Sincerely, My Unnui

No doubt even Richard Petty woke up every now and again and said “The next asshole who even says the word ‘car’ is getting demoted to lug nut sorting.” In other words, that we love something, and that we are fulfilled by it, and that we are happy because of it, does not preclude occasional, immense frustrations with it. Indeed, it would be hard to have had a day as poor as yesterday without being so terribly in love with every part of it. But it’s (current year), man, and no one wants to hear about love.

Well, that’s why I asked my British Lit professor “is there any kind of movement afoot to counter the shallow relativism of post-modernism?”

“OH ABSOLUTELY.” She lit up for a moment, which was very reassuring. But she studies the crusty, lovey old brits for her scratch, so I already know she isn’t just Piss-Christ all the way down. In fact, if she is anything, I would have to say she is fair. I think she sees good and bad – or at least is willing to look equally for them – in just about any period. She likes Virginia Woolf, yet bristled at Woolf’s notion that she had no grandmothers in literature to draw upon. No female role models from the past, as it were. Who, she wondered, are Austen, Browning, Bronte, Mary Shelley, George Eliot, Christina Rosetti, and on and on?

I digress…

“Oh, absolutely,” she answered. “There’s a thing called neo-sincerity, for instance.” And last night, needing something to deform my ennui – no, not ennui. Ennui implies a lack of engagement. It is engagement specifically – too damned much engagement – that was my problem. So whatever unnui it was or wanted to be, it needed rescuing. (Again, all apologies to post-modernists, I’m perfectly happy noting out loud that I could use a little rescuing now and then.) I looked up neo-sincerity. I saw New Sincerity and David Foster Wallace. I am neither intellectually dead nor particularly brilliant, so I have heard of David Foster Wallace, but know nothing about him. I know very little more about him after a browse of the Wiki, but there were useful inflations in there. Things that could fill me out a little bit before going to bed like a cold sausage casing in a hard puddle of grease. For instance:

“Today’s risks are different. The new rebels might be artists willing to risk the yawn, the rolled eyes, the cool smile, the nudged ribs, the parody of gifted ironists, the “Oh how banal”. To risk accusations of sentimentality, melodrama. Of overcredulity. Of softness.”

“To risk the yawn.” I don’t mind risking the yawn. I’ll be happy to be called banal. If the Russel Brands and Lena Dunhams of the world are going to call me boring, well, I’ll gladly take it down a notch. I’m a sober, faithful husband and father who believes in God and permanent truths. I’ll be here when you wake up.

In other words: Look upon my works, ye mighty, and swipe left.

Everybody Must Be Stoned

You won’t know it, because I’ve already changed it, but that header image was far too dark. There’s an enlivening brightness out there today, the clouds having disappeared for now, and I logged in here to see a dreary picture from our snow day, all filtered down to mute sadness because I thought it made a point or something. No, no, not that. Never that. Never making a point. I rarely use art, especially photos, to make a point. I take pictures recreationally, and if I enhance them in any way, it is literally ONLY because I think they look better that way.

This is not a thing a modernist would admit to. Indeed, a modernist would actually have to negate it first, and then deny it. In other words, she would have to say “No, I swear I didn’t change that image ONLY because I think it looks worse that way.” Modernists are boring, though the early ones manage alright. I can get excited about Picasso and Duchamp and Braque for about 5 or 10 minutes, because for a while they actually look good. 

But then the messes and bicycle wheels just start looking like themselves again, and its not because I don’t get it. It’s because they just didn’t do it. And who could blame them? The impressionists beat them to the treasure, and put together the last beautiful moment in the visual arts. What could Picasso do after Monet vacated the stage for him, except to barely hold it together?

la-promenade

As for the writing. Gerard Manley Hopkins, technically a Victorian, wrote some invigorating poetry and left it trailing behind him while fled apace from the Victorians and the Romantics:

It gathers to a greatness, like the ooze of oil
Crushed. Why do men then now not reck his rod?
Generations have trod, have trod, have trod;
And all is seared with trade; bleared, smeared with toil;
And wears man’s smudge and shares man’s smell: the soil
Is bare now, nor can foot feel, being shod.

How fun is that? And so far Virginia Woolf is also a good time. A small departure from the rigid, staid structure of earlier periods. She flows and rambles and loves the words, but never forgets to say what she has to say. The modernist period, as it moves forward from there, gets so much more enraptured with itself at the expense of the meaning that they simply give in and say, as if in coy secret knowledge, “You find the meaning, reader.” But not because the meaning is in there, rather, because the writer couldn’t be bothered. I read as much of “Ulysses” as I thought I was obligated to do, then recognized that I was no longer willing to give Joyce the satisfaction of my attention. There’s the sense, at least, that Joyce put his back into it a little bit. The painter just sought the easy path – the Pollock and the Rothko – and found it cleared of obstacles by a public who was tired of things being important. The public could form no bond with the important, and so they asked for, and received, something that looked as messy and meaningless as they felt. “We are not permanent. Please do not speak to us of permanent things.”

But they’re up against it from the start. If you’re a modernist, or a post-modernist, or doing anything which rests its meaning in negation, then it’s only useful once. By 1920 it was pretty much spent, and after that it was all just one kind of pooping in cans or another. Beauty is permanent. Reaction decays.

I don’t hate modern art. I hate that we give it space. But by its nature, modern art chased off everyone that wasn’t willing to clean up after it, and so it gained total control of its own momentum. And now there’s a huge rock in Los Angeles that we’re supposed to “appreciate,” once we’re properly told how to look at it.

 

 

Please Don’t Put Nuts in the Banana Bread

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There was a poem in my head
that dragged me from bed
and asked a few little things of me.
“Leave off the lights”
and
“Hold on to last night”
and
“Put me down here while you start the tea.”

So it sprawled on the table
while I lived in a fable
where my morning was mine at last.
But before the hot water,
came
“Good morning, Father!”
and
the kids ate my poem for breakfast.

Anxious Opus

Just amazing.

I have a little anxiety over my current assignment in philosophy. I remember school anxiety from 25 years ago, but it was different then. I was failing completely, and was never particularly concerned about assignments, because I simply was not going to do them.  My anxiety was either absent or total, depending on the day. School was a mostly silent fight between a simple institutional process that was indifferent to me, and me, who was indifferent to the process. First lesson of adolescence: you are not The Process, you are the input. And if you don’t take your place, The Process will forget you faster than you can say “gym class traumatized me.” So, on those days when my anxiety was total, it was because I knew without flaw, I knew completely, that I had removed myself from The Process, and it had forgotten me.

My current anxiety works a little lot differently. I have climbed back into my seat among The Process, so assignments matter. By Monday I have to write a very short paper about what I believe to be the first, foundational principle of human existence. My personal version of Descartes’ cogito ergo sum. Normally, I could whip out three pages with one hand on the coffee mug and the other on my son’s neck. But for some reason, with this I cannot shake the weight of its significance. As if it is to be my magnum opus, and I’ll be defending it at Oxford for the rest of my life. It isn’t, of course. It’s a 200 level University core requirement, and most of the people in the class aren’t even humanities students (and I’ll never be at Oxford). It’s almost all nursing and engineering students. One of them, who not only called me old, but seems to be giving my age sole credit for my success in the class, is writing her paper on our responsibility to protect the environment, because without an Earth, we cannot survive. So, as you can see, we don’t necessarily need to be machining humanity’s very first nut for the universe’s bolt. We don’t have to try to answer THE QUESTION, or anything.

My initial thought for the paper was that we cannot know the first principle. I do believe in firsts – that there is no such thing as infinite regression. Everything begins. But for reasons you’ll know when I post my paper, I don’t think we can find it. I am prepared to write on that. Stakes, implications, counterarguments, all of it. Too easy. Then I see on the list of Sven(!)’s possible topics that that very idea is listed at #11. First thought: Bummer. It’s not original. Second thought: Of course it’s not original. People have been doing this stuff forever. Third thought: Why did Sven(!) put an asterisk on that one?  Let’s find out:

*If you choose 10, 11, 12, or 13, you and I must talk about your choice because they can be particularly tricky.

Great. Of course. I called him on our recent snow day to discuss, and he called it the agnostic approach and philosophied all over me until I wanted to just throw it all up and say FINE IT’S LOVE WE’RE FOUNDED ON LOVE (that’s #8 on the list, btw. No asterisk). But I won’t do that, because this, anxiety and all, is fun. Depending on the course of my schooling, which obviously means “depending on money,” I want to lean on Philosophy pretty hard. My focus will remain literature and writing, because my God it’s awesome. But the way literature and philosophy shake hands and dance and brush against each other like a couple of languid cats is just magical. My essay for British Literature is going to be an application of Plato’s allegory of the cave to Tennyson’s Lady of Shalott. I was surprised as we discussed Shalott in class that Plato never came up. It seems pretty clear to me, so much so that I’m afraid to Google it until after I write the paper. Surely it’s been done before, just like my silly agnostic approach to our first principle paper.

The other new anxiety is that I care what the teacher thinks. I also care what that other student thinks, as she seems to hold me to a pretty high standard: “How’d you do on your paper? Are you ready for the test? What did you do to prepare?” Friday she asked “What did you think of the test?” I really, really wanted to say “Aced it. Sven(!) called me to talk about it. What did he say to you?” She would have lost her mind. Alas, I haven’t the meanness in me to string people along with things like that. I always feel that I am committing some huge crime of character. So I just said “I’m pretty confident about it.”

And I am. Hopefully Sven(!) is not disappointed.

This Letter Will Explain Nothing

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Snow day! Our kids go to a private sorry, independent school. And it really is independent. Many other of the private sorry, independent schools out here belong to the Northwest Association of Independent Schools. Saying “Association of Independent Schools” is like saying Socialism is a “Collective of Individuals.” You may be able to enumerate them, given the task. But you won’t be given the task. And you’ll never be able to differentiate them, anyway. Our kids’ school is its own thing. No associations, only a nod of approval from Washington State’s Superintendent of Public Education (The indelible thumbprint of the state, in saecula saeculorum). What does all this mean? That they make their own rules, and when the rest of the city’s children are out of school and creating logistical nightmares for their obligatory two working parents (nothing says fulfillment like absentee parenting. Progress!), well…

They do not have your piffling little snow days. Come if you can, don’t if you can’t. And if you’re really only skipping the day because snowball fights are awesome, well, just don’t aim for the head. They close the parking lot – to preserve its snowy majesty for recess. As we pull up to the curb half a block from the school, my daughter climbs down from the car, and says “I LOVE that we go to a school that lets us come even when it snows!” Totes adorbs, amirite? The Boy, on the other hand, spills out like a barely ambulatory Randy from A Christmas Story. A water bottle ejects an impossible distance from his backpack. “UGH! This is dumb!” Totes adorbs, amirite?

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I also go to an independent sorry, private school. They don’t care so much about the label dilution up there in the Collegiasphere. Everything’s a crushing student loan, anyway, so you might as well bask in whatever snobbery you can, while you still have the illusion of control. Free college never felt so good.

Someone recently lamented the brevity of GI Bill benefits, as it only pays out for 3 years. It was a friend, I can’t remember which. She (I remember that much) was probably trying to retrofit a compliment, saying that military service should be worth more than that. I get it, but this is a free Bachelor’s Degree in a world where the only stinking thing we all agree on is that college is too f#@!ing expensive, and not just by a little bit, but orders of magnitude. I mean, between the GI Bill and the Yellow Ribbon program, the government is paying me more than it did while I was serving. Three years of that is a windfall of Dickensian proportions. And as David Niven taught me in Curse of the Pink Panther, I never look a gift horse in the mouth.

Another miracle of the Government, is that since I began drawing benefits last April, I haven’t had any issues with payments or forms or crossed signals. After 8 years in the Army, I know too well just how Labyrinthian an odyssey that getting money from the government can be. The God of Government finance is Daedalus.

But that all stopped Saturday. Some notice from the VA came, saying an application or other has not been received. The college tuition has been paid, but my housing allowance has not, and I am assuming this letter they sent is the reason. But I’m not sure, because here is what I have to work with:

“This letter will explain what is needed to formalize your claim.”
“In order to act on the information you submitted, we must receive your application within one year from the date of this letter.”

Thanks for the clarity. Doesn’t sound too urgent. And the printed out confirmation pages I have from the actual submission of my application in December should right this ship toute suite. We’ll see.

I hereby release you (from not even being here). The snow is ridiculously wonderful, but the coffee shops are all overflowing with kids and nannies, so I am home with Spotify’s “Jazz Vibes “ playlist. It’s good stuff, and I’ll use it to get started on a Philosophy paper (Foundations. Where or with what does EVERYTHING begin?) that’s due in a week. Love it.

Go have a day!

Age is, like, Relative and Stuff, Anyways

There’s something so tremendously daunting about that “submit” button.

Two members have left the nest, and there’s only 47 years worth of (postpartum) human life in the house this weekend. Though I see those years as differently as my Philosophy classmates do. Bear with me while I get there:

“How did your paper go?” They asked. A couple of girls who sit in the front row alongside me. Come to think of it, I’m the only boy in the front. Five girls and me. And the whole second row is girls. I would do a headcount of boys and girls, but then I’d be tempted to apply that information sociologically based on what the class is, and wind up drawing some undesirable conclusions of a too-political nature about the gender makeup of certain fields in relation to personal choices. I would never do that, you know.

“How did your paper go?” They asked.
“By hand, mostly.”
“No, come on. How did you do on it?”
“I did well.” I don’t like grade comparisons. It’s the equivalent of getting to know someone at the party by opening with “what do you do for a living?” Probing for status.
“Yeah but, like, how well?”
“I got 135.”
“You got an A?”
“I got an A.”
“Well, yeah, I mean, you’re a little older, too. I mean, like, you’ve done more. Like you’re wiser -”
“This isn’t getting any better for you.”
“How old are you, anyway?”

They asked me my name, and said some nice things about my contributions in class. 5 weeks in, and the people sitting next to me don’t know my name. My t-shirt should read “I’m not an asshole, I’m an introvert.” I’m not even that quiet. I speak up in class, I chat a quite a bit, I joke. I just miss all the standard social checkpoints. Like, you know, names. It’s also possible that for the kids in class, the old guy in the room is enough of an oddity that it’s hard to know how to approach him. I could buy that. I do have a hard time seeing myself as significantly older than them, though. My children are 6 and 9 years old, so through that lens, my 20-something classmates might as well be my age. This is where it gets good:

“How old are you, anyway?”
“That wasn’t very delicately put, was it?”
“Sorry, there’s just, I don’t -”
“I’m 41. Forty-one.”
“HOLYSHITNOWAY.” And now the teacher is listening. And laughing. He is Sven(!) as previously referenced, and he is older, even, than me. Srsly. Class begins.

Philosophy is probably as good a class as any for ambiguation of ages, inasmuch as age has anything to do with identity. We’ve been going on interminably about identity (existence, to be far, far more accurate) for the past couple of weeks. And age isn’t any more relevant to the conversation than toenail thickness. We either are or we aren’t, and being 41 or 21 or 11 hasn’t any bearing on that. Being dead might not even have any bearing on it.

The Victorians are dead, as are the Romantics, and here I reach didactically back to the beginning of this post and my lamentation about “submit” buttons.  They are daunting, and especially today, as one such button was a necessary condition for the submittal of my British Literature Midterm. But my God how fun it was to answer those questions. I mean, check this out:

  1. Use the following passage, including literary features like imagery, character, and repetition, to explore the theme of home(s) in Great Expectations.

ARE YOU NOT ENTERTAINED? For realz, tho. A question like that tickles all the right places in my mind. Probably not so for you, but that’s ok. I’ve walked through the stark and dead computer sciences/engineering building, peered into the rooms lined with zombification screens and vitamin D supplements. You can keep all that. It’ll serve you better when asked by a stranger what you do for a living, but that’s where my envy ends. I love a question like that one up there because it lets me think and write things like this:

Home is “bodily pain.” Home doesn’t even exist, or at least he doesn’t have one. And as he contemplates it, the only names that come to him are not Joe or Biddy, as it should be. They have a home, and it is not his. The names he conjures are instead the decidedly unsafe characters of Estella and Provis, who are features of the home he went in search of. With Estella being a star – entirely unattainable. And Provis being proviso – a condition attached to an agreement. So even if there is anything like home, it is either beyond Pip’s reach, or it is conditional – incomplete. Ultimately, no matter how he conjugates his approach to the idea of home, he doesn’t end up there. He doesn’t even know home as a place – as a noun. He calls it a “vast shadowy verb I had to conjugate.” Verbs are not destinations. You cannot arrive at a verb, or settle into a verb, or be comforted by a verb. Also “vast and shadowy,” as in without any real form, and a verb that he “had to” conjugate. It’s not even voluntary. It’s an obligation, which could also be called a sentence. Pip’s fears and confusion are a sentence to homelessness.

Now go read Great Expectations again. It’ll change your life.

The Whole Sky, All at Once

You can’t look for the lightning
Dad said
or you’ll never see the flash.
He would pull the Buick out to the street
and we sat like crooked teeth
in the yawning maw of the garage.
A storm coming deliberately at us
and the tornado siren
wailing with a bored urgency
like the ambulance of the great plains.
We pulled over.

You can’t look for the lightning
Dad said
or you’ll always just miss it.
He would talk about seeing the whole sky
and we sat like crooked teeth
in the yawning maw of the garage.
We tried to look at nothing and everything
while the old corn across the street
whispered with a quickened urgency
like the dying secrets of the great plains.
We closed our ears.

You can’t look for the lightning
Dad said
or someone else will see it.

You Can’t Look for the Lightning

Oof. I just had a message come across some app that’s on my phone, telling me that the literary magazine at Seattle U is accepting submissions for the upcoming issue. My first thought was “oh hey, there’s a literary magazine?” But that’s because I am a man of narrow focus. I think it’s a defense mechanism of sorts. I guess it would be pretty common for there to be a literary magazine, and a school newspaper, and all kinds of things of the sort at a college. But i’m so overwhelmed by the most perfunctorily whelming things that I withdraw, and school becomes, for me, a rote act of “park the car, go to class, get back in the car, go home.” Narrow focus shuts out the crowding hazards.

I mentioned my first thought. I don’t think that I had much of a second thought, because the deadline for submission is in two days. And there’s a theme, so I can’t just grab a poem I’ve already written and submit that. Let’s clean this up – here’s what I discovered, in order: 1. There’s a literary magazine. 2. They’re accepting submissions. 3. FOR TWO DAYS. WTF? 4. The theme is humility. 5. What? It’s an annual publication?

Yes, annual publication. I have two days to whip something up and take my shot, or it’ll be another year before I get another chance.

Well here’s my shot. If I had more patience or a less narrow focus, I would revise it for the next day and a half. Nope. I’ve already submitted it:

 
The Whole Sky, All at Once

You can’t look for the lightning
Dad said
or you’ll always just miss it.
He would pull the Buick out to the street
and we sat like crooked teeth
in the yawning maw of the garage.
A storm coming deliberately at us
and the tornado siren
wailing with a bored urgency
like the ambulance of the great plains.
We pulled over.

You can’t look for the lightning
Dad said
or someone else will see it.
He would talk about seeing the whole sky
and we sat like crooked teeth
in the yawning maw of the garage.
We tried to look at nothing and everything
while the old corn across the street
whispered with a quickened urgency
like the dying secrets of the great plains.
We closed our ears.

You can’t look for the lightning
Dad said
or you’ll never see the flash.

Blindly Leaping

Dialogue on Human Freedom (Onboard a C-130 Hercules. Forgetting, for the moment, the impossibility of actually having a conversation inside a flying C-130.)

Private First Class (PFC) Goodin: I can’t wait to be free of this airplane.

Sergeant First Class (SFC) Monti: Aircraft, Goodin. Aircraft. Civilians have airplanes. This is a C-130, and if you’ll look past the rust and dust and the shaking, and that hole in the skin over there where the moon and clouds come through, you’ll see there’s not a damn thing wrong with this bird.

PFC Goodin: Roger, Sergeant. Still, the sooner I can get my knees in the breeze, the better.

SFC Monti: Feel free to call me by my first name.

PFC Goodin: Really?!

SFC Monti: No.

PFC Goodin: How many jumps do you have, Sergeant?

SFC Monti: This is number 66. I have freed myself – thank you very much – from various types of aircraft a total of 65 times. Tonight I make jump number 66 on my 44th birthday. Though I’m not sure that, if asked, the pilots and jumpmasters would agree that my freedom, on those occasions, was entirely up to me. The pilots flew me, and the jumpmasters told me when it was time to get up and head for the door. All in all, I’m really just doing what other people tell me to do, when and where they tell me to do it.

PFC Goodin: But none of those people made you join the Army. None of them made you choose airborne school, or to be a forward observer instead of a cook or a tanker. You were free to make all those choices yourself.

SFC Monti: I suppose I was. Though every choice has a past and a future, and it’s arguable that every choice we make is the only one we could have made, unless we were to change our past or adjust our expectations and desires for the future. For instance, I’m going to exit this aircraft tonight because, in the past, I became a paratrooper, and in the future I want to remain one. Choosing to jump tonight is the most seamless reconciliation of that past with that future.

PFC Goodin: When you say it like that, it sounds less like freedom, and more like duty.

SFC Monti: Yes! Duty! We’re soldiers after all. And we have those seven army values, don’t we: Loyalty, duty, respect, selfless service, honor, integrity, and personal courage. Now, I don’t know it for sure, because it isn’t in the Soldier’s Manual of Common Tasks from basic training, or even in the Leader Development manual you’ll be studying soon enough, but I believe those seven Army values (duty among them) are to be used in service of freedom. We are seeking a kind of freedom here tonight, freedom from this aircraft, as you said. And part of our mission is to preserve freedom for those who have it, and secure freedom for those who don’t. But you say duty, and I can’t help but thinking that duty and freedom are pretty near opposite one another. We’re free to do as we please, but we must do our duty.

PFC Goodin: Sure, Sergeant. But we’re also free to not do our duty if we choose, don’t you guess? I mean, there’ll be consequences in any case, but that don’t mean we can’t do it. Or not do it. Or – you get my meaning.

(The two jumpmasters shout the warning: TEN MINUTES!)

SFC Monti: I do get your meaning. Would you say it’s your duty to jump out of this bird tonight?

PFC Goodin: Yes, I think so.

SFC Monti: Well you have ten minutes to know so. Ten minutes to decide if it is your duty to get up and achieve that freedom you were looking forward to. You’ll be off this retiring Hercules, having, if I understand you to this point, gained your freedom only by doing your duty.

PFC Goodin: That’s a pretty shitty way to put it, Sergeant, but yes.

SFC Monti: You felt rather free when you spoke to me that way, didn’t you? And you were right to, though I can tell by your face that you won’t be sure of that until you’re free of me, too.

PFC Goodin: The sooner the better, if I can speak freely (again), Sergeant.

SFC Monti: Indeed you may. And that even helps us a little, because now you’ve added safety to our definition. Really, it was there all along, as you want to be free of this C-130 because you consider it to be safer off of it than on it. So freedom is a destination, then. A safe place. A haven. And so far, we can’t have it unless we make our way to it, and we can’t do that without fulfilling our duty to something along the way. But I can’t help but wonder now: if freedom means getting off this bird, are you not free while you are on it?

PFC Goodin: Of course I am, Sergeant. We’re all free here. But that’s, like, capital “F” Freedom. Braveheart, and all that. I’m just sayin’ that I want to be free of this airpla- aircraft, in a not having to worry about it anymore kind of way. Whatever the case, as far as me and freedom and flying around in here with you, Sergeant, well, I’m more sure than ever that I’ll feel a whole lot free-er when I ain’t anymore.

SFC Monti: Seems to me that you might be considering being free of something the same as being rid of something. You’ll be rid of this aircraft, and of me, and of this conversation soon enough. But you’ll drift to the drop zone with your head crammed into your k-pot1 with me and my words. You’ll assemble with your platoon and drink this conversation from your canteen. You’ll be tossing shovelfuls of Sergeant First Class Monti and his rant about freedom out of the fastest foxhole you ever dug. You’ll be rid of me and rid of this conversation, but I don’t bet you’ll be free of us anytime soon. Heck, you’ll be waddling towards another jump in a week or a month, so you aren’t free of that, either.

PFC Goodin: You’re killin’ me, Sergeant. I’m ready to surrender. It’s the only way to freedom that I can see at this point.

SFC Monti: Oh, my! We’re going to have to pray for bad weather or a stuck door to prolong our flight, now that you’ve gone and added surrender to the conversation.

PFC Goodin: (mumbling) Me and my big mouth.

SFC Monti: You’d agree, then, that we can surrender our way to freedom?

PFC Goodin: What? No –

SFC Monti: Listen: We’ve already said that freedom is safety, right? Combined with duty? It seems almost inevitable that surrender comes from a person doing his duty to gain the safety of himself and those for whom he is responsible, right? Why else surrender, except to salvage what safety may remain to you? In military terms, surrender means saving the lives of those who remain on the losing side. Surely, saving lives is a duty as high as any other. So, if we have surrendered, we have done our duty to save lives. And hey presto: Freedom! Capital F! Right, Goodin?

PFC Goodin: I dunno, Sergeant. Surrendering seems like it lands people in prison a lot of times. Your duty’s done, and if it isn’t a very bad kind of prison, you’re safe. But it’s still prison, and I can’t call that freedom.

SFC Monti: You do like to complicate things, don’t you, Goodin? Let’s skip a bit, forgetting for now whether it matters to whom or to what you surrender, and grant, then, that prison isn’t freedom, as it’s rather obvious that prison is something a person seeks always to be free from. I think we could pick that apart for a while, too, but the jumpmasters are getting fidgety, and must be about to give the one-minute warning. See that? Even now, confined to this rickety missile, we await our jailers’ commands on our quest for freedom from this bird.

PFC Goodin: Hang on, though, Sergeant. What you just said: if this bird is our prison, and the jumpmasters are our jailers, then we can only be free if our jailers allow it.

SFC Monti: Sounds like you aren’t comfortable with that.

PFC Goodin: I’m not. I may not know my jailer, but I know he can’t tell me whether I’m a free man. He can let me out of jail, but he doesn’t have the power to make a whole human being free or not.

SFC Monti: I’m going to have to attach you to my platoon if you expect to start talking about where freedom comes from. I don’t think we can tackle the God topic before the light turns green and we commit ourselves to the clouds.2 I’m content for now to wonder what freedom is, and here you are trying to expand into how we get it. Ambitious, but unrealistic right now.

(The jumpmasters give the command: ONE MINUTE!)

SFC Monti: And there it is. You have one minute to decide if you are free. To decide if you are going to shuffle to the door with the rest of us, dutifully obeying commands, and exit this high performance aircraft because you are a free man, or because it is the only way that you can become one. Or, whether you are so free that you can choose not to jump at all.

PFC Goodin: Well I can’t choose not to jump, Sergeant.

SFC Monti: No?

PFC Goodin: No. Think about everybody else. There’s 32 of us on this side of the plane, and you and me are pretty near the front. If I don’t jump, that’s gonna hold up you and everyone else behind me.

SFC Monti: First of all, don’t be so sure that I couldn’t find a way to persuade you out that door. Second of all, are you telling me now that the duty you’ve been talking about only exists because of all these other jumpers? That in order to be free, you have to see to everyone else’s freedom along the way?

PFC Goodin: At least not get in the way of it. But I’m free to do that, too. I’m as free to screw this jump up as I am to help it work. But if I use my freedom to mess things up, I’m going to lose it pretty soon.

SFC Monti: You can’t seem to pull your duty out of your freedom no matter what you do. Are you saying that we have a duty to exercise our freedom responsibly?

PFC Goodin: Yes, Sergeant. And the light’s amber, so we’re going any second now. I wonder though: is there any time that we can enjoy our freedom without being burdened by duty?

SFC Monti: Maybe when we’re dead!

(And the jumpmasters give the command: GREEN LIGHT! GO, GO, GO!)

Notes:

1. K-pot: Kevlar helmet
2. before the light turns green: When the aircraft is in the proper place over the drop zone, a light at the exit door turns from amber to green, and the jumpmasters send the paratroopers out.

The City Sends its Dogs to Say Thanks

The sight of the urban maiden is all light
in the fog and damp of our staid, cemented ways.
In boots and dearly rationed leggings –
as if I have to say!
Her whole aspect a lively equipage
liveried and lent to our idling eyes.
A city’s little thanks for our putting up with it
as we do
as a whole
because we try
against our very produce to not be
a pallid wash of mere moneychanging.

And then, dangling with less decorous restraint
from her bejeweled and worried fingers
– that are only trying to keep their distance –
is a loud, indelicate package announcing its lady’s attendance.
Pendulous and any color you like,
a cackling sack tied shut around the dignity of the maiden.
It hides without guile what we all alike are aware
that her dog delivered,
back there.
Deposited to the city’s coffers
and loaned out again
against the collateral of her oblivious dignity.