Original Music 2017



4 minutes 22 seconds| The fanfare that begins this was a forgotten fragment originally composed in a preliminary sketch for Boyhood Reptile. I recently rediscovered it while sorting through old Garageband files. Here it is worked up with new material that serves as a tribute for Gödel’s Incompleteness Theorems, although specifically the first of these theorems since the attached Wikipedia quotation covers thirty seconds, which is the approximate length of the musical phrase to which it is paired.

Time stamp for creation: 9/22/17.

Novel Icon Book Notes on Icarus Transfigured|

The Anagram: A vital piece of this puzzle is in working out the anagram, Remote Man B: Emma, Omar, Brae, and Amber share the same characters in their full names. Erica, who is never given a last name, does not; and to the best of our knowledge the mysterious, nameless Hispanic woman is also left out of this equation. Given Aloysius has never (at a symbolic level) left his house, it is this last relationship that whispers to us through keyholes of an untold story. Has he simply befriended a woman in his tenant house and become her lover? And does this possible relationship end in a child? The fanciful back story of a school-age crush who grows up to be a porn star and passenger on a doomed airplane may only be a smokescreen to conceal this more plausible set of circumstances. (1/25/08)

The Dream: A direct movie parody can be found in Chapter Seventeen, where Aloysius, in a Freudian dream sequence, reenacts scene elements from the film, The Day the Earth Stood Still. When Gort, the world-destroying robot from the movie, enters the winding tunnel inside the spaceship, the robot can be said to represent Emma’s vibrator while the tunnel represents her womb. In one interpretation, Aloysius is denying his would-be lover a sexual fantasy by tripping a circuit breaker he stumbles over in the tunnel. In another view, one might say he is impregnating his ideal via a metaphorical device, even as other metaphorical dream sequences during the same night have him sexually personifying Emma as both a mannequin and as a masturbating woman in a neighboring house.

Beyond any cinematic allusion, parallels can also be drawn to diminutive Jacques, who ably manages the tunnel. In a 2018 edit, I added a scene where Aloysius and he cross paths. The protagonist is informed about a hiding place: a second secret passageway in the house (which can be likened again to Emma’s womb), where missing Brae has been hidden from malicious forces (Brae may also be seen as Emma’s unborn child). Similar elements of a missing child are in play at Seth’s house (the tempera painting behind the dresser), Miranda's house (nephew Aaron), and the initial bordering house (where the shy little Hispanic girl may represent either a ghost or a vision of a child yet to be conceived. (4/2/08, 2/4/10)

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