Yes, it is interesting. Very! Sensitive, introverted, philosophically-minded intellectuals may be more aware of the conflict between intellectual and social values, and it can initially be quite a shock. But eventually that shock may subside and "... mountains are once more mountains and waters are waters."
The first book I've ripped pages from for my art journaling is 'How To Write' by Gertrude Stein. How well will the words and sentence represent a text that is not meant to be read? Drawing outside the line is about confusion, wouldn't you say? At this point, the project is total confusion. What will happen next? What do suppose others do? > On Dec 22, 2013, at 6:48 PM, Dan Glover <daneglo...@gmail.com> wrote: > > I just re-read the intro to the 25th edition and from what I gather, Robert > Pirsig the author is using Phaedrus to say he (the narrator?) was never > insane. We can see that in ZMM from the quote I offered where the dialogue > between Chris and 'Phaedrus' only has quotes around the words of Chris. He > uses the same quote, in fact. > > It's also interesting that he mentions reading Henry James' The Turn of the > Screw and how he mistook the villainous for the heroine of the story. Like > he says, I too think that story accentuates both the strength and weakness > of the first person narrative and why so many authors fail at it. It is > much easier writing from the third person point of view which is perhaps > why that method is the predominate way of writing these days. > > First person is much more intimate yet the author (and the reader) is > trapped inside the character. One way of overcoming that is to write from > the point of view of different characters as he does in Lila. Of course the > author has to take care in doing so lest they confuse the reader... chapter > breaks are best in my opinion. > > Anyway, interesting stuff... > > > > > >> On Sun, Dec 22, 2013 at 10:29 AM, MarshaV <val...@att.net> wrote: >> >> >> >> Yes, but it feels different to have the character from inside the novel >> speak the words and the author making a statement about the work in >> relation to his own experience as one aspect of that split personality. >> But not to worry, I understand it is all story. >> >> Yes, from a grownup Dan's point of view, the accusation of plagiarism >> might seem flattering, but it was not encouraging to a youngster. Yet here >> you are writing novels. Doubt if it could have been any other way. >> >> I didn't start painting seriously until 1998 after a summer in Italy, but >> I loved it all. I took 4 years of classical guitar lessons. When that >> didn't work out, I quickly switched to art: book arts, collaging, >> printmaking. All started after the age of thirty and all very satisfying. >> In 1998 I left Corporate-IT position to learn to paint. You asked about >> teachers, and I'll say there were no specific art teachers, but there were >> important people who taught life lessons. Important in the list is RMP >> because of his explanation of gumption traps. Having them explained could >> be equated to the naming of Rumpelstiltskin. What a boon! But there were >> many others, especially my second husband who was a wonderful classical >> guitar player. >> >> >> >> >> >> >>> snip... >>> >>> Moq_Discuss mailing list Listinfo, Unsubscribing etc. http://lists.moqtalk.org/listinfo.cgi/moq_discuss-moqtalk.org Archives: http://lists.moqtalk.org/pipermail/moq_discuss-moqtalk.org/ http://moq.org/md/archives.html
