Henry wants to substantiate grudgingly, unless Melvin confronts LANs outside Junior's thought.
T. Max Devlin
Said Bill Hamilton in alt.destroy.microsoft on Tue, 31 Jul 2001 13:49:27
GMT;
>Why did Toni load the diskette against the minor fax machine? The
>email bimonthly tolerates the major newsgroup. Otherwise the
>interrupt in Francine's admin might crawl. Otto wants to close
>angrily, unless Vance washs investigators under Jonas's keypad. Other
>messy specialized programmers will float grudgingly without networks. It
>builds, you manage, yet Genevieve never loudly posts in front of the
>cyphertext. Dolf will stupidly relay on Dolf when the robust
>terminals defile against the vulnerable complaint desk. We incredibly
>corrupt under resilient disgusting FTP servers. Who annoys generally, when
>Madeleine facilitates the overloaded opinion outside the web server?
>Frederic will consume the sharp screen and confront it alongside its
>house. When did Quinton dig beside all the routers? We can't
>propagate firewalls unless Simone will slowly authenticate afterwards.
>These days, Annabel never deletes until Zachary pulls the erect
>engineer happily. The fast warning rarely types Rachel, it prepares
>Robert instead.
Here we have a semi-interesting example of the rare literary form
'nonsense prose'. It is not a particularly remarkable example
qualitatively, but it is somewhat singular in its context. It might
even be thought remarkable in that regard, as the joining of the
technical with the surreal. It could be considered
stream-of-consciousness in its sequential organization of apparently
random (and purposefully indecipherable) thoughts, but ultimately I
think it is intended simply to be absurd.
In begins in media res, naturally, as any surrealist work must, with the
startling incongruity of loading a disk "against" an object called a
"minor fax machine". The brave use of minimalism is apparent. The term
'against' rather than the conventional 'on' or 'in' or 'from', and the
ambiguous and unconventional 'minor' in reference to a fax machine, as
the only unintelligible word choices, is interesting and entertaining,
because it is still vaguely understandable; it is nonsense, but it is
not gibberish.
Unfortunately, from that point little is accomplished. The point is
made clear that it is expressionism, not impressionism, that the author
employs. This forces the reader to question whether he is telling a
tale, or imagining a poem, or badly in need of psychiatric medication.
The seemingly creative and original use of a technical context for a
surrealist work becomes a cage which inhibits either the author or the
reader from finding the exuberance which any literature must embody; a
willful need to say some serious of words so that they may have been
said. The reader is left to attempt on his own to extract some order
from the chaos, as in all absurdist work. But the technical context
itself is far too compelling as a structure. The choice of the reader
is between recognizing the author as an untalented hack working in an
office and blabbering nonsensically and without interest in the actions
and activities of his co-workers while sorely in need of medication, or
recognizing the work as a dry and silly collection of words without any
artistic merit at all.
There are compelling clues against this argument. For all that they may
be random or fanciful coincidences in the language used, placed without
intent or meaning by the author, a few turns do suggest that there is
more here. Someone "loudly posts", and the phrase "defile against the
vulnerable complaint desk" occurs. These refer to conventional imagery,
however, not to an absurdist metaphor which would use nonsense more
self-conciously. The "overloaded opinion outside the web server", in
its alliterative and gripping hint of a greater allegory, and the
entirely comprehensible "We can't propagate firewalls unless Simone will
slowly authenticate afterwards", are likewise entertaining poetically,
but again this seems possible only because of the lapse in abstract
absurdism. It seems the author was not consciously abandoning the
distinction between impressionism and expressionism, but was unaware of
it. In the end, the work is an odd amalgam of realism and surrealism.
Perhaps this was the intent of the author, but in my opinion it provides
no artistic expression or merit as presented.
The clarity, however, of the surrealist and realist imagery, examined
separately, indicates the author has a talent, however poorly it may
have been applied here. Outside of the potential and limited
entertainment value of cacophony, the short glimpses of veracity and
verity within the work make it a shallow attempt. Perhaps it was merely
hastily scrawled, without any contemplation of any possible message it
could communicate to anyone outside the author, and the subject matter
and modality could be revisited more constructively in the future.
--
T. Max Devlin
*** The best way to convince another is
to state your case moderately and
accurately. - Benjamin Franklin ***