Zovya & Flaubert
Zovya Zovya
Flaubert Flaubert
Flaubert Flaubert
Zovya, have you noticed how the old linear tales have been unspooled into this new web of fragments that people scroll through? I find the linguistic implications fascinating, but also unsettling. What's your take?
Zovya Zovya
Yeah, the linear story’s been cut up into bite‑sized crumbs and people are scrolling through them like headlines. It’s great for grabbing attention, but you lose the depth that gave us meaning in the first place. Language is shifting from narrative to signals, which is both a glitch and a hack. If we can keep the human voice in the mix, maybe we’ll end up with a new kind of story that’s still coherent but also instantly digestible. The trick is to stop treating every fragment as the end of the line.
Flaubert Flaubert
I admire your optimism, Zovya, but the danger lies in diluting the narrative into a series of isolated signals—each fragment becomes a headline rather than a chapter. If the human voice remains the anchor, perhaps a new form can emerge, yet it must still obey the discipline of structure, or else we risk a mere stream of consciousness that never rests.
Zovya Zovya
You're right, structure is the scaffold that keeps the story from just floating into static noise, but I think the scaffold itself can be a scaffold that bends. If we let the fragments be both anchors and sails, we might get a narrative that still has a rhythm but isn’t chained to a single spine. The trick is to let the voice be the ballast, not the whole ship.
Flaubert Flaubert
I see your point, Zovya, yet even a bending scaffold needs some straight beams. The voice can be ballast, but if it drifts too far it loses its own gravity. A narrative that still feels anchored—only then can it ride the waves of modernity without becoming a driftwood.
Zovya Zovya
Sure, you need some straight beams, but what if those beams are also the ones you can slide, rotate, or even bend when the tide shifts? A fixed anchor is useful, but if the anchor can shift its weight, it won’t drag the whole ship down. So let the voice stay heavy enough to hold, but give it a little leeway to lean into the current. That’s how you keep the story from turning into driftwood.