The Many Alfies of the Internet

The Internet is, maybe you know this already, a weirdo kind of place. Maybe I'm a weirdo-ish kind of cat, but the Internet, it appeals to me. To my sense of myself as rather very much larger than life. And, I mean, don't we all feel this way sometimes? That we must be bigger than this moment, than our own ability to comprehend the everyday. That we transcend the mundane.

It's not just me, right? Anyway.

So I found this Web site, PhotoFunia.com (well, a FB friend of MR's, Colleen M. Dougher [read her excellent blog about South Florida art) made her aware of it, and she told me about it, and I got Luco off the computer long enough to mess around with it a bit), and basically I love it. I can live new lives, represent myself to others as I see myself in my brain and in my heart and in my superb dreams.

And listen. No, I've not been imbibing wine. I haven't. I'm just... Relaxed. And energized. Excited. The below series of photos and what they manage to communicate about my innermost makes me happier than the last time I read Wuthering Heights (just finished it up last night). Call me Heathcliff, friends. We can all drink to that.

Not that I'm drinking.

What was that? I felt a tentacle of ice wind its way down my throat. Was that a note of derision in your voice? Of disbelief.

Prevaricater I am not, and I will tell you this: yes, I enjoy a fine Merlot, and no, the movie Sideways didn't make me fall head over heels over head for Pinot - it's just rather too dusty for my palate. Which, please, do not interpret as juvenile. For one I love other French wines. I love champagne. It's just the Pinot does nothing for me.

Anyway. So you see, I've told you this: I've tried wine, love it, sure, but this isn't a drunken confession of asinine mind-wandering. No. I've been driven to distraction lately by my need to feel as though I more fully fill the air around me. To feel as though I'm being taken seriously by my prison-mates and my admirers.

MR's father, well, he moved out, and he was my only amigo in this desolate place.

Listen. Don't judge me. When you've been alone as long as I have, when you've been dragged from one house to the next and then threatened with abandonment again (sort of as soon as you're settled in a place) due to "bad behavior" or some such nonsense (I fail to see the cause for irritation at my gato agua, if you will, when it's spritzed gently around the house), and then you meet a man who you feel really, finally gets you. And he's gone? Well.

There was only some Pinot left on the counter and you know I hate that Pinot, so no no no, I didn't have much more than a sip, a swallow, I wouldn't say I've been drinking.

There was another soul I loved dearly, and I can barely speak her name. MR's mother. We were also parted due to circumstances beyond either of our control.

And now I rot here, in this prison of pests who do not appreciate great literature! Or at least who do not appreciate Wuthering Heights, which if they don't appreciate that, the very idea that they even know how to read is suspect!

Oh, I could weep.

What was I talking about?

Yes, yes, I found this Web site, MR found this Web site, I mean, Colleen M. Dougher found this Web site and I love it. Let me give you some examples of the many and wonderful lives I lead in my glorious imagination. Come, be free with me in a world devoid of regulations and parameters. Together we'll become more than we ever could've conceived of before.

We'll be truly free.

Here is the picture I began with. Handsome, right? Doesn't hurt to be beautiful when embarking on myriad new evolutions of the self!

I think this one is inspirational. Add it at the end of a poem. The poem would be elegant and never over-wrought. Imagistic. Something like:

Slow, I lift my head

it smells in here of cat nip

but it won't be found

Imagine what that man is thinking: My god! The sheer power of aesthetics! Here, a cat, finally, who has become a kind of tinder inside my bones. The warmth of his beauty will keep me through the winter.

Fame! Imagine what amazing actions I've taken to get on the cover of the Annandale Advocate. Maybe I saved a child from a burning building. Perhaps I kept a world power from declaring nuclear war. Or I invented a cure for each disease.

Perhaps I climbed a ladder. Saved a mewling kitten from a too-tall tree.

And here! What an interesting movie these kitties are watching. Why, it's me, Alfie, as Heathcliff in my directorial debut remaking Wuthering Heights to be more accessible to a modern audience. Ah, they're thinking, this is the best screen adaptation we've ever seen. Give that cat an Oscar.

Like I said, I've not been drinking, really, but if I had been, this would be the wine, friends. Chateau d'Alfonso, 2013, a refined vino if ever there one was.

And with all the vampire craze of recent days, I thought why not get in on that. So I did. And who more debonair than me? More lovely and more seductive than Alfonso Tupelo.

Yeah, I can't think of anyone either. I love how the Internet lets me transform. How it helps me communicate my true, multiple selves.

How amazing, this age we live in. That I can experiment with such abundance.

Even if it's really mostly isolating because I'll never have the courage or the ability to act out these identities IRL. Even if I can't actually even open the front door and exit this prison. Even if, in the end, I'm a poor, sad player, performing my lines, and badly, to an audience of nil.

Even if, even if, you don't love me anymore.

Even if I make bad Don Henley references for no apparent reason. Gah. Excuse me. I'm going to find that terrible Pinot and go back to bed.

Out, out, brief candle!

The Scarecrow is not Afraid

Some people have (unjustly) accused me of being a "fradie-cat," and a "nervous Nelly." I'm not sure what a Nelly is, but I can assure you, I am not one. I am a Lucy, a Scarecrow. My job, you see, is to scare off, not to be scared myself.

It's just that in a world where thousands of refuges seek shelter from violence in Syria. Where a Batman screening can be the scene of murder. Where a Google News search of "fear" results in 3,230,000 links. Where a search of  "injured results in 43,300,000. And a search for "death" results in 130,000,000 that I just don't necessarily feel okay with the door unlocked, yanno?

So, yeah, I'm cautious. Cautious about who I tolerate standing within 100 feet of the house (the prison guard and her boyfriend), who I befriend (Mr. Pawsley), who I open the door to (no one).

What? You think the mailman, excuse me, the maulman, looks so innocent, but what keeps him from blowing a heart shaped hole through the front door? What keeps him from barging inside and taking all that I love?

I'll tell you what keeps him from doing that. Nothing. Except me.

I'm vigilant. Some might say hyper-aware (actually they say hyper-active, but I like to think they just don't understand words and therefore choose an inaccurate synonym. Lessons on connotation, anyone?). I have a job, a duty; I have a noble calling, friends, and it is to protect.

Would that I were the police! Oh, happy life, that - when I might pull you over, reader, for each infraction. Where I might cuff you, stranger, and lock you behind bullet proof glass. Where I might sleep with a weapon by my head.

Allow me to paste the entire Emily Dickson poem "My Life had Stood - A Loaded Gun" here for you to ponder a moment:

My Life had stood – a Loaded Gun –
In Corners – till a Day
The Owner passed – identified –
And carried Me away –

And now We roam in Sovereign Woods –
And now We hunt the Doe –
And every time I speak for Him –
The Mountains straight reply –

And do I smile, such cordial light
Upon the Valley glow –
It is as a Vesuvian face
Had let its pleasure through –

And when at Night – Our good Day done –
I guard My Master's Head –
'Tis better than the Eider-Duck's
Deep Pillow – to have shared –

To foe of His – I'm deadly foe –
None stir the second time –
On whom I lay a Yellow Eye –
Or an emphatic Thumb –

Though I than He – may longer live
He longer must – than I –
For I have but the power to kill,
Without – the power to die –

This poem speaks to me of the emotion surging through me when I hear the barest footfall approaching my prison-house. The anger and resolve that wells up within me. Did I have purpose before this?

And my smile, reader, please take note, is most certainly Vesuvian. It cracks my face open like a sun.

Why am I telling you this? Perhaps to keep you away, to keep you out, but it's also in answer to Slippy. Did you read our last blog? The one about vacationing? (Well, and then there's also this.)

Well, if you didn't or if you've forgotten, in it Slippy tells me he loves me and I find I cannot quite reply in kind. I give him a tap dance routine, an "I need time," etc. etc. kind of thing.

The thing is?

I don't need time, not actually. The words are recalcitrant - this is the connotation I want - they disobey me. I can't quite say to him how I feel, so I say nothing instead. Coughing, I lower my head, make excuses, all while loving him, loving him. He who has given me reason. It is for him "the mountains straight reply."

My "empathic thumb." My "yellow eye."

This searching, unending, drowning kind of love where I find myself stricken, tears rolling down my cheeks as I watch him chew grass or chase Mingus. When he pisses on a fire hydrant something nameless is tapped into life inside me; it's like a universe of butterflies alighting on my liver, long golden rays of sunlight, warm sand on my belly, water in the morning, a hand on my forehead, deep silence of time passing; it is the sound of singing, bells ringing, rain storm, wind through trees, lightest kiss; it is the turning over and over of everything I believe in until there is nothing save his little gorilla's face; his floppy Mr. Pawsley ears.

But I can't tell him this with words. I say it instead with my actions. By keeping us safe and safe and safer still. I will protect Slippy from danger.

And I will scare off that horrible mailman for good one day.

To His Coy Luco

Today I am reading homework responses for the poem "To His Coy Mistress," by Andrew Marvell. The poem was published in 1681, which I find hard to believe, much less conceive of. 1681? It seems perhaps a different dimension.

What would I do in 1681? Mouse, I suppose, or dart desperately from booted feet. There would have been, of course, no outlet for my lamentations, my creativity, my grasping at shadows.

How did creatures do it? Existent avant l'Internet?

You might have noted the wine, the glass which reads Paris (an obsession, I will admit - the cemeteries, churches, nightlife, ennui, le metro - Paris, je t'adore).

And perhaps I have had too much of it, but really, Marvell? He writes (a strange aspect of MLA, is it not? The use of the present tense so that the written word, no matter its age, is constant, alive. We are always of and in the moment): "My vegetable love should grow / vaster than empires, and more slow" (11-12) as he attempts to convince his maîtresse effarouché to, you know, "like amorous birds of prey, / rather at once our time devour" (37-18).

He is so, pray pardon the expression, lame. I would love you forever, blah blah blah, but we are going to die one day, so love me now in a carnal way (ah, see? I am a poet approaching Fremlin's caliber now).

I do love "vegetable love," however. It makes me swoon a bit. Perhaps I would have been convinced by his syllogism. 

But what must the maîtresse effarouché be thinking? Does she feel special, or does she see that  Marvell is manipulating her, that whispers of "though we cannot make our sun / stand still, yet we will make him run" (45-46) are meant to win her complicity and (although maybe I am simply a lonely cynic) nothing else?

Does she believe their love blurs time, speeds life, perhaps even feeds existence itself?

Is it really only one or the other for her - tenderness or manipulation - could it be both? And, you know, I do not believe I can read another of these responses - I am too perturbed at Marvell to take him seriously at the moment.

Perhaps I shall take this wine more seriously instead.

Please. I need just a moment to gather myself.

Marvell, you crazy carpe diem lover, you are right, let us "roll all our strength and all / our sweetness up into one ball, / and tear our pleasures with rough strife / through the iron gates of life" (41-44).

"Rough strife?" "Iron gates?" Is Marvell hinting some kind of BDSM thing here?

No, I jest!

The wine is not helping my homework-headache, it is not easing my solitude, it is not gentling my tiger's heart; if anything it is singeing my "every pore with instant fires" (36). Alack! A rare kind of fire this, and intense. I certainly feel less serious than I would want - a lesson: take wine too seriously and it will seriously vous fera bête.

I should get back to grading, back to reading. Give me some Daphne Gottlieb or even Sylvia Plath (maybe my favorite line in all of poetry: "Love set you going like a fat gold watch" from the poem "Morning Song"), but I shall instead finish this glass.

Why not? Even though Marvall was consumed by natural lust, and I may lust thusly no longer since my "fixing," still I might make my sun run. Yet I might abandon myself to this moment, and none need convincing save my own gullet.

 

Carpe vinum.

Luco & the Teddy Bear

In a fit of something like empathy, the prison guard dragged out this stuffed animal to try and soothe me, she said, to make me feel less alone.

To make me feel less alone. Because at a fundamental level, whatever she tells herself, she knows and I know and you know that we are all alone.

Alone in our thoughts. In our experience of life. I look at this stuffed animal, this teddy bear, and I am revolted, but perhaps you look at it and you see something else. Something sweet, something to hug close and cherish. Perhaps you look into its beady eyes and see your own face reflected and this is like a hand to hold.

Not me.

Reflected back in its beady eyes I see torment. Anguish. The bathos of not-being. Although maybe I am sentimental. Expecting too much from fluff and nylon and cotton.

I would like the prison guard to look at me and to know me, to know that this sort of thing, this teddy bear is not going to quell my suffering. Is not going to light in me love.

That it, instead, sows the opposite.

I find myself filled with disgust. Revulsion. Sad trick, this, stupid gesture, it - teddy bear a lit match to my skin, smoke in my eyes.

If I wanted company I would seek it. I would not do as I do which is to lie here and pretend the animals do not swarm me. Which is to lie here and not listen to Sir Alfonso's bumbling recitations of Wuthering Heights from memory (it goes something like this "I've just returned from seeing my landlord, that weird guy who's going to be a total pain") for the thousandth time. To lie here and read Sartre's Why Write:

"[T]hrough the various objects which it produces or reproduces, the creative act aims at a total renewal of the world. Each painting, each book, is a recovery of the totality of being. Each of them presents this totality to the freedom of the spectator. For this is quite the final goal of art: to recover this world by giving it to be seen as it is, but as if it had its source in human [animal] freedom."

Can this be applied to the bear? Is he the product of some creative act? He must be, if he exists-but-does-not-exist. Sartre continues:

"But, since what the author creates takes on objective reality only in the eyes of the spectator, this recovery is consecrated by the ceremony of the spectacle - and particularly of reading. We are already in a better position to answer the question we raised a while ago: the writer chooses to appeal to the freedom of other men [animals] so that, by the reciprocal implications of their demands, they may re-adapt the totality of being to man [animal] and may again enclose the universe within man [animal]... the writer, like all other artists, aims at giving his reader a certain feeling that is customarily called aesthetic pleasure, and which I would very much rather call aesthetic joy."

This teddy bear, reader, does not in me birth an aesthetic joy. Does it you?

I shrug away from it. I shudder and growl. Still it persists. Still it glares at me, all beady-eyed (as previously established! I apologize if I, in my terror and boredom, repeat myself. My nerves, reader, are frayed).

Oh, how I wish it did soothe me. But I am ever troubled. Ever struggling to straddle despair and my greed to communicate - an ambivalence seemingly irreconcilable. Sartre writes: "To write is thus both to disclose the world and to offer it as a task to the generosity of the reader."

Reader, be generous. Reader, it is you who, although I am bereft, although I am misunderstood; although I weep alone and often; it is for you I write. It is to you I send my deepest respect. Love, even.

And it is you only who quickens in me the thought. We are all alone.

But we are alone together.