Cause of Light

She stood at a distance, imagining her daughter there, playing. She saw how her daughter lit up with glee when she was near the sea, or scampering along the shoreline, collecting shells, poking holes in the mud with a stick, or simply ambling along ensconced in the mercury of being. What is the difference between memory and fiction? She watched and listened, as a mother would watch and listen. The sea splashed forth, retreated, splashed forth, retreated. The rhythm was soothing, unmistakable, dependable. This was the sea of her past, her childhood. Her daughter had never been to the sea, had never played in the sand, as she was playing now, a fugue and ghostly footage in her mother’s time-hunted eyes. She went to the rocks and sat down, staring out from behind dark sunglasses. She remembered days and nights on the beach with her girlfriends. They were young once. I was young once. Now, I am older and my daughter moves lyrically along the shoreline, glee-infected. What is the difference between memory and fiction? Ephemera becomes us, and we it, whether we like it or not. Some ephemera, geared on a fast-track, takes away what we never had, what could have been, gusts invading a sandy beach. The sea, a smooth slate-gray mirror, briefly, then the mounting of ripples disturbing the smoothness, and in its place, a grammarless script. What is the difference between memory and fiction? She looked out at her daughter, a hundred or so feet measured in years, no time at all, her daughter wandering elliptically along the lacy edge of the sea, rhythm unbroken. Behind her daughter’s footsteps, she saw flashing traces of color, the remnants of fractured rainbow in harmonic motion, following the cause of light.

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A.I.

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End of Days

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©

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Ghost Story

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Titanic

A voyage into the time-haunted unknown, a love story casting two alone as wreckmates aboard a sinking ship in a salacious sea of bop consciousness.

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Lyric Alone

Mind over matter, and mind over matter dreaming, and this the lyrical alone, the magnificent hovel and shrine, what it means the lyrical alone sounding sublime, and solitude alone the shrine and hovel, o magnificent bastards of ghostlight, the tenderest sublime, from here I back-look deeper within, the middle dream side reel, to a past I’ve never really had, in a kind of movie passing I see myself, or what passes for my life floating to and fro in fragments.

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Melodrama

Let’s start with this 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 burning ovals of abyss-pooling licorice, sweat in silvery beads rolling down your short skirted legs, collecting in the dimples of your 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 considerably, an 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 the 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 bene 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 back 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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Cinema

If cinema is a tomb, then let us die watching. The angel over my shoulder is hunched, dark, morphing. None of us ever leave behind the dark of the theater. We are here, always. Sanctuary, haven, enclave, respite, sitting tight and homey with reels of flickering filmreel to keep us 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 kept wrecks and deepest secret selves.

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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 lighting 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 to teach a mirror the meaning of fire. So be it. After all, newly formed landscape and it accompanying ruins have become my pyramid and playground, lonely yes, but at least I can walk around with my pants down. This is not a book, not the beginning of something that hopes to one day 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 a salty grave of a sea. It started with imbecilic stuttering, a chorus of apelike tremolos, which morphed into mirror-hawking parakeets, followed by lightless dead-eyed stares 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, leaks 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 and words keep 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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