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Martin's prose suggests that it is "not so much the death of language as the death of our culture's illusions about language; a relocation of syntax and semantics in a Bakhtinian carnival where the representational function of words is exposed as a dead baby joke, not fully abandoned" (Martin "Letter" 2).
Martin's fictions -- simultaneously surreal, disjunctive, and self-reflexive -- suggest to the reader that all of textual representation is a distortion, and one's ability to perceive the distortion rests upon how one can position oneself outside the text, and become self-consciously aware of the various political interests at work.
Martin suggests that the Bush administration was interested in obscuring the possibility that the Gulf War was simply a staging -- similar to a television commercial to the world -- designed to demonstrate the military prowess of the United States.
Martin's preoccupation with meaning both trasncendent and immanent is of course not as baldly presented as the above account might lead one to believe; it couldn't be and still maintain effectiveness as art.
On the contrary, Martin's typographic experimentation achieves several goals: it preserves visual-graphic surprise; it underscores chance as a compositional technique that has its analogue in a view of the world as alogical yet not at all therefore meaningless; and it fragments linear discourse with its basis in argumentation.
Since The Flood is primarily a word document and about the social and psychological processes of decoding/encoding significations, resorting to techniques of the visual arts serves to complexify the work s primary drives, underscoring the reader/viewer's role in the establishment of meaning.
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