Orpheus in Hades’ Lounge

There’s a parking, a journeying outward. Up and out we launch past West End Mill Works, off on tonight’s adventure, beginning with an evening stroll. Graffiti marks the spot. Stream to one side of us, water rushing over rocks. Spotify shifts from Steely Dan’s “King of the World” to Jan Hammer Group’s “Don’t You Know,” voices and cars in the distance. Looking both ways, we cross the street and rush down onto a shaded path through a nearby park, crickets singing in parallax with Neil Young’s “Computer Age.” We turn off the song and continue for a moment in silence. Upon arrival to a crossroads, we ask of each other (like Ginsberg to Whitman in Ginsberg’s “A Supermarket in California”), “Which way now?” Looking up, we rise and step proudly toward pink clouds. Conversation turns toward Old & Used Books as we pass a graffiti-clad muffler shop. Bulldog with paintbrush arrives as comic relief — reality for a moment a goofy animal fable whodunit. We grab beers as day turns to night. Ginsberg’s “lights out” reverberates, hangs in the air after us having heard earlier in the day Let’s Active’s “Orpheus in Hades’ Lounge,” featuring hometown hero Mitch Easter.

Can Orpheus be told anew? We recall to each other the character’s many forms. Jean Cocteau’s Orpheus (1950), Marcel Camus’s Black Orpheus (1959). Also Jean-Paul Sartre’s essay of that name. And let us not forget Samuel R. Delany’s Lo Lobey, the Orphic protagonist at the heart of Delany’s 1967 novel The Einstein Intersection. Hoots is a Hades’ Lounge, is it not, with its red light hanging above its corner booth? So we think as we drink, glorying finally in each other’s presence. “What would happen if our Time Traveler were to stage the scene again?” wonders the Narrator, listening alone now, seated at the same booth many months hence. With “King of the World” still fresh in our ears, members of Steely Dan singing, “No marigolds in the promised land; there’s a hole in the ground where they used to grow,” we restate the refrain of Jan Hammer Group’s “Don’t You Know.” Amid Orpheus wailing away on his flute come the words, “You’re to know that I love you. You’re to know that I care.”

Friday November 24, 2017

My levels of awareness and self-awareness fluctuate, just as consciousness reforms depending on pronouns and word order. As a dog barks, my mother calls my name, shouts “Come home, dinner’s ready!” I’m down at the end of the block, venturing into the unknown, trying to suppress fear. What am I afraid of? Those are the kinds of archetypal scenarios that I encounter on occasion when stoned. Some endlessly replayable memoryless emotion. I imagined my neighbor, the rarely-seen Mr. Belcher, as one who would point a shotgun at me if I trespassed on his property. The world thus ended, forming a false totality, for beyond it lay lands unknown, lands weird enough to warrant as their soundtrack David Bowie’s “Subterraneans.”

A psychic separation occurred there, a forced compartmentalization of consciousness. When we shift to a lower level, we forget who we were before. What remains is hidden, stunted, disconnected. To confuse the issue, remarks Curle, “the visions of mystics frequently resemble the visions of psychotics” (21). I stare ponderously, try to reestablish the sense of things. I find pleasure in this mental exercise. Pig stands alongside the road staring me down with his speed-gun directed at my face. We are made to accept such behavior with nary a complaint in this backward country, as we must the billboards strewn along the highways advertising firearms as Christmas gifts. I took comfort, dislocating myself from the above, by listening to Neil Young’s “On the Beach” while driving to visit friends yesterday. But the universe fired back with “Frightened” by The Fall. Such is our present reality.