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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
By turns swaggering and stumbling, the Triptych is the dramatization of Muindi Fanuel Muindi’s dream of becoming what Roland Barthes called a ‘logothete’ the founder of a language.
The Triptych contains Muindi’s first two published books, Whither, Otherwise and Solutions for Postmodern Living, and a brief and baffling third book, Improbable Aberrations & Other Idiocies.
If pressed to name the precursors of this literary curio, one might recognize Muindi’s voice, or his habits, in Lucretius’ De rerum natura, in Friedrich Schlegel’s Fragments, in R.D. Laing’s Knots, in Gilles Deleuze and Felix Guattari’s Mille Plateaux, and in Anne Carson’s Plainwater–but Muindi’s idiosyncrasies, although recognizable in the works of his precursors, will always remain his own.
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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
By turns swaggering and stumbling, the Triptych is the dramatization of Muindi Fanuel Muindi’s dream of becoming what Roland Barthes called a ‘logothete’ the founder of a language.
The Triptych contains Muindi’s first two published books, Whither, Otherwise and Solutions for Postmodern Living, and a brief and baffling third book, Improbable Aberrations & Other Idiocies.
If pressed to name the precursors of this literary curio, one might recognize Muindi’s voice, or his habits, in Lucretius’ De rerum natura, in Friedrich Schlegel’s Fragments, in R.D. Laing’s Knots, in Gilles Deleuze and Felix Guattari’s Mille Plateaux, and in Anne Carson’s Plainwater–but Muindi’s idiosyncrasies, although recognizable in the works of his precursors, will always remain his own.