The seascape and the sand are not specifically referring to Russia. Both metaphors refer to what we see happening all over the world. The seascapes are reflecting the big movements in an ever-changing world, while sand is the metaphor for the kind of foundation that society is building its hopes on when love is no longer a factor and falls by the wayside. Russia is brought into the scene as a nation that is swept along with the flow.
Russia serves in the novel as a platform where many aspects are coming together. It serves as a background with a difficult political dimension that becomes overlaid with an agonizing love in the protagonist's personal sphere. Russioa also serves as an example for a universal tragedy in which the wider light of love that should have built a renaissance society has been systematically stomped out.
For Russia this tragedy has a deep root that was celebrated in the 1980s with the Thousand Year Anniversary of Russia having embraced the Byzantine orthodox religion that supports an imperial system of thinking in which love has no place. It puts the truth at the top of a vertical hierarchical separation and mankind at the dirt bottom, too far below for mankind to reach for the truth. Superimposed, the Byzantine system sets up a mediator between the two extremes who conveys to the masses of society what the truth is. This set-up creates a perfectly functioning imperial system in which arbitrary lies rule supreme that are wielded by an empire to mentally rape the masses. As many people now realize and say: 'In Lies We Trust!'
What Russia celebrated in the 1980s, has become the watchword of the world. And we still live in that world. We celebrate it. We close our eyes and sing, "in Lies we Trust!"
This darkness of insanity is today's environment though it is mirrored in the novel in the pre-collapse Soviet environment. In both environments love is a difficult subject to get deep into it, though it is evermore required to protect nations, civilization, and individuals. Nevertheless it becomes increasingly difficult to develop strong new threads of love, even though they are essential for mankind as a link to its humanity and to one-another. In the novel such threads are precariously forged where none existed, and against great obstacles. In that respect, the novel represents a breakthrough in the development of love, even though little is actually won except a greater self-appreciation with a greater confidence in love itself.
|You are invited to enter the gallery room:|
Vistas in this room of the gallery of the invisible shapes that shape in the landscape of love:
researcher and author
novels exploring the dimensions of love in spirituality, humanity, life, sexuality, marriage, romance, relationships, politics, and in economics
Thank you for visiting - Rolf Witzsche
Cygni Communications Ltd.
North Vancouver, B.C.
(c) copyright 1989 Rolf
A. F. Witzsche applies
to all novels
of the series, The Lodging for the Rose (above)
including the free online presentation. For (c) copyright details refer to "chapters" page.
(c) copyright 2003 applies to the web-presentation technology
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