After building his mythology in Ægypt and Love & Sleep, Crowley now takes time to work within it in this, the third book of four. He also becomes more explicit about the structure of his universe, although it is sometimes hard to know if he is presenting the architecture of his fictional reality, or simply being "literary" in his references. The mood is dark and autumnal, with persistent themes of melancholy, possession and failure. And yet not unrelievedly so: young Sam is rescued, Pierce bitterly discovers some self-knowledge, and the new age is forming.
We discover the secret of Robbie, Pierce's imaginary son and sexual fantasy. He is Eros, a little Cupid come to prepare Pierce for Rose. We can guess that one of Pierce's forgotten wishes was to be "possessed" by Love, and so he has been, to a demonic extent. His steamy domination of Rose ("laughing aloud like devils delighting") has ended and left him wrecked. How is it that magicians always know they must avoid being caught in their own spells, yet they always are? Pierce thought he was the master, but after Rose has escaped his bondage and become bound to the Powerhouse cult, she says "That was made up. That was just a game."
Rose is still a mysterious character. She has much more inner life than in the previous books, but remains strangely dreamy, pliable, afflicted with poor memory.
Crowley draws for us a gnostic cosmology where the human soul originates in the "realms of light" far beyond this world we know, in which we have become entangled by love and sleep and forgetfulness. Here we are oppressed and kept in bondage by uncountable spirits more powerful than we who keep us from returning to our proper homes. "All the angels are fallen angels." In the end, Dee realizes that it is best to have nothing to do with them. "The gods are sustained by human tears."
Crowley sometimes implies that "possession" is a metaphor for melancholy, for purely mental troubles. But psychological states themselves seem to have, at best, merely metaphorical status. What is the difference between a "syndrome" and a "devil"? Freud was the epitome of Science a century ago, but seems much less so now, since it has been noticed that his works contain no testable hypotheses.
The Powers seem quite real in this book, and the despised Powerhouse is one of their venues. Pierce is terrified that they may have real magic, as indeed they seem to have. They send him a warning nightmare, and are able to tune in on Rose when she is pondering that possession might be more like external domination, something one could cast off and escape from. Mike Mucho phones, interrupting her. "Just thought I'd call." Then she has lost her train of thought. (She also knows when Pierce is calling her, shortly thereafter). Beau has been keeping an eye on them, and in combating them he sacrifices himself.
The emphasis by the Powerhouse (and by many real Christian sects) in casting out evil spirits and replacing them with holy spirits is here given ominous accent as another variety of demonic possession. When "all the angels are fallen angels" then holiness does not result from inviting a spirit in. Bobby commits her murder after being exorcised.
Although he sets up plot expectations for the next book, not all seem very promising. Sam as a magical child? Bruno surviving the fire somehow? He spent so much time building up expectations about the black chest, and now he seems to have decided it isn't so.
I again wonder if Crowley despairs of carrying through his project. As the ghost of Fellowes Kraft laments:
Well I've failed. I failed. Yes I think that's evident now...The conception was just too huge, the parts too many. No matter how long it was let to go on, it got no closer to being done...I so much wanted it to knit...Past and present, then and now. The story of the thing lost, and how it was found. More than anything I wanted it to resolve. And all it does is ramify...I'm so sorry. Well at a certain point invention flags, you see; you begin to repeat, helplessly. You keep coming upon the same few conceptions over and over, greeting each one with glad cries, yes! Yes! The way on! Until you realize what it is, oh here I go again, the same story again, as ever. And you feel so damned...I just hope...we won't all be in here forever, and none of us able to move up, or down.If this reflects Crowley's attitude toward his own work, I wouldn't be surprised if he simply pulled the plug and moved on to other work. I didn't expect Dee and Bruno to die until the fourth book. I would hate to see him give up, and yet I also want the story to resolve, and amount to more than coils of self-referential literary conceit. I sense a flagging of energy, as when he feels obliged to end each section with a Meaningful Passage. In this book Crowley is at his best in little aspects: further details of Little Enosh, radio station WIAO, and the tremendous explication of astrology.
And yet. Recall the remarkable, unforeseeable, inexplicably wonderful endings of Engine Summer and Little, Big. Might he step off into an entirely new, startling direction for the resolution? That would be worth waiting for. I see one such possible breakthrough: the closed, claustrophobic gnostic universe is not the only one imaginable. Recall that in a previous book Pierce thought of God as a nine-year-old girl. Now he has had a semi-conscious dialog with her and receives the message that has been traveling toward him from infinity since the start of the story: "Wake up." But I doubt if Crowley will make a transcendental turn; it doesn't seem like him. He also comes up with such dull epigrams as "The tale has no author." (Is that the sort of thing he thanks Harold Bloom for?)
Mysteries:
One last tidbit. Pierce finally remembers the lyrics to "Bobby Shaftoe":
Bobby Shaftoe went to seaBut I found these in a 1921 grade school songbook:
Silver buckles on his knee
He'll come back and marry me,
Handsome Bobby Shaftoe.
Bobbie Shaftoe's one year oldCrowley must be familiar with these lyrics, given the constant dog and wolf imagery applied to Bobby in the second book.
Bobbie's eyes are bright as gold
And his nose both pink and cold
Little Bobbie Shaftoe!On the rug he loves to doze
Then he wakes and off he goes
Stepping on his cushion toes
Pretty Bobbie Shaftoe!Bobbie Shaftoe's black and white
When it's dark his eyes are bright
Like two lamps set in the night
Pretty Bobbie Shaftoe!Bobbie's very fond of fun
Round and round he'll frisk and run
Now I ask you everyone
What is Bobbie Shaftoe?
3 | PROLOGUE On the bus to Conurbana. 7-Uxor: wife, marriage, partnership, divorce 8-Mors: death 9-Pietas: religious observances, voyages The theme will be autumn melancholy. Just after the passage time. Did we know that Val is a barkeeper? |
4 | First book: Spring. Second: Summer. |
5 | Pierce knows that his choices make the new world. What
had he done? |
6 | Common reality: Heraclitus' xynon? The fable of riding the bus. |
11 | UXOR The passage time as end of the world. Some pass into the new world while others still live in the old. Omens. |
12 | Sam's illness cured Rosie's void. Allan Butterman's car: Tigress. |
13 | Sam's second seizure on the passage night. Is Gothic a plain style of lettering? |
14 | Sam's "old house", resembling the castle, an old barn,
a trailer on blocks. |
15 | Fellowes Kraft's plans for a Shakespeare festival at
the castle. Almost put on Marlowe's
Faustus. |
16 | Sam's mother and father sat on thrones. She had a
hundred tiny sisters who lived in a ball. Angels? |
17 | A joke: ghosts at the castle. |
18 | The secret geometry of the landscape; will no longer
exist in the future. |
19 | Pierce sitting with Beau on the passage night, the
autumnal equinox. Moving to the house in Littleville the
next day. |
20 | The confusion of inside and outside, dreams and
reality. |
21 | Rose rolled her car on the passage night. "Real, though, usually." What? Is Rose's hair black? I thought it was red. |
22 | Rose's car: little red Asp convertible. Her loaner: a
Terrier or Harrier. Her frequent gaps in memory. |
23 | Rose a quick drunk. |
25 | Pierce has told Rose about Robbie, as if he were real.
And why is he still hanging around? |
26 | Pierce's car: a Steed. |
27 | Beau: "We know there is." His group? Rose's accident a suicide attempt. |
31 | Pierce's ms Part I & II correspond to Crowley's
first two books in this series. He began to write when Robbie appeared. Rose may be responsible also. Why does Rose call the bedroom "Invisible"? |
32 | Rosie's dream of flying. |
33 | Brownie: an elf-doll? |
34 | "You little. You big." Kraft title: The Company. Boney's ghost. Standing before the front door? |
35 | Boney's car: a Buick. Rosie's (Mike's): a Bison station
wagon. Boney left everything to "his old girlfriend, Una Knox". |
36 | Rose studying her Climacterics. She will be 28. |
37 | Mike Mucho the current inventor. He is Rose's "former lover". Fantasy of Peru. One more dead. |
38 | Pierce's idea of Climacterics as a spiral up a
mountain. Good day to get her hair cut. Pierce's anecdote of Helvetius and the alchemist. 1666. |
39 | Rose "laughed at first." Did he punish her? |
40 | The game of Telephone, pushing anecdote towards
clarity, wonder and exemplum. Pierce's three types of readers. |
41 | Quoting Hegel, but proposing that Nature also changes.
Many Ages, long or short, the previous one ending about the
time of Helvetius. The current one ending now. |
42 | Pierce plans to conclude in his book that the changes
are inside, a truth about human nature, not external
Nature. Patients' cars: Foxes and Jaguars. |
43 | Mike: a Powerhouse convert. Ray talks about the passage time. |
44 | Christian power over demons. Healing by casting out
demons. |
47 | Rosie feels that Mike has been "replaced". Did the
"real" Mike get off of the bus? |
49 | Mike offers Pascal's wager. Rose always asks "What'll I do?" as opposed to Pierce's "What have I done?" She fears the loss of Being. |
50 | Mike extorts Rose. |
51 | Rosie's childhood cough. |
52 | Bobby Shaftoe: nurse's aide with big hair. |
53 | Sam suffered from Mystery Shrieking as an infant. |
59 | Reversing the relativity of motion |
60 | Rose prays and regains her lost hour. Animating spirit, consubstantial with the soul. Telepathy |
61 | Pierce cheats, pretending to use magic on Rose. He's
been spying. "Laughing aloud like devils delighting." Pierce "examines" Rose. |
64 | Is Pierce's "Soft Voice" related to the faith-healer's
techniques? |
65 | What's in the bag? What does he do to her? He hears a
narration of his actions. |
66 | Was Rose really at the porno film shoot? Has Pierce
invented that and is it now real? Is this a Crowley
self-reference, the changed plot element? |
67 | Pierce felt warned to flee. |
68 | He thinks his fetish is not inside himself. |
69 | Rose is aroused by fire and fireworks. Sex is innocent, power is not. [But: what is it Pierce has with Rose?] |
70 | "They're not from here" -- the healers. |
72 | Rose aroused by cutting her hair. |
73 | Spirit manifested as speech or song, and as semen. |
74 | "He was now lost." |
76 | Mike cautions Rosie about the Halloween party: "you
don't know what you'll attract." |
77 | Sam "being dead" in the leaves. |
78 | Ray: parental behavior invites the demons to possess
their children. Is he accusing Mike, regarding Sam? |
79 | Ray cast out a demon on the passage night. "Time
bifurcated" for Mike. |
80 | Sam will always have epilepsy. |
81 | Is this the "moleskin-colored" crystal? Gray-brown
quartz. Her old house. What did she see in it? Her seizures
started shortly after looking into it for the first
time. "Come out." |
82 | Dee speaks briefly to Sam through the crystal. (And he
is a fiction inside the fiction). Is this the first time
for her? Dee back in England, 1592. Gray quartz stone. |
83 | Dee now has the sight but the angels are gone. How
could Madimi be in the clear stone when that was part of a
vision in the first stone? Gold making: the king inside matter becomes his own wife and bears a son. |
84 | The same process throughout the ladder of creation.
Prague the emblem of this action. |
85 | Who are Madimi's enemies? |
86 | Dee doesn't know if the spirits of the stone are wicked
or not. |
87 | Kraft's ghost looking at the ms on his desk. |
89 | Mathesis: mathematical magic. Dee and Bruno meeting twice is Kraft's invention. Historically, they never met. The secret brotherhood. |
90 | The brotherhood becomes visible during the passage
time. Some of its members are "nobodies." The Kraft ms has contradictions between Parts Two and Three. Same for the Crowley books? And did we know the ms is divided into Parts? Pierce has not yet seen the stone and does not seem much interested. |
91 | What did Kraft actually believe? Pierce? Crowley? What is the one thing from a previous age that has not lost its potency? Pierce feels a great spell working on him. Kraft's dead dog relaxes as the ms is removed. |
92 | Al-Kindi's rays. Pre-Newtonian determinism. |
93 | Picatrix. Hermes and Adocentyn. |
94 | Bruno has learned how to compel the imaginations of
other men, and perhaps of gods and daemones. He
has grown, transforming his inner cosmos. England, March, 1584. Writing Expelling the Triumphant Beast. |
97 | Love is magic. The passive love of the lover, the
active love of the magus which binds and is not bound. The
mage grows on the hunger of others. The ministers to condemned prisoners. |
98 | Two prerequisites for successful magic: (1) faith, both
active and passive, (2) the magician must not be caught in
his own nets. |
99 | The ass of useful toil, bearing the Sacrament. |
100 | Kraft bought Picatrix in Prague. What effect does it
have on Pierce and Rose? |
101 | Jean Bodin's book on demonomania. Obsession with
spirits. |
102 | Bruno vs Bodin. Cosmological vs transcendental
realities. |
103 | The willing demonic possession of the the magicians.
Mike's warning. |
104 | The Three Kings the patrons of epilepsy. Frank Walker Barr on the 16th century witchcraft craze. |
105 | Pierce believes it can never happen again. Does he have reason to believe that Hildy has lost her faith? Ars Auto-amatoria, or Every Man His Own Wife. |
108 | Pierce has told Rose he can teach her to be
invisible. Both Rosie and Spofford have had sex with Rose. |
109 | Pierce: are the possessed guilty or merely
unfortunate? Robert Burton and spirits in the bowels. Pierce constipated. Melancholics tend to be self-involved masturbators. |
110 | Grand melancholics drawn to higher things. Epilepsy one of the forms of spiritual absence. Pierce knows sex is such also. The categories of psychiatry suddenly vacant. Future healing. Pierce does not recognize his own melancholy. |
111 | Dee's burned books are returned to him. Unchanged? |
112 | Gems in the Giant Mountains. Kraft had been there when
young. |
113 | Madimi appears grown and naked. In Prague, same as near
the end of Love and Sleep. |
114 | Gold-making requires sexual potency. |
115 | Did Dee never recognize Kelley's duplicity? To what
extent did Kelley deceive himself? Using the clear stone. |
118 | Jane Dee says the angels communicate confusedly, as in
the game of Telephone. Last record of angelic conversation: May 23, 1587. |
119 | "The globe was dark, gone out." Is it lit up when in
use? The child's ball. Whose footsteps? |
122 | Dogs, stars, stones, roses. Spiritual creatures, names beginning with "B". Who or what is the daughter of Fortitude? |
123 | Kelley possessed. Good and evil spirits the same. |
124 | The Faraway Lodge includes a bar and restaurant. |
125 | Northern woods in North Dakota? "The wolves aren't wolves." |
126 | Hollow men, operated from beyond. Like the Powerhouse
member. Technical error: I don't believe M1's were used in Vietnam. First mention of Cliff. |
128 | Why has Pierce specifically studied the early autumn
constellations? Because of the story of Andromeda? Sagittarius the door by which the dead leave the earth. Barr: once the universe was made not of matter, but of time. Such a world can be replaced by another. We come into the world through Cancer. |
129 | Passing down through the spheres. Explanation of
astrology. Spofford knows his soul was created recently, locally, and is still being formed. |
130 | The boat of the soul with Cancer painted on the
sail. |
131 | Fear the complementary soul. Rose appears, of course.
Driving the Asp. Circling like an animal. |
132 | Rose's big fire. Pierce seizes her in the dining
room. |
133 | Nerve endings of the textbook homunculus. |
134 | Sexual absence of being. The erotic bond wastes away
and must be shored up. The lover attempts to become the
beloved by entering her totally. Pierce is not capable of the normal bonds of love. Why did his life in the city require a "barge" of a bed? Potion of the Sphinx (the "Gypsy") |
135 | Electric fire = Moloch's mouth. "How sweet I roamed from field to field" -- Blake. The eye is the mouth of the heart, eating Recognition. |
136 | Is it possible Rose will forget all this? Leaden star: Saturn? Rose: Terrier sedan. Exiles fleeing in the wrong direction. |
137 | Pierce thinks Rose has forgotten Climacterics. No "frankness, openness" between them. Pierce whispers stories in her ear which discover or create a new Rose. |
138 | Andromeda: The Marriage of Agent and Patient. The seal
or emblem of bondage. Rose wears a studded collar, new chains. |
139 | Who is Rose addressing: "I love you." |
140 | Rose driving the Terrier. Can't get a part for the Asp.
Wasn't she driving it earlier? |
141 | Rose seems much changed, having decided to go with the
healers. Mr. Winterhalter insists he has never seen her
before. Is this where she "got off the bus"? |
142 | "Who would you be saying this begone to?" Rose
points at him: "That little one." The imagination test. |
146 | The maze Heimarmene ("fate"). Pierce doesn't know right from left. |
151 | Pierce has sat before the Andromeda emblem too
long. Masturbation by mail. |
152 | Old Rosicrucian ads. |
153 | Rosie knows sex is for making babies. Other uses
require extra work. |
155 | Cliff seems to be a healer of some sort. An albino. |
157 | Rosie briefly sees Boney's ghost. |
158 | Pierce: all magic is bad magic. Was it so? He claims he
didn't want power over Rose, but to be her at the intense
moment. He worries: what if we went too far, to death?
Death of the Kiss. |
159 | Bruno: magicians, lovers, gods are are hunters of
souls, seeking the power to bind. Robbie was Pierce's Eros. Is he gone now? The last of the Three Wishes. He thought it was an award. The human soul is older than the gods and comes from farther away. Because we have forgotten that they have power over us. |
163 | MORS: Ember Days Kelley seems to have been replaced by a bigger man. Possessed. Hectic melancholy. |
165 | The crystal cold, vacant, gone out. Dee considers that the visions may have originated in Kelley. Bumblebee-sized elemental spirits? Dee projects his own thoughts into the crystal and speaks with Madimi for the first time. Madimi's mother (the "daughter of Fortitude"?) called Amphitrite ("Understanding"). He mother's name is Night. |
167 | Madimi can give Power but not Understanding. All the angels are fallen. By definition? She predicts the witchcraft craze. |
168 | "Do not fly from the powers into the arms of other
powers. The powers reside each inside all the others." She gives Dee a wind. Kelley's gold not good. |
169 | Dee and Kelley both make gold, easily. "Real
enough." |
170 | Dee practices with his wind, lets it go. |
172 | The witch craze. |
173 | The spirit walkers (werewolves?) who fight the
witches. |
174 | Bruno on the varieties of magic. Details of death by fire. |
175 | Dee: he who believes himself a werewolf has a form of
melancholy. |
176 | Jan, the imprisoned young man from the Giant
Mountains. |
179 | Dee's astrological treatment for melancholy. |
181 | The god Jupiter within the planet. |
182 | Jan seems to think werewolves are always men and
witches always women. They fight each other for the
harvest. The Three Kings patrons of the werewolves. |
185 | Jan thinks he is pursuing one witch. Dee thinks the
"witch" is Jan's melancholy. The witches bring back news of the dead. Only they can do this. |
186 | Jan tries to excuse the witches. Their hunger cannot be
satisfied. |
187 | Jan's spirit-journey. |
188 | The witch has the melancholiac's dark face. Is Jan also the lame boy? |
192 | Bruno and Dee's second (fictional) meeting. Invisible
shape-shifting. |
194 | Andromeda in alabaster. No freedom without bonds. |
196 | Dee tells Bruno he was warned of his coming to England
by spirits. Bruno seems skeptical. |
197 | Dee's Monas glyph. Bruno is emphatic that the One
cannot have a sign. |
198 | They see the sign glowing red. "The emptiness in God's
heart is man." |
199 | Bruno and Rudolph. |
202 | Rudolph's magi. |
204 | The chest. |
205 | Kelley chosen to do what? |
206 | Passage times all alike, like Eliade's sacred time.
Like Christmas in Little,
Big. |
208 | Bobby is afraid to sleep some nights. She can't
remember what happens. |
209 | She sees the dead man by the road. Car: Tempest, white
convertible with red top. Memories of murder. |
210 | Bobby's "kind." Like but opposed to Floyd's. No blood
of his. |
211 | She sees the dead. What do they want? |
212 | She thinks about going up the mountain to the more
perfect gospel teachers, but does not. |
213 | She turned to the Powerhouse when her dead daughter
appeared to her. |
216 | She knows that her kind are pursued by others. She is
not certain if Rose is of her kind or not. |
217 | Convertible: Stingray or Vixen. |
225 | Pierce writing about the origin of modernity. |
226 | The Powers who make the new world may use old
components. The reader's choice. Pierce has committed the unknown sin against the holy ghost. |
227 | He is appalled that so many people believe in God and
judgement. |
228 | Letter from Spofford. Cattle mutilations. Telegrams have stopped working. |
230 | The Christian cult as wizardry. |
231 | Pierce considers Christianity an "isolating, antiworld
story." He is jealous that Rose is leaving his bondage and entering another. |
234 | Chutes and ladders: going down and coming up. |
237 | Pierce claims he wanted understanding instead of power,
but knows that isn't true. |
238 | Pierce hears Rose speak in tongues. Whose language is
that? She doesn't believe it happened. |
242 | What Rose believes to be true in the world, Pierce
believes is true only in a story. |
244 | Pierce and failure; the frozen pipe. |
248 | He feels the world has grown small, with an angry
Jehovah hovering just above. |
249 | He is disgusted by the return of bigoted religion.
[But: is it different than what happened at Barnabus
College when he was there?] |
251 | His dream of the Christian intruders. His fear of real
magic. No escape. |
253 | He thinks of burning the Kraft ms, wondering if it is
the source of his troubles. |
257 | Only Val or Rosie can free Boney. Why? |
260 | Rose plays the music heard in the past, Book 1. She
thinks "Am I awake at last?" Why a black room? |
261 | Pierce assaults Rose. |
263 | His failure in having no loving compassion. The beings
of the future expect him to understand this. |
265 | On the bus to Conurbana. |
266 | He realizes how unwise his is, getting his wishes. |
267 | Bobby's car: Tomcat. Floyd is still alive. In a coma at the Catholic hospital. |
268 | She speaks to the new spirit within her. Does she
believe in it? Ray: What I tell you three times is true. Christianity as the displacement of evil spirits with a good one. The evil spirit sins, not the true self. |
269 | The Powerhouse tells Bobby her visions of the dead are
actually a melancholy within her. Like Dee. |
270 | Does she recover memories of Floyd, or invent them? |
271 | Her exorcism. Floyd saw the dead also. |
272 | The passage night. White Tempest convertible. |
274 | "What did he see?" Chutes and ladders. |
276 | Bobby has seen Floyd in the land of the dead. |
277 | It was on the passage night, with the stolen car, that
she visited him and turned him over. |
279 | Her problems are not sin, but nature. She vows to bring Floyd back, or to go and stay with him. |
282 | Pierce at supper with a dozen flesh-eating
Christians. |
283 | Retlaw O(tto?) Walter. Why a palindrome? |
289 | Pierce feels himself passing into the new world of the
Powerhouse. |
290 | Rose on their sex life: "That was made up. That was
just a game." |
291 | The coin pauses in the air. |
292 | Rose had gotten off the bus. |
294 | Bruno. The Little, the Big. Composing signs. Nox,
mother of Aphitrite. |
296 | Are the couple before black Orpheus Pierce and
Rose? |
299 | Miracles occur when the Emperor rearranges his
salon. |
306 | Dee: The end of the world comes to every man alone. |
310 | Jan the ancestor of Kentucky coal miners. |
311 | The dark and light brotherhoods. The jealous
rulers. |
312 | Beau in NYC. The Sophia handout. |
313 | What is MM? Marilyn Monroe? |
314 | Protest against the Powers means not reproducing. |
315 | Beau lived in NYC when Julie and Pierce were lovers. He
met her at MM after her time with Pierce. Julie's phone calls on the passage night. |
316 | What does she know about Pierce's fate? Who are "those
guys"? (Beau's circle). The story about something or someone needing saving. |
319 | Beau's number was not listed "of course". Why? |
320 | Pierce's fear and weakness made a world. |
326 | Who left the car part for Rose? |
327 | Rose and Mal Cichy. |
328 | Outer possession. Rose's thoughts interrupted by a call
from Mike. |
329 | Does she sense Pierce is about to call her? |
334 | An angel inside the baby. Nothing inside the angel. |
336 | Little Enosh. Snoopie Sophie. |
337 | Pierce cries while reading the comics. |
338 | Sam won't sleep in Pierce's bedroom. He thinks of her and Robbie and feels guilt. Who had he harmed? |
340 | Sam and the brown crystal. |
342 | John Dee's return to England. Marlowe's Dr.
Faustus. His life in Manchester. |
345 | He realizes the danger of calling spirits. Kelley
dead. |
346 | Kroll's threat of human sacrifice. The engine in the
box. |
348 | The year of Macbeth. |
349 | Death of Dee. Rosicrucians. |
350 | How the monas glyph and the Invisible College came to
Pierce. |
351 | Intimations of the machinery of fate. |
354 | The gods are sustained by human tears. |
355 | Pierce's childhood encounter with Bobby. Axel. |
356 | On the spiral mountain, inventing a real past. |
357 | He has forgotten whether he stole the diamond. |
358 | The long black box from Prague, kept by the
Sisters. |
360 | Pierce's failure to save Bobby the great tragedy of his
life. A task to be completed. For whose sake? |
365 | Rosie's 3-way with Rose and Mike. |
366 | Pierce and Rosie between the sheets. |
367 | Spofford "eaten by wolves." |
369 | Beau's car: Python. Previous car: Olds 88. His network.
Radio WIAO. |
370 | The Passion of Sophia exiled into the hollow of God's
heart. |
371 | Beau and the more perfect gospel bearers. |
372 | Plato Goodenough. |
373 | Beau sees human bodies as machines. |
374 | Cosmo-Marxists. The Domination System, rising above the
levels human powers to levels of other powers. Mal Cichy's and the "MM" way is by indulgence in desire. No escape in either direction. |
375 | Beau's realization that his mission takes him back to
the Faraways. |
378 | Bruno's story of the Ass. All spirits return to
Amphitrite. |
379 | Bruno in prison. |
381 | Rosie didn't like Boney? |
382 | What does her costume mean? |
383 | Boney's ghost, his longing. |
384 | What is it that frees him? Val's laughter? Rosie in the
mirror? He begins his ascent of the spheres. |
385 | Rose in Bobby's car: Tomcat. |
387 | Pierce and Kraft had read the same book, hence the
familiarity of the ms. |
392 | The awful secret evil that pervades the world. Fleeing
the Powers. |
393 | Pierce encounters Kraft's ghost. |
394 | Crowley's confession? |
395 | Kraft gives Pierce his mission. What's Mal Cichy doing at the party? |
396 | Una Nox: "One Night", Catullus: "One endless night's
sleep." |
397 | Return of Spofford, with wolf's tooth. (And one of his
own missing). |
398 | "I'll never tell. It can't be told." |
402 | Pierce's dream of the future Rose. |
404 | Beau hints that Pierce was guided to the Faraways. |
405 | For a moment Pierce remembers being in the Army. But he
wasn't. |
406 | The imagination game again. |
408 | Remaking the past: diesel fuel. |
410 | Remaking the past: breaking the windshield. Sojourn
with the shepherds that never happened. That must have been
a fantasy. |
411 | Pierce meets Bobby in Rose's apartment. |
416 | He fails again at a rescue mission, but: he has remade
the past again. The Powerhouse crew have not yet left for
Indiana. |
418 | Ray insinuates that Mike has sexually abused Sam. |
421 | The monument on Mt Randa honors Hurd Hope Welkin. |
423 | Dogs, starts, stones, roses. The types of spirits. |
424 | Pierce's young Bobby "didn't happen"? Who is the
nine-year old girl of his imagination? Knee socks, plaid
skirt. This is how he imagined God in one of the previous
books. |
425 | His awakening. He again realizes that Bobby =
Robbie. |
426 | Sam's seizure. |
428 | Spofford: Dodge Ram. "Ask for Bobby." How does Beau know her name? |
429 | Rosie had dreamed of Ray. The "succor" dream? In what way does Beau "know" Ray? Why does he want to wait until dark? Why won't he sit in Boney's office? |
430 | Is Sam's exorcism the great event which must be
prevented? Does Mike now believe he once hurt Sam? |
431 | Cliff approaches Mike. What is the question Beau
(looking like Jesus) asks Ray? |
433 | Somehow, Beau got Sam, gave her to Cliff, who gave her
to Rosie. Beau won't be coming back. Rosie weeps. Sam: "Beau made the lights go out." |
434 | Beau's role in the unwritten end of Kraft's ms.
Settling the passage time, going to Adocentyn. Is the new
age made from his substance? |
437 | Pierce/Crowley's plan for the book. |
438 | After returning from Florida. |
439 | Rose is going to Peru after all. |
440 | The tale has no author. But neither do we create the
stories. |
441 | The innermost spark of knowing and the outermost
knowing. |
442 | The three wishes. Spofford denies he ever had a
crook. |
445 | The Powerhouse doesn't believe in sacred time. |
446 | Pierce: What'll I do? |
447 | He imagines that the chest is the surviving artifact.
For a time it is, then he decides it isn't, and it ceases
to be so. He decides Bruno must be the survivor. |
448 | Sam to be the magical child. The chest contains: cup, key, stone, book. Sam's old house is gone. Does she still have the stone? |
449 | 1979. |
451 | Death of Bruno. Transmigrates into an ass. |