Abebooks.com Discount
April 17: I subbed today for the third time this week, then attended a meeting of the tiny local writers' group I'm. Did a bit of marketing, too. Now I'm too worn out to knock out much of a blog. Will just mention and comment a little on a few of my recentest coinages. Two are "visiodenotational" and "visioconnotational." Only I would ever need such terms, it would appear. What I need them for (in my opinion) is to name two of the decks in poems, the one that visually represents things and the one containing the connotations evoked by the other deck. I need "visiophoric," too, for the deck in which graphics make equaphormations with verbal content. That's not a new coinage, though. "Audiophoric" is, though. Its meaning should be obvious. At this point, I don't think I need "audiodenotational" or "audioconnotational." I don't think anything sounds can denote is likely ever to be aesthetically important. Well, there is the sound of cannons going off in Tschaikowski's "1812 Overture" . . .
Non-verbal sounds could be important in a poem for establishing a tone, though, so maybe I need "audioconnotational," too. In which case I might as well keep "audiodenotational." I can divide my decks into major decks and minor decks to simplify things a little. I don't think I'll ever compose a poem that makes any intelligent use of smells, tastes or tactile feel, but Geof Huth has done tactile poems, and--knowing him--may have done odor and taste poems. They're certainly possible. I won't invent new terms to cover the decks involved, though, just go with "tactile," and "olfactory/gustatory" decks.
And, urp, I say unto you that I have also decreed that I will call the verbally denotative deck and the the verbally connotative deck simply the denotative and connotative decks, on the grounds that generally speaking what they denote and connote will be much more important than whatever any of the other denotative and connotative decks do.
To parallel the melodational deck, I propose a visimagistic deck. It will be devoted entirely to what a visual poem does as an arrangement of colors and shapes. No. A "visimagistic deck" would have to involve everything the poem does as a visual artwork. Ergo, I will have a "visiodesign deck." All the decks having anything to do with seeing except the visiophoric deck can be used in the analysis of visimagery.
By the way, I may never get back to the Robert Burns poem, in case anyone is wondering. I do hope eventually to, though. It interestingly by some miracle succeeds in a major way in spite of just escaping being doggerel.
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