This is the blog of Ian Rosales Casocot. Filipino writer. Sometime academic. Former backpacker. Twink bait. Hamster lover.
The Boy The Girl
The Rat The Rabbit
and the Last Magic Days
Chapbook, 2018
Republic of Carnage:
Three Horror Stories
For the Way We Live Now
Chapbook, 2018
Bamboo Girls:
Stories and Poems
From a Forgotten Life
Ateneo de Naga University Press, 2018
Don't Tell Anyone:
Literary Smut
With Shakira Andrea Sison
Pride Press / Anvil Publishing, 2017
Cupful of Anger,
Bottle Full of Smoke:
The Stories of
Jose V. Montebon Jr.
Silliman Writers Series, 2017
First Sight of Snow
and Other Stories
Encounters Chapbook Series
Et Al Books, 2014
Celebration: An Anthology to Commemorate the 50th Anniversary of the Silliman University National Writers Workshop
Sands and Coral, 2011-2013
Silliman University, 2013
Handulantaw: Celebrating 50 Years of Culture and the Arts in Silliman
Tao Foundation and Silliman University Cultural Affairs Committee, 2013
Inday Goes About Her Day
Locsin Books, 2012
Beautiful Accidents: Stories
University of the Philippines Press, 2011
Heartbreak & Magic: Stories of Fantasy and Horror
Anvil, 2011
Old Movies and Other Stories
National Commission for Culture
and the Arts, 2006
FutureShock Prose: An Anthology of Young Writers and New Literatures
Sands and Coral, 2003
Nominated for Best Anthology
2004 National Book Awards
But as Hallberg pointed out, context, not tradition, is what should decide or generate the style of any work of fiction. Paul West noted in his essay, "In Praise of Purple Prose," written around the heyday of minimalism in 1985, that the "minimalist vogue depends on the premise that only an almost invisible style can be sincere, honest, moving, sensitive and so forth, whereas prose that draws attention to itself by being revved up, ample, intense, incandescent or flamboyant turns its back on something almost holy — the human bond with ordinariness." This rationale, I dare say, misunderstands what art is and what art is meant to do. The essential work of art is to magnify the ordinary, to make that which is banal glorious through artistic exploration. Thus, fiction must be different from reportage; painting from photography. And this difference should be reflected in the language of the work — in its deliberate constructiveness, its measured adornment of thought, and in the arrangement of representative images, so that the fiction about a known world becomes an elevated vision of that world. That is, the language acts to give the "ordinary" the kind of artistic clarity that is the equivalence of special effects in film. While the special effect can be achieved by manipulating various aspects of the novel such as the structure, voice, setting, and others, the language is the most malleable of all of them. All these can hardly be achieved with sparse, strewn-down prose that mimics silence.
Labels: fiction, life, writers, writing