sidebrow

from Dead Letter Game

The disjunctive text has its charms, but you have to admit it may not work well in weak economies, under conditions of suspect leadership, especially. It’s hard enough to know why the incense trail spirals the way it does, let alone why currents flow not this way but that. In other words, opacity haunts in the background, so why trouble the issue with ever-more sleights of hand. There are other ways to provoke a mood swing, and really that’s what writing is all about anyway.


The question of right practice cannot be severed from one’s choices with regard to medium and mode. Here, a nod to the form/content dyad, but an added sense that practice as performance aligns differently with content. I move with a game piece, decide on a course limited by options determined by the current arrangement of other pieces and the board’s configuration overall. I cannot reselect either the game piece or my available options. Making a move (form as performance) is very much about making that very move (content). Moving into (or toward) a new arrangement (setting, set of relations, context) touches or combines with that arrangement as it goes.


A bloody mess, I know, but nothing like the one I’m about to get into.