poetry and prose essay

Yakin 1

Kimberly Yakin

December 17, 2009

English 3410

DeVries

Poetry and Prose—Presentation and Organization—The Mess One Can Make

                        Isn’t it frusterating when you look at a piece of work and it’s the best work the writer could have done for themselves, but the organiztion and presentation is so bad that it looks like the worst work ever? That’s what went down when I read the poem series titled Landscapes by Bill Marsh. The Electronic Literature Collection Volume One had it right at my fingertips.  The poems were a set of  “ Short epigraphic poems and ambient sounding tones…” that would “… flow through portals characterised by Peter Max—style phychedelic landscapes collaged with shifting photographs of contemporary humanity.”  (Landscapes 1). Although this piece was a good try at combining the resources of text, bright background, image and audio, it really seemed as if the author and his workers did not do enough study on how to properly combine the two in order to make a polished presentation. I will now give some examples.

            As I read through this next poem I really don’t see the point for the audio. It has nothing to do with the photos, or the ‘Biblical’ refrences made in this series. The tone is that of a chiming clock, or perhaps a malfunctioning alarm. It seems to be just relating to the rainbow bright, flickering designs rather then the text and images. The photos, on the other hand, seem to be partly relating to the titles. Vacation on a Summer Theme  has photos of children on the beach

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and an audio of some sort of a chiming clock, or alarm. That doesn’t relate at all. What was the point in that? Then to top it off, the proverb in the landscape reads of setting one’s face, like flint and not being put to shame. How does that relate to children on a beach and a chiming clock?  How does that relate to a vacation? It’s a beautiful proverb, however poorly organised in the aspect of being able to put together audio with visual, visual with background and being able to tie them all together so they make since. Oh and by the way—although this is a great literary exerpt, this is not a biblical proverb.

            Another example would be with Desert Drive In. While the sound of the motor of a car relates to the title and the pictures of food billboards tie into the atmosphere, the proverb visible reads of not hiding one’s face from insult and spitting. That has absolutely nothing to do with a desert drive in, or the sound of a motor driving. The title, audio and pictures are in perfect sync here, however the poetry is obesely unrelated. This proverb is also not biblical.

            Moving on to the third example—City by Moonlight I see an ambient, metallic background of a city on the right and a bright array of shooting stars on the top left. Then I hear a puttering, droning sound. The proverb—a bibliclal one this time—reads of not being afraid of ten thousands of people who set themselves against me round about. This is actually a verse, not a proverb to be exact. There is a difference that I don’t have time to get into here. What doesn’t seem to relate here are the images of hands sifting grains of white sand on a beach, people walking in an office building, chairs and walls being set in an auditorium and mountain/ country roads/ scenery. I understand—from the infromation my source gives me—these, like the other images have to do with different street protests, however these images are daytime images and

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thus have nothing to do with a moonlit city, puttering droning, or shooting stars. Plus the proverb of not bening afraid of multitudes is a wonderful quest of courage given by God in a time of great oppression, or great enemy pressure, however I don’t see how it can tie in to the concept behind the images, audio, or background.  

            In my next example I will bring up the presentation of the images, sound and how that ties into the background and title. In Flags Waving Over Capital Marsh scrolls a proverb about God knowing our names and that we will answer when He calls. Then the picture images show splices of a street protest on free speech. I guess if one wants to strain to tie that with the proverb they can say that God’s call is for us to have free speech and free will, but to be obedient to Him so therefore we answer when He calls. As I said that is a councious strain, though. Then there’s the background that completely throws the reader’s eye off base. The background has a sun with eyes as the clouds in a blue sky, shrubs with green life in a sort of mountain like tilt. I could maybe guess that represents God watching us from above and the shrubs represent us as God’s children. So therefore God answers when we call and He watches us from the sky. Then God wants us to have free speech thus the freedom to speak to Him how we see fit. Doesn’t that countradict the whole concept of us obeying God and us being His children? So therefore, if Marsh is trying to make a point of us being obedient to God and then trying to make a point of us having free speech the he needs to make the two relate with images showing God as our friend and us speeking freely to Him,yet being obedient. This poem and image combination is the clearest I’ve seen in aspect to presentation and organization.

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            My final example will be Fog At Sunrise. This is supposed to be related to the sea and how God will bring His people back from the depths of the sea—as the proverb states. Then the metasllic bright background colore are of a city at sunset, facing the ocean. The proverb scrolls in its frame over a brridge, or perhaps a raft over the sea. The picture images are directly above it. This is where the organization gets ugly. These pictures are of produce in a market, british soldiers and various othe museus like displays that have nothing to do with people being rescused out from the depths of the sea. Even if one looks at this poem syboloically the images show no relation to the concept of the text, or the background visual. Then there is a foghorn chime like audio that sounds remotely like a boat over the sea. I guess this was meant to get the reader in a frame of mind thinking of the ocean and a peaceful ride over the water.  

            In conclusion, The way Bill Marsh tries to combine image with poetry and audio is sloppy in organization and presentation. Although he does show signs of a potentially good combination in one of the poems the others seem to be random in the audio, image and/ or background selection. The titles, except for one, are unrelated to at least one piece of each canvas. That is really hard to get over when trying to look at the meaning behind each poem. I know that the images taken were supposed to be from street protests and the proverbs were supposed to be biblical. That is an exciting start. Being random is okay, but it still has to make since, or it is not random, just confusing. Furthermore, the backgrounds in this series seemed to be made for show rather than for symbolism. Then again in some of thepieces I see a symbolism in how the background ties into the titles and the poems. Still, some parts don’t make since, or connection. Therefore the writer needed to pay more attention to his organization. The messege has to tie together in all aspects, visual, audio and text, in order to be of any good use to a visual

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reader. Another thing I wish to state is that the viewing portals make the text hard to see and thus is very distracting to the reader. Also the audio choice in many of the poems do not relate to the true concepts behind the texts and thereore are illrelevent. Change the audio, some of the images and the titles and this work would be better off.

Revision Essay

Yakin 1

Kimberly Yakin

December 17, 2009

English 3150

DeVries

Epic Fantasy as a game, or Phenomonon

Epic fantasy is tied directly into the theory of phenomenology in three different ways. One way is through the writer’s perspective and consciousness. this with phenomenology  being, ” the study of structures of counciousness as expirenced from the first person point of view. The central structure of an expirence is its intentionality, its being directed toward something, as it is an expirence of or about some object. An expirence is directed toward an object…” (Standford 1).  The writer has to lay aside reality and start with the clean white canvas of thought. THEIR OWN THOUGHT. Thus painting a picture of a world not related to our own. Of course not just any writer whom knocks at the door of ‘Efland’ may enter. Only the writers who know how to come out of work in the real and dive into work in the surreal can pass from merely the child’s game of “let’s play dragons” to the author’s play of “Let’s write a work of fantasy that will blow the minds of the dream world.”  Another point is that epic fantasy cannot be modernized with any touch of physical reality. Instead it must be presented as the game within the writer’s mind. Just as the theory of phenomenology states one must slip into the counciousness of first person. Just as Tolkien uses a mythical world in his novels so an epic fantasy writer should take after. Another point is that the reader should be able to go through this same process, or a similar ordeal when reading a piece of epic fantasy. Thus the writer must have a vivid mental picture of her own personal Elfand, middle earth, whatever it is called. It is the essence and life blood of epic fantasy. Tis shall also be the back bone behind phenomenology.

  First of all Iwish to propose to research the theory of phenomenology– in the aspect of fantasy playing into human enjoyment and imminence in text – the impact fantasy has on the mind of the writer as well as the mind of the reader.  What is phenomenology? In the aspect of what does it mean to me.  This means to me basically the writer puts thoughts into the form of what is purely in their mind. In Epic Fantasy, a writer can use a whole world that is not  thought of by others, but is purely in their own view. Thus using phenomenology in the aspect of taking the conscious thought in their heads and transforming it to their first person view. This is still the writer’s mind, but in a mythical way that makes Fantasy seem real. That is the Epic Fantasy phenomenology.  What is going through the mind of  readers and writers when they read/write an Epic Fantasy? Why do we care about this? How does this tie into phenomonology? My jondra focus– Hi fantasy or Epic fantasy in particular. In my research, I will be covering a few of the great fantasy writers of our times. This quest will commence in order to give one a good look at what goes on in the view of a great fantasy writer. How could a writer use phenomonology to write the plot from a first person view of Epic Fantasy? How is that intresting to the reader? My mission is to give one a look into the mystical, magical and vast world of how the dream and fiction realm is used and how a first person world of surrealism could be a healthy form of escapism for the reader as well as the writer.

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What world is the fantasy world in the author’s mind? This is a step a writer must take in order to better understand the concept of using phenomonology theory to compose a work of Epic Fantasy.  It is the first person point of view in whatever world the writer thinks of. It is a stream of counciousness within the mind that sometimes ties into the way a story is written. The best way to look at a supported answer for that question would be to look at one of the best authors in modern fantasy—Ursula K Leguin. In her novel, The Language of the Night Leguin writes an essay called; From Efland to Poughkeepsie. In the essay she proceeds to compare where a fantasy writer goes from ‘Efland’—in other words the fantasy world to ‘Poughkeepsie’—the real world. She argues basically that a fantasy writer has to be very connected with the Elfland of their writing. This Elfland must be the mythical world within the author’s councious thought pattern. The basis of her argument “A great many people want to go there (Efland), without knowing what it is they’re really looking for, driven by a vague hunger for something real.” (Leguin 78-79)  A good fantasy writer has to know what they are doing and has to have a good descriptive form, but they don’t necessarily have to be naturals at epic fantasy. Having said that—an epic fantasy writer has to also know how to navigate not in the real realm, however to navigate in their realm of mind as well. Enter the theory of phenomenology…

To navigate a plot in ‘Efland’, or the surreal realm one has to depart from the ‘intended’ reality’ and go into their own form of reality. Thus the theory of phenomenology plays in. In order for a writer to compose a good work of fantasy they must follow their own conscious form(s) of Efland. The writer has to not completely throw away reality within their own mind, however while they write they must make it seem like a world totally different than their own. On the side of the reader– if someone reads a work of fantasy then one must not have to feel like they are escaping to a place that brings them a rest from the detritus of the real world, but yet still seems plausable or as Leguin calls it ‘Elfland’. The reader has to be able to feel like they actually have a connection to the world of the writer’s consciousness —Efland. Another name

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for this would be Middle Earth. This world is not our world, but a world which has come from the conscious path of a writer of epic fantasy.

                        The author J.R.R Tolkien is one example of a modern epic fantasy writer who takes ideas from his mind based on certain interests of his and develops them into a whole series of novels. He invents his own world with its own individual places. It is “a process he described as Mythopoeia.” (Wikipedia 1). Mythopoeia is the process of creating myths. A Myth is a traditional story created about something supernatural, or somebody, or something that is fictitious, but is widely believed in. Just as in the theory of phenomenology where the writer can create a world folloowing their own stream of counciousness, Tolkien is creating a world that is not within the realm of real, but within the realm of myth, or his own thoughts. In his Lord of the Rings series this is widely seen.  You can see it when Tolkien begins the story which, “Ranges across middle- earth following hobbit land not unlike the English countryside.” (Wikipedia 1). He crosses into the myth realm with a thought up nonexistent yet active and sincible new world. Middle- earth is the gateway to his thought up mythical world.  So he is basically taking a consciousness that is within his mind and is a widely supported adventure of many readers as well. This is the sign of a phenomenal epic fantasy writer.

                        So phenomenology ties into epic fantasy in the way the writer can use their mind to go into a world all on their own. This clears the playing field so to speak. It makes a writer better able to think of things not just on a factual level, however on a level that they can make up their own facts and rules. Their own mind can be freer. They can create their own myth. Just as a child makes up their own rules when playing a game. Myth and the

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mythical world is a part of epic fantasy. This not to be used in a sloppy way, but as a way to appeal to the interest of the reader as well as the writer. Leguin covers this topic in her own argument so to speak. She states, “To refuse to be fooled; to refuse to permit commercial exploitation of the holy ground of myth” (Leguin 92) In other words a writer should not be satisfied with only a half measured work of real mixed with fantasy, but a pure work that is a transformation of their invention. It is as a video game, or a really good movie should be. Not only should a writer be able to create a good myth from their own thoughts, however they should be able to create a good myth that can be believable and appealing to the reader as well. This means to be detailed in their description and wording. Meaning they must be fully connected with their consciousnes first person. Thus it is tying into phenomenology.

Fantasy does not have to be modernized or over detailed to be a good piece of work. Still there is the whole aspect of being able to describe to the reader a place where maybe they’ve never been. For that aspect yes– one does have to be detailed yet to the point in their descriptions. Still I would say I’ve learned that literature is not something to be merely read and understood, but is something that a writer and reader must feel as well. This happened especially when I researched the epic fantasy jondra. So basically the epic fantasy writer must feel their work in a way that when it is read many readers will also feel it– in the heart, mind, body and soul. They must almost become the myth that connects in order to write the myth.

An example of this argument would be the example that Leguin uses in the book The Language of the Night. In her essay From Efland to Poughkeepsie Leguin makes the point quite well by stating that when one is in Efland they “are not at home there”. (Leguin 79). Rather the author and in a way the reader is playing a pretend game like a child. So she is basically saying

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that part of Fantasy is the game of escapism. This escaping, or mental play ties into the writer’s ability in epic fantasy to be able to create a good myth. In order to create a myth of high quality the writer must first begin by asking— what ‘game’ should I play today? Do I want a sad game, a happy game? Romantic? Action? A little of all of the above? Neither? After the writer goes from that question to the answer to that question then they are ready to begin an epic fantasy. The game has happiness, love, hate, sadness, good and evil. Thus making it an excitment to the reader as well. So thus proving how writing an epic fantasy uses the theory of phenomenology and vice versa. The writer is making their own conscious world just as a child would make their own play land– as if they were living the adventure from a first person view.  This world is not directly connected to reality because it is not real world. It is a fantasy, a myth a phenomenon.  You as the writer make up the rules.

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            Another example of how Phenomenology can tie into epic fantasy is that certain way epic fantasy like other types of fantasy has an uncanny ability to take a reader in between the dream and fiction realms and make them see both as one. Tolkien and Leguin both address this example in their pieces. Tolkien has a middle earth that is very detailed, however seems nothing like a dream, but nothing like a mere fiction ordinary world. The origins of these worlds are even fiction. The characters in these works sometimes even don’t know where their equipment came from. This is stated clearly in Wikipedia regarding Lord of the Rings where the novel begins in the Shire. The ring inheritance scene is summarized in one sentence. “Froddo Baggins inherits the ring from Bilbo; both are unaware of its origins.” (Wikipedia 2). The fantasy is an account not known to reality as purely fact. That is because fiction is not fact. It is an account from someone’s mind. The author may choose to base it on fact, but that doesn’t change fiction to fact. A good fantasy writer is one who is able to capture their reader by using descriptive, yet non-

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vulgar language to express a surreal place that seems oh so real. Now that the author has found a way to express their consciousness on to paper, they can now present their new world ‘game’ to the readers in an interesting way.  

The description can also play in to how readers see a plot as well–this brings me to my next point. How does epic fantasy play into the enjoyment of the human mind? How does this play into phenomenology? Just like the theory states, the reader just like the writer can have the privilege to escape into a realm of some other, non real consciousness. Most avid readers of fantasy seek this type of work as a form of escapism in their own ways. It is either considered an escape, an adventure, or both. When I read fantasy I always look for the escape into a world of mystical adventure.  As Leguin again puts it this world is “not anti-rational, but para- rational; not realistic, but surrealistic, superrealistic, a heightening of reality.” (Leguin 79).  So when I read epic fantasy I am looking for that high, the surreal, and the magical yet somewhat semi- rational dream- like atmosphere. That is how epic fantasy can play into the enjoyment of the human mind. So the reader has a similar mental experience as an epic fantasy writer would have in the aspect that both parties experience the escape into a dream world—“Elfland”.

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So? What have we learned? Phenomonology can tie into epic fantasy by the way the writer goes through the process of going through their own stream of counciousness. Thus putting it down in the form of a well described written world that is written in such a way that it convinces the reader that that world may very well be real. This would make a book, or novel in Epic fantasy very exciting and relaxing yet energetic for reading purposes. Yet it is from the writer’s own thought layed out for the purpose of presenting a story plot as a way for a reader to escape from ordnary into the plausable extraordinary. This is because High Fantasy is immaginary yet somewhat plausable. The writer starts with the blank canvas and paints a vivid eye popping picture for the reader. This being the phenomonon of a middle- earth that is somewhat like our own, yet different enough to spark one’s interested curiosity. The stories have plot like a children’s game where it is the good versus evil and the hero’s journey, like in the Lord of The Rings series, that makes it adventurous enough for the action and visual minded reader to be attracted. Thus touching the reader’s counciousness. I do understand that tghye text examples in this argument make a lot of broad generalizations, however I believe that both authors agree on one thing, Fantasy and Epic Fantasy can only be written when the writer follows their own stream of surreal yet sensible counciousness. Just like the theory of phenomonology states– from a first person point of view. That is how phenomonology can be used when writing and sometimes when reading an epic fantasy.

Works Cited

Leguin, Ursula K. The Language of The Night, From Elfland to Poughkeepsie. pp 78-92. 1993.

Standford Encyclopedia of Philosophy. Phenomonology. pp 1-2. <http://plato.stanford.edu/search/searcher.py?query=phenomonology&gt;

Wikipedia. The Lord of the Rings. 29 November, 2009. http://en.wikipedia.org/wiki/The_Lord_of_the_Rings

Submitted on 2009/12/08 at 9:24pm

Kim,

I’m glad you are revising this essay. I agree with you that phenomenology is a good approach for High Fantasy (note “high” is spelled out). But as you are discussing it here, your argument is quite difficult to follow. You need to first clarify why High or Epic Fantasy benefit from this approach. You seem to be trying to say that this genre aims to explore experiences that are based in imagination, thus they can’t really be explored in other ways. And then Tolkien and Leguin are used as examples not just of the fiction, but of the authorial intent behind the fiction. Yes? If so, you need to edit the introduction to make this clearer. If not, well, then of course you need to edit to make clear whatever your thesis is.

Next, the Stanford Encyclopedia of Philosophy (partially) defines Phenomenology as follows:

“Basically, phenomenology studies the structure of various types of experience ranging from perception, thought, memory, imagination, emotion, desire, and volition to bodily awareness, embodied action, and social activity, including linguistic activity. The structure of these forms of experience typically involves what Husserl called “intentionality”, that is, the directedness of experience toward things in the world, the property of consciousness that it is a consciousness of or about something. According to classical Husserlian phenomenology, our experience is directed toward — represents or “intends” — things only through particular concepts, thoughts, ideas, images, etc. These make up the meaning or content of a given experience, and are distinct from the things they present or mean.”

Your discussion of how High Fantasy serves this exploration is hard to follow because you don’t offer and analyze concrete textual examples from either Tolkien’s or Leguin’s fiction. You need to show us through textual examples how this works. Just telling us in vague and abstract terms about how High Fantasy might resemble a game of “Let’s Pretend” doesn’t really help readers understand your argument.

Your discussion becomes clearer on pages 5-7, though it’s still very abstract. You might want to start with that section (after an introduction) on the ways High Fantasy connects to Phenomenology and then offer more detailed textual examples.

Once you have clarified your discussion, please proofread carefully. This version has many sentence fragments and you have misspelled “Elfland” throughout the whole piece. Also check whether “Frodo Baggins” is really mispelled as “Froddo Biggins” in Wikipedia. I’d be surprised, but if so, that particular article is probably not a reliable source. Also, why not cite the actual story for proof of Frodo’s and Bilbo’s ignorance?

I realize this is quite a lot, and the need for a lengthy response is in part what has delayed it. (Along with a lengthy power/network outage).

I am happy to email about this more, to speak with you about it on Thursday, and I will consider an extension.

Regards,

Kim De Vries

revision essay focus

I plan on revising my theory essay. In this revision I plan to be more focused on what I’m going to write about in regards to making a clear thesis rather than merely a proposal. Still I don’t want to seem too agressive, or anything like that. I also want to be a little less scattered in my examples and more in order.

Theory essay

Yakin 1

Kimberly Yakin

December 1, 2009

English 3150

DeVries

A Journey through Fantasy

            I propose to research the theory of phenomenology– in the aspect of fantasy playing into human enjoyment and imminence in text – the impact fantasy has on the mind of the writer as well as the mind of the reader.  What is phenomenology? Phenomenology is “a science of pure phenomena” (Eagleton 48). This means basically putting thoughts into the form of what is purely in our mind. In Epic Fantasy, a writer can use a whole world that is not consciously thought of by others, but is purely in their own minds. Thus using phenomenology in the aspect of taking the conscious thought in their heads and transforming it into a place that when read can seem so real. That is the Epic Fantasy phenomenology.  What is going through the minds of a plot when it is taken out of our real world and placed into an alternate reality? My focus– Hi fantasy or Epic fantasy in particular. In my research, I will be covering a few of the great fantasy writers of our times. This quest will commence in order to give one a good look at what goes through the reality of non reality. How would phenomenology be used in epic fantasy by a writer? My mission is to give one a look into the mystical, magical and vast world of how the dream and fiction realm is used. My argument is that epic fantasy is tied directly into the theory of phenomenology.

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How does one go from the real world into a fantasy world? The best way to look at the answer to that question would be to look at one of the best authors in modern fantasy—Ursula K Leguin. In her novel, The Language of the Night Leguin writes an essay called; From Efland to Poughkeepsie. In the essay she proceeds to compare where a fantasy writer goes from ‘Efland’—in other words the fantasy world to ‘Poughkeepsie’—the real world. She argues basically that a fantasy writer has to be very connected with the setting and form of their writing. The basis of her argument “A great many people want to go there (Efland), without knowing what it is they’re really looking for, driven by a vague hunger for something real.” (Leguin 78-79) I agree with what she claims. A good fantasy writer has to know what they are doing and has to have a good descriptive form, but they don’t necessarily have to be naturals at epic fantasy. Having said that—an epic fantasy writer has to also know how to navigate not in the real realm, however to navigate in the surreal realm. Enter the theory of phenomenology…

To navigate a plot in ‘Efland’, or the surreal realm one has to depart from the ‘intended’ reality’ and go into their own form of reality. Thus the theory of phenomenology plays in. In order for a writer to compose a good work of fantasy they must be into their own conscious form(s) of Efland. The writer has to throw away reality within their own mind while they write about a world totally different than their own. On the side of the reader– if someone reads a work of fantasy then one must not have to feel like they are merely visiting a place, but are still in the real world, or as Leguin calls it ‘Poughkeepsie’. The reader has to be able to feel like they actually have a connection to the world of the writer’s consciousness —Efland. Another name

Yakin 3

for this would be Middle Earth. This world is not our world, but a world which has come from the consciousness of a writer of epic fantasy.

                        The author J.R.R Tolkien is one example of a modern epic fantasy writer who takes ideas from his mind based on certain interests of his and develops them into a whole series of novels. He invents his own world with its own individual places. It is “a process he described as Mythopoeia.” (Wikipedia 1). Mythopoeia is the process of creating myths. A Myth is a traditional story created about something supernatural, or somebody, or something that is fictitious, but is widely believed in. Just as in the theory of phenomenology, Tolkien is creating a world that is not within the realm of real, but within the realm of myth. In his Lord of the Rings series this is widely seen.  You can see it when Tolkien begins the story which, “Ranges across middle- earth following hobbit land not unlike the English countryside.” (Wikipedia 1). He crosses into the myth realm with a thought up nonexistent yet exciting new world. Middle- earth is the gateway to his conscious mythical world. Tolkien journeys through and is even able to tie a little of his real world interest into the plot as well.  So he is basically taking a consciousness that is within his mind and is widely supported by many readers as well. This is the sign of a phenomenal epic fantasy writer.

                        So phenomenology ties into epic fantasy in the way the writer can use their mind to go into a world all on their own. This clears the playing field so to speak. It makes a writer better able to think of things not on a factual level, however on a level that they can make up their own facts and rules. Their own mind can be freer. They can create their own myth. Myth and the

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mythical world is the real world of epic fantasy. Leguin covers this topic in her own argument so to speak. She states, “To refuse to be fooled; to refuse to permit commercial exploitation of the holy ground of myth” (Leguin 92) In other words a writer should not be satisfied with only a half measured work of real mixed with fantasy, but a pure work that is transformed by their own playing field. It is as a video game, or a really good movie should be. Not only should a writer be able to create a good myth from their own thoughts, however they should be able to create a good myth that can be believable to the reader in a since as well. This means to be detailed in their thoughts. Meaning they must be fully connected with their consciousness. Thus it is tying into phenomenology.

Fantasy does not have to be modernized or over detailed to be a good piece of work. Still there is the whole aspect of being able to describe to the reader a place where maybe they’ve never been. For that aspect yes– one does have to be detailed yet to the point in their descriptions. Still I would say I’ve learned that literature is not something to be merely read and understood, but is something that as a writer must be felt as well. This happened especially when I researched the epic fantasy jondra. So basically the epic fantasy writer must feel their work in a way that when it is read many readers will also feel it– in the heart, mind, body and soul. They must almost become the myth in order to write the myth.

An example of this argument would be the example that Leguin uses in the book The Language of the Night. In her essay From Efland to Poughkeepsie Leguin makes the point quite well by stating that when one is in Efland they “are not at home there”. (Leguin 79). Rather the author and in a way the reader is playing a pretend game like a child. So she is basically saying

Yakin 5

that part of Fantasy is the game of escapism. This escaping, or mental play ties into the writer’s ability in epic fantasy to be able to create a good myth. In order to create a myth of high quality the writer must first begin by asking— what ‘game’ should I play today? Do I want a sad game, a happy game? Romantic? Action? A little of all of the above? Neither? After the writer goes from that question to the answer to that question then they are ready to begin an epic fantasy. So thus proving how writing an epic fantasy needs the theory of phenomenology and vice versa. The writer is making their own conscious world just as a child would make their own play land.  This world is not directly connected to reality because it is not reality. It is a fantasy, a myth a phenomenon.  It is just like clearing that playing field to a clean white canvas. You as the writer make up the rules.

            Another example of how Phenomenology can tie into epic fantasy is that certain way epic fantasy like other types of fantasy has an uncanny ability to take a reader in between the dream and fiction realms and make them see both as one. Tolkien and Leguin both address this example in their pieces. Tolkien has a middle earth that is very detailed, however seems nothing like a dream, but nothing like a mere fiction ordinary world. The origins of these worlds are even fiction. The characters in these works sometimes even don’t know where their equipment came from. This is stated clearly in Wikipedia regarding Lord of the Rings where the novel begins in the Shire, a made up place. The ring inheritance scene is summarized in one sentence. “Froddo Biggins inherits the ring from Bilbo; both are unaware of its origins.” (Wikipedia 2). The fantasy is an account not known to reality as purely fact. That is because fiction is not fact. It is an account from someone’s mind. The author may choose to base it on fact, but that doesn’t change fiction to fact. A good fantasy writer’s able to show their reader by using descriptive, yet non-

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vulgar language. Now that the author has found a way to express their consciousness on to paper, they can now present their new world ‘game’ to the readers.  

The description can also play in to how readers see a plot as well–this brings me to my next point. How does epic fantasy play into the enjoyment of the human mind? How does this play into phenomenology? Just like the theory states, the reader just like the writer can have the privilege to escape into a realm of some other, non real consciousness. Most avid readers of fantasy seek this type of work as a form of escapism in their own ways. It is either considered an escape, an adventure, or both. When I read fantasy I always look for the escape into a world of mystical adventure.  As Leguin again puts it this world is “not anti-rational, but para- rational; not realistic, but surrealistic, superrealistic, a heightening of reality.” (Leguin 79).  So when I read epic fantasy I am looking for that high, the surreal, and the magical yet somewhat semi- rational dream- like atmosphere. That is how epic fantasy can play into the enjoyment of the human mind. So the reader has a similar mental experience as an epic fantasy writer would have in the aspect that both parties experience the escape into a dream world—“Efland”.

In conclusion—to tie it all together—epic fantasy is tied directly into the theory of phenomenology in three different ways. One way is through the writer’s perspective and consciousness. The writer has to lay aside reality and start with the clean white canvas of thought. Thus painting a picture of a world not related to our own. Of course not just any writer whom knocks at the door of ‘Efland’ may enter. Only the writers who know how to come out of work in the real and dive into work in the surreal can pass from merely the child’s game of “let’s play dragons” to the author’s play of “Let’s write a work of fantasy that will blow the minds of

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the dream world.”  Another point is that epic fantasy cannot be modernized with any touch of physical reality. Instead it must be presented as the game within the writer’s mind. Just as the theory of phenomenology states one must slip into the mythical. Just as Tolkien uses a mythical world in his novels so an epic fantasy writer should take after. Another point is that the reader should be able to go through this same process, or a similar ordeal when reading a piece of epic fantasy. Thus the writer must have a vivid mental picture of her own personal Efland, middle earth, whatever it is called. It is the essence and life blood of epic fantasy. Tis shall also be the back bone behind phenomenology.

Works Cited

Leguin, Ursula K. The Language of The Night, From Elfland to Poughkeepsie. pp 78-92. 1993.

Eagleton, Terry.Introduction to Literary Theory. P. 48-49.

Wikipedia. The Lord of the Rings. 29 November, 2009. http://en.wikipedia.org/wiki/The_Lord_of_the_Rings

What is literature? Semester …

I look at my first blog and I still pretty much agree that literature does not have to be prophane, or all vulgar to be a good piece of work. Still there is the whole aspect of being able to describe to the reader a place where maybe they’ve never been. for that aspect yes– one does have to be detailed, non preachy, yet from the heart in their discriptions. still I would say I’ve learned that literature is not something to be merely read and understood, but is something that as a writer, must be felt as well. This happened especially when I researched the epic fantasy jondra. ( I still have a little spelling issue) So basically I’ve learned that the writer must feel their work in a way that when it is read many readers will also feel it. in the heart, mind, body and soul.

literature is… more than a form of words made of ink and paper. It is a media used by writers as a way of escape, yet counciousness. Used as a way of thought and idea on paper. Literature is truely more than meets the eye. I feel very privelaged to have taken this class and have learned a great deal from the works we have read and done. I hope to learn more in future classes.

In terms of studieng literature, this class has motivated me to be a little more focused when it comes to the way I anaylize literature. Rather than generalising and just giving random cycles of scnarios I’m beginning to see just what to look for when anylizing work that someone else has done. Thus I am motivated to further presue writing and any type of class that is opened up for me in terms of writing andanylization of writings. As an upcoming writer, I am open to soaking up good and fruitful ideas from other literature works in order to expand my writing vocabulary and my writing mind a little more.  To further expand upon my God sent gift as a writer– that is why I am here.

the author of Mossolonghi was trying to take an excerpt of a fantacy it seems. Of a dream that this English man Lord Byron, had regarding a war and someone’s death. the death of Lord Byron. He goes into some detail of a war camp being set up. Lord Byron finding a ‘creature’ — the “Last of his kind”… I think this may have meant that the creature was considered to be some sort of a legend, or a hero perhaps. Perhaps it was of the Lady Byron conspiracy and how it affected Lord Byron’s life expirence. whatever it may have been it caused the tragic death of a poet’s relationship. In the intense, dramatic touch of England in the Victorian era, he  draws us a visual of perhaps the pain he lives with in this culture. Then he details about meeting this devine creature. the creature starting out trapped.

The creature was described as a sort of mythological character. Its height and speech suggests that it is a young one. perhaps depicting Lord byron’s poetic mind– young at heart yet vital and passionate.