Blue Eyed Ghost

Shuangliu, south of Chengdu, Sichuan.

Yes my dear friend it is true or at least as real as can be. He returned to the beginning where his small tale begins. 

Rickshaw bells and heavy groaning green and purple pedicabs propelled by thick-legged men prowl through humid air. No one sees him. Everyone stares at the ghost. They are oblivious to his existence.

He walks along a broken cracked sidewalk past hammering men building a six-story high extension at the high school. Cement mixers, bamboo scaffolding, emaciated men haul crumbling red bricks. Dancing immigrants sing in the rain. The developer drives a shiny black Benz.

Streets are congested with yellow bulldozers, lorries loaded with dirt and salvaged steel pig iron, City Boat blaring bus horns, small red cabs and tired students trudging to cold cramped cement caverns where teachers arrive late and leave early after smashing wooden sticks on desks to get their attention threatening them with Re-Education through Labor gulag camps in the Gobi. 

Men pedal carts overflowing with large blue plastic barrels of leftover restaurant slop for village pigs and children splash water. It is all play on the streets of dreams.

Weathered women in dirty white aprons chop vegetables with sharp cleavers on scarred wood. Girls mop cement passageways from dawn to dusk.

Dutiful daughters sweep floors or stare at deaf dumb blind televisions stacked on bags of rice, boxes of detergent, dreaming on hairline fractured straw mattress bedding.

This is the entertainment capital of the world.                   

Retired pensioners slap white marble mahjong pieces into tight manicured rows of strategies as orange vested street cleaning women whisking ornate hard handled bamboo brushes paint the city’s rising dust as a ghost dances by, an apparition in their wide eyed wonder.

He speaks the language of silence and this comforts them.

He articulates passion and suffering because like you he is a witness, a mirror reflecting reality in humanity’s garden - another incarnation where he trusted you to be compassionate.

Meaning of meaning was obscured by cloudy anger, fear, desire, ignorance and attachment as you waved him away.

You cast him into deep water where he replenished his spirit. Solitude is a blessing.

His meditation on motivation and intention was clear as he passed through.

Weaving A Life (V1)

Heavy Duty in China

Lucky walked to Ankara, Turkey from China in a convoluted adventure.

After Ankara he walked to Bursa.

Another invisible citiy in a schizophrenic totalitarian country trapped between East & West, between past and future being petrified ossified present on the Phosphorus.

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Preparing for strenuous escapades he performed a Tibetan tantric sitting meditation for three centuries, three decades, three years, three months, three weeks, three days, three moments and three breaths.

In-out. Spiritual awareness. Mindfulness.

My body. My breath. My practice.

Tibetans survived with a profound sense of humor and resilience considering 60+ years of Chinese oppression, genocide and nomadic exile from the Land of Snows.

Lhasa, Tibet

After walking meditations in Lhasa he wandered south of Chengdu to Shuangliu in Sichuan.

He facilitated English, meditation, chess tactics/strategy and how to be more human with eighth graders for a year.

One afternoon John, a smart, kind Chinese teacher passed him.

“Where are you going?” said Lucky.

“The Office of Morals and Re-Education. I have to copy tracts and texts.”

“Why?” - the dreaded question word.

“I’ve been removed from my class responsibilities. Not enough students passed their semester exam. It’s my duty to teach them. If they fail it’s my fault.”

“You’re a fine teacher. Duty is a heavy systematic responsibility in a dystopian Communist country. How long will you copy texts and tracts?”

“Who knows? Could be weeks or months. Maybe I will die in The Office of Morals and Re-Education writing an incomplete sentence. This is my life sentence. Tragic. The Teacher Performance Evaluation Committee will decide my destiny.”

“Good luck John. Welcome to the system.”

“Thanks. It’s my fate. I need some luck. See you around.”

The Language Company

Cambodia

Courage

On his final day in Ankara he shared a Chinese calligraphy poem with adult students.

It was a Qing dynasty gift from primary students in a rural Sichuan school. This visual simplicity symbolized impermanence.

Bright beautiful elementary children in a radiant universe wearing Young Chinese Communist Pioneer red scarves around well-scrubbed necks sitting upright at colorful plastic desks raised hands when he asked questions yelling, “Let me try, let me try!”

Young brave students had the courage to say this.

Older students at a Chinese middle school, Chinese university and at TLC were aged, silenced and dumbed down through tyranny, fear and oppressive parental and educational brainwashed ideological structural systems.

Shame married Guilt, producing twins. The more the merrier.

Adults had lost their instinctual curiosity, humor and enthusiasm. Only primary kids had the courage to say, “Let me try, let me try.”

Their beautiful pictographic black ink calligraphy read, “One day a man climbed into the mountains and reached a hut. He met some children.”

“Where is the teacher?” he said.

“They pointed up the mountain covered by clouds. ‘He is not here, he’s gone into the mountains to look for herbs.’”

He folded the poem creasing Chinese ideograms where latitudes and longitudes met horizons.

His linguistic healing efforts departed Ankara with Bamboo.

The Language Company

China

Blues Music

One day I wrote Blues Music Story on a broken green Fujian, China university board with flakey chalk.

I discussed the African Diaspora, history, suffering and slavery on farms for small money and how they gathered to make music after long hard days in the sunshine of their love.

How the blues manifested as men and women left rural villages on economic migrations for city jobs like China now. Floating people in a floating world.

How the blues expressed feelings of loss and separation from family and friends. It’s an emotional, deep in your spirit soul music.

I pulled out my blues harp and they said, “Oh it’s a cochin.”

“Want to hear some blues?” 

“Yes!”

I blew sweet slow stuff picking up the tempo blasting rifts wailing train whistles. Giving them a real sense of loss forever.

“This is called, ‘Spoonful' by Howling Wolf.”

“When you’re a wandering minstrel or a Griot - a West African performer who perpetuates the oral traditions of a family or village by singing histories and tales, considered by musicologists to be a link with the acoustic blues - or a Seanachai - a traditional Irish storyteller of myths and legends - or a magician, seer and Adept this is natural. I am merely a conduit for music. It comes through me.”

After the blues lesson we practiced making a sandwich. Assemble ingredients: bread, tomatoes, mayo, relish, turkey slices, mustard, onions and lettuce. How do you eat a sand wish with chopsticks?

Let’s eat. Asian mantra.

New music echoed. Everyone ran to a window. 

Across the street an Indonesian boy sat on a piece of plywood in the shadow of a long tall Sally art deco three story building.

It towered above a gated Jakarta community filled with designer homes, wild tropical blossoming fruit trees, displaced dysfunctional spoiled offspring spinning yo-yo’s and orphans sleeping on broken bamboo bed springs or swimming to Utopia through flooded dreams. 

In his left hand he held a shining silver chisel. In his right, a flat edged hammer. He slammed metal against metal on a bronze bridge between the Stone Algae and the Iron Algae.

Between knowledge and wisdom.

Between an object and a concept.

Tap-tap-tap. Music flaked dust. His chorale was an old tribal creation song remembering family and soft rice paddies. Wind carried his life song.

A slave girl offstage in life’s dramatic interlude using a brothel broom of thinned tree branches whisked a gentle rhythm. She created her symphony of sadness and neglect waiting to be abandoned like a vignette.

The Language Company

Draw The Dead

The Maija artist in Fujian, China accepted a photo from a grieving relative, set up his easel and studied a face with a magnifying glass.

His pencil sketched an 8x10. On chipped plaster walls were images of farmers, aunts, uncles, husbands, wives, young and old Pioneer Communist members with tight red party issued scarves knotting necks suffocating passion.

This day he sketched a stoic resigned peasant woman. She’d suffered at the hands of the Nationalists then Communists then corrupt greedy economic free market revolutionaries before facing the indignities of old age.

Old age is a killer.

A battered three-string wooden musical instrument hung near red streaks of paint in his fine art museum. A black fly on the artist’s left shoulder rubbed feelers together. Tasty.

An emaciated smiling ascetic friend of the artist wearing a skeleton face with paper-thin arms opened a bag of Fujian tea. He poured tight compressed leaves into his bony right hand dispersing it into an old chipped blue pot. He added water from a battered red thermos. We shared tea watching the artist. The likeness was perfect. The tea tasted acidic.

These images decorated Asian family altars and collected dust in temples. Ancestor worship and the fear of ghosts is a big deal.

Do all the ancestors hear, understand and acknowledge the yelling? Yes. Do they open their mouths requesting a little peace and quiet? Yes.

On anniversary death days they meet ghost ancestors in cement alley mazes where piss, drain water, used cooking oil, daily slop and vicarious liquids flowed into small holes.

The dead formed a rubber stamp committee addressing Asian family noise.

“It’s come to our attention dear comrades, beloved family and friends...we have a communication volume problem in the neighborhood. Silence. We are trying to enjoy a long peaceful restful sleep. Leave us be or we will return to haunt you. Forever.”

The Language Company