Keller Easterling


No One Thing experiments with mixing narrative forms. There are several series of texts, each with a different form. The reader can read within a series of texts or move between different series. Interplay between the texts generates something beyond their content.

One series reflects on some more-than-human capacities (Crooked, Atomized, Still, Tight, Thin, Loose, Layered).

There is a series of uneventful non-stories (NON_1, NON_2, NON_3).

There is a series of cocktails (The Maro, The Blue, The Tongue, The Schopenhauer, The Boiled Alabama).

There are fictional essays (Draft Teenage Essay Eleven: Entertainment, Draft Teenage Essay Seven: Yardwork, Draft Teenage Essay Nine: Relays and Draft Teenage Essay Thirteen: Spiders and Spit).

There are stories that may have taken place in another time (Neck, Bluff, Common).

There are direct addresses (Oh You, You know how, You Stare Back).

There are parallel narratives involving two beings (Hatshepsut, The Moderns, They).

And there are dialogues that are meant to be read aloud with someone else at home (Saying, Catching up).

Many of the other texts also encourage audible expression.

The time lapse looks at a mock up that allows a reader to shuffle between narrative forms in a book. A volume like this might be No One Thing_One, with the possibility of No One Thing_Two or No One Thing_Three, etc.