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Meta
Mission Impossible
Posted in Audio, Cinema, Poetry, Prose, Video
Tagged lyrics to go, mission, musing, Poetry, quest, Spoken Word, voice
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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.
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.
Posted in Poetry, Prose
Tagged writing, mazzy star, hope sandoval, stream of consciousness
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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.
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.
Us
There is something bluntly parenthetical
about the ghosts which inhabit memory.
And become us,
if only in pronouns.
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.
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.
Torchlight
She turned longing
into a form of religion,
effect to the cause
of a martyr raised
to exact scorch
from quenchless tender.