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Uezen: A Science Fiction Novel
press [ Books ]

- - - - - - - - - - - - - - - - - - - - - - - - -
by [Snowdon King ]

2012-03-25  |     | 



Uezen: A Science Fiction Novel, by Snowdon King was published by Wildside Press from the U.S. The book was translated into English by Peter Iamandi.


"Democles and Z’Davaar, the equivalents of God and the Devil, agree to create the first humans and place them on the planet of Eden. The Edeneans subsequently spread their race throughout the galaxy, but, when their most important sun goes nova, the survivors begin falling ill and dying. In order to prevent their total extinction, they build the Arka and head for the nearest wormhole. But on their way there they have to fight Anuk, who has agreed to obey Z’Davaar’s orders and destroy the other Edeneans, in order to have his lover resurrected. Only Lerman Kruger has the strength to oppose him... A philosophical science fiction adventure that spans the entire galaxy! "

Wildside Press






SNOWDON KING – UEZEN AND OTHER STORIES and UEZEN’S CONSCIOUSNESS


UEZEN AND OTHER STORIES and UEZEN’S CONSCIOUSNESS


Apart from the inevitable “arsenal” (when it comes to authors who want to anchor themselves intensely and laboriously in the creative and imaginative universe of science fiction) of higher physics, electronics, and even sophisticated mathematics (an arsenal well-acquired and, as a rule, carefully systematized on the “rack” of epic construction), we notice not only that the Poet is still there but that he has also amplified his lyrical register almost miraculously and to impressive cosmic-dynamic dimensions.
Indeed, his science fiction novel about Uezen, written in the installment manner (ending with the unavoidable sign of … the lack of an ending: “to be continued” …), sounds like a very “modernist” Bildungsroman through which he builds and follows the evolution of a character of various identity and ontological puzzles, revealed, even after dozens of pages, only to a minimum extent.
In the first book (Uezen and Other Stories – 160 p.) there are only seven chapters about Uezen: 1-Ruth Desert, 2-Karan, 3-Uezen, 4-Urluz, 5-Zetta, 6-Namur and Anuk, 7-The Battle. It is only in the second book (Uezen’s Consciousness – 98 p.) that the author probes, with the skill of a brain surgeon, the character’s identity, adding eight more chapters (this time using Roman figures to number them): VIII-The Trojan Horse, IX-Terra, X-En passant, XI-Remember, XII- The Tzulu Project, XIII-Uezen’s Consciousness, XIV-Attachments, XV-Dark and Light.
The world in which a few quite well-semanticized, even if not conspicuously individualized, characters (… we avoid, by using “a few,” the “mass scenes” … warlike robot “masses”!) is a galactic and, at the same time, transgalactic one, dominated by the spatial substantial DESERT. On the one hand, the DESERT is the metaphor of the word emptied of divine semantics, which takes us to the theme of the STUBBORN QUEST FOR ONTOLOGICAL SEMANTICS. For the Northern Divinity. On the other hand, it is part of a subtle technique meant to focus as much as possible the human waves, and to analyze knowledge and outlooks-mentalities, feelings in evolution. Mentalities, conceptions, and feelings that, for thousands of years now and thousands of years from now have been and will be, essentially, unchanged or, at least, will suffer minimum and formal alterations.
At first, Uezen is a mystery target, placed under Thanatic signs, thus causing a specifically human dynamism (ever since Adam’s Eden!) of the secret voluptuous terror: the more dangers and mysteries, the more intense the cognitive human incitation: “Who was Uezen, nobody knew for sure. They were just making wild, bizarre guesses: a creature from Ruth Desert, the guard of a huge treasure of Nedean emeralds, or a spirit that took the shape of the most terrible fears. And all this because they had found thousands of dead treasure hunters, their faces dehydrated and distorted.”
Death does not frighten anyone, on the contrary it incites one to act, it delights one (somehow morbidly but paradoxically with extreme vitalistic results!) and leads, secretly, to the discovery/snatching of Isis’s veils …
It is always northwards, that is the Mystic Place of Divinity, that Lerman (accompanied by Nagur, the sun, and then by Tarek) keeps going in order to find Uezen: “You’re heading North, Lerman.”; “Yeah, I know, North … There you go again.” or: “His eyes were focused on the North, always on the North…”
We could quite easily identify Odyssey motifs here: instead of the measureless sea – the Nedean Desert, instead of Circe the witch – the “Pteolean mares” (the temptations of Matter-Prakrti, the strictly carnal Eros) and the “Sereneans” (who grow young/more beautiful while growing old), who are attractive, mystic-cognitive landmarks (like the “mermaids,” – but “serene” in the Divine Message they carry along) on the way to the Origin/Divine Wisdom (from Plato’s SERENE BEAUTY, therefore divine!), to the “underworld”/Transcendence, etc. Nevertheless, Snowdon King seems to borrow from The Odyssey only the idea of man’s perseverance to look for his own self, as a super individual self. Even love is made to look for the Self – in its transcendence tending, with a mystic stubbornness, to reach Noica’s Self.
The Poet does not contradict himself in the elegy for Time and Love – past love, for the volitively distant Serenean – Suara (the one who, in fact, after her departure, triggered the SELF QUEST in Lerman-the Man, who secretly yearns for Immortality through Knowledge for him to stay “always handsome”/initiated, beyond time, and united, through heart and look, with divinity: “Do stop your sandglass, time blinded by forgetfulness / Sand is my heart lost in wondering whispers / I weep / Memories are the path of pain / in the very womb of tranquility the dying love / is born // I shed the shadow that keeps my soul alive / the footsteps lost in the nowhere / I break / Ice is my temple of dreams and thoughts / Pilgrim spirit in the desert winds / to be.” Here the elegiac invocation is exorcizing, like an astral charm.
Lerman, through Verse/Viers, gets rid of the burden of Temptation’s memory. Of the Time-History Event (Goethe’s “Oh, moment, stop!” becomes here “Do stop your sandglass,” and passes into Mythic Time, that of Revelation’s Ecstasy. “Youth without old age and life without death” … THIS IS THE “TREASURE” everyone looks for but belonging only to those who assume re-initiation through “regressus ad uterum” …!!!
8 (the number of years Lerman spent with Suara) stands for (and points to and announces!) the infinite: ∞.
The Tarek-Goya couple is only the shadow and confirmation, from the background, of the fairness of the magic and mystic approach of Lerman who keeps dreaming his androgynyzation through Suara – and understands it through Mud.
On his Odyssey way to the transgalactic Ithaca, Lerman meets another mystic form of love, Mud, and a new Gate of Trial, to Initiation (Lerman’s hesitation, at his “pleasure,” is the expression of the alienation of the cosmic world, of the continuity in transgalaxies of Kali Yuga), which from the very beginning offers him the choice between Riches (a cognomen for Matter-Prakrti) and Knowledge (a cognomen for Transindividual Self/Spirit-Purusha): “In her left hand the creature was holding a Nedean stone the size of a Kiwa egg and in her right a cup full of green liquid that was bubbling softly.” “Which will you choose? Riches or knowledge?”
Here we should point out the color green common to both the “stone” and the Grail “cup/cup content”: a perfidious attempt since both symbols equally point to Life and Lucifer! Knowledge has a double valency, ALWAYS …! But Lucifer is (through mystic spelling) to alchemists … Christ: “Luci+ferrus” = Light-Maker-Light Springer … The Cup/Holy Grail means choosing Healing through Re-Initiation in Origin: “Mud said and handed him the cup. (…) The liquid was burning his guts. The veins swelled and all his senses grew ten times, a hundred times more powerful. The transparent vision of an old man reading a book appeared before him. On the yellowed pages there was a map. At once he recognized the outpost, the Tanor, and near it the former springs...” The Tanor is very likely the “Athanor” – the Alchemic Kiln.

“Spring” of Revelation.

The old man that “radiates light,” whom Lerman and Tarek encounter in the Desert, preceded by Mud’s Vision, is in fact (at last!) Uezen. The one who has the “ontic keys,” the “cognitive keys,” and the chance of “redeeming, of getting rid of the self-deception idols”: “Lerman, Tarek, you must be wondering why I have brought you here. Both of you have been looking for riches and youth but fate has brought you to the place you were meant to come to, here, to me.” (…) “You know very well what you are looking for, only you like deceiving yourselves so much… your happiness does not depend on some stones or years added to your existence. Who are we? Well, that is a long story…”
The revelations to the “triangle” confusedly include both the apprentices and the initiated (Lerman and Tarek, too brutal and hasty to find out “answers/cognitive-ontic initiation, hesitating between the genuine “treasure” of Knowledge and … a “pitiful life”, and Mud – UEZEN’S PARTNER! – therefore one of the Guards of the Mystic Gates!): Eden is only the “third planet from the red star Ura’H” (and therefore it does not contain the genuine chance of re-initiation in Origin!); God is only a transitory form to “Great Democles,” the one that gives “eternal life;” Arka is only a transitory form … to another transitory form: the “ever unstable Megara;” the “Tzulu merchants” are the only ones that know the secret of “navigation” through” wormholes” (as usual, it does not refer to astronomical physics but to ontic-cognitive-epistemic symbols: the “wormholes,” as well as the “Tzulu merchants,” stand for “sly” primitivism, without any divine brilliance, transactional only, aimed at meeting … Macedonski’s “Non-divine Mecca,” the Final Objective which is far from being Ontic: Transaction with the falsification/inflation of the Sacred …); Terrans are only transitivities too, intermediary “links” on the way to “Great Democles” (most likely a contraction by fusion of “Damocles”/Imminent Danger at every Gate of Initiation, and “demos” - suggesting that it COULD be anyone’s initiation – unfortunately, it is not everyone that knows/wants to know and act/re-act according … “to the mystic knowledge/science”!!!), Odyssey symbols of wandering on the way to the Stable Target of Divinity (“You are the creation of the beings of light. You are the continuity of our race. We are what you call … God. But we are all the creation of great Democles.”).
In our opinion, this novel about the quest of Uezen/the Transcens Self/ the Human Transindividuality (probably the character’s name is not accidental either: it is the acronym of an interrogation: “Unde este Liniştirea/Trezirea/Iluminarea Interioară/ZEN?”)x could have stopped here, or with the “Prophet’s burial.” Everything, so far, has worked like a brilliant parabiblical parable. Unfortunately, in his restlessness, Snowdon King has the ambition to follow in the footsteps (not always recommendable), let’s say, of H.G. Wells in The War of the Worlds. With H.G. Wells it was a first – the others become, at once, epigones. Pity.
We, at least, do not make too much of all those “ultraphysical” terms from the war/confrontation between the “Lenureans” (which reminds one of Steiner’s “Lemureans,” as a stage in the evolution of the Terrestrial Spirit) and the Vadokareans/Terrans. “Deflector shield,” “ionic cannons,” “telepathic weapons,” “vibrating palms,” “topters,” etc., raise our admiration for Snowdon King’s science fiction imagination, for his vast knowledge, laboriously acquired, of physics and astrophysics – but they do not add anything to the excitement we have experienced throughout several dozens of extremely “dense” pages, written with a matchless lyricism, with an impressive insight and a most convincing poetic skill, with the sober use of artistic devices (an extremely beneficial expressive “parsimony” – therefore the more so mentally and affectively percussive!) – in an epic story, plastic and most eloquent, which melts (by its incandescence of “lyrical telling”) every trace of indifference and boredom to the idea of “book” – and becomes, page by page, the very Revelation of the Drama (very close to Tragedy!) of the Adventure-of-Knowing-Man-as-a-Divine-Being …
… There is only one section, Chapter XIII – Uezen’s Consciousness (from the novel by the same name) that rouses our mental and affective interest, similar to the first part of the novel (the one included in Uezen and Other Stories) – just because the facile epic is beneficially abandoned, again, making room for the meditative. The only shortcoming of the meditative epic in Uezen’s Consciousness is the author’s too frequent lapse into the didactic-pedagogical-doctoral register (which partially destroys the intellectual “frissons” – and totally destroys the affective ones): “Light is just a releaser of Democles’s consciousness. (…) All the secrets of existence hide there, in the depths of your mind. All that you lacked was a click … You close your eyes, meditate, and they appear in the turn of a hand … (…) Growing aware of the external reality during the most profound meditation … it’s only Edeneans that can do that … (…)” “Think of me as of a mind game. A game you completely lacked. (…)” “You passed too quickly through the stages of childhood. (…)” “You can do whatever you can during the Zetta meditation. It’s even funny, you’ll see … (…)” “You must believe in yourself and your senses … you must face the most terrible fears. But we’ll work on that … (…) This is also something you’ve got to control. (…) Words, thoughts, information travel. Let’s keep the surprise element,” etc.
Snowdon King’s prose is fascinating through its almost pathologically beautiful Poetry but “the under age should not read it” because of its deep and logical melancholy which can shake (and even shatter!) many frail beliefs …!
Grown-ups, however (the VII! – that is those acting in good faith and re-actionary!), had better meditate on it as if it were a new gospel for it is in its exasperations that this lyrical prose hides questions and warnings which are the ONLY ONES that can lead to a redemption of the Human-Divine Spirit …

Professor Adrian Botez, PhD




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