appellant horizoning

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There being a theme-ic constellation may show
mystery of discernible Meaning to be made of it, as if
reverie, evinced by its appeal, portends generative insight
(creative promise) for there being someday originary inception
from near-term protean aspiration venturing beyond
given literary person-ality, thanks to present appeals
of comparative thinking for the sake of heirs’ better futures.

creating novel wilderness isn’t about tourism

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Creative responsiveness as an artwork done is usually regarded by commentary (or expository criticism) as received, i.e., as an object of reception or appreci-
ation, not as an occasion to understand the backstory of the Work which results as the received work.

So, if you’re interested in creative process (Work to work), you usually depend on autobiographical and biographical narratives, work whose own Work isn’t
a focal theme, apart from brief prefacing in that work.

I want to gain trans-authorial understanding of the Work-to-work venture, i.e., creative process, analogous to well-established interest in creativity as such,
but focused on “literary” creativity.

highly resorting

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Recent years in the U.S. cause me to want “inner emigration.”

I know many minds feel similarly about these times, as if the soul of their genius destined them to commune privately with kindreds within their highlands becoming internetted around the planet.

Cohering nets of creative estate have been around since leisure allowed one
to flourish in happy interplay, historically becoming estated and distributed colonies of high mindfulness, now The University as planetary form of life, altogether a singularity of universCity resorting around global metropolia.

notes going on: textures

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A figurative theme (sprout) presented without explication may be an invitation for thinking together in those terms, as well as being a record of what calls
for future exploration—together?

“Well, at least he’s together with his own path marks for later dwelling.
Thanks for sharing!”

touring resorts

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The wealth of the literary market is too much to take in.

Today, I browsed the new book ads in the “Spring Books” special issue of the New York Review of Books. I’m a subscriber for decades, now having six unwandered back issues.

I’ll catch up now by one a day. (Also, I have six back issues of the London Revew of Books to wander.)

I’m nearly overwhelmed by the diversity of scholarly books which evidently have a market? How can so much specialist non-fiction (and fiction) find enough audience to be feasible for the publishers?