by uzwi

…the refusal to site fiction within the epistemological and ontological biases of Hollywood-derived narratology & MBA structural definitions. No subversion only vandalism. Avoid formalist demonstrations of non-formalist propositions. Obstruct Pavlovian reading.  If you give one reward for Pavlovian reading, deny the others. Reject editorially driven overcueing. However it looks at the outset, to enter the story requires a one-shot episteme to be constructed by the reader. What you see is what you get. What the character does is the character of the character: character is not a blueprint out of which the characters’ acts inevitably arise. The story is what happens: the story is not a blueprint of motives & causalities out of which its events arise with faux inevitability. One-sided analogies. Incomplete & false correlatives. Oblique & false or undecodable epihanies. Symbols represent emotional states only partially disclosed. Intense “worldbuilding” in incomplete, mismatched or out-of-focus contexts. Incomplete or broken structures & forms offer the story as a failed or abandoned archeological excavation of itself. Apply tonal variation at will; shift between registers. Irony saturated to the degree that it becomes difficult to tell if irony is present…