1-Page-Classics

{|[ 1-PAGE-CLASSICS ]|} A Compendium Including Original Works and Interpretations of Eastern and Western Classics ACKNOWLEDGEMENTS ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: First I would like to thank Hannah and Michael, my parents, for their intellectual inspiration during my childhood, and their conscious or unconscious efforts to bring me into the New Haven, Connecticut community from their home places in the South; Next I would like to thank the children I grew up with, for their intelligence and cultured mentality, particularly my Jewish friends (although I am not Jewish) including especially the Berger Family, who once took me on a vacation to Israel, which has been inspiring for the writing of classics; I am grateful for the translators from Europe and the East who have made texts available for scholars and students, such as the work of Friedrich Nietzsche and Lao Tzu particularly, who seem very insightful at this distance from the original; I am also thankful for the many gurus and rojis of the Eastern traditions, who perpetuated the first secrets and inklings of knowledge, which has come to me in the form of several kinds of translated works, including sutras; I have also a kind of abstract gratitude for the many prospective works that were considered for this volume, including such potential monstrosities as The Trap-Door Spider, and The Clay Chair, that taught me how “dust to dust”; Finally, I am grateful for the friends that I have had, and especially the staff at Authorhouse who made this publication possible; On, to the introduction:: INTRODUCTION ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: This book is intended for Café and Xerox culture. I came to a junction in thought where it had to be obvious that some books are products of very specific problems, whereas others embody solutions without qualities, leading to a position in which there is a quality imperative, and an additional imperative for solutions to the specific problems of writing. The problem is encompassed in the Western notion of the academic universe; It consists of the relative-center, the ambiguous-miscellanea, madness which needs to be explained, and some sort of categorical description of “totality;” Explaining each of these elements atomically sheds light on the nature not of what needs to be included, but what needs to be excluded from writing that is suitable. This is not because it is non-academic, but because it needs to make none of the errors affiliated with intellectual books. Instead of using pre-set rules or working from a tradition, what I intended to do was work without precedent, but in doing so, I engendered a special kind of frustration, because inevitably traditional works are that to which originality is compared; So I set out to define my own set of rules, that would integrate traditional and extemporaneous writing; The relative-center is a way of contending that a point needs to be made. Without a point, the content lacks texture; texture is a virtue in writing. Secondly, ambiguous-miscellanea implies that a method is required; writing should explain or elucidate methods without making any further assumptions. But what must be clarified is its “madness;” Madness may be defined as paradoxical; this usefulness lends a foundation of rationality to what otherwise may appear as a “floating island” however au passé fantastic that may seem; Finally, category is the capacity to construct labels or icons for what I have already explained, be it construed as an example or a systemization. It is the need to define an archetype, as much as it is the need to relate the previous components: Point, Method, and Paradox. Working retroactively, a usefulness may be found first for the label, then for a paradox, next for a method, and finally for “the point.” This becomes the working method for literature that may or may not be academic, as a twist to induce a new “anxiety.” After all this, it may be said that a “point” is a “culture” in which associative thinking fully applies: ink, and spices, computer code, and the reactor core are all active metaphors. If paradox is the opposite of sensation, then there is a claim that writing could not construe “anything.” Neutral categories would dominate all successful writing. But writing is casual enough to construe some label, say “a weekend,” or “a conversation.” These sorts of elements become interesting through the use of categories; With that in mind, there is no problem with paradoxical (and even academic) thinking. Instead it serves as a battery, a mitochondria, for “further derivatives,” “incidents,” “occasions.” It has momentum. It is for method of some kind---be it [1] a point [2] a method [3] a paradox, or [4] a category---to adduce that it has a point. In other words, returning to our earlier vocabulary, the method may have a “madness,” but as easily it may have “a system,” “a coherency [a category]” or simply a sensation of one of these things. In this way, my Classics acquired meaning, of a form that embodies either systems, the properties of potential systems, the problems of forming properties, or the properties themselves. These correspond to the four areas of the intellectual tradition. Based upon these four categories, I have allowed my project to encompass a vast conceptual space, while simultaneously containing many potential interconnections and “mutual self-natures.” But let me begin again with the idea that I am a genius. “A continuous succession of correspondences”: What would mark the beginning of what I called an “intellectual schizophrenia”, a period of profound insight that for three years went uninterrupted by any medication; I found my mind “broken by thought” and tested ideas of post-modern deconstruction against a razor of pure intuition and the sacredness of immortal knowledge; I reveled in the idea of being rather than becoming a post-Nietzschean “madman”; For me the violence of the world was really to be enacted on a subtle level, an uncompromising Leibstrung which I compared to high-speed computing and the inculcations of prior epiphanic history; Genius was an aperture to all that is real and good; No politics, no archeaology, and no history could amount to anything without a seed from that visionary bird; Lightning could strike, and without a divine word, mean nothing, repeal stingily; so that one mote remained in the mind: The seed of literature, the art of knowing, the way of philosophy, borrowed from so many dark corners of forgotten history, or equally, born new from the mind, with every resemblance of a new history, a new rigor, a new chastity, entirely separate from the workings of those who would not see it, or to the Romantics, “drink it”, or write it :: NOTES ON CONSTRUCTION ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Some example has been taken from the nursery rhyme “The House that Jack Built” as a theory of compact volumetric lucidity; You may find unconscious iterations of this idea are present in the form of writing adopted in many places. By comparison, other sources such as 1001 Arabian Nights, were used as a context of inspiration that was not useful for formatting, but instead was used with generalistic importance to inspire entire themes, while not influencing specific modes. In contrast to the “Arabian Stories” approach and the “Jack Built” approach, philosophical works comprise a large part of the volume, through their own independent intelligence, which occasionally inspires a still further category, of the avant-garde literature that has structure as a sole means of explication.