W R I T I N G   A B O U T   S C R I B B L I N G


A lesson is to be taken from it, once and for all. Namely, from the fact that words remain to be best and only universal tool of the whole human communication. If were not so, then why has never any musicisian been asked to compose a piece, meant to recommend or otherwise a literary work? (We are not talking here about the case in which one's literature might inspire a musician to compose on his own). Or, has ever a painter been asked to perform such a task? However, as to the men of letters. . .

There was a demand to pen on his painting. I agreed, but a game started at once: nothing less than that tool, namely pen, describes what I've been using for almost three decades now, to convey my literature. Nevertheless, my common sense's joined the venture as well asking the question: is a working device an exact description of the artistic performance? Not ever! I belong to the family of artists (or artisans) to who it matters not at all whether a piece of wood, or feather, or quill-pen, or pencil, or chalk, or typing machine, or, latest, keyboard, is the instrument of the producing their art. Since in each instance, a tool of symbolising changes not a fundamental symbol, being in our case a letter. Which is, on its turn, just a sign, representing a sound, in whose initial composition, that is in a word "Be", there is waiting for us all, in ambush, our real start, and real initiation into every our doing; including artistic one.

(But why to rash?).

Indeed, for more than a decade now I'm employing not any other writing device apart from keyboard while sending through it, for further word-processing, my literary strokes on it.

But lo! The farther I am from the hand lettering my literature, the more similar to a manuscript's becoming its picture. Obviously, the very names of our artistic doings, namely writing and painting, have deserted their traditional definitions. Just in Edin's and my case? Never! But why, and since when? 

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