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id="_idTextSpan39415" >Simos Panopoulos - Look at that

159

โ€œLovely. How then should it be read? Or rather, how would you like to be read, Mr Panourgias?โ€

โ€œCan we leave the Mr Panourgias aside for a bit? Itโ€™s starting to get on my nerves, you know, like when people offer their seat up for me on the bus. Because, I am neither a Mister, nor Panourgias. Now, in regards to how I want to be read. The only thing I ask is not to be skipped. Because in my work there is no such thing as lettuce-leaf phrases that only go on the plate for decoration and main-course phrases. They all bear the same weight. My text is isobaric, do you understand? And I would add, isotropic, isotopic and isomorphic.โ€

โ€œDo you not skip when reading?โ€

โ€œCertainly, but only weather-report phrases or the so-called fine print which even their own writer could not possibly be naรฏve enough to believe that they would be read.

โ€œThatโ€™s sufficiently clear, let us move on. Look at that is its title. Could you please explain this a bit more?

โ€œThere is a triple meaning to it. First off, itโ€™s what it made me say it, but also an invitation for the reader to literally have a look at the novel, plus the hope that by doing so it will extract, metaphorically, from him aโ€ฆโ€

+ โ€œeven though, if you ask me, Take it would be a better choice.โ€

Simos Panopoulos - Look at that

160

โ€œLook at that!โ€

โ€œNot necessarily. Thatโ€™s not the issue, is it? Iโ€™d be happy with a โ€˜Lookie here!โ€™ even. Or a โ€˜Thatโ€™s it !โ€™ If it manages to steal away about ten of these, then itโ€™s mission complete.โ€

โ€œThe book or the reader?โ€

โ€œBoth. As many as it takes to tango.โ€

โ€œYes, but how is that supposed to happen when for all intents and purposes there is nothing new you convey in the art of literature?โ€

โ€œBut thatโ€™s exactly the point. If I were to do so, the reader would glance at this new thing and never look at it again. It would be like museum exhibits whose worth is exhausted by their innovation.โ€

โ€œWherein is your originality, despite all of that?โ€

โ€œIf it is somewhere, it is in the avoidance of anything which, in other books, had always caused me to break out in hives.โ€

โ€œLike?โ€

โ€œAll that would make you think โ€˜Come on now, this doesnโ€™t even happen in the movies.โ€™โ€

Also add there, โ€œpreach, brother, preach!โ€

How do you not convey anything? The achievement alone of not writing about the crisis, and simultaneously, doing away with, at least a dozen people โ€“ what about that?

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