: a writer of nil repute
This is an overview of the life and works of the writer . It was first submitted to, and is believed to have been published in, the first edition of The International Review of Literary Quantum Locking, which sadly is no longer available due to the very nature of its highly contentious subject area.
The works of writer are illusive and difficult to comprehend for most close readers; thus, little recognition has been given to in her own country, Australia. However, certain European post structuralist feminist philosophers in the vein of Cixous and Kristeva have highlighted her achievements of late, while others see something of the school of Jacques Derrida in her works. Given is a writer whose texts are quantum locked, in that her narratives and poems are only visible when not being read, her work is problematical at best and present especial impenetrabilities for translators. Post modernists agree her vision and creativity to be vast and entirely under-appreciated. Her admirers believe her output phenomenal, particularly considering her tragic personal circumstances as indicated in this account below:
While not considered a commercial success, the many works of have found favour with specialist or niche collectors. This, perhaps, is more out of an appreciation of their rarity rather than any literary or other merit. As objects they are difficult to identify and maintain given the inherent physical state but those who have copies have testified to their value.
The value of the works of have also been measured through their academic worth. Recently, academics of the Kristevan school have chiefly found favour and been inspired by this exchange, below, from her first obscure novel:
For feminists, has come to symbolise the silencing of women in culture, and continues to be cited in discourses regarding the Freudian use of the term lack. As a female author significance is enshrined by the absence of even her name, and so she comes to represent all female authors who have been silenced. So to stands for all those historically outside the traditional understanding of the literary cannon and subsequently uncovered by academics such as Dale Spender. Forthcoming research should address works as post-colonial constructs. Yet is also eternally current, as her enforced anonymity can be understood as a comment on the cult of celebrity and a further step beyond the Death of the Author, to the entire Absence of the Author. As, in the slightly more sophisticated later poetry, with this:
And numerous examples abound of eloquence in the face of immense odds. Yet the rarefied world of academia is bitterly divided on including her corpus of prose and poetry in the canon. Some have questioned her ability, and in fact have called into question very existence, comparing her to the infamous Ern Malley, a fictitious 1940s Melbourne poet created in Australia by poets James McAuley and Harold Stewart, the cause of notoriety for many in the Australian literary community. Some, indeed, have joked she is a Malley descendent. Others, avoiding such issues, focus on the works, and detect the influence of seminal Italian writers and academics Italo Calvino and Umberto Eco, and while it is believed she has offered some comment on her literary influences, in her limited edition collection of essays, entitled , this could be considered conjecture. Some followers remain intrigued by voice and discuss how her distinctive Australian style is conveyed and how well it is enjoyed or even understood in international circles.
For all her transparency, the author is chiefly concerned with language and ideological and philosophical barriers to communication – how words delimit meaning as much as they convey significance. Some more imaginative readers have compared her works to that of Pink Floyd, and their construction of The Wall during their famed concert, hinting the very attempt at creation is one that simultaneously invites and alienates the audience. This is a theme that Feminists have also picked up on and it is also a paradox currently under examination by theoretical physicists.
Some post-Symbolists have considered the development of texture in her works, and have written extensively on the evolution from raw and angry ingenuity into something more considered, serious and layered, indicating a maturing in . This is hardly surprising, as the influences of her education seem to have been profound. Indeed, she is believed to have completed an Honours Degree in Literature, her thesis exploring the language of modernist poetry, this excerpt, below, seems to be a typical indicator of her later analytic style and of her influences:
has also written extensively on her educational influences, especially the inspiration she found from lecturers , and from . Her unique gifts seem also to have stemmed from her and , both accomplished artists in oils and sculpture (mainly wood and clay). Below are examples of their extant works, which, are also similarly affected by quantum locking.
This seemingly familial link between the creative output of the has fascinated geneticists, but also equally those interested in the role of environment in shaping lived experience. Others warn of the pathologisation of art and artists and the dangers of medicalising literary or artistic merit and creativity. Furthermore, physicists have expressed interest in conducting experimentation. This is in an effort to better understand quantum locking in addition to investigating some practical applications if it can be harnessed. There could be cause to explore whether her talents would be more usefully employed, in writing legislation, for instance, while others conjecture that she in fact has.
Among the scientific community there are those who maintain this phenomenon can only occur naturally amongst certain individuals involved in creative concerns such as the members of family.
Then there are those who are less interested in whether the author is real, than if her works actually exist, however, some recent analysis shows that what is present is more than merely blank space, but a creation devoid of any method of detection. Science is yet to catch up, as it were, to her works. At the same time, debate within theological circles has considered whether her work is a part of a Via Negativa espoused by mystics in various spiritual traditions, and as embodied, (no pun intended), by Meister Eckhart. There is some debate as to whether her influences extend to Eastern spirituality, such as that of Lao Tzu in that the way that can be spoken of is not The Way. In this way, works of that can be read are not works.
Another traditionalist group have considered whether she is a follower of Rene Guenon, who argued what is most important is inexpressible, or possibly be aware of his notions of selfhood influenced by Hinduism. Within this school it is contended she is a Nihilist or of the Absurdist School and her texts are a commentary on the futility of High Art and a kind of practical joke where all readers are emperors with no clothes. Many foresee the complex debate between linguists, physicists and mystics regarding her achievements continuing.
As a consequence of work, the quantum locked literary movement has garnered sufficient interest to generate multiple theories regarding its place within the broader arts. See the list of texts below, which examine this phenomenon, and which will be examined in depth in further reviews.
There are those, too, who have sought to emulate the texts of , maybe seeking the elusive commercial success that works failed to gain. Few, despite their efforts, have yet succeeded in achieving a comparable evocation of fragility and conflicted eternal temporality that remain the hallmarks of works, if indeed that is their goal. Like so many imitators, they have employed similar devices, or attempted to address the same themes, or modelled their approach to their works in an analogous fashion, yet in this, come to act as only as conduits back to their inspiration, the greatest writer of the early 21st century never to have been read .
The following is a commentary by the author: