Canon and Theme: Notes on Belief and the Loss of Magic

“What do you think is become of the art of forcing the thunder and celestial fire down, which the wise Prometheus had formerly invented? ‘Tis most certain you have lost it; ’tis no more on your hemisphere; but here below we have it. And without a cause you sometimes wonder to see whole towns burned and destroyed by lightning and ethereal fire, and are at a loss about knowing from whom, by whom, and to what end those dreadful mischiefs were sent. Now, they are familiar and useful to us; and your philosophers who complain that the ancients have left them nothing to write of or to invent, are very much mistaken. Those phenomena which you see in the sky, whatever the surface of the earth affords you, and the sea, and every river contain, is not to be compared with what is hid within the bowels of the earth.”

―Rabelais, 1534

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“There are not many persons who know what wonders are opened to them in the stories and visions of their youth; for when as children we listen and dream, we think but half-formed thoughts, and when as men we try to remember, we are dulled and prosaic with the poison of life. But some of us awake in the night with strange phantasms of enchanted hills and gardens, of fountains that sing in the sun, of golden cliffs overhanging murmuring seas, of plains that stretch down to sleeping cities of bronze and stone, and of shadowy companies of heroes that ride caparisoned white horses along the edges of thick forests; and then we know that we have looked back through the ivory gates into that world of wonder which was ours before we were wise and unhappy.”

―H. P. Lovecraft, 1922

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“It had taken him years, and much conniving, to get access to the mighty, and more trickery still to learn which of them had dreams of magic. When pressed. He’d used the jacket, seducing those who fawned upon potentates into revealing all they knew. Many had no tales to tell, their masters made no sign of mourning a lost world. But for every atheist there was at least one who believed; one prone to moping over lost dreams of childhood, or to midnight confessions on how their search for Heaven had ended only in tears and gold.”

―Clive Barker, 1987

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“See, this is my opinion: we all start out knowing magic. We are born with whirlwinds, forest fires, and comets inside us. We are born able to sing to birds and read the clouds and see our destiny in grains of sand. But then we get the magic educated right out of our souls. We get it churched out, spanked out, washed out, and combed out. We get put on the straight and narrow and told to be responsible. Told to act our age. Told to grow up, for God’s sake. And you know why we were told that? Because the people doing the telling were afraid of our wildness and youth, and because the magic we knew made them ashamed and sad of what they’d allowed to wither in themselves.”

―Robert R. McCammon, 1991

The Canon ― Rabelais’ Gargantua and Pantagruel

Excerpt: Gargantua and Pantagruel, by François Rabelais

What do you think is become of the art of forcing the thunder and celestial fire down, which the wise Prometheus had formerly invented? ‘Tis most certain you have lost it; ’tis no more on your hemisphere; but here below we have it. And without a cause you sometimes wonder to see whole towns burned and destroyed by lightning and ethereal fire, and are at a loss about knowing from whom, by whom, and to what end those dreadful mischiefs were sent. Now, they are familiar and useful to us; and your philosophers who complain that the ancients have left them nothing to write of or to invent, are very much mistaken. Those phenomena which you see in the sky, whatever the surface of the earth affords you, and the sea, and every river contain, is not to be compared with what is hid within the bowels of the earth.

―5.XLVII

The Canon – Brown’s Life Against Death

Excerpt: Life Against Death, by Norman O. Brown

… it is a Freudian theorem that each individual neurosis is not static but dynamic. It is a historical process with its own internal logic. Because of the basically unsatisfactory nature of the neurotic compromise, tension between the repressed and repressing factors persists and produces a constant series of new symptom-formations. And the series of symptom-formations is not a shapeless series of mere changes; it exhibits a regressive pattern, which Freud calls the slow return of the repressed, “It is a law of neurotic diseases that these obsessive acts serve the impulse more and more and come nearer and nearer the original and forbidden act.” The doctrine of the universal neurosis of mankind, if we take it seriously, therefore compels us to entertain the hypothesis that the pattern of history exhibits a dialectic not hitherto recognized by historians, the dialectic of neurosis.

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Brown, Norman O. Life Against Death: The Psychoanalytical Meaning of History. Middletown: Wesleyan University Press, 1959.

The Canon – Barker’s Weaveworld

Excerpt: Weaveworld, by Clive Barker

Nothing ever begins.

There is no first moment; no single word or place from which this or any other story springs.

The threads can always be traced back to some earlier tale, and to the tales that preceded that; though as the narrator’s voice recedes the connections will seem to grow more tenuous, for each age will want the tale told as if it were of its own making.

Thus the pagan will be sanctified, the tragic become laughable; great lovers will stoop to sentiment, and demons dwindle to clockwork toys.

Nothing is fixed. In and out the shuttle goes, fact and fiction, mind and matter woven into patterns that may have only this in common: that hidden among them is a filigree that will with time become a world.

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Barker, Clive. Weaveworld. New York: Poseidon, 1987.

The Canon – Camus’ Myth of Sisyphus

Excerpt: “The Myth of Sisyphus”, by Albert Camus

If the descent is thus sometimes performed in sorrow, it can also take place in joy. This word is not too much. Again I fancy Sisyphus returning toward his rock, and the sorrow was in the beginning. When the images of earth cling too tightly to memory, when the call of melancholy rises in man’s heart: this is the rock’s victory, this is the rock itself. The boundless grief is too heavy to bear. These are our nights of Gethsemane. But crushing truths perish from being acknowledged. Thus, Oedipus at the outset obeys his fate without knowing it. But from the moment he knows, his tragedy begins. Yet at the same moment, blind and desperate, he realizes that the only bond linking him to the world is the cool hand of a girl. Then a tremendous remark rings out: “Despite so many ordeals, my advanced age and the nobility of my soul make me conclude that all is well.” Sophocles’ Oedipus, like Dostoevsky’s Kirilov, thus gives the recipe for the absurd victory. Ancient wisdom confirms modern heroism.

One does not discover the absurd without being tempted to write a manual of happiness. “What! by such narrow ways–?” There is but one world, however. Happiness and the absurd are two sons of the same earth. They are inseparable. It would be a mistake to say that happiness necessarily springs from the absurd discovery. It happens as well that the feeling of the absurd springs from happiness. “I conclude that all is well,” says Oedipus, and that remark is sacred. It echoes in the wild and limited universe of man. It teaches that all is not, has not been exhausted. It drives out of this world a god who had come into it with dissatisfaction and a preference for futile sufferings. It makes of fate a human matter, which must be settled among men.

All Sisyphus’ silent joy is contained therein. His fate belongs to him. His rock is his thing. Likewise, the absurd man, when he contemplates his torment, silences all the idols. In the universe suddenly restored to its silence, the myriad wondering little voices of the earth rise up. Unconscious, secret calls, invitations from all the faces, they are the necessary reverse and price of victory. There is no sun without shadow, and it is essential to know the night. The absurd man says yes and his effort will henceforth be unceasing. If there is a personal fate, there is no higher destiny, or at least there is but one for which he concludes is inevitable and despicable. For the rest, he knows himself to be a master of his days. At that subtle moment when man glances backward over his life, Sisyphus returning toward his rock, in that slight pivoting he contemplates that series of unrelated actions which becomes his fate, created by him, combined under his memory’s eye, and soon sealed by his death. Thus, convinced of the wholly human origin of all that is human, a blind man eager to see who knows that the night has no end, he is still on the go. The rock is still rolling.

I leave Sisyphus at the foot of the mountain! One always finds one’s burden again. But Sisyphus teaches the higher fidelity that negates the gods and raises rocks. He too concludes that all is well. This universe henceforth without a master seems to him neither sterile nor futile. Each atom of that stone, each mineral flake of that night-filled mountain, in itself forms a world. The struggle itself toward the heights is enough to fill a man’s heart. One must imagine Sisyphus happy.

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Camus, Albert. “The Myth of Sisyphus”. The Myth of Sisyphus & Other Essays. 1942. Trans. Justin O’Brien. New York: Vintage, 1955.