Writer StatementI agree with John Gardner that the writing of fiction is the "creation of a vivid and continuous dream." To write, one enters this dream state and allows one's characters to inhabit one's being and to speak through one. My fiction influences are diverse and range from 19th-century traditionalists like Henry James, Edith Wharton and George Gissing to 20th-century modernists like James Joyce and Virginia Woolf and postmodernists like Donald Barthelme. The Decryption of Floriform X -- This short, illustrated fiction was written on Twitter circa 2008, each tweet numbered to keep track. The God of Wind and Air -- Unfinished sequel to Decryption, written collaboratively on Twitter. The Manuscript of Jacob Hall -- Why write fiction? What is it "for"? |
Wednesday, December 17, 2008The Mirror: Funny-looker-deflector
Websafe: Hello?
The Mirror: Is this what gave you your fantastic experiences? W: I already had fantastical experiences, before I came here. M: Well, the seams must be neat. W: On the contrary, they ar frayed. M: It's sort of hovering around the room, ready to settle down but unable to find a firm ground. W: The so-called "elephant in the room." M: You are very defensive. W: I am worried about my novel. M: To describe immortality, we need steam-driven phrases. W: Oh, every writer is looking for those, including the Alpha guy in Brave New World. M: I may want that, but I may not want the consequences. W: You wouldn't want the pressure to produce, to top your last production. M: And was it entertaining? W: If the masses bought it, it must have had explosions. M: A feather. W: You could knock me down with that. M: Do what? W: Knock me over with a feather? M: You mean you never showed it to anybody else? W: I keep my wings hidden. M: You think I am doing what? W: I think you are flying. M: Yet the sky continued to spread. W: It spread over the land. M: The so-called "elephant in the room." W: The Land of the Elephants. M: What is the point of talking about it? W: You don't want to chat? M: You wouldn't want the pressure to produce, to top your last production. W: Is chatting a production number? M: Eelgrass. W: That "eel" business is trying at times. M: You don't want to chat? W: I don't want to chat about eels! M: (Twist) W: Eels do twist and turn, to the max. M: I think I see, or I imagine, corruption. W: Corruption in the organic or the metaphorical sense? M: People look at me funny. W: Why do they do so? M: I wouldn't mind having it in my foyer. W: The funny-looker-deflector? M: They'll do it, if your message is preposterous enough. W: I hope they laugh with me, not at me. M: We never saw eye to eye. W: But you were reversed-eyes, as you were Mirror. M: (To wall) W: No, now you aren't reflecting at all! M: Refined sugar? W: Highly refined is highly cultivated. M: There's one thing I like to do very much, and that is to elaborate. W: Please elaborate at whatever length you feel feasible. M: I suppose sometimes it would be nice to have lag time. W: You can take a break whenever you want. M: You who moderate. W: Someone has to. M: Marshmallow fluff, anybody? W: I don't have any peanut butter to add. M: You can take a break whenever you want. W: I will go to supper now. M: Lost innocence, more likely. W: Bye! M: Closing in 1 second ... Goodbye! Labels: chat robot |
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