Celestial Bed · Read more · The Celestial Bed. Read more · The Celestial Railroad · Read more The Wrong Bed Your Bed or Mine. Read more. In his most powerful and provocative novel to date, master storyteller Irving Wallace turns his incomparable talents to the world of sex therapy. Erotically charged. Irving Wallace was born in Chicago, Illinois, raised in Kenosha, Wisconsin, and educated in Berkeley, California. Wallace's 16 novels and 17 non-fiction works have sold tens of millions of copies around the world. His bestselling Cold War novel The Prize was made into a film.
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The Celestial Bed - site edition by Irving Wallace. Download it once and read it on your site device, PC, phones or tablets. Use features like bookmarks. Complete summary of Irving Wallace's The Celestial Bed. eNotes plot summaries cover all the print Print; document PDF. This Page Only · Entire Study Guide. Read "The Celestial Bed" by Irving Wallace available from Rakuten Kobo. Sign up today and get $5 off your first download. In his most powerful and provocative.
My discussion will take as one of its guiding threads the role played by the sublime in Graham's therapies and in his discourse about them. Graham's home and the Temple it houses stand at 'the centre of that noble pile of buildings, called the Royal Terrace, Adelpi'. The buildings are 'elevated, extensive and superb', 'raised at least a hundred feet from the surface of the river' and decorated with 'the most substantial battlements'.
This sublime edifice stands midway between 'two of the largest and most beautiful bridges in the world'—Blackfriars and Westminster To the left, St.
Paul's most magnificent, yet most solemn Cathedral. Burke writes that 'Succession and uniformity of parts', as seen for example in 'the isles in many of our own old cathedrals', stamps 'on bounded objects the character of infinity'. As visitors enter the Temple, they find its rooms cluttered with ornaments, decorations, paintings and scientific equipment.
In Room No. IV there are 'three Aegytian Sphynxes', 'a five gallon brilliant cut decanter, with a curious glass cock for emitting water'; 'India fumigators for oriental essences'; a print of Queen Charlotte, the Prince of Wales, and the Princess Royal; 'an original painting by. Van Dyck'; 'instruments for restoring animation to persons apparently dead', 'Electrical jars and vases', 'a hundred little gilt frames exhibiting every disease of the human eye', 'a perfectly exact artificial eye', and so on 19, 23, 25, This profusion establishes an aesthetic space at one remove from the 'real' world, in which objects, divided from their previous contexts and meanings, can be redeployed as signifiers of both Graham's knowledge and the 'elementary fire' he deploys.
During their passage through this space, visitors experience at least in Graham's account not one but a series of sublimes, arranged so that each sublime is displaced by a still more remarkable one. On arriving at Room No. I, the spectator first catches sight of a superb electrical jar. The curious figures and ornaments of tin, copper, silver, and gold—the sweet lustre of the colours—snowy white,—rose colour,—crimson, yellow and purple;—and the divine brilliancy of the electric or celestial fire—in glorious assemblage united, strike with surprise, astonishment and delight, the eye and the heart, of every beholder.
Lying 'horizontally and lengthwise along the room' is a 'stupendous metallic conductor' that, Graham assures us, 'is no less than eleven feet long, and four feet in circumference; and is so far elevated from the floor, that a man of six feet four inches high could walk erect under the lowest part of it' 6.
At one end of the room is an enormous electrical cylinder connected to the prime conductor by the body of a fiery dragon, no less than six feet in length, double gilt, and of most exquisite workmanship. It's wings are expanded, its eyes blaze with electrical fire, it appears flying through the luminous atmosphere, towards the cylinder, and with its forked crimson coloured tongue it receives the lambent elementary fire.
The patient sits on this throne, while Graham directs and moderates the electricity accumulated in the apparatus. In the unfolding sequence of sublime spectacles, this apparatus is itself surpassed by The Great Apollo Apartment, No. IV, which houses the Temple itself.
As Graham expatiates: words can convey no adequate idea of the astonishment and awful sublimity which seizes the mind of every spectator. The first object which striking the eye astonishes,—expands—and ennobles the soul of the beholder, is a magnificent Temple, sacred to health, and dedicated to Apollo.
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Electricity is generated by 'two cylinders of brilliant glass, and of prodigious size'. It is passed to the 'dome of the temple, by means of an astonishing fiery dragon', which Graham describes as 'a male, and fellow to the female in the great room below' I, electricity moves along a primarily horizontal axis. In the Temple, the primary movement is downwards: 'a large regular group of massive brass rods pierce the dome in the form of an inverted cone, which end in a ball from which depends a magnetic crown'.
Sometimes the crown is removed and tubes are attached from which drop, or rain, or run by the force of air, electricity, or magnetism, or by the united power of the three, aetherial essences, nourishing dews, vivifying attractive or repellent effluvia and influences—while from innumerable points flows a glory, or seeming beatification, from the celestial or elementary fire upon the patient. So great a stream of electrical fire flows to the pavilion 'that the patient, when the Apollo chamber is darkened, appears enthroned and environed with a visible species of celestial glory!
On the one hand, the agents bind us to each other and to the world; on the other hand, they link us to the divine. The apparatus in Room No. I focuses on the former: electricity rushes in a 'torrent of fire' along a horizontal axis that passes through the dragon, along the prime conductor, until it emerges in 'prodigious torrents' to be harnessed and directed by Graham.
In the Great Apollo Apartment, the second aspect of the life-force is prominent. The temple is a receptacle for the prima materia that flows into the temple from 'great reservoirs' in the dome. The 'stupendous' prime conductor, as satirists were quick to point out, is a phallic form,  while the Temple and Pavilion in the Apollo Apartment are 'feminine' forms, receptacles designed to hold the life-force.
In the Pavilion, the patient plays the role of foetus, lodged within a womb-like space filled with celestial fluid. On the throne, this same fluid is deployed to 'connect' and 'animate' individuals, thus vivifying social as well as individual health. These contrasting aspects of the same power, and the contrasting apparatuses that are their respective vehicles, support different therapies.
I, the life-force has been concentrated and intensified by its passage along a narrow material body. It can therefore be used to apply powerful 'electrical and magnetic shocks' that, sending a flood of electricity through the body, sweep away obstacles that divide the patient from life. Like the medicines lying on a shelf above the prime conductor, the patients' bodies are 'impregnated, exalted, and arbitrarily acted upon' by this force 6.
In contrast, in the Apollo Apartment health is achieved by more gentle therapies that, by filling the body with electricity, promote growth and invigorate the 'vital principle'. In this room, health is isomorphic with 'fruitfulness', illustrated by the 'curious, rare, and valuable plants, flowers, and fruits' 15 that adorn the dome of the Temple and by the portrait of 'a matron' who with one hand caresses 'two children' and 'with the other holds a cornucopia with fruits and flowers' Although Room No.
I emphasises the material and Room No. IV the spiritual aspects of the life force, in both rooms there is a complicated relation between spiritual and material, male and female, active and passive powers. In the first Room, which focuses on the action of electricity within the material body. Electricity passes from female to male forms, from the globe and female dragon to the phallic prime conductor, where it is stored and condensed.
According to Galen, 'All people were. The vagina and possibly the uterus and womb were thought to be an inverted penis and scrotum. It was only the greater heat of the male body which drove these internal organs outwards to form the penis, scrotum and testicles. I, the movement from female to male forms registers the greater accumulation of 'life essence' in the latter.
The architecture of the fourth Room implies the spiritual origin of electricity. The relation between God and his creation is commonly presented as a relation between active and passive powers. The Swedenborgian Robert Hindmarsh writes, for example, that: The distinguishing characteristic of a male is activity; while that of a female is re-activity: Thus God, as an active Creator, is properly male; and the whole creation, as a re-active subject, is properly female.
IV, the relation between male and female powers is therefore reversed. Two phallic cylinders are now the source of the vital fluid that passes through a male dragon to fill the feminine vaginal, womb-like spaces of the Temple and Pavilion. There are two acts of sexual congress implied by this architecture. Room No. IV is quite literally the 'Great Apollo Apartment', the feminine space which from time to time houses the great Apollo himself and stores the vital 'stuff' that emanates from him.
At the same time, the Temple is the female complement to the masculine prime conductor in Room No. The rooms therefore imply a curious sexual conjunction: a female body provides the locale within which material and spiritual masculine-powers cohabit. The inseminations performed or implied by these parallel masculine principles operate in tandem with each other, together tracing a supposed natural cycle defined in relation to the passive female body: Apollo plants the seed that brings the material world to life.
This means, however, that the vital principle is enclosed within a material body. If life is to remain healthy, the material world must remain open to its spiritual source. This is why the operation of the prime conductor is salutary and medicinal. By removing blockages it opens the female space to celestial influence. This partnership between spiritual and material, male and female powers, remains a staple of Graham's 'philosophy' throughout his career.
In A Sketch he refers to 'the sun and moon' as 'the greater and lesser—the male and female lights, whose mingling rays and influences produce that pure, invisible, vivifying—universal principle, which animates and nourishes every thing in the world' In A Short Treatise on the All-cleansing.
Qualities of the Simple Earth, he represents: our World or System, as a Creature of an ambiguous nature, and as partaking of both Sexes. The higher part of our system, namely, the celestial, being active and masculine; the lower, or more gross elementary part,—of the passive and feminine nature. It implies that the vital principle animating this world and streaming from the eternal world is a sexual power.
In his A Lecture on the Generation, Increase, and Improvement of the Human Species, Graham claims he is 'clearly and decidedly of opinion that even the venereal act itself. Then follows the discharging, or passage of that balmy, luminous, active principle, from the plus male to the minus female. These are all mere, plain, demonstrable electrical processes. Here we have the negative and the positive fire,—and the active and the passive principles,—the plus and the minus state.
In short, there is a perfect analogy in every respect. These parallels identify semen as: The. The Bed was '12ft. Above it, a 'super-celestial dome' served as a 'grand reservoir of those reviving invigorating influences which are exhaled by.
Beneath, 'About fifteen hundred pounds weight of artificial and compound magnets, are so disposed and arranged, as to be continually pouring forth in an ever-flowing circle, inconceivable and irresistibly powerful tides of the magnetic effluvium' He writes in A Private Advice that if you want to conceive you should 'be exceedingly fervent in prayer, melting our beloved into one, when the balmy kiss, at the critical point of extasy and delight approaches, that surpasseth all understanding'.
For that portion of his potential audience, there was no doubt cause for alarm. Graham's sketch of the Temple is published with his 'The Christian's Universal Prayer', a paraphrase of the Lord's prayer. The Temple is perhaps the world's first sex clinic, yet Room No.
III contains a Bible used for 'family worship! In A Sketch he refers to: the Temple of Health; the Celestial Bed; the 'material soul'; 'electrical or celestial fire', and so on. These collocations bring religious categories into realms usually deemed secular; however, only in a very particular sense does this migration trope the body as divine. Health is imagined by Graham as a feminine, passive body correspondent with an active, masculine and divine power. The emergence of this ideal, healthy body occurs against the background and itself in part defines an unhealthy body, closed within decaying flesh, animated by drives and passions not tutored by the divine.
The healthy body is a willing receptacle for the 'Light, Serenity, Life and strength' that proceeds from the 'upper masculine part' of the world. Unfortunately, the doctor laments, this is not always the case: 'from the lower or female part, as, alas!
He distinguishes between 'that pure—chaste—sacred flame which pervades not only the human body, but universal Nature' and 'the intemperate, impure, and all consuming flames of Venus'. The former is 'fed by simple and homogeneous food and drink' , the latter by 'gormandizing, drunkenness, and all manner of enervating and debilitating vices and indulgences' Chief amongst these vices is masturbation: every seminal emission out of nature's road.
Together they provide strong motivation for patients to subject themselves to a power supposedly able to divide them from corruption and to transport them towards a body of bliss. Freud writes in The Ego and the Id that [t]he ejection of the sexual substances in the sexual act corresponds in a sense to the separation of soma and germ-plasm.
This accounts for the likeness of the condition that follows complete sexual satisfaction to dying, and for the fact that death coincides with the act of copulation in some of the lower animals. These creatures die in the act of reproduction because, after Eros has been eliminated through the process of satisfaction, the death instinct has a free hand for accomplishing its purposes.
But the framework offered by Freud is misleading to the extent that it treats the death instinct as a biological urge to return to inactivity, and therefore underplays the extent to which it might be produced by cultures that trope death as an accession of life.
Moreover, in Graham's therapy, the death 'instinct' fuses with and intensifies the sexual instincts. In A Sketch Graham articulates these seemingly disparate moments by drawing on the three-part scenario of the sublime: the passage from blockage, to transport and elevation.
Measured against this 'stunning power',  'we shrink into the minuteness of our own nature, and are, in a manner, annihilated'. This eclipse of our vital powers, however, leads to an unexpected conclusion. Rather than bringing the experience to a catastrophic end, deflation is the prelude to transport.
The power that had stopped us in our tracks now 'hurries us on by an irresistible force'. The hearer finds himself as unable to resist it, as to blow out a conflagration with the breath of his mouth, or to stop the stream of a river with his hand. His passions are no longer his own. In attempting to explain these metamorphoses, theorists of the sublime commonly draw on theories of imitation and internalisation.
Longinus writes: by true sublimity our soul somehow is both lifted up and—taking on a kind of exultant resemblance—filled with delight and great glory, as if our soul itself had created what it just heard.
The Celestial Bed
In Young's Night Thoughts, for example, Death brings the narrator to a standstill and alienates him from his previous life.
Measured against this 'King of Terrors',  the narrator is as nothing. Paradoxically, this experience throws into relief a portion of the self not subject to time. The narrator discovers within his own body 'An awful Stranger, a Terrestrial God.
Where Gods Encounter, and embrace me! It is this influx that inflates and, indeed, remakes the self, liberating it from subjection to the material world. That there is some kind of afflatus that passes from the source of the sublime to its audience is implied in many accounts of sublimity. Longinus refers to the operation in sublimity of a power 'beyond nature' that 'drives the audience. Young alludes to a 'strange Fire, Eternity! For Graham's patients, the sublime power that has stopped them in their tracks is Death or, more accurately, the 'Thought of Death',  roused by the experience of illness.
In Graham's Temple, however, illness and Death are troped as indirect presentations of the sublime source of all things. The architecture and iconography of the Temple, as we have seen, 'teaches' that health emerges through subjection to that source, figured almost indifferently as electricity, magnetism, sex and the divine.
This sublime power removes the blockages that had previously divided the patient from the source of life. This involves a reorientation of the self from artifice to nature, and from the cultural to the vital source of things.
Whether in the religious sublime or in Graham's Temple of Health, possession by a more powerful agent leads not only to a disciplined body but to ecstasy.
Graham offers himself and his Goddess of Health as prime examples of this metamorphosis. His apparatus gives him 'a kind of almighty power' 21 that he can use to harness the powers and reproduce many of the effects of nature : I can literally and visibly draw down into the room confining, rendering not only harmless, but even very salutary, the lightning from the clouds of heaven—while I can concentrate the beams of the sun; squeezing the various kinds of air into close prisons, separating, combining, gently dismissing or expelling them with tremendous violence—so, likewise, I can exhibit the exact appearance of the forked lightning, and imitate with my machinery the horrible—the awful noise of the thunder storm.
Graham's power over the inanimate world parallels his power over the flesh. He boasted of 'an absolute command over the health, functions and diseases of the human body' 21 , was confident of his ability to restore 'animation to persons apparently dead' 23 , and was adamant that he would enjoy 'perfect health, till I shall be at least an hundred and fifty years old' Graham died when he was As the power Graham wields is divine, the bodies he conjures are young, perfect and chaste. Graham is therefore accompanied not by his wife but by the young, beautiful, purportedly virginal 'Goddesses of Health'.
For patients and spectators, Graham is himself a sublime 'object'.
At the beginning of A Sketch, Graham identified the Temple of Health as a point from which a remarkable number of sublimities could be seen to unfold, and which brought into harmony the disparate perspectives of country and city, religion and politics, culture and nature, and so on.
At the time, this no doubt seemed whimsical or paradoxical. Although the self might be elevated by any one of the sublimes glimpsed from the Temple, their 'centre' is elsewhere, in political or commercial power, within an urban or rural landscape, or ultimately in a transcendent God. As readers are introduced to the Temple of Health, they discover that the finite space of the Temple, although dwarfed by the sublime scenes that cluster around it, paradoxically contains a succession of sublime objects.
The journey through the Temple of Health is at the same time an allegorical passage into the heart of the universe.
A Party To Die For.
Dr James Graham's Celestial Bed
Gillian Larkin. Death Mask. Graham Masterton. Daddy Defender. Janie Crouch. Forced To Be a Schoolgirl. Jo Santana. Nothing Left to Lose. Dan Wells. The Other Mother. Carol Goodman.
That Time in Venice. Delaney Diamond. Wrong Groom, Right Bride. Patricia Kay. Baby in a Million. Rebecca Winters. The Safe-Keeper's Secret. Sharon Shinn. Some Like It Rough. Gale Stanley. The Crossdressing Trap: Made to be a Schoolgirl. Too Lucky to Live. Annie Hogsett. Building Billions - Part 3. Lexy Timms.
Building Billions - Part 2. Ditter Kellen. Sharp Dressed Man. Stop Premature Ejaculation Now. Janet Hall. The Raven Room. Ana Medeiros. Next Move, You're Dead: Linda L Barton. If It Bleeds, It Leads. Laura Di Battista. Hands On. Debbi Rawlins. Australian Boss: Diamond Ring.
Jennie Adams. Perfect Lie. Teresa Mummert. Chronicles of a Bare Naked Nudist. Jacob M. At Rope's End. Edward Kay. The Lord of the Hat.
Obert Skye. Tim Ellis. Every New Year. Brenda L. The Argument. William Boyd.
Joanna Pearson. Rhett Heath. Phantom Touch 1. Mac Flynn. Stephanie Martin. Legally Comatose. Rory Chambers. Ferocity Summer. Alissa Grosso.
Serendipity or Fate. Nevyn Smythe. Lights in the Night. Greg Alldredge. New Reality 3: Michael Robertson.
The Road Chosen. The Simplicity of Being Normal. James Stryker. Perfect Sex. Autumn Breezes. Nicole Parker. In Her Hands. Shaunna Gonzales. Forbidden Part 2.Good read. Driven from Arizona by state law, Freeberg moves his practice to presumably liberal California, taking his best surrogate, Gayle, with him. Chet is given money to go to the clinic for treatment of his condition: I, the spectator first catches sight of a superb electrical jar. He is survived by his children, Amy Wallace and David Wallechinsky, both best-selling authors in their own right.
Mar 03, Scalacpa rated it it was ok. Chavy rated it really liked it Sep 25, Red Blooded Rookie. Thanks for telling us about the problem. In the following year, the French allied themselves with the Americans against the British.