Annotation: The Art of Final Fantasy IX

I love beauty. I think it is a crying shame that the word has become so tied to a fairly vapid, superficial definition for so much of society, since the notion of beauty when boiled down to its most basic principle, is simply a method to name and identify that which draws us to a person, place, thing, or even abstract thought. It is with this in mind that I say I love beauty, and it is this idea that colors everything I strive for in my life. I suppose that is one reason why I tend to prefer the fantastic in art: more often than not, fantasy grows out of taking the beautiful from the mundane. The Art of Final Fantasy IX is an excellent example of this concept, creating an entire world that is beautiful and fantastic.

The Art of Final Fantasy IX is a companion book that was published when the game Final Fantasy IX was originally released, back in 2000. I bought the book at that point, and promptly lost it in a move. It resurfaced at my brother’s apartment this past April, as I was preparing for this semester, and I am extremely grateful for it. With my desire to learn the process of creating a world and characters such as (but not like) this, being able to see the actual original concept art that the game was built upon is invaluable. The majority of the art is by Hiroyuki Ito, Hideo Minaba, Akira Fujii, and Shin Kajitani, with a smattering of Yoshitaka Amano’s work on the lead characters. There is very little in the way of written work on it, though what there is was done by Dan Birlew, hence why the Library of Congress calls him the technical “author”. Interestingly, back when I thought the book was gone, I looked into buying a new copy… it has been out of print for several years now, and used copies are selling for over $85 (it was originally $20). I only wish they would turn this collection into a series, and release the art from some of the other games made by Squaresoft (makers of the Final Fantasy series, of which there are currently eleven released and another two in development. They also developed Chrono Trigger and Chrono Cross, as well as the Mana series of games, and Xenogears, all of which were visually stunning in their own right), but I don’t think it made enough money in sales to merit it.

One of the interesting design choices they made for this this game was the use of caricatures, taking character traits of the individual to an extreme to create unique flavor to the environment (for instance, a gluttonous individual looks like a hippo, a set of pompous nobles have horns for noses so that they can “toot their own horn”, et cetera). It all ties into the underlying theatrical theme of the story, because in theater, things are also often exaggerated for the purposes of creating a robust atmosphere out of what could have been a very dull stage.

There are some images that I find particularly appealing or informative that I’d like to mention. Right off the bat, I’d say some of the most fascinating work is the work on the town of Final Fantasy IX. There are three primary cities, each with a very unique flavor: Alexandria, Lindblum, and Burmecia. Alexandria is largely influenced by pre-industrial European, with heavy emphasis on ornate religious symbolism, thatched roofing, and towering castle spires. The central design element of the city is a large (easily over 100 meters tall) crystal obelisk that crowns the center of the castle, which ends up playing a central role in a particularly magnificent scene later in the game.

Lindblum could easily considered a “sister city” to Alexandria, remaining strongly influenced by European architecture, but with a greater emphasis on technology and industry. The entire city is filled with clock towers and massive gates to allow airships to pass through (airships are a central aspect of all the Final Fantasy games… they are a recurring theme). Despite the fact that you are actually only able to explore a portion of the city, the designers do an excellent job of depicting a massive city citadel that has built upward rather than outward, with the entire city contained inside the gargantuan castle walls. (If pressed to choose between the two in preference, I would say I prefer the atmosphere generated in Lindblum, but appreciate the beauty and grandeur of Alexandria more.)

The third major city in Final Fantasy IX is an entirely different culture, and is called Burmecia, the City of Eternal Rain. It has VERY strong Indonesian cultural references, and I would argue that it is the most interesting of all three cities. We never get a chance to explore Burmecia in an undamaged state (it is invaded and decimated very early in the story), but even the ruins are truly beautiful and epic. Giant stone statues guard the gates to the castle, with lesser statues lining the streets. There are three themes to the landscape of Burmecia: that of battle (many warrior statues), that of music (in particular, harmonies and bells), and that of spirituality (especially revering one’s ancestors). It paints a remarkable backdrop for a fascinating culture, without even needing to say a word about it.?

A lesser town but still worth noting is the city of Treno, which is mostly drawn from Victorian era design. The city is mostly stone manors, and is circular, with the nobility living on the lower, inner ring of the town. What really makes this town notable is the overwhelming references to games. Several of the walkways take the form of large playing cards, and the nobles each take their name from chess pieces, playing cards, and the tarot (“King of Wands”, “Bishop of Coins”, “Queen of Hearts”, et cetera). The overall mood created by this design choice is really quite unique in the game. I think it may be my favorite town in the game, at least partially because of the juxtaposition they create in it: it is a two-tiered system. There is no middle class, you are either wealthy, or dirt poor. There is a certain amount of irony in binary socioeconomic classes that is interesting to observe, even in a fictional setting.

I’m going to address the section on the monsters they designed separately, because I would like to accompany my writing with some attempts of my own based on their work. Suffice it to say, they are well crafted and interesting, doing an excellent job of reasonably depicting what various beasts of legend should look like. Instead, I’m going to close this annotation by talking about airships.

Airships are a central, recurring theme in every Final Fantasy game, one of a very few recurring things. (Others include “chocobos”, large chicken-like birds that you can ride like a horse, and some character in the game named “Cid”.) It should be noted that no two Final Fantasy games take place in the same world… the theory goes that each Final Fantasy is the final world-affecting story of a given story universe. Airships have been in every single Final Fantasy game since the very first back in 1987 on the original Nintendo Entertainment System. That said, they have never been as ornate, detailed, or well thought out as they are in Final Fantasy IX (that includes games after IX).

Put simply, the airships in Final Fantasy IX are beautiful. They are massive and ponderous, and take on attributes of both sailing ships and fish (but not airplanes). In particular, the “Prima Vista”, a theater ship. It is called a theater ship because it in fact houses a stage on the aft of the ship. It is ornate and festive, designed with the need to house (and hide) the band and the various props and set pieces that might be needed during a performance. It is a delight to look at, pure and simple, physics of such a contraption be damned.

Truly, this book is a real treat for anyone interested in the art that goes into game design. The artwork itself is delightful, and the amount of information that can be gleaned from it is remarkable. While I would certainly not suggest purchasing it for the $85 a used edition is currently going for, I would definitely recommend finding a copy to borrow from somewhere to anyone interested in such a field. I said it earlier in this piece, and I’ll say it again: I would LOVE to see them turn this into a series of art collections, for the rest of the Final Fantasy series and other games as well.

Birlew, Dan. The Art of Final Fantasy IX. Indianapolis: Brady Publishing, 2000.

Annotation: Drawing As A Sacred Activity

Trying to find my own balance with the connection between spirituality and art has taken me to a number of books, not the least of which would be The Artist’s Way, and Drawing on the Right Side of the Brain, neither of which I am directly talking about here (which is good, because I have not yet finished either of those books). It also introduced me rather directly to a book by Heather C. Williams called Drawing as a Sacred Activity.

It isn’t exactly a new concept: using art as a form of therapy has a lot of history behind it. But then, the issue for me has never been an ignorance of the merits of art. My issue has always been (and continues to be) getting past my internal censor to allow myself to DO the art. I do not have the technical ability right now to be able to create what appears in my mind’s eye, not as I would like it to be. Because of this, I am extremely critical of my own work, and allow myself to become paralyzed by this self deprecation. Which leads me to the blurb on the back of the book:

…many people are not encouraged to embrace their creativity. So they quietly shut down that part of their inner lives. Even people who learn to embrace their creativity may find themselves blocked by past emotions. Heather Williams has developed playful yet profound exercises to teach not only the technical but also the emotional skills that artists and nonartists alike need to create and heal their lives. (Back Cover)

Help me get past my past emotions and help me get back in touch with my creativity? Sounds good to me! It was this blurb on the back cover that got me to check the book out of the library. At worst it would be hokey, and I could lampoon it in my annotation. Instead, I was impressed with the honesty of her writing, and found that her advice genuinely made sense. While I have not managed to put much of it into practice, I have every intention to do so.

A good deal of the book is spent doing exercises, and ways to interpret those exercises. They start out very simply, with drawing basic lines, then moving onto doors and windows, then tables, chairs, and finally moving on to clothing and living things (trees, flowers, et cetera). She also recommends drawing with your non-dominant hand for a while, particularly in free-drawing, because it taps distinctly different parts of the brain, parts that often end up being tied to emotional response and memory. It is through this non-dominant drawing that we can often finally come to terms with things that have been blocking us for years. I definitely plan to work on this more, in the hopes that I can finally get past whatever it is that is keeping me trapped in the sentiment that my artistic ability is no better than a third-graders, no matter how good or bad it actually is. (In some ways it is more annoying to those around me than it is to myself. I merely trash my own work, which is an established routine for me at this point… those around me, though, are left confused and exasperated as to why I’m so hard on my work.)

I found her chapter on drawing animals far more interesting on an intellectual level than I did on a technical level. Her opinion (and I tend to agree) is that animals are an excellent way to learn to draw compassionately, which is more in tune with your own emotional well being. Animals (especially pets like dogs and cats) love unconditionally, and do not hide behind false pretenses. They will behave in exactly the way that most suits them at any given time, regardless of who is watching. This really struck a chord, because that is what I seek in my close relationships: an ability to behave exactly as I choose, without fear of judgment. I can be as goofy or relaxed as I’d like, without fear of reprisal. I can think of nothing that makes me love as absolutely and be as unconditionally happy as having that feeling with someone else. THAT, to me, is one of the core essences of love.

I’d say the biggest thing that I learned from this book is that a drawing doesn’t have to be technically perfect to be good, as long as it is emotionally honest. The corollary to that is that not every piece I draw must be technically good in order to not be a failure. There are some very childish, simplistic drawings in this book (admittedly, most of them were done with the artist’s non-dominant hand), but they still succeed in their goal: to honestly convey the artist’s feelings.

If the spoken and written word is the way that our thinking mind communicates, then the visual image is the way our emotional mind expresses itself. That may be an over generalization (where, for instance, does music fall in that range? It is an imperfect analogy at best), but it does convey what I am trying to say. I look forward to putting this (and what I learn from other books) into practice, and perhaps, finally, become comfortable with my own creativity.

I was a bit skeptical when I started the book, but now that it is finished, I am glad I took the time to read it. Anything even brushing up against the spiritual runs a strong risk (in my opinion) of being hokey rubbish, so discovering that I had not wasted my time with this one is really rewarding. I would definitely recommend it to anyone in a similar position to me.

Williams, Heather C. Drawing As A Sacred Activity. Novato: New World Press, 2002.

Annotation: The Dream Hunters

Everyone has someone that they look up to. Someone who so excels in a given field that you can’t help but wish there was a machine that could transfer talent like an infusion of blood. As far as I’m concerned, in the field of drawing and illustration, that person would be Yoshitaka Amano. He has an ethereal yet detailed way of drawing that I envy, creating some of my favorite images. I first became aware of his work from his character design work for Final Fantasy VI (Final Fantasy 3 in the US), which was incorporated into the manual. It immediately drew me in and influenced my perception of the world created within the game in a way that I had not experienced with other games or illustrations. For lack of better description, Amano’s work is like looking through the eyes of an Efreet, Djinn, or Genie: a magical overlay to a very real world. A recent collaboration between Amano and author Neil Gaiman continues this trend, in the most delightful way possible.

The Dream Hunters is a supplementary story that takes place under the aegis of Neil Gaiman’s Sandman series of comics and graphic novels. While considered a graphic novel, it is not done in the traditional “comic” style, but rather is written as a prose story, with a full page illustration for each page of text. The story itself is a retelling of an old Japanese myth about a monk and a fox, and the relationship that develops between them. Amano manages to capture the mood and magical, dreamlike nature of the story in a fashion that seems exactly and absolutely the correct way, and the very notion of it being illustrated in any other way would be intrinsically inaccurate and wrong.

That’s not to say that Amano’s style is the answer to everything. Other styles have their own merit of their own accord; it just so happens that in these circumstance, his style works well with the piece. It is a style that is most suited to the fantastic, the mystical, and the spiritual (really, aren’t these the same thing?), which is very much the nature of The Dream Hunters. I suppose what I am trying to say by this is that I am not claiming that Amano is the greatest artist of all time, that I would not elevate him above other masters (such as Da Vinci), but I WOULD place him in that same master category, and his particular style is one that I would like to adopt in my own work. I’m not sure if that notion is in some way silly or hypocritical to my belief that an individuals particular artistic style is at least partially developed through their personality, but I would certainly like to believe that it is not contradictory to include the desire to incorporate a particular style into your own work as well. (There is some credence to this, in my opinion, based on my observation of artists such as Fred Gallagher, who blends japanese manga style with american animation influences to create a style that is uniquely his own. You can see what I mean in his online manga comic, http://www.megatokyo.com.)

While I enjoyed the entire book, there were some pieces that particularly leapt out at me. One that immediately comes to mind is the cover itself. The particular edition I have (there are several variations) is a metallic gold background, with the Sandman (very pale skin, black hair, black clothing, wrapped in a cloak) in the center of the image with a full moon in the background. Flowers are growing out of his cloak, and a raven is perched on his shoulder. Various creatures (a serpent, a fox, and several baku — dream eaters from japanese mythology) are faint in the background. Immediately in front of the Sandman is a beautiful woman, prone, floating/falling in the air (her clothing is draped downward as if she were floating or being carried, but her hair is pulled forward as if she were falling from a great height… the physics of a dream world is a marvelous thing). The overall composition is very direct and appealing.

Another piece I particularly enjoyed was about two thirds of the way through the book, when the monk travels to the King of Dreams (the Sandman), and is stopped at the door by an itsumade, which is a mythical beast loosely akin to a gryphon: “a monstrous bird, with a head like a lion’s, sharp teeth, a snake’s tail, and huge wings.” (90) Amano’s depiction of this creature was remarkable, both in the size and scope of the creature compared to the dimunitive monk, and in the blending of its traits into a believable creature. It literally fills the page with swirling color and shape, evoking wonderment at getting to see such a beast.

The final image I’d like to point out in particular is also somewhat epic in scope. It is when the fox meets the King of Dreams for the first time, where the Sandman takes the form of a giant black fox, who speaks to her from the top of a mountain. The image is very dark, yet still detailed, and does a masterful job at depicting just how much the fox is dwarfed by her surroundings.

Overall, I greatly enjoyed this book, and would happily recommend it to anyone, both for the art and for the story. Neil and Yoshitaka put together a fantastic piece of work, and I look forward to seeing more (in the afterword, Amano mentions that this is just the beginning of his plans with Gaiman… the notion of another collaboration is more than enough to make me giddy with anticipation). I intend to continue to examine Yoshitaka Amano’s work during this semester, in the hopes of learning a bit about how he achieves what he does in his work.

Gaiman, Neil; Amano, Yoshitaka. The Sandman: The Dream Hunters. New York: DC Comics, 1999.

Krelian

As some (most) of you know, I’ve been on a MUD called AVATAR for seven years now. One of the things that really kept me playing it for so long was the sense of community that exists there. It’s like an extended family in many ways, and was made moreso by getting to know some of the players and other immortals in real life. (For instance, the owner of the MUD, Snikt, is both a friend and a business partner, and we would never have met without the MUD.)

One of our regular players died last night. Last week he had gone in for a routine tonsillectomy, and during the operation they knicked an artery. He was sent home afterwards, but ended up back in the hospital the following night, and slipped into a coma not long after. It continued to get worse, with a period during which he was brain dead for six minutes, causing irreversible brain damage even if he ever awoke from the coma. His parents signed a Do Not Resuscitate order yesterday, and he passed away at 1am last night. He was 19.
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Essay: Faith vs Religion: My Personal Exploration of Spirituality and the Baha'i Faith.

During my recent residency at Vermont College, a friend told me a metaphor for religion that bears repeating: “Religion is like a supermarket. We enter with needs and wants, and we go through filling our basket with these things. But we do not have to buy everything in the store.” I found this anecdote particularly relevant to my own search for spirituality. It sums up my philosophy on organized religion remarkably well.

I was born and raised as a Baha’i. In fact, my namesake was a writer who chronicled the early days of the Baha’i Faith (a hefty tome called The Dawnbreakers). The basis of the religion is that Baha’u’llah is the most recent messenger of God, one of a long line that includes Abraham, Moses, Buddha, Zoroaster, Christ, and Muhammad. The Baha’i Faith’s core beliefs revolve around the concept of world unity and equality.

All in all, those seem to be a pretty solid groundwork to base a religion on. It stands to reason that since humanity continues to grow and mature, the Word of God must be updated from time to time. This is further obviated by man’s fallible nature: considering the known level of corruption that has existed in the seat of power of various religions in the past, it is not outside the realm of possibility that the original message is not nearly as pure as it once was. And as for the principles for a religion to teach, compassion and equality are really rather high on the list of ideals I’d like to see encouraged.

I was one of four Baha’i children in my school district (two families: my brother and I, and the other family had two girls). Growing up, I always looked forward to Baha’i holy days, because it meant that I had an excused absence from school on those days, which our community would often do interesting things for (one holy day that happens in October, we would hike a mountain each year and say prayers at the top, things like that). Really, it was a rather nice religion to be raised a part of. That said, at this point in my life, I am really more of a “lapsed Baha’i” than anything else.

There are reasons for this. At the surface, there is the frustration in being part of a minority, and regularly having to explain what the religion is about. Also, there was the frustration of school functions which were largely christian in nature (and let’s not forget the mandatory “non-denominational” services with the Boy Scouts). These frustrations weren’t exactly conducive to following your own beliefs.

On a more personal level, the religion itself pushed me away. While I like what the Faith teaches, the great majority of Baha’is I’ve met were well meaning, very nice, intelligent, and FLUFFY, for lack of a better term. When I say “fluffy”, I mean that it feels like they are “born-again”, and are trying to be EXTRA loving and religious in order to make up for lost time. I don’t think this make them bad people, but it does make me uncomfortable at some fundamental level. I feel that while we should always strive for excellence, we must also balance that with moderation: anything taken to an extreme, including religion, isn’t healthy. Please also note that I am making a distinction between religion, and faith. It is an important distinction, and really the crux of what I’m talking about.

I believe in Baha’u’llah. I believe in God or at least some sort of higher power that may as well be called such. Also, I like what the Baha’i Faith teaches as a basis for religion, but it is the religion (and really all others I’ve run into) that I am bothered with. I am an introvert and a generally private individual (this paper, itself, has taken a great deal of tooth-pulling to even write), and find myself somewhat irritated that others try to foist their take on what is at its core a personal relationship with one’s connection to the universe, for the sake of organization. We as a society busy ourselves by meddling in the personal lives of our neighbors rather than realizing that it is not our place to judge the actions of others. This is the difference between faith and religion: faith is by its nature private, it is the communion between god and yourself. Faith is the contemplation and belief in certain things (whether it is the nature of the universe, or guidelines for better living in the here and now). Religion is taking faith and making it a spectacle. It compartmentalizes and socializes belief, so that instead of gleaning your own conclusions (going back to the supermarket metaphor, buying the things on YOUR list), you are told what you should believe (everyone receives the same “rations”).

And instead of realizing this and doing my own thing and not worrying about the rest, thus living a fuller, richer spiritual life, I get worked up about it. I spend my energy railing about how frustrating and disillusioning organized religion is in an age of distributed communication and knowledge, where it is easy to find the holes and flaws in any religion. Of course there are flaws in religion. They’re made by man. We’re not perfect. That doesn’t mean the principles of and the basis for the religion is wrong.

What I’m saying is that there should be more effort made to separate the religion (the structure) from the faith (the content). Let people make decisions for themselves, give them the material to make educated choices, and see what happens. If someone decides that they want to combine aspects of Buddhism, Zoroastrianism, and Baha’i, then so be it, more power to them. That doesn’t mean that the next person won’t decide that a combination of Judaism and Hinduism is a better fit for themselves. Let us as a race awaken into a Collective Conscious (vs unconscious), and bring it all back to what really matters: the individual’s relationship with God.

The Intensity of an Unfettered Soul

I will be the first to admit, I have always been a prideful man. I am proud of my family, my friends, the capabilities and potentials they have, the things they’ve done, who they are. There are far worse things to be prideful about, but nevertheless it is just as bad as any other thing to be proud of: it creates the illusion of merit based acceptance, instead of accepting purely for the sake of acceptance.

I visited my grandmother today, a woman whom has done more in her life than most. She raised five children, traveled the globe, embroiled herself in community projects, and otherwise occupied herself with always something. She is extremely intelligent, with a degree from Radcliffe; if one were to try to think of an example to sum up the type of person she is, I would recall that she gave my father permission to marry my mother because he managed to beat her at Scrabble. She could do the New York Times crossword puzzle in under an hour (and would do so, regularly).

She is now 90, half paralyzed, and bed-ridden. Her mental facilities (in particular her short term memory) have eroded because of this, and I am simultaneously furious and upset to see her like this.
Continue reading “The Intensity of an Unfettered Soul”

Essay: The Motive to Create

For many people (myself included), there are few things quite so difficult as the act of starting something. No matter how much passion for a given subject that I might have, taking the necessary steps to begin the act of creation is always difficult, stressful, and time consuming. Even now, as I write this, my attention is vying for anything other than this essay, ranging from traffic nearby to lint underneath the keys of my laptop keyboard (how frustrating in an innocuous way). I redact my writing as I am writing it, constantly going back and deleting, correcting, amending, which disturbs the flow of getting the intial thought OUT, so I can then move on with the rest of the essay. In so many ways, attempting to write out my thoughts is a waste of time, even before we delve into the psychological censor we impose on ourselves, making it sometimes (often times) emotionally wearing or even painful to write. So why do we write? Why do we draw, or paint, or sculpt, photograph, sing, compose, why do we go through so much trouble to create, go through the growing pains where no part of it even feels rewarding?

We build houses because we need a place to live. So what essential need is satisfied by building a sculpture? Julia Cameron, in The Artist’s Way, said that “The creator made us creative. Our creativity is our gift from God. Our use of it is our gift to God. Accepting this bargain is the beginning of true self-acceptance.” I think that very well might be a major part of it. At the risk of expanding in a possibly pedantic way, we create, even (and sometimes especially) when it is painful to do so, because it our way of communicating spiritually. There is a lot of talk nowadays about different types of intelligence, such as emotional intelligence. There has been at least a few remarks of artists being more emotionally intelligent than, say, a scientist or engineer. But that isn’t necessarily always true, and really doesn’t satisfy the particular way that artists are able to communicate. I think, perhaps, artists of various types (writers, painters, et cetera) have developed a spiritual intelligence. Those individuals who exhibit a natural predisposition towards art have a higher natural spiritual intelligence. I think emotional intelligence and spiritual intelligence are closely related, but the more I think about it, the more I’m convinced that they really aren’t the same thing. There is a rampant misconception that artists are automatically more “in tune” with their emotions which, knowing and being related to a variety of artists of varying caliber, I can comfortably say is completely erroneous.

Annotation: Dhalgren

There are some books out there that are uniquely capable of immersing you into their world, in every sense. The number of books that can actually manage to do this is surprisingly small, in my experience, taking up only a small percentage of that selection of books that you might, on any given day, consider “good”, “worthwhile”, or “thought-provoking”. We’re not talking about good books here, we’re not talking about books that make you sit in some coffee shop and ponder the meaning of life. We (by which I mean, “I”) are talking about books that take hold of your entire sense of awareness, and direct it elsewhere. Books that make you abundantly aware and appreciative of the vagaries and nature of being a human. They ignore the romanticized notion of Man and instead shows them as they are, warts, grunts, pains, insecurities and all (and in the process becomes romantic itself). With an opening quote of “You have confused the true and the real.” (George Stanley/In Conversation) before even the table of contents setting the mood for the rest of the book, I would definitely say that Dhalgren is one of these books. For lack of a better term, (bearing in mind that opening comment) it is a remarkably HONEST book.

I’ve read two editions of Dhalgren. The first contained a fascinating if dry introduction by Frederick Pohl, whose name has also been attached to a writing award for which Dhalgren is a recipient. Alas, I lent that copy to a friend back in 1998, and have yet to see it again. Rather than go without, I went out and picked up a new copy of the rereleased novel. This one contains a rather interesting introduction by William Gibson of Neuromancer fame. What particularly struck me about his introduction is that it felt very much as if the introduction was written immediately after reading the book again, leaving Gibson still immersed in that peculiar outlook and train of thought that Dhalgren seems so eminently good at creating. This was rather gratifying, as it made it more apparent that it is NOT just me that becomes so affected by this book.

At the risk of letting my metaphor careen out of control and butcher my train of thought, these introductions act very much like an appetizer before a substantial meal. The type and flavor of the appetizer very much influences what nuances you pull out of the subsequent main course. I certainly find this to hold true very much in this case: I pull significantly different parts out of the first chapter especially, depending on which introduction preceded it. Mind you, this is entirely separate from the various aspects of the story (and structure of the story) that I continue to pick up each time I reread it. My interpretations of the nature of the relationships between different characters (the protagonist, Kid, and his interactions with the surrounding people, as well as the nature of relationships between these peripheral characters themselves) shift wildly between readings, with some relationships becoming more vivid in my mind while others become vague, hazy.

The first few times I read Dhalgren, I felt that it had no real structure, that its structure was as amorphous and chaotic as the city the story takes place in. I then came to the conclusion that perhaps it is not so chaotic, so much as an elliptical spiral, coming back to things that have happened before in unexpected ways, continuing to go farther and farther out. I’m beginning to think that the true nature of the story structure is in fact something in between. That it IS elliptical, but not as precise as a smooth orbit, but rather tumult in a pattern, like the arms of a hurricane. Further, the city’s landscape changes according to the acts of the observer. On Kid’s first night in town, he comes off the bridge and proceeds to meet someone on the roof a building. Despite having walked for no more than 15 minutes, he can no longer see the bridge or the waterfront from the roof. Later on in the book, on that same rooftop, the bridge looms nearby. This discrepancy (if you wanted to call it that) is by intent, however. The bridge symbolizes the exit leading to the outside world, and as previously stated, the landscape adjusts according to the acts or needs of the observer.

What acts or needs would cause Kid to need to leave? Especially since he doesn’t leave, nor even really considers it for more than half a second? One of his friends is leaving at that point, but the importance of that particular action is largely irrelevant, and could have just as easily been avoided. In my eyes from this latest reading, I would say the bridge serves as a metaphor at that point of bringing himself back to reality if only for a moment, and the city itself is a metaphor for the descent into madness. Kid had just lost several days, and the trip to the bridge serves as a re-acknowledgment of reality. While he continues to lose time and remains in the city, it is at this point that he accepts it and no longer lets it bother him.

The writing style for Dhalgren changes for each major “chapter” of the book (there are seven of these chapters). Sometimes the changes are subtle (for instance chapters 3, 4, and 5 are all very similar, and really only change in narrative emphasis), and in others the changes are significant and jarring (in the first chapter, each section opens with a narrative dialogue that leads into Kid’s next action, but has no relation to what else is happening in the story). The most jarring and unique chapter is the final chapter: “The Anathemata: a plague journal.” Over the course of the book, Kid discovers a notebook that is someone’s journal, and uses the unused pages for his own writing. The last chapter of the book is written as if it were a portion of that journal. It is decidedly nonlinear: true to character, he writes where there is space, not necessarily where it makes sense, so an entry might start on one page, and get continued four pages further along. There are even little blurbs of writing in the margins — wherever he could find to write. There are misspellings, crossed out words (crossed out paragraphs!). It is blunt and honest and disturbing in subject matter in a way that makes you realize just how refined and separated the rest of the book is in comparison (the rest of the book in comparison to other literature already was pushing boundaries).

The first time I read Dhalgren, I hated the last chapter. I found it a disappointment, I found it a pain in the ass to read, and it simply made no sense. The second time I read the book, I didn’t even bother with the final chapter. It wasn’t until the third or fourth time I read it that I began to appreciate what was being done with the final chapter (my own writing having grown in that intervening time). It continues to be an extremely disturbing piece of writing. Possibly the most disturbing I’ve ever read, anywhere. Thinking about it as I write this, I think that perhaps the reason I like the book so much, and the reason the book has so much effect on me, is BECAUSE it challenges me at every level. I like it because it is disturbing.

Delany, Samuel R. Dhalgren. Wesleyan University Press.

Essay: An Examination of "The Tablet of the Holy Mariner"

Written by Baha’u’llah in 1863, The Tablet of the Holy Mariner is considered one of the few pieces that directly deals with the mystical side of the Baha’i Faith. Most of it is building upon pre-established concepts gathered from Gnosticism and Sufism in particular (the sea of light, the ark of belief, a multitiered heaven of which the higher levels are unattainable, the maiden of heaven, et cetera). This is actually somewhat comforting, since it indicates that the latest manifestation truly is just an update to the prior manifestations, whose Word had become muddied over time.

To give a quick summation of the story, it begins by explaining a bit of our past: namely that the faithful had been brought before heaven, where the believers had been cleansed of self and passion, and given entrance to God’s holy realm. These believers sought higher into the heavens than God had decreed for them, and he punished them with a flaming meteor, and sent them back into the mortal world, where they were ordered to abide until such a time that they were ready for that higher level. Someone called the maiden of heaven, whom had never been known to speak (“no ear through all eternity hath ever heard,” line 61), came before the Celestial Concourse and stated that only those who had achieved true faithfulness in the Arabian Youth could enter the highest heaven. She sent one of her handmaidens down into the world to look for people who had achieved this. The handmaiden returned in such despair at the lack of true faith that she released her spirit and was sent into the presence of God. The story ends with the other handmaidens grieving violently for their dead sister.

While the story itself is interesting, what is far more intriguing is the particular phrasing and specific details of the story. These details tend to leap out due to the format of the story, broken into lines separated by the phrase “Glorified be our Lord, the All-Glorious!” Because the flow of the story is broken up like this, it becomes easier to focus on each line separately. (The counterpoint to this is that it is harder to capture the piece as a whole, without writing down the lines yourself.)

Personally, I view this tablet as an interpretive story, a history-through-parable. In particular, extrapolative history, dealing with what we call “prehistory” (the period between when homo sapiens first appear and when our first recorded civilization appears). This tablet serves as a remarkable collection of information available for interpretation. Given my predisposition towards science fiction, my personal interpretation of the tablet deals primarily with the thought of Man having a prior advanced civilization, possibly space-faring. The opening line deals with an “ark of eternity” and a “Celestial Concourse,” which could be interpreted as a space-faring ship. This ship is then “launched upon the ancient sea” (again, a “sea of stars” is a common literary metaphor, and would not seem out of place in this situation), and is filled with dwellers of “divine attributes” (most religions have ties between wisdom/knowledge and a divine source). They are told not to “tarry in the snow-white spot” which could possibly be some form of faster than light travel such as “hyperspace”, and that they are free to “wing through space even as the favored birds in the realm of eternal reunion,” at which point a “burning meteor cast them out” (a meteor destroys our access to “hyperspace”, or possibly impacts our planet and decimates all life on it, destroying whatever civilization there was). Man is returned to dwell in the mortal, mundane world. After a period of time, the “maid of heaven” (another advanced race? A surviving remnant of our own species?) sends her “maidservant” (a scouting expedition?) to search out signs of the “Youth that hath been hidden within the tabernacle of light” (our prior advanced civilization?). This maidservant finds none, and dies in despair.

While this interpretation is simplified and clearly science-fiction, the basic concepts are not outside the realm of possibility. Archaeologists have been able to place the origin of homo sapiens at roughly 140,000 BC (possibly earlier), and a fairly broad dispersal of man as long ago as 40,000 BC. But the first signs of civilization we have is 7000-5000 BC (depending on who you talk to). We have very little clue what happened during the intervening millennia. There is evidence of several worldwide catastrophes, including significant volcanic activity, global flooding, possibly meteor impacts, and recent evidence to suggest that the earth’s poles shifted at least once during that time. That is all in addition to at least one massive ice age that could have quite easily blotted out any sign of prior civilization that may have otherwise survived the other disasters. Considering how much of our past has been lost purely of our own accord (book burnings, holy wars, censorship, vandalism, cities getting sacked, plagues, et cetera) this is all well within the realm of possibility. Further suggesting prior civilization is the amount of unaccounted-for time compared to how quickly we’ve built our current civilization. It somehow doesn’t ring true that given around 140,000 years, no civilization was created.

That is of course just one interpretation; there are many possibilities as to what exactly it means. Regardless of its true meaning, the Tablet of the Holy Mariner is a fascinating piece of writing, and well worth the effort to read it, if only for the marvelous ideas it presents.

Essay: The World Wobbled: A Search for Spiritual Philosophy

I strongly believe that it is necessary to maintain a positive outlook on life, to treat other individuals compassionately, and to appreciate the little things in life just as much (if not more so) than the big things. I disagree with the frenetic pace our current society is trying to thrive upon, and for the longest time had “Festina Lente” (Make Haste Slowly) as my catch phrase for life. I believe all these things, and yet somewhere along the way, I seem to have lost sight of that, swept up in the currents of everyday life, and I’m not even sure when or where it happened.

So, let’s go back. Perhaps not to the beginning, but certainly to a point when I had solidly come to these conclusions on living a peaceful, happy life, and had not yet let myself become caught up in the rushing mentality. After all, it is only through identifying your problems that you can ever truly hope to combat them.

Seventh grade was a very, very good year for me. After hitting the proverbial “bottom rung” on the social ladder in sixth grade, I simply stopped caring about that, and instead dove into a broad spectrum of books (though primarily science fiction), reading about 90% of Robert A. Heinlein’s works, the entire Dune saga, and a wealth of pulp fiction by masters such as Robert Silverberg and Isaac Asimov. This reading trend continued into eighth grade, when I also read the Dragonriders of Pern series, and Dhalgren by Samuel R. Delany (I’ll come back to this book in a moment). In addition to reading, I began pursuing my own education, studying statistics and basic chemistry on my own time. I’d begun to adopt the philosophy of “Never Hurry” from Stranger In A Strange Land by Robert Heinlein, a concept that appealed to me right from the start. After all, what is the point in rushing? That is not to say to not move quickly, but why rush? Why stress about the little things? Be aware of them, acknowledge them, and at the same time acknowledge what you are capable of affecting, and let the rest go. If we try to shoulder the burden of the world, all we end up with is a broken back.

Contrary to what it may seem like, that was NOT a recipe for laziness. I am not now, nor was I then saying you shouldn’t do anything. Rather, I’m saying take responsibility for yourself, do what YOU are capable of, and don’t worry about the rest. That worry is a little death that eats you away at your foundation until you finally just crumble.

This philosophy continued to grow and solidify as I read more, and experienced more situations which proved the validity of my budding outlook. A particularly influential book for me was Dhalgren, by Samuel R. Delany. The book explores the concept of amorality (vs morality or immorality) in a backdrop of a semi-post-apocalyptic city, a place choked with smoke and an erratic, shifting geography. I first read it in eighth grade, and I’ve continued to read it once a year ever since. I’ve never been able to fully explain why I read it every year, merely that it generates a certain mood that I find appealing. Not through any specific action that any character takes, nor any event in the story, so much as just the general demeanor of the book: there is a sense of presence and self awareness and letting go that is ultimately appealing, and generally succeeds in crossing over into my every day life.

It is worth noting that I haven’t had a chance to reread Dhalgren in the past two years, or really much recreational entertainment at all. Not for lack of desire, mind you, but through lack of finding the time necessary to get through the 800 page book. Thinking about it, I’ve felt burdened by a weight of “responsibility” (real or perceived), even when I’m consciously making the choice to go play a game, or read a book, or watch a movie. I can’t relax. So is my not having made time for my annual tradition a cause, or an effect of this? Perhaps a bit more digging is in order.

High school left me frustrated by my peers and in a state of depression. I would talk passionately and intensely about a wide variety of topics, but never with any luck in finding like-minded individuals. It left me disillusioned until I started to do theater, where at least they were passionate about SOMETHING (namely, melodrama, but that is unfortunately part and parcel with high school drama programs). I continued to work steadily with the theater program through the rest of school, which did a lot in terms of keeping me sane. The actors’ antics and melodramatic politics kept me distinctly aware of just how much those things really didn’t matter in the long run. Thinking about it, though, I avoided supervisory roles whenever possible while there (and later). Not because I couldn’t have done it, but because I didn’t want the additional responsibility.

Thinking about it, that may well be it. In the past two or three years, I have taken on additional responsibilities, perhaps some that I wasn’t necessarily ready for, but felt I had to do. Somewhere in the back of my head, something is screaming that I’m on the right track, so let’s continue. If I’ve been taking on new responsibilities over the past few years, and it is over the past few years that I have been feeling more and more rushed and restricted and otherwise not myself or who I want to be.

So I suppose the question to ask myself is, what do I want to do about it? It isn’t like I can just ignore my responsibilities, nor is saying “Well, I guess this is just going to have to be my new outlook,” an acceptable answer. I think identifying that I need to learn to cope with responsibility is a good first step. Now I need to act on it. I need to start doing what I can and genuinely letting go of the rest. I need to start affirming to myself that my passions ARE in fact a worthwhile pursuit of their own accord, and that now is a perfect time to work on those passions. I need to start thinking about what I want out of life, and stop worrying about what others want from me or think of me. I need find a new sanctuary that I can find my own pace in. I need to LET GO.

But mostly, I think I need to go reread Dhalgren.