Deliberate ambiguity as " inexactness " is the way i
use anatomy in sculpture. Because design, to me is
more important than correct anatomy.
Does that make sense to anyone else?
mando
On Oct 23, 2008, at 9:45 PM, William Conger wrote:
I've said it many times that I use the word ambiguity in its poetic
sense, that is, to evoke the many layers of experience. Metaphor is
the mode of transit from one layer to another. I don't mean
vagueness. I think I took for granted that any sort of ambiguity or
metaphor is not necessarily the mark of greatness but that its use
is necessary to greatness (in literature). That leaves the problem
of discerning or conferring quality to readers-- since quality,
like meaning, must be external to the object. So, finally,
greatness is a a type of social approbation but if it actually has
an enciting source it is ambiguity through metaphor (metaphor being
a construct in some medium). Do I still have a problem?
WC
--- On Thu, 10/23/08, GEOFF CREALOCK <[EMAIL PROTECTED]> wrote:
From: GEOFF CREALOCK <[EMAIL PROTECTED]>
Subject: Re: Envisioning
To: [email protected]
Date: Thursday, October 23, 2008, 10:33 PM
William: I think that you might have a problem here. Suppose
you thought
that Lawrence Ferlinghett's novel "Her" was
good fiction. And, further
suppose that you thought that William James wrote excellent
novels. I would
submit that there is some particular ambiguity in
James' works but a lot in
Ferlinghetti's novel. So, it might come down to
ambiguity about what and how
artfully the ambiguity is applied - not just is there
ambiguity or not.
Geoff C
From: William Conger <[EMAIL PROTECTED]>
Reply-To: [email protected]
To: [email protected]
Subject: Re: Envisioning
Date: Thu, 23 Oct 2008 07:55:56 -0700 (PDT)
Ambiguity is the answer. Plus an arresting and highly
visual use of
language. Great literature explores the complexities
and contradictions of
the human psyche in action through strongly visualized
and explicit
narratives. That's my off the cuff definition.
Muddled, I'm sure. But if
anything, great literature is great muddlering.
WC
--- On Thu, 10/23/08, Chris Miller
<[EMAIL PROTECTED]> wrote:
From: Chris Miller
<[EMAIL PROTECTED]>
Subject: Envisioning
To: [email protected]
Date: Thursday, October 23, 2008, 9:39 AM
The more interesting question (for me, anyway) is
what would
distinguish a
"pretty mundane "True Detective"
kind of
thing" from a kind of story that
might have great literary merit.
The basic story line for Clint's
"Unforgiven", for example, would seem
to have
been much more promising (even if the resulting
film was a
disappointment)
My question, of course, presumes that "great
literary
merit" -- as
distinguished from best seller or box-office hit
-- is a
concept worth
pursuing.
**********************************
Question for Cheerskep and other writers:
I happened to see an ad on a web site for Clint
Eastwood's new movie,
"Changeling" (about a 1920s event in LA
in which
a woman's infant was
abducted, and when the police return the child,
she
suspects it's a different
boy). The basic story line seemed like a pretty
mundane
"True Detective" kind
of thing. But it still got me to wondering:
What is it about the kernel of a story that hooks
you? How
do you go about
envisioning a larger story? What is it that makes
you
conclude that you want
to write the full story (book, play, etc.)?
I know for myself how this happens when I paint
or draw a
picture, or even
attempt sculptures. But I don't have a clue
about
writing stories. Or for that
matter, since I have absolutely no innate talent
for music,
how a composer
goes about developing a song or longer
composition.
Aside from my intrigue with this question, I
think the
answers can shed some
light on how what we call "aesthetics"
is
incorporated in the actual making or
developing of a work.
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