It does, of course, appear to require change, for change is in this nature; the third of Stevens’ three notes toward a supreme fiction. The first two: it must be abstract, it must give pleasure. These to think about, to define and redefine. What is abstract, and what is pleasure.

It comes in many ways and in many forms, in this way to be unrecognizable, which is crucial–to be the monster and thus explore unspoken possibilities infinitely, hidden as the void, the absence, the prefix un-. It is uniquely itself in a bold statement of autonomy, a refusal to reflect reality and consciousness, and instead stand as A REALITY and A CONSCIOUSNESS.

But first, in brevity, and which are the foundations of those above and those to come; these that I have learned as notes toward effective writing:

[a running list]

  • Active voice.
  • Present tense.
  • Verb emphasis, avoiding overuse of adverbs.
  • Specific and/or precise nouns.
  • Restrained though complex nouns and adjectives.
  • Varietal syntax/diction. [as form, medium]
  • Attention to paginal and paragraphic syntax. [as materiality of form]
  • Projective (open) verse.
  • Centrifugal poetics.
  • Premeditated theme (conceptual idea, as unified in form and content, toward overarching purpose/value). [as separate from ‘meaning’]
  • Tone, rhythm, technicality.
  • Instinctual/intuitive drive. [as honest expressionism–manipulative and creative impressionism]
  • Individualist postmodernity/societal modernity in cultural avant-garde.
  • Abstraction, change (movement), pleasure.
  • Awareness/consciousness (metafiction).
  • Exploration of fictionality (i.e., Surfiction, fictionism).
  • Experience over meaning, process over artifact, technique over structure.
  • Analysis of constraint (particularly language).
  • Visual diction.