Boccaccio & Heloise…From My House to a Nearby Mexican Restaurant

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It’s just about 5am. We have new tables. A whole bunch of new tables. We have four tables, and five chairs. That’s such a poor ratio that I’m afraid guests won’t know which are which. Anyway, I’m awake for two reasons. The most likely one is the nausea from my new round of antibiotics. The less likely one is that the steroids are doing it. The doctor was giggling as he prescribed me all this. And I suppose I feel a bit better than I did yesterday morning, at least in my sinus. Charlie asked “what did you do the last time you were sick for six months?”

And that’s when it struck me: “omg. I’m a sickly child.” There’s a pile of clothes by the wall in the living room. It’s the “put in trashcan and burn” clothes, like they do with children who die in London orphanages in the 1800s. I’ll just, you know, give them their own wash, or four, because walk-in clinics are frightening. They’re filled with doorknobs, armrests, and pens.

I don’t want to be sickly. I want to be strong and healthy. Okay, I just sat up straight. That’s a start. Overall, yesterday I felt…empty, confused, as if I had no purpose or anything to do with my life. Maybe it’s because I’m sick. Maybe it’s because I’m dreading this upcoming show at JMU because I’m increasingly tired of having my work-week schedule fouled up. Maybe it’s because Tyrone killed himself a whole month before Halloween.

This is what I remember of Tyrone. I remember he sat in the first column of seats in History class in 6th grade. But when you grow up someplace 99% white, you can’t help but begin by discussing skin color. Almost All the African-Americans I’d met before him lived in a nearby apartment complex where things happened like my friends’ parents being shot in their heads (this happened twice). I learned what it looks like when one’s parents beat you with a belt, the pink welts across bellies. And about being threatened and knocked ove for no reason. I tried to stand up for myself once; definitely not a good idea. Of course, they didn’t show any signs of antisemitism, like the white middle-class kids did! The apartments have since been demolished. But these were my associations, and they didn’t seem strange, I guess. I mean, I don’t remember feeling awkward while eating lunch with Jesse and asking him questions about his father killing his mother over the weekend.

So when Tyrone, slight, dressed like us, and carrying a violin, walked in on day 1 of 6th grade, I didn’t know what to think. He’d sometimes take it out, I guess he was in the row beside me, and we became friends to the point that in 7th grade we were eating lunch together every day and by my 14th birthday he was one of three friends I had spend the night. In our comic-book years his nickname became “BHJ” — that’s “Big Hairy Johnson” — and we’d chant it like we had any idea we knew what we were talking about. He would do things like ask for everyone’s birthdays and phone numbers and tell us that he’s studying the art of memory, that he’ll memorize them and come back in a few months and recite them to us. And then he’d do it.

In recent months I’ve kept thinking of him, that he was the only one in the group who never seemed to betray our friendship. He seemed to be everyone’s friend. And perhaps that should have been the first indication of something wrong–people who are everyone’s friend seem often to be distant or detached somehow. There’s only so far you reach before hitting a wall. What do I know? We were in high school. All my photos of him show him smiling. I’d written him recently in response to some photos I came across of his. He didn’t write back. And then it was last night that I found all the RIP notes on his facebook.

When you’re a child, bad things don’t really happen to other people so much as that kids just sort of come and go, appear and disappear like clouds, one day they show up as a new kid, the next they disappear forever because their parents split and now they’re in Kentucky. I don’t remember asking any questions or even wondering why people disappeared. Bad things happened, but look, we made it through the little years, and now we’re all big people. And so the countdown begins, it’s time for us to all start dying off, I guess. Stuart led the pack with the drunk driving incident. Dixon went on to get stabbed to death during a drug deal. A suicide here, an accident there. Old age must be horrifying. I’ve been dreaming a lot about war lately. I’m always in war with a BB gun, an air gun, forced to use bullets that somehow are useable after someone shoots at me with them.

Abelard was castrated. That happened because of a misunderstanding over what he was doing with Heloise. What exactly was he doing with Heloise? I haven’t figured that out. I thought he was only hiding her in a convent to make it easier to see her.  Why couldn’t they just be a normal married couple? And why did she go along with it for so long? She seems positively modern in her love for him. He shrinks back into the darkness.

When the young people leave town, day 1 of the Decameron, they walk “two short miles”–that’s the distance from my house to the nearby Mexican restaurant. Or the post office. That’s about a half hour walk. And after much deliberation that’s where they go to escape the plague. That opens all sorts of questions about population and political boundaries. I mean, that’s a shorter distance than between the Bennets’ home, Longbourne, and their town, or Bingley’s house, places everybody walks, all the time.

Percept vs Phantasm

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Some of the best things are not the new ones, but the old ones repeated well.

“First the external senses…operate on an object present before us and produce a percept. The internal senses, primarily the imagination, produce a phantasm or mental image of the individual object perceived, and this phantasm is retained and can be reproduced at will in the absence of the object.”

Easy. You look at something, form an image of it, and remember it later. Less easy. The thing is real, the external senses lead you to perceive it incompletely and subjectively, the internal senses create a phantasm that’s incomplete and subjective and further colored by missing details, falsely filled-in details, emotions, other events, and similar experiences rendering it somewhat generic.

So, are memories generally incorrect? I can remember my phone number. How subjective can I make my phone number? How incorrect could I possibly get it? I either have it or I don’t. I remember it though. I remember processes and formulas in Excel, and I use them to solve problems. I don’t always remember all their functions. How about a chair? Can I remember a chair? I know a chair needs four legs, a seat, a back, some armrests. I just invented a generic chair in my imagination. I can’t place it anywhere in reality–the chair I just invented has a curved back and round wooden bars and seems fairly uncomfortable. I don’t think I’ve seen it before. Also, I don’t think I can really draw it. I can’t really remember how my favorite chair looks either. Slightly I can, but not entirely. I know where it is, I know how it spins. Also, I have no idea what my chair at work looks like. I’ve been sitting in it for nearly two years now. Alright, so, memories aren’t much good. But, I suppose the important thing is that when I see a chair I know I’m supposed to sit in it rather than try putting it on like a shoe.

poetry: Ginsberg – Howl and other poems (1956)

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Some weeks ago Caleb and I spent four hours walking up and down and around the block, past the hospital, in and out of bars as each was either too noisy, or too empty, and eventually to the convenience store where I bought some milk and frosted flakes, and back to my refrigerator, and then back to the streets to walk around the block some more.

I felt conflicted by a recent turn of events in my life: for the first time ever, I’m being paid to compose music. I’m elated, but there’s still that starry-eyed teenager inside me whispering the old shit about refusing to sell out. The whisperings are cute, but I’ve been sick since July, and about once a month I go to a different doctor asking for charity to help fix me up for a few weeks. My cough came back today…and that’s what you don’t think about as a teenager.

Caleb brought up a point I’d forgotten: for all of history (history itself assuming a modicum of civilization and the confidence necessary to record its goings-on) until rather recently, art was created on commission, more or less exclusively. That’s good company. And then he suggested that the first time art was created for its own sake, or rather, as a vessel for its creator, was the romantic era.

Oof! You know how I feel about romanticism.

But it isn’t just that it was being created as vessels for their creators, but it was setting the new norms for art through its popularity. By the end of the romantic era an entire generation had grown up with their works as some of the most accessible reading material, like the Da Vinci Code for us. And here’s why this is relevant to us presently: because the trend increased continually, right up to our Facebook/Youtube lives, in which we’re all stars, constantly producing content (i.e., me, right now) to glorify ourselves.

BUT! there’s this little blip along the way, the GI Bill after WWII, the thing that sent a whole generation of white American men to college. And a great number of them took creative writing classes. And a great number of them began writing literature. And that’s where postmodernism came from, I guess.

People who don’t know much, writing books for people who know even less, to teach them about how they pass their days. Does everyone deserve a liberal arts education? No. And does everyone deserve to be subjected to a liberal arts education? No. But that’s what we spend some 17 years at least doing, going to get a liberal arts education so we can be somehow presentable, and yet still unable to function in any meaningful way to society. You know what I’d have rather done: go to school to become an auto mechanic; there are very few things in my life that I’ve found as fulfilling as fixing my car (which is super, since I drove into some guy’s gigantic tire when I was trying to parallel park, and tore half my bumper off). Whenever my brother offers to employ me at his highway-paving business I decline the offer because…you know…my delicate fingers.

To the point: I find Kerouac and Ferlinghetti unreadable, Burroughs oversold, and Ginsberg of sometime comic value. And that’s about all I can say about that.

Why this book was thrust into my hands when I was just 18 or 19, in college, as part of an American Diversity class I needed for my major, only god knows–but that’s what college is–teaching children about the world through books while simultaneously putting them in so much debt as to ensure they can never experience the world for themselves.

It’s better than plenty of things, of course. It’s better than all the things that lead to great art, for instance.

In the meantime I’d been wondering if I’d already reached my peak, if I was already on my way downhill and just nobody had told me. If I had to pinpoint my peak, it occurred somewhere during 2009. That’s a nice time to begin going downhill. And suddenly my music is on national television?!?!? This is definitely my peak, well, sometime yesterday, like, right before I cooked a lunch that made me kinda sick, that was my peak, when I found out about it. But, since time is pretty big place, that’s relatively recent, and so I hit my peak yesterday! I sure hope it’s not all downhill. I’m not ready for that yet.

Tanaka: New Tale of Zatoichi (1963)

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Laura’s talking in her sleep, the radiators are screaming like lobsters boiling alive, outside the sounds of things coming and going, wind whistling in the tree, sirens, planes zipping around, in short, a frighteningly noisy night. A week ago the place was a cornucopia of delights, breads, fruits, juices, yogurts, everything a boy could want. But now, it’s back to Frosted Flakes for dinner, there might be a spare apple, it might be soft on the bottom.

We had a little party last night. Not a Halloween party, just a party. We drank Abbey Cocktails and took turns sitting on our three chairs. We have four mugs, but they were too hot to drink from, so there was drinking from measuring cups instead. It reminds me that for ten years I’ve been hanging out with Charlie, we do the same things as when we were young.

I’m still overwhelmed, but I’m beginning to get back to swimming with the current rather than against it.

When they switched to color, they also switched to a director who seemed particular fit for filming in color. The lengthy shots of forest landscapes are magical even forty years later, and that’s a lovely thing, mastering color the instant it becomes available, a sort of timeless mastery that only can be called ‘classic’ since it stands up to whatever high-def version of beauty is available now. And in that beauty one senses the blindness of Zatoichi all the more, as he becomes part of the landscapes, hobbling slowly and silently across the screen, stopping to sniff and swallow in that horrid way we’re all ashamed of needing to wash our hands about, he makes us feel awkward because there’s something wrong with him. But there we are, seeing a beautiful landscape in these long, slow camera movements, superior to poor Zatoichi, who despite not being able to see, can sense the landscapes much more acutely than we can see them. His story continues as he kills off more people he loves, and a bunch of others, we deal with the necessary moral ambiguity, the girl who loves him, and the end.

Mori: The Tale of Zatoichi Continues (1962)

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Everything compounds until I’m ripe for madness. The iron will not heat when I plug it in, no matter how many combinations of switches I try, not even when I unplug it and place it on the radiator. I’ve used it once. And that’s the way with us here, we use things once and then they commit suicide. The dishwasher worked once, and then began emptying its bowels on the kitchen floor. The hookah worked once, and then its copper pipe split in two, and if one wants to know why stereotypes persist, go speak with the salespeople at Tobacco Club & Gifts Inc on Cary St (Carytown), Richmond, Virginia. Here’s a conversation that we have once a week, every week, for three months now:

“You come back tomorrow and man who can help you here, but what can I do today? I am the only one here, and if I go through that door and get you what you ask for then nobody out front, so I cannot do that.”
“But…what about the other three guys working right now?”
“Yes, they can’t help you either. I want you to be happy, I would give you the piece you need, but I just can’t go back there. I’m new. I just started. What can I do? You see, perhaps you fix it yourself with a little bit of wire.”
“But we spent over a hundred dollars on this thing and we don’t want it to look like crap, you can understand that right?”
“Of course, of course, but what can I do? I am new, you need to speak to someone else.”
“One of those guys?”
“No, you need to speak with the other man, he come in tomorrow.”
“With the mustache.”
“Yes.”
“I already spoke to him, he told me the person who needs to help me is in another country.”
“What do I know, I am new.”

But ironing. When I die and they compute how I spent the majority of my time on earth, ironing is going to be second to sleeping. And I have an iron that will not iron. It also turns out that $50 can’t buy you an ironing board that stands up on its own. All life becomes a test over how you spend those eight precious hours you have to yourself each day. Within them you must eat three to five meals. You also must shop for the food. And prepare it, cook it. And then clean the dishes and the kitchen afterward. You must commute to and from work. You must buy the gasoline and rotate the tires. You must put on your clothes, and take them off, and wash them, and iron them. You must wonder what that dull aching pulse in the back of your skull is and judge whether or not it has anything to do with your dizziness. You must find the perfect balance of coffee and alcohol to both stay awake and happy just until bedtime. You must wake up two hours after falling asleep to take an assortment of acid-reduction pills. You must burn your leg on the radiator while trying to open the window. You must go back to your parents house every time you need to do something that doesn’t involve a broken modern convenience. To press a shirt. To toast a slice of bread. To seal an envelope. Even the water here doesn’t work right. Not the plumbing. The water. The only way you can get the trash collector to take the trash is if you leave it outside the trash can. The doors are set in their ways. And my head is rebelling. I’m even dizzy in my dreams.

So if one thing is certain, it’s that things compound. If one thing doesn’t work, it has to snowball. It can’t just be too warm in the house, you also need to have diarrhea and a plastic bag wrapped around your head.

And that’s why I identify with Zatoichi today. In the first Zatoichi, all he’s trying to do is find a place to hang out, eat, sleep, for a night, but by and by he ends up having to kill a whole bunch of people, which leads their relatives to seek revenge, and what for a moment was just a request for a bowl of soup turns into needing to kill fifty or sixty swordsmen. None of the moral ambiguity of the first episode. It’s always okay to kill people who are trying to kill you. In Virginia, though, you have to be fancy about it. Let’s say you carry a gun, and somebody tries to kill you, you’re allowed to kill him in self-defense, but only accidentally. If you do the whole “two shots to the chest, one to the head” thing, then you’re the one who gets in trouble. My favorite scenes in Japanese movies are when everyone who’s been killed by the hero is still in the process of dying, rolling around on the floor groaning as the hero walks away. That’s my whole life, rolling around on the floor and groaning as the heroes walk away. The heroes today? The iron. The wrinkled shirts. My equilibrium.

Farewell, Frankenstein

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This is why I’m terrified to apply to go back to school: because I sit around for 11 hours coming up with muck like this FOR FUN (as Laura is quick to remind me when I dismiss her for bothering my train of thought!) I’m pretty sure that I’m not making the world a better place…

Intro – Early bio of PBS and MWS, their relationship up until then

Thesis – structure exists purely to send msg to audience = husband, and is largely ineffective, from all biographical notes. She couldn’t have done it otherwise…MS used the structure to draw attention to comparable Coleridge, and deduce details from there, that her husband should have noticed.

  1. Positive views of relationship/love/PBS as person (not poet/politician) –
    1. Relationship of Walton/Frankenstein vs MWS/PBS
    2. Relationship bw fiction-world/real-world vs Understanding/Fancy
    3. marriage
  2. Positive view of romanticism à romantic/poetic ideals, to real life/Coleridge
  3. Negatives, the narrative as criticism of PBS/Byron

Conclusion – effect on captain’s own life/PBS as regretful/apologetic/warning/MWS as apprehensive about PBS & Byron & children own ends, i.e., looking into future.

Poetry curse of poetry / F’s creation of monster / Mariner curse

HOW DO WE KNOW THE CHARACTERS HAVE ANALOGS

HOW DO WE READ BW THE NARRATIVE LINES?
analogous silent seas
ghost ship analogous (prostitute = love w/o love) to Frankenstein AND monster on sleds

impetus, ability to choose—kill the bird w/no reason, mont blanc of shelley, frankenstein doesn’t choose what to do in 1831—in 1818 he has the choice, MS criticizes him FOR CHOOSING, but in 1831 she doesn’t want to believe that he had a choice. SHe’s justifying his not paying attention to her when he was alive.

“unthinking” (radley, p58) / Impetus-ability to choose

Balance bw understanding and fancy

Interruptions of a world not imaginative (Radley 58) [while you’re writing poetry, there’s real shit going on] in ‘Mariner’ being what’s unimportang, what’s not ‘really real’—the world of understanding—whereas it’s the world of understanding that (Radley 131) needs to exist w/sublime.

Albatross (radley 61) “emblematic in a very complex way of man’s inhumanity to man, and of man’s rejection of love” (62, release from the silent sea, external isolation, external penance)

Misumi: The Tale of Zatoichi (1962)

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I’ve been in a rut lately. We both have. I suspect it has something to do with that quarter-life crisis everyone’s going through. There’s so much potential for action that always seems to manifest itself in decisive inaction. Shopping for dishes, putting books in thematic order, wondering how two people can create such an enormous pile of laundry, beginning and ending each day with a bowl of cereal. We have no idea where to turn, how to take another step.

I practiced music for seven hours yesterday. Mostly bass, but some piano and guitar, cramming Led Zeppelin as fast as I can. And about six hours into it my fingers suddenly came alive in a way that they haven’t done in perhaps a decade now, with a speed I remember having as a teen, but lost when I stopped performing. My fingertips aren’t blistered either. But we have a show tomorrow night and I’m terrified to put in any more time practicing today, an hour and a half, really pushing myself with strength and speed exercises, so scared that I’ll wake up to stiff fingers. Monday afternoon and evening I spent 11 hours working on a paper with my cousin, a paper on the structure of Frankenstein. It doesn’t take long before I’m pacing around expounding on “Mont Blanc” versus “Ancient Mariner” and Coleridge’s “high imagination” as Mary Shelley’s enemy, on some balance between this and that and trying to find busywork for my cousin before he throws me out at 1am, promising to paraphrase the paper I wrote for him and to return all my library books. I would love to be a student or a professor or something in academics, because I know I can sit there writing papers and feeling like it’s a game of rummy cue.

And then I’m stuck wondering if I should do the dishes, finish this beer, read for fifteen more minutes, practice, or what? I finished up all my medications for this sinus infection today, but I screwed up the schedule of steroids, prednisone, and I think I’m paying for it, I can’t tell, my instinctive solution to anything and everything is to drink a Red Bull and see what happens. I’m seeing what happens.

Before I began watching samurai-sorts of films, I assumed, as I expect most people do, that samurai films are like any other action or martial-arts sort of movie. They’re not. And here’s why: because there’s no action. Newer films like Kill Bill are at times true to this by dispatching speedily the fights with the greatest buildup. So Zatoichi carries this martial minimalism to a degree that could probably only be surpassed by sleeping characters dying peacefully. It’s the tale of a blind swordsman. He’s not a samurai, so there’s none of that pesky baggage of masters, ex-masters, shame, etc. to get beyond. He’s just an oafish blind guy who stumbles around like Mr. Magoo, gets himself into silly situations, and then kills everyone. Oh, and he also a real heartbreaker. The point is, the swords are beside the point. The main character has no objectives, conflicts are resolved via invisible violence, and you’re stuck with 90 minutes of morally ambiguous character-development.

Neame: Hopscotch (1980)

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I let Criterion select comedies for me. Well, I let them select anything for me. But their comedy selections are always perfect and end up being some of my favorite films…

but I can’t really come up with anything to say about this film except that it made me feel good. I don’t want to own it, but I could probably watch it again. How can my brain be so blank?

Well, there’s this: I’m sick, I’ve got some sort of nose and head thing, it’s infuriating. I’ve got a plate with bits of cheese on it beside me on the bed, and the dog is wandering in circles on the bed trying to not let me know that he’s wondering about the cheese plate–but I made a wall of Kleenex and books and a lambchop doll, so he’d be pretty conspicuous if he really went for it. And in the meantime, I went downstairs to get that cheese plate, and thought maybe I should have some nuts too, you know, for protein. So I went to get the nuts out, and it was ant city in there. I mean, they’ve been around lately, particularly today they keep making their way into bed with me, but we haven’t figured out where they come from. Now we know. They come from behind the dishwasher.

So I sat there with the vacuum cleaner, just massacring them, though you can see them wandering around inside, and finally we took some bug killy spray and squirted it in the crack behind and above the washer. The way I justify the ants coming to get the food is that I bought some food that I shouldn’t have; it’s not kosher, and I figured I’d just not eat it in the house or something, but that was what they found, a whole bunch of blueberry muffins; and the way I justify killing them is that in some ways it’s a matter of life and death. Will I die without the muffins? No…but if I let the ants take all my food and I could never eat any because the ants had taken it, then I’d die. It’s a matter of nuance, I suppose. And I hate things like that because, of course, I believe if you play nuance with life and death, God will play nuance with you too.

The only solace is that we don’t even know what life is. Certainly we can’t create an ant, but beyond that, we don’t even know if an ant counts as an individual or if an ant colony is actually the individual itself. In which case it’s like chopping off a little toe or something. That’ll grow back in about half an hour. Nuance.

And after killing hundreds of these things, I take my cheese plate and wander upstairs to try and kill off the infection inside me that’s also trying desperately to live. It all hankers after the biblical Jonah story, but not the whale part, rather, the part about the little tree dying and his being angry that it must die.

…and in Hopscotch nobody dies.

Phew, didn’t think I’d be able to make a connection after all!

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