Great AuthorsBeautiful authors
The atlas of literary maps by great authors: J.R.R.R Tolkiens Middle-earth, Robert Louis Stevenson's Treasure Island & More
Action, attitude, personality.... we learnt to regard them as discreet items in literature, similar to the strategies, the boards and the figures of a pack of games of chess. Plenty of literature works are known for their memorable places: Faulkner's Yoknapatowpha, Thomas Hardy's Wessex... There are works that describe places so clearly that we believe in their existance for good reason: Italo Calvino's Invisible Cities, China Miéville's The City and the City, Jorge Luis Borges' "Tlön, Uqbar, Orbis Tertius"........
On the one hand, the fact that they seem to react to incidents in the same way as the humans who are living in them. And just as often the fact that so many writers and Illustratoren paint complex cards of the literal scenes, let their characteristics become for us material and anchor in our heads.
The Writer's Map, a new volume published by Huw Lewis-Jones, gives enthusiasts of literature cards - whether non-fiction, realistic or fantastic - the chance to flood cards of Thomas More's Utopia (considered the first literature card), Robert Louis Stevenson's Treasure Island, J.R.R.R. Tolkien's Middle Earth, Branwell Brontë's Verdopolis (above) and so many more.
You may be surprised to learn that authors detest it, but authors are ultimately human beings, and most humans find it arduous and hard to find a writer in one part. All the authors presented in this compilation agree that they enjoy celebrating their fantasies and making their clear visions come true, be it by distracting themselves while sketching cards or by grinding down vocabulary and vocabulary.
A lot of these cards, like Thoreau's Walden Teich or Johann David Wyss' Wüsteninsel in The Swiss Family Robinson, accompany her book for publishing. Lots more were kept secret in the authors' journals. The Writer's Map contains many such "private treasures", writes Atlas Obscura: "J.R.R. R. Tolkien's own draft of Mordor, on millimeter chart; C.S. Lewis' draft; unreleased cards from David Mitchell's journals... Jack Kerouac's own On the Road route...".
Are we reading a card differently if it is not intended for us? Could cards be both cunning misleading actions and bizarre vision aides? Shall we consider them para-textual and needless, or are they crucial when an writer decides to incorporate them into our comprehension of a narrative?
These and many, many more issues are addressed in The Writer's Map, a long-forgotten overview of this long literal history.