Yes, that’s Life, stripped of our endless media feed; Life that has a simple moral, as Freud had also found at the end: The cylinder has three separate, informal bands of activity. Around the periphery are the climbers waiting for their turns on the ladders. The periphery is also where the sedentary and vanquished lost ones prefer to lean against the wall, uninterested in searching or climbing anymore. As they are underfoot of the climbers, they are viewed as an annoyance. Just in from the outer band is a single-file line of lost ones who are weary of searching in the center of the sphere, where most of the lost ones reside. What fascinated me more, though, was the attempt to create an imaginary world. First of all, I was interested in portraits of places more than those simply of people. Of course, works that do this can be found in mainstream fiction: any work, really, in which the setting could be considered the main character. However, in fantasy literature, I found, not simply place-portraits, but world-portraits. In 2008, Sarah Kenderdine and Jeffrey Shaw created an art installation based on The Lost Ones, which they called Unmakeablelove. They used motion capture technology to animate the characters in the short story. The audience are able to see the characters only through the use of virtual torches, which interact with the animations creating a mixed reality. Unmakeablelove has been exhibited at Le Volcan in Le Havre, the Shanghai Museum of Science and Technology, and the Hong Kong International Art Fair. Out of the door and down the road in the old hat and coat like after the war, no, not that again. Five foot square, six high, no way in, none out, try for him there.

Freud’s longtime friend, colleague and biographer, Ernest Jones, tells a story about Freud’s death that is hard to imagine, from our comfortable modern viewpoint: The trajectory is also reflected in Enough, another short prose piece from this period. While not a ‘closed space’ story, it is nevertheless a continuation of the evolution (or, rather, degeneration) of the form. Sure, he had learned to bury his anguish in the compressed and rigid prose that the facts of life had compelled him to develop.In The Lost Ones, we find a similarly uncompromising but finely crafted paysage raisonné within a detailed though uneasy microcosm of modernity. There he was, working full-time in the James Joyce household for what spare cash the dying author could afford in the mad milieu of pre-Nazi Europe, being hounded relentlessly by the debt collectors and by Joyce’s incurably schizophrenic daughter - who was hopelessly smitten with him. Freud was dying of cancer of the mouth, and sternly refused any painkillers other than aspirin. The progress of the disease was so advanced and deforming that his beloved pet dog wouldn’t go near him. To escape the world quietly and without fanfare - as in John of the Cross’ The Dark Night of the Soul, in which we ultimately see that the key thing is meeting God face to face during that dark night when “our house (our soul) is all at rest.” The Lost Ones (novel), novel by Ian Cameron, later made into a 1974 Disney movie The Island at the Top of the World

It was almost a decade before any more significant short prose emerged, but when it did another shift had taken place. The terrifying closed spaces were collapsed and gone, replaced by the twilit grasslands of Stirrings Still (1988), or the isolated cabin, “zone of stones” and ring of mysterious sentinels in Ill Seen Ill Said (1981). Language remains problematic, but a level of acceptance has been reached. The phrase “what is the wrong word?” recurs in Ill Seen Ill Said, as if to say: “Of course language is insufficient, but approximation is better than nothing”:

Project Overview

In many cases, a successful work of art will "erase" the viewer in some way or another. Hence, we talk about a person being "lost" in a painting or "wrapped up" in a novel. But not all artworks operate in this way. Quite the contrary, some strive to accentuate the relationship between art and audience. And when succesful, these creations constitute an "experience" in the truest sense of the word. Here, I'm thinking of works like Koyaanisqatsi (which tests the limits of the watcher's visual perception) or Catherine Christer Hennix's " The Electric Harpsichord" (in which the avant-garde composer explores the cognitive effects of sound). His emotion during the Night of this biting Purgatory is the voiceless cry of Everyman, the eternal victim who has fallen into the grinding Crucible of Life - The Lost Ones (by Javellana), alternative title for Stevan Javellana's 1947 Filipino war-time novel, Without Seeing the Dawn ABODE WHERE LOST bodies roam each searching for its lost one. Vast enough for search to be in vain. Narrow enough for flight to be in vain. Inside a flattened cylinder fifty metres round and sixteen high for the sake of harmony."

The upper and lower sections of the sixteen metre high and nearly sixteen metre wide cylinder containing the lost ones is linked by a series of ladders that ‘vary greatly in size’, the shortest measuring ‘not less than six metres’, the longest enabling ‘the tallest climbers [to] touch the ceiling with their fingertips’. The ladders, whose rungs are intermittently and unpredictably absent, are used to convey ‘the searchers’ – each of the cylinder’s two hundred lost bodies still searching for its lost one – to the niches or alcoves, some of which are connected by tunnels, that are located in the upper reaches. The two zones form a roughly circular whole. As though outlined by a trembling hand. Diameter. Careful. Say one furlong. I first encountered The Lost Ones as a young teen. Along with Finnegans Wake, it was the text that began my lifelong love affair with modernist literature. At that point, I’d been been immersed in fantasy literature for a while, and thus was transfixed by literary worldbuilding. Fiction writers often talk about worldbuilding. However, for reasons that escape me, readers of mainstream fiction often roll their eyes at the creation of imaginary worlds. Of course, mainstream works create imaginary places often enough. Usually, though, they situate them in actual locations and times familiar from the world around us: an imaginary courthouse in the New York of today, an imaginary county in Mississippi, or an imaginary street in Victorian London.I read Watt while seconded to Crossrail, but had forgotten about this surprising perambulatory method, and am grateful to Conor for putting me onto this recreation of it by Bruce Nauman: his ‘Slow Angle Walk’. Die Frage nach der Individuation scheint sich unter den Gegebenheiten des Zylinders nicht einmal mehr zu stellen. Analog zu Endspiel, wo Hamm das Diktum der überflüssigen Schwachen/Alten buchstäblich nimmt und seine Eltern in Mülleimern entsorgt - während er und sein Diener ebenfalls keine richtig funktionierenden Körper mehr besitzen - gilt auch in The Lost Ones der Einzelne als ‚expendabel‘ und ist dem Apparatus der Gesellschaft/des Zylinders untergeordnet. The Lost Ones runs thru Nov 14, 2010 at the Spooky Action Theater, 1810 16th St NW, Washington, DC. urn:oclc:644832617 Republisher_date 20151016025520 Republisher_operator [email protected] Scandate 20151015024604 Scanner scribe11.shenzhen.archive.org Scanningcenter shenzhen Source I didn’t make the connection at the time, just over a year after I first read The Lost Ones, but the final destination on my travels in Latin America was a place that resembled, in some respects, the enclosed space of the story. The port city of Valparaíso in Chile is built around a circular bay on dozens of hillsides overlooking the Pacific, with a ‘New World’ grid of public and commercial buildings at its lower level and a labyrinth of residential streets and cobblestone alleyways in its upper levels. Connecting the two are precipitous and dilapidated ascensores, or funiculars, of various heights and capacities.