There are some writers—Neal Stephenson comes to mind—who treat words as if they were various colored crystals in the lens of a kaleidoscope; they throw them together, jumble them up, and bizarre, often beautiful, patterns emerge. You have to wonder—applying that word’s double meaning of awe and confusion—whether the message you have divined from the mystical pattern is one the author intended. Sometimes you doubt any true meaning is contained in the ornamental arrangement on the page, even as you stand in awe of the artistry.
While I believe a writer, in most cases, should use the simplest combination of words to achieve his desired outcome, I can’t deny the pleasure I sometimes derive from complexity. But if a sentence is constructed to maximize its lyricism, as opposed to its meaning, the writer risks confusing and losing the reader. If that’s the goal, you should write poetry. (No offense to poets intended .)
So, why take the risk? For one, I’d consider being called an artist whose canvas rests between the covers of a book as high praise indeed.
Today’s exercise … craft a lyrical sentence whose meaning is secondary to its beauty.
Plowed free by the tip of a pen, rough stones write the history of my run on the moldy carpet; hard testaments of a conquered trail soon swept out the cabin door and returned to the mountain from whence they came.