He’s a songwriter without limits, and I knew he’d effortlessly distill the book’s feeling, in many ways humanizing something kind of inhuman.Įxistential unease, dislocation, self-erasure: the Provider provides.ĥ. Joel’s one of my oldest and best friends, and possesses a cunning and focus I wish I had a fraction of. I think this song was actually written for the last Bill & Ted movie, but it works perfectly for the opening. I used to play in his band The Dears, and every night on tour I watched him utterly decimate audiences. Somewhat grandiose, yeah, but hey-fortune favours the bold, right? When Sarah sent me her reading of this passage, I felt like something hidden within the text had been unlocked-only when read aloud did it properly stretch out and sink in its claws. This monologue appears about halfway through the book, but it could also serve as an introduction, in many ways laying out the novel’s overall mission statement. You can download it atī or stream it via your chosen “platform.” Here’s how it goes.īleeding Light is a novel with many moments that feel like digressions but are actually pivotal to decrypting the greater goings-on. The result is epic, pretty eclectic-a mighty double-album soundtrack, up there with classics like Grease or Saturday Night Fever or, uh, others. Maybe the pandemic had left everyone with a surplus of spare time, but to my great joy, almost everyone I asked was into it. Chasing a whim, I put out a call out to some of my musician friends, just to see if anyone was interested in conjuring something toward a soundtrack of sorts. Naturally, this led me to imagine its soundtrack. Bleeding Light, I often imagined many of its sequences unfolding as if in a movie-fragmented, a tad oblique, but with that elusive cinematic quality. Maybe all of this, or none?įor my new novel. What does it mean for writing to be “cinematic”? Perhaps it has something to do with creating atmosphere, or the regulation of time’s flow, or the deployment of cuts and breaks in a quasi-filmic way.
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