Order "De Spindraad"
(the Dutch original)
Everything of value is defenseless;
something for free has no value.
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Welcome to my website.
The name PACHINCO requires some explanation. It is taken from the Japanese gambling game pachinko that you can play in amusement arcades everywhere in Japan. The word pachinko is an onomatopoeia, which means that it t mimics the sound of the object it describes. Japanese ears register three sounds, pa for letting go of the ball in the pinball machine, chin for pulling the trigger and ko for the ball landing in the return box.
I no longer know where I have ever read this description, but it certainly has been in my early youth. I thought the name was funny and I have since used it as a kind of alter ego. That was the obvious way to launch my literary product under the name of pachinko publishing.
One day I said to myself: in order to publish II do not want a literary agent, no editor who, admittedly with the best intentions, will tinker with my product.
Then so be it, no quality brand and no sponsored publication. Better an unpolished script in which every word and every sentence is authentic.
Therefore, no long or tedious digressions in my novel as I consider the reader sufficiently intelligent to supplement what is not there.
© 2019 pachinco publishing
Almost a decade ago I started working on the script. It became a process of much thinking and fantasizing, remembering, improving, rebuilding, deleting, adding, and a lot of patience above all. A writer would like to tell everything that is on his heart, but it is precisely art by leaving out so much text that the reader still understands what is needed to keeping his attention with the story. It was Goethe’s winged statement ‘In the restriction only the master shows himself’ that constantly circled around my head. So many words did me produce and now that the script is completed shows how much I have omitted. I have stayed close to the vision of the great writer.
For all that, how will the story catch on you, reader?
Several kinds of difficult to manage factors or rather totally uncontrollable factors are playing a role that I would not want to influence.
The rhythm of time we live in determines the rhythm of reading. Everything has to be fast nowadays, reading too. I know few people who still read a book. There is even less patience for longer treatises. What actually remains behind in the memory of a reader who has struggled through a tome?
'The Spinning-Thread' has been made up of relatively shorter chapters. Their content covers a period that runs from about 1985 to 2002 with an anecdotal prelude since 1950.
The cover tells that we are dealing with a 'coming of age novel'. This genre usually describes the development the main character is going through and it is influenced by an ascending series of events fitting in the familiar line of our life cycles. Such a book is then full of in depth psychological character decompositions and a maze of entangled human relations.
And the author feverishly strives to come up with an answer to all questions because he doesn’t want to deny his reader anything. Many a writer misses his goal and his book does not come through.
I did not keep to that tightening formula. With a big wink at Kundera I present, as I may hope, fairly light-footed scenes that make the inevitable drama more bearable.
A work of art, whether it is a book, a painting, a symphony, a sculpture of something completely different largely represents the self-reflection of the maker.
The novel about the main character Karol Bandorf is based on fiction. To the whole story I have added a mixture of autobiographical reminiscences and narrative prose from personal experience.
Now please switch on to the synopsis or the bibliographic data for reading what is the book about.
André Bannenberg for his perfect suggestions concerning cinematic images; Violetta Boukharina, my last ex, who suffered my nightly rumble with pen and paper for years; Carolien de Jong, Marja Gaillard, Annette van der Wel and Iljitsj Wiebenga for their critiques in a later version; Cathelijn Schilder for her useful advice on point for improvement; Margot Lammers who has dragged me like no other through too many moments of despair towards fresh insights; Bas van den Brink who in all his unselfishness has been a wonderful source of inspiration and will hopefully remain so.
© 2019 pachinco publishing
One of the world's largest science publishers, Hellbrand, is based in Frankfurt, Germany. An international company of renowned reputation, it has become a wholesale giant due to the brilliant invention of a mercenary visionary. Its management sets the rules on the playing-field. By the mid-eighties of the previous century Hellbrand appears to be in its prime. Its powerful position and continuing growth seem endless. In that period Karol Bandorf is accepted as a salesman.
The reader follows Bandorf, a gentle yet temperamental semi-intellectual who attempts to design life in his own way. A jobless graduate from Amsterdam University, he enters into business with the help of his former professor. In an antiquarian bookshop in The Hague he manages the section for Slavic rarities and after a promising tip from his network he moves to Frankfurt with his wife and young children. He becomes responsible for higher turnovers and expanding market shares. His working territory is extensive.
As a self-made salesman Bandorf is drifting on the waves of monopolistic pride within the concern. He carries out objectives conceived by others, yet, he does not get better himself. He seems to be a man without ambition. Arbitrariness, macho behavior, favor and disfavor provide the scene with genuine dynamics. He travels across half the globe, roaming Moscow, Shanghai, Brazil, Cuba, Vietnam, the States. He encounters the absurdity of existence in the manners of divergent human types, as well as in his own. It implies continuous switching between two worlds, the familiar life at home and the always luring tension outside the door. Gradually, the reader discovers the effects of these experiences for his private life.
A new company culture, Anglo-American style, seals the loss of his position. Due to digitization and the internet, distribution lines have disappeared and after a merciless remediation he is on the streets. He realizes he has become out of the running and he misses the energy to overcome feelings of having failed. His second spouse, an ambitious Russian and a quarter of a century younger than him, sets out on her own course. She leaves him disillusioned. The delusion is imminent at Bandorf that his formation has gone wrong, that he never got the impulse to achieve anything.
He sells his house and he is looking for a retired life in the countryside; he takes a cat. From his best companion, who had sprung up the resignation dance, he learns with skepticism about the development of Hellbrand. In his loneliness he realizes how many social ties he has abandoned over the years, that people disappear, automatically, that what they did also disappears, nothing remains. That people’s activities, invented or not, in the grotesque, caricature world play are predestined by the suiting goddesses. When Bandorf, completely independent and influenced by no one, comes up with a courageous plan, for himself, a plan that he hopes to become better because it might contribute to his late formation, his world suddenly takes a completely different turn.
'The Spinning-Thread' is fiction supplemented with narrative images from the writer’s own experience. This eccentric novel describes the bizarre route of an exotic cosmopolitan, the personification of a non-conformist and loner, who has stood his ground in a make-believe world and autonomously looks back in resignation.
© 2019 pachinco publishing
Frankfurt – Publishing – Russia – China – Friendship – Vietnam – Brazil – Amsterdam
Family Life – Anglo-American Business Culture
Snijders, Paulus, (Amsterdam 1947), The Spinning-Thread (2019).
The book is about a man who carries out the goals of other people and achieves successes without making it better for himself.
Is this because he had not received enough ambitious impulses since his childhood?
During the nineties of the previous century the large scientific publishing houses made the transition from print to digital. The storyline describes the influence of this process on both his business and his private life, as he gradually finds out which practices are playing on management level.
When pushed aside on all fronts and convinced that his entire formation ended in failure, and devising a plan fully for himself, a plan of which he hopes to become better, his world suddenly takes a completely different turn.
The story largely plays in Frankfurt, Germany, home base of the influential concern of Hellbrand, and further on many other locations.
Genre: Coming of Age Novel
ISBN 978-94-638678-2-5 NUR 301
Paulus Snijders, Amsterdam 1947
|1959 – 1967||Amsterdam, St. Ignatius College, gymnasium β|
|1967 – 1969||national service, basis Seedorf, West Germany|
|1969 – 1976||Amsterdam, University of Amsterdam, doctoral degree Slavic languages and literature|
|1976 - 1977||Zaandam, people’s university, teacher Serbocroatian|
|1976 – 1977||Amsterdam, Stedelijk Museum, researcher Project Malevich|
|1978 - 1984||Den Haag, Martinus Nijhoff Antiquarian Dept., chief Slavic section|
|1982 – 1984||Utrecht, University, postdoc Masscommunication|
|1985 - 2001||Amsterdam, Elsevier Science, Sales Director|
|2001 – 2002||Boynton Beach FL, World Scientific, Sales Director Europe|
|2002 – 2004||Aalsmeer, Wellant College, teacher German|
|2012 - present||retired 2012, lives in the Amsterdam area. In this time, he is conceiving a next script|
|Genre||Coming of Age Novel|
|Edition||1st, March 2019|
|Printing||Printforce Nederland BV, Culemborg|
|ISBN||978-94-638678-2-5 NUR 301|
|Copyright||© 2019 pachinco publishing|
|Photo Author||selfie, Portimão 2017|
|Website Design||OiviviO BvBv-Nederland, Amstelveen|
All rights reserved
English title: The Spinning-Thread. A literary translator for English is wanted.
The publishing rights for the English language markets are for sale.
© 2019 pachinco publishing
About Contemporary Literary Writing
It is recognized almost unanimously that fairly every literary novel to a large extent is the reflection of the spirit of the times during which it was produced. Rightly so, because language is the expression of events that people experience in their time and transmit to a next generation.
Al my life I have written and, believe it or not, I have finally published my debut novel, old in shape but young at heart.
What about literature nowadays? We can hardly imagine that writers like Huxley, Dickens, Woolf and even Orwell are still widely read unless their work is on the mandatory reading list. Who still delves into the heavy material of Dostoyevsky or Tolstoy, and are Garcia Marquez, Thomas Mann and Flaubert still on bedside tables? The language they used in their books is mainly dated because it belonged to the time in which they lived, but time rushes on and the language of their readers, Russians, Spanish speakers, Germans and French, adapts and develops. This is the dynamics of language.
But, what about that same literature nowadays? What determines the breakthrough of a book?
I can be brief about this question: only the charts count. Themes such as trickery and deception, sex and murder, they must and will occur with a rising writer. Books about the Jews and the war, any war, sell invariably 24/7. Sentiment and diseases? Autobiographies of familiar or unknown countrymen written by journalists? Bingo! And what is more: these books may be full of foul language. Are there any untruths in that non-fiction? Also allowed. And what about a major psychological crisis? Sift it to the last fiber, please! That is why those bestsellers should be explicitly voluminous. Come on, editors, put your knife in this excess fat! Oh yes, a shocking scene has to be on the first page that immediately flies to the reader’s throat.
These observations make clear that today’s success writers pay more attention to the emotions of their characters than to the construction of an elegant piece and the development of a storyline. Usually the main character appears to be the writer himself but this is of all times. Almost all books ranking high in the charts fall into the category of non-fiction. It is this category that sells, people want to know everything about the writer and are hardly interested in the story itself. A sad trend. I read none of those books, I don’t have a single one of them at home.
How refreshing is it when you as if by chance - is it coincidence or not? –end up in a story that takes you from start to finish towards unexpected greatness. I recently read novels by Carrasco and Postorino, by Strukul and Schlink and by my fellow countryman Jan Brokken, contemporary literature that brought me intense pleasure. The stories in some of those books were based on historical facts, while a multitude of fictional elements give a magical charge to those facts. In such literary gems the writer has limited himself to transferring the essence of the storyline. I am highlighting only a few names here, there are many more for sure, none of them are producing thick books and they teach me how to write a novel of cultured style.
Fiction is going through a hard time because fiction puts different accents, beautiful accents, it relies on fantasy, imagination, open questions and suspense. With these features it will appeal to the pure literary readership. Thank goodness. Except it’s not enough. Why is that? Because many fiction writers make the same mistake as non-fiction writers. With too many unimportant digressions that have nothing to do with the storyline they weaken the attention of their readers; the readers drop out and read ever less good fiction.
I also write fiction, I let my fantasy run wild and I write against the prevailing trend, I support the compression of text. With compression you may reach two objectives: first, a densification of the text such as air can dilute, it means, you compress words and sentences until what remains is semantically important for the readers to know. And secondly, you stir up their imagination at the same time. I try to touch only on the actions that matter. By using omissions I broaden the imagination of readers, they may create any interpretation themselves from what is said, claimed, confirmed, denied etc. so that they form their own opinion; in that way they do not get served with forced opinions.
Though I wanted to tell much more in ‘The Spinning-Thread’, with the ‘belles lettres’ constantly in mind I restrained myself and hundreds of scraps of paper found their way into the bin during the writing process. Maybe some of them will pop up again in a following novel.