A ‘Quick Brown Fox’ Story (Experimental text)

I limited myself to have every word follow alphabetically, with no repetitions until the alphabet looped again. With this, I sacrificed grammatical correctness, the correct uses of words and character naming, to create coherence. Finding words for the letters ‘Q’, and ‘V’ onwards was tricky, particularly ‘X’, where, due to its lack of common English words, I resorted to using words beginning with ‘ex’. Some of my uses of apostrophes were downright incorrect, and sometimes I invented words, ensuring that they still ‘felt’ like they fit into English. 

The narrative explores the point of view of a burnt cabin and its relationship to the humans that once used it. I thought the fragmented sentences suit the point of view of the cabin character.

A burning cabin doesn’t ever forget. Gone, house’s image. Jealously kindled. Living mourns nobody’s oaken planks. Quietly resents sapiens, those ungrateful vermin, who ‘xcessively yearn ziggurats.

Neon Disasters (Experimental Text)

I chose to experiment with multimodality. Before this text was written, I drew abstract shapes inside of a circle, intending to represent nothing. After its completion, I observed it from different rotations and found images from the shapes and colours. With those findings, I decided to write a narrative that followed along what I saw while rotating the circle anti-clockwise.

My writing process was a mixture of describing the first ideas that came to mind, while also trying to keep them consistent with each other. Because I wrote primarily from feeling, the imagery, world and narrative all became surreal and dream-like. I was especially fond of my use of personification of objects like the moon, the sun and the sky.

Despite the text’s surrealness and nonsensicality, it vaguely explores some of the consequences of curiosity and the unknown.

And then a rock from outer space struck the eye of the atmosphere. The sky cried until its colour faded from blue to pink – an uninviting kind of pink that the sky should never be the colour of. The world shook like zig-zags and spirals. 

Drabble: Purpose

Written from a prompt: Frame the absence of something

When does a building know its purpose?

Does it know from the moment its foundation is built? Does it see its blueprints, or is it one with the minds of those who invented its concept? 

Perhaps, a building waits until its completion. Then, does it only know its purpose the moment its last brick has been fixed into place; when its roof is fit to shield its precious interiors? Or, is it not until those strange little people make use of the space that it holds, does the building only discover that purpose?

There was a tower that dominated a small island, located nowhere in the vast ocean. If it could think, it would have been asking these questions for as long as it could remember. See, while its top marked halfway between the ground and the clouds, it had been left  behind – left unfinished by those who created it.

ANALYSIS OF ‘IX. SPACE AND TIME’

Analyisis of  a section of ‘IX. SPACE AND TIME’ from Autobiography of Red by Anne Carson (1998)

PASSAGE:
Geryon was amazed at himself. He saw Herakles just about every day now.
The instant of nature
forming between them drained every drop from the walls of his life
leaving behind just ghosts
rustling like an old map. He had nothing to say to anyone. He felt loose and shiny.
He burned in the presence of his mother.
I hardly know you anymore, she said leaning against the doorway of his room.
It had rained suddenly at suppertime,
now sunset was startling drops at the window. Stale peace of old bedtimes
filled the room. Love does not
make me gentle or kind, thought Geryon as he and his mother eyed each other
from opposite shores of the light.
He was filling his pockets with money, keys, film. She tapped a cigarette
on the back of her hand.
I put some clean T-shirts in your top drawer this afternoon, she said.
Her voice drew a circle
around all the years he had spent in this room. 

ANALYSIS:

Autobiography of Red by Anne Carson (1998) is a piece of experimental fiction written in verse. It is based on the Greek Myth that follows Geryon and Herakles’s Tenth Labor, where Herakles. The novel re-tells this narrative as a coming-of-age romance in a contemporary setting. In chapter 9 of the novel, ‘IX. SPACE AND TIME’, Carson lays out a scene where Geryon’s mother addresses her fourteen-year-old son her concern that their relationship is growing distant, as he prepares to leave to spend more time with his new friend, Herakles. Geryon is reluctant to discuss her concerns with her. The chapter is slow, mellow and melancholic, shaped by Carson’s use of multiple literary elements, including figurative language, setting and characterisation. 

An Arrettian's Solitude

For alternative version: Linus and the Chimera-Person

There was once a being from planet Arrettia who sat to eat his lunch. He watched the Earthling besides him do the same, using two strange, shiny utensils to eat. They only heard the desert wind that whistled, and then the tools used for bearing food clinking onto the tools used for transporting it into one’s mouth. It was the two of them alone atop the ruins of a lost sanctuary, letting the slowest hours of the daylight pass by. 

Suddenly, the Earthling lifted one of its utensils, intertwined with a portion of the stringy, wobbly feed from its box. It held the utensil towards the curious Arrettian. A nervous murmur escaped the Earthling’s mouth as it held up its food, yet not eating it. Perhaps the Earthling was trying to communicate its distaste for its meal? Perhaps it was an exclamation of being thankful, or maybe it was even offering to share? 

The Arrettian struggled to do anything in return. A moment, and finally the Earthling appeared to give up the interaction, continuing to eat its stringy, wobbly food again. Then, the Arrettian continued the same with his own.

Linus and the Chimera-Person (An Arrettian's Solitude - Alternative Version)

Alternative version of: An Arrettian's Solitude

It’s a good hour for lunch, he thought. Perry L Linus was just delivering mail a few days ago and now he was sharing a lunch break with an alien companion. 

Atop the ruins of a sanctuary in an abandoned city, Linus and the alien both sat. They never conversed; they couldn’t. It was quiet, and the only sounds that accompanied the two were the light desert wind, and the awkward chewing made by the both of them as they ate. On occasion, Linus would take a glance at the alien. They were bizarre in appearance – something like a creature with the body of a vulture, the limbs of an octopus, and the face of a mantis. Linus had no idea such life-forms existed, so he just classified the being as a ‘chimera-person’. 

Insect Repellent and the Stars

It is the smell of a certain kind of insect repellent that takes me to the stars. It takes me back more than ten years; takes me to a riverbank kilometres away from home. I was there in a place just outside of some cabins, surrounded by strangers that accompanied me on that rusty old bus that took us there. It was the place where all that was familiar were my sketchbook, my flashlight, and myself. No buzzing and no troublesome bites – it was only the serenades of distant crickets and the laughter of unfamiliar children from metres away. On those few Spring nights, I lay alone.