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''Dyad'' is Michael Brodsky's fourth novel. It is narrated by an urban lowlife known only as X—. He is hired by the dying tycoon Jamms, who wants X— to convince Jamms's estranged artist son Jim to come home, and let bygones be bygones. The "dyad" of the title refers to two people who are linked, what Beckett called a "pseudo-couple". X—, speaking about Jim, says: As is clear from the above quotation, metafictional issues are present in the novel. X— makes frequent reference to the "story-mongers" and "meaning-mongers", and is constantly trying to figure out whether trivial matters that happen qualify as "incidents" or "events" or are otherwise "part of the story". ==Sources== Brodsky, on the copyright page, acknowledges Noël Burch ''Theory of Film Practice'' (1973), translated from ''Praxis du cinema'' (1969), for an idea that he explores in the novel.〔Brodsky has referred to Burch before: "Was its purpose to cast a retrospective Burchian glow of transformative enlightenment on the staring as suddenly a nonstaring." ''Xman'', p. 314, and a "Burchian retrospective modification", p. 366.〕 Brodsky does not name the idea, but certain unusual prose stylings in ''Dyad'' can be interpreted as film-inspired. For example, the text sometimes changes location in the middle of a paragraph without any explicit statement, resembling sudden scene changes in film. Frequently, the text engages in a close up on certain words: :...what () was saying illuminated the Maggy/Jim dyad in such a way as to propel the story—our story—into dazzling clarity, or rather, ::::OR RATHER ::::into the possibility ::::of dazz ::::ling clarity.〔page 126〕 At other times, the text engages in a close up with an opposing intercut: :For it was NO ::::NO NO ::::clear NO ::::it was NO clear NO :at least according to the meaning-mongers and their dainty wives NO at least NO according to the meaning-mongers and their hefty wives that ....〔page 88〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Dyad (novel)」の詳細全文を読む スポンサード リンク
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