The Stark Clarities, The Folded Bone, The Horrible Locution--Father Will In From The Violent Storm

[A violent storm moves toward Tlaxcala, Tlaxcala, Mexico and its central church, La Iglesia de San Jose, August 16, 2009. Click on the photo to enlarge the image. Photo by Warren Falcon]

Pretext

Of storms and absolution at the outset, a context for Father Will, for us all as we fall with our Falling Star:

We know mythically that violent storms have served the offended Higher Powers to destroy old and no longer viable divine and human (cultural) orders. These storms arrive, post-destruction, to restore, renew, relink Creative Power(s) with creation and from that tempestuous interaction, with culture. It can be said, then, that culture is a crime of passion for even the gods fight amongst themselves (as they should for it is from this divine conflict that the "10,00 things" of creation are manifest), are subject to an Order/Disorder which we humans continually try to divine from which neither the gods nor we can escape, as poet Mark Strand writes, now "hurled down against the flat stones of our lives." Gods, too, are hurled down upon those stone tablets, unyielding codes, calcified cosmologies representing the flat world of old orders no longer viable because they cannot accommodate the horrific fact of their own shadow (projected upon creatures/creations), the shadow of the institutions formed around them, and of what humans with their brilliant but deadly shadows have been able to technologically create and in the creating awaken globally destructive powers. As our gods are so are our determined destructions. Our annihilating bombs along with our balms are images of our contrary and contradictory gods. It is we and creation who suffer them.

Thus we are startled awake, overwhelmed in this age of authentic anxiety, of pandemic sleep disorders, of pathological gods (Jung says our gods now show up as pathologies, as symptoms), their religions and our consequent spiritual bypasses warily, scarily aware of this cosmic set up in this crushing, cranking cosmological turn of the Wheel since the old and current centers and the meaning they once provided do not, apparently will not, hold because they carry internally their own apocalyptic seeds of destruction in order to be renewed, a process en perpetua, called renaissance, which is a hope but not a guarantee or given. We are in this condition where "the center cannot hold...things fall apart," to quote William Butler Yeats. Carl Jung indicates that we are moving through the threshold of chaos and kairos:

"A mood of universal destruction and renewal has set its mark on our age. This mood makes itself felt everywhere, politically, socially and philosophically. We are living in what the Greeks called the KAIROS - The Right Moment - for a “metamorphosis of the gods”, of the fundamental principles and symbols... So much is at stake and so much depends on the psychological constitution of the modern human.” -C.G. Jung, The Undiscovered Self

"Kairos is the passing moment in which something happens as the time unfolds...it is a small window of becoming and opportunity. One of the origins of the word comes from shepherds watching the stars. As the night progresses and the stars turn in the sky, they appear to rise and then fall against the horizon. The moment when a star has reached its apogee and appears to change direction from ascending to descending is its kairos." --Corrigall, J, Payne, H, Wilkinson, H (eds), About A Body, 2006: pg. 201

Like it or not, Father Will expresses/compresses/distresses within this context of chaos and kairos, the falling star of our Aeon (symbolically, stars represent particular points and specific constellations/apparitions of consciousness). In so doing he speaks for us all though we may hide our heads in bestseller, consumerist New Age and similar sands, vacuous, temporary spiritualish confections, or alternately/alternatively, calcified and calcifying Fundamentalist invectives and insurrections, denial or bile by any other name, sympathetic magic flailing or doctrinaire dogma flagellating against the tragic condition of gods and man, self-righteous fingers or hand folded namastes pointing actively or passively at the scapegoated causes. This understandable but narcotic narcissism in the end will not lead us through this nekyia ("night sea journey") like Odysseus to that newly discovered inland terra firma where we must plant our hand hewn oar carried far from familiar seas and shores.

The fullness of this time, Kairos of the falling star (which is a violent storm, indeed), of cultural/cosmological dis-aster (meaning, ill-starred), is reliant upon human capacities such as they are, but effective enough, to proclaim, reclaim and proceed to ongoingly integrate shadow, human and divine, for it is the work not only of egos but of eras. It is also a time to grow equally enduring capacities for disorder, for chaos so as not to blame or punish gods, Nature nor humans for what appears to be a primary given of existence, entropy, which is inevitable social, physical and energetic decline and degeneration. In tandem with entropy there are or can be evolving human capacities for what I call syntropy where we may more consciously witness and participate in the inexorable falling apart while keeping meaning-threads in mindful hands while winding and finding our way within and potentially out of one labyrinthine Wheel Turn into newer ones of potentially creative/destructive formations. Ensuing personal, collective and cosmological gains may be derived from willful Time's twining whorl and wheal* for this Fateful ordeal of inevitable wandering is imposed by appointed rising and falling stars, ours and our cultures' scars the signatures of their greater impositions.

Ah, but now I hear Father Will growling, "But who or what is it appoints the stars?"

[* "wheal -- mark made on the skin by a whip," 1808, probably an alteration of wale, possibly by confusion with weal "welt," and obsolete wheal "pimple, pustule" (1440), from O.E. verb hwelian"to form pus, bring to a head."


[Portrait of Arthur Schopenhauer, the 1800's German philosopher and inspiration for our Father Will who reappears in this month's essay to quarrel, and in quarreling make confession, with Existenz, his own, mine, the Church's, the New Age and more because of and amidst the persistent agonies. Father Will returns to us here first introduced in my March 2009 Learning For Life Group Newsletter essay also found here on the blogspot (click 'March (2)' under 'Blog Archive'). The retired and retiring, troubled and troubling, goodly Father is a composite character, a convenient and necessary fiction drawn from my practice comprised of many, composed by one. I've chosen his name, Father Will, to signify Human Volition, Will to Power/Will to Cower in homage to Schopenhauer who wrote The World As Will And Representation (To get a sense of his philosophy go here: http://en.wikipedia.org/wiki/Arthur_Schopenhauer). However, any resemblance to an actual person is completely accidental unless it is an oblique locution referring to me. Credit for the painting here of Herr Schopenhaeur is from wikipedia online: "This portrait of Schopenhauer was painted in April 1859 by J. Lunteschutz...This image... is in the public domain because its copyright has expired."

Further Pretexts for Absence:

Artaud warns his readers and listeners that each person who knows conflict and seeks to grow, must expect a shearing of flesh and a letting go of blood in the act of life which is a cruelty.

To be you can let yourself go until you just exist,
but to live,
you must be someone,
to be someone,
you must have a Bone,
not be afraid to show the bone
and to lose the meat by the wayside.

And what is infinity?
We do not know exactly.
It is a word
which we use
to indicate
WIDENING
of our consciousness
toward the inordinate,
inexhaustible and inordinate
feasibility.

...but there is one thing
which is something,
only one thing
which is something,
that I feel
wants to
COME OUT:
the presence
of my bodily
pain,

the menacing
never increasing
presence
of my
body.

To live meant to Artaud--to act, to hurt and be hurt, to experience fully joy and pain, and in so doing, to mold, create--and recreate oneself in the process..."I hate and renounce as a coward every being who consents to live without first having created himself."

--from Artaud, Man of Vision, Bettina L. Knapp, First Swallow Press / Ohio University Press edition 1980, from the Preface, pg. 217-218, pg. 214

And if the babe is born a boy
He’s given to a woman old,
Who nails him down upon a rock,
Catches his shrieks in cups of gold. -- William Blake***

Obit anus, abit onus ("The old woman dies, the burden is lifted") --Arthur Schopenhauer****

According to Julia Kristeva in the Powers of Horror, the abject refers to the human reaction (horror, vomit) to a threatened breakdown in meaning caused by the loss of the distinction between subject and object or between self and other. The primary example for what causes such a reaction is the corpse (which traumatically reminds us of our own materiality); however, other items can elicit the same reaction: the open wound, shit, sewage, even the skin that forms on the surface of warm milk.--from a Purdue University web article:
The abject for Kristeva is, therefore, closely tied both to religion and to art, which she sees as two ways of purifying the abject: "The various means of purifying the abject—the various catharses—make up the history of religions, and end up with that catharsis par excellence called art, both on the far and near side of religion".

--http://www.cla.purdue.edu/english/theory/psychoanalysis/kristevaabject.html

At times one might say: "In the beginning there was nourishment."

At times one might say: "In the beginning there was catastrophe."

Bion's writings give voice to the traumatized self. If Walt Whitman sings the body electric and catalogues joys of self, Bion details what it is like for self to be electrocuted and to continue as the remains...Destruction turns up and screaming substitutes for satisfaction. Bion is most keenly Bion in depicting destructive transformations of the scream as link. He is particularly master of the fading scream, the scream that dies forever, background radiation of spaceless space, the dispersed scream...Silence explodes...From nourishment to explosive wipe-out."

--from Damaged Bonds, Michael Eigen, H. Karnac (Books) Ltd, 2001, pgs. 29-30

In a field I am the absence of field. --Mark Strand

Becoming and transformation are tasks imposed on man by Fate, working both from within and without him, and this is something which man becomes aware of at the turning points, the crises of his existence. In so far as man experiences such crises with anxiety and under the image of inescapable death he also experiences himself as one disposed by nature to transcend his existence as it is at any moment and to experience and express previously unknown possibilities.

-- The Dream and the Underworld, James Hillman, New York: Harper & Row, 1979, pg. 113

This essay is dedicated to dearly departed Karen Eberle, Tien Ho, Walter Schell, and last but not at all least, the astonishing Marianne Annur:

"It means so much that we can be broken..." --Raul Voz, from Las Poemas Cornadas (The Cornada Poems)