Act I – Signature xxiv – Clearest Mud

| August 8, 2012 | 0 Comments

Act I – Signature xxiv – Clearest Mud.

I – xxiv – (iv) – inquest intermezzo

 I – xxiv – (iv) – inquest intermezzo.

Circa January 1987 (heavily revised September 2008). A rudimentary resume transformed into whodunit.

Knowing, while cobbling the Inquest (I – xxi – (xviii) – Inspector Lemert had . . . once known and how) at the end of Act I, that every scene was dominated by Inspector Lemert (I – xxiii – (xx) – Exhaling, the inspector . . . recalled the Bustamentes), I resolved to create a scene (I – xxiii – xxiv – (iv) – inquest intermezzo), off-stage as it were, featuring the principal witnesses at rest, when they were not being pelted by incisive questions . . . the second part of the sketch indicates that the witnesses are treated to a sumptuous snack courtesy of the state, Lemert’s indication that we are not barbarians, before being summoned for the summation (I – xxiv – (xx) – Choreographed yet . . . races shall fluff My logos really). While Inspector Lemert, thwarted by smoke and mirrors, reaches vague conclusions (I – xxiv – (xx) – Having said as much . . . concerning the future tense), the actual events surrounding AHRIMAN’s return to Earth are not spelled out until late Act IV (IV – xvii – (xx) – Sangreal . . . swam ashore).

I – xxiv – (xx) – Who were brave enough to follow . . . where are you going.

 Who were brave enough to follow . . . where are you going (1.25 KB).

             Narrator: TBD

                A Time & A Place (Setting): Inquest into Ylferim’s death (post-inversion).

                Primary (active, subject) Ch: Inspector Lemert and Marta Meringue.

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: (Sasha) Van Etnabaron.

                Purpose: Establishes Marta as a hostile witness.

                Method (narrative, process, genre): Dialogue.

                Relevance/Transition: Conflict – Inspector Lemert is asked to explain his method . . .

 e – shrugging star, an inquest, and eighteen pages

Circa June 2002. A reluctance to throw shadows through the blinds manifest here as these pages, written in complete darkness, describe the conclusions of Inspector Lemert pertaining to the mysterious death of Ylferim.

Whether summoned by the chaplain or by the papal nuncio, Inspector Lemert appears. His methodology is detailed and just as quickly abandoned. He leans on Sasha and Marta, attempts to gauge the identity of the unnamed twelfth guest, and . . .

I – xxiv – (xx) – Wondering silently that this . . . is Anselm.

 Wondering silently that this . . . is Anselm (2.05 KB).

             Narrator: TBD

                A Time & A Place (Setting): Inspector Lemert’s inquest of the Global Village.

                Primary (active, subject) Ch: Inspector Lemert.

                Secondary (inactive, object) Ch: Sasha.

                Tertiary (referenced, en passant) Ch: Marta Meringue.

                Purpose: Inspector Lemert induces Sasha to name Prince O’Darkness (Anselm).

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

                Relevance/Transition: Unifies other elements in the manuscript, including the gardening episode, the archeological expedition, and the restorative . . .

 e – shrugging star, an inquest, and eighteen pages

Circa June 2002. A reluctance to throw shadows through the blinds manifest here as these pages, written in complete darkness, describe the conclusions of Inspector Lemert pertaining to the mysterious death of Ylferim.

Whether summoned by the chaplain or by the papal nuncio, Inspector Lemert appears. His methodology is detailed and just as quickly abandoned. He leans on Sasha and Marta, attempts to gauge the identity of the unnamed twelfth guest, and . . .

I – xxiv – (xx) – Harold Van Etnabaron had . . . the first half of the decade.

 Harold Van Etnabaron had . . . popcorn when everything happened (1.22 KB).

             Narrator: TBD

                A Time & A Place (Setting): Preliminary WCs at Lake.

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

                Secondary (inactive, object) Ch: Anselm

                Tertiary (referenced, en passant) Ch: Iphgene Heppleweis

                Purpose: Sasha recalls an event involving a namesake character (Anselm).

                Method (narrative, process, genre): Flashback.

                Relevance/Transition: The sketch is a foil to divert Inspector Lemert’s incisive questioning . . .

 Hushed, opening strains . . . vanished (2.11 KB).

             Narrator: TBD

                A Time & A Place (Setting): Preliminary WCs at Lake.

                Primary (active, subject) Ch: Iphgene Heppleweis.

                Secondary (inactive, object) Ch: (Sasha) Van Etnabaron.

                Tertiary (referenced, en passant) Ch: Anselm.

                Purpose: Sasha recalls an event involving a namesake character (Anselm).

                Method (narrative, process, genre): Flashback.

                Relevance/Transition: The sketch is a foil to divert Inspector Lemert’s incisive questioning . . .

 You know . . . the first half of the decade (5.20 KB).

             Narrator: TBD

                A Time & A Place (Setting): Preliminary WCs at Lake.

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

                Secondary (inactive, object) Ch: Iphgene Heppleweis.

                Tertiary (referenced, en passant) Ch: Anselm.

                Purpose: Sasha recalls an event involving a namesake character (Anselm).

                Method (narrative, process, genre): Flashback.

                Relevance/Transition: The sketch is a foil to divert Inspector Lemert’s incisive questioning . . .

 e – shrugging star, an inquest, and eighteen pages

Circa December 1998. Inspirations from a skating tournament on TV while TDY in Roseburg, OR.

Circa June 2002. A reluctance to throw shadows through the blinds manifest here as these pages, written in complete darkness, describe the conclusions of Inspector Lemert pertaining to the mysterious death of Ylferim.

[Thanks to J.W. for reference, circa 2002, ascribing, to an attorney carrying his own briefs into court, a badge of obliquity.] Whether summoned by the chaplain or by the papal nuncio, Inspector Lemert appears. His methodology is detailed and just as quickly abandoned. He leans on Sasha and Marta, attempts to gauge the identity of the unnamed twelfth guest, and is sidetracked by an effigy. Perhaps AHRIMAN jumped into Sasha’s mind to plant the ridiculous skating story at the last instant.

I – xxiv – (xx) – Anselm is . . . premised again.

 Anselm is . . . premised again (2.05 KB).

             Narrator: TBD

                A Time & A Place (Setting): Inspector Lemert’s inquest of the Global Village.

                Primary (active, subject) Ch: Inspector Lemert.

                Secondary (inactive, object) Ch: Sasha.

                Tertiary (referenced, en passant) Ch: Iphgene, Anselm.

                Purpose: Briefly thwarted by Sasha’s concoction, Inspector Lemert brings other tools to bear.

                Method (narrative, process, genre): Detective parody, strained to reflect an atmospheric perturbation.

                Relevance/Transition: This old sketch has been reworked and cross-pollinated enough to be vaguely interesting, unlike some of the other sketches in the Inquest sequence. . . .

 Now although . . .

Circa May 2002. Perceptions on what the humans might glean from a visit to the Norns.

Circa November 2004. Who were brave enough to follow the enthalpist’s trembling digit found a fin de siecle calculus.

[2007 - re-assigned as Inspector Lemert's closing summation] Begins with an loaded apology, “I would not wish these ‘prints’ upon anyone (with Prince O’Darkness in mind),” a preternatural glimpse beyond the veil, featuring Park’s distant relatives who earn their living subtitling M*A*S*H* (risk assessment) for viewing by North Korean audiences, the mentions of a specific vintage hangs, and sails into the transcription verbatim of several pages of written notes originally intended to be prophetic statements by the Norns (Ch. I – A concept of . . . a recent event). A second idea held it to be the findings of the enthalpist (Ch. X - They dredged up . . . dimly threatened suppositions).

 I – xxiv – (xx) – At this stage of . . . these obfuscatory activities.

 At this stage of . . . these obfuscatory activities (2.15 KB).

             Narrator: TBD

                A Time & A Place (Setting): Inspector Lemert’s inquest of the Global Village.

                Primary (active, subject) Ch: Inspector Lemert.

                Secondary (inactive, object) Ch: The usual suspects.

                Tertiary (referenced, en passant) Ch: None.

                Purpose: Inspector Lemert introduces the daguerrotype in hopes of exposing a suspect.

                Method (narrative, process, genre): Absurdist; epic parody.

                Relevance/Transition: The blank daguerrotype of Prince O’Darkness acts as a Delphic oracle, giving each witness a glimpse of other themes. . .

 e – shrugging star, an inquest, and eighteen pages

Circa June 2002. A reluctance to throw shadows through the blinds manifest here as these pages, written in complete darkness, describe the conclusions of Inspector Lemert pertaining to the mysterious death of Ylferim.

Whether summoned by the chaplain or by the papal nuncio, Inspector Lemert appears. His methodology is detailed and just as quickly abandoned. He leans on Sasha and Marta, attempts to gauge the identity of the unnamed twelfth guest, and is sidetracked by an effigy. Perhaps AHRIMAN jumped into Sasha’s mind to plant the ridiculous skating story at the last instant.

I – xxiv – (xx) – Having said as much . . . concerning the future tense.

 Having said as much . . . concerning the future tense (2.21 KB).

             Narrator: TBD

                A Time & A Place (Setting): Inspector Lemert’s inquest of the Global Village.

                Primary (active, subject) Ch: Inspector Lemert.

                Secondary (inactive, object) Ch: The usual suspects.

                Tertiary (referenced, en passant) Ch: Townsfolk.

                Purpose: Inspector Lemert adjourns to the pier, hoping the sight of the archeological find will stir remorse.

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

                Relevance/Transition: With the introduction of an effigy rendering his plot nugatory, Inspector Lemert precedes to his findings . . .

 Now although . . .

Circa May 2002. Perceptions on what the humans might glean from a visit to the Norns.

Circa November 2004. Who were brave enough to follow the enthalpist’s trembling digit found a fin de siecle calculus.

[2007 - re-assigned as Inspector Lemert's closing summation] . . . a second idea held it to be the findings of the enthalpist (Ch. X - They dredged up . . . dimly threatened suppositions). It’s extremely dense, insofar as the original manuscript was designed to be sprinkled as dialogue throughout less vibrant passages, and instead there is this highly alliterative mind dump. Ion, beneficiary of the mash notes, slips beneath the radar that this entire sketch has become. Splashing fickle spotlights upon various characters, it might be an Herculean preamble amidst a roomful of suspects (Ch. IV – shrugging star, an inquest, and eighteen pages). I used several sentences to disguise the name of my girlfriend’s dog (who is obviously under suspicion), and had to resort to the thesaurus. Thanks to the evolution of his initials, I. E. Deerfield is swept into the dragnet of “fringe finth tessering;” Ferguson, thanks to his thwarting of the IBV (that represents Old World interests), becomes a folk hero for those wishing to keep Pluto a planet. The enthalpist, who is running a studio for “virgule” daytrippers, rebukes Ion for copyright infringement. The “little boy” (AKA the Prince: Ch. IX - When working . . . the research template) approaches, precipitating a caveat of entwined values (the struggle over the Porcupine influences events in Ch. VIII – B post excursis). Noone’s connection (Ch. II - Isaiah 6, Bounceover, Forgotten Tense, Slavesons, levelling; Ch. X – Enough room should be left . . . upon ancient holds; Noone was . . . stock of headbands; Viable underground . . . refuted by her upbringing; Ch. XI – in the attic . . . something gave . . .) with wishram (“a cosmic pupulae marathon asymptotic desperation”) leads to a didactic text, perhaps a commencement address for successful candidates of inter-regnum soul laundering facility. A vehicle that returns Talitha in time is foreshadowed. The sketch ends by leading into Ch. IX – Previously . . . fabric resistant, a connection that may or may not occur, given that sketch’s strangely high demand.

I – xxiv – (xx) – With the principals reconvened . . . to supra-legitimacy.

 With the principals reconvened . . . to supra-legitimacy (4.46 KB).

             Narrator: TBD

                A Time & A Place (Setting): Inspector Lemert’s inquest of the Global Village.

                Primary (active, subject) Ch: Inspector Lemert.

                Secondary (inactive, object) Ch: The usual suspects.

                Tertiary (referenced, en passant) Ch: I.E. Deerfield, Ion, Ferguson, finth, Noone.

                Purpose: Inspector Lemert gathers the principles to let them know his conclusions.

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

                Relevance/Transition: A deliberately anti-climactic scene in which the Inspector’s findings are summated in a cloud of ambiguity . . .

 e – shrugging star, an inquest, and eighteen pages

Circa June 2002. A reluctance to throw shadows through the blinds manifest here as these pages, written in complete darkness, describe the conclusions of Inspector Lemert pertaining to the mysterious death of Ylferim.

 I – xxiv – (xx) – Choreographed yet . . . races shall fluff My logos really.

 Choreographed yet . . . races shall fluff My logos really (4.98 KB).

             Narrator: TBD

                A Time & A Place (Setting): Inspector Lemert’s inquest of the Global Village.

                Primary (active, subject) Ch: Inspector Lemert.

                Secondary (inactive, object) Ch: The usual suspects.

                Tertiary (referenced, en passant) Ch: Lillith; shadow puppet.

                Purpose: Inspector Lemert spells out his conclusions in writing.

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

                Relevance/Transition: Thanks to “an anti-social trip switcher,” the scene dissolves at the end of Book I to the metamorphosis of the neuro-Niceans, giving shadow puppet the last word, as He promises “anew emerging races. . .”

e – shrugging star, an inquest, and eighteen pages

Circa June 2002. A reluctance to throw shadows through the blinds manifest here as these pages, written in complete darkness, describe the conclusions of Inspector Lemert pertaining to the mysterious death of Ylferim.

. . . who are not going to . . . fluff my logos really.

Circa December 2005. Someone is reading his mail as the seconds gather the fragments that remain of the neuro-Nicean rebellion, that nothing be lost (John 6:12).

The sketch begins with a reference to “trip switchers” (see the enthalpist’s reference to daytrippers in Ch. IX – Now although . . .) and a “writ nascently leapt to one’s eye” assuring the unidentified reader that “the greater void . . . is far from unpleasant.” Some monads, perhaps deprived of the trail mix (Ch. V - The shrill stiff solar gale . . . ended with the Polaris Ratification; Ch. X – And yet the individuals . . . almost wished he was watching) seek permission for a relapse. The main theme has seconds gathering jelly beans, the remnants of the neuro-Nicean rebellion (Ch. V – the proto Niceans – cause and effect); they are assured by shadow puppet that “from these beans will spring anew races . . .” The Easter theme ties in with the risorgiamento tryptych (Ch. X – The anciently immediate chase . . . my white bicycle; While the ghost riders . . . belted out a late night piano forte; and They seemed to be . . . his own telephone) during which inter-regnum soul laundering facility is founded.

 

Category: ACT I Exegesis

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