What does it mean to become mindful of a practice? Take my use of language in combination with my use of cannabis. What enters my awareness, what happens to my consciousness (and is there even still an “I” to whom these properties belong), once I’ve allied myself with a plant? Does becoming mindful mean observing language use, moving recursively through the parts of sentences, sounding them out, testing their properties, aligning them into sequences that please an inner judge? Does it mean editing in accordance with a previously taken-for-granted Reason, or Substance, or Preestablished Essence? Is this latter equivalent to what the ancients used to call Logos? And where does the “I” sit in all of this? Does choice of words have an impact on Being? Is the metabolism that emerges from this impact a healthy one? Let us relinquish the question-form and see. A kind of “angel” arrives here speaking to me from the pages of a book. It claims to be a messenger—though what it wishes to share with me, it says, is not information so much as a “language of transformation” — words “capable of renewing those to whom they are addressed” (Latour, as quoted in High Weirdness, p. 156). Earlier in the day, a friend posted a favorite passage of his from Frank Herbert’s Dune — a “Litany Against Fear” that seems apropos given the tightrope I walk. “I must not fear,” says the novel’s hero Paul Atreides. “Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain.” This passage seems to favor action — but some fears are warranted, I tell myself. Afterwards I catch myself humming “Knock Three Times,” a hit song released in 1970 by Tony Orlando and Dawn. The unprompted strangeness of this song, the way it rose to mind without any clear catalyst, causes me to reflect for a moment on its lyrics. Noting a correspondence, I decide against a second hit.
Life in transit, dragging bags through Heathrow, preparing to board a seven-hour return flight to the States, communication necessarily a bit spotty. A man I met at the Psychedelic Society event last night — a hypnotherapist, to be precise — shared with me an account of an experience of his oddly similar to my own. For both of us, ordinary acts of pot-smoking birthed year-long bouts of manic scribbling — mysterious inner voices possessing us with an urge to write. The man spent several years after his experience editing the resulting material into a series of books that he went on to publish with Psychedelic Press. I return to the States knowing at the very least, then, that there are others like me: “New People of the Flat Earth,” like the characters in Brian C. Short’s peculiar novel of that name, a book I’ve been reading here on the flight, certain passages glimmering up at me from the page like features of a lucid dream. I check the Skymap on the screen attached to the seat in front of me, only to find written on the next page, “if I were something, it was a body in motion, a distant, dusty-blue spot…as seen perhaps from high above, tracing the bland potential of a straight line from one side of a map to another, making the real things now unreal, simultaneously giving shapes to other things that previously had none” (Short 210).
Enunciate, craft, massage into shape. Learn by doing. Note down partial approximations of eidetic imagery. Thirty-one syllable word-clusters, as in the Japanese tanka. Bars of neon form an elongated “C,” the unfinished outline of a cursus. Diet remains for me a site of struggle, a point of contention. Cooking and eating from home have not yet become welcome parts of my practice of everyday life—nor has any decisive shift toward vegetarianism. Old, long-established eating habits are hard to break on a budget. Objects and textures pass rapidly through a set of multidimensional windows or portals, as would an array of illustrations on a picture wheel. Operating an imaginary View Master is a bit like exercising a phantom limb. But see with it we may. A food truck specializing in seedlings and nut bars pulls up in a park, an abstract crayon parrot drawn across its side. Golf courses designed like cakes dissolve and vanish. Front end to back end: “Folks, it’s not a screensaver I seek—it’s a quest, a vision, an account of an inward journey, magic everywhere.” Weird sonic matter wells up, giddy microtonal burblings and hijinks. Is a trope like a lasso? Is language like a rope, fashioned in a circle to ensnare? Or is it a sounding forth in song in response to the cosmos? Let us become like trees shining gently all around. Somewhere in my mind is the Incredible String Band’s “Painting Box.” Somewhere I sing it aloud to a child.
In its final scene, the Netflix television series Russian Doll allows its time-looped protagonists, Nadia and Alan, to reunite as their best selves amid a parade of party people waving red flags of revolution. Given our current slime-pool polis, it seems reasonable to regard the show’s Groundhog Day purgatory as an allegory of that era of reaction since the defeat of the Sixties that Americans on the Left took to calling “neoliberalism.” The show boldly imagines that those who wish to live will one day get it right. In it I see a spirit similar to the one that animated Mitchell Goodman’s 1970 anthology The Movement Toward a New America, a book I wish I could somehow integrate into my classes. Let’s be straight with ourselves. “The Movement,” as Goodman defines it, “is the act of getting ourselves together. Clarity. Coherence. Community. It is also a vision” (vi). As if hearing a voice speaking out of myself, I read passages written by a man once known as Peter Marin. He tells me, from the future, to look for a book of his called The Free People. At the start of an essay of his featured in The Movement Toward a New America, Marin offers a description of a method of composition eerily similar to the one animating these Trance-Scripts. “Shuffling through my notes,” he writes, “I feel like an archaeologist with a mass of uncatalogued shards. There is a pattern to all this, a coherence of thought, but all I can do here is assemble the bits and pieces and lay them out for you and hope that you can sense how I get from one place to another” (vii). Like Marin, I am “impatient with transition, the habitual ways of getting ‘from here to there.’ I think restlessly; my mind, like the minds of my students, works in flashes, in sudden perceptions and brief extended clusters of intuition and abstraction — and I have stuck stubbornly to that method of composition” (vii).
When writing poetry, one ought to put one’s breath into it. Count the length of one’s line, listening to thought’s syllables. Practice what Charles Olson calls “composition by FIELD.” When we set aside old fears, we unlock our hidden capacity to resonate in sympathy with others. Keep going, keep learning, keep growing. Open windows, let in light, sit outdoors. When I do so, I see trees, the modest, low-slung buildings of an invisible campus.
I resonate with the music of M.C. Richards’s prose in her book Centering. These trance-scripts share some of that book’s form and sentiment. “Its form,” as Richards intones, “is a demonstration of what I say in it. Themes recur and vary. There are passages of development and recapitulation. I wish to offer its meaning not as rationale but as physical presence in language. Iteration and reiteration like days in a season, and we come to the feel of its weather. […]. Sudden changes of tone — from refinement to coarseness, from mechanics to rapture — are moods of nature” (6). Like Olson, she points to breath as the tender, limber thread we walk on our journey between life and death. Breathe deeply and wish well one’s entire sphere. Let the world enter one’s awareness with each breath. Wish well, wish love and bliss to all. It’s such a simple task, and yet I’ve struggled throughout my life to keep it first in my thoughts. To behave well and bring happiness to others. Why can’t we just imagine that and do it?
The worker must have her bread — but she also must have her roses. Hand over, motherfuckers, or we’ll storm your gates and tax your estates. We’ve had enough of these open-air debtor prisons. We will remain silent no longer. From out of the monoculture into Out There step bands like Tower Recordings and Wet Tuna. By exercising consciousness, I can release from my usual mask of pain into an embodiment in breath and posture of loving kindness. “Focus on one’s breath”: this is what Charles Olson proposes in his essay, “Projective Verse.” The brain is there in the breath, the line, and the syllable. Regulate breathing, and awareness intensifies. We see and hear more of the grand dynamic. The creak of the kitchen table from the push of our hands as we write. Objects arranged on the table’s surface. Olson intervenes at just this moment to remind us to concentrate on breath and beware the ease of the descriptive. Within the energy field that will become the poem, he says, one must manage syllables and lines in their relations to each other. Such was the way Olson taught his students to write, both at Black Mountain College and elsewhere. Linguistic objects — words, sounds, sequences of syllables: for these, the poet finds a use.