Books of the Southwest presents THE HERMES IN BREAKFAST AT TIFFANY’S happening in art and reality (and a false reality presented as relatable, sellable biography with no actual truth) to break open that wrong in self-realization for a monumental, global cause. The world-altering artists are in full brilliance and action. As literature shows, they are always necessary especially when freedom and spiritual abundance is threatened and not communicated in the eternal-breaking-through consciousness and Being way, as Homer showed in his epic song, manipulative and cheap rumor (publicists feeding tabloids with a false "conversation" with the public who naively believe they are listening to a 'close, reliable friend'). This comes from an awareness in 750 B.C. and back further. The eternal artistic voice is always internally realized in immediate truth, then just as immediate in the "here and now." Penelope, as the state of internal Beingness, the eternal of her in her (body) "chamber," is the one who speaks the difference of Beingness, which is the opposite of Narcissistic Personality Disorder that defines a very limited, blind culture and existence. It is only a "repetition" of what is heard and not true being fully alive. This escalation of untruths began coming to the challenge of consciousness with a pre-meditated concocted lie about John Mayer in October 2010 brewing from 2008 from a young plagiarist bought entry into the "music" industry with hired marketers and publicists from a capitalist's greed, but with no powers of creation or original content, only repeating what she saw around her and calling it her own. This is the test of the value of art for freeing a culture.

Can Careful Art Deliver Beingness?


 

Opera—the music, lyrics, art, raw emotion, and delivery of life’s honed-to-golden revelations, its hard-won, shocking, profound truths sung out, the plot fallen away to reveal the tragedy or supreme triumph of the soul, all surrounding and lifting a strong, vibrant female singer who grew into a powerful voice despite limited artistic expression around her—provided a way for Willa Cather to show the emergence of the feminine from the limitations of frontier America or small town life that would ‘hold her’ to conditioned expectations of the female, to giving opening to that broader, more vibrant spirit its “release into the wider world” (as David McKay Powell writes of Clara Vavrika’s “adventurous personality” in “The Bohemian Girl” in his book Cather and Opera). Over time Willa’s theory changed as in for Thea in The Song of the Lark. Willa refined this emergence from growth into a career into the emergence itself, the expression that was deeper and needed to expand into a differently internally structured feminine. Opera continued to be a deepening of her art. But that feminine she wanted in full, not just back into society as it was. In her “Coming, Aphrodite!” singer Eden Bower in the very pulse of culture of Washington Square Park in Greenwich Village misses the moment that is what the art itself points to: the thing itself, the very real, herself and the artist himself, and that was published just five years after The Song of the Lark. Within another five years Willa had shown the loss of the path of the females in The Professor’s House from their young beginning wild adventurous imaginations, and had written F. Scott Fitzgerald that no one had expressed it yet.



Willa moved to the forms of art that would get to the actual transference and the true desire of art without those cultural or artistic boundaries—and in that the Being itself and the vitalness of the art would be the cultural structure, not by-passed in missed direction. Seeded in the strongest, most vital, individualistic earth, and grow her beyond the boundaries into Beingness was the ancient and the newly-realized complete strength and freedom of life itself.

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