GREEN GLIMMERY

Tree Spirit

There is a light in everything
a watch swing
a clock thing

there is some time for
everything
the rocklings
the bent wings

there lies a smile on everyone
the glimmering
the sacred thing

eternity is everywhere
in now and now
manifesting.

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YOU ARE AGAINST THE THIN WALL OF IT

Ingo Maurer's LED Magic Carpet You know that point in life when you start to get less obsessed with your accomplishments and more interested in the visual effects of the world abounding? I’m in that place. I’m in excavation at the moment. I have busted through some icebergian frosting that had its iron fist around my walled up heart. Fear. Panic. Anxiety. Like being watched from some small camera eyes in the boughs of the trees above. That’s what it felt like. Instead of turn to compost I took that blackened swathed body in a Range Rover with extraordinary friend and sister, Libby Weintraub, to an area in the woods of Long Island called East Hampton. It was there that I saw ancient stars dialing across an ancient sky and remembered what it was like to be still. I remembered what it was like to watch, and receive, and to come through the membrane to the other side. I saw that I was crusted with something I did not need anymore, and that I was pink and white and new again. I’ve had this experience before; the crumbling, the pink mollusc-like being that emerges so vulnerably after. I write about it in my book in fact, you might remember that.

It’s like limestone, a gray dried mud of a plaster casing, with bits of root and dry tendrils too. Gross, huh. And yet people LIVE in it. I was living in it. Notice how I have not been writing. Notice how I have not been really being. There has been a lot of distraction, as if I’ve been looking oblong, sidelong, walking with my head turned away. Weird. It was by being around somebody else who was cracked open, someone such as Libby, which catalyzed the rapidity of my re-emergence. I’ve found myself back in that dimension where time slows down – it sped up during my distraction. My extraction from It all – and am in the glorious joyousness of being conscious again. I woke up! And this is an awesome level, this one. The dimension is wacky – kind of odd. Fireworks go off in my vicinity; I see things like tiny men as high as my knees waiting to be let into apartments, and only later begin to wonder how he might have reached the buzzer? I see strange new buildings, as if the future just opened rapidly, and everything is un-usual. Suddenly the world begins to reveal itself to me, and I am back in business!! My witch-hood hath returned! The Future Has Arrived!!

The Good Old Days!

I hear right now a buzz saw, and think of smelling wood. I hear a thunder rumbling, and a symphony of rain drips off of tree leaves. I see the computer kind of hovering, the thirst in my throat, the great trying of my brain, like a young person, attempting to figure something out, to work at the seams, to push open the door, to frown into the wood puzzle, to see how to explain this. This! This thing we are all in. We capture it with our film making, with our acting, with this writing, with the guttural push of our languages, with saxophonic phonics, with dancing and cakes and coloured salads. We try to capture something in our actions, with our actions. We all try to be still, and listen, head tilted, towards the issuance of this world. We are so at its whim. We are so at its mercy. We are so fearful, and conquering, and timid, and strong – and yet when it rains everyone flees running. When a bolt of lightning magnetizes to the earth and whips down between our cement towers, like so many sandcastles, we crunch inside and the heart races and the hair whips and where do we go? The dog bolts and the eyes move quickly. Quick, quick! Nature is upon us!

I see the building across the street as I unlock my bike at night, and it is covered with a rooftop of golden christmas lights and flaming torches, a large TV screen at one end, all open to the sky. What is going on? Jon, I say, did I tell you how this building used to be a multi-level night club, and Michael Jackson once performed there? Who ever told me that? Wait, what voice in my ear? It might have been…no, that wasn’t it. Was it a dream?

Ingo Maurer light installation

If I have so many dreams in one night and yet can’t remember any of them, could it be that seeds are being planted in my brain which will only sprout later with the right water or fertilizer? Could it be that extraction is really possible – as per Inception, a film which appeared to me as a projection of my own mind within a cinema of reality, within the cinema of life? Could it be that the spirit is truly osmotic? What is the spirit anyway? Couldn’t there be a better word for it? I feel that to put a word on it contains it, and it is formless, definition resistant. And yet. And yet! I can feel it. I can put my hands to it and touch it, but they are the hands of another dimension, another part of my mind. It’s like my mind can explore its qualities not its quantity, via some narrowly tilted corridor of the brain, within which, once I tap into, am able to siphon back into reality. I will not give up this explanation! No, I will not be defeated! For some reason I sense now it dissipating, slipping away (it can be both slippery and sticky, depending on the mind-state), and I am back to this room, this century, this wireless keyboard and those rocks that I brought back from the beach in the Hamptons. These lungs breath this air and gusty wind comes in through the window and I remember my name and what I’m wearing and that a bunch of numbers keep time.

I think about what that buzz saw was sawing (and remember Grace Zabriskie.) I think about my imminent transition to Los Angeles, and the spaciousness I will be creating for myself. “I miss driving.” Good! Go to L.A. I miss being for hours in my house writing, needing only to focus, and travel, perhaps bake, and walk and think. I think of my friends in California. I think of Henry Miller. I think of the light, and David Lynch, and magnolias, and efflorescent pink flowers on vines. I think of the bullshit, and the clamouring bodies, and the smooth stone I squat on back in Santa Monica which had IMAGINE carved upon it, beneath which I plucked my first four leaf clover. I miss the rusty fish shack on the Pacific Coast Highway towards Malibu, and the bare foot feeling of boardwalks, that pin-ball magic ferris wheel turning perpetually upon ocean waves at the pier. I remember Grace’s Werner Herzog poems, and the tan cream leather of my boyfriend’s car interior.

"The Strand and Santa Monica Pier, Santa Monica"

I will be there soon, sooner than I think, for perhaps I am the master of my domain; perhaps I have clay on my hands more often than I think. Perhaps I have just found what I have been looking for and am in the entity of good, and bliss, and purity – sensing independence as grace, with power.  I feel I am averse to any labeling, like water is to oil, averse to any title or task, or effigy of “job description.” I have burnt the identifications that were suffocating, have removed the white towel from my throat. I don’t care how or what people will think about me anymore: “They will think terrible things anyhow!” I only care about what I stand for. What do I stand for? I stand for expansion. I stand for breaking the nuts and bolts off of the identities we build and for sharing your truest self – who wants so badly to contribute – to you, to your whole world, to every single person you make contact with under street lamps and sidewalks and beaten down forest trails. I stand for no fear. I stand for balance, and compassion. I believe in love as a fiercely transformative white fire whose intent and intensity brings about a reflection in your outer world and so touches everything you touch with it. What do you want? Touch it with love and without ego. Mollify it. Especially your suffering. Then let go and go.

Section from Mati Klarwein's 'Astral Body Asleep' 1968

Section of 'Astral Body Asleep': the visionary art of Mati Klarwein, 1968

As Ram Dass heard after asking his guru Maharaji, “Maharaji, how do I get enlightened?” Ram Dass waited. Maharaji said just two things: “Serve people. And feed people.” The Harvard Professor that was formerly Richard Alpert the American, was stunned that he had come all the way to India and that it could be so very simple. Simplicity is what I stand for. Being here, really being here, is what I stand for. Why fight it? Why deny it? You’re here? Hello! Hi! We’re in this together. Isn’t it weird? Isn’t it sticky and wacky and slippery and tissue thin vapoury?  Isn’t it fun? Can’t it be FUN? Do you feel sad? I feel sad too. Are you angry? I am angry too. Are you alone? I am, too. But I found this thing called communication, and language, and touch-typing, and internet, and trust-worthy people who make me feel good, and places in life that make sense to me. Go there. Go on. Go in! Break down and break through – it’s like an ocean juice, the sluice of salt water embraces you. It is the place we came from. The light and the dark, the saline tears, the space within and between our bodies. Can’t you see that we aren’t separate anymore? I feel that we like the light because we are light. We like the darkness because we came from and through it. You are coming through it. I will go back into it. Meanwhile, we have this. I am happy. Hunger beckons. Peace.

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TIME CHANGES EVERYTHING

I JUST TURNED 25. HOW EXCITING. HOW FRIGHTENING. HOW ROBUST, AND QUARTERLY. HERE’S TO THE NEXT 25. OH GOD!

MORE SOON. . . I KNOW IT’S BEEN A WHILE. I’VE BEEN PREPARING A LOT OF THINGS. DREAMING OF THE MOON. AT LEAST IT’S QUIET THERE?

Yes Please

Home?

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“THE SECRETS OF A SMALL CREATIVE LAB”

The following is an interview I did recently with Adina Necula from the faraway throes of Romania! I am quite embarrassed to be so show-and-tell, but maybe through this, you’ll get to know me a little better? Isn’t knowing ourselves and each other the one thing we each strive for, during the darkest of nights, when we cry into our pillows?

The translation reads: Sophie Ward is one of the most appreciated international models and one of the few young women, that didn’t fall for the runway’s mirage but prepared herself to follow a strong career after she quits modeling. With a university degree, a published book and a publishing vessel, Sophie is trying to explore different sides of art in her very own, personal manner. She was born in Perth (Australia), she lives in New York for the moment where her career is managed by one of the most influential modeling agencies: IMG Models.

Outside the runway and photoshoots for fashion magazines, Sophie has a perfect ordinary lifestyle. She like to write, to read or to spent quality time with her sister (Gemma Ward) or her boyfriend.

Today I have the pleasure to present you an exclusive interview with Sophie Ward. You will discover a small part of her personality and I hope you’ll be able to see way beyond her “cover picture.”

AN: Sophie, first of all I want to ask you couple of things about your childhood and your roots. You were born in Perth (Australia), in a very quite and safe environment. Share with us, some of your dearest memories, the ones that pops up in your mind when you think at your home and family.

SW: I think of the garden. I remember the lemongrass bush that I used to hide behind when playing hide and seek with my sister and brothers. I remember climbing the hibiscus tree to get to the corrugated iron roof of the garden shed, and the sound the shed made as you walked across it, how hot it would get in the middle of the day, even the shape of the bolts that held the roof to the building. It was painted pale blue and yellow and we used to swing from the roof on a rope tied to a huge pine tree, with a buoy on the end of it: something we called “The Tarzan Swing” – which would carry us on its pendulum motion about 4 meters above the ground at its highest edge! We also had a lemon tree, and I remember the sharpness of the thorns on the trunk, and how black and hard the trunk was. Mum made everything she could out of those lemons. Lemon meringue pie was my favourite thing to see on the table after dinner. Either that, or french crepes! Both were big occasions in our house. In fact, all meals were!

Chemistry Lab Notes

AN: How did you get involved with modeling? You were passionate about the fashion world or you just wanted to try something new and exciting?

SW: I was about 15 when one afternoon two of my friends at school asked if I’d like to come watch them at a modeling class they were taking to improve their confidence in some acting classes they were also enrolled in.. I’d been doing acting for a year or so, and didn’t have much else to do that day, so I went for fun. I knew nothing about the fashion world, aside from what I saw in teen magazines: Miranda Kerr was on the cover of the first ‘Dolly’ magazine I bought in 1998. I went to watch my friends, sat on a chair while they were taught some very typical “catwalking” moves, straight out of the 80s, and upon leaving was literally grabbed by the elbow and encouraged strongly to come back the following week. That was my first agency. The other girls ended up dropping out of the class while I stayed on and the agents groomed me for the runway and editorials I began to do.

AN: You worked for so many designers, you were photographed for editorials in Vogue or Harper’s Bazaar…how do you see now the whole fashion industry? Things have developed so much in the past few years…how do you describe them (compared to the moment you started modeling)?

SW: Well modeling in Australia at that time was I’m sure a very different experience from what the models in New York were experiencing! But maybe it wasn’t so different. 10 years ago, in my world, modeling wasn’t a coveted role for a young girl, not as much as I think it has become today. From personal experience, modeling wasn’t in the public domain. Today models are influencing every tier of the industry, and even more so, the people on the street. Street style and fashion blogs have really come into a lot of power, too, which wasn’t there so much when I began. They are as watched and documented now as models were two or three years ago! Essentially it seems as if the process of bringing fashion to life has become a lot more transparent. Designers have always looked to muses, models, the street, the people around them, for inspiration, all throughout history. So, everything has changed, and yet nothing has.

AN: Working in fashion, it must have been influenced you a little concerning your sense of mixing and matching clothes. How would you describe your style?

SW: Yes, I’ve always had an eye and an interest in the represented image. I’ve been through all kinds of reincarnations: from teenage gothicism to disco to hippy to 80s power woman, I’ve been through them all! At the moment I’m in a Jane Birkin/ 70s phase, mixed with a bit of gothic romance. That and the practicalities of moving through the New York summer. I don’t have enough shorts!

AN: Who are your favourite designers you worked with and why?

SW: I loved working with Australian designers: Michelle Jank, Toni Maticevski, Tina Kalivas, and Charlie Brown. Internationally I spent more time on photo shoots than on runways, but working with Giorgio Armani and Diane von Furstenburg for a brief time was pretty incredible. Armani is an incredible business man and has his stamp on everything. He was adjusting everything from the buttons to the boys eyebrow makeup. The man has a vision! Diane vF was just so lovely. Like a mother. Givenchy couture was completely incredible too. Nobody gets any sleep, but everything is done with total precision.

AN: You are one of the few models, known for study dedication. You completed a Bachelor of Arts degree at the University of Western Australia, majoring in English and European Studies and you even published as a writer. Tell me how did you managed to work as a model and at the same time fulfill your academical studies? It’s like a creative lab inside of you, experiencing different areas of art, isn’t it?

S: Ha! Yes, how the hell did I manage! I think I’m one of those people – and I’d suggest that this potential lies in everyone – who is infinitely more productive when I have an abundance of tasks on my plate. I remember during one particularly intense month, I was reading philosophy photocopies while crouching at the foot of my clothes rack backstage, and spent many hours in chairs having my hair done with a blowdryer, whilst attempting to study Heidegger, or European film theory. I sacrificed a lot, to be honest: time with friends, going out at night, watching TV with my family; but you do what you have to. I still have those friends and I still have my family. There will always be TV and coffee and cocktails. My concentration and memory? Who knows how long they will last? The mind is so malleable. I’m just interested to see what it can do. The metaphor of the creative lab is quite apt really – it can be very explosive at times! It’s all an experiment. Sometimes the collision works to create something interesting, sometimes it’s just a goop on the floor of the brain. You cry a little bit, then move on.

Andre Leon TalleyA: I found out, you contributed to an issue of Vogue Australia. Do you also consider having a future career as a fashion journalist?

S: I used to, a lot more than I do now. I now write for Harpers Bazaar frequently, and I am also the Arts Editor of a magazine in Australia called The Academy for Men. One of my favourite freelance writers goes by the name of A.A. Gill – he’s an Englishman who writes about food. I just adore him. His short essays used to pop up all over the place. I model myself on him more than anyone, in terms of journalism. He’s unique. His voice isn’t compromised. If I were a fashion journalist, I think I’d fashion myself as a cross between Andre Leon Talley, and A.A. Gill.

A: What is your favourite fashion journalist and why? Do you also have time to follow some fashion blogs?

S: Definitely A.A. Gill! I occasionally check out the fashion blogs. I like Fashion Gone Rogue because it’s insanely up to date with editorial content: the whole who, what, when where and why kaboodle, and seeing as I don’t buy as many fashion magazines as I used to, it keeps me up to date with what’s happening in the styling world, the trends and what not. I also like stylist Djuna Bel, and Tavi was interesting for a while.

A: Sophie, you are also the founder of a publishing house – Paper Castle Press. How did you came up with the idea?

S: Hm. As with my book, I didn’t really intend for it to happen! I didn’t sit down and say, now I’m going to write a book. It kind of wrote itself through me. I also didn’t intend to found a publishing house. One snowy February day in 2008, in an apartment opposite the Hells Angels on East 3rd st, NYC, I was having an ichat conversation with my publisher friend in Australia, who said ‘ Do you want to start a publishing company?” I said, “why not?” He knew that I was interested in putting together an anthology of other writers, a book which would celebrate differences whilst uniting each writer via a common universal thread. This became a theme which grew into the concept of a publishing house, where we could not only have different voices filling chapters of a book but different voices filling books of a publishing house. It’s very exciting (and terrifying.)

A: What do you like to do in your free time (besides writing or reading)?

A.A.Gill

A.A.Gill

S: I watch movies: I recently saw The Cove, and some Ingmar Bergman films. I like to cook a lot. I make crepes, salads, flourless cakes. I practice the piano. I walk around New York. Recently I’ve been loving riding my bike along the Hudson river. I like going to gardens and parks too. You can take a ferry to an island called Governors Island here which I love, and I take my boyfriend to botanical gardens as often as I can! I’m a huge fan of picnics, bike riding, anything where I can be outside.

A: If you were about to leave Earth, and you are allowed to take with you just one thing from your apartment, what would it be?

S: I’d probably take the nearest person with me! I’d be lonely if I left the Earth! But if my sister or my boyfriend weren’t around, I’d take my laptop. It’s super nerdy, but it’s the only thing I can write on! A pen and journal is two things, so – laptop it is. Do they have Skype in outerspace yet? I think I’d sit up there and type and type and type until I died, whilst watching meteor showers and the rings of Saturn revolve. I’d be very happy doing that.

Image credit NASA/JPL

Image credit NASA/JPL

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PATRON IS THE LIQUID OF SUMMER

by Steve LeachI have good news – as promised – my book is now available for you to read as an eBook! It will be available as such whilst we prepare it for take-off and landing as a printed tablet of goodness. You can buy your very own inexpensive and personal copy of our first eBook here. Quite dandy if I say so myself!

While I’m not someone who likes to express the inconsequential information regarding how busy one is or has been, I’ve gotta say it – I’ve been racing around the racy city under pumps and pistols from above (that is, the cranium.) Most of the time I simply work on preventing myself from self-implosion. On Friday night we saw Edward Sharpe and the Magnetic Zeros play at Webster Hall here in the East Village – with Preacher and the Knife supporting beforehand. There must be no other pleasure quite as pleasurable as the experience of watching your loved friend’s band play passionately in front of a rapt crowd. I also love that the other band members take the liberty to wave and smile at me from the stage in between chords/ symbals/riffs. But most amazing of all, was the fact that later that night – soon after singing their hit song ‘Home’ in the midst of the masses – Alex Ebert of Edwarde Sharpe, sat down in the center of the crowd, saying ‘Oh you people seem nice, I might just sit here.’ It was simply amazing and historical that everyone else in the packed theatre proceeded to sit down around him. Like a wave of seatedness; the bodies just dropped, cross legged, onto the wooden floor of broken plastic cups and spilt beer.

So that was great. In the meantime, I feel like I have a giant eyeball watching me from on high, waiting, pressing, cajoling and canoodling me in moments that I don’t want to be canoodled. I am so grateful for the moments I have in between moments, the times when I arrive early, when I am not rushing, when I clear my calendar and absorb the fantastic amazingness all about me. I have to say THANK YOU to all of the individuals, writers, designers and artists who have submitted their manuscripts and ideas to me during the last few weeks. I am so amazed by who comes out of the woodwork when asked. Keep sending more! I have more to say about this soon. You are my gems.

Green Gems: Emeralds

Very well then, enjoy our first eBook – we worked hard on perfecting it. Send the link to your friends, family, loved ones, any one you have the feeling for.  In the meantime, my cranium/ giant eyeball knows that the bright bold morning awaits, as does my yellow notebook of To Do lists.

Giant Eyeball

Here’s a poem for you, from last night:

The flame of her incandescent cigarette
lights the dark corner of the velveteen green.

Forgetting. Fast movements.
Rushing on. Like a fever.
Words don’t absorb, don’t stick.
I’m like a repellent to that which I need
– the medicine.
Have I become immune?

There are no more geese left, Mary Oliver.
The bookstores are all out.
I’m jaded and blinkered and the Patron is the liquid of summer this year.
I have yellow paper and washing machine doors opening,
and eyes like meatballs, or canon balls, or ball bearings,
or words.

I have nothing really to say and yet now NOW
when I stop trying
and stop thinking
and just write
– what is this?
Who are you sweet poem who was hiding in my fist?
Bukowski’s poems hid on fridge tops,
You hide in my body.
I hide in yours.

The museums will be dark by now,
the guards in their fluorescent lit chairs all droopy and sacky.
The river will still be rivering.
The children dancing out clubs like grown ups.
The friends I thought I had – shot to flames,
by the veracity of cupid, or James Dean, blue jeans,
Some cliched escapade,
Some very lean dream.

Those friends who aren’t really there
you know
The ones who are
oblong sidelong
irradiators: as in,
people who do not radiate.
(We don’t let them in.)

I met a painter last night. I liked him.
I did not smoke any cigarettes. I did not eat any salad.
I walked home drunk
and a young, small, Chinese man with a girl on his arm
said  “We’re having hot sex tonight”
I said
“Good for you!”
And that was that.

The previous night
I whistled Ava Maria through the West Village
on my bicycle
and rode very fast,
much faster than I should have,
down Bleecker street,
trying to hit the tourists,
and pretend that I wasn’t one.

My Mantra At the Moment: Mind Over Matter

Click here to VISIT THE STORE and procure yourself a copy of my cyber child: The Beginning of an Inexplicable Journey.

NB: The Ginger Marmalade Toastmeister is in fact not available at this time. It is still growing in its womb. Thank you for understanding the tenacity of Mother Nature. (*Tenacity: Not readily letting go of, giving up, or separated from an object that one holds, a position, or a principle. Not easily dispelled or discouraged; persisting in existence or in a course of action)

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ALCHEMIZING SOME BETAPHYSICALITY

We are releasing ze E-Books.

"Story"

How do you feel?

It’s kind of an interesting transition, shifting from the metaphysical format of thought, channeling it into what I thought would primarily be the physical format of a book, before rechannelling the physical construct back into digital form, which for me, is quite meta (beta?) physical. There is something about the internet, the web of connectivity, that mirrors the journeying of thought and etheric energy through space and time. It’s there but not really there. The internet is here, but not really here. Where is it? If you could point to the ‘internet’ where would you point? To a computer? To some cables? To the air? It’s not really any of those things, but it’s still something, somewhere, and we are using it (some kind of collective mind-highway? High-mindway?) more than ever.

I think that’s quite good. There’s gotta be a reason they call it ‘ethernet’ and a ‘dashboard’– although I’m not too sure about the fact that we also have a language around the internet that involves blue teeth and airports, not to mention safari’s and foxes on fire with which to browse the offerings of our minds in motion. Kind of surreal.

Anyway, it’s about time Paper Castle released an e-book version of The Journey, and apologies must be verbalized for keeping you waiting so long. The good news is that I have TWO e-books for you in the coming 2 weeks, and the second one is a collaboration between the lovely artist Danny Roberts and myself. I excite at the imminent sharing! I laugh with pleasure every time I read the book we have been working on; the one you might remember hearing about: Danny Roberts and myself. I excite at the imminent sharing! I laugh with pleasure every time I read the book we have been working on; the one you might remember hearing about: The Ginger Marmalade Toastmeister. It will be great to share it with you, and to show you our new Paper Castle Store, where you can have a piece of us laid upon your own etheric spider web safari-airport, full of blue teeth.

Remember the proceeds from our sale of the e-books go straight back into the production of our physical books, which are (I know we’ve said this a few times) nearly done. That being said, I’m cognizant of the fact that one (even two) cannot do everything alone – and so I will be mentioning frequently over the next few weeks, the fact that Paper Castle wants (and needs) collaborators! I am an artist’s friend, I love whatever it is that you do alone and passionately and intently. I (and the entire Paper Castle Table) wants to hear from Artists-come-Book Cover Designers; Artists-come-Chapter Illustrators (I,Poet and Prince Henri will be in need of some seriously illustrious illustration); Writers-come-Editors; Writers-come-Poets; Writers-come-Writers.

MetaphysicalFire_0981_fs-1

I want your manuscripts. We want your work. I want to hear what you write in your journals when you’re sitting by the rivers, beneath the trees, when you are awake all night listening to the thunderstorm stomach grumbling in the sky. We’re interested in your strangest paintings, your most metaphysical and experimental outputs. This is the philosophy and the driving green flower fuse behind Paper Castle Press. My philosophy is show me yourself; you can trust me. In a nutshell. You can also trust me outside of nutshells, too. I’m simply interested in people, particularly my generation, particularly the poets and the musicians and the linguists and the painters and the designers and the genius simplicity of whatever it is that you work on when you’re not ‘toiling’. You know what I mean. Let it come, and let it come to me.*

That be all! Away to the blank paper and pens! Away away from the metaphysical interstices of maybe and one day! Away to the canvas. The open document. The final draft. The coffee cup. The ink, the keys, the pens, the seas: Swim in that sea of the behind-mind, that place before thinking and action, after struggling and waiting. I talk to myself here, too. There is nothing more destructive to creativity than struggling and waiting. Perhaps in any pursuit. Diligence, and action, are what I’ve learned from an amazing man whose name you know, Jon Ramos, and I’m excited to perceive in myself a new refinement, a new maturity, a new cycle. The soil went to seed, and now, it’s time to sow. Planting time! The roots read: Inexplicable Journey and Ginger Marmalade Toastmeister. Cat lovers, warthog lovers, Buddhists to Hamptonites: I think you will enjoy our books. Let me enjoy yours too. *Contributions of all manifestations.

“The book is always, in some sense, stutteringly, about its own language. I’m always the exponent of airy despair; I never touch ground. Metaphysical is big. In my formulation, the subject of the book is never what it appears to be. I frequently say that the book is seen to be about X when really it’s about Y. I always read the book as an allegory, as a disguised philosophical argument. Existence is frequently mentioned, as are human, animal, sex, fuck and violence. I love the words powerfully and enormously and relentlessly, and bottomlessly. I use investigation and exploration and excavation and examination and rigorous over and over. What would I do without meditation? There’s always an implied love story between me and the writer – me loving the book, loving the writer. Candor is key – being willing to say what no one else is willing to say. The act of writing is inevitably viewed as an act of courage (brave is all over the place). Life’s difficult, maybe even a drag; language is (slim) solace. No one else gets what you’re doing. I alone get it. You and me, babe. Intimacy. Urgency. We alone get life. Let me explain your book– the text – to yourself. Let me tell you what your book is about. Life is shit. We are shit. This, alone, will save us – this communication.”

[David Shields' Reality Hunger]

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VIBES OF THE DAY

Wow! I just came across the most awesome list of words I’ve ever encountered. And they just happen to be the top keywords through which people have found my blog. It is the most magical and spell binding discovery I’ve had all week. And it’s been a tough week. Let me just say, don’t plan anything. The people closest to you will hurt you more than all the cuts and bee-stings and ice burns and slap sticks you’ve ever had, put together. “How to Transmute Agony into Writing”? I’m still working on that one, myself.

“Vibes of the Day” is one of the keyword sentences on the list below. I love it. The words seem to create a story all of their own. They made me laugh out loud, wonder as well, question and answer. I do my best. This is a cross section of the ways in which you’ve found me. My favourites are emboldened: (my thoughts are italicized)

Keys

VIBES OF THE DAY: (AKA THE KEYS THROUGH WHICH YOU HAVE UNLOCKED MY DOOR)

i miss new york; i hate paris; cells; i miss ny; gemma ward holy; “they think terrible things about you anyhow”; 2001 a space odyssey; feeling way too much alive; frida kahlo; hate paris (It’s not that bad!); hourglass universe; most intense yoga; sister witches; sunrise; the goer; why i hate paris; “i will now proceed to entangle the entire area”; “pretty fierce requirements”; “sophie ward” nipples (huh?); “stanley kubrick” pessimist (really?)

Joan Didion“all i ever did to that apartment was hang fifty yards of yellow theatrical silk across the bedroom windows, because i had some idea that the gold light would make me feel better, but i did not bother to weight the curtains correctly and all that,” (okay, Joan); an identity is questioned only when it is menaced, as when the might begin to fall, or the wretched begin to rise, or when the stranger enters the gate.

angry diamond; appreciation of electricity; big and long; big long gash; big long paper; big sur flea market; big wards; blog gash; breech position; cell multiverse; christy turlington yves saint laurent rive gauche bathing suit; divine proportion human body women; earth cell universe; empty with such fullness; hail the goer; henry miller quantum cosmology; how body atoms exchange with the universe, how does shyness in virgo male manifest; how to build big egyptian castles out of paper (wouldn’t mind knowing that myself); how to care for an open gash; how to transmute agony into writing.

i hate parisians (go easy); i miss nyc so much (I got it); importance of cell in human body in written paragraph; interstellarization; is human cell a black hole, (COULD BE!), “life has much less to do with what others tell you about it. you are who you say you are, and you can do a lot with your silhouette. the world hears your voice in all those actions, interactions, reactions; sees your fire burning more or less with each moment and your layers being painted on, peeling off” (this is from one of my first articles); “love is too weak a word for what i feel… i lurve you. y’know, i loove you, i, i luff you. there are two f’s. i have to invent… of course i love you” (from Woody Allen’s Annie Hall); mon enfant! i give you my hand!; my future house; octo love poetry

Praying for Forgiveness(This is where it gets really amazing):

praying mantis very shocking truth; queen of paper castle press; quotes on vibes; rain-brain; raw diamonds; red petal women; the goddess of mercy has a thousand hands and needs them all; the ocean as our primordial mother; the universe is an hourglass; the universe is just a small cell; there are as many cells in my body as stars in the universe; there is a universe in my cells; vibes of the day; wanking yourself with armour on (don’t try at home); what a fine piece of marble you’ve ruined; you must love to write and bear the loneliness; young witch; a space odyssey welcome back (thanks!); she came home every now and then slaughtered internally by an external industry.

You know, I find this all extraordinarily interesting. There seems to me to be a screenplay, a short story, some amazing lines of dialogue, “There is a universe in my cells” “What a fine piece of marble you’ve ruined” and a host of bewitching other entities at work here. Absolutely bellisimal. I will end with the returning joy of Henry Miller whom I sought out yesterday like an old friend I sorely, sorely missed. What an amazing voice! Henry! I missed you! Ah! It was like drinking cool clean water, running down a parched throat, when I read the very first page of the only Henry Miller book I had in this apartment at this time: The Colossus of Maroussi.

Passion – it was something I had long missed in France. Not only passion, but contradictoriness, confusion, chaos – all these sterling human qualities I rediscovered and cherished again in the person of my new-found friend. And generosity. I had almost thought it had perished from the earth. There we were, a Greek and an American, with something in common, yet two vastly different beings. It was a splendid introduction to that world which was about to open before my eyes.” (p6, The Colossus of Maroussi, Henry Miller)

"Pagan day" by Kolyada

“It reminded me of New York on a sweltering night in August. It was the herd again, something I had never felt in Paris, except during the aborted revolution. I sauntered slowly through the park towards the Temple of Jupiter. There were little tables along the dusty paths set out in an absent-minded way: couples were sitting there quietly in the dark, talking in low voices, over glasses of water. The glass of water. . . everywhere I saw the glass of water. It became obsessional. I began to think of of water as a new thing, a new vital element of life. Earth, air, fire, water. Right now water had become the cardinal element. Seeing lovers there in the dark drinking water, sitting there in peace and quiet and talking in low tones, gave me a wonderful feeling about the Greek character. The dust, the heat, the poverty, the bareness, the containedness of the people, and the water everywhere in little tumblers standing between the quiet, peaceful couples, gave me the feeling that there was something holy about the place, something nourishing and sustaining. I walked about enchanted on this first night in the Zapion. It remains in my memory like no other park I have known. It is the quintessence of park, the thing one feels sometimes in looking at a canvas or dreaming of a place you’d like to be in and never find. It is lovely in the morning, too, as I was to discover. But at night, coming upon it from nowhere, feeling the hard dirt under your feet and hearing a buzz of language which is altogether unfamiliar to you, it is magical.” (p11, ibid)

(”The quintessence of park!” Henry! I hear you!)

You will like it . . . that stuck in my crop. “By God, yes, I like it,” I was saying to myself over and over as I stood at the rail taking in the movement and the hubbub. I leaned back and looked up at the sky. I had never seen a sky like this before. It was magnificent. I felt completely detached from Europe. I had entered a new realm as a free man – everything had conjoined to make the experience unique and fructifying. Christ, I was happy. But for the first time in my life I was happy with the full consciousness of being happy. It’s good to be just plain happy; it’s a little better to know that you’re happy; but to understand that you’re happy and to know why and how, in what way, because of what concatenation of events or circumstances, and still be happy, be happy in the being and the knowing, well that is beyond happiness, that is bliss, and if you have any sense you ought to kill yourself on the spot and be done with it. And that’s how I was – except that I didn’t have the power or the courage to kill myself then and there. It was good, too, that I didn’t do myself in because there were even greater moments to come, something beyond bliss even, something which if any one had tried to describe to me I would probably not have believed.” (pp 14 -15, ibid)

Henry & Friend, Playing Table Tennis, Nakedly.

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Posted in Keys to the Universe | 4 Comments

FINDING NO WORDS ARE THE RIGHT WORDS

MORE THAN HUMAN

I am in a very interesting place in life. This is a blog, yes? Do you get bored of hearing about me? After all, it’s the only place with which I can begin, and once I’ve understood what’s going on in the storm turbulence within, the unflooding emotions, the bric-a-brac tangle of thoughts, all layered over the still silent watcher within, the calm peace is attainable and I can see what measure of breadth and depth we have and always will have.

So, I begin to unravel. Card houses can fall easily, structures not built on solid ground are foundationless, bottomless wells of untravelable, unending bushels of tangle. I am going circling: Going back to where I once found myself; going back to the people I have left behind under grudges; going back to the places I have left behind for ambition. I have noticed old wounds that have festered. I have become a shadow of my former self, a ghost of someone I once was. It all happens when you get too serious. When you stop dancing. When you stop leaping in the air to the sounds of great music. When you stop laughing. When you stop dreaming. When you stop flying freely. (And what does that mean? That means unstoppably: inner and outerly.)

It’s so important to be surrounded by people who nurture the innermost you. I have vividly seen the INNERMOST me. I have seen some fragments of her in motion, and yet they were powerfully charged fragments of an intimate power.  But being human, in a society that is conformative, one begins to feel unusual, and watched, an outsider. I used to love feeling like an outsider, a-loner, and yet surrounded by other outsiders. That’s what I love about modeling. We are all unusual in unique ways, and when you begin with a group of girls and guys at around the same time, under the same circumstances, you bond together in un-usualness. The strength of that is immeasurable. J’adore ca. And I miss that.

I believe that moving so fast, without really having ever planned to move (and to New York city from the farthest reaches of Australia, no less), is what created that drive for normalcy and stability and rock hardness and a boat that didn’t rock. It has been a circumstantial thing. That’s my story anyway. Perhaps tomorrow I will have created a new one. I simply feel sad, and I haven’t felt this sad for a couple of years, since the beginning of it all, the beginning of this inexplicable journey. I am sad because I know the true extent of my JOY. And where is that joy today? Is it a necessity that sadness must follow joyousness? What a chewy, ripe, tangy word that is, joyousness!

Where is my joyousness? Why do we have to grow up? Like this? I don’t want to be that serious. I don’t want to be that fearful. So unhindered. I am a young, blissful, spirited spirit with verve in my legs and kick in my heart. Aren’t you too? Weren’t you? When did it stop there? Why did you choose to grow up like that? What are you now afraid of? What is that chest that barricades like stone walls cemented twenty layers over, protecting and defending and impenetrable? The resistance is resistant, like water off a duck’s back: Nothing can touch you. Do you not enjoy the touch? Especially the touch of that which is untouchable? The great spirit, the great emotion which walks through me and us all in open moments?

It is that great still nothingness and the great effervescent everythingness that when cracked open, we encounter like the blunt embrace of an always-remembered, always-yearned for mother. I read recently in Erich Fromm’s The Art of Loving that in order to fully mature as a human being, in order to transcend the needs of mother and father; the destructive repatterning echoes of primary relationships to parental figures, we need to become our own mother and father. We need to internalise Earth/Mother, and God/Father – the paternal, and the maternal lie latent within every human, regardless of whether they have children, or ever will, or not.

I miss my mother. My personal internal mother. She wants to run. She wants to crackle open. She wants to spread limbs and embrace wide, and wants to cackle heartily; she wants to admire, and be in the space where GIVING is received. With some body and among all bodies, who are open to receiving. “You have more to give than anyone I’ve ever known” said my mum back in March. “You give 100%. No, you give 200% – every time” she said a few days ago. I am not being narcissistic here, because when you have so much to give, but you’re not sure where to give it towards, it’s a painful place to be resting. Finding that place where I can give all I want to give, and where someone, anyone! can see what I have to give, and to receive it and so assist me in this journey towards giving, and sharing myself – well, that is something I don’t have much control over, aside from the looking and seeking it. Surrounding myself with people who feel good to me, intangibly, and following the small signs and noticing that which brings me joy, as well as that which zaps it – that is the only way. For me. For you?

That’s what I’ve learnt anyway. COME FIND ME! Whoever you are. Come to me. I am ready. I don’t know what you’ll look like, what and how and within the context of ‘who’ (your being) you will to contribute, but I am open. I saw birds flying when I lay outside just now, and wondered whether they hear some kind of similar music; whether their joy is their flying, their solitude, their communing with the sky, and with all of the other edgeways birds who fly close but not too close, far and not too far. I am going back to where I came from now. Nesters need nests. Flyers need flying. Openers need openings. Meanwhile, perhaps this is the best I can explain it – thanks go to Alex, as well as Chuck Shuldiner, who both commented at different points, on different posts in this blog, and directed me to Joe Satriani. I nearly died of emotion, because – 1: This guy is seriously sexy, and 2:

THIS IS WHAT IS INSIDE OF ME: (EVERY INCH OF IT)

“The darkness, the void, the space that the mind is terrified to enter, is the beginning of all life. It’s the womb of being. Fall in love with it, and when you do, it will immediately be taken from you, as you witness the birth of light. The Tao doesn’t take sides. It embraces both the darkness and the light. They’re equal.”

(A Thousand Names for Joy, by Byron Katie with Stephen Mitchell, p14)

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Posted in B.L.O.G Big Long Open Gash | 19 Comments