A Bellamy Bunch
or
Who am I ?
Welcome to 'Denis Bellamy's
Welcome to 'Denis Bellamy's
'Scrapbook of Creativity!'
'Scrapbook of Creativity!'
"We become what we write. That is one of the great magics of writing".
"We become what we write. That is one of the great magics of writing".
Having tried several times over the past two decades to write a summary of my life scientific I know, from looking back at the various false starts, that my inspiration has varied considerably and had I stuck to the inspiration of the time I would have been motivated to produce many different accounts of who I thought I was.
Having tried several times over the past two decades to write a summary of my life scientific I know, from looking back at the various false starts, that my inspiration has varied considerably and had I stuck to the inspiration of the time I would have been motivated to produce many different accounts of who I thought I was.
Anthony Trollope, wrote an account of his life when he was about 60 and it was published a year after his death in 1882. Straightforward in talking about his inspiration to write fiction, he said,
Anthony Trollope, wrote an account of his life when he was about 60 and it was published a year after his death in 1882. Straightforward in talking about his inspiration to write fiction, he said,
“There are those who...think that the man who works with his imagination should allow himself to wait till—inspiration moves him. When I have heard such doctrine preached, I have hardly been able to repress my scorn. To me it would not be more absurd if the shoemaker were to wait for inspiration, or the tallow-chandler for the divine moment of melting. If the man whose business it is to write has eaten too many good things, or has drunk too much, or smoked too many cigars—as men who write sometimes will do—then his condition may be unfavourable for work; but so will be the condition of a shoemaker who has been similarly imprudent....I was once told that the surest aid to the writing of a book was a piece of cobbler’s wax on my chair. I certainly believe in the cobbler’s wax much more than the inspiration.”
“There are those who...think that the man who works with his imagination should allow himself to wait till—inspiration moves him. When I have heard such doctrine preached, I have hardly been able to repress my scorn. To me it would not be more absurd if the shoemaker were to wait for inspiration, or the tallow-chandler for the divine moment of melting. If the man whose business it is to write has eaten too many good things, or has drunk too much, or smoked too many cigars—as men who write sometimes will do—then his condition may be unfavourable for work; but so will be the condition of a shoemaker who has been similarly imprudent....I was once told that the surest aid to the writing of a book was a piece of cobbler’s wax on my chair. I certainly believe in the cobbler’s wax much more than the inspiration.”
Though the intent of the majority of autobiographers is authenticity, they, unlike biographers, are expected to be ideosyncratic about their subject. Autobiographers are free to shape their life story in whatever manner they choose. They are at liberty to select what they want to include or omit. They can simplify or amplify an event. Or they can leave out the skeletons in the cupboard if they desire. An autobiographer can enlarge on special aspects of her life, such as the influences that moulded her…or the services that she rendered to what she most cared about. The way he or she organizes and arranges the events of their life shows what the author considers important at the time of writing. However, an author depicts truths about herself through her experiences and the way she describes them. In other words, the way in which the writer illustrates past events says much about who she thinks she is at the moment of writing.
Though the intent of the majority of autobiographers is authenticity, they, unlike biographers, are expected to be ideosyncratic about their subject. Autobiographers are free to shape their life story in whatever manner they choose. They are at liberty to select what they want to include or omit. They can simplify or amplify an event. Or they can leave out the skeletons in the cupboard if they desire. An autobiographer can enlarge on special aspects of her life, such as the influences that moulded her…or the services that she rendered to what she most cared about. The way he or she organizes and arranges the events of their life shows what the author considers important at the time of writing. However, an author depicts truths about herself through her experiences and the way she describes them. In other words, the way in which the writer illustrates past events says much about who she thinks she is at the moment of writing.
This is why I have chosen to 'publish' this book as an online scrapbook. Thereby, my book becomes part of a vast, interactive network of footnotes, endnotes, hyperlinks, social tags, geo-location search capabilities, animations, video and sound. This kind of book is therefore unstable and becomes an occasion for social annotations and collaborative communities of readers and authors.
This is why I have chosen to 'publish' this book as an online scrapbook. Thereby, my book becomes part of a vast, interactive network of footnotes, endnotes, hyperlinks, social tags, geo-location search capabilities, animations, video and sound. This kind of book is therefore unstable and becomes an occasion for social annotations and collaborative communities of readers and authors.
In this version of Google sites authoring the headings in rhe top menu bar are called 'folders'. As an outline structure they are mobile and as I write or edit they can be rearanged at will. This flexibility in arranging ideas is that it encourages over-thinking, when your thoughts shift from process (eg: what am I doing now to maximize my performance) to outcome (ex: what if I win, or lose, or don’t finish?). A danger with over-thinking is that you may start analyzing what ‘might happen’ or what ‘could happen’ if you ‘do this’ or ‘don’t do that’.
In this version of Google sites authoring the headings in rhe top menu bar are called 'folders'. As an outline structure they are mobile and as I write or edit they can be rearanged at will. This flexibility in arranging ideas is that it encourages over-thinking, when your thoughts shift from process (eg: what am I doing now to maximize my performance) to outcome (ex: what if I win, or lose, or don’t finish?). A danger with over-thinking is that you may start analyzing what ‘might happen’ or what ‘could happen’ if you ‘do this’ or ‘don’t do that’.
To summarise, I have to say that what you are now reading is provisional.
To summarise, I have to say that what you are now reading is provisional.
Bunch
Bunch
NOUN
bunches (plural noun)
a number of things, typically of the same kind, growing or fastened together:
synonyms: bouquet · spray · posy · nosegay · corsage · wreath · garland · chaplet · buttonhole · flower arrangement · boutonnière · tussie-mussie · cluster · clump · knot · group · assemblage · collection
VERB