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novel tells the stories of its two main characters, Sam and Hailey, in such a way that they cohabit each page in an upsidedown fashion. The reader has to physi cally rotate the book by 180 degrees to read either Sam’s or Hailey’s narratives, although other reading paths are possible too: reading one character’s narrative from beginning to end or following the publisher’s recommendation to read the first eight pages from one story, then eight pages from the other, and so on. Each choice has an impact on the narrative plotting, whether the two story lines meet on a page, or are run in parallel, or are intermittently interwoven. Yet another type of kinetic interruption is constituted by the flipbook technique. In Steven Hall’s The raw shark texts (2007) the reader comes across a section of some fifty pages that, when flipped, show a shark made of fragments of the main character’s life story racing right at the reader. “In flipping pages 335 through 373,” observes Kiene Brillenburg Wurth (2011: 131), “the reader engenders the shark’s approach” (emphasis added). At the end of Jonathan Safran Foer’s Extremely loud & incredibly close (2005) we are faced with a sequence of fifteen pages which, when flipped, show the famous figure of the falling man from 9/11 moving upward, back to the safety of the notyetdestroyed tower.
DOI link for novel tells the stories of its two main characters, Sam and Hailey, in such a way that they cohabit each page in an upsidedown fashion. The reader has to physi cally rotate the book by 180 degrees to read either Sam’s or Hailey’s narratives, although other reading paths are possible too: reading one character’s narrative from beginning to end or following the publisher’s recommendation to read the first eight pages from one story, then eight pages from the other, and so on. Each choice has an impact on the narrative plotting, whether the two story lines meet on a page, or are run in parallel, or are intermittently interwoven. Yet another type of kinetic interruption is constituted by the flipbook technique. In Steven Hall’s The raw shark texts (2007) the reader comes across a section of some fifty pages that, when flipped, show a shark made of fragments of the main character’s life story racing right at the reader. “In flipping pages 335 through 373,” observes Kiene Brillenburg Wurth (2011: 131), “the reader engenders the shark’s approach” (emphasis added). At the end of Jonathan Safran Foer’s Extremely loud & incredibly close (2005) we are faced with a sequence of fifteen pages which, when flipped, show the famous figure of the falling man from 9/11 moving upward, back to the safety of the notyetdestroyed tower.
novel tells the stories of its two main characters, Sam and Hailey, in such a way that they cohabit each page in an upsidedown fashion. The reader has to physi cally rotate the book by 180 degrees to read either Sam’s or Hailey’s narratives, although other reading paths are possible too: reading one character’s narrative from beginning to end or following the publisher’s recommendation to read the first eight pages from one story, then eight pages from the other, and so on. Each choice has an impact on the narrative plotting, whether the two story lines meet on a page, or are run in parallel, or are intermittently interwoven. Yet another type of kinetic interruption is constituted by the flipbook technique. In Steven Hall’s The raw shark texts (2007) the reader comes across a section of some fifty pages that, when flipped, show a shark made of fragments of the main character’s life story racing right at the reader. “In flipping pages 335 through 373,” observes Kiene Brillenburg Wurth (2011: 131), “the reader engenders the shark’s approach” (emphasis added). At the end of Jonathan Safran Foer’s Extremely loud & incredibly close (2005) we are faced with a sequence of fifteen pages which, when flipped, show the famous figure of the falling man from 9/11 moving upward, back to the safety of the notyetdestroyed tower.
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