NUNUM - Blending Flash Fiction & Art
Nuts & Bolts of the NUNUM Aesthetic: Part 8
Flash fiction of course does the same thing but the structure of
the sentences attempts to mimic the native space holding the concepts in the reader’s brain. It tries to access the memories and knowledge of the reader indirectly by bouncing around, as it were; the edges of primary associations through the presentation of second order ones. For example, if ‘airport’ is the primary association that a piece of flash fiction wishes to get at then by creating a passage containing entirely secondary associations to it would allow the reader to get to airport.
“An inattentive, transient jackass says, – “Check it” – high-pitched, estrogenic sound awkwardly steam from thick, too-big lips covering precarious tan teeth. Mirrored sunglasses sterilize eyes plunging transgressor back to fatigued, faded skin, unkempt hair – a brain of questions, comments, demands, justifications – stayed verbally, exposed physically – “Is there a problem?” Pigments, parchments, binding, images relapse then release ribbed steel, scuffed plastic, relabeled boxes reskinned with tape, twine, and plastic that meld into a horizontal borough in motion, eclectic and naïve to the pigment of deities.” (Miller, 2012)
Why not just say – airport?
For example, ‘John arrived at the airport.’ After all, according to the theory being laid out, airport would be a primary association and by saying it, the reader will access all of the secondary associations held in connection to it. Both ways get you to the idea of ‘airport’ and thusly all of the other mental associations held by the reader connected to it. True, however, by just saying ‘airport’ in a line of fiction and relying on the reader to make the connections is a one directional process. The readers will move away from ‘airport’ into whatever else is associated to it for them. However, by using the example given a reader is required to take a multi-directional route to arrive at ‘airport’. This multi-directionality of the text is important because, as was mentioned earlier, the associations within each individual will be different. Indeed there is the possibility that ‘airport’ might not be the primary association triggered by the example given above for some readers and if that is the case then why not just write out the example in standard prose so that it includes the primary association of ‘airport’ and whatever secondary associations the writer wishes to be connected to it for the character.
“John moved from the plane through the long passageways of the airport with the rest of the tired passengers until they all arrived in a dazed mass at the queue for immigration. The officials in their stations seemed even more distracted than the passengers from flight 785. Settling into his place in the line John noticed a few security-personal were among them; apparently randomly asking to see passports. He knew he was ‘random’ and seeing one of them getting closer he made sure his papers were already in his hand. The officer didn’t disappoint and after being asked to step inside a waiting room John knew something wasn’t right. The officer though didn’t stay but rather closed the door and left John alone in the florescent lights and odor of something unfresh in the room for the next twenty-some minutes. “Is there a problem?” John asked when finally a different officer came into the room. But rather than answering his seemingly simple question this new but from the same mold officer decided that another twenty minutes of questions and accusations were a better idea. In the end, John had told them nothing that wasn’t either in his passport already or answers to questions which a lie and truth couldn’t be proven one way or the other. Standing in front of the baggage carousel John watched the suitcases and other assortment of boxes and parcels pass by him while the whole time thinking that at least these artifacts had an equality among themselves once their owners have been removed from them.” (Miller, 2013)
There it is, right there in the first sentence of the original
example rewritten in prose; the word ‘airport’. Now for this theory to be correct, the word ‘airport’ should also trigger the activation of the other mental associations in the mind of the reader connected to airport. It will, but when reading the prose passage the reader will be naturally distracted by the plot of the piece. They will read the word airport, access their associations and assure themselves that yes they understand the concept of airport and then keep reading in order to find out what is happening in this airport. This airport is the point. Even if the prose passage were to be rewritten by a hundred different writers in a hundred different ways it would still be something where the reader is trying to follow the plot (most likely), trying to understand – trying to do something while all the time accessing their primary associations connected to the words they read.
flash fiction theory, literary theory, writing craft, how to write flash fiction, how to write sudden fiction, how to write nano fiction, how to write microfiction
Blending Flash Fiction & Art