What If?

What is imagination
but a continual granting
of permission-to-self
to free-associate
beyond constraints, blockages
and moral codes,
to bob and float,
weave and flow,
in a wine-dark sea of dreams,
to riff
like a muthafucka
whose fleabitten
firepants
are down around
his scraped existential
knees.
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Boy and Girl

   I remember the time, Anya, when my mother asked about you and me. I was thirteen. My mother’s sickness was in its early stages. She had already turned the couch in the living-room into her sickbed. She hated lying down in the bedroom, she said she felt isolated and forgotten, like she could just fade away and no one would know.
   I had just come in from playing wiffleball. She started asking me questions and somehow the topic became you and she asked if you and me were an item. It was the first time my mother had ever asked me about you in that way, the first time she had ever mentioned romance. I had a hard time looking at her when I told her no me and you weren’t an item.
   I always thought you two would wind up together, she said. I still think that, don’t you?
   My mother was smiling. It was like she knew something that I didn’t about us, about the future. It was a fortune teller’s smile.
   I don’t think we’ll wind up together, I said, and she said, Why not?
   I told her I don’t know why not I just don’t think it’ll happen, we’re friends and I think we’ll always be friends, that’s what we are to each other.
   Maybe you’re right, she said. But I don’t know, you two, ever since you were little kids … Remember how she used to follow you around everywhere?
   Yea, I said. And I used to get mad.
   You did but also you liked it, my mother smiled.
   Then my mother’s voice got more serious when she said—You know Daniel, boys your age, they talk about girls a lot, they go on and on about girls but really they’re scared. They don’t even know exactly what it is they’re scared of and that’s what makes the whole thing even scarier and more confusing. And when I say boys that covers all ages because there’s no such thing as men, that’s a myth. There’s no such thing as men, only big boys and little boys.
   That’s what she told me Anya, what I took in. What do you think? Was it like that for you? No real men, only boys pretending to be men and some not even pretending. I wonder if Peter Pan is to boys what Jesus is to sinners?

boy-cute-first-kiss-first-love-girl-Favim.com-183422

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Timeshare

It is scary once you realize that the past can be changed, and that the future is fixed, a rigged absolute. Knowing that changes everything.
And what about the present?
For some the present is intolerable cruelty, unimpeachable company.
For others it is a mirage, a raging gag.
And still for others it is a solution, a salvation. The one and only true salvation.

1972 Bill Binzen Photo From DOUBLE TAKE Book SURREALIST Upside Down Airplane

(Image by Bill Binzen)
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Ghostfeed

It’s tough to always be in love with a ghost. Also it’s easy. The living don’t stand a chance against ghosts. In loving ghosts there are no real complications, no real disappointments, no real anything. There’s lots of teething on absence, lots of wrestling with thin, haunted air.
Loving a ghost is like having some incorruptible tryst in a dream-state.

wem_ghost_fire

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Anya Rising

Except from No Man’s Brooklyn:
   I see her rising off the bathroom tiles, toes pointing downward.
   I know this is a dream but I also know this actually happened, once, a long time ago.
   Except then Anya was dry and fully clothed and she was in a hallway not a bathroom. And she was alive.
   Now Anya is dead and I am watching her rise.
   She is slick and bright with moisture (indicating that she has just gotten out of the clawfoot tub which she hovers in front of) and wrapped in a beige towel which covers her from the freckled tops of her breasts to just below her thighs.
   Her hair is a water-darkened mass plastered against her back.
   Palms turned out, hands quivering with rigidity. As are the muscles in her flush-pink face.
   Her nose is bleeding, just as it was that time in the hallway. A thin scarlet thread snaking its way from her left nostril to the edge of her chin.
   I marvel at the phenomena of inches separating Anya’s feet from the floor.
   I marvel at Anya, and the nearness of her unreachability.

blue & gold

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Review of Nocturne

Johanna Debiase’s review of Nocturne Variations, appearing in the Taos News.
“John Biscello’s newest novel, Nocturne Variations, is exactly what the title promises, a dreamy narrative landscape bursting with a lyrical kaleidoscope of sights, sounds and perspectives. The reader is given the pleasurable task of piecing together a puzzle from found ephemera of one young woman’s attempt to escape, not just a crime boss, but memories, adulthood, loneliness and herself.
Some people grow up too fast. They are thrust into maturity for any number of reasons and miss out on the joys and freedoms of childhood.
Other people are slow to mature. Late bloomers avoid adult responsibilities and extend their childhood beyond years that society deems acceptable.
But what about a person who does both? What if someone was forced to grow up fast, but held on dearly to childish things? What if Peter Pan had to take paternal responsibility for all the Lost Boys in a Neverland where the repercussions of careless actions were all too real?
Biscello rewrites Peter Pan, the iconic character who never grows up, as a 17-year-old runaway with a voracious appetite for beautiful young women and an addiction to a drug called Sike that gives one the sensation of childhood, ‘like that little girl who spins around and around and falls down and is happy.’
To read the full review click here.
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Promontory

I, perched on a craggy promontory overlooking my childhood, and its entire formless geography, saw them, my friends, all of them: a mutant strain of cryogeny, a mummified quivering changelessness, as if youth hadn’t been lived through but pickled.
It stuck to them, like barnacled remnants of infanticide, like stillborn chunks of adolescence, and I re-directed my vision inward and saw the same thing, a sideshow in an airless tent.

Bucket-List-Write-In-Wet-Cement-Uncustomary-Art-3

 

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Distance

 People have called it the glow, the click, the hum, and for every abnormal drinker, for every addict, you are willing trade in everything for what amounts to a rigged facsimile of eternity. It is the sort of false eternity that swindles and seduces and you are happy to be swindled and seduced, to yield to the siren-call and the Salome of promises, to indulge the fatal basking. And so yes, Jung was right when he stated, “Addicts are frustrated mystics,” because the innate desire, the heartcave hunger is to commune with God, to connect with something bigger and purer and truer and deeper than what you know or what you have experienced, to connect with Other and live deeply warm and worry-free inside a dream, to cover impossible distances in the shortest, quickest, easiest manner possible. Addicts have a hard time taking the slow road to heaven. And busying oneself with the impossible is one way of protesting reality.

index

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Fathers and Sons

I understand that I am not only with my father and grandfather as family, but also as a writer. I am sketching them. The mechanical hand in my mind that never stops is charting and sketching and composing them. I feel that I am with them, but also at a great distance from them. I fictionalize my father as he speaks, as he gestures, what he says and does, what he doesn’t say and do. I am creating from him on the fly, a sort of metaphysical free sketch, drawing from his reality and unreality, and in that sense I am also creating myself. It is a relationship based on invention and rooted in artistic license. A part of me hates that I am doing this. Or maybe not hates but feels somewhat cunning and diabolical. And yet I can’t not do this, it happens naturally. I participate almost by default. It is an action that breeds a degenerate form of intimacy, which I crave.
I see and hear throughout dinner how my father so desperately wants to impress my grandfather, wants to be applauded by him, recognized, seen. My father bulldozes in with his own stories, his own flourishes of pride. He vacillates between recent past, distant past, and present, in crafting a small legacy to which my grandfather can respond with praise or compliments. This doesn’t happen. My grandfather either says nothing or somehow maneuvers the topic back to himself. In some ways it is painful to listen to these exchanges. No, not painful exactly, squeamish. And sad. And I knew the same was true for my father and me. A sad chain of fathers and sons, not hearing each other, not seeing each other, relations bereft of anything even remotely resembling intimacy. I was my father’s father as much as I was my father’s son. All of it relative in a broad, orchestral sense.
johnny gio - Copy
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Swing Set

   There was that day you wore your hair in pigtails.
   You were thirteen. Pigtails and a pale blue summer dress. I think the dress was new.
   My mother had died three days earlier.
   You and I were sitting on the stoop, looking out across the street.
   Neither one of us was talking. I remember spitting a lot. Watching a foamy, spit-puddle form.
   It was rare for you to be silent. Silence wasn’t your thing.
   Silence, pigtails, a pale blue summer dress. Somehow it all went together.
   Your hands were fidgeting though. They were placed on your lap and they’d spasm. As if reacting to some sort of allergy.
   I’d sneak glances at your hands and worry. As a source of disquiet, they terrified me. I wanted to scream.
   Yet I was able to calm myself by focusing on your pigtails.
   I wanted to swing from them.
   I thought my life would be different, for a miraculous thirty seconds or so, or that reality would soften around me if I could shrink myself down and swing from your pigtails.
   I never told you that Anya.
   I’m telling you now.

princey

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