Act II – Signature xxii – A Weird Small Twisted Thickety Item

| August 8, 2012 | 0 Comments

Act II – Signature xxii – A Weird Small Twisted Thickety Item.

II – xxii – (wix) – Fr. Anselm tersely . . . left the building.

 Fr. Anselm tersely . . . left the building (2.20 KB).

             Narrator:  TBD

                A Time & A Place (Setting):  Worms.

                Primary (active, subject) Ch:  Prince O’Darkness.

                Secondary (inactive, object) Ch:  Fr. Anselm.

                Tertiary (referenced, en passant) Ch:  None.

                Purpose:  AHRIMAN, in one of his earliest iterations, fails to repossess the condemned Fr. Anselm.

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

                Relevance/Transition:  The movement from this sketch spins off into Lothar’s adventures in the desert . . .

 VIII – Fr. Anselm tersely . . . left the building.      3KB     RTF     8/14/2006      7:47PM

Circa August 2006.  Sentenced for heresy, Fr. Anselm is tempted by Po’D.

Fortified by a prayer to St. Felix (II – xx – (viii) – Within the cathedral . . . preserve us from the dark swoopers), the sacrist (II – xxii – (wix) – Fr. Anselm tersely . . . left the building) is bearded in his cell by “a truthless raccoon, who said maximus extenuous rerum;” AHRIMAN is on his first jump (II – xxi – (viii) – An explosive brunch . . . scudded across the tumulus).  The sacrist presciently warns, “beware signets indicating the return of the eternal now lest you land in someone’s garage band (III – vii – (xiii) – Ion heard . . . a death-simulating ague),” and they also discuss the “bold Lilliputian movement (II – xv – (xvi) – Silence fell . . . he said).”  Fr. Anselm refuses to be “seduced with vacuous scholasticisms . . . fine then, burn you foursquare baby, Prince O’Darkness pronounced and, plotting to jump into a tauper person, left the building.”  Po’D leaves to prepare for his second jump (III – i – (wix) – A scary elaborate . . . snap could be disclosed), and the sacrist bravely meets his doom (II – xxiv – (x) – Left behind were armaments . . . exchanged for imperishable robes).

II – xxii – (ii) – Notwithstanding . . . existing circumstance.

SUBSCENE

Notwithstanding . . . existing circumstance (2.48 KB).

            Narrator:  Act II – ii is clearly not the time for this sketch.  Ahem is already in the midst of telling a story to listeners in Hades, begun late in Act I.  Is it time already to tell his story to Desdemona (esp. since this interview is not referenced again until Act II – viii, at which time it becomes an essential flag to POD)?  At any rate, there is a disconnect as the narrative ignores Desdemona’s injunction (unless Ahem references his madrassah training for the subsequent description of the super-nova).

                A Time & A Place (Setting):  The Global Village/Ossian.

                Primary (active, subject) Ch:  Desdemona Chantal of Le Matin.

                Secondary (inactive, object) Ch:  The Ossianian minister Ahem.

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

                Purpose:  After panning Iphgene’s performance at the recent Failsafe Invitational, Desdemona sets out to interview Ahem.

                Method (narrative, process, genre):  Social satire, strained to reflect atmospheric perturbations; character sketch of Ahem.

                Relevance/Transition:  Desdemona induces Ahem to “please sketch the narrative legacies conducive to existing circumstance” . . .

VIII – Notwithstanding its corny resemblance . . . to existing circumstance.          3KB     RTF     8/11/2006            1:35PM

12/4/2006

11:41:31 AM

Merged with ii – What if everyone did before the somewhere vacation . . .

Circa July 2006.  After panning Heppleweis’ performance at Failsafe, Desdemona prepares to interview the Ossianian Minister Ahem.

Desdemona Chantal of Le Matin (I – xxi – (xwix) – As the mass dispersed . . . the judges to depart), after panning Iphgene’s performance at Failsafe (I – xxi – (xwix) – Iphgene Heppleweis drew the . . . real victory lap), prepares to interview the Ossianian Minister Ahem (II – xxii – (ii) – Notwithstanding . . . existing circumstance).  “Logically pickled any number of years to prepare forthwith, disinterred views annually of sentences she’d forgotten would fill a bucket walking around with this stilted inner dialogue sometimes.  She found the minister outstanding in his breezeway, stultified with conflicted realities,” pertaining to his accession to power in the new government of Ossian (II – xxi – (viii) – Wahid glanced charily over at . . . nominal post-industrialism).  “Perchance a terse rose did memorialize the ancien regime I, once subsumed, vilified with janissarial disavowal during the unsteady bliss of novelty that throbbed with unexercised options.”  Desdemona asks Ahem to “sketch the narrative legacies currently conducive to existing circumstance.”  The manuscript subsequently (reshuffled as of November 2008) shifts to the activities of Global Village principals (II – xxii – (xiv) – Charles Nesbit, with the first . . . thought).

II – xxii – (xiv) – Charles Nesbit, with the first . . . thought.

SUBSCENE

Charles Nesbit, with the first . . . thought (1.59 KB).

            Narrator:  Charles’ sketch, referring to his supernatural abilities, is wasted [in II - xiv, 1st draft reckoning] . . . use to frame events that at present lack explanation . . .

                A Time & A Place (Setting):  A yacht off the Bermuda Triangle.

                Primary (active, subject) Ch:  Charles Nesbit.

                Secondary (inactive, object) Ch:  Dark matter creatures (sic bat), tictuses, “an escaped lumine found nestling within the bird seed.”

                Tertiary (referenced, en passant) Ch:  Noone, who had purchased the tictuses’ freedom to repair the Village Server.

                Purpose:  The principals of the Founders’ League (Sergei, Sasha, etc) scatter after being exposed in the press.

                Method (narrative, process, genre):  Parody of thriller genre; language strained to simulate alien interference.

                Relevance/Transition:  Charles’ “line on tuning fork activities” is referenced as “some plausible explanation for the things afoot . . .

a screen saver that does not kick . . . the search of the skies

Circa August 1999.  Heavily revised June 2001.  Old text that has survived, featuring the mobilization of officials of the Global Village.  In response to criticisms from the media they depart on various expeditions.

Circa October 2002.  The hang gliding hobby of news mogul Charles Nesbit brings him to the vicinity of Purgatory and he collects a small menagerie of dark matter creatures.

After the Niceans temporally abduct Logan Ferguson as a catspaw to divert world attention from their inbound expedition (Ch. IX – Charles . . . was about to toast), an “emergency session of the Global Village convoked in Gotham.”  Matthieu, preparing for “a celebration of his vita,” bids his colleagues to “take vacations . . . Van Etnabaron, after “a fortnight of poring through 13th century architectural records,” discovers the “shipping logs . . . of Gaeta, bustling portal of the Emperor Frederick the Second.”  This is a good spot to insert historical background (Ch. V – past existence et all; Ch VII et al).  Here, Sasha learns of the long missing Porcupine Conch (details later provided in Ch. IX - 260 – Feb 15c, dialog, most recent thoughts on the Old World), and “as a service to his benefactor, Dan il Fiume Foccaccio, prepares for the great expedition sketched in Ch. VIII – Piscine Excursis – they rode out; Piscine Excursis – sybil monserrat y capella) . . . Charles Nesbit sails to the Bermudas, where he maintains a menagerie of dark matter creatures captured during his hang-gliding activities (Ch. X - Binaca’s children occured . . . to risk finding them).

II – xxii – (xvii) – Van Etnabaron, with all . . . off the deep end.

1.  Van Etnabaron, with all . . . off the deep end (1.22 KB).

            Narrator:  TBD

                A Time & A Place (Setting):  The Global Village.

                Primary (active, subject) Ch:  Van Etnabaron.

                Secondary (inactive, object) Ch:  Matthieu.

                Tertiary (referenced, en passant) Ch:  The Porcupine Conch at Tarsus.

                Purpose:  Character motivation (heavily augmented by Fall ’08 workshop material) . . .

                Method (narrative, process, genre):  Narrative, dialogue.

                Relevance/Transition:  Short transition (possible lead) sketch; parallels actions of other actors (Sergei, Charles, etc) after Mobilization . . .

II – xxii – (x) – The metallic day-glow mega-nik . . . chimed into being.

2.  The metallic day-glow mega-nik . . . chimed into being (3.09 KB).

            Narrator:  TBD

                A Time & A Place (Setting):  The desert outside Las Vegas.

                Primary (active, subject) Ch:  Burning Man.

                Secondary (inactive, object) Ch:  None.

                Tertiary (referenced, en passant) Ch:  Marathon.

                Purpose:  Awakened by Marathon, Burning Man lurches into being.

                Method (narrative, process, genre):  Pursuit sequence (surrealism).

                Relevance/Transition:  Temporal continuity (it’s possible to insert a sketch of inter-related themes) . . .

x – . . . the terrain gesticulated . . . the fiery match.      16KB  RTF     12/2/2006      1:24PM

Circa May 2006.  Meta-textualized travelog into the Nevada desert in search of Burning Man.

A composite sketch, not as messy as some, which unspools in roughly consecutive order.  Lothar, who has “to find a date for the fire sale (I – xvi – (x) – As the fjulsfut expedition swerved . . . to set him aflame prematurely; II – xvii – (viii) – Prior to embarking . . . at dusk),” encounters Mantissa (II – iii – (ii) – Upon resumption, a woman . . . on many levels).  After preparations elsewhere documented (II – xvi – (vii) – Spared by the eleventh hour . . . in full glory), the composite sketch resumes in the desert, where “the outfitters had the abysmal luck to set out into the teeth of a Red Flag night exercise (II – xviii – (wix) – Then you will not . . . meet in forty-eight hours).”  Mantissa splits off (II – xwix – (wix) – It was always there . . . the rangemaster later indicated), wanders the salt flats seamlessly (II – xwix – (wix) – Before any vital . . . bottomless cup), amidst thirst-induced mirages (“[t]he factual sternish stellar golightly chirped, reproachfully intent with fluffy cinnabar this of all mornings, and nightmare drumlins receded like distinct cantos of fleeting sagacity,” when, “[s]tartlingly, a black sprinkly golem, paroled from the sump, crassly pointed north, selfsamely fetid in potent ethnology (II – xxi – (wix) – Roveretto discovered . . . alike beanbag shrieks).”  Mantissa flees as “[t]he mettalic day-glow mega-nik blitzed into view to tunes of ever synchronous hat tricks lurid with resinous dearth (II – xxii – (x) – The metallic day-glow mega-nik . . . chimed into being),” outpacing “the rest of the cast toiling through the waist deep crabgrass in the dingy lee of the hills to the west.”

II – xxii – (viii) – After spending the morning . . . to the parent corporation.

SUBSCENE

After spending the morning . . . to the parent corporation (2.76 KB).

            Narrator:  Murky political plot; this character sketch of Wahid is dependent on the recasting of the interrogation sketches of Wahid and Idres lifted from Act II – vii. 

                A Time & A Place (Setting):  Ossianian, after the U.S. invasion.

                Primary (active, subject) Ch:  Wahid.

                Secondary (inactive, object) Ch:  None.

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

                Purpose:  A character sketch of Wahid, the most devout of Ossianians, who also has access to inter-regnum wishram.

                Method (narrative, process, genre):  Metaphysical.

                Relevance/Transition:  Develops numerous topics, including Ossianian history and the frumious bandersnatch . . .

Studying the hadith . . . to the parent corporation.

Circa September 2005.  Impressions of the central front reflective of a personal withdrawal.

Sometime after the U.S. invasion of Ossian, its leading citizens are coming to terms with the new egalitarianism . . . the essay returns to Wahid in a dark study, recalling the deaths of his family during the Scythian war at the hands of the sandman.  With an effort he returns to his project, involving the construct of an ersatz bandersnatch, and the skeptical reaction of the clerics after he submitted this question to him.  The last section of the sketch is temporally problematic, since it takes place in the early 21st century (circa 2004-2008) prior to the Earth’s stoppage, whereas the advent of the dark matter bandersnatch that has slipped through the finth cordon sanitaire to suck up all of the bandwidth is a post-stoppage (late 2012) phenomenom detected by Lothar Flusstapfer from his prison cell (Ch. X – A bleak point . . . inculcated through the floral cathode certificate).

II – xxii – (vii) – Stashed away for . . . disingenuous aloofnesses.

SUBSCENE

3.  Stashed away for . . . disingenuous aloofnesses (2.72 KB).

            Narrator:  A broadening sketch featuring characters of Noone and Dauphine at the Village Server; Creed’s role is problematic: he’s apparently waiting to hijack a plane, a plan thwarted by Talitha in Act II – x (1st draft reckoning), so this sketch can be placed anywhere from mid Act I to early Act II.

                A Time & A Place (Setting):  The other Mary’s hometown.

                Primary (active, subject) Ch:  Norah Anne (Noone).

                Secondary (inactive, object) Ch:  Other campers.

                Tertiary (referenced, en passant) Ch:  Dauphine Hudspeth.

                Purpose:  A computer camp for wayward hackerettes (obvioregals) who tend the Village Server.

                Method (narrative, process, genre):  Social surrealism, character sketch.

                Relevance/Transition:  Fantastic . . .

x – . . . Stashed away for . . . disingenuous aloofnesses.           3KB     RTF     5/27/2007      9:50AM

Circa April 2007.  Explaining the scope of Dauphine’s detention at the other Mary’s hometown, a minimalist camp run by Noone.

A deadpan sketch (II – xxii – (vii) – Stashed away for . . . disingenuous aloofnesses) begins with a twit at intellectual property (“stashed away for years after duplicating internet fanfares”).  Norah Anne (II – xvi – (vii) – After leaving Creed at . . . dawn and . . . everything), in charge of developing Pyrogabion software, can only depend on the moody Dauphine, who’s named herself after St. Agnes, “whose intercession dampened errant reprisals along the coast of orange blossoms a millenium ago (I – iv – (xv) – Yes, my son . . . the chaplain confirmed).”  In this parody of static humanist values, “relearned in silence and reconstituted in mother boards and legislated takeovers [,] they were told at an early age that if your head is a terrarium periodically closed down for maintenance echoes, never at any time contend with the glossy sanitary loaves thrust upon you from hidden flumes . . . we are at best vapours of excessive value, or more commonly sprang from microbial infests of the shoal murky pool that was like stolen thunder, and old mother Earth will deal within her usual good time dears.”  Dauphine is at most “jollied . . . along only so far until she’d evinced disingenuous aloofnesses,” seemingly enjoying Noone’s platonic protection, at least until Health Control arrives to spring her (III – xvi – (xvii) – The little icons had . . . participatory democracy).  This sketch placement in late Act II introduces the workgroup managers (II – xiv – (xvi) – At Menard’s nod, the ensign froze . . . her organizational values) of the Village Server, who play keynote roles in Act III (III – xx – (v) – Ever since an eventual . . . stasis grinned).

 II – xxii – (xiii) – The youthful Niceans, escaped from . . . her premise, left immediately.

SUBSCENE

SLAM

The youthful Niceans, escaped from . . . her premise, left immediately (4.18 KB).

             Narrator:  The sketch of the youthful Nicean rebels was placed in II – xiii (1st draft reckoning) to maintain temporal continuity, but gets lost in the shuffle here and needs to be recast.

                A Time & A Place (Setting):  Distant space, approaching the Noses of Snorggi.

                Primary (active, subject) Ch:  The rebel Niceans.

                Secondary (inactive, object) Ch:  None.

                Tertiary (referenced, en passant) Ch:  Lillith (ur-queen of untenets); Norns; ne Dipole.

                Purpose:  After slipping the moorage of inter-regnum, the rebel Niceans approach the Noses of Snorggi.

                Method (narrative, process, genre):  Absurdist.

                Relevance/Transition:  Contained therein are references to decapitation which were designed to apply to Slam’s death after the poetry contest . . .

at the outset of the journey into Snorggi’s nose much happiness is . . .

Circa May 2002.  An attempt to assure the reader that although the Earth is thrust into a new geometry, this is going somewhere.

Circa August 2003.  During the interim between overseas tours I attempted to describe the physical requisites for re-ordering the solar system into a pre-Copernican (i.e. Ptolemaic) configuration.  

This sketch follows from events described in Ch. I – Events . . . assuredly deferred, during which the youthful monads requisition a tapper and head . . . the conspiracy may refer to the Nicean rebellion to which we now return, having braved successfully Snorggi’s nose (Ch. I – Events . . . assuredly deferred) to find a universe “less dense and more intelligent in design.”  Filled with resolve to inform their kin of the new path, the rebel Niceans are soon overtaken by paranoia and torpor . . .

 

Category: ACT II Exegesis

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