chapter 9 path 10

Chapter 9 Path 10

Path 10 is a fun one, it’s the first and only path that seems to serve as an “exit path” for the chapter. It’s also the only path that forks (in the way I see it anyway), and it also marks the beginning of the very long and extremely complex paths.

Path 10 (fork A):

Start: p 107 : skip footnote X : go to p. 111
p. 111 : skip footnote 129 : go to p 113
skip p 114 footnote 134 : skip p 114 footnote 135
skip p 114 footnote 136 : skip p 114 footnote 137
stop p 114 footnote 138 (fork) : stop ch 6 p 76 footnote 82
End Path 10 (fork A): Technical Dead end/very long loop

This fork leads us on one of the more enigmatic mysteries of the house: Animals. On page 114 we’re told that a labyrinth is the antithesis of Noah’s Ark. Noah’s Ark is a microcosm of the world as envisioned by the Herbews (the world was split into 3 flat planes, one of hell one of earth and one of heaven) which is the same design of the Ark – 3 levels or decks. Noah’s ark also a symbol of savior from the wrath of god, a place where all is provided for and everything is easy.  This then makes the labyrinth the place of nothing, the place where all is lost, there is no light, and everything is taken from you (remember how things just disappear on the explorations).

However none of this goes to explain why the animals presence isn’t supported in the labyrinth.  I’ve covered my theories on this in chapter 6.

One last interesting note about the ark is god ordered the door to be on the east side to symbolized the coming of christ (as he is supposed to come from the east when he comes back according to the myth).  The location of the door to the labyrinth has changed 4 times in the book: North p4, West p57, South p319, and finally East p385.  Page 385 is also the beginning of Navidison’s return to the house and his final exploration of that house.

The whole Noah’s Ark model has me thinking about the layers of HoL in general. In the beginning, Zampano created the world that The Navadisons live in, a nice little place where lives are lived and he has ultimate control of their lives. In this way, this makes Zampano the creator or god of the TNR world.  Then along comes Johnny, a drug using sex mongering, heavy drinking and generally fractured individual or the representation of christian “sins” (which he will all manifest through the story).  Johnny serves as a figure who finds this little world and causes havoc, chaos, and generally changes things (as he admits to in chapter II page 16 footnote 20).  However logic dictates that god and the devil are 2 sides of the same being; that being said both men, Zapano and Johnny play a role in shaping the lives of the Navidsons (referring back to Johnny’s alteration of text) we can presume that Zapano originally was gonna kill the kids (see the collage in front of book or page 552) and Johnny alters that scene completely. We also have to consider if that note is just a piece of the pounds of scribbled paper, only some of which made it into the book, Johnny choose the direction and things that’d happen to the Navidsons by choosing what pieces to include and exclude (see page 550).

Anyway back to my original idea, Zapano, Johnny, and TNR all represent 3 layers that compose this story similar to how the ark has 3 layers. There Might be something there.

Path 10(fork B):

Start: p 107 : skip footnote X : go to p. 111
p. 111 : skip footnote 129 : go to p 113
skip p 114 footnote 134 : skip p 114 footnote 135
skip p 114 footnote 136 : skip p 114 footnote 137
stop p 114 footnote 138 (fork) : go to ch 11 p253 (Tom’s Story)
stop p 261 footnote 249
End path 10 (fork B): Not sure how to classify. Dead end or Exit?

p. 258 (Tom’s Story) Day 2: 16:01

“Love, Death & Nike” reminds me of another story: There was this young boy who would venture into the woods near his home.  One day he found a caterpillar and became fascinated in following the caterpillar all around while it munched and munched. Day after day he’d come back and visit the caterpillar and day after day it’d grow bigger until one day he saw it making it self into a cocoon. This worried the boy but after asking his father he was assured that it’d reemerge in time.  Day after day he would visit the cocoon with no changes until one day he saw the cocoon stir and break and from which a butter fly was beginning to emerge. The boy watched as the caterpillar struggled with freedom until he could stand it no longer and helped the caterpillar by cutting open the rest of the cocoon for it. Now free the butter fly tried to fly but found its wings too weak and fell to the ground where it died.  That one I like to call “The Human Intervention Effect”.

p. 260 Day 2: 17:16

This riddle eluded me for a while (I may not have spent so much time thinking about this had I read Hamlet).  The punchline of this riddle can be interpreted in multiple ways.  Traditionally Sextons were grave makers for the church and the church (or house of god) is supposed to last till judgment day (sextons could have lived in the church making it their house).  Another way is if the grave maker makes the coffin or you interpret the grave as the new home of the deceased then that “house” built by the grave maker will last till judgment day as well. And then in a bit of research I found almost the same exact riddle spoken between the grave makers in Hamlet:

“GRAVEDIGGER: What is he that builds stronger than either the mason, the shipwright, or the carpenter? OTHER: The gallows-maker, for that frame outlives a thousand tenants.”
—V.i., 38-41
Later on “GRAVEDIGGER: And when you are asked this question next, say “A grave-maker.” The houses that he makes last till doomsday.”
—V.i., 53-55
The original context of this riddle further continues the continuing nautical theme that seems to relate this book back to many mythologies and classic literature that is concerned or centrally focused on nautical based stories but what’s more interesting is that Tom said this.  This with the string of other witty stories and low social status portrays Tom as the jester or clown of the story by directly linking him to a Shakespearian fool.

p. 260 (Tom’s Story) Day 2: 18:28
Here’s an interesting little scene. Here we have Tom personifying Mr. Monster as shadow puppets, transforming into any shape that’s convenient until it becomes something truly scary: a dragon.  In the face of death how does our hero defeat the Monster? Turn out the lights.  It like Tom is saying “How do you defeat a monster that exists in the dark? Take away the light. With out contrast, nothing can exist.”

Overall there’s more to this path that I can explore at this moment.  It has something to do with the center of Luopan board and the placement of beings in the single area of the known world where energies are lost. Or something. This probably won’t be revisited until v2.0.

Chapter 9 Path 9

Chapter 9 Path 9

Path 9:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

skip p 114 footnote 136 : stop p 114 footnote 137

p 114 footnote 137 : stop p 114 footnote 134

p114 footnote 134 : stop p 114 footnote X

End Path nine: Loop

What strikes me in this path is the footnote 137 (p 114) “Labi is also probably cognate with “sleep”. I can’t find a direct etymological link between the latin root and the English word “sleep” (or even the latin word for sleep “somnus”) however what I did find was a rather amusing easter egg in mythology. The etymology of the word sleep, is rather closely related to death (and later sex, which fun fact: the French phrase “la petite mort” is a euphemism for an orgasm, or rather the post orgasm state) and then a quick search for the source of the root “labi” leads us to the word “lapse” which in it’s roots is related to “falling in to error” and “moral transgression/sin”. Now given all this information, remember who Daedalus’s son was famous for? Icarus, (Daedalus’s son) the guy who flew with the wax wings, was lead to his down fall (slip, slide, glide, fall) due to his moral transgression of excessive hubris (Greek gods found pride to be a serious sin). So basically: Icarus sleeps with the fishes because of a lapse in his judgment.

Speaking of judgment, it’s probably best for Icarus that he died when he did. At the time of his death, King Minos wasn’t the judge of hell yet (he would be killed by Daedalus later). This being said and given the history Minos and Daedalus had in life, there’s a great irony in the after life because the labyrinth can also be used as a metaphor for hell. In life and death Minos was king of labyrinths free to imprison all who made his life inconvenient. This leads me to a greater irony as the reason that the Greeks made Minos one of the judges of souls was because of his impeccably fair judgment.

Chapter 9 Path 8

Chapter 9 Path 8

Path 8:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

stop p 114 footnote 136 : stop p 114 footnote K

p 109 footnote K : stop p 109 footnote _||_

p 109 footnote _||_ : stop p 109 footnote 121

p 109 footnote 121 (back to text) : stop p 109 footnote 122 (back to text)

stop p 110 footnote 123 : p 110 footnote 123

stop p 110 footnote 127 (back to text) : skip p 110 footnote 124

stop p 110 footnote 126 (back to text) : stop p 111 footnote 128 (back to text)

End path eight: Dead End

Most of this path is covered in previous paths, however the most notable part (and one of my favorite bits of this book) is the story told in footnote 123 (p. 110-111) of King Minos and the Minotaur. This is an excellent and moving exploration of perspectives in mythology and history. It’s also particularly worthy to note the shape of the red text is in the shape of a key. Every puzzle, riddle, enigma, mystery is a lock with a key waiting to be found.

Chapter 9 Path 7

Chapter 9 Path 7

Path 7:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : skip p 114 footnote 135

stop p 114 footnote 136 : stop p 114 footnote K

p 109 footnote K : stop p 109 footnote _||_

p 109 footnote _||_ : stop p 109 footnote 121

p 109 footnote 121 (back to text) : stop p 109 footnote 122 (back to text)

stop p 110 footnote 123 : p 110 footnote 123

stop p 110 footnote 127 (back to text) : stop p 110 footnote 124

stop p 111 footnote 125 : end p 111 footnote 125

End path seven: Dead End

The whole notion of this path is one that explores the limitations of describing and modeling/mapping a labyrinth of the size and scope of the house; not only this, it also explores the limitations of the learned etymology of the labyrinth myth based on different interpretations. Something along the lines of: history is a series of echoes that don’t begin reverberating until there’s adequate space in time, however the same applies in the other extreme – if there’s too much space and time between the reverberations, the quality begins to degrade and becomes distorted.

Page 114 line 25: “–quae itinerum ambages occursasque ac recursus inexplicabiles–” Its interesting to note that it Johnny left this untranslated and it was left to the editors to translate. We know, with in the cannon of the story he has resources to translate Latin and usually does but he leaves this particular one alone.

Page 114 footnote 136: “Doors are let into…” A particular piece of visual irony in that now that the path has wound out to page 114 it’ll retreat to 109 only to unwind again.

Page 109 footnote _||_: A note on footnotes, according to Appendix II-C page 582 (would provide a link but it’s frustratingly hard to find the same chart online) note symbol #15 (ie _||_ ) means “not understood” which leads us to the footnote Johnny wrote “So sorry.” (in reference to not being able to translate)

Page 109 footnote 122: This entire footnote is one big joke. Livre des labyrinthes is (from what little I could find) one of the original books of mazes and labyrinths (possibly used for recreational purposes).

The magizine that “The Surviving Web” was found in “Daedalus” is named after the man King Minos hired to design and build the mythic labyrinth.

Double-Axe is also known as a labrys which plays a role in the etymology of Labyrinth. This double-axe was also used to depict the goddess of the labyrinth and later many storm conjuring gods used the double-axe to invoke thunder (roaring in the labyrinth? Maybe zues is in the house causing a ruckus?). Also these style axes were used in Minos to sacrifice bulls to the gods.

The Knossos Labyrinth is a reference to the Labyrinth like city of Crete where the real King Minos resided and the myth of the labyrinth originated. source

Inadequate Thread is a reference to the thread given to Theseus before entering the labyrinth so he wouldn’t get lost.

Jejunum and Ileum are referring to two different parts of the small intestines, of where they begin and end is debatable but furthers the notion of decentralized labyrinths.

Chapter 9 Path 6

Chapter 9 Path 6

Path 6:

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

skip p 114 footnote 134 : stop p 114 footnote 135

p 114 footnote 135 : stop p 114 footnote 129

footnote 129 loops back to path 1 (dead end) and path 2 (loop)

End path six: Loops to path 1 and path 2

This path explores the ideas of how the house’s labyrinth is similar to the labyrinth of the psyche. Just as “no one ever sees that [house’s] labyrinth in its entirety” no one ever sees the labyrinth of their own psyche or anyone else’s in its entirety either. This can apply much more broadly than just introspection metaphors, example no one can view the entirety of the labyrinth that is etymology (sure one can trace words back to a point but no one ever sees the entire picture), history (hundreds of thousands of people’s versions of a singular event can vary widely), ect.

Chapter 9 path 5

Chapter 9 Path 5

Start: p 107 : skip footnote X : go to p. 111

p. 111 : skip footnote 129 : go to p 113

p 114 footnote 134 : stop footnote X

End path five: Loop

This path seems to be the first to establish the usual narrative style of the chapter: exposition, explanation from an outside source…and then it loops. Nothing new or exciting here.

Note from Author: I know that some of this must seem terribly arbitrary but for the sake of thoroughness, we must tread through all the possible paths. I may trim this entire section down in a final draft but seeing as this is draft 1.5 I’m keeping trimmings to a minimum until draft 2.0.

 

Chapter 9 Path 4

Chapter 9 The Labyrinth

Path 4:

Start: P. 107 : skip footnote X : stop p 111 footnote 129

Footnote 129 leads to either a dead end (path 1) or a loop (path 2)

End path four: loops to path 1 or path 2

The actual non-footnote narrative starts on page 111. It seems to be in the middle of an idea but that’s to be expected with this chapter, there’s no easy entry points (nor any easy exit points for that matter). The rest of this path has been explored in paths 1 and 2, unfortunately the bit of narrative on page 111 doesn’t seem to add much additional depth to those paths or them to this path.