[What follows is a chapter from my first novel, Memoirs of a Secret Agent: a cautionary tale. Though written during the first term of the Bush administration, it's still relevant in many respects so I thought it might be fun sharing it. Stanley Crawford, a Homeland Security operative, has a brainstorm after hot sex with his new love, Doris McKenzie. (There is nothing like a boudoir for full self-disclosure.) Section III is the pertinent one in that it expands on some of the ideas expressed in an earlier blog (see A History of this Blog: in search of an anchor, August 14); sections I, II, and IV provide the backdrop. It's an "expository lump" and a rather long one at that, but I think it works.]
I
The descent from heaven to earth, from the sublime to the trite, is a long, multistage process. It's as though you had to travel through many stratospheres – not unlike a space capsule, perhaps, on its way back from deep space, except for resistance. It's a kind of free fall, but then again, it's painstakingly slow, unaffected by gravity, almost imperceptible. The floating metaphor comes perhaps the closest. Just as a particle of dust must settle sometime, only no one knows where or when, so must two humans who have tasted eternity. The climax itself is violent, explosive, a one-time experience – indicative perhaps of breaking a barrier. The aftermath is anything but. It's a state of contemplation, tranquility, of both peace and euphoria, of awe and reverence – all-transcending, a product of having been brought face to face with the divine. You can't navigate on your way down. The ship controls are on automatic. You can only marvel at the spectacle of descent and partake in the entire experience. You're in a trance. When you come out at last, you've landed.
We were both in a state of limbo, of suspended animation between two worlds. Except for holding hands, our bodies would barely touch but we were closer than ever, much closer than during any physical contact before or after. It's as if our souls, our entire beings – minds, bodies, feelings, emotions, reasons – were all conjoined in some inextricable way. We both knew we could never again replicate the experience. We could only reenact it.
There was no need to talk, no place for gestures physical or verbal. We both knew what had happened. Any action, comment, remark, observation, statement, anything at all, in addition to being superfluous, would only desecrate the experience. Perfect silence was the only mode available to us, the only proper form of celebration, the only way of being.
For a long while, there was nothing but the sound of slow, rhythmic breathing and the beating of hearts.
II
We stayed in bed, the same bed in which just a while ago we could only fuck, make love, enact and reenact our carnal desires and innermost wishes, practically devour one another in pursuit of our sexual appetites and fantasies, healthy or otherwise, wholesome and unwholesome, giving each other pleasure in whichever way we could – all in the name of love. That was the pinnacle of our understanding back then, the most we could hope for, the limits of what we had thought possible.
But it wasn't the same bed. All those things were behind us now. Even love, as we had conceived of it then, seemed unimportant, trivial, a mere steppingstone to a more perfect state, embracing as it were not just the two of us but the world at large, all forms of life, all objects animate and inanimate, the entire Cosmos in fact.
And so we stayed in the same bed in perfect communion, wondering, thinking, sharing. We were at another plateau.
III
Intermittently, we talked. I'd speak of the disappearing America – of the idealistic sixties, of the Kennedy years and Peace Corps, of the flower generation, the hippie revolution and Vietnam of course, of the Columbia- and Watts riots, Wounded Knee, the Civil Rights movement and Martin Luther King, of the good ole corporate responsibility when jobs were plentiful, the unions responsible and the worker an asset, of times when we still had a strong manufacturing base and well-to-do middle class, when the label "Made in USA" meant something both at home and abroad, when greed, cutting corners and the bottom line weren't the only things that mattered.
I was a child of the sixties. She'd missed it by a decade. It made no difference, however. This wasn't like the earlier attempt when she had questions concerning specificity, context, where I was coming from. This time our understanding was perfect. It's as though our unified consciousness had spanned all humankind, beyond America, reaching to the very beginnings of history, even to Creation, well into the far-off, indeterminate and uncertain future. Our sensibilities were one – all-comprehensive, beyond borders and culture, beyond ethnic diversity or racial divide, beyond nations and nation-states, ways of power and all temporal things. It's as though God Himself had entered our very beings to impart this vision to us – bemoaning his erring children, ever-prayerful, ever hopeful.
She voiced concerns of her own. She spoke of the immigration problem which neither party would address and which had started making inroads into the local job market, and of outsourcing – a kind of process in reverse whereby jobs were being transferred overseas to places like India or Taiwan, where pidgin-English was preferable to retaining a higher-salaried, American workforce. It had started affecting the insurance industry, her own employer. None of us begrudged the rest of the world becoming enriched on the coattails of American prosperity. But was it right, we wondered, when it came at the expense of its people?
We both agreed this was still the best place on earth as evidenced by the invading hordes – people from all corners of the world, of every accent, skin color and culture, coming in droves, daily, legally and illegally. Nowhere else would they be rather than here. But for how long? And for what reason? We questioned their loyalty. What stake did they have in America? Didn't they come here just to rape her, to take their spoils, to squeeze her lifeless and dry, to make their money and run, only to leave her like some useless carcass, all-barren and in tears, when there was nothing else left to take?
It still was, we thought, the land of opportunity. But in the eyes of many, including many of its citizens, it was quickly becoming a narrowly-defined, almost vulgar concept, delimited more and more to the money-making proposition, to accumulation of wealth for its own sake, to enriching oneself by hook or by crook, to the devil-may-care type of attitude while the country and its people were going down the drain.
But that wasn't what America was supposed to be about. Freedom was. Freedom from government, from undue interference and excessive regulation, freedom of religion and worship, freedom to pursue your own idea of happiness, however construed, freedom to excel in any area whatever, freedom to become whomever you wanted to become; and yes, even the freedom or the right to disagree with your government and its policies, freedom of speech, the right to civil disobedience in the honorable tradition of Emerson and Thoreau. All these have been bestowed on us by our Constitution as our unalienable rights. Pursuit of financial or economic independence, both as a nation and on the part of its citizenry, though an admirable expression of that freedom, wasn't meant to preempt it, let alone cancel out equally worthwhile if not more admirable pursuits.
It has always been the beauty of America, its singular attraction, that it was never one-dimensional but accorded its people opportunities for full development in any area whatever – not just in accumulation of wealth but in arts, crafts, technical and scientific innovation, research, physical culture. All this was captured once by that unforgettable, though now defunct, phrase – "the American dream." Or by Walt Whitman's notion of America as an idea, as the great experiment, as the hope of humankind. And at the bottom of it all was freedom.
The creative energies, the American spunk and perseverance, its fortitude against any and all odds, its domination in the field of science and technology - all were a by-product of that freedom, its direct or less direct manifestations. But our golden age of television was long gone. And so it was with the Hollywood era, the times when we could still dream of heroes. The best in the American jazz hadn't seen its heyday since the sixties. And it was no different with rock 'n' roll, that all-American icon of pop culture: we couldn't think of anything memorable or noteworthy past the seventies. Even the best in musicals – the uniquely American invention of making Johann Strauss and opéra bouffe accessible to the American palate – have been of late either English- or French-originated productions: Andrew Lloyd Webber and Les Miz were a case in point. All have fallen victim to the vulgarization of culture, to reducing it to the lowest common denominator, to increasing the paying base, to selling out to quick profit and box-office success. Only in computer technologies and software development did we still excel, but there was a reason for this: because of a worldwide demand for ever-cheaper, better products, it was one area in which both quality and profit could still go hand in hand. Hence Bill Gates, presumably the richest man in the world and possibly the last icon of American excellence.
We didn't mind, of course, the rest of the world catching up. Ideally, we had both thought, all governments and human societies should emulate our way. The whole world would be better for it. But we weren't quite ready for "global government," charitable or Christian as such an idea might be. They haven't prepared us for this. Even less were we ready for our own government selling-out to international business interests and cartels. We were afraid of losing our country in the process.
And so we talked, and shared, and communed. We didn't need love or sex. Later, perhaps, but only as a validation, to reaffirm our perfect union, to seal this once-in-a-lifetime conjoining of mind, body and spirit, to celebrate our becoming with one another, with all there is.
What joy for a man and a woman to ever experience. What a foretaste of the divine. She was beautiful to me. I was beautiful to her. We were both beautiful and perfect in each other's eyes.
It was two in the morning.
IV
She had gone to the kitchen to fix us some food – scrambled eggs, bacon, whatever came to mind. We haven't eaten much throughout the day. Our bodily needs had been put on hold while our spirits soared, ever connected, to become united forever. Nothing would keep us apart. But the physical reality was reasserting itself. We were both hungry, nearly starving.
I followed her, naturally. I couldn't bear to have her out of sight. I watched the lovely figure, the figure of my beloved, from the kitchen chair behind. She seemed the epitome of efficiency, not a motion wasted, all her energies, concentration, effort, devoted to a single task. I admired her in all of her facets. She was a perfect woman. I pictured a perfect life.
We didn't talk much. We were still in awe of our experience, of our perfect union. She turned on the radio, a music station, perhaps to lighten the mood. After all, we were still earthlings, destined to live in a real world. We shall have our flights now and then. Meanwhile, we had to live.
I was figuring on spending a few more hours with her, of making sweet love until daylight, of holding her in my arms and kissing her tender lips. I knew she wanted the same. She, too, was eager for validation, for the sealing of what we had become, for consummation beyond all consummations. We belonged to one another now, thoroughly, completely, without forethought or reservation.
My only concern was a practical one, how to coordinate my work schedule with her living in West Virginia. No matter. I'd be commuting for a stretch till a more permanent arrangement was found. I knew I couldn't stay away. I'll explain to Gloria later. She must understand. As much as I had regretted it, for I loved her also, it was different with Doris. I was certain that Gloria would forgive me. If she truly loved me, she'd want me happy.
We were interrupted by a news bulletin:
A helicopter carrying Osama bin Laden, along with his presumed
bodyguards, was reported to have crashed somewhere over the moun-
tains of Afghanistan early this morning. Fortunately, an American
reconnaissance unit was the first on the scene. Judging by dental
records and other available evidence, there is no doubt that one of
the casualties was bin Laden. We're still awaiting confirmation.
The identities of the remaining victims of the crash and the purpose
of the mission are unknown at this time. Full-scale investigation
continues, and we shall keep you abreast of all new developments.
The president shall be giving a public announcement of this mo-
mentous event at 9 a.m. this morning, Eastern Standard Time, from
the Rose Garden. Full press-attendance and nationwide coverage by
most television and radio stations, including KXLU, are expected.
Stay tuned for further updates.
As I Lay Dying: random thoughts on the creative process (among other things)
I
It had started innocuously enough. First, they picked me up from the gutter and fed me. Then put a roof over my head and clothed me. And then, they left me there to die.
No use telling 'em to stick to basics – just a room with a view, of my own preferably, so I could read and write. But no! They had to go the full mile. It's like that with people with money. They think money can buy you everything.
It's a nice pad, really – one bedroom, a functional kitchen, a decent size living room, even a den to do some writing and whatnot. Furnished, too, including pantry and the fridge. I won't starve for a month, that's for sure. Best of all, it's all paid-for. So who am I to complain? Compared to the hole in the wall I was in, it's a palace, any bum's dream. But that was in sunny California. This is H town.
It's been over a week now since I was left thus to my own devices, each passing day more difficult than the last, and I'm going nuts. No one to see, nowhere to go. I don't know how much more I can take. Which will go first, my mind or my will? It occurs to me they're interchangeable.
The two books they'd left me with I devoured. "It'll keep you busy for a stretch," was their word on departing. And they have – for two straight days and nights, too. I'm reminding myself there's more where it came from – two thousand volumes give or take, still in transit, many of them unread. It'll keep me busy for the rest of my life if that's how I'd choose to spend it.
Somehow, I'm not very hopeful.
II
"Which single book would you rather have knowing that you'll be shipwrecked on a desert island?" (Many say, "the Bible.")
It's a preposterous idea, completely out of touch. Likewise with Robinson Crusoe, the fable. Why bother trying to survive, let alone read anything, if you're destined to spend the rest of your life alone? Even hope would be useless, for any such hope must center about the idea of "beating it." That's why all the clinging and clawing and scratching. Indeed, only with the appearance of good boy Friday does the novel assume the aura of credibility. The Lord of the Flies is by far a more realistic portrayal. For all the inherent evil and the darkness of human heart, both thinly veiled by upper-class upbringing and the veneer which is civilization, at least the boys have one another. They form a community.
Aristotle had once said that man is a political animal. Utter nonsense! He's a social animal first and foremost. It's not a great book that will keep you from going insane on a desert island, no musical composition or the finest work of art, but human interaction. Barring that, you'll have no chance in hell.
III
A scene from The Cardinal of the Kremlin, by Tom Clancy, comes to mind. It's a new KGB, more humane, above such methods of extracting information as torture, waterboarding, and whatnot. Sensory deprivation is the latest thing. They put you in a tank for a day or two, and you're floating. No sense of gravity to tell which side is up or down, no bodily movements to orient yourself by. You're in total darkness, deprived besides of all sound except perhaps the beating of your own heart; and after a while, even of that you're not certain. Yet your mind keeps on racing as never before and your imagination is at its most active, craving for input, any input, but none is forthcoming. You experience nothing except your own disembodied self. Soon enough, even this you begin to doubt. Am I dead or alive, in heaven or in hell? Any sensation, even excruciating pain, would be better, infinitely better and more welcome, than the state you're in. And so it was with Svetlana:
She was lying on a gurney when he got there, the wetsuit already taken off. He sat beside the unconscious form and held her hand as the technician jabbed her with a mild stimulant. She was a pretty one, the doctor thought as her breathing picked up. He waved the technician out of the room, leaving the two of them alone.
"Hello, Svetlana," he said in his gentlest voice. The blue eyes opened, saw the lights on the ceiling, and the walls. Then her head turned toward him.
He knew he was indulging himself, but he'd worked long into the night and the next day on this case, and this was probably the most important application of his program to date. The naked woman leaped off the table into his arms and nearly strangled him with a hug. It wasn't particularly because he was good-looking, the doctor knew, just that he was a human being, and she wanted to touch one. Her body was still slick with oil as her tears fell on his white laboratory coat. She would never commit another crime against the State, not after this. It was too bad that she'd have to go to a labor camp. Such a waste, he thought as he examined her. Perhaps he could do something about that. After ten minutes, she was sedated again, and he left her asleep.
IV
I'll never understand a recluse. It's a genetic defect or product of maladjustment. Both perhaps. How can people like that go through life is beyond me.
A writer's retreat is another oxymoron. And I don't mean "workshops" for they are community. I mean rather the condition of self-imposed solitude, as when you withdraw yourself from your natural habitat for art's sake. All art on my view is a by-product of interaction – the artist's response to his or her environment. To deprive oneself thus of the needed stimulus is not only foolhardy but ill-fated as well. It's like removing from under you the ground you stand on or extinguishing the fires. Memory is not enough. You need constant egging and agitation, aches and pains, a sense of accomplishment born out of struggle, agony and ecstasy, intensive engagements and strategic withdrawals. Like the rhythm of life itself with all its ebbs and flows. A creative process must reflect such a cycle since art is life in miniature. Otherwise, it's sterile.
V
There's no greater punishment than solitary confinement and no hope of escaping it. Give me a rowdy prison or Solzhenitsyn's gulag, sodomize me many times over, but don't deny me your presence. A concentration camp would be better than the jail I'm in.
I think of God as I write this, and I cry. All-consciousness and no one to share it with, all in vain for lack of connection! The Creator exiled from her own creation. There's no greater pain, no greater loneliness, no greater suffering. Hell would be a thousand times better. I pray there are angels in heaven – for God's sake!
Why then do I bother to write under these conditions? Right now it's the only meaning I can attach to life, my only connection with my past, my present, and even less certain future.
VI
I must diagnose my present condition, put a finger on what exactly is ailing me, identify the cancerous growth and remove it. I know that sitting on my ass all day long or twiddling my thumbs ain't going it cut it. It's a recipe for disaster.
As long as I remember, I was never conscious of time. There was never enough of it in a day to do all the things you wanted to; if anything, I'd always run out of time, wondering all along what I'd done with it, when and where I'd squandered it. But now? Time has become my constant companion, a fellow traveler, a shadow. And I can't seem to get rid of it; whichever way I turn, it keeps on following me like a phantom. It'd become my worst enemy in fact. Imagine – all the time in the world and nothing to do!
I'm thinking of strategies. Perhaps if I introduce rigor into my life, I might beat it. For all the drawbacks of living in a rural town, there are some advantages. For instance, everything's spread out. Just think: the nearest liquor store, two miles from my involuntary confinement; a smoke shop, mile and a half; a full-service supermarket, another two miles give or take. But you get the idea. So daily walks, I'm thinking, along with upper-body workouts, and I'll be in shape in no time. I realize it's artificial to be structuring your life so – it's so foreign to me! – but I have a bigger fish to fry. And now the immediate object, it seems to me, is to overcome the lethargy that's slowly setting in and taking over, a kind of numbness which gradually descends on both body and soul and is reminiscent of dying. A self-imposed regiment and Spartan lifestyle may well be the ticket.
VII
There's still the matter of quality. One would think an artist could create in the midst of turmoil, that some of the best works are born in fact out of some such and no other circumstances. Nothing could be more false! Where one usually goes wrong here is about the nature of the struggle: it's not with oneself but with the material. And while emotional conflict, hopelessness, despair, any of the above, may serve the artist as a necessary backdrop – indeed, as a powerful resource for the work in progress! – there's also a sense in which that struggle must essentially be over. In short, one must first come to terms with oneself, with his or her own situation, before one can tackle the extraneous problem of taking control and giving shape to the composition. Clearly, I've got a long way to go. Hence this frantic effort to pull myself by my own bootstraps and stress on the physical.
Yet I know I'm deluding myself. It's not my body that needs overhauling but my mind. Total catharsis! Mind and spirit has always been the prime mover for me, the body merely following. So let me just plug away with my writing though I know it stinks. Who knows, I might surprise myself one day and have a good laugh.
VIII
I intend for this work to be autobiographical after the manner of Henry Miller's Tropic of Cancer – a kind of mélange of personal experiences and reminiscences put together into a coherent whole. I realize it's a tall order, him living in the City of Lights and I in H town – no colorful characters here, no memorable episodes, no heroes, least of all, no city which always holds its allure and forever keeps you captive. Right now it's just a diary – how well I know it! – a veritable record of my wretched state of mind, but give me time. Contrary to popular belief, Solzhenitsyn's Gulag was not a random collection of notes hurriedly jotted down on sheets of toilet paper but a reconstruction. Well, I'm in the same boat more or less, imprisoned with no means of escape. And I, too, hope to put these notes to good use someday, to make them into a readable whole, one that's compelling and flowing and all that. But first let me throw this albatross off my neck so I could breathe again. I've got to get back to the rhythm of writing. How else am I to justify my existence?
Meanwhile, I'm beset by images from the past. The other day I dreamt of Alameda. Apparently, I was visiting there with the idea of returning. It was a beautiful day, not a cloud in the sky, typical California weather. It seemed like a holiday or a Saturday at least, and the signs were abundant. Park Street was a real promenade, teeming with life and people strolling leisurely with no care in the world. I ran into Nick and Yvette. When I told them I'd moved to Kentucky, Nick exclaimed: "How could you do such a stupid thing?" I wanted to play chess but they had other plans. They promised though to call me the next day so we could have a few games.
And then there was Nancy. As she boarded the bus I was on, imagine, we started talking. She was as real as can be, every single aspect of her from head to toe, her voice and smile, too, so real in fact I felt I could almost touch her. It's been long since my dreams were this vivid. It's my mind, I guess, compensating for the unreality which surrounds me.
IX
In Tropic of Cancer, Henry Miller remarks: "It is not difficult to be alone if you are poor and a failure. An artist is always alone – if he is an artist. No, what the artist needs is loneliness."
It may be so. Consider, however, that Miller is residing in Paris, his true home. He's got plenty of friends among the émigré community, friends who sustain him through dinner invitations, conversations and whatnot, even if he is on the bum. And when worst comes to worst, Paris itself can become a friend. Hence the corrective: "Loneliness" doesn't work with "being alone" as a backdrop. Quite the contrary, it needs stimulation in order to be effective. Intensive engagements and strategic withdrawals!
But I had better stop my ramblings and thoughts of self-pity. Better times are sure to come.
PS: This was written on July 3, barely a month into my stay here, and was to be the opening chapter perhaps of my next work of fiction. Needless to say, I was still going through a rather difficult period of adjusting myself to living conditions so different from those in California and was at my lowest. Since then, my books and computer have arrived and I'm slowly regaining inner composure and sense of self. Consequently, I no longer feel trapped. (Which isn't to say I don't miss the social scene. The kind of sociability one can almost take for granted in Northern California, here one has to forge. And it ain't easy!) Besides, I've also made peace with my benefactors. Taking the lead from good ol' Atticus Finch (To Kill a Mockingbird), I've come to realize that to really understand people you've got to get in their shoes: For it's not only the case that most of us can't help who we are; when all is said and done, "most people are [real] nice . . . when you finally see them." And I'm trying to live up to this truth insofar as my nature and temperament will allow.
So why publish a piece which no longer reflects my true emotions and feelings? For one thing, I believe it contains some valid remarks on the nature of the creative process. More importantly, however, because it reverberates the main theme of my once feature article ("A History of this Blog"), as well as my early impressions of Kentucky life (as in "Postcard from Kentucky," for instance). As regards the latter, check out the local paper, Kentucky New Era, for local touch and flavor (see the link below or the margins). For good measure, I've also included an RSS feed from The Tennessean. Music City, USA.
http://www.kentuckynewera.com/
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