Station

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. That, plus a blue blue want, and soft blue rose cradled into my palm, which I attempt to not crush (its rare delicacy an everyday reminder): we must not lose touch with the feels, the feels…

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, a sworn truce with the be-all end-all.

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 glimmer, cruise and glaring crises 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 warm 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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Andrea Doria

Itchy navels, persecutions, manias, projections, snot-rimmed abysses, it’s been a mixed bag of plenty and none, and here I sit with the day’s teeth growing long and chomping down with razor-edged intensity … the stringent air of day after days passing … I, like the others, unspecified yet very much there, so it’s fair for me to say that we, we are passengers on this creaking wooden behemoth of a ship (some have called us the Ship of Fools, some have called the ship by different names—Titanic, Lusitania, Andrea Doria), I pass the days talking to myself while imagining the others listening, the process is vintage and varied, sometimes I diddle myself, sometimes I crib footnotes from old texts, and there’s always the fondling, fondling being one of the choicest diversions on this voyage, where I am going, where we are going, the ship of fools, the Titanic, the Lusitania, the Andrea Doria, I gulp depleted air from ingoing sky without ever looking up.

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Casanova’s Memoirs

The weevils chewing through the wall and burrowing into the hollows. Rot sets in. Yet I wake up and the sun is a perfect circle, a ball of fire, a kissing fool’s star. I smile. To hell with the weevils. Let them weevil their way all the way down and through, allow them the happiness of their lark and sabotage, their downsizing of foundation. I will not lift a finger to stop the process of degeneration. After all, decay has its rightful place under the sun, just like everything else. I look out. The sun is a perfect circle, a perfect saw cutting skies into halves and quarters. Its carnage is celestial by nature. The light on the fence dances in pellets and digits, splashes and slash-marks. The sun stalks the world in fingers of light. Same as the weevils chew through the wood and walls without end. Soon a collapse is coming. The sun will make intrepid love to disaster and ruins. The sun will go on enacting the role of orange-bellied Casanova. I will do my part and keep smiling, as if framed in a camera capturing my likeness for the annals of fading.

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The Bride

It is always exciting to provide an update when a project is nearing completion. We are putting the finishing post-production touches on our short film, THE BRIDE, and look forward to the next phase of birthing it into the world and onto screens. Just over a year ago, what started as an exploratory conversation between myself and Alexandria-based writer, poet and cinefile, Jaylan Salman, with Jaylan presenting a story concept that she envisioned materializing into a film (based on a poem she had written), and how that aired and shared concept grew and morphed and took on a cinemagical life of its own, fusing a magnetic core of talents and kinship.

Stay tuned for further updates.

THE BRIDE
In the shadowy, cryptic and solitary world of THE BRIDE, a woman, garbed in a wedding dress and veil, directly engages the mirror and “seeing-eye” of the camera, as she confronts codified rituals and internal pressures—rooted in family, conventions and societal expectations—while undergoing a stark and dramatic metamorphosis.

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Ark

Semen has flowed. The danger is past.

This is an old proverb from a sunken country, a made-up country, a country that no longer exists or never did. This mother country with its many flaring mother tongues and tidals of flowing semen represents the Great Flood. Semen being the seed-carrier of disasters and renaissance, semen creating the dreamscape upon which the final arks float like popped corks on rolling froth and fizz. To scale it down to human-sized proportions (leaving behind biblical rhapsodizing): If you believe your genus flows into immaterial means, if you believe you are dream-wedded particles locked into a rockabilly dance and crane, if you believe … impossibility will appoint your hands countless tasks. The circus in your head is the circus in your head. It has nothing to do with semen. And everything. Semen has flowed. The circus has passed. Like that.

The bubbling fount in which we deeply yearn to drown is God-semen without fail. We wish to go on and on, bobbing, recuperating, engaged to God-semen. On and on and on, built to last. Like a Ford truck commercial. America being trapped in arrested adolescence, and its need to prove itself is inalienable and unresolvable, part of a growth process. Except, and here’s the kicker, if adolescence remains stillborn, prolonged puberty leaves the afflicted teen with a case of psychic gonorrhea, in a state of heightened distress, longing and murder-minded fantasies. American semen is clotted with red pep and soap bubbles. Its bravado being Mecha-Godzilla on steroids.

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Music

We Are Ugly But We Have the Music. This is our title, our collective moniker, our flag. It is a torn and flagless flag, denominating no allegiances, no cultural attachments, no geo-political persuasions or fevered legionspeak. 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 soft 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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Test Dummies

(Excerpt from Worlds Last Imagined, novel in progress).

We saw them carrying life-sized dummies to the town square. It was eerie how each dummy so closely resembled the person who was carrying it. We watched as all the dummies were propped on wooden posts in the center of the square. A circle of stones laid on the ground formed a perimeter. The people stayed behind or outside the circle of stones. A man in a tall dark stovepipe hat, shouted—Commence.

The people commenced by lifting stones and hurling them at the dummies. One stone after the next, pelting the dummies. Over a P.A. system, the sounds of people in pain were broadcast. A series of ows, ughs, and aaahs, a chorus repeating on a loop, as the dummies were pelted.

Once every stone had been cast, the man in the stovepipe hat announced—Commence next.

A man came down from the gazebo, carrying a gasoline can, and proceeded to douse the dummies in gasoline. The stone-throwers, as if silently cued, moved forward, withdrawing packets of matches from their pockets, and each person struck a single match against the flint, an arsonist siege of match-flickers. Soon the dummies were engulfed in flames. A series of ooohs and aaaahs were played over the sound system. The fires raged and raged and eventually the gasman returned with a fire-hose and put out the inferno.

Commence third, the stovepipe hat man said, and the stone-throwing arsonists removed packets of seeds from their pockets and scattered the seeds over the charred remains. The blended melody of birds cheeping and chirping and whistling was played over the P.A.

Enough, stovepipe hat man declared, and the ceremony ended, with everyone going home and the seeded remains left to resurrect in due time.

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Funereal

(Excerpt from Worlds Last Imagined, novel in progress.)

Last night Ariana and I attended our own funerals. It was something we did from time to time. We saw ourselves, lying there, pretending to be dead, saw a wavering horde of faceless and nameless figures weeping and going silent for us. I held the silence close, and listened in. Then I placed the silence inside a jar, labeling it Adagio Silence. Who were these people? Where had they come from? Why were they mourning us?

Ariana looked at me looking at her, the dead her. You look so beautiful, Ariana, I said. You look like an angel dressed in winter white.

Ariana smiled and said I was always, without trying or realizing it, always finding words, the eight words, the warm ones, the living ones.

Ariana’s compliment left me breathless, like babylegs kicking me in the belly. I looked down at me, somebody’s idea of a portrait. Like staring at the sun, or into a mirror without end, you can’t look for too long. A careful glance, a passing one. To see yourself dead required a well-practiced casualness.

I asked Ariana how long we should pretend to be dead. She said she didn’t know. The theater of playing one’s own ending was irreplaceable.

When the visitors left, a new silence entered the ceremony. It brushed against me, like small muzzy animals. I left this silence uncollected, didn’t name it. I stay on guard against becoming greedy and gluttonous. I heard the laughing first, then saw Ariana rising from her dead, and because her teeth were painted red, she now looked like a different kind of angel, a teasing one, a demonic one.

Are we done pretending, I asked Ariana, who often did this, just started resurrecting without saying a word, levitating above her casket, and I noticed the casket’s interior was lined with pale violet satin, a nice touch, elegant, Ariana moving over snowdrifts darkened with fresh blood, moving into winter, away from herself and into herself all at once. I couldn’t take my eyes off her. I witnessed Ariana’s resurrection, not my own. Still, I mourned for us both, I played at mourning for us both, gave my best theater to pity and grief.

Ariana stood by my side, staring blankly at her empty casket. I stared at her empty casket, then at my empty casket. I asked Ariana if she was going on as Ariana, or … was that who she was, who she is now? She didn’t respond. That silence I preserved in a jar and labeled it Identity Silence.   

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Green Dark

We enter forests

at the liminal risk

of time lost

to the vagrancies of dreaming

and silence of choir—

Engendered by echoes

and bated tense

we move on

at the mercy

of mirrorless haunt.

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Love and Death

The branch of the tree reaching down. It reaches down to graze the time-scarred headstone, to caress it. Could this be … a secret love story, a love story with no history, or with a cortege of history, spanning many timelines and lifespans? They have found each other again. The skinny mottled limb decked out in long green perforated leaves and bright pink flowers, an asking limb, a fornicate falling limb, needing to touch the stone memorializing the person who has passed from here to there, from now to now-again (or perhaps new-again, or never-again).  Let’s call it a love story, consensual, textured, tactile, unassigned, a love story ministered by the migrating wind and its featherbrush fingers. Or, perhaps, it is not the tree’s love for the spirit of one who has passed, but rather for the stone itself, love stories are hard to decipher, many existing as riddles crammed into glass bottles cast into the sea. If you notice, about a couple of feet away, there is a tiny tombstone, more than half of it concealed in the overgrown grass. The scale of the tombstone signifies that it’s the grave of a child. Does the child factor into this love story, this scene, this drama? Are we witnessing a mother, father, and child reunited? Perhaps it is the spirit of the child that has gone into the tree and is reaching down to hold and touch and reconnect with its mother, whose tombstone is the taller one. Again, many love stories remain unknown, inscrutable glyphs and sphinxes. Yet, no matter the configurations of the players, and their relationships (in this life, past lives, lives to come), they pulse in and out of time, shapeshifting to abide manifest desires.

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