LETTERATURE vocablies. Literature vocabularies. Me, I, Robert vocablurry.
Leftovers presents selections from Hughes’ published and unpublished writings, chosen by the author, and with commentaries supplied by Hughes regarding their composition, intent, and relevance (or lack of such). The nonfiction ranges from Hughes’ most current work, the science-based Ydentitysm, to pieces which though now outdated (after 40 years of studying religion, Hughes concludes that religious perspectives have outlived their usefulness) nevertheless contain telling points for those interested in human identity, psychology, and meaning. Hughes’ fictional excerpts include the humorous, the satirical, the absurd, and the eerie. Almost an entire long story, The Viper with the Human Tongue, is included in the pulp fiction genre. An absurdist play on Tom Thomson that is reminiscent of Beckett’s Waiting for Godot is presented in its entirety. And Hughes’ poetry ranges from the Fluxus-inspired to Canadian landscape.
New 2018: σάκα
I call σάκα (Satchel) an automemnoir, because it starts off a memoir, then I forget to talk about myself : I tell a story about a turtle, another about a voyageur pilgrim, a third regarding a new carnivorous Homo species. Yet somehow 1958-2018 gets covered: from the hippies to Fluxus to neuroscience. σάκα riffs off Japanese poet Basho’s Knapsack Notebook, but set in Canada, with (true) stories of bear and moose encounters, of Toronto, of a traditional Québécois farm during the Quiet Revolution. But σάκα is about self-discovery more than history, and so delves down into perceptions, into language, into expectations. I rummage into the satchel, and surprise !