You might not catch it for like two years or three years. You might not catch it. I’m not sayin’ that it’s deep, that what I write is so, so deep where it requires research. It doesn’t. It requires thinking.
It doesn’t make a difference whether you live it or you don’t. I can write about stuff I don’t live, the person who wrote Harry Potter you think they lived all that shit?! I don’t have to physically own a Rolls Royce to talk about being in one. I’m not saying there’s anything wrong with talking about cars or clothes, but shit, make it interesting.
Let this be a warning to anyone thinking about purchasing one of these animals: they are arr
ogant, brutish creatures, cheaply constructed and wholly unfit for children. Don’t give in to the advertisements, unless you happen to live in
a castle with high ceilings, or a steel home on a considerable stretch of hard, durable land that you don’t mind seeing destroyed by this monst
—Matt Derby, “Mammal: The Unicorn”
Again and again he peoples his singular fictions with novelists and poets, both aspiring and famous, both accomplished and hopeless, both politically oblivious and committedly extremist, whether right or left. By a marvelous sleight of hand writers are omnipresent in Bolaño’s world, striding the stage as romantic heroes and feared as imperious villains, even aesthetic assassins — yet they’re also persistently marginal, slipping between the cracks of time and geography, forever reclusive, vanished, erased.
—Jonathan Lethem’s review of Roberto Bolaño’s 2666
Pretty great installation/performance/tech art piece entitled Digit by Julien Maire. The “writer” waves his fingers across paper creating dot matrix esque print. The shakiness and lo-fidelity adds to the eeriness.
Check the video of the performance to get a feel for the performance. Maybe Maire should team up with this guy for accompaniment.
(⇒ via Engadget surprisingly)