Double or Nothing: A real fictitious discourse

Double or Nothing A real fictitious discourse Double or Nothing is a concrete novel in which the words become physical materials on the page Federman gives each of these pages a shape or structure most often a diagram or picture The words move

  • Title: Double or Nothing: A real fictitious discourse
  • Author: Raymond Federman
  • ISBN: 9780804005449
  • Page: 207
  • Format: Paperback
  • Double or Nothing is a concrete novel in which the words become physical materials on the page Federman gives each of these pages a shape or structure, most often a diagram or picture The words move, cluster, jostle, and collide in a tour de force full of puns, parodies, and imitations Within these startling and playful structures Federman develops two characters and twDouble or Nothing is a concrete novel in which the words become physical materials on the page Federman gives each of these pages a shape or structure, most often a diagram or picture The words move, cluster, jostle, and collide in a tour de force full of puns, parodies, and imitations Within these startling and playful structures Federman develops two characters and two narratives These stories are simultaneous and not chronological The first deals with the narrator and his effort to make the book itself the second, the story the narrator intends to tell, presents a young man s arrival in America The narrator obsesses over making his narrative to the point of not making it All of his choices for the story are made and remade He tallies his accounts and checks his provisions His questioning and indecision force the reader into another radical sense of the novel The young man, whose story is to be told, also emerges from his obsessions.Madly transfixing details noodles, toilet paper, toothpaste, a first subway ride, a sock full of dollars become milestones in a discovery of America These details, combined with Federman s feel for the desperation of his characters, create a book that is simultaneously hilarious and frightening The concrete play of its language, its use of found materials, give the viewer reader a sense of constant and strange discovery To turn these pages is to turn the corners of a world of words as full as any novel of literary discourse ever presented Double or Nothing challenges the way we read fiction and the way we see words, and in the process, gives us back of our own world and our real dilemmas than we are used to getting.Picked for American Book Review s 100 Best First Lines from Novels

    • Best Download [Raymond Federman] ✓ Double or Nothing: A real fictitious discourse || [History Book] PDF ☆
      207 Raymond Federman
    • thumbnail Title: Best Download [Raymond Federman] ✓ Double or Nothing: A real fictitious discourse || [History Book] PDF ☆
      Posted by:Raymond Federman
      Published :2018-09-20T04:58:13+00:00

    1 thought on “Double or Nothing: A real fictitious discourse”

    1. by page 50 I’m ready to throw my hand inI mean 50 pages is a fair investment what couldn’t I do with 50 pages of beckett but 50 pages of lists and typographical jokes hmmperhaps that’s where the challenge lies finding something to say about a list of lists though admittedly slightly more than that really a book about a man recording the attempt by a second man to write a book about a third man on his way to the united states by boat who may or may not be the first man or the second man or [...]

    2. Double or Nothing: a real fictitious discourse is Federman’s famous Noodle Novel. Read a little into Federman’s various books and you will hear him say something about it. An editor in Paris famously thought it was too “autobiographical”, too “self-reflexive”. But you should find those passages where Federman gives that flunky editor the what’s-what. Of course it’s “autobiographical” -- show me fiction that’s not; all is, hence none is, etc -- and of course it’s “self-r [...]

    3. Raymond Federman has created with his first novel, Double or Nothing, a fully-realized work of art about never creating one’s fully-realized work of art. A meta-fictional masterpiece with a typographical wonder to be found on every page, this novel lucidly presents the fairly convoluted set-up of a compulsive gambler who decides to hole himself up in a cheap apartment for 365 days exactly, living sparingly off of nothing but noodles and cigarettes while he writes a novel about a recently-orpha [...]

    4. A man plans on renting a cheap room at $8/day for 365 days. He will be locking himself inside spending 7-12 hrs/day writing a novel. It is the day before. He frets. Planning out a list of all the purchases of all the necessities needed-he will live on noodles- it continuously lengthens. He lists also in his mind the ideas for his unformed story. This brings the creative world of fiction into the mundane activities of the world out of a desperate fear of, not being up to the task, losing himself [...]

    5. This is the most astonishing use of typographical innovation in a text I have ever seen. Search me for hyperbole. Contenders for that crown include such luminaries as Alasdair Gray in 1982 Janine, B.S. Johnson in House Mother Normal, Christine Brooke-Rose in Thru, and a dozen others whose innovations escape me at this exact moment, but Federman builds his entire novel around his meticulously arranged page-by-page noodlings and makes the dazzling array of acrostics, zigzags, ups and downs, split [...]

    6. This is a difficult book to describe without its sounding like a parody of terminal postmodernism, but it succeeds brilliantly. Perhaps it's brilliant precisely because it manages to pull so much out of pushing familiar postmodern gestures to breaking point. In an ultimate act of self-reflexivity, this is the story of an AUTHOR documenting an OBSERVER of the thoughts of a WRITER preparing to seal himself into a room for a year in order to finally, without distractions, tell the story of a CHARAC [...]

    7. Gladly, it is over. I do believe that as time passes I will appreciate more my reading of this most-original book. But for now brand me burned, rightly forgiven, and smoldering on the stake.

    8. “It is essential indeed that the second person allows nothing to interfere with his plans however irresponsible these might be, and that the first person persists in his stubborn and determined recording, and that finally the third person do nothing, nothing but wait to see what will happen to him and to the others who are involved with him.”Any author is a trinity: the Holy Spirit – thinker, the Father – doer, the Son – protagonist, and writing a book is a process of creating a world. [...]

    9. 3 stars is too low for this book. It is a game changer and an innovator and absolutely mind-blowing by the end. It could also have stood to be 150 pages shorter. In Double or Nothing, the first person decides to write about the second person, who is going to lock themselves in a room for 365 days to write a novel about the 3rd person, a 19yo frenchman immigrating to America after the Holocaust. This is to say nothing of the 4th person. What follows is a novel, sure, but one that is heavily autob [...]

    10. If you are a writer yourself or if you would like to be one, then poetological fiction is probably something you're interested in. Every system needs and creates some meta-discourse.Ten years ago I probably would have said, that readers are part of the literature system, and therefore also naturally interested in poetological literature. I would still say, that readers are part of the literature system, but I'm basically a bit bored by the genre discussed here. If a writer writes a book about wr [...]

    11. i am crap at keeping these updates. but i do still get notices and i am told what others are reading all the time, and well it keeps me on my toes/this federman book is an astounding exercise in avant-garde experiment writing (?) graphical enterprise audacious

    12. The German translation of Federman's Double or Nothing,this is another example of Die Andere Bibliothek's wonderfully crafted letterpress books.

    Leave a Reply

    Your email address will not be published. Required fields are marked *