Book Review | The endless elements of metaphor again permeate Miki Liukkonen’s narrative clump, which in the end does not renew anything, and the most brazen is the mass of the work.

The aesthetic contribution of Miki Liukkonen’s novelty is a narrative narrative typical of hysterical realism until the last brainstorming.

Novel

Miki Liukkonen: Life: foreword. WSOY 1,035 s.

When comes seen inside and out, begins to embody some kind of spectacle of humanity. This is what happens to Henri Classic Miki Liukkonen in the novel Life: a preface. It offers its spectacle through both hysterical realism and existentialist allusion.

The novel is fetishically thick. It attaches mainly to role models of the same scale, coded in the name Georges Perecin multifaceted and architectural Life manual (1978), echo in the text David Foster Wallacen Endless joy (1996) stylistic and structural solutions, it forms a similar loophole where the beginning begins.

Dostoevsky’s existentialism exudes to the surface, the tradition of American postmodernism with its pynchons and conceptions of personality is present.

Liukkonen’s novelty I times, Henri Classic, is a traditional subject who tells about his inner world but also a subject of a computer program (ZAG) that deconstructs thoughts into words, unknowingly.

He embodies the idea of ​​romantic irony, which is Life: foreword underlying metaphic activity. Almost any argument made about it can be turned upside down. It is, for example, difficult to know whether the narrative comes from a computer program or the personality of a self-narrator – and does the self-narrator of fiction have any “personality”?

The play includes Liukkonen’s narrative repertoire, which moves smoothly from lyrical to comic, especially in Henri Classic’s narrative:

“Images of the night city at the bottom of the sea, whose crescent-shaped castles are inhabited by infamous rocking plants that speak a whispering ancient language,” he imagines the magician Ferguson conjures up, and soon switches to an audience with faces like “a mustard has been pushed into his ass” .

The written world artificiality is manifested in postmodernism with the help of familiar constants, one of which is precisely the demonstration of the artificiality of a person. Pavel Torkswift “had long been interested in the idea of ​​transferring human consciousness to the computer, into ones and zeros, curves and data, and through it, at least in his utopian dreams, into three-dimensional modeling”.

Life: foreword personal characters are not the result of realistic psychologization, but fictitious minds, mediated consciousness.

The aesthetic rendition of the work is a narrative narrative typical of hysterical realism up to the last brainstorm. This causes that Life: a preface at the text level provides language material in numerous shades.

Central to philosophical reflections is the external and internal exploration of humanity (in the white upper-middle-class male being) and in a few other narrators tuned for reflection. What is most interesting about the novel, however, is the structure that it is irony and metafiction as its means that make meanings slide.

A novel to read does not have to be a reader’s rule book. While the meanings of fiction are always somewhat open and uncertain, a burst of disengagement is not a very interesting reading strategy.

Life: a preface is both exaggerated and self-erasing in terms of meaning, and therefore it is pointless to start digging the message even as holders of criticism. “Analysis Paralysis” is one of the repetitive pairs of words in the novel – the Wallacean indicator light worn in the flashes.

The work is a textbook example of a maximalist novel striving for postmodernism. With its abundance, it burns the reader’s expectation of realism, creating dissonance and paranoia with the help of an omniscient narrator (most Life: from the preface is an omniscient narrative), raises ethical issues and encyclopedically exploits different disciplines.

Elements of metaphorics, such as structural references to consciousness, electronic consciousness, film, and architecture, permeate the work.

Such novels are not the most common of them, but their artificial resources have been in use for a long time. Because Life: foreword calling it “experimental” is apt in the traditional sense, but saying it is a bit retro.

References to singularity, from the revolutionary growth boom of artificial intelligence, to the one envisioned in the 1990s Ray Kurtzweil anchor the fate of Henri Classic to a transhumanist utopia: “Master-Torkswift [Eeli] says that our earthly life is just a preface to the life that follows it in bit space ”.

“Sienians” against technology, From Catherine of Siena a religious group that took its name. Catherine is used as a motif to open up the narrative line of the sacred anorexics.

Technoutism, of course, is an ethical dystopia. Violent breaking of the boundaries of the body is the dimension of human technology from the darkest businesses on the dark web to the human body taken over by software. The work reinforces rather grim technological imaginations – whether it serves as an element of narration or by drawing the boundaries between man and machine.

The relationship of the machine or the internet to human consciousness is not really rising Life: in the preface a very rewarding theme. It is dominated by fatalism, which is emphasized by the storytelling loop. In the words of a side person, “You want your own role in the system, your own place in the system, but at the same time you hate that you need your place in the system”.

Descriptions of the work the Internet and technological mediation exude a somewhat moralistic vibe, and it gives a Donna Harawayn Cyborg Manifesto (1985) in an increasingly interesting way, but rather as a solitary Henri pushing into the abyss:

“We are not united by anything other than airborne information clustered through millions of clusters of pixels on the screen, on the screen that those pixels are not real, they are data, and even if they convey an image to us … that image has no contact with the thing it presents ”.

The form of the novel itself is ironically related to the emptiness of technology. That, too, is an indirect artificial reality, and Life: a preface know it all the way to the point.

But the massiveness of the novel is a material fact. The maximalism of the work tests the reading contract, the wordless covenant the reader makes with the book. For some, this is exactly the pleasure of a giant novel, for others it may not.

Jaakko Yli-Juonikas has succeeded in its own maximalism in hybridity, in mixing different types of text, including image types (Continuation war-extra, 2017), also succeeded Marisha Rasi-Koskisen Rec (2020) in their outreach.

Life: a preface again there is a literary work in which the most brazen, in the end, is the mass.

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