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白夜行 下
「在我們的頭上沒有太陽，一直都是夜晚，
但是卻不覺得黑暗，因為有能代替太陽的人在。」
他們為什麼如此輕易地抹煞別人的性命？
他們為什麼毫無愧疚地奪取別人的靈魂？
一九七三年，大阪的廢棄大樓發現了一具他殺屍體，被害者之子桐原亮司與嫌疑犯之女西本雪穗，就此走上截然不同的道路。
桐原亮司拉皮條、盜賣電玩軟體、隱姓埋名竊取商業機密，不斷向下淪落；雪穗由親戚收養，就讀明星學校，成為同學豔羨的對象，儼如上流名媛。
然而，兩人身邊的人卻紛紛遭遇不幸，甚至死於非命，這是命運無情的操弄，還是潛藏著駭人的真相？
因為脆弱的純真受到傷害，所以必須捨棄而堅強，因為堅強，所以必須自過去、自記憶逃亡，從人間的律法道德，一直到狼狽不已、泯滅人性。
但是卻不覺得黑暗，因為有能代替太陽的人在。」
他們為什麼如此輕易地抹煞別人的性命？
他們為什麼毫無愧疚地奪取別人的靈魂？
一九七三年，大阪的廢棄大樓發現了一具他殺屍體，被害者之子桐原亮司與嫌疑犯之女西本雪穗，就此走上截然不同的道路。
桐原亮司拉皮條、盜賣電玩軟體、隱姓埋名竊取商業機密，不斷向下淪落；雪穗由親戚收養，就讀明星學校，成為同學豔羨的對象，儼如上流名媛。
然而，兩人身邊的人卻紛紛遭遇不幸，甚至死於非命，這是命運無情的操弄，還是潛藏著駭人的真相？
因為脆弱的純真受到傷害，所以必須捨棄而堅強，因為堅強，所以必須自過去、自記憶逃亡，從人間的律法道德，一直到狼狽不已、泯滅人性。
350 pages, Paperback
First published January 1, 1999
19 people are currently reading
276 people want to read
About the author
Keigo Higashino
193 books8,231 followersAssociated Names:
* Keigo Higashino
* 東野 圭吾 (Japanese)
* 東野圭吾 (Traditional Chinese)
* ฮิงาชิโนะ เคโงะ (Thai)
Keigo Higashino (東野 圭吾) is one of the most popular and biggest selling fiction authors in Japan—as well known as James Patterson, Dean Koontz or Tom Clancy are in the USA.
Born in Osaka, he started writing novels while still working as an engineer at Nippon Denso Co. (presently DENSO). He won the Edogawa Rampo Prize, which is awarded annually to the finest mystery work, in 1985 for the novel Hōkago (After School) at age 27. Subsequently, he quit his job and started a career as a writer in Tokyo.
In 1999, he won the Mystery Writers of Japan Inc award for the novel Himitsu (The Secret), which was translated into English by Kerim Yasar and published by Vertical under the title of Naoko in 2004. In 2006, he won the 134th Naoki Prize for Yōgisha X no Kenshin. His novels had been nominated five times before winning with this novel.
The Devotion of Suspect X was the second highest selling book in all of Japan— fiction or nonfiction—the year it was published, with over 800,000 copies sold. It won the prestigious Naoki Prize for Best Novel— the Japanese equivalent of the National Book Award and the Man Booker Prize. Made into a motion picture in Japan, The Devotion of Suspect X spent 4 weeks at the top of the box office and was the third highest‐grossing film of the year.
Higashino’s novels have more movie and TV series adaptations than Tom Clancy or Robert Ludlum, and as many as Michael Crichton.
* Keigo Higashino
* 東野 圭吾 (Japanese)
* 東野圭吾 (Traditional Chinese)
* ฮิงาชิโนะ เคโงะ (Thai)
Keigo Higashino (東野 圭吾) is one of the most popular and biggest selling fiction authors in Japan—as well known as James Patterson, Dean Koontz or Tom Clancy are in the USA.
Born in Osaka, he started writing novels while still working as an engineer at Nippon Denso Co. (presently DENSO). He won the Edogawa Rampo Prize, which is awarded annually to the finest mystery work, in 1985 for the novel Hōkago (After School) at age 27. Subsequently, he quit his job and started a career as a writer in Tokyo.
In 1999, he won the Mystery Writers of Japan Inc award for the novel Himitsu (The Secret), which was translated into English by Kerim Yasar and published by Vertical under the title of Naoko in 2004. In 2006, he won the 134th Naoki Prize for Yōgisha X no Kenshin. His novels had been nominated five times before winning with this novel.
The Devotion of Suspect X was the second highest selling book in all of Japan— fiction or nonfiction—the year it was published, with over 800,000 copies sold. It won the prestigious Naoki Prize for Best Novel— the Japanese equivalent of the National Book Award and the Man Booker Prize. Made into a motion picture in Japan, The Devotion of Suspect X spent 4 weeks at the top of the box office and was the third highest‐grossing film of the year.
Higashino’s novels have more movie and TV series adaptations than Tom Clancy or Robert Ludlum, and as many as Michael Crichton.
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Displaying 1 - 29 of 29 reviews
August 13, 2018
Genres of writing are different tools to question the world. Like science fiction is used to question the big concerns for future and the universe, detective novels are used to question humanity and psychology and society. Though of course science fiction can also be used to question humanity, which is I believe a big part of science fiction, however, detective novels are questioning humanity on quite a smaller scale, and I believe that is also more effective. For the questioning of humanity in science fiction has got to have something to do with the future, perhaps a crime related to a future technology, perhaps the madness the world sinks into at times of crisis. However, the detective novels are here and now, it is a question posed to the criminal inside every one of us. One might call it childish to read detective novels, but a detective novel writer really did his job, he should be providing to some degree, literature to this world.
Higashino's books, I would not say are too literary works, for most of his books, are of simple descriptions but a strong plot. However, I do believe this book contained both and was done very beautifully. Japan has lots of other famous detective novel writers, mostly a few decades ago, so written very elegantly and precisely and dramatically. But yet again, if we are to challenge humanity and display it to the people of the 21st century, I believe a language closer to our time will be more suitable. For it makes the sense of distance fade, and all that's left will be the true question of who we are, not just who some guy a century ago was like. Someone can write about a crime a century ago, but the impact that these detective novelists seek will not be found in the words of past, but in the language of the humans now. We have to challenge the criminal as not only an individual but also the individual's role in a society, and society changes, so, books will too, for writers gain inspirations from the world around them.
Higashino told a story of around twenty years, and in these twenty years, new technologies appeared, and new crime opportunities have risen, such as the illegal selling of video games. These crimes get bigger and bigger because it went from Space Invaders to Mario, and the reason for people's preferences in them is because of some ancient things in their genes: The attraction to colors, the desire to rid of boredom. All these parts of humanity are displayed with new technology, yet was not quite seen clearly, nobody saw how much they are helping crime, and even if they did, they didn't care, for people are as selfish as the criminals who sold them. As human. But what does that have to do with the modern society? Well, we are entering an age where pleasure dominates the truth. We are fed all these dizzying information that our minds overload and chooses to filter into the candies in the pile of vegetables, the pleasures, the things the bodies sees best. We are in an age of spin, of frenzy, of a time where criminals can easily manipulate the humans in people. They are the fishermen and we are the fish. I find it very funny that in a place like Japan, where it is very orderly and polite, such things can still happen on such a large scale. Though yet again, it is the age of spin, and heritage and traditions can be thrown out the window by the new generation for the new world. But the new world is very, very empty, and if one lives in the forever present at a time like this, who knows where one will be?
Like Christians seek for the bible, we should all seek for some knowledge in the world a little less crazy, a little clearer so that at last we will see the light of day, and not walk into the white night.
Do not go gentle into that good night
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.
Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.
Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.
Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.
And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
-Dylan Thomas
Higashino's books, I would not say are too literary works, for most of his books, are of simple descriptions but a strong plot. However, I do believe this book contained both and was done very beautifully. Japan has lots of other famous detective novel writers, mostly a few decades ago, so written very elegantly and precisely and dramatically. But yet again, if we are to challenge humanity and display it to the people of the 21st century, I believe a language closer to our time will be more suitable. For it makes the sense of distance fade, and all that's left will be the true question of who we are, not just who some guy a century ago was like. Someone can write about a crime a century ago, but the impact that these detective novelists seek will not be found in the words of past, but in the language of the humans now. We have to challenge the criminal as not only an individual but also the individual's role in a society, and society changes, so, books will too, for writers gain inspirations from the world around them.
Higashino told a story of around twenty years, and in these twenty years, new technologies appeared, and new crime opportunities have risen, such as the illegal selling of video games. These crimes get bigger and bigger because it went from Space Invaders to Mario, and the reason for people's preferences in them is because of some ancient things in their genes: The attraction to colors, the desire to rid of boredom. All these parts of humanity are displayed with new technology, yet was not quite seen clearly, nobody saw how much they are helping crime, and even if they did, they didn't care, for people are as selfish as the criminals who sold them. As human. But what does that have to do with the modern society? Well, we are entering an age where pleasure dominates the truth. We are fed all these dizzying information that our minds overload and chooses to filter into the candies in the pile of vegetables, the pleasures, the things the bodies sees best. We are in an age of spin, of frenzy, of a time where criminals can easily manipulate the humans in people. They are the fishermen and we are the fish. I find it very funny that in a place like Japan, where it is very orderly and polite, such things can still happen on such a large scale. Though yet again, it is the age of spin, and heritage and traditions can be thrown out the window by the new generation for the new world. But the new world is very, very empty, and if one lives in the forever present at a time like this, who knows where one will be?
Like Christians seek for the bible, we should all seek for some knowledge in the world a little less crazy, a little clearer so that at last we will see the light of day, and not walk into the white night.
Do not go gentle into that good night
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.
Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.
Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.
Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.
And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
-Dylan Thomas
February 11, 2018
The crime story is quite shocking in its power of imagination, and in its details about evil. It was unfortunate this is all conceivable in the world we live in. Where is the boundary of human evil?
The writing, and the story line, is gripping.
The writing, and the story line, is gripping.
July 26, 2020
上卷給予四星評價，下卷給五星，並非有意區別上下集的精彩程度，只是Goodreads無法給予4.5星的分數，在完美的評分前頭留一點空間。
從小不是推理小說迷，最近香港捲起一陣推理小說熱，把握機會讀完本土作家陳浩基的作品《1367》，這位被喻為香港東野圭吾的作家，其作品令我眼界為之大開。今次拿起東野圭吾本人其中一本被書評家喻為巔峰之作，讀罷簡直蹚目結舌，情節結構之嚴謹，帶領讀者從一旁觀察主角的一舉一動，墮進一個又一個精心設計的圈套，明知別有內情卻又無法理出箇中細節條理，那種被緊湊的橋段牽引的緊張心情，令我手執此書時欲罷不能。
唯一抱憾的事情，事先申明與本書無關，就是此書在2006年被拍成劇集的時候，我曾追看並略有記憶。猶記得當年因劇集之名而買下這兩冊書，結果事隔十四年後才從書櫃中取出來閱讀。早已模糊的記憶，剛好容許自己讀起書來抱持一點新鮮感，雖然大概知道故事結局，仍不至於滿腦子都是「劇透」之感。
讀罷此書，倒是想立即把劇集重溫一次，是時候投入光與影的世界，游走在「白夜」裡。
從小不是推理小說迷，最近香港捲起一陣推理小說熱，把握機會讀完本土作家陳浩基的作品《1367》，這位被喻為香港東野圭吾的作家，其作品令我眼界為之大開。今次拿起東野圭吾本人其中一本被書評家喻為巔峰之作，讀罷簡直蹚目結舌，情節結構之嚴謹，帶領讀者從一旁觀察主角的一舉一動，墮進一個又一個精心設計的圈套，明知別有內情卻又無法理出箇中細節條理，那種被緊湊的橋段牽引的緊張心情，令我手執此書時欲罷不能。
唯一抱憾的事情，事先申明與本書無關，就是此書在2006年被拍成劇集的時候，我曾追看並略有記憶。猶記得當年因劇集之名而買下這兩冊書，結果事隔十四年後才從書櫃中取出來閱讀。早已模糊的記憶，剛好容許自己讀起書來抱持一點新鮮感，雖然大概知道故事結局，仍不至於滿腦子都是「劇透」之感。
讀罷此書，倒是想立即把劇集重溫一次，是時候投入光與影的世界，游走在「白夜」裡。
November 6, 2018
I usually find stories that spread into two books lengthy, however, this story is exceptional. It really does take up two books to build up the plots and characters, yet with a fast pace, unexpected ending which is kind of semi-open to leave you think more about the nature of human. A fantastic read. Love it!
February 2, 2019
亮司为了帮雪穗摆脱警察的追捕，牺牲了自己，带走了一切对她不利的秘密。回首他与雪穗间曾经的点点滴滴，有无尽的痛苦，也有十九年来不曾间断的守护。而为的，只是那份坚定的爱情。然而雪穗只是选择冷冷地走开，一次也没有回头，留下的只有幽灵般白色的影子。
“我的天空里没有太阳 总是黑夜。但并不暗，因为有东西代替了太阳。”
她一次也没有回头，因为她的人生，已经失去了最后的一抹亮光。而她却并不怕失去，因为她未曾拥有过太阳。
“我的天空里没有太阳 总是黑夜。但并不暗，因为有东西代替了太阳。”
她一次也没有回头，因为她的人生，已经失去了最后的一抹亮光。而她却并不怕失去，因为她未曾拥有过太阳。
October 23, 2017
Great book! Not good for bedtime reading though because u cannot put it down!
November 20, 2017
人心难测，结局难料。以前读东野圭吾的【流星之绊】时还没有这么大的感触，直到“遇见”【白夜行】。 现在越来越觉得人心才是这个世界上最难猜的东西。你看到的善，不一定是善。你看到的恶，不一定是恶。
June 25, 2018
A great book for mystery fan but a tragedic reality for humanity. Transition of victim into the madness of victimatize innocent.
August 28, 2018
One of the best book i have read this year
January 27, 2019
4.5 Star
January 30, 2019
“我的人生就像在白夜里走路。”——桐原亮司
“我的天空里没有太阳，总是黑夜，但并不暗，因为有东西代替了太阳。虽然没有太阳那么明亮，但对我来说已经足够。凭借着这份光，我便能把黑夜当成白天。你明白吗？我从来就没有太阳，所以不怕失去。”——雪穗
可怜之人必有可恨之处
可恨之人必有可怜之处
我觉得亮是在提他父亲还债？
东叔真的很厉害。伏笔好多，有时间得再看一次。
“我的天空里没有太阳，总是黑夜，但并不暗，因为有东西代替了太阳。虽然没有太阳那么明亮，但对我来说已经足够。凭借着这份光，我便能把黑夜当成白天。你明白吗？我从来就没有太阳，所以不怕失去。”——雪穗
可怜之人必有可恨之处
可恨之人必有可怜之处
我觉得亮是在提他父亲还债？
东叔真的很厉害。伏笔好多，有时间得再看一次。
June 11, 2021
睡前看
晚上睡覺的時候腦袋一直運轉
作夢的時候也在想劇情
晚上睡覺的時候腦袋一直運轉
作夢的時候也在想劇情
May 11, 2022
其實看到上冊約一半的時候大概就可以猜到兇手是誰，儘管如此卻還能讓我欲罷不能的讀下去，而且越後面越緊湊好看，作者的實在太會寫故事了！少一顆星是因為結局不是那麼喜歡。
January 14, 2023
看的震惊三观
June 15, 2024
Hugely disappointing ending
July 15, 2024
More than 5 stars
December 28, 2025
看完这本书后真的震惊了🤯
雪穗居然可以做出这么多坏事，而且几乎都不沾血。都是亮司替他去做的。而他们在整本书中几乎都没有交集。一个活在白天，一个活在黑夜。
雪穗居然可以做出这么多坏事，而且几乎都不沾血。都是亮司替他去做的。而他们在整本书中几乎都没有交集。一个活在白天，一个活在黑夜。
October 11, 2025
這是我看的第二部東野圭吾作品（第一本是溫暖的《解憂雜貨店》）。我特別喜歡作者是從其他角色的視線出發，寫出伏筆，從沒正面寫過兩位主角見面或合作的情境，而兩者背後的「共生」關係是要由讀者來推理。
一位是可憐的受害者，但傷害和仇恨令她變成一個為了上流而不擇手段、在白日支配操控一切的惡魔。對於這個心地邪惡的人，即使曾經受傷過，就代表可以利己害人嗎？
另一位是選擇在黑暗中貢獻到底的人，但他本身根本沒有做錯，不需要內疚，做這一切道德敗壞的犧牲，是他的善良告訴他這是還債的方法？是上天對他家的懲罰？還是因為愛？
書中有很多問題都沒有答案。他們為什麼要這樣做？他們最後目標是什麼？她之後過得怎樣？他們當中有愛嗎？但這些也許都不重要了吧？反正傷害了、殺掉了、死了的都已經無法回頭。
一位是可憐的受害者，但傷害和仇恨令她變成一個為了上流而不擇手段、在白日支配操控一切的惡魔。對於這個心地邪惡的人，即使曾經受傷過，就代表可以利己害人嗎？
另一位是選擇在黑暗中貢獻到底的人，但他本身根本沒有做錯，不需要內疚，做這一切道德敗壞的犧牲，是他的善良告訴他這是還債的方法？是上天對他家的懲罰？還是因為愛？
書中有很多問題都沒有答案。他們為什麼要這樣做？他們最後目標是什麼？她之後過得怎樣？他們當中有愛嗎？但這些也許都不重要了吧？反正傷害了、殺掉了、死了的都已經無法回頭。
July 23, 2016
我的天空里没有太阳，总是黑夜，但并不暗，因为有东西代替了太阳。虽然没有太阳那么明亮，但对我来说已经足够。凭借着这份光，我便能把黑夜当成白天。
Extremely touching, the 絆 between Yukiho and Ryouji. その人を絶対に守ると言う気持ち is quite common to see in Japanese novels, TV series, movies and so on. What I like the most about it is, everything is implied - 留白と言うものです. There is no direct expression of emotions, feelings or sensations. We are left to imagine and savor what the protagonists are experiencing in those dramatic moments. Throughout the novel there was no direct description of what has exactly happened to and between Yukiho and Ryouji, but that is indeed unnecessary :)
In addition I really like the narrative techniques of Keigo Higashino. The novel is divided into chapters and smaller sections, and usually there's a dominant, quasi-protagonist-ish character, from whose perspective a certain series of events are seen, usually spanning a few sections. It produces a fragmented view of the big picture, and the reader is expected to cobble up all small fragments together. It makes the reading experience a bit more active, rather than totally passive.
I am indeed deeply touched by this book.
Extremely touching, the 絆 between Yukiho and Ryouji. その人を絶対に守ると言う気持ち is quite common to see in Japanese novels, TV series, movies and so on. What I like the most about it is, everything is implied - 留白と言うものです. There is no direct expression of emotions, feelings or sensations. We are left to imagine and savor what the protagonists are experiencing in those dramatic moments. Throughout the novel there was no direct description of what has exactly happened to and between Yukiho and Ryouji, but that is indeed unnecessary :)
In addition I really like the narrative techniques of Keigo Higashino. The novel is divided into chapters and smaller sections, and usually there's a dominant, quasi-protagonist-ish character, from whose perspective a certain series of events are seen, usually spanning a few sections. It produces a fragmented view of the big picture, and the reader is expected to cobble up all small fragments together. It makes the reading experience a bit more active, rather than totally passive.
I am indeed deeply touched by this book.
September 22, 2015
好好读啊！故事带出了人性的善与恶。华丽的袈裟只不过是用来掩饰人的心魔。这样的比例更为可怕。对于揭发司亮的父亲有癖童恋有点震撼，而是因为她，他才杀了父亲。
不可思议的是为什么司亮和雪穗小小年纪就会行凶。她在他死后依旧可以躲得了干系而没有得到法律的制裁。不公平！我还蛮希望他们能说出他们犯案的理由和经过。觉得刑警和侦探好厉害，可惜侦探已被杀害。
读完了整本书，我仍然有许多不解之处。好像是有些事还没交代好：他们是否是对方的最爱？为什么她会唆使他去性侵犯她的眼中钉，而她偏偏“碰巧”可以当好人？他性无能是否是因为童年阴影？他或她为什么要杀害她的养母？他们的目标是什么？得到更多财富？
不可思议的是为什么司亮和雪穗小小年纪就会行凶。她在他死后依旧可以躲得了干系而没有得到法律的制裁。不公平！我还蛮希望他们能说出他们犯案的理由和经过。觉得刑警和侦探好厉害，可惜侦探已被杀害。
读完了整本书，我仍然有许多不解之处。好像是有些事还没交代好：他们是否是对方的最爱？为什么她会唆使他去性侵犯她的眼中钉，而她偏偏“碰巧”可以当好人？他性无能是否是因为童年阴影？他或她为什么要杀害她的养母？他们的目标是什么？得到更多财富？
July 16, 2016
环环相扣让人欲罢不能，前一天晚上开始读不得不一直看到第二天早上直到看完才睡觉。虽然一直知道是谁做的这些事情但是还是忍不住想要看到他们得到怎样的结局，看到最后才感叹前面的铺垫
September 3, 2016
一环扣一环 一口气看完！
February 5, 2017
不错，确实有很多人没法活在白天，而且人总是经历那些令人恶心的事
This entire review has been hidden because of spoilers.
October 23, 2016
我的天空里没有太阳，总是黑夜，但并不暗，因为有东西代替了太阳。虽然没有太阳那么明亮，但对我来说已经足够。凭着这份光，我便能把黑夜当成白天。我从来就没有太阳，所以不怕失去。
March 23, 2017
the saddest book i have ever read. very well written.
April 7, 2017
花了三天时间终于读完了这本书，感到了痛哭，绝望和悲怆。
看到有人有这样的评价，这是一段破碎的故事，这是两个破碎的灵魂
曾经他们也是有温暖的，那对手牵着手的男孩女孩的剪纸，那个绣着R&Y的盒子，他幻想着在白夜里走路，她感恩着有如太阳一般存在的他。
然而，世界对他们太残酷了不是吗？
所以他在最阴暗潮湿的角落里踽踽独行，以偏执的残忍对待这个世界，只为了在看不见的地方守护心中最纯净美好的灵魂。
所以她把自己包裹在重重伪装过的厚重躯壳之中，美丽的微笑之下是对周遭的一切美好最恶毒的仇视。
两个残破的灵魂互相支撑互相羁绊，在黑暗的道路漫漫长路上前行。
而如今，替代着太阳而照耀着她的东西消失了，故事也应该结束了。
他飘荡不安的灵魂终于可以在白夜里安定下来。
而她呢？留下一个孤独的灵魂，要怎样走完剩下的道路呢？
我想，她不是不想回头吧，只是不能回头了，因为害怕一回头，就会失去所有一个人面对未知的黑夜的勇气。
看到有人有这样的评价，这是一段破碎的故事，这是两个破碎的灵魂
曾经他们也是有温暖的，那对手牵着手的男孩女孩的剪纸，那个绣着R&Y的盒子，他幻想着在白夜里走路，她感恩着有如太阳一般存在的他。
然而，世界对他们太残酷了不是吗？
所以他在最阴暗潮湿的角落里踽踽独行，以偏执的残忍对待这个世界，只为了在看不见的地方守护心中最纯净美好的灵魂。
所以她把自己包裹在重重伪装过的厚重躯壳之中，美丽的微笑之下是对周遭的一切美好最恶毒的仇视。
两个残破的灵魂互相支撑互相羁绊，在黑暗的道路漫漫长路上前行。
而如今，替代着太阳而照耀着她的东西消失了，故事也应该结束了。
他飘荡不安的灵魂终于可以在白夜里安定下来。
而她呢？留下一个孤独的灵魂，要怎样走完剩下的道路呢？
我想，她不是不想回头吧，只是不能回头了，因为害怕一回头，就会失去所有一个人面对未知的黑夜的勇气。
May 3, 2017
谁劝我都没有用，这本书已经超越了《挪威》在我心里的地位。
之前也有个姑娘说我是她的阳光，后来她离开了我。我也曾以为我是她的阳光来着，或许是我自己越来越吃藕吧，明媚的阳光也掩盖不住脸上的卑鄙。哎，说到这个就想到那些哭得稀里哗啦的夜晚。
之前也有个姑娘说我是她的阳光，后来她离开了我。我也曾以为我是她的阳光来着，或许是我自己越来越吃藕吧，明媚的阳光也掩盖不住脸上的卑鄙。哎，说到这个就想到那些哭得稀里哗啦的夜晚。
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February 5, 2018所以为什么分了上下集？看的时候是一体的。可能事先看了书评，没有对它的阴暗印象那么深。
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