4 minutes 38 seconds| A rare work written from front to back in one piece, and then orchestrated with few instruments. Resultantly the music has less finesse and more roughness than is often the case, although this treatment lends an urgent air of outdoor music festivals to the experience.
Time stamp: 7/25/17.
Book Notes on Icarus Transfigured|
The Non-locality of Location: Omar, in Chapter Two, lays out Aloysius’ metaphysical dilemma by way of a dark labyrinthine analogy. In Chapter Three, we see this dilemma concretely put into practice through a series of echoes in houses at different locations: Aloysius’ sister’s house, the tenant house, the house on the flatbed truck, and the new house where he moves. This house motif is also reflected in other places he visits: The tenant house in Chapter One becomes the fiancé’s house in Chapter Twenty-one; the inherited house in Chapter Three becomes Emma’s house in Chapter Seventeen. Each location is a permeable membrane that moves up, down, and through.
In terms of symbolism, we see the protagonist's mind/body perdicament most starkly in his visit first to Nadir and Peabody Halls in Chapter Twelve and then to Omar’s hotel in Chapter Thirteen. Nadir and Peabody Halls are the domain of the ideal, as represented by the sculpted woman depicted in the Peabody dome. Animal heads, which can be viewed as allusions to sexual organs, have been removed from these exalted walls in a form of castration. Similarly, the bird trapped in the building captures the ethereal nature of the ideal, which can never leave its temple. When Aloysius goes to Omar’s hotel, the animal heads are at last on the walls. The finch has become Hegel's owl of belated wisdom perched over a dark doorway, and this entrance, by extension of our analogy, is less suggestive of a womb-like temple than a cave-like vagina. The painter has entered the phobic realm of his body, and it is here where we first meet Amber, our intermediary. (5/27/08)
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