Notes on Process

Detail from one of my crappier paintings, oil on canvas, 30 x 30 in. (JMN 2020). It meant to be a goodnatured satire of a young woman’s delight in her semiautomatic, sprung from an anecdote told me by a woman from Houston who discharged an AR-15 on a tree. It toppled the tree! she said. Her face resembled the one I tried to paint. My painting never gelled. It’s just clumsy and garish.

When I indite a scrap of doggerel
I launch five iambs on a fancy verb.

So. Post launch, it’s a fight to go all pinche. Listen to the warm; daub raunch on the prissy; cut the crap into the shape of a shrug. It’s not jujitsu: if you can aggravate, allude, avoid adverbs, you can doggerel. Tone is paramount. Suffer for it. Verbiage is the rim of a stemmed glass. Fingering that edge will incite a harmonic. Blow on it. Tweeze gormless, lean hard on beat. Jive maybe, but be ready to eat it. Strew literary scat thin; stink, don’t reek. Speechy but tight; nasty nice — remember your target bleeds into the demographic you’re bombing.

Super-important: Fuck with the predictive abba-dabba of your machine (you know whoops I monkey — the suggestion mammal): kick the algae rooter in the proverbials. You’re in a world of herpes if it sees you combing.

On form factor, care less: break your lines hard, go light on punctuation. Lowercase, uppercase, who cares, i don’t. Sow doubt, sew sinew, so shall you rip. Semblance over substance except after essence spells cred. This above all: know nothing you invent will be original. Just go there.

(c) 2024 JMN — EthicalDative. All rights reserved

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About JMN

I live in Texas and devote much of my time to easel painting on an amateur basis. I stream a lot of music, mostly jazz, throughout the day. I like to read and memorize poetry.
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2 Responses to Notes on Process

  1. Lot’s there. Dense. I like it.

    Liked by 2 people

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