musk: Rocket Revolution, The Power of Ritual, The Collapse of Silence, The Cost of Altruism, and When We Talk About the Ocean. Its authors include Eric Berger, Michael Norton, and David Edmonds, combining translated works with domestic writing. Biography and psychology-oriented inspirational titles stand out, while popular science and philosophy books emphasize readability, giving the list an interdisciplinary, general-readership orientation. Public information is limited, so the above focuses on the publishing directions reflected in the database.

Contents

  1. 版权信息
  2. 引子
  3. 一 赛鸽·夺冠
  4. 二 鸽哨·回忆
  5. 三 渔村旧事
  6. 四 风暴结缘
  7. 五 因鸽遭祸
  8. 六 私设公堂
  9. 七 公棚·往事
  10. 八 关押·含冤
  11. 九 告白无果
  12. 十 批斗游街
  13. 十一 夜逃出海
  14. 十二 初登荒岛
  15. 十三 岛上安家
  16. 十四 寻水求生
  17. 十五 海训开家
  18. 十六 断粮危机
  19. 十七 风卷木屋
  20. 十八 阿波被捕
  21. 十九 兄妹对峙
  22. 二十 阿海获救
  23. 二十一 康复·留岛
  24. 二十二 二人世界
  25. 二十三 喜讯·归来
  26. 二十四 调查启动
  27. 二十五 告别荒岛
  28. 二十六 沉冤昭雪
  29. 二十七 素素分娩
  30. 二十八 漫长等待
  31. 二十九 亲人重逢
  32. 三十 海上竞翔
  33. 尾声
  34. 后记

FAQ

Is this book about the big theme of cross-strait relations?
From the available material, the story begins with two fishing boats—one from Taiwan, one from the mainland—meeting because of a typhoon, and it settles more on the love and separation between Lu Dahai and Susu. It uses the cross-strait encounter as a backdrop for ordinary people's emotional lives rather than directly debating grand issues; it is better read as a narrative of personal fate.
What role do the carrier pigeons play in the story?
The material shows that Lu Dahai first comes to know carrier pigeons through the encounter, and Susu gives him two pigeons, which subsequently bring both love and a long parting. The pigeons are the key object linking the beginning of the bond and the separation; watch for the emotional changes they carry at different stages rather than treating them as mere background props.
Is it suitable for reading in one sitting?
The pacing is rather gentle, with emotion accumulating through detail. Reading it all at once may cause readers to miss the imagery and emotional groundwork; reading in sections by chapter, pausing at nodes such as the encounter, the gift of the pigeons, and the parting, will better convey the shifts in the characters' inner states.

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About the author

刘邦潮 Author

Liu Bangchao: publicly available information is limited. All that is currently known is that this author has one work, Haimen No. 1, which is classified under youth literature. From this limited clue, the author's writing is associated with the common category of youth literature, and the work is likely aimed at readers interested in themes such as coming of age, campus life, or youthful emotions, though no reliable description of its specific content or style is available, and speculation would be inappropriate. As the representative work, Haimen No. 1 is the main entry point for understanding this author's creative profile, and readers may use it to sense the author's narrative orientation and language style. Because other biographical details, creative experience, and the total number of works have not been fully disclosed, this introduction does not elaborate further on the author's background; a more specific account of the author's creative development and literary position must await more material.

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