The Gravid
Grave: Speculations on the Vampire
Infinity is not a number. It's
a process. Yinsanity fosters a creative response to this process: human
encounters with Infinity.
Literary art, which originated
in the Kingdom of the Earth [Mesopotamia] as an expression of grain manifests
and tax levies, evolved into the sorcery of money, time intervals, geometry,
astronomy, weights and measures, and heaps of lists and catalogues - and,
only then, after describing the actual world, after creating a coded picture
of our specific material situation, only then did this art become useful
beyond the Kingdom, in exploring the transcendental reality of Infinity
through creative writing.
Where events transpire that
have nothing to do with the outer world - dreams, hallucinations, imaginings
- we find ourselves in a chimerical domain, the badlands of heaven at the
vagrant frontier where the Kingdom of the Earth ends. The ability to create
coded pictures of this haunted place developed only recently with the invention
of literature.
Some of the pictures from the
wilderness of fantasy are startling. Such as the journey of Gilgamesh, or
that white whale - or vampires. Literary figures partake of a truth confirmed
by 21st century science, mathematics and philosophy: Like the googolplex
position of pi, or infinity, or God, they are real, because they don't exist.
We can learn a lot from what
is real, we who merely exist. So, for example, when vampires speak, we might
listen:
You say we are evil. And the
fever mosquito? The tsetse fly? Where else is the vertex of supernatural
evil and human light but in the heart of nature? Look out at the inexorable
day. What is it? This rock, that star, the emptiness between. Does the confidence
of your dreams lie in this? Evil comes to us as reverence and truth shining
through the brain's deceptions. Embrace it. For, I tell you this in all
sincerity, strife and love are the workings of one design whose absence
itself is its presence.
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