In those feels only this can calm
Kenneth Anger, Invocation of My Demon Brother (1969)
The word is out: we’re making Winter Soldier and these are Marco Rudy’s pages from the first issue.
Two big interviews with me have dropped in the past two days. The first is an interview with Abraham Riesman at Vulture.com. We talk about ghosts, inequality, Winter Soldier…lots of things. The second one, at CBR, also includes Marco Rudy’s answers. The Vulture interview is where we float around — the CBR interview is more focused on Winter Soldier.
So it’s, in some ways, a metaphor about trying to be a new kind of American in the world? One who doesn’t see the rest of the world as a threat, but more as an opportunity to learn?
You’re entirely correct. I never wanted to glorify war in the first place, and I believe I never did in anything I wrote. But now I’m getting from a place about war to places that are about much more. So, yeah, I’m doing that with Zero, and doing that with a completely different scale — an intergalactic scale — with Winter Soldier.
So, talking about Zero: Has Zero gone the way you planned, or has it—
You laughed, so I don’t think I even need to finish the question.
How much of a plan did you have going into Zero, and how much have you deviated from it?
How much of my life went as I planned it? Zero. [Laughs.]
- Desire by John Whiteside Parsons, written for Marjorie Cameron
Peyote Vision, Marjorie Cameron Parsons Kimmel
A façade (pose, attitude) can be useful as a superstructure under which the reconstruction of the ego can go on. Its terrible danger lies in its use as a retreat, a defense behind which a mutilated ego burrows deeper and deeper into darkness. The real need is always for more contact – more understanding both with ourselves and others – the problem is always one of communication and the façade presents just that.
To explain ourselves ably and sincerely – to understand – to communicate – is the greatest art – the greatest pleasure. The true showman, again, needs no façade, he is sure of himself. His effect – his staging, is actually his greatest truths, the reality is in the nuance. But this is not a façade, it is art, and façade is never art – only prop."
- Jack Parsons to Marjorie Cameron
Thinking is a language, language is words and the world is a literary creation. That is why a dash of humbug is necessary for any real success, humbug raised to the pitch of fine art. That is why art finally gets bored with its own perfection and winds up deliberately distorting itself – seeing how far it can go in the ludicrous and still keep touch with perfection.
It is all a question of spiritual vitality – of maintaining contact with the secret center that assures us that everything is really a high lark. The weaker sink down and are absorbed, the stronger may sink, but they pop up again with a new and better angle.
The secret strength is actually in death, in the link with eternity we wear in our bones. Our true self moves in life and death, in eternity and duality, as we move in sunlight and shadow, and with as much concern. We dance to the pipe of Pan, whether we know it or not we dance, and the last and greatest truth is the joy – the pure, sheer joy of the dance. On the face of the Dancing Shiva at Delhi someone has carved it – some music – some words open a window on infinity and we look suddenly on Arcady. Only the cry – the whine of the self keeps us from it – forgetting that, and we step into it as easily as across the door. Remember this, my dear – what your Karma has put upon you no one knows but your deep self. It may be to set the world on fire, or to know – to keep your counsel, and be at peace and in joy. But none of these are to be sought after. It is only to know yourself – to find yourself – to be yourself. That and that alone is the way.
From one of Jack Parsons’ letters to Marjorie Cameron, “Dear Candida.” Circa 1950.