Turning off Systematic Autopilot Values or Standing Static: What the Cut Outs Say to Who

What is cut out of Street of Crocodiles to create Tree of Codes? 

Foer’s “Stripping it of sexuality, animality, and sleaze”

Foer cuts out the complexity. The garden sex. The connection to ambiguous sexuality scenes in Schulz’s and its relation to nature’s fertility.

no more cockroaches, girls, wings, maids…

What’s cut out may make it a minimalist’s all inclusive poem. The power dynamics of minor characters of the original text are cut out. This text (like translated texts) is separate from the parent text. It’s another entity that exists in connection with its “parent” text.

Schulz: Reality doesn’t give rise to words, yet words beget reality…Like Barbarians, We are building our homes out of fragments of structures and sculptures of the gods.

Schulz’s text uses elaborate imagery with description when setting up a scene. For instance: “the pale network of veins to the pale arms” Schulz informs the readers that systems are at work and in place and reinforces this with repetition. While Foer, still uses the concepts of this system yet lets this word speak for itself at face value. For instance: ‘whole generations’ or ‘wave after wave,’ yet cuts out descriptions of networks while still retaining the minimal connotation of the original text. The quote from Schulz speaks to the recycling of ideas from ancient cultures to modern ones. Foer recycles Street of Crocodiles with changes. Creating mother as a larger figure while cutting out complication of sexuality. What does this imply? Are the implications one draws from the cut out material individualistic to readers? For these concepts are interpretive to experience and knowledge, and so the participatory engagement is in the hands of how much the reader is willing to “read into” the text.


imprisoned   flower men      turnover  cards. fall      or scatter     smoke in  air.

      blushing    menstruation.      what’s familiar.   window of gardens. 

sighs. of         moustache of         nothingness.,    developing age

and sex      in  strange   positions.       falling.       and rising.    seen by eyes.  



evolving instance.    systematic blushing    or    atmosphere blushing.    one.     individual.  small layer   everyday            wide                   eyes              mundane          as   obscure

view broadening.      view blushing.     uncover here.         maybe.          retelling passerby.



I cut out: literary terms to describe the scenes such as metaphors comparisons and similies. I wanted to keep concepts of sex in there for the sake of wider interpretations based on destruction and rebirth (IT IS SPRINGTIME AFTERALL) I tried to play with the concept of systems and the role of the individual. eyes symobolizes lens. I used blushing to show inflections of personification what may connote different implications based on a dark/light (good/evil) dichotomy. Therefore, the darkness is blushing. The systems are blushing or embodying traits of the individual. Using the words in this order in a way to show the dialectic relationship of my notes without using the word comparison or other literary conventions that i cut out.

Although I give a short explanation of my cut out notes, it’s quite unnecessary probably regressive to the readability factor. However, for the sake of what we discuss in class, I’ve provided it. Yet I want to stress the importance of individual interpretation, and how open Foer’s text is to a wide range of readers. What questions this cut out raises, if systematic values are being reinforced by cutting out details of complications & sexuality, or are systematic values or institutions questioned? Whereever there’s a queer reading, there’s more to this text to be uncovered.


~ by hamshanwitch on April 8, 2013.

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