A Quote by Adam Morris
I am surprised by the word psychedelic. João Gilberto Noll does not accept realism in a straightforward way, but I am more inclined to call Quiet Creature a realist text than I am to call it a psychedelic one. The transcendent aspect of the psychedelic experience is totally absent.
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The psychedelic experience is the beginning of the spiritual path. That's why it's not important that yogas' claim that they can deliver you the psychedelic experience, because it begins with the psychedelic experience, and then you go from there.
Dreamlike sequencing is perhaps one of João Gilberto Noll's most remarkable triumphs in Quiet Creature on the Corner. I translated the novel and still it remains a mystery as to how exactly how this works. Noll thinks more like an experimental filmmaker than a novelist.
The Brazilian national identity is not one of João Gilberto Noll primary concerns. This does not mean social critique is absent: race, gender, and class relations are considered in Quiet Creature. And these are universal relational matters, not necessarily particular to any country. Some critics have commented that understanding the specific Brazilian political context of the novel is helpful for reading Quiet Creature. This may be true, but it's not prerequisite for understanding it.
I'm influenced by the music of the '60s. It's a mishmash of everything. To me, psychedelic can be all the way to a DJ. House music can be very psychedelic. 'Flying Lotus' is very psychedelic. Even though it's urban and technological, it's also mind-expanding, anything-can-go mishmash.
My normal lectures deal with the psychedelic experience as a generalized and historical phenomenon, but this effort at communication is slightly more personal in that it's an effort to impart [just] one idea that came out of an involvement with psychedelic substances.
The sine qua non for obtaining a psychedelic experience is humbling yourself to the point where you admit that you must submit to the experience of the plant or the drug. This act of surrender is the major technical function you will be called upon to perform during the psychedelic trip.
The word psychedelic gets bandied around far too often for my liking and it's generally just about three skinny lads singing about nothing, you know? But there's nothing more psychedelic than kids is there? Childhood is like being on acid most of the time anyway.
The psychedelic viewpoint is becoming more and more legitimate, but psychedelic drugs are not. That's the odd paradox of it.
It's my belief that one of the unconscious reasons which underlies the odd attitude of the establishment toward hallucinogens is the fact that they bring the mystery to the surface as an individual experience. In other words, you do not understand the psychedelic experience by getting a report from Time magazine or even the Economist. You only understand the psychedelic experience by having it.
The quality of rhetoric emanating from the psychedelic community must improve radically. If it does not, we will forfeit the reclamation of our birthright and all opportunity for exploring the psychedelic dimension will be closed off.
What is always left out of descriptions of the psychedelic state, the deep psychedelic state, is how weird it is.
Psychedelic experience is only a glimpse of genuine mystical insight, but a glimpse which can be matured and deepened by the various ways of meditation in which drugs are no longer necessary or useful. If you get the message, hang up the phone. For psychedelic drugs are simply instruments, like microscopes, telescopes, and telephones. The biologist does not sit with eye permanently glued to the microscope, he goes away and works on what he has seen.
Another aspect of the psychedelic vision for me that has been very profound, is the sense that every-thing is alive or at that at least, there is no distinction between what we call living and non-living.
The psychedelic experience is simply a compressed instance of what we call understanding, so that living psychedelically is trying to live in an atmosphere of continuous unfolding of understanding, so that every day you know more and see into things with greater depth than you did before. This is a process of education.
Unless you count the political backdrop, which in any case is a familiar one to many international readers, I don't think there's anything that I would call essentially Brazilian in João Gilberto Noll work. In that regard, it translates very well to a cosmopolitan audience.
I remember writing a song when I was about 15. This is the one I can remember. I know I'd been writing poetry for a long time, since I was about eight, but I remember my first one that I put to chords. I was really trying to be like the psychedelic era Beatles, I was obsessed. All I could think about was Beatles and Hendrix. So I tried to write a psychedelic song, and it was the worst. I couldn't even... If I read it now - I still have the book somewhere - it makes me cringe out loud. It was just about psychedelic stuff.
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