I've begun to take action towards moving to Turkey. The plan being to live and teach in Istanbul from roughly August of this year until July of the next. Following that, I will make another attempt to gain entry into MFA programs. The overall failure of the graduate school try stunned me for a a few weeks. It's easy to think that this lack of validation is the best measure thus far of my own abilities. But this is art. It doesn't work that way. It can only be done with no fear of consequences or failure, with an irrational belief that your work is good and that it will only improve. And to write with the discipline and stimulus I need, new surroundings and daily demands are a must.
But the decision to go to Turkey is motivated by many things. I am dissatisfied in my job and all the possible jobs related to it. I have purposely stumbled onto a time in my life with virtually no responsibilities. I have always wanted to spend enough time in a foreign land to be a citizen of it, to meet its people as an equal, to learn the language, to not merely observe but participate in its culture, to break the narrow views placed on me at birth. I am in love with the world. It's so tremendously big and so much different than you'll come to understand it through television. So beautiful that you can only look at it in small pieces. For all my nihilism and misanthropy and doomsaying, I love this place and hope to soak up as much of it as I can. And do my best to interpret this experience in words as I go. I've dedicated myself to narrative. And this isn't simply reading and writing, narratives are the things we live too. The story of people on this place and at this time, the story of your life starting at the moment you saw first light to the moment you see last. And just thinking of these billions of stories as they interweave and conflict and gyrate and come together and split apart, thinking of that hulking place just outside my window, a great human novel in constant motion that can never and should never be written . . .it's enough to keep me awake at night.
Also. The mookfish is coming out, for the foreseeable future. We will have a time.
The question comes to me now that it's real . . .what relation does the artist have to their parents? Some of us have bohemian 'rents that once tried their own hand in some art or at the very least hold up creativity as something with which to measure other things by. And some parents likely view it as an empty pursuit by which no access to the good life or happiness is granted. My parents are nowhere in this continuum. They barely listen to music, my mother reading glorified romance novels, my father reading nothing at all. They do not watch films, but popcorn movies with whatever actors they prefer. The production of even these instances of art are so mysterious to them that the thing they watch may as well have been dropped from the sky. And yet, I'm trying to include them as much as I can in my circumstances re: graduate school. And somewhere in these last few months it occurred to them that I am writing. A lot. And they wanted to see something. So . . .after they bugged me over the course of several of our weekly phone calls, I relented and decided to send them something. I thought over a half-dozen short stories that may be suitable. This one discarded for all the drugs done in it, that one put aside because the protagonist is too close to my father, a third overlooked because it would simply be too damn weird for them to ever look at me the same. And I settled on this one as it seemed the most neutral. And even it has vomit, and alcoholism, and swearing, and a man's pubic hair catching fire. They called me today after having read it, and said: "thanks', 'it looks good', 'are all those countries real countries? or did you come up with some of them?'. Now, I don't expect them to provide incisive critique. But I don't know how to talk to them about writing, it is so far removed from their world that I might as well discuss my love for some forgotten tribal rite. And yet I came from them. Somehow.
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A fellow student that I've had workshop classes with has been published in a contest wherein this work also competed. She has not been published before and in almost all cases I would be happy for her success despite my slim envy. But the nature of her work, and the small success it has been granted, disturbs me. See, in my inability to get things published or gain acceptance into most of the schools to which I've applied, I've suggested as one of my disadvantages the content of my stories. I've identified a continuity in the themes and characters and plot and perspective and aesthetic of the work that gains traction. And it is not what I do. I've told people that what is looked at as good in 2009 is work that is memoirish, sentimental, banal, depicting love as it has existed on television lo these many years. Work that when it strays from reality, wanders into magical realism and thus calms the chaos and confusion of living in the modern world. Magical realism is a cop-out, a boiling down, a superstitious response to those things not understood. And my fellow student's work is all of these things. I won't go further into detail about the work itself, but when I read it in class I recall thinking and noting that "this, this in front of me, is the opposite of what I want to write". Further, it is done badly. Sloppily, with cliched details, mortified progresion, warmed-over nostalgia.
And, as counterpoint, what I try to write is what I think needs to be done, in this moment, in narrative. A sort of NeoNaturalism in that the characters, like us, are bound to lives they cannot control by forces of nature. And that the predominate element of that nature, in a postsurvivalist world, is the environment created by our own culture. And further, that the environment does not have absolute control over our fate, but that for our constraints to be surpassed we must be willing to accept the greatest risks. Death and its metaphors are the gamble one must tolerate to become something other than circuitry exposed to the weather. And I try to document this alienating environment we occupy, present characters with circumstances at the furthest edge of confusion and possibility and reconciliation. It is not science fiction, but the leveraging of the unusual to suggest how very little sense we can make of this nature that shapes us, and that we fight against, and that we try, riddled with anxiety and doubt, to understand. In this milieu there is no room for hokey magic to resolve complications, there is only the paucity of explanation and the unsettling discomfort of feeling alone and perturbed when everyone else seems calm and aligned. It may not be the materials that everyone chooses, but they are honest ones and they come from a life I have led that has been fraught with uncertainty and nervousness and frustration and ceaseless inquiry to little avail but temporary contentment. I do not traffic in memoirs, because no person can truly understand another and to fictionalize such an account is as if to say that the writer has feared to live the life they depict, and wishes for some other reality that is not true. So. Fuck your memoirs, unless they be your real life. And fuck sentimentality unless you've loved and lost it and accepted it and your scars will not heal. I have some that still raise pink and shiny from my skin. And fuck magic, go to religion if you wish the world to make sense.
(Video: Terrence McKenna-Nobody Is Smarter Than You Are, quote: Virginia Woolf)
As I get older I see things that will not change for me: I will get angry at small things, I will feel tenderness and try to hide it, I will watch people and note their attributes, I will disdain the authoritative, I will revel in the arts, I will seek science to correct my assumptions, I will suffer and celebrate, I will write. And all these things are what comes closest to your soul, comprise your consciousness, hold the names of your ancestors . . . Almost everything else will change: you will learn new things, and meet new people, and scrape by in new places, and the winds of politics will change, and good times will precede bad, and you will cry and laugh. But the anxiety (in all senses) of what life will be like when we are older can be shouldered and absorbed: You are already who you are. There is no other You waiting for its time to emerge.
I do not believe in writer's block. This is not to say that I have never experienced a dearth of fresh thought; I'm often exhausted, hung-over, stressed, anxious, addled. But I've found that even in the most uninspired evening there is revision to complete, reading to do, dreams to interpret, conversations to have. See, sitting at the word processor is only one component, if the largest, of doing this thing. The processor in the head never, ever stops. [BTW, updated the Short Stories page so it contains everything legible from the last year or so. I've got another three stories in rough draft that will seep onto that page]
I told my bosses that I will be going to grad school next year, confirmed suspicions I know they had by the way they reacted. There was a relief in it, like when the unnoticed machine in the next room stops whirring and you suddenly hear every detail. I had been holding onto this scrap of dishonesty, grasping it close like I belonged to secret societies and my name on their roster spelled disaster. I let it all out, and not a word to mislead: my current gig was the best I could hope for when I graduated, I have enjoyed getting to know these guys, I am willing to accept whatever possible impact this might have on my 'career'. And then these middle-aged men, married, committed to jobs they neither hate or love, smart and insightful and prosaic, spoke words of encouragement. To them this became something I had to do, they tipped their figurative hats to my dedication and my "balls". They asked to read things that I've been working on. They lamented the day when I would no longer be in the office. Even now, they're considering keeping me on the payroll part time . . .so when I'm eating Ramen in some squalid flat god knows where I can plug into the Internet and make more money then I'm worth to anyone.
(video: Paul Newman [RIP] in Cool Hand Luke; quote: T.S. Eliot)
Great stories end and are punctuated by death or departure. And, too, I think our lives are shaped by how we leave and how we die, as much as they are on how we arrive and are born. For the narrative of your live to be of any value it must be fragmented and broken upon hardships, ensconced and mutated by love, stretched thin and cultivated by your work, and fortified and weaponized by your willingness to allow it to change. I have asked for no easy things in life, and despite my fortune I've brooked no accolades undeserving, swiped no credit under false pretenses, assembled no houses of cards that I did not intend to leave to the inevitable wind. Like the myths of Oceania I've always felt my heritage, one I scrapped together from books and hallucinogens and frustration, was to move continually. Make land, and terraform and plant things and watch seasons change, and then disembark. From one island to the next; absorbing, seeing, taking, leaving, until the waters are untraversable and I have to choose sitting still or dying.
All this year I've been on course for one short-story draft a month. I've made it to October, perfectly on course even with a half-dozen things that were discarded on page 8 and mid-month. But now, I need two polished stones from the wreckage so I can mail it to a dozen schools around the country and cross fingers. So it's edit mode for a few weeks, redlining shit I wrote a year ago before I was who I am. As a writer everything that I did not write within the last 10 minutes feels amateur, inexperienced, naive. But the more I read things, and pick through the 120 pages I've committed as draft over the last year . . .there is this thing like pride glowing in my belly.
Seven hundred billion dollars, like some stultified proof that our money isn't real anyway. And then what does the time it took to earn it mean? In percentages, in appendages, in slack-jawed dawns peeling possessions from their packaging. And who are these people that may take it from you? In namesake, in descendancy, in half-solved puzzling over the taut sky darkening. There is no threshold for success, here. Debates pull teeth like 'existential threat', like war undermines our humanity. No advocating violence, but we've killed since time unreal . . .the philosophical catastrophe is that they've come to think our livelihood is their's.
Everything in flux, all ways. Le the universals splinter, spin me blinking, rattle the rented cage of my dented skull. Let the concrete ache in my sodden bones moan. The scalpel that cut me from the motherly carves out wooden identities and arcs dry lakebeds to rest in while storms gather. Only storms and thoughts gather, people collide and swarm. Water finds home where it is low . . .and I am destined to drown.
(Quote: TVOTR, Video: Nietzsche's Last Days) [I've got a draft of a story here . . .I really don't like the title.]
Moving in coming months. To a one bedroom or studio that I'll furnish with nothing but my floordesk and bedframe and whiteboard and collage and cat. And my only dishes coffee cups and plates handed down to me from a mythic drugsmuggler. All this coincident with being as close to home in Boise as I ever thought I might. No retirement, but the bachelor herd here will be missed. And moving might mean diluting my socialization time, in these 5 unraveling weeks between semesters I've had too much fun to wake up with a clean conscience. I found the Dionysian riot here, it can't always be stopped by force.
I made a friend the other night, and despite her smiles and laughs she was afflicted with depression. To be treated with chemicals. And I said: "On September 4th, 2008 I am really very happy." And I meant it because in the barrage of streetlights and cigarette smoke and declamations of seizure and embrace I truly was. And ignorant of the rising waters and circling helicopters, I stacked up complications and distractions until the Sunday following anxiety bound my arms and legs and I laid fetal listening to the absurdity of Kool Keith thinking nothing was real and everything mattered. I have no time for this.
Each school of literary theory says something. Even when there was no school but one-man philosophers leading us of out caves, things still stand that were said. And even as thought fractured and its pieces grew spines, Structuralism said things, and Marxism said things and the Romantics said things that we can still discuss until you sober up. But, I've come upon the one that hits me hardest. Literary Darwinism is the use of Evolutionary Psychology ("the application of adaptionist logic to the study of the architecture of the mind"-Leda Cosmides) to further understand texts. The field is nascent and fumbling and promising there glistening in its afterbirth. One example is this: a common theme in literature (and in life) is the tension between "selfish" choices (a life of independence, even rebellion) and feelings of brotherhood and concern for one's community or family. In evolutionary biology, we understand that the individual is a survival machine weaponized to replicate the species selfishly. but behaviorally we see altruism as a foundation of society because it is an effective way to survive (cooperation is genetic technology). Selfishness vs. altruism is an ingrained tension that we struggle with our entire life (conservatism vs. liberalism). It only makes sense that great literature should recreate this anxiety. There are other examples. All similarly revealing. Im writing a paper that will partly analyze Heart of Darkness through the means of this criticism.
(video: Cornell West on Real Time, quote: Franz Kafka)
Reading Anarchist political thought and finding nothing there that truly transcends anything. Thus far it leans towards socialism. "From each according to their abilities, to each according to their needs" like a spit in the face to the whole manner in which we've survived through this epic. Granted that was written at a time when less was known about the human mind; but we see in all tendrils of evolutionary psychology and game theory and economics and yes even history that this strategy fails. It creates an artificial environment that breeds an undue quantity of cheaters. It is bound to cast itself into vicious tumult that only a fascist can briefly put right. It channels only the most idealistic, and thus the eventually weakest, tendency of human nature. Yes we could feel empathy for some small tribe that churns out a product. But could those we trade with ever be trusted? Casting your lot with those you know, even if admittedly outside your genetic bonfire, is possible and happens frequently. But sweating out everything for far-off strangers on a planet teeming with those you don't know, people you may have no issue with but yet are subject to different cultural pressures than you . . .how can it honestly be thought that people en masse will toil for the livelihood of people they cannot influence? I have more to say on this, but more reading to do first.
Giddy like xmas eve of '93 for grad school. And it's one year, and one year does not feel like the long yawn it once did. I met with a former professor of mine for sage advice; I will not leave any advantage to rivals or the wind. He's convinced me that I will be successful, that I will end up some place. That he reads applications himself and would vote my work into his institution. Nothing firm there to pin the label "success" on, but I've never worked this hard for something that belonged purely to me. And to know the trench I dig is deep and straight, it makes the shovel move faster.
I like the rabble. I like noise and dirt and spiders and waking up so groggy that one's entire life seems punctuated by a fever-dream that you cannot remember. I like to argue and fight and point my finger at god and government for the weirdness they have wreaked, and I like to scream out that they hold no rule over my life. I'll compromise my free will to science, but no god and no master will take it from me. I like to stagger into work on no sleep with the stink of misdeeds still leeching from my pores. I like to rip a hole in the middle of my yuppie day and bleed from it and ache from it for no other reason but that my body will endure. I like to craft rites of passage via bricolage and name my impulses like dogs in heat. I like working long into the night, save one in five when I run the streets and burn through brain cells and am liable to convert your son or daughter to my cult. It's all completely untenable, and that's the point: so is being alive.
( video: Ira Glass on story-telling, quote: Henry Miller "Lime Twigs and Treachery. btw: well over 200 posts now!)
Your children are the problem. It pains me to say that, and it hurts down to my very genes and spine to persecute perhaps the only purpose true in our swirl. Energy, war, terrorism, angst, exploitation . . . these fruits all see their source in too many fucking people. And perhaps we may just escape this terra damnata, but even in that we'll choose who goes and who stays. We'll excise some gleaming class of beings with no more right to liberty than the sons of oil profiteers and hotel heiresses. And who does not meet those thresholds in this long pause will squabble and legislate and recycle their soup tins and petition the gov't to kick down scraps . . .but no one will ever say: "dose the water supply with birth control", or "implant an IVD with every vaccination".
The burned landscape stands charred lodgepole pine as a warning and a relief. From this things can be recovered. And to create, the old must sometimes be destroyed. And the burn is a year or two old, the upstart forest clambering over itself for the new sunlight with deformed little trees and the splayed hands of ferns. I'm city-born and city-bred, but the shadows and rock and water so fierce you can almost hear it screaming your name . . .in it the most profound thought can be examined: no thought at all.
I had an irreal workshop with a new friend last week. He's read a solid fraction of the things I've written over the last year and thinks that this is the best. Following close-critique of the story we meandered into something a bit more philosophical. And I had to wonder how much calculation and generation I have going on subconsciously, he saw things that are clearly there and are tendrils or tributaries of what I want to say; but I have never clearly thought all those thoughts.
