Wednesday, June 15, 2016

departure

by louise gluck (from meadowlands)

the night isn’t dark; the world is dark.
stay with me a little longer.

your hands on the back of the chair--
that’s what i’ll remember.
before that, lightly stroking my shoulders.
like a man training himself to avoid the heart.

in the other room, the maid discreetly
putting out the light i read by.

that room with its chalk walls--
how will it look to you i wonder
once your exile begins? i think your eyes will seek out
its light as opposed to the moon.
apparently, after so many years, you need
distance to make plain its intensity.

your hands on the chair, stroking
my body and the wood in exactly the same way.
like a man who wants to feel longing again,
who prizes longing above all other emotions.

on the beach, voices of the greek farmers,
impatient for sunrise.
as though dawn will change them
from farmers into heroes.

and before that, you are holding me because you are going away--
these are statements you are making,
not questions needing answers.

how can i know you love me
unless i see you grieve over me?

Tuesday, June 14, 2016

lightning

by mary oliver

the oaks shone
gaunt gold
on the lip
of the storm before
the wind rose,
the shapeless mouth
opened and began
its five-hour howl;
the lights
went out fast, branches
sidled over
the pitch of the roof, bounced
into the yard
that grew black
within minutes, except
for the lightning - the landscape
bulging forth like a quick
lesson in creation, then
thudding away. inside,
as always,
it was hard to tell
fear from excitement:
how sensual
the lightning's
poured stroke! and still,
what a fire and a risk!
as always the body
wants to hide,
wants to flow toward it - strives
to balance while
fear shouts,
excitement shouts, back
and forth - each
bolt a burning river
tearing like escape through the dark
field of the other.

Monday, June 13, 2016

what can be done

what holds me
in the story we've all heard
so many times before:

the few who resisted,
who did not do what they were told.

this is the old fear:
not what can be done to you
but what you might do
yourself, or fail to.

this is the old torture.

-margaret atwood, from "trainride, vienna-bonn"

Sunday, June 12, 2016

two by nayyirah waheed

‘no’
might make them angry
but
it will make you free.
— if no one has ever told you, your freedom is more important than their anger.
*
and i said to my body. softly. ‘i want to be your friend.’ it took a long breath. and replied ‘i have been waiting my whole life for this.’
*

Saturday, June 11, 2016

past-perfect-impersonal

by russell dillon

Dear you in all poems that is forever unnamed: hello again.
I believe in you and you have defined in me this age of witness.
I, too, was born into a wicker chair surrounded by laser beams,
hoping for the least strict of virgins.  Strange, us both so afflicted
by this illness’s fluorescence, and, how, from its post-morning
confetti, we stagger like shadows longing for their authors.  Would
if I could, other, but I am approaching you like static, masturbating
my heart in this strophe of light.  There are many versions of how
I fell asleep vandalizing your gardens, but I beg, could it be, that
all of them are true?  What is it you’re unable to surrender and please
may I have that, is how every love letter can be summarized.  Another
is I am sorry we both fell for the ideas of our grief, but even that fails
to explicate how you hold me from the edges as we dip past everything.
There will be no way to undrench the oceans, but is it possible we might
become those clothes we can’t recall that one time we never met?  and how
lovely to imagine all these bones in my ear existing only for the possibility
of you saying hello in forty different tongues, rather than fearing some dumb
bear’s invitation to dance emerging from the darkness, we both so delicious.
In my simpler tongue,  I am sparrowing for you, though I should warn you
now:  sometimes I sleep face down in the world, others, face down in the ether.

Wednesday, June 8, 2016

why i do not write

1.
having measured anger
and grief on the kitchen
scale, the recipe will
fail. i tell myself
i am being kind
and it is a partial
truth. a kind of art.
less and less.

in the mirror i avoid
and puncture, alternating
views. hair begins
again, dark and different,
dark and the same.
skin confuses with sun.

the sun and the mirror:
dangerous combinations.
the moon and mars:
a better fit. at least
for pen, for page.
needles sink.

2.
i am writing a biography
of absence. i am revising,
it is an autobiography,
a disappearing gender.

the body, when erased,
inhabits greater space.
we are getting closer
to another kind
of approximation.

3.
i do not write in letters
or emails, nor threaten
with inaccuracy, solidity.
filled with voices i might
announce:

playing a victim
how desperate
how unattractive
your performance

the arrows and thorns of words
the gems and alarms
their disequilibrium

writing marked by motions and motives
of hands which do not state
"i cannot let go" "i cannot hold on"

4.
sadly, you have only two currents

(dominate and blame)

i see, it's boring,
you're controlling, i get it

5.
reach and withdraw.
submission, suspicion.
words muddled by duplicity.
i am trying to admit
something not binary:

failure is inevitable
dishonesty fills the lungs

find some glue already

6.
you have left
you have been left
you are left

alone. you can go
anywhere without permission
or rather, consent.

have i held you

Tuesday, June 7, 2016

instructions for a body

by marty mcconnell
praise the miracle body: the odd
and undeniable mechanics of hand,
hundred-boned foot, perfect stretch
of tendon
tell me there are no gods then,
no master plans for this anatomy
with its mobile and evident spark
someone says “children of light”
and another, “goddessfragment” and
another, “chosen” / a dozen makers,
myriad paths, one goal:
some scalpel, some chisel, some crazed
sentimental engineer giving rib, giving
eyelash, giving gut and thumb –
all mattering. all set down
in a going world, vulnerable
and divine
in the beginning was the word.
or before time there was a void
until a voice said “I” and was
or there was star and dust,
explosion and animal, mineral, us::
praise the veins that river these wrists
praise the prolapsed valve in a heart
praise the scars marking a gall bladder absent
praise the rasp and rattle of functioning lungs
praise the pre-arthritic ache of elbows
and ankles
praise the lifeline sectioning a palm
praise the photographic pads of fingertips
praise the vulnerable dip at the base of a throat
praise the muscles surfacing on an abdomen
praise these arms that carry babies
and anthologies
praise the leg hairs that sprout
and are shaved
praise the ass that refuses to shrink
or be hidden
praise the cunt that bleeds
and accepts, bleeds
and accepts
praise the prominent ridge
of nose
praise the strange convexity of ribcage
praise the single hair that insists on growing
from a right areola
praise the dent where the mole was clipped from the back
of a neck
praise these inner thighs brushing
praise these eyelashes that sometimes turn inward
praise these hips preparing to spread
into a grandmother’s skirt
praise the beauty of the freckle
on the first knuckle of a left little finger
we’re gone / in a blizzard of seconds
love the body human
while we’re here, a gift of minutes
on an evolving planet, a country
in flux / give thanks
what we take for granted, bone and dirt
and the million things that will kill us
someday, motion and the pursuit
of happiness / no guarantees / give thanks
for chaos theory, ecology, common sense that says
we are web. a planet in balance or out, the butterfly
in tokyo setting off thunderstorms in iowa,
tell me you don’t matter to a universe that conspired
to give you such a tongue, such rhythm
or rhythmless hips, such opposable thumbs –
give thanks or go home a waste of spark
speak or let the maker take back your throat
march or let the creator rescind your feet
dream or let your god destroy your good and fertile mind
this is your warning / this
your birthright / do not let
this universe regret you.

Sunday, June 5, 2016

the name of the world

excerpt from the name of the world by denis johnson

"and i rose and followed her down the brief corridor, out the back door into the midwest. she brought with her a small box of light wood - redwood, or cedar - built like a cigar box but naked of any design. when she saw me puzzling over it she opened the lid to show me it held a variety of envelopes, used envelopes, of many different sizes and colors, but generally of the sort for letters or greeting cards. we sat beside each other on the new grass, she with the box in her lap; and she fingered through the envelopes as if searching for one in particular. her knee lay lightly against my hip. all this was fine, but it wasn't enough. i wanted something more than mere physical touch. something unexpected. something impossible to foresee. . . after these four years in the midwest i'd learned to expect any kind of weather at any moment. i had rejected the weather, in a way, had walled myself off from any approach of the elements, had made them my enemy after the weather had become, in effect, the murderer of my wife and daughter.
     flower said, 'will you give me a sample of your handwriting?'
     i didn't know how to respond to this. 'i'm not sure.'
     'write down a few words for me. a sentence, a phrase, a name, anything.' she closed the box and set it in my lap. 'do you have a business card?'
     here i felt our movement toward the unforeseen, in the direction of something that couldn't have been predicted. i don't think i'll try to explain what i mean by that. instead i'll hope it comes clear on its own. i put one of my business cards flat on the lid of the box and pushed the ball point from the pen with my thumb. a phrase? a name? i wrote: the name of the world - across the back of my card and set the box in flower's lap.
     she looked at my writing and read the phrase aloud. she opened the lid and put the card in one of the envelopes and closed it up with all the others inside their box and held it in her lap again. . .
     why she wanted to spend this time with me i could only guess, because i was afraid to ask. i sat beside her looking at the daylight moon, wanting to kiss her, but afraid to. also i had a powerful urge to leave, to get away from her, or from myself in this situation, but that idea scared me, too, because i saw myself five minutes down the road, braking and considering, accelerating and stopping, maybe even turning the car around in the big fields, the only person in the only car from horizon to horizon, and then turning the car around yet once again and heading home, wanting to go back to her, but afraid to.
     now i'm going to interrupt myself, and i don't know how to signal that except by saying it.
     looking over the pages of this reminiscence, i see i've misled. i've created the impression that what i've been aiming at is the account of a one-night stand, and that the item pending most crucially between flower and me was my loss of a kind of late-life virginity. i've implied i'd had nothing to do with women since i'd lost my wife. that's not true.
     the worst of my disequilibrium had passed in a couple of years. i wouldn't bore even a highly paid psychiatrist with the details of my love life, my sex life, during this period, except to say that it was quite a lot less than nothing -- that is, i couldn't bear to have so much as a single sexual thought, let a single desire so much as flicker in my mind, during the two years after i was widowed. not only because my grief made me loyal to my wife, but also because i was grieving for someone who was dead, and death is such a physical thing. i didn't even like facts about things, and in a secret way i came to hate the truth itself.
     this extra dimension of loneliness, this revulsion for the world and even, at first, for the stuff of which it was composed, seemed unique at the time. but i think i see now that it was completely typical, and that what revolted me above all was the understanding that everything passes away.
     so this sad insight didn't first visit me while i waited with flower for something to happen between us. . .
     am i making sense in this account? am i intelligible? or am i muttering? i think it stands a chance of being useful. that's the point of writing it all down. it's not just an aid to private introspection. but am i being too meditative? too introspective?
     the joint of flower's collarbones showed in the neck of her smock, and just below it the moles and imperfections in the flesh on her breastbone. to let my wife and child be dead. i didn't think i was cruel enough for that. because that is what the imperfections in flower's skin invited me to do. there was a sense in which anne and elsie had to be killed, and killing them was up to me.
     i had to break the tension, the mixed desire and shame, i had to say anything at all. 'i'd like to read the phrases inside your envelopes. let me see what other people wrote.'
     'i can't let you do that.'
     'why not?'
     'because then when these words are all closed up inside this box they won't be in a dark place anymore. light will leak in and they'll slowly get eaten up. a dim light. a deteriorating light. the light that comes from your mind.'
     'what do you mean? my mind in particular, or anybody who happens to read them?'
     'anybody's mind. if anybody finds out what they say, their perfection will slowly deteriorate.'
     'but you know, don't you? you've read them.'
     'yes. but if anybody else ever does, then what they're doing inside me will be destroyed.'
     she looked at me now with a very vivid, communicative expression on her lovely face. it said she was quite willing to view all this as absurd and humorous, but her eyes emanated a deep curiosity to see if i might somehow understand. i think i did understand. but i don't think she believed i did.
     and i did kiss her. touched her sleeve with my fingers. she didn't draw away. i plucked at her sleeve and she came close and i put my lips to hers.
     'okay,' she said. 'come back inside, please.'
     she took me by the hand, carrying her box in the crook of her arm. on the way in she toed the rubber-tipped stopper with her pointed boot, and the heavy door swung to behind us. she set the box of phrases beside her pallet in the classroom and we descended onto the folds of nylon - it was a sleeping bag, not much of a cushion against the concrete floor. for a few minutes we kissed wildly, but i felt like a man in the wrong neighborhood, expecting at any moment to turn onto the right street, wondering where the hell it is and growing more and more panicked and disoriented. she was sweet, nothing about her felt held back, no slight deflection, no place reserved for herself, no irony or mischief, no studious objectivity, none of the stratagems that might have kept part of her out of this dalliance. . .
     this - now - was the point i'd wanted to reach with her. all the expected moments had been stepped through. one step more would take us into moments that could never have been foretold. i opened the door and put my feet out and pulled on my shoes. i buttoned my shirt, i watched her shape. i turned off the motor and went back. . .
     looking for something or other, she wandered among her objects, these multifarious seashells, sprays of baby's breath, sprays of peacock feathers like abstract eyes on white necks, many-colored balls of yarn, tinfoil collected into shiny knots, miniature bottles you could fill to overflowing from a thimble, somber and translucent, purple, blue, green. she'd made her world a space for these things, for the train cars and props of model railroads, particularly the engines, small and black and heavy engines; birds' nests cradling eggshells of turquoise and mottled amber: things whose perishing had been arrested by their power to make her love them. objects not stored in boxes and labeled for eventual use, but left out in plain sight to be found and contemplated. left open to encounters with strangers."

Saturday, June 4, 2016

endangered

quotes from between the world and me by ta-nehisi coates

"at this moment the phrase 'police reform' has come into vogue, and the actions of our publicly appointed guardians have attracted attention presidential and pedestrian. you may have heard the talk of diversity, sensitivity training, and body cameras. these are all fine and applicable, but they understate the task and allow the citizens of this country to pretend that there is real distance between their own attitudes and those of the ones appointed to protect them. the truth is that the police reflect america in all of its will and fear, and whatever we might make of this country's criminal justice policy, it cannot be said that it was imposed by a repressive minority. the abuses that have followed from these policies - the sprawling carceral state, the random detention of black people, the torture of suspects - are the product of democratic will. . . the problem with the police is not that they are fascist pigs but that our country is ruled by majoritarian pigs."

"i heard several people ask for forgiveness for the officer who'd shot prince jones down. i only vaguely recall my impressions of all this. but i know that i have always felt great distance from the grieving rituals of my people, and i must have felt it powerfully then. the need to forgive the officer would not have moved me, because even then, in some inchoate form, i knew that prince was not killed by a single officer so much as he was murdered by his country and all the fears that have marked it from birth. . .

prince jones was the superlative of all my fears. and if he, good christian, scion of a striving class, patron saint of the twice as good, could be forever bound, who then could not? and the plunder was not just of prince alone. think of all the love poured into him. think of tuitions for montessori and music lessons. think of the gasoline expended, the treads worn carting him to football games, basketball tournaments, and little league. think of the time spent regulating sleepovers. think of the surprise birthday parties, the daycare, and the reference checks on babysitters. think of world book and childcraft. think of checks written for family photos. think of credit cards charged for vacations. think of soccer balls, science kits, chemistry sets, racetracks, and model trains. think of all the embraces, all the private jokes, customs, greetings, names, dreams, all the shared knowledge and capacity of a black family injected into that vessel of flesh and bone. and think of how that vessel was taken, shattered on the concrete, and all its holy contents, all that had gone into him, sent flowing back to the earth."

"black people love their children with a kind of obsession. you are all we have, and you come to us endangered. i think we would like to kill you ourselves before seeing you killed by the streets that america made. that is a philosophy of the disembodied, of a people who control nothing, who can protect nothing, who are made to fear not just the criminals among them but the police who lord over them with all the moral authority of a protection racket."

"my response was, in this moment, to write. i was lucky i had even that. most of us are forced to drink our travesties straight and smile about it. i wrote about the history of the prince george's county police. nothing had ever felt so essential to me. here is what i knew at the outset: the officer who killed prince jones was black. the politicians who empowered this officer to kill were black. many of the black politicians, many of them twice as good, seemed unconcerned. how could this be? it was like i was back at moorland again, called by great mysteries. but by then i didn't need any call slips; the internet had bloomed into an instrument of research. that must strike you as novel. for all your life, whenever you've had a question you have been able to type that question out on a keyboard, watch it appear in a rectangular space bordered by a corporate logo, and within seconds revel in the flood of potential answers. but i still remember when typewriters were useful, the dawn of the commodore 64, and days when a song you loved would have its moment on the radio and then disappear into the nothing. . . for a young man like me, the invention of the internet was the invention of space travel."

"according to this theory 'safety' was a higher value than justice, perhaps the highest value. . . and the lack of safety cannot help but constrain your sense of the galaxy. . . that was where i saw white parents pushing double-wide strollers down gentrifying harlem boulevards in t-shirts and jogging shorts. or i saw them lost in conversation with each other, mother and father, while their sons commanded entire sidewalks with their tricycles. the galaxy belonged to them, and as terror was communicated to our children, i saw mastery communicated to theirs."

"this need to be always on guard was an unmeasured expenditure of energy, the slow siphoning of the essence. it contributed to the fast breakdown of our bodies. so i feared not just the violence of this world but the rules designed to protect you from it, the rules that would have you contort your body to address the block, and contort again to be taken seriously by colleagues, and contort again so as not to give the police a reason. all my life i'd heard people tell their black boys and black girls to 'be twice as good,' which is to say 'accept half as much.' those words would be spoken with a veneer of religious nobility, as though they evidenced some unspoken quality, some undetected courage, when in fact all they evidenced was the gun to our head and the hand in our pocket. this is how we lose our softness. this is how they steal our right to smile. . . it seemed to me that our own rules redoubled plunder. it struck me that perhaps the defining feature of being drafted into the black race was the inescapable robbery of time, because the moments we spent readying the mask, or readying ourselves to accept half as much, could not be recovered."

Friday, June 3, 2016

transformations

by joy harjo from in mad love and war

this poem is a letter to tell you that i have smelled the hatred you have tried
to find me with; you would like to destroy me. bone splintered in the eye of
one you choose to name your enemy won't make it better for you to see. it
could take a thousand years if you name it that way, but then, to see after all
that time, never could anything be so clear. memory has many forms. when i
think of early winter i think of a blackbird laughing in the frozen air; guards a
piece of light. (i saw the whole world caught in that sound, the sun stopped for
a moment because of tough belief.) i don't know what that has to do with what
i am trying to tell you except that i know you can turn a poem into something
else. this poem could be a bear treading the far northern tundra, smelling the
air for sweet alive meat. or a piece of seaweed stumbling in the sea. or a
blackbird, laughing. what i mean is that hatred can be turned into something
else, if you have the right words, the right meanings, buried in that tender place
in your heart where the most precious animals live. down the street an am-
bulance has come to rescue an old man who is slowly losing his life. not many
can see that he is already becoming the backyard tree he has tended for years,
before he moves on. he is not sad, but compassionate for the fears moving
around him.

that's what i mean to tell you. on the other side of the place you live stands
a dark woman. she has been trying to talk to you for years.
you have called the same name in the middle of a nightmare,
from the center of miracles. she is beautiful.
this is your hatred back. she loves you.

Thursday, June 2, 2016

to spareness

by jane hirshfield, from after

                    you lean toward nonexistence,
but have not yet become it entirely.
          for this reason, you can still be praised.

the tree unleafing enters your dominion.
an early snowfall shows you abide in all things.

your two dimensions are line and inclination.
therefore desire,
though it inciders each mote of its object, itself is spare.

                                        the late paintings of turner
prove your slender depths without limit.
          the beauty too of shakuhachi and cello.

"winter darkness. rain. no crickets singing."
-- you are there, pulling hard on the rope-end.

remembering you, i remember also compassion.
i cannot explain this.
                              nor how you live in a teabowl
or in a stone that has spent a long time in a river.
          nor the way you at times can signal your own contradiction,
                              meaning extra, but not by much --
"brother, can you spare a dime," one thin man asks of another.

any room, however cluttered, gestures toward you,
declaring:
                    "here lives this, not that."
in mathematics, the modest "<" sign gestures toward you.

your season is surely november,
your fruit, persimmons ripening by coldness.

your sound a crow cry, a bus idling at night by roadside.

without apparent effect,
and so you remind of starlight on the colors of a cow's hide.

your proposition, like you, is simple, of interest only to the human soul:
                    vast reach of all that is not, and still something is.

Tuesday, May 31, 2016

notes towards a poem that can never be written

by margaret atwood

i

this is the place
you would rather not know about,
this is the place that will inhabit you,
this is the place you cannot imagine,
this is the place that will finally defeat you

where the word why shrivels and empties
itself. this is famine.

ii

there is no poem you can write
about it, the sandpits
where so many were buried
& unearthed, the unendurable
pain still traced on their skins.

this did not happen last year
or forty years ago but last week.
this has been happening,
this happens.

we make wreaths of adjectives for them,
we count them like beads,
we turn them into statistics & litanies
and into poems like this one.

nothing works.
they remain what they are.

iii

the woman lies on the wet cement floor
under the unending light,
needle marks on her arms put there
to kill the brain
and wonders why she is dying.

she is dying because she said.
she is dying for the sake of the word.
it is her body, silent
and fingerless, writing this poem.

iv

it resembles an operation
but it is not one

nor despite the spread legs, grunts
& blood, is it a birth.

partly it's a job,
partly it's a display of skill
like a concierto.

it can be done badly
or well, they tell themselves.

partly it's an art.

v

the facts of this world seen clearly
are seen through tears;
why tell me then
there is something wrong with my eyes?

to see clearly and without flinching,
without turning away,
this is agony, the eyes taped open
two inches from the sun.

what is it you see then?
is it a bad dream, a hallucination?
is it a vision?
what is it you hear?

the razor across the eyeball
is a detail from an old film.
it is also a truth.
witness is what you must bear.

vi

in this country you can say what you like
because no one will listen to you anyway,
it's safe enough, in this country you can try to write
the poem that can never be written,
the poem that invents
nothing and excuses nothing,
because you invent and excuse yourself each day.

elsewhere, this poem is not invention.
elsewhere, this poem takes courage.
elsewhere, this poem must be written
because the poets are already dead.

elsewhere this poem must be written
as if you are already dead,
as if nothing more can be done
or said to save you.

elsewhere you must write this poem
because there is nothing more to do.

Sunday, May 29, 2016

unflattering

(a personal entry)

part one: cigarettes

"there is a diamond in my wound and i can't see it." -alice notley, in the pines

truthfully, i love cigarettes. they have been my greatest addiction, and my greatest addiction overcome.

after ten years of smoking tobacco (in latter years, around a pack a day), i quit cold. i refused tobacco in any form, but never failed to enjoy it when people indulged around me, smoke drifting into my face.

my time with cigarettes is marked by decades. from ages 16 to 26, i was consumed. from 26 to 36, i abstained. this february marked my ten year quitting anniversary; ten years was always my goal. i hoped i could change my relationship to tobacco, enjoying a hookah or a cigarette every once in a while. but fear of my extreme addiction kept me distant.

in recent years, i wished to be stronger than that fear, and assumed a time would come when i would test myself. that time arrived last month. smoking again (with an intention of limiting myself) was part prayer, part coping mechanism. life and loss had turned me upside down.

with a generous gift of a large bag of friend-grown, uncured tobacco (thanks noah!), i began to smoke full, hand-rolled cigarettes. in a week, i was smoking compulsively.

one month later, as i write, i am chain-smoking, enjoying immensely this return to a familiar compulsion. eager to defend myself to anyone expressing critique of this decision, i have legitimized it as a temporary controlled experiment. in actuality, it has been a salve for fresh wounds, helping me channel my intense emotions.

i don't feel guilty, at least about cigarettes.

since starting again, i've had a kind of plan, a bargain with myself. if i allow this now, guiltlessly, i also need a firm quit date and extensive quitting plan in mind. as the date creeps closer, i continue to smoke relentlessly, mapping out the patterns of my familiar addiction. what does smoking do for me? what will i do with my hands? how will i treat my lungs? where will my emotions go?

in the past few months, my body has been shrinking. this is partially due to a different quitting plan (my 2016 "no beer this year" goal, which has resulted in only drinking alcohol - wine - once since january first). i have lost roughly 30 lbs in under five months; half of that has been in the past month alone, with tobacco as an obvious reason.

my body certainly feels different. yes, my clothes fit me more comfortably now. and my body is enormously tired. wrecked actually. i walked about six miles today & felt fine, but smoking + asthma has felt quite dangerous. waking up in the morning is mildly horrible. it seems i need one or two extra hours of sleep every night. yet it is all coupled with the amazing feeling that first cigarette of the day brings me. joy. a temporary rush of it. god, it feels like something divine.

when i quit in february 2006, i wrote a zine (essentially journal entries) of the first few days of withdrawal. it served multiple purposes: gave me a place to channel the withdrawal symptoms, documented my process, and offered a touchstone to help me maintain commitment to my goal. i approached the quitting time with the same compulsion that i approached smoking. this taught me immensely, so much so that i have often remarked that quitting my cigarette addiction was one of the most challenging battles of my life.

this quitting process gave me two very specific gifts. one, i felt amazingly strong and proud of myself for seeing it through. i began to inhabit a new, smoke-free body. the zine was my way of publicly holding myself accountable, and it worked. two, i felt a deeper understanding of the complex struggle that addiction can be. this was not only true in increasing my empathy (and boundaries) for and with others struggling with addiction. it also allowed me to see the many substances and habits i had addictive relationships with, including the abandon, compulsion, guilt, and extremity of my own behaviors in the world, things unrelated to cigarettes.

part two: other substances

"this is a better system: one looks into the blazing defect, all at once. not really such a hard card to play. but i never want to turn a card over again." -alice notley, in the pines

in studying substance addiction, i have been shown how both total abstinence and harm reductive approaches can be useful for me.

in college, i was definitely addicted to weed, although so many heavy weed-smokers refuse to admit that the substance is addictive. in my 20s and 30s i've used weed occasionally; there were years where i didn't smoke at all. i don't really enjoy the effects all that much, but every once in a while i forget that & do it anyway. my approach to weed has been a harm reductive one, but the substance itself no longer compels me much.

alcohol is different. much of my 20s was spent enjoying it on occasion. i was likely not drinking all that often due to the cost of alcohol, and its lack of focus in many of my social/community gatherings and relationships. there were short windows where i drank more regularly - for example, the floridian winter i spent drinking nightly bottles of wine in the backyard with two good friends (naming ourselves "the bad influences"). in my 30s, alcohol use has been more prevalent, specifically in more recent years. prior to this january, i'd say that my most habitual drinking has been in the last two years.

i noticed my growing dependency because of that telltale question: are you hiding it? i was. mostly i drank by myself, but also with my previous partner and certain friends. i also regularly consumed a larger amount, anywhere between 3-5 beers almost every night. so much money was spent on alcohol, particularly fancy beer, and there was usually a bottle of gin in my closet. it became more obvious to me when i realized how infrequently all of my housemates would drink alcohol, and how patterned around alcohol consumption my romantic relationship seemed to be. i tried taking short breaks, mostly to prove to myself that it wasn't an issue. these breaks would last a month or so, and during them, i found it consistently hardest to maintain my sobriety when with my partner.

there are other substances too. sugar is a top one. the gratification of baking is something that poses a challenge. as a creative hobby and stress reliever, baking functions in a kind of "healthy" capacity. but my sugar addiction, coupled with my body's dislike of gluten and dairy, turns baking into a kind of itch i need to scratch. gluten and dairy have their own difficulties. i've learned certain ways to tolerate them in small doses, and also ways i can avoid gluten (by using newly-accessible but expensive substitutes). i wrestle with these foods on a daily basis, while also trying to prevent them from taking up too much space in my mind.

then there is caffeine addiction, which, i've learned, is potentially larger than my tobacco addiction. i don't want to quit. in reading about this addiction, i found something about how caffeine can restructure one's brain, which can mean that longtime/heavy caffeine users, even in quitting for a long while, will have a nagging sense that something isn't right. a kind of ongoing chemical imbalance.

it had been years since i tried to take a short break from caffeine, so i tried again this spring. i took ten days off and felt, well, mostly terrible. i started up again then took another ten days off the following month. i noticed i was less anxious overall, but still eager to return to yerba mate.

i don't feel able to write much more about this. it's a definite addiction, widely acceptable, and i have little motivation to quit.

part three: the less obvious

"the intention of the organism is to know. i say i don't have enough stamina to clean all the rooms. i say i may not have enough stamina for all this. the others will insist i have." - alice notley, in the pines

in focusing on my substance addictions, i began to see how i would make plans to quit one thing by replacing it with another. when i quit cigarettes, i replaced them more immediately with eating sugar and drinking lots of tea. physical, oral immediacies. in the longer term, i became very interested in breath, yoga, and meditation, which is worth another entire entry.

when i made a plan to stop drinking alcohol, i replaced it with copious consumption of sparkling water. the pattern of drinking cans or bottles of something carbonated was not interrupted. as a physical replacement, it has worked well. i also began a new habit of practicing spanish every night, mostly using a website. the gamification/ goal-orientation of the website's structure triggered a sort of compulsion, which helped me stay committed to the learning.

the act of substitution began to stand out to me. i recognized the ritualistic and habitual nature in which i was/am acting much of the time. of course, habits and rituals are common parts of everyday life, like brushing one's teeth. however, it occurred to me (and not for the first time) that some of my behaviors resemble obsessive-compulsive disorder. i have used "OCD" to describe myself before; while being serious and mindful about not using it pejoratively, i thought it somewhat milder in me, wondering if it was "ok" that i claimed it as my own.

in reading more about OCD and seeing a therapist/ receiving medication for anxiety issues, i started to realize how well this explain certain things about me, particularly things i try to hide from others. years ago, my therapist pointed out that i struggle with rumination. i understood this as a kind of analyzing taken to an extreme. it can also describe a "worst-case-scenario" thinking that runs uncontrollably and frequently through my mind.

my obsessive repetitious thought processes are exacerbated by the immediacy of computers and smart phones. but these mannerisms can also be traced to less obvious (at least to me) habits that play out particularly in my work and in my relationships. they also frequently arise as debilitating fears about the loss of my family members and close friends, or about my own death.

earlier this year, i began to scrutinize my workaholism, an addictive set of behaviors that seems relatively common among many of my friends - in particular, those who do political/community organizing. there is a gut-wrenching drive that many of us seem to share. we want a different kind of world and existence, so it feels wrong to stop fully engaging with this work at any point. i tell myself, i take breaks. i go camping or small trips, take baths, watch tv or movies, etc. but my work, even the paid, non-community-organizing stuff, is filled with constant juggling of tasks & timelines, extreme self-initiative, frequent meetings & strategizing, and ongoing exhaustive work. it is also rewarding in many, many ways. amazing friendships are born or strengthened, resources are connected or shifted, support systems are built, and my own validation (from "having done a good job") is a huge payoff.

but this workaholism belies an incessant, capitalistic obsession with productivity (which many others have written critically about, so i won't really add to that). this kind of obsession takes over my life in two main ways.

the first: the things i do that are not explicitly "work" become a kind of intensive labor. this is most evident in my romantic relationships. this also becomes clear in pastimes like reading. instead of simply making it a point to read more frequently, last year i set myself a goal of reading 100 books. i ended the year with a list of 350 books i consumed, and not in a "good" way. many of the books i hardly remember, as i was simply driven to finish them. (many of them i do remember & did enjoy, but still.) this was a pinnacle of compulsion for me. and it's so rewarded! people would view having read so many books as a kind of achievement (or conversely, as a kind of luxury... who has the time?). i moreso felt a kind of shame about it; it draws attention to my obsessive nature.

the second: my obsessions can create a kind of dichotomy between "work" and "rest" (or play) that feeds into and exacerbates other issues. one easy example is when relaxation consistently takes the form of drinking alcohol. another way this plays out is using "rest" as a kind of general escapism, something i only allow if i have pushed myself to the limit with work. in relationships, i may only allow myself to "rest" with people if i can also "work" with them, which can sometimes take the form of pushing them to limits or watching them push themselves.

here is my most difficult and tentative insight: relating with others, especially certain others, can bring out strong OCD or addictive tendencies in me.

part four: relationships

"i never wanted to do you wrong. / you are the one i wanted least to / do that to. this must be a universe of / care, that hoot-owl moaning; please / don't mischaracterize me, i would not / want to wrong you. i never wanted / to sing this song. but now it's mine." - alice notley, in the pines

i can offer two relatively different examples of how these tendencies play out with my relating to other people. the first is with my family, particularly my sister's family. the second is within my romantic relationships, particularly within my two most recent, longer term partnerships.

with my family, i try to have relationships that are "exempt" from work - in the sense that i end up trying to meet them much more where they're at. i don't necessarily try to continuously improve my relationships with them or attach intensive political-driven desires. but that's only some of the time. when i am with my niece and nephew, it can be exhausting but there is a lot of play, a kind of break from everything else. this sometimes feels like an enormous respite for me. yet i also try to teach them things about the world as i see it. i talk with them about gender, police brutality, the black lives matter movement, consent, racist sports logos, dumpster diving, nationalism, etc etc. i encourage them to question what they are taught, even the things i communicate. they recently moved to an even-more-white suburb of madison, into a fancy house and neighborhood, and it's important to me to be a regular presence in their life that is outside of all that.

there is an element of control in this, and i see that. i can also justify it by acknowledging that they are knowing me, which means knowing about the ways i feel, think, and perceive. i can only hope to engage them.

there is an OCD element in my family relationships. i feel a kind of repetitive terror about the loss of my family members, in a way that truly can keep me up at night. my time with my niece and nephew is also filled with my over-bearing protectiveness. it can be difficult to relax. i know that this is not helpful, that being anxious and fear-driven can create a tension that isn't supportive of their freedom to play and explore. but i cannot curb my thoughts, which get set on high volume. what if they choke? run into the street? fall down stairs? have an asthma attack? etc etc etc

recently i was with my niece & nephew while my sister was in the ER dealing with her own constant health struggles. my nephew had a fever of 102.6 and became incredibly hot and very lethargic. i came seriously close to a panic attack when i was unable to reach my mom (who is a nurse) via phone. as i was carrying him to the car, preparing to drive to the ER, my sister called from there and calmly instructed me on what to do - which included giving him medicine and waiting for her to get home. while this situation describes a kind of anxiety that i'm guessing many parents and caretakers face at some time(s) or another, it has stayed with me for days, worrying and obsessing about the safety of my family.

this week, i also recently (separately) ended up in a full-blown panic attack, one which i could not locate the source of. i had taken a shower & was about to get ready for work, and suddenly i was incapacitated. i stood up to close my window and very nearly blacked out. as i laid in bed, mentally repeating "everything is going to be ok" while waiting for my anxiety meds to kick in, i couldn't figure out what was happening, or why.

this was not my first panic attack, but it is rare for me to have them unprecipitated by something i know is a trigger. for example, if there is a tornado watch, it is possible. if there is a tornado warning, it is practically a given. sometimes i have panic attacks after smoking weed. one thing is clear: i have difficult and sometimes debilitating struggles with my own mental health.

whether it comes from others who - consciously or unconsciously - delegitimize or invalidate this, or whether it comes from within (in the sense that i am often posed to see my own struggles as "not as bad" as others), it becomes a new kind of struggle to allow myself the acknowledgement of my own demons. these include depression, delusional thinking, sensory imbalances, OCD, dissociation, past experiences of trauma, and general anxiety. it is not flattering. my own mental health struggles have caused me to lose jobs and relationships. if my coping abilities lead others to believe that i "have my shit together", then great. but this isn't the full truth, and it's also a kind of misrecognition. i am regularly engaged in internal battles, ones that feel highly uncomfortable to bring to light.

the second major area that my mental health struggles and addictive tendencies play out is in my romantic relationships. the intimacy of these relationships seem to create catch 22 situations. i want to be both independent and interdependent. i want to be challenged but also experience connection. i want to be in relationships that feel safe & secure while also not depending on them to validate my self-worth. my most recent longer term partnerships have shown me my strengths, confidence, intelligence, and compassion as well as my shame, insecurities, and obsessions.

in the first, i was with my partner, d, for six years. we created a life together that i would later call "codependent". we were very different, in terms of ways we engaged in the world, and it often felt like a "mismatch". this was negated in ways by a powerful emotional connection and shared dreams of daily living and a future together. we lived together for years and moved to three different states. we farmed together, something which served my workaholic and organizing-obsessive tendencies. to coax seeds into plants, plants into rows, and rows into truckloads of food was quite a labor of control.

d and i also started our own farm business, which was filled with planning (and debate). we accomplished physical farm labor together with an ease, both comfortable with eachother's strengths and weaknesses in this realm. both of us had a lot of stamina and dedication for this exhausting work. however, we lacked shared intellectual and creative pursuits, which i know now that i need in any close relationship. i used to say, "i want to be challenged in ways that make me grow", and felt our disagreements were repetitious and lacked mutual insight, particularly in regards to motivations and intentions. this caused the most harm in our frequent, high-emotion arguments and in experiences with non-monogamy.

when that relationship ended, i recognized that i had spent most of the relationship blaming d for not measuring up to what i wanted - a high emotional intelligence. i felt forced into a position of being the one who did the majority of emotional labor. while there is truth in that ("i did the majority of emotional labor"), i needed to know what my own accountability was in our tumult. i needed to understand the harm. it took me awhile to locate it.

[an aside: while blame can feel like an outlet for the anger and loss of a person who i loved dearly, blame also felt old and tiring. i had obsessed about our dynamics for far too long, and i wanted to learn something more - about myself and for myself - not just chalk it up to "choose a more emotionally intelligent partner next time". blaming also enforced a convenient narrative, one that held me in a victim mentality and displaced my own responsibility towards myself and towards my partner.]

what i came to see was that i had clung to the relationship in so many instances, believing that it was more important than my own needs. i had become dependent on d to fill a place in my life, perhaps even to protect me, and had a difficult time imagining what my life could look like without that relating. because i could not control d or the relationship (and i tried), i ruminated constantly about it. i analyzed, challenged, and picked apart things, believing that doing this would somehow keep me safe. i feared abandonment more than anything. but i wasn't content. how could i be? i didn't turn my analysis back on myself and ask, why are you choosing this? because i didn't feel like i was. i was addicted to the relationship and i believe d was too.

my constant mode was one of suspicion, which led me at times to violate d's privacy. i justified this as a protective measure; only later was i able to fully understand how awful these behaviors were. there were other hallmarks of co-dependency on display in this relationship. years later, the more interesting questions for me at this point in time are: what was my substitute for this addiction? also, what comes after co-dependency?

for a long time after, i obsessed about this relationship. my drive to understand every unexamined piece was fueled by d's absence, as well as a desire to never put myself in a similar situation again. i did not want to be hurt in the way i was aching and i did not want to ever again act in such hurtful ways. it was important for me to clarify and own my participation in our dynamics. only then could i really feel able to forgive d and myself.

in time, i have been able to do both; d and i have been able to become supportive friends to one another. the point about being driven by absence is a sticking one - particularly in terms of substitution- and has come up again in the ending of my more recent longer term partnership.

i entered into a sort of on-off relationship with s maybe four(?) years ago, which was not very long after my previous one had ended. s and i ended up being more consistently together for about two and a half recent years.

this relationship was grounded in distance, both spatially (living in separate towns) and emotionally. it felt very different than the previous one, which was exactly what i wanted. our primary connection was intellectual. at one point early on, s wrote something like "a relationship with you is going to be a lot of work, but isn't there something romantic in that?" for this and many other reasons, i felt we were "a match". it seemed i was partnered with someone who could keep up with me, in particular, my incessant analyzing.

the distance served me well. i had become extremely skeptical of romance myths and was very aware of my previous co-dependency. the distance gave me space to be with close friends and build tighter community, relationships that also challenged and supported me. it gave me a lot of time alone, which allowed me to work more and also helped me stay mindful of how i was relating in partnership. i felt much more aware of my choices and intentions, and often looked outside of my partnership to meet certain key needs.

there was an odd, enigmatic security in not have security in this partnership. i was very determined to not behave in controlling ways, which at times skewed the other direction. i wanted to be very careful about insisting on having certain needs met, either because i thought this insistence could be potentially controlling or demanding, or because i had recognized that s was not capable of meeting them.

intimacy became a stranger and stranger concept. in providing for myself often outside of the partnership, i was slowly building a kind of invulnerability within it. my obsessive behaviors played themselves out in a regular pattern of analyzing. i wanted to understand so much about how we were different, and i also wanted to locate places where we were similar. places of connection.

s and i had both entered into our relationship after losses of previous, important partnerships. we both had very extensive systems of protection and shared in common a high valuation of our individual mind's own abilities to keep this protection in place.

i defaulted predominantly (though not always) into a mode of non-suspicion, believing that i should be most focused on myself, my responses to situations, my own intentions. i knew how horrible it felt to operate out of a place of constant suspicion, and how harmful to everyone such a mode can be. while i regularly checked in with myself about my assumptions of "good intent" (what i assumed from my partner), i also see now how my endless curiosity and questions could have been perceived as suspicion. i didn't want to control s. i wanted to control myself. i learned how to make a lot of space in me, particularly to understand different motivations and ways of viewing and being in the world. i believed this to be a liberating basis for a relationship.

while i would say that this kind of relating felt "healthier", a couple of my friends recently told me they disagree. their assessments were something like this: in my drive to "do things differently", to prevent myself from co-dependent relating, i furthered a kind of destructive individualism that dismissed the importance of intimate interdependence and basic emotional care. i maintained a cautious eye on - and ownership of- my impact on my partner (self-accountability) but believed it to be my full responsibility to do double the work, maintaining the same cautious eye and ownership regarding my partner's impact on me. the heightened intellectual basis of our partnership made this difficult for me to see. one friend described my partner's regular communication style to be, 'i want to create whatever rhetorical structure is useful to me, and i don't care if it's at your expense.'

as that relationship has ended and many difficult things have occurred in recent months, i am forced to ask myself where i go with all this.

first, absence. without this person and partnership in my life, i have seen much more clearly my tendencies towards obsessive analysis. i have a need to comb through all of my memories and feelings to try to make sense of what happened. this feels like a kind of addiction, or a kind of addictive withdrawal. this, again, is unflattering. while i don't believe this partnership was "co-dependent", i still feel a kind of addictive absence. i miss the ongoing challenge of trying to relate to another highly intellectual person, someone who had seemed to share a huge capacity for analysis and a similar drive of curiosity. someone with an independent and protective mind.

but the absence is also, in its own way, a replacement of an addiction, a swapping. to trace all the previously unseen threads and pick them apart, to let my mind run on and on. . .

i know i could just as easily turn to a substance (like cigarettes, which i have done) or another romantic relationship (which i've attempted, but then backed away from). instead, sitting in my sorrow, anger, and analysis has its own strange allure. or compulsion.

more than anything, i want to grow and learn from my experiences. and if i've caused harm to myself or others, i want to understand how and why i did. if harm has been done to me, i want to root it out and understand it. this is an obsessive drive for me. it feels as though i am on a kind of roller coaster, and cannot allow myself to exit until i have come to terms with every curve and dip, every corkscrew and climb. or until the rollercoaster runs out of power and comes to a stop on its own.

in thinking through questions regarding suspicion and assumptions of intent, other mental pathways about identities and power and internalized oppression open up. these things have their own language and frameworks, and i continuously write them out. cigarettes in particular are connected to habits of endless writing. i've filled two journals already.

the last question i am turning around, especially lately, has been about my own mental health.

whether it's addiction or OCD, constant questioning, analyzing, and ruminating is something i don't feel in control of. conversely, maybe it's all i have control of, or it's a tool that i use to help me feel safe in a hostile world. yet it doesn't always do this. it can heighten my intense fears and anxieties, leading to panic attacks and the like. such analysis can also provide rewards. i am a better friend-therapist, community organizer and political strategist, and can use my analysis to hold myself accountable.

but it can also push people away when it places them under the microscope, and can lock me into a tower of my own self-protection. it reinforces the lies i tell myself about my vulnerability or invulnerability. it puts me on roller coasters i'd rather not be on. it can turn play into work and drain me of my breath.

and still i cannot stop.

my mind needs a maze to run around, needs to come up against limits, needs to exhaust itself over and over again.

sometimes i wonder what i would be like without this. my imagination fails me.

Saturday, May 28, 2016

doing it differently

by marge piercy, from to be of use

1.
trying to enter each other,
trying to interpenetrate and let go.
trying not to lie down in the same old rutted bed
part rack, part cocoon.
we are bagged in habit
like clothes back from the cleaners.
the map of your veins has been studied,
your thighs have been read and reported,
a leaded mistrust of the rhetoric of tenderness
thickens your tongue.
at the worst you see old movies in my eyes.
how can i persuade you that every day we choose
to give birth, to murder or feed our friends, to die a little.

2.
you are an opening in me.
smoke thick as pitch blows in,
a wind bearing ribbons of sweet rain,
and the sun as field of dandelions, as rusty razor blade.
scent colors the air with tear gas, with lemon lilies.

most of the time you are not here.
most of the time we were different faces.
mostly i do not touch you.
mostly i am talking to someone else.

i crawl into you, a bee furry with greed
into the deep trumpeting throat of a crimson lily
speckled like a newly hatched robin.
i roll, heavy with nectar.
later i will turn this afternoon into honey
and live on it, frugally.
it will sweeten my tea.

3.
in the pit of the night our bodies merge,
dark clouds passing through each other in lightning,
the joining of rivers far underground in the stone.
i feel thick but hollow, a polyp floating on currents.
my nerves have opened wide mouths
to drink you in and sing O O on the dark
till i cannot fix boundaries where you start and i stop.
then you are most vulnerable.
in me that nakedness does not close by day.
my quick, wound, door, my opening,
my lidless eye.

don't you think it takes trust,
your strength, your temper always
in the room with us like a doberman unleashed.
i fear being manipulated
by that touch point between us.

touch is the primal sense -
for in the womb we swam lapped and tingling.
fainting, practicing death, we lose
sight first, then hearing, the mouth and nose deaden
but still till the end we can touch.

. . .

5.
beds that are mirrors,
beds that are rotisseries where i am the barbecue,
beds that are athletic fields for the olympic trials,
beds that are dartboards, beds that are dentist's chairs,
beds that are consolation prizes floating on chicken soup,
beds were lobotomies are haphazardly performed,
beds of wet spaghetti, beds
that ride glittering through lies like a ferris wheel. . .

you do not want to say that word
yet that small commitment floating on a sea of spilled blood
has meaning if we inflict it.
otherwise we fail into dry accommodation.
if we do not build a new loving out of our rubble
we will fall into a bamboo-staked trap on a lush trail.
you will secrete love out of old semen and gum and dreams.
what we do not remake
plays nostalgic songs on the jukebox of our guts,
and leads us into the old comfortable temptation.

6.
you lay in bed depressed, passive as butter.
i brought you a rose i had grown. . .
you talked of fucking the rose. then you grew awkward;
we would never be free of roles, dominance and submission,
we slam through the maze of that pinball machine forever. . .

7.
the state owns my womb and hangs a man's name on me
like the tags hung on dogs, my name is, property of. . .
the language betrays us and rots in the mouth
with its aftertaste of monastic sewers on the palate.
even the pronouns tear my tongue with their metal plates.

you could strangle me: my hands
can't even encircle your neck.
because i open my mouth wide and stand up roaring
i am the outlawed enemy of men.
a party means what a bullfight does to the bull.
the street is a gauntlet.

i open my mail with tongs.
all the images of strength in you, fathers and prophets and heroes,
pull against me, till what feels right to you
wrongs me, and there is no rest from struggle.

we are equal if we make ourselves so, every day, every night
constantly renewing what the street destroys.
we are equal only if you open too on your heavy hinges
and let your love come freely, freely, where it will never be safe,
where you can never possess.

8.
for part of each month regularly as my period
i crave you.
when we mesh badly, with scraping and squeaking,
remember that every son had a mother
whose beloved son he was,
and every woman had a mother
whose beloved son she wasn't.
what feels natural and easy, is soft murder
of each other and that mutant future
striving to break into bloom
bloody and red as the real rose.

periodic, earthy, of a violent tenderness
it is the nature of this joining
to remain partial and episodic
yet feel total: a mountain that opens like a door
and then closes
like a mountain.

Friday, May 27, 2016

potentiality

all quotes from homo sacer by giorgio agamben

"schmitt considers constituting power as a 'political will' capable of  'making the concrete, fundamental decision on the nature and form of one's own political existence.' as such, constituting power stands 'before and above every constitutional legislative procedure' and is irreducible to the level of juridical rules as well as theoretically distinct from sovereign power. but if constituting power is identified with the constituting will of the people or the nation . . . then the criterion that makes it possible to distinguish constituting power from popular or national sovereignty becomes unclear, and the constituting subject and the sovereign subject begin to become indistinguishable."

"'the truth of constituting power,' [antonio negri] writes, 'is not the one that can (in any way whatsoever) be attributed to the concept of sovereignty. this is not the truth of constituting power not only because constituting power is not (as is obvious) an emanation of constituted power, but also because constituting power is not the institution of constituted power: it is the act of choice, the punctual determination that opens a horizon, the radical enacting of something that did not exist before and whose conditions of existence stipulate that the creative act cannot lose its characteristics in creating. when constituting power sets the constituting process in motion, every determination is free and remains free. sovereignty, on the other hand, arises as the establishment - and therefore as the end - of constituting power, as the consumption of the freedom brought by constituting power.'"

"the strength of negri's book lies instead in the final perspective it opens insofar as it shows how constituting power, when conceived in all its radicality, ceases to be a strictly political concept and necessarily presents itself as a category of ontology. the problem of constituting power then becomes the problem of the 'constitution of potentiality', and the unresolved dialectic between constituting power and constituted power opens the way for a new articulation of the relation between potentiality and actuality, which requires nothing less than a rethinking of the ontological categories of modality in their totality."

"the relation between constituting power and constituted power is just as complicated as the relation aristotle established between potentiality and act, dynamis and energeia; and, in the last analysis, the relation between constituting and constituted power (perhaps like every authentic understanding of the problem of sovereignty) depends on how one thinks the existence and autonomy of potentiality. according to aristotle's thought, potentiality precedes actuality and conditions it, but also seems to remain essentially subordinate to it. . . aristotle always takes great care to affirm the autonomous existence of potentiality - the fact that the kithara player keeps his ability [potenza] to play even when he does not play, and that the architect keeps his ability [potenza] to build even when he does not build."

"if potentiality is to have its own consistency and not always disappear immediately into actuality, it is necessary that potentiality be able not to pass over into actuality, the potentiality constitutively be the potentiality not to (do or be), or, as aristotle says, that potentiality be also im-potentiality (adynamia). . . 'what is potential can both be and not be. for the same is potential as much with respect to being as to not being.'"

"this potentiality maintains itself in relation to actuality in the form of its suspension; it is capable of the act in not realizing it, it is sovereignly capable of its own im-potentiality [impotenza]. but how, from this perspective, to think the passage into actuality? if every potentiality (to be or do) is also originarily the potentiality not to (be or do), how will it be possible for an act to be realized?"

"'a thing is said to be potential if, when the act of which it is said to be potential is realized, there will be nothing im-potential (that is, there will be nothing able not to be)' (aristotle, metaphysics). the last three words of the definition do not mean, as the usual and completely trivializing reading maintains, 'there will be nothing impossible' (that is, what is not impossible is possible). they specify, rather, the condition into which potentiality - which can both be and not be - can realize itself. what is potential can pass over into actuality only at the point at which it sets aside its own potential not to be. to set im-potentiality aside is not to destroy it but, on the contrary, to fulfill it, to turn potentiality back upon itself in order to give itself to itself."

"the sovereign ban, which applies to the exception in no longer applying, corresponds to the structure of potentiality, which maintains itself in relation to actuality precisely through its ability not to be. potentiality (in its double appearance as potentiality to and as potentiality not to) is that through which being founds itself sovereignly, which is to say, without anything preceding or determining it other than its own ability not to be. and an act is sovereign when it realizes itself by simply taking away its own potentiality not to be, letting itself be, giving itself to itself."

"sovereignty is always double because being, as potentiality, suspends itself, maintaining itself in a relation of ban (or abandonment) with itself in order to realize itself as absolute actuality (which thus presupposes nothing other than its own potentiality). at the limit, pure potentiality and pure actuality are indistinguishable, and the sovereign is precisely this zone of indistinction."

"it has already been noted that a principle of potentiality is inherent in every definition of sovereignty. in this sense, gerard mairet observed that the sovereign state is founded on an 'ideology of potentiality' that consists in 'leading the two elements of every power back to a unity . . . the principle of potentiality and the form of its exercise'. the central idea here is that 'potentiality already exists before it is exercised, and that obedience precedes the institutions that make it possible'. that this ideology truly has a mythological character is suggested by the same author: 'it is a question of a real myth whose secrets we still do not know, but which constitutes, perhaps, the secret of every power.' it is the structure of this mystery [arcano] that we have undertaken to bring to light in the figure of abandonment and the 'potentiality not to'. but here we run up against not a mythologeme in the strict sense but, rather, the ontological root of every political power. (potentiality and actuality are, for aristotle, first of all categories of being, two ways 'in which being is said.')

in modern thought, there are rare but significant attempts to conceive of being beyond the principle of sovereignty. . . in the late nietzsche, the eternal return of the same gives form to the impossibility of distinguishing between potentiality and actuality, even as the amor fati gives shape to the impossibility of distinguishing between contingency and necessity. . . but the strongest objection against the principle of sovereignty is contained in melville's bartleby, the scrivener who, with his, 'i would prefer not to,' resists every possibility of deciding between potentiality and the potentiality not to. these figures push the aporia of sovereignty to the limit but still do not completely free themselves from its ban. they show that the dissolution of the ban, like the cutting of the gordian knot, resembles less the solution of a logical or mathematical problem than the solution of an enigma. here the metaphysical aporia shows its political nature."

Thursday, May 26, 2016

the all-seeing

by anais nin
(slightly abridged)

     when i rang his bell i could hear the parting of the beaded curtains of his room, and i knew he could see me through a little glass eye in his door through which i could not see him. through this glass eye the hallway appeared immeasurably long and the person standing before the door many miles away and small, but extraordinarily distinct like a personage out of the past seen through the telescope of memory on a day of clear visibility.
     as he appeared in the dark hallway he illumined it with his eyes, his own eyes like the aurora borealis, a waving of luminous chiffon, such an immense and deep phenomenon of light like the eye of the universe.
     at first a blue softness, like a melting of snow and light, then lightning which revealed lucidity, and then a transparency like a dawn opening the worlds of divination. his gaze came from the remotest worlds of light and silence, piercing through our exterior, exposing instantly the naked soul and remained there before the exposure, full of surprise and wonder and awe.
     they had in them the roving gaze of the mariner who never attaches himself to what he sees, whose very glance is roving, floating, sailing on, and who looks at every person and object with a sense of the enormous space around them, with a sense of the distance one can put between one's self and one's desires, the sense of the enormousness of the world, and of the tides and currents that carry us onward.
     women were at times deceived by the hunger in them. the hunger and avidity of them, they believed he wanted them, and gave themselves, and found his hunger unchanged, and the distance increased; his eyes seemed as horizonless as the ocean itself, as unfixable, as mutable and unconquerable. . .
     he was never dressed, but costumed to suit some mood of a new self. he was in disguise. . . there were furs on the bed, rugs on the walls. in one corner stood a blue sled like a small bark sailing heavenward towards the planets. inside the sled a reindeer fur. hung on the walls, reindeer boots and gloves. the boots with their curled toes did not point earthward but airily out towards adventures and difficulties. inside the sled a small lamp shed a blue nordic light.
     a violin hung on the wall.
     his violin nailed to the wall and never touched since the day his mother had said to him: 'so you failed to get the prize you struggled for? you're hurt, you're humiliated, but i'm happy. now you will stop playing the violin and wasting your life. you will be a man like your father, not a fiddler. i'm very glad you did not win the prize. you would have gone to paris to study and become a good-for-nothing. we never had musicians in our family.'
     with one phrase she had destroyed his first passion. he hung his violin on the wall. the strings snapped gradually and hung dead.
     seeking this that he had lost without knowing it, he became restless and a rover, a prober, he became the archaeologist of his own soul, he searched and wandered looking blindly for the source of that music killed by the mother. he was possessed with restlessness, timelessness, forgetfulness. he lived in a labyrinth and a haze. he feared to look backward and seeing the shadow of this that had been killed in him but he also feared to stay where he was and lose it altogether. so he pursued it blindly to the farthest corners of the world, returning each time to the violin which hung on his wall crucified and muted.
     the music that was in him was never silenced, it flooded his place and every object vibrated with it. wherever he went the place was filled with resonances like the inside of an instrument. the harmonies of his being lay concealed in the very shell of his misery as the echo of the sea inside the sea shells, and while he talked about the loss of his violin, the loss of music, one could place one's ear against any object in his room, against his walls, against his rugs, against his pillows, and hear distinctly the music his mother had not been able to kill.
     each time that he embarked on a new transformation, or disguise, or voyage, he was driven not by pleasure or curiosity, but by the sight of the crucified violin. it wounded him, to see the broken strings. so he rushed again into multiple changes, to return loaded with new objects like votive offerings to the violin. . .
     to catch him at the moment of departure it was clear from his haste and anguish that it was a wound driving him, the pain of his silenced hands aching for the bow and strings, the shaft of the violin bow which had entered his soul like a splinter.
     just before he talked he seemed like a very soft animal, sensitive and porous, just before he talked, when his malady was not perceptible. he seemed pregnable and without taint, sailing freely like a ship without moorings.
     it was only when he began to talk that one saw how chained he was to his obsessions. every step he took was marked by a gasp of anguish. only while actually in movement was he lulled.
     no sooner had the marvelous befallen him than he grasped it with his peasant hands with the violence of a man who was not certain of having seen it, lived it, and who wanted to reassure himself of its palpability. everything which befell him would be ripped apart, analyzed, commented. as if he felt that behind all his possessions, some diabolical substitution was being offered him, as if he knew that what he desired did not lie in all the treasures that might be offered him.
     by moving, escaping, and distilling for himself only the essences and legends (he turned every woman into a mirage) he did not reach the freedom and ecstasy he sought, but anguish, an abysmal anguish. after he pursued so ardently only the atmosphere of the dream, and by prestidigitations, transformed everything into a mirage, then he lamented the absence of warmth and humanity. the further he cut himself from the ugly, the sordid, the animal, from sickness which he overlooked, from poverty which he disregarded, from his body which he maltreated, from human ties he would not submit to, from protection which he disdained, the more anguish he felt.
     the dream did not give him contentment.
     he was lonely.
     so he fell in love with the unknown woman of the seine, who had drowned herself many years ago and who was so beautiful that at the morgue they had made a plaster cast of her face. it was this picture he carried about. around her he embroidered the most luxurious enchantments which she could not destroy, as other women destroyed the enchantments he cast around them. her silence permitted the unfolding of all his inventions. in death alone could love grow to such an absolute. one of the lovers must be dead for the absolute to flourish, this impossible, unattainable flower of the infinite. in death alone there is no betrayal and no loss. so jean gave his infinite love to the drowned unknown woman of the seine. his spiritually autocratic love found no rival in death.
     but he was lonely.
     we locked ourselves inside his dream, with the objects he had chosen, and first there was contentment like a drug, enveloping and dissolving. . . the deer horns protruded from the walls holding open erotic books traversed by a knife. two hunters' knives were crossed over our heads. delicate sea plants bloomed in unexpected places, starfishes were glued on the mirror and skeleton leaves on the windowpanes. the windowpanes were painted so that one could not see the street, and so the glance was thrown inwardly again into contemplation.
     'when i went to lapland,' said jean, holding an empty opium pipe, 'i found the country of silence. people gathered together, sat in circles, smoking and smiling, but they do not talk. the reindeer has no voice with which to lament or cry. i looked everywhere for the secret of their speech and found it only in the trees. the trees talked for them. the trees had tortured arms, gaunt legs, the faces of totem poles. they talked and complained and sighed and threw imploring arms up towards the silence.'
     essences and flavors began to fill the room. we sat on tiny children's chairs from greece, before the fire. jean caressed his empty opium pipe and said: 'do you think we will ever find our twin in love?'
     'people who are twins,' i said, 'there is a curse upon their love. love is made of differences and suffering and apartness, and of the struggle to overcome this apartness. two people who love the dream above all else would soon both vanish altogether. one of them must be on earth to hold the other down. and the pain of being held down by the earth, reality, that is what our love for others will be.'
     'you know how i live, by what i call the alternating currents. sometimes i am afraid to get cut off altogether. but when i do love, what anxiety i feel, what doubts.'
     'doubts not of love, but of reality. you live in a mirage and you seek to be incarnated through the body of your love. with your gift for metamorphosis you can remove yourself so far that in love you seek the warmth and the reassurance of your very existence. you float too easily, you are too easily cut off. then when love holds you in bondage for a moment you feel anguish. but at some time or other you will have to accept having a body, a reality, being in bondage. you will have to enter the prison of human life and accept the suffering.'
     at the word suffering he took his air of flight and departure. his eyes alighted on the north pole. then his eyes returned and rested on me, knowing from me no pain would strike at him. 'don't you describe my transparence,' he said, 'because you yourself are like rainbow, an easily vanishing color. you only appear when the atmosphere is propitious. you can walk over the waters, you are so light. others will see you do it and they will want to follow you but they will drown. you are also a mirror, a mirror in which people see themselves fulfilled, the free self. i see myself free when i look at you. you are the perfect mirror without flaws which gives the reflection of the future self. but will i be free before it is too late? i feel that other people are sewn together loosely, naturally, with a space in between the stitches for breathing. i am sewn too tightly, with too many stitches overlapping, so that i suffocate.'
     'here we breathe freely.'
     'yes, because in the maze of the dream we cannot see our human sorrows.'
     jean stood now before the blurred and covered window which did not open into the street. he said: i am behind the window of a prison. i am a prisoner. there is always a window, and i am always behind it, looking out, and desiring to escape to countries and places which i imagine to be light, wall-less, illimitable. and you are a prisoner of another kind. you are barred behind your loves and your compassions. when the doors open, and you are on the verge of freedom, you take the fatal glance backward and see the one behind you who is not free and you retract your step and enchain yourself to this one while the prison doors close again. you are a voluntary prisoner who will not walk out alone. you are always preparing the flight for others. and so time passes.'
     'but of course, jean, we have the dream, this drug given to prisoners of distinction.'

Wednesday, May 25, 2016

in blackwater woods

by mary oliver

look, the trees
are turning
their own bodies
into pillars

of light,
are giving off the rich
fragrance of cinnamon
and fulfillment,

the long tapers
of cattails
are bursting and floating away over
the blue shoulders

of the ponds,
and every pond,
no matter what its
name is, is

nameless now.
every year
everything
i have ever learned

in my lifetime
leads back to this: the fires
and the black river of loss
whose other side

is salvation,
whose meaning
none of us will ever know.
to live in this world

you must be able
to do three things:
to love what is mortal;
to hold it

against your bones knowing
your own life depends on it;
and, when the time comes to let it go,
to let it go.

Tuesday, May 24, 2016

in public places you sit or stand quietly

by mira gonzalez from i will never be beautiful enough to make us beautiful together

you try to not draw attention to yourself
you are considerate and polite in social situations
you hide certain opinions and express other ones
you want people to perceive you as agreeable
anyone can enjoy your presence for a short period of time
you allow people to project appealing qualities onto you
for this reason they maintain relationships with you
for a few weeks, months, a year or two
you take drugs because they make you feel different
benzodiazepines make you feel detached, affectionate
as if your opinions and desires exist independently of you
amphetamines make you feel thinner, more sociable
you are equally compelled by experiences with extremely positive or
extremely negative outcomes
physically attractive people don’t appeal to you
you feel compelled by people based on their ability to change things
your perception of reality, the ways in which you assign connotation to
memories
you are interested in people who, when thought of years from now,
will cause you to recall certain, specific, crippling emotions