I sure wish I was a real good art critic. Then maybe I could talk about this book and its Dreams, Schemes, and Themes, and I probably wouldn't make seI sure wish I was a real good art critic. Then maybe I could talk about this book and its Dreams, Schemes, and Themes, and I probably wouldn't make sentence constructions like "real good art critic". I wish I had the pure crystalline objectivity of the real good art critic, of which there are literally millions on Goodreads!! No dearth of startlingly pure objective opinions in this E-world, nope, and if I dislike something I sure wish I had that guy's number like other people have people's number, which I'm told means something. I'm a bad art critic. I get excited about things, I want to energetically push them on my friends and strangers, I want to shout about these things into the ears of the sleeping, I want to champion things that brought me bliss, and when I read my first book by John Hawkes here I want to go find everything he wrote and gobble it up. Cuz this right here is a fantastic, utterly unique prose writer the likes of whom I've rarely encountered, if I'm extrapolating my judgement from just these slim 150 pages. I would say, if I didn't fear people doubting my knife-sharp critical acumen, that you out there in E-world should run off to your bookery or library and find a copy of The Lime Twig, and read it immediately, or read it on one of those phones I see adults reading childrens' books on all the time on the subways in this city, that I hear are fueled by a chimney system that burns raw cash. (It won't even take that long to read, it's short and goes pretty quick even though it's elaborate prose, so you know, you'll have plenty time left in the day to trash that waiter from that pricey restaurant on YELP.) But then someone would call me a fan-boy or say I'm not pure objective uncut critical cocaine, that I'm not looking enough for cracks and flaws in the enjoyment Hawkes has brought me here, if I go raving like some idiot about how good this book is. If I only looked closer I'm sure I'd find something wrong, something to dislike, something to be suspicious of, that would ruin my enjoyment, make me hide my face behind a Japanese fan or peer over my neighbors' fence at night when their windows are glowing like hunted animal eyes. If there's one thing the Red Scare and Islamophobia have taught me it's that if you look close enough at any one person or thing, you'll always find things that aren't right, things to suspect, things to fear and ruin enjoyment. But I'm a terrible art critic, I think you should run off and read John Hawkes, and show some enthusiasm while you do it. It's NFL season again, and all the time unhealthy looking men ask me "who my team is" (I wish to tell them we no longer live in the days of the Swan-shirt or the Bear-shirt, putting on a sports jersey doesn't transform you into a more successful, virile, interesting man - we have lifted away from those ages of Vineland like unto a water spout vorticing above the silver ocean!) - and now I know what to say! I'll say, I'm on team John Hawkes! And my inquisitors will think I misspoke and look at me with glowing animal eyes like my neighbors' windows where at night all secrets are given....more
Emergence [Edit] With the collection of material Schmidt began in 1976; the beginning of the transcript can be traced to the early morning of FebruaryEmergence [Edit] With the collection of material Schmidt began in 1976; the beginning of the transcript can be traced to the early morning of February 10, 1979. The last line was written on May 30 the same year. On the morning of May 31 1979 Schmidt suffered a stroke, the consequences of which he died on 3 June 1979th The last written by him machine set, quasi the motto of his life reads:
"> Iss diligence 'ne virtue (Should we have yet before off another question):?> Is diligence for People & Pets easy (life) necessity'?"
- Julia, or the painting: Bargfelder edition, p.141 Action [Edit] The action takes place in a as a kind Bückeburg signified place in "Fürstenhof" now and portrays a few days. Heiko Postma saw it as a return to the beginnings of Fouqué -Research Schmidts because that was stationed here as a young officer and pulled the Undine from the waters of the Steinhuder sea. It's summer vacation mood - as it is more common with the author, as in his seascape with Pocahontas - and it's the year 1979. The story arc was originally drawn up in the late autumn of 1990 levels.
The novel, in dialogue form design has been completed only about a third and can no longer be completely reconstructed from the available material.
A plotline which may emerge, is the love story about a girl who was the aging, heart disease Leonhard Jhering on a "medium good" painting by January Mytens seen (1614-1670) at the castle. In Jhering many traits of the author are as alter ego has been incorporated; the name is indicated in the appended list of persons as a pseudonym (Jhering has the same birthday, but is 110 years older than Schmidt and has the same verfasserisches written work on). All persons on the list will receive their characteristics by specifying their respective reading. In Jhering everything (im) possible, especially the band 3 is Pfennig = magazine listed from 1835th The aging writer (65 or "Lord of '64 000 Tag''n") is staying at the hotel Fürstenhof with family Kühne - father Karl, mother Hedwig and son Nino. Also on board the theologisierende teacher Ekkehard smoke that is highly educated, and the feminist secretary Sheila Wangel, the flashy reptile attributes are given. There is breakfast in a nice atmosphere and made a boat trip on the Steinhuder Meer z. B.. Nino, very enthusiastic about his calculator, calculate logarithms - the old fad of the author who first looked at the board created by him as his life's work. During free time, among other things, the castle is open to visitors. There a meeting with the titled as "Castellan" Castle leaders (75) will take place. His reading is with Lorber stated. In the castle Jhering encounters the title character Julia, which can be seen in the form of an approximately 10-year-old girl in a painting of the "four sisters of Orange". In the course of this action leaves her image and is invisible present.
Finally, the book Jhering should vanish with her back in the picture and show there with her immortalized as paintings. A reversal in Tina or about immortality thesis shown that on Earth written traces noncontaminating can not finally die. Outside the castle you meet a 15-year-old, "1001" called lover of fairy tale collection of Arabian Nights. This gives the author the opportunity to comment extensively the various editions and translations of the fairy tale collection. The author has considered in the book its reader community with other literary respects, to the more familiar part Lovecraft - he also influenced by the Arabian Nights - but also completely forgotten Thesmar.
Reception  A turnaround in the appreciation of the late work of Schmidt headed Stefan Voigt one. His thesis of the rotational turn of the early work as an attempt to describe real, towards the free construction of reality, must meet only literary criteria, has opened a wide view of the work.
References  Zettelkasten 1 1984th Zettelkasten 4 1986th Zettelkasten 6 1988th Weblink [Edit] Alexis Eideneier: deception, falsehood, illusion. Reviews for Stefan Voigt: In the resolution terms. Knowledge models in Arno Schmidt's late work. Aisthesis Verlag, Bielefeld 1999, ISBN 3-89528-239-1. to: literaturkritik.de