Okay, it's a later in the same day. Just crossing the Richmond Bridge toll plaza on my way home. I had a conversation with health insurance still trying to understand how I got charged for more what appears to be more work than I needed. Not really sure. So yeah, it's kind of bummed me out. But anyway, I feel like if I get my mind focused and back on talking about flight of horse, I'll feel better. So I ended this morning with a kind of rough outline for the chapter. And I'll stick with that for now. But the chapter will end and a new chapter will begin. I'm not sure if well, hold on, let me test to see this recording's working.

If recording works and so I wanted to talk about how the creation story will work. The creation story might be one of the hardest stories to write in all the flight of wars because it's so open-ended. Do I use human-like demigods to describe how the world to be actors in this creation or do I take the primordial use approach? Or do I take the big bang approach? And what context and setting and mood would really set the stage for how this is going to work? The power of the text that will be preserved on the papyrus. So what is it? Do we have some immortal-do-doing amazing things? Or do we have the laws of nature coming together and just working their magic? I was referring earlier today that the idea of creation is something from nothing. So if we have an actor then we have to kind of present the idea as a spontaneous thought or a spontaneous action. What happens to the ink in the ink block? Where does it go? Is it thrown in the trash? Is it filed in some medical record? So that's pretty cool. There could be eventually a parallel to the ink block and someone's medical record. Maybe it's Florence, maybe it's the two links that contribute the first story. So we have to decide. Draw creation. What is the end result? Are we talking about our world? What appears something from nothing? Is do you even speak of time? Anything else? Maybe you simply say it happened. What do we do with an idea that we like? We foster it. We cultivate it. So how do you cultivate in a story? And perhaps creation implies cultivation like the biblical story of creation doesn't just say God did what had to be done. God created the heavens and the earth. And then in the earth part talked about what actually was created. You don't skip over the trees that are so important to the earth. But I guess the world we know today and everything that we appreciate is what you describe in a creation story. You don't sit there and say in the beginning, driving through Santa Fe, maybe three deer that I saw just as I was saying. I mean, I stopped to gaze at deer while I'm driving. So they're very important to my world. It's the wonderful animals you see. But they don't just appear out of nothing. The creation is the part that appears out of nothing. But the cultivation is what you do after creation. Maybe there's just, maybe it's a story about to literally amorphous but beings. In order and, yeah, I mean we have to humanize the story because the story is for human consumption. And you can't identify with a story if there's nothing human about it. You can't sit there and say, you know, describe a science paper. But that's not a story. The story has actors. And those actors are acted upon or act on others in a good way or a bad way. There's tension between the actor and himself or the world or others. And there's an ultimate problem but then it is resolved. Like the Egyptian story of creation. It's again, you know, both a sexual story of intercourse because it is very, like, you know, I mean the birth is the creation as far as ancient Egyptians were concerned. So what do we call this being, this thing that is created? And what is this object, I mean, that is the proto world? Another aspect of the Egyptian story is that, I forgot whose body was it? Oh, maybe Osiris's body was cut up and spread all over the world in the four corners. And I guess that's kind of the sowing of seeds because Osiris is perhaps responsible for life. So Osiris is the spirit of life. And we were talking about a Rorschach, you know, a lot, an ink block that, you know, is a... It moves across the page or appears as if it's moving across the page and as it moves across the school, the objects of our, the important objects of our world appear in it. And perhaps we transition from gas to water to solid. And then from... And then once a solid or once a water, oceans form, land forms, and then creatures come out. But we want to stay away from whether or not, you know, a human or, you know, an ape like being, being eventually becomes a human because that's not important to the story. Although humans want to debate about it and everything like that, I'm not really sure how I could take advantage of that, you know, that debate and incorporate it into the story. Although I could argue that a divine magical presence, now we're talking here, let's say that there is a war. And I don't really like the concept of a war, but a fight. And it's not even a fight. What is a word that we can describe? In the beginning there was struggle. In the beginning great struggles were made to survive. I don't know about that. But there's some kind of what is the fight? What is the struggle? What is it? And who is struggling? Well, there is the... I'm going to say the... The mother. And who is the mother? I don't want to give them weird names because I like just, you know, I don't know. But the mother was at odds with the father. Now the mother and the father, I mean like mother, like mother nature and father, like God and mother nature represents the laws of nature, science, evolution, the rational world. And God represents the mystical, magical omnipotent omnipresent world, the world that thrives off of our fear and emotion. The aspects of the world that demand our discipline and our ability to obey and serve a community, etc. One is a recipe for our ability to live in peace. And the other is simply a definition of the world. So, you know, in some ways, you know, I'm now subconsciously thinking of the line in the Quran where it says how God taught man the names of everything. And what that's supposed to mean is that man, the fact that man is endowed with reason is magical. So how do we capture that, you know, in a story? And I almost want to say that, you know, in the beginning, there was... The being that there was the planter. And that's all I'm going to say, the planter. And in the beginning there was the planter. And the ground. The planters is, you know, the... So what about the ink blood? How do I incorporate this? I am going to suggest that the ground, the mother nature, the female, they arose from the ink blood. And the... So if the ground arose from the ink blood, then how did the divine being emerge? What created the divine being? In some way, I think... The ink blood could... We could scramble that to come up with... Like if you scrambled the word ink blood to something like kinbolt, which sounds stupid. Or the... You see, what does the name of Cyrus mean anyway? How did it have, you know, where did it come from? I mean, when we describe, you know, like for example, in the beginning God created the heaven and the earth. That makes no sense when there was no God. I mean, that means who created God. So that's not the beginning. So what is it? I'm going to make sure my files aren't too big so...

Okay. In the beginning, the ink blood appeared. And again, how is this, how is the ink blood? What is the ink blood? It's not magic. So, the another aspect of these creation myths is that it has to be worthy of being in doubt with the ability to create. It's boring to sit there and say, yeah, the wind blew north and then all of a sudden a rock rolled down and we have a world. That's a culture or a belief system that really does appreciate who it is or what it is, would want more than simply that. Or is it the arrogance of that culture? Are there, I would say maybe we can add the fact that the two characters, the godlike character is an arrogant male. And the the the female, the ground is the rational, the scientific, the factual, the logical world. And I obviously do want to stay away, I mean not stay away, but just make sure I'm not implying any kind of gender. I don't know, I mean it could, but I don't want to sit there and, you know, create a story that puts a flaw or an unfair flaw in either the male or the female. So if we think of how humans are born, we have the female's egg is released and essentially attached to the walls of the fallopian tube. And it's in that tube where the male, well the sperm, you know, essentially makes its way through some magnetic force, don't really know how to the egg and then fertilizes it. So we're talking about tiny creatures, an egg that fell and a sperm that swam. So we have water, we have a swimming thing, we have an egg. Who, for what is, like, I mean, I know there's a long pause here, it's really not cool for dictating.