Discovering Magic

[Meno4]

Bob, was going to read this next after ‘Deathbed’ and this came through first, this does succeed ‘Deathbed’ right?

Anyhow it’s a good thing ‘Dissapointment’ came after ‘’Deatbed’ because then I can bravely go foreward and scroll up only one chapter. Scrolling up more would make me appear as a shell fish, but then too much reliance on a narratives farther back reach me lead to suspect a skimming of the text. No, I do not wish to cover deapth by too many unfilled gaps, so, far, so good?

Time wise I follow Zeno’s not Meno’s paradox.

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Well, how wrong I was , as ‘Disappointment’ preceded ‘Deat bed’.

And ‘Magic’ followed it.

Why? Perhaps no time to recollect the order of the peace’s, or is it the near certainty that one can not be disappointed before such simple situation as finding a dead body in your hotel room, but I am soooo tired of thinking about that now, in fact the magic of the switch is in discovering death while placing it’s temporal position after the death, as if pulled out with a magic wand in a sort of synchronistic sleight of hand.

Such was the very provacativeness of TMann doing just that when in I think in ‘Joseph and His Brithers, he related the issues with sequence to have been discovered at a young age, reduced to three, .

You do have 2X12 chapters as I remember=24, the very idea I propose in the traditional perfection of 12.

It’s the same tiredness, the Weltschwertz, the Nemesis problem of vengeance, and the veining Narcissus, or, perhaps even the sorrows of young Werther.

But it’s late, and one stream shan’t dominate the other two, or they transform into yet a lower order as well, 2 or even 1.

That came to mind in the Summer of Live wins ego, an never really left.

So tomorrow, in will rest, and read ‘Magic’ and re read ‘Dissappointment ‘as well, time permitting.

[Meno4]

I get this , the switch and bait, Petra is Jacqueline, no wonder at the therapy session she so unconvincingly expressed her negative opinion of the nudist beach, a kind of feigned Victorian sensibility, for no sense other than to raise skeptical eyebrows.

How clever a muse to fill the mind with contrasting impressions, for mine was a rather plump Petra , beyond where she could’ve taken pounds off, set in her post menopausal ways,

But then can such sudden twists and turns of description elicit such huge jumps of interpretation of physical attributes , a sort of suggestive autosuggestion? By this time a reader, might want to believe in the superior quality of quick costume and cosmetic change as a theatrical effect, then to set store by describing it a magical turn of events?

It does work though on the exterior assemblige of yet developing characters, making the impression that it’s more for a fun pursuing trust for the sake of elevating the sensibility by the use of primal senses:

Here a book ‘Sense and Sensibility comes to mind, read it prior to being archived a long time ago.

The magic further down the line, though, buried and perhaps forgotten, maybe even violated the ideal of successive echoes which remind not that there has never been duplicity and an earnest effort to replace who or what was lost, but that the magic was indeed magical at one time, worthy enough to stay true to the original conception of it, even in a dream or a vision like Venus being elevated on a half shell.

[Meno4]

Try again here. I am not sure writing a different reply and referring to another forum and other characters in those other forums is allowed under ILP guidelines, but was embarrassed to ask Carleas, since I hate to be a nuisance.

But in Maia’s correspondence it became apparent, that nostalgic feelings and states of mind, were relative to the extent some lives were lived within the families they were surrounded with.

I am casting a very wide net to search for what ‘Magic’ meant within my own experience, and relax a bit about what it means to me.

So in stead of breaking in at this stage into the Marian correspondence with you, I’ll try a biographical honest representation, braving any comparison that such divergent experiences can generate.

I was born in Europe, the upper tip of charm and privilege sustained after catastrophic losses of family and friends social curcled.

I too developed what you describe as a feeling of constant movement, that broke off all familiarity, so my journey consisted with the exact opposite than your England to Europe shift, , which may be a misnomer, since I see you, perhaps mistakenly as an American soldier stationed in Germany . I moved from the naustalgic harbor, of the remains of an Austrian Hungarian Empire, consisting of the leading Arusticratic European family the Hapsburg, who to some even surpassed the German Hohenzollern in every respect, Haydn being a Chaoelmeister to the family.

Will cut short other descriptions, and will go to the cut, the cut, which severed any relation to the manner of which life could be lived in the states,

So this difference is meant to underscore my sympathy with writers like Henry Miller, who considered the USA as some place that is representative of his ‘The Aur Conditiined Nightmare, and Kerouac’s beat views of how happiness may be alluded to and experienced thriugh deep narcosis, and extreme left wing politics.

How I became an existentialist, Bob, was through experiencing every iota of glimpse into the phenomena available at that time, and focus on it, and consider that ‘normal’ in the embrace of that venu. I felt very oddly around that time, still do , when compared to others, as I did not marry into the convention , but out of it, and could never settle into ‘conventional behavior.

So that much about me, and the nostalgia, a point of constant return and a sympathetic alliance with artists of the sort who could never become conventional, or imrthodically unconventional either.

So, having started our convergion on The Magic Mountain, I must, with kind regards to your approval, continue , by virtue of how I was programmed never, ever to give up, unless shut out, and even then must continue in a n other firm and venue.

As a soldier, I must face whatever may come this way, and shall continue, hoping no insurance on my part will be defected.

I don’t know if you are as old as I am, with some it’s a destruction, but I am young in spirit, while not sure what’s left for me.

You being in geriatrics, could perhaps give some slack, for I’d love to correspond any which way, like on the front lines, not literally, but then yes literally on the front lines of many aspects surrounding this magic circle that’s closing the parallels of my intriguing discovery of a shared piece ok literature,

There is another man advanced in age ariund here, Irralleus, who has not posted for a long time, and many others who check in now and then, maybe you have known or corresponded with them.

At any rate your publishing history is praise worthy, mine almost nil, I have to buy them on line to remind me they are still in circulation.

So consider me just another patient in the aforementioned group , that can come alive now and then, as situations for them arise to make their presence known;

Failing that, the contention to find the meaningful experience of magic to written in the mode of the absurd

[Meno4]

So read ‘magic’ over, it is early, the first reading was late, so now clearly understanding became electric ( where does Electra’ fit in here, but will possibly look into that, coincidentally.

So the magic is still hungry for definition, but the deathbed’s weird occupant’s and the surprising acting skills of Jacqueline’s deception do have even more coincidental significance, as I can see how the plot does really thicken.

So far not much else by way of co-notation,

Thinking back how premature in any foreshadowing on my part what ultimately becomes of the magic of all, the magic subscribing she different sub themes that can only be forged out of a complete reading of all chapters , while rereading each chapter is necessary, without which the shadow leaves the fore, ay, but such duplicity does not make an actress professional, so far it’s only a disguise, or even a diversionary tactic, not to have to face the intent TMann may have had in mind,
Or reversely? His was the simplex as yours be the complex?

[Meno4]

Here is a film that on first impression may be simile somewhat to T Mann’s narrative.

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Eden review – Ron Howard’s nasty, starry survival thriller falls over the edge

Toronto film festival: Jude Law, Vanessa Kirby, Sydney Sweeney and Ana de Armas fight for supremacy on a remote island in this 1930s-set true story that descends into tiresomely silly reversals

14:02 EDT Sunday, 08 September 2024

The films of Ron Howard – usually polite, Oscar-aiming true stories such as A Beautiful Mind or Apollo 13 or solidly made, anonymous IP blockbusters such as The Grinch or The Da Vinci Code – have not shown the director to be someone greatly interested in exploring or even showing much awareness of real, down-to-the-core darkness. His All-American persona, as a well-meaning aw shucks nice guy (who now claims shock upon hearing the subject of his 2020 film Hillbilly Elegy might actually not be such an inspiring figure after all) would not make him seem like the perfect match for a nasty and violent tale of the horrors we’re willing to inflict upon each other to get what we want.

For a while, taking charge of fact-based 1930s-set survival thriller Eden, he almost convinces us that maybe he’s the madman for the job, tightly steering us through a fun, frightening descent into hell. But the more his characters engage in very bad things, the more it becomes clear that perhaps Howard was indeed a very bad fit, the film drowning in the deep end.

Introducing the world premiere at this year’s Toronto film festival, Howard said he had been inspired to tell this story for years ever since he learned of it while on a family holiday in the Galapagos Islands. He recruited screenwriter Noah Pink, whose work on last year’s Tetris gave him some experience on writing greedy parties all fighting over the same thing, only this time it was over a bounty far greater. Back in the 20s, as Germany was falling into fascism, ambitious doctor Friedrich Ritter (Jude Law) and his wife Dore Strauch (Vanessa Kirby) found solitude on the uninhabited island of Floreana. Ritter had ideas of starting a new way of thinking and living, shunning religion and traditional family values, and his writing made its way, via mail, to the mainland, showing up in newspapers and forward-thinking salons in Europe.

They’re joined by a German couple (Daniel Brühl and Sydney Sweeney) along with their son from his former marriage, hoping the island might help cure him of his tuberculosis (Dore is also convinced by her husband that her MS will go away after more time there). It’s a frosty welcome along with a rude awakening of the grim realities of island life but things get even grimmer when another party joins them, led by the vivacious and theatrical Baroness Eloise (Ana de Armas), with her three man-servants and her sights set on building an extravagant hotel on the island.

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This was merely a diversion from resuming the reading later on next week.

Trying to form some kind of meat to put unto the framed intended analogy , that ‘simple’ reality can form a credible line seen through it’s mixture of increasing subtlety and complexity, of the developing plot.