Tag Archives: semiotics

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. This sentence’s place outside the title-frame is a mystery, but related to the excerpt.

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The paragraph that is printed on page 9 and reprinted on pages 10 thru 356 is not seen on pages 1 thru 8, and page 123


The argument of this novel is to establish that the front matter (pages 1-8) of the book does not include the primary text, a paragraph made of 17 sentences, which is printed on p.9 and subsequently reprinted on the pages referenced in the title, except page 123, where the paragraph is not seen.

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Is the neighborhood safe? The map (see example on the cover of the book) gives users a Gist of how dangerous it is in different parts of a city down to specific streets and blocks by using an intuitive color-coded scheme known as “heatmap.” Blocks with 0-30 incidents of crime per year are shown in green while the ones with 160 incidents or displayed as red…

The so-called “Dummy” or (filler or Placeholder) text is a modified edition of Dostoyevsky’s Crime and Punishment by utilizing Constance Garnett’s translation of ‘Part I’ as the base text. Dostoyevsky’s text is rearranged into verse paragraphs that form a rhetorical unit similar to that of a prose paragraph. The paragraphs that utilize the word ‘landlady’ are italicized, therefore, the “landlady” character in Dostoyevsky’s text is conceptually tied with the characters (whose names are also italicized) mentioned in the title; Ike, Benjy, and Darl (as created by William Faulkner for his novel The Sound and the Fury). The Faulkner quote (see title on the front cover) is a reference to his novel The Sound and the Fury. Faulkner readily acknowledged the difficulty of what he’d written and proposed using different-colored inks as a way to make Benjy’s section more accessible, with distinct shades assigned to its crisscrossed time-settings. Therefore, a “heatmap” (see the image on the front cover) is a graphical representation of data where the individual values contained in a matrix are represented as colors. Rainbow colormaps are often used, as humans can perceive more shades of color than they can of gray, and this would purportedly increase the amount of detail perceivable in the image. Therefore, the text of the header is composed of sentences printed in different colored inks. ​

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The story starts with the boy contemplating Father Flynn’s illness and impending death (see the sentence fragment that is printed on p.11). He is fascinated with interpreting signs and symbols, and their meaning (see the sentence fragment that is printed on p.27). Later, while the boy eats his dinner, his aunt, uncle, and old Cotter have a conversation in which the boy is informed that the priest has died (see the sentence fragment that is printed on p.34)…


(nine stories)

​The text is constructed by utilizing a nine sentence summary of James Joyce’s The Sisters and modifying the nine sentences into nine sentence fragments (see the “contents” page in the front matter). The pages (starting on p.8) that don’t have a fragment are intentionally left blank (except for the header). 

The famous red and blue dust jacket for Salinger’s Nine Stories was designed by Miriam Woods. The striking, unillustrated jacket resulted from the Salinger’s refusal to allow the publisher to depict the characters of any of the stories, in order to prevent readers from approaching the stories with preconceptions about the characters. The heart of each story is set to the beat of its characters – to unfussy accounts of the way in which they move through the world and interact with one another, to the cautious articulation of their understated feelings and nascent beliefs. This most often takes the form of a child in haphazard conversation with a newly encountered adult. His adults are characteristically broken by habit and suffering “the ruthless cruelty of conventional social judgments and behavior”, and this is a condition rendered all the more stark when positioned alongside the unassuming wisdom of the very young.
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No one has a good idea how the front and back images of a crucified man came to be on the cloth. No one has created images that match the chemistry, peculiar superficiality and profoundly mysterious three-dimensional information content of the images on the Shroud…

​No one has a good idea how the front and back images of a crucified man came to be on the cloth. No one has created images that match the chemistry, peculiar superficiality and profoundly mysterious three-dimensional information content of the images on the Shroud. Therefore, they compacted trash and recycling in a Stationary Compactor (there is an example on page 7). They put a ’tilt truck’ (see example on p.115) into a Cart Dumper (see example on p.120) of which there are two; one for trash and one for recycle. The two Cart Dumpers work by using a hydraulic arm to lift the tilt truck (through a ninety degree angle) dumping its contents into the compactor, to be crushed and compacted. Therefore, there are two photographs of the floor of The Cart Dumpers on p.27 and there are a two photographs of the Shroud of Turin on p.111. On p.45 the two photographs from page 27 are placed above the two photographs from p.111 (for a total of four photographs on one page). Therefore, they conclude (for now) that the Wear and Tear on the Floor of the Cart Dumpers and the two Images within the Shroud of Turin show the Front and Back of a scourged, crucified man. They said, “These hard times can last us so very long, If I ever get off this Killing Floor, I’ll never get down this low no more, and you say you had money, you better be sure, ‘Cause these hard times will drive you from door to door.” (After Skip James)

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Starting on p.23 a 72 word sentence is split…(a novel)

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Starting on p.23 a 72 word sentence is split into 36 pages, dispersed at 2 words a page contained by 6 sets of 6 pages, with capital letters altered to lower case

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Publisher: Liver Pizza Press
Published: April 27, 2014
Language: English
Pages: 534
Binding: Perfect-bound Paperback
Interior Ink: Black & white
Weight: 1.92 lbs.
Dimensions (inches): 6 wide x 9 tall

A 72 word sentence is re-formatted by re-organizing the words of the sentence into a different system, but not into a different order. All the original capital letters have been changed to lower case. The novel also includes a table of contents for quick reference. Take a look at the preview provided on the Lulu page.