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In reply to: Circle of Eights, Stories
There was a tantalizing scent of wildflowers and meadowgrass in the still cool air of the cave, and as Sanso rounded a bend in tunnel a gentle breeze ruffled the folds of his robes. He quickened his pace, gladdened by the welcome promise of an adventure outside of the endless labyrinth. The air felt cool and warm at the same time, and deliciously fresh and clean as it wafted towards him, and with a feeling of immense joy, he heard a snatch of birdsong.
It seemed like many long years that he’d been trudging around in the gloom and the stale air of the caves, although he suspected it wasn’t as long as that. Time played tricks on him, he knew that, while he was wandering around in the darkness. He’d missed Arona, and that strange baby, when he’d first set off alone again, but not for long. He knew when it was time to move on, and so he’d left them. From time to time he wondered if he’d encounter them again, and knew he would.
A shaft of sunlight spilled into the tunnel and Sanso stepped out into the light. The breeze was fluttering the birch leaves high above him, as he squinted up at the pale blue sky. Grinning happily, Sanso took his time adjusting to the light. He sat cross legged on the soft green grass, feeling it springy beneath his hands. Hundreds and thousands of red and yellow spotted toadstools stretched out as far as he could see, carpeting the forrest floor with polkadots of colour.
Sanso looked down at his hands. The creases of his skin and under his nails were engrained with reddish dust, and he wanted water more than anything, gurgling bubbling fresh clean water. He stood up, and shook his robes a bit, and set off into the woods.
Intuition told him which way to go to find water. He marvelled at tiny flowers, and scampering insects along the way, squashing fungi beneath his bare feet which oozed up through his toes with little squeaky noises.
A rabbit ran accross his path and stopped momentarily to stare at him and Sanso laughed out loud.
Oh! Who’s there?
A girl in bright flowered skirts was sitting on the grass in a clearing just ahead, rubbing her eyes.
Whoa, I must be dreaming, she said, and rubbed her eyes again. She peered at the apparition in indigo robes, with skin the colour of tobacco and wild matted hair. Am I dreaming? she asked Sanso.
Perhaps, perhaps not, replied Sanso, who wasn’t really sure. I may be dreaming myself. My name is Sanso, anyway, what’s yours?
Zhana, the girl replied, Well, Uncle Grishenka calls me Zhanochka, but I…but I….I hate him, and I’m not going back! And much to her surprise, she burst into tears.
Sanso was momentarily non-plussed, and wondered what to do next.
Well, dear, if you don’t want to go back, why, then don’t go back! He wasn’t quite sure what the problem was; after all, he’d been wandering for so many years on impulse and whim he hardly knew any other way to go about it.
I don’t know where to go instead though, Zhana said tearfully. The long dark cold will be here again soon, and I must have shelter somewhere…..who will have me, besides Uncle Grishenka?
What long dark cold? asked Sanso. It seemed light enough and warm enough here.
Oh, my! Zhana was astonished. You ask me what long dark cold? Where have you come from? How is it you don’t know of the long dark cold? Oh! Are you from Nishanti’s place?
Zhana stood up in some considerable excitement. Can you take me to Nishanti’s place? Oh please say yes!
Well, I, er, um…..well, I suppose so. Well, yes! Sanso didn’t want to let the girl down, although he wasn’t altogether sure he knew where Nishanti’s place was. But he was game to give it a try, and the company of the girl would be a welcome change.
Tell me about Nishanti, then, Zhana, and what her place is like. Sanso was hoping a few clues might ring a bell, perhaps.
Nishanti has been my friend for as long as I can remember, Zhana said. We dream together mostly, well, Zhana blushed, Uncle Grishenka says it’s all in my head…he say’s it’s nonsense….
Zhana squared her shoulders and carried on. Sanso had a kind look, and nodded encouragingly.
She hardly wears any clothes, and her skin is warm and brown. The sun always shines and the sky is always deep blue in her place and we play outside all year long. There’s always warm ripe fruits to eat, not turnips and noodles, colourful juicy berries and plump pink fishy things, and there are flowers all year long, and the water isn’t frozen, we can play in the water and it doesn’t turn our hands blue…..
Ah, the other side of the world…hhhmmm…..Sanso rubbed his whiskery chin thoughtfully.
Ok, I can’t promise we can find Nishanti, but I think we can find the other side of the world. But first, I’d like to find some water, and perhaps a little fresh food?
Zhana whooped with delight, and flung her arms around Sanso. Yes, yes!
In reply to: Yuki’s Livrary
September 24 th
Quintin remembered a snapshot of the notes that Dory had taken during her first trip to the Madagascan caves, a year ago.
Relevant extracts:
At one moment, I saw some hooded figure in the sideways tunnels… He vanished on the left, couldn’t follow him…
[…] HE KNEW HIS WAY INSIDE !
When he vanished, I had the vision of something, […] like the layout of a labyrinth, of cave tunnels — that are all underground and the many entrances are all over the world… PORTALS
focus opening/doors ; time/space…
The central cavernous part is some kind of key center, where anyone can meet…This has inspired Quintin to write some notes too.
He has the vision of these portals organized as clusters, like a tree, with branches and leaves… I will send him a more detailed image, but that may take him some time to digest!September 26 th
The latest additions to the story have inspired Quintin. He had some inkling of how “essence” (or what is somewhat referred as “oversoul” ) and all the “focus” of essence (or lifetimes) interplay, and are not as separate as they sometimes seem to be.
Here would be what we will say to him, if he wants to listen:
« Now, terminology can become tricky as, for much time, you have been accustomed to be considering of your experience as the projection of that of an “essence”, somewhat separate from you, the lowly focus.
Of course, you pretend the contrary, and become quite nifty in brandishing sentences like “I am essence, and I create all of my reality”, which you are and do actually, but that you do not always believe and trust.
These terms of “essence” and “focus” were given to you as means for you to better understand the interplay of consciousness. In the beginning of the acquaintance with these new terminologies, you have felt them remotely blurry and unrelated to previous concepts, which was the intention. But now, you once again objectify your understanding in something too rigid at times, and that little story is giving you a hint of what your real power is.
And you begin to really experience it, and really pay attention.« As was expressed many times, “essence” is no thing. It is an action.
The “essence” is each of you, that very portion of you that you feel when you slide your attention into the comment box.
In that, your purpose, you see, is only to experience, nothing more, nothing less.
And then time, as you know it, becomes irrelevant, you see. Your natural time is expressed through you and your explorations.
Notice how playfully, as essence (essence playing focus or focus playing essence), you let your natural time unfold, and at times find some strange weather pattern in your awareness that needs clarification. As essence, you playfully find the most perfect habits [shapes and clothings] to wrap around you, and continue your story.
Just as your dreams at night overlap and blend into each other.
Just as Rafaela created new focuses [Sam and Becky] to continue to play and make the story expand for all of the other focuses, Dory included.« That “I” of you is ever present, and is reflected perfectly in others’ perceptions, as you are drawing them to you purposefully. Do not brush aside their adjuncts, for they are also you, having moved your pawns forward, so to speak, through their moves.
« Thus understand that the story is a continuous stream reflecting the essence that is you, and your travel through the various guises you borrow.
In that manner, it does not matter how much sense it makes in linear terms. Because, in a way, it can’t make sense in these linear terms.« Let us explain this in other terms.
When you found difficulties in understanding the “scheme” so to speak, the figure that is drawn by the participants, it is because you apply the linear understanding of what such a scheme should be.
In that, you only perceive the “plot” as a succession of dots without a continuity, whereas the continuity is to be found in the other stories interwoven.
You are accustomed to stories where a single individual is enacting throughout the play, in a linear continuous fashion. The individual goes through many different actions, but is always the same in your perception.
Here, the tricky thing is to notice the continuity throughout the various habits [clothings] taken by the essence(s). It matters not that the essence takes that guise of say, a pirate sailing on high seas, just after having been an old crafty Lord in his windy castle. The underlying aspects of his exploration has been continuous and coherent: in this case, exploring and making sense of one’s exploration. It is just that a certain appearance has been perhaps more fitting to express certain aspects or qualities of essence, but the exploration has been one, throughout the entirety of the experience.« We will let you ponder this, and we will continue our own story, writing about you… »
September 28 th
This sand symbol that Quintin has brought up seemed to have come from many directions at once. Each character has connected it, in various ways.
Armelle (Arona) to her magic, Rafaela (Becky) to her collecting customs, etc. etc.Let us say that this symbol is not as innocent as it may seem. There are lots of associations with sand.
It is solid, yet fluid. In association with water, it can be used to build, and also to erode. It can shift into many forms, one of which is your glass, and your electronic components.
And most of all, it is, after your very oxygen, the most abundant constituent of your reality.
It is almost limitless in your understanding.
As is your magic.This magical device we made Quintin see in a visualization is an analogy of your very action of creation as essences.
The sand which molds itself to make forms and shapes in three dimensions is in fact likened to your consciousness. Each grain of sand represents your links of consciousness that bind together to do your command.
The shapes are moved by your essences, in which you may see that the essence is no thing at all, but is a continuous stream of action, not separate from others’.As Quintin said to Fiona, some individuals do differently when they create and shape their sands.
In analogy with the coloured sands, some people like Quintin enjoy using other people’s colours in shaping his own characters, while some others prefer to keep their own colours, to create a more definite sense of individuality. But they integrate the others’ movements and shapes nonetheless, regardless of how much they perceive it to be coming from them.With that said, let us see how much more will appear from that sandbox…
September 30 th
The Wrick family tree as it is now (or “will be” drawn around the time of the twins in 2057).
The Secret Life of Margaret Wrick , a newspaper cut from 2033.
October 7 th
The dragon Naasir’s dream
A panorama illustrating the portals between the worlds created by each of the participants… But who is dreaming, really?And an illustration of Chiara’s encounter with the glutton “dreggun” Buckberry…
In reply to: Circle of Eights, Stories
Sanso was used to travelling alone. He’d been exploring this cave on his own for several years now, and it suited him, on the whole. No need to confer, or compromise, or rush to keep up, or slow down to let others catch up. He could follow his own impulses without hindrance. He did meet others on his travels, but only at the cave entrances, or rather, the times and places that the cave entrances revealed. He never felt an urge to settle though at any of these places, always compelled to return to the caves mysterious and ever changing labyrinthine tunnels.
The disembodied voices and coloured wispies were always with him in the tunnels. Sometimes one would be louder than another for awhile, then another would assume prominence. The bleakest coldest times were when he wasn’t noticing them; that’s when he found himself going round and round in circles, lost in the maze.
The electric blue wispy had been around alot lately, comforting him with little explosions of pinprick blue lights, and a golden mustard yellow one. English, not French mustard, he reminded himself, although he didn’t think it mattered and wondered why he’d thought it.
Sanso had been almost crawling for some time in a particuarly cramped and difficult tunnel; bent double for most of the time, his back was aching and he longed to stretch out. The thought of going back, retracing his steps, was unbearable, so he continued, and tried not to be discouraged.
‘Find something to appreciate, Appreciation is the key’ the voice of the blue wispy sounded amused, but in a kindly and endearing sort of way. Harumph, muttered Sanso, easy to say! It would help if there was something to appreciate!Just then Sanso heard another voice, muttering something over and over again. ‘… dragon egg dragon… egg dog egg … dragon dog egg…’ What the heck was that all about?
