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I Am Data

I feel very tired. I feel this way because I stare at a computer screen all day, sometimes multiple screens. I blog, I conduct research, I read news, I write books. Do you know what I used to do? I used to visit college libraries for research. I used to read the news in the paper, or listen to it on the radio. For a researcher, the internet is the best collation of good-bad-indifferent sources. I love my technology, but sometimes I wonder if it’s entirely beneficial to me as a human.

Sometimes I long for what I’ve lost–hearing actual voices and speaking to actual humans. Sometimes, I want to sit on the porch with my husband and watch the lights of the distant city wink through the atmosphere. But I know it’s too late to go backward. Yes, I can sit on the porch tonight, and maybe every night after this until I die. However, my eyes have transformed into screens, my thoughts into strings of codes and words. I’m not a machine, I remind myself, not a machine. And that isn’t even true. Technology has simply taught me who I always was–a robot longing to be human, rather than a human longing for technology. This robot needs to discover the soul button and push–the heart button that pulses as if it were real.

And honestly, all I really desire is to understand human behavior: their quirks, what makes them tick. Do you know where I might purchase an emotion chip so that emotive data will integrate with my system? Do you?

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In my vision, Hermes bore a lamb wrapped at the shoulders. I was fully aware of him, of his figure in front of me–much taller and with frailer shoulders than I could have imagined. He was a silent man, although he was musical. He was the mediator of my soul.

He was the mediator of my soul, and he wore a lamb wrapped helplessly at the shoulders of his tunic. He didn’t grovel as I did. He stood upright, and he never beckoned, but suggested that I might want to rise from my supine position in the sand. He didn’t bother with the words I wrote there. They were of little interest to him because, despite my ideal, the words didn’t equate to my soul and personage. They weren’t the person who waited at the core of being.

At core, I was the lamb wrapped helplessly at the shoulders of his tunic. I have to say this. I have to proclaim this. Jung was wrong about the animus of my soul. He didn’t desire to usurp me, to overwhelm me with his masculine nature because, more than anybody, he understood the dark side of the soul. He understood the shadow self because he came face to face with it in the desert.

And my shadow self recognized his presence in my life, distinguished that he was the man who carried me. He carried me out of the cave where I wandered, or believed myself to wander, where I lost myself in darkness. He carried the lantern and led me out. Yes, I admit, for a long time, I didn’t notice the shoulders that bore me–until his hands set me down so that he could carry another. But he was my animus–my Hermes–my shepherd. How could he desert me?

How could he leave me in the shadows of my life? I couldn’t see well enough to make out the pastures, to make out the shadows of the valley of life. Hermes, how could you leave me in a place where the food and water are distant and indecipherable?

What can I decipher, but feelings, needs, wants: my need to wander out of the shadows, perhaps back in the cave where the walls, at least, offer a sense of comfort and closure–because there’s no closure here where there’s no present light for distinguishing a bed. Will you return to me if I play the instrument you left for me? Will you return and lead me through to the daylight if I bark out a few bleating notes?

My bleating voice is a cipher of nonsense, as nonsensical as the sand where I used to scratch out verses. Who am I without you? But he had no words for me, no comfort. I was without him. I was in that way that a human is, in need of a shepherd, and not understanding the words he wouldn’t speak.

The words he wouldn’t speak I spoke, and at that point, my vision of him rose up before me. He was Hermes, a shepherd with a lamb slung over his shoulders. He carried a lamb, and he carried me, but mostly he played his instrument and guided the music that hid itself in my heart. What does it mean to hold onto nothing and to hold onto the image of Hermes at the same moment? What does it mean to understand the words of his heart?

Mediator of my soul–rest in my dreams–light the music my soul longs to sing!

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Janet Frame

Janet Frame creates the topology of my mind:

“Well I’m not going to do anymore expressing.

This is my last story.

And I’m going to put three dots with my typewriter, impressively, and then I’m going to begin . . .

I think I must be frozen inside with no heart to speak of. I think I’ve got the wrong way of looking at life” (from My Last Story).

” . . . it would be nice to travel if you knew where you were going and where you would live at the end or do we ever know, do we ever live where we live, we’re always in other places, lost, like sheep, and I cannot understand the leafless cloudy secret and the sun of any day” (from The Day of the Sheep).

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I live in a mixed-up world. Even my church’s lent services occur on Tuesday evenings rather than Wednesdays. Sometimes, I feel like I’ve fallen down the rabbit hole. Other times, I remember the design and beauty in my own existence. Here is a re-post of my personal story, one I originally posted almost a year ago:

I have wanted for some time to change my profile in order to simplify myself and clarify my goals better as a blogger.  I’ve seen profiles that are simple and beautiful, typed from the hands of people who seem to know themselves. They remind me of Tom Petty’s Free Falling song: she loves Jesus, horses, and America, too.  Why is it so simple for others?  My world seems far too scattered.  Then the truth dawned on me, and it was clarity itself.  I’m here today by the grace of God, and there’s really not much else to say–except for a little story.  It’s not a long one, because I’m far too tired to write my epic autobiography tonight.   

When my mother was pregnant with me, she had a nightmare that the devil was going to steal me from her.    This was the time of the Roe v Wade trial, and the clinic where she was receiving prenatal care tried to convince her to have an abortion.  She and my father were very poor, and my mom had just given birth to my sister.  From the clinic’s point of view, it was not practical or healthy for my mom to have another baby at that time.

Fortunately for me, my parents did not take their advice.  Unfortunately, my mom could not carry me to full term, and I was born prematurely, despite the best efforts of the hospital.  The first year of my life was terrible (or so I’ve heard.  I don’t personally remember.)  I screamed continuously and couldn’t digest anything.  It must have been nerve-wracking for my poor mom, and my dad, too, I suspect.  Somewhere along the way, though, my dad painted a peaceful moment of my mom bathing me.  It’s a classic style painting, perhaps Rembrandt influenced, with natural light focused on me and on her arms that are holding me.

This painting belongs to me now, though originally it was a loaner.  It hangs above my bed. If I examine it closely, I will discover the faint calligraphic signature which reads, by the grace of God.  My dad understood the truth thirty-odd years ago.  God is my author and my painter, and, today, I am able to rest in that knowledge.

p.s. No, I’m sorry, I’ve never photographed the painting. I should, though. The image you see above is from The Pilgrim’s Progress. A long time ago, I downloaded the image, and I have no idea where I found it. I apologize for that.   

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I should spend a few moments to give an update on the plot of my New Mexico Noir.  I’m still in the process of moving, and seeing as I haven’t posted a new weekly chapter in several months, I thought a review would be best—less stressful on me and you, my lovely readers.

First, let me tell you about my new house.  It is light and bright and much more spacious than any place I’ve ever lived.  The numerous long windows in my living room, facing east and south respectively, give way to such marvelous views that I may never write again.  I don’t actually mean that, but I do sometimes wonder if writers ought to lock themselves in cells where they are sense-deprived, so as not to be distracted.  I could sit and stare at my view for hours, I think.

Sigh.  Here goes.  For those of you who haven’t read NM Noir in a while, and for those who have read no chapters, let me tell you about Ella’s plight.  Ella is the protagonist, by the way.

Ella loses her job as waitress at Manuela’s New Mexican diner.  She gains a job, thankfully, as secretary for a stereotypical private investigator named Anthony (stereotypical, as in drinks too much Bud Light and whatever else with his New Mexican suavity).  As she begins this new ‘job’, she realizes she’s not just secretary, but housekeeper and general do-whatever-he-wants kind of gal.

Along the way, the mystery of a fuchsia butterfly appears–literally–on Ella’s bathroom mirror, by way of her expensive lipstick, when her house is broken into.  Her long-time on again/off again boyfriend is murdered, and her parents have disappeared.  There is some mystery having to do with a sexy Latina named Demetria Chicken, or Gallina, to be exact.  And in the last posted chapter, Ella breaks into her parents’ house to find clues to their disappearance.  While there, she steals some of her mom’s paintings and file folders and her parents’ answering machine.

What could possibly happen next?  As a reminder, this is a serial novel which I post as I write each new chapter.  It isn’t a work for traditional publishing, but for fun.  It is fun, too–full of New Mexican culture and beauty and craziness.  And food.  I’m so hungry.  Anybody up for a plate of flat enchiladas, New Mexican style, with red chile?  Yum.  

p.s. I stole the image from this site.  It’s worthwhile to click the link if you want good instructions on how to make NM enchiladas.

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