We practice intimacy in scales,
from a near warmed distance—
a concentrated swath of light,
calling us forth,
entreats our internal orphan
to find fugitive solace
in the softly respiring aura
of solitude.
We practice intimacy in scales,
from a near warmed distance—
a concentrated swath of light,
calling us forth,
entreats our internal orphan
to find fugitive solace
in the softly respiring aura
of solitude.
It is in these moments
when the pumpkin orange glow
of the lanterns softens the streets
and the bicycles lined up in rows
compose portraits of ordered symmetry,
that the night turns in on itself,
and with it goes I,
breathing in the blue want
of life tenderest ghosting
to ephemeral sublime.
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 flashing ovals of abyss-pooling licorice, sweat in silvery beads rolling down your short-skirted legs, collecting in the spaded 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 rakishly, 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 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 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.
I knew this. Even before I met her, I knew this. But she, as an explicit confirmation, as a caretaker and symbiotic mouthpiece to my unsaid secrets, said, and so concisely—Dreams come out of the blue, returning to the blue.
She gave me photos of her. Look at them, she gently ordered. This is me, and this is me, and this is me. They are all dead and gone. Ephemeral variations in a haunted slideshow. Look at them. Think of me as me, think of my ghosts as me, yet none of them are me, the me telling you this right now is already dead. You understand this, right?
I nodded. I had made a calculated habit out of my nodding my head in place of speaking. It made life much easier.
I have to imagine her death from every conceivable angle. She has assured me she will disappear, said that dying is a trick of the light, and everyone was enamored of the mirage, convinced, in on it, the gag.
When I disappear, she said, I go nowhere. I go nowhere but the game of pretend goes on as it did before. Life will remain a piracy and play in which everyone mourns when they are cued to do so, and the drawing of the curtains signals intermissions, even when it seems to indicate the end of the play.
Plays, or playscapes, are separated by intermissions, punctuated by intervals. Please remember that when I am gone.
This is not a not a novel. This is a rhapsody. I rhapsodize, I bubble, I ferment, I fount. The amassing of word-shaped sounds have become rhapsodies, digressions, solos within spheres and platforms of soul-sounding species and choruses, the every and none blown through the broken boughs of a child’s wild wolfish shrieking in the woods, in the dark, primacy knows only vowels, the voice being the voyage itself, and to make stone soup to satisfy the bulge-bellied appetites of hungry ghosts, you need a whole lot of sticks and bones … the sounds in my head amounting to a concert heard by no one, ever, regularly.
Let us now begin. Every one of my stand-up routines begins, Let us now begin. From there, I improvise. I drool like a sundoped imbecile. This is and has been my stand-up routine for as long as I can remember. Performed in a vacant nightclub, a condemned speakeasy from someone else’s past. There are many somebody else’s with many fictitious pasts. Lenny Bruce, Lord Buckley, Mae West. Choose your blues and wander.
I need something to do. Somewhere to go. You can only fondle and fiddle yourself for so long. Somebody, in somebody else’s past, once said, It don’t mean a thing if it ain’t got that swing. I pocketed that nugget as mantra. I’ve got a few, yet too few to mention.
In moving through the dark, you find yourself clothed in the dark, wearing its stitches, and dark naturally flowers from your voice and yield, your stymied yet seeking being, the dark has many tones and rhythms. It is a reciprocal arrangement: You the agent, the dark your agency. It is hell, but good hell, fun tromboney hell, like drowning yourself in a festive slather of soap bubbles.
Not novels, not a novel, a rhapsody and slack rope dreaming of high melodramatic noon, and I, or rather it-through-me, ferments, seethes, founts, drools and accrues accordingly into a stand-up routine and plotless mass of word-shaped sounds.
In the cinema, hypnotized. I died a drugged and stupefied death again and again, crucified by the diminished returns of flickering images. I die, tranquilized, a sweetly solemn refugee from reality. This is the escapist way, its creed. Why pretend otherwise? Why justify? It has always been about escape. Escape from long withheld screams inflating black balloons in one’s stomach, escape from silence and jargon that says nothing and does so relentlessly, escape from so-called advances and progressions, escape from stories and shows that never quit. Reruns are all there is. If you see yourself playing yourself again and again and again, it is because you are the prey and primary chess-piece of syndication.
Where am I now? I am standing at an imaginary crossroads, picking navel from my lint and calling it starstuff. When the words come, they come from elsewhere, hail from god knows where, I sing them, I spit them, I drool unabashedly as proof of music. If there is God, he is sure to be found in drool-music. The words amass no plot. None whatsoever. Unless you are talking about cemetery markers. Those are plots tactile in reference.
I am waiting to be born. Waiting here, in the graffitied recesses of a dank station, waiting not so patiently in a state of near-crisis and psychic throb. Too much time spent dancing in my head, the dead devouring the dead, ghosts rounding out the edges. Graveyard gospels demand execution. The music is proof of being, of having been and sung. To drool is a noble function.
Where am I? At the imaginary crossroads, where I am now is what I am now, that is to say a highly sensitive vibrating antenna that sometimes translates frequencies transmitted from wherever, ennobling a hieratical obedience to mystery. I, from where I am standing, am embryonic in all phases at all times. I wish I could do more. I wish I was here. I am an instrument being played through, a broken bough blown through in fugue scatters and prints. When not played through, I feel useless. I miss the singing, the drooling, feel void of purpose. I am immersed in an ongoing recording and orgy of consciousness as a shadow script, as phantom strips of film-reel torn to shreds and carried away by the wind in all directions. I do my best to record what is being recorded. If I somehow appear in what I am recording, that is arbitrary, a side-note, a footnote, a soluble incarnation designed expressly to fade away, each one, each projected self and accompanying shadow, they must die in order to incarnate again and again, each one different yet the same, so you could say different-seeming, there yet not. I am a recitative dummy, a frayed umbilical cord of a mouthpiece with fattened lips.
It, whatever it is, passes through me, and I pass through nothing, near to nothing always.
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 dark of the 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.
Time dreamed, and I was there.
The persistently nagging sense of simultaneously being there and not being there. A fusion and mediation of allegedly separate entities, such as timelines, distances (intimacy, you see, belong to the immeasurable). The mantling of persona built from weeds and alibis, desires and habits, the masks we cycle through, then discard, disavow.
Children. Or myth. The child’s fresh-gladed perspective, the child, vision-swarming, fragile, vulnerable, tender flesh-toned antennas receiving transmissions in a cruel and unblinkingly merciless universe, a child lost in the hum-wattage of wonder, caught in the wheels or terror and awe, the rubbery wheels, a squeaking, shrieking, the wheels pitching moist soprano on the cold tiled floor, the floors long forgotten recalled in her voice, here there be voices, voices crashing and splashing everywhere, faraway and near both, a buzzsaw roar of voices, one of them small and squeaky, this one hers, hers alone: I am scared, I am seventeen, this skinny scared-girl thing, they wheel me into the emergency room, my stomach on fire, no, not on fire, like I’ve swallowed a spiked ball, no, not that either, there are no words for it…
It bothers me that she has no words for it—even though I am the one speaking through her silence, I—no words for it—there must be words—always I have sought, primarily in vain, sequential blocks and patterns and reciprocal arrangements of words to heal whatever was in need of healing, to feel, to escape, to transgress, to enable balm in Gilead (where is Gilead? and why does it require balm?)—the list goes on and on—a list dependent upon words—I have always depended upon the company and kindness of words—yet beyond the still-squeaking wheels her voice won’t leave me alone—there are no words for it (when she says this I remind myself that silence will have the last say, the truest say, I say this to myself yet stubbornly oppose it on principle alone, going on groping for words in the dark—kindness, company, balm in Gilead), but back to her voice sliding with the rest of her under hot glaring lamps, about to have a suicide, about to give birth, the life-giving, the suicide in question, questions in a world of blue, all of it blurs together in a frantic mesh, and I, I am the flash-popped result, the goo-slathered bulb. A story from out of the dark. One of many. They go on and on.
I have done my best to intimately acquaint myself with the dark, even went so far as classifying dark in its many nodes and phases (more on this later), and there is, I imagine, I must imagine, there is a self lurking beneath persona, a nameless swimmer wary of the bends and tagged for void, self that can never, ever be written or spoken about so I do my damndest to write and speak about it every chance I get, a voice touching absence on its phantom limb, a feathery delicate brushing against, expecting in return a warmly felt response, or even the slightest peck of tenderness.
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.