------------------------------ Content-Type: text/plain blake-d Digest Volume 1996 : Issue 32 Today's Topics: GH scripts Help! I'm stuck in an Ulroian Eggshell! Re: hello.. Plato & Milton -Reply Pam van Schaik -Reply Re: Milton Opera Update -Reply Golgonooza -Reply Re: Golgonooza "City of Art" RE: Golgonooza -Reply The Doors Re: Golgonooza if you're bounced from the Blake list (was: Help! I'm stuck in an Ulroian Eggshell!) ------------------------------ Date: Tue, 9 Apr 1996 12:48:11 -0700 From: rmcdonell@ucsd.edu (Robert McDonell) To: blake@albion.com, rmcdonell@ucsd.edu (Robert McDonell), National Association of Scholars Science News List , foucault@jefferson.village.Virginia.EDU Subject: GH scripts Message-Id: Content-Type: text/plain; charset="us-ascii" >Date: Sat, 6 Apr 1996 10:58:56 -0800 >X-Sender: brynika@humboldt1.com (Unverified) >Mime-Version: 1.0 >To: rmcdonell@ucsd.edu >From: brynika@humboldt1.com (Brynna) >Subject: GH scripts > >Hi Amelia! > >OK, Here are my script summeries..bear in mind they are only summeries while >reading them. I'm open to advice, critisism, & especially praise! :) Hope >you like the idea. >Luv, >Brynna > >#1 - A young woman, about 19 is standing on the doorstep of the Scorpio's >house. Robin answers the door. Kimberly (the girl) asks if Robert Scorpio is >there. Robin says 'no, he died about 6 yrs ago.' Kimberly says thank you & >leaves. Later, at the Outback, Kimberly has a flat tire & comes in to use >the phone. Robin sees her & asks her if they can talk outside. Kimberly says >yes & they go out. Robin asks her what she was doing looking for her father. >Kimberly says 'looking for MY father' & she gives Robin a letter. robin >starts crying & says that it's in her father's handwriting. Later, back at >the house, Kimberly is telling Mac & Robin about who she is & why she's >looking for Robert. Her mother had died of AIDS & sent her to find her >father. She shows Mac the letter she showed Robin. Mac decides that he can't >throw her out in the street & so she will stay the night. She & Robin go up >to Robin's room. Kimberly asks about the pictures of Stone. Robin tells her >about him & they bond. Mac comes in to say goodnight. After they are asleep, >Robin has a dream about Stone. He tells her that he is looking out for her, >and that Kimberly is her sister. Kimberly hears Robin crying & goes to wake >her up. When she wakes up, Robin says to Kimberly 'You really ARE my sister'. > >#2 - After Robin wakes up from her dream, she says to Kimberly 'You really >Are my sister'. She tells Kimberly that she had a dream about Stone & he >told her the truth. Kimberly hugs her & they decide to go downstairs & raid >the kitchen 'cause neither of them could sleep. Mac is down in the kitchen >when the girls get there. Kimberly starts making coffee & Robin tells Mac >about her dream. They talk about Stone & Kimberly tells them a little more >about her; about her horses & her friend Ryan, who lost both parents to AIDS >& who is raising his little (3yr old) sister. Robin get tired (it's 3 am) & >goes back to bed. Mac & Kimberly are talking & Kimberly asks him why he's up >so early. He hands her a letter. He tells her that he was going through some >things & came across a box of Robert's letters. This was in it. She starts >to read. It's a letter to her mother. It starts out with a shocked statment >about the fact that Kimberly is his daughter. It goes on to say that he >doesn't need that to deal with. Kimberly breaks down & says that obviously >he didn't care about her. Mac tells her to keep reading. She can't, so he >reads it to her. The letter continues to say that Robert is sorry for his >reaction & that he wished he could do something, but that he had a life >there & couldn't leave it. He asked Julienne (Kimberly's mom) to tell >Kimberly about him & explane why he couldn't be there for her when she was >older. Kimberly smiles through her tears & says 'I guess he did care about >me. Why didn't he send that letter?' Mac doesn't know. But he has as the box >of letters from her mom & maybe the answers were there. She asks to see them >& he takes her up to his room where the letters are. He leaves her alone to >read them & she sits down to starts reading. She says 'OK mom, let's see >what you had to say to dad.' Later Mac comes in & Kimberly has fallen >asleep. Robin comes in behind him & asks what's going on. Mac shows her the >letter from Robert. As Robin is reading it Kimberly wakes up. Kimberly asks >Mac if he showed Robin the letter. He says yes & Robin hugs Kimberly. >Kimberly says she doesn't want any secrets between them. Mac hugs both girls >& they all start laughing. Mac says 'I hate to do this, but what are we >going to do now?' They all stop laughing. > >#3 - Kimberly asks if she is going to stay there. Mac says yes. So Kimberly >calls Ryan to tell him & ask if he can bring her stuff to PC. While she is >doing that, Robin & Mac move to the side of the room to talk. Mac asks if >Robin is going to tell Kimberly about her being HIV+. Robin doesn't know. >She will, but when, she's not sure. Kimberly is off the phone & asks Robin >if she wants to come with her to look at a stable for her horses. Robin says >sure & that she will call her friends to see if they will come with her to >show Kimberly around town. She leaves & Kimberly asks Mac what they were >talking about. Mac hesitates & then says that Robin will have to tell her >when she's ready. Robin comes in. 'Ready for what? To go? That I am. >Everyone's going to meet us at Luke's.' Kimberly asks what Robin told them >about her. Just enough that they will all be curious, except Brenda, who she >told everything to. They leave. Later at Luke's, Kimberly & Robin are just >walking in & AJ, Jason, Emily, Lucky, Brenda, Keesha Luke & Mike are all >there. AJ asks if Robin would 'care to enlighten us as to why we are here >for no obvious reason?' Kimberly asks Robin (quietly) is this is AJ. Jason >says yes, and that AJ's reputation is obviously well known. Robin introduces >all of the people at Luke's to Kimberly. She then tells them that Kimberly >is her sister. Surprise is evident in the group. Robin tells them about the >letters & the dream. Everyone is still kinda in shock, but they are all very >friendly to Kimberly & Brenda starts up a conversation about Seattle & the >music there. Robin explanes that Brenda owns part of a record company. >Kimberly & Brenda get into an in-depth conversation & Jason goes to talk to >Robin. They start talking about Kimberly & Robin breaks down, sobbing. > >#4 - Kimberly sees Robin crying in Jason's arms. She starts to get up, but >Jason motions to her to stay put. He then borrows Luke's office to talk to >Robin. Brenda is still talking to Kimberly, who has spaced out. Brenda tells >her not to worry, that Jason will take care of Robin. In Luke's office, >Jason is trying to calm Robin down, and trying to figure out why she is >crying. She doesn't know. Kimberly knocks on the door. Jason lets her in & >leaves them to talk. Kimberly tells Robin that she may know what's wrong. >That it's her being there. Robin isn't sure. Kimberly points out that her >showing up has stired up a lot of stuff, and that it would make sense. Robin >agrees. They head out of the office. Luke asks if she's OK. She says yes & >hugs him. Then Robin asks if everyone is ready to leave, to go to Ruby's. >They all say sure & start out. Luke tells Kimberly that she is welcome >there. After they leave Mike asks Luke what he thinks about Kimberly, being >Robert's best friend. Luke says he's doesn't know, but that she has some of >Robert's fire behind her eyes. At Ruby's, everyone asks for some chili & >Ruby brings it out. She then snags Robin over to the corner & asks if she's >going to tell Kimberly about her HIV status. Robin gives her the same answer >she gave Mac. She then hugs Ruby & goes back to her friends. Later, back at >the house, the girls are coming in, laughing. Mac says he guesses he doesn't >have to ask if they had a good time. Kimberly says it was great, that she >found a place for her horses & some wonderful new friends. Mac says >'speaking of friends, Ryan called. You can take the cordless in the kitchen >if you want some privacy.' Kimberly goes into the kitchen. Robin comes in on >the end of the conversation & sits down. Kimberly is talking to Ryna about >his sister & asks him to tell her when they get the results of Katrina's >next test. She then gets off the phone & tells Robin that Ryan should be >there in a week or so, and that they think that his sister is HIV-. Robin >smiles, and then gets serious. 'Kimberly, sit down. I need to tell you >something.' Kimberly sits & says that Robin looks so serious. Robin says she >doesn't know how to tell Kimberly what she needs to say. Kimberly says she's >scaring her, to just tell her. Robin says 'Kimberly, I'm...I'm HIV+.' > >#5 - Kimberly starts crying & gets up. She runs out of the room, grabs her >coat & runs out of the house, past Mac. Robin comes after her, but Mac stops >her. He asks what happened. Robin tells him that she told Kimberly she is >HIV+ & that Kimberly just ran out. 'Should I go after her?' Mac says no. >She'll come back when she calms down. Robin says 'I hope so' & leans on Mac, >who wraps his arms around her. Down at the docks, Kimberly is crying. Jason >comes up behind her & asks what's going on. Kimberly tells him what happened >& starts crying even harder. Jason hugs her & talks to her for a few >minutes, the sugests that they go to his house because it's getting cold & >she can call Mac & Robin. She agrees, as long as he'll call them for her. >She doesn't feel up to talking to them just yet. He says OK, & they leave. >At the Q's mansion, Kimberly walks in a bit surprised & says 'I've only seen >places like this in the movies. I didn't know they actually exsisted.' Jason >laughs & Lila comes in. She says she thought he heard his voice. Jason >introduces Lila to Kimberly & goes to see if Cook will make some tea. >Kimberly tells Lila that she knows she's probably wondering more about her >(Kimberly had told Lila her that she had come looking for her father & found >a sister instead). Lila admits she's curious, but that Kimberly shouldn't >feel like she has to say anything. But Kimberly tells Lila about coming to >PC from Seattle & finding Robin. Lukcy shows up to see Emily. Jason comes >back in with the tea, and Lila decides to leave. Emily comes downstairs with >Raoul & Jason tells Kimberly about the dogs. Later, Jason & Kimberly are >walking out in the rose garden & talking about how Jason is so different >from the rest of his family (with the exception if Emily & Lila, of course), >like how he's not really into material things. Jason says that he just >doesn't like to be lavish with his lifestyle, and that he stands up to his >family when they are trying to use their power & money for things he >disagrees with. Kimberly says 'You're passionate, I like that' Jason asks >what she means. 'Well, how many people would see an almost stranger at the >docks & invite them back to their house because the person was upset. Are >you really as wonderful as you seem?' They look at each other, like they are >going to kiss. > >#6 - KImberly turns away, saying that they shouldn't be doing this, they >barely know each other, and he has a girfriend [I wrote this not knowing if >Jason & Keesha would be back 2gether]. Jason turns her back to face him and >says that nothing happened. KImberly says 'no, but we both wanted to kiss. I >still want to kiss you. I better get out of here before I do something I'll >regret. Or worse, something I won't.' She starts to run down the path to the >driveway, but Jason catches up to her & stops her. He says that runing away >isn't going to do anything. It's obvious they are attracted to each other, >so what are they suposed to do, every time the are in the same room stay in >oposite corners & not talk. Kimberly asks what else they are suposed to do. >Jason says 'we could do this' & he kisses her. Her fingers intertwine in his >hair, and then she pulls away & runs off. Jason yells after her, but she >doesn't stop. Later, she gets home & is still crying. She goes up to the >bedroom she & Robin are sharing. She aplogizes to Robin for running out & >explanes that she has a habit of running away when things get to tough, >until she adjusts to the idea. Robin says she understands. Jason called, was >worried about Kimberly. Kimberly asks what he said. 'Not much, just that you >had been there & had taken off. What's going on?' Kimberly tells her about >what happened, from the docks to the kiss. 'Then I just walked around town, >hoping to clear my head. It didn't work. Then I came back here. Oh Robin, >what am I going to do?' Robin hugs her & asks 'Do you think you can talk to >Jason about this?' Kimberly asks why he would want to talk to her after she >ran out. Robin says that there is only one way to find out, hands her the >phone & Jason's # & leaves. Kimberly calls. AJ answers. They talk for a >second & he gives the phone to Jason. Kimberly explanes to Jason why she ran >off, & starts to say that if he never wants to see her again, she >understands. He cuts her off. Of course he wants to see her, but he feels >they need to talk face to face. He's busy till Wednesday, can they get >together then? She says yes. He says he'll see her at 4 o'clock. She tells >him she's sorry about the kiss. He says he's not & hangs up the phone before >she can say anything else. She goes downstairs to talk to Robin. Robin asks >how it went. Kimberly sas it went OK & he's coming over. Robin tells her >that Jason is a wonderful guy & she'll never forget how great he was to >Stone. She tells Kimberly that there was a time that they thought they had >lost this Jason, but that he had come back. Kimberly said that she >understood. That she had been down at the docks, upset about hearing that >Robin has HIV & Jason made her understand that Robin isn't Kimberly's mom & >that she isn't going to lose Robin for a long time. Robin says 'You do know >that, don't you? I'm so healthy it's sickening.' They both laugh. Kimberly >says that she thinks she's suposed to be saying that to Robin, not the other >way around. Robin says 'Well, we can tell each other.' Kimberly agrees & >they hug. On Wed., Kimberly & Robin are in the living room, waiting. >Kimberly turns on the TV & starts to chanel surf. 'Is there anything on at >this hour?' Robin tells her to calm down, it was Jason's idea to get >together. The doorbell rings. Kimberly gets up to answer it. Katrina is on >the doorstep. Kimberly picks her up & hugs her & asks what they are doing >here so early. She then sees Ryan & hugs him, just as Jason walks into the >yard. > >#7 - Kimberly sees Jason & calls him over. They all go in & Kimberly >introuduces all of them. Jason says that it isn't the best time for him to >be there & that he'll call Kimberly. She says that he doesn't have to leave, >but he thinks he better. She walks him to the door & he kisses her on the >cheek & leaves. She goes back to Robin & Ryan. Katrina is on Robin's lap. >Kimberly sits down & Katrina goes over to her & asks if Robin is really her >sister, like Ryan says, because she didn't have a sister in Seattle. >Kimberly assures her that Robin is her sister. Robin tells Katrina that they >have cookies in the kitchen & they go to get some. Kimberly asks Ryan why >he's there so soon. He says that he thought she might want her stuff, so >they just came straight there. Kimberly doesn't belive him. 'OK, I missed >you. And I'm having a hard time with Katrina alone.' Kimberly says she >missed him too & asks how Katrina is, health-wise. Ryan says she has to keep >testing, but if the results of this test are clear, she's most likely fine. >Kimberly starts crying. Ryan asks what's wrong & she tells him that Robin is >HIV+. He hugs her. She says that it's amazing how when she needs him, he's >always there. He asks her how she's settling in. Fine. Katrina comes out of >the kitchen with some cookies in her hand. Kimberly says 'hey you, put down >those cookies & give me another hug.' Katrina does & tells Kimberly that one >of the cookies is for her. Mac comes in. Robin comments that they were'nt >expecting him for another hour. Felicia came in, so he left. He & Ryan >introduce themselves. Mac is glad that Kimberly will have her things & her >friends, for as long as they can stay. Ryan says he has no time to be back. >Mac asks where they will be staying. Ryan doesn't know. Mac offers to let >them stay there. Ryan gratefully excepts. Kimberly asks about her horses. >Ryan has someone bringing them for him. Katrina asks if they are going to >stay with Kimberly. She says yes & they go out to get the stuff out of the >truck. Robin hugs Mac, who says that having Katrina around will be great. >They then go help bring in stuff. After dinner, they are talking in the >living room. Katrina has fallen asleep & Mac is getting tired. He takes >Katrina up to Kimberly's bed & goes to bed himself. The doorbell rings, it's >Jason. He asks Kimberly if she can go for a walk. She says yes & tells Robin >& Ryan that she's going. They go to the park. Jason says he's going to tell >Keesha he wants to see other people. Kimberly asks how she's going to react >to that. Jason says he knows she won't be happy, but he doesn't want to feel >gulity every time he kisses her. And he kisses her. Back at the Scorpio's, >Robin & Ryan are talking about how Ryan & Kimberly met. She says that he has >gone through more than she could imagine having to deal with. He asks, >didn't you lose your parents? She says yes, but not the way he lost his, or >she lost Stone. She takes his hand. 'It's hard' 'Yes, it is, but that's why >I'm so gratful for Kimberly.' He intertwines his fingers with hers. 'And it >looks like I'm going to be pretty gratful for you too. > > END >--------------------------------------------------------------------------- >*FOC Andy - Keeper of the memory of Valentines Day '96; Keeper of the >ability to salvage bad dates >*FOC Antoino's Vulnerable Side >*FGC Jason - Keeper of the Eternal Friendships > >***Try to spend your life in happiness. Each day just say 'I love you.' *** > **Ekaterina Gordeeva** >--------------------------------------------------------------------------- > ------------------------------ Date: Tue, 9 Apr 96 19:44 EDT From: "Elisa E. Beshero 814 862-8914" To: blake@albion.com Subject: Help! I'm stuck in an Ulroian Eggshell! Message-Id: <9604092346.AA25490@uu6.psi.com> Hey! I haven't heard from blake@albion.com since roughly march 27th! That includes messages I thought I posted! I'm assuming I was somehow dropped from the list, so I tried resubscribing, and I still haven't heard anything! IS ANYBODY OUT THERE??? (:-O --Elisa ------------------------------ Date: Tue, 9 Apr 1996 23:24:20 -0500 From: brackett@tribeca.ios.com (G.L. Brackett/D.K. Means) To: blake@albion.com Subject: Re: hello.. Message-Id: Content-Type: text/plain; charset="us-ascii" dear ignorant in calgary: ignorance is only unacquaintance. just read and do so through the eye and not with it. you have, if you choose, a great journey ahead of you. p.s. how 'bout "van the man" in the Band's "The Last Waltz"? ------------------------------ Date: Wed, 10 Apr 1996 10:49:35 +0200 From: P Van Schaik To: blake@albion.com, epstein@dickinson.edu Subject: Plato & Milton -Reply Message-Id: I can't agree with Jon Epstein's comments because the `shadow' and `spectre' are part of the zoas and emanations of Albion only after his fall or succumbing to `Sleep' - they have to be discarded , together with all the other trappings of `Empire' and masqueardes of the Selfhood before Albion can arise from `Sleep' and recover his four-fold beauty and wholeness of humanity. Blake does cheirish the individual - but not the Selfhood. Pam van Schaik, RSA ------------------------------ Date: Wed, 10 Apr 1996 12:19:27 +0200 From: P Van Schaik To: blake@albion.com, virtual@leland.Stanford.EDU Subject: Pam van Schaik -Reply Message-Id: Dear Matthew, Thank you so much for your encouraging response and the insight into Newton's alchemical and kabbalistic interests - which are most pertinent to the book I'm writing on Blake and the Kabbalah. What you say creates visions in my mind of Blake having a very merry time with Newton at the Golden Feasts of the Lamb in Eden - and I'd wager that he has probably discovered even Bacon to be quite a convivial fellow. Yes, I would be delighted to publish what I wrote on the Vine on-line - but would need a little time to type up the ms on computer. As I'm new to this, please advise me as to how to proceed after doing so. Do I simply send the paper to all subscribers of Blake @Albion? After doing so, could I still offer it to an ordinary journal? (I ask this only because Unisa's "Myth and Symbol" has expressed some interest in it. As this, however, does not cater to specialists in any particular field, I find your invitation far more appealing if a choice has to be made.)) I visited Stanford long ago when I arrived penniless, practically, in the USA. The English Department was kind enough to offer me a graduate assistantship or financial aid providing that I could acquire residency in California, but as my Green Card only came through months later, I journeyed on - to Boulder and Chapel Hill - and never managed to return. Pam ------------------------------ Date: Wed, 10 Apr 1996 13:25:29 +0200 From: P Van Schaik To: blake@albion.com Subject: Re: Milton Opera Update -Reply Message-Id: Dear Dana, Your plans for the Milton opera are probably far too far advanced for this note to be relevant - however, several years ago, I wrote a masque for stage based on Blake's own words and dealing with Albion in Eternity and how his Spectre rises on him and turns eternal spring into winter. John Beer read it and thought it would make a good opera if someone could be found to set it to music. It is based on all of Blake's poetry, however - not just "Milton", but does, I think, deal quite clearly with Blake's theme of the Fall. Perhaps someone out there would like to produce it as a masque or opera? I'd like to share this, but would also like to preserve copyright. Can one reconcile these two aims, online? Pam van Schaik. ------------------------------ Date: Wed, 10 Apr 1996 09:42:01 +0200 From: P Van Schaik To: blake@albion.com, ERF@alum.uhs.edu Subject: Golgonooza -Reply Message-Id: Edward, Thanks for the interesting feedback. I think we all are invited by Blake implicitly to contribute to the building of Golgonooza , in this world of time and space, but by far more than artistic endeavour. I think Los's labours are equivalent to gathering together again the scattered divine sparks - an image which is central to kabbalistic thought on how to recover our pristine divine humanity. This is why he so ardently labours at his Furnaces - his work is to restore Albion to the life and warmth which were his in Eternity before Urizen's misapprehension of good and evil caused all the radiances of his bosom to be scattered into the void. Los, as I see him, continually smashes the perpetually forming delusions which are created throughout Urizen's deep `Sleep' of the soul and the course of human history. I think that one of Los's prime endeavours is to reconcile Mercy and Justice (which one could see Palamabron and Rintrah as representing) - since this is to reverse the process in which Urizen allowed stern Judgement to prevail over Mercy. I think Los also creates the world in a better image than the spectral, mathematical, inhuman and imperfect fallen worlds created by Urizen as he falls through 27 vortices (or `Heavens'), clutching his massy books of law. That is, I see Los as the creator in "Tyger", and see his work as reinvesting fallen creation with some of its lost `symmetry'. I'm sure that Los can smile his work to see - though creating earth is rather like creating Golgonooza. But Los also, it seems to me, perpetually wages war with his warmth against the cold, contracting, negative force of Urizen and all his cohorts. So, this is why I take exception to the very narrow pronouncements of most critics that Golgonooza is the city of Art - or that when Los and Enitharmon work together, this is merely a flash into Blake's life in which his wife helped him to tincture his aritistic visions. I am really enjoying the challenge of this list - where I teach here, one can sail along comfortably without much vigorous mental sparring of the sort which Blake described as the intellectual wars of Eden. Pam van Schaik, Unisa ------------------------------ Date: Wed, 10 Apr 1996 09:27:30 CST From: "Edward Friedlander, M.D." To: blake@albion.com Subject: Re: Golgonooza Message-Id: <23E845B5967@ALUM.UHS.EDU> Glad to see that somebody else is using the word "overdetermined" with respect to Blake's names. I argued, years ago, that Blake's names are overdetermined, as are his other difficult symbols, and that this is because they originated as did inspirations, dreams, and "the voices". Wish there was a way to measure "overdetermination". Bromion might want to do this; Urizen would not find the subject interesting! ------------------------------ Date: Wed, 10 Apr 1996 09:53:06 CST From: "Edward Friedlander, M.D." To: blake@albion.com Subject: "City of Art" Message-Id: <23EF20E64D8@ALUM.UHS.EDU> Today the word "art" has a limited meaning. I got in trouble once for saying "There's a real art to making a good glass microscope slide". The fellow replied indignantly, "I'm not an artist, I'm a professional." A shame. For Blake, "art" covers the range of human creativity, and the "city of Art" (which is what I called Golgonooza yesterday) is (at least) the total of human efforts to build a better world. What did the word "art" mean to Blake's contemporaries? Perhaps something more inclusive than it does to my histology technician, and perhaps something less-inclusive than it did to Blake. -- Ed PS: Being a pathologist... I can't do much with yon winged fly, but I can see worlds on a glass microscope slide. Blake would have relished today's preparations, too. ------------------------------ Date: Wed, 10 Apr 1996 11:44:24 -0500 (CDT) From: RPYODER@ualr.edu To: blake@albion.com Subject: RE: Golgonooza -Reply Message-Id: <960410114424.4020dd55@ualr.edu> Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT On Los's work on judgement and mercy, look particularly at _Jerusalem_ plate 42, where Los and Albion argue about whether righteousness is more a question of justice or mercy. These terms were apparently a standard part of discourse of religion in the 18th-century (and obviously not just then), but it is useful to note that Fielding had used these terms to distinguish between Tom Jones and Blifil, and to define the possibilities for reconciliation between Tom and Sophia at the end of the novel. My point is that Blake's characters are certainly concerned with the tension between mercy and justice, but that he did not invent this discourse. rpy ------------------------------ Date: Wed, 10 Apr 1996 13:45:01 -0400 (AST) From: Chantell L MacPhee To: blake@albion.com Subject: The Doors Message-Id: Content-Transfer-Encoding: 7BIT I would like to thank everyone who sent me personal email messages regarding my request for information about Morrison and The Doors. I would like to thank Penn Hackney for the file also. Thanks Chantelle MacPhee ------------------------------ Date: Wed, 10 Apr 1996 14:56:18 -0500 (CDT) From: Greg Sturgeon To: blake@albion.com Cc: blake@albion.com Subject: Re: Golgonooza Message-Id: Content-Type: TEXT/PLAIN; charset=US-ASCII On Wed, 10 Apr 1996, Edward Friedlander, M.D. wrote: > Date: Wed, 10 Apr 1996 09:27:30 CST > From: Edward Friedlander, M.D. > To: blake@albion.com > Subject: Re: Golgonooza > > Glad to see that somebody else is using the word "overdetermined" > with respect to Blake's names. I argued, years ago, that Blake's > names are overdetermined, as are his other difficult symbols, and that > this is because they originated as did inspirations, dreams, and "the > voices". > > Wish there was a way to measure "overdetermination". Bromion might > want to do this; Urizen would not find the subject interesting! > > Since i haven't shown my ignorance today, I thought I'd give it a shot now. I am familiar with Althusser's notion of "overdetermined" but have only recently been introduced to Freud's. Which kind (if either) are you talking about here? Greg Sturgeon c647679@showme.missouri.edu enggreg@showme.missouri.edu http://www.missouri.edu/~c647679/ ------------------------------ Date: Wed, 10 Apr 96 18:02:47 -0700 From: Seth T. Ross To: blake@albion.com Subject: if you're bounced from the Blake list (was: Help! I'm stuck in an Ulroian Eggshell!) Message-Id: <9604110102.AA11129@albion.com> Content-Type: text/plain > I'm assuming I was somehow dropped from the list... IS ANYBODY > OUT THERE??? Dear Blakeans: As the Blake list has grown, so has the number of problem email addresses on it. All kinds of things can go wrong with Internet mail and Internet accounts. Sometimes people abandon their accounts without unsubscribing. Sometimes adminstrators make slight changes to mail server configurations that throw off delivery attempts. Sometimes transient problems cause mail to be returned undelivered. These problems impact the operation of the Blake mailing list. It's not unusual for me to log in Monday morning and find 100 bounced mails in my mailbox. Those of you who have posted may have noticed bounced mail coming back at you. If an email address bounces enough times, the mailing list software will automatically remove it. Other times, I'll go in and manually cut a problem address from the list. If this happens to you, do not despair! Simply open a new subscription by sending mail to blake-request@albion.com with the word "subscribe" as the SUBJECT of the message. As always, to leave the list, send a mail to blake-request@albion.com with the word "unsubscribe" as the SUBJECT of the message. Cheers, Seth Ross List-maintainer -------------------------------- End of blake-d Digest V1996 Issue #32 *************************************