As I was finishing The Sword of the Lady, S. M. Stirling's latest novel of his triple trilogy "The Change" wherein human civilization has been drastically altered by a supernatural annulment of the laws of thermodynamics, I experienced a further revelation in the paradox of interpersonal communication. It occurred at the culmination of the hero's quest for a divinely crafted sword as he is visited by Deity in the form of three women:  youthful, matronly, and aged. When Rudi asks why they have summoned him, he is told, "You are here to understand... a little. We have to come towards you in forms you can grasp so that we can talk at all, but that limits Us." Here, we begin to get at the crux of Rudi's problem, and ours, as writers who rely on words to translate our descriptive visions to the reader. 

How could a parent tell its entire mind to a child, or a god explain the divine plan to mere mortals?  When the Diety attempt to explain to Rudi what it will take to get the electricity turned back on, he is more confused than ever. Things are both true and untrue at the same time. Beings are both singular and plural, as well. Is the godhead one? Or many? Or both? From their words, Rudi can visiualize nothing but a black and disorderly universe. He asks if it is truth. "Yes. No," he is told. Ah, words. With each one being a private metaphor all of its own, it is amazing anyone can understand anyone else at all.

The mother figure of Diety smiles sympathetically as she denies Rudi certainty, and the blond maiden points out the obvious issue, "It is so hard to say this in words."

The aged one tries to further explain their vision of the future, finishing with, "That is us, including you, many times removed. More than you can imagine. More than we can say in words."

"You keep saying that," Rudi states in frustration, "but you speak in words nonetheless. And it's more ignorant I am afterwards than ever I was before."

This is the yin and yang of words. It reveals the drawbacks of exposition as opposed to poetic expression, where the power of poetry can overcome the weakness of essay. "Then see!" Rudi is told as each new vision is meant to lead him towards ultimate understanding. But, we the readers do not experience the same visions. Or do we? Here is where Stirling skillfully combines exposition and poetic expression to paint Rudi's visions with... words. The very same tools that could not take the author's protagonist into understanding, transport us into his vision so that we can stand behind Rudi's eyes and SEE what he is experiencing with all his senses.

I was captivated by this experience. S. M. Stirling has proved himself to be a master wordsmith, and reading his work provides a good apprenticeship to any writer looking to improve his or her own understanding of the descriptive possibilities of craft. Indeed, though it might take a thousand words to paint the picture, the end product will be well worth it. It's motivated me to get busy with my own writing again.

Now, if Stirling would only get the next book in his fabulous series finished and out to us...

Wil Hough, a senior contributing author for Rose & Thorn Journal for which he also serves as Poetry Editor and Graphics Manager, is a grandfather still earning his living as a faux finishing artist and painter.