I'm, I'm curious as to what you think readers are sort of supposed to take away and understand about his survival.

Yeah, that's, that's a good question.

Um, I think on, on, on the one hand, one important element of it is that he's a character from elsewhere in the author's fiction.

So we know w- if you go into this having read his other work, which I think the expectation is not necessarily that readers in an English context would have, but Tibetan readers probably would have.

Um, so you know this character survives already, um, because you've, you've seen him before.

And as I mentioned, you get an in- interesting sort of different view of him here, a backstory in a sense.

And what's really important is that it's a really interesting choice to have a villain essentially as, as your protagonist, as, as the victim of all these, these campaigns because it would've been very easy, I think for the novel, for the author to have chosen a character for the center of the novel who is much more obviously a, a victim.

So thinking about the wind, which of course also comes into the title, is there anything, Chris, you'd like to sort of say or touch on when it comes to the significance of the wind itself?

I'm curious as to what you think readers are sort of supposed to take away and understand about his survival.

Yeah, that's a good question.

I think on the one hand, one important element of it is that he's a character from elsewhere in the author's fiction.

So we know if you go into this having read his other work, which I think the expectation is not necessarily that readers in an English context would have, but Tibetan readers probably would have.

So you know this character survives already because you've seen him before.

As I mentioned, you get an interesting different view of him here, a backstory in a sense.

And what's really important is that it's a really interesting choice to have a villain essentially as your protagonist, as the victim of all these campaigns, because it would have been very easy, I think, for the author to have chosen a character for the center of the novel, who is much more obviously of a victim.

Yeah.

I'm, I'm curious as to what you think readers are sort of supposed to take away and understand about his survival.

Yeah, that's, that's a good question.

Um, I think on, on the one hand, one important element of it is that he's a character from elsewhere in the author's fiction.

So we know, if you go into this having read his other work, which I think the expectation is not necessarily that readers in an English context would have, but Tibetan readers probably would have.

Um, so you know this character survives already, um, because you've, you've seen him before.

And as I mentioned, you get an in- interesting sort of different view of him here, a backstory in a sense.

And what's really important is that it's a really interesting choice to have a villain essentially as, as your protagonist, as, as the victim of all these, these campaigns because it would've been very easy, I think, for the novel, for the author to have chosen a character for the center of the novel who is much more obviously of a victim.

So thinking about the wind, which of course also comes into the title, is there anything, Chris, you'd like to sort of say or touch on when it comes to the significance of the wind itself?