Seasons of the Mask

The mask lifted. Autumn lisped.

Lost, and lisping about a mausoleum of hours, days.

It was a dry Marienbaddish summer. Which gave way to fall. You have to imagine it giving way: Summer, holding up its illustrious red velvet cape, lush and crenellated, entreating Autumn to step forward and take its place. Autumn, cricket-boned, amok with murmurs and whispers, sepia crunch toasting the edges. Autumn silently took the place of Summer, and Summer took to the air and earth in its dispersal aimed toward waiting and rebirth.

I saw this through my lifted mask. I peeked. My right eye was swollen. I could feel hammy flesh pouching round my eye. My left eye was closed. In the past it had been a killer, a mercenary gaze, a rapist … it was my lizard eye. One lizard eye, one bruised tender lover of an eye. I saw through a mask. The eyeholes of the mask were slightly corroded. Too much acid. Too many seasons. Not enough tears. Something. A lover’s tundra is one you enter at your own risk.

If masks could talk.

If masks could talk they would say.

If masks could talk they would say What would they say?

I would love to host an autobiography and podcast for the voices of masks. Masks inherit stories. Masks are equal parts lighthouse and storage bins. They hold, they protect, they conceal, they contain, they allow. Masks are green lights according to the other lights in which we traffic . I used to live a red-light existence, and I wore the proper masks to allow for and accommodate this existence. There is no such thing as light, only tricks of the light.

Did you know that your masks wear masks? Than when you take off your mask, your face is not there, your face will not be bared to the world, born to the world, uh-uh, another mask is waiting, another mask revealed and exposed, because your masks wear masks. This is where you get into the physics of ad infinitum. Where do masks begin and end? Are we born bare-faced or mask-faced? Are we born wearing an inheritance and claim from genealogy, from past lives, from karmic shackles and bind—is there a sheerest mask to begin with, a sheath of translucent plasma, and from there, the assemblage and stacking of masks begins its mass industry?

Autumn comes limping in. It needs a cane. It is too proud to ask for one. It is already shamelessly shedding in front of spectators. It is already grieving summer’s loss and growing old rapidly to demonstrate and confirm the passage of seasons to a curious audience. Autumn is supremely noble in its saudade. It refuses a cane.

Allow Autumn to touch your mask, to fondle it with spindly sepia fingers, and enjoy the tender mortuary of Autumn’s slow-burn seduction.  

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Dreamer’s Cheat Code

A.

I sit down at my desk 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 crawling along 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.

B.

I am a trickle of saliva on the Great Dreamer’s lips, hot homeless spittle contracting air, the tail-end thread of a wrinkle on the Great Dreamer’s perfect faceless face, a blank slate, a coin minted by eternity.

I am unheard of, uncalled for, and losing sleep, an insomniac pining for scissors and dirty panties.

Her bedroom feels a million miles away. Good thing I have eyes, multiplying, in the back of my memory.

C.

I am rowing

always to never arrive

never to seek—

Neverland another form

and recall of dreaming.

In other words,

better never than late.

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Ineffably Yours

There’s something seductive 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, so I succumb to temptation over and again. Black holes are the sexiest death traps ever conceived. All this action, including me and everything I’m saying takes place cinematically on a voided screen. The writhing squiggles and motes 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 muddied core and quarry of words. Scarry, scarry stories buried beneath heart, in luminous splinters and silvery shards, where is the balm, where the fallout shelter, where the roots of hunger-cave in which we dwell like eyeless angelic moles —wanting, waiting, peaking, longing, shadowing, miming, blinking off and on, off and on, depleted fireflies hovering above dark bubbling bog. Mania as freebase and purge. As nostalgia and bane. What can we expect from words always reaching beyond themselves, beyond their capacity to grasp and maintain?

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Stitch

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 consuming need and hunger to discover who’s dreaming me? Why can’t I just be the silent stitch and breath, free from the ping and bings of wondering? I think this compulsion began when I became aware (more of a sneaking suspicion really, a hunch) 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 recall of real-life fiction. Or fiction spanning real-time. What I know about the O.G. Dreamer is that I know nothing, and I want to scream I-don’t-know into a mega-watt god-conch. If I-don’t-know were a superpower, I’d be nearly omnipotent.

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Melodramatic Reel

Let’s start with the photo, the comic melodrama in which you, perfectly staged, are wearing a blue pinafore dress, your dark hair gagged in pigtails, mouth heavily lipsticked, cheeks cherubically rouged, your eyes two flashing ovals of abyss-pooling licorice, sweat in silvery beads rolling down your skirted legs, collecting in the spaded dimples of knee-blades, your hands a pair of static birds tied down, mouth bound, and hovering above you the flashback villain of old, caped in a black shawl, top hat tilted rakishly, oil-slicked handlebar mustache, the villain greedily rubbing his sweat-greased palms together, his entire existence a rapacious glisten, and his primary ambition in life has been reduced to singular malice, to see you run over by the locomotive that will come thundering down the tracks any minute now, any minute … once this happens, he will, he believes, retire from the annals of villainy and adopt a well-respected position that ensconces him into creased folds of society, society as he sees it, an origami lawn neatly ordered, and here comes the train now, you scream as loud as you can (yet your voice has been rendered dead and screamless by the silent film predicament you find yourself in) and screamless you are run over by the train, THE END flashes in block letters on the black curtain of my closed eyes, my longing eyes, I wish I could mourn this death for a longer time, but this is only the first with many more to come.

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Screen Test

If cinema is a tomb, then let us die watching. The angel over my shoulder is hunched, opaque, morphing.

None of us ever leave behind the darkened theater. We are here, always. Sanctuary, haven, enclave, respite, sitting tight and homey with reels of flickering filmstrips to keep us warm hazy company. We remain here, happy slaves and obedient imps to the dance between light and shadow. We don’t care what films are pimped out to us. Every genre becomes our appetite.

Cinemanesthasized. That is us, what we have become. A bewitching trance in which we fondle and romance our tethered wrecks and deepest secret selves.

It is no coincidence that tomb and womb are so close to one another, phonetic cousins kissing in the dark.

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Genre-Bending

Historyless is where I come from, the sun-crotched navel, the part of me not yet born, the part of me dead to the world on its way to being born into the potholes and foothills of unimagined fictions. Fiction or fictions are suspended sentences. Suspended between what we perceive and report to be real, and what is not. Perception is the stepchild of morph.

I am, in this dank dreamless station, waiting to be born, waiting to discover, what I mean is uncover, all an uncovering and remembering, re-membering by definition is membering beyond the vagabondage back to the I-never-borning I-never-dying.

On the cosmic level, there are no tears. Dry windless worlds beaconing light to anoint the variations on selves cycling through and through, no end to selves sounding a concert, selves in a slideshow alone-feeling yet connected-teeming. This, the crisis of phenomena, daring is to be what is. The blue breath of want chastises mirrors. Nowhere as in the present moment and now-here. Language equal parts glyphic and syphilitic as it traffics sublimely in warmest belongings and hints.

I, in the dank dreamless station, native votives in blue and gray, I am waiting to be born, and the world that follows will be one of prevailing fictions, a succession of plot twists in a long dreadful line of penny-ante suspense, potboilers, pulp, red herrings, and reversals of cause.

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Chelsea Hotel #3

We Are Ugly But We Have the Music.

This is our title, our collective moniker, our flagless flag, denominating no allegiances, no cultural attachments, no geo-political persuasions. None of that. We dwell underground, or to be more accurate, the underground lives inside us, and our voices have taken on the mineral timbre, metallic resin, diamond dust dreams, and whetted clay lips of the underground swelling and rising.

Many do not view us. We are not pleasingly viewable, not well-documented, not registered for countless likes or repeated downloads. We Are Ugly But We Have the Music.

We gather under the auspices of this tagged birth and nomenclature, and beneath us the earth is always at the mercy of shifting tectonic plates. Protean are our takes. And we play, we play on.

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Titanic

If there were two, then let us say there were two. The two danced on the time-haunted deck of the Titanic, they called it the Titanic because they understood the floor beneath their feet was not to be trusted, nor the worldscape which was always at the mercy of shifting tectonic plates. Here today, gone tomorrow. Gone tomorrow, here today. A courtier’s ceaseless shifting of nodes. She, one of the two, lowered herself upon the creak-wooden floor and blew him. She rose up, musky penile skinflakes clinging to her lips, and he, the other of the two, lowered down and blew her. They swapped out organs liberally, as they saw fit, they were measurably reciprocal in their take and give. They blew each other back and forth seesaw-style because they loved each other, because wind was their mentor and silence their grace, because they desired to become immaculately vulgar, they blew each other because the fate of every Titanic was inescapable, they blew each other because they were two. There might have been others. They didn’t see them. She was she was a mother once, possibly twice. He said he had played a child at least a thousand times. Every generation slips a knot. The blue want of the world was hunger impossible, or desperate flights from hunger impossible. He wet the tip of his finger and plugged it inside her ear, conceiving of ear as he did this, imagining it a bright clay appendage, a tender mollusk. She removed her ear and replaced it with wax candy lips, a Cubist invention of her own volition. They, the two, devoured each other historically, simultaneously. The world had gone and unimaginably stayed gone. They were two, and they were. It was enough. The most concise and satisfying math equation ever. To be there and to be gone. To be simultaneous and to be absent. They found all this out by dreaming through and through. I mean dreaming that went all the way through, no turning back. Imagine, if you will, two tiny O-shaped mouths like goldfish puckers, suckers for absorption, and therein lies the mystery, gremlins and vast greening ponderances of life. Once upon a time…

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Pandora

I won’t call this a book because no one reads books anymore, no one gives two shits and a dime about books. I’ll call this an exalted and long overdue mania, a catalytic inversion, a freebase purge. Whatever, whatever.

Voyeurs now live and lurk elsewhere. So one such as myself is freed up to roam with my pants down, with hopes that lightning will come down hard and sizzle my crotch. Once every generation or so, a crotch is lightning-fried, cruci-fried, then duly forgotten. So be it. So be it has become my stopwatch and slapstick. I disavowed permanence a thousand years ago, and in the thousand years since, it has been one long droning spell of bewitchment, rubbing two sticks together profusely to teach a mirror the meaning of fire. So be it. After all, newly formed landscape and its accompanying ruins have become my pyramid and playground, my cradle and fallout. Lonely, perhaps, but at least I can walk around with my pants down.

This is not a book, not the beginning of something that one day hopes to grow up and become a book, books, all books died in a childbirth holocaust many moons ago, midwives fled the scene screaming for order, orders from the top never arrived, and books flopped and floated belly-up like swollen dead fish in the salty grave of sea.

It started with imbecilic stuttering, a chorus of apelike tremolos, which morphed into mirror-hawking parakeets, followed by lightless dead-eyed gapes at navels, crotches, ankles … never eyes. Eyes stopped meeting eyes. Without eyes, the extinction of books was one of innumerable side-effects. No longer seeing eye to eye, the lot became eyeless, and the eyeless had zero interest in reading books, and less than zero interest in writing them. So be it.

My misguided intention is to invent a caravan of solitudes, a circus of nobodies, or degenerates of vagabondage, on and on, some invented group or another through which I can warm my loneliness by the proverbial fire. To think, that I once dreamed … to hell with that.

You know what I found? A child’s broken heart, and therein its fields of dreaming, no, not a child’s broken heart, children’s broken hearts, a glaring multitude, leaking sapwater which is favored by trees. There is no purer liquid on earth than that which derives from children’s broken hearts, hence the strategically aimed slaughter and clustering sport of carnage. The barbarians have long since advanced beyond the gate. Your blood, and your children’s children’s blood, is on their hands. They move about freely, red-handed, a proud race of barn-burning rapists.

I live here, waxing, waning, in my regal hovel, my christlike fallout, and words keep on wording, the idiotic bubbling up like furious snails, I place them where I can, I imagine the others I can’t see listening, someone must be listening, and caught in these wheels between here and not, now and when, I insist to no one listening that this is not a book, I say this again and again, etching my vigor in troubled air, again and again trusting that fool’s gold bears value of some sort, this can’t be a book because all that tripe and jazz ended long ago and can never begin again, never, ever, though maybe, perhaps, under certain unforeseen conditions … no, don’t start with all that nonsense again: leave Pandora to her ashes and anal weathering.

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