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Unfinished World is a novel of cosmic gestation. It focuses on the interface between the personal and the universal, the idea that we are the universe creating itself, suggesting that our individual awareness is part of a larger, universal consciousness, that our thoughts and experiences contribute to the ongoing process of the universe understanding itself, a deep sense of interconnectedness that carries you everywhere like a feeling. It is also keenly alert to the ongoing shifts in the human paradigm and the volatility and precariousness of our current dilemma. Much of the background for these reflections occurs in a trip to Kauai in post-pandemic 2023, a place of uncanny and beauty and serenity. It includes such universals as Mahler’s “Adagietto,” Willie Dixon’s “Wang Dang Doodle,” the Dirac equation, and a toddler kicking the back of one’s seat on a long flight over the Pacific while trying to read Mad Love by surrealist poet André Breton.
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From Unfinished World...
Fiction is a delicate thing. It’s the membrane between the actual and the peripheral. Gypsies with a white Percheron pulling a red wagon on a yellow day on a blue planet. That could be either fiction or an ovulation of helter-skelter kingdoms in a single testament. The truth is never simple. It’s generally convoluted. Like lettuce, or cabbage. Nothing normal is ever prudent. It doesn’t have to be. It’s the aberrant that renders our irritations to the piling under the Santa Monica boardwalk. Things have to be worked out. Puzzled through. Pieces joined. Words aligned. I’m over my head, but it sure feels nice. Fiction is pharmacology, the truth is piracy. It comes swinging toward you with a look of mania and a knife in its teeth. Fight back. Tell a lie. It won’t stop the truth. But it’s morning and there isn’t a jury around for miles. You can say what you want. Here’s the problem: the universe doesn’t conform to our language. And so when something like the truth comes around, it’s generally unadorned, and unencumbered by law...
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