Ink


INK at Metaphor Press

Metaphor and ink share the same mechanics, conjured from a premise of elegance: in navigating through the world, make things as simple as possible, but n

ot simpler.* In literary creation, the playing and inventing that occur at the periphery of conventional use is not unique to literature, but found in everyday writing. From the free verse of Ezra Pound to the profane exhortations of a rush-hour commuter--and every speaker, writer, and reader in between--all share the same metaphorical font (though with significantly varying degrees of competency and imagination). Any other way, writing would have neither means nor meaning. Grammar and lexicon are the means: a decorated sand bucket and matching shovel to organize, understand, and express experience of the world.  Metaphor is meaning expressed, conjured from the navigation of experience. Grammar is that metaphor at its most abstract. A bicycle is that metaphor at its most concrete.



*The idea is originally ascribed to Albert Einstein, who wrote: "It can scarcely be denied that the supreme goal of all theory is to make the irreducible basic elements as simple and as few as possible without having to surrender the adequate representation of a single datum of experience." ("On the Method of Theoretical Physics" The Herbert Spencer Lecture, delivered at Oxford on 10 June 1933 and published in Philosophy of Science, Vol. 1, No. 2 (April 1934), 163-169.