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Página 49 – Sitio sobre chorradas acerca de cómo escribir ficción

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  • ¡Mise en abyme! ¿Texto espejo?

    compact powder on white surface
    Photo by Dids . on Pexels.com

    Cuando empiezo a pensar que la narratología es una cosa que no podría ponerse más extraña, la cosa se pone aún más extraña todavía y no hay, por lo menos, un respiro donde ofrezcan una pastillita azul porque hace 149 páginas que me tragué la roja. Entonces… desde las limpias aguas reflejantes de la página 149…

    ¿QUÉ ES UN MISE EN ABYME?

    La introducción a la narratología (el libro que estoy leyendo), lo define como un término que sale de la heráldica, en la representación pictórica y que es comparable a la regresión infinita pero eso no resulta del todo claro.

    RECURRO A LA WIKIPEDIA.

    Un mise en abyme o mise en abîme significa puesta en abismo (construcción en abismo o abismación también como referencias), en francés y es como tener un juego de Matrioskas donde hay una trama secundaria igualita a la trama principal, metida dentro de la trama principal de manera que aquello termina siendo como un fractal… Aquello resulta más fácil de entender con un cuadro de Jan van Eyck (mencionado en la Wiki) y eso que aún no llego a la literatura.

    En el cine, el ejemplo dado me recuerda a los BL con un escritor de literatura homoerótica como personaje principal. El tema del escritor de novela dentro de la novela.

    En un manhwa, el dibujante de manhwa dibujando títulos románticos mientras que se enamora como parte de la trama.

    Aunque, es más probable que los cineastas hablando de la mise en abyme, se refieran al tema del “sueño dentro del sueño” como en Inception (película americana 2010 y nombrada como ejemplo wiki aunque yo también lo pensé…  demasiado tarde).

    De literatura… la wikipedia no dice ni mu. Una página distinta trae a cuento Hamlet y la Caida de la casa Usher… Acabo de escuchar la Casa Usher en iVox y no hay nada que se remita a nadie escribiendo cuentos dentro del cuento. La página menciona tres criterios más: el uso de un referente sobre el cual se teje la trama[1], un relato centrado en el dicurso[2] y; la conciencia metaficticia que se centra en el acto de escribir más que en endosar una figura autorial a un personaje.

    Para Mieke Bal, es imposible que se cumpla el ideal del parecido absoluto por lo que propone un resumen de ambas historias y su comparación para identificar el grado de fidelidad a través del número de términos que ambos textos comparten (… narratología, gran suspiro). Y ya que es imposible la fidelidad absoluta, ella propone el nombre de TEXTO ESPEJO para los textos intercalados que recuerdan la trama principal.

    Intentando insertar un texto intercalado en espejo… ¿cómo es que sigo escribiendo sobre chorradas? Pasto kalo.

    [1] ¡Aleluya! Eso lo conozco, se llama Andrea Camilleri en El olor de la noche; usando como referente Una rosa para Emily de W. Faulkner.

    [2] ¿El caso de La Casa Usher?

  • Inner torn


    black and white torn photo of a person
    Photo by Elīna Arāja on Pexels.com


    This is the result exercise from an exercise proposed in the 90 days to your novel by Sarah Domet. It is a description of the insides of my handbag. Hopefully it won’t make you despair [anyways I’m unable to write the many many words other writers do]. Ah, I’ll update the original [in Spanish obv].



    Inner torn

    Whenever I’m out, the handbag is a must. Regardless of my reticence to carry a wallet. Female wallets are too big to duck inside the jean’s back pocket. They’re awfully cute but unnecessarily bothersome and flamboyant for me to use.

    Feminism can be what it is, but it will never achieve shit so long we need to carry stuff around somewhere else than in deep pants’ pockets. Nein. We must look good without the smartphone or the wallet filling the space in our pockets and deforming the curvy silhouette. Pockets? Men only need the wallet, keys and that’s it.

    There’s a satin padded fabric coin purse in red, yellow, white and blue. Each padding section is rivetted with thread. It’s been long since I replaced the torn lining with felter. One of the stuffed fabric butterflies has disappeared already yet, it was a gift and it came from a very far away place.

    Besides the coin purse I have a plastic zipped bag (recycled dental hygiene kit) where to stuff the oficial ID in an non updated address  (no, driving licenses are not the norm), a pair of aspirins, the «mobility» pass card — the one I had to buy to ride the subway, metrobus and trolebus while the old one was not recoverable— a needle with three threads and some drugstore point card.

    No matter pandemics, I refill a sample shampoo jar, one of those from hotels  — pleasantries from family members— with anti bacterial gel… Up to half the container. Some hand cream, a yellow cover mirror from some Korean store uptown (Mexico city, municipality town has a single Chinese restaurant). They partner up with a Kleenex tissue pack, immortal till the sneezing season (usually any time I’m not carrying any), sunglasses and some lip balm I don’t get why I carry of I never use it.

    All that in the messenger bag of Chinese leather — Chinese? Leather? Yes, I think. Super soft blackness, metal music chain and some torn fabric in the lining inner bag — which I’ve just sewn last week. In there, travel the eye drops and the mini swiss knife with cuticle pusher.
    So… Who am I through my handbag’s contents?

    Pasto kalo.

  • Are humans the only ones who can speak?

  • Writing sets it in stone…



    Stone, clay, wood, paper.
    No expression,
    No accent.
    Through the eyes of the reader.
    And their biases and substances.
    Maybe not in malice.
    Sometimes in all evil.

    Clauses are,
    Loose or tight,
    To convenience and lenience;
    Read by contract and do service.

    What do we know of the reading?
    Was it a language like English?
    That can’t be read as written.
    Was the time in it, volumetric?
    Greek time goes in p³ (What’s p in there?).
    Is it affected by 60 more unofficial places?

    The words you use might be common sense…
    Decided by whom?
    Do you know the same things I do?
    Do you leaven or perhaps,
    Use the word rise?
    What about warp and weft instead of thread?
    Can you play words the same way you turn your socks?

    Oh, Dickinson verses.
    Not you, not I; only her knew what was in there.
    Tough analyzers say they can see through them… Really?
    Let’s say by convention that’s yes.
    Words can lie so well.

    True.
    Only a single meaning?
    Local, national or universal?
    Personal?
    True as in truth or true as in skilled?
    Skilled in twisting the true?

    Finally,
    What’s not there can’t always be inferred.
    Nuances are not so subtle at all,
    Once focalized.
    Just change the point of view of the tale and the stone turns lime.

  • Why to start with the ending? [when writing] p2



    BLOCKED PATH

    Some paths get blocked once you know the outcome. Although it is true you can never know what is happening in reality, the principle of impossible omniscience that helps us from knowing the real reality; and that the thoughts of alive people is almost impossible to know, the least if they’re dead; some actions disappear as soon as you know the outcome.

    Logically, that doesn’t mean there’s a one and only linear way. It only reduces possibilities. It is one’s job to find the correct sequence. Which is something machines do better than humans beings.
    This is what makes writing an impossible process to describe. It is you and you alone who will find how to make it work.

    Thus, it is easier to wipe out what’s there wasting space. And no matter how much, editors claim they want the plot clean of it. I’ve read novels that repeated the same idea thrice! If you were to take out that much out, the novel would have been a movie script. Or a TV series script.

    Nonetheless, it doesn’t mean the 70,000 to 100,000 words some authors can summon out of nowhere are useless. Some people can write that much. Others don’t. I don’t. But I’m not published so this advice might not be good at all.

    Looking backwards is what has you knowing which stone of the way to move for the character to go this or that way into the woods. Or thrown themselves cliff down. Maybe a furious rhino?

    REWINDING

    You can always rewind the tape and review where is it that you lost the logic or when it happened that someone changed their minds. And if your characters are like mine, when to get them into the interrogation room.

    Anyways, this is nonsense and just an opinion. It for sure might be wrong. Oh, and remember, if anything else fails, just have a good time. Pasto kalo.

  • Usando el cuaderno…

  • Leyendo música…

  • Fare-thee-well



    Tsss.
    Desperation.
    Rest.
    Tsss.
    Desperation.
    Rest.
    Tsss tsss.
    The glue won’t let you go away.
    Six legs on it.
    Tsss.
    The struggles dies.
    The buzzing quiets.

  • Cuentos de viejas



    Miró a su alrededor con gesto culpable desde el refugio que le ofrecía el ala del sombrero, por si alguien se había dado cuenta de que se había dormido. Dormitar durante el día era algo que sólo hacían las ancianas, y Yaya Ceravieja sólo era una anciana cuando convenía a sus propósitos.

    Brujas de viaje. Terry Pratchett

  • Why to start with the ending? [when writing] p1



    My sometimes endeared and sometimes hated, Isaac Asimov, plus Robert McKee agree in one thing. To write backwards. Which means…


    START WITH THE ENDING

    For Asimov, writing the ending was logic. The same way it is for McKee to solve the main character’s crisis before we write the rest of the story in order for the solution to make sense.

    The technique is good for novices like me who have no idea how to move beyond the start. I always get stuck in the main idea and I can think a lot of ideas to begin but none of them is any good to go on or they are good enough but I can’t make them go on in may possible way.

    ABSOLUTE CERTAINTY


    Hilary Mantel [historical writer] explains that in History, there are some things that acquière an inamovible kind of certainty. This or that battle, the birth date, the death or wedding. Questionable certainty but agreed upon by documents and chronicles ( so long no one burnt such records or altered them).

    Certainty ups the game. You need to get there. You have to imagine and think to recreate what happened. How did it happened. Because what happened in between is what is in the whitest blank. Even with diaries and chronicles, no one knows what someone was thinking or what had them take this decision. You can only imagine.

    TO BE CONTINUED