Publication History of Springtime Publishers

At the Introduction to our first book, The Problem of Fundamental Ontology (Volumes I-III) presenting an account of the work of Greek philosopher, Heraclitus, the point was (and has remained) that discernment has to bring to cogency the dynamic mainstay of nature or physis. Heraclitus emphasized how difficult a task nature puts to us in getting movement right. Through the past thirty years, we have published studies probing what went wrong (and right) with the efforts of Martin Heidegger regarding dynamical grounds. Heidegger maintained that classical rationality apropos of the substantial grounds of presumably substantial nature lacked what it takes to make fully cogent headway. Unfortunately, he himself could not do without the substantialist first cause of Christianity, and his work settled into the evocative compromise of "onto-theo-logic." Demonstrating this has required four lengthy publications. Whereas Heraclitus proceeded directly to infer a crisis of both primal and social estrangement ("war") befalling the deadly kiss of dynamic eventuation, Heidegger’s fractured sensibility produced a historiology finding cohorts, all through the history of thought , for efforts along those lines of radical carnality. However abortive the specifics of that effort may have been, the general point as to partners in unlikely places does have a hope, and our recent publications have become galvanized by that window of opportunity within the shattering consequentiality of a Pandora’s Box.

In that second phase of operations, we’ve installed Heidegger’s twistings and turnings into a context including Edmund Husserl’s concern for the crisis of those European sciences fostered by Frances Bacon, Stephen Hawking’s attempts to keep his bounding and brilliant senses away from the bathos of conventional intellection and Jacques Derrida’s reactionary fabrication of a case for low-wattage, intelligentsia-controlled transmission of quantum power. Innovative and corrupt endeavors such as those, concerning an uncanny and wild intentional action at the heart of world history, have, more or less unwittingly, contributed to making this an era when the arts have had to be attended to. Thus Marcel Proust’s struggles to direct recollections into literature redolent of epiphantic frissons make their way into our catalogue as to serious discovery. Similarly, in James Clark’s Blithe Power, Tortured History, the choreography of George Balanchine, having more to do with Proust than a cursory, stilted tribute would contend, is placed where it might yield rewards commensurate to that artist’s genius.

A culmination of sorts regarding these harmonics is contained within the super-thin power pack, titled, Rather Have The Blues: The Novels of Paul Auster, The Films of Jacques Demy (2008), as anticipatory to the state-of-the-art laptop, Parallel Lives and the Art of Convergence. Our little (and low-cost) bomb engages the work of American novelist, Paul Auster, and French filmmaker, Jacques Demy, in its clandestine deployment of the film noir, Kiss Me Deadly, to deal with the explosive (quantum physical) consequentiality of Tocqueville’s task of "greatness" and Nietzsche’s task of "resentment."

Tocqueville strove to find an outlet for "greatness" amidst a democratic wasteland dedicated to "material well-being." Parallel Lives has constructed a ramp to that territory of highly problematic intent. It has been assisted in its actions by an extensive labor pool never before brought together. Here are some of the key players: Tocqueville, Mill, Emerson, Nietzsche, Chekhov, Heidegger, Colette, Piet Mondrian, the Bauhaus, William Forsythe, Jacques Demy, Paul Auster, A.I. Bezzerides, Giorgio Armani, Philip Glass, Twyla Tharp, Link Wray, Plato, Heraclitus, Richard Feynman, Cirque du Soleil.