She writes a sentence and then scratches it out. Sometimes she almost gets his voice down but then it flutters away and it takes her some time to catch it again. The biggest problem, she finds, is nailing Fulton’s voice as it appears in Volume Three of Theoretical Elevators, as opposed to the arid academic voice of Volume One and the aimless mystic voice of Volume Two. The rhythms of the first two books have been scored into her brain. The optimism of this new book is taking some getting used to. She has to recalibrate. Luckily, she’s just filling in the interstitial parts that Fulton didn’t
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