Jane Alison, 8. Radials or Explosions in Meander, Spiral, Explode: Design and Pattern in Narrative
(I took this photo inside the Lippitt House Museum in Providence RI)
You might already know the end at the start and get many fractured views of the same moment, or many fractured views of things avoiding that moment. You might feel a sense of violent scatteration from a central point. Radials can be centrifugal or centripetal, but linear they are not.
Jane Alison, 8. Radials or Explosions in Meander, Spiral, Explode: Design and Pattern in Narrative (I took this photo inside the Lippitt House Museum in Providence RI) I wonder if first-person retrospective narratives—especially obsessive ones—might naturally follow a vortex. It's how I've found lyric memoir to work; maybe it's true of fictive versions of retrospection, too. A preoccupied (haunted?) narrator turns around and around in her hands the most potent moments of her past, gazing at repeated patterns and shapes as she spins.
Jane Alison, 7. Spirals in Meander, Spiral, Explode: Design and Pattern in Narrative A spiraling narrative could be a helix winding downward—into a character's soul, or deep into the past—or it might wind upward, around and around to a future. Near repetitions, but moving onward. What gives a spiraling narrative a sense of ending? Good question, for spirals could go on forever.
Jane Alison, 7. Spirals in Meander, Spiral, Explode: Design and Pattern in Narrative We give because someone gave to us.
We give because nobody gave to us. from When Giving Is All We Have, Alberto Ríos Early in my teaching career, I made my second-grade class cry.
Teaching Your Heart Out: Emotional Labor and the Need for Systemic Change by Emily Kaplan, in edutopia |
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