Illumination

 

The writing life requires great belief. Weather can be an obstacle. Weather may even be used as an excuse to avoid writing. Onset of rain makes walls damp. The writer must brave the elements in what they’re standing up in, if they are to find a clean dry surface. The primary interest, to make a significant contribution, overrides such concerns. Writing asks for application of thought. A writer works with whatever materials are to hand. Corrugations are a creative challenge for some, for others an intolerable hindrance to free expression. Weed-decorated brickwork does not offer the best field for a writer’s personal data. As we know, writing is a person’s signature, their gesture in language to an unknowing world. In this case, the writing generally is the signature alone, commonly initials or an original pseudonym rendered with such unique particularity as to be recognisable but to themselves and their fellow writers. They may gloat and laugh at their handiwork. Sentences are not encouraged in writing. Sentences take too long. Although sentences may turn into slogans or mottoes, they may also draw the uninvited readership of the constabulary. Writing need not go from left to right only. Every surface, large or small, may be entered from any direction and exited likewise. Writing upside down from the rooftop of a ten-storey building is not encouraged, nor can it be stopped. Such foolhardy enthusiasm in the name of a signature is not for everyone. Nor is writing for everyone. Some people prefer illumination. Here are some guidelines. The illuminator has a noble air. Maintaining this noble air is important, even when it gets tiring. Take an unlined book into high density areas for writing. Illumination is passive artform, affirmative action, research calligraphy, reader response. The illuminator finds an ideal window seat on public transport vehicles. They view the writing at a raised level. Complaints about weather conditions are obviated. Time is of the essence as writing rushes past at the whim of driver and traffic. This means choosing writing quickly as it hoves into sight. Note literally both the main flourishes and as many finer details as time permits. Practice makes perfect; the novice works best by training at tram stops and railway stations. Once the vehicle has moved on, the illuminator may fill in the writing with colour, rounding the arcs and thickening the strokes. Al fresco is always available, nevertheless. Illuminators enter back lanes with sharpie pen and drawing book. Some of the most meticulous writing is there for illumination. Critics rubbish this work as ‘cannibalisation’ of writing, and suchlike jargon. Their arrant bosh may be nobly overlooked. It may be sprayed against a hoarding, then copied into the illuminator’s workshop book with a Smiggle colour change pen.