{"id":2457,"date":"2024-04-14T22:51:02","date_gmt":"2024-04-14T12:51:02","guid":{"rendered":"http:\/\/www.phenomenology.com.au\/press\/?page_id=2457"},"modified":"2024-04-14T22:54:03","modified_gmt":"2024-04-14T12:54:03","slug":"in-body-in-mind-references","status":"publish","type":"page","link":"https:\/\/www.phenomenology.com.au\/press\/books\/books-ibim\/in-body-in-mind-references\/","title":{"rendered":"In Body, In Mind References &#038; Further Reading"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"2457\" class=\"elementor elementor-2457\" data-elementor-post-type=\"page\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-51f314f1 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"51f314f1\" data-element_type=\"section\" data-e-type=\"section\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t\t\t\t<div class=\"elementor-background-overlay\"><\/div>\n\t\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-24cb251c\" data-id=\"24cb251c\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-871ac18 elementor-widget elementor-widget-woocommerce-breadcrumb\" data-id=\"871ac18\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"woocommerce-breadcrumb.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<nav class=\"woocommerce-breadcrumb\" aria-label=\"Breadcrumb\">Home<\/nav>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-795a735 elementor-widget elementor-widget-heading\" data-id=\"795a735\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">In Body, In Mind References and Further Reading<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1385945 elementor-widget-divider--view-line elementor-widget elementor-widget-divider\" data-id=\"1385945\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span class=\"elementor-divider-separator\">\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8a0baad elementor-widget elementor-widget-heading\" data-id=\"8a0baad\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h3 class=\"elementor-heading-title elementor-size-default\">Philosophy References<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-020249e elementor-widget elementor-widget-text-editor\" data-id=\"020249e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><em>In Body, In Mind<\/em> is a philosophical novel because it centres on a collection of certain ideas, and asks the reader to consider questions which many of us might prefer to ignore, but which nevertheless affect everyone:<\/p><ul><li>How do we make our lives more meaning-full?<\/li><li>How do we remain whole despite the fragmented existence of modern life?<\/li><li>How do we best meet our personal responsibilities, and why should we?<\/li><li>How can we use despair as a path to faith?<\/li><li>What does it mean to live an authentic life?<\/li><li>What is the purpose of suffering?<\/li><li>What would we sacrifice for those we love the most?<\/li><\/ul><p>Throughout its narrative, <em>In Body, In Mind<\/em> references many touchpoints of its philosophical heritage, including glimpses of the six audacious and original works around which the novel\u2019s themes are primarily drawn:<\/p><ul><li><u>Brian Birchall\u2019s <em>The Importance of Being Obscure<\/em><\/u> \u2013 Brian Birchall\u2019s life work was to give voice to a philosophy of Objective Idealism, by which realism and idealism could co-exist and flourish in the becoming of meaning. This unconventional, non-referential text offers a path to such a destination for the dedicated seeker willing to undertake the Labour of the Concept.<\/li><li><u>Martin Buber\u2019s <em>I and Thou<\/em><\/u> \u2013 Walter Kaufmann\u2019s translation into English of Martin Buber\u2019s classic brought to the West an astounding concept of relations, previously obscured by less successful translations. The work traces with a beautiful clarity the modes of existence by which we experience the worlds of nature, humankind and spiritual beings.<\/li><li><u>Albert Camus\u2019 <em>L\u2019Etranger<\/em> (<em>The Outsider)<\/em><\/u> \u2013 Often regarded as the quintessential existentialist novel, Camus\u2019 classic is a meditation upon the absurdity of existence, the moral dimensions of personal responsibility, and the benign indifference of the world.<\/li><li><u>Allen Ginsberg\u2019s <em>Howl<\/em><\/u> \u2013 <em>Howl<\/em> began as a call to arms for the Beat Poets, and it became arguably the most influential poem by an American in the twentieth century. It explores the anxieties of a generation alienated from mainstream society, struggling to grapple with ideals of authenticity and identity.<\/li><li><u>S\u00f8ren Kierkegaard\u2019s <em>The Sickness unto Death<\/em><\/u> \u2013 Kierkegaard\u2019s masterpiece is a painstakingly-drawn exposition on the notion of selfhood, on the characteristic forms of despair, and of the special role of faith.<\/li><li><u>Friedrich Nietzsche\u2019s <em>Thus Spoke Zarathustra<\/em><\/u> \u2013 A deeply lyrical, yet comprehensive work which examines the trajectory of human values and individuality as the conflicts of nineteenth century Europe dragged on and on. Arguably Nietzsche\u2019s most influential and accessible creation, this book outlined his moral vision for the survival of humanity.<\/li><\/ul><p>All the above works are recommended reading, with no background in philosophy required. Buber\u2019s I and Thou is probably the least accessible, but with close reading and an open mind, all make for fascinating reading.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-7ec4efd elementor-widget-divider--view-line elementor-widget elementor-widget-divider\" data-id=\"7ec4efd\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span class=\"elementor-divider-separator\">\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a6969e5 elementor-widget elementor-widget-heading\" data-id=\"a6969e5\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h3 class=\"elementor-heading-title elementor-size-default\">Art and Music References<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c665eac elementor-widget elementor-widget-text-editor\" data-id=\"c665eac\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><em>In Body, In Mind<\/em> has been sprinkled through with references to many familiar and some not so familiar works of art. Some are mainly ekphrastic and so have character roles, but most are there to ground the narrative in a particular time and space, or to evoke an atmosphere or mood, or to provide some further depth to other characters. I think there\u2019s considerable truth to the adage that you can tell a lot about a person by the art to which they\u2019re drawn.<\/p><p>The following list of references from the book provide a starting point for anyone who might want to investigate these works in any more detail:<\/p><ul><li><u>Gavin Bryars\u2019 <em>Farewell to Philosophy<\/em> (Schott Music Ltd, 1995)<\/u> \u2013 is a cello concerto commissioned by Philips Classics for Julian Lloyd Webber, and was written as a companion piece to be played alongside the Haydn symphonies <em>The Philosopher<\/em> and <em>The Farewell<\/em>. The work is used as background music in the narrative.<\/li><li><u>Gavin Bryars\u2019 <em>Jesus\u2019 Blood Never Failed Me Yet <\/em>(Obscure Records 1975 and GB Records 1993)<\/u> \u2013 was an experimental piece originally composed for pre-recorded tape and ensemble in 1975 by Obscure Records, gradually achieving cult status over the ensuing years. It was re-recorded in 1993 with the Tom Waits vocals. The work links Rachel and her mother Simone, Deni, J-P and Noah, and old Bob.<\/li><li><u>Albert Camus\u2019 <em>The Outsider<\/em> (Hamish Hamilton, 1982)<\/u> \u2013 Camus\u2019 philosophical novel reads as a very simple story, but it has the power to make its readers think. An iconic work of Existentialist literature, <em>The Outsider<\/em> (or <em>l\u2019Etranger<\/em>) examines such issues as personal responsibility, truth, authenticity and forgiveness. There are many references, some more explicit than others, to this work in <em>In Body, In Mind<\/em>, from the curated echo of Rachel\u2019s mother\u2019s funeral, to Sigrid\u2019s litany against weakness, to Noah reading the text to his family.<\/li><li><u>Albert Camus\u2019 <em>The Rebel<\/em> (Hamish Hamilton, 1953)<\/u> \u2013 As the name suggests, Camus\u2019 essay examines the motivations for both rebellion and revolution as the context for a historical review of an eclectic collection of thinkers, many of which are included in this list of <em>In Body, In Mind<\/em> influences.<\/li><li><u>Giorgio De Chirico <em>The Uncertainty of the Poet<\/em> (1913)<\/u> \u2013 there are several references in the book to \u2018De Chirico train smoke\u2019. This work was the one I had in mind, but the motif appears in several others. De Chirico was a key member of the Surrealist movement for many years.<\/li><li><u>Margaret Chittenden <em>How to Write Your Novel<\/em> (1995)<\/u> \u2013 was a self-published writing guide written by a prolific writer of children\u2019s books and other fiction. It\u2019s a very practical and often humorous read.<\/li><li><u>Leonard Cohen <em>Songs from a Room<\/em> (Columbia Records 1969)<\/u> \u2013 <em>In Body, In Mind<\/em> includes the lyrics of the track \u2018<em>Tonight Will Be Fine<\/em>\u2019 from this album, even though I had in mind the Teddy Thompson version (from the tribute album <em>I\u2019m Your Man<\/em> (2006 Verve Forecast)) when writing the scene.<\/li><li><u>Leonard Cohen <em>Songs of Leonard Cohen<\/em> (Columbia Records Music 1967)<\/u> \u2013 There are multiple references to \u2018<em>Suzanne<\/em>\u2019 from this album, and, had permission been obtainable, the track \u2018<em>One of Us Cannot be Wrong<\/em>\u2019 would have been included too. This album encapsulates the iconic sound of Cohen\u2019s early years as a singer\/songwriter, as well as the earnestness of authentic life in the 1960s.<\/li><li><u>Culture Club <em>Colour By Numbers<\/em> (Virgin Records 1983)<\/u> \u2013 <em>In Body, In Mind<\/em> includes the lyrics from the track \u2018<em>That\u2019s the Way (I\u2019m Only Trying to Help You<\/em>)\u2019 from this album, as well as some additional lyrics written for the song by Deni in her youth. The discussion about the song in the narrative tells us much about Deni\u2019s upbringing.<\/li><li><u>Salvador Dali <em>The Persistence of Memory<\/em> (1931)<\/u> \u2013 This is one of Dali\u2019s most famous works, and of course its title is evoked in the way both Noah and Sam experience the concept of home, and is a poignant echo of Sam\u2019s later predicament.<\/li><li><u>Salvador Dali <em>Soft Construction with Boiled Beans: Premonition of Civil War<\/em> (1936)<\/u> \u2013 Another iconic Dali work, this painting evokes the sense of dread which enveloped Spain as it descended into civil war. It haunts Noah from his teenage years as a recurring dream, and leads him to the brink of momentary madness.<\/li><li><u>Dead Can Dance<\/u> \u2013 The music of Dead Can Dance features regularly in the narrative of <em>In Body, In Mind<\/em>, usually as a background soundscape to the narrative. An unnamed Dead Can Dance album featuring Lisa Gerrard\u2019s idioglossia drives a chain of events which link Rachel, J-P, Sam and Albert Tucker\u2019s <em>The Possessed<\/em>.<\/li><li><u>Emerson, Lake and Palmer <em>Emerson, Lake and Palmer <\/em>(Island Records 1970)<\/u> \u2013 The track \u2018<em>Take a Pebble<\/em>\u2019 from this album is used in the narrative as an accompaniment to a wedding. I wanted the reference to express the notion of an act of marriage as the centre of a series of ripples that permeate the lives of a couple.<\/li><li><u>Emerson, Lake and Palmer <em>Works Volume 1 <\/em>(Atlantic Records 1977)<\/u> \u2013 I thought the track \u2018<em>C\u2019est la Vie<\/em>\u2019 from the album would be the perfect song to be sung in the wee hours following a wake.<\/li><li><u>T.S. Eliot <em>The Waste Land<\/em> (Boni and Liveright, 1922)<\/u> \u2013 The excerpt from the poem\u2019s fifth section, \u2018<em>What the Thunder Said<\/em>\u2019, is one of my favourites, and I thought it captured perfectly the feel of desolation and loss needed for the scene in which Noah reads it.<\/li><li><u>M.C. Escher<\/u> \u2013 The \u2018Escher sequence\u2019 referred to in Noah\u2019s discussion of his animated film is an instantiation of the Penrose triangle used by the Dutch artist M.C. Escher to create many of his impossible objects. As with Escher, Noah\u2019s inspiration for his creative project was his imagination rather than any observational response, though it\u2019s unlikely that Noah ever fully understood how much his subconscious had been dominated by his juvenile experience of abandonment.<\/li><li><u>Forest for the Trees <em>Forest for the Trees<\/em> (DreamWorks Records 1997)<\/u> \u2013 Their self-titled album was their only release, but Forest for the Trees produced what I\u2019ve often thought was a musical equivalent to Douglas Hofstadter\u2019s <em>G\u00f6del, Escher, Bach<\/em>. The track \u2018<em>Dream<\/em>\u2019 from the album is an iconic work of trip-hop, and I think it\u2019s status as one of Jean\u2019s favourite tracks tells us a lot about her.<\/li><li><u>Lisa Gerrard &amp; Patrick Cassidy <em>Salem\u2019s Lot <\/em>(Warner Music 1994)<\/u> \u2013 The track \u2018<em>Salem\u2019s Lot Aria<\/em>\u2019 from this album is one of the most beautiful pieces of music I know. Its suggestive libretto is truly other-worldly, and a fitting piece for a recessional.<\/li><li><u>Lisa Gerrard &amp; Pieter Bourke <em>Duality<\/em> (4AD Records 1998)<\/u> \u2013 While the music for the track \u2018Sacrifice\u2019 from this album is exquisitely haunting, it was the lyrics which fitted perfectly into the culmination of a key scene that led to its inclusion in the narrative. I\u2019ve not heard a recording of this work with English lyrics, but the idioglottic version evokes the lyrics perfectly well.<\/li><li><u>Allen Ginsberg <em>Howl and Other Poems<\/em> (City Lights, 1956)<\/u> \u2013 Arguably the most influential 20<sup>th<\/sup> century poem by an American, \u2018<em>Howl<\/em>\u2019 is a deeply complex and provocative work, originally begun as an experiment in form around breath-length lines. It speaks of terror and alienation, alchemy and madness, drawing on his own experiences and those of his friends and family. The initial publishers were charged with disseminating obscene literature, but the subsequent trial declared that \u2018<em>Howl<\/em>\u2019 was not obscene, but of \u2018redeeming social importance\u2019.<\/li><li><u>Yves Klein <em>Fire Paintings<\/em> (1961-2)<\/u> \u2013 I don\u2019t remember which of the <em>Fire Paintings<\/em> first caught my attention, but I do recall going to the University of New England library to look them up, so I\u2019m guessing it was the mid-80s. The process used by the artist was basically to cover young naked women in flame retardant and have them transfer different aspects of their forms onto large sheets of paper, and then apply flame to the paper to reveal the image. <em>In Body, In Mind<\/em> mentions \u2018F6\u2019 (1961) from the series.<\/li><li><u>Thomas Mann <em>Essays of Three Decades<\/em> (A.A. Knopf, 1947)<\/u> \u2013 As well as a celebrated novelist, Mann was a prolific essayist. This work compiles sixteen of his essays from between 1910 and 1939. They deal with literature, including commentary on both Goethe and Tolstoy, music, particularly that of Wagner, and psychoanalysis, with his views on Freud. Sam uses a witty quote from his discussion of Tolstoy.<\/li><li><u>Joan Mir\u03cc <em>The Smile of a Tear<\/em> (1973)<\/u> \u2013 This work receives a brief mention in the narrative. I think it\u2019s one of Miro\u2019s most elegant works \u2013 restrained, strikingly colourful and thoughtful.<\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<section class=\"elementor-section elementor-inner-section elementor-element elementor-element-1197196 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"1197196\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-e1ca010\" data-id=\"e1ca010\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-9ee5777 elementor-widget elementor-widget-text-editor\" data-id=\"9ee5777\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<ul><li><u>Edvard Munch <em>Angst<\/em> (1894)<\/u> \u2013 The translation of the title is \u2018<em>Anxiety<\/em>\u2019, and this work receives a brief mention in the narrative. For anyone already familiar with the work, though, it does act as a visual signpost to a discussion about anxiety that occurs a little later in the story.<\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-bd47cb3\" data-id=\"bd47cb3\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-0dba5bd elementor-widget elementor-widget-image\" data-id=\"0dba5bd\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"532\" height=\"683\" src=\"https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-35.jpg\" class=\"attachment-large size-large wp-image-942\" alt=\"\" srcset=\"https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-35.jpg 532w, https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-35-300x385.jpg 300w, https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-35-234x300.jpg 234w\" sizes=\"(max-width: 532px) 100vw, 532px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-246665a\" data-id=\"246665a\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-inner-section elementor-element elementor-element-a70d44c elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"a70d44c\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-298df35\" data-id=\"298df35\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-bfab199 elementor-widget elementor-widget-image\" data-id=\"bfab199\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" width=\"751\" height=\"1024\" src=\"https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-31-751x1024.jpg\" class=\"attachment-large size-large wp-image-946\" alt=\"\" srcset=\"https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-31-751x1024.jpg 751w, https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-31-300x409.jpg 300w, https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-31-600x819.jpg 600w, https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-31-220x300.jpg 220w, https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-31-768x1048.jpg 768w, https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-31-1126x1536.jpg 1126w, https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-31.jpg 1466w\" sizes=\"(max-width: 751px) 100vw, 751px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-0a6ce90\" data-id=\"0a6ce90\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-78bc9bd elementor-widget elementor-widget-text-editor\" data-id=\"78bc9bd\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<ul><li><u>Edvard Munch <em>F\u00f6rtvivlan<\/em> (1892)<\/u> \u2013 The translation of the title is \u2018<em>Despair<\/em>\u2019, and Hugo gives quite a detailed discussion of this work in the narrative. It\u2019s a relative of \u2018<em>The Scream<\/em>\u2019, and its composition and subject matter were almost certainly influenced by the writings of S\u00f8ren Kierkegaard.<\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-3abb3d4\" data-id=\"3abb3d4\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-inner-section elementor-element elementor-element-290a6a1 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"290a6a1\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-4901c87\" data-id=\"4901c87\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-4e1f374 elementor-widget elementor-widget-text-editor\" data-id=\"4e1f374\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<ul><li><u>Edvard Munch <em>Skrik<\/em> (1893)<\/u> \u2013 The translation of the title is \u2018The Scream\u2019, and this is one of the most recognisable artworks of the past two centuries. Like the other two Munch works, this is a visual cue and signpost to a number of important discussions in the book.<\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-a270a18\" data-id=\"a270a18\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-cfc6644 elementor-widget elementor-widget-image\" data-id=\"cfc6644\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" width=\"594\" height=\"750\" src=\"https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-36.jpg\" class=\"attachment-large size-large wp-image-943\" alt=\"\" srcset=\"https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-36.jpg 594w, https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-36-300x379.jpg 300w, https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-36-238x300.jpg 238w\" sizes=\"(max-width: 594px) 100vw, 594px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-e2e0c7f\" data-id=\"e2e0c7f\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<div class=\"elementor-element elementor-element-59c68f3 elementor-widget elementor-widget-text-editor\" data-id=\"59c68f3\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<ul><li><u>Pink Floyd <em>The Wall<\/em> (Columbia Records 1979)<\/u> \u2013 I find it almost impossible to listen to the lyrics of \u2018<em>Comfortably Numb<\/em>\u2019 from this album without thinking of Giorgio De Chirico\u2019s train smoke motif. Even though train smoke and ship smoke aren\u2019t exactly the same, they both represent signposts to liminal images, the song\u2019s lyrics articulating the experience precisely: \u201cI caught a fleeting glimpse, out of the corner of my eye; I turned to look, but it was gone \u2026\u201d. This is the feeling I wanted to recreate when Sam is struggling to remember an important decision.<\/li><li><u>Pink Floyd <em>Wish You Were Here<\/em> (Columbia Records 1975)<\/u> \u2013 The title track \u2018<em>Wish You Were Here<\/em>\u2019 from this album is used in several parts of the narrative as a motif for the liminal experience of reunification, in that place where the reality of abandonment remains in the foreground, obscuring the uncertainty of future reconnection in the background. The simple laconic poignancy of the music makes for the kind of music one might play over and over again to evoke a particular mood.<\/li><li><u>Zbigniew Preisner <em>Requiem for My Friend<\/em> (Preisner Productions 1998)<\/u> \u2013 I first came to Preisner\u2019s music through the magnificent score he wrote for Krzysztof Kei\u015blowski\u2019s <em>Trois Couleurs<\/em> film trilogy. This work was written to honour Kei\u015blowski, and the first part follows the traditional structure of a requiem. <em>In Body, In Mind<\/em> mentions the \u2018<em>Dies Irae<\/em>\u2019 and \u2018<em>Lux Aeterna<\/em>\u2019, but it was the gorgeous \u2018<em>Lacrimosa<\/em>\u2019 that I chose to close the book.<\/li><li><u>Pearls Before Swine <em>Sunforest<\/em> (Blue Thumb 1973)<\/u> \u2013 I was introduced to the music of <em>Pearls Before Swine<\/em> by one of my high school teachers. I came to recognise Tom Rapp as a singular voice in the contemporary music scene of the time, unlike nothing else I\u2019d ever heard. The lyrics I\u2019ve used from \u2018<em>Love\/Sex<\/em>\u2019 from this album express a truism about the authenticity of love that fits perfectly into a key scene.<\/li><li><u>Pearls Before Swine <em>The Use of Ashes<\/em> (Reprise Records 1970)<\/u> \u2013 The track \u2018<em>The Jeweler<\/em>\u2019 from this album is probably the most well-known of Tom Rapp\u2019s songs, and the lyrics were included in the manuscript right up until the first draft was completed. However, difficulties getting permission to use the lyrics prevented it being in the published book. Bummer.<\/li><li><u>Barbara Leonie Picard <em>Tales of the Norse Gods<\/em> (Oxford University Press, 1953)<\/u> \u2013 I was obsessed with this book when I was at primary school and early high school, taking it out of the library and reading it over and over. I\u2019ve used the reference to add an element of surprise in the characterisation of Alan.<\/li><li><u>Damien Rice <em>O<\/em> (Vector Records 2002)<\/u> \u2013 The lyrics from the track \u2018<em>Cold Water<\/em>\u2019 from this album were perfect to use in a scene in which they described what was happening inside the room and outside, in a variety of voices. The music evokes a sense of coldness, ideal for an act of sacramental supplication.<\/li><li><u>Melanie Safka <em>Candles in the Rain<\/em> (Buddah Records 1970)<\/u> \u2013 I seem to recall this was the first album I ever bought with my own money. Right up until the final edit of the manuscript for <em>In Body, In Mind<\/em>, the lyrics of \u2018<em>Leftover Wine<\/em>\u2019 from this album were included in the narrative, capturing perfectly the sense of letdown and loss that you feel when you\u2019re left by yourself after a gathering.<\/li><li><u>Carlos Santana <em>Caravanserai<\/em> (Columbia Records 1972)<\/u> \u2013 The track \u2018<em>The Eternal Caravan of Reincarnation<\/em>\u2019 from this album was used as background music in one scene for two reasons: first, to take later-life Sam back to the music of his youth, illustrating the experience of cyclical time, a motif present in the track\u2019s title; and second, to represent experimental jazz in the eclectic music tastes of Sam and Rachel.<\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<section class=\"elementor-section elementor-inner-section elementor-element elementor-element-29f26be elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"29f26be\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-2cfddbc\" data-id=\"2cfddbc\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-3439c2e elementor-widget elementor-widget-text-editor\" data-id=\"3439c2e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<ul><li><u>Albert Tucker <em>The Possessed<\/em> (1942)<\/u> \u2013 This painting is of course the cover art for the book, but it is also the object of descriptions of aesthetic experience by both Noah and Deni. It also serves as a template for a later scene involving Sam at the university. One of Tucker\u2019s most powerful works, this painting represents the essence of the experience of entrapment, while still remaining ambiguous about the psychological effect of the experience.<\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-6a704ed\" data-id=\"6a704ed\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-ef69d40 elementor-widget elementor-widget-image\" data-id=\"ef69d40\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"220\" height=\"220\" src=\"https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-34.jpg\" class=\"attachment-large size-large wp-image-941\" alt=\"\" srcset=\"https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-34.jpg 220w, https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-34-100x100.jpg 100w, https:\/\/www.phenomenology.com.au\/press\/wp-content\/uploads\/2021\/08\/image-34-150x150.jpg 150w\" sizes=\"(max-width: 220px) 100vw, 220px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-inner-column elementor-element elementor-element-db6b570\" data-id=\"db6b570\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<div class=\"elementor-element elementor-element-6ec59be elementor-widget elementor-widget-text-editor\" data-id=\"6ec59be\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<ul><li><u>Jethro Tull <em>Thick as a Brick<\/em> (Chrysalis Music 1976)<\/u> \u2013 Some of the lyrics from this album are used to echo the theme of intellectuality being discussed by Rachel, Sam and Hugo at the Mdina caf\u00e9. I\u2019ve found many of Jethro Tull\u2019s lyrics to be clever and thoughtful, particularly the concept albums like <em>Passion Play<\/em> and <em>Thick as a Brick<\/em>, and I think this is a great example of that. I thought it entirely plausible that this track would be on the playlist for a cool caf\u00e9 in the early 90s.<\/li><li><u>Tom Waits <em>Small Change<\/em> (Asylum Records 1976)<\/u> \u2013 I\u2019ve long regarded the lyrics from \u2018<em>Tom Traubert\u2019s Blues (Four Sheets to the Wind in Copenhagen)<\/em>\u2019 from this album to be the best example of Tom Waits\u2019 storytelling. The unaccountable connection to Australian folklore via the \u2018<em>Waltzing Mathilda<\/em>\u2019 in the chorus is an added bonus for its inclusion in the narrative. Rachel\u2019s poignant personal reflection on this lyrical expression of sorrowful solitude tells us much about her state of mind.<\/li><li><u style=\"font-style: inherit; font-weight: inherit;\">Tom Waits <em>Rain Dogs<\/em> (Island Records 1985)<\/u><span style=\"font-size: 16px;\"> \u2013 The reference to this album in the narrative is a minor one, but it contributes depth to Sam\u2019s character in that we come to know that he has been a dedicated listener to Waits\u2019 music for decades.\u00a0<\/span><\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>In Body, In Mind References and Further Reading Philosophy References In Body, In Mind is a philosophical novel because it centres on a collection of certain ideas, and asks the [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":955,"parent":2391,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","theme-transparent-header-meta":"enabled","adv-header-id-meta":"","stick-header-meta":"default","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center 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