The first section features what Alison calls primary elements, including chapters on: 1) point, line, texture, 2), movement and flow, and 3) color. Your prompt for today is to write a story that meanders in this way, keeping the central conflict on low hum the whole time. Meander, Spiral, Explode consists of two primary sections. And it’s a wonderful example of the power of meandering. MEANDER: picture a river curving and kinking, a snake in motion, a snail’s silver trail, or the path left by a goat grazing the tenderest greens. It’s funny, angry, sad, desperate, tender, real. Other writers of nonlinear prose considered in her museum of specimens include Nicholson Baker, Anne Carson, Marguerite Duras, Gabriel Garca Mrquez, Jamaica Kincaid, Clarice Lispector, Susan Minot, David Mitchell, Caryl Phillips, and Mary Robison.Meander, Spiral, Explode is a singular and brilliant elucidation of literary strategies. It’s actually one looping sentence, spilling over with emotion, yet banal in its attention to, well, that pizza. Kirby, published in Wigleaf. This narrative is all over the place, yet focused like a laser at the same time. It is a liberating manifesto that says, Let's leave the outdated modes behind and, in thinking of new modes, bring feeling back to experimentation. BenFisher said: This is a Kansas SAB bug, what is the listing link, I can send this to someone at Google. Italo Calvino says that “digression is a strategy for putting off the ending, a multiplying of time within the work, a perpetual evasion or flight. Meander, Spiral, Explode is a singular and brilliant elucidation of literary strategies that also brings high spirits and wit to its original conclusions.
In fact, my entire group on the MA was made up of entirely middle-aged women, which they were apologetic about, but I didn’t mind it at all. A meander begins at one point and moves toward a final one, but with digressive loops. This was recommended to me by a good friend I have met on my MA course, J., who is considerably older than me, but we have a good relationship all the same. But it might be bored by classic conflict, so instead lingers by flowing along an extravagant arabesque of detours: this is what meandering narratives do. “If a narrative naturally wants to flow toward its end but doesn’t want to get there yet-the pleasure’s in the journey-it might hold back by strewing conflicts, boulders, along the way, as an adventure story might. In her excellent craft book, Meander, Spiral, Explode: Design and Pattern in Narrative, Jane Alison says:
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