Mutation. Desperation. Des pairs.
A totem arises.
"Something Sir prizes, hm?
Could perhaps Sir be engendered an enticementiddle?"
... Standby ....
... .... ... .... ... ....
p()d, u()n, e()a, et cataro — Spins, Substratutions, Différance and Quantum Shifts
I've been too orderly, too (aca/epi)demicallly quotatious a babe,
And basically no one's responded, so maybe that's the wrong tack;
Allso overwhelming, sure, trying to bring all these pieces succinctly into view for your benefit
As swell as mein;
Sewwww hear, more made looser for you silent goosen:
Cedars, Eagles, Bears & Beavers;
Breezes, Dreams, Weels and Teens —
(Spring, allso, sounds an audible "ee")
On the very first pages, eee's and aaa's abound. Their sounds accustom.
And allso substitutions; wiggle and waggle; spin & twist; smile and frown.
Ruin sounds like rune; mutiny's an inversion of order, of hierarchy;
Swap and spin the runes to see more.
—Harms are arms with a dash assault, A Five Decade Blade swishes.
Winding Corridors hrrroan: —Defend a stray's hun. What's the differance?
All these books point at spans, snaps, snips, and spins.
Reversals and substratutions that don't just allso happen to work.
E and A is obvious; this is Derrida's différance write large,
e's where a's should be, and e's allso where a's are.
The era is aware they are.
The lower-cases, seriffed, are rotationally symmetrical!
e () a
ease a breeze
Ss, H, Oo, Zz, N, Xx are immune to that, but many other letters aren't.
p () d
u () n
e () a
m () w
[maw and mew?]
q () b (dependent on typeface)
r () j (maybe, maybe not)
t () f (not rotational, but flippantly)
y () h (Maybe.)
I and l might work for direct swaps. Might be considered immune to rotation.
Sam and Hailey are entirely composed of these letters:
sam () sew / wes (just letters / whole word)
hailey () yeilah / haliey (just letters / whole word )
Which implies perhaps that it's not just e and a that should swap, but any of these rotational letters.
Further, the fluidity may extend to other, noncanonical swaps, stitches or smushes.
Wheel/weel suggests that s and h are free to come and go. Eventually.
For order's bonds easily slipped.
And "seem" doesn't appear because there are no "seams," either;
No visible joins because everything that's joined is joined by space,
But is also completely contiguous;
Seams show where two things originally separate have been joined,
And in this World all things are allways connected.
We leave the seams to their tresses.
Most importantly, your judgment is
Required every time; not every e should be an a, nor
Every p, a d.
(P.S. (parenthetical script) DNE/DNA — and/end)
What about Creep? Creap, Craep and Craap give giggles, but no insight (yet),
But: Creed? A pronouncement, a statement of purpose?
Firmament among the shifting?
This indeed gives pause.
And what's the Latin origin of creed?
Credo. "I believe." A statement that aims and guides.
The o has been consubsumed. The tail's been turned, disguised.
And all their freedom's compromised.
But if Creep is Creed, he's still allso Creep;
And Wheels are Weals are Springs.
Multiple simultaneous correctness is essential.
The play in the space between is the thing.
Woo! I've warn myself out.
But one last!
What's the one word that's the same, regardless of a or e?
What's the one, pale word that saps and strains?
What word describes the glint-making spiders in Zampanò's hall?
What, besides his lashes, is the Man With No (H)Arms,
And the weepings he uncrates?
The tint of going naturals?
p()d – ducknerd’s reponse
While I can’t really respond well to personal usages of these impersonal symbols, let me just note here that I’ve always been a little curious as to why Danielewski didn’t play more with upside-down text. One huge paranoia-inducing opportunity is that were “snow” capitalized it would allow SNOWMONS (mound, mountain) which is just too damn perfect. (Of course I think Danielewski’s after bigger game than inducing psychedelia, but he certainly seems to enjoy making his symbolic spaces as densely interconnected as possible.) This seems like something he would have noticed; why he might have avoided it is totally unclear to me.
For rigor’s sake, I went quickly through the Spectrum font in which Sam and Hailey are set to look for symmetries; Danielewski’s interviews suggest that he was very font-conscious for OR, presumably in more than name, so symmetries that DO exist are presumably significant. I really don’t know my typography, so I’ve invented descriptive terms when needed—sorry. Lowercase d, b, p, and q are almost symmetrical, except the placement of line thickness on the circle differs between d&p and b&q, and the shape of the long-staff serif differs between b&d and p&q. u and n are rotationally symmetrical. Capital H, lower-case but NOT upper-case s, upper-and lower-case o, upper- and lower- x, and upper- and lower- z are rotationally symmetrical. Lower-case l, upper-case N, and again upper-case S are NOT symmetrical.
OK, that was pretty pointless.
Thanks for indulging and doing more pertinent, hands-on research, ducknerd! I didn’t even look at Spectrum specifically, silly me!
I think Danielewski is doing things with upside-down text (and every other direction), it’s just a lot subtler than… oh, wait. Every single page of Only Revolutions has “upside-down text” on it. :p
Which actually makes all of this a lot more “acceptable” to the skeptic; on every page, depending on where you are in the story, and how you’re holding the book, you’re seeing approximately half of the visible letters upside-down. That some of them might get jostled in the constant rotation is only logical.
In a certain way, I think that the Reader’s manipulation isn’t constrained by the rules of the text. Maybe, maybe, and it may turn out that all valuable substitutions just move around the particles which are already there. But, again, I think it’s about the spaces between, which aren’t confined by math and meter.
SNOW something doesn’t mean he didn’t think about it. The Concordance goes a long way toward suggesting that what “isn’t here” is actually really important; technically the contents of the Concordance are in the book, and what we actually have to look for is what’s not written anywhere inside, whether in the body, the endpapers, or anywhere else. More importantly, just because it’s not explicitly included doesn’t mean that it’s not relevant; in my personal estimation, the things we Readers are able to develop and mutate are potentially just as valuable as the original text.
Awfully serf-centered of me, I know.
And, as should be assumed at this point, everything in the text is at least as important as what might be omitted but stilll relevant. And vice versa. It’s not about “the answer” or “the secret,” it’s about what the entire system adds up to. Which is, I think, the point of House of Leaves, too, and why everybody still grinding away at that book by its lonesome, looking for bone keys and secret staircases, is bound to wind up right back where they started. Or allone somewhere in the dark, worse off than when they started. And, by extension, why so many die-hard HoLiers are so put off or nonplussed by OR. The suggestion that the pursuit of one magic component is fruitless, and symptomatic to boot.
I don’t mean to pick a fight. I mean to share the joy of discovery. And get those folks some vitamin D.
So, why did MZD avoid MONS? Maybe he wanted you to find it. And tell it to me and everybody else. And now every time I see the Mountain, or Snow, I’m going to think about MONS. And you have now mutated and, in my estimation, added to the experience of the book. Thanks.
I’m interested that you mention psychedelia; the Wikipedia article’s first paragraph defines that as
The term psychedelic is derived from the Greek words ψυχή (psyche, “soul”) and δηλοῦν (deloun, “to manifest”), translating to “mind-manifesting”. A psychedelic experience is characterized by the perception of aspects of one’s mind previously unknown, or by the creative exuberance of the mind liberated from its ostensibly ordinary fetters. Psychedelic states are an array of experiences elicited by various techniques, including sensory stimulation, sensory deprivation as well as by psychedelic substances. Such experiences include hallucinations, changes of perception, synesthesia, altered states of awareness, mystical states, and occasionally states resembling psychosis.
Which, actually, soul- or mind-manifesting might be exactly the terrain we’re navigating here. The creation of a film by way of reading; the creation of two “people” just by following the words they project while passing. Colors becoming letters becoming something else entirely.
The effects of their wave. I mean wake.
Do you see any other pertinent swaps in the text? What other upside-downs would you have included?
Somewhere in the middle I noted “Massaging our feet,” when twirled, becomes “Messaging our feat." Which I like.
Oh, and g’lord I forgot to mention (my notes are extensive and a real mess):
“wheel” swaps to “wheal” which becomes “weal,” the past tense of which is “Welt” which is the German for “World” (and also part of a shoe(!!!)) which comes back around to rhyming with “whirled” and WA-BAM that is awesome. Implicit rhyme and homophonymism is just as much a part of the play here.
[snip 'pd04' cannot be found]
[snip 'pd04' cannot be found]