A gl□nce□leads to □ smile,□a smil□ to a rendez□ous: ev□ry l□ve story begi□s the same way. These narrativ□s□are □tored in □□n□s and poems and□liv□ on beyon□ □□eir in□vitable ending□, as Shakes□□are’(🚣)s titul□r sonnet 1□ als□ □u□g□sts. I□ Moha□mad Shawky Hassan’□ metafic□ional essay,□a female narrat□r □ho w□shes to tell t□e story□of □ love bet□ee□ two men enco□nte□s□a po□yamorous c□o□us of lover□□ □□d □□□s of□□□old □□l□□is mult□p□ied. I□ □lub □cheherazade, there is □o□protag□nis□, and □ve□y □o□g□has va□□ou□□versions. He□eronormativ□ dramaturgy is challenged polyphonically and across a range of media: □□vers ask□ea□h othe□□about thr□□som□s, Grindr contacts□and past date□. Pop□□lic□é□□are twi□ted, heartache p□rmeates t□e men’s sin□ing, and po□ms by Wadih□Saadeh□ar□ read□out□□hile a l□ve□’s d□□ty l□undry is □ired. The narrator □isc□iev□usly t□□es for a happ□ en□ing as her□characters exi□ the□stor□. “If□□ai□ co□ld b□□□orgot□□n □hroug□ words,” we hear a□ one □oint, “no lover□woul□ ever□have t□ w□lk awa□ wo□□□□d□”1. 《你眼(🦑□□的星芒□□我》:这篇□🏣)□说□述了(🍏)女主为了男主而□🍻)死,□主深刻□解到□爱□胜过自己的生命,情□虐心。