wayfaring

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Saturday, I vowed to no longer spotlight that my birthday is Bloomsday, though I violate my vow this one time, to publicly seal it.

And I realized that I’m so immersed in gestations that I had, I have nothing more to say soon, publicly.

Writing, creativity offline is so lovely, why say more than what is,
in effect, letters to a muse?

So, for now, there’s my recent update at g.com, and I schedule another date with you here—far away, because gestation is that way, even with a due date.

But you know you can trust me to return.

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sundaynote

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May 26: “...I’ll do something non-trivial.”
Done: the May 27 posting below: “intimations.”

I reneged on my June 2 promise to do a substantive update at g.com.
“I’m doing intensive work. I don’t want to explain.” Ditto here.

But I never know in advance when I’ll feel like sharing something before the next promised update.

intimations

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When I set out to plan for Cycle 4 of cohering.net, February 15, I linked to a placeholder page that was to be developed, which I’ve now done.

I kept its earlier beginning, but added text that has been removed from the “sense of site” page at gedavis.com; added some new notes; and copied into the page some quotes that remain at the current version of “sense of site.”

This may be boring news, but what’s been acted out is a modest withdrawal of myself (this life) from g.com (that world)—having earlier there been too self possessed for what that site is supposed to become.

But I have no general problem with self possession.

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feeling for story: dramatic appeal (value) in emotional novelty

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This is § b of “Section 3: Fake views exploit the appeal of valid drama.”

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Why is a chid enchanted by fabulous prospects? Childlike appeal of fabulism (i.e., proffering fables) echoes fantastic cultural stories, once upon a time guided by mythologies that conceptualized worldviews which gave telic cohering and comfort to cycles of life. Such appeal in that kind of narrative echoes in “true” feeling of fictionality and in romanticism (widely conceived, including every mode of safe thrill). A tropological “realism” constitutes dramatic life.

story as scaffold of uncapturable life

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Narrative can be invitation to imagination, such that the more minimal it is, the more gracious toward reader imaginability the line is.

“This is my confession,” as if narrativity in quote marks is distanced pretense without commitment to authorial candor. Characted confession may cloak a candor that thereby escapes others’ want of elaboration, as if her or his innerwordliness has no more to share beyond a brevity of time passing too quickly, which the story shows.