Mark Z. Danielewski Quote
I think that's what finally stopped me. I slid right to the edge. My legs were hanging over. And I could feel it too. I don't know how. There was no wind, no sound, no change of temperature. There was just this terrible emptiness reaching up for me.
Mark Z. Danielewski
I think that's what finally stopped me. I slid right to the edge. My legs were hanging over. And I could feel it too. I don't know how. There was no wind, no sound, no change of temperature. There was just this terrible emptiness reaching up for me.
Tags:
emptiness
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About Mark Z. Danielewski
Mark Z. Danielewski (; born March 5, 1966) is an American fiction author. He is most widely known for his debut novel House of Leaves (2000), which won the New York Public Library's Young Lions Fiction Award. His second novel, Only Revolutions (2006), was nominated for the National Book Award.
Danielewski began work on a 27-volume series, The Familiar, although he completed only five volumes before halting the project in 2017.
Danielewski's work is characterized by an intricate, multi-layered typographical variation, or page layout, which he refers to as "signiconic". Sometimes known as visual writing, the typographical variation corresponds directly, at any given narratological point in time, to the physical space of the events in the fictional world as well as the physical space of the page and the reader. Early on, critics characterized his writing as being ergodic literature, and Danielewski has described his style as:Signiconic = sign + icon. Rather than engage those textual faculties of the mind remediating the pictorial or those visual faculties remediating language, the signiconic simultaneously engages both in order to lessen the significance of both and therefore achieve a third perception no longer dependent on sign and image for remediating a world in which the mind plays no part."
Danielewski began work on a 27-volume series, The Familiar, although he completed only five volumes before halting the project in 2017.
Danielewski's work is characterized by an intricate, multi-layered typographical variation, or page layout, which he refers to as "signiconic". Sometimes known as visual writing, the typographical variation corresponds directly, at any given narratological point in time, to the physical space of the events in the fictional world as well as the physical space of the page and the reader. Early on, critics characterized his writing as being ergodic literature, and Danielewski has described his style as:Signiconic = sign + icon. Rather than engage those textual faculties of the mind remediating the pictorial or those visual faculties remediating language, the signiconic simultaneously engages both in order to lessen the significance of both and therefore achieve a third perception no longer dependent on sign and image for remediating a world in which the mind plays no part."