By Michael James Rizza
An city, brainy mystery that retains us turning pages through a narrator either seductive and weird, and a plot that ever shifts again on itself—this is an international of philosophy and violence, voyeurism and doubt, guilt and intrigue
"Cartilage and Skin has all of it: a fast moving narrative, cool language, downtrodden characters, and addictive intrigue. Rizza writes with darkish high-energy and philosophical aptitude approximately his worried anti-hero on a self-destructive quest. the tale shifts with each web page, by no means wasting momentum, constantly brilliant us. attention-grabbing, ferocious reading." — Deb Olin Unferth, in awarding the Starcherone cutting edge Fiction Prize
Michael James Rizza was once born in Elizabeth, New Jersey, on January 6, 1972. He has been educating writing and literature for the prior twelve years. He has an MA in inventive writing from Temple college in Philadelphia and a PhD in American literature from the collage of South Carolina. He has released educational articles on Don DeLillo, Milan Kundera, Harold Frederic, and Adrienne wealthy in peer-reviewed journals, resembling Arizona Quarterly and Critique: stories in modern Fiction. His fiction has lately seemed in Switchback (2012), Atticus Books on-line (2011), and Curbside Splendor (forthcoming). He has gained a variety of awards for his writing, together with a fellowship from the recent Jersey Council at the Arts in 2003. the 1st bankruptcy of Cartilage and Skin was once played at Playwrights Theatre in Madison, New Jersey. His present initiatives are a booklet concerning the theories of Fredric Jameson, Jean Baudrillard, and Michel Foucault, and a unique tentatively titled Domestic Men's Fiction. He lives in New Jersey along with his spouse Robin and their son, Wilder.
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Extra info for Cartilage and Skin
Sartre argued against this view since he recognized that, if we’re angry, we’ve chosen to be in this condition. If Rick Deckard (Harrison Ford) is remorseful about being a blade runner, a special police o cer assigned to track down replicants, he has chosen to be remorseful. Alternatively, he could choose to look at the bright side of his job, or he could simply choose Blade Runner and Sartre 25 not to do it. Emotions, Sartre said, are ways in which we freely choose to perceive and respond to the world.
During this assault, Leonard is struck on the head, su ers short-term memory loss, and, thus, cannot make new memories. But he remembers the crime and hopes to avenge his wife, the police report having convinced him that there was a second assailant. Because of his phone conversation (the subject of the black-and-white scenes), Leonard infers that the second assailant is named John G. He proceeds to track this person down—by taking Polaroid pictures of everything he will soon forget, by making copious notes, and by tattooing important facts on his body.
E second lesson is that any series of conscious memories can be fused with another, such that the result is a mix of two persons or a mix of the true and false. But, then, it follows that our personal identity is not really identity at all but, rather, a matter of survival, which, in turn, admits of degrees. is may seem like a radical notion, but it is so only because we are used to thinking of personal identity as transitive, of our memories as true, and of identity as static and uniﬁed. 17 Notes 1.
Cartilage and Skin by Michael James Rizza