Translator and writer Harvey Thomlinson describes his new novel, The Strike, about “an illegal protest in a frozen border town,” as experimental fiction which “uses a linguistic strategy which aims to subvert expectations about the correspondence between syntactic and semantic structures.”
What happens when the form of writing is insufficient to express the multi-dimensional world of thought, time, and perception which we inherit? Why, asks this book, should we be limited by tense to understanding a story purely in one temporal space when our lives are lived as a farrago of memories, present perceptions, and future hopes, and fears?