Showing posts with label Hauntology. Show all posts
Showing posts with label Hauntology. Show all posts

Saturday, April 15, 2023

Games I Haven't Played

 Tabletop Roleplaying Game conventions are a thing of wonder. Scores, sometimes hundreds of games to choose from. I still have my preferences, as I outlined in my post on TTRPG Conventions Tips and Tricks, but we don't always get what we want, do we?


So, here is a list of games I ended up not playing at conventions, either because I had scheduling conflicts with other games, because availability slips so rapidly (DCCRPG, I'm looking at you), or because the GM had to cancel. I supposed this is a sort of hauntological view of  "what might have been," that strange, forward looking nostalgia for a future that was never fulfilled. Ah, well, there's only so much time in life and I can only give up so much sleep. Anyway, here goes, these are the ones I really wanted to play, and had a fighter's chance at getting into, but just missed out on. Had I not gotten some of my first choices, or if availability wasn't snatched away from me by those pesky gold ticket holders, I might have played:


Gamehole 2016, I wasn't keeping good notes back then. Sorry!


Garycon 2017:

Astonishing Swordsmen and Sorcerers of Hyperborea: Black Briars and a Dead Rabbit

DCCRPG: The Heist (Run by Harley Stroh, whose games are notoriously difficult to get in to because they sell out so fast)

Metamorphosis Alpha: Androids, Androids, Androids

AD&D 1e: The Tomb of Aethering the Damned (run by my friend Julian Bernick)


Gameholecon 2017:

Fantasy Trip: Guerillas in the Mist

DCCRPG: Symptom of the Universe (run by my friend Brendan Lasalle. Brendan's games sell out FAST!)

 Call of Cthulhu: The Star on the Shore

Chill: A Lamp Gone Dark

Astonishing Swordsmen and Sorcerers of Hyperborea: Shooting Star Watcher


Garycon 2018:

Traveller: Secret of the Ancients

Traveller: Into the Kinunir (featured event run by Marc Miller, the creator of Traveller. Sigh.)

AS&SH: The Palace of Xambaala (run by the creator, Jeff Talanian, as well)

Call of Cthulhu + DCCRPG(!): Crawl of Cthulhu


Gameholecon 2018:

Fantasy Trip/Melee/Wizard: Introductory demo game

GURPS: BPRD (yes, that BPRD)

Lamentations of the Flame Princess: Blood in the Chocolate


Garycon 2019:

Traveller: Prison Planet

Operation Whitebox WWII: Operation Peardrop (run by Bruce Cunnington, the coolest englishman I know)

Call of Cthulhu: Midnight under the Bharat Sun (run by the always awesome You Too Can Cthulhu crew - I try to get into at least one of their games every convention)


Gameholecon 2019:

Delta Green: Fire from Heaven

Empire of the Petal Throne: Beyond the Plain of Towers

Empire of the Petal Throne: Hinlakte Hijinx


Garycon 2020 was virtual, so I didn't take great notes on my schedule. 


Gameholecon 2020 (Virtual). Seems like I inadvertently nuked my notes on this. 


Garycon 2021 (Virtual):

DCC: The Jeweler that Dealt in Stardust

DCC: Descent into the Depths of the Earth


Gameholecon 2021 (back to in-person!):

Troika!: The Black Pearl (run by my friend Jon Carnes)

Call of Cthulhu D10: A Nightmare on Sesame Street

Tales from the Loop: Time After Time

Cthulhu Dark Ages: People of the Book

Star Fleet Battles


Garycon 2022:

The King in Yellow: The Unspeakable Oath

Barbarians of the Ruined Earth: Meeting the Metal Menace

DCCRPG: Return to the Purple Planet

Troika!: So You've Been Thrown Down a Well

DCCRPG: Dark Sun Arena Bloodbath

DCCRPG Dying Earth: Escapades and Expeditions of the Dying Earth (Julian Bernick)


Gameholecon 2022

Traveller: Getting Up

Trail of Cthulhu: The Coldest Walk

DCCRPG: Blood in the Brutal Lands (Michael Curtis, whose games also fill quickly)

Solar Blades and Cosmic Spells: Temple of the Cyber Lich

Traveller Seminar: Advanced Traveller (with Marc Miller, who had to cancel. Sigh.)


Garycon 2023

DCCRPG: Day of the Kaiju (run by my friend Hector Cruz)

Traveller: Derelict Starship (run by my friend Victor Raymond)

Call of Cthulhu: Eve of Darkness (You Too Can Cthulhu)

Star Wars: Shadowport, All Jawas

Call of Cthulhu: The King in Yellow


There you have it, the games that I had not. Despite all of these misses, I have had a fantastic time at every Gameholecon and Garycon I've attended. They are a wealth of riches, and these are just some of the gems that spilt out of the bag. Of course, if you're reading this, and you ran one of these games, and wanted to run it again, who am I to stop you? Just save me a seat!

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If you like my writing and want to help my creative endeavors, ko-fi me at https://ko-fi.com/forrestaguirre. Every little bit is seen and appreciated! Thank you!

Saturday, September 3, 2022

The House of Silence

 

The House of SilenceThe House of Silence by Avalon Brantley
My rating: 5 of 5 stars

RIP to the late Avalon Brantley, whose novel, The House of Silence was released in the same year she sadly passed away. It sounds like a platitude, but it's not: Brantley's passing was a true loss of some incredible young talent, and The House of Silence is proof-positive of her excellence as a writer.

Truth be told, for the first 100 or so pages, I found little to no evidence that this was a horror novel.

I should have been more careful . . .

Brantley will pull your heartstrings with sympathy and respect for the protagonist, she will make you love them for all their weaknesses and foibles: but she is only setting you up for a long, loooooong plunge into horror.

And what kind of horror? All kinds. Brantley here plays with tropes of gothic, folk, supernatural, cosmic horror, psycho-geographical, and post-apocalyptic horror, and even a dose of what feels like sword and sorcery. She has claimed that Poe was "Virgil to my Dante", and it shows in all the right ways. This is no pastiche, but an infusion of Poe. But even more so, this work rings with echoes of Gene Wolfe's best work, especially in terms of a non-linear plot, replete with long memory gaps, flash-backs that might be flash-forwards, and just an overall churning of time itself.

Furthermore, there is a great deal of vagary regarding who is and is not a friend or foe. The mistrust engendered here adds to the confusion, occasionally knocking the reader off their balance. This is true right up to the end, where friends become foes and foes become friends - ulterior motives are hidden until they explode on the scene, but in an organic way. Nothing here feels forced.

It's rare to read a novel that has so many disparate elements ("something for everyone to love/hate") and yet feels like a tightly-coiled whole, especially when said novel has a staccato structure and such whirling emotional highs and lows, all of it done in a highly poetic style that flows like a river.

A river of blood.

Those who know, know . . . You really should know!

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If you like or appreciate my writing and want to lend your support, ko-fi me at https://ko-fi.com/forrestaguirre. Every little bit is seen and appreciated! Thank you!

Saturday, May 7, 2022

Oculus Praedecessoris Out Now!

Edit: I have sold out of all my personal copies of Oculus (save one, and I'm keeping that one). Thanks to those who jumped in so quickly! I do have a few other titles of mine for sale, but they are going fast!

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My newest fiction collection is out! Oculus Praededecessoris features stories three stories and one novella of weird "ancestral" origin (define that as you will - one of them has hauntological elements, if that gives any indicator) in a beautiful artifact as only Mount Abraxas Press can deliver. Stories included are:

"Gemini"

'Liminal Slip"

"Obverse Reverse"

"The Simulacra"

It's a cloth-bound hardcover, with silk ribbon, and several pieces of art by legendary dark surreal artist Roj Friborg. It is a part of the new Mount Abraxas series "Seance in the Grey Garden," of which I am absolutely thrilled to be a part! Only 103 copies are printed, of which I have a few. If you're interested in buying one (or if you're interested in buying some of my other Mount Abraxas releases, including my collection The Varvaros Ascensions), please contact me directly at F_o_r_r_e_s_t_J_A_g_u_i_r_r_e_@_G_m_a_i_l_._c_o_m (remove the underscores) and I will get you pricing information. They are not cheap! But you'll get your moneys' worth, guaranteed. These books are collector's items that appreciate in value rather quickly and you won't see them re-released in a later edition from Mount Abraxas. 

I am using all money raised this way toward buying myself a (rather expensive) typewriter. I've only got a few copies, so first come, first-served! Here are some photos showing the book, cover, and artwork:


Cover


End Papers


Pre-title page


Title Page


Internal Page 


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If you like my writing and want to help out, ko-fi me at https://ko-fi.com/forrestaguirre. Every little bit is seen and appreciated! Thank you!

Wednesday, October 27, 2021

Red Shift

 

Red ShiftRed Shift by Alan Garner


"This is a 156 page paperback from the '70s, written for teens. How hard can it be?"

"Does the name Samuel Beckett mean anything to you?"

(not a quote from the book - this is my brain speaking to itself.)

Let me start by saying "don't read this book". At least, not yet. Trust me, you're going to need some help here. If I had not heard The Folk Horror Podcast (now defunct, I believe) episode about Red Shift, I don't know that I would have found this book as quickly as I did. I most certainly would NOT have understood what was going on. The gentlemen on that podcast did a great job of analyzing both the novel and the television version of Red Shift. Sure, they spoiled it like a renegade piece of shrimp left under the couch for a month, but, honestly, without spoilers, I don't know that I would have understood half of what was going on.

This is a hard book. Get some help, then read it!

My facetious comment about Beckett was, well, not really all that facetious. In fact, I'd say that most of Samuel Beckett's short stories are more easily comprehended (though not his "big three," which are among the most challenging works I've ever read). It's okay to have a help, a guide. Dante had his Virgil. I would recommend finding The Folk Horror Podcast episode on Red Shift, then reading
This is a book that will bear re-reading, at least for me. I had glimpses of a psychological and emotional depth that peeked out from between the lines every once in a while, but since I was struggling to "keep up," these were acknowledged and quickly darted away from my conscious mind. Next time I read this, I want to dive in headfirst, even though I know it's going to break my heart even more than it did the first time (thank goodness I didn't read this as a teenager - I don't think I ever would have recovered from that depressive episode). Next time, I'm telling Virgil to stay put. Next time, I'm going at it alone, going in without a crutch, facing this head on, and taking my lumps.

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If you like my writing and want to help out, ko-fi me at https://ko-fi.com/forrestaguirre. Every little bit is seen and appreciated! Thank you!

Wednesday, June 30, 2021

The Black Meadow Archive - Volume 1

 

The Black Meadow Archive - Volume 1The Black Meadow Archive - Volume 1 by Chris Lambert
My rating: 5 of 5 stars

I was introduced to The Black Meadow Archive - Volume 1 through the album of the same name. After getting the digital copy and becoming enamored of it, I sought out the physical LP and paid a good clip of money for it. Sometimes I know what I want and I'm willing to spend what I need to in order to get it. I very rarely buy vinyl, so this tells you how much I like the strange, haunting sounds of this album. So, when I saw this book . . . well, I had to know the tales hidden behind the dulcet horror of these songs. And here they are.

"The Lair of the Coyle" is a great mythic story of a knight who is cursed to poverty all the days of his life. A good little tale, with a touch of the gruesome, as one should expect from medieval stories.

"The Legend of the White Horse" is a beautiful piece of folk-fabulism, mythic and banal at the same time. I could hear this being sung and spoken by a bard of old. Timeless and haunting.

I love blackberries. They are one of my favorite fruits. So, I wondered what the song "The Blackberry Ghost" was all about. Now that I've read the story of the same name, I know. But now I don't know if I want to know. Next time I eat blackberries . . . I shall be very, very careful.

The exquisite subversion of folkloric norms in "A Voice from the Heather" is a spectacularly positive, affirmative, yet ultimately horrific work of art. It simultaneously upends and reinforces the morality tale, surprising at every turn, and there are many turns. Possibly one of my favorite fables in recent memory. Calvino would have loved this, and I love Calvino, thus . . .

More blackberries: "The Blackberry Swim" is like something straight out of Der Struwwelpeter or Grimms' Fairy Tales (the uncensored versions) - gaudy in its gruesomeness. Imagine folk horror meets splatterpunk. I love blackberries, they really are one of my favorite things in the world. But after reading this story, I might hesitate, just momentarily, before eating the next one. But I'll get over it. I hope.

Even more blackberries: "The Heart of the Blackberry Field" is an exquisite example of Folk Horror. It hits all the right notes with careful timing, creating a perfectly sinister, yet innocent tone. We are one with the land, and the land is one with us. You, too, will become one with the land. Trust me, you will. When I think of the term "psychogeography," going forward, I shall think of this tale first and foremost, at least in a rural sense. Perhaps I'm mapping my own definition onto the term, as it was originally coined to describe exclusively urban applications, but this is how I choose to interpret it. Call it rewilding psychogeography.

The bardic poem "He Took Her Hand" betrays its oral storytelling origins by the clever use of mnemonic refrain. Structurally, it reminds me of some of the works I studied while a student of African History. But this is a very British volume. Still, the structures echo each other quite strongly. This is the sort of horrific tale one would hear in a dark pub just before closing. The series of permutations of this refrain render it effective and, yes, memorable.

"A Dead Man on the Moor" is atmospheric, but the lack of any real underlying motive and scant background make for a sparse story. Not a bad story, just not as rich and deep as the others.

A peasant morality tale, "The Ploughman's Wrath" illustrates the virtue of hard work and honesty and the punishment due to the lazy and dishonest. This is, however, just one possible story among many mythical explanations for strange features in the land. It makes one wonder how many unspoken tales might exist to explain otherwise unexplainable phenomena, all lost in the mists of time. Will we ever recapture them?

Okay, a little piece of dark poetry in the middle of the book. Okay. Seems a little weird that there isn't more poetry in here, but this book is all about weird. It's not that "The Song of the Meadow Bird" is out of place, it just seems slightly out of genre. Then again, a few of the stories have a poetic sensibility, if not true mechanical poesis, so maybe it does fit in.

"The Ticking Policeman" is a wonderfully weird story that is oh so very British: well-mannered and potentially violent, should one step out of line in the slightest. The understated humor is like something out of the more refined skits on Monty Python's Flying Circus (yes, there were some of those in the midst of all that insanity).

"March of the Meadow Hags" is my favorite piece in this volume. A diabolical pear tree and skinwalkers feature most prominently in this incredibly weird tale. It is told through a series of seemingly unrelated documents - one of my favorite ways to write and, yes, to read. Wonderfully dark and sinister! This is the sort of story I wish I would have written myself.

"The Maiden of the Mist" is bittersweet and tender. It might make you a little teary-eyed. It did that to me. A touching story.

"The Audire" is an unexpected (at least by me) story about Syd Barrett. The mystery of Radomes on the northern moors is explored. I don't even know what to say about this story. I enjoyed it. But it was strange, even for a man who loves strange stories. Truth be told, I'm a bit jealous that these ideas have been explored and I won't discover them in my own writing. But I'll take the gift.

"The Wretched Stranger" reads as if it had escaped from a deep trough of creepypasta. And I do mean escaped. This story will keep crawling out, smiling the whole time, no matter how many times you kill it. But trusting your hunches might just buy you some time before its inexorable arrival.

"The Village Under the Lake" is convoluted and requires some amateur mental gymnastics to understand. The confusion adds to the intrigue, however. The narrator is restrained in imparting information because the way that the information was imparted was piecemeal and confused. Besides, you don't really want to know everything about the village under the lake! Trust me, you really don't want to know.

I like the story of the "Ghost Planes" as much as the haunting song on the album (if it can be called a "song" proper - it's more like a soundscape). A wonderfully cryptic sewing together of various patches of accounts of Ghost Planes flying above the moors from throughout history.

I also have a digital copy of the album "The Black Meadow Archive: The Lost Tapes". It covers some of the stories in this book that were not covered in the first album. It is equally as moody and grey. Unfortunately, there never was a physical LP done of this one. At least . . . not in this reality.

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Thursday, June 17, 2021

Interzone

 Call me a punk, if you must. I love Zines. I recall the days way before the internet was public, when it was only used by the military (my father confirmed to me once that he was using it, in a more primitive form, as far back as the early '80s), when Zines were a primary form, no THE primary form of communication amongst the punk underground. They'd spring up at record stores and sometimes at concerts, usually given away for free, though I'm sure some enterprising young capitalists (i.e., not punks or were they so not punk that they were punk?) sold some for cash. Or Dead Kennedy's patches. Or something.

The thing about Zines is that they were (and can still be) inherently subversive. From the Samizdat of the Soviet Union to the backstreet record store Zines of Omaha, Nebraska, there was also a subtext of "screw the establishment" in these little handmade, stapled books of cardboard and paper. Remember, this was before photoshop, so you literally had to cut and paste and copy real photos (or copies of such) by hand. This was production outside of the publishing industry, and intentionally so. Distribution was likely by some kid carrying a few copies in the inside pocket of a trenchcoat asking the record store if they could leave a few copies. Communication between fans was facilitated by either snail mail or phone numbers typed or written in the back. Again, this was meant to avoid the scrutiny of "the man".

If our imaginary distributor was anything like me, this kid hopped fences, walked through piss-drenched back alleys, crossed abandoned lots on the edge of town, and generally ambled where others would not go. This sort of walking the seams of society was not limited to urban settings. I took great delight in wandering those areas of suburbia and even on the edge of the country where no one wanted to be. Where the sprawl of capitalism smashed up against the wilds of the country, where weeds grew up between old asphalt and tin roofs caved in on crumbling cinderblock buildings covered in graffiti, where Bad Things happened. 

It's a wonder that, in all my wanderings, I was not once mugged or murdered or worse. I had my fair share of confronting feral dogs (twice), stepping on rusty nails (took one right through my left foot, bloodying my bobos on the top), drinking water I shouldn't have (that hand-pump in Italy that had me hallucinating with a 108 degree fever - I will never forget those hallucinations . . . terrifying!), and generally just exploring these waysides where no one sane (or sanitary) went.

I love those places. I still do. I was on foot a lot more back then as I was too young to drive. But even now, if I make some time (and it has to be made, I don't just "have" the time anymore), I will take the circuitous route on foot to a destination, cutting through the abandoned parking lots and over the tracks (sometimes over the train's hitch itself) to get where I'm going. I prefer to live my life this way. I don't routinely trespass in places marked as private property. Notice that I use the word "routinely". Sometimes, I can hardly help myself.

Which brings us to this little Zine: Interzone:


Yeah, you'll have to pay for it. But you're a grownup now, you can probably afford it. But besides the start up cost, this little beaut has an incredibly punk aesthetic and it's philosophically as punk as it gets.


Was it all done on photocopiers? I doubt it. I mean, take advantage of technology if you can, says I. There's no shame in this. But it looks like it was done using the old cut and paste methods, replete with polaroid borders around the photos. Maybe it was all done with a polaroid and photostat, who's to know?

"What is this?" you're asking. It's an essay by Cormac Pentecost about what these areas between civilization and the wilds symbolize. I don't want to spoil it, but capitalism and its failures are at the center of the discussion, even as the places themselves are on the edges of throwaway society. Marion Shoard and Mark Fisher are quoted at length, which should be enough of a draw for those even mildly interested in hauntology and psychogeography. This essay straddles the tripartate line between history, philosophy, and activist politics. I am reminded of the later work of Michel Foucault, but with a decidedly less academic tone. In ways, it is a sort of elegy to times past, when such "edgelands" were more common, where late-stage capitalism hadn't quite subsumed everything in its path. But it's more than just a mawkish look backwards. Many of the insights hint at a ways forward, not just looking back at the loss, but providing a way through the loss via an examination of these edgelands and their features.

For those much younger than I (there are many more of you every day), if you want a glimpse into what life was like in the '70s and '80s for those of us who liked to adventure in these in-between spaces or if you're simply trying to get into why Generation X is the way it is, you might want to give this a spin. 

For everyone, I think that Interzone is a great reminder that those liminal spaces can be appreciated for what they are, where they are, and what they symbolize. They can be a motivator to do your little thing to make society a little bit better . . . and a lot weirder. Weird on!


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If you like my writing and want to help out, ko-fi me at https://ko-fi.com/forrestaguirre. Every little bit is seen and appreciated! Thank you!




Thursday, February 25, 2021

The English Heretic Collection: Ritual Histories, Magickal Geography

The English Heretic Collection: Ritual Histories, Magickal GeographyThe English Heretic Collection: Ritual Histories, Magickal Geography by Andy Sharp
My rating: 5 of 5 stars

Finding "the" starting point for this review is impossible. Though the book is contained in space, its ideas expand out in a herky-jerky supernova of stochasticity. The omphalos here is present, one can sense it, but to define it is to understand the entire work at once, an impossible task (I suspect, impossible even for the author, Andy Sharp himself). One can discern layers on the surface of the navel-of-the-world such as the grand trifecta of folk horror movies The Wicker Man, The Blood on Satan's Claw, and Witchfinder General, or the earth-shattering pop-tragedies of Hiroshima and November 22nd, 1963, or the creepier-than-is-proper-for-"good"-English-folk television of the 1970s (Robin Redbreast, Children of the Stones, Doctor Who, et al). There are feverish spikes into the occult underground and dives into the deep chambers of haunted Britain.

But to identify a "theme"? Practically impossible here.

Which is to say, I loved it. Like De Santillana's Hamlet's Mill or Sebald's The Rings of Saturn, we have her a work that is absolutely recognizable for its coherence, yet absolutely unexplainable in its breadth and diversity. These layers upon layers of seemingly-unrelated bits of academia, psychedelia, and cinemania churn in a veritable stew of potential conspiracy theories. But where the Q folk might take themselves far too seriously for the rest of the world, Sharp is fully aware that as he points one finger at the strange phenomena of the world, there are three other fingers pointing back at him in abject self-mockery. The humor saves us from what might otherwise turn into a panicked revelation of a Grand Conspiracy concocted from the paranoid dreams of those who would make too many connections where they should not, "seeing" "reality" for what "it is". No, Sharp is clear (and, pardon the pun, sharp) that while this work can be seen as a Working (in the esoteric magical sense of the word), it is not ritualistic, in that no one is expected to take an oath of fealty or secrecy or even to take any of this seriously.

But the connections are intriguing. And this Working is one of seeding the imaginal, of altering consciousness by pointing out the threads that at least seem to tie the strange underworld of the English isles (and, to a more limited extent, their distant American cousins) into a cohesive, meaningful whole. I use the word "seem" carefully. Because it's not these fallacious connections that stir the imagination, it is the possibility of such that calls on the reader to make their own connections, to carry on the Working into their own sphere of intellect, spirituality, and, yes, even their sense of humor about the ridiculousness of the cosmos and our self-important place in it.

So, welcome to the Working. Don't worry about when or where it will start. As you will see, in the stratums psychogeography, between Kennedy, Stonehenge, Baphomet and Brighton, peeking out from behind Fulcanelli and Manson, between the pages of the Necronomicon and and the astral-drenched walls of The House on the Borderland, there is no beginning, there is no end. Careful where you step - that rabbit hole might go down to forever, or never.

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Monday, February 22, 2021

Weird Walk #4

 



I was not born in England. Though I have Welsh (thanks, Mom) and Irish (thanks, Dad) ancestry, I was born in Germany. But I am not German (well, Mom's mom was German through and through, I suppose). I'm an American, a mongrel, and my Dad's service as a United States Air Force veteran is what brought me to England, back in spring of 1985. I was 15 when we arrived and 18 when I left in 1987. To say my time in England was a formative experience is a pithy understatement. Everything I've done and everything I am since then was profoundly affected by my time there. My wife and I visited in summer of 2019, and I got to see some of my old haunts again (as well as some new ones). I may never be able to afford to go back again, but I hope to. I sincerely hope to. I'd be quite happy to die in the Cotswolds or Wales, out on a day hike. Quite content to lie down on a hill for a nap and never wake up. For now, though, I have to forego my death wish and "travel" from afar. Even if I did have the spare change to take a trip there: coronapocalypse says "no"!

So, I dutifully bought a copy of Weird Walk issue 4. It's the first issue I've bought, and maybe an admittance that I might not make it back there, I don't know. After reading this issue, though, I am sure to continue buying more, forward and backward through the issues. Though I don't want to get too spoilery, I'd like to introduce you to the different essays and reminisces here, as they are well worth your five quid fifty (plus shipping)

First, the zine itself and the layout evoke the old '70s and '80s childrens' shows that Americans were mostly spared, but I had the "pleasure" of seeing (as reruns, by the time I got there). Something about the fonts, the polaroid-quality photos, and the colour-which-I-cannot-quite-identify on which the articles are printed (or in which the words are printed against a black background) makes me think of Children of the Stones. Of course, the seemingly running commentary on megaliths might have something to do with it, too. 

We start with Zakia Sewell's outstanding "Questing for Albion," a reminisce about an idealized childhood in the wilds of Wales, before the realization fully set in of what it meant to be a person of mixed-descent in a country founded on colonial exploitation. Moody and poignant, yet hopeful. Cynicism isn't swept entirely aside, but it is kept at bay.

In "Boundary Sounds," Archer Sanderson gives  us "The solo rambler's edgelands primer" to music from the edge, beneath the buzzing pylons, on the periphery of town and country. Good recommendations, though I found the absence of any mention of The Soulless Party to be a profound oversight. Perhaps they are mentioned in another issue and I've just missed it? Glad to see a small shout-out to Pye Corner Audio (another one of my favorites), however. It's difficult to go wrong with the recommendations here - something for everybody. 

Stewart Lee takes us on a ramble through Lamorna, in Cornwall, a guided tour of the erstwhile (is it still current? I don't know.) artists colony on the very tippy tip of southwestern England. I've never been to Cornwall, though I have been just north of there. Given Lee's little Baedeker here, I think I shall have to visit there sometime. I do love their pastries!

Apparently a regularly-recurring section of the zine is "Dolmania". It's about, you know, dolmens. If you can't figure that out, you're not allowed to be my friend. The particular dolmen in this issue is the re-jiggered "Hellstone" in Dorsetshire. Peter Jackson missed out by not having this be the barrow-mound (I know, I know, it's not the same thing, but Americans don't know/won't care) where Frodo and his companions find their swords. Oh, that wasn't in the movies? Well then read the freaking book!!! Sorry, I'm still bitter about that. And Tom Bombadil. But I digress.

The next section, an interview with Nick Hayes, is about something near and dear to my heart. It's entitled "How to Trespass". And it is, at least in part, about trespassing. But, really, it's about the activists who are fighting for the legal right to cross another's land. Many countries have laws that state a citizen's right to walk across land owned by another person. England is not one of those countries (hint: neither is America). Hayes and company mean to change that by trespassing - leaving the place better and tidier than it was when they came on the land, but crossing the forbidden boundaries nonetheless. My wife and I found ourselves inadvertently doing this when we got lost off the King's Way in the Cotswolds . . .let's see . . . on four different occasions? After a while, we said "screw it," picked a landmark (the town hall of Morerton-In-Marsh) and just walked toward it. I'm pretty sure we were all sorts of places we weren't supposed to be. And you know what? It felt good! It felt right! So, tread on, I say! Of course, easy for me to say, we had the excuse of being tourists and we were honestly lost. I kept having visions of stumbling into Wakewood

This issue wraps up with an educational and fascinating look at the Neolithic of the island, a piece about the London Stone that I admittedly hardly understood, and a final piece on a walk through Glastonbury and its environs (another pilgrimage that I must make). 

All-in-all, it's quite the excursion. No, it's not the same as wandering the hills, stumbling across ancient stone circles and ruined churches, and finding sweet solace at a pub in the middle of a day-long hike in the heat of summer (trust me on this one), but you know what? This might be the next best thing. I'm looking forward to more excursions this way. They're way easier on the pocketbook.

Now, I'm off to bed . . . after watching a few episodes of Cruising the Cut. Some day . . . some day . . .

__________


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Oneiric Adventures through Impossible Geography Part 4

 

To recap:


Oneiric Adventures through Impossible Geography Part 1




After having mapped things out for myself, quite literally, I can now see patterns, mostly of loss and regret. In my dream-wanderings I long to reconnect with those I have wronged and those I loved, with the places that I felt sank deep into my soul, as silly as that may seem. It isn't a case of lost innocence - that was happening way before I ever moved to Chicksands. But it is, I think, a case of misplaced magic, something that I feel I might pick up if I can connect again. Of course, that's a forlorn hope - I have change, others have changed (some, I am guessing are dead and gone anyway), the place and my previously-privileged ability to move about it freely are no longer the same. What's the analogy of entropy? A child let loose in a sandbox where half the sand is white and half is black. Let the child run in a clockwise direction for a while, until the sand is good and mixed. Then let him run counterclockwise. Sorry, but widdershins doesn't undo the initial chaos. In fact, it makes it worse. You can't step into the same river twice.

And yet, my dream self, my astral self wants to at least try, despite the heartache, he wants to try and will keep trying until . . .? What?

Now that I've been able to visit Chicksands, if only for half a day, I am curious to see if the tenor of my dreams change. They are sometimes very intense. It's been a year and a half since we visited, and I visited in a very different context (married, with children - though they weren't with us, drug and alcohol free for almost 34 years now) than when I lived there, so it wasn't exactly going widdershins against the past. But I can't recall having dreamed about Chix since that trip. Maybe once, but apparently it wasn't so intense that I can recall it. Some of those post-1987, pre-2019 dreams had me waking up crying, some had be waking in a panic, others had me so coddled that I didn't want to wake up at all. For once, I'd like to dream of . . . just a pleasant stay with friends there. That's all. But then I think, if my intent wasn't so intense, if I wasn't so driven in my dreams, could I recapture the magic? I simply don't know.

I've mentioned the non-existent barrow in the western woods. The dreams around that have had a particularly magical, un-real feeling, probably because it is the least real, or most un-real of locations in my dreams about Chicksands. It is purely imaginal. But then again, what is magic but activating and expressing the imagination in an un-expressible manner? In my barrow-dreams, I explore a lot, usually alone, but sometimes with an unseen companion(s) whom I think of as friends. Maybe some of my lost friends are alongside me, though I can't see them. Maybe they are looking, as well. How will I ever know? These dreams inevitably end on a note of ecstasy. Not sexual ecstasy, though the feelings in the body are enough to cause paroxysms. There is a sense of such utter happiness that I feel like I'm going to explode in a shower of light and, in fact, my body oftentimes shines so brightly in these dreams that I illuminate the vale of trees (the barrow dream always happens at night) and the round stone hill in white light that cascades from me. Perhaps it's because I'm unfettered by all the worries and loss and anguish that drives me to other parts of the dream-Chicksands, searching in vain for friends and familiar places. While I'm trying in vain to climb the hill to the bowling alley, or searching through a labyrinthine NCO club that holds more nooks and crannies than Pirenesi's world, I literally skip places, passing instantaneously "through" long stretches where my feet used to trod. But no matter how quickly I "teleport" I can't ever seem to find what I want.  Except in the barrow. It's a place of contentment, where I don't feel that I have to grind out this pilgrimage for lost friends and vanished (to me) places. It is my magic sanctuary, if you will.

It's really the only place I need.

__________

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Sunday, February 14, 2021

Oneiric Adventures through Impossible Geography Part 3

 


Now, to the crux of the matter. Above, you'll see my horribly inaccurate map that I posted in my last post, a map that does not reflect reality, except in that it is a hazy representation of the RAF Chicksands of my dreams. Keep in mind that I spent nearly three years here. And these were my late teenage years. I was 15 when I moved there and 18 when I (ignominiously) left. I did not have a car, so I walked everywhere there. If we wanted to go into the city of Bedford or down to London or to Donnington Park to catch the Monsters of Rock show, we got on a bus at the base gate, then hooked up with a train and, if going to London, bought a tube pass when we hit Kings Cross station. But on base, it was all by foot. I wish I knew how many steps I laid down on that base, but my best guesstimate is over 8 million steps. Probably more, when I really think about it. I mention this just to say that I have trod that ground so much that I am fully confident that I could walk from one end of the base to the other on complete autopilot, even in a blacked-out drunken stupor. I know because I did exactly that several times. My legs knew the way, even if the brain wasn't paying attention. And that had to have affected my dreams in some way. I don't think that dreams are a complete escape from reality. While I think there is some slippage in consciousness of space (reality? dimensions?) when one enters the dreamworld, there must also be some grounding in the waking world. Whether this is some sort of out-of-body experience, I don't fully know. But I have my suspicions that at least some of the time, when we dream, we actually travel. I can't account for the intensity of experience otherwise. Your willing suspension of disbelief may vary. 

In the map above, you'll see that I've highlighted some features in day-glo orange (correct me if I'm wrong - I have some degree of hue blindness and oranges and pinks and yellows sometimes all bleed together for me). These are:

1) The woods outside the barbed wire fence, to the west, including a barrow mound that did not exist.

2) The Stars & Stripes bookstore.

3) The trail north of the River Flit that led to some woods and farms to the east.

4) The NCO club.

5) The dorm where my lost friend Greg Bohler lived.

6) The road curving up hill from the NCO club to the bowling alley.

7) The forbidden area.

I have highlighted these areas because they either 1) appeared more frequently in my dreams than other areas or 2) were the location of particularly meaningful or intense dreams that evoked more emotion in me than the others.

You would think that my home and the Chicksands Priory would be the center places of most of my Chicksands dreams, my home because that is where I lived and slept, and Chicksands Priory because it was such a unique and strange place (and may very well have been haunted, but I won't go into those stories now - suffice it to say that I saw and experienced some VERY strange things there, as have many others). But this is not the case. I've dreamed about both, or they wouldn't appear on my map. But not frequently or with any great intensity. This is in direct contradiction to my waking experience: of course I had some of my most intense emotional experiences in my home, we all do. And, as I've said, the Priory was a place of great spiritual intensity, partly because when we were sneaking about the Priory at night, we were almost always doing so illegally, so on top of the bizarre experiences I had there, there was always the possibility that we might run out of the Priory (this happened more than once) and right into the arms of a waiting Security Policeman. Truth is, though, and I learned this from an S.P., the cops never went into the Priory. If they thought someone was in there, they would wait for them to come out. They never, ever went inside. Yes, it was that spooky.

Returning to the list above, I wanted to outline the kinds of dreams I had regarding each place, to give you an idea of the dreamplace psychogeography as I mapped it. Let's go in reverse order:

The Forbidden Area:  As stated in my last post, this is the geographic position of the actual intelligence-gathering machinery of the base and the interpretation of said intel. I believe I had actually seen that area in person twice, though I can't recall why I was up there. I was never allowed through the fence, as only those with the correct clearance were allowed in there, and I was just a military dependent. I never saw my Dad's workplace there, though I had seen his workplace when we lived at Offutt AFB, Omaha, Nebraska, before deploying to Chicksands. In my dreams, I picture this area as being riddled with barbed wire fences topped with concertina wire. There are lots of people in military uniforms milling about, each bedecked with numerous lanyards from which hang different kinds of identity cards. Beyond the fences, men and woman cycle in and out of nondescript Quonset huts. Beyond the few Quonset huts I can see is a mist or fog into which uniformed personnel disappear and from which they emerge. The radar array, that I know was there in real life, is lost in the mist in my dreams. This is probably my brain's way of symbolizing the hidden nature of what really went on there at the base.  (note: years later, when my Dad's classified clearance ran out, I asked him. He told me some things, but others he took with him to the grave, intentionally. My Dad was an honorable man who kept his promises, even though I bugged the heck out of him to tell me more. Oh, and Area 51? It's not aliens. But it's not "normal" either. That's all he would tell me.). The feeling of my dreams here is one of being just on the tip of knowing something striking, maybe earth-shattering, but not being able to be fully let-in.

The Road: In waking hours, I rarely actually walked up this curve of road. There were sidewalks and steps that traversed the hill, south to north, and I most often walked up these or just ran up the hill itself. Honestly, there may not be a road there at all, though it seems like there would have to be. I'll be curious to look at satellite images later and see if there is a road curving up there like that. I honestly don't know. What I do know is that in my dreams, I will often be leaving the area near the NCO club and walking up this curve of road (real or imaginary), trying to get to the bowling alley. I never get there. Ever. I spent a good amount of time in that bowling alley; I even worked there for a few months. One of the very few jobs I had in high school. Now, I have to state that something happened there at the bowling alley near the end of my time at Chicksands, something that I won't relate. It's not something I'm proud of, and it is tied in closely with my departure from the base. Perhaps that is why my dreams won't let me get there. I try and try, but never, ever, can I get up that hill. One of three things happens: 1) I walk and walk and walk and don't move, 2) I make it partway up the hill and the bowling alley and the security fence there simply dissolve away and I am walking on farmer's fields toward the extensive woods to the north of the base, or 3) I wake up. I have an intense desire to make it up that hill every time, and every time, I am denied closure. It is here that I often feel the biggest sense of loss, that if I could just make it to the bowling alley, I'd find one or more of my lost friends. But it never happens.

The Dorm: In the dream world, this is a mixed bag. Sometimes I am there and there is an extensive party going on. This reflects reality. Some of the craziest parties I ever went to were in this dorm. I mean, really crazy! Military personnel know how to party, I'll give them that. Other times, my dreams are simple: I'm sitting in the day room watching TV with some other people there. In fact, this also reflects reality. Though I wasn't supposed to be there, I often was. They weren't very stringent in enforcing the rule that only military personnel who lived in the dorms were supposed to be in the dorms. I do recall one dream, however, where one of the Security Police sees me there and chases me out. I don't recall that ever happening in the waking world. Now, I have a really difficult time in parsing out one thing: Of course I saw Greg there - all the time, in fact. We'd be hanging out, listening to music or watching Robotech or playing Battletech or D&D. But I can't tell if I ever dreamt about Greg being in the dorm or not. I'm hard-pressed to separate my memories, registered in the real world, and my dreams. I think I remember talking with Greg or having some event happen, but are those real memories or dreams? Or some shading of both? I can't tell. It is one of the more confusing places in my dream world, in this regard.

The NCO (Non-Commissioned Officers) Club: Before I turned 18, this was a place where I sometimes went for a meal. They actually had really good food! After 18, I drank myself into oblivion here. This was ground zero for my teenage alcoholism. I dreamt about this place from time to time, but I had a rather intense dream just a few months back about the club. There was a certain House of Leaves quality to the dream in that the building, as I made my way through it from room to room kept expanding, becoming larger and larger. Corridors would lengthen, new stairways would emerge where there weren't any stairs before, doorways would loop back into other rooms that were not the room you saw on the other side as you began walking through the doorway, halls folded in on themselves. In this dream, I know that there was some sort of renovation going on, and that it was transitioning from a place where military personnel and dependents went to relax with a drink, to a place where civilians were taking over the management of the place. This probably has to do with my knowledge that the base was decommissioned for US Air Force use back in the '90s. But it was never a civilian-managed place, so far as I know. British intelligence runs the base now, and I have to presume that if the old NCO club is used for anything like its prior purpose, it would be run by government employees. In any case, my dream world NCO club was a maze that continued to grow and grow, like it was trying to swallow me up in its labyrinth. At the end of the dream, I was able to make my escape, bewildered and winded.

The Trail: There is, or there was, a gap in the security fence in two places. One was right by my house. The other was near where the River Flit flowed off base. The gaps were there to allow for a bridle path, in case the Queen wanted to ride her horse through the base. Literally, that's what it was for. One of the most ridiculous manifestations of the cold war alliance between the UK and the USA, but there you have it. Sometimes the CND would march right through the middle of the base on that path, and there was nothing anyone could do to stop them. Surreal. Anyway, the exit to the east led to some pleasant rolling hills populated with sheep. There were woods and proper farms further out. In my dreams, this has become a sort of golden , idyllic pasture, almost a sort of . . . heaven. I have no idea why this would be the case. It was all rather banal, in the waking world. There was a certain quaintness to the area, but nothing so resplendent as in my dreams. Maybe it was an escape hatch into some paradise in the dream world. I shall have to try to explore that possibility next time I'm there. This sounds like the great beginning to a horror story . . . 

The Stars & Stripes Bookstore: Every Air Force Base used to have one of these. I don't know if they do any more. I used to spend a fair amount of time there usually reading Dragon magazine or other D&D books, or comic books. Once in a while I would browse and buy an actual book. My dreams about the bookstore are invariably ordinary. I'm just browsing books. The outside area around the bookstore always seems to change, though. At one point, it's a big concrete slab. At another time, the parking lot next to it has become larger. At yet another, the concrete slab is gone and there are well-pruned bushes and trees surrounding it. I honestly don't remember if any of these were actually "true" or not. I was there for the books, both in the waking world and in my dreams.

The Woods, the Barrow: The woods beyond the security fence were a reality. When you're a military brat who was prone to get into trouble as I was, you learned the fine art of hopping the security fence - not to get on base, but to get OFF, usually because you were being pursued by Security Police, but sometimes just because you couldn't be bothered to walk all the way to the base gate to go off exploring. The two bridges that cross the upper and lower Flit were very convenient in that they were high enough that you could climb up on the "walls" of the bridge and maneuver your way through the barbed wire and over the fence, if you were really careful. I didn't do that often, but I did a few times. The thing is, the woods on the opposite side of that fence were a marshy mess. Yes, you were suddenly "out in the country," but it was a country of disgusting-smelling mud and biting flies and gnats. Trudging through the trees, I think that we were always looking for something outre, something exciting. But we never found it . . . except in dream. The dream world beyond the fence is really something spectacular. The woods glow green (no matter what time of the day or night) and there are perfectly circular clearings in the trees, at the center of which grows a giant oak. Or the Barrow, an ancient Celtic structure people by bright, ankle-high faeries (one thinks of Machen's "White People") and the shimmering ghosts (never scary, oddly enough) of the long-departed. If I were an artist and architect, I could easily draw the structure for you. It is consistent in every dream, and the feeling of mystical wonderment and reverence that I feel there in my dreams is always the same. It is the most detailed, clear, and solid place in my dreams about Chicksands. And yet, it never existed. It is clearly a figment of my imagination. Oh, I forgot to mention, there is also a labyrinth inside of it, made of stacked stones atop which grows thick green grass. The labyrinth is never dark, always light, glowing faintly along the walls and brilliantly in the passage up ahead. It is a place of contentment for me, a place of belonging. Really, it feels like home. And yet, it never existed. This is the most enigmatic of places, when I'm trying to connect the waking world with the dream world. This is the place that feels the most real of all the places I've mentioned. And yet, it is not. I am at a loss to explain it. It just is. Maybe that's enough?

Oneiric Adventures through Impossible Geography Part 4

Oneiric Adventures through Impossible Geography Part 2

Oneiric Adventures through Impossible Geography Part 1

__________


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Saturday, February 13, 2021

Oneiric Adventures through Impossible Geography Part 2

 


Here is my dream map of RAF Chicksands, as promised in my last post on Oneiric Adventures. I have tried very hard to parse out dreams from actual memories, as much a possible. Given that dreams are, immediately after the fact, memories, there is likely blurring of those lines. However, there are many elements of my memory that I explicitly did NOT include in this map because I couldn't recollect a "dream memory" of them. 

I'm going to catalog the elements here starting in the bottom left hand corner, moving to the right, and then "up" a "line" and, again, left to right, and so forth. The main reason for this is because my home is in the lower left corner and, when I lived at Chicksands, I most often travelled north across the two branches of the River Flit, then east along the top branch, then on a diagonal up toward the bowling alley (in the extreme upper right corner) or I left home and travelled more-or-less on a diagonal toward the point where the lower branch of the Flit intersects the main road (which I've drawn incredibly large, as this road essentially bisected the base), where I would get on the main road, cross the river branches, and again head on a northeast diagonal toward the bowling alley. The features to note are:

1. My home.

2. The baseball diamond directly east.

3. The elementary school east of that.

4. The south gate of the base.

5. The home of Kelly, a girl whom I had fallen in love with and wronged, to my shame and regret.

6. (moving up) The woods to the west of my house and west of the base, beyond the barbed wire security fences that surrounded the base.

7. East to my friend's house. We called him "Moose" after the Archie and Jughead comics because, well, Moose was a big guy. 

8. The lower branch of the River Flit. A bridge crossed over onto the area between the two river branches, known as "Sports Island". 

9. (moving up) Sports Island.

10. East beyond the road, the confluence of the two river branches.

11. The commissary. 

12. A trail to the woods to the east and north, beyond which were farms.

13. A barrow. Clearly only a dream figment. There is no barrow in those woods that I know of, but I dreamt of it with some very intense dreams on many occasions. 

14. The upper branch of River Flit.

15. The Priory grounds and Chicksands Priory, which I was able to revisit in 2019. Strangely, it figures powerfully in my memory, but only faintly in my dreams, though I did dream about it a few times.

16. A conglomeration of buildings, probably the center of activity on the base for adults. This includes the Stars & Stripes Bookstore, the Library, the Gym, the Recreation Center. There was also a movie theater there, but I omitted it from my map because it never appeared in my dreams.

17. The NCO (Non-Commissioned Officers) club, where I spent a lot of time once I was of legal drinking age.

19. Another conglomeration of buildings on the other side of a road that curved up the hill toward the north of the base, including the Burger Bar, OSI (Office of Special Investigations) detachment office, the dorm in which I spent a fair amount of time (see the paragraph on psychogeographical context below), and the Mess Hall. Yes, the Air Force cooks the best food in the military.

20. (now in the upper left hand corner): what I will call the "Forbidden Area". It's where the intel work was done, where my dad and most people on the base worked. I was forbidden to go there, being only a dependent, but that never stopped me from dreaming my way there. Au contraire, I have all kinds of dreamtime images and experiences of that area, though I only saw it up close once or twice.

21. The Cop Shop. They knew me. Very well.

22. The north gate, where we would often catch the bus to Bedford. 

23. Other dorms, which I never dreamed about going into, though I did dream about walking past them to get to . . .

24. . . . the bowling alley. You'd be surprised how much of a hub of activity a bowling alley is on a military base. It is one of the places to be, for sure, where all the cool kids hang out. Seriously.

Now, some psychogeographical context. When I left Chicksands, I did so under a legal banishment by the base authorities because of an arrest and trial on drug charges. At the time, one of my best friends was named Greg Boehler (at least I think that's how his name was spelled). He had nothing to do with my crime, but I'm pretty certain he was brought in for questioning because of the substantial amount of time we had spent together and because two of the three other people arrested in this case had close ties to Greg, as well. But again, he had nothing to do with any of my crimes. Nevertheless, because I was under investigation, my contact with anyone was restricted. I was essentially under house arrest until my trial (and for some time afterward before I was banished from the base). Nearly all of my dreams involve a search for Greg, with whom I had almost immediately lost contact (though I begged my Mom to get his address or phone number so I could keep contact - if he wanted to do so - she never got me the information) and whom I have been unable to locate, even after many searches through the years for information on his whereabouts. More than anything, I want to talk to Greg again and apologize for any pain I might have cause him through this whole thing. This desire echoes throughout my dreams again and again and again. It is one of the main driving forces behind my Oneiric wanderings.

In fact, almost all of my dreams are spent searching for someone or some place. Even if it's to encounter a random person any place, just to assert that I am something more than a mere ghost wandering in search of my past, alone in an abandoned place that isn't even whole any more. 

My dreams here always carry a sense of loss. I think you can guess why. But not just a sense of personal loss of friends. There is a sense of spontaneous decay, of physical places disappearing. Or there is that dreamtime futility of trying to get somewhere and finding it impossible to do so, no matter how hard one tries, no matter how many different angles of approach one takes. These are the most frustrating of them all, I think, something like an alternate universe in which buildings are missing, buildings that I know are there, though I can't see them. Not that they are invisible, they are simply gone, vanished, though a lingering after-presence can be felt in the air that speaks to the feeling that there should be something there, that something belongs there, but it is not. It is this sense of loss that compels me to even write about the subject at hand. It is one of the most powerful yearnings in my life, to see those places and people again, if only briefly, if only long enough to become reconciled, remembered, and forgiven. Over thirty years after the fact of my living there, the place and the people haunt me.

Or, perhaps, I haunt them?

Oneiric Adventures through Impossible Geography Part 3

__________


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Wednesday, February 10, 2021

Oneiric Adventures through Impossible Geography Part 1

In my readers' notes to Damian Murphy's sublime book The Academy Outside of Ingolstadt, I remarked: "The notion of a map constructed wholly from memory resonates with me. I often dream of places I've lived (and I've lived in a lot, being an Air Force brat) and visited again in dreams. My oneiric wanderings always take me to impossible nooks and crannies, skipping gulfs in a few steps, folding and unfolding interstices that were never there. I think I'm going to have to write a blogpost about my adventures." While I'm not fully prepared to go through all the peregrinations I'm hinting at (this might take a lifetime), I wanted to explore, very briefly, the dreamtime perception of space in regards to just one place I've lived, but that made a very strong impression on me, a place that I revisited (in a limited, nay, restricted capacity) in summer of 2019: RAF Chicksands, or what was RAF Chicksands, a US military base in the time that I lived there. 

I lived at "Chix" as it was sometimes called, from early May 1985 to November of 1987. My father was a lifelong veteran of the US Air Force, so I spent a fair amount of my childhood living overseas. Truth be told, if I could have lived at Chicksands the rest of my life, I might have been content to do so. Some of that has to do with the relative irresponsibility with which I was graced when I lived there. I was a bit of a ne'er do well, to say the least. In fact, it was my "troubles" that ultimately ended in my expulsion from the base as a sort of plea bargain in order to avoid a much more stringent punishment for a small handful of crimes. 

Perhaps it was the involuntary nature of my departure and the fact of my "banishment" (which is what the courts called it) that drew me and continues to draw me back to the base in my dreaming world. I visit there more than any other place (and again, I have lived in many places) and my feelings, upon awakening, are often powerful and full of longing and sadness, but sometimes pure joy that I could "return" even in my dreams. An inevitable part of almost every dream there is a search for long-lost friends. Since we're scattered all over the globe, I have only tentative long-term relationships with old friends, thanks to the internet. I've talked to a few friends on the phone here and there, but in my 33 years since my departure, I have yet to meet anyone in person who I knew there outside of my family. Now that my parents are dead and my only brother has all but broken contact with me, I can say that I am quite cut off (physically, at least) from the people I knew there. This happens to everyone, I suppose: we grow older, we change, we make new relationships, the old ones drop away. But my issue here is more deep seated than most. There is no "gathering point" for many of us Military Brats. I can't "go home" to be with old friends. There is no home. Not only was it a temporary stay, the place I lived and loved in is no longer the same entity that it was back then (the base being decommissioned in 1997, I believe), but since it is now under the auspice of British intelligence services, the best I can do (and what I did in 2019) is to visit what little parts of the base are less-restricted.

For me, there is no real "going back". That past is dead and gone.

And yet, I wander through the echoes of the past in my dreams.

There are a few memories that I can recall associated with specific people, places, and times. Some of them a joy to remember, some of them quite painful. Memory deteriorates with time, so I would be hard pressed to fully recall a memory of even a ten-minute stretch at a time. There are some episodes that, of course, took place over a longer time, but even those recollections are little islands of time: ten seconds here, a minute there, thirty seconds here, five minutes there, etc., all strung together in a sea of forgetting. 

Maybe this accounts for some of the episodic nature of my dreams associated with those years, just a function of the way memory operates. But the strange walks through Chicksands were always strange, even when I lived there. Dreams, as much as time, seem to alter the "real" landscape and render it in a landscape of the imagination. You've no doubt had a dream where you have travelled impossible distances in one step. Or there is the (in)famous dream that every child has of being chased by monsters and not being able to create any distance between the dreamer and the creature, no matter how fast the dreamer sensed he was running. Okay, maybe that dream is rarer than I think, but I know many others who have had a variation on the same theme. There is also the strange dream (is there any other kind, really?) of having to defend oneself from an attacker and swinging fists with all one's might, only to feel their arms nearly floating away, any hits that actually do land bouncing harmlessly off the opponent. There is a strong sense of futility in dreams, of the unattainable. 

And, yet, there are times where the dreamer seems to capture the impossible: you are reunited with the dead, the person you've had a crush on for years finally "sees" you and falls madly in love, you escape the monsters when your legs grow ten feet long and you simply walk over rooftops away from the impending threat.

But again, something smacks of desire, of longing, whether positive or negative, dreams have a pull on the dreamer, but that pull can never fully satisfy. In the end, we wake up to reality. Or those who remain mentally healthy do so (at least what mainstream society considers mentally healthy).

I've strayed far from my initial thoughts. Next, I shall try to construct a map of Chicksands from memory, without consulting photos or maps on the internet. Later, I will compare my map with photographed "reality," keeping in mind that some photos that I will be extrapolating data points from might have been from before or after my short time in residence there. I am confident, from my 2019 visit, that some things are different. Or perhaps, my memory (and dreams) are faulty. I'm curious to see how close I hew to archived verifiable data, but I'm more interested in what is omitted and why it was omitted in my map. Of course, I can't get too detailed in my map - there's just not enough time. But I will make the attempt in the next couple of weeks to begin to explore the dream space and maybe discover some of the whys and wherefores about inclusions and omissions. I am, of course, more curious than the rest of the world combined about what the results will be, but maybe you will find some entertainment here, if nothing else, or perhaps we might gain some insight beyond the merely trivial, who knows? Like my dreams as I fade off into sleep, I am going off into an unknown (and yet, previously known) country.

Oneiric Adventures through Impossible Geography Part 2

Oneiric Adventures through Impossible Geography Part 3

Oneiric Adventures through Impossible Geography Part 4

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Thursday, November 12, 2020

Chiarascuro Void

CHIAROSCURO VOID (GOYESQUEAN FICTIONS AND VISIONS)CHIAROSCURO VOID by Rhys Hughes
My rating: 5 of 5 stars

Chiaroscuro Void (Goyesquean Fictions and Visions)”, Raphus Press’ newest offering, is a dark delight, oddly bound (I am no expert on binding, so I can’t name the style, but it is unlike any book I’ve held before), wonderfully designed, and teeming with a physical character of its own. A variety of fiction, poetry, and prose-poetry by some of the best contemporary authors now writing fills the pages like a grey mist. I am reticent to use the “weird” label here because while some of the stories do contain weird, supernatural elements, some work just fine without any interpretations lying outside our daily perceptions. But where the weird or eerie elements are there, they add to the backbone of each specific work in which they appear, and the collection as a whole. Without further ado, here are my thoughts on each:

Rhys Hughes' "The Distant Critics" is everything I've come to expect of Hughes’ work: dark and erudite, but with a sense of humor that is infectious. You'll never view Goya's painting of Saturn devouring his son the same again.

D.P. Watts' "Quinta del Sordo" is a boiling churn of darkness, as one would expect from a story named after the residence where Goya created his (in)famous Black paintings. The story is a poetic, baroque depiction of depravity and, ultimately, collapse under the weight of fate. The plot is thin, the atmosphere thick.

Karim Ghahwagi, you have broken my heart. "Dandelion Spring" has shattered me. Never have I thought that a piece of existential hard science fiction could hold so much emotion. I literally had tears in my eyes when I finished this story. The emptiness and beauty of the story are absolutely gut-wrenching. I've rarely felt so deeply reading a work of science fiction, let alone hard sci-fi. This was an unexpected surprise, to say the least, full of melancholy.

Jonathan Wood is at his most transgressive (and that is saying something) in "The Face That is Not There". Eros and Thanatos entwine in the shadows, twisting together until both are shaded impressions of one another. I can think of no greater words to describe this enthralling, poetic story than "Chiaroscuro" and "Void". The sum is greater than the obfuscated parts.

I have not read a Brian Evenson story I haven't liked. "The Devouring" is no exception. The rule stands. Though "like" might not be the right word. Can one really like such a bleak, hopeless story that makes you feel like you are suffocating while reading it, that robs you of any good feeling? Maybe "admire" is a better word. Or "respect". In any case, I prefer to read it.

Wade German's "I, Goya" – is a short, powerful poem. Evocative in few words, this packs a punch.

Colin Insole digs into the grotesqueries of marriage - the realizations that your spouse is far from perfect - in the ghost story "Memories of the Bone People". Emotional distortion and the realization of the potential shallowness of a loved ones' devotion act as a prise between husband and wife. They will never be the same, their vision of one another and of themselves forever corrupted.

Stephan Friedman's short tale, "The Fiery Serpent," I found iridescent, but too blunt. The prose is excellent, but the story unrefined, perhaps intentionally so. His two poems, though, "The Dog Night" and "The Full Moon," I found more rewarding. Though they were, at points, also forward in their transgressiveness, the weaving of the poetic voice here with such starkness, works exceedingly well.

The title of Fernando Naporano's poem "Whims of Goya, Nagoya In Paranoia" seems to be nearly as long as the poem itself, but upon examination, the poem's layers unpeel and reveal treasures of carefully obfuscated insight. A dark delight to see these stanzas unfold into the intellect.

In "Soplones!", Alcebiades Diniz Miguel takes the readers' delight - a story about purchasing rare books - and turns it into something horrific. That musty mold-tinted smell of old bookstores is a warning that is best heeded before the bookseller approaches you! Buyer beware!

"Futility and Wonder," a long series of verses by poet Joseph Dawson, plums the depths of existential hopelessness and heretical thought better than anything I've read since Jonathan Wood's poetry; to the point where the poet admits even the futility of fully capturing such despair in the poem itself. It is a black hole of a poem from which nothing, including its own hopeless creation, escapes. A poetic mobius strip, wonderfully realized!

I did not expect the strong emotional response I had to Fabio Waki's story "Lessons by Candlelight". I am a grandfather, and any proud grandfather who reads this story should be ready to feel the tears well up. This was an unexpectedly powerful story that cut deep. A "dark" piece, in many ways, yet so very full of light shining in the darkness. Any grandfather worth his salt that does not get wet eyes from this story needs to have his pulse checked.

The quote on the back cover of the book, "There is only light and shadow," aptly captures Thassio Capranera's "Dithyrambs in Ancient Cantabria," a sumptuous pleasure shattered by abject horrors. One does not know where reality ends and fantasy/horror begins, because the terror one wakes to may be as horrid as the worst of nightmares preceding that awakening. Exquisitely written, for pleasantry and pain.

Jean Du Bois' "A Thing of Nature" is rich in sumptuous detail, but poor on movement. The idea is to show the overlap of past and present, the ghosts of the old infecting the new in an ever-repeating pattern. While I enjoy the hauntological idea greatly, the execution is too staid and static for my tastes. A quiet, a too quiet experiment that passes the theoretical test, but is a bit too cold.

"Sad Presentiments of a Proud Monster" by Timothy J. Jarvis provides the apocryphal story about what happened to Goya's skull after his death. A wondrous tale featuring painter Rosario Weiss Zorrilla, who may or may not have been Goya's daughter (but was definitely his God-Daughter), a strange diviner, several prints of the deceased Goya's work, and an uncanny divination ritual. This was the perfect tale with which to end the anthology.

In summation, Chiarascuro Void is a complete artifact. From the font to the book’s tones (both hue and literary tone), the varied looks at Goya’s work and his life, this volume hangs together, framed perfectly as a celebration and a warning. I would love to see similar books around the works of such artists as Gustave Moreau, Odilon Redon, and Felicien Rops, to name a few. I could see an entire series emerging via this model, something which I would gladly subscribe to.

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