There was a great discussion of his new novel on locklisted last week- some lovely clips about his writing process which is to just kind of let it happen. He also said he doesn’t make anything up which I also liked.Garner didn’t choose the shaman life, the shaman life chose him - kept choosing him, bodging into his reality, insisting on being given an audience. Writing novels has just about kept him sane, albeit not always (there have been some colossal breakdowns). Someone said he’s the kind of person who, you go out for a walk with them, and you pass an old natural well or something, and he’ll put his hand in the water and pull out a stone-age axe head that’s been there since 5000BC, and that’s just the kind of thing that happens to him on the regular.
Claude Monet’s The Japanese Bridge, made with oil paints on canvas around 1925, depicts the titular bridge and its surrounding environment. Monet uses this familiar view as a frame of reference, drawing from it to create a highly painterly rather than linear work. He dispenses with most forms of naturalistic detail: objects are not neatly contained by linear contours, color placement and hue does not seem to correspond with what we might expect to see in nature, and, three-dimensional space is only vaguely evoked. Monet instead focuses on heightening the experience of certain qualities of the landscape: vivid textures are created with unblended brushstrokes; nuance in color and interplay of light and dark is created by variation in value and hue; and a heightened awareness of both those qualities is created by the painting’s compositional qualities. Monet seems to place little significance on communicating the particulars of his chosen landscape to the viewer--rather, he uses it as a framework through which to immerse the viewer in subtleties of light and color that are not intended to copy the natural world, but draw their inspiration from it.I didnt intend it as a conversation stopper. I was hoping someone might come to its defense