'Samsara' is a quasi philosophical near future sci fi set against the backdrop of Twenty first centuary New York; now mascarading as a heavenly utopia for those wealthy enough to live confined behind its walls when in reality it is governed by a sadistic military dictatorship, where the principal characters begin a journey which will not only take them on a brutal sight seeing tour of the doomed metropolis, but which more importantly drives them towards life changing ethical, philosophical and spiritual revelations.
The story concerns two former mental patients ousted from their physical prisons in the aftermath of corporate revolution, but entangled still in their own psychological depravity. There are two 'scripts' going on here; the daily trials and tribulations of a stereotypical Hollywood action movie in which the proposed heros are made to run the proverbial gauntlet in fending off the boundless forces of the savage junta they so despise utilising a combination of martial arts and guerilla warfare, and a more significant story.
As the story goes on, the principals become disullusioned with reality; with the apparent cardboard movie set which surrounds them. In meeting eachother, they are granted some form of release from the existential angst and responsibiliity with which they seem to have been cursed. They loose interest in their heroic reponsibilities and become 'real people' rather than just scripted parts. They start to transcend the script; to debate highly philsophical issues from the existence of God to genetics, to time travel and morality.
Soon, these endless questions take over; causing them to deviate from the gloomy, predictable destiny in which they were previously so deeply involved.
PROLOGUE
The introductionary chapter is difficult, not simply because it is almost entirely abstract (the characters are not introduced until the first two chapters) but also bacause of the way language is used and abused within it. Mixed metaphors, tounge tying alliterations and obscure symbolism makes the readerwork, but this is the intention. The language is designed to create an uneasy atmosphere; to offer the reader a taste of the insanity; of the constraint; which the principals endure. It is not easy to decifer shapes in the haze, and the first four or five chapters are not significanly easier. It is when the main characters meet that things begin to make sense; that the language becomes less constraining, that that eternal veil of insanity; of spiritual blindness; lifts. As the story goes on it becomes easier, just as life becomes easier as we gain experience and expertise.
Existence is surreal. Reality is confounding. As children we understand little, and at the same time understand everything in the perfect way. Only when our minds begin to catagorise; begin to appl words and ideas onto things can we begin to comprehend the world around us and, futhrmore, inside us.
Chapter One: Virtual Suicide
Chapter Two: Internal Apparations
Chapter Three: A Shambhala Soul
Chapter Four: The Egalitarian Imperative
Chapter Five: Nisus and Euryalus
Chapter Six: The Eye of Horus
Chapter Seven: Ahimsa
Chapter Eight: The Eagle's Nest
Chapter Nine: To Catch a Feather on a Fan
Chapter Ten: People in Glass Houses
Chapter Eleven: The False Prophet
Chapter Twelve: Forgone Conclusions
Chapter Thirteen: Alice in Wonderland
Chapter Fourteen: The Clear Light
Chapter Fifteen: Koans
Chapter Sixteen: Schrodinger's Tin Cat
Chapter Seventeen: The Wandering Horseman
Chapter Eighteen: Four Walls and a Sledgehammer
Chapter Nineteen: The Sound of the One Hand Clapping
Chapter Twenty: The Seven Seals
Chapter Twenty One: Strained Alliances
Chapter Twenty Two: Relics
Chapter Twenty Three A: Charon's Toll
Chapter Twenty Three B: Parable of the Penniless Millionaire
Chapter Twenty Three C: Game of Death
Chapter Twenty Three D: Abraham Escapes Fire
Chapter Twenty Three E: Red Dust
Chapter Twenty Four: An Unexpected Epilogue
Chapter Twenty Five: Riddles in the Dark
Commentary (CONTAINS SPOILERS!)
Author's comments on and explanations of the text, including sections on symbolism, use of language, characters and full chapter by chapter sypnosis
