The writer’s journey. Christopher Vogler. Michael Wiese Productions.
La búsqueda del héroe es un patrón que parece extenderse en varias direcciones, describiendo más de una realidad. Entre otras cosas, describe muy acertadamente el proceso de un viaje y las partes necesarias de una historia, las delicias y horrores de ser escritor y el paso del alma por la vida.
By a great forest dwelt a wood-cutter with his wife, who had an only child, a little girl three years old. They were so poor, however, that they no longer had daily bread, and did not know how to get food for her. One morning the wood-cutter went out sorrowfully to his work in the forest, and while he was cutting wood, suddenly there stood before him a tall and beautiful woman with a crown of shining stars on her head, who said to him, “I am the Virgin Mary, mother of the child Jesus. Thou art poor and needy, bring thy child to me, I will take her with me and be her mother, and care for her.” The wood-cutter obeyed, brought his child, and gave her to the Virgin Mary, who took her up to heaven with her.
There the child fared well, ate sugar-cakes, and drank sweet milk, and her clothes were of gold, and the little angels played with her. And when she was fourteen years of age, the Virgin Mary called her one day and said, “Dear child, I am about to make a long journey, so take into thy keeping the keys of the thirteen doors of heaven. Twelve of these thou mayest open, and behold the glory which is within them, but the thirteenth, to which this little key belongs, is forbidden thee. Beware of opening it, or thou wilt bring misery on thyself.”
The girl promised to be obedient, and when the Virgin Mary was gone, she began to examine the dwellings of the kingdom of heaven. Each day she opened one of them, until she had made the round of the twelve. In each of them sat one of the Apostles in the midst of a great light, and she rejoiced in all the magnificence and splendour, and the little angels who always accompanied her rejoiced with her. Then the forbidden door alone remained, and she felt a great desire to know what could be hidden behind it, and said to the angels, “I will not quite open it, and I will not go inside it, but I will unlock it so that we can just see a little through the opening.” “Oh no,” said the little angels, “that would be a sin. The Virgin Mary has forbidden it, and it might easily cause thy unhappiness.”
Then she was silent, but the desire in her heart was not stilled, but gnawed there and tormented her, and let her have no rest. And once when the angels had all gone out, she thought, “Now I am quite alone, and I could peep in. If I do it, no one will ever know.” She sought out the key, and when she had got it in her hand, she put it in the lock, and when she had put it in, she turned it round as well. Then the door sprang open, and she saw there the Trinity sitting in fire and splendour. She stayed there awhile, and looked at everything in amazement; then she touched the light a little with her finger, and her finger became quite golden. Immediately a great fear fell on her.
She shut the door violently, and ran away. Her terror too would not quit her, let her do what she might, and her heart beat continually and would not be still; the gold too stayed on her finger, and would not go away, let her rub it and wash it never so much.
It was not long before the Virgin Mary came back from her journey. She called the girl before her, and asked to have the keys of heaven back…..
Mañana gris.
Aleteo.
El tiempo se escurre en un gorgoteo.
Había una vez una pequeña isla a dónde franceses y españoles llevaron personas a las que habían secuestrado… ¿Para qué? Para trabajar hasta la muerte en las plantaciones de azúcar. Hasta que doscientos años después, los franceses se inventaron un cuento: el de la igualdad. Ese cuento lo escucharon las personas de la isla…
Y como esta historia la escuché con Diana Uribe y se llama: Haití, 220 años de la Independencia; se las dejo. Algunos cuentos de colores no deberían existir.
https://go.ivoox.com/rf/123652691
TEMPATION AND THE LAW
Religion aside, sin might bring us the legal consequences know as divorce, fines and criminal convictions. Misdeeds need to be paid for. Stare at our blood stained hands… Hence the temptation’s conflict: I won’t be caught. I enjoyed doing it but now I’m paranoic looking over my shoulder. I’m so bloody happy I don’t give a bone on consequences… Till there’s the sight of the avenger-law (which lately requires vigilantes to fulfill the role against corporatives and the long etcetera).
This is why temptation plot is propaganda plot. Plot reveals the moral code of the writer. Writers, we can’t strip from our morals when deciding the ruling idea. We can strip of it at the time of thinking like a character but never when choosing the ending.
MORAL CODES
Our plot has a different moral code? We will need a scene to show how it works. Or many. Explanations are in need so we can understand the character’s choices. Author’s moral is not the only thing on sight. There are Earthly and local codes ingrained to the core of the narrative.
«Evil» varies in scale. In Brimstone and Roses (webtoon, yet to be finished), it is illegal; not immoral, to summon a devil. Temptation can be something as bland as crossing the lines of illegality…
Specially if we can universe crossover. Like in Parallel (movie, 2018), where parallel universes do exist and we can find dead lovers, inventors or artists living in similar economies and social environments. All reachable by special entrances in mirrors.
What’s the temptation? Sell advanced and potentially lethal technologies to the military in OUR universe. Shoot yourself to dead to be with the already deceased lover. Steal your own novels from the other me… More talented. The movie accepts little to no punishment… If you don’t take being killed by your dopple ganger as punishment. I mean, you are you, right?
FAIRYTALES
Temptation is the great topic of fairy tales. «Don’t do» and doing follows. Blue beard’s wife opens the door. Now we have the corpses and the plot thickens.
Ronald B. Tobias exemplifies temptation in a Grimm’s fairytale I haven’t found in the Porrua edition[1]: Our Lady’s child. A tale I might add to the next entry.
Are you tempted to like the entry? Please do. Or not; you might find the corpses. Pasto kalo.
[1] For your information and even if you haven’t requested it, Porrua is a thrifty Mexican publishing house which prints the most famous and popular books in a tiny typography and Bible paper (the super thin kind).
Cadena.
Punto alto
Cadena.
Y las repeticiones no las explico,
No es un libro de patrones.
Hexágono, seis puntales.
Sakura.
Más cadenas.
Flores.
Estas historias que realmente podían cambiar la vida de las personas, las grandes historias creadas antaño, no fueron creadas de autor como las de hoy en día donde un solo individuo se dedica a ellas. Evolucionaron natural e instintivamente a través de procesos inconscientes de tradición oral. Y, tanto si comenzaron como historias verdaderas [recolección de hechos supongo] o inventadas, siguieron vivas durante mucho tiempo en el boca a boca y esto se convirtió en la principal dinámica detrás de su creación.
Stealing fire from the gods. Chapter 3, introduction. Michael Bonnet. Michael Wiese Productions.
Suponiendo que no haya grandes historias que cambian la vida de la personas… Suponiendo eh, porque luego resulta que llegan los barbudos rubios a salvarnos. ¿De qué nos salvan? Ni idea pero llegan a salvarnos.
Hablando de las grandes historias estaba yo. Las grandes historias no son grandes porque sean geniales. Más bien porque perduran como tradiciones (ya sea porque por ahí realmente existo un autor que las introduce de tapadillo o porque se filtran de alguna parte).
Ejemplo: los tres reyes magos
Cuando uno escucha a Ikram Antaki hablar de la historia, uno se entera en principio de que en Arabia no hay oro, geológicamente imposible (ahí el oro es negro). La mirra llegaba de otro lado como parte de la ruta de la seda. Del incienso no me acuerdo pero tampoco era muy realista esperar incienso.
Eso para empezar. Luego tenemos que los sujetos en cuestión eran astrólogos. A los astrólogos se les llama magos. ¿Pero cómo iban a llegar unos simples magos? Niet. Hay que adornar eso. Si queremos revestir a nuestra divinidad de jerarquía terrenal, no pueden ser unos simples individuos que saben de estrellitas. Tienen que reinar. Reyes entonces.
Los tres eran blancos. El eurocentrismo a lo que da. No, no. Hay que demostrar que esto es universal. Entonces que uno sea africano, uno árabe y uno europeo. Ya tenemos una historia de divinidad universal con jerarquía terrenal. Vaya, un cuento de los buenos.
¿Los nombres? Son mucho más recientes. De cuando los niños empiezan a contar como niños y no como meras larvas humanas, o al menos se comienza a ponerles atención.
En conclusión, si que existe una creación de fábulas colectiva. Participamos de ellas repitiendo lo que sabemos y transmitiéndolas. Con mucho, la diferencia entre estas historias y las de autor; es que las de tradición oral cuentan con cientos de años para pulirse y la participación espontánea de autores anónimos y algunos no tan anónimos (léase encuentros ecuménicos). Las de autor son responsabilidad de un solo individuo y deben escribirse en tiempos récord de seis meses.
¿Cómo simular el pasar de los siglos para mejorar una historia? No lo sé. Por lo mientras, pásala bien en el tiempo limitado que pasas con tus personajes. Pasto kalo.
SIN, EVIL OR STUPID?
Temptation is the prelude to sin. The usual mortal sin like gluttony, sloth (maybe this one does really count), rage, lust… Seen as something immoral or stupid. Nowadays mostly the stupid.
The YouTele video which keeps us from cooking a proper dinner, irresistible chats with a friend instead of writing, reading BL, planting evidence. Steal what’s on sight but nobody will notice. Not to pay taxes. Eat the extra bit of donut which goes off your diet by 5000 calories.
TEMPTATION PLOT
Welcome to the decadent, forbidden flavoured plot called temptation. Ronald B. Tobias (20 master plots) starts the explanation opening the chapter by quoting Oscar Wilde and mentioning the superstars of Christian-hebrew narrative plus a sliding animal. I won’t.
I will mention though, the two only outcomes for this plot.
Either the character resists or succumbs to temptation. Maybe we can make a second plot up called Redemption out of succumbing to it.
THE DEED’S DONE
Conscious there, the Erinyes come and torment us with their whips. If not them; karma does its job —a cute and endearing way of believing politicians will meet their demise for using our taxes gilding their home doors or that the hideous neighbour might step on dog’s excretions for playing too loud music in parties we’re not invited to. For religious people, consequences to sin go from arriving to an overly warm place (where to burn, be disjointed and other delicacies) to ice avalanches, reincarnation into a goat-ant-insect or whatever the imagination their highest priest can craftily conjure. In a few words, the best crafted storytelling to incite fear.
TO BE CONTINUED