{"id":365,"date":"2009-02-25T01:24:25","date_gmt":"2009-02-25T06:24:25","guid":{"rendered":"http:\/\/www.samplereality.com\/gmu\/spring2009\/660\/?p=365"},"modified":"2009-02-25T01:28:06","modified_gmt":"2009-02-25T06:28:06","slug":"mark-danielewski-can-read-your-mind","status":"publish","type":"post","link":"https:\/\/www.samplereality.com\/gmu\/spring2009\/660\/?p=365","title":{"rendered":"Mark Danielewski can read your mind."},"content":{"rendered":"

At this point, I really believe that Mark Danielewski is either a mastermind or a maniac. I really don\u2019t remember ever experiencing a book like House<\/span> of Leaves <\/em>before. So far, it has been one of the most interactive<\/em> reading<\/span> experiences I’ve had! I also finally found the \u201cbest\u201d way to read\/conquer it (other people may have differing viewpoints): I began reading at the very beginning, and tried really hard not to think about the fact that it is 700 pages long. I followed the pages in sequential order. When I come across a footnote, I read the footnote and then returned to where I left off in the text. When directed to an appendix, I read the appendix (but not always too carefully unless it was really interesting) then returned to where I left off in the text. I found that way of reading it less daunting than, say, if I were to read all the footnotes separately after finishing the novel. Although Danielewski doesn\u2019t instruct the reader to read in this way directly (or any other particular way) , the novel\u2019s recursive structure (the interweaving of the different narrators throughout) forces the reader to get involved with all the different plots simultaneously, and therefore implicitly encourages this reading.<\/p>\n

The experience of reading this book really got me interested in the relationship between author and reader in a postmodern work, and how it can be distinguished from that relationship in the context of different literary genres. More than any other genre, postmodern writing encourages the reader to read actively <\/em>and interact with the text on a continual basis (even in a physical sense\u2014turning the book upside down and using mirrors, for example). Besides the heightened level of interactivity, House<\/span> of Leaves <\/em>also often communicates to the reader an introspective thought that the reader may already have about the text. For example, throughout the novel, I often got the feeling that Danielewski purposely and repeatedly gives the reader clues that he can see what is going on in the reader\u2019s mind. Here\u2019s a specific, but subtle example of this:<\/p>\n

While looking through the appendixes, I was especially drawn to the little poem on page 563 in section F., inventively titled \u201cPoems.\u201d The poem is untitled \u201c(Untitled Fragment)\u201d and it does not have a credited author as far as I can tell. It is the only poem on page 563:<\/p>\n

Little solace comes<\/p>\n

to those who grieve<\/p>\n

when thoughts keep drifting<\/p>\n

as walls keep shifting
\nand this great blue world of ours
\nseems a house<\/span> of leaves<\/p>\n

\n

moments before the wind.<\/p>\n

I believe this short text somehow encompasses many themes (Is anybody counting?) that can be found within House<\/span> of Leaves<\/em>, and anticipates the reader\u2019s reaction to the novel as a whole. <\/span>The first line \u201cLittle solace comes to those who grieve\u201d is probably referring to the reader here, and the initial reaction to the novel\u2019s intimidating navigation. The \u201cthoughts keep drifting\u201d is an obvious reference to the reader\u2019s reaction to the different narratives and narrators which cause thoughts to drift during the novel, and Danielewski is seemingly warning\/telling the reader that there is no comfort found even after attempting to decipher the different narratives. \u201cAs walls keep shifting<\/span><\/em>\u201d is a reference to the house<\/span> itself and the physical ambiguity of the house<\/span> which keeps shifting to expand internally while appearing static externally. The second part of the short poem relates the \u201cgreat blue world of ours\u201d (where blue is significant to the word house<\/span> highlighted in that color throughout the novel) to the monstrosity of the novel and its myriad links, footnotes and annotations which cannot be contained in any reader\u2019s mind simultaneously. These connections are like a \u201chouse of leaves moments before the wind\u201d: This evokes a powerful image of thousands of flimsy artifacts that are nonsensical even when arranged into the shape of a house, but virtually impossible to interpret after a moment, when the wind (another thought, fact, event, etc) comes in full force and blows away any \u201carranged\u201d pieces of the imaginary puzzle. So from this little poem, the reader can see\/read himself\u2014trying futilely to assemble pieces of the puzzle that is the novel, to no avail.<\/p>\n

Therefore, I cannot help but reiterate that House<\/span> of Leaves <\/em>is typically postmodern, not simply in its form as I discussed last week, but even more so in its function\u2014where the focus shifts from the work of literature itself to the process of its production, and even more strikingly, to the reader\u2019s \u201cprocess of interpretation.\u201d Danielewski seems to assume a certain reader response to the novel, which at times evokes the feeling that he can actually see what is going on in the reader\u2019s mind.<\/p>\n","protected":false},"excerpt":{"rendered":"

At this point, I really believe that Mark Danielewski is either a mastermind or a maniac. I really don\u2019t remember ever experiencing a book like House of Leaves before. So far, it has been one of the most interactive reading experiences I’ve had! I also finally found the \u201cbest\u201d way to read\/conquer it (other people … Continue reading Mark Danielewski can read your mind.<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[43],"tags":[39,32],"class_list":["post-365","post","type-post","status-publish","format-standard","hentry","category-week-6-mzd","tag-danielewski","tag-house-of-leaves"],"_links":{"self":[{"href":"https:\/\/www.samplereality.com\/gmu\/spring2009\/660\/index.php?rest_route=\/wp\/v2\/posts\/365"}],"collection":[{"href":"https:\/\/www.samplereality.com\/gmu\/spring2009\/660\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.samplereality.com\/gmu\/spring2009\/660\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.samplereality.com\/gmu\/spring2009\/660\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.samplereality.com\/gmu\/spring2009\/660\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=365"}],"version-history":[{"count":5,"href":"https:\/\/www.samplereality.com\/gmu\/spring2009\/660\/index.php?rest_route=\/wp\/v2\/posts\/365\/revisions"}],"predecessor-version":[{"id":370,"href":"https:\/\/www.samplereality.com\/gmu\/spring2009\/660\/index.php?rest_route=\/wp\/v2\/posts\/365\/revisions\/370"}],"wp:attachment":[{"href":"https:\/\/www.samplereality.com\/gmu\/spring2009\/660\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=365"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.samplereality.com\/gmu\/spring2009\/660\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=365"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.samplereality.com\/gmu\/spring2009\/660\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=365"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}