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Quantum work as a type of the experimental fiction continued

Another editor and writer from Canada, D. W. Green, named Hugh Fox as an author who exploits elements of Q fiction in some of his works. Also his own novel, Kim Chi Flying Fish, mentioned above seems to be a QW, as well. Here is how he described some basic ideas of the novel: "Kim Chi Flying Fish dives into quantum physics and makes logical connections between reality and the "spiritual planes". In doing so it cuts holes in religion (not intentionally or aggressively), and opens up much more profound avenues of thinking outside of dogma."

Among Czech writers working in QG I can name Yveta Shanfeldova.

I also contacted an Austrian-German critic and writer, Kirstin Breitenfellner regarding the experimental fiction in German speaking countries. She named one Austrian author, Elfriede Kern, noticing, however, that "in contemporary German publishing there is a pressure to write 'realistic' fiction." I'm afraid the same tendency is partially correct for Russian literature that has mainly developed realistic and allegoric (political allegory) fiction with the emphasis on the historic and/or political aspects. However, I'm not familiar very well with the most recent publications.

I have also heard from a French critic, [27] who suggested the following writers and works:
- André Breton, Nadja
- Raymond Queneau, Exercices de style, zazie dans le métro
- Louis Ferdinand Céline, Voyage au bout de la nuit
- Georges Perec, La dispartion, la vie mode d'emploi
- Lydie Salvayre, La compagnie des spectres
- Olivier Cadiot, Fairy Queen
- Jean-Jacques Schuhl, rose poussière

He called them "the most experimental or strange ones, that did break many rules in the storytelling and the way of writing."

N. David Mermin named Borges's Garden of Forking Paths. He wrote to me, "it is the most quantum mechanical piece of fiction I know."

QG is not a prerogative of literature. It encompasses all arts, including film. I have recently talked to a film critic, a former Dean of Humanities at San Diego Mesa College, the author of Susan Sarandon: A True Maverick , Betty Jo Tucker, who has named a few QG films. Here's her list of the films she considers Q films: Disney's The Kid, Equilibrium, Sliding Doors, Mulholland Drive, The Family Man, Big Fish, and Original Sin.

D.W. Green added to her list The Fountain, and I did Youth Without Youth.

2. Theory versus Dogma

It is not our goal to label writers/artists who exploit QW-technique the QG followers. The mentioning of the names and works in this manifesto should be considered only a suggestion to read/view them from another perspective. In so doing, one should remember that a good writer/artist never follows a scheme completely, but rather alters it through his artistic vision. Besides, the same writer may work in different genres to avoid the routine, so some of his works may be QWs while others may belong to a different type. Hugh Fox, for example, is the author of eighty five novels on a pretty broad range of topics and his styles vary. Not all of my own works are QWs, too.

Finally, a few words about storylette.

Storylette is a sub-genre of the QG. It is not just a hybrid of novelette and a cycle of stories. Stories in storylette are "quantum" stories whose main features are described above.

A storylette should be treated like quantum system whose parts become entangled. That means that both single stories and single characters of the storylette can't be fully comprehended without referring to each other. They are truly "entangled" like systems and their elements in quantum physics.

Q.: Do all works that deal with quantum theory belong to QG?

A.: QG is not about the quantum topic but a "quantum" way of representation of characters and the universe. The theme can be any, including the quantum one, but the technique should be unlike the one we observe in mainstream literature.

Q.: You mention the interpreter of QW texts.
Does this mean the reader of QW has a more interactive role than the reader of other material?

A.: It's a great question. Yes, I do believe so. This is possible because of the "loose" [29] linkages between the plot-lines and

characters in the experimental fiction and the degree of "looseness" is essentially increased in QG owing to the characteristics described above.

Q.: Is the reader's interpretation more important than the writer's initial idea behind it?

A.: It depends. For example, if the goal is to study the genesis of the work than the writer's initial intent becomes more important. If the goal is to show that the work is capable of generating numerous interpretations then the role of the interpreter becomes more important, and the writer becomes just another interpreter. It's not a secret that writers often change the interpretation of their works and characters during the editing. Some writers republish their works. In many cases writers change their statements about what they meant by their works. For instance, a Russian writer Gogol had published quite a few interpretations of the Inspector General, each time claiming something different about the meaning of the play.