Act I – Signature xwix – Lies Beyond the Scope of Our Deliberation

| August 8, 2012 | 0 Comments

Act I – Signature xwix – Lies Beyond the Scope of Our Deliberation.

(prologue) – Inspector Lemert’s . . . research.

 A bleak point . . . inculcated through the floral cathode certificate                              

Circa January 2005. The natural radio spectrum is jammed by a sinister dark matter frequency. Lothar, imprisoned after torching Burning Man, learns of the usurpation of the pyrogabion and turns down a conjugal visit from Mme. Flusstapfer.

Ylferim’s efforts to tamper (Ch. VIII – 219 – feb 15 – mess theme – searchski & seamonks) with Pyrogabion, the software guiding the polar star platform (Ch. V - With a long face . . . turned into black paint), continue (Ch. X - So the ambassador seemed . . . brought about in the past) even after his demise (Ch. III – 255 – Adwakny, best bitte, eccles, dan don dun). His mistaken recognition of AHRIMAN as the hidden imam credited to “a bleak, pointedly middling eflot, fashioned in civil reference of non palindromic precedent cluttered bithniatically.” These insights credited to Porphyry (Alcuin), “envenoming anew the pageant descrying an [An Indocile] in her next apposite move (Ch. X – So the ambassador seemed . . . brought about in the past).” Demonstrate how these conclusions tie in with the investigation, conducted by Inspector Lemert (Ch. IV - shrugging star, an inquest, and eighteen pages), into Ylferim’s death [2007 - done by cropping a few sentences from the larger sketch].

Noone was . . . stock of headbands.                                        

Circa July 2003. The process of converting dead souls into fish at inter-regnum soul laundering facility.

A furtherance of the process begun in the second stanza of Ch. II – Romanian rhap . . . a failure to commune . . . shocked by irrelevance; this is a description of the wishram whereby dead souls are converted into fishy candidates for inter-regnum [2007 - a few sentences are cropped out of here to bolster Inspector Lemert's case].

 I – xwix – (vi) – Creed sadly adjusted . . . their driest history.

 118-119, SUBSCENE

Creed sadly adjusted . . . their driest history (2.74 KB).

             Narrator: Creed Slam is given an effective task of re-adjusting the tryptych. His literal role is still in definition, though he also appears to be a link to the 13th century. However, consider unifying Slam (Bitsy’s husband, waiting to fly to Ossian to discover a cure for his children) and Creed (designed as a potential hijacker in a plot that is at best ancilliary, and is already summated by Talitha’s cogitations in Act II – x (1st draft) . . . note however that this solution juxtaposes their wedding (“… an active dream stage …) and their separation (here) in consecutive sketches! There needs to be either more distance, or else a unifying passage from the perspective of a third person (their father, Logan, or Rabbi Esherman).

                A Time & A Place (Setting): An airport.

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

                Secondary (inactive, object) Ch: Bitsy.

                Tertiary (referenced, en passant) Ch: Satan.

                Purpose: [In] a story, narrated by the neuro-Niceans to scare off Satan, temporarily co-opted by the latter, [2007 - Slam is excoriated by Bitsy for going off to Ossian].

                Method (narrative, process, genre): Imagery, detective satire.

                Relevance/Transition: Creed Slam is given an effective task of re-adjusting the tryptych. His literal role is still in definition, though he also appears to be a link to the 13th century . . .

I – xwix – (xiii) – Such was the state of . . . both hands.

Such was the state of . . . both hands (13.3 KB).

            Narrator: TBD

                A Time & A Place (Setting): Ossian.

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

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: Ahem (narrator), scrapmon‘.

                Purpose: Balked in his efforts to modernize Ossian, Soundman seeks war with neighboring Xanthia as an external enema.

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

                Relevance/Transition: Note that this is part of the tale told by Ahem to listeners in Hades . . .

Lets write the best damn . . . great enigma.     

Circa January 2004. The accumulating problems (pre- fin de siecle) of Soundman.

The ruler was determined to bury his disappointment in work. He had once expected that his professional expertise would have been an inspiration to individuals. He discovered instead that his knowledge threatened them to the extent that they would either go out of their way to disparage his field in hope of compensating for their failure, or focus on any of his minor personal flaws in hope of suborning his efforts by forcing him to defend, explain, or rationalize his lapse. If he breathed, they would ask if he were ill. If an ironic smile crossed his features, they would ask if he were depressed. His early training forced him to read compassion in these inquiries, yet his interlocutors who should have been grateful with relief when he expressly denied the charges, merely gazed at him quizzically. So what you’re saying is that he felt inferior to the cultural depictions of leadership and was happiest when working alone. He began to realize there were spoilsports everywhere, and remembered the first time someone told him about the snails inhabiting the pristine mountain streams of his youth, and how betrayed he had felt that these spoilsports had robbed him of the joy of drinking from the pristine mountain streams with their tales of disease carrying snails. He hated the feeling that he was being forced into pettiness, and much as the reports reaching his desk may have moved him to action, the voiciferous accusations accompanying them killed his zest for the work, as if he was some omnipotent being who was at fault for the conditions being reported. Subordinates who felt that they had done their duty in reporting the conditions, without committing to a plan of addressing the conditions, had merely added to his problems, until he found within his administration a certain branch of individuals committed to solving the problems effectively. How they contributed to his peace of mind. It was such a joy to sit down at the end of the day and know that the problems had been solved by individuals who enjoyed their work.

I – xwix – (xii) – Far from them, in a . . . menue of other options.

Far from them, in a . . . menue of other options (2.42 KB).

            Narrator: Aira’s chichi restoration cycle paralells the neuro-Niceans, culminating in the collision of I – xwix (first draft reckoning), but is flexible enough to be deferred to offer relief from more tendentious topics (such as Ahem’s tale) . . .

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

                Primary (active, subject) Ch: Aira Phoebus.

                Secondary (inactive, object) Ch: An unnamed suitor.

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

                Purpose: Aira Phoebus prepares to restore the chi.

                Method (narrative, process, genre): Classical epic parody.

                Relevance/Transition: A self-contained sketch: the beginning clause distances the sketch from previous events in Ossian), and the last phrase indicates “other options,” which in this case references the neuro-Niceans.

Far from them . . . a menue of other options.  

Circa June 2001. An unsent letter became the structure of an ephemeral confluence.

Offering comic, and visual relief from the caviling neuro-Niceans, indeed, “far from them,” the preparations of Aurora (“Aira”), avatar of the pearly dawn, to stabilize the chichi are observed by a helpful gadfly (originally conceived as the lampman, but probably not). Distracted in a negative sense, she is unable to certify her plans. I am at present uncertain whether she tries to stabilize the cosmic balance as a result of the contemporary Nicean activities, or if this was maintenance activity conducted in antiquity (since she collides with the neuro-Niceans, the latter seems more likely). I am compelled to take liberties with time and say both, insofar as the monads exist in a state of perpetual creation and dissolution. Pointers to other text include guy wires, and the metropolitan (Ch. I – Long, long ago in . . . a vault of righteousness). “Ninety ivory percent of time the role of this muse, in the unfolding cyclotron of eclat, was that of a kindred field to the twinkling struggle. As this foil, she resisted the capacity of the protagonists to catapult one another into cataclysmic anti-matter organized implosions (four).” Her consultation is also described in Ch. V – had I only a left hand writing would face the unknown. The “impending glissade” is eyed by the POD (Ch. X - This was a stormy . . . hope. It was not . . . at all). The ensuing project is described in Ch. II – An again refused . . . the fringe of after action.; and Ch. V – the proto Niceans – cause and effect. The chichi, or cosmic balance, is disrupted, as lamented by the Norns in Ch. I – A concept of . . . a recent event.

I – xwix – Fireside chats – VIII

Fireside chats – VIII (1.98 KB).

                Narrator: TBD

                A Time & A Place (Setting): Cyber-space.

                Primary (active, subject) Ch: None.

                Secondary (inactive, object) Ch: Aira.

                Tertiary (referenced, en passant) Ch: None.

                Purpose: Time as distance metaphor.

                Method (narrative, process, genre): Impressionism.

                Relevance/Transition: I can see four miles . . . [2007 - embedded within "a menue of other options].

Fireside chats.

Circa 2001-2002. Re-conflated drafts of ultimately unsendable correspondence.

I – xwix – (vi) – In the event that enough . . . hands were washed in feldspar.

SUBSCENE

144-149, In the event that enough . . . hands were washed in feldspar (4.54 KB).

            Narrator: This sketch marks the end of the “driest history” cycle, begun in Act I – iv (1st draft reckoning) told by the neuro-Niceans to scare off Lucifer Morningstar . . . the dialogue between Horace and Mr. Ng seems to foreshadow the dismantling of the Pyrogabion in early Act IV!

                A Time & A Place (Setting): The Kalisthenes Institute (post-inversion).

                Primary (active, subject) Ch: Horace Tolstoy.

                Secondary (inactive, object) Ch: The other Mary’s hometown.

                Tertiary (referenced, en passant) Ch: Mr. Ng; Logan; the Arch-Deceiver.

                Purpose: Horace, as part of his rehabilitation, appears to be travelling into the past to reset Pyrogabion, in hopes of averting the inversion of the universe, and Mr. Ng attempts to dissuade him from this course.

                Method (narrative, process, genre): Surrealism.

                Relevance/Transition: Does this to relate to Marta’s above question? NO. An attempt is made to set up a flashback to Horace’s past role as libator during the Dominion Day picnic, as well as to end the neuro-Nicean tale, begun several chapters ago, that finally scares off Lucifer Morningstar . . .

Enough room should be left . . . upon ancient holds

Circa April 2005. Horace, having shirked his duties as caretaker and left the Provenance in the lurch, holes up with several projects, learns of inter-regnum, and ponders seppaku as a means of joining them.

This sketch best exemplifies events after Horace’s truncated success (Ch. X - Seppaku of a man . . . to win out; Ch. II - On short notice, PRINCIP1) and restoration by the Rat with the Horns (Ch. IX – Plutos, endless mess, germs mit los, and an exlass, mishappenings); Ch. VII – If any given . . . culture could no longer help him). Horace consults with Noone in a subterranean setting about the recent launch codes and discharges of Pyrogabion. He seems determined to prevent a recurrence of the misfire, and yells at the eavesdropping Lazarus.

I – xwix – (vi) – After these decibels wore off . . . resuming migration.

 SUBSCENE

After these decibels wore off . . . resuming migration (2.82 KB).

             Narrator: The placement of this sketch, which simultaneously closes the neuro-Niceans’ driest history and the dream of Snorggi, is dependent on the recasting of foreshadowing material imported from Act III.

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

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

                Secondary (inactive, object) Ch: Their super-orca.

                Tertiary (referenced, en passant) Ch: Snorggi.

                Purpose: The neuro-Niceans’ story finally shakes off Satan just as Esmeralda resumes her story and Snorggi’s dream ends.

                Method (narrative, process, genre): Allegory.

                Relevance/Transition: There is conflict with other passages differentiating the neuro-Niceans from the popular people: their proximity in this sketch suggests that they are the same. . .

One raised a question . . . but they settled . . . into time.

Circa September 2000. The Rat with the Horns blows the whistle on a catalog of some of the darkest (neuro-Nicean) angels who owe their emergence to the post-Mississippian epoch. They are those lumine who were held back from the Great Window (find that folder) and who spoiled as a result. Frightening even to Satan himself, whom they chide for his own paltry efforts, they possess coalition forces to weld Ahriman from the torments of native prisoners and attempt to pass this humonculous off before the lampman as a finished work.

The colonial ethos: men from other lands are inferior and did not exist until we discovered them. They are clay in our hands, markets to be sold to, little children behaving badly. Or they are possessed with profound wisdom and are being coy about sharing it. Led by Hiskin, a hidden lumine (Ch. IX – Moron scrap – two seconds received a messenger), the neuro-Niceans, “exhausted by their efforts in expelling the vicious elf (Ch. V – What he needed . . . was the driest thing . . .),” are “off to see the lampman,” who is “recalling his own few fleeting instants of love with bitter news,” and “called out to his solicitor, the Rat with the Horns, unmasking the conspirators, naming each in turn, and replying to their silent, jejeune, yet unspoken indictments.” The Rat with the Horns, who later serves as Lucifer’s counsel (Ch. XI – Although known that he . . . will instruct him), looks over the arriving delegation of neuro-Niceans, knowing he had “no commission to dismantle these protagonists’ writhing pyramid, and Joba lost no time in reminding him of something else, these best and brightest innocents abroad, ah to be young and wild in Babylon again, the Rat sneered, suddenly recalling where he had seen them before. He regretted that his fifteen minutes were up. Too long enthroned upon surreal praise shadow puppet had taken leave of his senses and ordered all oversight out of the building. The city, constructed for the faithful, was the stumbling block. Too many of them wanted lawns and fences. Under shadow of the watchtower, the construction committee convened.” This is also related by the Archangel in Ch. II – Isaiah 6, Bounceover, Forgotten Tense, Slavesons, levelling.

I – xwix – (x) – Upon this . . . sentence dealt.

41-44, The Rat with the Horns (6.23 KB).

            Narrator: While this is part of Ylferim’s tapestry collection, consider deferring (or not) in conjunction with the agnomen’s tale of the Great Window (late Act I).

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

                Primary (active, subject) Ch: Cheron; the Rat with the Horns.

                Secondary (inactive, object) Ch: The lamplighter Anubis.

                Tertiary (referenced, en passant) Ch: The neuro-Niceans: Joba, Bluebell, the high five.

                Purpose: Beginning with a soliloquy, the Rat with the Horns identifies several neuro-Niceans seeking the blessing of Anubis for their creation, a proto-orca (soon to be Prince O’Darkness).

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

                Relevance/Transition: The sketch closes with the papal assessor at Worms, waiting for the defence to arrive, drafting a long-postponed encyclical [2008 - granting a continuance to the trial until Piero can arrive in Act II to defend Fr. Anselm].

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 . . . remains 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.

 

Category: ACT I Exegesis

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