The impulse to keep to yourself what you have learned is not only shameful, it is destructive.
Anything you do not give freely and abundantly becomes lost to you.
A lot of people feel that you have to write for a specific existing audience, but the way that feels more promising to me, and the way I go into writing things, is writing for a potential audience. People you hope exist, as opposed to placating the people that you know exist.
Wondering if we could not use language to describe worlds. Cause worlds don’t feel like they can be bottled up into a succinct narrative. They’re expansive environments. You need a whole book to paint a world.
So instead of trying to use words to describe materials that make up a world, we would use the textures that make up the materials. Sounds, sights, smells, feels, tastes. They can still have a name that’s a pointer to it all, like “Earth”.
Sounds: Music, Tools in use, Animals, Weather
Sights: Objects in a certain quantity, Habiliment, Lighting
Smells: Seasons and Activities may change aromas
Feels: What things are we touching and why
Tastes: Cuisine (also taste is defined by smells too right?)
Are worldbuilders fictional phenomenologists?
Now curious about the difference between cultures and worlds. My flight’s taking off now. Into the clouds I go. Oh! Last thing — what may be truly universal are the base metaphors of up and down (from gravity). E.g. the Ground and the Sky.
I also write even when the knowledge I have to share openly defies academic translation, not just because our Indigenous tongues have been, largely, taken from us with the imposition of Spanish first, and English second, but because it is sacred knowledge, unable to be fully known or understood under the current paradigms that dominate our fields and the intellectual spaces we produce knowledge from. So there may be some things here that will be messy, unexplainable, unverifiable, unscientific, unable to be categorized-and that is part of the message. Attempting to know everything is a colonial epistemology in which I refuse to be complicit.
“I don’t really believe in writing as catharsis, but so much of it for me is trying to make sense of why I’m drawn to things. I love overthinking what turns me on.”