This non-academic author has previously brought you reader's guides to the depths and subtle pleasures of works by Joyce and Faulkner. With this book he brings you to the ultimate pleasures of Gustave Flaubert's masterpiece. This author treats Madame Bovary as the Zen novel, working on the reader in the same way Zen works on a disciple. He shows how Flaubert uses a radically new style in order to create a literary breakthrough of a similar order as Zen and has composed the ultimate music of this novel in the counterpoint of style and plot. The style of the novel is grounded in Zen-like detachment and freedom whereas the plot is mired in desire, illusion and determinism. In the plot the inevitable demise of Madame Bovary is driven by her passionate nature and corresponding vulnerability to illusion. By contrast Flaubert's radical style is built on the philosophy of detachment. Flaubert finds a principal enemy of human freedom deep in the guts of mankind in the tapeworm of desire. The desire tapeworm feeds on freedom and excretes dissatisfaction. Emma or Madame Bovary is not free because she has the worm. Emma wants, Emma gets, but she is quickly dissatisfied and then the worm wants more. Emma could be a poster girl for our 21st century credit card society. Flaubert's novel shows through the fate of Emma Bovary the dangers of the worm. For those without freedom fate is in charge.
This is a detailed reader's guide to James Joyce's masterwork Ulysses, voted the most important novel of the 20th century. The guide provides episode by episode an in depth explanation of the action and symbolism, including a description of the related books of Homer's Odyssey and the correspondences. This guide is designed to give the user the keys to the kingdom of one of the wonders of Western civilization. The non-academic author, a retired lawyer and life long Joyce reader, brings new approaches to find the deep meaning of each of Joyce's episodes and the novel as a whole. The scope of this effort, the complete Joyce, is unique in an area monopolized by more narrowly focused academics. The analysis elucidates Joyce's technique to mimic patterns in history and nature in his architecture of coherence. His medicine for the diseased spirit of our age is a custom blend of Jesus and Buddha, not as they are marketed by institutional religions, but as they lived their lives as humans. Joyce's god is more possibilities in life and art, and this guide will do that for you.
This non-academic author brings the Garden of Eden myth alive as sophisticated poetry and a polemic for women and the consciousness of freedom. The myth is explored line by line using the tools of literary analysis and modern ideas, including Freudian concepts. The analysis shows how its "J" author, thought to be a woman in the royal court of Judah around 1000 BCE, uses the techniques of sound association, puns and other sophisticated means to get her messages across. The analysis probes how after thousands of years this myth still speaks to us about the critical human experiences of sex and death and their bigger brothers freedom and limitation.
This non-academic author, a retired lawyer, brings William Faulkner's Absalom, Absalom! to life as uncertainty in Dixie. He traces Faulkner's portrait of the efforts of Thomas Sutpen to create a family dynasty in wealth and community respect and of Rosa Coldfield to revenge Sutpen's treatment of her as a mere reproduction tool. Both efforts are analyzed as life sterilizers inevitably doomed to failure by the uncertainties in life and as examples of the tension between control of the future and love, a choice Faulkner had to make in his own personal life. Line by line analyses of critical portions of the novel reveal its subtleties to the reader. The explanation points out the intentional gaps and spaces in the story that invite reader participation as to what happened. This author gives you his interpretation. You are invited to create your own version of what "really" happened in this archetypal setting in Faulkner's famous Jefferson, Mississippi.
This non-academic author presents his key to opening James Joyce s infamously difficult and endlessly playful novel Finnegans Wake. The key was fashioned in Kabbalah, an ancient Jewish mystical tradition that as interpreted by Joyce champions independent individualism as the path to the highest spirituality. Kabbalah images a universe excreted by the ultimate god, a universe that is necessarily finite and limited that came with its own secondary god that is finite and limited, the god presented in Genesis that issues blessing and curses designed to make mankind fearful and dependent- the curse of Kabbalah. Joyce laid this curse in his dream-like "Book of the Night" in the elastic way that the latent or hidden content of a dream distorts the presentation of dream materials. Acting like a black hole, this curse pressures the main character Harold Chimpden Earwicker to "fall," to become fearful and dependent just like everyone else, that is reduced to the mere initials HCE for "Here Comes Everybody." Joyce traces this curse from the myths in Genesis to the primal horde, the first social organization of humans, to the Oedipal Complex and to nation state warfare such as the Battle of Waterloo. In a groundbreaking presentation, Anderson deciphers word by word the first two chapters and part of the last chapter to show how this key opens the lock. He shows, for example, how the joined ending and beginning of Joyce s wisdom book form the Hebrew word for curse and the ending shows confrontation rather than repression of fear of death as the key to life, to your own wake.
This second volume continues this non-academic author's ground-breaking word-by-word analysis of James Joyce's Finnegans Wake, Joyce's last blessing on mankind. In chapters 1.3 and 1.4, which are covered by this volume, the Kabbalah-based analysis peers into the darkness of the Egyptian Land of the Dead and corresponding Book of the Dead. These chapters are joined at the hip by Egyptian death-obsessed theosophy and increase the font on Joyce s principal subject matter the loss of human potential to fear and dependency. Joyce finds Kabbalah-cursed paralysis in ancient Egyptian religion as part of his effort to show the same paralysis in nearly all religions and to champion the independent individual. In these chapters, the search for meaning in the god/mankind relationship serves up several father and son stories. This selection is based on the fundamental importance in Egyptian religion of the story of father Osiris and son Horus, and the corresponding importance in Christian religion of Jesus as the son of god and the second person in the Trinity. These father and son stories include Attackler and Adversary, a tale framed by a dependency- demanding father god betraying the independent son god on the cross. The story of Abelbody is based on the premise that the real son of the god of this world was the arbitrary and violent Cain. Joyce s masterful synergism of style and content continues. In these two chapters sentences are wrapped up like mummies in parenthesis and parenthesis within parenthesis and slowed down by flow-interrupting dependent clauses. By contrast, the sentences at the end of chapter 1.4 display a new spirit. The unification aspect of the female psyche shows in long and open compound sentences joining many independent elements (much like Molly s soliloquy in Ulysses). In addition, the transition at the end of chapter 1.4 to the female in chapter 1.5 (covered in volume 3) is made by poetry at first doggerel and then dignified poetry. Like the aspect of female mentality that Joyce focuses on, poetry is based on partial connection and unification of the sounds, words and thoughts. Joyce's closing words nurture each other. The author's plan is to cover all of Finnegans Wake in subsequent volumes.
Fresh from the magic kingdom of Joyce's Finnegans Wake, this non-academic author ushers us line-by-line into the shadows of Kafka's spectral bug theater. He walks the bug back along hints left by Kafka as to what happened the night before, why that night was different from all other nights. In this reading, father Samsa betrayed his first-born and needy son Gregor by declaring him unwelcome at home, even though Gregor was paying the rent. Stimulated by this betrayal of blood by blood, the twilight zone opened momentarily allowing father's brutality to transform the son into a giant bug. Three months later, the combined protective forces of Easter and Passover are necessary to finally put the creature to rest: Easter for his spirit and Passover for his bug body. Using then-current formulas from psychoanalysis as to hysterical conversion and from psychodynamics as to the human energy system, this explanation locates in a story often found mysterious a coherent path to the lack of memory by Gregor of these events and the reason for his hard back and soft underbelly. As the author sees it, irony fuels the title because the metamorphosis changed Gregor's exterior but not his inner nature, his "indestructible" love for family, while just the opposite happened to his convenience-loving family. And irony fuels the results because father Samsa got just the lazy and dependent son he criticized Gregor for being in wanting to stay at home. The author traces how Kafka uses verb tense and aspect, psycho-narration, as well as changes in the narrator's voice to make meaning in this drama theater. In the last act and after Gregor is disposed of by a Mary Magdalene-suggesting charwoman, the parents prepare their last child, their daughter, for departure, which will leave them in complete convenience. For her they have saved a nest egg that will help supply a nest for her family eggs, a family nest denied to their first-born.
This fourth in a series continues this non-academic author's ground-breaking word by word analysis of James Joyce's Finnegans Wake. This volume covers all of chapters 1.7, 1.8 and 2.1 with the intent to explore them as art objects. In chapters 1.7 and 1.8 Aesthetics meets Theosophy meets Metaphysics. Together they share a common subject-how one part or whole treats another part. These two chapters move from shun to share, hurt to help, male to female. In aesthetics, from bad art to good art. In theosophy, from TZTZ god to ES god. In metaphysics a la Arthur Schopenhauer, from male to female aspects of Will. Featuring an all male cast, chapter 1.7 is a stinging criticism of Shem by Shaun-brother against brother. Chapter 1.7 is intentionally bad art. In aesthetic terms, the whole of the chapter is at odds with the parts and the parts at odds with other parts. With an all female cast, chapter 1.8 features a young washerwoman and old washerwoman washing clothes and talking together across a river. The main point is that they are working together, and Old shares knowledge of the eternal feminine with Young. Sharing replaces shunning. Part helps part. Chapter 1.8 is intentionally divine art. Chapter 2.1 starts Part II that features the Earwicker children, the human expression of the death defying new. As children, they come with the potential for new possibilities. Initially, however, their realization is limited by youth, when they are more under instinct-based and parental control than under self-control. Chapter 2.1 features a children's game fueled by immature sexual intoxication and loss of self-control. Joyce presents this come-on game in the rhythms and rhymes of children's stories, poems and songs, that is in children's art limited by the purpose to please a young mind. Chapter 2.1 takes the form of a play. The action in the play is the children's game. It is a play about play. With drama in the structure, Joyce weaves Macbeth into the chapter and like Shakespeare's bearded witches, boils the pot with male and female. Hermetic magic supplies the metaphors and concepts for chapter 2.1. Hermetic magic is the art of accessing the celestial force field known as the Astral Light. In order to have strong magic the magus must be in equilibrium and must know him or herself. Magus Joyce notes that these same requirements are necessary for the highest art.
This third in a series continues this non-academic author's ground-breaking word by word analysis of James Joyce's Finnegans Wake, Joyce's last blessing on mankind. This volume covers chapters 1.5 and 1.6 with the intent to explore them as art objects, to examine how they work as art. By contrast with previous reduction-based chapters, Chapter 1.5 features expansion, One becoming Many. The spirit of the female principle registered in ALP's letter or "mamafesta" hatches the expansion. This chapter honors creativity in literature along with the human female instinct for giving birth to new human potential. An academically-oriented Professor explores but misses the meaning of the letter. Aristotle's concept of the infinite and the legend of Krishna injecting independence in Gopi milk women frame the chapter. Chapter 1.6 brings back the forces of reduction, Many becoming One. Instead of the female hatching the new, here the male spirit smothers new possibilities in favor of control. Shaun hijacks questions put by Shem to others and reduces their potentially different answers to his answer. The charming fable of Mookse and Gripes modeled on Aesop's "sour grapes" explores the schism between the Roman Catholic and Eastern Orthodox churches; while arguing, both fail to notice the potential presence of the Holy Spirit. These two chapters feature two very different processes, the maternal process and the excremental process, the mother's womb in chapter 1.5 and the colon in chapter 1.6. The mother releases the new child and the colon the same old waste. Distorted spirit in the colon-inspired chapter sponsors Shaun sodomizing his sister. Joyce's masterful synergism of style and content continues. For example: Chapter 1.6 includes a second fable about Burrus [and Caseous], the name suggesting butter. The language used by Joyce takes on the characteristics of butter; like dependent humans, the words change shape and spread easily.
This fifth in a series continues this non-academic author's attempts to decode on a word-by-word basis all of Joyce's Finnegans Wake. This volume covers chapter 2.2, generally considered the most difficult of chapters, with the intent to explore Joyce's novel as an art object. This difficult chapter takes us through the human psychosexual journey of the first 12 years. This journey, critical to the development of the full human spirit, is a pothole-ridden ride from infant dependency at the breast to breezy adolescent independence in puberty, from the stroller to the "hot rod." This Freud induced chapter flags the pot holes along the way and the flats they can cause. The goal of the journey is independence and new possibilities while the flats cancel the trip and the child stays at home. This chapter is known as the "Night Lessons." These Lessons are Night Lessons because they are designed to maintain the night, the darkness that prevents access to the new and previously unknown. These lessons condition their students to lose interest in the realm of the unknown where new possibilities await discovery. As we learn at the end of the chapter, fear of death is the ultimate Night Lesson. Death is the Big Flat. This is TZTZ god school--stay in the dark, stay in the known and stay in the past. Study only what was known in the past. Study each subject separately without regard to connection across subject boundaries. Wear my school uniform, concern for the opinions of others. Stay separated and protected from new possibilities. Stay in the old, in "yesternight." This chapter brings us three courses in the TZTZ effort to protect the known and old from the new: restriction of the enjoyment by children of their early libido experience, choice and organization of knowledge as fed to children, and the allowable relationship of the human soul to god. So the subjects are sex, knowledge and the relation to god. If you think that sounds like Eve's adventure in the Garden of Eden, you are right. The subliminal Lesson Plan in TZTZ god school is to stall and fix psychosexual development in an early and undeveloped stage, teach only and maintain strict boundaries between the old subjects of study, and prevent mankind's direct approach to ES god. As we shall see, this means separation, separation, separation. The Joyce Tikkun tutorial tries to mend together these important areas of human concern. The connecting threads are like the human developments in puberty: increased freedom and courage to unify with those separated off as other from self and the family, the already known. This Joyce effort aims to increase the portion of the united nature of ES god that humans reach in these areas: puberty liberated libido attraction to non-family members, thinking across disciplines and new thoughts, and by reaching for god. In this chapter, the union of man and woman beyond the family is the sacrament of increased possibilities.