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  • The Memory of Pain

    Awhile back, I had a toothache.

    I don’t mean a sort of ache-in-the-gums, vague, “oh, I’d better brush more regularly” toothache. I am talking about a full-blown nuclear meltdown in my teeth. Throughout my life I have been blessed with pretty strong teeth but now the evil forces of dental decay had their vengeance. It caught me entirely by surprise and totally unequipped to deal with the sudden implacable demands made upon me by my screaming nervous system. For more than a week, the rest of my life receded to the periphery of my cognition and I became absorbed with finding any relief whatsoever. I learned, too late and to my regret, that in matters of dental hygiene, the wages of laziness is agony.

    But my agony, per se, is not what I want to write about. During this ordeal I suffered through every shade and flavor of physical pain I can imagine. At times the toothache was a dull pressure in my jaw. Other times, without warning, a spike of pain would impale me, a localized burst of misery shrinking my world down to one malfunctioning molar. There were even occasions when my ears hurt, a smooth sine wave of suffering slowly sidling from the socket of my tooth along my jaw, into my inner ear, and back. Sometimes I suffered stoically; sometimes, lights went off behind my eyes and I jumped into motion unable to bear sitting still with my pain.

    There were respites. A steady stream of cold water provided fleeting but effective relief. Zinc tablets helped, apparently by poisoning the nerve or some other awful thing. A fourfold dosage of Motrin came to my rescue on multiple occasions. In the end, exhaustion itself served as a palliative. Through it all, the toothache remained – sometimes chained off in a dark corner of my mind, like a long-forgotten nightmare, but omnipresent and always trying to claw its way back into the light. I was aware of it, every texture and hue of misery, and it was aware of me. I might achieve a standoff but I knew we would keep wrestling.

    That’s when I became conscious of something which I suppose I’d known but which I’d never really comprehended: The human mind cannot remember pain. We can remember the fact of pain but we (or at least I) don’t re-experience the actual sensation. This is quite different from other memories. At this moment I can cast my mind back to a concert and relive Marc Cohn leading an audience in a Gospel rendition of “Walking in Memphis”. I can feel the sunlight on my face and I can feel the excitement as I walked onto the field at Stanford Stadium to receive my degree. I can still taste the cake from the wedding of my best and oldest friend. But for the life of me I cannot recall, cannot reconstruct, cannot relive the pain of this world-shattering toothache, from a bare month ago. Even during the toothache, during those moments I was pain-free, I was conscious only of the fact of my toothache and the likelihood of its return.

    I’m not complaining, of course. Pain is not the sort of thing one asks for in life. Once done with, it is happiest consigned to the past. But I still find it curious. I don’t particularly want to relive my car accident from December but I can. There’s a moment where things moved too quickly for me to comprehend, and so I do not remember anything but a blur. But my memories of pain are different. They’re not missing, exactly. It’s more like they’ve been covered by clear plastic, visible but not touchable – the difference, I suppose, between a window and a picture. Although I know that I experienced such moments, they still seem to belong to someone else. Stability and equanimity are gained by severing the connection, but something, too, is lost.

    When I was twelve going on thirteen, on one ordinary June day, my father committed suicide. It happened out of the blue – my father was never moody or depressed, at least to the eyes of a twelve-year-old – and it sundered my world. I have the distinct memory of the fact of vertigo, the sudden sensation that the floor had been pulled out from under me. I can remember that I received the news at the screen door near the kitchen in the house that, up until this point, we lived. I remember clearly that I had just opened the first issue of a new magazine devoted to the then-hippest computer, a Commodore 64, and I can even recall a flash of irritation at being called away from my current article over to the kitchen door, where I was told my father was dead.

    I can’t remember who told me, though, and I can’t remember what they said. My next memory is of lying sprawled face-down on our old couch, on the other side of the house, keening a wordless cry. And now, more than two and a half decades later, I might recall that moment – and I feel sympathy for that almost-teenage boy – but I cannot bring the feeling back. Without quite intending to, I have lacquered over that bit of my life mosaic. It took four years, and several intense sessions with a counselor, for me to even admit to myself that I had painted it over. I now know I felt these things, but I cannot now feel them again, not even in echoes.

    I’m not sure how I feel about that. I don’t particularly want to experience pain, but once I have, I don’t want to have wasted the effort.

  • Takings and Leavings

    Let’s just take a moment
    Take stock of where we stand.
    I could take you all the way
    If you’d just take my hand.

    I can take direction
    When your writing’s on the wall
    I will always take your side
    But I won’t take the fall.

    When you leave me, you still take me by surprise.
    When you take off, you leave me holding just tears and lies.
    When you take flight, I’m left lying on the ground
    But when you leave me, I won’t take it lying down.

    Leave us an escape route
    Leave yourself some breathing space
    Leave a trail of breadcrumbs
    If you must leave this place.

    Leave off from your crying
    Leave your sorrow far behind
    Leave the past in the past
    Let the ghosts leave your mind.

    When you leave me, you still take me by surprise.
    When you take off, you leave me holding just tears and lies.
    When you take flight, I’m left lying on the ground
    But when you leave me, I won’t take it lying down.

  • Meaning Between Extremes

    The fact I walk in darkness
    Doesn’t mean I love the night
    And the fact I didn’t see it
    Doesn’t mean I’ve lost my sight.
    The fact I won’t surrender
    Doesn’t mean I want to fight.
    And the fact it all went wrong,
    Doesn’t mean it wasn’t right.

    The fact I never said I love you
    Doesn’t mean I didn’t care.
    And the fact you never judged me
    Doesn’t mean that you were fair.
    The fact I never touched you
    Doesn’t mean I wouldn’t dare
    And the fact I had to leave you
    Doesn’t mean I won’t be there.

    You only spoke in Love and Hate, you dealt in Black and White
    And you knew that something must be Wrong if you couldn’t prove it Right.
    You found certainty in simplicity, and meaning in extremes,
    And I was just another thing misplaced among your dreams.

    The fact our feet were off the ground
    Doesn’t mean we ever flew
    And the fact you held all the cards
    Doesn’t mean you ever knew.
    The fact you never spoke a lie
    Doesn’t mean that you were true
    And the fact you chose to say good-bye
    Doesn’t mean I said it too.

  • A Tide Between

    Two bodies whirl past each other,
    reaching across the void
    tugging at each other’s centers
    pulling each other into a dance
    they circle a common center

    If things were simple, if they were simple
    The dance would be eternal
    A balance between come-hither
    And keep away
    That turns attraction to stability.

    But they are not simple, point-like and pristine
    For each, the center is an abstraction
    A hypothetical about which they
    have become arranged
    And so things are not simple.

    Some parts are nearer together
    and yearn to be nearer still
    Other parts are moving too fast for comfort
    and desire more space between

    There is a tide between them
    A differential attraction that
    Kneads their very cores
    Generating stress and heat
    Reshaping their depths and
    The faces they show outside.

    The force pulling them together
    Also tears each one apart

  • The King Lies Dying

    The King lies dying. Night after night, awake in his bed at an unholy hour, he feels his life leaking out of his body, gathering in limp black pools in the pits of his history, like the sweat that congeals between his back and the bedsheets. Unseen above him the stars stagger ’round the sky in their eternal intermiable whirl and he can feel their funereal procession ticking off the dwindling moments until the Sun rises and wearily cuts one more futile notch in the log of his days.

    The King lies dying. He can feel it in his bones, has felt it for many months now, though all his counselors and privvy lords assure him he has never looked more the picture of health, the very paragon of vitality. He listens and nods at matters of state but his arms hang leadenly at his sides and the crown, he knows beyond faith, would — given a moment’s chance — snap his neck should he let it dip down at all. It is all he can do, each day, to rise and sit and stand and shuffle wearily through the rooms of his court, until he can find a moment’s grace in simply sinking wearily into his fresh-turned linen sheets, where he listens to the stars spin their nightly waltz that would be a mockery of him, if he were in their thoughts at all.

    How did it come to this? He can still hear the echo of the triumphal horns trumpeting his entry to the city, the cheering multitudes lining his path with roses. He can still remember being hailed as a hero, greeted as a gentle conqueror. He can still taste on his tongue the heady wine that flowed, buoying his visions of the bright future. Life had been hard in the land of that time, it was true, but now his steadying hand would still the rudder and carry them all safe through the raging storm. Times would be good again.

    How did it come to this? Times had been good, he had made them so, and the land had prospered under his hand. From the cruelest depths he had led them to undreamt heights, from darkest night into the bright sunlight. He had strode magnificently at the head. Now he could barely shuffle from one room to the next. He suffered and the land suffered. He could no longer distinguish between his anguish and its, no longer tell whether his illness caused the land’s distress, or it his. They were one and the same, a long drawn-out sigh of weariness and regret.

    He faces the end alone. Oh, even now he is thronged by courtiers and supplicants, transparent well-wishers who drink his health but savor his deterioration. Some have been with him since the earlier, brighter days, from even before his exile and miraculous return. They watch him decay now and in their eyes he sees — he hopes he sees — sorrow and pity, flickering remembrances of greater times. Others of his lords he inherited upon his return. Though they have served him mostly well, always there has been the thread of anger. Displaced by his ascendancy, they watch now with a barely-buried glint of glee, impatiently waiting for the conclusion of his long long fall. Finally in his court are those he has drawn there himself, attracted from abroad, raised up from the commonhood — some, even, the now-grown children who had paved his path with petals.

    He faces the end alone. Everyone does, he supposes. But not everyone dies alone suffocated by a cloud of courtiers bearing false concern, false hope, false faith. The coterie surrounds him at every lit moment, none wanting to be with him as the end comes, none daring to be away when it does. Though they do not ken it, he sees them sharpening their knives — not for him, hardly worth the effort in his decline, but for each other. He is going, and when he is gone the storm will break over the land more fiercely than ever. Yet all secretly, in their hearts, wish him over and gone soonest, now, even himself.

    He has carried them so far and can no further. He breathes heavily and knows that it is time to give up breath, to exhale his spirit where it can mingle with stones and brook and history, to be buried and become one again with the land and so begin to heal it. His sun has set and another must arise, to usher in a new dawn and a new hope — the light of a day his eyes cannot see. He knows this.

    He has carried them so far and can no further. Yet he seems at the last unready to lay down the burden. He draws breath and knows that he cannot yet cease, that a lifetime of doing has rendered him unable to halt. Some part of him still clings to the world. He wishes it were otherwise, prays so even, but in the deepest part of his heart — the same part that knows it is time — he knows he cannot let go, not yet. He will hang here a while more, caught between the dusk and the dawn, and the land hangs with him, suspended awaiting a rebirth of possibilities, after the death of hope.

    The King lies dying.

  • National Constitution Center endorses torture

    Well, by extension.  They’ve invited John Yoo to participate in a forum on “A Conversation on Civility and Democracy in America” — apparently without a blink of irony, too.  Yoo, you might recall, is the author of the infamous Torture Memos, that said the United Stated could and would abandon its obligations under the Geneva Conventions because, well, President Bush wanted to.  He also said that the President could order warrantless surveillance on, well, anybody, ’cause you know, the terror and all.

    I knew that UC Berkeley had somehow decided to allow this lowlife to sit on its faculty, but somehow, the fact that the National Constitution Center is loaning him its gravitas really struck home for me.  And while I have no connection, even remote, to Berkeley, I do have one small lever with the NCC: I am a member.  Now, I have to decide if I’ll continue to be one.

    My note of outrage to the NCC is posted below the fold.

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  • Tron: Legacy — soundtrack

    Being a geek of a certain age, I of course went out to see Tron: Legacy as soon as it opened in the theaters. And being a geek of a certain type, and having listened to Wendy Carlos‘ ethereal soundtrack to the original Tron, I also purchased the soundtrack to this one as soon as it was available. This was my first introduction to Daft Punk, whom (I must admit) I first even heard of when their role was announced to much rejoicing. On receipt of the CD (yes, I still buy physical goods from time to time), I learned that they had worked on the orchestration with Hans Zimmer, a composer whose other cinematic work I do know and enjoy.

    I say all this to make clear that I cannot evaluate the album as to its “Daft Punkness”. On my first listen through, I was underwhelmed. Wendy Carlos notwithstanding, I am not much of a fan of techno, and this album is certainly that. But having spent the cash I gave it a few good listens, and then I noticed that I was replaying the music in my head throughout the day. That’s just about the best recommendation you can give an album: it’s something you want to keep listening to. It evokes the movie (which I very much enjoyed) without being dogmatically tied to it. I’ve played these tracks for more than anything I’ve purchased in the past year or so.

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  • Marc Cohn at the Town Hall NYC : 2011 0108

    Last night, Annie and I attended a show by Marc Cohn with Suzanna Vega at the Town Hall NYC.

    Playlist

    • Ghost Train
    • Perfect Love
    • The Calling (Charlie Christian’s Tune)
    • Dance Back From the Grave
    • 29 Ways
    • Listening to Levon
    • My Sanctuary
    • Walking in Memphis
    • Into the Mystic
    • Only Living Boy in New York

    We stayed for most of Suzanne Vega’s act.  I don’t really know Ms. Vega’s work so I didn’t capture an accurate playlist and I can’t really comment on her performance.  I was reminded that for me (and I’ll apologize to any Vega fans out there), I like her songs on occasion but couldn’t really listen to a whole album of them.

    Marc Cohn’s portion of the show was everything I’d hoped for, though.  (It was a little short for him, but that’s the result of the double-billing.)  I was a bit taken aback by the realization that this month marks the 20th anniversary of the release of Marc Cohn, his debut.  He’s probably getting a little tired of reciting the story about Muriel at the Hollywood.  🙂  His band was excellent, including as always the amazing Shane Fontayne on guitar.  I found the playlist interesting, as there were some rarer bits (“My Santuary”, for example) and some missing favorites (such as my personal one, “Dig Down Deep”).  He played surprisingly few from what he jokingly calls his “Greatest Hits album, released first”.

    He did two from Listening Booth: 1970.  While I like the album well enough, I am less excited to hear other people’s songs than Cohn’s.  But he put a really nice spin on “Into the Mystic”.

    It’s been too long since I’d been to a Marc Cohn show — this past summer, it seemed like he would play a city only after I’d left it 🙂 — and it was a nice refresher.

  • Currently Reading: First Quater 2011

    • American Scripture by Pauline Maier
    • Consider Phlebas by Ian Banks
    • Assassination Vacation by Sarah Vowel
  • The iPad at two months

    I’ve had my iPad for just under two months now and thought it’s a good time to reflect on it.

    I’ll admit to hesitating before buying one.  I’m not really a fan of Apple — they do good hardware but (in my opinion) only so-so user interface work, and I cannot abide the zealots who are legion who believe that every decision by the Cupertino company is sublime, inspired, and unassailably correct.  (The single button mouse?  For twenty years? Really?)  But my school is currently investigating providing an iPad to every student, and purchased 20 for faculty to use to get acclimated, and then offered a decent deal on purchasing them.  So I thought, What the heck?

    My impressions are below the fold.

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