Monthly Archive for February, 2008

Fruit(cake)s of my labor.

Today was the longest of long days. I experienced stress, crankiness, anger, sauciness, comfort, distraction, peace, self-acceptance, and then a lot more crankiness.

I have been at work, thinking about other work I need to get done outside of work. On my break I walked out on the pier and looked at the ocean just as it was starting to rain. I tried to concentrate on how heavy the ocean looked and how tiny it's sounds were, like bodies rolling over in a bathtub. I really wanted to feel something other than taut and wordless, and I did a little bit. I felt a great affection for the gray. I decided that I would put off responsibilities long enough to write something pretty and pointless.

I like this. I really did see a pink cake of vomit one day. I like these characters a lot, too. I want to see them do more, but I also like them just like this. I like how the story (or poem?) starts with him and moves to her like a gently shifting scale. I like how there's a balance between the relationships, but how they are also disconnected from each other. I wonder if it could read like it's all one person, in a wholly internalized world.

Well, enjoy today's little fruit of defiance.

The Promise of Life Without End

The vomit was bright pink and evenly round. It appeared dense, yet spongy, like a cake.
It was Christmas on a Sunday and, in his spirit of thrift and cheer, he combined the rituals of Sunday brunch and Christmas dinner. He felt mischievous and ate without remorse, like someone might eat a twenty dollar bill found on the sidewalk.
As he was driving to church, Emmanuel announced his coming like one solid butterfly in the stomach. Up came the brilliant baby, born onto the pavement just after he parked the car. He studied it: had it come out intact, or did it neatly congeal after hitting the ground?
He considered shutting his door and driving straight home, and then he did.

It seemed fitting that our humble Lord would choose this spot, outside the sanctuary, beside oil stains.
What had happened was so clean, so sudden. He felt lighter. It was an act his body had conceived alone; no one saw.
He didn't compare himself to Mary, or any of history's immaculate conceptions, but when he was driving away he thought about Miriam releasing her baby brother among the reeds.
Who knew what this Bundt cake--to which he was strangely and intimately related--might do?
He felt the peaceful grip of trust and put the question out of his mind.
The image of the vomit stayed, leaving his thoughts for a warm space in his chest.

He was not very old, not very young. Handsome, but with a helmet of black hair and a forehead that was perpetually wet. He shone like a seal.
He lived in an inherited home and occasionally rented out spare rooms, but only if he felt sure the inquiring tenant would demand little fridge space. A well-spaced fridge made him feel that life was not moving faster than he was. The sight of leftovers crowding an unopened pouch of broccoli made him gasp. It was like waking from a too-long nap.
He spent his whole life gasping. He gasped at every wilting leaf, falling hem and setting sun he ever saw.
Had his vomit been something other than self-contained--more liquid or oblong--he would have felt betrayed.

He phoned his ex-wife to say Merry Christmas.
He was fascinated by their calls, which happened once or twice a week and raised an emotion that he didn't understand.
It was an emotion that only showed it's back; a body in a white tunic he followed down the street.
He was attracted to it, imagining the face from the back of the head and the peeking corners of the jaw. It was sad--this person was always walking away--but it was beyond his control.
It was not like longing or desire or regret or mourning, just an evenly paced procession of one.
It was forgetting (impossible to recognize) made easier by his acceptance of the promise of life without end.

His ex-wife had not accepted this promise.
Her emotion was full-faced and constricting, not because she missed him, but because she kept track of her age and made a little tally on the calendar each time they talked.
The face of her emotion had wandering eyes and was always chewing. It was an ocean that pressed it's weight against her when she looked down at it.
She was small but stood with a very straight spine; a lovely woman with violet eyes, for the sake of which she wore gray.
She was clean in an effortless way, and warm to the core, except towards children. She was lovable, but he soon started gasping at her face in the mornings.
She developed a stone in her stomach, an irreducible mineral: the constant expectation of the end of her everything.
In this way they were essentially the same: the momentum of aging made them ill--she, with a stone inside, and he, with a loss of air outside.

She did not pick up the phone and he remembered that she would be at her mother's.
She took her mom to the Christmas service, relieved that they would have entertainment for an hour and a half.
She parked the car and walked around it to open the passenger door. She noticed the color first.
Since church, to her, was a cute and alien place--a land where people ate the world with delicate forks and knives, yet never digested a thing--she was not surprised by the pink tuffet beside the car. She saw her mom's foot positioned directly over it and didn't even think to warn her. It seemed as though it was meant for that very thing: cushioning a worn woman's heel on it's way to greet the savior.
Her mom moaned. The vomit had warmed and crusted in the sun and it absorbed her whole foot in its glutinous mass.
She stared at her mom's disappeared foot and smiled briefly, before the freshly released smell reached her.
She gasped and frightened herself, then laughed loudly. Her mom kept moaning, like an embarrassed child who wants hit someone.
Her mom hit her, with intention, on her arm. She looked around, not knowing what to do, half-expecting Christmas elves to come with mop and bucket.
After several trips to the bathroom, bearing armfuls of wet paper towels, she wrapped her mom's shoe in a plastic Subway bag and they drove home.

To fill the time that was supposed to be spent in church, they watched part of a movie with reindeer and a girl with a gap in her teeth.
The phone rang and she decided not to answer it, since speaking to him would only upset her mom.
Her mom was slowly recovering, nibbling on honeyed ham and cheddar cheese.
She thought about the stone in her stomach and whether it would fit between the girl's front teeth, whether she could give it to her and be happy.

A weightless effort of considerable substance.

Please enjoy this History of the World written entirely with words and phrases found in my recent notebook jottings. Please note: some of you will recognize phrases, or understand where they came from, and when you do, feel free to laugh out loud.

Very Personally Affecting Events

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Blankets of blue,
box of foam,
a very isolated earthquake,
or electricity.

A weightless effort
of considerable substance:
Primary Instincts
of the Cosmic Orca.

reason=higher crustaceans
(+ cat + bear).
the tongue--that's
a new word.

All of a sudden M falls,
laying head to fins.
A local dialect,
nursery rhyme.

No specific time in history:
IMMIGRATION
The endangered
first to arrive in Norway

used heirloom seeds,
unusual vegetables and
jellyfish lampshades,
golden and dripping blue light.

No work, food aplenty,
Immortality. They
try to use shimmer
in a sentence at dinner.

Benevolent animals warn their masters,
but people are determined,
like every little bird was just a dagger
sheathed in feathers.

Seed vault lost --> What now?
The new followers lived
only to see the backyard burial
of what they prize/love.

Between each sigh
countries/people
grunt and screech.
Every day lifts a little argument.

--> Maps/diagrams
valorize the foreigner.
What the translator reveals:
disappointment, laughter.

After very personally affecting events,
scientific curiosity is aroused:
the movement.

Tell time; identify
musical scores; algebra;
indefinite morality.
jackson or lincoln was pres.

Georges Romanes = friend of Darwin
and a late 19th century race horse.
He also drove himself insane
for a sugar cube reward.

We now realize
they cannot penetrate a dog's skull,
but they're still using animals
as unwitting devices.

The hooligan, the homo
put on hoods and goggles
and sing Beach Boys songs!
(The spectacle of the tribunal).

Dana Carvey is cutting
therapeutic CDs so we can
surge and grow calm ASAP.
The children's books sold wildly.

In her words it was
kindergarten + mom's cancer +
apple sauce + loan payments,
except for the days that weren't.

There is a web-based myth
born after my time,
and the rest goes
like this:

1. Drag
2. Stack
3. Spoon
ENDING

I think it's interesting that the history I constructed resembles a "fall from grace" model. Maybe next time I should foretell the future and see what comes out.

How many times can I use the word ‘colonize’?

What's the point of leaving the past untouched? Even if it's the past of other people...

I have been thinking about how we colonize the past; or maybe just the phrase, 'colonize the past,' and how it might be just another way of saying: 'remember,' 'tell a story,' 'construct meaning from our (collective) lives.' Every attempt to narrate a past event or series of events--every memory, every history, every religion--is an act of colonization.

I wonder if myth--in it's most traditional definition--is the only exercise that does not colonize. Or, maybe it colonizes the future. What I mean is, myth (the fanciful kind, the kind dealing with extraordinary events and superhuman characters) attempts to tell a story about a time and place that never was. All forms of storytelling are, in a sense, doing this, but myth does it without denial and without resorting to 'fact.' It does not take peoples, languages, cultures, and places which at some time existed and spin them into a thread which can then be woven into the fabric of the present. It does something else: it draws on present human questions, ideas and needs, weds them to present icons and other loaded imagery and creates a fiction to ground us. It launches our next steps, imposing the very possibilty of narrative upon our futures.

I'm talking about myths at the moment of their creation, not myths that we have recorded and study in classes on folklore or what have you. With these, from our position now, we may very well colonize the past, but myths at their conception are forward-looking; though they try to explain origins, they do so out of hope.

Is there any such thing as a 'past of other people'?

I don't know. I'm kind of just making this up. Like I said, I've been thinking about colonization of the past and wondering if there is anything we do which does not fall under this category. Taking and cataloguing pictures. Writing letters. Reality TV. Maybe it doesn't count if it's the immediate past, which you had an immediate part in.

So maybe fiction in general is the non-colonizer. Which means I could just say art is the non-colonizer. Which means I'm just talking about creativity. But I'm not. Art is too a colonizer! Fiction is just different and I don't know why. I'm not making a value statement at all. What I'm ultimately getting at is that I like these acts of colonization and I think they're why we can go on living. But I also like the idea of something that leaves the past alone, that makes no claims except those that are unfounded, that only predicts and imagines.

But I don't know. When I write a story it's almost always based on something that actually happened to me. But that happening is just a seed. It's goal is to not resemble it's original self; to deny it's roots.

People feel it is wrong for one culture to colonize a past which 'belongs' to another culture. I felt this with great indignation in Sierra Leone. Freetown's central (and only) library was filled with Agatha Christie novels and outdated textbooks. But actually, this is a great testament to Sierra Leone's resistance to colonization. It is an oral culture. There are some amazing writers--primarily poets and playwrights--who are Sierra Leonean, but their literary history is very brief. They have far deeper traditions of dance, storytelling, and all kinds of performative events. It's kind of wonderful that the library has just become a storage place for some books that well-meaning people carried and shipped across oceans. Like a bewildered little circus troop whose train got on the wrong track and delivered them to a place where no one can reach their tent.

But then it's also not wonderful. Many people in Sierra Leone would like to be connected to the wider world of literature, to enter the conversation and tell their own stories. My host-sisters read Harriet the Spy and Murder in the Cathedral. They know how to read and write. Every culture was an oral culture, but people like to use every form of communication available. One or two or three is never enough. So whether it's good or bad? No one knows. It's just how it is. Some people did some things. Some people did some other things. I wish there was another word besides relativism. I'm not a relativist. I think things are good and bad simultaneously, not just one or the other depending on one's cultural context and perspective. That's like saying things are nothing; I think maybe they're all things.

Okay, so maybe that's relativism.

Four people I wanted to be today, in reverse order of preference:

4) The long, tall girl who lives on my block and dresses like an actress who is deeply involved with her character. Sometimes I see her walking to work (a health food store) in fishnet sleeves, a velvet hood and shiny cat-walk heels. She is so long and tall it is like looking at a graceful alien poorly disguised as a human. Sometimes I see her downtown smoking in elaborately torn jeans pretending she lives on the streets.

3) The guy who ran toward me down the sidewalk in a black t-shirt, black jeans and heavy black boots. It was a long time before we actually passed each other.

2) The little girls with sunburned knees in this poem.

1) All five of the guys in the green lowrider at once. They were listening to something very sparse and sexy with the windows down. They made me believe that cruising in a lowrider really is the ultimate in cool. They chose the best possible thing for a hot, Sunday afternoon. Creating a breeze. Driving slowly down State Street and stopping frequently at lights. Staring at pedestrians in a very detached way.

If I want to be these people, or reduce them in this way, am I a colonizer? Does it only matter if they know about it and I state my thoughts publicly as truth and persuade others to feel the way I do? What do you call a colonizer who works alone and from a distance? Where does her colony lie? Maybe she is only a diplomat. Or a reverse mercantilist, emphasizing imports. Or is she like a neoliberal? Privatizing her search for meaning while removing all barriers to her trade in histories and peoples and observations?

Maybe it's better that we're all colonizers and imperialists of experience than nationalists rallying around a single meaning. Is any kind of encounter better than no encounter at all? To quote from a very good book, 'There's nothing in life that's less real for having been well described.' Also, 'An adjective matters more to me than the real weeping of human soul.' That says it all.

How a regular haircut keeps us honest.

colorcostumr.jpg

Part One
I want more myth in my life. I want to think of myself as living inside a myth. I want to read myths that involve people and places that are familiar to me. I want talking animals, too, or animals with all the answers. I know myth can be defined many ways. I know that just about everything contains some myth, or conveys a little myth, or operates upon a myth. But I want the kind of myth that is very obvious, that is not interested in rationale or subtleties. It could be a mythology of subtleties enlarged. This would be very good.

When I think of myth, I think of large, well-spaced objects and little people wandering between them. A little me rubbing my cheek along the side of some piece of large plastic machinery. There is a kind of myth that pretends to be artless and 'natural.' That, to me, is the ugliest of myths. I want the implausible to parade around, rootless and proud. Hell, I just want parades. I want myth that hides nothing and doesn't hide and characters that stake their claim. I want surface meaning; an iconography without memory. Things do not 'fall where they may'; I want to see the set builders.

Part Two
I have been reading Mythologies by Roland Barthes. It contains a series of essays he wrote, one a month, about the myths he saw at play in France during the 1950s. In a few pages each, he cleanly dissects images, products, events and personalities that frequently go unexamined. He goes after the fierce little myths, the little burrowing insect myths that you don't think about living on your skin. Things like Garbo's (he leaves off first names) face, Einstein's brain, margarine, holidays, the sweat on a Roman's brow, beards, steak and chips, anthropologists and ornamental cookery. He's funny, too.

My favorite essay is on the haircut of Abbe Pierre, a French priest who devoted his life to the homeless (and who, by the way, died only last year). The essay begins, "The myth of the Abbe Pierre has at its disposal a precious asset: the physiognomy of the Abbe." One aspect of this physiognomy is the "Franciscan haircut," which he describes as "half shorn, devoid of affectation and above all of definite shape...[It] is without doubt trying to achieve a style completely outside the bounds of art and even of technique, a sort of zero degree of haircut."

Okay, I just have to keep transcribing here because it's all too funny: "One has to have one's hair cut, of course; but at least, let this necessary operation imply no particular mode of existence: let it exist, but let it not be anything in particular. The haircut, obviously devised so as to reach a neutral equilibrium between short hair (an indispensable convention if one doesn't want to be noticed) and unkempt hair (a state suitable to express contempt for other conventions), thus becomes the capillary archetype of saintliness: the saint is first and foremost a being without formal context; the idea of fashion is antipathetic to the idea of sainthood."

He goes on to talk about how this haircut is the "label of Franciscanism." So, if a saint actually wanted to go unnoticed, they would choose a different 'do. I love when people take jabs at our notions of saintliness. I love it even more when people artfully reveal that there is no such thing as a person who doesn't care what they look like, or doesn't purposefully and outwardly convey a certain self-image. I'm not saying that Abbe Pierre consciously wore his hair a certain way so people would think of him as a saint, but he may have done so in order to convince himself. Regardless, there is a reason (probably a worthy one) that he didn't have hair like Elvis. Although, to be fair, he's bald in most of the pictures I can find.

Part Three
Anyway, the point I'm getting at is I think my desire for outright myth is related to my love of shameless and ridiculous fashions. I want bright geometric patterns, color-block dresses, hats that could break your neck. If I ever met this man or this woman I would kiss them. I have this idea that people who dress like that would never tell a lie. There is no question that they care what they look like and devote time and money to material things. This is my own myth--that indulgence is a form of honesty.

Why must we apologize for making up meanings? Why do we deny ourselves things that don't have any utility? My entire life and recent education has been steeped in the myth of martyrdom. How can we ever know the true value of sacrifice if we are always equating it with goodness? I want some obnoxious, screaming good fun for the health of us all, and big screen, saturated, prop-enhanced myths for our entertainment. All I know is when I think I might die from the seriousness and truth-talk of home, pop music and product placement save my soul.