Raven

The next day the tribe crossed a plain and reached a raging river. As they knew from their ancestor’s tales, the river was deepest here because deaths upstream created tears as souls migrated on their journey through the Bardo.

What’s the Bardo? asked Jamie.

A place between life and death. A transition zone. Where, after you die, for nine days, you confront ghosts and demons wearing your old masks. We need nine days to take another form and during these nine days we meet all these demons reminding us of our temporal existence.

The tribe dreamed as wood evolved into ashes. Their fire dream consumed itself as sighing sensations tingled through Raven’s body. Night winds played around her heart. She danced with stars. Diamond crystal swallowtails flew from her hands into silent endless space. Her breath released peaceful feelings. She fell awake.

Sunlight streamed through ferns, plants, and roses as a morning breeze delivered petals of a wild rose to her feet. She stretched like a solitary snow leopard feeling freedom’s wildness. She glanced at the fireplace. Her shattered glass lay on the brick floor near a charred pencil and scraps of paper. She gathered word edges, lines, drawings, and blurred prisms of light.

She felt a searing pain in her heart, released the papers and touched her third eye. She went deep inside. A calm feeling blessed her. A warm breeze carried her into the center of a sacred wisdom circle. Her essence was joy, delight and happiness. It was a world of pure being. She recognized the world of appearances was full of suffering, desire and illusion.

Discovering her essence, her spirit energy breath renewed her heart, her passion and vision. People seeking to know their future and wisdom sought her out for guidance. She opened her heart to them finding solace, peace, strength, and dignity in the sacred flames of regeneration through quiet simplicity. She kept her own counsel knowing others would have to find their own way in their personal and collective wilderness.

Her hair caught fire as she gathered flames while lighting a piece of bark in a Paleolithic cave. She mixed volcanic ash with water, creating a thick paste of red ocher, a cosmetic balm to gain entry and passage through the spirit world of ancestors. She walked through fire, dancing in her inner light of pure intention in a magical world realizing childhood’s innocence.

She became an angel of light. Her Jinn emanated fire, life and consciousness. This fire consumed ignorance, and my memory of her became a meditation on the physical process of identifying with higher energies through form, sensation, perception, sense impressions and consciousness.

Her meditation inside the cosmic dance dissolved the self. Fire became her driver, sexual kundalini yoga burned soft and hard wood together. The sleeping serpent coiled at the base of her spine was fed by the energetic fires. The Jinn manifested by the fire of the telling.

Yes, said Omar, Jinn are summoned through spirit ceremonies as the world of men communicate with their world by means of music and dance.

I am a character in my own story, said Omar, a hakaawati, a professional Persian storyteller inside the shadow of my imagination. I manifest an oral way of transmitting khurata, fanciful stories, inside the ocean of stories.

A Century is Nothing

Walnut Story

A Zen monk related a story.

"Before becoming a monk I was an English teacher in an Experimental High School near Chengdu in Southwest China. One day I held up a walnut."

“What is this?”

They answered in Mandarin.

I wrote “walnut” and “metaphor” on the board. “This walnut is like a person I know, very hard on the outside. They are very safe and secure inside their shell. Nothing can happen to them. What is inside this shell?”

“Some food,” said a boy.
“How do you know?”
“My mother told me.”
“Do you believe everything your mother tells you?”

“Yes, my mother always tells the truth.”

“Really?”

“Yes.”

“Well, that’s good, but I wonder if mothers always tell their children the truth. Why? Because mothers and fathers like to protect their children and keep them safe. Especially young children. Now you are in high school and developing as a more complete and mature human being. It’s good to question things and find out the truth for yourself. Do you understand?”

Some said “yes,” others nodded passively.

“This walnut is a metaphor for the self. A symbol. The self that is afraid to take risks because they are “protected” by their shell. Maybe the reality is that the shell is empty. How do we really know what is inside.”

“It’s a mystery,” said a boy.

“That’s right, life is a mystery. How will we find out what’s inside?”

“You have to break it open,” said a boy with poetic aspirations.

“Yes, you or I will have to break open the shell, our shell, break free from the shell to know what is inside. That can be a little scary when we are conditioned and comfortable carrying around the shell every day isn’t it?”

“It’s our self,” whispered a girl in front.

“Very good. It’s our self, this shell and the mystery. We have to take risks and know nothing terrible is going to happen, like trying to speak English in class.”

“If we don’t break the shell we’ll never feel anything,” said another boy.

A girl in the back said, “it means it’s hard to open our heart. It’s hard to know another person and what they are thinking, how they are feeling.”

“You got it,” I said. “We’ll never experience all the feelings of joy, love, pain, sorrow, or friendship and miss out on life.”

This idea floated around the room as I juggled the shell in my hand.

“I know people who grow very tired every day from putting on their shell before they leave home. It gets heavier and heavier, day by day. Many carry their shell into adulthood. It’s like wearing a mask. They look alive but inside they are dead. But eventually, maybe, something important happens to them at the heart- mind level and they decide to break free from their shell and see what’s inside. They say to themselves, ‘This shell is getting really heavy and I’m so tired of putting it on and carrying it around. I’m going to risk it.’”

I smashed the shell on the table. It splintered into pieces. Students jumped with shock.

“There, I’ve done it! I smashed my shell. Can it be put back together?”

“No,” they said.
“Right, it’s changed forever. The shell is gone.”
I fingered small pieces of shell, removing them from the nut.

“See, it’s ok. Wow! Now it’s just an old useless shell. It doesn’t exist anymore. It’s history. It will take time to remove pieces of my old shell. Maybe it’s fair and accurate to say the old parts represent my old habits, behaviors, and attitudes. It happened. From now on I will make choices using my free will accepting responsibility for my behavior. And, I know nothing terrible will happen to me. I feel lighter. Now I can be real. That’s the walnut story.”

“Well,” mused a sad serious girl named Sylvia Plath, “I believe every living object; seed, flower, tree and animal has an anxious soul, a voice, sexual desires, a need for survival, and feels the terror at the prospect of annihilation.”

“Language dreams itself."

A Century is Nothing

Hammam

The author was in Morocco on 9/11.

Twice a week he left #187 and walked through dusty stone rubble past discarded plastic trash and small broken trees to the Moroccan hammam. The Turkish style public bath cost seventy cents.

The left side was for women, men on the right. He paid the shy girl behind her veil, went in, stripped to underwear, crammed his clothes in a plastic bag, handed it to a smiling toothless Moor, and got two buckets made of old tires remembering the suq alley in the Medina where boys cut the rubber, hammered, made and sold these buckets.

He pushed open a heavy wooden door. Three medium vaulted arched white tiled rooms receded with increasing degrees of heat and steam. Men reclined on heated tiled floors, collected cold or hot water from faucets in buckets, soaping and scrubbing themselves down.

Passing unrecognizable human forms he entered heat’s mist dream, walked through two rooms and found a space near a wall. He filled one bucket with scalding hot water and another with temperate liquid. He stretched out on his back absorbing heat and closed his eyes.

Heat penetrated his skin. It was a respite from the outside world, the chaos of poverty, begging, humor and hospitality. No one could see him, no one knew him. Feeling peace he rolled onto his side as heat blasted skin, muscles and bones.

Inside steam and water music sweating men slapped themselves on the broiling floor. He watched an old wiry man dissolving kinks bend a customer’s arms and legs into pretzel formations. The skinny bald man energetically worked wrists, elbows, shoulder joints to the point of snapping them off skeletons. He rolled patrons over, pummeling spinal chords, slapping backs while bending knee joints leaving men spread eagle on wet tiled floors. Content faces welcomed his attention.

Satisfied with the meditation, Point sat up, soaped and scrubbed layers off skin with a rough hand cloth. He rinsed oceans across inlaid tiles, walked out, retrieved his bag of clothing, covered himself with an ikat sarong slipping out of wet underwear into dry clothing. He gave the attendant a small tip. The old man smiled, shook his head, rolling his eyes. It wasn’t enough. He dropped more coins into brown frozen fingers.

“Shukran. M’a salama.”

He stepped into cool night air. The dusty path was filled with scooters, boys playing on abandoned rusty cars, scavengers probing piles of trash and mothers dragging black gown hems on the ground. Bright yellow slippers slapping earth flashed light in silt. Wandering children sang happy innocent songs.

A one-eyed beggar stumbled past looking for alms. Point gave him one thin coin and skirted an alley through debris for thick black coffee at a local cafe. Entering, he passed men watching 24-hour global terrorism catastrophes at full volume from a television propped on steel supports hanging from a ceiling.

“Ah, Ahab,” said the waiter, a smiling young man in a purple vest balancing a silver tray of cups and water glasses.

“Coffee?”

“Yes please, no sugar,” gesturing outside where empty tables littered cracked pavement. Dejected desperate shoeshine boys tapped wooden boxes. Their dark unemployed eyes inspected shoes of chronically idle men drinking coffee and endless glasses of tea. A hopeful boy wandered in and out of tables tapping his shoe box. Strong mint tea aroma filled the air.

At the bar a waiter cut mint tea leaves, crammed them into a silver plated kettle, dumped in a brick of sugar, closed the lid, raised the pot and poured a steady stream of light brown tea into a small purple embossed glass. Opening the lid he dumped the tea back into the pot and placed it on a table with glasses, spoons and sugar cubes.

A subtle red color extended across a high adobe wall. The Atlas mountain range wore white snow.

Women in billowing rainbow fabrics walked across the desert from clustered stone villages to take a local bus into the shimmering Red City or sit on broken cement stones along the road talking with friends enjoying their social hour in eternity.

Dusk and twilight married to procreate many children. More field hands, more child labor in dead end trades making less than a $1.00 a day. Many would walk to northern Morocco and, if lucky with money, slip across the Mediterranean into Spain. Some angry marginalized naive kids would join T cells in Madrid, or Hamburg and disappear in Europe. A select few would attend flight training school in Florida. Others became wealthy drug runners wheeling and dealing hash heaven in Amsterdam.

Women sat gossiping on cracked pavement surrounded by trash. People discarded their lives as they went through it like caterpillars morphing into exotic species. Attempts to plant a single tree inside a small block of dirt surrounded by cement had proved futile.

People had stripped off the branches and leaves leaving a sharp broken piece of wood sticking out of the ground. People wandered aimlessly or sat in dust. Unemployed men on haunches stared at the ground. A fruit seller with cardboard boxes of green grapes under a single bulb on a rolling cart waved at lazy flies.

A man in his wheelchair poured bottled water over a handful of grapes. Grapes of wrath. Water disappeared into dust around his wheels of life. He ate one grape at a time watching laughing boys weave past on broken bikes as rusty chains grasped crooked sprockets.

A bearded man struggled along the street collecting discarded pieces of cardboard in his recycled life. Cardboard was utilitarian - a cheap sidewalk seat, a foundation in rolling carts to keep stuff from falling out the bottom, sun hats, beds and doormats in front of shops after infrequent rain.

Shredded telephone wires dangled from the wall of a telephone business office cubicle as men with mobile phones punched in numbers and lined up to make calls on the single working phone.

Disconnected grease covered boys manipulated mammoth truck tires along broken sidewalks to their shop. Tools spilled into public paths. The area was alive as people relying on their survival instincts scrambled to make a living.

Off the main road people set up evening flea markets. Two men unloaded piles of shoes from the back of a car along a sidewalk. Location, location, location. One seller spread a bright blue tarp on the ground anchoring it with bricks. His partner arranged cheap dress and casual shoes for potential buyers. No ‘adidas berber’ shoes for these guys.

They fired up a propane lamp. Neighborhood people escaping small flats after a day of oppressive heat prowled the street with friends looking for a bargain or just plain looking.

A Century is Nothing

whispers

yes said

everything happens for awhile

a boy in shadows layers bricks

another wall

another art project

quality of life

whispers

sweet nothings

writing is saying something

to someone who is not there

who will never be there

we will be the ones

who have gone away

- George Perros

A Century is Nothing ... True enough. Existence is suffering and pleasure. It’s a grand precious adventure.

Seems full of fools, dead ends, bookends, trails, trials, tribal ramifications and tribulations. Where are Beauty and Truth in this tale? Where is the structure? Where is the linear narrative?

It’s in the big show. Shows to go ya.

It’s in the thread of three Greek fates. The three most dangerous goddesses were the Fates called Moirai. Homer called them ‘spinners of the thread of life.’

Clotho, the birth goddess, spun the thread of life, Lachesis measured the length allocating the amount of time to each person.

Atropos cut the thread. Anyone resisting them faced Nemesis, goddess of justice.

The Fates spin out our lives, fusing art and language. My instincts indicate a good harvest.

I dance through canyons leading to Southwest kivas inside a fire dragon’s mouth. I welcome the energy of sun, rain, life.

Languages. Tongues. How do I know where it will go? My job is gather material then let the Other organize it. I'm lucky to get it down. A conduit.

Kalapuya

After Morocco, he sat down and listened in a Crow Forest.

“I am an old dialect of Kalapuya tribes. I respect the spirit energies. I hear with my eyes and see with my ears. I understand your love for the spirit power guardian. I am an ancestor speaking 300 languages from our history. Now only 150 dialects remain.

“A hunting gathering people, speaking Pentian, we numbered 3,000 in 1780. We believed in nature spirits, vision quests and guardian spirits. Our shamans, called amp a lak ya taught us how seeking, finding and following one’s spirit or dream power and singing our song was essential in community.

“I speak in tongues, in ancient dialects about love. Dialects of ancestors who lived here for 8,000 years before where you are now. In the forest near the river all animal spirits welcome you with their love. They are manifestations of your being.

“I am blessed to welcome you here. You have walked along many paths of love to reach me.

“My dirt path is narrow and smooth in places, rocky in others. I am the soil under your feet. I feel your weight, your balance your weakness and your strength. I hear your heart beating as my ancestors pound their ceremonial drums. I feel the tremendous surging force of your breath extend into my forest. Wind accepts your breath.

“I am everything you see, smell, taste, touch, and hear. I am the oak, the fir and pine trees spreading like dreams upon your outer landscape. I am your inner landscape. I see you stand silent in the forest hearing trees nudge each other. “Look,” they say, “someone has returned.”

“I love the way you absorb the song of brown body thrush collecting moss for a nest. I am the small brown bird saying hello. I am the sweet throated song you hear without listening. At night two owls sing their distant song and their music fills your ears with mystery and love.

“I am warm spring sun on your face filtered through leaves of time. I am the spider’s web dancing with diamond points of light. I am the rough fragile texture of bark you remove before connecting the edge of an axe with wood. You carry me through my forest, your flame creates heat of love. I am the taste of pitch on your lips, the odor of forest in your nostrils filling your lungs. It is sweet.

“I am the cold rain and wet snow and hot sun, and four seasons. I am yellow, purple, red, blue, orange flowers from brown earth.

 “Language cannot be separated from who you are and where you live.

“I say this so you will remember everything in this forest. I took care of this place and now your love has the responsibility with respect and dignity and mindfulness.”

A Century is Nothing