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To beloved ones

Jacket

three people in denim outfits

Photo by cottonbro studio on Pexels.com

Round and deformed,

Its red being a challenge of fit.

First the back took up a while,

Its big b making it un-straight.

Then the front wouldn’t reach.

Try two acute unmatching halves to make sense.

No shoulders to hold,

The seams to connect front with rear.

Arms too short for sleeves to run along.

Sewing by hand,

The machine’s presser quite big.

The fabric thick,

Thus hems were a no roll.

And bias binding was the same,

A shame.

Ah but I hold a master’s degree,

I’m a mule, you see.

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Jueves de invitados

Barthes

Hello. Today’s is Guest Thursday and the topic is Barthes and the author’s death. Our guest insists in using Anatole France for a pen name. Don’t confuse with the already dead author. Every typo is responsibility of the author since I only copy-pasted.

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The author’s death

As I arrive in my town’s most ornate cathedral, I drop to my knees and beg God, Christ Jesus and a whole host of saints, demigods, and sitcom stars, living and dead, to please resurrect the author, our author.
               More important perhaps, is how exactly did the author die?  Roland Barthes appears to have discovered the corpse many decades ago, which marks him as the first suspect. Is it little more than a mystery novel?

Is his investigation simply an alibi, or the beginning of a cover-up? Was the author summarily executed for crimes against humanity, against aesthetics, against the author’s neighbor? Was the author hunted for sport? Did he accidentally trip and fall on a morning jog into a void that dropped him 500 feet high into the Great Salt Lake? Did the author die of old age, natural causes as they say? Did we, the audience, read him out of existence? Has the author gone underground and faked their death? Do I control the graceless movement of my own pencils?

Where might the author have gotten off too? If they are dead, might their reanimated corpse be a possibility? Is it just a name? What is the animating character? As someone who has tried their hand at organizing words, juggling punctuation, I find it has less and less to do with me. I’m just the mail carrier. Hard work it is too. With every manner of dog, dilapidated residence, long journeys among little shade in the summertime blues.

The continual vexations of a world without literary criticism. Professional blurbs. One peak at Goodreads will end us, you will forver regret any and all writing about literature. Oscar Wilde, Aristotle, Malcolm Cowley? In a world where vintage Amazon reviews have been published in book form, one can only look upon with jest the corpus of endless Goodreads pieces, full of familiar padding from middle school essays, endless elaboration on nothing at all. Is this the madness of one easily pertubed, or just a sickness, a side effect of our time. Endless rot, the slow decay and death of language as we know it? Is this what awaits us? When will the first novel written in animated gifs present itself to us? I eagerly await it. Would Barthes mourn the death of language? How is it killed? Is it just English? Perhaps it’s for the best.

I recall a friend, who in one of her endlessly phony attempts to impose her intellect upon me mentioning the Death of the Author as if it were a closed case, as if the perpetrator were behind bars in some prison rotting, awaiting his own execution. As if this were gospel truth. Perhaps this was her way of seeking a replacement for the religion of her youth.

I wonder now if she ever found another viable substitute for Christianity. Politics, perhaps, or television shows, which appear to have their own bibles and canons that bring the faithful to their knees, That cause endless doctrinal debate. That tear communities and marriages alike asunder.

As for us, dear Friends, pick up a copy of Mythologies by Roland Barthes, while you still can. It is a delight to the very end. Greta Garbo’s face, steak, soap, like never before, I promise you.

As for me, I suspect the author is never dead, they cannot be killed or erased. They are in fact more alive than ever, as we speak. We know their misdeeds, whatever they maybe, will be trudged up whenever his name is brought up in conversation, or casually mentioned online.  Perhaps, indeed, their misdeeds have superceded the very work that brought them to our attention in the first place, for seeing a novel for sale at a supermarket is much more important than having read said novel. To conquer retail space, so as even those who want nothing to do with the written word, might spy your name out of their periphery is the ultimate for any author. Fame, name, brand recognition

Tellingly, the last discussion I had about Neruda was a catalog of his sins, not his work, which was of no consequence here. Perhaps, indeed, church is the place for literature, until a secular means of punishing the guilty, those who violate our inviolate, ever changing, transient, happenstance morals, forever is devised. I imagine we will soon exhume Aristophanes and find him, long dead, wanting.

Where do I actually stand on this issue? Nowhere in particular. I only know that things will change once again. Art is. Someone will pick up a book, I hope. Art will last, for me, who am I?

Once, long ago, I heard someone claim the author isn’t dead, before comparing JK Rowling to

Shakespeare. I no longer recognize this land in which we live. Literarally or otherwise. I don’t need a hero, I just need language dutifully, masterfully arranged. You can be pleased by anything, if you only try. Matriculation in the suburbs, pizza delivery on elephant, horseback riding on a trampoline, breeding pet grass.

Thank you for your time and may humanity forgive me my endless idiosyncrasies. May love leave.

A.F.

Categorías
Lunes de patchwork: SNS y escribir

Libros salvados

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Palabras

Línea 102

pexels-photo-27968632.jpeg
Photo by L A on Pexels.com

Perpleja,

Un error en pantalla.

Crítico, por demás.

Mi sitio, gagá.

¿Qué arreglar?

¿Dónde descargar?

¿El qué, debería preguntar?

¡Cpanel, ábrete sesámo!

La contraseña no es esa.

Verdadero hay que marcar el debug,

Y la línea 102 del plug-in…

¿Faltan líneas si solo encuentro 70?

Descomprimir el achivo zip…

¿En qué carpeta del archivo raíz?

¿No debería figurar,

Esta carpeta con la etiqueta “merriam”?

¿Por qué “público” PHP?

Desconcierto.

¡Instalado! Puff.

El sitio,

¡Operativo!

Categorías
Cómo escribir ficción

Sin GPS

moody nighttime street scene with car
Photo by Eray Karataş on Pexels.com

«escribir una novella es como conducir un auto de noche. No puedes ver màs allá de tus luces delanteras pero igual te avientas todo el viaje así.”

E. L. Doctorow. Cita hecha por Anne Lamott en Bird by bird. Anne Lamott

Ahem. Yo necesito el final. Eso es como my GPS. Cierto que la maldita cosa pide dar vueltas en U en lugares prohibidos y quiere que cambie de objetivo y añada paradas que no quiero pero aún así las propone. Si no sé por lo menos eso no puedo dividir en tareas más pequeñas.

Y sin embargo, en esta ocasión me siento como si estuviera escribiendo un nonograma. Uno grandote. De 80×80 casillas. Y Ziggy tiene una memoria de elefante.

Diviértete intentando mirar más allá de las luces delanteras en la oscuridad. Pasto kalo.

Categorías
How to write fiction

Authorship: not of self-election

pexels-photo-27856137.jpeg
Photo by Михаил Благородов on Pexels.com

An author is taken to be someone acknowledged as responsible for a given printed (or sometimes written) work; that is, authorship is taken to be a matter of attribution by others, not of self-election. A writer is anyone who composes such a work. A writer therefore mayor may not attain authorship. A text is the content of any written or printed work, considered apart from its particular material manifestation.

THE NATURE OF THE BOOK. Print and Knowledge in the making. ADRIAN JOHNS. THE UNIVERSITY OF CHICAGO PRESS. CHICAGO AND LONDON

Then I’m only a writer because I comment on books about writing or books about books[1]. I have no authorship because nobody has called me an author yet.

That reminds me something I read (by a writer who prefers to use the pen name of a dead writer[2]); people discussing the writer as a person and not as an author. Do we, by denying the authorship of poems and novels to writers and comment, instead, about the author as a person; become the creators of garbage knowledge? Do we really kill the authorship by discussing the person and not the author?

It is a question. I understand why to discuss the writer (or the musician or the filmmaker or the singer) as a person and not as an author. We don’t want authors to become the creators of reality by forcing reality to adjust to what they think reality should be without practicing it. We don’t want, any longer, Jean Rousseaus marauding around.

I elaborate.

In Ovejas y mierda[3],the character of Eudald is capable[4] of messing up with his mother’s car in order to film the afterwards rehabilitation and film true reality. Because, for him, a documentary shouldn’t become the interviews after the incident but the incident itself. In his mind, things have to be shown the way they happen even If you have to help reality to happen. He won’t stop at almost killing or raping.

Sick? It is horrid! This person is an… Yes. That. But he creates wonderful documentaries! (fictitious of course). Such an author should be stripped of their authorship… I understand why we discuss the person and not the author. I’m as emotional as anyone. However, does the person being horrible cancel automatically that they wrote, sing, film… “beautifully”?

I’m a jobless, lazy person. Am I as sick as this character? It worries me. And no, sometimes worrying about is not enough to proof you’re not a horrible person. Should I be denied authorship?

And by worrying a lot more about the last, do I become a worse person than the one I am?

Pasto kalo.


[1] As Mikita Brottman remarks in The lonely vice, now we have lots of books about books. Though I’m starting to think that started much before. When folklorists and writers like Barthes started to write about myths and folklore. They were writing about how stories come to life and what they’re made up. At times when people still took a pen and started writing without a manual.

[2] He is American.

[3] Literal translation of the title: Sheep and shit. Oriol Font i Bassa. 2018.

[4] No one can proof it but it is rumored and the author takes us by a documented (documentary translated into novel) format.

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Varios

Ball game

tuxedo cat on wooden floor
Photo by Arina Krasnikova on Pexels.com

Bounce and move,

Faster and smooth.

Claw on it,

Catch the thing.

Roll on floor,

Destroy!

I stare at you,

Why aren’t you?

Throw it again!

Slave.

When did she?

Again that black being!

Back to bed.

Await until.

Maybe more food on me.

Categorías
Cómo escribir ficción

De deudas y ficción

a vintage photo of a camera
Photo by Suzy Hazelwood on Pexels.com

Inevitablemente, el escritor de cualquier libro adquiere deudas incontables, y cuando el tema es tan interdisciplinario como éste, esas deudas son en particular, sensibles. Durante la casi década que ha tomado completar este trabajo; he recibido la generosa ayuda de un amplio rango de personas. Soy consciente de lo poco adecuado que resulte cualquier reconocimiento de ella, que yo pudiera ofrecer a cambio.

THE NATURE OF THE BOOK. Print and Knowledge in the making. ADRIAN JOHNS. THE UNIVERSITY OF CHICAGO PRESS. CHICAGO AND LONDON

No sé  [para empezar como cancion de Linkin Park] pero los escritores de ficción le deben mucho a los escritores a los que leyeron. Algunas veces, leer autores a los que no había leído hasta después de leer a los que sí, es un descubrimiento es sí mismo. Saber de donde salieron algunas ideas es una delicia.

Disfruta la labor detectivesca. Pasto kalo.

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Varios

Interrupted

close up photo of black cat
Photo by Craig Adderley on Pexels.com


Late at night?
Early at day?
What a ridiculous time, 3 am!
That's when he came.
Ate and went up to his lare.

Wake up time,
And the cat was nowhere.
Categorías
Cómo escribir ficción

Imperfecto e imposible de adaptar a la realidad

opened book
Photo by freestocks.org on Pexels.com

Hablemos primero de “correlacionar” las palabras con la realidad. Resulta fallido porque nuestro conocimiento del mundo es, en sí mismo, imperfecto. Lo que resulta cierto en un sentido obvio cuando hablamos de  los axiomas de los terraplanistas o los devotos de otros delirios; pero lo es también de formas más interesantes.  El intento más impresionante de la humanidad por despejar los prejuicios y obtener la verdad es la tradición científica, empero no se puede asegurar que la ciencia tenga la palabra final y última de ningún tema.

THE BRIDGE AND THE RIVER Or The Ironies of Communication GRAHAM DUNSTAN MARTIN French, Edinburgh

Empezamos con la noción de que la ciencia no lo explica todo. No puede explicarlo todo porque no lo ha encontrado todo. En segundo lugar, está la realidad imaginada por venir. No solo los nuevos hechos que aún no se descubren pero las nuevas ideas que la filosofía y la ley inventen; lo que cambia nuestra relación con las palabras y el mundo que ya estaba allí.

¿Cómo buscas darle nueva forma al mundo con tu ficción? Pasto kalo.