Tag Archives: writing

… the weirdest person I know …

… that’s me, a dreamer. Dreams re-appear, like a déjà vu. A trick of light will superimpose an image on a scene gleaned in passing. Or a sound, a name, a number, a movement, colour or scent may link up to a dream’s mood. Similarly, memories of seemingly unrelated events from years ago can pop up while doing mundane tasks. This reminiscing improves for me as I grow wiser (older,) a subtle re-organising of events.

One morning after the recent dark moon, and the solstice, while staring vacantly into the sky, a dream image returned from the blue – an empty studio space with interlocking rooms – the sun streams in, dappled light dances across pale shades of colour peeling from the walls, a space for friends to meet, play – bursting with intense creativity. There was a hint of nostalgia (I initiated like spaces in the past) and grief over not having access to such a creative hub. Grief aside, a sense of potential remained.

Consequently, I finally opened my ‘Shaper’ MS again and got stuck into editing, this after many months of having lost faith that what pours from my mind in terms of stories will be appreciated by anyone.

With little chance of publication, giving this sequel once more editing time seems irrational; then again, I’m the weirdest person I know. The irrational has always impelled me forward from deep states of being, in search of wholeness. Like some writers, I juggle for rhythm and balance with a multitude inside, until a character, a theme, or a poem persists and generates engagement.

In this way Ana, Cara and Mesa came to be – three stories that comprise the odyssey of three soul sisters across time.

Even when it comes to my posts here, I don’t plot, nor aim to be topical. Every day brings new thoughts and connections, while something incubates in want of wings. The process of information weaving continues during sleep, and dreams bring home glimpses of this process.

‘Shapers’ was already complete when I published Course of Mirrors. Both my beta readers/editors love this sequel, even after several rounds of reading, which is encouraging.

Yesterday I came upon a note from one of my readers with a plea – make Ana real, please.

I scratched my head, giggling about the irony, since Anna’s quest is in search of the real. How to explain what is mysterious? The paragraph my reader, Susan, referred to does need adjusting, to avoid confusion. Myth or not, Ana’s story is Cara’s deeply meaningful and internal truth.

Maybe this is the time to add, my felt sense of reality was confirmed by the innovating ideas of modern physics, quantum potential being one such case. A friend, Rob, reminded me of this yesterday when he forwarded a wonderful video about David Bohm. Please watch the film. It sheds light on my fascination with time, and also poignantly illustrates how innovators of new ideas were /are blocked by the establishment.

In Shapers time moves back and forward and often becomes simultaneous. Both Ana and Mesa meet up with Cara, the suspended story teller.

Like me, Cara feels most at home on bridges. Anyway, why am I writing this post? To give thanks to a dream that drew me back into editing ‘Shapers,’ irrespective of outcome.

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… meeting my foxy child in twilight …

a tall fox appears

in the garden’s night shadow

he stops – sits – alert

cautious from a safe distance

we eye each other

he triggers my cunning child

buried long ago

since grownups detest smartness

even hunt their kind

yet through our meshed lineage

recognition plays

in the nimbus between us

we affirm being

and our shape shifting stories

Next day I strung up my little hammock near that magic spot, with different views:                                       

 

 

 

 

 

 

 

Mostly, during these surreal lock down days, I sigh and groan a lot, bewildered by hilarious media stories and the never ending blame games, which, given people are bored, have gained major entertainment value – and this from my perspective of not having watched TV for years.

Keep sane my friends.

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… a dream of being in the dark …

How to reconcile moments of pure beauty and light our restless world offers, with the heavy darkness of human ignorance? How is it the guiding spirit that is shining through everything so often escapes the unseeing eye? Is it our wounded hearts, or our anxious busy thoughts that prevent spontaneous being?  Many of us like twilight, the dawn, the dusk, mist, where darkness and light do not negate but enhance each other. They mingle. As friends do, or lovers.  Twilight is poetry in motion.

And what, you may ask, does she mean by the guiding spirit that shines through everything. It’s a core in me that connects to the one soul-being I belong to, the only self I really know. And while I’m not enlightened, I do experience timeless moments, glimpses into the sixth dimension, nodal points around which the fiction of my existence is woven.

The other day, my long-ridiculed romantic fool tossed out these lines:

like tiny cherubs

white butterflies loop across

green teeming canvas

thou – sweet silent mystery

do you sense me sigh

when the cold moon-rock rises

as luminous globe – hello dear ones lost in time – your intense living – is forever part of me

‘Long live the dead because we live in them.’  …  Clarice Lispector, A Breath of Life

When there is no other near to share such paradoxical quickening with, I may call on those who enriched my life but are no longer present. I adore the moon, the ancient chunk of earth, reflecting and making tolerable the blinding beams of the sun, granting us poetry and symbolic language.

That night I had a dream and remembered its last facet … I’m floating through a soft, vibrant darkness. A small voice says, ‘You’re the light, look again.’ Sure enough, I spot the outline of a building and bright points, like glittering stars. A series of scenes unfolds, which brings clarity to a puzzling questions. Darkness holds memories, visions and vital knowledge, though it requires trust in the guiding spirit as a mode of orientation. Insights are shy; they wait to be found.

Nature, being energy manifested in slow motion, breathes life into countless rhythms and tunes from the recorded symphonic sounds of the universe – to continuously re-animate the one being of eternal life. Yet we humans, who pride ourselves in aiding this process with heightened consciousness, are increasingly busy destroying the homeostasis life depends on. Can a virus offer a long enough pause for the powers in charge to acknowledge this self-destructive madness? Below anger, I feel the deep sadness, the spiritual starvation, an unfulfilled longing for meaning, for being worthwhile, accepted and loved.

I sense a change of mood in the collective mind, a call for change. Upfront are manic voices using the language of warfare against the invisible enemy – let’s control it – defeat I – kill it – get on top of it. I feel this kind of rhetoric misses the point entirely.

In Sept. 2012 I did a blog post on the unseen stuff.

We must see things fresh, not through tired ideas our establishments bank on, that destroy nature’s homeostasis and spill imbalances into cultures too poor to afford resistance. I say – let our children and young people decide what’s worth living for?

 ‘A day, whether six or seven years ago or whether six thousand years ago, is just as near to the present as yesterday. Why?  Because all time is contained in now.’   – Meister Eckhart

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… an odd rush of energy …

Sun, finally, bliss. I sit in the garden, reading, among Robin friends flitting through the apple blossoms. After two hours in the heat my body needs shade. I resolve to clear some cobwebbed drawers in the shed.

The moment I lift a weighty plastic bag, I know it contains German pfennige (pennies,) about 2 kg in weight, at least. These one & two penny coins were meant to buy my wedding shoes. It escapes me how I came to start this collection. In any case, the coins were never used, though the wedding took place, and the marriage lasted for a good while. Two eccentrics … but that’s another story.

For the rest of the day I fell into a kind of Scrooge Duck hallucination, since, as I learned from Google, some two pfennig coins had acquired high iconic value. Up to 1968 German pennies were of copper, from there on steel was added, which made the coins magnetic.

So, equipped with a small magnet from the door of my fridge, a magnifying glass, various breakfast bowls, a glass of water, and another glass of wine, I returned to my sun spot and commenced with methodical sorting, looking for two ghosts – a 1967 coin marked G (printed in Karlsruhe) that had already steel in it, and a 1969 late limited edition of still pure copper, marked J (printed in Hamburg.)

With hundreds of pennies, the odds seemed promising, at least compared to the lottery ticket I buy once a week.

I felt a rush of energy I hadn’t felt for some time. Purpose with a promise is a high energy state, I thought, giggling to myself, a habit of late, due to the surreal atmosphere since the corona virus lock down. What if? What if I find a penny worth £3000 to £5000 to collectors? I could afford to market my book, regain confidence to publish the sequel, have some work done around here, fix the shed roof, asks a painter in, buy a number of books, and leave a chunk aside for emergencies.

Well, I was as meticulous as can be, but by the time dusk chill set in, I hadn’t discovered even one ghosts. Some coins might fetch a few £s from collectors, given more research. Thing is, I’d make a good buyer for a business, having excellent taste and a knack for bargains, but selling is not my forte.

Nor am I a talented collector; otherwise, for instance, I wouldn’t have burned negatives and photographs of praiseworthy experiential novelty, including images of celebrities taken during the 1960s/1970s. Vain laurels, I thought then, devaluing my achievements. Nor would I have gifted away hundreds of vinyl records of that period, and precious books, all in a minimalist attempt to travel light into a new adventure. Profit, for better or worse, has always been secondary. And that’s another story …

The only things I collect, or maybe they collect me, are small stones. The irony of choosing to treasure such solid items is not lost on me. It’s to counter-balance my high energy states. These states, which I love, though they also exhaust, generated many satisfying projects, often in relation to groups. I gradually learned to balance the energies between my extrovert and introvert, between intense emotional and cognitive investment and periods of drifting and dreaming – incubating a new beginning – waiting for another decisive moment of clarity. How this energy seesaw was impressed in me directly after my birth is another story …

Instances of high energy in the last decade were more solitary, though I had great supporters, the co-editing Heart of a Sufi, which came out in 2011, and the writing and editing my novels, Course of Mirrors, and its sequel, Shapers. The former came out in 2017. Since then stressful events dented my spirits, a lunatic Brexit, my father’s erratic care needs, which wrecked my income, his death in 2018, and the global lock down to halt a virus, but spreading hopelessness like a trance. Procrastination became keyword for just about everything.

Somehow my short-lived penny passion brought back a taste of excitement, which beautifully sums up the essence of my first novel – finally an elevator pitch – that amazing feeling of getting on the road and the road pulling you along like a magnet to a half-imagined mysterious goal.

It’s sobering that the magic carpet of journeying has been grounded worldwide. And with the present road blocks, investing energy into a journey seems pointless, unless it’s an inner journey. Here I’m fortunate to hold rich life experiences. Being reminded what a strong purpose feels like, will, I hope, motivate me to value my writing again.

Sadness pops up when I think of teens, the young, whose natural impulse is to be active and connect physically with their peer groups, and whose desire for journeying is now frustrated – in stark contrast to the inspiring decades of my youth during the 60s/70s. Old or young, we’re all missing spontaneity, direct contact, stimulating discussions, hugs. One can never have enough hugs. Too many people struggle at present in isolation, or, indeed, in strained togetherness.

How do I cope? I don’t watch TV, haven’t done so for years. I prefer to read coherent articles and watch movies on BFI. And I’m lucky to have a garden, with nature to touch and absorb. The lilac tree waves, the laurel hedge sparkles; Robins build their nests, tulips nod in the breeze. Oh, and to end my ramblings, I just picked some delicate violets and forget-me-nots from my garden. They both have five leaves.

It’s time for me to read my odyssey once more, to attract the wind of light required for refining the sequel. You, too, might enjoy the read, for a taste of

that amazing feeling of getting on the road and the road pulling you along like a magnet to a half-imagined mysterious goal.

Links regarding Course of Mirrors appear on my  book page

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… our ideas of home …

Cartoon de Salvo

Stay home – the resounding advice to stem a globally spreading virus, made me think of what home actually means, to me, to you, to us. Is it a sheltering porch or a railway bridge providing the roof under which one can curl up and sleep? Is it a room, a flat, a house, a village, a town, a metropolis, a country, a nation? The present urgent injunction to stay home obviously refers to a space surrounded by walls.

Is home an extension of us? Is it a place to get away from habits and rituals, or a place to return to and feel safe? Is it a place that keeps others out, or a place that invites others in? Does home offer solitude? Is it place where we are cared for and care for others, or a place where we feel controlled, as in a prison, an inhibiting place, a crowded place, a dark place, a place of chaos, where we find rejection instead of intimacy? Is it an imagined place in the sky, where wisps of cloud move this way and that way, carried by the flow of air?

We shape places, ideal places, inside or outside, through the imagination.

me aged five or six

Each place I lived in I made into a temporary home, a bit of colour here and there, a few cherished objects. I have no trouble to sensually recall their ambiance … Four homes within the village I grew up in. A tiny student accommodation in Munich, followed by varies flats, rural communities, and a VW van in which I travelled through Europe. Two places in Amsterdam I remember, one horrid and surreal, the other blissful, where my son was conceived. Then a cottage in Somerset, various flats near London, a spiritual home in Surrey, and a small semi I acquired. Memories were anchored in each place.

From stories shared in my therapy practice over the years, I understand impression of our very first home wield a repetitive power throughout our life that’s difficult to shake off. Yet the experiences we share have no walls, instead, imagination has a powerful role in our ideal vision of ‘home,’ even if rarely achieved. Personal and collective memories lend us the styles, the architecture and environment we envision, we sense we had once, or will have again. Many of us are alienated from such ideal, just like the Ugly Duckling, where inner and outer worlds don’t chime. But the call is there. And the call creates a most poignant contradiction, a creative tension resulting in great works of art that link and weave vastly different scales (physically and spiritually) together and inspire new dimension of experience in all of us.

And yet we witness the heartbreak of people uprooted from lands that provided their basic needs, compelled into the unknown by famine or war. Displaced people must persevere as best they can. They carry their only remaining home with them – their body.

The body we inhabit is indeed the only physical home we absolutely own, for better or worse, which only death can take. But how many are at odds with their own bodies. And how many are at odds with nature, and the very planet we live on

Angel of the North – image by Sylvia Selzer

 

And here I’d first like to share the deeply fascinating process of an artist, Antony Gromley.

Don’t miss this documentary by the amazing Alan Yentob, click on the link  and a new page will open:   Antony Gromley – Imagine

He shares his childhood experience, and how he started out by making casts of his own body, to explore what it means to inhabit a body, a human life.

 

 

 

 

 

And then consider Carl Sagan’s tender reflections on the pale blue dot, the Mote of Dust, as in a sunbeam, the home we all have in common, a selfie, seen from afar. “Where everyone’s love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives.”

 

“That’s here. That’s home. That’s us.”

 

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… book pages let loose …

A few days ago, waking at dawn, I had retained a dream vision:

I saw the entire content of my novel, Course of Mirrors, 400 pages in all, displayed on one huge panel.  Astonished, I pondered how this expansion graphically showed that writing a novel involves massive work, time, and fierce motivation.

To put this into context, I must add I lacked motivation and confidence for some time now, having to deal with existential problems.

The 21.5 cm height and a 13.5 cm width of each page poured out onto a single panel would create a near 100 meter high and 52 meter wide installation.

Even if the panel size were halved by using front and back, it’s still a crazy idea – right?

Maybe the dimension of Tate Modern’s Turbine Hall could suffice, but only a Turner price gets you there. In case you don’t know, the Turbine Hall is the place that allowed visitors to touch the sun, like my son did during an Olafur Eliasson’s weather project exhibition a few years ago.

As regards my high-rise panel of book pages, any visitors keen to engage in reading could only do so at average eye levels, unless they had means to levitate. Now that would be another idea.

Well, imagination being such fun, I played on.

Much smaller double-sided panels could each display the pages of one of the 29 chapters, broken up into moments, occasionally interspersed with slivers of mirrors, where the body of a reader flits by, or maybe images that enhance or contradict the mood of a scene. You enter the story by stepping into a cave-like enclosure. The text on panels is lit from within, not spreading much light, to achieve a twilight experience, which was done in caves long, long, long ago, with the imprints of hands.

This cave could be entered from four sides. One may choose to start at the end and read the story backwards, or wander through and pick chapters randomly, more in the way one reads poetry. In any case, the title image at each entry/exit gate would evoke an enchanting journey at the edge of consciousness, between rational and the mystical states.

Normally, a writer’s work is condensed and hidden between the neat covers of a book, or captured on e-book screens, one click by one click. The concept of spreading the pages out in real space fascinates me, and ideas keep tumbling in. Like making the text respond to the concentration of the reader, or the lack, in which case sentences would ripple, as if floating on water.

Intrigued by this vision of visitors wandering through the chapters of my novel, I thought of the remarkable characters, all archetypal part-mirrors of me, of you, of anyone really.

How if readers could scan a paragraph about one character, place it on an empty panel and temporarily type a scene of their own imagination about that character?

If you feel the fun and have any additional ideas, please share them here.

What I like about the interactive setup, is the random strolling. Just while writing this post I opened my novel at an arbitrary page and hit on a romantic instant after Ana met her first love. He gives her a heart-shaped ruby as a promise – half a page at the end of chapter six. Here the excerpt …

Luke dropped the jewel back into my palm and pressed my hands close. “You’re the true heart for me. We’ll meet again. We’ll journey together.”  He glanced at the travel-ready troupe, waiting for him. “I won’t fasten the chain round your neck, though I’d love to.” His face was close enough for me to catch the scent of his hair, the pond, grass, wood smoke and musk. I longed to touch his lips, steal and take along his smile.

“How can I contact you?”

“Find a messenger to deliver a note to Tatum and his Magic Theatre. His troupe is getting known along the river.”

I felt drawn into the loop of his mysterious fate. I wanted to be held, forget myself in his arms. Instead, I stared at my feet, pondering this indelible moment of intimacy and suddenly dreaded the journey ahead – without him.

Last week Course of Mirrors had a lovely review by Cath Humphris, which I’m pleased to share:

https://cathum.wordpress.com/2020/01/13/course-of-mirrors-an-odyssey-by-ashen-venema/

A magical tale, in which a young woman embarks on a hazardous search for The Real.

Since I have presently no way of realising my crazy interactive vision, you can only enter the world of my novel condensed in its covers, here: Courseofmirrors  This Troubador page connects to other platforms, too. Then again, any bookshop can order the novel.

The image on the left was an early cover idea from authonomy days, not used in the end.

For the time being I’m having a hard time surviving, which hinders my deepening edit for the sequel to Course of Mirrors … Shapers … from which I share some chapters on my Patreon page. If it is within your means, and you can tolerate or even like struggling fools, please support my creative spirit on Patreon. Here the link.

https://www.patreon.com/user?u=10520241

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… a full moon autumn day …

Embodying the perfect autumn warmth, a divine stillness, devoid of mental chatter, other than a faint hum of the river of cars flowing along the town’s bypass, and the gentlest sound of a disintegrating wood chime in my cherry tree, whatever else happens in the world is another dream.

For such moments I am grateful, when peace settles deep, as a safe island in the psyche to return to, a manifest microcosm in the vast and unknown macrocosm.

As such, I witness my imagination, which occasionally turns transparent in the heart, as a veil for what is hidden. For in light is also darkness.

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… loss and restoration …

This time of year I like reading in the garden. Last week I forgot to take a book inside – ‘The Hand of Poetry,’ collected poems from Sanai, Attar, Rumi, Saadi and Hafiz, translated by Coleman/Barks, with introductions taken from talks by Inayat Khan. During a short but heavy shower that night, the book greedily feasted on rain. I found it blown up, like a balloon, to double its size.

Restoration would atone for my failing. Gently lifting page after page, I placed toilet paper between each, twice and three times over. On the third day I hung the book by its spine on the washing line. Once dry, I managed to press the volume with a heavy vintage iron into reasonable shape again. The ordeal required my undivided attention. The re-read pages during those hours lodged themselves with refreshed presence in my heart.

I recalled a scene from ‘Shapers’ –  the not yet published sequel to ‘Course of Mirrors.’ The story starts with a shipwreck.  Surviving this tragedy, my protagonist finds her diary drenched to pulp. The irreplaceable loss gained her unexpected access to internalised memories, and the ability to exchange virtual letters with her soulmate of the future, scripts made visible in the thin air before her.

This phenomenon happens to me frequently these days. Just before sleep, or waking, I see screens with writing, sometimes even Twitter pages, which later turn out real. Beats me – explanations are welcome.

Memory is fluid. The child in us not only imagines the future, but also re-imagines the past. While I was lifting apart the soaked poetry pages during my restoration, it struck me they resembled crumpled and discoloured reminiscences of my father a trailing grief about our dissonance brought to light in dreams, with messages to abandon this nonsense. Can you miss a surreal projection? Yes you can – releasing a feeling of rejection that ruled years of your life takes getting used to. Had I not taken my dad’s anger with the world, and me,  so personal, I might have implored deeper into his heart pain, and mine, since, after all, deep down, our sensitivity for beauty and nature, even our humour, were much alike.

I had resisted my father’s expectations and boldly followed my heart, which, while gratifying, brought its shadow of existential anxieties. My rare brave attempts to cross the dividing bridge were met with contempt for my quixotic worldview. Bridges then became imaginary sanctuaries between varied realities, a neutral zone for my rebel to gather strength for the next quest ahead. Bridges became a major theme in my novel ‘Course of Mirrors’ – see book page on this site, or my twitter page @mushkilgusha

Rejection can add fuel to a journey. But what if a regular fuel runs out? Consider the weird silence when a monotonous background noise stops … suddenly. I identified my inner background noise as the subtle lament of blame that long ago slyly settled in my unconscious. Blaming something or someone can achieve an emotional distance, displace resentfulness, a hurt,  – but now – this peculiar silence …

The symbolic intelligence of psyche’s inner dimension communicates not only through dreams, but also through our surroundings: world events, people, objects, images. My restoration of ‘The Hand of Poetry’ resonated. Compulsive energies shift when time slows,. Familiar scripts may assume fresh meaning, and re-write themselves with different rhythms and new pauses for the spirit of surprise to enter.

Meanwhile I enjoy some treasures close by …

 

 

 

 

 

And I’d like to share a Hafiz poem from the restored collection. Hazrat Inayat Khan says of him:

The mission of Hafiz was to express, to the fanatically inclined religious world, the presence of God, which is not to be found only in heaven, but to be found here on earth.’

THE BANQUET

A gathering of good friends

talking quietly outdoors,

the banquet being served, a dry Rosé

with a bite of Kebab afterwards,

a wink form the one who pours,

Hafiz telling some story,

Hajji Qavam with his long laugh,

a full moon overhead,

the infinite mystery

of all this love.

If someone doesn’t want the pleasure

of such an openhearted garden,

companionship, no, life itself,

must be against his rules.

Hafiz

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… souls roam and arrange impressions …

let sleep do its work

so the spirit will guide you

and leave helpful dreams

in that rich abode

of our collective being

– the only being –

 

awake souls roam and arrange

streams of impressions

rebel angels see

the judge slaves under man’s law

… while nature rules all …

in this earthly home

we catch our face in mirrors

that slowly unveil

through rhythms of remembrance

the source of freedom

 

heeding the heart’s pulse

your hand cascades poetry

and transmits secrets

I really must start to sort my poems …

The left sketch is a possible cover for my first poetry chapbook …

I was recently encouraged when two of my poems were published with Queen Mob’s Teahouse:

https://queenmobs.com/2019/05/poems-photographs-ashen-venema/

And then mentioned once more in a Berfrois magazine article by Joe Linker. Thank you Joe.

Paintings and Poems: City on a Hill

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… as writer or reader I drift and dream …

Writers and readers have their unique (often indirect) discernment of text and image; a fluid perception spots moods in the sky, or envisages what’might be happening behind doors.

We look towards individuals to interpret our humanity, or the lack of it. But given the electric maze of mirrors that has come to represent our interlinked minds, what attracts us, what makes sense?

Global media outlets thrive on sensational reports of events, and equally sensational opinions. What merges to cohere and assumes meaning in our inner world swings day in day out  from the shocked, incredulous to the sarcastic, while many of us yearn for resonance with something deeply felt, be it a past, present or future versions of reality. We hope for a truth just around a corner, or a poetic hint towards the hidden place of our own chest of treasures. Food for thought comes through the stories that spring from our collective psyche, asserting we’re not alone, but part of the bliss, and part of the pain of existence.

As a writer, I struggle to express what is not obvious or visible – an insular task, with pitfalls and doubts. Readers who respond with sensibility to imagination that springs from dark and private places of solitude are rare. What wings into the air from solitude, poems among them, fleeting and shy like butterflies, can at times trigger unexpected flashes of light and shift our thinking and feeling.

Imagination is the cornerstone of my novel, ‘Course of Mirrors.’ Combining fragments of my life into a fabric of mythic realities – probabilities wedged between rational deduction and magical alternatives, the story is however psychologically embedded in universal experiences, the ambivalent realities familiar to any reader.

Feedback to my writing sustains me, especially now, once more, the feedback to the ‘Shapers’ manuscript from beta readers/editors during the process of polishing. For such gifts, I give deep and heartfelt thanks to my angels, Zohra, and Susanne.

This question has been put to novelists: … When you write, what readers do you have in mind?

I pass … I’m the only reader I know.

What I write flows from my perception. Words I put into the mouths of characters are based on how I imagine myself into their skin and psychological existence. I follow their trials, immersed in the narrative, just like readers will be immersed in the movie they make in their minds while reading, along with the sensations evoked.

As a dreamer, my writing is playful, personal, fed by unconscious processes, like sharing a dream with a friend in a walled garden, not going on stage to entertain the whole town. In other words, the shape of my novels evolves with no thought of addressing a broad generic group of readers.

Pre-plotted novels can be page-turners and offer welcome entertainment, but they tend to preclude my emotional involvement, which is not to say that I don’t admire the art of wordsmiths wherever I find them.

Intuitively drafted novels, with or without plot, have a different feel for me, with elements of surprise. Intuition applies to my life in general. Writing is an inner demand. I’m most alive when I drift and dream.

Can you, writers and readers out there, add to these reflections?

My post from five years ago relates … better than the present one 🙂 I may need a holiday. https://courseofmirrors.wordpress.com/2014/09/30/moans-from-an-unruly-writers/

I cheer the unruly folk, including fools, dreamers, innovators, artists, poets and writers with an ear towards the hidden …

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