It’s just after 9 and I’m working from home on my new book today. What this actually means is that I’ll be spending most of the day watching the paper I trimmed with some pains yesterday slowly feed into my inkjet printer, wringing my hands the while, and hoping that there will be no printings-upside-down, no sudden haemorrhages of magenta, no snagging of the precious paper.
Thus, I will combine the qualities of boredom and excitement through the day, as I watch the first copies of the new book emerge.
Several queries likewise emerge:
- How can I render today less sedentary?
- Isn’t there anything I could be doing while carrying out the (necessary) supervision?
As to the first, I think that will have to wait. I might get out to Leigh woods in the late afternoon.
For the second, I think I’ll try some brainstorming to evolve some workshop structures for the new ‘Bibliogroup’ class I’m developing for Spike Island.
Last night, looking through a book about practical creative writing i came across the most simple, most obvious structure form describing the writing process. It seems to apply likewise to artists’ books.
- pre-writing
- writing
- re-writing
and echoes the things I dolled up with 10-cent words like ‘hermeneutic’ and ‘heuristic’ in a recent essay on artwork as research. This very simplicity has its pitfalls inasmuch as any stage in writing can be identified with all three at any point so that they are not so much chronological stages (though they are that, too) as they are contexts, casts of creative mind.
what this made me aware of was the place I’m at just now with Hidden Fortress. That of pre-writing. This is a ‘primordial soup’ sort of time. An important time. Sooner or later I will try to make sparks to start synthesising the material, but for now I’m trying simply to note and report back on the molecules’ random combination and recombination as I pile more and more material into the project.
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