Did you ever experience the sensation of shaking your brains loose from their moorings so that they become a sort of fish swimming around in your skull and once in a while look through your eyes. The fish looks at you now...

Lee Emanuel is the fish. Your skull is the book. Or you are the fish and the book is your skull. Or is it Lee's skull...

I want to see something come out of the wall, that's why I stare at it so intently, I want a transformation to take place in my loneliness up there on the wall that Sam Abrams paints.

The book opens with disorientation. but a creeping awareness occurs through lucid moments embedded in a rush of fractured memories. The prose is hypnotic with sentences stopping short and pulling up stakes to move elsewhere, while prior nomadic sentences slide in to occupy the now vacant real estate. Plot, such as it is, advances imperceptibly. Lee Emanuel as child, as teenager, as young adult, as approaching middle age, married, single, pursuing any number of women, all intervals interwoven with dense and coruscant (borrowed from Gil!) stitching. Lush impressionistic prose thick with neologistic flights of poetic fancy describes life anchor-moments and intricate sketches of family members and friends, the characters materializing over time, sometimes through wandering perspective, but by the end all becoming known.

Orlovitz owes a stylistic debt to Joyce, although he is still doing his own thing here. Time is not finite as in Ulysses, for example, but rather spreads out and contracts over decades. Both time and space explode into dust. There are also some similarities to Woolf's The Waves, concerning time, nature as a character, interiority of multiple persons (though less regularity of shifting here, with primary focus on Lee). Imagine a compendium of several decades of one's life, all of the pivotal events that one returns to over and over, carefully directing each scene, often unaware of how it changes from one performance to the next, only convinced of its significance as an ingredient in the substrate on which one grows one's understanding of oneself.

Faith in words is what Orlovitz exhibits. It is definitely a poet's novel. There is some humor here and there, perhaps just enough. One on hand we see the complicated love of a son for his parents dissected while on the other hand we experience the exquisite visceral pleasure of a child picking his nose. Lee's world is tactile, sensual, bursting with color (violet repeats itself, for one). Some of the interior babble is just that, but it never lasts long enough to engender frustration.

A partial list of themes treated in varying degrees of depth: family relationships, romantic relationships, war, Army life, madness, mystery and confusion of childhood, interpersonal attraction in its many forms, urban life (specifically Philadelphia) both pre- and post-WWII, first and second generation immigrant experience in America (specifically Jewish), coming-of-age, death, personal and societal morality, love (its glory and its passing), spirituality (specifically Judeo-Christian), art and creativity, humanity, existence...

Style notes: Orlovitz eschews apostrophes and chapter breaks, while wreaking havoc with capitalization and sentence structure. (It's a lot of fun.)

Either it is the astonishment of the absolute indifference, that defense against astonishment, the ultimate defense, the complete absence of feeling except that which informs you you operate in a body. But at any time the astonishment may burst open, and I am not Lee Emanuel, I tell you I have no name, I tell you I have not been born, I tell you I know nothing about death—I can tell you only that I fornicate, eat, shit, feel terror—but that that could be anyone walking down the street, ascending a stairway, interviewing a prospective employee, compassionating a beggar—I ask you; who does not feel all these things? Is this a distinctive personality? a precisely differentiated human being? who can possess at times the faculty of total recall and in other hours remember only a jumble.… (más)