Steven Seidenberg reads Anon. The narrator of Anon opens the sluice gates of embittered confession and philosophical reproach to release a deluge of wildly extravagant lyricism, at first submerging its readers in the ecstatic rhythms of its its music, then leading their pursuit of the behemoths of the human condition in turning its gaze upon the storm-tossed tropes of the narrative itself. Seidenberg engages his characteristically aphoristic style to manage multiple lines of inquiry at once. ...

The text of plain sight relentlessly questions notions of thinking and being, setting out various propositions about life, thought, and perception in a way that persuades not merely with argument, but with music. The resulting experience is a thrilling “excavation of the nous,” drawing us into a realm where point of view, connotation, misdirection, and other rhetorical and prestidigitational devices are deployed in a tender but unyielding attack on the illusions we share. It also manages to ...