A short story I am working on.

She is a curious girl who questions authority. Years from now, she will recall the days of her early youth where her never-ending questions of ‘what’ and ‘why’ always end with Mother’s stern look accompanying silent judgement. Father always looking away and staring into the distance. Something he does a great deal of during throughout taut marriage. At the tender age of six, this unsettling experience will set the tone for the rest of the child's constricted life.

Seated quietly in the backseat of the family’s silver 2014 Toyota Corolla, the child poses straight against the seat, her short legs fusing together, dangling just above the smooth, carpeted floor, hands flat on her lap.

Father keeps his focus on the road as the neighborhood trees sweep by in the windows. Mother sits in the front passenger seat. Eyes closed, mumbling to herself. The child can faintly hear words like “Saintly Earth” and “giving us strength.”

The child then makes a mistake, breaking the quiet. “Mother, why does a planet need to be worshipped?”

The parental units tense, bodies rigid in their seats. Staring straight ahead, faces blank, mouths unmoving. “Are you questioning the faith?” Mother calmly responds.

Cold, hard eyes now stare piercingly through the rearview mirror, sending shivers down the child’s spine.

“N-No,” the child stuttered and quickly looked down. But Mother was not done. “And what else?”

The child looked to Father, eyes pleading for the mercy of an intervention. Instead, he continues to drive, his only focus is the road. Stoic yet indifferent. The child sags her shoulders, closes her eyes, and obediently recites the phrase taught to her tediously over previous weeks.

“The Divined Goddess, Her Holiness Supreme, Our Protector, Our Savior, blessed is she, therefore are we.”

Mother nods in approval, slowly smiling in that way that always makes the child uneasy, looking at the road once again. All three sit in that claustrophobic car as the overgrown mossy temple rises into view.

Suddenly, that heavy feeling emerges in the child’s chest again. One she has felt before and will become very familiar to her… fear.

Lenovo Ideapad AMD, 16Gb RAM, 512GB hard drive running Windows 11 $700ish after taxes

24” Monitor. It’s just the right size.

Corsair K70 Core RGB mechanical keyboard -I got a Best Buy gift card from someone at Christmas and treated myself. I just got this thing yesterday and I’m enjoying it. $70ish

Microsoft Surface mouse -Someone threw a box of these things away, probably because their whole office upgraded. I don’t think they make these anymore but I assume they were inexpensive. It works good!

An Xbox controller -There are a lot of PC games that you can use an Xbox controller with. I don’t have a “gaming” machine. I don’t play games often enough to justify it but it’s fun sometimes to play games that don’t require a machine with a lot of horsepower.

Bose WIRED computer speakers -these they definitely don’t make anymore. I got them over twenty years ago and recently dug them out of a storage box and they still sound AMAZING.

A copy of Strunck & White’s The Elements Of Style 4th Edition.

A copy of Keys For Writers, 7th edition.

A copy of Merriam Webster’s Collegiate Dictionary 11th Edition.

A mag mount charger for the phone and the headphones.

On the wall above my desk I have a 2025 Complexly wall calendar. I became a fan of wall calendars again a few years ago. They’re easy to fill out, they’re nice to look at, and they’re a pleasant reminder of things to look forward to and that time is a real thing that’s passing by. It’s fun to mix it up each year too, sometimes I have a Van Gogh calendar, sometimes one from the local supermarket. It’s also nice to look up and see something different each month.

And a wall clock with a second hand. Aesthetically pleasing and also, a reminder that that time is passing by.

The Collapse of Illusions: How Power Structures Exploit Human Frailty

Human existence teeters perpetually on the precipice of illusion and reality, a fragile superposition of perceived agency and deterministic forces. This precarious balance is, paradoxically, the very condition that enables power structures to flourish. Within these systems, individuals are conditioned to see their subjugation as necessity or fate, and even when confronted with the dissonance between their needs and the oppressive realities of their existence, they often retreat into the comfort of familiar chains. The collapse of illusions, then, becomes a moment of existential crisis—a fracturing of coherence that leaves individuals paralyzed between the terror of uncertainty and the inertia of habit. To exist in illusion is to dwell in a comforting fiction, one that whispers that the systems around us are natural, inevitable, and even benevolent. Power structures construct and perpetuate these illusions with deft precision, exploiting the human mind’s yearning for order and simplicity. Yet, as the cracks in this veneer emerge, as reality intrudes upon the dream, there comes a moment of collapse—a brutal and sudden clarity that shatters the comforting superpositions of belief. In this moment, individuals face the stark realization that the coherence they clung to was built not on truth, but on manipulation.

This collapse is not merely intellectual but deeply emotional. It strips away the narratives that make the world intelligible, leaving behind a terrifying void. Like the character in Kafka’s The Trial, who discovers the futility of his struggles against an incomprehensible system, individuals confronted with the collapse of their illusions often feel overwhelmed by the sheer weight of their powerlessness. The realization of one’s complicity in maintaining these structures—whether through silence, conformity, or inaction—becomes an unbearable burden. This awareness, however fleeting, is a glimpse into the machinery of their own oppression, and yet it rarely inspires rebellion. Instead, it often drives a retreat into denial, rationalization, or a desperate clinging to the very structures that perpetuate their suffering.

The reason for this retreat lies in the nature of the collapse itself. When the superpositions of illusion fall away, the human mind seeks new coherence, even if that coherence is harmful. Power structures are adept at providing such coherence, repackaging their dominance as stability and protection. They frame dissent as chaos and resistance as nihilism, ensuring that the collapse of one illusion is swiftly replaced with another. In this way, the individual, having glimpsed the truth, is pulled back into the fold, their moment of clarity dulled by the weight of propaganda and fear.

Moreover, the collapse reveals the determinism underlying human behavior, a force that few are willing to confront. To accept that one’s beliefs, values, and actions are shaped by forces beyond their control is to relinquish the comforting notion of free will. It is to accept that their acquiescence to power is not entirely a choice but a product of historical, social, and psychological conditioning. This acknowledgment is too great a burden for most, for it strips away the very essence of individuality and agency. And so, the cycle repeats: the collapse of one illusion is replaced by the construction of another, and the machinery of power grinds on, unchallenged and unbroken.

In the end, the collapse of illusions is a moment of profound vulnerability, one that exposes the human condition in all its frailty. It reveals the intricate interplay between belief and control, between the desire for freedom and the fear of uncertainty. Yet, within this collapse lies a faint glimmer of potential—a chance, however fleeting, to construct a new coherence not dictated by power but born of genuine understanding. Whether humanity seizes this opportunity or succumbs to the inertia of its conditioning remains an open question, a delicate superposition waiting to collapse into the singular reality of what is, and what might yet be.

CHAPTER 1 The Arousing of Thought

Chapter.Page

1.3

Among other convictions formed in my common presence during my responsible, peculiarly composed life, there is one such also—an indubitable conviction—that always and everywhere on the earth, among people of every degree of development of understanding and of every form of manifestation of the factors which engender in their individuality all kinds of ideals, there is acquired the tendency, when beginning anything new, unfailingly to pronounce aloud or, if not aloud, at least mentally, that definite utterance understandable to every even quite illiterate person, which in different epochs has been formulated variously and in our day is formulated in the following words: “In the name of the Father and of the Son and in the name of the Holy Ghost. Amen.” https://gurdjieff.work/ae/chapters/chapter01.htm

In the first two parts of this commentary, we explored Gurdjieff’s profound cosmology, the invocation of higher laws, and the symbolic elements embedded within the narrative of Beelzebub and his grandson. In this final section, we delve into how the first chapter functions as an invitation to embark on an inner journey, the psychological challenges it presents to the reader, and how it reflects Gurdjieff’s ultimate aim of awakening humanity to its cosmic purpose.

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1. The Reader as a Participant in the Journey

From the very first paragraph, Gurdjieff makes it clear that Beelzebub’s Tales is not a passive experience. The reader is not merely a spectator but an active participant in a transformative process. This deliberate design is a hallmark of Gurdjieff’s genius, as it mirrors the demands of his teachings in real life: effort, attention, and conscious participation are non-negotiable.

The Call to Conscious Effort

The complexity of Gurdjieff’s language and structure is intentional. It forces the reader to slow down and wrestle with the material, preventing superficial understanding. The reader’s struggle mirrors the conscious effort required for inner work. In Gurdjieff’s words, understanding must be “earned” through effort and persistence.

By structuring the book in this way, Gurdjieff places the reader in the position of an active seeker, akin to Hassein. The text becomes a laboratory for self-observation and self-remembering, as the reader is confronted with their own tendencies toward distraction, mechanicality, and laziness.

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2. The Psychological Challenges of Reading Gurdjieff

The first chapter also introduces a psychological challenge: the deliberate breaking of the reader’s habitual thinking patterns. Gurdjieff’s unconventional style—marked by long, intricate sentences, invented words, and shifts in perspective—serves as a “shock” to the reader’s ordinary mental processes.

Breaking Identification with Mechanicity

By disrupting the reader’s habitual ways of reading and understanding, Gurdjieff creates a space for new modes of perception to emerge. This process reflects the broader aim of his teaching: to help individuals recognize and overcome their mechanical tendencies.

For example, the reader’s initial frustration with the text may serve as a mirror for their deeper psychological habits. Are they prone to impatience? Do they seek instant gratification? Do they resist effort? These reactions, if observed consciously, become opportunities for self-knowledge.

The Role of Frustration in Transformation

Gurdjieff understood that frustration and resistance are integral to growth. By challenging the reader, he invites them to confront their limitations and transform their habitual ways of engaging with the world. The act of persevering through the text becomes a form of intentional suffering, a key principle in Gurdjieff’s work.

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3. The First Chapter as a Microcosm of the Human Condition

The themes introduced in the first chapter—fall and redemption, invocation of higher principles, and the struggle to awaken—reflect the universal human condition. Gurdjieff uses Beelzebub’s narrative to illuminate the challenges and possibilities inherent in human life.

The Sleep of Humanity

Beelzebub’s observations of Earthly humanity reveal a central tenet of Gurdjieff’s teaching: most human beings live in a state of “sleep,” unaware of their true nature or their place in the cosmos. This sleep is characterized by:

• Mechanicality: Automatic, habitual behavior disconnected from conscious intention.
• Identification: Becoming lost in external events and emotions, unable to maintain self-awareness.
• Lack of Aim: Drifting through life without a clear sense of purpose or alignment with higher principles.

Through Beelzebub’s eyes, the reader is invited to reflect on their own state of being. Are they awake, or are they asleep? Are they living intentionally, or merely reacting to life’s circumstances?

The Possibility of Awakening

Despite humanity’s sleep, Gurdjieff emphasizes the potential for awakening. The invocation in the first chapter symbolizes this possibility, serving as a reminder that every moment offers an opportunity to align with higher principles. Beelzebub’s journey becomes a metaphor for this process of ascent, demonstrating that even the densest states of being can be transformed through conscious effort.

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4. Cosmic Responsibility and the Awakening of Conscience

One of the most profound themes introduced in the first chapter is the concept of cosmic responsibility. Beelzebub’s redemption is not an isolated event but is deeply connected to his role within the larger cosmic order. Similarly, Gurdjieff suggests that humanity has a unique responsibility within the Ray of Creation.

The Awakening of Objective Conscience

At the heart of this responsibility lies the awakening of objective conscience—a higher faculty that enables individuals to act in harmony with universal laws. Unlike subjective morality, which is shaped by cultural and personal biases, objective conscience arises from a direct connection to higher principles.

Gurdjieff implies that the cultivation of objective conscience is essential for humanity’s evolution. By aligning their actions with cosmic purpose, individuals not only fulfill their own potential but also contribute to the harmonious functioning of the universe.

Beelzebub as a Model of Responsibility

Beelzebub’s character embodies this principle of cosmic responsibility. His journey is not merely a personal quest but a contribution to the greater good. Through his tales, he seeks to awaken Hassein—and, by extension, the reader—to their own role within the cosmic order.

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5. Gurdjieff’s Ultimate Aim: The Awakening of Humanity

The first chapter serves as a microcosm of Gurdjieff’s ultimate aim: the awakening of humanity to its higher potential. By embedding his teachings in a narrative that challenges and transforms the reader, Gurdjieff creates a work that is not merely read but experienced.

The Work as a Living System

Beelzebub’s Tales is not just a book; it is a living system, designed to work on multiple levels of the reader’s being. Its structure, language, and symbolism are all carefully calibrated to engage the intellect, emotions, and instincts in a holistic process of transformation.

This approach reflects Gurdjieff’s vision of the Fourth Way: a path of self-development that integrates all aspects of human nature, enabling individuals to awaken within the context of ordinary life.

The Cosmic Scale of Gurdjieff’s Teaching

By situating humanity within a vast cosmic framework, Gurdjieff challenges the reader to see beyond their immediate concerns and recognize their place within the universe. This shift in perspective is not merely theoretical; it has practical implications for how one lives and acts.

Through Beelzebub’s tales, Gurdjieff invites the reader to embrace their cosmic responsibility, cultivate objective conscience, and participate in the process of universal harmony.

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Conclusion: A Masterpiece of Esoteric Wisdom

The first chapter of Beelzebub’s Tales to His Grandson is a profound and multifaceted introduction to Gurdjieff’s teaching. By blending narrative, symbolism, and cosmology, Gurdjieff creates a work that challenges, transforms, and awakens the reader.

This chapter not only sets the stage for the teachings to come but also serves as a microcosm of Gurdjieff’s entire vision. It encapsulates the principles of conscious effort, cosmic responsibility, and the possibility of awakening, while also demanding active participation from the reader.

Gurdjieff’s genius lies in his ability to weave these elements into a cohesive and transformative whole, creating a work that is as much a tool for self-development as it is a literary masterpiece. For those willing to engage with it fully, Beelzebub’s Tales offers not only knowledge but the possibility of inner liberation and alignment with the highest principles of existence.

(End of Part 3 and conclusion of the commentary.)

CHAPTER 1 The Arousing of Thought

Chapter.Page

1.3

Among other convictions formed in my common presence during my responsible, peculiarly composed life, there is one such also—an indubitable conviction—that always and everywhere on the earth, among people of every degree of development of understanding and of every form of manifestation of the factors which engender in their individuality all kinds of ideals, there is acquired the tendency, when beginning anything new, unfailingly to pronounce aloud or, if not aloud, at least mentally, that definite utterance understandable to every even quite illiterate person, which in different epochs has been formulated variously and in our day is formulated in the following words: “In the name of the Father and of the Son and in the name of the Holy Ghost. Amen.” https://gurdjieff.work/ae/chapters/chapter01.htm

Having established the esoteric framework of the first paragraph—its invocation, alignment with the Laws of Three and Seven, and its role in refining hydrogens—this second part delves deeper into the metaphysical symbolism and narrative techniques Gurdjieff employs. By examining Beelzebub’s character, the cosmic context, and the broader implications of his journey, we uncover how Gurdjieff’s storytelling acts as both a teaching and a transformative tool.

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1. Beelzebub: The Archetype of the Awakened Being

Beelzebub is a complex figure, one whose very existence bridges multiple levels of reality. He is portrayed as a being who has fallen from grace but has achieved redemption through his conscious efforts. This duality reflects a central theme in Gurdjieff’s teachings: the possibility of transformation through intentional work.

The Fall and Redemption

Beelzebub’s fall represents humanity’s own condition—one of separation from higher realities. In esoteric terms, this fall can be understood as a descent into denser states of existence, where consciousness becomes trapped in mechanical habits and identification with the material world. Beelzebub’s redemption, achieved through self-awareness and effort, demonstrates the potential for return—a process of ascending back toward finer energies and alignment with universal laws.

This archetypal journey echoes the ancient myths of fallen deities and heroes, yet Gurdjieff reinterprets it within the framework of his cosmology. Beelzebub’s redemption is not a matter of divine grace alone; it is earned through conscious labor and intentional suffering, principles that lie at the heart of Gurdjieff’s Fourth Way teachings.

Beelzebub as the Reader’s Guide

Beelzebub serves as a surrogate for the reader, modeling the path of self-transformation. His wisdom, tempered by experience and struggle, reflects the qualities necessary for awakening: humility, perseverance, and a willingness to confront one’s limitations. As a character, he embodies the higher centers of human consciousness, guiding his grandson Hassein—and by extension, the reader—toward a deeper understanding of cosmic laws.

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2. The Cosmic Context: Humanity’s Place in the Universe

Gurdjieff’s cosmology, as introduced in the first chapter, places humanity within a vast and interconnected cosmic system. This perspective challenges the anthropocentric worldview prevalent in modern thought, inviting the reader to adopt a broader, more objective understanding of existence.

The Ray of Creation

Central to Gurdjieff’s cosmology is the Ray of Creation, a hierarchical structure that describes the descent of energies from the Absolute (pure, undivided consciousness) to the most material levels of existence. Beelzebub’s tales occur within this framework, situating humanity on a scale of being that is both humbling and empowering.

• Humanity exists at a midpoint in the Ray of Creation, possessing the potential to either ascend toward higher states of consciousness or descend into greater mechanicality.
• The invocation in the first chapter aligns with this principle, symbolizing an opportunity to reconnect with the finer energies of the higher cosmos through conscious effort.

The Interdependence of All Beings

Gurdjieff emphasizes that no being exists in isolation; all are interconnected through the laws of the cosmos. Beelzebub’s observations of Earthly humanity reflect this principle, highlighting the ways in which human actions affect the broader cosmic order. This interdependence underscores the importance of awakening, not just for individual transformation but for the harmonious functioning of the entire system.

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3. Storytelling as a Transformative Tool

Gurdjieff’s use of storytelling in Beelzebub’s Tales is a deliberate and masterful strategy. Unlike traditional esoteric texts, which often rely on abstract philosophical discourse, Gurdjieff embeds his teachings in a richly symbolic narrative that engages the reader on multiple levels.

Engaging the Three Centers

As discussed in Part 1, Gurdjieff’s teachings aim to harmonize the intellectual, emotional, and instinctive centers. His storytelling technique serves this purpose by:

• Intellectual Center: Challenging the reader’s logical mind through complex language, unconventional grammar, and layered meanings.
• Emotional Center: Evoking awe, curiosity, and sometimes frustration, which act as shocks to awaken deeper emotional engagement.
• Instinctive/Moving Center: Encouraging a physical response through the effort required to read and comprehend the text.

This multidimensional engagement ensures that the reader’s entire being participates in the process of learning, making the act of reading itself a transformative experience.

Language as a Barrier and a Key

Gurdjieff’s use of dense, labyrinthine language in the first chapter is intentional. By making the text difficult to read, he forces the reader to slow down, pay attention, and exert conscious effort. This approach mirrors the work required for self-transformation, where superficial understanding must give way to deeper insight.

At the same time, Gurdjieff employs language as a key to unlock hidden truths. His unique terminology—such as “Hyparxis,” “Kundabuffer,” and “Law of Seven”—acts as a cipher, requiring the reader to decode their meanings through sustained study and reflection. This dual function of language—as both a barrier and a key—reflects the paradoxical nature of esoteric knowledge, which must be both protected and revealed.

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4. The Role of Hassein: The Seeker’s Perspective

Hassein, Beelzebub’s grandson, represents the perspective of the seeker—the one who is curious, open, and eager to learn. Through Hassein’s questions and observations, Gurdjieff creates a dynamic interplay between teacher and student, mirroring the relationship between the text and the reader.

Hassein as a Mirror for the Reader

Hassein’s role as a curious and receptive student allows the reader to identify with his journey. Like Hassein, the reader is invited to ask questions, challenge assumptions, and remain open to new perspectives. This relationship fosters a sense of active engagement, transforming the act of reading into a participatory dialogue.

The Importance of Unlearning

Hassein’s youthful innocence also highlights the importance of unlearning—the process of shedding preconceived notions and habitual patterns of thought. This theme is central to Gurdjieff’s teachings, which emphasize the need to dismantle the false personality and reconnect with one’s true essence.

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5. Symbolism in Beelzebub’s Journey

Beelzebub’s cosmic journey is rich with symbolic meaning, reflecting the broader processes of spiritual evolution and cosmic harmony. His movement through space represents the interplay of descending and ascending energies within the Ray of Creation, as well as the possibility of transcendence through conscious effort.

The Spaceship as a Symbol of Conscious Work

Beelzebub’s spaceship can be interpreted as a symbol of conscious work—a vehicle that allows one to navigate the vastness of the cosmos with intention and purpose. Unlike mechanical beings, who are carried passively by the forces of the universe, Beelzebub exercises conscious control over his journey, reflecting the potential for humans to transcend their mechanical nature.

The Grandson as a Symbol of Transmission

Hassein’s presence on the spaceship highlights the importance of transmission—the passing of esoteric knowledge from one generation to the next. This transmission is not merely intellectual but requires the cultivation of understanding, effort, and inner transformation.

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Conclusion: Gurdjieff’s Vision of Cosmic and Human Potential

The first chapter of Beelzebub’s Tales to His Grandson is a masterwork of esoteric teaching, blending narrative, symbolism, and cosmology to create a multidimensional experience. Through the character of Beelzebub, the invocation of cosmic laws, and the deliberate engagement of the reader’s three centers, Gurdjieff demonstrates his unparalleled genius as a teacher and storyteller.

By framing humanity’s struggles within a vast cosmic context, Gurdjieff challenges the reader to see beyond their limited perspective and recognize their potential for awakening. This chapter not only introduces the themes of the book but also serves as a microcosm of Gurdjieff’s entire teaching, encapsulating the principles of conscious effort, alignment with universal laws, and the possibility of transformation.

(End of Part 2. In the final section, we will explore how the first chapter sets the stage for the reader’s inner journey and reflects Gurdjieff’s ultimate aim: the awakening of humanity to its cosmic purpose.)

CHAPTER 1 The Arousing of Thought

Chapter.Page

1.3

Among other convictions formed in my common presence during my responsible, peculiarly composed life, there is one such also—an indubitable conviction—that always and everywhere on the earth, among people of every degree of development of understanding and of every form of manifestation of the factors which engender in their individuality all kinds of ideals, there is acquired the tendency, when beginning anything new, unfailingly to pronounce aloud or, if not aloud, at least mentally, that definite utterance understandable to every even quite illiterate person, which in different epochs has been formulated variously and in our day is formulated in the following words: “In the name of the Father and of the Son and in the name of the Holy Ghost. Amen.” https://gurdjieff.work/ae/chapters/chapter01.htm

Gurdjieff’s Beelzebub’s Tales to His Grandson begins with a profound and enigmatic opening that immediately sets the tone for the work’s unique depth and transformative potential. Within this first chapter, Gurdjieff introduces concepts that resonate with esoteric traditions, the Law of Seven, the Law of Three, and his intricate cosmology of hydrogens, all while challenging the reader to engage in conscious participation with the text.

To fully appreciate Gurdjieff’s genius, one must examine the multi-layered significance of this opening chapter, which operates as a microcosm of his entire teaching. Here, we explore the first chapter through three distinct yet interconnected lenses: its surface narrative, its esoteric structure, and its deeper cosmological implications.

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1. The Surface Narrative: Gurdjieff’s Unique Literary Style

On the surface, the first chapter introduces Beelzebub, an ancient and highly evolved being, as he embarks on a cosmic journey with his grandson, Hassein. Gurdjieff’s choice to frame his teachings through a mythic narrative is itself a revolutionary act. Rather than presenting dry philosophical discourses, Gurdjieff weaves his ideas into a rich, allegorical tapestry, allowing the reader to access profound truths through storytelling.

This approach mirrors the ancient oral traditions of transmitting wisdom, where stories were designed not merely to inform but to transform. In Gurdjieff’s hands, storytelling becomes an alchemical process—one that engages not only the intellect but also the emotions and instincts. By introducing Beelzebub as a fallen yet redeemed figure, Gurdjieff challenges conventional ideas of good and evil, inviting the reader to adopt a more nuanced and holistic perspective.

Beelzebub’s status as a “fallen angel” mirrors humanity’s own condition of forgetfulness and disconnection from higher realities. His journey, therefore, serves as a metaphor for the process of awakening—a journey that requires deliberate effort and conscious self-study. From the very beginning, Gurdjieff masterfully establishes this theme of self-remembering, a cornerstone of his teaching.

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2. The Esoteric Invocation: Aligning with Higher Laws

One of the most striking aspects of the opening chapter is the invocation of a sacred utterance, described as a universal human tendency when beginning any new endeavor. Gurdjieff writes:

“...there is acquired the tendency, when beginning anything new, unfailingly to pronounce aloud or, if not aloud, at least mentally, that definite utterance understandable to every even quite illiterate person...”

This invocation reflects humanity’s deep-seated connection to higher principles, even if unconsciously expressed. By highlighting this tendency, Gurdjieff emphasizes the importance of aligning with cosmic laws—specifically the Law of Three and the Law of Seven—whenever initiating a process.

The Law of Three in the Invocation

The invocation, “In the name of the Father, and of the Son, and of the Holy Ghost,” exemplifies the Law of Three, a foundational principle in Gurdjieff’s cosmology. This law states that all phenomena arise from the interaction of three forces:

• Active (represented by the Father),
• Passive (represented by the Son), and
• Reconciling (represented by the Holy Ghost).

By beginning the chapter with an invocation rooted in this triadic structure, Gurdjieff sets the stage for the reader to engage with the text on multiple levels. The invocation is not merely a religious ritual but a metaphysical act, aligning the reader’s attention with the universal forces necessary for transformation.

The Law of Seven and the Process of Reading

The invocation also connects to the Law of Seven, which governs the unfolding of all processes in the universe. This law describes how energy moves in a discontinuous pattern, requiring conscious shocks to maintain momentum and prevent deviation. The first chapter itself acts as a “Do,” the starting note of an octave, initiating the reader into a transformative journey.

By invoking sacred principles at the outset, Gurdjieff provides a shock that aligns the reader’s attention with the higher aims of the work. He implicitly warns that without such alignment, the process of engaging with the text could become mechanical, leading to misunderstanding or stagnation.

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3. Hydrogens and the Refinement of Energy

Beneath the surface narrative and esoteric principles lies a deeper cosmological framework: the system of hydrogens, which represents varying levels of energy or matter within the universe. In Gurdjieff’s teaching, hydrogens are not mere substances but also states of vibration, reflecting the refinement of energy from dense materiality to subtle spirituality.

The Role of Invocation in Refining Hydrogens

The invocation described in the first chapter serves to refine the individual’s inner energies, aligning them with finer hydrogens. For example:

• The physical act of speaking or thinking the invocation engages the instinctive center, drawing upon denser hydrogens like H96 or H48.
• The emotional resonance of the sacred phrase activates the emotional center, involving hydrogens like H24.
• The intellectual understanding of the invocation engages the intellectual center, drawing upon even finer hydrogens like H12.

By harmonizing these centers, the invocation creates the conditions for higher hydrogens (e.g., H6) to enter the individual’s system. This process is essential for engaging with Beelzebub’s Tales, a text designed to work not only on the reader’s intellect but on their entire being.

Hydrogens and the Reader’s Effort

Gurdjieff deliberately structured his book to require conscious effort from the reader, ensuring that their attention becomes a vehicle for transformation. The invocation at the beginning of the chapter acts as an entry point into this effort, demanding that the reader approach the text with a heightened state of awareness. In doing so, the reader participates in the alchemical process of refining their inner energies, moving from mechanical reading to conscious engagement.

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Conclusion: Gurdjieff’s Mastery in the Opening Chapter

The first chapter of Beelzebub’s Tales to His Grandson is far more than a narrative introduction; it is a masterful invocation of cosmic principles, designed to awaken the reader’s higher faculties. By embedding esoteric concepts such as the Law of Three, the Law of Seven, and the system of hydrogens into the text, Gurdjieff creates a multidimensional work that operates on physical, emotional, intellectual, and spiritual levels.

In this opening, we see Gurdjieff’s unique genius: his ability to weave profound metaphysical truths into an engaging narrative while demanding the active participation of the reader. The first chapter not only sets the stage for the teachings to come but also initiates the reader into a transformative process, one that mirrors the very journey of awakening described in the text.

(End of Part 1. Next, we will delve deeper into the metaphysical symbolism of Beelzebub’s journey and how Gurdjieff uses storytelling to bridge the gap between cosmic laws and human experience.)”)

I want to be kind to offer others a hand without fear that they're using me

I want to be vulnerable to let others know they're not alone without worrying that others will use it against me

I want to be at peace unafraid of the world around me not wondering who it's safe to trust

This world doesn't exist yet but maybe one day, it will

One day We'll all love one another Share kindness without fear or attempting to gain something

One day We'll all trust one another feel safe together and know it's gonna be okay

One day, we'll get there

One day

#Poetry #TouchTheClouds #Dreams #Kindness

hiding notes and collected links on Pinboard.

You can read more about the challenge here and here.

Time to roll up some dwarven Heroes! I outlined their racial abilities yesterday and won't be repeating them here. Due to their size I opted to go for mules instead of warhorses. A lot of good rolls for magical equipment.

1. Gottri Smallbaily

Class: Fighting-Man Race: Dwarf Level: Hero Alignment: Lawful Languages: Dwarf, Lawful, Gnome, Kobold, Goblin

Appearance: 4'6'' / 1.37 m, 150 lbs / 68 kg; light blonde hair; purple eyes; dark tan skin tone; no belly button Traits: obedient, callous

Experience points: 10 000 Hit points: 20 Armor class: 2 Movement: 6”

Saving Throws

Death Ray or Poison: 8 All Wands — Including Polymorph or Paralyzation: 9 Stone: 10 Dragon Breath: 10 Staves & Spells: 12

Attributes

STR: 12 (average score) INT: 10 (average score; speak no additional languages) WIS: 16 (high score) CON: 16 (high score; add 1 to each hit die; will withstand adversity) DEX: 15 (high score; fire any missile at +1) CHA: 9 (average score; up to 3 unusual hirelings with loyalty base of 0)

Equipment

Armour: 1 × Plate Mail; 1 × Shield; 1 × Helmet Weapons: 1 × Sword +1, Locating Objects Ability (AL Lawful; INT 9; EGO 5; COM empathy; POW locate objects as spell, detect metal 4'' radius, detect sloping passages); 1 × Dagger (1H); 1 × Hand Axe (1H, thrown range 3”); 1 × Light Crossbow (2H, ranges: 1–6’’ +2 AC, 7–12’’ +1 AC, 13–18’’ 0 AC); 1 × 30 Quarrels Gear: 1 × Leather Back Pack (300 coin capacity); 2 × Large Sack (300 coin capacity); 1 × Water/Wine Skin (30 coin capacity); 1 × Case with 30 Quarrels; 1 × 50’ of Rope; 1 × 12 Iron Spikes; 1 × 6 Torches; 6 × Flask of Oil; 1 × Steel Mirror; 3 × Belladonna, bunch; 1 × Wine, quart; 2 × Iron Rations (1 week); 2 × Potion of Healing; 1 × Potion of Giant Strength; Coins: 198 gp Encumbrance: 1488 cn

Hirelings & Mounts

1 × Mule (HD 2+1, AC 7, MV 12’’, max load 3500 cn); 1 × Saddle; 1 × Saddle Bags; 1 × Barding (Horse Armor).

2. Vikram Grimlisson

Class: Fighting-Man Race: Dwarf Level: Hero Alignment: Lawful Languages: Dwarf, Lawful, Gnome, Kobold, Goblin

Appearance: 4'7'' / 1.4 m, 155 lbs / 70 kg; roan hair; light brown eyes; black skin tone Traits: self-serving, intolerant

Experience points: 10 000 Hit points: 13 Armor class: 4 Movement: 9”

Saving Throws

Death Ray or Poison: 8 All Wands — Including Polymorph or Paralyzation: 9 Stone: 10 Dragon Breath: 10 Staves & Spells: 12

Attributes

STR: 15 (high score; add 10% to earned experience) INT: 13 (high score; speak up to 3 additional languages) WIS: 14 (high score) CON: 11 (average score; 80% chance of survival) DEX: 10 (average score) CHA: 6 (low score; up to 2 unusual hirelings with loyalty base of -1)

Equipment

Armour: 1 × Chain-type Mail +2; 1 × Shield +2 Weapons: 1 × Sword, Flaming +2 vs. Trolls (AL Lawful; INT 11; EGO 7; COM speaks dwarven; POW detect sloping passages up to 0,1°, read magic); 1 × Dagger (1H); 1 × Composite Bow (2H, ranges: 1–8’’ +2 AC, 9–16’’ +1 AC, 17–24’’ 0 AC); 1 × 20 Arrows, Enchanted Gear: 1 × Leather Back Pack (300 coin capacity); 4 × Large Sack (300 coin capacity); 4 × Small Sack (50 coin capacity); 1 × Quiver of 20 Arrows; 3 × 50’ of Rope; 1 × 3 Stakes & Mallet; 1 × Silver Cross; 1 × Holy Water/Vial; 2 × Iron Rations (1 week); 2 × Potion of Healing Coins: 29 Encumbrance: 910 cn

Hirelings & Mounts

1 × Mule (HD 2+1, AC 7, MV 12’’, max load 3500 cn); 1 × Saddle; 1 × Saddle Bags; 1 × Barding (Horse Armor).

3. Belegar Grimlisnev

Class: Fighting-Man Race: Dwarf Level: Hero Alignment: Lawful Languages: Dwarf, Lawful, Gnome, Kobold, Goblin

Appearance: 4'6'' / 1.37 m, 150 lbs / 68 kg; white hair; bronze eyes; pale blue skin tone; very hairy Traits: observant, dependable

Experience points: 10 000 Hit points: 22 Armor class: 3 Movement: 6”

Saving Throws

Death Ray or Poison: 8 All Wands — Including Polymorph or Paralyzation: 9 Stone: 10 Dragon Breath: 10 Staves & Spells: 12

Attributes

STR: 10 (average score) INT: 9 (average score; speak no additional languages) WIS: 9 (average score) CON: 13 (high score; will withstand adversity) DEX: 9 (average score) CHA: 10 (average score; up to 4 unusual hirelings with loyalty base of 0)

Equipment

Armour: 1 × Plate Mail +1; 1 × Helmet Weapons: 1 × Battle Axe (1H, 2H); 1 × Dagger (1H); 1 × Pole Arm (2H); 1 × Light Crossbow (2H, ranges: 1–6’’ +2 AC, 7–12’’ +1 AC, 13–18’’ 0 AC); 1 × 30 Quarrels Gear: 1 × Leather Back Pack (300 coin capacity); 6 × Large Sack (300 coin capacity); 2 × Water/Wine Skin (30 coin capacity); 1 × Case with 30 Quarrels; 4 × 50’ of Rope; 2 × 12 Iron Spikes; 1 × Lantern; 4 × Flask of Oil; 1 × Steel Mirror; 1 × Wooden Cross; 2 × Wolvesbane, bunch; 2 × Belladonna, bunch; 2 × Garlic, bud; 2 × Wine, quart; 2 × Iron Rations (1 week); 2 × Potion of Healing Coins: 54 gp Encumbrance: 1260 cn

Hirelings & Mounts

1 × Mule (HD 2+1, AC 7, MV 12’’, max load 3500 cn); 1 × Saddle; 1 × Saddle Bags; 1 × Barding (Horse Armor).

Vragni: HD Dwarf Veteran; HP 1; AC 6 (leather armor and shield); Atk spear; MV 12''; AL Neutral; Morale 7; STR 9 INT 10 WIS 6 CON 6 DEX 8 CHA 9 LOY 11.

Sindri: HD Dwarf Veteran; HP 3; AC 6 (leather armor and shield); Atk spear; MV 12''; AL Neutral; Morale 10; STR 13 INT 4 WIS 9 CON 13 DEX 16 CHA 11 LOY 14.

4. Hurgar Belegarsnev

Class: Fighting-Man Race: Dwarf Level: Hero Alignment: Lawful Languages: Dwarf, Lawful, Gnome, Kobold, Goblin

Appearance: 4'7'' / 1.4 m, 155 lbs / 70 kg; orange hair; light blue eyes; milky white skin tone; 2'' scar Traits: guilty, giving

Experience points: 10 000 Hit points: 18 Armor class: 2 Movement: 6”

Saving Throws

Death Ray or Poison: 8 All Wands — Including Polymorph or Paralyzation: 9 Stone: 10 Dragon Breath: 10 Staves & Spells: 12

Attributes

STR: 15 (high score; add 10% to earned experience) INT: 10 (average score; speak no additional languages) WIS: 10 (average score) CON: 10 (average score; 70% chance of survival) DEX: 8 (low score; fire any missile at -1) CHA: 9 (average score; up to 3 unusual hirelings with loyalty base of 0)

Equipment

Armour: 1 × Plate Mail; 1 × Shield +1; 1 × Helmet Weapons: 1 × Sword –2 (Cursed Sword); 1 × Dagger (1H); 3 × Hand Axe (1H, thrown range 3”) Gear: 1 × Leather Back Pack (300 coin capacity); 2 × Large Sack (300 coin capacity); 1 × Water/Wine Skin (30 coin capacity); 2 × 50’ of Rope; 1 × 12 Iron Spikes; 1 × 6 Torches; 2 × Flask of Oil; 1 × Steel Mirror; 1 × Belladonna, bunch; 1 × Wine, quart; 2 × Iron Rations (1 week); 1 × Potion of Healing; 1 × Potion of Giant Strength Coins: 9 gp Encumbrance: 1319 cn

Hirelings & Mounts

1 × Mule (HD 2+1, AC 7, MV 12’’, max load 3500 cn); 1 × Saddle; 1 × Saddle Bags; 1 × Barding (Horse Armor).

5. Skorri Redgenerous

Class: Fighting-Man Race: Dwarf Level: Hero Alignment: Lawful Languages: Dwarf, Lawful, Gnome, Kobold, Goblin

Appearance: 4'6'' / 1.37 m, 150 lbs / 68 kg; mixed dark brown and golden hair; gold eyes; yellow white skin tone Traits: intense, sly, bloodthirsty

Experience points: 10 000 Hit points: 11 Armor class: 2 Movement: 6”

Saving Throws

Death Ray or Poison: 8 All Wands — Including Polymorph or Paralyzation: 9 Stone: 10 Dragon Breath: 10 Staves & Spells: 12

Attributes

STR: 10 (average score) INT: 10 (average score; speak no additional languages) WIS: 11 (average score) CON: 6 (low score; minus 1 from each hit die; 40% chance of survival) DEX: 12 (average score) CHA: 10 (average score; up to 4 unusual hirelings with loyalty base of 0)

Equipment

Armour: 1 × Plate Mail; 1 × Shield +1; 1 × Helmet Weapons: 1 × War Hammer +2; 1 × Dagger (1H); 1 × Short Bow (2H, ranges: 1–5’’ +2 AC, 6–10’’ +1 AC, 11–15’’ 0 AC); 1 × 20 Arrows; 20 × Silver Tipped Arrow Gear: 1 × Leather Back Pack (300 coin capacity); 2 × Large Sack (300 coin capacity); 4 × Small Sack (50 coin capacity); 2 × Quiver of 20 Arrows; 2 × 50’ of Rope; 1 × 12 Iron Spikes; 2 × 6 Torches; 8 × Flask of Oil; 1 × 3 Stakes & Mallet; 2 × Iron Rations (1 week); 4 × Potion of Healing Coins: 215 gp Encumbrance: 1485 cn

Hirelings & Mounts

1 × Mule (HD 2+1, AC 7, MV 12’’, max load 3500 cn); 1 × Saddle; 1 × Saddle Bags; 1 × Barding (Horse Armor).

⁂

Taking a look at elves tomorrow.

#charactercreationchallenge

Title just felt right, it’s a good song. Nothing past that.

I know A means well, but sometimes when I’m struggling she word vomits up things to fill the silence, and she tries to relate or empathize. Sometimes she badly misses, and she tries to relate with something that isn’t close. I know you can’t compare grief or emotion really, but I’m pretty confident in these cases. Right now the thing that sticks with me is the thought that for her to provide these experiences of her own as things to relate with, she thinks in her mind that those experiences affect her as much as I’m currently affected. One thing she said earlier was how she’s also had friendships explode for her, and to her that meant people yelling and saying hurtful things to each other. To me it was personal attacks and then me getting blocked and ghosted, and a big meaningful friendship just gone like that all because I tried to defend myself. Things like that just make me feel alone because it makes me feel worse to think that someone who loves and cares about me sees my grief and experience and thinks it’s just an inconvenience. I don’t like how it always feels like a competition that she can’t lose sometimes. To be honest, I don’t really give a shit if she has experienced it or anything like that, I just want to be held sometimes.

I got ready today. I didn’t go anywhere.

Yunior Rivas

There’s no real reason for this. No one is watching, no one is waiting.

Your hands move with care, smoothing hair into place, buttoning fabric over skin, coaxing small details into order. Something about it feels necessary, though you can’t say why.

It could be intentional, the subtle weight of potential, of the day’s possibilities. It could be automatic, the remnants of habit formed long ago, when being seen felt like proof of existence.

As you keep preparing, a voice speaks faintly, why do I bother? No one will see the quiet care you take, the effort it costs you to meet your own reflection, to draw yourself into being

You do it anyway, because what else is there to do?

It’s futile and essential, each brushstroke, each button fastened, each refusal to vanish into the blur of the unnoticed, a rebellion against stagnation.

You finish without fanfare, without audience, without reward. The silence holds steady, unmoved by your effort.

You still did it, and maybe that’s the real reason for this.

For almost two years now polls in Canada have shown that the Conservative Party of Canada, led by Pierre Poilievre, Canada's answer to Donald Trump, have a commanding lead over the governing Liberal Party led until recently by Justin Trudeau. There is no doubt that this was a major factor leading to Trudeau's resignation, in the hope that the Liberal Party might recover lost ground under a new leader.

At the same time, I can't help feeling that the polls have a lot of influence on how Canadians will vote.

I wrote a thread on Mastodon about how this might work. The Conservative Party's messaging consists simply of repeating “Justin Trudeau is a horrible person and he should resign”. This is spread both by conventional media and corporate social media as news and commentary.

Then one day you get a phone call from a polling company asking whether you agree that Justin Trudeau is a horrible person and he should resign”. What are the odds that you will say yes, if you've been exposed to the statement repeatedly?

Polls are viewed as representing the most probable outcome of an election “if it were held today”. But that probability is only conditional. It is the probability that you will vote one way or another given that you've been exposed to a certain propaganda. I am sure that if in a parallel universe where the Conservative Party of Canada has not been hammering the message about Trudeau for years a similar poll was conducted, the result would be quite different.

But there's more. The poll itself has an influence on the election outcome. One reason is what is known as “social proof”. Gil Duran has a great post about this in The Framelab. He writes

People tend to copy what other people do. If something is popular, we tend to trust it more. When many other people buy a product or follow a trend, we tend to assume it’s good. Our brains are wired to look for clues from other people’s choices. It’s a basic human instinct to follow the crowd. “Monkey see, monkey do.”

If you see that a majority of your fellow voters will vote Conservative, you are more likely to do so yourself. Marketers know this very well.

The poll may also have another effect on the outcome of the election: If you are not a Conservative voter, but you are convinced that the Conservatives will win, that makes you less likely to take the trouble to vote. The poll becomes a self-fulfilling prophecy.

I see propaganda as a process, where a certain political message is spread to as many people as possible and then polling is a feedback mechanism that confirms that the message is true. Polling skeptics will scrutinize the methodology and the statistical methods, and I have been one of them, but I believe now that that is missing the point. The polls can be quite accurate in that they reflect popular opinion, and yet be a key component of the propaganda process.

#Democracy #Elections #Statistics #Propaganda

Sunday 2025-01-12

Prayers, etc.: * 05:00 – Prayer to St. Michael the Archangel * 06:00 – praying The Angelus * 06:30 – praying the Glorious Mysteries of the Holy Rosary, followed by the Memorare. * 06:50 – Thought for today from Archbishop Lefebvre: The history of the world and the history of all creation revolve around our Lord Jesus Christ. Our Lord is truly the summit, the center and the heart of all creation. So we can't talk about history, for example, and disregard the presence of our Lord Jesus Christ in the world, disregard all the influence of the Holy Church, His mystical Spouse, His Mystical Body (Eph. 1:23), of which we are members by baptism. You see how many consequences there are to faith in our Lord Jesus Christ! * 06:55 – Readings from today's Mass include – Epistle: Col 3:12-17 and Gospel: Luke 2:42-52. * 09:40 – praying day 8 of 9 of the Infant of Prague Novena * 12:00 – praying The Angelus * 16:55 – prayerfully reading The Athanasian Creed, followed by today's Daily Meditation found in Benedictus Magazine. * 18:00 – praying The Angelus * 19:15 – praying the hour of Compline for tonight according to the Traditional Pre-Vatican II Divine Office, followed by Fr. Chad Ripperger's Prayer of Command to protect my family, my sons, my daughter and her family, my granddaughters and their families, my great grandchildren, and everyone for whom I have responsibility from any demonic activity. – And that followed by the Sunday Prayers of the Association of the Auxilium Christianorum.

Health Metrics: * bw= 212.0 lbs. * bp= 106/67 (77)

Diet: * 06:15 – 1 banana * 07:00 – bacon, fried rice, 1 big stuffed omelet * 10:10 – cottage cheese * 12:10 – fried chicken * 14:30 – snack on cookies * 16:50 – 1 can of V8 juice

Chores, etc.: * 06:00 – follow news reports from various sources * 08:30 – bank accounts activity monitored * 10:55 – load weekly pill boxes * 13:30 – tuned into the IU Women's Sports Radio Station ahead of the Lady Hoosiers College Basketball Game vs the Iowa Hawkeyes. Hope the women's team does better against Iowa than the men did last night. * 16:15 – after a great IU win, I'm once again following news reports from various sources * 18:30 – listening to relaxing music, quietly reading

Chess: * 13:00 – moved in pending CC games

posted Sunday, 2025-01-12 ~20:30 #DLJAN2025

• I got back from Brazil feeling super tired because of the long trip. The total travel time was 24 hours, with 4 flights, 1 bus ride and lots of time waiting in airports. I started feeling my throat itch 2 days later.
• So, I was sick the whole week: some type of respiratory virus that was not COVID. The worse is gone, but I'm left with a cough, and I still haven't recovered my full lung capacity. I tried to run today, and I couldn't keep it up for more than 10 minutes. So, I'm still recovering. The doctor gave me a puffer to help with clearing the lungs.
• I'm also left with some headaches which I think is related to an occasional sinus congestion. It's getting better little by little.
• I had lots of planning I wanted to do this week, but because I was sick, I let it all on pause. I could take some time to read, in between naps. But I also worked a bit from home once I got a little better mid-week.
• I finished reading “Barrayar” by Lois McMaster Bujold and it was great! This book is unique because it's a fast-paced science fiction novel about motherhood. All kinds of motherhood: in utero, in vitro, in an artificial womb. It's part of a big series called Vorkosigan Saga, and this series is known as a feminist sci-fi ahead of its time (it started being written in the late 80's).
• I finished writing about my Dungeons and Dragons character background, her appearance and decided on a name: Astrid Silverhammer (very dwarvish and righteous).

—-

Post 68/100 of 100DaysToOffload challenge (Round 2)!

#100DaysToOffload #100Days #weeknotes

I love my writing group. A lot of us have been in the group for over 10 years, by this point, which means we know each other’s writing well—and that’s usually a good thing. Knowing the perspective each person is coming from helps to interpret their comments and put them in context, which makes it easier to fix the issues they spot without losing my voice. Their comments are also more likely to have that voice in mind since they’re so familiar with it.

That said, though, there are times that feedback from my workshop group might not be the most productive thing for the piece I’m working on. Sometimes it’s helpful to see how a story is reading to people who don’t know my writing, like when I’m playing in one of my established sandboxes and want to verify that it makes sense as a stand-alone, or if I’ve already workshopped the piece with the group and need a fresh perspective on how it reads after incorporating their suggestions.

Whether you don’t have a regular workshop group, or are looking for supplemental sources of creative critique outside your usual circles, here are some places you can get feedback on fiction without leaving the comfort of your house.

Margin

https://marginapp.io

This is a newer site so it doesn’t have a ton of activity yet, but it’s a very cool concept that I expect will only get cooler as it grows. When you create an account on Margin, you can upload story drafts into folders that you can share with select people, either folks you already know IRL or other writers you meet on the site, to get their comments right through the interface.

Margin also has a network of freelance editors offering paid feedback, along with writing organizations that offer classes if you’re looking for something more involved. You don’t need to pay anything to use the site, though—setting up an account and connecting with folks for “friendly feedback” is free.

I’m still getting to know the layout of Margin myself but I think it has tons of potential, both as a platform for writers to connect with feedback and as a tool for existing workshop groups to streamline the process of sharing comments.

Critique Circle

https://www.critiquecircle.com/

A free online community for writers, Critique Circle uses a reciprocity model to encourage people to share critiques. Members gain credits by critiquing others’ writing, then can use those credits to submit their own stories for comments.

Critique Circle has been around for a while (since 2003) and has a fairly active membership. Stories you post for feedback can’t be viewed by non-members, so there’s no worries of them being considered “previously published” when you submit them to journals.

Scribophile

https://www.scribophile.com/

Another version of the same concept used by Critique Circle. Give feedback to earn karma points, then spend those points to post your own writing for critique. They also have a directory of beta readers, for folks who are working on book-length manuscripts.

Scribophile’s been around for a while, too, and has a similarly active and supportive community. It’s another one that’s free to use (with a paid tier that unlocks extra features), so it could be worth it to sign up for both and see which interface and community seem to suit you the best.

Journals with Paid Feedback

I did a post about journals with guaranteed feedback about a year ago but things can change quickly in literary publishing land so it seems like a good time for an update.

There are a few journals that offer free feedback open currently (or opening very soon):

• BlazeVOX Journal – Online journal of BlazeVOX Books. They’re always open to free submissions and give feedback to all submissions. A good spot for more voice-driven, literary stories.
• The Dawn Review – Open January 15th-March 15th, then again from July 15th-September 15th. They consider literary fiction up to 10 pages, and offer around 300 words of free feedback to the first 150 submissions they receive (so send your work early in a reading period if you want to get comments).
• Utopia Science Fiction Magazine – As you might guess from the name, this is a journal for sci-fi. Specifically, they want stories that have an optimistic view of the future. They have rolling submission deadlines, with the next one for their disability pride issue (submit by April 1st) followed by an unthemed issue (deadline June 1st). Check the box at the bottom of the submission form if you’d like to receive feedback (though, as they say, it isn’t guaranteed).

Some other currently open journals with a paid feedback option:

• After Dinner Conversation ($65) – This is a journal with a very specific niche: they only publish fiction that poses an ethical question. If you have work in that vein, they’re open year-round and offer a few lines of feedback to all submitters. You can also pay for more in-depth feedback from their editors with the Story Feedback option.
• Baubles From Bones – A publisher of sci-fi, fantasy, and horror stories, open through January 29th. They’ll consider up to 8,000 words but prefer things on the shorter side of that range. The cost for feedback isn’t listed on their guidelines but you can request it by clicking the button on the submission form.
• Black Fox Literary Magazine ($59) – Black Fox is open to fiction of all genres and styles, and offers paid feedback for ficiton up to 5,000 words, in the form of a letter from the editors.
• Chestnut Review ($15 or $99) – This is a beautiful market for literary fiction. The next rolling submission deadline is March 31st for their summer issue. Submitters can add 2 tiers of feedback. The $15 feedback gets you comments from the readers, while the $99 version is editorial feedback, including full document mark-up and a written response from one of the editors.
• CRAFT ($59-$99) – Another primarily literary market. The cost of feedback from CRAFT depends on your story’s length (up to 6,000 words). The feedback includes both line-level edits and a 2-page letter of comments and suggestions.
• Fahmidahn Journal ($9-$70) – This London-based online quarterly also has a press focused specifically on the work of POC and women identifying writers. They’re primarily interested in literary work, though they’re open to experimental and genre-bending. Paid feedback options range from $9 reader feedback to more extensive line editing and editorial letters ($35-$70, depending on number and length of pieces).
• The Masters Review New Voices ($69) – This category is always open for writers who don’t yet have a full-length book published by a major publisher (self-published and indie published authors are still eligible). They’ll consider stories up to 7,000 words and tend to publish literary fiction.
• Mud Season Review ($45) – Mud Season looks for “deeply human work that will teach us something about life.” They’re open through January 31st for the current reading period. While they’ll publish stories up to 6,000 words, they’ll only offer feedback on up to 3,500, in the form of a 250-500 word critical response.
• Nunum ($10) – Nunum publishes flash flash fiction only, 500 words or less. Their reading period for feedback submissions ends January 31st. They’re open to a range of genres, and also publish a sci-fi specific anthology each year. Feedback takes the form of written comments from editors.
• Oranges Journal (£13) – Another one with a tight focus, Oranges Journal publishes intersectional feminist writing. They’re looking for work with a unique point-of-view and rarely take anything longer than 6,000 words.
• Orca ($12-$49) – Orca publishes literary and literary speculative work, up to 8,000 words. Their basic ($12) feedback is up to 500 words of general craft-based comments. You can also get in-depth feedback for $29-$49, depending on the story’s length.
• Sixfold ($5) – This unique online lit mag is submitter-voted. The works published in each issue are chosen over 3 voting rounds, and submitters get comments from the other writers who read and voted on their stories. All genres are welcome, up to 5,000 words. The deadline for the next round is February 28th.
• Spank the Carp ($4) – Spank the Carp publishes literary and sci-fi stories up to 5,000 words. You can get personalized feedback along with a quick response by picking their Tip Jar option.
• Uncharted Magazine ($69) – This is another arm of the literary octopus that also runs CRAFT, Masters Review, and FracturedLit. Their focus is on genres, specifically sci-fi, fantasy, thriller, mystery, and historical fiction. They’re also one of the few short fiction markets I know of open to YA. They’ll consider stories up to 5,000 words and feedback comes as a 2-page letter with revision suggestions and overall comments.

See similar posts:

#Feedback #Submissions #ShortStory