Eating

Everything eats.  That’s not the problem.  The problem starts with what lies beyond that fact.  And there’s no solution: what we don’t consume has no value.  What has no value does not exist.  Consider the cafeteria.  I’m sitting in it with my friend, Hector, facing the conundrum of life over mashed potatoes and meatloaf for him, a boxed ham sandwich for me.  Who are we to complain?  It’s not horrible food.  It’s edible.  Kind of stiff.  A little stale.  Somewhat undercooked.  But don’t cry for me, Argentina, it’s a campus lunch.  If it goes down and stays put, I’ll bow in gratitude to the bounty of celestial providence.

“That’s a dry sandwich,” says Hector.

Yes.  I know.  I’m eating it.  “Those potatoes look runny.”

He nods slowly, regarding his mashed potatoes the way one views an autopsy subject.  Damn shame, such violence.  But at least it’s not a dry sandwich out of a plastic box.  He got his meatloaf and potatoes from the food line, ladled out of a metal tray like in every prison movie right before the commissary riot.  Greasy steam rises from the food-line entrées and they never smell good.  Runny potatoes.  Feral carrots.  Dubious peas.  Condemned meatloaf.  Overcooked bok choy in a forlorn soy sauce.  Bricks of peaked mac and cheese so dense they have to be chipped off with the tip of the spatula.  I’ll suffer the dry sandwich, thanks.

Hector and I meet in the campus cafeteria about once a month, ostensibly to discuss the renovations being done to the building where I work, but in reality just to insult each other’s food choices and make disparaging comments about the students.

“Look at them snakes,” he says as two undergrads dressed like ice cream cones float by.  Not actual ice cream cones; though, I’ve seen that and many comparable absurdities on this campus, but looking like they just went nuts at a discount white sale in June.  Something out of the director’s cut of Zardoz—new age Egyptizoid background extras in a dystopian shopping mall, while Sean Connery runs around in a red diaper shooting people.  The one wearing a huge amethyst pendant glares at us.

The gun is good, I think to myself, but I don’t say it because Hector won’t get the reference and anyway he’s still going on about them snakes.

“We didn’t see snakes like that when we were in college, am I right?”

Hector’s a large man, completely bald, and, as far as I know, has been faithful to his wife for 25 years.  But he talks like he’s still working on gen ed requirements and an internship.  College females are “snakes.”  College guys are invisible.  The university is “this shit,” as in, “This shit wants me to supervise over Christmas to make sure the HVAC gets in.  Can you believe it?”

I can believe this shit.

“Snakes like that—it’s the social media, okay?  The TikTok.”

“Chinese spyware.”

“China don’t care,” he says.  “Look at them robes.  They look like Stargate.  Leisure studies majors.  You think China cares about leisure studies majors?  That ham’s killing you by inches, brother.”

“China wants me to eat this ham.”

He frowns at my sandwich, cuts into the meatloaf slab with his plastic fork.  “That’s not even ham.”

I came to this job over two years ago because I was starving.  Let’s not say, “starving.”  Let’s say facing the prospect, such that boxed cafeteria lunches came to seem like mana from on high.  My old life got invalidated by a bat virus doing what it was engineered to do—eat.  The freefall unreality of the pandemic, where going to the grocery store felt like dicing with death, ate my finances.  I didn’t like how broke I got, how politicized everything got, didn’t feel like the virus cared much about feelings, opinions, theories, or rent.

All I knew was that, when I got Covid, it was the worst flu of my life.  I hallucinated conversations with dead people, ancestors, goddesses, spent a few weeks in a delirium where I thought I was probably going to die, then managed not to.  After it cleared up, I found a job on campus—not the university teaching job I’d always wanted, but still.  Still.

“That meatloaf looks more loaf than meat.”

“Cute.  This fantastic repast is straight from heaven.”

“Send it back.  Make god eat it.”

“Don’t blaspheme.”

And now, a new life of blasphemy and snakes.  As Dante wrote in La Vita Nuova, “If I bethought myself to seek out some point at the which all these paths might be found to meet, I discerned but one way, and that irked me; to wit, to call upon Pity, and to commend myself unto her.”  Those of us who lived through the pandemic will never know why we did while others didn’t.  All we know is that chance or fate took pity on us so that we could sit on college campuses and watch self-conscious children glare and parade around in costumes.

“If I tabulate all the money I’ve spent on bad campus food, it’s like I’m giving back my paychecks.”

“That’s what you do,” he says.  “They give you money.  You give it back.  They give you things.  You eat them.”

On that note, we do.  Perhaps, as we consume our vital sustenance, we ask ourselves what we’re feeling.  Perhaps, as we are sensitive individuals, in touch with our emotions, we turn inward as we eat, content to probe the range of personal meaning inherent in the act.  Or maybe we just shovel it down as quickly as possible.  I set the last quarter of my ham sandwich aside.  It is truly dry and I didn’t get anything to drink.

“Linda says she thinks she might be a lesbian.”  Hector stares across the cafeteria, through the beige wall, over the landscape, beyond at least one ocean, at an image in a distant land that holds the truth of that statement.  Maybe a better meatloaf.  He puts the last chunk in his mouth and chews.

“You getting a divorce?’

“Maybe.  She said don’t worry, though.  Right now, it’s just a thought she’s having.”

Two boys with skateboards sit at the table in front of us.  They don’t have any food.  And I wonder why they’re here, why, of all places they could go, they’ve chosen a space that smells like rancid creamed corn and burned toast.

“Thoughts are just thoughts.”

“Yeah,” he says.  “Exactly.”

I look at the scar that runs up his right forearm, perfectly dividing the sun tarot card tattoo surrounded by cherry blossoms.  I look at the red-and-white Aloha shirt and the heavy gold chain he wears on the outside of his black undershirt so it will stand out in the “V.”  And I think sometimes I must not be the loneliest person on campus.

Hector and I are both 30 years older than these students.  We’re in the gray area, marked “staff.”  We’re not on the academic food chain.  We don’t consume.  We are not consumed.  We merely facilitate the consumption.  And that which is not consumed cannot exist.  We’re ghosts.

A couple dressed in skin-tight gym wear starts to make out at one of the central tables and everyone in the cafeteria stares, but only for a moment.  It’s a new life, I think, a new world.  It intersects my old, dead middle-aged life that barely sustains, that nobody wants, that tastes like something from a cafeteria food line.  Hector stares a little longer then looks over at the last of my sandwich.

“You gonna eat that?”

I tell him no and he picks it up with two fingers, puts it in his mouth.

“Peace,” he says, still chewing.  “Stay healthy.”

I wave and watch him move toward the door, a foot taller and two wider than everyone present.  No one looks at him.  He’s not an entrée.

I sit there for the remainder of my lunch, empty plates in front of me, watching young love in action.  The outer part of me wants to feel contempt for them doing that in public, but when I ask myself what I’m feeling, I have to remember to be grateful.  I’m alive.  I’m still here, for what it’s worth.  I still get a boxed sandwich, a little more time, and a table off to the side.

Digging to China: Utopias Always Become Nightmares

 

One of my favorite Johnny Cash songs is his cover of Porter Wagoner’s “Satisfied Mind.”  The refrain goes like this:

How many times have
You heard someone say
If I had his money,
I could do things my way

But little they know
That it’s so hard to find
One rich man in ten
With a satisfied mind.

It’s very country and it rests on the country music genre cliché of human relationships being more valuable than wealth, status, and power.  It also makes me think of Simon and Garfunkel’s “Richard Cory,” from Sounds of Silence, which was the first time I encountered the idea in music outside my uncle’s self-produced country albums.  Richard Cory has everything, then shoots himself, yet the impoverished speaker in the song continues to envy him.  They’re both good songs.  They both carry a timeworn message in popular music: money can’t buy love.

Still, as a cynical friend of mine has pointed out more than once, it may be true that money can’t buy love, but it can buy travel, leisure, interesting rich-person adventures (vs. the poor-person variety), politeness, serenity, entertainment, granite countertops, educational opportunities, good food, access to the gifted and fascinating, and quality healthcare, which in the aggregate starts to look a lot like love.  Love of the world.  Love of life.  Love of fate.  Amor fati.

It’s easy to love what your life has become when you can do things your way.  Oh Allfather Zod, I don’t often pray to you (because why?  I have a shit ton of money), but I’m here at your subterranean temple of fire and perdition on Zodsday, just like last year, to recite my only prayer: DON’T CHANGE A THING.  Amor fati, you know?  I’m good.  You do you.

The rest of us will have to sacrifice two blocks of insect-soy protein at the altar of the Allfather on a regular basis or our paranoid, sadistic deity will smite us.  We may ask ourselves why the Sam Bankman-Frieds, Martin Shkrelis, and Anna Sorokins of the world have millions (ostensibly there are many, or at least some, of these individuals who have not yet been indicted), while we labor in Zod’s gulag, but that’s asking the wrong question.

The real question is whether we are about to own nothing and be happy, which is to say, whether we are authentically mentally ill (as opposed to performatively “mentally ill” as part of a curated online identity).  Think of Elon Musk declaring that he was just going to live with friends for the rest of his life instead of owning houses—because friends are the spice of life, no?  I wonder what sort of friends Elon has.  Sure, take the fifth wing.  Yeah, kitty-corner from the spaceport and the athletic complex.  Stay as long as you like!

Amor fati, brother, amor fati.

If the definition of mental illness is, to a certain extent, mediated by culture and indicated by transgressions that show deviant behavior (i.e. behavior that indicates deviation from cultural norms), then Elon’s version of owning nothing might qualify.  Klaus Schwab’s utopian vision of the post-pandemic “Great Reset,” in which every human culture, corporation, nation, and industry must immediately “act jointly and swiftly to revamp all aspects of our societies and economies, from education to social contracts and working conditions” likely also qualifies.

                                           Klaus Schwab, at the World Economic Forum, envisioning utopia.

We might ask why utopian visionaries, who seem to know the truth and have a final solution worked out for the world, always end up as Robespierres.  Moreover, why do social movements dedicated to “diversity, equity, and inclusion” tend to devolve into bitter gestures of intolerance, over-compensatory bias, and exclusion?  Well, money.  It’s the economy, stupid.  And pandemic dread really seemed to fuel that sort of white-knuckle utopianism.  It goes without saying that any future vision according to a tight group of political and economic experts will not stay very bright.

Utopia nearly always leads to the dys– version. Utopian visions born out of pandemics and other global traumas seem the worst.  As the British sci-fi roleplaying game, Carbon 2185, put it: “Carbon 2185 has a highly detailed economy with reference tables and charts to help you instantly know how much a bowl of street ramen costs.”  I tried playing this game by post with some friends during the pandemic and we gave up.  According to the rules, a bowl of street ramen cost more than my monthly take-home and we had to rent all our guns.  I’ll pass on the ramen, thanks.  Bring on the insect-soy.  It was depressing.  Someone proposed D&D instead.  Someone said, “Fuck that.”  We didn’t talk for a bit.

 

Why lean into cyberpunk dystopia when talking about the future?  Why put a frame of Max, from Elysium, visiting his parole-officer bot, who asks, “Are you being sarcastic and / or abusive?” at the top of this piece?  Why call it, “Digging to China”?  Am I implying that, in the Monbiot-Thunbergian horseshoe irony of the post-pandemic near future, we will be eating processed insects and living in the pods of a grubby rental economy, where the CCP and the USA have arrived at the same socio-economic terminal?  Am I now going to start referencing the episodes of Black Mirror that made me the most depressed because they seemed the most likely?  Am I committing tone crimes and microaggressions in this paragraph?  I’ll spare you.

Instead, I’ll propose that there has never been a better time to stop monetizing your hobbies (or your art or your body).  The impetus for such a proposition comes from Colleen Doran’s excellent, “How Long Does it Take to Draw a Comic Book Page?” on Colleen Doran’s Funny Business.  I love Colleen Doran’s newsletter.  She’s a wise professional who’s been around long enough in her industry to have a few things to say about creativity, money, and staying sane.

At the same time, the way she tracks her time (“I tried to stick to an eight hour day for awhile, but it is impossible for a working cartoonist to work only 8 hours per day.”) reminded me of how I’ve been tracking my fiction words-per-day and how stressed I’ve felt (for decades) about staying productive.  Where does this stress come from?  From the same economic imagination that envisions being priced out of a bowl of street ramen.  From illusions like “upskilling” which seems to borrow logic from the old trickle-down economics that clearly worked so well.  And the self-publishing option is no consolation for a working writer.  You have to grind.  You have to write more or nothing works. You have to monetize everything and keep a straight face. No sarcasm permitted.

Yes, there have been some slot-machine winners in the self-publishing game (read their work and the slot-machine metaphor will begin to make a lot of sense).  There have also been slot-machine winners in social media influencing, self-managed parasocial porn sites, and various forms of crowdfunding.  And I have no doubt that some of it is good (Chuck Wendig’s writing comes to mind along with the band, Scary Pockets—no comment on OnlyFans and its clones).  But mostly people seem to have been lured, at least for a while, into another self-exploitation gulag.

The self-publishing platform (Amazon, Lulu, etc.) now stands in the place of a traditional publisher, only with non-existent gatekeeping.  Sure, buddy, you’re an author now.  Good luck with that . . . another utopian vision gone westward to seek its fortune while the company takes its cut.

As a writer, you will eventually eat the bugs.  You will own nothing.  You will labor to pay rents to monolithic inhuman organizations with AI customer service—economic entities that conflate sarcasm with abuse and practice zero tolerance toward any microaggression that may question their mission statements.  You will prostitute yourself from your temporary pod.  And you will be happy.

I’ve learned a lot about how my body and mind get monetized by scrupulously tracking time spent working on various projects.  I think Colleen Doran and my many creative friends are right to pay attention to how they’re spending their days.  But I also think, absent a trust fund, time and grind eventually converge violently in you.  The personal sacrifices, the mental illnesses, the continual self-betrayals in the interests of time, money, and productivity point more to the cruel altar of Allfather Zod than to some glorious worker’s paradise.

Following the Science in Leaps and Bounds

When people don’t fully understand a particular branch of science or scientific inquiry (which we imagine must be most non-scientists), “following the science” comes down to making an informed leap of faith. There is nothing wrong with that. Leaps of faith are necessary on a daily basis in every part of life. Without them, we would be unable to function as individuals or as a society. However, we want our leaps to be as short, unstressful, and error-free as possible. We might speak about life as a series of cautious assumptions and educated guesses because it is impossible to know very much with absolute certainty.

For example, I will take NASA at its word when it tells me something about Mars. And I will believe my lawyer when he tells me my best chance is to settle out of court. This is because I have more confidence in NASA when it comes to space and in my lawyer when it comes to lawsuits than I do in myself (or in other non-experts) regarding those areas. The leap of faith I have to make seems small and therefore less subject to error because I know NASA is an expert space organization and my lawyer has a professional license to practice law. I could persuasively cite NASA in a paper on space and my lawyer in a paper on litigation.

Conversely, I will not reference NASA on settling a lawsuit or my lawyer on exploring Mars. They might have opinions about those things, but because they have no authority to speak professionally about them, my leap of faith in the credibility of their claims would be too great, stressful, and subject to error. I might enjoy their opinions, but I wouldn’t cite them as documentation or support in a paper.

Opinions outside one’s field of expertise carry far less weight. When I taught college-level rhetoric, I’d talk to students about the true purposes of legitimate sourcing and documentation in their essays—not primarily to provide additional reading or resources, but to establish credibility and authority on the part of the writer and, by extension, within his or her claim structure.

You can claim anything in a paper, but you will only be persuasive if you can support those claims with authoritative references (where the leap of faith you’re asking the reader to make is small and easy). If I want to say something about Mars, I will show you how NASA agrees with me. If I want to make a point about an aspect of law, I will show you how my lawyer wrote an article on it in The American Lawyer. Their expertise, authority, and credibility will give my argument an aura of expertise, authority, and credibility. This is a powerful aspect of persuasive rhetoric. We encounter it all the time, formally and informally.

Unfortunately, when it comes to “following the science” about Covid, the authority of scientists and national health experts has been eroded by a range of political and social counter-arguments, usually employing what we call the fallacy of “Faulty Comparison.” Faulty Comparison is bad logic that draws an equals sign between things that should not be presented as equal.

Using the above example, if I wrote, “NASA says that Mars rocks are highly radioactive, but my lawyer says they aren’t. Now it is unclear who to believe,” it wouldn’t be hard to see the bad logic. I’m making a Faulty Comparison between what NASA thinks about space and what my lawyer thinks about space. Then on the basis of that faulty comparison, I’m claiming it is impossible to tell who is more credible. One opinion is clearly credible (that of NASA) and has persuasive weight. The other (that of my lawyer) does not. They should not be presented as persuasively equal. And there should be no confusion about where the shorter, less stressful, and less error-prone leap of faith can be made.

But if I use a politician or faith leader to attack the expertise of NASA, it’s a bit harder to spot the fallacy: “NASA says Mars rocks are highly radioactive, but the President and Reverend Osteen both disagree. What, then, can we safely believe?” That’s still bad rhetoric, but it widens the necessary leap of faith and generates stress in the audience, especially if the audience strongly supports the President and Reverend Osteen. The politician’s and minister’s expertise are being presented as carrying equal weight about Mars as that of NASA on the subject. It’s an example of Faulty Comparison, but it’s slightly hidden.

Trump and his staff made a lot of Faulty Comparisons during his Administration, claiming “fake news” and “alternate facts” as a way of neutralizing negative press and keeping their political base activated and incensed. They tried to make necessary and appropriate leaps of faith as difficult and stressful as possible by politicizing Covid data and playing on the already existing suspicions that academics and experts are inherent leftists or even crypto-Marxists (which isn’t always false but isn’t as uniformly true as many on the right seem to believe) acting in bad faith.

Asking Trump or Kellyanne Conway or Biden or Pelosi about the nature or behavior of Covid is like asking your lawyer about Mars. Their political and bureaucratic authority does not translate into scientific authority. Putting faith in their pronouncements about the virus is not the same as putting your faith in the Center for Disease Control on the subject. This also includes questions of mask protocol and vaccines.

Rhetorically, the leap of faith is much smaller when you do “follow the science,” even if it’s still an act of faith, an assumption that someone knows more or is better than you when it comes to a subject in which you are ignorant. By sourcing the most credible authorities, you are, in effect, asking NASA about Mars and your lawyer about law. You are making the most reasonable assumption, the most educated guess about a subject you do not understand.

One Cat at a Time

A story about volunteers.

Of all the things I’d hoped to accomplish that fall, digging a six-foot-deep moat around the family house wasn’t one of them.  But the governor decided to end all Covid restrictions in the middle of the pandemic, causing the state’s heavily armed population to take it as a sign and go berserk.  When that happens, you dig a moat.  So I couldn’t argue with Uncle Red’s decision to fortify the premises.  Nevertheless, there were problems. 

My own troubles started a week before I moved in.  Hauberk College cancelled its spring semester in the interests of social distancing and good hygiene.  So instead of moving into the dorms the second half of my freshman year like I’d planned, I found myself staying at the house my mother once described as “a ramshackle pit” and trying to spend as little money as possible.  I was supposed to have received a dining hall meal plan along with my freshman year scholarship.  Given my Aunt Phoebe’s cooking, I think losing that meal plan depressed me the most.

“Put your back into it,” Uncle Red said, “or I’ll make you mask up!” 

I nodded and tried to approximate what “putting your back into it” looked like, but I was tired.  I’d been shoveling my assigned section of moat since morning, my back hurt, and I’d gotten blisters on my hands.  This, I thought, is no way to start an adult life.  If I’d wanted to dig moats for a living, I could have joined the Peace Corps like my brother.

In my uncle’s view, masking up was the ultimate dunce cap, fit only for democrats, Marxists, social justice activists, and professors.  In this branch of my family, wearing a mask to protect against Covid was a sign of weakness, wrong thinking, unworthiness, and shame.  I had a pack of five N95 masks in my suitcase, but I hadn’t taken them out. 

It was enough that everyone knew I was attempting college.  Anything more and I felt the generosity of my relatives would become strained beyond the bounds of credulity.  As Uncle Marty liked to say, I’d be just another “freak peckerhead.”  And nobody wants that.  More importantly, I’d also be out on the street.

“That’s hardpan you’re digging!” yelled Aunt Phoebe from the porch.  “Too hard for you!”

“No doubt about it!” yelled Uncle Marty.

“You got that right!” yelled Uncle Red.

I said nothing and kept trying to look like I was putting my back into it.

Uncle Red was called “Red” because his first name was “Redding.”  There was a story behind it that no one ever talked about.  He was short, had a beer belly, small eyes, and a round face.  He was also completely bald and never had anything close to red hair.  Uncle Marty looked completely different: tall, muscled, with blue eyes and a thick blond goatee that made you think of King Arthur. 

Aunt Phoebe, on the other hand, was completely gray and starting to develop a stoop from osteoporosis.  She liked to say her bones were getting smaller along with her brain.  None of them looked like each other.  And none of them looked like me.  I sometimes wondered whether any of us were actually related.

The moat was wide enough for two grown men to stand on the bottom shoulder to shoulder.  We knew this because that’s exactly what my uncles did.  They checked the depth with a wooden yardstick as we progressed.  We dug our way clockwise around the house; past the corner of the porch; past the enormous red-brick chimney that started at the base of the foundation and went up six feet above the roof; past the completely rusted propane tank, which everyone agreed would someday explode; past the back porch and the far corner of the house, gray and disintegrating like the old barns you saw from the highway; and back around to the front.  It didn’t dig like hardpan.  The ground was relatively soft.  Still, it was an enormous project to attempt in one day.

When we found our way back to the front yard, the ouroboros could almost bite its tail.  So we broke for dinner.  It was ham and cheese sandwiches, brought out by Aunt Phoebe on her Franklin Mint 2016 commemorative platter, featuring  Donald Trump and Abraham Lincoln healing the sick of Bombay.  Above them, the good Lord smiled down from his golden throne in the clouds.  Aunt Phoebe liked to joke about it, but I also noticed she kept the platter on a decorative stand by her boom box over the sink.

My uncles and I sat on the edge of the moat, our feet dangling down like kids at swim class taking a break.  There was a festive air, a certain delight that Uncle Red and Uncle Marty never seemed to show.  But when they looked at what we accomplished they smiled and high-fived each other.

Back on the porch, Aunt Phoebe turned and yelled, “Eat up, boys, but don’t take too long!”

“Not a chance!” yelled Uncle Red.

“We’re on it!” yelled Uncle Marty.

Then the three of them looked at me.  I raised my fist in solidarity and took another bite.

Uncle Red, Aunt Phoebe, and Uncle Marty, lived together in the house about 40 miles northeast of Hauberk, Missouri.  It was a two-story Coronado foursquare build by the Louis Company for my great-grandfather in 1912.  He moved there from Kansas City with the expectation that the town of Hauberk would eventually grow along the railroad in his direction, raising the value of the land.  That proved, however, to be a precipitous assumption.  The property was the last bit of an unproductive patch, which before the Great Depression had been optimistically designated as farmland, but which was now just a flat plain of grass and birch trees with dry creeks and too many crows.

The house had been going to seed for the last 80 years, just like our family, and was known to be an area where you might get threatened with a .410 for trespassing.  Still, Uncle Red, Aunt Phoebe, and Uncle Marty, having survived their respective spouses, retired together to the old house in the late 1990s.  Since then, they seemed to have given themselves over to the kind of melancholy one feels when the good old days are unquestionably gone forever. 

When they weren’t digging moats, they were a fairly morose bunch and they were avoided at all costs by the rest of the family.  I’d learned that the feeling was generally mutual; though, the three of them maintained a reverence for our grandfather and his property that bordered on religion. 

They did not keep the place up, but they did admire it greatly, if only in the abstract and usually in the evenings after a certain amount of alcohol.  The house signified the last good, common, family thing in their lives.  They were not well off, but they treated the old homestead not unlike one of the great estates of a lost European nobility, a sad reminder of a grander, more glorious age.

“You’re never gonna get it done!” Aunt Phoebe yelled.

“I know!” yelled Uncle Marty.

“Damn shame!” yelled Uncle Red, pitching his crumpled can of Bud into the open leaf bag in the center of the front lawn.

I looked at the remaining distance we had to cover, maybe about 15 feet, and realized that Aunt Phoebe would have said that even if we’d only had one shovelful left.  That was just her style, the same way that my uncles agreed with her no matter what she said.  I was a guest in the house, yes, but I was also a spectator.

When the George Floyd protests came to Hauberk and someone tried to burn down the Walmart Megastore a block west of the college, Uncle Red, Aunt Phoebe, and Uncle Marty defaulted to the fatalistic, medieval siege mentality that had been lurking in their DNA all their lives.  They ran up their credit cards at the gun shop and patronized whichever local box stores were still open in order to prepare for the worst.  They figured the End Times had finally arrived.  It cheered them immensely.

All Hauberk was on edge.  Everyone was talking about what had recently happened in Nirvana, just over the Arkansas line, where an anti-police brutality protest turned brutal and an entire strip mall went up in flames, including a bank, a nail salon, a Mongolian restaurant, and a storefront sculpture gallery featuring Remington reproductions and assorted objects of rodeo art. 

Though the editors of the Hauberk Gazette condemned the violence in the strongest possible terms, stressing the need for dialogue and down-home midwestern tolerance, there was an abiding sense that anything could happen.  One worried that the civil unrest, which had so recently and shockingly boiled through the country on the coattails of the pandemic, might rush inward from the coasts once again, burning everything in its path, until it all coagulated in the center of Hauberk’s main drag.

“Knees!  Dig from the knees!” yelled Aunt Phoebe.

“That’s what I keep telling him!” yelled Uncle Marty.

“Absolutely!”  yelled Uncle Red as he tossed another can of Bud into the bag.

Unfortunately, the moat had not been dug from the knees and it was decidedly not watertight.  The 50 gallons of bituminous tar specified for that purpose in Uncle Marty’s Medieval Siegecraft for the Modern Home was not obtainable from Amazon Prime in less than a month, the local Home Depot having sold out of it two weeks earlier.  We weren’t the only ones digging moats. 

Things got more difficult when Aunt Phoebe strained her back boiling crab apples in an enormous cast iron cauldron behind the house.  This took most of the joie de vivre out of the moat digging experience, seeing that she then parked herself on the front porch swing with a Mason jar full of ice water so she could critique Uncle Red’s and Uncle Marty’s shovel technique.

“The knees!” she yelled.  “It’s all in the knees!  If you don’t hurry it up, you won’t get finished before sundown!  And then what?”

“I know!” yelled Uncle Marty.

“Dig like you got a pair!” yelled Uncle Red—I think to me, since he had his back to Marty and it wouldn’t have made sense had he been addressing Aunt Phoebe.  But I’d learned to take nothing for granted while staying at the house.  And though we hadn’t talked about it, I think we’d all seen enough zombie movies to know what happens after dark when moats are only half-dug. 

Mercifully, Aunt Phoebe left me alone.  Yes, I had bad shovel form.  I knew it.  At 19, I’d already developed what some might call “rickety knees,” which ended all career paths involving well digging, trench maintenance, basement retrofitting, pool resurfacing, and freelance latrine management well before I could investigate those brochures at the Hauberk Job Center. 

Sometimes, Uncle Red called me, “boy” or “the kid,” not in a condescending way but because, to the three of them, that’s what I was and probably what I’d always be.  Uncle Red often said, “A man busts his ass.”  By that calculus, I was just a kid with an unbusted ass and weak knees, who’d therefore gone to college to study Marxism and smoke dope.

“You’re hopeless!” yelled Aunt Phoebe.

“Truth!” yelled Uncle Marty.

“No kidding!” yelled Uncle Red.

I did my best to put my back into it and dig like I had a pair.  I shoveled as fast as I could, thinking we’d have to engineer some sort of pit trap or at least a deadfall with broken rocks and shards of glass at the bottom to stop the house-invading hordes of liberals my aunt and uncles expected any time now.  In case we didn’t get the tar, my Uncle Red said they had a backup plan; though, none of them felt inclined to share it with me just yet.  And I knew better than to attempt to pry it out of them.  They had their secrets, jointly and severally, to be sure.

Still, in spite of the fact that none of us pleased Aunt Phoebe with our shovelry and my uncles took regular piss breaks, constantly bringing more Bud Light out from the pantry, we completed the moat by nightfall.  They completely filled the plastic yard bag with their empty cans.  By the end, they were, as Aunt Phoebe put it, “drunk as two otters.”  Nevertheless, it was a magnificent moat, yawning, black and ominous as a skull in the dark.

I felt we would all sleep well that night—my uncles from an abundance of beer, me from physical exhaustion, Aunt Phoebe from her nightly Halcion crushed up and taken with warm milk.  In the upstairs hallway, she grabbed me by the arm as we passed each other on the way to our rooms.  It was dark, but we paused in a slant of light from the circular window over the stairs.  Fingers digging into my arm, she warned me not to go outside if I woke up before dawn. 

“Why?”

“Cause you don’t know what’s out here,” she whispered.  “You never know.”

I thought Aunt Phoebe was going to caution me against falling into the moat, but I couldn’t imagine what caused her to think I might be wandering out there in the middle of the night.

“Bears?”

“Ain’t no bears in Missouri,” she said.  “Leastways not around here.”

“Democrats?”

She sighed, frowned at me, then let go of my arm and shuffled down to her room at the end of the hall.  One day, Aunt Phoebe would tire of my sarcasm.  Then there would be hell to pay.  Until then, it would be either liberals or bears or perhaps liberal bears, and hell could wait. 

It was a big house, two stories up on a high footprint.  The wood and flagstone front porch was painted dull clay red on a gray concrete foundation about six feet off the ground.  The top floor—four bedrooms, three bathrooms, and a solarium full of cardboard boxes and miscellaneous dusty junk—felt more like a third story. 

I opened the bedroom window and felt the night air on my face.  The window was more like a set of narrow doors with yellow glass panels.  It had little French handles made of pewter and, when it was fully open, it framed my body from mid-shin.  No screen.  You turned both handles at once, swung both sides inward, and then it was just you and the night sky.  No one, to my knowledge, had ever fallen out and broken his neck, but it was the first thing I thought of as I stood there listening to Uncle Red snoring two rooms away. 

The flat blue-gray plain of dead farmland stretched out under the moon.  Here and there a black copse of birch broke the monotony.  Uncle Red called them “volunteers,” because the birds had dropped the seeds.  The saplings grew tall and thin together like groups of people mingling at a party.  My uncles were too superstitious to cut them down.  When I asked, Uncle Marty just said, “You don’t fuck with the land.”  And that was that.

I looked for the moat, but I could only see the edge of it if I leaned way out, which scared me when I did it.  I’m not afraid of heights and old creaky houses, but there was something about how the stands of trees cast long shadows in the moonlight that made me think no one would ever notice me out there if I fell and broke something. 

The room smelled like they hadn’t vacuumed since the Kennedy Administration and I wondered how many people had slept in the lumpy queen bed over the years, what their lives had been like, and how many of them might have stood at the window on a moonlit night and watched those dark stands of trees sway in the wind.

In the morning, I came down to the kitchen, feeling groggy and sore from the previous day’s agricultural labor, all that putting of my back into it and digging like I had a pair.  Aunt Phoebe set out a bowl of Cream of Wheat for me with a slab of butter in the middle like a tiny radiant sun.  She was in a good mood, doing the dishes, whistling, had the local conservative radio show going full blast from her ancient boom box over the sink. 

I noticed she’d washed and replaced the Franklin Mint platter beside the radio.  After I’d been sitting at the table for a minute, Aunt Phoebe fell back into her unconscious habit of answering the show under her breath—“Right” or “Not a chance” or “That’s for damn sure” as she moved around the kitchen.  I thought it was a holy roller radio service at first.  But it was just an agitated republican.

“We’re pretty much stocked up,” she said.  “Nothing can touch us now!”

“What about the crab apples, though?” 

Aunt Phoebe gave me a sour look.  “I dumped ’em.  Too much work.  And I was short on jars.  The squirrels’ll get ’em all before the end of the week anyhow.  You’ll see.”

The speaker on the radio had a feverish, almost breathless way of spitting out his words, as if each one were a bullet.  The question under debate was what the violent liberal rioters were going to do when Trump won again.  A group of illiberal Marxist dissidents was supposed to be holding a sit in that evening in downtown Saint Joseph and the local militia was set to come out and prevent various statues from getting beheaded.  The speaker paused, then asked with great intensity: “Will they burn YOUR town next?” 

“Not this damn town,” muttered Aunt Phoebe; though it was unclear which town she meant.  It was all a bit hard to take with a bowl of greasy porridge after a day of engaging in medieval siegecraft.

The moat, as I have already mentioned, was lacking a sealant, at least one appropriate for a crusader stronghold.  But the backup plan was sound and had already been put in motion.  My uncles returned in Marty’s Dodge Ram just as I was forcing myself to swallow the last spoonful of breakfast.  Roped steady in the truck bed was a 50-gallon drum of self-hardening fiberglass resin they’d bought that morning at Complete Building Materials over in Columbia.

Uncle Red explained the plan as we looked down into the moat.  “This turns to stone and it’s watertight.  When we have to, you know, pour Greek fire in there and light it up, it won’t burn extra hot like with the tar, but it’ll keep it going.”

“Greek fire?”

Uncle Red lit a cigarette, squinted, gestured at the moat with his smoking hand.  “An incendiary weapon first used in Byzantine warfare in the seventh century, Anno Domini.  What’d they teach you at school?”

“Napalm,” Uncle Marty said and grinned.  “They never expect napalm.”

“Isn’t that against the Geneva Convention?”

They laughed.

Later, we sloshed the self-hardening resin around the entire inside of the moat, got harangued from the porch by Aunt Phoebe for sloshing it wastefully and not bending our knees (“I know!” yelled Uncle Red.  “Yeah!  Exactly!” yelled Uncle Marty.), and got dizzy from the fumes.  Then Uncle Marty took me out to see his cattery.

Two things are always true in this existence of toil and servitude, no matter who you are and no matter what you do for a living: one never expects napalm and visiting a cattery will change you.  The former is true because napalm, like moats, is something out of myth and legend, something we only see on TV.  No one says, “It’s looking like rain tomorrow, Bob.  We better roll out the napalm.”  It just doesn’t happen.

The latter is true because feral cats are sons and daughters of the goddess, Bastet, and therefore inherently divine.  And 38 furry divine beings peering at you from the roof and through the slats of an ancient collapsing barn will deliver such pagan grace as to make you rethink certain fundamental assumptions and generally reconsider your life.  Uncle Marty explained this to me when we got there, which also made me reconsider Uncle Marty.

He had a large black cat statue, which he’d positioned at the edge of the roof overlooking the broken side door.  “Soon as I put the statue up,” he said, “they started coming.  They told their friends.  I’m well known.”

“You’re a cat celebrity.”

“Don’t joke.”  He nodded at the Bast statue, which had been carved so artfully that the black cat sitting next to it looked identical.  “She’s a goddess.  She’s kind.  But she’s got her dignity.  You know?”

I didn’t.  I also didn’t know whether he meant the black cat sitting next to the statue or Bastet herself.  When we got out of the truck, the cats started meowing.

“Ancient Egypt’s always called to me.  I got a ton of books on it.  Started having these dreams.  Then one day, I came out here to shoot some cans and I saw a cat sitting right over there.” 

He pointed to a cement block sticking up about a hundred feet away, part of an old house’s foundation, what they used to call a “ghost basement.”  The house got torn down and all that was left were concrete basement walls sunk into the earth.  But the barn had remained, slowly listing until a tornado or maybe just age and termites caused it to definitively collapse sideways.  From the look of it, one more bit of harsh weather might do it in completely.

Uncle Marty opened up five large tins of cat food and positioned them around the doorway.  He talked as he washed out and refilled two aluminium water dishes of the sort the local farmers used for goats and alpacas.  “I followed the cat inside here but it was gone.  Then, about a week after that, I had a dream of cats in a golden temple and I knew.”  He straightened up and gave me his King Arthur smile as if the rest of the story should have been self-evident.

A large crowd of cats had now formed around my uncle, some taking sips of water, some rubbing against his jeans, or nibbling at the food.  A row of them looked down from the edge of the roof like vultures.  Pairs of eyes stared at us from spaces in the wood.  The meowing was prodigious and incessant.  I’d never seen feral cats act like this.  Then again, I’d never seen an ancient Egyptian cattery barn dedicated to a goddess before, either.

“You knew what?” 

“I knew I touched on the infinite.”

In the evening, Uncle Red got drunk up in the attic, watching C-SPAN on the house computer.  Uncle Marty disappeared to his room.  And Aunt Phoebe put on the AM ballroom station, twirling around the kitchen like an ingénue of the early cinema.  Contrary to what one might initially think, this was their usual routine. 

It was also why I hadn’t asked Uncle Marty to explain what touching the infinite meant.  After many nights of watching my aunt bow to an invisible dance partner, whom she referred to as “Mr. Godfrey,” and listening to Uncle Red have heated drunken arguments in the attic with his dead wife (Aunt Paula—I met her once when I was very young), an Egyptian cat shrine in backwoods Missouri didn’t seem unreasonable.

Aunt Phoebe and my uncles weren’t stupid.  They weren’t insane.  They were simply ingrown, weird, haunted by people or things long gone, by memories or regrets or fantasies.  And to watch them in their evening pursuits, to pass judgement on them, even silently, seemed indecent, made me feel as though their loneliness could add to mine.  So I gave them as much room as I could in that dusty old house, retreating to my bedroom after dinner to read.

My great-grandfather’s bookcases were still in the basement, preserved under dusty drop cloths and I liberated the complete Dickens in hardback, the stories of Guy de Maupassant, an illustrated Moby Dick.  I kept a diary on my laptop; though, I was often uninspired and only tapped out a few lines.  And that was the circumference of my nights when I wasn’t recovering from digging like I had a pair.  I’d hoped to study English at Hauberk College, since reading was the only thing I ever truly enjoyed, but given a long enough timeline in that house, I felt I, too, would be holding seances, talking to ancient cat goddesses, and sharing a Coke with Mr. Godfrey.

I’d never been normal, if normal meant barbeques and baseball games.  I wasn’t fond of team sports, wasn’t voted most likely to succeed at anything.  Toward the end of my senior year, as I was getting ready to go away for college, after noting loudly and critically that I didn’t have a girlfriend, my mother pronounced me too smart to be normal and cast her own form of divination, part curse, part prophecy. 

I would, she said, be lonely and miserable in the years to come.  But there would be a time when the tables would turn and all those kids who seemed to be having fun now would despise themselves and their lives.  Then it would be my turn as long as I studied very, very hard.  She had that angry righteous light in her eyes when she said it.  But she never foretold that a virus would sweep the world or that I’d wind up living in “the ramshackle pit” instead of taking British Literature at Hauberk College.  My parents hadn’t returned my last three calls.  I could only assume that they didn’t want me coming home so soon.  Maybe they thought some moat digging would be good for me.

We were about ten miles out from the house on a dirt road without a name.  I asked Uncle Marty if the barn was part of the family property, but he just smiled and shook his head. 

“Somebody owns it,” he said.  “Or nobody does.”

“Maybe the cats.”

Uncle Marty laughed, nodded.  Maybe so.

After the Virus

A short short about an epilogue.

 

You want a book and a blanket, warm shoes, a strong cup of coffee.  You want interesting birds at a comfortable distance, flowers nodding in the sun, forgetfulness at least for a time.  You even want redemption, relief, the past to stay past—even as it reaches out somehow to the present—symbolically, perhaps in dreams or in the figure of shadows beneath the trees—to reassure you that it’s going to stay put.  You want the world to stop ending for a minute and the mountains to stay purple under their white peaks.  And, yes, you very much want to be in love. 

Of course, as your body expels a month of agricultural pollution, you mostly want to breathe straight.  You decide you love clean air more than anything else.

Coming out of the San Joaquin Valley in the high-pollution days of summer is like being reborn.  You don’t remember how it was the first time, but can’t you imagine?  Screaming, covered in slime, a slap on the ass, and then the first ragged breath: this is what it’s like driving north on the 5 and looking back at Gustine, Newman, Patterson, Westley.  You stop for gas in Lathrop.  You consider taking a detour out to Manteca because someone in your PhD program said he once ate a good enchilada there and you’ve been chewing old jerky since Buttonwillow.  You didn’t want to get out in Los Baños because breathing there makes you want to brush your teeth.

But you don’t do the detour.  You push north, feverishly.  Maybe your fever isn’t only because of the gallons of chlorpyrifos being dropped on orange groves by the freeway.  It tastes like talcum powder.  It’s on the windshield, turning the sap of dead butterflies light gray.  As with the butterflies, so with your lungs.  Enchiladas de Manteca are one thing.  Getting out of the Valley—really getting out without an engine fire or a family emergency or a carjacking or the strange magnetic pull of Fresno simply yanking you back to the Tower District—that’s an enchilada of a much higher order.

So you get out, and it’s quietly amazing.  You spend the night in Sherwood and dream about a forest.  You go up to Portland and you look at a tugboat.  People walk past you with hands in their pockets.  Someone laughs at a joke.  The Willamette is clean beneath grey steel bridges and pillars of rust.  You decide this is where people go when they figure out what matters in life.  You buy a silver Ganesh pendant on Burnside Street and spend hours in Powell’s Books reading about Mikao Usui.

Finally in Washington, you make your first journal entry in weeks: I think I feel healthy—what happened?  When you blow your nose, the tissue isn’t stuck with black.  You no longer have a smoker’s cough after walking outside.  You think this might be something.  It might be momentous.  Your lungs don’t feel like ten pounds of water.

You are inspired to meditate for the first time since you left Michigan.  You are inspired to sit for hours at the edge of Puget Sound and not think about the doctoral program you left behind like a messy divorce. And you don’t think about the virus much.

You’re still running—both to and from some other life you could have, should have, would have been leading.  But you might take a little time to watch an orange spider in its web.  You might read a novel.  You might close your eyes in the sun and breathe clean air for a while and, just for today, let everything slip, moment by moment, into evening.

Disappear Here

I lead a mostly inward existence.  The part that isn’t, my small public-facing side, is bound up with my art, with what I write and submit for publication.  In this way, I’m constantly reinforcing and reiterating my identity, performing it.  I have to do this.  We all do if we expect to survive, immersed in the strange demimonde of the writing life. 

Since you never know if you’re any good and there is always someone saying you aren’t—including your own inner sadist—you have to affirmatively decide that you’re a writer and reject all arguments and criticisms to the contrary.  When you can do that and put words on the page, you are one.  If you can’t do that and you’re still waiting for permission, you’re not.  Not yet, at least.

A big part of making that decision and then constructing your identity publicly involves not letting respectability get in the way.  In 2013, feeling like I’d discovered this and that it was true, I wrote “The Discipline: In Your Head, Off the Street, and Away From the Club.” At the time, I thought I was articulating a set of beliefs and practices that could make it possible for creative people to continue in spite of the ubiquitous, overwhelming pressure to stop. 

Here is the concluding paragraph.  My sentences tend to get long and loopy when I’m writing Something Very Serious:

People enmeshed / immobilized in a fugue of “respectability” (in my opinion, a parasitic set of social mores and strictures that slowly consume the time and energy–life–of innocents whose only mistake was doing what they were told from an early age) will say you are crazy, unambitious, stupid, a loser.  They will do this because you haven’t had the time and wouldn’t spend the effort to become a stakeholder in their hierarchy of values.  I have experienced this first-hand and still do from time to time when the ripples of life-decisions I made in my late 20s come back to me.  But I do not have regrets.  I have largely overcome my personal demons, the emotional, familial, social fallout associated with owning my life.  That’s why this is a discipline.  You have to practice it.  It’s not something you do once.  It’s a way of life.  And I want that for you if you want it for yourself.

Seven years later, I feel less certain about this.  I think I was shoring up my identity for myself, talking to myself in the mirror, convincing myself.  While I’ve had a considerable amount of positive feedback from writers about that essay, it now seems more like a lacuna than a manifesto—a place where the reader can deposit her anxieties and, if only for a little while, dismiss them.  But the question remains: was I talking myself into or out of something in that piece?  What was the real opportunity cost of deciding to set foot on this odd, widely misunderstood, extremely demanding path?

Over the years, I’ve stayed faithful to the discipline, mythologizing my life in the way of a writer trying to buffer himself against the world.  A lot of creative people do this, using their imaginations not only to produce work, but also to perform their identities as artists in order to keep the cynical, draining importunities of late-stage capitalism at bay.  Unfortunately, just as an actor can get lost in a role, forget himself, and believe he is the character, it’s easy to mistake self-construct for reality, map for territory.

I’ve often lost myself, performing a writerly persona.  And I’ve had to return to the great voice-driven modernists I’ve always loved—Celine, Henry Miller, Hemingway, Bukowski, Hunter Thompson, Melanie Rae Thon, Brett Easton Ellis, John Fante, Denis Johnson, Isaac Babel, Osamu Dazai, Ryu Murakami—as a corrective.  In their fiction, the “constructedness” (“artificiality” isn’t quite right) of idiosyncratic first person always reminds me of the distinction between map and territory, between the “author brand,” or as Foucault says, “the author function” in discourse, and the unknowable human beings who’ve disappeared behind their texts.

As the constructed persona, I’m perfectly fine with the discipline “in my head and away from the club,” living on the edge, by my wits, freelancing and being a ghostwriter in a plague year.  I’m even writing a novel based on it.  I maintain a fierce, self-aggrandizing positivity and narrate myself as the protagonist of the story, on my hero’s journey, making the raw material of my life into text I hope people will find interesting.

But this is a plague year.  Millions are out of work.  The economy is flatlining.  Although it may seem like that would have less of an effect on someone leading the introspective writing life, I’ve realized that without society, there’s nothing for me to eschew, no place get away from.  Self-isolation means something different when everyone’s doing it. 

The pandemic has changed everything in the course of a few months and we have changed, are changing, along with it.  As Guitar Slim liked to say, “The things that I used to do, lord I won’t do no more”—not as a matter of preference, but as a matter of survival.  Like most people, I want to live past next month.  Yet, in order to do that, I need society to play along.  And right now, society just isn’t up to it.

In The Atlantic, Yascha Mounk, a professor at Johns Hopkins, published a very dark, pessimistic appraisal of our future with COVID-19, observing that “After weeks in which it made sense to hope that something would happen to end this nightmare, the prospects for deliverance are more remote than ever.”  He might be right.  If he is, what then?

I read about drug cartels, poachers, and conmen taking advantage of the lockdown hysteria.  I get into online discussions with fellow writers about whether Andrew Cuomo is doing the right thing and whether Bret Stephens knows what he’s talking about.  And I ask the question everyone’s asking: if it all goes dark, what will become of us, of me?

It’s necessary to offer something to the world and receive things from it if you intend to function outside a monastery or an ashram.  But, practicing my creative discipline, I’ve always felt I could be happy sitting in a small room, surrounded by books, with a narrow-ruled steno pad, a laptop, and a small refrigerator.  I have a lot of memories and thoughts to explore.  I have the voices of other writers always drifting around in my head and a very small circle of friends in the world who write to me.  I’ve never wanted much more than that.

But these days I feel transparent and weightless, untethered.  In one sense, it’s fine.  I’m not afraid to die.  I’ve accomplished most of the things I set out to accomplish in my life.  But I would like to finish this novel.  I’d like to see my third book of stories find a publisher.  And even teach story writing to a few more people before I go.  Those things would be nice, but they’re contingent on systems that are undergoing radical changes.  I fear the old world is slipping away.  I fear I am, too.

“Everything was all right for a while. You were kind.” She looks down and then goes on. “But it was like you weren’t there. Oh shit, this isn’t going to make any sense.” She stops.

I look at her, waiting for her to go on, looking up at the billboard. Disappear Here.

— Brett Easton Ellis, Less Than Zero