Forms

Considering various mediums, and the interfaces between seen and unseen.

Every medium has its own personality. Paper is delicate so everything gets a dreamy fluid quality, light dissolving over the landscape. On paper you can see the smudge of erasure, the changes, the trial and error. Consider the difference between this and something like film, or film-less photos, those bodies of pixellated light in captivity.

With photographs everything looks like something that a crazed nostalgic is trying to freeze outside of time. Oil on canvas: longings laid bare, to hold what will not be held. The time spent anyway, squinting. 

A bedside book in childhood: Lives of the Saints, dog-eared at Joan of Arc, because of the way she didn’t flinch, that insistently, cross-dressing soul. I think her gift was less that she heard a voice all day long telling her what to do, but that she listened.

Now it’s art books, too heavy to lift with one hand, propped open across a chest and half-waking dreams of Blake’s Jacob’s Ladder, all the near-transparent souls climbing doggedly into blinding light, none looking as though they have any idea what it may be, but there it is waiting, anyway, pouring over and through their bodies and their steps in a luminous column and you get the sense that they’re climbing forever like a white-knuckled novena, World Without End.

Joan was burned at the stake for three reasons: one, she wore pants; two, she wore them into battle; three, what she said about the voice she heard, even after it was clear what would happen if she didn’t retract. There was a line between what you could see and may not see. She crossed.

Before he painted Jacob’s Ladder, William Blake was getting regularly arrested for bar fights, and after he painted his opus, he died, as the legend goes, amid visions of angels. What did he see in them, I wonder, and how was it different from the eternities he saw in hours, the heavens in his wildflowers, or the worlds he found in grains of sand?

A want to hold it all in an instant, the forever dream against countless suggestions that seeing something is almost always very different than seeing everything, and the end of the world something different than the end of every known part. 

“Jacob’s Ladder” by José María Pérez Nuñez on flickr under a Creative Commons Attribution Non-Commercial 2.0 Generic License.

Before the Storm

Drunk on abundance, they weren’t ready to accept any limits. They had no practice. It was not as though there was a choice to be made, though later it would be framed as though there had been.

“Eclairs lointains” by jmbaud74 on flickr under a Creative Commons Attribution Non-Commercial No-Derivs 2.0 Generic License

Consider one beginning, how above the blue carpet of a grandmother’s living room, there had been a painting of a small boat in a storm, against a dark sky. 

Below this, on a stand, an oversized bible, the pages slightly gilded at the edges; what it meant to wonder, in this place, on a summer afternoon, back against the blue carpet, how it was that anything at all had started, how from this wonder a body might get up and walk to the book on display, turning to the beginning, and puzzling over the words, in awe of the poet’s certainty.

Only words and nothing else until a command came, and then it was Light,  and after that, the seas and the forests and the beasts and a man and after him, it is said, from a bone taken from the center of his breathing, a woman; consider learning, how she met him in the garden; consider wondering how they knew how to play, and imagining the horror of living ever after, dying to know it again, after they beheld in the center of the garden, the tree of the knowledge the limits of what they could know. Drunk on abundance, they weren’t ready to accept any limits. They had no practice. It was not as though there was a choice to be made, though later it would be framed as though there had been. In the beginning, knowing nothing but abundance, how can anyone look away when the very source is given, to taste? 

They say she bit first. Of course, she would have been the one among the branches, gathering fruit. Later she would be painted as a sinner, but how could she be anything but a child in these original days? Here, someone whispers: serpent, man, or God––in the beginning, does it matter, or is this a moment when it is possible to imagine a single hope, constant as a pulse? How it whispers, like the rustle of leaves at the edge of a branch at late afternoon, “Stay.”

Epiphany: Live in Concert

A Moonwalk revelation, ending in an embrace, the wide white smile of The Godfather of Soul shining back.

There is a night, long after my bedtime in 1983, when the three kings take the stage. Soul is leading. For a moment, he is front and center, green jumpsuit and perfect hair, wanting company. The numbers dead from the Ethiopian drought have reached four million, and protestors are gathering at Greenham Common Air Force Base as Reagan’s army deploys missiles. It’s almost time to invade Grenada. It’s civil war in Zimbabwe, earthquake in New York, the birth of Mario Bros and Microsoft Word, some say the birth of the internet, and a new land speed record in the Black Rock Desert. I don’t understand what is happening.

The King of Soul calls on the rising King of Pop, younger and still darker than we knew him later, who leans in to be embraced by Mr. Dynamite, kissing his ear, his first words into the mic, I love you; I love you, then spin, shimmy, what is this? A Moonwalk revelation, ending in an embrace, the wide white smile of The Godfather of Soul shining back. It’s the Embassy Bombing in Beirut, the highest U.S. unemployment rate since 1941, the assassination of Aquino in the Philippines. Here comes Run DMC, Depeche Mode, Iron Maiden; the age of the international superstar.  Let’s dance, karma chameleon, I want to party like it’s 1999. It’s time to fasten your seatbelts, ladies and gentlemen; buckle up, it’s the law. 

“epiphany” by spinster cardigan on flickr under a Creative Commons Attribution 2.0 Generic License.

Next comes the King of Funk; Prince, where are you? Pointer finger extends a royal summons to the back of the room, stage left. The Artist arrives straddling the waist of the white-bearded muscle man who bears him on his back, whose image calls to mind Hell’s Angels; up goes His Royal Badness in a futuristic jumpsuit, gold lame details, heels. This king on the guitar, a prolonged erotic moment. Oh no, it’s not a jumpsuit, now the top half is coming off, now it’s the shirtless High Priest of Pop making love to the Mic stand, to the audience, thrusting himself into the space between the music and their rising cheers, then falling like a spent lover into the crowd. They are filling the prisons, building new warehouses for storage of the fathers and brothers and sons. There are bullet holes in the ceilings. The new warehouses are stacked five stories high; they can’t build them fast enough. The vans arrive in a constant stream; the machine needs bodies. The bodies are the fathers and the brothers, the uncles and the sons. Where are they now? They are Away.

This is the year I enter school – line up! Bells, the bells, the stone buildings, the weight of this ominous word, terrorist, its point to point to some being not quite human, grounds for extermination, but now, we were told was the age when the wars were done; now, the adults said, was a time of hard-earned peace. Of progress, the dawn of a new age! News of another car bomb punctuated news of mass extinctions, and even with the bombs erupting everywhere, even with the mass extinctions, and the adults looked ill with symptoms of battle fatigue that no one was allowed to discuss. 

It is the year of the West Bank fainting epidemic, and epidemics of fainting elsewhere, especially at concerts; it was the heyday of new religion, and our stadiums became our new meccas; and Sally Ride is the first woman in Space, Ride, Sally, Ride! and Guion Bluford is the first black man in space, Say it Loud! Vanessa Williams the first black Miss America, and the King holiday is signed into law. The Zapatistas are rising; Thriller is released. 

I am too young to be at the concert; too young to even know the names of the kings who take the stage. I find the footage later, among the artifacts of the hyperspace that was being assembled around us. I pour through the artifacts, looking for clues in the aftermath; it’s the same question in any aftermath, isn’t it? What happened? And what was there before? And, was there any sign, before it hit, what was happening?

I can’t help it, the way I keep returning to the moment when the second of the kings takes the stage, the way he says I love you like he’s someone just arriving, and I love you like he’s someone already getting ready to leave. I can’t help but think that if I had seen him then, I would have been moved with recognition. Even then, before I knew anything about anything except the speed of the way it feels to spin with your arms out wild, knowing you’re about to fall flat when the spinning gets too much; that’s what we did then, holding hands until we released them, falling flat and breathless on our backs, laughing in terror at the still-spinning sky.

Blurred Visions

Self; not self. You learn to stop wondering about which is which like you learn to accept how it is customary to call the thing you have: one life. How strange, the way that this phrase is stressed, as if it’s a limit.

There’s a moment, and it goes so quickly that it’s easy to miss, when you think you know who you are. The reason, looking back, was that you were not thinking about it at all. You simply were there, doing what you did in the manner that you did things. For example, drinking from a garden hose in your underwear, or writing a five-act musical for Rocky, the elementary school janitor, on the occasion of his retirement. Or showing up on the blacktop before the bell rang for the start of a third-grade day, after any break longer than two weeks, wearing an accent you had acquired on some imaginary voyage to a distant land. Here a brogue, now a drawl, now something approximating the outback. 

“blur” by lee on flickr under a Creative Commons Attribution No-Derivs 2.0 Generic License

Around the age of blood, this changes, and it is no longer considered sufficient to simply make things up as you go; one must have acquired something distant, something not already possessed. You’re not sure what it is, but you understand that the time has come to go out looking and stop pretending that you know what you need. The point, it seems, is to listen. Others know exactly what you need, especially men, who have no shortage of ideas as to what you ought to do. It will be decades before you learn to categorize such professions of wise-seeming advice into the file of “Men explain things to me” (Thank you Rebecca Solnit, Sheila Heti). 

But it’s not just that. It’s in the way you look, like you’re practically begging the world to explain something to you. 

Sometimes you stop, staring, and think, “Here is something.” You think this because you are wondering and because whatever you are looking at is indeed something. It’s enough anyway, to remind you back in the direction of something that you almost thought you knew. But it isn’t that, not exactly. 

The nuns had a saying for missing things. “St Anthony, St. Anthony, come around,” they chanted, over the lost items. It gave the frantic seekers something to do while they looked.

Self; not self. You learn to stop wondering about which is which like you learn to accept how it is customary to call the thing you have: one life. How strange, the way that this phrase is stressed, as if it’s a limit.

One lives.

The Matter of Your Substance

This is for the quiet behind your words, the songs vibrating in the back corners of your silences, for the shapes you have been noticing in the ceiling after dark; how they move in your nameless mystery. This is for the impulse to close your eyes when you’ve had enough of looking, to find the shadows just as present as the bursts and squiggles of colored luminescence spiraling across the eyelid-curtains after you stop watching.

Stellar Nursery in the Rosette Nebula – Nasa.gov

This is for your still-seeing even then, for the way you knew you could fly like you knew a mailbox could morph into a griffin; a streetlamp into a vine, from which you might swing across a rising river and drop safely on dry land — to wave at your enemies, scratching their heads.

This is for the rippled reflections over water when you touched it for the first time — really touched it — feeling it as babies do: Now it’s a boundary, now you’re breaking through; now it’s a horizon; now it’s swallowing your hand, your knowing screams of “Aaaaaah! Ha! Oooh!” against each splash.

This is for your hand — the speaker of the moment, do you remember? Chubby and sure of itself without even fine motor skills, already fluent in an ecstatic dialect, intimate with joys of pressing itself against what it cannot hold.