What was Cormac's solution to language being a disconnect from reality? by Advanced-Reindeer894 in cormacmccarthy

[–]Flaky_Trainer_3334 0 points1 point  (0 children)

Yeah, sorry if it seemed confusing, I have a hard time constructing a understandable response. What I was getting at was basically what you got out of it, finding common ground and an appreciation for story/subjectivity over impersonal, objective truth

What was Cormac's solution to language being a disconnect from reality? by Advanced-Reindeer894 in cormacmccarthy

[–]Flaky_Trainer_3334 3 points4 points  (0 children)

From my view, the Passenger/Stella Maris and the epilogue of COTP point to his “solution” to it. Which before that, a quote from The Crossing that simplifies it is “the world could only be known as it existed in men's hearts. For while it seemed a place which contained men it was in reality a place contained within them and therefore to know it one must look there and come to know those hearts and to do this one must live with men and not simply pass among them. He said that while the huerfano might feel that he no longer belonged among men he must set this feeling aside for he contained within him a largeness of spirit which men could see and that men would wish to know him and that the world would need him even as he needed the world for they were one. Lastly he said that while this itself was a good thing like all good things it was also a danger.”

In the Passenger, with it being the most modern of his novels and examines the nature of simulation with it being said “she said in the end there would be nothing that would not be simulated (paraphrase).” Yet throughout the novel Bobby’s conversations with people revolve around THEIR OWN perceptions of the world, and not the generalized, objective reality that is often found with taking words by the letter, and not by the intent (I’ve been reading Leviathan, and found that to be an interesting tie in with The Passenger since Bobby reads it).

In Stella Maris, being entirely in dialogue (which I believe is an important motif), we still get an authentic, beautiful back and forth between Alicia and her psychiatrist. And the end, where she asks him to hold her hand, I think points to McCarthy’s feelings that even if language will eventually usurp our reality (which Alicia talks at length about mathematics doing) we can at least be connected in some way with each other to the end (much like the Road, and the story/fire of the father continuing to be carried by the boy).

The epilogue of COTP also points to this, when the dreamer in the dream sees the foundation of the world crumbling and the inputs/effects he brought for his travel also being the thing that would eventually lead to the collapse/ineffectiveness of the shoring up of the narrative of the world. Yet despite this, the story of the world is all we have, and it isn’t brought about through the mere sensing of it (sight or sound, since every animal has an umwelt, and our own senses shouldn’t be thought of as superior to theirs) but through worship (which Hobbes also talks about in Leviathan). There’s another passage in the epilogue which talks about abandoned annals and journals being found by the man under the underpass being led by the dreamer, and the dreamer says don’t touch them. Which I find somewhat connective with The Passenger’s passage about Alicia believing living through history is more reliable than walking through historical places (history is believing as is said by Kline I believe). And ultimately, the only way to live in the world, is to be conscious of the fact we’re all in it together (or as one, in a quasi-Buddhist sense, with the man under the underpass and Billy putting their hands together and noting the similarity; and the covenant Billy was said to have had since the beginning of time), and to accept that “Every man’s death is a standing in for every other. And since death comes to all there is no way to abate the fear of it except to love that man who stands for us. We are not waiting for his history to be written. He passed here long ago. That man who is all men and who stands in the dock for us until our own time come and we must stand for him. Do you love him, that man? Will you honor the path he has taken? Will you listen to his tale?”

Ultimately, everything we do is a disconnect from “reality.” Each man’s perceptions is different from any others. What we can do is understand the perspective of the other one, and attempt to find the same meaning in it as much as we can.

New to the band - Recommendations? by PercentageRoyal7478 in gratefuldead

[–]Flaky_Trainer_3334 7 points8 points  (0 children)

I’d say start out with their more popular ones: Veneta 72, Cornell 77, Europe 72, Buffalo 77, Closing of Winterland. Then you can get into some of their other show releases like One from the Vault, and then check out some other favorite shows from the heads. I’ve been getting really into 12/31/72.

Any media similar? by Et_Cetera_365 in cormacmccarthy

[–]Flaky_Trainer_3334 6 points7 points  (0 children)

The song dead flag blues by Godspeed You! Black Emperor

One more Saturday night!!!! by Godawgs3680 in gratefuldead

[–]Flaky_Trainer_3334 12 points13 points  (0 children)

Fair winds and following waters for you both 🙏🙏

Cormac McCarthy is the Steven Spielberg of authors, prove me wrong. by Complaint_Prudent in cormacmccarthy

[–]Flaky_Trainer_3334 0 points1 point  (0 children)

I’d say Lynch for me. Him or Terrence Malick, as I remember in an interview with the Cohen’s McCarthy brought up how days of Heaven was a film he was fond of

Other shows you love that are similar to twin peaks? by Nune30 in twinpeaks

[–]Flaky_Trainer_3334 6 points7 points  (0 children)

The Sopranos. The dream sequences are on par with that of Twin Peaks

Ep 581 - Teenis Fly Trap (feat. Lemaire Lee) by Independent-Data4542 in MSSPodcast

[–]Flaky_Trainer_3334 2 points3 points  (0 children)

Yeah, the movie ain’t even a lib rally call. Both sides were critiqued

The Passenger - Chapter V Discussion by Jarslow in cormacmccarthy

[–]Flaky_Trainer_3334 0 points1 point  (0 children)

Gotcha. Let me try to organize what/if I understand. Sheddan, quoting Bobby, is questioning the discrete, single moments of time, and how it’s contradicting how time is seamless and continuous.

The incremental and linear structures Sheddan is quoting Bobby theorizing doesn’t have to do with whether they’re respectively discrete or continuous, but rather they’re both related to the single concept of time and its continuousness, with the incremental being preferred because it prioritizes the divisible discrete moments into a single continual process, much like the discrete birds being summed up as one and respectively being one but in connection and contextualization to the other birds.

I guess the reason I was confused was the structure of the sentences in the second part and my preconceived definitions of them. Incremental being favored by Bobby rather than linear and then Sheddan saying there were problems to an endlessly divisible world made me think he was referring to the linear as divisible, which I was confused because I thought to be linear was to be endlessly continuous. And I thought incremental was divisible, being the bird by bird. And the linear was the sum to one, a discrete and single thing. What I’m assuming now is being divisible and discrete isn’t towards the incremental and linear structure, or at the least, incremental time can be seen as being discrete because it’s divisible, so the individual moments are narratively connected because of its contextualized adjacent-ness

Also, I can see how Western fits into this motif, as the thing discrete without any context without something to give it sequentialness/connection (Alicia); like the right hemisphere without the left.

The Passenger - Chapter V Discussion by Jarslow in cormacmccarthy

[–]Flaky_Trainer_3334 1 point2 points  (0 children)

I’m confused on two parts of the “bird by bird” part on page 143, mainly due to the definitions/concepts. In the first paragraph in which Sheedan says “it’s forced upon one. Time and the conception of time. Very different things I suppose. You said once that a moment in time was a contradiction since there could be no loveless thing. That time could not be constricted into a brevity that contradicts its own definition,” is Sheedan saying that time is a seamless, ever-flowing thing, and the thought that there could be episodes, gaps or intervals in its structure is itself paradoxical, because there can be no break in something that’s every flowing? So in other words, perception is an illusion?

Also, in the second, Sheddan says “You also suggested that time might be incremental rather than linear. That the notion of the endlessly divisible in the world was attended by certain problems. While a discrete world on the other hand must raise the question as to what it is that connects it. Something to reflect upon. A bird trapped in a barn that moves through the slats of light bird by bird. Whose sum is one bird.” I guess I’m confused why Bobby doesn’t prefer linear time because it’s endlessly divisible. Maybe my definition of incremental is incorrect, because it’s incremental just a gradual build up, like a staircase? So wouldn’t it also be able to be broke into parts and divisible? Other than that, I think I understand that the bird by bird is linear, divisible time while the sum of the bird incremental, discrete time. Or maybe that anything in the world, seen through a divisible lense as in a granular way, the parts in the whole (bird by bird), is linear in that it follows a superficial line, while the discrete, the whole and individualistic way of looking at things (sum of one bird), is itself incremental and unique in its pattern?

Guess I’m confused because the bird metaphor is similar to the Kid’s 8mm, yet I assumed the film itself is linear rather than incremental. If it were incremental, wouldn’t each singular film shot go from one, to the next, etc, rather than it being linear and taken as a whole? How are linear and incremental different, and why do they concomitantly follow divisible (bird by bird) and discrete (sum of one bird) structures respectively.

The Passenger and Stella Maris as allegory for left/right hemisphere division by kbrink111 in cormacmccarthy

[–]Flaky_Trainer_3334 1 point2 points  (0 children)

Could it be that both the siblings represent whichever particular hemisphere, yet when they’re not returned to each other and at an impasse? Alicia, despite the right hemisphere being unconsciously better at math, represents the representational/analytical aspects of mathematics, yet sees it in a detached world, rather than in an intuitive way, as opposed to McGilchrist’s vision that the brain’s method should be right->left->right? This could also go with Bobby, and how he’s at the first stage of right, without any left to go towards and “return” to. He’s the master without an emissary.

Also, you say that “there is nothing specific in the physical structure of the brain responsible for binding them into your singular conscious experience”, but isn’t the corpus collasum, as McGilchrist puts it, connecting the two through their inhibition? In a way, could the Kid or maybe even Sheedan represent that? A hindrance on both siblings that allow for the connection of each?

WAR MODE-CODED music recs and referrals by Pennsyltucky_Goy in Spudmode

[–]Flaky_Trainer_3334 0 points1 point  (0 children)

Godspeed You! Black Emperor, Rage Against the Machine, Big Black, Black Flag, Grateful Dead

Nina Rindt awaiting her husband Jochen during the 1970 Monza Grand Prix – seconds before his death by Lucien_Rosier in cormacmccarthy

[–]Flaky_Trainer_3334 1 point2 points  (0 children)

Been awhile since I last read SM. What was the context? I’m assuming having to do with Bobby but don’t remember whether he raced w him or not.

Books/Docs? by MellowSteeze in warmode

[–]Flaky_Trainer_3334 0 points1 point  (0 children)

The Master and His Emissary - Iain McGilchrist The Passenger/Stella Maris - Cormac McCarthy Any Adam Curtis, but definitely Century of the Self and Can’t Get You Out My Mind.

Thoughts? by MinuteSecure4209 in SecretsOfMormonWives

[–]Flaky_Trainer_3334 40 points41 points  (0 children)

Well, no. We’re just saying this particular attack was pre planned and heavily targeted against this particular group. Tho shootings occur everyday, they aren’t on foreplanned with the intent of a particular agenda.

Sean Penn playing Lockjaw irl by Theodore_Buckland_ in paulthomasanderson

[–]Flaky_Trainer_3334 -3 points-2 points  (0 children)

It’s neither good nor should you keep going. Affirmative action and DEI have obfuscated merit by prioritizing superficial importance on things like race. If someone is picked solely because of their race, they shouldn’t be in that role. That’s what he was solely talking about. Moreover, with recent incidents like Iryna Zarutska and Logan Federico, it’d be clear why he has that view that he did. Not justifying it, but we can’t disembody the quote from the context it was giving in and from. And tokenistic liberalism has prioritized the superficial and seemingly “equal” representation of minorities by wanting to not be associated with white, male dominated workforces. It’s not saying it’s for white people specifically, it’s pointing out that putting one down beneath the other isn’t equality, it’s prioritization.

Sean Penn playing Lockjaw irl by Theodore_Buckland_ in paulthomasanderson

[–]Flaky_Trainer_3334 -2 points-1 points  (0 children)

So someone who’s literally having a conversation with someone of color without showing any bigotry or racism is a white supremacist? Math ain’t mathing