Portrait

For all of my doubts, for
all of my reasons.

"Increasingly, especially at small liberal-arts colleges, faculty members at all levels are being asked to teach writing-intensive courses. That’s partly because small colleges don’t have a cheap graduate-student work force to handle composition classes. But it’s also because asking professors to design a course around a topic about which they are passionate, and using that topic as a platform to teach basic writing skills, is a good idea. What many people overlook is that teaching first-year writing is a challenging task. When universities farm responsibility for that course out to graduate students—who have no real training in writing and have not had the benefit of being published (and edited), are overwhelmed trying to keep up with their own coursework, and are given only rudimentary instruction in how to teach—well, it’s often not a good experience for anyone."

Why We Can’t Farm Out the Teaching of Writing (via world-shaker)

So true and I can attest to this big time. 

(via world-shaker)

Guts and Brains

     I remember eating rabidly and alone, as if no one were watching: fingers clawing helplessly at a glorious thirty-second reprieve, tastebuds turning black at the very last bite. Still and again, every night, my stomach craves a projectile catharsis, but scornfully suffered dinners never promise to satisfy existential nausea. No, this heart of mine is more fitting to hurl, but I suppose to expel, one must first ingest. 

     Here is the dilemma: I have never contained my heart, only watched it torturously shifting on the bedside dresser, thin tendrils and veins that remained between us so I could know it was still there. But to ingest it, now? That would would mean chewing through a sourly sinew turned leathery hide, baked like an egg on the summer cement and frozen through harsh midwestern winters. It’s easy to see how this fails to fit in: if my heart were edible, someone else would have taken a bite. If someone else could have taken a bite, I wouldn’t have dined alone. If I hadn’t dined alone, I wouldn’t wish to vomit my heart. If I didn’t wish to vomit my heart, I wouldn’t need to ingest it.

     Silly of me, it seems, that I feel an impossible feeling from an unfeelable feel, which must be felt in order to forever unfeel. 

     Tomorrow again, I will attempt breakfast with the swallows at the peeling-paint porch, and see, then, if it makes any difference. Perhaps they will not fly away this time. 

Takotsubo Cardiomyopathy

newtheoryoldlove:

     How long until you only do the things that you don’t agree with.
     You move swiftly when no one’s watching, and slowly when they are. Careful with what you write on that borrowed paper of yours: you have to ration words and favors alike. It’s not easy for you, for someone who was born with their heart filled to the brim. You were meant to give and to give and to sometimes receive, but now you just want to leave them, all of them. The lie of mutualism and the truth about parasitism has completely overtaken you.

     Zombie eyes are best. Smile big when you feel like it’s appropriate, but gloss over when it’s convenient—you conserve energy this way. Balance yourself. You’ll still want to bubble forth, at first, with the same effervescence that you used to have, when your name wasn’t crumpled up under the twisting tongues of their gaping mouths, but you must limit yourself. Silence is the way to learn these lessons. No one is going to be there for you. The golden rule is a lie. It doesn’t matter if you do good things. The sooner you realize it, the better. 

     But it’s going to get worse. Even after the distances in long-since broken relationships have stretched further, you’ll continue to shrink back. You’ve already started. What happened to your overbearing tendency to look into a person’s eyes, through their eyes, and to create a connection that was both personal and uncomfortable? It’s devolved into dropping your gaze and only half meaning what you say, it’s devolved into not making the effort, into being afraid of people and the ways in which they’ll break you. So why bother stand? The promises to repair friendships and initiate words and show they care, well, it never showed; you stood there waiting and they never showed. It doesn’t matter what they express about it, now. If they didn’t reward your forward expression, then nihilism and anthrophobia shall do.

     The chill follows. Now you have to deal with “the contented front,” for those who accept you and those who despise you, in a desperate attempt to appease them both. Meanwhile, you learn ways to avoid them, physically and mentally. Reciprocation is requisite. Set up triage: kind formality for those who can accept it (even if they don’t stand by you), and evasion for those who won’t. The healthy section of this triage is absent. There are none who do, in fact, stand by you.

     The last question that remains is on the timer. How long will the devolution take? Already the anxieties have appeared, with more disconnect and mistrust in regards to the social connection, than there has been in years. Tick, your reflexes resolve to flinches and narcoleptic lapses. Tock, you’ve given up on the pursuit of meaningful relationships. It has become ideal to not be seen as you walk through your average day, for their eyes and thoughts will be saved from passing your sorry sight. And who knows what they think, now? Lies trump all. If you had been silent from the beginning, none of this would have ever happened. You should’ve chosen to stand for nothing. You should’ve chosen conformist apathy, so that all these fake people would accept you. You should’ve decided that you don’t deserve love or attention. Tick, tock. You should’ve lied more.

     Tick, tock.

     How long… until a social anxiety turns into immutable misanthropy.

http://www.youtube.com/watch?v=bLRY8J_F6d4

그래 나 취한다. 우리 해가 뜰 때까지 마시자. Happy, happy birthday.
그래 나 취했다. 눈물이 마를 때까지 마시자. Happy, happy birthday.

Happy, happy, birthday, to me.

     Cheers to an even worse birthday than before.

     And weird looking back on this, I meant it in irony, in distastefully embracing ruin, out of my own sheer despair, but I should have lived by it, after all. I ended up getting optimistic and extroverted and brave and that was wrong. 

     I don’t know why I think like this, on days like this. They just mean a lot to me. They shouldn’t, they’re actually completely meaningless, birthdays, honestly; but they still do, I’m sorry. Mine means a lot to me. More than half of them have ended in tears. 

Detestable

My tenth grade teacher defined diction. 
She said,
diction is a choice.
What she meant was, 
A linguist knows both the price and the value. 

You see, as it turns out,
the truth does not always sit right. 
One day we wrote truisms, 
And sometimes two words applied
like violation and rape
but some felt too strong and some felt too weak, 

So teacher put them on a balance 
to see how much they weighed;
She saw which ones made balances break, 
(Those are the ones that don’t sit quite right). 
She told us— 

There is a difference between true and certain
obliterated and broken
unfavorable and detestable,
and they are not interchangeable.  

So let me ask you, 
Have you ever woken up with a gun in your hand,  
with bullets you can’t remember buying? 

That night,
I ripped out the pages
and stuffed the rounds in a drawer,  
and unless I had a scale there’d be no more thesaurus, 
because unweighed words weren’t just unethical,
actually, they were detestable.  

Never Seen

     The next time you are walking down a familiar suburban sidewalk right as the sunset is fading, stop. 

     Stop dead in your tracks. 

     Don’t worry about seeming silly. Don’t watch for supercilious stares. Stand still. Not at an intersection, nor at a mailbox, nor at a lamppost. Stop in the middle of a step that you are expected to finish. Stop, and if you blink your eyes and still know where you are, stop that, too. 

     Just stop.

     Stop and imagine that you have been dropped from the sky to where you now stand. 

     Stop, and tell me when the air starts to get familiar. I am curious. Does it take months to get to know, does it take in it to grow?

     I have returned to childhood bedrooms that seem as foreign as they once flowed, brick like bones and painted veins that once signified home, so let me ask you, what’s the difference between the first time you laid eyes on that birthday gift and the fiftieth, what’s the difference between old wrinkled lips and fresh ones pursed to kiss, what’s the difference between the stoplight you pass every day to work and one you’ve never seen or heard, 

     or felt. Cold, stagnant, scintillating

     See, I am midthought and midstep ambling past Maine street as usual and I walk into a thick wall called jamais vu. At first I wonder, is this okay? That’s what our social conceptions have done to our freedoms: convert them into anxieties, is this okay. I allow myself an exasperated sigh and glance around, and then, I stop minding them, freeze, and take a look around. 

     The next time you are reducing everything in your life to postulations of the past, stop

     I tell myself that I have never walked past this place before. The house across the street, the power lines and the slope, the trees across the way and the parking lot stretch, I have never experienced this town before. The buildings refuse me and I let them, diaphanous things they’ve become, I stop looking at them as if I know them by name, convinced that they are generic facades on a typical small-town street. It works. This scene, this could be from anywhere, any picture, any movie. My memories of this place might set it apart, but what good is the familiarity if it makes me skim over? Is it not indolent for me to stop seeing, to stop noticing? To look at things and see the past but not the present? 

     We think that it would enervate our world-weary minds to treat old things as new, but this is a lie. It enervates us to stop seeing and to stop wondering, to stop learning like uprooted hearts still beating with bewilderment. 

     So, I let it feel new. The bricks and arches, the spaces in between, the crosswalk and the lawn extending left of me. It feels so new that I am hopeful I might break out of my bridle with teeth snarling, hooves stamping, and mind reared. It feels so new that I am afraid I am lost completely; that if you dropped me here in a dream I wouldn’t be able to recognize it or gain my bearings, wouldn’t be able to find my way home. 

     I hate that memory is a blessing and a curse like this; if it was one or the other, I’d have my answers. Instead I stand in the dimming summer air, simmering thin, wondering if I have been spending my entire life trying to be someone else without intending it. Taking after someone else’s clothes, someone else’s lines, someone else’s style, someone else’s home. I don’t want that. I’m standing here in the middle of the sidewalk and cars are passing and people are walking off in all directions and I’m looking at the cement in front of me like I’ve never seen it before, and all of a sudden this is when I feel more independent than I have felt all my life.

     It is a short moment. I am unhooked. I am original. I am vast. 

     So it follows that in all the other moments, I must be a slave. 

     This is how I want it to break down: the gift of metaphysical molting. To crawl out of my own skin and then look at it, oneiric, lying on dirty sheets and taking wonder in the feel—these are my eyes, this is my nose, I’ve seen it before but never this close. This is home and this is not home, this is familiar but still just as bold. 

     Sometimes I look at the ceilings, at the walls of my room, at the old tree by the Burton house or the glass panels in the back and I think of them as unique and unexperienced, and it does a wonderful thing—it makes me discover them again, more than I discovered before. Besides, it doesn’t really matter where you’re going as long as you’ve got eager eyes as you walk. 

     As far as the fear of the unknown goes, while I’m pausing on that sidewalk afraid of getting lost, I can still raise my head to the sky and inhale as deeply as I want. I do not need landmarks or welcome mats. I want novel lights in bygone dawns, and only your billets-doux to anchor me down. Olfaction, see, is the greatest trigger of memory; and for me, it’s all the ones that I want to keep, and so if I’m dropped like a needle on a record I can’t recognize, I will trace the air for the scent of your skin. You are the only home I need to get me through the fear of unfamiliarity. And besides, this is what new experience is about, after all—to change yourself and go back to the start so that you can find, there, everything you want. 

     You see, it’s funny—they say there are as many galaxies as grains of sand in all the beaches of the world, but I can never understand why this makes people want to see space. I tell them, it makes me want to see beaches. 

Pleas. Questions. Imputations.

I have nowhere left where someone might listen where the wrong ears can’t hear what they should already know. 

Mimetic

Have you ever touched, a stale clementine peel? 
   it tears like drywall, parched as plaster, 
Architects gave walls a clementine feel 
   (sans the vibrance they modeled them after), 

So architects are botanists with structural zeal 
and surgeons are architects for whom scalpels appeal 
   and walls are like peels are my tendons’ disaster,
because my heart was modeled after things that don’t heal. 

How to Take a Life

     When I was a little kid they’d say, go die, fag, you smell bad.

     Actually, before I continue, let’s just clarify. When most boys and girls are little boys and girls, it’s likely that someone says to them, go die, fag, you smell bad.

     Maybe it’s like this. Some of those boys and girls are in a place where they can win, while others just aren’t built with skin as thick as them, for the words to roll off easy, like bloody vomit down shower linoleum. We work our way up, we do what we can, we learn to deal before we believe their lies. That’s why some of us get beaten and raped and still walk with heads held high, while the rest of us believe we’re worth the knives we use on our thighs, 

     but you know what they say, Work your way up

     Little boy who cried until his eyes couldn’t close, he stood in front of a mirror and stared himself down. Every word in the book, pathetic piece of shit, look at yourself. What was he thinking? Privileged little brat. Did he even have the right to feel bad? What made it like this? Nature versus nurture versus notion, who knows. Maybe because it’s easy, maybe because it’s not the whole story, but no one ever realized until ten years later that I had already spent the majority of a decade fantasizing about ways to kill myself, every night before I slept. 

     I’ll call it privilege

     Privilege, I’d argue, is a lot of things, but let’s start by saying what it’s not. Privilege is not working from sun up to sun down without a moment’s thought for yourself because you’ve got too many mouths to feed and not enough money for food, because there is no health care, no social security, and the cops call with tasers because it’s the only thing they’ll be holding to your ears. No, privilege, I’d argue, is having the time and luxury and space in your mind to fantasize about suicide when you’re living fairly high, when nothing is that wrong with your middle-class, caring-family, trauma-free life. Privilege is to not have real struggles on your mind but it’s a shame, see, a shame is what it you call it when you don’t know it that you’re privileged, when you can’t feel it. A shame is what you call it when hell becomes empty and meaningless, when hell is a creeping vine you planted in disappointment. A shame is what you call it when there’s nothing chasing you to convince you to run for your life. 

     Praxis: 

     First 20% as tab, the rest pulv. taken ad lib., preferably with alcohol. Anti-emetics are prophylactically useful, too. Choose salts on an empty stomach. Particular barbiturates and opioids with an alcohol and bag combine are best bets. 

     There are certain problems that become self-propagating when set in motion. Taunting and bullying bears bullies, insatiability breeds disappointment. No wonder I gave them all hell: I didn’t know how to stop myself. There was a discrepancy, and that discrepancy was born of incredible egocentrism, an immature solipsism, a belief that I was the only person like I was, treated the way I was, like every teenager’s nightmare. I hated it, every day of my life, hated my skin, hated my hair, hated my eyes, hated my arms and legs, hated the way people looked at me, hated the way that girls didn’t, hated how I didn’t have the redeeming talents that would make someone like me into something more. I hated myself cyclically. Oh, the woes

     But for all kinds of people, it runs deeper than that. Even the privileged can be lonely; the mistaken, uncorrected. Some are given road maps and find their way to others, some don’t. Some are so far gone that they can’t keep what they find. Conditioning, that’s how you make a beast. Depression is only a pattern away: instinctual frustrations and responses, the beating your own head and the mental feedback loops. The point isn’t necessarily how you got there, the point is whether you can get out. 

     Corrosives and most poisons are unreliable at best. Ranges go from minutes or hours to a few days, for each of them. You don’t want to give enough time to be rushed to a hospital, because they will save you, and you will be horrifically damaged. The pain alone of waiting would probably drive a person mad, especially when results are so uncertain. 

     Should I blame ennui? It’s true, if only one can find appreciation in his or her life, their risk of suicide drops greatly. And as long as they appreciate the reality of alternatives to death, they are often able to avoid it. Thomas Joiner’s excellent and comprehensive book on the matter establishes early in the chapters how the capability to lethally injure one-self is acquired, and must be cultivated through assurance that there is no other positive option. 

     So when a sense of worthlessness and inability to secure the future grows, the mind becomes more and more open. Anything is possible in a fantasy. The walls fall away, the sheets separate into metal bricks, rail road tracks or tall towers, depends on the night, I lie awake for hours, anyway. Good fantasies hurt because they aren’t real, bad fantasies hurt because they could be. Hammers without nails, it’s a choice, and yet it isn’t. It’s a kind of a disease. It’s not an excuse, it’s just, the wrong neurons firing at the wrong times in the wrong order. If it hurts to breathe, hold to an elbow—grab their sleeve and tug

     Asphyxiation is painful and complicated. Jump instead, but make it six floors or more, to reach nearly two standard deviations from failure. Aim matters. High velocity is required for liquid impacts and is never recommended. 

     When tough times came, there was a little clarity. I endured pain I didn’t know was possible, to get to it. My skin turned white, my thighs shrunk to the width of water bottles, my scalp barren and bruised. Hemoglobin 6.0 g/dL, lower bound 13.8 g/dL. Absolute neutrophil count 50/mm³, average human, 2400/mm³. Maybe Tyler Durden was onto something—feeling alive by edging on death and suffering. But no. In the end that was just a cheap trick that never really filled the gap. Maybe for a time, at best. 

     When you return to society, they help make you feel the same kind of shitty and unappreciative that the most of America suffers from, growing up, with our media and our system and our abuses and our privileges and our poverty and our wealth and legitimate to the extent that it is, in one context or another, it is easy to get sucked into. Legitimate suffering alone cannot convince you to keep living. The pressure is on. 

     Do you hear this? It’s the sound of my open mouth choking silently for hours. But, if you watched it in a silent movie, you would have thought I was screaming out loud. Isn’t that interesting? I am fighting to take back my mind. Those who feel it, feel a fight to take back their minds. 

     You told me he jumped. I wish there was something I could have done. I had no idea you existed back then. Take me instead, rape me instead? How do the living cope with the burdens of the dead? I wish I could cup my palms around the ears of anyone ready to put it to an end and place a slow and fragile kiss on the flat of their forehead; shhhhh… 

     Listen, when it’s you, it makes me understand. I can feel your heart pulsing inside of mine, my tendons stretched and distorted, tightly pulled, impossible fit, I will hold you down like a grenade under my stomach so that the violence when you explode will stay close to my chest, and so that my torso flies far into the sky, burning with life. If you want to feel real, protect someone’s reality. If you can’t do anything else, sign up for damage control. And don’t ask me if one of the reasons is, I like the idea of going down in flames. That’s not a question I want to answer. 

     What does it take to repeal years of thinking? What does it take to undo an automatic and unconscious appearance of the words “I want to die,” over and over and over? What does it take to make it stop, to make those voices stop, voices so insistent and so unreasonable you could swear it’s not the real you? What possesses your hand? 

     I learned to cut from pop culture. Pop culture is for kids who want attention, loud music and shitty poetry. Horizontal, see, how naive. You need vertical strokes if you want anything to work, vein cuts that expose arteries. Don’t try anything fancy for the groin or the carotid, it’s too difficult. And even if you do it right in the arms, you run the risk of severing tendons, which will ruin everything, or clotting, which will ruin everything. Face it. You tested mostly on discrete flesh near protruding bones. All it taught you was a little control, a little disbelief, a tic for your thoughts. 

     This is what I want to do with one trip in a time machine: find that baby boy that became me, strangle him before anyone sees, before the people who want him to stay get a chance to develop their feelings, and before the reasons he’d have to be gone bloom from inclinations preceding. Self-harm is not restricted to any one demographic. It is there because even at the apex of affluence, we might still have the wrong neurons firing in the wrong places at the wrong times in the wrong orders. We might choose badly and be made to choose badly, we might feel badly and be made to feel badly. Resolution does not come from eraser marks, and no one should believe it could. Unfortunately, I am one conditioned to believe that eraser marks are simply the most likely option. I am worthless in every other way, and helpless when it comes to change. My blood is boiling, don’t leave me in the dark, I don’t know how to sleep alone, pull my trigger, pull me closer. 

     Guns? Guns don’t have bullets. Guns have preprogrammed Russian roulettes, and you, you don’t want to wake up a vegetable, do you? You don’t want to spend your life in a wheelchair. Misfiring, bad angle, you’ll be incapacitated, but alive. Could it just be a little simpler? What does it take to know for sure that you can erase yourself completely? What does it take for a little certainty? Erasing halfway isn’t erasing, it’s enduring for the worse. Then again, it’d be leaving for the worse, too. Maybe these aren’t the right ways to take a life.

     Maybe there’s more to it than erasing. 

     This is how to make a heart give in: let it do anything except give up. 

     At the very least, every person is contingent on a preceding person. 

     This is how to save someone: you can’t. This is how to try: you try. 

     As long as you come back, I will have a reason before I don’t. 

     This is how to control yourself: love someone else. 

     Listen—you are all of my reasons. 

     Like most other human beings who have ever lived, I have at least a decade of thoughts that I need to undo, so while we’re getting there,

     Ask me to stroke your hair.

     I’ll sing to you, even though my voice is hoarse and tactless, like every other art I have ever practiced, and then there’s you, lunatic that you are, to enjoy it as you do. I’ll sing to you in whispers and rasps like the dementor’s kiss gone backwards, flowing from my chest, yes, Wetzsteon wrote “Like it or not, this mangled thing is mine,” she also took own her life on Christmas eve in oh-nine, but oh, no, no; no matter. I am certain that I will fail, so protect me from the trappings with just a little bit of anchoring until my neurons will be wired to fire in the right order at the right times, over time. In the meantime, I want to see you drift off, perfect one, I can watch over your eyes, strong enough somehow for your fragile lids, and the vulnerable neck that I run circles over, whisper “I love you I love you I love you” when I know that you are asleep because my words will find their way down deep into some unconscious part of you—

     Maybe my words will wire your neurons to fire in the right order at the right times, the ones that go “It’s-okay-to-feel-again” and “What-happened-all-those-years-ago-wasn’t-my-fault” and “This-is-worth-the-life-it-brings.” I hope they do, because no one deserves to feel the hurt of friends who have gone and died, and even if sometimes we get the urge at least I still know why, and I know you’ll whisper the same for me sometime when I’m in need of hope, or at least I hope, because I’ve a long way to go and I’m not sure how much it’ll take, I hope you’re made of love because love is infinite to make, I’m always eager to eat you up, 

     how do I undo this for our sake? 

     Each and every one of us is alone in our own minds, but let me take your life in my hands and fix it, you can take my life by surprise. 

     This is the correct way to take a life. 

Dreams. Spirits. Tears.

Go to sleep, learn to dream. Never wake up. Hedonic salvation meets your self-deprecation, yes, get good at it. Breathe tensely, bottle it in. You were born a boy that cried, mawkishly pitiful and maudlin. So drink. Swallow until your bile spits up. Take the pen with your lips still sealed; great big globs of ink projected from a wasted liver. Write. Close your eyes, write slowly, pretend. Sort it for the substance, for something to abuse; manuscripts and scribbles, illusory ruse. Write until your inebriation shows on the still yellowing parchment, be it dramatically with tragedy or quietly with irony, with the vomit of failure and a desperation for depressants. Write anything and everything, just to get away. Kiss without catharsis, now you’ll never feel wanted. Tear words from failing organs for someone else’s entertainment. Retching noises. Cry for your realizations, crumple up the pages, and then run. Run to the only place you can, with walls of water and a ceiling of sand. Run to your head, run to your bed, go to sleep, go to dream.
Never wake up.

War Horse

newtheoryoldlove:

     This is the story that they tell you. 

     A boy raises a horse and they go through a lot together and it’s pretty sentimental but then the horse has to be sold in order to save the family farm and the boy is really sad but the horse goes through a lot of crazy shit and somehow survives each time through battles and charges and travel and fire and the boy joins the army and fights and misses his horse and at the end his eyes are damaged from mustard gas in trenches but he hears that miraculously some horse was rescued from no-man’s land in a battlefield and the horse passes by him and he doesn’t see it and so the horse is a liability because its injured and its about to be shot but the boy hears about this and whistles on a whim and the horse comes to him and they are reunited and it is beautiful and its lovely and its not the point. 

     Not the point. 

     Let me tell you a real war story: None of that ever happens. If by coincidence enough of it does, the horse probably passes by the boy and he never sees it and never gets reunited. The horse gets shot for sure. The boy probably dies of gangrene and horrific boils and infections, real slowly, even though the war is over. You, as the audience, sit and watch for two hours expecting everything to come full circle in a happy ending because that’s the way events seem to set up, and then you witness as both protagonists are cruelly killed off. You leave the theater shocked and upset. It seems like there was no point to anything. 

     But there was. We consumers expect a particular ending, but the boy doesn’t. He’s inside the movie. He has no idea that someone wants to script him a certain way, he has no idea which way things might script. No, see, maybe it comes down to the idea that there is a nurse who cares for him as he dies, and she tells him some small thing that his mother had once told him; something that reaches deep into his past and his conscience, something fulfilling. The audience, of course, misses this, because it doesn’t get a lot of screen time. And maybe the horse dies cruelly too, but perhaps this death yields a beautiful satire on sentience and humanity and animals. The audience misses this too, because maybe the movie isn’t designed to point at any of this. But then I think, life isn’t really designed to point to anything, either. 

     They give us an ending that makes us think that its these kind of miracles that make it all worth it, like finding a horse that’s been sent off for war given a hundred large factors (and infinite smaller ones) that would have made it impossible. They make us think in this victory and in this glory and we don’t see the war and we don’t see real lives and all we see is an expectation for success after effort and success in luck and in these big things, big possibilities, things that rest on the motions of stars, stars much larger than we are; we put stock in the outcomes, not in the motions

     I walk out of the theater and it’s not real enough. It gets me too, sure, but it’s not fucking real enough.

     Here we are like no wonder we’re living mislead lives, because we keep teaching audiences that these are the main points and look at these big hopes and expectations and big endings and miracles and I don’t want any of this; no, I want to teach you to find beauty in a tiny grain of sand or in a couple whispered words or in something that was missed because you were too busy looking for a plot device planted in your mind by clichés and archetypes and look, if you look, then even dust can bring tears to your eyes, and here, here is the essence of life, not in knights and superheroes but in ironing-boards and doctor’s-referrels and ripe-pineapples and childhood-stammers and look, if you look, this is not a film and this is not a climax, and look, if you look, everything is worth seeing, all of it, every last bit. 

     See,
     I want to teach you to find fulfillment
     in a stray wooden splinter,
     in an old and worn handkerchief, 
     in a ray of turquoise light, 
     in a single breath of air, 
     or even just in nothing,
     in nothing at all. 

Reminiscing because this becomes more and more relevant as time goes on. Damn. 

la-ville-de-loubli:

¿Enamorado?, ¿qué es eso? Esto. No, Ya sé que es eso, es voluptuosidad. No, la voluptuosidad es una consecuencia. Y no puede existir sin amor. ¿Qué es el amor, entonces? Tu voz, tus ojos….tus manos, tus labios… Nuestro silencio, nuestras palabras…La luz que va..la luz que retorna. Una sola sonrisa entre nosotros. En busca del conocimiento, vi la noche crear el día..sin cambiar de apariencia o bien queridos de todos, o bien queridos de uno solo…tu boca prometía ser feliz. Fuera, fuera, decía el odio,Más cerca, más cerca, decía el amor. Una caricia nos guía desde nuestra infancia. Cada vez veo mejor la forma humana….como un diálogo de amantes. El corazón no tiene más que una boca Todo por casualidad. Todas las palabras sin pensamiento. El sentimiento a la deriva. Hombres vagan por la ciudad. Una mirada, una palabra. El hecho de que te amo. Todas las cosas se mueven. Debemos avanzar para vivir. Dirígete derecho hacia los que amas. Yo iba hacia ti, sin pausa hacia la luz. Si sonríes, es para invadirme mejor. Los rayos de tus brazos perforan la niebla. 

Natasha (Anna Karina) Alphaville: Une étrange aventure de Lemmy Caution (1965)

Flamethrowers

     Rolling plains picture. I can’t pretend these automatics are starter pistol sounds when the bullets are flying past my ears and I can’t turn around, but somehow you are catching them as cottonwood seeds, and I am, I am, I am panting desperation and mock-tragedy disease and Whose fault is this, soldier? but beautiful or dangerous you’re wearing that straw hat and you have, you have, you have vibrant aphids crawling on your heels (they appear as gruesome blood trickles from here), and all I really want is cream-colored candy splattered across that dress in which you twirl in this tall, wispy wheat field I like that coy look you give me girl, but this is a war zone, what are you doing in some sweet summer love story, we are burning down the brush, this is more serious than it looks. 

Neverland

     I have realized that if you told me I had thirty seconds to live, it would be just enough time, for anything that I could do. 

     Sure, of course, the natural inclination for action with thirty seconds of life is the direction in which my heart would crumble, scattered for a moment of reconciliation, fine. This much may be true. But while thirty seconds seems like never enough, these days, it’s all the time my brain has to skim or switch or spend on, whether it’s something that takes a few minutes or several hours—we’re working in short segments because they are the average segment durations that we consume in our environments. Our brains silently understand that thirty seconds is just enough time to scroll down a dashboard and skim twenty-five posts for content and interest, or just enough time to skim this paragraph from start to finish. Thirty seconds is always accommodating for quick things we can indulge in, but never long enough to start the continuous projects that we cannot stand. Thirty seconds is the newest fad if the newest fad was a wasted opportunity that repeated itself every time it ended. 

     Listen, here’s another thirty seconds of thought (in less than thirty seconds of words): What’s really killing you when you’re paralyzed by the very time that you wish to make use of? It’s media snippets, bytes. That’s what we come down to. 

     See, thirty seconds is enough for the media, and if it’s enough for them, it will eventually be enough for you, because in the first world you can escape murder, authority, and responsibility, but you cannot escape advertisements. Thirty seconds of attention for thirty seconds of scene; your brain is already pitching for it before your consciousness has made the catch. Are you watching an hour and a half long movie or one-hundred-and-eighty seemingly seamless commercials? Was that a fifteen minute read or thirty interrupted instances of skimming? We’ve got articles that take two clicks to bookmark, but we only read summaries because they’re in two-inch posts on the feed. Why take a few minutes to meet you, when in thirty seconds I could tweet you? When we are bombarded by tons of ultimately unimportant information, we start regarding more and more things as equally unimportant. Your life was dictated by thirty seconds from the time you started watching television, voicing opinions on something you heard moments ago, or doing your homework five minutes before class. And I know you have. 

     Something is wrong, then, when I’m already trying to click “Skip Ad in Five Seconds” at the start of my YouTube video before the “Skip Ad in Five Seconds” option even appears. What does it matter if I skip the ad in my impatience, now? I have already become an ad myself, it’s true: just click my Facebook profile. It only takes thirty seconds to judge my life, because it’s been placed in an easy to read summary format—extremely shallow and incredibly quick

     The truth is that many of our beautiful brains have been reduced to nothing more than switchboards, and our attention spans are vibrant stuttering strobe lights. The switching costs are heavy on our cognitive loads, and little makes it past our instantaneous flash gate. We flicker different colors so fast that we don’t do a single one well, and in our pursuit of instantaneous and effortless gratification, color loses meaning. Short-lived one night stands never fulfill needs forever, but are forever what we “provisionally” go for. Dinner comes in greasy microwaveable cartons that feed the stomach quick and poison the soul slow. You can download entertainment in thirty seconds, from abandoned catchy vocals to paid models and orgasms. We’ll make it kitsch and easy to digest because you’re only going to watch for thirty seconds anyway, and we’ll make it shocking and fetishizing because you won’t even begin watching it, otherwise. Life is packaged in momentary frissons, in eye-catching and attention-mongering news updates that can hardly hold our attentions for a few seconds at best. 

     To tell you the truth, I feel nauseous. I remember I could sit in a library all day and just read one book. For the entire day, just one. Now my attentions are nothing more than nervous tics: annoying, obsessive, and brief. The world is a satirical neverland where everything is never enough, and where I am empty unless my mind is being forcibly wrenched out of my brain by a song or a movie or an artwork. So, here’s another explanation for our ennui: it’s not just because we have too much, it’s because everything we have only stimulates for a few seconds long, and we need it all the time in order to half-attain escapism, like scratching at never ending itches to take just half of our minds off the itching. Honestly, it’s not that we’re bad at skimming. It’s that skimming is the only way we live anymore. 

     So the next time I feel existentially incomplete, I’ll mind my itches, those habits I might never conquer—we’ll see what happens. In the meanwhile, I’ve decided: if you tell me I have thirty seconds to live, I’m going to tell you to come back in an hour. 

The Importance of Nonexistence

Laozi and the Daodejing

Thirty spokes converge on a hub 
but it’s the emptiness 
that makes a wheel work 
pots are fashioned from clay 
but it’s the hollow 
that makes a pot work 
windows and doors are carved for a house 
but it’s the spaces 
that make a house work 
existence makes something useful 
but nonexistence makes it work

道德經 Daodejing, verse 11 (tr. Bill Porter)