The little drummer boy.

Hey, I really liked the timbre of your last written post, I know that this blog isn't an organised writing session, more like an ideas forum, but its a pleasure to read when you write simply and honestly about concrete ideas, i think this is probably when you are at your written best. As for the little drummer, sounds interesting. I think there is something that is relevant today about the disinterested protagonist, a person who sets the rhythm from a distance, cynical, uncaring, unmoved by the events he/she has set into motion. i can't quite explain it but the character feels significant. This is why that particular character in my own work has moved from the triangular headed devil in To Want... to the central enlarged child in Mary and Ethel are Thwarted by some Disestablishmentarianism (thats the lighthouse painting) the focus has shifted the character from the periphery to the central figure. For me, i think this has become an important shift. The narrative hasn't changed as such, but the camera is in a different place, is this a little "reality tv-ish"? Even in The Dance the characterisation has become an important fator. One of the characters can see through the looking glass, out to us, the viewer. You may sense that with knowledge, this character has control, the narrator, understanding the implication of the piece and pointing the viewer towards more meaning.
I hadn't properly been able to understand this shift until reading your blog, but i believe thats it.