by Mark Dorset |
Babbington
A fictional town on the south shore of Long Island, New York, U.S.A. “The scene [of ridiculous comedy, comedy that ridicules, as differentiated from ludicrous comedy] might normally be neutralized by being set in some distant country or operatic never-never-land. ‘As for the action . . . ,’ Alfred Jarry announced at the beginning of Ubu Roi, ‘the place is Poland, that is to say Nowhere.’ ” Harry LevinThe villages slept as the capable man went down, Time swished on the village clocks and dreams were alive, The enormous gongs gave edges to their sounds, As the rider, no chevalere and poorly dressed, Impatient of the bells and midnight forms, Rode over the picket rocks, rode down the road, And, capable, created in his mind, Eventual victor, out of the martyrs' bones, The ultimate elegance: the imagined land. Wallace Stevens“Of Framley Parsonage I need only further say, that as I wrote it I became more closely acquainted than ever with the new shire which I had added to the English counties. I had it all in my mind,—its roads and railroads, its towns and parishes, its members of Parliament, and the different hunts which rode over it. I knew all the great lords and their castles, the squires and their parks, the rectors and their churches. This was the fourth novel of which I had placed the scene in Barsetshire, and as I wrote it I made a map of the dear county. Throughout these stories there has been no name given to a fictitious site which does not represent to me a spot of which I know all the accessories, as though I had lived and wandered there.” Anthony Trollope, An Autobiography“I remember [Meyer] Schapiro telling us that before Cézanne, there had always been a place in landscape painting where the viewer could walk into the picture. There was an entrance; you could go there, like walking into a park. But this was not true of Cézanne’s landscapes, which were cut off absolutely, abstracted from their context. You could not walk into them—you could enter them only through art, by leaping.” Anatole Broyard, Kafka Was the Rage |
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Copyright © 1996, 2001 by Eric
Kraft
A Topical Guide to the Complete Peter Leroy (so far) is a work of fiction. The characters, incidents, dialogues, settings, and businesses portrayed in it are products of the author’s imagination and are not to be construed as real. Any resemblance to actual events or persons, living or dead, is entirely coincidental. All rights reserved. No part of this guide may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the author. Portions of A Topical Guide to the Complete Peter Leroy (so far) were first published by Voyager, Inc., as part of The Complete Peter Leroy (so far). The illustration at the top of the page is an adaptation of an illustration by Stewart Rouse that first appeared on the cover of the August 1931 issue of Modern Mechanics and Inventions. The boy at the controls of the aerocycle doesn’t particularly resemble Peter Leroy—except, perhaps, for the smile. |
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