I think of my work as a body of ambiguity, of what is not told, which hopefully sparks the reader's imagination and they then fill the gaps, in which there is no right or wrong, no definitive truth.
This is great. Yes, I get this from what you write.
I think for some of the next fiction I'm working on, I'm trying to channel that idea as well. It's in a different way, but it makes me think about how it could work. Thanks, Alexander.
I like this, and I'm a big fan of this too and most of the time want that to come across in my own work as well. I think some of my favourite endings are ones where the reader is left to decide what may or may not have happened. Give some clues, some possibilities, but let the reader make their path. Some people may not like that, but I find it comforting.
Well, as you know, "Lamb" starts with the announcement of his death, so there's that. People know the ending already (or do they?)
I'm not sure if I'm totally grasping your whole subject this week, but in my novel, I made an intentional choice to juxtapose two characters from very different walks of life but with a similar "key" - both alcoholics, both alienated, but one shown in a somewhat bright light, and the other left intentionally shrouded in darkness. Without explaining it, I was trying to show how society places tremendous value on extroverted, visible behavior, but demonizes introverted, solitary behavior, even though it's essentially the same thing. Lord knows if I pulled it off... ;)
I think your idea about the gaps between the doubles really works. I want to do something about doubles in the future, so we can come back to this. Cool, I've got more to think about as I read your work, which is always a delight 🪁
I'm enjoying listening to the podcasts, Kathleen. And I'm learning a lot as I go through them from the beginning. Thank you for making your words so accessible.
Thanks for this fascinating exploration. I recently wrote a short piece of fiction that, after listening to the two Nothingness episodes, I think uses absence of time and unnamed memories to explore very long relationships and create meaning. I'm sharing a sentence from it, as well as the link to read :)
"The oldest two had been married to each other so long they could not remember their lives before, and for the woman, that was for the best."
That's great to hear, Stephanie! Thanks for linking in your work. I really like the 'old' photo at the end of the story as well. Those kinds of archways and tunnels always make me think of intentional absences in stories.
The opening few chapters are all about the empty ellipsis silence, the ambiguity of dreams, and the fact that our protagonist and those he meets have no memory of who they are, or why the world is so devoid of life. The antagonistic force in the story, the shadows, are also very much invisible, alien beings from another level of reality that have taken the children as hosts.
Those are all great ways to use this concept. I’m going to take a look. Thanks so much for the engagement with this podcast! Hope you had a great time in Scotland, Harvey.
I think of my work as a body of ambiguity, of what is not told, which hopefully sparks the reader's imagination and they then fill the gaps, in which there is no right or wrong, no definitive truth.
This is great. Yes, I get this from what you write.
I think for some of the next fiction I'm working on, I'm trying to channel that idea as well. It's in a different way, but it makes me think about how it could work. Thanks, Alexander.
Oooh, the Maine project? Looking forward to it!
Yes! And another!
I like this, and I'm a big fan of this too and most of the time want that to come across in my own work as well. I think some of my favourite endings are ones where the reader is left to decide what may or may not have happened. Give some clues, some possibilities, but let the reader make their path. Some people may not like that, but I find it comforting.
Well, as you know, "Lamb" starts with the announcement of his death, so there's that. People know the ending already (or do they?)
I'm not sure if I'm totally grasping your whole subject this week, but in my novel, I made an intentional choice to juxtapose two characters from very different walks of life but with a similar "key" - both alcoholics, both alienated, but one shown in a somewhat bright light, and the other left intentionally shrouded in darkness. Without explaining it, I was trying to show how society places tremendous value on extroverted, visible behavior, but demonizes introverted, solitary behavior, even though it's essentially the same thing. Lord knows if I pulled it off... ;)
So, death as absence? Yes! Like it.
I think your idea about the gaps between the doubles really works. I want to do something about doubles in the future, so we can come back to this. Cool, I've got more to think about as I read your work, which is always a delight 🪁
I'm enjoying listening to the podcasts, Kathleen. And I'm learning a lot as I go through them from the beginning. Thank you for making your words so accessible.
Thanks so much, Yasmin. That really means a lot! I hope you enjoy it and we would love to hear any ideas you have along the way.
Thanks for this fascinating exploration. I recently wrote a short piece of fiction that, after listening to the two Nothingness episodes, I think uses absence of time and unnamed memories to explore very long relationships and create meaning. I'm sharing a sentence from it, as well as the link to read :)
"The oldest two had been married to each other so long they could not remember their lives before, and for the woman, that was for the best."
https://open.substack.com/pub/stephaniesweeney/p/the-old-ones?r=v0zvv&utm_campaign=post&utm_medium=web
That's great to hear, Stephanie! Thanks for linking in your work. I really like the 'old' photo at the end of the story as well. Those kinds of archways and tunnels always make me think of intentional absences in stories.
Thanks for checking it out. Ah, yes, your podcast episode has me thinking about this concept in photos/art, in writing - so cool.
Amazing, Stephanie. Thanks again. I'll be linking in your work on the reader recs next week. :)
Back home from a trip round Scotland so sharing my answer now...
Once again I'll be linking my Children of Shadows novella: https://harveyhamer.substack.com/s/children-of-shadows
The opening few chapters are all about the empty ellipsis silence, the ambiguity of dreams, and the fact that our protagonist and those he meets have no memory of who they are, or why the world is so devoid of life. The antagonistic force in the story, the shadows, are also very much invisible, alien beings from another level of reality that have taken the children as hosts.
Those are all great ways to use this concept. I’m going to take a look. Thanks so much for the engagement with this podcast! Hope you had a great time in Scotland, Harvey.
Thanks! Scotland was great - somehow we managed to avoid any travel disruptions while being able to enjoy the snow-covered scenery.
So, in reading Borges (I hope you like that I can say that now 😉) I come upon this passage:
"To omit a word always, to resort to inept metaphors and obvious periphrases, is perhaps the most emphatic way of stressing it."
Great find!! Welcome to his world...this makes me want to dive in again 😁
Thank you ... I am working on a piece at the moment
Great Wendy. Good luck!