Flame, Glass and Ink are Poems, essays, and reading notes by Stefania Joori Suh

Tag: book reviews

  • The Electrical Life of Louis Wain according to Benedict Cumberbatch

    The Electrical Life of Louis Wain is joy and sadness, lightheartedness and seriousness, just like his paintings. It’s about love and art in the oddly beautiful vagaries of what it means to be a human (in the company of cats). Wain’s cats graced the epochs before Walt Disney’s Mickey Mouse (and Minnie) and His Gangs) debuted. But Wain was not Disney, and would he have even wished it? Perhaps, that is why Benedict Cumberbatch decided to give Wain a second chance to shine his name once more on earth in the magic of moving pictures that resurrected him from the lapse of time through the chapters of his story in this superbly narrative of the artist.

    Louise Wain was a brilliant artist, a contemporary of French impressionist artists, such as Monet, Pissarro, Degas, and Renoir, and Dutch Vincent Van Gogh, all of whom were united in the brotherhood of independent spirits and resilient creativity. Yet Wain’s was a different sort, more existentially debauched in the provisional circulation of works, in the crossroads of the reality of being the only male figure in the parentless family led by the dominant matriarchal sister and of the ideal of ensconcing himself in the solitary niche. All artists are by nature sensitive, but Wain was extraordinarily sensitive, and the world was too much for someone like him to deal with. His wife, the light of his life, was the only happiness and love he felt and shared, but jealous God took her away from him and left him in the lurch of the familial duties and responsibilities in the somber household. This house eventually drove him and his younger sister into the oblivion of reason to the end. Yet, notwithstanding the personal tragedy, Wain’s unique visual world articulated with the sonar modulation of impulse that sparked his creative spirit yearning to soar up to the boundless ether on a par with constellations with stars.

    Wain’s wife encouraged and supported him because she knew of his genius despite other people’s ignorance.

    Benedict Cumberbatch, now universally recognized as the Sherlock thanks to the phenomenally successful BBC series, proved to be a superb character actor who became Louis Wain rather than merely playing the artist’s part. Ancient Greeks and Romans regarded actors as an equivalent of a spiritual medium whose body could be channeled into another spirit for a willful possession during a mysterious rite of sacred ceremony. If that was the case, as it were, that was how I felt watching Cumberbatch being Wain as if he had summoned the soul of the dead artist from the beyond and asked him how the artist’s life would be told. His naturally mild, gentle deliverance of character nuanced the inner fear, confusion, and frustration that Wain must have felt in dealing with the realities of everyday life as a reluctant and unlikely head of household. Yet, his passionate eyes and particular diction dictate that Wain was an artist of force, a man not of an age but for all seasons.

  • Triumph of the Will

    Like Hecate, the goddess of underdogs, I have a soft spot for writers and thinkers who arose above personal hardships and triumphed in the will. If they have not experienced human highs and lows, how could they write and explain the meaning of life? Take the Russian writer Fyodor Dostoevsky whose near-death experience on the gallows and subsequent travails shaped how he viewed humanity, the purpose of God, and the dichotomy of good and evil. I compared the life of Dostoevsky with that of Victor E. Frankl, the father of Logotherapy, who survived five death camps during World War 2 because both men’s intellectual fervor saved them from self-destruction in the darkest hours of their lives.

    Dostoevsky (hereinafter “D”) was a political prisoner sentenced to death for reading banned books. But the most incredible feat of luck pulled him out of the gallows, and he was sent to a Siberian work camp. He forced himself to channel a danger of hopelessness and resignation in such a squalid environment into the world of imagination. His characters were his alter egos trapped in a cycle of solipsistic containment of morality, religiosity, and social justice. In these attitudinal and creative values as a way of relieving himself from the slough of despond, D finds a kindred spirit in Frankl (hereinafter “F”), whose spirit never succumb to the hopeless situations in death camps where life seemed to be a curse. Instead, f kept himself busy by constantly devising his school of thought, analyzing it, and structuralizing the concepts in his head and on any writable medium he could find discreetly. The result is Logotherapy, the third Viennese school of psychotherapy that encompasses philosophy, religion, neurology, and psychoanalysis, whose nature and method are common to all humans and applicable to all regardless of age, gender, race, and culture.

    So much so for the reading of the brief article, but the effect is magnanimous and resonant with a pellucid tenor of a victorious high human spirit with humor as a handmaid to intellect (wit), which would otherwise be grim and dreary subject to temperamental bouts of depression and pessimism. Both men in their prime of youth had their sovereign rights of individualities in tatters and shackles, but their willingness to live and achieve their goals exceeded the compass of the malicious fortune and triumphed in perennial glory. They are, as Ben Jonson in his humor might have concurred, men not of an age but for all time.

  • the unlikely family

    “So you have now the earth, the water, and the sky in your room! Awesome!” That was my brother when I told him over the phone about my recent adoption of a parakeet from a Petco. The paroxysm of excitement catapulted me into the awareness of a reality that I did bring a bird—those small but sharp beaks and those wrinkled tarsi feet manifesting the atavistic characteristics of dinosaurs, particularly the T-Rex. The truth that I now have to cohabitate with the least-likely coveted descendent of T-Rex still swivels my head in wonderment as if the ghost of Alice in Wonderland possessed me. So why the bird then?

    Dreaming of Sinbad and Serah

    While there might be the remotest chance of using my parakeet as a divine medium to consult my future, I have recently brought Sera home with great expectation of making a friend with the lonely Toro. Toro is now one year and four months old, and his growing curiosity calls attention for a playmate to share his enthusiasm and vociferous nocturnal stamina. Of course, the kinship of feline presence is the best option to fulfill the requirement. Still, the existential circumstances of present life eliminate it. Hence the lot fell into a blue parakeet I named Sera after the talking bird Serah, a travel companion of Sinbad the Sailor, from my favorite childhood cartoon. As you can guess, Sera is a girl who spends most of her time in front of the mirror and then trills in high soprano like a pretty and prim starlet prima donna.

    The crossed Sera befriends a reflection of loneliness.

    My endless attempts to tame Sera to sit on my finger and her constant ignorance of my presence are both disheartening and ireful. Toro is a susceptible and timid cat who denied looking at dead fish by turning away his head from the sight. Even though Toro wishes no harm on his new friend Sera, who fastidiously avoids him with all her feathers and beaks, she defends herself from him with all her might. Toro looks at me with his large sad eyes full of liquid heartaches whenever the conflict occurs, and I comfort him in my arms. Sera then flaps her tiny pretty wings, returns to her castle, and ensconces herself on a twiggy perch with a loud and snappy chirping as a sign of victory over the feline Goliath.

    I still don’t know if my decision to extra-species friendship is counterproductive amid Sera’s callous attitude toward Toro and me despite our apologies and continuous endeavor to reconcile with her. Perhaps I should not have taken Sera yet from the cage while she might have been still not familiarized with her new home. Still, there’s hope in my Pandora’s Box weaved in a rope of sparkling diamonds that promises a dazzling delight of trust and love filling the loneliness of the little hearts in our room. Who knows, one day Sera suddenly talks both Korean and English and tells me my todays and tomorrows? You never know.

  • On Aristotle and Philosopher’s Stone 💫⭐️✨

    Edgar Allan Poe expressed his contempt for readers who habitually flocked to books by famous authors on the sheer merit of their popularity without an individual appreciation of the contents. Likewise, I have a handful of the famous, the great people whose celebrity I hold no regard as I am going to unveil now. I have never liked Isaac Newton, albeit his genius is doubtlessly uncontested. Cantankerous, bellicose Newton was horrible to deal with, especially when you were his servant or maid or whoever he thought insignificant in his Elysium of high intelligence. He was also a closet occultist masquerading with the face of Rational Man with long-faced gravitas adorned in a long wavy wig. So how come Newton became a votary of Aristotle, who took the virtues to be central to a well-lived life? Since I tend to disassociate any such persona non grata (Newton, obviously) from one in my high regard (that is, Aristotle), I wanted to find out the incompatibility of the sullen scientist and the benign thinker.

    Aristotle’s ethics, or study of character, is constituted around the premise that people should achieve an excellent character as a prerequisite for living a meaningful life. It is an essence of metaphysics in which Aristotle holds that there must be a separate and unchanging being that is the source of other beings. Only by becoming excellent could one achieve eudaimonia, happiness/blessedness that constitutes the best kind of human life. This philosophical perspective also applies to the ideas of self-sufficiency by Ralph Waldo Emerson and of Amore fati, the intellectual love of life by Friedreich Nietzsche.

    Emerson regarded two separate elements as being united to create the world inside of you for the former. They are raw experiences gained from somatic sensory stimulation transformed into ideas and thoughts in the realm of reason, a process akin to a caterpillar transforming mulberry leaves into gorgeous silk. Nietzsche’s Amore fati is theologically conceived in an attempt to manifest the presence of Providence or God’s will with his infallible existence through Immanence by which an adequate idea of simple attributes of formal essence of God is applied to an adequate knowledge of the simple truth of things. It might be akin to the Eureka moment when Archimedes started running naked around the town in the enthusiasm of knowing the weight of the gold in the king’s crown from his water-filled bathtub. Or it could be the Ecstasy of Saint Teresa captured by Bernini as a cherub was mischievously thrusting the arrow back and forth into the heart of the virgin. In sum, Aristotle was right in saying that knowledge isn’t innate or guaranteed prima facie but gained from the reports of the senses and logical inference from self-evident truth.

    I still believe that someone like Newton had no regard for moral excellence any more than gaining the knowledge of the universe because studying humanity was anathema to his lofty vision of the world and beyond, such as the alchemical realm. Newton was keen on Aristotle’s theory of the 5th element on top of the earth, air, fire, and water – that is, space of aether. Methinks, Newton was trying to get Rosetta’s stone in manipulating the 5th element proposed by Aristotle. He had not known that it would have become such a magical element to turn stone to gold. Notwithstanding Newton’s beguiled ambition to be a perfect Gargamel with the help of Aristotle, so to speak, my appreciation of Aristotle’s metaphysical school of thought decides that his brilliance is brighter than Plato and on par with Socrate in the constellation of philosophers’ stars.

  • Leave the children out of it.

    We tend to be ready and eager to put fingers on those in need as if the milk of human kindness is not fit for them because we don’t like them as we see them. Such is because humans are physical rather than rational, operating on optical illusions to create our versions of reality. The present migrant crisis in the border of Belarus and Poland manifests dominance of Id over Superego, the eclipse of Reason by the Sense, in the face of travails on both sides of narratives.

    Migrants mainly from Syria, Iraq, and Afghanistan now fly to Belarus on tourist visas after paying from $1,000 to $4,000 to brokers and go-betweens in the high hope for a low heaven. They think their and their children’s lives are grim and dreary, with holistically low living quality in their home countries. So, they keep their eyes at the stars in West Europe’s firmament, scintillating bright futures despite the impending hostility toward their religious belief and cultural unfamiliarity. The frigid cold and the equally cold reception do not seem to overthrow the migrants’ will to catch Luck of Troy in Unfriendly Europe. On the contrary, it brings the grist for the mill of furious Belarus disaffected with the EU’s economic sanctions for its still Soviet-era Modus Operandi of the government. Belarus sends the influx of migrants to West Europe through the gate of Poland as an audacious manifestation of vengeance and anger.

    The Polish government defends their territory against the unwelcome intruders, clenching the fists toward heaven that their predecessors bled for the Polish, not for the aliens. The good-hearted people in the border area who help needy migrants face backlash from their neighbors and often become subject to judicial harassment for humanity. In this traumatic atmosphere threatening even the most basic requirement for and right of survival, the presence of children is default to provoke sympathy used as an emotional gambit to win the game of chance – for either side. People should not use children to acquire their political or social demands because that is another form of exploitation of childhood, using the vulnerability of children for soliciting the need for however righteous the cause is.

  • The Truth About Horror

    Stephen King, the King of Horror, said we make up horrors to help us cope with real ones. Some people drink themselves to numb their existential maladies of daily life, or some abandon themselves to unguarded sensual or psychedelic pleasure. But I seek refuge in the stories about the supernatural world that have to be the actual, not the second-hand replica of the author’s imagination that I find hard to be connected. That said, to descry the headline title ‘The Horror’ from a recent issue of the New York Times Book Review delivered on my kindle seemed too pat not to feel psychic about it with a jolt of fillip bolted to my neural circuits. Reading it allowed me to reflect on my affinity for supernatural scare about whys and wherefores.

    The article posits that horror movies scare us through exteriority with image and sound to create the illusion of danger, whereas horror fictions are more sophisticated and cultured to understand the complex interiority of the characters by passing over to the creator’s mind. But why do I have to play an amateur psychologist to analyze the inner world of an author when I try to find a niche for my battered spirit in a supernatural realm where no bullies, despots, or melees would follow me? My kind of horror has nothing to do with overtly thought-provoking fictional narratives that are more like psychological thrillers than supernatural ones. That is why I favor the Japanese ghost stories bereft of bodily fluids and materials but full of silent terror in the presence of a sorrowful dead refusing to depart for the Otherworld. Fear is universal. However, its expression is nuanced in the ordinary landscape of daily life, with the undead still among the living in their everyday attire as if they were still alive, not least because Japan is a country of spirits and gods dwelling in nature among the people.

    The article is correct in saying that a love of the horror is a part-time love with a mysteriously eerie beautiful parvenue in Howl’s Moving Castle. By wallowing myself in the supernatural, I feel anxiety loosened, nervousness coaxed, anger diverted, sadness halved, and depression diluted to a certain degree. You may say it is another form of a psychedelic illusion of escapade from reality, then let it be. After all, aren’t we all addicted to something to that effect to relieve ourselves from existential frustration in a socially acceptable way?