Let me first get to what I enjoyed about the book. I did enjoy the alternating point of views shown of 3 main characters in the first person perspective. I also liked how there is a fourth protagonist who we only read about strictly from the narrative of the other three people. I haven’t read many books but I thought this was really creative and it made this medium was enjoyable. Other then this, I really don’t know how I feel about the contents of the book itself.

Chen, Mark; Shannon, Chelsea (2020). Photography: A 21st Century Practice. Oxon: Routledge. p.188. ISBN 978-1-000-18524-9.So much of the book underlines the fact that people are made up of all we consume, feel, and think. Friends and relationships come and go, we fragment ourselves and pass out the pieces to those we get close to; there’s a constant exchange of wet chunks from each other, both physically and spiritually. Time and circumstance can separate, but the indentations on our psyches and marks on our bodies are often permanent. I want to preface this by saying that I hold no judgement towards anyone who enjoys this book. This post comes purely from an inquisitive standpoint, not a malicious one. Immediate and wholly convincing…She is uncommonly good at writing about being embodied… Negative Space is the record of a writer remaking life and language, knowing they will always be strangely matched.’ Entropy is an intentional choice of words because it feels like entropy is the core and foundation of the entire novel. The disintegration of everything into a slow fire, time’s inevitable charge, how everything and everyone you ever knew will one day be forgotten and there will be nothing left to mourn; it’s bleak no doubt, but it’s through these people Yeager creates immense empathy for these characters and hints that entropy might not necessarily be negative and possibly even a transcendental process (as we see at the end of Lu’s arc and, to a lesser extent, Jill’s) Cave, Alessandra (2013). Shooting with Soul: 44 Photography Exercises Exploring Life, Beauty and Self-Expression - From Film to Smartphones, Capture Images Using Cameras from Yesterday and Today. Beverly, MA: Quarry Books. p.125. ISBN 978-1-59253-871-3.

There are few books that capture so gracefully and so truthfully the way in which art and life weave and bleed together. Negative Space is a beautiful, profound, unique book.’ This nightmarish zone made accessible by WHORL remains ominously ambiguous throughout Negative Space, and its influence on the town is left spookily undefined: is it the cause of the decades-long suicide epidemic in Kinsfield? Is someone using these indeterminate entities as a means of exacting revenge? Or, is this realm a hellish form of purgatory, a spectral catchment full of wandering souls once belonging to the suicidal townsfolk? While the story obliquely gestures to each of these interpretations in kind, with particular attention being paid to whether Tyler is the conjurer or conduit of these unspeakable forces, the real strength of the novel is its refusal to settle on any one answer, instead harnessing vagueness and obscurity as a fertile source of dread and terror. Although it’s not practical to give a design education in a blog post, if you know something about negative space I bet you’ll look at books and the way they are designed very differently. And these are all lessons you can use if you decide to design your own book. So here goes: 5 Ways Negative Space Affects Book Design Cristín Leach is The Sunday Times Ireland’s longest serving art critic. She has written about art for the paper since 2003. She is a writer and broadcaster, whose short fiction and personal essays have been published in Winter Papers and on RTE Radio 1 (Keywords 2020). Her art writing has also appeared in Irish Arts Review, on RTE.ie, in artist catalogues, and other publications. In 2018, she was shortlisted for Critic of the Year in the Newsbrands Ireland Journalism Awards. In 2021, she was Writer in Residence for the Hearsay International Audio Arts Festival and was elected President of the Irish branch of AICA (Association Internationale des Critiques d’Art). It will claw its gravitational grasp, pull you into a dark fever dream, and it won't let go. It will crawl into your thoughts and wrap them in bleeding hallucinations. It's been over a week since I finished reading this book, and I can still hear it whispering like a night wind that blows free through my skull.

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Lu’s story hit me even harder this time around and the ending of her arc, which confused me at first, felt even more brilliant, but it’s just everything about Lu I can’t get enough of; the genderfluidity and how it’s emblematic of the divide between who she IS and who everyone around her WANTS her to be and how this split is both physical and spiritual in a sense, and the fact she sees the world not through events but more like Feelings and Sensations that comprise events. Lu’s character works in a way that makes her abstract and intangible and at once the most complete person of the four protagonists because she is the only one who actually HAS an identity that is independent of the influence of others, fluid as it is, and it is the one thing she was able to surpass Tyler at, who never reached the “ascension” he so desperately desired while Lu on the other hand bursts from her cocoon (albeit in the most left-field sense). I want to write a lot more about her but I am going to need to ruminate even further because nothing short of an essay would encompass everything I feel abt Lu lmao Negative Space is a whole different beast. While I eventually was able to appreciate what Amydalatropolis did, by reframing 4chan posts as literary art, and revealing the absolute barbarism which lies at the "heart of darkness" which is the free, wild web, and that Yeager is perhaps the first novelist to ever UNDERSTAND the Internet and express this in a text worth reading--I adore Negative Space, because it does something wildly different exploration of a wildly different phenomena. Press your ear to this book, and you will hear the tumultuous soundscape of a life, in all its joys and sorrows and wonderings.’ To delve into the abyss of those suicides and their connection to weight of the soul experiment, Yeager performs vivisection of the way we communicate and build myth of ourselves at school, with friends, and online. He easily achieves it by setting up a standard horror YA novel, a Twin Peaks and Euphoria lovechild if you will, only to pump it full of drugs and then let it, and us, face the world as it is. He doesn’t let you blink until he’s done. She is uncommonly good at writing about being embodied. When she learns of her husband’s infidelity, she starts wringing her hands and notices for the first time that this is not only something that happens in books. As if to shout down cliches about finding one’s voice: “After my marriage breaks, I go to the top of a mountain and scream. The wind whips the sound away, disappearing it out of my mouth before it has even hit the air. I scream in the empty house. I scream at the empty house. I yell in the bath.” Testing her voice

It’s an established and sometimes awkward genre, the memoir or personal essay with forays into describing or analysing beloved artworks. But here it feels immediate and wholly convincing. A sculpture by Dorothy Cross based on the negative space inside a kiss, the “accusatory stare” of Saoirse Wall in a video self-portrait, the voice and presence of Doireann Ní Ghríofa as she reads her poetry aloud – all of this serves not as aesthetic or intellectual displacement of pain, but to ratify and enrich Leach’s understanding of it. I see this book mentioned often on this sub and there’s a lot of praise for it so I put it on my reading list because people often cited it as being a mashup of junji Ito and Lovecraft. After reading it all I could feel was... nothing? We go exploring with three main characters – Ahmir, Jill and Lu (who is sometimes Lou, sometimes a he or a she – and nothing about is explained, and neither it should be explained). They barrage the reader with their reality at the intensity of a cover bombing. The trio goes to the same school and is bound with the fourth character – Tyler. Jill and Tyler Ahmir and Tyler are friends, Jill dates Tyler, despite her parents’ displeasure, and Lu is forced to know Tyler because her other two friends know him.When you’re learning how to add values to create form, the idea of intentionally leaving areas blank and untouched may seem troublesome. But I’ve learned that with great art, not everything has to follow a set rule or be rendered entirely realistically in a drawing. As Lovecraft himself explains, all weird stories are characterised by “some strange suspension or violation of the galling limitations of time, space and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis.” Thus, the terror of Lovecraft’s weird fiction is premised on an external, alien reality (or ‘The Outside’ as it is sometimes called) infiltrating or encroaching upon the known terrestrial-empirical world of humanity, therein causing unfathomable horrors and mind-shattering anomalies to occur within the time-space continuum. Indeed, the metaphysical implication that throbs consistently within all his stories, regardless of character or plot, is the inability of human consciousness to fully grasp the true and essentially monstrous nature of reality itself. To quote the much-cited passage which opens Lovecraft’s most famous short story The Call of Cthulhu In recent years there has been a flourishing of Irish women who have written very different testimonies to the experience of womanhood in Ireland. This forms an elegant counterpart.’ You might wonder how you can design with something that, in a sense, doesn’t exist. If you design it, is it still blank?