What the website can establish—and what it cannot.
The project separates literary authority, documented history, fictional counter-history, and interpretation so that one kind of claim does not silently borrow the authority of another.
Authority of the books
The Prelude, Novels I–III, and Postlude possess literary authority within the fictional and supernatural composition. The German sequence is the principal text; the English sequence is an authorized literary parallel rather than a sentence-for-sentence translation.
Documented historical field
The Schattendorf shootings, the trial and acquittal, the July 1927 crisis, political parties, public institutions, newspapers, and named historical persons belong to documented history. Historical claims remain answerable to source, date, provenance, variant, and stated uncertainty.
Fictional counter-history
Hermann, Julia, Alex, Alistair, Rita, Adornfeld, Dollberg, the private life of the Mansion, the internal Arbeitsprotokoll and Gegenprotokoll, Hermann’s movement and state office, the traversable painted world, and the assassination belong to the fiction. Their authority is literary, not evidentiary.
Critical and website materials
The Reader’s Companion, Critical Concordance, synopses, diagrams, and website pages offer orientation and interpretation. They do not supersede the novels or supply an authorized final meaning. Public samples preserve fixed, approved excerpts from the controlling publication files; complete manuscripts remain in the private reader system.
Method and correction
Every public claim should identify whether it is historical fact, fictional fact, textual observation, authorial design, interpretive inference, or an open question. Factual corrections and source notices are welcome at lianasive.writer@proton.me.
Authorial poetics and compositional provenance
The Twelve-Tone Writing section is the author’s retrospective account of the formal method. It distinguishes textual observation, authorial design, interpretive inference, and open question. It has no higher literary authority than the novels and supplies no final meaning.
Source discipline is the epistemic boundary of Dialogic Pragmatism.
Court judgment, newspaper report, family memory, archival record, artistic representation, and ghostly perception may enter one composition without becoming equally authoritative. NO EQUATION protects evidence and responsibility inside counterpoint.
Biography, correspondence and fiction
The companions cite Franz Marc: Religion, Art and Modern Europe by chapter and keep its historical arguments distinct from events in the novels. Their correspondence dossiers identify the dates under discussion and the limits of what the letters establish. A fictional encounter with Marc is evidence about the novel’s construction, not independent evidence about Marc’s life.
The Möbius form and encounters with differently lived histories belong to the fiction. An archival gap does not establish an alternative historical timeline. The concordances provide locations for comparing what the prose shows with what an interpretation proposes.
Schattendorf and Vienna, 1927
The documentary history follows the killings, the Interval, the trial, and the Vienna events through judicial records and contemporary newspapers. The current research edition includes the attributed trial reconstruction, newspaper plates, and an author’s note on the novels and narrative time.
The complete literary cycle
Postlude
The Postlude brings the Unreliable Editor, Zeitblom, and A Fellow Wayfarer back to their table. The account is finished. Their responsibility for it is not. In twelve sections, the desire to make a life complete becomes a bargain the writers must recognize in themselves.
PostludeThe books