Upon opening Infatuated with Peking Opera, what appears is the poignant Jiangnan ambiance and the elegant writing. From the first page, we follow the author on a squeaking wooden boat. Under the swaying shades, through the running water, we are now at the heroine's uncle and grandmother's house. The author narrates in the little girl's first person point of view, and illustrates with single lines and light colors. We are allowed to follow her to trace back her pale childhood memory with no return.

The refined binding, exquisite production, simple yet proficient character depiction, precise background, and the artful text arrangement and implication all immerse readers in listening to the impassioned vocal exercises by the morning riverbank, the fans'aroused echo in the theatre, and miserable shouts far and near during warfare. These are accurate background information. The editor did not put adults'tedious and subjective “reading directives” of the plays. Instead, a vivid image of how the little girl is infatuated with the plays appears repeatedly without a word, which enables readers to emotionally resonate with the author.

Infatuated with Peking Opera is a simple, nearly detached historical pastel sketch. This nostalgic, multilayered, and implicit poetic prose is like a cup of bittersweet Chinese tea. It enables us to accompany children in the era of video games, bubble gums, and hamburgers, and enjoy the cup of tea. It allows us to hold our children's hands to feel the soil that nurtures the culture for thousands of years, and touch the cultural foundation.