I picked up this comic the other day on a whim. I was in a new comic store and saw this on the shelf. It looked interesting, so I bought it. Wow! I was really impressed.
First, I need to point out that Ms. von Buhler is both the writer and artist for this graphic tale, and her work is outstanding on both fronts. The writing and the artwork both excel in quality. This is a fictional detective style story based on historical facts about Nikola Tesla and the mystery surrounding his life and death. In addition to creating an engaging mystery tale, Von Buhler also uses her character, Minky Woodcock, to explore issues of gender bias. The result is a definite work of art.
At the end of this installment is a section entitled “Fact versus Fiction,” where von Buhler cites the historical facts that she weaves into the tale. She also shares some interesting tidbits about her research, which I personally found fascinating.
Tesla lived in the New Yorker Hotel in 1943. Every day he would walk to nearby Bryant Park to feed the pigeons. He took a fancy to an injured white pigeon after nursing her back to health. As part of my research, I stayed overnight in Tesla’s two small rooms on the hotel’s 33rd floor where his beloved pigeon would enter his room every day via a window facing the Empire State Building.
It is worth noting that Tesla was convinced that there was power associated with the number 3, and he was quoted as saying, “If you knew the magnificence of 3, 6, and 9, you would know the key to the universe.”
If you like detective stories and graphic novels, then I highly recommend this one. I for one will be reading the subsequent installments in this arc. Thanks for stopping by, and may you always discover new and interesting things to read.
In our current society, poets and poetry rarely get the broad recognition they deserve. An exception to this is The Hill We Climb by Amanda Gorman. When she read this poem to the nation as the Youth Poet Laureate at Joe Biden’s inauguration ceremony on January 20, 2021, I for one was floored. That a 22-year-old poet could compose such powerful and timely words, and present them with poise, dignity, and inspired optimism, renewed my belief in the power of words to foment change in our world. Regardless of which side of the political divide we may find ourselves, it is impossible to deny that Ms. Gorman’s words were able to bridge that divide and offer hope in what was a difficult time.
In her introduction to the printed version of the poem, Oprah Winfrey wrote:
Everyone who watched came away enhanced with hope and marveling at seeing the best of who we are and can be through the eyes and essence of a twenty-two-year-old, our country’s youngest presidential inaugural poet.
I am in complete agreement.
There are two short excerpts from this incredible poem that I would like to share.
And so we lift our gazes not To what stands between us, But to what stands before us. We close the divide, Because we know to put Our future first, we must first Put our differences aside.
The truth of this statement is self-evident. We cannot advance as a nation, or as a species, unless we learn to stop vilifying those who have differing opinions and beliefs. Focus needs to shift from differences to commonalities.
So while we once asked: How could we possibly prevail over catastrophe? We now assert: How could catastrophe possibly prevail over us?
This past year has been hard for all of us, and our world continues to pose challenges. But challenges, while painful to work through, often provide the spark of heroic inspiration needed to “climb the hill.” Every journey has a point where the odds seem insurmountable. We stand at this threshold. But as Amanda Gorman shows us, we can take that next step and move toward ushering in a better world for all people.
I strongly encourage you to go out and buy a copy of Ms. Gorman’s poem. It is important that we support those creative individuals who inspire us to become the best that we can be.
Recently, I was in Carmel and visited an indie bookstore. While browsing, I found this book on the shelf. Since I have been to Big Sur, and I liked On The Road, I figured I would pick it up and give it a read, even though Kerouac’s Dr. Sax was one of the worst books I have ever read.
Truman Capote hated Jack Kerouac’s work, saying: “That’s not writing, it’s typing” (Source: Wikipedia). And I have to say, Capote has a point. As I was reading the text, it was full of typos, Kerouac did not appear to spend any time editing, and usually he opted to skip superfluous stuff like punctuation. In fact, according to sources, Kerouac “typed up” this entire book in a mere 10 days (Source: Wikipedia). But that criticism aside, I kind of liked the book. The story was interesting and stylistically it was like a blend of impressionism and stream-of-consciousness.
The protagonist in the book, Jack Duluoz, who is clearly a representation of Kerouac himself, expresses that he is tired of the role of “king of the beatniks.”
Because after all the poor kid actually believes that there’s something noble and idealistic and kind about all this beat stuff, and I’m supposed to be the King of the Beatniks according to the newspapers, so but at the same time I’m sick and tired of all the endless enthusiasms of new young kids trying to know me and pour out all there lives into me so that I’ll jump up and down and say yes yes that’s right, which I cant do anymore—My reason for coming to Big Sur for the summer being precisely to get away from that sort of thing—
The issue that Duluoz soon discovers is that when you go someplace to escape your problems, you end up bringing your problems with you. And these problems edge the protagonist closer to a complete mental breakdown.
For me, the most powerful aspect of this book is Kerouac’s visceral description of the pain of addiction; in this case, addiction to alcohol. The sense of hopelessness and self-loathing permeates every word as he exposes his suffering to the reader.
—The mental anguish is so intense that you feel you have betrayed your very birth, the efforts nay the birth pangs of your mother when she bore you and delivered you to the world, you’ve betrayed every effort your father ever made to feed you and raise you and make you strong and my God even educate you for “life,” you feel a guilt so deep you identify yourself with the devil and God seems far away abandoning you to your sick silliness—You feel sick in the greatest sense of the word, breathing without believing in it, sicksicksick, your soul groans, you look at your helpless hands as tho they were on fire and you cant move to help, you look at the world with dead eyes, there’s on your face an expression of incalculable repining like a constipated angel on a cloud—In fact it’s actually a cancerous look you throw on the world, through browngray wool fuds over your eyes—
While this is not the greatest work of literature, by any stretch, it is brutally honest, and that is what gives the book value. While this is probably not for everyone, if you like the beat writers, you will likely enjoy this book.
In the old days, those who were well versed in the practice of the Tao did not try to enlighten the people, but rather to keep them in the state of simplicity. For, why are the people hard to govern? Because they are too clever! Therefore, he who governs his state with cleverness is its malefactor; but he who governs his state without resorting to cleverness is its benefactor. To know these principles is to possess a rule and a measure. To keep the rule and the measure constantly in your mind is what we call Mystical Virtue. Deep and far-reaching is Mystical Virtue! It leads all things to return, till they come back to Great Harmony!
First off, I have to say it feels a little strange to hear someone referring to “the old days” in a text that was written around 400 BC. But what this says to me is that people are always nostalgic about the way things used to be. I think that says something about human nature.
In this passage, Lau Tzu encourages leaders to govern through simplicity and with “Mystical Virtue.” Doing so will return a nation to a state of “Great Harmony.” Clearly, this is advice that many of our modern leaders could benefit from. When I look at the world, it seems to me to be the antithesis of a Great Harmony.
There is really nothing that I can add to this short passage. I hope you found it as insightful as I did. Thanks for stopping by, and keep on reading.
Take all my loves, my love, yea, take them all; What hast thou then more than thou hadst before? No love, my love, that thou mayst true love call; All mine was thine before thou hadst this more. Then, if for my love thou my love receivest, I cannot blame thee for my love thou usest; But yet be blamed, if thou thyself deceives By wilful taste of what thyself refusest. I do forgive thy robbery, gentle thief, Although thou steal thee all my poverty: And yet, love knows, it is a greater grief To bear love’s wrong than hate’s known injury. Lascivious grace, in whom all ill well shows, Kill me with spites; yet we must not be foes.
In this sonnet, we are presented with a love triangle that is interesting even by modern standards. The speaker is a man who is in love with a younger man. The younger man decides to have sex with the older man’s wife or mistress. The older man, so enamored by the younger man, seeks to reconcile his feelings of love with the pain of jealousy and betrayal, as he becomes aware that his love for the younger man is not enough to satisfy the younger man’s desires.
What strikes me the most about this poem is the pure honesty. Shakespeare cuts right to the heart of complex human emotion and in a mere 14 lines conveys layers of passion and suffering. You can actually sense the speaker’s feeling of being torn between love and hate, compassion and anger, trying desperately to reconcile the conflicting emotions within. And while we may not have personally experienced the same situation, I suspect we can all relate to the feeling of being torn between love and anger.
I hope you enjoyed this poem. Have a great day, and keep on reading.
This is the first book that Susanna Clarke has published since Jonathan Strange & Mr. Norrell, which was published in 2004. I loved Jonathan Strange & Mr. Norrell, so I was eager to read Ms. Clarke’s latest, which although not as great as her first novel, it is still very good.
Piranesi is the story about a person living in an alternate reality, and the text is structured as journal entries. There are some interesting and creative aspects to the book, structurally, but I should say up front that my wife listened to the text as an audiobook and did not enjoy it. I can see how this text would not translate well to spoken word. So, if you are planning to read this book, you should read it and not listen to it.
That said, I figure we can look at a couple passages.
These are the Drowned Halls.
On the Periphery of this Region the Waters are shallow, tranquil, and covered with water lilies, but in the centre they are deep and treacherous, full of broken Masonry and drowned Statues. The majority of the Drowned Halls are inaccessible, but some can be entered from the Upper Level.
(pp. 34 – 35)
The dimension where Piranesi exists is a kind of labyrinthine house, which contains animals and water and statues. What is interesting about this passage is the implication that the house, with its rooms of water, represents the subconscious, the aspects of the psyche which grant individuals glimpses of other dimensions. The deeper you go into the waters of the subconscious mind, the more treacherous it becomes. One runs the risk of “drowning” in this other realm. And the line “The majority of the Drowned Halls are inaccessible, but some can be entered from the Upper Level” implies that most areas of the subconscious mind are not accessible to us, but some may be entered by exiting our normal state of awareness, or the Upper Level. Interestingly, certain words are capitalized, giving them a sense of being proper nouns, or names. Most intriguing is Masonry. While this might be coincidental, I could not help wondering whether it is an allusion to the secret rites of the Masonic order. Ritual is often used to evoke non-ordinary states of consciousness in individuals.
At one point in the story, Piranesi meets a “Prophet” who offers to tell Piranesi how his world came into existence.
He looked gratified by my interest. ‘Then I will tell you. It began when I was young, you see. I was always so much more brilliant than my peers. My first great insight happened when I realised how much humankind had lost. Once, men and women were able to turn themselves into eagles and fly immense distances. They communed with rivers and mountains and received wisdom from them. They felt the turning of the stars inside their own minds. My contemporaries did not understand this. They were all enamoured with the idea of progress and believed that whatever was new must be superior to what was old. As if merit was a function of chronology! But it seemed to me that the wisdom of the ancients could not have simply vanished. Nothing simply vanishes. It’s not actually possible. I pictured it as a sort of energy flowing out of the world and I thought that this energy must be going somewhere. That was when I realised that there must be other places, other worlds. And so I set myself to find them.’
(pp. 88 – 89)
This is an interesting concept, and it is one which I have pondered. If everything is energy, and the First Law of Thermodynamics states that energy cannot be created or destroyed, but only changed from one form to another, and if thoughts and consciousness are forms of energy, then what happens to our collective consciousness? Does it take on new forms, or does it flow somewhere else? What is the effect of conscious energy on other forms of energy? If the energy patterns still exist, can the be “re-collected”? These are deep questions about the very fabric of our reality. I don’t claim to have any answers, but this is one of those cases where the answers are not as important as the questions.
Anyway, to close, I will say I enjoyed this book. I would recommend both of Susanna Clarke’s books.
What is at rest is easy to hold. What manifests no omens is easily forestalled. What is fragile is easily shattered. What is small is easily scattered.
Tackle things before they have appeared. Cultivate peace and order before confusion and disorder have set in.
A tree as big as a man’s embrace springs from a tiny sprout. A tower nine stories high begins with a heap of earth. A journey of a thousand leagues starts from where your feet stand.
He who fusses over anything spoils it. He who grasps anything loses it. The Sage fusses over nothing and therefore spoils nothing. He grips at nothing and therefore loses nothing.
In handling affairs, people often spoil them just at the point of success. With heedfulness in the beginning and patience at the end, nothing will be spoiled.
Therefore, the Sage desires to be desireless, Sets no value on rare goods, Learns to unlearn his learning, And induces the masses to return from where they have overpassed. He only helps all creatures to find their own nature, But does not venture to lead them by the nose.
This passage reminds me of some simple tenets for leading a stress-free and productive life. Start out slow. Focus on the task and don’t worry about the outcome. Don’t procrastinate, but start things early and give yourself plenty of time to do what needs to be done. While these are simple, we so often fail to practice them, and as a result, we create unnecessary stress in our already hectic lives.
I have been making a conscious effort to simplify my life, focusing on single tasks instead of trying to multitask. Taking time for myself. Relaxing. Trusting that things will work out the way they are meant to, and not trying to force the results that I think are the best. As a result of these small changes, I feel happier and calmer, most of the time anyway.
Our world is stressful, and it is easy to get caught up in the turmoil. Lau Tzu teaches us the importance of slowing down and shifting our focus to what is really important. It is old wisdom, but certainly applicable to modern life.
When I was a college student, I took a course on Environmental Literature, where we read such writers as Henry David Thoreau, Rachel Carson, Edward Abbey, Mary Oliver, and others. It was an inspiring course and spoke to my environmentalist sensibilities. The Overstory by Richard Powers would be a worthy addition to a course on Environmental Literature.
This book is exquisitely written and full of insightful and thought-provoking passages about humanity’s connection to trees and the natural world. In fact, as I was reading this book, I took copious notes regarding sections that were of interest and worthy of writing about in this post, but there is one passage that stands out for me above all others in this book:
“You’re a psychologist,” Mimi says to the recruit. “How do we convince people that we’re right?”
The newest Cascadian takes the bait. “The best arguments in the world won’t change a person’s mind. The only thing that can do that is a good story.”
As a person who takes environmental issues seriously and who feels that climate change is the greatest existential threat facing humanity, I am often baffled at the apathy and denial that I see around me. I could not understand why people would refuse to heed the recommendations of scientific experts. But Powers identifies the problem and the solution. Facts and data do not inspire. Stories do. Oscar Wilde famously wrote: “Life imitates Art far more than Art imitates Life.” You can beat people over the head with statistics and argue until you are out of breath, but that will never change another person’s mind. But art, or a powerful story, these can speak directly to a person’s soul.
I had an English professor in college who told me that the books and poems we read matter. The Overstory validates what my professor told me all those years ago. This book matters, and I suspect that anyone reading this book will be a different person by the time they finish.
I like Lady Mechanika. She is tough and smart, qualities I admire in a woman.
For those who are unfamiliar, Lady Mechanika is a steampunk graphic novel series about a woman who is part human and part machine. The writing and artwork in all the volumes I have read have been consistently high quality, and this one is no exception.
I won’t go too deep into the plot. Suffice to say it involves secret societies, travels to exotic lands, searching for ancient relics, and battling a race of evil villains. The stuff of any good hero/heroine saga. What I found particularly interesting about this book, though, was the abundance of references to, and quotes from, occult texts, particularly regarding alchemy, a subject I find fascinating even though I am by no means an expert on the topic.
Anyway, I figured I would share a few quotes to whet your interest.
“Alchemy is the perfect knowledge of whole Nature and Art.” -Franciscus Mercurius van Helmont. One Hundred Fifty Three Chymical Aphohrisms
Strassmann: Three ones? The Tria Prima! Prof. Thomsen: Tria Prima? Strassmann: The three primes of alchemy! The alchemists say that all matter is comprised of three prime components which they call philosopher’s sulfur, mercury, and salt, representing the female component, the male component, and the hermaphrodite, or neutral component.
The Rosicrucian Order is supposedly dedicated to the pursuit of knowledge, and the “enlightenment of man” through the arts and sciences. Mr. Banerji insists that alchemy is of interest to only a small minority of Rosicrucians… and has not been the prevailing subject of study for centuries, not since alchemy gave way to its more respectable form, chemistry. The Rosicrucians may very well be responsible for chemistry as we know it today, a product of their applications of scientific methodologies to ancient alchemical practices. But I mistrust an association that claims to revere learning while shrouding itself in silence and secrecy. What possible harm could arise from the dissemination of knowledge?
I have to say that Ms. M.M. Chen, who wrote the text for this book, clearly did her research. The book is filled with other quotes and references to arcane and mystical texts, including the works of Paracelsus, Eliphas Levi, and Isaac Newton, just to name a few. But do not let this intimidate you in any way. The story is excellent, exciting, and entertaining. Anyone can pick this up and enjoy it.
Thanks for stopping by, and keep reading cool stuff.
When Nature once in lustful hot undress Conceived gargantuan offspring, then would I Have loved to live near a young giantess, Like a voluptuous cat at a queen’s feet.
To see her body flower with her desire And freely spread out in its dreadful play, Guess if her heart concealed some heavy fire Whose humid smokes would swim upon her eye.
To feel at leisure her stupendous shapes, Crawl on the cliffs of her enormous knees, And, when in summer the unhealthy suns
Have stretched her out across the plains, fatigued, Sleep in the shadows of her breasts at ease Like a small hamlet at a mountain’s base.
(Translation by Karl Shapiro)
I read this poem a couple times and sense a few possible interpretations of what Baudelaire is expressing.
My initial interpretation is that Baudelaire is describing a sexual desire towards, everything. In the original French as well as in Shapiro’s translation, “Nature” is capitalized, emphasizing the importance. The poem could then be seen as describing passion towards all creation, that the entire living Gaia is the object of Baudelaire’s desire. One can imagine hills and meadows transforming into objects of sensuality for Baudelaire, as all of Nature stirs his passion.
Next, I had a sense that Baudelaire was expressing a personal tendency towards being submissive, of desiring a strong and dominating woman. The image of him as a cat at his lover’s feet, or crawling up onto her knees, provides the impression that he enjoys being the subservient plaything of a woman.
And this leads to the final interpretation, which would likely have been Freud’s first, that the giantess symbolizes Baudelaire’s mother. He appears to feel a sense of comfort from the giantess’s breasts not unlike the comfort a young child receives from its mother’s breasts. Additionally, Baudelaire seems to echo the sense of bonding a child experiences from sitting upon a mother’s lap.