grasp and release

screenshot from “Alphaville”. Jean-Luc Godard. 1965.

They walk like cowboys, recently dismounted. He eats slowly out of a Trader Joe’s bag, the one that has the laughing donkey on it. We wander to find new ways of understanding old ideas. Innocent babies continue to be born into privilege. Ordinary trauma is a slow build—swinging from want to need, and back to want to be taken. The multitudes of being consumed becomes a careful process of discernment like knowing the addictive taste of dispossession. Although sometimes, with frequency, the loop closes on you. Don’t worry. There is space here, stored as evergreen desires, located between patterns of waves formed from swallowing knowledge by association. It’s been recommended we might feel at the edges for faint annotations of alchemic personality. In the same way, men have learned to cross their legs at their ankles and global fantasies of catastrophe make us proficient in technology. Ritual is perfected suspense. It has already taken place. Events such as these are mere dreams; a tiger, white and mangy, tries to eat my hands from taking up too much space. A way to show how time is wasteless.

as time expires

Praise in the sense that it is an embracing of emerging experience. —William Stafford

Back from the market, Blizzard 2 series, Christophe Jacrot, 50×75 ed 10

A cloudless sky, mostly blue,
held remnants of peach
at its opening edges.

This longing permeates, resisting
a horizon—a working class assumption
of completeness.

Our culture from men who recorded tides
before gravity from the moon was proved
by future men.

And we must keep living
in that absence.

going all the way

unrequited OKCupid inquiry (January 2015)

one hundred hours spent
+ one hundred hours taken
= affectual transactions

a certain level of suffering
is required to earn a dollar
I put enough here to fill that hole

edgeplay

“No matter what disintegrating influences I was experiencing, the writing was the act of wholeness.” —Anaïs Nin, In Favor of the Sensitive Man and Other Essays

OWING TO LACK OF INTEREST, TOMORROW HAS BEEN CANCELLED, artist unknown

A local politician sells
subtext. Mixing patterns
of outbreaks, denial, aggressive
neglect, profit, waste.   Time
monetized into relativity of spectacle.
Subterranean realities. July descends into August.
Clouds sail by dry as bones. Crowns above spread
shade. Our vernacular noisy wagons, isolated
oak savannas, quarantined in translation.
Wanting to do what we see; evidence.
Let’s take these metastasized days
and ride them into darkness. Be silhouettes,
featureless. Are you aware of all the consequences
when accepting the advertised risks?

present perfect tense

bright / waiting, East Bay Times, May 25, 2021

Time is visual—
the sun an arc,
we are the curve.
On the cusp of a new year
time has been absorbed;
last year not yet finished.
Unless otherwise stated,
no one is coming to save me.
Time now swarmed with qualifiers,
its own forgotten circumstance.
Lead me gently back to place.
My tense present perfect—
not yet.

pay me for this time

Pleasure is productive; it produces itself. —Arielle Zibrak

Clouds stretch fluff
over million-dollar hills.
That clock stopped years ago.
The plants grow taller.
Evacuations have started,
master prompts. This land of fault lines
under a sky so blue, suspended in hope.
Responsive is the desire, a memory.

junk stats

I CAN HEAR THE BIRDSONG CARVE SHAPES IN TIME, screen shot from Fishcakes and cocaine

“I shrug whatever is gone and welcome the changing truth.”
William Stafford, 25 September 1975

* crosswalks are supposed to keep you safe *

Consider this to be a true story, send a self-addressed stamped envelope to learn more.

* a moment, a chance, they are everywhere *

The orange tree has been gone for at least a year now?
It was one of those bright and sunny days.

* perpetrators hidden in plain sight *

Home is a loop, shadowed at its edges.
Go out and gather. Return /
insubordinate.

wish you were here

“I find it easy to admire in trees what depresses me in people.”
— Marge Piercy, last two lines of “The Doughty Oaks” from The Moon Is Always Female

ART PEOPLE, Sioux Falls, South Dakota, March 2021

Spring finds us haunted. A seasonal feeling after witnessing winter’s passing, but it’s acute this year. Blue skies expanding. Nests of birds explode in sound. Time is the fulcrum. I love you fills the past, present, future. Now weightless, light cracks through early morning clouds. I thought about the scam of resurrection. Some never fully accept death as loss, permanence unchanged. They believe death can be cheated. The obvious irony is you’ll suffer from wanting what is not possible. Time is the fulcrum. Flexing, palming, sucking off temporal attention.

Through the eyes of a non-believer, the sharpened edge of dilution, I miss you.

souvenirs of temporality 

… read these leaves in the open air every season of every year of your life,
re-examine all you have been told in school or church or in any book,
and dismiss whatever insults your own soul…
— Walt Whitman

Maurizio Nannucci, THE MISSING POEM IS THE POEM, 1969

This just-past year was a hard and impatient year to live through. All the ways that living had been previously measured—flesh on flesh, breathing in blue sky, talking with your eyes in crowded noisy rooms, curating analog conversations—were inverted. In my sheltered place, I watched as the pace and geographic scale of global suffering became buried in disembodied aggregates. Paradox ruptured.

“Everyone remains aware of the arbitrariness, the artificial character of time and history.”
—Jean Baudrillard, The Illusion of the End 

pleasure  |  obsession |  distraction |  instinct

This list contains references from a calendar year that borrowed time to push its own way through. It began as it ended, incomplete.

    • 40 hours online is not affectively equivalent to an embodied 40 hours
    • consciously inviting imagination and reducing perceived need of others’ assumed expectations cultivates fascination, which is an antidote to manufactured boredom
    • making assumptions wastes time, and more importantly, energy
    • change is unquantifiable malleable entropy
    • morning walks adjust the perceived stillness
    • step into the slant

It has been enough to record the honest and the irreverent interruptions. There are whole days, months, ideas, and precious witnesses missing. An almost unbearable time-lag of consciousness is now felt experience. To survive what? An optics of promise, a future?

distance + force = gravity

the signals we give — yes or no, or maybe —
should be clear: the darkness around us is deep.

—William Stafford, “A Ritual to Read to Each Other”

What I continually draw from this poem’s well is not hope but alert perspective and prophetic  predictability. I anchor on should — indicating both obligation and possibility — as the holding ground. “A Ritual to Read to Each Other” is a solicitation, or a prayer, to listen to your clearest signals — yes or no, or maybe — and bravely claim them.

elegy for the collective

Han Jin (South Korean, b. 1979), Inner Side of the Wind #1, 2017. Oil on linen, 130.3 x 130.3 cm

Large-scale logistics require brutality to properly function. It’s a consistent low-grade hum, not quite elevated to cadence, buried between the lines of the system’s dramatic rhetoric. Have not. Listen to the outgoing empire’s heroes—the obedient civil servants, the priests, and the keepers of fluctuating interest rates—as they transition their esoteric power. In this tenuous state, it feels risky to outright deny dehumanization is holding together our mutual cultural identities. Shut your mouth, withdraw. Are your dreams an onslaught of forbidden touch too? Historically, politics of a republic abandon specific kinds of astonishment. Buried seeds of exaltation. This year’s plans were just that, plans. Revision requires experience, which can only be earned through the passage of kairological time. Our collective scripts of possibility are now hardwired into the evaporating streams of multiple realities. We are conducted citizens. The death of illusions can be a gift with the right slant. I think philosophers of imagination make the best poets. Please love me as much as a skeptic’s devotion. Help me feel for the traces of memory around our capacity to forget. That’s grace. The last time it snowed in Los Angeles? 2019. If you want, you can call that feeling of recognition emotional regulation. Are you a canary? Am I? Were they?

go in pleasure

“There is a sense in which we are all each other’s consequences.”
—Wallace Stevens, All the Little Live Things

DTF, July 2018, Oakland, CA

Every day has been a chance
to live within the margins
that remain and maintain
the rigor of keeping it together.

Some normalized themselves
to a saturation point when
conspiracies’ realities are
unconfirmed real threats.

The calendar says winter is coming.
Where is this god that so many claim?
The one that protects and loves us or
that other one that enjoys mercy.

Queer as feelings, speculation has left
us wild. Go ahead—we might as well
make our own temporal decisions.
Loud, quiet, loud. Fringed dynamics.

The greed of men. A sagging breast.
Haphazardly adjacent as ecstasy.
Our animal consciousness seek
what we recognize, warm refuge.

end of the 3rd quarter | 2020

Anthony Hernandez, Los Angeles #1, 1969

count the number of Tuesday’s remaining
this year, if lucky a new year is coming
calibrate your most latent expectations

distinguish stimulation from propaganda
if you need drama, watch the leaves turn

feel the unconscious dare of hope
swallow the sacredness of ordinary days

examine the materiality of fidelity; listen
elucidate future present tense

seek pleasure to root out despair
replenish your somatic prayers

consider how your routine is a rhythm
write down its verse, chorus, verse
review when you forget you are the bridge

time as delusion

“Instead of becoming preoccupied by the extraordinary things the deluded individual believes, we should turn our attention instead to the ordinary things they no longer believe, the absence of which have allowed the bizarre to flourish.” — Huw Green, “Deluded, with reason

Jill Friedman, Christ Loved Men Only, London 1967

I was born on the east side of the Missouri River. U.S. Route 12 segregated town into north and south. If you drove west, time moved backward one hour from Central to Mountain. A sign on the bridge let you know you were crossing the threshold when you reached the middle of the river. Everyone west, within a certain driving distance of town, set their clocks to Central. Awareness of time in this way, coupled with growing up immersed in seductive Evangelical promises of attaining an afterlife, shaped absolutely how I perceive time and place.

Living in a community that so willfully defied authority (whoever put that arbitrary line of what time was) and persistently yielded to a prophesy that believed you were doomed unless saved, was ordinary—normal—to me. Technically, every day was urgent and distorted.

What was delusion and what was habitual enough to thrive in that unique cultural echo?

Learning so young to measure time as both borrowed and flexible expanded my ability to conceptualize reality, an immense landscape of what I knew and what I saw. It also helped to construct a very specific concept of suspension of disbelief. I recognize and am familiar with waiting as an anchor of suffering and its twin—earned anticipation of endurance.

As the contemporary drags hot and dangerous, I wonder if these times, right now, are worse than other times of war, protest, fire. To pull an image from the last line in William Stafford’s A Ritual to Read to Each Other …the darkness around us is deep.

What revelations lay at this undulating edge?

I don’t know. For now, I’ll keep translating evocations into poems and finding pleasure in trying to answer unanswerable questions. Where I come from, we call that feeling for miracles.

crowns & canopies

“Without touch, God is a monologue.” — Andre Dubus from Broken Vessels: Essays

“‘Tax the rich’ talk gaining steam” headline from East Bay Times, 14 August 2020

edge of collapse

absence entrance,

a trance

“FASTER, CHEAPER MAY BE THE WAY TO GO” headline from East Bay Times, 10 August 2020

I’m craving land
spread wide
open.

“Judge” partial headline from San Francisco Chronicle, 11 August 2020

orange primary sun
a macabre atmosphere

the news scrolls
trolls concern for structures

malefic energy
to make decisions

humans are hardwired
to scan for threats

there’s a moment
after the emergency

I feel stupid
like I overreacted

I survived
but didn’t stay calm

making everything sacred
takes so much

in my dreams,
I asked for time

talking, for some, is filling time

self-portrait in Mother’s Day Daises (Dorothea Lange, 1934), Oakland Museum of California, 2018

confirmation is a need
during Steinbeck summers
lifting up prayers
by day and profitable hour
just one way to count time
while Siberia and Los Angeles burn

a poet said truth is a promise
is conspiracy
is part of the weather
is a chain of events
an affect of algorithms
our unconscious

this wanting desire to influence
counterfeit double consciousness
divergent as sonic traces
bending poetics of disaster
to experience thinking out loud
together   on a mesoscale

time bound

How quickly can one dispense with the old bargains between defense and desire, adapting to a regime whose rules provide no felt comfort?

— Lauren Berlant, “Cruel Optimism”

Helena Almeida, Sente me (1979), screenshots from Film von Sylvain Bergère

Inside this temporal state,
habitualization is the climax.
To date, public misery
is not officially worthy
of monuments or accurate measurements.
Finely stratified, your and my collective
future—active emptiness—is its own
embodied aleatory performance.
But what are we supposed to be
doing with this time?
Such insinuating can feel negative,
counterproductive as misdirected desires.
Overstimulated, I beg for revision
rather than tempt resolution.
These present hours unknowing.

fear needs attention to exist

This is a special way of being afraid — first line of third stanza in “Aubade” by Philip Levine

PLEASE DESTROY (detail), from the daily writings of William Stafford (William Stafford Archives, Estate of William Stafford)

do you feel fear ineffably?
personal, not public — self as an other

the social distance in between
hoax and binaries and stimulus

do you feel subtleties?
curated indoor skies — measuring light

efface negation
imperfect present

do you feel like you are repeating yourself?
ritual or repetition — your reputation

in situ

There was a sun once
It lit the whole damn sky
It kept everything
Everything alive

Jawbreaker — Shield Your Eyes

3 November 2017, Berlin

what gods are inside you?

have you asked them for help?
will they respond in time?

5 June 2018, Portland, OR

The different names for the soul, among nearly all peoples, are just so many breath variations, and onomatopoeic expressions of breathing.” — Charles Nodier (1828)

14 September 2019, Oakland, CA

my idle hands are:
structures of experience
polymorphic intentions
dimensions of interstitial time
devils playthings
listening

reverie

“The number of people here [New York City] who think they are alone, sing alone, and eat and talk alone in the streets in mind-boggling. And yet they don’t add up. Quite the reverse. The subtract from each other and their resemblance to one another is uncertain.

… It is the saddest sight in the world. Sadder than destitution, sadder than the beggar is the man who eats alone in public.” — Jean Baudrillard, America (trans. Chris Turner, 1991)

16 April 2019, San Francisco

Nearly a year ago, I carried America by Jean Baudrillard around the Bay Area and all the way down to the most American of places, Los Angeles.

18 April 2019, Oakland

I wanted to capture Baudrillard’s idea that eating alone was the saddest sight in the world.

26 April 2019, Los Angeles

And of course nothing and everything can change in a year.

Contemporary America is at an epic and fevered hyperpitch with an advancing crisis of reality. What is refracted is what will be. Our ascetic online lives more fake than ever. Asepsis is an arousing and obsessive state in this quarantine simulacrum. Hygiene a cult. The habitual repetition of survival, an amplified fascination of being alive, its own seduction.

But one day soon—in the scheme of weeks or as quick as when you notice your neighborhood trees blaring their blooms—restaurants will open for sit-down meals and I will prove Baudrillard wrong.

prepare for your future

Listen—this is a faint station
left alive in the vast universe.
I was left here to tell you a message
designed for your instruction or comfort,
but now that my world is gone I crave
expression pure as all the space
around me: I want to tell what is. …

— William Stafford, TUNED IN LATE ONE NIGHT, first stanza

DON’T BE GREEDY, March 2020, Oakland

We were told to get extra, but not hoard.
All professional sports, including NASCAR,
and all mass entertainment cancelled.
Church and work shifts to virtual platforms.

Even the Pro Football Hall of Fame
shuts down for “at least two weeks.”
Tourists won’t hear the bronze busts
speak in stiff-lipped whispers.

Witness begins to require recalibration.

An Italian doctor corrected the British talk show host –
bomb metaphors are inadequate for this pandemic.
A bomb implies “one moment in time and space.”
The doctor begged viewers to grasp spacetime physics
as Florida’s spring break beaches swell.

I scrolled and
scrolled
and
scrolled
for good news

(time passed)

Freeway traffic flows in east/west lanes
like ants on a crumb score.
I’m waking up later each day,
blending home and work
into a double-stitched seam.

It is the first day of spring.
I beg you to prepare for the future you want.

Yet nothing has really happened
yet.

Place has even more significance
than we can consciously hold
now cracking open at its weakest points –
where we are isolated and approximate distance.

News moves relative to a wide margin of incompetence
and displays itself as curved lines.

I bless the bus drivers keeping their ghost routes.
New leaves spread wider each passing day.
I am hyperaware of my phantom wants:
a balcony and family. A dopamine loop fueled
by anticipation. The future now a fermata.

dangling participles

Los Angeles, 2018

I.

What am I listening for?

The rhythm of an endless human-centered conversation.

Why?

To feel the space between our next collective breath.

II.

The sky split in half with the trail of an early flight.
Orange morning light, a long exhale, and the sound
of pencil on paper filling a page. I appreciate
clouds temporary status and apply that truth
to my own temporary life.

III.

I want to find a way to open
from the inside,
safely and slowly,
with pleasure and wonder.

IV.

Put your weapons down.

The sky is the same as yesterday: blue and uninterrupted.

revelations

“I wish the idea of time would drain out of my cells and leave me quiet even on this shore.”
—Agnes Martin, Writings

artist: Shu Takahashi

We had so much nothing,
it was taken for granted.
Believing nothing would always be there
absence became comfort.

Not unlike early morning prayers
spirals of grand scale idolizing
the ego erases into ecstasy
feral as our collective waking dreams.

This gap — promised conjecture —
as yet unproven and deep as the ocean
is sensory. A modern perception.
Time expresses both light and shadow.

Take this faithful repeated effort
to disrupt, relate, or to create.
Apocalypses, ancient reveals,
have nothing left to give us.

Release remaining regrets, a familiar form.
After all, we are in process
shaping the near future like it’s a bad thing.
Maybe there’s nothing but good in this.

abdicating

“Walking on the land or digging in the fine soil I am intensely aware that time quivers slightly, changes occurring in imperceptible and minute ways, accumulating so subtly that they seem not to exist. Yet the tiny shifts in everything – cell replication, the rain of dust motes, lengthening hair, wind-pushed rocks – press inexorably on and on.” – Annie Proulx, Bird Cloud

Whooli Chen, Morning Song

I’ve learned enough to be dangerous. I’ve failed enough to feel successful.

Lessons learned, in the order they showed up:

  1. Expectations are different than boundaries.
  2. Shame is a form of self-abuse.
  3. Distinguish the difference between meaningful work and paid work.
  4. The stories I tell myself matter the most.
  5. Maintaining a conscious awareness of abundance is the work of being open to inspiration — being fascinated feels good. Acceptance is eternal work.
  6. Establishing new routines takes time.
  7. Trust in self is a sacred commitment.
  8. Patience is its own desire and trust in myself is sacred energy. Learning stimulates: both focus and curiosity are required.
  9. Creating poetics inquiries deepened my capacity for patient discovery.
  10. Breathe through the urge to have answers.
  11. Staying present and having curious inquiry is the process of accelerating joy.
  12. It matters how you show up.

2020 is one of those future-forward years, like 1999 and 2000. Every year has its own biography of echoes. The list above are some of my loudest.

overthinking

“Be wicked, be brave, be drunk, be dissolute, be despotic, be an anarchist, be a religious fanatic, be a suffragette, be anything you like, but for pity’s sake be it to the top of your bent – live fully, live passionately, live disastrously [if necessary].”

— Violet Keppel, in a letter to Vita Sackville-West (1918)

Richard Long, A Line Made by Walking, 1967

Monday’s sky rolled out baby blues and soft power pinks with creamy lilac contrails. Yesterday’s news was the same as today: promotional micro-divisions, myopic hyperbole, and regrets familiar as hard-coded hegemonic language.

Cloud banks wander wistfully south where it is summer.

For almost fifteen years, I’ve willingly come to this empty, open place. This returning is one of my most illicit love affairs. Responsible only to self and the swells of intuition, I may decide to write passively because that shadowed edge has the most depth or I show up with a cathartic vendetta that has begged for its own release. This virtual space a catalog of conversions, an alchemy of early-morning meditations transmuted into an ever evolving contemporary poetics. Here, time is measured as equal parts fumbling through curated distances and urgent absolution. This is a sacred practice that I’ve revised, distilled, and kept wild.

The redwoods are watching, thinking, and breathing just like me — and you.

Even now this landscape is assembling. Neither melancholic beast nor hyperconsciousness of a benevolent god’s perversions could keep me away from this erotic ritual of pleasure making. It is glorious how I have taken, and keep taking, what is useful to me. The violence of past sins have not failed me. It is precisely this ancient chorus that has finally connected curious inquiry to my formerly disembodied soul.

Let us start here, again, reimagined.

slow blink to xmas

Always to shine,
to shine everywhere,
to the very depth of the last days…

-Vladimir Vladimirovich Mayakovsky

Arnaldo Pomodoro, Untitled, 1984-85.

Celestially speaking, we all belong to a restrictive social class.
Cumulative in our longings, we render dependency as emergencies
[how romantic to feel each other’s interdependent commitments].
We take our love-starved coordinates and plot collective orbits.
Moving at the textured pace of gravity’s grace, time fragments.
Do not worry. This scattering happens every year. Remember?
What will you pick up and carry into tomorrow? The new year?

seven years and a day

artist: Yuko Shimizu

Police found nothing but pairs of empty shoes inside abandoned cars stopped on the freeway that carved edge lines between city and suburb. Stereos were still playing upbeat songs or blaring ads for insurance, spicy chicken sandwiches, eradicating skin rashes, and a cloud that promised to secure memories. Coffee left warm in secure cup holders.

I have my own, obvious, working hypothesis for the dispossessed.

I can feel you wanting more. More analysis, more details, more quantifiable truth. I recognize that desire. If left unchecked, it is a serial and extractive response.

Instead of getting stuck in that kind of particular production, what spiritual inclinations were you born with? Will your future prove the past?

The ending is coming. How wild is your hope?

________

title is reference to seven years and a day is often the period of trial in fairy tales (Denise Levertov, The Poet in the World, page 13)

proper exit

Alicia Eggert, This Present Moment, 2019, 96″ x 157″ x 59″, steel, neon, custom controller

Our days contain the same hours despite abbreviated light.
Fevered images imprinted on soft flesh remind
this planet orbits a beloved and nuclear star.
Sorcery or science, that’s not for me to declare.

I record the sky every morning to create fragments of an unseeable whole.

Daily witness a veritable surge measured against distance as response.
I stop when I remember your happiness is not my responsibility.
That’s the small print of being in relationship to you.

We’ve burned through time by excavating the past.
I warned you verb tenses are subjective when coupled
with mutable concepts of time. Didn’t you hear that echo?
In suspension, I ate my tongue and swallowed our blood.

I know how much you appreciate a dramatic and proper exit.

private investigator

When I added the dimension of time to the landscape of the world, I saw how freedom grew the beauties and horrors from the same live branch. — Annie Dillard, Pilgrim at Tinker Creek

Blind swimmers (Effect of a touch), 1934, Max Ernst

Planets square, conjunct, and align according to ancient calculations. A replicable physics of perpetual routine and abstract distance. The wise have correlated collective visceral feelings to this constant celestial movement and, of course, gravity’s determinate pull. There is grace in this kind of emotional profiteering, an abundance that forces us to confront unknown questions inside a mapped-out-for-you future.

I’m days away from another year around the sun. Three hundred sixty-five unbroken days of editing mistakes and expanding my realm of intuition.

These accumulating memories are a landscape bound to cycle back around to vanishing points. Gathered as collages and smelling like warm marigolds, all those shades of consciousness tend to the task of a well-paced axiom eventually becoming their own runaway speculative fictions. Nostalgia clutches just as much as it cascades.

The sky is always moving. I intend to continue investigating the figurative dancing light from that motion. Etching inventions into my own shameless shadow.

landscape analysis

you’re getting too caught up in things that don’t matter (artist: unknown)

dreams of meat
fractured rendering
time wasted
a scarce luxury

this kind of clarity
born from salvation
a knowing how petty
being a victim can be

in classic tactile evasion
you beg for cruelty before comfort
caught in a familiar discordant loop
arrested in rustic sanctuary

passive as a twinned body
swallowing your present tense
to breast the wave
then shred your fears of impotence

these kinds of clearings
a place where light abandons control
are at the edges of regeneration
the poetics of follow through

due north

“I love you, I hate you” (digital drawing collage) Elissaveta Zerdeva

I walked in the direction the bus takes to get me home.
A non-direct route through neighborhoods where curtains hold space
for sleeping cats. Each intersection an opportunity to wait within
a landscape of past lovers reminding how time renews.
Objects in such a mirror are closer than they appear.
Curved to reflect light outward, my old selves diverged.

I am learning to trust and when to leave
a refrain from speculation
and a practice of conscientious objection.
Just past the corners of trees, a distance
due west, urban sounds echo infinite.
Curated to reflect disappearance, I find home.

two or three things I know for sure

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.

31 August 2018

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)

a very, very loud extended silence

Open. 22 December 2018, Oakland, CA

I find peace inside California’s winter weather changes. They remind me I was never in control. During the eclipse, I dreamt girls were fist fighting under street lights. I woke up centered and kept all that scattered energy lodged between the spaces of my teeth.

Shock. Then awe. This is what they warned us about. Civic intimacies have been breeched. Residents clutch their pearl-handled pistols. Our movies show us acting surprised while winter mouths stay covered. Sighs are lodged inaudible.

Bound by the length of light, time arouses. I take these sacred fascinations and wrap myself soft and deep as the high tides. I search for conscience affect in its rawest and wildest form. This is a new year of stimulated objections. We have been warned.

_________________________________________________________________________________

title reference to: ‘The grave of the Russian composer Alfred Schnittke in Novodevichye Cemetery in Moscow is surmounted by a stone on which is engraved a rest beneath a fermata with a triple forte noted at the bottom: A very, very loud extended silence.’ —John Biguenet, Silence (London: Bloomsbury, 2015), p.49.

music from the balcony

new wave vengeance frames this reflection. we are now, again.
2018: masses react and subjectively perform aggression.
yes, I do think differently. epistemic relevance matters.

THE MUSIC FROM THE BALCONIES NEARBY WAS OVERLAID BY THE NOISE OF SPORADIC ACTS OF VIOLENCE, Edward Ruscha, oil paint on canvas, 1984.

What a savage year. Calendar time and actual time disassociated. Let go or be dragged. I got dragged and then I let go. In this protracted state, I mended critical boundaries and broke open new patterns. I made the days useful to me. I wrote about cowboys while breathing in fire. I listened and was seduced. I transmuted silence, my way. Drowning in manufactured violence and drama, we held each other longer and tighter. I saw urgency extract exquisite ideas and leave behind ghosts still in motion. Recognizing that glitch, I give myself infinite permission to fail, to risk, to revive. I still believe revolutions are frenetic desires and armor myself contextually. Curiosity is my ideal pace. I follow cats and poets. I came into this world greedy. I need reminders when my body grips fear: be awake for soft pink sunrises and orange suns floating into fading darkness. It is my responsibility to source these personal validations and ritualize inspiration. Reflex grace. Find balance in distractions and create sacred ceremonies with your hands on my hips.

vintage fascination

Gregor Beltiz, ss-titre #2, série Les boîtes des sentiments, 2012

Last year’s fire season
wasn’t the first time
I took my breath for granted.
I had been choked before,
by father and daddy alike.

My body memorizes
with appreciation.
This way of knowing a matrix,
a structural ethic.

As fire’s light establishes
rapidly diminishing distances,
tradition finds strength in time passing.

Our days are paced aggressive,
a seasonal norm. History is recorded
furiously as language reflects
fractured frontlines.

Be worried.
These western fires
will reach you,
soon.

the cumulative impact of reaction

“As if a tenderness awoke, a tenderness that did not tire, something healing.”
— Sylvia Plath, from The Collected Poems; “Three Women,” (1962)

I was born into an isolated, literal Evangelical culture. A place where time was on always on trial and faith was righteous as pride. Our promised future had already been written. We were urgent. The rapture was past due.

All of us who knew even a fraction of the story internalized why Jesus hadn’t returned. Acts of a vengeful god are common and welcomed in this scenario. It was also true when you knew the ending tipped in your favor, knowledge became seductive. A blessing disguised.

To have learned about the world this way feels like a subtle theft. Trauma works that way too. False recognitions bound to real sounds, smells, touch, twists of phrases, and, if lucky, fading re-creations. A true con.

Decades later, I am still carving an existence that is receptive to invitation. There are no answers inside all these non-moments of relentless judgement. That clarity is its own rushed reality. Adapting gracefully to change is an ancient sermon. This is a map to all this undoing.