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Sunday, October 5, 2014

Moe-Muhn-Tish-Us-Nis was almost "CURATED"

Moe-Muhn-Tish-Us-Nis was almost "CURATED"

I originally intended for the book to be called "Curated" since the individual vignettes and their organization give the power to the reader of acting like a curator in an art museum (the "framing" story takes place in a museum), but the word Momentitiousness hit me one day and I never got it out of my head. I think people walk out of art museums with the same sense of Momentitiousness that I'm trying to capture, and it's so fun to say. 

There is no single synopsis. It is a collection (of collections) of individual moments. Depending upon how it's "curated," there are multiple possible stories. It is written in such a way that characters might overlap, and those points of tangency (as I like to call them) can lead to wildly different "meta-stories." There's a gallery (what I call Least Squares Lines) that is a highly erotic lust story. There's a gallery that brings together Galileo, Jorge Luis Borges, and a twentieth-century cosmologist. There's a gallery that follows a saccharin-sweet love affair. There's a gallery that follows an arc through domestic terrorism and the initial salvos of a new Civil War. Then, of course, nestled in the footnotes is the key to everything, with Dark Energy as the pervasive metaphor. Dark Energy, Concentration, and Distraction.  Everything from Arbitrage to Zombies.

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