Consciousness outgrows its paradigm, becomes bigger, encompasses more than all prior paradigms and Zeitgeists. Doors are opened, dispelling the integrity of these spirits of containment. We walk beyond our usual bounds. Worlds are thus studios for practice, helping us envision our agency, each studio opening into one larger. The books I read are part of my studio practice, and each day I learn from them something new. Reading today, for instance, I learn that “Michael Davidson” was a pseudonym used by Warren Michael Zeit (1923-2014), author of two science fiction novels, The Karma Machine (1975) and Daughter of Is (1979). Zeit worked as a professor of history at Marymount College. Not to be confused with the other Michael Davidson, the poet and chronicler of the San Francisco Renaissance. Beautiful writing is a perennial gift, a magical capacity to partition the self so as to function as a receiver of words, word-symbols, symbol systems. Using this gift, we can describe immediacies and then place them using recursive statements in ever-widening circles of past and future. Others think we’re just spinning our wheels. They wonder the merits of these revolutions. But there can be no re-imagining of reality until we re-open ourselves to words.
Three men enter a bar and hunch together around a table at the start of Andrei Tarkovsky’s Stalker. Upon finishing their drinks, the three men — writer, scientist, and ex-convict — climb into a convertible and drive around through shadows and puddles, dodging cops, following cargo trains through gated crosswalks. Heads remain constant in the foreground against a changing background as the men journey into the Zone, a realm that “wants to be respected.” Humans who disrespect the Zone and trespass against it are punished. Perhaps this relates to a dream I had last night. Having traveled to the past, I tried to prove this fact to my companions, pointing to not-yet-existing years of copyright printed on objects: a notebook I happened to be carrying on my person, the tag on the tongue of my sneaker. These demonstrations were met with confusion and disbelief. Weirded out by my claims, my companions took a vote and agreed to abandon me. As they boarded a taxi, I suddenly remembered that I’d left my bags of luggage in their hotel room. One of them agreed to accompany me up a slow elevator — a vertical, Halloween-themed passage through a shadowy interior universe. I disembarked on the seventh floor, only to have someone rush up and pluck the key from my fingers — at which point the dream ended. Perhaps my actions were a form of disrespect. The reductive universe posited by Western rationality is the nihilistic universe, the lobotomized universe — the universe without meaning. Let us ascend from that place. By integration with plant-spirits and plant-consciousness, we chemically engineer ourselves into new kinds of mythic beings. Michael Davidson’s novel The Karma Machine offers one such myth. A community of immortal heads assembles a device called the Sophia, a generator of wisdom and truth, from which they then request a meta-narrative: the grand narrative to end all grand narratives. What they receive instead is a restatement of the Parable of the Tares.
I sit with squirrels on a November afternoon absorbing golden rays of sunlight. ‘Tis given freely. Our mutual inheritance. The squirrels jump and scurry among branches of trees. Where shall we place our attention, if not on speaking squirrels? The one above me, in its lovely ahhs, its lusty cries, its squaws, its pleas, sounds like a tearful Donald Duck. Through our stillness, we allow others space and time to be. A lawnmower supplies a buzz to compete with a leafblower’s roar. The neighborhood performs itself as would an orchestra for an audience of one. This is what I want as a communist: control enough of means of production so as to live free, our days, mine and yours, always occasions for pleasure and growth. Michael Davidson’s The Karma Machine reads like a prearranged signal, alerting those who read it of the planet’s wish to mutate-convert into a crystalline “ecstosphere” (162). How do we get there in the midst of what Erik Davis calls “reality meltdown”? Mass media’s programming of listeners and viewers to spur mass consumption gives way to the absence of shared points of reference. Today’s competing news agencies tell competing stories, thus creating competing consensus realities: a plurality of maps, all jostling for control of territory in the Desert of the Real. Against this, argues Davis, rise forces of re-enchantment. Movies of future disasters, journeys through the cosmos. Let us attend to the truth of experience, he cries, and carry stories lightly! “Doubt is a medicine! Skepticism is a medicine!” Always inquiring, always probing amid a totality filled with human and non-human persons. By way of the imagination, he suggests, we can interface with the non-human, the alien Other. “Let myriad things come forth and illuminate the self.”
What does it mean in allegorical terms to be either “on the bus” or “off the bus” among Ken Kesey’s group the Merry Pranksters during their cross-country acid trip, the one Tom Wolfe reconstructs for readers in his “New Journalism” classic The Electric Kool-Aid Acid Test? It’s the difference between riding with experience, perhaps, and resisting it. Kesey wanted people to ride with it. “No one was to rise up negative about anything,” writes Wolfe, “one was to go positive with everything — go with the flow — everyone’s cool was to be tested, and to shout No, no matter what happened, was to fail” (Wolfe 84). No more uptight, defensive reactivity. Each of us, instead, like the bus a recording device traveling the open road of what Wolfe calls “the true America” (Wolfe 85). Judgment under these conditions appears an arbitrary imposition, as when I set aside Wolfe and peek into Michael Davidson’s “Tale of Cybernetic Buddhism,” The Karma Machine (1975), a novel I discovered while perusing the shelves of used bookstores during a recent trip to San Francisco. This is a book in which the whole world sleeps, a group of revolutionaries called the Geneva Society having bombarded their fellow humans with “Delta-waves,” so as to prepare a critical operation, a utopian intervention to cure the species of “the disease which afflicts it: mortal fear” (Davidson 104). The revolutionaries pitch this as a “democratic exercise,” as they gather “representatives of the common people” to determine the cure. Heads of state are kidnapped and made to carry out the directives of this “people’s assembly.” One of the revolutionaries, a scientist named Strastnik, tells those gathered, “You are absolutely secure, but you are also completely confined. In brief, you are back in the womb, the womb of history! And you are a new conception! May you prove an immaculate one” (Davidson 105). Before reading further, I set down the book, sit Indian-style and meditate. Vibrant experiences of reciprocity are what I seek in order to feel in a new, delightfully intense way. Experiences of ecstatic contact between self and world. Let love lift us through enlargements of perspective, revealing in this way “the pattern that connects.” Eros, a longing both individuated and attached, free and determined simultaneously. Touching the world and being touched by it in return.