Mmmmm, hands.

It’s still in my head, the image from a lot of years ago, the image that came to me one day when I was sad and angry and roiled with all the awfulness of what had happened, when my worklife had become void, when the job I loved had been lost to me by bad behaviour not my own. Smashworld came and I fell down until the moment I got up and thought to make my own way, which I did and am doing and will do.

sometimes you have to lie on a bed
so your brain can be all in a floaty place

When the big tree came down, I lost the sound of water.

Because I love the sad and beautiful truth of nothing-can-stay.

I would be brief on the day I didn’t have a lot to say or, really, had a lot to say but wanted to make the thoughts in my head all compact the way a wintertime child can take a puff of snow and squeeze it into a ball of ice, to make it all hard and small.

What I’m doing right now is I’m writing a thing, a beautiful thing, a bookstory thing. It’s hard going — oh god, it is — and for all the wild-ride moments of outpour, there are many many — many! — ice ages of brainfreeze. When you write a thing as a pen-for-hire, you push through the brainfreeze, because money and somebody else’s deadline are great motivators. But when you make something with joy in your heart and when it’s a collaborative effort to boot — I’m making this thing with James Cook, whose delicious photographs will join up with the words I write — you let the going be slow because you’re waiting for a strange kind of knowledge — epiphany, I guess you’d call it — waiting to see in a way you’ve never seen before, waiting to understand, waiting to make connections.

If tomorrow I were to walk away to some other place, go live in a where that is not this where, the place I would go would have lots of snow and the house I would live in would be made of cold, a house of snow — or of-snow-adjacent.

… you just have to love it back.

I love Milton Glaser.

You know how much I love words and the physical act of writing, how much I love the graphemic grace of  the thing that is written? Yeah, you do. And you know how much I like holding a pencil in my hand and making marks on a paper with it — marks with meaning, I mean — and also how much I like reading a paper full of writing from someone else’s hand? Well, I like all that very much, you know I do, but I like something else too:

Swarm
by Cheryl Coon

I don’t know about your little piece of the planet but here where I am there’s been a lot of greyworld and I’m not really an appreciator of greyworld, unless it’s mitigated by storm. Which it hasn’t been, here and now. So what can be done? One can give in to the grey and be taken down by it — opt for bed or heavy drink for weeks on end, except those are roads to ruin and I prefer to remain unruined for just a little longer in life.

Humanity is bad and terrible and capable of the most horrific acts of cruelty and venality. But oh my god, when a beautiful brain does beautiful brain things, it makes me remember that some of us are not only unbad and unterrible, but really fucking wonderful. What I’m thinking of here is this thing I found on the webs that are inter, this fabulous wonderful thing. To be precise, this thing:

I don’t know how it works, how to do the math, but it’s like every emotion I’ve ever felt somehow gets wrapped up in trees. Trees become some kind of conduit for thought and feeling, for understanding, for epiphany, for optimism, for love.

Dave Kinsey at Fecalface has a treat for you, me, and the lamppost:

think of awaking one morning, some morning
with the tail of a fox
or platypus feet
with a hard crunchy shell
or suction-cup legs
with a body of quills
or a soft feathered belly
with a set of long antlers there on your head

Maybe you’re a creature like me: all loved up by words. Or maybe you’re a creature like me: all loved up by dreamscape derangements.

Nothing makes me wanna go on a homicidal killing spree (as opposed to a homicidal puppy-patting spree) more than people lambasting someone for doing something new to them.

Oh. My. Goodness.

Sometimes I’m a romantic creature … okay, who’m I trying to fool here? … always I’m a romantic creature. Forever and ever I’ve been madly shivered up by the sweet gesture, small or large or somewhere in between. I have made those gestures and had them made for me and some of them have been over-the-top — whoa, Nelly, way up and way off the precipice of mad-for-you, with a celebratory shout of “For you are my beloved” — and some of them have been tiny and odd, discernible only to me and the person whose lips I wish to kiss.

If I had to categorise this unruly thing, I’d say it’s poemical, not polemical. It’s not really a blog about art, not in any sort of analytical way. I don’t take a stance; I’m neither critic nor academic. What I am, actually, is an unruly hoyden with a permanent case of chaoshead, a throbbing love-on for the made things of the world, and a hot ‘n’ saucy need to write things down, to write things out (as you’ll know if you’re one of the people I e-mail 972 times a week. [Hi, forbearing friends! Love ya! Smooches!])

In all the annals of object porn, there are no objects that incite greater lust in me than typewriters.

I like the notion of the skin being breached so that change can be rendered to the organism. I like the idea very much, altho’ I fully recognize the malarial reality of the wrong kind of puncture, the bleedout reality of the wrong kind of slice. But here in my metaphorical LaLaLand, sharp things are pretty things that are also agents of change.

This is what I can do: