Tag Archives: appropriation

There are unnecessary page numbers (on pages that are necessary) within the front matter, i.e., Roman numerals on (Page) i, ii, iii, iv, v and vi. There is another on (page) xii. After (page) xii there are more starting on page 1 and 2. Page numbers…

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Numbering pages started out not as a tool for readers but a guide for those who physically produced books. In Latin manuscripts copied in the British Isles as far back as the eighth or ninth century, numbering was sometimes used to ensure that individual sheets of parchment were collated in the correct order. In some cases, numbers appeared on both the recto and verso pages, but other times, only one side of the page bore a number. Use of numbering was sparse. It’s been estimated that around 1450—just before the birth of printing in the West—less than 10 percent of manuscript books contained pagination.

Fifty years later, the proportion of now-printed works with pagination was much higher. Part of the change reflected the new role of page numbers. Rather than strictly being tools for compiling leaves in the proper order, by the 1510s scholars were starting to refer to page numbers of printed volumes in their own writing.

When publishers wish to distinguish between the front matter and the story, the initial title pages are not numbered, the front matter is numbered using lower-case Roman numerals (i, ii, iii, etc.) and the first page of the story or main content begins with one. The title page of the story is not numbered, but if a story is broken into multiple parts (Part I, Part II, etc.), the title page for the section may be included in the numbering but not shown on the page. The first page of Chapter One would then be numbered as page three rather than page one as would be the normal case.

The sixteenth edition of the Chicago Manual of Style calls for the beginning of the text to begin with the Arabic number 1, while the front matter that precedes it is to be numbered with lower-case Roman numerals. If the front matter is extensive and a second half-title page is included, it is to be numbered as page one and its verso as page two. If a part title is included, it is to be included in the same numbering as the text. Page numbers do not appear on part titles. Most citation systems also call for the identification of the page number from which a quote or point is drawn. For example, such usage is specified in their citation formats of both the Chicago Manual of Style, and the Bluebook.

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Triple question marks are attached to the conclusion of 23 sentences; each sentence is printed on its own page starting on p.161 (a novel)

Questionnaires have advantages over some other types of literature in that they are cheap, do not require as much effort from the questioner as verbal or telephone surveys, and often have standardized answers that make it simple to compile data. However, such standardized answers may frustrate users. Questionnaires are also sharply limited by the fact that respondents must be able to read the questions and respond to them.

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The word “Pink” is printed at the bottom left of p.32, followed (on p.33) by a 49,288 word excerpt from “The Pink Bunny”; on p.473 “Bunny” is printed at the bottom of the page (at left) followed by a sentence on p.474

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The title for the novel explains what is seen on/between p.32 through 474 and focuses on an excerpt from a novel titled “The Pink Bunny” about an abstract painter. The words “Pink” and “Bunny” are also the frame that serves to enclose the excerpt, created out of the reality of the title itself. The excerpt is followed by many blank pages, but this emptiness still exists within the frame of “Pink” and “Bunny.” The frame “Pink” and “Bunny” does not enclose the sentence on page 474.

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The Concert Register of Carlo Maria Giulini (1914-2005) is printed (starting on page 7) with every concert featuring the music of Anton Bruckner (1824-1896) printed in the color of red (the frontispiece on page 2 is a reference to this idea). The inspiration for printing the words of Jesus in red comes from Luke 22:20 – “This cup is the new testament in my blood, which I shed for you”. On June 19, 1899, Louis Klopsch (1852-1910)…

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The Concert Register of Carlo Maria Giulini (1914-2005) is printed (starting on page 7) with every concert featuring the music of Anton Bruckner (1824-1896) printed in the color of red (the frontispiece on page 2 is a reference to this idea). The inspiration for printing the words of Jesus in red comes from Luke 22:20 – “This cup is the new testament in my blood, which I shed for you”. On June 19, 1899, Louis Klopsch (1852-1910) conceived the idea while working on an editorial. Klopsch asked his mentor Rev. T. De Witt Talmage what he thought of a testament with the words spoken by Jesus printed in red ink and Dr. Talmage replied, “It could do no harm and it most certainly could do much good.”

They place his given-name (“Todd”) on pages 25 through 58. Then they place his middle names (“Earl”) on p.322 and (“Winkels”) on pages 356 through 411. Then they place his Catholic confirmation name (“Augustine”) on p.455…


The word ‘autobiography’ was first used deprecatingly by William Taylor in 1797 in the English periodical the Monthly Review, when he suggested the word as a hybrid but condemned it as ‘pedantic’; but its next recorded use was in its present sense by Robert Southey in 1809. The form of autobiography however goes back to antiquity. Biographers generally rely on a wide variety of documents and viewpoints; an autobiography, however, may be based entirely on the writer’s memory. 
Autobiographical works are by nature subjective. The inability — or unwillingness — of the author to accurately recall memories has in certain cases resulted in misleading or incorrect information. Some sociologists and psychologists have noted that autobiography offers the author the ability to recreate history.
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The sentence printed at the top of p.14 is Duplicated in the middle of p.168 and bottom of p.544 within the Context of a 234,348 word text…(a novel)

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Deixis: from the Greek word for “pointing” (as in “index”), refers to the process of pointing with words. Deixis studies the contextual referents for demonstratives (”this”,”that”), pronouns (“I”, “you”, “it” etc.), verb tenses, context-referential adverbs of time and place (“then”,”here”)and a variety of other grammatical features tied directly to the circumstances of utterance.

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ISBN: 9781329436855
Publisher: Liver Pizza Press
Published: October 16, 2015
Language: English
Pages: 612
Binding: Perfect-bound, Paperback
Interior: Ink – Black & white
Weight: 2.19 lbs.
Dimensions (inches): 6 wide x 9 tall

False Barnyard: a novel (2012)

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“It’s the part that ‘ties the room together’ in the whole ‘Barnyard Suite’ thing. The dude just wanted his False Barnyard back.”

The Beach Boys “Smile Sessions” box set caused much internet discussion and debate among fans of the legendary unfinished album “SMiLE” from 1966/67. The pages and pages of scholarly debate contrasted with mindless banter regarding prices, shipping and content was a phenomenon to behold, and a fascinating look into pure obsession. No attempt was made to use the most interesting bits from the discussions. The author simply chose a discussion – warts and all – encompassing boring mindless banter mixed with insightful comments on “SMiLE” to reveal the “story” on the reception of a long awaited box set. The results are a surreal journey into a strange mythology.

Comments found online about the novel:

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From the Hoffman Board:

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From the Smiley Smile forum:

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From the Record Room:

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