(Otherwise known as: population without speciation avec Henry Miller, a la Andrew Bird). But I digress.
“Water” is finally getting somewhere–that is, if you can conceptualize a rhizome as having such directionality, which I frankly cannot. My “think tank” is more of a sea of primordial ideas floating around haphazardly reacting with each other and evolving into increasingly needless metaphors, in terms of how the story is going. Plot is becoming secondary to ideas, which is all fine and good until that point where I have to, you know, actually reify the damn thing so it’s useful to someone other than myself. What goes up <a href=”http://www.water-comic.com”>on the site</a> is a rough copy of the actual story, to say the least, but the regulated production schedule (“reulated” “production” “schedule”, you mean?–shh) helps to keep it in the front of my consciousness and day-to-day activity, so I will actually work on it. And everything’s better done the second time over anyway.
Decided that it was time for some pretty artwork for it, in the form of a portrait of each of the three main Egos of the story, dissolving thematically into smoke/water/hair/etc. In the style of Amy Kaplan, “one of these things is not like the other.” Anjuli’s portrait was done first, and in a completely different style than the other two. If I weren’t so lazy, I would redo it. And also redo the smoke/water/hair/whathaveyou so that when viewed properly as a tryptich, it would flow continuously. Maybe coffee will help.
disabilities abound
Aren’t they precious. That color palate really is just masturbating my infatuation with vomit (perhaps by tickling the throat with a middle finger?), and should probably be changed to a more “water-y” scheme (you know, that blue and green and purple bullshit). “Should.” “Probably.” I’m of the opinion that everything should be viewed through puke-colored glasses, so fuckoff.
Tangentially:
I’m interested in Ezra Pound, this chodey fellow who capitalized off of a rather impotent attempt to translate the logographical metahpor-image level of Japanese/Chinese poetry into English-language poetry in the form of what he founded to be the Imagist/Vorticist movement (part of the Modernist parade). The interesting part is his connection to James Joyce, and the subsequent concept of the “ordinary, sensual man Ulysses.” Heavy load to be dropped at first, but Deleuze did a bit of decyphering on that fact and when read in Deleuzian terms, its meaning becomes (excuse the pun) two-fold ironic and tragic. In the style of Douglass Hofstradter, a man who exemplifies the proper usage of the term aizou, at least in terms of my relationship to him, Try it:
“Ordinary, sensual man Ulysses.”
Aaah!
