I move amid the house attending to needs, wishing all well. Light fixtures, sculptures, paintings, artwork: plant the seeds and start doing.
The yard around the house changes, of course, with the change of seasons. Neighboring houses enter sight, though still from a great distance, as trees lose their leaves. ‘Tis the season to build beds, I tell myself, so that when spring arrives, we can plant the beginnings of our vegetable, herb, and flower gardens. Because of deer, we’ll also have to raise a fence. The yard around this fenced-in area will remain open: some parts wild woods of trees, other parts mown. The deer are thus welcome still to visit and graze. Students and I arrive, meanwhile, to the tragic, long-awaited “novum-event” at the mid-point or core of Octavia E. Butler’s novel Parable of the Sower. A drug-consuming cult of “crazies” or “pyros” attack the narrator-protagonist Lauren Oya Olamina’s walled neighborhood and separate her from her family, forcing her to flee north. Lauren travels on foot as part of a “pack” with two of her neighbors. The three characters — Lauren, Harry Balter, and Zahra Moss — must learn to trust one another to survive.
Evenings are when I write. Sarah DJs, gets us dancing to James Brown and Sly and the Family Stone. Time to set up stereos and drums. Organize the studio, arrange speakers atop the desk. So I tell myself, past self to future self, mind ranging through the rooms of its memory palace assembling a “to-do” list. That’s where my head goes until I make my way out to the porch — where moths cast shadows and streetlights shine in my eyes. A daddy long legs crawls past as pass cars on the road. Crickets sing in the grass. Dogs bark from a distance on occasion. Traffic eases up come night. With the latter come cooler temperatures, however, so before long I’m back indoors, washing dishes and snacking on sesame sticks.
Toward evening I retire to the yard and sit beside a fire. The fire brightens as the sky darkens. Crickets and cicadas trade rhythms. Beside them ride the sonic traces of cars along the nearby autobahn. From the sky above comes and goes the sound of a helicopter. Sarah and I burn dry branches of rosemary. As night falls, I pull my chair closer to the fire and admire its warmth. The heat relaxes me. Afterwards I sit beside Frankie as she plays at her music table in the living room, awake a bit past her bedtime.
There is much to do: course preparation, childcare, cooking, housekeep. And all the while, we’re learning — trying to, here and there. Trying to do so lovingly. Growing with that which is growing all around us. A potter’s wasp builds two nests, each one a tiny architectural marvel, on the side of a wood post, part of the railing on my front porch. The nests look like little round adobes fashioned of mud and clay.
Sarah looks into how we might remove bats from beneath a section of our attic. They’re endangered and they’re cool to have around, in the sense that they eat thousands of insects per day; but their poop isn’t something we want collecting next to our house. Perhaps we can arrange for them a small bat house. Build them into a workable permaculture. Jonathon Engels is one of many who recommend that we “utilize wildlife.” Create good habitats for frogs, lizards, birds, rabbits, deer, bees, butterflies. Add fertility, spread seeds, create compost. Bats are skillful pest eliminators — pests that could otherwise endanger crops like corn, tomatoes, and beans. Bat guano can then be recycled back into the land as fertilizer. Bats are also pollinators. So let us build or buy a bat box. Mount it on a post in a sunny spot in the yard. The box should perch about thirteen to sixteen feet off the ground. Let us do our best to provide all creatures with homes. Scale up the ladders of the allegory; apply the principle more broadly. In all cases, it means overcoming fear of otherness. Build a culture that uses narrative to occasion imaginative identification with all of nature as kith and kin, while also responding lovingly to difference. Think of this as an alternative to the relationship to Otherness proposed and imagined by Thomas Nagel in his famous essay “What Is It Like to Be a Bat?”
Sarah has had to hold the baby for much of the past few days as I work on the floors of the new house, preparing it for our move — and we’re isolated from our families due to the lockdown. Both of us find each other reunited each evening, busy boxing and bubble-wrapping items, though also finding moments of rest, relaxation, comfort, moments of peace and quiet, amid days filled otherwise. The physicality of each day appeals to me even as it pains me. The move is happening, though, and all is well.
The new house is magnificent, majestic. I pulled up most of the carpets, I’ve removed much of the padding, I’m in the midst of removing staples and tack boards. A crew will help us sand and refinish the beautiful hardwood floors. Each day we transport boxes and objects as we begin our move. It’s work — we also plan to paint several rooms, plant a garden — but it’s coming along, the whole assembling before our eyes. And we’re working together. Baby gives loud, satisfied sigh.
Is the bourgeois subject the one who finds by way of money-power the way to a home? Shouldn’t self-determination of Oikos through communities of mutual aid take place wherever it can? Can we get a revolution? Jefferson Airplane seemed to think so in their 1969 song “Volunteers.”
“Look what’s happening out in the streets,” they sang. “Got a revolution / Got to revolution.” The revolution means dancing down the street like in a musical. Get people out singing in the streets. John Sinclair’s version was a bit more like West Side Story: “ROCK & ROLL, DOPE AND FUCKING IN THE STREETS.” But then others like the Stones demanded “Gimme Shelter.” And for them, that meant “Make Love Not War.” (Sinclair’s papers, by the way, are held at the University of Michigan, with boxes dedicated to Artists’ Workshop Society, Trans-Love Energies, and the Rainbow People’s Party.)
She’s growing quickly. She’s active, inquisitive, communicative, discerning. We hang out. We go for walks. We return home to home cooking and mother’s breast. The household looms large around the edges of each day. I come home from walks eyes heavy with pollen. Allergy season. I’m interested to see what students do with this week’s readings: texts by Abbie Hoffman and John Sinclair. I dig in and learn about Abbie’s friendship with Allen Ginsberg. The two writers admired each other’s work. Ginsberg influenced Yippie politics and Hoffman’s brand of revolutionary political theater through a piece he wrote called “Demonstration or Spectacle as Example, As Communication.” (Abbie’s archives are available, by the way, at University of Texas at Austin.)