Blue is the Colour ... Notes on Rilke's Blue Delirium

Blue is the colour found between violet and green on the visible spectrum of light as perceived by human eyes. It comes in many different hues, tints, and shades and varies dramatically in intensity and brightness, but is found at its purest at the middle of its range on the spectrum with a wavelength of 470 nanometres. 

Along with red and yellow, it is regarded as one of the three primary colours and much loved by painters. If it's extremely difficult for us to imagine the natural world in the absence of blue, it's virtually impossible to construct a history of modern art that doesn't refer repeatedly to this profoundly beautiful colour in its various guises; ultramarine, cobalt, cerulean, turquoise ... even the names make happy and contain a kind of poetry or word-magic.  

Recognizing this, Rilke famously speaks in his letters about the possibility of writing a monograph on the colour blue, beginning with the pastels of Rosalba Carriera and ending with the very unique blues of Cézanne. As the intensity of his blue-delirium increases before the canvases of the latter, Rilke speaks ecstatically of all kinds of blue, including: a waxy blue, a wet dark blue, a self-contained blue, a densely quilted blue, a thunderstorm blue, a bourgeois cotton blue, a juicy blue and an almost invisible blue that he terms barely-blue.

As one commentator notes, this blue-incantation goes beyond a mere listing of technical terms and although he makes conventional references to sea-blue and sky-blue, Rilke carefully avoids clichéd descriptions. For he's attempting to see colours differently and to stammer the first terms of a new language in which blueness is expressed directly and concretely; as it is by the truly great artists - be they poets or painters - who understand how the reality of colour arises from the work itself.


See: Rainer Maria Rilke, Letters on Cézanne, ed. Clara Rilke, trans. Joel Agee, (North Point Press, 2002).

Serenity Now (Notes on 'The Flying Fish' by D. H. Lawrence)

Stephen Alexander 
Window onto the Greater Day (2017) 

 

"'Beauteous is the day of the yellow sun which is the common day of men; but even as the winds roll unceasing above the trees of the world, so doth that Greater Day, which is the Uncommon Day, roll over the unclipt bushes of our little daytime. Even also as the morning sun shakes his yellow wings on the horizon and rises up, so the great bird beyond him spreads out his dark blue feathers, and beats his wings in the tremor of the Greater Day.'"

- D H Lawrence, The Flying Fish (1925)

I've always rather liked this poetic passage in which Lawrence suggests that the day-to-day world of man is not the only reality; that we might, in times of great crises and crack-up, glimpse something of the deeper blue that belongs to the Greater Day, wherein shines that other (darker) sun. It's liberating to think that there is something external to our own small and tight and over-furnished universe; something unconquerable and unknowable in its sheer immensity; the world in which flowers bloom and objects sparkle.

And it's strangely comforting to imagine like Lawrence a new type of humanity living in this fourth dimensional world without walls; that those who belong to the Lesser Day and cannot or will not leave their homes behind, will "'shudder and die out, like clouds of grasshoppers'". For the Greater Day belongs to those men and women who, like flying fish, are able to move between worlds on translucent wings, invisibly rejoicing as they do so.

The poorly protagonist of this unfinished tale gains his clearest insight into how astonishing life can be in the Greater Day, when witnessing a school of porpoises swimming alongside the ship on which he's sailing. Lawrence describes the scene in very beautiful detail as a "spectacle of the purest and most perfected joy in life". Although travelling at high speed, the marine mammals do so with carefree composure and serenity.

And that's the crucial thing; for you can't access the blue splendour of the Greater Day by an act of restless, noisy self-assertion. Rather, it requires qualities that many modern people no longer value: silence, stillness, and attentiveness ... One must, as it were, learn to enjoy watching paint dry and listening to the grass grow. 


See: D. H. Lawrence, 'The Flying Fish', in St. Mawr and Other Stories, ed. Brian Finney, (Cambridge University Press, 1983). 

Baby/Doll (With Reference to the Work of W. B. Yeats)

 

Admit it, we're so much nicer than 

   the real thing mewling and puking ...

If I were asked by some kind of investigative committee into poetic activity: Are you now or have you ever been a reader of W. B. Yeats? I would have to answer no. 

However, in the interests of full disclosure, I would also have to admit that I did once (unsuccessfully) attempt to read his esoteric study A Vision (1925) and that I am of course familiar with three of his most famous verses: 'The Second Coming' (1920), 'Leda and the Swan' (1924), and 'Sailing to Byzantium' (1928).

But I'm certainly not a Yeats scholar of any kind, nor even a fan of his writing; it's too traditional, too nostalgic, too mystical and too Romantic - in short, too Irish - for my tastes. When I don't find it boring in its lyricism, I find it politically pernicious in it's völkisch nationalism and myth-making.

Having said that, there is at least one other poem by Yeats that fascinates and horrifies in equal measure ...

'The Dolls' (1916) tells the tale of a doll-maker and his wife who has recently given birth following an unplanned pregnancy, for which she is shamefully apologetic in the face of hostility to the newborn child from her husband's handcrafted creations, one of whom "Looks at the cradle and bawls: / 'That is an insult to us.'"

But it is the oldest of all the dolls who kicks up the biggest fuss and screams with indignant rage: 

"'Although
There's not a man can report 
Evil of this place,
The man and woman bring
Hither to our disgrace,
A noisy and filthy thing.'" 

This is obviously upsetting to the couple, as one might imagine; and upsetting also to readers of the verse. Creepy, malevolent dolls are bad enough - but creepy, malevolent dolls that bad-mouth innocent living babies, are even worse. WTF is Yeats playing at here?

Well, let me reiterate: I'm no Yeats scholar - but I know a woman who is ...

According to Dr Maria Thanassa, here, as elsewhere in his verse, Yeats is affirming the superiority of art over nature and the fact that he subscribes to a material form of aesthetic idealism in which artificial objects, such as handcrafted dolls, are infinitely preferable in their porcelain perfection to biological entities, such as babies, who cry, vomit, and defecate all day long without restraint and are subject to disease, cot death, and all the other forms of sordid stupidity and defect that characterise mortal existence.      

For the doll-maker, his beautiful figures are the result of hard-work and exquisite design; the child, on the other hand, is the unfortunate consequence of a quick fuck and carelessness on the part of the woman. It takes talent, discipline and dedication to be an artist, whilst anyone can be a human breeder. Thus we should value things born of the mind over things born of the body.

Obviously, in as much as this analysis of Yeats's thinking is correct, I find it problematic to say the least - even as someone fascinated by objects and sympathetic to agalmatophilia, pygmalionism, and all forms of doll fetish.

Were I the doll maker's wife, I'd get my child and get out of there ...     

See: W. B. Yeats, 'The Dolls', in Responsibilities and Other Poems (Macmillan, 1916). Click here to read online at allpoetry.com 

Thanks to Maria Thanassa for her kind assistance with this post.

Sailing to Byzantium (Notes on Yeats and the Singularity)

William Butler Yeats by Tricia Danby

deviantart.com

Written in 1926, when Yeats was 61 and starting to feel his age, the poem 'Sailing to Byzantium' was published two years later in a collection entitled The Tower (1928).

Composed of four stanzas, each arranged into eight ten-syllable lines with a traditional rhyming scheme (a-b-a-b-a-b-c-c) of Italian origin much favoured by poets who go in for a mock-heroic effect - not that Yeats didn't take himself and his work very seriously indeed - it describes the metaphorical journey of a man musing on his own mortality and attempting to imagine a vision of eternal life that might provide him with posthumous hope.     

In other words, given the problem of a heart sick with desire / And fastened to a dying animal, Yeats looks to art for a solution, speculating that he might be able to escape his paltry body and transfer his soul into some non-natural form - such as that of a mechanical golden bird, that sits in a fake golden tree and sings about the mysteries of time.

This quest for immortality is, for Yeats, at the heart of all spiritual yearning; a yearning that becomes increasingly acute - and increasingly desperate - with age.

What's interesting - to me at least - is not that Yeats openly expresses his contempt for imperfect nature, which, in his mind, is full of ugliness and prone to decay; for that's common among idealists who despise the softness and (sinfulness) of the flesh. It's the fact, rather, that he's equally explicit in his positing of the artificial object as superior to the natural entity in every sense, including, the aesthetico-spiritual.

Ultimately, his is a material idealism of things, including golden birds, not an immaterial idealism of disembodied minds. And his dream is of being gathered into the artifice - not the reality or truth - of eternity. Once his soul has been released from nature, he wants it to be reincarnated in a man-made object.

I thought of Yeats whilst reading an interview with Ray Kurzweil, the American author, computer whizz, and Google's director of engineering. Kurzweil is a public advocate of artificial intelligence and transhumanism who eagerly awaits the singularity - i.e., the moment when mankind fuses with its own technology, finally securing immortality and a new Byzantium; albeit a scientific utopia wherein the knowledge drive is triumphant, rather than poetic fancy.     

If Yeats fantasized about becoming a toy bird, Kurzweil hopes to have his consciousness downloaded onto his laptop and eventually transferred back to his cryogenically preserved and technologically enhanced body, which will be all ready and waiting in its vat of liquid nitrogen at the Alcor Life Extension Foundation, Arizona.

Both of the visions described here are anathema to me; not only as a Lawrentian, but also as a Wildean. For like the latter, I too hope that if I am to be reincarnated one day it will be as a flower - no soul but perfectly beautiful.

And for that to happen, I need to be buried in the dark soil and allowed to decompose; returned to nature, not released from it; returned to death, which, as Nietzsche says, is a return to the actual, not projected into some virtual future founded upon techno-idealism and dreams of becoming-machine. 


See: W. B. Yeats, 'Sailing to Byzantium', in The Collected Poems, ed. Richard J. Finneran, (Scribner, revised paperback edition, 1996). Click here to read on the Poetry Foundation website.

Of Spiders and Flies (Notes on the Lawrence-Eliot Relationship)

D. H. Lawrence and T. S. Eliot 
by David Levine

The relationship between D. H. Lawrence and T. S. Eliot was never going to be anything other than strained at best. And often it was hostile, even spiteful (one is tempted to say catty). There are several explanations why. F. R. Leavis, for example, accused Eliot of snobbishness in his appraisal of Lawrence and there is undoubtedly an element of class antagonism present in the Lawrence-Eliot relationship.

But Eliot doesn't just dislike or dismiss Lawrence for being an oik; they were artistically and philosophically irreconcilable, as well as belonging to different social worlds. And they were also poles apart religiously, which, arguably, was the really crucial issue for both.

Eliot, who famously converted to Anglicanism in 1927 and identified with the more orthodox wing of the Church, was as contemptuous of the young Lawrence's nonconformist background as he was disdainful of the mature Lawrence's neo-paganism. In After Strange Gods (1934), Eliot argues that whilst Lawrence's vision of life is spiritual, it's nonetheless corrupt and represents the intrusion of the diabolic into modern literature. 

Eliot also seems to have disliked Lawrence's idea of what constituted wholesome fucking:

"When his characters make love - or perform Mr. Lawrence’s equivalent for love-making - and they do nothing else - they not only lose all the amenities, refinements and graces which many centuries have built up in order to make love-making tolerable; they seem to reascend the metamorphoses of evolution, passing backward beyond ape and fish to some hideous coition of protoplasm."

This might not be entirely fair, but it is rather amusing.

Far less amusing, however, was Eliot's response to E. M. Forster's generous and straight out description of Lawrence following his death in 1930 as "the greatest imaginative novelist of our generation". Eliot - to his great discredit - felt it appropriate and worthwhile to pick this touching tribute apart, demanding that Forster explain and justify his terms:

"I am the last person to wish to disparage the genius of Lawrence, or to disapprove when a writer of the eminence of Mr Forster speaks 'straight out'. But the virtue of speaking straight out is somewhat diminished if what one speaks is not sense. And unless we know exactly what Mr Forster means by greatest, imaginative, and novelist, I submit that this judgement is meaningless."

This - written in a published letter - is just nasty and petty, is it not? Insulting to Forster, insulting to Lawrence and insulting to the friendship between them. Forster was stung to reply:

"Mr T. S. Eliot entangles me in his web. He asks exactly what I mean by 'greatest', 'imaginative', and 'novelist', and I cannot say. Worse still, I cannot even say what 'exactly' means - only that there are occasions when I would rather feel like a fly than a spider, and the death of D. H. Lawrence is one of these."

       
See:

T. S. Eliot, 'The Contemporary Novel', in The Times Literary Supplement (12 August 2015). Click here to read.

The Forster-Eliot letters were published in The Nation and Athenaeum in March/April 1930 and can be found in The Letters of T. S. Eliot, Vol. 5: 1930-1931, ed. Valerie Eliot and John Haffenden, (Faber and Faber, 2014): click here. 

D. H. Lawrence and the Grand Perverts

Drawing of D. H. Lawrence by David Levine (1968)

According to D. H. Lawrence, in a letter written to Aldous Huxley, behind all of those whom he identifies as grand perverts, lies "ineffable conceit" and boundless ego.

Figures including St. Francis, Michelangelo, Goethe, Kant, Rousseau, Byron, Baudelaire, Wilde and Marcel Proust, are all guilty of the same thing; namely, "attempting to intellectualise and so utterly falsify the phallic consciousness", says Lawrence.

By this, he seems to mean they get their sex in their heads and barter away the sheer intensity of lived experience for mere representation. In other words, they fall into idealism, into narcissism and into solipsism; "the utter incapacity for any development of contact with any other human being".

But, in as much as phallic consciousness is also "the basic consciousness, and the thing we mean, in the best sense, by common sense", I suppose he's also taking a dig at all those who dare to think differently from those who subscribe to the morality of custom and popular prejudice, or what Lawrence mistakes for an instinctive-intuitive form of folk wisdom. 

 
And this, when you think about it, is not only surprising, but bitterly disappointing. That Lawrence - of all people - should end up defending doxa (that form of truth and goodness which goes without saying and from which we should never deviate) and condemning a host of other writers, artists, and thinkers as perverts (a term used in an admittedly idiosyncratic manner, but still in an essentially negative and pejorative sense), is, if nothing else, an outrageous example of the pot calling the kettle - and every other kitchen utensil - black.   


See: D. H. Lawrence, Letter 4358, to Aldous Huxley, 27 March 1928, in The Letters of D. H. Lawrence, Vol. VI, ed. James. T. Boulton and Margaret H. Boulton, with Gerald M. Lacy, (Cambridge University Press, 1991), p. 342.  

Fish Out of Water (Notes on Evolution and Cruelty)

According to a report in the New Scientist, blenny fish - fed-up with the predatory behaviour of their aquatic neighbours - are abandoning life beneath the waves of the South Pacific Ocean and gradually relocating to dry land. It's 400 million years after others of their kind first made the move and kick-started an evolutionary process that eventually produced us. But still, better late than never and I wish 'em the best of British.

The case is interesting because scientists have never been entirely certain why fish first chose to exit the sea and crawl gasping onto terra firma. After studying several species of blenny, however, researchers at the University of New South Wales have concluded that it's most likely an attempt to avoid being eaten by bigger fish, such as flounders. This desire to escape is an understandably strong impetus.

Of course, it's not all sweetness and light up here on land and there are still dangers awaiting for the blennies as they shuffle around the rocks - such as bird attacks. But predation risk is significantly less, however, than it is underwater. In fact, once they pick up their piscine courage and make the full transition - developing stronger tail fins so as to be able to leap about more successfully - their chances of being eaten drop by about two-thirds (66%).

Further, moving onto land has additional benefits for blennies; holes in the rocks, for example, provide conveniently sheltered spaces for laying eggs. So it's really a move worth considering seriously if you're a small fish. In fact, one is surprised that it hasn't been tried more often and by more types of fish other than the estimated 30-odd families that have made the crossing between worlds. 

That said, Nietzsche reminds us in the Genealogy that it is never easy for any creature to make such a fundamental change. For fish, becoming land animals was as difficult, as painful, and as terrifying as it was for the animal man to become a creature capable of making promises; a creature restrained by a morality of custom and subject to an internalisation of cruelty; a creature made regular and predictable and weighed down by bad conscience; a creature, in short, made human, all too human.    

Like us, the blenny fish is the result of millions of years of evolution. But only man has shaped himself through thousands of years of self-torture; indeed, this is what we have had the longest practice doing and wherein our genius as a species lies.    


See:

Alice Klein, 'These fish are evolving right now to become land-dwellers', New Scientist (16 March 2017): click here to read.

Nietzsche, On the Genealogy of Morality, ed. Keith Ansell-Pearson, (Cambridge University Press, 1994), particularly the Second Essay. 

If It Be Not True To Me ... Reflections on D. H. Lawrence's Phallic Epistemology

Portrait of D. H. Lawrence by the brilliant American 

scratchboard illustrator Bri Hermanson

bhermanson.com 

One of Lawrence's major philosophical concerns was with the question of knowledge. If he didn't produce a fully developed epistemology as such, he nevertheless mused frequently on this topic and the closely related theory of consciousness.

Indeed, he even wrote a poem in which he professed his love of thinking and set out five conditions that constitute legitimate thought:

(i) the welling up of unknown life into consciousness

(ii) the validating of statements according to conscious criteria

(iii) the observation and interpretation of natural phenomena

(iv) the careful examination of direct experience

(v) the ontological receptiveness of Dasein, or, as Lawrence puts it, man in his wholeness, wholly attending.

What thought is not, says Lawrence, is a trick or an exercise that involves playing with already existent ideas. He hates this and regards it not only as a form of mental conceit, but mechanical in operation; something which offends him as a vitalist.

Preferably, for Lawrence, thinking should take place in the body and not the mind; for whilst we can easily go wrong in the latter, what the former tells us is always true. Thus Lawrence posits some kind of instinctive and pristine form of blood-knowledge, untainted by idealism with all its abstractions and logical absurdities.

This libidinal irrationalism (and anti-rationalism) underlies Lawrence's hostility towards modern science and ultimately renders his theory of knowledge deeply suspect and philosophically untenable; unless of course one is an ardent devotee of Nietzsche, who also wrote in blood and advanced similar ideas.

Critics and commentators sympathetic to Lawrence who argue that his reputation as an enemy of intellect is an unjust (if pervasive) cliché are, alas, fooling no one; certainly not those of us who are intimately familiar with his writing. Nor does it really work to suggest that if Lawrence's theory of knowledge fails to convince, then this reveals inadequacies in our own thinking.

The fact is, Lawrence - as a novelist, as a poet, and even as an essayist - is not concerned with objective truth; he's concerned, rather, with his own feelings and experiences of the world (i.e., of the world not as it is, but as it is for him). And so he gaily dismisses evidence for evolution or the expansion of the universe, for example, simply on the basis that it doesn't accord with his own instinctive-intuitive (i.e. fanciful) understanding of life's development and cosmology.

This is summed up in the first two lines of the little song that Lawrence gives us to sing in Fantasia; a four-line ditty which he obviously finds amusing in its chirpy insouciance, but which I find anything but: If it be not true to me / What care I how true it be ...?                  

Such art-speech hardly demonstrates a powerful and lifelong commitment to furthering knowledge and exploring inhuman reality. Rather, it reveals that Lawrence is not only sceptical but indifferent about the possibility of such. What's more, he's betraying a surprisingly solipsistic side to his nature; the universe may not be mind-dependent in Lawrence's Weltanschauung, but it's permanently correlated with his precious solar plexus (the great dynamic centre of what he calls primary consciousness and which houses the wisdom of the soul).

Either that, or it's dependent in some manner upon the phallic principle that he promotes in his later work, contrasting cerebral consciousness with phallic consciousness; the former a way of knowing the world scientically in terms of apartness and the latter a way of knowing it mytho-poetically in terms of togetherness.

And this, rather strangely, is where Lawrence concludes his epistemology; with one hand pressed firmly on his abdomen and the other gripped tightly round his cock so as to know the categorical difference between a rubber-ball and a pomegranate ...                

Notes:

D. H. Lawrence, 'Thought', in The Poems, ed. Christopher Pollnitz, (Cambridge University Press, 2013).
 
D. H. Lawrence, Fantasia of the Unconscious, ed. Bruce Steele, (Cambridge University Press, 2004).

Readers interested in Lawrence's haemo-epistemology might also like to see the related posts Haemostasis (18 Dec 2012) and On Haematolagnia, Feelings and Freethinkers (7 Jan 2016).

 

On the Struggle Between Art and Knowledge in Nietzsche's Early Philosophy

Portrait of Nietzsche as a Young Professor
 University of Basel, 1872

What Nietzsche terms in his early writings the knowledge drive, is something he favours subjecting to strict control. For whilst it powerfully propels modern science, it does so in a promiscuous and indiscriminate manner that is incapable of determining value. To give it free reign is, at the very least, a sign of vulgarity.

The role of the philosopher, therefore, is to act as a kind of guardian and ensure that science serves life and furthers the aim of culture; left unchecked, the will to truth will ultimately result in nihilism. But this subordination of the knowledge drive isn't accomplished by means of metaphysics, or the establishment of a new faith. It requires, rather, the granting to art new powers and responsibilities. 

Readers in the analytic tradition of philosophy who are unfamiliar with German Romanticism, might be surprised at this. But, for the youthful Nietzsche, writing as an ardent devotee of Richard Wagner, philosophy - whilst it might rely upon similar methods to science - is, in its desire to invent beyond the limits of experience, a form of art and a continuation of the mythical drive. It is thus essentially pictorial and not mathematical in its expression.

What's more, according to Nietzsche, the reason why philosophy retains its value - and, indeed, a higher value than science - is because it continues to concern itself with notions of beauty and human greatness. Of course, this makes philosophy a refined form of anthropocentrism; one that transforms all nature into man's own image and posits all being as a permanent correlate of thinking, thereby demonstrating its radical incompatibility with scientific realism.     

Leaving us in no doubt about what this means, Nietzsche writes: "Man is acquainted with the world to the extent that he is acquainted with himself ..." A little later, he adds: "We are acquainted with but one reality - the reality of thoughts". And, as if to show how Kantian he remained in his epistemology, he concludes: "The world has its reality only in man: it is tossed back and forth like a ball in the heads of men." 

Nietzsche doesn't at this point flatly deny the existence of the thing-in-itself or dispute the possibility of facts, he simply argues that because objects are mind-dependent, we can say nothing about them outside of this relationship. In other words, for Nietzsche - as for other sceptics - we can only know reality as it appears to us. Consequently, Nietzsche privileges art over science, as art, of course, is all about appearances and attempting to form representations of reality (i.e. pictures of the world that are ever more complete).  

Unlike Kant, however, Nietzsche feels sensory knowledge is more than mere illusion; that it's adequate to the truth of the world and that the mind mirrors what is, because the mind of man has itself evolved out of matter and not out of thin air. The mind might structure and colour things, but it doesn't do so in an entirely arbitrary manner; even if its reflections are distorted, they are not entirely false or simply the product of dreamy idealism.

In other words, objects may conform to mind - but mind is itself an object. Thus, breaking out of the correlationist circle and directly accessing what Meillassoux terms the ancestral realm that exists prior to humanity (or, indeed, any forms of sentient being whatsoever), is not a major concern for Nietzsche. Indeed, even in his later, supposedly positivist mid-period, Nietzsche is still primarily concerned with what is true for us (mankind) and his model of science remains distinctly gay and tied to his understanding of art.

Ultimately, what does an arch-vitalist care about arche-fossils ...?    

See: Nietzsche, 'The Philosopher: Reflections on the Struggle Between Art and Knowledge', in Philosophy and Truth: Selections from Nietzsche's Notebooks of the Early 1870's, ed. and trans. Daniel Breazeale (Humanities Press International, 1990). The lines quoted are from sections 80, 94 and 106.

On Black Mould and the Tragic Case of Dana Anhalt

Photos: Caters News

Mould is a fungus that grows in the form of multicellular filaments called hyphae. There are thousands of diverse species, but they all require moisture for growth and they all derive their energy heterotrophically from the organic matter on which they live. Typically, mould secretes enzymes that transform complex biopolymers such as starch, cellulose and lignin into simpler substances which can be absorbed by the hyphae. Mould thus has a significant role in decomposition, enabling nutrients to be recycled throughout ecosystems - which is a good thing.

Mould also plays an important part in the production of various foods, antibiotics and other medicinal drugs - and again, this is a good thing. Indeed, one might view mould positively from the perspective of Ben Woodward's slime dynamics and understand it to be a darkly vital substance. Unfortunately, however, mould is also a major source of food waste and of illness and many strategies for food preservation - such as salting, pickling, and freeze-drying - are essentially attempts to prevent or retard mould growth.

Although moulds grow all around us and their spores are a common component of dust, their presence is visible to the naked eye only when they form large colonies consisting of an interconnected network of hyphae called a mycelium. In artificial environments, such as homes and offices, humidity and temperature are often stable enough to foster the rapid and extensive growth of mould colonies and this can lead to a variety of health issues, including allergic reactions and respiratory problems.

Indeed, some moulds, including the notorious black mould or Stachybotrys chartarum, produce mycotoxins, prolonged exposure to which can have extremely serious - potentially fatal - consequences. As a general rule, you really don't want to ingest or inhale toxic compounds produced by black mould, or facilitate the growth of pathogenic moulds within the body.   

Which brings us to the terrible and tragic case of Dana Anhalt which has recently received extensive media attention; a 37-year old writer and psychology student from New York, Ms Anhalt has been bedridden for years suffering from multiple health problems, due (it was eventually discovered) to the presence of toxic black mould in her household (and not, as was once believed, chronic Lyme disease).

Having spent most of her life being slowly poisoned and crippled with excruciating pain, Dana has now been instructed by doctors to immediately abandon her home and all of her possessions and move into a new, sterile environment - a bit like the Bubble Boy, Donald Sanger (Seinfeld 4-07).

But this, of course, requires money ... And so I invite readers of this blog interested in knowing more about Dana's case and possibly donating to her family's attempt to raise funds in order to help pay for her new life and the expensive medical care still required, to click here. Alternatively, one can go to Dana's own fundraising project: Art is Life.   

Hopefully, this courageous woman will one day discover the greater health which Zarathustra speaks of and enjoy the intoxication of convalesence. In the meantime, she might care to remember that it is only intense pain and sickness, unfolding within us over an extended period, that serves as the ultimate emancipator of the spirit and compels us to descend into our depths; not necessarily improving us as human beings, but making us more profound as thinkers.