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The fourth issue of Infinity’s Kitchen is about silence: overlooked wishes and people, forgotten music, fading ink. Writing is the best way to discuss silence. Along the way, as usual, we’re trying some different recipes for the way words are written on the page, because it can’t be done out loud.
A while ago, I published a list of generative writing exercises. They seem to be quite popular and so I submit to you, even more generative writing exercises. Do you know of any others? Let’s hear about them, in the comments!
Hidden within these texts are the instructions for making perfumes, and for advancing through the ascending levels of the brain puzzle game that they describe.
The fourth issue of Infinity’s Kitchen is about silence: overlooked wishes and people, forgotten music, fading ink. Writing is the best way to discuss silence. Along the way, as usual, we’re trying some different recipes for the way words are written on the page, because it can’t be done out loud.
A video poem by Norman Ball. “After all the reader can’t ‘pore over’ a video as he would a written poem. For one thing, it’s moving, like time itself, from past to present to future. Immediacy, an irrevocable element of the form, obliges a surface or tactile relevancy which, I would hasten to add, need not be superficial.”
“The Boss” by Jim Meirose is a short story, told in a manner that resembles thoughts under duress, or paranoia. It depicts an obsessive internal dialogue, although most of its imagery is circuitous, petty conversation.
The contrapuntal poem, a form created by Herbert Woodward Martin, can be read as a single poem or two related poems in their distinct columns. It can be read backwards as one or two poems, or in a circular pattern, both clockwise and counterclockwise.