Good, so much better than anything that could conceivably be done with it, that my first instinct was always to leave it alone.įor about a year I also had a printed manuscript of “The Street of Crocodiles” with me, along with a highlighter and a red pen. On top of which, so many of Schulz’s sentences feel elemental, unbreakdownable. This same process of carving, but every choice I made was dependent on a choice Schulz had made. Of course 100 people would have come up with 100 different books using Unlike novel writing, which is the quintessence of freedom, here I had my hands tightly bound. Working on this book was extraordinarily difficult. On the brink of the end of paper, I was attracted to the idea of a book that can’t forget it It was hardly an original idea: it’s a technique that has, in different ways,īeen practiced for as long as there has been writing - perhaps most brilliantly by Tom Phillips in his magnum opus, “A Humument.” But I was more interested in subtracting than adding, and also in creating a book with a three-dimensional life. I took my favorite book, Bruno Schulz’s “Street of Crocodiles,” and by removing words carved out a new story.
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