Hi, Nina! I read this post a day or two ago, and can’t stop thinking about it.
Had I written this sentence, I would have immediately backspaced and changed “fragrant from” to “fragrant with,” because -- though I do love alliteration -- my inner ear is attracted to the symmetry and cadence of “dusted with snow... fragrant with resin.” I would have made my edit in satisfaction, and moved on without a second thought. Yet, Krauss’s choice is so compelling, I’ve given it not only second, but third, fourth, and many other thoughts.
Can you help me understand why? Why does this stay with me? Is it just the alliteration? Is the defiance of my expectations and instincts part of its appeal? Or, is it something about the way “from” hints at objects in space, at a tangible resin-y source for the fragrance, while “with” would leave us nothing to grasp, just an ephemeral perfume floating on the air?
I can’t quite pin it down, and I would love your thoughts.
I've picked upon the 'tree' focus in this one, but described a scene from my part of the world. I've also taken the liberty of including a little title, just to contextualise it a bit.
EUCALYPTUS, SURVIVING THE INFERNO.
The blackened trunks stood stark against the now clear sky, and each stood guard in a carpet of ashy compost, sprinkled with the the green of seedlings.
Nina, do you think that this author thought consciously about the tension through the hard stresses at the beginning of the sentence? Or was it a kind of subconscious instinct?
Hi, Nina! I read this post a day or two ago, and can’t stop thinking about it.
Had I written this sentence, I would have immediately backspaced and changed “fragrant from” to “fragrant with,” because -- though I do love alliteration -- my inner ear is attracted to the symmetry and cadence of “dusted with snow... fragrant with resin.” I would have made my edit in satisfaction, and moved on without a second thought. Yet, Krauss’s choice is so compelling, I’ve given it not only second, but third, fourth, and many other thoughts.
Can you help me understand why? Why does this stay with me? Is it just the alliteration? Is the defiance of my expectations and instincts part of its appeal? Or, is it something about the way “from” hints at objects in space, at a tangible resin-y source for the fragrance, while “with” would leave us nothing to grasp, just an ephemeral perfume floating on the air?
I can’t quite pin it down, and I would love your thoughts.
The black needles / of the pine trees → color and plosives impose an image in the mind
were dusted / with snow, → metaphor and sibilants and rhythm soften image and add sound of snow
and the air / was fragrant / from resin. → open vowels, sense of smell and air and lilting rhythm add wind-like sound
One can *feel* the cold and freshness and crispness of the image.
I've picked upon the 'tree' focus in this one, but described a scene from my part of the world. I've also taken the liberty of including a little title, just to contextualise it a bit.
EUCALYPTUS, SURVIVING THE INFERNO.
The blackened trunks stood stark against the now clear sky, and each stood guard in a carpet of ashy compost, sprinkled with the the green of seedlings.
Nina, do you think that this author thought consciously about the tension through the hard stresses at the beginning of the sentence? Or was it a kind of subconscious instinct?