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It seemed a melodramatic way of phrasing it at the time but he felt he could only describe himself as having lost control of his body. A pain constantly radiated from the area of his kidneys and stomach, like cracks spidering through a pane of glass. The geography of the body grows obscure when one is locked inside the boundless center of a pretty routine pain, even as the pain itself appears to shatter through its environment and leave whole radioactive blooms of damage. When he thought of his midsection he thought of a crater on the moon through which slow fractures wove.

His perspective on reality adjusted in order to absorb this pain, and he found his focus had detached considerably. It was impossible to inhabit a minute, at least without also having to inhabit and reflect upon innumerable microseconds of pain, cresting within him reliably as the waves on a beach. In order to forget it, he would force himself to go out, and there he would inevitably remember it harder. The detachment cultivated in him by the shapeless flares in his abdomen would cause him to separate the flood of reality into individual threads. Experience, memory, projection, once useful unconscious processes that kept the flow of his existence rich and coherent, were now like severed electrical wires convulsing sparks. No focus or direction to the current of his life, just anxious volcanic eclipses, collapsing into a darkness he now nearly always felt vibrating at the edges of his body.

He had spent considerable amounts of money on doctors, compromising what he had set aside for rent and groceries, which seemed to him more important than an ulcerating ambience in the core of his body. The doctors took blood, scanned yards of his skin, but could not isolate a single source of the pain. Each of their foreheads marbled with uncomprehending veins like leaves in sunlight.

He would try as often as he could to see the bands he liked, the pain having not entirely reduced his ability to lose himself—his body—in music. It was his favorite thing as a kid, and he heard it in the flutter and pulse of James Brown records especially, almost rising from the glowing whorls of its surface—how someone could completely dissolve in a song. How a song could travel all the way through them, head to toe. James Brown did not create the groove, the groove created and recreated James Brown, cell by frenzied cell.

In the minutes before anyone walked on stage, he would look at the other people gathered in the room, gently decrypting what pain they might have to live with, which they carried around like a bag they had forgotten the contents or purpose of. He wondered how they translated this music through their own illnesses, or how they might tune it precisely to the music and feel a warm and evocative symmetry there. Later, all the notes in the songs would appear to him like flares in a life monitor, gorgeous skeletal pyramids that leap out of an unrelenting flatness.

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I had been looking out at the dawn, at the soft, uncertain pinks which pulse faintly in the sky like muffled satellites. When I settled back into bed, I discovered a bruise gathering on the eastern wall of my room. I had just woken up, and felt myself being drawn out of the whirlpool of sleep into a faint production of consciousness. I realized the texture of the bruise was gradually unfolding into regular, ambivalent sunlight, the kind that lends shape to things but assumes no definite shape itself, mere weightlessly sifted infinity. I grabbed around absently for my phone with the intention of photographing the burnt orange ripening across the wall, merging pleasantly with a shadow that echoed it like a dark mirror. The camera on my phone ordinarily fails to draw soft invertebrate blooms into focus so there’s a bit of a gauzy drift to the final picture, as if the walls and corners of my room had, like the light, been gently flowed onto the surface of life, like water moving over a bank of sand.

I had been looking out at the dawn, at the soft, uncertain pinks which pulse faintly in the sky like muffled satellites. When I settled back into bed, I discovered a bruise gathering on the eastern wall of my room. I had just woken up, and felt myself being drawn out of the whirlpool of sleep into a faint production of consciousness. I realized the texture of the bruise was gradually unfolding into regular, ambivalent sunlight, the kind that lends shape to things but assumes no definite shape itself, mere weightlessly sifted infinity. I grabbed around absently for my phone with the intention of photographing the burnt orange ripening across the wall, merging pleasantly with a shadow that echoed it like a dark mirror. The camera on my phone ordinarily fails to draw soft invertebrate blooms into focus so there’s a bit of a gauzy drift to the final picture, as if the walls and corners of my room had, like the light, been gently flowed onto the surface of life, like water moving over a bank of sand.

Tags: light photos
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staybehindtheyellowline:

Here you are, in all your cartoon glory, unbornwhiskey!

Incidentally in real life I am composed of vectors and wreathed in squares.

staybehindtheyellowline:

Here you are, in all your cartoon glory, unbornwhiskey!

Incidentally in real life I am composed of vectors and wreathed in squares.

Audio

The Jets: “Crush on You” (The Jets, 1986)

This is my new favorite song. Sometimes when I listen to “Crush on You” the small expressive world of it telescopes out and I see it arranged in a constellation with my other favorite songs. These songs all share physical properties which pin them to their narrow ribbon of cosmos—for instance I think ”Crush on You” and Womack and Womack’s “Teardrops” are both animated by a kind of skipping pulse, like a multiplied heartbeat. Whenever I hear either song it feels as if insects are fluttering through a bouquet of my nerves. It’s an occasional relief when my feelings about music aren’t totally aimless and confused and instead are able to gather themselves into reliable patterns and designs, collapsing intelligibly into points of light.

Tags: the jets music
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Winter comes down savagely over a little town on the prairie. The wind that sweeps in from the open country strips away all the leafy screens that hide one yard from another in summer, and the houses seem to draw closer together. The roofs, that looked so far away across the green tree-tops, now stare you in the face, and they are so much uglier than when their angles were softened by vines and shrubs.

In the morning, when I was fighting my way to school against the wind, I couldn’t see anything but the road in front of me; but in the late afternoon, when I was coming home, the town looked bleak and desolate to me. The pale, cold light of the winter sunset did not beautiful—it was like the light of truth itself. When the smoky clouds hung low in the west and the red sun went down behind them, leaving a pink flush on the snowy roofs and the blue drifts, then the wind sprang up afresh, with a kind of bitter song, as if it said: “This is reality, whether you like it or not. All those frivolities of summer, the light and shadow, the living mask of green that trembled over everything, they were lies, and this is what was underneath. This is the truth.” It was as if we were being punished for loving the loveliness of summer.

Willa Cather, My Ántonia