Mission Impossible

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Stand-In

Since I was young I have been seeking permission to exist. This I have sought from a variety of sources. And not just permission to exist, it had to be formal permission, perhaps an official document, or permission bestowed from an authority figure, someone who I rate above me or somehow more important. The permission had to feel significant or meaningful. Let’s say a girlfriend granted me permission to exist, it wouldn’t stick or hold, wouldn’t “take” as the saying goes. The permission had to hail from someone who typically wouldn’t grant that sort of permission, someone who would withhold or leverage such permission-giving. The permission had to come from someone who refused to grant it. I imagined there was some document floating out there with my name on it, and the header, Permission to Exist, in bold block letters. Why do I seek this permission? Is it somehow connected to a deep down need for ultimate forgiveness? Forgiveness for what? For being born? As if some gremlin voice had told me You shouldn’t have been born, but since you were, you’d better do everything you can to earn your right exist though you will never be granted that right.

This plague of permission-to-exist led to my becoming a stand-in. I was going to say professional stand-in, but I do not get paid. In that respect, I am an amateur stand-in. I met a professional stand-in when I was visiting Japan. I was out walking with my friend, Saki, who saw one of her girlfriends, Ai, sitting outside a café, eating ice cream with a man. Ai and Saki talked a bit, introductions were circulated (the man was Naoko), and later, when I referred to Naoko as Ai’s boyfriend, Saki smiled and said Naoko wasn’t Ai’s real boyfriend, he was a stand-in playing the role of her boyfriend, as she was going to meet a high school friend of hers and the friend’s fiancé and didn’t want to show up by herself. It was the first time I had encountered a stand-in in real life (I had seen it several times in films). The idea intrigued me. It was almost a year later when I decided to become a stand-in. I put up flyers, printed business cards, and the information was kept cryptically simple: Male Stand-In Available for All Occasions (No Charge) and my phone number. I received a number of calls from people who wanted to know what a stand-in was and what I was actually offering. I also received plenty of calls from the mentally unbalanced set. Eventually, I got a few gigs, pretty basic ones. I attended a funeral in someone’s stead, went to a party, delivered a package. Through word of mouth, my gigs grew, both in number and variety. I was the stand-in for a break-up. I met the woman at a café, and explained to her that I was there to break up with her on behalf of her boyfriend. I had memorized what he had told me to express and delivered the speech, but soon I was operating and speaking freely and spontaneously based on the woman’s reactions and engagement. It amazed me how she went from being completely shocked by my role and what I had come to say and do, and then not only accepting but embracing who or what I represented and pouring out her grief, anger, disappointment, and emotional messiness in a nearly one hour session. I was a receptacle who took none of it personally. Without any personal investment or attachment, I found it easy to fulfill the role of target and scapegoat.

I am not interested in living my own life, or trying to assemble and construct a life that I am responsible for managing and maintaining. It’s too hard to hold an identity together, to convince others of that identity, to have that identity mix and mingle and become part of an endless interplay, and it’s especially hard when you have little to no conviction that such an identity is real or lasting. As I see it, identity is a trap with lots of built-in advertisements and slogans trying to convince you that it isn’t a trap, but something important and necessary. Identity is not necessary. Having to do something to confirm, substantiate, and continually prove to myself that I am this so-called identity, or that I am these things, but not those things, this dishonest and unstable calculus of affirmation and negation being leveraged … to what end? As a stand-in, I become whatever someone else needs for a little while. That is part of the allure. It is only for a little while. It’s like putting on a pair of clothes, and then taking off that pair of clothes. I do not stay in the clothes. This life as an amateur stand-in suits me fine. The amateur part is also key. No money is exchanged. I feel as if I am providing a service to people. I am making myself useful. I think that circles back to and connects with my permission-to-exist disease. I imagine that in a very straightforward way—I allow myself to exits for others, briefly, a surrogate and unpaid rental who will accommodate the needs and wants of others. I am beyond grateful to have no life to call my own.

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The Search (In Six Parts)

1.

It has been a long, fruitless, and exhaustive search. Finding the dreamer who is dreaming you is damned near impossible. He or she or it is in there somewhere. In where, exactly? In where is the birthplace of existential dilemmas and psychic wounds. In where is one of those placeless places. There are no maps for placeless places. I know, as I have roved and spelunked there for most of my waking life. In where might seem like kin to Nowhere at all, but it’s not that simple. Or it’s beyond simple, which makes it appear all the less simple. In there registers as liminal and locationless. Liminal can be a saving grace and a pain in the ass. So, yeah … trying to groove straight to the Source, where I will lay fourth, fifth, sixth, and seventh eyes, multitudinous in their visioning, on the one who is dreaming me. The Original Dreamer, the O.G. Dreamer, the Wide Awake One, who is always dreaming, so is therefore dreamless.

2.

You

are but a thought

a stitch in a dream

the interstice between breaths.

Okay, then, if I accept and embrace my interstitial stitchiness, then why this all consuming need and hunger to find out who’s dreaming me? Why can’t I just be the silent stich and breath, free from the bings of pondering? I think this compulsion began when I became aware (more of a sneaking suspicion really) that I was being dreamed, that behind my life and mind and dreams was a dreamer, and because I was being dreamed I was the progeny and product of real-life fiction. Or fiction in real-time. What I know about the O.G. Dreamer is that I know nothing, and I want to scream I don’t know until the world thrice over is unequivocally clear on what I don’t know.

3.

There’s something about a poem lending itself to the ineffable. Ineffable as in the fathomless and mysterious. Ineffable as in unfuckable. You could say the fathomless is unfuckable. Yet the cosmos is shapely and noir and so I am instantly seduced over and again. Black holes are the sexiest death-traps ever conceived. All this action, including me and everything I’m saying, cinematically takes place on a voided screen. The writhing squiggles you see are self-produced, amateur graffiti printed in shadow, and reflect nothing of primary or significant consequence. Little me dreaming little dreams, little me dreaming through the score and quarry of words. Scarry scarry stories buried beneath heart, in splinters and silvery shards, where is the balm, where is Gilead, where does it all hail from, this the beggar-core and hunger-cave in which we dwell—wanting, waiting, peaking, longing, shadowing, sounding off and on repeating endlessly like stray lights gathered as depleted fireflies over a slick dark puddle. What am I hoping for in this manic seeking? In words always reaching beyond themselves?

4.

I sit down and wonder about placeless places, non-specific locations, the Dreamer dreaming me … it is a way to pass the time. If time were passing, could be passed, over or under, this would be one way of doing it. My little dreams are the broken edges of spidery raindrops on a highway windshield. I slide away, an escapee, a word waiting to happen. Some days these days are everything. It is all a trap, all wish and bone and many tomorrows replicating themselves in counterfeit economy and surplus. Gone today, here tomorrow.

5.

I am trickle of saliva on the Great Dreamer’s mouth, hot homeless spittle contracting air, the tail-end thread of a wrinkle on the Great Dreamer’s perfect faceless face, a blank slate and a coin minted by eternity. I am unheard of and losing sleep, an insomniac pining for scissors, on this so-called journey. I name things. It helps. Or doesn’t.

6.

I am rowing

always

to never arrive

never to seek—

Neverland being another form of dreaming.

In other words—Better late than never.

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Mazzy Star

Many people think the singer is Mazzy Star but the singer is not Mazzy Star. The band is Mazzy Star. The singer is Hope Sandoval. I cannot remember the name of the other half of Mazzy Star, the man who played guitar and wrote many of the songs. His first name is David, I’m pretty sure, but I cannot recall his last name. I know that he died some years ago, and that Hope Sandoval was heartbroken because she expressed as much.

These days I am turning to and singularly trusting in my subconscious and memory, as I have sworn off the Internet (while writing) as an experiment to see how my brain will function and operate without the aid and abetment of this powerful tool. A part of me is itching to Google Mazzy Star and find out David’s last name and then plugging it into this piece as if I knew it all along. I will create the impression that there is a flow and fluency to my recall, an ease, which of course would be a technology-enabled lie. The truth is, I cannot recall David’s last name, and so I am confronted with a blank. I have options here. I can confess to you, the reader, that I do not remember David’s last name and go from there. Or, what-I-don’t-know will become the inspiration and catalyst for the way in which the story unfolds, how the narration manifests, the direction in which it goes. Its form will be in line with and spaciously accommodating the gap of what-I-don’t know. I will have to create from and offer up blanks as I experience them. I am curious to see where this experiment leads.

The Japanese principle of zuihistsu, “follow-the-brush,” is a stream-of-consciousness way of approaching writing, because, as one person suggested, it is “less dishonest than creating fiction.” It is like putting oneself into a trance and in your trance-state, what will come out of it? You do know what you are saying or why you are saying in the trance-state, whatever comes comes, free of willful volition or consciously engineered intent. This may be the equivalent of what we would say when no one is listening, and by no-one-is-listening, that includes all the listeners living inside of you, every listener, judge, and appraiser, all of that is transcended and you are operating from a place of silence and returning to a place of silence, and you are doing so with words as your escort. I can tell you about Hope Sandoval, as I planned to. She was the face and voice of Mazzy Star, she was melancholy incarnate that I had the deepest crush on.

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Not Enough

Not Enough came out of me like a homuncular chunk of greasy green cheese, oozing and bubbling pus that hissed and wheezed. Macro-snot meets goblin. I was taken aback. This had come out of me? How? Where? This had been inside me? How? Where? Seeing Not Enough, resting in its glop-puddle, less than a foot away from me, gave me reason to pause, speculate, bemoan, lament, puzzle, etc, as many moods and tones gripped me all at once, resulting in doped and fuzzy blankness. I had never imagined my sense and feeling of Not Enough as a physical entity, yet there it undeniably was, the remnants of existential puke. The bloblike creature was in the throes of a rhythmical pulsing and writhing that brought to mind agitated water. The rhythm of grief exposed to air and light. And the sound of this rhythm was like jelly being spread on paper in syncopated cadence.

You are Not Enough aren’t you, I said to the thing. The creature was mouthless, but words came from somewhere: I don’t know, am I?

Its mouthlessness didn’t stop it from grinning, that is I could sense a grin rending a patch of air between us, as if an invisible pressure distended into something grin-like, and from this I concluded that Not Enough had a sense of humor, sardonic for sure.

Why are you here, outside me? How are you here?

Didn’t you want to be rid of me, came the response. The words were somehow clear and fuzzy all at once. And neutral in the center.

You always dreamed of being enough, well now, with me out of the picture, or out of your inner, you can experience that. Think of me…

(here a pause, and if a mouth a tongue might have clucked, if eyebrows a quizzical arch might have raised)

Think of me as a tapeworm that has never allowed you to get full. I consumed everything you ate and left you perpetually hungry. It’s not fun to walk around with an empty feeling, is it? Now you will be able to eat and get full.

I was surprised by my next question, which felt sincere and tinged with melancholy: Where will you go?

I’m not sure. Maybe find another host. Maybe sink into the earth. Maybe take up piano lessons. I’m kidding about the piano lessons.

Despite the creature’s lack of eyes, a wink formed somewhere, or registered winkishly in my expanded field of perception.

After that, thick yellow gasses, rusty-mustard in tone, hissed their way, as if out of ventricles or organ pipes, from Not Enough and enveloped it. Once the smoke cleared, not enough was gone. Just a moist oval splotch where it had been.

I stared at the oval, at what was not there. For years I had wondered what my life would be like if Not Enough were not part of it, part of me, and how it had influential subliminal sway over every decision, action, motive, and so on. In many respects Not Enough had spurred me on, had driven me. Gurus could recite to me—You are enough—girlfriends would reassure—This is enough—but none of those claims ever superseded or usurped Not Enough’s crow-caw and murmurings—you’re not enough, this is not enough, it will never be enough.

The tapeworm was gone. Outed. I would be able to eat and get full. I was absolutely terrified. And wondered where motivation would come from, or if it would come at all. I had been abandoned. A part of me wanted to scream—Please, Not Enough, come back!

Could I go on without Not Enough gnawing at me, lashing me forward? I stared for a long time at the oval splotch where Not Ehad been. It was a mirror worth referring to.

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Freight

Red notebooks. Blue. Black. Yellow. Never green. I don’t know why not green, maybe some autistic glitch or allergy. Just never green. Over thirty years’ worth of notebooks, in which sketches and impressions have been dutifully registered, recorded, preserved. Mind-breaths capsuled and contained, an ongoing play sans curtains or stage. Manic mental needlepoint continuously sketching spates and rivets of time from thin restless air. Hordes and hordes of circular messages, returned to a sender who always sends again. Battered notebooks packed into a valise. The valise doesn’t exist. I just enjoying saying and writing the word valise, I like to imagine this valise in which battered and bruised notebooks are stored, it is effect to the cause of me heading down to that station where I will wait for that train which never arrives, that will take me to that place I will never reach. Sometimes the valise is battered too. And heart-shaped. Sometimes it is maroon. Never green.

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Us

There is something bluntly parenthetical

about the ghosts which inhabit memory.

And become us,

if only in pronouns.

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Turning of the Screw

Memory as defiant neverland

where cryogeny is the norm

and no one grows up

only inward.

We bore into ourselves, screws to a tease.

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Maybe Next Time

I write as if someone is chasing me. As if I am being stalked. Or running out of time. Since childhood I have written this way, with a sense of heightened and red-hot urgency. There is someone or something behind me, giving chase. I have to keep going, or else. Also, there is someone or something ahead of me, that I am trying to catch, but cannot. I imagine these are variations of me, different iterations with different needs and wants. I am the pursuer and the pursued. The possessor and the possessed. The dog chasing its own tail, the fool shadowing an invented moon, or a game of futility with me fearing the one chasing me will eventually get me, while simultaneously fearing the one being chased will never be caught. There are no others in this equation. This is an existential loop of masturbatory exercise, or an exorcism with no devils to purge or let.

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Torchlight

She turned longing

into a form of religion,

effect to the cause

of a martyr raised

to exact scorch

from quenchless tender.

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