Tuesday, May 24, 2005

[ireland]

by a. atiya


I am alone on the Isle of Inishmoor. I drink a coffee, black, and eat a tuna fish sandwich on a rickety wooden picnic table outside the island’s sole shop. In the bright August sun the sea shines, and a squat rainbow stretches out to Connemara.

I am reading a book, uninterrupted, until a man with blue Irish eyes comes to sit across from me. He asks me if it’s all right, and I agree. He wears a filthy pinstripe blazer and I can see the dirt under his fingernails. His clothes are all black, and he slides a white cigarette out from his pocket. He sets it between his rotted bluish teeth.

“It gets crowded around here this time of day,” he says. I look around and he’s right. There are only four tables, two are occupied by a large pack of Swedes, the other one by those gangly youthful Italians, and he and I are alone at the fourth. “It’s still the high part of tourist season,” he adds.

He lights his cigarette and pulls the Gaelic newspaper out from the inside of his blazer. He doesn’t unfold it, just flips it over and starts the crossword. He focuses on the paper, which grants me a moment to watch his eyes. The Irish eyes are not overrated. His are luminous, they seem to be several shades of blue at once, bordered by thick black eyelashes.

But I stare too long and he starts to notice. He asks me for help with a question in the crossword. I awkwardly reply that I don’t know Gaelic, so I won’t be of much use.

“What are you doing out here?” he asks. I tell him that I’m a student on vacation. He says, “We get all kinds out here.” He asks me if I am out here by myself, and I say that I am. I ask him if I can bum a cigarette, and he says sure. I apologize, especially since cigarettes are so expensive out here. He says that he higher the government makes the prices the more we should smoke, tell ‘em to go feck themselves. I finish the last sips of my coffee.

An old woman with cropped white hair hobbles over to us and flops down on the bench. “Johnnnnnny,” she cries, and kisses the man on the cheek. She wears an identical filthy pinstriped blazer. Both wear sullied black t-shirts as well. She turns toward me, and I can see the resemblance between the two, though she has the drastic underbite of old age.

“Beautiful morning, isn’t it,” she says. “No sign of rain!” Which is sad for me, I sort of idolize the Irish rain. Johnny sighs.

“Sometimes it’s like the feckin United Nations of Beautiful Women out here,” he says, and I watch him admiring the tallest of the Swedish women. She wears big round sunglasses. She is trying to untangle her legs from the picnic bench. His mother agrees. “This one too,” she adds, pointing to me. He nods, and we take a moment to appreciate the sea. The moment is almost peaceful. Then, she asks Johnny for a cigarette. He tells her no. She says just one and she’ll quit tomorrow. He says no. She says that she’s been so good. He says no never. She says just half of one and she’ll quit tomorrow. He slides another white cigarette out of his left pocket and hands it to her. She pulls his lighter out from his right pocket and lights it for herself.

She leans back for a second, exhaling, and shows me the hairy underside of her chin.

She readjusts her glasses. “What’re you reading?” she asks. I answer, The Virgin and the Gypsy, and lift the book so she can see the cover.

“Oh oh D.H. Lawrence! I know what that is! That’s pornography!” she exclaims.

“Only in your day, mother, did they call it pornography. In my day they call it literature,” the son replies.

“Well I don’t care what they call it. I know what that is! That’s pornography. She’ll tell you, it’s pornography, isn’t it?” She looks to me for a response.

I say that sadly, I haven’t found it to be pornographic at all. In fact, I am quite disappointed. I’m even contemplating getting my 1.50 Euro back from Charlie Byrne’s bookshop in Galway.

For a moment she is silent. A reddish rooster approaches our bench, pecking at some crumbs of tuna I have dropped. I am tempted to smile, but I am afraid that I have already offended her. Before I can utter a retraction, however, she explodes into enormous peals of laughter.

“Did you hear that Johnny! She’s disappointed that it isn’t pornographic! She is disappointed! Well isn’t that a good one!” Johnny sets another cigarette between his bluish teeth and lights it. The mother continues laughing, she laughs so hard she starts to cry a little, and she lifts her glasses up to pat her glistening eyes with the back of her hand.

Still laughing, she props herself up to climb out of the bench. “She’s disappointed,” she mutters under her breath. She kisses Johnny again on the cheek and then walks over to me and kisses me too. “Lovely to meet you,” she says. I can feel the hairs on her chin brushing up against my face. She asks Johnny for one more cigarette, he obliges, and she hobbles off again.

“Your mom seems like fun,” I say. “She is, a bit wild even for her age,” he replies. I wonder if she was drunk. We sit for a moment, reading again. “The Virgin and the Gypsy,” he says, after a minute. “Which one are you?” I laugh politely, but don’t reply. He starts the crossword again.

Half an hour or so later, I’ve finished the book. He’s now reading the paper, I guess that he’s finished the crossword too.

“Hey,” I ask, “Which beach do you prefer here?” He asks I am interested in swimming or contemplation. I say for swimming.

“I don’t really know. I’m not much of a swimmer. I’ve lived here my whole life and I don’t go swimming. But some travelers have enjoyed that beach near to the entrance of Dun Aengus.” He gestures towards the sea with his left hand.

I thank him for the advice, and for the cigarette. I climb out of the table. “Nice to meet you,” he says, and I say the same.

Tucking my book into my bag, I start on the path down to the sea.

Saturday, May 21, 2005

The Heavyweights Of Extreme Championship Rocking | World Tour 2004: Day 31

By N. Sylvester

12 September 2004, 3:31AM – Washington, DC

Enough with the fucking melodrama. I'm going to tell it to you straight as a baby's asscrack: The Heavyweights of Extreme Championship Rocking are indie rock's answer to Norah Jones. They're the fucking olive branch to the War on Drugs, the Thomas Paine to the Boston Fucking Tea Party. I'm the band's manager – but I manage many things. In this business, where kings are paupers and paupers are in Iraq FIGHTING ANOTHER MAN'S WAR, somebody has to be reliable. While the band's hanging out back stage reading Nietzsche, there I am at the merch table, "managing" to break a twenty because somebody only wants to buy a fucking button. And let me tell you something else: there are a lot of fucking buttons to sell. Who do you think "manages" to sell them all? Does the band "manage" to put them on their shirts in such a way that the buttons look like flat nipples? Not that I'm complaining– I think it's pretty goddamn grand these guys are such visionaries.

When their show at the Black Cat finished last night, we (heretofore Me and the Heavies) packed up our shit like Dick Tracy framing Roger fucking Rabbit on the set of The Wonder Years. Now we're driving around outside Philadelphia in our tour wagon, a 1989 Ford Aerostar with tinted windows, looking for a place to get some fucking shut eye. I'm outside making some calls from a glass phone booth. Zeke is in the back-- he's the Heavies drummer, our resident sex guru, and the only man I know who can read Maxim and FHM at the same fucking time-- reading the latest issues of Maxim and FHM. The other guys are passed out, or sleeping, or in the mini-mart buying cigarettes. I mean what am I, their fucking mother? This is indie rock for chrissakes. They do whatever they want, and any of the tour t-shirts we don't sell I'm gonna keep for myself.

I call a motel and order eight rooms: one for each guy in the band, one for me, and three for Rock Elijah. By the time we've tongued our way to the place, Chris, Joel and Yanson are still in the Aerostar, and I'm not the kinda guy who fucks with that. They want to sleep in a van, that's fine, that means more empty rooms for me and my dogs-- call me a pussy, right? but I swear to fucking Christ I'll put up any stray pets I can find in this fucking shanty town of Libertas. One day my message will be clear: I don't care who let the dogs out-- it's just time for someone to let these dogs in-- into their hearts.

12 September 2004, 3:01PM – Philadelphia, PA
3PM the next day we wake up with bloody noses and the motel alarm clocks covered in boogers. Man was I shot-- like the fucking sheriff-- but I kept it cool-- like the deputy of our country, Bill Fucking Gates. The Heavies were hungry as horses at the dog track, and really wanted some breakfast. We messied up the hotel room before we left, then started hunting down some diners. Places to eat. Things for Sustenance. BEING. TIME. GEIST.

We dug our way out of that shithole and climbed up onto this shit mountain of a diner on Sixth and Spring Garden. The place reminded me of “Heroin”, a poem I wrote about Eric Clapton’s song “Heroin.” We sit ourselves down and get ready for some nutritional facefucking. Now the thing you need to know about the Heavyweights: these guys are comedy geniuses. Wherever we go, there they are, talking to each other. Then they start RIFFING. Now settle the fuck down before your shit comes out your eyes. These aren't just any sorts of riffs the Heavies are doing– these are magical rock and roll comedy duels, reminiscent of Louis Armstrong skat-battling himself coked out in front of the bathroom mirror.

Joel is the king of riffs. This guy just can't stop riffing – he's always in the midst of a riff. I swear to god it's a good thing this is a DEMOCRACY (still, but it might not be because of the fucking ELEPHANTS), because Joel is the king of riffs, a tyrant of riffing. His minions? Riffs.

But that's just a footnote. And besides, we hadn't even ordered our fucking food yet. Our waitress came up and spit some water in our cups, then started eyeing us up like we're ready to order. None of us had even looked at the menu– like we fucking needed to anyway. We knew the kind of place this was. Yanson ordered his usual: bacon and eggs and a cup of coffee. Black – like the color of his dyed black hair. Then Chris ordered. French toast. So fucking typical. Here's a guy who can't break himself away from himself. We were at a French toast place yesterday and all he could order was French toast. Zeke was a vegetarian. So fucking typical, but still, so goddamn beautiful. His decision to stay away from meat gave him his slim physique, and it reminded me of swans – a fucking million of them – swimming in a lake, doing ballet with their wings – made of steel.

"I'll have the broccoli omelette, please. Oh, hold the omelette, I'm a vegetarian." Zeke always did that, but we always laughed anyway, like clowns do when other clowns die. Joel ordered something I forget, and this was shaping up to be the saddest breakfast I had ever had, then I ordered, like a fucking champ.

"What do you want to eat?"

I stared that waitress down until she had to ask me that question again. I was trying to prove a point: how is anybody going to want to eat here unless you try and establish at least thirty seconds of serious heart-to-heart eye-to-eye eye contact? It ain't rocket science, toots– it's called love.

"I'll have a number two."

"Sir we don't do numbers – there is no number two on the menu."

"Yeah" I said like a man. "So surprise me."

And she did. She started writing something down furiously on her notepad, and I knew she was about to shit herself from all the E she was probably rolling in the kitchen. "Here" she said, handing me a note. "If you don't want to tell me, smart ass, draw it."

"Sure. I know how to draw." I took out my fucking ballpoint and drew my breakfast. Listen – I can’t rock it out on stage, but I can draw like a motherfucker. I’m the next Kandinsky. Shit, I'm the Kandinsky to Kandinsky– the big blue blob of piss to his big red blob of shit– and this girl was fucking in for it if she thought I wasn’t going to draw my breakfast and DESTROY ART right there in front of her.

"So pancakes." Right then, I knew this waitress was the art history type. I could see her bra.

"Yes."

"We're out of pancakes." So fucking impressionist. It took all my strength to keep from blowing up her spot and going Good Will Hunting on her ivy league face.

"A bagel's fine then."

"Great, I'll be right back."

Ten minutes, thirty Canadian power trio riffs and two Tom Sawyers later, Good Will Waitress comes back with our food. Now listen: I've been in this music business for six months, and I know Riff Central when I see it coming. But BAM here I was in Riff Central, wearing nothing but my necktie around my forehead. This is what happened: Jacques Saunier– my new name for our fuck-it-all of a waitress– gives everyone his plate, then gives Joel a bag of eggs and bacon. "Sorry, we're out of plates," she said. And guess the fuck what? We're officially in Riff Central, and it's only 8PM Riff Central Time.

"Out of plates? Right, and I'm out of expensive designer drugs!" riffs Joel.

Shit starts streaming down everyone pants – this is the funniest thing we've heard in moose years. Funnier than Jethro Tull beating out Metallica for the Rock Grammy in 1989. Funnier than MC Hammer buying an entire baseball stadium so he could practice pitching– and rapping– at the same time. Funnier than Rodney Dangerfield surrounding his LA mansion with a "danger field" (land mines).

"I don't get it. Are you saying you'd rather not eat eggs and bacon from a plastic bag?" The waitress tried to riff her way out of this one like usual, but couldn't, like a dog chasing its own tail, or a mannequin trying to breathe.

"The only thing I eat from a plastic bag is crack cocaine, lady!"

Silence, then applause. Then more silence. Then, shit. Everywhere. I just couldn't stop shitting. This is what rock and roll’s all about. The waitress flipped her shit and left our table carrying a bag of bacon and eggs back to the kitchen – like a bank robber at the general store. And there we were back in Riff Central, celebrating the only way we know how: spitting into our palms and rubbing our palms into our eyes until we start to cry.

12 September 2004, 9:36PM – Philadelphia, PA

Forget all that. In my pocket I have a list of every band that has ever existed. Animal Collective, Audioslave, Beck, Sneaker Pimps-- there are only four bands that have ever existed. Tonight I'm about to add one more: the fucking Heavyweights of Extreme Championship Rocking.

We finally get to the Theater for the Living Arts, and man are we living. We're living in America, like James Brown, an American hero. Living have we been, true-to-form Eddie Murphys, just spinning around like boomerangs– riffing– for another 48 hours. It's fucking Beverly Hills, and we're the cops. Which is maybe why I’m so fucking steamed: on the way over from the diner we got pulled over by some cops for making an illegal left.

But fuck it. Fuck it ALL. We had no time for pitty pouting pammering. I drove up on the curb like a harlequin baby, and the The Heavies jumped out, clammed up on stage and started rocking out. After some sweet jamming, Zeke started meta-jamming while Joel kept swinging the microphone like it's the fucking Rock And Roll Rodeo and he's Lenny Kravitz. The band just kept slamming out the hits one-by-one– they even did covers of their own songs. Which is when I realized something: The Heavyweights of Extreme Championship Rocking had found their shtick: no shtick. Because just when you thought the Heavies were going to do something shticky, like a disco beat, or underground hip-hop, there was Zeke drumming in the back, wearing a shirt with no sleeves or collar. It's like the Frankfurt School: the band was "commodifying" the masses, and passing them off like opium smokers who believe in the Just War theory. And that's exactly what was happening: The Heavies were waging a just war – on music – and we, the audience, were spared the weapons of mass destruction that the Catholic Church threatens to use against the Sacred Feminine.

And the crowd was going fucking apeshit. The Heavyweights jumped off stage after their last song, then came out for six different encores. By the fourth encore the entire place is fucked, and all the sudden Joel climbs out Zeke's bass drum and starts singing "Louis Louis", which sounds exactly like "Louie Louie", except all the words are replaced with sweet riffs. Suddenly it's encore five time, and the band puts on masks of our the Greatest American Presidents – Quincy Adams, Adams, Michaels – and plays the national anthems of EVERY COUNTRY IN THE WORLD. It's 8 in the morning, and the Heavies are just getting to Morocco when we realize we're all lying by ourselves in the middle of South Street wearing nothing but jean shorts.

Democratization of the Beat

by L. Neyfakh

In the movie “24 Hour Party People,” Factory Records impresario Tony Wilson unveiled the Hacienda nightclub in Manchester with a momentous proclamation. “See?” he says to the audience, pointing out the teeming mass of dancing bodies behind him. “They're applauding the DJ. Not the music, not the musician, not the creator, but the medium.”

He was right, of course. It was a big moment—probably the most dramatic step in the formal evolution of music since record players were invented in the late 19th century. Still, Tony Wilson was getting a little ahead of himself—jumping the gun in his declaration by about 30 years. If the DJ was really the one getting applauded in the Hacienda, then it wasn’t just about the medium, but about the person manipulating the medium. That’s why some DJs got famous, developing unique styles, establishing their tastes, and experimenting with their equipment. Really, these guys were no different than any other musician with an instrument. They were still present, and they were still in control, and they were still people. Today, they’re gone. In their place all we have is the medium. We have iTunes shuffle, and downloading programs that let guests get any song they want in a matter of seconds. In one sense, the Party has been set free, but in another, it has been tragically enslaved by the forces of chance, computer automation, and the instant-gratification downloading culture

Whenever my friend Nigel and I went to dances at our middle school, we always bugged the DJs to play songs by Nirvana and Less Than Jake. Those were our favorite bands, and we wanted to hear them in front of everyone. Most of the time the DJs waved us away, either because they didn’t have what we wanted or they knew it wouldn’t make good dance music. But the few times they agreed, Nigel and I came alive, pouncing around the gymnasium singing the words, and thrashing in every direction while all the other kids waited. It was a triumph, every time, and I haven’t experienced a thrill to match it since I got to college.

Indeed, the DJ, that lifesaving, record-breaking, party pulse-taking prophet-- that don of disco, that shaman of shake—does not exist anymore. The beat has been democratized. Now, when you go to a party, there’s no driver at the wheel—no obstacle you have to go through before putting on your favorite song and forcing the whole room to dance to it. The nerve center is always right there, in plain view, and if you feel strongly enough about a certain song, you can walk right over to the laptop and put it on. No one would ever stop you.

The new freedom is a mixed blessing: although the power is dissolved and distributed, we inevitably forfeit something that is essential to the rave culture of Tony Wilson’s time. It takes mastery, after all, to keep a party going—not just the right collection of old favorites (sometimes people want to sing along) and fresh booty jams (sometimes people just want to jam booty) but the ability to gauge the mood on the floor, to choose the right songs at the right times, and to pace your crowd so they can go on all night. Losing that means losing your direction. The party is thrown to the dogs, handed over and mauled by a thousand different hands with competing visions and no coherent plan. Or, worse, somebody will just put the iPod on “random” and let it play whatever comes up.

In this scenario, the music starts and stops with no provocation, the automated engine of the stereo choosing the setlist arbitrarily. The DJ is a machine now, and it has no idea what it’s doing. Because a machine couldn’t possibly size up a crowd or play to the natural pace of a party. A machine can’t feel the vibe!

And so the burden to perform has been shifted onto the crowd, because we all know that the music will go on whether we like it or not. In fact, it will probably keep playing for a while after the party ends, because it’s happening completely by itself, separate from us and independent. The dance is no longer a collaboration, and the pathways of communication between DJ and dancer have sadly been cemented over with so much white plastic and shiny cables.. The iPod chooses and we follow its lead. We can hear it, of course, but we know it’s not playing for us. It’s just playing.

This is a troubling state of affairs indeed, and if we’re going to have any more parties, we should make sure to put a real person in charge. Just get a friend, that’s all, or a bunch of them, to pool their record collections and take control! They can make up names for themselves, and play songs no one has heard of but everyone would like. Every party would be different then. We could trade mixtapes every Sunday morning from the night before.

One thing though—the DJs have to be nice, and observant, and for all their creative authority, they have to believe in democracy.

And they should always play Nirvana and Less Than Jake if someone asks them to, because whoever it is probably has a pretty good reason.

Thursday, May 19, 2005

GREEN: a comic

from Rothman's friend Nathan Leamy:

http://www.oberlin.edu/student/nleamy/power.html

Tuesday, May 10, 2005

King's Death

by Paloma Yannakakis


King lets his robe fall to the side of his hands.

In his mind turns a view—
A road sloping down and trees at the end of the road.

King remembers picking flowers by himself
in the silent forest. He could never recall their names.
There was a sound outside—calling for him?
If not, the wind;
if not someone humming at a stone’s throw
away from him in the bright wind.

He searches for the body of his breath
on the shore that bears the final trades of time
as a bee will forge a path
when the last spring rains have had their fill.

Never to lift an eye to the lowest
heights of the mind again.

The untried persevering, overflows the air
climbing against further ruin
on that depthless shore.

Wednesday, May 04, 2005

baby strollers used by icelandic mothers

by jonathan leong

1.) techno
2.) suv
3.) vintage
4.) any combination of two or three of the above
5.) hot wheels
6.) glow in the dark
7.) 5.) and 6.) combined (seriously)
8.) chic (cannot be combined with 9.))
9.) tricycle (cannot be combined with 8.))
10.) moonroof
11.) geothermally powered (just kidding)

on finding a lost notebook

By Ben Scheuer

all these melted idea like some unseen coincidental ice sculpture
in god's garden.
funny, then i wanted to call someone and say that
my book is gone! my book is gone!
god bless disaster.
step, my foot steps on
higher pitches than i'd expect
step, hell-toe, then rainbow soft round
they who pass look at me funny
becuase my jacket, my scarf, my
shoes, all bright red.
and i write this stnading in the middle of the road
a car just turned a big
question mark around me.
hah. there, up up , it is fixed.
burn this when you've read it.

Tuesday, April 26, 2005

A Primer for the Future!

Tyler Coburn // for Present! // 25…4…2005…

Hello

There are many things that are older than the seven things I’m about to list. Some might even say that the things that are older than the seven things I’m about to list influenced the seven things I’m about to list, but this is just nonsense. The seven things I’m about to list influenced the seven things I’m about to list and will in turn influence the seven things I’m about to list, for they are the constitutive forces of the next and penultimate epistemological epoch.

Anxiety

What does one need for the next and penultimate epistemological epoch? One thing to do is make sure you have the seven things I’m about to list. You can hoard them if you want, because we really don’t know how much of them we’ll need and because it’s really too early to tell whether the next and penultimate epistemological epoch will condemn avarice. You can also start throwing away the things that are older than the seven things I’m about to list, including: metonymy, gamecube, pastiche, simulacrum, deterritorializan, xbox.

Projective Altruism

We know: what part can you play in the coming of things? It’s tough to tell whether the next and penultimate epistemological epoch will be one for the ascetics, the barbarous, the post-humans or the Luddites. Perhaps it will be Jesus writ large across the world, in which case you meek people can start feeling validated. It’s tough to tell, so it’s tough to tell you people what you can do to prepare.

Death Drive

You can stop worrying about being smited in the next and penultimate epistemological epoch, because penultimate is penultimate. We don’t know who came up with the title, which supports our belief that there’s a greater design behind the next and penultimate epistemological epoch.

Poop

Yeah, penultimate takes out the suspense in things, doesn’t it? But just because we can guarantee that the human race will survive the next and penultimate epistemological epoch doesn’t mean we can guarantee you’ll be surviving happily. Our studies show that there is an over 36% chance that, during the next and penultimate epistemological epoch, the majority of the human race will be reduced to BiV, which could really suck or be really great…guess you’ll just have to stick around and see!

The End of the Era of the Hyphen

It’s true. We’re really becoming a hyphen-nation, so maybe the name of the next and penultimate epistemological epoch should be without a hyphen. Or maybe it should be with a hyphen. We can’t safely say whether the next and penultimate epistemological epoch will endorse synchronic or diachronic modes of being and thinking, so safest would be to choose a word that could go either way - bat for both teams, if you get our drift.

Words Words Words

Yes, you can cast your two cents into the piggy bank about what should be the endorsed title for the next and penultimate epistemological epoch, which in itself is truly a fine title, but it’s the pizzazz factor they go for these days, and we would be nothing if not for our verve, swagger, panache and, of course, pizzazz.

Anyone is welcome to play the game but people who experience disgust in the face of theoretical language are advised to exercise extreme caution or abstain entirely.

Rules: Connect a prefix to a root and a root to a suffix. Be careful! Some of the roots already have derivational affixes attached, but don’t let that worry you. Just keep playing!

Penalties: Any players who attempt to make an infix, circumfix, simulfix or suprafix from any part or parts of either a root or root with derivational affix or prefix or suffix will be disqualified and, in the event that the next and penultimate epistemological epoch endorses karmic retribution, severely punished.

A(b)

Anti

Ex

Pro

Proto

Post

Post-Post

Postal

Po’

Poo(p)

Oomlat

Xeno

Ono

On

In

Inter

Intra

Ob

Robo

Sober

Supra

Super

Cyber

Yper

Simul

Dis

Dys

Dee(s/z)

Modern

Postmodern

Futur(e)

Functional

Crayon

Existential

Human

Postal

Animal

Abrupt

Pedant

Ornitholog

Meal

Dand(y)

Argument

Altercation

Bushel

Abjection

Colonial

Ornamental

Log Cabin

Inspiration

Nylon

Rumination

Beef

Fun

Tri-lingual

Languor

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

ism

Mail your two cents to: The Center for the Establishment of the Next and Penultimate Epistemological Epoch, 116 E. 68th St, NY NY 10021

Tuesday, April 19, 2005

Prehistory

by Sarah Burke

The days are so full their seams burst Sucked
to the edges even the traffic cones are inverted
down into the mud So many rocketships
buzz I can barely hear the sun I can barely
hear the puddles Everything feels so European
Everything feels so 1970s I throw a brick at
the sun and the sun shouts a little heart at me
which is so 1920s Every rocket and every
star has an angel They sing a song in Marxist
symbol language They are Byzantine colored
Everything goes somewhere That
“holy, glowing heart� pole-dances
down the God-axis and lands in my lap
thumping like a baby The tonsured scholars
walk by whispering about their scholar-
shaped God who has as many angles as a triangle
tied in a knot The rockets send reports about
fuel crises on other planets They cover
plagues from their airtight wonder-boxes
Angels, flickering, wipe sweat from our brows
and put so many little presents, so many gemstones +
kittens + shells + matchbooks, at our feet
We almost notice All this now feels like
prehistory I can almost read the future in the curtain
of water the truck erects and destroys, oblivious,
as it passes

The box’s friends

A little bird
who is dangerous
sits atop the box
and tells
the box’s secret fears
the box’s strange sexual history

The box has a perpetual egg
rolling corner to corner
asking about
her plans, the egg says: is this it?
The box can’t break the egg

The glass of water is
a small box in the box
It sits on a dusty ledge
and makes a lens

The cherries in the box
browner each year ask
the box: is there anything you
need? If you are cold
we can roll our flesh against
your side
If you’ve forgotten
The sky tastes like wine

The field is a yellow longing

[the bird]

The bird does not eat the cherries
The bird does not drink the water
The bird did not lay the egg
The box made them all by a complicated magic

In the bathroom stall I undress for the women


In the bathroom stall I undress for the women
outside I undress for hours
This is the inside of my shirt
Tonight my body is covered in stars

In the big room a woman walks thinly half the
length of the stage Stopping: Fabric grows
from her like a cloud machine operated
from her hips

I build a costume of film footage from different
cities The snow in Montreal jumps
like ghost snakes around my neck Rome
makes small wrist-shadows Tokyo: postcard-
sized I stretch across my belly

My clothes refuse to cover me Skin snakes through
things My body is a city and
clothes the snow railing against my angles
splitting and fraying and growing old like
wool people used to work in

Thursday, April 14, 2005

two friends who have been quite more

.

2
I feel like the laughing cavalier
sitting in a museum, wearing some smart blazer
looking smugly like the past, like usefulness
watching myself like watching others smirking
before art, works,
in colors in a bright projection.

1
Smiling, not laughing really
because there is no room for the tragic here or the down,
only smiling or motionless crying,
vibrating leaves, the emotion from
camping out in the world
with only a scarf and my stuff.

2
Still I’m afraid about what that means,
to be known by a smile, to smugly stare or

3
Over the phone:
You both look so absurd
standing in the old time cake light.
Please come inside, come here now, you.

1
I’m invited places mostly.
At last that is where I will go
(without reason)
replacing the blue scarf
with a blue alarm clock
(show of reason).

2
O you look like are sound like just like. . .
Enough of repeating

Think of all the long long trees that fell in an attempt to make it past
the electric wires swirling with conversations like these unneccessarily
swirling around and around humorless for dusky houses chattering
millions at once quietly in the patchwork suburb states good behavior
and chats and kisses that have never left home and the lights going off
in some logic that we could figure out if we wanted to and sat here long
enough talking but this place its silence is too large this time and enough
of talking.


1
Okay.


This is now, the present,
no repeating.

A pause.

This is what they now call the
present.

3
I'm hanging up now, that's it.


2
Let's open it
and open it.

Tuesday, April 12, 2005

For a Friend Going to War

By Amy Klein


Each tile shudders
In rhythm

Whenever I stop speaking
I hear him—

The carpenter
Hammering on the roof

Today he beats the meter into slate

Driving hillocks
Of sound into valleys
Into a thin, hard skin of sound

He pauses, and the poem
He labors—in becoming
Cries out, “Who am I?
What can I count as mine?�

The first time
My mother
Let me
Out of eye’s grip
I was that cry
Released

Now it moves over the rooftops
In a surging field

Swirling farther and farther
Towards the hollow
Of the first ear

My mother said
This is the ear
Of the carpenter

She said he is building
A house for God

Now I can hear
How he worships

Driving the nail
Into the empty slot

Sunday, April 10, 2005

bestiary

By Chris Van Buren

[accompanying audio--click here]

the Snake is a
question mark,
that in its biblical
unproportions— lisps
calls even this into doubt?

*

“how original!� sin
sneaks into our conversation
which (one might add
[from O.Fr. then L. conversationem
“state of living together� lit. “turn about with,�

versus is verus with a snake in the middle

synon,imical for “sexual intercourse� from at least 1511
clothed itself in “talk� around 1580.
was ashamed, was ashamed…

hence—criminal conversation,

*

and this has been a time,ly arabesque
that does not exit off stage left,
a never ending entr’acte…

*

an apple
punctuates
its arc?

Thursday, April 07, 2005

PANOPTISME, SPECTACLE ET TOTALITARISME

Lorsque Foucault décrit le panoptique comme modèle possible de l’émergence de la modernité, il affirme dans le même temps le rapport fondamental que cette dernière entretien avec la perception visuelle. Le panoptique figure le symbole de ce que l’on pourrait nommer épuisement visuel (Gilles Deleuze) : formant une étendue parfaitement quadrillée par la perception, il est un lieu à la fois autonome et autarcique, espace parfaitement circulaire et clos dans sa configuration architecturale comme dans sa logique de fonctionnement. Il me semble que Foucault se méprenait lorsque, désirant à tout prix éviter l’amalgame de sa pensée et du situationnisme soixante-huitard, il évacuait explicitement la notion de spectacle en l’opposant à celle de surveillance. Jonathan Crary notait déjà que, parallèlement aux réseaux de surveillance, existaient au dix-neuvième siècle des procédures « qui codifiaient et normalisaient le spectateur au sein de systèmes de consommation visuels rigides » (18). Matérialisations d’un pouvoir qui regarde et dicte comment regarder, le panoptique et la société du spectacle se rejoignent en ce tous deux fonctionnent comme des appareils totalitaires au sein desquels « la visibilité est un piège » (Foucault 202).

Point de mire du schéma panoptique, l’annihilation de la réciprocité au sein du schéma de communication visuel contribue significativement à fonder l’assise totalitaire de la société du spectacle en réduisant l’individu à « une solitude séquestrée et regardée » (202). Dans le schéma panoptique, l’individu se trouve isolé à deux niveaux : il ne peut entrer en contact visuel ni avec ses « compagnons » ni avec les « surveillants ». Le spectacle met en œuvre un mécanisme similaire, quoique plus subtile puisque la séquestration physique n’y est plus indispensable. L’introduction du cinéma parlant fonde ainsi ce que l’on peut décrire comme une expérience sensorielle totale : le degré d’attention requis y est tel que le spectateur, dans un rapport direct et possessif avec le spectacle, s’isole des autres spectateurs. Le résultat escompté est donc identique à celui de l’appareil panoptique, avec une différence toutefois notable : le point d’application des méthodes totalitaires n’est plus l’individu dans sa condition d’observé mais d’observateur, de sujet et non d’objet de l’effort visuel. La société du spectacle, en vertu notamment de moyens techniques supérieurs, fonde un pouvoir totalitaire devenu subreptice qui peut s’étendre au delà des prisons, des écoles ou des ateliers.

Le cloisonnement constitue un second point de convergence des machines spectaculaires et panoptiques. La figure du cercle concrétise un principe de contrôle (tous les points sont équidistants du centre) mais aussi et surtout de clôture qui structurent le fonctionnement du pouvoir totalitaire. Déclinée au niveau proprement architectural chez Bentham, la géométrie du pouvoir prend une forme moins explicite chez Debord. C’est chez Baudrillard (et notamment dans l’article « Modernité » qu’il rédige pour l’Encyclopaedia Universalis) qu’il faut chercher les modalités de sa matérialisation dans la société spectaculaire : celui-ci parle dans un premier temps de « travelling continuel » puis de « changement cyclique où ressurgissent d’ailleurs toutes les formes du passé » (553). Si la structure panoptique parvient – grâce à un réseau subtil de fenêtres, couloirs et galeries organisé en un réseau circulaire idéal – à assurer un cloisonnement parfait de l’espace, la société du spectacle se sert des cultures de masse et des objets de consommation pour enfermer les productions, nouvelles ou anciennes, dans un réseau apparemment libre d’objets défilant au gré des modes. Le modèle carcéral de Bentham est ici perfectionné, mais les fins demeurent identiques: assurer la continuité d’un paradigme dont « les moyens sont en même temps [le] but » (Debord 21). La puissance du modèle spectaculaire – et ce qui en fait le meilleur garant de la pérennité du modèle totalitaire – c’est d’empêcher l’évasion en rendant impossible la rupture au sein de la superstructure cyclique. D’abord la « présence permanente » (17) du spectacle, durant l’activité de production (temps de travail) et sa corollaire la consommation (temps de loisir), capte en permanence l’attention et empêche la ré-flection. Ensuite, toute activité dissidente est condamnée à être digérée par le système de consommation, perdant toute substance au cours de sa déformation (c’est à dire de son ajustement) par ce que Baudrillard nomme « les effets de mode et d’aspiration dirigée » (554).

L’aboutissement du totalitarisme spectaculaire – qui étend par là les ambitions et le potentiel du schéma panoptique à l’échelle d’une société toute entière – est de se montrer à même de TOUT récupérer, y compris les contre-spectacles. Cette « esthétique du changement pour le changement » comme la nomme Baudrillard dépossède les productions de leurs substances, les réduisant à de purs signes devenus interchangeables. Le panoptisme épuise l’espace clos et artificiel de la prison, mais le spectacle fait mieux puisqu’il parvient à épuiser l’espace ouvert des possibles. Dans un monde ou tout devient gadget et accessoire comme dans une prison dans laquelle chaque millimètre d’espace se trouve quadrillé, la part de liberté est nulle et le changement impossible car impensable, non-visualisable : le triomphe du totalitarisme y est, dans les deux cas, écrasant et irréversible.

Sources :

Baudrillard, Jean. « Modernité. » Encyclopaedia Universalis. Paris :

Encyclopaedia Universalis France, 1980

Crary, Jonathan. « Modernity and the Problem of the Observer. » Techniques of the

Observer : on Vision and Modernity in the Nineteenth Century. Cambridge, MA :

MIT press, 1990.

Debord, Guy. La société du spectacle. Paris : Gallimard, 1992.

Deleuze, Gilles. « L’épuisé. » in S.Beckett Quad. Paris : Minuit, 1992.

Foucault, Michel. « Le Panoptisme. » Surveiller et Punir. Paris : Gallimard, 1975

Saturday, April 02, 2005

epigraph

By Henry Cowles

a telegraph, phone lines,
cellular device, cellulite, old people,
ladies, hags, paper or plastic: bags
under your eyes, tired, lies, i hate
politics, think fast, mice, rats, laboratories,
frightening, ensign morituri, mortuary,
take me to the morgue -i'm bored with life,
your board, yer a thing of the past, psst,
overdone, gray meat, red meet, dead beets,
steady beats overhead, hampstead, rocksteady, think
tanks, wankers, pelicans, bird-feeders, the ocean,
movers and shakers, businessmen, powersuits, powerful women,
mulligans, i suck at golf, i can go off,
ralph ellison, rolfing, ralfing in your backyard,
vomit on par, girth, you're fatter, you're a fire,
fir trees, fodder, up in flames, christmas's bloodstains,
ecological masterminds, michael crichton, state of fear,
new years, egg nog, punch, everclear, final clubs, final tales
over. ladies,
gentlemen, be gentle, be friends of the animals, be PETA,
fight insignifance, fake caring, lake staring blue pupils,
rotted shin bones, study me, beasts, cornel west, best of the-
try me. trimesters, triathlon, try spelling greek, i'm a geek, too,
i can't do math, i can tie my shoes, i can't row crew, i'm not new,
i'm centuries old, i've been told before in books, you think
about me every other minute, every nine seconds for men, every
time you look around i'm at it, i'm bent over a fence staring
fields, field's medals, metal of honor, aluminum, coat
me up, lacquer, lack her, alone, solo, hans and the stargate,
starfire lounge. think twice,
what rhymes with orange, what rhymes with dead, done for?
no. you don't, you can't know, emerson knew, i grew an inch
before i knew you, i'm nine feet tall, i am paris, fool of troy,
hector-brother, breaker of horses, faker of orgasms, i can
defeat anything, i lay siege to belief, believe me
grieve for me gilgamesh, mesopatamia, syria, writing,
problems, letters, races, elders, betters? things, older, wiser,
wider, greater than, lessons, ledgers, chalk, books, balk,
the umpire looks at me, eye to eye, i for an i we stand, you and he,
look its me, im fading away, im a jungle, racing fast,
lush over blue hills, running west, gunning from you,
sprinter, life-support, running from games, running from
ecology and names, and classes, tube this or that, you can't beaker
me in a week, you're weak at the knees, i'm a thousand years old,
i'm older, i stretch, my branches, my bones, my brains cells
are finite, you're a diet coke, you're an 8-track, you're never
coming back, i'm here. you can't hear what hasn't been sold,
you go to tower, you live in the now, or what you mistake,
take classes, read, think, eat food, drink and forget and
lose your dinner, excuses, you lose it, life, bash your brains
out, you're two hundred thousand dollar brains, you wouldn't
wear a helmet, happiness, sunshine, alive for nine minutes
of braintime, a life time, stolen ideas, a millenia dream,
dream it and it's yours, read quotes, sail boats on rivers,
brown with mud, purple with blood, row out on nothing,
grow from the bed, rise from the dead, remind us,
cry aloud, be poetry, be words, be leaves,
been there, shunned that, tried nothing, eat, sleep, be honest.
bed and board and beads, beets, the earth, the sky,
he made the heavens, no i did, i tried, build me up
skyscrapers, a backscratcher, chicago is a massage chair,
he has a beard, he laughs a great laugh, he cries sometimes,
he is alone, and bigger than other things, people, diamond rings
bind me, gold, nectar, crete, islands, archipelagos, forgotten,
remember me. try me.

Monday, March 21, 2005

BEE + AT + IF + EYE

Beatification: the act of making something blessed. Anastacia, in Brazil, for example, wears a muzzle and is dragged in the dirt by horses because she is blessed. She also has blue eyes. Mother Teresa is not a saint, but has been beatified and therefore is called Blessed Teresa. Blessed Anastacia, Blessed Teresa, Blessed Edmund Rice, these are just some of the names of people who are sure to be in Heaven.

That’s the basic idea. When someone says that a dead person is beatified, it’s just a declaration that they are holy enough to reach paradise and that they are capable of performing miracles from the grave. Anyone can beatify anyone (as long as they’re dead). That’s the beauty of the thing—you don’t need the Pope to approve of a beatification or even a priest. A daughter can declare her dead mother blessed and Catholics everywhere would have to shrug their shoulders and send a quick prayer to a dead mother.

To gain sure entrance to heaven, you have to follow the Beatitudes (Bee + Attitudes). Jesus said something about them in the Bible. Or was it St. Paul? No, no, it was actually St. Matthew. In any case, they’ve been made into a famous hymn that even Prods like Anglicans or Episcopalians listen to:

  • Blessed are the poor in spirit: for theirs is the kingdom of heaven.
  • Blessed are the meek: for they shall posses the land.
  • Blessed are they who mourn: for they shall be comforted.
  • Blessed are they that hunger and thirst after justice: for they shall have their fill.
  • Blessed are the merciful: for they shall obtain mercy.
  • Blessed are the clean of heart: for they shall see God.
  • Blessed are the peacemakers: for they shall be called the children of God.
  • Blessed are they that suffer persecution for justice' sake, for theirs is the kingdom of heaven.

So, I guess being dragged around in the dirt and wearing a muzzle makes you meek and suffering—that’s why Anastacia’s Brazilian pals are all behind her getting sainted. I don’t know what her blue eyes have to do with it.

Once at Mass this guy came in to get people to pray for his Blessed person. He held in his hands this gold metal star that held a relic—or, not an official relic, because the Vatican hasn’t yet approved, but a relic according to this cult of people. (A relic is something that is made holy simply by its tactile association with a holy persona—the Sacred Cross on which Christ was crucified, for example.) Then he blessed us with the sacred sun metal thing and told us to inform him of any miracles that happened because of it—then they could bring the record to the Vatican to work on getting the beatified person sainted. My stomach virus may have been cured, but I can’t be sure it was the relic.

Beatification allows for freedom within the Catholic Church—think about it: you take control over who you pray to. You can make up your own saints. If you say someone is beatified, you can start carving little icons and making up symbols and bringing relics to Mass to bless people with them. No longer are you dependent on the priest to make holy water, you can just use the relic of your personal saint to bless the kitchen tap. It’s the greatest spiritual loophole ever. There used to be a lot more beatified people in the Middle Ages—somewhere in the Eastern Orthodox Churches, there are saints that have tails, which just goes to show you things were a lot more fluid between the lay people and clergy. Can you imagine?

Russian Village Farmer: Hey, did you hear the crazy son of the butcher died? He was practically a saint. Let’s beatify him.

Priest: But didn’t he have a tail?

Russian Village Farmer: Shut up. I say he should be beatified and that’s what I say. Look, I saved his thumb and it cured my daughter’s histrionics.

Priest: Well, if you say so. I’ll tell the Pope and we’ll make it official.

Of course, making it official isn’t exactly easy—you need to prove that the Beatified person has been dead for a number of years and has performed three miracles on Catholic people (performing miracles for non-Catholic is just sort of a nice thing to do and doesn’t count towards canonization, which is when a Pope says someone is a saint). In the Middle Ages it was easier, but nowadays things are much more bureaucratic—that is, unless people knew what sort of power they held. Everyone should beatify someone at least once a year. That would be nice.

Nonsanguinity

By Robert Schaefer

I am perpetually angry at you and I never seem to know why.

You hate the fact that my key is orange and my post-it notes

are not yellow.

I am a flaming dagger and you are an alcohol-soaked sponge --

if it wasn’t for your fearful eyes, this would have ended sooner.

Keys, mostly white and ephemeral, are the only things that we

share – I wish I loved you more, I wish my hate consumed me.

I wish that things right in front of my eyes were carved from

truth and pewter - with hard, white edges and brass-cornered

ends and leathery, beaten faces.

You dump red paint on my forehead - and wonder why I don’t

ask for the brush.

Perhaps it would be different if you’d learned to swim, or could

have thrown a football.

Only a yellow substance, excreted as a component of bile, can

explain this expanse between us, can drag you out from inside

your cave of bleak, passionless mornings that keep you out of

your life.

Even without the autopsy I would have known the truth.

Yours is too thin to exult in our victories, and mine is too thick

not to dance.

Conversations with Vegetables

By Robert Schaefer

A disdainful remark about the quality

of the produce produced a chorus of dissent

from the incensed denizens of that

semi-refrigerated, sub-tropical region.

One particularly distinguished looking cauliflower

(with especially abundant and firm lobes) turned his head

and upbraided me for my lack of manners.

He said that he was the 9th reincarnation

of Einstein’s brain -- having previously revisited

this world as a jumbo-shrimp, a rat-infested

disease, a pregnant mule and an amusement

ride train-car conductor with a broken watch.

He said it had not always been so,

at first he’d been lonely, but

eventually he followed his own advice

and invented himself as a god. After which, he

and Vishnu went careening through the universe

(breaking his own laws and exceeding the speeding

limits) swilling plum brandy on flame-spouting

Harleys -- creating and destroying worlds at will.

He still stood strong upon

a relatively sound foundation,

but knobby knees were bruised and black

from the beating. The bluish-gray fuzz at his temples

had already begun to traverse those

snow-covered bushes, imparting a sense

of disheveled gravity.

He asked me to drop him off in the bakery aisle,

he said that one of his old flames had ended up

there as a cinnamon-raisin bagel and he was

anxious to see her while she was still fresh, and

there was still time.


Sacred Geometry

by robert schaefer

I once knew a man who wanted to solve all of the problems of the world through numbers, he told me that St. Bernard defined God as “length, width, height and depth,� he believed that if he could just find the right equation, that his simple code could be applied to all things and it would all just fall into place and harmony would prevail.

It was based on the theory that all things were created equal and so, at their cores, everything would respond to the same stimuli in roughly the same way and therefore if he could just figure out that golden equation, he would be able to broadcast it from the airwaves and we would all turn into happy airline attendants with cheek chunk chirpy smiles and a pockets full of dry roasted peanuts in individually packaged foil bags. And then we would all walk around with little silver trays and politely offer cocktails to each other to make the long flight more comfortable. I think that guy is dead now - poisoned by his own enthusiasm; he drank it straight from the bottle. Me, I’ve always looked for truth in the hand-rubbed surfaces of beaten gold.

My face always seems distorted when I peer into its depths and then I see myself looking back from inside and I look trapped in there, but well-tanned and with a ruddy glow to my complexion. I wave to myself and try to be polite, and from inside I wave back, but it’s hard to see if I’m smiling, especially with the green halo over my head, which looks to be made of heavy glass and threatens to come crashing down at any moment.

Green glass halos always leave a nasty mark when they come crashing down, unlike the ones you get from Bloomingdales on 5th Avenue – those are much better quality -- and come with a money-back guarantee -- but what a difference in price! I asked the saleslady about it when I bought my first one and you could tell she was new, she didn’t really know much about them: I suspect she got her job because she was quite a looker and so guys like me would simply nod their heads a lot and plaster stupid smiles on our faces no matter what answer she gave us. Anyway, I asked her about the difference between a halo bought in a fancy department store and the ones you can get at the Super Wal-Mart and she said that theirs were not produced in huge sweatshops overseas and were 100% genuine, American made. So I asked her what would happen if I wore a Chinese version, would it make me more like the Buddha? And she said she would have to ask her manager and then she disappeared and she never came back, which was a shame because I would have liked to have asked her out, but then the salesgirls never want to go out with the customers unless they have already worked out the question of green glass halos and golden reflections on their own.

Sunday, March 20, 2005

Two Whites (a translation; original below)

Two whites
The immaculate and aggressive wall,
The dull and sallow skin.

Obviously, death was imminent.


Her pale body wrapped in a virgin-white sheet would join the others under
the basement's fluorescent lights. On a visit there, the lights blinded
her. The corpses captivated her as she waited, and she came over and over
to see them in their silent temple.


Calming,
The morgue, with its white body-clothes:
The center piece of the hospital's minimalist aesthetics.
None of the wards' clutter,
But pure monochrome geometry.
Stark shapes, shades of color carefully absent:
The secret joy of winning coldness.

Let place be an object:
Starched, rectangular, light beams, aseptic.
The hospital's most perfect room:
The final vision of its logic

Nothing human,
Too much of this world here where time is not.
Bodies soiled by life's breath cannot rest here:
Inertness obligatory.
The shroud uniforms the erosion away.
Life alone could disrupt the balance and the alchemy.

Her heartbeat,
The caterwaul of revolt in this corpse archive:
Its logic refused.
Tomorrow, she would be here for her first show:
- Post mortem -
She thought until sublime, then remembered doleful,
And shook, and whispered:
"Hold onto life, show our imperfection."

About to return to her patient cell,
A silhouette in the bright light.
Pale and morbid,
A face of symmetry.

Harmony,
Reassurance, then fear.
Absent coloring:
No whisper of life,
Neither in the ears, nor in the cheeks.

Concretely,
A monochord worry
Lacking intonation:
"Hello, ma'am", said the metronome,
Meaning nothing.

Inutterable terror.
An abyss: "Hello,doctor."
Said her voice, other from his,
Tired - Stammering-alive.

"Have you lost someone?"
Without feeling, mere rhetorical,
No answer needed:
Dialogue made impossible.
A soliloquy.


Hostility stood there, the murmur of revolt could now not be heard. All of a
sudden, she felt desperately alone: fine tears roped silently under red
eyes, she looked away, turned her wheelchair and rolled back to her
anonymous room.


Obviously, death was imminent.

--------------------------------
[original]

Hôpital


Le blanc immaculé et agressif des murs, contrastant avec la blancheur terne et livide de son teint, lui rappelait à chaque instant l’inavouable : bientôt, elle allait mourir.

Son corps blafard, enveloppé dans un drap diaphane, irait en rejoindre tant d’autres sous les néons étincelants qui tapissaient le sous-sol du bâtiment principal. Plusieurs fois, sous des prétextes quelconques, elle s’était risquée à pénétrer dans ce lieu dont la blancheur cristalline, plus éblouissante encore que celle de la chambre, aveuglait son regard. Envoûtée par ces cadavres dans l’attente (et, à cet effet, soigneusement disposés en rangées horizontales et verticales), elle revenait régulièrement, comme mue par une incontrôlable pulsion, vers le temple où ceux-ci reposaient dans un silence de circonstance. Un inexplicable sentiment de bien-être, presque d’apaisement la saisissait alors. Parce qu’elle allait jusqu’à recouvrir les corps imparfaits d’une étoffe à la blancheur irréprochable, la morgue s’érigeait en pièce maîtresse de la grande œuvre minimaliste que figurait l’hôpital. Contrairement aux cellules des patients, où mille objets inutiles venaient polluer l’intention architecturale première, la morgue était réduite à sa plus authentique expression artistique : configurations géométriques simples, formulées dans une monochromie puissante et imperturbable. La limpidité des formes, l’harmonieux dégradé de couleurs absentes trahissaient la joie secrète d’une froideur suprême et conquérante. L’endroit, lui semblait-elle, affirmait avec suffisance son autonomie d’objet. Tout semblait concourir à cette revendication : les draps blancs amidonnés, les tables rectangulaires et incolores, les faisceaux de lumière homogènes, le carrelage aseptique. La morgue, en somme, était infiniment supérieure à n’importe quelle autre pièce de l’hôpital, parce qu’elle seule parachevait la vision définitive qui en commandait la logique. Elle avait su exclure l’élément humain, trop séculier pour mériter sa place dans une fresque immobile et éternelle dont la vocation consistait à défier l’imperturbable écoulement du temps. Ceux dont le corps était souillé d’un incommode souffle de vie ne pouvaient obtenir de reposer en ce lieu : ce n’est qu’une fois réduis à l’état de matière inerte qu’il leur appartenait d’y prendre ancrage. Afin de couvrir les stigmates de l’érosion, les ravages du temps que pouvaient trahir ces corps flétris, il était nécessaire d’avoir recours au linceul, habit parfait car uniforme, égal et lisse. Seule la présence d’une vie aurait pu troubler cet équilibre, en détruire par sa présence l’alchimie à la fois complexe et subtile.

Son cœur qui battait, au milieu de ces cadavres numérotés, catalogués, et sur le point d’être archivés, constituait pour elle comme un timide miaulement de révolte, le refus hésitant d’une logique catégorique, implacable, intransigeante – mais pourtant si séduisante, tellement belle ! Demain, elle serait allongée là, deviendrait partie intégrante de ce spectacle et jouerait sa première et dernière représentation. Post mortem. Contemplative, elle ne manquait d’être séduite par le sublime du tableau ; mais elle ne pouvait néanmoins s’empêcher d’y voir quelque chose de lugubrement prémonitoire. Un frémissement s’emparait alors de son être frêle et, d’une faible voix porteuse d’amertume et d’espoir, elle susurrait alors : « Se cramponner à la vie, l’affirmation de notre imperfection… »
Tandis qu’elle s’apprêtait à retourner vers sa loge de malade, elle tressaillit en apercevant à ses côtés une silhouette silencieuse et immobile. Malgré la lumière aveuglante, elle parvint à distinguer que l’individu était de sexe masculin. Celui-ci portait, sur un épiderme à la pâleur uniforme et morbide, une blouse d’une éclatante propreté. Ses traits reflétaient une symétrie impeccable : les composantes de son visage (yeux, sourcils, oreilles et narines) étaient exactement équidistantes par rapport à un axe central, lui-même strictement rectiligne. L’harmonie de ce faciès pouvait d’abord paraître rassurante, mais sa froide et absolue indifférence le rendait très vite inquiétant. Aucune coloration, au niveau des oreilles comme des joues, ne venait suggérer la présence d’une quelconque étincelle de vie. Ce corps et ce visage amorphes lui apparurent comme l’expression concrète d’un souci formel : ils n’avaient rien d’humain, pensa-t-elle.
- Bonjour, madame.
Prononcées sur un ton monocorde, sans intonation aucune, ces paroles avaient été articulées lentement, avec une précision métronomique. Négligeables, elles confirmaient néanmoins le sombre échafaudage déductif auquel l’homme s’était livré et, pour cette raison, lui inspirèrent une terreur indicible. Le fossé qui la séparait de cet individu était immense, infranchissable.
- Bonjour docteur
Sa voix n’avait rien de semblable à la mécanique vocale de son interlocuteur. Un léger défaut de prononciation trahissait une gorge fatiguée, un bégaiement laissait paraître sa détresse. Oui, elle vivait encore.
- Avez-vous perdu quelqu’un ?
A la manière dont l’interrogation avait été formulée, la moindre bribe de sensibilité – dont le contenu linguistique suggérait pourtant l’existence – avait disparu: celle-ci était devenue une simple question rhétorique, à laquelle toute réponse aurait inévitablement parue superflue, insignifiante, presque déplacée. Son silence fut donc la meilleure manière d’entretenir ce dialogue impromptu, qui n’avait depuis le début été qu’un long et douloureux soliloque. Tout lui était cependant devenu hostile. La simple présence de cet homme avait ajouté un poids insupportable à l’impénétrable édifice qui écrasait maintenant son murmure d’insurrection, au point d’en rendre le chuchotement parfaitement inaudible. La solitude l’avait gagné d’un coup, et son émotivité repris le dessus avec force : un léger filin de larmes coula sans bruit de ses yeux rougis et gonflés. Elle détourna le regard, fit pivoter son fauteuil, et roula de nouveau vers sa chambre anonyme.

Bientôt, elle allait mourir.

Beatified

In honor of Pope John Paul II, whose penchant for beatifying is truly remarkable, here is thus assembled a list of his beatifications from the beginning of his papacy through 2000:

1979: Margarret Ebner (Feb. 24); Francis Coll, O.P., Jacques Laval, S.S.Sp. (Apr. 29); Enrique de Ossó y Cervelló (Oct. 14).

1980: José de Anchieta, Peter of St. Joseph Betancur, Francois de Montmorency Laval, Kateri Tekakwitha, Marie Guyart of the Incarnation (June 22); Don Luigi Orione, Bartolomea Longo, Maria Anna Sala (Oct. 26).

1981: Sixteen Martyrs of Japan (Lorenzo Ruiz and Companions) (Feb 18; canonized Oct. 18, 1987); Maria Repetto, Alan de Solminihac, Richard Pampuri, Claudine Thevenet, Aloysius (Luigi) Scrosoppi (Oct. 4).

1982: Peter Donders, C.SS.R., Marie Rose Durocher, Andre Bessette, C.S.C., Maria Angela Astorch, Marie Rivier (May 23); Fra Angelico (equivalent beatification) (July); Jeanne Jugan, Salvatore Lilli and 7 Armenian Companions (Oct. 3); Sr. Angela of the Cross (Nov. 5).

1983: Maria Gabriella Sagheddu (Jan. 25); Luigi Versiglia, Callisto Caravario (May 15); Ursula Ledochowska (June 20); Raphael (Jozef) Kalinowski, Bro. Albert (Adam Chmielowski), T.O.R. (June 22); Giacomo Cusmano, Jeremiah of Valachia, Domingo Iturrate Zubero (Oct. 30); Marie of Jesus Crucified (Marie Bouardy) (Nov. 13).

1984: Fr. William Repin and 98 Companions (Martyrs of Angers during French Revolution), Giovanni Mazzucconi (Feb. 19); Marie Leonie Paradis (Sept. 11); Federico Albert, Clemente Marchisio, Isidore of St. Joseph (Isidore de Loor), Rafaela Ybarra de Villalongo (Sept. 30); José Manyanet y Vives, Daniel Brottier, C.S.Sp., Sr. Elizabeth of the Trinity (Elizabeth Catez) (Nov. 25).

1985: Mercedes of Jesus (Feb. 1); Ana de los Angeles Monteagudo (Feb. 2); Pauline von Mallinckrodt, Catherine Troiani (Apr. 14); Benedict Menni, Peter Friedhofen (June 23); Anwarite Nangapeta (Aug. 15); Virginae Centurione Bracelli (Sept. 22); Diego Luis de San Vitores, S.J., Jose M. Rubio y Peralta, S.J., Francisco Garate, S.J. (Oct. 6); Titus Brandsma, O.Carm. (Nov. 3); Pio Campidelli, C.P., Marie Teresa of Jesus Gerhardinger, Rafqa Ar-Rayes (Nov. 17).

1986: Alphonsa Mattathupandatu of the Immaculate Conception, Kuriakose Elias Chavara (Feb. 8); Antoine Chevrier (Oct. 4); Teresa Maria of the Cross Manetti (Oct. 19).

1987: Maria Pilar of St. Francis Borgia, Teresa of the Infant Jesus, Maria Angeles of St. Joseph, Cardinal Marcellis Spinola y Maestre, Emmanuel Domingo y Sol (Mar. 29); Teresa of Jesus “de los Andes� (Apr. 3); Edith Stein (Teresa Benedicta of the Cross) (May 1); Rupert Meyer, S.J. (May 3); Pierre-Francois Jamet, Cardinal Andrea Carlo Ferrari, Benedicta Cambiagio Frassinello, Louis Moreau (May 10); Carolina Kozka, Michal Kozal (June 10); George Matulaitis (Matulewicz) (June 28); Marcel Callo, Pierino Morosini, Antonia Mesina (Oct. 4); Blandina Marten, Ulricke Nische, Jules Reche (Bro. Arnold) (Nov. 1); 85 Martyrs (d. between 1584-1689) of England, Scotland and Wales (Nov. 22).

1988: John Calabria, Joseph Nascimbeni (Apr. 17); Pietro Bonilli, Kaspar Stangassinger, Francisco Palau y Quer, Savina Petrilli (Apr. 24), Laura Vicuna (Sept. 3); Joseph Gerard (Sept. 11); Miguel Pro, Giuseppe Benedetto Dusmet, Francisco Faa di Bruno, Junipero Serra, Frederick Jansoone, Josefa Naval Girbes (Sept. 25); Bernardo Maria Silvestrelli, Charles Houben, Honoratus Kozminski (Oct. 16); Niels Stensen (Nicolaus Steno) (Oct. 23); Katharine Drexel, 3 Missionary Martyrs of Ethiopia (Liberato Weiss, Samuel Marzorati, Michele Pio Fasoli) (Nov. 20).

1989: Martin of Saint Nicholas, Melchior of St. Aug.ine, Mary of Jesus of the Good Shepherd, Maria Margaret Caiani, Maria of Jesus Siedliska, Maria Catherine of St. Aug.ine (Apr. 23); Victoria Rasoamanarivo (Apr. 30); Bro. Scubilionis (John Bernard Rousseau) (May 2); Elizabeth Renzi, Antonio Lucci (June 17); Niceforo de Jesus y Maria (Vicente Diez Tejerina and 25 Companions (martyred in Spain), Lorenzo Salvi, Gertrude Caterina Comensoli, Francisca Ana Cirer Carbonell (Oct. 1); 7 Martyrs from Thailand (Philip Sipong, Sr. Agnes Phila, Sr. Lucia Khambang, Agatha Phutta, Cecilia Butsi, Bibiana Khampai, Maria Phon), Timothy Giaccardo, Mother Maria of Jesus Deluil-Martiny (Oct. 22); Giuseppe Baldo (Oct. 31).

1990: 9 Martyrs of Astoria during Spanish Civil War (De la Salle Brothers Cyrill Bertran, Marciano Jose, Julian Alfredo, Victoriano Pio, Benjamin Julian, Aug.o Andres, Benito de Jesus, Aniceto Adolfo; and Passionist priest Innocencio Inmaculada), Mercedes Prat, Manuel Barbal Cosan (Brother Jaime), Philip Rinaldi (Apr. 29); Juan Diego (confirmation of Apr. 9 decree), 3 Child Martyrs (Cristobal, Antonio and Juan), Fr. Jose Maria de Yermo y Parres (May 6); Pierre Giorgio Frassati (May 20); Hanibal Maria Di Francia, Joseph Allamano (Oct. 7); Marthe Aimee LeBouteiller, Louise Therese de Montaignac de Chauvance, Maria Schinina, Elisabeth Vendramini (Nov. 4).

1991: Annunciata Cocchetti, Marie Therese Haze, Clara Bosatta (Apr. 21); Jozef Sebastian Pelczar (June 2); Boleslava Lament (June 5); Rafael Chylinski (June 9); Angela Salawa (Aug. 13); Edoardo Giuseppe Rosaz (July 14, Susa, Italy); Pauline of the Heart of Jesus in Agony Visentainer (Oct. 18, Brazil); Adolph Kolping (Oct. 27).

1992: Josephine Bakhita, Josemaria Escriva de Balaguer (May 17); Francesco Spinelli (June 21, Caravaggio, Italy); 17 Irish Martyrs, Rafael Arnáiz Barón, Nazaria Ignacia March Mesa, Léonie Françoise de Sales Aviat, and Maria Josefa Sancho de Guerra (Sept. 27); 122 Martyrs of Spanish Civil War, Narcisa Martillo Morán (Oct. 25); Cristóbal Magellanes and 24 companions, Mexican martyrs, and Maria de Jesús Sacramentado Venegas (Nov. 22).

1993: Dina Belanger (Mar. 20); John Duns Scotus (Mar. 20, cult solemnly recognized); Mary Angela Truszkowska, Ludovico of Casoria, Faustina Kowalska, Paula Montal Fornés (Apr. 18); Stanislaus Kazimierczyk (Apr. 18, cult solemnly recognized); Maurice Tornay, Marie-Louise Trichet, Columba Gabriel and Florida Cevoli (May 16); Giuseppe Marello (Sept. 26); Eleven martyrs of Almeria, Spain, during Spanish Civil War (2 bishops, 7 brothers, l priest, l lay person); Victoria Diez y Bustos de Molina, Maria Francesca (Anna Maria) Rubatto; Pedro Castroverde, Maria Crucified (Elisabetta Maria) Satellico (Oct. 10).

1994: Isidore Bakanja, Elizabeth Canori Mora; Dr. Gianna Beretta Molla (Apr. 24); Nicolas Roland, Alberto Hurtado Cruchaga, Maria Rafols, Petra of St. Joseph Perez Florida, Josephine Vannini (Oct. 16); Magdalena Caterina Morano (Nov. 5); Hyacinthe Marie Cormier, Marie Poussepin, Agnes de Jesus Galand, Eugenia Joubert, Claudio Granzotto (Nov. 20).

1995: Peter ToRot (Jan. 17); Mother Mary of the Cross MacKillop (Jan. 19); Joseph Vaz (Jan. 21); Rafael Guizar Valencia, Modestino of Jesus and Mary, Genoveva Torres Morales, Grimoaldo of the Purification (Jan. 29); Johann Nepomuk von Tschiderer (Apr. 30); Maria Helena Stollenwerk, Maria Alvarado Cordozo, Giuseppina Bonino, Maria Domenica Brun Barbantini, Agostino Roscelli (May 7); Damien de Veuster (June 4); 109 Martyrs (64 from French Revolution – Martyrs of La Rochelle – and 45 from Spanish Civil War), Anselm Polanco Fontecha, Felipe Ripoll Morata, and Pietro Casini (Oct. 1); Mary Theresa Scherer, Maria Bernarda Butler and Marguerite Bays (Oct. 29).

1996: Daniel Comboni and Guido Maria Conforti (Mar. 17); Cardinal Alfredo Ildefonso Schuster, O.S.B., Filippo Smaldone and Gennaro Sarnelli (priests) and Candida Maria de Jesus Cipitria y Barriola, Maria Raffaella Cimatti, Maria Antonia Bandres (religious) (May 12), Bernhard Lichtenberg and Karl Leisner (June 23), Wincenty Lewoniuk and 12 companions, Edmund Rice, Maria Ana Mogas Fontcuberta and Marcelina Darowska (Oct 6); Otto Neururer, Jakob Gapp and Catherine Jarrige (Nov. 24).

1997: Bishop Florentino Asensio Barroso, Sr. Maria Encarnacion Rosal of the Sacred Heart, Fr. Gaetano Catanoso, Fr. Enrico Rebuschini and Ceferino Gimenez Malla, first gypsy beatified (May 4); Bernardina Maria Jablonska, Maria Karlowska (June 6); Frédéric Ozanam (Aug. 22); Bartholomew Mary Dal Monte (Sep. 27); Elías del Socorro Nieves, Domenico Lentini, Giovanni Piamarta, Emilie d’Hooghvorst, Maria Teresa Fasce (Oct. 12); John Baptist Scalabrini, Vilmos Apor, María Vicenta of St. Dorothy Chávez Orozco (Nov. 9).

1998: Bishop Vincent Bossilkov, María Sallés, Brigida of Jesus (Mar. 15); Fr. Cyprian Tansi (Mar. 22); Nimatullah al-Hardini, 11 Spanish nuns (May 10); Secondo Polla (May 23); Giovanni Maria Boccardo, Teresa Grillo Chavez, Teresa Bracco (May 24); Jakob Kern, Maria Restituta Kafka, and Anton Schwartz (June 21); Giuseppe Tovini (Sept. 20); Cardinal Alojzije Stepinac (Oct. 3); Antônio de Sant’Anna Galvão, Faustino Miguez, Zeferino Agostini, Mother Theodore Guérin (Oct. 25).

1999: Vicente Soler, and six Augustinian Recollect Companions, Manuel Martin Sierra, Nicolas Barre, Anna Schaeffer (Mar. 7); Padre Pio (May 2); Fr. Stefan Wincenty Frelichowski (June 7); 108 Polish Martyrs, Regina Protmann, Edmund Bojanowski (June 13); Bishop Anton Slomsek (Sept. 19); Ferdinando Maria Baccilieri, Edward Maria Joannes Poppe, Arcangelo Tadini, Mariano da Roccacasale, Diego Oddi, Nicola da Gesturi (Oct. 3).

2000: André de Soveral, Ambrósio Francisco Ferro and 28 Companions, Nicolas Bunkerd Kitbamrung, Maria Stella Mardosewicz and 10 Companions, PedroCalungsod and Andrew of Phú Yên (March 5); Mariano de Jesus Euse Hoyos, Francis Xavier Seelos, Anna Rosa Gattorno, Maria Elisabetta Hesselblad, Mariam Thresia Chiramel Mankidiyan (April 9); Jacinta and Francisco Marto of Fatima (May 13); Pope Pius IX, Pope John XXIII, Tommaso Reggio, Guillaume-Joseph Chaminade, Columba Marmion (September 3).

2001: José Aparicio Sanz and 232 Companions of the Spanish Civil War (March 11); Manuel Gonzalez Garcia, Marie-Anne Blondin, Caterina Volpicelli, Caterina Cittadini, Carlos Manuel Cecilio Rodriguez Santiago (April 29); George Preca, Ignatius Falzon, Maria Adeodata Pisani (May 9); Abp. Jósef Bilczewski and Fr. Sygmunt Gorazdowski, Ukrainian martyrs (June 27).

Courtesy of the official website of the Holy See.

Saturday, March 19, 2005

What Should We Call Our Entirely Theoretical Band

By Stephen Guy Flower Spackman


-Zones of Estrangment
-Frisky Matrons
-Relentless Existentialists
-My Dad's Lesbians
-Nihilist Playboys
-Mobile Hips
-The Erotic Neurotics
-Morphology of the Diaper (album)
-Melodrama Comes With Gayness (instrumental track)
-Sneaky Dykes (punk song)
-T-Rex in a Dress
-Gay KKK
-Invisible Midgets
-Insidious Cunt
-Improbably Bisexual

Practical uses for an OUROBOROS:

By Jim Fingal

* Symbol for the cyclic Nature of the Universe: creation flowing from
destruction, Life arising from Death, a serpent devouring its tail in
order to sustain life, in a never-ending cycle of renewal and rebirth.
* Medallion of invulnerability
* Ineffectual Sweatband
* Inner tube for the rapids of Acheron, the River of Woe
* Napkin holder of the Gods
* Living Jewelry (for a goth)
* Ring for a very small planet
* Pet for a infant
* Logo for hit TV show "Millennium," created by Chris Carter
* Awesome tattoo
* Paper-weight on the polished marble coffee table of a self-described
"Post-poststructuralist"
* Clever present for Larry Niven
* A prop for the best heavy metal show ever
* A troubled boomerang
* Blunt object to strike Jung with from behind when he's not looking
* Biting his own tail while residing in the sea that surrounds the
earth, Jormungand ensnares all of mankind in his coils. One of the three
children of Loki and the giantess Angrboda, Jormungand was cast down
from the heavens by Odin. During Ragnarok, the earth will be rent with
earthquakes, and as the wolf Fenrir is freed, the sea will overflow
because Jormungand will writhe in fury as he makes his way toward the
land, his poisonous slime leaving the land fallow in his wake. In the
final battle, Jormungand and Thor will kill each other.
* Hula Hoop

Friday, March 18, 2005

Unified Beat Theory...

clicky title.

By Tim Hwang

A Choir of Millions

By Rivers Cuomo

I went to the World Cup in Korea in 2002 and got a taste of what real patriotism is like. I’m talking about millions—literally, millions—of people, all in red shirts, all drunk off their rear-ends, and all singing songs about how their country is the best country in the world. I’m talking about fireworks being shot off in every direction, vomit being spewed forth onto every street corner, and boys and girls, men and women, old and young, holding hands, dancing and jumping in the streets. I’m talking about confetti. And everyone—everyone—had black hair, white skin, Korean eyes, and Korean bodies. They were all Korean. Except for me. And my three friends.

Even though this was soccer, we were never afraid for our lives. There was no hint of violence in the air. There was only joy, exuberance, and pride, and, although we were foreigners, the Koreans showed us immaculate hospitality, genuine fascination, or, at worst, feigned indifference. I would rate the experience up there with some of the most transcendent experiences of my life.

That’s why I was so disappointed to see, a few months later, back in the Ol’ U-S-of-A, on the front page of the L.A. Times, as I happened to be walking down Sunset Boulevard, passing a newspaper dispenser, a full-color picture of a similar scene: God-knows how many Koreans, in red shirts all, storming the streets of Seoul, not in celebration, but in protest, vehement protest, and not against someone or something else, but against me, I mean, against America, and, I imagine, all that it stands for. I stared at the newspaper, through the little plastic window, and thought to myself, “What happened? What did I do?�

There are a lot of people out there, apparently, who don’t like America. They want to kill Americans. This makes me sad.

I tried to blow off the issue, but kept thinking, “Millions of people want to kill me and I don’t know why.� I decided to conduct a serious inquiry into myself, my life, my actions, my motives, and my habits, and find out why, exactly, I am hated.

The first thing I had to admit to myself, with shame, as I examined, is that I do not floss regularly. I know this doesn’t warrant killing me, in and of itself, but I think it points to a deeper flaw in my character: I’m stubbornly reluctant to expend energy on any activity that doesn’t bring me immediate material or social rewards. Indeed, that sounds very American and perhaps that is one reason I am hated.

Second of all, I have listened to a lot of Heavy Metal in my life, decadent music by some culture’s standards. I had the Ozzy Ozbourne album where he had the jelly-like substance dripping from his mouth and I thrilled at the thought of him biting a head off a dead bat. I played electric guitar, loudly, through my teens, regardless of others’ ears and peace of mind, and grew up to be a rock star and continue the legacy of decadence that is rock music. I admit this.

I also watched a fair amount of TV growing up. In eighth grade, I would come home every day from school and watch Guiding Light. One of the only times I’ve ever been star-struck—like totally pulling-on-the-sleeve-of-the-friend-next-to-me-saying-“look who’s here!�-star-struck—was after my band played on Saturday Night Live in 2001, and at the after party, in the plaza in front of Rockefeller Center, the actor who played Phillip Spaulding—lover of the mysterious Nola Ryan—walked by. Some cultures might find this shallowness hateful in me, and I can understand why.

I practically flunked out of high-school, completely taking the opportunity, and my own talents, for granted. I even cheated on my English final exam, senior year. I got caught, though, so I don’t feel as bad as if I had gotten away with it. Ultimately, I didn’t give a darn about classes. I just wanted to play floor hockey and look at girls. Now that I’m an adult, I still pretty much just want to play floor hockey and look at girls. What culture would look up to such a base creature?

I don’t really have any faith in any sort of a God. I’m “agnostic�, which means, “I have no idea what’s going on.� I’m pretty comfortable with that term. It also means, however, that I don’t practice religion. I don’t go to Church. I’ve never read the Bible or the Torah. I don’t think I even heard the word “Islam� until I was in my twenties. That would make me hateful in the eyes of many.

I don’t take much responsibility—actually, any responsibility—for my government, or what they do. I often don’t know who our vice president is. I’ve never voted. I know that this sort of apathy, though it may once have been fashionable in America, is now just loathsome.

I don’t read the newspaper (except as I’m walking by dispensers on the street), I don’t watch the news, I don’t know who’s on the ten dollar bill (or the five or the twenty unless I think really hard.) I basically have no idea what’s going on outside of the one square mile area in which I live. I have made millions of dollars and yet almost all of it sits in banks, who-knows-where, while millions of people starve to death every year. (Is it really millions that starve? I have no idea, because, apparently, I do not care enough to check. Shameful!) I have had girlfriends, who loved me with all of their hearts, who thought the world of me, who did anything I asked, who bought me groceries, gave me rides, gave me a place to live, gave me faith in myself and my manhood—who I used for all they were worth. I ran away, once, when my brother was being beaten up, and I pretended like I didn’t know it was happening. Worst of all, when I try to make sense of myself, the world, and my desire to be a better person, I get overwhelmed and give up. I crawl back into my little shell and just hope that things will be okay. That’s pretty bad.

Therefore, I can understand why the world hates me. I really can. But that doesn’t make it any easier to accept the fact that I’ll never be able to join the crowd in Korea, to join them in singing, dancing, shooting off fireworks, and knowing that my voice is but one in a choir of millions.