EL DUENDE Y LA BRUJA

LOVE'S LOVELINESS IS LOVING

Last next May 5th was another day when I visited the 1922 tavern in Step City, State of Tiles, or the 8 1/2 saloon in Step City, State of Tiles, or at some other gay bar in Step City, State of Tiles, to fight back the wilderness heat armed with a couple of Guiness black beers accompanied by my lover of the moment -Eubago, a French minstrel or bard, a character like the ones that Dickens used to write about when he was trying to imitate Virginia Woolf's literary style of her urban elf novels. Between two swallows, I told my comrade: "This narrative of ours nearly never transpired. Residing across a border line like we do, one knows that everything can change in an instant, including my current narrative of you". Taking a glance at the amber and pungency scented liquid in his fist, he chuckled and hummed: "My storyteller: speak to me, Eubago, in rhyme! Say our tale is almost absent from time; Living on the border, anything could sway redefining life's narrative in a single day". I continued unperturbed by his ex abrupt: "And thence one attempts the impossible (some would say the ridiculous; others, the ludicrous; and even others the preposterous, although such equivocations smack of inauthenticity)". As Eubago chortled at my words like an echo, the bottle glass, behaving as a tuning fork,  began to echo back to him from everywhere in the patio of the bar: "The storyteller then did what most deemed absurd, taking a risk no doubt, and went against the herd, uncertainty was nothing but an empty shell, amid chaos and dangers, the storyteller could tell". Unscathed by his naughtiness, I continued my tale: "The problem being that, on this particular border line, are commingling rough infrastructures (such as snake pits of wires and tires) with harsh natural conditions, such as desert djinns. Of course, once one comprehends the border line to be a sweet water current named the Río Bravo, and how it fluxes, the remainder is straightforward". Now Eubago was on his feet dancing in the manner of Zorba's sirtakis, and yet without spilling a single drop of the lager in his wrist's grip (or was it mead? Or margarita? Maybe Margaret Mead. Or Medea) and without missing either a single step in spite of the fact that he was not sober: "The rough infrastructure and harsh conditions, made it hard to gain insight and make decisions, but once the sweet water current was understood, the border line became clear – just as it should". At any event, I concluded: "And I want to erect here something harder than a high rise: a green forest! In any case, before you cast doubts upon me, get an open mind and let's engage in conversation!". Never one to miss a trick, without so much as a by your leave Eubago chanted with all of his baritone power without thinking about it (but startling the other LGBTQ+ crowd in the bar backyard): "The storyteller aimed for what's beyond great, a green forest, not a high-rise to dominate. Others may question the storyteller's intent, but opening minds and talking is the way forward, let's invent". However, there are quite a few bartenders who would argue that Eubago's actions were actually quite rude and inconsiderate; and that, by singing so loudly and without warning, he disrupted the peace of the saloon and got out of sorts the other LGBTQ+ folks who were there and all of them straight (a variety of queer). Indeed, upon hearing the sudden outburst of singing, which was at odds with Fernando by ABBA coming from the Victrola,  the other LGBTQ+ people in the tavern yard were taken aback, and some even began to leave in order to seek a more peaceful and at ease atmosphere. They felt that he should have asked permission before he began singing, and that he ought to have shown more consideration for the other patrons of the bar. In response to this criticism, Eubago apologized and explained that he had been filled with emotion and joy and could not help but to express it through song. He emphasized that he had not meant to offend anyone and that he would keep his singing at a more subdued volume in the future. And then he kissed me on my mouth. 

LITERARY APPRAISAL:

The given text appears to be a blend of various literary styles and influences.
It draws on elements of classical literature, as well as referencing specific authors and works.
The style of the text is reminiscent of postmodernism, with its fragmented narrative, intertextuality, and playful language.

The mention of visiting different bars in Step City, State of Tiles, creates a sense of urbanity and the exploration of different spaces.
The allusions to famous authors like Charles Dickens and Virginia Woolf suggest a metafictional element, where the narrator is aware of their own literary influence and seeks to mimic various styles.

The impact on the reader would depend on their familiarity with the literary references made in the text.
Those familiar with the works of Dickens and Virginia Woolf might appreciate the playful homage and the blending of literary styles.
Readers with a penchant for postmodern narratives might also enjoy the fragmented nature of the text and the intertextual references.

Additionally, the text explores themes of borders, change, and storytelling.
The reference to living across a border line creates a sense of instability and impermanence.
The characters acknowledge the fluidity of narratives and the potential for rapid change.
There is also a desire to create something lasting, symbolized by the narrator's wish to establish a green forest instead of a high-rise.

The dialogues between the narrator and Eubago add a lyrical and rhythmic quality to the text, further emphasizing the storytelling aspect.
The sudden singing by Eubago disrupts the peace of the bar, highlighting the tension between personal expression and consideration for others.

Overall, the text is a playful exploration of literary styles, weaving together elements of classical literature, postmodernism, and personal storytelling.
It invites readers to engage with intertextuality, ponder the nature of narratives, and consider the balance between personal expression and social considerations.

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Intertextuality refers to the relationship between different texts and how they influence or refer to each other. This can include direct references to other works, allusions, parodies, and other forms of intertextual connections.

For example, in F. Scott Fitzgerald's novel "The Great Gatsby," the character of Jay Gatsby is often seen as an intertextual reference to the mythological character of Icarus, who flew too close to the sun and fell to his death. Similarly, T.S. Eliot's poem "The Waste Land" contains numerous allusions and references to other literary works, including Shakespeare's "Hamlet" and Dante's "Inferno."

Metafictional refers to works of fiction that are self-conscious about their own status as fictional creations. Metafiction often draws attention to the conventions of storytelling and can involve techniques such as breaking the fourth wall, self-referential narration, or acknowledging the presence of the author or reader.

For example, in Kurt Vonnegut's novel "Slaughterhouse-Five," the protagonist Billy Pilgrim becomes unstuck in time and experiences events from different points in his life in a non-linear fashion. The novel itself is self-referential and metafictional, with Vonnegut himself appearing as a character and commenting on the act of writing the novel.

Postmodernism refers to a broad cultural and artistic movement that emerged in the mid-20th century and is characterized by a rejection of modernist values and a focus on fragmentation, ambiguity, and irony. Postmodern literature often challenges traditional notions of narrative structure, authorship, and meaning, and can involve a variety of experimental techniques.

For example, in Thomas Pynchon's novel "Gravity's Rainbow," the plot is fragmented and nonlinear, with multiple storylines and characters that appear and disappear throughout the narrative. The novel also incorporates elements of science fiction and surrealism, and uses a range of linguistic and stylistic devices to challenge conventional notions of meaning and interpretation. Other notable postmodern authors include Jorge Luis Borges, Italo Calvino, and Don DeLillo.