I’m delighted to share this thoughtful review of A Perfect Square by Suzanne Diprose.
This book held me captive as I read about the primary relationships between two different mothers and their daughters through time, different countries and challenges. It was intriguing to explore their particular journeys and tensions through life’s stages and the resilience of the relationships during these challenges and responsibilities. I can see shades of so many of us in these descriptive stories within the book.
The rich vignettes provide details that allow the reader to build an understanding of the characters, their backgrounds with its impact on their daily choices and selected lifestyles. The story engages you and the descriptions held so true.
We have visions of earlier inner city Melbourne, Sassafras and Dandenong Ranges, plus locales in rural Britain. When reading from my armchair I was transported to the UK or up the main street in Sassafras and right into the art gallery, garden shop, antiques shop and tea rooms.
As a local of the Hills I appreciated how Isobel depicted the environment, the early evenings and how dusk rolls in over the mountains every evening. Also Isobel’s words describe shades of people we rub shoulders with regularly up here in the hills. There are some great names to be on the lookout for – start collecting them as you read through! I kept diving back to see who would I meet!
The interwoven stories provide an insight into the essence of a creative and quirky soul with deep thinking, rich patterns, and concerns. Isobel is not afraid to outline the uneasy and challenging questions and parts of the mother and daughter relationships that span 30 or 40 years. A great read.
a perfect square can be purchased at the book depository, amazon and through all good bookstores. For a signed copy, contact the author via this site.
Pleased to share this fine review by author Kathryn Gossow. 🙂
A Perfect Square is on some level an exploration of the different ways people approach esotericism. Who are these people? Where can we find them? Meet the eccentric artist Harriet Brassington-Smythe, her daughter, pianist Ginny Smith, and the mysterious hidden figure of Wilhelm Schmid, a scholar of the esoteric order of the Rosicrucians.
I cannot say that conspiracy theory is a major theme in A Perfect Square, but it does enter into one of the story lines, as mother and artist Judith, alone in an old farmhouse on the Devon moors, explores an internet forum, called ‘The Forum’.
My own thinking on esotericism and on conspiracy thinking goes much deeper. Why do the two go together and how? They are united through two words: elitism and secrecy. Simply put, conspiracy thinking always points to some sort of elite. Esoteric practice creates that elite. Esoteric practice generally occurs in secret. Power elites conduct their business in secret. Conspiracy theorists tend to also have an esoteric bent. Esoteric-minded types will always always look behind the scenes to see if they can see what’s going on. They sense the conspiring. But they get hung up on theories. Why bother? When really, conspiracy theories are themselves just mental traps.
Here’s a piece I wrote for the aptly named Paranoia magazine. Where I have tried to stretch my thinking a little further.
And as for A Perfect Square, I like to think it packs a punch. Well, that was my intention. At the time of writing I was inspired very much by Umberto Eco’s The Prague Cemetery. Like Eco, I’m motivated by the fact that there is too much misinformation out there, misinformation that easily takes root in minds rendered receptive through a lack of access to alternative and perhaps accurate information. I also marvel at the way opposers, especially those on the Left, get so hot under the collar when it comes to conspiracy thinking, as though it were a personal affront. Or threat?
A Perfect Square is now available for pre-order, which is quite exciting and I’m very grateful to Odyssey Books for choosing to publish the work.
I’ve commenced work on another novel, one that explores the ideas of Theosophist Alice A Bailey. If you would like to journey with me as I venture further into this strange realm of the unknown, please contact me and I’ll add you to my mailing list.
First published in 1930, Narziss and Goldmund forms part of a profoundly insightful body of work by Hermann Hesse.
I visited Goodreads and was not surprised to find well over a thousand reviews. I’ve only read the first few, and I’m left wondering what I can add that would contribute to the collective understanding of this work.
I will admit I am not a scholar of literature or history, nor have I read any biography of Hesse. I first came across his work in my twenties and devoured Steppenwolf and The Glass Bead Game among others. Back then I had not a clue about the spiritual path or western esotericism. But decades have passed and now I do, and it is with fresh eyes that I can perhaps see what Hesse might have been trying to achieve.
In Narziss and Goldmund, Hesse presents the reader with two sorts of spirituality and the two paths that unfold from each. Narziss is destined to be the Abbott of a cloister. He is a philosopher, a thinker, living close to God in the realm of the abstract mind. He is the archetypal master of wisdom.
His pupil, Goldmund, is at odds with himself. Memory of part of his childhood is denied him and when he awakens to it, he begins a journey of self discovery that takes him away from the cloister and out into the world. Not the ordinary world of duty and work and family and community. His reality is akin to Arjuna in the battlefield, as written in the Bhagavad Gita; a journey through the realm of extreme emotions, with desire and lust on the one hand, and death in all its forms on the other.
So intense are Goldmund’s responses, that at first he cannot find meaning. But eventually, as he journeys into and through the experiences that befall him, he does. He is a seeker, and the journey is an initiatory one, culminating in the realisation that we transcend the ravages of the emotions through the faculty of imagination, and its finest expressions in art.
Those who resonate with this story are engaging with a work of visionary/metaphysical fiction of enormous profundity. Those who see past the compulsions and shallow satisfactions of the flesh; detect the irony in Goldmund’s relentlessly questioning mind; see into his frustrations and emerging detachment; may understand that through his character, Hesse is portraying the most fundamental pairs of opposites upon which human experience is cleaved: woman and man; lust and death, passion and intellect, good and evil.
And the esoteric thinker will also understand Hesse’s portrayal of the transmutation of the emotions through the faculty of imagination; the image maker within, existing on the plane of intuition, sees in patterns, in completed wholes; thus it is through the harnessing of this faculty of the soul through the imagination that the artist stills the emotions and imbues them with the stamp of something transcendent and universal. And so it is through this process that the pairs of opposites may sit in loose unity.
I’ve long admired Hermann Hesse’s work. I resonate with it now more strongly than ever. As an author I’m in awe of his achievement. Narziss and Goldmund is not a piece of entertainment; it’s a literary portrayal of the spiritual path.
Here it is, the cover of my third novel! It’s a literary thriller/mystery with pizzazz.
Advance review copies of A Perfect Square are now available. If you’re interested in grabbing a copy send me an email by clicking here.
When pianist Ginny Smith moves back to her mother’s house in Sassafras after the breakup with the degenerate Garth, synaesthetic and eccentric Harriet Brassington-Smythe is beside herself. She contrives an artistic collaboration to lift her daughter’s spirits: an exhibition of paintings and songs. Ginny reluctantly agrees.
While mother and daughter struggle with the elements of the collaborative effort, and as Ginny tries to prise the truth of her father’s disappearance from a tight-lipped Harriet, both are launched into their own inner worlds of dreams, speculations and remembering.
Meanwhile, another mother and artist, Judith, alone in a house on the moors, reflects on her own troubled past and that of her wayward daughter, Madeleine.
Set amid the fern glades and towering forests of the Dandenong ranges east of Melbourne, and on England’s Devon moors, A Perfect Square is a literary thriller of remarkable depth and insight. Click to read more
The number of authors fascinated by metaphysics and the supernatural never ceases to make me wonder about the relationship between the creative psyche and that vast realm of the imagination.
There are those who immerse themselves in mythical and symbolic riches and create complex fantasy landscapes. I’m not a huge reader of fantasy and can only mention Ursula le Guin’s The Earthsea Trilogy, which I have read and thought amazing.
Others tackle the metaphysical side of reality in more direct ways, taking journeys into the supernatural and occult. Bram Stoker’s Dracula seems a good early example.
There are the magical realists from Jorge Luis Borges on, who include the paranormal in their stories as if it were a given. Isabel Allende’s The House of the Spirits is just one example.
Then there are those who embed their insights to give shape to themes. I think of how Doris Lessing’s interest in Sufism inspired her Canopus in Argos Archives.
And it seems that down the ages many writers, along with artists, composers and scientists have had more than a passing interest in the occult. I found a list on a website of Rosicrucians and was astonished to find Bram Stoker, Isaac Newton, Victor Hugo, Yeats, Satie, Edith Piaf and Walt Disney on the list, along with more obvious suspects, such as Jacob Boehme and Francis Bacon. I have no idea how accurate the list is or how immersed in Rosicrucianism each person listed may have been.
I do know a fair bit about the occult though, or western esotericism as it is more properly called. Which is why I found Umberto Eco’s The Prague Cemetery such a compelling read.
The Prague Cemetery might seem at first like a cook’s tour of the upheavals and power struggles of Europe at the time, written from the perspective of a fierce anti-semite. The basic plot is very simple, the reader uncertain as to whether the protagonist, the repugnant Simonini, has a split personality.
Following Freud’s thinking on the matter, Simonini, who seems to have no idea himself, decides to write a diary to find out. What ensues is a journey through the latter part of he nineteenth century, as Simonini, a master forger of documents, becomes immersed in a web of lies, misinformation, and elaborate inventions of truth designed to discredit the Freemasons and the Jews. Simonini is an unscrupulous psychopath, who works for the secret service of first Italy, then France. What is remarkable is that every other character in The Prague Cemetery existed in reality and all the historical events and those involved are verifiable.
While much has been made of Eco’s fictional depiction of the notorious The Protocols of the Elders of Zion, a complete invention that inspired Hitler decades later, in my view a subtler and more general point is being made.
That behind the scenes of history there are those hard at work creating one conspiracy theory after another, whether in fiction or as apparent fact, in other words conspiring to accuse others of a conspiracy in order to fulfil their own agenda, an agenda as simple as personal greed.
I salute the author for hammering this point. For it is my contention that the ultimate coup of the propagandists today is the discrediting of the very conspiracy theories they themselves have created in order to cement in the zeitgeist the view that all conspiracy thinking is rubbish, thus allowing them a huge freedom to continue to conspire.
Umberto Eco’s interest in western esotericism is well known. Through his fiction he explores this world within the world while keeping himself distant from it. An observer, not a practitioner. A thinker who questions and probes, not an adherent who adopts without question. It is this distance that allows him to write works like The Prague Cemetery.