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Man may deceive his fellow-men, deception may follow deception, and the children of the wicked one may have power to seduce the foolish and untaught, till naught but fiction feeds the many, and the fruit of falsehood carries in its current the giddy to the grave; but one touch with the finger of his love, yes, one ray of glory from the upper world, or one word from the mouth of the Savior, from the bosom of eternity, strikes it all into insignificance, and blots it forever from the mind. (Messenger and Advocate Oct 1934 pp 14-16)

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My conception of a novel is that it ought to be a personal struggle, a direct and total engagement with the author's story of his or her own life. This conception, again, I take from Kafka, who, although he was never transformed into an insect, and although he never had a piece of food (an apple from his family's table!) lodged in his flesh and rotting there, devoted his whole life as a writer to describing his personal struggle with his family, with women, with moral law, with his Jewish heritage, with his Unconscious, with his sense of guilt, and with the modern world. Kafka's work, which grows out of the nighttime dreamworld in Kafka's brain, is *more* autobiographical than any realistic retelling of his daytime experiences at the office or with his family or with a prostitute could have been. What is fiction, after all, if not a kind of purposeful dreaming? The writer works to create a dream that is vivid and has meaning, so that the reader can then vividly dream it and experience meaning. And work like Kafka's, which seems to proceed directly from dream, is therefore an exceptionally pure form of autobiography. There's an important paradox here that I would like to stress: the greater the autobiographical content of a fiction writer's work, the *smaller* its superficial resemblance to the writer's actual life. The deeper the writer digs for meaning, the more the random particulars of the writer's life become *impediments* to deliberate dreaming.

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My great-great grandfather and I were best of friends, although we never met.Fire and shipwreck orphan us _ 140 years apart. We escape to imagination to survive our fate. There, midst flights of whimsy we find one another. Companionship quells our loneliness. We create fables and tales, shields against a harsh existence. We must battle animals and humans of prey.Together, he, the future abolitionist-publisher James Thaddeus __lackjack_ Fiction, and I vault from glory-laden adventures to tragedy and then to triumph. I am Raji Singh and this is my story.

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I craved a form of naive realism. I paid special attention, I craned my readerly neck whenever a London street I knew was mentioned, or a style of frock, a real public person, even a make of car. Then, I thought, I had a measure, I could guage the quality of the writing by its accuracy, by the extent to which it aligned with my own impressions, or improved upon them. I was fortunate that most English writing of the time was in the form of undemanding social documentary. I wasn't impressed by those writers (they were spread between South and North America) who infiltrated their own pages as part of the cast, determined to remind poor reader that all the characters and even they themselves were pure inventions and the there was a difference between fiction and life. Or, to the contrary, to insist that life was a fiction anyway. Only writers, I thought, were ever in danger of confusing the two.

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And yet it was also true that the tumor could not be removed by our doctor, and as a result of that a strange medication had been given him that enabled my brother to become even more of an enigma than he was before, and as a result of that there came to exist not only the machine and the inertia that came with it, but a change of perspective among the townsfolk that was a result of their interactions with the various phases of my brother. And so it was that when the flood began to rear its terrible head, not only was there the inertia that we all had to deal with, but a sense of the sublime that we had begun to feel for the waters which had roared upon the horizon.

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Bear with me G-Harrison because this is going to be a long speech. I__e always had this feeling that the world is not enough and I won__ be happy in life unless I hold hands with a girl who has a golden eye and a gold finger; I beat the living daylights out a guy called Dr No; I get a postcard from my friend who lives in Russia which reads __rom Russia with love_; I spend some time working for her majesty__ secret service; I play the Thunderball Super Spud lottery; I meet a guy called Moonraker; I finally get a licence to kill, which I applied for months ago; I buy a house with a view to kill for and I get a pet octopus called Octopussy. If only I lived twice and tomorrow never died, maybe then I would get a chance to fulfil my dreams.

MD
Michael Diack

The Super Spud Trilogy