![]() ![]() I suppose, to be critical, this sort of thing isn't unique (see 'For readers of.' as well as some obvious comparisons like M. The narrative adapts to suit, beginning as isolated, almost lyrical, encounters, but becoming increasingly linear and prosaic (not in a bad way) as it goes on. ![]() The book, naturally, is the same way - fragments that grow in size and coherence as Senlin gains in agency and perception. There's of network in place that, once perceived, turns the Tower from a series of disconnected events into a still mysterious, but holistic, entity. As Senlin figures the Tower out (in what is a very sneakily muted internal climax), everything does makes sense. (The working classes pedal for beer! Aristocrats dabble in the arts! There's no difference between artist and audience!) It is lyrical and peripatetic and seemingly random.īut, then it coalesces. ![]() Individually, here be metaphors - primarily, as a tower would encourage, of class. It doesn't disappoint - the bonkers, farcical explorations throughout the Tower highlight one Ballardian weirdness after another. Senlin Ascends is set up as an iridescent New Wave weirdscape, complete with Central Biblical Metaphor™. ![]()
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