In this brief scene, the Eternal Jew is on a mission to deliver a message to a foreign king, and he is thinking about why he feels so much anxiety, since, in the past he usually enjoyed travel and its adventure. He realizes it because of his “new” wife, Butkoel, who he misses.
The first version is in Stevetok, metaEnglish, and following that, is an old English, that is, standard English version.
But now this sixtee or atee yeer
The fase a Butkoel an the voisen uv her;
Her tuchez, her smelz, the wayen her theenks...
Serten, ar boddee ar seprat shelz,
But the seel uv us, ware iz its ej?
Iz the shellen ar boddee the shellen ar seelz?
The rawhide thongz that choke uv my guts
Ar the sinnuez a me that groen intu her.
I rememberz seeyen a skechen a treez,
Tu2 a them, side by side,
Koyelz tugether, trunken a branch,
The leef a this az the leef a that,
An intu the erth ther rooten, too,
Bekum wun treez. Butkoel an me.
And translated into “old English” and into a more personal version:
But now these nearly 40 years
The face of Nancy and the voices of her;
Her touches, her smells, the way she thinks...
Certain, our bodies are separate shells,
But the soul of us, where is its edge?
Are the shells of our bodies the shells of our souls?
The rawhide thongs that choke my guts
Are the sinews of me that have grown into her.
I remember seeing a sketch of trees,
Two of them, side by side,
Coiled together, trunk and branch,
The leaf of this as the leaf of that,
An into the earth their roots, too,
Become one tree. Nancy and me.
Sunday, November 10, 2013
Saturday, November 09, 2013
A walk in the woods today
Took a hike in Rock Creek Park today, and this is some of what I saw:
These are the same as above, but filtered a bit:
These are the same as above, but filtered a bit:
Thursday, November 07, 2013
Outtakes from my latest ebook
Here are a few of my favorite outtakes, images I created while preparing my latest ebook, The Song ov Elmallahz Kumming, Bouk 2. They are mostly transformed panels from Assyrian bas reliefs.
1. From Ashur, an eagle headed being, possibly a protecting spirit:
2. Ashurbanipal, hunting:
3. Another eagle headed winged mangod from Ashur:
4. Assyrian winged lion, depicting the battle between Marduk and Tiamat:
5. Ancient Assyrian warriors and horses; I extracted the horses, and then doubled the number of them:
6. Assyrian slingers, attacking Lachish:
1. From Ashur, an eagle headed being, possibly a protecting spirit:
2. Ashurbanipal, hunting:
3. Another eagle headed winged mangod from Ashur:
4. Assyrian winged lion, depicting the battle between Marduk and Tiamat:
5. Ancient Assyrian warriors and horses; I extracted the horses, and then doubled the number of them:
6. Assyrian slingers, attacking Lachish:
Friday, October 11, 2013
A few of my favorite things from Sicily, shopped-up a bit
Of the hundreds of photos I took, here are a few of my faves enhanced or otherwise modified. Enjoy! In some browsers, if you click on a pic, it will pop you into a
slideshow with enlarged images.
Farmhouse, seen from the bus on the way to Catania. Quite distant, I had to blow it up and then enhance it.
Entrance to a courtyard off the Via Etnea, Catania. That's Nancy on the right.
Fish market, Catania.
Palermo. From the balcony of our apartment, as we imagined it. A more literal version can be found in my previous Sicily post.
Paul. Righteous indignation, or just pissed off? Oh, right; this was a statue at one of the entrances to the main cathedral of Palermo.
I love looking in workshops and little factories. This was a key-maker's shop, just down the street from our apartment in Palermo.
In my last Sicily post I showed the unshopped version of this, the entrance to the Capella Palatina. I like this version more! HA!
A screened doorway in the Capella Palatina.
Monreale, as it might be sketched or watercolored.
Sitting in our apartment eating dinner as the sun set, the sky outside was an ethereal blue. I tried to capture it. Well the unshopped pic was pretty dull, but this restores the impression fairly effectively.
Over and out...
Farmhouse, seen from the bus on the way to Catania. Quite distant, I had to blow it up and then enhance it.
Entrance to a courtyard off the Via Etnea, Catania. That's Nancy on the right.
Fish market, Catania.
Palermo. From the balcony of our apartment, as we imagined it. A more literal version can be found in my previous Sicily post.
Paul. Righteous indignation, or just pissed off? Oh, right; this was a statue at one of the entrances to the main cathedral of Palermo.
I love looking in workshops and little factories. This was a key-maker's shop, just down the street from our apartment in Palermo.
In my last Sicily post I showed the unshopped version of this, the entrance to the Capella Palatina. I like this version more! HA!
A screened doorway in the Capella Palatina.
Monreale, as it might be sketched or watercolored.
Sitting in our apartment eating dinner as the sun set, the sky outside was an ethereal blue. I tried to capture it. Well the unshopped pic was pretty dull, but this restores the impression fairly effectively.
Over and out...
Monday, October 07, 2013
4 versions of an image
I am requesting your help in deciding which of these 4 images is most appealing. I have numbered them, so please refer to the number you like the most, when responding. Thanx.
#1.
#2.
#3.
#4.
#1.
#2.
#3.
#4.
A few of my favorite things from Sicily, unshopped
I took hundreds of pics while in Sicily, a few of which are memorable, at least to me. Here a few of the few: street scenes, architecture, a person or two. Enjoy! In some browsers, if you click on a pic, it will pop you into a slideshow with enlarged images.
Notice how his left arm (to your right) is coming alive with color. Catania, off the Duomo square.
She was soliciting tourists for pocket change. Gave her a euro, then stole this. Catania.
Catania, Roman theater, entrance.
Marzipan. Pretty package inside and out.
Catania, walking from the Duomo to Fred 2's castle (Castello Ursino).
Catania. A patch of yellow.
Palermo. The Gesu, the church at the end of our street.
The Gesu from the Ballaro street market.
The texture and sheen of stone.
From our apartment window in Palermo, night.
Palermo kiosk.
Palermo, on the waterfront. A touch of color.
Palermo. Entrance to the Capella Palatina.
Inside the Capella.
From a catwalk on the roof of the cathedral at Monreale.
Turned a corner in an alley in Monreale, and this, at dusk.
Notice how his left arm (to your right) is coming alive with color. Catania, off the Duomo square.
She was soliciting tourists for pocket change. Gave her a euro, then stole this. Catania.
Catania, Roman theater, entrance.
Marzipan. Pretty package inside and out.
Catania, walking from the Duomo to Fred 2's castle (Castello Ursino).
Catania. A patch of yellow.
Palermo. The Gesu, the church at the end of our street.
The Gesu from the Ballaro street market.
The texture and sheen of stone.
From our apartment window in Palermo, night.
Palermo kiosk.
Palermo, on the waterfront. A touch of color.
Palermo. Entrance to the Capella Palatina.
Inside the Capella.
From a catwalk on the roof of the cathedral at Monreale.
Turned a corner in an alley in Monreale, and this, at dusk.
Thursday, October 03, 2013
4 images for Elmallah, Bouk 2
I am now preparing the manuscript (e-script? since little is being done by manu, hand, beyond keyboarding) for The Song ov Elmallahz Kumming, Bouk 2. All the audio is done - readings of the stanzas - so the reader can also listen to the text.
I am now preparing the images, most of which are based on cave paintings and ancient bas reliefs, in keeping with the setting of the poem, which takes place on the edge of prehistory, just before the emergence of powerful city-states and their conflicts with hunter-gatherer societies. We see Ertha being inspired by Elmallah.
Below are the first completed images. Your feedback, as ever, is of great value to me.
To accompany the introductory text, "Concerning Bouk 2: for Ertha it is set in a prehistoric moment, a timeless period from which she is emerging as she experiences a glorious expansion of her consciousness," this image:
The poem begins. With these lines from stanza 2:
Befor I had seen the endz ov my luv
And the fewcher chaenjez that I wuz impregnen,
I left Erthaz prezzens
Tu pray tu owr Lor
And wen I reternd she wuz gon.
this image:
With these lines from stanza 7,
Wen I reecht owt tu her
With so much wizdem and no expeer
this image:
And finally, to accompany these lines from stanza 8,
She ran awway like a woonded liyon
And dissappeerd in a kovert.
this image:
I'll keep you posted as the project proceeds. Please keep me posted with your thoughts and impressions.
I am now preparing the images, most of which are based on cave paintings and ancient bas reliefs, in keeping with the setting of the poem, which takes place on the edge of prehistory, just before the emergence of powerful city-states and their conflicts with hunter-gatherer societies. We see Ertha being inspired by Elmallah.
Below are the first completed images. Your feedback, as ever, is of great value to me.
To accompany the introductory text, "Concerning Bouk 2: for Ertha it is set in a prehistoric moment, a timeless period from which she is emerging as she experiences a glorious expansion of her consciousness," this image:
The poem begins. With these lines from stanza 2:
Befor I had seen the endz ov my luv
And the fewcher chaenjez that I wuz impregnen,
I left Erthaz prezzens
Tu pray tu owr Lor
And wen I reternd she wuz gon.
this image:
With these lines from stanza 7,
Wen I reecht owt tu her
With so much wizdem and no expeer
this image:
And finally, to accompany these lines from stanza 8,
She ran awway like a woonded liyon
And dissappeerd in a kovert.
this image:
I'll keep you posted as the project proceeds. Please keep me posted with your thoughts and impressions.
Tuesday, August 27, 2013
Introduction to Elmallah 2
Here's the introduction that opens Bouk 2 of The Song ov Elmallahz Kumming. I call it a "belated" introduction because it stands at the beginning of Bouk 2 rather than Bouk 1.
A Belated Introduction:
This poem originated in a series of 9 poems I wrote in 1976 to a woman who was to become my wife. At that time I assumed, unrealistically, that the underlying mythic and psychologic levels in those poems would be known and understood by the reader. I was unrealistic not only because those 9 short poems implied and made reference to far more than what was stated, but because the mythic and spiritual levels I was referring to were hardly even thought about by most 20th century poetry readers.
Coming to realize this, I have expanded that short series into this narrative in six books. It attempts to lay out some of the mythic foundations of our consciousness. Many of the images briefly glossed in this book will be transposed and transisted into other scenes in other parts of the poem. At the same time, images of what is yet to come will echo in these opening scenes. In the Prophetic Conscience, past, present, and future are intertwined.
Concerning Bouk 2: for Ertha it is set in a prehistoric moment, a timeless period from which she is emerging, as she experiences a glorious expansion of her consciousness. Elmallah, diffracted into that history, and giving its evolution direction, tries to reach to her and still hold on to the Divine Moment. Tho confined in her time, his mind is not so confined. Living beyond the photon boundary that shapes space in a closed sphere, dwelling in the axis of infinite time where all things exist in infinite multiplicity and all paths are parallel and non coherent, from that awareness he communicates with Ertha. Thought flows between them, visible to Elmallah, palpable to all his senses. His infinite bodies intersect her infinite bodies. He touches her. His infinitely repeating hand reaches between her infinitely mirrored legs, there where his eyes were originally drawn, to that dark moist center in her being. His arid Conscience is interleaved in a hyper-globe of pleasure, and then desire for pleasure, and then dependence on pleasure, and then despondence over his dependence.
Elmallah is astonished by their sexual crescendo. He feels it like a vast surf washing up on the sand. It is Ertha's Conscience washed by his Knowledge, followed by her perpetual forgetting. It is his energy penetrating her levels and withdrawing. It rushes - surf - he tells her of the Lor; withdraws - surf - she hears and recreates it in her Conscience. It rushes - surf - he sees how she has distorted his Knowledge; withdraws - surf - into his despair; rushes - surf - he touches her differently and new awarenesses emerge; ebb and flow while making love. The scene ends. For a moment Ertha glimpses a vision of the Lor - surf - is thunderstruck - surf - sees now the pantheon of Babylon standing above - surf - forgets that too - surf - remembers only that she has seen something awesome that she can't hold, can't comprehend.
Ertha's history with Elmallah is not a continuous series of events, but layered states, stratified in Their Conscience.
A Belated Introduction:
This poem originated in a series of 9 poems I wrote in 1976 to a woman who was to become my wife. At that time I assumed, unrealistically, that the underlying mythic and psychologic levels in those poems would be known and understood by the reader. I was unrealistic not only because those 9 short poems implied and made reference to far more than what was stated, but because the mythic and spiritual levels I was referring to were hardly even thought about by most 20th century poetry readers.
Coming to realize this, I have expanded that short series into this narrative in six books. It attempts to lay out some of the mythic foundations of our consciousness. Many of the images briefly glossed in this book will be transposed and transisted into other scenes in other parts of the poem. At the same time, images of what is yet to come will echo in these opening scenes. In the Prophetic Conscience, past, present, and future are intertwined.
Concerning Bouk 2: for Ertha it is set in a prehistoric moment, a timeless period from which she is emerging, as she experiences a glorious expansion of her consciousness. Elmallah, diffracted into that history, and giving its evolution direction, tries to reach to her and still hold on to the Divine Moment. Tho confined in her time, his mind is not so confined. Living beyond the photon boundary that shapes space in a closed sphere, dwelling in the axis of infinite time where all things exist in infinite multiplicity and all paths are parallel and non coherent, from that awareness he communicates with Ertha. Thought flows between them, visible to Elmallah, palpable to all his senses. His infinite bodies intersect her infinite bodies. He touches her. His infinitely repeating hand reaches between her infinitely mirrored legs, there where his eyes were originally drawn, to that dark moist center in her being. His arid Conscience is interleaved in a hyper-globe of pleasure, and then desire for pleasure, and then dependence on pleasure, and then despondence over his dependence.
Elmallah is astonished by their sexual crescendo. He feels it like a vast surf washing up on the sand. It is Ertha's Conscience washed by his Knowledge, followed by her perpetual forgetting. It is his energy penetrating her levels and withdrawing. It rushes - surf - he tells her of the Lor; withdraws - surf - she hears and recreates it in her Conscience. It rushes - surf - he sees how she has distorted his Knowledge; withdraws - surf - into his despair; rushes - surf - he touches her differently and new awarenesses emerge; ebb and flow while making love. The scene ends. For a moment Ertha glimpses a vision of the Lor - surf - is thunderstruck - surf - sees now the pantheon of Babylon standing above - surf - forgets that too - surf - remembers only that she has seen something awesome that she can't hold, can't comprehend.
Ertha's history with Elmallah is not a continuous series of events, but layered states, stratified in Their Conscience.
Thursday, August 22, 2013
Yoma, stripped of notes and liturgy
In the previous 4 posts I presented the evolution of a poem, Yoma, from its first sketches to a "finished" expression (well, no poem is finished, but work may have ended on it).
The last stage of the poem includes various embedded notes and Yom Kippur liturgy, which may significantly expand and enrich the vision of it, but at the same time, significantly complicates the reading. This is already a hard poem,
1. written using the latest developments in Stevetok-metaEnglish,
2. highly superimposed, and
3. describing the esoteric-essential experience of Yom Kippur, that is, the experience of elevating oneself into the higher dimensions of reality, where the Divine stands at the edge of manifestation, so that one may see and judge oneself with the highest level of accuracy and honesty.
This is not easy listening.
So, here is the poem, stripped of its notes and liturgy. This is how it will first appear in The Atternen Juez Talen. It will appear again, later, edited, with notes and liturgy. In the version below, I leave in all the asterisks, showing where I have stripped out notes. You may want to refer to the complete version, after you've regained your balance in the poem's rarefied air, to see the notes, which I think add important information, especially the eka d'omray's. To that end, here's a link to the complete version:
Complete Version
and here's a link to the first Yoma post, with the original version, and more explanatory material, including what "eka d'omray" means.
Original Yoma Post
Yoma
Now the Yoma* uv hevvennee assents;
Beyonden ar Addom an the driven ergz,
Tu the gaten a liv an deth, the same.
Under thots an tulleets*, wavee in tents,
Faesles, stript ov ar boddee a pride,
Thaer we stanz befor ar Lor.
Hem expresshen ar dayz that we kan a volv,
Tu kwannaffy us on a waverree skael.
The mappen uv Hem an the mappen uv us:
The differrenshelz, thay ar the skael.
Us, an enfoeld uv this limmennel werl
Uppon ar Addom at the ej uv the C*.
Liken hi preesten we stan in this ej
In ar kotten kittelz* an a shrowd a deth,
Unferrellen faeth intu Addomz tume*.
I faenlee see frinjen lite in the wawlz,
Slivverren Adenz* a pulsen my selz,
Refazen my thots. How thin we ar!
Az klose tu God az a seengerz* breth
An az far awway, an the Lor iz vast!
Ware we be hoelden ar tumah seel,
Thaer we unfoelden ar lumen weengz
Tu span the turbolen skaelz uv us.
An now we ar reddee tu enter the Ark
That speken the Vois that spoken the werlz.
Momenten ajez, a skroel intu wun
Az this long morneeng iz neerlee dun.
The last stage of the poem includes various embedded notes and Yom Kippur liturgy, which may significantly expand and enrich the vision of it, but at the same time, significantly complicates the reading. This is already a hard poem,
1. written using the latest developments in Stevetok-metaEnglish,
2. highly superimposed, and
3. describing the esoteric-essential experience of Yom Kippur, that is, the experience of elevating oneself into the higher dimensions of reality, where the Divine stands at the edge of manifestation, so that one may see and judge oneself with the highest level of accuracy and honesty.
This is not easy listening.
So, here is the poem, stripped of its notes and liturgy. This is how it will first appear in The Atternen Juez Talen. It will appear again, later, edited, with notes and liturgy. In the version below, I leave in all the asterisks, showing where I have stripped out notes. You may want to refer to the complete version, after you've regained your balance in the poem's rarefied air, to see the notes, which I think add important information, especially the eka d'omray's. To that end, here's a link to the complete version:
Complete Version
and here's a link to the first Yoma post, with the original version, and more explanatory material, including what "eka d'omray" means.
Original Yoma Post
Yoma
Now the Yoma* uv hevvennee assents;
Beyonden ar Addom an the driven ergz,
Tu the gaten a liv an deth, the same.
Under thots an tulleets*, wavee in tents,
Faesles, stript ov ar boddee a pride,
Thaer we stanz befor ar Lor.
Hem expresshen ar dayz that we kan a volv,
Tu kwannaffy us on a waverree skael.
The mappen uv Hem an the mappen uv us:
The differrenshelz, thay ar the skael.
Us, an enfoeld uv this limmennel werl
Uppon ar Addom at the ej uv the C*.
Liken hi preesten we stan in this ej
In ar kotten kittelz* an a shrowd a deth,
Unferrellen faeth intu Addomz tume*.
I faenlee see frinjen lite in the wawlz,
Slivverren Adenz* a pulsen my selz,
Refazen my thots. How thin we ar!
Az klose tu God az a seengerz* breth
An az far awway, an the Lor iz vast!
Ware we be hoelden ar tumah seel,
Thaer we unfoelden ar lumen weengz
Tu span the turbolen skaelz uv us.
An now we ar reddee tu enter the Ark
That speken the Vois that spoken the werlz.
Momenten ajez, a skroel intu wun
Az this long morneeng iz neerlee dun.
Wednesday, August 21, 2013
Yoma, 4, complete
This brief but challenging poem is a highly superimposed text layering the nature of consciousness, quantum mechanical images, the theology of Yom Kippur, and the core liturgy for the morning of Yom Kippur (in italics).
Jump to Yoma 1, the first sketchout
Jump to Yoma 2, the first revision
Jump to Yoma 3, the second revision
Yoma
Now the Yoma* uv hevvennee assents;
* that iz, Yoem Kepoor;
name uv traktate in Tawlmid on the toppek
Barruekh sheh’ummar, Bles Hem (hu speken the werlz)...
Beyonden ar Addom an the driven ergz,
Tu the gaten a liv an deth, the same.
Sellakh lahgoy kuddoesh, Forgiv the holee naeshen...
Under thots an tulleets*, wavee in tents,
* during standing praerz wun draeps a larj
praer shawl over the hed; see Jacob
Kramer’s paenting ‘Day of Atonement’
Uddoniy, seffuttiy teeftukh,
O Lor, open my lips (tu deklaer Yur praez)...
Faesles, stript ov ar boddee a pride,
Thaer we stanz befor ar Lor.
Ushumnu, We hav kum tu gilt...
Hem expresshen ar dayz that we kan a volv.
Tu kwannaffy us on a waverree skael.
Ul khaet shekhuttunnu,
For the sin uv ar sinnenz...
The mappen uv Hem an the mappen uv us:
The differrenshelz, thay ar the skael.
Hahyoem yekkuttaev,
Tuday, ar inskrieb (in liven deth)...
Us, an enfoeld uv this limmennel werl
Uppon ar Addom at the ej uv the C*.
* eka d’omray: ej uv the See
Nuh’arreetzekhah, We ar addor uv Yu...
Liken hi preesten we stan in this ej
In ar kotten kittelz* an a shrowd a deth,
* robe/shrowd,
sumtiemz worn on Yoem Kepoor
Unferrellen faeth intu Addomz tume*.
* eka d’omray: tumah, impyurattee
Zukhoer lunnu, Rememmer us...
I faenlee see frinjen lite in the wawlz,
Slivverren Adenz* a pulsen my selz,
* Edenz
Refazen my thots. How thin we ar!
Kee unnu ummekhah, For we, Yur pepelz...
Az klose tu God az a seengerz* breth
* eka d’omray: feengerz
An az far awway, an the Lor iz vast!
Ul khaet shekhuttunnu,
For the sin uv ar sinnenz...
Ware we be hoelden ar tumah seel,
Thaer we unfoelden ar lumen weengz
Tu span the turbolen skaelz uv us.
Uvvenu Mawlkanu, ar Fother, ar Keeng
An now we ar reddee tu enter the Ark
That speken the Vois that spoken the werlz.
Momenten ajez, a skroel intu wun
Az this long morneeng iz neerlee dun.
“eka d’omray”: this is a Talmudic term meaning “others say”, reflecting a disagreement among the sages, or a discrepancy in how texts or events are remembered. I use it to maintain alternative readings, and to amplify meanings.
Jump to Yoma 1, the first sketchout
Jump to Yoma 2, the first revision
Jump to Yoma 3, the second revision
Yoma
Now the Yoma* uv hevvennee assents;
* that iz, Yoem Kepoor;
name uv traktate in Tawlmid on the toppek
Barruekh sheh’ummar, Bles Hem (hu speken the werlz)...
Beyonden ar Addom an the driven ergz,
Tu the gaten a liv an deth, the same.
Sellakh lahgoy kuddoesh, Forgiv the holee naeshen...
Under thots an tulleets*, wavee in tents,
* during standing praerz wun draeps a larj
praer shawl over the hed; see Jacob
Kramer’s paenting ‘Day of Atonement’
Uddoniy, seffuttiy teeftukh,
O Lor, open my lips (tu deklaer Yur praez)...
Faesles, stript ov ar boddee a pride,
Thaer we stanz befor ar Lor.
Ushumnu, We hav kum tu gilt...
Hem expresshen ar dayz that we kan a volv.
Tu kwannaffy us on a waverree skael.
Ul khaet shekhuttunnu,
For the sin uv ar sinnenz...
The mappen uv Hem an the mappen uv us:
The differrenshelz, thay ar the skael.
Hahyoem yekkuttaev,
Tuday, ar inskrieb (in liven deth)...
Us, an enfoeld uv this limmennel werl
Uppon ar Addom at the ej uv the C*.
* eka d’omray: ej uv the See
Nuh’arreetzekhah, We ar addor uv Yu...
Liken hi preesten we stan in this ej
In ar kotten kittelz* an a shrowd a deth,
* robe/shrowd,
sumtiemz worn on Yoem Kepoor
Unferrellen faeth intu Addomz tume*.
* eka d’omray: tumah, impyurattee
Zukhoer lunnu, Rememmer us...
I faenlee see frinjen lite in the wawlz,
Slivverren Adenz* a pulsen my selz,
* Edenz
Refazen my thots. How thin we ar!
Kee unnu ummekhah, For we, Yur pepelz...
Az klose tu God az a seengerz* breth
* eka d’omray: feengerz
An az far awway, an the Lor iz vast!
Ul khaet shekhuttunnu,
For the sin uv ar sinnenz...
Ware we be hoelden ar tumah seel,
Thaer we unfoelden ar lumen weengz
Tu span the turbolen skaelz uv us.
Uvvenu Mawlkanu, ar Fother, ar Keeng
An now we ar reddee tu enter the Ark
That speken the Vois that spoken the werlz.
Momenten ajez, a skroel intu wun
Az this long morneeng iz neerlee dun.
“eka d’omray”: this is a Talmudic term meaning “others say”, reflecting a disagreement among the sages, or a discrepancy in how texts or events are remembered. I use it to maintain alternative readings, and to amplify meanings.
Yoma, 3
Yoma, second significant rewrite. Here I have stripped out all the notes and most of the alternatives, to create a text that can be more easily read and critiqued. I leave the stars (*) to show where notes were stripped out.
Jump to Yoma 1, the first sketchout
Jump to Yoma 2, the first revision
Jump to Yoma 4, the completed version
Now the Yoma* uv hevvennee assents;
Beyonden ar Addom an the driven ergz,
Tu the gaten a liv an deth, the same.
With ar tulleet a tenten* in waverree feelz,
Faesles, stript ov ar boddee a pride,
Thaer we stanz befor ar Lor.
Hem expresshen ar dayz that we kan a volv,
Tu kwannaffy us, [ar (waez waevz werth) an ar][ossallaten a] skael.
The mappen uv Hem an the mappen uv us:
The differrenshelz, thay ar the skael.
Us, an enfoeld uv this limmennel werl
Uppon ar Addom at the ej uv the (See C)*.
Liken hi preesten we stan in this ej
In ar kotten kittelz* an a shrowd a deth,
[Stan in the gloem uv]
[Unferrellen (life faeth hope) intu] Addomz tume*.
Faentlee, frinjen uv lite in the wawlz,
Slivverren Adenz* that pulsen (theze ar) selz,
Reshapen ar thots. How thin we ar!
Az klose tu God az a feengerz* breth
An az far awway, an the Lor iz vast!
Ware we be hoelden ar tumah seel.
Thaer (az we) unfoelden ar lumah weengz
Tu span the turbolen (See C skaelz) uv us.
An now we ar reddee tu (open(z) enter) the Ark
An (enter merjen speken) the Vois [that spoken the werl].
Momenten ajez, a skroel intu wun.
An then ar morneeng iz neerlee dun.
Jump to Yoma 1, the first sketchout
Jump to Yoma 2, the first revision
Jump to Yoma 4, the completed version
Now the Yoma* uv hevvennee assents;
Beyonden ar Addom an the driven ergz,
Tu the gaten a liv an deth, the same.
With ar tulleet a tenten* in waverree feelz,
Faesles, stript ov ar boddee a pride,
Thaer we stanz befor ar Lor.
Hem expresshen ar dayz that we kan a volv,
Tu kwannaffy us, [ar (waez waevz werth) an ar][ossallaten a] skael.
The mappen uv Hem an the mappen uv us:
The differrenshelz, thay ar the skael.
Us, an enfoeld uv this limmennel werl
Uppon ar Addom at the ej uv the (See C)*.
Liken hi preesten we stan in this ej
In ar kotten kittelz* an a shrowd a deth,
[Stan in the gloem uv]
[Unferrellen (life faeth hope) intu] Addomz tume*.
Faentlee, frinjen uv lite in the wawlz,
Slivverren Adenz* that pulsen (theze ar) selz,
Reshapen ar thots. How thin we ar!
Az klose tu God az a feengerz* breth
An az far awway, an the Lor iz vast!
Ware we be hoelden ar tumah seel.
Thaer (az we) unfoelden ar lumah weengz
Tu span the turbolen (See C skaelz) uv us.
An now we ar reddee tu (open(z) enter) the Ark
An (enter merjen speken) the Vois [that spoken the werl].
Momenten ajez, a skroel intu wun.
An then ar morneeng iz neerlee dun.
Yoma, 2
Here's the first significant rewrite of the poem Yoma, presented in the post Yoma, 1. As in that first post, letters, words, and phrases in quotes or brackets (and colored light red) are alternatives that I was juggling.
Jump to Yoma 1, the first sketchout
Jump to Yoma 3, the second revision
Jump to Yoma 4, the completed version
Now the Yoma* uv hevvennee assents;
Beyonden ar Addom an the driven ergz,
With ar tulleet a tenten* in waverree feelz,
Faesles, stript ov ar boddee a pride,
Thaer we stanz befor ar Lor
[Hem seez (an in the) mezherz the (werth skael) uv us]
[Hem seez (an in the) mezherz an (valyuez skalen us]
[Hem seez (an in the) mezherz ar ampeltuedz].
[In ar waverree Seez Hem mezher us.]
[Hem Seez for kwantaffy ar (waez waevz werth).]
(Hu Hem) expresshen ar dayz an we a volv it frum thaer.
The mappen uv Hem an the mappen uv us:
[(The In) disparattee(z) [an despaer uv us.]
[The differrenshelz ar the maetrex uv us.]
Us, an enfoeld uv this limmennel werl
Uppon ar Addom *at the ej uv the (See C)*.
*-* eka d’omray: in the C uv God
Liken hi preesten we stan in this ej
In ar kotten kittelz* an a shrowd a deth,
[Stan in the gloem uv]
[Unferrellen (life faeth hope) intu] Addomz tume*,
* eka d’omray: tumah, impyurattee
[Gaten tu life an deth, the same,]
Az klose tu God az a feengerz* breth
* eka d’omray: seengerz
An az far awway, an the Lor iz vast!
[(Thaer ar) prayen tu bild a brij]
[Unberden ar seel an unfoelden weengz]
(Tu span)(Tu sael on) the (atternen turbolen) (breethen See C) uv us.
Momen an ajez, (ar watee werks)(now wun an the same),
(An (heer then so))(Until) the morneeng lite* iz (dun){weak}. * eka d’omray: pray
Jump to Yoma 1, the first sketchout
Jump to Yoma 3, the second revision
Jump to Yoma 4, the completed version
Now the Yoma* uv hevvennee assents;
Beyonden ar Addom an the driven ergz,
With ar tulleet a tenten* in waverree feelz,
Faesles, stript ov ar boddee a pride,
Thaer we stanz befor ar Lor
[Hem seez (an in the) mezherz the (werth skael) uv us]
[Hem seez (an in the) mezherz an (valyuez skalen us]
[Hem seez (an in the) mezherz ar ampeltuedz].
[In ar waverree Seez Hem mezher us.]
[Hem Seez for kwantaffy ar (waez waevz werth).]
(Hu Hem) expresshen ar dayz an we a volv it frum thaer.
The mappen uv Hem an the mappen uv us:
[(The In) disparattee(z) [an despaer uv us.]
[The differrenshelz ar the maetrex uv us.]
Us, an enfoeld uv this limmennel werl
Uppon ar Addom *at the ej uv the (See C)*.
*-* eka d’omray: in the C uv God
Liken hi preesten we stan in this ej
In ar kotten kittelz* an a shrowd a deth,
[Stan in the gloem uv]
[Unferrellen (life faeth hope) intu] Addomz tume*,
* eka d’omray: tumah, impyurattee
[Gaten tu life an deth, the same,]
Az klose tu God az a feengerz* breth
* eka d’omray: seengerz
An az far awway, an the Lor iz vast!
[(Thaer ar) prayen tu bild a brij]
[Unberden ar seel an unfoelden weengz]
(Tu span)(Tu sael on) the (atternen turbolen) (breethen See C) uv us.
Momen an ajez, (ar watee werks)(now wun an the same),
(An (heer then so))(Until) the morneeng lite* iz (dun){weak}. * eka d’omray: pray
Yoma, 1
This post is the first of 4 in a progression showing the main steps in the evolution of the poem Yoma, from
1. its sketch in The Atternen Juez Talen, to
2. a significant rewrite [jump to this rewrite], then
3. a second significant rewrite [jump to this rewrite], and finally
4. the embedding of liturgical texts and explanatory notes.
[jump to completed version]
In reality, the process didn’t evolve like that. The original text in The Atternen Juez Talen included some explanatory notes. The first significant rewrite added more notes, and then later, liturgical excerpts from the ArtScroll Yom Kippur prayerbook. The second significant rewrite actually required my removing all the notes and liturgy, so I could appraise more easily the actual conceptual and literary flow of the poem. I have arranged the unpacking of the poem’s development in its current order to aid the reader, who, most likely, will find the final version rather complex and difficult to grasp as a whole, without first seeing the second rewrite version (step 3 in the list above), with notes and liturgy stripped out.
FYI, letters, words, and phrases in quotes or brackets (and colored light red) are alternatives that I was juggling. Actually I have removed a significant number of these alternatives to simplify the texts. When I am considering alternate words (or alternate suffixes) I place all of them in a single set of parentheses. When I am considering alternate phrases, I put each phrase in its own set of parentheses, or brackets if it’s a longer phrase.
Also, “eka d’omray” is a Talmudic term meaning “others say”, reflecting a disagreement among the sages, or a discrepancy in how texts or events were remembered. I use it to maintain alternative readings, and to amplify meanings.
Original version:
Now the Yoma*. Ar hevvennee assen(ts);
* Yoem Kepoor; name uv bouk in Tawlmid on the toppek
Begin (the in) (ar) deth-staten boddee an sens
Tu (the) (klenzen klimen) (a) seel, holee a thot.
No (needen befogg(en ee)) (a) foodz, no [deziyerr(en ee) sex][(karnellee erj];
Stattes an munneez (left at the gaets)(havven no plase)(stript uv thaer meen).
With ar tulleet (drapen)(a tenten) over ar hed,
Faesles, (withowt)(stript ov) ar boddee a pride,
Thaer we stanz befor ar Lor
Hu seez an mezherz the werth uv us,
Him assinen ar (dayz daez) an we map it (on Hem)(frum thaer)
Then (mezherz wochen wayen) (wether how) we (lissen an serv)(map in on Hem).
Us, hu (livven)(enfoeld uv) this limmennel werl
Between (the ar) Addom (an Aden uv us)(an atternen Lief)
(an the See a Lite)(an ar foton seel)(an the C uv us).
Eech uv us thaer liken hi preests
In ar kotten kittelz*, ar (dethee holee) (roebz shrowdz),
* robe uesd az shrowd; also worn on Yoem Kepoor
Standen (heer in)(in the gloem uv) Addomz (tume tumah),
Heer at Adenz (fiyerree impassabbel enshrowden) gaets,
[Gaten tu life an deth, the same,][The gaet a life az the gaet a deth,]
Az klose tu God az a (feengerz seengerz*) breth
* or eka d'omray both
[An az far awway az the Lor iz vast.][An yet a threshoel, hu kan (pas kros)?]
Thaer ar prayen tu bild a brij
Intu the atternen breth uv us.
Owwerz, ajez, ar hevvee werks
An then the shakhreet* (pray lite) iz dun.
* Heebru for morneeng
1. its sketch in The Atternen Juez Talen, to
2. a significant rewrite [jump to this rewrite], then
3. a second significant rewrite [jump to this rewrite], and finally
4. the embedding of liturgical texts and explanatory notes.
[jump to completed version]
In reality, the process didn’t evolve like that. The original text in The Atternen Juez Talen included some explanatory notes. The first significant rewrite added more notes, and then later, liturgical excerpts from the ArtScroll Yom Kippur prayerbook. The second significant rewrite actually required my removing all the notes and liturgy, so I could appraise more easily the actual conceptual and literary flow of the poem. I have arranged the unpacking of the poem’s development in its current order to aid the reader, who, most likely, will find the final version rather complex and difficult to grasp as a whole, without first seeing the second rewrite version (step 3 in the list above), with notes and liturgy stripped out.
FYI, letters, words, and phrases in quotes or brackets (and colored light red) are alternatives that I was juggling. Actually I have removed a significant number of these alternatives to simplify the texts. When I am considering alternate words (or alternate suffixes) I place all of them in a single set of parentheses. When I am considering alternate phrases, I put each phrase in its own set of parentheses, or brackets if it’s a longer phrase.
Also, “eka d’omray” is a Talmudic term meaning “others say”, reflecting a disagreement among the sages, or a discrepancy in how texts or events were remembered. I use it to maintain alternative readings, and to amplify meanings.
Original version:
Now the Yoma*. Ar hevvennee assen(ts);
* Yoem Kepoor; name uv bouk in Tawlmid on the toppek
Begin (the in) (ar) deth-staten boddee an sens
Tu (the) (klenzen klimen) (a) seel, holee a thot.
No (needen befogg(en ee)) (a) foodz, no [deziyerr(en ee) sex][(karnellee erj];
Stattes an munneez (left at the gaets)(havven no plase)(stript uv thaer meen).
With ar tulleet (drapen)(a tenten) over ar hed,
Faesles, (withowt)(stript ov) ar boddee a pride,
Thaer we stanz befor ar Lor
Hu seez an mezherz the werth uv us,
Him assinen ar (dayz daez) an we map it (on Hem)(frum thaer)
Then (mezherz wochen wayen) (wether how) we (lissen an serv)(map in on Hem).
Us, hu (livven)(enfoeld uv) this limmennel werl
Between (the ar) Addom (an Aden uv us)(an atternen Lief)
(an the See a Lite)(an ar foton seel)(an the C uv us).
Eech uv us thaer liken hi preests
In ar kotten kittelz*, ar (dethee holee) (roebz shrowdz),
* robe uesd az shrowd; also worn on Yoem Kepoor
Standen (heer in)(in the gloem uv) Addomz (tume tumah),
Heer at Adenz (fiyerree impassabbel enshrowden) gaets,
[Gaten tu life an deth, the same,][The gaet a life az the gaet a deth,]
Az klose tu God az a (feengerz seengerz*) breth
* or eka d'omray both
[An az far awway az the Lor iz vast.][An yet a threshoel, hu kan (pas kros)?]
Thaer ar prayen tu bild a brij
Intu the atternen breth uv us.
Owwerz, ajez, ar hevvee werks
An then the shakhreet* (pray lite) iz dun.
* Heebru for morneeng
Monday, July 29, 2013
from Prolegomena to a New Spiritual Psychology
This is an excerpt from an essay I'm working on entitled Prolegomena to a New Spiritual Psychology. It is divided into a number of sections, including:
1. On perfectibility
2. Sensing the Divine
3. Knowing where we stand
4. What is faith?
5. On how we can discern our genomic nature?
This excerpt comes from the last section. Your critical feedback will be of great value to me.
Human institutions are the measure of our inherent, genomic values. They are the projection of the structures of our souls/consciousness/ phylogenic inheritance. Categorizing those structures, those institutions, will help us see what our essential nature is, what I’ll call our genomic nature/essence/structure.
The primary institutions I am thinking of are religious and political, expressing our need for power, order, and meaning. Those institutions have created constitutions, canonical documents, and/or oral traditions. If we superimpose those canonical narratives and values over each other, we are able to ascertain the core narratives, the genomic essence of our laws. We will discern the ethics that define us all, that define our archetypes, our stereotypes, the core truth of us. This I call the organic view, a top down view, a deductive view, in which the individual is a minor variation in the genome.
Looking in the opposite way, from bottom up, from the individual towards the genome, an inductive view that observes the minute variations of the individual as it deviates from or conforms to the genome, this I will call the atomistic view. This is the view that characterizes much of modernism and post-modernism, thru deconstructionism, evolving out of the philosophy of the Enlightenment, the politics of American democracy, and ironically*, Marxist philosophy, tending towards an anti-institutional stance and world view.
* I say that it is ironic that Marxist ideology supports the atomistic view because Marxism itself postulates a dominating role for central government. To this end its historical implementations have been anti-enlightenment, suppressing both the individual and non-institutional narratives. However, in its status as a minority opposition, it takes on a counter-institutional, Enlightenment stance!
The virtue of the organic view is that the genotype, the genomic essence is easily and fairly clearly derived, unobscured by atomistic variations. Shortly we will explore this as a methodology to derive conclusions about human genotypes, such as universal moral values. The virtue of the atomistic view is that it allows us to study and give value to individual variation. Developing this perspective as a methodology allows us to critique both institutions and individual narratives to discern where they fail and where they succeed.
The corollary to the above virtues is that the organic view will serve very poorly as a means to study the individual, and the atomistic view will serve very poorly at understanding archetypes and fundamental structures.
Indeed, both these views have often been used to draw conclusions where their knowledgebase is least qualified to do so. Thus, governments and religious institutions have suppressed minority and individual voices/narratives for the sake of maintaining authority and control, thus extinguishing information and knowledge and creativity, and destabilizing their ecological diversity and vitality. Equally destructive, atomistic thinking is incapable of discerning any inherent and defining structures in the profusion of individual perspectives. Thus, we have seen gulags, inquisitions, jihad, and death camps justified by institutions and their dogmas, and we have seen revolution, anarchy, the dissolution of individual worth, and the rejection of moral constraint, justified by ideologies based on relativism and egoism.
We now know that all the individual physical variations in the human species are the product of variation in less than 0.5% of the human physical genome*. While we are still unable to trace any links between the physical genome and human thought (indeed, we don’t even know what human thought is!), we can see quite clearly that well over 99% of the human physical genome is invariant, with the variation bell-curving narrowly away from the 99% mean, so with human thought, we are dominated by concerns, needs, and ideas that are as invariant as the 99+% of our physical genome.
* eg Wikipedia article “Human genetic variation”, where it says, “Genetic variation among humans occurs on many scales, from gross alterations in the human karyotype to single nucleotide changes.[6] Nucleotide diversity is the average proportion of nucleotides that differ between two individuals. The human nucleotide diversity is estimated to be 0.1%[7] to 0.4% of base pairs.[8]”
[6] Kidd, JM; et al. (2008). "Mapping and sequencing of structural variation from eight human genomes". Nature 453 (7191): 56–64. Bibcode:2008Natur.453...56K. doi:10.1038/nature06862. PMC 2424287. PMID 18451855.
[7] a b Jorde, LB; Wooding, SP (2004). "Genetic variation, classification and 'race'". Nature Genetics 36 (11s): S28–33. doi:10.1038/ng1435. PMID 15508000.
[8] a b Tishkoff, SA; Kidd, KK (2004). "Implications of biogeography of human populations for 'race' and medicine". Nature Genetics 36 (11s): S21–7. doi:10.1038/ng1438. PMID 15507999.
While from an atomistic point of view we appear, as individuals, to be unique and strikingly different, in both physical and mental manifestations, yet in fact, when observed organically we can see how minute our individual variations truly are.
So let me say again, just as we cannot trust the organic view (and most institutions) to properly value and protect individual variation, so we cannot trust the atomistic view to properly weigh and promote genomic (universal) standards.
1. On perfectibility
2. Sensing the Divine
3. Knowing where we stand
4. What is faith?
5. On how we can discern our genomic nature?
This excerpt comes from the last section. Your critical feedback will be of great value to me.
Human institutions are the measure of our inherent, genomic values. They are the projection of the structures of our souls/consciousness/ phylogenic inheritance. Categorizing those structures, those institutions, will help us see what our essential nature is, what I’ll call our genomic nature/essence/structure.
The primary institutions I am thinking of are religious and political, expressing our need for power, order, and meaning. Those institutions have created constitutions, canonical documents, and/or oral traditions. If we superimpose those canonical narratives and values over each other, we are able to ascertain the core narratives, the genomic essence of our laws. We will discern the ethics that define us all, that define our archetypes, our stereotypes, the core truth of us. This I call the organic view, a top down view, a deductive view, in which the individual is a minor variation in the genome.
Looking in the opposite way, from bottom up, from the individual towards the genome, an inductive view that observes the minute variations of the individual as it deviates from or conforms to the genome, this I will call the atomistic view. This is the view that characterizes much of modernism and post-modernism, thru deconstructionism, evolving out of the philosophy of the Enlightenment, the politics of American democracy, and ironically*, Marxist philosophy, tending towards an anti-institutional stance and world view.
* I say that it is ironic that Marxist ideology supports the atomistic view because Marxism itself postulates a dominating role for central government. To this end its historical implementations have been anti-enlightenment, suppressing both the individual and non-institutional narratives. However, in its status as a minority opposition, it takes on a counter-institutional, Enlightenment stance!
The virtue of the organic view is that the genotype, the genomic essence is easily and fairly clearly derived, unobscured by atomistic variations. Shortly we will explore this as a methodology to derive conclusions about human genotypes, such as universal moral values. The virtue of the atomistic view is that it allows us to study and give value to individual variation. Developing this perspective as a methodology allows us to critique both institutions and individual narratives to discern where they fail and where they succeed.
The corollary to the above virtues is that the organic view will serve very poorly as a means to study the individual, and the atomistic view will serve very poorly at understanding archetypes and fundamental structures.
Indeed, both these views have often been used to draw conclusions where their knowledgebase is least qualified to do so. Thus, governments and religious institutions have suppressed minority and individual voices/narratives for the sake of maintaining authority and control, thus extinguishing information and knowledge and creativity, and destabilizing their ecological diversity and vitality. Equally destructive, atomistic thinking is incapable of discerning any inherent and defining structures in the profusion of individual perspectives. Thus, we have seen gulags, inquisitions, jihad, and death camps justified by institutions and their dogmas, and we have seen revolution, anarchy, the dissolution of individual worth, and the rejection of moral constraint, justified by ideologies based on relativism and egoism.
We now know that all the individual physical variations in the human species are the product of variation in less than 0.5% of the human physical genome*. While we are still unable to trace any links between the physical genome and human thought (indeed, we don’t even know what human thought is!), we can see quite clearly that well over 99% of the human physical genome is invariant, with the variation bell-curving narrowly away from the 99% mean, so with human thought, we are dominated by concerns, needs, and ideas that are as invariant as the 99+% of our physical genome.
* eg Wikipedia article “Human genetic variation”, where it says, “Genetic variation among humans occurs on many scales, from gross alterations in the human karyotype to single nucleotide changes.[6] Nucleotide diversity is the average proportion of nucleotides that differ between two individuals. The human nucleotide diversity is estimated to be 0.1%[7] to 0.4% of base pairs.[8]”
[6] Kidd, JM; et al. (2008). "Mapping and sequencing of structural variation from eight human genomes". Nature 453 (7191): 56–64. Bibcode:2008Natur.453...56K. doi:10.1038/nature06862. PMC 2424287. PMID 18451855.
[7] a b Jorde, LB; Wooding, SP (2004). "Genetic variation, classification and 'race'". Nature Genetics 36 (11s): S28–33. doi:10.1038/ng1435. PMID 15508000.
[8] a b Tishkoff, SA; Kidd, KK (2004). "Implications of biogeography of human populations for 'race' and medicine". Nature Genetics 36 (11s): S21–7. doi:10.1038/ng1438. PMID 15507999.
While from an atomistic point of view we appear, as individuals, to be unique and strikingly different, in both physical and mental manifestations, yet in fact, when observed organically we can see how minute our individual variations truly are.
So let me say again, just as we cannot trust the organic view (and most institutions) to properly value and protect individual variation, so we cannot trust the atomistic view to properly weigh and promote genomic (universal) standards.
Friday, June 14, 2013
2 poetry titles now live and for sale!
After many months of work, I have completed all the audio, image, and video production for my latest ebook, The Song ov Elmallahz Kumming, Bouk 1. If you've visited this site in the last 6 months, no doubt you've seen some of the work as it evolved.
Now, after a 2 day crush of work, I put it all together into an ebook, and the book is now live and for sale at my publisher's site, The Vook Store. As a sort of bonus, a book I published earlier thru Vook, but which got caught in a glitch and remained stuck in the pipeline until today, The Atternen Jewz Talen, Era 1, is also now live and available at The Vook Store.
Here are the links, and after that, brief book descriptions. The books are $4.99 each, the price of, what, a latte? So buy them and enjoy them for many hours and years! Maybe they'll even change your life (and for the sake of full disclosure, that's my intention).
The Song ov Elmallahz Kumming, Bouk 1:
http://store.vook.com/storefronts/book/the-song-ov-elmallahz-kumming-bouk-1.html#.Ubt8kZxaY8A
The Atternen Jewz Talen, Era 1:
http://store.vook.com/storefronts/book/the-atternen-jewz-talen-era-1.html#.UbtynZxaY8A
All of Vook's poetry titles:
http://store.vook.com/storefronts/book/?bisac_subject=Poetry
A brief description of The Song ov Elmallahz Kumming, Bouk 1:
The Song ov Elmallahz Kumming is a long narrative poem in 6 books. In this, the first book, Elmallah, a divine messenger, is sent to Ertha to awaken her. Although she dwells as a shadow in a shadowy wilderness, Elmallah is instructed to liberate her latent beauty, power, and desire. In the process, attracted by her beauty, Elmallah loses his way in her world.
The Song ov Elmallahz Kumming is the epic story of the man of God whose heart is captured by the one he is sent to redeem.
The ebook is illustrated by me, and enhanced with audio of the poem being read, and 3 short videos of text and image. Earlier in my career I produced illuminated manuscripts. Now I am trying to bring that kind of graphic skill and elegance to my electronic books.
A brief description of The Atternen Jewz Talen, Era 1:
This book contains the opening pages of the diaries of the Eternal Jew (aka the Wandering Jew). In the opening scene he describes Jerusalem in his youth, as it was in 30 CE. He then recounts his meeting with a revolutionary named Jesus. Realizing he has left out some critical information, he turns back to the origins of humanity, telling what he knows about those early days.
This is not the Eternal Jew you might have heard about from unreliable or hate-mongering sources. He is a wise and engaging fellow, proudly Jewish, with a biting wit, and a wry but mystical view of worldly events and his place in them.
The story is told in two versions. The original text is an altered English where words and ideas morph, one into another, using a strictly phonetic spelling. To help the reader, however, a translation into standard English follows each stanza. As a further help, each stanza is followed by an embedded reading, so one can listen to the story, and read along at the same time.
The story is further enriched by beautiful graphics, and selected scans taken directly from the author’s notebooks. The final chapter of the book is a collection of useful source material and links for further study and exploration.
Now, after a 2 day crush of work, I put it all together into an ebook, and the book is now live and for sale at my publisher's site, The Vook Store. As a sort of bonus, a book I published earlier thru Vook, but which got caught in a glitch and remained stuck in the pipeline until today, The Atternen Jewz Talen, Era 1, is also now live and available at The Vook Store.
Here are the links, and after that, brief book descriptions. The books are $4.99 each, the price of, what, a latte? So buy them and enjoy them for many hours and years! Maybe they'll even change your life (and for the sake of full disclosure, that's my intention).
The Song ov Elmallahz Kumming, Bouk 1:
http://store.vook.com/storefronts/book/the-song-ov-elmallahz-kumming-bouk-1.html#.Ubt8kZxaY8A
The Atternen Jewz Talen, Era 1:
http://store.vook.com/storefronts/book/the-atternen-jewz-talen-era-1.html#.UbtynZxaY8A
All of Vook's poetry titles:
http://store.vook.com/storefronts/book/?bisac_subject=Poetry
A brief description of The Song ov Elmallahz Kumming, Bouk 1:
The Song ov Elmallahz Kumming is a long narrative poem in 6 books. In this, the first book, Elmallah, a divine messenger, is sent to Ertha to awaken her. Although she dwells as a shadow in a shadowy wilderness, Elmallah is instructed to liberate her latent beauty, power, and desire. In the process, attracted by her beauty, Elmallah loses his way in her world.
The Song ov Elmallahz Kumming is the epic story of the man of God whose heart is captured by the one he is sent to redeem.
The ebook is illustrated by me, and enhanced with audio of the poem being read, and 3 short videos of text and image. Earlier in my career I produced illuminated manuscripts. Now I am trying to bring that kind of graphic skill and elegance to my electronic books.
A brief description of The Atternen Jewz Talen, Era 1:
This book contains the opening pages of the diaries of the Eternal Jew (aka the Wandering Jew). In the opening scene he describes Jerusalem in his youth, as it was in 30 CE. He then recounts his meeting with a revolutionary named Jesus. Realizing he has left out some critical information, he turns back to the origins of humanity, telling what he knows about those early days.
This is not the Eternal Jew you might have heard about from unreliable or hate-mongering sources. He is a wise and engaging fellow, proudly Jewish, with a biting wit, and a wry but mystical view of worldly events and his place in them.
The story is told in two versions. The original text is an altered English where words and ideas morph, one into another, using a strictly phonetic spelling. To help the reader, however, a translation into standard English follows each stanza. As a further help, each stanza is followed by an embedded reading, so one can listen to the story, and read along at the same time.
The story is further enriched by beautiful graphics, and selected scans taken directly from the author’s notebooks. The final chapter of the book is a collection of useful source material and links for further study and exploration.
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