Poetry and Mysticism by Colin Wilson

By Colin Wilson

Colin Wilson and poetry and the paranormal adventure. brief monograph.

From the ultimate paragraph of the introduction:
A 12 months in the past, ingesting beer with Lawrence Ferlinghetti in a San
Francisco bar, I started sketching my perspectives on the psychedelic craze.*
As I attempted to clarify my belief of the nature of the mystical
experience, he prompt that I may still write an essay on it, to be
published via his urban lighting Press. I realised that such an essay
might be a strong car for an “interim report” on my principles considering that
1965, introducing a few uncomplicated ideas with out too a lot test to
justify them or relate them to a better scheme. The foundations
are to be came across in the Outsider cycle and the advent to the
New Existentialism as good as in Popper, Maslow and Hardy. This
is now not a systematic exposition, and it covers in basic terms a few of my ideas
— I haven't even referred to the thought of the self-image; and the
explanation of what I suggest via the relationality of attention
should rather be preceded via a few dialogue of Husserl. It is a
holiday job, and it should still, if attainable, be learn instantly via in a
single sitting.

From the again cover:
A new ebook via Colin Wilson is continually information. A
religious mysticism could now be obvious at the middle o f
all his paintings : Sri Ramakrishna is one o f the key
figures in The Outsider and his faith and the
Rebel comprises a complete sequence o f reports o f mystics.
In the current publication, Colin Wilson has constructed an
argument which runs counter to the so much popular
trends in occult pondering at the present time to the volume that
some could even name it “ non-Zen” . discovering that
mystical adventure and poetic idea can be
“ pursued scientifically” and realized as one learns a
foreign language, he has small enthusiasm for psyche­-
delics and “ non-thought” equipment o f arriving at the
expansion o f attention, exhibiting him self to be
much nearer to William James’ sorts of Religious
Experience than to Alan Watts or D. T. Suzuki.

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Example text

The exclamation “Dear God” would have been a mistake earlier in the poem; but at this stage, he has convinced us, and it expresses our own emotion too; the calm and peace is allowed to burst its banks for a moment, although only for a moment, since the next words again refer to the peace of the houses. The last line: And all that mighty heart is lying still is not a good line compared to the rest of the poem; considered on its own, it is a little too gushing, has a little too much brassy uplift, the “land of hope and glory” feeling.

He is a kind of electronic brain who stores all kinds of information. Once an activity has been performed often enough, he takes it over, and what is more, he then does it a great deal more efficiently than I could do it consciously. I drive my car automatically; if I think about it, I do it less well. This is illustrated by the anecdote of the centipede, to whom a spider* said: “How on earth do you move a hundred legs at the same time? I have trouble enough with eight” . “Oh, it’s perfectly easy”, said the centipede.

Oh, it’s perfectly easy”, said the centipede. “I simply do this . ” at which point he tripped and fell on his nose. It should be noted that it is not mere repetition of an action that leads the robot to learn it efficiently; it is how much effort you put into learning it. A boy learning French at school may study it for several hundred hours in a year, and still learn very little. The follow­ ing year, he goes for a holiday in France, and suddenly wants to express himself; the consequence is that he learns more in two weeks than he learned in a year at school.

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