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Re: [existlist] Kafka speaks in parables & metaphors

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  • james tan
    excuse me, but i m afraid i don t understand your heroic alterity . maybe we are on a different ontic boat too. james. From: Glenn Scheper
    Message 1 of 3 , Sep 8, 2001
    • 0 Attachment
      excuse me, but i'm afraid i don't understand your 'heroic alterity'. maybe
      we are on a 'different ontic boat' too.


      From: "Glenn Scheper" <scheper@...>
      Reply-To: existlist@yahoogroups.com
      To: <existlist@yahoogroups.com>
      Subject: [existlist] Kafka speaks in parables & metaphors
      Date: Sat, 8 Sep 2001 00:09:12 -0700

      > truth changes into deceit ...
      ... when it is oppressed, suppressed, taboo!

      > the hypothesis is operationalized & measurable
      Everyone must agree on a (tentative) domain of word referents.
      Religion is hystericized because that domain is not disclosed.

      > kafka speaks in parables & metaphors
      Kafka is lucid to one in the same ontic boat: metamorphosized.
      I think my metaphor assignments are testable even by skeptics.

      I will do Kafka after this short, bawdry, chunked exposition:

      Heroic Alterity

      Autofellatio is the core icon to decode all religious metaphor.

      Although salient and simple, this icon remains obscure because:
      1. Theologians lack an experience in this sacral erotic domain.
      2. Few autofellators have reflected upon it and recognized god.
      3. Cognizant experiencers are ostracized, mentally annihilated.
      4. Expositors face taboos and produce only metaphysical poetry.
      5. Religions are conflated from non-knowers' defective eigesis.

      Destiny laid shame and fame upon me at age 24. Shortly after I
      discovered autofellatio, I suffered an acute psychosis, giving
      way to schizophrenia-punctuated manic depression for several years.
      To be able to write something, I must refrain from the bane of
      the insane, following my correlated ideas ad infinitum. I shall
      be content if I can bring to your attention a list of famous authors
      whose works can most readily be explained by metaphors on the
      icon of autofellatio.

      I say treat its icon, its characteristic physical appearance,
      because its metaphors would be unrecognizable without knowing
      that the classic autofellatio discovery position is inverted,
      when body weight flexes one's neck to yield a sudden advantage.
      Thus upside-down, Atlas after Atlas have bent and shouldered the
      earth. Herein Isaiah recognized the sky is his throne, the earth
      his footstool. If you do not recognize that, then you have not
      yet pictured the icon.

      Exodus catches Moses in the act: "And the LORD said, Behold, there
      is a place by me, and thou shalt stand upon a rock: And it shall
      come to pass, while my glory passeth by, that I will put thee
      in a clift of the rock, and will cover thee with my hand while
      I pass by: And I will take away mine hand, and thou shalt see
      my back parts: but my face shall not be seen." The rock is Moses'
      skull; the glory, Moses' phallus, which is also Moses' standing

      This is also the famous Excalibur, sword locked in stone. One
      of Austin Osman Spare's many self-love treatises, The Focus of
      Life says "My kiss is a sword thrust!" Jimi Hendrix kissed the
      sky. King Pepi also, in Pyramid Texts, kissed the sky like a falcon.
      Brann vaunts the same kiss in The Iconoclast: "drain the nectareous
      dewdrop from its chalice and kiss the grape until its youthful
      sap changes to empurpled blood beneath the passionate caress."

      Shakespeare's Hamlet speaks of "god kissing carrion", and shows
      many other relevant themes: of psychic disintegration, of one's
      own mystical death and resurrection, and the Oedipal themes of
      maternal rape and of patricide: Because either through some phenomenal
      mystery, or perhaps by some semiotic values reversal causing an
      hysteresis, a quantum separation encoded at the boundary of the
      taboo domain, many experiencers plunging into wonderland discover
      a new authenticity, as monogenes, Socrates' self-moving, realizing
      they have become their own father. Even Jesus said, "He that hath
      seen me hath seen the father."

      I watch Hamlet; I see me. On the morning of my acute psychosis,
      I came from my bedroom and told my father that I believed I had
      to kill him. I grabbed my mothers wrists and stood immobilized,
      shaking from confliction due to an unspeakable impulse, a magical
      mandate to rape my mother. Shakespeare unfolded the multiple demons
      residing reflexively in the interconnected Hamlet as his lover,
      her father, his friend, and others, all to slay, to slay, for
      Hamlet's world has ended, Hamlet having died of the impossibility
      of being his own father, now only a ghost. The young Hamlet's
      biological father was cast as Hamlet's uncle.

      That recalls Seth, the Egyptian uncle of Horus, who was slain
      by Horus to avenge the death of Horus' true spiritual father,
      Osiris, which would be Horus himself. That Seth had cast filth
      into the eye (opthalmos, a hole, I say the mouth) of Horus suggests
      to me covert mystical infanticide caused by filial fellatio, the
      tares that will be discovered when the field's true owner sows
      wheat. So too, Abraham put his knife unto Isaac's throat, and
      recreated Isaac as his lamb, a narcissistic personality disordered
      youth, Jung's Puer Aeternus, compliant, symbiotically completing
      his father. Franz Kafka also blamed his father for instilling
      impotence. Perhaps it is implied homosexuality which informs the
      fall, which is the basis of Kafka's Metamorphosis.

      Kafka sang our divine song. His Josephine, The Singer tells of
      ancient songs, but no one can sing them any more. It asks if Josephine's
      art is really even singing? Why, of course! Our art is both singing
      and playing upon a silver-strung harp, that lyre, zephyr, flute,
      pipe, what have you, known to every bard who's reached at least
      his light-bearing developmental phase.

      Returning to the icon, the male genitals above with the sky behind
      them are frequently described as a bird. Such is the dove alighting
      on Jesus. Uncommon ejaculation is the probable literal meaning
      for holy spirit. For females, the genitals appear rather as animal
      skins, and in the form of a tent in the divine stance, which is
      the Shekinah, a tent, the female aspect of God, such as covered
      Mary when she enunciated her finished syzygous being.

      Auto-oral erotic contact is both the baptism and a confession.
      It is the theogony (creating God), theophagy (eating God), and
      theurgy (act of God). It initiates the individual's parousia (presence
      of God) by conferring the holy spirit. It is the word that was
      with God, being God, even His name. Note the advantage that monogenesis
      spawns no mimetic rivalry: Every soul requires exactly one self
      as its reward.

      Many authors show conflicting usage of terms body, soul, and spirit.
      I propose that the material body (including its mind) starts with
      no soul, technically, for a soul is the combination of a spirit
      and a body. Infestation of various types of spirits in a body
      produces various soul types. The most common would be the default
      due to suckling from a mother. I may be hijacking Jung's terms,
      animus and anima, but let me propose they are the male and female
      spirits conferred from penis or paps, respectively. My experience
      suggests that the most desirable animus, the male aspect of soul,
      is oneself-as-father-of-oneself, which can be instilled by
      contact in either a man or a woman; and that the most desirable
      anima, the female aspect of soul, is oneself-as-mother-of-oneself,
      and that can be instilled by auto-oral-mammary contact in either
      a man or a woman.

      Hence, most bards fit the mythic form of a master builder, whose
      church, which is oneself, lapses to the devil, which is also oneself,
      for failing to learn and say that devil's name, by self suckling
      at his vestigial male paps so that he can fall to earth. Such an
      androgynous Puck or Lucifer is the woman in Revelation 12.

      The completed pair makes the divine syzygy, an anima as bride
      of Christ in a man already having animus, or an animus as prince
      to awaken sleeping beauty by her frog kiss, naming Rumple-Stilt-Skin
      at the site of Dracula's piercing. Such was Jesus' finished condition
      at the marriage of the `prominent' man, who was Jesus wedding
      himself, when he made wine by placing his phallic finger in his
      mouth, twelvefold jug.

      Additional monadic acts build up a panoply of divinities. Buddha,
      an incarnation of Vishnu, is born of a lotus arising from Vishnu's
      navel, which story highlights a first ejaculation as a navel-irrigating
      nocturnal emission. Self-sodomy, entrainment of objects in the
      ouroboros (tail-biting serpent), and coming on the forehead, draining
      past Ymir's eyebrows to gain access to the well of foreknowledge,
      are all special. Even as I write this, I happened to realize that
      forehead act satisfies the image of tongues of flame at Pentecost.

      With most of its referents solved (I've given you a big start),
      a structuralist theology could be developed. I would say all else
      that's left are some anecdotes of miracles, and possible eschatological
      promises, which appear to be exoteric misunderstandings of parousia
      as the individual's potential mid-life metamorphosis.

      The only phenomenal effect I would attest is that lengthy tantric
      meditations to bodily re-experience a past moment irrupt into
      that already past moment in a very self-surprising fashion. Perhaps
      similarly, countless persons seeking to understand Jesus influenced
      him, granting future knowledge and teleological purpose.

      Because I might err in my exact metaphor assignments, I recommend
      that you beat the following authors together, who recognize one
      another's voice, and generally hold to similar metaphorical understandings:
      Arjuna, Baudelaire, Blake, Brann, Bunyan, Carroll, Coleridge,
      Crowley, Dali, Dylan, Ficino, Goethe, Hendrix, Heraclitis, Hesiod,
      Holderlin, Jesus, St. John, Kafka, Lao Tsu, Milton, Nietzsche,
      Poe, Prince, Shakespeare, Socrates, Spare, Spenser, Stevens, Vaughn,
      Whitman, Wordsworth, Yeats, Zoroaster, and females Behn, Dickinson.

      My intent in this disclosure is that you might know this taboo
      domain is so pervasive. As Baudelaire closed My Earlier Life:
      "My only care to bring to meaning from anguish The sad secret
      in which I languish."

      Copyright (C) 2001 Glenn Scheper. Every nonexclusive use is allowed.

      Available online at http://www.antelecom.net/~scheper/heroic.pdf
      or an MS Word file at http://www.antelecom.net/~scheper/heroic.doc
      and as HTML (with continual further annotations) in the ZIP file at


      I ripped this section from an old, abandoned version of my
      web page to illuminate some highlights recognized in Kafka:


      Franz Kafka - Metamorphosis

      A metamorphosis is described by many authors. I posit it to be
      caused by autofellatio, perhaps given the right pre-conditions.

      > Existentialists: Franz Kafka
      > http://userzweb.lightspeed.net/~tameri/kafka.html

      > Metamorphosis (Die Verwandlung, 1915)

      > Salesman Gregor Samsa wakes one morning to find himself an insect.
      > He does not panic; in fact, he reacts with an eerie calm, convinced
      > he can still function within human society. As the story progresses,
      > Gregor slowly accepts he is not human. Not only can he not function
      > within normal society, but he is also an outcast from his own
      > family, even his beloved sister.

      > It is much too easy to see the "Kafka" name in "Samsa" - there
      > was no effort by the author to hide the fact he was writing a
      > story about his own emotional state.

      Franz Kafka - The Trial

      As with Franz, I would pour all my effort into this understanding.
      I should work fast, perhaps there is some minimum passing requirement
      I must achieve before I die. This story shows the dialectic that
      keeps popping up when you collapse a dyadic activity on monadic

      > Existentialists: Franz Kafka
      > http://userzweb.lightspeed.net/~tameri/kafka.html

      > The Trial (Der Prozess, Written 1914)

      > Josef attempts to explain the trial's importance, as his very
      > existence is at stake.

      > ...while the hands of one of the men closed around his throat,
      > the other drove the knife deep into his heart and twisted it twice.

      Here's more on the zeal of author Kafka, like as for Nietzsche,
      and for me writing this web page. It ends with three paragraphs
      that I say are specifically about autofellatio.

      > Franz Kafka pictures photo album
      > http://members.xoom.com/danielhornek

      > The tremendous world I have inside my head. But how [to] free
      > myself and free it without being torn to pieces. And a thousand
      > times [I'd] rather be torn to pieces than rather it in me or bury
      > it. That, indeed, is why I am here, that is quite clear to me.

      > My talent for portraying my dreamlike inner life has thrust all
      > other matters into the background; my life has dwindled dreadfully,
      > nor will it cease to dwindle.

      > Who is to confirm for me the truth or probability of this, that
      > it is only because of my literary mission that I am uninterested
      > in all other things and therefore heartless.

      > Writing is a deeper sleep than death. Just as one wouldn't pull
      > a corpse from its grave, I can't be dragged from my desk at night.

      > From a certain point onward there is no longer any turning back.
      > That is the point that must be reached.

      > I was so insecure about everything that all I was really sure
      > of was what I already held in my hands or my mouth or what was
      > well on its way there.

      > Life's splendor forever lies in wait about each one of us in all
      > its fullness, but veiled from view, deep down, invisible, far
      > off. It is there, though, not hostile, not reluctant, not deaf.
      > If you summon it by the right word, by its right name, it will
      > come.

      > Many people prowl round Mount Sinai. Their speech is blurred,
      > either they are garrulous or they shout or they are taciturn.
      > But none of them comes straight down a broad, newly made, smooth
      > road that does its own part in making one's strides long and swifter.

      Franz Kafka - In The Penal Colony

      I recognize the harrow spoken of in In The Penal Colony. It may
      be another metaphor of autofellatio, although I do not yet appreciate
      how a single penis should be represented as a multitude of blades,
      unless perhaps serially. The harrow is a type that I can identify
      in two other places sporting a profusion of blades: The first
      is a personal memory from my childhood: I would often lay awake
      long at night, in anger for having been put to bed. I would take
      solace in my usual fantasy for such times: that an immense heavy
      block hung above me, its bottom face perhaps two feet square,
      and on that face were mounted many, say, two hundred very long
      knives. And it was poised to fall. I cannot remember that it ever
      moved, but it was always ready to drop onto me, to kill me, and
      my solace was in the thought, "Then they'll be sorry!"

      > Existentialists: Franz Kafka
      > http://userzweb.lightspeed.net/~tameri/kafka.html

      > In The Penal Colony (In Der Strafkolonie, 1914)

      > In grand Kafka style, the machine malfunctions, disintegrating
      > as it tortures the colony's governor. Instead of gently carving
      > the "Be Just" phrase into the man's back, the machine plunges
      > needles deep into his flesh.

      > Instead of writing, the harrow was only jabbing, and the bed,
      > not turning the body over, simply raising it up, quivering, against
      > the needles.

      > The traveler knows instantly that the governor is being killed
      > by his own machine. All that is left to do is wait for the machine
      > to discard the body into a grave.

      > ...and now the last thing went wrong as well: the body failed
      > to come loose from the long needles but hung suspended above the
      > pit without falling.

      The other case I recognize of an harrow form, and perhaps the
      final epochal referent of all the cases of this archetype, is
      to be found in the two million pound Chornobyl Nuclear Power Plant
      Reactor Vessel Head called "Elena", pictured here:

      > JPEG Preview with caption for UK_CH_513.JPG

      The 1600 nuclear fuel rods mounted in groups descending vertically
      from that immense reactor lid satisfy both those images, as well
      as the prophetic image given in 1 Enoch 14:12, of swords (cherubim)
      of fire, as I have described in my other main topic page:

      > Biblical Prophecies correlated with Modern Objects
      > http://www.antelecom.net/~scheper/prophecy.htm

      Franz Kafka - Josephine, The Singer

      It's a name, it's a word, it's a prayer, it's a feast, it's a

      > Existentialists: Franz Kafka
      > http://userzweb.lightspeed.net/~tameri/kafka.html

      > Josephine, the Singer (Spring 1924)

      > Is it in fact singing at all? Although we are unmusical we have
      > a tradition of singing; in the old days our people did sing; this
      > is mentioned in legends and some songs have actually survived,
      > which, it is true, no one can now sing. Thus we have an inkling
      > of what singing is, and Josephine's art does not really correspond
      > to it.

      Franz Kafka - Resolution

      The following segment by Kafka clearly describes autofellatio,
      which is in solitude, despite A. B. and C. Then comes the concomitant

      > http://www.wilpaterson.edu/courses/eng150/ho5.htm

      > FRANZ KAFKA "Resolution" (Franz Kafka, Czech) Trans. Willa and
      > Edwin Muir from the German To lift yourself out of a miserable
      > mood, even if you have to do it by strength of will, should be
      > easy. I force myself out of my chair, stride round the table,
      > exercise my head and neck, make my eyes sparkle, tighten the muscles
      > round them. Defy my own feelings, welcome A. enthusiastically
      > supposing he comes to see me, amiably tolerate B. in my room,
      > swallow all that is said at C.'s whatever pain and trouble it
      > may cost me, in long draughts. Yet even if I manage that, one
      > slip, and a slip cannot be avoided, will stop the whole process,
      > easy and painful alike, and I will have to shrink back into my
      > own circle again. So perhaps the best resource is to meet everything
      > passively, to make yourself an inert mass, and, if you feel you
      > are being carried away, not let yourself be lured into taking
      > a single unnecessary step, to stare at other with the eyes of
      > an animal, to feel no compunction, in short, with your own hand
      > to throttle down whatever ghostly life remains in you, that is,
      > to enlarge the final peace of the graveyard and let nothing survive
      > save that. A characteristic movement in such a condition is to
      > run your little finger along your eyebrows.

      Franz Kafka - The Burrow

      Yet another segment of Kafka's work, and, as always, (Need I keep
      repeating myself?) it is another characterization of autofellatio.

      > Kafka And His Use Of Metaphor
      > http://klub.posluh.hr/lektira/analize/kafkaa.htm

      > (the burrow:) "If he were actually to arrive now if in his obscene
      > lust he were actually to discover the entrance..... if he were
      > actually to wriggle his way in my stead....if all this were actually
      > to happen...., I might in my blind rage leap on him, maul him,
      > tear the flesh from his bones, destroy him, maul him, drink his
      > blood and fling his corpse among the rest of my spoil..." (Kafka,
      > Selected Short Stories, pg. 289).

      Franz Kafka

      Although I suspected Nietzsche of gnosis, and Austin Osman Spare
      was the first fellow that I recognized for sure outside of New
      Testament writers, I would rate Franz Kafka at the top of my list,
      for he seems to have first mastered the religious symbolism of
      Judaism, forming the underpinnings of his insights, then labored
      to create diverse stories wresting isomorphisms of occult relationships
      into bizarre themes, which quality we now call kafkaesque.

      Although his life was in an harsher time and place, Franz Kafka's
      family life resonates with my own. I pronounce him a narcissist,
      and after that, an autofellator. Good for him!

      > Existentialists: Franz Kafka
      > http://userzweb.lightspeed.net/~tameri/kafka.html

      > Kafka's diary entries for September, 1917, reflect a man suffering
      > a great emotional stress. He apparently considered destroying
      > his notebooks, calling his writings the result of a "reward" from
      > the devil for "services rendered." It is unclear what those services
      > might have been. A few days later, he noted of the power literature
      > has to lift "the world into the pure, the true, the immutable"
      > truth. During such manic cycles, Kafka would write pages for hours,
      > depriving himself of sleep.

      > "Sometimes I feel I understand the Fall of Man better than anyone."


      Yours truly,
      Glenn Scheper
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