Act I – Signature xvi – No Mere Newts

| August 8, 2012 | 0 Comments

Act I – Signature xvi – No Mere Newts.

I – xv – (xvii) – Amidst workaday ingenuousities . . . Rex recovered gradually.

SUBSCENE

Amidst workaday ingenuousities . . . Rex recovered gradually (3.65 KB).

            Narrator: Albeit parallel with the diaspora of Global Village principles, this sketch is a prerequisite of the first round of Failsafe, which either entirely fits in Act I – xwix (1st draft reckoning) or may be interspersed throughout mid to late Act I (2nd draft), depending on the foreshadowing material imported from Act III.

                A Time & A Place (Setting): The Global Village.

                Primary (active, subject) Ch: Rex and his daughter, Vorga Ampersand.

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: Suppressant, Deerfield.

                Purpose: Prelude to the Failsafe Invitational, Rex consoles his daughter for being busted out of it, after a tough day at the IAC. References the debate over whether to rename the 87th element.

                Method (narrative, process, genre): Social satire, movement, surrealism.

                Relevance/Transition: Ends flatly with Rex’s fact finding . . .

Amidst careworn ungentleness . . . someone recovered gradually.     

Circa December 2004. Early debates. Amidst preparations for some sort of fete (perhaps a meeting of the International Astrophysics Commission) someone protests the renaming of the 87th element.

 This pre-stoppage sketch seems to reference work (Ch. I – Long, long ago in . . . a vault of righteousness) upon the medevial spire, “rants trebly assonant in the clothyard,” before transiting to the historical commentary of Rex Ampersand, Earl of Rumsford, who watches her daughter Vorga skate and attempts to console her for being barred from the Moxie pageant, for “perfidiously enhanced drug use.” The day’s minutes of the IAC (Ch. I – Cease thy clunkingness . . . at some future time) are reviewed, with the pre-eminent “schism thereat lurking” over Deerfield’s suggestion to rename the 87th element (Ch. X - When it would be acrime . . . the motion, periodically tabled) in retaliation against the French proposal to relegate Pluto (Ch. VIII – JNATOSC – the great starry something) to non-planetary status. The enthalpist’s warning of the approaching Niceans, “another raft of sinuous pests (Ch. V - at the outset of the journey into Snorrgi’s nose much happiness is . . .),” is mentioned. Suppressant, whose maitre d’ agrees this proposal is “insidious,” is conducted to a nearby booth, and Rex goes over to re-negotiate a consensus.

I – xvi – (xvii) – Esmeralda resumed, the Arch-deceiver was . . . responsive only to stimuli.

Esmeralda resumed, the Arch-deceiver was . . . responsive only to stimuli (2.17 KB).

             Narrator: Esmeralda Fishing Lynx.

                A Time & A Place (Setting): The detention facility near Mount Period, Andorra (post-inversion).

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

                Secondary (inactive, object) Ch: AHRIMAN & the neuro-Nicean film stars.

                Tertiary (referenced, en passant) Ch: The Arch-Deceiver, Gretchen.

                Purpose: Esmeralda presents a character sketch of Prince O’Darkness.

                Method (narrative, process, genre): Foreshadowing; autobiographical angst bleeds into the work.

                Relevance/Transition: This occurs during Inspector Lemert’s post inversion investigation, which is written to precede the actual emergence of Prince O’Darkness . . .

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

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

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 – (i) – Heliotropic Rays of Crepuscularity

i – Heliotropic Rays of Crepuscularity.

Circa March 2008. Character sketch of the geologist Mohorovic.

Andreij is pre-occupied with a marital argument concerning Finlay (I – i – (i) – Naturally they . . . played on . . .). There’s a risk of generating confusion by retaining this workshop sobriquet, since Finlay is first depicted (I – i – (i) – Sometimes Uncle Edith’s favorite . . . Koolaid) in the 21st century (but he does arrive by time travel)!

 I – xvi – (xvii) – There must have been . . . the little green apple.

There must have been . . . the little green apple (3.36 KB).

            Narrator: TBD

                A Time & A Place (Setting): The detention facility at Mt. Period, Andorra.

                Primary (active, subject) Ch: Prince O’Darkness.

                Secondary (inactive, object) Ch: Gretchen.

                Tertiary (referenced, en passant) Ch: Esmeralda, Creed (narrators). Inspector Lemert (listener). Lazarus Crampton.

                Purpose: Continued character sketch of Prince O’Darkness.

                Method (narrative, process, genre): Foreshadowing; autobiographical angst bleeds into the work.

                Relevance/Transition: This occurs during Inspector Lemert’s post inversion investigation, which is written to precede the actual emergence of Prince O’Darkness. . . .

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

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

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) . . .

I – xvi – (x) – As the fjulsfut expedition swerved . . . to set him aflame prematurely.

As the fjulsfut expedition swerved . . . to set him aflame prematurely (6.68 KB).          

            Narrator: TBD

                A Time & A Place (Setting): The Nicean node Miranda, as viewed by Ferguson at the Kalisthenes Institute.

                Primary (active, subject) Ch: An earlier fjulsfut expedition.

                Secondary (inactive, object) Ch: The neuro-Niceans.

                Tertiary (referenced, en passant) Ch: Ohno (a Nicean); Lothar Flusstapfer, Gretchen/Justine; Logan Ferguson.

                Purpose: The fjulsfut ignore Ohno’s cautious references to the fate of the neuro-Niceans (in-progress?) and plow into the early Earth, SPLIT while a rough transition details Lothar coping with the failure of his medical research.

                Method (narrative, process, genre): Surrealism.

                Relevance/Transition: Logan takes an active hand in the narrative by setting up the premise of the next chapter verbally. . . [2008 - the fjulsfuts' freefall to Earth paralleled by Andreij's subsequent fall into one of the mineshafts] . . .

VIII – An eon clasped indeed . . . shrewdly cereal slogan . . .

Circa June 2006. A pre-historic fjulsfut expedition drops onto the Earth.

Recorded in Logan’s fjulsfut core sample (II – vii – (iv) – A word, at least . . . of his own care), “a gnarly fjulsfut expedition had long ago swerved toward Miranda (I – ii – (ii) – Somehow ontologically . . . ephemeral crawl space) to pay their respects to the last viable node,” but ignore warnings from Olive (II – xii – (xv) – You can’t tell by looking . . . that he had won prizes), “endemic of the fate of malleable neuro-Nicean pop icons (I – xviii – (iv) – Alcuin’s efforts rang in . . . this unwelcome visitor).” From a distance, “the indigo sphere (II – vii – (iii) – The career of . . . the indigo sphere itself) seemed a vast watery oblate . . . a queer huge droplet suspended in the void only through an interior viscosity.” The fjulsfut, “a sad faced brood . . . hailed the onset of fool’s night where stale spiral vertigoes blanched in a continuity of dimwitted recoil,” are distracted by the songs of Norns (I – iv – (xv) – Feeling hampered, the girls . . . rang in the Vatican), “a huge, if not immense, grouply singathon frittering heigh ho or other trademarks,” and hesitate to jump from their craft “until the old master, tunelessly nascent with doily circumlocutions, asseverated flippant churchmice farflung the craft trilaterally. Hairily reglued into messkits of clutterless transience, boldly then Nicean pathfinders floated astray amid avast ionic hinterlands,” braving “the free fire zone of crushed vailla wafers” as “their mother craft merely reified that it was imperative for teleologic perserverance that they unladle their chutneys before (planners tended to charily disregard assertions that the indigo sphere lacked ambience, inferring such disparagements were symbolic of dilettantes sent away after shadow puppet’s apotheosis) they quickly scintillated into tektites.” Thus goaded by this toughlove, the fjulsfut “Jedburghs” continue their freefall toward the indigo sphere through the rest of this sketch (I – xvi – (x) – As the fjulsfut expedition swerved . . .), eventually reaching their goal (I – xxi – (xi) – Pursuant upon . . . the sighing sonorosity).

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

i – Heliotropic Rays of Crepuscularity.

Circa March 2008. Character sketch of the geologist Mohorovic.

Andreij goes on to fall into one of his shafts (I – xvii – (i) – . . . a nearly rabid hovel . . .), where he discovers wishram, and he is later involved in a supernatural golf match (I – xxii – (xwix) – Mohorovic . . . maintained. Watch) featuring the Trinity, Piero (II – v – (viii) – Piero had travelled so far . . . from those happier times), and Satan (I – vii – (xii) – Abiding under . . . the darkest of thought).

I – xvi – (xviii) – After Inspector Lemert’s credentials . . . exploded atavisms taciturn.

After Inspector Lemert’s credentials . . . exploded atavisms taciturn (2.64 KB).

            Narrator: TBD

                A Time & A Place (Setting): The observatory at Mount Period (post-inversion).

                Primary (active, subject) Ch: Senior Hijo, curator of the dreamweavers.

                Secondary (inactive, object) Ch: Inspector Lemert.

                Tertiary (referenced, en passant) Ch: None.

                Purpose: The verification of Inspector Lemert’s credentials could take a chapter in itself [never mind]. . . Afterwards, the Inspector tours the criogenic facility, where dreams are processed and sent to feed the fish at wishram.

                Method (narrative, process, genre): Surrealism.

                Relevance/Transition: This is a good start in describing the mechanics of wishram, which is well established by the time Inspector Lemert gets to see it here. In retrospect, a few sketches need to be inserted here [2007 - i.e. a brief redirect to the opening of Fr. Anselm's trial] to dilute the powerful impact of the passage . . .

There is a . . . most controversial task.

Circa June 2003. Scribblings at the Guadaljavir airlift station describe the bureaucratic activities of Ylferim and several other characters.

The real sketches, whereby time spans a greater actuality in the reading thereof than durations typically ascribed to events elapsing within, are more or less few and far between. Time to read more events. Try to link with Ch. I – On the morning . . . unfolding elsewhere; Ch. X – They dredged up . . . dimly threatened suppositions; Ch. XI – Palpably bunting this guy wired . . . little windfalls. A description of corridor politics within the Village is contained in these recently uprooted gleans. It’s predative of the Stoppage by a year or more, and parallels Ch. X – As the scrub . . . tentative wave (a post-stoppage classic of organizational behavior – clorox -(see Ch. III – unweight\ for pre-stoppage classics of organizational behavior). Subsequently revised as the follow-up to Inspector Carbonara’s visit to Andorra (Ch. I – The land of Nod . . . seemed hollow to her).

I – xvi – (xviii) – Please explain . . . today’s preview . . . having breakfast.

Please explain . . . today’s preview was approved for all ages (3.12 KB).

            Narrator: TBD

                A Time & A Place (Setting): The 13th century/contemporary Mt. Period, Andorra.

                Primary (active, subject) Ch: The papal assessor; Sr. Hijo.

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

                Tertiary (referenced, en passant) Ch: Inspector Lemert.

                Purpose: Contains a startlingly effective transition from the Trial of Fr. Anselm to Inspector Lemert’s visit to the dreamweaving facility.

                Method (narrative, process, genre): Medevial courtoom parody; surrealism.

                Relevance/Transition: The closing tactic (“today’s preview”) has been used elsewhere. Here it is effective in disclosing Sasha’s dream . . .

He watched the approach of . . . having breakfast (4.51 KB).    

            Narrator: TBD

                A Time & A Place (Setting): The realm of Morpheus.

                Primary (active, subject) Ch: (Sasha) Van Etnabaron.

                Secondary (inactive, object) Ch: Lizavetta, Klara, Klara’s father.

                Tertiary (referenced, en passant) Ch: None.

                Purpose: An old sketch, this dream references Sasha’s near destruction of the ash tree Yzdragill.

                Method (narrative, process, genre): Wordplay, imagery, foreshadowing.

                Relevance/Transition: Sasha’s dream is a point of departure from the previous sketch (today’s preview was approved for all ages.”) It directly precedes his awakening to post-inversion events featuring his recovery from the wreck of his archeological expedition . . .

 Adwakny, beste bitte, Eccles., dan don dun

Circa August 1999. The encounter between the POD and the Global Village.

The sketch is a temporal centerpiece, referring to events after the Earth’s stoppage, when events have settled down somewhat. Mr. and Mrs. Van Etnabaron, pre-occupied with various tasks (Sasha is intent on recovering the archeological finds from his recent voyage, while Iphgene is departing to skate in the Failsafe Invitational) leave their daughter in the care of Vorga, one of Rex Ampersand’s daughters.

I – xvi – (xviii) – Sasha woke. With . . . acrostic effort.

SUBSCENE

Sasha woke. With . . . acrostic effort (3.30 KB).

            Narrator: Sasha’s dream is a point of departure from the previous sketch (today’s preview was approved for all ages.”) It directly precedes his awakening to post-inversion events featuring his recovery from the wreck of his archeological expedition. . . .

                A Time & A Place (Setting): The Global Village.

                Primary (active, subject) Ch: Sasha Van Etnabaron.

                Secondary (inactive, object) Ch: Lizavetta.

                Tertiary (referenced, en passant) Ch: Iphgene; her sound engineer.

                Purpose: A snapshot of marriage in crisis.

                Method (narrative, process, genre): Domestic realism.

                Relevance/Transition: There is an abrupt (yet oddly effective) scene change to Iphgene travelling to the Failsafe tournament and reflecting on changes to the universe. p.s. This transition was ironed out by having Iphgene “upstairs” instead of “away.” The sketch ends with a rhetorical question . . .

As the scrub . . . tentative wave.                                                                      

Circa March 2004. In post stoppage as gravity slowly returns, some of the principle characters contemplate the Earth’s position in the reverted Ptolemaic universe.

That Iphgene Heppleweis should know about Ostrand’s activities at Mount Period opens a huge can of worms, unless the inner circle of the Global Village were able to conceal the particulars from Inspector Lemert, whose suspicions about Ostrand are developed in Ch. III – Life with the frumious bandersnatch, and remarks to her “upon his recent visit to . . . the nation of Andorra and how even now the country folk moped about zestlessly, as if taken over by aliens.” Iphgene finds time to be “ashamed of her role of . . . blissful ignorance,” while after a telephone call from Marta regarding such details as “the Mayan clock,” “the coldest May ever known (however this early month gives little time for intervening events to develop, given that lunar time is still effective, and should be changed), and the failure of Mercury to rise while the sun “hovered waterily at zenith as it had now for days if not weeks.” She resolved to telephone someone in another land.” However, the frumious bandersnatch has subsumed the terrestrial skip zone, and at any rate she’s unable to reach out before Sasha arrives.

 

Category: ACT I Exegesis

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