3:AM Cult Hero: Studs Terkel
For the first time, she heard her own voice and exclaimed “I never knew I felt that way before.” To him that was exciting. “She discovers that she does have a voice and she counts.”
A Choral, Polyphonic World
We try to write novels that are multi-layered and entertaining. We hope that what we do allows multi-level readings, so it is possible for an allegorical reading and different readings open to interpretation in certain directions. The novels are not propaganda but are multi-directional stuff. Of course we have a definite politics. The most political thing in our writing is the choice of the historical period. It is already political. Not that everything in them has to be strictly allegorical. They work as enjoyable genre fiction but the choice already makes them political. Writing about Manituana after September 11th is already political in itself.
Wu Ming interviewed by Richard Marshall.
The Sleeping Beauty Paradox
One animal in particular that drew his attention: a deep red starfish, its skin dimpled like some otherworldly rubber, the very tips of its legs a gently glowing orange. Over the aimless iteration of days that he spent there, as the blue fish zipped, and small crabs scuttled, he developed a sensation that this one starfish, although it had no eyes that he could see, was idly watching him. An idea bubbled up from the depths of his mind that it recognised him, responded to his arrival, that it was even trying to attract his attention, communicate something to him. And the languid way it lifted those orange tips as it slouched towards him, so much like the way she’d draped her arms and raised her hands, that first evening in the kitchen . . .
By Adam Butler.