Part three of an accidental meditation on writing
(and the limits of contextually useful "R" words) . . .
I'm sick of love but I'm in the thick of it
This kind of love I'm so sick of it
I see, I see lovers in the meadow
I see, I see silhouettes in the window
I watch them 'til they're gone and they leave me hanging on
To a shadow
I'm sick of love; I hear the clock tick
This kind of love; I'm love sick . . .
Could you ever be true?
I think of you
And I wonder
I'm sick of love; I wish I'd never met you
I'm sick of love; I'm trying to forget you
Just don't know what to do
I'd give anything to
Be with you
--Bob Dylan, "Love Sick"
This has been a week of substantial breakthroughs with regard to The Work: A newly deepened, newly understood resolution to Beatrice's story arc has occurred, along with a more clearly seen and portrayed connection between Tony and Beatrice (transformed into something both simpler and more complex--the usual result of true insight). Lastly, a minor theme--Beatrice's writing--has been elevated to important-motif status; portrayed in parallel with Tony's art, critical elements of their relationship are examined from the oblique angle of their respective art. (This has forced me to rough-in what will be a body of Beatrice's poems. Thankfully, all those hack-saturated years of putting words in other mouths and pens--speechwriting and ghost-writing--made me a very good mimic: As models, I had certain actual poems in mind, and I think I've pretty much nailed their voice and approach--similar to the Beatrice horoscopes, which nod to at the tone of a specific astrological series.)
Also on my Ah-Ha! List this week was a sudden, unexpected comprehension of the relationship between the theater piece and the novel. Conceptually, I'm dealing with a triptych--the same themes and characters seen through three different media and three different stories. Each,, will have stand-alone artistic integrity (fingers crossed), but taken as a whole--as a three-part-single work--larger truths emerge. (By way of explanation, here is my long-held theory about the Star Wars films: With enough installments, in a large enough fictional time frame, the main characters of the story become the robots, C3PO and R2D2. Whether intended or not, the 'droids will eventually become central in much the same way Tom Stoppard shifted the focus of Hamlet from the Prince to Rosencrantz and Guildenstern. In a similar fashion, bigger truths are in evidence in my triptych--stuff not as obvious in any specific iteration.)
But having said this--having established three artistic "panels" and grouping them in such a way that each provides context for the others--what actually connects them? Pretend my project is like a Byzantine religious icon that folds up, providing portability for pilgrims. What functions as its hinges? Beyond juxtaposition, how do the panels touch each other?