authors
TOTAL WAR OR TOTAL PEACE – A Relating to Humans Political Issues Feature
I do not have much to say as an introduction to this powerful topical essay by Paul Xylinides, our IABS&R Volume 2 selectee, other than to compel you to go take a look at today’s headlines. There you will unfortunately witness once more what brutality we humans are willing to inflict upon other humans in an effort to further our own goals, be they political, religious, or whatever cause it may be that motivates us into a frenzy of fanaticism and murderous hate.
My prayers are with Pakistan as I mourn the lost lives of all the innocent children.
Paul will also be contributing a guest post for us tomorrow.
– 8:00pm (EST), Wednesday, December 17, 2014
TOTAL WAR OR TOTAL PEACE
by Paul Xylinides
The concept of total war has been especially widespread in execution in the twentieth century. It means just what it says, that is, the decision by one or both sides in a conflict to use all and every means in order to prevail. War crimes become unavoidable and are a matter of course under these scenarios. Moral and legal concerns are completely set aside. Intended to prevent or, at best, minimize carnage directed towards the innocent, the rules of war are effective only so long as one side enjoys vastly superior capacities and thus the luxury of choosing how to conduct itself in an engagement. Recent comments by Vladimir Putin as to his country’s continued possession of a nuclear arsenal illustrate what recourse a threatened nation feels justified to employ. Today, the United States is able to act militarily within the rules of war. Should the day come that a figure such as the present Russian leader were to carry out his veiled threat, it is not conceivable that the United States would not respond in kind.
A quick check-up from the neck up…
I have absolutely no idea why I wrote that as a title for this post…
Tru dat.
But since it is what it is, I guess we might as well just go with it.
Just go with the Flow of the Is of the Now…
Oh boy…
Anyway, since you’re here I was wondering if you could do me a favor.
Well, the two features Relating to Humans and the Indie Author Book Selection & Review thingy are beginning to get a little love, meaning, there is stuff up there just waiting for someone to look at it…
So, I was wondering if you wouldn’t mind stopping by every once in a little while or more and give a little of your own love in return.
I was wondering if you could read over the submissions in these features and, you know, “Like” those that you like. You know, give those Authors and Poets and Artists, all those Creators of the Sublime, a little support because, let’s face it, it can get a little scary putting our stuff out there like that in the open, all exposed and vulnerable like…
It takes a lot of courage sometimes to be original, to dare to be different and to be exceedingly loud and proud about it…
Yeah…
Can you do that for me?
Great.
Oh yeah…one other thing since you’re already here.
There are a lot of strange and interesting and wonderful and sad and scary things going on all around this petulant little planet of ours…
And I would love to know what your take is on all of it.
I mean…just look at all that is happening right now that will be defining this period of our lives – this Is of our collective Now – for years to come.
I mean…
Ferguson? How can something as tragic as what’s going on down there still possibly be?! I am very concerned about what could happen as a result of the forthcoming grand jury decision.
ISIS? I cannot even begin to get my head around that level of evil. But, really, what are all the historical drivers behind that beheading madness?
Russia and Ukraine? What in the fracas is going on over there?! I mean, it’s like déjà vu all over again, to quote that ever-prescient and wisely wry yogi-like Yogi of a Yankee guy…
Man*…
And that’s not even the tip of the terrible and towering iceberg…
It’s more like a minutely miniscule drop of condensation floating gas-like in the air looking for an iceberg to become…
So so much is going on right now…
So yeah, I was wondering…what do you think about all this madness of a mess that is happening Right. Now.?
I would love to know…
And not just because I’m an inquisitive querying kind of guy…
Which I def am…
But also because I believe you just might have the key…
That golden kernel of Karmic Truth…
That wise Way of how this wonderful world should wax…
Tucked right inside that magic of a marvelous mind of yours.
And, you know what…
I kind of feel it is incumbent upon you to share that wisdom with us.
You.
You have the responsibility for allowing us to know what it is You know to be true.
So we can, like you, be a better We like You.
I believe that.
Truly I do.
So please please please, share your Wiseness with us by submitting something, anything, to one of the Relating to Humans features.
And if you got something that just doesn’t seem to fit with any of the features already profiled…
Then hit me up through the Contact page and let me know.
Perhaps we can create a new Feature just to feature all of your amazing and fabulous features.
Can you do that for me?
Great.
*non-gender specific
RELATING TO HUMANS SUBMISSIONS >> CLICK CLICK
IABS&R VOLUME 2 SUBMISSIONS >> CLICK CLICK
A LITTLE NEWSLETTER LOVE >> CLICK CLICK
As Clowns
aka
Kurt the Greater Clown
aka
Kurt the Dead Clown
aka
Kurt the Lesser Clown
aka
Kurt the (Barely) Living Clown
He Ain’t No Oe But That Ain’t So Bad
BOOK | FICTION | LITERATURE
THE WIND-UP BIRD CHRONICLE
by Haruki Murakami
RATING: ★ ★ ★
Original review date: May 17, 2011
Nobel Prize winning author Kenzaburo Oe is one of the few contemporary Japanese authors whose writing does what I believe Japanese literature — strike that — whose writing does what I believe all literature should do: that is, it should expose our fears and force us to confront them. Like a shamanistic bloodletting, literature should mercifully, but without mercy, cut deep into our consciousness in an effort to reveal and release, exorcise, the things in life that have come to possess us—-our loves, our hates, our envies, our disdains; and afterwards, when the demons are either gone or have regained control, after the blood stops flowing and the wound hardens into a gnawing, itchy scab, it, literature, then forever stays with us and occasionally reminds us of that which we have, if not overcome, then at least managed to suffer through, as the thickened scar forever reminds the wary survivor.
Yes, I expect much from literature.
Oe’s writing affects me as literature should. Though it has been many years since I have read his novels The Silent Cry and A Personal Matter, they both are still with me, haunting me.
While I have read far too few Japanese authors, it is impossible for me not to compare the writing of those authors whom I have read against Oe’s, since his is such a powerful force in my literary life.
It’s difficult, maybe impossible, to compare the writing of authors of different literary genres and subgenres. How does one effectively size up an Oe novel against a Basho haiku against a Miyazawa fairy tale?
Acknowledging such difficulties, I know we still like our “best of” lists so here is a somewhat rankish list of those few Japanese authors whom I have read, ordered based on the subjective impact their writings have left on me, on how deeply they cut into my consciousness, on how thick the scar they leave behind.
Kenzaburo Oe
Yukio Mishima
Matsuo Basho
Ryunosuke Akutagawa
Soseki Natsume
Yasunari Kawabata
Kenji Miyazawa
Haruki Murakami
Banana Yoshimoto
I love poetry and I consider myself a poet, but as a reader I am drawn mostly to the novel. So it’s no surprise to me that the list consists of those authors known primarily for their novels. Most of the authors are dead, but the three who are still with us bookend the list: Oe on top and Yoshimoto and Murakami at the bottom.
Though his name is listed next to last on the list — which doesn’t necessarily mean his writing is bad (although I do believe Yoshimoto is properly placed at the bottom as she is a less than good writer, especially when compared to Oe) — when discussing contemporary Japanese novelists, the first on the list to be discussed, even before Oe, at least in terms of international popularity and readership, is Haruki Murikami.
These days, Murakami’s work dominates Japan’s literary scene, and much of the international one, as well. From what I’ve learned about his work ethic his is a completely earned and deserved domination — when working on a novel he rises at 4:00am, writes for five to six hours, runs 10 kilometers, and is in bed by 9:00 pm; he rigidly sticks to this herculean writing process and daily routine until the novel is complete.
The Wind-Up Bird Chronicle is my first Murakami novel. In addition to the short story Town of Cats it is the only work of his I have read.
I like THE WIND-UP BIRD CHRONICLE. I think it deserves to be as widely read as it has been. It is an intriguingly complex story with many layers, possessing much of what I like most about Japanese writing, and which, fortunately for me, is what most of what the Japanese writing that I have read is about: the sense of loneliness and despondency in the face of an ever more changing and complex world.
But it seems THE WIND-UP BIRD CHRONICLE is a bit too complex an effort with too many layers for Murakami to effectively manage.
The protagonist of the story, our non-hero, is Toru Okada, a still young but nearing middle age out of work lawyer. He is out of work by his own choosing, apparently because he has become disenchanted with his line of employment and his place in life. First he loses his cat, then his wife. During his quest for both, he finds and develops a relationship with a flirty teenager, with two sisters (one a prostitute of the mind whom he encounters in both his real and dreamed worlds, the other a prostitute of the flesh), a rich widow and her mute but spiritually communicative son, and a World War II veteran with a fantastically horrific yet achingly beautiful story to tell. To manage his downwardly spiraling and dangerously out-of-control and confusing life, Toru takes refuge within a deep well, which seems to be some sort of all consuming event horizon between his reality and his dreams.
Yeah, it’s as wild and mesmerizing and frustrating (often not in a good way) ride of a novel as it sounds.
My two biggest criticisms of Murakami’s novel are that it is too contrived and too insecure.
I know much of the story is fantastical and captured within a dream state, but it doesn’t feel natural. No matter how bizarre and far out crazy weird a story is it should still feel natural, as if that is exactly how life is meant to be. Some of my favorite novels are captured firmly within these realms; particularly Franz Kafka’s The Castle and The Trail.
We know that Murakami was greatly influenced by Kafka. So much so he entitles of one of his books Kafka on the Shore. But no matter how fantastical and surreal Kafka gets, his writing feels natural within those unnatural realms. Murakami’s does not. His feels choppy, forced, and, as I said before, contrived.
I also get impatient with Murakami’s lack of trust in us, the readers. This lack of trust may mean he is somewhat insecure in his own writing ability. He explains things too much. He leads us throughout the story with too much detail and suggestions as to the meaning behind what it is he wishes for us to learn from his words. Unlike Kafka who takes us blindfolded onto his bizarre journeys, abandones us deep within the remote wilderness of his unfinished tales, and leaves us to our own devices to find our way back to safety, Murakami has no such confidence in either us, himself, or both.
Maybe it’s overly descriptive because unconsciously he understood that the story was too ambitious and unmanageable for him to successfully convey.
Regardless what my criticisms are, THE WIND-UP BIRD CHRONICLE is an immense success. As testimony to its international appeal, an “interdisciplinary theatre production” based upon the novel premiered at the Edinburgh International Festival. Its trailer looks amazing and captures the essence and weirdness of the story.
In the end, Murakami’s THE WIND-UP BIRD CHRONICLE does not do for me what Oe’s The Silent Cry or A Personal Matter does. While it is surreal and sometimes dark and creepy in a soulful and insightful way that I mostly enjoyed, it has no staying power. If there has been any cutting from it, it has been bloodless and superficial. Ten years from now, I foresee the novel leaving no haunting or even memorable scars on my consciousness.
~~~~
Rating System:
★ = Unreadable
★ ★ = Poor Read
★ ★ ★ = Average Read
★ ★ ★ ★ = Outstanding Read
★ ★ ★ ★ ★ = Exceptional Read
He Ain't No Oe But That Ain't So Bad
BOOK | FICTION | LITERATURE
THE WIND-UP BIRD CHRONICLE
by Haruki Murakami
RATING: ★ ★ ★
Original review date: May 17, 2011
Nobel Prize winning author Kenzaburo Oe is one of the few contemporary Japanese authors whose writing does what I believe Japanese literature — strike that — whose writing does what I believe all literature should do: that is, it should expose our fears and force us to confront them. Like a shamanistic bloodletting, literature should mercifully, but without mercy, cut deep into our consciousness in an effort to reveal and release, exorcise, the things in life that have come to possess us—-our loves, our hates, our envies, our disdains; and afterwards, when the demons are either gone or have regained control, after the blood stops flowing and the wound hardens into a gnawing, itchy scab, it, literature, then forever stays with us and occasionally reminds us of that which we have, if not overcome, then at least managed to suffer through, as the thickened scar forever reminds the wary survivor.
Yes, I expect much from literature.
Oe’s writing affects me as literature should. Though it has been many years since I have read his novels The Silent Cry and A Personal Matter, they both are still with me, haunting me.
While I have read far too few Japanese authors, it is impossible for me not to compare the writing of those authors whom I have read against Oe’s, since his is such a powerful force in my literary life.
It’s difficult, maybe impossible, to compare the writing of authors of different literary genres and subgenres. How does one effectively size up an Oe novel against a Basho haiku against a Miyazawa fairy tale?
Acknowledging such difficulties, I know we still like our “best of” lists so here is a somewhat rankish list of those few Japanese authors whom I have read, ordered based on the subjective impact their writings have left on me, on how deeply they cut into my consciousness, on how thick the scar they leave behind.
Kenzaburo Oe
Yukio Mishima
Matsuo Basho
Ryunosuke Akutagawa
Soseki Natsume
Yasunari Kawabata
Kenji Miyazawa
Haruki Murakami
Banana Yoshimoto
I love poetry and I consider myself a poet, but as a reader I am drawn mostly to the novel. So it’s no surprise to me that the list consists of those authors known primarily for their novels. Most of the authors are dead, but the three who are still with us bookend the list: Oe on top and Yoshimoto and Murakami at the bottom.
Though his name is listed next to last on the list — which doesn’t necessarily mean his writing is bad (although I do believe Yoshimoto is properly placed at the bottom as she is a less than good writer, especially when compared to Oe) — when discussing contemporary Japanese novelists, the first on the list to be discussed, even before Oe, at least in terms of international popularity and readership, is Haruki Murikami.
These days, Murakami’s work dominates Japan’s literary scene, and much of the international one, as well. From what I’ve learned about his work ethic his is a completely earned and deserved domination — when working on a novel he rises at 4:00am, writes for five to six hours, runs 10 kilometers, and is in bed by 9:00 pm; he rigidly sticks to this herculean writing process and daily routine until the novel is complete.
The Wind-Up Bird Chronicle is my first Murakami novel. In addition to the short story Town of Cats it is the only work of his I have read.
I like THE WIND-UP BIRD CHRONICLE. I think it deserves to be as widely read as it has been. It is an intriguingly complex story with many layers, possessing much of what I like most about Japanese writing, and which, fortunately for me, is what most of what the Japanese writing that I have read is about: the sense of loneliness and despondency in the face of an ever more changing and complex world.
But it seems THE WIND-UP BIRD CHRONICLE is a bit too complex an effort with too many layers for Murakami to effectively manage.
The protagonist of the story, our non-hero, is Toru Okada, a still young but nearing middle age out of work lawyer. He is out of work by his own choosing, apparently because he has become disenchanted with his line of employment and his place in life. First he loses his cat, then his wife. During his quest for both, he finds and develops a relationship with a flirty teenager, with two sisters (one a prostitute of the mind whom he encounters in both his real and dreamed worlds, the other a prostitute of the flesh), a rich widow and her mute but spiritually communicative son, and a World War II veteran with a fantastically horrific yet achingly beautiful story to tell. To manage his downwardly spiraling and dangerously out-of-control and confusing life, Toru takes refuge within a deep well, which seems to be some sort of all consuming event horizon between his reality and his dreams.
Yeah, it’s as wild and mesmerizing and frustrating (often not in a good way) ride of a novel as it sounds.
My two biggest criticisms of Murakami’s novel are that it is too contrived and too insecure.
I know much of the story is fantastical and captured within a dream state, but it doesn’t feel natural. No matter how bizarre and far out crazy weird a story is it should still feel natural, as if that is exactly how life is meant to be. Some of my favorite novels are captured firmly within these realms; particularly Franz Kafka’s The Castle and The Trail.
We know that Murakami was greatly influenced by Kafka. So much so he entitles of one of his books Kafka on the Shore. But no matter how fantastical and surreal Kafka gets, his writing feels natural within those unnatural realms. Murakami’s does not. His feels choppy, forced, and, as I said before, contrived.
I also get impatient with Murakami’s lack of trust in us, the readers. This lack of trust may mean he is somewhat insecure in his own writing ability. He explains things too much. He leads us throughout the story with too much detail and suggestions as to the meaning behind what it is he wishes for us to learn from his words. Unlike Kafka who takes us blindfolded onto his bizarre journeys, abandones us deep within the remote wilderness of his unfinished tales, and leaves us to our own devices to find our way back to safety, Murakami has no such confidence in either us, himself, or both.
Maybe it’s overly descriptive because unconsciously he understood that the story was too ambitious and unmanageable for him to successfully convey.
Regardless what my criticisms are, THE WIND-UP BIRD CHRONICLE is an immense success. As testimony to its international appeal, an “interdisciplinary theatre production” based upon the novel premiered at the Edinburgh International Festival. Its trailer looks amazing and captures the essence and weirdness of the story.
In the end, Murakami’s THE WIND-UP BIRD CHRONICLE does not do for me what Oe’s The Silent Cry or A Personal Matter does. While it is surreal and sometimes dark and creepy in a soulful and insightful way that I mostly enjoyed, it has no staying power. If there has been any cutting from it, it has been bloodless and superficial. Ten years from now, I foresee the novel leaving no haunting or even memorable scars on my consciousness.
~~~~
Rating System:
★ = Unreadable
★ ★ = Poor Read
★ ★ ★ = Average Read
★ ★ ★ ★ = Outstanding Read
★ ★ ★ ★ ★ = Exceptional Read
Where You Are We Cannot Go
With you
there we are
at the places we cannot go
with you
we go
you take us there with you
to the places we cannot go
You guide us
drive us
deep into the heart
into the dark
into the places we cannot go
Through the heat
through the snow
the snow
the bitter snow
the insufferable snow
with you through the snow
we lose ourselves
in the places we cannot go
crumbling castles in the sky
looming shadows
rampart mysteries
the eyes
spying eyes
lying eyes
the eyes coaxing us down
the endless trails
the trails without end
that lead us
to the places we cannot go
the hunger
the bitter hunger
we hunger
we are there
with you
and we hunger
insatiable
we live for the hunger
we hunger to be there with you
enduring trials indiscriminate
to be with you
to suffer
with you
the trial
the trials
the accusations of truths
for which we have no defense
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IF NOTHING’S WRONG
…then something ain’t right
#notetoself
#questioneverything
#alifeofcontinuousprocessimprovement
#yesiusedtobeabusinessmanagementconsultantsorry
#ifeverythingisperfectthenwhatistheretowrite/artabout
#perfectionisfoundonlyintheeyesoftheonetryingtocontrolyou
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