Act I – Signature xxii – Far From Time

| August 8, 2012 | 0 Comments

Act I – Signature xxii – Far From Time.

I – xxii – (xii) – While waiting . . . unfolding saga.

While waiting . . . to face the council (1.90 KB).

 

            Narrator: TBD

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

                Primary (active, subject) Ch: Dr. Lothar Flusstapfer.

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: None.

                Purpose: After being denied antigen to continue his research, Lothar disconsolately shuffles his notes.

                Method (narrative, process, genre): Character sketch, imagery.

                Relevance/Transition: Lothar appears to be awaiting arrest after prematurely torching Burning Man (CHANGED THIS) which is a pre-inversion event, its flare used to signal Niceans, and yet post-inversion geophysical qualities are described. Still it’s effective in presaging some sort of catastrophe. . .

 

had I only a left hand writing would face the unknown

Circa November 2002. An outline of events after the Earth stops.

 

Finth comet home rescued by the stoppage of the Earth, finth help themselves to the Ka’aba, which is an integral portion of their comet. The proponents of Islam seek consolation in that their lunar calendar is the only measure of time holding faith nowadays. The Ambassador is chagrined by the stoppage of the Earth, and seeks assistance from Aurora’s hand maiden to restore its revolution. Inimicable agents interfere with this project, and although the Earth is restored to a semblance of rotation, the beings of light and darkness fall to the Earth.

 

I – xxii – (xwix) – For how long with . . . the fifth annual Norbert Trophy.

 

SUBSCENE (chichi)

For how long with . . . the fifth annual Norbert Trophy (2.27 KB).

 

            Narrator: Sets up the metamorphosis of the neutro-Niceans; movement and wordplay (“links of after action”) used to tie in with Iphgene’s skating and adjoining golf sketches. . . .

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

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

                Secondary (inactive, object) Ch: Aira Phoebus (unnamed).

                Tertiary (referenced, en passant) Ch: Skating commentators back on Earth.

                Purpose: Old texts were bowdlerized to describe a celestial collision between luminic beings.

                Method (narrative, process, genre): Impressionist surrealism.

                Relevance/Transition: A brief return to the Failsafe Invitational suggestive of channel surfing . . .

 

the neuro-Niceans – cause and effect   

Circa April 2001. Combed blue books for ramblings applicable to understanding dark angles who challenge Aurora’s hand-maiden as she attempts to correct an unimpedimential deviance, and begin melting into jelly beans.

 

A “prophet . . . (see also scholar) demonstrated sedulously that quaint antiquities below developed in escrow,” while “sods watched Phoebus manage hoarse chariots dressed in blazers of vermillion,” however the “last of the bright cruel ants . . . snared their design with a flood of drivel so knowing that the perquisite of station gave rare opportunity for logical fatuity.” The process marked with “havy tour oxygen tempests . . . lathered courses of stodgy infirm travail lolled lastly tobaggans . . . abrupt ouerve blessed resorted glasnost amerceably flavors hitched . . . we smelled perceptive forms.” This ties in with the three stages of exigence depicted in Ch. II – An again refused . . . the fringe of after action.

 

Failsafe Invitational     

Circa July 1998. Segue to an ethereal golf match between the Trinity and Satan.

 

Thrown then this bona fide . . . unfolding saga (6.81 KB).

 

            Narrator: TBD

                A Time & A Place (Setting): The Land of Forgotten Tents.

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

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: Lothar; the Great Seal Snorggi (unnamed); Gaussier; Finthector.

                Purpose: The early Nicean explorers are scattered by a Phlegethon sneeze and impounded in the Land of Forgotten Tents.

                Method (narrative, process, genre): Imagery, surrealism.

                Relevance/Transition: The explorers have nothing else to do but listen to Ahem’s “unfolding saga.” ESPN.

 

VIII – . . . enough to . . . ameliorate the corrigenda.

Circa June 2006. An early fjulsfut expedition encounters a Snorggi sneeze.

 

An early post-workshop sketch, though retaining characteristics of agonistes, “corrigenda (I – xxii – (xii) – While waiting . . . unfolding saga)” is a climatic sketch of Act II, depicting the scattering (“the bark of their collective focus floundered amidst hieroglyphic fulsome pratfalls”) of an early fjulsfut expedition (I – xxi – (xi) – Pursuant upon . . . the sighing sonorosity), drawing parallels with a concurrent dispersal (I – xxii – (xviii) – Regarding mucillage . . . to future generations) of the neuro-Niceans. Inspired after the workshop with Vietnam vets, by imagining a napalm attack (although this wasn’t specifically mentioned there): “upon a scale of talc to carrot sticks, the enormity nostrils sneezed warthogs . . . distributive of zonal crescendo echo chambers vivisectioning the realty cantankerous voice over permits promised again; its escrow sheered into a garish lemon leitmotive and droplets flung against the marge coalesced in scowling phantasmagoria of will-o-wisps . . . a Phlegethon sneeze, darkly reminiscent of sun-blackened maize, odiously sad and somewhat Arcadian . . . effervescently crackling azimuth coral jumbles cued to lurid magic sputniks and the hollow sky untied with blighted foam inflatable miens who plunged upon fathomless flats with pandemically autonomic huzzahs.” The sneeze is also credited with influencing temporal events in late Act I (I – xxii – (xwix) – Mohorovic . . . maintained. Watch). “All dived to escape the chronic steam specters lured to grim purpose . . .”; the fjulsfut, surviving by humming “the lyrics to the last movement of Gaussier’s (II – iii – (ii) – Knowing little . . . of promiscuous decline) foremost symphonietta, prompting a hasty search for these staves . . . [and] too frazzled to account for their role, surfaced to the taunts of inhabitants.” They are exiled in Hades, where they mill around, watching the late sports update on ESPN (I – xxii – (xwix) – For how long with . . . the fifth annual Norbert Trophy) and forming an audience for the tales of numerous shades, notably the Ossianian Minister Ahem (I – vii – (xii) – What was happening . . . for days ever after). Their subsequent report, sent by snail mail to inter-regnum, is mistaken by the Ambassador Indocile for that of a more modern expedition (III – xvii – (xviii) – inter-regnum’s Ambassador . . . then excuse me).

 

Isaiah 6, Bounceover, Forgotten Tense, Slavesons, levelling.

Circa August 1999. Some of the exiled lumine gather at the Sunrise Cage.

 

. . . the principal players of the expedition: the Ambassador, scrapmon’, and the historian, exhausted by their adventures, leave their tapper in charge of the chef d’cabinet at Mount Period, slip into the Sunrise Cage and, huddling miserably in a corner, converse in hushed and anxious whispers [2007 - some of these "whispers" are reassigned to the fjulsfut as they ponder their exile in Hades]. . .

 

I – xxii – (xwix) – Mohorovic . . . maintained. Watch.

 

SUBSCENE

Mohorovic . . . maintained. Watch (2.84 KB).

 

            Narrator: Sets up the metamorphosis of the neutro-Niceans; movement and wordplay (“links of after action”) used to tie in with Iphgene’s skating and adjoining golf sketches. . . .

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

                Primary (active, subject) Ch: The Arch-Deceiver [2007 - who redirects the plot to the denouement of the chichi].

                Secondary (inactive, object) Ch: More (Mohorovic).

                Tertiary (referenced, en passant) Ch: Shadow puppet, Piero.

                Purpose: This joke was the nucleus of the entire manuscript and was placed to coincide with the ESPN footage.

                Method (narrative, process, genre): Allegory.

                Relevance/Transition: Placed in the penultimate chapter, the scene afforded punchline, explanation, and partial closure to Act One, Snorggi the Ambivalent. . . .

 

Failsafe Invitational     

Circa July 1998. Segue to an ethereal golf match between the Trinity and Satan.

 

Amidst the sporting metaphor there’s a segue to a ephemeral golf match between the Trinity, crashed by Lucifer, who takes time to explain that Prince O’Darkness has been loosed upon the Earth, and seeks permission from shadow puppet to track down the POD. This long-standing joke, smirching the name of Mohorovic, who is a human foil to the ethereal dialogue, as inserted, shows the arch-deceiver acting in bad faith, as he’s already dispatched his Preceptor (Ch. II – On short notice, PRINCIP1) on the mission [although this isn't spelled out until Act II].

 

I – xxii – (xviii) – Regarding mucillage . . . to future generations.

 

SUBSCENE

chichi

Regarding mucillage . . . to future generations (2.88 KB).

 

            Narrator: The four chichi restorations might conceivably be spaced further apart into subsequent chapters.

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

                Primary (active, subject) Ch: Aira Phoebus.

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: The neuro-Niceans.

                Purpose: In her attempt to restore the chi, Aira collides with the neuro-Niceans.

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

                Relevance/Transition: The placement of this sketch dictated by convenience; it has little emotive congruence with the surrounding sketches (except Sasha’s reference to “surf the hissies”), but the next sketch does provide an obscure interpretation . . .

 

the neuro-Niceans – cause and effect   

Circa April 2001. Combed blue books for ramblings applicable to understanding dark angles who challenge Aurora’s hand-maiden as she attempts to correct an unimpedimential deviance, and begin melting into jelly beans.

 

A “prophet . . . (see also scholar) demonstrated sedulously that quaint antiquities below developed in escrow,” while “sods watched Phoebus manage hoarse chariots dressed in blazers of vermillion,” however the “last of the bright cruel ants . . . snared their design with a flood of drivel so knowing that the perquisite of station gave rare opportunity for logical fatuity.” The process marked with “havy tour oxygen tempests . . . lathered courses of stodgy infirm travail lolled lastly tobaggans . . . abrupt ouerve blessed resorted glasnost amerceably flavors hitched . . . we smelled perceptive forms.” This ties in with the three stages of exigence depicted in Ch. II – An again refused . . . the fringe of after action. The obstructionists, introduced in Ch. V – What he needed . . . was the driest thing . . . “perniciously wary hadn’t really omitted wasted tales of unfailing error intimately grabbed,” and as shadow puppet “called to them in given apt words now, yet these they chided . . . graceful in their massive girths they gazed upon His crumbled welts . . . and laughed at the dross around them flashily.” As a result of shadow puppet’s curse they are “spilt without preamble into a reeking, daft, though miscellaneously competent tread . . . we’re melting they cried unto Him ingratefully, though thou shalt not dry, sad shadow puppet said, under hopeless sunny skies shall you recompense until your relics form the bones of a newer race.”

 

I – xxii – (xwix) – A more scale was not . . . the fringes of after action.

 

SUBSCENE

chichi

A more scale was not . . . the fringes of after action (1.36 KB).

 

            Narrator: Sets up the metamorphosis of the neutro-Niceans; movement and wordplay (“links of after action”) used to tie in with Iphgene’s skating and adjoining golf sketches. . . .

                A Time & A Place (Setting): The Zodiac.

                Primary (active, subject) Ch: Aira.

                Secondary (inactive, object) Ch: finth, “one attentive man.”

                Tertiary (referenced, en passant) Ch: the neutro-Niceans.

                Purpose: Aira’s attempt to restore the chi fails.

                Method (narrative, process, genre): Imagery, movement, wordplay.

                Relevance/Transition: Sets up the metamorphosis of the neutro-Niceans; movement and wordplay (“links of after action”) used to tie in with Iphgene’s skating and adjoining golf sketches . . .

 

An again refused . . . the fringe of after action.

Circa June 2001. Aurora’s efforts are shattered by the neuro-Niceans who tampered with the Archangel’s plans to build the city of God. In the collision with Aurora, their creation AHRIMAN survives in stasis. She parachutes into exile in the land of forgotten tense. The steeds Aurora has borrowed from Neptune are lamed, causing the latter to launch a protest to shadow puppet.

                                 

Some tenuous references (Ch. XI – Altogether shadow puppet was . . . to face the council) liken the process to an administration of eyedrops in the Earth’s iris, but a blink causes the drops to scatter. They collide with the primordial neuro-Niceans who tampered with the Archangel’s construction of the eternal city (Ch. II - Isaiah 6, Bounceover, Forgotten Tense, Slavesons, level) and have just finished running their protege through customs (Ch. IX – What he needed . . . was the driest thing they knew; Ch. V – One raised a question . . . but they settled . . . into time; . . . Portlandia . . . may leave). The monads are annihilated into cult significance for future generations (Ch. V – the proto Niceans – cause and effect; . . . who are not going to . . . fluff my logos really), Aira’s parachute takes her to a dolorous land (Ch. XI – The cue . . . of a strange and dull avocation), and Neptune, retrieving his bedraggled steeds (Ch. X – Post parting immediacy . . . of intractable grounds; Undue plot . . . the hapless earth) is incensed enough to petition shadow puppet for authority to recreate a pre-Ptolemaic universe. This background cited, what does the sketch contribute? . . . the second passage describes things coming unglued, the “rein holder” pauses to lament the plight of some whales, and is hailed by the neuro-Niceans (“their joyless reek . . . nine less four, colloidal . . .) who attempt to grapple “her solar vehicle,” shattering the bonds and spilling the occupants into an abyss, with only cryogenic hopes to sustain them. One “attentive man” attempts to arrest the plunge of the sun gondola without success; Aira’s “tunic of voluminous capacity” eases her descent into a “land of dolorous inclination peppered by souls in perpetual rest;” her car strikes finth comet home (which plays a later role: see Ch. X – . . . whenever Frank donned . . . their purpose awaited rewind et al) and dissolves into “uncountable jelly beans.”

 

I – xxii – (xwix) – More, having missed the cut . . . they commented.

 

SUBSCENE

More, having missed the cut . . . they commented (2.75 KB).

 

            Narrator: Sets up the metamorphosis of the neutro-Niceans; movement and wordplay (“links of after action”) used to tie in with Iphgene’s skating and adjoining golf sketches. . . .

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

                Primary (active, subject) Ch: The Arch-Deceiver.

                Secondary (inactive, object) Ch: More (Mohorovic).

                Tertiary (referenced, en passant) Ch: Shadow puppet; Piero.

                Purpose: This joke was the nucleus of the entire manuscript and was placed to coincide with the ESPN footage.

                Method (narrative, process, genre): Allegory.

                Relevance/Transition: Placed in the penultimate chapter, the scene afforded punchline, explanation, and partial closure to Act One, Snorggi the Ambivalent . . .

 

Failsafe Invitational     

Circa July 1998. Segue to an ethereal golf match between the Trinity and Satan.

 

Amidst the sporting metaphor there’s a segue to a ephemeral golf match between the Trinity, crashed by Lucifer, who takes time to explain that Prince O’Darkness has been loosed upon the Earth, and seeks permission from shadow puppet to track down the POD. This long-standing joke, smirching the name of Sir Thomas More, who is a human foil to the ethereal dialogue, as inserted, shows the arch-deceiver acting in bad faith, as he’s already dispatched his Prefect (Ch. II – On short notice, PRINCIP1) on the mission.

 

I – xxii – (xwix) – A ghost ship . . . out into cold, whispering drifts.

 

A ghost ship . . . out into cold, whispering drifts (2.06 KB).

 

            Narrator: TBD

                A Time & A Place (Setting): Rex’s pension, shortly after the Failsafe Invitational in FRANCE.

                Primary (active, subject) Ch: Rex Ampersand.

                Secondary (inactive, object) Ch: Iphgene Heppleweis.

                Tertiary (referenced, en passant) Ch: Sasha, Matthieu.

                Purpose: Rex explains his reasons for detaining the child and unifies an earlier element, the ghost tanker [fully devolved in Act III]

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

                Relevance/Transition: Full of self-doubts, Iphgene runs out to find her husband. . .

 

Failsafe Invitational     

Circa October 2000. Iphgene travels to France to participate in the skating tournament. She is contacted by kidnappers. She rushes through her program much to the dismay of the audience. Iphgene recovers her child safely.

 

We return to the anti-climactic reunion of Iphgene and Lizavetta. Rex Ampersand has hereby replaced Menard as eminence grise. Rex refers to Van Etnabaron’s adventures in recovering the Porcupine (Ch. VIII – Piscine Excursis – sybil monserrat y capella), and hints that Lizavetta was sequestered for her own protection. He extorts Iphgene’s cooperation.

 

I – xxii – (xwix) – Van Etnabaron found . . . the bail-out.

 

Van Etnabaron found . . . the bail-out (1.94 KB).

 

            Narrator: TBD

                A Time & A Place (Setting): Rex’s pension, shortly after the Failsafe Invitational in FRANCE.

                Primary (active, subject) Ch: Van Etnabaron.

                Secondary (inactive, object) Ch: Iphgene.

                Tertiary (referenced, en passant) Ch: Sergei.

                Purpose: Transitional.

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

                Relevance/Transition: Transition occurs within the sketch, with the realism of the touching family reunion turning into the surreal deliberations of the Founders League . . .

 

viii – Loose leafs in the hall of heretics.   10KB  RTF     11/9/2006      10:03AM

Circa December 1999 (revised November 2006). Sasha is inducted into the circles of the Founders’ League.

 

This huge old sketch was left unsummarized during the pre-draft Synopses of 2005-2006, probably in the hope that little elves might accomplish this in my absence. I also considered it too pointedly topical, but by late 2006, substituting “Ossian” for Grenada went far to mitigate the Clancy wannabe tone. It served as an admirable wrap to Act I, a harmless conclusion to Rex’s cloak & dagger hijinks (I – xxii – (xwix) – A ghost ship . . . out into cold, whispering drifts), allowing Iphgene’s Failsafe theme (I – xx – (xwix) – Having raced toward . . . the Global Village) to be placed here, which in itself framed the celestial golf match (I – xxii – (xwix) – Well, as You may or may not know . . . ) at which Satan warns of the unloosing of Prince O’Darkness. It also provided a title for Act I, Signature xxiii at a time when inspiration for titles had run dry.

 

It is sprinkled through the last three Act I signatures in several fragments. The first (I – xxii – (xwix) – Van Etnabaron found . . . the bail-out) is a short scene, appended to the end of Signature xxii, in which Van Etnabaron, after finding his family safe (I – xxii – (xwix) – Van Etnabaron found . . . the bail-out), resolves to confront the conspirators. Sergei Kalamparumple is haranguing at the “round table” and, upon Sasha’s entry, announces we “have the honor of debating betwixt ourselves who shall have the first spin.”

 

i – Finlay looked . . . for the unfinished symphony.

Circa November 2007. Character sketch of the early protagonist Finlay.

 

Finlay arrives in the future (I – i – (i) – Sometimes Uncle Edith’s favorite . . . Koolaid); the middle part of the sketch, involving running, is re-assigned to Sasha’s urgent reunion with his family (I – xxii – (xwix) – Van Etnabaron found . . . the bail-out) at the end of Act I.

 

Failsafe Invitational      .

Circa October 2000. Iphgene . . . recovers her child safely. Her husband, Sasha, interrupting his spa, rushes to confront the kidnappers . . .

 

Lizavetta’s father Sasha, storming out of his restorative session (Ch. IV - Harl fencing with GM, Sasha & Marta set off for the Chrysostom house; Ch. XI - The hushed and anxious whispering . . . was exactly done) after a long train journey over the Pyrenees (not yet written), is chilled by a meeting with Sergei, who cites their common shady past, and everyone is restored to amicability.

Category: ACT I Exegesis

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