II – xviii – Three Feet From Alexandria

| August 8, 2012 | 0 Comments

II – xviii – Three Feet From Alexandria.

 II – xvi – (vii) – After leaving [the Moxie pageant] at . . . dawn and . . . everything.

 SUBSCENE

2. After leaving Creed at . . . dawn and . . . everything (1.59 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 Global Village.

                Primary (active, subject) Ch: Norah Anne (Noone), manager of the Village Server.

                Secondary (inactive, object) Ch: Creed, left at the airport.

                Tertiary (referenced, en passant) Ch: None.

                Purpose: A broadening sketch depicting the importance of the Village Server.

                Method (narrative, process, genre): Process, wordplay, the Global Village Server as “a transitional structure.”

                Relevance/Transition: Aside from the problematic role of Creed at the airport, this is a loose introduction for Noone’s daily travails with the obvioregals at the Village Server . . .

 Making it impossible for . . . cultural diffusion.  

Circa May 2002. An attempt to rationalize the emergence of the Global Village as a legal entity with S. recommendations.

Someone, probably Fernand, resumes “rattling on this battered old Smith-Corona,” treating themes of short term memory loss: “decision transposed in fiery vanilla secrecy . . . to emulate the visions of hope transmitted bythniatically (biathanatos: referring to the thin barrier between waking dreams in reality),” while attempting to describe the characteristics of the Global Village: “steadying influence . . . innermost decency . . . agent of change that defied oblivion,” and the variegated motives of its adherents. Conceding that they “had scorned that all of mankind would willingly gather within an earthly aegis,” the essay goes on to ask why this generation was “any different from the past legions of visionaries, reformers, and necessitarians?” This question is incompletely addressed in the subsequent passage.

 II – xviii – (viii) – Fernand had . . . the cursory bind developed.

 Fernand had . . . the cursory bind developed (2.73 KB).

             Narrator: Three distinct characters: all too busy, Ahem, and Fernand, are set in motion here with the aim of converging upon POD (who has failed to repossess Fr. Anselm) in Act II – xii. This is an effective thread and should be kept as is. 

                A Time & A Place (Setting): The mid-Atlantic training swamps.

                Primary (active, subject) Ch: Fernand.

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: Ensign Plair; other cadets.

                Purpose: Fernand’s transitional adventures after accepting the job to infiltrate the Kalisthenes Institute.

                Method (narrative, process, genre): Absurdist.

                Relevance/Transition: We leave Fernand having “to pick up every stitch at security” and move on to other events . . .

 II – xvii – (vi) – I’m here to talk about . . . her.

 I’m here to talk about . . . her (2.76 KB).

             Narrator: TBD

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

                Primary (active, subject) Ch: Lt. Col. Simic versus the Soundman of Ossian.

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: The Daughters of wergild.

                Purpose: A confrontation that validates and diffuses the constant build-up of this chapter.

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

                Relevance/Transition: Cliffhanger. Several historical events problematically allow readers to identify Ossian, as if anyone needs help. . .

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.

The battle is important because, thanks to the inept tomb raiders burrowing beneath Bag End, the angels bound under the Euphrates are released (Revelations 9:14). Lt. Col. Simic, leader of the northern contingent, after penetrating the heart of darkness in Ch. I - Some impediment . . . clambering around the agnomen, is likewise in limbo after her ambiguous escape. The sandman attempts escape in one of the virgules, “once too often is a drag,” and is trapped (Ch. I – A man lay in a barrow . . . of political awareness) in reflections until unearthed by coalition forces.

II – xviii – (xvi) – Logan directed . . residual dioramas.

2. Logan directed . . residual dioramas (2.25 KB).

            Narrator: TBD

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

                Primary (active, subject) Ch: Horace Tolstoy.

                Secondary (inactive, object) Ch: Logan Ferguson.

                Tertiary (referenced, en passant) Ch: Gretchen, Creed.

                Purpose: Returned to real time, Logan disavows his role in the Earth’s inversion. Numerous themes (some obsolete, such as Logan’s connection to the mad bomber, Creed), including the lithiwatt and the Polar Star orbital platform, are discussed. Horace reveals his own injuries suffered in the service of mankind.

                Method (narrative, process, genre): Dialogue.

                Relevance/Transition: The central dialectic between Logan and Horace forms the core of a revised tetralogy.. . .

II – xviii – (vii) – Floridly cubed bevels . . . upon a gargoyle.

Floridly cubed bevels . . . upon a gargoyle (3.99 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): The cathedral at Worms, 13th century.

                Primary (active, subject) Ch: The sacrist, Fr. Anselm.

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: Other cathedral construction crew.

                Purpose: Lured to investigate the lurid alien protuberances at the top of the cathedral ceiling, Fr. Anselm collapses a scaffold.

                Method (narrative, process, genre): Surrealism, wordplay, imagery.

                Relevance/Transition: This sketch is too powerful to be merely appended as an expiation of the preceding sketch . . .

VIII – Floridly cubed bevels . . . sat upon a book.            5KB     RTF     8/3/2006         8:40PM

Circa July 2006. Fr. Anselm, climbing to examine the transept, collapses the scaffolding.

As Fr. Anselm’s trial (II – xvii – (iv) – The assessor will be most interested . . . during the equinox) turns to the death of the Elector of Flippenburg (II – xvii – (vii) – At the fringes . . . all ill emanated from it), an encompassing vision of the transept (II – xviii – (vii) – Floridly cubed bevels . . . upon a gargoyle) finds Fr. Anselm among “[f]loridly cubed bevels . . . enamel frescoes . . . in flabbergasting symmetry . . . lateral parallelopipeds . . . smilax cornices with nimble flourishes . . . notched panels, moistened with niter . . . methodically exteriorized . . . damascene keystones . . . braised trestles . . . gambrel concordances . . . tacitly evocative of a quadrilateral hereafter . . . crenellated buttresses” gawking “upon multiform urticaria shrewdly polycrystalline.” The foreman avows these “are spawned of viscous resins during the smearing of niter, and are dislodged by avid abrasion.” The sacrist climbs the scaffold to study “the involuted protuberances . . . and his foot struck an abandoned rivet. From the plank it rolled and plunged; grinning caryatids eyed its drop and the sacrist, anxious lest an unsuspecting artisan loitered far below, averted his glance to loose a cautionary shriek that stifled in alarm, for in tracing the progression of the falling bolt to the exclusion of the all-encompassing abyss, that construct manifest immediately in horrific magnitude of silence dimly laced with coruscating dustmotes; his kneejerk solidarity transfused trusses in a rictus of tremulous convulsion and the scanty mock-up dissolved spuriously . . . [a] guano splattered archetrave greeted the sacrist as he wedged his girth from the sash to teeter upon a stucco palisade blinking into crepuscular eventide . . . the laborers, alerted by the sacrist’s failure to appear for vespers, were sifting jetsam of the defunct intaglio as . . . the latter slipped across the zinc flashing, faint wails of dismay reached his ear for, unbeknownst to him, the searchers had located a lifeless personae within the clutter below.” This discovery, also related from Florian’s point-of-view (II – xv – (iii) – Since his trans-mogrification . . . at solicitude), serves to persuade the papal assessor that Conrad’s death was accidental, thus removing the capital charges (I – xvi – (vi) – Rejoicing, we designate . . . the interests of the court) against Fr. Anselm, who is subsequently only asked to recant his cosmogeny (II – xx – (viii) – Within the cathedral . . . preserve us from the dark swoopers).   

II – xviii – (vii) – The ghost riders . . . received a busy signal.

The ghost riders . . . answered his own telephone (2.86 KB).

            Narrator: TBD

                A Time & A Place (Setting): An ephemeral plane/The Global Village (Iberia).

                Primary (active, subject) Ch: Ylferim (Matthieu).

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: The Preceptor (AKA Prefect, the “palmer”); the Nicean eighths; Hermione, Alger.

                Purpose: As the ghost riders swirl into the temporal realm, negotiating the eviction of the Niceans from Earth, Ylferim resists the blandishments of the eighth to “go west” and be subsumed in inter-regnum wishram.

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

                Relevance/Transition: As the activities of the ghost riders on the ephemeral plane parallel the U.S. forces invading Ossian. Ylferim accepts a long-distance telephone call (from Ahem?) . . .

They seemed to be . . . his own telephone.

Circa April 2005. The gathering of the ghost riders witnessed by Hesitance and Ylferim.

Third sketch of 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). There needs to be written at least one more sketch, just prior to this, during which the principalities hammer out the eviction of the Niceans from pre-historic Earth. In the course of their ghost riding activities, causing much geological destruction on the planet, the altruistic impulses of many of the subsequent human characters is elicited (see also Oratonics, Ch. III – The Formosan . . . preceded to the circle of predestinated afterclap) in giving. In the present sketch, their activities winding down in the comprehension of “standardized codes,” the preceptor (i.e. prefect) reminds the Nicean eighth that “heck, if if weren’t for my boss freezing a few of your ante-diluvial eighth in media stasis res there wouldn’t be such great big ideals out on the table.” The metier sniffs at “the inner sanctum,” and “during the admittable symbiosis helium mentholated bird seed manifold plunged (Ch. III – A little stuck on . . . pale gerunds) Hermione (Ch. X - Ambling beyond the bon . . . static protest flout destiny) is left to sort out the translation. “Following an unpleasant encounter after stumbling across the picket line of a robin who was having a bad day Ylferim went home.” He seems to be on his last legs (this is probably before Ch. IX - encomium to el fiume – la vida suena), his “manner recalled the dying seminarian whose turntable had scratched out duke of earl (risk assessment), much to the annoyance of his fellows, each dawn,” and sensing that “the tappers (Ch. I - Under a clear spell a . . . direct fee simple in the works) indicated that those preponderant silo Elvises were disposed for the impending train,” Ylferim signals his valet to bring “his nightly trials, an Irishka .556 and an ashy meerschaum, each loaded.” His soliloquy (perhaps needs to be written) is interrupted by the telephone. Is it the sandman calling from Ossian, seeking a biographer to film his personal history (Ch. I – In an air . . . of his burrow) prior to the U.S. invasion (Ch. I – The land of Nod . . . seemed hollow to her)? No, it can’t be, as this would preempt the chausseurs in the first sketch of the risorgiamento group from unveiling subsequent events. It’s more likely Marta Meringue, who arrives to film a biopic of the Global Village, and she and Ylferim go off to see the Norns (Ch. I – A concept of . . . a recent event).

II – xviii – (wix) – When the telephone . . . trapped in linear thought.

When the telephone . . . was speaking to his grandson (1.42 KB).

            Narrator: TBD

                A Time & A Place (Setting): The desert outside of Las Vegas (“the shadow of Ta’teptetawata”).

                Primary (active, subject) Ch: One of the Persons.

                Secondary (inactive, object) Ch: His grandson.

                Tertiary (referenced, en passant) Ch: Federal marshall.

                Purpose: A rather progressive member of his tribe, One of the Persons is standing out in the desert when the payphone rings.

                Method (narrative, process, genre): Imagery, character sketch.

                Relevance/Transition: This sketch, introducing the conversation between One of the Persons and his grandson (Park), is snipped to cross wires with other conversations (possibly envision a cosmic switchboard monitoring these conversations in time) . . .

It had long been held . . . the telephone . . . answered.

Circa March 2001. The person in charge of testing polar star orbital platform prototypes, Park, telephones his father in Nevada and learns that a refueling hose from an Air Force tanker has fallen on his house, exposing his peyote still. Park decides to resign his commission and accepts another call (not specified).

The sketch begins with a short essay on the efforts to locate the inbound spaceborne projectile. A native American veteran of WWII answers a telephone in a booth in the middle of the desert and speaks to his son, Park, whom he informs of a recent aerial accident that damaged the latter’s house. Written during the first weeks of the current administration, when the faith based workplace was the biggest issue the United States ever faced, it also anticipated Park’s rigorous testing protocols (written eighteen months later in Ch. I – R&D continues on the polar star . . .). Thus the bulk of the text refers to events that are far beyond the stage depicted by the opening essay. It is common knowledge that the inbound projectile is nigh. The essay may be usable as frame for subsequent sketches (Ch. IX – revised inter-regnum background; Ch. X – . . . whenever Frank donned . . . their purpose awaited rewind; Ch. XI – Shh Snorggi will hear) alluding to this topic. At any rate, after having destroyed both prototypes and delayed the R&D process as of early 2011, Park’s position is jeopardized by the discovery of his still. He accepts another call from an unidentified caller, and his career thereafter dissolves in ambiguity, with uncharacteristic roles as Sergei’s sidekick (Ch. VIII – A screen saver that does not kick . . . the search of the skies; Ch. VIII – Failsafe Invitational) and an appearance in the distant future (Ch. VI – life in the U, flatpop, seven stix, 2033, tale spin). 

II – xviii – (wix) – Then you will not . . . meet in fourty-eight hours.

Then you will not be . . . that roaring bosom (1.87 KB).

            Narrator: TBD

                A Time & A Place (Setting): From the desert outside of Las Vegas to distant space.

                Primary (active, subject) Ch: One of the Persons & his grandson, Park.

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: An discoverer (all too busy).

                Purpose: Park is trying to learn the fate of his house.

                Method (narrative, process, genre): Dialogue, cosmic naturalism.

                Relevance/Transition: The cosmic switchboard segues within the sketch to all too busy’s attempt to explore the new galaxy. The final phrase (“roaring bosom”) is a fitting precursor to the next noisy sketch. . . .

The outfitters had abysmal luck . . . meet in forty-eight hours (5.54 KB).

            Narrator: TBD

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

                Primary (active, subject) Ch: The U.S. Air Force.

                Secondary (inactive, object) Ch: None.

                Tertiary (referenced, en passant) Ch: The outfitters: Roveretto, Marathon, and Lothar.

                Purpose: The expedition to find Burning Man encounters resistance.

                Method (narrative, process, genre): Surrealism, wordplay, imagery.

                Relevance/Transition: The outfitters agree to meet in 48 hours, which could permit the insertion of at least two more inter-related sketches to follow.. . .

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).”

sneaking upon BIG BANG

2002-2005: Composite sketches, either devised in cyber space, or encompassing blank manuscript verse that didn’t quite connect. These flawed structural orphans are meant to enclose other sketches by providing background information. They are of variable effectiveness. LETHE.

. . . it’s messy, combining elements of three sketches: Ch. II – There also though were . . . to his colleagues; Ch. XI – flew out of . . . human idiom; and the extant Ch. V – sneaking upon the BIG BANG. Before I begin combing the duplicate text, which is vehemently claimed as an integral portion of each sketch, let’s look at BIG BANG in isolation. First, it is coeval with Ch. III – Fernand rolls over the big pond. “An explorer (all too busy) had planned to announce a problem solved.” Perhaps this problem is the location of the missing POD who, himself being lumine, has sent a universal distress signal after his attempted possession of the gruff Ossianian minister goes awry. all too busy should spell this out at the outset, knowing that Aurora would like to get her hands on the POD in order to restore the chi (still don’t know how this was broken in the first place). all too busy is trying to escape the net, but this Ambassador has somehow stolen his thunder, so it’s not just a scouting expedition: all too busy wants to grab the POD for himself to return in triumph to inter-regnum. Perhaps that needn’t be spelled out just yet. The wait for clearance beneath Ezekiel’s great fourfold wheels effectively conveys a sense of impatience. He zooms off.

 

Category: ACT II Exegesis

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