This text is largely composed of what I am wont to call philosophical supernotes - a sort of cross between essays and aphorisms - and is not written in the usual linear fashion of a straightforward progression from idea to idea, but follows a spiralling course towards a kind of ideological summit which is both an ending and a beginning, an achievement and an aspiration.  In such fashion, ideas are not stated and abandoned, as in the linear mode of writing, but are introduced on one level of the spiral and taken-up again on another, higher level later on, where they are re-worked in more detail or clarified and consummated, as the case may be.  Sometimes a particular idea, or theme, will pass through three or more turns of the ascending spiral before finally being abandoned; one might argue that such an idea is major rather than minor and forms a kind of leitmotiv to the work as a whole, appearing first in one way, then in another, modified by changing perspectives as much as by position in the literary edifice.  For why should one confine oneself merely to a single point of view?  Or expect the reader to recall everything stated on an earlier page when he is over half-way through the work?  Re-statement enhances the idea's credibility, lends it extra weight, and keeps it fresh in the mind.  I have never despised repetition, nor contradiction, or what may appear as such.  An idea tentatively expressed lower down the literary edifice may be but an introduction, an exploration of unknown and, by its peculiar nature, hazardous or controversial material.  Re-expressed in slightly different and firmer terms higher up the spiralling edifice, such an idea acquires the mantle of conviction, of ideological certitude.  In such fashion, philosophical progress is made.  And the reader, mindful of the contrast between the earlier and later perspectives, is left in no doubt of it!  He becomes the chief witness of the unfolding and maturation of higher truth - what I am wont to call Supertruth, which is above and beyond all illusion.


John O'Loughlin, London 1986 (Revised 2006-9)