Böcker av John P Anderson

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This ninth in a series continues this ground-breaking word by word analysis of James Joyce's Finnegans Wake. This chapter features the Holy Spirit ["HS"] acting in and through the human female. The HS, described by Jesus as the "comforter" to follow him, inspires ALP to give comfort to her child and to her husband. With her help, her child Shem comes forth as an individual and HCE comes forth during sex. This coming forth of spirit takes place in Earwicker bedrooms, pointedly not in the church. In RCC dogma dutifully repeated here by the gospellers, the HS can perform only in and for the holy church. Like the good wife, the HS must remain at home. In Joyce's view embedded in this chapter, the HS is freely out and about on her own recognizance and seeking the genuine holy house, the individual human female. The HS seeks the human female as a sympathetic channel to promote the spirit of individuality and human to human connection through mutuality not authority. For the authority minded gospellers, the human female can only come fourth behind the all male trinity and must remain the dog ma at home. ALP is the main agent in the principal events in this chapter: spiritual nurture of her child Shem not to fear his father and sexual intercourse with her husband. In both events and with the HS in her heart, she gives comfort and gives us an example of the Joycean divine combined with the human, a combination that may sound familiar to Christian trained ears. For purposes of embedding the HS in this chapter, Joyce used references to the actions of the HS recorded in the bible, particularly the Incarnation of divinity in the Jesus seed and the gift of hot tongues at Pentecost, both considerable departures from normal reality. In the Joyce-made web of connections, mother's child nurture basks in the glow of the Incarnation and mother and father's sexual congress in the glow of Pentecost.

This sixth in a series continues this non-academic author's ground-breaking word by word analysis of James Joyce's Finnegans Wake. This volume covers all of the long chapter 2.3 with the intent to explore its 80 pages as an art object. Coming off the last chapter about children, the role performed in the case of children by over-bearing parents is taken over by imperialistic forces in the case of adults. The imperialists consume weak adult spirits by telling them what to do. Anal-retentive children become passive/aggressive adults under the direction of imperialists. They are the "head liners" in this chapter. The spirit imperialists in this chapter range from the church allowing you to experience the joy of sexual intercourse only in the harness of the properly married state, to the state ordering you to kill other humans, to your customers whose desires you must appease in order to do business and to your collective unconscious which houses the collective bulletins registered in human experience. All of these usurpers are deployed to limit your free will and tell you what to do. They speak to your outer ear in order to smother the voice in your inner ear. In terms of RCC theology related to the human spirit, the Holy Spirit is at least theoretically the source of mutuality and is supposed to infuse the spirit of the joined father-son divine mutuality into our human relationships. But that spirit has since Pentecost been locked up in and administered exclusively by the church through its sacraments. In Joyce's theology, a passive Holy Spirit sequestered in the church does register the relationship in the trinity of father and son, but that relationship is not charity but the domination of the father over the son. Joyce sees this father dominance in Christ's fearful reluctance in the Garden of Gethsemane. In this chapter the three main victims made passive by the spirit imperialists are the Captain in the Norwegian Captain tale, Buckley in the Buckley and Russian General tale, and Earwicker in his own pub. The subject arenas for passivity are sex, war and earning a living. In the background as always with Joyce is the passivity of Eve and Adam in the Garden, a passivity that let aggressive TZTZ god into their spirits as fear and dependency and was laid down in the collective unconscious. The setting for this chapter about the human spirit is the sale of alcoholic spirits by Earwicker in his Pub aptly named the "House of Call." With "stout" flowing into glasses and coins pinging into his till, this chapter focuses on what else in the process the Proprietor Earwicker sells to the consuming patrons. And that what else is his own stout, his own spirit. Even though he is the Proprietor, he no longer owns himself. He takes their "orders" and then takes their orders. The audience in this pub setting is exclusively male. And inasmuch as the alcohol does the talking, when these males do and say what they want, they listen to the same old stories and banter at rather than talk to each other. There is no union or communion or mutuality-promoting conversation. Passive/aggressives yell at each other but don't communicate, communication being the mutuality-based network of the Holy Spirit. In a pun that connects much of this chapter, juvenile psychosexual "hang-ups" become telephone-type "hang-ups" in adult communication and mutuality.

This fifth in a series continues this non-academic author's attempts to decode on a word-by-word basis all of Joyce's Finnegans Wake. This volume covers chapter 2.2, generally considered the most difficult of chapters, with the intent to explore Joyce's novel as an art object. This difficult chapter takes us through the human psychosexual journey of the first 12 years. This journey, critical to the development of the full human spirit, is a pothole-ridden ride from infant dependency at the breast to breezy adolescent independence in puberty, from the stroller to the "hot rod." This Freud induced chapter flags the pot holes along the way and the flats they can cause. The goal of the journey is independence and new possibilities while the flats cancel the trip and the child stays at home. This chapter is known as the "Night Lessons." These Lessons are Night Lessons because they are designed to maintain the night, the darkness that prevents access to the new and previously unknown. These lessons condition their students to lose interest in the realm of the unknown where new possibilities await discovery. As we learn at the end of the chapter, fear of death is the ultimate Night Lesson. Death is the Big Flat. This is TZTZ god school--stay in the dark, stay in the known and stay in the past. Study only what was known in the past. Study each subject separately without regard to connection across subject boundaries. Wear my school uniform, concern for the opinions of others. Stay separated and protected from new possibilities. Stay in the old, in "yesternight." This chapter brings us three courses in the TZTZ effort to protect the known and old from the new: restriction of the enjoyment by children of their early libido experience, choice and organization of knowledge as fed to children, and the allowable relationship of the human soul to god. So the subjects are sex, knowledge and the relation to god. If you think that sounds like Eve's adventure in the Garden of Eden, you are right. The subliminal Lesson Plan in TZTZ god school is to stall and fix psychosexual development in an early and undeveloped stage, teach only and maintain strict boundaries between the old subjects of study, and prevent mankind's direct approach to ES god. As we shall see, this means separation, separation, separation. The Joyce Tikkun tutorial tries to mend together these important areas of human concern. The connecting threads are like the human developments in puberty: increased freedom and courage to unify with those separated off as other from self and the family, the already known. This Joyce effort aims to increase the portion of the united nature of ES god that humans reach in these areas: puberty liberated libido attraction to non-family members, thinking across disciplines and new thoughts, and by reaching for god. In this chapter, the union of man and woman beyond the family is the sacrament of increased possibilities.

This third in a series continues this non-academic author's ground-breaking word by word analysis of James Joyce's Finnegans Wake, Joyce's last blessing on mankind. This volume covers chapters 1.5 and 1.6 with the intent to explore them as art objects, to examine how they work as art. By contrast with previous reduction-based chapters, Chapter 1.5 features expansion, One becoming Many. The spirit of the female principle registered in ALP's letter or "mamafesta" hatches the expansion. This chapter honors creativity in literature along with the human female instinct for giving birth to new human potential. An academically-oriented Professor explores but misses the meaning of the letter. Aristotle's concept of the infinite and the legend of Krishna injecting independence in Gopi milk women frame the chapter. Chapter 1.6 brings back the forces of reduction, Many becoming One. Instead of the female hatching the new, here the male spirit smothers new possibilities in favor of control. Shaun hijacks questions put by Shem to others and reduces their potentially different answers to his answer. The charming fable of Mookse and Gripes modeled on Aesop's "sour grapes" explores the schism between the Roman Catholic and Eastern Orthodox churches; while arguing, both fail to notice the potential presence of the Holy Spirit. These two chapters feature two very different processes, the maternal process and the excremental process, the mother's womb in chapter 1.5 and the colon in chapter 1.6. The mother releases the new child and the colon the same old waste. Distorted spirit in the colon-inspired chapter sponsors Shaun sodomizing his sister. Joyce's masterful synergism of style and content continues. For example: Chapter 1.6 includes a second fable about Burrus [and Caseous], the name suggesting butter. The language used by Joyce takes on the characteristics of butter; like dependent humans, the words change shape and spread easily.

This is a detailed reader's guide to the power of Conrad's novel Victory. This non-academic author analyzes Conrad's format as a conflict between the life philosophies of Buddhist separation and Holy Spirit connection, a conflict played out dramatically in the emotional relationship of one man and one woman living on a remote south sea island.Anderson identifies the major themes as follows. Baron Axel Heyst, living alone to avoid emotional entanglements, nonetheless rescues Lena from a touring orchestra, and they escape to live together 24/7 on his remote island. Lena's connection to Heyst matures from initial interest to sexual love to selfless or spiritual love. But Heyst's response to her remains stuck in sexual possession. Given this failure of love connection, representatives of evil arrive on the island shortly thereafter. The victory of the title is Lena's victory over the fear of death that generates the selfish "me first" attitude in humans. Grounded in love for Heyst, she achieves a permanent and real sense of self and an ability to deal with evil. Finally the Holy Spirit force field powers her ultimate sacrifice for Heyst. He remains self-possessed, ultimately giving nothing of himself to Lena, but ironically without a secure sense of self or the ability to deal with evil.This author sees Conrad's large structure for Heyst's failure of the spirit as the biblical account of Mary Magdalene's part in the Resurrection of Christ. Heyst's failure to love Lena is his resurrection lost. This author also analyzes the sophisticated art of this novel as an unfolding from stem-cell metaphors into more specialized metaphors producing a powerful artistic victory.

This non-academic author explores Conrad's classic Lord Jim as a clinic in the psychology of the self, a novel whose characters are designed to reflect various degrees of integration of self-image and action and independence from the approval of others. Conrad's character construction anticipates the findings and theories of modern psychology, particularly those of psychological differentiation and to a lesser extent Jung and Freud.The main contrast in the clinic of the self is between the independent Marlow and the dependent Jim. After Jim fails to do his duty as First Mate on a ship named the Patna, he is judged by a court of inquiry and humiliated. Pathologically subject to shame because of the lack of any secure self, the dependent Jim attempts to hide by moving from port to port and finally into the jungle in out of the way Patusan. Crowned Lord Jim by the natives, he meets a seemingly inevitable fate because of his continuing need for approval from others. The independent Marlow helps Jim and in the process develops nuanced attitudes beyond conventional morality.Anderson sees the principal art of the novel as the connection Conrad forged between Jim and the Patna. Damaged by a submerged object while carrying Muslim pilgrims on their annual pilgrimage, the cause and effect of damage to the ship are metaphors for the cause and effect of Jim's psychic damage, damage that makes him susceptible to the pressure of opinions of others. Damaged early by the lack of a mother's nurture, Jim has no strong inner bulkheads to resist the pressure of the opinions of others.This author views the background of the novel, the background against which Conrad constructed Jim's life drama, to include the Garden of Eden myth and the attitudes towards free will in Islam and Christianity. As he did with works by Joyce, Faulkner and Flaubert, Anderson gives his analysis in a chapter by chapter and selected paragraph by paragraph reading of the novel.