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Showing posts with label Novel of Life. Show all posts
Showing posts with label Novel of Life. Show all posts
Saturday, April 16, 2011

Escape Into Chris - Entry 15


Sketch by Chris Al-Aswad


September 27, 2007 – Normal, IL


The personality comes and goes. My task is to stay aware – aware of my discomfort, my anxiety, my suffering. An insight – as I mature, I find that my path is not so much one of seeking perfection or discovering an ideal state or creating an ideal object of art, but surrendering to my limitations, my deepest imperfections. I don’t become a genius as I’ve always assumed but instead I let go of the ignorance, the fetters that delude me. This means accepting my greatest imperfections and loving the person I am now. Becoming does not resolve the human predicament. Being aware, however, can take me out of my personal drama and awaken me to my full capacity of love.
Wednesday, April 13, 2011

Escape Into Chris - Entry 14

Sketch by Chris Al-Aswad


June 2007 – Normal, IL


My personality is based on an overcompensation. I was wounded probably at the end of my childhood and at the beginning of my adolescence. I made several observations about who I am. I must have observed that I was not as smart as a certain group, that my intelligence was middle range and also that my abilities were mediocre. For the rest of my life, I would attempt to overcompensate for a belief that I am not as intelligent as the smartest group. I always compared myself to the highest, the brightest – they were part of the exclusive club I longed to be in. Similarly, socially I was not the coolest but I watched the coolest with envy and longing. This self division occurred in me early on. I told myself I must try to become unique. I cannot be like the others. Because I saw the smart people and the cool people as unique, as special but I was only average, mediocre, like everyone else. My turbulent adolescence centered almost entirely on this blind cause to become unique in whatever I could.
I saw sameness and difference everywhere. I loathed sameness and worshiped difference – to set myself apart from the rest. Individualism became my creed. My academic obsessions – I had to overcompensate for what I believed was an overall lack of ability. My drug obsessions and self abandon – I had to overcompensate socially. I did not want to be like everyone else – extreme drug use put me into another category. I was unique because of my intensity.
All of this overcompensation and the thick protective skin it has left on me – now that I prose my pain through the character of Lethe, I feel at last I have found the key to not only his drives and insecurities but my own – and everyone’s personality to the extent that all of our personalities are overcompensation for some lack we feel from long ago that has, over the years, attained a level of truth with us. With me, I’m completely identified with my writing – this is my ultimate project to once and for all prove or compensate for my lack of ability and intelligence. We are walking overcompensations, it is as plain as day.
What does this all mean? We are not ourselves – we are a reincarnation of our past selves. The wounded child or adolescent replaying the trauma over and over again by trying to cover it up, by being what he feels deep down he is not. Is the personality not a machine of overcompensation? For my novel – and I wince to say that because the novel is the epitome of my obsession. But what if, by knowing this about myself and others, I can expose it and Lethe is the obvious over compensator – obvious to everyone (the reader) except himself. Rose too. What is the result of blind strife, self hatred, the empty core of the personality – it’s a myth each of us believes to be in the truth. By now, we’ve programmed ourselves into certain protective traits, habits – to keep us from feeling that empty core. We have all had a prolonged exposure to the empty core of our specific lack – now we structure our life on the project of becoming what we feel we are not. What then happened originally? Were those initial perceptions of our death, our lack, mistaken?

Friday, April 8, 2011

Escape Into Chris - Entry 13

Lethe Bashar's Novel of Life Las Vegas

Written by Chris Al-Aswad and illustrated by Gerrar Gonzalez


June 20, 2007 – Normal, IL

In my novel, the main character is riding a bus to Las Vegas when he has an epiphany – “I’m an eccentric genius,” he says to himself. He’s writing a novel, he realizes, a novel of life. He’s writing his “aesthetic existence” in the words of Foucault. To Lethe, the world is the stage for his art. He immerses himself in drama with other characters, and then, suddenly detaches himself to investigate the random experience. The other people he meets in Las Vegas are the supporting cast. Lethe provokes them to create drama, to create experiences that he can later contemplate and analyze or manipulate in story form. Lethe’s arch-type is the magician – he takes pleasure in play acting and playing with social realities. He has a personal mythology – he unconsciously weaves and develops in his interactions with others. Lethe is also a narcissist and perhaps his greatest shortcoming is that he assumes random people he meets are conforming to his imaginary epic. It appears as though these other characters are meeting him on the same stage and perhaps they are momentarily – but this is an illusion because in this novel every individual is immersed and blinded by a personal mythology of their own. Where they are the center of their life – epic and they seriously play the role they have known since their earliest memory. Everyone around them is the supporting cast. Therefore humans go about thinking they belong to a universal script in which everyone else naturally understands their role – when in fact – our epics and roles are as diverse as our environments, upbringings, and countless other factors. We have difficulty understanding others when we forget the role we are playing. The liberating part of this theory of life is that when you become conscious of the role you are playing, you no longer have to play it anymore.

Read scenes from Chris’ novel of life here on The Blog of Innocence.

Read Chris’ graphic novel at Escape Into Life.





Friday, April 1, 2011

Escape Into Chris - Entry 11

Sketch by Chris Al-Aswad



2007 – Meditation retreat with Dad


“All in all, today hasn’t been that bad and things are looking up for you already. And while the body is irritating and you always wish you were more comfortable, at least you are aware of your pettiness and discomfort. We do have a lot to complain about and for that reason, we shouldn’t complain. We should just patiently endure it. I can’t say things are not constantly aggravating because they’re not. You seem to fall into a rhythm sometimes and the ugliness and the irritation recedes from your awareness.
Desire is a funny thing- eventually you get all those things you wished for. But what about happiness, which has an elusive way of appearing and disappearing. Don’t go looking for it though. Because it’s harder to catch than a butterfly though desire also runs away. When you’re chasing things, they are bound to run from you. Even the thoughts in my head I chase like rabbits – never to hold them. They rapidly multiply into whole colonies of rabbits. Soon I’m chasing rabbits in three different directions. Whether it’s the mind or the body, you’re mad. And then maybe it’s the moment because things change you know. That’s what I love about reality – it’s totally unpredictable. In the moment, I write a poem saying the body is miserable and everything is wrong. Already conditions (in me and around) are beginning to rearrange themselves. So I write to probe a mood of misery and then find I’ve come to a place where those things I’ve said at the beginning of the poem belong to the perceptions of another person. My tone changes like the feeling over my body changes - And those things I once felt were the bane of my wretched life are now like twinkling lights in a fog bound street. You can’t pinpoint where they’re coming from, but you know they’re there…”
Wednesday, March 30, 2011

Escape Into Chris - Entry 10


Sketch by Chris Al-Aswad

March 2005 – Normal, IL


"How do I trust or learn to trust? How do I place faith in simply being myself and not strive so hard to be the world’s next great author? When if ever will I be able to not think about writing. My consciousness, dominated by a few ideas branching off from one main purpose – I must be a great writer. If I was only a writer, then I could take my time. But I’m constantly reminded of the clock. And it removes me from the experience of life itself. I would like to see my writing become something – I would like to let go also. My mind is obsessed. Can it become un-obsessed when I feed that obsession every day, nearly every minute. What is that vital fluid that circulates my veins like hot lava? Will I ever know that the same substance – in the end – will kill me? Like my mother whose spark was too intense, I see her – in me."


Tuesday, March 29, 2011

Escape Into Chris - Entry 9

Sketch by Chris Al-Aswad


April 2009 – Normal, IL


All is incomplete
Can you handle
being
a work in progress
Can you handle
incomplete
unfinished symphonies
novels
portraits

The moments of perfection
of completion
like finished work
that you set your gaze upon

When I stop to think about
the shuffle and
that John Lennon song
pops into my head
the one about the wheels
it occurs to me that all we have
and all we’ll ever have
is unfinished work

I guess the realization comes
when you realize you’re not headed
to some moment of perfect
but just another
moment of unfinished
incomplete work

It was a dream I had
before I went to bed
I said ‘Dad-
both of us were in the car
on a strip of the highway
Both of us stared into the
light on the road ahead

What – my dad answered
Is it always like this -
I mean do you ever get
to the end of the road

That’s when the desert appeared
in and out of the shadows-
and cacti made faces

Your work is never done
and the road never ends he said-
Then are we lost I wanted to know-
No, we’re not lost, we’re just driving
Wednesday, March 23, 2011

Escape Into Chris - Entry 8

Sketch by Chris Al-Aswad

March 2005 – Normal, IL


“…Greatness is not assumed, it is earned and I have not earned it yet. These are just my thoughts, they are not public displays of art. Why to write art you need a form, like a poem or a short story, or a novel. Those are the buildings. But a journal, a journal is not timeless, it is transitory, fleeting like butterfly wings. One flap, and they’re gone. We so want to assert our spirits upon this earth. My mother, why hers casts a light across the family, her artwork, a colorful mural once foregrounded, now subtle, behind us. Where will her son come out? There needs to be industry. What will I produce, just these 25 year old thoughts? Language must be handled deftly, it must be learned from masters. This is not a vacation here on earth. We are expected to leave legacies for our children and if our children were never born, those who we love instead, but build we must. We must express the unexpressed, the eternal must seep through the words. And silence must fill our ears with images so resolute that we shy aware from their gaze. Our discussion is only with ourselves, we are forever talking back into our womb until our mother hears us calling back into her. We must warn our families, tell them to stop before they begin. These creatures have spirits. these animals have real hearts. We’re alive and song pours out of us. We’re so much of life we cannot hide from our own enormousness, impossible faith, beyond beyond…”
Monday, March 14, 2011

Escape Into Chris - Entry 6

Sketch by Chris Al-Aswad



Poems to my mother


We had fun didn’t we – on earth
We laughed, our laughing
released us from the pain
of circumstance.

We couldn’t adequately explain
or escape but like now
there are these nether worlds
right above or beyond – the
colliding particles of everyone else.

What I’m saying is that there’s
always a space to build a
sanctuary -

No space is too small -
your laughter filled those rooms
my laughter was the sky blue lining of yours -
enspiraled in one another.

hard to explain things now -
there has obviously been
a change

me here

you there

or here
i’m not able to give
the right word for every
designation

but i know this world is where
i’d rather be

opposed to the world on the other
side of this thin wall of
air? clouds? membrance of
something -

there are default worlds -
default worlds of pain – of
hunger – of void -

And i’d rather be in this
bright world of you -
of miracles dancing

I belong here. don’t i mother
with you. or not?

Are we really in two separate places?

i laugh when i think of all people i project my feelings onto -

when it’s so much better -
to relieve these minor deities

And talk to the source -

talk to the source – All these
bright stars – these individuals
web of stars – i’d talk to them
all – i’d memorize each one
of their stories – but

the door – the big door

is open. why make cold calls

to darkness – when angels

welcome you into light -

go ahead, fall back if you have to
Christopher

it’s only natural – gravity pulls
you down – everyone has to
deal with that -

Then go – let yourself go – Rise
like nothing – like everything
without weight -

this life it fades out -

watch with me
watch

i disappear

forever.
Thursday, March 10, 2011

Escape Into Chris - Entry 5


Sketch by Chris Al-Aswad


March 2005, Normal IL

“…We exist outside our conversations, with ourselves and with others, we are part of the silent nature of things. When we are confined to our thoughts, we look remotely out from the lighthouse of consciousness to the silent order of things. We move deeper into the sea of the body, the tide of the senses. We begin to taste reality. The unconsciousness formless realm has no preexisting shape or destiny but erupts spontaneously in unpredictable manifestations that can hardly be expected. Control is an illusion. By my fear, I am trying to control the silent order of things. It is a reaction to feeling separate, divided from nature. As I learn to objectify my mind and not allow the mind authority over me, I move closer into the realm of the unconsciousness. The silent nature of the universe brings life and death. Life and death cannot be escaped. By retreating into the stories of the mind, I am not avoiding death and I am not controlling it. Death happens and it will happen in various unforeseen manifestations. The silence is enlightenment, the silence is awakening.”
Monday, March 7, 2011

Escape Into Chris - Entry 4

Sketch by Chris Al-Aswad


March 2005 – Normal, IL

"…After the meeting, I went to Chestnut, which is an adolescent facility for addicts and sometimes I go there to help out and be of service. Every time I go there I am reminded of all the institutions I was put in and locked in and remember how horribly I treated the staff members who were trying to help me –who was i back then, something of the devil – my idea of myself outgrew the person and I was acting out a tragic role, a villainous cantankerous youth — who was I, all I can think is that I was lost, lost and the only way to know I was real was to stand out and gather attention, to draw the light on me at all costs…

…As I listened to to the adolescents, there was peace in my heart. I felt a well of silence in me and no strong emotions were pulling me one way or another – I was aware and listening deeply to every adolescent who had something to share. They were confused. How could you forgive someone who is unwilling to forgive you? They struggled with this because although they understood that it was the right thing to do, they explained how hard it was and how they refused to do it. I could see these adolescents were unlike me when I was their age – they wanted to get better. And they understood things that I didn’t understand at their age – they spoke of consequences and the law of cause and effect. They understood that no act goes unpunished. I meditated upon what they had to say and when there was a moment when nobody spoke I offered to say a few words. First I talked about how I had treated the staff members at Northwestern Hospital – how I spit in the faces of people who were trying to help me and my father who was trying to help me the most, I spit in his face too – he was the epitome of evil, the supreme justification of my drug addiction, he was the reason for my failure and I told the adolescents how my life was like a Greek tragedy and I was the ultimate victim at the center of it, the wronged Hamlet — After the meeting one of the adolescents who was sitting next to me said he had a question for me, I could see that he was nervous. This youth had acne all over the sides of his face and you could see a heavy burden of anxiety and confusion mixed with fear on his brow. He said he’s been looking for a sponsor for three months and he hadn’t found one. He was wondering if I would sponsor him – this struck me – that for the first time in my recovery there was actually someone coming for my help, asking for my help – two human beings created with the possibility of helping one another. As if in God’s divine creation I could see the pieces fit, how two humans mutually benefited each other. It amazed me, someone asking for my guidance, a flood of joy was rising in me but I stayed calm and told him of course I would help."
Monday, February 28, 2011

Escape Into Chris - Entry 2

Understand Still by Nick Lepard


February 2007 – Normal, IL

“…What I’m a finding overall is that this image I have of myself in my mind should not be taken so seriously. Who I think I am is an illusion. Yes, I’ve devoted myself to writing but there is nothing remarkable, nothing truly genius about my writing now. The only thing that separates me from the average person when it comes to writing is my obsession with it. I am always focused on what I have to do to improve my writing. It doesn’t matter what I write and perhaps it never will matter what I write. It is the journey I crave, I crave a place to go inside myself and not the neurotic hall of mirrors I’m usually in, but the mysteries of the unconscious. I am an explorer – some travel to different places, I travel inward to different places. I am not content staying in this mental dimension. I wish to travel, to see other domains, to experience other realities. Perhaps that is why I am so attracted to cultivation. By cultivating myself I become something greater, something more than what I had seen.”

via Escape Into Life
Wednesday, February 23, 2011

Escape Into Chris - Entry 1

In tribute to the life and works of Chris Al-Aswad, we, his family, are honoring his memory by posting regular excerpts from his writings here at his website Escapeintolife.com

Summer 2006 - Normal, IL

“… I worry that I won’t have enough time, once work starts, to read and write. But I also know there is always enough time. We just don’t happen to see all the time that is available to us because we are clouded by a fear of death.

My urge to read and write is a defense against death and its anxiety. I feel that I am finite and by reading and writing and by leaving a living record of my self, I believe that I can transcend my own death. I participate in the life that so many people lead without even thinking about it. That is, working a regular job, having a family, or having a wife for me is a burden, because by leading what most would consider a normal life I am “giving up”, in a sense, I am surrendering to my own mortality. By retreating into this world I have created with words and books, I hope to transcend my own death. But I need to make sure I live. I will never be able to transcend death until I fully live.”

Tuesday, February 22, 2011

Escape Into Chris


A long, wintry six months has passed since EIL and Blog of Innocence's founder, Chris Al-Aswad, left life behind and stepped into the world of the Spirit. In addition to countless unforgettable memories, Chris also left us with dozens of journals brimming with his deepest thoughts and philosophical ponderings of existence on planet earth. Recently, my Father and I began exploring them in depth, discovering incredible, illuminated passages rife with prophetic, provocative insights and brutal honesty. While the quest to fill the space that Chris’ parting left in us will continue for our lifetimes, we’ve found solace and uplift in the notion of sharing these with the people Chris cared for most, his friends in the EIL community. Clearly, the spirit of Chris lives on in them, as well as in the eternal flow of the creative life-force, and so he would surely approve. We will start by posting one a week and are open and eager to hearing your feedback.






Monday, March 22, 2010

How I Escaped from Rehab


I called my mother from the Backpacker's Inn, a gritty sort of place outside the Vegas Strip. I'd been living there for approximately two weeks.

"Let me come home," I said. But she was too worried about what I might do in Chicago.

"Go back to rehab," she said in her brittle voice. My father had recently divorced her and she was living with a caretaker, who I could hear in the background.

I knew I couldn't stay in Vegas anymore. I was making too many enemies and I didn't have any money. They allowed me to stay at the Backpacker's Inn each night because I cleaned the rooms during the day.

My mother paid for my plane ticket and I flew out to Tucson, Arizona, where I had already been to rehab but was kicked out the 28th day when I refused to do an after-care program. I was going back there because I had nowhere else to go.

The thing about Cottonwood de Tucson is that it's filled with lots of rich people and celebrities. It's in the middle of the desert and has a gigantic swimming pool, palm trees, and ten or fifteen resort-style bungalows. The food is gourmet and healthy, and the chef greets you as you enter the dining hall.

My roommate was the drummer of a famous musician, who was there for a pot addiction. He was fifteen years old. To me, however, it appeared like he had an addiction to drawing penises. He would draw them everywhere with a black sharpie, benches, sheets of paper, his arm.

There were others too. This one lanky man, about six feet tall, wore a cowboy hat and yodeled at night. He strummed on his guitar and made up songs on the smoking bench. He said he was a television writer in LA and wrote the first season for NYPD Blue. He left the center a couple times in a cab, but was brought back by his wife.

But when I returned to Cottonwood after Vegas, it wasn't the same. I didn't recognize anyone, other than some of the staff members. The first day I guess you could say I got off to a bad start. We were only allowed to smoke at the smoking bench, and I was lighting up wherever I wanted. They yelled at me, told me to put out my cigarette.

I was already getting sick of the daily mantras and routines. I pretended to be involved but my mind kept wandering back to the places I'd been on my own, without any adults telling me what to do.

On the second night, the leaders called us to the rotunda for a medallion ceremony. You always have new people coming in and out of these places. We were expected to say goodbye to the ones who completed the program, and there was a circle where you passed around the medallion and made a wish for them.

On my way to the rotunda, the thought crossed my mind, "What if I just ran away?" It was an impulsive thought, but when an impulse takes hold of me, it's like I've been abducted by an alien race. The voice of reason never comes through in these moments. It's only the urge that speaks to me. A whole new reality can be made in that moment, and I feel alive.

Everyone was far ahead of me, most of them had already entered the rotunda for the medallion ceremony. I turned around and walked back to my room. I gathered my things and threw what I could fit into my backpack. Then I started to creep along the outskirts of the compound toward the highway.

There were no security guards, no high walls to scale. The rehab center proudly called itself an "open" treatment facility, where you were "free to leave at any time."

And so I left.

I'm not going to lie here. It really thrilled me to do outrageous things when I was younger. I'm not the type to go speeding in cars or jumping off cliffs, but a singular rebellious act filled me with extreme self-gratification. And it still does sometimes, although I've learned to choose my rebellious acts carefully.

But that doesn't mean that I wasn't nervous when this happened. I didn't want to get caught, and my heart was beating violently in my chest. I really wanted to make it out of there without anyone seeing me.

I followed a long driveway which begins at the admission office and extends about a quarter of a mile to the highway. The driveway was pitch black and strewn with rocks. To the side, there was a thick barrier of trees and some houses with their lights on.

The highway curved around the head of the Cottonwood entrance, and a car passed me at breakneck speed. I realized I had to clear from this area as soon as possible or risk being dragged back into the Garden of Eden. So I ran along the shoulder under a canopy of trees for a hundred paces and then sprinted across the highway.

The highway was an elevated pavement running between two large ditches on either side. The shoulder was thin and I had to balance myself on the edge of it while watching for oncoming cars. I figured I was better off in the ditch than making this tight-rope walk in the dark. So I slid my body down into the trench, where some debris and empty beer bottles were scattered at the base.

Unfortunately, I couldn't just walk straight through the ditch. In some places, the ditch stopped completely at a wall of dirt and sand. I waited in the ditch for a couple minutes and then tried to see what the desert looked like on the other side. If I could pull myself up somehow, I would be at the foot of the desert.

I was born in Illinois and I'd never trekked across a desert before. What you don't think about the desert at night is how different the landscape is, really severe, stark territory. When I climbed onto the other side of the ditch, I felt watched by the vegetation. There were vast open tracts of land and then clumps of knee-high prickly bushes. You couldn't walk in a straight line. You had to zigzag around the plants and cacti. I kept shielding my legs from the snags of bushes. Thorns everywhere. My shins were bleeding.

In the distance, I heard a car coming and so I dropped down on my stomach next to a prickly brush. Through the brush, I could see a white van, the same white van they had at Cottonwood to haul the patients from one place to another, and I knew it was Cowboy Bill driving that night because he was the only one on transportation duty. In fact, before the medallion ceremony, he had just taken us to an AA meeting in Tucson. He told jokes on the way and everyone laughed.

I waited in the desert for a long time, keeping myself hidden. The moon shed a little light over the area where I was sitting, and I took out my journal to scrawl a couple sentences. Throughout my drug addiction, I carried a journal everywhere I went, and I felt compelled to report on my state of mind during these climactic moments.

As some of you may know, I began writing these stories as a novel. One of the reasons for this is it felt like a novel as I was going through it. The divorce between my parents, my mother's illness, and the numerous psych wards, rehabilitation centers, and halfway houses I encountered, made up a chain of surreal events. But the strangest thing of all was my delusion, my magical thinking, that I could alter the course of events by actions such as this one. I imagined myself as a heroic figure, rebelling against the dictates of my father, and all authority by extension, in order to reclaim a sense of my own free will, however twisted, and not give in to a ready-made script handed to me by someone else.

After about forty-five minutes, I was becoming more aware of the sounds and movements around me. A pack of coyotes howled somewhere in the distance. An owl appeared in the crook of a cactus and turned its head 180 degrees. I imagined snakes slithering across the desert floor when I heard the bushes shaking. So I threw my backpack over my shoulder and in a hurry to get out of there, I climbed over several dozen thorn bushes, which ripped the skin under my thighs.

Once I got to the edge of the desert, I gladly jumped into the ditch, which to me was a far better place than the eerie desert. It was probably two or three in the morning when I stepped onto the shoulder of the highway, with not a soul in sight.

A car passed along the highway every twenty minutes or so. I stuck out my thumb each time, but nobody stopped. It was hard to believe that I was actually hitchhiking like this. At first I exulted in the sheer fact that I was out there, on my own, giving myself up to perfect chance. But as each car passed, I started to feel less and less hopeful that someone would pick me up. The stretch of highway ran on to infinity, it seemed, with only the ridge of the desert and some occasional towering cacti to provide me a sense of direction.

Every time a car passed me, I thought it would be the last. Then I saw a pickup truck slow down ahead. The red, rust-bitten pickup went in reverse until it was right where I was standing. A man in his late thirties leaned over and pushed open the door. He had on a nice pair of jeans, which I noticed for some reason. I think I was looking for clues as to whether I should get in his truck. I got in the vehicle anyways.

Friday, February 19, 2010

A Noise from Lethe's Room


Donte and the Senora were engrossed in watching NASCAR. The lights were off, the Senora always watched TV with the lights off, and the television screen glowed in the center of the room. Donte sat with his hands in his lap, as if he were praying. He kept his back straight out of habit, and never sunk into the cushions. The Senora perched on the edge of the couch, hunched over an ash tray that was gradually accumulating a small tower of ash. Her night robe hung loosely off her shoulders as she poised a cigarette between her two fingers, hovering close to her mouth. When her cigarette was finished, she lit another one.

It was a tense race. Donte never cared much for car racing, but watching it with the Senora seemed to change his opinion. He enjoyed her enthusiasm for the sport, she was the last person he would expect to be a NASCAR fan, and the whole thing was now mildly entertaining to him. The longer he watched the cars go in circles around the track, the more he began to appreciate the sport. It seemed like such a masculine activity, cars, engines, men driving, but the crashes were unexpected and exhilarating. The Senora said she looked forward to a “good crash.”

And then, suddenly, the Senora asked, “Where’s Lethe?”

Donte checked his wrist watch, an old Timex. “I think he’s in his bedroom.”

“Tell him to come in here and watch the races with us.” Her attention went back to the TV screen.

Donte didn’t exactly like to meddle in Lethe’s business, but he could see that the Senora wanted him to do her this favor so he stood up abruptly, with purpose.

“I’m worried about him. He hides himself in his room too much. We need to keep an eye on him.”

Donte walked to the end of the hallway. His footsteps were audible throughout the entire apartment. It was an old, creaky floor.

Before knocking, he heard some sounds coming from inside of Lethe’s room. It sounded like furniture was being pushed against the walls. Donte tried to regain his composure by straitening his back and shoulders, then he waited a moment longer, and knocked.

“BUSY,” Lethe said.

“Maria Angeles wants you to watch TV with us.”

Whatever noise had been coming from the other side of the door, stopped.

“I don’t know why she watches that ridiculous sport. It’s like an obsession with her.”

“Maybe she just wants you to sit with us.”

“NOT FEELING UP TO IT!”

The shouting startled Donte and he stood by the door uncertain what to do next. Then the sounds began again, except louder. There was thump and a bang which caused Donte to jump and let go of the door knob he’d been holding.

Finally he said, “What’s going on in there?”

“JUST HAD TO MOVE SOME THINGS AROUND. I’M FINE NOW. THANK YOU.”

“But what about the Senora? Does she know about this?”

“NONE OF YOUR BUSINESS DONTE.”

Donte sighed heavily, leaning his weight against the door. “The Senora’s coming to see what’s wrong. She heard the noises. Are you okay in there?”

What followed was a long silence and no immediate answer from Lethe. The Senora’s presence was approaching in the hallway, but then she turned and went into the kitchen.

Lethe said: “I’M FINE. JUST TOOK A LITTLE SPILL ON THE BEDROOM FLOOR.”

Then the door opened slightly and Lethe’s figure appeared toward the back of the room. “I tried to hang myself tonight.”

“What?” Donte looked up in astonishment and saw a bedsheet tied around a fan. The fan was turning wildly and the sheet was flapping against the ceiling.

Donte's shoulders sagged forward, and his mouth hung out. “The Senora can’t know about this Lethe. She’s on the phone with her daughter right now. If she finds out, you might have to leave.” And he shut the door behind him, as if that would seal things, as if that would keep it a secret.

They stood face to face in Lethe’s bedroom. Donte’s forehead showed a line of sweat dripping down the edge of his cheek. He was clearly shaken up by Lethe’s antics, and there was a sort of self-pity in his eyes. But Lethe hardly noticed, he looked like he had no emotions. He was pure steel.

“I’m not going to tell the Senora.” Donte said, reassuringly.

“Why are you trying to protect me?” Lethe shouted.

“I’m not trying to protect you. I just can’t believe you tried to kill yourself tonight. She’s an old woman, Lethe! You’ll give her a heart attack.”

Lethe was so out of touch with reality at this moment that all he could do was turn around and walk out to his balcony. He stood overlooking his balcony for about five minutes, without a word or a sign that he was even there. Donte collected the debris on the floor, which had fallen from the ceiling.

The balcony doors were pushed open by the gentle night breeze. Lethe lingered in the open air, smoking. "I’m worthless,” he said. “I can’t even kill myself properly.”
Wednesday, February 3, 2010

Dinner with the Senora


The Senora cooked a delicious meal that night. The three of them sat down together at nine o’clock.

The basket of fresh bread went around the table. The bread in Spain was baked just right. Lethe lingered over the crust in his mouth as if he’d never tasted bread before. Steam rose from the soupy bowl of creamed broccoli. The thick potato-and-egg tortilla shimmered with blotches of oil. The Senora had left open the balcony door and cool air was coming in, mingling with the heat from the oven.

“I’m reading a wonderful book right now. It’s called The Alchemist.” The Senora’s voice boomed across the table. There was a curio cabinet standing behind her that trembled and the little copper plates inside made a tinkering sound.

“A young man goes to seek a buried treasure in Egypt. I would imagine he’s the same age as the two of you–” The Senora spoke with an incredible passion, a passion that came out of nowhere. Her eyes shut tightly and creases formed across her dark forehead. “Have you ever dreamed of making a quest in your life?” She asked with a kind of fierce curiosity.

Lethe felt the force of her enthusiasm. And he thought he understood what she was saying. He liked the idea of a quest, it sounded like a brilliant idea, and he thought he should make one sometime soon. “Este es una aventura con todos, aqui, en Espana,” Lethe uttered to his own astonishment.

The Senora nodded her head in mutual understanding. “Claro que si, hombre. Para tu. Si.”

“Pero–” Having gained this tiny bit of encouragement, Lethe continued to speak Spanish. “La vida is pobre. Demasiado pena. Quiero vivir sin preocupacion. Mis aventuras son puertas, como puertas . . ..”

“Puertas de que?” Donte asked suddenly.

“Puertas de–, no se, no se. Lo siento.”

Nobody knew what he was saying anymore. He peered into his potato omelet, waiting for the moment to pass over.

After that, Lethe watched the Senora and Donte exchanging Spanish sentences effortlessly. He desperately wished he could take part in the discussion they were having. How nice it would be to communicate like that in another language! He envied Donte for his practiced speech, his eloquent manner. Donte was merely an exuberantly cheerful person, not a show-off as Lethe had imagined him. It was wrong of Lethe to judge people so quickly. He told himself he should give Donte another chance. Of course, there was a bit of envy for Donte’s natural charisma, his intelligence. And Donte’s hair bothered Lethe, the way it bounced, but one learned to overlook these things. He decided to give Donte another chance. Perhaps he had false judged him.

“The true Spanish bible!” The Senora exclaimed. They were talking about Don Quixote by Cervantes.

“My favorite part, Chapter 26, I’ve read it hundreds of times, when the Sorrowful Knight kills the puppets because he thinks they’re real people!”

“Master Peter’s Puppet Show. Master Peter’s Puppet Show . . .”

“Don Quixote wants to save the damsel, that’s why he destroys the puppet theater. He’s gone completely mad!”

Donte’s jet-black hair bounced relentlessly but Lethe chose to ignore it.

“Ingenio, ingenio . . . Que linda! Que linda!”

“I can tell you haven’t read it,” the Senora said to Lethe conspiratorially. “Here, use my copy.” She shoved the big book in front of him.

Lethe pushed apart the dry, yellow pages. The little black sketches helped him recall a couple scenes from the book he hadn’t read, only skimmed.

“There’s a bookstore on la calle de Felipe. Go buy yourself a copy in English. Nobody can figure out exactly what the novel is about. They all say it’s about Don Quixote’s idealism. Well, that he’s crazy for seeing giants instead of windmills. But when you really get down to it– Oh, just read the book Lethe, you’ll learn so much . . . ”

She brushed some crumbs into her hand and smiled at her two boarders. “Now it’s time to go to bed.”

Monday, February 1, 2010

Donte


Lethe met Donte at the airport where they split a taxi to get into the city. They were dropped off on a street with several residential buildings divided by small shops and a grocery. After climbing eight flights of stairs because the elevator wasn’t working, a woman in her late sixties answered the door.

Donte was smiling graciously and looking very happy to be here. His suitcase immediately dropped to the floor. A younger woman, maybe thirty years old, rushed over to help Lethe. She reached for his suitcase and carried it into another room.

You had to follow her around when she was talking. She talked fast, in a string of adjectives and nouns and participles. Lethe was trying to make out her sentences, and translate them quickly, but each time he had a sentence figured out, there was another he didn’t understand. The Senora stood off to the side, content to watch her daughter take care of things. The older woman had a solemn, but not unfriendly expression, and she was mostly silent.

In the kitchen, there was a skylight and a compact European laundry machine. A clothing line stretched from the top of the stove to behind the laundry machine, with plants in the window next to it. Donte explained to Lethe that the Senora’s daughter had just gotten married. This caused some embarrassment for Lethe, as if Donte could tell he was confused. “One of you will have my bedroom,” the Senora’s daughter said. This Lethe understood.

“There’s coffee here,” the daughter pointed in the direction of the counter.

“Much gusto, gracias.” Lethe replied. Later he wondered whether the coffee had been offered to him.

The Senora’s apartment was thoroughly grey. The blankets on the couches were grey. The curtains, while not grey, filtered the light so that the center of the room was a pool of bluish grey. And the little metal ashtrays had heaps of grey ash standing in them. The Senora went around to pick up these ashtrays and she emptied them in the trash while her daughter brought the coffee into the living room.

Lethe didn’t even pretend to follow the conversation after the first ten minutes. He just looked about the room in a half-daze, wondering when he would get to see his bedroom. All the syllables and accents blended together; the back and forth of Spanish words grew indistinct. But then the Senora took out a cigarette from her shirt pocket and lit it in front of him. He looked at her intently. She puckered her lips on the cigarette, taking deep drags each time and her face seemed to glow with an extraordinary kind of pleasure. After making these gestures a couple times, Lethe was struck with the impression that he had known the Senora for many years. She seemed familiar to him.

Lethe reached for his cigarettes in his pocket, and Donte turned away, as if averting himself from some terrible thing. But Lethe looked again, and Donte was smiling graciously just as he had smiled when they arrived at the apartment. Now Lethe decided that Donte’s smile was a fake one, a buoyant fake smile which almost never went away.

The Senora and Donte were sitting on the couch, facing each other, and the daughter had stopped talking and was writing something down on a piece of paper. It was apparent that she had lost her energy as a host. Meanwhile, Donte continued a conversation with the Senora, who at this point, only seemed to be half-listening to him. Lethe couldn’t understand a word he was saying, but he imagined Donte giving the Senora all sorts of good-natured reports, about his old schools, his family, his brother in Cuba. This was fine because Lethe wanted to sit on the couch and smoke his cigarette. A general pleasant feeling came over him, thinking about living here in this apartment.

The Senora nodded her head to show she was listening to Donte. Occasionally she added to the conversation, but mostly it was Donte speaking. While the two of them were more or less occupied, Lethe took the opportunity to steal another glance at the Senora. Her short grey hair appealed to him, close-cropped, even stylish for an older woman. She had a trait of masculinity too, or maybe it was androgyny. She was not feminine, but she was also an older woman, so perhaps women stopped being feminine when they grew older.

And then Lethe reflected on Donte, whose perfect mold of jet-black hair brushed his forehead lightly as he engaged himself in conversation. His skin was a rich carmel-color, like what the carmel looked like when it was in your mouth with the saliva on it, and he resembled a Spaniard even though he was not one.

Afterwards, the Senora’s daughter showed Lethe and Donte to their separate rooms. The rooms were also grey, but clean. Each of them had a balcony. Lethe quickly stepped outside onto the balcony.

The pastel stucco buildings that covered the horizon of the city had an artificial quaintness. Lethe puzzled over the beauty for awhile. The mountains in the far distance possessed an undeniable charm. The patios were flower-filled and had shiny white railings. The drapes of the apartments were white lace. The whole Spanish world seemed like a picture of perfection to Lethe, with heightened beauty all around.

Donte knocked on his door and suddenly broke this spell. He wore a hemp purse slung around his right shoulder. “Do you want to go for a walk?”

Inside the souvenir shops that lined the street, there was a dank smell. The vendors looked up in a mood of semi-irritation and mumbled incoherently into cellphones. Real gypsies reposed on heaps of fabrics with their scrawny, green-eyed children offering trinkets and begging for change.

The city itself was in a hurry. To Lethe, it seemed like everyone was rehearsing for a large theatre production. Chic, well-dressed Spaniards darted at his sides, and businessmen carried brown briefcases with determined faces.

The city had a gothic aspect; stone buildings with grille windows, and narrow, labyrinthine streets. In the air was the smell of fried pastries and the occasional whiff of trash bags.

There were signs, all of them in Spanish. National banks, telephone companies, lottery tickets, fresh vegetables, cigarettes. Lethe studied the letters, but he was unable to decode their meanings. The strong presence of foreign words, words that couldn't be ignored, words that appeared in big and small lettering everywhere you looked, added to the strangeness of his first experience in the city.

Spanish women wore provocative clothing. Lethe saw one woman in a black, elegant summer dress without any underwear. He walked behind her for a long while. Then he declared, “I’m in love.”

“With whom?” Donte looked around.

“I’m in love with this fucking place.”

“It’s not that bad.”

“Not that bad. It’s incredible. I can’t believe we’re actually here. Now, what are we going to do?"

Thursday, January 28, 2010

At the International Institute



On the morning of September 5th, 2001, instead of going to class, a student panicked and ran into the bathroom on the first floor of the International Institute in Madrid, Spain. As the clock struck eight, a monastery silence reigned over the building.

Staring so deep and hard at his reflection drew an excessive amount of strength and soon the student was overwhelmed and needed to sit down. He pressed the stall door, which opened like a confession booth.

“What’s wrong with me?” He asked.

As he waited for an answer, he stared up at the birds walking along the parapet.

“I’m living in a city without a single person who speaks my language . . . I could disappear tomorrow and nobody would know I’m gone.”

The rules of the study abroad program in Spain dictated no English allowed. The student saw this as a harsh and impossible demand. There were several other study abroad programs in the International Institute, none of which had to follow the same absurd rules. Americans chattered endlessly in the halls, unaware of their own freedoms. The sound of their carefree voices was the constant backdrop to his day. He lurked in front of the bathroom before disappearing into it, unable to communicate his frustration.

The walk from the Senora’s apartment to the International Institute took approximately thirty-five minutes. Walking in the city of Madrid was like making one’s way through a giant abyss, the immensity stretched to invisible corners, with crisscrossing roads and similar-looking plazas, and soon the endurance of walking became painful and self-conscious.

Of course, he was thinking of what awaited him at the Institute, what he would have to endure once he was there. The tiniest things transformed into a rash of paranoid fantasies. A little sweat, breaking out on his temples, gave him the sensation of razor blades.

At a certain intersection, construction workers swarmed the sidewalk. Cigarettes burned down to their teeth as they shouted orders in raspy, phlegmy voices. Then came the jackhammers with a crescendo of shrill intensity.

Lethe ran down a stone alleyway into a wide-open plaza, breathlessly watching the stones pass beneath him. Finally he arrived at a chamber of the city hidden from the march of pedestrians and the wail of traffic. Inside this serene plaza, a cluster of old men sat with their legs crossed, reading the morning paper. Sunlight scattered in equal measure on the fountain and across the granite stones. The plaza formed a mosaic under the big-domed sky. A lazy dog with thick, yellow bristles breathed heavily under one of the old man’s chairs.

Lethe stood next to the fountain, debating whether he should go to class this morning. The yellow dog looked up at him.

“What’s wrong with me?” The inner voice said.

Then, one of the Spanish gentlemen smiled wistfully, as if recalling a far-off dream. The Moorish columns of the city glinted behind him.

Lethe glanced back at the dog, and saw how perfectly content it was . . .

“Que Vida! Que Vida!” The old man shouted.

The other men in the chairs hardly moved; they were like the dog, barely awake.

“Que Vida! Que Vida!”

It was too late to make it to his next class. He decided to stay here.


Scenes from the Novel of Life

Balconies by Eric Chan

Scenes:








Author's Note:

The Novel of Life
is a project I formally began about seven years ago, although it seems I was drafting the novel in my journals even farther back than that, almost ten years now . . .

Lately I've been working on the section of the novel that takes place in Madrid, Spain. Gerardo Gonzalez, a comic book artist from Argentina, will soon be creating a graphic novel version of the Spain section. He is almost finished with the Las Vegas section, which can be viewed on Escape into Life.

I have the first part of the Spain novel complete. I envision two more parts. My problem is, however, I continually revise the Spain novel until it perfectly evokes the memory of my experiences in Spain. This is the first time I can say with confidence that the first chapter is done--no more drafts.

I plan to publish the finished drafts of the Novel of Life to this blog. Most of the chapters are scenes that can be read separately. I'll continue to write my series of posts on 25 Profound Works of Literary Genius, and I'll continue to publish essays from time to time. But I would like to now focus my energies on fiction.

Fiction has always been my first true love. I grow apart from it when I lose the inspiration to work, and for the last year and a half, I've been writing essays. I feel I am ready to return to my fiction, and I want my readers on the Blog of Innocence to enjoy this experience.

I encourage you to read the scenes on the Blog of Innocence, if you can wait for the story. Most of the first part is done and the chapters should appear with frequency.
Thursday, April 23, 2009

Is All Innocence Tragic?


Some of you might be wondering about the title of this blog. What does it mean?

The title came to me last summer when I was reading the forward to John Barth's The Sot Weed Factor in a Barnes and Noble. Something about Barth's book suddenly caught my imagination--you know, the mystique behind a book which catapults a reader on a wild-goose chase to find it. But before I was going to shell out the money to buy the book I wanted to find out if the contents were as enticing as the idea (as well as the cultural fame of Barth's "greatest novel"). And so I found myself a big leather chair and began John Barth's Forward to the Anchor Books Edition. I read the following:

For one thing, I came to understand that innocence, not nihilism, was my real theme, and had been all along, though I'd been too innocent myself to realize that fact. More particularly, I came better to appreciate what I have called the "tragic view" of innocence: that it is, or can become dangerous, even culpable, that where it is prolonged or artificially sustained, it becomes arrested development, potentially disastrous to the innocent himself and to bystanders innocent or otherwise; that what is to be valued in nations as well as individuals, is not innocence but wise experience.


Other phrases he'd written in the Forward resonated with me, including "the bitter quest for independence." Yes, I could relate to being too innocent, dangerously innocent, and much of my adolescence revolved around this theme of tragic innocence.

Now that I'm an adult, what does it mean to be innocent? Can I still preserve some of that innocence without sliding into the despised state of arrested development? Nobody wants to be stuck in a place they were twenty years ago. And yet, sometimes my life strikes me as so foolish and pure. As if I were enjoying the thrill of it for the first time, even if the momentary delight meant forgetting my entire past and the very troubles which caused me to lose my innocence.

Which brings me to another Forward by an author speaking about his novel, Pornographia, in much the same way Barth does--that is, in trying to make sense of the novel for future readers. The novel is by the Polish writer, Witold Gombrowicz.

The theme is not innocence exactly, but the value of youth. Here he writes:

Let us try to express ourselves as simply as possible. Man, as we know, aims at the absolute. At fulfillment. At truth, at God, at total maturity . . . To seize everything, to realize himself entirely--this is his imperative.

Now, in Pornographia it seems to me that another of man's aims appear, a more secret one, undoubtedly, one which is in some way illegal: his need for the unfinished . . . for imperfection . . . for inferiority . . . for youth . . .

When the Older creates the Younger everything works very well from a social and cultural point of view. But if the Older is submitted to the Younger--what darkness! What perversity and shame! How many traps. And yet Youth, biologically superior, physically more beautiful, has no trouble in charming and conquering the adult, already poisoned by death.


In writing his epic historical novel, Barth comes to the realization that innocence poses a far greater danger to society and the individual than nihilism. It is "wise experience" which we should then aim for. But Gombrowicz takes a different angle. Fascinated by youth, he believes there is actually something valuable in incomplete experience and unfinished work. He believes that a sort of tragic innocence might save us. But it is not the same tragic innocence that Barth talks about. The tragic innocence of Gombrowicz is the body, sex, Eros.

Whatever innocence I have preserved in my life stems, I believe, from the sensual, artistic makeup of my being. I have an inherent curiosity in the moment--the moment when you are so engulfed by life you cannot possibly see it or examine it--your only option is to embrace it and live in it like a child in a giant body of water, lulled by the waves of emotion, sensitivity, and the sparks that humans create together, whether it is through an engaging conversation with a friend or a romantic encounter with a stranger. I become innocent to life in these moments.

Is this a case of arrested development? I hope not. But some of my behaviors lean toward what John Barth calls the "dangerously innocent". Take, for example, right now. It is 2:40 in the morning and I may stay up all night writing. Or my latest fall into dissolution which I talk about in the essay, "Aphorisms and Meditations". I may go to bed with the knowledge that sleep is good for me. Yes, an entirely adult thing to do. Or I may continue to break the boundaries I set up for myself in the adult world.

Am I embracing Gombrowicz's positive view of innocence or Barth's negative one? I see value and truth in both. Clearly, I cannot go back to being a drug addict. The life of an addict is the epitome of arrested development. It is a juvenile, idiotic and selfish person who thinks only of their own pleasure. Not innocence at all.

As an artist, I rarely display the behavior of a drug addict, but I get close to that of a child. I flirt with the boundaries in my mind, if not in reality. I attempt an attitude of innocence toward new experiences. I'm turned off by my cynical friends. They don't represent wisdom to me, or intelligence. They represent fear.

To be truly innocent is to be open to the world, unafraid to die, and looking forward to the "awfully big adventure" of life. That's what Peter Pan said when looked across the wide ocean. But where did he end up? Never Never Land, which can't be anything but a state of arrested development.

Or Don Quixote, another innocent saint. His innocence caused him a lot of bloody wounds and beatings. What do his strivings represent?

I'm drawn to the magical quality of innocence in life. I don't think I want to "preserve" my innocence. There should be no effort involved. Innocence should be a natural state. And if we've been hurt before and if it is impossible to be innocent, then we should try to forgive ourselves and others. Because love and innocence seem very closely related. To love someone, you must forget.


ARTWORK BY DAVID FULLARTON


More Essays . . .