![]() The story of “Tree of Codes” is continuousĪcross pages, but I approached the project one page at a time: looking for promising words or phrases (they’re all promising), trying to involve and connect what had become my characters. Good, so much better than anything that could conceivably be done with it, that my first instinct was always to leave it alone.įor about a year I also had a printed manuscript of “The Street of Crocodiles” with me, along with a highlighter and a red pen. On top of which, so many of Schulz’s sentences feel elemental, unbreakdownable. This same process of carving, but every choice I made was dependent on a choice Schulz had made. ![]() Of course 100 people would have come up with 100 different books using Unlike novel writing, which is the quintessence of freedom, here I had my hands tightly bound. Working on this book was extraordinarily difficult. On the brink of the end of paper, I was attracted to the idea of a book that can’t forget it It was hardly an original idea: it’s a technique that has, in different ways,īeen practiced for as long as there has been writing - perhaps most brilliantly by Tom Phillips in his magnum opus, “A Humument.” But I was more interested in subtracting than adding, and also in creating a book with a three-dimensional life. I took my favorite book, Bruno Schulz’s “Street of Crocodiles,” and by removing words carved out a new story. ![]()
0 Comments
Leave a Reply. |