Act I – Signature xv – Heliotropic Rays of Crepuscularity

| August 8, 2012 | 0 Comments

Act I – Signature xv – Heliotropic Rays of Crepuscularity.

I – xv – (i) – Heliotropic Rays of Crepuscularity

i – Heliotropic Rays of Crepuscularity.

Circa March 2008. Character sketch of the geologist Mohorovic.

An inspired natural description (I – xv – (i) – Heliotropic Rays of Crepuscularity) of the Dolomite Alps, “a vast ghostly pockmarked plain of bumptiousness, gaseous fumaroles, and mosh pits. The sky was a glyceride dome comprised of oxygen and nitrogen and divided into sextants of septuaginal septicity”) emerged from the workshop. Andreij Mohorovic (1857-1936), discoverer of the Moho Zone (III – xwix – (iv) – Her fire broke . . . an elusive tithe), is checking his seismic hygrometers, with the aid of his pet hamster (III – iv – (xi) – Past ensuring any claim to . . . Ahem Mi’sik Ir’wah) Wormwood, and moodily ruminating on current events (“the cataclysmic Sicilian earthquake . . . the discovery of the North Pole”) which place the setting in 1908. Wormwood, wont to reassemble the headlines of his shredded newspaper into prophesy, discloses a humdinger (“that which is not observable as a phenomenon has no existence unless demonstrably the walls began closing in, great large corporations decorated in the finest of undersea angst, live snails who, seemingly adamant about the existence of God, decreed that almost any plant-like form must take precedence in the emerging dystopia until a bright loud outburst of tambourines signaled the crowning of the chrysanthemum queen”).

I – xv – (xvii) – Inspector Lemert . . . conjectured.

Inspector Lemert . . . unfolded her tale (1.96 KB).

             Narrator: TBD

                A Time & A Place (Setting): Andorra, on the slopes of Mount Period, after the Earth’s inversion.

                Primary (active, subject) Ch: Inspector Lemert.

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: Other inmates.

                Purpose: While temporarily detained at Andorra, Inspector Lemert converses with other inmates. Attempts to rename the eighty-seventh element are mentioned. Finally, an unnamed “speaker (Esmeralda) unfolded her tale.”

                Method (narrative, process, genre): Absurdist. Wizard of Oz parody.

                Relevance/Transition: The narrative immediately launches Esmeralda’s tale, which is perhaps essential to maintain focus . . .

The land of Nod . . . seemed hollow to her.     

Circa March 2003. While waiting to go there, I attempted to visualize the impending battle in the Mesopotamian delta.

 Three years to the day, I attempt to analyze the sketch. The opening passage finds Inspector Lemert at the gates of Andorra, after the Earth’s stoppage (during the inquest (Ch. IV - shrugging star, an inquest, and eighteen pages) he commented, as paraphrased in Ch. X - As the scrub . . . tentative wave), upon the listlessness of the residents. Other pointers include “ways to better health (Ch. V – Health Care front and back),” and “busting on the Global Village’s take (Ch. X - At any rate she found . . . ousla diet conduct well splat).” Introduced in the introductory flash forward sketch Ch. III – Life with the frumious bandersnatch in pursuit of Ostrand (Ch. IV - Beeswax amp, escape of POD, resettling of car), Inspector Lemert has picked up a trail of unspecified events. Accused of disrupting the curfew, he assents to arrest, in order to penetrate the mysterious shroud, and is subsequently on ice.

 126-127, A spirit inhabiting the lamp . . . Lucifer conjectured (4.99 KB).

             Narrator: TBD

                A Time & A Place (Setting): Andorra, on the slopes of Mount Period, after the Earth’s inversion.

                Primary (active, subject) Ch: Lucifer.

                Secondary (inactive, object) Ch: AHRIMAN.

                Tertiary (referenced, en passant) Ch: Esmeralda Fishing Lynx (narrator); Gretchen.

                Purpose: To develop a character for AHRIMAN. Gretchen is named as his lost love for a Faustian effect.

                Method (narrative, process, genre): Allegory. Author’s personal experience bleeds through.

                Relevance/Transition: Temporal continuity (can insert an inter-related sketch or two) . . .

 I – xv – (xvii) – Yes, it was a crap shoot . . . so peremptorily.

Yes, it was a crap shoot . . . so peremptorily (1.82 KB).

             Narrator: TBD

                A Time & A Place (Setting): The boundary between Hades and the Empyreans.

                Primary (active, subject) Ch: Esmeralda (unseen narrator).

                Secondary (inactive, object) Ch: Talmadge.

                Tertiary (referenced, en passant) Ch: AHRIMAN; Lucifier.

                Purpose: Inspector Lemert, temporarily detained at Mount Period, overhears a story told by the other inmates. AHRIMAN is not finding a sympathetic audience for his tales of his lost love (currently pencilled in as Gretchen).

                Method (narrative, process, genre): Supernatural character sketch; author’s personal angst bleeds into the manuscript.

                Relevance/Transition: Aside from differentiating Lucifer and AHRIMAN, the sketch references the latter’s attempt to infiltrate the Village Server . . .

A spirit inhabiting the lamp . . . must go to the big apple.

Circa January 2006. Inspired by a trendy art deco shop on the corner.

[Thanks to J.W. for the lamp circa January 2005]. This is an umbrella to the reconstructed 1993 sketches (Ch. I – The courts must promulgate . . . imperishable robes of glory; So what if someone has chosen . . . established trends of thought; . . . messages of conditional salvation . . .) that feature transients relating yarns in the shadow of the WTC. They were written after the first attack in 1993. Why do I need these sketches? To introduce some story tellers upon whom I can pin some of the manuscript’s more fantastic episodes? To justify the fictionalized global setting that the Niceans encounter in the early 21st century? I’m uncomfortable handling this topic. (By contrast, some sketches scrawled months after 9/11 include Ch. I – Untowardly had stereotypical notions driven . . . their only thought; Ch. XI – This dealer . . . of indifference). It will have to be written obliquely if at all. The original conception of the sketch, written in the early hours of 2006, substitutes AHRIMAN for the recent experiences of the author. It would be more courageous to relate these experiences as personal, however the three transients (Talmadge, Creed, and the silent Lazarus Crampton (who appears in Ch. X - Binaca’s children occured . . . to risk finding them; Enough room should be left . . . upon ancient holds) would probably be more interested in discussing Prince O’Darkness rather than some obscure writer, unless he has already lost his head to the jihad (Ch. X – How is she . . . erratic loss of our plunge; Ch. XI – Everything . . . severed my nap) but this would present a temporal illogicality, since the transients are discussing events during the summer of 2001, and the jihad had not started beheading until 2003.

I – xv – (wiX) – Unconstrainedly typing . . . a long superseded directory.

SUBSCENE

Unconstrainedly typing . . . a long superseded directory (7.72 KB).

             Narrator: Review the problematic sketch “superseded directory.” Can it be applied to Bitsy’s children & Snorggi’s Syndrome?

                A Time & A Place (Setting): inter-regnum wishram.

                Primary (active, subject) Ch: Creed. Slam.

                Secondary (inactive, object) Ch: Noone.

                Tertiary (referenced, en passant) Ch: Logan & Bitsy Ferguson.

                Purpose: Creed Slam deals with intra-marital problems.

                Method (narrative, process, genre): Surrealism.

                Relevance/Transition: Encountering glitches in his fjulsfut core sample, Logan dials out for help . . . you would think these glitches would occur after the Snorggi sneeze (Act I – x).

 VIII – Unconstrainedly typing as ombudsman . . . that Creed . . .

Circa July 2006. An essay on trans-dimensional politics.

The manuscript title for this sketch (I – xv – (wiX) – Unconstrainedly typing . . . a long superseded directory), “The degree to which Slam (I – xiv – (vi) – During an active dream stage . . . to better health) dissipated hereupon the sneezy sticks when what happened during some popular transition through intersection trudged toward an almost peerless venue,” precedes what in retrospect seems an accurate description of the Nicean thought vehicles, the verticules (or virgules). Unlike an Act III sketch (III – xxi – (v) – While on his ongoing report . . . to visit a sick friend), in which police sergeant Fulnes specifically encounters a virgule, this account is impressionist, and is framed as a transition from Esmeralda’s accounts of AHRIMAN’s early existence (I – xv – (xvii) – Inspector Lemert . . . conjectured). Metaphorically, the marriage of Slam and Bitsy has run aground. “In a palsy of disenfranchised timidity, Slam returned to an imperceptibly disowned smallhold, aggrieved by the capricious gerrymandering of his polity. If endemic within modern areas, such repressions pall against the egregious welter of intersectional suzerainities that seethed within this microcosm of post hoc ergo propter hoc that was antiquity. Fond of denoting such reliquaries as might be found online, antiquarians tendentiously extol the period as one of licentious simplicity.” Slam’s ruminations, thus occuring against the backdrop of medevial politics (I – xv – (vi) – The first charge . . . of the primary indictments) resume as he “recalled that savagely subtle manner she’d use to deflate his weary philosophies, insisting that he confirm her diagnosis of lifestyles within the most current mode de jour, latently accursing him of expertise with the topic, and rebutting his footrests of loyalty as perilously servile.” Seeking respite, “our feckless popinjay militated betwixt codicils ungainlily usufructed, immoderately indemnifying that isn’ts in vacuous decorum.” Here follows a melange of movement and textures applicable to the virgules. “Asbestos toeholds erected in recalcitrance toward the onset of plaque straitly careening; oddly nuanced vortices proscribed the brisk flosses preparatory of outrance civically. Presbyters wherein supplicants might huddle accordianly touted last were zymurgically adduced for insufferable brethren and holistically that fennel injunction imploded shut versus fraught pups. When benign suasions propped athwart such inbred if Circadian neologisms, visitant parties optionally juggled flippant per diems and glibly shut up and went shopping, or vented dire calumnies upon all insular occupants, aptly if most rustic chagrins began offloads.” Noone and her Lilliputian school (II – xiv – (xvi) – At Menard’s nod, the ensign froze . . . her organizational values; II – xxii – (vii) – Stashed away for . . . disingenuous aloofnesses) are referenced, “in all the wrents she combed bumbling, Noone was least apt forbidden Oedipal vastnesses.” Slam’s tenure in this virgule gives him simultaneous glimpses of past and future (“the waterways of the ancien regime were usually so clogged with eminences grise opting to transcend mundane Wanderlusts . . . a boatload of panygeric sloshed against nearby jetties, inducing hoarse petrels to gyrate monosyllabically . . . people on the other side of the time slot were shaking their groove thing at the dumbest tourist hive, for if the parallel nation of Ossian (I – xv – (wiX) – Warily hoping . . . to complete the research template) wishes to join the great family of civility she must submit, according to the split screen scroll across wait fifteen minutes for whatever to come up again, to being scoured for wet hens (II – vii – (iv) – Los Toreadoros . . . when Ylferim arrived) of maladjustment.” Herein Slam notices that the citizens of Ossian are immune to Snorggi’s Syndrome. “Personages likewise mobilized in such fashion repeatedly cited instances in which material existence had transcended spiritual liberty as sine qua non of cultural authority, if not acumen. A fitter twerp erupted twice that their land was filled with souls waiting perchance to sell out to some clearly addled delegates often dustily, whose satin unblinked in the potato patois.” The telescopic narration returns to Ferguson, still an inpatient at the Institute (I – xii – (iii) – A little stuck on . . . my own past), lamenting his estrangement with his children. “Distressed with his failure to provide further moral support to his daughter after her children were diagnosed at birth with Snorggi’s Syndrome, and were henceforth incapable of distinguishing metaphor from allegory, Logan began to conceive that the denizens of the institute viewed him as if through the most opposite end of the telescope and lacked all awareness of his presence.” This sketch is the germination of Slam’s journey to Ossian (III – ii – (x) – Back there were . . . ukeleles of the thirteenth century) to seek a cure for his children.

I – xv – (vi) – The first charge . . . of the primary indictments.

The first charge . . . of the primary indictments (3.11 KB).

            Narrator: Sketches prior to the Trial of Fr. Anselm: sometime after returning from Jerusalem in early Act I, and gaining insight into the future, Frederick’s interest is piqued by reference to a lost relic, setting the trial in motion . . .

                A Time & A Place (Setting): The 13th century, Frederick’s court at Palermo.

                Primary (active, subject) Ch: Frederick II.

                Secondary (inactive, object) Ch: Fr. Anselm.

                Tertiary (referenced, en passant) Ch: Piero della Vigna.

                Purpose: An elucidation of political motives resulting in Frederick’s decision to influence ecumenical matters.

                Method (narrative, process, genre): Historical parody.

                Relevance/Transition: This is a depiction of a very dry historical essay being read by Creed . . .

Holiday at Ravenna.

Circa July 2003. A description of the electoral process through which citizens are admitted to the Global Village. The prologue is tentatively envisioned as a curse pronounced against the emperor Frederick by the shade of one of his political victims.

Circa June 1995 (revised January 2006). Sources of conflict between emperor and papacy.

Holiday . . . is a diverse catch basin of historical notes (need to find works by Van Cleve and Abulafia on EF2) from 1995, several journal entries from 2002-3, and one formal legal pad entry, inspired by a self-taught “survey course in Montaigne (need to find this work)” while overseas in 2003. This sketch was then parcelled directly into the main manuscript or to bolster other sketches, which usefully support various stages of the Trial of Fr. Anselm (culminating in II – xxiv – (x) – Left behind were armaments . . . exchanged for imperishable robes), and detail Frederick’s struggles with the church (see also I – xv – (vi) – The first charge . . . of the primary indictments).

An essay . . . of a western hemisphere.           

Circa April 2001. A giddy exposition of politics within the Global Village under the (Ostrand as figurehead) tutelage of AHRIMAN.

Interpretation one: The counter-utilization is a process developed by the economic community. . . in the distant post-stoppage future. OR: Interpretation two: This droning rigamarole is adaptable to the trial of Fr. Anselm, the Global Village being the Most Holy Universal Church, the counter-utilization being the counter-reformation, et cetera. OR: Interpretation three: these political expostulations form part of a stuffy encyclical drafted by Joab, the papal nuncio, and are henceforth mostly merged with Ch. II – Isaiah 6, Bounceover, Forgotten Tense, Slavesons, leveling.

I – xv – (wiX) – Several winks later . . . the volatile plasmas therein derived.

Several winks later . . . the volatile plasmas therein derived (3.50 KB).

            Narrator: TBD

                A Time & A Place (Setting): Mt. Period.

                Primary (active, subject) Ch: Mr. Ng.

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: Inspector Lemert; Lothar Flusstapfer, Gretchen Rust.

                Purpose: Staged as part of Inspector Lemert’s investigation foreshadowing Mt. Period; Mr. Ng appears to be addressing alien callers on his radio talk show; and Lothar and Gretchen deal with the politics of medical research.

                Method (narrative, process, genre): Medical parody.

                Relevance/Transition: The last passage of the sketch leads into a detailed and overly consecutive exposition of Lothar’s medical research to cure Snorggi’s Syndrome. It might be better to hold until describing Bitsy’s children, who are afflicted by it . . .

Several winks . . . with mixed emotion.           

Circa January 2003. While listening to sports radio several themes are sketched relating to theoretical encounters between the Niceans and humanity.

The reference to purchase of key chains suggests the shopping spree at Andorra, when the Nicean expedition went on shore leave, needing the key chains for the cyclotron (Ch. V - They slept not in their seventh . . . dissolved into refulgence) and disrupted the IBV array (Ch. V – As much twilit . . . Ostrand . . .). Gretchen’s appearance at the end of the sketch places it after the pharmaceutical strike (Ch. IX – The dispensationalists enjoyed . . . the approach of an enthalpist). She’s identified as Lothar’s assistant. They seem to get along nicely after the stormy interview (Ch. XI – then termed few). Returning to the top, this wobbly yet useful sketch presages several themes, including the events at Mount Period (Ch. V – A recovery of the tremulous proviso) and politic talk hosts (Ch. X – And yet the individuals . . . almost wished he was watching). The “second of the amalgamate” seems to be complicit in allowing a fly to slip into the ointment (see also Ch. XI – A fine formula for . . . security and rest). A “palfrey” is mentioned that in conjunction with Helios (Ch. V – Far from them . . . a menue of other options) might “restore tropicity.” The pace of this sketch suggests options on a vast wheel of fortune, as is used in Ch. X – The writ upon . . . willing to claim innocence.

Category: ACT I Exegesis

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