{"id":3292,"date":"2019-12-16T09:33:55","date_gmt":"2019-12-16T16:33:55","guid":{"rendered":"https:\/\/underthetablebooks.com\/blog\/?p=3292"},"modified":"2019-12-16T09:33:55","modified_gmt":"2019-12-16T16:33:55","slug":"honing-necessary-delusion","status":"publish","type":"post","link":"https:\/\/underthetablebooks.com\/blog\/archives\/3292","title":{"rendered":"honing: necessary delusion"},"content":{"rendered":"

\"loungeact-front\"<\/a><\/p>\n

If you ever come to the little town of Carmeline Creek on the far northern coast of California and do more than stop for gas, you will almost surely find your way to Mona\u2019s<\/i>, the only caf\u00e9\/bakery in town. And if you happen to spend the night in one of the town\u2019s several inns or at the charming Carmeline Creek Hotel, you will undoubtedly hear about honing<\/i>. And should you be in town on the evening of a honing<\/i> happening, we urge you to attend. Admission is free and you may leave at any time during the event. No one will mind.<\/p>\n

What, you may ask, is honing<\/i>?<\/p>\n

In physical terms, honing<\/i> is the ground floor of a stately old brick and wood building three doors down from Mona\u2019s<\/i>, most of that ground floor a large high-ceilinged room. Some honing<\/i> happenings employ stages of various sizes constructed somewhere in the large room, while at other honing<\/i> events a stage does not figure into the production. Lighting is an event-by-event adventure.<\/p>\n

In terms of personnel, honing<\/i> is a collective of seven principals\u2014four women and three men\u2014and an ever-growing number of associates. The principals are Elisha Montoya, 53, Paul Windsor, 60, Ephraim Spinoza, 73, Tivona Descartes, 69, Terence Duval, 47, Adaugo Duval, 41, and Florence Duval, 75. Paul Windsor is the only American-born member of the collective. Elisha was born in Ireland, Ephraim in Spain, Tivona in Morocco, Adaugo in Nigeria, Terence and Florence in England.<\/p>\n

Philosophically speaking, the honing<\/i> folks are ever reformulating their philosophical guidelines. The one guideline that has not changed since the collective came into being two years ago is: we meet at least once a week for supper with the intention of catching up with each other.<\/p>\n

\u2206<\/p>\n

On this warm summer night, honing<\/i> is packed\u2014fifty-six comfortable folding chairs arrayed in front of a small stage softly lit by three spotlights suspended from the high ceiling\u2014two armchairs arrayed on the stage a few feet apart and facing the audience. Thirty-one locals and twenty-five out-of-town visitors are sitting in the folding chairs, ten locals and eight out-of-towners standing.<\/p>\n

At 7:23, Elisha Montoya, a graceful woman with shoulder-length reddish brown hair, steps up onto the stage to polite applause. Wearing a pale blue dress and red sandals, Elisha gazes around at the many people looking at her and says, \u201cThough this may evolve into something reminiscent of a play, we begin with Terence and Ephraim discussing necessary delusions, or as Ephraim prefers to say: the necessity of delusion.\u201d<\/p>\n

\u201cHere we are,\u201d says Ephraim Spinoza, stepping up onto the stage as Elisha steps down.<\/p>\n

An imposing fellow with a mop of curly gray hair, Ephraim ponders the two armchairs for a moment and chooses the slightly larger one stage left.<\/p>\n

Terence Duval, tall and broad-shouldered with short black hair, steps up onto the stage, settles into the armchair stage right, looks out at the audience and says, \u201cA few weeks ago we had a spirited discussion about what motivates an artist to continue working on his or her creations when there is little or no support for that work from the greater world.\u201d<\/p>\n

\u201cOr,\u201d says Ephraim, \u201cwhat empowers the artist to persist in creating a work of art that may take months or years to complete with no promise of any sort of external reward?\u201d<\/p>\n

\u201cPaul suggested, and I agreed,\u201d says Terence, nodding, \u201cthat most artists come to believe that the song or story or painting or play she is creating is important and valuable, not only to the artist, but to those who might hear the song or read the story or see the painting or watch the play. Without this belief, the artist will not continue?\u201d<\/p>\n

\u201cI wonder if this belief embodies the difference between an artist and an artisan,\u201d says Ephraim, pursing his lips. \u201cSurely the potter doesn\u2019t need to believe each bowl she makes is valuable and important. The process is important, surely, but not each individual artifact.\u201d<\/p>\n

\u201cI think we digress too soon,\u201d says Terence, his arching of an eyebrow eliciting laughter from the audience. \u201cLet us finish elucidating our main thesis first.\u201d<\/p>\n

\u201cAh yes,\u201d says Ephraim, nodding in agreement. \u201cThe necessary illusion.\u201d<\/p>\n

\u201cDelusion,\u201d says Terence, laughing.<\/p>\n

\u201cWhat\u2019s the difference?\u201d asks Ephraim, shrugging. \u201cIllusion. Delusion. In either case, the artist is depending on an imagined truth to engender hope.\u201d<\/p>\n

\u201cI don\u2019t think so,\u201d says Terence, shaking his head. \u201cI think once we have poured hours of intention into a creation, that creation becomes our energetic equal, with a will and intention distinct from our own. And with even more work, the creation becomes our energetic master, which is when we come to fully believe our creation is endowed with special power. This is what I mean by the necessary delusion, a psychic momentum that enables the artist to keep going for however long it takes to finish the work.\u201d<\/p>\n

\u201cYet so many creations are never finished,\u201d says Ephraim, sighing. \u201cIs this because the delusion collapses?\u201d<\/p>\n

Terence gazes solemnly at Ephraim\u2014the lights fading into darkness that reigns for a few minutes before the lights grow strong again.<\/p>\n

Ephraim and Terence have been replaced by Tivona and Adaugo\u2014Tivona sitting in the armchair stage left, Adaugo sitting in the armchair stage right. Tivona is wearing a brown suit, white shirt, and purple bowtie, and she has a glossy red rose in her short black hair. Adaugo is wearing a billowy white blouse and a long brown skirt, the many braids of her black hair strung with blue wooden beads.<\/p>\n

Adaugo: I disagree with everything Terence and Ephraim said. When I make a song, I don\u2019t think the song is more important or more valuable than anything else. A song wants to be born, that\u2019s all. So it comes to me and says, \u201cHey you. Sing me. Sing me over and over again. Find my parts and put them together in different ways until you know how they go together. And then I will be born and I can live in the world.\u201d I don\u2019t think this is a delusion. I think this is how songs come into being.<\/p>\n

Tivona: I agree with you. But I think if we are enmeshed in the egoistic notion that what we do is important to anyone but us, we require a belief system that supports the idea of a hierarchy of value. And it is from the womb of that hierarchic belief system that the idea of necessary delusions is born.<\/p>\n

Adaugo: Oh I want everyone to be free from feeling that anyone is more important than anyone else.<\/p>\n

fin<\/em><\/p>\n

\u2206<\/p>\n

Speaking of songs being born, my brand new album of songs Lounge Act In Heaven<\/i> has just been released into the wild wild world and you can buy copies of the actual CD with neato artwork for just five dollars from my web site<\/a>. Or you can download and stream the album from iTunes<\/a>, CD Baby<\/a>, Amazon<\/a>, qobuz<\/a>, YouTube<\/a>, or any of your favorite music sites.<\/p>\n","protected":false},"excerpt":{"rendered":"

If you ever come to the little town of Carmeline Creek on the far northern coast of California and do more than stop for gas, you will almost surely find your way to Mona\u2019s, the only caf\u00e9\/bakery in town. And if you happen to spend the night in one of the town\u2019s several inns or […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[5703,140,5467,419,5484,5675,5705,190,5701,5700,1626,5661,5463,5702,5538,5707,51,1251,5706,5704,5676,9,33],"_links":{"self":[{"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/posts\/3292"}],"collection":[{"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/comments?post=3292"}],"version-history":[{"count":2,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/posts\/3292\/revisions"}],"predecessor-version":[{"id":3295,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/posts\/3292\/revisions\/3295"}],"wp:attachment":[{"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/media?parent=3292"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/categories?post=3292"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/tags?post=3292"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}