Dating to relating from a to z review
The book's content, of course, is purely of Danielewski's own invention, although he allegedly had a chance meeting with a couple of young lovers while on tour for House of Leaves who served as inspirations for his lead characters in Only Revolutions, Sam and Hailey and Hailey and Sam.
As the work progressed it became obvious to Mark that the novel was something of a counterpoint to House of Leaves; in fact, he has said in interviews that Only Revolutions is centrifugal while House of Leaves is centripetal.
Rather than engage those textual faculties of the mind remediating the pictorial or those visual faculties remediating language, the signiconic simultaneously engages both in order to lessen the significance of both and therefore achieve a third perception no longer dependent on sign and image for remediating a world in which the mind plays no part." Mark was Tad's second child.
Christopher, the first, was born to Sylvia Daneel (née Sylvia Jadwiga Łakomska), Tad's first wife.
In the years following the publication of House of Leaves (2000), Danielewski worked on two projects in tandem: his second novel Only Revolutions and his novella The Fifty Year Sword.
That summer, Poe and Danielewski spent three months as the opening act for Depeche Mode's 2001 North American tour.
In fact, in 2013 two graduate students at UC Santa Barbara created an Only Revolutions database called Vizor.
In 2010, Danielewski announced that he was going to be doing a stage performance of the limited-release novella The Fifty Year Sword.
The first of these performances was October 31, 2010 at the Roy and Edna Disney/Cal Arts Theater (REDCAT) in downtown Los Angeles.
The last REDCAT performance, on October 31, 2012, was another back-to-back, sold-out production.
House of Leaves, Only Revolutions, The Fifty Year Sword, The Familiar, Volume 1: One Rainy Day in May, The Familiar Volume 2: Into the Forest, The Familiar Volume 3: Honeysuckle & Pain, The Familiar Volume 4: Hades, The Familiar Volume 5: Redwood the typographical variation corresponds directly, at any given narratological point in time, to the physical space of the events in the fictional world as well as the physical space of the page and the reader.