FRANKENTEXT
Moving on, working with the Frankentext was quite different- I looked at how I might implant Chinese characteristics- which contrast Mary Shelly’s Gothic writing the most.
Example
When my fuqian returned from Qinghai, he found with me playing in the hall of our villa, a child mei li than pictured shen xian
I wanted to build a framework to apply to other texts, so I took a macro view- looking at the plot, important moments, relationships, and how I could manipulate that. I tried remodelling the first five chapters of the text into Australia, China and Hong Kong
AUSTRALIA: My ancestors had been for many years, cotton cockies and sheep shearers
HONG KONG: My ancestors had been for many years, landowners and government servants
CHINA: My ancestors had been for many years, counsellors and syndics to the Emperor- touching upon different times and cultural norms!
I began to iterate and combine these voices by using the same model of percentages in paragraphs.
"She found ample scope for admiration and delight, with a copious amount of whispering"
VERSUS
"she found loads to have a squizz at."
In my outcome, I used these varying iterative percentages to create a voice that became progressively franken-culture in nature:
CHAPTER TWO:
I feel as Sun Wukong did when Xuanxang came to the Five-Finger Mountain.
CHAPTER TWENTY ONE:
I have lost my hopes of glory for the motherland; I have lost my mate, but I will endeavor to detail these bitter circumstances to you my dear jie mui.
This helps to show the reader the emergence of frankenculture as the text reaches its climax. The full text can be read here- and this text was used in (currently ongoing dialogue) with Sarah Maitland. I'm also currently considering how this methodology can be used as a framework.
