I have not encountered much direct opposition where someone is willing to say to my face that I should not have written a few of my books, but I will still just set the record straight here. There are so many people talked about in the memoir A Dragon Comes as Well, and so much is discussed in The Semantolkino'hara that all of it begs the question of whether I should have written and released them to the public in the first place. My opponents can make the argument that "it is not typically done"- no one writes about others directly. Doing so is not in accordance with the folkways and norms of society. Some may see it even as rude or jeopardizing my career.
For my rebuttal to all this, I say that such criticism is derived from preconceived intent to place too much attention on me while ignoring the actions of everyone else and the circumstances that brought all of it about. I did not just one day wake up and conjure these works from nothing. They happened as a result of real life events happening to me. The circumstances and events that came about (my so-called "golden scenario") comprise what was an outlier situation.
As for my memoir A Dragon Comes As Well, I have kept a print copy with me. Over time, I have come to realize that it contains details that are highly valuable and indispensable, even for me, the writer of the book. How much more might someone else appreciate a thorough and lengthy rendition of events that was put down not too long after the events occurred (for anyone to be able to call my memory into doubt), and preserved for those who may wonder later? For example, the memoir preserves a message written to me by former U.S. President Barack Obama. When the digital copy is lost, or when my life is over, the message will continue to be preserved in this text of the book.
A work's popularity speaks nothing to its quality as art or its veracity. Many highly regarded works of art and were not recognized as great immediately or in their time. The same could happen to an artist's whole career. Here is a list of "incredible artists not appreciated in their time"- http://www.onlineuniversities.com/blog/2010/11/10-incredible-artists-unappreciated-in-their-time/ Many things are not appreciated in their time.
I don't need sales or popularity to validate my work, as if majority vote is going to declare whether or not I should have written those things. Would that have stopped Shostakovich under Stalin's reign? Would that have stopped Mozart in his time of poverty? Would we have wanted those people to stop writing for those reasons? No. Yet, we don't know them personally, but only through their art and their biographies. (Granted, they were composers, and I'm talking about a memoir and a chatauqua book. I'm just trying to shed some light on my personal ethos. Composing can be considered like as a form of "writing."). Many of you do know me! How much more do you care about me than Mozart or Shostakovich?
If I have an image problem, then who is there to stand up for me, speak up for me, and set people straight on the facts? No one. Do you think I've made a factual mistake? Find a mistake and show it to me. The memoir has been highly worked over, and The Semantolkino'hara is in its third, going-on- fourth edition.
If have made any misstep in the writing of the memoir, it is not in talking about other people. My misstep might be in giving details about my past that I really don't stand to benefit from giving. For that reason, I may only leave "part one" on Amazon and make the rest of it harder to get. Any small regret I might have can be dealt with that way, making said regret null. Part one, as a stand-alone work, even though I left some names unchanged, is really actually beyond reproach considering all that has happened to me. I think the "combined version" is getting a lot of views in the preview feature of Amazon. To respect the fact the book has to be obtained "in full" in order to be read "in full," it may be pulled soon and made more exclusive. One should not read the preview snippets on Amazon and think they know the whole book from that. That is ridiculous, because you cannot receive the whole book in the "look inside" and "surprise me" function. As for the sales page of The Semantolkino'hara, the preview is set to stop before the book's content actually begins. One has to purchase it to even see what is said in the book.
I've heard criticism of the "mystical" elements of The Semanotolkino'hara, but those criticisms are addressed in the "Objections Answered" section of the book itself. I don't subscribe to "Kabbalah" as a religious worldview. The materials I have written about have "practical value and application," as well as "pedagogical" value. (I do realize that kabbalists defend themselves the same way. That is the crux of the problem. However, the practical value of the materials in my book is irrefutable). For example, two of my music compositions have their origin with the Semantolkio'hara materials- the Short Orchestral Suite No. 1 and The Last Supper for String Orchestra (links provided). The difference with this approach to music composition as opposed to most others, is that its roots are in the Scriptures and things of God.
While the Scriptures (the Bible) is my ultimate authority, my ultimate authority also tells me that the power of God should not go unrecognized- to know the Scriptures and the power of God is prized (Matthew 22:29). In that passage, Jesus answered the Sadducees (who believed there was no resurrection), saying "You are mistaken, not understanding the Scriptures, nor the power of God." If God has shown His power through my personal story, my testimony, then who wants to be the one to deny my right to say it? For this reason, I am not on the wrong side of the Scriptures in regards to either book. Since the books contain my testimony as to how the power of God worked in my life, then that is fine. They serve to glorify God.
Borrowing the tonal musical extract of my student's piece for The Semantolkino'hara should not be seen as wrong, either. My book is essentially an effort in "musical diplomacy." An order of personal events created the order of pitches for the first row in the book. Ms. Phan was connected to that situation, albeit remotely, whether or not anyone likes that. The first row rises to its own potential convincingly and marvelously by the addition of a second one, extracted from her piano piece. The work should have served to calm down the multiple parties involved, but I don't think the initial diplomatic intent is understood. If it has helped, I don't know how or when it did. A transcendent view of life in which time/place concerns are disregarded would help to make the work beneficial in terms of diplomacy.
I would even argue that The Semantolkio'hara is not even understood yet, in the first place. As I've moved on in life, I've uncovered even more things to say, as I've researched Kabbalah further. I've written enough more material to add appendices and have a fourth edition. Many things about Kabbalah are utterly fascinating, though not actually truthfully valid in terms of a worldview platform, and there are many basic points in the "Practical Mysteries" which can't be refuted for being just basic facts about the Hebrew alphabet, etc. The Semantolkino'hara template can serve as a structure or construct to help understand Kabbalah and/or the Hebrew language and how the Hebrew language works.
In summation, I have no regrets in writing or releasing either book. My testimony and situation is such that the release of the truth of many details vindicates me. Withholding many truthful details and speaking lies was the standard "mode of operation" of my opponents. I have little to hide. Whatever details I can offer usually serve to vindicate me. Therefore, a whole account needed to be given to snap things into order.
For my rebuttal to all this, I say that such criticism is derived from preconceived intent to place too much attention on me while ignoring the actions of everyone else and the circumstances that brought all of it about. I did not just one day wake up and conjure these works from nothing. They happened as a result of real life events happening to me. The circumstances and events that came about (my so-called "golden scenario") comprise what was an outlier situation.
As for my memoir A Dragon Comes As Well, I have kept a print copy with me. Over time, I have come to realize that it contains details that are highly valuable and indispensable, even for me, the writer of the book. How much more might someone else appreciate a thorough and lengthy rendition of events that was put down not too long after the events occurred (for anyone to be able to call my memory into doubt), and preserved for those who may wonder later? For example, the memoir preserves a message written to me by former U.S. President Barack Obama. When the digital copy is lost, or when my life is over, the message will continue to be preserved in this text of the book.
A work's popularity speaks nothing to its quality as art or its veracity. Many highly regarded works of art and were not recognized as great immediately or in their time. The same could happen to an artist's whole career. Here is a list of "incredible artists not appreciated in their time"- http://www.onlineuniversities.com/blog/2010/11/10-incredible-artists-unappreciated-in-their-time/ Many things are not appreciated in their time.
I don't need sales or popularity to validate my work, as if majority vote is going to declare whether or not I should have written those things. Would that have stopped Shostakovich under Stalin's reign? Would that have stopped Mozart in his time of poverty? Would we have wanted those people to stop writing for those reasons? No. Yet, we don't know them personally, but only through their art and their biographies. (Granted, they were composers, and I'm talking about a memoir and a chatauqua book. I'm just trying to shed some light on my personal ethos. Composing can be considered like as a form of "writing."). Many of you do know me! How much more do you care about me than Mozart or Shostakovich?
If I have an image problem, then who is there to stand up for me, speak up for me, and set people straight on the facts? No one. Do you think I've made a factual mistake? Find a mistake and show it to me. The memoir has been highly worked over, and The Semantolkino'hara is in its third, going-on- fourth edition.
If have made any misstep in the writing of the memoir, it is not in talking about other people. My misstep might be in giving details about my past that I really don't stand to benefit from giving. For that reason, I may only leave "part one" on Amazon and make the rest of it harder to get. Any small regret I might have can be dealt with that way, making said regret null. Part one, as a stand-alone work, even though I left some names unchanged, is really actually beyond reproach considering all that has happened to me. I think the "combined version" is getting a lot of views in the preview feature of Amazon. To respect the fact the book has to be obtained "in full" in order to be read "in full," it may be pulled soon and made more exclusive. One should not read the preview snippets on Amazon and think they know the whole book from that. That is ridiculous, because you cannot receive the whole book in the "look inside" and "surprise me" function. As for the sales page of The Semantolkino'hara, the preview is set to stop before the book's content actually begins. One has to purchase it to even see what is said in the book.
I've heard criticism of the "mystical" elements of The Semanotolkino'hara, but those criticisms are addressed in the "Objections Answered" section of the book itself. I don't subscribe to "Kabbalah" as a religious worldview. The materials I have written about have "practical value and application," as well as "pedagogical" value. (I do realize that kabbalists defend themselves the same way. That is the crux of the problem. However, the practical value of the materials in my book is irrefutable). For example, two of my music compositions have their origin with the Semantolkio'hara materials- the Short Orchestral Suite No. 1 and The Last Supper for String Orchestra (links provided). The difference with this approach to music composition as opposed to most others, is that its roots are in the Scriptures and things of God.
While the Scriptures (the Bible) is my ultimate authority, my ultimate authority also tells me that the power of God should not go unrecognized- to know the Scriptures and the power of God is prized (Matthew 22:29). In that passage, Jesus answered the Sadducees (who believed there was no resurrection), saying "You are mistaken, not understanding the Scriptures, nor the power of God." If God has shown His power through my personal story, my testimony, then who wants to be the one to deny my right to say it? For this reason, I am not on the wrong side of the Scriptures in regards to either book. Since the books contain my testimony as to how the power of God worked in my life, then that is fine. They serve to glorify God.
Borrowing the tonal musical extract of my student's piece for The Semantolkino'hara should not be seen as wrong, either. My book is essentially an effort in "musical diplomacy." An order of personal events created the order of pitches for the first row in the book. Ms. Phan was connected to that situation, albeit remotely, whether or not anyone likes that. The first row rises to its own potential convincingly and marvelously by the addition of a second one, extracted from her piano piece. The work should have served to calm down the multiple parties involved, but I don't think the initial diplomatic intent is understood. If it has helped, I don't know how or when it did. A transcendent view of life in which time/place concerns are disregarded would help to make the work beneficial in terms of diplomacy.
I would even argue that The Semantolkio'hara is not even understood yet, in the first place. As I've moved on in life, I've uncovered even more things to say, as I've researched Kabbalah further. I've written enough more material to add appendices and have a fourth edition. Many things about Kabbalah are utterly fascinating, though not actually truthfully valid in terms of a worldview platform, and there are many basic points in the "Practical Mysteries" which can't be refuted for being just basic facts about the Hebrew alphabet, etc. The Semantolkino'hara template can serve as a structure or construct to help understand Kabbalah and/or the Hebrew language and how the Hebrew language works.
In summation, I have no regrets in writing or releasing either book. My testimony and situation is such that the release of the truth of many details vindicates me. Withholding many truthful details and speaking lies was the standard "mode of operation" of my opponents. I have little to hide. Whatever details I can offer usually serve to vindicate me. Therefore, a whole account needed to be given to snap things into order.
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