Maxims from a Maverick Rabbi

Transcend your existence to authenticate it.

England leaving the EU is a voodoo doll pierced with needles.

I am subjective idealist and a utilitarian materialist.

We can confirm to meaning or pervert or subvert it.

The book has lost its origin. The grapheme is playing with it all the time.

Cross the center of the book; it still remains to be opened;

The book has a center; opening the book and writing opens centers of thoughts.

In the centre of the Book there’s a great hole, a fathomable one that signifies an absence/presence.

Speech! Don’t subdue the voice that writes.

The book that calls out Heaven is a Hell too.

My inner time is a marriage of thoughts.

You can destruct structure to chaos and also mould a meaning that’s creative.
Meaning is an orgasm when it’s saturated.
You are a metaphor when you are playing with meaning.

Discourse of the book is penetration; dialogue is oral and floral.

If the book has to yield to me, I have to storm into a battle of interpretations.

The closure of the Book is death and the beginning of an opening to life is writing.

I cajoled her book and she opened her text to me; it became a flower of becoming, intensely, poetic, lyrical and blossoming.

Playing with signification is Eros; succumbing to signification is Thanatos.

If I yield to the book, I become death.

I am never in the poverty of words, thoughts or feelings.

In the world there’s a confirming majority and a creative minority.

Solitude is never silent; it’s a labyrinth of creative thoughts.

Convenientialism is a post post modern philosophy. Anything and everything goes with it.
There’s no truth to knowing: There’s only an experience to existence.

I have to fictionalize my novel into the art of an aesthetic experience, akin to abstract painting and fugal music.

To make love to a woman is like painting and composing music.

Eros is the urge to tune to the ID and to compose music.

A woman is an edifying flower of meanings.

Temptation, I have made you permissive with freedom Oh God, yet I repent.

In the beginning was the word: in the now it’s a human reading and deconstructing it.

The cops of Bangalore have been beasts to me. They are the meanest bastards I have come across.

I am never in the poverty of words, thoughts or feelings.

Forbidden as meaning, is legalistic, medicinal and political. You can subvert it in post modernism. I am confessional about the authenticity of the 10 Commandments.

Knowing or experiencing meaning is transcendence

If Wisdom is Godly then enjoying its meaning is being earthly.

Materialism is not an ideal or idol; it’s a sumptuous necessity for the belly

Dionysus for the Greeks was God. For Nietzsche, he is rhythm, ecstasy and altered states of consciousness.

Marquis De Sade was right: eroticism is associated with the haunting of death and the indulgence to murder.

Poetry is living the life of me, my body, and lyric is my existence.

Yes, I (finger) the letters of the book. My hands tremble with the exaltation of the profane. Alas I repent!

I make a choice of the word that has fallen on thorns. Let the word sown on good soil be reserved and taken as the Kernel of life.


Metanym is a new idea of a word in Literature. For e.g. let’s take the word Health. Health has got (Heal)th in it. The idea of being healed is inherent in health. Heal(th) is a metanym, meaning an ideated word with healing and wellness in it.

Gothic Sublime

Gothic literature is sublime and let’s ascertain the reasons for it being so. I would like to use the following paraphernalia for doing it. They are New Criticism, Existentialism, Psychoanalysis, Marxian Criticism, Deconstruction and Feminism.
New Criticism is the analysis of tropes or figures of speech used in literature. The tropes in Gothic Literature bear a semblance of illumination. They dissect the human psyche to portray the storm of inner angst. When we read into the tropes of Gothic Literature we are filled with awe, fixated to a neurotic delirium and we become fascinated with the flux of psychedelic mania. Gothic literature is fanciful, ornamental and hyperbolic. There is a tendency to portray the supernatural realm through the lens of being human. The pathetic dilemma of human condition is portrayed vividly through using neurotic and psychotic features.

Viewing it through the prism of existential literature, the first prominent feature that is highlighted is angst. Most characters undergo an extreme angst that transcends to a manifestation of neurosis or psychosis. Edgar Allan Poe is a master of portraying psychological torment. There is a tendency to overcome societal norms and showcase characters with violent criminal behavior. Using Sartre’s term, the characters exhibit a being- in- itself syndrome and project their ego to annihilate the other’s subjective postures. Thus characters encounter nothingness with reality and use their freedom to egotistical excess.

Psychoanalytically speaking we can use the famous term of Lacan: the gaze. The gaze is violent, pathetic, neurotic and psychotic. There is a romantic elevation of the psyche to dizzying levels of melancholia. All Gothic characters are lunatic psyches with a tendency to usurp the existing synthesis of being democratically tuned to a society’s ethos. The ID is elevated, the ego is defied and the superego is violated. There is a tendency to be in the reverse tangle of despondent romanticism. The characters are either psychotic or neurotic or both. Murder is justified with the luminal space of being egotistically sadistic.

A Marxian critic would look at the Gothic as being productive enterprise of the bourgeoisie. The sole aim of the Gothic is to produce a pleasurable catharsis. The reader is fantastically transmitted into the world of the sublime where it’s the aim of the bourgeoisie to keep the proletariat satisfied. The means of producing literature are gratified with the excess of capitalistic profit. For a Marxian critic, the Gothic is an out-of-place reality, a genre where the interests of the working class are negated.

Looking at it through the ideas of deconstruction, one would understand the binary divide of characters. For example, in Mary Shelly’s Frankenstein, the monstrous element becomes the grotesque, ugly and portrayed with pathos of being psychotically disturbed. This is a symptom of Binary Divide, an escape from the reality of being clinically sane. Democratic norms are subverted to justify the colonialism of the psyche. Tyranny of the mind reigns high and becomes the threshold of the DNA ladder of the Binary divide. The book becomes the centre of psychological gratification in one sense and in another, feasible appetizer for psychological gratification.

From a Feminist point of view, the archetypes are masculine, and having the qualities of being misogynists. There is no gaze of the feminine. The characters are psychological machos caught in the throes of violence and murder.

Fish’s Mouth

From the fish’s mouth comes from the New Testament when Jesus was asked to pay the tax, he commanded his disciple to open the fish’s mouth and take out a coin. As an idiom: fish’s mouth stands for an unexpected financial gain like winning a wind fall.

Example: He has been trying all these years for the fish’s mouth.

For me, the fish’s mouth is likely in 2017.