Tag Archives: Insomnia

Where You May Find Me (in 12 parts)

The Artist at Work

self-portrait: the artist at work

1.

Growing up, my older brother collected butterflies. I remember little more than the lurid details—final flutters in the killing jar, paper strips and pins to assure rigor mortis set just right, and the second generation of smaller insects invading his collection’s abdomens.

2.

At my age, memory dotters about the inessential, humming and speaking to and for itself. I struggle to find energy to record it.

3.

The book I’m reading contains prose that makes me want to write. The urge has mostly passed otherwise. Somehow the mellifluence of language—yes, I just used the word “mellifluence”—withstands waves of failure and futility like the desperation to string notes that, to anyone else, are not music and certainly don’t suggest wisdom or weight.

Having nothing to say, it seems, can’t hold me back.

4.

On the L this afternoon, as I unstacked my pile of stored podcasts, another passenger prattled about matters I couldn’t hear and only understood through the discreet upturned glances of other travelers.

5.

Here’s another story:

Most of the lies I told in school cast me as dangerous. I told Dennis Fewell I’d tried mushrooms and, a week later, one of his friends, half-laughing and high-smirking, asked if I’d like to try again. I declined, burning as though I’d been caught, pants down, looking at what I ought not.

6.

The stories I tell are so many layers of phyllo. The key, TV tells me, is the butter and dough folded over and over into thinner and thinner layers. The key, so TV says, is kneading for division—subtle and distinct.

7.

One morning, surveying my unfulfilled potential, I hit upon something new—I’ve never learned to express my true self.

What followed was a twisty trip through various meanings and permutations of “true” and “self,” then the general miasma rising after another night spent skimming sleep.

8.

Among my many envies, the strongest remains uplift. Its Pavlovian impact springs from desperate desire and salivation… or desire for salvation.

9.

Oddly, a kind of humor comes from hopelessness. Ice and banana peels rely on finding no traction. Without the bite of true contact between surfaces, we’re free to disassociate, to dream the serious isn’t that serious. “Consequential,” after all, is a big word.

10.

My last anecdote for now:

Sitting in my seventh-floor unit in West Lakeview Chicago, I watched, with some bemusement, a dog walker untangling her pet from four successive poles. What struck me, from my vantage, was how deftly she navigated absurdity, how unconsciously.

11.

Knowing few readers have made it this far allows me to say I’m sorry for my staining, straining theme—the self-disgust accompanying me through every sentence, phrase, and word. I try to hide, I do.

I hope someone notes how hard I prod misery to sing.

12.

I wake at 4 am. Who knows why, but the hour I spend before nearly anyone matters to me. It’s time no eyes are upon me. It feels weightless. I appreciate buoyancy typically denied.

Wind blow as it will, I float.

 

 

 

 

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Thursday Haibun (Episode Four)

basho-loc-01518vOnce again, as part of NaPoWriMo (Poem a Day Writing Month) I’m offering haiku and prose in haibun. I have one more  Thursday in April. The entries below are attempts from the last few days. The numbers communicate how far I’ve traveled in this exercise.

lxxi.

folding a sheet

under a half-moon—a sail

and light put away

As probably everyone does, I turn my pillow to find its cool side. My new posture—collecting the compressed mass under my head and resting on my ribs—discovers my heartbeat, pounding like a wake to a shore.

you maybe said

time was near—I heard bells

clashing

Getting up never seems easy. Slow or fast or delayed or denied, it ruins two states. Dreams end in cataclysm and consciousness starts in shock. I suppose in some past the transition was gentle, dawning birds and light and warmth, but I don’t know that.

already someone’s

steps echo from the corner—

begin again

the day’s first words

skid in my throat—I collect

sound to speak

lxxii.

You told me not to say it, not in words but in your expression—a starched smile, eyes barely alive—and still I went ahead. Light dimmed. The sun seemed hooded through blinds, and shadows strained to reach across the carpet.

in profile,

a crow shows one eye—looking

or not, who knows?

lxxiii.

Nanette Wagoner couldn’t like me, and I knew that, should have known that. Something set her on, and, in three days, she sent me note after note filled with words. I only knew her face and didn’t read the messages really, just weighed their length and followed the loops of letters to the end. One day, she’d be taller than I would, I saw that. We shared no classes, but when she laughed just inside my hearing, the sound buzzed in my chest.

If she liked me, I would like her.

what a wonder

day falls—the sun drowning

over and over

Of course she lost interest, but the notes anchored a drawer for years, proof of appeal, a place.

lxxiv.

I stole a large canvas laundry bin from my dorm and rolled it, full of my possessions, from 123th to 113th where friends lived. My classmate and his fiancé may not both have wanted me but felt sorry enough to let me stay for a time. My year—not even a year—in New York ended, and I wouldn’t return to school. I thought of working while I found a job, pictured bearing satchels while bicycling through traffic. Without prospects though, who could believe something so hard?

green peach,

what sign told you

to drop?

This trip started with my telling my girlfriend goodbye. She’d asked for one more night and cried, still we’d agreed to no more. She’d never left her other boyfriend, the weekends I pretended not to know her were sad, and another year of schooling awaited her and not me. Time expired.

The wheels, barely bigger than casters, danced under the load, and no effort I made to guide my craft by pushing the correct corner kept it from fishtailing, sometimes into a current of pedestrians flowing the opposite direction. I said, “I’m sorry” one hundred times. Early summer heat already rose in the first hours of sun, and by the time I reached my friends’ buzzer, I was soaked, shirt and pants clinging. He laughed to see me exhausted by such a silly journey, but helped with my load, soon to be a pile in the corner of his living room.

beneath the surface,

beneath its skin, beasts move—

the sea still

In another two weeks my brother would drive up from home, and I’d leave for good. My possessions never left their boxes. I watched my friend study at what I’d abandoned and plan his next steps over terrain that slid under my feet.

steady thump

of highway seams, dawn slanted

just wrong

lxxv.

Doing the dishes, I occasionally splash water on my shirtfront and spend the next hour flapping the fabric to dry it. Something about the act reminds me of childhood, restless winging, the tug to what’s next.

I blink

between scenes and still

never move

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Thursday Haibun (Episode One)

basho-loc-01518vI learned this week that I missed NaHaiWriMo (Haiku a Day Writing Month), which was March. But, no matter, I write a haiku a day anyway, and I’m celebrating NaPoWriMo (Poem a Day Writing Month) with extra vigor, writing haiku and prose in haibun. I also cheated by starting early—I’m on spring break right now and won’t be next week—and so I’m writing more than one haibun a day.

As promised, I’m posting them on Thursdays during April. These are today’s output. I’ve kept the numbers assigned to them.

xx.

Some rains keep the world dark all day, and some people appreciate steady half-light, steady pelting, steady captivity. I enjoy rain too if life waits. On days I’m happy to rest, I stand at my window, watch the lake form at a nearby intersection, and study people leaping it as if in a steeplechase or, like ants blocked by a finger, weave left and right seeking the proper place to ford the more-than-puddle before them. It’s just a puddle to me… or will be until the clock demands departure, need calls, or some summons insists. Then I learn all this time my study has been practical, teaching me how to enter the unwanted, to bear it instead of looking from afar.

sitting in a bath

I listen to the faucet’s

persistent tears

 xxi.

In fourth grade, when I returned from Christmas vacation, Molly’s desk sat empty. I wasn’t surprised because she missed so much school, and, when she was there, she skipped music and art and recess to fill worksheets she hadn’t seen yet. Molly’s skin was as near translucent as I could imagine, blue networks visible just beneath the surface—every visible surface—and her blonde hair grew thin like grass in poisoned soil. She didn’t look at me much, and we hardly ever spoke, but I knew her eyes even when I closed mine. They said surrender. Their pale and weary blue slid from the sky, too tired to stay aloft.

chalk dust

on the blackboard’s edges,

ghosts on the border

I was sitting in my desk as Mrs. Mitchell gathered Molly’s things—a few books, some supplies, but nothing that said Molly really, nothing like the eccentric mess under everyone else’s desktop. When Mrs. Mitchell told the class Molly died before New Year’s Eve, some people already knew and a few cried or fought tears. I must not have believed it. The whole day seemed temporary to me, every worksheet another Molly would have to do.

beyond curtains,

outside the window, you see

air stirring

 xxii.

 last night, a cheer rose

from many neighbors’ houses—

I don’t know why

In any alphabetical list I’m almost always the middle. I like to count how many precede and follow me, happy when it’s even.

xxiii.

On the first day of a Shakespeare class I asked the students why they were there. One of them answered, “Because he’s famous.” I’d heard that response before, of course, but never so baldly put.

My daughter was in kindergarten that year, and, on the drive home, I asked her, “Honey, do you know who Shakespeare is?”

“He wears pumpkin pants,” she said.

unbound,

the newspaper still holds

its curl

xxxiv.

When I can’t sleep, I look for morning’s signs—the first defined shadows, a car sweeping by, a word uttered on the sidewalk in front of our house. The alarm often comes first.

in skyscrapers

half a mile away, checkered lights

of company

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Then Silence

two_shadows“Silence propagates itself,” Samuel Johnson said, “and the longer talk has been suspended, the more difficult it is to find anything to say.”

When I’m sleepless in the middle of the night, I think about lost friends and wince over unreturned phone calls, emails, and letters, all the thank you notes, flowers, and thoughtful gestures I meant to make to show affection. Most of the people who haunt my insomnia have likely forgotten me or think no less of me for drifting on, but life would be richer with their continuing company. I find plenty of time to work, to engage in activity I forget a few days later. I put tasks before people, and, if I could reverse that, I might sleep better.

I enjoy company and find sympathetic souls everywhere. Only recently, though, have I tried to cultivate and keep friends. Carl Jung said the meeting of personalities is like a chemical reaction—both personalities are transformed by contact. His statement only makes sense if you and the other personality are reactive, if you’re willing to venture outside yourself. Most of my life I haven’t been willing. It’s easy to converse, to slot in personal stories your listener doesn’t yet know. You rifle through relevant and appropriate remarks and, like a good raconteur, offer your most skillful talk. Or you can take the more secure stance of bouncing everything back to the speaker. Now you see. I’m well-practiced at the familiar and accepted steps of civil discourse.

But careful and polished steps aren’t dancing. Dancing is chemical and requires more than keeping up.

One of my first real friends welcomed me to his lunch table after I’d been exiled from another. Middle school cool failed me, and my usual companions froze me out. My new friend barely knew me, knew only that I had nowhere to sit and invited me over, but vulnerability proved a good place for us to start. His kindness endeared him to me, but hurt created our relationship. No purpose in pretense, we began with honesty instead.

His family invited me on vacation, he ate over my house whenever I could make him stay, and, even after I moved away, we exchanged antic letters full of imaginary schemes for becoming treasure hunters or famous tag-team auctioneers or dueling butter sculptors or engineers specializing in converting schools to bumper cars. We laughed, I think, because we knew we needed to. We were seldom comfortable except in the company of the other.

Some people believe no true friendship can ever cease, that, even after years of neglect, friends feel the same old understanding and affection. That thought consoles me at 3 am—though, in most cases, I can’t verify it. I wouldn’t know how to start looking for many of the people I’ve lost. In some cases, I remember how I felt with them and not their names. And though we might achieve familiar rapport if we were thrown together, what I’ve missed would be just as telling.

Next weekend my younger brother is going on a golf outing, and some of the people are part of a group of friends he sees frequently, old friends from high school and college he’s seen through every stage of life. I don’t care about golf—it’d be horrifying to even try playing—but I’m jealous. My oldest and best friends are, right this second, elsewhere, expecting and accepting the usual distance between us. We will talk when we talk. His friends wouldn’t let him neglect them. He wouldn’t allow it either.

After receiving a commission to West Point, my friend came home in three weeks. He wrote a letter that was meant to be funny but threw me. I wasn’t sure how I felt, how to console him or whether he wanted consolation and can’t recall now what I did say to him, if I did. Some nights I can’t convince myself I wrote back. I continued to hear reports of him—he went to college locally and then law school, he excelled in moot court and sang in his church choir. He married and had a daughter.

But by the time I looked for him—finding him was why I joined Facebook—someone told me he was gone, killed in a traffic accident a couple of weeks before. I read the obituary and thought again and again of writing his widow, his daughter, his mom. Perhaps he mentioned me. They donated a bench in Central Park because he liked to visit New York, and I could find it and sit on it.

I didn’t. I haven’t. It isn’t just that my right to speak seems lost, and that every day pushes him and our history further into the past. I’m beginning to think the best way—the only way—to honor him is to try harder to be an actual friend, the sort he was to me.

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Another Attempt

One of the nicest reviews of my book was in Haibun Today. I sent it there thinking it was a haibun, but the reviewer, who I trust entirely, said no. Since then, I’ve been reading more haibun both in Haibun Today and elsewhere.

I’ve learned haibun present minutely descriptive moments, scenes, or statements. According to Wikipedia, they may “occupy a wholly fictional or dream-like space.” All haibun, however, need haiku that communicate, overtly or covertly, an essence of the account.

The four haibun below are new tries. I’m hoping to solicit my reviewer’s opinion on what I have and haven’t accomplished. I’ve included some of my art.

Clippingsedi.

Sometimes memories of crabbing return. The morning sun raised the scent of creosote from the ties of the railroad bridge, and I squatted, tugging—as slowly as I could—the package string. Either the loose skin of the chicken neck wavered like a ghost into view, or the broad green back of my prey materialized from dark. Everyone said they felt crabs chewing, but I guessed. Often, circular rainbows of fat surfaced when just meat arrived. Any hope, and I’d call my sister over with the net. She was swifter, decisive at the right instant. In the wide-bottom bucket nearby, the already captured edged along the walls, claws half-raised against their fellows.

from deep night,

lapping waves, echoes

of passing barges

glasspideredii.

A recent dream happened in many rooms, each weighted with complicated Persian rugs, ornate burgundy upholstery, blocky tables, and mahogany paneled walls. The lamps offered barely enough light to dislodge shadows. Each room, roughly the same, still seemed different, as if only this stage were suitable for this conversation. We moved from place to place, recalling what we never quite said.

sandalwood and smoke

she whispered another name

to call dawn

orchidsediii.

My anger comes out in hints, never visible enough to define. I like thinking it’s veiled by smiles.

a twist of wind

spinning and dropped, flattened,

wheels of dust

When people are mad, it feels like the moment just after someone shoves me. Their faces say distance, the stretch of a landscape moving away, but nothing happened. No one budged, though the room seems changed.

Once my mother spoke to me through a door she wouldn’t open for an apology. I heard half her words but understood I’d gone too far, said too much. Time would never settle our struggle entirely.

a blackbird chooses

now to cry—his brown notes

a song for dusk

lockworksediv.

shattered beer bottle,

afternoon sun, sparks of blindness

salting sight

When sleep eludes me, I think of it as madness I want to charm and trap. Odd but welcome associations of amber and shoes, or rust and old horses, or a gardenia blossom in a bowl and waning tides—any irrationality creeping closer—and I say, “Stay.” If I’m unlucky, sanity reasserts itself, another list unreeling or a new bulb of worry blinking to life. Around the room, points of reflection map depth and dimension. The heater breathes. On a good night, I may hear a voice as if it’s outside my mind and believe it. Then I know sleep summons. I let it. I close my eyes to join.

past midnight

buildings blend into sky,

piles of lost objects

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Pinned

Pinned-Moths_LGIn a recent dream I found my limbs crossed under rubble—arm rested on arm and leg on leg and no moving them. And when I shifted in bed to relieve the thought, my neck hinged with all the weight of my body above it, loading it. Moving once more, the hinge transferred to my waist. I couldn’t unbend because this dream was cramped, no room remained.

Waking was wonderful. Having so much space relieved me, and I walked downstairs, drank a glass of water, and traveled back to my bed again, banishing the dream and reminding myself of the square feet of my home, my comfort and safety. I slept well after that.

I’m unclear why this dream visited or what it meant to say. We’re all prone to those cul-de-sacs that unsettle sleep, sick dreams with stuttering plot lines reveling in futility. An arm pinned beneath me, an extra fold of pillow, an overused posture may have started it, or something less physical. Maybe the day’s frustrations butted into corners again. Maybe earlier conversations turned on themselves, and spun like drunks stuck between walls.

As a fifth grader, I used to ride my bike to school and, nervous even then, I’d wake too early just to assure I’d set off in time. My clock radio clicked, and nearly every day—heavy radio rotation being what it was—I heard “Everybody’s Talkin’” by Harry Nilsson, a song I only understood as tone, his grayish brown moaning akin to clouds hanging over Texas City, the next town over, home of Union Carbide and Monsanto refineries.

Just as now, sleep seemed better. Why should I get up? My dreams hadn’t granted much respite, and the day promised little. Harry Nilsson couldn’t even make words, going “Wahh, Waaahh-wa-waaah-wahn-wah” and dooming the next hours before they started. Oh, what gratitude I felt when, for whatever reason muster-able, I wouldn’t have to go. Absolved, I’d sleep again. In complete peace.

Not much has changed. The importance of routine makes a bigger impression now that I’ve grown up—I know how daily workouts or a regular schedule or positive patterns of waking and sleeping add up. And I don’t really want to not work. Yet affirmations don’t make tedium easier. Though nearly every 7:15 am finds me sitting at my desk, slumped over a stack of papers, the greatest reprieve is still turning, stretching, and returning to sleep.

But you shouldn’t admit that. I think sometimes how far we are from early humanity and what they may have felt with no alarm to wake them. They must have had their own anxieties—like being hunted and mauled—but all of what we call progress could mean nothing to them. We might explain it. They might understand, and then ask, “And, that’s better because…?”

We make more and more, not just physically but conceptually, so much so our inventions seem material, the necessities that are truly fabricated and the obligations written in stone that really belong in sand. We can’t give ourselves a break. We can’t rest.

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Again, What—Exactly—Am I Doing Here?

doughThe other night, I dreamt of baking or, more accurately, of trying to bake. My dough reached the awkward stage when it should have formed one mass and instead insisted on crumbling cliffs of loose chunks falling in landslides, the relentless earthquake of failure. I worked the mass with a spoon and with my hands, added water and oil and a number of dream ingredients like tubbed bouillon and lemon zest. Still—no bolus, no bread.

For any Freudians listening in, I know, I know.

Even without Freud, however, this dream seems pretty transparent. It’s about the creative process, about times (like this one) when the moment calls for collection and synthesis, and nothing will satisfy more than a combination of incongruities ending in miracles. That my dream dough doesn’t achieve bread says something big and speaks to questions my recent writing raises.

Most notably, what magic will transform parts into a being?

Some nights I swing between unconsciousness and nutty, irrational, aggregating thoughts. I can’t think where I am and can’t answer how many hours I’ve “slept.” The clock says “11:17,” then it says, “12:45,” later, “3:28.” I hate these numbers and remember them. And each feels, at the time, like revelation.

Somewhere in my dream of dough I thought of Gollums, creatures assembled of clay and enacted by rabbis. My Gollum didn’t speak or walk, didn’t blink. He gave no sign of cooperation in genesis or animation. He never was, and yet I summoned him as if he’d come.

That’s faith. Even unanswered, it persists. You’re sure something must happen, if only by accident, some combination of words will form a spell.

I used to be a prolific visual artist. Every week and weekend, I’d produce a new image. Most of it was abstract, improvisational, and surprising because it was unplanned. More serendipity than scheme, my paintings arose from some deep unconscious memory or impulse. Their yeast was self-assurance and confidence the next step would swell the stuff. It’d declare its own end. I knew—or thought I knew—an outcome would materialize.

What do you do if such assurance disappears?

There’s much to be said for ambling, overturning rocks in hopes of finding something interesting beneath. That said, I sometimes long for an assignment. I’d welcome the chance to receive direction in place of supplying it myself.

A professional writer might say, “Be careful what you wish for,” but conception is tiring.  Twice a week I need a subject that mustn’t be world-weariness. I count on inspiration. I count on novelty. I’m waiting for another voice to tell me to get going on the ark or to desist building this crazy tower to God.

Maybe every artist, on some level, desires direction. It’d be nice to feel moved, to find compulsions quite outside yourself. Yet muses rarely speak. You invoke them, invoke them again, and still they wait, looking for the perfect entry. You hope, in the end, to produce something and experience a glancing brush with inspiration, and to speak.

Whoever knows if you actually do.

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Exercise #87

il_fullxfull.257143996This exercise may be less about the task and more about the workings of a nocturnal brain.

A crown of sonnets or sonnet corona is a sequence of sonnets, usually addressed to one person, and/or concerned with a single theme. Each of the sonnets explores one aspect of the theme, and is linked to the preceding and succeeding sonnets by repeating the final line of the preceding sonnet as its first line. The first line of the first sonnet is repeated as the final line of the final sonnet, thereby bringing the sequence to a close. An advanced form of crown of sonnets is also called a sonnet redoublé or heroic crown, comprising fifteen sonnets, in which the final binding sonnet is made up of all the first lines of the preceding fourteen, in order.

Write a “heroic crown” of sentences using the definition above, substituting words for lines.

1. New nights bring new angles of moon and darkness, and—between sleeping and waking—black and glowing shadows attack and retreat like great fronts of weather.

2. Weather penetrates even dreams, rain pouring so suddenly it soaks my clothes, and the loss of comfort shocks.

3. Shocks like these stir in a mind like a muddy field already filled with loose roots of leaning, menacing trees.

4. Trees loom when the dreaming brain can find nothing to turn them into.

5. Into empty hours come worries budding.

6. Budding and building and knotting, fears proliferate in brain soil like planted eyes.

7. I don’t know if a promise to face them in waking hours is anything more than another wish.

8. Wish the rain would stop, wish I might, into sodden hours, bring sun.

9. Sun might do more than hopes could.

10. Could I control my thoughts, write a forecast my brain could then enact, what a difference that would make.

11. Make another metaphor and I create more fabrication… another trouble of mine.

12. My inventions lie deep in my nature.

13. Nature in the outside world happens without care or compulsion, saying endlessly, “ It’s as simple as….”

14. As the planet makes its required revolution, so the world becomes new.

15. New weather shocks trees into budding—I wish sun could make my nature as new.

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Then Again

revision_logo_smallLately my dreams cut and re-cut fabric until, if it were assembled, it’d barely fit a doll.

Here’s a dream: I’m drawing a truck on commission. My unknown patron makes peculiar requests. I’m to use a certain sort of marker and a certain sort of paper, to work under a certain lamp, and to make marks of certain character and quality. Yet every pen touch is wrong. To correct them, I extend lines or bend them or double them or cross them with other lines or reverse the page to use the shadows bleeding through.

I can’t see the image in my dream, but it isn’t a truck because the drawing erupts like mad cancer, budding, growing, budding, and growing again.

Finally, I get up to read on the couch.

I also form a question for my patron, reworded twenty times: “Is anything un-revisable?”

In the waking world, so much seems so. Bullets don’t return to guns. Physics carries bodies on dire headings. Our responses, however, morph endlessly. We want tragedies to change our thinking but can’t agree on what the tragedies mean. After a moment’s fact, we have only implications.

The other day The Chicago Tribune included the story of a woman who died when she fell down the trash chute of her high rise—17 floors—and wasn’t discovered until a day later. When my wife encountered the story, she asked, “How does a person fit in a trash chute?” and my daughter asked, “How did she fall in?” and I said, “Can you imagine the agony of trying to explain it?” No one was there, and a story—reimagined, revised—replaces truth.

And here I am, using the story myself.

I’m really asking what we can leave alone. One of my son’s lower school art teachers used to say, “There are no mistakes in art, only opportunities.” Her approach suited a nine-year old whose creative train derailed at the lightest breeze, but I’m not sure how deeply her advice penetrated. Once, cleaning out a closet, I found a sketchbook he’d nearly filled with starts—ovals, boxes, the hind legs of headless beasts, and houses that fell before they stood. Many he’d abandoned with angry waves of his pen snaking through what lay beneath.

Teaching revision, I stress the word “re-vision” as a way to urge more than editing. “To really re-envision work,” I say, “pay attention to the possibilities individual comments create for changes elsewhere. Every essay is infinitely perfect-able.”

But I don’t work that way. I adjust, adding and subtracting until I’m finished or abandon the attempt. If grooming prose doesn’t find the answer, there is none. Expedience wins, what suffices. Other writers describe poems, stories, or essays reaching the form they wanted. I’ve had a glimmer of that feeling but distrust it—isn’t that just the rapture I desperately desire?

Here’s another dream: Cards litter a room. Each is white on one side. Stripes of various colors and widths appear on the other side. I’m sure I’m meant to match similar cards, so I wade in, trying to find a card exactly like the one I hold. When I can’t, I pick up a new card, and, unable to match that… you get the idea.

One of my graduate school teachers touted “radical revision.” She made me read essays from the last paragraph to the first to uncover what was misplaced. She instructed me to put my essay in a drawer and try to rewrite it from memory to find, “what ought to stick.” She bisected pages with commands to rearrange them any other way.

These exercises, she said, train intention, revealing reasons behind composition and establishing conscious control over the otherwise accidental. I didn’t enjoy being radical. Words, phrases, sentences, paragraphs, and pages became furniture. I bruised my shin on a sudden coffee table or tumbled, unbalanced, into a shattered lamp. When anything can go anywhere—or not go at all—something is always in the way.

I told a friend about my dreams, and she said I might be doodling or writing too much. Fixing and re-fixing can’t be good for a brain. Your mind trips into a sixties-style reverb where the frame of things disjoints, then pulsates. Echoes echo on themselves.

Who wouldn’t mind a steadier camera and crisper fidelity, but has that human age passed? A world of possibilities offers no end to revision, and no end to revision offers little relief.

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On Resting

6a00d8341c595453ef010536b12fe0970b-320wiThe frontier between wakefulness and sleep is a demilitarized zone planted with bulbs and landmines. It’s where silly thoughts arise—a casting agency for dreams, methods of organizing sound effects, plans to market masks of people’s younger faces—placed next to all things horrifying. One of three nights, I suffer potential illnesses and accidents followed by unreeling deliberations about how to survive the end of the world.

I either drift into unconsciousness or take a u-turn, embracing gentle senselessness or fighting cold sweats. Sleep has never been easy for me, and sometimes I concentrate on images—one picture leading to another and another—and gingerly celebrate when an arational association suggests utter darkness ahead. When I fail, a shovel swings, and one dire possibility outdoes the last. I dig deeper until I achieve hyper-consciousness, staring up at the still bright sky from a trap I’ve made myself.

Stephen Wright used to joke: “People ask, ‘How did you sleep?’ I answer ‘I made a couple of mistakes’.”

The other night, I started thinking about my son’s spring break road trip and tried to settle all my questions about medical care in faraway states and the various ways to reach him quickly if he needed us. I finally fell asleep when I considered how difficult it might be to travel with penguins.

There is, in all this wavering between worry and fantasy, a larger observation about how we humans operate. The mind has its own agenda and carries us directions we don’t control. Were I an inventor or one of those exceptionally creative types who turn accidents into opportunities, were I sure each random thought offered limitless potential, I might be glad, but mostly I want rest, relief from ambition and aspiration and promise.

A rear-guard reaction comes with every hope—“This will work if…” or “What we need to pay attention to is…” I wish I might put everything aside and live. It’s an unpopular perspective to offer in a society obsessed with what wonderfulness awaits us, but I’m not sure what our “progress” has wrought. Have you ever considered humanity without a fixation on the future? What dreams do plants or other animals have? What rest—offered to every other organism—eludes us? Are we superior or tragic, endowed by our creator with special powers or damned by our minds and our pride in our intelligence and get-up-and-go?

These questions may revisit me tonight. If they do, my only real defense will be slipping past them and into random, spontaneous, and unplanned whimsy. Another moment may bring something new, and, if it’s a splash of the surreal, something visited upon me rather than constructed with my all-powerful, all-anxious human brain, perhaps I’ll delight in it. Perhaps I’ll be. Perhaps I’ll rest, assured a place after all, a role in the world that isn’t running it.

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