The Synchronised Shards of Random Truth & Fiction.
Suffice it to quote this from THE RED TOWER: “After a time, however, things began to fall into place as they always do, rejecting a harmless and uninteresting disorder – never an enduring state of affairs – and taking on the more usual plans and purposes of a viciously intent creation.” That seems to make a nonsense of such ARRANGEMENTS and thus it shall be - but maybe when I see if there is any rhyme or reason to the remaining ‘group’ titles ere long, I shall return to this point. The first stories in this TEATRO GROTTESCO collection which I have now treated (‘PURITY’, ‘THE TOWN MANAGER’, ‘SIDESHOW, AND OTHER STORIES’, ‘THE CLOWN PUPPET’ & ‘THE RED TOWER’) are, I notice, grouped (at least in my Durtro edition) under the group title of DERANGEMENTS. “burying graves” “utilitarian” “hyper-organisms” I feel it is a readerly failure thus to ‘symbolise’ fiction, a belief which brings me back again to gveranon’s thoughts on ‘allegory’ and ‘thinky dreaminess’ where such blatant symbols would be out of place. I wonder how many readers symbolise the Red Tower (this factory with its various “stories”) as a phallus, or as the Archetypal Author, or as a Biblical edifice, or a Radio Transmitter, or (on this seasonal day when I write this critique) as Santa Claus’s homebase from where he sends out the Novelties to deliver themselves as presents. This texture matches the complexity of the Factory and its prehensile Novelty manufacture.įiction ‘fadings’ in and out - like an ill-tuned radio station amid the static grey landscape. The language texture is complex and savourable (with clause and sub-clause galore), a texture that equally slips down easily into the reading mind like baby food. THE RED TOWER – I simply love this story.
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