We used to ask what might come after the orgy — mourning or melancholia?
Jean Baudrillard, The Illusion of the End
I’m trying to remember if spring always starts out this slow. Cherry blossom photos start popping up online. Winter’s scandals begin to blend into sales for sandals. Days stretch beyond blue twilight.
We desire soft power, wash out our ghosts, and pleasure places we neglected.
Us dandy men and hard women eventually repent the same—on our knees. Quietly, let us break down to the softness of desecration. Vandalize public anticipation, then escape into too much artificial light.
In three years and just shy of three months I intentionally curated one hundred hours of aesthetic meditation. For six thousand minutes, I listened and watched the ocean perform. The consistency of each unique breaking wave reminding me that this, too, is living. That doing the same thing over and over for no purpose other than feeling pleasure is the goddamn point. Time worth its exchange in salty kisses. I’ve written how empty landscapes are familiar, safe. Home. Blank page, empty horizon. Now, neither scare me.
I respect the crash and appreciate the ability to pull back into myself. It is energy in motion. To swell. To release. To be seen. To be heard. To be so elegantly agitated. To retreat. To join. To rise. To start again. Already good enough.
Home is here—and out there. I wish to never lose my quiet roar.
title is Dorothy Allison’s Two or Three Things I Know for Sure (1995)
Here is what we have to offer you in its most elaborate form — confusion guided by a clear sense of purpose. –Gordon Matta-Clark c. 1973
to the sky, to the land –
bowed in turn
that precious treasure
or a thought, maybe, too strange for us
This found poem was created from fragments of William Stafford’s daily writings (1975-1976).
I woke early to catch a bus into a city so rich it begs. Finding traces of the first quarter rising moon, I watched a skyline break blue. As ocean waves disappeared into infinite replication, news of another massacre weights the expansive and empty horizon before me.
In “How the Mind Works,” Patti Smith asks Can we truly separate the how and the why? This logic is why Midwestern letters from home are factual and often lack ornate descriptions. The news relayed is a list—bills overdue, doctor visit Tuesday, crops flooded—to extrapolate and to elaborate reason would only waste paper and time. The weight of how to get where I do not yet know forms my most elaborate creative patterns, and those lines buried between what is said are code switches. I want you to imagine what that would feel like. I assume you are real on the other side of this virtual divide.