For me, the opportunity to write creatively ‘to spec’ has been broadening as well as limiting. The process of ‘translating’ my reaction to non-verbal works of art into text was more of an analytical exercise than I had anticipated, and the piece evolved into a rather arid dissection of emotional response. Incorporating all three art forms—video, music, and narrative—into a single story was a somewhat unwieldy task, and it also produced an unexpected outcome. I watched the film and listened to the music several times before writing anything. The story came quite suddenly after I had internalized the other works of art, and the result was more unconscious than deliberate.
To a certain extent, ‘my voice’ has been subsumed within a collective effort, which has been an uncomfortable as well as an enlightening position to occupy. As a creative writer, the failure of text-based language as a communicative medium is one of my primary interests. I am fascinated by how language so often forms a barrier between individuals or thwarts mutual understanding, complicating the notion of verbal or written communication as a means of connectivity. In many ways, my ‘translation’ is an exemplification of this issue: by no means was it possible for me to encompass all of my reactions to the other works within a story format. There weren’t always words available to describe how I felt, and, also, the result would have come closer to nonsense than to narrative structure. The story’s dialogue alludes to this problem just as much as it portrays conflict between characters. In many ways, auditory and visual media are worlds away from text, and it is not always possible or desirable to articulate a response to them through words.