By Ivan Vladislavić
What sort of Detective am I? Eardrum or tympanum? Gullet or esophagus? Pussy or pudenda? A Detective wishes a language virtually up to a language wishes a Detective.
In this new choice of tales, award-winning writer Ivan Vladislavic invitations readers to perform a little detective paintings in their personal. each one tale will be learn as simply that – a narrative – otherwise you can dig a bit deeper. Take a better glance, research the artefact from all angles, and think about the clues and styles hid within.
Whether skewering severe advertising recommendations or developing dystopian parallel universes; even if mourning a mother’s loss or tracing a translator’s on-stage breakdown, Vladislavic’s pitch-perfect inquisitions will make you query your personal language – the way it defines you, and the way it undoes you.
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Additional info for 101 Detectives
9 Because our automatic recourse is to project pre-existent emotions and meanings upon the world, so that what then appears to us as truth is principally a reflection of our own subjective distortions, every observation we make is an interpretation. "11 When we try to come to terms with the world, therefore, we must do so through a mediumspecifically, languagewhich again filters and adulterates perception. 12 In Willie Masters' Lonesome Wife, Gass states, "No one can imagine simplymerely; one must imagine within words or paint or metal, communi- Page 7 cating genes or multiplying numbers.
Eliot speaks of the fragments he shores against his ruins in the closing lines of The Waste Land, he is referring not only to the process of intellection he has just completed but also to the selection and arrangement of words in the poem itself: they comprise a world more hospitable to the artist's needs and more amenable to his manipulation. This is the source of the artist's consolation for the insufficiency of the modern world. The language of fiction is valuable for its own aesthetic sake, not merely, nor even primarily, for its ability to summon any reality outside itself.
The Aesthetic of Doubt in Recent Fiction 135 7. An Interview with William Gass 153 Notes 175 Index 189 Page ix Crosscurrents/Modern Critiques/Third Series In the early 1960s, when the Crosscurrents/Modern Critiques series was developed by Harry T. Moore, the contemporary period was still a controversial one for scholarship. Even today the elusive sense of the present dares critics to rise above mere impressionism and to approach their subject with the same rigors of discipline expected in more traditional areas of study.