I have Written a BookI've written a book
The reason why a book by letter is nice and crazy | Children's literature
I' m terrible when I am typing folks. I' m getting nice, glittering foreign party postcards and just sending back my facesbook post. Every December, after carrying the bulk of the reflective greetings from dear ones in the UK, my brother and her honest English colleagues force me to take her to the cooking tables and say thank you.
I' m trying to take the sheets of cardboard and I' m trying to make the deeds. It is not that I am thankless for the amount of money that families and boyfriends invest in shipping their loved ones on hardcopy, in packages and covers. I' m worried when I put a pens on the tablet - without a text editor that organizes me, without the grace of a back space - my letter becomes a creation that doesn't really exist.
I would say, however, that this savagery is exactly what makes the letter size (i.e. the letter size of a novel through a set of papers, usually and in my case through letters) essential. The first novel I wrote consists entirely of epistles, and the friends they write - Oliver and Moritz - have no alternative but to cast themselves solely on sheet music.
In these conditions, these young people encounter each other only through written words: non-filtered and repeating, sincere and messed up. From my experiences, a letter is always a little filthy. People who write in beautiful italics have a personal feel and it goes beyond the manuscript (although today we see the manuscript so seldom that it appears already familiar in itself).
A novel by letter has to find ways to convey this filthy idiosyncrasy in printing, usually without the real signature. Olivier and Moritz make many jokes about each other's letters: Moreitz criticises Ollie's cruel art of notation. Much to Ollie's excuse for having written so many double-sided pages, which shows his exaggerated absence of clarity.
First Moritz writes his epistles, which stands for his unapproachability. Moritz's ALL-CAPS overload makes Ollie very noisy.
Except you are the kind of individual who designs a letter once before it is rewritten, hiking is a common side effect to put on pencil. To write without a filter over a longer period of elapsed often means to slip into the flow of the conscious. Ollie is particularly vulnerable in Because You'll Never Meet Me: he starts one talk and changes from one.
However, to have a far-reaching nature in a book only works if these meanders are countered by more disciplined reactions. I' ve been reading some epistolaries that are one-sided - a person who writes to a unnamed foreigner whose perspectives we may never part with. It is Ollie and Moritz's need to talk to each other before they dissolve into new tension.
I' ve got some unpleasant recollections of excessive splitting in my correspondence over the years. Lettering allows us to be frank without having to face the sound immediately. I did not choose the slogan on the book of the British issue, but it is appropriate: Letter is such a trigger for untrustworthy stories, which can be a true joy and a means of tension.
When your people are persuasive, they don't have to be sincere. I' m not sure there is another way of typing with so much promise in this area. During our early years, my brothers and sisters and I got a letter from Santa himself in which he explained his heroic deeds at the Arctic Ocean, his penguin and arctic bear ecaps.
Until today we keep these deeds in a file in the office of the families. Moritz keeps Ollie's deeds in his carillon case by his bed. When Ollie is lying still, Moritz smoothes Ollie's crumpled pages of poultry scratches between the text books and then puts them in the top tray of his workstation.
I? I gather the maps and messages and notes on the encouragements I get in folders, and then stick them in the collage lining the inside of my cabinets, next to photographs and sketches and traffic jams and other totem. It' not just their signature, but something they've processed.