Shikasta by Doris Lessing is the refined version of her earlier Briefing for a Descent Into Hell. She has stripped away the visionary excesses, and improved on the core idea: Cosmic forces look with frustration on the state of the Earth, and send emissaries to be born onto it to make it better. But they often get distracted and lose their way, trapped by human corruption and confusion.

The Earth was once psychically linked with Canopus, our cosmic superiors, and everything was bliss. But the link broke, and all went bad. Canopus creates religions to guide us, but they always deteriorate. As the 20th century ends, Earth’s diseased materialist culture collapses in a nuclear holocaust.

Shikasta is humanity seen through the glasses of the worst of 60′s/70′s theory and spirituality. Western culture is explicitly inferior. Science is just a religion. Material well-being is pointless. Canopus often comes across as arrogant, ignorant and, through association with all religious founders, evil. Unintentionally, I think.

But I don’t care. This is brilliant. I can’t mock it, I would feel small. It’s as if Lessing deliberately plays the part of a New Age mystic, saying “you’ve seen what others have done with this role, now look what I can do with it”. And she uses this premise to explore the missed potential in all of us. To dissect, reprimand and inspire.

Shikasta is not a novel. It is prophecy, in the Old Testament sense. Doris Lessing is Jeremiah. And Jesus. And the Buddha. I’m in awe.

Pacemaker, eng., person som ved trening e. konkurranse holder sig foran en løper, syklist o.s.v. for å lette hans arbeide e. opmuntre ham.

Paraply (fr. parapluie, mot regn), regnskjerm.

Parykk (fr. perruque), en tettsittende lue utvendig forsynt med hår (tagl, ull, e.l.)

Pedagogikk, den videnskaplige behandling av opdragelseskunsten.

Pedofili, se Perversjon

Perversjon [..] Den viktigste p. er homoseksualiteten.

Piken fra Norge, navn på Margrete, skotsk dronning

Plattenslager; i da. har ordet fått bet. “bedrager”, likesom uttrykket “slå en plade” i da. betyr “narre, bedra”.

Pollusjoner, ufrivillige sæduttømmelser, i alm. under søvnen. [..] Ved seksuell overirritabilitet kan p. bli meget hyppige og være ledsaget av nevrasteniske forstyrrelser; den eneste rasjonelle behandlingsmåte er da et regelmessig og hygienisk liv, særlig i seksuell henseende.

Positi´v. 1) Mindre orgel som bare er forsynt med labialstemmer, – 2. Lirekasse.

Pote´ter, urt fra Andesfjellene i Chile, Peru og Ecuador.

Promiskuitet, kjønnslig samliv i fleng.

Prylestraff, legemlig revselse, kan nu bare anv. i opdragelsesøiemed overfor barn av deres foreldre e. andre som står i foreldres sted, samt av skolen (dog ikke på piker over 10 år), hvis de av skolestyret fastsatte regler for skolens orden og tukt gir adgang dertil.

Pumpernikkel, en slags grovt, kliholdig rugbrød som opr. brev brukt i Westfalen, Preussen.

Pyøng-yang, by i det n.v. Korea, ved jernbanen Søul-Mukden.

Med inspirasjon fra Kjetil Johansen.

In the Pyat quartet, Michael Moorcock gives a voice to the fascist Europe we left behind. The voice is a Russian engineer, a conceited techno-utopist who escapes the Russian civil war with a hatred of Bolsheviks and Jews. To make Pyat merely a fascist follower would be too simple. He’s rather a sibling of the fascists, like the Italian futurists, an independent thinker whose emotions find resonance with the fascist movements when they arrive, without falling in line behind any particular leader.

Byzantium Endures took Pyat through the Russian revolution and civil war. In The Laughter of Carthage he wanders through Europe a rootless emigrant, eventually landing in the US, where he makes friends with the Ku Klux Klan. With all Pyat’s faults, it may be excessive of Moorcock to also give him a cocaine addiction and a 13-year old lover, but what’s impressive about these novels is how reasonable Pyat appears in his own voice. And his voice is all we hear, apart from Moorcock’s introduction. The real story is a puzzle for observant readers to solve.

The novels are narrated by Pyat as an old man, a shopkeeper in London. This gives his story a melancholic slant. Pyat’s life has been a failure in every way. The stories he tells of his glorious youth are merely the rants of a bitter old man. The reader pities him. But it’s a cautious pity. Moorcock’s achievement is to show that the Europe Pyat personifies is neither remote nor fully dead.