#indirection

window view (inverted), 16 March 2019

which is not, however, taken from the report ex "Deep-Sea Telegraph Cables : How they are Tested," The Journal of the Franklin Institute (June 1876) : 393-402

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machine scribble (as received), 5 March 2019

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of all the specialised forms of writing — that which came near to defining what was undefinable about the plains by attempting an altogether different task ex Gerald Murnane, The Plains (1982, 2017) : 171-172

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"Aren't you the dude who tried to take over the world? I have a bone to pick with you."

Val has absolutely no interest in answering his phone right now, even if it's important. Whoever the Hell is calling can wait until he's done with the handsome stranger in his bed, even if that means waiting until morning. Or later. He'd much rather obey Lucky, or whatever fake name he'd given and face the consequences of ignoring an important call, than the other way around.

But the phone rings again, and again, and Val loses the delight of Lucky's hand on his cock and his tongue on his piercing. And then the man answers his fucking phone. Fuck. Val takes his phone from him, hardly even realizing that it's on speaker.

"Hey, Doc- ah," a soft groan escapes him as Lucky's tongue flicks over that piercing and his cock twitches in interest, "what's up?"

FRUSTRATION / CARE Without realising it we do things on behalf of other people as much as we do for ourselves. People operate collectively whether or not they like it, even when they believe they are acting on their own.  Much of what I write about on these pages is about how our ways of living have been shaped by others organising life around us in our earliest years. What’s hard to think about…

detail (inverted), print edition/copy of The New York Times (April 18, 2018) : C5 in which Gia Kourlas, "Swimming In the Air" (on a performance of Lar Lubovitch's "Little Rapsodies") more (including excerpt danced by Jonathan Emanuell Alsberry), at @nytimes

"I never give the dance a line reading," he [Lubovitch] said. "I never tell them what to think or feel. They have their own poetry to bring to the piece and it naturally comes to life because of the dancers I choose. I'm looking for poets."

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  action (drama) is not mere life action (drama) is not story   action (drama) is not mere business action (drama) is not primarily a matter of words   indirection is the dramatic method, the opposite of story telling.   the unexpected   the necessary and the unnecessary   dialogue, monologues and asides entrances and exits   By means of this Indirection we get Detail.

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excerpts from table of contents, W. T. Price (1846-1920). The Analysis of Play Construction and Dramatic Principle (1908) : iii-iv scan of same copy (opens to TOC) at archive.org italicized sentence elsewhere in same volume

on Price — Stephen Weeks, "William Thompson Price, the Uses of Science, and the Rhetoric of Early Modern American Dramaturgy" in The Journal of American Drama and Theatre 20:3 (Fall 2008) : 75-101

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