Monday, December 31, 2012

Oh, Inverted World

Daniel had lived a happy life for some twenty-odd years when he found out he was dextrocardiac. He entered the hospital for a simple scan, and left it as a changed man. Consequently, he felt like everything he had done up until then had been upside down.

He thought back first and foremost of all the pledges he made to people in the past, always solemnly putting his right hand to his left upper chest. The evening after he got the news, he sat down and devoted himself to making a list of all the promises he ever made, to renew the vows for each one, left-handed and right-chested. But when he pressed himself for examples, none came to mind. He knew he’d made many, but they seemed to have all evaporated from his memory. Even though he did not manage one entry for his list, he did attempt to write the heading but found to his surprise that his ability to write had been severely damaged. The next morning, playing football, he suddenly found himself to be clumsy and powerless on the pitch, and it took him until half-time to figure out his talents had shifted to his left leg. The writing problem turned out to be of a similar kind, and from that day on Daniel was a lefty.

Daniel also recalled, somewhat glumly, all the times he’d said things like “my heart’s not in it”, or “at least my heart is in the right place”. How he crossed his heart and hoped to die when his first girlfriend questioned his devotion towards her. It was a point of pride for him, because he loved her as much as a thirteen-year-old possibly can, but that was all meaningless now. Or it seemed to be, anyway.

But as time passed, Daniel’s initial horror with this inverted world started to abide. Though his moping would suggest all sorts of things, his life on the other side of the Looking Glass had not been much to speak of, so essentially it was a new chance for him, a new foundation to build his house on. He had always been, according to his friends, an extremely rational person, and had been equally revered and detested for this. It was not a lack of empathy that had marred him before, because you can arrive at empathy through step-by-step thinking, but the rather bigger problem of not caring for anything at all. Daniel had once read a quote by Pessoa who felt like his soul was a castle surrounded by a moat, and the drawbridge was permanently raised (or something to that extent). But in this strange mirrorworld Daniel started to feel things he never felt before. He connected to people, wanted to be close to them, wanted to engage, wanted to love and be loved. He stepped out of his castle and got high on the fresh air, high on life.

Once, it must have been about two months after the change, Daniel walked in the park and saw an old couple sitting on a bench. The man was pointing out things in the park. Perhaps he told her how the tracks in the sand of the path spelled out the name of their youngest grandchild, or how every tree (he did a lot of gesturing) reminded him of some beautiful afternoon with her. But most probably he was just pointing out some bird in a tree, or some passerby they both knew. Whatever it was, with every remark his wife moved in closer to him, tugged and held on to his sleeve, smiled and nodded. She smiled with the simplicity of true love. Daniel quickly turned away to a quiet clearing and started crying for hours and hours. When the tears finally stopped coming, he felt immune to gravity, light as a feather. He felt what he immediately recognized as the only bearable lightness of being: the simplicity of happiness.

Friday, December 28, 2012

re: Twin Peaks

One of my favourite movie scenes:


(from this excellent and underrated movie: Living in Oblivion)

Sunday, December 23, 2012

Pessoa on Language

Excerpt from The Book of Disquiet

Grammar, in defining usage, makes divisions which are sometimes legitimate, sometimes false. For example it divides verbs into transitive and intransitive; however, someone who understands what is involved in speaking, often has to make a transitive verb intransitive, or vice versa, if he is to convey exactly what he feels, and not, like most human animals, merely to glimpse it obscurely. If I wanted to talk about my simple existence, I would say: 'I exist.' If I wanted to talk about my existence as a separate soul, I would say: 'I am me.' But if I wanted to talk about my existence as an entity that both directs and forms itself, that exercises within itself the divine function of self-creation, I would have to invent a transitive form and say, triumphantly and ungrammatically supreme, 'I exist me.' I would have expressed a whole philosophy in three small words. Isn't that preferable to taking forty sentences to say nothing? What more can one ask of philosophy and language?

Only those who are unable to think what they feel obey grammatical rules. Someone who knows how to express himself can use those rules as he pleases. There's a story they tell of Sigismund, King of Rome, who, having made a grammatical mistake in a public speech, said to the person who pointed this out to him: 'I am King of Rome and therefore above grammar.' And history tells that he was known thereafter as Sigismund 'supragrammaticam'. What a marvellous symbol! Anyone who knows how to say what he wants to say is, in his own way, King of Rome. Not a bad title and the only way to achieve it is to 'exist oneself'.

Tuesday, December 18, 2012

∞, etc.

In putting pen to paper, I have often tried to become the authors I admired. Not to emulate, which is only playacting, but to really be: mind and body. Writing, to me, is a spiritual surrender, and is as much becoming as creating. Becoming your antecedents, becoming your protagonists, becoming yourself (which is qualitatively different from being yourself), over and over again. Most often I have tried to be Borges, and so it was again today.

I tried to become Borges. I tried to become Borges trying to become Pierre Menard, or, better yet, Borges trying to become Borges trying to become Pierre Menard.
(Menard, of course,
   who tried to become Cervantes,
      who tried to become the Moorish translator,
         who tried to become Cide Hamete Benengali,
            who tried to become Alonso Quijano,
               who tried to become Don Quixote,
                  who tried to become Amadis de Gaul,
                     etc.)

If that list seems ultimately exhaustive, this is only due to my ignorance. Or if it is at all tracable to a beginning, that beginning coincides with the very commence of mankind. Let us, for sake of ease, imagine as that beginning Adam and Eve, though the specifics hardly matter. Though we tend to believe nowadays in the ever-expanding universe and the ever-expanding mind science suggests, I would hypothesize the opposite. In fact I would argue that where Genesis says that Adam and Eve are being kicked out of the Garden of Eden, what is meant by that is them walling themselves in. The Garden of Eden is infinity, and - by extension - perfection. Their punishment is reducing this, thus creating the beginnings of suffering and vice in the form of imperfection. From that point on, every successive generation, in the spirit of their ancestors, builds a wall inside the previous one.

If Cervantes' working space was a luxurious mansion, mine is a nearly identical one, only slightly slimmed down. Future generations will be slowly but cumulatively reduced to discomfort. All that precedes us limits us, because it predefines us. Of course, I am not the first (nor will I be the last) to say this. As Borges aptly points out, the exact same sentence written by Cervantes has completely different connotations when reimagined by Menard. Consequently, Borges' quoting of these lines sheds yet another light on them. So, to claim my place in history, I too will conclude with those illustrious words, forever and never heard before:

Truth, whose mother is history, rival of time, depository of deeds, witness of the past, exemplar and adviser to the present, and the future's counsellor.

Saturday, December 15, 2012

You Will Have Read This Before.

You will have read this before. What you'll find here is neither novel, nor revolutionary, nor challenging in any way. The reason I am so sure about this is because I did not write this. I sat on my balcony every night for a year straight, between nine and ten, to capture it. I plucked the words right out of the air, floating - nay, hovering - with the tranquility only the inanimate and immortal can afford.

You will have read this before; on the walls of toilets, in the liner notes of records or on the warrantry notices of household appliances. If it does not ring a bell so far that might be because you did not care much for it. Or more aptly put: the words did not impose themselves upon you. These are shy words, this is a shy story. There is a reason I took 365 days. The story passed by my house every day in full, but with every little disturbance the majority of the words fluttered away. Because these words already know they are everything, potentially, they don't have to be everything, actually. When caught by sheer force they will exhibit that same force to the reader, but when caught in the still of night, such as is the case at hand, they are museful and introspective.

You will have read this before, though perhaps unwittingly so. I wrote the words down here in the order that I hauled them into my apartment. If this piece then decrees that fate has an ear for grammaticality, all the better for it. I would like to add that it is of no consequence to me whether you believe any of this or not, for I am just the medium through which these concepts pass and have no stake in the message conveyed. Ultimately, it is on par with believing in universality and in eternal recurrence, in there being only one story in the world and us retelling it endlessly. You decide for yourself.

You will have read this before, fleeting as it is. How do you know once you remove your eyes from a text, that it remains the way you saw it when your gaze returns? Our memory is faulty, our senses subjective. After I am done copying these words down, I will set them free again, and they will set off to form a graffiti tag on the filthy walls of a forgotten factory, or be swallowed by a street preacher in the slumber of his somnolence. They are eternally malleable and infinitely useful and they always recur. If only for that, they are the envy of all of us fallible humans.

Tuesday, December 11, 2012

Gee, You’re So Beautiful That It’s Starting to Rain

poem by Richard Brautigan

Oh, Marcia,
I want your long blonde beauty
to be taught in high school,
so kids will learn that God
lives like music in the skin
and sounds like a sunshine harpsichord.
I want high school report cards
     to look like this:

Playing with Gentle Glass Things
     A

Computer Magic
     A

Writing Letters to Those You Love
     A

Finding out about Fish
     A

Marcia’s Long Blonde Beauty
     A+!

Monday, December 10, 2012

Visit to a Psychiatrist

"I can't seem to dream directly anymore," I said, gazing at the ceiling. Anticipating the psychiatrist's obligatory response, I went on. "By which I mean: I only dream of people dreaming of something. I would be walking down a quay - a gray, uninteresting, lifeless quay - and I would meet someone sitting patiently on a bench, as if only waiting for me to pass by. It's always a different person, but always someone I've never met before. Then this person describes a dream they've had to me. An invariably colorful affair which allows for deep insights and introspection. Meaning..." Still gazing at the ceiling, I linger. A silence ensues. Finally the psychiatrist spurs me on. "Meaning?" In spite of myself, I sigh. "Meaning I need a third party to dream for me." I can hear the psychiatrist is scribbling notes, though I'm still not looking at him. After a while he asks: "Would you describe yourself as a loner?" Somewhat shocked by the use of such an untechnical and pejorative term, I jerk my eyes away from the ceiling ties and focus them on the man in front on me. "Uhm," I stutter, "I guess so." Adding, after some consideration, "I guess people would describe me as such." But would you, he asks. "Yes, I do often prefer solitude," I conclude resolutely. "Good. That is enough resolution for you to figure this one out," the man says and he stands up as if to say we're done. Doubtful but obedient, I shake his hand and walk out the room more confused than when I arrived."

"And then I woke up," I conclude the dream. "And surely now you must see my predicament. Because, I'm sure you'll agree, the scene at the end of that dream plays in a room quite similar to this, under circumstances quite similar to these." I make a vague gesture around the room. "And I don't know if you noticed, but I found myself trying to focus on you while telling this story, or even on my shoelaces or the clock behind you, or the motivational posters above your desk, but whatever I tried, I couldn't stop myself from looking up at that goddamn ceiling. So I guess my confusion is in this: how should I know what is real and what isn't anymore. I've lost track and I question myself at every street corner. And no, I don't believe in the power of pinching. Please, please, please help me out, sir!" Again, I find myself looking upwards and when I correct this and fix myself on the psychiatrist, I see to my surprise that his face is red and he is throwing a tantrum. "I told you before to stop coming to me with this story, over and over again!" As he shouts this he gets up, dropping the notes on his lap, and storms out the room, slamming the door behind him. I am left behind utterly bewildered, and I remain like this for at least ten minutes, wondering if he'll come back and explain. He doesn't. I finally walk out of that room and the building in a haze of stray, unfinished thoughts. On my way out, I think I saw a dwarf leisurely floating around in the top-left corner of the waiting room, but I'm not entirely sure.

My sails are flapping in the wind

I tend to have the, undoubtedly annoying, habit of associating everything I talk about to a line from a pop song or poem. Fortunately, there are songs that concern themselves with this. Spencer Krug, songwriter of Sunset Rubdown and many other vessels, is one of the most self-conscious lyricists I know. He seems to be aware, among many things, of being a songwriter, and of it constantly seeping in his personal life. The Taming of the Hands concerns itself with this. At the start of the song he asks:

Do you think the second movement has too many violins?

A verse later, crucially, the protagonist is too occupied with his craft to help out the person reaching out to him.

She said: "my sails are flapping in the wind."
I said: "Can I use that in a song?"

An awful enough retort as it is, but he makes it worse:

She said: "I mean the end begins."
I said: "I know, can I use that too?

It is a strange thing to imagine the potential audience that might read whatever you're writing, see whatever you're painting or hear whatever you're composing, and once you occupy yourself with it, it affects your work. You get apologetic in advance, and Krug's work is teeming with examples of this. He's keen on revisiting themes - as am I - but once he does he feels like a broken record. See, for instance, this line from All Fires:

I've said it before, and I'll say it again,
All fires have to burn alive to live

When he employs that same metaphor again in Nightingale / December Song, he acts similarly and for some reason the insistent hammering makes it one of my very favorite quotes of his, because it says something about the person as well as his ideas.

So let me hammer this point home,
I see us all as lonely fires
that have burned alive as long as we remember

These introductory phrases serve as balance, to make his epic tendencies less epic, his defeatism less defeatist. When, on the very last lines of the album The Taming of the Hands features on (Random Spirit Lover), a second voice finally does lament the number of violins (a metaphor for too much sweeping drama?), it's a final and fatal apology.

Why so many, many, many, many, many violins?

Sunday, December 2, 2012

Crossing the Line

Looking at all the leftovers on the plates stacked up in the kitchen sink, Vinicio Martino feels a little bit silly for worrying about the quantity of food so much. At his age, he should have learned to deal more accurately with such trivial things by now. Here comes his grandson, crashing into the kitchen at a dangerous pace, zigzagging through the folding doors. The kid has a slightly troubling blonde curly coiffure, a hair color and style that do not run in the family of either mother or father. Luckily, everyone is always bright enough to gracefully avoid getting into this. Vinicio follows the kid’s every move cautiously. The little boy has a tendency to suddenly get in a sneak hug and, at his age, Vinicio has to brace himself for such attacks. False alarm, the boy was just looking for a snack. Having found some cheese sticks, he happily skips back to the living room. Vinicio himself of course has a healthy dose of curiosity about the hair color matter, but since the mother is his daughter, he always steers clear away from bringing it up. He has been raised on strong values of family honor, and mothering a bastard does not belong to them.

It is Vinicio’s eightieth birthday, and though everyone is really nice, he feels slightly saturnine. Partly because he realizes what lies in waiting for him after today, and partly because he feels alienated from the crowd. There are only a few contemporaries of his, and all of those are under the spell of different gradations of Alzheimer, rendering them virtually unable to talk to. Or at least about the olden days. It does not help that he is an only child, of course. The few nieces and nephews he has that are still alive he has long lost contact with and besides, they live in far-away exotic countries with odd names like Tuvalu and Kiribati (the Martinos are nothing if not adventurous). If there is one thing Vinicio has learned through his long and eventful life, it is that as far as true understanding between two human beings goes, large age differences serve as a particularly obstinate barricade. Go figure: how many true friends of a wildly different generation do you really have? The cultural frontiers you are hemmed in when growing up are mainly spoken of in terms of location, but the time factor is often underestimated. So it is that Vinicio is here mostly to entertain the rest of the crowd. He is the cause of the party and he absorbs and appreciates the clear respect they have for him, but that is all. He is not having a particularly great time. As he goes back into the living room, nobody even notices him. They are too busy sharing endless strings of holiday pictures and awful work anecdotes. Vinicio sighs a little sigh, sits down in his favorite chair – at least they have saved it for him – and nods away into far more stimulating realms.

It is an uncharacteristically vivid dream. In it, Vinicio is on a racetrack. He is waiting for the sign to start, but it takes and it takes. Infinity passes, what seems like years – though dream time is hard to assess. He’s had this dream once every year on his birthday, since he was twelve. Every year the dream seemed a little more real and a little bit more vivid. Now, however, for the first time, after eons and eons of waiting, the start sign does come. Vinicio in all his surprise is slow to respond and slow to get going. But he does get going. His body, stiff by waiting, by being in the same exact position for years, sputters and crackles but ultimately does not fail him. As he is completing his third go-around, he is rudely awakened by a boy jumping on his lap. “Sneak hug!” The blonde kid looks at Vinicio with big innocent eyes. "Davy, leave grandpa alone!” is shouted from the other side of the room. The mother walks up with hasty steps and lifts the boy from Vinicio’s lap.

“I’m so sorry daddy, I told him not to do that.”

Vinicio hardly cares. “No worries, bella”.

He ponders the dream. It does not take a lot of deconstruction to figure out its significance. There is only one thing remaining that he desperately wants to do in his life: run a marathon.

It is no accident that the dream first occurred when he was twelve. On that faithful birthday, Vinicio’s mother told him that twelve was an important age. She told him that from that day on, he should start being responsible and start figuring out what he wants out of life. His mother ripped off a piece of paper from a notepad and handed it to him, along with a pencil. On the first line she wrote in thick capital letters:

THINGS I WANT TO DO IN LIFE

Consequently, Little Vinicio was left with the impossible task of deciding what to do, right there and then. Most of the things that ended up on that list got there quite accidentally. ‘Write a novel’ was one, for instance, that was spurred by a television program the night before about the life of writers. They had an old venerable scribe on, explaining how he used to write lying down in his bed all day. That was apparently the pose that most spurred his creational faculties. To a twelve-year-old kid burdened by the weight of compulsory attendance at school, that sounds like the best thing ever. Some, however, were borne out of a lifelong fascination: ‘visiting all the Seven Wonders of the World’. Vinicio, as a small kid, was not allowed to read after bedtime, but got his flashlight and an encyclopedia out and thus absorbed all sorts of knowledge. He would just open these large books on a random page and start reading, so in a given week he might suddenly know all sorts of trivia about stuff starting with DEI (i.e., deities and deism and deindustrialization). Curiously enough, his parents never caught on to the patterns. The last two items of the list are particularly salient: ‘living to be eighty’ and ‘run a marathon’. The last one was suggested by a sixteen-year-old sport-crazy nephew of Vinicio - who told him it was a popular life goal - and it was thus adopted by Vinicio without much further consideration. At this point in time, after this milestone of eighty, it is the only item on the list that remains uncrossed.

The day after the birthday is a Monday, appropriately enough. The start of a new week, a new cycle. Vinicio has an inkling concerning the dream. The marathon had always been a problem for him in some way. Whether it was physically or mentally, something thwarted the process. His body seemed unfit for such ventures. That dream, where the race finally started, should be significant. Perhaps the race is not the marathon itself, but getting to that starting line. Can he finally really start trying now? He has let his physique slip the last few years, as is normal for people getting on eighty. In dusty corners of his closets he finds a tracksuit and some gym shoes. Once outfitted, he commences a long stretching routine, stalling, obviously not really wanting to do this. He gets out into the cold February air, runs an insincere cross over himself with his hands and sets off. Parallel to the dream, the first steps are hard, painful and ominous. Vinicio feels every bone and every muscle fail serially, but soldiers on. And, as by a stroke of magic, it gets better. All sorts of pains that were there even when he lay still in bed or sat idly in a chair are starting to float away. From the walking pace with a running motion he speeds up to a very acceptable jog. Passersby in the street watch him go by with an expression somewhat torn between amused and amazed. Mostly amazed. Within this gait, he suddenly feels twenty again.

The list has been with Vinicio ever since that faithful twelfth birthday. As kids often do, the next morning he immediately got worked up and commenced on the tasks that he had written down so frivolously the night before. He started from the top, and the first thing he had written down was to do a handstand. With the nimbleness of mind and the singleness of dedication that a twelve-year-old can muster up, such a task was easily mastered. Even though Vinicio had up till then been a notoriously bad gymnast at his school gym classes, he could come up with an admirable handstand within a week. Next on the list was the previously mentioned writing of a novel. Once he told his parents about this goal of his, they advised him to start reading some of the classics before taking on the task, for inspiration. He read one of every strand and sort. He had Dune to cover science-fiction, Gormenghast represented gothic and Tolkien’s Lord of the Rings provided him with a proper introduction to the genre of fantasy. When the kid, by then thirteen, took up Don Quixote and finished it within a few days, his parents realized something extraordinary was going on here. As he kept on reading, riding to and fro the library at least thrice a week, his vocabulary and intelligence developed and so it happened that a year later, only a few months after his fourteenth birthday, he finished reading Ulysses and finally decided to put pen to paper himself. The diligence with which young Vinicio worked on his self-set task was a source of both extreme pride and severe concern for his parents. Though his grades at school did not suffer in the slightest – au contraire, his heavy reading was quite beneficial in many classes – his social life was nearly non-existent. So it was that his parents, while not wanting to cripple his devotion, carefully suggested he should spent more time with his peers. But Vinicio had neither eyes nor ears for these suggestions and never strayed from the path. He worked on the novel for a year - to the day - and when he finally finished he dropped the manuscript with an inapposite lack of bombast on the kitchen table for his parents to read. It was a pile of papers they would struggle to get through because, quite frankly, the prose of their prodigal son was way over the poor couple’s heads. Luckily, fortune would have it that a friend of the family worked at a publishing house and when he got his hands on the manuscript, things started happening very fast. The novel was published and is, to this day, still lauded and has become a bit of a cult classic. The book is called Jasper Future, and follows the exploits of its eponymous hero. Jasper, in the book, has the Cassandraic gift of prophecy, but of a very selective type: only the future that he is personally involved in. Sometimes he walks down the street, glances at a passerby and – in a spell of dizziness – sees a sequence of the person’s impact in his own life flash before his eyes. The book is of the picaresque sort in the sense that it is a series of adventures and problematic situations that Jasper – because of his gift – gets himself involved in. There is an encyclopedic scope to Vinicio’s writing, the book is peopled with ideas, terms and characters of every culture and age imaginable. Probably the most interesting aspect of the book is the consequence of such a selective prophetic ability to the life of Jasper. He knows, from a very young age, by accident, how he is going to die, which is a particularly gruesome episode. With this hanging over his head, he tries in vain to live his life without trepidation. With every person he meets, the complete future of their correspondence flashes through his head. So that he sees the betrayal in the eyes of his new friend, and the endless nights of fighting in the countenance of his love interests. What’s more, Jasper learns quickly that fighting this prophecy is no use, whatever happens will happen. As a result, he will have to befriend the people he knows will betray him, and he will have to go through the motions with his girlfriends, though he knows it to be in vain. It is an extremely heavy burden to wear, and Vinicio, with great wit and talent, thus places Jasper Future in a long list of unfortunate soothsayers and diviners. The novel, not in the least because it was written by a teenager, was extremely well received and quite popular for a short while. But oddly enough, the second he finished the novel, even before it was released, Vinicio lost all interest in writing and literature and resigned himself from it completely. He immediately moved on to the next item on the list.

In the weeks after that return to form, after the dream and the successful first run, Vinicio is jogging all the time. As long as he is in motion, he feels as if injected with a brio and élan that he has not felt for decades. He is bristling with energy every time he returns home. Then he would take a shower and it all saps away as quickly as it came. Of course, this only makes him want to run more and more often and so once again, like so many times before in his life, Vinicio is in the grips of a hearty obsession. The emotions this evokes in his nearest and dearest mirrors those felt by his parents all those years ago: they are profusely proud and at the same time concerned about the effects of such physical efforts on the body of an octogenarian. But Vinicio is his own master and virtually unstoppable. Within a month he has run half a marathon, and is aching for more. And so with restful nights and vigorous days, the day of the marathon Vinicio picked out swiftly comes. On the evening before it, Vinicio’s daughter and her family stop by his house. They know there is no stopping him, but worried nonetheless they at least want to hear him out on the matter. Vinicio himself is in a melancholic mood. He sighs and walks around like a man sentenced to death. There is a last supper kind of glow in the air. Somewhere near the end of the evening, Vinicio sits down next to his grandson. The boy, fatigued for being up way past his bedtime, sits idly on the ground, a crayon in his hand but nothing in his head. He has not drawn one stroke on the piece of paper in front of him, nor looked at it. He seems instead to be in a zenlike state, or asleep with eyes open. When Vinicio sits down next to him his eyes slowly turn. The boy sees Vinicio hand him something. It is a small piece of paper, and on the top line it says

THINGS I WANT TO DO IN LIFE

The rest of it is empty. Davy looks from the paper to his grandfather and back, and he seems somehow to comprehend. Nodding sluggishly, he creeps up to Vinicio and gives him a warm hug that lasts at least a minute. Then he abruptly breaks it, and scribbles something on the paper. It reads: “I want to become eighty years old too”.

After that faithful Year of the Novel, Vinicio had pressed on with the rest of the list with the same steady diligence. His parents started to slowly suspect that the list might be magical in some way. For his eighteenth birthday, Vinicio’s sister had the little scrap of paper that contained the entrails of his life laminated as a gift. From that point on he took it with him everywhere he went. The paper had taken on an almost spiritual aura, a relic-like quality. His parents discussed the matter with friends and family, researched the subject, but they never found a good explanation. Whether looking at it astrologically, or numerologically, or as sorcery, the pieces of the puzzle never quite fitted. They couldn’t even form a theory that was inherently consistent - let alone verify one. In the end, they embraced fate and decided their son could do a lot worse in life, were he to fulfill all the promises that the list entailed. They supported him, and after realizing both the inhibiting and facilitating effect the order of the items had on Vinicio, they found it easy to anticipate all the obstacles of their son’s life. When they died – his father, heartbroken, perished one day after his mother – he had proceeded up to the task of turning eighty. They must have realized that there was no helping him there and, though this is a bit of a stretch, it might have had something to do with their passing away. After all, from the moment that list came into existence, their purpose in life had been inextricably linked to fulfilling Vinicio’s.

The marathon itself turns out to be a formality. Vinicio runs as if aided by an escalator and the whole thing is a grand triumph. But when he is almost at the end, with just a few hundred meters to go, he starts hesitating. Just as he had realized the dream was significant, he now realizes that that finish line will be similarly so. He slows down and slows down and finally gets to a complete halt one meter before the finish. From every direction people are shouting at him, spurring him on or trying to get him out of the way. But Vinicio just stands there shell-shocked, in limbo, not knowing what to do. He fears that on the other side of that line lies death, waiting patiently. He raises a hand to his heart where, on the inside of his shirt, sits the list. Vinicio has seen many people die in his life, and some of them – the ones dying of old age mainly – found acceptance of this at some point. Vinicio is looking in his heart through the lens of his list, but cannot find a way to make peace with a ceasing to live. Even though he has had the perfect life, achieved everything he set out to do and everything anyone would want to set out to do, it turns out death is just as scary for him as for everyone else. More time passes and just at the moment when he sees some worried bystanders approaching him, he spots a blonde little kid a little ways in front of him. Davy has a serious look on his face, and when his eyes meet Vinicio’s he slowly nods at him in the same manner as he did the night before. Upon observing this Vinicio smiles, nods back, and steps forward.

Saturday, December 1, 2012

Beyond the Veil

I am writing this in the train, traveling for the sake of it. Riding backwards, everything I glance at from my window is already in the past, a history whose ink barely dried up, a history rewritten with every train that passes. The snowy drones of Invoke / Summons are a perfect match for the unassuming, flat and grassy landscapes gliding by.

Every time Mehdi starts singing, - or chanting - I feel a little closer to nature. Too easy, yes, perhaps, but there is a ritualistic feel to it, rooted humblingly in a place where nothing is man-made. I once read a review that singled Natural Snow Buildings out for their lack of self-consciousness, and I agree that this is absolutely key to them. The tape-machine that just happens to be in the room only appears to be running to backwardly discover something that is not readily heard in the process of creation. A hint at the larger mysteries of life, should anyone still want to know.

And even if it's a cliché, it needs to be said! Time seems to warp, twist and confuse itself through the medium of this music and consequently no one knows where, how and especially WHEN they are. When I pause my music to have my ticket checked it feels like I'm shifting worlds, a nigh-hypnagogic, muddly, tangly state. Both sides of that world-barrier seem now to be faded, anti-aliased, blurred. Colour contrasts taken away and everything merging together in one long, unending drone, a railroad track whose beginning and ending have yet to be determined and whose stations are unoccupied, humming ghostly beyond the veil.

Thursday, November 22, 2012

Little Poem with Argyle Socks

poem by james tate

Behind every great man
there sits a rat.
And behind every great rat,
there's a flea.
Beside the flea there is an encyclopedia.
Every now and then the flea sneezes, looks up,
and flies into action, reorganizing history.
The rat says, "God, I hate irony."
To which the great man replies,
"Now now now, darling, drink your tea."

Saturday, November 17, 2012

Unseen World of the Infinite

Our birth is but a sleep and a forgetting:
The Soul that rises with us, our life's Star,
Hath had elsewhere its setting,
And cometh from afar:
Not in entire forgetfulness,
And not in utter nakedness,
But trailing clouds of glory do we come
From God, who is our home:
Heaven lies about us in our infancy!
Shades of the prison-house begin to close
Upon the growing Boy,
But He beholds the light, and whence it flows,
He sees it in his joy;
The Youth, who daily farther from the east
Must travel, still is Nature's Priest,
And by the vision splendid
Is on his way attended;
At length the Man perceives it die away,
And fade into the light of common day.

- William Wordsworth

Our creative writing group got together every Tuesday night in a little red mansion at the end of the street. We had the room to ourselves for exactly an hour, bridged in as we were between a mindfulness session and an embroidery club. We were, by all standards, a weird collective. There were usually five of us present, but in theory it was an open group and anyone was free to walk in. Us five regulars were nothing if not productive, writing a complete story every week, often quite extensive ones too. I guess it was all standard procedure for such things: we would all take turns reading aloud from our work and then the rest would criticize.

First up tonight was Elizabeth, a tricenarian housewife from the absolute other end of the street. She wrote in a style that suggested book publishing as a trade had collapsed after Jane Austen passed away. Every sentence of hers was delicate, every scene perfectly arranged, the characters developed with exquisite precision through the course of proceedings and all the plot lines converged beautifully at the end. In essence, every week she came up with a variation of Pride and Prejudice. She shuffled up the daughters’ names, reversed some of the roles and threw some sons in the mix, but these were just variables in a set script. Today she had cooked up a family with just a son and daughter, so these could then set each other up with their own friends. After the obligatory courting and dancing, - don’t fret - the good guys and gals won. It was hard to constructively attack Elizabeth’s writing, because it perfectly achieved what it aspired to, but it bored the hell out of the rest of us. Try putting that delicately. As usual, silence ensued.

Next up was Tom. Tom was only twenty-eight – a young age for writers – yet he had already devoted a good ten years of his life on trying to write The Great American Novel. His widescreen narratives co-opted everything he came across, and were a well-nigh perfect counterpart to Elizabeth’s bucolic stories. He never left home without his copy of John Dos Passos’ U.S.A. Of course, this obsession of his did not fit our format of writing a story a week, so he basically provided us with subsequent chapters of the same storyline. By now, we all knew the characters by heart, because they were the constants connecting the dotted weeks. Today, Smith and Jones (yes, those are the protagonists’ names, I kid you not) were traveling through the South in a vintage Volkswagen van. They might as well have been scaling the Sixties instead of the Interstates, because they were running through all the usual suspects: discussions about Vietnam, rock and roll, public assassinations and how the government broke their heart on a regular basis. Smith and Jones represented opposite sides of both the Mason-Dixon Line and the political spectrum. Smith was from the Lower East Side of New York, and was a man of the future. He was constantly looking forward, embracing the changes floating through the transoms, applauding the civil rights movement. Jones, on the other hand, came from a small Kansas village and was hopelessly stuck in the past. He was weighed down by a false nostalgia for the Old West and the American Dream, for Puritans and top hats. These cultural notions – the canon of norms and values of the South vs. the North - are so ingrained in the American people, that they are hard to shake off. As wildly different as their subject matter was, Tom ultimately suffered from the same problems as Elizabeth. His concepts, while seemingly kaleidoscopic, were so clichéd, they hardly ever caught us by surprise. Furthermore, everything was spelled out, there was no space left for our imagination. There were no provocative silences, no quadruple spaces (to use a phrase coined in Me and Orson Welles). Every character explained his motives in threefold and every sex scene was described in elaborate detail. When Tom closed the book on his tale, we discussed his philosophical musings for a while, but there wasn’t really anything truly remarkable or new in there to ponder about.

Amanda was the third and middle speaker of the evening. I always really liked Amanda’s stories, they were one of the reasons I kept attending. She excelled exactly at the point where Tom failed: being suggestive and spurring the imagination. Today she had a story about a woman with a string of failed relationships, one-night-stands and in-betweens. As a leading quote, she cited Frank O’Hara:

Each time my heart is broken it makes me feel more adventurous (and how the same names keep recurring on that interminable list!), but one of these days there’ll be nothing left with which to venture forth.

It was a perfect quote to draw you in and it fitted the story’s female protagonist well. She was at a psychiatric session describing how every break-up left her understandably all the more dejected, but that she would always bounce back quickly and put herself on the market again. Lately, however, she had been feeling feckless and skeptical and was unable to overcome it. This being a psychiatric session, echoes of Morpheus had to come in at some point. The woman described a recurring anxiety dream: in it, she was at home, and recalled a favorite short story of hers. She felt certain about which collection held it, so she picked the book of the shelf and started flicking through it, yet never found it. In slight panic, she would then check the index, or other short story collections which might contain it, but it was as if the story had never existed. There were variations on this theme: sometimes she was aching for a favorite scene from a movie, only for the scene to be suspiciously absent on viewing, or she would long for her favorite song, pick up the corresponding record and once again found it to be inappreciable. Sometimes whatever she was looking for was there, but it was shielded from her in some way. For instance, she would find the right collection of stories and it would suddenly turn out to be written in Spanish or Portuguese. After the woman was done describing her nightly visions to her psychiatrist, she raised her eyes at him hopefully. At such critical moments was where Amanda shined in comparison to her two predecessors. A myriad of plausible explanations come to mind to explain these anxieties, but all the psychiatrist does is throw up some herrings. The narrator, who was up until then omniscient, suddenly fails to specify whether these herrings are red or not. This cycle of dreams at night and explanatory sessions at day repeats itself a few times, and while the summary advice of the psychiatrist varies in the same way the dreams do, you as a reader are unsure whether there is actual progress involved. The story abruptly ends after one of the dreams and you are left to scramble together the remains and finish the puzzle. This last dream described is a lucid one, where the dreamer knows that if she wants to, she can will the story into being included in the book. She decides not to, because she is afraid that it will not be the story as is but only as she remembers it. Fittingly enough, Elizabeth and Tom would always start questioning Amanda right after she finished, trying to fill in the blanks. She of course kept enigmatically shtum on the subject. I usually kept my interpretations to myself. To me, that was how I liked my stories: ambiguous. If I can read something five times, and get five vastly different experiences out of it, that’s infinitely more rewarding than a clear cut narrative.

Now it was my turn. As supposedly everyone does, I would like to think of myself as an exception. I would like to reify myself as a man not subjected to the limiting writing styles that I sketched for my peers. I would like to say that every one of my stories is an experiment, the scaling of unknown territory, a feat of mapmaking. Sometimes I sincerely think of myself as such a megalomane personage. Most of the time, however, I am quite aware of being subject to the same limitations that hold for everybody else. Nevertheless, I cannot describe my aesthetic to you in the same vein as I did for the others. So I will just describe my story and how it came about. For months now, I have been struggling with notions of perfection. Perhaps I have been reading too much Borges, whose main themes strike me as infinity and flawlessness. Perhaps it is a common feeling for writers, but with every sentence I write, with every plot line I add, with every word even, I feel my story floating further away from perfection. Does that mean the tabula rasa is perfection? Perhaps, yes, but a useless kind of perfection. I like to think of perfection as encompassing all matter. If the natural sciences are looking for a Theory of Everything, surely the literary community should work on a Tale of Everything. If, in a story, every sentence and every thought constitutes a choice by the author, that means that countless possibilities are opted out with every added word. However, this depends as much on the reader as on the writer. Should the reader not understand the consequences of what is put to paper, all roads remain open. Poetry can achieve such a feat, and so can lulling the reader to sleep in some manner, but I opted for another way out: writing the bunk of the story in Dutch, my native language. I hardly ever used it anymore, so it was rusty and elusive even to me, which was all the better for my current project. In my narrative, I posed an epidemic that would cause everyone under its spell to momentarily lapse into Dutch while speaking every now and then. Apart from this, it was a completely uneventful story, a slice of life thing where people just attended to their quotidian chores. Naturally, the Babylonian confusion that arose from the epidemic was bewildering. However, since in this fictional world the disease had been around for ages, everyone had accepted miscommunication as a fact of life and their obeisant acceptance of this was even more bewildering than the former confusion. To be frank, I was quite happy with the results and, after finishing my recital, looked triumphantly around the room. The array of facial expressions ran from annoyed to amused, covering everything in between. Amanda obviously appreciated my unwillingness to commit to my own storylines and her look was mostly one of admiration. I truly felt there and then that I was on the right track with this, finally.

Last but not least was Errol, a longshoreman who grew up in a small town in the Highlands of Scotland. He invariably wrote his stories in Scots, with tinges of Gaelic and local accents added in. It was often hard to follow, as anyone who has ever heard two Scottish people conversing in their own tongue can testify to. The great thing about Errol was his complete lack of pretension. He did not think of himself as a writer but as a storyteller. He had not finished any remarkable education, but made up for this with an abundance of street wisdom. A School of Hard Knocks laureate, you might say. His work was not really fiction in the strict sense, since he would simply tell of what happened around the docks. Today’s story largely mirrored the Marlon Brando feature On the Waterfront. It was a battle of the union workers against the big bosses. Socialism versus capitalism, but without the theoretical framework such stories are normally poured through. Despite the whole story being in an undecipherable dialect – at least to my ears – I got immense enjoyment out of it. There was an obvious sense of good versus bad in it, and a strong attachment of the narrator to the former side. You did not need the semantics and translations to figure that out. The story was a subplot to the morality, really. Emotion trumped everything else. Errol was doing effortlessly what I had been trying to do for ages: keeping the story perfectly open while still pulling at the heartstrings. To my surprise, the others weren’t too impressed with it, forcing me to be extra munificent in my encomium, as if to make up for that.

Just as we were wrapping up for the night, with only five minutes on the clock, a short, stout, weird-looking man walked in the door. He had an eye patch over his right eye and hopped more than he walked. Without addressing us, he sat down at one of the chairs and waited. We all looked at him speechlessly, our supposedly overdeveloped vocabularies failing us. After a minute or so, Errol finally addressed him and asked if he was here for the writing or embroidery event. The man, nodding as if he understood the inquiry perfectly, got a paper from the back pocket of his jeans and started reading aloud. At first I thought he was talking in a foreign language I simply could not recognize. But as some time and many syllables passed, I realized it was just a nonsensical pseudo language. The man did not append any intonation to the sounds, nor did he ever pause. Every word was made up of three open syllables, and every sentence was made up of three words. He read every sentence in the exact same rhythm and cadence, as if he was reciting a shopping list (perhaps he was). I realized with a slight shudder that he was the specter of my wildest dreams. He was where my prose would end up if I pursued my goals of perfection to their very end. It was the literary variant of the most avant-garde modern art, and I had yet to decide whether I loved or hated it. There were no moderate in-between evaluations available, what was asked of me here was an all-or-nothing decision on which the future trajectory of my work depended. It was only when I searched my fellow writers’ eyes for help that I realized the room was empty. Even the mystery man was gone. I walked out into the cold night and inhaled the fresh air. As I looked to my right, I saw the mystery man shuffling away. I contemplated following and questioning him, but then someone tapped me on the shoulder. It was Amanda, offering me a nightcap at her place. There was no postponing it any more, I had to decide now. To my right: the impenetrable darkness where the street ends, with somewhere in it an infinitesimal chance at perfection. To my left: possibly the love of my life.

It was only then that I realized how easy the choice was.

Thursday, November 8, 2012

21st Century School Reunion

It turned out to be a pretty great school reunion after all. In the weeks before, I stubbornly eff why eyed the two friends of high school I was still in contact with that I was not attending and that was all she wrote. But in the end I did get itchy feet, put on my Sunday best and sauntered over to the old schoolyard. And just seeing all those faces again was such a delight! A trip down memory lane, forsooth! To be honest, I never had the best friendships in those days, but time can do so much for your feelings toward people. I was long-time-no-seeing with the best of them, throwing triple exes and ohs around, and generally being more sociable than ever, and I was not the only one. Everyone was all colon dee and no apologies. There were ell oh ells all around and the bracketed b’s flowed like never before. Of course, old grudges are the worst when they finally bubble up and rear their ugly head. When that head is fueled by alcohol, something has to go down at some point. Two men were starting to cause a bit of a fracas when they started discussing their crushes and remembered how they used to always be fighting for the same girl. That girl was Lucy, and she had been the it-girl of our year. Now, they were both claiming they still less-than-threed her and each strongly suggested the other to back off. Of course, Lucy, as girls at that age – or any age for that matter - tend to do, only had eyes for the older boys and ay aff kayed all of us. I had an itsy bitsy crush on her too at some point but never fancied myself in with a shot so I never pursued it and had forgotten about her long ago. To my great surprise, then, she came up to me hoping I could resolve the problem at hand and eff-one her out. After I separated the two brawlers in a particularly gentlemanly manner – I basically told them to turn off their caps lock -, Lucy ohed me as a tee why and then inquired after my skype-name. I was a bit colon ohed by this, and half-expected this to be one of those sick pranks that the beautiful ones tend to play on the not-so-beautiful by pretending to less-than-three them and then control-alt-delete the venture at the very end - to a ringing roar of ell oh ells.  By the time I went through this ritual in my head my face had shifted to a colon ess, but I finally decided we were not in puberty anymore, that all was gonna be a-okay, and copy-ceed my skype nickname for her. She seemed sincere about the whole thing so I was kind of on a high from this point on. Everything got a bit low contrast and dimmed brightness towards the end of the night and after I sat staring at the woebegone tennis courts next to the gym hall for a while, I decided to cut my losses and slash-quit the party.

When I got back home my computer was flashing at me and roping me in, and I got on just in time to catch Lucy online. She said she was just signing off, and right when I was about to bid her N-eight I woke up. In a haze I walked into the bathroom for an eff-fiving shower, where I contemplated my dream. When my initial annoyance at signing back into my real life had passed, I wondered what it meant. There was something about Lucy – or the idea of Lucy - that must have been essential to me and my whole adult life, but I couldn’t figure it out there and then. When I got out of the bathroom all soaped and brand new I was shocked to find there was a girl sleeping in my bed. It was Lucy - beautiful, desirable Lucy. And then it hit me: my wife, that’s what she was! Dreams can be deceitful.

Tuesday, October 30, 2012

Slip into Your Slumber

I saw you coming from the Cape, way from Hyannis Port all the way,
When I got back it was like a dream come true.
I saw you coming from Cambridgeport with my poetry and jazz,
Knew you had the blues, saw you coming from across the river,
Told you on the banks of the river, carried you across,
Loved you there and then, and now like a sheep,
I close my eyes and sleep for love comes flowing streams of consciousness
Soft like snow, to and fro,
Let us go there together, darlin', way from the river to here and now
And carry it with a smile, bumper to bumper
Stepping lightly, just like a ballerina.

- Van Morrison
(Liner notes to Astral Weeks)

Monday, October 29, 2012

The Crossroads

It's not all bad I've seen
Saturday nights are still our only hope
and hobos are still selling newspapers
whilst last year's graffiti fades to make place for the new kids

It's not all bad; I mean
the wheels of fortune are still spinning
the beastly carcass has yet to be licked clean
and there are still panel shows on television

It's not that all I've seen
is tainted by the nightly side
liaisons of the unrequited kind
and rooms void of the daylight of wine and roses

It's not all-that, I've seen
A dark raincoat covering headlights
dirty magazines on the back seat
and whatever's left of a man these days up in the front

It's not that I've seen it all,
I suppose the ratio has shifted
from interpretation to confabulation by now
and I regretfully answer to the congregation you brought

that, yes, I'm a crook
but I blame the crossroads outside of my door
where nothing ever happens

Susurrant Seizures

(If you have ever listened to any of the Disintegration Loops-tapes and wondered about Time and Decay and the connection between the two,
    taken a hypnagogic walk through a sleeping town,
    wondered how the hi-fi version of a lo-fi record would sound,
    mistakenly taken an impersonator for the real thing
    or discussed whether a tree falling in a forest when no one is near actually makes a sound,
you will know what I'm getting into here.)

It takes only a cursory glimpse at the tracklistings comprising Black Moth Super Rainbow's discography to realize this band has only one foot in the real world and the other in alternate realms. They are interested in the transition, the evolution, the alternation, the perversion of the real thing. Everything they do is hidden under layers, behind masks, or if everything else fails, behind (admittedly thinly) veiled metaphors. Just take their latest record, Psychic Love Damage: a smashed windshield in the opening song immediately hinders your sight. Then they eat sundaes, hairspray their heart, get burned, throw dreamsicle bombs, and blur the day with spraypaint. Their world is so obfuscated that you get suspicious: what are they hiding?

It's not just the track titles. Musically, they hide behind warped synthesizers and vocoder vocals. Visually behind masks. And lyrically.. well. Hairspray Heart entrances you with its mantra of I-can-hyp-no-tize-you-I-can-hyp-no-tize-you-I-can. Some other flards of text are equally somnambulent: I've wasted all my daylight… peeling like a sunburn… subliminally… this house is raining all the time… dizzy dizzy lips so sticky… dipped in glitter.

Even when they refer to real activities, things to do that are not either transient, see-through or saturated, their choices are a bit off. They have a long-running obsession with rollerdisco. Dandelion Gum, from 2007, already featured a song with that name, and in their Kickstarter project for the funding of their latest record they offered to arrange a rollerdisco for one lucky rich kid and his lucky rich-kid friends, complete with band-provided DJ set. Hairspray, gasoline and rollerskates, they sing in Windshield Smasher. That just about sums it up. But the thing about rollerdiscos is that it is so tied to the 70s and the disco age, to hairspray and glitter, yes, and outlandish haircuts. Any modern day variant of this would automatically be considered retro and would not be appreciated for the event itself but for its connections to the past. For the people who actually were around in the 70s, this is just fun nostalgia, and they would no doubt be somewhat bemused if their heirs dabble around in what they consider their private playgrounds. It's like David Berman says (yes, another reference to him, just bear with me):

It's just that our advances are irrepressible.
Nowadays little kids can't even set up lemonade stands.
It makes people too self-conscious about the past,
though try explaining that to a kid.

(Berman does add afterwards that he's 'not saying it should be this way', for what it's worth).

So BMSR's rollerskating frenzy is once again a perversion of the real thing. From their and the indie kids' point of view it's awfully close to what James Murphy - in Losing My Edge - dubbed "borrowed nostalgia for the unremembered 80s", if we allow ourselves the liberty to change the decennium in that citation.

Despite all of this, you'll be surprised to hear that - on this new record more than ever - the emotions do break through the surface. There is an obvious love theme in the lyrics of Psychic Love Damage ("I can see myself being with yourself when the summer buzz starts wearing off" and "now that I got you my dreams are good" are two obvious examples). But nowhere before has the band even come close to the straightforward yearning of album closer Spraypaint: it's a slow hazy (even by their standards) jam where Tobacco repeatedly admits first to being "fucked up when I'm living without you" and then "I couldn't need you more". Finally all the smoke and mirrors has been done away with, and there's just the pure, honest thing left: and I think it's their most beautiful song, yet.

Thursday, October 11, 2012

Separated by Motorways

There she was again, as always, at the very back of the classroom, hugging her limited edition Long Blondes record and sneering at every boy who dared come close. Who said feminism is dead? In hindsight, she might have been responsible for my long and painful personal history of awkwardness with the other gender. I think she was an unfortunate first pick. Gemma Kristensen. I haven't a clue where she is now, what she does, what became of her, but I'm fairly sure she is not thinking of me. It is weird to think how much influence you might have on people that you know nothing at all about.

I remember, quite vividly, the first time I talked to her. It was at gym class, rope climbing. With those kind of exercises we always had to sort ourselves on height, and Gemma and I were the same height to a t so we shared a rope. This whole time she was looking right through me and it took me three failed climbs up the rope to summon up the courage to talk to her. I congratulated her on reaching the top. Would you believe she actually smiled at that? But it was a scornful one, it was a smile that said "I can't believe you can't even do this, you're useless". At the time I must have preferred being useless over being invisible - something I am not so sure about any more these days - so I was strangely encouraged by this.

"It's Gemma, right?"

I knew perfectly well that that was her name.

"Yes." It was the kind of yes that smothers every conversation. I was stopped in my tracks. But it was the start of an obsession.

Music was always my main form of escapism, so when I saw her cradle her beloved vinyl I jumped at the chance.

"I really like that band, you know."

"Hm, yes?"

She raised her right eyebrow just enough to have it form a perfect questioning arc. Derision, too, is an art, and she did it exceptionally well. I couldn't possible be more discouraged, but I soldiered on. I never expected smooth sailing, anyway.

"Yes, especially Giddy Stratospheres. That is a great song."

A pause. Did I see some amusement in her eyes? The faint beginnings of interest? I kept going, trying desperately to be of interest.

"I like songs you can get stuck into. You can nestle into them, live in their cramped, furnished, short-lived surroundings."

This did more to baffle her than to really improve my standing, but even bafflement felt like victory to me.

"I see," she said, and turned away to inspect the ceiling, which made me feel as if we were talking on the phone and she hung up on me. Everything I would say from that point on would go unlistened and directly to her answering machine. An answering machine she never actually used, and its tape must have run out long ago, filled with desperate boys pleading for attention.

Years after I left that school we shared, I would sometimes see her sit about at the Monument. We lived in a quite small town, a pillar of uneventfulness, of mundane things and mundane people. If ever there was an average town, this was it. It was everything and nothing at the same time. We had one central square in the city centre, and it had a monument. Even the monument was absolutely uninteresting, it kind of looked like a balloon, because it had a long, thin pedestal with what seemed like an accidentally oval sphere perched on top of it. Despite it being a silly thing, it was the only landmark we had, so we always capitalized it. It was the Monument. It had a pair of steps up to it at all sides and Gemma was often sitting there, scribbling in a notebook or reading something. They were invariably female writers, of course. I have seen her wielding Sagan's Bonjour Tristesse at least four times. Even if I passed her very closely, I always felt as if there was an unbridgeable gap between us. I don't think I ever really saw her, only a mix of what she wanted to be seen as and my own embarrassment and infatuation. She obviously never really saw me, other than as an extra in her own imagined play. An uncontrollable shadow that was nevertheless without the power to screw anything up, never a liability, never a worry.

When I went back home that afternoon we 'discussed' the Long Blondes, I walked right up the stairs to my room, faintly waving away my parents' greetings, and put on Someone to Drive You Home - that is, my digital, illegal copy of it. It wasn't hard to relate this band and this music to Gemma, though I started wondering whether she copied her behavior from the songs' protagonists, or conversely whether she liked it because she had always been like that and found some resemblance. I myself could identify strongly with the second reasoning because that is what music often did for me. It showed me there actually were people in this world who felt the same things.

But once Giddy Stratospheres started, my inner ramblings were rudely interrupted by a far more painful realization. An irony that made me relive that conversation of just a few hours ago. That song was way too close to the bone, it was describing a girl that was floating, that was not of this world, and a boy desperately trying to fly towards her, but always returning 'back here on earth'. The song wondered out loud whether the girl was a femme fatale, and concluded that that was what she wanted people to think, what she wanted most of all to be. I realized that that was the best possible description of Gemma. Even if the pair in the song were much, much closer than me and Gemma ever had been, the feelings and result were the same. That boy was however much more invested, and I was starting to feel particularly ominous. Maybe this was all a fortunate excuse to get myself off a lead that had been way too difficult and troublesome from the very beginning, but whatever the real reason, that afternoon I made my resolve and never talked to Gemma again.

Monday, October 8, 2012

The Sad Truth [2]

John Steinbeck in Sweet Thursday

He said, "I'm surprised they don't lock you up - a reasonable man. It's one of the symptoms of our time to find danger in men like you who don't worry and rush about. Particularly dangerous are men who don't think the world's coming to an end."

Saturday, October 6, 2012

The Sad Truth

John Steinbeck in Cannery Row:

A man with a beard was always a little suspect anyway. You couldn't say you wore a beard because you liked a beard. People didn't like you for telling the truth. You had to say you had a scar so you couldn't shave. Once when Doc was at the University of Chicago he had love trouble and he had worked too hard. He thought it would be nice to take a very long walk. He put on a little knapsack and he walked through Indiana and Kentucky and North Carolina and Georgia clear to Florida. He walked among farmers and mountain people, among the swamp people and fishermen. And everywhere people asked him why he was walking through the country.

Because he loved true things he tried to explain. He said he was nervous and besides he wanted to see the country, smell the ground and look at grass and birds and trees, to savor the country, and there was no other way to do it save on foot. And people didn’t like him for telling the truth. They scowled, or shook and tapped their heads, they laughed as though they knew it was a lie and they appreciated a liar. And some, afraid for their daughters or their pigs, told him to move on, to get going, just not to stop near their place if he knew what was good for him.

And so he stopped trying to tell the truth. He said he was doing it on a bet—that he stood to win a hundred dollars. Everyone liked him then and believed him. They asked him in to dinner and gave him a bed and they put lunches up for him and wished him good luck and thought he was a hell of a fine fellow. Doc still loved true things but he knew it was not a general love and it could be a very dangerous mistress.

Sunday, September 23, 2012

Even in Silence.

Even in silence, I cannot stop my mind from wondering. Silence is supposed to be a void, an emptiness, but I guess we all know that a silence can be more meaningful than all that precedes or follows it. Silence also comes with an inherent meditative, trancelike, hypnotic quality. I can easily answer the question what are you thinking of? when it is dropped in the middle of conversation; or while residing in a noisy room. But when it breaks out of a soundless place, it seems that there is a wall between the pre- and post-question moments. It is like waking up. Perhaps silence is ultimately hypnagogic.

Jessica Bailiff's music has this quality. It is ethereal, but not just from a musical point of view. As an album, as a coherent piece, it is elusive and intangible. I can never recall what the album cover looks like, or the names of the track titles, and I can never recall the music. Once it's gone it's gone. David Berman once wrote that "a stranger begins wherever I see him". This is like that, for me.

It might just be me. There are plenty of people who can narrate their dreams beautifully, up to the tiniest details. I am not of them (unfortunately). Perhaps these people can at some time tell me what this sounds like. In truth, though, I am not sure I want to know. I suppose I could make notes while-listening, but I am afraid that will break the spell.

All I know is I like it, and I'll keep it that way. Perhaps ignorance really is bliss, even in silence.

Saturday, September 22, 2012

Turn on, tune in, drop the beat

Here's something that you might not have seen before:

Wednesday, September 19, 2012

Excerpt from a Dictionary of Would-be-should-be Sayings


The dust you kick up is too fine
To try, in vain, to draw attention to yourself.
[source: Sunset Rubdown]

 To be the first in the river and the last to swim
Being the first to know about/start something yet the last to indulge in/master/finish it.
[source: Strand of Oaks]

To get off one's cross
To stop revering someone or look to someone as the answer to all problems.
 [source: Felt]

To like one's poetry, but hate one's poems
Used to describe people who do not live up to their potential. 
 [source: Trash Can Sinastras]

To like to linedance
Wanting everything to be structured and organized.
[source: Silver Jews

To not pull punches, but not push the river
Having no qualms in saying what you think, yet refraining from adding insult upon insult.
[source: Van Morrison]

 To try to fool old friends with limousines
Outward appearances do not deceive people who have known each other long. 
 [source: The Thrills]  

Saturday, August 25, 2012

Metaphorazine

a poem by Jeff Noon

Johnny takes Metaphorazine. Every clockwork day. Says it burns his house down, with a haircut made of wings. You could say he eats a problem. You could say he stokes his thrill. Every clingfilm evening, climb inside a little pill. Intoxicate the feelings. Play those skull-piano blues. Johnny takes Metaphorazine.
He's a dog.

Lucy takes Simileum. That's not half as bad. She's only like a moon goose gone slithering, upside-down the sky. Like a tidal wave of perfume, like a spillage in the heart. With eyes stuck tight like envelopes, and posted like a teardrop. Like a syringe, of teardrops. Like a dripfeed aphrodesiac, swallowed like a Cadillac, Lucy takes Simileum.
She's like a dog.

Graham takes Litotezol. Brain the size of particles, that cloud inside of parasites, that live inside the paradise of a pair of lice. He's a surge of melted ice cream, when he makes love like a ghost. Sparkles like a graveyard, but never gets the urge, and then sings Hallelujah! Hallelujah! Hallelujah! like a turgid flatfoot dirge. Graham takes Litotezol.
He's a small dog.

Josie takes Hyperbolehyde. Ten thousand every second. See her face go touch the sky, when she climbs that rollercoaster high. That mouth! Such bliss! All the planets and the satellites make their home inside her lips. It's a four-minute warning! Atomic tongue! Nitrokisserene! Josie takes Hyberbolehyde.
She's a big dog.

Alanis takes Alliterene. It drags a deeper ditch. And all her dirty dealings display a debonair disdain. Her dynamo is dangerous, ditto her dusky dreams. Dummies devise diverse deluxe débâcles down dingy  darkened detox driveways. Alanis takes Alliterene.
She's a dead dog, ya dig?

Desmond takes Onamatopiates.
He's a woof woof.

Sylvia takes oxymorox. She's got the teenage menopause. Gets her winter-sugar somersaults from sniffing non-stick glue. She wears the V-necked trousers, in the blind-eye looking-glass. Does the amputated tango, and then finds herself quite lost, in the new old English style!. Sylvia takes Oxymorox.
She's a cat dog.

But Johnny takes Metaphorazine. Look at those busted street lamp eyes, that midnight clockface of a smile. That corrugated tinflesh roof of a brow. The knife, fork and spoon of his fingers, the sheer umbrella of the man's hairdo! the coldwater bedsit of his brain. He's a fanfare of atoms, I tell you! And you know that last, exquisite mathematical formula rubbed off the blackboard before the long summer holidays begin? Well, that's him. Speeding language through the veins, Johnny takes Metaphorazine.
He's a real dog.

Tuesday, August 21, 2012

Country Funk

Country funk. I have to say I am pretty thrilled by this. I love the idea of making something out of nothing. I did some research and I'm pretty sure there's no such thing as country funk. At the same time, the words conjure up a very possible sound, and if the fruits of that unholy merger sound weird, it is more through cultural prejudice than musical impossibility. Take the rhythm section of a funk band and marry it to the small-town narratives and thick, smoke-heavy vocals of country and you get something very exciting. Add a bit of gospel here and there to keep it all together.

But mostly I love the idea of collecting these stand-out tracks by artists who did not seem to form a specific scene, who were not known as country funk artists - or even either country or funk, for that matter - and making something cohesive and seemingly sensible out of it.

If you're curious, just check out this track of Bobby Darin. And yes that is the same guy who did one of the best-known versions of Mack the Knife. I never expected him to do something like this:

For everything on this compilation, check out the label's website:

Light in the Attic: Country Funk 1969 - 1975

Thursday, August 16, 2012

It's just our heads are butterflies

What makes this so great is the sense of imperfection. Electrelane are a Stereolab without the breadth of genre-bending, a riot-grrl group without the punch, letting their songs linger on for too long. The comment on the enclosed YouTube video accurately picks out the best part of the song - done in perfect imperfect-pitch:

I'm tearing down the walls THE WALLS THE WALLS THE WALLS.

Monday, August 13, 2012

Down-hearted

This has to be one of the best one-off pop singles ever recorded. A beautiful title, the Moby avant-la-lettre beat and sampling, the late-night bar piano in the middle part. They make B.B. King fit so well, surprisingly so in a 90s pop song. One-hit wonders will never cease to amaze me, I have not heard any other tracks by this band, but they are - supposedly - notoriously out of step with this song. I don't think I will ever want to spoil the magic.

Saturday, August 4, 2012

Small Talk

In my sociolinguistics class I have learned that Finnish people, among other cultures, can stop talking about something dead in the middle of a conversation and then pick up the thread without introduction a day later. This pickled my fancy. It is how I communicate with some of my friends digitally, and I really like these asynchronous conversations. You just talk when you have something to say, and you don't have to obligatorily keep up a conversation and plug it with comments about the weather or describing people walking by. Then again I have always been notoriously bad at small talk. I think I'd subscribe to the Carlos Ruiz Zafón view that "humans aren't descended from monkeys, they come from parrots."

Also, starting conversations with some random statement or inquiry is so much more fun! I think David Byrne summarized it very adequately in Psycho Killer:

You start a conversation you can't even finish it.
You're talkin' a lot, but you're not sayin' anything.
When I have nothing to say, my lips are sealed.
Say something once, why say it again?

It also ties in with my fondness for writer Don DeLillo. A lot of people criticise him for the way people talk in his books, that it is unnatural and that no real person will ever talk this way(!) I do not dispute this, even if these critics do go out of their way to pick four quotes out of a 600-page novel to prove their point. Quotes that are, of course, easily made to sound ridiculous when taken out of context like that. Anyway, there is some truth to it, but I would love for the universe to be more like a DeLillo novel. Where people can be awkwardly silent without actually being considered awkward, can launch into a difficult topic without being considered difficult, and can altogether do away with small talk. I image everyone would be carrying around a dusty paperback to turn to when conversation stalls. I would like that.

Monday, July 30, 2012

Notes on Butch Cassidy and the Sundance Kid

- Why aren't more movies shot in sepia? The first scene works so well in it.

- Butch Cassidy and the Sundance Kid are two pretty wicked names that work brilliantly together. Outlaws never seemed to have problems picking good names though.

- I wish I had Paul Newman's eyes, and every day came with some surprise.

- Half of this movie looks like a Turner painting. The cinematography here is truly astonishing.

- Bandidos Yanquis would be a pretty great bandname.

- Katharine Ross is jawdroppingly beautiful in this.

- I always thought that classic rock band Sir Lord Baltimore was named after some 18th century statesman.

- I wish I had Paul Newman's eyes, that would be nice.

Sunday, July 29, 2012

Piñata

There are two reasons why I wanted to write something about American band volcano! here:

[1] my blog is named after (a pluralized form of) their debut record.

[2] they are (relatively) obscure, perhaps because they are not immediately accessible, but they are well worth the effort of repeated listening.

A second's pondering suggests a myriad of possible metaphorical and symbolical meanings a piñata could stand for. Nevertheless, while the piñata has a rich and pluriformal history, I would say that its current cultural significance does not stretch far beyond a superficial one, a world of parties and candy, of unworriedness and good times. volcano! wanted to make a more danceable, and more easily approachable record, and they succeeded.

That is not to say that this is a pop record. These terms are always relative, and volcano! was always hard-to-get, to the point of extreme frustration, mostly because they were so unneccesarily so. They seemed to be searching for the right formula, striking noise pop gold the one moment and then - deliberately - diving back into unmelodic dissonance. Beautiful Seizure was an appropriate title, therefore, because they did it with uncanny grace, failing in a beautiful manner. It reminds me of André Breton's final statement in Nadja that "beauty will be convulsive, or it will not be at all". Their sophomore album title Paperwork suggested a more theoretical and calculated approach to their craft, and while somewhat more coherent, still faltered from time to time. It still took the menacing and challenging of their listeners a tad too far. But, in hindsight, when they sang of "poking holes in balloon animals" in Slow Jam, perhaps they were then already thinking of piñatas.

As such, there was always enormous potential in this band, and with Piñata it bursts out with all the colors that its artwork suggests. Not that the claims of danceability will soon be embraced by the large clubbing populace, but there should definitely be quite a considerable leftfield crowd susceptible to this. Especially the first two songs are the most bouncy and fun of their repertoire so far. The penultimate choice Supply and Demand has the same appeal, in its straightforward repeating of its title, with vocalist Aaron With as always bending the words in all possible shapes. He does the same in the chorus of Child Star and its really hard not to be reminded by the finale of Clap Your Hands Say Yeah's eponymous debut, where the same words are obsessively repeated by a singer who is at least as weird and offbeat as Aaron. Both stretch the phonemes to their absolute physical and logical extremes. The album closer confirms the trend of the bookended tracks here being the most readily likable: its a circus of quickfire melodic riffs and beats, a rollercoaster of "long gone, gone long". Again, obsessively as always, its played out as far as possible, with every noisy crescendo circling back into its long gone, gone long.

But perhaps the most poignant moment here is when they slow it down on Fighter, the drums are slow and in control for once, while With proclaims that he is a fighter, and wants to turn his hands into knives. This slower, less frenzied version of their sound works wonderfully well, and it makes me wonder what would happen if they'd focus on it more. I believe they could go the same way as Wild Beasts, who have chosen to contain their eccentricities within an ever-tightening set of constraints, applying more abstraction with every record they put out.

Of course there is an equally legible case to make for the kaleidoscopic craziness and fun that is Piñata - and has always been volcano! They seem like a band that, whatever they do next, will always at the very least be interesting.

Friday, July 27, 2012

The War on Cynicism

A few months ago I attended a Billy Bragg gig, or - I should say - a Billy Bragg sermon. Now, I don't agree with everything Bragg preaches about, but there was one particular point he was making that hit home for me. "Our greatest enemy is cynicism. Not the cynicism of our enemies, but our own cynicism". And, according to him, the internet brought forth a surge of cynical assholes, complaining about everything. He is right of course, it is uncool to care about anything, and the Internet has only strengthened that sentiment. David Berman once wrote in a poem: "the pressure to simulate coolness means not asking when you don't know, which is why kids grow ever more stupid." While this concerns knowledge, it applies to fighting for a cause just as well. Or, as Camille de Toledo puts it:

How long do we have to go on apologizing for being romantics? Why not stop right now? Here. Boom! All of a sudden. Let us make the desert green with lyrical trees and mocking jays. Let us abandon irony and the fear of naïveté. The cliché is not kitsch. It's merely pretty. So, what do you think?

And just today, in an interview with Dan Deacon, once again this came up:

I grew up with bands like Beck and Sonic Youth and Nirvana-- it was cool to not care. But we live in a time period where you have to give a fuck. If we just allow the destruction of our lifestyles, our habits, our cultures, our movements, our environments, our relationships to other cultures-- it's going to be a time of dark ages. How are we going to stop that if we shrug our shoulders? That is insane to me.

The fact that I've run into this subject so often recently could be merely a Baader-Meinhof thing, it could also be my specific focus on it (but I don't think De Toledo, Bragg, Berman and Deacon frequently have dinner together). I do not believe this is accidental. Instead, I really want to believe in a new momentum starting, that we will slowly start to believe in the rejection of modern values again. In his Coming of Age at the End of History, De Toledo explains how modern capitalism stifles any attempt at rebellion by means of co-option and assimilation. If you've ever been inside an H&M store and seen the London Calling and Sex Pistols t-shirts on sale there, you'd know this to be true. If the anarchy and complete nihilism of punk can be sold to the masses at the very heart of capitalism, what possible way out is left? Every subculture that blossoms is co-opted, centralized, signed, sealed and delivered to your local stores, thereby defining the culture not as an ideology, or a spirit, but simply as a set of fashion rules - a look and an attitude.

In his song Take Off Your Sunglasses, American singer/songwriter Ezra Furman proclaims his own confusion and insecurities and is not sure whether he wants to see clearly or keep living in a subdued word of anonymity. This can be linked even further, of course, to our Western values of peace and civility being made possible by the constant exploitation of the non-Western world, and in turn leads me to a line from a song by The National: "I know you put in the hours to keep me in sunglasses, I know". Our Raybans are the best possible metaphor for the inability of us twentysomethings to come to terms with our place in history. The question would be whether you want the Raybans or not? I think a lot of us are not quite ready for this yet, Ezra at the very least was not when he wrote his song:

I don't want to think about
things I don't want to think about in the middle of the night
In the middle of the day I don't want to think about
things I don't want to think about in the middle of the night
I don't want to think about it
I don't want to think about it
I don't want to take off my sunglasses

Wednesday, April 18, 2012

Crashes to Light, Minutes to Its Fall



ODE TO GLENN JONES.





As if being friends with Fahey -
forlornly strutting through the American dust
holding hands with Mother India,
in perfect matrimony with Father Silence
(being the exhale and inhale of the music)
playing your music both in cellars damp with obscurity
and with exuberance on the roof of the world
      is not enough:

There is also this,

As if being multilingual -
though not multilexical but multitonal,
and proving that there is a little bit of Swedish,
a thorough hint of German,
a noble flicker of Japanese,
and the efficacy of America,
  (among others)
in Everything;
Traveling the world without gasoline
a heart pumping blood solely on gusto,
whatever that is -
      is not enough:

There is also this:

A dream made of cardboard,
and,
      as always,
                     the waking up.