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I was let in by a guard at thegate and drove past what looked like a guest house that was underconstruction. As I arrived at the main house, a servant came out andtook my car and parked it. a butler let me in and there I saw Diane, thegirl who had come to my office. She smiled and shook my hand andescorted me to a parlor where an old woman of 85 or so sat in awheelchair. She told me that the only one she could trust was Diane. Shesaid that she knew that someone was trying to kill her and she had hiredme to find out who. She gave me a complete report that detailed all ofthe members of her family and said I could read it later. I told herthat I had a friend with a great security company that could providesecurity, but she said she felt hers was adequate. I said I would readthe report and return in the morning. We made casual conversation as wehad lunch and I left and returned to my office. There was nothingpressing, so I took the report home and put on a tank top and a pair ofshorts. She said ‘The future is a safe, sterile laboratory for trying out ideas in, a means of thinking about reality, a method.’ Anyway, she wrote Always coming home, it’s part novel, part textbook, part anthropologist’s record, describing the life and culture of the Kesh people. At the end of the book, Le Guin has an infographic of the Kesh alphabet and a glossary of invented words. What Floyd has done is instantiate the letters. ‘Kesh alphabet’ spells out the Kesh noun banhe, which translates into English as ‘inclusion’, ‘insight’ and ‘female orgasm’.”“OK. Now I get part of what you’re saying. Floyd has constructed blocks representing a word in Le Guin’s invented alphabet.”“Right. But Norman Ives and Frank Stella made works of art using letters or parts of letters forty or more years ago. Saul Steinberg first publishedsome of his work in 1936, and his first in The New Yorker in 1941. So, I don’t know where Floyd’s work falls.”“Right. I’m going to wash my face. You see if there’s anything.
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