Beachy Head and Valery

John Bjarne Grover

See the story of the Beachy Head landslide in this file. It looked really like a miracle - the tall white cliff fell down and crashed into the sea and formed a way out to the lighthouse some distance out in the sea. It can be observed that it seemed to interpret the title poem "We may coincide" from TEQ - which also can be seen to contain the main elements of "My mention e Anna" about the form of being.

After my Endmorgan Quartet was completed with 16 books (the last being this 'I tell you, Estunates', cp. the lighthouse of Eastbourne) in 2008, I wrote the blue meter (POLAKK English Bloggi) in 2008-2010 and the red metre was completed with my book "My mention e Anna" - in three parts - in february 2012 (the two first parts had been self-published in 2011 and january 2012) - see this file for a brief summary of the full work - and a book edition for self-publication of 'Anna' was nearly finished when I took the following photo on 16 june 2012 soon after noon in a grove on the Danube island (with a 300 mm zoom lens, with camera nearly on the ground and without seeing what I photographed - like the end of 'Caruso', poem 19 - in 'Anna' the 20th poem is moved over to be #1 in the third part):

It is a 'threshold' filter which converts the colour photo. I used the photo for the cover to the book, not the least since there are very many and quite impressive references to the photo in the text - written months before! Here is poem #4 from the third part ('Labyrinth 101'):

This I measure and compare:
The colours and their distances
for a long walk that comes over
to London from the belgian coast.

On these bluest of autumn days
the air is white as winter stars,
as Jupiter of silvery rays
written on the side of cars.

Our time can't tell the differences
of one thing from the next -
hundred twenty four centimetres
eastwards or southwest.

This clearly is about the Caruso bull arriving in the upper lefthand corner with measurements and a little handbag - for the marital conjunction of the other two characters which constitute a blurred mirror structure of two lovers around the former 'iron curtain'. The lighthouse of Eastbourne has now been moved over to the continental coast outside Belgium or thereabout. Notice the interpretation of the title to the second part "And hang under the Justcan keys" - and the gap with the open 'womb' down to the apparently male hip region. It is in this gap that one can spot the trembling lips of a female waiting for the kiss of the 'Hitchcock' shadow (or is it a dentist?), with an eye under 'eyelid' sunglasses inside. The relationship between these lips and their correlate in the lips of 'Caruso' up left are interpreted in the poem "Poesie" by Valery from his 'Charmes'. In fact there are several interesting references to this photo in that book - most notably in 'Au Platane' - see below. In fact I took 23 photos nos. 1-23 in the grove from appr. 10:09:37 to 10:13:23 UTC on 16 june 2012, less than 10 secs per photo, and the above is #2. See below for its comments on "Au Platane" stanzas 1-6.

See below for the examples photos #16 and 17, to take but an example: This phenomenon suffices to prove that the correlation is a matter of poetry and not of politics: This is poetic and not administrative logic. Valery is mentioned in TEQ under 02.05.98 apparently for precisely the scene in these photos. It also tells that the swap of numbers 1 and 2 (of the photos) is a matter of poetic philosophy of being and not of anything resembling political 'competition': To credit a person for the work which another has done is the very opposite of such poetic logic - it is an attempt to keep it all in the linearity of the historic time, as if the necessary condition of humans were to live in the continuous doom of expulsion from the poetic reality. Could be some people feel that reality is like that - but then it does not help much to swap credits. The present study could be taken as a proof that the poetic reality exists.

Now the impressive part of the story is in the outlines of England on the map in terms of 'Caruso' and his lips around London - with the Beachy Head lighthouse and the way out to it after the 1999 landslide - which here has gone all the way over to the belgian coast, as tells my poem. I refer also to the other direction - eastwards in my poem from 'Anna' - which then could be about my book title "If you're going to Köbenhavn".

The conclusion could be that 'Beachy Head' interpreted the lines immediately before the 'title poem' to TEQ - and this title poem, signed 'The Endmorgan Quartet', interprets in fact the three main parts of the 'Anna' book on 'the form of being'. These are summed up in a short 'story' or 'event' preceding each of the three parts and represent what I call 'ontological functions' telling of how being comes into a certain form of being. Hence "Beachy Head" = "Being's Form" - how the poetic reality gives form to the historic reality. Such as in this 'thresholded' photo: It has a certain form. It is this relation between the two realities which my TEQ is about.

The Beachy Head landslide could be telling of the poetic reality if it told about this photo of mine - taken more than 13 years later. The photo is not only about the book 'My mention e Anna' - it can be recognized in The Endmorgan Quartet as well. See e.g. TEQ 13:103 "Visitor, visitor" relative to its 'mirror poem' #590 counted from the beginning (one counts hebrew fragments in the last four books - hence TEQ books 16+15+14+13+motto = 206+66+207+213+1 = 693 hebrew fragments mirroring the 693 poems in books 1-10, ending with 'the ten commandments' mirroring the motto fragment from the Talmud), which means that the mirror poem to #590 counted from the end is "Oh grant if I'm gay!" from book 9, commenting on the direction of the Beachy Head landslide, including "Why should London be magical / and the rest of the world de-magical? / That's the key!". See also TEQ 16:103 and poem #104 (in book 2) "Do you have any idea" (to Luke 24:40) for further comments on the ontology.

It seems that the relation between the Caruso lips of London and the austro-hungarian or even transylvanian lips are of much importance - see Valery's poem "Poesie" on that. I add the photo I took from the Danube riverside in 2006 - on the same place but on the other side of the river:

Has the fish been carried all over the sea from the other side? This seems to make for a christian-jewish interpretation of the same two lips, here meeting in a single one in the belly or 'navel' of the fish, representing the important issue of the relation between greek and hebrew in my TEQ. This photo could be seen to be about the famous poem "Le cimetiere marin" from Valery's 'Charmes'.

Here is the same scene photographed from another angle - notice the 'wild duck', who here apparently has not a heart of stone - for the idea that this should have anything to do with politics:

But the eastern 'lips' of the 'belly' (which should not be taken in any 'matrixtone' sense of it) relate also to other parts of the photo, such as here by the eye behind the lefthand sunglass relative to the lamb in the mid part turning into a pram in 'Labyrinth 101' poem #18:

Inside my mouth
there's in a gape
a twig of growth
attached to grape.

In distant omen
man and lamb
give in to woman
with a pram.

One can notice that Caruso and the two lovers of the european continent are in good shape as long as the lights are on, but as soon as the threshold is lowered towards more darkness, such as mentioned in TEQ 2 "Closes real down", the short dreaming hours, the scene turns into a miserable state of intrigue and jealousy which could serve to split the unity:

On 29 May 2012, which was before I took the photo, I took the train from Vienna to Budapest to register the manuscript to 'Anna'. As I was somewhere between the mid point Györ and Budapest, a disastrous earthquake went off with epicentre in the Modena district appr. 124 km southwest of Venice, just south of Medolla. In fact it seems that there are 123 km from the epicentre to Murano in Venice - but not 124, as in my poem above. One passes 124 km if, though, one stretches it beyond the epicentre towards San Lorenzo and Carpi. (There are roughly 124 km from Vienna to Györ and from Györ to Budapest, in railway distance there are 132 km from Vienna to Györ and 131 km from Györ to Budapest Keleti PU). See first poem under 'The other side of the mirror' in TEQ 4.

Whether this means that the earthquake was 'poetic' or 'political', I don't know, but clearly if the 'rockpedo' exists it could have been a bomb for interpreting my poem when I was on the way to register it. One notices that the photos I took in 2006 (the fish) and 2012 seem to tell of many modern political mythos-elements, even if that must be considered a misinterpretation relative to the primary ontological meaning. An important one could be just this ENGLAND BOGHOLE (from the rewrite of 'ENGLAND/FYLLHOR' and 'ENGLAND/MOoRLOCH'), cp. also the 'boldog' Caruso above, which seems to be the basis - via 'Bauchhöhle' - for the idea of 'William Matrixtone'. Could be, therefore, that the whole Sapuleiu complex is contained in this story. It must be understood, as Valery also is concerned with, that these are poetic matters which politics should not try and hijack. Could be the story since at least 1850 (or even the french revolution and Napoleon) is about this confusion. Ideas about mythos roles of Christ vs Satan can be made on basis of the 'lips' of the fish photo - and it is important to understand these matters right - to see them in the right light. I do hope that I am being credited for my work and that I am not classified as a disabled indulging in drinking and whoring (= 'FYLLHOR'). I notice Genesis 18:5 and the algerian earthquake when my parcels arrived in England by post from Vilnius in late may 2003 and three men came to my place to say something as the train travelled through Kent (this story hopefully not related to the terror in Oslo). There was also an even more disastrous earthquake in Wenchuan in China when a book of mine which I sent there arrived in the country.

With 'My mention e Anna' of 2012, the literary work is probably finished - with studies of the form of place, time, writing and being.

Valery's "Au Platane" from his 'Charmes'

I took 23 photos in the grove on the Danube island in the course of less than 230 seconds: I just stepped in, held the camera nearly on the ground and photographed without seeing what was in the picture. The 23 photos, run through a 'threshold' filter which leaves every pixel either white or black, can be enumerated 1-23 in the order they were taken: These seem to interpret Valery's poem with much exactitude. For photos 16 and 17 relative to the text, see comment in 'Caruso' on their alignment being 'compsede' - and it can be argued that the photos relative to the text really go in couples throughout: 4-5, 6-7... 22-23. That is an example telling that poetic logic provides another understanding of the interrelationship between elements of the historic reality. Clearly if people should think that it be about a secret code for controlling causality in such matters, then they could think that it is Satan who is out with his magic, but that is only if they believe that the historic reality is the only one and that the poetic does not exist. For a poet, it is rather the other way round: The poetic reality is primary and it is the source of the historic reality. Here are the 23 photos aligned with the corresponding parts of the poem (source is Valery: 'Gedichte' on Suhrkamp 1988) - it is the whole poem in its true order of lines:

Photo 2: Click here for photo 2
Tu penches, grand Platane, et te proposes nu,
     blanc comme un jeune Scythe,
mais ta candeur est prise, et ton pied retenu
     par la force du site.

Ombre retentissante en qui le même azur
     qui t'emporte, s'apaise,
la noire mère astreint ce pied natal et pur
     à qui la fange pèse.

De ton front voyageur les vents ne veulent pas;
     la terre tendre et sombre,
ô Platane, jamais ne laissera d'un pas
     s'émerveiller ton ombre!

Ce front n'aura d'accès qu'aux degrés lumineux
     où la sève l'exalte;
tu peux grandir, candeur, mais non rompre les nœuds
     de l'éternelle halte!

Pressens autour de toi d'autres vivants liés
     par l'hydre vénérable;
tes pareils sont nombreux, des pins aux peupliers,
     de l'yeuse à l'érable,

qui, par les morts saisis, les pieds échevelés
     dans la confuse cendre,
sentent les fuir les fleur, et leurs spermes ailés
     le cours léger descendre.

Photo 1: Click here for photo 1
Le tremble pur, le charme, et ce hêtre formé
     de quatre jeunes femmes,
ne cessent point de battre un ciel toujours fermé,
     vêtus en vain de rames.

Ils vivent séparés, ils pleurent confondus
     dans une seule absence,
et leurs membres d'argent sont vainement fendus
     à leur douce naissance.

Photo 3: Click here for photo 3
Quand l'âme lentement qu'ils expirent le soir
     vers l'Aphrodite monte,
la vierge doit dans l'ombre, en silence, s'asseoir,
     toute chaude de honte.

Elle se sent surprendre, et pâle, appartenir
     à ce tendre présage
qu'une présente chair tourne vers l'avenir
     par un jeune visage...

Photo 4: Click here for photo 4
Mais toi, de bras plus purs que les bras animaux
     toi qui dans l'or les plonges,

Photo 5: Click here for photo 5
toi qui formes au jours le fantôme des maux

Photo 6: Click here for photo 6
     que le sommeil fair songes,

Photo 7: Click here for photo 7
haute profusion de feuilles, trouble fier
     quand l'âpre tramontane

Photo 8: Click here for photo 8
sonne, au comble de l'or, l'azur du jeune hiver
     sur tes harpes, Platane.

Photo 9: Click here for photo 9
Ose gémir!... Il faut, ô souple chair du bois
     te tordre, te détordre,

Photo 10: Click here for photo 10
te plaindre sans te rompre, et rendre aux vents la voix

Photo 11: Click here for photo 11
     qu'ils cherchent en désordre!

Photo 12: Click here for photo 12
Flagelle-toi!... Parais l'impatient martyr

Photo 13: Click here for photo 13
     qui soi-même s'écorche,

Photo 14: Click here for photo 14
et dispute à la flamme impuissante à partir

Photo 15: Click here for photo 15
     ses retours vers la torche,

Photo 16: Click here for photo 16
afin que l'hymne monte aux oiseaux qui naîtront,

Photo 17: Click here for photo 17
     et que le pur de l'âme
fasse frémir d'espoir les feuillage d'un tronc
     qui rêve de la flamme,

Photo 18: Click here for photo 18
je t'ai choisi, puissant personnage d'un parc,

Photo 19: Click here for photo 19
     ivre de ton tangage,

Photo 20: Click here for photo 20
puisque le ciel t'exerce, et te presse, ô grand arc,
     de lui rendre un langage!

Photo 21: Click here for photo 21
Ô qu'amoureusement des Dryades rival,
     le seul poète puisse

Photo 22: Click here for photo 22
flatter ton corps poli comme il fait du Cheval
     l'ambitieuse cuisse!...

Photo 23: Click here for photo 23
- Non, dit l'Arbre. Il dit: Non! par l'etincellement
     de sa tête superbe,
que la tempête traite universellement
     comme elle fait une herbe!

PS The photos can probably be verified, even if the growth of the vegetation, the long lens and the sensitive light makes it impossible to take the same photos. I took the photos in the grove on the Danube island appr between U-Bahn station Donaustadtbrücke and the train station Lobau, appr on the diagonal between Donaustadtbrücke and Praterkai station - there is what looks like a surveillance camera or something like that on top of a low pole in the roadside at the main road going through the mid of the island: The grove is across the street from this gear. I could not find the place again but think it was somewhat up to the right when seen from the installation, direction Lobau.

© John Bjarne Grover
On the web 11 July 2012
Last updated 24 october 2021