Chrysalis

By D. L. Snow

"CHRYSALIS" WEBSITE

The back cover of “Chrysalis” says in essence:

What is the meaning of time: Why is there meaning in space and time? What is one way to stop the “Middle East” wars in every space?

A subplot is – does God exist in time? Something that modernism buried. This book is postmodernist symbolism, PMS. This website is PMS, Hip Hop space.

Cal Beuerbach, CIA anti hero agent, takes us from – Before September 11, 2001 to him as head of The State Department, in 2050.

Why read this book? Don’t we all know about 9/11? Don’t we all know about the invasion of Iraq? As part of the CIA, WOULD Cal turn on the President? What is an alternative to get the terrorists off our case? It’s here.

Our time, is the moon and the sun. Its meaningful - money producing – if you can get into something that is your passion, and generates money.

That’s pragmatism.

Terrorism is class, not religion. Terrorists pervert their reading of their Holy Book. Among other things which says – don’t commit suicide, the “main” terrorist tool. They are not Muslim terrorists, any more that the assault on Oklahoma City was done by a Christian terrorist.

With the Noble Koran, Muslims worship with Jews contrary to the Palestinian and Israeli wars. These are some of the questions addressed.

The US, generally, is a Christian Nation. Muslims worship with Jesus. Therefore, it is logically impossible for September 11, 2001 to happen. These are more issues addressed. Islamists are – not – fascists, contrary to National radio talk show hosts.

The new lower classes of Arabs think the US is not moral. We are not. So if there is so much to talk about, why the terrorism? Why are we at war? Why were we in another Viet Nam? What is the way out, without loosing the war, as in Viet Nam? On whose advice?

Answering those questions is the goal of “Chrysalis”. It uses postmodernist, metafiction. It is didactic – protective – of USA tactics.

The introduction of the book reads: Is there a God? This is the essence of the class war. The poor Arabs think we don’t believe in God. So, in the end of the book, we get into a debate over the one Muslim Absolute – there is one God!

In Chapter 1, it starts out at Christmas 2003:

“To pitch the amber image – Jesus on the Cross – is to give it life, to say that the maroon game was meaningful.”

That is to say – reddish is Jesus on the Cross. At Christmas, we pitch the image, as if it were the world series. To be the catcher on the rye gives our US meaning.

The perceptive reader will see it as a world game. It’s a pitch. Like a salesman. It is neutral on the issue of – is Jesus a fake memoir, a novel. Not a treating of Jesus as the absolute truth. This is key in the novel – the Panarab conference to solve the problem of terrorism. Arabs – really – believing that Allah, the compassionate and merciful, is the one true God. We need treaties!

We play ball.

With the Muslims.

This is a novel not a dissertation. But the title is a living metaphor, following Snow’s teacher Paul Ricoeur, in The Rule of Metaphor. Ricoeur is so big he is like a Pascal. There are other comparisons.

Still in the First Chapter:

“The 20th century told the farmer that Jesus was not born in a manger.
… It’s call modernism.”

Postmodernist signs say that there is an alternative proof for the existence of God – while still meditating in a cubist and atonal form. It is mystic. That is – Cal’s – answer. And is one of the keys to the book.

Find God, and you can talk to the 1 Billion Muslims, who would rather slit your throat, because our civilization, in modernism, told the Arabs that God did not exist. The God thing has to be resolved even with PMS.

In Chapter 2 starts out, after the flash 2003 forward to Christmas, in 2000:

“It’s a pilgrimage of our Calvin. To find the Mod.”

Here we get into the plot of the novel. There is a name mentione

• Language: English
• Publisher: Xlibris US
• Release date: Jul 22, 2005
• ISBN: 9781984510068

Book preview

Copyright © 2005 by D.L. Snow.

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the copyright owner.

Concepts and symbols come from the author’s own imagination.

Characters, plot, critic, organizations, church etc. are either fictional or historic and fictionalized.

Fair use, under United States of America copyright law, permits the private copying of parts of this work of fiction, but not instead of purchase.

Fair use, with the title, is a sarcastic parody, postmodernism.

Rev. date: 10/10/2018

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Contents

Introduction

1. Meanings of Red

2. Weapons of mass destruction on U.S. soil as a grub

3. Sting of Satire

4. Awesome U.S. military power parody as a pupa

5. Treaty law is part of con law supremacy clause

6. Terrorists go mad in their threat against Cal

7. The trial of Cal

8. Satirical sting

9. September 11, 2001

10. Cal talks with the U.S. President as to his strategic options

11. Fall Fifteen as a Chrysalis

12. Cal’s defense and it as world political satire

13. Sun over Kabul and Baghdad

To

Czeslaw Milosz

Like Ludwig Feuerbach, Paul Ricoeur of the University of Chicago and University of Paris said in his book Living Up To Death, that he was no longer a Christian.

Amendment I

Congress shall make No law respecting the establishment of religion,

or the prohibiting the free exercise thereof.

The mushroom clouds . . . proves our motivation

Mr. Smith,

Director—CIA

Introduction

The American Apocalypse is the theme. We then see this through the first gaps of the Middle East wars, much of it erased in didactic gloss, poetic. The tension in the anti-hero, Cal, is so dense you can barely see through the fog.

Time and Narrative is a treatise that was written by Paul Ricoeur, who will go down in history as a French, strange cross between Kant and Voltaire. To use an American metaphor, that was an, in the park homer, gapping evidence. Like a stoic.

The Rule of Metaphor, by Ricoeur is the semiotic, to use a gloss not of Ricoeur, base of the tropes used here, as they relate to Gap proof, fall non-reference and meaning. The Chicago School, school of ethnic symbols, guides Snow. Like Seneca.

Gaps, erasure and traces are a central trope in this satirical work. But the genre, here, is tragedy.

Take the political world economic satire of Chapter 12. It is based on a—Gap, non-existent Manifesto. Like Chapter 7.

Even this novel is based on a gap. The first part of this sequel has not been published yet.

The above words are—key—in the postmodern schools of criticism, reader response and deconstruction and European semiotics, the base of Cal’s lectures. This is tragicomedy. The book is a polytrope. Postmodern is PM.

A Satire and Tragedy.

Love and Imperialism.

This is generated out of the New Historicist and culture analysis of J.M. Coetzee’s theme, in, In The Heart Of The Country, that the sensual—type can be connected to colonialism, I would too gloss it as the former is generated out of the latter.

In this memoir, Mr. Cal Beuerbach gets his sensual ideas, which he writes in this autobiography, from his wife, Sunflower.

This love cause and effect is—gapped, seen only in traces of art, and even then, visible only after erasure.

This is the sequel to Snow’s Cheeseburger. Both are sarcastic satire, in part. And partly serious. It explained—PMS, CCC and and PE. The fog hides Cal’s real character.

Not all colonialism is bad, American Samoa being an example.

Not all love is good, as is illustrated in the first book in this work, about Cal’s life and divorce from his first wife Ruth Boaz Beuerbach and his affair with his lover and subsequent wife, Sunflower Turner. It’s detective journalism.

That was when Cal wrote a national best-seller nonfiction The Reds of Postmodernism. It put him on the late-night comedy T.V. shows. This is a comitragic memoir. This novel is PG-13. The theme is—Does Hip exist?

I do real literary criticism. This book is a real memoir. In a word, it’s reality. Narration centers on Enrica Pelican.

Postmodern symbology, PMS, at the same time—is an approach taken by Cal to write his memoir, and a form of literary criticism. PMS is parody.

As to this literary criticism, it looks for—contradictions and the amount of self-criticism in a character. There are intentional mistakes, tokens of PMS; parody of Dante.

—Raphael

Berkeley, 2004

Fall

The character Kautsky helps to subvert the mainstream plot. Free masonry symbolism and tropes here need constitutional protection.

The following story is a reality, but not one that necessarily endorse. Beuerbach’s ideological contradictions are obvious. And are not untypical of the average XXI century citizen.

— D.L.

Capitalist means of production, with the ideology

of Jesus, left Cal ready for a catharsis,

like Aristotle, in his end to his ETHICS. Catharsis,

based in that ideology, left both of

them in a mood of ethical contemplation, love.

—Mr. Enrica Pelican

Chapter 1

-1-

To pitch an amber image—Jesus on the red cross—is to give it life, to say that the maroon game was meaningful. Tropical sense is the catcher. Trope is tropic is tropical.

The 20th century told the farmer that—Jesus was not born in a manger. The result was white madness. To take away religious songs, and pictures is to let the mod rule the world. It’s called modernism. There is the irony of—The Son of Man. He was maroon in birth, maroon on the cross and then, to him, marooned on that cross until he passed, a paradox. Now, Bautsky is like a parricide Kabbala. Reddish means Jesus.

So I Pitch. Please Catch it. Through the fog.

If you get the ball you have the meaning of time. Let’s get to the red and black sentence. The black mark after the end of the last sentence was a—period. That has two meanings for us. It tells you a sentence—stops. There is a play on words. The sign—the period—is what the mother of the Son of Man didn’t have for 9 months. That’s a sign of redness, period. Ironically, it was the same color red—that was on the brow of Jesus on the cross.

Back to the sentence. In time. Dante’s Inferno.

The noun is the subject. It pitches—the verb. The catcher is the subject. Mary gives birth to Jesus. The mother has maroon meaning when she has a baby. The object is to give birth. The verb is the active. This is overture to coda. Cal Beuerbach is not, like the end of Ricoeur’s philosophy.

Jingle Bells.

Jingle Bells.

God, can’t go all the way? There is meaning, even if no God.

The virgin gives birth. That’s all the way. Her boyfriend helped in the maroon birth.

On the floor was the straw, yellowish brown.

In back were your basic barn yard animals. The mother makes the sentence. The sentence is given—the Son of Man is being born. Going up Dante’s myth.

In the sentence of the Son of Man is the maroon mercy. Sentenced to a cardinal.

Jesus pitches his red sentence.

His MM caught the ball. His step-dad is a ref. What’s the meaning of time? To survive your sentence. To pass through cardinal time. To be free of your sentence.

The Son of Man was sentenced to maroon death. When he died you see a verb. Is it meaningful? If you’re red and from a Christian country, and you don’t believe in a Son of Man—you’ve got a basic problem. Why? The sentence from the rest of the people in your country will leave you marooned, excluded. Then you are the man of sorrows. You need to play. You need to catch it. There are many different meanings to play with. Ask the ref for a—bold and new one.

What’s a hip-hop Jesus? Hip talks to people in their words. Jesus has your cardinal chains. He’s your rabbit. And every springtime he helps you kick your habit. Yes, hip-hop people are people too. Picture the amber springtime rebirth of Jesus, a red.

That’s down. Gothic.

Now hop on it.

-2-

The next night of Christmas, Cal wrote some more.

Cal meditated on the customs of time of Dante.

He became the baby Jesus. There was a red period after the last word in the above sentence. Do you believe the pitch? It’s a slow, curve. Cal wrote that—the kabbala was the tragic pride of man. It said ironically I am Jesus. And that the game was null and void. This was the game going on in Cal’s head when he wrote that sentence. That was the crying imitation of Jesus, the red fear of the sentence.

Cal wrote.

Come all ye red faithful. Oh come all ye faithful.

Hall is calm Hall is bright. Holy babies so tender and mild. Love’s pure ruby bright. Love’s pure bright. Jesus, lord at your red birth.

The baby is on the straw, in a manger. Cows are watching it all go down. Mary is crying, for red joy.

Cal and Sunflower were dressed. He in a maroon shirt, she in a yellow dress.

Feed your red inner Santa, cultural metaphor.

It is the night of our dear red Soldier’s birth. The sad world crying only Jesus is buying.

The night when maroon Jesus was born, night sublime. The highest was born to the lowest. See, the king is king.

Dante’s Purgatory is Aristotle’s Ethics.

Rock, and.

Rock. And roll, like a red grub. Kautsky.

Gently feed the inner Jesus. But not the parricide Kabbala.

Pitch a sentence. But only after you judge it. The red and maroon child, within you, will catch it. Where is the meaning? It’s all in the ball, the verb of the red sentence, don’t be afraid, lazy, so step up to the bat. So we have socks for the red cosmic Jesus about to be born in you. He may even tell you a joke.

Even modernism.

Which killed Jesus.

PMS gives the meaning to Jesus to both sides of the color, political spectrum. It’s not a Christmas for 12-year-olds. It’s a tropical catcher.

And humanity will live forever on because of Christmas day. Not a single red room, was in sight so Mary went down really red, in tight.

Jesus was the catcher.

Mary’s birth was the pitch.

The meaning? If you haven’t got it yet, let’s keep trying to milk the color of custom. Red Jesus if for Russia, who with-out it, they would have no religion at all, and the same for the red Chinese. If you’re here, dig it.

Society pitches. Teenagers are the cardinal catcher. 86 the dope and you get the meaning. Don’t give up on your Mary’s signs. It’s the only ones we’ve been given by our fathers. To give up on the signs of your parents, is to be mad. It is because in the signs, you were given your meaning. That last sentence ended with a period.

Pauline faith says even if you doubt the faith of the right, grab on to a trope, and turn the red of tropology politics to the cardinal of justice to the maroon of Christmas. Like the—white—of Moby Dick. A catcher in the wheat or rye.

What if Jesus pitches? Then the people is the catcher. The meaning is THE BIBLE.

What if the game has no meaning? Then, you’re mad. You need to go back and find new, tropical meanings to the old signs. You don’t have enough world or time to find