July 9, 2012
I love the decision to call these pieces “miniatures”—for me, strangely enough, this designation makes them larger; they stand independently, as scale models of universes.  Can you talk a little about your decision to call these pieces “miniatures”?  Two wonderful Steven Millhauser stories come to mind: one, “In the Reign of Harad IV,” is about a diabolically talented miniaturist, who manufactures worlds too small to be sensed; the other, “The New Automaton Theatre” is about a visionary who elevates wind-up toys into the realm of subversive, god-like art. I wanted that degree of precision combined with that mechanical elegance: paragraphs that did only one thing, had only one turn, but executed it perfectly, with no room for error … and yet somehow, as you said, contained infinitudes. “All Manner of Interstylistic Mayhem”: An Interview with Miles Klee | The Collagist

I love the decision to call these pieces “miniatures”—for me, strangely enough, this designation makes them larger; they stand independently, as scale models of universes.  Can you talk a little about your decision to call these pieces “miniatures”? 

Two wonderful Steven Millhauser stories come to mind: one, “In the Reign of Harad IV,” is about a diabolically talented miniaturist, who manufactures worlds too small to be sensed; the other, “The New Automaton Theatre” is about a visionary who elevates wind-up toys into the realm of subversive, god-like art. I wanted that degree of precision combined with that mechanical elegance: paragraphs that did only one thing, had only one turn, but executed it perfectly, with no room for error … and yet somehow, as you said, contained infinitudes.

“All Manner of Interstylistic Mayhem”: An Interview with Miles Klee | The Collagist

(Source: hatethefuture)

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    “All Manner of Interstylistic Mayhem”: An Interview with Miles Klee | The Collagist
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