The Weekly Plunder: Week 6 - Divine Intervention

Gray hues streak the sky and a dense fog hangs over the tops of the downtown Saint Louis buildings as I write this. The lack of sun renders everything pallid and gaunt.

I attempted a bicycle ride this morning. A mile uphill started the ride and it was particularly grueling for the foot. Pain shot through the upper left part of the sole, the same spot where the most severe sprains occurred from the injury. It’s the spot I have felt with every step, with every movement, over the last few months. I guess it’s my “Achilles Heel”.

The thought that the pain could carry for much longer gave me a feeling of despair (I know, logically, that the foot will heal eventually). I wondered, though, if this was my purgatory, to be constantly yearning for a healthier tomorrow that doesn’t seem to arrive (this must be the inevitable conclusion to aging). It’s strange to me that in extreme moments we seek out biblical metaphors for our problems. Everything is rendered hellish or heavenly or purgatorial.

I kept pedaling, thinking that it was unfair that I should be beaten by my own damned foot.

And as I thought this, I just kept pedaling. And slowly the pain in my foot subsided, for reasons I don’t understand. Hours later, the foot felt better still. Miraculously better. Suddenly I was walking reasonably well. I hadn’t done that since I was 35. I don’t know if the feeling will hold, but some things make no sense.

What I’m doing: I am thinking about stories, in general, and where they come from. I’m also thinking about fall and the beauty in a ground strewn with puddles, fallen acorns, and brittle yellow leaves. I’m thinking about walking, running, and swimming. I’m thinking of the past and present and the wonderful lives that have crossed paths with mine.

What I’m listening to: 1. “A Crisis of Revelation” by Trivium. I’m a sucker for a fast metal song with a solid chorus. 2. “Hunter’s Moon” by Ghost. An odd song dedicated to Michael Myers about sibling love, devotion, and obsession. 3. “AEnima” by Tool. 4. “Goodbye Blue Skies” by Pink Floyd

What I’m watching: Midnight Mass. Wow, what an excellent show. It’s much more than a horror show: it’s a show about family, community, faith, and forgiveness.

What I’m reading: Trying to finish up Full Throttle by Joe Hill. I’ve been slacking with my reading and intend to pick up the pace.

Speaking with Ghosts

This morning I stepped outside my apartment building for my morning walk and noted there was a light drizzle. It was the type that you can’t see; you can only feel the tiny beads of water by walking into them. I had my umbrella but decided it wasn’t worth the effort to unfurl it.

A heavy mist hung in the air and shrouded the downtown building tops. Sudden and intermittent gusts of wind blew the drizzly precipitation into me. It was bracing.

I thought about the looming work emails and virtual meetings and time spent inert, starting at a screen, and suddenly I’d had enough. There had to be a Neverland somewhere.

I decided to speak with a ghost, so I closed my eyes as I approached the downtown library.

When my eyes opened I noted the sky was streaked with reds, oranges, and violets, and the sun hung low on the horizon. I looked around and noted that I was in Las Cruces, New Mexico. The Organ Mountains jutted up and stabbed the sky in the east with their rocky dagger-like tops.

I was near Echo Canyon Road, looking down at a dried-up tributary, an offshoot of the Rio Grande River. The sandy bottom was surrounded with two steep and rocky slopes that led up to the neighborhood street. Everything down there at the bottom was dust and sand, dead.

8-year-old me was at the bottom, running around in random zigzags and talking to himself, throwing rocks into the air and watching them fall. He was dead too. A ghost.

In spite of my ankle I maneuvered down the vertiginous slope to the bottom. Scree slid beneath my feet a few times. The granite rocks here are sharp, I thought, sharper than I remembered from my childhood. Better be careful.

The ghost eyed me with a skeptical glance and kept his distance. I kept my distance too.

“Who are you?” He asked.

“I’m you.”

”That’s impossible. I’ll never grow up.”

“You do,” I replied. “In fact you already have. You’re a ghost now. History.”

The ghost’s eyes widened.

“If I grow up, do I still read comic books when I’m a grown up?”

“No,” I said. “For a long time you don’t read anything. You lose the ability like everyone else. Instead of reading you worry about looking young and buying shit. You will read again eventually, but not comics.”

“I don’t want to read anymore?”

“Instead you stare at computer screens. You check emails. You compare yourself to other people. You worry about money and do chores you don’t want to because you’re told it’s the way to be successful.”

“Maybe I’ll get bitten by a vampire soon so that won’t happen. I’ll be forever and you’ll be the ghost!”

“You won’t. You’re a ghost because our history is written.”

“Let’s change it.”

“I haven’t figured out how. I’ll let you know if I do.”

“That sucks.” The ghost threw a rock with all his might at the horizon. “Maybe I’ll walk to the horizon then. See if there are any creatures there.”

“There aren’t,” I said. “You’ll wander another ten minutes, then get tired and turn back home. I remember this day too.”

”Then maybe I’ll catch some scorpions and tarantulas!”

I smiled. “Yeah,” I said. “You’ll catch a lot of those.”

I checked my phone. It had no signal.

“What’s that?” The ghost asked.

“It’s one of the many deaths of us,” I said.

“So when do I die?”

“August 25, 1994. 1 pm.”

“Pacific Standard Time?”

“No, Eastern. You were born in Florida.”

“That’s right,” the ghost said. “We should hurry to the horizon. La Llorona haunts the river at night. She likes to drag little boys and girls into the water.”

“Yeah”, I said. “I forgot about her.” I cracked a smile.

“Is she the one that kills me?”

“No. She’s one of the things that keeps you alive.”

“Do I end up being an astronaut?”

“No.”

“A professional athlete?”

“Sort of. But for many years you become another one of those soulless adults who whines about their hair and clothes and worries about being late and paying bills and looking good for couples photos.”

The ghost laughed.

“Screw that,” he said.

“Yeah, screw that,” I said.

“Let’s get going,” the ghost said. “I want to see if there’s gold at the horizon. Maybe there’s a leprechaun too.”

“My ankle isn’t so good and I’ve been that way before,” I said. “I’m gonna head up this hill before it gets dark. But enjoy.”

And suddenly the ghost darted toward the horizon, staying within the depths of that dried up river valley, deftly maneuvering the rocks and underbrush to avoid scrapes.

I clambered back up the slope and to the city street. I took a deep breath. The sun would set soon, and La Llorona would emerge from the Rio Grande to drag another child into its icy night waters.

Tumbleweed bounced and rolled down the road, pushed by a steady eastern wind. Pushed from the Organ Mountains, that strange rocky terrain where trolls lived and clubbed human trespassers to death.

How do I get back to the adult world? I wondered. Then it hit me: I didn’t want to.

I looked at the horizon ahead, the path that the ghost took to get to it. At that point where the sky met the earth, something glinted.

Maybe it was gold after all.

I started walking that direction, though I kept to the pavement.

The Nothing

“Beware the barrenness of a busy life.” - Socrates

I had a fun conversation this week with a colleague about the 80’s film The Neverending Story. In the days that followed I found myself thinking about the evil that threatened to destroy the magical world of Fantasia, “The Nothing.”

The Nothing was tied to the human world. In the film it resembled a black hole that swallowed and essentially deleted from existence all of the mystical lands and creatures of Fantasia. It was directly correlated with the adult lack of imagination and failure to dream or read books.

With the film having been released decades ago and the book it’s based on long before that, I wonder if The Nothing would have easily triumphed over Fantasia in today’s world. I suspect it would.

I recalled a friend of mine’s toddler who sat in the back seat while we drove to a museum, the toddler’s eyes glued to her tablet screen. How will such a toddler, always enveloped by dopamine-inducing stimulus, ever have time to imagine? It is through boredom that creativity grows. It seems that The Nothing now swallows many of us before we are even old enough to read in the first place.

The Nothing makes us busy, and in its clutter it makes us barren. With more websites to browse, more things to buy, more emails to answer, more shows to watch, more tasks to complete, The Nothing envelopes us in inadequacy. And at the core of this inadequacy is money. Therefore, money is at the core of The Nothing.

The toddler therefore abandons nature in favor of WiFi.

On the other end of the age spectrum is the retiree. Consumed with planning, the 65-year-old retiree is concerned almost entirely with projections. Projections of lifespan, projections of benefits, projections of health. All of these projections gravitate around money.

Whereas they once fretted for their job security and bonuses, retirees soon fret for health security. The primary question of the consumerist model does not fully disappear: Do I have enough?

Gone are simple days spent being. With money having consumed the retiree’s every thought, every worry, and every bit of motivation, for years upon years, the modern consumerist model has completely devoured the retiree’s spirit. Wholly dependent on the system for what the retiree now values most, which is predictability and stability, the retiree no longer focuses so much on what he or she deems trivial: things like creation and meditation. What money, what insurance, after all, are supplied by creativity? Instead, the retiree’s focus is on wills, on healthcare, and on potential future nursing homes.

Burn me at the stake, I say, before sending me to a damned nursing home!

Free from the shackles of work, the retiree is shackled to insurance and rife with anxiety over pension plans. “Will I get my promotion” is quickly placed with, “But will it get me through?”

The what ifs of the working world subside, and the what ifs of the healthcare world infect.

It is no wonder then that so many retirees struggle to find purpose, when in fact there is a thousand years’ worth of purpose in a single ray of sunshine. The retiree’s sole focus for so many decades was on “finally having security” that the act of retirement only breeds more insecurity: a lack of passion, a renewed anxiety over wellbeing, and a focus solely on money.

The retiree, consumed by being busy, struggles to breathe. He or she will therefore often find new things to be busy over, and there is great risk in these things being too superficial to live long for.

The focus for so many decades was on having enough money that money can become the retiree’s primary value. It will not simply dissipate because one is retired. It will instead shapeshift into forms more sinister. The Nothing will prevail.

And in between the toddler that is introduced to a consumerist model of screens, and the retiree fully consumed by the consumerist model of funeral planning and pension spending, are those lost in between, navigating the unknown, figuring out what is truly valuable to them.

Will The Nothing finish them off, or will they learn to read again?

It is easy to be rendered cynical by the hoard, but it is still relatively easy to defeat The Nothing.

Take a moment to breathe. Do nothing, just stare and breathe. Let your mind wander where it may. Don’t look at any screens or the wasteful notifications that blink from them. Don’t prepare anything or mark anything or clean anything or throw anything away. Was it easy? Then do the same, but for ten minutes. Then try an hour. Look at a plant, or an animal. Let your mind wander. Then when you’re done, pick up a book and read a few pages.

The Nothing just shrank a bit.

Suffering, the Precursor to Art

I was reflecting today on why old Soviet literature encompasses a large portion of my favorite novels.

Most of my favorite works were written under iron-fisted bureaucracies (or shortly prior to their arrival), within systems that repressed and compressed the human soul. I find it interesting that from a system that mashes the individual spirit into flattened dough, some of the finest breads were baked.

Soviet writers and painters were forced to hone their crafts within the narrowest boundaries, and despite not capturing what they likely dreamed of capturing, they created something magnificent within the confines of what was allowed. It was a negotiation in some sense, but then almost all art is. Artists were given a litany of things they couldn’t do, and so they perfected what they could.

This reminds me of modern Hollywood film, in a sense. The best works are created with minimal money and resources because the artist must focus on the visual aesthetic and storytelling as a craft. The added skill compensates for a lack of money. Contrarily, when films are given a limitless budget, they often materialize into disaster.

The Master and Margarita, one of my favorite Soviet novels, was not published until well after the author’s death, and several censored version floated around prior.

Dostoevsky’s Crime and Punishment, though written before Lenin, was a product of a rapidly changing time. The aura of the morally degenerating Marxist youths of the time are woven through the book’s pages.

It led me to think that great art requires limitation and perhaps even the total destruction of stability. Confines, therefore, are a precursor to great art, and art is always a negotiation between artist and society.

Yet in America, the best literature was often written in a much different system. I think back to Faulkner, Hemingway, and T.S. Eliot, and the Roaring 20s, and the crash that ensued.

It seems as though with affluence and fame and minimal limitations or censorships, great novels still arose, just with vastly different themes. There were still cultural criticisms to be found, but perhaps the artists themselves, with relatively less censorship, found ways to bring their own demons to the forefront. American authors had a propensity for gluttony and nihilism, and consequently a deep knowledge of the darkest parts of the human soul. Everything good, as shown both internally by the act of alcoholism and drug use, and externally by the Great Depression, will inevitably be destroyed.

Whereas Soviet artists constantly battled their system, the Americans battled their inner demons. Hemingway died of a shotgun wound to the head after decades of chronic alcoholism. Eliot and Faulkner were similarly fond of the bottle. All had ample turmoil within themselves, though of different types for each, which inevitably manifested in their pages.

Therefore it can be assumed that it is not necessarily a repressive system or set of limitations that sets the stage for great art, but rather the act of suffering itself, which can take many forms, both societally and internally.

It is suffering which gives art its meaning because to truly be sustainable, art must tell us something about ourselves that we did not otherwise know, or could not put into words. And to accomplish immortality, the artist must sink into the darkest nether regions of the human soul, and return sane enough to tell what’s down there.

Every artist, regardless of era or upbringing, is sacrificial in some sense because of this.