Hold On Tight
I write elliptically, in the space between ellipses, sometimes. I don’t lay everything out, even here; I don’t explain it all or put the pieces in the right order at the right time.
At some times, that’s an intentional decision for any number of reasons, ranging from wanting to make things more inviting (or enjoyably frustrating) for the reader to make them read on — if I just told you everything, you’d get bored, surely — to, quite simply, not feeling comfortable sharing everything and wanting to keep some things to myself despite this whole space. In work mode, sometimes it’s also a function if not being able to say everything, because sources won’t share on the record, or there are things that aren’t my stories to share just yet.
But then, there are times when I write around things because that’s all I can do, when I don’t really know what it is I’m trying to say when I set out in the first place. I might have a vague idea, an imagined destination that may or may not be real, but I write in circles, I use words like echolocation to find my path when I don’t actually have a map. I’ll find my way somehow, I hope, as I get started.
When I was a student, I discovered the term “emergent research,” and remember to this day the definition I was given at the time: it was, I was told, what happens when you only really find out what you’re looking for when you’re already looking for it. In other words, you start out without a plan, and then the revelation comes midway through: Oh, it was this all along!
I’m unsure if that’s what “emergent research” actually means, or if it’s a recognized term in academia at all, I’ll admit. I could look into it, but that feels like it’d be risking bursting a bubble, or bringing some magic to an end by looking behind the curtain. Let’s enjoy that definition and idea of reality, even if it’s not true.
More often than not, I write as my version of emergent research, at least in the meaning I was taught. It’s the way I think, and the way I feel most comfortable doing it, I think. Sometimes, I just start a post with the words “I write elliptically,” not knowing what’s next, and enjoy the ride.
August 14, 2020
August 13, 2020
Or Die
I keep thinking about a sign I saw during one of the Portland protests a couple weeks ago, as you read this. The majority of signs were exactly what you’d expect: variations on Black Lives Matter or Feds Out of Portland or Defund the Police, each one something I agree with — each of those mirroring chants during the protest as well, with so many of the familiar favorites being screamed at the Justice Center walls. (“No Justice, No Peace, No Fascist Police,” or “This Is What Democracy Looks Like,” they seem to have multiple applications, but maybe that’s a sign of the protests I show up for; the more simple “Quit Your Job” was a new joy, however.)
I’m distracting myself. The sign that I keep thinking of read, simply, “Fix Your Hearts Or Die.” It wasn’t a threat, or at least, that’s not how I read it; it’s not as if the person holding the sign was threatening to kill anyone. But the simplicity of “Fix Your Hearts” as a demand sticks with me. There’s a cleanliness, a bluntness, to it — a reduction that feels assured and correct. People not supporting Black Lives Matter, people not appalled by what’s happening here in Portland in terms of federal agent overreach, people standing on the wrong side of history… their hearts are broken. Of course.
I keep thinking about the federal officers that night, as well. I keep wondering what they were thinking, what stories they were told and that they tell themselves to do what they do. In the middle of the protest, being there, it’s so clear that the lie of rioting protestors or violent agitators is just bullshit; there’s passion and anger and, yes, power in the crowd, but the tear gas is fired into the crowd for none of those reasons. It’s violence in and of itself, an attempt to disrupt and destroy protest. Who could do that?
(But then, I am just as unable to comprehend who could have a problem with protests saying “black people matter,” and here we are.)
Fix your hearts or die isn’t a threat, it’s a forecast. You might be living in the medical sense, but there’s no soul there. No true life worth living.
August 12, 2020
August 11, 2020
For Now It’s Part of You
Is it odd that, during these calamitous times, I’m leaning back into pop culture so hard? Surely not; there’s a relief and release in being able to find escape from everything hellish in music, movies, or whatever, even if I find myself increasingly worried that such things are frivolous. The authorities are at war with the people every night downtown, using tear gas and “less lethal” ammunition, and yet here I am becoming newly obsessed with Michael Nesmith songs from more than half a century ago. Is that understandable, or is it obscene?
Nonetheless, listening to “Tapioca Tundra” lately brings an odd sense of calm, somehow. It’s from the album The Birds, The Bees and The Monkees, which is to say, the theoretical down slide of the band’s career — Peter Tork barely appears on the album — and it’s an album that’s ostensibly a bunch of solo records mashed together, but the song itself was about the Monkees as a music unit, the group identity that was greater than the sum of its parts, according to Nesmith.
I’ll take his word for it, because the lyrics of the song — often referred to as a “lyric poem, set to music,” which feels like a particularly pretentious way of saying “ you know, like other songs” — are obtuse, to say the least: “Reasoned verse, some prose or rhyme/Loses themselves in other times/And waiting hopes cast silent spells/That speak in clouded clues/It cannot be a part of me/For now it’s part of you” runs the first verse. Exactly…?
It is, of course, the sound of the song that makes sense. I find “Tapioca Tundra” a very pleasant, relaxing listen. There’s something about the rushing, insistent sound, the mix of country and psych and folk that reminds me so much of the band Love, that makes me happy and calms me down, for want of a better way to put it, even before we get to the outrageously shameful, thrilling lift of the riff from the Byrds’ “I’ll Feel A Whole Lot Better.” For something that may just be a thrown-together piece of nonsense to fill an album, it’s got this charm about it that I can’t deny.







