| Abstrakt: |
What is the correct way to appreciate art and specifically the art of the pop song? This is the question at the heart of Magnus Mills's 2017 novella The Forensic Records Society which reads like an absurd comic parable of how men (specifically), repeatedly fail to appreciate art and reduce even the most inoffensive acts of creativity to dysfunctional bureaucracies. This paper briefly discusses how the book tackles aesthetics, community, gender and commodity fetishism and outlines its uncanny parallels with Adorno's Sociology of Music (1976). Most significantly, the argument put forward here is that this deceptively brief and simple novella is truly an artfully-constructed postmodern performative text – a work of histiographic metafiction which manipulates time, evades period setting, and questions historical certainty; a concrete-poetry inspired novella that deploys mimetic cover art, musical allusions, numerology, nominal characterization, melodic repetition and affirmative character arcs to replicate, and pay homage to, the subject of the book – the iconic 7-inch three-minute pop single. The conclusion asserts that The Forensic Records Society is an intermedial text that ironically benefits from the perpetual online distractions of the internet and pop music, thus providing a novel 21st century reading experience. [ABSTRACT FROM AUTHOR] |
