Thanks, Doug. To both jar & connect: that's a crux often in mind when I make syntactical decisions about adjoining lines. Simulating syntax, I used to say.
You might be surprised if I numbered the years I've been writing cine-poems out of American and British films from the early thirties to the late fifties. Glad I've been able to widen my range and employ a number of additional strategies. Here's an earlier example of what resulted when I limited myself to Claudette Colbert's words:
http://www.thedrunkenboat.com/ba.html
Alas, I can't provide a link to [Claudette Colbert by Billy Wilder by . . .]
Barry
On Thu, 18 Aug 2011 09:12:40 -0600, Douglas Barbour <[log in to unmask]> wrote:
>What I like, as here, or if you tried again with just Colbert's phrases, Barry, is the way the juxtapositions from line to line both jar & connect.
>
>What is clear is how long youve been working on this method, & how well you can 'work' it, through.
>
>Doug
>On 2011-08-17, at 3:33 PM, Barry Alpert wrote:
>
>> SLEEP, MY LOVE
>>
>> [via] D[ouglas] SIRK
>
>Douglas Barbour
>[log in to unmask]
>
>http://www.ualberta.ca/~dbarbour/
>http://eclecticruckus.wordpress.com/
>
>Latest books:
>Continuations (with Sheila E Murphy)
>http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664
>Wednesdays'
>http://abovegroundpress.blogspot.com/2008/03/new-from-aboveground-press_10.html
>
>It is natural to speak of your own weaknesses so winsomely they will seem strengths, as if everyone else is inadequate if they do not have your inadequacies.
>
> William H. Gass
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