Michael Morrow writes that this is boring.
I wrote earlier about the nature of Peter's writing that cuts into the sales numbers for Farrar Straus. It is boring, for most readers, to follow a narrator's account of a character's consciousness/phenomenological experience. What plot line does consciousness follow, after all, especially a consciousness that isn't structured by normal and generic forms, a consciousness that is trying to break its way out of the prisonhouse of language even while it knows all too well that there's no way out?
What is the physical plot of this novel so far? The actor wakes up in the woman's house. He listens to a storm and bathes in the rain and has breakfast and reads a book and walks into the woods and then into a clearing and gets angry when other people enter the clearing and then feels good when they greet him and then sits down next to a stinking man who yells shut up every time he hears a noise and then fights the urge to do the same and then looks over the city with some satisfaction.
Add to that plot line the thoughts of someone reading the book for the first time, sometimes random thoughts, sometimes more questioning than answering, a set of reading notes.
What's not boring about that? You're stating the obvious, Michael, stating the ludicrous. What if this king has no clothes, after all? What if these readers are so besotted by Peter Handke that they can't tell a boring, self-indulgent book when it's right up in their faces?
It's also possible that you're pointing out that this is a very special kind of literature, perhaps a very odd kind of literature, certainly a very difficult kind of literature; and your willingness to follow along, even when I ramble and Michael Roloff stumbles across breaks in the text, makes you a welcome fellow traveler.
This morning I've come across a sentence I don't understand grammatically: So ließen die Zuggleise und -weichen, beim Passieren der Züge im Wald fast ein Lärm, sich jetzt überhören -- war denn von einem Moment zum anderen der Zuverkehr eingestellt worden?, wie auch die Lautsprecherstimme vom nahen Bahnhof, vom Endbahnhof, in den Wald geschallt als Gebrüll -- darauf das Gegengebrülls des Waldmanns --, beim Ausschreiten im Freien ein Hintergrundgeräusch abgab im Rauschen der Stille!
The problem begins with sich jetzt überhören, or does it begin with fast ein Lärm? What a tangled and, I trust, wonderful sentence!
Can anyone help? It's on pages 120-131.
This is a long chapter, #5, and I'm going to read to the end tomorrow before writing anything else about it.