Neurodiverse Writing with Rathwell & Rhenisch

We have a new book of writing that steps away from literary narratives to talk straight about narratives told from within neurodiversity. It is also a wake for the city of Vancouver and its totemic poet Robin Blaser.

It is on the presses as we speak.

This is important stuff. In a world that is growing to embrace diversity, one great unifying diversity is often overlooked, even as humans display a wide range of abilities at finding narrative in the world.

Here’s a sample of our approach, using a book as a series of video screens and reading itself as a projector.

Does that sound odd? It’s everyday stuff to us. And it’s rather easy to follow, don’t worry. Here is a sample from the book to demonstrate. Just let your eye follow where it will. It knows:

You’ve been watching Richard describe how his neurodiversity creates reality as a series of alternatives, which leap from one to the next. It is a kind of unfolding, not a sequence of plot points. One of the salient characteristics of neurodiverse literature is that

instead of metaphor, neurodiverse literature changes perspective. This can include change of self or personality.

What happens when this type of personality is measure by neurotypical long-term personalities that change plots instead of selves is the subject of this example from the book. Richard describes a study he once had to endure:

What I am displaying with my choreography for Richard’s memoir is another principle that guides the book in its opening:

Neurodivergent literature is a tapestry.

Unlike linear narrative, such as the novels of, say, Salman Rushdie or Margaret Atwood, to name just two, which are tied from strings of interconnected action and consequence driven by projection and recollection of emotional memories, it is woven from the multiple dimensions of bodies in space, which it bends to set them moving. Touch is important here. Richard continues. As you read on, notice how images and words are diverging. The narrative is being given over to imagery. The words become used more in the manner of images than texts.

Did you see how several realities are starting to be held up at the same time? That transformation includes reading as an act that is entering the world of the study itself. This kind of multi-layered approach is common in neurodivergent literature and thought.

Instead of plot and character, neurodivergent literature employs tricks, riddles, jests, correspondences, transformations, pattern, sudden detail, irony, sarcasm, quoting, changes of scale and increasing intensity in place. It creates magnetic fields and auroras, freeways and subway grids. It rides them.

Richard and I continue this dance, as the thought unfolds, and then break it as the self it has created starts to morph into a new one. It is important to return narratives (and books) to a human scale. The machines are watching. We need to be able to step aside now and then and breathe.

This notion that writing would make one feel real is common for neurodivergent thinkers, who struggle as much to understand the exotic thinking patterns of neurotypical people as they are of neurotypical ones. What we are trying to do in this book is to place us all into a common language. After all…

Neurodivergent literature is an intervention, an interjection, an exclamation, and even an insubordination, but never a kidnapping. It does not rely on the social authority of an author.  It turns the social authority of books into playgrounds and landscapes of strangeness and wonder and it doesn’t tell stories. It walks through them to initiate conversations and create collaborations.

That’s what we’ve done here. We love to laugh. We hope you do, too. This is, after all, a wake. Sláinte!

We have a lot to share. Please join us in this book as we set to rest Robin Blaser and the world of writing entombed in books.

Grotesques: Part 2

The writer is decomposing. You can view the initial decomposition here.

I ran outside with my reeled tape recorder to get the instance of the deluge to send to my sister far away in Ontario.

She was beginning her slow death from disease that meant she would never travel.

It was to remind her of leaving the house as I did as a summer storm came across the lake.

We sat on the hood of my car and talked of our future.

The thing is, people are going through cultures.

They travel from one in transition to another.

In this form of architecture, culture is not in statements.

This is not a statement.

It is in the flash of an eye between them.

I am haunted by Africa.


The cultural nationalists, the ones who are burning down schools, are not going to end up with the rebirth of a tradition.

They will make a tradition.

I was hired to build those schools. I built a mosque instead. Eventually, they burnt that, too.


The ideologues among the oppressed or even their representatives are not going to make new women and men in a work of art.

They are, however, expressing a transcultural encounter.

For example, when I wore a literary mask, I was bullied into defining and redefining the obvious over and over again without qualification:

I should have moved to Switzerland.

race, gender, ideology, the cultural nationalist industry that evolved from the unequal development of oppressive globalization and the mirror development of, for example, the novel on different continents and in different cultures, needs to protect its product.

We would do well to say these things.

The aspirant tribunes of the people need to protect their publications and jobs. For this, they need to create people.

Marx should have mentioned that.

Identity is the product.

Identity is the subject.

Identity is the object.

It is all they can think of.

It won’t help to blame Hitchcock.