Waves

when she stopped making art,

she became angry,

anxious, irritable, resentful.

she would watch him draw horned beasts,

using only red and black pen on a white canvas.

she would watch him outside a window

swirling acrylics on metal surfaces.

she would browse through her old drawings,

or find a stray red pencil in a drawer.

what had once moved through her?

and where did it go?

early on, when she had felt the first wave  

she got derailed

trapped by her own need for affection

for acceptance, for love.

she abandoned everything to move in with a stranger

she left for the ocean.

every warning was ridiculed,

she surrounded her thoughts with an iron fence.

her body was burdened,

her lungs were tight and closed,

and the thing that once moved through her

became so small as to be invisible.

she thought about it for years.

sometimes she attempted a small drawing,

but she had lost trust in her own hands.

she judged the lines before they were complete,

saw herself as another would see her,

as another might see her.

later she fled,

or was cast aside.

she escaped the narrow path

of needles and crime,

lies and delusion,

denial and fear.

she salvaged what lay just inside the dumpster

and left the rest

to become a vague memory.

and she found herself in a room,

staring out a window.

how long had it been since she drew?

he said to her:
'if you want to make art, make art.'

and she stared at him

with tears in her eyes.

she thought she had to wait

for something to happen,

for a burst,

for an explosion,

for shapes to break open the gates

and explode onto the page.

she watched him standing in the sun

just outside the window.

he never noticed her there,

just a few feet away.

the canvas was on the ground on a blue tarp.

he let the colors mingle,

then would occasionally move

one side of the canvas or another.

After a while

she went back to her room.

Not For Me To Know

I inherited from my ancestors
a burning desire to learn
from all places.
My father read James Joyce
and allowed a television in the house
so we could watch tennis
and movies of cowboys and detectives.

One night in the distant future,
in the course of my ongoing investigations,
I walked to the corner of Anza and 48th
and encountered the Other,
the city which was not me, not us,
not anything I had ever encountered.
I saw the sigil of its otherness
and transferred it
from the cold stone where it rested
to the warmth of my flesh.
Words and letters without meaning 
and yet their beauty was easy to read.
My father had taught me well.
Maybe things he didn't know himself.

In that same future, I constantly read and wrote.
I was single with no kids.
With every day that passed
I became more like my parents.

One afternoon in Sutro park
I sat next to an old man
who couldn’t have been more genial or incomprehensible.
We looked at the stars and the clouds together.
"There is only one path and it has already been chosen," he said.
He told me what to look for in the sky
but I couldn't see it,
I couldn't follow his deductions,
I couldn't understand his implications,
I couldn't see our fate written in the dark.
The light was easy to spot and wish upon,
but I found no reason to do so.

In the past, I had struggled with a novel.
As I wrote, my heart had moved like a winged silver bird,
shining with the magic of pure golden light.
That novel taught me
that the end and the beginning are the same,
and yet there are many novels
many ends
and many starts
all intertwined
all impossible to separate.

Looking back at this past,
I came to understand
I had moved through this life without thought,
without any overt or implied intent. 
Fate was not for me to understand,
not for me to know.
I learned to accept this past,
I learned to accept that future.

After the future was over
I prepared for the voyage.
I brought the book.
I removed the past like an old jacket.
I was ready to learn some more.

White Wisps Of Smoke

I watched him making the concoction there that night. While the world outside was in darkness and most slept in their beds preparing for the work day ahead, we sat in the yellow light of the studio. 
We called it the studio, supposedly it was a space to make art and create things that existed in our souls, but he just cooked and shot up and got high and imagined he was an artist.
I had stopped drawing years before- right when school began and thoughts and words and self doubt clogged my mind and amputated my hands. I could no longer hold a pen and let the lines come. He was an artist when he wasn’t using or trying to find a vein or scheming and manipulating to get another bag, another hit, to end the sickness- but addiction was a full time job and art came in rare moments- mostly a thing of the past now, a memory he held onto, an image he projected of himself on himself. 
I hoped too for a day my artist would return- the thick chested, tattooed man who had drawn me erotic mermaids. All I saw in front of me in that yellow lit room was a man much too skinny for his frame.  A man with pale green and black bruises over his arms and legs and a paranoid glaze obscuring his bright blue eyes. 
He had taken to wearing the dark blue suit I had bought him years ago for his first court date- only now he looked like an emaciated teenager in his father’s clothes, playing dress up in the middle of the night when the rest of the world outside slept in their beds. 
I sat with him now in the yellow lit studio. With clear and focused attention he mixed a small amount of white powdered cocaine with baking soda and water in a metal spoon. He lit the spoon from below, the same way he cooked his sticky tar heroin. He let it all melt together and bubble around the edges and in a few moments the watery mixture evaporated, leaving a few hard little white ‘rocks.’  He picked them up tenderly and placed them in a four inch narrow glass vial. On one end of the vial was a piece of steel wool which created a filter.  He tilted his head back a little and lit the filter/rock end and sucked on the tube like a straw. 
I watched as thick whips of white smoke traveled up the vial and towards his mouth.  He inhaled for as long as he possibly could, filled his chest with all that smoke and then held it inside even longer. He closed his eyes and then leaned in towards me. I opened my mouth and he breathed into me, giving me all those white wisps.
“Hold it in” he said. 
I looked at him and waited until my body screamed for air, but then I couldn’t even hear it. The room was ringing. 

I wanted more. 

I took a shower and called for him to bring me a ‘hit’ in the shower. I sat on the ground, hot water pouring over my stomach and legs.  He came in and pushed the shower curtain aside.  I opened my mouth and he lit the filtered end. Inhaling, inhaling, inhaling, holding, holding, holding, release and riiiinnnnnnggggggggggg. 
I could feel each droplet tapping my skin.  Slapping my breasts and pink nipples, my hips and arms. 

I wanted more.

Then he miraculously fell asleep.  He never slept anymore but in those early morning hours I found myself alone in the yellow lit studio. I watched him for a moment on the bed which we hardly shared, awash with the neon glow of our television (which he needed like soothing lullabies).
The small plastic baggie of cocaine was half full and on the coffee table. I had not paid attention to the exact amounts he had used to cook- so I added a little of this and that. I tried several different batches, adding various amounts of cocaine to baking soda ratios and smoked all of them.
Then the light started to creep through the edges of the thick drapes.  The baggie was empty and I started looked for crumbs that had scattered over the table and carpet. I picked up what I could find carefully and cooked it too. 
I went into the windowless bathroom sometime around six.  The face in the mirror startled me. It was dead and pale green and the eyes looked both shocked and dull at the same time. 
Was this me? 
“This is me,” I realized. 
I looked into those eyes- brown, absolutely lifeless. I stared and had no words for this woman.

And then I remembered him on the bed.  My addict.  My once-lover. My child, my burden, my chain. My dealer, my demise. What would he say?  What would he do when he discovered the empty baggie?  He had never hit me, had never ever come close, but that morning I wondered.  Would be kick my ass?
I sat on the couch, each minute pushing harder and harder on my shoulders. Every moment like another rock on my chest as the sun rose and I waited for his body to ache, for the pain of reality to shock him into wakefulness. Then he would open his eyes and remember himself and his life and his veins and the itch and the sickness and he would know that it was time for a fix. 
And when he did open those paranoid blue eyes he saw me on the couch, pale green and full of terror. 
“I cooked it all last night. All the coke is gone.” 
“All of it?” 
I nodded and he looked at me in disbelief.  He didn’t touch me, but made me drive to the bank and get $80.  Then he took the car and drove to the beach flats and looked for the short Latin guys on the corner.  I stayed at home but I could imagine it all.  It was a mechanical script and I knew all the players, each actor- what they said and how they moved and where they would be.  I had taken that drive a thousand times. I had done this play each day for years.
Only this morning, I had joined them. In those few dark hours alone in the yellow room, I had inhaled something of them and now I knew what it was like, that dark pulling, pulling, ringing and pulling. It had my ankles. Like that ridiculous foot deep riptide which had almost taken me into the surf fifteen years before, I knew the haunting power of those white wisps of smoke. I knew what it could do. I knew it was too strong and I told myself I would never touch it again.

That day I went to school.  When I came home I found what I expected.  He was in the yellow studio.  I could feel him mixing up a batch.  He didn’t come out to greet me and I stayed in the living room, but I could feel the bubbles on the outside of the spoon, could smell it through the door, could almost hear the riiinggg.
I knew it was back there and it was calling to me. Like thick thorny vines that had wrapped themselves around my arms and legs and heart, I could feel its pull. 
IT wanted me back there. IT was singing, so lovely. 
I stayed in bed, I kept the door closed. I opened my books and read through the soft thudding in the back of my chest, part of me wanted to answer.
By the next day the singing was lighter and then the day after it was gone. I never touched it again, but that was the day I teetered on the edge.  A few more puffs and I might buried myself in the WANT- in that dark hole I had lost him to. 
Just a few more puffs- I might have never emerged.

Gallery

I find myself standing inside a modern gallery. Cool bright floors, bright white walls, light breeze streaming through big open windows. At this point I vaguely remember leaving my house, I vaguely remember an afternoon of surprises, unusual circumstances, the sound of laughter, the bright sunlight on the sidewalk, the startled look in the eyes of the guy who gave me the mushrooms, the kids playing baseball, the trees in the distance, the way the clouds looked like oil paintings, the sound of the birds.
"You will laugh so much..."
But now I am inside this gallery, looking at a painting of a mountain. I can't quite remember coming here. It makes sense that I am here, but I can't remember. It just makes sense on its own terms.
I look at the painting.

I see a rocky mountainside, covered halfway up in stones the size of human heads. All the boulders are dark gray and cold and slightly wet. The mountain is wide and tall, it connects to an even larger mountain range to the north. In the distance, the mountains are brown and barren and covered only in scattered patches of dry grass. The sun is hiding somewhere behind a thick haze of clouds.
The day seems new, but somehow drained of energy, as though something very intense has just vanished and what remains is slightly diminished.
It reminds me of the light of the afternoon. This afternoon, not that afternoon. It reminds me.

At the base of the mountain range is a receding sea. The water is dark blue and choppy with white caps. It flows out towards the horizon in a hurry, as though something was waiting for it beyond the thin line of sight. The wide mountain is mostly covered in heavy rocks, but as the mound moves closer to a tip, the rocks become smaller and smaller, until they are just small pebbles hidden between blades of dried grass.

I come to the realization that the painting implies a location for me. Within it, I am inside a small cabin, looking out the window. I can see the frame of the window at the edges of the painting itself. The mountain is outside the window, bright sunlight, blue sky. But inside the cabin it is dark, musty shadows. 
Answers born from questions and questions born from answers tumble awkwardly over one another like dark suited gymnasts. What is that light there, penetrating the apparent serenity of this dark space?
Eerie and blue, it calls to me and points towards a startling terror.
I am not alone here. I am not alone.

There is a movement not far off, something that can see me, just as I can now somehow barely see it. Somewhere beyond the edge of my vision, beyond the frame, within the painting, somewhere in the in between. The nether region beyond my direct sight. Something in there. Somewhere. Something.
The age old questions arise: can this thing hurt me? Should I hurt it first? Who will eat who?

I turn away from the painting. The guy who gave me the mushrooms is looking for a general manager. He is asking questions in rapid fire succession. His hands move up and down. I can't see who he is talking to. Someone else is here. Someone. Somewhere.
I have questions of my own. Where did I meet him? How long ago? Were we good friends at some point in the past? Did we spend many afternoons together, drinking, talking, asking questions, laughing? Did we laugh so much that we came to know each other through our laugher? Have I temporarily forgotten?
His girlfriend is with him. She must be with him. I can't see her. I just see him walking around, moving his hands up and down.
Was I his girlfriend before? Was I someone else? Did I know him at all? Have I ever met him?
There are no clear answers in the gallery. No clear answers here. He is too far away to ask. Too far away to focus. Too far away to listen. Too far away.
I turn back to the painting.

I feel this thing again. Something beside me. In the painting, outside the frame, not in the gallery, not on the surface. And yet right here. Right there. Next to me. Some thing.
This is too close.
It can't be a friend. A friend knocks at the door, a friend calls to you, announces their presence from some distance before coming so near. This can't be a game.
Or are there other ways to play? Ways that belong to creatures far beyond the fear of safety and borders of individuality? Does one thought in my mind announce itself to another before it takes over? Does it knock? Does it ask for permission? Or does it just come in when I'm not looking? When I'm looking elsewhere?

Fear is such an insistent mistress, always calling for my attention, always making bold claims.
Such as this announcement, this sudden claim that this is a matter of life and death. This, right now. 
How can it be? I am standing in a gallery, looking at a painting, sunlight outside, the sound of voices, a guy I may or may not know asking for a manager, cars passing by outside. Safety. The world.
Leap up and attack! Run! Act! Quickly!
Or tell yourself that it isn’t real. It's only your imagination, it's the mushrooms I ate, not too long ago.
It couldn't have been that long ago, it must have been today, earlier today, how long is today? How long does the sun stay up in the sky? What does it mean to ask how long when I can't feel time passing?
There is nothing there. Walk away.

I close my eyes. If I can’t see it, then it can’t see me…so goes the ostrich logic. Leave the hidden things to feast over my reposed form. What do they do while I hide behind closed lids? What do they want?

I turn to another painting. Right next to the first one.
I am now looking into a warehouse. I sense that they would want me to be the manager here. Who are they? How could I know what they want?
They need help keeping track of things, maybe someone is looking for me, just beyond the edge of the painting, looking for the manager, for someone that could be the manager, me. I'm the one they're looking for, I'm the one he's looking for. I can be the manager. I am the manager.   
There is grass on the floor of the warehouse. There are lots of people inside, some of them are watching TV.  A large screen TV in the middle of the room.
I think that it could be relaxing to sit in the middle of a crowd and watch the images flashing on the screen. But the air is stifling, it's too crowded, I need to breathe. I can't sit here the way I'm feeling right now. I can't sit among so many people, I can't.
I look into the TV screen, the one inside this second painting, inside the warehouse that is inside the second painting.
I see the dead horse. His dead eyes stare at me through the screen. Stare at me. Dead horse. Inside.

I am back in the cabin. I don't remember turning back. I must have blacked out, I must have closed my eyes, I vaguely remember closing my eyes before, maybe I've done it more than once, maybe I've been doing it over and over.
Has this happened before? Have I asked these questions already? How long have I been here? 
I'm simply back here. Back in the cabin. And someone, something, is still here with me.

This is that thing, so familiar, so incredibly strange. I know it. That thing that they told me didn’t exist. The thing that was not in my closet, not under the bed, not at my window. The thing that was not.
Sleep they told me, go to sleep. So I did.
But now I can feel it. I am startled by this presence, this “should not be here” that disturbs the peace like a spider falling from the ceiling onto your cheek, a hand where there should be empty space, a pair of eyes in the raw darkness of a garden. Flashing eyes, glowing eyes.
Just inside the cabin, inside the painting, outside the frame, not here where I am, there, not here.
Now I know that it has always been here. It was always in the closet, under the bed, and at my window, then just as now. Now. Here.

I turn away and walk out the back door. I see the mountain once again. Maybe if I leave the cabin behind, the darkness, maybe the thing can't follow.
I step outside, into the fresh air. I breathe deeply. So much better out here. Leave the cabin behind. Finally, I can breathe. This is what I needed. This is what I need.

There is one four foot trail that travels the length of earth from peak to ocean. There are other scattered trails that are much thinner, only wide enough for one person at a time. Close to the shore is a thicket of trees beside a clearing thirty feet wide. They are as tall and thin as eucalyptus, only they have darker and wider leaves and more full reaching boughs that create a wide canopy.

Something is still moving behind me. I would not usually be here, walking on this mountain path. Usually I wouldn't be here. Usually. 
I would not usually perceive that strange glow, should not. I would not hear the rustling, should not. I would not feel my pulse quicken and my eyes snap open.
Keep walking. Keep going. Don't look back.

The clearing is smooth and flat and free of all rocks. Because of the trees, it is covered in a nearly green-black shade. The earth here is damp and smells of wet bark.
To the left of the clearing and the trees is a grouping of dark wood condominiums. The singular structure is angular and modern. It would give off a very cold emotion if not for the wood used to construct it. The collection of two-story houses each have double pane windows and wide sliding glass doorways that face the seashore and the thicket of trees.

These things are ephemeral.
Yes, I have now decided, it is more than one. It is multiplicity itself, it is always many and now more than ever.  Many and I am one. They continue their advance. They.
Why should they worry? I don’t believe that they exist. I have left the cabin, there can't be any thing here, no further thing, no further.
Reason should prevent me from rising to stop them. Why should I try to stop that which doesn't exist?

On the lower floor, beside a sliding glass door, is a dead white horse laying on the ground. Its legs are curled close to its body in the fetal position.

Sleep they told me, go to sleep. So I did. That has always been the way. Where there is nothing, sleep will brush it away. Gentle sleep, calming sleep.
Tell yourself that it isn’t real. It is only your imagination, there is nothing here. Mushroom, light, painting. Nothing there.
I am looking at a painting. This guy I know. He gave me some mushrooms. This is the mushrooms. This is what happens when you eat mushrooms. (Except mushrooms have never been quite like this. Except I can no longer see a gallery or a frame or a painting.)

The glass doors reveal the occupants of the houses. There are people inside. They are swollen and pale and laying on their backs on the damp linoleum of their kitchens. Their bodies are moist, as are the T-shirts and shorts which clothe their bloated bodies. They are not moving but I can see their chests moving up and down. Alive. Moist. Bloated. Inside.

These things are still behind me. I can't think of any other noun to describe them. Things. What do they want from me? What do they want?
Answers born from questions and questions born from answers tumble awkwardly over one another like dark suited gymnasts. I descend into the dark depth blotting them from my mind. Forget that light there disturbing the womb of darkness and retreat into slumber and the comforting illusion of solitude.

There is a rocky mountainside, covered halfway up in stones the size of human heads. All the boulders are dark gray and cold and slightly wet. The mountain is wide and tall, but it connects to an even larger mountain range to the north. In the distance, the mountains are brown and barren and covered only in scattered patches of dry grass. The sun is hiding somewhere behind a thick haze of clouds. The light is still very bright, the kind of light that requires squinting. The day seems new, but slightly drained of energy, as though something very intense has just vanished and what remains is slightly diminished.

I see a woman lying down. She's laying on the ground. Her legs are curled close to her body in the fetal position. Her face is towards me. She looks strangely like me.

There are no things. There is no gallery. There is no painting. There is no horse. Nobody. Nowhere. No.

Bound To The Moment

When he got locked up, he knew it was my fault.  He never failed to remind me, if he wanted some plastic toy from Kentucky Fried Chicken or a new shirt from the skate shop, he somehow twisted every particle in the air between us and then that inner itch began to tickle.  That subtle and yet overwhelming wave of guilt that worked its way in from the extremities until its firm grasp was tightening around my chest. 
I spent 6 years trying to make up for one sentence said to the wrong person. Six years trying to dig my way out of sorrow and regret with money. Shirts, shoes, cigarettes, cds, concert tickets, milk, orange soda, hot dogs, art supplies, a silk screen press, heroin, lots and lots of heroin.
I worked and he spent as he wanted and I knew it was all because of that one sentence blurted out at dawn in the police station. One damn sentence condemned him as a felon forever. A string of words put him in minimum security jail for two months.
When I first saw him in that bright orange cotton pajama uniform and had to pick up a telephone to talk to him through the glass in the visitation booth, I thought I would crumble. I ran around town meeting with lawyers and bail bondsmen, I looked for an apartment and picked classes for the upcoming term.  I went to his court dates wearing the purple paisley skirt he liked and every gemstone I owned for protection. I put the red garnet ring his mother had sent me on my left hand and walked into the courtroom, knowing I had put him there, knowing I needed to get him out.
I did what I could for him, depositing extra money into his ‘inmate account’ so he could buy extra food. I went back to my job and saved money for his bail, I accepted the collect phone calls and then worked like hell to pay them off. 
When he was sentenced to two months I went to visit him faithfully every Sunday. He had been placed at “the farm,” the low security building by the city dump. It was a one story facility without fences or barbed wire, there were cats and peacocks that roamed the grounds. There he was issued white linen pants and a thick jeans jacket. We were allowed contact on those visits and he had me smuggle in cigarettes under my jacket, which I always hated to do.
He got a job in the kitchen and I was impressed when he told me he made a mini mountain made of melon pieces and parsley. I thought that he found ways to make even the worst of circumstances beautiful.  He became the resident artist and drew pictures for the wives and girlfriends of other inmates.  On Valentine’s weekend he presented me with a drawing of a sleeping mermaid with her arms wrapped around a heart-shaped moon.
I would arrive early on Sundays and be one of the first people in line, which was the way I insured we would have the full visit time of two hours. We would kiss and I would wear a skirt and sometimes he would touch my clit and I would leave there sopping wet.
Six months after he got out our troubles really began.  The heroin became a necessity. I lived with the fear of death or jail. I wanted to save him, I wanted to be with him, the guy who drew and made me laugh, but I had not seen him in years. 
I kept trying to make up for my initial wrong, but it just never worked- he only got worse. He was out of jail, but I had never left that one moment, that damn sentence, those few little words.

A Different Life

I find myself in a two room flat on the third floor of a refurbished duplex. The floors are a warm honey color speckled with tiny dark knots. The only remaining architectural hint of the apartment’s long past is the embellished molding of flowers and leaves nestled in the corner between the walls and ceiling which outline the apartment’s perimeter.
Besides the whisper of a long forgotten period of detailed craftsmanship, the flat is decidedly modern. The kitchen, though small and lacking more than a few plain cabinets, is complete with chrome refrigerator and marble counter tops. Colorful snapshots and notes on brightly colored post-its dot the fridge’s double doors.
In the same room as the kitchen, though closer to the large street-facing window, is the square dining room table. The formal table is a bit too large for the space, surrounded by matching dark wooden chairs along all four sides. There is a two foot perimeter between the chairs and two walls perpendicular to each other, as though the table was bought for another space and then crammed into this one, like a woman squeezing into a dress one size too small. The table, designed with a minimalist aesthetic, is covered with scratches and the rings of coffee mugs which have removed parts of the dark, espresso colored veneer.
From where I am sitting in the living room, on the plush cushions of the L-shaped couch, I can see a narrow credenza in one corner of the dining space covered with framed photos of babies and a wedding ceremony at city hall. A clear glass vase, two feet tall, holds a bouquet of calla lilies. The sweet, sticky scent of their ripe pollen permeates the small apartment.
The living room is crowded too. The plush gray colored suede sofa takes most of the floor space, though it is the blanket of baby toys on the ground surrounding the couch which seem to close the space in, making it difficult to walk. The couch faces the dormant fireplace and narrow mantle, which is covered in a dozen stacks of CDs. They line the mantle in stacks of five or six, perching like flat pigeons on the thin brick ledge. Just over the mantle is a flat screen TV mounted directly to the wall. Just like the couch and dining room table, dominating objects in their respective locations, the enormous glowing TV takes up nearly the entire wall. I turn to it, finding it hard ignore the basketball game blaring forth from the flat surface. Beside me, an enthusiastic young man is shouting at the TV, looking like a teenager in his red and white striped shirt and baggy jeans. He had been trying to ask polite questions, making simple conversation while he and his wife waited for the taxi to arrive, though as he tried, he just was not able to take his eyes from the TV for more than a few seconds at a time.
An eleven month old baby with big brown Bambi eyes is sucking on a green pacifier beside his sport-obsessed father. “So what were you saying?” the man turns to me with divided attention.
“I was just saying that I take these photos and then turn them into something else, I can show you.”
“Yeah, show me,” he says enthusiastically.
I begin turning on my computer, looking through the multitude of dated folders, trying to avoid any risqué photos that might jeopardize their faith in leaving me along with their child for the night.
“What’s that one?” he says, pointing to a colorful thumbnail. I enlarge it, a highly altered photo of a man wearing a feathered mask.
“Is that a bird?” he asks.
“It’s a guy wearing a mask with feathers.”
“Oh. I like it. Show me more!” He turns back to the game. “Oh come on!” he shouts at the TV.
His wife approaches. A heavy set woman in high heel boots. She stands next to her husband, touching his arm. The gesture strikes me as forced, as though she needs to protect her territory from me. Looking around the space, I realize that it is she who has picked the couch, the table, the adult pieces of modern furniture. She seems old to me, not so much in her appearance, but in her approach, in her way of being.
“Okay, hun, the taxi is here,” she says as she glances out the window.
When they are gone, leaving the baby in his crib just moments before walking out the door, I wander around the apartment, looking more closely at their photos, at the accumulated items of their lives. They are a young couple, two people very identified with their Jewish heritage. There are references to it all over the apartment. From the brit milah pictures of the baby to the name of their network wireless connection, it is there, saturating their lives, a huge part of their created culture.
It is then I realize, these are the people I might have become. These are the people my parents had hoped I would be, the life they wished me to have. A stylish apartment with adult furnishings. The marriage, the baby, the teaching job. They are an off-shoot on the path. I begin to take pictures, using their world for another purpose, exploring the choice I didn't make.

The New World

Yesterday he asks about my relationship to the café’s owners. I tell him they’re my friends. He says maybe he can make friends with me. I admit I’m easy to make friends with. His name is Erasmus.
Today I ask him if he plays chess. He says he can. I tell him I’ll bring a chessboard. He says it’s nice to have a friend. He tells me that someone else once said that we should love our friends with the greatest intensity possible from whatever distance is necessary. He explains that the woman he is quoting came to a bad end. I say that most extraordinary people do. He says that his mother was extraordinary and she led a peaceful existence. I amend my statement. Many extraordinary people come to a bad end.

This morning Walter Richard Patton came in and ordered a Danish. In high school he reversed the order of his first and middle name and came to be known by all as Dick or Dickie. His father died in Chicago the day after Pearl Harbor was bombed. The next day Dick's younger brother, Arthur, came to him and said he wanted to join the Navy. He was 16 years old. Dick helped him to alter his baptismal record by changing a 5 to a 3, thus helping Arthur to gain enough years to enlist. Dick himself joined the navy shortly after his family moved to Utah.

Erasmus told me this afternoon that he once hunted down an archeologist who studies modern artifacts; eye droppers, paper cups, anything that can be found in an urban gutter. Erasmus located him, surprisingly, tucked away in rural Maine. The gentleman told him that he had worked in Berkeley on the development of the Nuclear bomb. He described the day after the bombing of Hiroshima, standing among the scientists who had helped create the most devastating weapon designed by mortal men. He told Erasmus that they all went a little crazy that day, the day after 66,000 people were killed all at once.

When Dick came out of the Navy he found himself in California. He could never bring himself to return to his family's home. There was a reason for this. In 1945 Art was lost off the coast of a small island in the South Pacific. Dick felt responsible. He was the one who had changed that 5 to a 3.

When Erasmus was ten years old his teacher and the school's principal called a special conference with his mother. In this conference she was told that her son was mentally retarded. She asked on what grounds they were making this proclamation. She was told that he didn’t understand that he should sit in his seat. He preferred to sit in the windowsill. She was then shown a paper covered in writing and told that he didn’t understand how to write in the lines. She withdrew Erasmus from the school and sent him to another.

Dick’s grandmother came from Austria with her husband and their family. Her brother in law brought his family all at the same time, but after passing through Ellis island, the two brothers never saw or heard from each other again. They simply lost one another in the strange new world.

I listen to Erasmus conducting an interview on the radio. He is speaking with a woman from England who leaked secret documents revealing a plot to bribe members of the United Nations into supporting the Iraq war. He asks her if she regrets having done it. She tells him she does not. She explains that she had thought the war might be stopped if she revealed the truth, but nothing came of her actions. She was fired from her job, she faced imprisonment, but there was a war just the same. Erasmus thanks her for her bravery.

Dick’s father died in Chicago the day after Pearl Harbor was bombed. The day after the attack on Hiroshima, a group of scientists in Berkeley went a little crazy. One of them became an archeologist that studies modern artifacts. Arthur was lost at sea off the coast of a small island in the south pacific. Dick could never go home again. He sits in an empty café in Berkley, a very lonely old man with a heavy heart. Erasmus’s mother was an extraordinary woman who was told that her young son was mentally retarded. Later he was nominated for a Pulitzer. Now he is interviewing a person that hoped to prevent a war by telling the truth.

Someone said that we should love our friends with the greatest intensity possible from whatever distance is necessary. That someone came to a bad end. Many extraordinary people come to a lonely, painful end. They are simply lost, separated from those they once loved by choice or death or circumstance, left alone to face the strange new world.

Charles

The bright orange, red and yellow of crushed leaves on the gray concrete just outside the open door. Charles’s pale blue irises highlighted by red streaks crossing the whites and the puffy crimson rims of his eyelids.
A dog looks in the window at me, just the brown muzzle and the floppy ears of a canine, peering in through the lower left hand corner of the window. Men are laughing out in the street where I cannot see. Another yellow leaf drops and blows wildly in the wake of a passing car. More cars with their anxiety making noise passing close to the open door. When they pass on the other side of the street the noise is soft and pleasant like the crashing of distant waves. Even on this side of the street some cars manage to create a gentle whoosh while others gurgle, grunt, growl and roar.
The cars are small bursts of motion and color streaking past the glass like fish in an aquarium. The trucks are slow, crawling monsters of loud carbon emitting wrath. I see a bicycle leaning against the meter that serves the whole street.
A man passes by and looks in. His nose is a cruel shape, his mouth is agape slightly as if he were breathing through it, incapable of smiling with it. The eyes of a zombie, hard like marbles, uncaring. But he is young and women who like tall lean bitter young men will find him attractive. I shudder.
Charles is soft and friendly and mumbles. His flesh looks pale and soft. There is enough of it that if you squeezed him it would be like squeezing a marshmallow. Because of the way the red made the blue of his eyes look, because I was looking in his eyes and he was looking in mine for just a moment as we spoke, I contemplate what that squeezing would feel like.
That way that he talks quietly with his back turned as he moves and I’m not sure if he is speaking to me or to himself, at first it reminded me of a dream in which you can’t quiet understand what is being said. It made me feel confused and uneasy. I wanted clear bright communication.
Today it furthers his aura of softness. His mumbling fills the air around us like clouds of cotton, cushioning us within this space of hard floors and polished mahogany.
When we first met he seemed accusing, threatening, alien. He is still alien but I like being in the room with him. I wish he would not go, not now that I suspect that what disconcerted me before was only softness.
Another leaf, this one orange like brass, summersaults down behind the back of a black man in a navy blue sports jacket who is feeding the meter.
I wish Charles would not go, but he is already gone, and I am here so that he need not be. I am left wondering over the only curiously human things we said, the few words that we exchanged that weren’t about change and cream and bags and glass cleaner.
I said: “You look tired.”
The counter was between us.
He answered: “I do? Naw. I only got up at five this morning.”
At this point he is drifting away from the counter towards the door, moving backwards as if rewinding in slow motion. “I only got to sleep for like two hours the other day.”
“Geez.” I say trying to express sympathy.
“Naw.” he says, and actually what he says sounds more like ‘No Ah‘, “I figure it’s good practice, you know, for having kids.” And then he’s out the door drifting away down the strip of gray concrete with the leaves and the cars and the others.
I compile a list of data. What do I know about Charles? He is in school because he mentioned exams when he asked me to take his shift last week. He sometimes sleeps in his car. He bakes bread and manages this store. This is precious little information. His curious remark about practice for having children, does it mean he is about to be a father? Does he have a wife? A girlfriend? Is he a bachelor who actually thinks of a future in which he has children with so much hope that he takes today’s trials as preparation?
There are not enough clues for me to come to a conclusion, not enough for me to form a working picture of what Charles’s life is like.
A fire engine screams by, a big red rectangle with flashing red yellow and white headdress rushing for disaster.
I try to imagine what it would be like to be the girlfriend of Charles. I find it difficult to imagine a conversation with him. If we got together in a different setting for coffee, what could we say to each other?
It is a challenge to imagine him saying anything deeply philosophical. This after all is the man who came out of the restroom half an hour ago and didn’t wash his hands, not even for show.
Nor can I imagine myself being a convincingly interesting person to speak to without the conversation getting philosophical. Politics is a challenge for me, and anyway I can’t picture him being passionate in that regard. Books? He can read, he is in school, but does he like to? I move on assuming that we have schlepped our way through the small talk with lots of eye contact.
I can imagine a kiss, a hug, soft warm embraces. That part is easy. He is a man and I am a woman. These two simple facts are often enough to bridge the distance between two human beings. It is enough to allow for at least brief moments of bliss.
I try to imagine him as an older man, as a husband, as a respectable member of society. I can picture him in a sweater vest.
As if to illustrate my inner musings, a man in a bright yellow dress shirt and sweater vest tromps by the window. A paper bag holding lunch swings in his hands. There he goes, my dear Charles, on his way to the office.
This is as far as I will bother my imagination to take me. The plot is already stretched thin by the fact that I could not be myself in even those earliest conversations. A life time of hiding myself is the lifetime I have already rejected. And honestly, if you were Charles and you read this, wouldn’t you find it at least mildly disturbing ?
More bodies pass by the window, a few faces turn in to see me. Many manage kinder noses and inoffensive mouths, but their eyes are those same inexpressive marbles. Cold eyes that deny entry to the soul. Leaves tremble on the sidewalk under the caress of a breeze, but never quite lift off. A man across the street turns the corner, his reflection accompanies him in the mirrored glass of the tall building he passes. A harp sings incessantly from the speakers behind my head. An older man limps by with the help of his cane.
Charles alone after I am dead and gone… Lives in motion before my eyes, lives imagined in the eyes of soft spoken strangers.
A young couple strolls by arm in arm, her red sweater against his cobalt blue coat sleeve. Just outside the open door the high heels of her black boots crush the bright orange, red, and yellow of winter leaves into confetti upon the concrete.

The Knife

A strange senseless thing, Annette giving her that knife that night. Annette had barely had it for a month herself, it was a gift from Tom and Tom had gotten it from his younger brother Jules six months earlier. Where did Jules get it? A fascinating question beyond the scope of this particular exploration. It is only relevant to note that Jules had hardly looked at the knife during the time that it was in his possession, and Tom had only practiced opening and closing it before giving it to Annette. Why did Tom give the knife to Annette?
It was a very simple stainless steel blade that folded into a black handle, the sort of thing that could be purchased in a sporting goods store, or a gun shop, or even at an army surplus store. Tom personally had no practical use for a knife, his chief interests being theater, literature, theater, and other boys. Looking at the knife, several times, he had thought it could be used to slit his own wrists or to cut his chauvinistic father's throat while the sweaty old man slept, but he had sharp razors to do the first job and too much sensitivity to do the second.
Annette was tall and lean and had blonde hair that had been shorn irregularly by her own hand in a self destructive rage. She wore cut off blue jeans and polyester shirts found in the thrift stores of San Jacinto and Sun City, which as everyone knew was where senior citizens were sent to die in sardine cans with white quartz lawns. If you needed a gaudy polyester shirt, you were sure to find one there.
Tom gave Annette the knife because he hoped that she really did possess all of the conviction he lacked. If he said idly, bitterly, that they should climb to the rooftop of the theater department and spill bags of animal blood over the kids in the quad while shouting that it was Tom’s AIDS infected blood, Annette seemed to consider it a valid pursuit. Whether she really would have done it or not, Tom was never brave or desperate enough to find out. The two were engaged in perpetual games of intellectual chicken, and Annette rarely backed down.
She was very touched by the gift of the knife. It felt as if, for the first time in her life, she was being given power rather than having it taken away. One night after her parents had administered the usual dose of psychological abuse, Annette crawled behind her dresser and, using the knife, carved something like a poem into the soft pine.
Three nights later, after work at the cinema, Annette gave the knife to Lisa. They were sitting in Annette’s room on the white day bed with porcelain balls on the posts. Lisa explained that she planned to move to New York within the month to go to broadcasting school. Annette’s blue eyes grew wide with wonder and empathy as Lisa confessed her fear of that distant Metropolis in which she planned to meet or make her destiny. Annette retrieved the knife from behind the dresser and pressed it into Lisa's hand.
Lisa had only four fingers on her right hand. The middle finger had been cutoff at the knuckle by a rusty antique farm implement in the lot behind her parents' trailer. Both of her hands, her arms, her face, her entire body was covered with pale freckles. They littered her milky white skin like stars in the night sky viewed from a high place beyond the smog and light pollution of the Inland Empire. Her hair was shockingly orange and curly.
What did she feel as Annette pressed the knife into her hand? Did she feel the force of the desires of all the knife's previous owners, who, like her, dreamed in their own way of an end to this small suffocating world? A strange senseless thing, Annette giving her that knife that night. A small gesture in a chain of gestures, heavy with significance.

A Walk Through Eternity

“Eternity is here and now. Right now. As you read these words. It cannot be otherwise.
Eternity is not a very long time, longer than all your memories, longer than you could ever imagine. Eternity is not very slow, something much slower than what we could conceivably endure.
Eternity is not loving or unloving, not hateful or compassionate. Eternity is not reward or punishment.
Eternity is not and cannot be something that will happen someday, something that has happened already.
Eternity cannot happen for to happen something must have a past and a future and eternity can have neither.
Eternity is what is left when past and future are gone.
Eternity can hold no sequences and no trails of cause and effect.
Eternity is complete because it cannot be otherwise.
There is no time to be lost or gained, no time to fulfill lacks or to form wishes. Eternity is simply no time at all.”

I thought of the words on the old book as I stood on the border, looking in. This was not the first time I thought of them. It probably wouldn’t be the last. The words caressed me in ways I didn’t find fully pleasant, something about their implied meaning disturbed me, hurt me somehow, something rose up within me to defend my inherent right to events, my right to chains of causality, my right to the forward motion of time. The something that rose then stayed in my chest, having nowhere to go. And there it lingered and it could only grow as I replayed the words in my mind once again.
There was a great circular labyrinth in front of me and I stood on the edge, right where the narrow path of white stones began. Should I go in? I wondered. Is this the time? The right time? I asked myself in silence. Will there be another opportunity if I were to wait? Will this moment return or will there be another similar enough that it will make no difference?
My mind was clouded with thoughts, tinged with self conscious doubt and human concerns. As I whirled in the middle of pros and cons and other random waves of kinetic brain activity, I felt the moment closing. I felt it moving past me, rushing like a slow inexorable current, slow but definitely moving…drifting through my finger tips as I stood there debating inside my head. The moment was about to move past me like a cold little stream past a heavy rock, unafraid to leave me in its wake on its way to an unknowable destiny, some place where I would never be.
I could feel the three women behind me squirming slightly, their bodies preparing for departure, ready to move up the hill and begin our lunch. Something we had all been waiting for with impatient eagerness. This was not the time for distractions. This was not the time. It shouldn’t be. I felt it passing, all of it. A thread of nothingness on the black current of emptiness, drifting away from me while I stood still, trying to decide. I knew it was leaving now, maybe forever. Soon, even the decision would be gone.

“We may experience Eternity. But this experience won’t be in the past, it wasn’t in the future, it wouldn’t be in our memories of that perfect psychedelic trip into the infinite maelstrom, or that amazing moment of meditation when the walls disappeared and all the people turned transparent like new plastic bags, or that one instant when you and I fell in love and we both knew it as clearly as we knew where we were sitting, as clearly as we knew each other’s names. It won’t, it wasn’t, it wouldn’t be the sudden burst of direct Knowledge that came over you that one day, that one day that we can all vaguely remember. Yes, all of us. It has happened, will happen, would happen to all of us. Every single one of us.
It wouldn’t have been in the future, in that bright final day when I finally accomplished the Great Work and I fused with the True Self that I found standing behind the illusion. It didn’t come when I was finally Awake, fully and beyond mistake, or when I completed my spiritual progress through a thousand lifetimes of abnegation on my way to glorious liberation which came and went before I knew it was happening. It didn’t even come the days before my death, when I finally surrendered, fully and completely, when I finally started to Work. It couldn’t have. It didn’t. It won’t. It can’t.
Our experience of Eternity can only be Now. Now as you read this. Now as you hear this. Now as you think this. As you think it in the words that are here written.”

A small bird chirped at me from a nearby tree. A soft breeze blew wisps of hair across my forehead. Without another thought, without a clear sense of purpose, without a final bout with the constant plague of imagined consequences, my foot suddenly took a step forward. My first step into the labyrinth, my first step onto the path. And as my foot took that step, my mind was completely taken by surprise. It had been left out of the decision. It was being taken for a walk, like a small dog that suddenly realizes what is happening as the door closes behind him and the cold air hits its pudgy hairy face. "Oh, I guess I’m doing this.After all that thinking, I guess I’m just going to do it." I said it to myself where nobody could listen, inside the place where nobody could reach.
My mind was shocked, but willing to go. I looked down at the path directly in front of me, at the narrow bit of dirt outlined in gray stones. I remembered myself. I remembered what to do. My right foot touched lightly upon the path, I felt the soft dry earth beneath me, I felt the heel as it made contact with the ground. Each step slow, each movement deliberate and carefully noted.

“The experience will not be soon,
The experience will not come a moment from now,
Just as it didn’t happen a moment ago.
Just as it didn’t happen before you can remember.
NOW.”

Nearly thirty steps in, my mind started to dart around once again, a reinvigorated ping pong ball bouncing on a fully enclosed spherical table inside my skull. "Was this a good time for this? Will they be mad? Did I mess up the space? This is probably taking too much time! They are all waiting to eat. They are all so hungry. I’m hungry myself. This is the last thing they want just now. To be waiting for me while I slowly move through this little maze of rocks. And now I can’t even see them. I can’t even turn around to try to read the thoughts behind their faces."
And then, a calmer voice, another player in my secret private game of bouncing phrases and flying single words: "You’re doing it now, you can’t turn back, you’re in the middle, you made the decision, something made it, something inside of you…so do it as best as you can.And keep on going. There is no stopping now. There is no stopping."
My hands were swinging, the air drifted through my curled fingers like soft kisses in the momentary resting point of a long uncertain journey, deep in the middle of the night when it seems that such a journey can never end (but it always does.) My left knee bent as my whole body prepared for the next step that was surely about to come. I turned the corners carefully, slowly, watching the ground as the outlined path turned back upon itself, watching it curl back to what I had already left behind, to the path of pale which seemed already so distant.
"This just keeps going!" I thought. I put my attention back on my feet. I felt my arcs stretch with the forward movement of heel to toe. The breeze touched me again and tousled my hair. The path was still there. Curving away ahead of me. Ahead and behind and both at once, blurring into a confusing knot where the future and the past twisted themselves around each other.

“Our language, our imagination, our projections, our world of symbols… they have all conspired to give us an image of Eternity as a really long time, a time so long that it might as well be forever, a time where actions stretch forward into an insistent periodic repetition without friction or decay… Eternity as the white washed heaven of the Christians, the gardens and virgins of the Muslims, the complex Bardo chambers of the Tibetans, the rising cosmic steps of the Gnostics, the monstrous and heroic houses of the witches, the many colored visions of the shamans, the fiery dungeons of the ancient and secret God Pan. All of these may in fact be real (or real enough that we may have the pleasure and pain of experiencing them for a very long time) but they are not the experience of Eternity. If something is happening, then it will stop happening eventually. If something some day stops happening, it will eventually come back. As surely as these words will one day disappear. As surely as these words were always written, long before I seemingly made them appear from nothingness onto a blank white page.”

When I first started on my journey, I had heard the voices of the three women on the outside. I was able to imagine how they saw me, how they might see me, how I may have looked from the distant places that were outside. I imagined their thoughts even if they were only my own projections. They kept talking among themselves and I felt safe in their neglect.
But when I was focusing on my feet, somewhere along the way, their voices had dropped away into a kind of strange silence, their voices which were known and unknown, their voices which were real and imaginary. The space was now profoundly quiet, except for the rustling of nearby leaves and the occasional car tires swishing on the asphalt of the road below. It was me and the labyrinth. Me and the elements. Me and my effort. Me and the path.

“But Eternity cannot begin and cannot end. It is not an extension of time. It is itself outside of time. Time cannot reach out to swallow it. It overcomes time and envelops it like an infinite snake that has transcended all restrictions. We are, you and me, right now, in the midst of Eternity, projecting images of illusory lifetimes onto a never changing Clear Void. And the void itself remains the same, no matter how much the illusion changes.
The longing for the experience of Eternity is a struggle that can never be completed. As long as there is a struggle, the goal has not been reached. But if the goal has not been reached, the struggle cannot end. And so, like Achilles, our work will always be just a hair short of the Eternal Turtle that moves just slightly out of our grasp. Ever so close. Ever so far.”

The rings were getting smaller. I turned corners more and more often until I suddenly reached the center which was both more than and less than I had imagined. In the small round heart was a mosaic stepping stone that had small stones and beads upon it. Signs that others had been here, signs that they wished to be remembered even if I would never know their names or their secret agendas.
I closed my eyes. I saw small sparks of electricity playing on the canvas of my eyelids. I raised my hands out to the sides, opening them wide.I then lifted them high above my head and finally brought both hands together in front of my chest. As if prayer. As if there was something there that would listen.

“In the deepest void within you, behind you eyes, behind your thoughts, behind your emotions, behind your secret wishes and desires, behind your bright nightmares and dark dreams, behind the twisting and gyrating thing that you think of as you without ever thinking about it, behind it all you have Eternity. Right now. Your experience of it relies on your ability to maintain your attention steady, to look inside and not be instantly repelled by the frightfulness of pure untouched Nothingness.”

Oooooommmmmm, the sound was not as pure as it has been, not as pure as it could be. I noticed that fact objectively and I held my attention on the sound and my diaphragm, even as the sound cracked slightly. I pulled my stomach in as my rounded mouth continued with the elongated vibration. I stood in the center, feeling the soft breeze, feeling the sun, hearing the sound of birds, feeling quiet, yet electrified and alive. My ego had fallen and I was overcome with a sense of lightness.

“There is a reason why we are here, why we move through time, why we play our parts in this infinitely complex labyrinth of time and space. There is a reason why things happen, why "we" happen as we are happening right now.
The reason is entrenched in that elusive experience of Eternity. When you enter into the heart of the Labyrinth, the inner circle that never changes, the secret chamber that never started and never can end, where there is no past and no future and no semblance of either… there you will understand the reason. It will be as clear as it ever was, as clear as it ever will be.”

My body turned back. I took a step, I raised my leg firmly like a soldier, placing it firmly on the ground. I took another step, a very short one on the tips of my toes. I slowly walked back through the rings, sometimes emphasizing the movement of my hips like a supermodel, other times walking erect and with a sense of formality. Other steps, I glided loosely as if I was about to grow wings from my back. I alternated between movements, improvising each like a chaotic dance with my attention as the thread of consistency. And the more I played, the more alive I felt. My smile increased the more I played and I shed more of myself upon the soil.

“This has happened a million times before.
To you.
This will happen a million times again.
To you.
You have experienced Eternity. Directly. And now you are here, in time. And the part of you that recoiled, the part of you that fell, the part of you that opened that door but only slightly, that part that saw the primordial union that cannot be seen, felt or heard, and ran away, afraid that it might have seen too much, afraid that the precious object of desire would never give it the compassionate pleasure of coming to an eventual stop...”

There was nothing else. My past was a distant part of my imagination, the future was never coming. There was only each single step and the thousands of movements which seamlessly created it . The labyrinth and I were playing. We were lovers in union. Dancers intertwined. Actors upon a stage. Beings in a living void.

“…that part of you knows why we perceive Time and why we imagine that there is a past and there is a future.
At the heart, right now, within you and without you, everything is still, quiet and outside of Time, beyond Time, around Time. Here in the innermost chamber we can truly say without any hesitation:
Nothing ever has happened
Nothing ever will happen.
Nothing.
Nothing.
Nothing.”