Category: Prose
And now it is
Two hairs
I have to wait to get a good run in
Untitled
Sidewalking on a cold, rainy morning
When god became man
Untitled note
Atop a rock formation in Joshua Tree
Life is art
Death and desire
Thanks babe
Tripping on one tab atop a rock formation near the Boy Scout trailhead in Joshua Tree 10/26/22 – copy 1
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Write about spirituality
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Write poetry
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Burning out at work
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Deep thinking about spirituality
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The struggle to get paid to do what I really love
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All the other emotional stuff
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I like talking to people.
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I like connecting with people.
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I like helping people.
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I like helping people to feel better.
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I like thinking talking and writing about how to feel good.
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A big part of feeling good is mental/emotional.
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A therapist can help with that mental/emotional part, whereas a normal physician just helps with the physical part.
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I didn’t know which therapist in the search results was good, e.g., education, skill, etc.
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I didn’t know which therapist would be good for me personally, e.g., Buddhism, mindfulness, etc.
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I didn’t know which therapists are covered by insurance and what percentage is covered.
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I wanted to do in-office visits, but it seems like virtual visits via Talkspace would be easier.
I wonder if our cat has ever looked in the mirror
Maybe love is just the chemicals
Memories
Abbreviated pontification on how everyone is an artist
Different modes of regarding material reality
Ephemeralness as a quality of beauty
The comedian
The guitarist in the park
Magnificent pigeon
Musing about Madrid
Desire is the force of life
Drunk on sangria again
Runaway olive
Finishing dinner at A Despensa
Getting drunk for less than ten euros
Drinking as the sun sets in Porto
Drinking sangria at Aduela
Guy with new shoes at the day rave
Shoeless at ReelWorks in the sun
Waiting for bugs
Up in the night
Death of a spider
Porter Robinson Red Rocks Two Grams of Mushrooms 4/2/22
With you
Chaos at home
Untitled
My brother’s theory about heaven and hell
The sound of the dryer in the laundry room
My vision’s getting worse
Down to one necklace
A morning on the cusp of winter
Standing desk
Gate A17 at Phoenix Sky Harbor International Airport
Gate A17 at Phoenix Sky Harbor International Airport
Saturday night in Phoenix
Note
Untitled
The feel of my feet on the ground
Burning leaves on Sunday
The smell of air
Plastic
The blue pen on my desk
In the park again
Our backyard in Kansas on the first of December
Starship
At the shooting range
At the shooting range
Kitchen aesthetic
Another story that Grandpa told after dinner tonight
Snake stories
In the corner of the room
Like saying the word silence
Thinking too much
Dreaming about her
Porno magazine
Hubcap not human (non-human hubcap)
I’m more afraid of heights
Talking to my brother about the future
Sunburn on vacation
Liftoff
Thunderstorm
Was it always this beautiful
Dog barking
Procrastinating
Night run
My fingers rest idly
When I drive
I know
Stray cat in the city
A nice day
A man aware of who he is
How quickly things seems to be in their places
How quickly things seems to be in their places
I was feeling ambitious yesterday
I was feeling ambitious yesterday
Decisions, decisions
Adding jelly to the grocery list
Untitled
Well, not exactly (More like an independent writer)
Phone addiction
Picking blackberries
Fixing the sidewalks
Seasonal depression
Note
In the laboratory
So far from natural
When my writing feels more like work than art
Should have just left it
I picked my nose in private from then on
Impromptu exercise date
The simplicity of cross-country coaching
A strategy to stop worrying
Doing what I can
Like a kid again
Acorns
Thinking deep thoughts while eating breakfast
Thinking while eating breakfast
Lying on the floor
Can’t stop, won’t stop
The Monday after a 3-day festival
First high school party
Learning to parent
It was the hug that started it
The blind dead painter
They don’t understand me
The right amount of sad
The right amount of sad
All I could see was white
What I hear while lying in bed in the dark at 6:10 a.m.
Irony
War kills in many ways
Running to the point of pain
An argument about ethics
Something he could be good at
A late night gamble
Paying attention after my shower
Digging up a boxwood bush in the front garden
Are certain experiences captured more aptly by certain art forms?
Zooming in isn’t always clearer
A worrier walks into a bar
If being together is more comfortable, why might one choose to be alone? Part 3 of a serial essay about solitude
The more time you spend alone, the more alone you become: Part 2 of a serial essay about solitude
Not speaking from experience or anything
It was 80 and sunny in Shawnee today
Sunny side
Can something be beautiful just because it is?
Debate tournament
Untitled
Talking to my little cousin
Which eye
Grandpa talking about his sister
Good thing it was the butter
At Swarner Park on a Thursday
Wow
The lassoed bull
Coin-op laundromat on California Street
Note
Killing squirrels runs in the family
Cool mom
Imaginary friend
That had been his nickname for her
Ah man, now we can’t play no more
My first accepted script
In the park again
What else, when you have it all
Whaaaaa
Lavender oil
Many me
Fifteen minutes of fame
Then you will see clearly to remove the speck
Note
Untitled
I am that I am
Fall
Empty
Picking up sticks
What if
Writing fiction
Washington hiking voice memos 09/15/21
Suicidal grasshopper
In the morning in the basement back home
In the morning in the basement back home
In the morning in the basement back home
Locking eyes
Holy man on the plane to Salt Lake City
Note
The day I left
A portrait of the artist as a young girl in the park
An afternoon at Alta Plaza Park in San Francisco
In preparation for death
The final hour
Conversation with Braxton
Untitled
If I ever leave
Nap all day
My girlfriend isn’t like a city
Splash
It’s all good
The song of the four old friends playing cards
Eyes closed in the car on the ride back from Icicle Gorge 09/13/21
Why write when I can just watch?
09/12/21 Morning #1 in Leavenworth
It is what it is
Feeling the life of it
Conversation with Connor Fox in the Seattle airport
Landing in Seattle
How long is a week, really?
Oh, what a wonderful world
This should have been painted
Sell-out soul struggle
Abstinence
Abstinence
Achieving inhibitionless writing via speech-to-text transcription
Form in art
She got too high
What is love?
The last chip on my shoulder
Death, again
Negative space
Jealous of my gender
Jealous of my gender
Jealous of my gender
Writing made physical
Mushrooms Trip in Elk, CA 08/21/21
There are
Three parts
Of OM
AHHHH
—Open mouth wide
Release fully
All breath
OHHHH
—Narrows lips
As if to whistle
Focus sound
Drop pitch
MMMMM
—Close lips
Smiling, similar
To satisfaction
After eating
Then silence
Before repeating
>>>
My back starts hurting, usually, when I am seated or standing for a long period.
Why am I seated or standing for a long period? To work.
Why am I heeding the call to work and ignoring the pain in my back?
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Self-conscious
I do
Or say something
As I would
Alone
Without realizing
I am not
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A handle pokes out from under the blanket draped over the daybed. I put the pan beneath the bed before I went to sleep last night, in case of an intruder.
Usually, I write well when I take mushrooms, or at least more creatively. I lie here, on pillows on the floor, having taken them once more, waiting for something to write about.
When I take mushrooms, I sit, lie, lounge, walk in circles, but mostly just wait in between bouts of writing. WHY CAN I NOT DO THIS SOBER?
Mushrooms remind me how to live like a child, but then I go back to living in the adult world. They treat me like one of them because I look like one of them. I often want to do things that are not customary in the adult world, either because they are just not usually done or because the law explicitly forbids it. When walking on the sidewalk the other day, I was curious about a shrub. But I could only see its leaves. I was interested in the trunk and the branches. I thought to get down on my hands and knees there on the sidewalk to have a look, but then these other thoughts came marching one after another into my mind like soldiers. One of the soldiers said, the sidewalk is dirty. The next said, someone will see you. The next said, you are not dressed like a gardener. And so I went, walking on down the sidewalk, not knowing what I would have seen if I had lifted up the skirt of the shrub.
I finish one piece of writing. I want to continue on. I have more to say—things I thought of while writing, but they were unrelated or otherwise wouldn’t fit in the prose, because of the technicality of it, and at the moment I was writing, they wouldn’t fit presently, so I carried on with whatever else and my other thoughts waiting in the queue were forgotten. But I have now remembered some of them! Alas, they are only parts. Their beauty was, and still is, in their belonging to and being placed in each of the appropriate stations inside of the whole. Now, I must forget them, maybe forever. Whether they will return to me, in my mind, is up to forces greater than me. My only choice in the matter is either to hold them and have them as they are for me now, or to let them go and know, twofold—that they may never return to me, but also that new and different others may come to fill their absences. Consistently faced with his choice, how deep shall I go with any one thought? How much time shall I spend with her? Does she have more to teach me, more to say? Or might I learn more from others—different, younger ones? Are my wishes the only ones to be considered in this matter? Now I am thinking no longer of thoughts, but of my relationship with my girlfriend.
On my knees, on the rug, I become aware of the classical music playing. I close my eyes, raise my arms in the air above my head, bend them at the elbow, twirl my fingers, curve the side of my body into a bow, and dance to the music—slowly, softly. I had a thought that someone might be watching. The possibility that someone might be watching made me ask myself, should I be dancing in this way? And now other thoughts come of this. First, we are at a cabin in the woods, just my girlfriend and I, and it is unlikely that anyone is watching. Second, if someone were watching, why should I dance any differently or stop? Third, why is it that someone else watching makes me consider whether I should or should not be doing something? Not even them ACTUALLY watching, just the THOUGHT that they MIGHT be makes me second-guess the way in which I am dancing, alone in a cabin in the woods. Perhaps it is too feminine—the way my side bends into a bow and my fingers twirl. I am a man. Should I, therefore, not be dancing like a woman?
As a writer, I think of myself as such—as being one, a writer. When I write, if it seems like it might be becoming a piece that will be well-received—like a young boy shows early athletic promise and might grow up to become a great baseball player—then the thought that it might be so interrupts me while I have not yet finished with making the piece whole. I think to myself, what if so-and-so reads this, or if they publish me in such-and-such magazine? And then what will that mean for me? Riches, fame, and all the other gifts that are usually given to the main character in a story that ends well. But it interrupts me, this dream of glory, as I am still in the act of making the darn thing.
I worry that I can only write well when I have eaten mushrooms. I don’t believe this is true. I think I write well even when I have not eaten mushrooms. It is the READING that is different after having eaten mushrooms. Everything I read seems to be right and true, fantastic and new. It seems this way whether I have written it or someone else has. When I am writing, I am also reading what I have written. On mushrooms, what I am writing sounds wonderful. I have had this experience several times—eating mushrooms, writing, deeming it well-written. Thusly must the belief, first, and worry, next, have arisen.
Now, as an aside, being an aside because I believe my previous thought has concluded well where it has, still, I might add: I have read, while on mushrooms, what I wrote, while NOT on mushrooms, and found it to be the work, not of a genius but, of one relatively advanced in their craft. I have also read, while NOT on mushrooms, what I wrote, while on mushrooms, and found it to be the work of a lunatic who aspired to write, discovered mushrooms, thought they might aid in his writing process, ate them too often, and never stayed sober long enough to master the intricacies of the craft, which can only be learned by long hours of bored, tedious, and frustrated trying-and-failing, interspersed with reading the greats and wondering—of some of them, why can I not write as well as this myself; of others, are they really as great as everyone says they are?
While writing on mushrooms, many thoughts come to mind while I am already engaged with writing a specific one. Some of these I can forget easily, as they showed a little promise of extraordinariness. Others, those that show more promise, make it difficult for me to decide—between cutting short my current engagement (writing a thought that, before, what the same as this other one than I now consider, a question mark) and ignoring it to delve deeper where I am already standing, up to my knees in disturbed dirt, digging deeper still, to find any stones unturned. They linger, like a first taste that forbids a full bite. With one hand they wag a finger in front of my face that says “no, not yet.” The other hand they hold out, palm facing up. They are asking for something. A price. The price I must pay if I wish to bite into, chew, and mull over the thought to which I have not yet committed. The price is the one with whom I am already. Both, I cannot have. I must place the one I have, still an infant, into the upturned palm. I will never know what the youngling might have grown up to be. But, oh! Here is another, newer, brighter. If only shining its light to attract, if the flame cannot stay lit, if it proves to be no better than the one I had before, then I will go searching once more, and again—the two hands: one, wagging its finger; the other, an upturned palm.
I feel that one of us will win, and the other must then lose. Why must it be this way? I read recently that, based on our evolutionary predispositions, the man desires to spread his seed far and wide, while the woman wants to retain a man to provide for and protect herself and any children they may have together. Is this true? How can I say? But let’s pretend that it is. The desires of the man and the woman are opposing. The women cannot retain the man while he continues to spread his seed. Or, maybe … Already I see margins of possibility in which the man and the woman, in the context of a monogamous relationship between them, must not necessarily be opposing forces. Alas, here I am on the ground floor, writing my own thoughts, while my girlfriend is upstairs writing hers (I can hear the keys clacking on her keyboard), and we are breaking up. It’s not a surprise. We’ve been talking about it. At one point, she wanted me to pack my things and leave that same day. Somehow we ended up here together in this beautiful cabin nestled in the forest of Northern California outside of town called Elk. And I return to my beginning question: if we are to separate, why must it feel like one side is winning and the other is losing? Because one side chooses to end it while the other wants it to continue. There is the opposition: one wants it to end while the other wants to continue. In this situation, both cannot have what they want. Unless, maybe the relationship can transform. One wants it to end, but maybe it doesn’t need to end on the whole. Would the other be okay with a few modifications, in part? Could the relationship still live on, after the modifications? This makes me realize: relationships are always transforming. Because they involve individuals who are always changing. What happens when one changes in a way that the other doesn’t want them to? Then it becomes complicated. She asks, were you this way when I met you? How could I not have seen it? All my other relationships were the same way. Blaming—me, herself, past boyfriends. But the facts remain: people change, relationships transform. Now, the question is: how do we navigate the transformation?
I thought I heard her crying. I couldn’t tell if it was just the music or if she really were up there whimpering, sniffling. I got up and walked over to the steep steps (almost a ladder) of the old-water-tower-turned-cabin. I grabbed the railing and climbed up. There she was—her caramel skin in contrast to the white sheets, her curly hair slightly frizzy (as it gets when she’s been rolling around in bed). I asked how she was doing, if she was okay, or something like that (I forget exactly what I said). We skated, as we tend to, like those water bugs, along the surface, before descending. Then she told me that she HAD been crying. I told her, oh, I’m sorry, well, that is why I came up here. Then she said oh, did you hear me? You couldn’t have. It was only a tear. I wasn’t sobbing. I told her about how I thought I had heard crying in the music. We marveled. I must have FELT her crying, somehow, even though I wasn’t actually hearing her. She was crying because she read a few pages out of a book she found on the steps by a Vietnamese author about how he was thankful for his mother and for memories of when she would take him to the mall. My girlfriend’s mother is Vietnamese. I suspect that is why she felt a closeness to this particular book. She said, “I realized I want to cry more. I want to have things in my life that make me cry. Not just shallow melodrama. You know? Like (and she preceded to describe what she meant and how she felt in words that were perfect, but all I can remember is …) things that make you feel like you’re on the brink of being alive.” The moment was sublime, terribly so. I, knowing our relationship was ending, one tear already on my cheek and more welling. Her, being beautiful in her body as she always is, but then also the depths and intricacies of her emotions, as well as her lexical prowess to communicate them. The trees through the window behind her, bending in the wind, a glint on the glass making their green look red. Ah! What is a man to do? Other than audibly call for his deity, cry more than he already has, and shield his eyes, only to pry them back open, unveiling the portal to his heart, inviting in the moment that is more than can be captured by any artist, no matter how skilled, nor how numerous his forms. Only I, as I was in that moment, the material world as it was, chakras balancing, energy fields in opposition, formless feelings floating, angels singing—all conspiring to torture me, as if all the potency of life were distilled down into one drink, one swallow. As soon as it touched my lips I sputtered and spat. If it were spread out and watered down, so that I could have had time to process, make rational, cram into my own understanding—then I could have taken it. As it was—me, her, and the trees through the window behind her—I had to run. In this case, I slowly descended the steep steps, holding onto the railing. It took some willpower and a great deal more conditioned concern for my bodily well-being not to suddenly fling myself down them as fast and as recklessly as my heart and soul were fleeing. But no matter the manner in which I did, I ran, nonetheless. I ran like I always do. I ran like a thief into a field clutching above my head the bouquet of flowers she had given me, petals flying off of them as I went. See, I’ve never been able to stay put there and just listen to her. As soon as she starts being beautiful (which is immediately, and always) I run away with derivatives, hand-me-downs of her to render into my heart, so that others will pay me, praise me, or whatever will validate the male equivalent of female beauty. I do this, even as I am somewhat aware that I am running in a wide circle, the path of which is laden with obstacles, deceits, let-downs, repetitious exhaustion, self-loathing, and various other trials which must be faced by a man working his way up through the world to be worthy of a woman at the top—all of this, I persist in putting myself through, even as the woman of my dreams lies here in bed asking me, why will you not listen to me? Why will you not come to bed? Why will you not stay?
*** This prose above has the same idea as the poem, HER HONEY. I need to return to that poem. The idea is there. It is true. But it is not yet well-written.
When I forget to breathe, I cannot make up for it by taking rapid deep breaths, which is my habit. I failed, was resultantly worse off, may even suffer lasting damage, but there are some mistakes in the past that I can’t set right presently. I can only learn from them and avoid making the mistake again.
I am realizing, now that I’ve come down from the mushrooms high but still writing, that STAYING PRESENT is important for writing well. This is a partial answer to a recurring question: why do I write better on shrooms, compared to being sober? When I write sober, it usually goes like this: I am inspired by some sensory input, thought, or feeling, and then I formulate an IDEA thereof. I thus interrupt the otherwise seamless flow from stimulation to words, by having an IDEA of the stimulation before I begin to write. I end up writing about an impostor, the intermediary idea. While on shrooms, I stay present. I write about whatever comes up. And I write honestly, rarely second-guessing.
Selfish
I am too eager. I claw at the earth with my bare hands in search of precious stones. Who said that the stones are precious? Why do I care that they said so? What do I seek by acquiring the stones?
If I would wait, the stones would unearth themselves. A river would divert its course to flow over this land and move away the sediment. The wind would blow away the layers of sand. But I do not have enough time. I have only a lifetime, and I do not know how long even that will be.
If I am to have the stones for myself, I must act quickly. I cannot wait for the forces of nature to do my work for me. I will not live long enough to take possession of the fruits of nature’s labor. So I go to the toolshed and return with a shovel. I start to dig more effectively than with my hands.
Why must I have the stones? Why am I not satisfied that someone else should have them? Why do they need to be had by any human? Why can they not stay in the earth where they are?
I am selfish on two levels. First, I think only of myself. Second, I think only of those who are like me; I think only of the human species.
When I remember that I am one with this world, then progress and development, especially economic, seem silly.
There are two wills at play. There is the collective will of humanity and there is the will of the natural world. As a species, we have grown strong and capable of bringing our will to bear, to great effect on the natural world. In many instances, the will of man overpowers the will of the natural world.
Then again, maybe this is the way of things. Maybe the surge in humanity’s power is not at odds with the will of the natural world. The will of the natural world will curtail man’s power in time.
Originally written: Friday, July 9, 2021, 11:28 AM
Human encyclopedia
He would say the name, then he would pause for a long second to see if I had met them or been there, or at least if I knew of the person or had heard of the place. He talked like an encyclopedia. Every twentieth word was a proper noun. He enunciated the first letters of the names to remind me they were capitalized.
When I didn’t know of the person (which was more often than not) and confessed that I didn’t (which I only did a few times when his pauses were extra long and accusatory of my ignorance) he would say, “Oh, they are important, you must read about them.” Of a place, he would say, “Oh, it’s beautiful, you must go there.”
Afterward, I thought of a couple of possible reasons for my conversational partner’s manner of speaking. Either he had learned in the past that bringing up names was a way to seem intelligent, or he just wanted to be anyone other than himself, somewhere other than where we were.
Write it down first
You don’t always think what you think that you think. Sometimes it’s actually an emotion and not a thought at all.
When you have a thought in mind, try putting it into words by either explaining it to someone in a conversation or writing it down on paper. Then you will know if you were thinking precisely what you thought you were thinking and, further, if it actually makes some bit of sense.
When you have an emotion in your heart, do the same thing—try putting it into words.
In my own experience, I have had thoughts that I believed to be strong and true, but when I tried to explain them to someone else in a conversation I realized either that my thought was still incomplete and/or tangled, or that there were gaps and inconsistencies in the thought, pointed out to me in conversation.
I have had emotions that I felt deeply and passionately, but when I tried to write them down the passion faded or seemed irrational. This has been especially helpful when I have experienced emotions that can become negative, like sadness or anger.
Pain and death
My pain invites me to grapple with my mortality on a daily basis. For all my life, I have been healthy. More than that, I have been strong and capable. My dad used to tell me, “I was too rough on my body when I was young. Now I’m paying the price for it.” I’m starting to pay the price too. What is life without a strong and capable body? What really is dying is my old way of life. Maybe I’m still a ways away from my ultimate end. But I will die several small deaths before then.
What’s the point?
There is no point. First, what does have a point? Survival seems to be the most widely accepted point of doing anything. For a long time, there was no point in doing anything other than what was required to survive because, if we did not, then we would have died and we would not have been able to carry on much longer with the pointless activity upon dying. But we are past that now. Can we now begin to spend our time on pointless activities?
My parents would feel better if I get a job. They would prefer that to me being a poet. Where does this obsession with working come from?
I myself feel a little guilt when I spend an entire day and all I have to show for it is maybe twenty or thirty lines of poetry. It seems like very little compared to the economic production of which I know I am capable from having worked a job before.
Shrooms trip with K in the Presidio 06/27/21
Words express the “manifested” world.
When you go deeper into your Self, there is a point when words no longer serve their communicative purpose.
Because communication between two consciousnesses is like this …
Firsthand experience of the speaker –> Words –> Secondhand experience of the listener
If you attempt to communicate the depths of your own spiritual journey to another consciousness, after you have gone deep in your own journey, there is a lot of work involved in retracing your steps and defining terms.
In my personal journey, I started writing as a way to express my questions, discoveries, inspirations.
It was always a spiritual journey. My writing was my ego wanting to bring the unmanifested to the manifested for its own benefit. I am growing to a point in my spiritual journey when I can leave things unwritten.
Other than my ego, why else do I need to manifest the unmanifested in the form of words?
- Because it’s beautiful and there is joy for others in appreciating beauty.
- Because it is and I am writing what is.
Does there have to be a reason for it?
I am drawn to poetry because it is minimal, in terms of word usage (less words).
It is also approachable for the reader, easier to start reading a poem than a novel.
My emotion about my back pain is more about the future of the pain. Will it ever go away? Is it something more serious than just muscle tightness?
In the present moment, my back pain is just that, pain. And pain is only a sensation, not necessarily a negative one.
Meeting Henry
I held onto the metal bar above the doorway into the basketball court, doing leg raises. He stood on the other side of the chain-link fence, behind a storage container to shield him from the wind. He was drawing on a pad atop a tripod. I wanted to know what he was drawing, but I could not decide if I would go over and ask. By the time I finished my exercises, I had decided that I would.
I walked over and asked, “Do you mind if I take a look?” He stopped drawing, looked up, and, after taking a moment to resurface from his deep, drawing thoughts, said, “Oh, yea, sure, it’s not finished, but …” Then he took a step back and lifted his hand, palm facing up, to point at the pad, signaling to me that I was invited to see. I stepped into the studio he had made with a dirt floor and two walls—one, storage container; the other, chain link.
It was a pencil sketch of a tree. There was smudging that made a sort of background and eraser marks that looked like calligraphy—one art form within another. It was obviously a tree. The trunk and the branches were clear to see, but it was still unfinished.
As I was admiring the sketch, I remembered that I was meeting a stranger at the same time as I was admiring an artist’s work—both of which are events normally accompanied by certain manners. I said, “The eraser marks are interesting.” And explained how they looked, to me, like calligraphy.
He then explained how he used the eraser as part of the drawing process. He would erase to create a lighter shade and then wipe across it with a cotton swab to make a purposeful smudge.
We went back and forth about the sketch itself. He taught me about his methods and I asked questions. Lately, he had been using a ruler to get the scale right. Otherwise, he said, he would get carried away with drawing a certain part of the sketch—say, one bough—and then it would end up out of proportion with the rest of the sketch. So his solution for this was to buy a ruler at the art store and make tick marks along the length of the page that corresponded to different parts of the tree. Scale had been on his mind a lot recently. He wanted to draw the tree as it was.
I cannot remember all of what Henry said. I tried to be present in the conversation, rather than just trying to remember. But I do wish to record a few certain things he said that really struck me.
I explained to him that I was a writer and that I knew what he meant about how you can’t be too willy-nilly when you’re getting down your first draft because then you will create a mountainous task for yourself when it comes time to edit. The closer you can get it on the first draft, the more time you can spend getting it even closer during editing. Of course, this is balanced with not being so focused on getting your inspiration crammed so perfectly into what you preconceive as the proper form that you end up choking the energy and vibrancy that gave life to the work in the first place. We agreed there is a balance between form and energy, structure and chaos.
I also told him that sometimes I have an experience and become frustrated when I struggle to write it such that it is equal to the beauty, sadness, joy, brilliance, or whatever I am feeling so greatly myself because I wish for others to feel it too, via my writing, but I know they will not be able to if I cannot fit the writing within a tight enough pipe that it gets to them like a firehose.
And that is really what we were getting at. I may be putting it in different words but I can feel now, writing it, the same as I did an hour ago, talking to Henry about it, so here it is. There is a dichotomy. Many analogies demonstrate it clearly—solid and fluid, structure and chaos, form and energy, wind and tunnel. Let’s use solid and fluid—water in a hose, to be precise. The water is the energy. The hose is the form. Making art is the process of turning on the water and having it flow through the hose.
The water is what the artist feels. It is the emotion, idea, or inspiration. It gets into the artist. A painter beholds a nature landscape. A dancer is filled with potential energy for movement. A comedy writer overhears a funny conversation.
But does the artist have a hose? Does the painter have a keen painter’s eye to see the colors in the autumn leaves and choose the corresponding colors from his palette? Has the dancer trained and flexed her muscles so that her body is capable of the great leap to which her spirit aspires? Does the writer have the skill to translate the elusive rhythm of spoken comedy to the written word?
This is not the kind of hose that can be bought at the hardware store. It is more than just the painter’s brush, the dancer’s body, or the writer’s pen. It is the craft itself.
Many times I have been overflowing with water that I cannot force into my hose; in other words, I am overwhelmed with an experience that I cannot write. I can write some of it, but there are holes in my hose. There are holes because my craft is still of an amateur. My vocabulary has not expanded to the far reaches of the language. I have not read enough to gather a sufficient stylistic inventory. My words don’t sing in perfect harmony with the music of language.
The water wells up in me and I drown in the ecstasy on which I am already drunk and would readily pour out into the glasses of others so that they could be drunk with me. But my hose is holey and all that comes out the other end is a dribble. I cannot spray out of myself strong enough for my readers to be dancing in the water as in a sprinkler during a hot summer day.
On this, Henry gave me advice. He said that my experiences as a young man are ephemeral and I need to freeze them while I can. That means writing down my experiences with the writing skill that I now possess. As I grow as a writer, my craft will develop. Then I can return to my earlier works and raise them to the level of my heightened craft. Henry said that he had done this with sketches from his younger years.
A text from Henry the next morning (07/05/21) at 3:51am:
I can see the distant bay but I cannot touch it or use any other senses to flesh its reality. My awareness of rests on its image in my mind. Without embodiment, reality drifts into fantasm. “Feeling of reality” (referring to a term used by Andre Gide) is a little litmus strip one end is informed by all the senses and is rooted and the other has less sensation and is more ethereal and seems fantastic.
On Shrooms 07/02/21 (Prose)
It is intensified, on mushrooms, what is normal. Why cannot, when I am sober, chase after, with such reckless abandon, whatever crosses the windowpane, of my consciousness.
I feel high and get too high and then get sad when I fear that the high will not continue. It is intensified, this going up and then fearing the come back down, on mushrooms. But it is no different than it is normally. Like if you took a sine wave graph and squeezed it’s x-axis into a smaller space so that the amplitude of the graph seemed much higher and much lower. It’s the same function, but the perspective has changed.
It can’t all be written. There isn’t any one art form that can capture it all. Modern movies come the closest, I think. They have something for all the senses. You see the movie, hear the movie. You don’t smell, taste, or feel it, though.
What art form communicates what is beyond just the senses?
That is the tragedy, there, that an artist must cram it into her form and the audience must suck it out, as if through a long and narrow straw. The sucking process is not instant. It takes the time of listening to a song or reading a poem. You have to let it get into you through your senses somehow.
Is that the most we can give to each other? What can fit through the long and narrow straw. And only for those with time and energy to do the sucking.
There is a rate at which the thoughts come. The rate is very high during the come up. It is so high that I cannot write them down. One will come, I will start to write it, and then another will come right away. During a period of the plateau, the thoughts come at just the right rate, so that I am just about finishing with the one by the time another comes. When I am sober, and not tripping, the thoughts come so slow—one worth writing, maybe, only once or twice per day.
Treading water
It may seem lazy, but it’s hard work keeping the world from crashing in on all sides, like being inside a box deep underwater. None of the sides of the box are sealed together and they all have handles, so you’ve got your two hands holding two sides and your two feet looped underneath the handles of two of the other sides, but there are still two sides left. So you’ve got to clench onto one of the two remaining handles with your teeth and still the handle on the sixth side is left free, so you’re always playing this alternating game switching one of your hands or your feet or your teeth to hold onto the unattended side, keeping the sides sealed together so no water gets in.
Oh, and the walls are clear, so everyone else is swimming around like they think they’re supposed to and they can see you inside your box and they say among themselves, “Why is he in there just sitting and not out here swimming like he’s supposed to?” They don’t see your effort just to keep the box together. They only see that you are not like them and not doing what you’re supposed to be doing.
The waters of this modern world are filled up to the brim. The waves are crashing and the riptides are strong, so it’s a real effort just to tread water.
Mindfully holding a plank
Normally, I count in my head when I hold a plank. “One, two, three …” I’ve been counting in couplets recently, so it’s more like, “One-two, three-four …” I count the first half on the exhale so it ends up being longer than the second half. “Oooooone-two, threeeeee-four …” I wear a watch to double check myself. I’m rarely right on. Usually, I’m counting too slow at the beginning of my workout or too fast at the end when I’m tired.
Counting may do more harm than good for my persistence. I end up paying attention to the count instead of my form. I also don’t think it’s a coincidence that my energy wanes right at the end of the count.
I have to get to the point because my soccer match is about to start and they need help moving the goals. Counting is western, capitalistic. I think it would be better if I achieve the same one-pointed focus in my exercise as I do in my meditation. I focus on one thing and that is holding the form. I focus like this until something else, like pain, enters my consciousness with such vigor that my focus is broken by force.
Beauty becomes her
Other women, for me now, are beautiful insofar as they are like her.
When my friends talked about her, before I loved her for the first time, they said that she was beautiful.
Her physical form, for me then, aspired to participate in the higher form of Beauty.
Now, she has caught up and gone past, in her race with Beauty.
Anyone who is beautiful, for me now, is so in proportion to the qualities of hers which they possess.
When the faceless women in my dreams take off their clothes, they have her breasts, her milk chocolate skin, her hip bones that jut out.
When I see the face of another woman in a crowd, it is a beautiful face because it is like hers—dark curly hair, freckled skin, perfect white teeth.
In the beginning, she was beautiful. Now, beauty has become her.
Bored
At the cabin in Big Sky, we were often bored. Lake and I woke up early to work in the morning. I edited my poetry and Lake learned the formulas to make algorithmic art. We weren’t bored when we were working.
When Kyle woke up in the morning, he was almost immediately bored. He preferred to work at night, sometimes after midnight. He felt the nighttime was more conducive to producing his particular style of bass music that he described as “swampy.”
This morning, Kyle woke up, came upstairs from his bedroom in the basement, and then immediately laid down to take a nap on the shag rug in the living room.
At some point in the morning, we each make our own breakfasts in the kitchen. We take naps in the sun on the deck, on the ledge by the window, on the rug in the living room. We work on our laptops sitting at the dining table, standing at the kitchen counter, lying in the recliner.
Those are the only three definite things: eating, sleeping, and working. Other than those three, we walk around with our hands in our pockets. We pick things up, look at them, and set them back down. We look at things without picking them up. We sit down, stand up, and sit back down. We go outside onto the back deck, take some deep breaths of the crisp mountain air, and then come back inside.
We ask each other what we are doing—none of us have an answer to the question. We go upstairs into the loft to shoot a game of pool. We walk around with our hands in our pockets some more. We wonder if it’s too early to have lunch. We wonder if it’s too soon to distract one of us who has gotten into a flow working.
Being here in Big Sky and being bored makes me think about how busy we are most of the time, especially when we are working 9-to-5 jobs. Often motivated by either socially normative reasons (working a job, caring for others, not being lazy) or biologically necessary reasons (eating, sleeping), we are not accustomed to not knowing what to do with ourselves.
We are faced with a question that seems simple but can actually become complex, depending on how serious we are about getting it “right” and if we even believe there is a “right” answer in the first place. The question is this: what should we do?
Boredom is the state of not having an immediate answer to this question. Laziness is the state of having an immediate answer to this question and just choosing not to do it.
I enjoy being bored. It brings with it empty space and opportunity for creativity. There is less room for creativity when your time is scheduled with what you already know needs to be done.
Frames
Other than the ones on walls filled with paintings or photographs, I see frames everywhere. Earlier I was lying by the pool and the umbrella framed the sky on one side. Now I’m lying on the couch on the balcony and there is a rectangular opening in the wall and along the bottom there is the top of a table and farther off there is the side of the building across from ours, so the sky is framed by the opening on the right and top, the table on the bottom, and the other building on the left. These frames occur all over where there are straight lines.
The most frames are in the cities where there are buildings, windows, roads, light poles, and other urban structures. Why do we frame paintings? Why must they end at the borders? Does it matter? The answer, I think, is the same for these frames that occur on their own. But you can only see the picture once. If you shift your gaze at all, the picture will change and you won’t be able to ever get the same one back.
Originally written: Wednesday, May 26, 2021, 5:38 PM
He likes women
He likes women. That is his art, his joy, his purpose, his reason for living. He is attractive and friendly so it comes naturally to him. He is one of the lucky ones who has his abilities and his desires working in unison. He doesn’t have motivation for much else. He likes to go out looking for a new woman, to seduce her and make her love him, enjoy her love for a while, and then get tired of her and go looking for another. This is why he can’t commit. To commit to just one woman would be to give up his art, his joy, his purpose, his reason for living.
To live is to be challenged, to do again and again. We play the game until it gets dark and then the scoreboard resets in the morning. Nobody, not even the best, wants to win and then be done. You can also kiss your trophy so many times before the shine wears off.
I know that guy
The guy in front of me in line for customs at the SFO airport pointed to a different guy at the window talking to the customs agent and said to his girlfriend, “I know that guy.”
“I know his face, but I don’t know his name. He went to my high school.”
“He tried out for the wrestling team.”
“His friends and my friends were in the same group but we never met each other.”
“You know those type of people? People you know but you don’t know,” he asked his girlfriend.
“Yea,” she said. “I know those type of people.”
The guy in line continued to look at the guy at the window and then he said, “Maybe it’s not him.”
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.
Lying by the pool
I was lying out by the pool not knowing what to do with myself. I was at constant risk of overshooting relaxation and falling into boredom but such was the peril of taking a vacation when I was already unemployed.
The waiters in their white coats walked by in front of the beach chairs holding silver trays that glinted in the sun. The day was hot as you would expect of midday in July on the top of the Baja peninsula. But it was enough to avoid sunburn sitting under the umbrella. I had learned to avoid sunburn on the first couple days of a vacation. For the last days, it doesn’t matter as much, especially if you are headed back to a place with less sun. It is even good to have the sunburn when you get back, to prove to yourself that you really went and had a vacation and were changed by it.
I could hear the spinning, grinding sound coming from the machine at the bar that made drinks with crushed ice. I looked over and there was one younger man in a white t-shirt at the bar. I thought of having a drink but then thought I better not. We would drink enough later in the night, I thought.
An unexpected friend
We got to Cabo and went out onto the balcony and the first thing that happened was a girl named Sarah from the condo below us climbed the pillar of the overhang to come up to our balcony and say hello.
She said, “I think the reason our generation has so much mental illness is because we are so far from where we’re supposed to be, biologically, like we’re supposed to be monkeys crawling around in the forest.”
This was after some conversation but not the amount usually required to get to such depth.
How can I describe her? Completely unabashed. Young and full of life. Beautiful. Unapologetically herself. Talkative.
My two friends continue to talk to her while I write. Greg asks what her and her friends are doing tonight. They don’t have any plans. Greg says the rooftop club that we can see from the balcony is a good one.
She says, “Want to go now?” It’s 3:45 in the afternoon. She has been doing coke for the past day and a half. Greg still has work to do on his computer. I would go with her, but I don’t tell her this. I don’t say anything. I just stay quiet and keep writing about this angel, friend, someone, I don’t know; but she is certainly more interesting and exciting than any of the last hundred or so people I’ve met.
She leaned back with one leg thrown over the other, wearing shorts that barely covered anything. Her eyelids fluttered over her eyes as she took unconscious drinks of the beer Greg gave her.
She talked about everything and I sat there and typed on my phone about her just hoping she would never stop or, even if she did stop talking, that she would at least not leave and take with her all the life that she so easily brought and could so easily take away.
I wonder if she is aware of the power she wields, to bring the whole universe to bear in a pair of short shorts that contain barely anything, let alone all the stars that were ever in the sky for as many nights as a man ever lived. One moment is not enough to contain her.
Repetition
I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories. I exercise to lose calories. I eat to gain calories.
Problems with authority
I do not like to measure exactly. Who is doing the cooking then? If I follow the recipe exactly, scraping the back of a knife along the top of the measuring cup. If I do not taste the ingredients for myself. What kind of cook am I if I only do what I am told? Who are you anonymous author of the recipe? When have I followed your orders before without knowing it? Not today! You say, a half cup of milk. Bah! I will put in three-quarters of a cup. Because I like it creamy! And even if I didn’t, I would do it just to spite you.
What is is what is
What is is what is. There, I have said it. I do not want to say anything else. I have said what I am sure of and to say anything else would be like stepping down from a rock when there is quicksand all around me. But what about this? You might ask of me, or I might ask of myself. I sigh. I don’t want to answer. I don’t want to risk it. But you have a point. How can we do anything in this modern world without asking and answering for ourselves those other questions? It reminds me of something I once read, which was written on one of the desks at the library where I studied during college, “A ship is safe in the harbor, but that is not what ships are for.” I am safe standing on my rock, but there is so much more to life than just standing on a rock.
Bedtime story
We didn’t really have it that hard is the truth. Some times were hard, sure. But some people have it way harder. Where’s their recognition? If you start almost at the top and then make the small leap at the top, how far did you really go? I have a hunch that the art we know about isn’t the best there ever was. The best there ever was probably wasn’t even translated into the common arts forms that we have learned to call “art.” It was probably something like a bum who whistled a tune in the middle of the night, lying all alone on his cardboard with nobody there to hear. But maybe even that is too cheap and cliché. Maybe it was just a single mom making enough at her night shift to put breakfast on the table for her son the next morning. Still, too obvious and trite. My view is still too narrow. Too human. Too here and now. We make art that we understand. Which makes sense, I suppose. I don’t know. Lying here in bed getting sober. My throat still burns from the cigar. It’s dark out and a car drives by. 2:45 a.m. I slept all day today, before we went over to John’s and had dinner and started drinking. We talked and we talked, but I don’t think we really said it. Maybe someone has already said it to me before and I just couldn’t quite understand. Even if someone said it to me once, I’d want them to say it again. See, I’m selfish like that. I have it too easy. I’m a glutton for more of all the goodness I’ve already gotten. In some rare moments, when I can keep from over complicating it, I can see straight through to the beating heart of the cosmos. I saw it in the white ceiling when I woke up from my nap earlier today. I thought to myself, damn, just the fact that I can see that white ceiling, just that is more than I can truly appreciate, when I muster all the attention I can give it. And I don’t know why, but that’s when I think of dying. I think, I will die and I won’t be able to look at a white ceiling like this again, and I want to cry. Sometimes I do cry. Most of the time I can only cry when I think about other people dying. Sometimes I get more sad than other times. Sometimes I’m not sad at all. I’m just very indifferent and I don’t really care what happens. Anyway, I think I’ll go to sleep now.
The chicken or the egg
I wonder about the limits of being yourself. They say you have to play by the rules before you can break them. But they also say that just being yourself is the key to success. How much of myself is really me? Not much, I think. Unless, of course, all that we mean by “being yourself” is that you just stood there and let it all happen to you. Well, then everyone would be themselves by default. There’s no way to escape it. From whence does one’s self surge up? I am vaguely remembering Sartre’s essay on existentialism. How can the seed of yourself fall on anything but fertile soil? But then who put the soil down and who pulled you out of their seed bag and dropped you there? And these questions go on ad infinitum. So there is really only one true individual, and they are either the chicken or the egg. But we’re not talking about just any old chicken here. We’re talking about the Chicken with a capital ‘C.’ Or the egg with all the Alpha and Omega-3s you could ever ask for.
But I’m losing my head. Back to being yourself. Let’s depart from the true philosophy of the matter just for a moment and talk in practical terms. I think we can agree there are some actions that can be taken or decisions that can be made by an individual which seem to be willed or otherwise brought about by their own individual selves. In other words, we would not say of said actions or decisions that they were a result of the individual just following the rules or doing what everyone else is doing. In some way or another, an individual is capable of really doing something on their own. Now, I don’t think this claim really holds weight philosophically, especially for determinists, but let’s just hold it as an assumption for now.
Maybe it is an aesthetic argument. Because what I really want to convey is the sense of beauty that I get when I see someone who appears to be beating their own path. And I don’t think we get very many of these. Because the default is to walk the trail already traveled. Before you can even think for yourself, you’re already on that trail. And, if we’re subscribing to determinism, then the inclination to step off the trail might also be determined, which is why this is not an ethical argument. It is not good or bad to be on the trodden trail. But, oh, the aesthetics of the young girl in the dress running off into the tall grass and away from everyone else—oh, I want to chase that girl! I want to finally catch her in a glade and ask her all the questions that the travelers on the trodden trail could not answer for me. Why did you run? Where are you going? What have you found so far? Will you go back? Why? Or why not?
But how beautiful will her answers be? And herein lies the heart of the matter. Because it is beautiful to watch her run away—this much, I can understand. But how alien will she become? And how quickly? See, this is what I mean by the limits of being yourself. Because on the trodden trail, we can all understand each other. We have had relatively similar experiences, we speak the same language, we know the same people—we hold things in common; most importantly, in this context, our methods of communication. This is important for the aesthetic argument because how can something be beautiful if I cannot understand it? Now, don’t rebut too fast. I am not talking about complete understanding. A little bit of the unknown can be tantalizing. But this is different. I am talking here about not even a beginning of understanding. Something so alien that you can do nothing but stand there and gawk. Maybe there is some awe in the gawking. But if there is awe, then there must be some starting foothold into which your understanding has stepped. Otherwise, it is only hollow-minded gawking as your mind tries but fails to fit the experience into an existing neural pathway that isn’t there. This is the limit of being yourself that I speak of. It is the ultimate outer limit, so we now have a scale. The minimum of being yourself is the cookie-cutter human on the trodden trail. The maximum of being yourself is the girl that runs off into the forest who turns out to be a totally non-human alien.
Now, what does this mean for an artist? I think it comes down to appetite for the risk of being an alien. How far out are you willing to venture in order to find something new?
Cooking is creative
Now I have a better sense of why my mom got so upset when one of my siblings or I said that we didn’t like the dinner that she made for us.
As I cooked chili today, I found myself making decisions on my own and not really following the recipe. I didn’t measure anything. I added one cup of diced tomatoes instead of two. I added corn even though the recipe didn’t call for it. I was enjoying the creativity and I found myself thinking, “I hope this tastes good.”
Since I changed the recipe, it became my chili. If it doesn’t turn out well, it’s not the recipe’s fault; it’s my own fault. The chili is still simmering in the dutch oven on the stovetop in the kitchen. I don’t have any children to tell me how it tastes, but I hope my girlfriend likes it.
Conforming
I do not feel dreadfully the need to conform. I write “dreadful.” You read this and think to yourself, ah, it’s not so bad! “Look here,” you might say to me, “here I am conforming, and it’s really not that bad. It certainly isn’t dreadful.” I would respond, “But you are past the worst of it.”
Of course, to already be conforming is not so bad. But when was the last time you walked into the woods alone? When was the last time you didn’t agree? When was the last time you were hungry? In how many small ways did you, at first, think differently? And then, not all at once, but over time, your individual opinions slowly acquiesced and joined the general consensus.
See, it is a subtle dread. You will not have felt it if you have gone slowly over time. Like the criminal in his cell, awaiting the gallows. But the hangman is patient and cunning. Each night he comes to the criminal’s cell and asks, “Will you be ready in the morning?” And each night, the criminal says, “No, please, one more day.” Until one night, the hangman takes a different approach with the criminal. He says, “You know, I think you have learned your lesson. How about if we make a deal? Instead of hanging for your crimes, how would you like to serve as the hangman in my place?” How might the criminal’s view of the hangman’s position have changed, while he faced the prospect of his own hanging?
Which is the worst? To hang, to spend all your days in a cell, or to become the hangman? It is a trick question. You were never going to hang. The death penalty has been abolished. Exile is the worst that can happen to you. So the question becomes: how much do you fear exile?
Shake it up
You’re not living just repeat, repeat, repeat. You have to shake it up to live again. Find newness to force yourself back into survival mode. Living the same groundhog’s day digs the trench too deep. Eventually it gets so deep that you look up along the canyon walls and you have no energy left to climb out, so you say to yourself, “Well, I guess this is just my canyon.” And then you keep on digging deeper. But there’s no light down there! No other creatures to keep you company. Back up on the surface you can skim along. Sure, you might wonder about the core. You might wonder, what’s down there? As you hop and skip over and across other canyons. You look down and see the others so deep down there and you think, maybe I should stay put and cut my own canyon. But don’t do it! Not until you’re good and ready to die.
Dying all the time
I am dying all the time already. I am letting it happen now rather than later. I wait for something small to end and then I think about what it will be like when it all ends. Something gets taken away from me and I think about what it will be like when it all gets taken away.
I eat the last cookie in the cookie jar and think of what it will be like to draw my last breath. I lose feeling in the leg that I had crossed over my other leg for too long and think of what it will be like to no longer be in my body. I try to trick myself into believing before I go to bed at night that I won’t wake up in the morning.
I do not know the best way to die. Is it better to pretend that it will never happen and then take the shock all at once when it does? Maybe I’ll die in a sudden accident and I won’t even know. But just in case it happens slow, I feel like I should practice.
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.
Writing without ego
When they find me, when I make it, when I get lucky—they’ll box me in right then and there. So maybe it won’t be so lucky. Maybe I never want to be found. They’ll take me as I am, and then thereafter, I’ll have to work very hard to break out and become anything else. I might even have to work harder than I did to become something in the first place. Because to become something in the first place is just that—become it, and that’s it. But to become something else when you are something already requires an extra step—you must first break free of what you are already, and only then can you start to become something else. At first, I thought only of the social problem: what “they” will call you, what “they” will say you are. But the other, more subtle, and probably more dangerous part is what I call myself and what I say that I am. Because then I will build up an internal identity for myself and start to behave that way, just the same as society would build up an identity for me externally. And I think this matters for my writing. Because I don’t want to be boxed in. I don’t want to write just one way, from just one perspective. I want to write it all. And, of course, I know that I can’t. But I still want to try to get as much of it down as I can. And in order to do that, it seems that I need to stay loose and alone, being nothing more than a vessel through which experiences can pass and in their passing be quickly recorded before they shoot out the other end. I needn’t retain any of their details as parts of my own identity. I need only to study them like a scientist, let my senses record their findings, and then avoid them like snakes in the grass.
I like the night
I like the night. It is dark, quiet, and mostly made up of nothing. My back hurts less when I am lying down. Unlike the day, there are no disappointments, fears, angers, or other irritations—because nothing is happening at night. The lights are off. The doors and windows are shut. Nobody else is here. This is as close as you can get to the land before time, the land before anything. The night can be nothing, if you let it. That is, until you start to dream or otherwise create something with your own mind on the black canvas of the night. Even then, you are not limited by the rules of reality that afflict the day. The day can only be so much. The night can choose to either be nothing or anything. The day can only be something, and that something just is what it is. In the night you can choose. If you’re sick of it all, you can rest in the nothingness. If you want something more, you can dream it up. I do start to miss the day eventually. I want it to be real. Even if I can’t choose, it’s worth giving up some freedom of choice just to be a part of the real thing, especially being with others who are real and not just figments. The best mornings or the ones when I have started to miss the day as much as I can and that’s right when I open my eyes to see the morning sun peeking in through the drapes.
Angels and demons
What is essential?
Waiting for baby
Sad shower faucet
The shower faucet stares down at me, unrelenting with her many eyes, crying forth. Cold in sadness, hot in anger, steaming so the whole bathroom knows. The mirror no longer shares her secrets, in fear of who might come to wipe away the steam, showing her true self. The toilet bowl says, “There goes that faucet again.” The knob puffs out his chest and says, “I can do this.” The drain gurgles in agreement. The knob is turned and the whole bathroom sighs, except for the shower faucet. Empty-eyed and resigned to stare forth, studying the white basin of the bath tub and the white tiles on the wall, wondering if this is really all that a faucet like her is made for.
Things my kids may not know
When someone takes change out of their pocket to pay for something, similar to someone smoking a cigarette—even more so if they carry their own pouch and rolling papers.
When someone wears a watch to tell the time, and when asked, they will either show you their wrist, or look at it themselves and tell you out loud.
When someone writes in their own handwriting with pen and ink and paper, especially when they are writing in their own journal or meaning to mail a letter.
When someone carries a paper book in their back pocket to sit on a bench somewhere and read.
When someone sits alone and thinks and does nothing else for a while.
When someone swings an ax to split firewood that will be used to burn and keep warm.
When someone breathes outdoors during the winter time and their breath turns to vapor.
When an older relative knits or sews clothing for the family.
When someone wakes up with the sun’s rising and goes to sleep with the sun’s setting.
When someone reads the newspaper at a coffee shop or listens to the radio in the car.
When someone wears a belt for its purpose and not just fashion.
When someone tells stories from memory, especially to their kids at night.
When someone walks to get somewhere and knows the way.
Fallen leaf
I have a small tree that I bought at the wholesale flower market a few years ago. It stands next to the bookshelf, against the northeast wall in our apartment. Its leaves are green and large, almost like lily pads. This morning, I noticed a fallen leaf on the floor. I could see a gap in the tree where the leaf had clothed the naked branch, now exposed underneath. It was a curious moment, to see the single leaf laying there all alone on the hardwood floor. On a forest floor, it might not have seemed so odd, with so many trees about, and plenty of fallen leaves. But on the apartment floor, it was like looking at a crime scene. Similar to a body in the street, it couldn’t just be left there. It had to be picked up and thrown away in the trash, furthering the unnaturalness of the event.
Free from myself
I close my eyes, interlace my fingers behind my head, and forget who I am. I forget when I am, to be more exact. And as a result, I forget where as well. I can’t remember if I am young again, laying in my childhood bed. I can’t remember if I have laid down to sleep in any of the many cities I have visited. I can’t remember if I’m back in college, laying on the shitty mattress in my dorm room. I seriously can’t remember, for a split second. And my mind searches through all these memories, trying to find an identity to assume. And in this split second, I am free, unattached to myself; a soul searching for a body to inhabit in some time. Searching, for a split second, I am free.
An orange peel in the park
I was doing my exercises in the park, when I noticed a piece of orange peel on the ground, no bigger than a child’s palm. The inside of the peel was full of ants. Most of them were dead. I could tell because they weren’t moving. I’ve never seen a live ant sitting still, have you?
I wondered about how they died. Could something in the orange peel be poisonous for ants? Maybe it wasn’t poisonous in a small amount, but the dead ants were gluttons that ate too much of the orange. But I didn’t think this was probable either, because I’d never heard of ants being gluttons, only about them being strong and hard-workers.
I noticed there was a trail of ants leading away from the orange peel. It was a little hard to see because this part of the forest floor was in the shade and the black ants blended in with the dark dirt. I put my hands on my knees and leaned over to get a closer look. I saw the general direction of the trail of ants and started shuffling my feet to follow it. I followed the trail for a few minutes. It went a long ways. I was hoping to find an ant hill at the start of the trail, but I got bored and went back to my exercises.
Among the dead trees
We stepped off the trail, into a clearing in the woods where many trees had fallen. There was a lean-to that appeared to be man-made, dozens of broken branches were leaned up against the larger trunk of a fallen tree. Other branches were laid over the top of the fallen truck. In this way, there was a wall and a roof made from broken branches. We climbed on top of the fallen trunk. On its side, the boughs extended longways from the trunk, hovering at varying heights above the ground. Several trees were fallen this way, with their boughs interlaced, making a lattice. She said, “It’s like a playground.” I nodded my head in agreement, dangling my legs about ten feet above the ground, sitting on one of the boughs. “It’s chaotic,” she said. This inspired deep thought in me. I asked myself silently, “Yes, I also feel it is chaotic, but why?” It occurred to me that there was a lack of symmetry. In a forest full of life, all trees stand tall, with their roots in the ground and their branches reaching toward the sky. In this place, the trees laid on their sides. Their roots had been torn up; they hung loosely, with no soil to drink from. Broken branches were strewn on the forest floor, disconnected from their trees of birth. The lattice created by the interlacing boughs of the fallen trees was not natural. There were no leaves on the boughs. These trees were dead.
How he walked
He walked like he was going somewhere. Not like anybody was watching, or at least not like he had an awareness that anybody was. He didn’t have his shoulders thrown back or his chest puffed out. He wasn’t too serious neither. Not like a businessman with a briefcase, leaning forward and walking fast like he was late to a meeting. Not like he had all the time in the world. Not a slow stroll to enjoy the scenery. He had somewhere to be, I’m sure of it, just from watching the way he walked. And what’s more, I knew he believed in where he was going. He wasn’t going because someone told him to or because he had to. He was going for his own reasons. If you asked him, he could explain it to you, but he wouldn’t be able to explain it, at least not well enough for you to understand completely. His reasons were inevitably his own. And so he walked. His strides were even, each as long as was comfortably possible for his body. His shoulders were not hunched or thrown back. They were square and set perpendicular to his path. His gaze was forward, not looking much side to side, except for when crossing the street. He walked like this, on the sidewalk, on a Saturday morning. And I watched for not more than five seconds, and I knew that he was going somewhere.
Closing my eyes after a shower
I close my eyes and lose track of the reality that returns when I open them again. Standing in the shower, light-headed; I almost fall over. I close my eyes again. The longer I look at the black in the backs of my eyelids, the more animated it becomes, with figures I might learn to name if I were to look long enough. The black doesn’t always strike me. Sometimes I close my eyes and open them without noticing. The world returns and it makes sense to me, seeing again the same thing that I saw just before blinking. Other times, the black catches me, at first in its simplicity, in a reprieve from the physical world, full of complex optic details. Then these animated figures start to appear, moving with a life of their own. I wonder if we could adapt to that blackness, given enough time to evolve and get used to it. What would that black, close-eyed life be like?
Nobody downtown
On the train going south from San Francisco now. Downtown was so empty as I walked to the station. The virus has emptied out all the tall buildings, which, in turn, has closed down all the shops and restaurants. There are still a few transients about, talking to themselves. But they seem lonely, even lonelier than usual. One woman I walked by was carrying on the most sincere conversation with no one. Not shouting, or jumping around; she was just hanging onto a lamppost and leaning out over the curb, balancing on one leg. I walked by and she didn’t even notice me. It was just her, all alone, for at least a few blocks. And all these tall buildings and wide streets, designed for crowded weekdays and rush hours. There were some service men too. One was loading boxes into a van from inside one of the cafes. It was a cafe I used to go to actually; I used to get their ham sandwich during my lunch break. Another man was up on a scaffold, fixing a window. Other than that, there was no one. It was surreal, seeing downtown that empty.
Speed walking
I walk fast like I’m trying to get away from something, but the truth is I’ve already forgotten where I’m coming from and can’t think of anything else other than where I’m going. Wanting to be there already, walking around slow walkers on the sidewalk carrying groceries or just lollygagging, looking around and enjoying the scenery. I can’t lolly, gag, or anything other than focus on keeping my stride as long as possible without dislocating a hip. All for where I’m going, I know I’ll be satisfied once I get there. I know it will have what I need. There’s nothing here for me anymore, except for what quickly slips behind, and what lies still ahead, representing all the hope in the world.
These scissors
These scissors smell like they’ve told secrets to get here. Like there were barge men that needed bribing. Like this pair was part of a special pack at the factory that needed to go out right on time. They smell like the metal mined wasn’t enough and there’s still some poor miner there, mining for more. They smell like plastic that came from a big vat of plastic that has all since been molded into separate things and ended up elsewhere, individuated and useful in some capacity or another. These scissors smell like they are capable of cutting hair. They still smell like metal, though, and not like hair yet. Having not yet had the chance to actually cut hair, they reek of factory-made frustration. “Let us work!” they shout. Let us cut, and keep on cutting. Let us do whatever we were made for. Until we are broken and dead and gone and discarded. Let us work!
Growing old
For me, it was sudden. One day, you’re young and pushing the limits, and the next, your back hurts and you’re trying to keep your job. I don’t think it was actually sudden. Looking back now, it seems to have happened over time. First, you’re so young that you don’t know what it means to be young. Then, around the time you start to rebel against your parents, then you’re young and you know it. Finally, five or ten years further down the road (even later for some), you start to understand what your parents were talking about—this is the mind growing old. The nail in your no-longer-too-distant coffin is when your body starts to ache. That’s when it all really slows down. You can’t drink like you used to. You’re less confident you would win a fight. If you need to bend over to pick something up or put on your socks, you have to do it real slow to avoid hurting yourself. From this point on, there is a certain amount of deliberation that goes into every one of your physical actions, which causes you to think twice before listening to what your raging free spirit is telling you to do. It is scary, seeing death as near as you ever have, and growing nearer all the while. But it is the way of things, and a lot more makes sense now.
Sleep in the city
I take a bite of the sidewalk and fall back between the cracks. Is it still vipassana then? If my mind is not allowed to wander any farther than the sirens and bus stop conversations outside the window we’ve left open. It’s too hot. So we have to choose each night, between sweating through our sheets, and opening the window to noise that even ear plugs with a 33 NRR can’t block out. We have ice packs in the freezer. I can wrap one of these in an old t-shirt and get my temperature low enough to at least fall sleep. By midnight, sometimes before, the ice pack is melted. So the window gets opened eventually. And then the same choice: to fight the noise, pull the pillow around my ears, and try not to hear; or meditate on the chaos. I cannot do this successfully. Some primal part of me cannot forget that loud noises mean danger. And my writer’s mind has a hard time hearing conversations without listening to the words being said. I try not to judge. I try to just notice. But I still miss the pitch black silent nights in Montana.
Individual life
My soul, having since ceased to be mine, jockeys for bodily position in the pool of purgatory where all souls queue en masse. Seeking flesh destined for another set of spacetime events not all too dissimilar from the physical life which preceded its most recent death, my soul searches. Hoping, as all souls do, to live again in individual form. It is a vague hope, to which not all souls are privy, in the ocean ether of all souls joined together, mingling and meanwhile forgetting having forgotten belonging to the One. It is the same problem on either side of the divine line—forgetting what is was like to belong to the One on the earth side, and forgetting what it was like to be an individual on the heaven side. Until the ethereal ocean lifts out of itself and prepares to precipitate all of its divine life into tiny ignorant droplets, all of which will once again fail to remember their former divine lives immediately upon impact with another life on earth.
Smart dog
This dog today, looked at me like he knew what I was thinking. He smiled at me with his tongue out, panting from his walk. Sitting there on his haunches, leashed to his owner, waiting curbside to cross the street. He said to me with his eyes, “It’s all a sham. I know it. You know it. But that doesn’t mean I don’t like to go for a walk every once in a while.” Then the light turned. The dog’s owner gave a tug on the leash and said, “Come on.” The dog got up and trotted happily along. I stood there long enough for the light to turn, and so I had to wait for the next one.
A transient walks by
A transient walks by a restaurant with outdoor dining. He shuffles his feet. His pants sag. A folded newspaper hangs out of his back pocket. A jazz band stands by, holding their instruments idly, in between songs. Seven or eight tables are set up outside of the restaurant. People are eating and talking at their tables. Forks can be heard clinking on plates. The transient starts to shout, something indiscernible. People stop what they’re doing and stare at the transient, as he stands there on the sidewalk. He looks at one table in particular, and continues to shout. Nobody does or says anything. Forks have stopped clinking. The transient stands there. For a moment, there is silence, other than the street noise—cars passing by. Then he continues to shuffle his feet, moving on down the sidewalk. The band picks up their instruments and continues on to the next song. Forks resume clinking on plates.
Clogged shower drain
I turn the shower to cold, briefly, and then off. Standing in water up to my ankles, I turn and face the white shower curtain. Watching water drip from my nose into the pool gathered around my feet, I wait to dry. Standing thus, waiting, I remember my girlfriend hates it when I leave the drain clogged—this being the cause of the water up to my ankles. It’s my fault, really; being my hair, mostly, that clogs the drain. I reach down and scrape my fingernails along the edges of the indented mesh gate that covers the drain—this produces a mess of hair the size of a small mouse. Then the water really starts to drain. I resume my former position with my chin against my chest, holding the mouse, water dripping from the tip of my nose with slightly less frequency. The water line recedes down the slope of my foot. The drain makes a sound like rain in a gutter. I am caught up in hearing this and not much else. There is no other pressing concern, waiting to dry. The water finishes draining. There is no noise now; not the shower, nor the draining. It is over then. I prepare myself to pull back the curtain and find something else to do.
Ants
Today I’ve watched ants. They have crawled on the wooden boards of the deck and on the stone patio beneath the deck. Some have even made their way into the house—much to the chagrin of our host. One ant carried a dead ant, equal in size to the live ant. Another ant carried a dead bug of another species. The dead bug was three or four times the size of the ant. I could not identify the dead bug; a beetle, maybe. Its body was mangled. Last night I made a comment, “If ants were in charge of a country, that country would take over the world.” I continue to swat at mosquitoes; they carry disease and aim to drink my blood. They bring the violence upon themselves. The ants are peaceful, going about their business. They will climb up and over my leg if that is the most direct path to where they are going. I don’t mind. I like to see them up close. I admire their hard work.
Descent
“We’ve started our descent,” the flight attendant says. The plane banks to the right. When I look out the window, I can see straight down to the trees and streets and buildings. The houses are each about the size of a penny on the window, even smaller. We’re low enough that I can make them out as being houses with grey shingle roofs. One house has a circular driveway. It’s larger than the other houses and bordered by trees.
I wonder to myself, “What’s going on inside that house?” Is anyone home? Are they on vacation? Does a family live there? Are the parents happily married? Are the children happy to be children? Have they had lunch? Do they have a dog? Is someone taking a shower? Is someone doing something they’re not supposed to be doing? What’s going on inside that house?
I wonder, and I bet nobody else on the plane wonders about exactly the same thing as me. The plane levels out and the big house with the circular driveway slides out of view. White clouds fill the window again.
Ant killer
If I were to take an ant from the forest in Montana and trap it in a jar and take it with me in my suitcase on my flight back to San Francisco, would it survive?
I do not know for sure what ants eat, but let’s say I did, and I put some of that in the jar, say, some blades of grass. If the ant had enough to eat, could he survive? Maybe it needs some water too. Okay, so I add a few drops every week. With enough food and water, would the ant survive? If not, why not?
Would the ant die because of a physical reason unaccounted for? Maybe there’s not enough air in the jar for the ant to breathe. But let’s assume it’s none of this. What then? Would it be something mental or emotional? Could an ant die because of separation from his colony? What if I introduced the ant to a new colony in the redwood forests near San Francisco. Would the ant then survive among other ants? Albeit, not the same ants as the ones at his home in Montana.
But let’s say it’s not social. Let’s say the ant stays in the jar. What would kill it then. Like a prisoner in solitary confinement, what would break first? Would it be the same for all ants? Or unique to each ant based on their individual temperament?
Self-conscious
I step away from my desk to stretch. I lean over to touch my toes. The sun from the window behind me shows my shadow on the hardwood floor. I see that my hair is disheveled. Previously unaware of my appearance, I am now self-conscious of my appearance. What if I go to see people later? What if someone comes into the study? My hair should look kempt. I fuss over it, using my shadow as a mirror.
Gendered yoga
While practicing yoga, some poses strike me as being more feminine, others as being more masculine. Down dog, for example, with my rear end pointed up, strikes me as more feminine. Plank pose, with my bicep and forearm muscles flexed, strikes me as more masculine. This may be a bias in my yoga practice. I am unwilling to go deeper, stretch farther, or hold longer in feminine poses, for fear of appearing even more feminine. In masculine poses on the other hand, I am eager to go deeper to appear more masculine.
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.
John and the coffee pot
John stands in front of the coffee machine. Connor asks him what is wrong. He explains that he can’t figure out how to turn off the ‘Clean’ function. He says, “I need coffee to figure out how to fix the coffee machine.” We laugh.
Cutting vegetables
Cutting vegetables for soup, I learn lessons like “a dull knife requires more power to cut” and “one cut across three carrots is as good as three cuts.” I start to chop slower as I am learning these lessons, until I am learning from each chop. It is simple—the vegetables, the cutting board, and the knife. I am enjoying myself. And the smell of the chopped celery. Soup is a simple dish—everything in the pot, with some broth and water.
Muse
She is gentle and will not be forced. She must come to you first. And then it is a matter of what you do with it. If you try to go to her first, it will not work. She will not be open or ready. And you will merely be grasping from the outside. You must be patient and wait.
Caught
I got caught peeing in public by the park police today. My girlfriend and I were walking on the sidewalk through the Presidio on our way to the beach. I stepped off and took two or three steps into the trees. When I turned around, the unmarked police car was making a U-turn in the middle of the street with its lights on, but no sirens. When I saw the car, without even thinking, I said out loud, “Oh man, are you kidding me?” I looked through the passenger-side window and the officer was motioning for me to come closer to the car. I walked over and bent down with my hands on my knees. He rolled down the window halfway. He said, “If you’re going to urinate, walk back far enough into the trees where people can’t see.” I said, “Yes sir. I apologize.” I tried my best to look scared. Truth be told, I was a little scared. I didn’t want to get a citation. He nodded, seeming satisfied, and rolled up his window and drove off. I stepped back onto the sidewalk and kept walking with my girlfriend.
She keeps me
She keeps me straight and narrow so I can focus my energies, keeping my sexuality from welling up and over the rim of myself. My sex flows into her only. This pointed and consistent release has allowed space for my other energies to grow strong. Previously this space was filled by frantic sexual energy, like gas fills a balloon. Now my sexual energy is compartmentalized. It is her compartment wholly and I don’t think twice about it.