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Not too many years ago a young monastic aspirant went to Mount Athos. In talking with the venerable abbot of the monastery where he wished to stay, he told him, “Holy Father! My heart burns for the spiritual life, for asceticism, for unceasing communion with God, for obedience to an Elder. Instruct me, please, holy Father, that I may attain to spiritual advancement.”
Going to the bookshelf, the Abbot pulled down a copy of David Copperfield by Charles Dickens. “Read this, son,” he said.
“But Father!” objected the disturbed aspirant. “This is heterodox Victorian sentimentality, a product of the Western captivity! This isn’t spiritual; it’s not even Orthodox! I need writings which will teach me spirituality!”
The Abbot smiled, saying, “Unless you first develop normal, human, Christian feelings and learn to view life as little Davey did – with simplicity, kindness, warmth, and forgiveness – then all the Orthodox ‘spirituality’ and Patristic writings will not only be of no help to you-they will turn you into a ‘spiritual’ monster and destroy your soul.”
A while back, blogger with similar interests to mine posted that Christians ought not, and Orthodox Christians most definitely should not, read fantasy literature:
Fantasy… is a pure expression of the passions. Basically it’s whatever the mind imagines ends up on paper. So then we end up with werewolves and vampires and a celebration of evil that in the modern genre completely lacks what the original characters were intended to portray. In this way, a genre that was meant to lead someone toward Christ now pulls them in the opposite direction by tantalizing every wicked fantasy and passion imaginable, and infusing it with a lustful voyeurism so that people constantly want more and more perverse and graphic fantasies.
On the surface, I have to say that I agree with her. “Man’s imaginations are wicked from his youth”, Genesis says. I made an offhand comment about fifteen years ago to a friend on the ‘darkening’ of the fantasy genre; most of the material that was coming out at that time seemed to be concerned with the demonic, and with the infernal side of occultic powers. There didn’t seem to be any celestial counterweight and a lot of fantasy material seemed to be moving from the Tolkienesque to the “gritty”, “realistic” outlook. The best of it was pagan/stoic and the worst of it was flatly demonic. Once the pornification of Western society got underway in earnest, wrought in great part by the Internet, fantasy literature followed suit, and now you can’t turn a page without some sexual practice that would have shocked a jury forty years ago described in painstaking detail between orcs and elves.
It is not fantasy material exclusively that as fallen prey to this; romances are saucier and kinkier; simple murder no longer suffices to carry a detective novel, you need cannibalism or torture. The problem is that there is no longer any intermediary between the head, the eyes, and the loins. Lewis’ Men Without Chests have arrived, and they are worse than any glittering vampire or werewolf out of the latest potboiler. There is in Tibetan Buddhism the concept of the Hungry Ghost (ཡི་དྭགས), an entity with overdeveloped mouth and stomach, but with a neck and chest too thin to allow for the passage of food. This parcel of decayed human energy lives in constant torment as its enormous stomach demands input from its hypertrophied mouth, but there is nothing in between that can mediate the transfer. We have starved the sentiments for so long that we may be said to exist in a state of spiritual diabetes. We devour and devour all manner of stories; fantasies, romances, novels, but we seem incapable to extract even the minutest nutrition from any on them, We are like those who lack a vital digestive enzyme.
Forty years ago, Father Seraphim Rose also noticed this strange deficiency in young pilgrims coming to his California monastery for spiritual guidance:
[There is a] problem [which] lies in the poverty of our modern soul, which has not been prepared or trained to receive the depths of true Christian experience. There is a cultural as well as a psychological aspect to this poverty of ours: The education of youth today, especially in America, is notoriously deficient in developing responsiveness to the best expressions of human art, literature, and music, as a result of which young people are formed haphazardly under the influence of television, rock music, and other manifestations of today’s culture (or rather, anti-culture); and, both as a cause and as a result of this–but most of all because of the absence on the part of parents and teachers of any conscious idea of what Christian Life is and how a young person should be brought up in it–the soul of a person who has survived the years of youth is often an emotional wasteland, and at best reveals deficiencies in the basic attitudes towards life that were once considered normal and indispensable
Father Seraphim went on to say that what was needed in this situation was a “Dushevni diet”, one that would nourish the middle soul, the Chest, in Lewis’ vocabulary. The idea of the “Dushevni diet” is to allow the soul to learn those responses to an object which those objects ought naturally to invoke, or which a well-trained soul should naturally feel. Lewis himself, in The Abolition Of Man, uses the example of Samuel Johnson’s observation that
That man is little to be envied, whose patriotism would not gain force
upon the plain of Marathon, or whose piety would not grow warmer among the
ruins of Iona.
with the caveat that the man whose patriotism does not swell at Marathon or whose piety is not warmed at Iona will inevitably complain that because his [lack of] patriotism and his [lack of] piety are neither strengthened nor fortified at either Marathon or Iona, it must follow the idea of these places doing either is a subjective fantasy, and that his feelings of tedium and his desire to find an inn where he can grab a beer and watch the soccer matches are just as valid as all that sentimental nonsense about brave ancient Athenian citizen-warriors or Celtic monks standing waist deep in freezing water chanting the Psalms. I’m sorry, but those thoughts are the grandfathers to the complaints of overweight women that they are equally as desirable to as wide an array of men as their slender sisters. That just is not so. Value is as objective as anything measured by the positive sciences. It is just that the instrument used to measure it is not a scale, or a measuring stick, or a pipette, but rather the human soul itself. If that soul is faulty or unbalanced, it will perforce register a different value for the object than will the purer soul.
Until this point, I have said nothing that Fr. Seraphim and Dr. Lewis have not said before me, and much more eloquently. However, as far as an Orthodox Christian who enjoys and appreciates the fantasy genre as I do, I would like to make the following observations:
First of all, salvation is offered to us through What Is, not through what we would like it to be. The very first time I saw an Orthodox icon of Christ, I was struck by the Greek legend Ὁ ὮΝ, “That Which IS”, in the nimbus of his halo. In itself, this would appear to be reason enough to exclude anything of a fantastic nature from Fr. Seraphim’s “dushevni diet”, and with the vast majority of modern fantasy, I would be in complete agreement with myself. There is a lot of brutality, a lot of anxiety, a lot of lasciviousness, and a complete lack of transcendence in most fantasy material these days, both Western and Eastern. I include Eastern fantastic literature because Japanese and Korean manga (comics) and anime (cartoons) are occupy the same literary niche for young people of my son’s generation that The Lord Of The Rings and the Narnia books occupied for me when I was younger.
But there is an important point I would like to make: For all the popularity of the ‘gritty’, ‘realistic’ fantasies of Joe Abercrombie, George R. R. Martin, and China Mieville, we would do well to remember that they are considered ‘realistic’ because of one important point; their narratives unwind in created worlds that resemble our own in one essential way; they are closed worlds where even magic is technological in nature. It obeys ‘rules’ that cannot be broken, which can be observed and mastered, and using techniques which can be perfected through experimentation and practice. There is no help coming from beyond the circle of the invented world. Self-interest rules all things, and the struggle of omnes contra omnes continues apace. In the hands of the aforementioned authors, this “realistic” approach to fantasy has produced some engaging yarns. They are gifted writers, and, interestingly, Mr. Mieville has produced a story which points beyond itself in a way I’m not certain the author didn’t intend.
In The City And The City, Mr. Mieville has created two separate cities, Beszel and Ul Quoma. The two cities occupy the same physical space, and may even share buildings and streets. Each ‘city’ has its own airport and port district. Citizens of each city can dimly glimpse, at times, residents of the other city or the outlines of buildings. However, to admit to this is to commit Breach, risking arrest and incarceration. Citizens of both cities have been strictly trained since earliest childhood to disregard all evidence of the other city. The narrative of Mr. Mieville’s book unwinds as a policeman in the less wealthy city, Beszel, is investigating a murder of a young woman which implicates a well-connected functionary in the corresponding, wealthier city of Ul Quoma. His distress increases as he realizes that the world in which he grew up believing does not correspond to the world as it actually is.
In the same way, there is something fantastic about the life we live in our sanitized, corporatized, modern world. We fly across the landscape like Djinn in metal boxes. We know the thoughts of others at multiplied hundreds of leagues. We hear no animals bawl out their agonies when their time comes to keep us nourished. In addition, a constant barrage of intellectual static that attempts to convince us that This Truncated World Is The Real World, that nothing exists outside of what can be measured, monetarized, and manipulated. If you want to maintain little fantasy religious worlds or little counter-cultural worlds within strict boundaries of a “religious” or “intentional” community, you are by all means free to do so (We are not tyrants, after all, is another song that is sung constantly). If you try to smuggle anything out from behind those well-guarded frontiers, though, you will find yourself committing Breach and arousing the ire of the Gatekeepers. In this way, something like The Lord Of The Rings, or even Spirited Away, can serve to cast doubt on the Official Narrative. Spiritual forces and proper human sentiment can be experienced as liberating and empowering, and in this way, the Real World, The Only One That Truly Is, that which is signalled by the Greek letters in the halo, can be made more real than this dreary official fantasy in which we find ourselves.
1. City Of Ember
This movie came out in 2008, and to the present, I and my family are the only ones I know who have seen it. I didn’t save this flick for last because it is the best movie among the ten. It isn’t. That distinction would have to go to either The Travelling Circus of Dr. Lao or The Iron Giant. I think I saved it for last because it is the most obscure. It has some strong performances, especially by Tim Robbins and a very young Saoirse Ronan before she became a hot property in Redemption.
Ember is a city that was built underground to preserve a portion of the human race from some unmentioned apocalypse. Everything about the environment is artificial. The night sky, with which you are greeted at the opening of the film, is nothing more than a collection of electric lights suspended oer the city and one of which burns out and falls with a great racket to the streets far below. It is a warning that things are beginning to run down in Ember. As the story progresses, we learn that the sojourn underground has lasted nearly twice as long as the city’s founders intended, and all of the life support systems on which the Emberites depend are more than a little threadbare.
As far as the spectrum between parable and myth goes, City Of Ember falls leadenly into the parable category. Here is a world where everything is running out. You can go to any warehouse and request canned goods, but anything except turnip greens and refried beans are in short supply. There are frequent blackouts due to the testiness of the aging dynamo at the city’s core, and the residents seem not to notice. They are lulled to sleep by official pronouncements of how good it is they have it in Ember, and pull the comfort blanket of Singing Day [a very thinly veiled swipe at religion] around them when things get difficult.
Of course, two Plucky Youngsters™ discover The Truth, and most of the dramatic tension in the movie results from their desperate attempt to escape the doomed city and from the obstacles placed in their way by others who know the truth but hav a vested interested in maintaining the status quo, even though it means extinction for everyone. Of course the Plucky Youngsters™ succeed intheir Quest, and are amply rewarded by the Grandmother of All Light Shows. I’ll leave it at that.
Recently I saw another very good Korean Sci-Fi flick, The Doomsday Book, in which a Buddhist robot attains enlightenment. It’s on Netflix streaming. Seek it out as well.
In case you were curious, the other films in this series are:
2. The Circus Of Dr. Lao
3. The Last Starfighter
4. Hearts In Atlantis
5. Gambling Apocalypse Kaiji
6. Brendan And The Secret Of Kells
7. Fantastic Planet
8. The Iron Giant
9. Enemy Mine
A Study In Comparative Fantasy
I’m halfway to the Dark Tower, at the hub of all possible worlds. If you look at the architecture of Stephen King’s epic series, I am almost exactly halfway, having just now started the fifth volume in the series, The Wolves Of The Calla. Two volumes I have read deal in backstory; Wizard And Glass was almost entirely the story of Roland Deschain’s first years as a Gunslinger in the outer barony of Meijis and of his first love affair with the tragic Susan Delgado. The other volume was The Wind Through The Keyhole, a volume written by Mr. King and published last year, which was meant to “fill a gap” between the ending of Wizard And Glass and the beginning of The Wolves Of The Calla. The Wind Through The Keyhole is actually two stories nested inside each other like a wooden Russian babushka doll, which Roland tells as a single tale on the grandfather of all dark and stormy nights. Since Keyhole doesn’t advance the narrative of Roland’s ka-tet at all, I feel justified in saying I am still halfway to the Tower, despite having read more than 2/3 of the material in the series.
Comparing Stephen King’s Dark Tower series to another modern fantasy which I re-read before taking up the thread of Roland’s story again, I find that the Dark Tower series compares very favorably to The Lord Of The Rings. There are some superficial similarities. Both series deal with an epic Quest; that of Frodo to dispose of the Ring Of Power and that of Roland to reach the Dark Tower. Both series introduce a sworn brotherhood; The Fellowship of the Ring and Roland’s Ka-Tet. Finally, although I seldom see this commented on, invented language plays an important role in both series. Tolkien’s Elvish languages, of course, form the backbone of his mythopoetic work. Indeed, Tolkien himself claimed that he invented the elves and Middle Earth so that he would have speakers for his invented languages and a place for them to be spoken. Stephen King, being a professional writer instead of a professor of Anglo-Saxon, uses a subtler device. The High Speech hasn’t greatly factored into the first four books, but it appears to have an ancient Egyptian/Phoenician flavor to it. The Low Speech, the Westron of Mid-World, is English, but with very subtle differences. Listening to The Waste Land and Wizard And Glass after having read them in book form, you get something of the flavor of the Low Speech. There are words that you have to learn by context, such as “cullie“, “jilly” and “roont“. There are repeated tag-sentences, “so I do”, “ken thee?”. There is the non-grammatical use of the pre-Caroline English pronoun thee, differing from the customary King James usage. All of these, and the use of stock phrases such as “set your watch and warrant by it”, or, “forget the face of your father”, set a linguistic tone for the series and with great economy underscore the alienness of Mid World.
For Mid-World is not a nice place. Indeed, throughout the whole of the Tower books so far, I can almost hear Gollum hissing in the background – “We’re not in decent places”. Mid-world has “moved on”. Things have changed. The relationship between men and Creation has altered deeply, and the change has not been for the better. Time has, in the opinion of Eddie Dean, one of Roland’s companions, “gone on vacation”. A day may be fifty hours long, or it may stop altogether, or it may fly at a furious pace. Indeed, all of Roland’s companions have been gathered from New York, our New York, the New York of Robert Wagner, of Abraham Beame, and of Edward Koch respectively, but they are contemporaries in Mid-World. Causality is iffy. Things that produced a particular effect at one time may not at another time, for no apparent reason. Directions have become unhinged, and a moon that rises in the east one night may wobble over to the southeast the next. We are told that the Gunslinger’s world has “moved on”, but the direction it has taken is not an improvement.
Middle Earth, by comparison, is a stable place. Even though its wars and rebellions have altered the coastlines and the continents, the fabric of space and time remains the same. Actually, that isn’t entirely true. The Valar and their charges removed themselves entirely from Arda (the created universe in which Middle-Earth exists), and hence are no longer directly accessible to the inhabitants, be they Men or Dwarves or stubborn Elves who continue to refuse the summons back to Aman. Since there is a renegade Maia loose in Middle-Earth, this absence of the Valar forces the inhabitants thereof back onto their own resources. Sauron, the antagonist of The Lord Of The Rings, never appears directly in the narrative, and indeed is seldom referred to by name. He has slaves to do his bidding, and his bidding appears to be entirely ruin and blasting.
The central metaphor for evil in The Lord Of The Rings is that of barrenness. Mordor is a dead land. Nothing grows there, or at least in the ash-choked Plain of Gorgoroth surrounding both the Dark Tower and Mount Doom, although we are assured that to the south, around the sad shores of Lake Nurnen, there are immense farms tended to by slaves, a prophecy of the industrial agriculture that “feeds” (or fattens) our nation. Samwise, under the influence of the Ring, faces this temptation and masters it:
“The one small garden of a free gardener was all his need and due, not a garden swollen to a realm; his own hands to use, not the hands of others to command.”
There is a sense in which there are two antagonists in The Lord Of The Rings, Sauron and the Ring. Sauron represents the Manichean, external aspect of Evil, the kind of evil you can, and must, resist with swords, bows, and valor. The evil of Sauron is something that would destroy everything “that you hold dear on this green earth”, but unaided, it cannot destroy the soul. It is the resistance, finally, of Aragorn and what remains of the West that allows Frodo and Sam to triumph, albeit imperfectly, over the Augustininan, internal aspect of Evil, represented by the Ring. The Ring speaks to that inner voice inside all of us that if only we could have things Our Own Way, whether by persuasion or coercion, that we could put Things to Right. Alas, it would begin that way, as Galadriel said, but in the end, the corruption of the Ring, which is the corruption of our own hearts, must be overcome by a different, but no less necessary, kind of valor; that of renunciation, self-denial, and voluntary suffering on behalf of others.
I believe that it is because we lost the struggle outlined in the Lord Of The Rings that we find ourselves, a generation and change later, in the situation of the Dark Tower books. Evil in King’s created universe is much more consistent than that in Tolkien’s world. The Crimson King, the antagonist of the Dark Tower books and the Sauron of Mid-World (he even has the sigil of a single red eye) goes beyond the Maia’s hatred of the organic, yearning for the predictability and order of the mineral. The Crimson King hates the very idea of order and predictability, or reason and morality. Significantly, he is represented as the offspring of Arthur Eld and a demoness of the primordial Chaos, out of which Gan (God) erected the Dark Tower and the beams of the multiverse, and which Arthur Eld and his descendants the Gunslingers swore to uphold. The Crimson King, like the Joker in the film The Dark Knight, just wants to see Creation burn. Inevitably, he hates himself as well, since he reflects the order of Creation within himself. His desire for destruction includes a desire for self-destruction. The Crimson King is, of course, barking mad.
One of the criticisms I have of modern horror fiction is that is hard for moderns to grasp the essence of evil. When you have no absolute values, nothing is ultimately at risk. Most threats in film or literature deal with the loss of Stuff or of social standing, which is scarifying enough for fragile egos in an increasingly turbulent world. Failing this, one of the most time honored ploys in horror literature is to put either children or the virginal Good Girl at risk. But the threat is always either death or dismemberment, bad enough in itself but not ontologically threatening. However, there is a disturbing undercurrent that one of the worst things that can happen to you is to be Found Out. Fear not him who can kill the body and all that. The scariest movie of all the time, The Exorcist, came close by showing its viewers a universe where good was evil, order was chaos, white was black, and worse, by telling its viewers that this is what they secretly wished for as well.
To me, true Evil is a mystery. It is a no-thing, even less than the vacuums between stars that nevertheless pulses with energies. I guess the closest metaphor I could invoke would be that of the Singularity, the Black Hole, a metaphor that could not have been available to Dante or Bram Stoker. Something that wants to draw all creation to itself and to unite all distinctions, isolate all similarities, reducing all things to the primeaval chaos; confusing, changing, dividing, and separating all things in an infinite falling from which no escape is possible.
Stand true. All things serve the Beam.
Due to a change in my external circumstances, and the necessity of two hour commute (both ways) daily, I have been glutting myself on imaginative literature in the past few months. There is a wealth of good stuff on audio, and it is a very good way to ‘catch up on your reading’, if you define reading loosely enough. Since the commute began, I have been fortunate to acquaint and re-acquaint myself with some of the great names in imaginative literature; JRR Tolkien, CS Lewis, George Macdonald, Ursula LeGuin, Stephen King, Tim Powers, ER Eddison, Jack Vance, and many others too numerous to mention. In a way, it has been kind of an exercise in “comparative fantasy”.
One of the most frequent objections to fantasy literature is that it lacks ‘depth’, that fantasy literature is an endless repetition of a “good vs evil” theme that resurfaces in book after book, series after series. Usually, the critics blame Tolkien. The contrast between Good and Evil that Tolkien traces in his epics are as sharp as shadows on the moon. It is not nuanced enough to reflect the “real world”. Then, to hear some people talk, all writers of fantasy literature written since The Lord Of The Rings have slavishly followed Tolkien down the path of rewriting Paradise Lost according to their own moral vision.
The critics are wrong. Prior to Tolkien, fantasy literature, what there was of it, was strangely amoral. James Cabell’s Jurgen was a flighty rascal. Dunsany’s little fables were as likely to celebrate hashish eating as martial courage. Mirlee’s Lud-In-The-Mist incarnated no Manichaean vision of good and evil. The resolution of her tale was a satisfying Hegelian synthesis between the quotidian comfort preferred by her Whig protagonists and the whimsy of the Jacobite fairie folk they so disdained E.R. Eddison’s The Worm Ouroboros was thoroughly aristocratic both in tone and aspect, a sort of a High-Tory-on-LSD ‘romaunce’, peopled by proud-speaking haughty grandees entirely dismissive of the pettier sort of folk and their concerns. There was no room for hobbits in Ouroboros. Indeed, inasmuch as fantasy literature dealt with Good and Evil at all, it was to offer an escape from the stultifying decayed-Evangelicalism public morality of the day into an earlier, more permissive world.
Tolkien’s great achievement was the creation of a morally consistant parallel world. To me, the single brilliant imagining of the race of hobbits brings his re-creation of the Good into sharp focus. The hobbits are good, almost Pelagian, although some of them can be better than others. There are individual hobbits that appear “spoiled” (or ‘bent’ to borrow from Lewis’ mythology), such as the Sackville-Bagginses or the Sandymans. These two families, however, were introduced as foils for the healthier Bagginses and the Gamgees who good-naturedly suffer their trepidations. Because the Sackville-Bagginses and the Sandymans are so rare, the Shire appears to govern itself. The rules are unwritten, all offices are mostly ceremonial, and the canons of good behavior are everywhere acknowledged and practiced. As fantasist Gene Wolfe observed in a clairvoyant essay; living under what Mr. Wolfe calls Folk Law in a face-to-face society may be the most salutatory framework for human life, much in the same way that folk tales have the deepest resonance, and folk tunes have the most haunting and unforgettable melodies.
Yet, the Shire is not good in a vacuum. The hobbits are King’s Men in the very best sense of that word. The King, although absent by the time of the narrative recorded in The Lord Of The Rings, serves as a locus for the values of The West. ‘The West’ is shorthand for all those parts and peoples of Middle-earth not yet seduced or tyrannized by Sauron, although it can include more easterly populations such as the Beornings, the Dwarves of the Lonely Mountain, the Wood-elves of eastern Mirkwood. Although the King has been absent from the government of the Shire for more years than separate us from the Battle of Hastings, his health is toasted at every meeting of the Shiremoot and his will is followed as best the hobbits can in their political vacuum.
Even the West is not good in and of itself, though. It is good because of the loyalty of the remnants of the Numenoreans and their allies to that which is Beyond the Sea that ‘the West’ stands as a bulwark to the trepidations and contaminations of Sauron. The weight of this allegiance is never explicitly explained within The Lord Of The Rings itself, but its presence can be felt in the same way you can tell where the sun is with your eyes closed. Tolkien’s continual references within the narrative to older, more primordial material; even Gondolin being mentioned in the first few pages of The Hobbit, weave a web of numinosity about his tale whose nexus is the Elder Race, the immortal Elves, who had opposed Sauron (and his greater master Morgoth Bauglir) in the past.
The Silmarillion revealed plainly what The Lord Of The Rings only hinted at. The Elves are good because they revere the Valar, the preserving and governing Powers of the World, who came into it at the behest of the world’s Creator Eru Iluvatar, a monotheistic deity. It is this realm, the realm of Valinor across the Sea, whose values are echoed by the denizens of ‘the West’.
In a sense, you have a kind of a neo-Platonic universe obtaining in the Tolkien legendarium. The Elves know next to nothing about Eru, the One, except for what they have learned from the Valar. The Men of the West have no direct access to the Powers in Valinor. Everything they know about it has been mediated to them by the Elves, who are abandoning Middle Earth. The hapless Hobbits, in their turn, would not have survived as long as they had in the rough and tumble of Middle earth without the constant protection and supervision of the Men of the West, the Dunedain.
You can hear all three layers in a musical representation on the soundracks to Peter Jackson’s films, especially in the Council of Elrond. First, there is the Elvish theme; atmospheric, ascetic, and other-worldly. Then, there are the virile horns of the theme of the West, vigilant and ready for action. Finally, there are the homespun strings of the Shire theme. They blend and fade into each other by the end of the piece. I don’t know how deliberate that was on the part of the composer, Howard Shore.
Wheels within wheels, indeed.
Immediately post-Tolkien, there were a lot of Good-vs-Evil sagas, most very derivative, retelling Tolkien’s story after him. Others, like Ursula LeGuin’s Earthsea series, eshewed binary Good vs Evil to create a more nuanced, more Buddhistic unary moral Universe. LeGuin’s emphasis on “balance”, as if good and evil were polarities like male and female or acidic and basic, came to be echoed in a lot of fantasy worlds, such as the Star Wars universe with its depiction of the Bright Side and the Dark Side of the Force, or the recent popular animated series Avatar: The Last Airbender, where all the tension in the series is caused by the Fire Nation getting out of balance with the other three elemental nations; the Water Tribe, the Earth Kingdom, and the Air Nomads. Fire Lord Ozai is not Satan or even Sauron. Ozai’s opponent is not Avatar Aang, but rather his son Zuko who, through the tutelage of the saintly Uncle Iroh, can restore the Fire Nation’s necessary line to the spectrum that is the Avatar universe.
I didn’t like Star Wars, and although I dearly love the Avatar animated series, unary, “balance”-based moralities don’t seem to produce satisfying eucatastrophes in the same way that fantasists are able to when good is truly good and evil is truly evil. I haven’t read, or even followed the movies inspired by, the Harry Potter novels, but I think I am correct in assuming that Rowland’s moral compass is more like Tolkien’s and less like Lucas’, which makes the opposition to her tales by conservative Christians even more puzzling.
Finally, there has been a movement within the fantasy genre itself away from a strict good vs evil paradigm and more towards what TV-Tropes.com defines rather pungently as Crapsack World, where all the choices are between real-l-l-ly bad, bad, and not-so-bad-but-still-iffy. I have digested several works of this sort, some of which are very good; China Mieville’s Perdido Street Station and The City And The City (both of which are brilliant), Joe Abercrombie’s First Law trilogy, and of course, the Crapsack World to end all Crapsack Worlds, George R. R. Martin’s Westeros.
Funny thing about Westeros, though. Just when I was beginning to tire of Martin’s unrelenting cynicism, the pointless violence, and the continual betrayal which punctuated life in his series, Martin showed a bright little corner where life was good, men were fair, and decent people could live decent lives. It was buried deep in Brienne’s arc in A Feast Of Crows, when she accompanies the septon Maribald from the ruins of Saltpans to the Isle of Silence, where a strong abbot has created an island of peace, faith, and rest in the turbulent sea of conflict, cynicism, and blasphemy that was the norm in Westeros.
I read somewhere that George R. R. Martin is the son of a dockworker from Bayonne, New Jersey. True to his working class roots, Martin teaches us that the good is not something that occurs haphazardly. It is the result of consistent effort over an extended period of time by people who actively desire to be good and just, and it flourishes best where the eyes of the powerful are elsewhere. It also seems to me that Daenarys Targaryen’s extended and somewhat tedious sojourn in the Slavers’ Bay is to allow her to learn the difficult lessons in statecraft that will make her the kind of queen Westeros so desperately needs. As a wise man once told me, good works do not make you righteous the way paying your bills makes you solvent, but they do make you righteous like exercise makes you strong.
I can live with that. I can more than live with it, I can applaud it.
It is depressing how quickly writers, even very good ones, can be forgotten once the public eye moves off of them. I am now in my seventh decade, and I remember reading very good, very engaging books in my adolescence by authors who are seldom mentioned these days. Equally amazing to me are the authors who endure, and whose popularity continues. For example, I read JD Salinger’s Frannie And Zooey early in my high school days, but I thought the works of his near-contemporaries John Hershey (Too Far To Walk) and William Goldman (Boys And Girls Together) superior as studies of alienation. I haven’t met anyone under 55 who has even heard of those two writers.
Thomas Pynchon will be with us forever, as will Joseph Heller’s Catch 22. Other writers who seem to have legs are Kurt Vonnegut and John Updike, but Peter De Vries, Mary McCarthy, Louis Auchincloss, and even Ray Bradbury are disappearing from the catalogue. Gore Vidal preens himself and offers frequent fussy comment on the social scene, but who remembers Alfred Chester? It is though there is only one niche in the literary ecology for a particular kind of author, and Vidal grabbed it to Chester’s despite, as did Updike to De Vries, Vonnegut to Bradbury, and Walker Percy to Richard Yates.
Moving from canonical, mainstream literature to imaginative literature, no one can call Jack Vance a forgotten writer. For one thing, he is still alive, and for another, he is enjoying something of a boomlet in popularity due to his being lionized by popular genre authors like Neil Gaiman and Stephen King. I was fortunate to find his Lyonesse trilogy on audio book. Having already been introduced to Jack Vance in my extreme boyhood through The Languages of Pao and The Dragon Masters, the Arthurian-tinged trilogy, composed of Suldrun’s Garden, published in 1983, The Green Pearl, in 1987, and Madouc , in 1991, was a delight to stumble upon.
It won’t change your life, but as entertainment and as an exercise in that kind of fantasy set in our own world, it is highly recommended. The central conceit is somewhat similar to Robert E Howard’s, but set in late antiquity, about the time of the waning of the Western Empire and the establishment of Christianity as the official religion of Rome. Nevertheless, the martial technology is late Middle Ages, with trebuchets and plate armor. Vance follows in hallowed footsteps here. All the Arthurian writers followed the same convention, until recently when Mary Stewart and Stephen Lawhead created more chronistically appropriate Arthur stories.
The Arthurian connection is tenuous. Vance imagines a large Ireland-sized island in the middle of the Bay of Biscay, Hybras, with a cluster of smaller islands around it. The idea is that these islands have since disappeared, Atlantis-like, under the waves, leaving behind only a smattering of irreconcilable legends and a few place names; Hy-Brasil, Avallone, Lyonesse, and Ys. There are petty kings; beautiful, sad princesses; wizards benign and malicious; knights noble and dastardly. There is also a lot of Realpolitik and spycraft, which fortunately seldom gets in the way of the rollicking adventures.
The Lyonesse trilogy is kind of sad. As another reader/reviewer points out, all of the adventures and intrigues of the characters are pointless, since the Elder Isles are doomed to disappear eventually under the waves. For some reason, I thought it would add a touch of poignancy to the narrative, but it didn’t. For all of the playfulness and light-heartedness of Vance’s prose, something just didn’t quite click. The magic (and there are a number of wizards fair and fell in this series, not to mention fairies, ogres and boggarts), struck me as being very prosaic. Vance is, alas, a modernist in a postmodern world.
All in all all, it read like a copy of a greater original. It wasn’t at all like Tales Of The Dying Earth, by the same writer.
As I said, no one can accuse Jack Vance of being a forgotten writer, but just under the surface of his prose lurks one of the most unfairly forgotten writers of the 20th century. Working from a stray comment about the Lyonesse books on GoodReads, I was able to uncover the original of which they were the copy. The writer was James Branch Cabell, an American writer of fantastic literature from Richmond Virginia, who enjoyed a period of great popularity in the immediate postwar period. To my surprise, I was able to find a copy of his complete works at a nearby college library. They certainly appeared to be the works of a prominent and successful writer; gilt-spined and lavishly illustrated.
I took one book down and opened it, Jurgen; A Comedy Of Justice, reputed to be Cabell’s masterpiece. Three hours later I shut it, enthralled with where Cabell was able to transport me.
Cabell will never be one of my favorite writers. He is snarky, something I deeply dislike. Cabell shares this trait with other writers such as Douglas Adams, Kurt Vonnegut, and even Thomas Pynchon, all whom are good writers (Pynchon is great, like Sopohocles-great) but just not personally my cup of tea. Alan Dean Foster, who wrote The Last Starfighter and most of the original Star Wars trilogy as well, wrote a forgettable but very sexy little romance called Glory Lane, that gets snark just about right.
Cabell, in what I read of Jurgen, takes snark to realms of high art. The protagonist, a middle-aged pawnbroker, has his youth restored and, of course, sets out to do what any right-thinking man in his postion would do; seduce all the beautiful young women he can. On the way, he encounters a number of creatures magical, infernal, celestial, or any combination thereof. Since Jurgen, the protagonist, is irreverent and quite superficial, there is a lot of snark, but somehow, Cabell uses it to break your heart. It looks as though Jurgen is going be schooled by his second youth in the lasting virtues. I will have to finish this book, at least.
Reading what I have of Cabell’s writing career, I am surprised that he is almost completely unheard of by the legions of Tolkien, Rowling, and Gaiman fans. He continued writing in the same vein until his death in the 1950′s, in increasing obscurity. Serendipitously and coincidentally, the critical examination of Cabell’s work which I also found in the same section in the university library, was written by another once-popular writer; Hugh Walpole, who is also almost entirely forgotten today.
“It is submerged now, and as irrecoverable as Lyonesse” - Evelyn Waugh referring to Oxford in Brideshead Revisited
2. The 7 Faces 0f Dr. Lao – 1964 This curiosity movie is as close to sui generis as anything I have ever seen, including Last Year At Marienbad, and showcases what has to be the finest performance ever in a fantasy movie. Tony Randall plays not only the enigmatic, if stereotypical, title character, but also six other phantasmagorical entities; The Abominable Snowman, the Magician Merlin, Medusa, Pan the “god of joy”, The Great Serpent, and Apollonius of Tyana, a blind soothsayer who has been cursed by the gods to speak only the truth.
Dr. Lao, a bald, opium pipe-puffing (I don’t think anybody thought there was anything but tobacco in Dr. Lao’s pipe in 1964, but times have changed), “me-no-speekee” Chinaman rides into the Western town of Abalone to set up his tent of wonders. The townspeople are busy having their community stolen out from underneath them by an unscrupulous real estate speculator, but they pause in their headlong rush towards chaos and dissolution to pay heed to the dusty and weatherworn marvels on display at Dr. Lao’s “circus”. Alternately astonished, cynical, unbelieving, and shocked, the inhabitants of Abalone are one by one coaxed out of their fantasies of individual power and significance to confront themselves as they actually are; ridiculous but necessary and beloved threads of the greater tapestry that is the community of Abalone.
Not all of them pass the test. One of the most uncomfortable moments in the film is when the blind soothsayer confronts a silly not-really-a-widow who is desperately clinging to an outdated self-image of herself as a young coquette. Apollonius tells her that she will never be rich, she will never marry again, and that her days will blur together into a dreary parade of sameness until she dies and is forgotten. For good or for evil, he tells her, she will have had as much effect as if she had never existed at all. As self-awareness breaks over her character, the talented actress playing this role displays for a brief moment the horror of the damnable truth Apollonius has just told her, but then her face relaxes again as she pulls her comfortable lies back around her.
This is a deeply Taoist film, whether by design or happy circumstance. I have always wished Christianity was more like Taoism. I wouldn’t want Christianity to be Taoism, exactly, because the Tao of the Old Boy is impersonal and, frankly, a bit scary. Nevertheless, when I look at the face of the personal Christ in the New Testament, I see a lot more that reminds me of the Tao than of the joyless moralist we have made Him into. Dr. Lao, who has to be based on the founder of Taoism Lao-Tzu (he disappears from the town of Abalone mounted not on a bullock, but on a donkey, the foal of an ass), strikes me as a Holy figure.
I have always wanted to study the idea of Holiness apart from the idea of Morality, with the idea of Morality being a declension from holiness, an oblique case of Holiness, as it were. Dr. Lao, despite his seeming amorality, is good place to start. Without striving, and without putting himself forward in any way, he gently diverts each of townspeople who are amenable to his guidance away from the stampede towards non-being they are pursuing back towards a position of Coinherence in the Web of Exchange that is the town of Abalone.
Interestingly, the author of the book that this film was based on, Charles G. Finney, was not only an influential writer of fantastic fiction in the thirties and forties, but he was also the great-grandson of the evangelist Charles Grandison Finney, who introduced so many fantastic elements into the American strand of Christianity.
The National Public Radio folks have decided to ask their listener base to help them select the greatest works of imaginative fiction. Their list contains a lot of surprises, but the finalists were selected by the ubiquitous expert panel, and they are inviting fantasy and science fiction fans to vote on which of these 200 or so works are their favorites.
Here is the list. My choices are in bold:
The Acts Of Caine Series, by Matthew Woodring Stover
The Algebraist, by Iain M. Banks
Altered Carbon, by Richard K. Morgan
American Gods, by Neil Gaiman
Anansi Boys, by Neil Gaiman
Anathem, by Neal Stephenson
Animal Farm, by George Orwell
The Anubis Gates, by Tim Powers
Armor, by John Steakley
The Baroque Cycle, by Neal Stephenson
Battlefield Earth, by L. Ron Hubbard
Beggars In Spain, by Nancy Kress
The Belgariad, by David Eddings
The Black Company Series, by Glen Cook
The Black Jewels Series, by Anne Bishop
The Book Of The New Sun, by Gene Wolfe
Brave New World, by Aldous Huxley
Bridge Of Birds, by Barry Hughart
The Callahan’s Series, by Spider Robinson
A Canticle For Leibowitz, by Walter M. Miller
The Cat Who Walked Through Walls, by Robert Heinlein
Cat’s Cradle , by Kurt Vonnegut
The Caves Of Steel, by Isaac Asimov
The Change Series, by S.M. Stirling
Childhood’s End, by Arthur C. Clarke
Children Of God, by Mary Doria Russell
The Chronicles Of Amber, by Roger Zelazny
The Chronicles Of Thomas Covenant, by Stephen R. Donaldson
The City And The City, by China Mieville
City And The Stars, by Arthur C. Clarke
A Clockwork Orange, by Anthony Burgess
The Codex Alera Series, by Jim Butcher
The Coldfire Trilogy, by C.S. Friedman
The Commonwealth Saga, by Peter F. Hamilton
The Company Wars, by C.J. Cherryh
The Conan The Barbarian Series, by R.E. Howard
Contact, by Carl Sagan
Cryptonomicon, by Neal Stephenson
The Crystal Cave, by Mary Stewart
The Culture Series, by Iain M. Banks
The Dark Tower Series, by Stephen King
The Day of Triffids, by John Wyndham
Deathbird Stories, by Harlan Ellison
The Deed of Paksennarion Trilogy, by Elizabeth Moon
The Demolished Man, by Alfred Bester
The Deverry Cycle, by Katharine Kerr
Dhalgren, by Samuel R. Delany
The Diamond Age, by Neil Stephenson
The Difference Engine, by William Gibson & Bruce Sterling
The Dispossessed, by Ursula K. LeGuin
Do Androids Dream Of Electric Sheep?, by Philip K. Dick
Don’t Bite The Sun, by Tanith Lee
Doomsday Book, by Connie Willis
Dragonflight, by Anne McCaffrey
Dreamsnake, by Vonda McIntyre
The Dune Chronicles, by Frank Herbert
Earth, by David Brin
Earth Abides, by George R. Stewart
The Eisenhorn Omnibus, by Dan Abnett
The Elric Saga, by Michael Moorcock
Ender’s Game, by Orson Scott Card
Eon, by Greg Bear
The Eyes Of The Dragon, by Stephen King
The Eyre Affair, by Jasper Fforde
The Faded Sun Trilogy, by C.J. Cherryh
Fafhrd & The Gray Mouser Series, by Fritz Leiber
Fahrenheit 451, by Ray Bradbury
The Farseer Trilogy, by Robin Hobb
The Female Man, by Joanna Russ
The Fionavar Tapestry Trilogy, by Guy Gavriel Kay
A Fire Upon The Deep, by Vernor Vinge
The First Law Trilogy, by Joe Abercrombie
Flowers For Algernon, by Daniel Keys
The Foreigner Series, by C.J. Cherryh
The Forever War, by Joe Haldeman
The Foundation Trilogy, by Isaac Asimov
Frankenstein, by Mary Shelley
The Gaea Trilogy, by John Varley
The Gap Series, by Stephen R. Donaldson
The Gate To Women’s Country, by Sheri S. Tepper
Going Postal, by Terry Pratchett
The Gone-Away World, by Nick Harkaway
The Gormenghast Triology, by Mervyn Peake
Grass, by Sheri S. Tepper
Gravity’s Rainbow, by Thomas Pynchon
The Handmaid’s Tale, by Margaret Atwood
Hard-Boiled Wonderland And The End of The World, by Haruki Murakami
The Heechee Saga, by Frederik Pohl
The Hitchhiker’s Guide To The Galaxy, by Douglas Adams
The Hollows Series, by Kim Harrison
House Of Leaves, by Mark Danielewski
The Hyperion Cantos, by Dan Simmons
I Am Legend, by Richard Matheson
I, Robot, by Isaac Asimov
The Illuminatus! Trilogy, by Robert Shea & Robert Anton Wilson
The Illustrated Man, by Ray Bradbury
The Incarnations Of Immortality Series, by Piers Anthony
The Inheritance Trilogy, by N.K. Jemisin
Jonathan Strange & Mr Norrell, by Susanna Clarke
A Journey To The Center Of The Earth, by Jules Verne
Kindred, by Octavia Butler
The Kingkiller Chronicles, by Patrick Rothfuss
Kraken, by China Mieville
The Kushiel’s Legacy Series, by Jacqueline Carey
Last Call, by Tim Powers
The Last Coin, by James P. Blaylock
The Last Herald Mage Trilogy, by Mercedes Lackey
The Last Unicorn, by Peter S. Beagle
The Lathe Of Heaven, by Ursula K. LeGuin
The Left Hand Of Darkness, by Ursula K. LeGuin
The Legend Of Drizzt Series, by R.A. Salvatore
The Lensman Series, by E.E. Smith
The Liaden Universe Series, by Sharon Lee & Steve Miller
The Lies Of Locke Lamora, by Scott Lynch
Lilith’s Brood, by Octavia Butler
Little, Big, by John Crowley
The Liveship Traders Trilogy, by Robin Hobb
Lord Of Light, by Roger Zelazny
The Lord Of The Rings Trilogy, by J.R.R. Tolkien
Lord Valentine’s Castle, by Robert Silverberg
Lucifer’s Hammer, by Larry Niven & Jerry Pournelle
Lud-in-the-Mist, by Hope Mirrlees
The Magicians, by Lev Grossman
The Malazan Book Of The Fallen Series, by Steven Erikson
The Man In The High Castle, by Philip K. Dick
The Manifold Trilogy, by Stephen Baxter
The Mars Trilogy, by Kim Stanley Robinson
The Martian Chronicles, by Ray Bradbury
Memory And Dream, by Charles de Lint
Memory, Sorrow, And Thorn Trilogy, by Tad Williams
Mindkiller, by Spider Robinson
The Mistborn Series, by Brandon Sanderson
The Mists Of Avalon, by Marion Zimmer Bradley
The Moon Is A Harsh Mistress, by Robert Heinlein
Mordant’s Need, by Stephen Donaldson
More Than Human, by Theodore Sturgeon
The Mote In God’s Eye, by Larry Niven & Jerry Pournelle
The Naked Sun, by Isaac Asimov
The Neanderthal Parallax Trilogy, by Robert J. Sawyer
Neuromancer, by William Gibson
Neverwhere, by Neil Gaiman
The Newsflesh Triology, by Mira Grant
The Night’s Dawn Trilogy, by Peter F. Hamilton
Novels Of The Company, by Kage Baker
Norstrilia, by Cordwainer Smith
The Number Of The Beast, by Robert Heinlein
Old Man’s War, by John Scalzi
On Basilisk Station, by David Weber
The Once And Future King, by T.H. White
Oryx And Crake, by Margaret Atwood
The Otherland Tetralogy, by Tad Williams
The Outlander Series, by Diana Gabaldan
Parable Of The Sower, by Octavia Butler
The Passage, by Justin Cronin
Pattern Recognition, by William Gibson
Perdido Street Station, by China Mieville
The Prestige, by Christopher Priest
The Pride Of Chanur, by C.J. Cherryh
The Prince Of Nothing Trilogy, by R. Scott Bakker
The Princess Bride, by William Goldman
Rainbows End, by Vernor Vinge
Rendezvous With Rama, by Arthur C. Clarke
Replay, by Ken Grimwood
Revelation Space, by Alistair Reynolds
Riddley Walker, by Russell Hoban
The Riftwar Saga, by Raymond E. Feist
Ringworld, by Larry Niven
The Riverworld Series, by Philip Jose Farmer
The Road, by Cormac McCarthy
The Saga Of Pliocene Exile, by Julian May
The Saga Of Recluce, by L.E. Modesitt Jr.
The Sandman Series, by Neil Gaiman
The Sarantine Mosaic Series, by Guy Gavriel Kay
A Scanner Darkly, by Philip K. Dick
The Scar, by China Mieville
The Shannara Trilogy, by Terry Brooks
The Shattered Chain Trilogy, by Marion Zimmer Bradley
The Silmarillion, by J.R.R. Tolkien
The Sirens Of Titan, by Kurt Vonnegut
Slaughterhouse-Five, by Kurt Vonnegut
Small Gods, by Terry Pratchett
Snow Crash, by Neal Stephenson
The Snow Queen, by Joan D. Vinge
Solaris, by Stanislaw Lem
Something Wicked This Way Comes, by Ray Bradbury
Song for the Basilisk, by Patricia McKillip
A Song Of Ice And Fire Series, by George R. R. Martin
The Space Trilogy, by C.S. Lewis
The Sparrow, by Mary Doria Russell
The Stainless Steel Rat Books, by Harry Harrison
Stand On Zanzibar, by John Brunner
The Stand, by Stephen King
Stardust, by Neil Gaiman
The Stars My Destination, by Alfred Bester
Starship Troopers, by Robert Heinlein
Stations Of The Tide, by Michael Swanwick
Steel Beach, by John Varley
Stranger In A Strange Land, by Robert Heinlein
Sunshine, by Robin McKinley
The Sword Of Truth, by Terry Goodkind
The Swordspoint Trilogy, by Ellen Kushner
The Tales of Alvin Maker, by Orson Scott Card
The Temeraire Series, by Naomi Novik
The Thrawn Trilogy, by Timothy Zahn
Tigana , by Guy Gavriel Kay
Time Enough For Love, by Robert Heinlein
The Time Machine, by H.G. Wells
The Time Traveler’s Wife, by Audrey Niffenegger
To Say Nothing Of The Dog, by Connie Willis
The Troy Trilogy, by David Gemmell
Ubik, by Philip K. Dick
The Uplift Saga, by David Brin
The Valdemar Series, by Mercedes Lackey
VALIS, by Philip K. Dick
Venus On The Half-Shell, by Kilgore Trout/Philip Jose Farmer
The Vlad Taltos Series, by Steven Brust
The Vorkosigan Saga, by Lois McMaster Bujold
The Vurt Trilogy, by Jeff Noon
The War Of The Worlds, by H.G. Wells
Watchmen, by Alan Moore
Watership Down, by Richard Adams
The Way Of Kings, by Brandon Sanderson
Way Station, by Clifford D. Simak
We, by Yevgeny Zamyatin
The Wheel Of Time Series, by Robert Jordan
When Gravity Fails, by George Alec Effinger
Wicked, by Gregory Maguire
Wild Seed, by Octavia Butler
The Windup Girl, by Paolo Bacigalupi
World War Z, by Max Brooks
The Worm Ouroboros, by E.R. Edison
The Xanth Series, by Piers Anthony
The Yiddish Policeman’s Union, by Michael Chabon
1632, by Eric Flint
1984, by George Orwell
2001: A Space Odyssey, by Arthur C. Clarke
20,000 Leagues Under The Sea, by Jules Verne
I was glad to see both Moore’s graphic novel Watchmen and Gaiman’s Sandman series in such august company. Both Earth Abides (Stewart) and Lord of Light (Zelazny) are close to perfect works of science-fiction. Unfortunately, Stewart never wrote another book, and Zelazny fell off precipitously after LOL. Amber wasn’t nearly as good.
I am not surprised that A Voyage To Arcturus didn’t make it onto this list. It is very poorly written and hard to parse, but it does have a sticking power that many better works lack. I was surprised to see that nothing by Lord Dunsany made the cut, nor was James Cabell represented, nor George Macdonald, nor Jack Vance. In the mean time, you can amuse yourselves identifying the pictures off to the right.
5. Gambling Apocalypse Kaiji – This is a live action adaptation of one of the best anime series I have ever seen. The anime series is set in the nineteen-nineties during the time of the great Recession in Japan, a time in which many young men found it difficult to gain traction in Japanese society. The story arcs revolve around a young man in a tight financial situation who attempts to eliminate his debt by gambling, sometimes against overwhelming odds. The anime series has a very retro feel to it, and the soundtrack is pure late eighties, early nineties Japanese punk; Blue Hearts, Cigarette Man, Street Beats, etc. The movie moves the context into a dark, day-after-tomorrow, pre-apocalyptic Japan, pulls three or four of the more adrenaline-fueled story arcs from the anime series, then pumps up the volume.
It works. There are emotions that the human face can register that no cartoon can render, and Gambling Apocalypse Kaiji makes you feel every one of them. In the end, the bad girl wins all the money, but Kaiji is allowed to keep his own soul, and the movie leaves you feeling that it was a risk well-taken.
We dream, let us say, a sequence of persons, places and events whose casual linkages reside not in some ‘deep comprehension’ of those persons places or events, but instead are found in the empirical surfaces of the dream. [The dreamer] plainly understand[s], in the dream, how one event causes another. and how, possibly absurdly, two or more events are connected because the first is causing the next ones to occur; moreover, as the dream unfolds, [the dreamer] plainly sees how the whole chain of causation is leading to some conclusive event X; some denouement of the dream’s entire system of cause and effect. Let us call this conclusive event X, and let us say that X occurred because of some previous event T which, in turn, was caused by S, whose cause was RE and so on; going from effect to cause, from latter to prior, from present to past, until we arrive at the dream’s starting point, usually some insignificant event A; and it is this event that is understood in the dream as the first cause of the entire system. But what about the tine external stimulus, the quick sharp noise, the brief ray of light? To waking consciousness, this external stimulus is experienced as the cause of the whole causally interlocked system in which persons, places, and events arose in the dream. Let us call this external cause Ω.
Now, what makes the dreamer awaken? When we look at this question from the point of view of the waking consciousness, we might say that it is Ω (the noise or the light) that awakens us. From within the dream, however, it is plainly the conclusive dream event X – the denouement - that, precisely because it ends the dream, awakens us. Taken together, we see that Ω and X almost perfectly coincide in such a way that the dreamed content and the wakened cause are one and the same. This coincidence is usually so exact that we never even wonder about the relation between X and Ω; Ω is obviously a “dream paraphrase” of some external stimulus invading our dream from without.
For example, I dream that a pistol has gone off, and in the room near me someone is actually shot, or someone has slammed a door. So there is no doubt that the dream was accidental; of course the pistol shot in the dream is a spiritual echo of a shot in the outer world. The two shots are, if you wish, the double perception – by the dreaming ear and by the sober ear – of the same physical process. If in a dream I should see a multitude of fragrant flowers at the very moment that someone puts a bottle of perfume under my nose, it is wholly unnatural to think that the coincidence of the two fragrances (the flowers’ in the dream and the perfume’s in the waking world) is accidental. Or I dream that someone is strangling me and wake in horror to find that a pillow has fallen over my face.
Or take the famous dream outlined in the psychology texts. In this one the dreamer experiences the French Revolution, participating in the very beginnings of the Revolution and – for over a year inside the dream – goes through a long, complicated series of adventures; persecution, pursuit, terror, the execution of the King, and so on. Finally, the dreamer is arrested with the Girondists, , thrown into prison, then condemned by the Revolutionary council to die. The wagon rolls through the streets to the guillotine; and he is taken from the wagon and his head is firmly placed on the headrest, and then the guillotine blade falls heavily onto his neck; and he awakens in horror.
It is the final event (X) that interests us: the touch of the blade on his neck. Can anyone doubt this: that the whole dream sequence from the first stirrings of the Revolution to the conclusive fall of the blade, is one seamless whole, Doesn’t the entire chain direct itself precisely to that conclusive event (touch of cold steel) that we term X? To doubt this total interlocked coherence is to deny the very dream itself- and improbable supposition.
And yet the dreamer found, in the moment of his terrified awakening, that the metal bedstead of his bed had somehow broken and had struck him heavily upon his bare neck. We cannot doubt the whole coherence of his dream from the first stirrings of the Revolution (A) to the the falling of the guillotine blade (X). Equally, we cannot doubt that the sensation of the blade (X) and the touch of the metal (Ω) are the very same event; but perceived by different orders of consciousness; dreamed and wakened.
Thus, while X is a refelction of Ω in the imagery of the dream, it is clearly not some deus ex machina with no connection to the dream’s internal logic of events, some alien intruder that senselessly terminates the stream of inner imagery. No, X is a true resolution. It genuinely concludes the dream. None of this would be extraordinary if the touch of the bedstead (Ω) had awakened the sleeper and if in the instant of his awakening had been enfolded by the symbolic image of the touch , and if this symbolic image had subsequently unfolded into a dream of sufficient length. But no, it is the external cause Ω which is the cause of the entire dream. Thus, in daylight consciousness and according to the scheme of daylight causation, this event Ω, the bedstead falling on the dreamer’s neck should precede the first stirrings of the Revolution (A), but in the dreaming time, it happens inside out, and cause X appears not prior to all the consequences of A, and of all the entire sequence of consequences b,c,d..r.s.t) that follow thereupon, but following it, concluding the whole sequence determining it not as its efficient cause but as its final cause, its τέλος.
Thus, time in dream runs, and acceleratedly runs, towards the actual and against the movement of time, when we think in the Kantian sense of time, in the waking consciousness. Dream time is turned inside out. The very same event that is perceived from actual space as actual is seen from imaginary space as imaginary, i.e. as occurring before everything else in teleological time, as the goal or object of our purposefulness. Contrarily, the goal seen from here appears, because of our to appreciate goals rightly, as something cherished but lacking the energy of the ideal, but seen from there, from the other consciousness, the goal is comprehended as the living energy that shapes actuality as its creative form.