Saturday, November 6, 2010

Walking in Sleepless Stasis (Awake Walking in Stasis)

Walking in Stasis

Short Clips of Absurdity

Uninhibited mind. Or self. Yes, self.

What is sleep but not sleep?

What is waking but sleep?

The power of my fingers snaps the flowers in two, three, four, five, six, seven parts at least. Each and every flower has this snapped fate.

The eyes are strung up on balloon strings and inflated with helium like they belong up there sky high.

The roots are the veins in the black dirt twisting-tunneling deep, everything deep.  

The black bird flapping is a flopping eyebrow in the sky.

The eyes despise what they cannot recognize flying too high. So arise from hiding, you Wise, and help us all to synthesize. Or else tell me why you’re hiding. Oh, you’re not hiding? I try to close my eyes in shame,   you put your fingers there and blame   me for the way I’ve been the same   as all the rest, so scared and lame. So scared and lame. So scared and lame.

The poetry is not poetic. The poetry is—The poetry is not—The poetry towers tower, angular and harsh.

The animals are in the pages of that big, heavy Smithsonian book. That book is another world, to enter.

The steps of the feet clack all over the hard, dark floors of the brain. There are many floors. There are elevators but most people take the stairs.

There is the beating of the sticks against the cranium walls inside. Most of the sticks snap in two and the parts roll over the floors, falling into shadowy crevices.

Bees do no flutter, they buzz; butterflies do not fly, they flutter. Flies buzz and flies fly. Wasps beat. Hornets hard-drone and loud-drone. And there are the needled ends that sting. The butterfly had the silky string but tore it up when it wriggled out of the cocoon. The buzzers go off, the buzzers are crazed.

The sky cannot catch me, but the ocean can cradle me and the ocean can swallow me. The sky can drop me. I reach up to it.

The outlet gobbles up the prongs of the cables.

The prongs of the cables plug up the mouths of the outlet and gag it; or else the prongs of the cables gouge out the eyes of the outlet and blind it. What is the difference between eyes and mouths?!

The face swells, either way!

The walk is to nowhere. No, where? God, tell me where!

The eyes are not red, or sore, or tired, or sorry.  Maybe soon they’ll be, but not now.

The intention is to not be pretentious. The intention is to not have a negatively-phrased intention. The intention is to have reason to think it would even seem potentially pretentious. The intention is freedom, but this is not free.

The belch comes from deep within the belly of the beast and is forced out with gulps. The air comes in, the air builds up, the air goes out. The vibrations rattle the ground and crack the dry dirt and crumble the wet dirt. There is always the dirt.

The walk continues in circles and there is rarely a jog.

She keeps feeling the neck.

There is some uneasiness about the sense. There is some uneasiness about the cents. There is some uneasiness about the scents. There is some uneasiness about the séance. There is some uneasiness about the accents. And the accents. There is the welcomed fear of all things foreign.

There are the phrases of a lifetime. Like “all things x or y,” like “wouldn’t you know it?” like “hardly!” like “yeah right.” Yeah, right.

Bulging uneasiness. Bludgeon the blemish. Blistered and blue from blustery you, in verse. See. Maybe that’s “you, when speaking in verse.” “you, when I see your poetry.” “the inverse of you, or else me, or else not you.” “a stumbling way to say universe.” Blistered and blue from blustery me. From blustery universe. And I hear from deep inside the hearse.

Google showed me a picture of a jaguar hearse. That’s hear-say. You look it up if you want. There’s not so much of a difference between animals and cars. There’s not so much a difference between alive and dead. 
There’s not so much a difference between walking and driving. There’s not so much a difference between life trips and death trips.

She keeps feeling the neck like it bothers her so much.

What do you think, that it matters?!

What do you feel, that it matters?!

What do you wonder, that you wander over the wilderness and use your wet wounds to paint the town red? You haven’t even done anything but been an asshole and hurt yourself! You’ll just be leaving the marks without the mayhem. You leave the marks in secret. You meddling scoundrel. You wordy hound. You senseless sentinel, what are you watching for? Foolish folly, repetitive, redundant.

The sounds are all that matter.

The beauty of the sounds is all that matters.

The sight is it. The beauty of the sight is it.

The feel and the timelessness are it. They are it. The beauty of the feel and the timelessness is it.

The changing tenses don’t matter. The grammar distracts. The grammar engages. The conjugations matter. The contradictions matter. The logic matters. You see the way being is singular and plural, past, present, future, none and all.

You scream at the vagueries and monotony and whim of the anything-versions of words and whacked-out bogus phrases. You scream til you’re blue and blistered and blown over and nobody heard!

Go get in your dang hearse and let it take you to sleep. Go on in and don’t worry so much; it’s not sleep.

Your vibrant souls are walking. Let them be, please. Be, please.


Buzz.

Thursday, October 28, 2010

Cars Stare At Me


I am walking down Inkster Road. It is a four-lane, relatively busy main road.
Walking down this road means that cars stare at me.
It’s interesting that I first worded the above statement as I did. “Cars stare” at me, not “the drivers of the cars stare at me,” even though the drivers inside are the observers I’m talking about.
Cars are bodies. The human car-drivers’ bodies become something like the souls of the cars. They are the cars’ inner, apparently unseen life force. Human hands on the wheel, the feet on the pedals. The muscles of the human limbs are the animators of the car. If an alien came and observed these cars from my perspective walking down the sidewalk, it would seem that the cars speed down the road by some invisible force, or that they are self-propelled, intelligent beings. What or who decides whether the car will turn left or right? The person inside the car. Analogies for the soul. I’ll just be really explicit, there.
To complete the analogy, whatever invisible soul or self that inhabits the human body—this is the life force of us. The difference is that you can’t open up some door on your body and exit, leaving your form stationed, lifeless in a garage. You can’t trade consciousnesses or souls with other bodies in the way many different people can drive a particular car at different times. You can’t see the stark division between the operator of your body (you, your consciousness, your soul) and your body itself.
Or perhaps you can…? In other ways…?
There may be an important difference between car:driver and human body:soul, found through the apparent disconnect between the driver and the car. Many people may not consider themselves “operators” of their physical body, because that implies a very blatant separation. I think many people consider themselves fundamentally the same as their body.
But then again, there is a peculiar and innate sense of division most people have at least sometimes between their inner selves and outer selves. They are one unit with two parts.
So then I could argue that maybe the driver of the car does actually bind and melt into the car body, in the same way our souls are limited by being connected so tightly with our bodies. The driver steps into the reality of the car, sits in the seat and fastens the belt, linking up with the car. The driver abides by the rules of the car now that he is a part of it, because he must, because the physical form of the car limits how the driver can act. Even if the driver really wants the car to take flight, he can’t will it to do so. Even if the driver thinks about punching his hand through the metal door or glass window, he most likely isn’t going to do it, because he knows it undoubtedly would cause damage to both himself and the car. Now if the car were pliable and soft like a liquid, then the driver would naturally go ahead and put his arm through the body of the car if he so desired. But the car is as it is, and so the driver understands his physical limits.


New line of thought: Recalling the explicit analogy:
Physical body: force of motion/life
Car: physical human body
Physical human body: spiritual soul as we know it, or “the self”
I can take this beyond the car-driver equating to human body-human soul/consciousness. We can open up more possibilities!
The situation: the car is the outermost body, the driver’s body is the first life force, and then the driver’s soul is the second life force (the animator of the driver). So with this, we have broken beyond the common two-part body-soul combination.
 (You might object about the stated common three-layer body-mind-soul understanding, but for now I will leave that be. I’m not sure it’s necessary to separate mind and soul here, although I do agree that there are definite differences between them. As I see the mind, to note, it is the mix/union of the physical body and the soul. So it’s relevant in this blog, but it might get too involved for what I want.)
Now we have three layers of bodies and animators. We have connected the sides of the analogy. From here, I realize we can magnify our scope, or we can narrow it. I will not fully investigate this yet, but I’m thinking now that the cars can also be animators or part-animators of some bigger body. I don’t want to go as big as the Earth itself as the bigger body (at least not as the first step), but that’s the line I’m leaning toward. Then looking inwardly: What unapparent factors go into the animation of our animator-souls?
This thinking implies that bodies can be souls and souls can be bodies, in appropriate contexts. The car might become like a mover of the system that creates the environment itself. It is one of the soul-parts of the living traffic system, perhaps. Or something else. I need to think more on this. The physical human becomes a soul when operating the car. But when outside of the car, the physical human is the body—as we typically understand it. And the human’s soul is the mover then. I don’t know what could move our souls, animate them. Love? A God figure? Again, more to think. But the doors are opened.
I guess this might also get into a causation sort of question, like what is the soul’s soul? What is the soul’s soul’s soul? That could get stupid because it’s unhelpful. But if we think of it like layers of consciousness, maybe that is better. When regarding the human being alone, the approach could be that we may only have one life-giving soul, but there are deeper layers of it we can awaken by paying better attention to ourselves in all aspects. In the same way, I have gained insight into how cars can function as a larger layer of consciousness for us—by observing my feelings to when they “look” at me while I walk outside. Okay. We might awaken further layers of intra-body consciousness as well as extra-body consciousness. We might see ourselves each as the centers of concentric circles, or spheres, radiating inwardly and outwardly, infinitely.

New line of thought:
When I stare at a person, and they see me, my person is entering their space. That’s what I think of when you look into a person’s eyes, the “windows to the soul,” the gateway through the physical body layer. When I walk and see a car pass, and I feel the car first looking at me, even though I know that it’s ultimately the person within the car who looks at me. I know that the car’s soul looks at me. I feel entered, my space.
I don’t know whether the drivers stare at me because I am simply present, or if it’s because I am a young female walking alone along the road.
I am honked at sometimes. Is it a salutation? Is it alerting me to something, warning me? Is it angry, telling me to get off the roadside if you’re not in a car? Is it to see how I’ll react? Is it a compliment? I have experienced the honks generally from men, which of course leads me to think of young female reason for staring.
But I’ve seen women in cars looking at me too. Old people. Kids. Dogs (not in cars, but still part of the environment). It’s not just sexually-minded men. They look out at me, and I have to strain my eyes sometimes to see through the glare of the cars’ windshields in order to see the drivers within. But when I do, I either feel good or bad. I feel welcomed, simply observed—sometimes we smile at each other; or I feel violated, on display, not truly acknowledged as an individual soul. Mostly, though, we look at each other, both of us assuming the other cannot see our stares. When eye contact is made, there is some kind of awkwardness or discomfort. We have become too intimate in that moment.
It seems that because of the environment I walk through (one of main roads and sidewalks, few shops to stroll by, few walkers in general; where the majority of bodies are cars zooming around, not human beings) people are more inclined to look at me walking as a curiosity. It’s as if I am fully exposed, my soul bore out without a body to protect it (no car-body surrounds me). I am also on the periphery rather than the well-traveled, well-defined tracks of roads. I am not doing what everyone else is doing. They wonder why. When I’ve traveled in cars, I’ve gazed out at walkers as well, and I assume I’m not alone when I call the wondering a very passive one. Car-travelers just find their eyes looking out at whatever’s moving and present, and then when the next subject outside the car comes along, they switch to that. Most likely they will have forgotten me and the other walkers, the dogs, the fences, the litter, the hoisted cars at the mechanic’s shop, the broken traffic light. Their attention will be passively fixed on something, then will move on.
They do not feel threatened by most things outside of the car. They are able to maintain calm, detached stares, to hide and be strong in their metal hulking car frames. Perhaps in the analogy to the human being, you could say our souls need the limits and protection of a physical body in order to assert any presence in this material world. Otherwise, the soul’s immateriality would render it incapable of surviving, and we would have no consciousness; I’m envisioning this being something like a person going without oxygen into outer space.
So it correlates that when I am walking car-less on the sidewalk, I am at much more risk than the people in the cars are. I can be run over by their physical force. I can barely see them to reach their souls.
But still, it is power if the cars look at me simply because I am present, a random part of our shared environment. I am a moving, living thing along the roadside. I will revise a bit and say that the cars actually do pay me more attention than they do to most of the houses, streetlights, fences, stores, etc. I am something the drivers of the cars crave. I am a moving, self-directed force, a free spirit. I am unbounded, an exposed soul.
Other thoughts to consider:
How does a passenger relate to the driver of the car in these analogies? The passenger contributes to the atmosphere inside the car, and affects the driver either directly or indirectly. But the passenger does not operate the car.
Then: Culture of car insides. Car ride talks. There is a wide range of subjects discussed in cars. A diverse set of interactions between driver and passenger(s). A wide range of behaviors of the solo driver. There is the radio—music, station hosts, advertisements. There is no escape from point A to point B, so two or more in a car must be careful what they say, or else they will be forced to deal with it then and there.
How do these ideas relate to the stuff that goes on inside of our bodies? Inside of a family? A town? An ocean? What are the bodies we know, and what goes on inside of them?

Monday, October 18, 2010

Description of Walking Blog

I take walks.

I go up, down, over main roads near my house in Redford, Michigan, mostly.

The buildings are not particularly notable. 7-11; CVS; Hungry Howie's Pizza; Party Store; Barber Shop; Burger King; Value Center Market; gas stations; Liquor Vault; among others. I aim to note them.

The cars roar and the people in them stare out at me. I am sometimes honked at by men. I am sometimes honked at by turning cars at intersections. The cars wait for me to turn when they could have easily made it before I crossed their paths. I often feel angry about this. Don't look at me. You people keep your eyes to yourself. I am not here for your viewing pleasure. I am not your toy, picture, robot. I am walking. Leave me alone.  Learn how to time movements. Assholes.
Why am I like that? I'm investigating my reactions. I don't want attention on me, but I want to look out at them all, the people in their cars, the cans and debris they've littered out their windows, or that they've dropped while walking down these same sidewalks. Why don't I want attention on me? Am I doing something wrong? Am I invading these people's privacy? Am I self-conscious for untold reasons? Does anyone in this roadside environment even notice this but myself? Is it arrogant or egotistical to even ask that question?
 ...
I see remains of human life, weird remains. Armour hot dog sticks in small cans discarded in the grass, empty, eaten. Who eats that while walking down the road? Who eats those at any time? Well, I might. I have done worse. But that is a secret life of mine. What was this person doing? I think of him (undoubtedly a man) using his fingers in the broad daylight to pluck out the little hot-dog links and wrap his wet tongue around them, saliva and teeth mixing it all, the half-meat animal-waste medley ground and mashed in the mouth, and down the esophagus, and the can emptied and thrown on the ground outside of Hungry Howie's, tilted away from  my walking approach--I noted it, turned for a second look and perspective, and saw it was empty.
This is not about being too good to eat Armour hot dog links from a can.
But do you know what those are like? What is that food he put into himself? While he was walking? While he was visible? What am I implying, hmm?

I suppose the above is like an example (or a half-example, because I do admit that I didn't really draw any conclusions about the Armour hot dog can) of what this Walking Blog is about. There are many things I take note of on my walks. The route doesn't change, and the thoughts remain similar to each other, day after day. But they build. I relate them, and I take note of my surroundings, actively. I will write about the often-overlooked aspects of the side of a main road in Redford.

Why? This will come as I write more and more.
The purpose of this blog will develop, and as it does, I should note that too. Notes.

Notes. The music and poetry of repetitive motion. Walking life. Waking life. Note it all, write it, elaborate, make it musical, sensical, stark.