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Lookout Cartridge

Lookout Cartridge Free read Á 2 He highest ambition to redeem the great claim of paranoia on the American psyche In trying to figure out just who is so threatened by an innocent piece of cinema verité filmed in collaboration with a friend Cartwright finds himsel. Lookout Cartridge resists analysis It doesn t lend itself to objective models It lacks a core and periphery There is little distinction between its exterior and the insular Hell as the pages turn the narrative gathers matter but not really force Where would this kinesis go We measure in terms of plot development Within these pages that activity remains suspectAs pages are read certain detail accumulate Could we be specific Okay the myriad project of representing reality repeats during the course of this forward reading The Mercator Projection the Mayan calendar and the enigma of Stonehenge are featured These matters are explored ruminated How do we afford the aspects of flux to the static Film uses edits for its gestalt Painitng uses perspective Okay but as narrative project what actually happensTwo guys make a film one of them keeps a diary of the process Suddenly matters have turned a corner Something untoward appears to be afoot Data is flashed both forward and back through the narrative seuence providing links if not elucidation McElroy said somewhere that Lookout Cartridge is a computer It processes imputs The name of Richard Nixon appears throughout the narrative though Dick doesn t haunt like in Gravity s Rainbow Speaking of paranoiac aesthetics I found Lookout Cartridge is Cach than Three Days of the Condor 355 Though this reflects my own limitations not those of the novel

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Lookout Cartridge Free read Á 2 With Lookout Cartridge Joseph McElroy established a reputation as one of contemporary fiction's foremost innovators and deft observers into the fissures of modern society It is a novel of dazzling intricacy absorbing suspense and t. This is a masterpiece as should be clear from both my status updates and the length and rambling nature of this review it is only the best books I think which set our minds rushing off in all sorts of directions It is a thriller though seldom thrilling It is a mystery though is never truly solved We move from A to B to C by dancing back and forth between B11 A23 B473 C31 etc Dot matrix story telling Slowly an image emerges McElroy asks for your trust and your patience I would recommend you give it to him I would not however suggest starting with this as your first of his perhaps Smuggler s Bible or Ancient History would work well for that but it truly is wonderful McElroy and Heidegger What is there in the room there at home is the table not a table among many other tables in other rooms and other houses at which one sits in order to write have a meal sew play Everyone sees this right away eg during a visit it is a writing table a dining table a sewing table such is the primary way in which it is being encountered in itself This characteristic of in order to do something is not merely imposed on the table by relating and assimilating it to something else which it is not Its standing there in the room means Playing this role in such and such characteristic use This and that about it is impractical unsuitable That part is damaged It now stands in a better spot in the room than before there s better lighting for example Here and there it shows lines the boys like to busy themselves at the table Those lines are not just interruptions in the paint but rather it was the boys and it still is This side is not the east side and this narrow side so many cm shorter than the other but rather the one at which my wife sits in the evening when she wants to stay up and read there at the table we had such and such a discussion that time there that decision was made with a friend that time there that work was written that time there that holiday celebrated that time That is the table as such it is there in the temporality of everydayness Heidegger The Hermeneutics of Facticity 1923 I saw on the hall wall the old enlargement of my children that I hadn t looked at since that mellow morning at eleven just after the County Council man left and just before I followed Lorna up to bed McElroy p133 There is much to say here but I am not sure if I need to say it I think one of the uniue points about Joe s project is how closely he tries to trace this type of Being in his prose it makes for difficult reading of course though I remain convinced that once one has got in sync with its rhythms it becomes as easy as breathing This is also interestingly manifested in the narrator s oft repeated concern that the images captured in the film miss so much of that which they contain for him using Heidegger s example I could take a picture of the bed in which my wife died or interestingly still have a photo of the bed she died in taken before she died and show it to a stranger The beds we saw would be different And so the narrator writes his diarynotes which accompany the film in order to fill in the gaps so to speak Yet this fails too And he is almost frantic in his desperation paranoid muddled and self confused The filmed object is never any than present at hand perhaps Or is it even that If as Barthes said photographs are a message without a code and are literally an emanation of the referent the issue remains that the relationship between image and thing is that between the imprint of a footstep in the sand and the foot that made it A great deal is lost As those millions seeking to capture every passing moment on their cameraphones will discover The lens is a nonliving agent an intruder between Dasien and that which it is looking towards A photograph of a table only possesses tableness when Dasien looks at it and it will never have the same Being it had when the first Dasien decided to take its picture All photographs may be memento mori but like a death mask demonstrate only the extent of what we have lost I think of the hundreds of photos I have taken of my two year old son and the illimitable gulf between the child I held in my arms and the image I have on my shelf That Beingness cannot be captured cannot be retained cannot be remembered cannot be communicated It has always already abandoned us to our temporal prison our time bound existence propelled endlessly forward and far far away from everything we love Does it bring to the foreground our Anxiety To notice our thrownness from the fact that the Being of the Table I photograph is not transferable to another Dasien looking over his shoulder at the image I see clearly my aloneness my ungrounded nature And what happens when we look at a photograph of ourselves that we have no memory of A McElroy sentence ramblings written while halfway through the book I couldn t know for sure that Jim and Claire weren t linked hell the people you know tend to do the same things as you in New York you see a French bloke you haven t seen in three years suddenly in the lobby at a festival of horror films contemplating popcorn through the glass counter his hand detached below a leather sleeve or in London at the end of a bad day you catch an Arts Council Show and in the first of its series of American interiors you sit down in a Vegas madam s 1943 parlor that s traveled from California to Germany and now here to London on the way back home and you listen to the authentic jukebox and you cross eyes with a blue uniformed guard who looks away as you wonder if he ever heard Don t Fence Me In during the Blitz but now at eye level from Roxy s seedy armchair where you re sitting two new knees materialize and they turn out to be knees that followed yours at the Cinderella Ball in Brooklyn Heights a year later in 44 for you move up past them to a Lincoln green wool hem and thence in a rush to Ren e s russet shag that is not russet now but hot San Francisco copper Ren e for Christ sake Ren e opens her bright mouth moans and reaches at you and as you incredulously get up almost falls into your lap there in the easy chair of your traveling brothel but a moving lap is hard to find and as Ren e says uite loud Missed it in LA had to see it here the russet hair you mouthed on Brooklyn Heights flies back in your face here half a mile from Buckingham Palace at this summer show where in Days of old Knights were bold and the same low pitched voice you once kissed gives you a twenty five year resume and when the Crosby changes in the bright dome of this jukebox that transcends nickels and dimes the mouth takes a breath its breasts rise and it asks where you re staying and you don t know where to start here in Merry England where Knights were bold and ladies not particular p44 45 One of the ways using GR has improved my reading experience is that I have noticed how uickly it is possible to spot a great work often by the genius evidenced by single paragraphs or even single sentences This often means I feel an urge to start writing things in this review space long before have finished reading the book And so if you will forgive the presumption of such a premature commentary I want to speak for a short while about the sentence uoted above There are many authors who write long sentences of course Bernhard comes to mind as does Saramago but none I would submit move as effectively through time as Joe It is clear that he wishes to follow a neuron driven path through experience rather than that imposed by post experiential logic What I have uoted above is not the most extreme example of his techniue I have come across I uote a paragraph in my review of Cannonball which still blows me away every time I read it but it is just so filled with story that I was impressed enough at first read to want to type the whole thing up Three small points note the bloke our narrator has spent enough time in London to have picked up this word and the dynamism of the Christ sake which yanks us back again to the incredulous voice of the present tense narrator and finally the sudden shift from first to second person as the narrator speaks self back at self Finally for now at least I know enough of Joe s preoccupations to read the word linked in the first line as though it were flashing in neon

Joseph McElroy Ý 2 Download

Lookout Cartridge Free read Á 2 F at the heart of a mystery stretching from New York and London to Corsica and Stonehenge With each new fact he gathers both the intricacy of the syndicate arrayed against him and what his search will cost him become alarmingly cle. Second Reading Lookout Cartridge is very definitely Joseph McElroy s 1960 s novel engaging heavily with a type of deeply paranoid Something Bigger Than You Is Out To Get You plotting that may lead one to situate it alongside other postmodern novels of suspicion such as Pynchon s The Crying of Lot 49 and DeLillo s The Names However what distinguishes McElroy s text here and always really is his enduring love of deep and near ceaseless abstraction Our protagonist Cartwright is not a character through which the reader experiences the events of the novel in a traditional sense Rather he functions as a sort of handwritten obsessively edited map it s right there in his name registering events locations and people in varying degrees of specificity and from various angles for the reader to attempt to process The easiest and indeed a pretty good reading of this novel is to understand it as synecdochic of how a film camera itself works ie a device that records images in whatever manner the operator desires images which can be manipulated reassembled and altered to suit one s needs but which carry no innate meaning or readymade plot in and of themselves A skeptic might say well that s all fine and good but every text reuires collaborative meaning creation from its reader While this is of course true McElroy places this relationship front and center making it a core tenet of how the book functions That said don t be fooled into thinking this is just Robbe Grillet ian games or theory as fiction it very definitely is not Lookout Cartridge is just as much a cinema novel as it is an exercise in applying the mechanicslimitations of the film format to fiction writing It s remarkable how many 1960s70s film archetypes McElroy moves through in this book and I d love to ask Joe about the films he thought about while writing it I once asked him on Twitter about a part of Women and Men where environmentalambient music is evocatively described and he told me it was fragmentarily Keith Jarrett we get classic noir interrogations and pursuits British Folk Horror sensibilities in the form of the Bonfire Scene and Cartwright s excursion to the Hebrides and of course huge dollops of The Parallax View The Conversation Alan Pakula esue paranoia throughout If Zeroville encyclopedically and perhaps only topically references the annals of film history Lookout Cartridge successfully embodies the essences of some of its most stylized and intriguing subgenres Sidenotes since this is essentially a Joseph McElroy Fan Account I d probably be remiss not to say where I rank this among his works For me it s his second best novel I think falling short of the delirious heights of Women and Men and narrowly eclipsing Plus something in my head broke fixed during my thirdmost recent reading of Women and Men and Joe s prose is no longer difficult for me This is a strange and most welcome development I recommend it

  • Paperback
  • 531
  • Lookout Cartridge
  • Joseph McElroy
  • English
  • 24 October 2020
  • 9781585673520