The highly developed critical sensibility of the modern era is a product of fiction. The Tatlin! stories are, in part, essays in a criticism by mimesis. The most difficult thing for an article to convey about the writing in Tatlin! is its subtle use of known voices and styles of prose…. The book is, simply, superbly written, and I know of no one in our language who can equal its accomplishment.
In method the stories are comparative, analogical; they develop through parallels and oppositions, through contrasts built around the same motif—for instance, the motif of the flying machine, which Tatlin attempts to humanize in his glider or "air bicycle," which appears in the Kafka story as an awkward bit of flying junk, but reappears in "Robot" as the Messerschmidt, and in "The Dawn in Erewhon" finally as the craft that takes Neil Armstrong to the moon. It is a historical-critical method, aware of evolutions, affinities, echoes, recurrences; a method that will join together the German planes flying reconnaissance over southern France with the discovery of Aurignacian paintings at Lascaux.
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