The SEA path

The Letters That Speak : Configurational Element Analysis One – The Letters

This chapter focuses on letters as objects of narrative configuration in Wayfinder. Letters act as both fixed and fluid—they are permanent physical artifacts but open to reinterpretation depending on their order and emphasis. This section considers how epistolary structures function in literature and theatre, particularly how they allow for intimate, subjective perspectives.

PATHS.

Which way will you go?

The Sea / 
The Mother

Disparate Parts, Whole Stories

A poetry collection questioning our place in life. Questioning who we've become when so much is behind us, and so much is still ahead.

Float

The Lost /
The Dead

A Letter That Was Never Sent

A short film on the freedom of youth and the consequences of that raw energy. Where do your feet lead you, and are you in control of them? 

Dance

Footnotes & References

  • Core Theoretical Foundations:

    1. Janet Gurkin Altman – Epistolarity: Approaches to a Form (1982) – Examines the narrative functions of letter-writing in fiction.

    2. Lisa Gitelman – Paper Knowledge (2014) – The materiality of written artifacts and their cultural significance.

    3. Friedrich Kittler – Discourse Networks 1800/1900 (1990) – How media formats shape the way narratives are structured.
    4.  

  • Critical Debates and Counterarguments:

    1. Samuel Beckett – Krapp’s Last Tape (1958) – Suggests that recorded memory can distort rather than preserve truth.

    2. Walter Ong – Orality and Literacy (1982) – Argues that text-based narratives lose the dynamism of oral storytelling.

    3. Jacques Derrida – The Post Card: From Socrates to Freud and Beyond (1987) – Explores the instability of written communication.
    4.  

  • Empirical Studies & Case Studies:

    1. S. (2013) – Uses marginalia and letters to create layered storytelling.

    2. Griffin and Sabine (1991) – A novel where readers reconstruct a love story through correspondence.

    3. Dear Esther (2012) – A video game using fragmented letters to tell a non-linear story.
    4.