tink: that's true to a degree, although it is interesting you said that you are sick of academic writing, and I said that I kept reading the fucking stuff, like it would be some kind of key. it's always been a problem for me.
lina: i never stop reading it though - i get sick of it because it is so very demanding
tink: i find the idea of 'ficto-crit' troubling , because I fell the tug two ways, as if I ham not quite happy in a hybird place, and that makes me think i am somehow conservative - you know, i love a good story...
tink: hybird?
lina: that tension is what appeals to me ... although i can fully understand what you mean. there are some things that i read and it's easy to lose track of the train of thought, because the ficto or criticism part seems like a distraction
tink: - it is always exacting something, making a certain kind of demand, and as someone who is essentially outisde of that academic 'in' I fell that troubling sense that I am somehow disempowered, or disenfrachised.
tink: Re above - distraction - yes - I think the process for the writer is very useful - like making links, but it is not always successful for the reader. Do you agree?
lina: i think that's what makes this collaboration quite interesting. we both have quite different practices, the intersection is what's making the work - yes i do agree about the problems for the reader
tink: i always feel that i have to pass through the academic - and this can be good and bad. It can act like a filter, clarifying things, or it can be a completely 'uncreative' tack; one that makes you focus too much on outcomes, and not enough
lina: it's also hard in terms of defining the relationship between your own work and 'criticism' - just because your work can be addressed through postcolonial criticism, does that mean you have to carry responsibility for that in your work, does that mean you have to be conversant with it? how do you feel - i suppose i'm thinking about 'geography' - by the way joseph said to say hello ...
tink: (continued) on process - in 'Geography' the theory, if you like, was very close to the surface, but still I had to let go of the pedagogic. It was a collaboration too.
tink: We have converged!!!!
lina: hurrah!!
tink: Great moments think alike
lina: can you explain how you're using the work 'pedagogic' - do you mean in a prescriptive way?
lina: i mean word not work
tink: yes - since i have tried to enter the 'fiction' realms i have had to fight very hard against that sense of presription - in other words, in 'geography', say, to let go of meaning, allow ambiguity . Scary but great.
tink: - i think allowing your work to be framed - by theatre, whatever, by a director, is a very interesting process to experience.
lina: it bet it is - it's the process i'm trying to go through with some of my writing - to allow a space for ambiguity - to stop being didactic
tink: exactly - and I find it a real struggle, and again why i think some ficto dont work - it wants to have its cake and eat it too....
tink: A kind of paaive aggressive writing scenario!
tink: I mean passive aggressive
lina: one of the other things that interested me about that was that you called it a collaboration with the performer - was the director part of that as well ... yes the f/c thing poses many problems - maybe books and articles aren't the spaces for it - maybe it can only work in a space like this
tink: interesting!
lina: passive aggressive is a great way to describe it - it as an almost psychotic aspect to it - i love you but i really hate you
tink: the director was part of it in the second staging - the one you saw - but only to a degree. We had strong ideas