Unpropertied Voices
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About this ebook
This note is written to disarm critics and allay the concerns of readers. To critics who say, “Oh, no! Another piece of experimental writing,” I merely point out that, unless it is a plagiarism, every work of literature is an experiment. And I assure readers that, despite appearances, this is a reader-friendly book. You can regard it as a series of conversations or episodes or as a single story, and I have no objection if you turn to the end first to see how it comes out. (Perhaps I even intended you to start there.)
I remind readers and critics alike who seek in vain for “Mary said” and “John replied” that, although we have grown used to seeing these signposts on our literary journeys, most of the time they are just as dispensable as the mile markers on freeways, which never cease to inform us of what we can perfectly well learn from our own odometers. After all, punctuation itself (without which our forebears managed quite well) and even the spaces between printed words are no more than a convention of written language.
Acquaintances who have read this work in draft have drawn my attention to several points at which they feel it is ambiguous. I agree, but see no way to eliminate the ambiguities. Readers who feel that a passage admits of more than one interpretation should assume that all are valid. As the Rev. C. L. Dodgson once wrote in a letter quoted by all his biographers, “Words mean more than we mean to express when we use them; so a whole book ought to mean a great deal more than the writer means.”
This is a work of fiction: the events and characters it contains are imaginary. In all candor, however, I must confess that when my friend Anitra read this, she said “We're just as real as you are.”
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