‘Do you remember the total eclipse of when we made a camera oscura so that we could see it without burning our eyes?’ ‘A box,’ I recalled, ‘with a pinhole at one end and a sheet of white paper at the other.’
Try, I beg you, to imagine anybody talking like that in the real world. ‘Do you remember reading a book in which the prose is flavoured, evocative, sharp and effective? Do you remember such a book?’ ‘A binding,’ I recalled, ‘of many sheets of printed paper into a single artifact, upon which are printed the consecutive sequences words that, when taken together, tell a story.’
ANNOYLOGISMS. Words invented or new-coined specifically for the purpose of delaying a ridder’s passage through a spoilbinder, thereby making the process much more burdensome than it need be. In some communities this term has lost its negative connotations and is used to refer to any defamiliarising or worldbuilding use of invented terminology.
RIDDER. An individual who reads a book in order to rid themselves of an onerous spoilbinding. In most recent usage, a person in thrall to a narrative, and usually somebody doomed to the disappointments of anticlimax.
SPOILBINDING. A tekst that binds its ridder to its unfolding narrative by withholding ‘spoilers’.
TEKST. A text (such as a novel) with a high 'technological' quotient that tests--as it might be, the patience, the endurance or the imagination--of a ridder.
NARRACTOR. A character who narrates. More specifically, a character whose sole focus of characterization is that s/he narrates the story in which they appear. There is usually nothing more to such a figure than a blandly generic niceness and a lot of day-to-day details that contribute to the worldbling of the story.
WORLDBLING A variety of worldbuilding in which a great many details of an imaginary world are put on rather showy and vulgar display in order to impress upon the ridder the prodigious imaginative wealth of the author. The imaginative wealth of the author, it can be added, is not usually in doubt, although some critiasses, especially those that value restraint, subtlety and inflection, question the judgment of authors who indulge too blatantly in worldbling.
CRITIASS. Named for the Platonic dialogue in which Plato gives his eponymous speaker the opportunity to discourse upon Atlantis. Modern day Critiasses devote themselves to deprecating the inferiority of modern imaginary worlds (particularly those in contemporary Fatasy) when compared to the achievements of the classics.
FATASY. Originally a contraction of the Amglish phrase ‘Fat-ass Fantasy novel’, the term in present use carries no negative associations and is merely descriptive of a genre in which the very notion of a ‘thin fantasy’ has become something of a contradiction in terms.
TE DIUM. Quasi-religious song in praise of the dullness of enormously elongated narrative faldapiffle.
Робертса вообще часто заносит, хотя критик он хороший - а писатель, мягко говоря, неровный. Несколькими записями ранее он доказывает, почему "Любовь и смерть" Вуди Аллена глубже "Смерти Ивана Ильича". "Псих" (с)