Ursula Le Guin’s 1969 novel, The Left Hand of Darkness, experiments with form and structure in ways that directly reflect the ideas embodied within the novel’s content. In form, structure and content, The Left Hand of Darkness experiments with the harmonious union of opposites, including perceived gender differences and the relationships between fact and fiction, truth and myth, reality and story.
How many frames in a five-second film? Forty-five in 1894: that’s nine frames per second. Each moment captured one-ninth of a second’s presence and the sneeze from beginning to end lasted five seconds. In the film, I see the sneeze sneezing before my very eyes. A phantasmagoria – this ghost from the past: a man long dead who lives on in his eternal sneeze.
Exploring the Transcendent as the Impulse to Create Fiction through Freud’s Figures of Repression, Repetition and Return, with reference to Virginia Woolf’s An Unwritten Novel, and including my own creative response, Rehearsal
Figured through the metaphor of Ernst Bloch’s Gothic lines, Woolf’s explorations of the utopian possibilities of language, consciousness, community, society, space and time resonate with the powerful undercurrent of negative dialectics and the possibility of becoming. Bloch, in his essay on the utopian function of architectural structures, provides a compelling and energetic metaphor for the study of the utopian dynamics at play within the literary text. Through the metaphors of stone and line it is possible to explore the ways in which utopian desire inhabits and drives a text structurally and stylistically.
She’s nothin’ like they say she is, you know. Green-haired, frog-faced, sucker-fingered creature, with the tail of a six-foot eel. I mean, most people don’t even realise she’s a woman. But I’ve seen ‘er, so I know.
As promised, here's some of my favourite previously unpublished experimental writing. It's from a collection called The Unfinished Dream, which I submitted for my MA final dissertation. The collection is structured around the seasonal cycles and the ogham alphabet, so I'll be posting regular extracts throughout the year at the appropriate times. And if you're interested, … Continue reading Beith
unnoticed unborn unvoiced under you under me underclass you hate everything i do or you just don’t see me i creep unseen and uninvited through the loopholes of your world insidious inseparable from systems designed to hide … Continue reading Aphrodisios #Budget2015
DISEUSE It murmurs inside. It murmurs. Inside is the pain of speech the pain to say. Larger still. Greater than is the pain not to say. To not say. Says nothing against the pain to speak. It festers inside. The wound, liquid, dust. Must break. Must void. Theresa Hak Kyung Cha, Dictee I voted … Continue reading It Murmurs Inside… [ #EndAusterityNow ]
This ekphrastic response to Andy Warhol's Atomic Bomb, 1965, was written as an exercise for my Writing from History course on the MA. It draws on ideas from Walter Benjamin's 'The Work of Art in the Age of Mechanical Reproduction', 1936 (Illuminations, Ed. Hannah Arendt, 1968), and is also influenced by this reading of Warhol's image … Continue reading Post-Apocalypse
In the beginning was the Word but nobody speaks of the Silenced. Magdalene lowers herself onto Jesus, rocking gently back and forth in a baptism of ecstasy. The upper level of the house is simple wooden boards either side of stone steps, beneath a wood-beamed roof. There are other sleepers stretched out up here, … Continue reading A Valentine for Jesus*