Kossara and her companions stand on a ledge outside a cave near Salmenbrok (scroll down):
cliffs and crags are dark and solid;
a red sun in a purple sky pinkens gnarled trees and snow streaks;
the strong, cold wind smells and tastes metallic;
a white and green cataract booms;
Diomedean gravity is stronger than Dennitzan.
Kossara sees, feels, smells, tastes and hears. Then Eonan of the Lannachska speaks in accented Anglic. Imagine a narrative passage that bypassed the sensory inputs, beginning with Eonan's dialogue. Fortunately, Poul Anderson did not write like that.
4 comments:
Kaor, Paul!
I agree with you in taking pleasure in how much detail Anderson puts into his texts, like this use of the senses. Unfortunately, not all readers like this kind of writing: I have seen complaints from readers of both Anderson and Tolkien grumbling about all the DETAIL these writers put into their stories. With some griping about how much poetry Tolkien put into these stories. Some grumblers want only wham bang non stop action and adventure. Not carefully described backgrounds and philosophic reflections. I like it that these writers gave us both action and THOUGHT.
Ad astra! Sean
That’s where prose has an advantage over visual media - the skilled writer can use the reader’s sensory memories and imagination.
Until we get "sensies"/multi-sensory media?
Kaor, Mr. Stirling and Paul!
Mr. Stirling: Unfortunately, we live in, to say the least, times where many people are impatient with the kind of careful, thoughtful writing being talked about. The kind of leisurely writing exemplified by Dickens and Trollope would have a very hard time getting published at all today.
Paul: I suppose something like "sensies" will eventually be developed, but I don't think they will be good for culture and literature!
Ad astra! Sean
Post a Comment