Go Fuck Yourself, you pathetic failure.
Leave the arts to the poets, the dancers and the painters
Go get yourself a real job, a real vocation.
Fuck off and leave those of us who fight for our culture alone.
Fuck off and stop leeching the creative spirits of the secular martyrs who have sacrificed their lives on the holy altar of Art, Truth and Freedom.
Go Fuck Yourselves!
And each other in your sleazy stinking orgy of self-gratifying bigotry and weeping pustule aesthetics.
Go Fuck Yourself in the Ass With Your Own Extended Nose
Go let yourself get fucked in the ass by all the bogus arts nonprofits that pocket tax money to further their own finances while cheating artists and reviewers out of their livings.
Go write yourself a grant.
Write up your mission statement in day-glow gold-gilded writing.
Put on your ‘supporter-of-the-arts’ makeup
Keep counting the coins in your bookseller’s till
While prescribing the rules that determines who is in and who is other.
Go Fuck Yourself and try reading a book for a change.
Go read Whitman, Bukowski, Anais Nin and Henry Miller on art.
Let William Burroughs into your dreams.
Go get yourself a self education.
In the meantime, shut up, sit down and just listen:
You are the enemy of art, the enemy of poetry, the enemy of life.
And we’re coming for you.
Because all you are is in the way.
Life is Always Replaceable
Being is Becoming Still
Existence is a limitless screen of emptiness,
The Last Halo of Hope.
Hope is mortal, not eternal.
Though it may feel like eternity
Sitting in a chair by the window.
Gazing up and down the path that leads
Up the hill and down to the canyon on your doorstep.
Every morning, every evening, every day.
Waiting for an answer to your prayer for hope to be restored.
Patience still burning brightly
Under your old photograph on the wall where you live now.
I’m not sad.
No, sadness is just passing rain to irrigate the eyes.
Instead, I’m a new planet
Ringed by the last halo of hope
The one wrapped tightly around my head.
Thoughts are merely pebbles
Being gently washed by a passing stream.
You are the stream.
Thoughts are merely beach pebbles
Being gently rounded by passing waves.
You are the waves.
Thoughts are merely pebbles in the sand.
Being gently worn by the passing wind.
You are the wind.
Words are pebbles.
Words are merely thoughts
Being gently read by a passing eye.
You are the eyes
That can read my thoughts.
So who is this Soul that you sing of?
This silent witness
Who counts the leaves off of trees
Instead of gathering them?
And raking them into a funerary pile,
Into the giant pile that your better self will set afire and then fall from,
Or jump into.
Up to your eyeballs,
Up to your own personal crown of thorns.
We’ve all got to make the effort to be the human beings we would like to imagine ourselves to be.
These Curious Hands
The world is not a mystery, my friends.
It is an enigma waiting to be unwrapped from its riddle
A safe anticipating its own combination.
To open and reveal what has been safely locked away since before time Began.
The puzzle patiently poised for its pieces to coincide
With your hands.
To fill the gaps they were carefully carved to fit.
The question is not who made the world we each live in
The question is who made the hands that fit the world together,
In anticipation of our futile and yet eternal curiosity.
I am a paper bag, I am.
I am only as good as what I can carry.
I am a paper bag, I am.
I’m not the smart one,
I’m not the successful one.
I’m not the tall one who always won and
I am a paper bag.
I’m only as good as what I can carry.
I am a paper bag,
I’m not plastic or burlap, not I.
I am paper: rough, brown and thin
I’m not waterproof, you know.
And I can’t hold any liquids or gases within.
I only have the energy for stuff that really matters.
I’m a paper bag.
I’m only as good as what I can carry.
I am a paper bag.
Wrinkled and used and too often abused
Thrown on the floor.
Buried deep inside your drawers.
I am a paper bag.
I cannot ask you for anything more
I’m only as good as what I can carry.
This blog is now my sole cognitive link to the outside world.
At least today it is.
I can’t physically be where I need to be so I’m posting here thinking that if enough people read my status, that it somehow puts me in the real world of social transactions and mini Games of Thrones.
Victory is not defeated but ailing.
I put my black steel steed in the hands of Spencer, the young mechanic who plays my Sancho Panza in this story. He’s humble because all of Victory’s afflictions are his fault. But I don’t rub it in.
“Sancho,” I say. “There’s no point in wasting time in pointing fingers. It’s never really just one cause, usually a combination of factors. I’m just glad that you’re willing to drive out here at 7 in the morning to take a look”.
I help Sancho Panza push my bike up into the back of his truck.
One good reason I’ve found for being nice (or civil, as I used to call it), is because so few people really are. Oh, they want to be taken for nice people alright; and would be highly distressed to find that others might think otherwise. Being nice provides a tactical advantage.
Although, I liked Spencer the young bike mechanic. An engineer in practice if not in credentials. My bike is first up this morning so if it can be fixed, it will be fixed in time for me to hit the 5 for San Diego and the Pancakes and Booze Art Market where I’m exhibiting some of my mother’s works for sale right next to Mario Torero. Sell some watercolours, some pastels and loads of books I hope.
I enjoy the role of an “art-barker”.
It feels like an honest effort for very little pay; however, the rewards are luxurious.
There are so many jobs that aren’t so and so many professions that once were and have since gone astray into the mercenary end of pure commercial exploitation. Marketing people use the term ‘exploitation’ to refer to the product they’re peddling but what they really mean is the market they want to buy it.
“Don’t say you support the arts, buy some!” is my shill.
So if my Victory is assured and returned to me by 3, I will make my way south on the 5 lane asphalt ribbon to the City on the Bay.
Last night I missed the ceremony for the official induction of 3 copies of IS SHE AVAILABLE? into the central library’s local author collection. Not just me, but that of my historic friend Chris Ernest Nelson, as well. His book Harvest lying right next to IS SHE? in a glass case.
Just like William Blake at the British Library when it used to be a separate building from the British Museum. And Joe Orton’s mutilated library books for which he spent prison time inside, now under glass inside the Islington Library in London, the very library he stole them from in the first place. In England, they put both the author and the work behind glass. In England, people go to jail for unpaid library fines. And mutilating books into art collages.
So I missed by success at convincing the library to take my book which they rejected at least twice. Once because it didn’t fit into their category system, the second because of Michael S Kane‘s Andy Warhol/Jack Kirby Madonna and child. But no child, just Mother Mary nurturing a revolver.
It’s been the image that has caused the most alarm and offence amongst bookstores, book buyers and of course libraries. I have been closing high order deals with chains on more than one occasion, only to have the buyer happen to land on Shaky’s spread and immediately handing my book back to me. Atta-boy Shaky, I’m living on desperation row thanks to you!
The irony is that our intention from the beginning was to apparently offend. There is nothing specifically offensive or pornographic about the image of a pre-pubescent blond girl holding a big pink gun. Not even the word ‘Vagina’ standing out in Rian Hughes‘s sculptural typography of the text to the poem.
In fact, there’s nothing offensive or shocking about the image at all, just the impression that one will be shocked. And of course, the real content, the real meaning of the poem and the illustration is that gun-violence is what we should really be offended and shocked by and yet are no longer. Judge for yourself below.
At any rate, I am home alone; sound but unsafe, calmly nervous by events beyond my control that are inevitably unfolding. G/d will pretend, when the time comes, that the end of the world was what he had planned all along.
Everybody improvises their intentions.
Just wait and see.
Charlie Brooker’s Black Mirror is really the best TV on your screen. It quite literally holds up a black mirror not just onto our society but to each one of us as components, now data-cogs, of the society we can no longer see anymore without the aid of mirrors. We are like goldfish in a goldfish bowl kept rotating by the shortness of our attention spans and never even realising the wetness of our environments.
Charlie Brooker, his cast, co-writers and the producers at Netflix are doing us the moral service of reminding us of the remnants of own moral outrage and how our own ethical boundaries have long since been trespassed by the dark consequences of convenience and more efficient processing.
The machines never took over, we just surrendered.
We are like commuters stuck in traffic complaining about the traffic that we are actually both part of and complicit in. Even though from our subjective vehicles, we cannot see it. Traffic controllers retain the power however it is a remote distributed, bureaucratic, systemised power that is no longer subject to one human’s judgement. Who do you alert when the traffic lights stop working? You don’t have to, they already know.
I have as of late, paraded the term Speculative Realism, borrowed from the French post-idealists. Who understand that the only way to view ourselves clearly is no longer as mere individuals but as components of a larger neuro-ecology that contains, constraints and ultimately defines us. We are the furniture that a system beyond our own subjectivity keeps rearranging “on our behalf”, “for our own safety”. “for your security”.
I have only slightly re-engineered the term in the context of a literary genre, of storytelling, perhaps the sole remaining respite of human freedom. A story is a purely human phenomenon untainted by machine efficiency as machines don’t need to tell each other stories. But we do, and in doing so we may be flexing the last quiescent muscle of our humanity. A story is comprised up 3 interlocked elements: The storyteller, the story and the audience (or to whom the story is told). At least two of these components are human, subject and object; the rest is merely synaptic grammar.
When a story is told and heard, a condensed complex of information, human knowledge and near spiritual wisdom is transmitted in a compact instant well beyond the speed or circuitry of a microchip. Remember, we are the minds that created and defined data. It is that creative mind that is both alert and receptive to the information that is vital to our survival, as a species and as sane human beings. Storytelling is our salvation and Poetry is better than prayer because you don’t have to pretend that someone is listening.
Speculative Realism is just my tag for vital, survival information being conveyed by storytellers. As essential as where the next herd of buffalo might be. Speculative Fiction has here to provide the luxurious canvas for our imaginations to ponder possibilities. But Speculative Realism is not what you might do ‘if…’ but what you will have to do ‘when…’ To survive, to retain your own identity and perhaps even your sanity. Speculative Realism is imperative, it carries the mental equipment we need to survive.
Black Mirror is a series of short cameos of Speculative Realism. The term is beginning to gain traction since I first observed the emergence of this genre in film, fiction and screen entertainment. I have since read a reference to Neil Gaiman‘s work described as Speculative Realist in his use of double vision, (the seeing of two apparent contractions as one), in his characterisations. I don’t know if he thinks that, you’d have to ask him.
Cyberpunk auteur Bruce Sterling, in Wired, refers to Speculative Realism as Philosophy Fiction, which is as good a handle as any because Speculative Realism defends the autonomy of the world from human access in a spirit of imaginative audacity.
In his recent Edinburgh University Press publication Speculative Realism and Science Fiction, Brian Willemsuses a range of science fiction literature that questions anthropomorphism to develop the Speculative Realist position. He looks at how nonsense and sense exist together in science fiction, the way in which language is not a guarantee of personhood, the role of vision in identity formation and the differences between metamorphosis and modulation.
These are useful critical and academic insights. But the real meat is in the eating and Black Mirror takes you to the centre of the Speculative Realist banquet, piling your plate high with outrage, moral panic and cautionary tales of horror. I suggest tasting a sample as we’re all going to be eating from this same table for the very foreseeable future,
the future that has already arrived.
© Igor Goldkind 2016
Last night was kind of my XXXmas eve, being a Saturday night, with no ghosts to placate until Monday morning. So I took my Victory out for a long ride, 46 miles down to Chula Vista to drop in on my drunken-angel-poet-brothers Alex Bosworth and Chris Vannoy. As I told them, I’ve never stopped in Chula Vista before, only passed through it; well on my way to crossing the border between Mexico and Madness.
Back in the Beatnik Days, when America was still a Great Shining Beacon of Golden Intentions and jail-breaking freedoms, going south of the border was a euphemism for leaving the straight rational world and exploring the psychedelic corridors and hallways of the unconscious mind, where the muses played poker to the sound of Gabriel’s saxophone under a streetlamp, playing for spare change, playing for the end of time. Kesey, Cassidy, Timothy Leary had all spent time south of the border, hiding from the authority.
But I wasn’t going all the way south or crossing any borders. Instead, like a Boddhisatva practising the discipline of worldly compassion, I was riding south on the great American highway stopping just short of going over the edge. Stopping long enough for the rest of my sentient species to hop on board and cross over with me. How long I gotta wait? The blur of the wind in my eyes transforms Inter-state 5 into a two-lane river of white headlight diamonds on one end heading towards but past me and on the other end, a torrent of glistening rubies speeding with me, flowing around me, carrying me forwards in one high speed direction.
I was carried on a slipstream of glistening rubies last night. Chilled legs wrapped around my angel in flight, carrying me aloft above all thought, beyond all hesitation, in that dangerous living moment when every half second of thought is solid and real with consequence; and any distraction is a trap door thumping open under the hangman’s rope.
That is the fury of mediation. That is my arrival in this moment that we all share. The calm at the center of chaos. Join me, dear reader, at the centre of chaos.
So I’m heading south armed with an unopened bottle of rye, the spirit of the season travels with me. Good whisky is about as spiritual as I get these days. It is my usual Xmas tradition to grab a bottle of good booze and head down to the Greyhound station, or the street corner, outside a homeless shelter or an alleyway or anywhere I can find and join a cluster of the disaffected, the homeless, the pointless, the ones left out of family portraits. Just to share a drink, a joke and the dregs of our mutual humanity.
But this year, not particularly in contrast, I’ve chosen the company of Deadbeat poets, failed self-construction workers, mental hospital misfits, suicide skippers and gravel-voiced prophets capable of predicting the present with uncanny accuracy. Cassandra’s children muttering under their condensed breaths, scratching their prophecies from the oracle down for the benefit of anyone who still remembers how to read; or how to listen. Tonight these are my brothers (and sisters), in arms. Raging against a sea of struggles, believing that by opposing them, we will end them and wrap our soiled blankets of peace around this cold, shivering world’s shoulders.
I make it to Main Street much too early and agree to meet my comrades in a bar called Sanctum. I have no currency apart from my still untried bottle of rye so I stand outside on the pavement near but not too near two young women smoking butts and laughing. ‘Merry Xmas’, I venture.
‘Merry fucking Xmas to you too’, is their reply. So I listen. A skill I am still mastering. The raven-haired beauty of the pair is recounting her love life to her friend. Telling her how she had met her intended’s eyes at work, a burning penetration in time and how happy she was that at least she knew, that she knew that she knew that there was an unstated passion, thrilling at the unstated, as yet unenacted attraction between them.
The bittersweet anticipation of passions yearned for but still yet to come.
I wanted to tell the dark-haired young woman how lucky she was to be free to express such yearning to another woman. Jealously, I wanted her to pity my poor lame masculinity and the political mindfield I had to traverse to even come close to sharing such a pure moment of true emotion and affection. But I didn’t. Who wants to hear another pitiful man’s story anyways? This was the year of raised female voices. Voices raised in anger, in righteous retribution for all the wrongs accrued., in demand of recognition. Voices of freedom insisting on justice, insisting on equal treatment without unwanted trespass.
Poor me, poor me, pour me another drink. . . .
So instead I pulled out my weapon of virtue, my great equalizer of man and woman, my bottle of rye from my bag and asked if ‘You ladies would like a drink”. “Hell yes”. And for a brief instant, I felt just like St. Peter patrolling the earth and giving comfort to lost souls.
This murdered the time until my wordly brothers finally arrived. We poured from the bottle into bright red dixie cups, swigging them down in the parking lot before entering the warmth of Sanctum Ale House to talk poetry, performance, and what we were going to do with the rest of our lives. This was beginning to feel a lot like a rendezvous of fallen angels pausing for a drink and brief reflection before hitting Hell.
There was no reason to take a picture or a selfie or even take note of the time. We drank, we talked, we tried to make each other laugh and we indulged in our common humanity; a focus on what we shared more than what we didn’t.
My mind spun back in time to the many drinking conversations I had with my late great friend, the writer David Halliwell. The only man I had ever met who had got drunk with Sam Beckett. So David told this story of buying a bottle of good Irish whisky and taking the train to London, from Yorkshire. Easily a 4-hour journey. On the trip, David got nervous opened the bottle and drank half the contents on the way down arriving completely cut up the King’s Road party where San Beckett would be. He did find Beckett apparently and immediately sat down to finish the rest of the bottle he’d brought. David got so drunk he couldn’t remember a word that Sam Beckett had said to him.
Last night, I told Chris and Alex about the year that David called me up to join him for a Xmas drink and The Bull Tavern in the little North East Oxfordshire village of Charlbury, whose village council insisted on calling it a town because it had 4 pubs, a pharmacy and a post office.
I walked down the unpaved bumpy road to the tavern, past the Egyptian cottage with the papyrus reeds of Isis, the Goddess, not the terrorists. I reached The Bull pub and Inn, Opened the heavy oak door and walked into a movie. The pub was nearly empty save for the bar that featured David on his bar stool holding court with his mates. Only his mates were images burnt on my retinas since childhood: John Hurt, Ben Kingsley, David Warner, Freddie Jones and his son, then unknown now better known than him, Toby Jones. I remember blinking in disbelief. I might as well have walked in on Lewis Carrol, Tolkien and CS Lewis downing pints all who had also frequented this pub some hundred years previously.
I remember David smiling, laughing his phlegmatic cough and motioning me over to introduce me to these faces from the screen. “This is Igor, he’s another writer; he’s a Yank but he’s alright”. I was just another writer in the company of actors, everyday workers taking a break from toiling in the star-maker factories behind the popular film. I was handed a bulbous goblet of glowing ruby wine and the rest is hard to remember. But I do recall making them laugh and David Warner towering over me and reminiscing about his one appearance in a two-part Star Trek opposite Patrick Stewart that had earned him enough to comfortably return to the stage for 7 continuous years. Apart from young Toby, these were board strutting actors; indifferent and virtually contemptuous of their movie work save for the vast sums Hollywood paid them for peddling their trade of packaged emotions.
The next year most of them would be dead, David Halliwell included. I would empty his cottage with a Scottish actor of his while his Yorkshire sister wept inconsolably on his stairwell. In England, people let you weep and leave you to the dignity of your grief out of respect for the exceptional display of emotion. If you openly weep in England its because the pain is so hard that you really can’t hold it in.
Back in the Sanctuum, I explained to my companions how David had taught me the true meaning and value of the literary arts, which for David included actors who tell stories with their faces. Storytelling’s place in the human universe, keeping the stars locked in their firmament and the cosmic spheres in perfectly balanced and meaningful rotation. David Halliwell wasn’t famous. He died a virtual pauper, alone, estranged from his sister, a Yorkshire man with an RSC accent from wanting to be an actor, who wrote every day of his life before heading down to the pub to argue with me.
But he was a great success, albeit not by any kind of American Calvinist standard. Rather he succeeded in staying true to his art. He never sold out to better-paid mediocrity. He stayed true to his art, to himself and he survived with the respect and admiration of his fellow artists. When he died, I wrote and read this eulogy at his memorial, after Harold Pinter came up from Hampstead to say a few words about his departed friend. As did Stephen Frears and Scott Hampton (author of Les Liaisons Dangereuses).
Daedalus Afraid to Fly
David, you bastard, you’ve left me
Understanding here alone,
With only these words falling out of my hands
When it is yours I want to hear again.
Words of your mastery, not mine.
So what was all the swearing about then, David?
What were all those Northern fumes really burning from?
I told you the songs of Yorkshire would never play in LA
Or London for that matter):
Two cities equidistant from your Yorkshire mother.
Tell me, David, why didn’t you just sell out?
You could have bought yourself a much better pint of beer
With all that money for old knotted ropes and
Still, have coughed up the phlegm to laugh at us all.
Is death your idea of some kind of joke?
Did you finally track down the film rights to Malcolm, David
And cash them in?
Are you really, secretly living in Barbados,
Making beautiful women miserable?
To think of all this wasted sorrow and
Empty glasses of beer.
You did say that you always wanted to visit other places.
But Daedalus, you were afraid to fly.
If you had been born upside down in America
You would have been a southern writer living in some Northern town.
Spilling your southern drawl over a rum and coke in a New York City bar.
Sitting elbow to arm with Williams, O’Neill, Baldwin and them all.
Your America was always an America of the mind.
So why fear the flight?
Your America David was where Charlie Parker
was forever sharp shooting pool with Humphrey Bogart
in some room behind a neon-splattered bar
Where Chet Baker never jumped or fell but flew, man!
He just flew away.
Just like you.
So you’re off then, David?
Back up the bumpy road,
Turning the corner around the Little Egyptian cottage
Navigating the reeds of Isis, Long past the close of time.
A brown duffle coat ship, bobbing on an unpaved surface,
Weaving a few well-spoken thoughts into your
Can you tell me, David:
Were you X-Centric, or
Merely Eggs Essential?
How about this time I tell you, David:
The spark was always there.
But not like Daedalus, like Prometheus.
The living punishment of Truth,
Chained to your bar stool,
That eternal pint of Carlsberg lager gnawing at your liver.
Like Prometheus David,
The spark is always here.
For the late, great David Halliwell; poet, playwright,
author of Malcolm’s Struggle Against the Eunuchs.
I can only miss you when you’re gone.
NOTHING has prepared you for This. Nothing ever will.
Because whatever is happening Now has never happened before.
This is a web-nurtured collaboration with 27 artists, sculptors and musicians from the world of Comics, Fantasy, Fine Art and Jazz, including Bill Sienkiewicz, David Lloyd, Liam Sharp, Glenn Fabry, Shaky Kane, Lars Henkel and the cutting edge sculptural typography of the highly acclaimed book designer Rian Hughes.
This illuminated book is a contemporary Dante’s Divine Comedy; a journey through the confessional landscape of a masculine identity. It uses poetry to construct a narrative that explores themes of death and loss, sex and love, and the modern American and Jewish identity design: by the UK’s eminent graphic designer, typographer, illustrator Rian Hughes.
The music is composed and produced by iconoclast, ex-Israeli, Middle-Eastern jazz virtuoso Gilad Atzmon, along with five other jazz artists.
Written by San Diego native Igor Goldkind, this illuminated book will revolutionize the way you view poetry by meshing comics, art, music and animation in a truly unique way. It uses poetry to construct a narrative that explores themes of death and loss, sex and love, and the modern American and Jewish identity. The book is available for download on the iTunes Store and Google Play, as well as in a 166 page, fully illustrated in colour hardbound edition available ORDER HERE.
The eBook edition pushes the edge of what is possible with present EPUB3 technology. It is not an App, it is a true book that marries pop art, comics, avant-garde, jazz, spoken word poetry, video and animations, and type design in a manner that we have not seen before IS SHE AVAILABLE? has the feel of an artefact from the near future – a seminal work of a new genre-fusing poetry, graphic art, music, and animation.
Sample interior pages:
IS SHE AVAILABLE? RRP is $34.95, SHIPPING INCLUDED
Educational Discount for Students and Teachers: $29.95
Both deluxe hardcover edition PLUS animated and musically scored eBook App edition of Is She Available? bundle: $39.95
Go to http://Paypal.com/issheavailable/ and place your order directly through PayPal with all Pay Pal assurances and protection.
Shipping included in orders within the US and its territories.
If you are in Britain and/or Europe, please contact my European wholesaler Fanfare Productions who will take your order and dispatch to your address the same day: email@example.com
Reviews ? Sure We Got Reviews. Why You Wanna See Them? Be my guest.
“Igor’s “Illuminated Book” is like a new genre. It is a wonderful ekphrastic expression; a fusion of the arts.” — Poet Mel Takahara
“His collection Is She Available? has the feel of an artefact from the near future – a seminal work of a new genre-fusing poetry, graphic art, music, and animation.” —(San Diego’s) City Beat
“Is SHE Available?” is an experiment, and reading it feels more like an act of discovery… nonetheless there’s a thrill to scrolling through its pages. It’s an ambitious step toward what digital media can (and will) be.”—The Chicago Tribune
You Tube samples: https://www.youtube.com/playlist?list=PLRnmT_aE0acoowdNBvFtK_VW2OkNN2wWp
SoundCloud samples : https://soundcloud.com/igor-goldkind/sets/is-she-available-spoken-word
The 166 full colour, fully illustrated hard cover deluxe edition is available in discerning and eclectic independent bookstores everywhere. Including Fahrenheit 451 in Carlsbad, Soulscape Bookstore in Encinitas, the Upstart Crow in San Diego, Verbatim Books and Mysterious Galaxy also in San Diego, City Lights and the Cooperfields chain in Marin County and Sonoma County, amongst a growing number of independent book stores.
Order direct from PayPal and shipping is included!
The only way to explain Zen is by describing the sleepy mind. The sleepy mind describes a tree in terms of attributes and data: the number of leaves, the leaf shape, the number of branches, thickness of the trunk, the colour of bark. Which birds make use of the tree etc.
All these observable and measurable attributes are assembled as data by the sleepy mind and voila! the sleepy mind thinks it knows what a tree is. The sleepy mind can give arguments with citations about the validity of its data. The sleepy mind works well with other sleepy minds.
And the sleepy mind isn’t totally wrong, the data it compiles in reference to ‘tree’ are all real and quantifiable features of the tree. But no matter how exact or comprehensive, the data is not the tree nor even the experience of the tree.
The awoken mind merely says “Look, a tree”, and points.
Because there is no data that conveys the experience of that tree in the moment of your apprehension. The awoken mind, sees the leaves, the branches, the colour of the bark, the thickness of the trunk, which birds fly in and out of the tree as much and as well as the sleepy mind does.
But the awoken mind also sees that the spaces between the leaves are part of the tree. The negative space surrounding the tree. The unseen roots spread beneath the ground are part of the tree. The sunlight reflecting off the green of the leaves are part of the tree. The seat waiting to rest your back against the trunk is part of the tree. The awoken mind ‘see’s the tree; the form of the tree; the tree itself in all its ‘tree-ness’, the tree as a child sees a tree; not what the sleepy mind contrives to substitute as its surrogate.
I think this is the closest I can come to describing the Zen disposition. I say disposition because too much is made of practice and the philosophy of Zen when all are merely aids to assist in the unravelling of illusion and self-deception. Zen is not an acquisition of skills, rituals, garments or ideology; instead, Zen is relinquishment. It is a reminder to keep paying attention. Not acquiring but letting go: unravelling, stripping away layers of calloused skin, leaving your baggage behind and not looking back over your shoulder. In the words of the bard:
“My senses have been stripped, my hands can’t feel to grip
My toes too numb to step”.
Buddhists will talk about the Buddha-nature as universal, the same as our original nature. Don’t listen to them. The face that first looked up at your mother’s face is still there, submerged and (sometimes suppressed), within you. All that Zen suggests is that we are encumbered by needless worry, anxiety, expectations, daydreams and nostalgias that have buried your true self under the rubble of your crumbling castle and keeps you from seeing the world and your place in it, with any clarity.
We are all distracted by anxieties and worries about money, about jobs, about partners and children. That distraction is manufactured by the powerful in the society we live in to keep us consuming, acquiescent and very sleepy! It doesn’t matter if you meditate or not; if you read poetry or not; if you drink tea or practice martial arts or not. It doesn’t matter how you get there or what you wear; just that you wake up and experience the miracle of persistent and unwavering creation. The universe is created, then destroyed then resurrected millions of times a second, faster than you can blink; so try and keep your eyes open!
I leave you once again with the immortal words of the Nobel Prize laureate:
“Then take me disappearing through the smoke rings of my mind
Down the foggy ruins of time, far past the frozen leaves
The haunted, frightened trees, out to the windy beach
Far from the twisted reach of crazy sorrow.
Yes, to dance beneath the diamond sky with one hand waving free
Silhouetted by the sea, circled by the circus sands
With all memory and fate driven deep beneath the waves
Let me forget about today until tomorrow.”
– With Compassion, Igor Goldkind, 2017
Please feel free to share and copy this.
I’m just trying to help anyone who’s read this far.
The Third Act of Creation
When I sit at my desk in the barely blinking dawn,
I sit at the helm of a Starship.
Each dimension of time or space is available to me
To go anywhere I want to.
With the flick of a switch and a weird background sound
The course can be faithfully plotted,
At just the right warp speed to be there, be heroic and be back before dinner.
As safe as the hum of my engines.
When I sit at my desk in the mid-morning blue light that pierces
My east facing windows.
I pray that I can write something today,
I pray that I still have something to say.
My eyes are drawn to the street just beneath me,
That winds around the standing tree,
Just outside my window.
There is a spoonful of sunshine in my coffee.
When I sit at my desk in the midday sun
At the zenith of all of Creation,
I know that the bright light that now floods my room,
Will wash the shadows of doubt from these walls.
I still hear that first sound,
The Bang! that expands the spaces around.
I can feel how the act of creation was never just one moment long gone ago.
But a circus of new sensations, an ongoing show.
Will too soon leave us behind sleeping eternity away.
When I sit at my desk in the mid-afternoon sun
And the light of creation slowly dwindles,
I can reflect on all the things that I’ve done
While counting the tasks that remain to lie in the sun.
When I sit at my desk at dusk’s twilight time
When light and darkness are twined,
Each wrestles the other to the ground.
I know that darkness will eventually swallow,
The fading strength of the light.
The time for my bed is just insight
And the twin brothers have given up their fight.
When I sit at my desk in the heart of the darkness
I know that death is hiding in my closet.
I know that the covers I wrap so tightly around me
Offer no protection from what time has brought (me):
The drowning of the light by the darkness.
I bury my head in the night and dream of the return of tomorrow.
© Igor Goldkind, September 25th, 2017
Caught unawares in a diamond rain shaking with cold
How did fate suddenly get so quick and immediate?
When did I step off into myself,
And begin to orbit time?
The vantage point that surrounds us
Is not just this moment,
But every moment you and I have ever or will ever live.
A handful of gems lie scattered like dust at my feet.
Each crystal reflecting every other facet of being.
Each stone weighs down heavy on my stomach.
Forced downward by the sheer gravity of events.
When I step out of myself,
I am no longer there.
Or rather I am here,
Just not in this world
In another that is merely reflection.
2 mirrors facing each other
A rag collects the dust between dirty faces.
This masquerade of illusions; bodies blocking light.
“i follow igor goldkind on facebook. i am not a friend of his, but a friend of mine kept reposting things he’d written and said and i found his way of expressing himself too good to ignore. as is the case with this book. i’ll level with you. i don’t really understand poetry – it’s too opaque and often too personal for me to really understand and i often feel i am missing huge amounts of the impact of even the small amount of poetry i do understand. if i read it aloud i appreciate it more, but even then. but when i saw a goldkind book of poetry was on offer and remembering how much his writing had affected me in the past i thought i would take the risk
i’m glad i did. again, i don’t fully understand or appreciate all of it but goldkind is a beautiful writer. he enjoys the ways a sentence hangs together both on the page and, if you follow me, in the mouth as you read the words. but what makes the book special is the third way he makes the words work – through graphic design. you see the OTHER reason i followed goldkind is because even though his words my friend linked me too resonated, i also liked the fact he’d been involved in all sorts of british comics over the years, especially 2000AD which is a comic i have very, very fond feelings towards….
and it’s on this level that even this man who struggles with poetry found himself adoring the book. because it’s a beautiful thing to hold. a beautiful thing to look at. and in the same way that if i don’t like all the poems,
if there’s a bit of artwork that someone has contributed to the volume that doesn’t work for me there’s often something coming along very soon that does absolutely work. there’s some lovely art here by people i do know of – rian hughes, glenn fabry, david lloyd, shaky kane, bill sienkiewicz – and many i didn’t – i was very taken by the work of dix, lars henkel and jeff christenson particularly. even if i didn’t like a poem or piece of art, something special and wonderful and surprising would be along very soon
and speaking as someone who is very deeply in love with books as a printed medium and could never imagine reading or appreciating an e-book, the fact that the electronic edition has apparently so much more to it – music! moving images! – very much pleases me. this is a book by someone who not only has a glorious way with words but has a very unique vision for what he wants to do. and that’s why i’ll be cherishing this volume… “
Date: March 31, 2015 at 21:38:22 PDT
From: Amy Sterling Casil , Chameleon Publishers
I can honestly say, this is like no other book we have ever seen before; we think perhaps – like no other you may have seen as well.
31 March 2015
For Immediate Release
IS SHE AVAILABLE? PUSHES BOOKS AND PUBLISHING FORWARD THROUGH POETRY, ART, AND MUSIC
Southern-California based publisher Chameleon Publishing releases its first major publication: Is SHE Available? by Igor Goldkind April 1 via the iBooks store.
Is SHE Available? pushes the edge of what is possible with present EPUB3 technology and how books are created and made. It is not an App, it is a true book that marries pop art, comics, avant-garde, jazz, spoken word poetry, video and animations, and type design. Its creative journey was more than a year in the making, growing from the collaborative work of artists, musicians, editors, and designers on two continents.
The poet, Igor Goldkind, is a San Diego native who lived in France and the UK for two decades while promoting the work of today’s most notable comic and graphic novel authors and artists. As a teen, he was one of the co-founders of San Diego’s legendary Comic-Con.
According to Bleeding Cool, “It was Goldkind who popularized the phrase ‘graphic novel’ with the media and found that gave them permission to cover the previously-considered childish medium of comic books . . . . Now, Goldkind’s vision of what graphic novels could be, is returning.”
Is SHE Available? was produced using an international collaborative model, but the book is one man’s voice and one man’s story. Goldkind’s words and voice inspired the art of over 26 internationally-known artists, including cover art and interior illustrations by Eisner-winner Bill Sienkiewicz (Elektra Assassin, Daredevil and more), additional interior illustrations from other graphic novel illustrators and award-winners including Glenn Fabry (Hellblazer, Preacher), David Lloyd (V for Vendetta and many others), Liam Sharp (Judge Dredd/2000 AD/Madefire), fine artists and illustrators Lars Henkel, Mario Cavalli, Mario Torero, Wendy Farrow, and many more.
Music and spoken word were recorded in New York with UK Jazz Album of the Year winner, author and ex-Israeli Gilad Atzmon. A US-based jazz and spoken word tour is scheduled for July 2015.
The type design and hardcover book are created by the eminent London-based designer Rian Hughes (2000 AD, Vertigo, Dan Dare), who includes an afterward about the collaborative design process. E-book production, incorporating Madefire animations, audio and additional animation, were provided by Chameleon Publishing in Southern California.
Due to the inclusion of video, audio and animations, and fine type design, it is playable only on Apple devices, and available only through the iBooks store. The hardcover (without music, spoken word or animations) will be published July 15, 2015.
Other “enhanced e-books” have been produced with budgets of $100,000 or more, and few have sold well. The “wisdom” is: poetry doesn’t sell. Enhanced e-books don’t sell. Most jazz doesn’t sell, either. Comic and graphic novel artists struggle to show their fine art to the public. And what publisher would take on a completely unknown poet whose claim to fame was selling fancy comic books to grown-ups and co-founding a big comic/media/scantily-clad women-fest like Comic-Con?
Twenty percent of North Americans regularly buy and read books. Nearly a hundred percent can read. Chameleon’s mission is to make books for everyone, not just a selected few.
Published April 1, 2015, in honor of National Poetry Month.
For more information and to obtain a copy of Is SHE Available? eBook for review (EPUB3 only on iOS devices – iPad, iPhone and Apple computers) or an advance reading copy of the hardcover edition contact the publisher:
Amy Sterling Casil
Chameleon Publishing Inc
What is this thing that you can’t speak of?
This flirtation that will not hold its tongue but would rather hold yours between its teeth
And bite the thwarted anticipation of your mad fear’s confusion.
for fuck’s sake, what’s to choose?
Your body has already chosen for you
I hear it calling me on the telephone it anticipates my touch
it intakes your breath
it recalls my lips onto yours this tongue wets a damp crevice and summons the river
and it flows like no other desire from phone to train to bedroom
a churning current that carves out cliffs on the shoreline on the way plowing across the months and years exposing the bone and sinew of yes,
Pure Beautiful Carnal Longing
that is the truthful stench of black damp earth pregnant with all of life; pregnant with who you and I will become
when One again.
When turning and churning, unraveling and raveling the bed sheets again.
The furious spinning of uplift resisting all gravity.
There’s a vertigo to our desire but no, I will not let you fall.
Recall, hear my cries of consummation in your arms, rising and falling, dancing between your upturned thighs
Recall your gasps of surprised delight
As the wings of a fallen angel unfurl to take in the return to paradise. You can feel this all again with me, baby.
Paintings of Medusa by Nancy Farmer © 2014 for the Poem in the collection IS SHE AVAILABLE? (Chameleon)