Nameless

Nine twenty five.

It is strange to be standing on the bridge between two contrary ways of processing information, the realistic and the romantic. Usually I’m dedicated to the first mode, but then something can happen to plunge me into the primitive, a place of considerable power if not light, like the plunge into Arthurian murk and legend. I had a friend once who gifted me a book that took a serious perspective on the island of Avalon where Arthur was supposedly buried. I remember feeling a bit embarrassed about that: how could anybody confuse a myth with factual history? It was similar to the efforts of some people to search for the remains of Noah’s Ark, the locus of something miraculous that happened. Conveniently, the miracles we hear about took place remotely in time or in place or both. It’s convenient because it makes the truth impossible to verify, to either prove or disprove, so our imagination is free to float in the haze. This condition is anathema to the logical positivists, who subject statements to logical analysis. If a statement refers to nothing empirical and realistic, it is empty of meaning and not worth consideration… When I was younger and more susceptible, I imagined that what the ancient Greeks believed was true: that poetry and music were inspired by the Muses, which in modern thought meant the Jungian unconscious, or for the Romantics, a nameless Power of creativity. Sometimes I still get a glimpse of that old style of thinking, though it makes me uncomfortable to go there anymore. It means surrendering control and letting myself be possessed— but by what? 

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