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.
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"In these days when the 'situation' is made to count for so much in writing.”

 

SHILOH RICHTER

Many years ago scholar Tom Quirk showed how F. Scott Fitzgerald while writing The Great Gatsby (1925) was influenced by/and or plagiarized Willa Cather's writing. Fitzgerald himself had to admit it at the success of his novel. In particular, that he had been so deeply affected by what she was tapping into I believe that he also wanted to know and present that feminine ardor of presence Willa was able to emanate off the page. Quirk wrote, "Willa Cather had written Fitzgerald of her admiration of Gatsby in the spring of 1925; the next fall she would begin to write what she ultimately considered her finest novel, Death Comes for the Archbishop (1927)."

On 28 April 1925--now 99 1/2 years ago--she articulated in that careful and conscientious letter to a young Fitzgerald what I think is 'the thing to be desired'--the "consummation devoutly to be wished" essence of her writing, where the effect of Being which can be known of the feminine could be very carefully put to the page in such a way as to ultimately come off that page in experience and thereby bring to pass in consciousness what most extraordinarily, extremely beautifully IS. She wrote to him:

"So many people have tried to say that same thing before either you or I tried it, and nobody has said it yet. I suppose everybody who has ever been swept away by personal charm tries in some way to express his wonder that the effect is so much greater than the cause,—and in the end we all fall back upon an old device and write about the effect and not the lovely creature who produced it. After all, the only thing one can tell about beauty, is just how hard one was hit by it. Isn’t that so?"

As a Being who writes--no outward career--emanating solely from Beingness--what interested me is what Quirk wrote next--what Willa touched on in this note and then moved deeper into in her writing: her next work “would be written, she would recall a few years later, in ‘the style of legend,’ the essence of which is to lightly ‘touch and pass on.’ Such a creative method would be a ‘kind of discipline,’ she wrote, ‘in these days when the 'situation' is made to count for so much in writing.’”

She saw how to do it.

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