A short story is analogous to the more structured form of Jazz - the ‘chamber’ Jazz. A novel manifests far greater freedom reminiscent of the Free Jazz form. A novel can continuously fork [and not necessarily reconcile each loose branch].
I’ll take that a step further, and extend the Jazz metaphor to language:
Words can be rearranged and abused to pleasing impact.
New word forms and new semantic patterns can be improvised.
Extract multiple meanings from structures of seemingly identical syntax.
Phrasings awkward to one ear can please another.
Cadence and rhythm can heavily vary between speakers.
Pauses and silence add extra dimension.
The same speaker can generate varying reaction across multiple listeners: pleased, indifferent, bored, perplexed, combative, hostile.
Likewise, a mundane phrase can be variably received, subject to body language, facial expression and vocal subtleties.
Literature (and poetry) can explore language to and beyond its limits, and literature is language.
A standard, that is some long established work of prose or poetry - an essay, a postulate, or a mere idea can be adapted across languages to extreme creative liberty and lend to a singular voice.
Ideas, though continuously recycled, give potential to limitless room for creative rearrangement.
You need not submerge in heavy theory to appreciate the essentials and even be versed in a language.
Every new generation sees the older criticise, if not disown the contemporary use of language.
- The language is dead.
- The language has long yielded to decay.
Questions, comments? Connect.