Stealing The Book

Often we don't hear, from the novelist, of the loss of a text, the stealing of it by the world to go into the world. We may read of their editor's requiring a few additions in their text, and we see then how proud editors are of their author. The world hastily retreats with the text, reads it, and at once returns to the author to shun or be proud like the editor, as if they had an equal role in the creation of the work, which they did. The stealing of this text, the pressure applied to the author to sustain themselves from penury, allows only the text to narrate the work and leaves the novelist to want the text back or to forget it completely and move on. After the masses get hold of it, the author cannot answer all the questions of the masses, but must consign the novel to a sort of silent loudness, the text as the key for the author's voice, and the author as a often sought after but never to be found expert of their own text. Ways of seeing the narrative and the unfolding of the pictorial and all the elements of the novel must be found in the writing of them and not in an alternate supportive text or voice. The critic should not avail themselves to the outright key master role, instead they should let their text trumpet strengths and weaknesses in the novel, providing intimate comparisons to alternate literature, they sustain the reader of the novel and the critic's text with more texts of a likeness or standard. In this way the critic could be of no help. He found himself in the role of absolute trumpetting and without a text to compare, or sustain the reader beyond the novel.