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| $15.00 148 pp. 6.7" x 9.6" ISBN 978-0-9810117-1-4 |
Description: Literary Fiction, Existential
Taking place in a kind of "internal space," populated by living ideas, Voices utilizes broken
typography within the context of an equally broken narrative to examine an existence in which
identity and self have become, themselves, imaginary, but have allowed human thought and feeling
to reshape the very nature of perceptual reality. Language is given a new, unfamiliar shape:
complete freedom to explore the framework of an intricate semiotic landscape.
Review quotes:
The narrator of Kyle Muntz's Voices remarks of his friends as follows:
They just don’t know what it means to hear at an angle.
Then he proceeds to demonstrate exactly what it means to hear—and to see, think and feel—at an
almost incredible number of new, oblique and affecting angles. This is a remarkable display of
narrative suppleness and vitality, pleasurable all the way through. Kyle Muntz should be hailed on
such an auspicious debut, and Enigmatic Ink should be congratulated for publishing it.
____— Tom Bradley
At a time when influence can be so easily dampened by the persuasiveness of the periphery and the
use of the written word is so often utilized not to assert a message but only to enforce an author’s
opinion, the creative perspective is the first to perish. In Voices, authenticity is enabled in the only
way it can – through the terminal phase of space and personal signature, where one’s pitch may
seem minuscule and muffled by setting and the sequencing. Lines dart across the page and
threaten to surpass its margins. Kyle Muntz has created a mesmerizingly catastrophic evening of
discourse through a meticulously spare, radiantly experimental prose; the sequencing of words are
denotative and interpretive opening a forum, as suspected, where the solitary space can safely
enclose the individual voice from the punishing media impression of commentary and invasive
celebrity.
____— Michael J. Seidlinger
What Kyle Muntz does in Voices is beautiful. So much innovative writing is purely cerebral and
emotionally dead stuff. Muntz refuses to go that way. His work is as clever as the work of any other
innovator—his use of homographs and their ensuing ambiguities and double- and triple-entendres is
as deft as any author has ever accomplished. But here, what happens to the narrator is grounded
in the senses and emotions. There is an emotional truth to the work that just plain hits home and
makes one wonder why more innovative writers of fiction don’t do this. There is a sensuousness to
the prose, to its sounds and rhythms, to its shapes, that makes one want to stop and linger on
each page, to feel it, to let it work its pleasures over one, like a bath filled with exotic oils and aromas
all known to stimulate the emotions. This is the kind of work that gives innovative writing a good
name, and Kyle, bless you for it! Sure, I can think with the narrator, but so what? In Kyle Muntz’s
wonderful work, I can feel with him. It’s a profoundly human piece of work, humbling, disquieting,
and beautiful. Just touch it. You’ll see what I mean.
____— Eckhard Gerdes
Taking place in a kind of "internal space," populated by living ideas, Voices utilizes broken
typography within the context of an equally broken narrative to examine an existence in which
identity and self have become, themselves, imaginary, but have allowed human thought and feeling
to reshape the very nature of perceptual reality. Language is given a new, unfamiliar shape:
complete freedom to explore the framework of an intricate semiotic landscape.
Review quotes:
The narrator of Kyle Muntz's Voices remarks of his friends as follows:
They just don’t know what it means to hear at an angle.
Then he proceeds to demonstrate exactly what it means to hear—and to see, think and feel—at an
almost incredible number of new, oblique and affecting angles. This is a remarkable display of
narrative suppleness and vitality, pleasurable all the way through. Kyle Muntz should be hailed on
such an auspicious debut, and Enigmatic Ink should be congratulated for publishing it.
____— Tom Bradley
At a time when influence can be so easily dampened by the persuasiveness of the periphery and the
use of the written word is so often utilized not to assert a message but only to enforce an author’s
opinion, the creative perspective is the first to perish. In Voices, authenticity is enabled in the only
way it can – through the terminal phase of space and personal signature, where one’s pitch may
seem minuscule and muffled by setting and the sequencing. Lines dart across the page and
threaten to surpass its margins. Kyle Muntz has created a mesmerizingly catastrophic evening of
discourse through a meticulously spare, radiantly experimental prose; the sequencing of words are
denotative and interpretive opening a forum, as suspected, where the solitary space can safely
enclose the individual voice from the punishing media impression of commentary and invasive
celebrity.
____— Michael J. Seidlinger
What Kyle Muntz does in Voices is beautiful. So much innovative writing is purely cerebral and
emotionally dead stuff. Muntz refuses to go that way. His work is as clever as the work of any other
innovator—his use of homographs and their ensuing ambiguities and double- and triple-entendres is
as deft as any author has ever accomplished. But here, what happens to the narrator is grounded
in the senses and emotions. There is an emotional truth to the work that just plain hits home and
makes one wonder why more innovative writers of fiction don’t do this. There is a sensuousness to
the prose, to its sounds and rhythms, to its shapes, that makes one want to stop and linger on
each page, to feel it, to let it work its pleasures over one, like a bath filled with exotic oils and aromas
all known to stimulate the emotions. This is the kind of work that gives innovative writing a good
name, and Kyle, bless you for it! Sure, I can think with the narrator, but so what? In Kyle Muntz’s
wonderful work, I can feel with him. It’s a profoundly human piece of work, humbling, disquieting,
and beautiful. Just touch it. You’ll see what I mean.
____— Eckhard Gerdes
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