Saturday, July 24, 2010

Wandering, and the Echo of Wandering

I don’t love music and neither do you.

Neither does anybody. You prefer

to create vacancies. You prefer to take

all the street sound, wind scraps, engine barks

and press it down. You prefer to sweep

over its smoothness with the back of your hand.

You prefer company you can count. Each song

is a blanket you can clean and change

and snap across the bed so it drifts

lightly downward through puddles of air

which you love because it’s as if

your gesture created them.


You love to expose oceans.

You love to cruise a finger

over long splits in glass.

You love to rest your hand

in the old shallow prints

of the sidewalk.


You love to touch the stereo

while it plays. Both vibrations at once

or neither.


The city is not a jungle and neither are you.

Not anymore. The jungle burned down.

The government planted new trees in its ashes.

Territories of shade in nice rows.


Perpendicular lines have learned

to intersect without ever forming a corner.

History and engineering are the same,

and until I started traveling barefoot

I never noticed how much of pavement

is dressed in glass crumbs.

I never noticed how all shadows

fall toward their light.



Antithesis of Caves

If the oil-slick gulf as a mosaic of bruises. If the black

crude licks the shore. If we walk there anyway at dusk.

If the water feels heavy between our toes. If it doesn’t.

I forget that the street is only a membrane over sewers.

I forget that today was a series of looks. I forget that you

are a burning cigarette, your gaze a careless curl of smoke.

I forget to trust blank expression. I forget to trust the wild

life.


The beach is either good carpet or national periphery,

a place to examine our edges. The sediment slips

from beneath our bodies. Beneath seasonal skin grafts.

Beneath the first moments of sleep. The beach is either

a meandering wasteland or an inspiration for pixels.

The beach is either full of people. The beach is ether.

It must be. The ocean is television. Point your body

at the blue and close your eyes. Dream of television.


The hotels nearby are either full of expensive mammals

or a festival of floors and stories: The relationship of surfaces

to what goes on there. The barroom conversations are either

recipes or shrapnel or dark seeping alien sludge or a family

of garden snakes getting butchered by the electric tiller.

Chattering motor. Spray of reptile guts. I forget bar codes.

All these lips are volcanic. All these people ape disasters.


I am interested in the assembly of Christ, especially

the first assembly of Christ. I am interested in bodies

of water. Also, the precise point which is exactly between

a shoe being worn in and worn out. Also, chlorophyll.

Also, the antithesis of caves. We cave. We cave in, and under

pressure.


The beach is a workshop for bad capitalism. Not because

the oil laps at our heels. Not because of the delusional ocean.

The beach is either a program for rapid eye movement

or a program for sleep. Not because the sand doesn’t grow.

Not because of errors in tidal judgments. The beach is either

an amphitheater for outer space. The ocean is either

a window whose plane we can’t help but to stare over.


Wednesday, May 26, 2010

Meth.

We're halving cow chips in '02 in the yard of your parent's parent's farm

Cutting the bullshit

Your dad inherited it and your mother is dead or left when you were 3.

There's a stale trampoline before the porch that Bob will vomit schnapps on in six years and I don't masturbate yet.

I get you and John confused sometimes. We don't smoke cigarettes.

You beat the shit out of that dog and cry when a truck doesn't stop.

I can't hold you forever.

Tuesday, May 18, 2010

untitled

Misplaced souvenirs.

A pile of paper scraps to

remind her of something she was once

a museum go-er, a concert

participant, a

lone train traveler wedged between the two

youngest children from a family of five. Her cache

of carefully kept stubs and flyers.

Displaced artifacts and

forced memories and the assurance of

This is where you’ve been.

My father stole 300 napkins from the Waldorf.

He packed them safely into his suitcase

and brought them home for his family to use at

mealtime.

My mother couldn’t imagine her husband of

25 years alone on the hotel’s double bed or

stuffing thick paper napkins with gold dragons

and lettering into the folds of his khaki pockets.

But I am not interested in them;

so remind me of who I was

once. Describe the person I was when you

were no longer around.

Maybe

there is a polyester dress and black tights,

with one large hole running along the

inner left thigh, underneath. And shoes:

one or two pairs in neon canvas you can imagine

me, on the streets of Paris, wearing. And the backdrop:

a sweet smell of fresh bread and cigarette smoke.

Crumbling concrete, piled trash and

the unapologetic traffic that refuses to

halt for the figure

only you remember.

Saturday, April 24, 2010

Gun Talk

You were speaking to yourself

when we passed on the sidewalk this morning.


I mistook the charcoal gray

flip-open telephone

held against your temple

for a gun.


Your index finger traced

one metallic side, pointed

at the place in front of your right ear

where the hair is shortest

and soon ends above the jaw.


Thinking your words might be

important to someone later on,

I tried to listen in.


I thought the ninety degrees of gun

was angled backward, widened

by the same trick that unhinges city blocks

so some corners feel like the longer side

of a skinny diamond and some corners

feel like the sharpened point.


Sunday, April 11, 2010

Monday, April 5, 2010

Abscond

Grandma Rae didn’t care much about the cleanliness of the house. It wasn’t discouraged, but it certainly wasn’t encouraged either. In the summer time she kept all of the windows closed and turned up the air conditioning because she didn’t like to sweat. It made her feel slimy. If she owned a pair of shorts, she never wore them. Most of her clothes were cotton with stitched on flowers or little yellow ducks. All of them were at least two sizes too big because she didn’t want anyone else to see the evidence and sag of old age. Grandma kept her house stocked with lamps, she liked to buy ugly and tacky lamps. Going to the flea market was a permanent weekend event for Grandma. Shortly after I moved in with her, I woke up to find a lamp with a multi colored stain glass base and a saran wrap looking shade in the shape of an umbrella residing on the coffee table next to the lemons. Grandma liked lemons.
My Mama dropped me off at Grandma Rae’s before she went to work on the days when I was sick. I was sick a lot as a child due to a weak immune system. I had infections galore. But that time Mama put me in the car with a suitcase, and I didn’t feel sick, just tired. The sun hadn’t even come up yet. In my memory I fell asleep against the car window wearing the pajamas with jungles animals on them.
Mama had wanted to put me to bed early that night. It was a few weeks after the men in the uniforms had left the house. They were already at the kitchen table with Mama when the baby-sitter had brought me home.
It was the same uniform that my Daddy wore sometimes when he went to work. There were two of the men, and they held their hats in their hands as they spoke to my Mama. Mama sounded angry. She told me to go to my room when I got home, but I could hear her yelling at them through the walls. They apologized over and over, but I wasn’t sure what they had done wrong.
I always did what I was told. So I worked on a puzzle in my room. It was a real stumper too. It was a picture of a seaside home. Most of the actual photograph was sand and beach, all one color. It was a trial and error sort of process. The sole on the bottom of their shoes squeaked when they walked over the tile floor and out of the screen door. When the screen slammed shut against the door frame the entire house rumbled. I heard her go into her own room and turn on the shower, and I heard her sniffle and blow her nose. But when she came into my room an hour or two later she was wearing the same clothes and her hair wasn’t wet.
“Hey kiddo, how’s the puzzle coming?”
“It’s hard.” I was hunched over the puzzle pieces on the floor under the window, and Mama sat down on the edge of my bed. She pressed her knees together hard, so hard that her knee caps were turning red. “Ben,” when I turned to look at her she patted her hand on the bed, motioning for me to sit down next to her.
The skin around her eyes was red and puffy, and underneath her eyes here were black flecks from her make-up. Mama kept sniffling, and the tip of her nose was red and raw from tissues. When I sat down next to her she put one hand on the top of my head gently ruffling my hair and the other rubbed a small circular pattern into my back.
“Are you hungry?”
“Yeah, what are we eating?”
“I think I’ll order a pizza. Does that sound ok with you?” Mama ordered a pizza over the phone from the kitchen. She changed into sweat pants and an oversized t-shirt, but Mama always wore nice clothes. Mama didn’t wear t-shirts and sweatpants except for when she was sick or going to bed.
Even though I was always supposed to eat my dinner at the table, Mama said we could eat our pizza on the couch that night. She set the pizza box on the coffee table in front of us, and we ate the pizza from the couch using just our hands, not even plates. I sat on the edge of the couch with my pizza in hand watching the television, even though I didn’t know what was on or what was going on. But mama stayed further back in the corner of the couch with her legs pulled up close and tight to her body. Mama was quiet too, she hardly said a word. She put the pizza to her lips without looking at it, and stared at the television without a word. Mama was quiet and different, I was afraid to ask her for a glass of water.


I always thought Mama was a little bit magic. In the evenings we always made a mess. She made her mess in the kitchen making dinner, and I reciprocated by making a mess while eating. Daddy used to yell at me because I was always getting food all over the table. And she never made me take my plate into the kitchen. “I’ll take care of it later, go play in the living room.” But when I went to the living room, Mama went with me. Sometimes we played board games, but usually we just watched television. When I lay down on the couch I’d grab the neatly folded blanket from the back of the couch and tangle it around my limbs. When Mama told me to go and get ready for bed, I did. When I got my pajamas from the bottom dresser drawer, I left clothes I’d worn that day on the ground. I pulled down the folded bedding and coiled into the soft bedding.
But when I got up in the mornings, everything was different. My dishes from the night before were gone. Not in the dishwasher, but clean and back in their place in the cabinet. Our table was spotless, as was the stove and kitchen counters. The board games were back in their place in the closet, and the blankets had been refolded and draped across the couch. It was truly impressive. And on top of all of that, when I came out of my room in the morning, not only was everything put back in its place, but Mama also had breakfast on the table waiting for me. Every single time. And better yet, when I finished breakfast and went to my room to change out of my pajamas, the bed was remade, and all of my clothes had been hung up.
I never caught her doing any of it. Only one time did I ever see her hanging up some clothes in my bedroom. Sometimes I tried to listen for it. After she put me to bed, I’d stay up listening to hear her putting away dishes or running the dishwasher, but I never did. And, still it was immaculate by morning. Until the men in the uniforms came to our house. The morning after that, everything was the same. Everything seemed a strew. And by the evening the dinner dishes from the night before had only moved from the table to the kitchen sink. A week later, most of our dishes were sitting in the kitchen sink. My clothes had begun to pile up on the floor. And in the evenings Mama sat on the couch alone watching television.

Wednesday, March 31, 2010

The Book of John

John Gourley, singer for Portugal the Man, entered onto a darker stage. His band—bass and drums and keys—followed. They started right away. Portugal’s sound was a pleading gospel rock. John’s vocals frequently broke into sharply-pitched falsetto and then a semantic obscurity like back-country glossolalia against a blues rhythm. The guy on keys and the bassist both spilled their voices behind him. The blend was haunted and gothic, like all the bible was a rock opera and all the apostles were bright ghosts who sang acid-laced blues on the street at night. It felt like the South’s old mystical religion, but blasted forward, cradled in modern cities, anxious about guns and gods at the same time. The songs were hard energy, and the stories each seemed to end in quotidian apocalypse, like if you told the story absolutely right one time, you’d be so shaken open by the experience that it could never exist again. That was the urgency, the critical importance of watching and listening: “Once you crawl in you’ll never come back again.”

I tried to read the tattoo on John’s skinny arm, right above the place where it crossed over the body of his guitar, but couldn’t. I tried to listen for every lyric but the syllables blended so smoothly I couldn’t group them together, like trying to draw lines on the color spectrum. Show me where blue ends, draw a line, show exactly, but I couldn’t quite, and the whole stretch of it seemed fine enough undivided. I could read them later in little books or on a computer screen, but it didn’t matter so much then. It didn’t matter either the shape of ink on his skin. It was good just to see and wonder about it. I’d heard that the guy had spent a lot of time traveling around Alaska with his father. Not the tourist kind of traveling, but the lifestyle kind where it’s not about collecting flashy toys or replicating photographs you’ve seen somewhere else. Maybe so much time floating around made him want to keep a certain thing close. Maybe it was a story he didn’t want to forget about once it was over.

It was hard to focus too long. Alternating flashes of red and blue backlit the stage like speeding police cars. As soon as a person was visible they were hidden in black again. It made everyone on stage seem equal. People disappeared and reappeared and no one got a spotlight. The stage was always moving, and it was easy to feel part of that motion. Thin strings of green and yellow light appeared at random and tracked carefully between faces in the crowd. Penetrable darkness hung between all the lines, all the networks of neon and sound.

The space was too small for anyone to feel distant. Even the bassist on the other side of the stage didn’t seem far, like I could reach him, like anyone could reach anyone else. The last time I’d watched bassist Zachary Carothers on that stage, he’d been even closer. He’d stood right in front of me. The room had felt lighter, maybe it was summer. It was probably summer. I was in high school. Zach and John had played for a band called Anatomy of a Ghost, a harder faster band where John screamed more often. It was wild music that made the musicians thrash around onstage. They kicked each other and collided and played as fast as they could. I took a picture of Zach standing in front of me, bending his body over backward until his torso was parallel with the stage and his head hung toward the floor, all perfect limbo. This seemed in direct opposition to the commandments of physics or god but he never stopped playing his bass. In their new band, the guys didn’t move around as much, didn’t feel so overcome by the music as to fight each other. I caught Zachary once though bending over backward with his bass, not as far, not all the way, but it was close to the picture I had of him. Maybe he didn’t have the muscles to go back as far anymore or maybe he didn’t want to.

It seemed a miracle at all that musicians played together for so long. The album I put on once every other month, or that darker album I only played at the end of long winters because it seemed like that kind of album, the band played those songs all the time, in June and April and September. My best effort at imagining the life of a musician was to take the album I played once a year and imagine it on repeat in smoky bars and old passenger vans, like the musicians couldn’t rid it from their minds, like they wanted to run from it but couldn’t. The songs were just always present or they were always playing them, and no matter how exhausting that was they couldn’t stop. They weren’t allowed to stop, just kept playing and hearing the music all the time, new bar, new city, the same songs all the time, so other people could listen to it just once. My best effort at imaging this lifestyle was to create a bludgeoning tragedy where artists cursed what they wrote for the days it gave them. Because I imagined musicians that way, it was beyond a miracle that anyone could play music for five years with the same people or ten years or twenty. But I had it all backwards. I thought the lifestyle was twisted because the presentation of it was so lovely.