Talk:Mount Analogue

peradams

What are peradams? I can't figure out what that word means?!--Chinawhitecotton 07:03, 25 November 2006 (UTC)

from the Gurdjieff Foundation.... "The peradam was described as “a clear and extremely hard stone . . . a true crystal . . . harder than diamond,” so transparent that it was almost impossible to see and extremely difficult to find. The discovery of a peradam was never accidental, but resulted from some kind of inner effort. At such a moment, its “brilliant sparkle like that of a dewdrop” might catch the eye of those who truly and sincerely sought the truth. "

Inspiration for the TV series "Lost"

Haven't read this book, but know it involves spirituality and an island that is "invisible due to electro-magnetic effects". Sounds familiar? Did J.J. Abrams have a copy?

Fair use rationale for Image:ReneDaumal MountAnalogue.jpg

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WikiProject class rating

This article was automatically assessed because at least one article was rated and this bot brought all the other ratings up to at least that level. BetacommandBot 07:32, 27 August 2007 (UTC)

"surrealist" label incomprehensive: replace with "para-surrealist"

I note here that I have changed the classification of Daumal as a "surrealist novelist" to a "para-surrealist" one as well as the subsequent classification of the novel's genre as such. It is an important subtlety of Daumal's background that the group with which he was associated, Le Grand Jeu, was never annexed by Breton nor any of the surrealists (see Daumal main biography article). Author Phil Powrie, in his introduction for the edition of Mugle and The Silk listed on Daumal's biography page makes clear note of this and fleshes it out with regard to his various texts, including the one in question, Mount Analogue.

Furthermore, Remedios Varo is noted to have had a rift with the surrealists (albeit remaining slightly on the outskirts of the group even during her associative meetings with a specific branch of it) prior to the creation of what are viewed as her "mature works" among which the two works listed on this page are typically included. Janet Kaplan presents a coherent case for this in Remedios Varo: Unexpected Journeys. Thus, I have modified the description of her as a "Mexican surrealist painter" to a "para-surrealist" and "Spanish-Mexican" (she was born and raised in Spain and later expatriated to Mexico) one accordingly as well.

If there are any questions, please respond here. Thanks. Riskquette (talk) 23:12, 15 October 2008 (UTC)

low importance level upgraded to mid and reason

Multiple factors qualify the subject matter (at the very least) of this article as of medium importance. One factor is arguably alluded to by the writer of the article his/herself in the following quote: "Daumal, often described as one of the most gifted literary figures in twentieth-century France..." The latter is a pretty common conception of Daumal amongst historians and literati with any moderately informed international perspective. As a para-surrealist figure (i.e., an individual whose socio-ideological perspective, art, and activism had notable ontological affinities with the Surrealist movement, albeit whose supplemental or later affinities kept him in a status that was, to a significant extent, auxiliary to said movement), Daumal, like other notable cross-cultural figures such as Remedios Varo, is no less influential and his work of no less interest and import (particularly in retrospect) for scholars in a wide range of modern, applied disciplines. Phil Powrie (professor of French cultural studies and director of the Centre for Research into Film & Media at the University of Newcastle upon Tyne) and Kathleen Ferrick Rosenblatt, among many other well-published writers have devoted works to Daumal which attest to the latter claim. What, perhaps, is most commonly regarded as the reason for Daumal's low level of importance/reception (namely, the fact that, as a para-surrealist and, hence, falling outside the surrealist following to a certain degree, Daumal's platform mustered a lower rate of "popular" initiation and/or rigid subscription than did Breton's, per se) is hardly qualifiable as a comprehensive criterion for such a judgment to be considered definitive, all factors considered. For one, André Breton was so taken with the similarities between Daumal, Le Grand Jeu, and his own group that he frequently tried to manipulate Daumal and his following into a "joining of forces," so to speak, yet to no avail. Thus, the "popular" core of surrealist ideology and its constituent predispositions are all arguably present within Daumal and his following, even though the implication is that the latter group dispensed with certain dogmas and domineering idiosyncracies seen as inherent to the former. Para-surrealism, in this light, (and that of Daumal in particular) is not made any less prevalent by dint of a diminished spectacle surrounding it or a quantitatively lesser default endorsement of it; it retains its prevalence as one strong intensity among the multiplicity of intensities (which inevitably includes surrealism) that made up the ideological climate of its epoch, in France and, by varying degrees, abroad. The fact of Daumal's influence (not just via this, possibly his most well-disseminated novel but, noticeably, many of his other works) being situated amongst such (sub-)popular (read: "cult status") catalogs as those of Midnight Movie pioneer filmmaker, Alejandro Jodorowsky during a subsequently influential epoch does not lack significant testament to the above. Nor does Daumal's ideological convergence (however partial) with the enduringly novel teachings of still-well-acclaimed thinker G.I. Gurdjieff. Nor does the fact that the entries to this list of examples, as I humbly observe it, will very likely continue to proliferate until, at a future date, it may be necessary to upgrade the article's importance once more. Hence, my rhetoric for the inherent importance of this article, however minor its present volume's scope. Riskquette (talk) 03:23, 16 October 2008 (UTC)

William Walsh and Dr. William J. Welch

The article since 2009 has been citing a radio performance of this novel by one English poet William Walsh, supposedly a friend of Rene Daumal. The poet linked died in the 18th century. I think this is a hoax. There is however a reading by Dr. William J. Welch, an American professor of medicine who also knew Gurdjieff (later a President of the Gurdfjieff Foundation). So far I have found no direct evidence that Welch and Daumal ever met or knew each other. A Youtube video allegedly containing a reading by William Walsh has a reader with an American accent. Gundleus (talk) 06:06, 3 March 2012 (UTC)