I have also done ancillary reading and research on Harry Potter, with particular focus on this installment of the book and the film. The film was more excellent in my first couple viewings than it seemed in rereading the book. Especially the final bits, which are so much better conveyed in the book. The movie did a good job of making me forget how much better the book was because it, itself, was good. I read reviews, I read analyses, I signed up for Pottermore, I was just eating and breathing a whole HP world for something like a month.

And throughout, despite most people joining with me in the belief that Harry Potter is excellent overall, that the movie was generally a great adaptation of the book, that the book was an excellent conclusion to the series (possible qualms about the deus ex machina survival of Harry aside – and no, you don’t get a spoiler alert, because look at the title of this post and have you been living under a rock?), and so on, there has been one almost universal critique. Everyone hates the epilogue. Everyone, I should note, except me.

When I first read it, I adored the epilogue. I thought it was maybe a tiny bit too pat as far as there being no trouble at all in the last line, but otherwise every prior word was great. And I couldn’t believe those who criticized it after comparing notes. And now I’ve had the opportunity to see endless lampoonery heaped on it from almost every corner, to the point where people are attributing all but the very ruination of Harry Potter itself as a phenomenon to a few thin pages under the banner of Nineteen Years Later. So allow me, if you will, a bit of time to defend what I think is a key part of Harry Potter’s literary ascendance from great young adult reading to true literature.

By far the shallowest and yet most pervasive critique of the epilogue is that it doesn’t make any sense that everyone (or the key figures at least) marries the person they’re with throughout the duration of Book 7. Prominently, of course, that Harry marries Ginny and Ron marries Hermione. Now we can leave aside doubts about Ron and Hermione’s coupling to begin with, but that doesn’t seem to be the objection most people have. No, they say, it’s obvious that people have to go through lots of cycles with tons of people after school before finding the people they marry and this is an amateurish attempt to make the fans happy.

First of all, how many of these people have ever been through a war? Like, in their homeland? Have you ever seen the impact that trying circumstances, that life-or-death traumatic situations have on people’s relationships? They bind people together like little else. It’s an unfortunate fact that timing plays an enormous role in who we end up with (don’t make me dwell on this too much right about now), and the sense of timing can greatly be enhanced by the kind of urgency and meaning that being close to death infuses into a situation. The fact that so many of these couples from the 7th year at Hogwarts stay together to marriage is actually evidence that JK Rowling has great insight into actual human behavior and is the opposite of amateurish.

It should also be noted that the wizarding world clearly matures and marries at an overall younger age than its more modern counterparts. Surely you’ve noticed there’s no university education in wizarding Britain. Hogwarts is an amalgam of the classic boarding school and college. Graduating Hogwarts makes you a full wizarding adult, so it naturally follows that this is chronologically more like university than high school. And that makes finding a mate at that time far more reasonable and understandable than the lampooners portray.

I can’t really figure out why else people hate the epilogue – many of the critiques seem to just sort of see it as self-evident. I’ve heard that the whole thing, not just the last line, is too pat. I think it should be noted here that JK Rowling had sworn off writing anything more about the Harry Potter world (something she’s already repeatedly gone back on, but she must’ve believed it at the time), so she was trying to wrap up a whole landscape she didn’t want to revisit. To do that with an ending in the rubble of Hogwarts would be far more unsatisfying than to provide some sort of perspective and closure, besides opening the door wide for endless speculation and clamoring for sequels. It seems Rowling wanted to get very much away from being pigeonholed as a writer the rest of her career and that, possibly sadly, she’s being forced back into that comfort zone, whether it’s from the pressure of expectations or her own nervousness at failing at something else. The point is, only by offering some closure and making it seem as unadventurous and unthrilling as possible could she have a hope at ending the series instead of turning 7 books into 10 or 14 or 21. And I think that’s perfectly reasonable. Any opening for major ongoing conflict or strife would’ve been an invitation to that expansion.

It’s also worth noting the beauty of the narrative arc that’s completed in the closing of the scene on Platform 9.75, which is far more evident and obvious from the movie than it is from the book. (I also think the movie gives a slight out for people who don’t like the epilogue – the three protagonists close their eyes while holding hands on the bridge at the close of the main part of the movie, making it possible to believe they are all envisioning what their future will be like in 19 years and possibly even apparating to that vision. Watch it again – it’s there.) The close reminds us that each generation has its challenges, just as Harry struggles with in relation to all the people of his parents’ generation and their struggle against the same foe. By stringing us back to the place where it began, we can find our place in the cycle of life now as an older generation thinking of others to come after us, having grown up with Harry and the series. It’s, in a word, brilliant. It seems obvious that for the real impact of the entire effort to be felt, we need something expository like this to put the whole trajectory and experience in perspective, especially given how much speculating about even having a future that Harry does during the book and the entire series.

Not only do we get to see what Harry’s life on borrowed time came to, that he fulfilled the simple desires of life that we all forget to appreciate while we’re enjoying them because few of us came back from the dead, but we get to put ourselves on that train anew and remember where we’ve come from as Harry, Ginny, Ron, and Hermione are doing on that platform. You can also believe that it’s about seeing everyone off to safety and happily ever after, but even the pat ending that Harry isn’t bothered anymore doesn’t promise that it’ll always be that way. But now we’re speculating about future lives of characters we don’t even know, making our insistence to hear their story less important than its reflection on our own lives.

You don’t have to be as obsessed as I strangely became with this work of art to recognize that it’s really excellent literature that takes the next step and has something meaningful to say to all of us. I just wish people could trust the author enough to recognize the merit of the whole work, not just the parts they particularly like. Even the deus ex machina is growing on me, which is real proof that Rowling’s won my respect, word by word.

Thanks a lot, GMail. Are there really people out there who are worried that Facebook is closer to taking over the world than Google?

As Goo Goo Dolls would put it, “Scars are souvenirs you never lose. The past is never far.”

In other news, while it wasn’t the most impressive book overall, methinks it was particularly well-timed for me to read Siddhartha this week. There’s a lot of insight in there about the particular paths that might be tempting at this juncture of life and good reminders of what roads are full of folly. Especially interesting as I play some poker and wrestle with the material reminders of my past that I want to haul out to Jersey.

Been sleeping and dreaming too much lately. The hazards of being home. Have extended my home visit a little bit and then will probably be taking about a week to cross back over the country. Leaving Saturday maybe? Still a little bit in flux. Might hike in Rocky Mountain NP, but definitely skipping Grand Canyon and LA, as were possibilities even a couple days ago. Feeling daunted enough about driving another 3k-4k miles at this point.

Next immediate stop: The Frontier!

For those without Facebook, here’s the latest album of pics: Volume 3.

In the spirit of all this and more, here’s something to look forward to, already less than a month away. If you don’t like the title, finding it to be outdated, melodramatic, or even self-indulgent, you should know that my first notion for the tour title was the “Not Dead Yet” Tour. Which in some ways I find more fitting, though I like this acronym better, even if the ring is overall more nostalgic and less triumphal than Not Dead Yet might be. There are not a lot of detailed plans for this Tour quite yet, other than possibly daily yoga, since I’m losing my yoga routine with the close of the weekly class this evening, hanging out a bunch with friends, and two weddings (one in Boston and one in Albuquerque). I am still ruminating on a video diary thing as well as a writing project, so stay tuned for lots of neat new possibilities to come.

Anyway, obligatory Tour dates list:

Additionally, it’s worth noting that if you’re along the implicit route of this trip and I haven’t included your city, there’s still some room for amendment. You should contact me about that. The cross-country treks on either side of Albuquerque are going to be a little rushed, but there’s still room for flexibility there and especially on the East Coast portion.

Also changed the theme of the blog to reflect the new summer plans. The image up top is pretty much the best characterization of how I feel about this trip.

More soon.

Emily is in the states from what I can tell, from what I remember. I’m trying so hard to forget but it doesn’t work like that, the mind doesn’t just shut down and mine in particular seems enthralled at its height with what it should least be interested in. It’s horror, it’s fascination, there’s a reason we put ourselves through 10-inning 8-7 baseball games or literal roller-coaster rides or falling in love all over again when we know that we shouldn’t. Read your Watership Down, head for Strawberry’s Warren, know in your soul, in the core they keep telling me to engage on Tuesday nights that all this diversion and distraction is there to replace the life-or-death fight-or-flight feeling innate to being an animal. Not that kind of animal, but then again why not? Am I anything more, anything better? Truly?

But and so I have to be concerned on subway cars, on late-night (too late) trains to the middle of New Jersey, as though seeing the actual person would somehow be more powerful than the ghost that is waiting on brown warped leather or dingy graffitied plastic, hiding on street corners and under bus depot covers and in the parks and playgrounds of any city, but oh especially this city. As though talking on the phone or writing on the computer or reading the masterwork of the late great can in any way interrupt the flow of mental traffic borne ceaselessly against the tide, what would you say? Is this grand plan anything better than mild distraction, any more nuanced than the “look behind you!” trick when you’re going to take the money and run? Does the distance, real or imagined, help sever the seamless soul-deep bond that was tied so tightly, became interwoven with heartbeats and that nasal intake of air, stay here for five breaths, for five million breaths, why does the total count of a lifetime’s breaths seem like such a small number in the end?

A veggie burger with avocado and fries and Harry Potter 3 on the weirdly overdone big-screens and there is no event that I process without the mental image of you by my side and I try to insert others there in your stead but something seems off and even when it doesn’t there are larger problems of trying to replace something that’s missing and I know it and I get it and I understand how the comparison doesn’t wash but if you lost all your limbs tomorrow and someone told you the only thing we can replace them with are fish because it’s wrong to want arms and legs again because you had those before and new arms and new legs don’t want to be compared and I say fish are you serious and so I take the anesthetic and wake up days later with floppy jetsam of the sea just sort of stapled or sewn to the nubbins and I can still feel my digits so rudely severed and a walleye gives me this deadpan look from where my elbow should be like why don’t you want to play with me, why can I not use my little tiny gills to help you pick up where you left off?

Not to mention the falling over.

I watched a soccer game of some high-school-or-so youth club league, caged like visions of the Bronx Zoo in four perpendicular/parallel sheets of 30-foot chain link and then the Allison Weiss show I’d so been looking forward to, the only one of fifty or seventy with the guts to go it alone, and then people on the train back as I read some of the most even more compelling bits of The Pale King before DFW left me alone forever. And the echoes of the pin-drop pathos of “Ghost Stories” and that late chapter I relate to so well (but shouldn’t?) haven’t left me since, I am a walking shadow for the backlit realities of a few moments in time and space that feel like connection, that feel like art reaching out to me across the solipsistic divide of otherness and telling me it’s not okay but it doesn’t have to be and I am here hurting too. It is not okay but I am here but it is still not okay but I am still here. Over and over, till the mantra itself fades out of meaning and becomes another dull echo of an empty chamber.

I may go again Wednesday night in Princeton.

I bought a yoga mat. It is teal green and the color that anyone would have predicted and all I can hear is the voice and the lilt and the reaction that she would have had, that she might as well be having. At a certain point, if you can almost simulate your life well enough, is there a point to living it out?

She is still my wife. I have to figure out what to do about that. Maybe the 26th. Maybe the 6th. Maybe I can’t.

Allison Weiss at Rockwood Music Hall (with Bess Rogers)
New York City, NY
21 May 2011

I Don’t Want to Be Here
You + Me + Alcohol
I Was an Island
Ghost Stories
Nothing Left
The End Part 2 (Boston)
Don’t Go
Try to Understand
Wait for Me
I’m Ready
Fingers Crossed

I last worked on it on 7 February 2011, an overcold day that I spent writing fiction outside of my place of residence for the first time in many years, then talked on the phone to Ariel, then came home and wrote this post and then wound up tabling the project until, apparently, now or even later than now. That was three months ago. The project’s sum total, aside from a pretty thorough and still salvageable outline, stands at 2,433 words. Less than ten pages, generously. The size of a half term paper I used to crank out in a handful of hours before the deadline to convince my professor I was from wherever I was writing about.

May 15th.

I mean, there were other things that happened on the way to today, many of them halfway good. There was that whole job thing that came along just about after, whisking me away from a future in Seattle or Denver or Flagstaff and pulling me in, not unlike a friendly but still somewhat menacing giant anemone, ensconcing me in New Jersey with the promise of a career that was neither writing nor in conflict with my principles and artistic desires. Slowly gnawing on my nutrients while I got numb and placid and malleable and basked in the warmth of something like community before awaking on the rocky shores this May, behind on creativity and with the tidewaters of that community pulling away and out to sea without me. This is water, as good old DFW would say. And you only know it when you’re out of it, for good or for ill.

The Pale King is searingly brilliant, by the way, a 500+-page suicide note that I’m already in love with a fifth of the way through. It’s brilliant like a made-for-TV knife, like a whole novel of nothing but Tim O’Brien water buffalo in unending agonizing parade to their slow demise. It’s improved my quality of life twenty points in two days, single-handedly, if only be reawakening the slumbering knowledge deep within me of the importance of Project X. Its similarities to same are also somewhat troubling, at least in spirit, and it occurs to me that X could be a suicide note if it had to be, probably best reads that way as fiction even if that’s not its purpose in the corporeal world per se.

I draft ten notes a day, mostly addressed to the person I have decided to no longer address, of course, though it’s probably inevitable that she reads this blog (unless she’s really that disconnected, but then again she gets bored very easily and quickly became addicted to things like Facebook and the Internet for their absorbing, time-wasting capabilities, so) and thus even the people I “cut off communication from” (one, to date), are never really out of touch. With me. If. Yeah. I’m going to stop now. And reset.

The point is, simply, that I think a lot about death, in sort of the way normal people (as far as I can tell) think about food. Savoring different textures and anticipating certain flavors. Imagining different layouts and menus. It is not unwelcome, though it is probably less welcome than the average perception of food, it carries some of the same craving without the visceral desire. It is important, sometimes, for me to flag for people that I will not be terribly sad if it happens, even very soon. Which is not to say that I’m willing it and it is important that I not will it for the sake of all you dearly beloved readers and friends who I am truly well aware want the best for me. It is also important that you not respond to the sentence prior to the last one with some snide quirky neo-atheistic response about me not being able to be sad because I’d be dead and the whole point would be to feel nothing. It’s not exactly how it works and even if it were, it would still matter differently. Either you follow or you don’t. The point is, and this is the bottom line, it is no great loss if I go in this condition. There is something to be said for going out on a low note, when one is not missing much.

I bring this up not because I’m on the precipice of something drastic – indeed, I probably spend less time worrying about it than I have in a while – but because I am starting to formulate plans around spending a lot of time on the road this summer. And the road is a dangerous place – far more dangerous than the head of the truly suicidal, let alone something nice and safe like a plane or a ghetto. And in spending a lot of time considering mortality, one can stave it off with the import of writing a note first, then a lengthy note, then perhaps a whole manifesto about life that is long and exhaustive and exhausting and before too long, it’s time for sleep instead of death and the whole discussion can be tabled for another night.

Except here’s the problem: we often never get around to writing that thing, whatever it is, and then we wind up in a three-car chaos outside of Tulsa some night or succumbing to a clot or an aneurysm that no one thought to look for and suddenly the thing that reassured us about staying alive is still left unfinished and makes the whole operation of dying, after all, sad and wasteful. Which is not to turn this into the typical trite “make haste to live” or the deadly “live each day as if it were your last” (not that there is not value to such positions, in part), but rather to observe that those things bear writing when one has the time and, indeed, even the circumspection to perhaps not be all so mopey about the end of living on this planet.

It’s like this: My debate team went to Columbia a week or two ago to renew the old King’s/Queen’s Debate tradition from centuries ago and they hit this case about letting prisoners go if the law they were imprisoned under was repealed. Makes sense, intuitive, fun for discourse, the whole nine. But the team mounted a mighty opp based on the idea that parole boards ought decide when people are ready to reintegrate into society – that blanket amnesty is bad, but the parsing and sorting of parole boards can maximize the chance that those returning to society are healthy and happy and ready to participate. But of course Columbia ultimately won that argument by observing quite simply that this is not our modern standard – parole boards are not invoked at the end of every term in prison, but only periodically and selectively for early release.

Which is to say that a great writing project, a suicide note if you will (regardless of self-infliction, mind), is like a parole board for life. We ought not be let out without taking the time to reflect. Not only does this dovetail quite obviously with my own theological presumptions about a time of review and reflection between worlds (some day that will be set down, but I have confidence enough of you know what I’m talking about that I don’t have to explicate further at risk of this being part of the whole missing piece I’m trying to avoid), but it’s just a good standard. So if you catch yourself feeling okay with death, maybe it’s time to start contributing the last great statement (and yours may not involve words – perhaps you prefer sculpture or interpretive dance) just in case. And if you like life more, well all the more reason to hedge just in case, to indent the sting of potential calamitous tragedy with pre-emptive safekeeping.

And so, with that, it may be time to set a new deadline for good old Project X. Realistically it can’t be before the summer travel, starting to take shape between the 24ths of June and July, but it can be soon enough that each year since I got serious about this aspect of my life again will contribute one book to the stack of those waiting to find traction in the greater mind at large. And writing books for the aspiring author is probably a lot like having children for the aspiring Major League dad. Sooner or later, one of them’s gotta be able to play ball.

I might want to keep track of this over the course of a season, but it might be too depressing. There’s something very 2010-feeling about the above statistics, making the whole thing seem retrograde and unfortunate. I’m still getting mail from the Law Office of Trudi G. Manfredo, slowly training me to not let my heart leap when I see a large envelope or package waiting for me by the mailbox. No wonder so many adults used to hate getting mail. No wonder people have so robustly embraced e-mail and the postal service is having to run pyramid schemes to stay afloat.

Dissolution. There’s an apt word for you. The solution is getting dissed. Amen.

Got my copy of The Pale King today, the first new book I’ve let myself purchase since I started getting mail from Trudi. I am palpably excited about it, despite the fact that I know it won’t finish, perhaps especially because, since David Foster Wallace’s books never really finish and often almost die mid-sentence. They are about the journey and the exploration and in this case, about the descent into madness that accompanies a final chapter, a final submission, the narrative into suicide. Which is not to say, of course, that this book killed him, but it probably didn’t help. Electro-convulsive therapy is what killed him, of course, which I’ve discussed before. I’m now faced with a dilemma about abandoning or suspending my progress through Underworld to pick up the new tome, which feels somewhat compelling because my interest in DeLillo only came from running out of Wallace to read. However, there’s something to be said for savoring and delaying things, especially when they are the last of things. Once I get through The Pale King, there will be no more Wallace fiction in this lifetime.

What of apprehension, then, of surprise, of anticipation, of expectation? I have been on a new mantra lately, a big kick, something that stems from my interactions with Trudi and friends, yes, but also a longer scope of life writ large. It’s that what we can see coming is never that scary. Dental visits, deadlines, interviews, departures. We build them up in our minds to be cataclysmic moments of potential doom, but rarely does the actual moment even push the meter of our stress levels. They may not always be pleasant, may not always turn out, but not a one of them ranks as the top fifty worst days of any of our lives. It’s the surprises that count against us, the things we don’t see coming, the car accidents and sudden deaths and blindsidings and phone calls in the dead of night. There’s some relaxation and sobriety to be gained from all this, and I’m not even certain the sum of the information is reassuring. On the one hand, we’d be well served by just calming down about everything we dread. On the other, we must constantly look skyward in a more overarching dread for the calamities which may fall therefrom.

Of course the nature of surprise is that it can’t be anticipated, so the idea of this creating an overall aura of creeping dread seems silly in some ways. One could ruin every day one has remaining caught up in negative anticipation of death and I know many who do it (or would, or start whenever they come close). Some people even mistake my own hyper-awareness of mortality for this, though it’s actually the opposite – it’s a comfort with the concept designed to fuel energy into the living days, not a draining dread instead. (Incidentally, I know I keep overusing the word “dread” instead of synonyms, but it’s to hammer it home… and isn’t there an onomatopoetic beauty to the word? Does anything sound like “dread” so much as that solemn dead syllable itself?) No wonder we love surprise parties and surprise gifts and surprise whirlwind trips to the Bahamas. It corrects our vision of where the badness comes from, reminds us that positives can come from traditionally negative sources. That the clear blue sky is not just waiting to kill us, but perhaps also to elate us, that the random cacophony of wills involved in shaping our world can be on our side as well. No wonder I chose to delay telling the Rutgers team some particularly excellent news I have for them tonight so they could savor the nature of positive anticipation as well, so they could suspend their lack of faith in the notion of surprise.

Of course this last is a dual-sided sword, for in having time to anticipate so-called surprises, there is the inevitable churn of disappointment that correlates quite cleanly to the relief of surviving dreaded events. How many Christmases, birthdays, long-planned dates lived up to the expectation, the savory sweetness of mental pre-hyperbole? If someone tells you to go into a room and imagine the best thing you can, what are the odds of that getting exceeded? We are an imaginative species and capitalism trains us to be disappointed with whatever we actually have available to us in the face of what we could have. This is why we are so unhappy as a society. This is why we have drug and alcohol problems. This is why, yes, marriages so often dissolve into mailed paperwork as a replacement for one-time dreams. Reality is almost always short of our expectations, our best hopes. And it is all too easy to trade in reality for a lottery ticket, literal or figurative, suspending the idea that one’s chronic disappointment is a product of the very nature of expectation itself rather than merely unlucky circumstances that could hypothetically be changed. All too often, the unhappiest people learn far too late that it is their mindset, not their means, that have led them to disappointment.

My creative pursuits have found massive suspension against the backdrop of unexpected employment and intensified responsibility. The May 15th deadline for the fourth novel is entirely laughable at this juncture, long ago mentally erased if not literally so on my year-long plastic wall calendar. The summer arises as a possible boon to the creative and imaginative pursuits, a resurrection of quizzes and novels and the things I spend my life promising myself to do while usually getting caught up in more directly personable and interactive pursuits. Is it against my nature to sequester and write, to scribble and shun in order to communicate in a wider, broader, more explicable way? Should I be more comfortable with the 1-on-1, the 1-on-10, the small-scale but somehow attainable pursuits of change? Is this my true calling, in spite of what my ten-year-old self concluded? My ten-year-old self was sick of people, felt rejected and isolated. Every year since, with only romantic exceptions, I’ve felt more welcomed and included and inspired by the people in my life. Perhaps it is there, in iteration and not stagnant text, that I have the most to offer. Or perhaps it is a balance, as feedback rolls in from the prior two tomes of my own, perhaps there is something quality in scaling these pursuits against each other, in alternation, in the much vaunted middle ground.

I can’t even update Duck and Cover on a regular basis these days, it seems… today all but destined to be another gap in the already reduced weekday schedule. Part of this is a logistical paper problem – I’ve worn out the month of Oscar themes, but need some supplies to rejoin the regular tread of the other eleven months. Of course I feel an additional disconnect when facing the political world, however, namely an inability to relate to the events of the world around me. The US has become a hyper-militaristic state, never flinching from a conflict where anonymous bombing can destroy buildings, lives, and morality. And all the people I warned about Obama starting a war, I wrangled with about his Afghanistan comments and said he would find countries to invade in his tenure, that it’s become almost required action from each Presidential term, they can’t wait to sign up as being “in” on the Obama campaign on Facebook, can’t wait to commit to four more years of death by sky. There are no Democratic or Republican ideals, there is only a commitment to big business, big war, big money, big death. This is America’s role and influence on the world and the only hope is that someone eventually gets sick of it. But it won’t come from within, that’s increasingly clear. The next generation has been co-opted, far too susceptible to the idea that whoever America replaces bad leaders with will be better even in the face of plethoric counter-evidence everywhere in the world. The simple notion that killing can lead to progress has done more harm than any other single concept, and yet it remains close to its most pervasive at this very moment in history. Six-thousand years, no real progress. Just flashy machines and technological advancements to bring us our books from far away, our mail from law offices, our bodies to one continent or another, while our minds and emotions fail to keep up.

It’s no coincidence that the most satisfying aspects of our lives are the most ancient. Yoga, oral discussion, the warm feeling of connection to another human soul. It is at our most rooted that we are the most secure, happy, able to trust and hope. Put away the phone, unless it is really helping you communicate directly and robustly. Put away the screens, the bells, the whistles. Sit. Think. Read, maybe, or maybe just talk, even to yourself. The core of our experiences are no different than they were 6,000 years ago, or maybe longer. The best hope for progress may, in fact, be regress.

Two: The Frontier Restaurant in Albuquerque has long been a sort of totem of my relatively limited affection for the world. The things I like tend to be things I like a lot and the Frontier may be close to my favorite of these things. It has great food, relatively cheap (it used to be unqualifiedly cheap, but now such things have gotten a little less certain), a wide expanse of comfortable, Western-themed rooms, a wide cross-section of Albuquerque’s population, and hundreds of memories (most of them even good) haunting its tiled corridors. Introducing new people to the Frontier has become a hallmark of their visits to New Mexico and a highlight of any trip home for me, for spreading the Gospel of the Frontier is one of my most thoroughly developed skills.

Brandzy had been to the Frontier before we made it in for a crowded Sunday lunch, but he’d been there alone and in a rush and only on my far-flung recommendation while I sat in, I believe, an office at Glide. So while the experience was not entirely untested, his ability to fully embrace the Frontier ethos as one who is being guided and shown around had not been breached. Having discovered a new love of green chile the night before at Garcia’s, it was no problem convincing him to try a cheeseless breakfast burrito and begin the rapid indoctrination process often underway by the time someone sets foot over the Frontier’s well-traversed thresholds.

He arranged a hasty reunion there with a long-estranged friend, leaving us just enough time in the schedule to stop by the old place on Twelfth Street for a glimpse of what my actual upbringing in Albuquerque was like before my parents moved and were able to claim the place they’ve lived since I was ensconced in college. Gone were the chickens and ducks and geese; added were several walls and outcroppings of the structure my Dad had begun to augment before our move. But the echoes of a bygone era, already reverberating through my perspective after nearly a month in New Mexico, began to thunder loudly in my cranium as it perched just visibly over the ditch-side wall to offer a view of stuccoed straw-bales and the wispy visage of a teenager who’ll never walk that yard again.

We didn’t reunite thereafter till it was dark outside, a fire blazing within to offer a bulwark against single-digit temperatures that threatened any stranded without the walls. Brandzy’s picked up guitar lately and he picked up his, encouraging me to literally dust off an instrument I hadn’t touched in over a decade as he began to practice. I almost caught up to him in a couple-hour impromptu jam, relearning “Blowin’ in the Wind” and “This Land is Your Land” and plowing through our recently recounted memories of me at eighteen or thirteen to squint into an even more distant past, one at eleven and twelve, one accompanied by the plucking of strings and the pressing of frets as I failed to practice sufficiently to make good on a musical promise always more hoped for than manifest. “Puff the Magic Dragon” added heart-strings to those already being tugged, but we struggled with B-minor and had to regroup with the two we’d played together as we laughed and celebrated a minor victory in being able to learn, or at least remember, at thirty years old.

Three: A return to the Frontier and a series of near-goodbyes marked this sleepy day, with Brandzy departing for Arizona before tragedy was to strike there coincidental to his more planful journey. We said farewell repeatedly, culminating in a last farewell as he retrieved forgotten sheet music on his way westward once more, promising to listen and talk of future farewells as many times as might be necessary. I spent the day in increasing awareness of my hurtling toward departure from New Mexico, left once again to feel the already waning rhythms of life in a family of three as I lived it for almost two decades, but so little in the past twelve years. Late in the day, after good portions of reading and computer time, I was able to convince my parents to engage in some magical thinking and accompany me to my father’s first (modern) 3D movie, the “Voyage of the Dawn Treader”. And on the third day of the year, the three of us watched a three-dimensional film, the third in the classic Narnian series, nearly having the theater to ourselves before a couple stragglers joined us in late preview. All were pleasantly surprised by the quality of the film and the engagement of its contours, convinced once more that sharing a movie outside the bounds of the homestead is not only viable, but vital.

Four: My last full day in Albuquerque was slow and methodical, as I took periodic care to note the passage of time and the significance of a day that, like any at home or in the company of those one rarely sees, could bear unseen and increased significance in certain retrospects. I have learned over much belaborment that it is important not to overemphasize such days, to overload them or overstress them if possible. There is great pressure put on departure, especially when it carries potential portends of long absence and the gaping maw of life unknown and unplanned, of reunions whose dates are unmarked on the calendar. That very pressure that inclines one to enjoy and squeeze the stuffing out of these moments of significance can suffocate same, strangling the throats that would call on memory to the point where all that can be heard are plaintive, even frustrated cries. It is one of those Murphian curses of our existence that an awareness of important days can crush them, that our most beautiful memories are often of days almost unnoticed at the time.

I managed to finish my book, to dine with my family, to make plans to see a friend who’d just made it to town in time to play piano and a last card game with Fish and I before we departed. Eliaii and I rarely overlap for long in Albuquerque, but our conversation made the most of it this time, as early hours of the fifth day of the year were burned in serious contemplation of life and its foibles after he and Fish’s father conquered Fish and I at what Trivial Pursuit recently informed me was the most popular four-player game of all-time (bridge). If it was the last night at what I’ve lovingly called The Tank for a decade and a half, it was one for the ages. Fish and I had sat before the gas fire several times this trip, contemplating New Year’s past and further past, or imagining what future hope could be carved from the newly breached shore my life has been wrecked upon. I had not realized how much of these opportunities to regroup and reminisce had been made possible by Fish himself until that night, until hearing his parents wax wistful about Florida on Christmas and realizing that at age thirty, despite feeling like kids, we are directing more traffic in our lives than we really might imagine.

Five: Village Inn is no Frontier. It’s not even Waffle House. But it is open and relatively close to The Tank, and Eliaii and I finished the last large meal of my time in Nuevo over discussions of where things are heading in a year that if I keep saying it has to be better than last year, it almost certainly won’t be. A cop sat behind Eliaii and looked up occasionally over his strongbox-computer-sourced work, trying not to acknowledge me as I talked about places I might live and jobs I might pursue and avenues I might attempt to sidle down in the coming months and years. I often caught myself wondering what he might think of our cavalier evaluations of Albuquerque, its advantages and disadvantages. It’s easy to assume that almost any well-settled local is a lifelong native, but it’s quite possible he was an import from Texas or California or even possibly Chicago, though there’s something about police in particular that I believe makes them seem provincial. It’s probably halfway between a stereotype and the belief that they take up arms and badges in the defense of a long-held community tradition, or at least in a place where they’re familiar with what neighborhoods require what sort of patrol. In any event, he heard me compare Seattle, Denver, Flagstaff, and Vancouver favorably, though I lamented that Albuquerque’s affordability and climate were not available without the ghosts.

I considered staying up all night, but it was clear by six or so that this would be a poor plan, especially since my departure was later than my traditional bargain-basement dawn voyage. I caught about a hundred minutes of sleep in the steady restlessness of the jittery need to awaken quickly when it is, in fact, time to awaken. How many mornings spent alarmed and ready without necessity, starting alert every five minutes only to discover that the need to leave bed is still many minutes or even quarter-hours hence. And then the final moment of awakening, of sounded emergency startling, it seems anticlimactic and almost sad, wasted in its annoyance on a person already feeling as though he’s been awake and ready for days.

It was in this state that I began to cry, facing the magnitude of the departure that was upon me, feeling the welled and stored pressure of all that had built in days and weeks and a near-month of muddling through in search of resolutions, answers, hope, holiday, restoration. Once unleashed, my final of many floodgates on New Mexican soil knew no stoppage, prompting a contemplation of punting the flight altogether in favor of later times or, perhaps, making a vacation more permanent or at least indefinite. Departures like this, as often tagged in this format itself by my “Pre-Trip Posts” moniker, tend to carry that pre-remembrance feeling even more heavily than last full days in a locale. My family is heavy with premature death, with tragic losses and missed opportunities to say goodbye, adding extra weight to every long preview of extended absence. A deluge of unchecked tears as the last of the packing culminates is hardly a harbinger to ward such misgivings. We bawled and hugged and my parents begged me to reconsider my resolve to fly to Philadelphia. I almost relented. But at some point, amidst the pangs of reconsideration and reformatting of a whole vision of this year, I stood up and said “it’s time.”

Airports are lonelier than any Valentine’s Day, any New Year’s, any holiday spent solo. Many are alone, but nearly all of them are heart-filled with the last kisses of loved ones or the even more soaring anticipation of long reunion. It is too early to declare these experiences forever spoiled, but a thirty-hour jaunt to Liberia resulting in a cold shoulder went a long way toward inhibiting my taste for unaccompanied air travel. After a steadying phone call to Stina to iron out last details of the pending trip to Vermont and New Hampshire, I resolved to sleep as fast as possible, making up for the nervy hundred minutes of half-rest that had preceded my teary farewells to hearth and home. We were airborne, underway, then as Albuquerque receded ‘neath a bank of clouds, I nestled in the very back row against my parka and gave in to merciful unconsciousness.

I was awakened some hours later by a special announcement over the loudspeaker with a surreal-sounding request that all passengers aboard our flight from Albuquerque to Chicago lower our window shades and press our flight attendant call buttons. It was a minute or so before I could be sure I wasn’t dreaming, groggily blinking at the 100% participation with what appeared to be a prelude to an ill-lit ritual of cult or creed. Instead, it proved to be a marriage proposal, inarticulate and choked as it emerged from a pudgy but sincere-seeming guy as introduced by a profoundly polished contrasting stewardess. The view from the back was murky enough to briefly convince me that he was offering a wedding to the stewardess herself, but it proved to be a fellow traveler on the wind to Chicago that was receiving what would long be considered the happiest news of her life. My thoughts went quickly to a mid-inning proposal at a Philadelphia ballgame Emily and I attended shortly before she flew away, our wincing looks to each other reminding both of us that our best proposal story of our lives, the best proposal story either of us have ever heard, has been burned on a needlessly heartbroken marriage whose memory now only brings pain. It is hard to say how particularly cruel life has been lately or whether I merely notice its cruelty more unguardedly in my present state, but I would also venture that none of you have borne witness to an airborne proposal and that things are really going out of their way these days. I tried to fall back asleep as soon as possible, shortly after desperately trying to make myself clap along with the congratulatory crowd.

I didn’t leave the plane in Chicago, instead waiting for all but 9 of the seats to be filled by those who filed on in annoyed single-file, scouting seats and bin space like buzzards on a planet of immortals. Inevitably one of the loudest of the future passengers found his way across the aisle from me, where I was newly placed in good old row seventeen. He’d made a new friend in line and spent almost all of the boarding phase yelling details of his dramatic life across the way to her chosen seat, just behind my head. Turns out he’d flown back to Chicago from Philly to bail his ex-wife out of jail. She’d just burned his house in Chicago down. He was taking the kids, who were coming with their grandparents in the back of the line, back to one of the grandparents’ places in Philadelphia to recover while he contemplated whether to press charges and how to collect on the insurance. The guy looked like the kind of person who would make up a story like this just to pass the time, but by the point when two scared-looking bear-clutching grade-schoolers dutifully boarded between hand-wringing matriarchs trying to look brave, I was convinced. Maybe the only thing special about anyone’s experience is that they think it is special. Maybe suffering is all the same.

I read at length from my Mom’s long-recommended recent favorite, The Shadow of the Wind, while trying to shake the idea that I was getting a portrait of American nuptials presented by Southwest Airlines. I couldn’t sleep a wink all the way down into Philadelphia, a rarity for me on planes. I have long tried to keep myself awake on the large commercial vehicles, often just to see if I can, sometimes because I desperately want to read or converse or otherwise enjoy consciousness. But this was my first flight in ages to offer me such, almost not counting since its first half was spent almost completely asleep. As we eased down toward Philadelphia in one of the most gradual descents of all-time, I was able to peer through cloudless skies at early evening scenes of eastern America. It occurred to me, squinting and sighing, how like constellations the light patterns of winter cities in this country are, how the order/chaos of patterned streets and traffic and buildings, especially in smaller towns, resembles nebulas and swirling galaxies high above in the same dim-lit view. We rotate and revolve around a center, we follow an orbit, and dim glimmers of yellow or white or even purple hints at our existence, winking in the void as we wait to be driven homeward.

All the way back, I’d think how strange it was that I’d never before correlated far-flung star systems to the electric networks that adorn our own civilized groupings. Sitting for long stretches on overlit trains, even longer stretches in even more overlit train stations, hauling my overstuffed bags down the rickety ice-flecked stairs of the New Brunswick depot, hailing a cabbie my parents had insisted I employ to make the last tiny stretch of my journey less exhausting than all that piled on before it, I would wonder. How can we be so close to so much and not see? What am I not seeing before me now that might be my skyward salvation? And what, most of all, might I never see, never connect or correlate, until such time when its knowledge is no longer useful? Are we ever making decisions as though truly informed? Or does the chaos outweigh the order, leaving us as much starstruck or star-crossed as we are illuminated?

I’m not sure about this emergent 2011 pattern of recalling a day or a handful of them in somewhat distant retrospect, but I kind of like the affect it has on my thinking and the way I talk about things. Like these constellation/streetlights themselves, I think I might often be too close to the days I’m writing about, and even a few hours or a week of reflection time can make an enormous difference in how circumspect or thoughtful I can be about them. I can’t imagine sandbagging future thoughts and entries to create this effect, but while I’m still catching up on the early parts of the year, I’m not going to fight it. In other words, this vignette series will continue, at least for another entry or so.

So despite my moratorium on gifts, largely borne of exhaustion at the idea of giving and horror at the accumulation incumbent in receiving, I went and bought myself a big ol’ new toy this week, which arrived today on a Budget Rent-a-Truck masquerading as a FedEx delivery vehicle. It’s what I’m using to write this very post, a Dell Inspiron laptop that is my first ever computer of the portable variety. I don’t really need it, which begs the question of why I went out and spent ~1% of my net worth on it. There were a lot of micro-factors, including a desire to become familiar with post-XP Windows operating systems (while not having to rely on them, thank you trusty desktop!), a desire to utilize streaming Netflix movies while not trying to use my office chair like a couch, and a desire to be able to write in places that are not my apartment. None of them singularly compelling, but in combination enough to make an interesting case, especially when my misperception that any decent laptop cost at least $850 had been so roundly dispelled. This one was less than $500, including taxes and shipping.

I’m not intending to make it my primary computer, which really gets me on my case about spending money like this for a backup computer at a time when I intend to be saving for some indeterminate future. At the same time, I haven’t bought a new computer in about 7 years, and that one cost about the same as this one. $750 a decade is probably a reasonable computer budget, especially for someone who uses theirs as much as I use mine. Plus it’s a little lift, sadly, to get a new toy. I say sadly because I truly wish I were immune to the American-instilled pleasures of having a new material item to play with. But I am honest enough to admit that it gives me a little thrill, that it’s fun to explore and learn, that I enjoy the tactile pleasures of the shiny o-bespeckled base and cover. Am I nervous as all get-out that I will tire of using the keyboard which, although not bad for a laptop, is still annoying? Sure. Or that if I spill something in this keyboard, the whole computer is wrecked, something I’ve long criticized about laptops? Of course. But hey. Life is unpredictable. Might as well take some chances when the impulse strikes. And, y’know, it doesn’t do grievous harm or something.

Meanwhile, New Mexico continues to be a really mixed bag. I’m loving the food, splurging additionally to stuff myself with rellenos, enchiladas, and burritos. I continue to read a lot, now about a third of the way through John Irving’s behemoth Until I Find You. I can’t tell if he’s writing it absurdly simply to prove a point of some kind or if he really was always a very simple writer and I didn’t notice amidst his really engaging plots like Owen Meany or Widow. Maybe I’ve been reading too much Pynchon and DeLillo and Russian lit lately, but this work is coming off like a third grade composition. Maybe he’s just lost it as a writer. Nevertheless, it’s entertaining in the lurid way that most Irving pieces are. And I’m sure it will be ultimately convoluted and heartbreaking, so there’s that to look forward to.

Now that I have my laptop, I might move forward with the ambiguously talked-around quiz project that was laughably short of launching before I left NJ, despite my ambitious claims to the contrary. Of course, we’re also in the full throes of luminaria season, which gets going in earnest tomorrow as I take the 600 folded bags and start filling them with sand to be stored in the garage. My ambition was to place them a day early (the 23rd) – something I’ve often talked about but never actually followed through with for one reason or other. But they’re now predicting rain that entire day, meaning it’ll have to be another dawn-to-dusk marathon layout on the 24th, as per usual. And that’s assuming the rain doesn’t start to impinge on the actual display day. Now that I’ve got a camera built into the laptop, I even toyed with the idea of making a “How to Make Luminarias” video, but I probably won’t have the energy. At least the rate at which projects occur to me is steady, even if my inertia is larger than normal.

This has wound up being a rather prosaic post. Blame the latent materialism, blame John Irving’s low-vocab influence. I had more poetic efforts in mind last night amidst the lunar eclipse and the solstice. But after lying down on the rooftop for the better part of half an hour it was too cold to persist. By the time I went back out in search of a reddened orb, it was blockaded entirely by clouds, the world hemmed in from the astronomical convergence. It almost brought me to tears, and not mostly because I was sad to miss out on a direct visual of one of the most photographed events of 2010. The moon does funny things to people. It tilts the tides unseen within us all.

I’m about halfway through my month in Albuquerque. Up till now, almost all of the time has been with family. Much more of the time to come will be with friends. These twin pillars continue to radiate the import of this place for me, whatever toys I bring or hold, whatever meaning I ascribe to its tasty food and haunted corridors. In the end, as always, it’s about the people. The luminarias, laptops, and lunches don’t hurt. But it’s about folks. That’s all we are in the end.

The summers I was 14 and 15, I spent intense three-week sessions at the Center for Talented Youth (CTY) at Dickinson College in Carlisle, Pennsylvania. The program was designed to augment the studies of languishing “gifted” kids scattered in normal middle- and high-school routines and give them an outlet for their overactive intellectual interest through taking college(ish)-level courses in an actual college environment. The larger point of the program, and the one I probably enjoyed the most, was the social element – throwing a bunch of bright nerdy youngsters together to meet each other and feel less lonely amidst summers that might otherwise be spent reading alone or trudging through some mindless job. Indeed, it was at CTY that I first danced with a girl (outside of a play performance, at least) and where I was first introduced to Diplomacy, which I then promptly imported to my own batch of regular-season bright nerdy fellows back in Albuquerque.

There were other dancing girls at Dickinson those summers, ones I would usually only see periodically and mostly picking at their cereal bowls during crack-of-dawn breakfasts at the cafeteria. CTY had a strict lights-out policy at some absurdly early hour like 10 PM (it may have been 11, or it might have even been 9:30 on weeknights). They checked for flashlights and militantly patrolled the halls. And while I bitterly resented the requirement to sleep far more than I normally would (I was already down to 4-6 hours a night and, by the second summer, pulling all-nighters periodically), I did appreciate that the schedule forced me out of bed at 5 or 6 in the morning so I could take a shower long before anyone else was up. Being housed in dorms, these summers were my first brush with communal bathrooms and I was seriously unprepared for the kind of familiarity and camaraderie implicit in such confines. After all, I’d always gone home after baseball games rather than face the horrors of the long row of uncurtained showers. There was a perfectly good shower at home. Dickinson’s showers were not so devastatingly unprivate, but the idea of even appearing in a bathrobe or trying to change while wearing one in front of other people was overwhelming to my modest early teenage sensibilities.

Thus I was done with showers by 6:30 at the latest and found myself in the unlikely scenario of being awake to see one of the only phases of the day I routinely missed during the rest of my life. Breakfast opened at 7:00 sharp at the cafeteria and many were the mornings that I leisurely waltzed up the brick walk from the dorms to the student center, breathing fresh dawn air and watching the sun’s first glimmers through trees and feeling pure and whole about the opportunity that life itself provided. Only in the euphoria of paper-laden all-nighters in late high-school and early college did I find such similar bliss of first light hitting the world, of being so alive while the rest of the world rested. I remembered talking with Gris at some point during college about how he felt sort of queasy if he was ever awake when most of the surrounding society was asleep, that he felt out of balance with the universe. To me, it’s always been just the opposite. When the world is silent, the mind comes alive. See?

So I would get to the cafeteria, inevitably a little too early, to find myself in the tiny line leading to the fading brown double-doors that held one of the best breakfast spreads I’d ever encountered. It was wasted on most of my cohorts, of course, those attending the ballet camp of indeterminate origin that shared the campus during those summers. Indeed, exactly three groups held regular camps at Dickinson in 1994 and 1995 while I was there – the ballerinas (who we lovingly called “rinas”), us, and the Washington Redskins. It was like some poorly constructed joke or an ironic attempt at diversity by the deans of the school. Tiny high-school aged female ballet students, enormous burly adult football players, and average mid-to-high-school prodigies. Grace, brawn, and brain. Small, large, and medium. Female, male, and mixed (or for the most part, more accurately, sexless). Those who refused to eat, those who ate everything, and those in the middle.

As the doors flung back at 7:00 to reveal eggs, potatoes, waffles or pancakes, breakfast meats, a cereal bar, and countless fountain-sprung beverages, one couldn’t help but wonder whether the intent of the deans had merely been to evenly space the burden on the cafeteria staff. Not only were the rinas generally disinclined to eat food, but it was clear that the dawn rush of undersized dancers relished the competition of who could eat less in front of the others. No football players ever saw the doors open at 7:00 and I was generally one of one to three representatives of CTY. But the rinas usually streamed in that early, maybe under the theory that failing to sleep would encourage weight-loss or perhaps their program began earlier than our classes (it must have). And while I loaded up on hearty American breakfasts, they rushed the cereal bar for underfilled bowls with spritzes of skim milk, tiny portions of delicate fruit, or sometimes just the beverage tray of juice a la carte. Smug looks were exchanged and indifferent blank stares as it gradually became clear to me that their respective undereating was as much for show as for function.

Occasionally I would wax eloquent about my early-morning eating habits and persuade one of my friends at CTY to rise at dawn’s first salvo to join me for the meal. I actually enjoyed the solitude of it at times, but solitude gets wearing, especially for an only child ensconced in a summer program to remind him that he is not alone. While I prevailed upon many classmates to join me at least once, I think few to none ever made a repeat visit to the pre-7 line at the cafeteria doors. No doubt a handful were lured by the promise of unfettered visibility of dainty rinas, already suited up in their skin-tight attire, only a few throwing a slovenly sweatshirt over the top. No doubt this was a competitive aspect of the breakfast display as well. There was virtually no fraternization between rinas and CTYers, and mutual contempt ran high. Sometimes an ambitious older experienced CTY male (CTY was capped at 16) would attempt interaction and there were even rumors of one or two rendezvous, but most of my friends were content to look from a safe distance. Me, I never much saw the appeal. I was certainly noticing girls by that point (I’d been noticing them for about ten years, truth be told), but the squat taut bodies and lifeless sneers were not particularly my style. Mostly I was fascinated by their social groupings and birdlike hierarchies, and occasionally was drawn in by the kindred loner who (always sweatshirted) would linger with a walkman or a book and mostly stare into space unegotistically while chewing slowly and thoughtfully.

We were cruel to the rinas in our own conversations – everyone gathered at roughly the same time for lunch and we’d chuckle about their haughty prima donna attitudes and empty plates. We had no inklings of the pressure they must be under, oblivious to the depth of others’ plights in the way that even brainy young teenagers inevitably are. There were the more sage among us who would speak philosophically about bodily drive and the need for artistry and how our own pursuits of mental fitness were undoubtedly superior. Some who would jest about trying to convert a random rina to the more intellectual pursuits, which inevitably devolved into a gag about what part of their pursuits they were really after. I would ponder the table-corner loners and shudder at the idea of approaching one for so much as borrowing the salt, let alone a conversation.

I saw “Black Swan” with my father last night, a movie ostensibly about ballerinas. To say it was my first contact with ballet since the summer of ‘95 would be gross exaggeration, but much of the movie served as a time machine, teleporting me to the quiet breakfast air of exactly half my life ago. The film itself is brilliant, a crushing examination of the drive for perfection and the pains and power of artistry in a seedy, practical world. Darren Aronofsky has had my attention since “Pi” and while the subject matter of “The Wrestler” left me unwatchably cold, I have great esteem for both “The Fountain” and “Requiem for a Dream”, both first watched in the last year or so. As can be expected in his films, there are moments that are profoundly unsettling and uncomfortable. No matter how old one gets, watching sex scenes on a big screen next to one’s father never gets easier. But we were both able to agree that the film was a triumph by the starkly contrasting credits.

Much of the examination of the movie resembles the same examinations we used to make from three cafeteria tables away, with varying degrees of compassion, about the impact of the art on the artists. How could one live on a quarter-grapefruit (a half-eaten half) a morning, especially when one was about to put one’s body through unbelievable torment? We had no visibility into the condition of the rinas’ feet from looking over our heavily laden trays that summer, but “Black Swan” spares little in its stark displays. We never turned the camera inward in those discussions, asking whether four mandated hours at the library each day were truly necessary, or what impact being openly intelligent might have had on our social progress. Although, of course, our physiological health was largely untouched by a commitment to college-level coursework… we could eat what we wanted without reprisal. Although no doubt many of the girls among us felt disproportionate pressure to stay slim with the already glaring “strike” against their social standing of high intelligence.

What’s amazing about “Black Swan” is the disconnect between the artist’s personal vision of perfection/accomplishment and the vision of everyone around her. Everyone else has their own theory about what will provide a leg up for her performance and ability, and while she dabbles in each suggestion, she ultimately crafts her own ideal solution to the problem of how to find flawlessness in performance. And while the conclusion, which I will not here spoil, is shocking to the allegedly objective eye we try to watch with, it is undeniably a form of perfection unanticipatable and unexpectable. In exceeding the bounds of what we could dream of, it reaches a nirvana of unassailability that provides true transcendence.

Which helps inform the journey of any artist or performer or just striving person in the long road of their life. And this, of course, takes me back to my own struggles, both of late and of yore, and one of the greatest pieces of writing I have ever encountered, both in its own twirling perfection and for informing me about my own path. The story is “Hommage a Bournonville” by Peter Hoeg, which appears in his brilliant collection Tales of the Night. I first read it in the hurried boxed-up finals week of my second sophomore semester at Brandeis, nestled between thin detentes between myself and both my roommate of that year and my only girlfriend of that year, both patchings-up that were frail and destined not to last. While both people had headline-level impacts on the awful nature of that year that almost drove me from college (at least temporarily, though it probably would’ve been permanent), it was an anniversary e-mail from the most significant of ex-girlfriends that drove me to the initial brink that dark annum. No doubt that interaction and the fallout of what followed were heavy in my mind as I spun page after page in awe.

Through the magic of my extensive public record-keeping efforts, I can know that it was the fifth of May 2000 that I first read the story and the fifteenth of June eight years later when I anointed the piece as the second best short story of all-time. You should go read it now, on page 154 of that file. But if you don’t, you should know that the centerpiece of the story is, of course, ballet.

The story is about ballet about as much as “Black Swan” is, about as much as this post is, which is to say entirely and not at all. It is as layered and multifaceted as both, a story within a story within a story, much of the narrative embedded in a third-person retelling of an autobiographical story to a second party described within what is, itself, a short story written by another author who, at some point in his life, really was a ballet dancer. And the story, like the movie and what you are reading now, is mostly about art. About the sacrifices people make for it, about striving for perfection within its unforgiving but paradoxically flexible confines, and about how love or life itself weave and bend within the treacherous passages left for them by the self-demanding artist. It is hard now to truly talk about what is most relevant about these pieces without spoiling them mercilessly, without ruining their ends and conclusions, and yet to navigate even those waters while still enabling you to finish this post and then see and read is perhaps my own struggle with perfection at this very moment.

The point, it is probably though perhaps not safe to say, of “Hommage a Bournonville”, of “Black Swan”, is that love itself and even perhaps sexual feelings in the first place, are tools with which grand artistry can be crafted. They are implements of scouring pain and visceral sensation, they have unmatched power to provide release and tension, outlet and bottling up, strife and chaos. And when the artist can examine these feelings, without flinching or turning away, as mere tools in the bag of life for creating the grand performance, the ideal artistry, it is then that the artist simultaneously flirts with perfection and madness. What person in their right mind would choose an artistic acme, be it on stage or on page, over a happily fulfilled life of love? None. And yet, there is an argument for it, no? There is an argument to be made that living and loving is commonplace, mundane, the march of the masses, while true artistic genius requires putting such temptations in their place.

It is dangerous territory to contemplate, for sure, especially as someone who has, despite its alleged mundanity, always placed love first in line. But in reading and rereading “Hommage”, in watching “Swan”, it is clear to me that the opportunity of heartbreak, especially this continual and renewed heartbreak I now face, offers consolation prizes in the form of artistic expression. These prizes, as they always have, seem hollow and shallow and pale to me, but it is only in understanding their insufficient nature that I can truly feel the feelings necessary to make the whole project work. It’s like a game I’ve long played with the universe and found important – one can have faith that everything will work out in the end, but as soon as one resigns one’s fate in that way, takes the path of those who replace medicine or decision-making with prayer, then one invalidates the deal and submits to the only path of possibility for things not working out in the end. That the rules for the game are that one must play it sincerely and react accordingly. One must be devastated by losses and setbacks, not winking at the camera (wherever it may be) and nodding that things will ultimately be for the best, but collapsing in the knowledge that they will never again recover. And only by doing that, by feeling it to its fullest extent, can one enact that strange moral strings of the universe that preserve real hope.

Which makes one start to wonder to what extent life itself is a performance, that existence in this strange backwards planet is itself rigged for artistry and beauty. That what captivates us about ballet and makes said dance such a conduit for grand metaphor of screen and word is its resemblance to life itself. That in standing on tippy-toes and flailing effortlessly and yet exactly, we all see ourselves and the eternal struggle to both let go and be precise in our deeds. And the judgment the ballerina fears may reflect the same we dread in our own lives. Will our existence remain in the shadows, unnoticed? Will we fall at the moment of our grandest opportunity? Will we prioritize base concerns like eating or sleeping or laughing with friends over the highest calling of our otherwise mundane existence?

And what role pain? What role do the pitfalls and pratfalls of physical and emotional scarring have in shaping who we are, how we will perform, what we will be remembered for? No doubt the high emotions of a ballet like “Swan Lake” or “La Sylphide” are meant to illustrate the profoundest impact of love, especially love taken or unfulfilled, on our very lives. To what extent is it more important to illustrate such impacts for others than to live them oneself? Is every artist a martyr? Is martyrdom, emotional or literal, itself what enables artistry? Are those tapped for greatness in dance or writing or filmmaking merely those who have, by accident or unluck, endured more than the rest of us? Can it be shaped or crafted? Or is it merely those who see their almost universal pains and losses as opportunity who have the advantage, who get the toehold on explaining what we all know in the bottom of our arrhythmic hearts?

It seems that if I make it as a writer, I will have to thank the two people (so far!) who have hurt me the most, for bringing me a depth of feeling more oceanic than all the experiences in the rest of my three decades of life. Neither were dancers of any kind, unless one can classify their devastating twirls of deceit and betrayal, their flowering lack of confidence and trust, as a form of ballet. I have been known to say I could not have found pacifism or believed it as thoroughly, were it not for my life-threatening experiences at Broadway Middle School, four years before Dickinson. Is all this meant merely to bring me skills and understandings that only brushes with the harshest of feelings can bring? It is a cute and convenient story, and one that doesn’t wash most of the time, that sounds profoundly like an excuse, a juice-squeezer desperately trying to churn through a mountain of lemons with gallons of artificial sweetener. But I see “Black Swan”, I read “Hommage a Bournonville”, and I have to wonder. To remember, to feel, and to wonder again.

As Ani DiFranco put it in her own song about swans, “I don’t care if they eat me alive. I’ve got better things to do than survive. I’ve got a memory of your warm skin in my hand. I’ve got a vision of blue sky and dry land.”

Artistic vision and triumph in the face of the gravest of threats. Pain unending, manifest in visions of blood and wrathful vengeance. To what extent is this wishful thinking, the efforts of a poetic mind to make meaning of unthinkable agony? And to what extent is it real, true, the nature of beauty and redemption in a warped world unsure of its own purpose?

In any event, it’s been a heck of a ride lately. My Dad would probably claim that there are larger forces in the universe that made, say, the 13th a really difficult day and today much better. Maybe so, maybe so. But I like to think we all have a little something to do with our lives as well. And so I present some haphazard collections of platitudes that I’ve gleaned or reinforced in an intense two days:

• I made the right decision in staying in Jersey for this year. I had long suspected this, but this trip has fully confirmed that New Brunswick is/was preferable to the available alternatives for the annum. This is very exciting, because people often make the right or good decisions and never get confirmation of their correctness. I’m lucky to have such early affirmation.
• Teaching something is like a mantra or a prayer that reminds the teacher of the value of whatever one is teaching. Conveying something thus has almost as much value for the one conveying it as those hearing it for the first time. This also makes teaching something of a religious, or at least philosophical, exercise.
• Thomas Pynchon just isn’t very good. He’s clever and occasionally hilarious, but I suspect a great deal of his success comes from incoherently talking above the heads of most of his reviewers, thus being received as brilliant for surpassing his capacity to be understood. I remember the same principle applying to some bafflingly successful debaters back in the day. Also probably applies to a number of philosophers. The one redeeming trait he has is capturing the sentiment of creeping universal paranoia that those who are paying attention to the universe may get from time to time, but there are ways he could do this without sacrificing cogency.
• Computers have gotten a lot cheaper lately. Thanks, Recession.
• It’s good to be impulsive sometimes.
• It’s often easier to feel good about life when the weather is terrible outside. There’s a passage in the middle of Watership Down about why humans like winter when other animals don’t – because they get to feel safe and secure and insulated from the dangers the season of bad weather brings. To expand this idea, it may often be easier to feel good in opposition to something than in favor of it.
• Not just because of the above, Seattle is starting to look really promising for 2011-2012.
• When in doubt, reach out.