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

Collecting Dust

I climbed through the center of Bali inside magical light past an extinct sacred volcano at Lake Batur carrying a portable word machine, a map carved on narwhal bone, codices or painted books and texts on bark paper and cactus fiber called Amate including animal skins and dialogue of Mayan origin.

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

To become clay I created clay. I needed dust.

I collected dust and minute grains of mica. Teams of gravediggers, weavers, butchers and writers explored rain forests, jagged mountains and impenetrable jungles collecting dust.

Hunters dived into, under and through massive Columbia waterfalls near tributaries where the confluence of Northwest rivers gnashed their teeth, snaking past abandoned Hanford nuclear plants where fifty-five million gallons of radioactive waste in decaying drums left over from W.W. II slowly seeped 130 feet down into the ground toward water tables.

The waste approached 250 feet as multinational laboratories, corporations and Department of Energy think tanks vying for projects and energy contract extensions discussed glassification options and emergency evacuation procedures according to regulations and Robert’s Rules Of Order inside the chaos of their well ordered scientific communities.

Tribal survivors ate roots and plants garnished with entropy.

Survivors passed through civilizations seeking antiquities. They reported back with evidence sewn into their clothing to avoid detection at porous India-Tibetan borders. They severed small threads along hemlines, Chinese silk gowns and Japanese cotton kimonos. Their discoveries poured light rays into waterfalls rushing over Anasazi cliff dwellings into sage and pinion forests.

Survivors arrived at a mythopoeic part of their journey.

I reflected on the unconscious residue of social, cultural, ethical and spiritual values.

I needed masks. I needed to understand the underlying mysteries inside death masks. I confronted the realm of spirit. I created masks on my pilgrimage. My journey was the destination. Masks signifying the dignity of my intention thwarted demons and ghosts. I became spirits dancing in light.

Everything was light in my shamanistic interior landscape. I released the ego - Ease-God-Out - detached from outcomes, eliminated the need for control or approval, trusted spirit energies, and remained light about it.

Inside light with slow fingers and long thin ivory nails I turned clay into pots. Spinning spirals danced on the wheel of time.

I finished throwing them used them for tribal ceremonies and smashed delicate clay pots to earth.

They exploded into the air creating volcanic ash coating everything in a fine dust.

I dug into the soil of my soul.

I scattered raw turquoise stones along a trail of sacrificial tears on a long walk through geography.

Book Blurb - TLC

Creative non-fiction. Journalistic facts. Literary imagination.

Lucky Foot facilitated English at The Language Company in Ankara and Bursa, Turkey in 2008.

In 2012 he facilitated in Trabzon and Gerisun on the Black Sea. Collecting data. Field notes.

Gonzo stuff.

He is a Vietnam veteran, writer, street photographer and facilitator of courage.

Since 2004 he's gifted luck in Burma, Cambodia, China, Indonesia, Laos, and Turkey.

He shows up. He sits for a spell nurturing positive relationships in the long now.

Accompanied by Humor and Curiosity he helps students speak English with confidence minus illusions of fear and phobia's relatives:

Fear of taking a risk.

Fear of being incorrect.

Fear of peer ridicule.

Fear of poverty.

Fear of starvation.

Fear of being ordinary.

Fear of success.

Fear of abandoning a manuscript by Zeynep entitled TLC.

Fear of accepting responsibility for choices and accepting the consequences.

Fear of letting go of old conditioning. Shadows.

Fear of being alive and real. Growing.

Fear of_______. (Your free choice)

Lucky, Humor and Curiosity observed parents, schools, religions and countries fostering passive acceptance, fear, indifference and rote learning teacher-centered systems.

It was all about vomiting the material to pass exams. Product. Not the process of how to be more human and think for yourself.

Status quo. Sheep mentality. Blend in. Questions are forbidden. Authority washes your brain daily.

Zeynep, his young genius friend in Bursa taught him about life in her totalitarian country.

"As a literary outlaw I say what others are afraid to say. Anxiety is a chronic national problem. Adults here are good at two things, eating and fighting. 'Dissent is terrorism,' say our corrupt manikin authoritarian figurines."

Leo revealed dystopian China. "I spent years carrying shit in a Re-education through Reform Labor Camp for questioning Authority. Everyone here belongs to the Big Ears, No Mouth society. Oh the shame. The bent nail gets hammered down."

Rita, the independent author of Ice Girl in Banlung shared stories about her Khmer culture and Cambodian history. "We've had twenty years of hopelessness. We breed. We work. We get slaughtered. Poor people see education as a waste of time and money."

"I dream I am a free person in a free country," said Curiosity.

"You're dreaming," said Humor.

A seven year-old Vientiane kid explained Laos. "I develop my authentic character with critical thinking skills, humor, gratitude, abundance and wonder as a free thinking individual. I have my junior philosopher's badge."

"If you want to do great things you must take great risks and suffer greatly," said Zeynep. "You either let go or get dragged along."

Awareness. Mindfulness. Compassion. 

"It's not about people buying this book," said Rita. "It's about people reading it."

The Language Company

Chase Money

There was a man in a poor village.

Everyday he went into the mountains searching for gold.

Everyone said he was crazy.

After forty years he found gold, returned to the village, exchanged the gold for cash, bought a rope, tied the money to one end and the other around his waist.

He ran through the village dragging money behind him.

Everyone said he was crazy.

“What are you doing?” they yelled.

“For forty years I’ve been chasing money and now money is chasing me.”

Subject To Change

North Lao Weaver

Street Talk

Captain Tremendous Tremor here again with an update from the dead zone of grieving Chinese parents and crushed kiddies. One reality shows to go ya where Big Brother wraps barbwire around collapsed schools preventing parents from rescuing 10,000 kids. Educational corruption and fear thrives in a Brave New World.

If you want to play you must pay. We know so much and understand so little.

“I don’t understand a thing. Let’s take the day off and be creative,” sang Zeynep, “grab our cameras and tale a walk.”

Lucky and Zeynep passed through ephemeral effervescent worlds healing strangers. Free non-transferable luck was distributed to the needy.

Air simmered grilled meat aromas in a tomato culture as swirling silver musical spoons tickled tea glasses. Seven tonal notes create cosmic spectrums.

Inside Ulus alleys near Ankara laughing blacksmiths with calloused hands burnished musical metallic containers. Friends forged balconies, grates, bars and enclosures on anvils with Thor’s hammer. Gateless gates.

A coal man loaded bags of black on his back. A cornered Russian mistress wearing diamonds on the sole of her shoes waited for rich monkeys. A weaver loomed geometric silk ikat threads. A father taught his son the art of carpet repair. Needle led thread. Dusty stories coagulated and copulated on teakettles rusting atop Roman burial slabs covered in binary codes.

Expanding universal maps and NSA spy satellites collected data.

Total information awareness. TIA.

A peasant woman rolled dough to make ravioli-like manta pasta. A brown snail carrying its spiral galaxy home scaled green and white stones as waving antenna received signals from orbiting space-time Dream Sweepers.

Head scarfed Kurdish women inside stone path shadows near crumbling straw packed homes with broken wooden slat shutters sat in a sacred circle talking and rolling spicy grated seeds into grape leaves. Thick meaty fingers toiled. Heavy 24-caret golden bracelets reflecting scattered light led to undiscovered archaeological sites for sore eyes and a doctoral thesis on amalgamated dust.

“It’s true to report that everyone in Turkey is psychologically well adjusted, employed and content with their free life,” said Zeynep.

“You’re dreaming, delusional or telling real lies,” said Curious.

“Made in the shade, cool baby,” Lucky said. “This is to say with precise specific clarity they have the courage to speak, are never tired or afraid of falling in love and marrying someone outside their rigid social and/or economic class. They take amazing risks and suffer greatly with gratitude.

"Photographing the universe they rent time-share apartments in black holes sucking matter into a void. Some scribble or doodle unintelligible non-linear calligraphic ideograms. The majority disappears into phosphorescent television monitors where they absorb political blather and fake reality shows. Media buys them. They give up their consciousness and miss the show.”

In Bursa a father + two son trash collection team pushed a rolling cart loaded with discarded plastic computers past crumbling Ottoman buildings secured behind barbwire and rusty locks. Faded orange and blue pigments peeled a long lost hollow bell.

One freezing morning a grandmother staring at Ottoman history lifted her child’s child to an iron-grated window. Zeynep, an invisible street photographer present with empathy squeezed a soft shutter release. A whirling dervish painting with light in continuous mode murdered time.

“Freedom is essential in my life. I control the result with spontaneity. I develop real relationships and embrace extreme situations. I’m a photographer who needs to travel. If I stay in one place I go blind.”

“Our images communicate light, story, form, emotion, information and raw aesthetics,” said L.

“Emotional impact. Photography is more art and intuition than process and procedure,” said Z.

In a warm art studio overlooking a fast icy river flowing from Uludag a female flute player fingering emptiness explained melancholic notes. Her chattering laughing friend created marbled flower art using pinpoint dabs of color in a tray filled with hot wax.

A white seagull’s calibrated internal navigation system negotiated air currents with Winter Hawk, Lone Wolf, 101 Screaming Eagles and Labrys of raging violin string theories. Piano melodies and hard bop jazz improvisation reinforced Bamboo resilience.

A 19% waxing crescent moon danced with clouds. Moon remembered moons in Augustine Fujian. Eat moon cakes, said Curious. Feed dead ancestors with filial duty. A cruel heartless forgotten forgiving month heard sky welcome moon. Clouds explored atmospheric conditions.

HELP screamed in a literary agent’s slush pile.

Help was a bulldozer leveling forests to harvest trees outside Phonsavan, Laos.

Vietnam bought them all. One tree = $10,000.

Chopsticks chairs tables toothpicks. Wood you believe it?

Lighter than Winter Hawk’s feathers, HELP made fun of people.

Invisible howling soft wing energy manifested Beauty. Letters. Signs. Symbols. Metaphors. Observations. Unpleasant facts.

Help expressed brevity. How are you? I'm short, said Brevity.

Help played with variable truth-value meaning.

Help, a landmine in Cambodia below the surface of appearances in a luminous landscape reaching infinity weighted for sensation.

 The Language Company