The Interrogative Mood

'If Duchamp or maybe Magritte wrote a novel it might look something like this remarkable little book of Padgett Powell's: immensely readable, ingenious, witty, and ultimately important-feeling in a way you can't quite describe but don't need to' Richard Ford Are your emotions pure? Are your nerves adjustable? How do you stand in relation to the potato? Should it still be Constantinople? Does a nameless horse make you more nervous or less nervous than a named horse? In your view, do children smell good? ... Does your doorbell ever ring? Is there sand in your craw? Is it a novel? Whatever it is, The Interrogative Mood is stubbornly memorable. Through a seemingly random but infinitely artful series of questions this small masterpiece mysteriously, elusively, hilariously, compellingly lights up life.

“If Duchamp or maybe Magritte wrote a novel (and maybe they did. Did they?) it might look something like this remarkable little book of Padgett Powell’s.” —Richard Ford The Interrogative Mood is a wildly inventive, jazzy meditation on life and language by the novelist that Ian Frazier hails as “one of the best writers in America, and one of the funniest, too.” A novel composed entirely of questions, it is perhaps the most audacious literary high-wire act since Nicholson Baker’s The Mezzanine or David Foster Wallace’s stories;a playful and profound book that, as Jonathan Safran Foer says, “will sear the unlucky volumes shelved on either side of it. How it doesn’t, itself, combust in flames is a mystery to me.”

Whatever floats your boat, go ahead and float it. Do not have large untenable quantities of despair. Do not go to parades. When you feed orphaned wild animals, do not expect them to make it. Be forewarned. Be careful that your genitals do not show outside the strict confines of your underwear. Learn at least three racquet games during your lifetime. In this brand new short, Padgett Powell takes the reader on a completely new kind of journey. Just as The Interrogative Mood was stubbornly memorable and persistently illuminating, The Imperative Mood is surprising, funny, sneakily cumulative, charming, and artful. As well as just a little bit bossy. The imperative is darker than the interrogative mood, we learn.

DIVDIVFinalist for the National Book Award: Through the eyes of a precocious twelve-year-old in a seaside South Carolina town, the world of love, sex, friendship, and betrayal blossoms/divDIV/divDIV Simons Everson Manigault is not a typical twelve-year-old boy in tiny Edisto, South Carolina, in the late 1960s. At the insistence of his challenging mother (known to local blacks as “the Duchess”), who believes her son to possess a capacity for genius, Simons immerses himself in great literature and becomes as literate and literary as any English professor./divDIV When Taurus, a soft-spoken African American stranger, moves into the cabin recently vacated by the Manigaults’ longtime maid, a friendship forms. The lonely, excitable Simons and the quiet, thoughtful Taurus, who has appointed himself Simons’s guide in the ways of the grown-up world, bond over the course of a hot Southern summer./div But Taurus may be playing a larger role in the Manigaults’ life than he is willing to let on—a suspicion that is confirmed when Simons’s absent father suddenly returns to the family fold. An evocative, thoughtful novel about growing up, written in language that sparkles and soars, Padgett Powell’s Edisto is the first novel of one of the most important southern writers of the last quarter century. /div

Padgett Powell, author of the acclaimed The Interrogative Mood and “one of the few truly important American writers of our time” (Sam Lipsyte), returns with a hilarious Southern send-up of Samuel Beckett’s classic Waiting for Godot. Truly a master of envelope-pushing, post-postmodern American fiction, in a class with Nicholas Baker and Lydia Davis, Powell brilliantly blends the sublime, the trivial, and the oddball in You & Me, as two loquacious gents on a porch discuss all manner of subjects, from the mundane to the spiritual to the downright ridiculous. At once outrageously funny and profound, You & Me is yet another brilliant, boundary-bursting masterwork, proving once again that, “there are few writers who understand both the beauty and the absurdity of language as well as Padgett Powell” (Kevin Wilson, author of The Family Fang) and that, “Padgett Powell is one of the best writers in America, and one of the funniest, too” (Ian Frazier). You & Me: A Novel won the James Tait Black Prize for Fiction.

In Edgar Allan Poe's "The Tell-Tale Heart", the narrator tries to prove his sanity after murdering an elderly man because of his "vulture eye". His growing guilt leads him to hear the old man's heart beating under the floorboards, which drives him to confess the crime to the police.

The volume Grammar of Duhumbi (Chugpa) is a comprehensive description of Duhumbi, the language spoken by the Duhumbi (Chugpa, Chug Monpa) people of Dirang circle West Kameng district, Arunachal Pradesh, India.

In the study of language, as in any other systematic study, there is no neutral terminology. Every technical term is an expression of the assumptions and theoretical presuppositions of its users; and in this introduction, we want to clarify some of the issues that have surrounded the assumptions behind the use of the two terms "speech acts" and "pragmatics". The notion of a speech act is fairly well understood. The theory of speech acts starts with the assumption that the minimal unit of human communica tion is not a sentence or other expression, but rather the performance of certain kinds of acts, such as making statements, asking questions, giving orders, describing, explaining, apologizing, thanking, congratulating, etc. Characteristically, a speaker performs one or more of these acts by uttering a sentence or sentences; but the act itself is not to be confused with a sentence or other expression uttered in its performance. Such types of acts as those exemplified above are called, following Austin, illocutionary acts, and they are standardly contrasted in the literature with certain other types of acts such as perlocutionary acts and propositional acts. Perlocutionary acts have to do with those effects which our utterances have on hearers which go beyond the hearer's understanding of the utterance. Such acts as convincing, persuading, annoying, amusing, and frightening are all cases of perlocutionary acts.