Oct 26, 2010

All You Need to Know


I found myself telling a story, consumed by the generalities of narrative and the urge to make universal by way of flatness. There’s the generality, which wants to be something to everyone, but not very much, and the specificity, which is a thousand times more ecstatic, bound up in memory, and quivering with alive but in conversation gives us back blank faces, downcast eyes. Caught in the generality and suddenly wondering where the wonder has gone. This is a vision and a revision, a memory of arbitrary specifics, a dream you are sharing with a will behind it.

We met and began to fall in love in Spain, in Granada, the city that no one wants to leave but I had to leave on a 3am bus still a bit high, a bit drunk. I had to meet her in the north, in Bilbao after university finished a few weeks later. She somehow found me at the airport though maybe we barely remembered each other. She’d found a pension to stay at. The room was large and all white, with dark wood furniture and a balcony over a small old street. We didn’t know how to know each other. We didn’t know how to make love to each other. I barely knew how to make love. We spoke, faltering. We made love. We made love for days. I don’t remember how many. We’d leave only to go for walks, sometimes not until evening. We drank wine and ate olives on the small balcony. We began the slow process of knowing each other. We began to learn the words that the other used. Our two languages fought, though sparingly, joking, not knowing how serious a problem their inability to communicate would become. We couldn’t know how little we understood of the other. We visited the famous museum, through curved shining forms, through dulled rusted tunnels. We walked over many bridges, talking, listening, trying to hear. We made love many times a day in that white room. I was deliriously in love, so much that memory falters. A black man, there are few in Spain, sang old American songs down on the street. We played a game of believing he sang to us. We left the curtains open, the windows open all night. It was June. Late one morning the woman at a higher window across the street, working in a carpet shop, must have seen us making love. We hoped that she watched for a while. We hoped it was beautiful because we believed ourselves to be beautiful. We believed ourselves to be beautiful because we were in love and delirious, drunk on ourselves, the way we should be when we fall in love. Exactly as we should be, innocent as we should be and are, completely naive and raw for life. A touch of cynicism could have killed us, a bare mention of a steeled rational plot, but none came for us.

I fell in love in Spain, gorgeously, without hesitation, and did not look back. When she left down the Metro stairs in Paris I didn’t look back. I’d played Bruce Springsteen to her on the way to Paris to try and get her to stay. I couldn’t understand that her French mind didn’t know what to make of the lyrics that saved me. I spent days wandering the streets of that museum-city, sometimes visiting museums. I don’t know what I ate. I don’t know what I did, except walk and read, sometimes write, but I don’t know what I wrote; there’s a journal now with little in it. I sat by the Seine and watched Parisians. I drank beer, or wine, I don’t know. I paid too much to keep our double room because we’d danced there crying before she left. The owner spoke no English anyway. He asked where she’d gone. Elle voyager, a few words I could remember. I lay in bed all day in the heat, sweating into sheets, taking a shower when it was too much. I watched the apartment next door have a dinner party through multiple windows. I watched some of the World Cup games in French, or the news channels without understanding at all. How many days? I don’t know. I’ve never figured it out. A week? It seems impossible. What I remember as one day in the room could have been three, or more. I didn’t talk to anyone. I found an internet cafe down the street and wrote to her a few times. Eventually I bought a plane ticket to Berlin and that moment ended.

When we met again we were far from Spain, far from falling in love. In love but uncertain, knowing nothing of each other but our love. We began again.




P.S. - I've left out the Chinese restaurant, the beach and her beauty along the rocks, the endless hunk of cheese bought at a market and carried for days, the tapas of San Sebastian, my absolute shyness at trying to speak Spanish, the restaurant in Guerncia thinking about Picasso and Franco's bombs, these and thousands of other things...but you aren't supposed to know that.


Sep 22, 2010

If the night would end

If the night would end.  If the night would never end.  If we could sit endlessly facing each other.  If we ceased facing endlessly.  If we faced, ceasing endlessly.  If we ceasing endlessly faced.  If the night ends.  If never ended the night.  If ceasing ended the night.  If sitting our ceasing the night ended.  If ceasing to sit the night appeared raw and black, maw and swallowing.  If ceasing our sit swallowed into night, chewed and quivering.  If endlessly maw, chewing sat, facing and swallowing the starlight.  If pulling down if rising up.  If quivering facing our ceasing ended.  If maw talked, if quivering warbled a song to our facing.  If warbling the ceasing sang to our night.  If sun bitten, if moon raked and quivering bleeding, if ceased endless our chewed minds and derelict visions uplifted.  If our quaking bodies turned to chewing endless fortune’s strands.  If uplifted the star threads pulled us, limbs into void, facing our ceasing notions, chewing our endless notions, quivering our faces, threading our eye’s beads on wires of identity.  If hands abandoned the beads.  If night abandoned faces.  If ceasing abandoned night.  If we ourselves torn and tearing, only eyes strung, only arms flailing, only legs quivering upwards, only holy ghastly constellations chewing in the maw of light.

Aug 1, 2010

Commentary on a poem by Leonard Cohen:

This Is War
There is no one
to show these poems to
Do not call a friend to witness
what you must do alone
These are my ashes
I do not intend to save you any work
by keeping silent
You are not yet as strong as I am
You believe me
but I do not believe you
This is war
You are here to be destroyed
from The Energy of Slaves
 Commentary:

“There is no one / to show these poems to” - Do not run to another.  No one else will understand.  What I have found here will be mine to deal with.  No other can validate.  The truth would be lost if they did.  Don’t look back down the tunnel.  Eurydice disappears down the path with a pale face.  Revelation disappears in the same manner.  There isn’t anywhere to go.  Stop trying to escape (I know that I want to). 

“Do not call a friend to witness / what you must do alone” - This isn’t something to show off.  The poem isn’t foreplay.  It won’t get you in the door.  It won’t bring friends or lovers.  When you inform them what it does do you they will nod and say, “Yes, very nice.” Or something else, but no better.  You must do it alone because the hero must be alone with the gods.  Ghosts of gods, ghosts of men, in tattered clothing and unwashed.  Alone with it all, the throbbing presence of the void.  Eternity in an hour and a grain of sand.  A particle with the weight of star matter.  Alone with it.  There are no calls to make.

“These are my ashes / I do not intend to save you any work / by keeping silent” - The poet has burned himself for this.  Or he was burned, and spends his time collecting his ashes as offerings.  His love has been a fire.  His self has been immolated.  His ashes are mixed with ink and water and written upon the page.  Perhaps they are mixed with blood, a trap of a dramatic urge with a ritualistic novelty.  Keeping silent would save us work, much hard work, many difficult questions which materialize upon the reading of this page, upon the realization of ingesting ashes.  He has chosen to speak.  The words are there to be dealt with.

“You are not yet as strong as I am” - Simply a statement of fact.  Why else turn to these lines?  Why else be so disturbed by them?  Why else feel the knife of truth twisting in a gut and inspiring the urgency to flee into the arms of comfort, into the arms of safe love, into the arms where no poet is putting our intellect and ego under siege?

“You believe me / but I do not believe you” - I believe you because you have proven yourself, because there are ashes amongst and upon the pages.  Because your absolute privacy has violated itself before my eyes.  There is reason to believe you and none to believe me.  All of these things I have expended efforts to hide.  I have cowered under the veil of my self, which is a mask I work on day and night. I’ve proven nothing, given nothing of myself.  I didn’t even know there was a war.

“This is war” - I didn’t know love was, either.  I didn’t know about ordinances, swords, shields, revolvers, parading around in the guise of words.  Thrown into it, even offended.  A fevered dream that I didn’t even want to have.  A war because the poet levels the full weight of his well earned ashes straight at me.  Because I feel truth in my gut and am afraid to be destroyed.  Because war is where my self is caught up in the mercy of the universe, completely humbled and subject to the laws of chance, the gods of dice, the game being played out that many have tried to rig and all have failed at doing so. 

“You are here to be destroyed” - Why else come to these lines? Desperate to preserve, and nothing happens.  Full of virtue and not even a tiny shift in the fabric of the universe.  Destroyed and the gates of love might budge an inch.  The whole tower I thought was magnificent turns out to be rusty, nearly falling over with age and misuse.  Why else come to anything, to love, to her, but for apocalypse?
 

Jul 22, 2010

Series of Dreams

A series of thoughts, series of dreams, series of selves and beings. A stringing together of things that no one who wanted to string anything together could ever come up with, or would ever want to. A series of images so disjointed that the mind recoils out of not wanting to participate in insanity. Out of refusing to confront itself further. The rational mind, what it wants, and the comfort of what it takes and protects against. The concrete dam of language and steel shell of the unwilling body. A corpse formed out of words that cannot be said. Faces which rearrange themselves depending on the minute, hour, or are nothing but shifting: like sand in the wind, like eddies and crosscurrents, like landscapes observed over millennia; ordered only in the meta-reality of the geoscopic view but never from face to face. Memories that don’t go together, one thing after another, but never singularity. Instead a thousand things, and none of them go together, none of them have any magnetism or obvious attraction. There isn’t even anything to sort out, and that is what should scare you (though that isn’t for me to say). There isn’t even anything to sort out. I’m still going to try. Trying to arrange a ceaseless shifting parade of images that never remains still, never sorts out, never solidifies, never means a thing and laughs outrageously at all attempts to inscribe form upon it.