“You Must Revise Your Life”, and, Kudos to You Excellent and Hard-Working Bloggers All

I’ve been sort of swirling in a kind of malconfident funk of late…performing exercises and blatherings just to keep the language flowing…today felt like a threshold…one of those – “if the flow don’t show – i’m constipated” sorts of things… many of my favorite bloggers have been moving toward a very free and open bursting of expression/language/image this summer and it’s really been fueling me, but i haven’t been able to open my own valves for some reason.  I want to say – wow – there are a bunch of really talented creative persons making stuff on WordPress – and the virtual company means more than I think (I think).  So thanks to all of you for working so hard to MAKE and BECOME – it’s inspiring – believe me…and whether you knew it or not – today you all conspired to inject or confront me with the Archaic Torso of Apollo – a magnificent accomplishment – and Rilke’s “you must revise your life” – a fine firm foot to me arse…

Instigating Change

And then things simply have to change.  Some blogger posted (today) that “this is a little silly” and “let the world tell you what you need to do” – but the world hasn’t said anything, and still it made felt sense.  Someone else (somewhere in the world) decided to go home for the very tawdry reasons that make anything profound, while another (clearly from another section of the globe) has been taken by the moon.

What does that tell you?

Things have got to change.  It’s not working.  You’re not working (but of course you are, (I am) which isn’t what I meant, what I mean being of very little effect).

There are the readings…

Plus all over the world (that is telling you nothing) there are people traveling and taking photographs – but those show, they don’t tell.

A friend did email to say ‘don’t give up’ from a far different location on the earth, but perhaps the “earth” is not the “world,” perhaps world is an elsewhere?  Or simply a voice I cannot hear, something divine.

I keep calling myself “you” as if that might make me other, but even I know you can’t escape yourself.

So I don’t.

I’m intrigued by folks who can write about themselves as if they were themselves and a part of world or simply made it so by writing.  That stuff moves me, true or not.

I spent my day designing characters.  Jim could never lie because he didn’t believe in language (or was it people?).  Leonhardt could always tell the difference but is unable to comprehend the same.  An author left an erotic drawing on his desk upon his death, causing great anxiety for his biographer, utterly incapable of fitting it into his knowledge of said subject.

Those aren’t me.  So something needs to change, you tell yourself.  You’re lost in language, but the labyrinth is becoming a pattern.

There’s a trove of “prompts” out there to help you find your way (is that the “world”?) but inspiration keeps feeling artificial.

You think it might just be the heat, a metaphorical dehydration, you read about a wife who tells her husband he should find someone else with whom to talk about nothing, and you heard echoes of the voices in your home.  Like the world saying things that almost register but you simply can’t believe.  It’s nothing, like that.

You challenged yourself this past year to ‘get personal’, if you wrote real near what hurts others might hurt too, and people like that – empathy, identity, a pingback from the world – but it never became interesting, the personal, you kept sounding like yourself.

And wrote these letters you called journals, out of some idea (I guess) that a world might be within you that could tell you what you need.  Or like Laurie Sheck said (she’s really in the world); that “skin has no choice but to converse with the world” – but does yours listen?

I guess what I am saying is that today brought clouds and wind (a welcome change) and those were world, and I heard something.

Inception

He with the mind meandering like the great rivers – those that function metaphorically for whole cultures and histories – the Taiga and Thames, Amazon, Euphrates, Danube, the Mighty Mississipp, and so on – along with all of the tributaries and streams, springs far removed, deltas and falls…

In that his mind has assimilated, absorbed particles of eons of blood, trash and shit, death and being born, creatures and passengers, landscapes and strata, wars and rumors of wars, nations and races and species…

he was the written word as a river, knowledge as a catch-all, depository, wealth and waste and millions of miles to tangle

the body being like this as well – billions of cells, some relatively foreign to others, some of entirely different types, all connected and held together somehow; “body” of water, of work, of being: arteries, capillaries, aminos, neurons, stems, DNAs, whole worlds of rivers, lakes and creeks.

Heidegger pictured it a hell of a journey through thickest forest – rivers do this – sometimes underground, the earth is filled with reservoir – to traverse the “open,” coming to a clearing, a stream wending its way in dry desert, mountain meadow, steppes and prairies…the surround is still denser than dense,

his mind become so, with awareness of the body, or mind as body, also mind matter stuff, indecipherable, inexplicable, barely described.

Yet all, so far, inscribed?  What little of all could be held.  Infinitessimal.  Finite.  In the face of infinity…relation.

Derrida’s abysme – a feeling, an unknowing, almost a certainty that “things will never be sorted out…” that the tiny wiggles over the mapped surfaces can never all be traced, all the planes, there is not time nor capacity, to follow thoroughly even an arbitrarily chosen segment of a smallest stream, constant movement from and toward, through, up and down, over, under, behind, before…abysme.

Untraceable traces.  Mind, emotion, sense, soul, causality discombobulated and befuddled beyond cognizance or comprehension, indeed – of what comprehension consists.

“Know thyself,” cruel riddle, as if spoken by a genuine god – something entirely Other, outside, impossible and impassible…the knowing cannot be known, or who knows it?  Is knowing it now, and then now?

The rivers do not know, they flow, happen.  God cannot know or not be a self/person in any way that corresponds with us – without not-knowing or abysming in endless spirals centrifugal and –tripetal.

Bakhtin sees the picture of us seeing pictures of what we do not see…all together…but we’re never all together and imagining is only one way to correspond.

It would require a miracle, yet it already is, he thinks – inexplicable, unprecedented, unaccounted for…kenotic theory, Forms and Chaos, quarks and atoms – nothing explained, ever re-described, only resolved in irresoluble faith – in theory, in truth.

And so on…mapping these rivers.

Oceans and the pooling of eyes, vast landscapes of fleshes, fragile impossible organs, tenuous and tenaciously flowing on, through drought, through death, flood and

“all things come about through opposition, and the universe flows like a river”

(Heraclitus)

                He with the mind meandering like great rivers and their effluvia…

A Serial Struggle

Writing: the Blocks

Writing: the Blocks

“and everything here like an incomprehensible explanation”

-Arkadii Dragomoshchenko-

 

There are those times of overwhelm.  Edit?  Create?  Organize?  Submit?  Wander about (for “inspiration”)? or sit and stare (“meditation”)?

There are those times.  So much written, nothing sold.  Years of working, thinking, learning, feeling…orphaned.  Turned away.  Left out.  Sent back.

Rejection.

Here’s the open field and some more ever-uncertain time.  Feels fragile.  I feel I should be making, arranging words toward unknown meanings or inferences, but I’m also drowning in them – so many of my own, millions of others as well.  Approved words, theirs, successful words, words now “bound,” where mine (I try the positive) are “free,” “independent,” “loose”… not owned by any other hands or minds.

But the words seem to want it.  They emit their own desires.  For partners, for dances, for strolls.  Attachment.  They even like to work!  Anything at all – they just want to be, active.

Mine aren’t.  They jimmied their way around my emotions and spleen; infested every nook, cranny and fold of my brain; strained my throat and cramped my hand…but once I’d rid myself of them – sealed them between the bars of blue lines, they began to wither and starve.  Atrophy.  My words – these voiceless victims.

They’ve got plenty of company all lined up and folded together – hell, they’re stacked on top of each other…but they need human parts for life.  Need eyes and mouths, lungs and ears, hands and minds, perceptors, receivers and nerves.  I look down on them all like leaves from last winter, or hidden away in mausoleum-like drawers.  I feel sorrow.

There are zillions of others – exactly the same as mine but for their order – speeding all over the world – through wires and lights – through voices, canals – held gently in hands – slick and shiny on mags – proclaimed on billboards and signs.  But not mine.  Not these innumerable identical versions but for my script, my experience, my faulty manipulation.

What gives?

What gives at these moments, these gulag-ish terms of withholding and stasis?

A letter or email perhaps.  A talk with my wife or my sons or my daughter.  A glance at a spine or a page.  Some music with lyrics.  A friend.  They are moving, alert.  Every-ready for use.  In use.  Wording their function.  My continued submissions might be jail-breaks for them.  My blogs and my posts and my readings.  The phone calls.  We could try it?  See how they still work?

Or even something like this.  This query of what do they want?  Working them into myself.  Materializing them.

I don’t know.  I don’t know if it helps.  I can’t tell at this moment.  They seem stuck.  And yet not.  Here they are, ever coming, ever becoming, nothing.

Like us.  Maybe I’m stuck.  Becoming nothing (inevitably) but becoming nonetheless, all the while.

I guess I’m suggesting that there’s really no such thing as stasis or block in living beings.  Regardless what or who or how, we’re becoming (the 5 Ws all taken care of).  Now & Here all five essential questions are active whether I write down answers or not.  As long as we breathe.  Work is going on.

And words, so eagerly activated.

N Filbert 2012

Metaphors of Mind

Metaphors of Mind

 

I thought about the East like sunrise, or, the bright shadow of sun as it sets on the sea.  Opening out, up, growing wider from a perceptive center.

 

I thought of my own like a spider rushing to complete its web and attachments to structures while the prey already wriggles in its core.  Spinning quickly, creating patterns, finding foundations so one might approach, carefully, and engage.

 

And of the wise, “responding with the submissiveness of a mirror to a completely unthinkable array of things where there’s no space or time” (Arkadii Dragomoshchenko, Xenia).  “And which I can’t accept” (he adds immediately afterwords).

 

My wife like a field of slender grasses made out of senses waving in rain.  It touches everywhere and then is guided and drawn into the veins and roots in a natural process.

 

An ecstatic: the moon hovering above, without details, yet influencing tides.

 

Fundamentalists jackhammering surfaces to shape; drilling from the riggings a far cylindrical bore.

 

The verbavore – translating, translating, translating…signs, digits, numbers.

 

Intuitionists: winds situationally directed by unseen prompts or hidden obstacles.

 

Perhaps the thing itself – sensual and complex machine – absorbing, recording, repeating and combining – crafting temperaments at the switchboard?

N Filbert 2012

Writing: the Characters

Writing: the Characters (1)

 

Not beginning from anywhere but here.

Here being where I am looking for a character, a someone, and specific, with a mind, a body, and particular knowledge and actions, whom I might observe and record.  On whom I might test out my language.  Whom I create.

Exercise in perception, then.  To see what I could see, perhaps, if I looked a certain way, at or into a certain person.  What I might hear, and how to say it.  What would be felt and its work of translation.  The smells and the tastes and the histories, for both of us.  Or perhaps even all.  No, that’s too far.

Right here, though, investigating perception, that preform vehicle, formed by our surroundings – imagination – the multiplex of learning structures allowing me to sense, to perceive.  That also, is here.

Imagination and perception – their invention we call world, and a character, a subject/object like my hand I might observe, hold aside of me while attached by nerves and cells, tissues and blood, by life, its embodiment.

Non-abstract abstracted – that conundrum – here.  The truthfulness of experiencing becoming honest lies.  The words, the print of hand, what tells (or who), and how.

Perhaps another thinks this way?  Well, not exactly, but shares concerns with idiomatic nuances?  Perhaps his education (or hers) was difficult, or pleasurably a breeze, they mastered information like a large and thirsty sponge?  Absorbed and were absorbed in such interstitial structures.  Or not.  Not at all.

An uneducated person with adaptive gifts for resonance.  A mimicking trickster riddling what is heard into naïve and complex wisdoms?  That would be fun.

Perhaps another world – country, continent, planet?  Someone observed for years suddenly inserted in a strange context, situation.  How do they behave, react, manage and survive?  I could use myself in a planet of clouds, or the tunnels of worms, what would characterize me?  How would I change?  What might I effect?  If I were made of clay or had a thousand lovers in a desert?

The only edge to possibility is what experience brings.

 

But pretending to begin right now, I see him clear.  There is a woman he is watching he finds beautiful.  When she works he sees the curve of her small breast which he desires.  He is ruddy yet refined, of middling age.  He’d like to court her but fears all pain that can’t be bandaged.  He’s afraid of words and their millions of ropes and anchors.  Reality feels like conflict, for him, a continual coming-against, and adjustment.  Adaptation he experiences as loss.  Of unrealized ideals.  And so he walks, spinning narratives in his head.

 

Here, that possible visitor handmade.  But who?  And how would I know him?  And where was he from?  How was he formed?  Who does he belive?  And so forth…

One way to be here.

One way to press your hand against the wall.

 

 

 

An Opinionated Review

Eat.  Pray.  Love.

 

On a wonderful jaunt to our public library yesterday, my wife spotted a movie based on a mega-bestselling memoir that she’d been curious to see since its release a couple of years ago.  We checked it out and viewed it last night in hopes of a light, relaxing fare to happy us toward slumber.

It was excruciating.  My first reaction was – can a person’s biography truly resemble such a cliché’d American self-realization mythology?  Basically a woman goes on a journey away from her responsibilities to others to “find” or “heal” herself, in the process (and apparently justifiably since it delivers her to a goal of peace, happiness, pleasure and love with a seasoning of spirituality) wrecking others’ lives and forgiving herself for it, ending in the arms of a handsome foreigner on a tropical island with some standard religious “truths” in tow.

Here are things I realized about myself:

I am suspicious of personal pleasure that causes others pain.

I am oh-so-glad and grateful that I grew up in a reserved Western culture with Continental philosophy and theologies at its roots.  I much prefer battling to wisdom and calm through the frenetic and anxiety-ridden vertigo of a convoluted mind ferociously doubting and investigating than through some “be here now” philosophies of higher unities and cosmic accord.  Rather interrogate now than “let go” and “let be.”  I am attached to the workings of our brains and our languages, pestering perception and scrutinizing sense experience with imaginative and skeptical rationales.

I radically doubt “gurus,” “prayer,” “saviors,” and other spiritual or “wholistic” practices of “balance” that accomplish “goals.”  Outcome-based anything feels totalitarian and programmatic and therefore facile to me, as if there were a form or behavior we might fit ourselves to that would lessen the struggle or suffering of “to be.”

The film’s story took a year’s time, replete with life-changing habits of mind and body and some claimed resultant growth.  As if wisdom came from Apple or McDonald’s.  The past was hardly processed, responsibilities released like thoughts during Zen, and no effort to apologize or repair any damage or hurts the main character had caused those close to her along the way (thank goodness no children were involved!).

It was the time-tested failure of the American Dream: do what you want to get yourself comfortable in your own skin (whatever beliefs, illusions and experiences that might seem to require) and everything will be alright in your world.

I simply don’t buy it.  And I won’t.  If we are socially constructed realities (and my point-of-view on the cosmos supports this) then final import is not in a self, but in a system.  Not toward results but a how of processing.  Not a personal calm or pleasantness but a social accord.

The film made me terrifically thankful for scrutiny and doubt, fervent self-questioning in light of surroundings, and the “wisdom of no escape.”  It just goes on.

For what it’s worth,

here lies a steaming pile of my opinions.

N Filbert 2012

A Parable

A Parable

Perhaps one day you will ask for something that you want but do not need, or even need but don’t quite understand.  On a lark, let’s say, out of a “why not?” not exactly exasperation nor as fueled as curiosity, almost a simple value, who knows, but perhaps you do.

How will they respond to your free request (a spontaneity without expectation) now having burdened them with options?  You had thought it a gift, an eruption, a “no harm done,” “nothing to lose,” but of course, in the world, there is more.

So your request floats out, on the air, like a streamer, swaying and curving, rippling past the subjects to which it’s addressed.  For some it’s a slap, for others a trial, still others just dodge it and head for silent hills.

You had thought it a good, an offering of joy, a connection and possibility, not something to wind or to bind.  Never something so knotty.  A kind of safe enclosure that’s open, a meadow of sorts, where gentle counterparts might convene when they wanted or needed and whomever appeared could relate.

But in order to appear each required a turn, of attention, of glance, of an ear – to surmise and to meet, to attend.  Bodies incapable of severance.  Could they send an arm, an eye, a knee or other organ, they happily would, provided it would not be missed any elsewhere (their “here”) – and this proved impossible.

One respondent, upon lending a hand, was not able to help his young son tie his shoes.  Another offered her hair only to find herself fired from her workplace.  Each was affected by your generous request while you were left with dismembered parts in your park.

Unintentional, no doubt, you found as well that it was not spare fragments you were needing for your want.  The severed hand grew stiff and cold under your knees; the hair like strands of sand in the night on your chest.  The smells were changing.  The eyes you’d assembled were distracted, neither here nor there the parts were failing.

In an awkward flashing of a dream a teacher’s voice arrived with cliché: “be careful what you wish for.”  You’ve been waking to that for awhile.

The Violation in Art

The Violation in Art

 

The trouble with artists, as I see it, is that they’re always breaking things.  Breaking out, breaking in.

As if their experience of the world (and in my opinion anyone might be an artist at any given time)…well, look at it like this…a human person develops perceptions and accumulates.  Artistry consists in these experiences transmuting, transforming and breaking out in alternate forms.

The world seeps, floods, sifts or bursts its way into the artist’s mechanisms of being, and their processing of said worlding breaks its way out, somewhere, somehow.  Often anywhere, anyhow!

Breaking in to us.

A person combined with their experience breaks out in a form through their hands or their vision, movements or mouth…the artifact then enters our perception, experience, breaking in to our own operations and proceedings…entering us.

Now you’ve a mingling of persons going on via artifact, motion or sound.

If you think about this, it’s threatening.  It’s criminal!  It’s viral.  And it can happen at great distances, even invisible, even in your sleep.  It may appear at first benign, even pleasurable, might mirror some part of ourselves (or so it seems) – because of its careless remove from identity toward object it feels safe and external…but how we take it in!

With anger or lusting or joy.  Voyeuristically, “privately,” or in a well-guarded institution.  Through literature, youtube, mp3s.  In deep thought or with staid attention, and passing glances or air-gathering ears.  No matter, there’s infusion, con-fusion, an intimate entwining going on.

And it is without-which-not on either side: construction/reception, speaker/hearer, writer/reader, dancer/audience.  We all become necessary and involved, creating ubiquitous perpetration.  And no one to accuse once it’s part of our experience, our (perhaps unwitting) invitation.

Like cancer or nutrients, an other-marked entity joins with our own joining to theirs in apprehension, a collusion of worlds and of persons.  An act in which all are responsible: reciprocal engagement of voyeuristic and combinatory intimacy, breaking open, breaking in,

breaking out

breaking through

a delicious and permissive crime.

Another Pause, Another Someday

“Words give clothing to hide our nakedness”

Susan Howe

“But a word is a bottomless pit”

Lyn Hejinian

And then it arrives, unexpectedly, another gap.  She sees a magician in bright jester’s garb, seated on a branch in a tree.  Amid the traffic.  Amid a swarm of bees, of thrumming crows and starlings.  A bat lies in labored breathing on the sidewalk.

Lightning- and Lady- bugs.

Like that, like both.

There is no goal to it in the beginning.  At first.  The seconds’ glow catches you off guard.  “What was that?” neon spot moving in the night.  Imperceptible polka-dotted red creeping carefully over your toe.  Structures pause.  Structures moment.  When realized, when you bring your own accident: awareness.

What pressures turns out to be necessity.  Of deadline, of assignment, of transactional fulfillment – relationship or vocation, even health.  Without apparent choice.  Or ever so long ago.  Why markings called parentheses are shields.  What gives pause.  And stays the pressuring.  For the moment.

An extended kiss.

A lapse in volume.

An ignored alarm.

You find yourself there : (YOU).

The rest of the world lining up, encroaching, exerting itself, themselves, your other selves, against the slender boundaries, the slick curving walls – they can’t be climbed, nor be toppled, only inverted )if you accept the pressures(, or erased as if they’d never happened.  Become brackets.  Prison versus asylum (in its native safety-seeking sense).

(YOU)?  )YOU(?  [YOU]?  ]YOU[?

            Now and then.  Another pause.  Another Sabbath.  A so-called rest.  Time is not the issue (as duration).  Time is at issue in its momentary absence.  Glancing the lightning-bug, bird-call, ladybug feeling out the stem.

“Another pause” with pressures all around.  Expectations or chores.  But no one calling, not this nowLast week too, unexpected, unprepared, cage door left awry, or finding key in hand.  Parentheses.  And then you sleep that active way we call “rest.”  For a moment.  You make, for the joy of making, or not.  Either way is pleasure.  Or pleasant at the most.

Such as now, another pause, this day, another Someday that arrived.