by Neil Oram
So much writing today seems to be nothing more than evaluations, reviews of mental traffic. I mean forms of comment. Like watching the angles of the jockey's caps as they swish past a famous corner. My point? That it's all a passing talking on passing. How ungrateful I sound. You are here to be informed. Oh really? Formed in…side. I see. Yes I really do see. Sorry. Well then, I am to be informed. O.K. I'll say ‘good'…just for now. So we begin with something has already happened. Then comes the evaluation. This is the opportunity for colours to be shown. And angles. And thrust! And density. And clarity. And strength. And accuracy. And purpose. Yes purpose which includes the shaping of a style.
All of this needs to be taken into account when one is reading a text. Any text, newspapers etc. O.K., so we come to the question of actual creativity. Reportage can not qualify as a creative operation in the fullest sense. Of course the presentation is an open field for creativity, but to be truly creative, the subject matter must itself be a fresh expression. This then focuses the attention specifically. To create means that the utterance utters out, clear and straightforward. From this vantage point, one can—as a reader—recognise a writing which has definite, conscious creativity as it's ‘true theme'. This is not to say that only conscious creative writing is legitimate, but the perspective I'm giving enables a clear perception of what is really original and what is craftwork.
So it seems writing is always drawing on past events: physical, phychic, hearsay, etc, etc but whatever…it's based on what's passed. Of course the term ‘what's passed' doesn't mean ‘vanished', or there's more to it than that, because the effect of a specific event—a bombing for instance—leaves it's characteristic aftermath. But the actual moment-by-moment events have always vanished.
This is why writing is so curious. As I'm writing this…no, I'll say it differently…simultaneous to me writing, the world is happening. Eventing. And I am marking the time writing this. (By hand). So to come back to my first contention about the nature of writing one comes across today, that it appears to be variations of reportage; it would seem that the very basic activity of writing incorporates within it's raison d'etre, ‘a something' which has already happened. But how can this be true? What then is fiction?
Surely fiction is free of a dependency on past events? In the first instant this appears to be so, but…it is inconceivable that anyone has written fiction not based on memory variations.
Well then, it looks like writing is a conjunction of the old and the new. Let's say that the best, freshest writing has occurred when a new insight transfigures the reader's perception of an already extant situation. Like waking up to the growing activity of ‘checking up' that's becoming a global drone. It seems you're either checking out those encountered or you're being checked out. Maybe both. Now what is the basis of all this checking out activity? It has the tang of school reports, economic assessments, planetary survival options etc. But the tone, or cloud, in which this checking takes place is usually disregarded. Explanations, rationalizations, ‘need to know to be safe info' etc, is homogenized into a sweep of self-replicating confidence. Well, the speed at which the thrust of the intent actualises itself is the zip mark of creative writing.
No stage fright entertained. Any stage fright indicates falsity allowed. Dead end. Back looking. But I'm not advocating mindless SPLASH! SPLASH! SPLASH! No, all apprehensiveness is just a display of pretence. What I'm examining is the authenticity of any pronouncement…or statement.
I'm tempted to illustrate my understanding with diagrams or algebra. So what's the issue? Aliveness, freshness, originality, truth, clarity. Well, this probably means, or will come to mean, a transmission from a neutral observer. Yes? Something like this, yes. I'll go on…about this ‘checking out' activity which is becoming more and more prevalent. And make no mistake, this is consequential on the actual political condition of our planet. Because we exist within a threatening psychic atmosphere engineered by the ever present Alien Force.
One of the more or less obvious manifestations of the Alien Force's approach to the Earth people's existence is the closing down of the sensitivity channels of the population.
Since I've come to understand that there is a helping force holding back the insane ambitions of the invading force, I am to some degree relieved—and also encouraged—to continue my examination of our present dire condition. Encouraged, in the sense that I can now see the value in the activity of this sort of writing.
So then, this pervasive checking atmosphere is the direct consequence of the political predicament our planetary population is in at present. In a nutshell, they are checking us out.
Of course this whole situation was not envisaged by our Creative Deity who called for HELP when we—the evolving creatures within this world—were interfered with. And it is my understanding that help came immediately.
So, suddenly Gaia was invaded. The seers in Egypt called the invaders the Force of Set. When our Deity called for HELP a force from Sirius came to help sort out Gaia's predicament. But this force has not been given the right to totally destroy the Set operation. The Sirian help has come in the form of an ethical patrol. A tempering of the Set Empire's ambitions. A hampering of the Set ambition to turn Gaia into a Disneyland/Las Vegas/porno/mafia atmosphere so its robots can get their rocks off in a slap happy anything goes extravaganza. So this is the set up:
(1) There is the original intention of an arising of self aware human beings evolved from the life of the Earth.
(2) Interference from another mind-set. Possibly the survivors from a self-destroyed Orion civilisation. Their aim to make Gaia their new home.
(3) Arrival of the HELPERS from Sirius. The helpers are not war like but are very mentally/spiritually/ethically strong and brave. They have the technical know-how of how to prevent the Set crew from having total dominance of Gaia. But they are convinced that fighting the Set crew would be a devastating mistake. They seem to believe that eventually the Set Crew will become bored with their own operation, and will let it fall to pieces. Then, when the Set Crew have gone, the helpers will be able to actually help Gaia get back to her original creative development of her realm.
© neil oram 2007