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| Psychopomp 2004 A musical drama |
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| The text: Psychopomp |
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| Intro | Download | Songs | Download | Lyrics | |
| Prologue | |||||
| The Marriage | |||||
| Sex and Money and Stuff | |||||
| Invocation | |||||
| Initiation Ceremony | |||||
| Proclamation | |||||
| Blue Introduction | |||||
| Companion Introduction | |||||
| Fric and Frac Introduction | |||||
| Freedom | |||||
| Tropical Village | |||||
| First Meeting | |||||
| America | |||||
| Threshold to Adventure | |||||
| The Murder of Innocence | |||||
| Decision | |||||
| Beautiful Mystery | |||||
| Duality | |||||
| Blue | |||||
| The Snake Woman | |||||
| Birds | |||||
| Chez L‘Amour Deteste | |||||
| Dance | |||||
| Secrets of the Universe | |||||
| The Philosophy | |||||
| Let Wisdom Speak | |||||
| The Split | |||||
| What’s Your Name? | |||||
| One Dream at a Time | |||||
| Here’s to the Infinite | |||||
| Schopenhauer | |||||
| Ode to the Problem | |||||
| Black Elk | |||||
| We Are One | |||||
| Waking Up | |||||
| All of This Coming and Going | |||||
| Epilogue |
|
Synopsis and Comment The drama begins with a protagonist who appears in bodily form only at the very beginning and the very end of the story. He/She looks like a person but is, in fact, the personification of the world civilization known as "The West." The West is troubled. There are great days in its past but its present seems to consist only of the overwhelming task of creating the illusion of its former glory for descendants who "just want more." The answer to this problem for The West is decidedly psychological and Jungian, lying in a series of mysterious dreams that emerge when The West lies down to sleep at the end of the prologue. This dreaming takes place in Sault Ste. Marie, Northern Ontario and draws us into both a love story and a quest. In the Sault we meet a brash local girl by the name of Blue who is a natural leader among her group of friends, a group about to be initiated into adulthood. A few hours before the initiation ceremony, Blue meets a curious stranger named Companion when he steps out of a Greyhound bus at the town depot. He presents himself as the sum total of all of the West’s historical accomplishments but he is, in fact, quite lost and powerless in the here and now.1 Blue is all confidence, believing that she is the maker of her own destiny. Eventually, however, she finds out that, through her connection to Companion, that she is at the mercy of the under-rehearsed and poorly disguised archetypal twins Fric and Frac.2 The cast is rounded out by an undefined rabble of hangers-on and wannabes known simply as the Mob. After Blue and Companion fail the initiation rite in front of the court house on Queen Street, they are beaten and deposited with prejudice by the Mob in the wilderness. On waking up they struggle to find their way back to the Sault as their feelings for each other intensify. Their efforts and feelings are guided, and even moreso misguided, by the twin brothers Fric and Frac who have a much different agenda, the creation of new levels of consciousness. This quest has taken Fric and Frac from the birth of human consciousness in some long forgotten African moment all the way to this eminently forgettable couple and place in the present. As Blue and Companion contend with their human-all-too-human concerns, Fric and Frac ruthlessly test their mettle for being carriers of the next level of consciousness into the future. The drama closes with the reappearance of The West as he/she awakes and ruminates about the strangeness of dreams. As the reader might suspect, taking in the plot of this drama that presents itself in the traditional way as if it really is a drama in the traditional sense would be problematic. One might be tempted, for instance, to take the images in what follows literally and be offended and repulsed or else delighted and spellbound as they wait for each black comic barb to appear. While either one of these options is possible, neither one is quite right. They are part and parcel of the package but what this story really wants (and yes, this assumes that stories in and of themselves want something) is to be understood as the soul of the age displaying itself while using the images of what is familiar to do so. It would be nice to just let the piece speak for itself but there is no getting away from the fact that for 21st century man it is no longer what one sees but how one sees that truly matters. This "how" of which I speak is impossible to go into here but, should the reader’s interest be piqued, the way of seeing that informs all that follows can be found in the 1998 book The Soul’s Logical Life, by the German Jungian writer and analyst Wolfgang Giegerich, the 1918 book The Decline of the West by the German philosopher and historian Oswald Spengler and The Collected Works of C.G. Jung, the Swiss founder of the psychology that bears his name. |
| Coke Oven Joe and Sue Ste. Marie  1990 |
Back Roads 1991 |
Right Now Is Forever 1995 |
The Fates 2002 |
Guitar Solos 2004 |
| Psychopomp  2004 |
Right Now Is Forever 2006 2006 |
Logical Negativity 2007 |
Syzygy 2009 |
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