(I think randomness in procedurally-generated writing sort of has this same effect—it encourages a kind of reading where in the process of bridging the sense-gap you're made to imagine the context that produced the incongruous details. but it's not *quite* the same effect as Miéville's style here, since in cut-up writing [depending on the procedure] that context rarely produces satisfying coherence [whatever "satisfying" means here])
(in a way the _Embassytown_ style [or at least the style of these chapters, I haven't read the rest of the book maybe it changes radically?] reminds me of Rimbaud's _Villes_ https://www.instagram.com/p/BqWxaC0lWRs/ which seems to describe a "place" but relentlessly gets in the way of your matching signifier with referent—it holds together by an alternate dream logic, rather than by a conventional logic of description, the same sort of otherworldliness that Miéville evokes, why am I still typing in parentheses?)
also similar to Rimbaud's _Villes_: the opening lines of Dorothy Wordsworth's _Alfoxden Journal_ http://www.gutenberg.org/files/42856/42856-h/42856-h.htm
actually I can't cope with how beautiful this is
there's a particular—not feeling, because although there's an emotional component to the experience, that component seems like a side-effect, not the thing itself—mental phenomenon (?) that passages like these afford for me, where the sentences sort of slip from one to the next without demanding the "normal" process of signification and deciphering intent (but also not foreclosing on it). and this is the effect I'm always trying to evoke with the kind of work I make
what kills me about this dorothy wordsworth is that it is *exactly and precisely* the aesthetic I was trying to evoke with my nanogenmo project in 2015 http://s3.amazonaws.com/aparrish/our-arrival.pdf as though I have always known about her work somewhere in my soul but I stg I never read it or even knew about it before today
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