01-05-2026, 05:36 AM
I have notebooks of urban legends. The one I remember most right now is about a midget that lives in a park restroom trashcan. That is of that Adult Swim apparent randomness made into a literary form based on a cultural-genre, that can get away from direct use of myth and fairy tale and fable.
I'm also dipping into the Oz books more and more for allusions. As well as my local area's version of the Jack-Tales. Woot the Wanderer is my Oz figure that I work with the most.
Some people who make poems have a mythic mascot that shows up again and again. Maybe an alter ego that can take on the skin of a time and place. A Greek Figure, or even a Philosopher. Jay Wright does that with Philosophers. I have a Figure called South Boston Williamson who sings blues and tells toasts, but is white, so keeps getting kicked out of the Universities he reads at for insensitivity. He's a composite of Bukowski, Berryman, Dickey, Andy Kaufman and Rudy Ray Moore. Like any trickster, he's self-aware and clueless depending on the tale.
Nietzsche and Artaud and Lawrence would argue, did, that people are self-absorbed and want depth and psychological drama and character studies. Whereas Greek Drama is free of making sense and suffering brains. They knew about suffering brains, and they wanted to explode into bodily primacy while still being sharp and critically accepted by other suffering brains.
The Bible and Greek Myths, or what stories they were based on, or the so-called Collective Unconscious, which came first?
Novelty being set. An ark of the way things are, in cultural-mythic patterns. That Ark of the Stories. The Zodiacal-Zoo of a Slaveship in the sea of the sky and beyond the sky, reflection or cavewall? Dividual Dome.
This is where Cosmic Horror comes in handy. Cutting the myths and the sciences to something other. Even the idea of otherness is typical.
I don't like many Cosmic Horror movies, as they bring it back to something that makes sense in the sense we already have.
Not that I dislike traditions, particularly. If I rip the fabric of reality and find something that makes sense, I didn't rip anything.
I'm also dipping into the Oz books more and more for allusions. As well as my local area's version of the Jack-Tales. Woot the Wanderer is my Oz figure that I work with the most.
Some people who make poems have a mythic mascot that shows up again and again. Maybe an alter ego that can take on the skin of a time and place. A Greek Figure, or even a Philosopher. Jay Wright does that with Philosophers. I have a Figure called South Boston Williamson who sings blues and tells toasts, but is white, so keeps getting kicked out of the Universities he reads at for insensitivity. He's a composite of Bukowski, Berryman, Dickey, Andy Kaufman and Rudy Ray Moore. Like any trickster, he's self-aware and clueless depending on the tale.
Nietzsche and Artaud and Lawrence would argue, did, that people are self-absorbed and want depth and psychological drama and character studies. Whereas Greek Drama is free of making sense and suffering brains. They knew about suffering brains, and they wanted to explode into bodily primacy while still being sharp and critically accepted by other suffering brains.
The Bible and Greek Myths, or what stories they were based on, or the so-called Collective Unconscious, which came first?
Novelty being set. An ark of the way things are, in cultural-mythic patterns. That Ark of the Stories. The Zodiacal-Zoo of a Slaveship in the sea of the sky and beyond the sky, reflection or cavewall? Dividual Dome.
This is where Cosmic Horror comes in handy. Cutting the myths and the sciences to something other. Even the idea of otherness is typical.
I don't like many Cosmic Horror movies, as they bring it back to something that makes sense in the sense we already have.
Not that I dislike traditions, particularly. If I rip the fabric of reality and find something that makes sense, I didn't rip anything.