Metafiction, Myth and Language: A World in Words (and Pictures)

 With the editing/spellchecking of the text now almost complete and due to be sent to the printers at the end of the weekend (after the final round of edits and fine-tuning), biggest concerns have recently been turning to the display space. I've added a chair and cushion to invite a viewer experience of the book - the narrative text. The cushion, with its poetic Latin inscription, is revealed to be a sarcastic mirror of the poetic content of the book. The nature of the Latin text is actually pretty significant, as this blog post and translation shows. The idea that it is itself a 'deconstructed' (cut up/rearranged/repackaged) text about poetry and writing poetry is another layer of playfulness and rebuilding in this museum space, which is more like a space that looks a bit like a museum space - like the Latin text which looks like a Latin text but isn't really (it's corrupt, edited and faulty). In another sense, the Latin may be as obscure as some of the names and

 Monday's curatorial session went well, with new ideas developing from the first, and seeking ways to successfully deconstruct the 'museum' concept - whilst still keeping the recognisable trappings of what constitutes a 'museum' present. I experimented with the display case, which has been completely dis-assembled. I decided to use it as the means of 'shepherding' the audience  around the display, in an anti-clockwise spiral which is perhaps counter-intuitive - as is the placement of the 'big' (i.e formal, clean, detailed and therefore - by general museum curatorial standards - more 'important') stone at the end of this journey. The first stones the visitor would encounter in this set-up are the cruder, less-skilled engravings; the memorial stone and the 'votive' offering stone, currently at the front of the show.  The glass top of the case was a bit of a problem - but, leant against a corner (itself a 'marginalised' space), i