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Here we are again! Today we talk of Chapter 34 "The mysterious door." I will not reveal what "mysterious door" is spoken, as it is currently not in itself very important, because the discourse on this "magical object" is mostly used to turn back in time with the memory Sendo, and show us a few minutes of Dorothy .
Those old memories are of course to give body and depth to the story, reactions characters, introduce, advance, without really talking about it, something that will very much later (the "door", no?) and bind thematically to the previous chapter.
In the discussion the previous week had focused attention on the role / function of the grandmother, who served as the engine of history not only of motor actions but also of inner development. At the beginning of this chapter we see instead a Sendo still stuck in his work. For it is not yet able to decide either to undertake, especially in cross-section of memories, we see intent to yearn for a child time "where everything was magical." Dorothy argues that now is the Academy of magic ... where to find a most magical place?! But he did not want "magic" in the strict sense. Now, the Academy, suffered discrimination, it feels like a fish out of water ... that is precisely the period of childhood in which he knew to be himself ... where the magic of the discovery of a world that did not yet know was all, was his horizon ... Sendo then is still standing: it does not really walked out to find himself. The "self" adult in the world today do not recognize, in actions, in the way of thinking, in the events of his surroundings. I do not feel like her this world.
Why was unable to grow? Actually I think it is wrong "feeling outside" world to a "neutral" to a twisted world, and never clean, corrupt relationships ... is lawful, I think, to feel "different" if that surrounds us does not meet what we feel. The return to childhood, a moment that is that there appears free and authentic, easy to understand, is often almost automatically. This speech has at least one important literary antecedent: the story the silver key of Lovecraft's character back to childhood (and the dream, mind you!) Through a magical object. Lovecraft was much criticized for this story because it did not present a positivist progress (which was already cracked, however, we are in 1926) of a man who, growing up, gets its place in society as a contributor to the common welfare, raise a family etc.. (See Dickens), but quite the contrary, the figure of an adult man looking for his achievement in childhood, the irrational, the "flight from reality" (which is a "flight" or not, remains to be seen: escape into the dream, from the standpoint of my book, it would not of course! See the weekly update number 3!).
Mindful of this precedent (but there would be many others) do not mean that Sendo should accept in its own today, to be framed in society and have, instead of escaping into the irrational, because the supine and complete adherence to a company apparent narrow-minded and shuns me absolutely (see it in volume 0, the part in the first chapter to the asylum, Dr. Whitehouse says, "Something must be traced to these companies for their husbands, workers and so on." because their insanity is not a disease but a social For him it is a rebellion established order!), what I mean is that the return to a past that no return is equally wrong, is like putting our heads in the sand not to see. What is necessary is to reconstruct the first man, the man dreaming of childhood, with men now: living in the present, not in the past, but live consciously. And only in dreams can man find himself.
A final note of "color" later in this chapter we talk about anything. You see the ramshackle efforts of Alice and co. to meet the demands of his grandmother, producing a great disaster. In addition to this high comedy in all this, I would like to point out a design element. That is the point of the marine world. What hits the marine world, you say? Nothing, we are in fact dry, solidly in the Tower of Ehuresya. The description, however, the disaster occurred magic was matched with descriptions of aquatic environments, let me explain: the similarities and metaphors to describe the contemporary situation created by the use of power and mindless of Alice and Ayane are all examples were taken by sea, arriving to compare the living room flooded in a "tropical lagoon. I think this makes it a good idea of \u200b\u200bTomotomopoppin: colorful metaphors that recall absurd elements in a given context, and completely change the tangible reality, proposing it highly distorted on a different level, in short, re-projected through a filter (the metaphorically, in this case, "the sea"), so as to obtain a strongly different from the original. Even in this case are used to putting a few pages before, "foreshadowing" of what I do: while the situation is still "normal", while Alice and co. have been taken in cleaning the tower of his grandmother, I have included several elements "water" and marine, as the chandelier made of a large rudder and the floor so clogged up that look like the back of a whale incrustations of mussels.

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Today we talk of Chapter 33, entitled "Relationships are difficult." These are the difficult relations that have been formed between Saga and all others: the grandmother and child, in fact, is a powerful engine of this story. Her constant repeating "I had to act, because otherwise you would not come to anything done" is not only a truth in the story, but it is also a truth in the meta-narrative.
That is, the author, not only Saga, he realized that without an engine without a yoke "adult" and conscious, Alice, Sendo and company would not know where to bang his head.
is thus justified the presence of the grandmother, as is explained in this chapter may not be his job to guide them in this adventure (it seems that every generation of Magus and The ellu write stories then become legends in the history of the world, and c ' is always someone to guide them ... just like a Gandalf who acts as a guide to the Fellowship of the Ring), but it wanted to be present, partly because this time his loved ones are to be placed in danger. It looks like glue to a whole series of past events (mentioned in the various chapters, but here are hints to the dark events that have previously the rise of Wotan) and active at the same time as the engine that a certain form to the events and forces them into a new direction. Without
saga would not have been possible to continue the story.
However, this relationship she has with history, with both characters (who are obviously not to be seen as "characters," but as "loved ones" in the narrative) is not easy, quite the contrary: the 'which leads to action, is a violent action, is to oppose and make decisions against the Empire, the Nazis ... all absolute power, ruthless, evil, which only produce violence and death. The trip (the quest ) is not meant metaphorically, but "real", as in Lord of the Rings Saga opposes a "journey" different character, Ayane who would flee from Ephesus, and leave everything behind, but she says she must be ... travel, aging, the lens is entirely within reach. Sendo
must learn not to run away from it all, Ayane to trust others, to recognize Alice herself ... as well as Erastos must finally be reunited with the other self, which at this time is totally represented by the shadow of her sister who carries all his past. But
bring their loved ones on this road is a source of suffering for Saga: why expose them to hazards, because the same "move" outside the borders of their own hard built in is dangerous ... ... and above all, in this story, the steps that lead toward the achievement of this are the same steps that can lead either to destruction.
How, in the second chapter, the grandmother said to Alice "You must go", without willing it must act now because this is done directly. In the case of Alice to remain at home in the swamp is like saying "stay young" and remain in place (imaginary and mythical) of childhood. But Alice has to grow and get out of herself. Although the wait out there all sorts of dangers.
But the grandmother also said, "Go find some friends, and live for them", there are dangers out there only! The construction of a new ego, an ego in relation to others, to live, gives meaning to life, according to his grandmother ... this is the first trip, the more spiritual than her as the motor of history is called upon to perform. They like it or not. For this you can be hated by those who would like to do only good! Here's why the phrase "I'ma grandmother terrible" (and even the mention of Baba Yaga Antonio: The Baba Yaga is the witch in the woods ... by definition that in fairy tales, if we accept the lesson Propp , soprasiede the rite of passage ... the rite of passage into adulthood, made in the story, often through death and resurrection of the character): Saga but would not want to be ...
However, ruthlessly, and almost ruthlessly with herself, he will do whatever is necessary to fulfill its task ... time and then will be responsible for Sendo, Alice ... able to take the road with their legs, know what to do, and what is the best ... to untie the knots in short, that a guide can only indicate, but do not resolve by itself: as Gandalf who accompanied Frodo in his mission, but Frodo has completed, learning what was right and what is not.

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Today we talk of Chapter 32, entitled, of course, no accident, "Flatland." I imagine that this word is unknown to many, but for those that have this not be as well known offer two words of explanation.
"Flatland" is the title of a book written by Edwin Abbott Abbott, back in 1884 (see link ). The story follows the life of a square within a two-dimensional world (ie "flat"), governed by precise rules, absolutely 2D. But one day a ball from the third dimension, but on the poor that there is much more square beyond its limited capacity for perception.
The work has two souls, in fact intimately related, a mathematics teacher, and a satirical denunciation of contemporary society divided into rigid compartments too "social". What all this with central
Chapter 32 of my book?
This chapter is an important element of the entire series of Tomotomopoppin. Since the volume 0, and then in 1 and 2.1 on several occasions in this, various people say various things about the world of dreams. The philosopher Plato, the gnome Burgoprofondo of the cat Cesshire ... all have very different theories about what is "reality" and dream.
Each character has his idea of \u200b\u200ba dream world, dictated by his own culture, or, ultimately, its openness, its concept, more or less restricted to reality and thought (see for example Gubbley in the gnome volume 0, who lives in a very restricted society, not only "physically" but also mentally and culturally, where they can not even distinguish a human from a monkey wrench, and while living in the mountain of his dreams have no idea what is!).
So, what is this Tomotomopoppin, as he called Alice? It 'an alternate universe? E 'wonderland? It 's a place where dreams are real?
Now at last the grandmother explains what is really beginning to end this Tomotomopoppin: and example, which uses the simile to explain to his audience made up of fools is made just from Flatland. That is the way humans perceive the reality is that compared to two-dimensional world as narrated in the book: men see only a part of reality, namely that their perception of "2D" allows them to see. But the reality is obviously at least three dimensions, or 4 or 5 ... Tomotomopoppin then, the dream world, there is an alternative world out of our world, is the real world, as it , but not perceived in its entirety by the individual human being.
A person sees only the material and physical reality, because only this can feel, dream, fantasy and so on. are not inventions, as they exist as much as the things you can touch, but placed in a "substantially" different, higher, so thin and fine (in terms of quality) that is not perceptible by our senses. Only when the dream, that when we sleep, you may lose part of that mental rigidity, of the "veil" obscuring the harsh ways, allowing us to see a part of that world ... this is called a "dream world" and "dream" that use the power of the wizards and the Seven Serpents ... common experience because it is visible only within the confines of the dream.
But it's not a dream, a condition of the human mind.
why Alice is not calling itself a dream world, seeing how this definition is imperfect, but did not find a better one that would express a concept so vast, so here it is resolved for the absurd "Tomotomopoppin!

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This week we talk about the episode 31 of Chapter 2.1.
In this chapter, entitled "Darkness", our focus is on what's going on in the background, and behind that is, unbeknownst to our heroes.
When I started writing this book, I had not thought about whether he should do so in person, that is with an "I" narrator (which could be Alice). But apart from several other considerations that made me abandon that idea (in a nutshell, I do not think a book like this for this trick to work) and one in particular can be expressed here. If I had used a narrator would have had only one point of view (or rather, two: that of the protagonist and the reader): I could not do things like you see in this chapter, where we are now seeing some minor characters, such as Ghebers the secretary of the Dean of the Academy of Magic, and the chief priests of Babylon intent to plot against our protagonists.
These cut scenes "film" (B-movie style, with fading between scenes) are possible only with a "camera" mounted very high above the set and not placed behind the eyes of a single character.
However in this chapter there are two separate issues: one is the tramacci Saga, those of the other priests. So on the one hand the first moves of the Academy, on the other, Babylon, of those "enemies."
In the academy, as seen especially in Chapter 28, he always knows things are going in a boring routine, and indeed, as how that chapter note Sendo, when he was (no more than three weeks before!) To school, there was a bad trend, a way of life, that was what we who are outside history, described as "a typical story to light novel" with school comedy.
short, tsundere girls (Dorothy), the usual antagonists snooty, a bumbling protagonist, magic and destruction ... but now for Sendo all sounds almost ridiculous: it's a bit like if you were saying, "warning, this book is about school comedy, but only remotely ... all this is over!
fact now came Saga, one of the founders of the Academy itself, and old engines and gears operate again. The Dean, briefly introduced as "an old man a bit stupid" begins to see something quite different under the bark; characters seemingly "flat" not at all. All this is explained and filtered through the figure of the braggart Ghebers: Ghebers for there are certain balances. He is the Secretary, the other not, he does, the others are not . Everything works inside his little world, as he created it and sees it.
But now everything is reversed: they weigh Mirina, he has always regarded as a nuisance, a fool who can not see where you can find a way to cling to achieve success in the Academy, turns out to be much more in the economy of the Academy itself. It reverses the values, in other words: first, in a "normal" situation, Ghebers was at the top of the pyramid, now in a situation of danger, Ghebers is at the bottom. It is self-evident image
the same Saga: it is the most powerful magician in the world but has a body that girl!
In the second part we see for the first time the high priests and the old friend Reva. There is a description of environment that I've done in a way that I particularly like, or with a whole series of references and allusions to "things tell, "ancient entity, the previous construction by man dug deep abbissali.
E 'transparent reference to dear old pulps of the twenties, from Conan to Lovecraft. Against this backdrop of mystery and strange figures suspension, all masks are made stage.
the chief priests wear a mask all, young (and those of lower rank from old), this is because they are "born again" as new beings in the world (and those of lower rank are "elders" who are about to be reborn with death). Each of them has different masks and different roles: overseeing the main functions of the Empire, indeed, of human life. There is a Dream, one of Death, one of Violence / War ... are made in view of the good old bad characterization of the canons of the most popular shonen manga (and retract).
This scene is an opportunity to explain some dark holes in the story, largely complements the explanation of chapter 26 in the Saga of the Nazis because they were in Babylon, because the dragons of the garden had attacked the villages and so on. In that chapter Saga suggested that simply looking clothes and had not stopped at nothing, not even a fact that would certainly have attracted the interest of the whole empire, or the destruction of an entire garden! In reality it turns out that the political situation in the Empire is very complex, and there are several factions within who plot against each other ... Another mystery is then introduced, which will serve us much further down the field to bring in a fantastic plot twist (and already we have seen in Chapter 30 of surprises)!
be noted when discussing Beherooz: This figure appears in a separate chapter in the first volume, during the attack of Russian Thampsacus. But the length of the piece led him to be cut in subsequent revisions. Here is invoked because it still is, but in a footnote to explain who you are talking, otherwise the quote would seem a very dark character forgotten. The cut part of the book has been previously uploaded to this blog some time ago, and can be found in the download section.