Showing posts with label books. Show all posts
Showing posts with label books. Show all posts

Saturday, July 16, 2011


Mahbubur Rahman, Time Warp

The Month of July


Written by Basel Al-Aswad, the father of Escape into Life founder, Chris Al-Aswad

Thirty-two years ago on July 16th, 1979, I received a most special gift, a son. Little did I know this gift would not last the rest of my lifetime. On July 27th, 2010, mother earth took back her precious gift leaving me stunned and devastated. Both occasions, his arrival and departure were profound and life changing events, seared indelibly in my memory.The years in between were filled with all aspects of a full life. There were joys and sorrows, successes and failures, accomplishments and disappointments, but most of all, there was that everlasting deep bond of infinite love and maturing friendship that exists between a father and son.

In spite of the immense loss and sadness that permeates me today on July 16th, 2011, I am most grateful to have had the privilege of caring and nurturing this extraordinary gift along with his deceased mother, Roz.

As I acknowledge the anniversary of his birth and his “escape” in this most solemn month, his spirit continues to occupy a central part of my life.

His sister Mandy and I are dedicated to continuing his legacy in Escape into Life. His light shines brightly guiding us to a most sacred task, that of bringing beauty and radiance through art and literature to a world desperately in need of it. By building on the foundation he laid down for us, we hope to be worthy of this endeavor.

Finally, we’d like to acknowledge the Escape into Life writers and contributors who have volunteered their time, effort, and support this past year. It has been truly inspiring to witness individuals from across the world, coming together to carry on something they believe in. Thank you all.

Sunday, June 19, 2011


June 20, 1993 – Father’s Day

Loving, living, and giving are three gifts which you continue to give me each day. A blanket, you are, which holds me at night and frees me in the day, and this is important because a holder is not a keeper. You will hold until I grow up, the greatest gift I could ask for. And this seems odd, because I ask for too much. You are my sun, you are my star, you are my everlasting thoughtful leader. My wishes are to give you more, for I have given you so little, you have given me so much. My words mean nothing on page but in life they mean everything. Thank you father on this father’s day I could not attend.

Chris

Saturday, May 21, 2011



Winter 2006 – Normal, IL

Last night at Borders I picked up a book by Osho about aloneness and after reading the last four chapters of the book, my perceptive on my current state changed dramatically. Aloneness according to Osho is a gift, not something I should run from. Ever since I started reading the Art of Seduction, I got it in my head that I was going to meet a girl or many girls. The desire for a mate was controlling me. Not until a couple days ago did I realize how much I was suffering. I created the idea that unless I found someone, I could not be happy. Osho says that the ego’s need is never satisfied. After one woman, I will need another because I will never feel as though the other needs me, which is what this whole thing is about. It is not about love and it’s not even about sex. I need to know I am needed. When I feel needed by others, I feel secure. But this is a fantasy. Aloneness is not something to be afraid of and it is not something to want to change. This is the human condition and now it is my opportunity to accept it.
My mind did change after reading Osho. I was no longer having thoughts about women, it was that easy. All I had to tell myself was to give it up, the desire, the fantasy. I was only unhappy when I had the desire. I am not fixated anymore, I feel more relaxed. I’m not on a mission nor is my happiness dependent on an external focus. I do not look outside myself for affirmation of love. I must show and give love to myself – not wanting more than I have right now.
I see how desire and attachment cause suffering. I am not natural and I am not being myself when I am trying to manipulate people. The whole seduction thing was necessary to get to where I am. There is no point to try to alter myself or my life. Osho says practice choiceless awareness and follow the rhythm – I will be aware once I put down the egotistical needs and let the events of my live follow their natural course.

“If you run after things, nothing will come to you. Let things run after you. The sea never sends an invitation to the rivers. That’s why they run to the sea. The sea is content. It doesn’t want anything. That’s the secret in life. Happiness is the absence of the striving for happiness”.
-Chuang-Tzu

Friday, April 22, 2011




February 2006 – Normal, IL


A letter to my father on his 60th birthday

It is hard for me to believe that my father is 60 years old. Memories from when you used to take me to my soccer games, or sit with me in front of the computer helping me write my papers, or when we took the road trip to visit colleges – all of these memories have the quality of immediacy. They say that our capacity for memories is infinite, that once you begin digging into your past, there is no end to it. You are embedded in my past lives, through infancy, childhood, adolescence, and young adulthood. There was a golden age for our family and that was perhaps before my 10th birthday. I have fond memories of riding with you and mother in the back of the car. I don’t know exactly where we were driving to – perhaps out to dinner or to a movie. And as we were driving through the Midwest Club, I remember telling jokes to you and mom and making both of you laugh. I don’t know what I said that was so funny but mother would laugh hysterically. Our family was gay, cheerful, and young.

In my childhood and early adolescence, you instilled in me a rare gift which I am grateful for. I imagine that most parents, as they are raising their children, do not analyze the effect such and such a behavior will have on their children. Whatever you taught me at an early age, you taught to me by instinct. What you have given, that I cherish and employ to this day, is a freely-chosen self discipline. Without self-discipline, I doubt whether I could have stayed clean from drugs this long. Without self-discipline, I doubt I could pursue my literary ambitions. Without self-discipline, even staying in shape and quitting smoking would have been impossible. Now I have received many gifts from both you and mother but this is the gift that stands out to me as being directly from you.

The other gift, which is a close second, is a love and appreciation of literature. About a month ago we were reading Shakespeare together – how joyful was I to be in your company reading again. And what a stark contrast from my childhood years when I used to throw tantrums to escape the “reading hour.” But time and patience transform everything. Here I am today thanking you for what I felt you had imposed upon me as a child. The irony implicit in this life – the story speaks for itself.

Though for a good many years mostly when you made me read out loud to you – I imagined you as an overbearing tyrant which of course you were not. But a child sometimes sees his parents through a distorted lens. And as an adolescent, especially during my addition and during the divorce, I imagined you as a personification of evil. I might have made you into a voodoo doll if I had access to one. This of course is an exaggeration but I had a lot of resentment to you and many others during this period. What still baffles me to this day is not only the spiritual strength you must have had stored in you to protect yourself from me, but also the warmth you kept burning in your heart. Never did you grow cold, never did you reject me – but always loved me – and therefore this is the best model of unconditional love I have ever been shown. And it is this model of unconditional love that I emulate toward myself and others.

After the fog of my addiction cleared, after I began to mature into early adulthood and started taking care of my body and my health, you can imagine how my view of you began to change. In a way, I immortalized you – lifted you up from the ranks of man to the tier of godhood. You became a living hero to me and I sought to model my life after you. Indeed, I had transformed my life. I was living from what many would call a second birth and after years of abusing you, I must have wanted to pour a special salve on the relationship that would heal the wounds between us. But just as during my adolescence when I made you a voodoo doll, after my recovery, I was making you into my Buddha, my idol and I was near worshiping you. But neither of these images of you matched your true relation to me.

So today, on your 60th birthday, I ask the questions – What is your true relation to me? If you are not the man I blame or the man I praise, then who are you to me? And without being too philosophical, too entangled in speculation, I feel I can make the judgment that only now am I coming to see you as you are, and to love you for the man you are. For the first time, I am not inflating or deflating you – but really starting to get to know you. When I came over a couple weekends ago and we hung up pictures and organized your books, I saw a glimpse of who that man is who I call my father. No adjective will describe him. Not because he has no qualities – but because he is of a spirit that transcends qualities. He is an individual but not an ego. He reminds me of myself but overflows beyond myself.

Dad, I love you. A gratitude is present in me right now as I pen these final words. The mystery is so inconceivable – so infinite – it surrounds me like a dream. All I am thinking – this life is too short, too short, too short…








Wednesday, April 20, 2011



Sketch by Chris Al-Aswad


July 30, 2006 – Normal, IL


I have a backyard
my neighbors have a garden
the air reverberates with
children’s voices.
Crickets chirping
the autumn stands one month ahead
looking back at the most placid day
in August – her feathered frock
gently ruffles.
My forehead is bathed in sunlight
my eyes are handsomely covered.
I sit on my patio like a spectator
wearing a disguise.
The twittering of the birds overlays
the chorus of children’s voices
from far and near.
Chortles and sing song laughter.
You must see the birds flying
over the rooftops
they glide and glide.
All the winged creatures slipping
through the transparent air.
My grass smiles to butterflies
central Illinois - one giant plain
summer’s last hurray – the heat
trickles down in beads of sweat
and the clipping, and twittering, cheeping
the fresh and innocent vision
Miranda calls it a “brave new world.”
There’s the butterfly
hear her flapping around
right over your head,
Splendid wings, gold shimmering
things like a flashing jewel
We practice our reunion
in our backyards-
we paint through our anxieties.
This is a new landscape. A new setting -
the frightfulness will disappear
the nervousness will go away
fill the cup and you will take care of your
thirst.
All the gifts were given to him
All at once from his dead mother -
mother, I am grateful
mother I am great.
the zigzag path of the butterfly
brings me out of my shade
says to me hello.
In the beginning, there were words I had
trouble saying.
In the beginning, there were words I had
trouble phrasing.
I am new here
new to a backyard.

Wednesday, March 23, 2011

Sketch by Chris Al-Aswad

March 2005 – Normal, IL


“…Greatness is not assumed, it is earned and I have not earned it yet. These are just my thoughts, they are not public displays of art. Why to write art you need a form, like a poem or a short story, or a novel. Those are the buildings. But a journal, a journal is not timeless, it is transitory, fleeting like butterfly wings. One flap, and they’re gone. We so want to assert our spirits upon this earth. My mother, why hers casts a light across the family, her artwork, a colorful mural once foregrounded, now subtle, behind us. Where will her son come out? There needs to be industry. What will I produce, just these 25 year old thoughts? Language must be handled deftly, it must be learned from masters. This is not a vacation here on earth. We are expected to leave legacies for our children and if our children were never born, those who we love instead, but build we must. We must express the unexpressed, the eternal must seep through the words. And silence must fill our ears with images so resolute that we shy aware from their gaze. Our discussion is only with ourselves, we are forever talking back into our womb until our mother hears us calling back into her. We must warn our families, tell them to stop before they begin. These creatures have spirits. these animals have real hearts. We’re alive and song pours out of us. We’re so much of life we cannot hide from our own enormousness, impossible faith, beyond beyond…”

Saturday, March 20, 2010


"She's brilliant I think."

"She's a lunatic."

I'm sitting in Borders, overhearing a conversation between a mother and a daughter. Country-pop music is playing over the speakers. I've heard the song a thousand times.

"Have you read this one?"

"I didn't read the other one, I couldn't get through it . . ."

"Oh, I loved it."

"I read it. I read it. When you went off to college."

Recording these conversations is giving me a slight buzz. The women who disappear around the bookshelves, leave their voices trailing behind them, and I write down their broken fragments without knowing why.

What I love about a person's voice is its distinction. The distinction in personality comes through the volume of the voice, the boldness or timidity of it, and the colors in a voice seem to combine all the person's experiences and attitudes about the world. You don't even really need to take into account what they're saying. You can just hear how they're saying it, and (almost) all is revealed about that person.

But I shouldn't be sitting here, eavesdropping.

I am perpetually standing outside of Borders bookstore. This is my little isle of concrete where I light up my cigarette and watch the cars coming into the parking lot. The people approach the stores with their husbands, boyfriends, children, friends. I never recognize anyone. The various strangers may look at me only briefly, and each person gives me about as much notice as a black crow on a telephone wire.

I remember when I was in college I used to smoke outside the English building before class. The head of the department would always see me by the giant Corinthian columns, puffing away. He usually had a deprecating smile, like rubber bands pulling at the corners of his mouth. He would say my name in a formal way, and then, "Whenever I see you, you're smoking."

I go back into Borders, stopping to get my cup of water. The cafe girls, or baristas, know that after I drink my coffee and smoke my cigarette, I'm going to ask for a cup of water. They are usually pretty upbeat and friendly, and seem to enjoy doing me this little favor.

As I sit down into my faux leather chair, I note that a certain liveliness has overtaken the store. I'm happy as long as I can read my newspaper, but just in case I've brought earplugs. Later tonight, Borders will be hosting an event for educator's week and a dozen rows of chairs are set up on the opposite side of the store. Five authors and poets will be reading from their books. I plan to leave before the speakers arrive.

On a Saturday, around five or six o' clock, you can expect the store to be a little busier. I'm not misanthropic, I like people, I come here because of the energy. Otherwise I would be home all day, in my office cell, staring at the computer screen.

"I'll be talking about the Borders Experience tonight," I say to Jeff, who has walked past my chair and turned around. "Yeah, I'm doing a promo tonight before the speakers begin."

Jeff is a thin noodle of a man with concave shoulders and glasses. He looks at me quizzically. "No, you're not--"

"Yes, they asked me to talk about what it was like to come here every single day for two years. I'm a good representative, you know."

"I don't believe you." His glasses are perched on the end of his nose. He turns away from me with disbelief and uncertainty.

What I like about bookstores, and this one in particular, is how a person will stop in front of a display or bookshelf and fix their attention on something. They pause there for a moment, and it's kind of interesting to watch them. You wonder what's going through their heads at this moment. Why this book? Maybe it relates to their life somehow, their interests. They're captivated by that object they hold in their hands. It's intriguing.

And then, they move on, walking in a sort of deathless trance toward the next object of attraction. They take a few steps in one direction, maybe turn around, go another direction, it's as if they're sensing the forcefield, waiting to see what will pull them in.

Books have always been a part of my life. They offer the promise of some information about myself. I see books as containing personal symbols we're either drawn to or repelled by. We're repelled by what we can't identify with and drawn to the thoughts that seem to echo our own.

So it's no wonder that people walk slowly through bookstores with an air of mystery and quest. These objects are powerful, they speak to our deepest selves if we find the right one. It seems we're looking to extend the conversation we're already having with ourselves. Like our own monologues written by others. That's what I'm seeking in a book.

I tell a couple other Borders staff members that I'm speaking tonight. "I'll be right there behind that podium. Seven o'clock." And they say in unison "really? no," and then I walk back to my faux leather chair to finish whatever it is I'm writing.

Saturday, December 12, 2009



4. The Obscene Bird of Night, by Jose Donoso

The epigraph of the novel, The Obscene Bird of Night, is taken from a letter by Henry James Sr. to his two sons.
Every man who has reached even his intellectual teens begins to suspect that life is no farce; that it is not genteel comedy even; that it flowers and fructifies on the contrary out of the profoundest tragic depths of the essential dearth in which its subject's roots are plunged. The natural inheritance of everyone who is capable of spiritual life is an unsubdued forest where the wolf howls and the obscene bird of night chatters.
The novel opens with a stately funeral procession for Mother Benita, the Mother Superior of La Casa del Ejercicios Espirituales de la Encarnacion.

The Casa is a huge, gothic convent with labyrinthine hallways, "endless courts and cloisters connected by corridors that never end," many of them being boarded up now that the building is no longer used as a convent. Instead, it has become a refuge for a horde of old women who inhabit the dark, sequestered rooms.

Much of the story takes place inside this ghastly building. The narrator's description of the convent is so meticulous and repetitive, almost like a refrain, that the setting is impressed upon the reader's mind.

The narrator of The Obscene Bird of Night is practically an enigma, moving between the voice that opens the novel--holding an endless, open conversation with Mother Benita--and various other narrative voices in the first person.

Reading the novel for the first time can be an exhilarating but also somewhat confusing experience. Only after my fifth reading do I feel confident in saying I understand the logic behind the panoply of narrative voices.

You may think there are several narrators of this novel. For example, there is Mudito, a mute who lives in the Casa and is ordered around by the old women; a nun who is indistinguishable from the other nuns; and Humberto Peñaloza, secretary to the wealthy landowner and politician at the center of the novel.

But in fact all of the narrators are the same person, the various guises of Humberto Peñaloza, who, later in the story, we also learn, is a writer assigned by Don Jeronimo de Azcoitia (the wealthy landowner) to write "the history of Boy's world" . . .

Hieronymus Bosch, The Garden of Earthly Delights

As a writer myself, The Obscene Bird of Night endlessly fascinates me for its subtle and intricate construction. The tense shifts, point of view shifts, and various story arcs, all contribute to the grand illusion of Jose Donoso's unique magical realism.

This quantum fiction is geometrically precise, laid out like concentric circles around a common theme. Three or four narratives overlap each other, each with characters that act as doubles, or doppelgangers, to the characters in the other stories.

Beyond this literary pattern-making, Donoso's fictional world acquires its strangeness from absorbing an abundance of genres, including legend, fable, fairy tale, detective story, memoir, Modernist novel, and Realist novel. It also serves as a veiled critique of the ruling class in Chile, and a handful of other South American countries which operate similarly. But the critique never becomes too literal because the novel adeptly weaves in and out of a myth-like story with fabulous creatures and unlikely characters.

It is also a novel about a colony of monsters.

Don Jeronimo de Azcoitia must produce an heir for the continuation of his family line. Here is his uncle urging him, as a young man, to marry:
You can't go, Jeronimo. Listen to me, son, be reasonable. You're the only one left . . . and I had to take it into my head to become a priest, may God forgive me for saying it. You're the last one who can hand down the family name. You don't know how I've dreamed about an Azcoitia playing an important part once more in the country's public life! I waited for you so anxiously, assuming your obligations while you were enjoying an immoral life in Paris. But you're here now, and I'm not going to let you go.
Jeronimo falls in love with the "prettiest, most innocent girl who frequented the social salons at the time, a distant cousin with many female Azcoitia ancestors behind her".

After he proposes to her, he has a vision of perfection about the two of them. He sees their union as a "stone medallion", part of an "eternal frieze" of more medallions that carry the family name. We read, "He merely took pains to see that the magnificent legend of the perfect couple was fulfilled in both himself and his bride-to-be."
Jeronimo kissed her into silence. The womb heaving against his body would open to procure immortality for him: through their sons and grandsons, the frieze of medallions would extend forever.
There's only one problem. Ines has a nursemaid she's had since childhood who Jeronimo rejects. When Ines was young, she had a stomach illness that almost killed her. Peta Ponce, the nursemaid, preformed a miracle which removed the stomach illness from Ines by transferring it to Peta, the healer. Ever since Peta made this sacrifice, Ines has shown a fierce loyalty towards her.

Jeronimo believes that Peta Ponce is a witch, and he may be right. Trying to get her husband to overcome his fears, Ines takes him to the place where Peta lives. The grotesque setting, full of strange odors, large crates, and old clothes, repulses the aristocratic Jeronimo.
The heap of rags gathered itself together in order to give human reply to Ines's call. The old woman and the girl embarked on a conversation Jeronimo wasn't prepared to tolerate. The scene didn't fit into any medallion of eternal stone. And, if it did fit into any, it was into the other series, into the hostile legend that contradicted his own: the legend of the stained and the damned, who writhe on the left hand of God the Father Almighty. He had to pull Ines out of there immediately. To prevent her from taking part in this other series of medallions, the ones linked to servitude, to oblivion, to death. Ines was only a child who could be contaminated by the least little thing.
Ines's relationship to her nursemaid separates her from Jeronimo even in marriage. We are also told that "the heir began to take longer to arrive."

Hieronymus Bosch, The Garden of Earthly Delights

A prolonged waiting period ensues, with Ines spending more time with Peta Ponce, and Humberto becoming closer to Jeronimo in his duties to protect him. Each character is a double of the other--Jeronimo and Humberto, Ines and Peta. On the one hand, Jeronimo could be said to represent the light, and Humberto, the darkness. The same goes for Ines and Peta.

But Jose Donoso, in his Jungian intellectual and artistic vision, wishes to invert the simple, fixed equation of light and dark. And so, he blurs the characters and their interactions to create an alchemical reaction, an inversion of light and dark, good and evil, beauty and ugliness.

In the middle of the novel, after Jeronimo has been married to Ines for some time but has not produced an heir, a sexual act takes place. You have to read the novel to understand how ambiguous this part of the story is. We never really learn what happens. There are only possibilities, speculations, hypotheses. Either Jeronimo is finally able to impregnate his wife; or his secretary, Humberto Penaloza, impregnates her; or--and I believe this is the most likely of the three possible story-lines--the narrator impregnates Peta Ponce.

Whoever the child's parents are, the outcome is an heir for Don Jeronimo de Azcoitia. Jeronimo's vision of perfection, symbolized by the stone medallion, "one section of the eternal frieze," is at last a reality.

And here's when the story really starts to get interesting:
When Jeronimo finally parted the crib's curtains to look at his long-awaited offspring, he wanted to kill him then and there; the loathsome, gnarled body writhing on its hump, its mouth a gaping bestial hole in which palate and nose bared obscene bones and tissues in an incoherent cluster of reddish traits, was chaos, disorder, a different but worse form of death.

This post is part of a series of posts on "25 Profound Works of Literary Genius".

Sunday, November 30, 2008



These last couple days I've found myself pondering the idea of "escape". I've been thinking of the various ways in which I use the term "escape" and how I apply it to my life.

An escape is a break from the usual routine. Often the word is used with travel, vacation or adventure. It therefore connotes something outside the boundaries of daily existence. We escape from life's duties, life's routines; we break from the mundane world to take a vacation.

And yet have you noticed how many aspects of our culture are masquerading as escapes? The shadow side to a hyper-capitalist culture with a Protestant work-ethic is a profusion of escapes. Our escapist culture seeks solace in virtual worlds, food and drug addictions and sexual fantasies. I am a product of this culture and in many ways a poster child for it.

An escape doesn't have to be mindless. I consider my books an escape, my writing an escape. Perhaps there are healthy escapes and unhealthy ones, but they all seem to follow the same logic: I wish to be somewhere else right now, take me there.

It's true that I fear boredom and listlessness and thrive on work and productivity. It's true that I'm frequently restless and impatient with the slightest things, such as making a meal or preparing the coffee in the morning.

The churn of daily stuff--jobs and activities that consume me--begins to feel like an escape in itself. I ignore myself, how I feel, and my surroundings, the weather outside, the air. My mind is focused on one thing, sadly; what I have to do. Beyond this, I am aware of how time is passing. Recall Charles Van Doren's marvelous essay, "If We Loved Time,":

The fear of time -- of time lost, of time wasted -- is a mortal disease. It shortens a life to an instant -- this instant -- which will be followed by other instants that are equally fleeting. There can be no joy in moments that are carefully measured and doled out.

This creates a perpetually unsettled feeling inside of me. Always under the assault of fear and haste, my first impulse is to seek out an escape. I've put myself into a prison and now I'm craving release.

I retreat to Borders where I can grab a book off the shelves and buy a tall Vanilla latte. This atmosphere immediately calms me down while at the same time I'm aware that it too is not static. I will finish my latte, read a couple pages and have to return home where I will give myself another job to do. Even my moments of rest begin to feel rushed. But that's not the ironic part of this "mortal disease". I'll get to the irony in a minute.

I also escape into fattening, easy-to-find or easy-to-make meals. My girlfriend and I go out to Chipotle or Thai food instead of cooking at home. Instant gratification is a first cousin of escapism.

I escape into the dizzying vortex of consumerism. There is always some item, some product, some material thing bobbing on the horizon of my ever-expanding sea of desire. Recently I bought a new Mac computer. Shame on me! One week later I wanted to buy a video game to go with it. I haven't played video games in fifteen years. But the thrill of my usual escapes seems to fade with time. I'm constantly on the look out for fresh, new escapes, more immediate and easier to obtain. I seek to colonize new worlds (of pleasure).

My girlfriend and I watch the Daily Show almost every night. Another escape; nothing wrong in itself; but compared to the vast amounts of escapes we partake in, our lives seem to be strung together by numberless incidences of the same thing. I was getting bored with watching the same show with her every night so I suggested video games. We had played a car-racing game in a movie theater once and had a ball together, so when I purchased the computer I thought it might be fun to try something new.

The new Mac computer provided an enormous escape. Twenty-four inch LCD screen, superb graphics, lots of cool software, crystal-clear photos and video, you name it. And then with the Internet, I was so buried in possible escapes that purchasing a video game on top of it seemed on the verge of profligacy.

When I finally got the video game, it was more like an escape from my escape. I'd waited two weeks to receive an extra controller for the car-racing game. When the controller arrived I was ready to play.

That night my girlfriend and I sat in front of the computer, helplessly trying to figure out how to make the game two-player mode. Nothing on the menu of options (or the back of the box) suggested this was possible. We spent an hour clicking buttons until I realized that the game only allowed one person to play at a time.

Computers are solo vehicles. I forgot that part.

But when I played the video game myself, I wondered why I had bought it in the first place. I don't even enjoy video games. I'm a writer, an intellectual. Video games are anti-intellectual, anti-creative. How far I had drifted from my original desires!



Escapes can become addictive as well. My addiction to the Internet is unprecedented. I check my email on average eight times a day. I check my six blogs three or four times a day. I loiter in cyberspace, I wander, I get lost on purpose.

Not that there's anything wrong with wasting time. But I'm so driven to accomplish things that in an ironic reversal I find myself escaping more and more into a cloud of petty aggravation. What I'm saying is after a certain point, the escape blurs. You're no longer moving from routine to escape, from normal life to fantasy, from mundane to dream. Soon the routine becomes the escape and vice versa.

That's what happened to me. With all my escapes, I trapped myself in the very thing I was trying to break free from.

Just as a prison is mental, so is an escape. The two can easily switch on you when you're not paying attention. The desire for escape intensifies the prison.

I guess this leaves me with the hope that I can distinguish things from now on. My escape is supposed to be fun. My work might not always be. More importantly, I would like to return to those original escapes that once gave me a sense of fulfillment. Reading and writing are escapes that don't dull my mind. Reading and writing make me sharper. They are difficult pleasures that also happen to be magnificent escapes.

Or perhaps I don't need an escape at all. Maybe I just need to look around and check into reality once in a while--rather than longing for someplace else.

Stumble It!

Monday, November 17, 2008

Book Chat

This being my first video blog, I give a sort of introduction before venturing into the realm of fiction and literary theory. I tell a short story about how I found the book Shantaram by Gregory David Roberts. Then I digress to discuss the literary theorist James Wood and his book, The Broken Estate. I return to Shantaram with renewed zest and give an informal critique of the first chapter.



Stumble It!

Saturday, November 8, 2008




In the second part of my introduction, I discuss what my "Book Chats" will be about. I discuss the Novel of Life and the Book of Innocence, and authors who have influenced and inspired me.

Thursday, November 6, 2008

Wednesday, September 3, 2008


Despair comes when I feel like my work has no purpose. Despair comes from feelings of naught, I am naught, my work is naught, the world is naught . . .

But what is despair?

Despair is the conviction of the futility of life.

Despair is all efforts signifying nothing.

Despair is the abortion of possibility.

Despair is a yoke that reads “Carry Me or Die.”

My despair feels like the abrupt end to a good movie. I wish I could return to those beginning parts and relive the experience, feel those powerful emotions. I regret having felt joy; it seems like a cruel reality, something that was given and taken away.

Despair is my grandfather’s overcoat hung on the door when he comes back from drinking and gambling. The house is silent. My grandmother is crying up in her bedroom.

My despair is a pit of solitude the town bullies throw me into so they can piss on me and shout jibes.

My despair is the convincing reality that I am stuck forever.

My despair is the inability to stay in one place, physical or otherwise.

My despair is the absence of wanting to do anything. Nothing interests me anymore.

My despair is a shopkeeper who scowls at me when I enter his store.

I used to be a drug addict. I am still seeking respite.

The Internet promises fulfillment. The type of person you are depends on what that fulfillment might be.

One moment, I feel like a king surveying his realms on a map of the world.

The next, I feel like the king’s fool, making jokes about the king’s empty possessions.

For three days, I am gliding through existence—every sensation a lubricant to positive emotion, every thought an expansive, intelligent connection.

For two more days, I am shedding my charisma and beginning to walk in a growing fog of self-delusion.

By the end of the week, lethargy and despair pour in through the levees.

Cycles are part of nature right? The seasons are cycles, the day is a cycle, life is a cycle . . .

I yearn for a place outside my constant seeking. I yearn for repose at the end of the wheel’s turning.

For the first time, I am conscious of my despair.

I am conscious of the cycle that drives me to act, or not to act. For the first time, I am interrogating my sadness.

I restrain myself from becoming too indulgent in my feelings of intoxication. This is the beginning of learning detachment.

My tendency is to grasp positive emotion. Like a cunning alchemist, I will try to make joy into a fountain of ecstasy or happiness into glowing euphoria.

Now I can see the problem with that. After euphoria, there is emptiness and only emptiness; after ecstasy there is pain.

Flights of grandeur. Flights of poetic inspiration. Flights of high emotion.

Nothing lasts. The water returns to the sea. The flight I expect to go on forever will at once make its sharp descent.

Whatever is holding me, will let go.

Thursday, August 21, 2008


Flights of grandeur. Flights of poetic inspiration.

I’ve depended on flights for so long.

The truth is I’ve never wanted to be where I was physically located. As a teenager, I recall spending vast lengths of time by myself. My parents were not around. My mother was busy painting or cleaning the house; my father worked in a hospital and didn’t get home until late.

The house I grew up in was all white and we were forbidden to touch the walls. The first floor hallway extended the width of a soccer field, and the floors were marble. The living room had a fireplace, a white baby grand piano, and silver curios filled with figurines and crystals in the shapes of animals.

The house had a vacant quality which lent itself to dreaming. I used to look up at the sky light in my parents’ bathroom and watch the clouds sail over the house. At the foot of the Jacuzzi was a copper planter with bright red azaleas. Each side of the bathroom had a wall-length mirror with a marble counter. I came in there to dream and to be alone in the cold sunlight.

Or I would plant myself in the living room, curled over an art notebook I stole from my mother’s studio. She kept dozens of notebooks and journals in the bottom drawer of an antique desk. I would sneak the fresh white pages up to the living room, where I would draw and daydream until she came home.

The living room was always the most pristine and secluded room in the house, despite being at the center of it. The room gave the impression of a museum-like display or a drawing-room held in suspension. Like the moment before a party begins and the guests funnel in with smiling faces.

The cushions on the couches were firm. It was not easy to fall asleep on them. With the light coming into the room, one couldn’t fall asleep anyways. I would open the notebook and pause before writing anything. It gave me such pleasure to begin a clean notebook. I usually began with some arcane idea for my creation, as if I were a medievalist or a magician. I sketched the grotesque faces of the creatures of my imagination. I wrote scribbles of poetry. I brooded over the markings.

By my side I would have The Three Musketeers, a book I didn’t read as much as I carried it along with me like a reference guide or a Torah. Occasionally I flipped through the pages and glanced at the stories I could hardly decipher and only imagine.

There was a bubble of alienation surrounding me—and I needed a place to go.

My flights were often when I felt most connected to the world.

Tuesday, May 20, 2008

Yet no matter how much support you have, how many schedules you make or how many books you've written before, there remains the basic irrationality of the task: you are sitting by yourself trying to make something out of nothing, and you rarely know what's going to happen next. Creating your own world is an invitation to solipsism, if not narcissism, and as well as being alone when we work, we are left, for the most part, to judge ourselves if we have succeeded or failed at our tasks.

David Gessner