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Coles On the Stairs at Bayshore Shopping Centre in Ottawa, ON
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A woman collects and reinterprets the gestures, smells, gazes, and subtle shifts of power in young men under the name of "essays." Yet the language with which she tries to read others gradually blurs reality and fantasy, turning the novel into a dangerous record of self-interpretation.
On the Stairs is a psychological novel that follows the way one female narrator's memory, desire, and compulsion to interpret begin to consume one another. Through its singular metaphorical system, in which young men are named as "essays," the work does not unfold as a story of love or romance, but exposes an inner structure where gaze and interpretation, domination and submission, worship and self-deception become entangled.
The narrator reads the gestures, smells, and textures of other people's voices, believing herself to be more precise than anyone else in her acts of interpretation. Yet that intricate reading may be nothing more than a transformed language of desire, a self-invented narrative devised in order to endure reality.
Rather than explaining desire itself, the novel follows the structure of interpretation that one human being creates in order to withstand it. In this way, the reader encounters not only one person's confession, but also the form of a mind endlessly reinterpreting itself so as not to collapse.
A woman collects and reinterprets the gestures, smells, gazes, and subtle shifts of power in young men under the name of "essays." Yet the language with which she tries to read others gradually blurs reality and fantasy, turning the novel into a dangerous record of self-interpretation.
On the Stairs is a psychological novel that follows the way one female narrator's memory, desire, and compulsion to interpret begin to consume one another. Through its singular metaphorical system, in which young men are named as "essays," the work does not unfold as a story of love or romance, but exposes an inner structure where gaze and interpretation, domination and submission, worship and self-deception become entangled.
The narrator reads the gestures, smells, and textures of other people's voices, believing herself to be more precise than anyone else in her acts of interpretation. Yet that intricate reading may be nothing more than a transformed language of desire, a self-invented narrative devised in order to endure reality.
Rather than explaining desire itself, the novel follows the structure of interpretation that one human being creates in order to withstand it. In this way, the reader encounters not only one person's confession, but also the form of a mind endlessly reinterpreting itself so as not to collapse.
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