Echoes in Time. Chapter One: Note 32. Sufism

‘Haalima was smiling beatifically at everyone (if a son of a Sufi is allowed to smile beatifically)’

An early and important sign about one of the themes in the book. Sufism is a mystical branch of Islam. It focuses on visions and has specific views about the Absolute and the impossible attainment of Oneness. It has philosophical links with Taoism which is at the core of the being-not-being, ‘action without action’ theme. Although Haalima is central to the modern day story, he a relatively passive figure in the book but his father Seyed is a central player in the bigger story. Later we come to understand much more about Sufism as Seyed struggles to reconcile his everyday life with his past and his obligations to his duties.

Echoes in Time. Chapter One: Note 30. Maeve’s Twin.

‘Her short, flattering vest lifted slightly to reveal the tip of an intricate tattoo, twin serpents lurking at the hip bone on her left side. Peripherally she followed the line of his sight and noted its primal quest.

“My sister,” she poked at one of the serpent’s heads, then the other, “and me. We were, are twins.”’

An early indication of Maeve’s role in the book. Some mis-direction going on here because serpents are not simply the bad-guys, in Babylonian mythology they fight for the older gods against the matricide of the new gods.

This is almost the only mention of Maeve’s sister, until the very end. It is a source of bitterness in Maeve and drives much of her action. This sub-story is unstated in the first book but there are hints in the poetry which reveals the isolation that Maeve feels, and the reasons for some of her behaviour.

Echoes in Time. Chapter One: Note 28. Maeve is Older.

‘She was several years older than Finn’s other friends, in her late twenties, and had the sensual confidence that comes with these extra few years of experience. The attraction for a man of Finn’s ego was clear.’

This is a hint about the identity of the person next to Luz in the coma from the beginning of the book. Also, this ties her in as a possible suspect for the poisoning of Maria. Her age puts a slight distance between her and the rest of the group of friends. Maeve is not a sexual predator, but feels comfortable within the strict boundaries of flirtation and sexual attraction. Beyond, she is lost and agitated.

Echoes in Time. Chapter One. Note 24. A Moment of Creation

‘Late into the night they would drink and talk poetry, liberation, new bands, new art. And there they met Haalima, and Finn, Maeve, Ed, Faye, Adikavi and Mologu. And Luz of course. This gestating group was brought together at Mau Mau’s, where Ramona and Alex had begun to gig. One evening, a Moroccan boy they had seen in the bar many times jumped onto the mini stage, with a small djemba drum and some shakers. Haalima turned out to be a brilliant percussionist and gave their playing sudden depth and a touch of intimacy. This modest young man teased out their playing, their extended jams began to take on a structure and the Mau Mau crowd started taking more notice.’

This is the act of creation that we see later in the fragments, Haalima is a catalyst, another element that changes the forms of Alex and Ramona, into a single more powerful force and from this further expansion, growth occurs, like an expanding universe. This is a conscious modern world echo of the themes laid out in the fragments and helps lay the foundations for the interweaving of time and space at the end of the book.

Echoes in Time. Chapter One: Note 23

‘The villa forgives the family its lack of respect for the siesta. La Guarda, near the birthplace of Luz’ mother, would willingly suffer such indignities for the honesty and liveliness of Connor, Maria and their son. It feeds survival, it creates futures.’

The villa is anthromorphised, Schopenhaur’s Will manifests through inanimate as well as animate objects. This is an early statement of Connor, Maria and Luz as forces for good in the book, acknowledged by a dispassionate, inanimate object which, being a bundle of particles and without consciousness, is a part of the greater universe, from which Ka originates, as the Noumen.

Echoes in Time. Chapter One: Note 22. Connor, Maria and Luz

‘Connor, Maria and Luz’

Names are powerful in the book. Not being able to give a particular name to Ka, until the end is contrary to all other characters whose names are definite and contain specific meanings. The multiplicity of names marks the ‘tall creature’ as different and intriguing, and sets him apart from humanity which need names for self-worth and purpose. Luz, in Spanish, means ‘light’ (related to Lugh, the icon, mythical Gaelic Sun form), Maria, means ‘beloved’ and Connor is the English simplified version of Conchobhar, which relates to courage, honour and devotion. These three people drive the book and their named qualities give clues to their roles and their power.

Light is an eternal quality, immutable and all-encompassing, but utterly reliant on its opposite, darkness, for its existence. Without darkness, light could not occur, because the contrast of the two highlights the existence of each. They are Being-not-being, bound-not-bound, box-not-box, never and always. This concept is used by Ka as a method of release fro the covenant, but the first book, Echoes in Time, does not yet explore the nature of the contrast between light and darkness.

Maria, is beloved by Luz and Connor. Maria died after being poisoned in a restaurant). Luz is debilitated by his loss and longs for her return. The longing undermines his stability.

Connor is energized and determined by Maria’s loss. His courage and convictions lead him to an audacious plan once he uncovers the great strategy of the Noumen, to release himself from the Covenant. He willingly allows himself to become a catalyst for release and in doing so engineers the return of Maria, in a different, younger form, but still his beloved Maria.

Their family surname is Casey, inherited through Connor’s Irish family, originally ó Cathasaigh in Gaelic, meaning vigilant (in war) and watchful. Alert observers these three are central to the action of the book

Chapter One: Note 17

‘…seeking the magic bucket. One rub and it will fill with treasure. He has to possess it. Between him and the bucket is a shimmering stretch of ground, full of hot magic, burning and reeking of anger.’

Luz is imaginative, that’s why the Sidhe have an interest in him (and all dreamers, storytellers, poets and musicians) beause he is a creative person whose energies can be used to feed their existence, through the dream warriors. It is important to establish the creative credentials to validate Luz’s importance to the Sidhe. For half of the book it seems as though the Sidhe are forcing him to write the poetry. In fact there is a deeper game, which Luz does not uncover until close to the end.