A Sealed Sketch

In the box I told the story that I thought you might not know, the story of how I found myself climbing to your door.

In the box there is a world-- it is a plane for the most part, with occasional mountains in the far right corner, and a tower in the fore-ground. It is a tall tower, all huge stone blocks like the ones used to make pyramids for to remember kings, and there is a window towards the top, worlds away from the flatly anchored ground, where in the box I stand, looking up.

And when I see you looking out there is a moment of despair, eternities of moments of the desperate longing of one who knows their heart is incomplete and must needs remain that way.

It is the longing of one whose heart's desire is impossible, unreal, and in the box it fills the sketchéd lines.

In the lines of ink, I twitch my ears and wag my tail and set out to climb your tower, for what else can I do? And my hands slip, and slide, and there is no purchase for coyote-fingers on the black lines and I fall, not very far, and am confused.

And on the paper, I look back up and cannot see the tower window from the ground.

In the box that I sealed and folded and hid away, on the plane of shadowed sketchéd lines, I turn for the mountains, and nearly vanish to a pinprick, to the distance and away. When the ink moves on I am returning with stones, stolen from the mountainside, and there is a hope in the silhouette once more.

And when the stone tower that I build on the plane by the tower in the box crumbles, it hides away the scene, leaving no trace of what may've gone before, until the dust should clear away, and I am left among the stones upon the ground, scattered and bemused and the cloud yet obscures the tower window where you may not e'en remain.

In desperation now, there is a silhouette, in pen and ink on an inked cliff, holding the scraps of feathers I suspected, in the box, would not suffice for wings. And from the cliff a not-quite-wingéd shape falls, forward at first and then abruptly down, straight down, like an unshaded and unsubtle sketch.

And like the simple line on which I'm based, I crash in distant clouds of disturbed dust, a tragicomedy that fills the space but poorly, and a silence follows, in the box where the mountains point so subtly to the tower where I saw your face.

This was originally about depth perception

The skky is so three-dimensional, it's more complex than anything humans could make, except that it would probably be difficult to sculpt the sky anyway-- sculpt the sky, should be the goal of every philosophy, ever artist's dream: to sculpt the sky. It's a statement that could mean The Sky-- you change every aspect of life, to the extent that you have sculpted the way people look at everything, no one even looks at the sky the same way anymore, or you could take the easy way out and just sculpt the sky itself, or sculpt a copy of the sky, which makes more sense, potentially.

What you kind of have to wonder is what's up there in the sky, in all three dimensions and even the fourth, but the thing is there's so much to really contemplate even in the three dimensions we can perceive as humans that it's difficult to understan why people are always trying to find a fourth; what, is what we've got not good enough? I really think if you open your eyes to the world around you, to the absolutely limitless potential for shapes, static, kinetic, it's impossible not to be overwhelmed, and, perhaps, impossible to retain sanity-- which is probably why we can't, or don't, do it. Like whatever-it's-called, the eternity code or the eternity paradox or virus or the reality bug maybe? that essay that was all about how people would read this code-- and, of course, it's been confronted by literature of all kinds, in all methods-- and their minds would just shut down, because the sheer eternity of the thing would overload them. The debate, I believe, the major debate was over whether they had transcended reality into a state of pure bliss and omniscience, or whether they had just lost their mind completely, sanity wiped out-- but some people hypothesized that it all amounted to the same thing. Like the paradoxes which shut down computers, but the human brain... instead. The closest thing the author had said came was a sentence written in which a word was deleted, but the author let both the word and the deltion stand. Personally, I think if that's the best we can do, we might as well hand over the keys of reality to the birds-- ah, if only we had them.

If you sold the keys of reality, what price would they fetch, and what price would you want, and who exactly would want to buy such a thing, as though our own perceptions of reality were not enough, as if our own perceptions were too much, which, of course, they are, and that's why we can't even take those and we step out of them and we step into other perceptions either with drugs or omniscience which is shut off by sheer willpower or lack thereof because to know eternity is simply frightening as the lunatics know from their experiences with the great wonderful world of wild wonder eternity or something like that, it's like when you contemplate the sky and not just how far it goes-- limits and eternal stretching is the easy part, even when you think about the fact that the universe is (supposedly) expanding constantly, and perhaps even exponentially, but then you think about every shape that could be contained in that-- the abstract, the cubist, the natural, the sheer impossibility of it blows your mind simply because it is actually possible after all, the shapes are there-- we just don't see them because they're all the same, like if you connected every molecule of nitrogen with opaque or translucent lines and made them not transparent (except that they probably aren't, it's just that the atoms are mostly empty space, especially since the cloud of electrons is spread out and the molecules are so far apart because it's the nature of a gas-- if you compressed it to a state of solidity would it still be transparent? I think liquid nitrogen is opaque), and the shapes would utterly blow your mind, just as the shapes of clouds, except if we could perceive them in three dimensions, rather than the two which come with the lack of depth perception induced by seeing them from such a great distance, as is the natural state or so they tell us.

Maybe that's why we watch sunsets, because we can't bear the daylight sky, and it gives us such great pleasure to see it finally ending, and the imagination of our overworked minds can finally take a rest on the night sky and start contemplating stars, which are infinitely more complex than clouds unless you take eternity into account, at which point everything is equally simple and complex, and you spend hours just staring at a rock, because the rock is so interesting, infinitely more interesting than some strange philosophical doctrine (that sentence, by the way, was written that way partly because I tried to write it while Born In The USA started playing and the lyrics just carried over), even if that philosophy is about how everything is equally complex, because at some point every philosophy starts talking about actual people, and how you or they are supposed to behave, and after a while it just gets depressing-- you've got the idealists, the cynics, the Christians, the atheists, the existentialists and the nihilists (who claim, or are claimed by their critics, which makes it probably more true than the former, at least according to someone (possibly Gilbert Keith Chesterton) that they are merely the logical end of the existentialist philosophy-- though I must protest that existentialism only turns to nihilism if you're utterly cynical, which, of course, is half the point) and the optimists and the Marxists and the modernists and the postmodernists and now, you've got the pretentious sort of artists who look back at postmodernism as, somehow, not postmodern enough (or maybe just too postmodern, depending on the day of the week and trend), and turn out making things that are, honestly, just strange, which I always thought was part of the point of postmodernism (to be fair, that's only part of it-- strangeness in and of itself must be more than simply itself, or less, or only just, because if you are being strange for the sake of strange it's post-postmodernism, or maybe post-post-post-neomodernism, or neopostmodernism or something, but if you're being strange to prove that, say, life is strange, or life is not strange, or people are strange, or people are not strange but society is, then it's postmodernism, or sometimes just modernism, depending on your overall point, point of view, and whatever critic happens to be talking about your work), but I guess that's only if you really don't care what the critics think, unless you do.

What I'm Looking For

I can’t help but feel that if I just ran the hell away from here, my life would be okay. If I buy a plane ticket tomorrow for Death Valley, and just walk, take nothing with me, just… go. I feel like my life’s been building up to this. I feel like somewhere behind this padlocked skull, there’s momentum building, there’s a coiled spring, waiting to launch me into another life, another reality, I can’t help but realize that it’s probably all a symptom, but at the same time…

What if I did?

Tomorrow. If I got off work tomorrow, bought a plane ticket, and mailed my phone and a letter of thanks and apology to the three people keeping me sane right now, if I disappeared like a puff of smoke into the wind, if I never came back…

I keep trying to work on these stories. They’re all half-finished, they all look bleaker and bleaker the harder I try to fix them. Nothing seems to fit, nothing seems to matter, I can’t think straight and my brain is twisted into knots, nothing fits or works or sounds right and just… I don’t know whether it’s me, or my environment, or just… I don’t know. I haven’t mailed my college application off yet. I don’t know why. I finished it a week ago.

I’m not stupid, or naïve, I like to think. I like to think I’ve washed all the romanticism out of my head with cynicism, and then replaced the cynicism with idealism, and then watered that down with reality and beautifully gray skies. The thing is, it’s a Romantic’s dream, running away. Buying a spontaneous plane ticket to Death Valley? That’s a castle in the air, man. But, oh, God, I want it.

I want to get the hell out of here, to pack my guitar and my laptop and a bunch of notebooks, and just go. And to wander, across deserts, and through old, deserted towns, and bustling cities, and grasslands, and fields, and forests, to just wander, to fast and meditate and find what I’m looking for, to hear more than the voices in my head, to meet people with odd and strange viewpoints, and learn from people who had no teachers, to sing in places where the sky touches the ground, to find the soft places between the worlds, to live.

And someday, I want to stumble back into town, and see my friends again, and share adventures, and hear all about how they took their potential and their grand dreams and spirits and souls and lives and did something amazing, about how they realized all of their dreams, and all of their potential, and how they changed the world, and how they’re big, real, more awesome than ever now, and how they fill the world around them. And I’ll tell them stories about how I saw the eagles freefalling with their talons locked, and I climbed down the Grand Canyon wall, and crossed whitewater rapids on foot, and where I finally met Coyote and here’s the scar I got from where he tricked me into picking up a hot coal, and what it looks like to see the sun set over the Edge of the Very World, and being in places where it rains all the time and where it never rains, and just, just and then… and then I can settle down, maybe, and things will be easier to understand, or maybe I’ll just turn back around and go out again, and and and I don’t even know.

Castles in the air. If you jump for them, you more often than not fall back to Earth and break your spine, but there’s always the off chance you’ll catch onto something on the way.

It's Devoid of Feel

"What do you see out your window today?"

Byron frowns pensively and twitches the curtain back. "There's a flock of birds," he said. "They're all huge, built like albatrosses, smoke-blue. Like a flock, they're squabbling over motes of light in the air around them."

Damien smiled. "Is that all?"

"No -- the sky is dusky red, like the end of a sunset, around them. They're flying all around, without stopping, like hummingbirds, because there's no ground to land on."

"How many are there, Byron?"

He shrugs, watching them. "I don't know -- hundreds, it looks like. I wonder where we are."

"Look down, then -- can you see the ground?"

"It looks like we're up too high for a ground or a horizon to be visible."

Then Byron closes the window curtain again, and sits back in his chair. He looks over at Damien, who lies on his back on the thick rug. If there'd been a fireplace at the front of the scene, rather than a blank stone wall, it would've looked cozy. He was youngish, unsure of his exact age, and had a shock of black hair, which he kept in a ponytail. Sometimes, Byron wondered if he'd ever been young like that. It didn't seem likely.

"Byron, I'm not hungry." Byron glances at him. "I really wish I was."

The older man snorts. "All the physical sensations in the world to choose from, and you wish for hunger?"

The -real- reason to run away.

I think I need to run away and find the part of me that makes up stories again. Just leave, leave this whole town, house, state, region, life, find some place that’s going to be new and fresh and what I’m looking for. I want to be a storyteller again. Where did my soul go? The sky is grey, featureless, unshining, unshadowed, unsmiling like a blank slate, but I’ve had enough, I’m ready to soar, I’m ready to leave contrails of fire and a comet’s trail and make you think so hard your head explodes. Hell yes.

My best friend gave me an endless scene for Christmas/New Year’s/whatever we’re calling it, she’s Jewish and I’m Christian and our other friend is Agnostic/indescribable, so I’m really unsure, but it hardly matters. I’m ready to dive into another world, make things stop making sense, start letting the world run away with me again. We’ll see.

I’ve been having dreams, by the way. Disturbing dreams. The night before last, I dreamed that my dad gave me a plate of eggs, and I got halfway through and he pointed out that I’d also consumed half a slice of ham, and I was horrified partly because that’s meat, I ate it, why did you give me a plate with meat on it, and partly because I hadn’t even noticed, or maybe my subconscious had and had kept eating anyway, and now I’m freaked out because I don’t know what my subconscious is trying to say, but I woke up with a really gross feeling, like… unclean, and now I want to go vegan more than ever. Last night I dreamed my dad and I had a huge fight about David – this came on the heels of a strange and beautiful dream in which I took this friend to prom, despite her not being bi or anything, and the fact that I not only am straight, but also have never had a crush on her. I drove a Bentley. I don’t know what that means. I also was about as masculine as I’ve ever been, and I don’t know what that means either.

It’s pretty cold in my room; cold enough to make it significantly harder to type. I should, by all rights, be at the DMV right now, standing in line. I screwed up a la priorities again, and decided to wait on going out of town to get my license test because there was a chance I’d be needed for work. Part of this is because, yes, I need more hours. But part of it is because I have this idea that if I make myself really available, then when full time hours are available, it’ll make sense to put me in that spot. Selfish? Yeah, probably. But I think at some point it kind of becomes necessary to think of yourself.

Which is actually funny to see typed by myself, who has been barely even bothering to battle (like the alliteration? yeaaaah) with the voices lately on the point that I am a worthless waste of space. I don’t even know how to respond. Part of it is that this is coming from inside of me, it’s a thought that I had, so how do I respond to it? I can rationalize and enforce logic and reason and thought all day and night, but that doesn’t lessen the iron conviction of the thing. How do you reason like that? It’s like trying to rationalize a dream. Doesn’t work. (People run over with a giant tractor on a game board made of fallow land would not be thrown into pieces, like wood chips, they would ooze from underneath. But that is hardly the strangest thing out of that dream. Maybe I should start putting together a dream catcher.)

Anyway. This year I’m participating in NaNoWriMo, trying to write a novel of 50,000 words in thirty days. So far, it sucks. The novel, I mean, not the competition itself. It feels good to be writing again, I’ll admit that. But the book? Ugh. I kind of want to burn it and start over. I’m being just nitpicky enough to slow myself down and stay under the limit, and just careless enough to write complete and utter shit.

But at least it’s writing. And maybe, just maybe, if I get all the shit out of my system, when the month is over and I go to write something actually worth writing, it’ll come out better.

Today, things went wrong. I spent much of the day trying to write, and failing. I went to see my best friend; he was in a bad mood. I don’t know how to cheer him up. I’m very, very bad at comforting people. I left wishing I could have my life fall apart instead of him being unhappy. Then I called my sister and came to the realization that my life has already fallen apart. She told me I was just another hustler, and might as well be selling weed, when I started telling her about the business I’ve been trying to work on. We had a conversation about college and chosen majors, and then I told her I had to go before I broke down and started crying and screaming in public, because I was really close to that point. I got home, cried, and then decided that I didn’t care what she thought about the business. I got out my list of contacts, for the first time in a long time, and contacted three people. One hasn’t gotten back to me, one seemed interested so far, and one has been forgetting to give me her information but is probably interested. Then, because I want to do this right, I made myself sit down and watch the informational videos about the product so I can prove what I believe to be the truth about it.
Halfway through, I had a vivid hallucination that I was eating a spider. Eating. A spider. I thought I was eating a spider.

I’ve been on medication for about a month. It’s worked for about a year, prior to this month. It keeps me from hallucinating. It doesn’t make my life happy, but it makes me sane enough to function in life, most of the time. Right now, I am seeing things that are not there, in everyday life. I am seeing stacks of things through doorways when the doorways are empty. I am seeing flashes and darkness when I glance in certain directions. I am hearing things on the edge of perception that don’t make sense. I am having strange dreams that almost aren’t even nightmares, they’re so weird. And then they are again, when they suddenly come pounding down on me halfway through the next day. Morbid, self-destructive thoughts are pounding their way into my mind, relentlessly and constantly and painfully. And I am trying, very, very hard to maintain a positive outlook right now. I swear I am. I don’t want to be an unhappy person, I don’t want to make my friends miserable. But. But, but, this isn’t right. This medication isn’t working anymore. I’m hallucinating, visually and audibly, I’m having nightmares, I’m paranoid as hell, I cannot rely on my own perception and judgment. I’m taking medication. It’s not working. I can’t afford to get another prescription when this one runs out anyway, so… yeah. The main question right now is whether the medicine is keeping things at bay, and they’ll get hugely worse when I run out, or if the medicine is completely ineffectual. I’m terrified of the answer.

This blog was supposed to be about growth and personal… something, I don’t even fucking know. I don’t want to be this person. I’m tired of being crazy. Can I be something else now? Can I be normal? Can I be happy? Okay, fine. I don’t want to be happy anyway. Can my friends be happy? Can you make it so I never existed? I don’t want this. I don’t want this life, I don’t fucking want this life anymore and I can’t stop. I don’t want to live anymore. I was so happy for a few days, even though everything went wrong I was happy, it was like a high. I knew something would make it end. I didn’t know it would be this. I don’t want to be crazy anymore. Fuck. Fuck this. Fuck my mind, and what… I don’t even know. I wish writing this all out would make it okay, could get it out of my mind. I say that if I don’t write, I’ll go insane. Now I am insane, and still writing, and… uh, whatever. th

I don’t want to put this up, where people will see it. Especially not you, being the only person who reads this, and also, by some strange coincidence, the person who I least want to be worrying about me. Don’t. I’m still going to put it up, but don’t worry about it, please. I’ll get past this. I generally do. I’ve been off meds before, and I didn’t die or kill anyone or anything horribly crazy. Not that I remember, anyway, though you might think differently. Anyway.

LAUGHTER, laughter is the best medicine! :D

I guess the long and short of it, or at least somewhere between those two varying points, is that I envy The Comedian. In some of my more lucid moments, when things really do make sense, I can retreat into dark humor, somewhere between Kurt Vonnegut and Edward Blake, getting the joke and somehow it’s beyond horror. When you look at this entire fucking world, what can you do but laugh? It’s all a joke. Somehow, when I try to explain that to most people, most decent, thoughtful, right-minded people, they are horrified. They really should be. It’s a horrible joke. And yet, honestly, what else can you do but laugh? I laugh because it’s easier than crying and harder than jumping off a cliff, which is the only other solution to this world, when you start thinking about it. Just thinking about this country is a joke. I listen to Rush Limbaugh, Michael Savage, for that matter Larry King or whatever their liberal counterparts are, and I laugh. What else can you do? Everything they say sounds absurd to me. Politics, the study of how fucked up humanity really is. Either you laugh, or you cry. I wrote a poem starting with that once, but I didn’t even understand, back then. I only started to understand this my junior, and senior year, when I’d walk out of third period, with our control-freak math teacher having just tried to attack me again, unable to do anything but laugh. That was when my emotions started to shut down, and I started laughing instead of crying.

My saving grace, I guess, is that as much as I laugh, as hard, as wide as my smile is, it still hurts, underneath. It’s gotten to the point where laughter itself hurts, most of the time, there’s this squeezing pain around my chest when I laugh, often. The Comedian, I think, became so hard to the world that laughing was all he knew how to do, that suffering and pain never even touched his mind anymore, except as part of the joke. I still want to change things. I still hurt when I see others hurt, and I still hurt when I laugh. I just don’t think I’ll ever be able to stop laughing, and I’m not sure I want to. Like I said, laugh or cry in this world, and say what you will about the healing of tears, etc, but laughter, laughter doesn’t produce mucus in your body either.

Get it?

Maybe I should join the Army and go to Iraq so I can be the next Kurt Vonnegut if I don’t get killed.

Self-induced Nightmares

Right now, it’s a quarter past one. I should be asleep, I have to be at work in less than eight hours, have to leave in less than seven and a half. And I was on my way to sleep, but self-induced nightmares took my mind, and now I can’t go back. Self-induced nightmares… God, what a scary concept. Your brain starts down a train of thought, horrifying, but you can’t look away. And it’s worse—it’s a story, it’s a drama, you know the characters, you are one of them, but that doesn’t make the cruelty easier. But because it’s a story—catch 22. You can’t leave, not until it’s finished somehow, but it’s so horrifying that the longer you stay, the worse it gets.

Welcome to my brain. Glad you dropped by? Yeah, didn’t think so.

Nightmares

The first nightmare I ever had, that I remember, is something that happened when I was very, very young, probably just old enough to walk, talk, and read a little. (Reading came on the heels of talking for me, in a house with a lot of books and no television or computer.) I remember, very, very vaguely, more as feelings and general tones than actual memories, being warned about electricity, and about lights, and bulbs, and sockets. My dad knew enough—knows enough, even—to know exactly how dangerous that kind of thing is. Most people do, but he also knows how to do things with electricity without ever being in danger, or how to deal with danger. But to me, at that age, electricity was just one of those things, like cars, or lightning, or fire, that just… Were. Were forces of danger, things my parents gave dire warnings against, enforced by spankings and more dire warnings of a general, and, in order for this nightmare to have occurred, specific nature, I suppose.


Our house was very old, for an American building—over a hundred years old, inherited from my great-grandparents, two stories plus a basement and an attic. My sister and I shared an upstairs bedroom, the one in the front of the house, with two windows looking onto the street, through the branches of two evergreen trees—I could never tell you what kind. Through the hallway was the staircase; above the staircase, in that hallway somewhere, was a narrow staircase that led to the attic. But past the main staircase was my parents’ room, the master bedroom, past that was… a closet, I believe, on one hand, and on the other, a bathroom which led into what would’ve been my brothers’ room, farther on. My brother may have been sleeping in it even then; I don’t remember. He was very young. Down the stairs, there was the living room under our bedroom, and in the back of the house, the kitchen, very dark, I remember, for some reason. I have a vague impression of tan floor tiles, but that may be wrong. There was a pantry, and somewhere there were stairs to the basement. Where, exactly, I don’t remember.


In this dream, I remember, my little brother, David—then, he was my only brother—and I were sitting on the floor, in the attic, which was bare and dusty and lit well. There were piles of Christmas-tree lights on either side of us, bundled and coiled, and we each had a strand. We were unscrewing the light bulbs, checking them for something, to see if they lit up or something like that, and then screwing them back in. (It occurs to me that one important thing about the trigger of this nightmare may have been my mother’s hatred of Christmas decorations.) Someone, either my older sister, Serenity, or one of my parents, called from downstairs about hot chocolate. I put the strand of lights down, eagerly, and told David to come on, and stood up. And he said, “Just this last one,” and unscrewed a light bulb, and it shocked him somehow, and he collapsed, dead.


And that was the most horrifying thing that I have ever dreamed, to this day. I have dreams of demons, and horrible nightmares, and vivid, lucid brawls, and chases where I can’t get away, and dreams of betrayal, and dreams of cannibalism and pain. But that was the worst dream I ever had.


There was one, a few years later, where I was tied to the little tree out behind the fence, at the corner of our fence and our next-door-neighbors (to the right, the Andersons), and a man drove up in a green Model-T Ford, a man with white hair and a white beard and a top hat (I think, I may be misremembering the top hat), and he took me by the wrist and tried to get me to get into his car. I remember being in the backyard with David and a bunch of shouting, screaming twenty-ish people drove through the yard in screaming red sports-cars, and we were scared. He dreamed the same dream, the same night, I think. Or maybe I imagined that.



But the scariest, worst, most nightmarish dream I have ever had, or probably ever will have, is remembering sitting there on the attic floor, screaming, and him dead on the floor next to me.

I have been wandering

I have been wandering, as is my wont, at night, in the dark streets, under the orange streetlights, under the pale stars, the waning moon, down paths that have been mine for so long. Down into the woods I go, when dusk is beginning to scatter in the face of the darkness of night, and I find a place, and I sit, and think, and look, and wonder. In this place, these woods, this pond, I have found sanctuary, I have found reason, I have found peace. I have seen the great birds and the small birds soar, I have heard the song of the bullfrogs like living violins and teeming bass drums, I have seen beaver, and possum, and hawk, and heron. I have gone and watched the night glitter and shine in the light of thousands of fireflies, wherever you look a sparkling light, orange and yellow and green, a little different in each flash, which becomes apparent when they fly past your face, two inches away. I have been lost in the trails when it began to rain, in the dark—that was years ago, I could not be lost there now if I tried. I have found peace, and hope, and despair, and hurt, and love in that place, I have seen snow-covered trees lit by only the moon’s blue light, I have gone to the path for solace and been confronted by my own shadow and more. I have found myself on my knees in the mud, ice touching the bare skin of my legs as I cried aloud in a voice I did not know I had. I have sung, in the dark night, in the pitch between the trees and the dusk in the sky, I have whistled in the day, I have prayed for a thunderstorm, I have reveled in the mist; I have laid flat on my back, and seen the sky, framed by trees, gilt by the sunset, glorious.

Often, I have been convinced that such a place is all I need in this world. It is a place for peace, one of the few in my life. I am still convinced that I could spend the rest of my life wandering the wilderness, at peace, without seeing another office building ever. I am probably not alone in this view.

I do think that peace and restlessness are not incompatible. I think that true peace needs more than tranquility, I think that a balance is necessary. I remember running out of the house, down the driveway, angry and hurt and barefoot in the full moon, and walking far on sidewalks that seemed better than the alternative. I remember crying aloud, punching telephone poles bare-fisted, full force, in the dark, because I did not know where to turn. I remember standing for long, long moments on the street before a church, watching, wondering, wishing, more alone than anything. I remember nights of shadows, masks in the dark behind me, figures that haunted the corners of my eye, impossible, terrifying.

Restlessness is a part of me. Peace is a part of restlessness, something unattainable, something impossibly beautiful, a moment that surprises by being real, after all. Peace cannot be taken, it cannot be bought, it cannot be sought out. Restlessness is a part of me, and peace is a part of restlessness, and this does not strike me as impossible, because life is made up of paradoxes.

Stories

the thing is, i don't know if i want a normal life. i don't think i even want a normal job. i don't want to get rich selling juice-- or even sharing juice. i don't want an excellent business opportunity, i don't want to have a LIFE, in any sense of the word. i don't. want. anything. at least, not anything like that. and yet, you people continue to tell me that it is Necessary, and that i should Compromise, or at least look beyond whatever stupid world i'm living in in my head (okay, you haven't said it like that, but i think you want to, at least a few of you, a few times), and try to get some kind of stability before i try to be an Artist. here's the thing though.

I don't WANT to be an Artist. Or, really, a Writer. (I want to meet a very specific writer sometimes, but that's different.)

I want to tell stories. That's all, in one way. In another way, I want to LIVE, to feel the salt on my face in every way possible, to climb mountains like a goat like i did when i was young, to see forever the dappled sunlight on the forest floor, to hear forever the brook singing over rocks, to lose myself in the thunderstorms, spontaneous and forever. but mostly, i want to tell stories. I want to take all the characters floating around in my head, and all the landscapes that exist a thousand worlds over, and all the meadows and flowers and faires and sprites and genies and gargoyles and assassins and thieves and shepherds and everything. i want to live, live all of it forever, and then come back and tell people.

and that's often why i don't mingle well, or why i can't be coaxed to dinners and parties and things, and why you meet me in the mist and the dark, with no good reason for being there, and why i might choose a notebook over a car. because mingling, gossip about folks who aren't there, laughter, light, takes me away from the Stories, mine or someone else's, and life as it should be pales in contrast with life i want to live.

there is a part of a book i read that says something like "The thing about stories is, they don't mean a damn if there's nobody listening," which sometimes i kind of agree with. I want to go to the edge of the world, the end of life, and then come back and tell the stories to people who want to hear them. And it seems like that's not an acceptable goal, these days. And that saddens me.

An Introduction

It occurred to me today that I could use this laptop, now it’s mine, to store all the information about Mohan and his world and Drake and whatnot that I have, and record more! It will be amazing. I will start to write little excerpts from his life as they come to me, too. But in the meantime I should introduce this mysterious friend of mine, and his world.

Mohan is about nine feet tall, and covered in light brown fur, very sleek (most of the time). He has a tail, about ¾ as long as the rest of his spine, the last few inches of which widen and flatten, resembling a hand made up of palm, but a little more flexible. His spine is a little more flexible than a human’s, possibly because it’s so long, but also because that’s how his species is designed. His arms are three-segmented, or nearly so—from the shoulder, they have an upper arm/bicep segment, proportionally the size of ours, and then a forearm, a little bit longer proportionally than ours, and then their wrists are little under one foot in length, and very flexible, almost tail-like until they turn into hands. Their hands only have four fingers, two with three joints, and two with two joints like ours, but they are in pairs of both, on either side of the palm, positioned a bit like ours but opposing each other.

Their heads are slightly more elongated, their foreheads a little more sloping back, their cheekbones a little higher, and their chins a little more pointed, most of the time. Their ears hang down almost to the base of the skull, and are shaped a little like elongated dogs’ ears. Their noses are very complex, consisting of tendrils which can be wriggled a bit, each of which has its own nostril. Their sense of smell isn’t as strong as a dog’s, but it’s as sophisticated—they can learn and identify more smells than we can, but are only a little better at picking them up. The nose design, I think, is less about smell, more about breathing. Their eyes are a little wider, the irises a bit larger and the pupils more narrow. They wear the fur on top of their heads longer, like we do; it resembles hair, a bit.

I think the gravity on their world is a little less than ours, which is why they’re so tall. A lot of things there are elongated.

Anyway, Mohan’s my friend; he found my mind more than a year ago when I was thinking about starting a comic strip entitled “Space Pirates!” The idea was a bust, mainly because one of the characters eased his way into my mind, showed me his name, and told me to write a story about his world instead. I obliged. I guess the ‘pirates’ thing is what attracted him. See, he left home to be a pirate with his cousin Drake, but the bloody life was too much for him, and he deserted after a dispute with the first mate, who was an exceedingly bloodthirsty jerk. My job is to write on his adventures, but the problem is that the nature of his world is just so that first, I have to figure out a way to tell that without… well, without too much of an infodump. I wonder, sometimes, if this is what happened to Professor Tolkien. Did something from that world just take root in his mind and demand to be written, and the stories followed? That’s what it seems like, only with him it was the language. And he was a much better writer than I am. Hopefully, I will do my friend’s tale justice, when someday I write it all down. In the meantime, he and Drake contact me through the haze of Risperidone when they can, giving me maps and charts and cultural notes and customs and traditions and religions.

They’re living at a house of their cousin’s (their family is a very extended clan from the mountains, so they’ve got a lot of cousins. They were raised together, they’re like brothers) now, and somehow that helps them contact me; I guess there’s a fair bit of arcane paraphernalia lying around for the use. Somehow, a few of the kittens that live there got through, too, but the Risperidone put a stop to that. I kind of miss them sometimes, but they’re probably big by now, anyway. I have a drawing of the house somewhere, and a bit of a map… kind of. It’s a little muddled, because I think it breaks the rules of physics in a few places.

Is this all real? I don’t know. Part of me wants so badly to believe it is, and part of me says that’s ridiculous, but the larger part of me says it doesn’t matter, in a way. I mean, it does. But not very much. The part that counts is the story, right? Mohan wants me to tell the story. Drake wants me to know the world. (Drake also wants me to learn the language, but I’m pretty certain that it can’t be fully communicated by the human tongue—we communicate by thoughts. I think our thoughts go through in pure thought form, and our respective brains translate them as best we can.)

Someday, I will do both.

Shadows in my brain, part two.

It’s dark, and I’m thinking nightmares under the covers, nightmares that spring unbidden to my mind, and nightmares that I brought upon myself, one way or another. It’s too warm, too dark, I’m suffocating—I was never, am not, afraid of the dark. At least, not any more than I am of the light, and what does it matter when they’re invisible? Shadows, strangling, shoving, grabbing, terrified I shrink and shrink, but it’s never far enough. Imagination is a terrible, terrible thing. When you say imagination, unless it’s in a very specific context, people think of rainbows and butterflies and castles in the air. No one thinks about the writers who came up with horror films, or the kids who grew up reading The Brothers Grimm and Jack Chick. I’m not kidding, and I’m not exaggerating—if anything, I’m not talking big enough, because I… because the nightmares don’t go away if you talk about them, and the worst feeling isn’t fear, it’s guilt, and because I thought maybe I couldn’t lose my soul, maybe I could, because Hell hath no fury like the demons your mind puts together. They’re not always big and scary, except when they are. They’re sly, and slinking, and they don’t bother trying to scare you, they tell you what they want you to hear, which is what a part of you wants to hear, and they screw with your dreams, and your daydreams aren’t gold-edged affairs with that cute boy from whatever. They’re shadowy, and dark, and you’re alone in the dark and so, so vulnerable, and you’re not alone.

This is the part that really sucks, the part I wouldn’t wish on my worst enemy, the part that follows me through my dreams and nightmares and my waking days. And it doesn’t go away with medication. The medication helps, makes the nightmares less tangible, and light becomes my friend a little more, but they don’t go away.

Picture this. You’re curled up in a dark room, nondescript if it was light, probably, facing the wall because the shadows behind you might be taking shape. There are cold fingers stroking your back, like the epitome of a shadow on Midwinter’s night. You’re shivering uncontrollably, cold, so cold; you don’t feel it in your real body, because the part of you that’s real is toasty warm and suffocating, but most of you is cold, shaking. And you hate being cold, you’re never cold. The shadow is whispering now, things you don’t want to hear, don’t want to believe, things about yourself that may or may not be true, and you’re trying to tune it out but every time you close your eyes it’s the same thing.

It gets worse. There’s a part of your mind that is feeding off of this, not enjoying, per se, but… craving. And if you shut it off for long enough, it seeps through in your subconscious, and you dream things worse, and worse, and worse. When I was a little kid, I made a dreamcatcher with a circle of wood, and feathers I’d found in the land behind our house, and some twine, and it used to work, for a long time. But only for the nightmares. Things still happened when I was daydreaming, things still happened, if I let them.

Picture this. You’re standing in a corridor, awake and laughing, and suddenly behind the friend you’re talking to, there’s an immense, terrible shadow of something. You know what it is, but at least it’s not just the shadow—there’s a shape there, looming, for a split second everything blurs and melts in your vision and the one clear thing is a monstrous dragon. It looks at you, and then the moment passes, but you can feel it watching you now, and when the day is finally over, you find yourself racing, running as hard as you can through the park because it is Right Behind You, and no matter how fast you run, it always will be, and you’re terrified but you can’t turn around, because then it will be right On you. So you run, and run, and eventually force yourself to walk, and walk, and force yourself to stop thinking about it (impossible, of course), and you can’t see the shadow in the dark but you know it’s there, even if it’s not real, and that night, after you’ve gotten home and huddled down in the dark, you dream about it. And again, and again, and again, for weeks afterwards there’s a dragon chasing you through your dreams.

I hate dragons. Hate them, hate them, and if I ever write a novel with a dragon in it, the dragon will be the monster that chased me for so damn long I was afraid to sleep, not some pansy feathered lizard with telepathy and magic sparkles.

So anyway. “What’s it like being in your mind?” Now you know. This is how I write, this is where my words come from, they are forcibly wrenched from a mouth by the shadows behind it. And I laugh, when the imaginary cobra rears out of the pile of grain at my head, because I know it’s not real, because after spending the night hiding from my dreams, the blood that splatters across my mind’s eye, the explosions around my imaginary mind, are almost a breath of fresh air. Not quite, but you get the point.

I don’t want to post this, but it doesn’t feel right posting the other one, the happier bits of my brain, and leaving this out. So, yeah.

Safe enough in the shadows of my mind.

or, "what it's like to be in my head"

There are snowflakes falling, it’s dark and they shine orange-yellow in the streetlight against the dark sky. I crane my head to look, crane my neck to catch them on my tongue. It is a little cool, some might say terribly cold, but the wind in my face makes me feel alive, and I’m actually warm, or at least, comfortable, as long as I keep moving—no one believes me when I tell them that, but it’s true. I prefer cold, I prefer chill, nothing makes me feel alive like ice. Anyway, the snowflakes are falling, and I twirl and stretch to catch them—it doesn’t cross my mind that I look quite the fool, until it does and I reign in my laughter and return my wandering gaze to the sidewalk. But before long I’m caught up in the sidewalk, the pretty crystals, catching the light like a field of diamonds—not like a field of diamonds, though, like a path of snowflakes and ice crystals. Every image is like itself, a little like every other image, but most like itself. That occurs to me, and I smile at the simple complexity of it. Simple complexity, simple complexity, com-plex-it-y, simple, simple plan, it’s a simple plan! Not like the band, though, like a simple plan, they never turn out to be as simple as you first thought, do they?

Sometimes my mind is a scary place to be—imagination isn’t as bright and fuzzy as some people seem to think—but moments like this I wouldn’t want to be anyone else. The beauty of the moment strikes me, the orange streetlights on the ice, the brown of that little clump of snow against the white, the snow on the trees, the cold air like a long drink of life, the moment is beautiful. It’s the night that brings it out in me. I’m never as calm and wild and content and restless as I am walking in the cold at night. It’s why I want to move somewhere far North, where I’ll always have a cold, dark night to walk in.

Back five minutes.

I’m laughing, laughing at the sheer craziness of it all. I know I locked the door, I know I locked it at least once, but I’m still bent on checking on my way home, though it’ll add five minutes to my walk. I remember locking it, but what if that was on the first trip? No, it wouldn’t make sense that I locked it on the first trip, I knew we were making two trips, wouldn’t he have reminded me? No, I definitely locked it. But what if, what if, what if I didn’t? Worst case scenario, someone breaks in and robs the place stone blind. Second worst case, the unlocked door is discovered in the morning and we are both fired; third worst case, I am fired. But this is all folly, because I locked the damn door.

Or did I? I laugh aloud again. Life would be simpler, I remark aloud to the empty air, if I just wasn’t so crazy. Laugh, laugh, it’s all you really can do—I am amused by the futility of my reasoning, amused by the inanity of my situation, amused by the cold and the walk and the idea. And I am walking to the store to check the door, which is, of course, firmly locked when I get there. The snow, which I assumed to be blowing out of the trees, begins to look more like a snowfall, and I laugh because of course it starts snowing as soon as I am resolved to walk the extra distance.

Back another several minutes.

Barnes & Noble is a pretty nice place to sit and read, even if it is cliché and whatnot. This coffee is a little too sweet, but that’s okay. I have a new book, and that makes everything better—it’s one I’ve heard about several times online, but not by name. I recognized the characters when I flipped it open to a random page and started reading. I only know the names, and that one is an angel and the other, a demon, but that’s enough and it’s by Neil Gaiman and Terry Pratchett—do I need any further goads? It’s in my price range, and that was proof enough.

I’m sitting there, sipping the “tall” mocha and popping little balls of chocolate-mint-stuff and laughing to myself at Crowley, barely aware of my surroundings, except for the guy at the table across from mine. We’re facing each other, on opposite sides of our tables. He’s using a laptop, a Mac—we made brief eye-contact when I walked in, and he’s hovering in the back of my mind now. He’s tallish, wearing a white and blue plaid-type shirt, medium-length curly blond hair, and has shadows under his light blue eyes that suggest a lack of sleep all too familiar in this corner of the world, surrounded by bookshelves and quiet regulars who prowl the pages like hawks on the wind. He’s handsome, looks like late twenties, early thirties, and I kind of wish I wasn’t too shy to look up and smile at him. He smiles at me anyway, when I look up, and I smile back. When I get up to throw the coffee away and go, he asks me if I was popping coffee beans and I laugh and explain. I wish, I wish, I wish I could get to know him.

Back about half an hour.

I’m flashing you the peace sign over my shoulder as I take the crosswalk and he drives off. It’s a good night, it’s a good night, I’m laughing more sincerely than it’s been in a while, the deep snowbank that I sink right through doesn’t faze me, it’s a good night for a walk in the clear air and the soft snow. In my ears, it’s “Lemon,” and I ignore the deeper feelings that song pings in my heart and focus on the beat, a good beat to walk to.

Back several minutes.

He’s counting money, careful and generally organized and so on, and I’m leaning up against the counter, distracting him with mindless chatter. Eventually, I run out of words and fall silent, but not for long. I’m never silent for long, when I’m in these moods. It’s kind of a pain. But this was supposed to be the inner monologue, so yeah.

After all this time, I’m used to the store with the lights turned out. It’s not too dark to see, not up front, and I’m wondering if I could juggle if I tried. Of course, the answer is no. I knew that, I’ve known that for a long time, but it’s never stopped me before. As I go to pick up the nail files, I see my friend and boss mark down another number on the sheet and stop. The scenario plays out in my head, I mentally see the tired head-shake, and the exasperated sigh, and start laughing instead. He looks at me, looks like he might ask what I’m laughing over, and then shakes his head and goes back to counting. I grin. The rhythm starts playing in my head, and the inside of the first knuckles of my thumb, forefinger, and middle finger start drumming it out on the counter. It takes me a few moments to realize that he’s stopped counting and is glaring at me, and another moment to figure out why.

“You can stop that any time.”

And so I pull up short again, and turn from the counter. I pull a few bags of seed forward to fill gaps on the shelf. There’s something about the surface, the cool plastic bulging with seeds underneath, that invites drumming, or juggling, but I restrain myself. The intense mental image hits me, of the bag bursting, a force of seed bursting out like an explosion, and I grin, and then start laughing as the picture solidifies. He rolls his eyes; I don’t have to turn around to know that. I grin and turn back, and the inevitable follow-up image is a bullet exploding into the back of my neck, out of my forehead. Or some forehead, anyway. It’s a pretty awkward feeling, the imagined senses it drums up in my skin. I shiver a little bit, and stop thinking to watch him count. He eventually notices that I’ve stopped pacing and looks up, making a strange raised-eyebrow face at me watching him. I grin.

The next image is the little digital computer-register clock shattering. I can see it, fragments of bright turquoise numbers flying, and black glass all around, the little tinkling sound. I snicker again, picturing the fragments embedding themselves in the five and ten pound bags—somehow that amuses me. He shakes his head—I’m a lost cause, but I think we both accepted that a long time ago. At least, I did.

Back an hour or so.

We’re talking U2, both more excited than we’d probably care to admit to anyone else. He’s talking about his life and Bono’s, and I kind of see how the dovetail could be. I wish, I wish, there’s so much he could be. I hope more for him than for me, sometimes. Often, actually. If anyone deserves to make it out of this purgatory, it’s him. What I wouldn’t give to see his name in lights—my name, my name I would see on a PO box in a village somewhere on the edge of the wilderness, but that’s a dream I would do without to see his face on an album. Man, it’s crazy how life pulls us.

I’m trying to unscrew the whatever-it-is; this is a copy-and-paste situation; today, it was a pole and a bolt. He can’t find the right tool, I can’t find it either; the solution is to either leave the task undone, indefinitely or until the tool can be found, or to improvise. He’s for leaving it; I’m trying to patch together a solution with spare parts. He’s pointing out the fallacies in my logic; I’m ignoring him. He’s usually right, but it’s worth it for the sparkling moments in between where whatever half-baked crazy scheme I’ve come up with actually works.

Back another hour in time.

I’m sinking into the snowdrift, laughing because although it’s cold and wet, it still feels fluffy, and it makes me smile. An image flashes across my sight, blood splattered across the white and brown plow-snow in a pattern of bright red, turning dark. I shake my head to clear it and keep walking, smiling still. The images barely even bother me anymore, I turn up the music, it’s Bob Marley and the Wailers, which is nice after something like that. The cars whiz by, and the suggestion passes my mind to leap in front of one, and the sensation of my bones being crushed against a high-speed fender whispers. I ignore it as best as I can and keep walking.

It’s a good day for it, after all.

Like a Caged Animal I Wander.

This is my world, right now: the smooth, cool curve beneath my hand, I can almost feel the brass color against my skin. The world is the smooth circle that touches my lips, the narrow bell beneath it against my tongue, briefly, the buzz when I feel, rather than play, the tones that flow through, not from, my throat and down the mouthpiece. The silvered keys beneath my fingers are on the fringes of the world, making up the edges of the horizon and the parts of the universe that we feel and cannot see. The symbols I read before me show a way, the steps I take in the sound and the air, the time ticks on through the baton. My world is the cool brass, more than metal, the energy carried through the wind, I am an instrument in this world, and I carry life into this world, warm energy on the coolness of my horn.

The world is cold, and there is the noise of a thousand shattering plates of ice when my foot touches the ground, the dark spot for a moment against the shining white surface, before it breaks through and the snow is soft beneath. The shadows dance, deceiving; even in daylight, this world seeks to twist the mind and sight and it is easy to get lost. Even easier, now, with the only light the ambient blue from the nearly full moon that fills the gaps between the snow and the dark tree-trunks, turning the entire world into a maze of blinding shadows, black or blue or white in the moonlight…

These are my dreams, when my eyes close under the lights behind the bars. In the meantime, my heart beats to a time I don’t pretend to understand, something plays me like a harp, and I laugh under the raw pain beneath my ribcage. The people move around me, they wear the ropes for protection, the guards are there for protection, the walls keep them in for their own good and I keep the snarl beneath my face hidden. I am what you are protected from, I am one of the things in the daylight, all straight grins and playful shoves and punches to the gut, one of the things that glides through the night that you saw through your window, that rainy night.

You think my laughter frightening, you call me out for a lunatic—but you’ve never seen me in the full moon. Maybe if we met in the true world, far from these gray borders and lines, out and away from the walls of our respective prisons, you would understand. Perhaps you would not fear me, if you heard my song in the wild places; perhaps you would fear me all the more. You think I’m a fool, pacing and spinning on my heel, possibly because you have never seen a wild thing in a cage before. My howls resound as laughter, high and loud and insane, and you smile in that shifty way; you aren’t sure whether to be amused at the joke you didn’t get. The joke is the life, the collar tight around my neck, the joke is the escape of final leaving, a release from this far too tame body, the joke, when you heard it, you weren’t sure what to think, you told the wardens I scared you. The joke is these bars, with all that you’ve brainwashed yourself into seeing as escapes scrawled on the spaces. I am a fool, yes, for laughing, and I play the fool with wild abandon, and for a moment, the joke is on you.