What turns out to be the love of his life — to his own retrospective surprise, as we learn from the famous last sentence of the book — builds gradually over a number of stages, the first of which seem so innocuous that for quite a while we’re left wondering whether we’re already in the main narrative or still on a tangent. Swann himself appears to be on the same tentative track, until something...
Returning from the underworld, returning from ghost time
That time is unreal — that it transforms into a form of “ghost time” — once you’re in liminal retreat is strangely in conflict with the notion that a journey to the underworld might necessitate a return trip. Whether it actually does necessitate one depends of course on how the journey is conceived of (as we have seen, in Hillman’s early work it doesn’t; in Campbell the collective demands it and...
How does ghost-time relate to the timelessness of the unconscious?
If withdrawal into liminal space (symbolized by the stay on a Greek island in The Alexandria Quartet) is a journey to the underworld or — to put it less mystically — an immersion in what comes out of the unconscious, then we might expect curious effects connected to the passing of time. This is what the narrator refers to when he says “once you become aware of the operation of a time which is not...
Unreal time and splintered life forms
At first glance, what Don DeLillo’s narrator in The Names describes appears to be exactly what I’ve just called “ghost-time”, borrowing a notion from The Alexandria Quartet: I flew a lot, of course. We all did. We were a subculture, business people in transit, growing old in planes and airports. […] This is time totally lost to us. We don’t remember it. We take no sense impressions with us, no...
Unreal time and real cities
Imaginative projects and fictional images
In a recent post, I presented an imaginary scenario and used it to illustrate the difference between “image” and “frame”. I also claimed that an image such as the one I presented might appear not only in an episode of deliberate imagination, but also in dreams or works of fiction — such as a novel or movie. Let’s follow up on this claim a little. 1. The way I introduced my example of an image was...
On the movements of the collective unconscious
Robert Musil was one of the great masters of imaginative metaphor, and he captured very well the notion that much of what drives our psychology is both collective and unconscious — difficult to be aware of from the point of view of individual consciousness: The train of time is a train which rolls out its own tracks ahead of itself. The flow of time is a river which carries its own banks along...
The mirror and the windows
There is in human experience a perennial contrast between the external world and the inner world, the interior. With both worlds, we interact; and to some small extent we can influence and control them. But mostly, they’re wide-open ranges of the unknown: abundant, overpowering, and utterly “other” than ourselves.
Mirrors: reflecting the Other Side
The hypocritical mirror-critic
Returning from his year-long stay on a Greek island, the protagonist of The Magus makes an intermediate stop in Rome. But he compares his impressions unfavorably with those he had in that other Mediterranean world: The sun shone as certainly, the people were far more elegant, the architecture and the art much richer, but it was as if the Italians, like their Roman ancestors, wore a great mask of...