The highest point in the development of something as in “Many believe that The United States reached its apotheosis some time ago.”
Can also mean the elevation of someone to a divine status as in “Trump considers him the most likely to achieve apotheosis in the room.”
My family had many Christmas traditions. Presents were not put under the tree until Christmas Eve. The living room door was kept closed until after we had a proper breakfast. Christmas cards were used as decorations around the house. And after receiving our gifts, we had to write thank-you notes to everyone. It was an onerous, yet vital task.
Thank-you notes are a thing of the past; now children just call aunts and grandparents, or worse, send texts and posts. A quick word with an emoji or two, and they can go back to their games and chats. The same goes for notes and letters. Indeed when was the last time you received a postcard?
It’s not as if I’m pining for the days of writing thank-you notes but that, as these artifacts go, so do our memories. The Young Chronicles series detailing my 1983 Cross-Canada hitchhiking trip would not exist if not for my hand-written notes.
While these sophomoric scribblings are not vital to living my life, they are key to reminding me of where I’ve been.
I wrote a piece twenty years ago on the poor state of sports journalism. I interviewed many sports people including Allen Iverson, Mark Messier, Cito Gaston and the sports editor for The New York Times. It was a solid bit of writing which The Globe and Mail considered publishing but ultimately rejected as being too controversial because I named names – including Stephen Brunt and Gary Mason, godawful writers still working today. The story is gone, lost because it and all of the notes were on a floppy disk that vanished in the years of transition. And so I only have this picture from Gary’s Instagram.
I rarely write on paper anymore. I text myself my notes. I do this so much that my Gmail account has flagged me (the same Gmail account) as junk, junk unto itself. Yes, even my computer is sending the message for me to get back to paper, maybe even print out these posts so that I can reflect and share on whatever platform is to come.
Writing is a misery because the magic can be there, perfect and exact, and then it’s gone. One moment every word is right there, waiting to be transcribed, every detail noted, every moment caught, all right there. And then it’s all gone. To have it and then not have it, back and forth, in and out, like a lunatic in the asylum. And worse than that, much worse, to find that the very next day, all the writing that seemed so perfect and exact is in fact inept crap.
Maybe not inept crap as much as undeveloped sophomoric shit. Or is that just the same thing? Perhaps it’s not a misery as much as a mental disease, that of schizophrenia. And it isn’t just the mirror-world thinking, never knowing when it’s the backwards world or not. The wonder of writing is getting into that world, living there, and hence not being here. It makes simple conversation next to impossible. I mean, you aren’t even you. You’re worse than a gutted actor. You’re a nothing, a driveling idiot.
You’re left outside, staring at things, not even looking at them. And then, in time, there’s something to notice, to wonder what it might mean and how it could be used, how it might mean something in a story. It begins again, when the idea of writing the thing goes around and around and gets louder and then quieter and louder again, and the words are unintelligible and wild, pure and magical like that.
Those words of not knowing anything and will never understand, even it could be sorted, actually with the sorting making it worse, farther from the goal, because even with the sense of knowing, it’s nothing more than liking booze and sex, realizing there is nothing smarter than that. Yeah, that’s the book I’m thinking about now. A big seller that.
Young Chronicles is my record of a 1983 Cross-Canada hitchhiking trip. This section details my first few days in Newfoundland.
June 11-13, 1983 St. John’s
Stayed at Will and Helen’s house. (Will was my ride into St. John’s.) They insisted that I sleep in their son’s room who moved into the living room. Sat in the kitchen as Helen rolled cigarettes with a small machine and Will did the crossword. Incredibly friendly people who left me on my own during the day and had dinner with me every night. Treated me to fish and chips on my final night.
Went to Signal Hill where I photographed an iceberg and mused: The massive shiny white behemoth silently watches the land as its turquoise blood seeps ever so slowly into the sea. It knows its time is limited yet continues its silent vigil with its very own evaporation. Its powers is incredible, its size immense, yet it is unable to combat the pleasant rays of the sun. The beast sinks to its mother. A gull glides past and defecates upon its melting brow. The mortal evaporative wisdom of an iceberg, never understood, yet always cursed. The giant melts, and I do not. Does the shining beast acknowledge my presence? I say nay. (Yes, indeed, I really did write all of that.)
June 14 St. John’s to Marystown
Ride One: To Trans Canada Highway. Mother and young girl
Ride Two: To Kelce Goose Turnoff. Brown Rabbit. Old guy. Hair all over back seat.
Ride Three: To Argentia Turnoff. Military man from Maine. No talk by his request.
Ride Four: To Marystown Turnoff. Red LTD. Cool Scottish guy with wife and kid. “Watch yourself down there. It’s backwood-sy.”
Ride Five: To Swift Current. Three guys. Quiet times.
Ride Six: To Marystown. Avis Rental. Money-minded Oil jerk.
Ride Seven: 45 Kilometers short of Fortune. Silver car. “If you don’t get a ride, drop out.”
Ride Eight: 30 kilometers short of Fortune. Chrome pickup. Local who loved Red Rider.
Ride Nine: 10 kilometers short of Fortune. Red car. Man named Schneider; hates Toronto.
Ride Ten: Fortune. Young couple from Toronto.
Stayed in Seaview Lounge and Motel. A dump. Cheap curtains, chipped walls, ugly lamps, semi-intact luggage rack and rude inhospitable staff. Went to see the capelin run where many were out with buckets to catch them on the beach. “Hey, kids, out of the water. Let ’em come in!” A number of teenaged boys approached me. One thought I was an undercover cop. He was a bootlegger who dealt acid. Another boy, Corry, was formal. “When you address him, do it politely.”
The ferry to St. Pierre/Miquelon, France was cancelled. I tried to get a ride with a fishing boat but they left without me. Cold and foggy. I went to camp in the bog the second night but was too cold and freaked out by all the bog noises. Went back to Seaview Lounge and Motel and watched Butterflies are Free with Goldie Hawn.
Apparently there is nothing harder to write than a sex scene. (Wink, wink.) It’s either Henry Miller’s sweat (“she commenced rubbing her pussy affectionately”) or Pablo Neruda’s honey (“I want to eat you like skin like a whole almond”). Nothing in between. And that’s where I aim to come in. (Say no more.)
Dee Sinclair is not just a sex worker; she is a performer. She is featured in my last four books – My Bad Side, Anori, Aqaara and Mina – and embodies what sex in literature should be. In the words of Nancy Qualls-Corbett, she is “the bringer of sexual joy and the vessel by which the raw animal instincts are transformed…and made sacred.” (The Scared Prostitute, Nancy Qualls-Corbett.)
As Dee puts it: You know what I’m good at? I’m very good at balancing at the tip, my orgasm looming, you know, on those tender little nerve endings. And just when I might slide off sideways, before I reach that moment, letting that go and pushing harder, I stop, all taut and stupid, clinging to this moment like it might go on forever and keep it like that, everything at the tip, holding my hips high.
I try to make it a long leisurely thing, really thinking like that, and then slide into my mania again, and all I can see is the sex, just the flesh, naked and depraved, everything like I’m a kid again, and I’m holding it, holding it, staring ahead, lost, my hands digging in, snapping ahead, missing the steps as I come out of a dream and finally give in.
I had come in through a cellar door. She came in like she always had; she wasn’t there and then she was. It was a long, empty space, windows on two walls, a bureau in the corner. The light was even and dim. She lay in bed and we talked like we had never been apart. Many things had happened – kids and other traumas – but now we were back to how we had always been. We were content, nervous too.
We wanted nothing more than to be here. She said that. I did too. And it wasn’t guilt. We knew that there was nothing like this. It was pure, almost like that, something to believe in. We had been here and lost it. We were back again. There was no other place to be. Until we drifted apart again.
It was here and would be gone. I knew that. We were making promises we would never meet. Lives had been lived. If it were any other way, this place would not be here. She said that. She said she was as I wanted her, as I pretended to remember, because that was the thing made it so whole, that we would never be there.
Profound understanding is the goal in my writing. To share that with the reader. More simply stated, this might be called empathy. More thoughtfully stated, Saul Bellow put it like this: Only art penetrates what pride, passion, intelligence and habit erect in all sides – the seeming realities of the world. There is another reality, the genuine one, which we lose sight of. This other reality is always sending us hints, which without art, we cannot receive.
It’s not about thinking a thought, but feeling a thought. These are the moments that all of us have which transcend description, indelible moments that mark our existence. I was nine years old the first time I saw the palm trees of Florida out of my plane window. It wasn’t just being in the plane for the first time or seeing the lush green after leaving icy Canada; it was something more. It was magic. It was being transported to a place of dreams.
Years later, after an arduous camping trip on Brooks Peninsula, on the west coast of Vancouver Island, we were ferried back in a small boat through heavy wind and weather. The young man piloting the boat had lost sight of an important landmark, a massive rock which lurked beneath the surface. Just as he stood and wondered aloud, “Where is it?”, we rode slid into a trough and the massive boulder appeared, menacing, dripping thick algae, just behind the boat. The young man was speechless. A moment earlier and we would have capsized and drowned.
I vividly recall the death of my cat, Popo as well as seeing Aguirre Wrath of God the first time on a tiny black and white television. I don’t just remember these things. It is well beyond that. And more profoundly, because it is all in my head, I remember standing alone in a dark Paris apartment the moment I realized that a character I planned to kill off, Chantal Deschampes, decided that she would not leave the book.
She not only survived to the very end of The Sacred Whore, she even made a more recent appearance in Aqaara, Part Two of The Cx Trilogy. I realized that she was not a fictional character but a spirit that had something to say. That was when I knew I wrote.
One of the greatest challenges during this pandemic, which I compounded by getting both knees replaced, has been the lack of movement. Being stuck in my apartment for such an interminably long period made me a dullard who spent too much time either staring out the window or at a screen of some kind.
As I noted in previous posts, I need to move. If I don’t move, I don’t think. It’s that simple. Without motion, my brain barely moves. It’s like mush. It just doesn’t do much. According to Brian Greene (who despite my many references to his words of late is not my guru), thinking is an actual physical event. He uses Boltzmann Brains as well as an entity of his own called The Thinker to demonstrate that thinking demands the physical movement. Particles must dance about in our heads for our brains to function. And that makes it a physical act. There’s a lot more to it, but I don’t understand much – quantum tunneling you say?? – except what I wrote: thinking requires energy.
I know this because, four months after getting my knees replaced, I am back on the bike and my brain is back at it. I figured out a number of blog topics – sacred sex and more! – and narrative fixes in Anori as well as deciding to end a meaningless feud and that I hold no animosity toward the people who fired me (almost) as well as a bunch of other nonsense you don’t want to hear about – all in less than an hour.
I move therefore I think. That’s the thing. Which begs the question: Was Walter Payton the smartest of all?
The general premise of the book is obvious: living through the pandemic and watching the routines of everyday life dissolve away. Our main character, Davis, considers the lack of achievement in his life and then approaching death.
Davis sits on his fire escape every night and listens to the sounds of the city. One specific sound emerges: the communal humming of the buildings. He realizes that his mind has been cluttered and starts to dig into the more essential question of the meaning of this sound. He listens to it intently.
The sound is constant, but Davis realizes that he is not, that the sound swells and fades as does his interest. His mind drifts to other things. He tries to devote himself to the sound. He begins to understand that the sound asks that we do nothing but listen to it. The only thing needed is to listen to the note. His confidence in his understanding of this grows and grows until he realizes that he is now thinking about that – his confidence – and not the sound.
He then understands that he doesn’t understand. He cannot understand. He understands that to listen to that sound, to understand that sound is an impossibility.
Anyway, that’s the general premise. The book needs more of an arc and a whole bunch of interesting characters. And the real trick is to keep the tale sharp and witty! Lots of existential jokes and sex bits too.
In Until the End of Time, Brian Greene states that our only possibility of eternal life is through The creative mind, able to roam freely through imagined worlds, exploring the immortal, meandering through eternity, and meditating on why we might seek or disdain or fear endless time. (380)
God knows that I have striven for immortality in my writing. (I might even settle on one published work!) I have rummaged through my head and flailed away with anything I could find. My family’s distant interest in me has been a source of bitter inspiration. My father’s certitude of always doing the right thing has been a touchstone and albatross. I have pissed off many a person with my righteous thoughts. My terror of the darkness and deep waters has held me back as has my reticence and distrust of people.
I have channeled much of this into Dee Sinclair, a 30-something former sex worker who owns an exotic pet and who appears in four of my books, including My Bad Side and The Cx Trilogy.
Her mother was dead. Her sister was dead. Nani was dead. Everyone was gone. And she was alone. That was how she was used to it being. Alone. She just wanted this corner, Apollo with her, just Apollo, a place she could pull her knees into her chest and be quiet. That’s all she wanted. (Anori)
I deeply admire Dee for her courage and singular focus, for her intense devotion and fury, for her willingness to carry on, knowing that life is only there to disappoint. I desperately need to get her out into the world, to have her thoughts published, so that an audience might understand and care. She must be heard. She is my one and true child.
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