(Never) A Final Word Part 2

Hello again. My last post took into consideration the circumstantial factors that went into bringing LOST to light. It also considered the personal experience of watching the show by this writer, who shared it with other viewers over the last 3 seasons. I continue my main proposal that by re-watching the series actively, one gains a new layer of interpretation and earns a critical re-appraisal of the show's structure, form and even fashions a skeleton key of sorts for all it's unanswered questions! Well, perhaps it won't go that far...

This post is dedicated to Alex K., who is looking for answers.

XVI. LOST as a novel-film that approaches/attempts to walk the seam between literature and the cinematic arts in the early 21st century

I began to compose notes once I started my second viewing of the series. I was motivated by the intensity of the reactions to the ending, because it was big. That was the question I needed to answer - why these equal extremes of disdainful hate and passionate praise? I was not so much left with a feeling of being cheated or having had been lead into a corner with Cuse and Lindelof's writing - indeed, as a student of literature I saw themes and familiar story lines that have graced pages under the nose of humanity for centuries. This was what was so perplexing: with decades of television at our fingertips and centuries of texts with recurrent relationships and forms of stories from numerous cultures available, what kept fans from seeing LOST in a disinterested way? It would certainly help lower one's blood pressure and give oneself an opportunity to develop some objectivity in hindsight.

This is when I made some lists. Being a fan of lists, I had no trouble utilizing one for the books. Every season there was a finite amount of books shown on the show. When a book appeared it was framed, the camera lingered, or a character even directly spoke about it and/or touched it. Our first example is Kate picking up a copy of Watership Down by Richard Adams on the beach among clothes. Sawyer emerges from his morning dip in the nude and proclaims "It's about bunnies!" I rather like his exclamation, because it's deceptive. Sawyer's still a hick, a character self-conscious of the appearance he has to the other survivors (as a way of keeping advantage & distance) but he's a reader too. This appearance of Book #1 is in the first episode we get of his flashbacks, episode 8, "Confidence Man," the title itself which can be taken as a literary reference to Herman Melville's novel of the same name. On the other hand, Sawyer's "commentary" on Watership Down could be a young man or woman's take on the entire book after it was assigned to read in school and they hadn't even opened the cover page by the time the book report was due. A different person, an attentive viewer, might ask about connections between the episode and the novel, that is, if one had indeed read the book or is in fact reading the book alongside the show. Very demanding, yes?

Books insinuate themselves throughout the series. Some books are only the titles of episodes, such as above, as with "Exodus","A Tale of Two Cities" and "The Little Prince." My list however was not comprised of those books, but of books handled by characters in frame. Some correspondences stood out: Dostoevsky is the only author on the list twice with The Brothers Karamazov and Notes from Underground; Joseph Heller's Catch 22 is the only book to have appeared in an episode in which the book is also the episode's title; and Watership Down, A Wrinkle in Time by Madeline L'Engle and Lancelot by Walker Percy are the only books to reappear together and with the original person who handled them: our reader, Sawyer.

There's something more to a facile list of books appearing on LOST. Each book has its own theme, narrative and many other structures which comprise its form. Each episode, each season and the whole series also has these very same things but to a higher degree of complexity and inter-relation. Plenty of shows don't even bother with displaying the reader and his relationship with books, but this is central to all literate human activity, and essential even to watching television. With television or screen narratives usurping a greater part of the attention that was once placed on the page, LOST's goal or moral modus operandi seems to be in hindsight to strike a visual balance between page/screen. One could argue further that the entire series is nothing more than an attempt at pushing viewers back upon themselves in some honest self-reflection. No wonder Sawyer's favorite television show is Little House on the Prairie.

LOST's writing was very successful in combining multiple genres to the delight and dismay of the public. It encompasses and pursues plot lines as a murder mystery, a science/fiction story, a tale of horror & suspense, an adventure, a psychological drama, even includes a buddy cop scenario, a hospital soap, a comedy, multiple romances and a few drug trips for good measure. All common forms of narrative over the past several hundred years of public reading since Gutenberg's printing press are covered. This range and multitude is staggering. The writers paced it out among characters for six seasons and that's quite an accomplishment with relatively few new inclusions. In doing so LOST becomes thinned out, strained and stretched too far on many occasions, and the ratings history reflect these changes. But I cannot find an example in television (perhaps only in Chris Carter's The X-Files or Gene Roddenberry's Star Trek: The Next Generation) that approaches and attempts to walk this seam of literature and the cinematic arts in our present time as LOST does. To put it plainly, nothing on TV has tried to sum up our collective story making history as the web spun by LOST. In order to avoid any network or fandom disappointment, we might not see one again for awhile. The most successful television shows are formulaic, predictable, take few risks, make few changes in cast and character, depicting a continuity of setting, situation and style. Mutable forms are shunned or end up surrounded by "cult" followings, as this show has with those fans it hasn't lost and most likely will with new viewers in decades to come.

XXIII. LOST as a mythic-religious epic made of the eternally repeating archetypes that have been with humanity since before art, history or literature

I paused again after seeing the series a third time. I was caught up in taking notes and found myself needing to put them down to immerse myself in the feelings displayed by characters and my feelings of their inter-relationships. There was so much struggle, such stubbornness, a lot of humor, sadness beyond sadness, joys shot out of cannons like fireworks, injustice and cruelty - and those unanswered questions. To be sincere, my utmost unresolved mystery is the nature of the Horace/Jacob cabin. But when I just stayed with the show, really tried to put myself in the position of the characters, I had experiences that were transcendent of my own subjectivity. Great literature does this and the greatest stories have remained with us in the form of epic narratives. But to be one's own witness to this process with audial and visual stimuli is something one does not receive from pages, but from film and television. It is more likened to rituals and dances of older cultures. The imagination cannot paint the picture which words suggest, because that relationship is not present. On the screen before our eyes, it's all provided for. The imagination is thereby rendered inactive or non-participant in forming an impression. The responsibility of the creators becomes fundamentally important again.

Jerry Mander is correct in stating that the rigidity of television does not allow for it to be a democratic instrument in his Four Arguments for the Elimination of Television. The bandwidth is very narrow, and the Internet is really not much broader. Mander's concern is from a socially determined point of view. He believes that the content is a reduction and the constant slogans, advertising and programs have liquified any quality down to a nearly innutritious pulp. This then informs the way a person acts and behaves in the world. Can television provide something directly to and for a human being that does not make them more susceptible to such autocratic control? These concerns are still valid because the medium has not changed much at all (just picture quality, which is a factor of quantity, of pixels) and we're seemingly none the wiser despite Mad Men and any insight that show offers on the mechanics of advertising.

What could be valuable today is a television show which is self-referential about this potentially harmful influence. If it were to do this, the writers would need to cast a much wider net over their source material and likewise expose their viewers to a higher degree of philosophical and ethical problems which would also be present in the show. Locke, Rousseau, Hume, Berkeley, Bentham - the names are there and the true owners of these signifiers were writers and thinkers orbiting the social transformation of the Enlightenment. It was one of the first things I picked up on when I began the show and if any freshman in a liberal arts college was also watching the first season, she would too.

So what do we do with this? It's a cud to chew on for the first few seasons and then we start getting this Jacob character, Richard Alpert, Hawking, Faraday, Lewis, Dogen. More names and more associations - now spiritual, now scientific. The names do two things for us: they give us a real world anchor in whatever region the show's narrative structure has moved into and paradoxically pushes us out of the show and into discussion when the show's episode has ended. This works on the viewer much like the literary references. Even before literature was written down and disseminated by symbols, the issues which are brought up because of the names and the ideas surrounding them were passed down in oral traditions which graced or continue to grace all cultures the world over as mythology. As a commentary on how our society continues to think about and act out the results of our current linear events, LOST succeeds in isolating the main arguments: fate, destiny, free will, determinism, sacrifice, forgiveness, remembrance of the dead, and self-awareness. The last is distinctly Eastern in its origins, and ever since we see a bagua with the word "DHARMA" inside of it at the Swan Station, the correlations and differences between our world's two dominant hemispheres of civilization are also brought together.

The stories are always the same: the lovers whose love is unrequited; the genius whose downfall is his own ingenuity; the outcast whose true place is in the center of all activity - these archetypes play out the philosophical and ethical quandaries which have plagued and continue to plague the whole of history. Reconciliation of the opposites and establishing growth instead of degradation are the oldest narratives these archetypes play/live within. Jacob and his brother's roles are that of the narrative maker (the tapestry) and the game player (the Senet board). All the initial problems are shown as clear as that island light in "Across the Sea." At the end of the series LOST makes room for the utmost expression: that of the principal of renewal (or grace) which responds to the causes (or gravity) of the creation of the universe. Renewal and return to the source lies in the seedbed of all religious and mythic teachings. Giving of one's Self without seeking reward is the surest path toward this renewal (Jack) and doing so until one's physical death means putting your Self in the shoes of the Other (Hurley). Transcendence is the only true end which justifies the means of one's experience - all else is folly, as Joseph Campbell and the early 20th century mythologists taught (who do not go unaccounted for as an influence upon the writers c.f. the special features of S6 on DVD or Blu-ray). Take particular notice how many times the word "experience" is uttered in Season 6 and by whom. The game only ends once, but it is played by and through many.

What a massive undertaking of a storyline crafted in a post-9/11, war-plagued and severely dialogue-deprived world at the end of the first decade of the 21st century! What happens when we take into our hearts and cogitate with our minds the implications of such a narrative with such a deep focus? The way we live our lives may even be impacted by such force and resonance with this strange substance LOST leaves behind. It might even be the kind of television that need not be eliminated. Wait - can such a story be eliminated? Rituals, dances and rites of initiation tell the story of origins and actually inscribe these on flesh or in the memory - as if one inhabits but for a moment, that real space where all live eternally.

End of Part II

(Never) A Final Word

To post a brief interlude from my current train of thought on education and the question of reading our Western tradition in light of the present, I give you Part 1 of an article bridging quite a unique gap between today and March of 2011. It was then that I wrote this article highlighting the differences and strange similarities between the forms in the narrative structure of Rene Daumal's Mount Analogue and the television show created by J.J. Abrams, Jeffrey Lieber, and Damon Lindelof (the latter who then continued to spearhead the show's direction with Carlton Cuse). This new post culminates after years of study and note-taking during re-watches of LOST that concerned friends & loved ones who sat down with me have witnessed. May their care for my mental well-being be either rightfully justified or pleasantly relieved by my writing below.

IV. The numbers

I'm finishing up my fourth time watching LOST in toto. The number four is a number of beginning. 4 lines create a square, 4 appendages of the human being, and 4 is the first numeral in the sequence synonymous with the series, which I've discovered is painted in white on a shutter off 2nd Avenue and 14th St last night in the East Village. It was strange, amusing and also telling, "pushing" me on in a way to write this article. Here is a photo of the sequence:

As viewers we come to know each candidate for Jacob's position was allotted a number. Four is John Locke's number. As the episodes of the final season become increasingly intense, full of steadily rising risks, attacks & counter-attacks, revealing plot advances made both on the island and in "the City of Angels," one simultaneously comes to the end and the beginning. As Jin states to Sawyer in Season 6, "that thing is not John Locke," and one character's end has dovetailed into another's (re)birth when Ajira Flight 316 doesn't make it to Guam. 

Locke is number 4. A square without one of its lines is a triangle, or 3. Flight 815 and Flight 316 are uniquely different. Eloise Hawking said to Jack in Season 5 that if the conditions weren't exactly reproduced for their return to the island, the outcome would be "unpredictable." We see that only one number of the sequence is represented in the flight designation - it is off or lopsided. 3 is not 4, and "the Man in Black" is not Locke. The above is an example of critical interpretation which shows through the writing Locke's replacement before the MiB's masquerade is revealed at the end of the season.

Not every answer which is given by the writers either outright, subtly with "easter eggs" or in the minute details of dialogue, can be divined this way. Much was discovered by the writers themselves as they wrote. This completely disagrees with what some might call a binding contract between the creators and the viewers to be omniscient in their roles, but there it is in the link from an interview with Cuse and Lindelof in 2008. A lot more has to be reasoned and turned over on one's own or with others in open discussion, as one would in a college course or in a voluntary book club. The record of the enjoyment fans took away with them while they spoke to each other as the show was airing remains on The Fuselage, on the special features of the DVDs & Blu-Ray copies, and on assorted pages of the Internet.

However, when our own experience shows that there is a lie in the statement that democratic conversation over the Internet is one of its inherent virtues, we cannot be fooled. As I mention in my post from 2011, the dividing line between fans as to the resolution of the series is a wide and deep gulf. My proposal below suggests a different avenue to understanding what happened (or happens) in the experience of watching this landmark television series. If you have left those discussion boards far behind, know that I don't intend on sending you back to them - they are almost totally inactive anyhow!

VIII. Active watching

I propose here that to appreciate the structure and form of LOST, one must at least make it through 4 active watchings. If it is of any merit to devote the 348 hours (or two solid weeks of one's life) by watching the series four times over, it can't be done passively, or, without one's attention upon the way the show is over the way the show could have been. This is not to say that it can always be watched actively. Viewing the series 4 times ensures that the character arcs and plots are known in detail, key dialogue exchanges are known word for word and the function of each season which displays the form of the series is known to the intellect itself, i.e. without having to refer to Lostpedia via Google, etc.

Some details can and will be forgotten - these details are where we take into consideration the lack of a finer energy or power of the story to impress itself upon us. These are places where we can make a critical statement about the quality of the writing. However, each watching can and would ideally give a person enough time and opportunity to enjoy the series, give the series its proper attention, work through their own subjective biases and allow for finer points of focus to come to light, so that what is valuable about the show can shine for itself. One watches and listens and changes one's own faculty of those senses - each time, a new paradigm in a sound that went unnoticed or a scene that finally made some sense in its relationship to the whole. 

The nature of the construction of the series, with its discontinuous narrative and abrupt sea changes, demands that one must pay attention. Otherwise, you're bemused, confused, frustrated and rationalizing your own feelings upon the construction. Why this and not this!?!? LOST wasn't farted out of one person - it was breathed into life from the mouths and minds of a writing staff that pulled from a myriad of sources and influences, both autobiographical (i.e. experiential) and via their own critical readings of other texts, shows, histories, etc. The strong fan base that grew and changed also spoke directly to the writers and influenced the very shape of the show. Even if you didn't participate in that collective voice, you can still benefit from creating your own inner commentary on LOST. An outline of each proposed viewing with a possible focus for your active watching could look like this:

XV. LOST as an ABC television series airing from 2004-2010 in a primetime slot

Taken into consideration, LOST came onto television during a tough time for its network and in a changing landscape for shows running on regular networks. The success of HBO, Showtime and other cable networks to raise unprecedented viewer ratings and collect many a statue at award ceremonies had ABC (the number 4 network at the time) pining for renewal. The unlikely story seems to be covered recently by another more succinct writer than myself, Alan Sepinwall, in his new book The Revolution Was Televised. An excerpt from his book on LOST's inception and first season can be read here. Damon Lindelof's mental and emotional instability as he took on the brunt of the responsibility for the show should be noted, as the title of the article suggests.

As for my own approach to the show, the first three seasons on DVD were brought before me by Matthew Thomas Ross of Portland, Oregon's Neighborhood Films in 2007. The fourth season was about to premiere and I had just entered a period of concentrated, intentional absence from university. I was reading books I wanted to read, writing poetry rather than papers, walking in the forest, enjoying every sip of tea, and letting what came to me attain my acceptance. And so, having not been involved in watching a television show regularly in quite some time, I was interested by Matt's description of the show and tentatively took up my first viewing. I have Matt to thank for every time I watch, feel, think or write about LOST. After the end of Season 1, I was completely engaged and wished to commit to the other two seasons before the first episode of Season 4. It was a marathon: 3 seasons in 2 weeks.

Thenceforward, having avoided the hoopla of time-slot changes by ABC (but not the Writer's Strike to come) I took a seat with Matt and other fellow Losties each night a new episode was aired. We all nursed theories over the "mysteries" of the show. I followed the details and thin threads as close as anyone could, and read much more into them than was probably there. What shined brightest though were the characterizations and the evolutions of the exercise (or withholding) of emotions, thoughts and will power on the island. Even unto this day where the last episode awaits my lady and I, who has yet to see "The End" either to her satisfaction or disappointment, it's the characters and their relationships that cause stirrings from my heart to well-up and out of me in the form of laughter, anger - or tears. Imagining, empathizing with, or responding to their situations of love, fear, betrayal, surprise, are all activities that require no critical acumen or learned insight to appreciate. This is the basis of all further appreciation, and I return to it comfortably after either championing the series or voicing my misgivings.

End of Part I

Through the River of History's Reads

Making a move soon from the Long Island borough of Brooklyn to Manhattan, East Village. The rent is high, the space small, but the accommodations are pretense for the ease with which we'll get to places of work, leisure, food, cultural centers and friends just outside of the double-doored apartment building. The fifth-floor view of Lower Manhattan is especially worth the price tag. When Spring comes, which every softened transplant to New York City wishes for being so unused to snow, ice and temperatures hanging just above or below freezing, we'll have a pleasure with access to a small planked rooftop via the steel black twisting staircase at one end of the apartment. This will be our home until the shores of Scandinavia call us in for summertime travels, working farm-to-farm.

Meanwhile, shifting small piles of books, changing their locations in the store, adjusting prices and tracking sales - these are my daytime duties. Increase the sales, add a small amount of ingenuity - an idea for a gift bundle of book, tarot card deck and magnet. Perhaps the managers will credit your suggestion, or forget you mentioned anything. Keep to ones's responsibilities to the customers and tasks; don't tread on those which are not yours. Co-worker and I, there is a central question about our "duties" to ask: Does a nearby reader reach out for an experience, or does she reach out for an item of consumption? Consumption - both etymological sickness and contemporary necessity. The charity of lessening ones burden materially inclines more towards the conscientious head but shies from leading in the direction of the heart's outpouring. Trickling maybe, drop-by-precious-drop of charitable liquid, like a Lincoln penny one doesn't pick up from pulling out one's hand from the tight fitting denim pocket. One of us at the bookstore owns no books - he leaves them where he may finish them, even on the seat of the subway as he rides home. Close this circle of thought around your own wrist. Do you reach for an experience, or do you leave one absence for another?

A number of writers and their books on the activity of reading grace a large table's worth of space in the basement of my bookstore. A few writers in particular come to mind with their titles, some of which are quite numerous and reflect on the reading/writing dichotomy. Italo Calvino's Why Read the Classics?, Alberto Manguel's A History of Reading, Orhan Pamuk's The Naive and Sentimental Novelist, Milan Kundera's Encounters, and some other assorted folk of scribbles on the how-and-why of the very activity which the place the customer is standing in has been erected for consuming such "novelties." Manguel has an essay on the homepage of his website which carries the line serving as the inspiration for this post. It reads:

Our actions must be justified by our literature and our literature must bear witness to our actions. Therefore to act as citizens, in times of peace as in times of war, is in some sense an extension of our reading, since our books hold the possibility of guiding us through the experience and knowledge of others, allowing us the intuition of the uncertain future and the lesson of an  immutable past

My current book of choice is E.H. Gombrich's A Little History of the World. It's form and content are justifiably shortened (it was written with the young in mind) but he has an astonishing way of stitching together the vast ages that at already half-past the middle mark of the book I'm engaged, can easily recall the previous twenty chapters, and have filled in gaps of centuries I had until recently been ignorant about. History is at times, as Gombrich states, "not a pretty poem," but this is the reality of it which nonetheless moves in the sinuous shape of lines in verse and is the story which we tell ourselves about ourselves. What shall we say about today? Every emergence from a subway station in the morning, breaking news for the breaking day: New Yorkers sick of snow, Deadly streets to cross, Philip Seymour Hoffman? Dead, but drugs not taxicabs. Little or none of this will be history in years to come, but it is demanding and succeeds in dividing our attention to listen to that very intuitive feeling between "the uncertain future and the lesson of an immutable past," as M. Manguel states on his Home Page.

It is on the train that most, if not all of my reading currently, is accomplished. Cramped against my fellow commuters and the stainless steel bars or rubber jawed doors, or if I'm lucky on the stiff but foot-relieving and pre-warmed subway seat. With hardback two-handed or paperback one-handed, I read. Of course standing with the hardback in hand and inside a jolting car I cannot use both - it's a hand cramp I pay for while grasping the bar above my head. Riding the Northeast Regional Amtrak train last week to Lancaster, Pennsylvania to see one of my dearest and oldest friends, I had the luxury of easing back in a comfortable seat in an uncrowded space with a wintry landscape before my face lifting up from my pages. Those pages were bound in a landmark book which is the utmost compliment to every post I've made in the last month. It is one that is challenging my mind and my heart on the most important occupation of my life, and which speaks through this question, one which Manguel and Gombrich address in their own way: Is education possible?

The posts to follow shall reveal this book, it's content, form, considerations in light of previous readings and shall culminate (or be complimented in adjoining posts, I have not decided just yet) in the public presentation of the core activities conducted by a group known as The Institute of General Inquiry, which was founded in Portland, Oregon in 2011 and existed for little more than 3 years. Keep abreast of this upcoming event, as participation and thoughtful commentary is heartily welcomed, in fact, needed. The Internet has no blood but our own.

Value as Treasure In Itself

Being employed at a retailer of books, any given customer enters our store from out of the winter's cold with a title scribbled on a piece of paper or pulled up on their smartphone. I am shown these titles or provided clues for their discovery, often out of reach of the customer's own memory. The numerous tables in the store that we must navigate through as we head off are full of newer books with covers designed so successfully that one may judge and be in the right to have judged its content by the affixed label. Tote bags and novelties are grabbed on the way to or back from the title we find, and brought to the registers. I have little doubt that sidelined merchandise sales are just at or greater than what we sell in paper.

A little more than half the time, their book lies on one of these tables of - a "best of","recently arrived" or "featured in." We have a table for nearly every section in the bookstore. And yet, there is a corner with little of this effulgence, a number of shelves left to leather-bound tomes with gilted edges and dusty mass market paperbacks, Library of America hardbacks and the unassuming Modern Library & Everyman's Library editions. It is a corner I look toward when my eyes have been all abuzz and ablaze with the maddening colors, graphics and blurb-ridden outsides of the books that may, or may not, make the cut this season for gift-able "readers." I print out a gift receipt if there is any hesitancy that they (or the gifted) will not.

I would direct every customer to that "Classics Corner" if each one were so inclined to choose something overlooked in their elementary, high school, or college days. Perhaps even discarding their bias over Silas Marner or their old, sick feeling looking at the size of Moby Dick - they'd discover the lasting joy and critical interest of a previous century of reading. If I am asked what I'd recommend, it's usually something that has been out for a decade or several decades - that's my own bias. Whether a bookstore employee has personally reviewed the book themselves at times holds little empirical importance over whether or not it is placed in hand and kept there, warm, until the checkout line. Rather, it needs to be available now, so being desired by a loved one; or it's a prize winner, perhaps being just been heard about "on the wind," i.e. The New York Times. What shines of a newer veneer sells better than what age has deemed of a stronger, lasting quality. 

So why not repackage and redesign? In fact, the NYRB is doing a good job of bringing us back to the sense of a book as having some value in itself, or a value that outlasts its current praise or past praise with a minimum of dressing. Even their editions could reign in design choices, keeping closer to solid colors, a welfare of detail, and few to no words of recommend. This bookseller-by-day handles hundreds of transactions and harbors just as many experiences of customer service to prove a hypothesis like the above to the most seasoned distributor, editor, or author. You learn to recognize the difference in selling a book and having sold someone a product.

In prefacing the discussion of my third book in hand, Jane Langton's The Diamond in the Window, with this experience of holiday book selling (with more than a little undertone of frustration) I wanted to highlight the difference between books as objects to be read or admired and books that provide reading experiences. The reading experience is central to Langton's novel for the young-in-spirit, and half-way through this novel there is enough indication that the immediate desire to have an item of worth is not half as valuable as the experience of searching for value in itself.

Set in Concord, Massachusetts, a hundred or so years after Thoreau, Emerson and Alcott's days, two young persons of Walden Street begin an adventure. Eleanor and Edward live with their Uncle Freddy and Aunt Lily. The former is an eccentric home dweller who speaks to his busts of the ancients Henry and Waldo, while the latter is a spinster who cannot make enough in piano lessons for her family to pay back taxes on their house. The children find this out without their guardians knowing so, and a small fear that their unsightly home will be torn down is born in their minds and hearts. Soon after, as they play across from their dank home, they notice that their attic must support an even higher room, when they spy a window they've never looked through. They discover the former room of their Aunt Lily's brother and sister Ned & Nora (psycho-spiritual doubles), who vanished along with a childhood friend from the East, Prince Krishna. Already, we find references to the 19th century Transcendentalists and their literary/religious sources.

As the search for treasure consumes their thoughts and guides their hands to turn over everything in the attic room, they decide to sleep there in the light of the diamond-shaped window. The window, which holds a poem whose stanzas are clues, gathers a different light each evening. Their dreams take on a different form, each night existing within and without the former belongings of their forgotten aunt, uncle, and family friend. Langton does an amazing job of creating a universe of connection over space and time that links the adventures of the dreaming children with the disappearance of the 3 persons dear to the Hall family. It is this compass of proportions as a guide and the dichotomy of dream/waking, past/present, west/east, that creates an inviting tension that the reader can't help but see through to resolve - especially with the impending date of their eviction from their own home.

The most interesting character in the novel is Uncle Freddy, the eccentric who is later re-instated as Professor Frederick T. Hall - after nearly being sent to the madhouse. He transitions from quotation to realization, from an obliviousness to the reality of their town to playing a key role in the celebration of Concord's historic past in the Revolutionary War. The thin line between what is sane and insane is tipped in the affirming direction, not because that's how he is able to fit into the society that would deny him, but because his mind is in-firmed by the teachings of men that would be his freedom. Even the Transcendentalists are transcended. Penultimately, a school is founded and a book to be written collaborated on between Professor Hall and Prince Krishna is begun (title unknown: perhaps something on the Bhagavad Gita's concept of liberation and its place in American thought after Thoreau?). Knowledge is pursued, not money, and what was lost, retrieved.

This book was cherished by both myself and to whom I read it aloud. Her mother loaned us the book and now that it is finished, I have an obligation to return it. But as we finished it and knew we had to send it back through the mail, I had this horrible feeling of anger at not having been gifted the book. It was acute and sharp, directed at her mother, and I thought about how I couldn't keep the object. Not until I could step back and observe my feelings did it occur how little I was able to take into my consciousness the teachings of The Diamond in the Window, every innocent, wise and loving word. Thinking myself no better experiencing this than anyone feeling an inclination towards one text or another at the bookstore, whatever the condition, I felt a deeper remorse-of-conscience for our kind in general. I caught my selfish attitude only upon self-reflection, though this brought me to the central teaching of Langton's book, which occurs in the chapter titled "The Chambered Nautilus." Seek out this book from your library, your local bookstore or a loved one, to find this jewel of Truth.

The Celestial Event of W.G. Sebald

Book 2 of 3, which I shall finish any day now on my subway rides to The Strand (my new place of work), is the debut novel of W.G. Sebald (1944-2001) entitled Vertigo. This novel was released first in the writer's preferred language of German as Schwindel in 1990, but the English-language translation by Michael Hulse did not appear until 1999. Much like the sense which James Stewart's character has in Hitchcock's film of the same name, the first-person narrator of Sebald's novel is "afflicted." By what? One could just as easily say anxiety or PTSD or something of that ilk as one could say melancholy, madness, or the musings of a lonely soul.

All great works contain in them a seed in their first chapter or first few pages or lines, that the remaining work grows out from upon the frame of the narrative. Much like a grapevine and the process of its eventual yield as a vintage. Vertigo is a work akin to this process. I began my reading of Sebald's work with his last and most refined novel, Austerlitz. Afterwards, I moved further back with Rings of Saturn. Vertigo as a work upon which the other novels rest extends the metaphor of the grapevine's seed across the breadth of his work. For as the title of Sebald's final work is named after a battlefield of the Napoleonic Wars, Vertigo itself begins with a short life of a soldier and diarist from that Corsican's army - Marie Henri Beyle (1783-1842), best known to posterity as the writer Stendhal.

From Stendhal's youth we are taken through his maturation and his mistakes, his realization about one's memory of images and the power of the image as subsuming the other, as well as the "crystallization" effect, which you may read about at the above link. The narrator of the rest of the novel brings everything in his own life unto the greying light of Monsieur Beyle's realizations on love, memory and history. While traveling from England to Germany to Austria then on toward one Italian city and another, we are entangled in the warp and woof of 7 years that pass between one impulsive visit of the narrator and his following one which tries to grasp at the several moments of afflictions he suffered under strange and myopic circumstances. The probable cause? Living itself.

His last journey is by foot, through that dark, wooded ravine that Dante tread himself. Only for Sebald, this leads not toward a transcendent journey, but to 'W.' which is the place of his birth and early childhood. A month at the same exact inn which housed his family, memory and the reality at hand seemed not to meet one another in an atemporal handshake. Rather the opposite occured: the understanding of what happened in the past and how the present moment could be its result, were utterly despondent. One did not seem related to the other, but for an image here, an object there, their only commonality in the lingering of their impressions in the mind. Kafka-esque in its unequivocal silences, Vertigo ends with Sebald's return to London, and he leaves us with words of another diarist, Samuel Pepys, as he watched his city burn, in the Great Fire of 1666.

I put down my copy of the novel, and I encouraged you to pick one up. There is a long length of human shadow cast by these works, these epitaphs of Mr. Sebald. I do not believe we will see much sun out from under it - unless we come out of the eclipse from our own degree of affliction - in memory and in history.

Intellectual Endowments to Humanity

Many more blocks have been walked, and much milder weather has been conducive to the activity. I walk to hand out my resumes and fill out the applications of bookstores that still have storefronts in New York City. Although currently in Brooklyn, I am searching mainly in Manhattan. With each new store, a new space with its own unique energies: high-quality first editions at Left Bank Books; a grand cafe and hand-picked selections at McNally Jackson; and the sole remaining bookstore of Book Row near Union Square, The Strand.

I've been asked by the best leads for a full-time job at these and other bookstores just what am I reading? Mentioning the title of book 1 of 3 which I intend to speak upon, Bollingen: An Adventure in Collecting the Past by William McGuire, I am witness to a sort of wondering and yet disinterested gaze in the person across from me. I begin to enumerate its subject matter in my own words and with each short session and new conversation the enumeration changes, as I read farther and farther into the book. But to be succinct, this book could be said to be the only record of a visionary form of publishing the likes of which this country had never seen at the time - and may not see again.

Bollingen: the name comes from the tower of C.G. Jung's estate on the shores of Lake Zurich in Switzerland. Paul and Mary Mellon visited the psychoanalyst and attended the Eranos lectures which were organized and held in nearby Ascona. Mary was very taken with the material and the caliber of scholarship from the visiting lecturers. Topics usually revolved around the theory of archetypes and its application to mythology, religion, archaeology, particularly of medieval or ancient origin, although many scholars fell outside of the Jungian collective unconscious interpretation. It was a place where ideas were exchanged on equal grounds, where politics were left aside, and the real matter of life was open to discussion: who are we and what are we/have we been doing here? What is Man? What is man's Consciousness? What forms of study of himself and his Consciousness have been conducted in the past, and how can we retain a connection to these forms of study in the present day?

Mary's vision became broader and opened outward from her initial alchemical fascinations. Jung himself was a germinal point or impetus from which much more would be included in the Bollingen Series. 100 publications in multiple volumes, some of which are still to be completed through Princeton University Press (who obtain the rights to the Series) have been proposed and/or executed. Some of the most important scholars of the 20th century, including Henry Corbin, Gershom Scholem, Carl Kerenyi, Erich Neumann, and Mircea Eliade, most of whom would have suffered extermination at the hands of Socialist-Fascist governments if Bollingen hadn't provided flights or support for their refuge, are included in its wide berth of intellectual studies. Little in the later half of the 20th century has been matched in degree and scope when these volumes are read over and considered in the light of their detail, impartiality and focused energy.

When Mary Mellon died in 1946, a shocking blow was sent through Paul, Jung, and all those so far involved in the Foundation. Paul continued to provide funding, awarding fellowships to writers, for excavations, and via the Old Dominion Foundation, creating the A.W. Mellon Lectures in the Fine Arts which continue to be given in Washington D.C. to this day. These philanthropic enterprises were intellectual endowments for humanity. 

How little we hear or know of this from the wealthy in America, especially when it comes to preservation and continuation of older traditions of thought both spiritual and technical. Frankly, if the ideas are not easy to implement via some form of current technology or in the spirit of "the New," the grounds for its continuance are absent. If it's difficult to be marketable to a public who does not demand for it, then it shall not see light. And if it did, its form would likely be altered in such a way, via cover design, annotations, poor translations, that a compromise would be reached - compromising the integrity of the work. We do this constantly with classics of literature. Translations become "outdated" due to the idea that a modernized style would make it more "accessible." Intellectual is a dirty word today anyhow, a synonym of pretentious. The challenge presented by editions from the age in which philology was a real academic study of rigor are to be met with and wrestled for great rewards. Perhaps, even greater than the award, but not unlike, Jacob wrestling with the Angel and granted a new name, a name of transcendence and of heritage.

I have diverted too far from the spotlight of this entry: Bollingen was unique in the risks it took, the money invested, and the spirit of its enterprise. Its heritage, which is none other than that which lies in the vanished cinders of the library of Alexandria or the bones of the island monks of Skye or Kells, still shines on from our shelves. Provide yourself with an introduction to the heritage of your own species by picking up any title of the Series, most of which are available at your local library (probably in the closed stacks) or at a decent used bookstore. Bless your mind with a worthy focus and strengthen the attention which falters often without your permission.

A Change of Position

Goodbye Western reaches, frontier land of my nation, and home of the last 10 years. A recent cross-country move has set this writer down on New York's Long Island in the borough of Brooklyn. The English language has slightly changed, accents abound, and tongues from many foreign places surround me on the streets and in the parks. There are as many Halal food carts on street corners as there are notable and historic American sites: Grand Central Station, the main New York Public Library, the Chrysler Building, Union Square, Central Park - these are mythic and real places. It is often humbling to accord this truth some harmony in my mind.

The air, when it is not filled with food smells, is a dry and crisp Atlantic cold. We (my lady and I) have already walked through many neighborhoods between waiting for the vacuum of a subway train's arrival. Wind and heavy rains threatened our arrival but have now abated. Our sublet is warm and the roommates are Swiss and practice composing their music. Giving my knees a rest, I have but three books to my name and they are as follows:

Bollingen: An Adventure in Collecting the Past by William McGuire

Vertigo by W. G. Sebald

The Diamond in the Window by Jane Langton

In upcoming posts, I shall note more of my new surroundings from as objective a point of view as possible while noting the impact these works have on my thoughts and presence. Books are curiously the bane and the bastion of knowledge - we hold them before us as guardsmen of our thoughts and also use them as the tool to unlock or unhinge the tightened bars of our ignorance. May we read only what we have set before us and not a jot more or less! I have no wish to die under a tower of books, but until the boxes arrive which contain my small library, three couldn't do more than stub my toe.

Until the next transmission, readers.

Lingua Anglica

Language both is and is not ours. The anthropologically-rooted linguistic theories that language "appeared" in order for our species to convey information basic to their survival covers but that utility of survival itself and goes no length to offer a reason for its creative functions (the topic of this post). 

On a daily basis we encounter numerous examples which expose this theory as a fallacy. The radical differentiation of languages, even within themselves in their many dialects, regionalisms, and recent sub-divisions (made possible by the ever-touted technical innovations for communication) such as media newspeak and hyper-subjective textspeak, seem to prove the opposite. Indeed, a language's ability to harbor and synthesize the introduction of neologisms, colloquial slang and vocabulary from other languages, shows that the language one speaks is an ever growing and, arguably, debilitating tool for the lone benefit of communication. 

This is not an isolated occurrence of the modern era (See The English Language, 1985, Oxford University Press by Robert Burchfield, former chief editor of the OED). Being an English speaker in America, and with English being the language I have in mind while writing this post, the metaphor of great loads of English ivy climbing over trees and landscape as a rampant, ever encroaching and choking invasive species is, I should say, "spot on." Communication via language easily becomes entangled by the nature of its lively structure and we compensate with bodily movements, furrows of brow, smiles and frowns, laughter, and all the other sounds and gestures (culturally unique but also universally ingenious) to supplement the entrenched activity we learn to do -  from our first word to our last breath.

And so, why do we speak if it is not to communicate well? Perhaps we speak to understand it in its negative sense - not speaking. We cannot know what it is to be mute or silent in meditation without first knowing what our utterances perform, and their complications. And it is a complicated performance. Robert Graves, though long since debunked by the semantic and syntactical science of Linguistics, theorized that there had to have been an Ursprach or primary poetic language from which all languages share a root and from which poetry was born. This is a very beautiful and Platonic idea, or "Form." Language at its purest and most undifferentiated is the very source of the human expression we call poiesis. This is why we speak - to bring utterance to the composed - to sing. As I just stated, this does not accord itself with our modern notion of where language comes from and why it appeared. For the poets and the philosophers however, this couldn't be closer to the truth deduced by reason and reflection upon the nature of language and human nature itself, those conjoined twins of Babel.

Graves can still be shown to be relevant, as anthropologists and the archaeologists consistently find that the first utterances we have on record in most, if not all, major cultures are their oral traditions codified. Oral history did not become unreliable, but written language pushed the spoken word into an unknown territory, and the poetry we most often read there is of conflict. See Beowulf, the Epic of Gilgamesh, the Homeric epics, the Mahabharata. East and West (and assuredly North and South) have at the root of the history of their languages the struggle between the force of words-in-mouth vs. the power of words-in-scribed. The struggles occurred at pivotal times where their language was undergoing mutations, both internally and externally, and masses of people moved beyond cataclysms and climate changes and encountered, or warred with, then assimilated and birthed new people and new(/old) tongues. And so, one can read that our first stories, no matter our sedentary heritage (as more nomadic tongues than settled ones remain "on the lip" and haven't dropped to the page) are stories of emergence, change and recapitulation in "new" Forms.

It seems that we need to speak as a way of continuing our humanity, of existing as beings of our degree in the chain of life on this planet.

I can't help but tangent my building argument by way of mentioning a subjective experience. When I encounter most casual conversationalists and mention my degree in English, their opinion rolls around from a condescending/sympathetic nicety directed towards me, to an utterance about the nature of the English language itself: "English is a poor/decaying language." "It's taking/taken over the world." "Our language is so messy - it's just a mishmash of other languages."

All of the above opinions are taken from real life.

What is so bemusing to this student of English is the equality of all three opinions. They all hold that English is somehow deficient and differ only in the stated cause - either from the low quality of its use, its past as the voice of British Imperialists or the continuing history of its morphology. What is not surprising but unique about these opinions is that the flip-side of their negative connotations denotes some positive ones. The use of poor English is the sign of a language changing. Whether or not in a future time this can be called "decay" isn't an aesthetic question. The linguists would say, to quote an old professor, that laziness is just as much, if not more, a factor for morphological change than successive ages of increasing elaboration & eloquence. The proliferation of English speakers due primarily to the latest and greatest sea-goers of the world, who happened to speak English (it could've been the Portuguese or the Dutch or the Spanish, but history has it as the British), cannot be a remotely useful argument to brand English in itself as a language of oppression. 

Lastly, every other language English has come into contact with has had an influence on the English we spoke in either the 15th century or the one we speak now. This is especially true, as the exception and the rule, in North America. No other diaspora on this planet has record of such quantities of tongues and peoples and cultural traditions being "mixed up" together in such a manner as it was in the 19th & 20th centuries here. And yet, I can understand a text written in Elizabethan prose with only minor attention to close readings or exegesis of peculiar vocabulary and syntax. How did this oppressive/tolerant and equally dynamic/lazy language ever survive? Precisely because of these attributes, and not because of their negative or supposedly unmerited reasons. A lesson in objectivity for our relativistic and subjective contemporary education.

If poetry is to survive as a creative form, it will be because of its merits in using the language it is composed of to its utmost and beyond. Read James Joyce's Ulysses or Ezra Pound's Cantos to get a sense of the boundary/boundlessness between the ursprach Graves speaks of, the languages English has inherited from, and the language of the modern era until the late 20th century. Our great poets of the 21st century will exhibit their likeness and compel our definitions of what English is to break upon itself, as a seedling breaks its own containment. The new plant shall sing.

Terry Gilliam's Twin Fables

[ First and foremost, apologies to any readers who have been awaiting most of the second half of the calendar year of 2012, and the first half of 2013, for new transmissions from the Observatory here at Waves of Guide. To bring you something new has been to cull what is old and rotten, shake away its stink and musk, and enliven some fresh feelings and thoughts into this tapestry of Life. And so, without further ado, a piece entitled "Terry Gilliam's Twin Fables" ]

Few films project their own light free from a theater screen through the days of my youth and upon the years of my adulthood as do Terry Gilliam's Time Bandits (1981) and his Adventures of Baron Munchausen (1988). Perhaps it is because of this writer's constant exposure to Monty Python's absurd antics and particularly British humour by his father's incessant tuning-in to comedy channels on the TeleVision. Or, maybe the connection made between one's impressions received in youth and an awareness created later in life by certain stories, told by certain creators (whether "original" or "inauthentic") maintain something within that just keeps nudging you, over and over again, as your life goes on. From chance encounter to deeply intimate experience, there they appear with gentleness and honesty, the children of his fables - Sally of Baron Munchausen and Kevin of Time Bandits 

The Fable of Romanticism

The children in these films go on journeys apart from their "realistic" worlds, but as one knows, if one remembers, we were born from that world apart from the real world, the imaginal world, and are gradually pulled away, forgetting its sensation. [See the Introduction to the Work of the philosopher who coined this term "imaginal" at Henry Corbin Project] Sally lives in a world of war, pseudo-rationality, and the utmost evil of these conditions - bureaucracy - in the form of a magistrate played by Jonathan Pryce, in a vastly different (and French) role than his portrayal of Sam Lowry in 1985's Brazil.

In Munchausen, the risk of death is present not only in war, murder & disease, but also in the form of the Spirit of Death itself which continually seeks the Baron. Sally still senses/lives in the imaginal world, and so she is the only one who sees Death for what it Is, and sees through what it masquerades as in the end for the Baron - modern Western medicine. Sally carries this dark gift but is disowned of her story-telling heritage as the daughter who goes unrecognized, poster after poster, in the advertisements for her father's theater troupe. She is barred from the inheritance of imagination in an increasingly unimaginative world. We meet her father's troupe performing for the city's bombarded people the unbelievable "true" stories of Baron Munchausen. Sally needs Baron as much as the people need his stories, to show the length and breadth of a life lived with the thirst for love, for honor, and for the journey through it all, even facing danger - and death. Military science and the machine of bureaucracy is a wheel spinning just above the ground, and the city of Man which it's purporting to protect is falling...

Historically, Karl Friedrich Hieronymus, Baron von Munchausen, was a real figure who served in the Russian campaigns against the Turks during the 18th century. The exaggerated stories of his travels were first published in England in 1785 by German exile Rudolph Erich Raspe. Gilliam mines Raspe's stories for the action of his film, but expands upon the intrinsic value of such elaboration as an essential elaboration to counter-balance the stolid reality of a modern world. The director wryly titles the opening scene as, "The Age of Reason," before we are brought into the siege of the city. In this way, he is inviting us to compare the level of destitution caused by the grim methods of warfare, paired with the increasing capacity for an idolatrous humanity to deem itself more learned, more rational, and more ethically justified to do "good." The Mind had now been raised higher than the Spirit. This is farcically shown by Pryce's character 'The Right Ordinary Horatio Jackson' condemning a Heroic Officer to death, played by a young Sting, for going "beyond the call of duty," capturing cannons and saving men. Sting is a recognizable artist, and his character's death is also a parody of the artist's death (to some folk's subjective delight, but we're leaving that aside here).

Munchausen is the spirit of Sally's world and the very quintessence of the era of Catherine the Great of Russia, the energy of the French Revolution, the European world invigorated by Classical mythology and expounding Nature's affect in poetry. The world before the Scientific era (and oddly, the spirit of the reactive artistic movement after the Age of Reason, Romanticism). Sally maintains wonder for this old way being eclipsed by the new. When Munchausen-on-stage, played by Sally's father, is flayed of his prosthetic nose by the real Munchausen, the film begins a process of pulling the seams apart between the deteriorating theater of the world (which is literally being blown apart by Turkish cannon fire) and the true substance of our life that gives living whether in a "reasonable" war or in an unreasonable story any meaning. Munchasuen takes responsibility for the play and the war, then sets out on the adventures that shaped both. His faults throughout are his virtues. Sally won't have him give up his spirit to Death, because our Spirit is what's truly under siege, and death is always out to take it from us, wearing many disguises, all antithetical to the imagination. The end of the film is a hopeful one, Sally receiving her inheritance of place and name in the troop, though she could not keep Death from taking the Baron's soul. Time Bandits offers no such gift.

The Fable of Modernity

"So we create a world that isn't true to a realistic, naturalistic world, but is truthful" - this is Terry Gilliam on his film-making practice, and on storytelling. In Time Bandits, Kevin is a modern boy fascinated by the annals of history, his walls adorned with his drawings of ancient, medieval and turn-of-the-century images. They occupy his entire imagination. His parents watch a television show "Your Money or Your Life" and eat from ready-made meals of the Microwave, disinterested in their son's young life. Kevin has a taste for what has been lost in the sands of time, lost to the immediate present, and finds only the dessicated remnants of it in his books.

Enter the little people, the common stock, the otherworldly. The bandits of the film's title steal not time exactly, but a Map of points in space-time, where they plan to steal treasure from history's notables. The troupe of 6 are joined by Kevin, the 7th, and they fall through time, which takes them further and further away from the Supreme Being, whom they stole the map from, and towards the Evil Genius (played by David Warner). Evil's intentions are quite different than the small bandits for the wealth of the world they created, or Kevin's for a life of substance - he wishes to acquire the knowledge he needs of the latest machinations made by man, to understand computers, and become as a supreme being himself. This is taking Horatio's conception of the world to its logical extreme.

It is worth noting that when Kevin and the bandits make for the Time of Legends, space between what "happened" and what is lost in story, is bridged. This is also where and when the Fortress of Ultimate Darkness, where the Evil Genius dwells, is accessed from; a bridge where mythology and history meet has, from a modern standpoint, little meaning, only for archaic or faddish New-Aged knowledge. This is the trick of Warner's character, that he lures them into believing that the greatest treasure is beyond the edges of the Map of space-time, the very same intriguing idea that lures many a person to religion, mysticism, sorcery, etc. Metaphysical truths are the seeds of physical experience. The "beyond" is where they do find the Supreme Being, or rather he finds them, but his characterization is nothing more than that of a watchmaker-type God (played by Ralph Richardson) whom neatly cleans up and makes orderly where mistakes of his own were made. "Why does evil exist?" Kevin asks him. He momentarily walks off behind a broken pillar and comes back to answer, "I think it has something to do with free will." So begins and ends any theological considerations in the film. The bandits are then re-instated as the workers of the World, and Kevin is sent back...

What is most vexing about Time Bandits, if you will sympathize with my own vexation, taking notice of not my review but poor synopsis of the film's parts, is that in the end Kevin is not allowed to stay with Agamemnon in antiquity or anywhere else but ends up back in his own time - as his house is burning. One single chunk of the Evil Genius remained and traveled back with him, lodged in the Microwave. His parents touch the chunk and are incinerated before his eyes. The camera lifts away and we are left much as how we are in Gilliam's other film about time travel, 12 Monkeys (1995), with the child alone and dispossessed of a future. Where will Kevin now be sent? To live with a Munchausen-like relative who like an indemnitor gives him new hope for a coming age? Or like James Cole, will he now have the greater grief of succumbing to a human movement underground because of a new plague of our creation which wipes out most of the world's population in 1996? The questions raised in Time Bandits are unresolved, being a film about modernity's own unresolved complications. 

Conclusions(s)

Complication is essential, as simplicity is co-opted by that very evil with which the modern era touts its own ideologies for the sake of any number of conveniences, to the debilitating effect of complacency and disinterest in the individual - as it was with Kevin's parents. The Imaginal world, as Corbin shows, has not a fable of its own, for the true substance of our imaginations are made of its material and are woven in this reality. Film, and I think Terry Gilliam would agree with me, exemplifies this transcendent notion of Ideas expressed in the Forms of the World, that very dear Platonic teaching. The images and sounds fabricated remind us that the actions upon the screen of the theater are as the activities of our Imaginations which manifest themselves in our worlds and our lives. The questions is: What stories are worth telling well? Gilliam has at least been consistent enough to give a thoughtful and era-appropriate answer with each one of his works, even up through 2011's web-only release of his 20-minute short film "The Wholly Family" (available to 'rent' for $2.99 at terrygilliamweb.com). There is a much different outcome for this new 21st century child Jake than for Kevin, but I will withhold my spoiling of that cinematic fruit and instead shall urge you, the receivers, to view, reflect, and make something of your own in response.

Postcard Triptych

Collected postcards arrangement. Read from the Fall clockwise and around once more. Comments and reactions welcome.

Published Poem

The observatory here at Waves of Guide houses but one occupant - a poet. His transmissions have been relayed off and on for the past four years as the ebbing of a relationship and the flowing of diverse friendships outside of the Grand Obsevratory have made diurnal passages. In the first half of this year, the poet was published and formal recognition of the poem, "Your Conscience is the Absent Partner," accompanied congratulations from loved ones and strangers at The Stables in the Southeast Industrial District of Portland, Oregon. The second issue of the literary journal Cavalcade, where the poem was published, is edited by Cutter Williams may be purchased at Powell's City of Books, Beacon Sound Records, Reading Frenzy and Wallace Books in Portland, Domy Books in Austin, Texas and Carmichaels Booksellers in Louisville, Kentucky. As no poet may survive and likewise strive for excellence without some form of support or patronage, the poet asks of the readers to consider the purchase of the journal to add to the collection of their poetry, somewhere between Robert Burns and William Blake. Next transmission: Nostalgic revisiting of Terry Gilliam's Time Bandits and The Adventures of Baron Munchausen prompts a film review of them both, in light of contemporary mythology of the computer age and ancient storytelling forms.

Old notebook

Idea for a t-shirt, notes on the history of calendars, and a drawing from Luc Besson's The Fifth Element

Circa 2010 - new post coming soon

Meet Geoffrey Hil, People

The first through third lectures of Oxford University's 44th Professor of Poetry, Geoffrey Hill, are available to any poet, critic, student, independent writer, casual audiophile, etc. on Keble College's website. We are all granted a 21st-century event of contemporary literary history & criticism in-the-making; of unequaled importance at the current time. This Englishman, a poet of 80 years whose practice of the craft and thorough readings of the great works written in the English language, shine forth, and he is speaking to us about us by them.. The fourth lecture will be delivered at the end of this month and available, if the previous release patterns indicate future ones, a month afterwards - about New Year's Eve, 2012.

Begin with the "Inaugural Lecture," which Hill delivered in standing-room only attendance despite his being afflicted with laryngitis. There will be a total of 16 lectures during his professorship. If your care for the very substance of language, that its use and the poetics of its use are intertwined with the very way in which our actions do and do not reflect each other, or if you are interested in listening as a challenge, a way of struggling with your misperceptions and graduating from the college of your own America - then download, download, download, upload, headphones, playlist, play.

Giles and the Gates

 

PHOTO BY ASHLEY BROOKS COZZETTO

The photo above was taken alongside Cinemagic Theater on Southeast Hawthorne Blvd. in Portland, Oregon, fall 2008. It features a life-sized facsimile of the original image of Our Lady of Guadalupe, along with your main Tele Gram man on the left and Mr. D.H. Giles on the right. His cause for being in the small space alongside the old moviehouse was, at the time, to display the handmade gates from the old St. Vibiana Cathedral of Los Angeles, California, in hopes of facilitating interest in our City of Roses for its permanent public placement. The documentation of Giles' journey as steward of these rare and priceless creations, crafted by skilled metalworkers in 1921-22 to celebrate the appearance of the image on Juan Diego's canvas poncho in 1531, can be read on his website, a "global consciousness paradigm refinement project," named Global Peace Gateway.

Waves of Guide has contacted Mr. Giles via email for an interview that was to be originally attached to this post, but since no response has yet been received, we are sending this telegram out anyhow to help grow public attention to his cause and will post said interview, if permitted, arranged & transcribed, on the "Addendums" page of the blog.

Giles has offered the gates as a gift to many cities across the country in his fifteen years as gatekeeper, but does so with the expressed condition only to display a facsimile image of the Lady along with a posted history, highlighting the scientific research done on the "painting." Although our communal Internet-Brittanica states contradictive findings, no known earthly source of the pigmentation has been identified, no brush stroke application of the original is apparent, there is no under-drawing and the vividness/preservation of the colors after over 450 years is striking. All offers have thus far been turned down for the installation of the iron and exquisitely detailed gates. Some have considered taking them, but not with the image or information. It is a testament to Mr. Giles' integrity that this has never been considered - why would you conceal the very raison d'etre of their existence? Another sad result of the secularized free world is the freedom exercised to disregard history and write-off the inexplicable.

Although the Lady is an important religious image to Mexican-American Catholics, the miraculous impression left after Juan dropped his gathered-up roses in front of the local bishop (as the story has been passed) for Giles is a "quantum physics phenomenon" and it's significant beyond an individual's adherence to a faith or no faith. It challenges the understanding and signifies connectivity to something beyond our "normal" conception of reality. The gates themselves are remarkable pieces of art made in celebration of such a phenomenon, and it was an honor to have them shown to me, felt, lifted, and admired three years ago. He also shared and recommended this book.

Do take the time to read and explore D.H. Giles' rich site full of sources, documentation, and the symbolic online representation of this kind man's efforts to help preserve the past and be hopeful and present for the future.

Obituary

In Memoriam: NASA's Space Shuttle Program 1981-2011

Photoshop collage of found newspaper clippings

Enlarge for details

Library Visit

Transcendence in art

Highlighter, sharpie, and ink pen on card catalog entry

View large for full screen detail review

Dhoop Slide

Video and music by G.D. Burns
Edited with Windows Movie Maker
Recorded on a Fujifilm Finepix E510 and a Sansa m240

From Alpha to Asterik

Chalk pastel on a Portugallic chalkboard
A responsive drawing to the writings of Victor P. Riess
Spring 2011