(no subject)
Okay. so editing is going to take longer than I expected. But hopefully no longer than my end of august deadline will allow. first ten pages needed a whole lot of work, but i think the additions and subtractions are satisfactory. my goal is not simply to get correct punctuation-oh no, you all know how i have to overdo everything. the language functions by no means in the typical way of speaking or even writing-it still communicates, don't worry. it has to. that's its goal. but language also has a powerful ebb and flo to it that can be harnessed and challenged-used to illustrate the very undulation of the concept that it's talking about. that's also called poetry, but poetry doesn't have to exist in schemes. in narrative, the scheme is the array of punctuation, the kind of words available (or not available) for a subject or concept, and how those words sound in their own unique connotative and verbal ways.
the challenge of the poet, then-or at least me, in editing the novel, is to take this "plasticity of language" (as Mark Rothko might call it) and use it to my advantage. namely, using it so that it communicates a single idea both in its form and function. typical narrative uses just function; it doesn't care about how the point sounds, just that the point is actually made. for Children of Falin, the point will be sounded as well as made, and by the very sound of the language-how words might rhyme, how their syllables are composed, what the connotations of those words are, and how the various markings of punctuation can be put together-a picture will become clear. That picture is the very essence of the story, the very essence and passion of what the story is about-not in a definitive sense, but more in a sensual, romantic sense.
now, i tried to write the story right out with this idea in mind, and in most cases it succeeded. but the fine tooth will slow with each knot. but as fast as the comb can go-being, my head-so will it go. my work is obviously not done. I'll be going through the oldest text first, so I can expect to encounter some snags, but it's obvious i have my work cut out for me.
in the meantime, however, and while my brain needs to take a break, i'll be working on the website, cover design, formatting graphics, and other such fun things.
but i have my work cut out for me in editing alone. here we go-we're going under one more time.
the challenge of the poet, then-or at least me, in editing the novel, is to take this "plasticity of language" (as Mark Rothko might call it) and use it to my advantage. namely, using it so that it communicates a single idea both in its form and function. typical narrative uses just function; it doesn't care about how the point sounds, just that the point is actually made. for Children of Falin, the point will be sounded as well as made, and by the very sound of the language-how words might rhyme, how their syllables are composed, what the connotations of those words are, and how the various markings of punctuation can be put together-a picture will become clear. That picture is the very essence of the story, the very essence and passion of what the story is about-not in a definitive sense, but more in a sensual, romantic sense.
now, i tried to write the story right out with this idea in mind, and in most cases it succeeded. but the fine tooth will slow with each knot. but as fast as the comb can go-being, my head-so will it go. my work is obviously not done. I'll be going through the oldest text first, so I can expect to encounter some snags, but it's obvious i have my work cut out for me.
in the meantime, however, and while my brain needs to take a break, i'll be working on the website, cover design, formatting graphics, and other such fun things.
but i have my work cut out for me in editing alone. here we go-we're going under one more time.