Conversation with Lake about short prose and negative space 08/23/21

Cole: I am really attracted to moments that are impactful yet brief. Like how could I give the reader all the necessary context of a novel but really just have them read something the length of the climax?

Lake: I think (unsurprisingly) that there is much to be learned from short stories, especially by really powerful authors, in as far as the information they choose to make explicit and that which they let/force the reader assume.

Cole: The letting/forcing the reader to assume is important. With my poetry, some of the editors want me to come out and say the point. They don’t want me to just describe the physical moment. They want me to explicitly state the metaphysical message. It’s a balance, getting the reader close enough, but then letting them make the leap themselves.

Lake: Yeah, and constraining the conclusions the reader can jump to.

Cole: It’s not so much what you say but what you don’t say, not what you write but what you don’t write, not what you paint but what you don’t paint. The impression that any word makes on the reader depends on the words around it. The impression that one splash of color makes on the viewer depends on the colors around it.

The most obvious negative space is silence in song, monochrome in painting, blank space on a page of writing. But negative space is really just one end of the scale. We might say positive space is on the other end. Between them, there are pixels of subject that each participate to varying degrees in subjectness.

Now, is there really such a thing as purely negative space? How can we make such an assumption, on behalf of either the creator or the consumer? How can we decide for them what parts they will consider subject and what parts they will consider background?

Like a little girl who holds her father’s hand while waiting in line for the train. Everyone else is leaning side to side, jumping up and down—trying to get a glimpse of the train, the door, how full it’s getting. The girl is crouched down playing with an ant. Who could have seen the ant in a painting titled “In Line For The Train?”

Some writers talk about “filler.” In the middle of a novel, there may be pages that are not the writer’s best work, but they get the book to a total page count and they progress the story along. Filler is still positive space. It’s words—the main medium for the art form of writing. But might we say that filler is closer to negative space than, say, the climax?

As a writer, what am I letting the reader assume? How much relatively negative space am I giving them to fill with their own imaginations? The reader is not completely loosed. Even blank white pages will confine their thoughts and feelings to a certain section of mental-emotional possibilities. How meticulously can I reduce the number of possibilities?

If I have written a poem to twenty lines and there are three possibilities for the conclusion at which the reader will arrive, should I write a twenty-first line to reduce the possibilities to just one? How does it change the experience of the reader to make the leap on their own? To solve it like a puzzle. I would say there is some joy and sense of achievement to be derived from this independence.

Lake: I agree with some of the things you said. When I was talking about negative space with writing I was not thinking about physically, but more so negative or empty space in the environment you build for the reader, i.e., when you have a 20-line poem that leads to 3 conclusions or a 5-line poem that could lead to the same conclusions, the 5-line poem has more negative space and also more power because it focuses the reader to the same point with less filler. And I think that is what skilled short story writers excel at. Because then you can think of it the other way: what is the most cohesive and specific, even if not well-defined, environment that you can create in the space of a short story? Whether that is like geographic depth, visual detail, character development, plot texture. Imagine a surrealist essay. They paint a very cohesive and specific picture, but not necessarily one you could describe neatly in a few sentences. Like Kafka can make you feel a very specific way, even if you can’t really put your finger on how you feel.

Cole: Yes, but that seems separate. Can Kafka make you feel that specific way using less words?

Lake: Maybe, maybe not. The point I was making was that you can know something without needing words to represent it, which means you can make someone else feel something without making it explicit. And I think that by properly choosing words you can be very precise with the atmosphere you create and what feelings you grow in the reader. And a large part of that is what you allow the reader to assume based on the information you provide and the info you don’t provide.

Cole: Ah, I see more clearly now. Let me regurgitate back to you a bit. Premise: I can feeling something without words to represent it. Conclusion: You can make me feel something without using explicit words. Whence, then, does the feeling come? What DO you use to make me feel it? Maybe just other words. Not the explicit ones that say what I should feel exactly, but other words that make me feel it by some other means. Maybe these means are something like the subconscious, logical conclusion, or imagination. It seems the minimalism / negative space conversation is unessential to this one.

Lake: I don’t think so! The negative space is where the mind is able to make connections between the words you do use that then lets it feel something greater/different than what was explicit.

Cole: Hm, so negative space does not exist only in the art itself. It exists also in the viewer’s mind?

Lake: What is in the viewer’s mind is a function of the art, like if you only give someone 5 words on a blank page, they twist and turn mentally until they figure out how those 5 words all connect to make sense.

Cole: But the reader already has words in their head. Words that didn’t come from the page. The viewer’s mind is a function. But the art isn’t even a variable in that function. It’s just an input.

Lake: A function takes an input and creates an output. Mind is the function. Art is the input. Feeling is the output.

Cole: I still don’t think the negative space exists in the mind. The negative space exists in the art.

Lake: Okay, but I think that’s wrong, or rather is missing the point. Let’s say negative space exists in the art. What impact does that have on viewer?

Cole: It has an impact on the viewer’s functional mind via the input of the art.

Lake: Yes, but like what does it mean. Why is negative space helpful?

Cole: Now we’re back to square one.

Lake: Humor me.

Cole: Negative space is helpful because … (A) It allows the viewer liberty to draw their own conclusions, which are not explicitly concluded by the positive space in the air itself. (B) It preserves the energy and attention of the viewer so that they can focus with more power on the positive space. (C) It allows the positive space to exist. Without negative space, there is only positive space; there is only space, general space, without an opposite, without contrast.

Lake: Yes, so really what we are saying is don’t give the viewer all the pieces to the puzzle and let them find some on their own. If the input is sparse the function has to make more assumptions, yielding a more interesting output.

Cole: I disagree with the word “interesting.” Maybe the output is more personal to them. Or maybe the viewer feels a keener sense of accomplishment.

Lake: I would say “interesting” is correct because it’s actually just a conclusion that isn’t handed to you therefore you have to think a bit therefore you focus more of your active interest in it. But whatever, not gonna die on that one.

The right question

About my writing
He says he wants to ask me
The question
Which he wishes
Others would ask him
About his music

This is the question—
“What question
Do you want me
To ask you
About your art?”

I cannot help but feel
That he is cheating

Isn’t digging through the dirt,
Clamoring through the confusion,
And finally finding
After much searching

Somewhat similar to
All the sunshine and rain
Required
Before a flower
Will unfold for you?

Did nature
Have it so easy
As simply having to ask
What it was
That the flower wanted?

Or did many flowers
Have to die
Before nature learned
The unfolding
Of a single flower?

Was it worth kneeling
In the soil
And watching
For every second
Of every day

To learn to ask
The right question?

June 09, 2021 at 12:00AM

Algorithmic art

Lake explains
How a machine-learning algo
Makes art

“The code
Prunes out what’s bad”

“It grows into
The right composition”

“It either ends up
Too random
Or not random enough”

Kyle argues back
On our behalf,

“It’s the same
As a human artist
Learning what feels right
From experience”

Lake responds,
“Those learnings
Are rules
That can be coded”

June 07, 2021 at 01:50PM

Honest young girl

“This has so much ego in it. It’s so good,” she says about the song playing. She says things, not knowing what she’s saying and how good it is, confirming the theory I have about the words people say in conversation in the moment being way better than the words remembered and written after the fact. She says this listening to the music and feeling it. The way she says it in this moment is different. It is like music. The tone makes it. Her facial expression, the environment around her, and, of course, the music itself—it all contributes. Film would get closer with its combination of audio and video. The art that we are all chasing from different angles is the present moment. When we cut it off from its original source, we only take a piece with us—the words, the sounds, the appearance. But the whole thing is here and only once. The art is life itself as it’s lived. What makes us want to divorce it from it’s natural birthplace, to pull the flower up from it’s soil. Because we want to show the beauty to others? Because we want to keep it for ourselves.

I can feel it

My grandpa is taping the baseboards in the hallway, preparing to paint the walls. I am making breakfast in the kitchen. He makes a noise, like a grunt. Something like ugh or grr.

I hear him make the noise and ask, loud enough for him to hear me in the hallway, “Are you alright?”

He says, “Oh yeah, I just have to make noises every once in a while.”

I laugh and ask, “Just a reminder to yourself that you’re still there?”

He says, “Oh no, I know I’m still here. I can feel it.”

I laugh again.

He is referring to the pain he feels in his joints, I think.

Originally written: April 7, 2021 @ 9:40 a.m.

Lunch with my grandparents

I was sitting on the back porch having lunch with my grandparents. My grandma and grandpa were sitting in chairs next to each other, across the table from me.

It was the day after Easter. The buds of the first leaves were starting to show on the trees in the backyard.

“Those are farm trees, the ones that grow the hedge apples,” my grandma said.

“I have a list that’s 17 pages long, and you know what …” and I already knew by the tone of his voice that there was a characteristic grandpa-joke coming, “It’s single-spaced!”

“Hah!” He laughed like he always did.

“I’ve got to change the oil in the car,” said grandpa.

“That should be at the top of the list,” said grandma.

“I know it. And I’ve got to put another coat of paint on the door,” said grandpa.

“Well that should be toward the bottom of the list,” said grandma.

“Well, no, it’s at the top of my list,” said grandpa.

“The sun is starting to come over the house now,” said grandma.

“I’m gonna go get the umbrella,” said grandpa. And off he went.

Krys says nice

Driving to the airport on our way to pick up Marta. Krys is driving. He has his hand out the window, letting the wind pass between his fingers. The sky is a light blue. The gradient grows lighter toward the sun, high in the sky. We come to a stop. Krys looks out the window, exhales, and says, “Nice.” Seamus looks at Krys from the passenger seat and asks, “What?” Krys responds, “All of it.” We all laugh, and quickly express our emphatic agreement. It is all very nice.

zuma beach

at the zuma beach, we ask the parking attendant if she has a map. she doesn’t speak english very well. she says, no, just beach.

in it right now

We’re just in it right now, I say out loud, sitting on the couch, next to her in bed. This is the moment for sure, I say. This, right now? She asks. Certainly, I say. Thinking of what all will come and wondering if we’ve really reached the peak.

A Return to Form

“Oh no, I’m feeling impulsive again. I want a croissant,” K says.

I laugh and say, “I love how you happen upon your feelings like you’ve tripped over something and say, hey, who put that there?”

intense

she says, you’re intense.

i look at her, intensely, i suppose; aware of it because she said so.

why yes, i say, because things are serious.

what do you mean by that? she asks.

well, for example, if we were in a war.

but we are not, she says.

hmph, no longer looking intense, she is right, i suppose.

Time spent for pleasure

K: Do you see value in time spent for pleasure?

C: Yes, I didn’t use to.

K: When did that change?

C: When I realized that I was going to die no matter what, and nothing really matters.

I’m the opposite of you. There are times when I indulged more than I should have. Times when I did things in excess, e.g., spending too much time doing unhealthy things, investing emotionally too deep in someone.

As I get older I try to find balance and be present in doing non-pleasurable things. I don’t really enjoy it but if I’m present I can benefit from it both in the present and in the future, like washing my face—even if I don’t enjoy getting up out of bed in the present, I feel a lot better in the future if i do it.

I think about what I would remember right before I die. I think I’d remember times when I felt connected to something bigger than me, because that’s what I would be about to cross over into.

Morbid

Leaf says, “I’m looking forward to this time tomorrow when I’ll be asleep.”

Moose says, “I don’t know what I’m looking forward to anymore.”

We laugh. It’s funny while we’re still together.

Good trip guys

Krys walks out the door after we’ve said goodbye, “Good trip, guys.”

We all laugh.

Krys walks out in the snow. His car is waiting, idling, blowing smoky exhaust into the cold air.

In between times like these

Seamus says, “Just working in between times like these.”

Krys says, “Marking off the days in my calendar.”

We laugh jaded laughs, morbid about some things, but soberly, and knowing the things we have to do are well worth times like these.

Fall leaves

Sitting on the porch swing in Denver looking out at the trees. Lake asks me, “Do the trees change color in California?”

I think about it. “I don’t know. Not the redwoods, I don’t think.”

“Well, what makes them change?” Krys asks.

“I think it’s them dying. The chlorophyl that gives them life goes away and the green color fades.”

I look at a tree across the street. It’s October and the leaves are shades of green, orange, and yellow. It’s like an aging population. One branch has green leaves that are all young—it’s a school of youths and no elders. Another branch on the outer edge has mostly orange members—these are middle-aged citizens that think back to their own youth in the spring months. And the yellow leaves, towards the end of their lives, looking at the ground beneath and preparing for their Fall.

Bright light

I turn off the bright light and turn on a dimmer one. In a few minutes I say to myself, “Gosh darn, I thought I turned that bright light off.” Then I look up to see the lights and it’s the dimmer one that’s on. I say to myself, “Oh wow, how my eyes have adjusted.”

A feeling of connectedness

I asked F, “What’s it like when you get deeper in your meditations?”

“I sort of dissolve,” F said. “It’s more of a lack of me. A feeling of connectedness that exists all around me.”

My Mother Was An Artist

My mother was an artist. In her hometown she got sick and went to see the medicine woman in the fields. The medicine woman was there and my mother’s mother was still alive and she knelt there in the fields among rows of other people that had passed on. They all knelt down in the dirt on a sunny day. Here they came to life again, in the medicine woman’s field.

My mom was sick. You only went to see the medicine woman when you were already sick. If you were healthy, the dead would make you sick anyway. When you were sick already, it didn’t matter. My mother held me in her arms. I was sick too. I was a baby too young to remember this story.

My mother knelt in the field next to her mother, my grandma. My grandma knelt there in the dirt looking very somber and worn down by being in the sun all day. My grandma held a baby boy also. He was my mother’s baby brother, John. He would have been my uncle had he not died before he was one year old.

My mother knelt next to my grandmother and communicated via the medicine woman. My grandma whispered to the medicine woman and the medicine woman turned and translated to my mother. My grandmother, via the medicine woman, told my mother that she was proud of her. She also said, holding dead baby John in her arms, that I looked to be very healthy. I was a little younger than one year old at the time, just like dead baby John.

The medicine woman said that it was time for us to go. This did not phase my grandmother. She knew that it was as things must be. She maintained her same somber disposition. Her golden cheeks eternally tanned by the sun of the dead. She whispered one last thing to the medicine woman and the medicine woman turned to my mother and told her, “She wants you to know that she loves you.” My mother cried a single tear in the soil of the dead. Then the medicine woman said that we really must go.

She led us away from my mother and through rows of other dead people kneeling in the soil. We came out of the rows and reached a road and departed from the dead. In the real world, the fields of the dead were a gift shop filled with pictures. There were many aisles of framed pictures of deceased loved ones. They hung on the artificial walls like books sorted in the shelves at a library.

The medicine woman told my mother, earlier this morning I sold the first one of your mother’s pictures. She only has four photos left now and then she will move on from the fields and rejoin the sun.

Thank you, my mom said to the medicine woman, putting her hand on the woman’s shoulder. I will come back and see her again once more before she passes on. I will have one more question to ask her. Well, why did you not ask her today? asked the medicine woman. Because I don’t know the question yet, replied my mom.

The medicine woman smiled and said that she understood. With me as a baby still in her arms my mother said goodbye to the medicine woman and left the fields of the dead, or in reality, a picture gift shop where souls waited in purgatory to pass on into the sun.

Conversation with M

“What inspired it?” M asked.

“Nothing really,” I said. “Just thought of it in the barber shop one day. And finally got the time to finish it today.”

“I wish I had that kind of imagination.”

“It’s a weird thing. I didn’t used to. When I was good at math and remembering stuff. Now my head’s so empty. So there’s more room. Less room in your lawyer brain.”

“Your head is not empty,” she kindly assured me.

It was useless to argue with her.

“I start school tomorrow. So even less room,” she said.

Are you excited to meet your classmates?” I asked.

“Only because it is new and refreshing.”

“Isn’t that why we do anything?”

“Oh I don’t know about that, people find comfort in routine and familiarity.”

Again, there was no point in arguing with her.

“You’re right,” I said.

The Little Ant: A Short Story

The little ant couldn’t remember how he had gotten lost. He was in the middle of an expanse with no sense of direction. The ground under his feet was hard. He had nothing with him other than the grain of rice that he held in his mandibles. He had no thoughts in his head other than delivering the grain of rice to the colony. It was so peculiar, the little ant thought to himself, that he could not remember anything from before. He could not remember the queen, not specifically at least. He could not remember what she looked like, only that he did in fact have a queen. He could not remember his brothers or the tunnels inside the ant hill, only that he did in fact have a home and the colony was waiting for him and depending on him to deliver the grain of rice.

The first few seconds, which are whole days in ant time, the ant spent in despair. “How did this happen to me?” he asked himself over and over again. He felt disconnected, alone, and purposeless. The colony is the reason to live for an ant. Without his queen and worker brothers, the ant felt no energy for life. But he still had the grain of rice in his mandibles. He had a duty to the colony, he remembered. Thus concluded his period of despair and reintroduced to the little ant the resolve that is customary for his kind.

He was hungry. He thought of taking a little bite from the grain of rice. No he could not, he told himself. It was for the colony. The colony needed it more than he did.

The little ant looked around to see in what direction he might start to search for the colony. He was in a foreign place, or at least a place that he did not remember. In all directions, it was only flat and there was nothing noticeable to be seen. The little ant realized there was nothing that would tell him which direction to choose. He picked up the grain of rice with his mandibles and started off in the direction that he was already facing.

It was many minutes that the little ant marched straight in the same direction. He was careful to pay attention to the movements of his legs. Because he had no information neither from his sight nor from the smell of the colony, he had to be careful this his steps on the left and right sides were equal, to guarantee that he moved forward in the same straight line. He was also counting the number of steps that he took to know exactly how far he had traveled.

If he did not find anything in this direction, he would turn around and walk back in the exact same direction from where he came. He reasoned to himself that he could not be far from the colony. He did not want to risk marching off in the wrong direction, away from the colony. He planned to set out on equidistant paths from the center where he started. This would allow him to cover the most ground, closest to where he began.

There were occasionally long ropes scattered on the hard floor. The little ant dared not leave his track to examine them until he came across one of the ropes in his path. It was not a rope, but a strand of hair. It was much longer than ant hair. He wondered to what kind of beast such a long hair could belong. He wondered if such a beast had anything to do with his separation from the colony. The little ant felt a sudden fear for the colony. He hoped they were safe from this great beast. He stepped over the hair and shuddered as he did. He continued on the same path, keeping his left and right steps equal.

The little ant had no way of keeping track of time other than the steps he had counted. He had taken twenty-five-thousand-six-hundred-and-twenty-eight steps. He had not stopped other than to briefly examine the strand of hair from the great beast. The little ant wondered to himself how many steps he would take before he would turn around and retrace his steps backwards. He cursed his predicament for he had no sense of how large was this vast expanse that he was in. If he only knew, then he could determine how far he needed to travel in each direction. The best he could do was to guess.

The ant was now more hungry than he was before. Time would become a factor unless he found something else to eat. He would dare not take even the smallest bite from the grain of rice. The rice was for the colony. There was no purpose in him even returning to the colony if he did not bring the grain of rice.

When the little ant reached fifty-thousand steps, he turned around. He was very careful when he turned. He composed himself and stood straight as an arrow in the direction that he was facing. He took note of the position of his body. He would do it in two movements, he decided. The first would be a quarter-turn to his right. He would then make a second quarter-turn to complete a one-hundred-and-eighty degree-turn so that he would be facing, hopefully, in the exact direction from which he came. He cursed himself for not marking the spot from which he had originally departed. He could have carved a large “X” in the floor with his mandible. Now he had no way of knowing if the measurements and count for his steps were accurate. He would have to trust them. He had no choice.

The ant started his fifty-thousand-step journey. He crossed the large strand of hair at roughly the same step, which was a good sign that he was on the right track. When the ant counted his fifty-thousandth step, he started the count over. He was now tracing new steps.

When the ant was a third of the way into his journey in the second direction, there was all of a sudden a great shadow cast over the whole of the expanse for as far as the little ant could see in any direction. Instinctually, the little ant dropped the grain of rice from his mandibles and did his best to crawl atop it and cover it with his body (the grain of rice was several times the size of the little ant). Just as quickly as it had come, the shadow passed and the light from an unknown source returned to the whole landscape. The little ant shuddered. What was that? He wondered to himself. Did it have anything to do with the giant strands of hair that were scattered all around? Did the shadow belong to the great beast?

The little ant stood immobilized for some time. What would he do if confronted with such a large beast? He did not know, he told himself. There was only one thing he could do. He picked up the grain of rice in his mandibles. Before he began again, he realized that he might have lost his direction slightly after having thrown his body on top of the grain of rice and losing his footing as a result. There was nothing he could do about it now. He reset his track as best he could and took a step to continue on.

Nothing occupied the little ant’s mind other than the count of his steps and the soft embrace with which he gripped the grain of rice in between his jaws. He started to feel a kinship with the rice. At first he scolded himself for giving into delirium. He longed for the companionship of his brother ants and his queen. It was not for an ant to be alone. Still, even as he admonished himself, he could not help but feel connected to the grain of rice. At times, he swore that he could feel a soft rhythm like a heartbeat against his mandibles. It was only the vibrations from his steps, he told himself. Grains of rice did not have heartbeats.

He had now gone more than forty-thousand steps in this second direction. He was twice as hungry as before. He started to feel a weakness in his legs and mandibles but dared not pay attention to this. He was still likely very far from the colony. He did not even know anything about where he was. The most frightening thought crept into his mind, the colony might be no more.

After all, he did not remember anything. How could he be so sure that he even had a colony? The little ant shook his head, trying to shake out these thoughts. He admonished himself two-fold: for having thoughts in the first place, and for not keeping his head straight and rigid in the interest of staying on the path.

There was no productive outcome of thoughts like these, he reminded himself. The only productive thoughts led to action in the service of the colony. Any thoughts that led to either inaction or action not in service of the colony were thoughts not to be had. The little ant marched on, recommitted to his steps and maintaining the posture of his mandibles, even though the joints of his jaw had started to ache severely—the ant didn’t think of this.

At precisely forty-four-thousand-five-hundred-and-eighty-six steps, there was another shadow. This shadow was different, however. It was static and non-moving, not like the beast’s. The little ant set down the grain of rice carefully to get a better look. In the distance there was a vague color not like the hazy blur of nothingness. It was a wall! He could not see the ceiling but he knew it was a wall. The little ant did not know how he knew this, or from where he had learned the concept of a “room.” But he knew it, as sure as he believed that he had come from a colony.

The wood inside of a wall would provide an ideal home for a colony. The little ant contained his excitement and reminded himself to focus on only two things: counting his steps and holding the grain of rice in his mandibles.

The little ant passed fifty-thousand steps in this second direction. According to the plan, he should have turned around. However, finding the wall justified an update to the plan—the little ant reasoned with himself.

At sixty-three-thousand-one-hundred-and-twenty-nine steps, the little ant stopped with the grain of rice against the wooden, painted-white floorboard of the wall. The little ant didn’t move. He surveyed to the left and the right, along the floorboard. To the right, the floorboard appeared to go on out of sight, undisturbed. To the left, there was a part where the head of a nail protruded from the floorboard and it looked as if the board was pulled slightly away from the wall. Maybe there was an opening where he could get in, the little ant said to himself.

The risk of exploring the possible opening was that the little ant would have to abandon the rigid structure of his exploration. He could not, however, pass up this opportunity to explore the opening. He resolved to measure, as best he could, the angle at which he now faced the floorboard. The little ant determined it was about sixty-degrees with respect to the floorboard to his right, and therefore one-hundred-and-twenty degrees with respect to the floorboard to his left.

It was becoming difficult for the little ant to remember all these numbers. He made it easier for himself by dispensing with all the other superfluous pieces of information in his mind which were not essential to bringing the grain of rice to the colony. He systematically disposed of any emotions and any ideas about where he had come from.

Then, returning his mind to the numbers, the little ant realized, if the room was rectangular (he seemed to recall that most rooms were), the line along which the little ant had explored thus far, which ran exactly one-hundred-and-thirteen-thousand-one-hundred-and-twenty-nine steps, was diagonal with respect to the walls of the room. This being the case, the little ant imagined he might amend his plan and, instead of returning back to the center where he would continue in a third direction, he would search along this floorboard until he found a corner of the room. The chances were greater, he reasoned, that he would find a corner if he followed the board to the left. If he found a corner, he could make estimates for the size and the shape of the room, given the measurements he already had. This was assuming, of course, that he would not find the colony behind the opening between the floorboard and the wall.

All this, the little ant thought of, while still standing motionless facing the floorboard with the grain of rice pinched gently in between his mandibles, careful not to adjust even slightly his exact position until he was sure that he had all the measurements he needed. He was sure now. He turned to his left and started to move carefully along the floorboard towards the protruding nail which the little ant assumed would mark an opening to the interior of the wall.

At only two-hundred-and-forty-seven steps from where he had first faced the floorboard, the little ant came to the protruding nail. There was indeed a small opening between the board and the wall where the paint was chipped away. It was roughly the width of three little ants. Peering into the opening, it was like a long dark cave. The little ant was afraid. He dispensed with this emotion as superfluous. The colony might be at the end of this cave, the little ant told himself. He adjusted the grain of rice in between his mandibles, made his way into the cave, and started leftward.

It was dark. There was a thin ray of light that seeped in between the top of the floorboard and the wall. This ray illumined only a small part of the little ant’s path inside the cave. He relied mostly on the sense of the board to his left and the wall to his right, as he occasionally bumped into either side with the grain of rice. The little ant was very sorry to the grain of rice each time that this happened. He tried with all his strength and concentration to avoid these bumps but he had become very hungry and weak as a result. He occasionally faltered to either side as his legs had begun to fail.

After seventy-four steps from the opening of the floorboard, faintly at first, then louder; the little ant could hear a bustle up ahead. At first he was excited. It’s the colony! He told himself. The end of his journey is near! The little ant marched forward with a newfound exuberance and strength. He craned his neck and hoisted the grain of rice high. He thought of seeing the queen and his brothers.

Then the little ant’s exuberant march slowed. He listened closer to the bustle and his stomach turned. He listened to the heavy steps and their rhythm. They were not like ant steps. They were heavy and spaced out. This was something bigger than an ant.

The little ant stopped and stared as deep into the cave as he could. Whatever it was was coming closer, straight towards the little ant, and fast. The little ant took a step backwards, and then another. By the time the hairy fangs became visible in the thin ray of light, the little ant was moving backwards as fast as his legs would carry him. He could have moved faster if he dropped the grain of rice, but he dared not. The spider was very fast and closing the distance between them.

In his mind the little ant displaced his fear and counted his steps backward. Twenty-five … fifteen … five … Just as the ant whipped his backside to the left where he knew he would find the opening, the spider lunged forward and snapped his fangs after the little ant.

Outside the cave, bathed in light, the little ant laid on his back inviting in air through his spiracles. For a brief moment the ant allowed horror at the spider to take the place of his concern for the grain of rice. When he realized the grain was no longer clenched between his mandibles, the ant jumped to his feet only to find that there was something very wrong with one of his front legs. As he tried to support himself, he fell forward onto his right mandible. The spider had severed his right front leg at the joint. A clear liquid seeped out from where the little ant’s leg was detached.

This injury, however, was secondary to his concern for the grain of rice. He looked around, ignoring the pain in his leg. Luckily, the grain was beyond the opening in the floorboard. The little ant limped over and picked up the grain with his mandibles.

The little ant felt his pain only insofar as he needed it to assess his ability to carry on. Combined with his hunger, the loss of blood was now weakening the little ant significantly. He would carry on. There was nothing else to do. With the grain of rice securely in his jaws, the little ant limped along the floorboard in the leftward direction (relative to where he had first faced the board). The little ant shuddered to think that the spider was just on the other side of the board. He could not get out, the little ant told himself. The opening was too small. Besides, he could not think of that. He had to continue on in this direction no matter what.

The little ant carried on. He continued to count his steps. It helped him to ignore the pain in his leg. This would be the last segment of his journey, the little ant knew. He would not be able to return to the center and continue his systematic exploration.

The little ant thought of nothing. He did not even process the information that came in through his eyes. He did not smell. He did not think of anything other than the count of his steps, and increasing the number by moving forward. All the while, clear liquid seeped from his leg.

He carried on like this, until step thirty-thousand-seven-hundred-and thirty-eight since the opening in the floorboard, the little ant ran headlong into another wall. He had reached the corner! Though the little ant could not spare any energy for excitement.

He craned his neck upward and started to climb. Normally, the little ant could have climbed the wall vertically. Impaired as he was without the full function of his right front leg, he was forced to crawl up the corner with his right shoulder relying on one of the walls for support. With his neck craned back as far as possible, he could just barely keep the grain of rice in his mandibles from scraping against the wall. Like this, the little ant climbed.

At several points, he stopped to rest, focusing all his strength on the grip of his claws that held him to the wall. He feared if he did not do this occasionally, he would fall backwards. How high the little ant climbed did not matter, he had no room left in his mind for the fear of his own death. He could not even remember the numbers anymore, not the angles nor the steps he had taken. That was all beside the point now.

The stops for rest grew more frequent until with every step the little ant feared he might let go. Then the wall that made up the left half of the corner, gave way to a countertop. The little ant scrambled onto this flat surface, thankful for the ground to rest his tired legs and the space to adjust his craned neck. The ant rested, with the grain of rice clenched in his mandibles. He would die with the grain of rice in his jaws, he told himself. He felt that death was near.

The little ant got up to his feet. The clear liquid had stopped seeping from his front leg. The little ant wondered if he had any blood left. He wondered if he had already died and he was now just hallucinating. The little ant looked around at what lay on the countertop. He did not recognize anything. The shampoo bottles and electric razors made no sense to him. They were all merely objects that were not his colony, and therefore meaningless.

It was towards the end for the ant. He knew this. His eyes were starting to dim. For the first time in his long journey, the little ant started to lose hope. He knew he only had the energy for a short distance. He crawled towards the row of hair product cans. He stumbled and fell every two or three steps. He made his way behind the cans and laid down on his back. How long he spent like this he did not know. There was almost no light left in the world.

The little ant had been unconscious for some time when he woke with a start. There was another ant leaning over him. The little ant thought that he was seeing himself. It was his spirit, the little ant told himself. His spirit spoke to him. It said, “Well done, brother.” The spirit ant touched his mandibles to the little ant’s. The little ant felt the mandibles. This was not a spirit ant, the little ant realized.

He heard other voices. He turned his head slowly with what little strength he had left. There were a dozen or so ants. The little ant breathed a sigh of relief. He leaned his head back. They were talking about a great beast. Many ants were lost. These were among the few survivors.

With what little strength he had, the little ant opened his eyes. There was another ant leaning over him, assessing him, clicking his mandibles in thought. He watched this ant look away at the others and shake his head. This ant too touched his mandibles to the little ant’s.

The brother ant came back; he seemed to be the leader of the survivors. “I brought the grain of rice,” the little ant said to him, “for the colony.” He took a shallow breath with great effort

The brother ant looked at the little ant, confused. “What do you mean?” asked the brother ant.

“The grain of rice,” whispered the little ant. “I brought it … food … for the colony.”

The brother ant laughed. “That is not a grain of rice, brother! That is an egg. And not just any egg, brother. It is a queen egg.”

The little ant was overcome with warm rapture. He asked himself, how had he not known? But then again, how could he have? He had never before seen a queen egg.

While the little ant was thinking to himself and remembering the encounter with the spider and the climb up the cliff face and how he could have lost the queen egg. He silently thanked the almighty for granting him the strength to deliver the queen egg back to the colony.

The brother ant continued, “We lost our queen in the battle with the great beast. Without her, we were all prepared to die soon. Without a reason to live, we had thought of throwing ourselves from the cliff here. You have delivered life and purpose to us, brother. We will rebuild a new colony for the new queen.”

The rest of the ants gathered around the little ant. An ant much larger and stronger than the little ant now carried the queen egg in his mandibles. The rest of the ants clicked their mandibles in  honor of the little ant. “Sleep now, brother. You have done your duty to the colony.” The little ant relaxed his mandibles and leaned his head back and went to sleep.

Anxiety

K said, “I’m getting anxiety again.”

“About what?” I asked.

K looked at me annoyed. “I don’t know, that’s what anxiety is!”

Quinn on animals dying

They don’t know. Their instincts are like, don’t die. And then they get eaten and they’re just like, eh. They probably don’t even know. I don’t know. I hope they don’t suffer.

Saturday morning

We lay in bed on a Saturday morning in San Francisco. Heat creeps through the cracks in the doors and windows as summer has just barely made itself known, still behind the mask of a March spring that stares back the foggy and rainy winter months.

Laying side by side, our arms barely touching, and looking out of our own eyes. Our bellies rise and fall at a perfectly mismatched rhythm—hers, at its fullest when mine is exhaled, and mine inhaled when hers has released.

These mornings, I have time to wonder. And not only time, but courage, laying next to her. My thoughts are of adventures and possibilities, all dressed in happiness and ecstasy. This, freed from the anxieties of corners and code and other certainties in a weekday world. I wonder about where we will go today, what we will achieve. With all the means in our pockets and handfuls of ends to choose from.

I wonder if we might take the ferry across the bay to Sausalito. Or drive across the bridge and climb Mount Tam. Or even find a corner of a coffee shop to pour our adventures and possibilities onto paper and canvas—thus to have literature and painting as mediums of our ecstasy, just the same as we would have played them out in reality.

I wonder, as she reads a book of poetry that she has picked off the bookshelf at the foot of my bed. I smile to myself, so deeply satisfied to be with someone who will pick up a book to read as I write. I should not form my beloved in the shape of my own desires but sometimes I cannot help it.

Lifetime

I tell the artist she has a time limit to write me a poem.

She says, “I’m an artist. I don’t work on a time limit.”

I say, “You have a lifetime. You’re always working on a time limit.”

Then she looked as if she would cry. But I could see her realize she didn’t have time. She dried her eyes and started to write furiously.

Flashing lights

In the crowd, I face the stage. She faces me, with her eyes closed. She opens her eyes. 

I ask, “What are you looking at?”

She says, “Just you.”

I ask, “What do I look like?”

She says, “Flashing lights.”

Doer

My friend who has done so much says to me, “You have not seen enough.”

Before I can respond, our ascetic friend interjects to ask the doer, “Have you considered there are things which you may have overlooked?”

Lines

She said she likes to be drunk and let the lines flow. Watching the way she danced and thinking about her past, she had all the qualities of a beautiful woman with a fun and free spirit and I wondered about the men that had wanted her before me.

Laying in bed that night she says she has always liked men like me who had lines that she could play within. For a while, she said, she thought she didn’t need any lines at all, but then realized with complete freedom and no boundaries she might accidentally cut her arms and let all the blood flow out or run into traffic whether it was moving or not or fall off a cliff no matter if it was tall enough to die from the fall.

Alone, she had to worry about these things. With a lined man, he held out his arms for her to lean against and bounce between, but never having to worry much about boundaries so that she was free just to flow and dance about.

In the same way, I, the lined man, am free to smile and laugh when I’m with her. Her falling in love in high culture, and I falling in love back, in need of a little levity and fairytale to inspire my philosophy and science.

Oliver

Blake was surprised by Oliver’s response.

“Don’t you want to have friends?” Blake asked.

“Unless you are a young beautiful woman,” Oliver started coldly, “I really want nothing to do with you; unless you are a young handsome man also after women, then I would enjoy to learn your skills and be your comrade in the chase.”

Blake and Ish

Ish was always singing, most of the time with her headphones in her ears, singing along to whatever music she was listening to. For most people this is impossible because they need to hear their own voice to regulate their own pitch.

But Ish explained it to me once—like a painter who only needs to look at the blank canvas once and the palette of colors in his hand once, and then can close his eyes and paint the whole painting, his hand so trained in muscle memory and exactitude moving back and forth between palette and canvas, so that at the end he opens his eyes for only the second time and sees the whole masterpiece—so too with Ish and her singing with her headphones in her ears.

She didn’t need to hear her own voice; she only needed to hear the pitch and rhythm, and then she could keep up recreating it only using her feelings of the vibrations inside her head and chest. And the whole time looking like a dancer, swaying back and forth so that her long black dreads were reaching down to her waist and swinging slowly side to side.

When they first met, Blake couldn’t stand Ish’s singing. When Em introduced Ish to the group, they sat in the coffee shop and Blake, as usual, set his current volumes of interest on the table and read a few pages and then picked up his pen to write and then read some more and picked up his pen again, and he usually went on like this all morning until they left the coffee shop for lunch.

But with Ish there on this particular day when she started to sing Blake looked up from his work and just stared at her for some time with his brow furrowed but Ish couldn’t notice because she had her eyes closed with her headphones in her ears and was just swinging her long black braided hair side to side.

Blake looked back down to his work and tried to keep on reading and writing but he couldn’t and you could tell because he pushed his chair back from the desk and stood up and walked over to where Ish was standing, swaying and signing.

He tapped her on the arm and said directly, “Could you please stop?”

Ish looked at Em, her being the one that had invited Ish along. Em smiled nodded back in Ish’s direction as if giving her the approval for whatever Ish would say or do anyway.

Ish looked back at Blake and took one earphone out of her left ear and said innocently, “Stop what?” And she swayed a little bit as she said it so that her hair swung from one side of her waist to the other.

“Stop singing please. I can’t concentrate on my work with you singing like that.”

“Oh, my apologies, yes of course I can stop. I didn’t know it was distracting you.”

Blake showed her a smile and turned to go back to his desk but before he could turn all the way around Ish said, “But only if you stop scratching with your pen and turning those pages. It throws off my rhythm.”

Blake was taken aback. Em was smiling noticeably in the corner, pretending to listen to what Oliver was saying to her but really she was just watching Blake and Ish.

“Well, I’m sorry, but I can’t stop reading and writing.”

“Well, why not?” Ish asked resuming her innocent tone.

“Because that’s what I do; I read and write,” Blake responded defiantly.

“Of course. Then I’m sure you can understand that singing is what I do,” Ish said this a little more directly and stern without so much innocence.

Blake was silent and just looked at her, not just frustrated as before; still frustrated, but now with respect. He turned and went back to his desk and picked up his pen. Ish put her earphone back in her left ear and kept on singing. Em watched as Blake’s pen paused for a second as Ish started singing again, but then Blake went on writing and Ish went on singing, and they both went on for the rest of the morning. And right before they left for lunch Em could have sworn she saw Blake’s foot tapping along to Ish’s singing.

Conversation

It’s about when you trade the responsibility to talk, and the tone with which you finish your turn.

For example, if I ask a very intelligent question and end with a very clear and resolute tone shift up, versus asking a convoluted question and trailing off without any clear indication that it’s the other person’s turn to talk.

Feel

Sometimes when I am writing a message to a friend I can’t decide whether to say “I think” or “I feel.” Almost always I choose “I feel.” Just seems that my friends understand me better when I say it that way.

Free train

Are you really free? Do you remember boarding this train? Did you choose it?

Does it not bother you a little that your political views align exactly with where you come from? And that your natural abilities are from your parents?

Does it not make you a little dubious as to who invented you? Don’t you want to invent yourself? Or are you fine to merely board the train and watch the pretty views out the window?

For me, I want to build the train, the track, and the whole planet it’s tracked on.

I am

Whenever one says, “I am.” I congratulate them for discovering the meaning of existence. But before I can commend them, they start with so many words after the first two: “I am libertarian.” Or, “I am a salesman.” And I want to look at them dubiously and ask, “Are you?”

Writer and artist

The writer and the artist lay together.

She asks him, “What is it like when you create?”

“It is like this.” He kisses her shoulder.

Moral stone

A moralist and his son walk along the lakefront. The son, Max, holds a rock in one hand and then tosses it and catches it in his other.

The moralist looks down at the rock nervously and says to his son, “Max, you cannot throw that rock.”

At once, as if to silently say, “Well of course I can, just watch me,” Max shifts the rock from his left to his dominant right, skips toward the water and catapults the rock into the center of the lake.

“Maximilian! I just told you that you cannot.”

Max smiling even wider at the game says, “But of course I can, papa. Just look at the ripples in the water from where it splashed. Would you like to see me do it again?”

Realizing he had misspoken, the moralist struggles to explain, ” What I meant to say was that you should not.”

“But what does that mean, papa? That word, should.” Max had been meaning to ask his teachers at school this same question; they too seemed confused about when to say cannot and should not.

The moralist thought for a long time, and then shook his head—it was better not to say what he was thinking. And he only said this to his son, “What I meant, son, is that I would prefer it if you didn’t throw rocks.”

At once the boy smiled and jumped into his dad’s arms, “Well then of course I won’t, papa! Why didn’t you say so in the first place?”

 

 

Higher

The politician offers a gloved hand to the anarchist: “Didn’t I take you to higher places you can’t reach without me?”

Mask

He asks, is this a mask? She says no. He asks, might it be a mask that is telling me it is not? She says yes.

Washed

The old ascetic floats for the first time: “I have washed my vessel clean. Only the present world moves in and out of me. I am only ever at once: memory meeting present experience. My memories too washed clean, reft of their morals and baptized in their original nature as past presents.”

Time remains a human crutch to wobble on in order. Like Hume says of cause and effect and the creation of custom, so too is a present utterly nonsensical without past or future, having come from nothing and going thereafter to nothing.

Hunger

All of a sudden he feels a pang in his stomach. He wonders what is it. He says to it, “Go away, I am working.” The pang clouds his vision, and alas! “I am housed in a hungry body,” his mind remembers.

I am

I met a man who said, “I am A.”

And I replied, “Ah, my friend! I am also A.”

And he exclaimed, “It is always so nice to meet another A.”

And we talked and talked and slapped each other’s shoulders. Until along came another man.

He said to us, “I am B.”

And I replied to the newcomer, “Ah, my friend! I am also B.”

And the newcomer exclaimed, “It is wonderful to meet another B.”

But now the old A looked at me with scorn and questioned, “I thought you were an A?”

And I replied, “My friend, I am both.”

And now the new B looked with scorn as well and A and B both left me.

A hopeless game of telephone

On the way down from Mount Le Conte, we stopped to hug a sun-warmed trunk, on the most beautiful day, climbing waterfalls and tiptoeing across fallen trees. This one still stood. With our cheeks against its bark soft as cotton, four arms stretched round its belly, we smelled its sap.

“Can you feel that?” I asked.

He smiled. A man of energy: the spiritual, not religious type. He could feel it—not what I felt, but something of his own.

“And then it dawned on him,” writes Camus, “that he and the man with him weren’t talking about the same thing.”

Because my tree isn’t his tree. Because her love isn’t his love, be it that they may love each other. And your sadness isn’t her sadness, because the other sees a different shade of purple than the purple you see. Nobody knows what you mean when you say it’s beautiful.

First, our experience is different: only I feel my feels; only you think your thoughts. Then our language is different: the same words we all speak don’t mean the same thing to two of us.

“The image he had tried to impart,” Camus continues, “had been slowly shaped and proved in the fires of passion and regret—this meant nothing to the man to whom he was speaking, who pictured a conventional emotion, a grief that is traded on the market-place, mass-produced.”

The one-of-a-kind universe in your mind is only yours: to paint your complex world into one they could see, you might try to learn their color language and the connotations of their shapes, then make two translations, both impossible: first, from your own mind to the canvas, then from canvas to their mind. Like a hopeless game of telephone.

Dependent (or, Religion; orr, They)

A joke: two theologians walk into a bar …

One says, “God does this.”

The other says in reply, “He certainly does.”

I remember when I told my mother no.

Do you make me or do I make you? I asked Her.

She told me to put my nose in the corner.

So I asked my priest; he told me to ask God.

“I already asked Him,” I said.

“Then wait and listen.”

So I listened.

I remember when they taught us to pray.

“God speaks to you,” said one teacher.

“He certainly does,” said the other.

So very quietly I waited and listened. I concentrated on the silence and waited patiently for Him to speak. Until finally, I heard the voice! Alleluia, I heard the voice. Through tears of joy I said, “It’s so great to meet you maker of worlds. I have so many questions.” And I asked, and He answered. All day and night I asked for weeks and He answered, until I had no more questions except one.

I asked, “Who are you?”

It was silent.

I asked again, “Who am I?”

“You are.”

“I am?”

A British penman

Your writing is too abstract, said every newspaper.

Too philosophical, too sensational, too emotional. Just too.

I argue with a British penman about the difference between a journalist and a writer.

“You must be more relatable,” he echoes the newspapers.

“Why?” I respond coldly to his commonness.

“To be read, of course.”

“I don’t want just to be read.”

He pauses. I take the opportunity to rant:

“Don’t you see? A writer can’t be of the world because they read about that world everyday just by living in it. We have to create different worlds. We can’t think the way our readers do. What’s the point in their reading from their own perspective? Memory at best, no?”

He looks up at me through his bushy eyebrows.

“You’re going to die alone, you know?”

“I know.”

He was a tourist.