"All this he saw, for one moment breathless and intense, vivid on the morning sky; and still, as he looked, he lived; and still, as he lived, he wondered."
Borrowing G.S. Kirk’s distinction between three kinds of myth, today on my Patreon we take a look at entertainment, operative, charter and explanatory myths, and what this distinction means for us when we tell a story. The post will be released to the public tomorrow, over there and here on the blog.
“Wonder what’s goin’ on in the church?” Gilman Marlow stopped and stared slowly over at the church. It was a little white building with five pointed windows on each side. The windows were all streaming with light now, and the bright light showed from the
The following story is found in the Gretla, an Icelandic Saga, composed in the thirteenth century, or that comes to us in the form then given to it; but it is a redaction of a Saga of much earlier date. Most of it is thoroughly
There are cities that seduce by excess, by grand vertical gestures, by spectacle, by the dazzling promise of visibility. And there are others, quieter ones, that prefer to act by undercurrent, by persistence, by relation. Milan belongs to the second kind, in my opinion. And
“Wonder what’s goin’ on in the church?” Gilman Marlow stopped and stared slowly over at the church. It was a little white building with five pointed windows on each side. The windows were all streaming with light now, and the bright light showed from the
The following story is found in the Gretla, an Icelandic Saga, composed in the thirteenth century, or that comes to us in the form then given to it; but it is a redaction of a Saga of much earlier date. Most of it is thoroughly
There are cities that seduce by excess, by grand vertical gestures, by spectacle, by the dazzling promise of visibility. And there are others, quieter ones, that prefer to act by undercurrent, by persistence, by relation. Milan belongs to the second kind, in my opinion. And
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