Recently, an academic friend of mine asked me to provide a scholarly review of a work he had just completed, claiming that it was incomplete without illumination but that his own powers of explanation were incomparable to my own. Although it was a difficult piece and I am a humble man, it was also deeply compelling and I took up the task whole-heartedly. What follows is a product of our combined efforts.
A Journey into the Mind
A Journal by Tungsteun S Ventrice
- with scholarly interpretation provided by prof. Boxers S Branahin
March 18th 12,004
- in the original manuscript, the second 0 in the date has been circled and annotated with ‘maybe?’. The implication here is that this is a timeless journey – that although it was made in dark times (alluded to by the possible 1204 date) it could just as easily have occurred in the distant future.
I begin this most auspicious of auspices on the penultimate promontory of my abode’s most present precipice. Dreaming of double dishes and rabbits’ wishes.
- the first line is indicating that he was sitting in the sun on his front steps while writing. The second line was written because it sounded nice – Mr. Ventrice was not actually dreaming of anything at the time as he was, in actuality, awake.
Hark yon yearning youth wend a whimsical wanderous walk – westward my wayward waste-less whelp, wean weeks of wonder wordlessly without.
- here the author was attempting to speak in the old style as depicted in poorly-researched movies. It should also be noticed with curiosity how naturally this foppish style is supported by the letter ‘w’.
And with that he was off.
- here the author means to indicate that he has now set off on his journey
Pretty, importunate pork-chop, pray praise this precious perjury.
- this is a continuation of the alliteration theme established earlier. It is uncertain who or what the addressed ‘pork-chop’ is and it should be simply regarded as the general audience. The claim of a ‘perjury’ implies that this essay might be a false writing, but it is described as ‘precious’ indicating that perhaps it is a necessary falsehood or an endearing fault.
Fuck the French. Up until the Norman invasion English lyricists penned poetry of alliteration not rhyme - a French invention
- the intention of this statement is to question the established norms of poetry. Why must poetry rhyme? If the intention of poetry is to give writing physical form in addition to the conceptual form, why must the physical form be that of a rhyme? Alliteration has been suggested as a counter example and may also provide some clue to the impetus behind the previous instances of alliteration.
-Mr. Ventrice is here experimenting with the words ‘invention’ and ‘invitation’. The purpose is manifold. First he is exploring the tendency of words to lose their meaning under deep scrutiny. Second, he is exploring the concept of the ‘addition’ of similar words and has discovered that, in their overlap, these two words reveal his own name (vent -ventrice). They could have revealed “wine” (vint) if he had given dominance to the ‘i’ instead of the ‘e’. He seems to have chosen the ‘e’ because of the precedent set by ‘indentation’.
bobcat bunny barf (a “3-stack”)
- here the intrepid author’s travels had brought him upon a lump of regurgitated animal hair. Inductive reasoning revealed that the source of the hair was bunny (bunny being the most plentiful prey species in the area) and the source of the regurgitation was bobcat (bobcat being the most logical predator species).
The definition of ‘3-stack’ gives name to the syntactic creation: evidently a 3-stack is a series of 3 words, each beginning with the same letter, and collectively forming a single noun.
It smells like I’m in an 18th century oil painting – a sunny center to a shady panorama – a distant rustle and a fresh menthol bite on the breath.
- this is a challenge to the sensory dominance of vision. Tungsteun suggests that a painting be able to communicate more than just the literal image, that it conveys an entire experience. Interestingly, though, he mentions not a single smell – this suggests that all senses are one, that smells may be imagined associatively through other senses.
‘sunny’ and ‘shady’ imply both sight and touch, ‘rustle’ implies hearing, and ‘menthol’, taste (the cause of this was the spearmint gum he was chewing but apparently he found it appropriate to the oil painting analogy).
Is literary comprehension the 6th sense? - Depth of metaphor and communication.
- he suggests that the ability to create mental form and association is a sense, in league with sight, smell, touch, taste and hearing. If our senses are how we interpret the world, is not our mental capacity for interpretation a sense in itself?
To ‘understand’ orgasm you must be high or stupid.
I must be high
- this works on 4 levels (he tells me so)
1. He is high, therefore he is not stupid
2. He has discovered a deeper understanding of ‘orgasm’
3. Most people do not actually understand the things they take for granted that they understand, such as orgasms. The moderately intelligent over-think primal things and subsequently miss their ‘meaning’ (thus why nerds often make poor lovers). Therefore truly understanding animal instincts is left to those who live only through them (the animalistic and stupid) and those who understand them (the enlightened or ‘high’ of mind ); ‘High’ being used as a comparative parallel to ‘enlightened’ (an opposite of stupid) therefore, he is an enlightened observer
4. Or, ‘High’ may be understood to be a parallel to stupid; i.e. drugged, and therefore he is stupid and thus in touch with his animalism.
The kestrel falcons are back oh why won’t they cease their continual teasing of my continued impotence to know their name?
- he has noticed some predatory birds which he has been unable to identify for quite some time. He uses a name for them that is a combination of two different birds of prey.
Impotents –> impotence
Impotentance –> impotence
- he has noticed that the fictional word 'impotents' and 'impotence' are near-homonyms and indicates that although they are similar, it makes more sense to think of the origin of the word as: ‘impotentance’.
Perfect temperature is late afternoon, naked to the sun in 71 degree, one percent windy air – enough to cool but light enough to allow a gentle waft of odors, further a mile away.
- once again, he is painting a scene through use of alternative senses, he is hoping to convey his sense of physical bliss through an association to a particular combination of sun, temperature and air motion. The wind is evidently just barely discernable, and he claims to have been able to smell things a mile away.
I smell like denim and dusk and sun-honeyed hair.
- again, sensory overlap and association
I can see through the eyes of the ‘square’
- he is saying that he is strengthened by his ability to observe both objectively and subjectively (through the eyes of the less-enlightened, the dull and average). That it is important not just to see things as they really are, but to be able to empathize with the common perception, so that your understanding can better serve you.
I will not remember every thought I have – not even a fraction of the infinite.
- Tungsteun is acknowledging that the mind processes many minute thoughts every moment and that most are not remembered for more than the brief moment that they pass through. Memory is a selective process.
Idiots could find the brilliant disgusting
- Idiots are incapable of recognizing brilliance, therefore they are just as likely to find it appealing as disgusting. The ostensible form is what the idiot sees, but the ostensible form does not necessarily speak for the true nature of a concept.
When left alone to crawl into my own mind, thoughts are strange and self-inducing. Is this the first time I’ve been alone?
- Here he is stating that outside influences have a strong impact on the thought process. We are social creatures and by that nature dissocialized concepts are foreign to us. The entire thought process changes if one is removed from society for any great length of time. A man alone for weeks, lives entirely within his own thoughts. The natural, social considerations of our daily existence are well warranted, but that there is an entire, forgotten mental paradigm is something of an unsettling allowance to make.
I can see gossamer green gleam on my black shirt sheen.
- he has returned to the idea of poetic form with something which is both alliterative and rhyming and, in the glossy shine of sun on his black shirt, he sees green, perhaps in an effect something like a mirage on a hot day..
In the good ole’ days people used to get ‘cooking in their underwear’ stupid.
- the implication is that now’adays people are too uptight to be foolish in such a silly manner and that something good has been lost in this. The modern stupidity takes a more banal, expected form. Is perhaps socialization stronger now, and people are more fearful of breaking social norms? Considering the cyclical nature of history, in referencing the ‘good ole days’ of social light-heartedness, Tungsteun probably had a particular period in mind.
The image before the message for I am an artist and not the advocate.
- Mr. Ventrice appears to be anticipating this, future, scholarly exploration and is claiming that in creating something, the artist’s primary concern is the presentation of the subject and secondary is the conveyance of his agenda. With the assurance that documenting the message would be the responsibility of another (myself), he was free to focus on the crafting of his words. Presumably, this statement is something akin to “don’t put the cart before the horse” –ie. 'don’t love the garden before the flower', or 'learn your craft before your art'.
Interesting Choice of Punctuation
- this is an illustration of the memory conventions the brain uses. Much like the Platonic concept of ideal forms, for every physical concept, a definition resides somewhere in the brain. In this case it is the definition of the substance a red bell pepper is made of. Objects or concepts that conform to that definition are ‘linked’ to it, so that thinking of these objects, causes a recollection of their definition or ‘form’.
In the first diagram, ‘peppers’ and ‘pimento’ independently point to the common form. In the second diagram, a mental bridge has been created; now, starting at one subject, the mind can freely travel to the form and then up to the other subject. The creation of this ‘mental bridge’ occurred when the mind realized that a pimento is actually just a tiny piece of pickled pepper. The two subjects already pointed at the same definition, but they did not link to each other and thinking of one did not trigger a thought of the other. After the mental bridge, the two subjects are freely associated.