If words could talk-- part 2

Words are not paving stones, though some would find that an acceptable picture -- a path though the garden of reality. Words can be, the edge of cliff....

If words could speak

Words are like paper airplanes, folded, creased, and set aloft. The fun is that they sail. There is no mystery, the laws of aerodynamics explain the lift, the course, the drift. Words are like consciousness itself. The event is not something carried along, but the flight itself. The sharp nosed paper aloft is consciousness. Any point, moral, import, message, is not the point. It is aloft, and no spiritual dimension is required to explain it. The mystery is not what the meaning of these short-lived flights contains, portends, suggests -- the words are from the past, their folds are part of consciousness but to expect some verbal baggage from the flight is to let gravity. Many seek just to stay aloft --such is the struggle, the effort, and a reward. 

So Gravity Swept the Oscars

Whether or not you doubt ordinary entertainment can have an enduring artistic aspect, you can ask whether the scenario in Gravity is so popular because it resonates with basic human dramas and one of these, one not discussed at all at the level of ordinary consciousness, is, why aren't more people drawn to, and constructive in, the anti-gravity efforts of a few.  I refer of course to the struggle of The Work. Why are not more people interested in, and rewarded by, this eternal human dimension. 

At first glance it may seem there is nothing so scary as being untethered from the satellite station. Floating free, with an untrammeled view, and of course certain doom. Doom because there is no one to talk to ---- no no, of course I meant no one to hear you.  My suggestion is that  there is a parallel between the untetheredness of space, and the goals of a mystic. 

Death is the one thing that Jan Cox allowed as a human "problem." And then, his allowance of any real problem confronting man was begrudging. Yet who can doubt that the phrase 'certain death' is redundant.

And so I exclude that plot point in my metaphor. Is there any help in our struggle to be gained by considering the question of the appeal of the movie Gravity? 

How is it that a facsimile attracts more attention and devotion that the original of which the facsimile is a sketch?