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We lay in low, dry grass.
Watched the clouds’ 
Drifting anatomy_
Contrails pins to
The scolioses of the sky.
[104]

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Narcissus and Goldmund
Figure 1. Narziß und Goldmund

The Hesse poem was another in a series on the duality of flesh and intellect—It’s curious to me that when I wrote it, I was projecting eleven years ahead to 2015 and posing a question to which I can now blandly answer, “no.” I would have been surprised to say yes, and by now I think I’ve abandoned any thought of teleology. There is no end point, just wandering. Just look how Narcissus and Goldmund fell into my hands in the first place. I don’t know how I found the book twenty-some years ago. Was it in my parents’ books? In the library? And how did it get there? Well, Hesse had become hep in the American counter-culture 60’s, which launched an unexpected revival, putting Siddhartha and Steppenwolf on the shelves of teenage boys looking for paperbacks with naked babes on the cover (see Figure 1). These intellectual accidents worry me, and I have of late dumped solvents on my early ideas to see which will recongeal. Not that I have anything over Hermann—I’m not fighting the cleverness wars here—rather, all ideas want testing against the quiver of experience, most of all our best beloved.

[204]

140 / 56
I’ve forgotten you
  in more places
  than I can count.
Paid down my debts
  in pounds and
  in pesetas.
But still my streets
  are empty.
[131]

140 / 57
I quoted myself,
  changed the name,
Sat back, and 
  watched it fade.

You see most
  sometimes
When you look
  the other way. 
[120]

200 / 34

“Drink at night. Beg during the day. Borrow cigarettes and shill for quarters. Sex in the bushes. Wet and dry. Leaves stuck to concrete. The warm breath of bakeries. The call of the crowded bars on Howard Street. Those animal weeks and the seasons spent in scrounged sleeves and picked pants. The jabber of the crazies and the taste of dirt and liquor. The still dread of body pain. Pee burning down a pant leg on a frigid night. A hollow day passed on a park seat in October.”

from Percival
by Anton Lucash

[94]

140 / 58
In Physics,
Work is measured
By start and by end.

Out here,
It is in returning.
Eighth, ten hours a day

We struggle
Back to beginning.
[127]

200 / 35

Now that this site is a year old, I am going to step back to reflect on the project that I set out for myself—writing for the web ecology.

I should first point out that I have stopped thinking about ‘writing for the web ecology.’ Mostly, I just try to come up with something to put on the site twice a week, which is really a matter of looking back through my old stuff to see if anything looks reparable, or trying to shape some nugget of an experience or thought or feeling into a little piece of prose or a poem.

That’s just writing. The medium little matters, except that the web provides an interface and my ground rules about length and format provide the constraints—including the troublesome 200 word count rule (which I occasionally break, like now). As for what I write, I have been deliberate about a couple of things.

First, I don’t write anything topical, like commentaries on the day’s events. I guess that stems in part from being the kind of guy who is always thinking about something else. Also, I don’t find my own political views—or other people’s for that matter—terribly interesting. In any case, I need not reiterate that ISIS is an abomination or global warming is real. There are better sources for such information, and this web site, I fear, won’t tip any debates.

Second, I am not ‘blogging’ in the sense of keeping an online journal. Believe me, no one wants to read my journals—a lot of maudlin junk. More than this, I have always had a sense that my daily comings and goings, such as they are, are in a profound way, irrelevant. If I reported that I had dinner with colleagues at the Gasthaus Wickerl on Porzellangasse, why? Did the experience change me? Or is it rather more notable that nothing changed at all? I walked out feeling all the same.

And there is one other thing, and I think it comes of writing fiction, that it has always seemed to me that scenes could be made to make sense with every particular rearranged. That if I had not gone to the Gasthaus Wickerl, the Gasthaus zur Oper might have done just as well. And if the Oper will suffice, what’s the point of the Wickerl at all, except to crow that I ate my food in Vienna. And what could be more tiresome than crowing?

[418]

1024 / 28

IMG_3967

My friend asked if I thought graffiti can be beaux art—high art. I know what the question means, but that doesn’t save it from being meaningless. Art is a name that we have given to a certain category of human endeavor that we imagine to be lifted up out of and somehow suspended above our daily experience. Art is important and timeless and ought to be preserved in marble buildings so that countless generations will henceforth be enlightened and elevated by it. And when I see Whistler’s Symphony in White, No.1 hanging majestically in the National Gallery, I am tempted to believe it.

But the terminology confuses. I wrote the sentence passively on purposes. The idea of art simply confuses. So if I am out riding a rented bike along the Donaukanal and I am arrested and moved and delighted and captivated and wowed and annoyed by what people have put there, by the excretions of their creative energies, exerted for whatever reason moved them, why should I have to worry myself about high art or low art or beaux art or any of it? I will take what they have done, and leave the word art to those who lack the confidence to simply feel their feelings.

[211]

140 / 59
Ted Cruz stands for certainty.
I don’t stand for uncertainty.
  I am simply uncertain. 
[85]

200 / 36
The profligate city sends 
  forth its species.
A coffer of segways
  bumble over Wisconsin.
The solitary dump truck
  lows and shudders,
Still hoping for a mate.
[26]