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#3866 - Friday, April 16, 2010 - Editor: Jerry Katz

The Nonduality Highlights

Here are a couple of entries from the JustPerception site. I'm not sure who the author is, but I believe I came across him on Facebook.    


The following review of the movie Donnie Darko is from the website/blog

I don't think I know who the author of the blog is.

“Donnie Darko – what the hell kind of a name is that? It’s like some kind of superhero or something…”

“What makes you think I’m not?”

When it comes to truth realization, Donnie Darko is the greatest motion picture ever made. This film easily skirts nearer to the edges – paralleling what’s going on in this universe, as far as it can be put into the art of film – than any other ever created. Was that the original message, or were any similarities merely unintentional? Irrelevant. Donnie Darko has moved frighteningly close to the truth. Watching the movie does not necessarily mean you are ever going to figure out what’s going on in the storyline, let alone the universe. That said, it still points as precisely as a movie can to what is happening within this realm and beyond. Through allegory and allusion, no doubt, but also in many direct, tangible ways. By actually doing more than hinting at the bizarre circumstances which make up the mystery of life, Richard Kelly’s script and both versions of his debut film come very close to tapping into the truth – in a way more dead-on than any other work in cinematic history.

As far as I’m concerned, anyone who had anything to do with creating this film has earned a ghetto pass for life – no matter how crappy some of their other work might be. If they signed onto do this project, and had whatever guts, foresight or intuition necessary to alert them that this was a movie they had to be a part of (especially Drew Barrymore, who essentially should get the lions share of the credit for making this film possible) they are to be commended. This movie confuses many, many people. It is a riddle, a puzzle, a Cliff’s Notes-free spectacle of art – with multiple layers and interpretations which easily spawn dozens and dozens more without a second thought. The film is a complex reflection of life in the universal dream. And in a remarkable way, it has the potential for both mirroring and expanding a person’s current level of the understanding of truth – wherever that level may be at that moment.

Donnie is Arjuna. Frank is Krishna. And the entire tangent universe community is the battlefield Donnie falls before – faltering, and then re-arising, on the morning of the apocalypse.

You, like Donnie, are also the hero of your movie – reluctant or not. Whether it’s an adventure or not. Whether it’s a tragedy or not. And yet at the same time, your life – ironically, at every single level – is truly not your own.

This film is a shadow of the truth.

And the source of that shadow is what’s going on.

The truth, while freeing, is not necessarily comforting.

Or even anywhere near understandable. But let me ask you this – how understandable is your current life, even on the outermost surfaces? Do you think that the truth – ridiculously, starkly, and frighteningly simple as it is – is not, conversely, also the most complicated quandary the human being will ever confront?

Like Twin Peaks and Blue Velvet, Donnie Darko gets the viewer beneath the surface fast – only in this case, the surface breached is that of the space-time continuum itself. In the span of two hours (and twenty more complete minutes in the Director’s Cut) Donnie moves from one level of comprehension to the next through fits and stops. All the while knowing at the core that nothing is really in his control. And intuiting in his heart that something both disturbing and explosive awaits.

There is not a segment of this film that is not permeated with the potential to open one up to an ‘understanding’ – however limited – of what lies beneath. The final ten minutes, most especially in the Director’s Cut, serves as the Yang to the culmination of 2001 ’s Yin. As a result, the conclusion of Donnie Darko brings the audience closer to dramatically paralleling the mechanics of breaking through to IT (or rather, having IT break through to you) than any work of art ever committed to celluloid.

Aim for that moment with full intent, get to that final stretch, gulp that last gasp of air as you fall off of the path – and as Richard Rose said, you’ll make the trip.

“Why are you wearing that stupid man suit?”

I’m going to end this the way I started it.

When it comes to truth realization, Donnie Darko is greatest motion picture ever made.



The core of this is nothing new, for these points have been made in other ways numerous times. But there are in Nautilus six facets involved in the uncovering of Truth directly – and an addendum, a seventh facet. Every word written or spoken about these topics from this end all in some way fall into describing, deconstructing, elaborating on or pointing toward some aspect pertaining to one or more of these seven facets, and the undoing of the false and the resultant discovery of what they detail, in order to, once all has been seen through, realize Truth directly:

The seven facets of Nautilus -

1. That it is inaccurately believed that one is the thoughts that are heard, and thus one has become wrongly identified with their content – and all that must be undone in order to realize directly that this is false.

2. That it is inaccurately believed that one is the emotions and energies that are felt, and thus one has become wrongly identified their content – and all that must be undone in order to realize directly that this is false.

3. That it is inaccurately believed that one is the human body that is being taking in; and in addition, that it is not true that the body-when combined with the thoughts heard and emotions and energies felt combine to form an autonomous, self-animated creature – existing, acting or separated from anything in form – and all that must be undone in order to realize directly that this is false.

4. Discovery of the witness, or awareness, which is taking in and watching the body and the surrounding environment – and all that must happen in order to make this discovery.

5. That the witness, or awareness, does not constitute a separate autonomous being of any sort, but rather a complex and multi-faceted aspect of the unfolding illusion, and that one is not the witness, or awareness – and all that must be undone in order to realize directly that projected identification onto the witnessing function is misguided and false — so that as a result it may be discovered:

6. That All That Remains is Nothing and Everything. Unbound. The Unidentified and Unidentifiable. The Absolute – in which all in the dream arises and is sustained – THAT is all there is, and is not. The true identity is no identity, and all in the dream (witness, awareness, body, emotions, energy thought) are constructs of the dream and ultimately not real; an illusion, unable to be supported or maintained outside of that construct – and as such have nothing whatsoever to do with IT.

And lastly -

7. The Final Exam, or life lived following the (non)event of this direct discovery of what has always been the case.

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