The Fragile Giant

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The Fragile Giant

The great national tragedies doesn’t have to became, by any price, a myth which poetics stands as a guardian of the rich heritage on people’s wisdom, it’s heroics and sufferings. We didn’t inherit, in our tradition – like the myth about Krale Marko (King Marko) or about the heroes of Ilinden – any mythic references about the tragedy of the Karpoš Uprising. The myth has closed its fort’s gates of safety and life-maintaining in the face of the Prometheus-like men like the Mythropolit Theodosius also. But then again, the herostratic deeds of the Salonika Assassins (Solun Gemidgies), about which, indeed, the European historians are interested also, found in the myth safe shelter and guarantees for protection of their historical importance.
This caprice of the myth – to select which events or persons will put under its historical protection against the oblivion – isn’t our tradition’s exclusivity only. It occurs in western civilizations also, with intensity and prevalence which changes the history’s constellation and threats to endanger the basic authenticity of the already confirmed historical facts. The efforts of the French Templars (XII – XIV century) to revive the human image and the teaching of Jesus Christ, the Son of God, and his actual historical meaning – is only one example of many, when the myth, in conspiracy with the history, takes away (even to the most daring spirits) the right to step into its kingdom of non-oblivion.
Today in this global village, seems that the tyranny of non-responsibility and indolence which are emerging those many new “Towers of Babylon’ with, is growing stronger and stronger. I’m afraid that this situation is on a way to erode the very basics of mythic inspirations in whole. The lucid observations of Roland Bart, in which – this great authority – defines this phenomenon as birth and construction of something that is widely spoken about, and it becomes a “speech obsession” – I think of them as something that is overcome by far. At least when we speak about their actuality now. The last decade or two, when we speak of the film – the catastrophic obsessions, the fear, the cataclysmic visions and the tremor expectations of some biblical end – all those are getting mythic dimensions. The destiny of Hiroshima, in the sub-conscience of the Chernobyl coevals is spreading on the destiny of the whole human kind. Their future, according the findings of Ruben Kowalski (one of the most relevant experts who writes about NASA programs) is already planed. The architects of the New World Order has planed – in the “Hologram” program – that 90% of the human population on Earth has to be eliminated in order to fix and maintain the wanted ideal Eco-balance of the planet.
This gruesome vision doesn’t belong to the genre of Science Fiction in literature and film. But the principals of this genre – produced by Hollywood mainly – in its spectacles inseminates exactly that kind of paranoid fear worldwide. Spielberg and his dinosaurs seem to make the prepares through the world for the extermination that the Vienna wall-painter failed to fulfill. But if we can’t claim, we also can’t deny that the author of the “Shindler’s list” is a member of the club of Chosen Ones, known by the name of Iluminata, has his ally in the talent of the film directors such as David Cronenberg, that subtle calygraphist of sex, spirit and dreams pathology. In those poetics of the dark and distorted instincts, we can easily notice that syndrome of making diagnostics on the sick minds – so much used (with quite a pleasure) by the militant conspirators for that Ecological purification of the excess of population. Surely you remember the gruesome ambient of his esoteric film “Crash” or “The Twins” – that sensibility-full manual of oddities – according which, every emotion can be startled out of the lethargy only at the sight of the open wound and to cause erotic ecstasy by the look at the severe damages of the human body.
The idea that the severance of the crash, which deformed remains emanates some kind of depressed erotic impulses, repeats to us as observation (to which we don’t want to pay attention nor belief) with the sight when the giant Titanic’s body crashes into the huge iceberg. Cataclysmic proportions of the tragedy, at the first moment of confusion and non-belief, disturbs the one’s senses up to frenetic excitement and panic, in opposite of calm reasoning, flexible and willing to reject the delusions about the invulnerability of that sailing monster’s Titanic construction. At this distance from the agonies and denied inhibitions, this calmly brings order on the facts, making the accent on the time’s constellations as one of the most important issues concerning the semantics/meaning priorities. But abreast with the identification of tragedy’s “I.D.”, it spreads the context of this tragedy’s implications toward the decades which followed – to the years when this event which shook the world, faces another big-screen revival.

AuthorGeorgi Vasilevski
2018-08-21T17:24:04+00:00 June 1st, 1998|Categories: Reviews, Gallery, Blesok no. 03|0 Comments