"colorless green ideias sleep furiously"

a frase de Chomsky quando sintaxe e semântica eram o centro de infinitas conversas. a sintaxe correcta, a semântica nonsense.

"Sem dúvida que o leitor não esperava este desenlace, que não tem qualquer relação com a lógica mais elementar. E a própria sintaxe é um tanto discutível. Mas nem tudo no mundo tem de ter lógica ou obedecer a uma sintaxe perfeita.", Rui Manuel Amaral em Doutor Avalanche.

o nonsense (porque é que o vejo tão língua inglesa?) é poético. o nonsense ritmado e rimado é infantil e é Lewis Carroll. o som e o jogo primeiro, significados depois, ou nulos.
["On a topographical map of Literature Nonsense would be represented by a small and sparsely settled country, neglected by the average tourist, but affording keen delight to the few enlightened travellers who sojourn within its borders. It is a field which has been neglected by anthologists and essayists; one of its few serious recognitions being in a certain "Treatise of Figurative Language," which says: "Nonsense; shall we dignify that with a place on our list? Assuredly will vote for doing so every one who hath at all duly noticed what admirable and wise uses it can be, and often is, put to, though never before in rhetoric has it been so highly honored. How deeply does clever or quaint nonsense abide in the memory, and for how many a decade--from earliest youth to age's most venerable years."
introdução a A Nonsense Anthology, aqui.]

no Doutor Avalanche, num ponto que fica entre Kafka e Lewis Carroll (talvez pudesse ser entre outro e outro) o humor faz repensar o significado, a língua revolta-se a rir contra o seu abuso.

os vários véus de significado (como de memória- a motora, a recente, o conhecimento, a de imagem, a afectiva): os mais próximos e os mais longínquos. qualquer anúncio faz superficialmente muito sentido, mas profundamente sentido nenhum. lembro-me disto, sobre fotografia, neste caso publicitária, e realismo:
"While travelling on the New York City subway, Ritchin imagines that the advertising photographs inside the train are 'unreal' and that "everything depicted in them had never been'. The result is quite striking:
'As I stared more, at images of people in business suits, on picnics, in a taxi, I became frightened. I looked at the people sitting across from me in the subway car underneath the advertisements for reassurance, but they too began to seem unreal... I became very anxious, nervous, not wanting to depend upon my sight, questioning it. It was as if I were in a waking dream with no escape, feeling dislocated, unable to turn elsewhere, even to close my eyes, because I knew when I opened them there would be nowhere to look and be reassured.'
"Photography and Realism" em The Photography Reader.