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The Fragment as a Unit of Prose Composition: an Introduction
- Ben Segal (author)
Chapter of: continent. Year 1: A Selection of Issues 1.1–1.4(pp. 150–169)
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| Title | The Fragment as a Unit of Prose Composition |
|---|---|
| Subtitle | an Introduction |
| Contributor | Ben Segal (author) |
| DOI | https://doi.org/10.21983/P3.0016.1.14 |
| Landing page | https://punctumbooks.com/titles/continent-year-1/ |
| License | https://creativecommons.org/licenses/by-nc-sa/3.0/ |
| Copyright | Segal, Ben |
| Publisher | punctum books |
| Published on | 2012-12-12 |
| Long abstract | The fragment, the note, the idea, the aphorism even: there are many names and as many uses for such small shards of free-floating text. Typi-cally fragments are less works than gestures, arrows pointing in the direc-tion a person might research, meditate on or develop. Unlike paragraphs or sentences, they do not flow directly from and into their bordering text. Instead they are independent, defined by their singularity, by the white space that encases them on a page – even when they are cobbled together and marshaled into service as the contents of a book. Still, though not exceedingly common, books of fragments (or notes or what-have-yous) do exist. However they are labeled, the very aloof-ness of disconnected micro-texts allows them certain privileges and pos-sibilities that a writer can employ and exploit. In such instances, the book of fragments may, almost paradoxically, gain a coherence as a singular work, all the more satisfying for its fractures.Two such books are Maggie Nelson’s blUetS and Evan Lavender-Smith’s From Old Notebooks. We are pleased to present a series of excerpts from each of these books, a selection of ‘outtakes’ – fragments that did not make it into the final manuscripts – from each, and short interviews with both Nelson and Lavender-Smith about the fragment as a literary device |
| Page range | pp. 150–169 |
| Print length | 20 pages |
| Language | English (Original) |