Brook auster trial

The organizing principle was alliteration and a kind of pounding, inexorable rhythm. Something about the English language lends itself to this sort of approach. Sounds, noise and music become storytelling devices in the text: the texture of reality is rendered through them. There is no way to objectify this or to set down norms about what is good or bad writing.

Because what moves me is not necessarily what is going to move you. You could still be considered as a poet today. I do think of your prose as the writing of a poet. While working on Winter Journal , I was consciously trying to write a piece of music, what I would call an improvised fugue in words.

After I finished 4 3 2 1 , I toyed with the idea of writing a long discursive poem about America. I think I wrote about eight or ten pages, no more than that. So, are you part of the American canon, or do you see yourself as an outsider? The journalist says X, and I immediately want to say W. In my essay for the LISA volume, I point out that they fail to take into account the formative combination of self-reflection and the fabular which alerts the attentive reader to the fact that this novel belongs more in the realm of difference and subjectivity than in any traditional mimetic universe.

Mr Vertigo is probably a good example. Sort of. A book set in a specific time and place in American history — the Midwest in the s — at least most of it is. Might we argue that 4 3 2 1 is less introverted than most of your work? I was probably ready to do it. Not consciously, of course, but it seems to be part of a natural inner progression.

But within that eccentric form, the narration is quite down to the ground. Early on, I understood something fundamental about writing fiction: if you want to write about fantastical things, a wholly invented world — fantasy fiction, science fiction, whatever you want to call it — you have to write it in a simple way. With a standard, recognizable subject, you can be as wild as you want to be.

The Trial as opposed to Ulysses , for example. So, even if the premise of my book is bizarre, the execution is not. If I had remained bizarre in the execution, the book would have been unreadable. I did the radio program from the fall of to the fall of , and the book came out in A book tour had been planned to start the next day. I was going to travel around the country with Jacki Lyden from NPR, hosting events where the contributors to the book would stand up and read their stories in public.

Needless to say, the trip was postponed. I learned a lot from talking to those people. Curiously, that name was invented by my little niece, Juliette. She must have been seven in I think she was in the second grade. She went to the elementary school close to the World Trade Center. Only two or three blocks away. Her parents live in Tribeca, and when the planes hit, my sister-in-law went to the school to fetch her daughter. There was a mob of parents there, all of them frantic, desperate to take their kids home.

At 16, her mother arranged a marriage to J. Dryden Kuser. Astor later said it was her only regret. They had a son, Anthony, but after 10 years the couple divorced. The marriage ended when Marshall died of a heart attack in Like us on Facebook at www.

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