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One Hundred Twenty-One Days

There is a story locked up in One Hundred Twenty-One Days, but it’s not in its pages. In this novel, the story is the space to which all the heterogenous chapters point to, but merely touch, as a tangent line does to a point in a curve. This mathematical reference isn’t casual; Audin, a mathematician herself, plays with narrative using language in different codes as a function to describe the lives of French and German mathematicians during the time of the World Wars; words as “an exquisite formulation for the unspeakable.”

One Hundred Twenty One Days

There is a story locked up in One Hundred Twenty-One Days, but it’s not in its pages. In this novel, the story is the space to which all the heterogenous chapters point to, but merely touch, as a tangent line does to a point in a curve. This mathematical reference isn’t casual; Audin, a mathematician herself, plays with narrative using language in different codes as a function to describe the lives of French and German mathematicians during the time of the World Wars; words as “an exquisite formulation for the unspeakable.”

There is a story locked up in One Hundred Twenty-One Days, but it’s not in its pages. In this novel, the story is the space to which all the heterogenous chapters point to, but merely touch, as a tangent line does to a point in a curve. This mathematical reference isn’t casual; Audin, a mathematician herself, plays with narrative using language in different codes as a function to describe the lives of French and German mathematicians during the time of the World Wars; words as “an exquisite formulation for the unspeakable.”

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Andrés de la Casa-Huertas

Andrés de la Casa-Huertas is an advertising creative who’s calling Dallas home after living in Spain, Ireland and UK. This all-in culture vulture works now for The Wild Detectives as Brand Director.

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