Reviewer: rebecca_batteur
Client: Sadhana_2006
Title :
The title is excellent and I think it accomplishes something brilliant since it is reminiscent of a motif that we find throughout the work, this repetitive sound that haunts the main character, reminding him of the killer which fills his thoughts and his life. I like the idea of using onomatopoeia to symbolize death and murder. I also find that the use of such a bland and almost anecdotal sound reinforces the fear and anguish that may be behind it, as if one were clapping their hands and that was enough to cause death. This is linked to the fact that the killer accompanies his murders with this sound. There is also something strong about the inscription added to the title in some of the alternative covers "Tragedy is half step away". Indeed, I find a correlation between this inscription and the sound, "clap", which seems close and has almost already sounded, perhaps it is not a voluntary effect but I still find meaning in it. This inscription also shows how close tragedy and death are to us in this story, so close that we would not hear them, paradoxically, arrive and take hold of us.
Cover :
Several covers are proposed in the first chapter of the book, I don't know if I can, as such, use them also for my analysis but I will use them as options at my disposal, possibilities other than the one that exists. The cover chosen presents a pleasant contrast between shadow and light and particularly highlights the only element that escapes this dichotomy: the blue butterflies that fly in the center of this fountain of light, or rather this cloud of light, which falls on the cover not as it would fall from a window but rather like a breath spread in the dark, a white smoke rather than a flash. As such, there is no real light in this image, simply its illusion. The smoke also reminds me of a show stage that it would invade to give an effect as if it were a stage. The two hands cut between light and darkness seem lost in their own movement, trying to reach the butterflies above them without succeeding, in a strange pantomime, like a puppeteer or the puppets themselves. We cannot know whether they are masters or victims. There is also something singular in their posture, in their movement begun and never finished, fixed by the cover, as if they were preparing to applaud. I have the impression that the butterflies perhaps play the role of this death, so close, so sudden, so imperceptible, and yet which we can never touch with our finger, imprisoned in our hands. So brilliant and fascinating in its colors, it is also deceptive, embellishing. And the hands fascinated by death that the butterflies distribute also seem close to spreading it in turn.
I am making rants here that perhaps have nothing to do with the truth, the only quality I can recognize in myself is to try to formulate it in a sufficiently obscure way so that people stop examining it and that this analysis seems intelligent.
Of the other covers proposed inside the book, I will simply mention the elements which touched me and which seemed relevant to me. I really like the silhouette of the young woman who seems divided into multiple tortured specters, biting her fingers, screaming, I have the impression that this represents rather well the almost schizophrenic delirium that the main character experiences. I also appreciate the cover on which the title is written everywhere like a myriad of echoes resonating over and over again. The last cover, with its layout which makes it more like a sketch than anything else, is also revealing. The drawn silhouette fades into an infinity of lines, lost between darkness, existence and nothingness, stained with blood released from all sides as well as the final touch of this portrait, added by the hand of a madman, or like the spurts of blood that an ax could have produced when unleashed against its victim.
As for which one is better, I guess it doesn't really matter, it all depends on the goal here, maybe the butterflies image hides something even deeper than that. that I can read there.

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