Act II – Signature xvii – What Was It Good For?

| August 8, 2012 | 0 Comments

Act II – Signature xvii – What Was It Good For?

i – Whenever battalion . . . in an advanced state of awareness.

i – Whenever battalion . . . in an advanced state of awareness (2.6 KB).

                Narrator: TBD

                A Time & A Place (Setting): The Ossian frontier.

                Primary (active, subject) Ch: CSM Teaspoon.

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: Other coalition forces.

                Purpose: Versimilitude.

                Method (narrative, process, genre): Surrealist.

                Relevance/Transition: Modular.

I – The 9 grounds of urban legend.

Circa March 2007. J. LeBrun in memoriam. Restructured October 2008 albeit not in perpetual font.

II – xvii – (viii) – Prior to embarking . . . at dusk.

SUBSCENE

Prior to embarking . . . at dusk (3.25 KB).

            Narrator: The connection between Roveretto’s storage locker in Las Vegas and the sacked Ossianian Hermitage is startlingly effective, unintentional, and problematic (is Roveretto involved in fencing or is he framed – I don’t want to make too sympathetic a character out of him) . . .

                A Time & A Place (Setting): Las Vegas.

                Primary (active, subject) Ch: Roveretto Messimo.

                Secondary (inactive, object) Ch: Lothar Flusstapfer.

                Tertiary (referenced, en passant) Ch: Marathon; the fountain nymph Cyane (re: Ovid’s Metamorphosis).

                Purpose: Messimo has lunch in an establishment reminiscent of Hades.

                Method (narrative, process, genre): Surrealism.

                Relevance/Transition: The contents of Messimo’s locker sound oddly like items curated at the Ossianian Hermitage.

VIII – After slipping his client . . . would leave at dusk. 3KB     RTF     8/14/2006      8:34AM.

Circa August 2006. Outfitters prepare for expedition in search of Burning Man.

In this sketch (II – xvii – (viii) – Prior to embarking . . . at dusk), Lothar’s long-declared aim of spoiling the vacations of the dispensationalists (II – xxiii – (x) – A Weird Small Twisted Thickety Item), who denied him the antigen necessary to continue his research on Snorggi’s Syndrome (I – xii – (iii) – Articulation of Zsigmondy and its impact upon S. Syndrome), shapes up after his trip to Las Vegas (II – xi – (v) – Las Vegas changed . . . America), whence he meets Roveretto Messimo, outfitter extraordinaire, who has already appeared as the executor of a vendetta (II – xii – (iv) – With Marathon’s custom . . . when you see one) that deteriorates U.S. relations with Ossian (II – xiii – (v) – To say, a half century . . . much further ado). Greeting the fountain nymph Cyane (IV – i (vi) – After releasing his . . . null exposition recant), Roveretto takes time to twit authors, “who devolve into the theme of southwestern chic, are attempting to come to grips with delicate psychological experiences that they regard as super-annuated only through the capricious parabola of their self-anointed spiritual doulas.” Although, indicating that Lothar’s request to find Burning Man is hardly a scoop (II – xvi – (vii) – Spared by the eleventh hour . . . in full glory), and he prefers “that lesser practitioners of his stripe absorb the surplus traffic . . . there was no such thing as dirt cheap anymore,” and so, preoccupied by the “rent on his storage unit,” in which a huge list of artifacts: “Delacroix originals, peerless futility art, fine Incan desk calendars, stereopticons, stanhopes, plectrums, and serifs, the entire mise-en-scene of the lost sapper, bas reliefs of the pre-Columbian mastodon in blue, jade, and pink onyx, the belt of Samson, won in a line dancing contest,” are stored, Roveretto thus “stoked up as many carbs as possible for the terrible journey to come. They would leave at dusk.”

Note that the laundry list of artifacts, coming almost on top of the sack of the Ossianian Hermitage (II – xwix – (vii) – Following events . . . out of that tent), creates suspicion that Roveretto is fencing the stolen items, but this propinquity is spurious, and simply left as is, a red herring. Roveretto, Lothar, and Mantissa duly trek into the desert in the next signature (II – xviii – (wix) – Then you will not . . . meet in forty-eight hours).

SUBSCENE

Prior to embarking . . . at dusk (3.25 KB).

            Narrator: The connection between Roveretto’s storage locker in Las Vegas and the sacked Ossianian Hermitage is startlingly effective, unintentional, and problematic (is Roveretto involved in fencing or is he framed – I don’t want to make too sympathetic a character out of him) . .

                A Time & A Place (Setting): Las Vegas.

                Primary (active, subject) Ch: Roveretto Messimo.

                Secondary (inactive, object) Ch: Lothar Flusstapfer.

                Tertiary (referenced, en passant) Ch: Marathon; the fountain nymph Cyane (re: Ovid’s Metamorphosis).

                Purpose: Messimo has lunch in an establishment reminiscent of Hades.

                Method (narrative, process, genre): Surrealism.

                Relevance/Transition: The contents of Messimo’s locker sound oddly like items curated at the Ossianian Hermitage. . .

II – xvii – (vi) – When over the mountains . . . so obvious.

While then over the mountains . . . so obvious (10.5 KB).

            Narrator: TBD

                A Time & A Place (Setting): Ossian. Zero Hour.

                Primary (active, subject) Ch: Lt. Col. Melissa Simic.

                Secondary (inactive, object) Ch: The enemy forces.

                Tertiary (referenced, en passant) Ch: Other coalition officers; a Slurpee proprietor.

                Purpose: The U.S. invasion of Ossian begins.

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

                Relevance/Transition: Simic is perplexed that the enemy has been so obvious . . .

The land of Nod . . . seemed hollow to her.

Circa March 2003. While waiting to go there I attempted to visualize the impending battle in the Mesopotamian delta. In this account, not necessarily borne out by fact, the coalition forces are stalemated in the south, but a small force under Lt. Col Simic breaks through in the north and succeeds in stumbling into a trap set by the sandman.

… respecting the original flow of text, I move directly into the invasion of Ossian, long anticipated by the citizens (Ch. I – A man sat . . . while teas were served; In an air . . . of his burrow; The ground . . . of ceaseless virtue. Here is the problem: if the text flow is strictly temporal, it places the invasion in mid-2012, which pre-empts the activities of several characters (most notably, Sergei and Talitha in lifting the tureck akabej (Ch. I - The problem is . . . sending for adieu; I did until now here wear . . . her own vision of peace; Ch. X - On like a giant snoring went . . . a signal bartlett space)). It’s better to assign some preternatural insight to Carbonara during his detention, allowing him to peer into the past (circa 2003-2006) to study the battle. This would make the opening passage also a flash forward sequence, prefacing (by an unspecified span) the actual account of the events at Mount Period (Ch. V – A BIG MESS et al). This being said, try to find ancient place names to blend the narrative in order to defray risk assessments. The descriptions of electro-optic surveillance, the capitol’s defenses, and Lt. Col. Simic’s visit to the Indochinese gas station need no elaboration here. The battle is important because, thanks to the inept tomb raiders burrowing beneath Big Bang, the angels bound under the Euphrates are released (Revelations 9:14).

II – xvii – (vi) – After surviving the . . . stale and unimportant.

[11/23/2012 ~ If I had it to do all over again I would have placed the "casbah" sketch at the start of Signature xvii - as a glimpse of Ossian just prior to the invasion - instead of burying it in the middle of the chapter. A bad mistake which killed the momentum of late Act II].

His Persia

Circa October 1998. Revised October 2000. Further adventures of the tragedian Badude including biography, his super-natural encounter with AHRIMAN’s sister, his part in the Provenance, and entanglements in the stolen artifact trade.

Originally first person, and later changed to third person (thus the awkward tone), this character sketch of Badude (Ch. X – Through . . . preemptive contact), the hapless foil at the Provenance (Ch. III – As aid does well to send . . intense glee; Ch. XI – Everything . . . severed my nap), is best shoved into a dossier somewhere as fodder for his interlocutors (i.e. the Scythian embassy). The sketch pandered to the uber-thriller of the ’90′s (a genre now defunct) tossing out specific references, uninteresting hyperbole, mysterious encounters and telephone calls. He reviews recent events at the Provenance, receives a threatening note, and wanders into the casbah (this fragment, written with help of S&H, is salvageable).

SUBSCENE

After surviving the . . . stale and unimportant (2.85 KB).

                Narrator: . . . subsequent invasion sketches are . . . haphazardly tumbled out . . . with only the intervening sketches of Las Vegas to serve as counter-weight. Consider brining in more Nicean sketches (such as negotiations between the ghost riders and the Niceans) for balance. Use the 13th century and Simic’s tour of wishram (II – vii) as framework. The conspiratorial sketch between Fuald and Ahem . . . is unclear.  

                A Time & A Place (Setting): Ossian, at the height of the U.S. invasion.

                Primary (active, subject) Ch: Fuald (changed from Badude).

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: Vendors, Ahem.

                Purpose: After yielding the proverbial pound of flesh and deported for indiscretions in the U.S., Fuald wanders the casbah, and is succoured by Ahem.

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

                Relevance/Transition: A transitional interlude between definitive sketches of the invasion 9/15/2011 Would have better served the pace if I’d used this to start signature xvi . . .

II – xvi – (vi) – As the ice boiled . . . instruction ensued.

As the ice boiled . . . instruction ensued (3.00 KB).

            Narrator: TBD

                A Time & A Place (Setting): Ossian, at the height of the U.S invasion.

                Primary (active, subject) Ch: Lt. Col. Simic.

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: The Indochinese proprietor; various coalition forces.

                Purpose: After concluding her reconnaissance, Lt. Col. Simic kicks down the door to the Imperial Place.

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

                Relevance/Transition: The sketch maintains a hectic pace of hurry-up and wait. The following passage maintains the theme, which is uncharacteristic of military operations, i.e. it’s possible to insert another sketch of inter-related themes . . .

II – xvii – (xvi) – The reverend . . . was about to toast.

Charles . . . was about to toast.

Circa September 2001. The biography of media mogul Charles Nesbit.

Circa December 1999 (Heavily revised January 2003). Biography of newsman Charles Nesbit, who secures an interview with the Reverend Dr. Logan Ferguson, who himself has been abducted by the Niceans and is merely a mouthpiece to their designs.

An entertaining exchange between Charles Nesbit and Logan Ferguson, this was brushed up to serve as foundation for events described in Ch. VIII – A screen saver that does not kick . . . the search of the skies. His strange behavior upsets his household, and he finds their reaction to him mystifying during his actual return (Ch. III – As the trans-Atlantic flight . . . returned them to his own attention). Originally the raison d’etre of the entire plot (during those innocent days when a nuclear attack seemed so beyond the realm of probability that one could write about it facetiously), in light of both actual and manuscript developments it twisted into a Nicean ploy to plant a red herring, diverting the world’s attention to allow the expedition to land on Earth unobserved. It takes place several weeks prior to the Earth stoppage of May 2012, and is the reason for Ferguson’s sudden emotional absence during his visit to his daughter (Ch. X – While Binaca . . . on Tangent Road).

The reverend . . . was about to toast (1.76 KB).

            Narrator: Ferguson’s catspaw sketches, the aftermath of his (offstage) abduction by aliens, cause the diaspora of the Founder’s League. As presently staged in Act I – xvi (1st draft), they are in flashback form, as a result of Horace repairing the discontinuity in Ferguson’s time core sample. The feasibility of moving the catspaw sketches to early Act II, to coincide with Ferguson’s meeting with his daughter, is under review. The drawback of moving them is that the excellent psychological character study bookend sketches, (‘. . . aha, it is here; . . . residual dioramas’) are unsupported (unless we moved everything into early Act II).

                A Time & A Place (Setting): Logan Ferguson’s apartment in New Cork.

                Primary (active, subject) Ch: Logan Ferguson.

                Secondary (inactive, object) Ch: Charles Nesbit.

                Tertiary (referenced, en passant) Ch: None.

                Purpose: The raison d’etre behind the article exposing, and thus mobilizing the Founder’s League, into the final battle.

                Method (narrative, process, genre): Flashback. Parody of thriller genre.

                Relevance/Transition: Temporally, Logan is displaced in time and irresponsive of his actions. Charles leaves the scene wondering “which of his news organs he was about to toast,” which could encompass a sweeping indictment of the journalism profession . . .

II – xvii – (vi) – These were long in coming . . . or else face facts.

These were long in coming . . . or else face facts (2.59 KB).

            Narrator: TBD

                A Time & A Place (Setting): The height of the U.S. invasion of Ossian.

                Primary (active, subject) Ch: The overall commander.

                Secondary (inactive, object) Ch: Journalists and other coalition officers.

                Tertiary (referenced, en passant) Ch: An Ossianian spokesman (Ahem?) in a raspberry beret.

                Purpose: Stalemated in the north, the coalition HQ receives word of a breakthrough in the south.

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

                Relevance/Transition: The sketch ends with the taunts of the Ossianian spokesman . . .

II – xvii – (xviii) – Next project . . . of approaching concern.

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.

SUBSCENE

2. Next project . . . of approaching concern (1.70 KB).

            Narrator: TBD

                A Time & A Place (Setting): Fr. Anselm’s trial at Worms (post-siege).

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

                Secondary (inactive, object) Ch: The sacrist, Fr. Anslem.

                Tertiary (referenced, en passant) Ch: A dark matter katoplebus.

                Purpose: Describes the medevial efforts to study time flies. Note that the narrative is also indicative of Fr. Anselm’s near fall from the scaffold beneath which his persecutor, Conrad (the assessor’s colleague), was.

                Method (narrative, process, genre): Dialogue, wordplay.

                Relevance/Transition: Fr. Anselm related how from this vantage point he witnessed the attempted restoration of the chichi . . .

See also BLACK BOOK 105-106 …

II – xvii – (vii) – At the fringes . . . all ill emanated from it.

Lizard swift . . . emanated from it.

Circa October 2001. The first appearance (in real time) of Rex Ampersand, director of a vast combine to restore the former British Empire to its former glory. He is seen here haranguing the scholars even as the Nicean expedition, harrassed by the fints, approaches the earth.

The sketch begins with a few lines from the end of an initial encounter (Ch. X – Always understanding . . . their habit) between the fints and rebel Nicean expedition which occurs well before the latter’s approach to the Earth, and is thus pre-stoppage. The main sketch was designed to introduce the mastermind, Rex Ampersand, of a vast combine who had been monitoring a post stoppage event, the reject fair, “the interminable bracket shrinkage that was come to a close.” The juxtaposition is temporally problematic. It introduces three scholars, one by name, the well-known physicist Elias Deerfield, although it’s probable that he has received mention in earlier temporal and thematic sketches (Ch. V – at the outset of the journey into Snorggi’s nose much happiness is; Ch. IX – Charles . . . was about to toast; Ch. X – And yet the individuals . . . almost wished he was watching). Somehow induced by the actions of Elias’ pet hamster, Wormwood, the scene dissolves into a chaotic denouement that may be applicable to any number of cataclysms. The opening line of the main sketch (“{L}izard swift then, you comb rain from the airy spike . . .”) was borne from my attempt to try anything to get a (real, typed, not written or whipped) page started, yet was so jarring as to only be salvageable when combined with a pre-stoppage sketch (Ch. X – Always understanding . . . their habit) describing the encounter between fints and Niceans; the fints are themselves technically Nicean, though not dependent upon the niceness) which is so weird that I only hope the reader has already suspended disbelief. Therefore, for this technical reason, the sketch will be pre-stoppage, useful as it is in furthering Rex’s character (Ampersand has already appeared in a sketch (Ch. IX – The history of being . . .) set in 1999, when he enlists Horace in some ceremonies for the transfer of Hong Kong to mainland sovereignty) as well as introducing the free floating scholars, who appear in various guises here, at the post-stoppage reject fair (Ch. VI – 2 visual discontinuous versions – reject fair – gloss – foucault), and in an unsuccessful attempt to procure plasma stabilizers from the dispensationalists (Ch. IX – The dispensationalists enjoyed . . . the approach of an entropist). Given a nod, if not a sop, to Islam’s scholarly tradition, some of the scholars should proclaim this faith as well.

At the fringes . . . all ill emanated from it (3.07 KB).

            Narrator: The sketches cited as evidence in the death of the inquisitor Conrad are strong enough to stand apart from the invasion of Ossian, although it’s possible that “at the fringes” can stay in Act II – vii (1st draft reckoning) and “Floridly cubed bevels” can open Act II – viii (or whatever is designated as the following chapter in the 2nd draft nomenclature).

                A Time & A Place (Setting): From the fringes of the universe to the 13th century.

                Primary (active, subject) Ch: Finthector.

                Secondary (inactive, object) Ch: Conrad the Elector (changed from Rex Ampersand).

                Tertiary (referenced, en passant) Ch: Three scholars, including Elias Deerfield and his pet hamster Wormwood.

                Purpose: As Conrad the fanatical inquisitor beards the scholars, a structure collapses on top of him, thus explaining the capitol charge against Fr. Anselm.

                Method (narrative, process, genre): Flashback.

                Relevance/Transition: Deerfield also appears in the preceding sketch set in Las Vegas . . . 

 

Category: ACT II Exegesis

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