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With the novel being a relative latecomer among literary forms most of the development of the art have fallen within the eras that associate supernatural themes with the lowbrow.

In contemporary literature material that deviates from depictions of ordinary consensual reality is now relegated to ‘genre fiction’ and formulated to appeal to the mass-market.

long intimidating immense and rational derangement of all the senses-88

Long intimidating immense and rational derangement of all the senses

In It is easier of course to become cognizant of the power of text when running one’s fingers over hundreds-of-years-old handwriting, accosted by the smell of long sedentary dust, it is also easier when holding in one’s hands a beautiful goat-bound volume of modern invention!

However the power of occult fiction to create spirit-traps formed of the written word can go beyond the casing in which the words are presented to maintain potency even when presented digitally, -if the rending of the veil through which the words pour is deep and dangerous enough.

Due to the literal association of fiction with the prosaic this quality of magic was usually reserved for the poetic medium.

As Arthur Rimbaud put it: The poet makes himself a seer by a long, immense, and rational derangement of all the senses. he searches himself, he consumes all the poisons in himself, to only keep their quintessences.

When one reads the words of the dead, burned into the page with the fire of immediate mystical revelation, when the necrosophic voice echoing out from the page takes a moment, seemingly outside of time, to reflect on its own future echoes…

at such moments the sensitive mind is pierced and reddened with the sacramental import of such transmissions.There is only one place this happens, the pungent interstices where the Otherwise gallops through the holes in normative awareness.When this happens new myths are able to take form, narrative reveals its depth dimension, and story takes on transpersonal regenerative meaning.The work of literary theory should not be, as it has become in too many mainstream contexts, a tool to suck the livingness and joy from literature leaving a barren husk, but instead an act of mindful contemplation, a defamiliarisation, a technique of self-enchantment.In short, a properly executed theory of literature has the potential to engender a , and when a writer of power finds a prepared reader genuine sorcery occurs across great distances, via the two-way-mirror of text.Some of the emergent work on Folk Horror can be of use to us in building a theory of occult fiction, but only in so much as those tales that draw on folklore fit the dimensions laid down by Gavin, rather than asserting a punitive response to the monstrous evacuations of the Unseen.

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