vegetable mineral

animal sounds

I arrive in middle age at a beginning, so now I write and speak. I do these acts to correct some learned habits of believing I must know where I will end before I open my mouth to say anything. Such learned habits, I see now, have conditioned my seeming docility. 

Fortunately, I have no ends. Better yet, I see this now. So here is as good a place as any, to begin.

This is a small act of defiance, against the idea that the purpose of saying anything is to make a point and that the point is to mean something. Some perspective is afforded now, from witness. To the urgency of the kings of the world, to end this life. (To be clear, some make the point more subtly than others, but to be a prize is a kind of end, and it is possible to spend a life chasing this state, only to learn to see it for the burial it is.)

This affords some confidence to say that one approach that many take when confronted with the impossible fact of a life, is to bring it to a point. Some end to justify the means and all of that. Very Machiavellian. Such notions are rampant now.  Knowing this moves me, too.

Nothing I mean to say is so abstract that it may be extracted, like oil from my flesh. Oil, biologically speaking, is the accumulation of bodies under pressure over time. I am nowhere near the age of oil, as I am still alive. The fact of being so is what I mean to value now. 

Also, my connection to the dead. This, I treasure. How would I continue, I wonder, without their excellent company? The dead have always been around me, speaking. These and the not yet born have much to say, and little of their ripe and blooming abundance has anything to do with points. The dead, as you may imagine, often have a sense of humor when it comes to ends, as this affords their carrying on. The not-yet-born are young enough to laugh with full bellies of air, at the absurdity, of aiming for a point in the midst of all of this.

The Sea of Men

Shapes, shifting

In one account, she is the wine-dark carrier of iron-laden sons to strange shores of inscrutable speech. Often, she swallows them whole. In another, she is moved by strong wind through the night to become a wall. Then she falls and swallows them whole. 

The yet-to-be swallowed write of dreaded creatures in her waters, of her treacherous subtlety, and speculate that what she is keeping from them is surely a clue to their deaths. 

When they get like this, she sighs another tide and wonders with a bright bloom of red, if any of these can remember beyond the tales of monsters and bewitchers, how once she beheld him from below where he stood, looking, and offered back to him the shine of his own face.

Veiled Life in Five Acts

For Ophelia.

It was said of the jailer’s daughter that she sought the flood, that she might be saved by the man who came calling, before she returned in her trembling weakness to the river to sing a song whose words she mostly forgot. 

No, it was not deliberate, her fall from the branch of the willow where she sat. Neither was it abrupt, after long schooling in the art of locking her in, to study what will shapeshift and erupt in the steam of her laughter over the prize they would have lauded her for becoming, if she kept on. With these men who cry at her breast while wondering what to do with themselves. To be? Or not? Me? 

A mind unbalanced by grief, her physician decreed––for the father, no doubt, they declared. Or Laertes on his high horse, tossing advice to the ground, or Hamlet so eager to seed her that he burst into her space, who then complained it would not cost her a groaning to take off his edge, his constant edge. 

And always the question of what to do with it but remind her back to his need, singing? 

And he sings. O sister when I come to knock at your door, may you be no stranger to knowing where the cuts are meant to happen. To her, but for himself: O sister, o daughter, o mother, o wife––it is your breath, your blood, your only life.

Exit mobile version
%%footer%%