The Wild Path: An Oceanic Reunion of Musical Discovery

New Government Road, Lillooet, B. C. by William George Richardson Hind

"I get privy to an area that most people have not seen and will not see, and that's just amazing, and I get to see it at this point in time before any of these projects go through whether they do or not - maybe they don't get approved by the NEB [National Energy Board] or maybe they do - but if they do and these pipelines happen, the places that I visit this summer or next summer or the summer past, they won't be the same as they were when I saw them.

It'll have gone through an irreversible alteration and not for the better. For the betterment of some human notion of bettering the Canadian economy, wealth, or prosperity but not for any betterment of the land." Ian MacNairn, Working North: Calgary Worker Speaks on Labour Conditions in Northern Alberta and BC

In two years, I hadn't seen the ocean. The epic grasslands of Alberta prairie filled my pupils with daily life, lived fully and for the present. Answering to no one except Father Sky, Trickster Napi and the Bow River, I moved humbly through the auspicious momentums of friendship, solace, distance, rootedness, and foresight. The elegant plans of my life incinerated like a vintage map under a breaking candle. In the bitter hours, I wore my bone to nothing but pure face. And the ocean called. At summer's end, as the leaves slowly dying with bursts of peace said in the silent flesh of wood, I broke past the unanswered din of prairie sky mind. The expanses narrowed with focus of sight, and the road stretched on through mysteries immemorial: a land of hidden truth and naked passion. The Earth spun on a gamble, and the sea rose. 

In two years, I hadn't seen the ocean. Firstly, through goggles of tires and binoculars of steel, I then moved through mountain fog to sail toward the island shore. Orcas lifted above the snowy crests, as solar rays burned through the misty sky raining a refreshing, and most rejuvenating, beautiful life. Water flushed my spirits in a spiralling lust, unafraid to lick the clouds and skim atop the brightening ocean. In the rain, I sang and wept oceans of longing fulfilled. The inner world lost its axis and at a loss for balance whirled in ecstatic harmony with the chaotic ring of Beginning. As the sky opened, arriving closer and closer to the island shore, my mind lunged with feline prowess over the horizon, to feel my own heart stretch across this watery earth in a divine embrace of superhuman love, of imagination and unity. 

In two years, I hadn't seen the ocean. The cedar hat and drum vibrated with untouchable grace, as I remembered the northernmost step I had taken arm-in-arm with the coastal peoples of the Canadian west. How their drum sang with opulent harmonies only so sweet as when filling the cold air above the tear-blending Pacific. Under the first sun, my friend, a luthier of fine wooden drums (harvested locally) led me to meet the Black Bear, wise fool of the gentle, lazy, clumsy earth. We found sacred fungi and cooked and smoked and bore down with rhythmic intonation over the self-built family home. The forest spoke with a voice to shelter our lives with the hard woods of a door and staircase, of walls and rooms of birth, childhood, adolescence and maturity to the soft woods of art, passion and a work to spell freedom from the burdensome street of poverty, class, race, addiction and anger. 

In two years, I hadn't seen the ocean. The night sky breathed light, streams raged in the subtle beyond as death called us inward to sleep under the reign of the green dragon tincture, a home concoction of herbal divinity. Sea lions surfaced to the call of the drum skins reverberating madly over ocean stones. Overlooking the snowcapped island range, we viewed the lush orchestral arrangement of oak, cedar and pine as nearby eruptions solidified into earth-bound communities, moved by the crafting of local life as it etches its place on currents of stone and seed. And so I left, speechless from the first mountaintop days ago as the journey from Alberta started, and from where it ended. To see the ocean, and to sing with the opening sky. To drum along the banks of the island range, seeing snowcapped mountains stare into the distance, over local life as it thrives and nests behind the silencing waves. 

____________

at home in the woods

from where the rain begins

full speed behind

horizontal moments

the daily unground

the first time we sang

the reason we left

to openness we come

the way of the blue unnamed

afterwork time

_____________

She came

She saw

She conquered

Video Description: So far the only 36 stringed zheng, Taiwanese made long zither in the world. Great innovation it was about time this was invented(?), innovated at least, because this is my first time improvising on one this grand of a size! Grateful to the luthier and to Sonia Liu of Vancouver's "Crystal Gu-zheng Centre" for allowing me this great honour to share.

The Value of People: Voices of Struggle and Creation in Western Canada

Crystal Lameman - Conference 2013 from Public Interest Alberta on Vimeo.

"Enbridge is so poor all they have is money." Wet'suwet'en hereditary Chief Na'Moks of the Tsayu (Beaver) Clan

"Living in an impacted community, in the frontlines of the Tar Sands, we get so caught up in our own issues that we forget about human beings, Indigenous people on a global level." Crystal Lameman of Beaver Lake Cree Nation on Treaty 6

The crowd cheered to the tune of ejecting the filthy rich from Calgary proper, the"most unequal city in the country" according to the University of Alberta’s Parkland Institute. Well over a hundred people crowded into a sold out hall at Parkdale United Church on a favorably tepid spring night. The beginning of the 11th Annual Public Interest Alberta Conference, “Fighting For Our Future: People Power versus Corporate Control” opened with investigative journalist Linda McQuaig, author of The Trouble with Billionaires. In a bygone era, the audience would have grabbed pitchforks on their way to Mount Royal Village.

McQuaig began by invoking the economic history of Canada. 1940-1980, also known as The Golden Age of Capitalism, when economic growth was widely shared, crystallized in the “social contract” to curb classist polarization through high taxes for social programs. “That’s the period of greatest economic growth in North America that we’ve ever had before or since,” said McQuaig. “Average income was doubling every twenty years.” The result was a society looking forward to increased leisure time.

Before tax cuts for the rich became an institutionalized affair, public wealth was palpable. “There was no trickle down,” McQuaig said referring to the propaganda of the 1% in favor of neoconservative economics. “In fact, there was a gushing upwards. All the income gains since 1980 have gone to the top ten percent, and particularly, of course, the top 1% and the top .01%.” Factoring in the inflation, the median income in Canada is lower than it was thirty years ago.

Where did leisure time go? The Conservative government of Canada has set the retirement age back two years. “That economic dividend went entirely to the top 10% and the top 1%, that’s where you’re leisure time has gone,” McQuaig pointed out assuredly. “Economic equality, the progress has been stopped dead in its tracks.” One solution is a wealth tax, especially in Alberta where the Heritage Fund is $16 billion in comparison to Norway’s at $700 billion. Federally, Canada saves exactly zero dollars for a rainy day.

Research on a “millionaires tax” by The Globe and Mail illustrated how a one percent wealth tax imposed in Canada by 2020 would cover all federal and provincial deficits. The Deloitte Centre for Financial Services projected the number of millionaires in Canada to rise to 2.5 million by 2020. Yet, in contrast to Linda McQuaig’s warning to Albertans that the rich will leave if a wealth tax is implemented effectively, what she did not warn is a far more sobering possibility. “But it’s easier to defer taxable income than to move,” Neil Reynolds wrote on October of 2011 in The Globe and Mail. “When you levy disproportionate taxes on the rich, you serve eviction notices on the poor.”

Referring to the income of the American sub-prime mortgage beneficiary John Paulson, “In what moral universe is that hedge fund manager worth 82,000 nurses, in what moral universe is he worth even one nurse?” McQuaig exclaimed to a bright wave of laughter and applause. “Today’s corporate elite and wealthy elite, has not only the power to wreak havoc on our lives, but to actually destroy the planet, because of the modern technology and the human capacity now for destruction.”

READ MORE (4580 words) @  Public Interest Alberta, The Media Co-op, IndyMedia & Readers Supported News

LEARN MORE @ Tar Sands Healing Walk

__________

“What’s that smell?” I could see his thoughts writhe like a cold snake. My bedded flesh, wrapped in fallen hair besmirching the unwashed blanket coiled around my nude body. Eyes went crooked. Noses were covered. I stepped barefoot over the austere, carpeted floor, civilly, in line. The teller remained a smile, famously in keeping with the workaday service kitsch of probable positive personality. My own face with mirrored emptiness. “Next.” I bloomed overfull, with gold coins. Prosperity is a mark of weight and valor.

Earthbound by Evelyn De Morgan

“Be stilled.” The Earth shrank under dim folds of burly disgust. The masculine prowess burrowed in the vainglorious poverty of inhuman disguise. Artifice and loss, nature spun with fire and bones fleshed with greed. Concrete paralysis, the wading gush of darkness floods this garden of hate. Alone, I scan the tramcar, brushing past the ire of misbegotten wards, floundering hands warmed in the blue flame of intimate ruin. Silence grounds, but for the rumbling dirge of the railway, clattering like a mad skeleton, of deadly fear. A ghastly presence, my reflection, I turn.

 Casella Rail Stuttgarter Platz by Otto Schmidt

Of large girth, unknown terror unseen, unheard, the unassuming weight of an unreal body: HER. A heavy-set African woman of eyes, sitting, a rock entrenched in my spectral pallor. Looking through staring eyes, the mutual end of oceanic reflection. Hitting through to rock bottom, as the ocean-floor seethes with the volcanic murder of all that rests atop the ground of life, I saw through to a fear; unknowing. There is a fear beyond the nerve, beyond the knock of bones, and the bristle of hair. I have seen her, and vanished before a breath.

__________

The album, "Evocations: Exotic Settlers" is an evocative musing on the sound language nestled deep within the poetic substance of orated selections from a collection of works under the same title. In continuity with the theme of "exotic settlers", the album is an experimental narrative-sound art exploration into the imagination of a journey of settlement, both archaic and modern.

Here, voice soundings are mixed with one instrument at a time, to convey a sense of the traveler, whose light pack is ideal for the road ahead, and whose voice traverses the simple grandeur of sonic revelry from a single instrumental accompaniment.

Themes of travel are juxtaposed with settlement, both in the settlement of tradition and ecology, and the inner and outer journey to that destination. To settle on one instrument at a time is a metaphor for the inward/outward experience of settlement for the migrant, who eventually becomes an "exotic settler".

Exotic Settlers charts the journey of experiencing the naturally transformative process of ending a period of transitional residence, and beginning to live in one place exclusively. Questions of home, travel and what is foreign are approached creatively through a lens adjusted through self-reflection on these themes, which led to my own "settlement" within. As I have become more permanently resident in a specific place, I have realized that earthly geography flows with the transient impermanence of nature itself, and that the only true settlement is in one's heart.

Exotic Settlers by Rusty Kjarvik

Genocide and Extinction: Reflection on "in my dreams" by Mercedes Eng

"Whether this satirical inscription [PERPETUAL PEACE] on a Dutch innkeeper's sign upon which a burial ground was painted had for its object mankind in general, or the rulers of states in particular, who are insatiable of war, or merely the philosophers who dream this sweet dream, it is not for us to decide."  Immanuel Kant, "Perpetual Peace"

When I first read "in my dreams" by Mercedes Eng, on Geist, my heart pounded with the animate high of a synchronous intellect grounded with a feeling of urgency.

This piece illustrates the symbolic intersection of a pipeline as physical obstruction on the body of our Mother, as on our body. And to follow, the incarceration and de-legitimization of those voices and lives whose source of energy derives from a more profound and lasting than those harvested recklessly by government leadership, and the knee-jerk automaton droves of apologists, apathetics, pessimists and belligerent supporters of environmental crime. 

We have traversed the oceans and landscapes with a smothering footprint. In the wake of the wholesale devastation of First Nations communities across the country, it is the entirety of humankind that is next on the list of the entrenched ignorance of those who ignore science, who ignore civil society, and who ignore their own innate sense of empathy for the sake of power politics and saving face. 

When the source of a disease is unknown, for example lung cancer from smoking in the past, the individuals long since die while courts and politicians wade through policies and promotions to effectively prevent further death. Smoking is an especially useful symbol too, because it exhibits a problem with consuming that overrides even the strength of knowledge and law. People still die from smoking, just as we die from ignorance. Besides the individual death of one person, or even the genocide of a specific group, the extinction of our entire species is at hand when we talk about the continued, unabated burning of fossil fuels. 

Ocean acidification is the cause of five major extinctions on planet Earth, and the CO2 levels in our oceans now are rising at an unprecedented rate. See the work of Charlie Veron, the 'godfather' of coral and other scientists. The only way to prevent ocean acidification is to stop burning fossil fuels. Yet this time, we are realizing that we are essentially all one body in this fight to curtail the disease of overconsumption, overexploitation of non-renewable resources, and when it dies, there will be no lawyers or politicians left. In the 20th century, we faced the facts and prepared policies to prevent genocide. In the 21st century, we face the extinction of our species, and we are all at fault. 

Internationally, Canada is now a partisan country, we support other nations on their ventures into say for example, Afghanistan, based on exclusive measures of concern. This reflects within the domestic sphere, where representative leadership in government merely reflects a narrow margin of society. Those who are not aligned to the dominant mode of power are marginalized traumatically.    

We can remember the words of an assassinated democrat echo into the future, "Our children are still taught to respect the violence which reduced a red-skinned people of an earlier culture into a few fragmented groups herded into impoverished reservations.” JFK

To encourage ecocide is to choose extinction. 

Be aware: Oil Man and the Sea, Revolution (Film), 350.org, Earthship Biotecture

___________

Struggling lone uphill through the barren rifts and scarred desertification of Judea, I look out from an outcrop towards the Sea of Galilee. Scanning feline eyes growl and hiss in the unkind wilderness of the famed Israelite passage to divine promise. Yet, here where the last suicidal stand of Judaic tradition withheld the Roman tide of enslavement, I grapple.

Tiberias and the Sea of Galilee by Emile Rouargue

The rocky earth tumbles with rolling quakes, as an avalanche of boulders careens beyond a nearby patch of scree. The earth teems with deadly fate, as I climb on, and reach the summit of sacred space.

Mount Tabor by Emile Rouargue

Under a cloudless sky, I phone the United States, to hear the short-toned speech of my elderly grandpop, hunched over a sandwich and remote in the old Jewish-American neighborhood of secular tradition. To my increasing surprise, he had been on the phone, yet with a late dignitary of American war, Ike himself, Dwight D. Eisenhower, the once commander-in-chief of North African forces in WWII, where my old pop first entered active service.

The Bully of the Neighbourhood by John George Brown

Pops welcomes me to cross lines and speak with the former president. Nervously, my voice reaches for sanity and order, with subtle interrogation, I chance a question over the unsettling silence, “What is your favorite book about WWII?” I ask, with An Army At Dawn in mind, as I’m currently in the middle of it. “I don’t much read any book of the kind.” He breathes a deep silent resolve, of little words.

___________

"Repeated Dance of the Fluid Earth" is an experimental narrative that plays off of American colonial history as a body of water, rippling throughout the waves of history. Cultural memory is as fluid as water itself, where consciousness may be revisited with the slightest alteration, leading to an eventual holistic transformation.

"Repeated Dance of the Fluid Earth" utilizes frame drum and shakuhachi together with synth beds to create an ulterior perspective in the retelling of popular history through a gendered and ahistorical mode. This also plays into our ecological history as a species, and how the ability (or inability) to listen to our story, as our voice, is similarly the story of our relationship to ecological knowledge, and how the fluidity of place with regard to land-based settlement is as dramatic in its shape-shifting nature, as the fluidity of place on a sea-based settlement. Simply put, the modern political notion of "settlement" is a myth.

In the era of consumption, we posit a sense of material as objectified by the consumptive attitude: that things are to be consumed, used, manufactured, wasted, eaten, assembled, etc. as opposed to a creative attitude, where all things are in flux. So, with regard to the battered histories of genocide and ecocide, "Repeated Dance of the Fluid Earth" asserts a revivification of the solemn bliss of knowing where we stand.



As the entire collection "Cyclical Wordplay" from which the chapbook, "Visitations" is derived, centres not only on the cyclical wordplay of language itself, but the travelogue of a cyclical journey, tracing the meaning of traveling abroad to returning through domesticity. The selections in "Visitations" recount the final step in that return, where after "A VIsit to L.A." the cyclical resolution leads to a transmigration of values. The final step homeward from a long season abroad, exhibited in experimental narratives, eventually transforms one's relationship to language, place, and meaning. The conclusion is a prelude to welcoming "other" visitations.

"Repeated Dance of the Fluid Earth", featured in "Visitations" was published in the Rusty Nail December 2012 Issue. The release of the "Visitations" chapbook on Scribd, goes together with the release of "Repeated Dance of the Fluid Earth" a spoken word narration on www.menachem.bandcamp.com

Visitations by Rusty Kjarvik

Dream and Love: All Our Relations

From Ben Okri's Mental Fight in London by Alessandro Lucia

“Only those who truly love and who are truly strong can sustain their lives as a dream. You dwell in your own enchantment. Life throws stones at you, but your love and your dream change those stones into the flowers of discovery. Even if you lose, or are defeated by things, your triumph will always be exemplary. And if no one knows it, then there are places that do. People like you enrich the dreams of the worlds, and it is dreams that create history. People like you are unknowing transformers of things, protected by your own fairy-tale, by love.” - Ben Okri

I found the above quote on THE DREAMING of shamanic drummer and creative writer, Lindsay Dobbin. It is such statements from the most brilliantly expressive minds of our time that draw one in to reflect on the substance of one's own nature. This is the creative spark. Ben Okri is so intuitively accurate in feeling out the subtle vibrations of the human heart that I feel as if he has literally been watching me. The relationship between love and dream is the strongest seed of self-knowledge. Those who forget their dreams are not awake to love. 

________

The sky is open. Light blue, and an atmospheric glow, passes through my eyes with serene pleasure. Delicate moisture fills me with a cool air. I exhale all the grandeur of my inspiration, each breath an offering to the immeasurable beauty above. Sky is a translucent goddess.  

The Eve of the Deluge by John Martin

As I gaze forward, I see Christ standing atop the water. From afar, his face still affixes to my eyeballs with the cosmic presence of mystic flesh. I am reminded of Alex Grey's Christ painting. Then, in a moment's whisper, a pair of Bison crash through the water. I see the lake is barely a foot deep. The age old prophet is lost to my sight. The Buffalo steam through the water, carrying themselves with the charm of a sibling rivalry. The sacred flesh of the plains opens a revelation of the land's own history. 

__________

"…the apparent flood of a bleeding anorexic paradise…drowned in the furtive beckoning towards malformed reasoning…my Anglo-eyed drug…rushing forth into the magi of atheistic awe…the lawless prism of deep endless failure…gone astray in the fatalist’s catastrophic underpinnings…during midnight conversation…"

excerpt from Epistrophic Misdirection

Reflection on "green girl dreams Mountains" by Marilyn Dumont

Camping on the prairie by Paul Kane
Scene shows the artist with a Metis guide en route to the Buffalo Hunt

I read the unseen. Her eyes are the milk of a hollow cow, branding the misjudged beauty of a new and timely pride in the human self in all its fascinating breadth. Her words are a first kiss, and the smile afterwords, even if the kiss was a little sour.

This is my first read into Marilyn Dumont's work. A Cree/Metis poet, who is widely celebrated as a must-read in contemporary Canadian literature. Her words are bittersweet, and do not say too much. She uses language for its brevity and with singular pausing, announces the mystic inclination to wonder with a sad grace. One can easily and cathartically empty their mind of doubt when reading page after page of brilliant humility. Her self-knowledge is evident as she prints words into the mind of a page with the delicate necessity of breath.

I read this book from cover to cover in one sitting as welcomingly as opening my door to a new friend. Now, I'm looking forward to welcoming, "that tongued belonging" her latest work.

I heard of Marilyn Dumont through Black Coffee Poet, who interviewed her for Indigenous Sovereignty Week

_________

Entering the distant cottage, there is tranquility. Mindful, the air is welcoming. It is a refuge for Aboriginal intellectuals. A group of women converse softly over tea as I wander the grounds. In the backyard, a lively, well-kept garden is lush with Canadian summer vegetables and medicinal herbs. The light hangs slowly from the deep, curling cloudscapes in the wide, Midwestern expanse. 

Battle of Duck Lake

Overlooking the property hill, a bustling cruelty unearths the dry heave crime of migratory blindness, as settler compunction fills the writhing horizon with a crooked smile. Endless houses, misshapen and identical, curve along the wasted prairie hills, and there is only a dim emanation of life. As I stare into the perfectly reflecting window of the cottage, an aural wisdom speaks in silence, carrying my body to the comfort of our Mother’s home: land.

________

Holy Rope

Holy rope glean
           Setting off the executioner’s raffle
                     In a dream state, turning the mind
                                To a pentatonic, indigenous scale
                                To the antique buzz in our lonely natural surroundings
                                             That prepares a decadent life

Amidst the misty hilltop laughter

                                       That echoes in the contemplative breath on high

Dreamtime and the Repatriation of Sacred Letters

Stencil art showing unique clan markers and dreamtime stories symbolising attempts to catch the deceased's spirit

"The source of the word alcheringa is Arunta, an aboriginal language of Australia. Sometimes translated as “the dreamtime,” it refers to a mythic world that existed at the beginning of time and continues to exist in our own time as a parallel world, revealing itself whenever we dream and whenever someone speaks or sings a myth." Dennis Tedlock, An Introduction to the Alcheringa Archive (From Jacket2, also on Jerome Rothenberg's Poems & Poetics) 

In the first edition of "Alcheringa" a quote reads, "He who loses his dreaming is lost", attributed to "Australian Aborigine". In opening of the Autumn 1970 journal, the final "Statement of Intention" reads, "to combat cultural genocide in all its manifestations". That being said, it is curious to read such studies as that printed in the Australian Journal of Media & Culture (vol. 2, no. 1 1987), where an article by Vijay Mishra entitled, "Aboriginal representations in Australian texts" reads, 

Forgotten I lost dreaming
Country I left forgotten lost 

which is epigrammatieally reduced, by the translator T.G .H. Strehlow, to "He who loses his dreaming is lost," is directly related to a failure to perceive the radical difference between oral poetics (the fluid verse translation) and the wrillen text (the epigrammatic reduction). Obviously no one can maintain a total separation of the oral from the written.

Meanwhile, if one searches in the active publications of Australia's Central Land Council, an Indigenous repertoire of activism and scholarship dedicated to principles of sovereignty, there is a very interesting article on the Strehlow, the subject of lost attribution in Alcheringa's English translation from "Australian Aborigine"entitled, "The Strehlow collection of sacred objects" regarding further issues of repatriation, while focusing on the repatriation of sacred object collected by the modern anthropologist, as opposed, in the case of Alcheringa, the repatriation of sacred letters, collected by post-modern anthropologists of world literature.

Headgear worn during dancing (wood, human hair, kangaroo hair, feathers); Arrernte people, Australia

________

My mother visits her perception of my reality. North of here, it gets even colder, earlier, and winter is almost perpetual. I ask her exactly what her interests are. She is unresponsive. There are two streets that accommodate visitor appeal, with cafes and the like. We walk on the frozen sidewalk ground. A haze of white ice sheathes the panorama, compressing the moment into one look of sheer petrification. Walking down the main street, it seems as though no one lives here, the outside aesthetics are drab and unused, mere coverings for the inside hospitality, driven by weathered necessity. As we walk into a café, I realize I have enemies here. In the back hall, awaiting our hot teas, a youth of my age wrestles my muscles and joints in a twisted bout of unwanted pain. Unable to satisfy his need for violence, I ask that we exit the café, and so we return into the cold, sunless ache of our thirsting feet. 

Shoes (made from feathers and human hair); Arrernte people, Australia

Midway through the year, I go south to visit my father, to witness birth. With video camera in hand, I capture my contracting stepmother on the front lawn overlooking the St. Lawrence River. In great joyful upheaval, she cries, “it’s a boy!” as the body emerges. 

Ku-ring-gai_Chase - petroglyph, via Waratah Track (Rock is triassic Hawkesbury Sandstone, 220 million years of age)

That night, sitting lone by the coal-burning fire, I am visited by a presence. A naked Indian, greeting me with the power of a thousand friendships, unites in my melodrama with healing insight. He teaches me the power of the directions, North and South. The cold childless North of human danger and the impenetrable forces of nature, and the warm South of youthful diversion in the over-ritualized haunt of abundant fires. He reaches out to me, to plead with him for the stars to answer in earthly illumination. While with eyes closed, he recounts the bitter tales of repatriation, colonization and the staggering visions of post-genocide rehabilitation, for the entire world. And I wake, alone. The sun, directly overhead in a cloudless sky, is in full eclipse.

________

A presence belied in the soft air aglow with diligent drizzle
         From this, our American lighthouse heaven,
                 Alit with dream
                 in stories told by great-grandmother’s
                          Life lived outside the pages of the “true”
                                      And into the truly earth-quaking
                                      of dream

...

Men whose throats burn with the soil of their unloved mother
        Croaking up agro-fossil drains
                Reaching from modern skylines to prehistory,
                issuing from our Christ-death

...

In the housed mystery of our yet undiscovered world
        Beneath each colonial home
                Shot out of the ugly worldview
                        Misplaced over the moral genealogy

In an ecological philosophy
        To dry the eyes of our spectral hosts
               Who watch and wonder
                        With still unborn eyes

- excerpt from "With Still Unborn Eyes"

At the Romantic Edge, Before the First Impression

The Golden Bough by J.M.W. Turner

"WHO does not know Turner’s picture of the Golden Bough? The scene, suffused with the golden glow of imagination in which the divine mind of Turner steeped and transfigured even the fairest natural landscape, is a dream-like vision of the little woodland lake of Nemi— “Diana’s Mirror,” as it was called by the ancients." Sir James George Frazer, The Golden Bough, p. 1

Lake Nemi by J.M.W. Turner

__________

Reclined on plush couches in a generic condo lobby, my friend and I watch a political debate. Angered by a statement by the Prime Minister, he becomes extremely deviant in his manner. “No one should be living in Canada.” The argument goes on to delineate the environmental truths of socio-historical degradation in the wake of our 21^st century fate. Mindless, he unzips the entire leather covering and filches it for a sell. I follow in cheeky amazement.

Blasted knocks deliver crushing blows to the weak door, the hinges creak and splinter. A mass of Jewish men greedily express their intense fury. I unlock the door ever so slightly, leaving the chain lock in place. “Your friend’s killed our boy. A little man is dead.” Their mouths sputter with chainsaw smoke as they charge ultimatums and death threats in the name of my absent friend. “He’s skipped town,” I excuse. Unwilling to confront their standing guard, whose immovable post at the front of my residence is an unwelcoming barrier to my normal life, I flee with no plan to return.

Petworth House, Interior by J.M.W. Turner

After a filthy cheap bus ride, I clamber out upon the beach sand, and peering into the bright daze of lake horizon, I see my friend in a drunken rage at the water’s edge, swinging a heavy sack. As I approach, I see madness in his eyes. He is another person altogether, I sense a body in the leather couch covering. “Why didn’t you sell it?” I yell over crashing waves and turbulent wind. He simply eyes me with confounding disinterest and without a moment’s passing, he flings me headlong into the water, where we are all to drown with the corpse-filled leather covering. I swim, and as he plummets to the lake floor, suicidal and lost to the world, I grab through the heavy seaweed and rocky outcroppings with salt and stone eviscerating my every bit of skin of its human moisture. A whale’s fume stings my side and I feel I am being helped along, a fellow mammal and helper in my midst. And the undertow sucks me ever deeper beyond the shore’s shallow depths out to the plain sea.

Fishermen at Sea by J.M.W. Turner

Marooned on an island, miraculously alive, I am cast over a rocky shoal, where the sea moss hangs in a color scheme of subdued purples and deep greens. A man, of unknown origin, aids me in crossing a hillock, emptied of its cavernous rock, a mere sparsely covered hollow of mossy, volcanic emergence. As we reach out over the pockmarked swill, the entire island’s mass becomes visible, a wonderwork of natural phenomena, indescribable in its wonder: a truly new land.     

_________

in the shamanic din of civilized inclinations
to become the oldest persona of grace, emergent
of land intoxicated by the avian lords
who roam tearfully in landless bush
above the streaming Pacific's current
fanning to seed
atop island exotics
and breach the blind exploration
from nothing

to an essence of discovery
in the learned,
seated life

- excerpt from "Drugged Love, Seated Life"

The Achuar and the Meaning of an Indigenous Map

“For many years these Achuar communities have dreamt of introducing themselves, their way of life and the beauty of their ancestral lands to the rest of the country and the world. For the Achuar, a dream is not simply a passing, nocturnal illusion without relation to one’s waking life. On the contrary, dreams are gateways allowing communication with the spirits of their ancestors, who come to visit and talk to the living, giving them advice and a vision of their future so that they can tread a clear path in life.” (Source)

_________

North America on a map, tangled in intercalated diagrammatic linearity. A pale shade of red loosely emboldens Native lands. The patchy splotches of coloration on the otherwise black and white delineation of national-political boundary displaces geography with a time-bound worshipping, a cultural veil of truancy, a wakeful respite from truth. Looking at the seemingly random collection of red area follow my eyes as my eyes follow easterly into the heart of New England, my mind is inundated with a series of educational videos on sexual abuse in reserve/reservation communities. Homoerotic visuals tear my stare into blurry remorse for the heady desperation and wasteful racism, looking away from the natural history, the undeserved step over fellow men. As I contemplate the madness of the contemporary imagery presented to me, I turn a corner atop a towering butte in the skyscraping mountainous land, hiking through a valley pass, immersed in the cold sky air, unobstructed by not but stone and hair. 

________

Map

"To dream of a map, or studying one, denotes a change will be contemplated in your business. Some disappointing thing swill occur, but much profit also will follow the change...To dream of following a map means you are going in the right direction in a real life situation. It also symbolizes emotional and spiritual growth...A confusing chart may indicate that you lack a clear sense of direction in your everyday life or are in the midst of changing long term plans." (iDream)

________

to the racist, sexist and conservative religious wine,
intoxicating the West
with a throat climbing upwards
to vomit the female's adam apple,
now so dry, shriveled with frost,
cracked and permanently wasted,
not a thought to re-cycle,
only the Mother (Mater/Matter) abuse,
to forgive latent mindreaders
stating new thought dictionary entries

new, with fresh ink over the staircase travelogue,
leading yet leaderless,
wading in the warm bathwater
fresh and awash with the purest feeling,
drinking earth and swaying so slightly
atop family trees brushing neatly
along the skin-touched pages
leafing soundly into a freed paradigm
lonesome with radical imagination,
to resist the sufferer's cold throne and sleep
instead in the deadly fog of oblivion,
away from the driven masses
who prepare to wake
...
who failed to swear an addiction into existence
over the creator's blue telephone,
hushing the musical light from beyond
into anonymity,
whose authoritarian drug was fixed by the word,
and now silent to the punch,
a subtle dream

slaking the thirst for lucidity to be
in modern consciousness,
say

"it is no measure of health to be well-adjusted to a sick society" (J. Krishnamurti)

...

a healthy wave reaches sky's peopled shores,
wherein all are recognized within the womb,
unborn demigods come to that awareness,
giving lush expressions to instantaneous action,
rousing impassioned need to flow with an artistic palette,
swimming above extinction in winter's unprepared lulls,
choking the urge toward movement within,
a mental pride

singing zealous
while sad, and diving earnestly
into depression's darkest ignorance

shadow's dust so remote
now only found in greed, sick corners
within a Southerly, Global hate,
trading laws with resistance,
scheming out of natural dependence,
realizing childish humility, and finally
forgiving the precious sources of Love,
kneeling before forests,
swamps, wetlands, rains, fogs,
winds, grasses, bushes, trees,
soils, shores, stones, and all measure of fungal being
as barefoot sleepers,
smiling at the unknown,
unknowingly

- excerpts from "truth, judgment or unknowns"