The Ghost

I was twenty-two years old when I saw the ghost.

It put its feet on the table and opened a beer. It made itself comfortable. It said, “I live here now.”

The ghost seemed to have appeared like a stranger in my home that day. But it was not an intrusive ghost—it did not rattle chains in the apartment upstairs, nor did it lift light fixtures from the shelves in the living room. It had not even arrived all of the sudden, like an uninvited guest, but from the onset felt as though it had manifest something unseen until just moments before.

april 30, 2020

the liminal membrane between waking life and the life of the dream seems living, breathing, permeable. it has a heartbeat. its threshold cannot be crossed completely, as it is no less one part than it is the other.

yet the life of the dream, though constituted by and made up of the stuff of waking life, is necessarily distinct from it, in the very fact of the autonomy of the unmediated mind: here, we are the world itself, and all that exists within seems to have its basis in us. even when we cognize that we are dreaming and take control, consciousness remains the motor: it allows us to propel the machine forward with ourselves in the driver’s seat.

still, even in the life of the dream comprehended as such, there is present the notion, however incongruously small, of ‘waking life’: of existence as otherwise, by which we become aware of the world we are occupying through our awareness of the one we are not.

The Unmistakable Smell of a Brand New Tennis Ball

Brad dog-eared the page of a book before the one where he'd left off, as was his custom when he knew he'd been too drunk to absorb information for a little while. He was now even beginning to question his ability to pick up much at all on a good day, when he was in a reasonably lucid state of mind, but he tried his best not to give it too much thought. The TV hummed through the wall from the neighbors, he noticed, now that he'd resigned his attention, paid more mind to the world out there than the one inside him.

It was Tuesday, and he'd seen her again, at lunch—the girl with the toboggan, the striped scarf, the green jacket; he'd begun to see her so often lately that he wondered whether she was even real, if he might be making things up.

It had all started on the train a few weeks ago, coming home from a bar, a woman he'd never met before cradled in his arm. The night had gone well until then, but that's when he'd seen the other woman, the one in the toboggan, the scarf, the jacket, and felt immediately that this wayward night had come to an end, that the pathway to bedlam had been roadblocked, and that he may never make love in the same way again—it would seldom seem authentic, too contrived, too forced. The girl had the sort of face which, as far as he could tell, could belong either to someone five years younger than him or five years his senior, and listened to an old, black, off-brand CD player. When she'd suddenly spoken—not to him, but to apologize to the man next to her—her voice was sturdy and resonant, like it had come from the bottom of a bucket.

He said goodbye to the girl from the bar when the train came to his stop—he had class early in the morning, and it was later than he thought, he'd lied—and walked the three blocks home under the early morning stars.

Since then he'd seen her everywhere. The library, two coffee shops back-to-back, when he walked off the campus where he attended graduate classes and through the city. More than the uncharacteristic infatuation, what stuck out to him was how she'd become, in some surreal way, a part of his daily routine, built into his life by circumstance.

Brad lifted the pint of whiskey to his mouth and took a swill, imagined how his tongue, his cheeks, his chapped lips might have reacted to the heat if it were the first time all over again. He walked to the kitchen and removed a to-go box containing half of a turkey sandwich from the day before. "I'll need this for later," he'd told the lunchtime bartender, wearing a grin that didn't mean anything, "when I'm inevitably beyond repair." Brad ate the sandwich and went to bed without brushing his teeth.

Then it was a Wednesday.

This one started the same way they usually did, with Brad teaching an introductory course on American philosophy. Over the past few months, they'd covered Transcendentalism, worked their way up to Pragmatism, would end in a few weeks with American post-structuralism. Brad liked pragmatism because it never entered into much of a relationship with the thought of real life, was droll, dull and tame. The denominators were always common, and usually low, the only way they could be in a school of thought predicated on making decisions. How often did he make decisions? And how often did those seem to be 'momentous'?

When class was over, Brad spent a few hours wandering through the city, which changed every time he looked at it—he remembered the nights, years ago, that he'd walk through it with a friend from college, on the way to some bar on the boulevard, over the paved hills and under the streetlights that set the whole place awash in a dull glow. How he'd see a festival or a protest in the corner parks, how he'd spent an evening racing a girl he'd met at a bar to the train station. The city, staying the same throughout all the years he'd been in it, always kept an element of surprise handy.

Brad stopped into a shack in an alleyway for a cold beer and a taco. He flashed his ID—BRAD MEYERS, born August 17, 1989, hair BR, eyes BLU—and sat at a table. While he scrolled through an article on his phone, he wondered whether he might see her here, sitting in the corner under the decades-old "Cold Beer" sign, scribbling onto a napkin, with her boyfriend, tying her sneakers. He scarfed down the taco, threw the plate in the garbage can, and the table looked the same it had before he'd even walked in—no one would ever know.

The train moved slowly on the way back to his duplex on the edge of town, and he used the time to look out the windows in the way that he never did, as he passed under bridges, alongside parkways. There were new places that he remembered having opened here and there, but in retrospect they seemed to have always been adrift in the world, out there, waiting to have been eaten at, packed with moviegoers for the premiere, the rows of bookshelves inside plundered. 

Brad picked up the remote control, turned on a documentary about Carthusian monks in the French Alps. Brad had known that the documentary was silent, steeped from inside out in rigorous technique, but when he listened anyway, he could feel it interrogating him. 

On Thursday, Brad poured what was left of his whiskey into his coffee cup—nearly perfect, it filled just under a shot's worth of the mug—and topped it with piping hot coffee. The burning aroma of whiskey spilled into the air and rang through it like a shot. As Brad took measured sips of the drink, he could feel it affect him in the opposite way: slowly, warming the front of his brain, bringing the day to a lull. 

He sat on the train in near silence. Three stops from the university, somebody tried to get through the doors as they slid shut, wrenching their arm through, getting caught at the wrist. The hand held tightly to a black briefcase—leather, and cheap by the looks of it—and tried to snake itself in between them. 

"Please," a voice pleaded from outside, "I can't be late again. Not today." It seemed to be foreign from the hand dangling there, as though it were coming from a completely different body. Everyone on the train looked first at the red button fixed to the wall, encased inside the clear plastic, then at one other. When the briefcase fell, everybody stared into it, like it had suddenly turned into a strange, tragic animal.

Brad's paper on twentieth-century German aesthetics had won him some favor from the professors in the literature department, so he—alongside three others—stood at the front of the classroom and read, his eyes gliding seamlessly over the pages, more for structure and underlying support than to be snagged or caught on any of the words sticking out past the margin. 

When he went home, he strung a tennis ball from the ceiling in the back of his garage so that, in the rare event he used his car, he'd know where to stop, park, turn it off. He peeled back the lid of the canister and felt the musty smell hit his nose, the unmistakable scent of the bright green balls. The closest thing he could compare it to was rope.

He sat at the table and ate half a plate of stir fry he'd put together, then went straight to bed, thought about the next time he might see the girl in the scarf. He'd planned it all out in his head, the different ways it might possibly go. The opportunities were endless—maybe he'd be standing in line at a used bookstore, spending the last few bucks he didn't need for rent on some kitschy novel from the 70s, and she'd be the one who rang him up. Or else she'd be sitting on a beanbag at one of the coffee shops where he'd seen her before, drinking something with foam on top—he wouldn't be able to see what it was through the porcelain mug, but he could imagine she'd have sweetened it with simple syrup, drank it over the span of an hour. Then again, the weather was getting warmer. Maybe it would be iced.

It was balmy on Friday, so Brad left his tweed jacket at home and drove to his two seminars at the school, taught a class on Plato that afternoon, graded some papers. He drove home and took the train halfway into the city, stopped into one of the bars he'd passed in the last few days, decided he would give it a chance. All he had to worry about was paying rent and turning in a draft late the next week, catching the train home tonight, trying to pull himself from bed in the next morning—something which, as he got older, he found harder and harder to do.

He wondered whether he might see the girl in the green scarf here, how long into the year she would wear it, hoped he'd be able to recognize her without it. When he tried to produce an image of her face—toboggan off, jacket tied around her waist—he put together features, but couldn't get a picture that matched, not like he remembered. He would have to wait and see. Brad ordered a beer and a shot of tequila, and wondered what it might be like to set Eden aflame.

 

books i'm reading, have read, & am skimming through, #1: kafka & the language of language

"a country doctor," one of the few stories published during kafka's short life, is perhaps the most acute, stunning, and accurate representation of existence to reach us from the age of modernist literature. the piece's history—the way it eludes but pervades kafka's body of work—is appropriate for the subject matter, which relies entirely on the obscurity of meaning through metaphor and transmutation.

the story is primarily astounding in regards to the wound which the country doctor is meant to address, as well as the amount of attention kafka gives to its description—not only in terms of explicit imagery, but also as a larger phenomenon. the story hinges entirely on this wound, after all, from beginning to end. throughout the piece, it sets all events in motion, ricochets between the center and the furthest edges of our radar, and yet shines the brightest when it's absent: the wound is never more itself than when it becomes mere spectacle. the doctor, for his part, is in thrall to the spectacle as much as he is the wound itself. "i have not thrust my services on [the family]," he confides in us; "if they misuse me for sacred ends, i let that happen to me too." the real point of the story becomes the unfolding of the story itself, fragmented and refracted as it is through the narrator's sense of 'being there'.

that the wound is a metaphor for consciousness, that indestructible, eternal element of human existence—the thing that gives being human its particular flavor—is more or less evident. it's a very "fine wound," as the patient says, his "sole endowment" in the world. it's all that he's brought here with him, and we learn along with the doctor just what a shame it is that he's had to share it. before unveiling this masterpiece of a fist-sized sore, the boy simply pleads: "doctor, let me die."

the wound is ceremonious to the extent that it's forgotten in the attention that it drums up, the formality that ensues, the experience of which it's the cornerstone but which nonetheless overshadows it. yet the wound still provides context, reminds us why we're here now and now here, seems to indicate that there's something at the bottom of this. it's a beautiful wound, one which makes the object of the story long for his own death, and one which the doctor may be unable to treat, but can simultaneously acknowledge is "not so bad". it's undefinable, and it presents a real problem for the country doctor; all of his sacrifice, his countless losses, his shame—in the face of this god-forsaken wound, they simply seem to disappear into the cold, wintry night. 

but a rose-colored wound the size of a fist is also the size of a heart, the latter of which often comes only at the highest price. the depictions of the wound are jarring, striking, and stimulating in themselves, which is why it's easy to overlook the subtler details built into the text. but the wound's obscurities, rather than the wound's existence, are in fact what endow the text with its meaning. kafka famously said that there's "something indestructible in [a man]," even if that something indestructible, as well as his trust in it, is obscured from him. reasoned out, there are three elements at play in this theory: the industructible something, the resistance it faces in the world, and the subsistence of that self-trust in spite of hardship.

the goal, of course, should be to bring this indestructible something into the light, and to develop our trust in it to a more heightened awareness. this way, we can ensure its subsistence, and that it happens on our terms; we may not be the masters of our destiny, but we can try to be the masters of how we experience it. this likens kafka to friedrich nietzsche, of whom he was an avid reader, and søren kierkegaard—two other modernist thinkers who described the human spirit as a negative, derivative identity. as nietzsche puts it in book i of the gay science, "if the conserving association of the instincts were not so very much more powerful [than consciousness]...humanity would have to perish of its misjudgments and its fantasies...in short, of its consciousness." (11) nietzsche proposes that consciousness has yet to be perfected and so battles with the instinctual drives of being-in-the-world, yielding a third identity: the very humanity which ceases to perish. 

likewise, kierkegaard posits that the human spirit isn't a positive element at the ready to be grasped, but instead lurks in the shadows; it appears only as a product of infinitude and finitude, comes to light only through acknowledging the tense relationship these components of ourselves have with one another. "in the relation between two, the relation is the third as a negative unity," he writes in the sickness unto death, "and the two relate to the relation and in the relation to the relation." in other words, the human spirit isn't a given; it must be excavated, interrogated, dug up with intention. 

kafka finds himself in good company among these thinkers, whose literary styles, like kafka's, don't lay out a model for existence, but instead tend to do the modeling themselves. in "a country doctor," the rose-colored wound is the indestructible element that persists, but it in itself isn't what actually creates meaning. the meaning, after all, is derived from battling forces: it's important to bear in mind that, just as the wound appears in the doctor's world, rose-red and vivid, his assistant disappears from it, herself named rose, and described—like the wound—with real attention to detail. 

a transmutation has occurred. in fact, rose is much more akin to the wound than we might first observe: the mysterious groom and harbinger of rose's downfall is the first to speak her name, and the doctor only begins to use it in reference to her afterwards. "rose" was there all along, but somehow escaped our grasp, eluded us, until it was the object of our attention. yet by then was too late—rose was torn from the storyline. similarly, the rose-colored wound only appears once the doctor concludes that the boy is in adequate health. "i confirmed what i already knew," says the doctor, "the boy was quite sound...and best turned out of bed with one shove." but before the doctor can make his escape, the patient is discovered to be tremendously ill, and the entire occasion takes a perverse turn. 

in both instances—the disappearance of rose, and the appearance of the wound—kafka requires the audience to ask how this has happened, and what it means for the development of the narrative. "if there were no eternal consciousness in a man," asks kierkegaard's pseudonymous author johannes de silentio, "if an unfathomable, insatiable emptiness lay hid beneath everything, what would life be but despair?" the idea for kierkegaard's unreliable author is that the eternal relinquishes us of forging meaning for ourselves; yet, as we see in "a country doctor," in the very presence of that eternality, we find only mourning, grief, suffering, shame and guilt, regret, remorse. 

where the meaning of "a country doctor" really lies, then, is in the connections established between the rose-colored wound—consciousness—and rose, who has been lost forever—the difficulties of being in the world. the point is not so much the wound or rose, but is in the contradictions, the discrepancies, the absurd itself. the patient's wound is allowed to fester, crawling with maggots, despite the doctor's promise that it's not so bad—but the doctor is unreliable, is more concerned with his own festering wound. soon enough, he finds himself in bed alongside his patient, as naked as the day he was born.

"a country doctor" is simply a devastating depiction of what it means to be alive. the piece is short, around 2,500 words, which is why, by the end of it, there's a sense that something's been left undone; the reader might justifiably ask themselves what it is that they're forgetting here, what they're leaving behind. as the country doctor's clothes drag in the snow behind his carriage, it's likely that he's asking himself the same thing.

9

to see you in the morning—
you, your hair unwashed,
smell still tearing at my heart—
beautiful, devastated,
the way wet asphalt glows inside the night
but still so dull from all the rain
streetlights flashing, signals flaring,
many the ways that you might go
will you take me there, once you awake,
or leave me caddy-cornered on your cross-streets?
with breaths that move your body like your curtains soft,
breezing right in through your windows
dreams etched inside your head forever now,
with no way out except the ways you love
how do birds sing from branches with a voice like yours,
but not from sheets so heavy with a love well-worn?
maybe you'd hear if you could only listen,
maybe you'll see once you wake up—
i'd rather be heartbroken

10

my love she just sighs,
leaning the weight of her whole
   world on her elbow
& blowing smoke out the window
she dreams about following it back home
   for now she can do it with her eyes
the sounds of the city never cross crooked crimson lips
& her hands don't quite tremble with a heartache's faint despair
   no daydreams of the past, distant glimmers of the future
she mostly just sits in the back of black taxicabs
dreaming about somehow finding herself
   it's out there, she swears
& it'll be all right

projectile vomiting into the void

joseph walked down a sidewalk that was actually just rocks with his hands in his pockets. there were lights there, they illuminated him. joseph stood still to strike a match, covered his mouth with the cigarette in it, stood still again. joseph took a deep breath and walked—across rocks, across splays of grass, a metal grate. he heard the sound of gravel falling, far beneath his feet, deeper into the bowels of the city—which was built for him, for the people he knew, admittedly, yet which, somehow, still stood empty—than he would ever be willing to venture. joseph walked beside a rat that ran. joseph noticed this only seconds "after the fact". this was where he felt most at home, he realized, in the concrete hole that had been created, by people, for him. joseph was alone.

8

you slip through cracks in golden moments of time
you fall through words into meanings that tumble
you stumble
   you're so alive when you do

7

we all stumble into symbols sometimes,
falling victim to the sheer exchange of signs
what works, we say, then signify,
running further,
   never far enough from death

6

i don't understand sometimes why most of the time
i only follow the echoes of your boot-heels down
why i grab at your coattails as they wind in the wind
two steps behind, always hungry,
never beat bored or tired
of being deep in a dream that you're leaving behind