The following is a guest post by Joshua Armstrong, whose story “Age of Consumption” appeared in Issue 16 of Typehouse.
What can the role of dreams be in a writer’s process? Of course, one must be wary. Dreams on their own are boring, and so will be stories based too directly on actual dreams, or prose that comes off as ‘dreamy.’ On the other hand, the feel of dreams can be reproduced in writing to astonishing effect, for example by Kafka or, in a very different register, David Lynch.
As a writer, however, I try to stay close to dreams. Occasionally I will use details from them as a catalyst for my creative writing. This was the case with the story I published in Typehouse, “Age of Consumption.” Sometimes to begin a piece of writing you just need a particularly persistent image, object, or phrase that you can start writing around. Dreams can supply these.
Some of the most fun and fulfilling—if utterly inaccessible (perhaps)—writing I’ve done has been in the form of Surrealist ‘automatic writing’ experiments. These exercises are meant to produce writing that would be as spontaneous and unpredictable as dreams. French avant-garde poets developed these techniques in a hotel in Paris near the Panthéon in the early 20th century.
A modern-day adaptation might go as follows: when you are feeling sleepy, recline in a quiet, comfortable place. Grab your keyboard, close your eyes and simply type at a steady pace without slowing down or stopping until you are unconscious (i.e. asleep). In the still-conscious state, if you obey the constraint that you must keep typing words at a steady pace, you will write things that surprise you.
When you wake up, check the file and there should be at least a couple lines you have absolutely no recollection writing and that you could not have written consciously. Sometimes they will be nonsense, but often there will be something enigmatic and strangely meaningful about them. For me, one such sentence was: “Many went away with a red car once white.” Another: “Where are the new versions of ourselves?”
Writing polished stories is, of course, a very different craft, and yet, in the end, we don’t control that creative process entirely either. Writing, for me, is a matter of remaining close to that spontaneous, unpredictable element of imagination that takes center stage in dreams. Dreaming and writing, if in different ways, allow us to access and express something meaningful about the world that on some obscure and distant level we intuit despite ourselves.
Joshua Armstrong’s fiction has been a finalist for the Percy Walker Prize in Short Fiction (‘Ligne de Fuite,’ 2014) and second place winner in the Virginia Festival of the Book short story contest judged by John Grisham (‘The Canadian,’ 2011). He has published stories in Quiddity International Literary Journal (‘Shadow Puppet,’ 2008), Charlottesville, Virginia’s arts and culture weekly, The Hook (‘The Canadian,’ 2011), and Typehouse Literary Magazine (‘Age of Consumption,’ 2019). He has also published reviews of literary works in VQR and Rattle, and his monograph on the contemporary French novel, Maps and Territories: Global Positioning in the Contemporary French Novel, was published this year with Liverpool University Press.