And I don’t know why I want to begin with and. Perhaps, it’s because my life is a conjunction, where I’m continually moving from and to persons, places, and things. Just like you, I’m always in the middle of something.
Yet, and is tricky. One must be careful to avoid “this bad thing happened, and that led to this bad circumstance.” One might try to mediate their way out of that kind of and with long engagements with commas, em-dashes - semi-colons; and (parenthesis.) But that is precarious and can lead to stringing things out for too long. I think the answer is found by being careful with ands and taking time and patience to produce good ands.
Some ands that I have planned out have become successful, such as writing and revising. I think one of the coolest is “We met and fell in love.” And an and can be friendly and downright cute. How could pralines and cream exist without a nice and to bring them together? And what about the ampersand? How many symbols can look cool and bring clauses together at the same time? Hyphen, em-dash? They don’t come close. Where would we be without ands? The beginning? Nowhere to go? The end, plain, simple, uneventful?
So, I guess my desire to start with and is my way of honoring the conjunction, for this ode is a continuation from all my writing before to all my writing to come. Pronouns, proper names and objects are wonderful places to begin, and I highly recommend them, and I wouldn’t be writing without them. But nothing would continue for anything or anybody without an and.
Cylindrical thoughts caught in symbols Covered by an outer celluloid Upgraded with playbacks and reruns Of old friends and fictions who are everyone They were, will, and want to be, Births, rebirths, death, and immortality
I speak in repetition, stumbling into you again No wonder gravity forms balls and circles Our dialectic, a language of insomnia That living lip sync of teeth and tongue That make up the shapes of ghosts Crawling like faint shadows of moving clouds
Our fleshy hearts tethered to the whirl Internal, speaking of the external Of clocks mistuned inside the unsteady continuum With our linear kissing and stove top stuffings Perhaps this is our mistake Caught inside the act of noise Trying to explain the hyacinth
“Yet when we came back, late, from the Hyacinth garden, Your arms full, and your hair wet, I could not Speak, and my eyes failed, I was neither Living nor dead, and I knew nothing, Looking into the heart of light, the silence.”
Speach vanishes, with the incoming of golds Browns, yellows, and reds. Autumn turns, turns, turns, while the Wind haunts sticks and stems, looking Forward to their recycling, and our Eyes old and new Peering
Image taken around Tillamook Bay, where a small town used to stand.
Aluminum foil-covered, cardboard stars above our heads and the basketball hoops have been drawn back, painted lines and circles below our feet. We dance in socks, leaving our shoes out in the hallway.
We mimic the leaves who aren’t ready to dance, because the air is still warm and we glow with a luminescent heat, moving in aimless directions as if the gym floor is a sacred grassland and the seasons do not exist. Our desires – a clutter of arms and legs. The sweat on our lips drawn down to our tongues, for the world has always been and always will be a dancer.
Winter will come. We’ve skated on its skin before, scooped the marshmallows off countless hot chocolates, been told the stories of the wolf in the snow. It will change our waltz, starting when the rain comes. So, in this form, today, we dance in the body summer has given us and we coalesce to get ready for colder climate, dancing to escape the body, while being in the body.
When we look, it may seem like we follow the sun, aligning with the rising and setting of things, turning with the Earth. At other times, we are beings of our own choice, crisscrossing the paths of others. In these moments only movement exists, nothing else is real, we can only dance. The galaxies are no different. Look. See them samba with our own eyes. For all these moves are known by heart. And when we sense we know our hearts, we feel the floor beneath our feet.
Elvis can’t strum a note. Still, many look for him During a nighttime shanghai. But these ghost-like hijacks Excite only hipsters and bruisers And cute, off-hour barista users Wearing their best lattes To catch the ships of myth.
Back on landlubber strip Alcoholics look like pimps. The 99 cent lady scratches Lottery tickets, chewing on mints. She yells at the gutter kids Who pee on sidewalk cracks. Children of insults and rip-offs Selling newspapers to news crews Their mouths askew with twisted views
Crooked grin from the bookstore girl. Her windows bashed in for no reason. Sells last year’s calendars & rusty rock pins. The trattoria boils millions in noodles Hiring from art school purgatory Haloed waitresses with yoga mats Channeling their inner schmooze Living off deep-fried borrowed blues.
The mayor rolls out sorted plans Sketches of the new Pantheon. City council sucks sugar tits From kiss-your-ass developments. While food carts form shanty towns For the visiting team’s hangovers. Their mascot yanking on his head Stuck In a permanent state of cheer.
The old urchins on their last barnacle Live back in the glory days Of cheap chiva, bad Bud, & noses caked with coke Taking bus rides to fake desperation Basking in their burn out, dabbling in Dysfunction. (A national holiday) Celebrated with bogged down Bloody Marys And get-well cards with handwritten Apologies for nothing... that’s gone wrong.
The goal in Vietnam, he said, was to maim not kill.
It ties up resources, beds, hospitals
Doctors, systems, and puts stress on a country.
Killing just needs a burial or a burn.
–
He’s in a wheelchair now.
Sits in front of a television, volume turned up.
Still feeds the blue jays.
The seed is stolen by crows.
A bus picks him up once a week
To visit the VA hospital
Treating him for dementia and heart disease.
Talks about how he watches the caribou.
Molly doesn’t seem to notice.
Dichotomies are an interesting feature of the human condition. In of itself, dichotomy appears as a binary, representing a contrast. In “Watching the Caribou” I explore a version of dichotomy which becomes blurred. Charles, a vet and an ex-hunter, is somewhat of a hypocrite. In life, he shot, killed, and hurt, yet he celebrates nature and life, via watching caribou and makes sure his cat is well taken care of. In a twist of fate, he becomes the very thing he was ordered to do in Vietnam, becoming “tied” up in social services. Irony. In many ways, this reminded me of humanity as a whole, where there is a side of our institutions set up for violence (e.g. the military, police, etc.) and another side set up for peace (e.g. acceptance, love, etc.). Irony?