Given the interest in this project, I thought I’d provide a weekly (ish) summary of progress made. The first section of “Islands, inlands” has now been completed and we’ve agreed a working template for the navigation which might prove to last at least another few weeks.
I think we’re still exploring what can be done with the interweb and the possibilities beyond print. I think we both started with a concern not to either ‘explain’ nor to provide too much context. This has been ameliorated by realising the obvious – users don’t have to follow links if they don’t want to and therefore can control the extent of the context that they may need. I wouldn’t need to know about Miller or Durrell, for example, but would need some background on Seferis.
Of course, as well as writers, there’s the foreign names and words, the first section has “Karaghiosis” who is the main character of Greek shadow puppet theatre. I’ve provided a brief explanation, one relevant quote and am about to link to the most relevant and comprehensive site that I can find but I need JM to point me towards the relevant passage about raising the dead in “Prospero’s Cell”.
This also throws up the question of whose poem this is. I haven’t yet worked this out but I’ve come across material that seems to be a direct source but isn’t. There’s an interview with Seferis where he describes meeting Durrell and Miller and then goes on to recount Miller’s generosity in giving him his diary- the first draft of what was to be published as “The Colossus of Massouri” which is one of the poem’s main source text. This anecdote has no bearing on “Islands, inlands” and readers don’t need it to gain full understanding of the poem. I’m however of the view that it’s a lovely story and indiciative of the spirit of bohemian solidarity in thirties Europe that Seferis describes. So, the quote about the diary goes in on account of loveliness and the solidarity remark will only be gleaned by those that can be bothered to follow the link and read the interview in full. I think this underlines the ownership issue in a collaboration- I’ve put this in and John has approved its inclusion but it wasn’t in his head when he wrote the poem. I’ve also quoted Seferis on 20th century Hellenism because I think I’d like readers to draw the line that John alludes to when he says that:
The Old War in question is, of course, WW II, though it is not accidental that the first poem in the sequence deals with a Greek setting in that conflict:
I’ve decided that it would be inappropriate to overtly ‘develop’ that remark but am attempting to do this by stealth- as with the Kreipe kidnap problem discussed last week- providing quotes re Miller and Greece as a “continuous process” and linking to Seferis on the Colonels’ Junta:
Everyone has been taught and knows by now that in the case of dictatorial regimes the beginning may seem easy, but tragedy awaits, inevitably, in the end. The drama of this ending torments us, consciously or unconsciously — as in the immemorial choruses of Aeschylus. The longer the anomaly remains, the more the evil grows.
In terms of the interweb, the possibilities for adding breadth and depth are enormous especially as the quality of content is improving. Of course there are still the recurring anxieties about bias but I’ve been struck by the absence of balance in some of the well-established bastions: the Wikipedia article on Durrell seems much more judicious than the almost hagiographic DNB entry.
We now come to the link colour problem. Many, many years ago when I started building content pages on welfare benefits, there was an accepted way to ‘do’ links that everybody followed. This is no longer the case and I hve gone through a number of phases in either going with the flow towards greater variation or in maintaining blind adherence to the original on the grounds that It Still Works. The current arduity style sheet, for example is the product of extensive dithering undertaken last year on another project and is obviously in need of further dither. I may be wrong but I’d like not to disrupt the ‘flow’ of the line with too great a contrast in colour from black to blue to red and I’m thinking of getting rid of the roll-over, colour swap device that seemed cool when the Guardian did it but clearly isn’t. I did think of just using the underline to indicate a link and thus retain the consistency in colour but this would then confuse those parts of the text that are underlined in print with the links. So, before we go any further I think I need to have an extended play with the light blues and reds.
Then there’s the even thornier issue of link density, the first section is 16 lines and there are 9 links which is probably excessive but I’d rather put more rather than less in at this stage. I haven’t linked “the pornographer” but have relied on JM’s note which links to a fuller profile of Miller. I’ve done it this way because I reckon most readers will connect Miller to Paris and pornography (I did) and have been more direct on the Smyrna Consul because I originally thought that this may refer to Durrell. I thought about explaining that “The Tempest” refers to the play but instead hoped that most readers would gather this for themselves, I’ve used the Durrell profile to attribute this suggestion to him.
As a reader, I know I’ll interrupt my reading to check out words and names that aren’t familiar and this nealy always entails the interweb which can be both distracting and (sometimes) wrong. I’m therefore trying to provide anchored links to brief definitions at the bottom of the page which then link to more relevnt detail.
In terms of navigation, we now have a Trigons home page which gives a brief introduction and overview but I think I’m now of the view that we might need a separate home page for each of the poems- these could be built around John’s original notes. This might take to some time to agree- I’m finding that information architecture is quite difficult to do when the other person isn’t in the same room and there’s the fact that there are other components in the sequence.
On a personal note, John keeps on gently pushing me towards writers that I would otherwise ignore. This process started three years ago with David Jones and has now moved on to Seferis and Michael Ayrton whose “The Testament of Daedalus” I have now acquired and is awaiting some attention- the Collected Seferis is on it’s way. There’s also a bit of a debate under way as to how much detail we should give on Erik Lindegren…