In the choice and arrangement of words, one discover's their alchemy.
INTRODUCTION
It is perhaps best to stay with the term 'novel' in identifying The Confessor-Designate rather than encumber it with the more strictly defined catch-all of 'literary fiction'. It is a work of fiction that attempts in its conception and handling to give life to an imagined narrative. This and no more. It does not pretend to convey, as the dictionary definition has it, to have a marked style intended to create a particular emotional effect. This would appear to suggest a seamless style of a particular character that permeates the whole. One thinks of Dickens' Hard Times, Woolf's The Waves, Cormac McCarthy's masterful Border Trilogy, Blood Meridien, The Road, in fact, his entire opus (the list, of course, goes on) to be works of this nature. Whereas the language of The Confessor-Designate looks to make each connective moment alive and so, rewarding for the reader, without an abiding concern to render an overarching stylistic canopy. Should an idiosyncratic sensibility become apparent, well and good, and that may be an achievement of a serendipitous sort, but, it bears repeating, that the work's stylistic intention as far as there is one is to have each and every expression of the narrative's development enter the reader's inner eye in such a way as to immediately have the imagination willingly create (or recreate) what the words are particularly arranged to communicate, that is, nothing less than whatever it takes of the author's capacities, to breathe life into the aesthetic or, not to be presumptuous, the sensibility of the work. Simply put, the author views it as sufficient to have the novel 'work' in a manner no different than his lived experience of the world "works" for him.
It is perhaps best to stay with the term 'novel' in identifying The Confessor-Designate rather than encumber it with the more strictly defined catch-all of 'literary fiction'. It is a work of fiction that attempts in its conception and handling to give life to an imagined narrative. This and no more. It does not pretend to convey, as the dictionary definition has it, to have a marked style intended to create a particular emotional effect. This would appear to suggest a seamless style of a particular character that permeates the whole. One thinks of Dickens' Hard Times, Woolf's The Waves, Cormac McCarthy's masterful Border Trilogy, Blood Meridien, The Road, in fact, his entire opus (the list, of course, goes on) to be works of this nature. Whereas the language of The Confessor-Designate looks to make each connective moment alive and so, rewarding for the reader, without an abiding concern to render an overarching stylistic canopy. Should an idiosyncratic sensibility become apparent, well and good, and that may be an achievement of a serendipitous sort, but, it bears repeating, that the work's stylistic intention as far as there is one is to have each and every expression of the narrative's development enter the reader's inner eye in such a way as to immediately have the imagination willingly create (or recreate) what the words are particularly arranged to communicate, that is, nothing less than whatever it takes of the author's capacities, to breathe life into the aesthetic or, not to be presumptuous, the sensibility of the work. Simply put, the author views it as sufficient to have the novel 'work' in a manner no different than his lived experience of the world "works" for him.
