Summary "One morning in the park James Sim discovers a man, crumpled on the ground, stabbed in the chest. With his last breath, the man whispers one word: Samedi. Who is lying? What is Samedi? And what will happen on the seventh day? Contents Machine derived contents note: day the first day the second day the third day the fourth day the fifth day the sixth day the seventh.
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Open to the public Book English Ipswich Libraries. Open to the public Book English Show 0 more libraries None of your libraries hold this item. Found at these bookshops Searching - please wait So, the weeks consisted of putting it down on paper. The important thing for me about the structure of a book is that it should permit me the room to surprise myself as I write.
Certainly, the structure of TWTD allows that. I try to realize in a space of text the specific ambiguities that I feel -- not randomly chosen ones, but specific ones. This, I think, is the greatest clarity we can hope for. It says in your press sheet for the new book that you will sit in silence for several weeks before you begin a new book. I have also read in other places about the short span Samedi was written in while you were holed up overseas, utilizing long stretches of writing in which you would hang the manuscript around the room, immersing yourself in the text.
Would you talk a little about the process of immersion during creation, as it applies to you, and the benefits of writing a book in a short period versus books that are toiled over for years and years? I have periods when I do not write, and periods when I write. During the non-writing, or gathering periods, I do write in a journal.
Those are observations, drawings, evidence of fascination, peculiar details that have come to light, etc. The journals are not tools towards verse-writing or novel-writing.
They are useful in and of themselves and are their own end. When I enter a period of writing, I have a project before me, and I set everything else aside. I view it as a performance, the way a pianist would, and the discipline is a similar one. I believe that rigorous readings, observation, sharp thought -- these are preparations for the creation of a work. If one is sloppy there, then the work will not be what one desires.
In my works, I try to conjure up a state of affairs -- a glimpse of one situated thought, where the situation is all that surrounds it in the mind. I try to avoid this trap.
As for the benefit of hanging a manuscript about the room, for me it is not a matter of examining the manuscript there on the wall, so much as it is a matter of being confronted with the physical evidence of my process. It gives me a sense of the undertaking and sends me forward. I don't want to talk too specifically about the structure of The Way Through Doors , as the magic of it for me was in the unfolding of the story, but essentially it consists partially of a series of stories embedded in one another that in various ways enmesh, sort of like Calvino's If on a winter's night a traveler At one point early on in the text, a character receives a note that contains, in part, the message: "Is there such a thing as useless obfuscation?
Unspecified cataclysm threatens in this unconventional debut spy fable from poet Ball. As mysterious suicides are staged daily on the White House lawn, James. Editorial Reviews. From Publishers Weekly. Unspecified cataclysm threatens in this Samedi the Deafness (Vintage Contemporaries) - Kindle edition by Jesse Ball. Download it once and read it on your Kindle device, PC, phones or tablets.
I don't think so. You often hear the question, "What is human here? We're not even talking about language poetry or symbolic writing here really, such as "aslidfalsdhfowe oaihdofi" or "organ splat the vermin oven. How then, as you are constructing, say, a book where the tallest building in the world is mostly underground, as there is in The Way Through Doors , do you parse in your own mind the melding of the fantastical with "what is human"? More so, how does the "obfuscation" lead to the way you go about piecing the narrative together in your mind and on the page?
This is a really long question, I apologize, it is something I feel strongly about. Perhaps this question is best answered simply by the fact of the book being the way it is, than by anything I could say.
However -- in direct response, I am always puzzled by the certainty that people seem to have about the march of progress. People are sure that they are smarter today, have better things, spend their hours in more meaningful pursuits, etc, than those people who labored in distant centuries.
Similarly, there is a certainty that it is better to be intelligent, strong, attractive, etc. The problem with these certainties is that they aren't certain at all! I don't believe writing is better now than it was 2, years ago. Neither do I believe people are happier, or live fuller lives. Probably, being lucky is the best thing -- but even that is in doubt, as luck itself is simply the pendulum swaying to one or the other extreme. Is it better to be shallowly happy a lot of the time, or deeply sad with occasional firestorms of delight and joy? The point of all this is that: if we aren't even certain about what to aim for, then what is the use in one form of order over another?
Instead of trying to come to some conclusion about what the objectives of progress are, society drives headlong towards objectives with unknown application. Consider this: nobody has even been able to dream up a utopia that sounds very good at all to anyone. Don't have an account? Sign Up. Update your profile Let us wish you a happy birthday!
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