Bloody Mother Fucking Asshole

That song keeps resounding in my head: “Bloody Mother Fucking Asshole,” the one a friend posted the other day. Is mine a whoring heart, too giving in its longings, too unheeding of its misgivings, too promiscuous in its affections? Now that the song has happened to me, various forces drawing it to me at this point in my narrative, I must attend to it. The song interpellates, hails its listener. One finds oneself drawn into a situation as one identifies temporarily with its “you.” And of course this stings. One doesn’t want to be a bloody mother fucking asshole. And we know ourselves to be more than that, as we identify equally with Martha: we, too, have been wronged. We, too, wanted to be good: “To do everything in truth.” For Martha is also the other Martha, the one in Luke 10:38-42, said to be distracted by all the preparations that she thought had to be made upon arrival at her home of Jesus and his disciples. The Martha in the parable, incensed by the sight of her sister Mary “sitting at the Lord’s feet listening to what he said,” complains “Lord, don’t you care that my sister has left me to do the work by myself? Tell her to help me!” Lord replies not unlike a bloody mother fucking asshole, gaslighting her, treating her like an hysteric, trying to hail her as one “worried and upset about many things” which, to the Lord, are of no importance, no concern, no consequence. “Mary has chosen what is better,” says the Lord, “and it will not be taken away from her.” Martha is wronged in this parable, and the Wainwright song can be heard as a kind of rejoinder. Wainwright said she wrote the song in reply to her father, fellow singer-songwriter Loudon Wainwright III. Hear Martha’s song alongside Loudon’s “Daughter,” a song he released two years after Martha’s, and one achieves momentary apprehension of the Rashomon-like nature of the totality: each of us a face of the one true thing. In a 2005 article in The Guardian, Martha wrote, “For most of my childhood Loudon talked to me in song, which is a bit of a shitty thing to do […]. Especially as he always makes himself come across as funny and charming while the rest of us seem like whining victims, and we can’t tell our side of the story. As a result he has a daughter who smokes and drinks too much and writes songs with titles like Bloody Mother Fucking Asshole.” One could imagine the Biblical Martha responding similarly to Christ’s fondness for speech through parable. Martha’s isolation and uncertainty are conditions she thinks are hers alone, things about which others of us cannot know — those of us in particular who, in our act of fantasizing, occupy temporarily the position of the asshole father character: Loudon, Christ, and yes, we ourselves, to the extent that we have ears that can hear. “You have no idea,” sings Wainwright in a wonderful riff on Dylan: “No idea how it feels to be on your own / In your own home / With the fucking phone / And the mother of gloom / In your bedroom / Standing over your head / With her hand in your head / With her hand in your head.” That “mother of gloom” line haunts me each time I hear it. For I, too, feel in my more wretched moments this figure’s presence. The feeling is one I know to be false and ungenerous in its appraisal of reality (the mother, after all, is as deserving of forgiveness as the rest of us) — yet I feel it nonetheless. Thinking analogically, we might read this mother figure in the Wainwright song as a variant of the Mary character from the parable.

Sunday November 17, 2019

Language hails us, places us in the position of the Receiver, identifies us as its subject. Thus we return to the matter at hand: the construction of subjectivity via language. Reality is a text adventure: “In the beginning was the Word.” Unless language is the usurper, the gnostic demiurge, the map that overlays itself atop the territory, in which case Gaia is the true creator. Brother Sun, Sister Moon. Perhaps I should watch Roberto Rossellini’s The Flowers of St. Francis. Each of us, as in the Cavaliers song, a slave to a beautiful game. The Babylonian system, always replacing one form of slavery with another. So thought those who brought me here.

Friday November 17, 2017

I am achievement-minded and acquisitive only in pursuit of knowledge. And “pursuit” is perhaps misleading, as I’m more a gatherer than a hunter. “Behave with due reverence for Nature, and thou shalt receive” has become increasingly my motto of late. As soon as one doubts, the power stops working. But otherwise, it’s a gift. Sarah’s parents arrived for a visit the other day, and their plan is to stay until Sunday. Touring them around, I realized my city comports poorly when set before the eyes of strangers. Especially when one is not loaded — and I mean that in either sense of the term. At least the sky is still blue. I excused myself midday yesterday and made a point of blasting Milk Music’s new album Mystic 100’s along the length of my commute to campus, your humble narrator surrounded on all sides by beautiful autumn foliage.

The world appeared to me as if I were viewing it through textured glass. Upon my arrival home, my father-in-law and I conversed at length about our frustrations with students and with education more broadly, our mutual profession. My frustrations are compounded, though, by a pessimism that far outstrips his. My faith is apocalyptic, where his is not. I believe slaves should rise up against their masters. Neuro-hypnosis FTW. What are we unlocking? Some non-referential non-recollection of thought. Why did Althusser’s theory of interpellation make intuitive sense to me? How did part of me already know that the world as it appears is a lie? The sky can be singed away. Too many eyes captured by too many screens. To discipline, I object.