FADE IN & FADE OUT

I guess one of the things that’s fucking me up is that I’m supposed to be some mentor figure, some example, I’ve got the office hours and everything, but most days I’m just trying to get through without drinking too much, or if I am drinking too much, then without it showing.

I started out adjunct, shit pay, enough where I had to settle for the rotgut at the convenience store before I could afford the good stuff. I guess they were impressed by the fact that I kept shooting, that I was teaching filmmaking while still making films, like that was some exceptional thing, as if I had a choice. Because, truth is, I drink a lot, but I’d drink a lot more if I couldn’t make movies.

All the classes I teach are things I learned out of necessity, pretty much. Writing on a strict schedule (because I couldn’t afford to dick around), studying acting tech (because I’d often have to act in my own films starting out), microbudget filmmaking (that one’s obvious).

I didn’t have the luxury of film school, so I created my own with early internet forums and bootleg software and library late fees. I learned how to write screenplays by reading and writing screenplays. I submitted to contests, and I lost every one, but I got some encouraging notes once, when I scrounged up enough for the extra fee for guaranteed notes, and there was no way for that anonymous reader to know that the contents of their notes would decide my future, that I was just about to give it all up until I read that encouragement, until I realized that my scripts weren’t bad, they just weren’t yet as good as the other scripts. And that’s just something you have to learn by doing.

I get up around noon most days, tell myself it’s because my first classes don’t start until later anyway, but it’s really to allow myself time and space to nurse the inevitable hangovers. I don’t know. I’ll sit at home, in my chair, for hours sometimes, and just bite at my nails. I’ll bite till they bleed, till my fingers hurt when I wash my hands. I can tell that I’m changing.

I try to write something every day, even if I end up hating it, even if it’s shit. I’ll jot things down on paper first, even with the pain in my fingers from the pressure of gripping the pen, because it’s a different process, writing versus typing. I drink every day now, I guess.

One thing that’s interesting is to stay up past the effects of caffeine from earlier that morning, past alcohol when I get home and past the melatonin to help get me to sleep. To watch that liminal part of the brain start to take over. The part that makes you dream and keeps you there. I’ll sit down like that, and I’ll keep my eyes open, and I’ll look at things without actually seeing them.

I want to write something big, and bold, and dangerous. Something real. I want there to be something left of me when I’m gone.

On nights like this, working past the sleep, I’ll see only the transitions of a screenplay as I write, only the cues meant to begin and end, the FADE IN & FADE OUT that I guess is going on all around me. I write past these things. I write through them.

 

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The Things I’d Do

I used to try to track my dreams and force sleep paralysis. I’d do things like put on white noise through headphones and fasten halved ping pong balls over my eyes, to force sensory deprivation. When that did nothing, I’d keep myself awake for days at a time, blasting loud music and imbibing caffeine while making note of any aberrations in thought or mood.

I’d test my lung capacity and willpower by keeping my head underwater during baths, stopwatch ticking in my hand outside the tub. I’d go on fasts for days, taking in only water, not even tea, not even black coffee, dropping weight and going straight into starvation mode.

I’d bike for an entire day–twelve hours straight, then do the same thing but with walking. I’d spend whole days imagining life through the eyes of a city pigeon or a backyard squirrel. I would inflict self-pain in small doses (small at first), looking for the minimum effective dosage, journalling the process, always documenting, because if you’re documenting then it almost feels like you’re doing it all for a reason.

I’d spend entire nights outside, then days, at first trying to find out what the “homeless experience” was, but then of course discovering that there isn’t only one. Back at home, I’d do stuff like super glue my hand to the bathroom wall and see how long the adhesion would last. I’d put all my money save for five dollars in savings, then live off that five dollars for two weeks. I would sneak into a supermarket’s bathroom just before closing and see if I could go the whole night without being detected.

I’d rig an eye-opening device, like the one from that Kubrick horrorshow, and see how long I could go without blinking before my vision started to fade. I’d sit, and stare at a wall, and meditate for hours at a time, losing track of the passage of minutes, then hours, then days. I’d live in my closet for a week or so.

I had the idea that I was collecting these experiences for a book. It was fiction at first, but it became nonfiction eventually as time went on. Surprisingly, at least at first, the writing was undisciplined. There was no structure, no schedule, just word after word whenever they’d come. There was something about the truth, though, something lacking. You could spend an entire day looking at something and not really see it. For some of the experiences, I’d take them on for a month or more and have less than a paragraph to put down about them. Seeing is not reflecting. Feeling is not reporting.

I spend most of my days, now, eating when it feels appropriate, sleeping at night, and moving unrestricted during the day. I don’t write about this (I write about other things now), but I seem to get on okay. Sometimes, at night, images of experience will dance in front of my eyes as I try to sleep. I watch them pass as I breathe and breathe and breathe.

 

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Open Blue

They told me, years later, that the guy had an entire galaxy in his mind. It was populated by nebulae and stars, planets and moons, some of them harboring life, others barren and wasted. He spent essentially all of his life cataloging his inner galaxy, and for all intents and purposes he was catatonic. His family took him for a vegetable. They’d pack him into the car for family trips and do things like sit him in front of mountain views, dip his feet in flowing streams, anything to get him back to the world, back to them, none of them realizing that he already had a world, or rather several trillion of them, and that every ounce of brainpower he had in him had to be devoted to exploring this galaxy, or else he’d be lost and insensate for the rest of his life. He’d tried to blind himself to the galaxy before, to come out and into the world, but he’d seen nothing but unending, featureless black. Heard nothing but the howling of an infinite wind. So he went back to his inner planets.

I guess I met him in 2005 or thereabouts, back when I was a grad student complete with bright eyes and bushy tail. They’d never gotten him beyond the occasional blink of his eyes, over there, at the center he’d been moved to, when his family had had enough of the family trips and the visits with experts and the hope that something would change. I’d take a lot of notes at first, observe vitals, notate scans, but eventually I just started coming to visit.

A lot of the technology was still nascent, and I remember picturing to myself, there at the foot of his bed, what this room might’ve looked like under the same circumstances 10, 20, 50 years before. What help could be given him, if it’d even be given. The doctors now did these scans mostly to placate the family, to assuage the inevitable guilt they’d accumulated after placing him in a home and coming first to visit daily, then weekly, then monthly, then only on holidays. I took to coming in on my days off from class, reading to him first from Kafka, then Wallace, then Murakami.

At that geologic scale of minute fluctuations of the body and micromovements, you begin to assemble in your mind a mental timelapse of the hours you’ve spent with the person, translating every twitch into something meaningful, prophetic even.

Sometimes I’d come in with a cheap bottle of gut rot and tell him about my day, pretend that he was drinking with me and commiserating, all the while popping mints after a finished bottle and accepting coffee when the nurses would offer it, not really needing it but not wanting them to smell the alcohol on me, to realize just how pathetic I was to be drinking midday and not facing any of my problems.

I’d been in and out of school, never settling on one thing in particular. Married and divorced before age 30. Aimlessly wandering in general, while doing my best to convince myself that the answer was right there, around the corner, or maybe after the next drink.

I knew this guy couldn’t really hear me, that even if he could it’s not like he could relate, but I kept coming anyway. I’d get a good feel for the nurses and orderlies as they’d come and go over the years, which ones actually gave a shit and which would be a problem–the ones who’d put him at risk of bedsores or worse. It sounds stupid, maybe, but he became like a little brother to me. I didn’t have any siblings of my own and had cut off all contact with my parents, so I guess he was really the only family I had.

He retreated from the world, physically left it, by degrees, intentionally, so that he could live in the world of his mind. I mean that in the literal sense. He didn’t wither so much as disappear gradually, nearly imperceptibly, to the point where I can hardly describe it even now, all these years later. But he did, he left of his own accord, bit by bit, until one day I came in and he was gone. He’d faded to the world inside his mind, physically departed, unalterably escaped, and he’d left me a note. Not a physical one, mind you. A mental note. He told me to find him. He didn’t leave coordinates; he left activities. He said I could find him in a night walk just past the edge of town. He’d be in the tire track of a motorcycle ride under open blue sky. Clear and vivid in the otherwise fading remnants of a dream broken by daybreak.

 

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Dust Off Your Soul

I guess the hunger never really leaves once it first hits, no matter how many achievements pile up, no matter how often, no matter how much older you get, etc. At least that’s my experience of it. You tell yourself not to get caught up in the endgame but to instead enjoy the journey, but the goalposts are always more interesting than the field. And so I vacillate, sometimes, between accepting and rejecting this tendency, sometimes scolding myself for killing the zen and not appreciating what I’ve got, what I’ve achieved, and other times acknowledging that this ceaseless drive, this endless hunger, is precisely what propelled me out of financial, spiritual, and emotional poverty. This push to improve, this refusal to accept my lot in life is exactly why I’ve gotten to where I am. That progress shouldn’t be a casualty on the road to happiness.

And that’s all good and fine.

Some nights, when the thinking becomes too much and mental defrag is impossible inside the house, I go, and I get out, and I get on my motorcycle, and I simply appreciate what it feels like to be propelled forward through the world, to shift and to vibrate and to feel and to see and to hear. The gears shift both inside and out these nights, maybe stuttering and awkward at first, but getting there, approaching normalcy, a smoothness, a vibrant coming together of potential and purpose, action and agitation. I feel myself recognizing the seasons of my life, now, as I near the end of my twenties, feeling the familiar old mental cycles repeat and experiencing new ones all the same, coming into my skin, and my body, and my heart, and my mind. I think these things without voicing their words as I ride, lights above and around me like staccato beats to a tune I know but haven’t heard in a while, so it takes a bit for my mouth-mush lip-syncing to segue into actual lyrics, vocal melodies, song. Sometimes you have to dust off your soul, and that’s okay.

You can get used to anything, including violence and struggle. For instance, my brain is in a constant state of hyper arousal as a result of persistent, ongoing, traumatic experiences. After years of that, it’s easier for your body to just flip the fight-or-flight switch on and leave it that way permanently. This has its perks, though, don’t get me wrong. For instance, when shit eventually does hit the fan, you’ve got it handled right away. The problem is having to remind yourself that here, standing in line at the grocery store, or there, sitting in a cafe, you don’t have to feel like you’re in a life-or-death situation. It might sound stupid if you’ve never experienced it, but it’s a thing.

So there is the one thing and the other, the wonder and the thunder, seamlessly transitioning between zen and meltdown, sometimes within minutes of each other, sometimes in the same moment. You get frustrated with your neurochemistry but then remember what it’s given you, what you’ve been able to accomplish with a little brain plasticity and a lot of perseverance. Because yes, it’s a thing. But that doesn’t mean it has to be the only thing.

 

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Plum Sky

Casting a line off the edge of a barge micronation somewhere off the Adriatic, plum sky undulating like some childhood experiment with oil and water, and all of a sudden that seems so long ago, that 1990s childhood spent tinkering with PC parts, putting together your first computer, and now here you are thirty years later, in unclaimed waters, undisclosed location, starting some religion, maybe a country, you haven’t gotten that far, it isn’t clear yet, but it’ll be something different, whatever it is, so you return to these old practices and prepare the precepts for the initiates who will be here next day, their boat is coming in then and will promptly be destroyed upon their arrival, because there will be no need for transportation when everything they could possibly need is right here on this constructed island, when all of their needs can be met by the Almighty Godhead and all that he provides, on this barge that’s been assembled from the repurposed garbage floating aimlessly through the ocean, you’ve gone to great expense to have it collected, and you’ve studied all the major religions to make sure that you’re not treading over tired territory, that you haven’t accidentally plagiarized Zarathustra or anything, and you haven’t, not that you can tell, so you will now establish this colony in the ocean, this empire everlasting with yourself as omnipotent, omniscient, omnibenevolent leader who will rule for now and all of time, for you have teachings prepared on the nature of time, you’ve presented them to the internet and have been brutally ridiculed, but that’s the measure of a great idea, isn’t it, the ridicule of small-minded people, and that’s what convinced you that you were doing the right thing, convincing others to worship you as a god on a barge of garbage floating out in the ocean, this is what you’ve been working toward all your life, the unadulterated adulation of others, the drowning in their praise, happiness everlasting, it is all yours to take as you prepare your vestments you’ve created, a robe also made of reconstructed refuse, it still stinks even, but that is the last stink of the world to be washed clean from you, you’ve prepared the sermon, you can visualize the rite even now, with you and the others dipping into the ocean to rid yourselves of the scent of the world, to replace it with something unsmelled and unknown heretofore, it will be a glorious birth of a new state, a new state of mind and of being, you’re sure of it, or else you wouldn’t have sunk all your savings into this construction, wouldn’t have sold all of your things and left everyone you’ve ever loved behind, so you need to make something of that sacrifice, now, and here, you’re sure it will be worth it, so you look once more over that plum, undulating sky, that dark mass that will be either your salvation or damnation, and you sit on this barge, and you wait for the coming day, and you hope beyond hope that they will come.

 

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Moving Pictures

Cigarette smoke filling in from out of frame, an ’80s filmic haze accentuated by a smoke break on a movie set, hair as big as her dreams as she reads her lines to her warped reflection in a pink-tiled wall, knowing that the plan is for her singing parts to be dubbed over in post but still hoping that the director will change his mind when he hears her sing, I mean really sing, not like she sang in the audition room, where her nerves messed with her pitch and she was too breathy but where she otherwise nailed the look, sound, and movement of the character. Up till now, they’d filmed a few of the final numbers, songs where her character was singing with much of the rest of the cast, where her vocals weren’t an issue anyway. But soon, just after this smoke break in fact, she was set to belt out her first solo. And the director told her to go for it when she asked if she could really sing it in the take. He didn’t exactly finish by saying that they’d just fix it in post, but the implication was there, that was certain.

The production has that New Wave feel that’s just now starting to come up, and she can almost see future shadowcasts playing her in sticky-floored auditoriums at midnight showings. Stranger things have happened, anyway. Everyone told her she’d fall flat after dropping her first agent, but that turned out to be just the push she needed to really put herself out there. Now she’s freezing her ass off in an on-set location with no heating in the middle of winter with next to nothing in the bank, but at least she’s living out her dream, right here, with tinny audio playback to get the timing right, wearing makeup and costumes she doesn’t think she’ll be able to afford even after she makes it big, which, let’s face it, if it isn’t this film that makes her a star then it’s just never going to happen, is it, and she has to push this thought away as she sings contralto in a corner, flipping script pages and letting the cherry of her cigarette burn perilously close to her fingers, holding the hand up, out, and canted on an angle like she saw in all those glamorous old pictures in the movie magazines as a little girl.

Her nerves are such that she has to periodically wipe her hands on something to keep them from soaking the script she’s holding, trying to remember not to wipe them on this expensive costume but more often than not forgetting, and so she’ll interrupt her own tiny-voice singing to swear at herself for ruining this totally bitching costume, sweating off her makeup and trying to convince herself that it’s fine, she’ll do a Nina Hagen thing, when in reality she knows she’s a mess, her nerves are shot, and it’s to the point where she needs a fifth of vodka every night just to get to sleep for the next day’s shoot.

She takes polaroids of her life on set and attaches them to postcards, sends them back to Kansas so Mother and Father can see just how big she’s made it, so there will be no doubt in their minds that their daughter has Made It and is Going Places. She’ll take these polaroids before going to the next party, her castmates treating every wrapped day like it’s a wrapped shoot, and she’ll take this powder she’s given at these parties, inhale this powder that she can only have at these parties because she couldn’t possibly afford to keep up a habit like that on her own, and she’ll catch her face in the mirror sometimes after one of these parties, try to avoid seeing it but sometimes do it anyway. She doesn’t like seeing her face most nights.

But here she is, turning the page, then putting the script down, getting the blocking right, seeing her movement in the frame before it happens, knowing every facial expression, every vocal flutter, all of it perfect, just as it’s scripted, a performance that’s apart from this long string of nights, that will transcend all of that, she can feel it, and her head is spinning from something, don’t know what but it is, and the mood in the room is shifting, the final preparations are being made, and she’s about to be summoned, will hit her mark and sing this song like she’s never sung it before, to the point where the director will have no choice but to keep her vocals in the film, she will so totally embody the performance that to segment it at all would ruin the whole thing.

She turns, and she walks, and she moves to a staccato beat in her head to where she needs to be, a true moving picture.

Sake, Koji Kondo, Dreams

Shifting toward a redline you can’t see or hear, can only feel, the way Beethoven must’ve, delimbing his pianos, setting them down on the ground, to feel the vibrations and nothing else, probably turning off the light to starve all senses but the ones he wanted, the composition, the light that flicks on in the brain when a connection is made–a vital spark–a turning of gears toward something greater than oneself. All my life, I’ve wanted to create, and I’ve wanted to escape. Now I find myself in the position to do both at the same time. I’ve worked so many years at this, fostered the growth of others along the way, and here I sit, where it all began, watching the accumulating pages fall like so many raindrops in a summer storm, fogging up the glass to make a new face over the reflection of my own. I sit at the precipice of something great, but I have no idea what it is. I’m stumbling in the dark and figuring out how quickest to find the light. Stealing glimpses of unfiltered light through a window that’s just out of reach, gliding through mental pictures of other times and places, save points in this game I’ve been living, improv-ing and improving along the way, just going with it, trying to learn, staying hungry and moving forward no matter how agonizing it might be. Sometimes I feel like I am marching onward into a great and blinding storm. I know that there is light and clarity past this storm, but to find it I must move forward. Inexorably I travel this patterned ratchet-clank world, wandering Southern passageways toward a place I never expected but which I couldn’t imagine being without. Your life never ends up how you expect it to, and that’s a good thing. At least it was for me. So I climb plateaus and shift under tree boughs, sensing something beyond this plane I’ve been given, this flesh and blood monkey-body derived from retooled parts and millennia-old adaptations, with teeth that don’t even fit in my head. I had some sake earlier this evening, stood guard as it flowed through my body, put on some music by Koji Kondo and allowed the feeling to swell, the inhibitions to drop. These notes that fall like pieces into place on a grand and ancient puzzle, and I can do nothing else but accomplish these things that’ve been set for me, can only do what’s best for me, now and for as long as I’m here. So the notes crescendo, and I move, the stable waverings moving like something apart from physics, something beyond time and space. I am a human being, and I am glad to be so much more than that.

After Image

Splintering, alternate realities come to you just around the bend, like a train down a subway tunnel, lights shining, horns blaring, but it’s a doppler effect–sound warping before and after, and what it feels like to realize that the thing is never really the thing.

It’s experiencing a population bottleneck, soil polluted, seeds ungrowing, waters fetid and stationary. It’s going away, always away, to find something that always eludes, a staircase that adds stairs the more you climb. Taking a bus to a destination unplanned, cloudy-headed, foggy-brained, and yet seeing things so clearly, the beginner’s mind, shapes and places unfolding organically around you till you can almost see the pop-in of the simulation loading.

It’s hiding the real story inside the story you present, the bubble worlds you make yourself live in, worlds where suffering is allowed to be a concept and not an all-encompassing reality. It’s being hit by thoughts and memories of the past, breath hitching, eyes clouding into their own bubble world, having to go to the bathroom to turn on the fan

and stand

and breathe

and remind yourself that you are alive. You’re here, and you haven’t died, although you almost did, haven’t left this planet even though it sometimes feels like you’re only renting your body.

And this is the reality that we don’t want to face, this meat-sack body we’re all stuck in, making the most of it, thinking of passersby as nothing more than NPCs but knowing (hopefully knowing) deep down somewhere that they all have stories as rich and varied as our own, perhaps more rich and varied, stories that we can never possibly know (unless we ask), stories that we only catch passing snatches of, in phone conversations and whispered self-talk and childhood songs hummed anew.

This is what we mean by living, this listening in on states (both internal and external), or not, not listening and so moving always toward or away from something else. There’s launching mental states into the deep past or future, anywhere but here, while waiting in line at your local coffee shop. The woman in the apron sweeping after patrons is thinking about her family back home, the people she hasn’t seen in years, and this propels her to another image, of barbacoa and surf smell, water frothing on beaches that look like moving postcards, sitting in hamacas with friends and swaying, swaying to the beat of a tune she can barely hear anymore. Because when she recalls it, it isn’t the tune itself she’s recalling but instead it’s her last recollection of it, this permutation of memory from single-celled original recall to vertebrate myth, a story that becomes itself, separated from the truth of the occurrence, whatever that can be described as being, because the thing once gone is not the thing any longer. Not the thing itself but an after image, a double-exposed photo that you might’ve once discarded but instead,

here,

now,

you crop and touch up and frame and display.

Sliding

Pet the cat. Thoughts coalesce when you pet the cat. It’s tactile, like a grounding method or something. You read that somewhere. Where did you read it?

It’s lost.

Do something. Touch the fabric of your shirt, smell the inside of a melted candle, but don’t touch the hot wax to your nose. Or maybe do. Maybe that’ll make you remember more. What are you trying to remember?

Lost.

Check your pockets. Some change, wrinkled receipts. A lighter. You don’t smoke, do you? You’re losing it. Okay, okay, what else? Keys. A little Buddha on a bent keychain. Buddha. Shakyamuni or Hotei? Skinny and serene or chubby and smiling? Why do you know these distinctions?

Gone.

Back to your pockets. Wallet, phone, knife. Phone. Unlock it with your password. Can’t remember what it is, but you’ll remember once you get there. Good. Check messages first. Nothing newer than three days old. You must’ve dropped off the face of the Earth. Vanished like a ghost. Ghost, spirit, scary stories, campfire, cold tent.

Gone.

Okay, sensory perceptions, then. Stale air on tongue, rusty breath. Need to brush. Itch on arm that’s getting worse the longer it’s ignored. Lifting up sleeve and finding a perfect, filled-in black square tattooed there. Three inches on each side, perfect lines, like it’s been stamped there or something. It hasn’t, though. Rubbing, scraping, and scratching do nothing. Spit shine. Nothing.

Gone.

Nowhere neighbors nesting near nurses, nails nipping notations (nevermind nightwood), notwithstanding nestled noses; nearsighted nuns negotiating Nicean niceties.

Name.

Gone.

Feel around darkened corners of a room you remember smelling once, like a dusty old book this room, and the feeling of remembering a memory that’d been missing for decades, that book with a page ripped out of same, crumpled up, burned, flushed down waterways only to reassemble in its current form, somehow, a simple impossibility, but here it is, a memory coming up and out of this inner abyss, this inward twistedness, can even taste its metallic clinging bitters like nettles on the skin, running water over same, cold in temperature but not in feeling, still burning, and isn’t it fucked how this is a memory you cling to, simply because It Is A Memory That Refuses To Fade, so you let it play, let it cycle through without stopping, because the celluloid will jam and burn if you don’t, so the picture flickers through.

Stop.

But it won’t, not now, not when you want it to, it will send its information filter flying through filament traps in your mind like shutters clocked at twenty-four, blistering past, data cascades like avalanches of ones and zeroes, interpretable only in sleep, in dreams that you accept at face value during the course of but doubletake at once awake, wondering what the fuck it is you just dreamt, and why, dreamt not dreamed, and that’s something else you remember now too, scrolling through this fetid feed like galoshes sloshing through sewer contents at night, running through the innards of your city like an intrepid intestinal traveler, tapering this way then that when your feet don’t make purchase, then do, contact imminent with bricks laid centuries before you were born, and you’ve never felt more alive than in this moment with the balaclava tucked tight over your nose, filtered breathing, thinking that a Cockney accent might render it bolly-clahv, can’t help but think in this accent now, internal monologue going British, that’s a right nasty meat piece you’ve got there, in prime primal fashion brandishing a peace that can’t be bought but can be sold, mass-produced and disseminated like so much newscopy to chew on, Chungus Leafleg V is your name, there’s a line of them, a lineage, all the Chungi really had a time, and it’s something to do anyway, watch the words tumble out your mouth like a 19th century Freak Show, acquiring language even as you’re speaking it, and the thing about multitasking is that you can never do every task completely well–call it an overclock of the soul, a restructuring of the mind, gathering memories like drops in a bucket that keeps overflowing from a summer storm, power flickering out, and heat like its own separate entity–you know this place (not consciously, but it won’t exactly leave your mind either), and it gets trapped to the point where all you can do is rattle off names and dates, your personal history, like you’ve got the textbook memorized (social studies class as a child taught you well), yes just names, dates, and places but nothing of their substance, none of the really juicy details that make up a personality and individual; anyone could have these facts, could spew these words, so you’ll need those things that can’t be replicated–you’ll need the look of realization when a memory of a childhood barbecue comes back with waves of heat refraction shimmering off the top of the grill, and the way that every burger managed to disassemble itself and flop onto your T-shirt before it could find your mouth; you’ll need the image of sliding down a plastic slide that’s been baked in the sun, nearly melted, with a garden hose propped under one of the handrails at the top, sending down water that should ostensibly cool it down but doesn’t, not really, but it doesn’t matter because you’re sliding down now, sliding toward an inflated pool at the bottom, sliding for a second, sliding for a week,

a month,

a year,

a decade,

a lifetime.

Anagram Days

Days like magnet letters on a dusty refrigerator, speckle stains of barbecue sauce and ketchup like culinary crime scenes as an animal collects leftovers from where they’ve fallen–from a midnight sandwich or sunrise coffee-and-bagel.

You can learn a lot about someone from the stains they leave behind.

It’s collecting bruises in a ten-dollar-a-class dojo, swishing trial size mouthwash in the dojo bathroom because it always burns your mouth and helps distract you from the pain of the mistakes you’ve made.

It’s coming out in muddy brown dusk with sky the color of pre-tornado, leaves more like slush than tree structures, coming into the night that’s just now arriving, with lighter fluid in one pocket and a matchbook in the other, only feeling comfortable when you have the capacity to make fire at will, not even for nefarious reasons, just reveling in the fact that if you could go back in time, right now, even as you are, and show this to cavemen, you would be God to them. God in ripped jeans and scuffed-up sneakers.

It’s learning how to lucid dream and astral project, alternating every other night, living then living again, then taking off work for an entire week to do nothing but sleep, actual sleep, deep sleep, nothing but darkness and time to fill you all up.

It’s all about variety.

So the other day I was walking home from work, same route I always take, straight down Fourth, sun staring at me over the hills, feeling like a forlorn traveler from biblical times, not even one of the memorable ones, and I saw this, felt it, until the setting overtook plot, brought me back, to an old man with wild eyes in the middle of the street, pointing his finger, wearing flip flops and socks, accusing the man he was pointing at of stealing same, and the other man was looking for help, looking for a way out, so I got between them, got between as others watched or took out phones–not to call the police but to record–people watching people, an American pastime, and I assumed an authority that came from nowhere, that I gave myself, in order to do what I thought was right.

The old man called me a faggot.

But hey, there was no violence, and it ended with him flip-flopping his way away down the middle of the street while cars honked and tried to go around him. The guy I helped remembered my name a week later when I happened to walk past him again.

So that was cool.

To get home and to be lighting this cigar that we are looking at right now, in crystal-prism clarity, smoke trailing into clouds, and we can roll this CLOUD into the rest of the neighborhood, collect PARKED CARS and TREES so that they will all be one and we can gather this here, now, in our backyard, the one we pay taxes for, and build a bonfire, yes, a great big one, one that has STICKS and LEAVES and BITS OF PAPER that we have FOUND.

So what do we have?

An arm, a leg, a couple eyes. Two ears. Some other appendages. Hair, toenails, and an awful lot of capillaries. Enough inner piping to plumb a city. Cells that are themselves self-contained living things. Neurons and tissue that somehow contain memory. An aching-longing for connection and understanding in a vast, uncaring emptiness that’s occasionally decorated with the odd flower here, ray of sunshine there. And that?

That is okay.