Nick Cave (lyrics) L.I.T.A.N.I.E.S.

This first is easy enough. Someone just got 120 plus pages that explained the transpiration of the last thirteen years, in order to explain a personal encounter with a singular Spirit (Part 2, 40 plus pages), Who literally became manifest as Himself on page 4, Part 2, paragraph 3, dated September 17, 2020.  The Spirit observed the protagonist from birth (p. 14, Part 2, paragraph 3) 

Here we get into arch type permutations which are interpretive. Since this album follows the death of Nick Cave's mother at 93 years of age on September 15th, and this album was first announced circa October 9th, it's not a context I feel is "eligible" for interpretation. Which is why I am respectfully skipping tracks II and III, and saying nothing but a small aside about track IV. (Avoided The Skeleton Tree as well for the same reason.)

There exists a moment in
There exists a moment in between
A moment in between
The waking horror
And the sleeping dream - that's all and that's it. The window "in between" dream and waking had a lot of encounters on several successive nights, namely September 17th, and all the nights from September 19th-23rd were either no sleep or no normal sleep, with the biggest events taking place in that "in between" over and over again, starting at p. 8 paragraph 5. Examples (all Part 2): p. 27 paragraph 2, p. 29 bottom paragraph; -the rest I didn't really talk about them being sleepless or close to it but for the substance of it they were. 

So for this track I have the "bonus" of adding something I didn't relate in the writ but should have, which is how situationally I had to relate in every existential moment in terms of how I perceived the existing circumstance inside my own mind. So for inherently obvious reasons based on the entire transpiration of Part 2 of the writ, my most common term of endearment was "My Lord". (And His can stay no one's business.) And I'm the only individual in climax who wasn't ever using the Lord's name in vain. Apart from that, this gets no comment, but I'll attempt to give you the big picture of why Christianity is what it is, what I mentioned attempting to divulge to my daughter what sex means on a spiritual Christian level (bottom line p. 23), but failed to transcribe, which I extrapolated circumstantially though of course she did not know it. And there is no way I'm going digging for the substantiatiating reply tweet I had made that indicates my frame of mind in real time but it's under that #handmaiden hashtag I didn't use with respects to twittersphere's reaction to a certain Supreme Court judge's nomination, though it's nailed datewise, as in probably the morning of September 20th. Because they've zero clue there's a spiritual orientation to "handmaiden" but I know, and so does the Church. In short: 

Creation was created in order to create the existent potential of existentially promulgating and multiplying perfect eternal love. The creation of man/woman is designed to exemplify the potential dynamic existent in all of creation as an existent potential into entry into the promulgation of perfect eternal love between two individuals, if we are capable of eventually entering fulfillment of it by becoming divine beings in God's image. The reason in Christianity that woman is subject to man is to present us with the structural dynamic of what it is to gain entry into relating circumstantially with a Divine Being Who is the existent projenitor of eternal love and created you for expressly that purpose. Therefore, to relate to such a One you would have to remain expressly subject to It, if you ever even manage to accomplish it. Therefore, the creational structure of man/woman is meant to convey that God loves love so much that They were prepared to engage in multiplying the premise through the decimating implications of implementing free will in order to arrive at free willed beings who were capable of promulgating perfect love, even though they were created beings. Woman, her very existence, is meant to create the entry portal as a structural dynamic (as an intellectal spiritual understanding we are even capable of perceiving), one that elevates the created to parity with the Divine by remaining subject in order to promulgate and potentially create the state of multiplied Divine perfect love, by actually creating it, which is what God attempted in creating us at all. The act of procreation between man/woman represents the willingness to commit to creating for this very purpose, and that it is a long frame, long term commitment. (This is why the commodification of reproduction for profit is the essence of evil in the face of the Divine purpose of creation.) That is why marriage is between man/woman, and this is not a contingent affirmation of gay same sex love (which is only based on reciprocity of mutual pleasure, reciprocity is the fundamental, not the potential to creat love, which means in effect it is not about creating love; only the union of man/woman has that potential via a lifelong commitment to their offspring). The existent potential of being capable of multplying love by creating it between one another is solely the potential providence of the act of procreation between man/woman, as a representation of the reason for creation itself. You can create love in same sex relationships betweeen individuals, but that is not the concept of the nature and motivation for creation, why God created us. That is creating love between what already exists. This is why the very existential nature of women in procreation is engendered birth of generations via their own bodies, as it is an existential template that indicates that love can be created and multiplied, and that this is what she exists for. She represents the potential elevation to Divine Eternal love even though she is created, and that is why she is created as subject. It is the exact opposite of being created in order to be maintained as subject, even though that's what it has to be for entry into Divine Love to even be possible. Reverse engineered thinking on a potential dynamic: wouldn't it be hilarious if all of Creation was created in the express interest of managing to come up with a wife who'd been created but was fully her own being fully out of her own autonomous free will -? Yes. What a mess. 

In short short: In Christianity, woman is made for someone. She is made for the purpose of love. This is the interpretation of her body.

VI: Litany of Fragmentation: Whee-hee-hee-ho-ha-ha, Merry Christmas! Unlike the reflection, I am somewhat of a decidedly stubborn b****. My idea of "Collect me", is not an entreaty. It's more like,

"You cannot resurrect me with something You can in no way answer for." (-very top of p. 11, - Dear Martin)

More like, come on, cough up. -I'm waiting. I expect You to actually produce. -And I expect this to be translatable, as I need Your Manifestation to work from an evidentiary standpoint so I'm not presumed to be crazy. (Pretty much all of Christendom has never made this a sticking point.) 

So let's get onto the decidedly bizzarre appertaining characteristics: 

O Lord, hear my prayer

I’m here and all about

O Lord, hear my prayer

I’m here and all about

My blood sprays the sunrise

Collect me

My bones ribbon the sky

My teeth eat the stars

My skin a viral powder

Atoms a lavender sky

Collect mе

I was a child and grew

Grew into my future

And in fragments

I halo the heavens

So let's itemize what I have paintstakingly, labouriously laid out for your personal benefit and consumption in half a million plus words book for nearly five years as a single mom on foodstamps. But before we get to that, let's start with the last real time update on the last past thirteen years first.  

Atoms a lavender sky - The lyric quotes in this 160 page missive are pretty sparse, but of course they include "white trees dressed in purple tulle" a lyric from David Bowie's "Atomica" (paragraph 3, p. 54 - Dear Martin), with a personalized analogy isolation interpretation of the atom bomb (p. 54, last paragraph, "Dear Martin", that's if you examine the links and references accordingly).  "Atomica" also appears under the hyperlink behind The Next Day EP on p. 46. Yes, bless you, wham bam, thank you ma'am. All I am going, or have to say is, what are the odds? It was already in the book as an analogy, as this last writ depicts, but brought to the fore for this recollection. As mentioned, you can search the book yourself with any search terms for the particulars. Anyway, lavender and atoms had to do with the same song by David Bowie, whose expiration is the main subject of the first missive, "Dear Martin". I figure the next artificial deadline is the livestream performance of David's play, "Lazarus" commemorating to the date five years after his death, not that I expect it to hit on any cylinders, thanks to its deliberate derivation from "The Man Who Fell to Earth". Nevertheless, odds and potential probability are nothing to be toyed with. David co-wrote it himself in the last eve of his life. 

My book is a painstaking exhibition of how my personal identity has been splayed across creative impulse for literally 27 years when it comes to song lyrics. Thanks to David Bowie, it was pre-published to boot without any outside editorial. This is no different than describing my physical properties as spread across the sunset and the sky. And like I said, there is no point in my itemizing well over a thousand points of light that occurred in real time. I already did it, long before this came out. You are just sentenced to actually attempting to actually f***ing reading it, (after Chapter 9). You only need to know that I proved its existence in real time to one individual who was a participant inspirationally, and that he is about to talk about me again (as mentioned on p. 116, last paragraph, and this link), here now in real time, with full knowledge of who and where I am in time in the real world, and that was what "Dear Martin" set out to explain ahead of time for your personal benefit, the reader. 

This existential property is what makes me somewhat of an existential personal match with Whom I'm talking about, I halo the heavens, literally, and it's been happening to me for 27 years. It's enough of an existential issue that I painstakingly documented it for your personal consumption. 

VII: Litany of the Forsaken: -this is the state of mind wherein the writ begins itself, what it is forced to chronicle in "Dear Martin". The book itself is the mapping and delineation of the "wondrous world". "Dear Martin" is the epilogue the book refused to elucidate on what happened post writ to the "wondrous world". It is the chronicle of this cycle of its destruction, as in "nothing ever lasts". It is the chronicle of the forsaken. The prevailing thread of continuity this writ beings and ends on is the existential paradox of having arrived at so exclusive a mindspace it leaves you paradoxically utterly alone in the world, inherently incapacitated from being able to translate it to anyone. Personal utter solitude is the existential beginning and end. "Love comes in waves" because it is fulfilled in the analogy of transmitting via the universal unconsious sea. Given it takes about half a million words to put it into observable prose by and about a female protagonist, that's definitely having seen it. 

The writ of "Dear Martin" is also, are per VIII: Litany of the Gathering Up, a gathering up of those various pieces, i.e., the litany of re-awakening. It reaches back into the context of the first re-awakening that transpired with Nick Cave in 1997/98, which on my side at least, involved the reconstruction of one's existential self via the construct of personal redemption, which happened via the pre-existing universal feedback loop which was already always following me and what I did spiritually. I used it to reconstruct myself via the caught fragments of myself. This process only spans several hundred pages in the book, from Chapter 14 to the end of Chapter 22. 

The male side expressed here is Nick Cave's side. Nick Cave was remade in artistic terms of expression at the very least when he wrote The Boatman's Call, which was the first time this happened, meaning it is fully chronicled in the book, Chapter 20. Ghosteen was the second time this happened, meaning everything got reconstructed without my volition after everything appeared to be completely destroyed. The male side here is not an expression of the divine as appears later with X: Litany of Godly Love. As Cave's male "side", in fact it has a number of permutations in the real world in different male songwriters who perform similarly to the way he does (Sun symbolism was accessed on the male side). But the latest permutation was best expressed as Nick Cave's "Euthanasia". It is only personal in the context of the divine, as expressed by Part 2. 

Also the sea and the river are functional analogies in both the book and the writ, for the universal subconscious, as in the universal unconscious sea, and as this is a functioning analogy the entire book is predicated on, appears far too many times to count. The U.U. Sea is explained as to where the analogy evolved in "Dear Martin" on p. 25 paragraph 3. 

I was remade, O Lord
I was remade, O Lord
I was no longer me
I was the world
The world entire

Again this is a reiteration of what happens when you end up expressed as a universal construct, which is what my entire book delineates happening to me after the advent of Chapter 9 for a full 15 years. It did not stop where the book ended in 2007. "Dear Martin" is the effort to trace what ended up happening up until the present, when I got remade a second time with the intervention of Ghosteen. I do make one piquant remark about this in the missive itself, 2nd paragraph, p. 89. I was global, sweetheart. -Imagine!

The reason this is expressed as happening during quarantine is that what happeened with Ghosteen was a very long process that didn't end until the end of Part 2. It happened the second time, during quarantine shutdown. These missives are its explanation. 

IX: Litany of the Transfomation

This is the existential nature of being existing reciprocities as an existing universality, especially where there is connective consciousness involved with all the participants represented in a pre-existing analogy already writ (in the book) as individual stars. This is actually my state of being as expressed by the book, and in both missives. This is what I demonstrated was happening to Billy in Chapter 25 by proving it to him in real time using the universal feedback loop, which I was able to do by having successfully isolated the dynamic down to a single transpiration or event that occurred between him and me, with him expressing it back in the musical artistic feedback as an existing reciprocity. I intercepted him in London and told him what he was going to release before he actually released it. This happened with Machina/Machines of God, which Billy Corgan is talking about writing a sequel concept album to now. Back then we situated the moon between me and him with "Stand Inside Your Love". But the moon has always been situated since Bono isolated it as a symbol with that one line of lyric in "The Fly", "you know the sun is sometimes eclipsed by a moon, y'know I don't see you, when she walks in the room". So the moon, via its juxtaposition with religious sun symbolism (as the correspondent feminine), is the pre-eminent symbol in the book. It was Billy with Machina who made it "the moon and all her sister stars". You can search the symbology of both extensively by searching the book, but here's a reference in one of the book's footnotes. 

When Billy broke up with me in terms of a removed sort of virtual interaction that was going on at the time (I thought permanently) the first time in 2004, I rebounded, unfortunately, by going and getting married, which was an utter disaster, and made me migrate countries, cities and states. The book ends on the divorce filing. The marriage was such a disaster it lasted only two years. 

"To Stardust" reflects that the book ended up self-published on the "starman's" website, namely David Bowie prompted its publication, which "Dear Martin" explains on p. 48, last paragraph. 

X: Litany of Godly Love

This is a personal exchange between the Divine and the Divine's feminine object. If you want a succinct, in depth elucidation of existent perspective on why the first two verses of the Divine expressing Himself are what they are, I suggest you go read what happened on the night of September 17th on p. 2. I'm sure you'll find it a little enlightening. The whole writ is framed in terms of the Alpha and Omega personification of Christ which is the beginning and the end of the Greek alphabet signifying Christ as Word. 

I'm full of language but do not speak -that's me. That's just the reciprocal truth. 160 pages plus of never having ever gotten to ever once speak being compelled as writ, that is referenced on p. 24, last paragraph. 

I'll watch you die and I'll save you - the book relates how this happened to me and I was saved. These missives relate the end of it, and how it is an existing reciprocity. There's a summary of this starting with the third paragraph of p. 73 in "Dear Martin". The reason I understand this as reciprocal (meaning how it's sung by both a male and female voice) has to do with the becoming apparition's appearance in Part 2. In the book I arrived at the rational ultimatum that my existing as some sort of universality really reflected on the much larger scale of the Divine, reflecting as per all of creation as well as inspiring creatively, Who was isolated by that existential circumstance far more than I myself was given the bulk of the planet is unaware of such an existence and barely knows how to relate. For me, by that threshold the exclusive nature of my existence was cause for a lot of personal pain, as all the personal encounters I'd had trying to determine what was going on had just threatened to make my existing state of isolation permanent. I realized that this lack of recognition on their part was strikingly similar to a lack of awareness of God Themselves on my part, and recognized it as a sin of omission on my part that was reflected in my own existing circumstance. In the book this happens on p. 1578. So having been saved, recognition and reintegration is a form of saving the Other for whom the existing circumstance was the same, which was ended by becoming manifest in Part 2. I mean this song coming on at the end of the random playlist expresses it well, and I think that was the point, that it did. 

I am everywhere and nowhere at all - The Divine as the omnipresent and invisible. This gets smacked into in the book on p. 1578. It also gets smacked into head on with Part 2, in precisely the context of this song. "Dear Martin" is the explanation of the twenty year gap in between an event so similar in transpiration it is like it was split in half. 

XI: Litany of the Unnamed

Actually the sum and nature of these missives is that no one is unnamed. They are both named by each other. They may remain unnamed by the sum of history for the rest of the sum of history but, being named between themselves means they are never unnamed. 

We will, as expressed by Part 2, leave them termed as the father and the mother of the universal. See last paragraph of Part 2, p. 32. 

XII: Litany of the Divine Presence

As the album begins, so it ends, with the emergence which is what this whole missive is meant to signify. A singular Spirit appears (Part 2), Who literally became manifest as Himself on page 4, paragraph 3, dated September 17, 2020. She sought for Him to emerge, and He did.