/lit/ - Literature

The way people interpret fiction is influenced by modernity's obsession with faux depth. That is, people view unneeded ambiguity, overly analytical interpretations of emotions, complex webs of interpersonal relationships, and so on as signaling high-art. An example of a writer who is defined by this approach is Dostoevsky. Psychological dimensions are invented for characters in a way that are out of touch with the immediacy of events. Inner monologues form massive labyrinths to the point where raw experience and salient actions take a back seat.

In this sense, the highest form of literature are children's literature and horror. The elegant simplicity of such literature involves an inseparable unity between the fictional minds of the characters and their interactions with the world. There is no unnecessary convolution in the form of conflicted feelings, layers of dissimulation, and so on. They are diamond cut in a way that possesses a sublime beauty in showing their connection to the transpiring events. Two-dimensional characters and worldviews are in fact higher than obscure three-dimensional labyrinths.

In this sense, the only real classics for all nations are those that focus on horror or bliss in a more primordial context. Just like birth and death being the central points of life, so too should that be seen as the case with fiction. To make my argument clearer, human beings are merely inferior animals guided by Geist. An animal lives its life following its karmic duties, the contingent laws of nature. A hummingbird mother who successfully raises her offspring has *enacted* goodness, a qualitative dimension that exists both in and out of the mind. A hummingbird mother who has failed has experienced horror. These are two antagonistic principles (spenta/angra) that can never be reconciled. Adding unneeded convolution simply obscures this fundamental matter.

Therefore, children's literature by Grahame, Jansson, Potter, and so on and horror by the likes of Poe, Lovecraft, Ligotti, and etc. are of a higher artistic value than so-called classics like Dostoevsky, Tolstoy, Shakespeare, Goethe, and so on. Because experience is largely divided by dichotomies such as joy/misery, which can also be projected onto others as emphatic joy, schadenfreude, or whatever other variety, then artwork should exist to isolate and put emphasis on the poles apart from human obfuscation, delusions of sophistication, and unneeded complexity. The personalities, excitement, narratives, and so on most people develop amount to nothing.

>>20333929
The way people interpret fiction is influenced by modernity's obsession with faux depth. That is, people view unneeded ambiguity, overly analytical interpretations of emotions, complex webs of interpersonal relationships, and so on as signaling high-art. An example of a writer who is defined by this approach is Dostoevsky. Psychological dimensions are invented for characters in a way that is out of touch with the immediacy of events. Inner monologues form massive labyrinths to the point where raw experience and salient actions take a back seat.

In this sense, the highest form of literature are children's literature and horror. The elegant simplicity of such literature involves an inseparable unity between the fictional minds of the characters and their interactions with the world. There is no unnecessary convolution in the form of conflicted feelings, layers of dissimulation, and so on. They are diamond cut in a way that possesses a sublime beauty in showing their connection to the transpiring events. Two-dimensional characters and worldviews are in fact higher than obscure three-dimensional labyrinths.

In this sense, the only real classics for all nations are those that focus on horror or bliss in a more primordial context. Just like birth and death being the central points of life, so too should that be seen as the case with fiction. To make my argument clearer, human beings are merely inferior animals guided by Geist. An animal lives its life following its karmic duties, the contingent laws of nature. A hummingbird mother who successfully raises her offspring has *enacted* goodness, a qualitative dimension that exists both in and out of the mind. A hummingbird mother who has failed has experienced horror. These are two ontological modes/expressions (spenta/angra) of the nondual Absolute, which we can refer to Zurvan in this sense. Adding unneeded convolution simply obscures this fundamental matter.

Therefore, picture books by Beatrix Potter and horror by the likes of Poe are of a higher artistic value than so-called classics like Dostoevsky, Shakespeare, Goethe, and so on. Because experience is largely divided by dichotomies such as joy/misery, which can also be projected onto others as emphatic joy, schadenfreude, or whatever other variety, then artwork should exist to isolate and put emphasis on the poles apart from human obfuscation, delusions of sophistication, and unneeded complexity. The personalities, excitement, narratives, and so on most people develop amount to nothing.

>>19304234
Manichaeists view material world as tainted by evil. They are also antinatalistic. You're correct that there are a lot of metaphysical parallels. I've read the Cologne Mani Codex.

The Persian spirit was superior to the Greek one in many regards, and people do not care to look into it beyond memes. I believe this is because of ancient enmity. After studying the Gathas, Mardanfarrokh's Doubt Removing Book, key parts of the Shahnameh, and having past life recollections, I feel quite certain in my interpretation.
The ancient Persian spirit was defined by an obsession with duality and purification, which virtue such as honesty helped facilitate. In fact, much of this dualistic obsession was fueled by a mitigated dualism, for Ohrmazd had no role in creating Ahriman. It was due to a cosmic accident Ahriman attacked Ohrmazd. Even night was viewed as a time when Angra Mainyu's presence was stronger while daytime was the opposite with Spenta Mainyu. It was a perspective of continual tension of opposites rather than a unity. These conflicting opposites created the modern state of world where there's a mixture of their continuous conflict where moment-to-moment there can be one side more strongly expressed relative to the other.
In this sense, elegant and simple literature of the extremes best points to the Ancient Persian spirit. This would mean literature of light, such as children's literature, are closer to Ahura Mazda whereas macabre, horror literature is of Ahriman.
Much of modern Western culture is Faustian in that it believes there is a nuance between this duality, hence why children's literature is considered "naive". I would argue modern Persian culture is closer to the West than Ancient Persian culture is. In Ancient Persian culture, mobeds and the citizens saw no indeterminacy or nuance between good and evil. They have an absolute division, and they come from two disconnected primordial sources. If you disagree, then you are going to the House of Lies.
The best literature are children's literature and horror. Anything that touches the extremes to the point the opposite ceases to exist. This would mean literature that tries to give more depth or complexity to human social interaction is fundamentally far from the two primordial sources; in fact, they originate from confusion.
Also, Moses, Jesus, and Muhammad were not Saoshyants. Two were disgusting kikes, the other a disgusting Bedouin. Finally, does anyone have any referrals to literary agents? I am trying to publish a picture book.

tl;dr; many classic children's book writers and horror writers unknowingly embody the Persian spirit due to exploration of duality, and this is the best kind of literature. A picture book a day, keeps the demons away.

I am presently watching Pingu and being engulfed in the light and love of God.

Mazdan Dualism was a richer tradition than Dharmic philosophy or Abrahamism. This is because Mazdan Dualism promotes righteousness and love over deceit, lie, and maliciousness. Moreover, on higher levels of realization, there is no unity between good/pure and evil/impure forces in Mazdan dualism whereas in Dharmic philosophy and Abrahamism there is a unity and attempt to blur the light with the dark. All Dharmic and Abrahamic philosophies, except maybe Gnosticism, logically entail a degree of antinomianism and becoming edgelords.
Jewsus, M*hammad, and Buddha were all morons compared to Zoroaster, Mardanfarrox, Mazdak the Younger, and to a lesser extent Mani.

>>16019207
I am a cosmological dualist, yeah.
>>16021189
>dualism is cringe.
No, you're cringe.

>>14401428
>>14401430
I wrote the most disturbing story in this world, so I understand the saying "the light at the end of the dark tunnel" very well. If there is no light at the end of the tunnel, then everything mankind does is worthless. However, I do think there is a light, and picture books plus children's literature truly reflect it.
This means only literature that helps one understand the darkness or light are valuable.
BTW, I am the closest being to the Second Coming of Christ, Maitreya, Saoshyant, or anything like that. Please become my disciples.

>>13506220
(work in progress)
Basically, I begin by arguing for a kind of vertical cosmology and a certain kind of cosmogony that argues in its favor. I say each moment in life can be characterized as various degrees of "spenta or angra". We can understand their distinction through artistic creation and cultivating specific states of mind that correspond with them:

Spenta = generosity, loving-kindness, wisdom and is aligned with peace and contentment, like a warm, soothing bubble bath
Angra = greed, hatred, delusion and is aligned with anguish and discontentment, like a burning, scalding blood bath or black sewer

What makes aesthetics interesting is we can create worlds of pure spenta and angra, and in some sense, these worlds are real. Moominvalley is real and largely spenta, it has a kind of airy ethereal feel; Thomas Ligotti's dilapidated gas carnivals are real and largely angra, feels like one is being locked more to the body in some sense. What they reflect are the vertical cosmology with spenta being higher, angra lower. They never truly blur. One can only be enlightened by ascending the latter.

However, our own present existence is closer to hell, so we must work to purify ourselves through good words, good thoughts, and good deeds. This way we can either break free from the entire vertical cosmology or be reborn into higher realms. This world, itself, is one of futility and pain, and it resembles glittering specks of dust amidst a tenebrous blackness. Therefore, giving rise to children is immoral, since this present physical plane is closer to hell: people have nonsensical war (angra), animals devour each other (angra), and so much betrayal and evil occurs. Thus, what is best to do is not have children and focus on our own liberation from this largely darkly prison, though there are moments of bliss which are reflections of higher realms.

It is necessary to understand spenta and angra on both an aesthetic and real-world level whilst privileging spenta more. The goal is to be a paladin who realizes the futility of the conflict on this present plane of existence, which is closer to the hells.

What I am getting is we are in the midst of the battleground between the upper and lower realms. Those who reject this fundamental division between antidote and poison are truly depraved, such as Derrida. One must privilege the antidote over poison in their actual lives. Antinomianism must be resisted at all costs. The antidote and poison have a determinate and absolute division.

Every being has a divine fragment which they can cultivate. However, angra functions to corrupt spenta, so it is best not to give rise to more frail spenta while focus on liberating one's own. My views are largely refined from Manichaeism.

Spenta = aligned with peace and contentment, like a warm, soothing bubble bath
Angra = aligned with anguish and discontentment, like a burning, scalding blood bath or black sewer

Spenta = Beatrix Potter, Molly Brett, Tove Jansson, Chris van Allsburg, Kenneth Graham

Angra = Thomas Ligotti, Thomas Aickman, Sadegh Hedayat, Laird Barron, Edgar Allan Poe

>>13494585
You are not in the position to call yourself a "human". At most, you are a daeva. Good and evil or light and darkness are absolute, and some literature of the extremes comes close to conveying it.

>>13432698
>>13432731
Also, I forgot Mandaeans. You can read their basic worldview on encyclopedias.

The best way to approach art, in my view, is to seek pieces that are extremely good or evil.
I define Spenta Art as that which induces feelings of bliss, tranquility, and peace. It is artwork centered around generosity, loving-kindness, and wisdom. High quality picture books and children's literature are the most beautiful representations of this. I consider Beatrix Potter and Tove Jannson's to be works of pure Spenta Mainyu.
I define Angra Art as that which induces feelings of anguish, despair, and pain. It is artwork centered around greed, hatred, and delusion. Horror stories are the most beautiful representation of this. I consider Thomas Ligotti and Comte de Lautréamont to be works of pure Angra Mainyu.
There is no nuance or complexity beyond this duality. This dualism is absolute, and reality is largely a tension/conflict between Spenta and Angra Mainyu. Of course, there is far more darkness in this world and the light is frail, hence why I am an antinatalist even though I write both children's literature and extreme horror stories.
Much of literature that is not conveying the extremes of this duality are wastes of time. Much of the cognitive styles of all peoples in the modern world are filled with delusion due to thinking there is "more" beyond this duality. The goal is to immerse one's mind into absolute bliss and horror in order to tacitly apprehend their irrevocable difference. You must become one with Spenta Mainyu and then one with Angra Mainyu in order to create artwork aligned with them. There is nothing more to life beyond this, and hopefully, higher heavens await the man after death who chooses to fight for Spenta Mainyu. This life itself is closer to hell.