Tuesday, November 16, 2010

Outcome of Sleep Eradication


Camera Obscura: Fragmented from Light-Pollution
-“We are all in the gutter, but some of us are looking at the stars.” –Oscar Wilde

My neck is bent, and I look directly up from the car’s passenger seat,
The sun roof is open and acts as a camera frame that encapsulates the infinite canopy of night sky,
Looking up at the stars, my eyes searching for the constellation of a Muse,
But nothing remains consistent or clear enough to make out patterns.
More mundane, yet proximal, street lights interject, bidding for my attention.
There is a constant layering of image and after-image, my focus racking back and forth.
In addition to the street lamps, trees that hang across the road also penetrate into the show,
Sinews of twisted and gnarled telephone lines haphazardly criss-cross my line of sight.
I become disoriented.

The illusion that is created is as if, during a fire-bombing, I were riding down one of those
Technocratic glass elevators that are on the outside of buildings,
Externalized veins, from where you look out behind protective Plexiglas panes,
When you momentarily forget about your perspective, and falsely think it’s the world moving past you,
As opposed to you moving through the world.
It’s easy to lose track of context while in mobile-industrial-cages.
A chiaroscuro dreamscape, a seizure-inducing carnival of strobing shapes and fleeting pictures,
An orgy of quantum mechanical intersection and spread-eagle diffraction,
A credit-scroll of symbolism.
I think of acid tabs shaped like stars,
I become afraid.

Hesitant to look at the driver of the car,
If, even in jest, I start to associate the stars with her eyes…
Then I’m a real prick.
So I keep my face craned up, and reify a different cliché,
Feeling like the Forever-Overhead tableau is an avenue of escape,
“Star-gazer,” “head in the clouds,” “wish upon it.”
When Jiminy Cricket crooned it was in a time where seeing stars was more egalitarian.
Back when there was substantial dark that could be used to discriminate time and place.
Now society is becoming a macrocosmic city that never sleeps nor unplugs.
It’s not just the Metropolises that blot out the stars, replacing resplendent beauty with the dull-orange
Patina of their modernist binge, but small towns that become nothing more than corporate subsidies.
Giant factories have planted themselves in places in America that could still invoke the settings of Twain,
But now, never shall they meet, for there is no longer East or West.
Other animals go mad, certain plants cannot be triggered to grow, citizens become insomniacs; 
And when they want repose in which they can look off and hope to see a better world out there somewhere, They literally cannot.
There are many people that never have and never will see the night’s shining stars.
I become melodramatic.
  
We so desperately want to forever illuminate the spoils of our own technology, these statues of Ozymandias,
That we block out the reminders of our mortality and past, the things so inextricable linked with culture,
Religion, music, literature, political ideology, war, death, life, cosmology, cosmetics, striving and strife.
We fight light with light, and we have little to idealize when we want to separate wrong from right.
The multitude rhythms of life are put into disarray, replaced by the fluorescent hum of decay.
Even when you do see stars, you never see as many as you could, you lose depth and texture.
I become stoic.

I bring my focus back to the stars I am driven under.
They used to be navigational, a cosmic matrix to orient you to where you were.
It even helped certain dreamers figure out who they were.
We’ve replaced that antiquated Global Positioning System.
They’re tricksters however, and are seldom where they seem,
Their light is bent by the gravitational pull of certain objects,
A veritable abyss of smoke and mirrors.
Stars are not stagnant objects frozen in a fixed sky,
They are dynamic, they are elusive, and somehow they feel eternally ephemeral.
You are seldom engaging with the star itself as object, but rather take witness to
The Vagaries of its travel.
The aftermath of their extinguishment echoes in waves.
I wish someone would point out dead stars to me;
If they flicker it is a S.O.S. Morseing received too late and by someone who is not aware of the code.
A distant mirage,
I become ambivalent.

“Reach for the stars?” Madness. You’d disintegrate.
Your ship couldn’t even get close enough without everything going to hell,
And if you waste your time trying to reach them while still on terra firma,
Your aspirations will lead to nothing more than a sprained arm.
I never once think of reaching my hand out through the top of the car.
Redemption is not found in the stars, but on the ground, through the dirt.
The car ride is coming to a close, and as it slows for a turn I get an
Unobstructed view of the sky and the stars strike me in a different light.
These are Nietzschean stars, arising from a godless universe.
These are not the stars of poetry. These are stars that, in and of themselves, are meaningless.
Created, self-sustained, and then burned out; the epicenters for dead worlds and satellites.
Our short lives and attention spans make us mournful.
We’re just projecting onto the projected,
Why do we obsess over the stars?
Idolatry, worship, incomprehension, terror, song, and myth.
It’s even at the point where some people think that stars are so conceptually ubiquitous and hackneyed,
That you can’t even write poems about them anymore.
My moment of still movement in the car tells me otherwise.
Revisit, disestablish, rebuild, or maybe even take those saccharine metaphors and pastiche imagery and...
Give it a chance, “Poetry in a destitute time.”
When we address the stars, it’s like any other religious observance:
Yes, maybe we’re waxing to dead air,
Yes, maybe we’re asking for help from something that doesn’t care.
Like Rilke wailing to the angels, the stars cannot provide us transcendence,
But rather remind us, in their silence, of our own impermanence.
Even if it’s just a flaming ball of gas and it’s probably dead and its existence is as contingent and absurd as the       path that brought you to that car to watch the stars glitter through an urban infrastructural labyrinth
located near a mausoleum where a small part of you died and another part was born, even if a star is just a star and you’ve wasted your words on a unoriginal conceit of the imaginary, even if you have to parse your lines with the dead letters of dead men who forgot that the sky isn’t the only tapestry of beauty we can get lost in; that it melds with the vistas of the earth and even of the most soul-crushing Wastelands of cities, and that is also forges a relationship with the tapestry of our inner being, a concept that sounds so new-agey and unsubstantial that you want to ignore its existence but you can’t; even considering that when you look up at the stars you’re actually seeing what you want to see, trying to read your fates, hopes, triumphs, losses, fears and insecurities in a pointillist pantomime; even if your very best friend or closest family member gets nothing from the sky but a signifier of whether they should be asleep or not, but it’s okay: that even with all that and more considered, there is nothing that can ever take away from what you felt and how you feel.
You realize that to Hope and Dream and Desire for something a bit grander, to abstract and dissect and parrot well-trodden figures of speech, and to let yourself express yourself no matter how vulnerable it may make you; you realize that these qualities work for you. And that maybe dreamers have overused star poesis for a reason: these poets and writers harped on stars and their pluripotent meaning, as well as they have always harped about love, so it seems apparent that stars and love mirror each other in their structures, themes, and lived-experience-engagement. Cynical detachment and hyperbolic praise. Disoriented, afraid, stoic, and ambivalent. But there’s also clarity, excitement enthusiasm, and resolution.
 I become clean.

When I was younger I thought that all stars were yellow and had five points.
They made it seem like the Sun was something special.
Back to the car as it starts to stop, seeing a Grain of Sand in the universe, tired of reflection and over-analysis.
Tears start to form in the periphery of my eyes.
I let myself think it’s because of the visual strain and forgetting to blink.
I know better.

The Never-Finished Poem: Would Require Recreating an Uncomfortable Fugue


Brown Orpheuses: The E-Motion Picture
-“Estamos Bien En El Refugio los 33”Jose Ojeda

While watching the news coverage leading up to the start of the Chilean Miner Rescue attempt,
The story shows several women (wifes, mothers, and even older children) primping themselves for the night,
They put on makeup, style their hair, pick out the most appropriate outfits.
My father found this strange, and laughed cynically and derisively.
Before he said that I had tears swelling in my eyes,
“That’s beautiful,” I told him, on the borderline of sobbing,
“That’s poetry,” and I meant it.
If you wanted to be a real intellectual scum, you might argue that the women’s presentations were
For the 1000s of cameras poised around the sight, and that this is all theatre.
Even so, theatre is reflected from and reflects back at life, it provides the ever-needed catharsis.
While there may always be a sense of commodity and frivolousness to gender displays;
There is no question that the root of the women’s adornment is love.
A love so deep that they want to look as well put together and perfect as they can be.
Not for themselves alone, but for the lovers and family that they so agonizingly missed.
The first sight of themselves that they want the miners to see is not of a disheveled, dirty, tear-stained mess,
Even if that’s what they were for those two-plus months; that’s not what is needed.
Rather, they want to razzle dazzle them with the seduction of familiarity and home.

And while I knew that my experience with these men is tainted by media sensationalism,
While I know that the media executives are in love with the story, and all the advertisement revenue,
Exclusive interviews, days and days of replaying the more heart-wrenching moments, and the
Positive associations that are reprieve from the superficial and depraved aspects of media-saturation;
Are all things that will deepen their pockets and raise their towers…
I know that I could get real cynical and Baudrillardian, but I’ll slap myself if I do so.
You can throw a lot of critiques about the sincerity of reporters and the media-apparatus they feed.
The reporters there outnumbered the family members and rescuers.
The paparazzi-reporting style our country is used to makes us skeptical of their motivations and methods,
But when I watched the television footage of the first few rescues, and saw the tears that covered every face,
Some reporters putting the cameras down in order to really experience the wonderful thing that was Happening at the moment. Maybe even they realized that video-documentation would do no justice
To the electrifying humanity that was occurring. A genuinely tear inducing and life-affirming event.
  
Estamos Bien En El Refugio los 33


Florencio Avalos, 31, Driver, was the first rebirth. He hugged his seven-year old son, his wife,
And then the Chilean President.

Estamos Bien En El Refugio los 33

Mario Sepulveda, 40, Electrical Specialist, the second unearthed, his yells audible before
The capsule reaches the surface; his wife laughs with élan, he smiles immensely. The Jester of the group then Reaches into his bag and pulls out rocks from the mine, that he then gives to his Rescuers as presents,
Souvenirs from a trip to a part of the world that usually isn’t seen as a relaxing get-a-way.
He then bounds with exuberance to a group of spectators several feet away.
He literally leaps into their arms. Pulling back from the tear-soaked embrace,
He starts to lead everyone in a chant, his fists pumps into the air, and he becomes a man truly alive,
The real heroes of our modern and multi-media age.
With utter sincerity he told his Rescuers, “I was with God and with the devil – and good took me.”

Estamos Bien En El Refugio los 33

When Juan Illanes was released, 52, Miner, he was asked about his trip in the rescue capsule, he responded, “Like a cruise!”
He doesn’t make a show.
He is no bronze-medalist. Everyone interconnect to the scene are Golden.
The first thing you see on his face through the mesh cage as it emerges is a sly smirk,
A look of incredulity, of subtle awe, and complete contentment about being reconnected.

Estamos Bien En El Refugio los 33

At 24, Carlos Mamani has expressed that his days as a Heavy Machinery Operator within mines are over.
An outcast of the outcasts, being a Bolivian National in the torrent of Chilean pride,
He knells and says “thank you to everyone,” and it is clear that he and the others are no longer
So easily demarcated by National lines, they are citizens on the world, they are comrades in open arms.
He is the fourth.

Estamos Bien En El Refugio los 33

 Young Jimmy Sanchez, 19, had only been a miner for five amounts. He is the fifth to be uprooted.
Limper and weaker than the others, but his shell-shock is more than warranted.

Estamos Bien En El Refugio los 33

“I will fight to the end to be with you,” was a message Osman Araya, 30, Miner, sent up while he was down,
He greets his wife with a blanket of tears sloshing across his face.
Their hug lasts just a minute, but it feels like eternity to them.
Six up.

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Lucky number seven. Jose Ojeda, 56, Master Driller, the writer of the note that has now become motif.

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Eight: Claudio Yanex
Christina Nunya, the “wife” he hugs,. Kisses his two daughters, first time seeing the mining team that have supported him through audio communication.

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Nine:

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f


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Ariel Ticona, 29, a miner. He missed the first two births of his children with Elizabeth Segovia,
The first time he wanted to watch a football game,
The second time because he felt “squeamish,”
This time he was hit by the cruel ironies of situation, as he wanted to see the birth of his third.
The baby was born on the 40th day that Ariel was still trapped.
Much like my own experiences of these symbolic births, he was only able to see it through video.
The child was named Esperanza, Hope, a sentiment that is bullet-proof to cynical shots.

Estamos Bien En El Refugio los 33

Ricardo;  (28). Laughs and ribs.  He hugs his wife and daughter by wrapping them in the Chilean flag.

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Phoenix 2

They didn’t descend down there looking for their love, the sweet Eurydice, but rather,
Stalked the depths for copper, the life-metal of technological devices and architecture.
They didn’t claim the copper for themselves, for that goes to the corporate interest,
They received nadir levels of compensation, just enough to keep their families taken care of.
Workers that were economically and structural alienated before the catastrophe,
Became visitors to a subterranean homesick blues.

But that posh Marxist reading cannot adequately account for what happened when the City of
Hope, a community of support, constant fear, but with ever-increasing anticipation and excitement.

69 days in the fire is long enough.


For some reason the pulley contraption they’ve erected looks like an Oil Drill out of “There Will be Blood.”



17 days of loss and confusion, the bug

Setting the footage switch to the underground cam, a setting consisting of moot colors and sparse lighting,
The remaining men are constiently …
Sounds of whistling is overheard, as the few remaining men in the cavern must feel like,
Children on Christmas day, except they’re taking a reverse Santa Claus role. 

The photograph of Yanez applauding while being carried away my medics is sublime,
Surrounded by digiligance, the

Estamos Bien En El Refugio los 33

-Claudio (26), his daughter started crying minutes before his capsule resurfaced. As he hugs his family, the daughter starts to cry more. She keeps screaming “mama,” His rescuers pull him away. They cheer and shake his hand. His daughter’s cries reverberate through the scene, and is still heard by her father as he is wheeled away. You can tease out a lot of meaning behind that, but best leave it be

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(27) Franklin Lobos, a former national team soccer player. Greeted by chants of “Ole Ole Ole Ole,”
Someone passed him a soccer ball, which he starts to kick around to the glee of the crowd,

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(28)

During the live-feed, there was an unexpected cut to a shot of three horse-men on a mountain slope,
Silhouetted by the sinking sun. The composition invokes John Ford and his westerns.
Those Western archetypal heroes are no compare,



-The phoenix…
Something very sexual, a red and blue dick, like Gottfried riding in the bomb 0001, a skin-tight suit, and blasting back into the present.

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