By Jeff Jackson
"Style is pre-eminent in Jeff Jackson's eerie and enigmatic debut. The prose works just like the expressionless mask worn through killers in horror films."
-Wall road Journal
"A gutter punk Catcher within the Rye."
"What’s such a lot compellingand terrifying... is the originality and execution. [Mira Corpora] has a really cinematic caliber to it, just like the dreamscapes of a Lynch, or, larger, a wierd, filmic mash-up of Lord of the Flies, Demian, and House of Leaves, as directed through concord Korine."
"[A] spell binding debut, which reads like a few pass among Bruno Schulz and the backstories of random characters from Penelope Spheeris’ 1984 movie Suburbia. It’s the overarching sensibility that still places Mira Corpora in a special crew of books which could in basic terms be dubbed Punk Lit. "
"It's nice paintings in its manic pacing and its summoning of convinced cultural trademarks. current stressful with a vengeance. i am hoping the publication reveals the intense readers who're in the market anticipating this sort of fiction to hit them within the face."
"Jeff Jackson is among the such a lot terribly talented younger writers I've learn in a long time. His unusually serene but gripping, unsettling, and wonderfully rendered novel Mira Corpora has inside of all of it the earmarks of a massive new literary voice."
"Jeff Jackson is a clean and startling voice in modern fictiona hallucinatory realist whose prose has the feared strength of rock and roll, and who writes with the peace of mind of a born storyteller."
Mira Corpora is the debut novel from acclaimed playwright Jeff Jackson, an encouraged, dreamlike experience via a particular new talent.
Literary and artistic, but in addition fast moving and gripping, Mira Corpora charts the adventure of a tender runaway. A coming-of-age tale for those who hate coming-of-age tales, that includes a colony of outcast teenagers, teenage oracles, entertainment parks haunted by means of gibbons, mysterious cassette tapes, and a reclusive underground rockstar.
With amazing precision, Jackson weaves a relocating story of discovery and self-preservation throughout a startling, vivid landscape.
Jeff Jackson holds an MFA from NYU and is the recipient of fellowships from the MacDowell Colony and Virginia middle for the inventive Arts. 5 of his performs were produced via the Obie Awardwinning Collapsable Giraffe company.
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In hearing sounds as music we hear them as pure events that we can also reidentify—as when we recognize a melody sounding in another key, with another timbre, or at another pitch. And because we detach sounds in imagination from their physical causes they become individuals for us, with a life of their own. They can amalgamate with other such pure events to produce larger events; they can divide and fragment; they can occur in the background or the foreground, on top or underneath, augmented and diminished, half hidden, ornamented, varied and implied.
The explanation is indeed familiar to us, and invokes light waves and their refraction by water droplets in the air. This explanation of rainbows is very similar to the explanation of the experience of sound, in terms of the transmission of a vibration by sound waves. But it will not mention any particular object that is identical with the rainbow, in the way that the physicalist urges us to consider the vibration of the source as identical with the sound. Hence it will leave us free to locate the rainbow in the area where it appears, and not at some place chosen for its prominent role in the theory of rainbows (for instance the patch of water drops in the air, the sun, the eye of the beholder).
And someone might be misled into thinking that this is just like the case of someone listening to a piece in the classical style, who hears it settle on a dominant seventh, and therefore is led to expect the tonic. Musical understanding is in each case a matter of grasping the way in which one musical event compels the next one. And satisfaction comes from perceiving order and discipline in what, from the acoustic perspective, is no more than a sequence of sounds. In fact, however, the knowledge that G sharp must follow, in my hypothetical example, is no sign of musical understanding.