Magic Eye Manual

Priya's intermittent blog

In a Lost Moleskine

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In a lost diary – a Moleskine –  belonging to me now, I read what appears to be  someone working out a scene (for a film? A play? ..)  between a man and a boy. There is a wallet involved, some SM play, some anxiety and possible isolation at the end. (The scene does not end but it is alluded to somewhere that isolation is a possibility.) There is a relationship of power being contemplated, both by the man in the scene and by the writer. The diary was given to me by a friend who picked it up from the street a few days ago.  I have excerpted parts of it below and I am not sure how I feel about having done that. It feels like a breach of faith almost, between strangers.

I tried to write into it– to work out what I sense is a contract we make with the things that are not ours. A contract between knowing a fragment of something and of not being able to piece things together because that wasn’t intended to happen. Between the unfinished, un-destined scene between the man and the boy, the writer, and me.


A mother sits there sewing and is talking away. Her son is cleaning the room for her, he comes in and out of the room doing various chores. Every time he comes in he can have a different top on to show time has passed. This should be continuous. NO edit.

This Moleskine was given to me on Sunday.

Writing as record/ how to differentiate/ record and deliberation/ description / structure/ emotional land/ to say the land is white and rushing past/speaking through time/contemporary/landscape/ this train going to the harbour/ forgotten how to write a scene/ motivation/ conflict/ where/ missing this/ who and when/

This technique can be applied to different scenes / moment, doesn’t have to be mother and son etc etc …

Crossing out. Hiding behind saying nothing.

p.2  SPRING:

I can convey the idea that to look through his wallet is irresistable – you know you shouldn’t and yet want to.

If I want the act of looking through the wallet as VIOLATION then I need to show a DANGER, A MENACE in the man. And the ‘Man’ should really be fascinated by the boy.

[Thoughts on Snow: A book to walk with]

[A History of Swimming]

p.3 – Explain the wallet scene – is this the point where the master wants to know the boy’s character if this is the case then introduce a bit to show the man really wants to know the boy.

Boy thinks the man is stealing so he stops the ‘play’

“I don’t really want to know”

Every single thing is filed/ did you really go through these files?/

Explain more in the beginning : this is boy’s first time and it is his fantasy.

Humanise master more


"do I need to be clear the boy will never see the man again?"


Written by Priya Sen

January 12, 2010 at 7:38 pm

Posted in Uncategorized

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