you are in the kitchen making spaghetti head full of the most exquisite explosions some complete and cleansing annihilations say:
it's not a monster it's just a frightened child
head undeniably caved a concrete slab held 17 seconds dropped from a great height
when spaghetti is cooked it sticks to the wall
he is really hesitant at the threshold little radiant outlaw banned & barred now inside
a fine powder pollen or dust from the wings of moths you brush against him in the hope that some of it rubs off and you are over awed by this fine inventory; golden rum an erection a glow in the dark Swiss army knife a pocket full of rohypnol an empty reel of cotton
he shows you, more or less
tails you to the bathroom whispers from the door frame:
"my dad is waiting in the van"
and you piss this unsteady overlooked stream like you're in his custody and you like it a lot or too much or not at all
there's a van & you ride up front a sleeping dog in the foot well his sister her friend someone else with an ironic circus act you thought you saw one time his father drives with both hands stoned and over compensates with intense focus so you skin up for him with something smells acrid sweet summer and soft like the quality of the sunlight that precise moment
you don't know where you're going
he kneels up close behind your seat snakes a hand inside your shirt draws a nail scalpel sharp across your chest licks salt behind your ear laughs clouds you spill stuff it floats into your lap you look down for a while
your head rests on a tyre his knee jammed tight into your crotch he is wearing your shirt probably something in your hand you can't remember what it's for your head is full of blur and fog reshaping into a beautiful sentence about a hare or hares plural you open your mouth to tell him because it must be that significant but he mutes you with a handful of pills then regrets this generosity prises your lips open and reclaims maybe half melted from your tongue you smell music and hear woodsmoke
it's not a monster
you spend all afternoon peeling back the blasted concrete embedded with shards of metal your fingers bleed unlike in the story there is nothing underneath.
there is some moment of pure clarity amazed & grateful how competently this you gets along just fine without that you; something else (again) in your hand your feet wet in the sea splutters out into blankness and hum
throwing up some incessant stream of something so much and so long you get bored by this and muffled cramping somewhere there and the effort of positioning your cheek a little closer to the kerb he crawls nearby like tracking through the long grass or pavement and says he would like to fuck you but can't remember why or how and you might reply something about waiting until you finish throwing up although you know really you will never finish throwing up and there is a noise in your ears like a tiny helicopter
"should I put you into the recovery position?"
you laugh:
"yeah, try it"
and he laughs too which makes him retch and you both lay somewhere laughing and throwing up together companionably although he is very wet & cold
when it's morning sooner or later his sister says to the police:
"we're all minors"
you don't think it's necessary to contradict her and you don't visit him in the hospital you just go home somehow & peel spaghetti off the wall.
Thursday, 20 May 2010
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This is poetry. Evocative images amidst the shards of meaning, or something like that, i sepecially liked the companionable puking. it's the best thing ever.
ReplyDeleteI really love this a lot. You know what a fan I am of your writing, and one of the many things I find exciting about it is your gift for knowing what and what not to reveal. The short burst-like strings of observation and dialogue you use as a style and structure in your pieces have this amazing ability to not only complete the stories' pictures with the minimum amount of language, they also activate and charge the spaces in between the things you do say. So, there's like this unstated and alluring larger world always happening in, around, and behind the minimal amount you reveal. This is a dumb comparison, but it's kind of like looking at the stars that are visible in the sky and digging them in and of themselves but also seeing them as representatives of the billions of more distant, unlit stars you can't see. Anyway, in this new piece you've done this new (to me) thing of thickening most of the language bursts, letting them accumulate poetry, and at the same time not losing their quality of reticence and mystery. I think the combination of dense, rushing, complicated paragraphs and the more simply put bits of dialogue and description is incredibly effective. The writing throughout is very exciting. There are too many really terrific sentences and images in here to list in a comment. And I think the circle from the spaghetti on the wall and back again is strange and works really well, I guess because the images throughout the story never seem to completely lose sight of that first/last image even though they work extremely well independently too. I really like the kind of long, log-jammed sentences. They're very rich, and I loved both reading them quickly and pausing to try to take them apart and make complete sense of them. You mentioned on my blog that you thought it might be patchy. How so? I didn't really see that. Are you concerned about the more poetic style? I don't think you should be. I think it's very effective, and it shows how much range your voice and your interests/idea have available to them. I think it's easily one of your strongest works yet. I'd be so curious and interested to talk to you about your writing in more depth sometime. Maybe we can figure out a way to do that at some point, if you're interested. I could go on, but I'll stop there and conclude with a simple but big, heartfelt wow!
ReplyDeleteCan't really better Dennis Coopers admirable comments. Wow indeed. Amazing, exciting writing that's both fragile & razor wire. Write more.
ReplyDeletei'm not sure - like patchy because partially i get to where i want to be but the rest is like - gush & clichéd mist? also fighting a losing battle with form & punctuation - overly enamoured with colons (no, not like that)kind of some jumped up ee cummings thing.
ReplyDeletereally grateful for the comments - thank you.
Swissy: i can probably blame you for the last bit.SHOUT more though.
You win. From the sound of it, your hangover was totally worse than mine. I can't even think of smoking after a night out. Kudos to you for actually making it out of the house.Hey, may I ask which area of UK u from? (nothing to do with the hangover obviously, i'm just curious)I'm sorry that your newspaper got ruined. Hope the ciggies survived?
ReplyDeleteThank u about that piece, it obviously means a lot coming from you. I agree with you about the ending though. Totally anti-climactic. I do that a lot. I really don't know how to pace a story, or whatever. All these things u've considered, juxtapositions, irony, etc. etc., well, they never occur to me while or after i'm done writing. I'm a complete ignoramus when theory is concerned. I guess that's why i make such a lousy artist. About the end: at first i was thinking i'd just end this piece with him being laughed at by the friends of this boy. Then i thoight it would be too abrupt so i had to give it some conclusion, wherein i lost my interest and motivation, and i guess it showed, thus the police etc. etc.May is ask, how would you write the end? If u have the time to answer this.
Ah, the sex. Actually, ur the second person who has said so in the past two months. Perhaps, i'm thinking i should just stick with wrtiing cheap sleazy sensual smutty sex- it's a kind of art,too, no? even if it's not the deepest or more profound one, ha ha ha. I guess it's all i'm good for. For example, i'd never could achieve the abstractness and mystery of your pieces, or, let's say, the minimalism and intellect of DC's, or, since u mentioned Genet, his "poetry" for lack of better term.
Do the book ur reading now influenced u in some way? u said that ur writing in correspondence to what ur reading. Is this what u were talking baout? Feral children? What is this? Sounds intriguing.
well, got to go now. hope ur feeling better today.And thanks for taking the time to respond.
Oh, don't worry about it!Were u somewhere nice at least? i know *i* need some time out, ha.
ReplyDeleteYeah, me asd sleep....Haha, it's the most romantic and precious love affair i've ever had with a thing, person, or state of mind. I remember you were saying that during sleep your chemicals go haywire (bad dreams?) but to be honest, i'm kind of jealous of that one, even though i wouldn't know what it does to you to be insomniac or seeing nightmares all the time. I heard not getting your sleep screws with your head. But, anyway,i do envy that. Maybe we could somehow swap experiences/chemicals/whatever? I also heard that not sleeping well fucks with one's mood, but i sleep all the time and i'm still fucking depressed AND feeling insane. Hmm.
My sister said i have to struggle to write. But what happens if struggling doesn't get you anywhere, just drowns u deeper in things you'd never considered before, before let's say, all this stuff about form and voice and style etc.etc. I used to be naive and clueless but at least i could write a story ( a crappy story but whatever). Yeah, i see what u mean about form. I'm also worried about the inner form/structure of words-sentences etc. How is a character's thought built effectively in order to have a massive and the wanted effect on the reader, all that stuff. I'm a afan of the semicolons, too, but now i realize i don't use them that often.
So what i thought was anti-climactic was in reality too climactic? And in a way it ruined the...effect, right? I told u i was considering to have a subtler ending whwre the kids just rib at the teacher, ridiculing him and making his life a living hell, but i just wanted to finish up nice and tidely, umph...I don't know what i'd decide if i had more time to think about it. This happened to me yesterday, with another short piece, a series of vignettes (?) at best, i started writing within a particular frame of mind( after sleep, after having "dreamt" some of it), and then the whole piece just mutated on its own will in front of my very terrified eyes.
Oh no, I didn't perceive it as u trying to belittle the sex-writing. I happen to personally think that it's a cheaper form of "art", i'm prejudiced against it and yet this ,ight be the only form of writing i'm somewhat good at. I jsut need a way to spin this to my benefit, haha. I didn't mean u were suggesting anything bad. Oh, well, if centring on sex comes out natyrally, hell, why don't you try it and see where it gets you. Why do u think you're shying away from it?
I'll check the book out. Thanks for answering all my questions, hope it didn't feel like an interview or sth. Are u writing something now? May i say i missed your writing. Did u say those were part of old journal entries?
cheers, man!
"there's like this unstated and alluring larger world always happening in, around, and behind the minimal amount you reveal"
ReplyDeleteTotally!
I wonder though, can you make this work in a longer piece, a full short story, or novella, or even in a novel? How would you do that?
And I always ask myself do you know that larger world. Like the bit when the narrator digs up the concrete. You know the story referred to, what was supposed to be under there, why it isn't here, what made the narrator expect something to be exactly there, etc? Or is it more like dream images, that come and suggest things, but remain mysterious to the dreamer himself. (I remember you dream lucid, so your dream experience is prob diff from mine. I started doing some of the exercise, btw. Interesting, but so far no deep er effect. Will continue.)
I want profound comments on my climaxes and structure and shit, too. Frankly that is what the whole blog things was about, but I guess I was overly optimistic. Or what I write is just too damn boring and beneath notice, lol. Now I'm again all envious of you.
i will make some more effort to comment profoundly on yr climaxes & shit. maybe on yr writing too?
ReplyDeleteno, i couldn't make this work in a longer piece. i write this blog because i find the act of writing a novel stupidly difficult - all that structure and movement and ugh - I'm usually eating my notebook wth frustration and smoking 3 cigarettes at once. so when shit ain't happening wth that I write this - because it seems a good idea to actually write something & i can sort of play with stuff within a safer, easier framework.
i guess i generally know the larger world - the concrete thing relates to an actual story I read when I was a kid - the "it's not a monster" parts are from that too. but here - me/the narrator is stringing together a lost weekend from the remnants of memory blasted by a bellyfull of date rape drugs :) by just offering up these little shards of embedded story I'm trying to replicate that situation in the experience of the reader
oh, if you have enough to say on my orgasms and excrement, please, feel free... ^_^
ReplyDeleterelieved that a novel doesn't just fall in your lap. still want you to write one, though, so i can read it.
never tried date rape drugs myself, though i saw some of the effects of GBL once. have you experienced them? how do they feel like? is the memory loss like from hard drinking, or does it feel differently?