Episodes In, Out of, but Never Outside the Smoke-Filled Coffee Shop

After that old man died, I thought of him; I talked to him. It was funny--I talked to him in unexpected moments about unexpected things. I told him about the girl, and the play of the ocean, and the days. I don't know why--but I talked. I spoke. I expressed.

Did he respond? Of course not, he was dead. What are you crazy?

After that old man died, I couldn't bear the weight of reflection. Instead of thinking, I danced. Instead of figuring, I played. Goodness what a feeling--to lose yourself in the dance and to play in the play. Goodness what a feeling--to forget the burden of it all in the movement, the forces, the difference.

I sat with friends and laughed. I sat with friends and tried. We tried together. We never talked about trying together--that was the implicit part I guess; but we tried together. We ate. We drank. We laughed. We complained. We wept. This is life. This is trying. We all try our best, you know? What more do you want? You want me to swallow the ocean every day without drowning? Well, fuck you. I'd rather either drown, or not deal with the ocean.

Accidents and Love

So she said what's the problem baby
What's the problem I don't know
Well maybe I'm in love (love)
Think about it every time
I think about it
Can't stop thinking 'bout it

Two things: Problems and "I don't know." First, obviously something is wrong--something is out of sorts--out of equilibrium; just not right. But, what? This brings us to 2, or problem number 2--I don't know. If there is a problem, shouldn't I know about it? And, how come she has to ask me for me to realize it? Then . . . What? Love? That seems drastic don't you think? From a problem (one I don't apparently know about) to love in just one breath? I can't stop thinking about it though. Which one--love or the problem? I don't know--the two have become indiscrete now--now that is the problem.

How much longer will it take to cure this
Just to cure it cause I can't ignore it if it's love (love)
Makes me wanna turn around and face me but I don't know nothing 'bout love

Now finally to a question that makes sense: How much longer? How much longer to cure this problem I don't know about? And, if it's love, I can't ignore it? Now finally to an answer--I don't know anything about love, just like I don't know anything about my problem. I do want to turn--in the same moment I want to both turn and run from this problem of love I don't know about, and also turn towards me--myself--even though I don't know nothing about love. Could I learn? What is there to learn about love? And, if you can learn about it, is it love? Probably not. The problem--while becoming more elucidated--seems to be becoming more unknown.

Come on, come on
Turn a little faster
Come on, come on
The world will follow after
Come on, come on
Cause everybody's after love

Turn faster? Which way? The world? I don't think I want the world following me here--following me to face myself. I don't know if everyone is after love--it seems, and this is the point, that if love is a problem that requires me to face myself--maybe for the first time--then everyone, including me isn't after love, but instead, I come after love as love comes upon me.


Well baby I surrender
To the strawberry ice cream
Never ever end of all this love
Well I didn't mean to do it
But there's no escaping your love

That is what this problem takes, doesn't it? Surrender. Surrender of me to myself and to you simultaneously. I'll try. But surrender implies no escaping--even if I want to. Surrender means it has me--you have me--and, maybe this is the most scary part, I have you.


We're accidentally in love
Accidentally in love

Accidentally is the right adjective. Love is an accident, and only an accident. If we were after it--it wouldn't be a problem, and we would certainly think we knew something about it. But, as it stands, it is a problem and it is one of which I know nothing. Love comes after me--and I only come--appear--after love--before you--in you. Accidentally--any other way and love is no longer a problem--and that is a problem of which nothing can be done.

Love ...I'm in love

I'm in the problem and in the un-knowing. I'm in the surrender and in control. I'm in you and falling out of you. It's a problem--one I hope I stay in, and one I hope never to know nothing about.

Thrown before the throes which govern existence--life--breath--I faltered. I left a temple of security for a sky full of, yes, beauty, but also, darkness and only scattered lights. It was here I searched for an anchor--a grounding--a sign that could orient me to my lattitude--one that would clue me into the strange game played on this locale.

As I did, I tried. I promise, I tried. I tried to prove. I tried to show. I tried to find. I tried to help. In so doing, I made smiles, impressions, fools, and hurt. In so doing, I faltered and found not the signifier I so desperately needed to help me along life's way.

At some point however, I met the Universe. I met the Abyss which constitutes the light, the dark, and the difference between the two. I met the One disseminated into an infinite amount of parts never to be reassembled ever again (or ever before). I met the voice that calls through silence and never speaks.

You know what I heard in that moment?

"Trust, try, and thank. Don't prove to anyone that you belong in this locale--why not? Because none of you do and none of you ever will. Don't try to fool yourself into thinking you are more or better--why not? Because you know--in every breath--you have no signifier--no anchor--no Being--to tell you such things. And, there is no point in doing so. Play the role in the play which you have been given-play in the play and rejoice in its in-finitude--its lack of determinacy--its endless play. Play in the play and thank--not "me", not One, not you--along the way. Just thank. Realized that in every moment those with you in this barren and fruitful topos are just as lost and just as at home as you. Realize they are doing their best in every breath with no guide and no signifier. Thank and try. Swallow, but don't drown."

You know what I said?

"Ok"

More or Less Dancing

It's funny you know . . . This business of dancing. I don't know the words and I don't know the song. Worse yet, I don't even know the steps. I guess that is what makes it no business at all--there is no purpose, no destination, and no know-how. I guess that is what makes it a game--a game to be played without rationale, without recourse, without worry.

But, it's hard not to worry, isn't it? I remember when we danced so long ago--across an ocean or two--in a world of transition, tremor, and excruciating temporality. It has been some time now. But I know I worried then too. I want to play, but I want to play right. You know?

So, that leaves the questions: Can you dance and worry at the same time? Probably not. How does one play--that is, enter the dance--without worry? How does one suspend their past--their-self--the scars from past dances--long enough to lose their-self in the dance with an-other?

I pray for the strength to be weak that way. I pray for the miracle of suspension and the triumph of desire over the still lingering, still residual "why". But, most of all, I pray that someday I'll dance and sing a song without knowing the words. I pray that I'll play in a world unworldly, in a way exquisitely and all too (in)appropriate.

Sitting, legs crossed, trying to catch up with the blur that accompanies each inhale. Sitting, wondering why each one carries so much color, so much wonder, so much life, and yet knowing each one is never accompanied by breath. Inhale and breath--these don't always go together. So, sitting, trying to catch up with the blur that goes with each inhale, wondering why each one lacks the breath its supposed to signify. Angry and confused in the same inhale, holding it in with the hope that if it stays long enough it might leave when I inevitably exhale. Angry at lessons never learned and identities never stabilized. Angry at the drive--with each inhale--to be the universal in the particular, and realizing that drives leaves one with neither. Not willing to be another part in the particular, but unable by an infinite measure to be any sort of universal. Sad at the hurt that each breath means for you--for all--and wishing I knew what could be done to--no, not stop the "breathing"--but to let it begin for the first time. Left with the choice to let the hurt sting your lungs--my lungs--lungs--to trust they can take it--or, to try again in futility and in selfishness. Sitting, legs crossed, listening to my heart beat in the stillness of absurdity.

Songs, Dancing, and Words

I still remember that time when we were dancing
We were dancing to a song that I'd heard

Do you remember the time(s) we danced? Do you remember the song we heard? I know I heard it, but at the time I wasn't sure if you had. I remember dancing and I remember the song--the two go together you know. You know?

Your face was simple and your hands were naked

I saw it. I saw it in your face--I saw the beauty and the mortality roll up into a ball of vulnerability and surprise. I felt in those hands as we danced--the longing for the song we both wanted to last longer than we both knew it could. I felt the hope of something new and the worry that comes with hope of something knew. But, guess what? The whole time . . .

I was singing without knowing the words

I was. I danced with you to a tune I didn't know. I sang to you--did you know that?--I sang to you a song, but I didn't know the words. And, I know you didn't either. But that's what made it such a wonderful dance; that's what makes it such a wonderful song. The words are half-written--half-composed. They remain suspended above the two of us as we twirl, laugh, and move. They remain undecided and inexressible just as long as we keep dancing. It's funny--funny to dance to a song we keep from being written by continuing to dance. It's funny to sing a song to you that can never be finished, and never be heard. I'm just glad you have ears to listen and you aren't tired of dancing.

But I started listening to the wolves in the timber
Wolves in the timber at night
I heard their songs when I looked in the mirror
In the howls and the moons round my eyes

I don't know if I started to listen to them or if they started to listen to me. After all, I was dancing and singing the inexpressible song. So, how did I hear them? And, what did they hear me cry?


Then winter came and there was little left between us
Skin and bones of love won't make a meal
I felt my eyes drifting over your shoulder
There were wolves at the edge of the field

There was, wasn't there? A winter that felt colder than usual. A little left between us--an excess of lack--a call to stop dancing. We had to get back to the world, back to the words. We weren't allowed to stay lost in the reticence only we heard and the world only we knew. We weren't allowed to stay in the dance--in the circle--beneath the suspended song we didn't know, but which knew us.

Then one day I just woke up
And the wolves were all there
Wolves in the piano
Wolves underneath the stairs
Wolves inside the hinges
Circling round my door
At night inside the bedsprings
Clicking cross the floor
I don't know how they found me
I'll never know quite how
I still can't believe they heard me
That I was howling out that loud

I remember that days(s). That day when it was only the wolves--in my text, in my pen, my fingers, my . . . song. Did they find you too? Did they hear you? I hope not, but I suspect so. It's hard not to listen to them; to not let them frighten us into forgetting there even was a song--especially one with no words and no sound.


At times in the frozen nights I go roaming
In the bed she used to share with me
I wake in the fields with the cold and the lonesome
The moon's the only face that I see

Roaming in a place unending and untraceable. Searching in a field where nothing grows, and nothing surely blossoms. The cold and the lonesome stretch along a horizon with no horizon. They make me shiver in my bones and writhe in my own skin. I crawl within myself trying to find a way out of the horizon--out of the immanence of the fear the wolves left me. I try to crawl through myself to a place where the field breaks for something different; something unexpected.

And, when I do, just before morning--when the dreams of wolves, and horizons, and the bed we used to share has me under--has me suffocated--I hear that song. I hear the one we used to dance to--the one with no words. Well, there are words--we just don't know them yet. There are words, but they are suspended--waiting--for me and you to stop dancing. I hear the silence of the song we created and the dance we keep hoping to share. And, then I wake--and the wolves scatter across the field as the thaw evaporates into the "without why" of trying again.

People ask, "why?" And I say, "You've got the wrong question and the wrong intention. We are always left without why. But, that doesn't mean we can't sing a song without words, and it doesn't mean we can't dance. Dancing is the best part."

No Wonder

It's time, isn't it? Time to write about something? To have something to say--something to write about. It's time--time to reflect, or interject, or enlighten. It's time to bleed all over the screen, through these fingers. It's time to throw up through the unseen networks that encapsulate us--tie us in--tie us together.

Time to write. But, after all this time--there is no writing. No bleeding. No regurgitating.

No feeling?

No trying?

No . . . what?


________________

I saw you today--saw you hurt. I saw you try. I saw you submerge and be overwhelmed. I saw you care, hope, and do your best. It's not that I don't care, it's just that I don't know how. I don't know how to be a good person. I guess, well I could try to save you. But, we both know that won't happen. We both know saving isn't something humans do. So, I am left with walking--with callous, despair, and a genuine lack of naivete.

Is there a third way? Is there a 'grown-up' way? Some way that 'adults' would do it?

I don't know. I am not sure I care. After all, to be an adult is to simply pretend you are no longer a child. Life forces this decision upon us. It isn't one we make willingly. But, it is one we should stay cognizant of. Being an adult isn't anything different than having to face the absurdity of breathing without admitting you have no idea about how or why or whence. Being an adult is nothing more than feeling your heart beat through your chest and not being able to stop long enough to let it completely disorient you. Being an adult is not having the time or desire to stop--to let the stars become yellow blurs, the trees strange silhouettes, and the cold evening air a jolt--a reminder--of both meaning and meaninglessness.

I'd rather do it the kid's way--the naive way--but, we both know that isn't allowed either. Why? Because we are neither creative, nor strong enough to be children any longer.

______

So, fuck it. No writing. No words. No bleeding. No saving. No wonder. That's right--no wonder is the no wonder there is no writing.

Scars and Scabs

Scar. Scab. Scab. Scar. One comes sequentially after the other, and not exclusively. Scabs lead to scars; but, other things lead to scars too. With scabs however, it is a matter of only a replacing the "r"--the "are"--with the "b"--the "be". Strange, don't you think? That the constant pain of healing flesh morphs into the constant reminder of hurt and pain with only the change of "r" to "b". The change happens when the present--the presence--of "are" is changed to the general--the universal--the "be", being, to be. "I am" to "to be". The particular--the scab--the trace of pain--of a mark (even in which the memory of the blow--the incision--or the scrape has been lost) is one short consonant--one short constant--from the universal inadequacy and impossibility of healing. Time means scabs heal. Time means there will always be scars.

Overcoming, Over-coming . . .

Overcomes. Over-comes. Over-cums. Being human means there is no overcoming—no becoming what you need and should be. There is no coming over anywhere—over-coming. There is no overcoming when it comes to cumming; no over-cumming. Do it over, do it more—it doesn’t matter, doesn’t make a difference. No matter how much, the result is the same. Strain, try, excrete, grunt—both you are left empty; both of you are left open. It is the essence of being human—the epitome of the effort to become something—someone—somewhere—that simply does not exist. Over-cumming? You want to overcome where? Overcome how? Yes, enjoy the journey—the ride—the path. Thank you for the sermon—goodness you are insightful. Go ahead—the journey, if you are lucky—can and will be enjoyable. But, there is always the building—always the constructing—the semblance of hope that creeps into the anticipation of cumming—the hope that this time time itself may be overcome by over-cumming. What am I talking about? I’m talking about immortality and permanence; happiness and rest. I’m talking about the oh-so-human need to find the path that leads to immortality and permanence in order to enjoy happiness and rest. I’m talking about the need to find a home in a place, as a being, that has none. Yes, a child may appear—I know; I understand. Thank you for the reminder. But, how does the child relate to over-cumming? How does the child equate to having over-cum? Does the child solve the difficulties—fulfill the hope—quell the fear-? Will a child change this situation? Maybe. Maybe not. But don’t tell me that is the easy answer—the answer to the question I put to myself—to all ourSelves. Plato knew long before any of us were children that birth is not about children, but about immortality. Birth—is about overcoming and if you think it will happen—if over-cumming is possible, well I don’t know what to say. But, at least don’t tell me the appearance of the other will put me the quest to rest. Don’t tell me that birth equals over-cumming. After all, how could 6 billion people be wrong?

"If I had Eyes"

If I had eyes in the back of my head
I would have told you that
You looked good
As I walked away

Eyes in the back? Eyes to see behind? Eyes to see a behind I can't or won't turn around to make an in-front-of. Eyes to see you even when I'm not looking. A comment--a compliment--to make you feel what you are, to make you see how you are. My eyes--these ones that make the behind possible--allow you to see who you are? Maybe. Maybe not.


The more of this or less of this or is there any difference
or are we just holding onto the things we don't have anymore

From seeing to holding--from sight to touch. What we can't see we can't hold? And, how does one hold onto something they no longer have? How does one hold on to absence?


Sometimes time doesn't heal
No not at all
Just stand still
While we fall
In or out of love again I doubt I'm gonna win you back
When you got eyes like that
It won't let me in

Time, healing? Strange. Time is the opposite of healing--it is the temporal antecedent to death--the experience that makes my experience of my-self impossible.

Stand still? In time? In the movement which is unbearable, inexpressible, uncanny? Stand still and fall in and out--strange.

And, those eyes. Those eyes--won't let me in to a place not even you know; a place not even you get access to. Those eyes--the locale of a world irreducible, even if it remains without why. Those eyes--the ones looking through me to the place I don't know--the one inside I don't have access to.

That's the answer isn't it? All of this talk of time, of falling, of love. It ends with those eyes--the ones that take me out of time--out of the unavoidable path towards my impossible end--that take me to a world which remains without why, but where the question of why is suspended in favor of something secret, something inexpressible, but something so, so Good.


Lot of people spend their time just floating
We were victims together but lonely
You got hungry eyes that just can't look forward
Can't give them enough but we just can't start over
Building with bent nails we're
falling but holding, I don't wanna take up anymore of your time
Time time time

Victims--of time, yes. Who isn't? Eyes--looking forward into a back that wants to see you--wants to see through you--but can't make the back the front. Falling, time, holding--a question without answer--without origin or end.

What then? What's left?

That world--the one we shared--the one without time--that is the eternal and that is the place to look. Turn your eyes there and let it the chorus chime as long as it takes--time, time, time.

Pop-pop:

If you asked anyone in this room about Hiroyoshi Shimazu, I know they would have wonderful things to say about him, and fond memories of the time they spent with him. He was a loved husband, friend, father, grandfather, great-grandfather, and much more.

If you asked me, I would tell you that despite not being biologically connected to me—that he was my grandfather—the only grandfather my brothers and I ever had. I would tell you that from the day each of us was born, he treated us and loved us as grandsons—and so, we called him Pop-pop.

If you asked any of us what we remembered about him, we would all have different memories of the man we admired and loved. My cousins Mike and Kevin Watanabe could tell you about the man they called ‘gramps’. If you asked the Shimazu boys, they could tell you about playing poker with grandpa and how special that was to them. If you asked me and my brothers what we remember about him, I would tell you that I remember someone who seemed to care and love us without trying—like it was natural to him—even though he didn’t have to. I would tell you about how Pop-pop hid Easter eggs in the front yard of the house when we were kids, and how one year when one egg was never found—how he searched for hours trying to find it. I would tell you how he shaped and designed our pinewood derby cars; how he spent hours on them, how they won best design every year, and how it was something he seemed to enjoy—like it was never a burden.

I would tell you Pop-pop made my grandmother—my Nana—laugh every time I saw them together; how he tried so hard to make her laugh, how she seemed to adore his sense of humor even after all these years, and how she laughed like a teenager every time he made a joke—like they had just met. I would tell you that in 27 years the worst thing I heard him say about another human being was to call him “Ponky head” on the freeway. I would tell you I never heard him raise his voice or even say anything remotely rude to anyone, and how he always treated my grandmother with respect and patience. Anger was never something I associated with Pop-pop.

I would tell you how he would sit and tell my brothers and I stories from his days in the service; how he shared with us what it was like to come the mainland for the first time as an enlisted military man, what it was like to not know which segregated bathroom to use, or how he fell asleep on duty one day under a table and got scolded by his commanding officer.

If you asked me, I would tell you how much he loved our grandmother, how much he loved being her husband, and how much his Ohana meant to him.

Then, if you asked me what Pop-pop taught me, I would tell you that in 27 years he never sat me down to give me advice, never gave me a lecture, never told me what to do—that just wasn’t Pop-pop. But, despite that, I would tell you that he taught me more than he probably realized. I would tell you that he taught me that it is only the significant people in your life that make you significant—so you should make sure to always appreciate them and realize you are only you because of them. I would tell you that he taught me that in most cases patience and gentleness are the main ingredients to the solution. I would tell you he taught me that laughter is more important than anything—how if throughout your life, you can always manage to laugh deeper than you hurt—then things will always be okay.

But if you gave me minute, I would tell you that what the main thing he taught me was the meaning of Ohana. I would tell you that Pop-pop showed me that Ohana is about finding people in this world to spend time with—to celebrate with—to grieve with—and it doesn’t matter where they come from or how they got here as long as you love and look after one another. I would tell you how Pop-pop taught me that Ohana is not inherited, no, it is not a given in life—it is something you have to make, create, and work hard to keep. I would tell you how he taught me that Ohana is more about endurance than anything else—and that once you find it, you should never take it for granted. Then I would tell you that how taught me all of this without trying—how he taught me all of this just by being himself. That is what made him so special.

And finally, the last thing I would tell you is that at the end of my life—if there is even one person in this world that admires me half as much as his family admire him—one person that cherishes the memories, cherishes the Christmas Eve’s, the pictures, the time we had together—then I will count myself more blessed than I deserve to be.

After all of this—after everything I told you about him—if you asked me what I would say to him if I could see him one more time, I wouldn’t even have to think about it. I would say, Pop-pop:

Thank you, Arigato, and Mahalo.

Tries. Tires. Tires. Tries.

Tries. Tires.

Do to the first, is to experience the second. It seems it is only a matter of (re)-placing one consonant; one constant.

Hiro

I met an old Man once; one at the end of his life. His name was Hiro. Hiro taught me to appreciate the others in front of yourself that make you yourself. He taught me to remember that it is those others that are ultimately significant, and that you are significant only because of those others. He taught me that care is not automatic, not genetic, and not perpendicular; but eclectic, fluid, and colorful. He taught me that roots derive partially from inheritance, partially from good fortune, and mostly from endurance. He taught me most of this without trying, and without saying more than a few sentences over the course of each time I met him.

A Place

I had a friend once, she said "why don't we go, somewhere only we know?" I didn't know what to say. Why? Well, for a couple of reasons. For one, I wouldn't know how to get to such a place. And, for two, if I did--would I want to go with her? I wasn't sure.

But, it is more tricky than it seems: It seems if you knew how to get to such a place--a place only we know--you'd want to go there with that person. But, it also means you have been there before (?), since only the two of you know about it.

When did you go? And how did you know how to get there? Much less both of you?

And, even worse: What if one of you thinks you went to such a place, and, wants to go back; but, you are pretty sure you've never been to such a place with them, and because of that fact, don't want to return, or go for the first time, rather?

And, one last problem: If one of you can imagine that the both of you have been to such a place, and be deceived in doing so, how is it that you--one or both--know when you will actually get there? Its a problem, because obviously no one else knows how to get there, and so any outside help is precluded from the beginning.

This was all a bit much, so she said, "This could be the end of everything."

And I said, "Yeah".

Episodes In, Outside of, but Never Out of the Smoke-Filled Coffee Shop: Love

Another day soon after that, I had quite an encounter. I was siting in the back of the Smoke-Filled Coffee shop mired in smoke and text. I was away in concepts, trying to move beyond them. A precocious student sat near me and decided he would do me a favor by imparting his knowledge on me. We chatted a bit and he asked what I was doing there. I told him I was mired in a sea of smoke and text, he nodded in understanding, or pseudo-understanding, or both--I couldn't tell. Anyway, he told me he had been learning about life as of late--of love and hurt, of eros and of passion. I said, "Great". He spoke some more.

"You see," he said "Augustine taught me that we all desire love. He also taught me that we all desire permanence. But, Augustine believed in a God I can't believe in, after all, 'God is dead', so I had to move on." Enthralled, I said, "Wow".

"Yes, so Marion taught me that the love and permanence we desire is not found in that old God of Augustine's. He taught me that actually it is found in the erotic desire and transcendence experienced with an-other."

Really excited now, I said "Didn't Augustine say something of memory?"

He replied eagerly, "Oh yes, he said the memory is a strange, strange thing. It is where God resides and doesn't. It is where the self resides and doesn't."

"And doesn't Marion say something of me?"

Jumping out of his seat now, "Oh yes, he says that me is given to me by the other. He says the only way I can be me is through the receiving of my-self from the other in the transcendence of the erotic."

"Hmm," I murmured. "I tell you what friend, maybe you can help me. I have a question about me and memory. You see, I wonder about those in my memory. The ones that I tried to love--the ones that tried to love me back. Where do they reside and why? I'd like to forget some of them, but can't. I'd like to misplace them, but it seems impossible. And, if they gave me me, can I ever be rid of them? What if I don't want to be the me they gave me? I'm just confused. It seems like they reside in my memory and give me a me I am not sure I want anymore. How does the hurt linger so deep and so long? And, how can I forget something I not only remember, but which is so essential in making me "me" even now?"

He thought for a minute, and then left.

Sitting in the back of the Smoke-Filled Coffee Shop, mired in a sea of text and smoke.

Episodes In, Outside of, but Never Out of the Smoke-Filled Coffee Shop: Embarrassment

I remember one day close to the end of the Old Man's life. We sat in the coffee shop, mired in smoke and conversation. After a bit, we decided to walk down to the shore. On the way, just outside the shop, at the edge of the boardwalk, he tripped and fell. He wasn't hurt to severely, but the Old Man had taken quite a tumble. It was strange to see him this way--the fall revealed how his body had become fragile, his strength had left him, and now he lay in the sand almost helpless. "You okay?" "Yes, goddamn', let me breathe for a minute." I gave him some room, eventually helped him up and we made our way down to the shore. It was striking how the esoteric, intellectual, slippery Old Man had gone from so intimidating, so transcendent to brittle and weak so quickly.

We sat on the shore for a bit, just listening to the pounding waves. There was a bit of awkwardness between us, something I had never felt before. I knew he could feel what I saw. He could feel that I saw through him to his humanness. He knew he had gone from a demi-god, to a delicate old man in a matter of seconds.

What came next solidified in my mind everything I thought about him. He didn't defend himself. He didn't act proud. No, he did none of that. He didn't talk about how he used to be a strong, robust young man, or how he had fished for days on end, battled large fish, or anything of the sort. No, instead, his words were filled with a vulnerability, an honesty, a humanness--weakness--which made him all the more transcendent to me:

"You know son, to be human--to sit here like this day after day--is to be embarrassed." "What?" I asked eloquently. "You see," he went on, "you can't tell me where you came from. You can't tell me why or how you were thrown into this world. You can't account for you. But, you can ask about you. You can't tell me where you are going. You can't tell me why you should go there. But, you can think about it--project it--anticipate it. You appeared here, but you can' stay here. You exist--before your choice--but someday you won't exist, and that is beyond your choice too. Yes, it seems the most personal things about you are things you don't know about and can't account for. And, even beyond that, you can fall down and it hurts. You are here in body and your body is you. You can't escape it, and even if you did there would be no more you. That body of yours--you--does things you don't want it to. It not only grows, develops and decays. It does more than that. It longs, desirs, tries, wants. It is attracted to others--other bodies--other 'mes'--and can't stop, can't explain, can't resolve. It opens itself to them--is hurt, is vulnerable, is devastated. In turn, it devastates, hurts, and exploits vulnerability. You are embodied and you not only can't escape it, but you wouldn't know what to do if you did."

I shook my head to signal that I was lost.

"You see son, to be human is to deal with this embarrassment every day. It is to walk around knowing you don't know where you came from, why you did, or what to do about it. It is to seek, strive, and aim to find a home for this body--you--in a place that doesn't seem to have one. To be human is to open that body to others looking for home and trying with them. It is visceral. It is embarrassing. It is, at most times, excruciating. But, it is human. I'm old. I'm embarrassed. But sitting here, watching this damn ocean, I don't know how to escape it and if I did, I wouldn't know what to do--because I wouldn't be me."

I loved that Old Man. I decided that right there and then. I'd never tell him. I'd never reveal that to him. I pretended not to understand and not to care. But, at that point, I was glad to listen and glad to try to be human (as if I had a choice).

Me and Love

Shine, Light, Flourescence: blinding. I can't see for the light. Some think it is a matter of the opposite, but I am not so sure. There is light and there is, for some, Light. I tell you what son, I can't see for either. One is bright, attractive, sexy--the essence the erotic full of desire. The other is unified, everlasting, self-giving--the essence of what we call love without desire. But, I tell you another thing, neither of them seems to know, as hard as they try, that exploited, abused and raped thing we like to call love. Strange don't you think: that when love loses its desire, the erotic is eradicated. Yet, when the erotic becomes bare desire, love becomes superfluous. We dangle in the polarity of the two, looking at one another(s)--yes, in the light--wondering both why we need the Other--why and how we desire so endlessly, and, why and how that desire can never be reduced to objectification. Why are you Other? And, in the end, what does it have to do with me being me?

keep it real,

Tears and Heaven

"Would you know my name?" "Would it be the same?"

I guess what I am asking is, well, could I call you. You know, could I call you by the name here--the name I knew you by--the one which was given to you and you responded to? Because, I feel like if I could, there would still be the "you" there is to "me". There might still be an us, in cosmic, heavenly sort of way. I feel like if you let me call you by that name, then the time, the tears, the trying, the smiles, the laughter--memory--might be real. But, if not--if I can't call you, if I don't know your name--or the one that has been given to you--then, well, there will be memories, but no reality. See the difference?

Episodes In, Out of But Never Outside of the Smoke-Filled Coffee Shop: More About the Abyss

Many afternoons I sat with that Old Man in the Smoke-Filled Coffee Shop talking about the sea. We would stare at the sea, sip libations and occasionally speak. He told me about fishing and about his "lost generation". One time I asked him, "So, why did you keep going out there every day? How did you face something--the sea--so vast, so incomprehensible and so threatening? How did you grow to love it so dearly? How did you balance fear with enjoyment, anxiety with the presence to smile?" He took a long time to answer, but then he told me: "You know what's funny. When I was young I never asked that, I didn't care. I got up and went out to that damn sea every day. I woke up energized, ready to conquer, to swim, to catch. I woke up ready to give it my best. Then, yes, I began to wonder. I began to see a horizon that never moved. I began to understand myself as trapped under that horizon--held there--and no matter where or how or what I did, there was no escaping. The horizon was my prison. In that prison everything melted into the same--all of it could fit into the same frame. Good food, good boos, good company--it all felt, tasted and looked the same. Because, I knew the next day that horizon would remain and no matter how far I went or how deep I plundered, there was no way out.

"So how did you keep going all those years? Sheer determination? Duty as a man? What?"

He said, "The secret is not duty, not its not guilt, or even any lofty goals of grandeur. Pretty soon son, I'll be dead and so will you. The universe will go on without a hitch--it didn't care before and it won't care then. You and I will dissolve back into the dust we came from and that will be that. All the dreams, all the trying, the accumulating, the success--every fish I caught--will melt into the sea of cosmic indifference. You know how you keep going? You don't move the horizon, no, you find something in this Same which gives you a hint or an idea or a glimmer--a portal--into the Abyss. You see, once you find something within the horizon that can't be held by the horizon--well, nothing else matters. Its funny, you could meet a girl in the bar tonight--see in her face, in her eyes, in her smile--something that can't be reduced to patterns, or molecules, or informational codes. You'll see right through the horizon into the Abyss of transcendence and it will make those days not unquestioned, but more than bearable and even exciting. You'll remain under the horizon's gaze for sure, but there will be something in the world that can't be contained by it, something that goes on forever."

I miss that Old Man, but he sure talked alot of bullshit.

I met a girl at the bar that day. She was strange. She strolled in simultaneously trying to keep everyone in their at bay, all the while interested in their affairs. She was distant and engaged. But here engagement was motivated sheerly out of boredom and lack of self-confidence. She needed to be engaged in order to continue to tell herself she was doing everything for a reason, or at least to tell herself she was a good person. We talked for a bit. She was obviously intrigued by my aloof expression, stack of texts and obnoxious shirt. She did most of the talking, and my occasional interruptions only seemed to spur her on more. She told me about herself. Which was by all accounts astounding. She told me about two things: being noticed, being wanted, being somebody--being glamorous; and, caring, helping and contributing. It was funny to me that someone who cared so much for them-self was trying so hard to convince me (and herself) how much she cared for others. I told her that if she had to think about either one, she should probably quit one and focus on the other. She wasn't all that bright and asked me what that meant. I told her that if you have to think about caring about people--if you have to try to care--then their is no sense in trying to convince me, them or yourself that you really do. Only the ones that care without breathing--without reflection--without a moment--only those understand how to care for others. Otherwise, you are just normal and that is that.

She didn't like my little piece of wisdom so she left. I sipped espresso and thought about sunlight. I sipped espresso until the evening came and then took a walk.