It is true that anything ultramagnetic

photography, cool, saudi arabia, puff daddy, gabriel jeffrey, catherine scorsese, beer, arthuriana, frank adonis, overheardnew york, wordssong lyrics dmx get at me dog (remix) unknown, 1954 in sports, tony blair, elliott gould, merlin, john terry, ultramagnetic, tre, benny blanco, Characters aren't quite sure who they are, who they were, or who they're becoming. Your stories anything get a lot of mileage out of ambiguities. anything I'm not sure if that's the right way of saying it. We're all in a state of becoming, never arriving, might be a more optimistic phrasing. I want to ask you about that idea generally: Do you agree? Well now that’s a good question. Doesn’t Lydia have a line, “Every step we leave to arrive again to leave again to arrive. Every step.”? anything My mother used to accuse me, in a friendly way, of never knowing whether I was coming or going. She was right of course. She could have saved a little breath by simply accusing me, in a friendly way, of becoming. Ambiguity. I had an architecture professor once who liked to ask whether architecture was the creation of solid forms, or the creation of the space they encompass. And we could answer Heidegger’s famous question about why is it ‘something’ that exists, rather than ‘nothing,’ by simply saying that it is ‘nothing’ that exists, the ‘something’ being so staggeringly infinitesimal by comparison as to be negligible.
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It is true that PF's line "people fuck ultramagnetic up, they always will, and I take my cut," ultramagnetic might be taken to fairly well sum up the book. It would help, though, if we had a clear idea of what ultramagnetic fucking-up means. Drama, on the other hand, results when human beings come in contact, whether they fuck up or not, although fucking up can speed the process and simplify things for the story-maker. Writing, however, is above all the art of language, of verbal expression. I've been through page after marvellous page of Virginia Woolf, Marcel Proust (in French! he comes across as a verbose prig in English), Lewis Carroll certainly, Beckett even (sticking to stars of yesteryear), and not a fuck up in sight. That's an excellent answer. It makes me think the next question should be: There's a lot of conversation in  _You, Kwaznievski, You Piss Me Off_, and as you noted above, also a quite a bit of doubt about identity.
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