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robertogreco : sequence   9

Viriconium FAQ | the m john harrison blog
"(1) Read as one book, not as three novels followed by a collection of afterthoughts.

(2) Freely intersperse the short stories between the novels.

(3) The novels can be read in any order, but order of publication makes a kind of sense if you are bound by expectations of linear time & causality.

(4) Start with “Viriconium Knights” if you need a readily-assimilable f/sf rationale for what’s going on in the rest of the book.

(5) Other rationales are available.

(6) Random dipping is just as effective an archeology. All beginnings are endings. Every reiteration is the (not an) original iteration.

(7) It is a metafictional critique of “epic” fantasy.

(8) It is a deconstruction of “epic” fantasy.

(9) It is a conscious disruption & abjection of the American ideological overmyth “Hero with a Thousand Faces”.

(10) It hates story. It hates the idea of character as fixed & causal. It hates relatability. It hates reader-identification. It hates the idea that because the real is disordered, fiction’s duty is to provide order; it hates the anodyne mouth-feel & simultaneous shrill desperation of ordering fictions. It hates immersive texts because immersion defuses political & social dissatisfaction.

(11) Read “A Young Man’s Journey to Viriconium” last. Or see (14).

(12) Titles, epigraphs & chapter headings are often significant parts of the text, so if you’re reading something framed as The Floating Gods, you aren’t reading Viriconium.

(13) Every available edition is problematical in terms of content, organisation & packaging.

(14) There is a new, as yet unpublished story."
mjohnharrison  linearity  storytelling  linear  nonlinear  novels  stories  via:robinsloan  2016  organization  time  sequence  viriconium  non-linear  alinear 
march 2016 by robertogreco
Mass + Text — The Art of Comics #1: Panels, Thick Painting, and Time Collages
"Sequential artists, like architects, manipulate space and time, but where the latter uses a palette of wood, metal, stone, and glass, the sequential artist employs words and images, and is additionally constrained by working within only two dimensions.

Art of Comics is where I collect examples of the rich visual vocabulary at play in some of my favourite comics, and where I attempt to write myself into an understanding of how and why they work."

"In rapid-fire succession, here’re other examples of panels acting suspiciously like objects from the ongoing run of Young Avengers (full creator list at bottom of page):


The impact of the blow is so devastating, its aftershock unmoors something in the surrounding universe.


The panel, under control of the villain, becomes a writhing, tentacled supporting character. (Be sure to check out Kieron Gillen’s excellent writer’s notes about this issue. He mentions how the tentacles came about at the “page 19" section)


Miss America travels through multiverses by punching and kicking her way through panels.

What I learned

1. Comic book panels are snapshots of time. Layering those moments atop and within each other creates a rich, polysensory experience. The expressions that help me think about this idea is
"thick painting" and “time collages."

2. You can think of panels as either holes punched in space, or mass. The latter idea opens up the possibility of playing with a queer sort of 2D-physics that makes sense only within the confines of the page, allowing for visual experiments based on the physical properties of represented mass, such as shadows, reflections, etc. That visual complexity, of course, adds to the “thick painting" effect, which heightens the sense of being completely absorbed within a narrative."
time  comics  emmanuelquartey  2013  graphicnovels  sequence  storytelling 
july 2013 by robertogreco
Fabula and syuzhet - Wikipedia
"…terms originating in Russian Formalism and employed in narratology that describe narrative construction. Syuzhet is an employment of narrative and fabula is the chronological order of the retold events. They were first used in this sense by Vladimir Propp and Shklovsky.

The fabula is "the raw material of a story, and syuzhet, the way a story is organized."[1] Since Aristotle (350 BCE, 1450b25) narrative plots are supposed to have a beginning, middle, and end. For example: the film Citizen Kane starts with the death of the main character, and then tells his life through flashbacks interspersed with a journalist's present-time investigation of Kane's life. This is often achieved in film and novels via flashbacks or flash-forwards. Therefore, the fabula of the film is the actual story of Kane's life the way it happened in chronological order…"

[via: ]
writing  storytelling  time  literature  poststructuralism  sequence  order  viktorshklovsky  vladimirpropp  russian  narratology  organization  narrative  plot  syuzhet  fabula 
november 2012 by robertogreco
SpeEdChange: Why do we read? Why do we write?
"Why do we read? Why do we write? How do we bring reading to children? How do we encourage children to write?

Will we accept a true democracy of voices? Or do we continue to pursue the colonialism of conversion, the colonialism of standardization?"

"And so I wonder, (a) where does my communication fit into your school? your Common Core? your library? your classroom? and (b) where does that democracy of voice fit in? How do we embrace that and not squash it?

The world is a place of constant reinvention. If we all follow the rules, the paths, nothing changes. There is a reason the books of the colonials so often fill the Booker Prize shortlists, there is a reason Irish fiction and poetry are prized so much more highly than that of the English or Americans. The rules have never fully taken root away from "the Queen's English," and the paths begin in very different places, and it is the uncommon, not the common, which has extraordinary value."
fiveparagraphessays  curriculum  why  howweread  howwewrite  schools  deschooling  unschooling  rules  sequence  time  memory  rebeccanewbergergoldstein  jamesjoyce  ulysses  umbertoeco  literature  standardization  commoncore  colonialism  democracy  linearity  learning  teaching  2012  communication  writing  reading  irasocol  linear 
november 2012 by robertogreco
Poetry 180 - Tour [by Carol Snow]
"Near a shrine in Japan he'd swept the path
and then placed camellia blossoms there.

Or -- we had no way of knowing -- he'd swept the path
between fallen camellias."
camellias  via:maryannreilly  japan  knowing  perception  time  sequence  order  carolsnow  poetry  poems 
october 2012 by robertogreco
Physics First in Science Education Reform
"Biology first, chemistry second, physics third: The traditional American high school science curriculum follows this order. Education reformers do not believe this needs to be the case. In part due to poor student performance in international science assessments, some educators are rethinking the way science should be taught in the United States."
physics  biology  chemistry  sequence  highschool  curriculum  science  education  schools  us  committeeoften 
june 2010 by robertogreco
High School Biology Today: What the Committee of Ten Did Not Anticipate -- Vázquez 5 (1): 29 -- CBE—Life Sciences Education
"Since the recommendation of biology (or natural history, as it used to be called) in 1893 as part of the high school science curriculum, biology was considered a descriptive subject. In the late 1890s biology consisted of zoology, botany, and physiology. The group that decided on the high school science course configuration was the Committee of Ten. The committee was organized by the National Education Association (NEA) in 1892 to deal with the issue of uniform college entrance requirements. This essay argues that the decision of the Committee of Ten to place biology before chemistry and physics needs to be reexamined. The committee's recommendations are still being implemented over a hundred years later, and the issue of high school science course sequence is currently being debated."
science  education  sequence  highschool  schools  curriculum  chemistry  biology  physics  committeeoften 
june 2010 by robertogreco
College Admissions and the Essential School | Coalition of Essential Schools
"When schools change curriculum and assessment practices, everyone worries that students will suffer in the college selection process. But most selective colleges say they're used to unusual transcripts, and big universities are looking for new ways to work with schools in change."
education  change  reform  admissions  colleges  universities  highschool  tcsnmy  transcipts  grades  grading  evaluation  assessment  science  physics  biology  chemistry  sequence  committeeoften  curriculum  habitsofmind  kathleencushman  1994  tedsizer  coalitionofessentialschools  competency 
june 2010 by robertogreco

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