Tag Archives: writing

confession: the nature of my crime

By Daniel Boscaljon
Image by Melissa D. Johnston

“confession: the nature of my crime” is the third letter in a series of posts called Letters to You written by Daniel Boscaljon with images by Melissa D. Johnston (from one of her ongoing projects). Letters to You began in July with “everytime i write i feel myself disintegrate.”

not the last time no by Melissa D Johnston

If I have, in fact, committed a crime, I offer this up as my confession and apology:  1) I am guilty for a lack of self-reflection: I wrote to you when I was tired, and the presence of sheer honesty obscured the level of half-truths in which we are used to communicating.  I’ve let you become accustomed to reading through what is there–and not the thing itself.  If in being purely honest I have misled you, I am sorry. 2) Instead of being honest and stating that I miss you and need to find myself in your words–the words of past or future–I decided to accuse you falsely of crimes uncommitted.  The truth is that i need to hear from you–to hear you address me, as me.  I need for you to fill voids in my life, unavoidably present, as much as I attempt to see past and through them.  My life is empty: I want you to fill me up.  It isn’t your responsibility, you aren’t obligated…but I want to think that you want to do this. 3) I desire to assume that I mean as much to you as you mean to me, even when I know that it is an absurd truth, and therefore far from the truth at all. 4) When you tell me the truth, I want to hear it all as lies.  When you lie to me, I wish to see it as the truth.  I wish I could be less human than this, but human I remain. 5) I told you that I would tend your garden, but I did not.  Weeds grew, unobserved, in the evening.  Should I have told you I do not know a flower from a weed?  Should I have told you that I think weeds are as beautiful as the flowers you desire?  Should I have told you that I was busy during that time period and couldn’t do justice to your instructions?  I told you that I would tend your garden, but my tendency was to sit and do nothing, allowing nature to run its course.  You knew this about me, however: in entrusting me, were you counting on my failure?  This, now, is my hope.6)  You said that you would return.  You promised you would come back for me: how was I to know?  When I was obedient, you stayed far from me.  In sinning, I merely wanted to see you once again, even to see you angry.  I would rather have you judge me than ignore me.  Is this a crime? 7)  I can be righteous for a moment at a time, but only a moment.  If you make me wait past these moments and I fall from grace, if I get bored with waiting and wander into unmarked deserts–is this my fault, or yours? 8)  I am guilty of being empty but wanting to be full.  I am guilty of trying to hide from the lack of reality in my life.  I am guilty of sleeping too little and dreaming too much.  I am guilty of not being ashamed. 9)  Instead of simply missing you, I choose to blame myself for imaginary crimes or blame you for a lack of attention.  If being human differed from being guilty, I’d offer this as an excuse.  Instead, I can only confess and testify this is so.

Daniel Boscaljon has Ph.D.s in Modern Religious Thought and 19th-century American Literature, both from the University of Iowa. His interest is in the fragility and liminality of human experiences. His first book, Vigilant Faith: Passionate Agnosticism in the Secular World will be published by the University of Virginia Press this August.

Dreamhealer

by Maria Protopapadaki-Smith

Field Four (for video)-Melissa D. Johnston

Althea awoke one morning to find that she had dreamt of nothing. Not in the sense that she hadn’t had a dream at all or couldn’t remember that she’d had one, but rather that her dreaming self had spent the whole night in a completely dark space, doing nothing, seeing and hearing nothing. She found it a little odd, but thought no more about it until it happened again that night, then the next, then the one after that. At this point she was more frustrated than mystified – aside from anything else, it made for an excruciatingly dull sleeping experience. After it went on for two more weeks, she was at the end of her tether and decided to do something about it.

Three puzzled sleep specialists later, it became apparent that this was not the route to go down. She tried many different things, like watching horror movies and eating cheese before bedtime, but none of them worked. The only thing that did work was staying up all night, but of course this could never be anything more than a temporary solution, and the empty dream always returned the next time she slept. Nevertheless, she treated herself to a sleepless night every few days in the hopes that it would slow down the rate of her mental breakdown. It was on one of those nights that her haphazard internet browsing led her to the Dreamhealer. Recurring nightmares? I can help you. I can make them go away.

Had she chanced upon this website before the empty dreams had started, she would have immediately dismissed the man as a charlatan, much like those who take cash from grieving people in exchange for a faked conversation with their dead loved ones. Desperate times called for desperate measures, however. The man claimed to be able to fix all your dream problems by invoking the ancient spirits, and since modern day spirits didn’t seem to be helping, she decided to give the Dreamhealer a try.

He was different to what she had expected. She had been convinced he would be one of those charmer types, sporting a garish tie and a smile that boasted expensive orthodontistry. Instead she found a man who wouldn’t have looked out of place as the lead character in a gritty Western movie. A lone ranger, for sure. He couldn’t be a happy man, she thought; not with that look in his deep-set eyes. Here was a face that had long ago forgotten how to smile. Perhaps he had dealt with too many of other people’s nightmares over the years. The thought stirred some hope in her – maybe this man really could help her. Maybe he was not a charlatan after all, but a genuine healer of dreams.

The Dreamhealer took Althea’s hands and made her touch her forefingers to his temples. He told her to keep them there and apply a little pressure. He placed his own forefingers under her earlobes, as if he were taking her pulse. He locked eyes with her and she had to work hard to suppress a shiver.

The chant took her by surprise. She couldn’t understand a word of it, and it sounded like no language she had experienced, but she could have listened to it for hours. His voice, which had been gruff when he spoke, was deep, low and beautiful as he sang. It stopped abruptly and she felt something snap inside her. He jumped back from her and doubled over, retching. After that had passed, he stood up straight and gasped.

“Is…is that it? Is it done?” she asked as soon as she could see he’d caught his breath. He nodded, looking exhausted. She picked up her handbag and took out her wallet to pay the fee they’d agreed on. He shook his head and held up his hand.

“This one’s on me,” he said, no louder than a whisper, and walked out of the house without another word. Once she was alone, Althea wondered if she was imagining things, or whether that had been a hint of a smile on his face.

That night, she dreamt of being the guest of honour at the launch of an enormous battleship named Planet, and awoke the next day feeling better than she had felt in ages. Even when the doorbell rang before her first sip of coffee, she answered it with a smile and a spring in her step. She accepted the box from the delivery man and signed her name in the device proffered. It was a very light box. She placed it on the kitchen table and opened it carefully. Inside was a single red rose and a handwritten note.

Thank you, Dreamhealer.

Maria Protopapadaki-SmithMaria Protopapadaki-Smith likes to take herself and her readers to other worlds, or at the very least to the dark edges of this one. Spend some time with her at her blog Mazzz in Leeds, Twitter, or Facebook.

TEXTUAL · ARTIFACTS · SERIES

by Peter Ciccariello

ABOUT THE SERIES

Works in Textual artifacts are created using an array of 2-D and 3-D software programs and take their inspiration from common methods of archeological excavation. Just as ancient artifacts are deciphered through the recovery and examination of the remains of a culture, environmental data and detritus that they leave behind, these image artifacts represent the remains of poems and writings that have been eroded and battered in a digital process. That process attempts to dissect and deconstruct a text and then reconstruct that text as an evolutionary image. The final visual is created by digitally mapping the image with a copy of itself, in a sense, forming an archeological topography of the material essence of the image. This visual topography, created from the value scale of the image, is excavated from within the process revealing the remains, historical marks and gestures from the original source data. In this way, these images become metaphors of themselves, just as the incidental evidence of our human ancestors provide a reflective metaphor for our own lives.

A NOTE ABOUT PROCESS

This art is defined by process, a hybrid of the essential elements of painting, photography and writing. The digital matrix that is created is at the core of this work, provides a new form of plate printing, a virtual digital matrix that functions as the film negative in photography or the copper plate that is the basis of etching, intaglio and engraving printmaking processes. This digital image matrix now provides the possibility to be output from 3-D printers and realized as free-standing sculptures or in this case, sculptured wall hangings. This unprecedented freedom of instantiation provides the artist with the ability to output multiple types of art realized from the same original matrix.

In this sense, every instantiation of the matrix is an original with the unique aura of the artists’ conception. In an age of ever more sophisticated reproductive technologies the image matrix becomes the postmodern link to the artist’s hand. The abstract schema that becomes an imprint is akin to personal writing, instantiated as a new private language – part sign, part symbol and part code, this image surface becomes a non-navigational road map of fragmented and disassembled narratives, disruptive and de-centering yet at the same time oddly imbued with an inner, familiar, and abstracted order.

sister queens

sister queens

tiny disconnects

tiny disconnects

map of the kindness of strangers

map of the kindness of strangers

body as locus

body as locus

raining tache

raining tache

blue scrawl poem

blue scrawl poem

 homage to brancusi

homage to brancusi

after tender buttons redux

after tender buttons redux

poem totally destroyed

poem totally destroyed

soft poem after ryder

soft poem after ryder

trash

trash

mushroom

mushroom

Peter Ciccariello

Peter Ciccariello finds his inspiration in the fields and forests of Northeastern Connecticut.

His work explores the fine lines between image and text, and is in constant inquiry about what is and what is not poetry.

Ciccariello’s work has appeared in print & online, in amongst other places, Poetry Magazine, Fogged Clarity, Hesa inprint, Leonardo On-Line, National Gallery of Writing, and also appeared  in the 2013 issue of MAINTENANT 7, A Journal of Contemporary Dada Writing and Art.

New work gallery – http://invisiblenotes.blogspot.com/
Poetry and writing – http://poemsfromprovidence.blogspot.com/

You can find my art and writing updates on Twitter
https://twitter.com/ciccariello On Facebook – https://www.facebook.com/peter.ciccariello

Characters: X and I (and you)

By Daniel Boscaljon
Images by Melissa D. Johnston

“Characters: X and I (and you)” is the second letter in a series of posts called Letters to You written by Daniel Boscaljon with images by Melissa D. Johnston (from one of her ongoing projects). Letters to You began in July with “everytime i write i feel myself disintegrate.”

rothko experiment mother and child three.1.3

I know you to be a fan of neo-pirate cultures: thus I’m sure that you’ve heard the phrase, X marks the spot.  On a treasure map, the treasure site, hidden from sight, was always demarcated with this character.  Something similar, of course, occurs in the English Language, except that in common discourse, I marks the spot.  I am a cipher, a character.  I enter into the text, formless and empty, a spirit hovering over (and not within) the page.  Over time, you learn things and gradually my I takes shape and dimension.  But I don’t exist in reality, just as no X is ever imprinted onto the ground.  In maps and charts and texts, such characters hold significant value…but both I and X prove to be equally difficult to find.  You are such a character as well.  I thought I knew you, and knew you well.  And one day, I wake to find that you had gone, long ago.  The treasures that I had–your voice, your laughter…your insights and your sense of humor–these you had taken from me as well.  I would never have expected that you could laugh in such a hollow way, or hug me as only a distant or nervous acquaintance could.  I wanted to feel it as sincere, but this was denied to me.  In stealing your presence, you stole the past from me as well.  My memories of you are tarnished–was I deluding myself about our friendship all along?  What did I do that could make you run from me?  I would rather blame myself, of course, for a specific action or comment than realize that my ability to judge others is flawed.  And yet…even now, I cannot blame you.  Characters change.  I can become you, and be you for another.  Time passes and the sand shifts.  The map designates a space which existed once in time, but no longer.  The X remains forever arbitrary, and just as X, you.  And just as you, I.  When I judge you, I judge also myself and we all are guilty, every one of us.  Tragically, however, when the sword of judgment descends I will have your laughter in my ear, and while on the surface it may resemble the musical sounds in which I found solace, I know that as I dig I will find only hollow tones which mock me until I end.

Daniel Boscaljon has Ph.D.s in Modern Religious Thought and 19th-century American Literature, both from the University of Iowa. His interest is in the fragility and liminality of human experiences. His first book, Vigilant Faith: Passionate Agnosticism in the Secular World will be published by the University of Virginia Press this August.

 

everytime i write i feel myself disintegrate

By Daniel Boscaljon
Images by Melissa D. Johnston

“everytime i write i feel myself disintegrate” is the first letter in a series of posts called Letters to You written by Daniel Boscaljon. His writing is joined by images from an ongoing project by Melissa D. Johnston that incorporates similar themes from a different perspective. We hope the two create an interesting dialogue for the reader/viewer.

rothko experiment B1.1.2a

i write to you here partly because i know that you will not read it.  you do not have the time to drown in my oceans of words, to work through the sentences and sentiments that i wish to put forth.  i write, nonetheless, in the hopes that perhaps others will benefit from the words meant for you.  these words are all my flesh made text: each time i think about you it is almost always in the words i wish i was speaking or writing, words that i want for you to hear or see or feel.  i want my words, like my hands, to be able to touch you: i write despite knowing that they do not and cannot.  i open my veins and watch the words spilling out onto the screen, pouring from my heart, pumping outward, showing up in so many fragments.  words and spaces, black pixels separated by white spaces all so someday when you have the time and emotional energy i can attest to the fact that i never left you behind but was waiting to do anything i could.  everytime i write i feel myself disintegrate from an illusory whole to a mass of differences and separations.  a text is not any sort of unity.  the words and worlds swirl out of me and i lose myself in them to find myself out of them, to show you who i am through them.  this is all that i can do.  i write my flesh made words: each is an opportunity for a certain sort of consummation, a meditating mastication, thoughts for you to chew through, food for thought.i want you to devour each of these as a message for you, to taste me through the bland universal medium of language, to see my fingerprints in the phrasing of every sentence and the choice of every word.  rothko experiment B1.1.2awhen you miss me, i want these here for you to find, to take comfort in, to relish, and to remember the times when conversations could be held face to face.  these words are mirrors: when empty, they reflect the emptiness within me.  when exhortations, they reflect the strength in which i long to hold you.  when full of laughter, they reflect the echoes of the joy you once introduced into my life–for nothing inside of me can any longer be separated from whom you have let me be.  these words and letters are my own private army, and i am their general: i command them and send them forth into the world on a mission to convey the message of love able to be seen and heard throughout the world.  their failure is a reflection of my failure.  it is possible that these words unread merely lie dormant, as a spy in an enemy nation, waiting for the right time to take charge and complete the message.  it is equally possible, however, that they are an army which will expire without the resources that you would bring to them, that unread they will be squandered, and that the corpses of the words will be found too late becoming only a curiosity to be enshrined for tourists within a museum.  rothko experiment B1.1.2aevery series of words and letters are an attempt to form a bridge to you: they are my workers which move from me into the abyss of silence, working their ways to find you in the hopes that they will connect.  i am rooted to a million bridges, spanning from my soul into nothing.  the bridges never close: my heart continues to love through them, despite the fact that they lead nowhere and into nothing, in the hope that someday all of the bridges will once more connect to you and we will once again become one.  what else can i do? i write here in a space that you cannot see, in a medium that can be destroyed, with anonymous words that can be lost and misconstrued.  i write for a you who does not currently exist: each message is a message from who i was in the past to someone i hope to find again in the future.  will you read this tomorrow?  next month?  in ten years?  when you read, will the bridges still return to me, or will they be magnificent edifices cutting through the nothing, supported by nothing on either side, hanging silently and orbiting in the vast void which has become our lives?  i cannot know.  i merely trust, and write. i am the words that i write, and i can do nothing else.  this is all i have.  you read all that i am, stripped naked before.  vulnerable.  and now what will you do?

rothko experiment B1.1.2a

Daniel Boscaljon has Ph.D.s in Modern Religious Thought and 19th-century American Literature, both from the University of Iowa. His interest is in the fragility and liminality of human experiences. His first book, Vigilant Faith: Passionate Agnosticism in the Secular World will be published by the University of Virginia Press this August.

The Giraffes Escape

by Samuel Peralta
giraffes

Promenading down the boulevard, that early
June morning in Amstelveen, down
Piet de Winterlaan, miles away
from the circus pitch before the trainers
have caught on – we see the vista

from our coffee room window,
a splendid procession bridging the street –
fifteen camels, two zebras, a clutch
of llamas, a shuffle of elephants,
and loping in the lead, the giraffes.

Having kicked down the gates as if you were
at Mt. Ararat, still waiting for those pigeons
to return, not knowing if they even would;
fenced in from all sides without the sight
of sun or sky or boundless savannah;

huddled together in eighty square feet
of sweltering cabin-space; surrounded
by the spoor of lions, the howl of
cheetahs, the baying of wolves,
the ominous stare of vultures.

All this, for interminable days and
interminable nights, hardly getting any sleep,
with the hippopotamuses hogging the haybales,
the terrapins nipping at the trough,
the koalas stingy with the eucalyptus.

Something snaps, and suddenly
there you are, kicking at the cubicle,
loosening the boards, behind you the cries of
Shem, Ham, and Japheth as they try to wake
their father from blissful oblivion.

But none of that matters, none of it but for that
moment when the barricade falls, when you are
striding across the veldt, past office stalls,
through diluvian wave, when you are –
for that first, magnificent moment – free.


image003Samuel Peralta, also known as @Semaphore, is a physicist, technical business leader, mobile software developer, and the award-winning author of “The Semaphore Collection”, whose current titles – Sonata Vampirica, Sonnets from the Labrador, How More Beautiful You Are, Tango Desolado, and War and Ablution – all hit #1 on the Amazon Kindle Hot New Poetry list. Published in numerous journals, his literary honours include awards from the BBC, UK Poetry Society, a Palanca Award, and shortlists for the League of Canadian Poets, the Elgin Award, and ARC Poem of the Year.

Website – http://www.peralta.ca

Twitter – http://www.twitter.com/semaphore

Facebook – http://www.facebook.com/semaphore1

Pinterest – http://www.pinterest.com/semaphore

Amazon – http://www.amazon.com/author/samuelperalta

Copyright © Samuel Peralta. All rights reserved.
Author photograph by Grace Mendoza.
Giraffe photograph via Wikimedia Commons.

Rite of Spring [4-20- (13)]

by John Selvidge

Rite of Spring, Reading 1:

Rite of Spring, Reading 2:

There are multiple readings. Make your own! Click here for a larger version [pdf] of Rite of Spring [4-20- (13)].

RITE OF SPRING_4-25--jpg



John SelvidgeJohn Selvidge is a poet, writer, and salesman. A member of the Atlanta Poets Group, he currently lives in Oklahoma City

Swimming with the Helix in Laughter

by J. Celan Smith
Images by Melissa D. Johnston

helices, enigma ii: imaginary borderlands by Melissa D. Johnston

helices, enigma ii: imaginary borderlands

I. Others: with

They are there, with us, creatively marauding our solitude. We carry them like extra hearts or like a bowl of sour fruit. It depends. Yet focus on the precious and everyday. From outside, where they meet us, we absorb them. Their forms, their words. Interiorized. We enter, joining them to our twisted strands. From then on, we are intertwined.

Maybe just an inner blimp of memories, their existence cruises in and out, never leaving our cardial space. Our lake grows full with their water. Not just any other: the important ones. Thin or plump, jocose or reticent, tough or tender. Often we swirl with them, eddies coyly dancing. Gradually, sometimes, they shadow away, tides leaving tiny caves like crab-peck in our sands. Where? We wear their skins as our own, cloak upon cloak of other lives placed in layers around us, whether we love or hate. To ourselves we seem made of this agglomerate, patchworks of influence, variance like stars of different color and size, which we sow as texture together into woven tapestry. Merged with them, we are quilts reflecting some story. As if all, unexpectedly, suddenly, participates in the magnitude that domes us, our carapace, testitudinous and hardened, this world, whose living eaves we try to breath under. The shell does not hold us up like Japanese mist, but, encompasing us, it communes with us. At times, a breeze that barely touches; or inundation, erotic immersion. The strangeness stays. We are exotic as those arenas of ancient beaches we’ve heard about out of which blueberries and mangroves grow. In the distance, a seascape armed with swimming dolphins, drifting islands.

Our territory is elsewhere, isn’t it? Even in the with of another? No surf of sameness, like docetic ideas that refuse to stroke us unless we pay homage to intelligence. But beyond the abstraction and tedium of days, past routine and hours of immutable scenery, something more fluid and special may surprise us. Laved expansive in bursting waters that froth and lose their calm, until we, within the swell of such a miracle, start to gambol like morning ducks in the river’s white rapids.

They encounter us. Bodies that crest against our shores. Interpolations that heave in the static painting. We receive, when thrown back. Modulations that brush our picture. Touchable symbols, enfleshed mysteries. The other approaches from elsewhere, body draped in linen, dripping and singing a stringsome song. The oracle appears in every day. Message shines through eye like light on falcon’s wing in afternoon, afterthought coming through the arched window of some red temple in wilderness. Tokens from faces opaque, not angelic, that spin horribly with tidings we can no longer decipher anymore. Though mostly the other has wiles where play their secrets.

Everything, he says, is matter. Even the intangible, the hidden. Ideas cast smells like clay on a shovel tip. Spirit has its perfume. Not will or power, but heart it is that rushes out to greet the foreign. We have often forgotten. Aren’t we, here, all so much steam and sameness? Driving the same teams of wind? As if it required an opposite of impassible alterity to discern something to praise! The screens teach us what to be, if we let them. We act as if eternal tomorrows will greet our vision. Are we listening with cupped hands to the absolute as it crumbles into ocean? To that cataclysm, the mountain that dreams of drowning? Or an island that wants to be a fish? Are we afraid, so afraid, of the real that we pretend, by virtue of the virtual, to be other than birds who are terrified of air? Or hoping, desperate, as if something might change, do we pray, do we still pray at all? Do we seek the bolt from clear source, levin from vacant blue? Run into summer freak! Tell me if it is incorporeal! That once our sky has unseamed itself for aperture and promises no regression, but passage through. Or once the earth has shattered upwards, that fall into soil’s gape that will take us to the wonderland of the Real.

Together is our desire. A dwelling with, a relation. Far from hermitage, beyond those nooks of seclusion where for a time we gained our strength to know minuteness, our presence, our humble roar. Only we, enthralled to rich pools and practices of protections, unopened until the blackness engulfs us–too dense for the frivolous–we neglect to notice. With daedalian smiles, blind and wicked with mazes, may we rise to the closer thing in our midst. In love to what is worth loving, in a kind of wafted waiting, ceding no place to amusing trickery, we thrive. For it arrives as we stop and stand on the station, the scent of juniper and sage smacking our paused faces, on a platform which moves toward the slow train.

There is no knowing, but travelling headlong into the other’s enigma. Expressions, like the width of unknown galaxies, that are indecipherable. Every favored moment, heightened with elation or dampened with depthsome wail, is a telling of the uncrossable. Let us adventure, nonetheless, across the gap! Let us plunge forward into people we so little grasp, the obsidian scepter of our gestures held as passport and talisman before our chests, one to another, trying to speak with exotic signs. This is what time gives, if anything. Our wisdom should take us to such baptisms by ice and by fire. Through, we draw nigh. Through, and with, gathering our thumbs like thread pushed through a needle, we poke the unillumined space, paradox of shimmering darkness on the other side, and it is our laughter, that may never subside, that carries us in the smoke, wild as mustangs haunted by barn burning images.

I can cross to you, if we aren’t mistaken.

Few survive the atramentous dive it implies. But I am mistaken, always.

Mostly, we wander, uncrucified.

Imagine us: trying to be-with-others. We walk along a ledge at the melting cap, shoed in plastic on margins of ice. Slick ground of rocks glares up, desires so coldly to slip us over. Stable or unstable, relation works in friction beneath the glittering facade. At night, there is always a threat of more snow.

Elsewhere inside this world, a place of real contact. It is sublime or transcendent, both extremes at the intersection with here. A nexus. The meeting point. Between home and exile. Its distance, illusory yet immeasurable as dreams, for seemed difference obscures the real of otherness. You, not you. I, in body or out of body. As if any knew. We feel. There are motions sometimes, and rests. Our senses reach to hold. That is their nature. There is grit in sinews, a nervous shiver within the coils. Are we capable of being-with? Even we, who have “been with” for so long? Can we make the coil safe from unravelling?

I’ve seen colors, as yet nameless, fly out of the hearts of beasts and beauties alike. I’ve heard a rain of sirens from tongues that tried to spit what it was. The moments know no words, just a music of despair or elation, just a silence whether bored or delighted, for to utter what happens is memory, already behind, fleet and gone like a ghoul’s grin when the light snaps on.

So it seems best, mostly, to stay sacred, doesn’t it? To remove, purify, simplify. To eeke out at the borderlands of suspicion and censure, where the weird life can be condemned only from the loud center that needs its noisy judgments. To believe elsewhere, in the real matter, where love is tolerated and poems bloom with seeds of strange insight! To heft the weight off and levitate! Where is this harbor? Where, this carrefour of ships’ encounter at dusk as the owl takes its flight? Innocent, we wonder with unminced gaze, no anger that would burst the quiet incomprehension. We let sacrifice in silence answer the inquest. We can give little more. I’ve taken no bridge from here to there. The chasm requires that wingless leap, unballasted, unstructured, into air. No reverie of thoughtful contemplation, no past-time buried in nostalgia, but the pure canteen of experience nectared into our mouths as the virgin taste that it always is. For it occurs but once, once only. Then somehow, over and over again, drawing soft streams each time from the rock’s authentic eyes.

helices, enigma i: fragility

helices, enigma i: fragility

II. Nature: between

Who knows if owls cross into day when their eyes are more rapt with blindness? Or does the tree provoke winter’s end, that cold wedge, as its roots empounce those stones like a spider’s meal? Nature, the destroyed, destroys with patience. It shreds the bones around softened minds, sensitive sheets plinked to shards like tempered glass clashed against a callous edge. False orchards are built of thinking stone. So let us forget to think and hike! Down tumbles the calamitous veil, made of mineral, pulverized to dust where once it hung, deliberate and inflexible around every still object. We cannot move without its first moving. It must crumble, seducing us to selves that stand in witches’ broom or that laugh like medusa’s feral heads as we collapse madly in an orchid’s violent clasp.

Do my eyes deceive me? Does the river churn around tombstones? Or is it dead already, silent and dried before the bodies of giants were ever buried? Not morose, but splendid! Its face gleams with grandeur as we peer from towers we have not erected. Such vistas take effort to get to. Austerity is a forgotten pattern, except in the strong who venture out, hungry for life. We stepped up ladders formed by labyrinths or rhizomes while a mountain grinned in the distance at our slow progress, its white teeth dangling in wide mouth that as the day grew warm came crashing in shrapnel around its bluffy feet. Nearer, ice onions sprouted, and, inside the walls, frozen tadpoles began to wriggle free of gelid coffins. Upward, we trekked as though ascending pagoda, some built inflorescence on the upper crown of earth’s stalk where sanity is exchanged for sanctity. What worshipped there once, on ground the gods would walk? I heard them, holy yet talking! A chorus of mighty feet! There on the tall ridgeline, summit of enchanted encounter. I saw them among mossy gardens that kiss all stellar nights! Who venerates these totem deities that sway untoppled, apex beyond where wings would be needed to go higher? There where worlds end and begin, interwoven, a bay of crosscurrents to give us intercourse. No wonder the priests made ziggurats. Here, we have our temples already made. Yet have we the courage to climb into suspension, a thin lamina, string of silence swinging us between two spaces? Can we cease to talk and start, in that caesura, to listen? Let us elide ourselves. Let our tongues become dots that signal disappearance, erased from the noisesome fray. Maybe vines will take our judgment, haunted with urban excess, with selves at large, void and vain, taken into verdant lairs where insects sleep majestically, curled like dreaming pixies. Something other than us or than keening erinyes will cause our skin to quiver. Something like a different voice beneath new maps of blood, capturing that frontier “invisible” as we tremble at the gateway, hesitant always, knowing nothing to do.

Beauty and terror go hand in hand, don’t you feel? Whether with us or between nature. Complexly muscled, its sources ripen our human fruit. But we are stricken at what we may lose. To us, the valleys seem as lost rivers branching out, discovered but never understood. Let us hike into the between! Let us go while there remains that mystery of the pristine! Peerless, it does not match our concept. It is impulse, rather, and attraction. The wild things, arcane and fascining, are nature’s wish for visitation.

helices, enigma iii: breathless breach of reason

helices, enigma iii: breathless breach of reason

III. Enigmatic Levity of Laughter

Must we sneak our way into essence? Not ours, but the other’s, if possible? Can we, from essence to essence, puncture the membrane between particle and particular, pulling back the excess like tape? Surface ice, the other is excrescence that grows around us, adhesive body flung at us from objects we flee or swarm. Like bees. Beeswax and honeycomb. The self in its coat made of hives. And with, are we capacious with that width which goes from mind to deeper hosts? I feel you. I “see” you. You are there, specific and glowing with touchable pieces, nothing generalized but distinct, unique with breath of unknown flavor, with soul of mysterious sound. Your aroma, which I inhale, my partner, is the scent of flowing fragmentation. Sympathy is not right. You humble me because you are different. If you thought of me as enigma-breaker, as code-cracker, grant me the status I seek in you. One who has another set of substances, not here, elsewhere, more proud than my lips could manage. Grant a similar lenience, license to explore what the wizards that sing at the fringe of dark forests dance to. Within expands a form too subtle not to make us afraid, too bachanalian not to fascinate with dread thirst as the storm pours forth its slashing rain, strummed against this strangeness where another “I” stands as witness to the natal moment. My ears are listening for an unvirtual hum. My eyes, steadfast, do not sizzle. They are cracked as though blessed by drying wildness. They ache against the space between all things, illegit, imposed, ruthless space, between, where immortal films of added light keep imploding the abyss. Eyes full of fissured recordings like omni-chromed darkness and the stars of illusion within it. With each approximate knockout, the vehement blade of shadow, tenebrous and timid, darkles until the sway of visions returns the sky to its original, tranquil chaos. All things inside are rutilant with brilliance. The breathless breach of reason unknots our laced souls. Let us celebrate what we are unable to admit: between us, a boundary persists.

At best, the curtain parts, ever transient, at points along the way.

Laughter comes, marking this:

With one another, and between nature, we fertilize the helix we must become.

————

J. Celan Smith

Photograph by Valerie Streit

J. Celan Smith is a global nomad whose novels and poetry have been published at Smashwords. He studied psychology, philosophy and religion in graduate school before turning for reasons of truth to poetry, love and beauty. Currently he is working on a non-fiction book about the history of beautiful words. He makes his “living” in landscaping where he can exist outdoors in the fresh air, close to birds and stars. He currently resides in Asheville, North Carolina.

Accismus

by Myke Johns

Accismus by Hilary Kelly

 

The crow took flight, not knowing where it was going.

 
The girl had left home in a similar manner. She had shouted that she was off for a walk, the punctuating door slam throwing up a roadblock between her and home. She realized that she had no plan beyond leaving. So she left.

Eight blocks away was the park, a sprawling green space that eddied and dawdled like a summer afternoon. The trees and grass invited her in and she followed, hoping to lose an hour.

 

Above, a call and black wings shook the high pines around the east end of the park. The crow pecked at some sap, bored. She walked down the path below and circled the tree, running her hand along the trunk. Her hand strayed behind her and she shouldered the pine, spreading both arms around the rough pillar. She sat down, and as she looked up and scanned the branches, the crow leapt from its perch and spiraled down towards her.

She gasped and nearly lost her balance, her arms giving way behind her back at this sudden break in the still sky. Eyes shaded and narrow, she admired the bird–watching its slow descent. Its wings were spread wide for resistance–a black blade against the green and blue above. It landed at her knees, shook its wings and cawed.

“Hey bird. Hey bird.” she said. It cocked its head back and forth, examining her with both eyes, then looked at her dead-on. “Where have you been today?” The crow ruffled its feathers and rasped and barked. “That sounds exciting.”

A door slammed somewhere–a car on a nearby street. She whipped her head in its direction. She was back at her house–where the yelling was–deep there, in the womb of her beddings and headphones and quiet music. The yelling was usually outside of her room, between the other two. She’d learned to lie low. But every time she heard her name, muffled by all the layers between her and them, she felt like a catalyst. She wanted to explode.

“I’ve been cooped up in a house all day with people who don’t like me much,” she said to the bird. The crow sat still. “They just…” She thought of their faces but could not see them. Their voices rang wordlessly through her, as incomprehensible as the call of the crow. She let it swirl around, quiet, then ease from her nostrils like bitter smoke as she exhaled. “There’s nowhere else for me to go. I’m…” she looked down at the bird. It was staring intently. “I’m talking to a bird. This is the best conversation I’ve had all week.”

The crow stretched its wings to half-span and hopped awkwardly toward her. A flurry of wings and a surprised shudder and it was perched on her arm. “Hey! Hey bird!” It fought to keep balanced on her forearm and looked into her face. The animal’s round black eyes betrayed nothing–she could read nothing in the ancient architecture of feathers and pebbled skin. The crow bent down and pecked at her arm. “Ow! Fuck!” She shook, but the bird gripped tighter, its talons digging in, drawing blood. It pecked again, this time loosing a beakful of skin. She screamed and grabbed at the bird’s neck, but the bundle of muscle and will power drew its head up, pulling a thin strand of flesh.

She pulled at the bird harder, this time yanking it from her bloody arm. It dropped her skin, but managed to snatch it in one claw and hold fast. “What the fuck is wrong with you?” she yelled, and the crow took flight, not knowing where it was going.

The tangle of sinew became wound around the bird’s claw and knotted there. At the other end, she stared in horror as the slender thread pulled from her arm as yarn from a sweater. She found herself focusing on the sensation. The tugging, the pulling away–it felt like a continuous ripping, an old scab being peeled off. The crow flapped against this anchor and pulled more. She gripped the sinew and held fast and raced for a way to free this animal from her body. A sharp yank and a screech of frustration from above and she pulled back defiantly, sank her teeth into her own lost skin and bit hard. It was less painful than she thought, like the flaking end of a hangnail, but the skin stayed firm. The crow pulled harder now as it caught an updraft and soared into the sky. Circling above her, she felt herself unravelling as the bird stole away more and more. The line of tissue travelled up her arm, around her shoulders, and down her back, pulling so fast it nearly lifted her off the ground.

As the tissue tore away from her back and she felt it spiraling away, the pain bore a new sensation. She felt a pressure between her shoulders–pounding from her spine, it felt. Her skin unraveled and thinned and the pounding inside drank in the cool air. Like mountain wind billowing into the mouth of a cave. She inhaled sharply.

As quickly as the strap of flesh had peeled away from its purchase, her skin drew taut–from the slender thread wrapped at the crow’s foot, through the naked air and down down down to the center of her back. An unpleasant twang reverberated through her chest, in sympathy with her reluctant and airborne twin. The thin line of tissue stopped, anchored right between her shoulders.

The bird was surprisingly strong as it strained at her skin. She danced in each direction it pulled as it circled in the air and it in turn flapped and bobbed at this awkward ballast. As the tether strained, she was pulled to her toes. The air involved itself with a gust of wind, pulling hair across her face and as she spat and brushed, the crow followed the breeze. There was stumbling sideways like a newborn fawn, but then her legs were carrying her after the crow. It felt as if she was being lifted off of her feet, her weight reduced, gravity losing grasp. Her strides grew longer as she ran, until she was bounding over hills with barely an effort. Was the bird leading her, she wondered, or were they moving in synchronicity? Leaping from footfall to footfall, she spread her arms, fingers wide and palms flat. The wind moved through her, swept under her and the strain on her back tugged like an invitation.

At the crest of a hill, she jumped and the sky received her. She felt only lift, only equilibrium between land and sky. The crow carried them and she looked at it and it cawed down at her. She reached up and grasped at the tether between them and began to climb, looping her ankles under her, straining to pull up and up and higher still. As she climbed, the crow took to the clouds. They cleared the treetops and the town below. The rush of cool air filled her ears. It stung tears from her eyes and higher she climbed. When she got to the crow’s feet, she held onto them. The bird looked down and opened its beak; its maw yawned wide and engulfed her. The crow struggled to fly with a girl in its belly, but inside, her hollow chest and strong arms found new homes. When she opened her eyes, she saw straight ahead, the blue of the world reaching farther than she’d ever been able to see. Testing her arms, she flapped once and her new wings beat against the wind. She laughed, and a brand new call echoed against the earth.

Myke JohnsMyke Johns is a radio producer at WABE, Consigliere of WRITE CLUB Atlanta, and the man in charge of screaming in the band Mice in Cars. He also writes things down at The Occasional Triumphant.

Savage Uncertainties On The Road Home

by Walt Pascoe

And but so yeah.

Having recovered nicely from the insult of surgery to resect 10 inches of my large intestine, I was more or less happily bobbing back up to the surface of my murky little emotional pond. It had been disappointing to learn that cancer cells were already frolicking around my lymph system like unruly children, and that the tender wisdom of western medical modalities dictated a course of prophylactic chemo. But after a brief time for contemplation and acceptance I’d come to terms with “stage 3” and prepared myself accordingly. There was the relatively minor surgery to insert a semi-permanent, sub-cutaneous port in my chest for easy access to a major artery, and the inevitable institutional waltz w/ the doctors office and insurance company to pre-approve this gold-plated poisoning. And finally a couple more visits to the various scan-masters for more complete head to thigh reconnoitering of my tender corpus, in order to be doubly sure there were no other cancerous redoubts hidden under a rock somewhere. All this transpired in a relatively compressed time-frame, the doctors and staff proceeding w/ an admirable, if not entirely reassuring, sense of professional urgency. And so it came to pass that my oncologist only received the latest reports the night before I showed up to begin chemo infusions.

The six-month course of chemo for my particular cancer goes by the vaguely militaristic sounding acronym FOLFOX. Essentially it involves kicking back in the coolest recliner you’ve ever seen while various anti-nausea meds and the main chemical arsenal are deployed sequentially for a few hours. (What is it with all the battle metaphors?) One of the meds is more effective if administered in small bursts over 46 hours, so before you’re allowed to leave a pump is hooked up to your port and you wear this home. Its a robust little programmable squirt machine that looks more or less like the FedEx guys’ scanner, and you get to wear it on a belt around your waist or over your shoulder. So much for any shred of sartorial hipness I might have been clinging to in the waning years of middle age semi-decrepitude. On the bright side, the pump makes a rhythmic clicking sound which, while lying on the bed next to me at night, is not without a certain comforting intimacy…

“Incantations on the Road Home” 48”x64” Graphite on gessoed panel

“Incantations on the Road Home” 48”x64” Graphite on gessoed panel

Wait… what?

But I’m getting ahead of myself. Turns out there was in fact a further metastasis. Stage 4. Another decent sized tumor wrapped around a bronchial tube near the entry point into my left lung, snuggly nestled next to my heart; a weirdly poetic location given the stressful mid-life transitions I’d been enduring of late, but one that rendered it inoperable. So a second biotherapy (a monoclonal antibody called Avastin) was added to the FOLFOX chemo regimen, all to be administered over a 6 month period…

“Raven Gets In” 48”x60” Oil on canvas

“Raven Gets In” 48”x60” Oil on canvas

“I always put lime on the people I kill. Wait… are you calling 911?” ~ Drunk guy in a Mexican restaurant, as related by my friend Melissa Johnston.

And so it seems that cancer has created the mother of all liminal spaces in my life. And it is from this strangely pregnant territory that I peer out into the… I want to say abyss… but like so many words now it seems inadequate, overused, and worked to within an inch of its word-ly life by the incessant hype culture hum we wallow in. The title of some crappy movie, complete with cross-licensed plastic action figures free w/ your next Happy Meal. And seriously, how many of us ever reaches beyond the tremulous shadow of the concept and endeavors to actually process this deep down inside our whirring, buzzing lizard-brains? It crouches at the center of your chest like a cold rock, pulling you down through the turbid water more effectively than the finest cement shoes. Who the heck would want to go there voluntarily? Who…

“Fatal Shore” 48”x64” Acrylic on canvas

“Fatal Shore” 48”x64” Acrylic on canvas

Blaise Pascal wrote in “Pensées,” “We run heedlessly into the abyss after putting something in front of us to stop us from seeing it.”

It’s amazing how emotions flow just like weather.

I can go along doing what I think of as “well”: feeling optimistic, comfortable being alone, celebrating the liminal, accepting the transitory nature of things, handling the chemo, sensing health and wholeness on a walk in Whites Woods, meditating, reading, feeling a measured enthusiasm for the future w/o treating the present like just something to be got through, the master of silver linings, counting my blessings, deeply grateful for the love and support of my friends and family, acquaintances at the Post Office saying “hey, you look great”, relieved by the fact that I haven’t yet assumed the grayish-blue pallor of the wasting.

And then there will be this slow creeping intimation of unease, like a little darkening on the horizon. Just a few clouds on an otherwise sunny day…

Stillness and solitude in White’s Woods, Litchfield

Stillness and solitude in White’s Woods, Litchfield

Willem DeKooning referred to himself as a “slipping glimpser”.

As the storm gathers and starts to darken my interior landscape I can feel the slipping; the accumulation of tension in my heart and body. Fear, longing, and worry… a somatic ache that fluidly transmutes into a profound and painful spiritual dread if not checked quickly by some distraction. This is where it gets tricky being alone. It is so much easier to distract yourself from it when you are with other people. Just ignore and bury it in the cosmopolitan joy of human culture and friendship. Or loose yourself engineering a life.

“[…] almost nothing important that ever happens to you happens because you engineer it. Destiny has no beeper; destiny always leans trenchcoated out of an alley with some sort of ‘psst’ that you usually can’t even hear because you’re in such a rush to or from something important you’ve tried to engineer. ”
~ David Foster Wallace in “Infinite Jest”.

I guess this terror has always been present, and is for every human being. We do with it what we will. Tune it out. Turn it into art or literature. Transmogrify the brutal fact of our inevitable decay into infinite varieties of work and the illusion of progress. Am I thinking too much?! This is not always true. There are times when laughter and joy come in solitude and I can revel in it. But the laughter is hardened and forced when you are filled w/ grief at the prospect of loosing all you love… threatened in such an immediate, tangible way…  I’m attached to my attachments! A lousy Buddhist if ever there was one! It’s amazing how I can go along feeling buoyant about the possibility of remission… and oh the delirious possibility of “durable remission”, held out there like the most seductive of outcomes. And then just tank for awhile… fall into the dark… gazing up into a night sky perversely ornamented with PET scan constellations of cancerous cells awash in radioactively tagged glucose, collaged all over my chest and neck, blinking out an inscrutable code… exhausted from the grasping after some more universal, ever-present , capital “L” Love. God. Some hopeful bulwark against the immensity of the void surrounding my fearful and trembling self. A glimpse perhaps…

The Real Work

It may be that when we no longer know what to do

we have come to our real work,

and that when we no longer know which way to go

we have come to our real journey.

The mind that is not baffled is not employed.

The impeded stream is the one that sings.

~ Wendell Berry ~

(Collected Poems)

And so it goes. Alone with the Alone. It is a choice. A pseudo-monastic exile, punctuated by genuinely caring and helpful visits from my loved ones and the logistics of the chemo rhythm. Simone Weil said “attention is the rarest and purest form of generosity”…

"Exile Study No.4 ~ Perdita" ink and graphite on paper, 22"x 30",

“Exile Study No.4 ~ Perdita” ink and graphite on paper, 22″x 30″

And what exactly is it that I am attending to now?

Seeking Now through mindful solitude. That word, though: seeking! Seeking itself one of the most seductive of attachments. After the briefest foray into the silence, I flee back into the endless loop of intellectual and aesthetic dialogue w/ the dead. With those I’ve chosen to valorize as artistic mentors for 30 years: David Smith and Charles Olson. And into the radiating web of endlessly fascinating threads that fan out from their volcanic productions. Back into yet another painting or drawing, searching searching searching, always searching… wading through a rich but terrifying uncertainty…

“The Secret Life of Wind” 48”x64” graphite on gessoed panel

“The Secret Life of Wind” 48”x64” graphite on gessoed panel

“Sometimes when I start a sculpture, I begin with only a realized part, the rest is travel to be unfolded much in the order of a dream. The conflict for realization is what makes art not its certainty, nor its technique or material.”
–David Smith

In Alex Stein and Yahia Lababidi’s wonderful conversation, “The Artist as Mystic”, Yahia quotes Heidegger: “Longing is the agony of the nearness of the distant.” This resonates now. Not just a little! The words vibrate in my chest as if I were standing alongside a huge, beautifully wrought bell being rung. Small pieces of the rock crouching there begin to fall…

“The Chain of Memory is Resurrection I” 30”x40” graphite and acrylic on bristol board

“The Chain of Memory is Resurrection I” 30”x40” graphite and acrylic on bristol board

 

Walt PascoeWalt Pascoe is a Montreal-based visual artist who received a B.A. in Fine Art from St. Lawrence University in 1980. You can see more of his work at www.waltpascoe.com