Autor: Merriam A. Grain
Categorías
Possibilities
I met a white wall.
It wasn't that tall.
It had sparkling eyes.
Thinking what to write on it,
I ended asking things.
The wall,
politely replied back.
It made no question on regard.
I was confused and awed.
Was I to be changed?
Were my colours to be tainted?
Or had it already ended at hi?
«Pero ¿por qué actuó Taylor en la película, si había reconocido la propaganda comunista?»
Tiempo de canallas. Lillian Hellman
«Porque el jefe de propaganda fílmica de la Oficina de Información de Guerra del gobierno federal le había pedido que actuara.Lo que hacía la película era retratar a un aliado valiente que sonreía a nuestro lado en la guerra contra Hitler. «
«Entonces, ¿por qué el arrepentimiento, si estaba respondiendo a una petición de su propio gobierno?»
«Porque se supone que uno debe prever los cambios de política del gobierno; alinearse con lo nuevo, rechazar lo viejo y agradecer la oportunidad de arrepentirse:…»
Como verán, el comunismo no fue el único régimen en el que calladito uno se veía más bonito. Las contradicciones humanas. Pero según un comentario en Youtube cuando señale que si uno escarba tantito, todos los sistemas son contradictorios, se nota que yo no sé nada. Recuérdenlo cuando tengan que denunciarme por cualquier cosa.
Yo no sé nada….Pasto kalo.
THE OTHER RETHORIC FIGURE THAT’S NOT METAPHOR
There is one called metonymy. The one in which the reader does the closure job and is very similar to “the part for the whole” or vice versa. Metonymy’s something akin to this:
«Les dijeron que fueran a hablar con la Iglesia».
They were told to go and talk to the Church”
Churches are buildings. They don’t speak. Until we think the people managing them does. But it is not usual to say: “They were told to go and speak to the bishops and cardinals representing the catholic religion”. No, we make it short and use the building or the institute’s image as subs.
In such way, we’re able to make the duplicity of literature to exist. Closure, as understood in gestalt, is something that happens both in poetry as in comics through symbolic relationships. Just think in the bat…chap and you will get it.
WHAT’S ITS RELATION TO COMICS?
Alfredo Ballesteros names a book in his discerning about why comics and poems are alike. Let’s take a peek at what the author [Scot McCloud] has to say [heavily edited for reasons regarding copyright and my own convenience1. Afterwards, I’ll explain things he couldn’t have guessed just because he doesn’t write poetry. NOTE: BEFORE I TRANSLATED THIS ENTRY, I HADN’T READ THE BOOK. THUS, IF YOU FIND I HAVE BEEN EXPLAINING THINGS QUITE WELL IT IS ONLY BECAUSE I’M VERY GOOD AT FIGURING THINGS.
UNDERSTANDING COMICS CHAPTER 3 [EDITED]
What do you think happened there? There is a guy with an axe…. Closure! Closure happened. You imagined then, it happened. The gutter is the use of closure in a comic.
Poetry is a rather personal thing. However, as I’ve said somewhere else; once out of your hands, it is the reader’s mind that will come up with whatever it is they want to come up. Specially when dealing with metaphors and metonimies. Let’s see this one:
Where did you meet him,
the thief who took it all from me?
This is part of a song composed because the author’s daughter’s wedding. If you know the fact, you understand it as a show off of paternal love. Yet, ignore that fact and…who stole your love from you? Right? You made up the story. Closure!
McCloud has admitted to this point that written word is the one media that gives more intimacy through closure. What he doesn’t know is that poetry makes that flying jump without the next panel. Poetry can be something as short as a haiku. Haikus have but a single panel. And that’s enough to fly. Rimbaud hits us with two panels… and it is enough to fly. Gustavo Adolfo Becquer hits us with four panels and that’s enough.
Yes, only comics do create in the hybrid way they do. In spite of it, they are not the only media that brings up the dance. Poems and fiction do too.
HOW?
Through the invisible and the visible. Written fiction is the most abstract of possible abstraction. McCloud himself notices it when explaining something in chapter 2 of the book. Nonetheless, he doesn’t get himself into the problem of explaining how it works when writing fiction. He draws comics.
I write fiction about writing fiction and sometimes, fiction itself. I also read webtoons. That’s how I know.
What’s poetry? You inquire.
And such a question you dare,
Staring at me with blue hued eyes?
Poetry is you2.
Hasn’t your mind danced to this? Poems create by naming things. Its is our minds that do the rest.
THE END
Fiu. I’m done with “copying” the topic. It was so much of a copy that I wrote 7 entries about comics and poems being alike instead of the original 4 features explained by Ballesteros. At the end, I came up with: silence, sequence, symmetry, subdivision in smaller units (but not the same measuring method) and closure or symbolic relationships; plus the highly educated literacy to be able to create them all as shared features between comics and poems.
I hope the journey was as enjoyable as it was insufferable. It is impossible to learn anything without the hard work. It is impossible to enjoy without the suffering along.
Have you spent a great time creating? Like it, comment it, say I’m crazy (nothing new and quite obvious). Do! Or rest. Pasto kalo.
- If you feel like reading it all, I’ll recommend buying it. Nonetheless, there’s always the case taxes have become a little pesky thanks to certain presidents or Amazon policies won’t allow you to properly get it because they don’t deliver such merchandise in your country. In such case I won’t be a prude. You can go to THAT library. ↩︎
- My free translation of a Gustavo Adolfo Becquer poem. I don’t remember the number. Please comment if you do. I don’t think I’ll remember to check it up. ↩︎
Categorías
It was over from before
And so discarded the reply went by.
Was it my questions?
Was clarification needed?
Or too much info poured?
Whom, may I inquire.
Whom may I return to,
without fire?
I dreamed a dragon,
Once more.
And once more smoke I grasped.
Fuel is none.
And with the flow I lull the love once I dreamed about.
Only youth survives winter snores.
Categorías
Cliché, imagen e interés
Por cierto, en esta clase de cosas existe la tendencia de mirar por encima del hombro del dibujante que está haciendo la cubierta y empezar a hablar sobre cuero, botas hasta los muslos y espadas desnudas.
La luz fantástica. Terry Pratchett.
Adjetivos como «llenos», «redondos» e incluso «vivaces» empiezan a colarse en la narración hasta que el escritor tiene que darse una ducha fría y acostarse un rato.
Lo cual es bastante estúpido, porque ninguna mujer que se gane la vida con su espada va a ir por ahí con aspecto de haberse escapado de un catálogo de lencería de esos que se envían por correo y en sobres discretos.
Es estúpido, pero de todos modos se perpetua. Sobre todo si el cuento está dirigido a cierto público.
En la literatura «femenina», los vampiros cazadores visten de cuero. Incluso si el cuero resulta incómodo para moverse o un material latoso para lavar (no se puede echar sin más en la lavadora). Además de que no se puede vestir de cuero bajo la lluvia, un acontecimiento meteorológico muy ad hoc para luchar o acechar. En lugar de eso, nos dicen que no se le notan las manchas de sangre y protege muy bien de las heridas. ¿En serio? ¿Por qué no entonces, un traje de combate de camuflaje? Protege, es facil de lavar y los hay en negro, gris y verde.
En el caso de las heroínas en la literatura fantástica para hombres, a ninguno se le ocurre que no usar mangas es un incordio. Hay mosquitos, las ramas te rasguñan la piel, el sol te quema…
¿Nacen los clichés para comunicar rápidamente o nacen para mantener el interés dirigido? No sepo.
Pasto kalo.
So, I was talking about Gestalt and had poorly defined it to derail the train of thought with a “to be continued”. Let’s pick it up there. At the definition.
gestalt /ɡəˈʃtɑːlt, ɡəˈʃtalt/
I. noun
II. [Psychology] an organized whole that is perceived as more than the sum of its parts.
derivatives
1. gestaltism
noun
2. gestaltist
noun
– origin 1920s: from German Gestalt , literally ‘form, shape’.
gestalt psychology
noun — [ mass noun ]
1. a movement in psychology founded in Germany in 1912, seeking to explain perceptions in terms of gestalts rather than by analysing their constituents.
Or, easier: if you take a look at a circle missing a little bit of the whole perimeter line, your brain will do the rest and you will perceive the shape as a full circle. Whether there is no circle.
The idea is quite useful when teaching languages. You practice with the same exercise making variations of it. In a map, we locate Francia and state franceses live in Francia (yes, kind of obvious but we’re talking a different language here). Next time, you ask where franceses live. And for the exam you ask whether or not franceses live in la India. Yes, French and other people can certainly move to live in India but you’re smart and perceive the purpose of the repetition and the missing information. Sooner or later, the brain does the job.
In design, as well as in comics —taking them as an extension of visual communication; it is very similar. Which is what takes us to rhetoric.
RHETORICAL
rhetoric /ˈrɛtərɪk/
I. noun — [ mass noun ]
1. the art of effective or persuasive speaking or writing, especially the exploitation of figures of speech and other compositional techniques.
• he is using a common figure of rhetoric, hyperbole.
2. language designed to have a persuasive or impressive effect, but which is often regarded as lacking in sincerity or meaningful content
• all we have from the Opposition is empty rhetoric.
– origin Middle English: from Old French rethorique , via Latin from Greek rhētorikē
(tekhnē) ‘(art) of rhetoric’, from rhētōr ‘rhetor’.
rhetorical /rɪˈtɒrɪk(ə)l/
I. adjective
1. relating to or concerned with the art of rhetoric
• repetition is a common rhetorical device.
2. expressed in terms intended to persuade or impress
• the rhetorical commitment of the government to give priority to primary education.
And rhetoric in poetry 00 begins with the woman in white who comes up and goes in an instant. Naked (yes, the poet was male but why to exclude women who like women?). She is the image of poetry the author could come up with to explain his love and disdain and fascination. Metaphor is the thing or the being who understands what’s going on inside a writer’s brain to be able to make a thing to pass by as something completely different yet similar to the thing being described.
Oh dulce flor que duermes al amor1
Oh sweet bloom, you who lulls love
In this one, the loved one is like a flower. Either because they’re beautiful or because they’re fragile. Around now you must be grinning because you already know what a metaphor is. However, metaphors require symbolic substitutes that can be as personal as toothbrushes and it is not the only rhetorical figure out there.
TO BE CONTINUED
- Am I inventing or remembering? No idea. Anyone recognizing the verse, tell me. I’ll credit the source. ↩︎
Today I said no.
I don't believe.
Fate is too much a thing outside of me.
Whether I said yes,
It was fated a meet.
A rejection?
Brought by stars as well.
Orchestrated by who knows.
And the unknown why,
No one could explain.
Where does it fall,
The only thing I find purposely in life?
Decision is mine.
Atoms are hazard in play.
The universe's got no mind.
Everything comes by,
Just like that.
Herefore,
It was doomed sad.
Worst!
It was a letter that wasn't a letter.
An invitation!
Nothing I would want.
I write letters to be replied.
Yes!
As letters, right?