PHENOTYPIC CHARACTERISTICS OF ANIMALS ARE determined by genes lined along chromosomal loci, slots along the chromosome, where genes compete with alternate genes called alleles. All gene combinations are taken from an ancestral pool which allows for innumerable possibilities in the assemblage of genetic traits. The genepool is a good parallel for the dreampool as both allow diversification in nature and (eukaryotic) ideas, respectfully; and, conversely, the requisite standards found in the structure of language, of alphabets and declension, punctuation, syntax, context and form.
As each animal can be traced to the beginning of life, ideas are built upon past ideas and use other ideas as a foundation for new ideas. Identity and individuality are so defined by the content of the dreampool, as inherited ideas pass from one person to another, generation after generation, from one to the next forever until it is replaced by that which evolves from it and extinction when it no longer applies to the world in which it lives. As living organisms, ideas have ancestors; satire was born in the tradition of Dionysian theatre, where comedy in art began. Satire is from the Greek word satyr; this may be the memetic ancestor from which Orwell’s pig Napoleon would evolve.Those cuneiform tablets are the ancestors of what you now hold, the bound book — itself a descendent from other methods of story distribution which predates written history. Oral lit, ancestral legends.
As eukaryotic ideas contain specific information, as do most books of this variety, for viability and function there is a replacement of new, better thought out ideas; another mimicry of character based alphabets that allow for different phoneme groupings necessary to use predefined terms in the arrangement of new ideas. New ideas, as new hatchlings in a pond, enter into a dangerous and predated world; this is a world of strict competition in the marketplace of ideas, the dreampool; each idea born is another tadpole looking for a way to crawl from the sea like we and on land be much more than what they were; meaningless and non-viable like that tadpole, like a caterpillar chrysalis into pupa, into beauty.
Similarly, our schools put together our dreampool chromosomes; our interlocutor is influenced by contrasting opinions and put to a unique, internal check, a test to which all ideas new ideas are unconsciously put. For a Buddhist aspirant, the idea that wealth is worth the effort to strive under a hot sun daily is somehow errant because of transience, the temporary joy of earthly riches which do not justify the labored suffering for a temporary anodyne, a Band-Aid attempting to cover the wounds caused by need and desire. For a venture capitalist, the idea of wealth and prosperity is very much worth the effort under the sun, and if you find the right one, a Band-Aid can cover a bullet wound.
To a Buddhist aspirant, in the tradition of that Great Monkey King, the jewels do not denote nobility; compassion and moderation does. To the Romanov dynasty, to Queen Victoria—the Jewel, the crown diamond, is worth more than the gross domestic product of many countries. By what machination do we divide the worthy and the worthless? Human beings do what evolution prepared us to do: choose what makes us feel safe, for what makes us feel safe is a genetic response to surviving long enough to pass on our own genetic inheritance, imperfectly translated by a tadpole into a less imperfect frog.
A microcosm of speciation is variation among clade [and subclades]; a macrocosmic evolutionary metamorphosis becomes itself an itinerate species to be tested. Ideas that survive the criticism of individual evaluating interlocutors become predators, predators that seek and destroy other ideas. The idea of evolution has remained alive despite one-hundred fifty years of varied attacks by individuals and institutions having inherited different memetic traits; some of these contain unverifiable yet untouchable strains of dubious wisdom verifiable by instinct and the idea itself. The holder of an accepted idea concentrates on what gives the idea its validity because of what it means, ensuring its memetic perpetuation. This is known as confirmation bias; defined as,
In psychology and cognitive science, confirmation bias is a tendency to search for or interpret information in a way that confirm one’s own preconceptions.
Ideas found to be un-true by oneself can be just as passionately thought true by another. What accounts for this discrepancy in universal truth without interpretation, meaning without equivocation, and unconditional waivers of possible contradictions? The connection-correlation-conclusion system, what I call The Three-C Truth.
Human beings have twenty-six chromosomes, inherited from an ancestral genepool, to genes responsible for blue eyes or brown, dark hair or fair; the phenotypes of an animal’s genotype which provide the architectural plans for our body. It is obvious in the analogy to consider that for an idea to occupy a position considered truth that one idea, for belief, competes with the alternative idea for disbelief. This competition takes place in the building, not of phenotypic traits, but the building of the thinking individual.
How much of what we choose or select as truth can be traced to the collective culture from which it originated without stuttering or translation, static or contention? The dreampool is an abstraction, the meta-construct of the sum total of a culture’s accepted and rejected wisdom accessible at any time through mental exercise and interlocutor evaluation in regards to what is meaning, what is true, what is objective, what is true for everyone—is there such a thing? Consider: there is one truth beyond dispute; not all truth is absolute. Ideas are open to interpretation; meaning does well to engender debate about what the actual debate is about.
In most cultures, one of the first books one encounters is the A to Zed, a Bible and a dictionary. The childcare center which I attended had three books which were intended to impart to the average person, young or old, not only what, in my culture, was considered the authority on morality, but a book that defines what the other book about morality—which must be defined by a book not using the term, outside of itself—means with its sentences, what sentences mean and how the true meaning should be evaluated.
As I discussed in an earlier essay on allegory, as I have in the essay preceding this one, what is said is not only gifted an assumed quality based on attaché; it can have a second layer of clothing to cover naked expression. By what standard do we hold information endorsed by others to be true? How much is worth worth? If a book is ‘worth’ something, it is published. The degree of worth determines something more important than the number of units sold: it determines what a person believes they’re worth.
Worth has been the strongest motivating factor behind everything I do: my studies and education; my novels and my essays, and all of my artistic aspiration. Even now, in this very essay, the worth is the biggest consideration because that is what ultimately determines publication. This ambition has changed through time and, with a chip on one shoulder and a devil on the other, it remains. The devil hasn’t quit, but he has gotten quieter.
A book is how we hide a piece of our soul away and survive our death. In my favorite novel, Marcel Proust’s In Search of Lost Time, I think the same desire burns within the character of Marcel (though the book is not autobiographical, it is written by the fictional Marcel at the end) there is this desire to find worth and meaning. Marcel (the character) realizes this as the highest value of the novel—the immortality of meaning, of encapsulating an entire life within one work of art, hiding part of ourselves inside it that it may never be destroyed, that it may live forever.
Before talking about hiding one’s soul in an object, I will first address the elephant in the room.
J.K. Rowling, author of the acclaimed Harry Potter series, introduced a magical object in the fifth book in the series, Harry Potter and the Half-Blood Prince, called a horcrux; this object allows a practitioner of black-magic to split their soul and hide part of it within an object. This allows them to survive a fatal attack, as the part that is hidden lives on. In the series it is used by the primary antagonist as an attempt to become immortal.
The first horcrux made by Voldemort (a French portmanteau intended to mean flight from death) was a ring; the second one is what made me realize not only what Proust’s real achievement was, but also what a book really is: the second horcrux was a diary. The written word is a horcrux, a horcrux which doesn’t require the splitting of one’s soul, that is to commit murder murder to create, as it did in the work of J.K. Rowling. All artists are magicians and each diary and book, each symphony and painting, all are a means by which we put a part of our soul into an object, objects with survive us. We survive our deaths through this process, waiting to come alive each time a book is opened.
Although Harry Potter and In Search of Lost Time are miles away in style, content, and story, there is a link between the character Marcel and Voldemort; they’re both afraid of death and go to extremes to prevent it. To these characters, Time is something to be defeated, the greatest of all mass murderers. Although their motives for trying to escape death couldn’t be more different, Time is the antagonist. Voldemort loses his life in search of immortality; the reason for its pursuit, for Voldemort, was a means to an end and the end was more power. Proust’s character Marcel has very different motivations.
In the last book of In Search of Lost Time, Time Regained, or, alternatively, The Past Recaptured, Marcel Proust sees Combray rearrange itself and rise into the sky above him. Throughout the series, which may be the first four-dimensional books ever written, Time is the antagonist. It takes away everything he loved; his mother and his father, the fictional town of Combray and the love of his life, Albertine. His mother, his father, the hawthorns he loved so much; but they come back to him, such as the Madeline cake in tea. In the end, he begins the book we’ve finished and, in that moment, Death and Time are defeated; he has survived death through hiding his soul away in a book. And if you want to listen, if you are inclined, open a volume of In Search of Lost Time, and Marcel Proust will speak to you. Across time and space, he’ll speak to you.
The immortal mother theory, the theory that all animals from every species go back to one mother, is compatible with the concept of the immortality of meaning. Different letters can be arranged to produce different expressions in phylum and language. But what is meaning? Does it exist independently of human beings? The answer to the prior question must be the answer to the following: is there emotion elsewhere, in other species? Yes. The answer is yes. Elephants mourn the dead. Alpacas can die from loneliness. Meaning is something that is to be applied after consideration of action, thought, and behavior
Meaning is immortal and requires only sentient beings, who can evaluate, of course, to be able to extract meaning from what they think. The meaning behind the great works of literature, unlike the works themselves, is in the air, intangible, capable only of being recognized, plucked from the ether to imbue our work with light and worth. And it leaves us here, haunting pages, year after year through the ages.