Beach

We slept for some hour or so only, before dawn. The night dissolved time. If I were to reconstruct events within the framework of hours, I am sure it would prove a puzzle without solution. I know that just after midnight we left the house and drove up over the cliffs and down to the beach. We walked along the sand. It was cold and there was no moon, only the stars, frigid in space above us; and the ocean, its edges swarming over our feet as we passed between unseen rocks. The cliffs behind offered up only vacant blackness – a beautiful, terrifying blackness that draws your attention and arrests it, erasing all other thoughts but a recognition of infinity.

I took off my shoes and followed the direction she’d passed into the shadows. I remember shadows, lots of them, but there could have been none, only the visual impression of stones and rocks against the sand. I found her perched on a rock, facing out to sea. I clambered onto the rock, feeling slightly foolish. There, holding my balance with difficulty, I put my arm around her for the first time. It was cold, and the waves that crashed down and unfolded before us sharpened the sensation. We spoke, but the words that passed between us were then, and are now looking back, unimportant as unfit to express our other perceptions, as anatomy is silent on the import of the brush of a finger across the hip as it curves into the pubis, or how the smell of skin changes with arousal.

It occurs to me now, although without a doubt, then too: we were completely alone. It seems so ordinary a fact, so simple and unexciting. And yet, without that fact, the entirety of the experience would be made pedestrian, perhaps even ironic, a cruel trick concealing that solitude is an unattainable state except through the lens of relativity and so not attainable at all. As we were absorbed into the darkness, like ghosts passing through dimensions, the lights of houses on the sea cliff seemed distant and alien. We watched them, we spoke briefly of them, but they were not really there. We walked arm in arm.

It is a constant failing in recording any experience at a later date that we cannot avoid the dislocation of event and memory, as if without a second thought our memories are assumed to be not the events at all, but the impression left by them, the footprints of experience if not the experience itself. We reach back in search of essentials. Events are merely the necessary skeletal fragments around which memories are wrapped. So we walked back, embracing, and I remember not each step we took or even the tracks made by our feet in the sand. I remember most of all feeling at peace.

Untitled March 3 2021

If it's been your way
to reveal such things as may deter,
and encounter only to discern,
then now it must be mine
(since with you no other role contends)
to whisper softly my contentment
while tired thoughts of isolation
entwine, finally
and drift away.

Riff on Clare’s Original

 Where is the sun when I arise?
 I want some bird to sing
 To dream her song in sleep’s demise
 Each dawn is a birth
 For a moment’s ease, ceased burden
 The night’s release, unwelcome
 I love the sun, the beckoning glow
 That enriches everything
 It enjoins everything below
 Like swallow’s spiralled wing
 A motion magical, in flight,
 A glimpse and then, a parting light

Dear Russell

There is a great danger, I realise, in having spent too few days in a place in which I recently lived, in forgetting that I no longer make up part of the social fabric, and that I have no more right to become so than any tourist. The danger is greater, in fact, for having lived there and then moved away, than if I were ever only a tourist. This is a painful realisation, for I continue to feel stronger associations to New Orleans than anywhere else. All evidence of belonging will gradually disappear; my Louisiana driver's license, my former neighbours, the faltering looks of recognition on the faces of people with whom I had daily contact - until the time comes when I will truly 'visit' New Orleans rather than return, and the familiarity I still cling to will be wrenched free from my conscious mind and forced into that part reserved for sketchy memories.

When I am Torn and Taken

When I am torn and taken 
by man’s and sun's talons, 
I, writhing small, squalling tears; 
a blessing light descends and beckons 
from my holy place, the garden.

When I am torn and taken 
I return to the nesting place,
cushioned by the rays of a golden eye,
curled inward round the echo of a white womb; 
my soul spreads alar, barred from nothing needed 
I slip gently from the thrall of flesh and crisis.

Untitled #.

While the day dragged, mopping up dropped tears,
Evan gazed beyond the trees 
to where an orange sun bled 
through the thick white cloud.

Swell me with regret, sweet rue of bitter moments, 
Passed like sweetmeats before my eyes.
Let me enjoy their passing. 
It is a sullen joy. 

Evan's seat grew warm as the hours 
wound around. But he did not move.
The orange sun sank silently, 
and the cloud remained.

Excerpt from Childe Harolde’s Pilgrimage, Byron.

  Could I embody and unbosom now
  That which is most within me,—could I wreak
  My thoughts upon expression, and thus throw
  Soul, heart, mind, passions, feelings, strong or weak,
  All that I would have sought, and all I seek,
  Bear, know, feel, and yet breathe—into one word,
  And that one word were Lightning, I would speak;
  But as it is, I live and die unheard,
  With a most voiceless thought, sheathing it as a sword.

Years Ago

She is still sleeping. Even now, at 10.20am she has only slept five hours. So sleep on. I tried to wake her an hour ago, selfish fool that I am, knowing I shan’t see her again until after the weekend. I said something ‘premature’ last night that she quite rightly attributes to sentiment. But what a sentiment! I didn’t know sentiment could be so powerful. Perhaps I’ll open a sentiment spa and serve it to my guests.

The Street is Their Stage (Gambit Magazine, New Orleans)

The crowds stopping traffic on Decatur Street speak for themselves. Passers-by might glimpse a baton in mid-flight, or a streak of flames bursting into the air.

In Jackson Square itself, the milling crowds take their pick from jazz bands, break dancers and unicyclists. Occupying street corners and vacant podiums, the mimes work miracles with their lithe bodies and unworldly expressions. Clowns mesmerise children with balloon tricks only the under fives can understand.

Jose Eduardo Tama is one of the more recognisable street entertainers in the city. His one-man act that encompasses magic, juggling, comedy and theatre regularly draws the two or three hundred people needed to fill the small, half-moon fountain area near the Moonwalk on Decatur Street. For him, New Orleans has been the perfect base from which to practice his art. Its well-educated blend of tropical and European influences gives him the freedom to develop his talent and at the same time pursue a career as a painter.

Jose came to New Orleans four years ago, to escape the stresses of life in New York, his home town. Although he makes many trips to perform at arts festivals in Europe and the U.S., he considers New Orleans his permanent home. For the more talented street performers, New Orleans streets provide the exposure needed to move on to the more lucrative contacts, such as commercials and private bookings. But in a town where ‘lagniappe’ is the password for anything that doesn’t require an invoice, a town made famous for ‘The Greatest Free Show on Earth’ it must be a matter of some diplomacy to actually profit from what some would be surprised to learn is often a full-time career.

Jose has his money pitches handled. His years of experience have built a stockpile of ‘pay me’ approaches. “Remember, ladies and gentlemen, the more money you give, the more money I have. I’ve given you all I can give you. Now you owe me .” When you’re asking people to show you the colour of their money in public, comedy is essential. As Jose points out, performing on city streets is no free stage. Jose and friends pay $74 annually for a permit to operate.

Even with a permit, life as a street entertainer is not always fun and games. In a city renowned for its liberating atmosphere, performers often find that heckling comes easily. More than once Jose has packed up early because of persistent yells from a gathering of those who have too much to drink. There are also those rules to be followed: one performer, Jose recalled, once spent the night in jail after being arrested in mid-juggle. On one occasion Jose was even asked to move on by a high-ranking member of the church because his audience was too loud. And them of course, there’s the inevitable rain.

In an area such as the French Quarter, however, where almost all events except eating take place on the streets, such small problems don’t prevent the continuous flow of touring musicians and troubadours eagerly seeking fame, fortune and an alternative lifestyle. The French Quarter remains one of the top three locations in the country for street performers. Only San Francisco and New York can rival New Orleans’ impromptu stages and eager audiences.

Throughout the coming months, and again again in the fall, the French Quarter will be the site for a whole spectrum of entertainment lost to a generation of couch-potatoes. Carnival passes, but the parade continues.

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