'such flowers as the hares will not eat'

lady luxborough discusses her planting (1748).

at 10am horsemouth meets his drop to hand over vital photographs of an incriminating nature together with several back issues of the monkey-ona-stick housing co-operatives newsletter monkey-on-a-stick. today is cooler so far than yesterday that was a swelterer rather than a scorcher.

both tuesday and wednesday evenings horsemouth went round andrew minty's for a little play - green manalishi, the kingdon of heaven (is within you). horsemouth still has to put the effort in to learn the complicated bits of green manalishi.

last night horsemouth selected from his bookshelf alain the gods and read the introductory essay by the translator richard pervear- alain would set him self down to write two sheets of paper each day without revisions or rewritings (kind of like just a minute) a similar tactic is taken by the painter frank auerbach who if he is dissatisfied scrapes all the paint of the painting and begins again keeping only what works and trying again and again until he finds a way into the material. struggling to find the material's limitations - 'such flowers as the hares will not eat'.

there horsemouth has achieved re-incorporation and so should stop.

----------------------------------------

the next day he continued...

horsemouth is up late (9am) and the birds are singing. again he will try to write this without re-editing in the style of alain. richeard pervear's essay at the start of alain's the gods discusses benjamin's the storyteller essay - as books replace the spoken word that moment of verification between the storyteller and the listenener dies away (think how this works in ranciere's 'each one teach one' philosophy and pedagogy - where you can verify learning even if you do not understand the subject simply by asking questions and listening for inconsistencies in the replies). horsemouth should really sit down and compare these.

storytelling also crops up in rona edwards and monika skerbelis's 'I liked it, Didn't love it' subtitled screenplay development from the inside out - there they go round the office and tell you who reads what in film company, in an agency etc. what the forms look like. there are cursory nods to aristotle the poetics, carlo gozzi's the thirty-six dramatic situations (via geroges polti), the seven basic plots.

of the seven basic plots beasts of the southern wild is probably man against nature (sorry that should be person against nature) - it is a carnivorous eat or be eaten world waiting for the flood that shows lots of development in that horsemouth finds it unbelievably sentimental - already halfway to fantasy. perhaps he's not appreciating its naive  qualities - its parable like nature. it takes more than a somewhat unhygenic diet of seafood to convince horsemouth of social realism - but how does it compare with say the first series of treme where the effects of hurricane katrina are still present - via a ghost a lost body.

horsemouth listened to lutoslawski (but quietly in case the neighbours hear), nick lacy's tv music (tracks one and two together would make a good song horsemouth thinks, the others horsemouth is familiar with from his time in the snatch foster band), and tracks 3 onwards from alice coltrane's universal consciousness (the softer end of her output). he also read some newspaper review sections (saul bellow came from lachine - who knew) and glanced through stephen calloway's book on aubrey beardsley (like the script writing book one pound from emmaneus - the housing charity shop - and god botherers horsemouth writes somewhat ungenerously).

up at three mills green the grass was burned golden like corn - there were long shadows and sexy running girls.