By Sheila Hones (auth.)
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Extra info for Literary Geographies: Narrative Space in Let the Great World Spin
Fernando Yunqué Marcano. ”10 He imagines his business card: “fernando y. marcano. imagist. the bronx. ”11 Fernando is excited by this new tag, particularly by its location. ” Then he realizes that there are an unusual number of police around in the subway station and starts to worry that they’ve seen him and are going to give him a ticket for illegal riding. Realizing that they are running, he changes his mind. “Someone’s gone and bought it,” he decides: an accident or a murder. He squeezes out through the train doors as they are closing, hoping to find out what’s going on, even though it will make him late for work: “To hell with the barbershop.
The historical geography of the author Colum McCann is also interestingly complicated by his status as both an Irish and an American novelist. ” McCann’s response was to emphasize the benefits of being relatively unknown as a “contemporary American novelist” even at the same time that he was “big” in Europe, in a remark that also indicates the influence of an author’s public presence or image on the writing process: “I’ve been sort of happy [the books] haven’t sold enormously. You have to work then out of a reckless inner need rather than conform to any market.
What happens to the wirewalker is left unresolved in this chapter, as the Kid’s last caller hangs up and the programmers go back to their work developing a graphic program for the Pentagon. The Kid keys in his password—which could easily be one of Fernando’s tags, samus17—and turns back to writing code: “It’s cool. . You’ve got the whole country onboard. This is America. You hit the frontier. You can go anywhere. ”16 The third chapter in Book Two is narrated in the first person by Tillie, a prostitute, whose daughter Jazzlyn was killed in the car crash on FDR Drive with Blaine and Lara that also killed Corrigan.
Literary Geographies: Narrative Space in Let the Great World Spin by Sheila Hones (auth.)