If I had a library, I’d visit it mornings, evenings, I’d look for books by David Henderson, co-founder of the Umbra writer’s workshop, a group that met on the Lower East Side of Manhattan in the early 1960s. At one point Henderson was married to the black feminist scholar Barbara Christian. I have a book of his on Jimi Hendrix somewhere in my basement. By the 1980s, though, Henderson started publishing with North Atlantic Books, a press founded by Miranda July’s father, the writer Richard Grossinger. I retrieved a book of Grossinger’s from my basement earlier this week. He seems to be quite a character — a magician of sorts who apprenticed under Robert Kelly. At some point I should also look for work by Calvin Hernton, another of the writers associated with the Umbra group. Hernton studied with R.D. Laing, participating in the Institute of Phenomenological Studies and the Antiuniversity of London before returning to the US in 1970. Ishmael Reed once described him as “a modern-day warlock…the man faltering governments keep their eye on. The native who has his own cabala.”
Wizards often stroke their beards as they think. Picture it — as in a Halloween costume. ‘Tis a trope of the genre — as with Merlin, Gandalf, and Dumbledore. Wizards don’t have to fit this image — but there’s a long tradition of bearded wizards, sages who clutch staffs, canes, walking sticks, wands. The particulars vary from culture to culture. Tolkien is said to have acquired the trope from an ancient Finnish epic called The Kalevala, at the heart of which is a mage named Vainamoinen — old, wise, long beard, performs magic using voice and song. Esoteric secrets and forgotten knowledges grant all such figures special powers, distinct from the powers of their peers.
A tall amaryllis sits beside me, both of us seeking light. Subjects must act: punch and kneed dough. As Sarah says, “Something doubles in an hour — it’s exciting!” Imagine change and witness it. Invent a good wizard, in the tradition more of Yoda than of Gandalf. I worry, though, about the prevalence of battle in the myths that house these characters. I suppose one enters the role, as Huxley says, “by knowing what had to be done — what always and everywhere has to be done by anyone who has a clear idea about what’s what” (Island, p. 40). In my case, it begins with a shift from soda to fruit juice. One has to live out total acceptance, even of conflict. We proceed by acquiring knowledge of what we think we are, but are not. The knowledge we imagine we lack we in fact possess. Trust the mind to furnish images to guide us. Move into a non-dual perspective, subjects and objects released from use. Dream now of pyramids lifting from a base: “Whitey on the Moon.” The whole face of the world down to details as small as Cleopatra’s nose, as seen from above.
“The mind attracts to one whatever the mind dwells upon,” reads a page I flip to in a college-ruled notebook pulled from the bins at Goodwill. The moon, waxing gibbous, pulled Sarah and I toward a Halloween party the other night. Appropriately heady, for sure, and with major magic. An altar-top arrayed with small bones. Conversations washed over me, though, to little effect. Appalachian Southern witches. Symbols of an arcane sort. It was the party of my coming out as a wizard. At one point, Sarah turned to me and read me my horoscope from her Witches’ Almanac. Apparently I’m on the verge of making a big decision which will “raise a lot of dust.” The horoscope also promised “nice aesthetics” this month. But as much as I enjoyed the care and attention to detail that went into the night’s revelries, Daphne’s death weighed solidly on my mind. It was hard to muster enough will to speak with others. Speaking of speaking: My students love to speak highly of their parents’ “hard work” launching pizza chains and amassing fortunes on Wall Street. Whenever I hear this shit, I think to myself: One could say the same about vampires. They, too, work hard sucking blood from their victims. But that doesn’t make them admirable. A hardworking vampire is still a vampire — and as such, deserves to get a stake shoved through its heart. And that’s how I feel about rich people. But I’m also no Van Helsing, so to ease my temper, I binge-watch the new season of Stranger Things. Eleven wanders alone in an Upside Down labyrinth. Thresholds between dimensions look like body tissue: uterine walls, placentas. The show relishes and savors the textures, tropes, and technologies of the 1980s. But it’s also fully absorbing in its sympathies and its use of outdated media to elicit a sense of the strange or the uncanny. New Age “psychic” or “telepathic” spaces — astral planes, other dimensions — these were very much a part of that era’s narrative universe. It’s a relief to watch a show that can once again broaden my sense of the potentials of genre. The latter, because sticky with the residue of an era’s affective investments, can reawaken phantom media antennae, exposing subjects to ghost sensations and histories half-submerged.