Crow-Fly by Synchronicity

obsidian is shinier & blacker than coal .. & never capitulates to diamond.

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Crow-Fly by Synchronicity


    A crow’s wing must read the ebullient air, that grail, like braille? Feeling a bosomy intimate terrain we cannot even see. That crow, my obsidian bird, can see where I’m going, tho I, more landbound, take the, if lucky, meandering route; if not, the jagged route.

    I am well into my third Great Experiment. Certainly the most damned dangerous in daylight terms – I mean, I could get run over by a train I can see.

  The first Great Experiment is chronicled in 800 words in a fable called Justice I find out through 20 years as a window washer that the fortunate super-educated could do their share of the grotty jobs so we would not have to have an invisible undereducated class of which we never speak in order to get the latrines cleaned.

   The second Great Experiment is mostly unchronicled except in the blognoire, the akashic record, a few sketches here on agogblog, and the posthumous papers. An intense and immense decade of my tender battle with Digrif, a demon with whom I’m addicted. (Well, you like breathing too, don’t you?)  Across the timescapes, it is fascinating, elating. Here in this cul-de-sac of time, it is sometimes so painful, my bones bleed. Monde tordu. Wry world. Twisted world. If I only get to keep the memory of one thing, I trade off the possibility of Justice for the whole world for our implausible story, him & me. 

   This Third Experiment is in the dark arts. Not wicked, though wicked people have plied them. Dark like night is dark. It’s a calculated madness. I am navigating the last third of my life by poetry, by synchronicity. Reading the runes. Like the crow’s wing upon the courtesan air, I am allowing myself to be blind to the modern exhortations of necessity. Listening so carefully, watching like the fox the rabbit, or the rabbit the fox, breathing in the hieroglyphs of scents,  I am sensible to the signs – not in some, I like to think,  cult madness, but in a keenness of attention to the poem into which Fate is writing me. The metaphor from the inside.

    It is a certain enchanted view, as we shaman are taught to recognize and endure, and, even, procure. But this is different. More abyss. More quicksand. More much more vertigo.

    To say that synchronicity is a slippery slope is a bad time-rider’s joke. Am I really going to trust quixotic, clearly psychotic-able Fate to laying out clues like crumbs for the little bird? And am I supposed not to end up as rot-swollen body floating face down on the flood-sewage of <?xml:namespace prefix = st1 ns = “urn:schemas-microsoft-com:office:smarttags” />New Orleans?         

    Writers are used to being in the hand of Fate. When you get your own voice for sure at last, it’s like being knighted. You never need doubt the holy voice again. Soon tho, you realize that you are really an amanuensis for Something Which Speaks. The Ego does not write. It receives, like a pagan communion, the elixir. You are alive in the runes, the 3D of your sentences as they unfurl, the sentiments into images, around you. It is the alchemy.

   But to trust this impulse in your own living story with its bank accounts and rain and culverts as well as the parrots’ feathers is nothing if not risky. It’s being risqué may well not make up for how risky it really is.

     People who deny synchronicity are the wooden people who clodpatedly pay little attention. Synchronicity can be sly. Or Shy. Or bloody undeniable. As an example, a few years back, because of the crush of time, I had decided to stop taping my tv show of twn years, the Rhapsodic Life, where I performed 22nd century philosophic fables. I was very sad. I was parked in the Wells Fargo parking lot, crossed the street to the bakery for a consoling banana nut muffin, and as I passed the windows at the back of the store, this woman came running out of the store and grasped my hand with both hers, and said, “Your show saved my life.” Well, I guess I’m not quitting my show,” I laughed to myself. Manypoem (the multi-verse) can give you answers or nudges or kicks in the trousers, but 30 seconds later? It was compelling.

    Earlier this evening as I was fending off a bout of (financial) panic, actually behind this same bakery I swear – a vortex I guess & I haven’t been there in six months – the car which had pulled up next to mine had the license plate QUNTUM. Those of you who follow pogblog know that this Quantum motif is all over the blog. Quantum Schools etc. The thing that is hard to describe objectively is the precision and intimacy these bigger synchron moments can have.

    As you hang on a vine over the edge of a cliff, you say ok ok, I won’t panic yet.

    (I’d appreciate it if you don’t pipe in with rational advice because it only spooks me from the wild path I’m going to explore. I am convinced that as we clamber along in this next decade more & more sychron will appear and the parallel worlds will interinfluence each other more consciously. I’m a scout. Always have been a scout.)


Clearly there is gonna be a lot more about DUIS – driving [a life] under the influence of synchronicity, but I gotta go write some bilious romantic nonsense to Digrif.    




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3 thoughts on “Crow-Fly by Synchronicity

  1. I do think one can tell when a writer has a voice. In fact is one a writer until one gets a voice? I always recognize Pogblog's.

  2. A key to getting the voice — the unstatiked circuit to one's own truth — is damned hard. It means in a sense being an outcast from one's friends and family if necessary. You have to not worry about whether they will approve of your words or what you describe or opine about. There is an inner gauntlet in the early years of the sniping of friends and family. Your nearest and not-always-so-dearest almost 100% of the time will not like your writing ever. Forget pleasing them.
    You have to make your Mother walk the plank. She may or may not be offended by your work, but it can't matter. Getting the 'imagined audience' out of your head is tricky, but essential. “Oh gods, what will Mother (or Johnny Boyfriend or Ms. Librarian or or) think?” isn't the question. Is it as true as I can see and say it?
    The grammar & spelling can be fixed in a trice. The truth is between you and The Page.

  3. Magic has always been dangerous and fickle. The question is, seeing as without it, you have neither charm nor fire, is it more dangerous not to plight your troth?

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