Krishna was a Butter Thief

Logic is tiresome, like madness. The brown suede cover of my pocket calendar, the one in which I write, was the back of a cow once. Tanned, dyed, stretched. I will not make a metaphor out of this. It was the book that I bought when I promised to jot notes, any notes, regularly. Pencil swatting words on the fly. Discreetly. Grab at slips of thoughts before they slip away. It's the layer below the layer. A veiny map of words pulsing with blood. A cow's shroud, but see, there I go. The skin of a cow covers my book. The skin that was composed from soft grasses that were nibbled and mulched through four stomachs until the ingredients could be usefully used. To make skin cells. Dermatitis of words. Scribbled suede.

It is the hair that seems wrapped on a bone, that sticks out at jagged angles, that I like best. She pushes the mail cart like a hospital bed. Back and forth, three times a day, every day. Slow, cow steps. Bovine mail delivery. I must get cows off the mind. Really, as I sit at the desk looking for something else to fix my attention on, the telephone cord, wrapped in that circular pattern, is interesting. How do you press rubber wrapped around a line into that shape?

Black and white spots today, a vest. Soft fur, brush it. Which is a lie, but it fits with the metaphor I refuse to make. Gibberish. Someone has gone out the door, someone will enter it, and I must watch all the time in case anyone has lost their pass or needs access, like a visitor, or a courier. My fingers race over the keys until they sound like a clickety cart. It's Friday and almost everyone is gone. I shift my eyes back and forth, checking my environment, people walking by. Am I seeing myself? What do I look like? How many people do you have to see before they blur? Into cows in fields bovinely chewing cud, walking bags of internal organs pulsing. We're walking herds. It must be environmental sterility that's making me this way. I cannot discount the effect of where I am. I'm not sure where these cowslips of thought are coming from. Inside the clover of my hair.

When I was a cow I had no time to give milk. All my attention was on my hooves. And then I ate grass until the cows came home. It was very good, if I recall. The gum that I chew is green. It's St. Patrick's Day. Do cows mind snakes? Cows don't get agitated often. I'm not talking about bulls. Mama cows. The ones mooing on the hill. Everyday I eat a fresh baby spinach salad that I make myself. With thinly sliced onions and fresh mushrooms, and liberally sprinkled with salted sunflower seeds, flax seeds, slivered almonds, chopped walnuts, and perhaps cheese cubes. Milk squeezed into solids and dried. Feta cheese salad dressing thrown and tossed until all the baby spinach leaves are coated in oil and dark green. Then I chew, slowly, while all my stomachs digest. They tell me that eating green leafy vegetables with an oil and vinegar dressing is good for us. It keeps us our minds agile.

Really, my hooves are the most interesting part of my anatomy. Everywhere I've been is remembered in them. Look at the indents. See the continents. It's time to move up the hill. I'm being rounded. Milked.

The day illusions fell

This prose poem is dedicated to that magnifique intellectual and poet par excellence, John Walter. Some of the lines in this piece came from a comment I left at his moving poem, Nepenthe. It's also dedicated to my close confidant, Kaj, who received this prose poem as a voice mail message when he didn't answer his Treo, and for which I was generously thanked. Thank you, such beautiful men...
And to Sky, whose photographs and writing of the flowers in her garden inspired the imagery of the last paragraph, so sumptuous they ebulliently began blossoming over here.

encrypted poem

Early March 2007, Toronto

Oh, those years on the earth...

It's my birthday, the double high-five. Nothing special, but I did buy a silk dress which I am wearing at work. Perhaps I'll try to compose some images and see what might emerge from them. It's a difficult day for me, began at 5:15am with sadness, but I'm being brave... and trying to make it like any other day, ignoring the undercurrents, their deep swelling. It's not the age - I celebrate that, seeing myself as only half way through. But, oh, losses, family, really my Dad, such a long time ago now, the ways in which one is honoured, cherished, treasured and loved. Being born was the best and worst thing that ever happened to me, and can I say that after all these years? Does anyone understand this? It's not an easy day. Tomorrow I will probably go to a performance in celebration of International Women's Day with some women friends and celebrate quietly then. Oh, should I post this?

I'll update this as I write it. Please forgive how blatantly emotional.

I woke early, tears in the darkness.

Ironing the black silk dress with cream polka dots like full moons, a few ruffles over the bodice. It ties at the waist. Underneath a silky black chemise with a thick hem of lace that falls below. Since it is Winter, and cold, a wool shirt, the weave, a light-weight worsted, slightly stretchy, in black. An aquamarine pendant surrounded in diamonds, a birthday gift, the last one, from my father before he died.

I remember him on this day, the day he celebrated me, more than I do on the day that commemorated his birth.

The day moves into its heaving. Why can't it disappear into an ordinary day? By evening grief wears itself into memory again.

There are beautiful wishes from friends, and later perhaps my mother, and perhaps my brothers will call, my son certainly will. Only my Dad cared about birthdays, and not his, he wanted no special attention. None of us care that much about birthdays. Only why the slide into grief, the remembrances. As the years have gone on, it's gotten worse, too, missing someone who died 23 years ago now. To acknowledge it as a day of grief? How very odd indeed. Therefore I want to hide the truth of what day it is. You understand.

The day of life, remembering death. Mourning amidst quiet celebration of the day one embarked on life, commemorating the day of emergence, the rhythm of the passing years.

Later now, and the evening mellowed... sitting with my daughter while she does homework, working through things with our banter, the light on the table glistening, her hair, her high cheek bones, enjoying her beauty, sparkle, and one of those soul-baring talks with my brother while she walked the dog, and talking for nearly an hour with my son by phone, so gentle, so wonderful, these simple pleasures, such blessings. In the end, I am a family woman.

Fragments of Images

Friday March 2, 2007

encrypted first draft of poems

Template for the Random Accelerator

encrypted first draft of a prose poem

Mountain of Seeds

Dug into a remote mountain near the North Pole, a seed vault. One hundred and twenty meters (364 ft) inside a mountain on Spitsbergen, one of the islands of Svalbard. Insurance for the future. The Norwegian government is spending $5 million to house 3 million seeds. A passageway, an inner chamber constructed. Doors locking the tunnel, the vault. Seeing a future of severe climate change, devastation. Or our favourite grains bred out. Permafrost will refrigerate if the cooling system fails. Once it's built and filled with the chosen seeds, it will be checked yearly. There are seed banks around the world- one in the Philippines destroyed by a typhoon. Even if the Arctic melts, horrors of global warming under the depleting ozone layers, models of the mountains of Svalbard predict safety.

Surely we will forget. One year the person who is to check will be sick, or their child will be dying, or there will be a war, or they will be too old and tired to remember to pass the combination on. Or maybe a deliberate withholding. Centuries will pass. One day a mountaineer will discover the doorway to the passage to the vault under the overgrowth and moss of the mountain. Or perhaps it will be a sloping hill by then. And just as ancient Egyptian wheat and barley seeds have been discovered in pyramids, these 3000 years later, so will what we plant our fields with.

Long tunnel into the mountain, stocked, labelled, locked, air tight insurance against the holocausts or negligence of the future. An agricultural Noah's arc. This scrotum, this ovary, this seedpod. Cold, northerly mountain of seeds.

Memes...

As I write in my notebook, I look over at candies lined in large canisters as a rainbow of dyed sugar across the wall at the "...Sweet~Factory." Where, later, I will buy chocolates, after sipping a bowl of Miso, a perfectly flavoured broth of nourishment, in the empty Japanese restaurant that is arranged like a cafe on the red granite floor of the underground concourse. It is quiet here, where I come to write, to take a break from the tedium of the job upstairs, the repetition of information which I transfer meme-like from Word file to Excel chart.

On Dawkins concept of Memes: "structured units of knowledge that are able, more or less, to reproduce themselves by making copies of themselves from one mind to another." Marvin Minsky.

A system of ideas can evolve by itself through structured units of knowledge that are able to reproduce themselves by making copies from one mind to the next, without biological change. Without life, or death. Simply being carried in neuronal synapses, from reading, or hearing, or seeing, words or numbers or concepts. Carried on. Through life-bearing organisms, and in texts that we create, documents and spreadsheets.

Like the economic system, but isn't that too big to grapple with? Let me, instead, grumble about how much senseless information is passed on through replication. Information that gives us a demographic, but doesn't impart the bloodbeat?

Where 'being on the edge,' or at the core of a 'denuded' life, a naked life, counts. Having wrestled free of a quarter of a million dollars of debt, most of which wasn't my doing, I live without luxury, accoutrements of ease. I owe nothing and I have nothing. My life at zero. Zero is the place to be. Zero-consciousness: death-consciousness. No debt, nothing to be paid off in the future. In the Bergsonian eternal present, never mind time: financially. My karma is clean. I am free of baggage from the past and encumbrances in the future.

In the movie, Children of Men, the future is presented as an impossibility. Capitalism depends on 'borrowing against the future,' and debt is contingent on future payment. What Children of Men presents is the alternative of no future. The spectre of a species coming to the end of its line. In the film the women of the world are infertile. The 'other,' is blamed: racism is heightened, mass deportations are ongoing. Society becomes totalitarian. The system crashes. Memes flounder trying to reproduce the world through their reproductions of it. Nothing works. The youngest child in the world, an 18 year old, dies, and the world mourns through global networks of news. But there is hope, a Black Madonna in their midst. White roses should line her sacred path instead of the blood of constant murder.

The mystery, protect it, honour. Mystery. Profundity. Fear and trembling. Beauty. The sublime.

Feel it. Live as an unsheathed nerve. A strange image in this underground vault of stores and eateries lined with large tiles of polished granite. Open, vulnerable, sensitive to the essence of the beating pulse. And to write from the real, and not sugar-coat, or pretend, but to feel all life's modalities and tonalities, from the dark and confusing and heavy, to plaintive mourning, to joy and ecstasy and bliss, to communion. Love, every breath. What I like are suspended chords, what Joni Mitchell calls, 'chords of enquiry. They're unresolved.' Then the composition becomes harmonically complex. Then it's possible to hear a full range, including what throbs below the cacophonous surface.

She looks out beneath long and lustrous eyelashes, coated with deep brown mascara, under a perfectly drawn line of dark liquid eyeliner. Courbet-brown hair, elegantly pulled back; lipstick glossy on her lips; nails a deep red; her earlobes and neck and wrists and fingers rung with fine gold. She's from North Africa, perhaps of Middle-Eastern and East Indian lineage. Sleek oiled beauty, an older woman, short, soft, rounded. For her I transfer information from charts to lists. Charts with boxes of names, and numbers, and positions in departments, who's who, staff, or contract, and where. Hierarchies of power replicated department by department. Updating what will be obsolete in a few weeks because people move in the bank, changing offices, positions, and her charts keep up with the changes so that everyone can reach everyone else by phone or email or mail. We need to be in our places, even if we're constantly changing places. Across sound-proofing office dividers, floors that are accessed by different blocks of elevators inaccessible to each other, around numbers spilling out of every computer screen in the whole complex of corporate office buildings. Mergers, take-overs, credit departments, marketing, delinquent accounts. Increase on investments. On the take. On the go. The bodies who make up the organization in the lists. Under those dark, swept eyelashes the lists will be reviewed, corrected with up-to-date information, and fed back into the system. Women like me come and go; we rarely speak of Michelangelo. The bank needs to keep track of itself.

Banks are the circulatory system. If the stock exchange, investment firms and investment wings of banks are the dark beating heart of the global financial empire, banks are its blood. Taking capitalism to every corner of the globe, every tiny capillary. Money in, sending it back out, or using it for loans or investments. Lending it; making money through interest payments. The bank, an aorta. Upstairs under the stories-high glass roof of skylights, a semi-circle of marble counters that the bank tellers stand at counting money. Transactions. In, and out. Money circulating, sloshing around the world.

My mind slowed into thickness and I left, and went to the Japanese restaurant and ordered Miso soup and wrote this while looking at the candies, like sweet tower turrets, a wall of dyed designer sugar laid out like a rainbow. When I go over to buy chocolate, I discover the turrets are soft plastic tubes created to 'look like' a candy store, and the candies are photographs printed on posters wrapped inside the clear canisters.