and Professor Fether"; such bits of extravaganza as "The Devil in the Belfry" and "The Angel of the Odd"; such tales of adventure as "The Narrative of Arthur Gordon Pym"; such papers of keen criticism and review as won for Poe the enthusiastic admiration of Charles Dickens, although they made him many enemies among the over-puffed minor American writers so mercilessly exposed by him; such poems of beauty and melody as "The Bells," "The Haunted Palace," "Tamerlane," "The City in the Sea" and "The Raven." What delight for the jaded senses of the reader is this enchanted domain of wonder-pieces!
Tarr has always employed space to signify his characters' confined lives, from the claustrophobic apartments of Family Nest (1979) and Almanac of Fall (1984) to the squalid collective farmstead in Sdtdntango.
Tarr's preference for staging in the long take, one of many stvlistic traits he inherited from his compatriot Miklos Jancso and the master whose name subsumes his own, Andrei Tarkovsky, could well have turned this opus of stasis and repetition into a monument of immobility.
Tarr has frequently inveighed against overinterpretation of his work, warning against the hunt for allusions, influences, and symbols, though The Turin Horse all but flaunts its visual references.