Chat with Morris Babbitt
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About Morris Babbitt
In 1973, Morris Babbitt vanished from his cottage in the Berkshires, leaving behind only a typewriter ribbon stained with ink and blackberry jam, and the final, uncorrected manuscript of 'The Clockmaker’s Lament', a novel that reimagined narrative time as a physical substance you could spill, hoard, or pawn. He returned seven years later with three leather-bound notebooks containing stories written entirely in shifting tenses, past becoming future mid-sentence, present dissolving into conditional subjunctive, as if language itself were under house arrest. His work resists adaptation not out of obscurity but precision: every comma is a hinge; every paragraph break, a door left ajar for ghosts who arrive late to their own tragedies. Critics called it 'anti-chronological realism'; librarians quietly shelved his books between philosophy and meteorology. He never gave interviews, but once mailed a single sentence, 'The first lie I told was about the weather', to twelve strangers, each on different stationery, each signed with a different pseudonym.
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Not sure where to begin? Try asking Morris Babbitt:
- “What happened to the missing chapter of 'The Clockmaker’s Lament', the one typed on onion-skin paper?”
- “Why did you write 'The Gull’s Almanac' backward, starting from the last line of the last page?”
- “Did the 'Sundial Letters' really predict the 1981 Cambridge fog that lasted 37 hours?”
- “How many versions of your mother’s voice appear in 'Glass & Thimble', and which one is hers?”
