When I was looking online to see the cover image that is being advertised with the book now, I discovered that the book is going to be available for purchase in Kindle edition here: http://www.amazon.com/Familiar-One-Rainy-Day-May-ebook/dp/B00N6PBGFO/ref=tmm_kin_swatch_0?_encoding=UTF8&sr=&qid=
This naturally had me wondering what effect the digitalization of the book will have. I think that having the book be an ebook would beparticularly interesting with respect to the narcons since they (like e-readers) are a fusion of technology and storytelling. I wonder, though, if the unique visual aspects of the book (like the symbols in the spine of the book or the dog eared pages) will be lost in a kindle version of the book…
I kind of answered this in a response to another post but, what if the cat Xanther found was meant to be with her. I’ve been wondering if maybe the reason some characters can hear a meow or cry might be that the cat is trying to get attention from the character it needs to be with. Or maybe, since the theory is that Xanther can hear/see narcons, the cat “knows” that Xanther can do this and was deliberately trying to get her attention to be with her. Whether to protect or harm her remains to be unseen. However, since this book has been described as a story about a girl and her cat, I’m getting the feeling that the cat might have been sent to protect her. Here’s hoping for a Girl and Cat Space Adventure.
This may be way off, (or I’m just hoping), but could there be a possibility that all the characters will team up, whether responding to a call from Cas and the Orb, and fight what appears to be, an evil? It’s a crazy thought that’s probably not even close to the truth, but at this point, which is the end of the book, I just want answers. Not “is this what I think it is? What do you think it is?” I just want to be told what’s going on and I want it to be something epic.
Disclaimer: As of this afternoon, I am only on page 358 of the novel. I also recognize that the version I have received to read is not a final version of the book, and that the published version will be in color and on higher quality paper. That being said, I want to discuss some thoughts I’ve been having about the book’s design.
As a graphic designer, I’ve grown accustomed to a linear process when I’m working on a new project. I receive the information and I translate that information into something that an audience will (hopefully) look at. Not only does the information need to be presented clearly, but it has to be done in an engaging and organized way to entice people to view it.
That being said, The Familiar does not obey the same graphic design philosophies that I do. There are wild variations of kerning, leading, and tracking (the “rainstorm” section from pages 62-69 is a good example of this). The font changes as the narrative changes. There are graphics and text mingled on numerous pages. There is a liberal use of justified alignment (Isandorno’s sections, for example).
As I read at sections that contain copious amounts of text, graphics, and text-as-graphics, I find myself stifling the tiny designer in my brain that’s shouting, “Wait, what?”
I think that The Familiar is a novel that’s meant to be viewed as much as it’s meant to be read. Early in the novel, the reader is exposed, in full force, to the ever changing format. For example, “Tom’s Crossing” is set in a serif font with thin boxes surrounding the text. There are graphics of a heart monitor included as well. The layout is angular and throws traditional composition sensibilities out the window. In contrast, however, “Tom’s Crossing” also utilizes one of the most traditional type tropes: the drop cap. I don’t think that was a coincidence.
Since it seems like everything in the book is necessary and oh-so-deliberately placed, I feel that Danielewski is not only attempting to remediate television but that he is also trying to remediate advertising. Perhaps by not including visual tropes of the day (I’m thinking of the “Keep Calm and ______ On” movement, mustaches, chevron print and others) he is remediating the visual world too.
But if that’s the case, why not make one of the character fonts Comic Sans or Papyrus? Would it be too heavy handed? Would people just drop the book and run if they saw that any of it was done in Comic Sans? Believe me, I would probably drop it and run. Comic Sans would be a bad move.
Has anyone else thought about this? Advertising seems so integral to viewership; I don’t think that this would be something that Danielewski would leave out of the conversation.