WHAT RUINED ME Episode 8: The 1990s

a view from the back of a cheering concert crowd in a darkly lit nightclub. The exposed metal beams of the ceiling gleam in the brilliant golden lighting from the stage

Lots of new readers have started following The Fixer since I last posted one of these.  It seems sensible to preface this episode, which happens to be my 100th post, with explaining again why I say “ruined.”

Because I’m not wrecked. There is as much “wrong” with me as there is with you. We are none of us normal, because the norm isn’t a thing, it’s a statistic.  We can talk as long as you like about the ghost of Aristotle in the shell of modern thought, but suffice to say there is no Normal Person we can all strive to emulate, and there never will be.

So why say ‘ruined’?

First, because it plays to my obsessional idiom, which has most of my written correspondence (from this blog to my text messages) employing the intellectual, somewhat stilted but still wholly lucid prose of an British college don circa 1948, for which I only slightly apologize.

Second, because in a sense it’s true.  Any instinct in me to get along, accept good old school-marriage-breeding-working-death as my inevitable path, was further and further eroded by each of these encounters with The Other.

And boy, was there ever a lot of Other in the mid-1990s.

If you knew where to look.  We used to call it counter-culture, because it offered a wholly alternate universe that felt wildly contrary both to what I’d grown up with and with what was being shown on TV.  A realm in which the earth was held as sacred, my body was mine to both worship and gleefully deface, sexuality of all kinds was not just tolerated but encouraged, drug use was by informed consent and sensible practice while alcohol use was almost nil, and the music was both relentlessly joyful and wildly seditious in a time of increasing state surveillance and corporate control.

I’m not saying it was a golden age because I don’t believe in golden ages.  Much of my experience was a function of my privilege (white, middle class, expensively educated, etc) because looking back I understand how hard other people were struggling for basic rights of safety and freedom that are only now in place.   It’s deeply concerning, even embarrassing, to think how far we’ve backslid in the last few years into unfettered corporate control, restriction of reproductive and sexual rights, and infantilized violence perpetrated against people who are already oppressed.  The more I think about it, the more it makes sense that yeah, Boomers and Gen X are all suffering from lead poisoning from their toxic childhood homes, because otherwise why are they acting like such fucking idiots?

Yeah, yeah, not all Boomers…don’t even start.

On the other hand, I’m firmly in the camp of the historical dialectic (see above re college don) and the notion that the pendulum each time swings further towards justice and freedom for all and away from authoritarianism.  I fully expect that this present day ultra-conservative movement is not a new beginning but their last gasp, the Hail Mary, the desperate acts of desperate individuals who see their old way of life eroding and can’t deal with the fact that change exists, and that it spares no one.

Why write?


Because it seems impossible not to

Because at least i will remember what i had to say

Because i am so very afraid of someone reading what i have written

Because the world has enough “unsuccessful” artists wallowing in insecurity, waiting endlessly for unobtainable perfection before they “enter the world.”  You are already in the world.  You have always been in the world.  There is nothing but the world.  Be in it.

Because we have so much awfulness to get through

Because silence is deadly

Because more is not worse

Because math

Because it’s not impossible that I might actually be nearly as clever, almost as acute and expressive, as I expect a good writer to be

Because there’s only one way to find out

(2021)

Travelling

an aerial photo of a dramatically cloudy sky at sunset hazily overlaid by a drone-taken photo of a stark white iceberg edged with green

I practice a form of time travel called insomnia

or maybe it practices me

a liminal state

awake but wrongly

the morning uninevitable

though it is always morning somewhere

what is a morning but the night’s fist unclenching

present always but not noticed until it strikes

rattling your old bones

the earth dragged onward

spiraling through all that night

that fist

opening again and again

and closing

and us

raked by cosmic winds

barely clinging 

all our ambitions a smear on glass

a concrescence of matter

a chance

I practice a form of time travel called insomnia

or maybe it practices me

Plain Air

Remember that time

When the light was golden

And the colours lost their edges

Like an old photograph

A chemical reaction in plain air

On the forward edge of thunderclouds?

Do you remember? she asked

As if that was a thing I could forget 

(2022)

Choice

A mysterious box decorated with gold Chinese scrollwork with an ornate clasp sits on an antique leather desk-top

this is the magic of the fear-not ritual

this is why ritual is

so that when you place your hand in the box and

the pain is indescribable

when your fear says: pull away, save yourself

questioning this fear, you remember everyone before who passed this test

generation upon generation who did not pull away

who asked this question: why?

remember this like your own name: pain and fear are two separate things

distinct, divisible, neither inevitable

we mistake them for each other

the experience of one produces the other

but they are separate things

when, from pain, you experience fear

ask it: why?

some pain simply happens

or maybe all things

happen simply

what we call fear is a reflex

the animal retreat

hate is the choice to not question your fear

(July 2022)

The Point

two bare-chested men sit in a landscape of dark rocks

tell me how it happened

we didn’t know, he said

we knew so much but this

we couldn’t know

we had such power

that to think of stopping was impossible

to speak it, death

this is what we left ourselves

this brotherhood

these stale defences

self-made

empty-handed

possessed of no inner life

partaking of no mystery

no raw internal knowings

the shapes of us proscribed

the tablets broken

the prophets’ voices stilled

our cells know nothing

born and borne in churning, soupy chaos

wisdom embodied new in every newborn mind

our cells know what we teach them

a limb, deleted

a kindness tasting more and more like fear

what’s the point of man?

what meaning in becoming so?

in mimicking the still point in this maelstrom

an embodied singularity

a fecund drop

erupting then forever calmed

what is a man?

what point

in ever

being

so?

The Truth About Clouds

there’s no such thing as clouds she said

I asked her to explain

she said

the clouds are just a metaphor

if you touch them

they aren’t there

dissolved by our attention

like particles avoiding a dark plate

suspended in ten thousand tons of water

depending on which technician lifts the lid

huge somethings made of nothing

the weight of mountains

mist fading from your grasp

before you even close your hand

a metaphor, she said

for water’s longing for the sea

(2022)

People you meet on vacation

a row of palm tress perfectly reflected in a still body of water

One of the few philosophers of the 21st Century known to the general public, Alain de Botton is renowned for his detailed explorations of the minutiae of daily life (for a given quantity of middle class white Europeans, but more on that below.) If The Art of Travel is an indication, he is also the sort of person I hate meeting on vacation.

He’s the Show Me state, arriving grumpy and rumpled from his voyage to stand before the purported spectacle he has dutifully come to observe and demand that it enthrall him, turning away spitting into the dust when the vista/church façade/thing in the guide book cannot overcome his exhaustion, his highway numbness, his sense of entitlement. All I could think was, brother, you’ve got to get out more.  

De Botton’s enduring thesis appears to be that, since travel is never quite what we expect it to be, we shouldn’t do it at all.  Perhaps because he draws inspiration from some of Europe’s greatest grumps. Anyone who’s travelled a lot may have noticed that no type of person is more consistently displeased by the facts of travelling than middle-aged white men, yet these are de Botton’s only voices of reference. 

Men like Charles Baudelaire, who crafted many beautiful sentences in his writing, evoking our emotions with a master’s touch, but who personally was a miserable shit who despised the world and sought constantly to escape from it.  Ought we really to take his word on the value of going abroad?  A man who was so disgusted by a layover in the tropical isle of Mauritius that he cancelled his entire trip and went home? That’s not exactly the mark of a staggering genius.

“Yeah, Charlie, looks like it sucked. How many days of sunshine did you say they have?”

Yes, there are moments of more interesting thought, but I was in truth too busy travelling (and enjoying the shit out of it) to read much of the rest of the book. I do know that it has confirmed my intention to never, ever go on an ocean cruise. Because if I encounter a fellow traveler of De Botton’s temperament, I want to be able to walk away.

Is there such a thing as a blessed ride on the swings?

For the past few years I have been going to bed so early it’s a problem. I’m missing time with my family, and I’m waking up at 3AM local time for no reason other than I went to bed at 8:30 the night before and I’m a person who does best on 7 hours of sleep.

Why is this interesting?  Because lately I’ve been trying to stay awake longer. So after dinner I walk to a local park and ride on the swings until I can’t bear it, then walk home. this is a peculiar aim, given my tendency to get motion sickness from, like, every conveyance I’m not piloting myself. The big swings at the amusement park? Big ol’ yuck (don’t ask me about the pirate ship, me hearties.)

At any rate, there I was, walking across the park at dusk. As I neared the swings I noticed a woman with a rolling walker, doing laps around the playground with the determination of someone told by their doctor to “use it or lose it to amputation.” Someone struggling to stay active in a world that seems bent on her senescence.

With a smile I passed her to claim a swing, where I sat facing the sunset, pumping my legs, riding aloft on a drum and bass playlist that never fails to energize me. I don’t count it a good go on the swings unless I see over the crossbar. One of my characters whose book has yet to be published wrote a poem about swings. In it he writes:

One day you will let go

At the top of the arch of the swing

In spite of the lake and the cliffs and the sky and the steel

You will let go and she will be there

To catch you


I always swing until I see the sky above the crossbar. It was no different tonight, as I leaned into each swoop of the parabola, kicking my legs to arc higher, squinting into the cotton candy summer sunset. Wanting the wind in my hair, I tossed aside my hat, and as the woman with the walker bent to retrieve it I told her to leave it be, that I didn’t mind, that I’d come back to it.

She circled me again, two or three times, before she brought her walker over to the handicapped swing. Then got on the swing and swung along with me.

Was this something she did all the time?  Or did my swinging somehow give her permission? I couldn’t have asked.  My heart was too full.  From her complexion I might guess she wasn’t born in my country, but to say a word about what we were doing felt wholly unnecessary. We swung, me kicking myself as high as I dared, her reclined in a seat made for comfort, made for those to whom swinging might otherwise be a luxury, an impossibility.

When she’d had her fill of the swing, she resumed her circuit round me. When she reached my fallen hat, she bent to pick it up, then tossed it to me.

I just about caught it.