synopsis of a seventeen second play

A reflection is almost always false. Remember that next time you think it’s a good idea to hang a mirror on the wall. But never mind about props. On with the play for today. I’m doing the lighting. No, wait. I’m the leading man! I’m a researcher searching for secrets in the archives. If you read them, you will find them. The secrets, that is. In the archives. Perhaps. They are secrets, after all, so it’s not like they’re just out in the open.

In the second act, I guestate in your house for a while, but as I was never actually invited I eventually fade into the wallpaper. Why does that always happen to me. Like when I attend office baby showers. What is the point. When will I learn to politely decline. At least the fruit was fresh. At least that was the case. I took full advantage. And then I left. Three delicious strawberries later. Retreat!

Since I’m also writing this play while acting in it I get to decide what the the final sound of the final act will be just as I make it. And it is this. A tree falling alone in a forest. Wait, I can’t replicate that. Sooo…yeah, guess you’re gonna need to make up your own sound, after all, in your head, man. Is it the same sound when you’re around or not? Is it. Is it the same sound. How should I know. This is not a philosophy lesson; it’s a play.

In the epilogue, I talk about how the letter ‘M‘ has held significance for me throughout my life. Ooh, sounds intriguing, huh? Well, you’re not going to get to read it because I wrote that part at night sans lumière and so it’s illegible. Too bad for you. So are my seventeen seconds up or what? Yes? Okay, close curtain.

the one and the other

I never learned to tie my shoelaces the right way, the one said.

What do you mean by the right way? asked the other.

Where you make a loop of one lace, then loop the other lace around that one and somehow pull them together into a knot. I kept trying to do it that way, but I just never could, the one said.

Hmm. So how do you do it? the other inquired.

Well, first I make each lace into a loop and then I tie them together into a knot, the one said.

It’s okay, said the other.

Really? I used to feel self-conscious about it in school, the one said.

It’s fine. There’s nothing to worry about, the other said.

The one leaned back into the other. Warm tingles ran through the other’s body.

I like you, the one said.

I like you, too, said the other.

It’s Monday again, the one said.

I noticed, the other said.

I don’t like Mondays, the one said.

Who does? They are the worst, the other said.

So how can we deal with them? the one asked.

Listen to sad music, the other said.

Really? Doesn’t that…make it worse? the one said.

Sometimes it’s better to surrender. It takes the strain, said the other.

Maybe you’re right…what’s good? asked the one.

I think you know already but here’s a hint for one…Crickets! said the other.

Oh! exclaimed the one.

Yes. Shall we? asked the other.

Indeed, said the one.

[a little later]

Good night, said the other.

See you again? asked the one.

I’m here every Monday, replied the other.

‘Til then, said the one.

N’oubliez pas d’éteindre la lumière, said the other.

I’m not afraid anymore, the one whispered.

I know, whispered the other.

More of The One and the Other.

film review: short cuts

This movie is terrible. First of all, it’s over three hours long. If you’re going to make a movie that long, it better be good…damn good. I watched the first 10 minutes or so, which consisted of flickering credits interspersed with long opening scenes (an annoying stylistic affectation). At this point, I switched to scanning through the scenes. This film, billed as Robert Altman’s “masterpiece,” purports to swirl Raymond Carver’s work into a cinematic “mosaic.” Having read most of Carver’s stories, I decided to cut to the chase and find the scenes that I consider his finest work, and see how Altman mangled them. I don’t know if it was the disgust I felt at reliving the trappings of 1990s American culture (perhaps our most sickening decade to date) or the horror of seeing the fresh young faces of so many now well-established American actors and actresses contribute to what amounts to a pissing contest on the collected short fiction of one Raymond Carver, but when I arrived at the bastardization of “A Small, Good Thing” (possibly my favorite Carver story), I could go no further. I guess I don’t get it. The cast of this film reads like a Who’s Who of Hollywood. And not necessarily bad Hollywood. There are definitely some good actors in here (Hello Julianne Moore, Frances McDormand, Tim Robbins: I’m looking at you, among others). Maybe it was the 1990s that warped them (Sorry, Tom Waits, but I don’t think this excuses you). On the other hand, Alex Trebek has a cameo, so take that for what it’s worth (keeping in mind that we have Canada to blame for him). The fashion alone in this film is enough to make you vomit profusely. Carver’s stories are still popular today because they are timeless. But this film is dated, its stylistic baggage weighing down on the strength of any given scene to the point of crushing Carver’s lifeblood out of it. We all know that film adaptations of literature are always a disaster-in-waiting, but few approach the extravagant failure of this bloated celluloid monstrosity.

red light green light

Shifting synchronicity of traffic lights marks the vague change between these days. Whoa, that one is red this morning. I now recognize that yesterday has become today. Also, I think I’m wearing different pants. Speaking of today, it’s Office Olympics Day, an awkward afternoon-long opportunity to observe one’s colleagues caper with impunity in the insipid name of morale-building. Well, no amount of frisking about can rouse this drone’s morale. Even worse, OO is scheduled to start at the beginning of the usual lunch hour. Whose idea was that, I demand. Tell me, you fools. But it’s like shouting down a dry well of indifference.

This song triggers memories of driving back roads with my sister on the way to buy bootleg cassettes at the Sunday flea market. Poring over the endless rows of tapes by obscure bands, the excitement of finding strange new music coursing through me as the summer sun shines down. That’s really where it started, after all, this mystical journey down a jagged, thorny path leading from the dusty crossroads of early adolescence, a place where little acceptance was to be found. Of course it’s farcical to think anything was easier then. But as I gathered the tools of defense against a harsh world, enforcing my armor with sounds to yield lifelong comfort, the process prickled with the electricity of discovery. And these shocks, so intense in youth, temper as the years wrap gauze around us. I fear it’s the daily doing that does us in.

After the Olympics, which my team did not even medal in despite winning multiple events (team competitions are notoriously rigged at my place of employment), I leave early and walk out into a storm. Louder than bombs thunder strikes overhead. I duck under an awning hoping to wait it out before hopping on the bike to ride home. An Indian man stands next to me chain-smoking. More Indian men stream by, cigarettes in hand. Seems to be a gathering of sorts. Afternoon traffic builds like layers of crusted pus on an angry sore. People run from the rain. Building to parking garage. Building to parking garage. I grow impatient and take my chances. The rain falls on even as the sun violates the clouds. A sudden humidity clashes with cold rain on my hot skin. Drop, sizzle. Drop, sizzle. Red light, green light. Go.

♥death cult♥

from the amalgamator’s observatory

In the city summer after the trashmen have driven off with the week’s waste, a trailing fetid odor stagnates mid-street. I ride through the rank air and it feels so oddly cool and clean. A young man asks if it will rain today and I shrug toward the dark clouds moving towards us from the south. A neighbor stares through me from behind dark glasses and I wonder why, when before she used to say hello. I believe things shifted when she bleached her hair. Perhaps she bleached out more than pigment. In the close quarters of rowhouse life, we are farther apart than in the rural countryside where being a neighbor means more than someone to avoid eye contact with. There it means sharing and helping, a way of life. I like my space and freedom from the noise of others, but I prefer a friendly understanding to rude avoidance. What if, like Bartleby, we all preferred not to. That said, I have my aloof days. I do have those.

And so…summer’s confluence of days spreads farther into time’s watershed, like tiny feeder streams losing their autonomy. Warm water mixes with cool and thus blended seeps through me. I am a slow cracked flagon, never empty, never full. Plagued by seeing all the wrong things, agreeing to mistakes made in advance. Orchestrating release of the next batch of tics, twitches, compulsions to soothe and smooth. Periods of mania descending to flatline. Elaborating on the never happening.

But wait! It’s never just the weather, is it. Isn’t it. Yes and no. This is getting repetitive. Instead let’s go word diving. It’s like pearl diving, but with words, and less dangerous. Fun fact: the average university-educated native English speaker’s receptive vocabulary size is around 20,000 word families (a word family is a base word and its inflected forms and derivations). Receptive size refers to the number of words recognized while listening and reading. Productive size refers to the number of words used in speaking and writing, and is often understood to be half the receptive size. To put this in perspective, the OED defines roughly 600,000 words. So dive deep, the bottom is farther away than you might think.

box stores and theme restaurants

New entries from the American Handbook™, ultimate lexicon of the American lifestyle!

Box store: A cavernous corporate-owned structure filled with name brand products arranged on shelves and available for purchase. A nice little Saturday in America typically includes a trip to at least one, but preferably six or eight, of these wonders of modern consumerism. Often bundled together into convenient concrete and asphalt abominations called “strip malls,” box stores alleviated the tedious need for easily winded Americans to visit multiple small independent businesses operated by their hard-working fellow citizens. Americans now thrill to the experience of strolling down a box store’s expansive aisles, thoughtfully constructed wide enough to accommodate most American consumers’ considerable girth. Fast food kiosks strategically placed throughout the store offer fried snacks and sugar-laden beverages to counteract the physical exhaustion associated with choosing and purchasing products. The genius inherent in the box store concept is the implicit understanding that what Americans want above all is for everything they desire to be within their pudgy arms’ reach wherever they go. The box store offers consumers much more than a place to buy both toasters and toilet paper. It also nourishes their cravings for high calorie foods, provides their ill-mannered offspring with mindless entertainment, and comforts them with the familiar warm embrace of all their favorite corporate brands.

Theme restaurant: An eating establishment, often corporate-owned, where an overt guiding concept takes precedence over food quality. In these restaurants, the experience of being entertained is what matters, because at a basic level, Americans have a slavish need to be entertained at all times. And let’s face it, restaurants are boring. There’s nothing fun about sitting down at a table with your family and friends and eating weird food brought to you by some dull waiter. But dress that waiter up like a pirate or a clown, and suddenly the air is charged with the electricity of fun. As an extreme example of this, there is an American restaurant chain called Dick’s Last Resort where the wait staff is trained to be purposefully obnoxious and patrons arrive expecting to be verbally abused and placed in awkward situations. There is nothing better than a day of wandering the aisles of your favorite box stores followed by a delicious meal at Dick’s, where the waitress ridicules your bald spot and pours cream of cauliflower soup in your crotch. This right to pay for bad food paired with public humiliation is a cherished feather in the American Freedom Cap™, and that’s why communism was such a disturbing threat.

vera

She used to call on Friday evenings. As soon as I’d get settled at the reference desk after cataloging books all day, the phone would ring. If Rich were there, he’d smirk and walk away, knowing who was on the other end of the line.

“Hello, who’s this?” she’d brusquely ask.

“Hi, Vera, it’s Sean,” I’d say.

Over time she’d come to recognize my voice and would even start asking for me if I was not the one who answered. She was suspicious of new people, but it didn’t faze her for long. The first time I talked to her, I was bewildered. She began listing off seemingly random phrases. Slowly I realized they were crossword clues. She was not unfriendly, although neither would I characterize her as friendly.

She’d often argue about the correctness of the answers I provided. Over time, though, we developed a hesitant rapport. I was surprised when my irritation at her long-winded calls suddenly gave way to comfort in how she helped pass the time on slow Friday nights. I began spending my Friday lunch hour working my way through the newspaper’s daily crossword puzzle so I would be prepared for her calls.

The first time she stopped calling, I wondered where she’d gone. From talking with some of my colleagues, I found out that she was periodically institutionalized at the state hospital. She’d disappear from the phone lines for several months, and one day she’d start calling again like normal. No one seemed to know the details. Well, probably someone did, but I never heard them. I kind of didn’t want to know.

Some of the staff had even met her before. At one time she was well enough to come to the library. I discovered other bits and pieces from talking to my colleagues. For instance, they told me she owned one of those hand-held computers used for helping solve crosswords, which begged the question of why she called at all. Behind her disengaged and often hostile manner, was she really just lonely?

Sometimes while on the phone with her, I’d hear a male voice in the background. She’d occasionally refer to him or say something to him, but never explained who he was. I think his name was Harold, but I may be confusing my memory of these phone calls with the movie Harold and Maude. In my head now, Vera sounds like Maude, but in reality I think her voice was harsher. The years have softened over that roughness in my recollections, like they’ve done with other jagged edges of the past.

I wonder sometimes if Vera still calls the library. I wonder if she ever asked about me after I left. There were so many people I never said goodbye to before I ran from that town. Of course I could find out easily enough if she’s still around. But I don’t really want to know, in the same way that I didn’t want to see her in person. For me, she was a disembodied voice on the other end of the line, someone I could count on to be the same every single time, someone who wanted something from me that I could actually provide. She was an odd piece of the absurd puzzle that comprised a not altogether pleasant period of my life. Somehow she fit in there, though, just like all the other odd pieces did.

hold this empty box

Tonight I watched Box of Moonlight. I cannot believe it took me so long to find this film [thanks to a respected Goodreads user for mentioning it in a comment thread]. It came out in 1996, while I was deep into my cultural blackout period. Lord knows what else I missed during that time. But I wouldn’t trade those halcyon days of shooting pellet guns at the abandoned van in the gravel parking lot of my hut down by the river. Or maybe I would. Depends on the price. Regardless, it’s all part of who I am now. When you watch a film from 1996 on DVD, the movie starts right up without any previews or pushing any buttons on the remote. It’s nice. I like John Turturro and Sam Rockwell and Catherine Keener. They are all good people in the movies. This is a film that the orbs would hate. Only strange people like films like this. People are smart in different ways. I wish this was universally understood. One person can’t know everything. People think in different ways. This leads to exceptional behavior in one avenue for one person, and a different avenue for another person. What this means is we each can learn from another, from anyone. People are so hard on themselves. It’s unnecessary. We can only do the best that we can.

So there’s this zine called Miranda and the editor, Kate Haas, writes a regular column in it called “Motel of Lost Companions,” where in each issue she spotlights some person from her past she’s no longer in touch with and talks about the significance of this person in her life at the time. This has always resonated with me, for my past is littered with lost companions. Where they all are now is anyone’s guess. I suppose I could get a Facebook account and try to find them, but what would be the point. Likely to be a depressing and futile exercise. I’m sure most are married with kids now…so boring and predictable. Although I suspect some of them aren’t even on Facebook at all. Some of them are probably living desperate lives in basements or roominghouses, struggling to get by and largely failing. Those are the ones I’d probably like to have a conversation with but could never find.

The current moon phase is 47% of full. I hate the internet for telling me that. It would be a tough night to gather moonlight in a box, especially in the city. When I went out, the air felt cool and clean at least. I thought about lost companions and the few that still remain. I thought about Joy Division’s song “In A Lonely Place” and how it haunts me. It’s tied to someone lost, then found, now in limbo. The needle on the vinyl in that room so long ago, caressing the marble and stone, the blinds drawn against our futures.

There are lost companions everywhere, some of them lost before they’re even found. And we’ll never meet because the world is so big. I guess that’s okay, although it sometimes still bothers me. We are all of us in lonely places, after all, but the ones inside us we cannot leave.

a philalethe and a panmnesiac walk into a bar

Scripturient fugues scrape at this summer torment, as I sit saccadic in my seat, genuflecting to twin telescreens, the slim dark overlords of these waking hours. Glistering dreams spawn from stem and cortex under cloak of darkness; if not coaxed out quick, consciousness crucifies them upon the day’s brutal y-axis.

Late at night I hail the sidewalk slugs, grown fat on summer’s bounty, no longer convening, but navigating solo in their slow deliberate way, yearning perhaps for a more saltigrade life. I try to lead Farley’s falling paws away from their soft yielding bodies, but theirs is forever a doomed existence in this urban setting. I can only do so much.

Revulsion spawns in less innocent corners, as I perceive the proboscis of humanity probing at inappropriate places. Get thee away, proboscis! See how your callous actions rub salt in your own wounds, spinning on until one day you’ll all lie screaming, salted strips of dried-out flesh stretched on a burning hot bed of asphalt. Or something…ahem.

Never mind, it’s time to molt this dacrygelotic husk. It’s time to cram these junked-out hours in a dirty suitcase and hurl it in the harbor. The air is like bathwater and I will yet swim in it, for I have no choice. And yet the psithurism of the autumnal approach beckons. I still hear it, muted and steam-wrapped as it is.

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