word gains 7

he finds himself to be disappearing up his own posterior, kind of like ourobouros, but less dignified. and he decides that he needs to add some kind of humour into the proceedings lest he become an insufferable pompous ass choking on his own post-modernity. he briefly considers writing himself a haiku but then he has the cognition that nothing could be more pretentious than to sit down and write a haiku.
minimalism brings out the insufferable boors as much as hyperbolic manifestations of intellect can do, but god, what does that leave? the middle road? the one taken by all those beige conservatives with less imagination than your average toilet cleaner?
he ponders writing some fast food fiction; not literally being fiction about fast food, but fiction which can be consumed in the same manner. but how ironic and full of metatextuality would it be to write about fast food in that way?
circle jerk fiction comes to mind too – get a whole load of self-involved egotistical bastards with typewriters together and get them to write about what they are writing about, what their neighbours are writing about, and the relation between the two. it could even turn into an exquisite corpse eventually; a game of musical chairs with typewriters. a choreographed typewriting pool set to a voiceover by william burroughs talking about his cut-up technique, whilst brion gysin pictures are flashed in tryptichs upon three carefully positioned screens.
he wonders about non-fiction fiction because he feels like he has been writing fictional non-fiction. hmm, selling actual events as fictional events and then blending in the fictional to accounts of real moments in time. where does that get you? confused? enlightened? does it make you a liar or does it make you creative?
circle after circle after circle: chains of self-reflexive loops linked by titles that suggest a cohesive push to an answer but never deliver one because the whole process of asking questions about the nature of the thing being written is the point. provocation, narrative dislocation, and interpenetration of the diegetic and non-diegetic realms which the writing interacts with; shapes and is shaped by. interactivity is not limited to intentionally interactive mediums Рa piece of static writing is still, in some senses created from the  relationship of the author to the work and the reader, and of the reader to the author and the work. but he wants his work to exist as both Рin the writing of it it is meant to be interactive; in its final incarnation it will be in traditional print media and will adopt a new relation to the concept of interactivity.
he imagines each instalment of the piece of work called word gains turned into a series of beads in a kaleidoscope and he twists it and notes down the new patterns.
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