Monday, September 26, 2011

Pirating Personal Publishing 

I will read him if only for his personal philosophy on publishing. Article says he posts links to sites for his books on twitter. Good place to start.

Monday, September 12, 2011

from Carl Jung's THE SPIRIT IN MAN, ART, AND LITERATURE "Psychology and Literature"

The psychologist should constantly bear in mind that his hypothesis is no more at first than the expression of his own subjective premise and can therefore never lay immediate claim to general validity.
The phenomenology of the psyche is so colourful, so variegated in form and meaning, that we cannot possibly reflect all its riches in one mirror.
p.87...the psychologist must content himself with widely ranging descriptions of psychic processes, and with portraying as vividly as he can the warp and woof of the mind in all its amazing intricacy.
...the more unconscious the author is of (psychological assumptions), the more (psychological intentions) background reveals itself in unalloyed purity.
a true symbol is an expression for something real but unknown.
...our intuitions point to things that are unknown and hidden, that by their very nature are secret.
...the psyche is a door that opens upon the human world from a world beyond, allowing unknown and mysterious powers to act upon man and carry him on the wings of the night to a more personal destiny.
...the poet now and then catches sight of the figures that people the night-world...p.96 he catches a glimpse of the psychic world that terrifies the primitive and is at the same time his greatest hope.
Art is a kind of innate drive that seizes a human being and makes him its instrument. The artist is not a person endowed with free will who seeks his own ends, but one who allows art to realize its purposes through him.
Participation mystique is the secret of artistic creation.
To grasp the meaning of a work of art, we must allow the work to shape us as it shaped the artist.

from Gaston Bachelard's THE POETICS OF SPACE Introduction

"The poet, in the novelty of his images, is always the origin of language. To specify exactly what a phenomenology of the image can be, to specify that the image comes before thought, we should have to say that poetry, rather than being a phenomenology of the mind, is a phenomenology of the soul. We should then have to collect documentation on the subject of the dreaming consciousness...
before the interior poetic light was turned upon it, it was a mere object for the mind. But the soul comes and inaugurates the form, dwells in it, takes pleasure in it...can therefore be taken as a clear maxim of a phenomenology of the soul."

"...the poetic image is essentially variational, and not, as in the case of the concept, constitutive.

Good argument for poetry therapy:
"A consciousness associated with the soul is more relaxed, less intentionalized than a consciousness associated with the phenomena of the mind. Forces are manifested in poems that do not pass through the circuits of knowledge."

This is why the self-help book type of reading is not to be confused with bibliotherapy. And though the argument here is strongly poetry based, I propose it is comparable to reading fiction when the criteria of a relaxed mind, an open and aware consciousness, rather than the critical mind, is active. This can also be understood by reading Jungian works on "active imagination" (See Marie-Louise Von Franz.)


" A book is not shut in by its contours, is not walled up as in a fortress. It asks nothing better than to exist outside itself, or to let you exist in it it."

"the book is no longer a material reality.... It has become a series of words, of images, of ideas which in their turn begin to exist. And where is this new existence? Surely not in the paper object. Nor, surely, in external space. There is only one place left for this new existence: my innermost self...dependent on my consciousness."

"Language surrounds me with its unreality."

I have thoughts which are part of a book I am reading, the thoughts of another.
"I am thinking the thoughts of another...
But I think (it) as my very own...
My consciousness behaves as though it were the consciousness of another."

The work lives its own life within me; in a certain sense, it thinks itself, and it even gives itself a meaning within me."

In this essay, Poulet argues that we cannot know the author by the work, but I disagree. We can know the author's mind at the moment in time when the work was being created and as such know as much about the author as the author is likely to know about herself. Do we know the author's biography? Of course not, but we know the author's mind, as fleetingly as thought based language will allow.

Check out Mallerme's opion in "THE BOOK: A Spiritual Instrument"