When I was teaching rising Asia, I was trying in a way to de-exortise my own perspective by writing a novel with no names. And then, exit West, in a sense, it was rooted in a way in children's literature. In that gap, the reader had to, I guess, interpret their own version of the book. The novel took on these very long sentences, that you really use only callers as punctuation marks and build up a kind of oral rhythm.

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