Saturn on the Horizon

Alchemical Woodcut
Alchemical Woodcut

Standing amongst the ruins, surveying the damage,
We look out towards the horizon and beyond:
I can sense you keening to tearaway and abscond,
Cross the frontiers of limitations and language,

While I think only of dream homes and suicide;
Neither of which are really an ideal solution,
But possess the terrifying charm of temptation
For surely separate destinies could then coincide:

Picture us speeding through the roaring night,
Drawn irresistibly towards the final destination,
A painted backdrop against a scorching light,

That blazes and burns to the point of desecration,
During these last moments would our love abide
While we to the vast universe vainly confide?

Divinatory Poems

Austin Osman Spare-Tarot-The Sun
Austin Osman Spare-Tarot-The Sun

1.
Strife is justice: perfect kiss, holy death,
golden ratio and mean, overflowing
cup filled with tears and other secretions
soon emptied however, drank to the last dregs
but still the thirst for love is not quenched.

2.
Wishing that the world was already burning,
all the better to build on the ruins
the man whose eyes blaze with the dying light
of a thousand million supernovas
tosses the match to start the conflagration.

3.
Like a character from an distant age
the chevalier cuts a tragic noble swath
captivating hearts and minds of all alike
but the attention means less than nothing
until that time amidst the crowds he sees

4.
You are the pearl, crowning perfection,
to possess you I desire ruination
I‘ll watch with delirious satisfaction
when you strike me with total destruction
for this pleasure is worth the damnation.

5.
It all adds up, the whole equals the sum
of its myriad variations and parts
you just have to stand at the right distance,
keep still, relax, the answer is apparent,
just will to dare to know the only Law.

Mirror Images

mirror broken

(This is a post that has previously appeared here, however now with four illustrations by Susanne Rempt).

All mirrors are inherently mysterious and magical. The moment when Narcissus looked into the lake and realised that what he saw reflected was at one and the same time the self and an image was the moment of a great divide, a second Fall, but as certain Gnostic sects argued about the temptation of Eve and the expulsion from the Garden of Eden this recognition was a necessary loss of Innocence.  It was the first experience of a mediated reality. All that was needed was the technical expertise to manufacture mirrors to disseminate this heightened self-awareness to every individual. And from mirrors it was only a matter of time before the camera and then film which led to the media landscape that envelops and dominates our perception today.

Mirrors are mentioned frequently in myth, folk-lore and religion; not to mention in art and literature. In Corinthians Paul says of our knowledge of the divine ‘For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known’. In Vodou, the syncretic religion practised widely in Haiti that combines elements of West African spirit religion, Catholicism and arguably Mesoamerican traditions, the altars of hounfours (temples)voodoo mirror

are decorated with mirrors as they are conduits that the houngan use to contact the spirit world. Many cultures at many times held the tradition of covering all mirrors in the house when in mourning, this custom persists today in Judaism. In connection with a heresy held by one of the numerous Gnostic sects Borges states ‘Mirrors and copulation are abominable, since they both multiply the numbers of men.’

In libertine fiction mirrors play a large part as they increase the pleasure of the moment and enables the libertine to view the erotic scene which they are actively participating in. In the sparkling sophisticated jewel of a tale Point de lendemain (No Tomorrow) by Vivant Denon the artful heroine describes to her paramour the delights of her chamber with its reflective glass covering every wall, when he enters he is enchanted to find a ‘a vast cage of mirrors’ and then states that, ‘Desires are reproduced through their image’.mirror hand

One of the most memorable mentions in fairy-tales of the deceptive nature of the looking-glass is the Magic Mirror of the Evil Queen in Snow White, which is a good illustration of William Blake’s quote ‘A truth told with evil intent beats any lie you could invent.’

However, for me the supreme moment for the mirror in literature is when Alice steps through to the other side of the looking glass. _20180102_164940 (1)Ever since the phrase has been used to describe many different and varying experiences; the transfigured absolute reality glimpsed in insanity; the shifting contours of the nightly dreamscape, the heavens and hells of drug use (the John Tenniel illustration was reproduced on LSD blotters in the sixties) the transcendence achieved in sexual ecstasy, and ultimately death, that unknowing inevitable frontier where we hope that the outward appearance will vanish to be replaced for all eternity by our fundamental essence. For although mirrors are just surface and can deceive, distort and warp, they also always reveal something other than just ourselves.

Sens-Plastique

Malcolm de Chazal
Malcolm de Chazal

Born into a wealthy colonial  family with roots in the French aristocracy and which included several Rosicrucians and Swedenborgians, the writer, painter and visionary Malcolm De Chazal (1902-1981) spent his whole life on the island of Mauritius, with the exception of six years in Baton Rouge, where he completed his secondary education before attending Louisiana State University as an engineering student. Upon his return to the island he worked as an agronomist in the sugar plantations before quitting the field after he published a scathing critique on the methods and economy of the industry. He then worked as a civil servant before retiring at the age of 55. From 1940 however he increasingly dedicated himself to writing and later painting.

His most famous work is Sens-Plastique, a collection of thousands of aphorisms. The work was suggested after a visionary encounter with an azalea. While out for a walk, de Chazal observed the flower and then realised that the azalea was looking at him. He was then struck with the revelation that: “I became a flower while being myself all the time“, and that everything in the universe, be it animal, vegetable, mineral or human, was analogous. The aphorisms is Sens-Plastique are a riot of poetic analogy and concrete, visual metaphor.  It was hailed by the Surrealists; Andre Breton, Jean Paulhan, Georges Bataille and the originator of the term Art Brut, Jean Dubuffet all lauded de Chazal as a genius. Outside of French artistic circles the poet W.H Auden also championed Sens-Plastique.

In the 1950’s De Chazal took up painting at the suggestion of Georges Braque. His paintings are charmingly emblematic images of the landscape, flora and fauna of his beloved island home, the bold colours blazing with a visionary intensity.

An early supporter of Mauritian independence and the dismantling of a racial caste system that allowed vast inequalities to exist, de Chazal also wrote a ‘spiritual history’ of the rocks and mountains of the island. He became increasingly reclusive in his later years

Below are a selection of aphorisms from Sens-Plastique and a slideshow of his fauvist flavoured paintings.

Sens-Plastique

A fish in fear of its life turns into water. In the mutual pursuit of sexual pleasure—the fear of joy and the joy of fear—our bodies liquefy each other in the waters of the soul, becoming so spiritual that hardly any corporal self is left. When we wake up after love, we look around desperately for our lost body.

If our five senses didn’t serve as brakes to slow us down and filter our sensations, sexual pleasure would strike us like lightning and electrocute our souls.

We see a friend’s eye as one and indivisible. A stranger’s eye we take in part by part: the white, the iris, and the pupil.

Silence is a lawyer who pleads with his eyes.

A flowing river is an infinity of superimposed production belts.

The sunflower keeps its eye on the sun with its back turned to the shade. We die facing life with our backs to death, as if we were walking out of a room backwards.

Petals are a plant’s eardrum. Distant sounds make them quiver like the needle of a seismograph.

The kiss ends at the point of a needle. Sex ends fanning out. The kiss is an arrow. Sex is a fountain.

All the colours ‘rot’ in maroon, the rust of all rusts, the putrefying corpse of all dead colours, the sun’s humus, earth-color, resurrection’s winding-sheet, the shroud of life itself, the mound of eternity, the tomb of Light, Eternity’s burial vault.

Look too intensely at blue and your eye sees indigo. Look too intensely at red and you see garnet. If you look too intensely at yellow it turns green. A hypnotic stare injects blue into everything.

Water meanders on a completely smooth surface and toboggans down the glossiness of leaves.

The idealist walks on tiptoe, the materialist on his heels.

Ah is the shortest of human cries, Oh the longest. Man is born in an Ah and dies in an Oh, for birth is immediate and death is like an airplane taking off.

I am the owner of my shoulders, the tenant of my hips.

No matter how much leaves are fixed face to face they always look at each other aslant, whereas all fruits end up head-on however carelessly jumbled. A bunch of flowers is a house of coloured cards. A heap of fruit is a hive of coloured bees.

The flower has no weekday self, dressed as it always is in Sunday clothes.

The light would reach us more quickly in the morning and fade more slowly at night if the whole earth were divided into vast flower beds that called forth the light at dawn and clutched it longer at nightfall. Nature instituted summer for flowers long before man took summer over for his own uses.

To ‘hang on every word’ means to suck the eyes of the speaker.

The diamond scintillates less brilliantly when the fingers move rapidly than when they undulate and pivot. Glossy leaves throw off less light in a high wind than under the calm wavering of a breeze. Brusque movements of the eye cast a single gleam, and slow movements add a thousand others.

from Sens-Plastique

Malcolm de Chazal 1947

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Hi-Vis, Lo-Res Ragnarok

James Cauty-The Aftermath Dislocation Principle
James Cauty-The Aftermath Dislocation Principle

The idle rogue Al the Angle surveys the scene from the window of the 33rd floor apartment of a high-rise in the unfashionable north-eastern suburbs of Agartha where he’d holed up. He searches the horizons, the immediate, the distant, both the approaching and receding, for the event.
Lighting a cigarette he pauses before turning around dramatically to address his small audience.
“Well, fuck me sideways, backwards and every possible other angle, but blow me first, just after we have shared a glass of Kool-Aid Sangria. Though later my doves and darlings, my languid loves, for now I have to share my vision, the revelation at hand, and I need my cherished clan to bear witness because there are massed ranks of Powers, Principles and Intelligences seeking to crush and destroy the Great Work that we have just commenced, at every turn, every corner and from every angle. Of course every fibre of my being is flexing and straining to avoid this eventuality, but they are legion, their ways are not our ways, their procedures are obscure to the minds of man and I am, after it all, only human. So you are my heirs to whom I entrust everything, for the Process must be completed, we will prevail!
“Now hear this.
“Can you hear it?
“Here comes the drums, banging the tune to the end-times.
“It will be a hi-vis, lo-res Ragnarok.
“See the indeterminate warring factions ordering their indiscriminate followers around.
“Whose side are we on?
“Let’s not worry about sides; we have been spoiling for this for the longest time so that vengeance can finally be ours.
“They have taken us for fools for too long, first they say yes, then no, stop then go.
“To which I say enough already with your canting jargon, your cunning linguist stunts, your arrogant argot.
“The lion has awoken and that means war, trouble and more.
“The writing is on every wall for those who have eyes to see.
“For when they say peace and security then the world is lost.
“Can you see what I see?
“Apocalypse.
“Aftermath.
“A world no longer just numismatic or hypostatic or statistical.
“Time for a change
“Can somebody in the house say yeah?
“Fuck yes.
“But all this is the work of tomorrow, for now let the show start, the games begin. Let’s drink, ball and shout.
“Can I get an amen?”

(Another elliptical installment in the Showtime series. Random other parts can be found by following the links to Uneasy City, X Marks the Spot, and Rapturous Ascendancy).