Alchemical Cahoots

The year of alchemy. Alchemical means. The invisible world. Crosses and cruxes and crossroads.

There are, the wizard explained, contracts with the invisible world. There are binding contracts. And ones that can be dissolved.

How can I tell the difference between one and another?

Listen.

Listen for what?

Listen.

For?

Listen for listening. Listen to listening. Listen to listen.

Do wizards always have to act daft and talk in riddles?

No. But it’s much more fun. And closer to the truth. The truth, you see, is a magnetic bone.

A magnetic bone?

A lightning rod.

A lightning rod?

You repeat a lot—

I re—oh, yes, yes, I see what you mean.

It is easy to get lulled into repetitive speaking when confronted by the abstract. It’s only natural.

So now what?

So, now, this.

Nowhere is now here—

A slight shift in perception

can change anything.

Where is the spellbook I was promised?

  1. You were never promised a spellbook, nor a rose garden, and B) The spellbook exists inside of you. Every single spell you ever wanted to know, you already possess.

I’d like to believe that but—

Good, then clip that sentence and believe that. That is all. Do you believe you would be wiser if you had my beard?

Well, it is a very becoming a beard for a wizard.

I think so (the wizard lovingly fondled his beard)

And I used to think … when I grow a real wizard’s beard, a long snowy winter forest of a beard, a sanctuary of a beard where small animals and birds could take refuge, a beard with some genuine magisterial and sagacious oomph, then, oh then, I will become a real wizard.

And?

And . . . my beard is many things. It is a magic carpet. It is a forest. It is winter’s mystique. It is a teller of tales. It speaks seventeen hundred languages fluently, and is also a mute. I glory in my beard, I do. And feel bonded to it. I benefit from its beardy wisdom, yet it is not me, it is not my wisdom. The beard and I . . . we’re friends, we’re partners. You could say we’re in alchemical cahoots.

You’re in alchemical cahoots…

You know, when someone says you could say . . . and then says something you could say . . . as in how I just said . . . You could say we’re in alchemical cahoots . . . you don’t have to say the thing that someone says you should say . . . capisce?

Uh, okay. I’m not familiar with, uhm, with these types of phrases, or, rules, or whatever.

Whatever, indeed! Okay, back to my story. Where was I?

You could say we were in alchemical cahoots.

Ah yes, me and my beard, in alchemical cahoots. The point I am trying to make, if I were trying to make a point—

Which you’re not—

Which I’m not, right . . . you don’t need a wizard’s beard. Same as you don’t need a spellbook. You don’t need any of these things. They are but tangible imprints of the legitimate metaphysical. What manifests is not the reality, not the real-reality, that is the echo, that is the . . . the emissary, the symbol, the totem, the whatever….

Whatever, indeed!

Hah-hah, now you’re getting it boy! But the real deal, the magnetic bone if you will, remember that? That exists in you fully and completely and is yours for the basking. And asking. Basking and asking. A rhymical one-two combo, eh? How come you’re not responding?

Oh, I thought that was one of those things . . . you know, like—You could say we’re in alchemical cahoots—when you told me not to say—You could say we’re in alchemical cahoots… I thought that question you asked, with eh at the end, was meant to be left alone, that further participation from me wasn’t required.

The wizard laughed. It was a round bowl of jellybeans topped with chocolate lava sauce, that was his laugh….

It made me feel happy inside. And kind of full.  

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Knocking on Silence

   Writing often feels like knocking on silence.  Like, I’m at some mysterious stranger’s door and it is raining outside and I am wet and rumpled (inside and out), hoping the door will open and I will be let in.

   Knock-knock.

   No answer.

   Knock-knock-knock.

   Still no answer.

   Knockknockknockknockknock.

   Great sense of urgency and desperation.

   And so no-answer stings just a little bit more.  That is, the more you want in, the more no-response stings.

   A little bit of ache, a little bit of longing.  What can you do?

   First off, you can stop knocking, you damn fool.

   Who’s that, where’s that voice coming from?

   No answer.

   Goddamn, the entire tiny universe you seem to be trapped in is loaded with silence.  It is a timeless place of hard knocks and no-responses.

   What kind of place is this?  Is this the tower, the tenement, the universe you’ve created?

   And so I ask myself a lot of questions myself and I write.  I knock on silence, religiously.

   Silence is my big brother—my big and sometimes overbearing and monstrously invisible brother.

   Come on silence, let’s sing together.  Let’s dream our little dreams under a big black dome of an umbrella, and listen to the rainfall repeat-pelting its nylon skin. 

   Let us recount:

   Something precious, something borrowed, something blue, something lost, something true.

  There has been so much knocking on silence,

   it has become the ultimate knock-knock joke.

   Knock-knock.

   Who’s there?

   Writer.

   Writer why?

   Knock-knock.

   Who’s there?

   Writer.

   Writer why?

   And on and on, endless repetitions and ribbons of silence. 

   Like razors.

   Like boils.

   Like blisters.

   Like the means by which mercy tries and tries, and fails, to relieve itself

   of dreaming.

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Monkeys and Barrels

None of it was going anywhere. It had been a while. Both things were true. Both could be beginnings. So let’s go with both: None it was going anywhere. It had been a while.

I felt like a dehydrated man wandering aimlessly in a wasteland of publishing. To clarify: the publishing industry being the wasteland. Then, a chance. A dehydrated man wandering aimlessly in a desert lives for chances. Which is why the tease of mirages prove to be the death of many. Anyway, a chance: I had an appointment with the V.P. of the big publisher C.C. Burton. My friend, Lana, a fellow writer, who always backed and supported my work, had wrangled the appointment with Elaine, the V.P., who was an old friend of hers. Elaine, like myself, was of Italian-American heritage. Elaine, like myself, was from Brooklyn. And because my novel was a crooked valentine to the Brooklyn of my youth, Lana thought that it might be a perfect fit for Elaine’s sensibility. It sounded promising. Most mirages do. They glitter in the daytime and disappear in the twilight. Of course, it’s always twilight when you arrive at the mirage. I’m sure Einstein could explain it. Anyway, the meeting. I stepped into Elaine’s posh office. I saw a smallish woman dressed in a pale lavender suit seated behind a massive desk. Her hair was sculpted high. I wondered if she had sculpted it with Aqua Net. Was there still Aqua Net? Had it been banned by the Ozone Commission? My grandmother had petrified her hair on a daily basis with Aqua Net. My grandmother was long dead. Not because of the Aqua Net, mind you. Elaine appeared to be in her late fifties, early sixties. Definitely of the Aqua Net generation. Mister Fillameno, Elaine said, please sit down. I sat down in a wooden chair, facing her. I felt as if I were at the principal’s office, and was about to be reprimanded for something I had done wrong in class. Which was often how I felt. Especially when seated across from vice presidents with sculpted hair and lavender suits. Which was not often. Elaine and I chatted. About Brooklyn. About no longer living in Brooklyn (I had expatriated to Nine Peaks, a small town in New Mexico, twenty years ago). We chatted about this and that, a casual volley, which led to my novel. And why she was passing on it. You’re obviously a very talented writer, she said, and then highlighted what she loved about the book—the characters were incredibly nuanced and layered, particularly Anya in her tragic sadness. Yet, and it was a big yet—YET—the novel is too short to publish, especially by an unknown author. She needed a novel with more meat on its bones, more heft and bulk, if she were going to peddle it. I don’t remember if she actually used the word peddle but that’s what I heard—peddle. Which made me think of hot dogs peddled by vendors at Yankee Stadium. Or a BMX racer with a glow in the dark pedals. Elaine went on about pacing, character development, length, which then tied in to prevailing marketing trends, and that’s when I cut her off. I don’t write for the market. I write for the angels. And for God. Where had that come from? I had never thought of myself as writing for the angels. And God. But it felt true when I said it. I could tell Elaine didn’t like being cut off, especially right in the middle of her dissertation on prevailing marketing trends. She pursed her lips tightly. They grew ashen, then pallid. Mortuary. I thought a touch of lipstick could revive them. Lipstickless, Elaine sniped—That is all well and noble, Mister Fillameno, but I can assure you that God isn’t running the market. And he isn’t the one who will publish your books. I didn’t know what to say. Elaine had me over a barrel. Was that the right saying? Had me over a barrel? Why a barrel? And wasn’t there something about monkeys and barrels? Good luck to you, Elaine clipped, letting me know that our meeting was officially over and I should exit her office. I stood up to leave, disoriented. I was still thinking about God and the angels. And monkeys and barrels. I hadn’t yet caught up to the present moment, to what was happening. I was leaving. Was meant to be leaving. Good day, sir, Elaine said, as a sort of nudge to get me moving. I left Elaine’s office. Walked the length of the carpeted hallway. To the elevator. Took it down to the lobby. Walked the marble floor to the glass revolving doors. And stepped out onto the teeming daytime sidewalk. I felt as if I had just vacated one dream, and entered another. It felt good to be back in New York. It had been a while. And none of it was going anywhere. I started walking. I thought of previous rejections of my work, filing through the internalized catalog. Too short. Too long. Too obscure. Too much this, not enough that. It’s always something, as the late great Gilda Radner would gripe. Yes, sir, back in New York. Just another pinballing speck in the shadow of anonymity. In the shadow of monolithic buildings. This made me happy and sad. I wasn’t a young man anymore. Expect I was. Einstein could explain it. You’ve got plenty left in the tank, kid. I often referred to myself, in the third person, as kid. It was a Babe Ruth thing. He called everyone kid, no matter wat their age. Apparently because he could never remember anyone’s name. Babe Ruth. There was a man who defied the odds. A cigar-smoking, hot dog-gobbling, beer-swilling giant who announced himself to the world as legend. Who cares about age, I told myself. There’s no such thing as time anyway. Live as if you’re already dead. Then, and only then, will you come to fully embrace life and experience truer freedom. What had happened to me? Somewhere along the way I had lost my nerve. My moxie and chutzpah. Parts of me, perhaps a bit punch-drunk, had gone into hiding. They didn’t want to get hit anymore. I understood. I sympathized with those parts. I had become a dormouse on a ledge. Or a vagrant Buddha standing on the street corner in the rain. Parts of me had. Yet today, today something in me, something that had been walled up and dammed, had broken open. I owed it to Elaine. Her passive-aggressive assault on God and the angels. Her faith in prevailing marketing trends. Her use of the word peddle. I walked the streets of New York that afternoon, feeling pissed off. Feisty. Ready to take on all comers. I felt completely ready to let all my monkeys out of their barrels. Just to see them dance.

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In the Company of Solitude, Vol. 4

The fourth and final volume is dedicated to vanishing points, prevailing absences and Zen-empty ephemera.

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In the Company of Solitude, Vol. 3

This volume features shrines and cemeteries, and a visit to Ryokan’s hut.

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Comeback

Pretend to be dead at your own funeral. Bask in the unparalleled theater of your ending. When the audience leaves, stop pretending. Plan a comeback, understanding that previous perceptions will be dismissed, and the cast of characters, including you, will look a lot different.

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End of Days

Name your child End of Days. When your child is throwing a tantrum, say—End of Days, I need you to stop this instant. When your child goes to sleep at night, tell them—Sweet dreams, End of Days, I love you. When your child gets suspended from school for aberrant behavior, throw up your hands and say—End of Days, I don’t know what to do with you. When your child becomes a teenager and the very thought of your existence repels them, ask yourself—End of Days, what happened to us? When your child is no longer a child and they leave home, write in your diary—My life feels empty without End of Days.

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A.I.

Develop an A.I. mother. Ask the A.I. mother to raise and nurture you in the way that you always imagined you should have been raised and nurtured. Discard your previous existence, the first one, and install a legend around the events and circumstances comprising your alternative life. Develop an A.I. father. Kill it in its sleep. If it insists on coming back to life, generate a sub-plot in which you cast your A.I. father in the role of psychic adversary. Develop, with nurturance and care, an A.I. child. Proceed to develop the necessary A.I. parents to raise it. As the child grows, abandon your post as a shadow and develop an A.I. womb in which to crawl inside. Pray for short memory and safe return.

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Shards

Break a mirror into many pieces. Stare long and hard then long and soft at yourself in the shards. Rearrange the pieces and see how you change. Continue this process of rearrangement, testing the variations of your endlessly shifting self. Mend the mirror in your mind. Mend yourself, every last one. See the mirror in your mind fade away. See you in your mind fade away. Stare long and hard then long and soft into the glaring absence. Reflect accordingly.

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In the Company of Solitude, Vol. II

This volume comprises nocturnes and night scenes from Japan (Niigata, Tokyo and Kyoto).

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