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So I've been thinking about doing a series of entries that are are centered on writing about the art of writing itself. This shall be the first in what I'm calling the "Ink Expression Collection" 3nodding . Because I feel like giving things artsy titles at the moment. Oh yes.

The background for this current entry's topic comes from Chicano Literature discussion I had and observations in society that are recognized as truths by most people.

Anyway:
Looks matter in our world. We know this. Image is hyperinflated. If it wasn't, the fashion industry would be a tiny fraction of what it is, the criteria for being a "model" would be simplified and more easily attained, people wouldn't particularly what the first lady wears, cosmetic plastic surgery would not be something a doctor could base their career off of, Hollywood might actually look for intellectual substance rather looks (same for Music).
Society is highly superficial as a result on the exterior, but I'm not bashing image because of this (I like knowing what the first lady wears now and then too). Whether its overrated or not - image IS essential. One's image sends a message - it makes a statement, and that's huge. Far bigger than people realize, especially considering how downplayed we make with statements such as "don't judge a book" etc... Just with people, one's image can reflect their heritage, hobbies, values, interests, tastes, style, personality, life style, health, behavior, and a plethora of other aspects if we'd bother to contemplate it. This goes for corporations, movements, and other things as well. When this is the case, image is no longer "image". It's been elevated to aesthetic (which I have my own little definition for, being: image or style elevated to intellect, actualizing manifestation of expression of thought)

But what does this have to do with writing?

EVERYTHING...

because writing relies on aesthetic directly rather than image. Is it any surprise that style and tone are literary elements? Or that imagery is a literary term either? Most importantly, writing reaps all of the incredibly potent benefits of aesthetic without the infatuation that are tied with physical looks. Everyone has what we refer to a "writing style" but being able to consciously manipulate this gives the writer the potential to change their literary "image" as they desire. There's no quicker way to show one's aesthetic without physical limitations than through writing. It can reflect what the writer is about without inaccurate physical judgements. Physical looks should compliment writing, not the other way around. It's a distraction for the real aesthetic.

And I love aesthetic in writing. It completes the piece. It completes the writer too (what they represent).

Look at Oscar Wilde (the best example possible - everything his writing represents is manifest in him too)

And Nathaniel Hawthorne (takes himself seriously, as is his writing).

And Voltaire (very similar to Wilde actually, only sharper - knife sharp too, even his pen name gives a nod to the theatrical).

And HP Lovecraft (another excellent example).

And EA Poe (in the same vain)

And for that matter, Marilyn Manson (he has published essays, really)

And Sergio Troncoso (because I wanted a Chicano example - his unflattering prose match his unflattering, but highly intelligent persona).

Writing embodies its creator. Aesthetic matters (and besides that, it's inspring). It's an embodiment of iconography, intellect, and [removed](like music should be, only less abstract in a way). So what your word choice. It matters a hell of a lot more that we credit it with. Give it credit.

To summarize what I'm saying (which I know damn well isn't precise - but this is an insta-posted rough draft - which I don't plan on editing either), I'm going to alter the lyrics to Madonna's Vogue:

"What Are You Looking At?


Strike a (poem).
Strike a (prose).
Vogue, vogue, vogue
Vogue, vogue, vogue

Look around everywhere you turn is heartache
It's everywhere that you go [look around]
You try everything you can to escape
The pain of life that you know [life that you know]

When all else fails and you long to be
Something better than you are today
I know a place where you can get away
It's called (a good book), and here's what it's for, so

Come on, vogue
Let your (word choice) move to the music [move to the music]
Hey, hey, hey
Come on, vogue
Let your (words) go with the flow [go with the flow]
You know you can do it

All you need is your own imagination
So use it that's what it's for [that's what it's for]
Go inside, for your finest inspiration
Your dreams will open the door [open up the door]

It makes no difference if you're black or white
If you're a boy or a girl
If the (muse is) pumping it will give you new life
You're a superstar, yes, that's what you are, you know it

(chorus, substituting "groove" for "move" wink

Beauty's where you (read) it
Not just where you bump and grind it
Soul is in the (literary)
That's where I feel so beautiful
Magical, life's a (book)
So get up on the dance floor

(chorus)

Vogue, [Vogue]
Beauty's where you find it [move to the music]
Vogue, [Vogue]
Beauty's where you find it [go with the flow]

Greta Garbo, and Monroe
Dietrich and DiMaggio
Marlon Brando, Jimmy Dean
On the cover of a (anthology)

Grace Kelly; Harlow, Jean
Picture of a beauty queen
Gene Kelly, Fred Astaire
Ginger Rogers, dance on (paper)

They had style, they had grace
(that last essay you wrote) gave good face
Lauren, Katherine, Lana too
Bette Davis, we love you

Ladies with an attitude
Fella's that were in the mood
Don't just stand there, let's get to it
Strike a (prose), there's nothing to it

Vogue, vogue, vogue, vogue

Oooh, you've got to
Let your (iambic pentameter) move to the music
Oooh, you've got to just
Let your (sentence structure) go with the flow
Oooh, you've got to just,
Vogue!"

How tacky xd ! Whatever. It works.