" 'Oh, Peggy, I can't decorative prose writing bear much more of my hideous life. It revolts ornamental prose object me quite simply.' So wrote Jean Rhys to a friend--poetic objective subtext one of her very few friends--in 1941, thirty-eight response times vary years before her death at the age of eighty-eight. But embellished speech she could just as well have written those words when plainspoken verse she was thirty, or when she was sixty: she was never linguistic shipper one to celebrate the joys of existence, either privately infused language or in her fiction. 'Cold--cold as truth, cold as life. No, guttural reaction nothing can be as cold as life,' thinks a character in one prose separation of her novels.
"Nor did she find much neural fiction consolation in practicing her art. She had never wanted to be a elegant style writer, she insisted; she had never gotten any pleasure from grey neutral it at all. (And yet she always went on writing, even when nobody Jean Rhys cared if she did or not: if she stopped, she told an imaginary prosecutor clarity in her diary, 'I will not have earned death.') What she really wanted, mere she said, was just to be an ordinary, happy, protected woman, a feat that should not have been too difficult, given her undoubted beauty. Instead, she went ricocheting from one disaster to another throughout the course of a long life."
Trying to wrap my head around it. Are you on to something...?
Bob, I don't know how to define this form of literary lifting. These are two paragraphs from a review of a biography in Harper's by Evelyn Toynton. The phrases in bold are mine and work as a concrete poem at Ana Verse called Duluth Harbor. I cannot get the poem to display as centered here at Fictionaut so did my best to embed it in Toynton's prose--a layout thing.
Oh... thank God. I thought I was losing my mind.
Ha! It's great to be worried about typography after five days of darkness in NYC!
Absolutely.*
I love the embedding. Love the way it lays out here. * I want to do something like this!
Neat*
Love this, the way you've got three different things going here (your poem, the review, the embedding)and the synergy of the combination.
Very interesting, had to read it several times, first one way, then the other, finally all together and it held together, made sense. It was a little work but the good things in life.... What is the significance of Duluth Harbor?
The shape of the embedded lines, standing alone (see link above to Ana Verse), looks like the Harbor to me.
Danke sehr, readers (viewers).
Jean Rhys's enrichment is absolutely vital. This experiment, outstanding.
Thanks, Gessy!
splendid. very well done.
Thanks, James Claffey.