Sleepwalking

It’s a been period of struggle, creatively, so it feels like parting with an enormous turd to get a tune out and into the world. Or a baby, or something. Yeah, a baby…

The recorded narration is the psychologist Wilhelm Reich, and the old man in the video is Henry Miller. What do these two men have in common, besides being deceased? Well, each man managed to intensely capture my interest several years ago, when I thought I was on the path to eventual enlightenment. I must have taken a wrong turn some where along the line… The song isn’t really about either one of them, of course. Or maybe it is, I don’t know. What I do know is that I enjoy this weird style of musical exploration, so I’m going to keep doing it as long as it feels interesting. And yeah, I also know that I’m breaking all kinds of copyright laws by playing around with audio and video footage created by others, but it’s only playing, after all. Fortunately, only a few people have ever paid the slightest attention to anything I’ve ever done, so I think I’ll avoid doing any hard time.


Henry Miller? Wilhelm Reich? Look, I’ve had a wee bit much to drink and I’ve handed the keys over to the “muse.”

Sometimes I think you faked your death
So I’d stop faking my whole life
I take and take till nothing’s left
I get it wrong till nothing’s right

It’s only hard to say goodbye
When you don’t really want to go
I never understood your pain
I never really wanted to know

And if you didn’t see the sun rise
Well at least you had a look at the stars
And if you didn’t play your cards right
At least you didn’t throw ‘em in
And while I was out sleepwalking
The sun burned up in your eyes
But then everything was taken

I got a secret to confess
I’m only in it for the love
Now you’ve gone and put me to the test
To live my life like I dreamed of

And every time I see sun rise
And whenever I look up at the stars
And when I’m singing to the ceiling
With everything I hold in my heart
I’ll remember what you told me
and the way the sun burned in your eyes
And the gift that I was given

Reflections on radical acceptance

While I was jogging this morning a few thoughts floated through my mind related to the notion of radical acceptance. Whenever I start thinking about such things, it’s all too easy to get stuck in semantics, allowing the rules of grammar and the limitations of linear thinking to distract me from the heart of the matter. For instance, I often describe the state of radical acceptance as one characterized by a “letting things happen of their own accord” as opposed to “me making things happen or me resisting things as a willful agent.” Obviously, this sets up a dichotomy between me, on the one hand, and experience, on the other. Once the dichotomy is set up, I too often get lost in a confused attempt to philosophically reconcile to the two poles, forgetting that the dividing line between the two is non-existent, except as way of perceiving experience from a particular perspective, namely the perspective of ego identification, which implicitly entails a certain degree of disidentification with non-egoic dimensions of experience. From the perspective of ego identification, I have experiences; experiences happen to me.

When I move into a state of radical acceptance, I’m moving from a state of relative non-acceptance where I’m fighting against life, trying to deny what is, hoping to somehow transform it into what I want it to be. So, at first, the shift to acceptance feels as if there is an I who is allowing experience or life to happen without any interference or resistance from me. This dividing line between myself and the flow of life experience begins to blur as I move deeper into a state of acceptance, eventually bringing me to state of being where such distinctions no longer hold sway, no longer make sense, and no longer characterize how I feel. The “problem” of ego identification isn’t really solved. It just disappears (temporarily). The differentiation between myself and life ceases to seem relevant, if only for a moment.

Consider the following reflections (Yes, this is really what I thought about during my jog!):

You need to find your way to a soccer field that is located on the border of two towns. You pull out your trusty road map and make your way there. The lines on the map are useful for finding your way to the field, but once you get there, they are no longer relevant to your next objective, i.e. to play a game of soccer with your friends. The town line cutting the field in half helped you get there, but once you get onto the field it disappears from your mind, and now the only relevant lines are the ones marking the field. After the game, you might decide to have a picnic on the field, or maybe later that evening an outdoor concert will be held there. At that point, the markings on the field also become irrelevant. They, like the lines on the map, were useful conventions in a specific context, served a function in pursuit of a specific purpose, but during the concert they lose all relevance. I think ego identification is like lines on a map or lines on a field. The distinction between me and my experience has relevance and reality only from the perspective of ego identification, and that perspective is merely a convention, like lines on a map or a field, that is useful for certain objectives and not useful for others.

The problem with being stuck in a state of ego identification is that you get stuck with the sense of separation and disconnection from life that goes hand in hand with the state. Differentiating and separating out a me from the rest of life (not-me) is the action of attention that defines and generates the sense of being a self. When we are engaged in purposeful activities, when we’re “getting things done,” it’s probably useful to set down some imaginary lines to create an image of oneself as distinct from the flow of life. But when the job is done, the destination reached, it just confuses matters to keep generating those imaginary lines, as it would be confusing to play soccer on a field marked with lines not relevant to the rules of soccer — i.e. football yard markers, town borders, and/or concert rows. Radical acceptance, like other deployments of attention that might be considered meditative, can be strengthened through practice to the point where it becomes an enduring pattern, a healthy habit, an available perspective through which we can experience life in its seamless glory.

My intention as I began my jog this morning? To stay aware of bodily sensations and to avoid getting lost in thought! And just in case anybody’s wondering: Normally I get lost in far more mundane mental distractions, like fantasies of winning Olympic medals or snippets of random pop songs from the 80s.

Jealous guy

Still trying to figure out how to get the right live-acoustic sound…

The first time I heard this song was on a mix-tape a friend made for me (Thanks Parker!). It was a cover version by Elliot Smith. Strangely, I didn’t know it was Elliot Smith until today, when I saw his version linked to mine on YouTube (the mix-tape was actually a CD, and none of the songs were labeled). A few years ago, I heard the original John Lennon version of the tune, which sounded weird to my ears, since I had heard the Elliott Smith version first. My version is, of course, a bit different from the original and the Smith cover. Somehow, in my hands, a song takes on a added share of gloom. The tempo slows, things get a bit… lugubrious.

A cover of a cover — there are many tunes I play that fall into this category. It seems that whatever version of a song I hear first, I like best: The Jimi Hendrix version of All along the Watchtower, GNR’s Knocking on Heaven’s Door (Sorry Dylan!), Jeff Buckley’s take on Hallelujah.

Anyway, I’ll do a cover of a cover of a cover, if the spirit moves me. I have no shame…

El campo de pueblo

[A snippet from a writing project in gestation, which will probably make very little sense if you haven’t read these other snippets: Square one, No importa, New tables, Belly of the beast, No turning back, & Memories, dreams, reflections.]

If there is some deadly disease that can be contracted from Mexican mosquitoes, even if the odds are one in ten billion, then it is a statistical certainty I will be infected within the next nine months. Neuve meses! Did you catch that! I told you there was a little “synchronicity” between Whipple and me that set these wheels to spinning. Well, there you have it.

I know what you’re thinking: I’m making the whole thing up. I’m Dr. Jeckyll and Whipple is Mr. Hyde (or vice versa). That’s just what my brother wrote when he commented on my blog the other day:

“You’ve got to change the writing style when you write as Whipple” he said. “He sounds too much like you.”

I know how this sounds, looks, smells. That’s why I need to make that trip to the coast, once I learn enough Spanish to fend for myself. Then I can get to the bottom of all this, or at least discover what my next step will be. In any event, I can’t rely on Molly to make sense of all this for me. Not only is she far too busy for such shenanigans, she’s also starting to look at me as if I’m losing my mind. Best to keep this thread to myself from this point on. I mean, between you and me.

Mosquitoes! You’d be nuts too if your entire body from head to toe – even within the tighty-whitey zone – was covered in bites. I’m being bitten as I write this. I moved the light back across the room, away from the bed, figuring it’s probably better not to see how many little vampires there are buzzing about. I can’t sleep for more than one or two hours at a stretch, as I’m either being eaten alive or else worrying about what might be getting under the sheets.

Between the skeeters and sleeplessness, I’ve fallen into another funk. It only takes one word from Juana to set me off. “Moli!” – I can tell by the tone that she’s about to piss in my raisin bran. This time she asked Molly for a loan of seven hundred pesos. We’ve covered this ground with her again and again. Crystal clear communication, so I’m told. It’s even the same word in both languages: No! It’s not even our money to loan/burn. We’ve only been here a few weeks and we’ve already dipped heavily into our meager reserves. Molly had paid for the construction of our room in advance, during a preliminary visit a few months ago. Just days before our arrival, Juana assured Molly that everything was proceeding according to plan–neglecting, of course, to mention that the plan had changed considerably. The new plan, Juana’s new plan, was to make the new guest room the size of a barn, doubling the amount of materials that would be needed. So we arrived to half a room — windowless, doorless, roofless, useless. We had limited choices at that point: Pay whatever it took to complete the room, spend nine months in the windowless bug trap between the kids’ room and their bathroom, or cut ties with them and find another host family. Since the nature of Molly’s research is entirely dependent on building trust with the community, she couldn’t risk an awkward break with Juana at this early stage of the game. Juana is attached to all the threads tying us to the pueblo. Juana the web weaver weaved the web, and we were caught in a sticky situation the moment we stepped off the bus. And since an extended stay in their already cramped quarters was both impractical and (for me) intolerable, we had to relent and pony up to complete the room.

Molly blunts my whining about Juana with appeals for cultural sensitivity, but the sense I get is crystal clear: Juana is taking advantage of us. Perhaps there are understandable, even honorable reasons. She does have three kids to feed. Perhaps it’s just a florid display of neurosis. Apparently she’s has a rough go of it in life so far. Whatever the case, she’s been the Queen of the Vampires, sucking the life-blood from us at every opportunity. If she says the room is finished, it’s nowhere near finished. If she says she’ll pay you back on Tuesday, she never pays you back. If you let her borrow some Clorox, she uses the entire bottle.

Jesús doesn’t seem to operate this way, although who knows what goes on behind the scenes. As is the case with Juana, the language barrier mostly restricts my reactions and responses to Jesús to the gut level, but his is a vibe I can definitely dig. He’s so unflappable and unassuming, always nodding his head and smiling, no matter the circumstances. Today I found a hundred-peso bill on the soccer field after his team finished practicing. I went to Jesús on the sly, giving him the chance to claim it as his own, but without batting an eyelash he called out to his amigos to see if anyone had lost the bill. In fact, no one claimed it, and I ended up donating it to the team’s “new uniform” fund. And all these guys are poor. Really poor. Molly and I have already visited with several families, mostly friends and extended family of Juana and Jesús, who live in pretty stark conditions, not sure where the next meal will come from or if it will come at all. Unlike Juana, these people (presumably) haven’t been told anything about our finances: that we’re living on a small research stipend, that we have a meager store of funds back in The States. Most folks probably assume we’re loaded, which, of course, is relatively true. Yet, not one of them — aside from Juana — has asked for so much as a peso.

So, there you have it. It’s not a cultural thing, this shifty game of “I’ll offer you a mouse-meat tamale today, then ask you for two thousand pesos tomorrow.” I can hear her gnashing her fangs in the next room, silk oozing from her spinnerets as she plots her next chop-licking meal of fine American cuisine.

If only these mosquitoes would stop sucking the compassion from my heart, maybe then I could let Juana out from under my skin. I might even discover that it’s not necessary to swat down everything that buzzes my ear or that walks the walls on the far side of the room. Just the other day, Peter, the oldest boy, told me that the lizards on the walls are really my amigos, that they too live to rid the room of bloodsuckers and vermin. I hadn’t thought of that, although instinctively I never once considered swatting a lizard. They’re too big and fleshy. I get squeamish just thinking about crushing a lizard, or a mouse, or a baby bird. Anything with hands or bones or blood is too close, too human-like, too much like me.

*

Soccer has been a saving grace. Play transcends language, and watching or playing fútbol with my amigos are the times when I feel most connected, most a part of an engaged, interpersonal reality. A goal is goal, no matter how you dress it up.

As I expected, they take their fútbol seriously here on the pueblo and, fortunately, I happened to dedicate a big chunk of my youth to the sport. At long last, I can relate. I love watching a good match, but it had been about fifteen years since I last laced ‘em up and played the game with my own two feet. I say, “it had been”, because this week I was recruited to play with Jesús as a full-fledged member of his equipo (team). As best I can understand, official league play began earlier this week, which involves ten teams from the surrounding pueblos. I practiced with the guys twice already, and yesterday watched the first game from the sidelines, as I’m not yet officially registered with the league.

Players range in age from about seventeen to mid-thirties, as far as I can tell. At thirty-six, that puts me on the fringe, and when you factor in the fifteen-year layoff, my surgically reconstructed right knee, and the difficulty I seem to have distinguishing one Mexican from another on the field, it all adds up to a rather humbling experience. I’m used to ruling the schoolyard when it comes to sports, but so far, here on the campo de pueblo, I’m barely holding my own.

It took me a while to figure this out, but during the practice scrimmages, the teams don’t decide who wears shirts and who goes shirtless until the first goal is scored. Then the team scored upon takes off their shirts, thus allowing me for the first time to distinguish between teammates and opponents. So for the first five, ten, twenty minutes – whatever it takes for the first goal to be scored – I’m swimming around like a Great White in a sea of Hammerheads, having not a clue in Kansas what’s going on around me. If the ball happens my way, I frantically search for Jesús among the other twenty or so brown-skinned guys with short black hair. The others don’t seem to have much trouble keeping tabs on me, especially if the shirt comes off. Even if the sun were to suddenly drop from the sky, the loud gasps for breath would surely give me away.

The kid with whom I’ve been primarily matched up against looks to be about seventeen, and he can run rings around me. At this point, I feel like I’m playing with lead boots in three feet of water. Yesterday I pulled a quad muscle while kicking the ball around with the kids after the team scrimmage. Suddenly I’ve become “Middle-aged Man,” hobbling home disgracefully every evening, wishing the freezer shelf of my dorm fridge could hold more than one bag of peas. I have to suck it up, though. I have to play through the pain. Not a million mosquitoes, not a million-peso loan request from Juana, can keep me off that field. It’s the only place around here where, for a fleeting moment at least, I feel like I belong, where people might take notice of me and think something other than “What’s that gringo doing here?”

It’s a fair question, to be sure, one that even I am struggling to answer with any degree of satisfaction. Eventually, I hope to figure this one out, if only as it relates to the campo de pueblo and the world of fútbol. “The beautiful game” is what they call it around the globe. Here in Mexico, it’s kingEl Deporte Rey.

On the campo de pueblo, the laws of land are simple. Shirt on. Shirt off. Kick the ball. Use your head. Don’t use your hands. Goal! On the campo de pueblo, I know where I stand.

Memories, dreams, reflections

[A snippet from a writing project in gestation, which will probably make very little sense if you haven’t read these other snippets: Square one, No importa, New tables, Belly of the beast, & No turning back]

Fortunately I managed to transcribe a good bit of the Scroll of Charmin before it disappeared. Yes, one moment it was resting peacefully atop my new refrigerator, the next it was in the back seat of Jesús’s car, bouncing around on its way back to the ocean town from whence it came. Of course, it was never mine to begin with, and how could I expect Jesús to know how much the thing meant to me. I can’t even say, “Pass the rice” in Spanish, much less communicate the idiosyncratic intricacies of my creative process. Shit, I can’t even make sense of all that in English. He knew I had already read through the thing, so naturally he thought to return it to his nephew on his next trip to the coast. I say “naturally,” as if we’ve all seen how people handle rolls of toilet paper inscribed in a foreign language! Anyway, I’m already planning a trip to the coast myself, not only to transcribe the rest of the roll, if possible, but also to see if there is anything else like it kicking around town, or any other clues related to the author’s existence or identity. I’ve started referring to him as Mr. Whipple (“Don’t squeeze the Charmin!”). I’m still thinking “archeology grad student trying his hand at short fiction,” but I can’t completely quiet that itty-bitty voice whispering, “What if Whipple’s for real?” If it were to turn out that some dude was (or even still is) being held against his will in some makeshift prison, well, then I’d feel pretty shitty about ignoring his cry for help. Also, however much I hate to admit that I’m thinking along these lines, I can’t deny that the whole thing would make a pretty good story for me to write about. Truly extraordinary.

Anyway, I did manage to jot down a bit more of Whipple’s message-in-a-bottle. Some of what follows seems a bit too lighthearted, if I am to believe that it was penned by someone held captive, terrified, and nursing a head injury. Again, not that I could possibly know how a person would “naturally” behave under such extraordinary circumstances, but still, it’s hard to buy into the narrative with all these red flags cropping up. See for yourself:

I’ve spent a lot of time in front of mirrors. Too much time. As a kid I would make faces, practice impressions, and make believe I was on TV. My sister and I sometimes played the “News Game,” whereby we would sit on my parents’ bed, facing their big dresser mirror, and pretend to be television news anchors. We’d begin by delivering the news straight-faced – “The weather will be sunny today; the Yankees beat the Red Sox 4-3 in extra innings” etc. Then, without warning, one of us would start acting like a maniac – screeching, laughing, making silly faces, bouncing around the bed – until the two of us burst into uncontrollable fits of laughter.

Once puberty hit, I’d spend interminable stretches in front of the bathroom mirror, picking at zits and fooling with my hair. Even as an adult my family makes fun of me for spending so much time staring at myself. My mother says I’m like Dorian Gray, checking each day to see if the devil is keeping his end of the bargain.

As you might expect, there’s no mirror here in the cell, no reflective surface at all, in fact. My beard’s coming in full and it itches like crazy. I’m curious what it looks like, what I look like. Considering the memory issues and the cloudy, surreal ambiance, I’m not entirely sure I’d recognize my reflection as my own. This thought terrifies me, bringing to mind a recurrent childhood nightmare. I’d dream I was in the middle of a casual conversation with my father when all of a sudden I’d notice a slight change in his facial features. He still looked almost exactly like himself, but something was slightly off, as if a look-a-like actor had sneaked in to take his place while I glanced away for a moment. The realization that this man was not really my father, was an imposter, would shake me awake with fear, set my heart pounding, my lungs gasping for air.

This whole fucking thing has got to be a bad dream. Nothing makes sense. I am a man without a face, without a voice, without a clue. Perhaps I’m dead, waiting in some sort of antechamber as a jury of angels and devils deliberate on the state of my soul. Perhaps there’s such a long delay because the swing vote is in the hands of a mixed breed, a devil-angel with pitchforks for wings who’s prone to epileptic fits and extended periods of catatonic stupor. Or maybe I’m already in hell, and El Diablo really is just the devil in disguise, fattening me up for slaughter with his flavorless gruel.

But why not be optimistic, right? Who’s to say this isn’t heaven? After all, nobody’s strung me up by the toenails yet, or branded my backside with the sign of the beast. Maybe there are seventy-two virgins in the cell next to mine, very quietly primping, readying themselves for the official induction orgy, tentatively scheduled for next Saturday.

Or better yet, perhaps I’ve been bitten by a very rare form of psychedelic insect, or a toad maybe, whose venom has set me wildly tripping, distorting all sense of time and place, and in reality I’m just sitting on a rock alongside a hiking trail, holding on to my wife’s hand as we wait for the effects to wear off.

Shhh… The devil in disguise approaches… He speaks, with a forked tongue: “Ocho mesas” – not a word more, then he slithers back toward the steaming shadows…

I’ve been thinking about it all day. “Ocho mesas.” Eight tables? I think not. And my “new” table never did arrive, undoubtedly because it wasn’t new, but rather “nine.” “Neuve,” of course, is “nine” while “neuv-o,” if memory serves, is “new.” What a difference a letter makes. You thought you bought a farm, but what I actually sold you was a fart. Didn’t you catch a whiff while we were shaking on it? Don’t beat yourself up, though. It was a mistake anyone could make, but sorry, all sales are final.

Now, I can’t be sure just yet, but if El Diablo says “siete mesas” about thirty days from now, then my suspicion will be confirmed – he’s counting down. And probably by months rather than tables. So, if the Final Jeopardy answer is “Nine months,” then what, pray tell, is the Final Jeopardy question?

Me: “Well Alex, I’ll have to go with ‘What’s the time I need to serve in this prison cell before I’m released a free man?’”

Alex: “I’m sorry, that’s incorrect. How much did you wager? Everything? My apologies.”

Me: “No wait, I meant to say: The time I have to wait before the big Welcome to Heaven orgy.”

Alex: “I’m sorry. You forgot to put your response in the form of a question.”

Me: “Fuck you, Alex, you smarmy bastard!”

Alex: “Thank you for playing. The correct response is ‘How long before you hang from the toenails for all eternity.’ Bwa ha ha ha ha…”

I always suspected Alex Trebeck was the anti-Christ, but in all seriousness, I could be waiting to mount the gallows. It’s doubtful they’ve locked me in here to protect me from myself. I don’t remember any men in white coats or Thorazine injections. Then again, I don’t remember anything at all.

It’s strange how desperately I want this all to be real–a man’s pain, suffering, confusion, terror–just so I can feel special by association. After all, the Scroll found its way to me. It’s my destiny we’re talking about here, my salvation. But it has to be the genuine article–at the very least based on a true story–or else I’m just being taken for a ride.

What’s real is what matters. It’s all that matters. It’s like the divinity of Jesus to the faithful. It makes all the difference who you think the real father is: God, or some woodworker named Joe.

No turning back

[A snippet from a writing project in gestation, which will probably make very little sense if you haven’t read these other snippets: Square one, No importa, New tables, & Belly of the beast.]

It’s a quiet, comfortable evening here on the pueblo. There’s a heavenly breeze blowing through the window and Molly and I have settled into our pre-bedtime “routine.” I had to use quotation marks because our routines change frequently with the ever-changing circumstances. We don’t have electricity in the room per se, just an extension cord coming from their living room. There’s a light bulb hanging from a nail on the wall across from our bed. It provides enough light for basic circumnavigation, but not enough to read by, so for the past few nights, after we take showers and brush our teeth and whatnot, we wind down by playing on the computers and/or listening to the iPods. Last night a neighbor lent us a DVD, in English, of Bring it on Again, a B-movie sequel to the dopey cheerleader flick Bring it on. Back home, I wouldn’t watch either one of these films under any imaginable circumstances, but I have to admit, last night I couldn’t have enjoyed the movie more had it been directed by Francis Ford Coppola. Bring on that English! How sweet it was to relax my comprehension muscles and simply let familiar words funnel into my ears.

The bed is a multipurpose piece of furniture, serving as a place to sleep as well as acting as the sofa and general “thing to throw shit on.” I pulled it about a foot away from the wall, as I’m still a little jumpy about creepy crawlies. I had another run-in with a big, furry spider, this time in the front pocket of my backpack. My reactions to such things border on the ridiculous, but I simply can’t keep them in check. Something buzzes or crawls by me and I jump up, dance around a little, then grab a flip-flop from my foot and assume the pummeling position. In many respects this is becoming my default response to life’s daily challenges.

Tomorrow, Molly will “present” herself to the local government officials and begin some legwork on her research project. The meeting is subject to the rules of “Mexican time,” which means there’s a good chance it won’t happen at all. Such things used to trouble me more, before we got our refrigerator. This morning we had cold milk with our Raisin Bran. If I can count on leche fria, I just might make it through this.

The widespread poverty presents us with daily ethical dilemmas. We have a limited supply of money for food and basic necessities—grant money from the research foundation. Our own meager savings is paying for storage back in the U.S. We simply can’t afford to support our host family. That was never part of the deal. We can’t do it, or we’ll run out of money, forcing us to return to the U.S. before Molly can complete her data collection, which is slated to take nine months. So we had to stop having dinner with them every night, because night after night we ended up paying for all the food (despite clear, repeated agreements to split the cost). Although I’m no longer going to bed hungry, the new arrangement has created an awkward dynamic. The fact is, some nights they don’t eat. Tonight, it turns out we had enough to offer them some leftovers, but this hasn’t always been and won’t always be the case. I hate to think of the kids eating cheese doodles for dinner, but we can’t feed them every day. We just can’t do it.

Molly says she will “work it out” – her standard reply to my incessant whining and worrying. I know she’s keeping them financially afloat somehow, under my radar, but at this point I’m just going to have to accept my powerlessness in this strange universe. Some things refuse to be pummeled into submission.

*

It’s early Saturday morning and I’m enjoying two of my favorite pastimes: reading Henry Miller and swatting insects. Molly bought me the fly swatter in town, after she met with the government officials about doing her research. I can feel the sense of powerlessness giving way to strength of will. I am now an active participant in my environment. Things buzz and creep and swoop and I, in response to each and all, swat. I’m ruthless, too, stalking my adversaries with the patience and alacrity of a Venus flytrap. “Alacrity” – such a word only comes to me when I’m reading Miller. It’s hard to believe it’s been over ten years since I first stumbled across Tropic of Capricorn in the laundry room of my apartment complex in San Francisco, an event that more than any other ushered me into the world of art and creativity.

The dryer cycle had only a few minutes to go and my jeans were still a little bit damp, so I popped in another quarter to buy some time. I rummaged through a pile of old paperbacks setting on the table beside the washer. Miller’s name jumped out at me because my brother was always raving about him. Other than what I was forced to swallow in high school (I literally would rather have eaten the pages of Beowulf than read them), I had read almost nothing in the way of literature. But as I flipped to a random passage in Capricorn, I found myself becoming intrigued by Miller’s unconventional use of language. It was all over the place, flung onto to page stream-of-consciousness style, with seemingly little concern for standard fare like plot or character development. I was fascinated. It was intoxicating, really, and despite feeling slightly disoriented by the style, there was an unmistakable sense of life flowing through his words. This was living, breathing, pulsating prose that inspired, made me feel more awake, more connected to the world both around and inside me. My jeans were burnt around the edges before I roused myself from my trance, enthralled by this strange and tantalizing experience. I couldn’t put the book down for days.

In retrospect, I can see now that I was on the threshold of the about-to-be-known, like when, at the age of twelve or so, I would stay up late to watch dirty movies on HBO. At that point, I didn’t quite “get” the world of sex, but I knew I was onto to something big, something compelling and all-consuming. There was that palpable yet inscrutable sense of “No turning back.” And so it was with Miller’s world of creative self-expression.

It’s amazing how quickly I transformed from a person possessing not a spark of creativity to one who would come to place an almost supreme value on the creative process. Seemingly overnight I began reading voraciously, writing on an almost daily basis. I grew my hair long, bought a 1971 VW Bus, learned to play guitar and started writing songs. Family and old friends seemed at turns amused and baffled by the sudden change of persona. Mysteriously yet unmistakably, those first few flourishes of Miller’s Capricorn set me on a course I had hitherto neither considered nor even imagined.

Eventually I broke through to a whole new perspective on life, or perhaps it was rather I who was broken down, made more receptive in some way. I only know this: I was moved. Movement! Life! Somehow that’s it, the heart of the matter, although I can’t explain it anymore than I could tell my high school teacher what Beowulf was about. Of course, had I been assigned Miller in high school I probably would have disregarded him along with the rest. They say that when the student is ready, the teacher appears. I was ready for Miller at twenty-six and not before. Now, a decade later, just as I was beginning to fear that there might not be any more big surprises, any more soul-shaking discoveries, a man named Jesús hands me a roll of toilet paper and a new course is set.

No turning back.

Good for all time

Henry Miller’s Tropic of Capricorn is the book that opened me up to the world of art. What a treat it is, in Miller’s Letters to Emil, to find him discussing his thoughts about the writing of Capricornas he’s writing it!:

“What I am doing, if I can explain it, is to free myself for expression on a different, a higher (?) level. I am working out my own salvation, as writer, thinker, human being. I am working it off on the world […].”

“I’m writing for posterity, which is with us always in the shape of those who love us. […] I don’t give a fuck about being right, or artistic, or clear—I only care about what I’m saying for the moment. If I say that with passion and sincerity it’s good for all time.”

“And when you detect discrepancies in the narrative, lies, distortions, etc., don’t think it is bad memory—no it is quite deliberate, for where I go on to falsify I am in reality only extending the sphere of the real, carrying out the implicit truth in situations that life sometimes, and art most of the time, conceals. […] I am the most sincere liar that ever lived. You will see that. But to myself I lie almost negligibly. I am writing out of my system, wiping it out, as it were, all that kind of lying. That is the real purpose of art—among all its real purposes, which nobody understands anyway.”

Letter to all and sundry

[Reflections on writing]: I’ve been thinking about writing, about the different voices or modes I use to express myself depending on what prompts me to write. It’s relatively easy to respond to a prompt from another person, whether that prompt is a specific question or an email or whatever. I supposed it’s just easier to get started when one is prodded like that. Free writing without any clear intention is more difficult, at least in terms of getting started. I’m toying with the idea of writing specific prompts for myself, as a way of galvanizing the process and differentiating the cacophony of voices echoing throughout my dome. It seems my blogging voice is different from my journalling voice, the former coming across more as a “letter to all and sundry” type of thing, the latter a “getting things off my chest” gesture of catharsis.

[So now what (post-job, pre-grad school)?]: Well, looks like I’ll have some time on my hands for at least the month of June, assuming my daily job searches continue to yield nothing. As has been the case for years now—twenty years, at least—, I’m not at a loss for things to do. Boredom is not something I experience outside of a compulsory work or school situation. My “free” time is often haunted by other bugaboos though, like self-doubt, poor focus, fuzzy intentions, habits of distraction and avoidance, etc.

[So, what are you avoiding right now?]: Despite the fact that I’m writing at the moment, I’m certainly dodging the long-standing, ever throbbing intention to write in a more disciplined way. I’m also haunted by the many unfinished songs that I’ve set aside over the years. Every now again I try to take the perspective of my future self, myself as an octogenarian reflecting back on my life. From that point of view, I imagine that my biggest regrets will have to do with the extent to which I allowed my deepest, juiciest intentions to wither and shrivel in the face of ignorance and/or self-imposed paralysis. Many have expressed to me over the years that I have a talent for this thing or that. Writing, music, counseling—these things immediately come to mind. In fact, these three things are quite clearly the three things I’d like to focus on right now. I’ll start counseling classes in a matter of weeks, so the prompts and prods from the structure of the graduate program will more or less force me to engage on that front. Writing and music, however, demand more intrinsic motivation and discipline, and here is where I always seem to surrender to my demons. I’d like to declare, “Not this time!” or otherwise make a big show of how things are going to different this time around. But I’ve broken too many promises to take any of my “drunk talk” too seriously. The thing is to actually do that which is worth doing.

[Not-so-random thought]: I’ve been reading through Henry Miller’s published letters to his friend Emil Schnellock. In 1931, Miller was living hand-to-mouth in Paris, never sure from where his next meal would come or where he might spend the night. He was also struggling mightily to find his writing voice. He was finishing his first “proper” novel, which he had been working on for years, and he was also anxious to begin working on his “Paris book”—the book that would become Tropic of Cancer. On February 16 he wrote:

Here I am, still muddling along with the book. At the very end and can’t put Finis to it. And sick and sore about it…disgusted…hate it…think it the vilest crap that ever was. […] Somehow only a meager portion of what I feel and think gets expressed, and that nearly drives me crazy. Sometimes I believe it’s because of the form I have chosen. This book, for example, has been so carefully and painstakingly plotted out, the notes are so copious and exhaustive, that I feel cramped, walled in, suffocated. When I get thru I want to explode. I will explode in the Paris book. The hell with form, style, expression and all those pseudo-paramount things which beguile the critics. I want to get myself across this time—and direct as a knife thrust.

Later, on August 24:

I just finished the book and must wait now until payday for funds wherewith to mail it. […] I start tomorrow on the Paris book: first-person, uncensored, formless—fuck everything!

Incredibly, Miller was interviewed more or less on his deathbed, at the age of 89. He didn’t seem full of regret, but rather “alive to the end.” May we all be:

Echoes

I was just fooling around with some guitar effects, still trying to figure out how to use the equipment I’ve owned for like, seven years or so. I stumbled on some cool echoey sound and played a simple descending progression to see how it would sound recorded. I liked it, so I layered on a few more tracks. It ended up sounding like this:

Pieces,
I see pieces of
All the promises that I used to love
Sometime
Down the line
I’ll be free
I’ll be fine

Echoes,
I hear echoes of
All those useless words that I let go of
Memories
Fantasies
While the fire dies within me