Write a Novel in a Month. From Wired How-To Wiki Photo by Valeriana Solaris/Flickr/CC November is National Novel-Writing Month. If writing an entire novel in 30 days strikes you as damn near impossible, just head over to the NaNoWriMo website and check out how many people have actually done it: More than 165,000 people participated in 2009, and more than 30,000 managed to crank out the 50,000-word goal. Of course, you probably aren't going to produce great literature in just a month. To write a 50,000-word novel in a month -- even a bad novel -- takes a certain perseverance and dedication, as well as some careful planning. This article is part of a wiki anyone can edit.
Plan Ahead To write a 50,000-word novel in a month, you'll need to write just under 1,700 words a day. Writing starts Nov. 1 and continues through midnight of Nov. 30, but that doesn't mean you can't start planning now. Once you start actually writing, take time to plan the next day's writing ahead of time. All of us write to our own muse. Conclusion. Olivier Cadiot : "Tout roman est une proposition" LE MONDE DES LIVRES | • Mis à jour le | Par Aurélie Djian Une conversation en hiver. Intérieur-nuit, dehors il pleut. Deux verres sur un plateau, ti-punch, darjeeling ; deux bougies, un micro. Il fronce les sourcils après un silence, C'est un portrait ?
Si on fait un flash-back, Olivier Cadiot a d'abord habité la littérature en poète avec un geste-manifeste, L'Art poetic' (1988) ou comment produire du lyrisme autrement ? Commence alors, de livre en livre, un processus de cohabitation entre poésie et roman. Reprenons. Il y a chez Cadiot un désir d'explicitation, sensible notamment dans la précision des dialogues : "Aller au fond de la pulsion de narration de chaque personnage, dit-il, trouver la justesse de restitution. " Qu'il s'agisse de l'espace du livre ou de la circulation entre les territoires artistiques, Cadiot entend donc "s'autoriser un très grand écart".
Archive | Art & Language. Art & Language Lisson Gallery, London, UK ‘Art & Language is generally thought to be a cabbalistic, esoteric and disturbing movement. Rational attempts to grasp their programme have been overcome by the mythology of a monastic brotherhood.’ This fragmentary statement in Internal Descriptions as External Description (1974), installed high on the wall in the concave stairwell at Lisson’s New Space, perhaps represents – in a more traditional sense – the resistance to reification and mysticism for which Art & Language are well known.
With work described as ‘genre scenes of spatial and cultural displacement’, their latest exhibition presented a number of deliberate historical shifts in a familiarly reflective manner, yet what was most interesting was a presentation of the material the group had produced with pop ensemble The Red Crayola. The karaoke event took place between 5pm and 6pm each day, and tracks from the album Kangaroo? Andrew Hunt. Liste des sons de la rubrique CRÉATIONS > OuRaPo.
E T H N O P O E T I C S. The breakthroughs of the last 100 years in poetry and elsewhere have been marked by new approaches to language and performance. Largely this has been the work of several generations of experimental writers and performers, many of them now archived and available thru Ubuweb and related web sites.
It fell to some of us, starting with forerunners like Tristan Tzara and Antonin Artaud, to track related but traditional approaches over a wide range of once impenetrable cultures throughout the world. In my own work I was able to bring some of these lines together in gatherings of the 1960s and 1970s like Technicians of the Sacred and Shaking the Pumpkin, as well as in the magazine Alcheringa that I co-edited for several years with Dennis Tedlock. The name that we gave this enterprise, as it applied to the world’s deep cultures – those surviving in situ as well as those that had vanished except for transcriptions in books or recordings from earlier decades – was ethnopoetics.
Anthology of Conceptual Writing. Poetry expresses the emotional truth of the self. A craft honed by especially sensitive individuals, it puts metaphor and image in the service of song. Or at least that's the story we've inherited from Romanticism, handed down for over 200 years in a caricatured and mummified ethos - and as if it still made sense after two centuries of radical social change. It's a story we all know so well that the terms of its once avant-garde formulation by William Wordsworth are still familiar, even if its original manifesto tone has been lost: "I have said," he famously reiterated, "that poetry is the spontaneous overflow of powerful feelings; it takes its origin from emotion recollected in tranquility.
" But what would a non-expressive poetry look like? A poetry of intellect rather than emotion? The works presented here provide one set of answers to those questions. Such works manifest some of the tensions in this collection between materiality and concept. Web - Visual Poetry. ReLIRE : Registre des Livres Indisponibles en Réédition Électronique | BnF. Littérature Contemporaine. Création Sonore. OuLiPo - Accueil. The Shelf. A page from my intimate journal, Guy Decointet.