The cat turned on the radio again and woke you both up to a bright sunny east windowed room even with the shade down, a rarity this winter. Breakfast and the paper and it is now mid-morning. > Upper body exercises and a short rest. You are still ambiguous about scene four.
I want to show a connection with scene three but it has too much in it. Plus, I have a question as to where Merlyn is when he ‘sees’ the two threaded strands of light and thought? I just read the NYTimes movie review of Alice by Manchla Dargis and am disheartened by the writer’s thought that :
“. . . first down the hole and then into a dreamscape — unfortunately tricked out with 3-D that distracts more than it delights — where she meets a grinning cat and a lugubrious caterpillar, among other fantastical creatures.”
The ‘unfortunately tricked out’ sounds like my books. There is so much in them that surely it is a distraction to the reader. I don’t see it this way, of course, but then I rarely, if ever, consider the reader’s interests and instead stubbornly insist on my way or the highway. In other words, I have bothersome personal characteristics which hang out there between your words, my unconscious translation of your words, and the reader’s eye. And, to me, this is what Dargis is saying about Burton. I did not erase what I had yesterday on scene four. It isn’t much, but while Mario sits in contemplation, I appear to be doing the same.
“Mario sat in contemplation on a simple wooden chair on the dry bank of the Styx following the stone block construction of the temple gate. I wonder why it is that dead, we still find time for sleep? What makes sleep a necessity Here? The old myths have not been fully correct, suppose we get to the other side and find more Dead. Egyptians, perhaps.”
I didn’t make the connection between sleep and dreams last night. How obvious. But while Merlyn’s dreams are essential for the storytelling, what use do the dreams provide the other Dead? How do they learn and grow from their nightly dreams? Is the memory of the dream a prerequisite? Do the dreams provide the more personal, subjective, HeavenOrHellBothOrNeither?
I like your thought “Is the memory of the dream a prerequisite?”
I misstated. What I meant to say is, is that once dreamed is the memory of it automatic. In other words, the dreams the Dead have, are remembered, and must then be dealt with consciously. Thales did not remember all of his dream however, so I have to follow through with what is here.
I like the thought as it is stated, orndorff. It has a bit of Alice in it, don’t you think? The tree of thought and light Merlyn envisions can be modeled from the tree at Oxford. Place both photos here for reference.
This tree is the key. Again, it is similar to the tree in the middle of the circle of stones in front of Mother’s home in Elysium. It also serves as the genetic tree of the human species.
See, this is what I am talking about Amorella. Once you remind me I get it, but no one is reminding the reader of any of this. Plus, what is the metaphysics of this tree of thought and light? The more I think on this the better I like it. Lots of quantum entanglements and such.
Physics standing on end as it were. Maybe this next scene needs to be about the tree so the reader gets a better understanding of its implications in the series. Something with time relative to its own branch or twig or leaf. Or each leaf a universe like our own. That image has been used before in the series somewhere. This is what I like. Provides enthusiasm for the mind, pumps it up for a big run of thoughts. The metaphor even provides a sense of spiritual force.
Not in these books, boy. Metaphysics is not G---D in these books, not even close. Keep it to metaphysics and human imagination and physics and reason and science. Let’s leave G---D out of it. Angel metaphors are as far as we go as far conceptual bindings are concerned. – Amorella.
You are right, of course. I want to stay clear of that path. Thank you for the reminder.
Mid-afternoon and you have direction in your just completed next paragraph in scene four.
“No one seems to ask where the other Dead are [thinks Mario], those of other cultures. Birds of a feather flock together. No birds here though except the ones we see through our life’s memory. Suddenly, Mother must know. Mother must know where the other Dead are. I will go see her myself.”
Here is where we can go into dimensional aspects and discover why Mother is not adverse to bridge building. As mitochondrial Eve she sees herself as the trunk of the species, but science knows better. Human beings existed before your mitochondrial Eve. And, for those who have read the first three books, it is known that on ThreePlanets the Marsupials also had a mitochondrial Eve. So, with the metaphorical tree we are talking about a branch that is split, part on one side of the galaxy and part on Earth’s side, not the tree trunk itself. And, even with this there is the actual trunk as well as the roots below that. See, orndorff, you are having fun already. – Amorella.
Yes, yes. This is good. A dialogue between our Mother and Mario sounds really cool. What a subject. And, with the tree, at least there is a sound logic, a reasoning, a skeleton to follow. Roots to leaves. Awesome! Can we have reason at both ends and any metaphorical angels or angelic-like, or Betweeners like the Saki, faeries, whatever you want to call them, somewhere between the branches? I would like an overview of the whole metaphysical engine here, something I can attach my mind too, something beyond time and space, etc. I am getting pumped for speculation and thought here.
You are so used to writing out your immediate thoughts that that is what you do. You want a schematic of sorts.
Yes, like the outlines one finds for Dante’s The Human Comedy. Then I have a framework that the series can be placed in metaphysically and otherwise. That would be neatified and coolly awesome, Amorella.
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