Friday 13 September 2019

Writings








Abhinava tells us that the process of creative contemplation or holistic meditative inquiry (bhāvanā-krama) that leads to experiential knowing of reality is based on these three supports: 


❖ Sound and Careful Reflection on Your Experience (sat-tarka



❖ The Guidance of a Great Teacher (sad-guru) who is skilled in meditative enquiry and has attained its fruit 


❖ The Wisdom of The Scriptures (sad-āgama




“The Sacred Jedi TEXTS...!”

“Oh? Read Them, Have You....?”

•He hesitates and protests - No, he has not.•

“In this Galaxy, you gotta get The Missing Ancient Scrolls.


Then when you get The Missing Ancient Scrolls, you get The Power. 


Then, when you get The Power, then you get The Criminal Empire of Followers.


And you can do anything you want. That’s Why You Gotta Make Your Own Moves.”


— Snoke


 "Curious. I have brought The Sith to their ultimate victory. Through study, I will soon learn how to defeat death. While I may choose apprentices, I will never choose a successor."


 — Darth Sidious, 

Marginalia in The Book of The Sith, 

in the section titled 

"Selecting an Apprentice"



EPISTEMOLOGY 


One of the central concerns of philosophy is to investigate how we know what we know, if there is such a thing as certain knowledge, and, if so, how it is attained. This is a topic of concern to the Tantra as well, and it is explored in depth by the scholar-sages Utpala Deva and Abhinava Gupta. The difficult and abstruse nature of these discussions invite us to focus on a simpler formulation offered by the second author in his Essence of the Tantras. 


There Abhinava tells us that the process of creative contemplation or holistic meditative inquiry (bhāvanā-krama) that leads to experiential knowing of reality is based on these three supports: 


❖ sound and careful reflection on your experience (sat-tarka) 

❖ the guidance of a great teacher (sad-guru) who is skilled in meditative enquiry and has attained its fruit 


❖ the wisdom of the scriptures (sad-āgama) 


When these three come together in agreement, Abhinava suggests, we know we have arrived at truth. One or two of them is insufficient for certainty. In fact, allowing ourselves to abide in uncertainty about anything not supported by all three keeps us open and in a process of learning that closes down if we prematurely decide that we know. Usually in Indian philosophy, the first two valid means of knowledge that are argued for are direct perception and valid inference; here they are combined into sat-tarka, which means the process of drawing sound conclusions based on one’s experience. In logic (both Western and Indian), a conclusion is “sound” when the premises are true and the structure of thought leading to the conclusion is valid. To give a slightly modified version of the standard Indian example of a logical argument: Premise 1: Where there is smoke, there is fire (axiom based on the aggregate of one’s experiences). Premise 2: There is smoke on the mountain over there (direct observation). Conclusion: Therefore, there is fire on the mountain. The argument is called valid structurally because if the premises are true, the conclusion must also be true. But it is only sound (= correct) if the premises are in fact true. And this particular argument is an example of inference because there is no way to be one hundred per cent sure that there is always fire whenever and wherever there is smoke. The standard argument in the Indian system of logic is not deduction, which seeks to establish irrefutable certainty, but inference. Unlike in Western philosophy, in the Indian system you never decide that you know for sure, and so you never completely close yourself to unguessed possibilities. Thus the sense of wonder and openness that is the foundation of all philosophy is maintained. The problem of direct experience as a means of knowledge is that people often draw conclusions based on their experience that are logically invalid. They don’t realize they are doing so because their assumptions and the process by which they draw their conclusions usually go unexamined. Even more basically, they are often unable to separate their experience from their interpretation. People can get ruffled when their interpretation of their experience is questioned, saying, “But that’s my experience!” In fact, anything you can say in words about your experience is an interpretation, not the experience itself. On the path of inquiry into truth, we never devalue or dispense with reflection on our personal experience (note that Abhinava mentions it first), yet since we cannot be one hundred per cent certain about the conclusions we draw or how universally applicable they are, we soften our iron grip on our apparently safe and comfortable sense of certainty and seek to corroborate it with trusted authorities: the teacher and sacred scripture. To some Westerners, having the spiritual teacher and scripture as the other two legs of the tripod seems redundant. But this system of checks and balances is well worked out. Scripture exists as a representative document of a whole community; because even if a given scripture was written by just one person, it is transmitted (copied and recopied) for centuries if and only if some of its contents are effective for a wider group of people. As a document of collective wisdom perpetuated by community, scripture protects you from an aberrant teacher who preaches his own idiosyncratic experience as if it were universal, thereby potentially leading you astray. Of course, for this setup to work, you must read a scripture with your own judgment, not solely on the basis of the teacher’s interpretation of it. On the other hand, though scriptures are presumed to have been written by an awakened master, a healthy skepticism is maintained by requiring their wisdom to be corroborated by the other two sources of knowledge. Further, the requirement of the living teacher means that you are protected from an off-the-wall interpretation of scripture you arrived at in your own head. Such an interpretation might make sense to you, might even feel good, but is seen by the teacher with clear long-term view to be one that will eventually take you off track. Such a teacher will rarely say, “You’re wrong,” but will more likely challenge you to contemplate deeper, beyond your conditioned mind. This system of double corroboration for valid knowledge allows us to come up with seeds of wisdom that we can count on and build a spiritual life on. But the process is not completed until these seeds come to life as living, vibrating wisdom within us. That is, in the Tantra, we seek not just to know wisdom but to fully embody it. The evidence that you have done so is that you no longer need the external form of the teaching (the words or concepts); it has simply blossomed into living experience, unsupported by any reminders. When this happens, then no matter how beautiful the words of the teaching are, they seem to be flat or pale or inadequate in comparison with the actual experience.

Laertes Cheated and Did The Blade Envenom!




Can you imagine Hamlet if he'd decided to avenge his Dad's murder by dressing as Batman  and fighting crime in Downtown Elsinore?

Hamlet’s Father’s Name is ‘Hamlet’ — 
He’s Hamlet, Son of Hamlet

The Son of The Dane

And he isn’t The King — 
Why Not?

Because 
He’s Insane 
(maybe)





















The Exorcist :
Colonel, do me a favor? Please?
Explain to this moron here that in none of the plays of Shakespeare can there be a part for Superman.

SUNSHINE-SUPERMAN :
There could be, the way I explained it.


The Exorcist :
The way you explained! Jesus!
You know what he wants? You want to hear?
When the conspirators draw their knives, he wants to rescue Julius Caesar!
Ready? Swoop down like a rocket, pick him up and go hurdling mighty temples in one single, incredible bound!
Jesus, Nammack. Are you crazy?



KANE :
Maybe we do need a few restrictions.

The Exorcist :
Colonel.
Colonel.
I'm in trouble, I need help. Immediate help.


Take an enema; call me soon.
Dr. Fell, you're wanted in surgery.
I've been having an argument, a monster... and I'll like you to settle it once and for all.



Some Shakespearean -
Hold this please.

Some Shakespearean scho -
Thank you.

Some Shakespearean scholars say, that when Hamlet is pretending he's crazy... 
He really IS crazy,
Correct?

KANE :
That's right.

The Exorcist :
Now, other Shakespearean scholars say, that when Hamlet...

Other Shakespearean scholars say that when Hamlet is pretending to be nuts... he really isn't nuts, its an act.

Please give me your opinion.

KANE :
I would like to hear your's first.

The Exorcist :
To the dog, Sir Lawrence, who is the one he is having the argument with. ]
Terrific psychiatrist.
That's class.

Dr. Fell (No, really, he did) :
Pretty...

The Exorcist :
Why don't you go inoculate a fucking armadillo, Fell?

Doctor Fell (No, Really, he did.) :
No really, I'm interested. 
I'm terribly interested.


The Exorcist :
Your interests are coextensive with on Nero's ass on Sunday morning.
Heady concept, Frankie.
Now listen, Colonel — 
Considering how Hamlet is acting... is he really and truly crazy?

Kane :
Yes.


Fell :
No.

The Exorcist :
You're BOTH wrong.

Now think what happens:
First the father dies; then his girl leaves him flat.

Then, there's the appearance by His Father's Ghost...
Bad enough, but then The Ghost says he was murdered.

And by whom?

By Hamlet's Uncle, 
who recently married Hamlet's Mother!

Now that by itself is a helluva hangup — 
because Hamlet LIKED His Mother... a LOT!


Kane :
But then we agreed than Hamlet's insane.


The Exorcist :

No, he's not.
He is pretending, but...

If Hamlet HADN’T pretended to BE crazy, 
he would have GONE crazy.

See, Hamlet isn't psycho.
He's hanging on a brink.
A little shove, a little teensy eensy little eensy push, and the kid's gone! Bananas! Whacked out!

So his unconscious mind makes
him do what keeps him sane... 
namely acting like he's nuts!
See 'Cause acting crazy...
...is a way to let off steam; a way to
get rid of your fucking aggression. 
A way to get rid of your fears and your terrors...

If I did what Hamlet does in this play, they'd lock me up; 
They'd put me in prison.
They'll punish me, sure!

But him? 
Prince Royal Garbagemouth gets away with murder. 
And why?


Because nuts are not responsible!
Meantime, the crazier Hamlet acts... the more he indulges himself, the healthier he gets!

Kane :
Yes. I think...

The Exorcist :
I'm waiting.

Kane :
I think I agree with your theory.

The Exorcist :
Yes! There!


You see? You understand that now,
you dumb stupid idiot?

From Now On, We Do The Scene My Way!
Come On, Sir Lawrence!

God bless your veins and your arteries, Colonel.
Sir Lawrence, you don't know shit...

Astronaut Capt. Billy Cutshaw :
Did he buy it?

The Exorcist :
Did he buy it?
Hell, I bought it.
Billy, I think there is something wrong with us.

Kane, The Killer :
Groper, get off the line.
The Hamlet theory is correct.

Twin Pylons





“In Traditional Western occult symbolism, the gateway to the lunar realm of imagination is flanked by twin pylons, or towers. 

If you look at most versions of the tarot trump number 18, the Moon, you will see these towers. They represent the door that separates the world of fantasy from material reality.

The descent of the kabbalistic thirty-second path of the tree of life describes an apocalyptic event involving the merging of two distinct spheres: the earthly and the lunar. The lunar sphere is the imagination, the world of thoughts and dreams. The earthly sphere is of the mundane, solid and heavy. In short, not only does real life become more like a story, stories must pay the price of this exchange by becoming more real and allowing the rules of the material world to impinge upon their insubstantial territories.





I can think of no more potent image of this union of real and imaginary than the terrorist attacks on the World Trade Center on September 11, 2001.

How many times had we seen those towers fall? How many times had this soul-wrenching vision been rehearsed in our imaginations, and repeated in our fictions, almost as if we were willing it to happen, and dreaming of the day?





From the moment the towers were completed in 1973, they became a target for a sequence of imaginary demolitions.

King Kong was the first to climb them in Dino DeLaurentis’s pointless 1976 remake of the giant gorilla classic. They’d been smashed by tidal waves, blasted by aliens, shattered by meteor strikes, and pulverized by rogue asteroids. The terrible fall of the World Trade Center towers on September 11 had the curious inevitability of an answered prayer or the successful result of a black magic ritual.”

Grant Morrison, 
SuperGods









GUNDAN: 
There are 3 Physical Gateways and The 3 are 1. 


• The Whole of This Domain

• The Ancient Arch

• The Mirrors


DOCTOR: 
The thing is, it's not actually a physical gateway that I'm looking for. 


GUNDAN: 
All The Gateways are One. 

DOCTOR: 
Ah. So it is here — 
The Way Out


"Maury Gellman, the Nobel Prize-winner, got his Three-Quark-Model out of Finnegan’s Wake…. 

The Three Quarks are major characters in Finnegan’s Wake — 

The two twins who are opposites, and the third twin who is both twins combined, 
and still a third independent character."


pylon (n.)
1823, "gateway to an Egyptian temple," from Greek pylon "gateway," from pyle "gate, wing of a pair of double gates; an entrance, entrance into a country; mountain pass; narrow strait of water," of unknown origin. Meaning "tower for guiding aviators" (1909) led to that of "steel tower for high-tension wires" (1923).

pylorus (n.)
1610s, from Late Latin pylorus "the lower orifice of the stomach," from Greek pyloros, literally "gatekeeper, porter," from pyle "gate" (see pylon) + ouros "watcher, guardian," from PIE root *wer- (3) "perceive, watch out for." Related: Pyloric.


Thermopylae
narrow land passage along the Malian Gulf in ancient Greece, from Greek thermos "hot" (from PIE root *gwher- "to heat, warm") + pylai, plural of pyle "gate; mountain pass, entrance into a region" (see pylon). In reference to nearby hot sulfur springs. Often simply hai pylai "the gates." Figurative of heroic resistance against overwhelming numbers since the battle fought there between the Greeks and Persians in 480 B.C.E.


Zen Fascism







“Noh-Varr’s power was expressed not in the service of the status quo but as insurrection and anarchy. More frightening than his destructive capabilities were his beliefs.


We imagined our hero’s creed as a strange, unthinkable, untranslatable mix of seeming opposites, described in the text as “Zen Fascism.” We’d all seen what ray guns and flying saucers could do, but what if the alien had a belief system so seductive, so powerful and ultimately corrosive that it could destroy our own social structures? In a move that seems prescient, Jones and I had him attack Manhattan, burning the words FUCK YOU into the street grid, big enough to be read from space.


The third issue introduced Hexus the Living Corporation, an alien entity that arrived on our planet in the form of a mysterious logo. Hexus would root itself in a small office space somewhere and start spawning recruitment flyers —“DO YOU SINCERELY WANT TO GET RICH?”— to attract employees, who would then be swiftly assimilated into its workforce. Hexus traded up to bigger and bigger headquarters as it proceeded through its lifecycle. It was a naturally occurring “wild” corporate intelligence, a superpredator that began to gobble up the market territory of our own synthetic corporations, like Fox and AOL, on its way to devouring our planet’s entire resources before sending out its spores in the form of spaceships carrying Hexus flyers. In the end, Noh-Varr defeated the creature by leaking its secrets to its competitors, who then tore the pretender apart on the international stock exchange. 


With her beloved Noh-Varr banged up in an inescapable superpenitentiary, which he’d vowed with a smile to transform into the “CAPITAL CITY OF THE NEW KREE EMPIRE,” Oubliette was pictured in the bombed ruins of Disneyland with Donald Duck lying facedown behind her, while the voice of Horus echoed loud and clear:


“THIS IS THE END OF THE WAY THAT WAS. COSMIC JIHAD HAS BEGUN. YOU ASKED FOR THIS.”


A horrified President Bill Clinton stroked his chin, perhaps suspecting he wasn’t long for office:


“… IT WAS THE WAY SHE KEPT SHOOTING THE POOR DUCK GUY IN THE BACK LIKE THAT. I DON’T BELIEVE I’LL EVER FORGET THAT IMAGE.”


And in hindsight, Marvel Boy, like The Authority, seems almost to be a transmission from a very different world that was waiting for us all across the millennial barricade.”


Excerpt From

Supergods

Grant Morrison

Thursday 12 September 2019

Stormer






This is What I am Called.

I am called Glad-O-War, Grim, Raider






and Third.


I am One-Eyed.

I am also called Highest, and True Guesser.


I am Grimnir, and the Hooded One.

I am All-Father, Gondlir, Wand-bearer.

I have as many names as there are winds.
As many titles as there are ways to die.

My ravens are 
Huginn and Muninn
Thought and Memory.

My wolves are 
Freki and Geri.

My horse is 
The Gallowed.

I am Odin! 


Odin

The Highest and The Oldest 
of all the gods is Odin.


Odin knows many secrets. 

He gave an eye for wisdom. 
More than that, for knowledge of runes, 
and for power, 
he sacrificed himself to himself.

He hung from the world-tree, Yggdrasil, 
hung there for nine nights. 
His side was pierced by the point of a spear, which wounded him gravely. 
The winds clutched at him, buffeted his body as it hung. 
Nothing did he eat for nine days or nine nights, nothing did he drink. 
He was cold, in agony, and on the point of death when his sacrifice bore dark fruit: in the ecstasy of his agony he looked down, and the runes were revealed to him. 
He knew them, and understood them and their power. 
The rope broke then, and he fell, screaming, from the tree.

Now he understood magic. 
Now The World was his to control.

Odin has many names. 
He is the all-father, the lord of the slain, the gallows god. 
He is the god of cargoes and of prisoners. 
He is called Grimnir and Third. 
He has different names in every country (for he is worshipped in different forms and in many tongues, but it is always Odin they worship).




He travels from place to place in disguise, to see the world as people see it. 
When he walks among us, he does so as a tall man, wearing a cloak and hat.

He has two ravens, whom he calls Huginn “and Muninn, which mean “thought” and “memory.” These birds fly back and forth across the world, seeking news and bringing Odin all the knowledge of things. They perch on his shoulders and whisper into his ears.

When he sits on his high throne at Hlidskjalf, he observes all things, wherever they may be. Nothing can be hidden from him.

He brought war into the world: battles are begun by throwing a spear at the hostile army, dedicating the battle and its deaths to Odin. If you survive in battle, it is with Odin’s grace, and if you fall it is because he has betrayed you.

If you fall bravely in war the Valkyries, beautiful battle-maidens who collect the souls of the noble dead, will take you and bring you to the hall known as Valhalla. He will be waiting for you in Valhalla, and there you will drink and fight and feast and battle, with Odin as your leader.


Thor
Thor, Odin’s son, is the thunderer. He is straightforward where his father Odin is cunning, good-natured where his father is devious.
Huge he is, and red-bearded, and strong, by far the strongest of all the gods. “His might is increased by his belt of strength, Megingjord: when he wears it, his strength is doubled.

Thor’s weapon is Mjollnir, a remarkable hammer, forged for him by dwarfs. Its story you will learn. Trolls and frost giants and mountain giants all tremble when they see Mjollnir, for it has killed so many of their brothers and friends. Thor wears iron gloves, which help him to grip the hammer’s shaft.

Thor’s mother was Jord, the earth goddess. Thor’s sons are Modi, the angry, and Magni, the strong. Thor’s daughter is Thrud, the powerful.
His wife is Sif, of the golden hair. She had a son, Ullr, before she married Thor, and Thor is Ullr’s stepfather. Ullr is a god who hunts with “bow and with arrows, and he is the god with skis.

Thor is the defender of Asgard and of Midgard.

There are many stories about Thor and his adventures. You will encounter some of them here.


Loki
Loki is very handsome. He is plausible, convincing, likable, and far and away the most wily, subtle, and shrewd of all the inhabitants of Asgard. It is a pity, then, that there is so much darkness inside him: so much anger, so much envy, so much lust.

Loki is the son of Laufey, who was also known as Nal, or needle, because she was slim and beautiful and sharp. His father was said to be Farbauti, a giant; his name means “he who strikes dangerous blows,” and Farbauti was as dangerous as his name.

Loki walks in the sky with shoes that fly, and he can transform his shape so he looks like other people, or change into animal form, but his real weapon is his mind. He is more cunning, subtler, trickier than any god or giant. Not even Odin is as cunning as Loki.

Loki is Odin’s blood brother. The other gods do not know when Loki came to Asgard “The other gods do not know when Loki came to Asgard, or how. He is Thor’s friend and Thor’s betrayer. He is tolerated by the gods, perhaps because his stratagems and plans save them as often as they get them into trouble.

Loki makes the world more interesting but less safe. He is the father of monsters, the author of woes, the sly god.

Loki drinks too much, and he cannot guard his words or his thoughts or his deeds when he drinks. Loki and his children will be there for Ragnarok, the end of everything, and it will not be on the side of the gods of Asgard that they will fight.”


Tuesday 10 September 2019

Midichlorians







"Everything that had ever lived was a twig off the same tree, a finger on the same hand. Add time, and it became blindingly obvious that the entire tree of life on Earth was alive and physically connected, even after three and a half billion years. Not in any metaphysical way but literally, materially, back through all time toward the root.The same primordial mitochondrial cell that began its eternal self-cloning process in the primordial ocean was and is still dividing inside each and every one of us.

Could mitochondria be science’s secret word for “soul”? Could the presence of an asexual immortal organism in the depths of our physical being be responsible in any way for the sensation we have of some indwelling, undying, and infinitely wise and fulfilled essence? Had my entire experience been some kind of dialogue with my own cellular structure? Was it some literal understanding of the Hermetic axiom “As above, so below”? Was I really just a cell, in the body of the earth’s sole life-form? Was my relationship to this primordial consciousness like that of a helper T cell to a human body, for instance? Were soldiers hunter-killer cells?”

Excerpt From: Morrison, Grant. “Supergods.”






The Morrison Manifesto






The Morrison Manifesto

Having just read through every X-MEN trade paperback available to humanity, I think I have a pretty clear idea of what works in this book and what doesn't. Here's what I think would be the most effective strategy for keeping old readers and, more importantly, for attracting a new contemporary audience.

1. In my opinion, and probably everyone else's too, the best work done on the book, the work which transformed the New X-MEN into Marvel's primary franchise was done by Chris Claremont and John Byrne between '77 and '80. Long after I'd ditched my comic book collection and started a punk rock band THIS was the one book I still followed because it was COOL. It's been fashionable to knock both creators in the intervening years and often with some justification but I defy anyone to read this run of X-MEN and not be impressed by the bravado and invention. Not only were both creators so far ahead of their game they were defining the rules of a whole NEW game (early Alan Moore is PURE Claremont and the reverberations of 'Days of Future Past' - with its depictions of the twilight days of the superheroes - are still echoing in too many books to mention) they had the freedom to create new material, reconceptualise the old stuff which still worked and ignoring the outmoded elements which had sapped the original X-MEN series of its vitality.

2. In the last decade or so, the tendency at Marvel has been intensely conservative; comics like the X-MEN have gone from freewheeling, overdriven pop to cautious, dodgy retro. What was dynamic becomes static - dead characters always return, nothing that happens really matters ultimately. The stage is never cleared for new creations to develop and grow. The comic has turned inwards and gone septic like a toenail. The only people reading are fan boys who don't count. The X-MEN, for all it was still Marvel's bestseller, had become a watchword for undiluted geekery before the movie gave us another electroshock jolt. And in the last decade, sales fell from millions to hundreds of thousands.

3. In the way that Claremont and Byrne did in the 80s and Jim Lee in the 90s we need to make the book COOL again. The movie has already done most of the work for us and there are MILLIONS of new potential readers out there for the taking: including the women who slavered over Hugh Jackman and who should be able to pick up THIS book and get the same sexy thrills from the comic book character (so no more blue and yellow spandex and Batman helmet. Why does Wolverine wear a helmet in the the same shape as his hair anyway? It just looks safdsff stupid now) We have to stop talking to the shrinking fan audience and re-engage the attention of the mainstream. Longtime fans will read the book and safdsff about it NO MATTER WHAT. We don't need to attract them, we need to make the book accessible to the real world audience. We need to get X-MEN and Marvel Comics in the news again, in the cool magazines and on TV. We need to recapture the college and the hipster audience because that audience is bigger than ever thanks to the movies and games, and thanks to things like 'Buffy' and 'The Matrix', the entire mainstream is pumped and primed to consume super-hero stories.

To make the X-MEN feel fresh once more, we need to take a closer, harsher look at what's not working in this book and the comics field in general. The recent X-MEN stuff has been written in an old-fashioned, overdense style for one, and we need to update, streamline and demystify the storytelling techniques considerably to appeal to modern sensibilities.

4. I think everyone agrees that we can no longer afford to be bogged down by 40 years of the most convoluted continuity in comics. This isn't the Ultimate line, however, and we have to find a way be faithful to the sprawling X-MEN mythos without being shackled by events in stories written thirty years ago, for a different world and a very different audience. My intention is to use the rich history of the X-MEN more as background window dressing and as a treasure trove of material we can recut for a new eager audience (in the same way Claremont and Byrne sifted out the best stuff from the original series and combined it with new material). Elements like the Savage Land or the Shi'Ar Empire will be reappraised, re-introduced and woven into the larger scale science fiction universe of the X-MEN in such a way that it will seem as though we're seeing these concepts for the first time). The movie wisely went sci-fi instead of trying to appease the superhero crowd and I think we must do the same. The X-MEN is not a story about superheroes but a story about the ongoing evolutionary struggle between good/new and bad/old. The X-MEN are every rebel teenager wanting to change the world and make it better. Humanity is every adult, clinging to the past, trying to destroy the future even as he places all his hopes there. The superhero aspect should be seen as only a small element in the vast potential of this franchise.

These stories will be accessible, punchy and modern. Each story arc should be like a movie or a TV miniseries depending on the focus - beginning middle and end, character development and resolution. Every time we start a new arc, every time we start a new issue in fact, we start fresh as if someone is picking up the book for the first time. The movie has made the characters familiar which helps us immensely. From here on in we shall strive to limit the cast to a handful of easily-recognisable figures.

5. If there are any really major outstanding questions left unanswered about our characters, let me know and I'll figure out a way to resolve them in future stories but for now, let's start with a fresh storyline, a completely different feel and allow people a chance to get to know the cast on the run again. That's how we play 'continuity' as we gently lay it to rest and replace it with er... 'superconsistency'. Everything you need to know will be explained in ANY given issue but long-time fans will be rewarded with extended character development and soap opera backstories. Think of the modular, accessible nature of storylines from the Buffy mythos which also have extended developmental arcs for longterm fans to follow. Same goes for the X-Files etc. The longer storylines in XMEN would play out over a year at most. No more decades-long unrevealed secrets. And no more need be said about Logan's origins.

6. We have to get back the kick-ass anything can happen feeling that made the Claremont/Byrne issues so monumental. This is a POP book, as essential as the new Eminem release or the latest Keanu movie. We can rejoin the culture here and the only way to do it is to drop '80s and '90s notions of who our audience should be. The only way to get back in there is to deliver the stuff the movies and the games CAN'T. And what the mainstream audience wants from us (and I've asked a lot of 'em) is raw imagination, ready-made characters, outrageous spectacle, storming angst and emotional drama. Beautiful people with incredible powers doing startling, diverting things!

7. GET RID OF THE COSTUMES. Let's ditch the spandex for the new century and get our heroes into something that wouldn't make you look like a safdsff if you wore it in the street. The movie had it almost right: I think we should go for hardcore bike style exo-rubber uniforms, maybe military pants and wrestling style boots. Whatever. A UNIFORM again. Youth culture looks are going uniform anyway. The look's brutalist and military and I think the X-MEN should reflect that to stay on the cutting edge of cool. Long leather coats with a big X on the back as our heroes get smarter, prouder and louder. Cyclops wearing ruby quartz contacts. I'd like to see some yellow in panelling or detailing on the costumes - if only to avoid the dull black leather look of every film superhero - but it should be pop art dayglo yellow, the kind cyclists and bikers wear to be seen. Let's discuss a new look. X-MEN is a soap opera about super-people in the same way that Dallas was a soap about oil people. The oil only provided window-dressing and an excuse to look great.

8. Let's aim for the big audiences. Let's push books we can be proud of on every level. Books that kids will dig for their sheer gee-whizz, kinetic strut, which college kids will buy for the rebel irony and adults will love for the distraction, just like the movies and the TV shows - just like when Stan was doin' it!!! I believe we have a rare opportunity to bust some self-imposed barriers and run screaming through the streets if we just cut loose a little and do work aimed at the mainstream, media-literate audience of kids, teenagers and adults with disposable income. Trust me. It’ll feel like nothing ever seen before but I intend to deliver the best, most faithful-to-the-concept X-MEN you could hope to imagine ….

9. And, a propos of nothing – I just read that the most enthusiastic supporters of Darwin’s evolutionary theory were a group of English scientists of the 1800’s who called themselves …. The X Club




Monday 9 September 2019

The Fall and Rise of Barry Allen

An Unknown Force just Reverse-Engineered me to life out of a Blizzard of Faster-Than-Light Particles.

I'm sorry I seem a little abstract.





I: Have you found any prophecies which would be prophetic to us at this point?

RAW: Let’s see, the major theme of FW is the fall and the rise.  On the first page you’ve got the Wall Street stock market crashing and the fall of the Roman empire and Adam and Eve falling because of the forbidden fruit, and Humpty Dumpty falling off the wall, and Tim Finnegan falling off the wall, and the old Irish drinking song from which the book takes its title, and the dream of falling asleep to the collective unconscious of the species, and below that into the non-local consciousness of the entire cosmos, and all this falling is followed by a rising at the end in which the river turns into air molecules.  The river turns becomes one with the sea, and the Irish sea, and the Irish sea becomes air molecules which become clouds which float over the Wicklow Hills, and they come down as rain, and you’re back at the beginning of the book where this rain is the river Liffey forming in the hills to flow from Dublin and go out to the sea.  So you’ve got this cyclical rise-and-fall.  And I find more and more that the symbolism of the thing suggests the fall of DNA to this planet, which is Fred Hoyle’s cosmological theory, that DNA didn’t happen by accident, it was propagated throughout the galaxy by higher intelligences.  You’ve got the DNA falling on this planet, and FW has all these metamorphoses, you’ve got the four stages of the insect: the egg, the chrysalis, the larva, the adult, I’ve got them slightly out of order I think; I’m not an entomologist.  And then you’ve got the lords of the four quarters: Matt Gregory, Marcus Lyons, Luke Tar-pey, and Johnny MacDougal, which are Matthew, Mark, Luke, and John, plus the bed that I lie on, an old children’s prayer, but it’s also the four chambers of the human heart, the four kings of the tarot deck, the four provinces of Ireland, but it’s this basic four part cycle there which Joyce calls their weatherings and their marryings and their buryings and their natural selection, which refers to all these insect and mammalian patterns, the parallels that Joyce keeps drawing.  He manages to combine the evolution of plants, insects, and mammals into this structure, and it’s all part of - the deepest part of the collective unconscious that Joyce is exploring in FW.  And there’s this cycle of the DNA being spread through the galaxy, falling onto the Earth, going through these primitive stages of evolution, and then rising up from the Earth at the end to return to union with the rest of the galaxy.  I think Joyce is prophesying the space age that we are now entering.





I: Well, RC Jung also has a theory which is a cosmological, unifying theory saying the same thing.  What kept coming to me is the foreignness that you were talking about, and it also reminded me of the Shakespeare-Bacon controversy; there’s a whole lot of overlap going on between everybody right now.  Talk about synchronicity!  Maybe it’s because Joyce is coming into his time, because I hear this same rap in many different situations, and I don’t know that we can all say it comes from Joyce, or whether he just has brought on the time of this birthing of Sog (?). 

RAW: Brian O’Nolan is supposed to have said in the 1950’s, when they first thought of celebrating Bloomsday in Dublin, he said, “sure, we’re wrong, we’re all living in Joyce’s head”.  Now it seems it’s not just Dublin, it’s a contagion spreading all over the world.  The Bacon-Shakespeare thing you mentioned, then Joyce, Bacon, and Shakespeare are another model of the twin thing.  Bacon is the rationalist, Shakespeare is the poet, but some people think they’re one, and so the two become three, in unity, and that makes them isomorphic with the three sons of Noah, who are Joyce’s basic archetype of threeness - Sham, Jafid, and Ham - and the thing fits together because Ham and Bacon make a pun linking the two trios together.  The whole thing makes a hidden unity because Shakespeare’s coat of arms had a boar’s head on it, and so you’ve got the boar, the ham, and the bacon, which has the Adonis theme in it.  In FW everything refers back to the dying and resurrected god, and Adonis is one of the dying and resurrected gods, along with Christ, Tim Finnegan, and Osiris, and so on.





I: Well, when we think of FW now, do we have sort of a trend that we can follow in terms of getting one line?  There are so many ways to go, so many different aspects and streams that we can follow.  Is there sort of a beginning, middle, and end that we can find, or a trend, a theme, besides all of these things?  Can we take - we have a storyline, we know it’s one day, we know FW goes through one night.  Joseph Campbell said he thought it was one of a trilogy which would end with a dream sequence that was even more of an other world that James Joyce was planning to write after FW.  Do you have any feeling about that?

RAW: In his last two years, Joyce didn’t seem to know what to do.  Having done Ulysses and FW, he was puzzled what to try next.  It’s a fascinating thought to think of what he might have tried next if he had lived.




I’d already made my mind up to accept complete surrender to a process of transformation, an ego-dissolving ordeal that I felt sure would give me new things to write about, new things to say, and a new way to see the world.

Growing up, I’d immersed myself in the life stories of Byron and Shelley, Rimbaud and Verlaine, and the Beats, and knew by heart the biographies of the sixties psychonauts like Kesey, Timothy Leary, and John Lilly. They were my perhaps dubious role models in my project of reinvention. I set about debugging my glitchy personality with Robert Anton Wilson’s Quantum Psychology, NLP, acting classes, tae kwon do lessons, and yoga sessions. The Arkham Asylum royalties gave me an opportunity to play the part of “writer” to the hilt. I pictured myself lolling with “floppy, frilled cuffs like Thomas Chatterton, suicidal and glamorous on a chaise, quaffing absinthe and laudanum as I dipped a peacock quill into luminous green ink and scrawled feverish fantasies by black candlelight. Insensate on the South Seas, scandalous in the Forum. I longed to experience the full freedom and scale of the archetypal writer’s world and made up my mind to leave a biography as good as the ones I was consuming so avidly.

I’d already contrived to meet Animal Man in his own environment, creating with the help of artist Chaz Truog what I came to call a “fiction suit.” This was a way of “descending,” as I saw it, into the 2-D world, where I could interact directly with the inhabitants of the DC universe on their own terms, in the form of a drawing.

I wanted to take that direct contact idea further, to explore the interface between fact and fiction in a more personally involving way. I wondered if I could arrange an exchange that would affect my “life and real world as profoundly as it would the paper world.”

Excerpt From
Supergods
Grant Morrison



An Unknown Force just Reverse-Engineered me to life out of a Blizzard of Faster-Than-Light Particles.

I'm sorry I seem a little abstract.