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By Root 367 0

much, or little, of the physical body is identified with it, almost all agree that "I" am not anything outside my skin. As Shakespeare's King John says to Hubert, "Within this wall of flesh there is a soul counts thee her creditor." The skin is always considered as a wall, barrier, or boundary which definitively separates oneself from the world—despite the fact that it is covered with pores breathing air and with nerve-ends relaying information. The skin informs us just as much as it outforms; it is as much a bridge as a barrier. Nevertheless, it is our firm conviction that beyond this "wall of flesh" lies an alien world only slightly concerned with us, so that much energy is required to command or attract its attention, or to change its behavior. It was there before we were born, and it will continue after we die. We live in it temporarily as rather unimportant fragments, disconnected and alone.

This whole illusion has its history in ways of thinking—in the images, models, myths, and language systems which we have used for thousands of years to make sense of the world. These have had an effect on our perceptions which seems to be strictly hypnotic. It is largely by talking that a hypnotist produces illusions and strange behavioral changes in his subjects—talking coupled with relaxed fixation of the subject's conscious attention. The stage magician, too, performs most of his illusions by patter and misdirection of attention. Hypnotic illusions can be vividly sensuous and real to the subject, even after he has come out of the so-called "hypnotic trance."

It is, then, as if the human race had hypnotized or talked itself into the hoax of egocentricity. There is no one to blame but ourselves. We are not victims of a conspiracy arranged by an external God or some secret society of manipulators. If there is any biological foundation for

the hoax it lies only in the brain's capacity for narrowed, attentive consciousness hand-in-hand with its power of recognition—of knowing about knowing and thinking about thinking with the use of images and languages. My problem as a writer, using words, is to dispel the illusions of language while employing one of the languages that generates them. I can succeed only on the principle of "a hair of the dog that bit you."

Apart from such human artifacts as buildings and roads (especially Roman and American roads), our universe, including ourselves, is thoroughly wiggly. Its features are wiggly in both shape and conduct.

Clouds, mountains, plants, rivers, animals, coastlines—all wiggle. They wiggle so much and in so many different ways that no one can really make out where one wiggle begins and another ends, whether in space or in time. Some French classicist of the eighteenth century complained that the Creator had seriously fallen down on the job by failing to arrange the stars with any elegant symmetry, for they seem to be sprayed through space like the droplets from a breaking wave. Is all this one thing wiggling in many different ways, or many things wiggling on their own? Are there "things" that wiggle, or are the wigglings the same as the things? It depends upon how you figure it.

Millennia ago, some genius discovered that such wiggles as fish and rabbits could be caught in nets. Much later, some other genius thought of catching the world in a net. By itself, the world goes something like this:

But now look at this wiggle through a net:

The net has "cut" the big wiggle into little wiggles, all contained in squares of the same size. Order has been imposed on chaos. We can now say that the wiggle goes so many squares to the left, so many to the right, so many up, or so many down, and at last we have its number.

Centuries later, the same image of the net was imposed upon the world as the lines of both celestial and terrestrial latitude and longitude, as graph paper for plotting mathematical wiggles, as pigeonholes for filing, and as the ground plan for cities. The net has thus become one of the presiding images of human thought. But it is always an image, and just as no one can use