One comes to a point in one’s life, I convince myself, when one ought to hear Handel’s Messiah. Wouldn’t it be more fun, though, I think, to confuse Mrs. Dalloway with Mrs. Doubtfire? Regress to high school, participate in a cafeteria food fight. “The voice of him that crieth in the wilderness”: ’tis but a character preserved in stories handed down across millennia. No matter: across these trance-scripts shall be built a highway fit for a god. It is from the fruit of great sorrow that change is wrought. Knowing, though, the shortness of the remaining hours of day, let us hasten our walk below this grim gray sky. Dead plants fire miniature spears at me. I pause and listen to a branch of dead leaves, brown and dry, shivering above in the air in the wind. Sarah recalls to consciousness a book called Nightwalking: A Nocturnal History of London. Those who travel with the cross ought to stay in their fucking lane, we growl at an aggressively-driven neighboring bus. It’s hard to ascertain the shape and contents of another’s discursive universe. To my countrymen, I ask, “What cognitive maps have you built of our home, our oikos, Spaceship Earth?” I fear for what will be left of it by century’s end. Why can’t we collectively turn our backs on matters of law and business? Are we drawn toward these as one is drawn toward a bitter destiny? Ants and spiders in a vast webwork, life’s maze. State-forms and modes of production ruin freethinkers by subjecting them to mandatory schooling. Althusser called the educational system capitalism’s dominant ISA. And now they will tax students further for this miserable imposition. To compensate, I drop the needle on Ritual Tension’s Expelled.
Songs spill across a graceless eternity until voices speak to me. Give these voices a listen, I tell myself — don’t drown them in the soundtrack. The universe puffs out its cheeks and exhales speech at me. I find a soul-mate of sorts in the narrator of Alberto Savinio’s Tragedy of Childhood, Mister Why. But the voices, rather than leading me, sing to me. Like doctors and teachers, they live by obscurity. They practice the latter as if it were their profession. Their words, mere humming noises, demand of me an externalized awareness, a focus outward of consciousness, and in doing so, lull me toward sleep.
I release hold of my ego, or maybe I just re-leash it. Emails sound like military bugle calls. The gift of meditation and prayer. The black hole, the abyss that throws up memories. Churches are major structures of social discipline. They create prisons of doubt and fear. But ISAs are everywhere. Clues left behind in the minds of individuals. Drugs can help us release the devils from our brains. Massive criminal conspiracies. Have I mentioned that I became friends recently with a Marxist Baptist pastor? I am excited by the arrival of this figure on the world-stage. Churches remain giants; and as my friend said, “Theology never goes away.” Can churches be reformed so as to help usher in the Kingdom of God? It’s still cops and robbers — but maybe the robbers can act again as Robin Hoods. Perhaps religion is the staging ground for the launch of a new counterpower. We must re-approach the adults who believe the secrets, and for whom the spell has been cast. So many damaged people out there in our midst. Haunted by demons. Survivors of skirmishes in modernity’s and postmodernity’s culture wars. One needs to maintain a distinction, though, between art made for a trip (as a kind of tool or supplement), and art made to re-present in place of a trip. Play “Sensory” by Kill Alters, though, to illustrate reality’s defiance of the above distinction. And follow this with “Ego Swim” as the next phase in our sequence.
What a time to be alive, I proclaim, arms raised to the sky. And the illusion, I should say, looked many-eyed and sang back to me, clothed both in “The Holder” and Do Pas O’s “History of Comedy,” where the universe melts like taffy.
Fierce grotesques profiled as by Diane Arbus. One must command a choir of alternate personalities, each waiting to overtake the others’ transportive ecstasies. Eyes that reveal eyes within. All of us are angels with amnesia, living as humans in the void or simulation we call “embodied presence.” Some of us are pouring fondue on ourselves online. Which makes a lot of sense! Altering, leveling, getting THERE to THAT, begins with our behavior toward one another. It means placing productivity on hold midafternoon. Flip-flops descending a staircase. The world reverberates in affirmation when we allow ourselves entry again to the garden. Calm, deliberate enjoyment as one treats oneself to existence. Uncommunicative, reserved, and quiet, but filled with joy.