On p45, Fn3, we see that Straka “could not hear sounds in frequency range of 2710 Hz. to 2760 Hz.” This frequency range lies on the transition between the musical notes E and F, the 5th and 6th letters of the musical scale.
At the end of the book, the entirety of Chapter 10 takes place in the transition (the empty space?) between Edvar Vevoda V and VI.
FXC received VMS’s telegram in May of 1946 (the fifth month) and then went to Havana in June (the sixth month).
FXC was to meet VMS on June 5, but at midnight, during the transition from the 5th to the 6th, she rushed to his room, only to find it in shambles and what appeared to be Straka’s body below being loaded into a truck.
The text of Ship of Theseus begins officially on page v of the foreword. It’s also home to the very first footnote. Between pages v and vi, we have these six words underlined: the world never knew Straka’s face. The fifth and sixth words are Straka’s face. And these underlined words represent the very first indication of “marginalia” in the text of Ship of Theseus.
Do we have a pun in the title – Translator’s Note and Foreword? Is this related to the translation from the note E and forward to F?
The first footnote deals with the transition from publishers from Karst and Son to Winged Shoes Press.
There are no written words of marginalia on page v. The first letter of marginalia on page vi is S.
FXC divides her foreword into six parts, each part delineated by its corresponding roman numeral. In the marginalia between V and VI, Jen and Eric discuss FXC being born and returning to Brazil.
At the end of Chapter 5 (Down and Out) and in the empty space prior to the beginning of Chapter 6 (A Sleeping Dog), Jen writes, You took a gamble there at the end. Eric responds, I didn’t realize I had done it. It just happened. And we have Eric’s final postcard to Jen from Brazil where he writes boldly I FOUND HER. In Brazil.
The cipher solution to the symbols on the cave wall on p184 has six words: WILL WAIT TEN YEARS THEN HOME. The fifth and six words are THEN HOME – referring to her transition back to Brazil.
Is there anything to this beyond apophenia? You tell me.
Thoughts On "S" 
We know that Shakespeare is central to Interlude. King Henry V is invoked more than once. Shakespeare wrote three plays about Henry VI. Maybe delve into that?
What did WS write between Henry V and Henry VIs
Quite a lot actually. And Henry VI was written before Henry V – see https://www.rsc.org.uk/shakespeares-plays/histories-timeline/timeline
Yup, from a friend “Shakespeare wrote Henry VI, parts 1, 2, and 3, and Richard III first. He then jumped back and wrote Henry IV, pats 1 and 2 and Henry V. He was also writing some of the earlier comedies between the two sets of history plays. “
So maybe this means go backwards? Dunno. All I got.
i was asking chat gpt some straka related questions. apart from its source or references being a bit strange, it said the foreword is alwaxs written by the author, while the introduction can be written by someone else. so either fxc does not care about conventions, or she is both?
other than that, i never could figure out why the introduction is structured so strangely.
I asked ChatGPT if transitioning from “5 to 6” means anything musically. This was the response…
Yes, in music theory, the terms “5” and “6” can refer to scale degrees or specific chords within a key.
1. **Scale Degrees**: In a diatonic scale, the numbers 5 and 6 refer to the fifth and sixth notes of that scale. Transitioning from 5 to 6 would mean moving from the fifth note to the sixth note of the scale.
2. **Chord Progressions**: In Roman numeral analysis, “V” represents the dominant chord built on the fifth scale degree, and “vi” usually represents the minor chord built on the sixth scale degree. In major keys, transitioning from V to vi can create a deceptive cadence, where the listener expects a resolution to the tonic (I) but instead moves to the relative minor (vi). This creates a surprising and often gentle resolution.
So, the statement “transition from 5 to 6” could be understood in the context of moving between these scale degrees or chords, depending on the context of the musical discussion.
At the end of the day, somehow S’s name is going to be a song/chord/etc that at least includes the chord AbDIM (where there is no vi – six is nothing) and a transition from 5 to 6…
Abdim does serve a musical purpose, but it does not involve S’s name.