The ideas are evaporating.
Try to imagine a place called Saint Paul
where anyone who raises a finger finger
will be sucked up in a mushroom cloud
of stupidity. Then you need the two songs
at the end of the Mutineer (1995) CD by Warren Zevon.
Monkey Wash
Donkey Rinse
(by Warren Zevon and Duncan Aldrich)
Hell is only half full
Room for you and me
Looking for a new fool
Who's it gonna be?
Mutineer (by Warren Zevon)
You're my witness
I'm your mutineer
Grab your coat - let's get out of here
Instead of engaging in apple pie social activities, people have become excited about trying to solve the world's problems. I am disappointed that the index of Problems of Dostoevsky's Poetic (1984) by Mikhail Bakhtin does not locate what has been said about Earth as a level in the works of Dostoevsky. For Otto Kaus, the struggle in Dostoevsky's world that can never be resolved reflects the spirit of capitalism. The spirit of apple pie was destroyed, as I quote:
Capitalism destroyed the isolation
of these worlds, broke down the
seclusion and inner ideological
self-sufficiency of these social spheres.
In its tendency to level everything,
to leave intact no divisions except
the division between proletariat and
capitalist, capitalism jolted these
worlds and wove them into its own
contradictory evolving unity. (p. 19).
each of these pieces gravitates
toward the integral field of vision
of a specific character;
each makes sense only
at the level of a specific
consciousness. (p. 21).
The essence of polyphony
lies precisely in the fact
that the voices remain
independent (p. 21).
Engelhardt distinguishes
three planes in which
the action of the novel
can unfold. The first plane is
the "environment." (p. 23).
The second plane is the "soil." (p. 23).
And finally, the third plane
is the "earth." (p. 24).
"that wonderful garden
planted by the Lord," (p. 24).
As 2012 begins for us with everything so electrified that a bad storm can disrupt what people who normally have minimal contact with the weather expect to accomplish, our cracks in time also expose how we don't have any answers for questions that God had usually been pictured as a reason for having an answer. On a political level, stability is challenged by a cultural divide that can be pictured as the opposite of fair and square:
Sparta x x x x x x Spartacus
x
finger x x x x x x x finger us
Regimentation for uniformity still attempts to rid itself of dead wood that is not growing in productivity. The global village seems to search for a place where the press might have an answer, but the results merely finger the point at which people get turned into playgrounds. Bakhtin tells us:
Actually, the interrelationships
of worlds and planes in the novel -
in Engelhardt's terms, "environment,"
"soil," and "earth" - are in no sense
present in the novel as links in a unified
dialectical sequence, as stages along the path
in the evolution of a unified spirit. (p. 25).
Apple pie used to believe in itself as an ultimate justification, but each attempt "would cancel out all preceding links as abstract and totally superseded." (p. 26).
Privatization, as a movement to make resources like water a private commodity rather than a social good provided as a society sees a need to support areas or activities within its power to add or subtract, may succeed in changing society into a form of productive workers who accept little responsibility for anyone else, as in a song about:
Going to a party in the center of the earth
Monkey wash donkey rinse
Honey, don't you want to go?
Left eye, right eye
Take a look around
Everybody's heading
for a hole in the ground
What we live for now is parody:
in contrast to stylization parody
introduces into that discourse
a semantic intention that is
directly opposed to the original
one. The second voice, once having
made its home in the other's discourse,
clashes hostilely with its primordial host
and forces him to serve directly opposing aims.
Discourse becomes an arena of battle between
two voices. In parody . . . the deliberate
palpability of the other's discourse must be
particularly sharp and clearly marked. (p. 193).
Smart fellows have become sharp and extremely diverse.
Analogous to parodistic discourse
is ironic . . . use of someone else's
words; . . . conveying aspirations
that are hostile to it. (p. 194).
People who interact are constantly being driven crazy by expressions of doubt, indignation, irony, mockery, ridicule, and the like. Using "and the like" (p. 194) in this context exposes how people think.
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Siddharth shankaran
Must read for Dostoyevsky readers
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Very good value, a pleasure to hold and read
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excellent price for a hard to find text
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