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Let’s Get Real

February 14, 2016

We are living in 1924, with two big differences:

(1) we know what’s going on and what lies ahead; and

(2) we are facing an unimagined global catastrophe that might already be unavoidable, and we know it. If we don’t deal with it, every other point is moot.

To be figurative about the urgency: we’re on a train that is rushing toward a nearby cliff; we have put ourselves on this track in collaboration with the greedy narcissists who own the railroad; no hero (woman or man) is going to rush onto the stage and throw the switch to put us on another track; we, ourselves, have to stop the train and get off. And then, obviously, build a better railroad, one that we own.

I’m not saying this in order to make this novel more exciting. It’s exciting enough, just given the prospects of electing our first woman president or our first Jewish democratic socialist president, plus seeing one of our major parties become fully owned and operated by fascists (American-style), who own the railroad, which is happening no matter who becomes president.

To turn our plot, we must be very concrete and practical in our imagining, and we must be dedicated to first principles, such as reverence for all being(s). As in the practice of any art, we must combine “just being” with “intentional being.”

In that perspective, we can look realistically and objectively to see which of our candidates for the presidency shows the best imagination to be helpful with our task.

(On other pages I’ll be thinking more about imagination, first principles, and combining breath with intention.)

(Btw, I wanted so much to begin this page:  “We are living in the Villa Borghese.”  I think, dear reader, you will agree that I was right to strike that, and exercise some narrative restraint.)

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