Hemingway article — GARY LUTZ … the warmer it gets… Spanish suffixes — –Tetélestai (Aiken) – (bleeding edge review)

………………. Eumenides 984-986 (Smyth):
……………….χάρματα δ᾽ ἀντιδιδοῖεν
……………….κοινοφιλεῖ διανοίᾳ,
……………….καὶ στυγεῖν μιᾷ φρενί:

Whipped cream mango raspberry straw
lid to pour cash register a good worker

DIONYSIUS OF HALICARNASSUS

ON LITERARY COMPOSITION, translation W. RHYS ROBERTS (Perseus)

AUSTERE COMPOSITION

The characteristic feature of the austere arrangement is this : — It requires that the words should be like columns firmly planted and placed in strong positions, so that each word should be seen on every side, and that the parts should be at appreciable distances from one another, being separated by perceptible intervals. It does not in the least shrink from using frequently harsh sound-clashings which jar on the ear ; like blocks of building stone that are laid together unworked, blocks that are not square and smooth, but preserve their natural roughness and irregularity.

It is prone for the most part to expansion by means of great spacious words. It objects to being confined to short syllables, except under occasional stress of necessity. In respect of the words, then, these are the aims which it strives to attain, and to these it adheres. In its clauses it pursues not only these objects but also impressive and stately rhythms, and tries to make its clauses not parallel in structure, or sound, nor slaves to a rigid sequence, but noble, brilliant, free. It wishes them to suggest nature rather than art, and to stir emotion rather than to reflect character. And as to periods, it does not, as a rule, even attempt to compose them in such a way that the sense of each is complete in itself : if it ever drifts into this accidentally, it seeks to emphasize its own un-studied and simple character, neither using any supplementary words which in no way aid the sense, merely in order that the period may be fully rounded off, nor being anxious that the periods should move smoothly or showily, nor nicely calculating them so as to be just sufficient (if you please) for the speaker’s breath, nor taking pains about any other such trifles. Further, the arrangement in question is marked by flexibility in its use of the cases, variety in the employment of figures, few connectives ; it lacks articles, it often disregards natural sequence ; it is anything rather than florid, it is aristocratic, plain-spoken, unvarnished ; an old-world mellowness constitutes its beauty.

*
(Dionysius goes on to say that exemplars of this style include Thucidydes and Pindar.)

–compare stephen dedalus to K. […]
— evaluate the expression “as K is to Kafka, Dedalus is to Joyce” […]

–ask and answer a variant of this question: are there authors for whom there is not a clear proxy of themselves in their fiction? (Is there a “Faulkner Character” in Faulkner’s fiction? a “Shakespeare character” in Shakespeare’s work?) [There does not seem to me to be a “Shakespeare character” (an author character) in Shakespeare’s fiction — he makes no more of a personal appearance his in his work than a writer of sitcoms does in his, I would say. (There are few or no ‘author characters’ in sitcoms, I would guess — television audiences aren’t interested in author characters.)] Maybe the writer of the sonnets is the ‘Shakespeare Character’? Or Hamlet? There are maybe a couple clear ‘Faulkner characters’ in his lesser works, or in one of them I recall, but his best work seems without anything like that, while on the other hand Hemingway’s best work seems never without anything like that, always has the “Hemingway or author character” central.

–Evaluate “as Ishamael is to Melville, K. (or Daedelus) is to Kafka (Joyce)”

–what is the point of such exercises, would you say [the point is not: how do I parse a biography from a novel? the point is: how do we write books? Can the process be uncovered… To answer, where do books come from?]

—he makes no more of a personal appearance his in his work than a writer of sitcoms does in his… I wonder if this may actually be an important idea: sitcoms, genre fiction, commercial fiction –you don’t find writer characters in those books as much– (and “those books” are Shakespeare and Faulkner as much as they are Elmore leanord and L. Ron Hubbard and the rest — whatever is the meaning of “genre fiction.”) Why?

–[Actually: you do see writers personal lives in their sitcoms, Curb Your Enthusiasm/ Seinfeld, for instance.]

…. But the part that feels the most useless to me is people’s vicarious participation in the event, which on the ground is a horrible tragedy, but in cyberspace is flattened to a meme like any other. Millions of people with no connection to Paris or the victims mindlessly throw in their two cents: performative signaling purely for their own selfish benefit, spreading information that is often false and which they have not vetted at all, simply for the sake of making noise [POST]

The Forest and The Trees: Pattern and Meaning in Horace, Odes 1. (Andrew Fenton). A problem this article doesn’t address is that it’s not just the plants that are mentioned with so much variety in the first book of odes, but also the mountains, the bodies of water, and the winds — there is a lot more variety in the first book in general.

On the other hand, I very much liked Fenton’s discussion of the arbol that nearly killed Horace. Horace’s lack of specificity in naming the tree really is quite striking and feels intentional (like it is simply ‘that tree.’)

…………..For if passion continues in a man it …………..
…………..changes his life to nothing but instants …………..
…………..and as passion cunningly serves its de- …………..
…………..luded master, it gradually gains the as- …………..
…………..cendancy until the master serves it like …………..
……… a blind serf! ………. ………………………..

……….. …….. ………… ….~Kierkegaard, “Purity of Heart”
…….. ………………… ……….. ….Steere/ pp.51

Ash, fraisnine, frene.

Apple, pume, pomme.

Eglantine, eglenter, eglantine.

Fir, sapide (forest of fir), sapin.

Flowers, flur, fleur.

Grass, erbe, herbe

Olive, olive, olivier

Orchard, verger, verger

Pine, pin, pin

Saffron, sasfree (verb, past part., burnished with saffron.), safran.

Tree, arbre, arbre

Wheat, ble, ble

Woods, bruill, bois.

Yew, if, if