Act I – Signature xviii – Alcuin’s Projectiles

| August 8, 2012 | 0 Comments

Act I – Signature xviii – Alcuin’s Projectiles.

I – xvii – (iv) – . . . long ago . . . his dream encompassed the following.

SUBSCENE

. . . long ago . . . his dream encompassed the following (2.67 KB).

                      Narrator: The 1997 et al sketches are framed either by the fjulsfut core sample or by the Failsafe Invitational (see Act I – iv: “A word, at least … of his own care.”)

                A Time & A Place (Setting): Global Village: an environmental rally.

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

                Secondary (inactive, object) Ch: The popular people (Are they the dreams of the frozen klatch members at Mt. Period?)

                Tertiary (referenced, en passant) Ch: Snorggi the Great Seal; AHRIMAN, Mrs.Teaspoon.

                Purpose: Introduces the popular people, a random tribe wandering at the fringes of the story whose purpose is unclear.

                Method (narrative, process, genre): Allegory.

                Relevance/Transition: Note that “the popular people” are specifically differentiated from the ill-fated neuro-Niceans. The following passages are allegedly part of the dream of Snorggi . . .

 Longx4 . . . migration . . . Snorggi . . . dream encompassed the following.     

Circa August 2002. The popular people next door force the author to condemn them to exile.

This relatively clear exposition is indicative of a yarn told by one of the four transients (Talmadge, Creed, Lazarus Crampton, and Esmeralda Fishing Lynx) who hang out at the WTC prior to 9/11 (Ch. I – The courts must promulgate . . . imperishable robes of glory). The popular people raise the ire of the community who hatch a plan to banish them. They first lull Snorggi, the great elephant seal of the universe, to sleep, during which he dreams an unspecified sketch. One can go anywhere with this (probably the 1999 sketch Ch. IX – The history of being, which features frozen fish, and its attendant sketch Ch. I – FSW-ASIA, featuring pinatas). The plot picks up again in Ch. I – the migration began.

I – xviii – (iv) – Horace Tolstoy read the papers . . . long bygone.

SUBSCENE

Horace Tolstoy read the papers . . . long bygone (2.87 KB).

             Narrator: The 1997 et al sketches are framed either by the fjulsfut core sample or by the Failsafe Invitational (see Act I – iv: “A word, at least … of his own care.”)

                A Time & A Place (Setting): The Raffles Club, Hong Kong, 1997.

                Primary (active, subject) Ch: Rex Ampersand.

                Secondary (inactive, object) Ch: Horace Tolstoy.

                Tertiary (referenced, en passant) Ch: None.

                Purpose: Horace is recruited by Rex into the role of libator for the handover of Hong Kong.

                Method (narrative, process, genre): Psychological surrealism, comedy of manners.

                Relevance/Transition: Since Snorggi would naturally dream about fish, this sketch was hereby inserted, providing also historical background into the careers of Horace and Rex.

 The history of being . . .

Circa February 2003. Revised August 2005. Rex Ampersand, involved in activities transferring Hong Kong to PRC, enlists the aid of Horace for one of the ceremonies.

 A character study opens in 1997, featuring the industrious Rex Ampersand, obscure claimant to the British throne (Ch. X – Whenever Frank donned . . . their purpose awaited rewind), who mediates among his squabbling children while preparing to hand Hong Kong over to mainland sovereignty. He seeks the assistance of Horace Tolstoy at their mutual club, and instructs Horace in the symbolic act of tossing “a gin and tonic into the face of the arriving Communist envoy.” A commentary on the plight of men who are on the threshold of conflicting worlds is needed here. (Horace, a native of Formosa, son of a failed Portuguese missionary and a local comfort girl, immigrated to Japan in his infancy, struggled against charges of racial impurity, became a brutal loan collector, and found refuge in embracing the tenets of occidentalism).

I – xviii – (iv) – Rex . . . was in this essence cracked.

SUBSCENE

Rex . . . was in this essence cracked (2.55 KB).

             Narrator: The 1997 et al sketches are framed either by the fjulsfut core sample or by the Failsafe Invitational (see Act I – iv: “A word, at least … of his own care.”)

                A Time & A Place (Setting): Snorggi’s Dream . . .

                Primary (active, subject) Ch: Snorggi the Ambivalent.

                Secondary (inactive, object) Ch: A slithily gimlet anthology red Iago.

                Tertiary (referenced, en passant) Ch: Rex Ampersand, An.

                Purpose: An ethical debate over introducing a predator to scare off the salmon-eating seals.

                Method (narrative, process, genre): Utopian.

                Relevance/Transition: Presages the emergence of Prince O’Darkness as a necessary evil spin-off of the seal control efforts . . .

 . . . minimal phosphoresence . . . from an apparent deliverer.

Circa July 2002. The popular people (AKA Children of Tomorrow), pursuing Snorggi, great albino seal of the universe, crash through a frozen fiord leading directly into the 13th century. Most of this is blank verse that needs elucidation.

How elucidated can it get? A most messy composite sketch, it was not touched during the pre-1st draft synopses of 2006, even though most of the components, distributed throughout the Acts: as a description of the salmon eating pinnipinneds who necessitate a proto-orca (I – xviii – (iv) – Rex . . . was in this essence cracked) . . .

I – xviii – (iv) – Unlike the versatile glimpses . . . retired from the scene.

41-44. Unlike the versatile glimpses . . . retired from the scene (2.79 KB).

            Narrator: The 1997 et al sketches are framed either by the fjulsfut core sample or by the Failsafe Invitational (see Act I – iv: “A word, at least … of his own care.”) Although one of the 1997 sketches, this marks the genesis of POD, and thus is retained as part of the main thread of Act I – iv.

                A Time & A Place (Setting): Cyberspace – Le Mer.

                Primary (active, subject) Ch: Frederick II; Porphyry Alcuin.

                Secondary (inactive, object) Ch: The faux orca.

                Tertiary (referenced, en passant) Ch: Deerfield.

                Purpose: At Frederick’s suggestion, Alcuin designs a faux orca in an unsuccessful attempt to scare away the seals.

                Method (narrative, process, genre): Surrealism, wordplay, imagery.

                Relevance/Transition: Alcuin’s failed project paves the way for the neuro-Niceans’ prototype, which is the genesis of Prince O’Darkness. . . .

I – xviii – (iv) – Alcuin’s efforts rang in . . . this unwelcome visitor.

Alcuin’s efforts rang in . . . this unwelcome visitor (3.51 KB).

            Narrator: The 1997 et al sketches are framed either by the fjulsfut core sample or by the Failsafe Invitational (see Act I – iv: “A word, at least … of his own care.”) Although one of the 1997 sketches, this marks the genesis of POD, and thus is retained as part of the main thread of Act I – iv.

                A Time & A Place (Setting): A Platonic realm.

                Primary (active, subject) Ch: The neuro-Niceans.

                Secondary (inactive, object) Ch: Dispensationalists.

                Tertiary (referenced, en passant) Ch: Porphyry Alcuin; Lucifer (Morningstar).

                Purpose: Prior to being elbowed aside by the neuro-Niceans, the dispensationalists form a temporary human link, which should be developed, in the genetic design of the super-orca.

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

                Relevance/Transition: The sketch ends as the neuro-Niceans agree that “only one thing . . . will rid [us] of this unwelcome visitor . . .”

What he needed . . . was the driest thing they knew.   

Circa June 2003. Dialogue between the neuro-Niceans upon the spawning of the POD – noted by the Emperor Frederick II on his windowsill.

Prior to opening this sketch for the first time in four months I wish that a virus had gotten into the text, transforming it in some bizarre fashion. Otherwise I face the abrupt transitions, short sentences, self-conscious cadence without a clue. These were duly merged into four paragraphs. The sketch depicts the neuro-Niceans at large. It requires two preludes. First, who has the perspective to relate their activities? I’ve designated that no less a personage than the Emperor Frederick II is able to view them on his windowsill (see Black Book, 41-44) beneath a specific lunar phase. Second, what are the neuro-Niceans doing prior to launching this list of attributes? They are talking about their pet project, Prince O’Darkness. They enjoy tailgating, flanksneaking, and bumper pool. They encounter Lucifer on his way to enlighten mankind and scoff at him. He is made of sterner stuff and hangs around, forcing the neuro-Niceans to relate “the driest thing they knew,” an introduction for an indeterminate sketch that drives Lucifer away. Thereafter, (Ch. V – One raised a question . . . but they settled . . . into time), their creation of Prince O’Darkness is blamed on the conglomerate sufferings of unprofessionally abused prisoners in southwest Asia.

I – xviii – (xiii) – Imagine unwittingly . . . ominous noise.

Imagine unwittingly some . . . ominous noise (4.86 KB).

            Narrator: TBD

                A Time & A Place (Setting): Early Ossian.

                Primary (active, subject) Ch: Soundman Ahush Filfil Azali.

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: The local imam Suleiman Idres abd Kahlil Filfil.

                Purpose: Seemingly part of Ahem’s narrative, Soundman encounters resistance in his attempt to modernize his country.

                Method (narrative, process, genre): Surrealism.

                Relevance/Transition: [2007 - Framed as a tale told by the neuro-Niceans to scare off Lucifer], the sketch closes with an “unexceptionally ominous noise,” which can be used to introduced an inter-related theme . . .

Bring on charges . . . before the gates of Ghent.

Circa November 2000. An exposition of the financial policy of the Global Village as it challenges the Euro for supremacy.

The opening essay has a “back to the days of yesteryear” tone that is ineffective. Sergei is responsible for infomercials touting the Global Village and its new currency, the lithiwatt, preparatory to the financial summit at Ghent in the late summer of 2013 [2007 - the overture to this exposition was cropped and assigned to the neuro-Niceans' tale].

The reversion of . . . perfect paradise

Circa June 2002. The NATO mole (probably Sasha) locates the hidden city of Shangri La and accepts their hospitality. He has many conversations with eminent theorists about the reversion of the universe into a pre-Ptolemaic model and its geometric precepts.

This one is a head scratcher. An unnamed messenger [2007 - subsequently cast as Soundman] encounters derision when warning the inhabitants to leave or else. There follows several stanzas of blank verse. The first person was changed to third person, thus the strange cadence and unresolved verb case. The original intention was that Badude (Ch. VIII – His Persia), the hapless foil to the Provenance (Ch. XI – Everything . . . severed my nap; see also Ch. VIII – B post excursis), was selected to convey AHRIMAN’s ultimatum to the jihad. He is succoured by the POD’s sister (possibly an untenet).

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 [2008 - he plants a stereopticon to record events, which, shown at the birthday party of Franz-Josef, unfurl back into the Trial of Fr. Anselm].

I – xviii – (iv) – Three feet from Alexandria, spring . . . was now in session.

 SUBSCENE

Three feet from Alexandria, spring . . . was now in session (3.21 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.

                Primary (active, subject) Ch: Fr. Anselm.

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: The Tetrabiblios (i.e. THIS).

                Purpose: Addresses conflicting motivations of the papal and imperial parties, also mentions finth comet home.

                Method (narrative, process, genre): Utopian.

                Relevance/Transition: While this chapter rings in the Trial of Fr. Anselm, it is WAY too dense for Act I, Ch. IV (halfway through the tedious first draft deconstruction, I’m starting to get judgemental). Consider postponement . . .

The trial of Fr. Anselm.

Circa May 2002. After stoppage, the combined effects of rapture, loss of gravity, and the inceptive Note, denudes Earth of such beneficial qualities as zing, kitsch, and better angels, the remaining principalities reshuffle their alliances to cope with changing events.

 Details pertinent to the trial of Fr. Anselm (Abelard) are at present in Ch. X – A scant hell. Instead of a swell of adversity . . . the forfeit of austerity. These sketch are duly reshuffled. A second reading now shows that such phrases as “bled inferior shade into the general bilge . . . the cement of the crumbling fretwork . . . took out all palpable fretwork . . . horns lift in solo fright et cetera” if applicable to the sad state of the Earth, are more indicative of the ruins of inter-regnum soul laundering facility after the battle between AHRIMAN and Satan’s Prefect (hastily sketched in Ch. VIII – B post excursis). Here the “improbable posse of principalities,” most likely the eighths and some of the remaining cherubs who’ve survived the cataclysm, mend their fences and sign “compacts of intimate designed length specificity.” There is some blank verse that does not stand alone and should be merged with other text, but is useful in mentioning “cobs (the ferocious swans who guard the marges of the facility), surface specificity . . . mint sequins . . . baby’s breath . . . into the looking glass.” Parallel to super-natural events, the temporal ecclesiastics (“. . . many a district prelate . . . fear the royal pain was intent on filling the vacancies with his own creatures . . . ” are in flux. Fr. Anselm endured the dual ordeal of the siege of Worms (Ch. X – Aware of being . . . Justine’s proof; Ch. XI – With all . . . the terrible siege) and the destruction of inter-regnum facility (though he abhorred that construct, well aware of his role as a front for the eighth, and assiduously cared (Ch. X – While the ghost riders . . . belted out a late night piano forte) for the rejected souls).

 

Category: ACT I Exegesis

About the Author (Author Profile)