February 27, 2011

I realized that I spend time on certain issues important to me, and then they just die out with me.  Some of these things I feel are important or just helpful, and that they may be helpful to others, so I will post them here.


Health:

Check that you are getting the RDA of magnesium. It’s a hugely important nutrient.  It’s in spinach, almonds, brown rice, tofu, pumpkin seeds, chocolate, chard, among others.  Low levels of magnesium can cause anxiety, depression, insomnia, etc. 

Computer:

I own a PC, so this is directed from this position.  But it’s also important for Mac users.

It’s important to have the latest versions of



And use:




February 26, 2011

A Megaphone:  Some Enactments, Some Numbers, and Some Essays about the Continued Usefulness of Crotchless-pants-and-a-machine-gun Feminism
Juliana Spahr, ed.
Stephanie Young, ed.
Chain Links
403 pages
2011
Paperback
$27.95


A Megaphone is an anthology of responses to a fairly unlistening world, and heavily and admirably at patriarchy, with good reason.  It pushes at it with strength, conviction, resourcefulness, dedication, resolve.  But the positioning is not just an “at”—it knows and goes its own way, describing world-wide women’s movements, organizations, local actions, in the singular voices which become plural.  It is a glowing testimony.  It knows its anthological history.  It knows the unequal history of male and female publishing, for example.  It knows that there is strength in numbers, and sets out to give space to tens of feminists.  The title of the book is its own abstract.  There is no abstraction in the abstract, however.  This is about numbers, real numbers, to be counted, and for the countless to come forward to speak.  Poetry serves the Social world, and vice-versa, by means of its agencies, its activisms.  Here, though, it is not time to just bear witness—it’s time to act.  Megaphones are used at protest rallies and crime scenes for a reason:  to seek justice.
 

February 24, 2011

From the continuing, interweaving series, Why is Art?



STEVE TIMM


I don’t know so I offer an asking back, let accident dent. Receive and you will lask f(r)ever? Loud gourd! Lewd guerdon! Ply of the hankies starring garrulous barrelmaker. Beryl motherfucker. Honeysucker moneylicker. Chicory sand fritter. Corpse-a-lot fetlocker. Unfooted rhymestiff. Chicken-starting chitlin maven. Jack Throst. Thirst combed, thrust salved.

Why’s art?
Whose asking, Wiseassk?
How dare you?
Whose army?
When?
Won’t someone touch me?
Pardon for these tremors?
Palliative for the need for a knowing-it-all?
Save?
Why don’t you wait your turn like nobody’s business?
Is it where where you would like to go is where you would like to go as though you knew?
If it’s Why i sart?
Is it attendants?
Why does what doesn’t subsume what mean it subsumes it, doesn’t it?
How does ibm one sixty-four oh nine general motors thirty-six eighteen grab ya?
Art chokes four for a dollar, and you?
What job?
The red act or the pter?
Ile ill aisle yl, who ya got?
Why isn’t it?


And then there is this.
WHY IS ART? A STORY
Why is she so tired someone asked
She’s going through chemo, sabe?
They did not appreciate that foolishness so the next time someone asked I said
She’s going through chemo, capisce?
They did not understand and felt threatened, and I was glad.


And this.
Territory.

February 21, 2011

THEN WHAT


And if
the “Real”

turns out
to be

just as
phony?

February 20, 2011

From the continuing, interweaving series, Why is Art? 

ANNE BOYER


After the weaving are the tenterhooks. Or the cloth is not cloth at all until it is stretched beyond what a weaver thought possible. The very stretching out of shape gives shape. Is it not this cloth that reminds us what the cloth requires? Can it be that there is no way to make a cloth other than make a cloth? And every time a weaver has woven a cloth, she is reminded of the rules of cloth-making -- or I mean she is subject to the law inherent in giving form form. What if she makes a cloth more clothlike than possible? What if she "infringes upon the form" of cloth through an insistence upon her own unruliness. That unruliness finally just manifests another ruliness. It's a hopeful oblivion in the material. 
Currently reading:

Arendt, H. (1958). The human condition. Chicago: University Of Chicago Press.

Batchelor, S. (1997). Buddhism without beliefs: a contemporary guide to awakening. New York: Riverhead Books.

Maliszewski, P. (2011). Prayer and Parable. Albany: Fence Books.

Moschovakis, A. (2010). You and three others are approaching a lake. Minneapolis: Coffee House Press.

Rivera, E. (2010). Remembrance of things plastic. LRL e-editions

Spahr, J., & Young, S. (Eds.). (2011). A megaphone: Some enactments, some numbers, and some essays about the continued uselfulness of crothless-pants-and-a-machine-gun feminism. Oakland: Chain Links.

Topp, M. (2010). Sasquatch Stories. Baltimore: Publishing Genius.

February 19, 2011

Reading "Shadow Narrative 1 & 2"

February 17, 2011

MY  FIRST ACUPUNCTURING                  



I decided to visit an acupuncturist yesterday, after hearing many good things said about him from a friend. 

When I arrived I was not surprised to find that this was a house and a remodeled back building.  Perhaps it was once a garage.  It was now fully carpeted with a maroon hue.  There were windows, with sun coming in, and various sacred paintings around the walls. 

There were also six chairs, which bent backward easily.  There was a square of white track lighting around the room.  A computer in the left corner.  A little stand for putting the sliding scale cash into an envelope, and then into a mailbox right next to it.  I wondered about the secrecy of this.  Who was he keeping a secret from?

The acupuncturist is tall, with a kind of straw-headed, shocked-out hair.  It seems perhaps dyed, but maybe not.  He is thin and smiles a lot.  Though it is the full smile, full of mischief, of a Buddhist, which he is as well.  He is 6 ft 2 in, I would guess.

The first thing to do is to remove my watch, shoes and socks.  I sit in a chair, which is flexible but firm.  He is working with another client, who I can see, just across the room from me.  This is a community acupuncture time.  She already has pins in her.  Is resting her eyes.  Gentle music, song unknown, but certainly Indo-Asian, emerges from some unfound speaker.

I am slightly apprehensive.  I’m a little worried about the acupuncturist’s qualifications, though I soon learn it was needless.  He tells me, as he’s dabbing various areas on my body with alcohol, that he did a four-year post-grad degree in acupuncture.  His diplomas do occur on the walls.

I can’t remember if he felt my wrists first or looked at my tongue second.  Anyway, he did both.  The tongue tells much about the body’s health.  The pulse in the wrist is actually six different pulses—he searches and listened to, by feeling, three on each side.  He made a remark to me on one of the three pulses on my right wrist, that there was blockage there, that it was “puffy.”

Next he had me roll up my pants to my knees, my long sleeve shirt up past my elbows.  Then, he began sticking.  Well, to be honest, they were kind of tapped-in to place, into the very specific acu-points.  Though acupuncture is 3000 years old, they are still finding new acu-points.

He began by putting three thin needles in my left foot and ankle.  Then two on the side of my knee.  Three more needles in my left wrist and lower forearm.  Two around my left elbow.  One in my left ear.   Then one in my right ear, one in my right elbow, three in my right wrist, hand.  Two on the right knee, and then, the killers, the three in my right foot and ankle. 

The three that hurt in my right foot were, he said with an “Ah,” the Liver’s meridian.  And the liver was not happy.  It was blocked up, and in pain.  This process would release this.  It should be noted quickly in passing that I am on some medication, which does make the liver work very hard.  As well, and as I’ve recounted here probably enough by now, that I am a recovering alcoholic, sober nearly thirteen years now, and so this may also be why the liver was stuck. 

It was pretty mysterious, pretty poetic, the process.  The pain of the three pins in the Liver’s path was an electrical, dull throb.  The other pins didn’t have this component.  The only ones with some slight discomfort were in my right wrist and lower forearm:  here there was a lesser form of the dull throb.  He said this area, the area of the wrists, was the area of the Triple Burners.  I can’t explain what this means, but I got the sense that the channels around the Triple Burners had phlegm around them, and this caused stress in the Triple Burners.  My Qi was disrupted.

Once they were all in place, I just sat back further, and paid attention to what might be happening.  It seemed the great activity was all in my Liver Foot, the right foot.  It was making me aware of its unhappiness.  I tried to scratch my face with my right arm, but the Triple Burner pins sort of prevented it—felt a little zing when I moved them, so I just left everything alone.

I remained this way for about forty minutes.  I became quite peaceful, sleepy.  Which is common, I guess.  Three other people entered during this time and he got them ready for the pins.  By the time he came back over to remove my pins, I told him that it felt like I had been meditating for an hour.  “I know!  Isn’t it great!,” he said, as moved from my elbow to my feet.

I took a little bit to get mentally prepared for standing up, and then did so.  My head felt like it was in the clouds, and it did feel, no joke, that things were circulating better in my body.

I asked him as I was leaving, truly enamored with what had happened, “How does this work?”

He gleamed mischievously, grabbing more pins for another client, and said, “No one knows, but it works.”  He smiled his full sincere Buddhist smile, and any last hint of my cynicism fell away.

I’ll be back.  My liver already called for the appointment.   

From the continuing, interweaving series, Why is Art?

DANIEL BORZUTZKY 


To isolate specific moments of the yes-no illogical-logic of the world and to take their logic to extreme circumstances to demonstrate the deathly logic of their illogic.


To show that life is beautiful by showing that it is awful. 


To demonstrate the movement of bodies, the unification of bodies, the decomposition of bodies through time in a community.

February 15, 2011

The first response in a continuing, interweaving series, Why is Art? 


KEVIN KILLIAN


Art is the first cause, from which all things begin. When scientists peel back the skies I expect they will find Art right where it has always been, pulling the strings of the puppet theater all of us live in. Lately I've been reading up on Scientology via a lengthy New Yorker profile of writer/director Paul Haggis (Crash, Million Dollar Baby) and it appears that, eccentric as he might have been, Scientology's L. Ron Hubbard (Battleship Earth) had a pretty good idea of what really happened on this planet 75 million years ago during the time of the Thetans.

February 14, 2011

phantasms of black and quite, phantasms of us and them for when we are the them from another us, phantasms of s/mockery, phantasms of another pliant righteousness, phantasms of spock, phantasms of private school saviors who dress in rags when their drycleaning is not yet in, phantasms of romantic coxswains with carefully modified chin stubble, phantasms of mind/poetry regulated by slightly higher daily dosages of vitamins d3 and b6, phantasms of 1995 vehicle in bad decline denoting wealth, phantasms of foreclosure unemployment, phantasms of pharmaceutical fraud causing five month hell, phantasms of teacup chihuahuas, phantasms of mask-like face, phantasms of “everyone’s dying”  

February 9, 2011

self-promotion syndrome, self-promotion symptomology, self-promotion via victimology, self-promotion as redactive assault, self-promotion as inexact coffin, self-promotion in mono-emotional alcoholics, self-promotion in laughter cued, self-promotion in seasonal marxist hiding silver spoon, self-promotion in gender, self-promotion in “style,” self-promotion in indistinct depressive mumble, self-promotion in eternal catataxis, self-promotion in POV, self-promotion in animals acquired, self-promotion in pillheadedness, self-promotion in “is it supposed to be funny?”, self-promotion in narcissism of isms, self-promotion in delusion, self-promotion in make-up, self-promotion in spiritual materialism, self-promotion fetus, self-promotion in promotion of self as I distinct from every, self-promotion handshake, self-promotion “who do you know that I don’t know yet but could use later on if I’m in trouble,” self-promotion in appeasement is not friendship, self-promotion in cynicism, self-promotion in withholding praise    

February 8, 2011

"Moods dictate my behavior.  If something makes me feel good, I want to have it; if it makes me feel bad, I want to get rid of it; if it leaves me indifferent, I ignore it.  I find myself in a perpetual state of conflict:  emotionally pulled one way and pushed another.  Yet underpinning both attraction and aversion is craving:  the childish and utopian thirst for a situation in which I finally possess everything I desire and have repelled everything I dislike.  Deep down I insist that a permanent, separate self is entitled to a life removed from the contingencies and uncertainties of existence.

. . .

Such craving is crystallized from the spinning turmoil of confusion.  In my metaphysical blindness, I reach out desperately for something to cling to.  I yearn for anything that might assuage the sense of loss, anguish, isolation, aimlessness.  But craving is distorted and disturbed by the very confusion it seeks to dispel.  It exaggerates the desireability of what it longs to possess and the hatefulness of what it wants to be rid of.  Bewitched by its own projections, it elevates its goals into matters of supreme significance.  Under the spell of craving, my whole life hinges on the acquisition or banishment of something.  "If only . . ." becomes the mantra of unconsummated desire.

A world of contingency and change can offer only simulacra of perfection.  When driven by craving, I am convinced that if only I were to achieve this goal, all would be well.  While creating the illusion of a purposeful life, craving is really the loss of direction.  It is a process of compulsive becoming.  It spins me around in circles, covering the same ground again and again.  Each time I think I have found a situation that solves all my problems, it suddenly turns out to be a reconfiguration of the very situation I thought I was escaping from.  My sense of having found a new lease on life turns out to be merely a repetition of the past.  I realize I am running on the spot, frantically going nowhere."

--Stephen Batchelor, Buddhism Without Beliefs

February 4, 2011



"You want me to tell you what sets Maliszewski apart? The answer is probity. The answer also is decency. Here's another answer: modesty, tact, exactitude, pertinence, reverence, wit. All told, Maliszewski has all the graces, which is why I, in my old age, am renewed and schooled by him. Oh, and another thing: 
Paul Maliszewski takes no crap."—Gordon Lish

At a campground, a divorced father confronts a man he believes hurt his daughter. A devoted student traces a winding path through the snow, searching for the next most beautiful thing. Two brothers watch their father tinker lovingly with his homemade robots. In Paul Maliszewski’s debut story collection, men and women struggle to do right. They argue. They think. They think again. They have odd dreams. Often they fail at being good, and yet, on occasion, they realize moments of true kindness. In language that is at once simple and supple, plain-spoken and arresting, these twenty-eight stories describe complete lives in sharp detail, lives we may recognize as not unlike our own.


About the Author

Paul Maliszewski has published essays in Harper’s, Granta, and Bookforum, among other magazines. His stories have appeared in The Paris Review, One Story, and Bomb and have been awarded two Pushcart Prizes. Fakers, his first collection of essays, was published by The New Press in 2009. He lives in Washington, DC, with his wife and son.

 * * *

Paperback: 248 pages
Publisher: Fence Books (May 1, 2011)
Language: English
ISBN-10: 1934200441
ISBN-13: 978-1934200445


February 1, 2011

"We are reliving an edited version of the past, planning an uncertain future, or indulging in being elsewhere.  Or running on automatic pilot, without being conscious at all.

And instead of a coherent personality that stretches back in an unbroken line to a first memory and looks forward to an indefinite future, we discover a self ridden with gaps and ambiguities.  Who "I am" appears coherent only because of the monologue we keep repeating, editing, censoring, and embellishing in our heads.

The present moment hovers between past and future just as life hovers between birth and death.  We respond to both in similar ways.  Just as we flee from the awesome encounter with birth and death to the safety of a manageable world, so we flee from the pulse of the present to a fantasy world.  Flight is a reluctance to face change, and the anguish it implies.  Something in us insists on a static self, a fixed image, impervious to anguish, that will either survive death intact or be painlessly annihilated.

Evasion of the unadorned immediacy of life is as deep-seated as it is relentless.  Even with the ardent desire to be aware and alert in the present moment, the mind flings us into tawdry and tiresome elaborations of past and future.  This craving to be otherwise, to be elsewhere, permeates the body, feelings, perceptions, will--consciousness itself.  It is like the background radiation from the big bang of birth, the aftershock of having erupted into existence."

--Stephen Batchelor, Buddhism Without Beliefs