On the Many Deaths of Amanda Palmer Read Online Free PDF

Love Art Incarnate,
it was however eventually established that no objective definition could be agreed upon. Finally a consensus of diverse opinions was accepted: each member of the editorial committee would choose their own example, and write a single page introduction explaining the reasons behind this choice (So as not to effectively provide spoilers these introductions will be placed at the end of each story, and will thus be entitled “extroductions”.) Given the large number of texts requiring due consideration, a problem further compounded by the fact that many of them share very similar titles, it was decided that the catalogue would be randomly divided into ten groups which would then, again randomly, be divided amongst the ten editors. Additionally, and in sympathy with the spirit of the
palmeresque
, these editors,and their extroductions, agreed to remain anonymous.
    Regardless of literary merit, and this may indeed be found wanting in some if not many cases, it is important to consider whilst reading the following texts the nature of what is actually being read. These stories, poems and fragments were never intended for physical publication, but were written out of a need for catharsis, an expression of grief, and most of all, to honour a soul that is sorely missed. What makes them interesting, and worthy of presentation to a wider public is the phenomenon, and indeed the very existence, of the
palmeresque
itself.
    Franklin Davey.

A BRIEF NOTE ON THE CHOICE OF ILLUSTRATIONS
    Given the aural and visual nature of Miss Palmer’s work, and indeed the much demonstrated audio-visual creativity of her fan-base, it might be expected that the virtual space inhabited by the
palmeresque
would abound with songs, music and pictures, however, it is interesting to note, and much commented upon, that the phenomenon of the
palmeresque
appears only in the form of the written word. Many theories have been put forward to explain this unexpected literary bias, and, if interested, a useful summary can be found in Dr. Francesca Morrison’s 2007 paper “Grief, Hysteria and Creative Ambiguity”. In essence she concludes that:
    . . . where music and the visual arts both demand a direct and immediate emotional response, words are by their very nature kept at a distance and must be considered, understood and interpreted by the conscious mind, allowing for the expression of more complex emotional issues such as those inspired by grief for a symbol which, in essence, represents an aspect of the self.
    Whatever the explanation our original intention of illustrating this book with appropriate
palmeresque
images, anonymously posted online by fans, was not to be, as none could be found, despite the wealth of fan-art posted online during Miss Palmer’s lifetime. However it was agreed that the book should definitely be illustrated, if only to entice the more easily daunted reader. Thus, after much discussion, it was decided to open the commission for illustrations to tender, more specifically to ten up-and-coming young artists, each of whom could claim some personal, aestheticor emotional link to Miss Palmer herself, and/or her works.
    After a month or so we had ten submissions from ten artists and were left with the difficult process of deciding how we might make the final choice. Initially it was proposed that we should let the fans make the decision, although this proved to be impractical. We did however agree that it should be some symbolic representation of Miss Palmer’s fan-base that made the choice, and so, by way of compromise, settled upon asking the teenage and pre-teen daughters of members of the Executive Committee. However, there was some concern that, by the age of thirteen, such girls may have acquired their own entirely separate agenda, as is all too often the case, and so, finally, we agreed to leave the choice in the hands of daughters of the Executive Committee aged eight to twelve. Thus the