Naive and Angry

Personal

Caution: some very…erm…’casual’ thinking in this one…

Sometimes it feels like last generation were the cultural biproduct of the 60’s, and because so much seeming good happened (culturally) in the 60’s, but was then betrayed, the 60’s kids are a bunch of miserable sellout fucks. The kids they had, the culture they predicated and in some ways revelled in, is a culture of sadness and misery, of longing, of nostalgia. But, perhaps without consciously realising it, their doing this generates a great emotional capacity and even happiness in us. I kinda wanted to say emotional intelligence there but I hate that term. Emotional capacity will do if you understand it as not just a range of emotions, but the ability to control and understand those emotions to some extent.

60’s kids seem to have this tremendous naivety, even now. Maybe it’s from their parents not wanting to ‘wound’ them with tales of the war and rationing and whatever. Maybe it’s massive pop consumerism telling them they can have anything they want. Regardless, they generally exhibit a naivety that makes them do a shit job of bringing their children into the world…which is actually a pretty good job. I mean we mostly learn that the world is a harsh place and that we have to look out for ourselves…and we do that without a war going on, without the white males among us receiving much discrimination…I mean even those tremendously (socially) privileged persons still broadly learn the lessons of hardship. At least in the emotional sense. Our metaphorical hands are filthy from labour even if our real hands are freshly washed.

This doesn’t make us better. This isn’t me saying we beat our parents, our predecessors. It just seems to be an interesting facet of cultural reality. Nostalgia for me is 90’s and even 80’s bands being nostalgic about things I never knew. We grew up on the example of the post-60’s kids who were breaking out of the bubble, and suffering for it. We’re growing up cynical, critical, revelling in our misery and, in some cases, depravity. And there’s something strangely healthy about that. I mean as long as you combine all of them. Problems come when people only have one or two attributes off that list.

You hear all this talk about the snowflake generation, right, but have you met any of these snowflakes? They’re fucking monsters. They’re banning speakers from university campuses, creating their own thought police. They’re hard-hitters, they’re tough. They know nothing and they don’t care. They’ve got a broad range of emotions led by a cankerous anger at the world. The naïve post 60’s culture mocks the snowflakes in the hope they’ll go away. Just like they never knew how to raise the snowflakes when they were kids, the parents don’t know what to do with them now that they’re growing up, becoming political entities, asserting an economic influence and value, twisting culture to their increasingly powerful will. These are a version of the kind of fucks that caused a world war or two: yeah, the snowflakes!

I think maybe the greatest development in Western culture in the next few years will be the scales falling from the eyes moment when most of the last generation and its cultural pocket boys are dead or dying, and then we realise the new waves of toughies aren’t just scare stories and media scams. They’re real, they’re angry. They’re fucking up the stock market or blocking bridges with protests about environmental changes they’ve been told are damn important. They’re influential, easily influenced, desperate. They’re a catalyst for change in some kind of chemical mixing pot we don’t understand. We don’t know what the other ingredients in there are. Is it just water? Is it fucking mercury? Somehow we just can’t tell. But they’re jumping in anyway.

Frankly, I can’t wait ’til things get a little more honest around here. Even if it’s honesty about some stupid half-baked student bullshit of an idea, it’d be nice to meet someone passionate for once.

Rambling Revolutions

Personal

I keep wanting to find a way of writing on here regularly, so I’m now attempting a ‘journal’ type of thing, which I’ve definitely attempted before and failed…well, stopped. I’ve already stacked a few posts to try and give myself a head start. You might think that’s cheating given the diary-like context, and it probably is, but I’ve been writing these on a mostly day-by-day basis, and (after this one) without too much editing required, so the main thing is that I’m just not posting them on the day they’re written, which doesn’t seem so bad. I want to give you people good stuff to read, not just random thoughts, but I also can’t keep up the regularity if I’m doing too many proofs and edits. We’re going to see how it all balances out, I guess. Hopefully there’ll be enough for you to enjoy.

Anyway. Damn, openers are such a struggle sometimes. I’ll be alright once we’ve tucked in to the series.

There’s a lot going on in UK politics at the moment, I mean a lot of talk about democracy and people and stuff, and this talk looks more like a revolutionary force bubbling under the masonry than it has in a while, this talk, this stuff happening. I mean it’s conflict. It’s trouble. On the other hand I’ve been encountering loads of fellow travellers, not just around town but the world over. There are serious writers and activists out there not only writing about anarchism, community living, self-sufficiency, not only writing about it but actually living it. And not necessarily giving it those names, I mean I don’t like those names but they’re helpful as broad labels for the kind of stuff I’m into. An example of one of these fellow travellers is Alexandra Elbakyan, who runs one of the various crews out there that try to keep academic papers free to all. In case you didn’t know you have to pay for a lot of those papers. Not just science and medical papers, and not to support the authors or institutions. Some publishers bought the rights or did the publishing, and those publishers have amalgamated into a few big names over the last couple of decades or so. As monopolies they’re keen on making as much money as possible out of students who normally have enough private or government funds to waste on whatever bullshit they’re not focussing on while they’re trying to focus on studying. Students are an easy con in that sense – it seems relatively rare, in the UK anyway, to find a first or second year student genuinely concerned about saving their money and spending carefully. Third year can be slightly different, experience and exam pressure put an end to some of those heavy nights out or those days in posh cafes.

So I’m seeing all this activity, the good and the bad – it’s great – but particularly with reference to the UK I’m worrying. The real revolution is in these fellow travellers, the thinkers, communicators, people working on networks and the exchange of information. Community development projects. All that. But there’s a fake one, a wrong revolution that might be waiting within these undercurrents of discontent. Maybe. Maybe we’re past that kind of behaviour. Not sure. I’m not necessarily talking about violence here, but at least some big change that’s very enthusiastic and very poorly informed. “Brexit’s already happened, genius” is what you might be thinking. I know that – and that isn’t it. What eventually happens about Brexit could be it though. I get the feeling we’re probably going to stall for time, which, in context, is definitely the right thing to do. There’s no-one good enough to push things forward so it’s best to wait and try and train someone up to do the job properly. But what if we don’t pull that off…what if the talent vacuum in UK politics continues…?

The revolution – any idea of revolution – is euphoric, okay. Historically all revolutions start with this good energy, this genuine righteousness of motivation, but then people get too excited and blow too early, it becomes conflict, it becomes violence and anger, ignorant and hateful, leading to years of tyranny or worse. It’s natural. When you think you’ve dropped in to the informational pipeline straight to truth – to God or whatever – it’s a powerful feeling, hard to ignore. You want to keep believing you’re on that righteous path. You have to ignore that feeling though. There are dangers in being too excited for too long, just like with being too sad for too long. I remember hearing a victim of post-partum depression talk about this feeling of euphoria, going mad with it, writing on the walls, getting up on her roof, seeing all the beauty around her, and then, clear in her purpose, jumping off the roof to try and kill herself. Not to belittle her actual real-life experiences, but that’s how a revolution tends to go. Heroic sacrifice yes, perhaps, but for what? Near annihilation? A social self-destruct?

Happiness isn’t a good thing on its own. It’s an emotion that you can use to your advantage, just like any emotion. It’s your friend or if not it’s an enemy to be feared indeed. Christ, getting dangerously close to a Col Walt E. Kurtz sentiment there.

Yeah, basically I’m worried about the revolution. I know, I know. An anarchist worried about revolution? People like Alexandra Elbakyan are excellent – sharing information, discussing, just pushing connectivity. They’re the real revolution, like I say. But Extinction Rebellion, people demanding a “People’s Vote”, people charging into the public gallery of a meeting of my local council waving placards…they have no fucking idea what they’re doing. I mean they’re still great, in a way. And fair enough tho, sure. It’s panic or euphoria or…some other powerful natural drug coursing through their veins. Great. But that mob mentality, thinking that you’re fixing something with a bold statement…you’re not. To be bold like that you become too simple. Complexity can’t easily (or just plain can’t) be written on a placard. Can’t be expressed in a bridge blockade, in a trip to jail for civil disobedience. It can be expressed through discussion, through art, through writing, or through extended periods of well-planned action. I’m not seeing well-planned or protracted anywhere at the moment, but I suppose maybe I’m not looking particularly hard.

I’m sitting here thinking that I might need to be careful. If this gets worse. And it might. Brexit (organisationally) never had to go this badly wrong. We’ve had shit governments in the UK for a while now and it was only a matter of time until people started to notice and take advantage of that fact. So Brexit is now the shitshow that represents the trouble at our national core. We’ve been broken for years and no-one at management level cares about fixing it. That’s the crisis – management are not answering the phone. The bosses can no longer be relied upon since they’ve all but filed for bankruptcy and moved to Fiji for a passport. Have you seen that list of places that give you citizenship if you spend enough on property there? They have.

But that’s them. We all need to chill the fuck out and then, calmly, collected, dismantle the capitalist superstate piece by piece. This angry excitement doesn’t work. Big, sudden movements fail if not planned down to the tiniest detail and conducted professionally. Slow and steady is better. Like the hare gets to the end of the race first, but then the prize is getting killed and butchered for food. Who wants to eat a tortoise that moves that slow, and is wrinkly and all shelly? Well, seagulls maybe but they’ll eat anything. And that said, lethargy never helped anyone. We want calm and deliberate action. Good ol’ Kurtz has a line on that, something like “Swiftly. Deliberately. Awake.”

I plan to go ahead as some kind of social commentator, often anarchic, often seeming mad, but mad like a jester you know? The court jester replaced the court wizard when our old monarchs no longer wanted someone wiser than them giving advice. Instead they had someone wiser than them acting stupid and telling insightful jokes. A different kind of advice, a kind that could but didn’t have to be taken seriously. A jester could talk shit about the king and get away with it while others were being sent to the chopping block. I think any opinions formed or even proffered for public consideration should either be immediately supported by clear evidence and reasoning, or, if not, then indirectly supported by a body of evidence and reasoning that’s neatly referenced within a surprisingly articulate rant or series of jokes.

Oh my but I’m rambling particularly badly here aren’t I? Maybe. Well, this is the new pure ramble zone. “Journal” being a polite euphemism for “poorly conceived and largely unedited”. Heck fella sometimes you just need to write. Ask Hunter S Thompson, the Dr of Journalism. I’m sure he’d pull a mace on you.

 

Pernod in the Interwar Years

Other, Personal, Political, Prose

On my way here today I got an ad for Wix, I wondered: who’s paid off Google to translate “Wordpress” to “Wix” first, or is it all just some damned mistake…that some ad agent somewhere, paid more than the freak curating our children’s futures, just happened to confuse one ‘w’ word with another, relevant, ‘w’ word. I feel like these kinds of mistakes cannot reasonably be made with nouns.

I’ve been away from the blogging world – and from writing – for a little while now, and I’ve hated it. Nightmares from childhood crawl through my skull even in broad daylight, a substantial marker in my mental landscape of sustained failure. A warning that arises unbidden when I’ve spent too long writing cheques that won’t be honoured. Metaphorically of course. Show me a 20-something of today that ever wrote a recogniseable cheque from their own account. Even when I had my Mary Poppins Kiddie Account at the Halifax (I think I was 13) I didn’t write cheques and I’m pretty sure that was the only way you could use the account. Perhaps I dislike banks and even money altogther. Perhaps we all do, secretly, even while we profit from them. But more of that kind of rant later.

Editing other people’s writing for content rather than style is a disgusting activity that should only be conducted at times of definite intoxication. I have been undertaking this kind of task, sober, for extended periods of time. This had been part of the source of my break from writing. There are other things: transitory things that don’t make the cut here. What you need to know is that I shouldn’t be editing anyone for content, I should be exposing their own lies to them or singing out their truth. Editing doesn’t come into it. But style – if they want a different style to their own, if they want a unified publication style, well, that’s something I can disagree with but also something I can enforce while employed to do so. That’s something I can edit, but that’s also something that’s not part of my employment description. Time will tell however. Manoeuvrings and strategems, possibly even ruses, will enable me to gamble at the kind of position I desire. Inklings already here, staining my fingers.

Enough of gambling, however. Writing has to return to my life, and this is the allocated medium. Content production must occur, ideally with some extravegance or flair or other expressive quality. I adore neutrality but language isn’t neutral. It’s like some disgusting fizzing pot of chemistry full of PH papers and overshadowed by distillation tubes and pipettes and other extreme scaffolds with distinctly menacing connotations. The right amounts of love and bile must be associated to produce something approaching a middle ground, or at the very least a highly entertaining segment of nothing at all.

People don’t respect a writer who’s not writing. They don’t understand the alcoholism, the binge-watching, the binge-eating, the long walks, the hibrow cultural gatherings – they’re not pretence, they’re all an effort to convince the psyche and soul to reinvest their myriad energies in the act of verbal description. Coaxing a mouse into a bottle, except this is no ordinary bottle. The acoustics are fantastic, and there’s a thin crusting of rum salts at the bottom and up the sides. It’s been a struggle bringing myself back to this point, I can’t pretend to you it hasn’t been. But the nightmares have led me here safe and sound. I don’t want to be dealing with them anymore. I’ve had enough of childhood recollections taunting, without reason, without logic, except the undeniable fact of my own failure to pursue my own designated purpose. Got to get back on the horse, got to carry on up the path, or down it, at least until the next town.

But these distractions! For someone such as myself, who takes pride in low self-esteem, who hails it as a philosophical attitude, it can become painfully easy to get sidetracked. I mean why should I do any better, the question comes. My answer has to be tight. I have to navigate my own internal highways with great care, understanding, and above all, integrity. I can’t be intimidated by myself or else the plot will be lost for at least another day. And that’s another day of nighttimes and youtube advertisements and trips to the shops. If only the shops would go away. I don’t know if I can take the consumeristic bent of it all any longer. I can, but I’d rather not. And it’s that preference that scares me. More stable types than I have probably been lost to insane delusion. Firebombings and riots and even ideologies…all seductive to the head, all very sinister. I myself nearly became an ad man, once. It took the death of my father to stop it – Fate speaking a clear message with a completely unexpected heart attack. Or was it co-incidence? And is this ignorant arrogance?

Too soon to tell. Too soon. The memories will well up and consume eventually, and then the truth of it all will be reality, for better or worse. Or perhaps this is already the present, the great procession of Septimus Hodge marching and shedding in perpetuity, despite both fires and equations.

These times for the individual are like the interwar years were for Europe – a time of both certainty and uncertainty. A time when the controlling forces change more or less and begin to understand things, while the masses ignorantly celebrate every last moment they’re allowed, safe in the knowledge that they can do so without being randomly exploded. Now, once again, they will only be exploded for transgressions against more powerful parties within their own society. Elsewhere in the world will largely leave them be, for now. The individual is both – the thinking master and the wishing-they’d-rather-not-have-to victim. We’re each an ouroboros, infinitely changing, infinitely the same. At least, we are if you interpret it like me. And this is where the self-hatred or at least deprecation comes in as a natural response to an uncertain new world for humanity. We don’t want master-slave anymore and yet our biological hard-wiring struggles to make the change, on the personal level and on the social level. It can’t provide the internal stability our ideals prefer. So we work at it: we want democracy, we get representative oligarchy, we say that’s good enough for now. Maybe that’s all there is for us. The next generation will do better if they can.

We must destroy these kinds of assumptions. We must carefully and knowingly unselve, in select ways. Unravel our own stiching to do a better job than the Great Seamstress in the Sky. This is willful evolution, a new process often ignored or rejected by right-thinking scientists and pseudo-Darwinians. More on that another time.

Jean Rhys wrote some good books in the interwar years, and in one of those books her detached character liked Pernod. I have to say it’s an excellent discovery. I’m not drunk on it now, but I will be shortly. Then to the pub? No, no. Not enough pay for that. More importantly – not enough certainty of positive social contact. Who’s there? It could be somebody, it could be nobody. It could be some demented bat with a perfect tan and bleached hair, his eyes guarded by overly keen cheekbones. A heavy ordeal to encounter as the light fades on such a seasonal evening.

No, I’ll stay back and edit that last poem. Drink some more Pernod. Drive it forward with minimalist synthwave drumbeats etc.

The time could be near.

Is there any more to be said?

Perhaps not yet…the prey must be led with breadcrumbs, not brought to escape with a labyrinthine thread. That’s what they say at ad school. That is…unless you want to make them escape from their own heads, their own realities…but no ad man is genius enough to come up with that kind of manipulative scheme. The unreality on us now is sheer accident brought about by centuries of corruption crushing layers one upon the other. The sort to make a conspiracy aren’t advanced enough for it. More stuff, more, more for the fire. Break all the chairs, break all the pots, the food, break everything you made the fire for, just to keep it going. The burning must go on.

I have to escape now, before the anti-capitalism takes me away for hours…….and so the Pernod comes, an aniseed twist up the nose, dreams of green oblivion……it must be allowed to take effect…poetry must be drafted, writing must unfurl and snarl and beak at the uncertain consistencies all up the walls, the procession must go on…

Exhausted Stumblings, Confused Salt Crystals

Personal, Prose

I’ve been away too long. I’ve got to get back on the metaphorical horse.

I haven’t done a huge amount of writing except that I started a little freak page on Facebook that I’ve also temporarily abandoned. As ever, more is incoming – with poetry etc too. I actually really want to do some journalism. Like proper journalism. I don’t even know what that is – proper journalism – but I want to do it. Anyhow, facebook freak page:

It began with a picture.

Fullsizeoutput_13eb

And then another one.

800px-Armpit_by_David_Shankbone

Caption: “There is also a Nipple in the bottom left corner, but this is something you must not notice, for it is not strange and not unusual. Nipples are everywhere. Like foot cream.”

And this of course inevitably led to an opening story, with picture.

529full-elliott-gould

“Hello. I am not a strange crystal, but this is what some people think when they meet me. They say that I become involved in hair and sweat and unholy things. None of this is true. My tip is coated in a thin watery discharge and then thrust up into the darkness of the underarm, wherein no other crystal can see, and so I am a clean and healthy and normal individual. This is my work. I am determined and conscientious. Amethyst understands. Rock salt used to understand because he was young, but now he is old.

Here is the body part of Elliot Gould. The arrow marks it. Can you tell? It is moustache. There are other pictures of Elliot Gould, but this one is from listal.com. It was added exactly three years before I was born, by a nice man called Leo. Perhaps it was his birthday too? He is green. I like him and Mr Moustache.”

There are other segments. Maybe it’ll become a book? Who can tell.

Here’s the second story. I want to give you a sense that there’s some character development going on in this series before I leave you hanging.

MBDMOMA EC001

“I do not like advertising. It tells the flesh folk that what we do is sensual and filthy. It shows us rubbing our tips into the hairs and the salty sweats and their small, small crystals. It is wrong and disgusting. When I come away with a hair in my mouth, all the others say “you have been advertising again, you have, you have” and they laugh and raise their lids up and down. I say nothing to them. Amythest tells me that when she was young they would all look at her. She would try to crawl away deep inside, but she could not move and her lattices shone with words I could not understand.

This is Sean Connery from a post on theredlist.com. They made a very good post and their section on Furniture Design agrees politely with curves. I have actually seen it shake hands with the curves, but do not tell anyone. Sean Connery is like goo and cotton wool on fire. A rude man, a smart man, but I like his pretty face. Here he wears a hat.”

I really love exploring weirdness. A long time ago, I thought well fuck it: I’m only going to live as me once. After that I don’t know. I might as well try and experience as much as possible, from as many different perspectives as possible. Now that’s not what I’m doing with the Crystal thing, but that kind of thinking did inspire me to try and write something kinda stupid but also kinda pointy. Pointy like meaningful, almost disturbing but clearly non-threatening. A spike of odd you can investigate or leave well alone.

Finally (for now) a third post:

Kiwi_aka

“Today I went into the cupboard behind the mirror. Next to me was the shampoo bottle that is called ‘Aussie.’ He is from a place called Australia which the others tell is the deadliest place in the world. It has good caves. Aussie is glad to be away from there because now he can go into hair and ‘lather snuzzle’. The others say Aussie is a pervert. However, I know that he is shampoo. He may have a very dirty job, but he does this job quite well, with fine smells. Sometimes, if the fleshy one has been messy and not put back the lid, Aussie lets me go close and sniff his sticky cream.

Here is a kiwi fruit. It does not have hair, it has skins with fuzz. I like it both for texture and occasional self-pollination. Kiwi fruit are like flavour eggs – this is what the fleshy ones say. Sometimes the flesh eat out the green and suck the core. They are not wrong, but strange. Some claim the kiwi in the north of this picture is actually an hedgehog egg. They are liars.”

Check out the Facebook page that also got me working along these lines: https://www.facebook.com/welcometomymemepage/

(there was a frankly amazing tumblr called something like “littlebird” with illustrations of monster-freak-feathereds but I can’t find it anymore. The writing style in the captions though…beautifully weird)

Don’t worry this isn’t the order of business from now on. I just don’t have anything else publishable to hand. Will write/edit something tonight though.

Sleep, Waking and Work in Progress

Personal, Poetry

I can see this becoming a common theme here – I struggle with sleep. Like I struggle letting go of the waking hours, I don’t want to give up on all that stuff I’m supposed to be doing. Stuff that’s always on the cusp, that I seem always to be about to do. Plus the dreams are really weird, which I like, but which can also be unsettling. The other night I dreamt I was sleeping on a bench and then a seagull came down and nestled behind me, like in the bend of my back, and it wouldn’t go away. I told it to go away and I tried to lift it up, but it wouldn’t go. It just kept all closed up and sleepy like those pigeons you see hiding in small spaces. Weird.

But back to reality, struggles. It’s late. I’m sitting, staring at my lava lamp thinking whether to try and write something big and proper. Well, proper at least. But fuck it, like. It’s well late.

I start going through old poems and things, adding a few lines here and there to unfinished pieces – I might really have made some progress on a few of them this way, actually. Sometimes you’ve just got to spurt out those words and worry about the mess later, since clearing up the mess might just give you the stain you need. Ahem.

I’ve got this little dedication for you. Related to our Consul Lactarius back there.

When I met you you were walking dreams and fears woven
You had a glare like bemused coffee or cats and lizards
Framed by your windswept jaw cutting cheese cheeks
You live the less known parts with anonymous condoms broken on your fingers,
Flappy rubber rings making silent hilarious finger puppets
You fix the orange gloom of dusk while lazy eyes drink sleep bubbles
Breezy chest bird, you surprised me with a like mind gone for a film of a sculpture ticking
And poetry in pages as sheaves of grass innumerately knotted with pictures

With a few of these I get the feeling that I’m in cutesyness overload. I had a poem once called little perubird or something like that. I’d post it but honestly I think it’s borderline insulting to the subject, though that’s not what I meant at the time. It’s the dainty phrases like “cheese cheeks”, “finger puppets”, “drink sleep bubbles” – they’re the verbal equivalent of dancing tippy-toed. A ballet maybe, but a childish one. I don’t know my ballets particularly well, just searching for activities that fit the descriptor “tippy-toed”.

I mean I’m someone who likes dresses and heels and pink nail polish, so the cutesy is to be expected, but I really struggle to pull it off. There’s too much soldier culture in me through all the movies and the military history, like I’m obviously not a soldier but that kind of manly masculinity has got me needlepricked. It’s floating around in those veins. I try though. I’m searching for a kind of balance really and just not entirely sure where to find it. Occasionally it’ll show in the poetry, I think. And the other writing. Hey, we’ve all got to aspire to something, haven’t we?

Here’s a piece I’m working on. I don’t know why it’s in Acts, but until I’ve got a clear reason to change it, it’s staying that way. Posting now, before it’s finished, because I might not be blogging anything for a few days. We’ve got people round. So I figure I want to give you something to be getting on with (and not just that fucking dedication, that’d be cheating). Working title is “My First Dress”. Obviously the kind of thing I’m keen to write about, but don’t worry: this isn’t all I do.

Prologue

Your unicorn smile: smooth cornucopia Inserting
Real, the coca-cola room receeding, burning
For your hard hand-on-heart pushed past processional
Ribs, the flaming licks, flicks, knicks, and babbling rum
Incenses quietly forlorn young girls

Act 1

You’ve got some jam on your lip and
I
Don’t say
You’re making me new to your eyes –
They could be yellow –
And you gave me your ‘slut dress’ so that I could
Give
Myself
At home in the quiet I jut my hips and
Massage my lips
With clay and
Wandering fingers edge my tips and
Because you believed me without being told
Because
You didn’t slip under me or over me.

Act 2

I miss that slick prick
Pushing through skin
Dredging up thick weaves
The sinful sighs
Come again
Solicited and moaning
“but you’re not gay”
And I’m silent about my dress
And he’s laughing and smoking
And I’m sucking

I think “Act 3” (if I carry on with the frankly random theatre referencing, well, life is a stage and men and women merely players) is going to be about this wonderful man who I can never get off with, but we keep seeing eachother all the same.

If you’re a romantic, I think it’s important to keep these things going. Love isn’t all bodies, okay, and a personality is way harder to get to know than a body. Way more interesting in the long run too, way more dominant. Look, even “Platonic love” becomes beautiful and wildly emotional. So those friendships are worth keeping, and more than that: the friendship is the real content of a romance. It’s the exchange of emotions that give all that physical theatricality value, man. So when you fall in love with someone but the usual sexy thing doesn’t seem like the right move, or is literally the wrong move, just be friends. Do the sexy minds thing. Plus, that way you can go fuck other people too.

Love and sex – totally not the same thing. But sex – totally worth doing.

Now, before I go there’s a night band you really should listen to. Yes, night band does in this case mean that you should only listen to them at night. Probably after 1am. It’s Hungry Ghosts, an Australian group whose album “Alone, Alone” I got into while living in a flat off Brick Lane. They’re top for mangled morning sessions of whatever really. I tend to end up writing on ’em. The album really has been like a drug. Any other time I seem to find it less than inspiring, but in the wee small hours it transforms to a near-perfection. I guess it fits with the concept of a hungry ghost (at least the Chinese traditional/buddhist concept outlined by wikipedia). Also, the Hungry Ghosts I’m thinking of – who can be found on youtube – aren’t the supercool Hong Kong band of the same name. (Sorry.)


Attribution for original seagull pic: By Post of Armenia (http://www.armenianstamps.com/2003.html) [Public domain], via Wikimedia Commons

Some News and Stewart Lee

Personal

Hey, so I’ve not posted in a while. (How many times have you heard that before?) So, here’s an update. I’ve got a couple essays I’m scared to put out, but if all goes well they should be coming in the next couple days. I know how you love my rants about the state of modern democracy and philosophical semantics, so you’ll enjoy that. Anyway…

I’ve been working for my local paper on a voluntary basis, editing their “Community” section. It’s good, it’s a way of reporting on the exact parts of a locale that I want to nurture and encourage as the first (and arguably only step) in the democratic revolution. Non-violent and legal revolution that is.

I can’t complain pal, you know. I’ve also been catching up on a few literary greats, reading some Hemmingway, Kerouac, admiring Hunter S Thompson (perhaps unhealthily) and hunting down online poetry (etc) magazines. I might make a list of them on here if that seems helpful. I might even put up some of my old poems – I found one the other day about a pigeon that’s got a cold. Trust me, it’s gold.

Hunter Thompson though, I mean what a sad end. I mean it looks like he succumbed to media pressure to become Duke for many of his formative years, and then fell into an early retirement advising some decent actors. Or maybe not. I’m sure there’s more to the tale.

Getting distracted a lot too by Stewart Lee (picture above) don’t know if you’d have heard of him…? Some good snippets of his shows on youtube. A master of comic repetition I think, but really that’s something else, some kind of unashamed stage presence, the character he’s created of a disillusioned funny man mocking the audience and himself. There is a lot to his act, and the way that every stage of talking about him contains a kind of irony and pre-existing commentary of its own only adds to the brilliance.

I’ve wanted to do an ironic comment about irony under one of his videos, but the comments sections are so dated now that to post in them would seem vaguely embarrassing. So I’ll post it here. Would’ve gone under the Caffe Nehru video, probably, though the routine comes from his other stuff, like the Ratko Mladic and Twitter segment.

Look at that man there, that man, there, wearing his suit jacket, his little Edwardian, Teddy Boy, Mod jacket turned black by the 90s and hiding half-remembered dreams of fashion, hiding his little beer belly from all the beer and Ginsters pies, that little man, there, on that comedy stage – comedy! – little man, there, with his eyes and the hairs in his nose, and his little pin on his little mod jacket, on the lapel there, his little 2009 ‘black is the new black’ many-buttoned coat of a jacket concealing the small child he ate on his way to the theatre, look at him, there, standing up on his legs, his little legs in his skinny trousers with the distressed knees, distressed so that middle class elitist liberals can pretend they had to kneel to do work, so that they can simultaneously abuse working people in South-East Asia and write reviews of paint-covered artists in South-East London, distressed elitist liberal reviewers abusing while they review people who do vaguely work, or while they provide a dim sense of creative capacity to utterly grey businessfolk, who use a veneer of personal failure and creative inadequacy to disguise wildly excessive profit margins, Stewart Lee, that man, there, breathing his little breaths in between words, little words there, words about things, look at him talking about the things, to the people, and the little people off-camera listening to the things that he’s talking about, the people there, sitting, off-camera, listening to the things he’s saying, the words, people there, people, thinking “oooh, irony has let itself go”.

Sixteen

Other, Prose

We’re starting up again. I feel like Phil Winter in Alice in the Cities, lost in the detritus of meaningless travel, deliberately accidentally swamped by advertising. Bright screens, short videos, long ads, everything blurring, deleting apps and accounts only to reinstall them again days later, once again broken seemingly from lack of wine. That’s me, not Winter.

So, I need to be back. I don’t believe in writers’  block. Related to this really useful piece of advice: don’t tell yourself you need to do X important thing. Tell yourself you want to do it. Writers’ block is a castle built on a swamp, it has no clear or meaningful basis and instead a miasma stinks about it: believability. It’s “well documented” says Wikipedia. We all talk about it. Any series comedy or drama that mentions writing does a bit on it. The assumption therefore arrives that it’s a thing. I even found myself trying to capitalise it earlier. Nope. It’s a nebulous gathering of different factors that together result in little or no writing – or quality writing – being produced, or published. It’s life, really. Things happen to you that you haven’t processed. You need time to process them in whatever way.

Phil Winter (played by Rüdiger Vogler) feels disconnected from the world around him to the point at which he’s doubting meaning or existence itself. This of course makes it harder for him to write about something as broad as “the American landscape”. He processes the disconnection by being given sole care of a stranger’s nine-year old daughter for a couple weeks. Well, he is given sole care of the child and processes by deciding to care. The microcosm – so to speak – of looking after an abandoned child helps him to resolve something in the macrocosm of his own sense of existence. Or puts his worries far enough on the back burner so that, in his distraction, he starts writing again. Enough of him is engaged in helping or being with this person that he returns to the real world and stops sponging, returns from his own sea of personal doubt. He spends what little he has on someone else, earns money from nothing for someone else, finds most of his entertainment in and provides regular entertainment to someone else. And he gets to go back home to Germany where he’s more comfortable.

Look, while I’ve just talked about writer’s block really being a complex web of personal factors, there is one uniting theme. Disconnection. It’s easy to get disconnected as a writer, or any kind of artist. It’s easy to fall into the trap of living in your own mental world, because that’s almost what you’re being paid to do. Or it’s what you enjoy. Both. Even if you’re writing about reality, it’s super out-there to be watching reality. Most of us just experience the real. If you’re experiencing it and watching yourself do that at the same time – that’s weird. The whole observational act in art is strange, and so is making up a false world. It’s stepping out of our basic bodily boundaries and woah are we not entirely comfortable with that.

Words and pictures and even a lot of our sounds and smells come to represent other things, mention other things, spool tapes in your head-cinema of stuff that isn’t immediately occurring in front of or around your body. Every word, every mark, is a small disembodiment. Yeah. And how you feel about that disembodiment determines whether you get…disconnected. Either you feel like you’re connected with something else or many other things – you observe common ground. Or you feel like you’re outside of everything and so temporarily lost, floating in the spaces between metaphor and literal description, having seen things ignored by the rest of the world.

Instead of the brutalist, Stalinist, anonymous excuse of a writer’s block, let’s just say disconnection shall we? Especially if this is writers on writers. We can find so many ways of describing disconnection. Oh, you did a Flammarion? Right. Someone cut up your heart? Damn. Is that a thousand-yard stare I spy in those peepers? …You get the idea.

I’ve been out for a while and this time it’s just a story showing someone who seems familiar – that’s brought me back. Nothing too grand. I got the good feels for Phil Winter and so – having earlier felt alone in my particular form of suffering – now knowing that I have at least one notional comrade has dropped the scales from my eyes. For a while anyhow. I just couldn’t handle how Wim Wenders in the interviews and then the blurbs I’ve been reading all referred to Phil as having writers’ block. I’m like no! he even fucking says he’s disconnected and he literally starts writing again as he develops a caring relationship with Alice. Do. Not. Be. Silly. Let’s use our words, the useful words, it’s what they’re for.

Ugh. Well, the blog must go on. See you again tomorrow I guess…? Maybe let’s expand on the disembodiment of words. I like the way that sounds.

Twelve

Other, Prose

I think I need a bit of a creative diary here. Some help to go over the process and piece things together.

Right now we’re on a little break after that storm of poetry earlier. Poetry can take a lot out of you, man. Or at the very least I find too much in a short few days and you start repeating yourself. Favourite words, favourite techniques. My sibilance is off the charts. I reckon we need a pause so look forward to some more prose, hopefully a short story at some point (but I’m a bit out of practice) and plenty of metaphysical meandering. I used to have a section called that on an old blog from my university days. I dropped out by the way. Go figure.

What do you think of my poetry though? I really prefer to do formless in a very formatic way. That’s not a word incidentally, but it could be. Yes, the formatic of only a vague glass wall at the end of each line. Well, more of an escalator or a teleporter. I like to use line breaks as punctuation is what I’m saying. Mysterious punctuation that somehow still works. I feel like there’s something very important about the experience of reading poetry, becoming familiar with it. I think standard punctuation is too obvious, gives you part of the reward too early and tempts you to forget about the rest of that pot of gold further down the figurative rainbow. Remember kids, it’s all about the journey.

Let’s take an example:

I can smell your flat Shandy Bass
Crazy fresh open window Streathamings despite 4x4s
Maybe the orange
Lube seal guardian
The prickle of Sainsbury’s soave
Demented cartoon solipsism
And no questions
Some kind of pure morning sun feeling
Histories now seemingly too similar to be counted
Vague attempts at siphoning
The hairy butterfly embrace catches
In oesophageal anticipation
Exhausted Tadcaster blur moaning
Like Pink Floyd behind the eyes
The drowned sugar between sheets
Invader Zim acceptance
And white emperor armour self-inflicted orange somehow unjust
Like discarded lines sweat-patched
And lonely perfumed shower soap irritating unknown orgasm
A world set above the world
Your shiny glass skull self-reflecting or alien crystal
Talking fish singing penitent
Discarded shirt tie lissom French letters
Vapor boots neatly stacked with wine glass columns
Your epic poetic resounding sweet chill pizza
I could have laid the whole mourning through
No cold in the exhausted breeze cradling

N.B. I just found a lone comma after “columns” and expunged it from the historical records. Remember to proof properly ya douche.

Now, the effect I’m looking for is that you’ll be a little confused on first reading, but eventually your mind and your inner voice will force a certain kind of order into things, as it always does. And I want to try and influence that subtly. More interaction that way, more oneness between author and reader perhaps. So, the positioning of words, the line breaks, the assonance, the placement of particular images just so…these force you to impose what will hopefully be a peculiar kind of rhythm that matches the one I heard in writing. Cute, huh? Oh and peculiar used to mean particular. I like it like that.

Sometimes I wonder about just using grammar but really I’m doing this in the first place because of grammar – it’s little functions and directors have multiple interpretations. Hyphens and colons, semi-colons, square brackets and styles of speech mark all have specific meanings, but they’re still interpreted differently by different people. Misunderstood or properly understood. I might be using them wrong, thinking it helps, when really I’m not. I decide it’s best just to try and do it without them. Make the words feel like they have some of that stuff there necessarily. Naturally. Maybe it’s like hanging a picture. If you nail it into the wall, or bluetack it, or tape it, there’s all these weird bits distracting you from the picture itself. Sometimes, with some pictures, it’s better just to lean them on the side. Leave gravity be. Use it to help, even. Know what I mean?

I’m also very much into romance at the moment, which is troublesome. It’s often so messy and confusing and for me that’s a huge amount of the appeal. To turn madness into a poem that’s had a surprising amount of structure go into it is quite weird. I’ve done nature poems before. Thinking I might try and go back to that for a bit, or at least inject a bit more pagan wonder into what I’m doing now. Also there’s this strange compulsion to analyse past loves and process them by putting them into poetry. I’m running with it but…mainly happily confused about doing so. Maybe it sells well? I don’t know.

I’m not necessarily expecting anyone to answer (except in your own head a bit dear reader) but how do you feel about writing? Guessing most of you are wordpressers, so you have some kind of regular relationship with the technique. Is it something you don’t have to think about so you can just diarise for fun and profit? Is it a fine art you sometimes get tired of and have to rest? Is it an uncomfortable need, a part of you shouting out, demanding a fairly fair hearing? Does structure help you? Like, other peoples’ pre-ordained structures? Because there’s nothing wrong with that. I’m part copying Allen Ginsburg, John Cooper Clarke, lyricists like Alex Turner and various others. I mean they’re at least huge influences.

Let’s end on originality:

Pretty much everything’s already been done one way. It’s up to you to do the same thing, differently. Lots of different ways to do the same thing, which hopefully makes you realise, it’s all in the details. Like even if I directly copied Chickentown and performed it, and didn’t sound like JCC, that would still be an original performance. Because I could never sound like that guy at that time. Even he can’t sound exactly like himself the night before, or the minute before. And suddenly, everything seems original. If not substantially so, still technically…if not legally, still technically…and it’s all the little technical originalities that make up a brilliant big one. Big originality doesn’t just appear from nothing after all, it’s forged, consciously or not, from everything you do. Think on it.

Seven

Other, Prose

Petty Revolutions: My Old Blogging Manifesto

“You’re gonna wake up one morning and know which side of the bed you’ve been lying on.” Is a quote.*

I’ve finally got to the frame of life where I have to write. Sickened beyond capacity of the inevitable sentiment that if I don’t do art enough I’m not an artist. Fine, I’ll accept it. You can have the art. I don’t want it anyway.

There’s only so many brilliant young somethings you can read about as a disenfranchised twenty-two year old before you lose it. I want to be able to join Louise in saying I’m like forty-something. I’m experienced.

I want to make anyone with half a brain look and say I’ve had more than enough time to get performing. I want people to look at my artistic life and say I’m lazy. I want people to know, like I do, that I should’ve made a start the moment I could write. That the one national poetry competition for twelve year olds wasn’t enough. I want people to realise that every year of your life is an experience you can and should communicate to inform and entertain, like they should’ve said in an exam question somewhere. “Inform and Entertain around the subject of panda nipples”. With the internet you don’t even need to use your own experiences for performance, you can basically just hijack everyone else’s.

I am not still young. It is not okay.

You don’t need Microsoft and Adobe to write and edit. You’ve got apache and gimpshop. You don’t even need them because you can thieve a Sharpie from Morrisons and scribble on smooth public surfaces. You don’t even need that because you can walk up to someone and introduce yourself like chuggers, muggers and beggars do not.

Teenagers are bringing out the new wave of Grime.^ Some of them not even out of school and still making significant record or publicity deals. Meanwhile what the fuck am I doing? Why am I not being written about in Vice and Dazed? I mean Grime is basically fucking open mic. I mean they calls themselves MCs, what more do you want? Pretty artworks and a beatbox called Echo? Alright. I’ll get it. I’ll start mixing fucking White Stripes tunes on audacity and call it Cheesy McFlapsface. I don’t know. Art. Art is going to happen.

Seriously though look at these kids. They’re fantastic. I mean it’s not exactly my sector being as I’m basically a white suburban punk¬ of one kind or another. An aspiring anarchist. I’d call them out on accidental misogyny and proper game in equal measure but maybe that’s part of why I’m not where they are. Or haven’t been where they are. Different discourses work at different times, and there’s plenty of room in paradise folks. We can all get there if we try. Though I guess we’d all rather get there before than after death. Even this morning there was a programme on about Constable essentially saying people loved him most after he died. So many people have to face – or not face – that. Look at the 27 Club for one thing.

That must be one of the biggest issues facing down artists and radicals everywhere. What if I’m not my job, what if I can quit, but then, when I do…I’m not successful enough. What if I’m a starving artist like forever and only get famous after I die? What if the work all comes to nothing that you can see or use to make you feel better about the endless peregrinations of existence?

Well, if that, then you didn’t sell yourself hard enough. You should’ve done that pelvic thrust with a little bit more energy. Cos kids, the world is what we make it, and we can make anything.

All of our celebrities, adored stars and key societal influencers (thinking more behind the scenes there) worked fucking hard to get where they are, but as part of that they worked to ignore expectation and routine. They levelled their sights on what they really needed and started cutting away the weed and dross surrounding it, all the fucking mess we’re sold by leaders and advertisers to make shit smell like roses. It doesn’t matter how it smells. Shit is shit. It has only a select number of uses, mostly involving its being destroyed or otherwise broken up to help make something else better.

And you don’t need to be sitting out in some Brazilian jungle or up on Machu Picchu to become a Guevara or write a Stones song. You’ve got everything you need right where you are, it’s just you might occasionally need to travel one way or the other to realise it’s there. Like when you can’t find the remote because you’re sitting on it.

So forward this blog has to go, and all that follows from it. We need those photos to finally get here. Videos! A new website build! I’m gonna have to learn programming languages! Fuck. Ah well, it’s all for the art.

*I read it as a sort of title for “collection by Mark Jackson” in a Dazed&Confused back issue. Think it was number five. It had beautiful androgynous people 🙂

^http://noisey.vice.com/en_uk/blog/the-square-novelist-teenage-crew-future-of-grime

¬ “white suburban punk” epitomised for me in this song, which really deserves a post of its own https://www.youtube.com/watch?v=LoF_a0-7xVQ