Tag Archives: Buddhism

Fights All Over Cuxhaven

Among the catalogue of rumors about HCE in I.3 comes this sentence:

A wouldbe martyr, who is attending on sanit Asitas where he is being taught to wear bracelets, when grilled on the point, revealed the undoubted fact that the consequence would be that so long as Sankya Moondy played his mango tricks under the mysttetry, with shady apsaras sheltering in his leaves’ licence and his shadowers torrifried by the potent bolts of indradiction, there would be fights all over Cuxhaven.

The most interesting thing I learned from the annotations is that Cuxhaven is a real place! It’s a German port where an air-raid was conducted in World War I. On an initial read, I assumed it was a made-up name meant to sound like “cucks haven,” which is an appropriate name for the fallen world in Finnegans Wake.

Read on for thoughts about this haven for “cucks,” which I connect to the idea of the deathbed.

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On the Deathbed

I recently underwent minor surgery, during which I had to be put out. Everything went fine, and I am perfectly well recovered now. Looking back, my overall impression of the experience is dominated by how much waiting I had to do. I got dressed in my hospital gown and lay down in a bed and waited.

While waiting, I remarked to the editor of this blog — I was extremely fortunate to have her by my side through the entire ordeal — that one day (hopefully far in the future) I would be in a hospital bed just like this, except it would be my deathbed.

Read on for some thoughts about the deathbed in Finnegans Wake and the need to accept our mortality.

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Stop! You’re Under (Esthetic) Arrest!

This post considers Stephen Dedalus’s notion of “esthetic arrest” from the end of Portrait of the Artist as a Young Man, Joseph Campbell’s connection of this idea to the Hindu concept of “maya,” and the development of Joyce’s style in Finnegans Wake.

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It’s Plurbin’ Time: Pluribus and Finnegans Wake

Vince Gilligan’s latest show, Pluribus, is a departure from his previous hits, Breaking Bad and Better Call Saul. Eschewing the crime drama and action associated with those earlier shows, Pluribus takes a premise that sounds like an episode of The Twilight Zone or Black Mirror and uses it as the backdrop for gorgeous cinematography and scenes of impressive performances from Rhea Seehorn, who often has the challenge of acting alone in a scene or with one or two other actors who are playing essentially brainwashed people with little personality.

It is also Gilligan’s first show to mention Finnegans Wake by name!

Read on for my thoughts about Pluribus, its relationship to the Wakean theme of the “Fortunate Fall,” and some musings on whether the show can be read as a criticism of Communism, Capitalism, Buddhism, Christianity, or something else.

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