Skip to main content

Tales From the Down Under: #14- Hounding

I deem that everybody is at least a monomania. Life will be lifeless if without a fixation. Some high-minded bigwig might dismiss fixation as the snag of the road to success, but they are too indifferent to calculate the impossibility without it. Those who are dogged about relinquishing fixations are the ones who sit in the pitch-dark. Sheer darkness they can only witness and hallucination comes imminently afterward. Sheer hallucination their mind ecstatically dwell upon, and monomaniacs they all somehow become.

A fixation offers an excusable explanation to hound after something. The real intrigue behind such pestering perseverance is the feeling devoid of extreme indignation or hatred. There are certainly frustrations encountered from time to time, but with a fixation one will never grind his teeth and bite it from sheer impulsion, because the larger the wound the longer one will take to heal it. Heal the wound so you can try to woo your fixation back, and once you fortunately hold the price it is unfortunately covered in bandages.

Anything you pay superb attention to you hound it. Even if you deemed yourself a veritable bore then it was the ultimate dreariness you hound. I came across a title as a "hound of love" and it whetted my curiosity for what "love" was being hounded after. The image surfaced instantly was not the one with a philanderer plunging into a sea of flesh women, but one standing before an abstract painting of his named "love," and as the viewers listen with awe, the painter showers them with esoteric gibberish.

Much contrary to the things you love, it is believed that you come up no explanations to the thing you hound. It is like the most forbidden hardcore which bristles with scenes like smacking and loving all in a flip of a coin. Differs from obsession, too, for which most people mistake. Obsession is your fickle lover- she wavers and vacillates. Amid the general incredulity you still boast of having your fickle lover.

Nabokov adopted Humbert-Humbert-esque voyeuristic quest of making butterflies his conquest. He succeeded by also interlace his writings with webs and webs of impressive intricacy. Reading his novels is like reading a butterfly's wing under the microscope. You are hounded once you find yourself staring at that wing for too long.

Comments

Popular posts from this blog

Paintings in Proust: Vesuvius Erupting by J.M.W. Turner

In Proust’s Swann’s Way , the narrator’s grandmother is described as one who inculcates in her grandson a reverence for the “elevated ideals.” Infinitely disdainful of the mechanical nature of replica, when shown photograph of the magnificent Mount Vesuvius his grandmother dismisses it with a lofty query as of whether other more acknowledged artists did paintings of the volcano in the first place. She is having in mind the great J.M.W. Turner, whose depiction of Vesuvius in flame displays, in her view, “a stage higher in the scale of art.” The enduring fascination with volcanoes was especially evident in the 19 th century, which saw an irregularly high frequency of Vesuvius eruptions that, at the time, alarmed many of the imminent cataclysm that a thousand of years before destroyed the city of Pompeii. Turner, according to a number of sources, may not be amongst the first-hand witnesses of those eruptions, but badgered his geologist friends, John MacCulloch and Charles Stoke...

Felix Vallotton

"He was there or not there: not there if I didn't see him."- Henry James, The Turn of the Screw One sees immediately from Felix Vallotton’s paintings that he must had been a gifted raconteur. The painter was possessed of the natural aptitude of unfolding and withholding the narrative flow at the most propitious timing. Mysteriousness emerges. The viewers are bound to be tantalised. Whilst most of Vallotton’s paintings are about the quotidian, the domestic, beneath them their pent-up energy seethes and trembles, threatening to explode at any moment. It isn’t just the quotidian that he depicted, but the interior dramas. Any reader of Ibsen’s or Strindberg’s plays will know that interior drama can be the most frenetic. A woman leans towards a man, her hand entwines his body in show of sensuousness. She whispers into his ears something that the viewers are forbidden the right to privy to. But one has the eye to deduce, from the slightly wrinkled of the man’s nose and t...

Review: La Jetee (1962)

In Matter and Memory , French philosopher Henri Bergson posits an implausible notion – the pure present: “The pure present is an ungraspable advance of the past devouring the future. In truth, all sensation is already memory.” Since time is a movement , an unending progression, there is not a definite point as that of a present moment, Bergson seems to suggest, but an admixture of the past and the future, the has-beens rapidly encroaching on, and eventually subsuming, the what-ifs. In a sense, and as absurd as this may sound, the present is ever elusive to our consciousness: what we perceive of the now , at the very moment in which it is being registered, is already relegated to the realm of the past. The past seems, therefore, the only reality we have really experienced; the reality that we are predestined to never possess. Chris Marker’s La Jetee (1962) envisages a future in which man finally discovers the means of triumphing over time’s irrevocable logic: experiments are ...