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Death of God (Philip Pullman)

March 28th 2008 03:51
From The Amber Spyglass (2000).

***

In Pullmanverse "God" isn't the creator, but merely the first of the angels (he lied to the angels born after him).

Moreover, angels are physical beings.


"Well, where is God," said Mrs Coulter, "if he's alive? And why doesn't he speak any more? At the beginning of the world, God walked in the garden and spoke with Adam and Eve. Then he began to withdraw, and Moses only heard his voice. Later, in the time of Daniel, he was aged -- he was the Ancient of Days. Where is he now? Is he still alive, at some inconceivable age, decrepit and demented, unable to think or act or speak and unable to die, a rotten hulk? And if that is his condition, wouldn't it be the most merciful thing, the truest proof of our love for God, to seek him out and give him the gift of death?"

***

Later, having landed her vessel, an "intention craft", Mrs Coulter comes upon God.

Before she could make up her mind which way to go, she heard voices, and withdrew behind a column. The voices were singing a psalm, and coming closer, and then she saw a procession of angels carrying a litter...

Mrs Coulter was close enough to see the being in the litter: an angel, she thought, and indescribably aged. He wasn't easy to see, because the litter was enclosed all round with crystal that glittered and threw back the enveloping light of the mountain, but she had the impression of terrifying decrepitude, of a face sunken in wrinkles, of trembling hands and a mumbling mouth and rheumy eyes.

The aged being gestured shakily at the intention craft, and cackled and muttered to himself, plucking incessantly at his beard, and then threw back his head and uttered a howl of such anguish that Mrs Coulter had to cover her ears.

***

Skip forward a chapter, and, in the middle of a battle, two children, Will and Lyra, come upon God. The children don't know who he is.

"Oh, Will, he's still alive! But -- the poor thing..."

Will saw her hands pressing against the crystal, trying to reach to the angel and comfort him; because he was so old, and he was terrified, crying like a baby and cowering away into the lowest corner.

"He must be so old -- I've never seen anyone suffering like that -- oh, Will, can't we let him out?"

Will cut through the crystal in one movement and reached in to help the angel out. Demented and powerless, the aged being could only weep and mumble in fear and pain and misery, and he shrank away from what seemed like yet another threat.

"It's all right," Will said, "we can help you hide, at least. Come on, we won't hurt you."

The shaking hand seized his and feebly held on. The old one was uttering a wordless groaning whimper that went on and on, and grinding his teeth, and compulsively plucking at himself with his free hand; but as Lyra reached in too to help him out, he tried to smile, and to bow, and his ancient eyes deep in their wrinkles blinked at her with innocent wonder.

Between them they helped the ancient of days out of his crystal cell; it wasn't hard, for he was as light as paper, and he would have followed them anywhere, having no will of his own, and responding to simple kindness like a flower to the sun. But in the open air there was nothing to stop the wind from damaging him, and to their dismay his form began to loosen and dissolve. Only a few moments later he had vanished completely, and their last impression was of those eyes blinking in wonder, and a sigh of the most profound and exhausted relief.

Then he was gone: a mystery dissolving in mystery.

***

What was that quote from Eliot's "Hollow Men" again?...



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Situated at the top of Martin Place, outside the Reserve Bank.

Its plaque notes, besides title and artist, that it was sculpted in 1964, "assisted by Frank Lumb and Frank Hinder".

Free Standing Sculpture - Margel Hinder - 1964


Free Standing Sculpture - Margel Hinder - 1964


I suppose, when I look at it, it reminds me of a whole bunch of things -- of stalactites and stalagmites, of gothic architecture, and also of skyscrapers (which, after all, are also "free standing sculptures"). The holes in the formation are a little like windows.

In places, and looked at in the right way, it has a boat shape or a bat shape, and it can curve like the Harbour Bridge.

Free Standing Sculpture - Margel Hinder - 1964


Arbitrary spikes producing an overall curve and roundness. -- Form from chaos, and harmony from ugliness.

Free Standing Sculpture - Margel Hinder - 1964


It frames itself.

Free Standing Sculpture - Margel Hinder - 1964


It can be towering, and it can be cavernous -- caves within caves.

Free Standing Sculpture - Margel Hinder - 1964


Intricate, like filigree.

Free Standing Sculpture - Margel Hinder - 1964


Free Standing Sculpture - Margel Hinder - 1964


Free Standing Sculpture - Margel Hinder - 1964


Marks like footprints or handprints, but they could also be natural formations. Many aspects of the sculpture, at least when I look at it, seem to be playing around this idea of human-built / natural, regular / irregular.

The texture is at the same time rough and organic, and artificial, metallic. It's a bit like fossilized wood, or the flowstone from old lava, and it's a bit like cement.

In a sense, everything is "natural", including skyscrapers.

Free Standing Sculpture - Margel Hinder - 1964


Free Standing Sculpture - Margel Hinder - 1964


Like some sort of parasite clinging to the building. Or else an extension of the building -- mirrored in it, growing out of it.

Notice, also, the way it alludes to bits and pieces from the surrounding area -- the spires of St Mary's, the shape or colour of a Commonwealth Bank logo or a statue.

CBA - Martin Place


Commonwealth Bank - Martin Place


Commonwealth Bank of Australia - Martin Place


Mutual Life - Martin Place


CBA Martin Place


Tiffany's - Martin Place


The Sydney Hospital pig


St Mary's Cathedral Sydney


St Mary's Cathedral in Sydney


And compare it with these sculptures by Robert Klippel in the NSW art gallery.

Sculpture No 300 by Robert Klippel


Sculpture No 329 by Robert Klippel




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Scone Mare and Foal (Gabriel Sterk)

February 4th 2008 03:39
Some shots of the "Scone Mare and Foal", by Gabriel Sterk, unveiled 3 March 1982. Bronze, 1.4 tonnes, 1.7m high and 2.2m long.

Seems to be a lot of butt- and crotch-sniffing going on.

Incidentally, the town of Scone is pronounced not like the pastry, but like "own" (with a "sk" at the front).

Scone Mare and Foal - Gabriel Sterk


Scone Mare and Foal - Gabriel Sterk


Scone Mare and Foal - Gabriel Sterk


Scone Mare and Foal - Gabriel Sterk


Scone Mare and Foal - Gabriel Sterk


Scone Mare and Foal - Gabriel Sterk


Scone Mare and Foal - Gabriel Sterk




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Bluff

January 26th 2008 03:18
A friend, IW, tells this story:

A child drops a banana peel. The teacher on playground duty notices. In order to teach the child a lesson, the teacher orders her to carry the peel for the remainder of lunchtime. The child woefully complies


[ Click here to read more ]
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Beauty and the breast (Fenella Souter)

January 21st 2008 08:25
Fenella Souter
So I've lately been interested in people's attitudes to bodies (their own and others') after watching "Naked on the inside".

How does your body make you think and feel, how does this connect with your beliefs about what you're allowed to do and forbidden from doing, what are the meanings of nakedness, etc


[ Click here to read more ]
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Quotes from The Prophet (Kahlil Gibran)

January 19th 2008 05:46
Last night I had a discussion in which it was pointed out, among other things:

1. The Prophet is very open to interpretation, like anything literary or artistic


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Piggy back (right) (Juan Munoz)

January 18th 2008 08:03
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Thanks to MH for the link!


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Civic virtue vs laws

December 27th 2007 01:27
More laws isn't always a bad thing, but perhaps, sometimes, there are better alternatives.

A couple of ideas on this frickin' huge topic


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