This is the first commentary on the letters of Marcus Cornelius Fronto (c. 90-95 - c. 167). It aims at an extensive grammatical, stylistic and historical interpretation of the letters and the ancient testimonies on Fronto. The author demonstrates where he stands in Latin literature; hence the numerous quotations of parallel, similar and dissentient passages from Fronto and other writers. This commentary, based on the Teubner-edition by the author (Leipzig 1988), offers a thorough explanation of the letters, a close examination of Fronto's style and language, e.g., of his archaisms and colloquialisms, identification of the persons mentioned, and the chronology of the letters. Seven elaborate indices complete this book.
In this daring exploration of primeval consciousness Marcus Cornelius has seemingly managed to convey the unknowable. In an achievement of literary genius he has given extraordinary expression to an inchoate time before history. The inspired prose flows with a richly dense imagery containing astonishingly eloquent passages that are demanding and uncompromising. One finishes Plough enlightened and changed, led to the deepest reaches of the psyche, to places in the self that are almost beyond the capacities of language. There is not a word out of place. A remarkable tour-de-force that will forever change how you read a book.
This is the second volume of Sopolyrimu to be published. The poems could be called songs from the spirit, to awaken the spirit of compassion in the listener, and, from what I hear from those who have heard some of them, this seems to be indeed true. They are also songs of gratitude for the miracle of life, and laments for the way I and some others all too often trash this miracle by quite reckless and cruel behaviour and temporary or prolonged bouts of simply forgetting what on earth we are doing here, and the consequences of what we do and of forgetting how serious the consequences are. "Exquisitely beautiful, beyond superb" (MJ, Australia) "Hearing this (sopolyrimu) was like being touched by the divine" (EM, Spain) "The most imaginative and meaningful writing I have come across in many, many years" (PS, Japan) " imbued with a tranquil and peaceful certainty ..." (TH, USA) For more information about the written world of Marcus M Cornelius visit www.auroranovapublishing.net
The river, still fed by the far distant mountain spring of Book 1 (Plough), approaches the ocean. It has sustained life all through the evolution of society along its banks and down through the centuries during the events of Book 2 (Growth) and Book 3 (Harvest), but by the time of Book 4 (Snow) the conscious connection between society and the river has almost been lost. According to legend, at one point the river split into two streams, one feminine and the other masculine, and where they will flow into the ocean they will re-unite, of necessity. It is winter. Jade is making her way across country on foot as the snow steadily falls, obliterating the details and landmarks the eye takes for granted when finding the way. She is gifted as an actress, and, though born male, has devoted her life to performing female roles, with considerable success. As part of the sacrifice needed to perfect her art, she has also lived her daily life outside the theatre as a woman, in her nature as a woman and a single woman. Several years ago she founded an ensemble of which she is the director and principal actor, and has recently allowed women to perform female roles, the first time this has happened in this culture. While she treks across country, her ensemble is rehearsing for a new production called The Temptation, for the first time having to work without Jade's directions. She is making her way to an isolated hotel where she will direct a piece of spontaneous theatre with unsuspecting guests who have never consciously acted before.
The sopolyrimu (songs, poems and lyrics for music) are inspired by the fragility of the human predicament, the struggle to maintain a meaningful integrity and lightness of spirit, the exquisite fineness of being alive, and the visions of the world (inner and outer) one is obliged to look at or be affected by. Equally, the sopolyrimu arise from the search for love, the experience of love and the loss of love. They are written to celebrate the joys and ugliness of the never ending stream of life in which we move, sometimes at a total loss, sometimes close to bliss, but always feeling something, if we allow ourselves to feel and ask questions of our feelings, and feel grateful. In this sense they are all love’s songs, to love with love from love. One of the sopolyrimu in this Volume is called Begun is done. Given the pattern of life, repetition is inevitable. There’s always another chance, until all the cards have been played. Each time, the intention, the content of the intention builds or diminishes momentum, and content accumulates through repetition, for better and worse, adding a dash or a dose of sugar or salt, acid or salve. It all adds up. Begun is done. Consciousness is everything, in the end, at the start. One says, “I did not realise.” One does not want to say, “I did not realise my self.” In that spirit, begun is done. May you be blessed by the self you realise. The most frequent comment about these sopolyrimu is that they are curiously healing, powerful, potent and pertinent, and demand and reward full attention.
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Described as a work of literary genius in which the reader is led to a place almost beyond the capacities of language, Note for Note (Another Pentateuch) - Book 1: Plough spoke of the attempted search for consciousness of primeval being born of and surrounded by apparent incoherence. Growth, the second book of Note for Note, explores the self subsumed by community, separation of self from community, and the exercising of choice amongst the fragility of a derived or assumed order that comes under threat. Ranweh, the Keeper of the Song, prepares to instruct Aimin, the keeper of the child, who is to be the main performer at the years most significant ceremony, an event that sanctifies the order that has been intuited from chaos and apparent incoherence. Unbeknownst to Ranweh, a taboo has been broken, contradicting the order that is taken as read, the very order that the ceremony celebrates. For the first time in living memory the Protector will not preside over the rites because he has no choice but to be elsewhere. The events take place downstream from and some centuries after the events in Book 1: Plough. Note for Note (Another Pentateuch) - Book 1: Plough has already been published through i-Universe who will also publish the other three books, Book 3: Harvest, Book 4: Snow, and Book 5: Scatter. For more information about the written world of Marcus M Cornelius visit www.auroranovapublishing.net
The musical life of Warne Marsh, perhaps the most improviser of the history of music in the west. It is his life as he might have told it. His song is set to words. Some comments about this book by musicians, music lovers and writers: "The most literate book about jazz-or any music-that I have read. A compelling read-as soon as I reached the last page I had to start all over again." -Kerr Ferguson (UK) "A wonderful study of a musician and a human being. It deserves to be published." -Jim Heymann (USA) "Just magic. Fabulous. And it would make a wonderful film." -Ike Isaacs, jazz guitarist and teacher (Australia) "It was just like listening to Warne's music, written the way he played. Reading it made me feel like playing and playing. Thank you so much." -Susan Chen, pianist (USA) "I started reading the book all over again and read it in one sitting, stopping only for a bite for lunch. It is an impressive book, stylish, mellifluous, deep and full of the feel of Warne's life the feel and structure and flow of a piece of music." -Enver Carim, writer (UK) " the novel, is as demanding, intriguing, artistic and powerful as the best of Warne Marsh's oeuvre. This is literature of a higher order, and it swings." -Prof. Kevin Monahan, Hokuriku University (Japan) " a fascinating and thoughtfully detailed insight into the life of this highly respected player. Essential reading for anyone interested in discovering the inner motivation of a jazz musician." -Mike Nelson, Head of Jazz Department, Australian National University
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