Wednesday 25 July 2018

The Tramp in A Clockwork Orange DOESN'T HAVE A DOG

 Sin? What's all this about sin?


[Alex has the tramp pinned down]

Tramp: 
Well, go on, do me in you bastard cowards! 

I don't want to live anyway, 
not in a Stinking World like this!

Alex: 
Oh..? And what's so stinking about it...?

Tramp: 
It's a Stinking World because there's 
No Law and Order anymore!

It's a Stinking World because it lets 
The Young get on to The Old
like you done. 

Oh, it's No World for An Old Man any longer

What Sort of a World is it at all? 

Men on The MOON....! 
And Men spinning around The Earth
and there's not no attention paid to Earthly Law and Order no more!



[He starts singing another song, and Alex and his droogs proceed to beat him]

CHARLIE MURPHY: 
Cause Rick is incorrigible. 
He shows up at my brother's house, fucked up.

CHAPPELLE as RICK: 
Nice place, nigger!

CHARLIE MURPHY: 
So he had these dirty cowboy boots on. 
Pushed us out of the way, barged in the house. 
My brother had these brand new couches, they were suede, right? And he gets on the couch and says...

CHAPPELLE as RICK: 
ha!

CHARLIE MURPHY: 
And just started grinding mud all into the couch, man.

RICK JAMES: 
Yeah, I remember grinding my feet into Eddie's couch.

OFF SCREEN INTERVIEWER: 
You remember why you did it?

RICK JAMES: 
Cause Eddie could buy another one.

CHAPPELLE as RICK: 
Fuck your couch, nigger! 
Ha ha! Buy another one, ya rich motherfucker. 
Fuck your couch, nigger. Fuck your couch! 
Darknesses! Darknesses!

CHARLIE MURPHY: 
Cause of my complexion, he used to call me darkness. 
He calls me and my brother darkness. Darkness brothers. See, this was long before Wesley Snipes, back then we was the blackest niggers on the planet according to Rick James.

RICK JAMES: 
Eddie and both of them darkness. Twin brother darkness.

CHARLIE MURPHY: 
And we're standing there looking at him and he's looking right in our eyes as he grinds this mud.

RICK JAMES: 
See, I never just did things just to do them, c'mon I mean, what I'm gonna do just all of the sudden just jump up and grind my feet in somebody's couch like it's something to do? 
Come on, I got a little more sense than that. 
...Yeah, I remember grinding my feet into Eddie's couch.

[REWIND]


RICK JAMES: 
See, I never just did things just to do them, c'mon I mean, what I'm gonna do just all of the sudden just jump up and grind my feet in somebody's couch like it's something to do? Come on, I got a little more sense than that. ...Yeah, I remember grinding my feet into Eddie's couch.

CHARLIE MURPHY: 
But then it was like 
'You know what? Let's handle this' 
We went over there and we held him down and we just wailed on his legs.

CHAPPELLE as RICK: 
Awwww! You Darkness.!!
You black. Midnight. Evil motherfuckers!!! 
Black magic, darkness. Darkness. Delirious motherfuckers. You are cold as ice.

CHARLIE MURPHY: 
But still, Rick James, even after taking a beating like that.

CHAPPELLE as RICK: 
Fuck your couch, nigger!

CHARLIE MURPHY: 
This motherfucker's goin out, his legs is like linguine.

CHAPPELLE as RICK: 
I've been kicked out of better homes than this. I'll be back, you black motherfuckers. 
Wide nose having motherfuckers. 
They should've never given you niggers money!!!
 You don't know how to appreciate shit. 

You know you can get another couch. 
But what am I gonna do about legs!

CHARLIE MURPHY: 
My brother, you know, he's a lot more compassioniate than I am. 
He's lookin' and the limo's driving off and he says 
'Wow man, Rick really needs help'. 

I was like 
‘Yo, we just gave him some help!’ 


Busted his fuckin' ass.

'I betcha he won't come over here and disrespect like that again.'

WRONG! WRONG!  
You're talking about Rick James, man.

RICK JAMES: 
Cocaine's a helluva drug.

1818





And Who Wrote "Frankenstein - The Modern Prometheus" , published annonymously in 1818...? 

PERCY Shelley -  
NOT Mary Shelley...... 


It's Autobiographical.


Sometimes it takes 200 years for people to properly understand something.







Lines Written among the Euganean Hills
By Percy Bysshe Shelley
Many a green isle needs must be
In the deep wide sea of Misery,
Or the mariner, worn and wan,
Never thus could voyage on
Day and night, and night and day,
Drifting on his dreary way,
With the solid darkness black
Closing round his vessel's track;
Whilst above, the sunless sky,
Big with clouds, hangs heavily,
And behind, the tempest fleet
Hurries on with lightning feet,
Riving sail, and cord, and plank,
Till the ship has almost drank
Death from the o'er-brimming deep;
And sinks down, down, like that sleep
When the dreamer seems to be
Weltering through eternity;
And the dim low line before
Of a dark and distant shore
Still recedes, as ever still
Longing with divided will,
But no power to seek or shun,
He is ever drifted on
O'er the unreposing wave
To the haven of the grave.
What, if there no friends will greet;
What, if there no heart will meet
His with love's impatient beat;
Wander wheresoe'er he may,
Can he dream before that day
To find refuge from distress
In friendship's smile, in love's caress?
Then 'twill wreak him little woe
Whether such there be or no:
Senseless is the breast and cold
Which relenting love would fold;
Bloodless are the veins and chill
Which the pulse of pain did fill;
Every little living nerve
That from bitter words did swerve
Round the tortur'd lips and brow,
Are like sapless leaflets now
Frozen upon December's bough.

On the beach of a northern sea
Which tempests shake eternally,
As once the wretch there lay to sleep,
Lies a solitary heap,
One white skull and seven dry bones,
On the margin of the stones,
Where a few gray rushes stand,
Boundaries of the sea and land:
Nor is heard one voice of wail
But the sea-mews, as they sail
O'er the billows of the gale;
Or the whirlwind up and down
Howling, like a slaughter'd town,
When a king in glory rides
Through the pomp of fratricides:
Those unburied bones around
There is many a mournful sound;
There is no lament for him,
Like a sunless vapour, dim,
Who once cloth'd with life and thought
What now moves nor murmurs not.

Ay, many flowering islands lie
In the waters of wide Agony:
To such a one this morn was led
My bark, by soft winds piloted:
'Mid the mountains Euganean
I stood listening to the paean
With which the legion'd rooks did hail
The sun's uprise majestical;
Gathering round with wings all hoar,
Through the dewy mist they soar
Like gray shades, till the eastern heaven
Bursts, and then, as clouds of even,
Fleck'd with fire and azure, lie
In the unfathomable sky,
So their plumes of purple grain,
Starr'd with drops of golden rain,
Gleam above the sunlight woods,
As in silent multitudes
On the morning's fitful gale
Through the broken mist they sail,
And the vapours cloven and gleaming
Follow, down the dark steep streaming,
Till all is bright, and clear, and still,
Round the solitary hill.

Beneath is spread like a green sea
The waveless plain of Lombardy,
Bounded by the vaporous air,
Islanded by cities fair;
Underneath Day's azure eyes
Ocean's nursling, Venice lies,
A peopled labyrinth of walls,
Amphitrite's destin'd halls,
Which her hoary sire now paves
With his blue and beaming waves.
Lo! the sun upsprings behind,
Broad, red, radiant, half-reclin'd
On the level quivering line
Of the water crystalline;
And before that chasm of light,
As within a furnace bright,
Column, tower, and dome, and spire,
Shine like obelisks of fire,
Pointing with inconstant motion
From the altar of dark ocean
To the sapphire-tinted skies;
As the flames of sacrifice
From the marble shrines did rise,
As to pierce the dome of gold
Where Apollo spoke of old.

Sun-girt City, thou hast been
Ocean's child, and then his queen;
Now is come a darker day,
And thou soon must be his prey,
If the power that rais'd thee here
Hallow so thy watery bier.
A less drear ruin then than now,
With thy conquest-branded brow
Stooping to the slave of slaves
From thy throne, among the waves
Wilt thou be, when the sea-mew
Flies, as once before it flew,
O'er thine isles depopulate,
And all is in its ancient state,
Save where many a palace gate
With green sea-flowers overgrown
Like a rock of Ocean's own,
Topples o'er the abandon'd sea
As the tides change sullenly.
The fisher on his watery way,
Wandering at the close of day,
Will spread his sail and seize his oar
Till he pass the gloomy shore,
Lest thy dead should, from their sleep
Bursting o'er the starlight deep,
Lead a rapid masque of death
O'er the waters of his path.
Those who alone thy towers behold
Quivering through a{:e}real gold,
As I now behold them here,
Would imagine not they were
Sepulchres, where human forms,
Like pollution-nourish'd worms,
To the corpse of greatness cling,
Murder'd, and now mouldering:
But if Freedom should awake
In her omnipotence, and shake
From the Celtic Anarch's hold
All the keys of dungeons cold,
Where a hundred cities lie
Chain'd like thee, ingloriously,
Thou and all thy sister band
Might adorn this sunny land,
Twining memories of old time
With new virtues more sublime;
If not, perish thou and they,
Clouds which stain truth's rising day
By her sun consum'd away—
Earth can spare ye! while like flowers,
In the waste of years and hours,
From your dust new nations spring
With more kindly blossoming.

Perish—let there only be
Floating o'er thy hearthless sea
As the garment of thy sky
Clothes the world immortally,
One remembrance, more sublime
Than the tatter'd pall of time,
Which scarce hides thy visage wan:
That a tempest-cleaving Swan
Of the sons of Albion,
Driven from his ancestral streams
By the might of evil dreams,
Found a nest in thee; and Ocean
Welcom'd him with such emotion
That its joy grew his, and sprung
From his lips like music flung
O'er a mighty thunder-fit,
Chastening terror: what though yet
Poesy's unfailing river,
Which through Albion winds forever
Lashing with melodious wave
Many a sacred Poet's grave,
Mourn its latest nursling fled!
What though thou with all thy dead
Scarce can for this fame repay
Aught thine own, oh, rather say
Though thy sins and slaveries foul
Overcloud a sunlike soul!
As the ghost of Homer clings
Round Scamander's wasting springs;
As divinest Shakespeare's might
Fills Avon and the world with light
Like omniscient power which he
Imag'd 'mid mortality;
As the love from Petrarch's urn
Yet amid yon hills doth burn,
A quenchless lamp by which the heart
Sees things unearthly; so thou art,
Mighty spirit: so shall be
The City that did refuge thee.

Lo, the sun floats up the sky
Like thought-winged Liberty,
Till the universal light
Seems to level plain and height;
From the sea a mist has spread,
And the beams of morn lie dead
On the towers of Venice now,
Like its glory long ago.
By the skirts of that gray cloud
Many-domed Padua proud
Stands, a peopled solitude,
'Mid the harvest-shining plain,
Where the peasant heaps his grain
In the garner of his foe,
And the milk-white oxen slow
With the purple vintage strain,
Heap'd upon the creaking wain,
That the brutal Celt may swill
Drunken sleep with savage will;
And the sickle to the sword
Lies unchang'd though many a lord,
Like a weed whose shade is poison,
Overgrows this region's foison,
Sheaves of whom are ripe to come
To destruction's harvest-home:
Men must reap the things they sow,
Force from force must ever flow,
Or worse; but 'tis a bitter woe
That love or reason cannot change
The despot's rage, the slave's revenge.

Padua, thou within whose walls
Those mute guests at festivals,
Son and Mother, Death and Sin,
Play'd at dice for Ezzelin,
Till Death cried, 'I win, I win!'
And Sin curs'd to lose the wager,
But Death promis'd, to assuage her,
That he would petition for
Her to be made Vice-Emperor,
When the destin'd years were o'er,
Over all between the Po
And the eastern Alpine snow,
Under the mighty Austrian.
Sin smil'd so as Sin only can,
And since that time, ay, long before,
Both have rul'd from shore to shore,
That incestuous pair, who follow
Tyrants as the sun the swallow,
As Repentance follows Crime,
And as changes follow Time.

In thine halls the lamp of learning,
Padua, now no more is burning;
Like a meteor, whose wild way
Is lost over the grave of day,
It gleams betray'd and to betray:
Once remotest nations came
To adore that sacred flame,
When it lit not many a hearth
On this cold and gloomy earth:
Now new fires from antique light
Spring beneath the wide world's might;
But their spark lies dead in thee,
Trampled out by Tyranny.
As the Norway woodman quells,
In the depth of piny dells,
One light flame among the brakes,
While the boundless forest shakes,
And its mighty trunks are torn
By the fire thus lowly born:
The spark beneath his feet is dead,
He starts to see the flames it fed
Howling through the darken'd sky
With myriad tongues victoriously,
And sinks down in fear: so thou,
O Tyranny, beholdest now
Light around thee, and thou hearest
The loud flames ascend, and fearest:
Grovel on the earth; ay, hide
In the dust thy purple pride!

Noon descends around me now:
'Tis the noon of autumn's glow,
When a soft and purple mist
Like a vaporous amethyst,
Or an air-dissolved star
Mingling light and fragrance, far
From the curv'd horizon's bound
To the point of Heaven's profound,
Fills the overflowing sky;
And the plains that silent lie
Underneath, the leaves unsodden
Where the infant Frost has trodden
With his morning-winged feet,
Whose bright print is gleaming yet;
And the red and golden vines,
Piercing with their trellis'd lines
The rough, dark-skirted wilderness;
The dun and bladed grass no less,
Pointing from his hoary tower
In the windless air; the flower
Glimmering at my feet; the line
Of the olive-sandall'd Apennine
In the south dimly islanded;
And the Alps, whose snows are spread
High between the clouds and sun;
And of living things each one;
And my spirit which so long
Darken'd this swift stream of song,
Interpenetrated lie
By the glory of the sky:
Be it love, light, harmony,
Odour, or the soul of all
Which from Heaven like dew doth fall,
Or the mind which feeds this verse
Peopling the lone universe.

Noon descends, and after noon
Autumn's evening meets me soon,
Leading the infantine moon,
And that one star, which to her
Almost seems to minister
Half the crimson light she brings
From the sunset's radiant springs:
And the soft dreams of the morn
(Which like winged winds had borne
To that silent isle, which lies
Mid remember'd agonies,
The frail bark of this lone being)
Pass, to other sufferers fleeing,
And its ancient pilot, Pain,
Sits beside the helm again.

Other flowering isles must be
In the sea of Life and Agony:
Other spirits float and flee
O'er that gulf: even now, perhaps,
On some rock the wild wave wraps,
With folded wings they waiting sit
For my bark, to pilot it
To some calm and blooming cove,
Where for me, and those I love,
May a windless bower be built,
Far from passion, pain and guilt,
In a dell mid lawny hills,
Which the wild sea-murmur fills,
And soft sunshine, and the sound
Of old forests echoing round,
And the light and smell divine
Of all flowers that breathe and shine:
We may live so happy there,
That the Spirits of the Air,
Envying us, may even entice
To our healing paradise
The polluting multitude;
But their rage would be subdu'd
By that clime divine and calm,
And the winds whose wings rain balm
On the uplifted soul, and leaves
Under which the bright sea heaves;
While each breathless interval
In their whisperings musical
The inspired soul supplies
With its own deep melodies,
And the love which heals all strife
Circling, like the breath of life,
All things in that sweet abode
With its own mild brotherhood:
They, not it, would change; and soon
Every sprite beneath the moon
Would repent its envy vain,
And the earth grow young again.

Burglary vs. Thievery



"I Mean to Have You, Even if it Must Be Burglary."

- Uncle Bertie


"...Loot! He Stole That!

...Mind You..."


"Burglar wants a good job, plenty of Excitement and reasonable Reward..."

The people before the Revolution of July, says Marmontel, “ were not sufficiently accustomed to crime, and in order to inure them to it they must be practised in it.” 

Tuesday 24 July 2018

The Secondary Father



Textbook Joseph Campbell.

The way Campbell explained it, 

Young Men need a Secondary Father to finish raising them.

Beyond their Biological Father, they need a surrogate, traditionally a minister or a coach or a military officer.

The floatsam and jetsam of a generation washed up on the beach of last resort.

That's why street gangs are so appealing. 
They send you men out, like Knights on Quests to hone their skills and improve themselves.

And all the TRADITIONAL Mentors -- forget it.

Men are presumptive predators. They're leaving Teaching in droves.

Religious Leaders are pariahs.

Sports Coaches are stigmatized as odds-on pedophiles.

Even The Military is sketchy with sexual goings-on.

A Generation of Apprentices 

Without Masters.



Derek Vineyard 
(note the surname) 
is a Reverse-Noah.


" The Question is, what does it mean to see your father naked? 

And especially in an inappropriate manner, like this. 

It’s as if Ham…He does the same thing that happens in the Mesopotamian creation myth, when Tiamat and Apsu give rise to the first Gods, who are the father of the eventual deity of redemption: Marduk. 

The first Gods are very careless and noisy, and they kill Apsu, their father, and attempt to inhabit his corpse. 

That makes Tiamat enraged. 

She bursts forth from The Darkness to do them in. 

It’s like a precursor to the flood story, or an analog to the flood story.

I see the same thing happening, here, with Ham. 

He’s insufficiently respectful of his father. 




The Question is, 
'Exactly what does The Father represent?'

You could say, well, there’s 
The Father That You Have: 
A human being, a man among Men. 


But then there’s The Father-as-such
and that’s The Spirit of The Father. 

Insofar as you have a father, you have both at the same time: you have the personal father, a man among other Men—just like anyone other’s father—
but insofar as that man is your father, 
that means that he’s something different than just another person. 

What he is, is the incarnation of The Spirit of The Father. 
To disrespect that carelessly…

And Noah makes a mistake, right?

He produces wine and gets himself drunk. 

You might say, well, if he’s sprawled out there for everyone to see, it’s hardly Ham’s fault, if he stumbles across him. 
But the book is laying out a danger. 

The danger is that, well
maybe you catch your father at his most vulnerable moment
and if you’re disrespectful
then you transgress against  The Spirit of The Father

And if you transgress against The Spirit of The Father and lose respect for The Spirit of The Father
then that is likely to transform you into a slave.




Bob Sweeney: 
There was a moment, when I used to blame everything and everyone for all the pain and suffering and vile things that happened to me, 
that I saw happen to my people. 

Used to blame everybody. 

Blamed White People, 
Blamed Society, 
Blamed God. 

I didn't get no answers, 
'cause I was asking the wrong questions. 

You have to ask the right questions.

Derek Vinyard: 

Like what?

Bob Sweeney: 

Has anything you've done 
made your life better?
 





" That’s a very interesting idea. 

I think it’s particularly germane to our current cultural situation. 

I think that we’re constantly pushed to see the nakedness of our Father, so to speak, because of the intense criticism that’s directed towards our culture—the patriarchal culture. 

We’re constantly exposing its weaknesses, vulnerabilities, and, let’s say, its nakedness. 

There’s nothing wrong with criticism, but the purpose of criticism is to separate the wheat from the chaff:

It’s not to burn everything to the ground. 

It’s to say, well, we’re going to carefully look at this; we’re going to carefully differentiate; we’re going to keep what’s good, and we’re going to move away from what’s bad.

The criticism isn’t to identify everything that’s bad: it’s to separate what’s good from what’s bad, so that you can retain what’s good and move towards it. 

To be careless of that is deadly.

You’re inhabited by the spirit of the Father, right? 

Insofar as you’re a cultural construction, which, of course, is something that the postmodern neo-Marxists are absolutely emphatic about: you’re a cultural construction. 

Insofar as you’re a cultural construction, then you’re inhabited by the spirit of the Father. 

To be disrespectful towards that means to undermine the very structure that makes up a good portion of what you are, insofar as you’re a socialized, cultural entity. 

If you pull the foundation out from underneath that, what do you have left? 

You can hardly manage on your own. 
It’s just not possible. 
You’re a cultural creation.

Ham makes this desperate error, and is careless about exposing himself to the vulnerability of his father. 

Something like that. He does it without sufficient respect. 

The judgement is that, not only will he be a slave, but so will all of his descendants. 

He’s contrasted with the other two sons, who, I suppose, are willing to give their father the benefit of the doubt. 

When they see him in a compromising position, they handle it with respect, and don’t capitalize on it. 

Maybe that makes them strong. 

That’s what it seems like to me. I think that’s what that story means. 

It has something to do with respect. 

The funny thing about having respect for your culture—and I suppose that’s partly why I’m doing the Biblical stories: they’re part of my culture. 

They’re part of our culture, perhaps. 

But they are certainly part of my culture. 

It seems to me that it’s worthwhile to treat that with respect, to see what you can glean from it, and not kick it when it’s down, let’s say.

Saturday 21 July 2018

I Like to Drink Wine More Than I Used To



Upon exiting the ark on the new land, a shameful Noah goes into isolation in a nearby cave, making wine in which to drown his sorrows. 

Ham expresses disappointment for his father's current state of unseemly drunkenness and nakedness before leaving his kin to live alone. 

Having reconciled at the behest of Ila, Noah blesses the family as the beginning of a new human race and all witness waves of immense celestial rainbows.




VITO CORLEONE
So -- Barzini will move against you first. 
He'll set up a meeting with someone that you
absolutely trust -- guaranteeing your safety. 

And at that meeting, you'll be assassinated. 

(then, as the Don drinks from a glass of wine as Michael watches him

I like to drink wine more than I used to -- anyway, I'm drinking more... 
 
MICHAEL
It's good for you, Pop.


VITO CORLEONE 
(after a long pause)
I don't know -
- your wife and children -
- are you happy with them?


MICHAEL
Very happy...


VITO CORLEONE
That's good.
(then)
I hope you don't mind the way I -- I keep going over this Barzini business...


MICHAEL
No, not at all...


VITO CORLEONE
It's an old habit. 
I spent my life trying not to be careless -- women and children can be
careless, but not Men.
(then)
How's your boy?


MICHAEL
He's good --


VITO CORLEONE :
You know he looks more like you every day.


MICHAEL :
(smiling)
He's smarter than I am. 
Three years old, he can read the funny papers


VITO CORLEONE :
(laughs)
Read the funny papers --
(then)
Oh -- well -- eh, I want you to arrange to have a telephone man check all the calls that go in and out of here -- because...


MICHAEL
I did it already, Pop.


VITO CORLEONE
-- ya'know, cuz it could be anyone...


MICHAEL
Pop, I took care of that.


VITO CORLEONE
Oh, that's right -- I forgot.


MICHAEL :
(reaching over, touching his father)
What's the matter? 
What's bothering you?

(then, after the Don doesn't answer)

I'll handle it. 
I told you I can handle it, I'll handle it.


VITO CORLEONE :
(as he stands)
I knew that Santino was going to have to go through all this.

And Fredo -- well --

(then, after he sits besides Michael)

Fredo was -- well --

But I never -- I never wanted this for you. 
I worked my whole life, I don't apologize, to take care of my family.

And I refused -- to be a fool -

Dancing on The String, held by all those -- bigshots.

I don't apologize -- that's my life --
But I thought that -- 

That when it was your time -- that --

That you would be the one to hold the strings.

Senator - Corleone.
Governor - Corleone, or something...


MICHAEL :
Another pezzonovante...


VITO CORLEONE :
Well -- it wasn't enough time, Michael. 
Wasn't enough time...


MICHAEL
We'll get there, Pop -- 
We'll get there...


VITO CORLEONE
Uh... 

(then, after kissing Michael on the cheek

Now listen -- 
Whoever comes to you with this Barzini meeting -- 


He's The Traitor. 

Don't forget that.


"And the sons of Noah, that went forth of the ark, were Shem, and Ham, and Japheth: and Ham is the father of Canaan. These are the three sons of Noah: and of them was the whole earth overspread. And Noah began to be an husbandman, and he planted a vineyard. And he drank of the wine, and was drunken; and he was uncovered within his tent. And Ham, the father of Canaan, saw the nakedness of his father, and told his two brethren without.
"And Shem and Japheth took a garment, and laid it upon both their shoulders, and went backward, and covered the nakedness of their father; and their faces were backward, and they saw not their father’s nakedness. And Noah awoke from his wine, and knew what his younger son had done unto him. And he said, Cursed be Canaan; a servant of servants shall he be unto his brethren.
"And he said, Blessed be the Lord God of Shem; and Canaan shall be his servant. God shall enlarge Japheth, and he shall dwell in the tents of Shem; and Canaan shall be his servants. And Noah lived after the flood three hundred and fifty years. And all the days of Noah were nine hundred and fifty years: and he died. And the whole earth was of one language, and of one speech." 

I remember thinking about this story 30 years ago. I think the meaning of the story stood out for me. When you read complicated materials, sometimes, a piece of complicated material will stand out, for some reason. It’s like it glitters, I suppose. That might be one way of thinking about it. You’re in sync with it, and you can understand what it means. I really experienced that reading the Dao De Jing, which is this document that I would really like to do a lecture on, at some point. I don’t understand some of the verses, but others stand right out, and I can understand them. 

I think I understood what this part of the story of Noah meant. We talked a little bit about what nakedness meant in the story of Adam and Eve. The idea, essentially, was that, to know yourself naked is to become aware of your vulnerability—your physical boundaries in time and space and your fundamental, physiological insufficiencies as they might be judged by others. 

There’s biological insufficiency that’s built into you, because you’re a fragile, mortal, vulnerable, half insane creature, and that’s just an existential truth. And then, of course, merely as a human being—even with all those faults—there are faults that you have that are particular to you, that might be judged harshly by the group…Well, will definitely be judged harshly by the group. And so to become aware of your nakedness is to become self-conscious, to know your limits, and to know your vulnerability. 

That’s what is revealed to Ham when he comes across his father naked. 

The question is, what does it mean to see your father naked? 

And especially in an inappropriate manner, like this. It’s as if Ham…

He does the same thing that happens in the Mesopotamian creation myth, when Tiamat and Apsu give rise to the first Gods, who are the father of the eventual deity of redemption: Marduk. 

The first Gods are very careless and noisy, and they kill Apsu, their father, and attempt to inhabit his corpse.

That makes Tiamat enraged. She bursts forth from the darkness to do them in. 

It’s like a precursor to the flood story, or an analog to the flood story. 

I see the same thing happening, here, with Ham -

He’s insufficiently respectful of his father. 

The question is, exactly what does the father represent? 

You could say, well, there’s the father that you have: a human being, a man among men. 

But then there’s the Father as such, and that’s the spirit of the Father. 

Insofar as you have a father, you have both at the same time: you have the personal father, a man among other men—just like anyone other’s father—but insofar as that man is your father, that means that he’s something different than just another person. 

What he is, is the incarnation of the spirit of The Father. 

To disrespect that carelessly… 

Noah makes a mistake, right? 

He produces wine and gets himself drunk. You might say, well, if he’s sprawled out there for everyone to see, it’s hardly Ham’s fault, if he stumbles across him. 

But the book is laying out a danger. 

The danger is that, well, maybe you catch your father at his most vulnerable moment, and if you’re disrespectful -

Then you transgress against The Spirit of The Father. 

And if you transgress against The Spirit of The Father and lose respect for The Spirit of The Father, then that is likely to transform you into a slave. 

That’s a very interesting idea. I think it’s particularly germane to our current cultural situation. I think that we’re constantly pushed to see the nakedness of our Father, so to speak, because of the intense criticism that’s directed towards our culture—the patriarchal culture. We’re constantly exposing its weaknesses, vulnerabilities, and, let’s say, its nakedness. There’s nothing wrong with criticism, but the purpose of criticism is to separate the wheat from the chaff: it’s not to burn everything to the ground. It’s to say, well, we’re going to carefully look at this; we’re going to carefully differentiate; we’re going to keep what’s good, and we’re going to move away from what’s bad. 

The criticism isn’t to identify everything that’s bad: it’s to separate what’s good from what’s bad, so that you can retain what’s good and move towards it. To be careless of that is deadly. You’re inhabited by the spirit of the Father, right? Insofar as you’re a cultural construction, which, of course, is something that the postmodern neo-Marxists are absolutely emphatic about: you’re a cultural construction. Insofar as you’re a cultural construction, then you’re inhabited by the spirit of the Father. To be disrespectful towards that means to undermine the very structure that makes up a good portion of what you are, insofar as you’re a socialized, cultural entity. If you pull the foundation out from underneath that, what do you have left? You can hardly manage on your own. It’s just not possible. You’re a cultural creation. 

Ham makes this desperate error, and is careless about exposing himself to the vulnerability of his father. Something like that. He does it without sufficient respect. The judgement is that, not only will he be a slave, but so will all of his descendants. He’s contrasted with the other two sons, who, I suppose, are willing to give their father the benefit of the doubt. When they see him in a compromising position, they handle it with respect, and don’t capitalize on it. Maybe that makes them strong. That’s what it seems like to me. I think that’s what that story means. It has something to do with respect. The funny thing about having respect for your culture—and I suppose that’s partly why I’m doing the Biblical stories: they’re part of my culture. They’re part of our culture, perhaps. But they are certainly part of my culture. It seems to me that it’s worthwhile to treat that with respect, to see what you can glean from it, and not kick it when it’s down, let’s say. 

And so that’s how the story of Noah ends. The thing, too, is that Noah is actually a pretty decent incarnation of the spirit of the Father, which, I suppose, is one of the things that makes Ham’s misstep more egregious. I mean, Noah just built an ark and got everybody through the flood, man. It’s not so bad, and so maybe the fact that he happened to drink too much wine one day wasn’t enough to justify humiliating him. I don’t think it’s pushing the limits of symbolic interpretation to note on a daily basis that we’re all contained in an ark. You could think about that as the ark that’s been bequeathed to us by our forefathers: that’s the tremendous infrastructure that we inhabit, that we take for granted because it works so well. It protects us from things that we cannot even imagine, and we don’t have to imagine them, because we’re so well protected. 

One of the things that’s really struck me hard about the disintegration and corruption of the universities is the absolute ingratitude that goes along with that. Criticism, as I said, is a fine thing, if it’s done in a proper spirit, and that’s the spirit of separating the wheat from the chaff. But it needs to be accompanied by gratitude, and it does seem to me that anyone who lives in a Western culture at this time and place in history, and who isn’t simultaneously grateful for that, is half blind, at least. 

It’s never been better than this, and it could be so much worse—and it’s highly likely that it will be so much worse, because, for most of human history, so much worse is the norm.

Tuesday 17 July 2018

Yelling at a Fool.



Fr. Gabriel,
Warrior-Priest : 
Is that for you... or Negan? 

Rosita Espinoza :
It's for him. 


Fr. Gabriel,
Warrior-Priest :
How will you do it? 

Rosita Espinoza :
I'll pull the trigger. 


Fr. Gabriel,
Warrior-Priest :
They'll kill you. 

Rosita Espinoza :
As long as he goes first. 

Why do you have to die? 

Rosita Espinoza :
Because he has to. 


Fr. Gabriel,
Warrior-Priest :
I agree. But... 
...Why do you? 
There's, uh... ...No need to lie to me if... 
this is our last conversation. 


Rosita Espinoza :

If Abraham was alive, we could fight. 
If Glenn was, Maggie's kid would have a Father. 
Michonne and Carl can fight. 
They have Rick. 
Aaron has Eric. 
Eugene Knows Things. 
Daryl's Strong. 


Fr. Gabriel,
Warrior-Priest :
What about Sasha? 
Look at me, Rosita. 
It shouldn't have been you. 
It shouldn't have been anyone. 
We'll win, but we need to wait for the right moment or create it... together. 
And you're a part of that together. 

Don't Do This. 
We Need You.


Rosita:
I didn't find any guns.  
In case you were wondering. 
I was out there all day and not a damn one. Not a real one. 
Thing is, I had a gun. I was gonna use it to kill Negan. 
I was ready to. 
And if I had done it, like I'd planned to, Negan would be dead right now. 
And, yeah, maybe I'd be dead, too, but who gives a damn? 
Eugene would still be here. 
Olivia would still be alive. 
Spencer would still be alive. 

And now they're gone, and I'm here because I was stupid enough to listen to you. 


Fr. Gabriel,
Warrior-Priest :
But you were. 
And you did. 

Rosita Espinoza :
You stand there telling people about their lives. 


Fr. Gabriel,
Warrior-Priest : 
Only if they come Here. 
Like you. Right now. 

Rosita Espinoza :
You don't know shit about shit. 


Fr. Gabriel,
Warrior-Priest : 
You're right. 
I don't. 
I said that you weren't supposed to die and that you shouldn't do the thing that you were planning to do because we needed you -- still do. 

Even a fool like me could see that. 


It's easier to be dead, 
and if it's my fault you're alive, well, 
I'm just gonna have to live with that. 

I decided to meddle. 

But I did something I thought was right, and I knew the stakes were very high. 
You can certainly blame me for the fact that you have a Life, but after that what are you going to do with it? 

How are you going to make what needs to happen happen? 
Anything is possible until your heart stops beating. 

Certainly more than yelling at a fool.



 

Sunday 15 July 2018

You SAY You Want to Save The World, But You Don't Want it to CHANGE....





George Lucas on toxic fandom and The Phantom Menace 1999 - BBC Newsnight


This is what George Lucas had to say about racial stereotyping and toxic fandom in The Phantom Menace back in 1999.

You Say You Want a Revolution, Well...

Y'know....

We All Wanna Change The World. 





PEACE IN OUR TIME

It’s not the job of the artist to give the audience what the audience wants.  

If the audience knew what they needed, then they wouldn’t be the audience.  

They would be the artists.  

It is the job of artists to give the audience what they need. "

- Alan Moore

Piss Off, Ghost!



Yes, the Devil is in your hands, and I will suck it out. 

Now, I will not cast this ghost out with a fever, for the new spirit inside me has shown me I have a new way to communicate. It is a gentle whisper. 

Get out of here, ghost. Get out of here, ghost. Get out. Get out of here, ghost. Get out of here, ghost. Get out of here, ghost. Get out of here, and don't you dare turn around and come back, for if you do, all the armies of my boot will kick you in the teeth, and you will be cast up and thrown in the dirt and thrust back to Perdition! 

And as long as I have teeth, I will bite you! And if I have no teeth, I will gum you! And as long as I have fists, I will bash you! 

Now, get out of here ghost! Get out of here, ghost!

Get out of here, ghost! Egh! YEOW! And it left!