Tuesday, April 20, 2010

Final Paper

I've been busily working away at my paper since spring break and have not updated my blog accordingly. I have notes for several fun blog posts but I'm going to delay them until after I'm finished with my writing. It really is the priority.

I find I'm kind of shy about sharing poetry when it feels "rough". Even though I'm nowhere near finished, I should have some good selections of my poem which will remain largely unchanged at this point.

So, until I'm finished with my paper...

This area is under construction

Thursday, March 11, 2010

Epiphany and Love

I love this picture that I used in my 2nd post. It really does look like an epiphany to me.

I don't believe we have used the word "Love" once this semester or at least we haven't examined it's connection to epiphanies. To my knowledge, the rest of the texts will not cause this word to surface. Something critical is missing from the syllabus so, Dr. Sexson, please fit this into the class. What we have examined thus far in epiphanies suggests that they are somehow stronger or perhaps removed from love. I think we simply have not yet connected these dots because we do not yet understand the space between them.

Love is the essence of an epiphany. In this context, both are the awareness of deeper understanding of ones own presence in the world and the connection(s) which exist within it. Both are entirely irrational, incalculable, and with effects often completely beyond our control. In reflection, they both represent equally powerful markers for events on the road maps of our lives. I don't even think these two things are parallels. They seem to me to be tied to something deeper, something more primal, within our biology.

What is (mostly) unique to humans and has allowed us to evolve to where we are? Speciesism aside, our ability to discern possibility out of experience ultimately manifests in the expression of art. (don't worry, this isn't a tangent) As our awareness allows us to examine our experiences and improve upon our reality, so too our awareness allows us to create and appreciate art which, in essence, is still rooted in our awareness. This is a very important (and convoluted) point. To the Lighthouse, Annie Dillard's essays, and the various poems we've read, they ALL represent art which in some manner attempts to describe epiphanies or relate epiphanic experiences. They make good commentary and good discussion material but where are they truly sourced? (The answer is of course "Mythology" but that's besides the point and an entirely different class, even though we've all taken that class before and we just need to remember it, and it is any class we've ever taken with Dr. Mytholo-ah-I-mean-Sexson)

At work the other week, I had a small epiphany. I take the containers off of a rack and then put them in a box. Then I do it again and again and again. And again. Arranging the boxes after filling them is tedious. It involves a great deal of carrying. Here's what I figured out. Rather than fill the boxes and move them each one at a time, I figured out a way to fill one box, place another on top, then fill that one, then place a final box on top (creating a stack) and fill it. Lifting all three boxes at once and reducing the frequency of my lifting is far easier than lifting each box individually. That's what leg muscles are for.
See the difference? It made a very significant improvement to my work day and it occurred through observational awareness. Here is my important point.

Humans are SUPPOSED to be able to do this! We make these small leaps all the time. Some animals have teeth, other animals have wings, still other animals are incredibly fast. As an animal, we are observationally aware and that is our special trait. We figure out a more nifty way to avoid traffic while driving during rush hour, a different way to carry things, and a new way to put a handle on to basically any concept for a tool. This ability to process an abstract concept and apply an improvement to our lives is our greatest strength. WE ARE SUPPOSED TO HAVE EPIPHANIES AND WE ARE SUPPOSED TO PROCESS THEM TO THE BETTERMENT OF OUR LIVES!

It's possible I could have separated love and this idea behind the evolutionary source of our epiphanies into two separate posts but they seem connected to me. Here's what I see.

Love, or how it frequently occurs in our many societies as "partnership", is found all over the world in almost every form of life. There are plenty of people who disagree with this and it's a hell of a lot easier to justify most of our stupid, elitist, speciesist crap if we ignore the reality that love fills the world all around us. If you happen to be one of those wrong people who believes in this wrong speciesist crap which is wrong, then suspend your disbelief for a moment while I make this connection.

Love is a biological imperative for us exactly like observational awareness. By experiencing an intense emotional connection to a person, place, thing or idea, we are far more capable of propagating that thing (or simply propagating). We are supposed to experience love! Unfortunately, it is not always convenient. Though separate entities from a philosophical viewpoint, they are manifestations of the same thing. I don't think I can explain this so I'll simply move on to the visual argument for this.



Mr. Darcy experiences a dark epiphany ("What!? She won't marry me? She thinks I'm an A-hole?!") and Elizabeth experiences an epiphany as well ("OMG I hate this guy so much I turned down marriage and an insane amount of money which could've floated my family for the rest of their lives!!), though Elizabeth's epiphany is more of an after effect of this scene.

I think this scene, and the entire book (Pride and Prejudice by Jane Austin) represent love as one form of an epiphany according to our understanding of epiphanies. When love comes upon us, we experience it as we would experience any other epiphany; it can be immediate or gradual but it always leaves something about us permanently changed through the awareness we are granted. When I read this book, I see the love and the epiphanies are the same thing. Love, just as a standard epiphany (maybe that phrase is an oxymoron), is rooted in our observational awareness in the world around us. Occasionally, we make great leaps and bounds. Love, and epiphanies, do not simply appear out of the ether. We see the same effects and this convinces me they occur from the same source in our evolutionary biology.

I can feel myself descending into obfuscated and potentially (more) belligerent writing. I'll wrap it up and go watch Lost. Maybe I'll respond to this at some point during spring break.

Tuesday, March 9, 2010

Mything in the Lighthouse

Dr. Sexson said we could find a mythical interpretation of basically anything the book. So I've randomly selected a page, front and back, to read with a mythical interpretation. How can someone truly select a random page from a book without using random.org? I have selected the 1 page which has come loose in my copy. It must have been read heavily before it found itself in my possession because I certainly didn't put this millage on the book. So, this is as random as it gets. Here we go.

My selection begins several paragraphs into section 11 of The Lighthouse near the end of the book. This section begins with an observation about how much depends upon the ocean and then also upon distance. Now that's not on my page so I won't begin discussing Posidan and a line from the Homeric hymns at length (although that might come once I actually get to my selection).

One line in! "...she supposed, looking at the thouse, but nothing appeared there. But then, she remembered"! Nothing appears when we look for it but, once we remember, there it is! This reminds me of the mantra we keep hearing about how we already know everything we need to know and all we need to do is remember it. Those pesky Greek philosophers do better arguing the merits of vegetarianism.

Distance. Silence. Movement. These are the key words for both sides of my page which emphasis a perfect state of awareness, a "feeling of completeness perhaps which, ten eyars ago, standing almost where she stood now, had made her say that she must be in love with the place." This is as Lily is watching everyone else head to the lighthouse. In their absence, Lily experiences that quiet moment of total awareness of oneself which all of us know about. How does all of this relate to myth?

These all remind me of Odysseus and the sirens. Odysseus must pass by the sirens but he knows if he and his men hear their song they will all be lost. He orders his men to plug their ears with wax to remain immune to the siren's call. However, Odysseus wants to hear the sirens so he tells his men to chain him to the mast of the ship.I suppose this relates to Lily in that her "feeling of completeness" is followed by the length of almost five sentences (even though it's only two, can we say fragment happy?) shows her sense of love to be equal to Odysseus' sense of determination which is heroic and legendary. What Odysseus experiences with the sirens is beyond accurate description as is Lily's perception of love ("Love had a thousand shapes").

Sunday, March 7, 2010

To The Lighthouse

To The Lighthouse makes me feel (sea)sick...
Third read and I'm still not impressed. To me, it feels like someone turned 90210 into a book and inserted some literary thought. Regardless of the level or value of the literary thought, it's still 90210. "In this chapter David learns drugs are bad, Brenda and Dillon have trouble, and Donna makes a new friend!" So I still don't like it.

Boats float on water, the great metaphor for change...
The imagery behind boats is worth examining. The lighthouse, while obviously the metaphor for awakening (made blindingly clear between the end of the 2nd section and the title for the third section), is the destination, the subject or noun, the goal. The ships are a the vehicle to get to the destination, the verb or action, the means. There was a terrific quote somewhere in the middle of the book about the growth of trees and then ships are mentioned shortly after. Trees are semi-ladders for the metaphor of ascension. The branches act as rungs and the connection with nature/growth often exceeds that of an actual ladder. In this quote (I don't have a page number), there is a specific reference to trees and then shortly after follows the ships. Trees... ships. The ships come from the trees. The ships give people the agency needed to reach the lighthouse.

Something we've already studied in other works...
There was another good quote (I don't have a page number for this one either) near the end of the book. It talks about people hurrying up with their reading so they can finish. This bookends nicely with a quote from p43, "Books, she thought, grew of themselves. She never had time to read them." There are other sandwichings in the beginning and ending of the book. Most notable of these are the aggressive murderous thoughts held by men. I think the murderous rage moments represent passion and hate. I think the book references represent consideration and imagination. These are each qualities found in any given family/relationship so I think they were inserted overtly into the beginning and ending of the book as markers signifying that things exist in between. This is a different approach towards drawing dots and helping us make connections than the other authors we have studied have taken.

Summary
I'm sure everyone in this class has watched or been exposed to a movie which is a complete and total waste of time. You know that feeling of "I want those 2 hours of my life back"? That's what I feel with this book. I can't be finished with it soon enough.

Reflections
I think I may be unnecessarily critical about some of these books and I feel I better understand why that is. First, I know what I'm interested in and these texts aren't it. Second, I'm getting progressively more and more crunched for time. A weekend spent rereading Lighthouse is a weekend I could've spent with my project. Third, drawing connections between these different texts seems uncommonly difficult. Yeah, they're all supposed to be related to epiphanies but I don't feel they cover the damn things as clearly as they could. I don't feel like I'm getting as much out of these texts about epiphanies as I feel I should be getting out of them. Finally, I feel like none of these texts have addressed epiphanies as I would have them do it (but that's a whole different post in itself). I'll have a decent post on epiphanies for you sometime tomorrow evening.

Thursday, March 4, 2010

Indiana Jones, Moab, and Tintern/Edward Abbey

I have a starting point for my discussion on Tintern Abbey other than the actual text. Does anyone remember that T.V. series The Young Indiana Jones Chronicles? At the end of the first season, Sean Patrick Flanery falls in love with a young Elizabeth Hurley. There's a scene in the the last episode of the season which details a portion of how they fall in love. I think it's fantastic and I hope all 3 people who read my blog watch it. The scene starts just before the 5 minute mark but the linguistic battle begins after the 6 minute mark after Sylvia Pankhurst leaves the table.



This exchange of language is one of the most memorable moments of television for me. It's right up there with the first time I watched Highlander The Series. This representation of linguistic dexterity is brought out of their childhood memories of world travel and it is made beautiful with a nice mixture of competitive human nature and physical beauty (Elizabeth Hurley). This attraction based upon similar memories of foundational experience is a terrific lead in to this next video selection. Young Indy and Young Elizabeth head off to the country and part of their time is spent wandering around Tintern Abbey! Starts just after 3 minutes.



Tintern Abbey is Eliot's old stone that cannot be deciphered yet it absorbs light and creates a new building in the form of it's ruins. Tintern Abbey is Dillard's stone which talks and doesn't need a hermit to teach it anything (in the poem Wordsworth's hermit sits by a fire and that's it). Tintern Abbey is a mix between Stonehenge, the Sistine Chapel, and a marriage bed on wedding night. When we see the image, even without knowing any of it's history, we connect it with love, the memory of love and all else love can mean.

Now this is something everyone interprets in Wordsworth's poem on their own. Is the religious expression contained in the poem (in great quantity) a manifestation of the awesome presence of nature/love or is the amazing natural world/existence of love created to fit the religious expression? I lean on the side of nature/love creating a religious interpretation. Three different times he mentions the body of the man and afterwords the spirit, indicating that the spirit follows the body and not the other way around. Near the end, "Nature" comes before "holier love".

Tintern Abbey once acted as an incidental religious building in which monks made a beer of only local renown (if I recall correctly). Without changing into the ruins of today, the building would never have reached it's true potential. This leads me to think change is a necessary ingredient for ascension into the sublime state. We are the ones who must change and recognize the change. The first time Wordsworth went there, he didn't compose the poem. It took revisiting it for him to write this poem.

What else could be a parallel with Tintern Abbey? That's easy. Go to the town of Moab in Utah and visit Canyonlands National Park and Arches National Park. It's only 10 hours away. Every time I return, I feel a magnetic pull to the land around me stronger than I recall from my previous visit. I'm not religious and I doubt I ever will be yet a place like this has me nearly convinced that god could actually exist. The land itself breaths an expression of love and I become more and more addicted to the constant inhalation of it during my visits. I imagine it's a good deal more powerful than Tintern Abbey and until you've seen it with your own eyes you will not know what it is I speak of.

Now it's too late to go and find visual media to link these two together so I'll leave you with only words. If you've ever watched the beginning of Indiana Jones and the Last Crusade (the best movie of the series), then you've seen some of Moab. They shot the opening scene leading up to and outside of the "caves" in Arches National Park. The whole opening for the movie is a reminiscing as Indy chases after an artifact he's searched for his entire life, beginning with his childhood. Memory. Change over time. The stone (or Indy's sought after treasure) indecipherable and yet by absorbing light it speaks to us deep in our souls. It's all right there.

Go to Moab. And don't bring Tintern Abbey with you. Instead, bring Edward Abbey.

Wednesday, March 3, 2010

Expeditions and Encounters

Caution! Long post but should be entertaining once you get through the literary criticisms. Really, lit crit?
Who wants to read that?



Annie Dillard's Teaching a Stone to Talk ranks about average on my reading list and somewhat below average overall on my bookshelf. Guess what! It turns out I already had a copy. I guess the book and the author aren't memorable enough for me when I'm in the bookstore looking over semester textbooks. Even though we're only supposed to blog about "Total Eclipse", there are other writings in the book I'd like to comment upon first.

Dillard gains some ground with me for drawing highly accurate parallels between the danger, degradation and frequent lunacy found in christianity in America today and the ridiculous, folly riddled history of arctic exploration in "An Expedition to the Pole". The way she compares these two things makes several key points. First, if there already exists a better way to do something, don't show up with a different idea thinking your way is going to be superior. Hubris kills people once it exposes them, in this case to the elements. The first British explorers in the arctic focused on bringing fine silver and an expanded library rather than provisions to survive the weather. We see this same sort of logic frequently applied within upstart "christian" churches in America. The lesson here, although Dillard doesn't say it clearly, is if you strip away the institution, something worthwhile should be left behind. Interestingly, she becomes roman catholic 6 years after this essay is published! The second point which I see Dillard making somewhat more clearly is religion is the act of searching for a goal but we are human, mortal, weak and often stupid. In this dangerous land of uncovered and sensitive humanity, ideally, religion becomes a technology to strengthen us and our search. That's what I get out of her titles "The Land", The People" and "The Technology" within the writing. Other great points are well made and I think this essay is her strongest one in the book, even more so than "Total Eclipse". The subject isn't about an epiphanic experience though so I can understand why we would skip over it.

Another essay worth mentioning is Teaching a Stone to Talk. It isn't a terrific essay for what it says directly but for what it infers, the "space between the dots", or how she indirectly covers her points in a very direct manner. Now that last one there, THAT is interesting. "The silence is all there is. It is the alpha and the omega." She so directly covers what she's talking about but indirectly references exactly what points she makes. She argues we exist to witness however our ability to witness is entirely irrelevant for the act of creation. We are not a necessary ingredient in the wonderful thing which is life. And, when we reach this realization, only then do we gain the awareness that all the noise in our brain amounts to nothing as it represents only our own mental/social/species clutter. All that is, all that exists, is the silence, the beginning and the end. The snowflake is silent and we are not. Think about it.

All of this is erased in my mind when she writes fucked up material about prolonging the death of an animal in an effort to have more tender meat (google it yourself or read here about it's a MYTH <- great link, covers a whole lot of other stuff too). Literary criticisms do not even excuse this (at least none that I've read and I've read about this) as it's akin to snuff literature. It serves no great literary purpose other than to piss me off and highlight who else misses the point. So she won the pulitzer prize. I hope future "elite" authors can better represent the sensitive side of humanity which recognizes the moral limits between what is right and what is wrong. This line exists cross culturally and I can see it as clearly as a first down marker for football. How is it that this simple thing is missed by so many people? Isn't it obvious? In one very important paragraph, she almost excuses herself. She writes

We lay in the tent and talked. "If it had been my wife," one man said with special vigor, amazed, "she wouldn't have cared what was going on: she would have dropped everything right at that moment and gone in the village from here to there to there, she would not have stopped until that animal was out of its suffering one way or another. She couldn't bear to see a creature in agony like that."
I nodded.
She agrees even though SHE DID NOTHING!!! She sees the face of suffering and knowingly continues to participate in it. She says she's thought about "carniverousness" and that suffering for her diet is not an "issue". She tries to express condolences, sympathy.. something, and then discounts it completely. "I knew at the time it was a ridiculous thing to say." That is the most disturbing part of this writing to me. This shadow of morality is not a bad thing. When you embrace it, it becomes the most wonderful thing you've ever experience, stronger than a literary epiphany, traditional thoughts on love, or even the power of religion to sway the masses. She watches the animal suffering and does and says nothing. She doesn't even condemn herself for doing nothing. Instead, she excuses herself. If at any point she's commenting on her own weakness, she refuses to acknowledge it and totally missed it. That makes this essay exist basically without a point. She's told us one of her experiences but there is no "moral" to the story (at least not one she's willing to face). In essence, she's told us not to feel bad about the deer and I take issue with that.

I'll spell it out for everyone in case anyone else also can't see the yellow line as clearly as I can.
  • Eating animals and animal foods is an acceptable human practice
  • Causing unnecessary suffering to animals, under every circumstance, including for the purposes of eating them and the things which come from them, is an unacceptable practice
  • Apathy concerning this directly supports unnecessary suffering and is an unacceptable human practice.
Now that we have no confusion, I'd like to say that it is not necessary to eat her way. I traveled to Costa Rica and should probably write about it as a contrast to her travel writings. At the end of the pavement, the road continued. It went on unpaved for several hours, gradually getting more and more rocky. Eventually, we passed the point of other vehicles. The locals only had horses and bicycles. Further on down this road, it finally ends at a dock. At the end of the dock was a boat. A 45 minute boat ride took us a good 20 miles into a national park inaccessible by land. Beyond the park was a tiny little town on a tiny little island amidst the swampy marshy waterways. This town had a dirt packed main street and the few buildings alongside it were built with scrap materials hauled enormous distances at great cost to the people who used them. At the end of the dirt packed main street was a building. I went into the building and, as the few member of my group still with me dispersed to do other things, I entered the kitchen/dining room of one of the oldest people I've ever met. I don't speak Spanish but I made myself understood through what I believe was her grandson (or maybe great grandson) that I was vegan. She seemed confused upon hearing about my being vegan until it clicked. Her eyes lit up, she stared at me as if looking into my soul, reached forward and kissed me on my forehead. Then she busied her self in the kitchen for 30 minutes and served me one of the most amazing meals I have ever eaten.

Food is one of the most regularly occurring epiphanies which we can experience. I think it is exceeded only by taming a feral cat and turning the feral cat into a lap cat (which is an end product to embracing that shadow of morality I mentioned above). Experiencing the daily love and affection of a formerly feral cat even beats food. But back to food. Food is how enemies sit down at a table and become friends. Food is how we seal a wedding, with the feast afterwords. Food is something we use to create the rituals in our lives which affect us on the deepest levels (think of Dr. Sexson popping out of a mask at the end of a sacred ritual and revealing an ear of corn shouting "all is now revealed!") Gravity holds our universe the way it is. Food holds our lives in the same all powerful grasp. Without it, we will not survive. In the last 50-60 years or so, humans have lost more knowledge when it comes to food than in any other time in recorded history. For Annie Dillard to bring up food when she clearly knows nothing about its deep and awesome power either personally or literarily, reminds me of a whiny teen who has not yet learned what it is they speak of.

Commentary on Total Eclipse.

The woman is addicted to eggs (which are probably from a factory farm in which the chickens live perpetually in an eclipse which so frightens Dillard. Ironic?)

One particular line did stand out to me as something important which would probably not be covered in class or in the blogs (and if brought up, would be buried under an avalanche of other stuff like in this blog post). "It was as useless as a memory; it was as off kilter and hollow and wretched as a memory." I think this is in reference to the useless memory of the hotel lobby with the aging hooker/waitress (unclear) and television absorbed older men. The clowns are useless too. One nice thing about Dillard is that the extraneous stuff she writes, the filler, the text garbage, she will point to it and call it what it is: a tangent from the point.

This is an important point. I see Dillard's writing as more about taking us too something than simply the snapshot memory. Movement becomes a necessary element to the points she raises with her writing. The snap shot memories have no movement and pale in comparison to the memories with movement. They drive to the location. They move up the hill. The experience of the eclipse moves upon them and then moves past them at 1,800 miles an hour. To process the event, she and her husband change locations, by car, and then discuss it at the diner. The very process of the eclipse itself requires movement. So I think we should take a closer look at how Dillard uses movement and how relates movement moving her.

If you read this far I commend you. As a side note, check out this story of a former student of Annie Dillard. Something I've learned about one difference between a good teacher and a great teacher, a good teacher shows no faults and no cracks. A great teacher has visible chinks in their armor. This is necessary for us students to over come the challenge of their aura, or presence, and then be strong enough to square off against ourselves and the walls we naturally present ourselves.

Tuesday, March 2, 2010

"Fisher King" and Hopkins

The Fisher King is a movie about "a radio DJ, suicidally despondent because of a horrible mistake he made, finds redemption in helping a deranged homeless man who was a victim of it." (copied directly from the link) This seems not quite coincidental with the actual wiki entry for "Fisher King". Perhaps the movie will prove interesting and be worth a blog entry. I anticipate some level of frustration as the file comes with hard coded french subs.

As for the Windhover...

I think I'm one of those people who is excessively critical about poetry. I don't like the Windhover. I don't see anything interesting in it. I do see a good deal of stuff IN it. However it doesn't hold my attention. I could bash it but that's not constructive.

I think it reads like a homoerotic love poem. Hopkins wiki confirms this. The first paragraph is the warm up. The next three lines are the finish. The last three lines are mushy/messy afterwords. Does that make this some fantastic lofty poem worth discussing in class? No. We had a whole bunch of dots handed to us in class but I don't see any uniting threads/themes which make it worth of it's alleged fame. So that doesn't help either.

Honestly, I'd call this over represented love poetry. I have read better poems in Greg Keelers creative writing class. Maybe I haven't read Windhovers enough to "get it" yet but I can tell you I'm probably never going to read it again. The only bright point is coming across a link in Hopkins wiki entry for Wasteland in relationship to mythology. It might prove useful for my project as a focus point if I use any hero imagery.

Sunday, February 28, 2010

My Quartets

Initial outline and plan for successful and awe inducing poetry

- Scribble poetic verse as it appears in my head or as I recognize it in the conversations around me
- Collect verse in organized areas predetermined to maximize the emotional purpose of the poetry
- Sort verse into rhythmic patterns determined by the writing
- Sculpt work with defined religious and classical metaphors and insert relevant popular media references
- Edit ruthlessly

My purposeful predetermined organization of my four quartets is the following:
  1. This section will focus upon the world we think we know. The discovery will be made that this is in fact not the world where we live. We live in something far different. The lie before our eyes is revealed as a lie.
  2. Now that we know something we did not know, in an attempt to understand it, we are knocked off of our pedestal of safety and launched into a world in which we understand nothing. The lie now revealed shows the truth behind it which leads into the third quartet.
  3. The unveiling, the apocalypse, the truth is revealed. This will be dark and horrible to a degree that I don't want everyone in the class able to read through this section. This is out of necessity for historical accuracy.
  4. Ascent out of hell and into heaven. Balance is restored and then more than restored. In the ordinary, a level of beauty exists which would otherwise not be known were it not contrasted with hell from the previous quartet.
Religious and classical and popular metaphors to parallel these for separate sections.
  1. Mountain (Mt. Olympus and where Moses goes for burning bush/commandments). A location and constant presence by which we find direction when we reach the given location. Inverting the mountain will be necessary because of the negative connotations in this section. The mountain is our culture of relaxed morals and general apathy towards our involvement in the welfare of others. Think of the open pit mine in Butte. If you get to the bottom of it, that's where it's most poisonous. That's where I'm headed with this.
  2. Cave. (Plato's allegory of the cave) Once we've reached the bottom of our inverted mountain, we are now in a cave. We can't see the light or what it reaches. The shadows on the wall are only an indication. The light we think we see is actually false. There is no light, there is only...
  3. Furnace. Hell. This is as bad as it gets and trust me when I tell you that YOU DO NOT KNOW JUST HOW BAD THIS IS! The worst things you've experienced in your life pales in comparison to this. That's not me being insensitive just realistic. Less classical metaphor in this section will create more room for a realistic approach to the writing. More dialectic and less rhetoric than the other sections.
  4. Ladder to the Garden. Ascent out of hell and into paradise. This is the band aid placed upon the soul to heal the experience of the third quartet. Think of a happy ending to a disney movie. The contrast with the previous quartet should make the both of them more powerful.
Extremely smart advice from my dad for creating art.

First, take the puzzle pieces with which you'll work and put them on index cards. Use a very large amount of floor space to rearrange your index cards and find the correct flow with them. As a musician, he used the word rhythm and I think that's applicable to our writing also. While this editing process is possible in a word processor, index cards will be superior.

Second, when in the editing process, we need to know when we are done (hopefully not determined by a deadline). When we start changing details such as the word "of" to the word "the", then it's time to move on to something else.

Third, art is basically theft so steal quality from quality sources. An exceptional level of theft is necessary for an exceptional level of art. This is best summed up in a Jim Jarmusch quote from The golden rules of filming:
Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery — celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from — it’s where you take them to.”

Words with Power

Northrop Frye is probably the smartest literary critic from last century. In a previous class, Dr. Sexson assigned this book, Words with Power, and it has wowed me ever since. I was very surprised to read out a random quote in class and find it not immediately relevant. Here are some better quotes which are more applicable to our class.
  • Words can never directly transmit to our minds anything that is not verbal.
  • Literature is an art of words.
  • Anything that sounds anti-intellectual always becomes popular.
  • Ideologies, like other human organisms, are mortal: they come to birth, decay and die, or are metamorphosed into other forms.
  • Those in power, and perhaps a large part of society also, regard flexibility and tolerance as dangerous social forces. The twentieth century has seen many poets and novelists exiled, silenced, isolated, imprisoned, murdered, or driven to suicide by ideology-obsessed governments.
  • It is a function of poetry to keep the metaphorical habit of thought alive.
Words with Power is quote riddled and loaded with shockingly well worded "ahh hahs!" It basically reads as a cliffs notes on biblical and classical metaphor and imagery. Interesting but not surprisingly, Frye touches on Eliot's Four Quartets. Frye mentions Eliot's use of intersecting the ordinary with the divine and many other authors with similar fascinations are also touched upon. Frye says that the importance isn't this same group of images which the poets are interested in which is important. What's important is why the poets were all interested in the same images.

In answer to that, Frye makes an argument, which seems to appear a few times through different representations, that religious metaphor is tied to illogical belief of the real where as classical metaphor can be used as a highlight or accent to a story without the unnecessary and problematic concern of being truthful. It is unfortunate that religion argues it's own position as real and "the truth" because this ultimately weakens it and prevents a more expanded use of it's imagery (compared to classical imagery and it's diverse use). Believe me when I say that there are a great many more points which Frye makes and the book is totally worth looking at for reference if you are writing anything to do with myth, identity and metaphor, or the metaphors of the mountain, garden, cave, or furnace.

Wednesday, February 24, 2010

Connecting the Dots

We've all talked a good deal about the dots which represent important things and about the space between those dots. Eliot is artistic when illuminating these dots and the space between them because he illustrates them in a way which requires us first to make the leap of understanding before truly "knowing" what he tells us. It's all very lovely but it can be somewhat difficult in execution when we examine our own lives. Well, I've done quite a bit of thinking about my college experience (yes, that post we were supposed to blog about almost a month ago) and I understand something about it which has made me feel rather odd.

I inhale books like no one else I've ever met. I can read 16 hours a day for a week (or more) when I'm into them. You name the genre and, if I'm interested, it's all but finished. Popular fiction, especially in the form of a nice big series, stands no chance. As an example, I sunk my fangs into that nice big vampire series by Charlaine Harris during the holiday break and toasted 9 books in 5 1/5 days. Now I've never driven to another city for the sole purpose of visiting a book store as Ronald describes but I'd guess that's because I'm more than willing to reread my favorite books of which I frequently have several copies. Thrift stores provide me with my 50 cent compulsion book-buys. It's basically a fix.

I've never been keen on my text books while in class. 6 months to a year later, oh hell yeah I love them. While there is the occasional text I enjoy immensely in class, these are the overwhelming minority. It's strange that I tend to enjoy these books long after class is concluded and then give them my first serious read. I've noticed a pattern.

I never give these books a serious read until I'm temporarily away from classes. It takes a holiday break for me to browse my book, shelf and pick up a read which I feel has no present bearing for me. Without pressure, either academic or self imposed, I can read an enjoy. Yet each one of these books on my book shelf arrived there for a reason and remains on my bookshelf for a reason. The very purpose these books have held for my professors is something I've denied subconsciously applying to the reading until it no longer felt valid. I simply want to open the cover to Virginia Woolfs 'To The Lighthouse' for myself, in my own time, and not when I am expected to dissect deep and powerful thoughts from the writing for examination in the classroom microscope. This is the THIRD class I've had 'To The Lighthouse' as a text and I have yet to read the book deeply and introspectively. I skimmed it the other times for bare necessities.

I feel a sort of smothering feeling when trying to discuss books in class. Maybe it's selfish, but I want to have more than 20 or 30 seconds of Q and A with whoever is teaching the class. I feel like being that student who sits near the front and takes up half the class time with reiterating the same opinion until the students in the back of the class are giggling. Remember those annoying students? They always seemed to be present in the lower level English classes but not in the upper division ones. I guess I just want to be greedy and bogart the discussion for my own purposes. Invariably, shutting up and listening proves to be at least almost as interesting (and sometimes more so) than yacking up a storm. I'd say there's a switch inside my head and the default position is ON. With everything in my life from playing with my evil cat to reading to traveling to cooking (and everything else including all the spaces in between) I'm thinking critically. Except for when I'm in a classroom full of students and my ability to give input is set to a minimal level. I feel like that pushes my critical thinking switch to the "OFF" position. I guess that's where the smothered feeling comes into play.

I think there's a second reason behind my hesitation to read text books. I have a hard enough time getting through the day on campus and off campus being who I am. I don't listen the way most other people do and I don't seem to think the way most other people do either. I'm concerned about different things. I do different things. In a town of diverse backgrounds, I don't feel as though I fit in at all (the beard is mostly a camouflage mechanism). Walking around with my critical thinking switch in the default ON position is already uncomfortable. Fully embracing the critical thinking necessary to do the many text books which deserve it justice is doubly frustrating. It's as if the volume of thinking (both quantity and quality) in my head is turned up on high and, coupled with the default ON switch, it makes it much harder for me to have a normal conversation. Someone wants to tell me about some normal common thing they did earlier that day and I'm thinking about the connection between epiphanies experienced and epiphanies caused. I'll make some comment and then my friend looks at me like I'm an alien but they're going to forgive me for my strangeness anyway. I can't tell you how many times I've experienced this.

This really sucks. I understand why people become hermits. The life of a recluse is becoming more and more appealing to me. Some of it might be ego but mostly I think this is just brutal honesty; the thoughts that go through my head during my idle down time (like showering) seem to be more complex and more interesting than anything most of my friends have ever shared with me. Every text book I read closely takes me further and further away from reality as experienced by my friends. While I'm kind of resentful of this, the only possible solution would be to stop reading and that's not possible. I'm completely and totally addicted to reading. This is a vicious circle and, rather than spiraling regularly around, I think my circle is spiraling ever closer into a center. My circle is building critical mass.

I might turn into one of those crazies you read about in the Chronicle.

Friday, February 12, 2010

The Bird

"Other echoes
Inhabit the garden. Shall we follow?
Quick, said the bird, find them, find them,
Round the corner. Through the gate,
Into our first world, shall we follow
The deception of the thrush?"

This makes a few things very clear to us. First, we the audience are in the garden. Second, the bird is in the garden with us. Third, there are echos in the garden with us and the bird and the bird encourages us to follow these echos. From these facts, we can draw several conclusions about what the bird represents.

The bird gives us readers an agency we do not posses ourselves. This is accented by the fact that the bird is a thrush. Thrushes are known for eating rose petals (commonly found in gardens) and for having one of the most beautiful singing voices of song birds (wiki). This is not coincidence. Several lines later, Eliot tells us
"the bird called, in response to
The unheard music hidden in the shrubbery,
And the unseen eyebeam crossed, for the roses
Had the look of flowers that are looked at."
LOTS of things are going on here and I hope I don't miss any of the big things. First, to conclude the agency granted to us by the bird, the bird can hear a music which we cannot. The music in the shrubbery is unheard by us and so the thrush is a conduit between us and a beauty we cannot perceive. We already understand the connection Eliot makes between music and epiphany so this is an important achievement for the thrush to act as our ears to another world. This is a great reason for the thrush to be in the garden with us but there is another terrific reason as well.

Remember, this is "our first world" and the thrush lead us to it. We were already in the garden and so were the roses which are now seen as having been looked at and with a music we can't hear. The roses would never have "had the look of flowers that are looked at" without us being present as a witness (and arguably as a voyeur). The bird gives us direction and leads us into an awareness of another world.

The roses which have "the look of flowers that are looked at" is another key line. Roses hold a metaphorical relationship with purity, beauty and virginity. Yet in the garden we can't understand their music. I think this line can be viewed as a veiled analogy for sex and sin. Flowers are meant to be enjoyed just as apples are meant to be eaten. Remember, the thrush is known for eating rose petals. I think this line ties into "the deception of the thrush".

"The deception of the thrush" is interesting to google but the results are confusing enough not to discuss. I think on the surface the relationship with the christian creation story is clear. The snake(bird) and apple(rose) come off as parallel with each other. The snake describes the apple as being a thing not experienced and the thrush allows us to understand a beauty (music) we otherwise would not know existed. Both the snake and the bird lead us out of the garden into another world.

So the thrush acts as a traditional trickster figure to cause such radical change in our reality (wiki and wiki). This push is urgent, permanent and apparently justified. "Go, go, go said the bird: human kind / Cannot bear very much reality." The understanding of reality is a total awareness equal to an epiphany and an ongoing state of this would be related to the garden or heaven. The bird says we can't bear this state of reality so maybe that's the justification for leading us out of the garden. Or maybe we can't hear the music in the garden but we can hear the music made from roses once we're out of the garden. Either way, we have two dots. We have the dot of the garden and it's rose music and then we have the dot of us outside the garden and what music we can then hear. The space between these two clearly established locations (dots) is where Eliot's poetry attempts to take us as we see evidenced in several methods throughout the rest of the poems, namely the pairing of opposites which seems to frustrate and delight the class.

God and Creation

^^^ Open picture in a separate tab to reference for this post^^^

Religious reference is all over Burnt Norton and the rest of the poem as well. It's fairly easy to open up a page, scan it, then point to several. However, the context ("context seems to be my theme tonight") in which we view these is somewhat more complex. I chose this image from the Sistine chapel because I feel it encompasses two very important points.

First, examine the fingers nearly touching. These are the two points which Eliot hounds us with artistically while trying to get us to focus upon the space in between. One represents man, one represents god, yet without either we cannot understand the act of creation etc. Creation is exactly what Eliot is talking about when he says that time past makes time present and time future. The past and the future are making the present; we have nothing at all to do with creating the present. We have everything to do with experiencing it. This separation between experience and creation is something Eliot utilizes in the next point I make.

Second, look at the picture and determine who is trying to touch the other. Is man trying to touch god? Is god trying to touch man? Are they both trying to touch each other? Look at the angle of the wrists. To me, it seems fairly clear that god is reaching towards Adam with more vigor (note the lines in the fabric and hair) than Adam is trying to make towards reaching god (casual position of elbows and reclining away). Now, we know for Eliot's imagery experience and creation are exclusive. Everything in the passage with religious reference removes experience. "At the still point of the turning world. Neither flesh nor fleshless" should be more than clear enough to argue this sufficiently. So here's a little more of how Eliot removes experience from creation. "at the still point, there the dance is, / But neither arrest nor movement." "Neither ascent nor decline. Except for the point, the still point, / There would be no dance, and there is only the dance." This is the epiphanic moment in which the creation of the epiphany exists. Everything else fades away leaving leaving us incapable of experiencing anything because our entire consciousness is on lock down from an overload of experience. Now look at Michelangelo's painting again. Does Adam look like he's drowning in epiphany from touching the space between himself and god? I think so. It's in the eyes. I think he's drowning in experience and that's why he looks in a state of such total relaxation, incapable of experiencing anything else.

This space between the fingers, this is where there is the dance, and where there is no dance, but where there is only the dance. This exists in the space between any two points yet we rarely posses the observational and deductive skill to recognize it.

Man and War

At the start of section 2 in Burnt Norton, Eliot introduces us to war by describing it as though with remembrance. He doesn't go into full detail though as he does later in the other poems. He describes War in reference to time past. It's a little easier to put this brief reference to war into context with the end of the first section. "Time past and time future / What might have been and what has been / Point to one end, which is always present." This is the end of the first section. The second section with imagery of the broken down machine of society.

War is presented not in detail but as an example of how the past recreates the present. The imagery ends with reconciliation "among the stars". Is this reconciliation on a religious level where now the boarhound and the boar are reconciled with god? Is this simply reconciliation on the physical level? Is this reconciliation a false reconciliation? I think it is false. "Pursue their pattern as before" makes me see the war imagery as a repetitive cycle which supports Eliot's argument that the past simply reforms into the present. I think the only reconciliation which occurs according to the poem is internal reconciliation.

If people find reconciliation "among the stars" (religious interpretation or not) then room for justification exists for perpetuating the war of the past. This was incredible for Eliot to comment upon. He wrote it in 1936 while in Europe a second world war was brewing. The historical context and commentary of this poetry becomes pretty powerful stuff. I didn't give it enough notice upon my first few read throughs.

Imagination and Understanding

"Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
..
Towards the door we never opened
Into the rose-garden. My words echo
Thus, in your mind."

Eliot starts the poem with these words and he accomplishes a crap ton with them. I'll probably miss most of it but we've learned that this is because I haven't yet read it several hundred times. (In time I may overcome this. Was that a pun just now?)

The artfully crafted ideas on time with lofty words are better described by you, my classmates. I am convinced of this as I have heard so in numerous presentations thus far. These concepts of time are the very first thing presented in the poem and their presentation is summarized with the image of The Garden. This is an answer before the question is asked. How do we get to The Garden? We get to The Garden through our minds. In both the religious (heaven) and the philosophical/spiritual sense (the ongoing sublime/nirvana) we arrive through awareness and awareness requires thinking with imagination to occur.

Time is a concept which overcomes all barriers including itself. It is first presented with the annoying-yet-sublime "duality contrast" which Eliot uses constantly as a means of description. When we the readers are bombarded by these seemingly opposite and contrasting words, the point of intersection between them is where Eliot is purposefully leading us. Imagination is our bridge to these dots and then again our bridge between them. When we reach these spots in between we are left with two things: first, we have successfully connected his dots thus recognizing his surface patterns and second, we have gained an exceptional understanding about what is in between these points and this largely exceeds the expected limitations of conventional poetry! I think this is why Four Quartets won a Nobel Prize for Literature among other notable distinctions. I have a good example about this which might mean something to you movie buffs.

In The Matrix Reloaded, Neo sits on a park bench with the Oracle. Neo asks the Oracle if he needs to chose whether Trinity lives or dies and the Oracle responds with "You've already made the choice. Now you have to understand it." That line has always bothered me. I felt like more was going with it than I've fully understood, until now. The duality between life and death is really the same thing because of time. Time is the only thing separating life and death yet it's also the only thing which successfully argues life and death can be the same thing (I just won't take it on "faith"). Trinity's life and death are really the same thing according to Eliot and his time arguments. Neo knows these dots and then he needs to understand what's in between them. The Oracle can't just tell him this information for the same reason that Eliot can't just tell us what's in between the dots. It's not about the dots and it's not even about what's in between, it's about UNDERSTANDING the dots and what's between them! This awareness can only occur internally and cannot be passed directly from one person to another. What does that sound like? It sounds like an epiphany.



Monday, February 8, 2010

Garden and Flowers
















'The Garden' is the final big image of Burnt Norton. It comes after a very clear reference to love, which is already identified as God, as existing everywhere on the planes of both the physical and the metaphysical in reality and intention. ("Love is itself unmoving; / Only the cause and end of movement, / Timeless, and undesiring") The Garden is described as extended and unending. This garden also has children in it. The previous animal metaphor with the boarhound and the boar implies a generational aspect to creatures in the poem. However, in this garden, the implication is that there are only children. This adds to the endless and timeless note upon which the section finishes. I'm sure an image of the flower children of the 60's is pertinent to this but I think one image is enough.

The lead up to this religious image is also somewhat religious. "Fingers of yew be curled / Down on us? After the kingfishers wing" is the beginning of a passage following the sections describing war and several other images. The yew tree (Link 1 and Link 2, excellent links btw) represents both the tree of life and the tree of death. Found often in graveyards throughout the British Isles, it symbolizes both death in life and life in death as I described in my presentation. "Kingfisher", in my opinion, also happens to be the name of a bird. By saying "Kingfisher", I think what Eliot is really talking about is Jesus performing the act of baptism. Connected with the yew tree, we have the symbol for the simultaneity of death/life as a lead in for the means to achieve eternal life (according to this belief). Following these images, Eliot expands upon the concept of eternal life and his answer to it is to finish the section with his reference to The Garden.

Here are some links regarding the flowers mention in the poem. Rose and Sunflower, Clematis

Monday, February 1, 2010

Abandoned Puppy and Diamond Mining

A new generation is growing up in our midst, a generation actuated by new ideas and new principles. It is serious and enthusiastic for these new ideas and its enthusiasm, even when it is misdirected, is, I believe, in the main sincere. But we are living in a skeptical and, if I may use the phrase, a thought-tormented age: and sometimes I fear that this new generation, educated or hypereducated as it is, will lack those qualities of humanity, of hospitality, of kindly humor which belonged to an older day.

I was thinking about what diamond to mine from The Dead and debating between the power of love and the ability of the past to strangle the present when an abandoned puppy walked right up to me, whined, and then found herself snuggled in my arms. This puppy was abandoned sometime early this weekend with no collar and I will update as to the status of a microchip though I'm willing to be there isn't one. After class, this puppy goes to Heart of the Valley. Let me first be upfront and honest about my near blinding rage. It's best to vent and get that out of the way.

Under no circumstance should pets ever exist as accessories (even though that's exactly the system we have) or be taken in by people who think puppies and kittens are “cute” only to find themselves incapable of achieving the level of responsibility that puppies and kittens require. Puppies and kittens and babies of all species require a level of responsibility that greatly exceeds what the average idiot anticipates. When that level of responsibility is not reached, inevitably neglect sets in. Neglect is abuse and abuse is illegal. When an idiot who takes in a puppy or kitten learns they cannot adequately provide the care needed, that idiot should take the puppy or kitten to the animal shelter. Even though their failed care is wrong, surrendering the animal to the shelter is the correct thing to do when it's a no kill shelter. Heart of the Valley only euthanizes feral cats which they deem unadoptable. That's a separate blog post. This is the second time I've found a pet (1 kitten and now 1 puppy) on campus outside of the sub. People dump pets in highly populated areas thinking that someone else will take the pet. No, these pets were not “lost”. No one claimed either of them after I contacted the campus police, KGLT, put up fliers etc. If I ever catch someone dumping a pet, I will more likely than not execute some vigilante justice on the spot. I lay better than 50/50 odds on this. Here in Montana, it takes no effort at all to round up a truck with an ATV, big garbage bags, a shovel and a working gun.


End rant.


So, naturally, there should be a follow up addressing “why does Mick think this way”. Unnecessary cruelty is wrong it's as simple as that. I have an analogy for this which can further expand upon my view. The traditional out-of-control-train is headed towards a split in the track and a group of people are divided onto both tracks after the split. Some people will take move the train to take out the group containing older people leaving the younger ones more opportunity to live life. Others will aim towards the smaller group enabling the larger group to survive. Still others will go after the group of predominately men or women (either to save them or kill them) and the list of possibilities goes on ad nauseum. But wouldn't it just be plain wrong purposefully to jump the train off the tracks and completely take out both groups of people? The I-hate-all-people argument doesn't fly either. In this instance, not all death is imminent and therefor some death is unnecessary. When something which is not only unnecessary but is also preventable occurs and causes significant suffering, I get furious. A much shorter analogy would be to say that someone sees a building burning with random people trapped inside and then makes no effort to call 911. That's unnecessary cruelty in a nutshell.


Here' are more examples and interesting observations on how my view towards unnecessary suffering applies. I've yelled at screaming parents unloading on a crying child completely unaware of why the yelling is happening in an effort to make them stop. There's a wild and tiny bit insane look in the eyes of a person under blind rage. Maybe that will be me when I catch a companion animal abandoning bastard. I don't know. I do know that that the laws which exist to protect children greatly exceed the laws which exist to protect companion animals. We don't go to the mall and buy a kid. This disconnect between the two creates a giant empty chasm in which it becomes easy for people to ignore common decency and then apply their lost decency to both groups. Most serial killers abuse and kill animals before they move on to doing the exact same thing to people. Notice, in that sentence there is a grammatical separation between people and nonhuman animals which touches on the common misconception that humans aren't animals (even though we are). In an exact parallel, most people who have little patience for companion animals have little patience for regular people in regular situations.


Now to tie this in with James Joyce while anyone who's actually managed to make it this far is probably wondering how the hell I could relate them. Gabriel delivers my selected quotation at a group event. The social atmosphere in which the quote was delivered and where it originally applied I feel also matches the current social atmosphere in which humans relate to each other and also to their companion animals. The new generation, our generation, does have new ideas and new principles. Mainly, they're about communication, socialization, ethics, the environment and money. As for that which is “misdirected”, that's generally how our generations actions are described by previous generations. We are leading social change movements simultaneously for the environment and for animal rights and critical mass is building. While fringe activism involving the words “direct action” are titled as “extreme”, and by Joyce as “misdirected”, is simply a response to something equally “extreme” or “misdirected”. A.L.F. wouldn't break into medical testing labs to free the monkeys that have holes drilled into their skulls just so that the addictive qualities of nicotine can be tested even though we already know that nicotine is addictive. E.L.F. wouldn't destroy machinery which destroys the environment if the machinery wasn't being used. I've never participated in anything like that but how anyone from a previous generation doesn't understand this is simply cause and effect is beyond me. This is especially frustrating because the previous generations already had access to this thinking in their literature! Peter Singer wrote his pivotal book Animal Liberation published in 1973 and Edward Abbey wrote an equally pivotal book The Monkey Wrench Gang published in 1975. If you have not read these books, put them on your must read list. This isn't propaganda designed to convince you; it's a terrific lesson in how absurd it is for a previous generation which applauded these books, even if they didn't agree with them, not to understand why a new generation of people doing that stuff today is following in the footsteps of people who did it 30 years ago.


Discussing the educated and the hypereducated while in my very last class as a college undergraduate is kind of weird. The commonality of college degrees today really does give zero value to my literature degree. Maybe a bank will loan me money to buy a house at some point. But wait, I took on debt just to get that benefit? Oddities aside, I don't believe our education causes us to miss out on “humanity”, “hospitality” and “kindly humor”. In fact, I don't think that a single person in our class would have passed over this puppy and left her to go shivering off into to the late-night freezing cold of Montana in January. I think this is because our academic efforts have instilled in us a certain level critical analysis and we know that abandoned babies die in the cold. Landlord policies be damned, that soon-to-die animal needs to get rescued. I sincerely doubt anyone in the class would've acted differently. I may not understand why I don't sit down in a classroom filled mainly with vegans but I know that I don't sit in a classroom filled with apathy towards cute and helpless puppies. So I think our education lends us a greater disposition towards having “humanity”, “hospitality” and “kindly humor”, and certainly when puppies are in the picture.


These qualities didn't exist in greater quantity in generations of ye olde contrary to the typical romantic view. I think each new generation continues to grasp at ways to understand and exemplify those qualities while simultaneously coming up with new ways to ignore them and overturn them. The same sort of thing is going on with Babe Ruth, which I previously mentioned. There's that funny application of selective memory which makes Babe Ruth better at baseball the more years that pass since he played. I think the same is true with manners. If you go back far enough to public dueling when people could and would kill each other over trivial insults, I doubt people were more polite then. They just had craftier and more subtle ways of being rude. I cite the beginning of Romeo and Juliet and all of it's thumb biting glory. People have always been uncouth and only a good healthy dose of education or experience (not necessarily of the academic type) will bring out the best in us.


Now that I think about it, was Gabriel using irony as means of subtly insulting Ms. Ivors, even though she wasn't present, when he finishes my selected quote with “those qualities of humanity, of hospitality, of kindly humor which belonged to an older day”? Right before the quote he narrates that Ms. Ivors had “gone away discourteously”.

Wednesday, January 27, 2010

Wind in the Willows and on I-90

Living out in Belgrade, I have had to enact a new policy with respect to commuting into Bozeman during harsh weather. I no longer drive into town after significant snow when the word "windy" is used to describe the weather. I went off the highway last winter when wind kicked up the snow into a temporary whiteout. While waiting for AAA to come pull me out, I completely missed the class I was headed to and the professor didn't even have sympathy for my then late assignment (Lawrence Gross, Native American Studies). I'm not interested in going off the road anymore. I suppose you could say I'm taking a lesson from Toad or, rather, the views of his friends expressed during the intervention. :)

It feels sort of like my conscience is Badger and my life is Toad. Toad is reckless and want to have fun while Badger is more responsible and stops hubris in it's tracks. I might want to go places but there comes a point when safety, or social responsibility according to Badger, becomes the greater issue. Before detailing my analysis of the epiphany of Pan in chapter 7, there's something else I want to mention first.

It is the strangest most ironic act of personification that a non human animal would use the name of another animal as a derogatory slur. This is doubly strange because all of the animals eat meat from that very animal while using other words ("bacon" and "sausage") to describe the meat. Why don't they just say "I'm eating pig?" They don't because that's not how humans do it. We don't often like to put a face on our food. It's easier to put a face on ourselves and ignore shared commonalities with other species. "I see it all now! What a pig I have been! A pig - that's me! Just a pig - plain pig!"(p83)


Moving on to chapter 7...

I think purpose is a necessary ingredient for the epiphanic experience had by Rat and Mole in chapter 7. "Rat," said the Mole, "I simply can't go and turn in, and go to sleep, and do nothing, even though there doesn't seem to be anything to be done."(p119) Purpose is not simply a driving factor to get the characters into a certain physical location where they then have their epiphany (though this is exactly the case with Pan and the music he used to call them to Portly). Rat and Mole never would have had their experience if they hadn't had the goal, the purpose, of finding Portly. If you reduce every philosophical question further and further down to the most basic question of all, you come to "why are we here?" There is an answer to this though wordy academic types tend to try to poke at it. The answer to "why are we here" is simply this: we are here to bring forth the next generation and do the best we can for it. That is the purpose of life, to perpetuate itself. Rat and Mole are seeking one of the next generation, the most important thing they could possibly do, and I think the whole Pan-epiphany thing is really just an accentuated, literary highlighter for this. The most important sentence in the entire chapter comes after the description of Otters vigil by the water. "Looking up the river, they could see Otter start up, tense and rigid, from out of the shallows where he crouched in dumb patience, and could hear his amazed and joyous bark as he bounded up through the osiers on to the path." Perhaps the experience granted to Rat and Mole was a reward, a boon of sorts, for their efforts as good samaritans.

I also think it's interesting that the book ends on an epic feast. Food is the great binding ingredient of society, whether Badger is ordering "everything of the best" or I am being vocal about vegan things. Reread the end closely. Kenneth Grahame got it right. It's all about food.

Tuesday, January 26, 2010

Isolation and Awareness at MSU

CAUTION! A late night lengthy diatribe with a tad bit of soap box makes for opinionated blogging!

I've done a bit of thinking about my history as an MSU English major and I'm not entirely thrilled with it. Mostly, I try not to dwell on the lunacies of the university (luniversity?) since they're enough to make anyone feel depressed. I suppose now is a good time to list some of them.
  • Skyboxes for the football stadium. This hugely expensive monstrosity of a bad idea has to be listed first. "If we build it they will come" was the mantra. They built it. No one went. It was expensive.
  • Giant rusty noodle. $50,000 dollars was spent on that giant rusty noodle next to the SUB. The only thing it does for students is it gives us something to wonder about during class. Just how many folf discs have been lost in the thing?
  • New chemistry building. That abortion of a structure ruined the best trees and best grass field on campus. Interestingly, the very year it was built, there was an exodus from the graduate chemistry program. I heard lots of dirt about this from a chemistry grad who was friends with my then roommate.
  • My Portal. So bad and so expensive that my memory of the 3 minute tirade I unleashed bashing my portal in a room filled with people responsible for managing it (it was either coincidental or perhaps providence) doesn't even make me smile. It was the most frustrating thing telling teachers and administration over and over and over that, sorry, there is no way in hell I was going to use it.
So what's the use of complaining about these frustrating things? It makes me feel better. However they also illustrate a point. The decision to implement these things shows the divide that exists between what I think and the reality around me. Big expensive decisions that affect students are made without consulting them. If you doubt me, go sit in one of the newly remodeled classrooms in the basement of Reid. It cost millions of dollars and students will be paying for classrooms which are so poorly designed, the chairs so abysmally uncomfortable, that the act of teaching in these rooms is now significantly impaired.

These things are easily understood as stupid yet I've had to live with them as a student. It's surprisingly difficult when you deal with it everyday. It's just as difficult, if not more so, to find that the people who I would most closely relate to actually posses a nearly insurmountable wall. I've never understood why "enlightened" people in the college of letters and sciences support factory farming by spending money on it's food products. This is the most absurd contradictory practice I've ever seen in any group of people anywhere in my life! How can people who can accurately and imaginatively dissect Shakespeare, debate philosophical catch-22's, find the importance of our past as a representative of our future and somehow find beauty in our political structure support what is conceivably the greatest cruelty ever conceived by man? There's only one analogy I can think of to describe what I feel like every day.

About 90% of the time I feel like Bill Murray on his first repeated day of Groundhog Day. In this one thing which is so important, every day is the same. Nothing ever changes. Smart people say the same smart things. Wilson hall still feels like a prison. Parking still sucks. The same potholes are in the same spot on 8th next to Cooper Park. Down to the details, it feels like Groundhog Day to me.
(doesn't he look angry instead of confused?)

The two words that continually resurface as I write about my college experience in my notebook while digging for epiphanies (no standard epiphanies) are isolation and awareness. As I become more and more isolated from the people around me, regardless of how many classes I take or what I do to socialize with other people, I become increasingly aware of the absurd eating habits around me. As I become ever more aware of the differences between me and everyone else I see on campus, my experience of isolation continues to increase. In this instance, college hasn't provided me with an epiphany. It's provided me with the means of watching lots of other people who are smart enough to connect the dots and have this food based epiphany fail or simply not do it. I get it. People don't want to go vegan. I know that's not going to happen and the whole "let's support local farming" argument is terrific. I support supporting that. Specifically, what I don't get is why people who claim to support local businesses go buy food frequently from restaurants and grocery stores which ONLY source their animal ingredients from factory farm sources. The "I support local" argument should be an even stronger argument against not eating that crap. Anyway, it pisses me off.

Maybe when I read this after I wake up I'll have more input or some grammatical corrections to make.

Sunday, January 24, 2010

Oh's and Ah's and Yum

I completely agree that food can be the cause for epiphanies, both small and large ones. While Bozeman restaurants are sadly lacking in epiphanic eating, I experience small food epiphanies on a regular, monthly schedule. (This is in addition to both random and planned epiphanic experiences in my kitchen) Two years ago I co-founded the the Bozeman Area Vegetarian Society and I have arranged monthly food potlucks ever since. There is such a fabulous diversity to the dishes and there exists a level of quality reached only by excited proud chefs. It is IMPOSSIBLE not to have a food based epiphany at one of these potlucks. You need not be vegetarian or vegan to attend. Simply bring a vegan dish so that as many people can enjoy it as possible or bring a drink of some sort. If you're interested, talk to me after class.

I have to dig up a photo from the last potluck. I'll post it sometime this coming week.

I've learned a few things about small food epiphanies in my potluck experiences. The element of surprise makes the food taste better. Food that others have prepared tastes better than if you yourself made the same recipe. A very odd, bonding experience occurs when strangers share food together and I imagine my potlucks are not alone this. I expect shared epiphanic experiences have occurred for thousands of years amongst people who feast together.

As for large scale food epiphanies...
One of my first memories, and previously blogged about in a prior Sexson class, is of watching crabs boiled alive for my lunch at a family gathering. I was a small child at the time and watching this disturbed me so greatly that my mom could not stop my screaming. She took me out of the room to calm me down and then we had a talk which I will always remember. I told her we shouldn't eat crabs and that it was wrong. Her responses was:

“Mick, you like hamburgers don't you?”
“Yes...” I said.
“Where do hamburgers come from?”
(I thought about that for a moment and then..)













Before I could say “well then we shouldn't eat hamburgers” my mom said “we eat cows so we can eat crabs too”. She completely missed the logical application of my child ethics and it took me 10 years before I was independent enough to stop eating hamburgers. After another 10 years, she stopped eating hamburgers too. :-)

Tuesday, January 19, 2010

MLK Day and 4 Quartets

A day late but oh well. We had the day off anyway!

There's a passage during The Dry Salvages section 2 which in some fascinating yet haunting way seems to apply to Martin Luther King Jr. and his presence in the American civil rights movement. Starting at line 200,

But to apprehend
The point of intersection of the timeless
With time, is an occupation for the saint-
No occupation either, but something given
And taken, in a lifetime's death in love,
Ardour and selflessness and self-surrender.


I think this passage speaks about the change which happens when something important and finite changes into another form which is less finite, if not infinite. "Occupation", used twice, infers that this important form is a vocation of sorts. This isn't the sort of job that someone applies for and actively pursues. No, this is a job that someone was already doing and then discovered at a later date that a timeless quality would ultimately be thrust upon their work achievements. The great passion and self sacrifice (defined in part by that timeless quality) necessary I see as a view imposed upon the person by popular acclaim and even selective memory.

One example would be Babe Ruth. The longer ago he played, the better he was when he played. It's a genuinely weird phenomena attested to by Baseball fans. Was Babe Ruth really all that great? Or was America screaming out for a hero through the medium of it's then favorite sport baseball? This is the argument about man vs. history. Which one makes the other? In answer, I quote my favorite tv show of all time. "History makes men, men don't make history."

Obviously MLK was a fantastic leader for the civil rights movement. That's indisputable. I'm simply of the opinion that we point to him in our attempt to understand the events of the time which were even larger than he was. That's how history makes men. The end of the passage I quoted above makes implications of a religious nature involving sacrifice. My opinion hold true for that as well but that's another blog post.


Check out this video of MLK's last speech before he was assassinated. It's kind of crazy in a prophetic sort of way.

Epiphanies

(Hmmm.. I didn't publish this. Why didn't this publish?)

It worth noting that, though many results of the first page of google images for "epiphany" are religious in nature, one of them is not. I opt for this image as my go to image for all things Epiphany this semester. It's a water color by Kathrin Burleson.

In my notes I have two things written down which I will expand upon. This is in regards to our question about the nature of an epiphany. The first is the claim T.S. Elliot makes that says a place is necessary for an epiphany. The second is my own description of an epiphany (a dramatic restructuring). I have no specific reasons about why I choose these two items from my notes to expand upon at this time.

"A place is necessary for an epiphany"

When I first heard this, I became indignant and thought that a place was NOT necessary for an epiphany. How could so casual a building block be an absolute necessity for such a huge event? As I argued eloquently in my mind against the requirement of "place", I came to realize that "place" isn't just indicative of some lofty hallowed location noted for higher thinking (Tintern Abbey, the white house, MSU English department etc). "Place", or setting, is simply one puzzle piece of several used to describe a given thing. Nouns tend to do well with other nouns in their description so the gap between "place" and epiphany wasn't as big as I first thought.

However, this train of thought did get my mental juices flowing. I think what I was really getting at can best be explained on this page here (found through random googling). "Ideas are available to us through thought, while phenomena are available to us through our senses." This digest of Plato applies to phenomena in such that phenomena, while expressed and examined as an idea, in experience it is a phenomena. How is this different from the average idea or phenomena? My beagle likes to like my hand. When I discuss the act of my beagle licking my hand, I discuss an idea. The event of my hand being licked is experienced as a phenomena. I don't believe the same clear level of separation exists with epiphanies. The experience of the epiphany and how we relate the epiphany to each other does not leave a gap. The strength of each in how we conceive of them creates an overlap. The expression is the experience and the experience is the expression. If this were not the case, it would not be an epiphany.

My definition for epiphany: a dramatic restructuring

This second blog worthy bit from the scrawl in my notebook, well, I'm pretty proud of it. I don't think I'm going to reword it either. I think it says exactly what I want it to say. How do we describe the awesome experience of an epiphany or the effect that it has on someones life? How do we put another persons epiphany into context so that we can comprehend it and not just the effect it has created? When discussing the before and the after for a state of epiphany, how do we best relate the two? I think this definition does a very adequate job of helping to answer these questions about life. The syllabus describes that epiphanies occur in religion and literature as well as in daily life. I think my brief definition applies to epiphanies in those settings as well. I am very surprised at my coming up with it after less than 5 minutes of wearing my thinking cap.

I'm not looking forward to revisiting my life as an English major in an effort to mine it for epiphanies. I know that they are there but that doesn't mean it will be pleasant.