In the Pitt-Rivers Museum

Curiosity and wonder, they call it, and put it behind glass and we press our faces against it and hold our breath so as not to cloud the view. Trophies of war, declares one sign, and behind it dangles chunks of the real live hair of people who are no longer really alive. The head of your enemy, with the part that thought it could hurt you carefully removed, just the face now, the dead eyes even deader, filled with sand and looking more like fuzzy dice than anything that could do you harm, which is the point I guess. Body art is a whole floor, and there are objects from rituals once sacred in one place, now trendy in another. Still rituals, though. These cabinets are better curated than a B-lister's Facebook page, they look like chaos but each item has a tiny label in penmanship that makes my fingers cramp in sympathy and longing. Here are shoes worn by a woman who was so rich they had to hobble her to keep her from walking, the wretched smell meaning that all the perfumes of China will not sweeten this little foot. 

 
This room is for crusty old men smelling of wet tweed and pipe tobacco, and for Mrs. Frankweiler, and for me. For people who do not think in the rigid lines of time and space as well as we would like to imagine, but instead group things together in a logic that defies; a pile of thoughts, confirmation bias, and objects used for the same purpose across generations, continents. Here is a cabinet filled with things for Woodcarving, and we suspect that maybe some of them might be sex toys, though later on we find out that's in another museum. Adze is a beautiful word. Here is a world with problems, the cases say, here is rain and hunger, the need for food and shelter, and here is how it has been solved, and solved, and solved, with wood and mud and traps for feathers and meat and bone; here is what we do with what we need, here is what we do with what is leftover. There's a labret made of a soda can. Here is boredom, they say, and breathe across your mind until it fogs, and then they wipe the mist away with a piece of leather soaked in salt and vinegar, and there are so many beautiful ways to solve that.
 
You gaze into Permanent Arts, the eyes of a woman with a stack of neck rings and wonder if she feels exploited or pretty, her eyes defiant or beckoning, and beside it a corset and an x-ray of the woman who wore it, her deformed skeleton. Or in this cabinet, pig bristles and woven straw, a mixture of things to cause malevolent events, earth from the grave of a man killed by a tiger, bad beasts do not harm me, I'm quoting here. Charms, says the cabinet, and I'm charmed, magicked, transfixed. 

 

http://www.prm.ox.ac.uk/

And Now it’s October by Barbara Crooker

the golden hour of the clock of the year. Everything that can run
to fruit has already done so: round apples, oval plums, bottom-heavy
pears, black walnuts and hickory nuts annealed in their shells,
the woodchuck with his overcoat of fat. Flowers that were once bright
as a box of crayons are now seed heads and thistle down. All the feathery
grasses shine in the slanted light. It's time to bring in the lawn chairs
and wind chimes, time to draw the drapes against the wind, time to hunker
down. Summer's fruits are preserved in syrup, but nothing can stopper time.
No way to seal it in wax or amber; it slides though our hands like a rope
of silk. At night, the moon's restless searchlight sweeps across the sky.

tatters

What I wanted to write about was the feeling of being ripped up, that pieces are being torn off me, that sometimes I believe I can actually feel my soul being just a little shredded. I tried to write that and it came out as some kind of poem, the kind that my friend once said "Oh, so this is what fire is for, to toss this into." Not so good. So now I'm just trying to write AROUND the idea for a bit, and what I wanted to get to from there was the thought that if all these pieces are being ripped off of me, maybe I can make something of it, some kind of papier mache creation, if the words of me are ripped off and then dipped in liquid and then reformed, wouldn't the new me be marvelous, the way I planned it, some kind of collage beauty that only showed the parts I wanted to show, something lovely. But right now it feels mostly like the tearing part, the rip of paper, the destruction, and I feel like the pieces are just blown into the wind before they can be reassembled into anything of meaning. 

 
So that's happening, the ripping.
 
Despite that I'm mostly happy, I'm working a lot and that always makes me feel useful. I play the ukulele almost every day and I have not improved even a tiny bit. I'm going to London and Oxford for a few days to visit friends, yay. I'm starting to hunker down into winter, piling my books and blankets around me and making sure there's lots of good television lined up.  Sometimes I wish you were here and we could just talk and laugh and be ourselves; sometimes I don't think about you at all. 

meta

This is how we live then, walking in circles among the daffodils, their oddly human faces drooping at the riverbank. This is what we do, repeating back what is said to us, like we learned to do in psych class. So it sounds like things are hard for you right now, right now, we say, our voices are your voice bouncing back across the river, across the mountain range. We are so sad we need another word for it, beyond sorrow, beyond grief, but we push that back and focus on what you're saying because maybe that will be more interesting, and if you don't ask about us then we don't have to think about it; we're not beyond noticing it's a form of co-dependence. There was a time when we talked so much we got on other people's nerves but in your presence we are reduced to repetition, and you can only hear us say the words you say, because it's not in your nature to listen to us. So like our sisters the mirrors we are not making much, we are mostly reflecting, and what we are mostly reflecting is you though we try to tilt and lilt at a certain angle so you only see and hear what you want, the things you like about yourself, and every time you look at us or listen to us you fall a little more in love and for a second we get to imagine you're falling in love with us and that's about as close as it gets but that's closer than it gets anywhere else so we take it. Sometimes it sounds like we're singing but it's how we cry, and our tears tangle in our throats and come out sounding almost like laughter. The heat of our passion meets the coldness of your feeling; we burn for you and yet we are never consumed. It's just a constant hot longing in the cold air and the pain defines us more than our existence, we are colored in flames outside of the lines. Caravaggio came and captured some part of your beauty, the way your hair tucked behind your ear, and he left us out of the picture but then that's hardly a surprise: out of sight out of mind, as they say, out of yours out of mine. May I die before what's mine is yours, you shout at us, and we answer: what's mine is yours, is yours. 

Another word for you is narcissus. Another word for us is echo. Nothing ever changes, changes, changes. 

waiting for Kirikou

It is lodged in her back somewhere between one vertebra and another, a small thing, sharp. It doesn't hurt at all unless it does, a slight movement forward and she feels it. The reaction is, as most are, involuntary: a gasp, wetness in the eyes; the need to do anything at all to not feel it again. She drinks to quench the fire it burns through her, the flames that lick at her heart, she drinks a river and there is nothing more to drink and still it hurts. This sharp… who put this in her? Why is it here? She cranes her neck around but it is just out of her sight, it is just beyond where her fingers can reach, that one spot, like kissing your elbow, unreachable. A man comes to tell her to stop screaming and she eats him whole and still it hurts, it is an endless pain except when she doesn't feel it at all. Days go by and she can forget it entirely, it's nothing, it never was. She even imagines that she was just feeling someone else's pain, which is a logical risk of being a sorceress, except then she reaches out in a particular way to take a specific thing that belongs to her and there it is again, the knife in her spine that twists with grief, and she is crying again until the whole village shakes with her sobs. Another man comes to tell her to try to hold it together and she swallows him before he can finish his sentence. Men. Meanwhile she is trying to do her job though it's clear that her pain has driven the less devoted customers away. This one needs a love potion; this one wants to stay up all night talking without saying a word about the actual problem. This one wants nothing except to be wanted, a mobius band of longing that she treats with alcohol and a song about shoes that can leave and don't. And still her back is sharp with anguish, the mirror won't show her what it is, and now when her fingers come close the pain is such that she can't even describe it without weeping. This is getting ridiculous. Another man comes, another, they are asking questions but it is only for themselves, what they want, she is interesting to them only in terms of what she can give them and she eats them, a pile of bones she spits at her feet the only remains. One day some day someone will come and ask her the right question, one day some day someone. Put arms around her, hold her gently, brush the tears from her cheeks, pull the thorn from her back. A thorn! Yes, that is all it is, like all horrible things it only feels big, but it is smaller than a splinter. They will pull the thorn out, lick the blood from the tip, put it in a jar with other things that used to scare her. They will laugh together. That will come later, and she will be so grateful she will give back the river. She will give back the men and call them warriors rather than bores. It's in the story, it's bound to happen. But not yet; today she mutters spells and wails, wraps her arms around herself and tries to keep her hands on grace, hopes. 

anne “insomnia” tuckova

Contrary to my impressions, there are only 33 memorial roads in California that feature nicknames, and most of them do actually seem to have some relation to the person's given name. MOST. But why is William called "Ivan"? And wtf with "Fresh Air"? I'm going to take some benadryl tomorrow night, is what. 

 

Vicente “Vince” Andrade Memorial Bridge: Route 78

CHP Officer John “Jack” Armatoski Memorial Highway: I-40

William H. “Harry” Armstrong Interchange: Route 168

William Elton “Brownie” Brown Freeway: I-580

Callie “Joel” Buser Memorial Sign: Route 14

CHP Officer William “Ivan” Casselman Memorial Highway: I-80

John “Chuck” Erreca Rest Area: I-5

Lt. Leonard B. “Larry” Estes and Deputy William R. “Bill” Hunter Memorial Highway: Route 149

Caltrans Highway Maintenance Lead Worker Michael “Flea” Feliciano Memorial Highway: US 101

Signal Hill Police Officer Anthony “Tony” Giniewicz Memorial Highway: I-405

Kern County Deputy Sheriff William “Joe” Hudnall, Jr., Memorial Highway: Route 178

Richard “Fresh Air” Janson Bridge: Route 37

Harold “Bizz” Johnson Expressway: Route 65

Harold “Bizz” Johnson Interchange: Route 92/US 101

William “Bill” Lehn Memorial Highway: Route 99

Mignon “Minnie” Stoddard Lilley Memorial Bridge: US 101

Colonel William R. “Bill” Lucius Highway: US 101

Redding Police Officer Owen “Ted” Lyon Memorial Bridge: Route 273

Viggo “Vic” Meedom Memorial Bridge: US 199

Reverend Cecil “Chip” Murray Overcrossing: I-10

Special Agent Richard “Rick” K. Oules Memorial Highway: Route 140

Fire Chief F.S. “Pete” Pedroza Memorial Highway: Route 111

James B. “Sunny Jim” Rolph Bridge: I-80

CHP Officer Douglas “Scott” Russell Memorial Freeway: US 50

Roberto “Bobby” Salcedo Memorial Highway: Route 60

Correctional Officer Jesus “Jesse” Sanchez Memorial Highway: Route 83

Silvio “Botchie” Santi Memorial Bridge: Route 36

Gerald “Blackie” Sawyer Memorial Highway: Route 39

CHP Officer Ambers O. “Sonny” Shewmaker Memorial Highway: I-10

CHP Officer Charles “Chuck” Sorenson Memorial Highway: Route 12

CHP Officer Andrew “Andy” Stevens Memorial Highway: Route 16

Deputy Dennis “Skip” Sullivan Memorial Bridge: Route 44

Robert H. “Bob” Weatherwax Memorial: Route 29

so far

Nostos algos. A visit to a godfather, to beautiful poets, old friends, childhood idols, the girls I looked up to in the schoolyard, my prom dates, the first people I danced with, the first writers I both admired and considered peers. Remember when? When we met in town squares on the hour. When we were single. When we thought we were immortal. When we drove all night. When we were raging with hormones. When we cared about everything so much more. I remember.
 
The ache of homecoming. I have thought that I could remember everything because the memories I had were always so vivid, textures I could still feel on my fingers, I remember your hands shaking like birds when you told a story, I remember holding you from behind, resting my head in the hollow of your shoulder blades, I remember the taste of your skin. I remember the first time you fell in love and called to tell me about it; I remember your breath on the phone in the spaces when we didn't speak. This summer has been the realization that my memories are telephone poles, with long gaps of mere wire in between, where I trust that information is traveling until we come to the next telephone pole, solid wood I can wrap my arms around, splinters in my fingers. Why those memories and not others? Together we make a map of who we were, untangle the wires to avoid getting shocked, string our memories together. Ten years since we first met, twenty years, thirty. I was only fifteen then. I was never so young.
 
Pain from an old wound. It's lovely that we have grown up, richer now in most ways. If my seventeen could meet my forty-seven she'd be … happy. Surprised, I think, to still be alive, and to be so happy with life. The sadness that consumed me then is present, but a shadow only, and I keep my eye on it but it doesn't cloud my vision. And you, my friend. The same smile only with more lines around it, the same beautiful eyes but so much wiser. Our hands have touched so many more things, we have been burned, we have scars, and yet we are the same. We are strong; we have survived.    
 
The way you tap your finger against your mouth when you're thinking. Rub your ear. Hold my eyes with yours. I was a little in love with you then. More than a little. And still. I am glad we are both alive in the world.

The Rest Is Dross, by Leonard Cohen

We meet in a hotel
with many quarters for the radio
surprised that we've survived as lovers
not each other's
but lovers still
with outrageous hope and habits in the craft
which embarrass us slightly
as we let them be known
the special caress the perfect inflammatory word
the starvation we do not tell about
We do what only lovers can
make a gift out of necessity
Looking at our clothes
folded over the chair
I see we no longer follow fashion
and we own our own skins
God I'm happy we've forgotten nothing
and can love each other 
for years in the world

it didn’t hurt

Getting up off the mat upon which I learned to fall, back when it was closer, when the ground kissed me and it felt like hello, now so much more difficult, every fall a reminder of bones, joints, a reminder of pain. I know it looks more natural when I really fall, when I do it myself, no camera cutting away to my brave face while some other stronger younger person takes the fall for me, I know it's part of the visceral truth that needs to be told when I myself personally tumble down the cliff's side, body tossed like a rag doll, like salad, flesh torn by the pack of rabid-looking dogs at the foot of the ravine, okay some of that is just special effects but the tears are mine, no glycerin needed. Visceral truth, verisimilitude, whatever. I know that it has to be me, or nobody's impressed. When I was young I said I couldn't understand something unless I tried it myself, and I opened my mouth wide to the wind as we drove through, to the flavors, the drugs, the kisses, to every thing, I opened my whole body for it, tried it, tasted it, experienced it, and I knew that it was the only way I could know anything. But now I think: do I NEED to know? Why? Why do I have to do all my own stunts? Is there not some poor unemployed actor out there, someone who could look like me with just a wig and some padding, someone more eager and enthusiastic who could do this for me, and I would sit in my trailer looking wise and sipping tea and I would be so nice to the reporters, the magazine journalists, I'd talk about The Method and The Process. Look, it doesn't have to be REAL-real, some of it could be ketchup, I don't want anybody else to suffer, I'm just tired of how real this feels, tired of bleeding the truth and shaking it off. I'm tired of bravely walking away from the flames as they lick the clothes from my back, of taking the punches, of one more time with feeling. I'm tired even of the exotic locations, but I'll stay in the picture if you want me to do the work, I just don't want to get hurt anymore. I want it in my contract.

oil can what

You're standing in a garden, abandoned since that rainstorm, fixed in place. The world grows around you. Nobody remembers that you were there, nobody knows what you were working on, nobody cares, or has cared for years, other than you. You still care, though, so you spend the days watching the flowers grow and wishing for the thing that would free you up to return to what you were doing, to what you were made to do. Not so much a calling as a design.

One day some people come to your garden, gaze at you in wonder and surprise. The hollow sounds you make as they bang against you. You marvel at their soft bones, soft tissue, you can't even imagine what it would be like to be so vulnerable. They give you the first thing you ask for, the only thing you actually need, and you're free again. At least for a little while you are ready to go back to what you were doing before your unfortunate circumstances. But now they are telling you that something is still wrong with you. You're empty inside, they say, you don't have anything inside to give. This is not true, and anybody who was really paying attention would know this but they take you at surface value and they can't see what they think you should have, these people with their soft skin and their pumping hearts. You know it is an important thing to have, and they say you don't have it, and you believe them.

There are advantages to you. You don't burn the way they do; anger frightens you but it can't hurt you, similarly shame and jealousy. You cry easily and this hurts you in myriad ways, but tears are how the body says what the mouth cannot. Other than the ability to fiercely defend your friends you don't experience much passion and the only damage you sustain are a few dents that could be knocked out if you cared. You can remember when you were young and shiny but it doesn't seem to bother you that you aren't any more. There's just the one thing you need and the other thing you want because you've been told you don't have it.

Hold out your hand and they will fill it with velvet and sawdust only. You will be no different; you already had what they told you that you lack. It's more important to remember to ask for what you need, ask again, ask until someone understands. Otherwise you will find yourself back in that garden, rusting in place, useless to everyone.