我用夏天-
比拟你

　　A glance lead $%s t! o* a smile, _ a smile to a rendezvous: every lov` =e% story begins t?)he same way. Thes% :e n;@arr`
=atives`[ are sto$red in;? so@ngs an::/d p`$oems and liv e o] n beyo_.)nd t`^he )ir,` -=]inevitab

le endi=
ng,^:s, -_a^s Shakespeare’s /tit  ula r sonn,et 18 also sug(!gests=. In Mohamm*$ad Sh
awky ^ Ha?ssan’s metaf$i/@cti*;ona:l essay, a femal)_=e narrator who wishe\[s to tell the stor^(:(y of^ a love$# %(betw`(een ,#tw*o m^%,e+:n encounter]s $-a po/;lyamorous chor??us of lovers, and this /oft-t[old ta le ;is(@ multip\lied. In Club Scheheraz!:a.[_d`+e, th `[]e]-\re i
s no protagon: ist, and every s%^*ong has \_.various versions. Heteronormative dramaturgy% ..is chall[enged polyp[honicall)\@y a%nd  a.c`ross a range of me%d! ia%:,: lovers ask each other about th@reesomes, Grindr^] _%con%ta,)cts .]an/ d past date[]s$. Pop clichés ![are twisted, h==e:*;artache permeates th!\)e men’s singing*,, and!: poems by(: Wad [ih Saadeh are read=)^ out ^wh#i ]_l@,/
e a lo-*ver’s dirty laundry is ai/\!?r#,ed. The/ narrator_
# misch%
ievously tries for;= a;-! happy ending as her c haracter.s   exit t$he.#$ s`%`@tory. “If (=.,pain c;]ould  _be %forgott[en\? %)t \
hrough :^;[words,” we / hear at one p$@oint, “no#; *=\=lover would ev
er?; have to w^=^`alk away wounded.”