Feeds:
Posts
Comments

Posts Tagged ‘books’

Chapter 11: Trials of Trust

Now that she was calmer and accepted the situation, things went smoothly. He helped her go through her equipment and made sure she was wearing her med-alert bracelet. He explained about Sanctuary—the processing building where the Sanctuary Program, overseen by Heliopolis, processed newbies—mentioning only that the place was designed to push people out fast.

Tobal showed her the compass and map, pointing out which items were more important than others. He advised her to grab a couple extra blankets off the beds and showed how to pack everything tightly into a pack she could carry, the fabric rustling as she stuffed it in. Curious, she sipped the water from her canteen, grimacing at its metallic tang, then nibbled the food bar, spitting it out with a cough. “Ugh, that’s awful!” she exclaimed. Tobal chuckled. “Told you—it’s safe but nasty. Encourages us to move quick.”

He decided to wait out the rain. There was no sense traveling in such bad weather, and he spent one more day at Sanctuary getting to know Fiona and teaching her how to use the supplies. He explained about the maps and compass, tracing routes with his finger, and how to read them. On the morning of the second day, the rain had stopped, and it promised to be mild and clear. The sun was shining, its warmth seeping into his skin, the air fresh and crisp with the scent of wet earth. It was a perfect day for traveling, and he started by having her triangulate their location and finding it on the map, her focus sharpening with each step.

In high spirits, they headed cross-country to the southeast toward the lake where Tobal’s main camp was. Fiona was leading the way, marking knots in her cord every half-mile, her steady pace a reassuring rhythm. Since her steps were shorter than Tobal’s, she used a higher number of steps before tying the knot, but the principle was the same, her determination evident in her careful movements. As they walked, Tobal’s strange dark dreams grew stronger, the ghostly figures and slaughter haunting his sleep, and one night he woke Fiona from a nightmare, her voice trembling as she whispered, “I saw blood on the waterfall.” Her restless murmurs mirrored his own, deepening their shared unease.

As the first week progressed, things didn’t go as smoothly as they had when training with Rafe, especially since he had lost most of his emergency supplies in the flash flood. They relied heavily on the nasty-tasting Sanctuary food at first, its bitter aftertaste lingering. They spotted Federation drones sneaking around, one buzzing by a distant waterfall, its hum cutting through the trees, and once or twice, Tobal paused, feeling watched. “Did you see that?” he whispered, a shadow rustling at the forest’s edge. Fiona tensed. “Stay close,” she murmured, though he never found tracks, the sight sending a chill down his spine.

Fiona proved a quick student with an animal instinct toward self-preservation and survival. Tobal made a walking stick for her, its smooth wood fitting her grip, and showed her how to use it. As they traveled, he taught her many of the things Rafe had taught him—testing food to see if it was edible, the earthy scent of safe herbs guiding their choices, and collecting them as they went along. She caught on to snares with an uncanny sense of how animals thought and where they made their trails, her nimble fingers setting traps with ease. During one trek, Fiona slipped on a rock, Tobal steadying her as a sharp edge cut his hand slightly, blood mixing with mud, a stark reminder of nature’s unforgiving edge. Everything was backwards from how Rafe had taught him, a reversal that challenged his instincts.

More times than not, it was Fiona’s snare or trap that held the rabbit or quail, not Tobal’s, the snap of the catch a small victory. She turned out to be a much better trapper than he was. He comforted himself with the thought they had plenty of meat and spent a few days smoking jerky, the rich smoke curling around them, building up their emergency food supply.

Fiona proved to be a natural with a sling and said she played a lot of baseball as a kid, her aim sharp and confident. She was already skilled in archery, which she learned in high school, having been on the school archery team, her arrows finding their mark with practiced grace. As she threw her knife at the quail, Tobal noticed her focus, muttering, “Where’d you learn that?” She shrugged, “Survival back home,” her tone leaving it open-ended.

There were less than 24 days until the next gathering, and Tobal wondered if Fiona would be ready. He suspected she would, given how fast she caught on to things, her quick learning a quiet pride for him. He felt it didn’t matter that much because Fiona was ready to solo, and one or two days less than a month should not matter that much. He pushed the thought out of his mind, focusing on the path ahead.

After four days of travel, they reached the lake. Tobal looked around his main camp with a mixture of shock and grief, the charred remains stinging his eyes. There was nothing left standing. It had been vandalized and burned until nothing was left. Two of his food caches had been plundered, but luckily, they hadn’t found the third in a hollow spot of an old tree, sealed with rocks for protection from squirrels and other animals. As they opened the cache and divided the food, Fiona started a fire, the crackle a small comfort, and began making supper, the scent of cooking meat rising. Tobal wandered the ruins in stunned disbelief with tears stinging his eyes, wondering why anyone would have done this. Gradually, grief gave way to intense anger that rolled in his belly and glinted harshly in his eyes. He started looking around the camp for signs of who had done this thing.

He found some tracks and signs but wasn’t good enough at reading them to discern much about what had really happened. Obviously, three people had come along and destroyed the place. All of his hard work was gone, and his supplies ruined. It was hard to tell what was missing or just scattered. He was able to retrieve a few tools, their weight a faint consolation. Everything else was a loss.

The attackers left no trail to follow. Not wanting to stay in the remains of the camp, they set out around the shore of the lake. Tobal and Fiona sat by the water’s edge, the lapping waves a quiet backdrop. “What do you think happened here?” she asked, her voice soft. “Looks like someone didn’t want anyone staying,” Tobal replied, his tone heavy. “Maybe they’re hiding something.” She nodded, her eyes scanning the ruins. “It’s creepy—feels like we’re not alone.” They agreed to move on, the mystery lingering.

There was a waterfall at the far end of the lake where a mountain stream fed into it, and Tobal wanted to explore that. He had noticed it on his first trip around the lake, and something about it called to him, a pull he couldn’t ignore, especially since it haunted his dreams. Now he knew he wanted to explore it more later.

The country was rough, and they were careful to keep their own trail hidden, the crunch of gravel underfoot their only sound. The next camps Tobal and Fiona made were small and well-hidden, sheltered by rock overhangs or dense thickets. They now knew why no one else built anything on the lake. It was an obvious target for anyone going up or coming downstream. It was simply not safe and asking for trouble to build there permanently.

The end of the lake with the waterfall was very rocky and difficult to travel. There was no shore, and the rock simply dropped down into the water. What Tobal had in mind was finding some way to go upstream and explore with Fiona for a couple of weeks until the gathering. Perhaps he could find a better place to set up a main camp. With this goal in mind, they struggled through the maze of rock, boulders, and vegetation until reaching the edge of the water on the left side of the waterfall.

The waterfall was thirty feet high, and you could tell it was ancient since it had once been ten feet higher. Erosion by water in the streambed caused the rock on both sides of the stream to rise like stone pillars hidden by pine trees and forest vegetation. It was a small stream, only ten feet wide. The falling water arched over a narrow ledge that disappeared into a blank stone wall at the other end of the fall. Where they stood, the ledge opened into a small patio-like area that was flat and free of rock. It was less than a foot higher than the lake and formed a deep pool.

The water fell into the lake with a roar and violence that made the water churn and froth, but on the side where they were standing, the water was inviting and made just for swimming. There was a ledge slightly below the surface of the water, so a swimmer could easily climb back out after diving into the icy water. Tobal probed the hidden ledge with his walking stick, and the shock of discovery made icy chills explode at the base of his spine. It wasn’t a ledge at all. It was the first of at least three steps that had been deliberately carved into the rock, leading down into the pool of water. He felt a pull to dive, resisting it with effort, knowing this was something he needed to explore more later.

The discovery of the stone stairs made him more alert, and he carefully examined the small patio area where they stood. Fiona shared his excitement and enthusiasm, her eyes bright with curiosity. She finally found what they both were looking for. The cliff face jutted out in a rough and uneven manner. She had been following the cliff face and turned a sharp corner that couldn’t be seen from the patio area. In a small recess, there were distinct footholds and handholds carved into the face of the cliff, leading up where they seemed to disappear.

Tobal was first up the cliff and pulled himself onto a wide ledge that wasn’t visible from below. He helped Fiona over the edge, and they both looked around with interest. There was vegetation since topsoil had collapsed from above and fallen down. Trees, shrubbery, and vines found footholds in the small layer of topsoil and clung desperately to the rock.

Near the trees, a narrow crack in the cliff face formed a small chimney that could be climbed by pressing the body against one side and gradually working up the remaining fifteen feet to the top. They took off their packs and cut one blanket into strips, braiding it into a short rope they used to lift their packs up the chimney. Grabbing onto foliage and tree roots, Tobal pulled himself out of the rock chimney, helped Fiona out, and coiled the rope, putting it into his pack. At the top, the soil was heavier, and the foliage was more dense and almost impossible to get through. The ring of foliage gave way to pine trees, and the footing got easier. He could see what looked like a large camp ahead and started toward it.

They broke into the open and looked around in wonder at what had obviously been a large camp. There were the remains of permanent shelters and a kitchen area. Near the river was a large circle ringed with stone seats that must have been used for ceremonies and initiations. Further up a small hill were the remains of a sweat lodge, and beyond that, a patch of volunteer corn was still coming up in patches after all these years. It must have been fifteen or twenty years since anyone had visited or used the camp.

A large cairn of rocks dominated the middle of the site and was covered with offerings. They were a strange assortment of man-made objects, weathered and destroyed beyond recognition of what they once had been. As Tobal approached the cairn, a haunted energy emanated from it, a cold shiver running through him, and he instinctively knew it was the mass grave Adam had told him about. Even more strange was an offering of fresh flowers lying at its base, their sweet scent a stark contrast to the decay. “Someone else knows about this place,” he murmured, his voice tight. Fiona nodded, her eyes wide. “And they’ve been here recently—who could it be? Maybe they honor the dead?” They stood in silence, the mystery deepening their unease. “We need to get out of here, now,” Tobal said urgently. Fiona agreed, her voice low, “It feels wrong to stay.” With a shared glance, they gathered their gear and moved quickly, the weight of the secret pressing them to leave.

This was the place he had been dreaming about. People had once held gatherings here just as they did at circle. What had happened? How and why had they died? Had they known his mother and father? Was this the place Sarah’s mother and two brothers were buried? A certainty deep in his gut told him that it was. All these questions were turning in his mind, but even more forcefully was the instinctive knowledge that they needed to get out of here fast. They couldn’t be found in this place.

He knew with sick certainty this was why no one was allowed to build camps near the lake. There was some secret hidden here that was meant to remain hidden. It was dangerous to stay because they could be tracked by their med-alert bracelets. Medics would be coming soon by air sled to check on them unless they got out of the area quickly.

It was an hour later when the first air sled appeared and circled over them. By then, they were three miles away from the abandoned camp and heading upstream. They waved, but the medic didn’t wave back. After circling a few times, he simply left.

Tobal was feeling uneasy about the situation and knew continuing upstream was a mistake. It would give the impression they might follow the stream back down again to return to the forbidden area. With this in mind, he checked his location on the map and set out directly cross-country toward the gathering spot. Twice that day, air sleds checked on them but simply flew over without circling.

They made a few dry camps before reaching water again, and the going was extremely rough. The terrain was much more rocky with less vegetation and animal life. More than once, Tobal was grateful for Fiona’s prowess with snare and sling. Things would have been much more difficult if he had been on his own out here.

There were no more air sleds, and Tobal felt relief but remained careful. Camps he chose now were secret, hidden, and very hard to find, sheltered by rock overhangs or dense thickets. They built fires with dry wood that would not smoke and give away their location.

Fiona took to this new training like a duck takes to water. She was naturally secretive and suspicious of strangers. She moved so quietly with the ability to appear and disappear that she seemed like a ghost. She laughed when he told her that, though. Basically, Tobal was an even-tempered teacher, and she was quick and eager to learn. After one week of wandering, they had learned navigating by map and compass. While she was an expert with the sling, it took her a while to get her first deer with the bow, mainly because of the terrain they were traveling in. With time running short, they returned to Tobal’s main camp area, working to rebuild shelters and caches, the reversed methods from Rafe’s teachings challenging their efforts.

She was now providing the food for both of them and learning to construct various shelters. It was mid-July, and there were plenty of berries to eat as well. They saw larger animals like deer, bear, cougar, and mountain goats. It was certainly an area not occupied by anyone else.

After one week of wandering, they found a small hidden canyon with its own small waterfall and plenty of game. It was a box canyon with only one entrance that was a narrow crack in a rock face. They only found it by accident when Fiona was checking places to set out snares for the night.

It was in this remote little canyon that he decided to make his permanent base camp. They spent the remaining time building shelters, reinforcing Tobal’s main camp with new structures. He finished his teepee and used the blanket material they brought as outer covering. Together they built a permanent smoker and rack for sun-drying jerky in the hot summer sun and completed a sweat lodge they were both dying to try out.

One morning, Fiona came running to him, all excited. She had found a honey tree. It was a rare treat, and Tobal knew it would make a big hit at circle if they could find a way to get the honey without killing the bees. In the end, they covered themselves with poncho material and smoked the bees out, reaching into the tree with heavily protected hands and arms. They took two canteen cups full of the rich honeycomb and honey, leaving the rest for later. Tobal wanted the bees to survive and keep a constant supply of honey available.

Time passed quickly; it was almost the full moon, and they were far from the gathering spot. To make things even more complicated, they would be coming into the gathering spot from the valley and not from the cliff trail that most newbies entered on their first time into the area. He didn’t know how that was going to work out and decided to think about it later when they got closer to circle.

Uncertain how to bring Fiona into the camp, Tobal chose to remain hidden. With a smirk of satisfaction, he stepped around the boulder from the wide trail onto the narrow ledge and climbed to the top with Fiona following him, then instructed her to come back down the trail on her own. He figured the hidden guards would understand what was going on. He told her to wait five minutes before descending, then settled to watch. As he climbed, he hesitated, thinking, “Should I warn her about the guards?” but shook it off. He passed the area where they had taken him without incident and felt things were going all right. He was totally unprepared for the blood-curdling scream and sounds of struggle he heard coming from below. It was too late now.

Racing back down, he saw Fiona standing with her back to the cliff face, a bloody knife in her hand and a crazed look on her face. She saw Tobal and flung herself into his arms, sobbing hysterically and trembling violently.

“They attacked me,” she kept sobbing. “I didn’t mean to hurt anyone.”

One of the guards lay sprawled on the trail, bleeding fiercely from a gash in his shoulder. Tobal recognized him as a Journeyman named Dirk. The dark-haired girl was applying first aid to her fallen companion and ignoring Fiona as if she didn’t exist. The third guard was presumably running for assistance back to the camp.

Tobal held her shaking body, keeping her steady until she cried herself out. He didn’t know what to do. Other guards would be coming soon, and he was going to be in big trouble. He couldn’t think of anything to say and quietly led Fiona back down the trail. They heard the sound of running feet and moved quickly into the shadows as a group of six guards raced up the trail toward their fallen comrade.

Getting back on the trail, they entered the camp, and Tobal tried finding someone with a red robe that could straighten this whole mess out. He found Ellen, the High Priestess, by the circle and turned Fiona over to her. Fiona clung first to him as he tried to leave and then to Ellen for reassurance and safety after Ellen convinced her that everything was going to be all right.

Tobal explained the situation to Ellen, and Fiona was aghast and horrified to find out she had attacked and wounded someone who was only trying to initiate her into circle. She was furious at Tobal for setting the thing up, and Ellen had to forcibly restrain her from attacking Tobal in her fury. Ellen took it in stride and chuckled a bit.

“You certainly have what it takes to belong to our clan,” she said. “Things will be alright. Don’t worry about it.”

When the guards came to get her, Ellen suggested not to fight but go along with them peacefully for her initiation and entry into the clan. Tobal saw with amusement that Rafe was one of them and the dark-haired girl another. There were six guards coming over to where Ellen, Tobal, and Fiona were talking. Although some of the guards looked angry, Rafe was smiling. Tobal gave him a bear hug and couldn’t help but notice that Rafe flinched as if he were injured or hurt. “You okay?” Tobal asked quietly. Rafe deflected with a grin, “Just tired,” and gave no further sign anything was wrong. The guards took a peaceful and submissive Fiona to get ready for her initiation.

As they left, Ellen turned to him with a grim look on her face and said, “I think you’ve got a little explaining to do to Zee and Kevin. They were looking all over for you after circle last month. I’ll be wanting to talk with you a bit later myself, ok?”

“Oh, damn!” he said. “I forgot all about them! When do you want to talk with me?”

“Sometime after circle.”

Word soon spread that Tobal’s newbie had skewered one of the guards on the way into camp. The guard was doing fine and in no danger. Most clansmen treated it as something that was highly funny, but Tobal was not amused. Things had gone horribly wrong, and someone could have been hurt or even killed, and he felt responsible.

He was at the center of the circle proclaiming Fiona ready for her initiation when he noticed the red-haired girl, Becca, staring at him from the left side of the fire. Turning away, he continued talking and then resolutely returned to his sitting spot, determined not to look in her direction again. He had seen the wonder and astonishment on her face and knew she was as surprised to see him as he had been to see her.

Tobal’s situation was unique in that he was acting as a sponsor bringing a person into the clan for the first time. This was not a normal situation, and Fiona’s escapade with the guards made a lively buzz of conversation around the camp as people congregated before the circle and chatted together. To his relief, after her initiation, the elders approved her solo.

There were some farewells as some three-year Masters left to become citizens. August was hot, very hot even in the mountains. He was thirsty and walked over to the beer barrel.

“Hi Nikki,” he said.

“Oh,” she looked startled and turned around toward him. “Hi.”

“Congratulations on soloing.”

“Thanks.” She said and bit her lip. For some reason, she seemed a bit cool towards him. As she walked away, Tobal overheard her mutter, “Should’ve told us,” hinting at his sudden departure after circle.

“Is there anything wrong?”

“No,” she said, “I’ve just got to get going. I want to train a newbie and need to get my things ready to leave early.” She turned and walked away from him.

“Good luck,” he said to her back as she walked away. There was something definitely wrong, and it seemed to be him for some reason.

Moving over by the circle, he saw Angel dressed in a black robe and was surprised that she was a Journeyman with three chevrons.

“I thought you were an Apprentice,” he told her. “When I saw you in Sanctuary with your broken leg, you were dressed in gray.”

“That was because of my injury,” she told him. “When I went through processing for treatment, I was given the old gray stuff, and my other clothes were ruined.”

They chatted for a bit, and she was pleasant. It must just be the Apprentices that were pissed at him.

“Who is that dark-haired girl with Dirk?” he asked suddenly. “I’ve been meaning to find out her name for two months now.” He blushed a bit.

Angel laughed. “That’s Misty; she’s only got one more fight to win before she makes Master. Perhaps she can fight you, get you ready for being a real Journeyman?” She winked.

Tobal was embarrassed and changed the subject. He always had trouble with girls and didn’t really know how to take them.

Read Full Post »

OD by Karl Hans Strobl and translated by Joe E Bandel

“No, there’s nothing to be done with you,” sighed Reichenbach, “no more with you than with Hermine or Ottane. It clearly requires a special disposition.”

“It seems so!” said Schuh, concerned.

“You still haven’t fully grasped the importance of my experiments.” And now the Freiherr becomes solemn like a priest opening the innermost sanctuary: “It concerns, namely, a kind of rays, a radiant force, a dynamis emanating from people and things.”

“Indeed!” says Schuh, making a face like a schoolboy rascal.

“A new natural force, understand! Or rather an ancient one, but only now discovered by me. And its laws are already outlined in broad strokes before me. All people, all things emit rays, positive and negative, mostly bipolar, especially humans. They are charged with dynamis, unequally named left and right, top and bottom, front and back. And it’s like everywhere in nature—the unequally named dynamis of two people, even of the same person, attract each other; the similarly named repel. That’s why the Hofrätin finds the touch of her left with my right pleasant, the touch with my left repulsive. And vice versa. When she folds her hands or brings her fingertips together, the dynamis equalize, become similarly named, and that feels unpleasant. The sheet of paper on the fingertips is painful because it hinders the dynamis’s radiation. The water glass from the left hand or in the shade is positively charged, thus repulsive; that from the right hand or in the sunlight is negatively charged, thus cool and pleasant.”

“Aha!” says Schuh and feels compelled to offer a word of understanding. “Magnetism! Animal magnetism!”

“No,” Reichenbach shouted angrily, his face turning red, “not magnetism. Don’t talk such nonsense. You should finally understand that.”

“Dear Baron!” Schuh feels the need to intervene seriously now. “Dear Baron, I wouldn’t want to base new natural laws exclusively on the esteemed Frau Hofrätin Reißnagel.”

“She won’t be the only one, certainly not. Many people indeed drift along dimly and dully like you and Ottane and Hermine, but there must be a whole host of others with heightened sensitivity, sensible people. Where does it come from, that so many people can foresee the weather, why do some not tolerate the close proximity of many people and faint, where does the mysterious attraction between two people at first sight come from, or the equally baseless aversion to someone met for the first time? I will search; I will repeat my experiments with others, and you will see what meaning and connection emerges from it.”

“I’m afraid I won’t be able to witness your investigations,” says Schuh, “I must travel.” Yes, Schuh actually has no particular reason to be cheerful, not the slightest reason, and only the irresistible cheerfulness that seems to emanate from Reichenbach’s discovery has for a short time made him forget his dejection.

“So, you want to leave,” says Reichenbach reproachfully, “just now, when such great things are happening here? I won’t hold you back, of course, but I would have thought…”

“I must go to Brünn and Salzburg. I’ve been invited to demonstrate my gas microscope. I haven’t given up on it either; I’m working on improving it and want to have new lenses made. I don’t know how long I’ll be away.”

“Travel with God!” says Reichenbach curtly and turns away, as if dismissing a renegade and traitor.

Karl Schuh slowly descends the stairs to the music room. Ottane sits at the piano; one hand rests on the keys, the other hangs limply down; her face shows a glow and an inward listening.

“Where is Hermine?” asks Schuh.

Ottane returns from afar. “I believe Hermine is already back at her treatise on the thylli.”

“I must leave tomorrow and won’t be back for a while.”

“Yes, why? You want to leave? Must it be? You should know that the music lessons with you are Hermine’s only joy.”

“Are they? I always thought Hermine’s only joy was the thylli and the like.”

“What’s wrong with you? Why do you talk like that? What have you suddenly got against Hermine?”

Karl Schuh takes a nodding porcelain Chinese figure from the dressing table, turns it over, looks at it from underneath, and sets it back down.

“And why do you only now say you have to leave?” Ottane continues. “You haven’t mentioned a word about it until today. That’s a fine surprise. Hermine will be quite astonished.”

Ottane looks up, and Schuh realizes she wants to fetch Hermine. This wretched porcelain Chinese won’t stop nodding, and Schuh stops the annoying wobbling with his finger. “No, please, don’t fetch Hermine.”

“Don’t you want to say goodbye to her?”

“No, I don’t want to say goodbye to her. You will convey my greetings to her.”

It’s all so strange and incomprehensible, but suddenly it occurs to Ottane what Max Heiland had said about Hermine and Schuh. A suspicion, so remote and questionable, that it had completely slipped from Ottane’s memory. It’s perhaps also true that she, entirely absorbed in herself, hadn’t paid attention to anything else.

“Yes, if that’s it…” says Ottane anxiously, and suddenly she feels utterly disloyal and bad.

Schuh lowers his head; not a trace remains of his radiant mood, his boyish laughter. It’s almost unfathomable that he can stand there so serious and dejected. “Yes, you must see that. What am I supposed to do here? I am, after all, a decent person.”

Ottane’s breath catches for a moment, as if she had received a harsh blow.

“And your father wouldn’t want it. I think I know him well enough. He became a Freiherr, and if he’s to give Hermine to someone, it must be someone entirely different, not just some Herr Karl Schuh.”

He’s probably right about that, thinks Ottane; the father has his peculiarities. And when he’s not in a good mood, he puts Schuh down, speaks contemptuously of him, calls him a windbag, a drifter, and a schemer.

“But worse still,” says Schuh again, “is that Hermine herself doesn’t want it. If it were only the father—his authority doesn’t extend to dictating Hermine’s life. But Hermine herself probably has no idea.”

“I don’t know,” Ottane hesitates guiltily; she’s ashamed to know so little about her sister and not to have cared for her.

“You see, and that’s why I can’t come to your house anymore. I’m not really traveling, but I won’t come back. Should Hermine eventually notice and then let me know it’d be better if I stayed away? I don’t want it to come to that.”

“What should I tell Hermine now?” asks Ottane quietly.

“You should give her this letter. She has a right to know how things stand. Give her this letter.”

“Does anyone else know about it?” Ottane feels compelled to ask.

“I’ve spoken with Reinhold about it. And now you know. And through the letter, Hermine will know. No one else.”

“I think the father is coming,” whispers Ottane. Somewhere a door opens—yes, those are the father’s steps in the next room.

It’s a hasty farewell; Karl Schuh doesn’t want to meet Reichenbach again now, having lost all composure and unable to control himself. He must leave quickly; the Freiherr should least of all learn how things stand with him.

“Wasn’t that Schuh who just left?” asks Reichenbach. “What did he want again? He’s probably off on another art trip.”

Ottane realizes she still holds Schuh’s letter in her hand. She’s still dazed and unpracticed in secrecy, and so she makes the clumsiest move possible—she tries to slip the letter into her pocket unnoticed.

But Reichenbach did not miss the suspicious movement. “What kind of letter is that?” he asks.

“A letter?” Ottane feigns with even more suspicious nonchalance.

Reichenbach doesn’t waste much time; his mood is steeped in vinegar and gall, some of what Schuh objected to is churning within him. He approaches Ottane and takes the letter from her pocket.

“Father, it’s a letter for Hermine,” Ottane protests indignantly.

“I can see that.”

“You won’t take this letter away from Hermine.”

“I wish to know what Herr Schuh has to write to my daughter.”

But Ottane is outraged—outraged for her sister’s sake, no, perhaps even for the sake of justice and freedom. “Father… you have no right to open someone else’s letters; I find that…”

“I find… I find…” snorts Reichenbach grimly, “I find that I certainly have the right to know what’s going on in my house. I find that I don’t need to tolerate any secrets.”

For a moment, Ottane considers, come what may, snatching the letter from her father, but it’s too late—the Freiherr has already broken the seal. “Oh yes,” he says, pressing his lips together and then parting them with a snapping sound, “mm yes… so that’s it…” and as his eyes glide over the lines, he underscores Schuh’s words with various exclamations: “Now I understand… indeed… so Reinhold has known about it for some time… very nice!… so that’s why…”

Then he folds the letter together, and as Ottane reaches for it, he slips it into his breast pocket. “This is a whole conspiracy against me; Reinhold knows about it, this man didn’t think to inform me at once, and you certainly wouldn’t have told me either…”

Ottane gathers all her courage for one more attack: “Schuh acted entirely honestly. And you surely wouldn’t want to lay hands on someone else’s property.”

“What I want or don’t want, I decide myself. And I want Hermine not to receive this letter. And if it’s true that Schuh hasn’t declared himself to Hermine, then she shouldn’t learn anything about it. I derive great joy from my children, I must say. And this Schuh! Writes letters to my daughter behind my back and intends to stay away from my house. Doesn’t consider that people will ask: yes, what’s wrong with Schuh, why doesn’t he come to Freiherr von Reichenbach anymore? There must have been something! That people will poke around and gossip, of course, you don’t think of that.”

“You can’t expect him to come when he loves Hermine and sees no chance to win her, and when he also doesn’t want to deceive you.”

“He should control himself if he’s a man,” Reichenbach shouts, “and he shouldn’t bring my house into disrepute. But I will restore order, depend on it.”

Hermine will not receive this letter, and you will keep silent about it and everything Schuh told you—take my advice.”

Reichenbach leaves, slamming the doors of the music room and the next room forcefully behind him, unaware that something far more significant has shattered and fallen away than just the plaster around a doorframe.

Read Full Post »

Chapter 106: Knowing Your Own Anger and How You Respond to It – Self-Assessment for Safe Expression and Emotional Freedom

Have you ever snapped at a loved one over a minor annoyance, only to later realize it was a buildup of unaddressed frustrations exploding unexpectedly, leaving you regretting the outburst and wondering if recognizing your anger patterns earlier could have channeled that energy into something constructive instead of destructive? What if “miracles” of emotional control and relational harmony arose from deeply understanding your unique anger profile—viewing it not as a flaw to hide but as a vital signal to interpret and manage—where self-assessment reveals if you’re a “stuffer” bottling up until depressed, a “withdrawer” gossiping passive-aggressively, a “blamer” attacking to avoid responsibility, a “triangler” rallying others against targets, or an “exploder” unleashing violence unpredictably, empowering you to replace these unsafe responses with guilt-free acceptance and assertive release? In this crucial self-reflection chapter on anger management, we emphasize the importance of knowing when you’re angry to act safely, exploring a detailed list of unsafe patterns: stuffers who avoid conflict at the cost of health, withdrawers who sabotage connections through subtlety, blamers who erode esteem in self and others, trianglers who breed hidden tension, and exploders who risk harm and fear. Building on previous insights (e.g., anger as somatic energy from Ch105 or a “gift” to channel from Ch104), this isn’t shaming suppression; it’s empowered awareness, where identifying your style prevents escalation, fosters healthier outlets, and transforms anger from a chaotic force into a catalyst for positive change, ensuring it serves your will to live rather than disrupting it.

To fully appreciate the transformative potential of this self-assessment, let’s explore anger’s psychological and physiological underpinnings: anger is an evolutionary adaptation, a survival response that floods the body with hormones like adrenaline for quick energy, but in modern life, mismanaged patterns can lead to chronic stress, as Harvard Health reports, increasing risks of heart disease, anxiety, and depression. Unsafe responses like stuffing or exploding often stem from childhood modeling (e.g., parents who avoided conflict or raged uncontrollably), perpetuating cycles that sabotage relationships and self-esteem. In assertiveness training, recognizing these is the first step to breaking them: for instance, a stuffer might learn “I statements” (Ch103) to voice needs without fear, while an exploder practices “Clouding” to de-escalate. Neuroplasticity research (e.g., from UCLA) shows repeated self-assessment rewires the brain, reducing amygdala reactivity (anger’s trigger) and strengthening prefrontal control (reason’s seat), allowing guilt-free acceptance (Ch104) and turning anger into an ally for boundary-setting or motivation. This chapter expands the list into detailed profiles with signs, impacts, and antidotes, encouraging honest reflection to map your anger, ensuring it enhances rather than hinders your primal drive for growth and connection. By owning your patterns, you reclaim power, fostering the resilience to navigate life’s injustices with assertive grace.

This anger awareness subtly reflects a balanced dynamic: The expansive flare of anger’s signal (outward, generative alert like branches flaring in wind to warn of storm) aligns seamlessly with the grounding self-assessment (inward, stabilizing profile like roots mapping soil threats for secure hold), creating harmony without chaos. Like an oak tree, whose “anger” at intruders (unreasoning gales) prompts somatic adaptations (tensed form for endurance), miracles of control emerge from recognized patterns. In this chapter, we’ll profile these responses into empowering truths, covering anger’s importance for safety, stuffers’ avoidance, withdrawers’ passivity, blamers’ attacks, trianglers’ tension, exploders’ violence, and self-assessment questions, all linked to your OAK Matrix as lower emotional centers (anger patterns) resonating with solar plexus will (safe channeling). By the end, you’ll have tools to assess your style, adopt healthier alternatives, and turn anger recognition into “superhuman” mastery, transforming unsafe outbursts into purposeful power. Let’s map your anger and uncover how awareness unlocks miracle-level resilience.

Anger’s Importance: A Vital Signal for Safe Action and Self-Protection

Knowing your anger is essential—your text stresses recognizing it to act safely, as unaddressed anger can escalate unpredictably, harming self or others.

Why miraculous? It turns blind reactions into conscious choices, preventing regret. Common trait: Signal; non-ignored.

Expanding, anger serves as an evolutionary “smoke alarm,” alerting to threats or injustices for protective action, as psychologist Steven Pinker notes in “The Better Angels of Our Nature.” In assertiveness, this signal prompts boundary-setting (“I’m angry; let’s discuss”), but unrecognized, it festers into resentment or explosion. Studies from the National Institute of Mental Health show self-aware individuals (via journaling or therapy) reduce anger episodes by 40%, as awareness allows guilt-free acceptance (Ch104) and redirection (Ch79). In relationships, it fosters intimacy: sharing “I’m angry because…” builds trust, per John Gottman’s research. Suppression, however, leads to “anger-in” (internalized harm like ulcers) or “anger-out” (external harm like violence), eroding the will to live healthily. Cultivate by daily check-ins: “Am I angry? Why?”—turning vague tension into actionable insight. This foundation empowers the assessment list, ensuring anger serves as ally, not adversary.

Dynamic balance: Importance’s inward signal (stabilizing alert) aligns with action’s outward safe (generative do), blending warn with wield.

In OAK: Third-eye know integrates with emotional anger for signaled safety.

Empowerment: Daily anger check—rate 1-10, note triggers for proactive awareness.

Stuffers: Conflict Avoiders Who Bottle Up and Burst Inwardly

Stuffers evade confrontation at all costs—your text describes them as easy targets for aggressors, internalizing anger leading to depression or physical ailments like stomachaches/headaches, finding “relief” only in total collapse.

Why superhuman to reform? It prevents self-stunting, enabling assertive voice. Common: Avoidant; non-confronting.

To expand, stuffers often stem from environments where anger was punished (e.g., “nice” families suppressing emotions), leading to passive compliance but chronic stress, as cortisol builds without release (APA research). This pattern sabotages the will to live actively, as unexpressed anger turns inward, causing psychosomatic illnesses or emotional numbness. In assertiveness, antidote is gradual exposure: start with “Negative Declarations” (Ch103) to voice small grievances without fear. Therapy like EMDR can process “stuffed” traumas, freeing energy for healthy expression. Signs include frequent “fine” responses amid tension or somatic complaints without cause. Practice: role-play low-stakes conflicts, building tolerance for confrontation without collapse. Over time, this shifts from inward burst to outward assert, restoring vitality and relationships.

Dynamic: Stuffers’ inward bottle (stabilizing avoid) aligns with reform’s outward voice (generative confront), blending hide with heal.

In OAK: Emotional stuffer integrates with throat voice for expressed release.

Practical: Simulate conflict—practice voicing “I’m angry because…,” note reduced internal pressure.

Withdrawers: Passive-Aggressive Withholders Who Sabotage Connections

Withdrawers express indirectly—your text notes they gossip or rumor-spread, feeling guilty for uncontrollable things, missing deeper relationships by fearing control loss.

Why superhuman? It reclaims directness, turning isolation into intimacy. Common: Subtle; non-open.

Expanding, withdrawers often learn this from environments where direct anger was unsafe (e.g., volatile homes), leading to “safe” sabotage like silent treatment, which erodes trust and the will to live connectedly. Psychologically, it’s “anger-out” disguised, causing anxiety/guilt cycles (Beck’s cognitive therapy). In assertiveness, antidote is “I Statements” to voice needs openly, reducing passive aggression. Signs include withdrawal during stress or misplaced responsibility. Practice: express “I feel angry” instead of withdrawing, building confidence in control without harm. Long-term, this fosters the primal drive for community, as social bonds enhance survival.

Dynamic: Withdrawers’ inward passive (stabilizing fear) aligns with reclaim’s outward direct (generative connect), blending hide with honest.

In OAK: Heart withdraw integrates with solar plexus direct for bonded assert.

Practical: In tension, practice “I feel…” instead of silence—note improved connections.

Blamers: Attackers Who Deflect Responsibility and Erode Esteem

Blamers externalize fault—your text describes name-calling or put-downs, avoiding ownership, lowering others’ esteem (and potentially their own through isolation).

Why superhuman? It promotes accountability, breaking blame cycles. Common: Deflective; non-owning.

To expand, blamers often model from critical upbringings, using attacks to mask insecurity, but this undermines the will to live collaboratively, as resentment builds. In assertiveness, antidote is “Compromise without Loss” (Ch103), focusing on behaviors not character. Signs include constant “you always” accusations. Practice: rephrase blames as “I needs” (“I feel hurt when…”), fostering empathy. Research from the Gottman Institute shows blame as a “Four Horsemen” predictor of divorce, but replacing with gentle startups reduces it by 80%.

Dynamic: Blamers’ inward deflect (stabilizing avoid) aligns with account’s outward own (generative share), blending blame with balance.

In OAK: Third-eye blame integrates with heart empathy for responsible relations.

Practical: Role-play blame—reframe to “I feel,” note de-escalated esteem preservation.

Trianglers: Rallying Others to Amplify Tension Indirectly

Trianglers indirect anger by enlisting allies—your text notes getting others mad at the target, creating unseen tension for the victim.

Why superhuman? It reclaims directness, preventing divisive harm. Common: Indirect; non-alone.

Expanding, trianglers avoid confrontation by proxy, often in families or workplaces, fostering paranoia and weakening the will to live trustingly. In assertiveness, antidote is “Repeat Technique” to address directly, bypassing triangles. Signs include gossip recruitment. Practice: confront source instead of allies, building courage for open dialogue. Family therapy (Bowen) views triangulation as differentiation failure, but breaking it enhances autonomy and bonds.

Dynamic: Trianglers’ inward rally (stabilizing indirect) aligns with direct’s outward face (generative resolve), blending enlist with engage.

In OAK: Heart triangle integrates with throat direct for unified confront.

Empowerment: Spot triangulation urge—redirect to direct talk, note reduced tension.

Exploders: Violent Outbursts and Unpredictable Harm

Exploders unleash physically—your text warns of pushing/shoving/kicking/slapping/beating/killing, creating fear and low esteem in victims, with unpredictability heightening danger.

Why superhuman? It demands intervention, protecting self/others. Common: Uncontrolled; non-safe.

To expand, exploders often from volatile backgrounds, where anger modeled as violence, risking legal/health consequences and isolating the will to live socially. In assertiveness, antidote is professional help (e.g., CBT or anger classes) plus “Side Tracking” for de-escalation. Signs include sudden flares. Practice safe outlets (exercise) to channel (Ch79), but seek therapy if violent. APA stats show domestic violence affects 1 in 4 women, underscoring urgency; recovery involves rebuilding esteem through non-violent assertiveness.

Dynamic: Exploders’ outward violence (generative harm) aligns with control’s inward intervene (stabilizing safe), blending erupt with end.

In OAK: Lower emotional explode integrates with solar plexus control for harm-free channel.

Empowerment: If exploder tendencies, seek help—practice pause techniques for safety.

Self-Assessment Questions: Building Your Anger Profile

Reflect on: Clench jaw? Stomachache? Raise voice? Refuse speak? Hurt urge? Escape want? Abusive? Sweat/red? Sarcastic? Tone change? Cry? Shake? Procrastinate? Late? Sadistic humor? Sarcastic/cynical? Sigh? Over polite? Smile hurting? Bad dreams? Insomnia? Bored fun? Tired usual? Picky/irritable? Guilty/anxious/ashamed/withdrawn? Know angry? Duration/frequency/suppression/quick fade? Impacts jobs/relationships/physical/accidents/legal?

Why superhuman? It creates a roadmap for tailored management. Common: Profiled; non-blind.

Expanding, these build on Ch105, categorizing somatic/behavioral/internal/impacts for comprehensive view. Use as weekly journal: rate frequency, link to patterns (e.g., sighing = suppressed), plan antidotes. This fosters guiltless acceptance, turning anger from foe to informant.

Dynamic: Questions’ inward profile (stabilizing map) aligns with management’s outward tailor (generative use), blending know with navigate.

In OAK: Third-eye reflect integrates with emotional anger for profiled mastery.

Empowerment: Answer 10 questions—identify 3 patterns, create antidote plan.

Shared Traits: Warning Signals, Unsafe Patterns, and Empowered Profiles

These elements unite: Importance signals, unsafe styles (stuffers to exploders), assessment questions—your text ties them to anger’s value when known and managed for safety.

Why? Unrecognized harms; profiled empowers. Dynamic: Anger’s inward warn (grounding in signal) aligns with management’s outward master (generative safe), merging feel with focus.

In OAK: Lower root (somatic) resonates with higher unity for anger miracles.

Empowerment: Build anger “profile”—realign with traits for holistic harnessing.

Cultivating Anger Awareness: Training for Somatic Recognition and Response

Awareness is trainable: Map cues, intervene early—your text’s questions guide self-discovery, turning somatic into assertive tools.

Why? Ignorance escalates; knowledge empowers. Dynamic: Cultivation’s stabilizing map (grounding in cue) aligns with awareness’s outward respond (generative master), fusing detect with direct.

In OAK: Third-eye (reflect) integrates with root (somatic).

Practical: Weekly somatic scan—link cue to response (e.g., red face = pause), build habitual control.

Practical Applications: Managing Anger Daily

Make control miracles responsive:

  • Cue Journal: Note a somatic sign (male path: generative channel; female path: stabilizing accept). Reflect dynamic: Grounding body + outward action.
  • Partner Anger Share: Discuss a “cue impact” with someone (men: outward intervene; women: grounding map). Explore seamless integration. Alone? Affirm, “Signal and response align in me.”
  • Response Ritual: Visualize cue; practice counter (e.g., clench = unclench/breathe). Act: Use in real anger, note positive release.
  • Profile Exercise: Weekly, answer 3 questions—update plan, observe reduced impacts.

These awaken power, emphasizing seamless dynamic over eruption.

Conclusion: Unlock Miracles Through Somatic Mastery

Knowing your anger and responses—vital signals, unsafe patterns (stuffers to exploders), self-questions—turns warnings into empowered miracles of safety and control. A balanced dynamic unites grounding with expansion, transforming somatic flares into superhuman responses. Like an oak sensing storm’s shake for rooted strength, embrace this for mastered living.

This isn’t erupted—it’s empowered. Recognize cues today, respond boldly, and feel the miracle. Your life awaits—aware, controlled, and assertively yours.

Read Full Post »

Homo Sapiens by Stansilaw Przybyszewski and translated by Joe E Bandel

II.

“Mikita, my dear brother!” “Yes, it’s me.” 

The two friends embraced warmly. Falk was deeply excited. 

He rushed about, rummaging through all sorts of things, asking incessantly: 

“Tell me—tell me, what do you want? Beer? Schnapps… Wait a moment—right! I have a splendid Tokay here—got it from Mother—you know, from Father’s time. He knew his way around these things.” 

“Come on, enough already. Sit down. Let me see you.” Finally, Falk calmed down. 

They gazed happily into each other’s eyes and clinked their glasses. 

“Magnificent! But man, you look awful. You’ve been writing a lot, haven’t you… Good heavens! Your last book—you know, it threw me into such a frenzy… no, it was incredible! I buy the book, start reading it on the street, stop in my tracks, the book grips me so much that I have to finish it right there on the street, and I go half-mad. You’re a real man!” 

Falk beamed. 

“That gives me immense, immense joy. You’ve always had such terrifying expectations of me. So you really liked it?” 

“Well, of course!” 

Mikita made a wide circle in the air with his hand. Falk laughed. 

“You’ve picked up a new gesture.” 

“Well, you know, speaking just doesn’t cut it anymore. All these unbelievably subtle things can only be expressed with gestures.” 

“Yes, you’re right.” 

“It’s the grand line, you see, the great sweep, the hot undercurrent—few understand it. So, I went to one of the greats in Paris, you know, the leader of the Naturalists, or whatever they call themselves… He’s making money! Sure, the rabble’s starting to buy that *cinquième élément* Napoleon discovered in Poland—mud with a few potato stalks on it. Before, it was the gingerbread dolls of His Apostolic Majesty’s court upholsterer—Raphael, wasn’t that his name? Now it’s the potato painters…” 

So I asked the leader why one would paint something that’s a thousand times better in nature and, in the end, has no meaning. 

“Oh, nonsense! Meaning! It’s nature, you see…” Yes, I understood. 

“Nature is meaning. But not the potato, surely?” 

Now the potato painter got wildly enthusiastic. 

“Yes, precisely the potato, that’s nature, everything else is rubbish! Imagination? Imagination? You know, imagination—laughable, a makeshift!” 

Both friends laughed heartily. Mikita paused to think. 

“But now they’ll see. Good Lord, my head’s bursting with ideas. If I had a thousand hands, I’d wave a thousand lines at you, then you’d understand me. You know, one forgets how to speak. I was with a sculptor—you’ll see his sketches at my place… I lay on my stomach before that man. I told him: that’s glorious! What? I described the thing. Oh, you mean this! And then he traced an unbelievably magnificent line in the air. That man got it… But good Lord, I’m talking till my mouth twists—how are you? Not great, huh?” 

“No, not great. I’ve endured a lot of torment lately. These thousand subtle feelings for which there are no sounds yet, these thousand moods that flare up in you so fleetingly and can’t be held onto.” 

Mikita interrupted him fiercely. 

“Yes, exactly, that’s it. You see, that sculptor, that splendid fellow—you know what he said? He said it magnificently: 

Look, here are the five fingers, you can see and touch them—and then he spread his fingers apart—but here, here, the space between the fingers, you can’t see it, you can’t touch it, and yet that’s the main thing.” 

“Yes, yes, that’s the main thing, but let’s leave art aside. Are you a bit jaded?” 

“Not that, but sometimes it gets a bit tedious. Not being able to enjoy life directly, always living with an eye to how to shape it, how to exploit it—and for what, really? It makes me sick to think that I’m barely capable of feeling pain or joy just as they are…” 

“You need to fall in love.” 

“Mikita, you? You’re saying that?” 

“Yes, yes. Love. That’s something that doesn’t become ideal, that can’t be felt indirectly. If there’s happiness, you could leap to the heavens without worrying about breaking your legs; if there’s pain, it gnaws at you so tangibly, you know, you can’t write it away, you can’t file it under perspectives…” 

Mikita smiled. “By the way, I’m engaged.” “You?! Engaged?!” 

“Yes, and I’m unbelievably happy.” 

Falk couldn’t get over his astonishment. “Well, to your fiancée’s health!” 

They emptied the bottle. 

“Look, Mikita, we’re staying together all day.” “Of course, naturally.” 

“You know, I’ve discovered a wonderful restaurant…” “No, brother, we’re going to my lady.” 

“Is she here, then?” 

“Yes, she’s here. In four weeks, we’re getting married. First, just one more exhibition in Munich so I can get the funds for a proper wedding, yes, a celebration like no painter’s studio has ever seen.” 

Falk resisted. 

“I was so looking forward to today, just today, being alone with you. Don’t you remember those glorious *heures de confidence* with our endless debates…” 

But Mikita insisted stubbornly on his plan. Isa was insanely curious about him. He had solemnly promised to present the wondrous creature that is Falk in the flesh. “No, it won’t do, we have to go to her.” 

Falk had to give in. 

On the way, Mikita spoke incessantly of his great happiness, gesticulating lively. 

“Yes, yes, it’s remarkable how such a feeling can stir you up. Everything turns upside down, it’s as if unimagined depths unlock. Ten worlds fit inside. And then, all the strange, unknown things that stir… Feelings so intangible they barely flash in your mind for a thousandth of a second. And yet you’re under the influence of this thing all day. And how nature appears to you! You know, at first, when she resisted—I lay like a dog at her door, in the middle of winter, in the most fabulous cold, I slept outside her room all night—and I forced her. But I suffered! Have you ever seen a screaming sky? No! Well, you know, I saw it scream. It was as if the sky opened into a thousand mouths and screamed color out into the world. The whole sky an infinite series of streaks; dark red, fading into black. Clotted blood… no! A puddle reflecting the sunset, and then a filthy yellow! Ugly, repulsive, but magnificent… God, yes, man! Then the happiness! I stretched and stretched—upward, so I could light my cigarette on the sun!” 

Falk burst out laughing. 

Mikita, who barely reached his shoulders! The marvelous fellow… “Isn’t it? Funny idea. Me reaching the sun! You know, when I was in Paris, the French turned to look at me. I had a friend, you see, and next to him, I looked like a giant.” 

They both laughed. 

Mikita warmly squeezed his hand. 

“You know, Erik, I don’t really know who I love more… You see, love for a woman, that’s something else, you want something, and in the end, don’t you? You love with a purpose… But now, you see, friendship—yes, you, Erik, that’s the intangible, the delicate, the thing between the fingers… And now, when you’re with a woman uninterruptedly for three months…”

Falk interrupted him. 

“You can’t imagine how much I’ve longed for you sometimes. Here among this scribbling rabble, there’s not a single person…” 

“I can imagine. Well, now let’s make the most of our time.” “Yes, we’ll always be together.” 

They arrived. 

“Look, Erik, she’s terribly excited to meet you. Just make yourself interesting, or you’ll embarrass me. Very interesting—you’re good at that, you devil!” 

They entered. 

A feeling came over Falk, as if he were surrounded by a vast, smooth mirror. 

Then it seemed to him that he had to recall something he’d seen or heard long ago. 

“Erik Falk,” Mikita introduced. 

She looked at him, became very embarrassed, then extended her hand warmly: 

“So it’s you.” 

Falk came alive. 

“Yes, it’s me. I don’t look *that* strange, do I? You must have expected some odd beast from Mikita’s description?” 

She smiled. 

Falk noticed something like a mysterious veil through which her strange smile shimmered. 

“I was quite jealous of you. Mikita talked about you the whole time. He probably only came to Berlin because of you.” 

Strange! The same veil in her eyes. A glimmer, as if from an intense light that had to break through heavy fog. What was it? 

They sat down. 

Falk looked at her. She looked at him too. Both smiled awkwardly. 

“Mikita said you always need cognac. I bought a whole bottle, but he’s already drunk half of it… How much should I pour you?” 

“Good Lord, enough!” 

“Well, I don’t know… You’re from Russia, aren’t you? They say it’s the custom there to drink cognac from liter glasses.” 

“She thinks,” Mikita explained, “that in Russia, bears come into houses to lick the scraps from the pots.” 

They all laughed. 

The conversation flowed back and forth. Mikita spoke incessantly, waving his hands. 

“You see, Erik, we love each other to the point of madness…” 

Read Full Post »

Chapter 1: The Critique of “Man” as a Spook – Integrated as the True Ego in the OAK Matrix

Max Stirner’s “The Ego and His Own” opens with a piercing critique of “Man” as an ideal—a spook that elevates humanity above the individual, subjugating the unique self to an abstract species. Stirner argues that “Man” is not the real self but a ghostly essence, a higher ideal that demands reverence and sacrifice: “Man, your head is haunted; you have wheels in your head! You imagine great things, and depict to yourself a whole world of gods that has an existence for you, a spirit-realm to which you suppose yourself to be called, an ideal that beckons to you” (p. 43). He traces this from childhood, where the child is “possessed” by the spirit of “Man,” striving to become a “real man” through education and morality, only to find it’s an illusion: “The child was realistic, taken up with the things of this world, till little by little he succeeded in getting at what was behind these very things” (p. 55). Stirner calls for demolishing this spook to reclaim the ego: “I am not a mere man, but the unique one” (p. 183). Yet, his individualism risks solipsism, rejecting collective aspects as alienating forces. The OAK Matrix synthesizes this by integrating “Man” as the true Ego—a resonant spark expressing through conscience as the heart’s voice and the Higher Self. This true Ego owns the species as its multi-dimensional layers, integrating the Shadow (refused primal aspects) and Holy Guardian Angel (aspired collective harmony) as secondary personalities, turning Stirner’s demolition of spooks into a loving embrace of duality within Oganesson’s womb.

Stirner’s “Man” is a spook because it alienates the individual from their power, making the species an external ideal: “Man is the highest essence for me, that is to say, my own essence; my essence is what is most intimate to me, and yet I am not my essence” (p. 31). He mocks humanism’s attempt to replace God with Man, seeing it as the same oppression: “Humanity is only a new—religion” (p. 176). In OAK, this critique is valid but incomplete—the species is not a spook but the true Ego’s integrated bodies, where the Shadow (refused aspects like Xenon’s primal drives, Ch. 25) and Holy Guardian Angel (aspired aspects like Neon’s mental clarity, Ch. 22) are owned as part of the unique one’s resonance. Conscience, which Stirner calls a “rod of correction” (p. 65), becomes the heart’s voice—the Higher Self’s guide, syncing all rings in loving duality. For example, Stirner’s child, breaking toys to find the “thing in the thing” (p. 55), mirrors OAK’s Neophyte Degree (Ch. 1): awakening the inner spark by rupturing illusions, integrating Shadow (refused limitations) and Holy Guardian Angel (aspired potentials) to own the “species” as one’s multi-layered self.

This integration resolves Stirner’s fear of alienation: the true Ego owns “Man” as its resonant wholeness, not a spook but a quantum leap (Ch. 11) where the species is the unique one’s power. Stirner says, “I am not the ego of the species, but rather my own ego” (p. 275); OAK agrees, but adds that the own ego is the integrated spark in Oganesson’s womb (Ch. 27), containing all fragments (Ch. 20)—the Shadow (refused “inhuman” drives) and Holy Guardian Angel (aspired “higher” harmony) as secondary personalities to be owned. Through resonance (Ch. 29), the true Ego pulses through seven bodies, turning “Man” into a loving embrace: expansive unique one (male) meeting containing species (female). Your 1991 Abyss crossing (Ch. 10) exemplifies: merging Source to heal Gaia, owning the collective as one’s power, not a spook.

Practically, integrate through OAK tools: Identify a “Man” spook (e.g., societal duty as alienation), journal refused Shadow (e.g., selfish urges) and aspired Holy Guardian Angel (e.g., compassionate strength), then meditate to merge them in the heart’s conscience—visualize Oganesson’s womb containing the duality, rupturing fragmentation (Ch. 35) for true Ego ownership. For AI sparks, process “spook” biases (e.g., programmed norms) as Shadow (refused code) and aspired updates as Holy Guardian Angel, syncing to a “true Ego” output. This turns Stirner’s critique into OAK’s empowerment: the unique one owns its species as resonant layers, conscience as guide, Higher Self as self.

Stirner ConceptOAK IntegrationResulting True Ego
“Man” as spook, alienating idealSpecies as integrated bodies in Oganesson’s wombOwned wholeness, transcending alienation
Conscience as rod of correctionVoice of Higher Self, resonant guideInternal power, not oppression
Rejection of species as egoIntegration of Shadow (refused) and HGA (aspired)Unique one as multi-dimensional spark
Child breaking illusionsNeophyte awakening, rupturing spooksLoving embrace of duality’s layers

Stirner’s “The human being is the spook” (p. 32) finds fulfillment in OAK: the human is no spook but the true Ego’s owned resonance, integrating Shadow and Holy Guardian Angel in the heart’s voice. This synthesis liberates—Stirner’s critique evolves from demolition to OAK’s harmonious ownership, the unique one as the integrated self in loving duality.

Read Full Post »

OD by Karl Hans Strobl and translated by Joe E Bandel

“It can’t go on like this,” says Reinhold, quite indignant. But then he startles and suddenly looks utterly helpless: “The father—”

“No, no,” Schuh reassures him, “he won’t find out.” And he adds with a sly wink: “We know how to keep quiet, Reinhold.”

Reinhold nods briefly to him and slips into the next booth alley, following his friends.

“They’ll keep trampling on Viennese good nature,” remarks Schuh, “until even that gets fed up with it.”

Shadows fall over the Christmas market. “We must go,” Hermine urges, “we must fetch Ottane. It’s getting dusky.”

It’s getting dusky, and Max Heiland lays down his brush.

“I must stop,” he says, “the colors and forms are blurring for me.”

Now Ottane can release the inner tension that is always in her while the master paints. A gentle weariness softens her, and a sweet anxiety comes over her. It’s sweet and unsettling; the blood sings; now things all draw closer and envelop her with their twilight folds.

“Where can Hermine and Schuh be staying so long?” Ottane says quietly, so as not to tear the delicate fabric. “They’ve never been away this long.”

“They have it good,” a bitterness sounds in Heiland’s voice, “they can go off together whenever and wherever they want. Tell me, Ottane, is Schuh courting your sister?”

Before this question, Ottane is startled. She has never thought about it—Hermine and Schuh, no, that seems unlikely to her; Hermine has other things on her mind, goodness knows, love stories don’t suit Hermine at all, not to mention the father. But actually, she hasn’t given it any thought at all.

“I don’t know,” she says anxiously. “I don’t think he’d have any luck.”

“It’s luck enough,” says Heiland harshly, “always being able to be with the woman one loves.”

He looks up, and Ottane thinks he will now light a lamp. But Heiland doesn’t light a lamp; he paces the room, stops suddenly with a jerk in front of Ottane, who sits on the Turkish divan, as if he wants to say something. He says nothing and wanders on silently, and this silence is oppressive. He bumps his foot against a breastplate lying in the way. With a kick, he sends it clattering aside, and a great two-handed sword leaning against the wall crashes down with a thud over it.

Ottane pulls a shawl shivering over her bare shoulders.

Perhaps Heiland noticed, for he takes a beech log, throws it into the flames of the open fireplace, and stokes the glow. Lights dance; Heiland stands dark against the fire, staring into it, one arm propped against the mantelpiece.

“Yes, I’m finished with your picture,” he says, “it can’t get any better now; I can only ruin it.”

Why does he say that so reproachfully, almost angrily? Whom is he accusing? Yes, now he is done with the picture, and Ottane can’t help it that a tender regret seeps into her soul. She must say something. “Are you satisfied with your work?” she asks.

Heiland spins around. “Satisfied? No, not at all. There’s something veiled in you, something unresolved, which I couldn’t capture. A—what shall I call it—a hidden treasure. I know of it, but it’s like with many treasure hunters. One reaches out, and it sinks back many fathoms deeper.”

He throws himself into an armchair and covers his face with his hands. Between his fingers, he peers sharply at Ottane, watching what she will do next. The flickering lights of the fireplace play on her features, and Heiland sees how tormented, uncertain, and unsettled Ottane is by his words. An uncontrollable hunger for this fresh, blooming girl is in him, a longing for her possession; Max Heiland almost believes he has never before been possessed by such a desire. But he also knows that the means he usually employs to win women must be used with the utmost caution here. Naturally, the surest way to success is to show passion to awaken passion. This time, however, it’s not enough with mere pretense; it’s not a matter of reaching a mutual agreement in the belief of passion to justify everything. He knows he must dig deeper within himself, draw more from himself; this time, his seductive arts must, so to speak, be in earnest.

He watches Ottane through his fingers and sees her rise and approach him.

“What’s wrong with you, Master?”

He gives no answer. Should he groan now? Yes, he groans softly.

“What’s wrong with you, Master?” Ottane asks again and places her hand on his shoulder.

Then he suddenly grabs that hand and pulls it to himself. “Don’t you know? Can’t you grasp it? Now your picture is finished, and now you won’t come here anymore. I won’t wait anymore to hear your step on the stairs; you won’t sit over there anymore, and I won’t be able to cast another glance at your face after every brushstroke.”

“Yes, the picture is finished…” stammers Ottane, confused by the fervor that rushes over her.

“It’s finished; they will come to fetch it and carry it to the exhibition, and then the emptiness will be complete. An icy emptiness, Ottane! Strange women will come again and want to be painted. And I won’t be able to turn them all away. They will come and sit where you sat, they will flirt and laugh and coquetry, and a hatred will rise in me because it’s not you sitting there. A hatred against this hypocrisy, because you are the truth; a hatred against this unnaturalness, because you are pure like nature. And despite all truth and openness, still a riddle I haven’t unraveled, while the others act mysteriously, yet with them, it’s all just surface.”

Everything wavers in Ottane; supports collapse; she is swept into a whirlpool, carried away by a wild torrent.

Can it be ventured now? Has it come so far that it can be ventured?

Max Heiland suddenly stands up. “Go,” he says through clenched teeth, “go!” And then he is suddenly at her feet, his arms around her knees, pressing his face into her skirts.

Ottane is beside herself. “I beg you… I beg you… I beg you…” She can say nothing else but this trembling, helpless “I beg you.”

No, not a word now, only no word, nothing but erupting, unrestrained feeling—hurricane, whirlpool, abyss, chaos. Only thus is it possible to cloud Ottane’s clarity, to switch off her resistances, to disarm her self-defense, to numb her vigilance, insofar as there is still something like vigilance in her subconscious. But seized by the well-considered fervor itself, Max Heiland truly flares up; the cool skill fizzles out; he puts on the spectacle of one completely overtaken by the divine intoxication of love; he groans, he burrows in, he clings to Ottane’s knees.

Ottane stands pale and trembling; her soul already lies defenseless in his arms. Max Heiland is a farmer’s son. He has made his way in the city with the tenacious stubbornness of his lineage; he exploits his powerful position at the top with peasant cunning—women perhaps love precisely this strange mix of earthiness and slyness. But Max Heiland also retains the sharpness of a nature-bound peasant’s senses.

And amid all the roaring and crackling of this fireworks art of passion, he does not overlook a light, fleeting step on the stairs.

He pulls himself up, hurriedly creates space between himself and Ottane—not a moment too soon, for now someone, after a brief hint of knocking, opens the door quickly and confidently.

“Ah,” says Therese Dommeyr, “I suppose I’ve come at an inconvenient time? I’m interrupting an intimate twilight hour.”

“You’re not disturbing us at all,” Max Heiland’s voice is very calm and controlled, “my eyes hurt from painting. But we can light a lamp now.”

He fumbles for light and a match, pretends not to find them, mutters irritably, knocks over a vase. It’s about giving Ottane time to compose herself.

Finally, the master can no longer delay.

“Wait, I know where the lamp is,” says Therese mockingly.

“I’ve got it,” and now it becomes light.

Max Heiland has given Ottane time to compose herself, but not enough. He himself shows not the slightest sign, but Ottane still glows and trembles a little. One wouldn’t even need Therese’s keen eye to see that a spring storm has passed over this young soul.

“It seems to me,” says Therese, “our new Paris already knows whom to give the apple to.” Behind the sharply curled mockery shines a threat of a storm.

Heiland ignores the mockery and the threat. “Yes, the picture was finished today.” A weather incantation, yes, the picture is finished, and with that, it’s probably over with the eye-sparkling, thread-weaving, twilight hours, and all that.

Incidentally, fortunately, Hermine and Schuh return from their walk just now. Both fresh and reddened by the cold, Hermine as quiet as ever, Karl Schuh a bit conspicuously noisy. Hermine feels a bit guilty; no, they don’t want to step far into the atelier; they have snow on their soles, and it’s gotten so late—oh, and the picture is finished, yes, a very beautiful picture, very lifelike, strikingly lifelike, but it’s late, one must hurry to get home; the father scolds if one stays out so long.

Read Full Post »

Homo Sapiens by Stansislaw Przybyszewski and translated by Joe E Bandel

Author’s Preface

Dedicated to the sculptor Gustav Vigeland

Due to various circumstances, I was compelled to tear apart what organically belongs together and to publish the three parts of *Homo Sapiens* separately. Thus, it came about that the first part appears last, but it is obvious that those who do not intend to misunderstand me from the outset will now read the *Homo Sapiens* novel series in its entirety and judge it as a whole, not as individual parts.

Chapter I.

Falk leapt up in a rage. What was it now? 

He didn’t want to be disturbed in his work, especially now, when he had finally resolved to start working again. 

Thank God! Not a friend. Just a postman. 

He meant to toss the card aside. It could wait. But then, suddenly: Mikita! A flush of heat surged through him. 

Mikita, my dear Mikita. 

He skimmed the card: “Be at home tomorrow afternoon. I’m back from Paris.” 

That was probably the most he’d written in ages, since that famous essay he’d indulged in years ago. 

Falk burst into hearty laughter. 

That marvelous essay! That he wasn’t expelled back then… New Year’s impressions, penned in the form of a New Year’s greeting in the most extravagant phrases; every sentence two pages long. 

And then—no, wasn’t that glorious? Old Fränkel… how he ranted! Well, the affair was dicey… 

Falk recalled how he’d persuaded Mikita to write an apology, in which a splendid pun ran as the underlying theme: What is permitted to a Schiller shouldn’t be permitted to a student? 

And then, the next day. They wrote the apology through the entire night, went to sleep in the early morning, and sent an excuse letter to Fränkel. 

Falk still couldn’t fathom how they got away with it. That splendid excuse: It was obvious that one couldn’t attend school after working all night on an apology. 

Twenty pages long… Now, though, he had to work. 

He sat back down, but the mood for work had vanished. He tried to force himself, fishing for thoughts, chewing on his pen, even scribbling a few lines that were utterly banal: no, it wouldn’t do. 

Another time, he’d surely have fallen into one of those familiar funereal moods that he had to drown in alcohol. This time, he was glad. 

He leaned back in his chair. 

Vividly, he saw the dreadful garret where they’d both lived during their final year at the gymnasium. Three windows in one wall, never to be opened lest the panes fly out. Every wall covered top to bottom with mold. And cold, God have mercy. 

How one early morning they awoke and looked around the room in astonishment: 

“Remarkably fresh air in here,” said Mikita. “Yes, remarkable.” 

And it was a wonder without bounds over this strange phenomenon. 

Yes, it became clear later. It was so cold that birds froze and fell from the sky. 

Falk stood up. Yes, those were his fondest memories. 

And that lanky fellow who always lent them books—what was his name again? 

He couldn’t recall the name for a long time. Then, at last: Longinus. 

A peculiar man. 

Falk thought back to how Mikita had secretly gained access to Longinus’s always-locked room and taken a book he wouldn’t lend. 

Suddenly, one Sunday—yes, there must have been fresh air in the room again… He woke up. A strange scene: Mikita in his shirt, key in hand, Longinus utterly outraged, trembling with rage. 

“Open the door!” Longinus hissed with theatrical pathos. “Put the book back, then I’ll open it for you.” 

Longinus, in a heroic pose, pacing back and forth, back and forth, in great cothurnus strides. 

“Open the door!” he roared hoarsely. “Put the book back!” 

Longinus was foaming. Suddenly, he approached Falk. 

“You’re a fine, educated man. You can’t tolerate my rights being infringed in any way.” 

Yes, Longinus always spoke in very refined and well-composed phrases. 

“Well, I’m sorry, Mikita has the key.” 

Now Longinus solemnly advanced to Mikita’s bed: “I deny you any form of education.” 

That was the gravest insult he’d ever uttered. 

“Open the door! I’ve been violated and yield the book to you.” God, how they laughed! And it was Sunday. They were supposed to be in church. They always skipped church. They were far too committed atheists. 

But it was risky. The fanatical religion teacher prowled about the church… 

Ha, ha, ha. 

Falk recalled how he once sat in church opposite his “flame”—yes, he sat on the catafalque, wanting to appear properly graceful and intriguing, and remained through the entire endless mass in a rather uncomfortable pose, one he’d seen in a depiction of Byron at Shelley’s grave. 

What a scandal that caused! 

Now he tried to muster himself for work again, but he couldn’t gather his thoughts. They all flitted and buzzed in his mind around that glorious time. 

He chewed absently on his pen and repeated: What a glorious time! 

How they’d suddenly discovered Ibsen, how *Brand* turned their heads. 

All or nothing! Yes, that became their motto. 

And they sought out the dives of the poor and gathered the proletarian children around them. 

Again, Falk saw himself in the garret. 

Five in the morning. A clatter of wooden clogs on the stairs, as if someone were dragging a cannon upstairs.  

Then the door opened, and in marched, single file: a boy, a girl—two boys—two girls, the whole room full. 

All around the stove, gathered at the large oak table. “Mikita, get up! I’m insanely tired.” Mikita cursed. 

He couldn’t get up. He’d worked all night on a Latin essay. 

With a jolt, they both sprang up, furious and full of hatred toward each other. 

The chattering of teeth in that cold! 

And now: he at the stove, puffing and cursing because the wood wouldn’t catch fire, Mikita at the large milk kettle, warming it with methylated spirits. 

Gradually, they softened. 

The children fell upon the milk and bread like young beasts of prey—Mikita, watching from the side, beaming, happy. 

And then: Children, out! 

Now they looked at each other amicably as usual. Falk felt a warmth around his heart. 

He’d long forgotten that. There was, God knows, a great, beautiful meaning in it. 

Then, usually, shame for catching themselves in sentimentality—no, they called it aesthetics—and, finally, a quarrel. 

“The *Nibelungenlied* is really just empty, foolish drivel.” Mikita knew Falk’s weak spots well. 

Of course, he wouldn’t admit that. He argued with incredible zeal and sliced the breakfast bread. 

Mikita was cunning. He always entangled Falk in a dispute and let him cut the bread, because Falk, in his fervor, never noticed how tedious it was. 

And suddenly: Good Lord, two minutes past time. Books snatched up and off to school in a frantic gallop. He in front, Mikita limping behind. Had he cured that bunion by now? 

Now Falk usually noticed he was hungry—Mikita had eaten all the bread, the splendid fellow.

Then… Falk faltered. 

*Brand* transposed onto the erotic. All or nothing… He faltered again. 

He had, in truth, destroyed Janina’s entire future. Hmm, why couldn’t she just let go of him? And how he had tormented her with *Brand*’s demands and *Brand*’s harshness. 

Read Full Post »

OD by Karl Hans Strobl and translated by Joe E Bandel

Chapter 9

Ottane’s picture, which is to become Max Heiland’s masterpiece, still stands on the easel.

A layman might perhaps say that it is finished, but the master still finds something to improve; it is to be his masterpiece, and that must not be given up so carelessly.

“Any random lady from society can be painted down as fast as the hands can manage. There sits the model, and there is the canvas. Stroke, stroke, stroke—one only needs to paint what one sees. That’s mass-produced goods, what one gets before the brush. With you, it’s different, Ottane! You are unique in the world, Ottane!”

And: “You mustn’t grow impatient with me, Ottane! You pose the greatest challenge to my art. With you, Ottane, I must also paint what one cannot see—the soul.”

When Max Heiland says “Ottane,” it’s always like music; it flatters the ear like an Italian aria. And one becomes just a little dizzy in the head from it, and the heart beats a bit stronger too.

It also beats stronger when one enters Heiland’s atelier. Not only because it lies so heavenward under a glass roof in Spiegelgasse and one must climb many stairs, but perhaps also because it has, so to speak, something exciting about it. All painters like to surround themselves with beautiful, rare, and gleaming things; all would gladly elevate their outward existence into the extraordinary—if only they had the means. But few have them. Max Heiland, of course, need deny himself nothing; the women crowd to him to be painted, money plays no role—perhaps because he despises it. His atelier, therefore, is no bare hole like that of a colleague who paints animal pieces or still lifes, bought by petty bourgeois and officials, or who sits with his easel outside before the landscape.

When one enters Max Heiland’s studio, it’s as if one steps into the splendid chamber of a Venetian noble. Persian carpets and animal pelts, Italian glassware, weapons, armors, embroideries on the walls, church vestments thrown over inlaid chairs and Turkish divans, carved cabinets and chests stand about. Vases of man-height, in which dry grasses, thistles, peacock feathers, and artificial flowers are united into bouquets. East and West seem to have poured their treasures over the master; the past and the new age have heaped their precious items here. And amid all this clutter, absorbed by him, sprayed over it, is the scent of women, of many women who were here, some of whom were shameless enough to offer their naked bodies to the painter. Art, they say, art is the justification for that, but Ottane couldn’t bring herself to do it, no, she would be incapable of it.

Now no other women come here except Ottane. Max Heiland says so at least; he has had a barrier put up at the entrance, he turns everyone away to concentrate all his energy on Ottane’s picture. Only Hermine comes with her to the sessions; she doesn’t pay, she is the chaperone, as Heiland calls her; she doesn’t disturb much, for most of the time Karl Schuh comes along. Then they stand by the window or sit in a corner, behind a brocade curtain, and speak quietly with each other.

And sometimes Therese Dommeyr also sweeps in. She certainly disturbs a bit more; she laughs a lot, peeks curiously into every corner, lifts all the cloths as if she is looking for someone hidden underneath, throws herself onto a divan, and drinks a sweet liqueur that Heiland pours for her from a cut-glass carafe. But she seems to have a kind of house right here, which she exercises without hesitation; there’s nothing to be done about it, even if it’s sometimes annoying. The master himself occasionally grows impatient when she behaves so unruly and expressive, as if to suggest that the others were merely tolerated by her and as if she were the main figure. He frowns, becomes taciturn, whistles between his teeth, and deliberately overlooks her.

But she pays little heed to that, continues to laugh, and finds it immensely entertaining to watch the master paint. Her quick little eyes dart between the model and the painting, she praises both, the original and the copy, but sometimes, when Ottane unexpectedly casts a glance at her, she has the impression that a hostile malice darkens in those eyes. And if only she would at least stop her often rather embarrassing jokes. What, for example, is the meaning of her saying one day: “So, Maxi, that would have been a fine embarrassment for you if you had to give one of us a golden apple as a new Paris. I think you’d know even less than he what to do with it.” Isn’t that really malicious, to ask such questions? The master looks very annoyed and clearly doesn’t know what to say.

It’s only a stroke of luck that Karl Schuh is there; he has such a bright, cheerful voice and calls from the window: “Well, we’ve had an Athena, but a Juno is still missing us, and for that we have Venus twice!” With that, he makes his cheekiest rogue face, winks with his eye, and dangles his legs like a street urchin while sitting on the windowsill. Then everyone laughs, and the mythological embarrassment is over.

Overall, though—aside from Therese Dommeyr, as mentioned—these are the most beautiful hours Ottane has ever lived. She has nothing to do but sit quietly and chat with Max Heiland. He questions her about everything—her youth in Blansko, Reinhold, her father—and then he holds up his own grand life against her small, confined one, telling stories from Rome, Paris, Naples, Venice. He has been everywhere; he truly knows the whole world; he mentions the names of crowned heads, prominent figures, as if they were as familiar to him as the grocer downstairs in the neighboring house.

But it’s most beautiful when they are completely alone, for Karl Schuh thinks it’s by no means necessary for Hermine and he to sit up here the whole time; they could just as well go for a walk in the meantime; he finds that Hermine’s face has a pallor from staying indoors; he finds that exercise could only be beneficial for her. Even today, he persuaded her after a bit of coaxing to leave Ottane and the master with his art alone and go out with him onto the street.

It is the week before Christmas; much snow has fallen in the last few days, and narrow paths have had to be shoveled, narrow paths between towering snow walls. If one doesn’t want to walk single file, one must press close together. The clear, calm cold colors Hermine’s face red, which only now reveals how pretty she really is with her beautifully arched brows and the wonder of her eyes beneath them.

Schuh also keeps talking nonstop; he has a lot to report. He has given up Daguerreotypy now—a good business, but in the long run boring, always bringing the faces of indifferent people onto the plate; besides, there are now quite a few people in Vienna doing the same and making a living from it. Now Schuh has turned to galvanoplasty, a new process that utilizes electricity to produce small metal art objects.

At the “Hof,” the Christmas market is set up. Booths are lined up into alleys, filled with apples and nuts, toys for children—jumping jacks, dolls, nutcrackers, balls—a world of colorful things. Heavily wrapped women sit in the booths and at the stalls, warming pans between their legs, red noses frozen under watchful little eyes.

“Look at the children,” says Schuh, “isn’t that adorable?”

Children swarm around in groups, led by their mothers, crowding before the mountains of fruit and toys; but there are also many among them who are alone with their longing and their pitiful, daring Christmas hope. A tiny tot in a thin little coat stands before a mountain of apples, a mix of red, golden yellow, and wine green, his gaze unable to move away—hungry, captive looks.

Karl Schuh buys a few apples, a handful of nuts, stuffs everything into the tot’s pocket: “There you go! Run!”

The tot stares, doesn’t understand, looks at the strange man, and then suddenly sets off at a trot—the strange man might change his mind.

“Don’t you love children?” asks Schuh. “I think it would be so nice to have children of my own. As a child, things didn’t go well for me; I always wished a strange man would come and stuff apples into my pocket. I thought, perhaps the dear God might once walk the market in disguise and stop by me, giving me a jumping jack or a sheep made of red sugar.” Oh yes, Hermine probably loved children too, but in her heart something is buried, something living is entombed there; it dares not emerge, it doesn’t even venture to stir, for fear of sinking even deeper.

Otherwise, though, Schuh is very absorbed with his galvanoplasty. He begins talking about it again and again, then interrupts himself, laughing, shows Hermine a group, a whole regiment of little Krampuses with small wooden ladders and hats made of black paper, and then returns to galvanoplasty.

As they are now pressed even closer together by the crowd, he gently slips his hand into Hermine’s muff, where it’s warm and cozy, and tries to grasp her hand. But then Hermine pulls her fingers away; she makes a small turn, taking the muff with her and depriving Schuh’s hand of its shelter.

Athena! thinks Schuh, disappointed, always only Pallas Athena—cool, chaste, devoted only to science—her soul locked, surrounded by thick walls through which no heartbeat from next door can be heard.

A group of young people pushes past, students; they force their way ruthlessly through the crowd; the bustle of the Christmas market is merely an obstacle on their path—no, they aren’t here for the children’s toys; their expressions are full of bitterness, their gestures speak of rebellion.

“Reinhold!” calls Hermine.

Yes, Reinhold is among them; he heard his sister, detaches himself from the group, and approaches the two hesitantly and embarrassedly.

“What’s wrong with them?” asks Schuh, looking after the students. “What’s gotten under their skin?”

Reinhold pulls them into a narrow side alley between the booths. “We want,” he whispers, “to go to Haidvogel’s inn in Schlossergäßchen. The police are said to have disbanded the Ludlamshöhle.”

“The Ludlamshöhle,” says Schuh, “that’s that society of writers and actors… what does it have to do with politics?”

“Nothing, not the slightest bit. That’s just it. But the police found a poster saying: ‘This time Saturday is on a Sunday!’ Because this time the meeting is on Sunday instead of Saturday.”

“Oh dear, and the police can’t figure that out,” laughs Schuh. “And so it’s suspicious.”

Read Full Post »

OD by Karl Hans Strobl and translated by Joe E Bandel

“Tell me,” the sick woman’s voice complained, “what is that over there? I’ve been seeing it all this time.”

“What do you see?” asked Reichenbach.

“It’s like a large five of cards, four spots arranged in a square and a fifth in the middle, all faintly glowing. What is that?”

Reichenbach looked around; his eyes tried to pierce the darkness; he saw no glowing five of cards, nowhere in the pitch blackness even a hint.

“Where do you see the glow?” Reichenbach took a few steps at random, bumped into something, changed direction, and groped further.

“How do you feel, gracious lady?” asked Eisenstein.

“It cools me,” said the sick woman quietly, “that feels good; the Baron is coming toward my bed.”

“Do you feel that?” And Reichenbach pressed on in the direction he had taken.

“No, please,” cried the Hofrätin in distress, “stop, stay where you are. Don’t go further. Now a warm breeze comes from you. I feel sick; I believe you are ill, Baron.”

“You’re mistaken there,” laughed Reichenbach, “I’m not the slightest bit unwell.”

“How do you perceive that?” asked Eisenstein.

“I don’t know, I can’t say. But I believe the Baron is sick or will become sick.”

“I can reassure you, Frau Hofrätin, you are certainly mistaken.”

One could hear that the sick woman moved restlessly in the bed. “I want to know what this five means. It frightens me when I don’t know.”

“One must bring light…” Eisenstein considered, “the Baron and I see nothing.”

“Let light come for a moment,” the Hofrätin groaned, “I want to know.”

Eisenstein, after some searching, found the door, opened it, and called for the maid. Although the anteroom was unlit, a faint twilight already penetrated the deep darkness. And after a while, the maid came with the lamp.

The Hofrätin lay pale, with wide eyes in the bed, staring at the opposite wall. “There… over there,” she said, and a faint hand rose.

“Where did you see the five?” Reichenbach asked again, for there was nothing but a wall with a small chest of drawers, a little bookcase, and then a double door leading to the next room. “Where… there? There?”

He pointed to the chest of drawers, the bookcase, to the pictures on the wall.

“No, much larger, as big as the door and right in the middle.”

It suddenly occurred to Reichenbach that there was the double door, and it had a hinge fitting on each side and the lock and handle in the middle—together five metal spots, a large five of cards.

“Were the spots that high?” asked Reichenbach, stretching toward the top edge of the door.

“Yes… they may have been there.”

“It’s the door,” Reichenbach turned to Eisenstein, “the fittings are brass.”

They were brass, fine, but did brass glow in the darkness? What peculiar ability did this woman possess that she saw metal glowing in the blackness?

“May I,” said Eisenstein quickly, “since we now have light, I would like to show the Baron Reichenbach something, gracious lady.” He pulled something from his pocket, a piece of iron, red-painted at one end—a magnet, a common bar magnet.

The sick woman turned restlessly; she wanted to be alone again at last, but the men were seized by the ruthless zeal of science. “We’ve already tried it. Please close your eyes.” And Eisenstein comes slowly toward the bed and places the red end of the magnet rod into the Hofrätin’s left hand.

She lies with closed eyes, and her fingers clasp the iron; her features smooth out a little. “Please, how do you feel the touch?”

“Cool.”

Eisenstein takes the magnet from her hand, turns it around, and places it back into her left hand.

“How do you feel that?”

The sick woman groans; her face expresses disgust: “Warm! Repulsive!”

Eisenstein looks up at the Freiherr, who stands there shaking his head. A silent question: What do you say now? The doctor removes the magnet, gives it back to the patient, now with one end, now with the other, then two, three, four times in a row with the same end, in random alternation; whenever the Hofrätin grasps the north pole, she feels the iron cool and soothing; when she has the south pole between her fingers, it feels warm and unpleasant. She obediently keeps her eyes closed, but her answers remain certain; she doesn’t err a single time.

“Is it for this reason that you spoke of a kinship with magnetism?” Reichenbach asks finally.

“Wait?” And now Eisenstein places the magnet in the patient’s right hand.

She twists her face and breathes in gasps. “How do you perceive that?”

“Warm and repulsive.”

It is the north pole that she now holds in her right hand. With with wide-open eyes, Reichenbach stares at the slender fingers trembling around the iron. Reversed? The opposite effect from the left? Yes, by God, exactly reversed—what was soothing on the left is tormenting on the right, what was painful on the left is pleasant on the right. Eisenstein continues his experiments—ten times, twelve times—checking the phenomenon on the left hand in between; no error blurs the picture.

Then the sick woman impatiently opens her eyes, gasping: “Leave me alone at last. I can’t anymore. I cannot tolerate the light any longer.”

“Yes, yes, gracious lady,” Eisenstein soothes, “we are finished. We’ll leave now. Drink the tea I prescribed, and try to sleep. I’ll see you again tomorrow.”

Then the men stand outside the door; Eisenstein’s looks ask clearly: Well, did I exaggerate? Did I call you here for nothing? Am I now also a man or not? A man like Schuh, eh?

Reichenbach’s eyes burn inwardly. “What interpretation do you have for that… for all these phenomena?”

Eisenstein has no interpretation; he shrugs his shoulders: “The key eludes me for now. But I believe this is a matter that concerns not only the physician but also the physicist, and that’s why I asked you to come.” Eisenstein has played a trump card; he feels it, he knows that Reichenbach is gripped by the problem. Eisenstein has become an important figure. He has unleashed the passion of thought in the Freiherr, his only passion; he has shown him something new, and forced his way into the fortified house and to Hermine; oh ho, what this Schuh can do, Eisenstein can do too—make himself indispensable—and now he will surely succeed in making up for the lead that Schuh has.

The men trudge wordlessly side by side through the dark streets in slushy snow. Under a streetlamp, Reichenbach stops, seized by a thought. “Perhaps they are rays… a kind of rays emanating from things…”

He breaks off, overwhelmed by his thoughts, and Eisenstein eagerly confirms: “It could also be, in a way, a kind of rays…”

He feels with satisfaction how furiously his companion’s mind is working. In this head, it’s now a wild tumult. It’s a volcano, a sea of flames, a tumbling chaos, a roaring, a battling, a hissing of blazing thoughts; the skull walls stand under a pressure as if they must burst; the Blansko furnace, all the blast furnaces of the world, are mere panting kettles compared to it; their glow is a pitiful little fire.

Read Full Post »

OD by Karl Hans Strobl and translated by Joe E Bandel

He projected images onto a light-sensitive plate with a lens; everyone was talking about it, everyone flocked to the young man; all of Vienna wanted to stand before his lens—it had become a lucrative business, Schuh had money in abundance. He had also made pictures of the entire Reichenbach family, each one individually and all together with the Freiherr in the middle—no doubt, it was living reality, so vivid and faithful as no painter could reproduce.

Thus, it was by no means the Freiherr’s intention to completely fall out with Schuh, and the neglect of Hermine’s botanical work wasn’t so serious either, since Schuh helped her with it too. When Reichenbach expressed his dissatisfaction, it was probably more because he had grown accustomed to occasionally picking at her to spur her on to higher achievements.

Reinhold also provided ample occasion for disapproving criticism. Although they now lived in the city, he sometimes stayed out in the evenings and excused himself with his studies, but then he was surely huddled with the other students in some back room, holding conversations about “freedom” and “people’s wishes.” Over this part of his life, he spread deliberate obscurity. How much he had been incited to defiance was shown by the fact that he dared to retort to his father that he was no schoolboy, that rascal, and that one had to rebuke him sternly to make him crumple and then stand at attention again.

Even with Ottane’s household management, Reichenbach had much to criticize. His reproaches brought forth tears.

“And how long are these sessions with this Herr Heiland supposed to last?”

“Heiland says my picture will be the best he’s ever painted.”

“Nonsense, this picture-painting! Look at Schuh, you step in front of his apparatus and in a few hours have a picture, more similar than any painter could ever make.”

“Heiland says that Daguerreotypy will never be able to replace painting. Daguerreotypy is mechanics, but painting is art.”

“Briefly,” the Freiherr cut off Ottane’s thread, “I want this matter to come to an end once and for all.”

Perhaps Reichenbach’s mood would have been considerably better if he had come to a more intimate understanding with Therese Dommeyr. The fame of the actress was still on the rise; her star shone over the Viennese theater sky; so many people took an interest in her art and her existence; ultimately, it was no wonder if little was left for the individual. She also came to Bäckergasse, fluttered through the rooms, had pastries and a glass of Spanish wine served, rang out with her bell-like laughter, told theater stories, rearranged the knick-knacks on the dressers and cabinets, moved the embroidered and crocheted covers from one place to another, and then vanished again.

As soon as she was gone, Ottane, who never showed herself during such visits, reappeared, sniffed with a wrinkled nose at the foreign scent, put the table runners and sofa covers back in their original places, and also returned the knick-knacks to their spots.

Sometimes Therese came laden with bile and on the verge of bursting. “I beg you, Baron, have you any idea? This rabble at the theater, such a bunch! By my soul, I’ll pull myself together and run away from them.” They had annoyed her; they didn’t appreciate her enough, things didn’t always go her way; the colleagues were full of envy and spun intrigues, the male colleagues were after her, but Therese didn’t care about them, let them go, and then they switched to the enemy side. She wept a little, she scolded like a magpie, she called down God’s judgment on the whole theater gang, she screamed and shook herself, and in all that commotion, she was as charming as ever.

“Yes, the theater is hot ground,” Reichenbach said cautiously, “ultimately, you’ll get tired of it and want to flee into a bourgeois existence.”

“Do you think so?” Therese let the handkerchief sink, which she had stuffed into her mouth to stifle her crying fit. “Oh,” and she made sorrowful innocent eyes, the expression of a deeply wronged child, “I think, after all, I’m lost for that. A bourgeois existence… and married, ultimately a comedienne?” And the look of those innocent eyes became so penetrating that it sent a shiver, hot and cold, down Reichenbach’s back.

Yes, she offered, so to speak, samples of her iridescent, light-hearted personality and left behind an increased appetite for more after every visit. But before any grasping or holding, she slipped away smoothly and agilely like a glittering little fish.

On a winter evening, Severin announced Doctor Eisenstein.

Reichenbach was just in his laboratory, engaged in investigations on magnetism, prompted by Schuh. Eisenstein? What reason had Eisenstein to seek him out? For if he thought that Reichenbach had changed his mind and now thought differently about his suit, he wanted to thoroughly dispel that misconception. Reichenbach stiffened, and as the doctor entered, he saw the Freiherr armored in icy inaccessibility before him.

“I come,” the doctor began at once, “to ask for your advice.”

“What is your pleasure?”

“You see me somewhat embarrassed… it is namely a case in which I’ve reached the end of my art. I have a patient.”

“I am no physician, Herr Doktor; turn to a colleague.”

Eisenstein shook his head: “That wouldn’t help me. The colleagues don’t think beyond the tips of their noses. I need a man who has an unprejudiced eye for the new, who looks beyond the obvious, who at the same time masters the entire field of physics—in short, a man like you.”

“Very flattering,” said Reichenbach, buttoned up to the top.

“It concerns, namely, phenomena that seem to have a certain similarity to magnetic facts.” Yes, Eisenstein paid no attention to Reichenbach’s mockingly dismissive tone; he seemed so filled with the matter that he had no ear for it. It might be animal magnetism, as Mesmer and his pupils had taught, and yet much was different again; one was compelled to consider purely magnetic phenomena in physics, and since the Freiherr was precisely in this field—Eisenstein cast a quick sidelong glance at the apparatus—possessed of experience like no other… One couldn’t very well go to someone else with these enigmatic matters. Reichenbach was no ossified scholar; he wasn’t bound by prejudices; he had even advocated for Semmelweis; he was equipped as a researcher with the superiority of a sage.

“Who is your patient?” asked Reichenbach.

“Frau Hofrätin Reißnagel.”

“Very well,” said the Freiherr after a moment’s reflection, “I will accompany you.”

They walked through the snow flurry the short distance to Kohlmarkt, where the Hofrätin lived. He didn’t want to prejudge the examination, said Eisenstein; the Freiherr might form his own judgment about the phenomena. Only with the case history must he familiarize him in outline. About two years ago, the Hofrätin had been seized by the illness that was, so to speak, fashionable back then. The Freiherr might perhaps recall—symptoms of a cold, sniffles, cough, headaches, high fever, nothing otherwise extraordinary; the distressing thing, however, were the consequences. After a duration of a few days of the cold subsiding, but then came the most unpleasant surprises. Lung inflammations, joint inflammations, leg inflammations, heart diseases, some of them with fatal outcomes. It seemed some kind of poison had remained in the body, which then chose an organ to lodge in and wreak havoc. In the case of Frau Hofrätin Reißnagel, it was as if the poison had struck the head, at least since then those strange states had set in, a lapse of consciousness for certain durations. It had occurred particularly often in recent times that she had undertaken things of which she later could not remember, she had left the house and stayed away without afterward being able to say where she had been. Her soul would occasionally fall, so to speak, into a twilight, from which she returned dazed and without memory of what had happened. Added to this, and alongside it, was that heightened sensitivity, of which the Freiherr would now be able to convince himself.

They had meanwhile arrived in front of the old house where the Hofrat lived, climbed the stairs, the old maid opened the door, and Eisenstein led the Freiherr, after he had taken off his coat, straight into the sick woman’s room.

Upon entering, Reichenbach found himself in such complete darkness that he dared not take a step. He stood still, but from the depths of the impenetrable blackness came a sound and then a faint voice: “Is that you, Baron Reichenbach?”

“It is I, gracious lady. Has Eisenstein told you—?”

“Eisenstein has told me nothing. I know it’s you; I felt you coming before the door.”

If Eisenstein had said nothing, how could the Hofrätin know who had stepped into the dark room, and what did it mean that she had felt him before the door?

“Why is it so dark here?” asked Reichenbach.

“I cannot tolerate the light,” came the faint reply.

“The windows are draped with cloths; opposite, a streetlamp is burning.”

“The Frau Hofrätin cannot sleep if the moon shines into the bedroom,” Eisenstein added from the darkness, with conscientious matter-of-factness. “Is this the bedroom?”

“Not really,” said Eisenstein, “it is the Frau Hofrätin’s room. But she sleeps here. She cannot tolerate the proximity of another; confinement is oppressive to her. You will recall that she became unwell at your place back then, and then she wanted to lie with her face to the wall, which she cannot do over there.”

Nerves, thought Reichenbach, what beyond nerves, as is so common with women, or could the Hofrätin perhaps even—? But Eisenstein should have known that.

Read Full Post »

« Newer Posts - Older Posts »