Primarily a writing exercise, this dream journal-inspired blog is a quiet introspective sojourn into the process that we traverse in going from private dream to public art. I see our dreaming as an internalized mythmaking. As I philosophize and expressively exhibit dreams, both private and public, I encourage and delight in creative language as a way to practice experiential metaphors through a “public dreaming." Writing Theory: Creative Dream Fiction
Showing posts with label Sahara. Show all posts
Showing posts with label Sahara. Show all posts

Thursday, 26 July 2012

Desert Wanderings: Reflection on "The Sheltering Sky" by Paul Bowles


On reading, The Sheltering Sky, Paul Bowles' most well-renowned literary work, I was easily spellbound by the way he writes of the desert. This man knows how to write about the desert. He challenges the very depths of language as a mirage over the ever constant reality of the desert wanderer, struggling to see through the inescapable immensity of emptiness. 

The book began with an allusion to dream in the very beginning. Where the main characters, three wayward American travellers, briefly converse on the topic of their dream before the subject is snuffed out by quick boredom and the shallow heart of extroversion at the dawn of spiritual tourism. The travellers seek to surpass the edge of knowability. Unbeknownst to them, to travel without is to travel within, likewise, to travel within is to travel without. Or, as Joseph Campbell wrote, "where we had thought to travel outward, we shall come to the center of our own existence. And where we had thought to be alone, we shall be with all the world." (Source)

I read this book to ruminate on the presence of my grandfather, stationed in Oran, Algeria in 1943 during WWII. Further, I was moved by the shifting sands of memory, as I reminisced on the fleeting clarity of earthly form, surveying the mysteries of the open Sahara on foot, on horseback, on camel, in SUVs, encamped, stoned, under a moonless sheath of stars, and under a fully electrifying lunar beam, reflecting on the moonscape shapeshifting quality of Saharan life. Now, I read with empathetic interest with the mutuality of a fellow American expatriate, while in colder lands.

The book was written by an author, who was first, a music composer (see my post Dreams That Money Can Buy for reference to a past collaborative work he did with John Cage and Marcel Duchamp), and then, with age, crafted a literary masterpiece. As Tennessee Williams wrote in an introduction to an edition of The Sheltering Sky, in reminding the aspiring literati that Bowles had given his words enough time to "cook" with the experiential maturity of a life lived with his respect to his writing.
_________
On the metro, I open a local paper. Full color imagery comes alive, mostly scandalous female body parts, all the rage staring at you through half-covered nipples. Open the next page and shockwave. The image draws me in, a direct witnessing. I am there in the scene.

The African countryside, in the midst of civil war, green-uniformed soldiers are torn from life and limb in a bloody matter of seconds. I can smell the blood, and unwavering with petrified overwhelming adrenaline heat, I seethe with unearthly stress. Massive antiquated tanks and rebels are on their way to massacre the rest of life in the general vicinity. I flee, sure to grab a sight-affixed rifle.

In the night, stranded in the vile hot foreign country, I sense a wolf is near. Hunting for food, I follow the wild canine, cautious as to not be the followed. As I point my sight in the direction of the unaware, sickly beast, I see a green sniper light through the misty forested pathways. Fearful, I continue on with my hunt, starving. The closer I get to my prey, the more I realize it is a docile, harmless dog. I can’t kill it. With innovative strength and penetrating sight, I turn the tables on my would-be sniper. The mercenary is female. I can’t shoot.

Trashing my weapon, I head down a gated outdoor corridor. An overgrown trench of weeds now marginalizes colonial architecture, rising gothic overhead. The sky is dark grey, almost of sable commitment to the opaque grandeur beyond atmospheric heights, mirrored in the abysmal abandonment of the colonial fringe.

As I pass through the empty corridor, an unmistakable presence begs me to look over my shoulder. Behind me, a full-grown, healthy cheetah of princely step, subtly notices me through the fog haze. A bitter second ensues, I sprint, uneasy into the mangled course of vines and metal.

The cheetah bolts in an instant, as the steam of boiled broth rises from a fired pot. Miraculously, I manage to break out beyond the corridor before the cheetah advances on my unwilling flesh. A fortified military complex is my merciless welcome. Stealthily, I glide through unseen and out onto the open plain. A train station stands, lonely against the outlandish veil of unbridled wilderness air.
________
Hunting
"If you dream of hunting, you will struggle for the unattainable. If you dream that you hunt game and find it, you will overcome obstacles and gain your desires." (iDream)
________
wanderer
navigating through bursts of fire
while swans pull in whispers from far off,
sinking whistles, incantations, coded and brief,
releasing and subsuming the night,
to walk alongside other creatures
whose origins have no life in this world,
ranging across times and spaces
in the vast maze, within perceived eyes,
following a vigor,
sensing hues and grays
figuring, vanishing,
erased across slick thought trains,
to appease the spirit of the land and renew Place

raised from pure desire into a high peacedom
prevailing and spanning beyond Earth
yet encircling the buried heights,
now wasted underneath urban pathways
leading to vanquished lore,
spun with vines
growing and curling
swift with a fluidity of inhuman passion,
to embrace and devour flowering tombs

gathering in the Name,
speaking in raw emotion,
devotees to spontaneity alive with independent, rousing energy,
gaining followers behind faint lines written in dust
saved in the memories and the trust of trickster cults

after every midnight round
to oust the villainous government
from outside neoclassical churches and new age rooms
cast in a shrouded light
that spawns frustrated, annoyed intellect
to gulp down dreams and swallow potion

Wednesday, 22 February 2012

Overcoming Fear through a Koan of Dream


Stairwell Lighting at Night by Adolf von Menzel
Buddhist Hermit

"if you see through this world and let go of it...this is wisdom
if you see through this world and but don't let it go...that's just "talking Zen"

here, for you:

[the hermit hands a handwritten koan to the filmmaker]

'ten thousand things
all in this breath
grasping hold of emptiness
there's really nothing to say'

'ten thousand things, all in this breath...' why are people so busy?
just for one breath
they say, 'busy busy, mine mine...
busy a whole lifetime for 'Me'

when this breath is cut off...you let go of the whole universe...why not let go from the start?
'grasping hold of emptiness...' you want to talk about 'real'... show me one thing that is real...there's nothing real from the start

every day morning to night, gathering things...big and small, valuables...money, name and recognition...gathering it up into your lap...like you're holding the golden key...busy your whole life for nothing...acting like a thief...why not put this energy to liberation?

put this mind to the Path"

from the film "Among White Clouds"
__________

I’m in the middle of a desert wilderness outside of a concrete shack which seems to be fortified with wood in various parts. I am with my Dad’s family, specifically I can see my step-sister and my father. They seem very concerned with the time. My father asks us all to be aware of the time, yet he seems very confused and distracted. I ask why would we pay attention to the time, when we are here! I look over my shoulder, and the sun immediately dips down like a perfectly circular satchel of black tea into the boiling water of an endless Sahara horizon. Our surroundings turn to darkness, and suddenly I realize where I am. I can see the Sphynx, with its eyes aglow. Beside the Sphynx are other ruins, unseen in the light of day or at all in the modern ruins around the Great Pyramid. There are faces, of Pharaonic royalty and monuments indescribable. I don’t know how we got here, but I begin to become nervous as I see a local Egyptian, appearing to be a Bedouin trot down a nearby path on a camel. I asked them if they understood where we are and how this place seethes with forbidden territory. They don’t listen and wish to stay permanently, enamored and convinced this is the place they should be.

Together with my wife, we set off. On the road, we find ourselves boarding a mine cart and fleeing swiftly through a desert mountain landscape. As we near insurmountable cliffs, our cart somehow hovers blankly over the cliffs as if their steep inclines were lined with tracks. Upon a deserted hill, we come upon what appears as a Zen dojo or Buddhist shrine of some kind. I enter, leaving my wife behind to wait for me.

Inside the dojo shrine is a hermitage group in the presence of Allen Ginsberg. He is leading a hermitage in exercises of dreaming and fear; that is, how to overcome your fears through dreams. On the walls are psychedelic video art installations. There is an unspoken air of poetic thinking in the room, however subdued by a collective attitude of spiritual practice. When it is finally my chance to endeavor to see out the exercise before me, I am keen to try and overcome my fear through this dream. I am led, to enter myself in the other quarters of the dojo shrine. Its paper walls open at my approach, as I survey the empty quarters. A lightly carpeted staircase leads up to a dark upstairs room. I feel this will be my test. Inside the room, there is a table, upon which my fear resides. Adrenaline rushes. My scalp tingles uncontrollably. I look up, to see an alien figure, hairless and gray-skinned, shriveled and wrinkled, with inflated head. This figure seems relatively docile, however he holds a rope in his hand. Above his left shoulder, a smaller version of the same alien species lies hanged upon a noose. I look into this alien torture victim’s eyes and I see a piercing evil reverberating into every corner of my being with pure driving intensity from the only light in the room, emanating like diamonds from the pupils of the emaciated skull drooping with a deathly gaze, directly at me. I am overcome with fear and immediately exit, having failed at the exercise. I return to the room, the air is a polite majesty of compassion. I leave for my wife outside, who waits patiently.

What was Ginsberg trying to show me or trying to lead me towards; something old, withered with age or neglect, something so inhumane and non-human, yet so eerily resembling our human form, or something hidden deep within me, a part of myself that is all of those things and more, a thing I'm afraid only to confront?
________

Leaving nowhere

loopy adolescent
limping
and boasting

a raucous
and numb
pride
for nowhere
leaving

Tuesday, February 16 2010
3.18pm
Waiting for plane in ugly dim light of celebrity photograph restaurant in Calgary airport. 
Beer and soup.