Wednesday, July 24, 2013

International relations


 

Nobody hates us because we are free.
   They hate us because every time they fight
For freedom, we demand a royalty
    Since we claim we own Freedom’s copyright.
They hate us because we lay down the law
   And think the rules do not apply to us,
Because our system is without a flaw
   And clearly all the rest are villainous.
And they despise us every time we say
   That we know best, without pursuing it.
We want to help the world in the worst way—
   And that’s the way we end up doing it.
      It’s how we always will and do behave:
      To win your freedom?  Be our freedom’s slave.


 

Copyright 2013 Matthew J Wells

 

Monday, July 15, 2013

For which it stands


There are times when I think my country’s just
   A bigotry picnic, and all I see
Is how the system that we’re told to trust
   Kills everything that we profess to be—
How the cruel engines, under what we care
   The most about, will not be satisfied
Till in the name of fairness we’re unfair,
   And in the name of honesty we’ve lied,
And all that we believe in is undone
   By what we do.  And if we cannot see
Our way to being just to everyone
   And make no vow in vain, our fate’s to be
      A pompous giant whom we cannot call
      A land of laws till justice works for all.

 

Copyright 2013 Matthew J Wells

 

Monday, July 8, 2013

Ballad of Summer



The song below speaks for itself. All I’ll say is, if you’re me, and you hear anything that has the line "My legs would give out in your undertow," then your own legs give out, and you have to share that song with everyone you know. It's from the Amy Speace CD How To Sleep In A Stormy Boat, and it's so good it sounds like it's been around for a hundred years.


The Sea & The Shore


Thanks and a tip of the Wells cap and bells to my sister Monica, who played this for me a couple of days ago.

Wednesday, July 3, 2013

The Child And The City, by Franz Kafka



The Child and the City is the title of a lost novel by Franz Kafka.  He began working on it in 1904, but he never finished it, and the manuscript was lost.  The story below was originally conceived as a monologue.


"The Child and the City," by Franz Kafka.


There once was a boy, a timid little boy, more in love with his mother than he was with his father, a small and silent boy who was spoiled by his mother, when all he really dreamed of was to make his father smile.  But his father was a mountain, his father was Mount Sinai, the boy would dream of his father almost every single night; and in these dreams his father would goad the boy into a fistfight, or starve him in a circus cage, or have him put to sleep like an infirm dog, or simply stare at the boy with the cold unyielding condemnation of fatherhood until the boy obediently woke up screaming.
        One night the boy woke up crying from a dream of his father, and when no one came to tuck him in and see what was the matter, he started whining for water, even though he wasn't thirsty.  It was in his mind that if he cried for water long enough, his mother would come and hold him.  But he could not simply ask his mother to come hold him in the middle of the night; it was not manly, it was not done; it was trayf, it was forbidden.
        Finally, after what seemed like hours, the door to his room opened, and there was his father.  He had his coat on.  He picked the boy up from his bed and carried him outside.  He carried him in his arms down the silent boulevard, and he did not say a word until they reached the gates of the City.  At the Main Gate stood two small men in shiny leather coats.  The boy's father went up to them and said, "He was crying."  Then one man took the boy and the other man gave his father twenty dollars and a signed receipt.  And the boy's father turned around and started walking home.  The boy wanted to call out after him, but he was afraid that if he did, his father would not turn around and come back for him; so he waited for his father to come back for him on his own, he waited and watched until it was too late to call out, until his father had disappeared into the darkness of the wide silent boulevard. 
        Then the two men in shiny leather coats led the boy to the checkpoint, where they handed him over to a doctor.  The Doctor took off his white gloves and bent down.  "So," he said.  "You would like to come live with us, yes?"  And he cupped the boy's chin in his smooth warm hand.  "Don't worry," said the Doctor.  "You will be safe here."  But he looked at the boy with the eyes of Job, he looked at the boy with the eyes of a man who knows in his heart that there is no safe place anywhere; the eyes of a man who will never complain when he sees pain and suffering, because he knows that it is against the law for life to be anything else.          Then the Doctor stood up and said, "Give him a number.  Give him a number and put him to work."  And one of the men said, "His arm is too small."  And the other man said, "We're up to eleven numbers now."  "Then give him a letter," said the Doctor.  "And let it be the eleventh letter."  And that is how the child came into the City.  The child whose little arm was once tattooed forever with the letter K.
        Twenty years passed.  The boy worked every day, and he grew into a man who knew the laws of the City, every one of them, by heart.  And in all those twenty years, not a day went by when he did not blame himself for what his father did to him.  Whenever he would look at the tattoo on his arm, the boy now known as Josef K would search his fading memory for that awful deed without a name which had made his father give him away.  Because if he was not blameworthy, if his father simply sold his six-year-old son to strangers because the boy was whining for water, then there was no justice in the world.  And Josef K believed in justice.  He knew that his father had not acted without a reason, without some dark inexpiable trespass against the law that had forced the boy's father to punish him this way.  It was the law of the City.  There had to be a crime.  If you were being punished, then there had to be a crime.  There had to be a crime, because if there was not a crime, then there was no justice.  Only punishment for nothing. 
        And mankind had a right to know why it was being punished.  That, to Josef K, was the lesson of the Book of Job.  It was not the Adversary who inflicted the punishment, but the God who allowed it, who must be petitioned to reveal the inexorable reasons behind His unfathomable actions.  So Josef K questioned his God, and like Job, in his God he found no answer to the question "Why?" except a voice from the clouds crying out, "Because I said so."
        One morning, towards the end of his twenty-seventh year in the city, Josef K left his Spartan lodgings and made his brooding way through canyons of indifferent stone to the office where he checked insurance claims for his department supervisors.  He had never actually seen one of these supervisors, but it was common knowledge that at least once a day they pretended to be policyholders or new clients or even accident victims, in order to test the efficiency and good manners of their employees.  It was even said that they one or two of them worked the floor in offices like Josef K's, when they weren't disguising themselves as secretaries or pretending to be his fellow employees. 
        Josef K did not know whether to believe these rumors or not; but like everyone else who worked in his department, he was wary and distant with everyone he met.  Like all the other workers whom he could not bring himself to trust, he spoke as little as possible, for in the office as in the city, nothing was more sinful than the disgrace of iniquitous disquiet.  So quietly he kept to himself, with the nagging feeling that someone was always looking over his shoulder, as he performed the demanding duties of an insurance claim processor.  These duties were exacting and precisely quantifiable.  In Josef K's job, every injury and abuse known to mankind had its precise and particular compensation.  Every accident had value; every wound had a price tag; every painful ounce of suffering was worth its weight in gold.  In Josef K's office, the man without an injury, the healthy untouched man, was totally worthless.  Unless, of course, he was a supervisor in disguise.  And that was why the only two feelings that Josef K ever had for his fellow human beings were fear, and indifference.
        On this particular morning, on the stroke of ten, a blind man came into Josef K's office; and when Josef K began to read the blind man's claim form, he saw his father's name.  He looked up.  It was indeed his father; older now, smaller now, as frail as a tree in winter; and his eyes were blank and featureless, like two eggs dipped in milk.  It was assuredly his father, and yet when Josef K read through the man's insurance forms, there was no mention at all of a son; only three daughters.
        Josef K cleared his throat.  "It says here that you have a son," he said.  Josef K's father shook his head.  "No," he said, "I have no son."  But Josef K persisted.  He said, "It says on your form that twenty years ago you sold your son to a doctor at the Main Gate of the City."
        The old man shook his head again.  "It says whatever it says," he said.  "But if it happened, I do not remember it.  If I did it, I can't recall." 
        And Josef K started to say something, he started to tell his father who he was; but the words caught in his throat, because he was afraid that if he spoke, his father would remember, and reveal at last the awful reason why he sold his son to the City.  So he waited for his father to recognize him on his own, he waited and he kept his silence until his father's claim was processed, and it was too late to say anything but goodbye as the old man shuffled out of the office to the tap tap tap of his walking stick. 
        That night, Josef K returned to the tiny room that he had made his home.  He ate a frugal dinner; he smoked a filtered cigarette.  He thought of how the city, like a flower, was nothing more than a collection of cells.  He thought of how the eyes that greeted him every morning from his bathroom mirror stared back at him now with the look of a man who knows that it is against the law for life to be less than suffering.  He  thought of what his father had said; and he looked at his arm, which still bore a cloudy mark shaped like the letter K, and he wondered then, with all that he had lived through, he wondered then what kind of life it was, this life of his, that had left not a mark on anything, not even his father’s memory.  And he touched the letter K on his arm, and he remembered the pain he had felt when it was branded onto him, and he knew at last that the crime was his and always his alone. 




Copyright 2013 Matthew J Wells


Tuesday, July 2, 2013

Haiku



Knowing it will end:
Life’s most rewarding excuse
For not beginning.



Copyright 2013 Matthew J Wells

Sunday, June 30, 2013

Love and be silent



What scares me is the fear that you’ll say no
(When it comes to rejection, I’m a mess),
So all I feel inside I never show.

What gives me hope is that you’ll laugh and go:
“I’ve dreamed for years of sharing your address!”
What scares me is the fear that you’ll say no.

Courage cries: “Take the risk—that way you’ll know!”
Cowardice coos: “It’s safer if you guess.”
So all I feel inside I never show.

Dice come up snake eyes every time I throw.
(I’ll always find a way to thwart success.)
What scares me is the fear that you’ll say no.

My heart avoids decisions like a pro—
Its fallback move is to be motionless—
So all I feel inside I never show.

The thought of you is worse than vertigo—
What scares me is the hope that you’ll say yes;
What scares me is the fear that you’ll say no—
So all I feel inside I never show.



Copyright 2013 Matthew J Wells



Thursday, June 27, 2013

Project list


ONGOING


Manhattan Sonnets

CrapComm, the Dictionary of Corporate Communications

Guide to Guys

Naughty Pine stories

 
PLAYS/SCREENPLAYS

 

Bohr's Model

Breaking Down Medea

Bullets

Business As Usual

Dana Land

Darwin's Finches

Don't Tell Me

Heaven

History of the Lagers

Iphigenia at Trinity

Jackson's Island

Kennedy's Brain

Lawyers in Love

My Dinner with Massah Tom

Manning Blood

Not For Hire

Once In A Lifetime (Ithaka)

Seven Ten Split

Temptation Eyes

Test Subjects

The Apostle of Liberty

The King of Snow

The Pictures of Dorian Graves

Trojan Women

Up On The Roof

Weehawken

Write Lonesome
 

PROSE


Based On A True Story

Cedar novel/memoir

Countrie Matters

Don Coyote

Fodder

Hatfield novel

I Did It For The Toys

My Love Is Vengeance

Nobody Dies in Disneyland

Squadron Zero

Stark & Montagu novel

Straight On Till Morning

The Kingmaker's Daughter

Three Dead Slaves

Watson novel

Monday, June 17, 2013

The Silent Girlfriend Sonnets


 

He takes her everywhere, except where she
   Can speak her mind, so she smiles and plays dumb.
She loves him dearly, so she tries to be
  What he can love, and that means keeping mum.
Hers is a concert of songs never sung
   Because the Maestro’s rule must not be broken:
All thoughts must live ten floors above her tongue
   And never make it down to where they’re spoken.
And though it makes her think that she was cast
   To be seen and not ever, ever, heard,
She’ll play the part and hold her tongue long past
   The point where other girls would say a word
      And dream, dream, of when she can verbalize
      The world that lies behind her word-filled eyes.

 
She sits beside the driver of the car,
   Leans on his shoulder from the highway shoulder
Where his car sits, and wonders if there are
   Relationships that don’t feel like a boulder.
She sees the engine trouble; he ignores it.
   She tries a jump start; nothing comes alive.
And every time she takes the wheel and floors it,
   He says, “Slow down!” or tells her how to drive.
Idle now on the roadside, she can see
   Nothing but open highways far and wide,
And in this airless, joyless Ford Capri
   She dreams of reaching out to thumb a ride
      And just be driven anywhere at all
      As long as it’s a car that will not stall.


She lies there with a boulder on her chest,
   The one with his name on it, and feels cursed.
She breathes, and feels that boulder squeeze the best
   Of her away, leaving behind the worst.
She stares up at the ceiling as she tries,
   Tries to remember how it felt to hope,
Back when the world was laughter and not sighs,
   Back when she wasn’t such a fucking dope.
She thinks: “Inertia.  That’s what keeps me here--
   The lifeless weight that comforts you and drains
Your fighting soul away, until you fear
   The brave revolt more than the coward’s chains.
      Enough.  Before this gets one second older?
      It’s time,” and then she smiles.  “Time to live bolder.”


But when she up and reaches for the door,
   He reaches out to her--and that one thing
Erases all he’s never done before
   And makes each silent mouth inside her sing.
Gone are the words he’s never said or meant--
   Gone are the kindnesses he’s never done--
Gone are the doubtful clouds of discontent:
   All banished by one single flash of sun.
The part of her that needs love to feel whole
   Melts at his touch, and makes her bold self see
His need for her as caring, not control.
   She cries: “He cares!  He really cares for me!”
     Her heart explodes like a July 4th sky
     And says to freedom, and not him, goodbye.


And so the endless days and nights crawl by--
   The endless hopes, the endless disapproving--
And she finds comfort in the constant lie
   That all this back and forth is really moving.
But it goes nowhere, and the strength it takes
   To keep it where it is wears out her soul
So much that what she cannot feel she fakes,
   Pretending that her broken hopes are whole.
She knows that what she's doing is a choice;
   She knows she’s living in a house that’s haunted.
But all her verbs are in the passive voice
   And all she wants is foiled by being wanted.
     All it would take is one “Goodbye!” to live
     But all it takes is more than she can give.


  *  *  *  *  *
 
Years from now, looking back, she’ll wonder why
   It took so long for her to see the truth.
She’ll try to look her past self in the eye,
   And see a canyon inbetween her youth
And her today--a chasm that prevents
   Her from revisiting the desert that
She called home once: a waste of makeshift tents
   And heights that now, from this side, all look flat.
There is no common ground between her and
   The girl she used to be--she’s moved so far
From her that she can barely understand
   She lived those years like flies trapped in a jar.
      She’ll sigh with wonder; then she’ll wonder how
      Her future self will look back at her now . . .
 
 

Copyright 2013 Matthew J Wells

 

 

 

Wednesday, June 5, 2013

By Your Re-Bootstraps


I had three big problems with Star Trek: Into Darkness.  (Four if you count the bland stupidity of the title.)  In order to talk about these problems, I’m going to have to spoil the movie for those who haven’t seen it, so:

FAIR WARNING: PLOT DETAILS DISCUSSED BELOW.

KEEP READING IF YOU’VE SEEN THE MOVIE.

IF YOU HAVEN’T SEEN THE MOVIE, AND YOU DON’T WANT TO KNOW WHAT HAPPENS IN IT, THEN READ NO FURTHER.

ABANDON ALL SURPRISES, YE WHO ENTER HERE.

*

*

*

*

Okay.  Here we go.

The Three Who Are One.  One of the things that made the original Star Trek unique and memorable was the way Dr McCoy went from a bit player to a regular.  If you watch the first season all the way through, you can see the show evolve from a two-way dialogue between Kirk and Spock to a two-way dialogue between McCoy and Spock about what Kirk should be doing.  I don’t know whether Roddenberry had this in mind from the start, or it was the actors and writers who helped develop it, but by the beginning of Season 2, it’s canon: McCoy reacts with his gut, Spock reacts with logic, and Kirk balances the two by finding a way between the two extremes.  But in New Trek, Kirk is the one acting with his gut—he even says as much to Spock in New Trek 2.  Which completely eliminates the necessity of a triangle.  In New Trek, Kirk has become McCoy.  






Texas Rangers In Space.  If you’ve ever read Harlan Ellison’s original script for City On The Edge of Forever, then you know how different it is from what was finally televised.  One of the many changes that Gene Roddenberry made to it was the episode's inciting incident.  Instead of McCoy accidentally injecting himself with a drug that drove him bonkers, there was a crewman on the Enterprise who was addicted to a hallucinogenic drug, and it was this crewman who cause the whole time paradox.  If I remember it right, Roddenberry told Ellison in so many words that nobody in Star Fleet—nobody ever in Star Fleet—would do drugs deliberately.  End of story.  Which is not to say that there couldn’t be One Bad Apple, or that everyone on the Enterprise was pure and unsullied, or that they couldn’t be weak or misguided.  It’s just that there’s a line that would never be crossed—a line, say, where the weakness couldn’t be supported into strength, or the misguided turned to the correct path, or the bad apple redeemed.

How would Roddenberry have felt about the black ops Star Fleet initiative that shows up in Into Darkness?  Hard to say.  It reflects our time as much as Roddenberry’s original vision reflected his, so in that sense there’s a certain necessity to it.  But what it also reflects is this weird self-flagellating undercurrent in a lot of action movies these days that say The Real Enemy Is Us.  (When they’re not saying We Only Ever Fight When The White House Is Destroyed.)  That kind of fits in with Season 1 Original Trek, at least in my mind, where there’s this rolling loop of Kirk pointing out the evil behind Fear Of The Other, or making a plea for mercy, understanding and tolerance, when he isn’t making a play for some alien hottie. 

But see, to me, that falls under M for Misguided.  And say what you will about Peter Weller’s Admiral Marcus—misguided he ain’t.  Which is why I think that, in Original Trek, he would have been an alien, and the whole debate about pre-emptive attacks against a potential enemy would have been played out in the same triangle format as Kirk/Spock/McCoy, with two warring alien factions and the Federation taking the place of Kirk.  Making the enemy an earthman—making him a Star Fleet Admiral?  I don’t think Roddenberry would have allowed it.








Stardate WTF.   The original premise of the reboot was that Kirk grew up without a father, which changed everything in his life.  It also seemingly changed everything in Christopher Pike’s life, since he never wound up crippled from visiting that off-limits planet with the green-skinned space hoochie girl.  And I can buy that.  But what I can’t buy is that, if we’re to believe what we’re seeing in Into Darkness, then (SPOILERS) a couple of hundred years ago, Khan didn’t go off into  space in a rocket full of cryo-chambers, but wound up a prisoner of Star Fleet.  Now maybe in all the excitement I missed the part where Admiral Marcus rescued Khan and his men from that rocket sometime after Kirk’s dad died, but either way, this is a MAJOR change from what was supposed to be an established universe up until 25-odd years ago.  And that bugs the hell out of me.  Either say this is a completely different universe, or stick to the single change in the established universe and see how it plays out.  Don’t play both sides against the middle, or change the rules as you go along.  (I know, I know—why should I look to the guy who created LOST for internal consistency?) 

Seriously—the more I think about this, the more it bugs me.  It bugs me even more than Spock shedding tears.  Spock does not shed tears, JJ.  Spock is the guy who sees someone crying and observes “Your face is wet.”  (He doesn’t yell “KHA-A-A-A-A-AN!!!” either, pal.)




So Kirk is McCoy, Star Fleet is corrupt, Spock cries, and God knows what else has changed in what was supposed to be a single-cause reboot. 

Verdict:  whatever it is we’re watching may be fun and engaging, but it ain’t Star Trek.   

Tuesday, May 21, 2013

Knowledge and Comfort




Every life is a book.  Only the finished ones have a back cover.

* * *

My phone rang while I was watching the Bruins beat the Rangers the other night, and my immediate thought was: it’s my brother Gary calling from a bar in Cleveland where he’s watching the game and cheering them on.  It wasn’t, of course.  Gary’s been gone for two and a half years.  But for a good three seconds, until I looked to see who was calling, he was right there.  And I knew exactly what he was going to say.

And that response is how we all deceive ourselves about the dead.

Since every life is a book, and the finished ones have a back cover, then every possible response we can have to the author of that book is contained within its pages.  We say, “She would have loved that.”  We say, “He would have called me the second he heard about that.”  We say, “I know exactly what she would have said.”

It’s a lie.  It’s a comforting lie, but it’s still a lie.  And the lie, and the comfort, are contained in the same word: “know.” 

We don’t know.  In a book with no back cover, the writer is still creating, and the story could become anything.  We fill the pages of our own book, and watch the pages of our friends’ books, and we’re engaged, not because we know what’s going to happen next, but because we don’t.

I only know what my brother Gary was going to say about the Bruins because I remember what he said during other calls.  Which means that what I think I know is an echo, not a source.   That’s the comfort: Gary has become finite.  In physics terms, his probability wave has collapsed, and any chance of him acting outside the realm of possibility has vanished.  Everything is an equation now.  If the Bruins win, Gary calls and says X.  If the Red Sox lose, Gary calls and says Y.

And that’s the lie.  Because if Gary was alive, there would be no equal sign.  X and Y would represent probability, not reality. The possibility of Gary would be infinite, until he created his own reality.  Until he wrote something on a blank page that could be anything.  And yes, it might have been what I was expecting him to write.  But I know—and this is the knowledge that is not a comfort—I know that it would not be, and could never be, exactly what I was expecting.

The one thing all the dead take with them when they leave is the ability to surprise us.

In a book with a back cover, there are no surprises.  Just echoes.  No potential.  Just history. 

I think I know what Gary would have said about the Bruins winning.  I don’t.  He would have said something I can’t even imagine.  That’s what made him unique.  That’s what made him Gary.

I think I know what my friend Meir would have said about Silver Linings Playbook.  I don’t.  He would have said something I can’t even imagine.  That’s what made him unique.  That’s what made him Meir.

The loss of any one of us cheapens reality, because there is one less set of eyes to perceive it, and one less mind to translate that vision for the rest of us.

I think I know what my friend Michal would say about the Avengers movie.  Or what my father would say about the play I’m writing now.  Or what my mother would say about my niece’s boyfriend.  It’s a lie.  I don’t know anything.  But I say I do—I have to say I do—or the grief would be unbearable.

* * *

All this is written in my book.  And one day that book will have a back cover.