Your life is a work of art

Editor's note: Chapter 1 excerpt. The Language Company. Enjoy the ride.

Carpe Diem in Ankara, said a reliable narrator, Pluck the day when it is ripe.

Lucky Foot explored a gleaming upscale mercantile atrium filled with bald silver female dummies fronted by glass. Mirrors reflected screaming bored housewives paroled for good behavior pushing pram infants.

He happened into a store with Roman, Ottoman, Egyptian and Middle Aged chess sets - game of Kings. Checkmate, said Mother Death, Beauty’s mother, Life is a chess game of experiences we get to play.

Black jazz statues played sax, trumpet, clarinet, keyboards, drums, and bass. Some of My Favorite Things, said John Coltrane. Blow your cool heart out.

“Good morning. Do you need something?” said the owner.

“Namaste. I salute the light within you. I seek to help others end suffering and misery.”

“Is it a way, a path?”

“It’s the nature of absolute emptiness with compassion. Ultimate truth. Reality.”

“What’s its form? Form an answer. Fill in your form. We live in a world of forms. It’s not the answers we need to know it’s the quest-ions we discover. Don’t be afraid to be confused. Remain curious. Trust authentic fragments. Follow your heart. Grow from it. Anything is possible when you risk everything. Stay open to your true nature as a lotus grows from mud. Form is emptiness and vice a verisimilitude. Would you like some tea?”

“Yes please. The quest-ion is the answer. Practice allows everything to wake you up. When you have taken the impossible into your calculations its possibilities become endless.”

“Today is good day to die. Meditate on your death. Celebrate your journey.” He pushed a buzzer. “Someone will bring tea.”

“Thanks. I like establishing impermanent relationships with compassion, trust, generosity and empathy.”

“You’re a dreamer dreaming the impossible dream. Are your needs being met? I suggest you need more direct immediate experience, observation and imagination. When the going gets weird, the weird turn pro.”

Words escaping the tyranny of memories composed a jazz poem.

Kind of Blue, 1959 by Miles Davis. Modality.

 “Everything I do is an experiment. Traveling meets my genetic needs. I love weird. It’s a long strange beautiful trip. Life is an amazing beautiful messy test. It gives us the test first and lessons later. In my life I become we: many people. We face opportunities and challenges. We bring luck to people like you. People we meet and never see again. It’s ephemeral. We help strangers help themselves through levels of suffering, hardship, deprivation, letting go and developing courage. 

"Becoming. Throw in passion desire thirst and existential bliss with humor. Humor is the key. No shame, guilt or humiliation. No regret or fear. The day after tomorrow belongs to me. I am a dreamer with controlled imagination. I see you have knives. I need one to cut through fear and ignorance.”

 “Fear is blissful ignorance. Doubt is healthy. Uncertainty is necessary to grow. Travel allows you deeper penetration. Travel makes you. There are not many things you need to remember during your visit to Earth. Please have a look-see.”

 “Our life is a work of art and life imitates art. Art is easy. Life is difficult. Clouds know me by now.”

“You don’t say.”

A cabinet displayed Swiss Army knives with cool tools for cool fools. 

The Language Company

a 3,000 year old city

“Once upon a time,” Nino said one bright future day as the tribe rolled along, “and such a strange time it was, the gravity of thinking played music in a new century. There was a Spanish man with a hammer. At exactly 9 a.m. on an overcast Cadiz morning he began chipping away at unexplored caverns. The Alio modo Fugue a 2 Clavier by Bach drifted in the background.

“He was building an extension on a roof where housing was scarce and straight up. The only split-level ranch duplexes with multiple garages in sight were American reruns on old battered televisions. He hammered stone under a sheltering sky. It was over 100 degrees. His hands were bleeding. Blood seeped through an old Moorish roof splattering into a room where a writer in exile lived with a blind prophet. Hemoglobin landed on a keyboard. Directly on the letter B. He let it dry. He treasured sudden rare immediate insights. Drops fell and congealed.”

“Fascinating,” Omar said turning a page. “And then?”

“Down below in deep morning shadows Rosario swept her front stoop on Benito Perez Galdos. Her white apron was clean and starched. She swept away yesterday’s accumulated debris and the fine mist of pedestrians coming and going. Old shit, dog urine and dust received her mop’s holy water. Their accumulated real and imaginary sins littered Galdos, heading for the gutter.”

“Let me guess,” said Omar, picking up the thread, “church bells pealed eternal melancholy songs of hope and redemption across from the Castelilo de Santa Catalina, the main citadel of Cadiz built in 1598.”

“Exactly,” Nino said. “Inside tight white oval corridors, an exhibition of black and white photographs depicted Nicaraguan people fishing, polling canoes through tangled jungles, chopping down forests, sitting for the camera, living and laughing.”

“One room held beautiful black handmade fans in tribute to Federico Garcia Lorca. Considered the greatest poet and playwright of 20th century Spain, he was assassinated by members of the Escuadra Negra (Black Squadron) a Franco death squad in August 1936 for his left-wing sympathies and homosexuality.

“He belonged to the Generation of 1927 with Dali and Bunuel identifying with the marginalized Gitanos and woman chained to conventional social expectations in Andalucía. He wrote about entrapment, liberation, passion and repression.

“A long red scarf lay draped over a single rattan chair. Invisible wires held black fans decorated with peacock feathers and rainbow colors suspended in silence. Outside a dark window Atlantic waves smashed ramparts.”

Nino took a breath. Omar peeled an orange skin. 

A Century is Nothing

nahuales

“My family, while emotionally cold, distant and abusive yet well-intentioned, kind and loving were dysfunctional, trying to understand my vagabond spirit nature. They had no choice in the matter and by now they’re used to receiving strange word-strings full of mysterious symbolism and tragic truths from diverse twilight zones. I transmit between crystals and gringsing decorated with universal binary codes.”

“Really now?” said Mary.

“Yes, I gave my folks a world map for their anniversary. They loved it, inviting friends, neighbors and strangers over for trivia games using postmarks, stamps, decals, flotsam, thread, needles, bark, cactus fiber, beads, charts of tributaries, topographical maps, animal skins, hieroglyphics, and Tibetan prayer wheels with Sanskrit characters.

“They caressed burned broken shards of Turkish pottery, Chinese bamboo brushes dripping blood, torn out pages from esoteric Runes, Paleolithic fertility symbols, vitreous unusual writing, and one of my favorites, a Quetzalcoatl image full of written narration based on the oral performances of Central American myths."

“Fascinating,” said Deirdre.

“Yes, I gave them Olmec nahuales shamans containing animal powers dating back to 1200 B.C. speaking their wisdom. They blended the spirituality and intellect of man with the ferocity and strength of the Jaguar to create their nahuales. Their soul required an animal medium to travel from the earth to the heavens and into the underworld.

“Additional cultural reminders were beautiful blank black mirrors. Some displayed faces others contained scripts written backwards with stories of people, geographies, forbidden objects, and a box called Pandora." 

A Century is Nothing

o world

"O World, strangled and collapsed, where are the strong white teeth?

O World, sinking with the silver balls and corks and life preservers, where are the rosy scalps?

O glab and glairy, O glabrous world now chewed to a frazzle, under what dead moon do you lie cold and gleaming?"

- from The Fourteenth Ward by Henry Miller.

Through the center

I climbed through the center of Bali inside magical light past an extinct sacred volcano at Lake Batur carrying spare ammunition, a small portable typewriter, a map carved on narwhal bone, a roll of scented four-ply toilet paper, codices or painted books and texts on bark paper called Amate, and cactus fiber including palimpsest animal skins and dialogue of Mayan origin.

My hair caught fire. Gathering flames I lit a piece of bark for guidance.

I mixed volcanic ash with water, creating a thick paste of red ocher, a cosmetic balm rich with antioxidants.

I applied this to my skin to gain entry and passage through the spirit world of ancestors. 

Source: A Century is Nothing.