Excerpt from :

THE KORAN AS HOLOGRAPHIC TEXT
https://hbayman.angelfire.com/en/holotext.htm
(Author Henry Bayman in 2013?)

The Koran as Indra’s Net

According to Hindu mythology, an artificer once manufactured a splendid net of jewels, each reflecting the others and the reflections of their reflections, and so on to infinity. The image of this dazzling, this magnificent, net is nothing but a metaphor for the universe itself. But equally, we now begin to perceive that it is a metaphor for the Koran as well. The Koran may be structured in the same way as the universe: it may be holographic.

In his last book, Professor Norman O. Brown turned his attention to “the Apocalypse of Islam,” where he focused on the Koran in connection with James Joyce’s masterpiece, Finnegans Wake:

The apocalyptic style is totum simul, simultaneous totality: the whole in every part. Marshall Hodgson, in The Venture of Islam—still the outstanding and only ecumenical Western history—says of the Koran, "Almost every element which goes to make up its message is somehow present in any given passage." Simultaneous totality, as in Finnegans Wake. Or, more generally, what Umberto Eco calls "The Poetics of the Open Work": "We can see it as an infinite contained within finiteness. The work therefore has infinite aspects, because each of them, and any moment of it, contains the totality of the work." Eco is trying to characterize a revolution in the aesthetic sensibility of the West: we are the first generation in the West able to read the Koran, if we are able to read Finnegans Wake. In fact Carlyle's reaction to the Koran—"a wearisome confused jumble, crude, incondite; endless iterations, long-windedness, entanglement"—is exactly our first reaction to Finnegans Wake. The affinity between this most recalcitrant of sacred texts and this most avant-garde of literary experiments is a sign of our times. Joyce was fully aware of the connection...

In both the Koran and Finnegans Wake this effect of simultaneous totality involves systematic violation of the classic rules of unity, propriety and harmony; bewildering changes of subject; abrupt juxtaposition of incongruities.

Hence, it does not matter in what order you read the Koran: it is all there all the time; and it is supposed to be all there all the time in your mind or at the back of your mind... In this respect the Koran is more avant-garde than Finnegans Wake, in which the overall organization is entangled in both the linear and the cyclical patterns the novel is trying to transcend.[13]

Here one is also reminded of “holopoetry,” developed in recent times by Eduardo Kac. Another similarity that Brown finds with Finnegans Wake is that language buckles under the weight of the message:

In the Koran as in Finnegans Wake there is a destruction of human language. To quote Seyyed Hossein Nasr: “...Many people, especially non-Muslims, who read the Quran for the first time are struck by what appears as a kind of incoherence from the human point of view. It is neither like a highly mystical text nor a manual of Aristotelian logic, though it contains both mysticism and logic. It is not just poetry although it contains the most powerful poetry. The text of the Quran reveals human language crushed by the power of the Divine Word.”[14]

Some Sufis might even aver that the heavenly archetype of the Koran, the “Mother of the Book” or “Guarded Tablet,” constitutes the DNA of the universe itself. God’s light (and God is Divine Light, “the Light of the heavens and the earth”), passing through the prism of the Guarded Tablet, projects the universe (after passing through multiple layers of existence) as a four-dimensional spacetime bubble. This Cosmic Blueprint then becomes actualized in the myriad phenomena that meet the eye. 

It is as if William Blake, in his famous lines, had the reading of “the Reading” (for this is what the “Koran” means) in mind:

To see the world in a grain of sand

And heaven in a wild flower;

Hold infinity in the palm of your hand

And eternity

                    in an hour.