Hip hip hurray

I am home. For the second time. I went back to hospital by ambulance in the middle of the night. Fever, palpitations. Paramedics were young, skinny, wide-eyed, full of passion and dedication. And that is what I saw over and over in hospital. People with a passion, tough yet delicate. They dream, they hope, they do really care. When you are a patient in hospital, very quickly you lose your dignity, you do things that you would not dare do in the presence of your most intimate partner. But the dignity you lose, is it very important? We are there with a different form of dignity, that of getting better, it doesn' matter much that we make funny noises, that we smell funny, that we have a rather unappealing shade of green to our complexion. Your values change so quickly, your priorities, your tolerance. An old guy called Patrick, full of tattoos and bruises was parked outside my door. He wanted to go home. There was only one problem: nobody knew where his home was. He had some form of dementia, yet he was there, now part of my life. The pretty nurses with their wide eyes, smooth faces and hours of unrelenting work were telling him that everything was okay, the ambulance was coming, he would be home soon. "All I need is a pound for the bus", he replied. 

I cried at some point, waiting for tests, x-rays. But I cried because I was lying on my back, and I don't like lying on my back. I had faith that everything else, the important stuff, would be looked after. This morning, having regained enough strength to even make my cup of coffee and ponder upon puzzles like, how do you carry a cup of coffee with two crutches? I sat again at my computer to resume my surfing, fidgeting, faffing life. And I came across, by total coincidence, some footage of Frida Khalo painting in hospital. She looked gorgeous in her amazing clothes, perfect hair, jewellery. I felt a pang of envy, or probably just a great deal of admiration. Because she never lost her spirit. Ever. She was always a work of art. And I want to do the same. Out of this simple but intense operation, I want to create beauty, to spread beauty. 

And also, as a footnote, to those of you who complain about the NHS: they are pretty good. 

Scava ombre profonde

I was thinking, while doing an ECG for my new hip, I was thinking that the ECG was similar to my moods, little peaks and lows, smaller, wider, higher, lower.  I was also thinking of how polarised my mood peaks are, with a high = collect, and low = discard. In the high peaks I get excited about collecting everything, creating, reading, watching, doing, a magical whirlwind of stuff. In the lows, I entrust my memory with all the work, and believe that anything written, anything physical, will choke me more than give me joy. All of these waves are as frequent as the ECG, it's the rough sea of my life, and the more I sail it, the less I seem to know the way. I spend quite some time in these ruminations, trying to convince myself that collecting, keeping, writing down, making, is always good, even when the belief wavers. And I get a shiver of happiness thinking of Leonardo writing about his soup becoming cold, and Tolstoy's diaries, so many that nobody will ever accomplish the task of translating them all. Yet Tolstoy didn't write his diaries for 15 years. 15. OK, he was writing War and Peace, in the meantime, and maybe then watching football on TV (I know what you are thinking). But for 15 years his ECG must have changed. And Leonardo was not always happy, or hardly ever, for that matter. So, it's not about happiness, most things aren't. Perhaps it's about sharing. You collect, you preserve, you share. But then, in the lows, I wonder whether it really is important to share, whether it is even possible. And all the work that goes in it, self promotion, the effort (not much) to be understandable, or just to be present. But in the highs of travel, the exploration of new, old, rediscovered, reframed, there is so much, so much wonderful stuff, that quickly leaks away through the sieve of memory, and it's lost forever. Or not. I'm not sure. Did writing about soup help Leonardo fly?

Junk

Contrary to public assumptions, I'm not a hoarder. I don't keep 'just in case' things or 'you never know when you might' things. Everything that doesn't have an immediate or obvious purpose goes straight in the bin, black or green accordingly. So when I decide that it would be nice to do a project with cereal boxes, or plastic bags, or cardboard... well, I don't have any. But junk seems to accumulate so fast, I cannot really keep it 'just in case'. So here is my solution - a small art junk box next to the recycling bin. When it's full, I rummage through it and try to make stuff. What doesn't get used goes into the recycling bin, and the box no doubt will be full again with new junk in a couple of days. Now, the content of this box is rather uninviting (unless you like garden peas). Will I succeed in making interesting things out of it? I'll keep you posted. I am also tired of buying stuff. It seems like everyday I can think of something that I NEED to have. So, I'm taking a break from buying and I'm developing better problem solving skills instead. I use what I have or find what I don't have in creative ways. What's the meaning of it all? None, really. It's just a game, a challenge, a puzzle. When I'm bored of it, I'll stop. But something tells me I won't be bored for a while. It's nice to be back at blogging, too. Sometimes life is gentler.

My life with Bowie and mirrors

Me in my Bowie days, age 18

One day, when I was a kid, I found a discarded, tattered journal. And in every page there was a picture of a creature who cultivated, or had, an odd and profound beauty. To me, already obsessed with fragility and ephemerality, this young and old, male and female ker with orange hair, who sings My Death Waits, who know Jacques Brel, like my father knows Jacques Brel, like he actually is Jacques Brel, and the other Jacques, a whirlwind of feullies mortes in Paris. To me, he becomes the key to a mirror maze, where history repeats itself with so many minute variations that you find yourself lost and so far away, seeing reflections that don't see each other, and walls that are not really there. I needed to hear him, though, not just look at pictures glued in somebody's book. A friend goes to London and I ask her to bring him back to me, his voice, his words, a piece of his stage. And she comes back with the Man who Sold the World. And I stand in front of my wall, of course, and stare at it so deeply that it melts into the other side. The night side, the blurred boundaries. And my own mirror where I practise to kiss, wrapping myself in a feather boa. The street is silent, the room mine to play with, the shackles still in place. But the boundaries have become blurred. And this is Genoa, not too spiritually far from the Port of Amsterdam. Genoa, with its streets of decadence, struggle, red light prostitution with creatures of all ages and sizes and multiple variations of sexes. Was that not a stage? A play of mirrors where the red light smooths your skin, where the too young seem old enough, and the too old are still good for a night, or to hide you under their beds until your crimes are forgotten. Crimes, I had committed none, I preferred dreams. And then Jean Genie was another piece of the puzzle, although the roofs were a mixture of Florence, Paris, the greyness of the Genoa slates, and not so much of New York. And it was Jean Genet that I followed, not yet Iggy, through the meanders of his Lady of the Flowers, his bizarre films, his castling in prison. While my father tried to point out that the lumpenproletariat didn't even know (or care) about the Nazis. One little twist of the mirror and the scenario behind is totally changed. I found my Lady of the Flowers, called Cinzia, who liked to embarrass me by comparing freckles. She wasn't interested in girls, and her world was so remote from mine. Then aliens came, and 1984, that my father said it had been safely written or published in 1948, not during the war. And the game continued, where he knew my every move, from a slightly different angle, and introduced me to a world of real cabaret, Paolo Poli, who called me Grillino (little cricket). And not White Duchess. I am, after all, still a Grillino much more than I have ever been a creature of the night. Bowie taught me about different worlds, the flimsiness of self definition, the constant search, the slight changes that become rifts, that become slight changes, and that eventually melt into one marvellous, harmonious, if dissonant, melody.

Inertia and other revelations

What does 'LIES' mean? Was it written by a disgruntled passenger 

with no room for his suitcase? Is it the name of a kid with an unfaithful parent?

Was it a comment to a conversation?

While I was on the train today, I noticed this intriguing graffito. A battle immediately ensued in my head between Adventure and Inertia. Inertia suggesting that I could photograph it another day (?), or, better still, never. But because today was a day filled with revelations, Adventure prevailed. Inertia was talking with a voice very similar to Depression, 'Why should I bother taking this picture? What's the point? Is it consistent with my unity, is it in line with my consistency as an artist, as a poet, as a brand, as a friend, as me? Is it revealing, unveiling, understandable, useful, progressive?' One of today's revelations is that Inertia is the force that stops you from overcoming imaginary obstacles. The obstacles can be summarised as the difference between who we are striving to be and who we are. In most cases we are striving for acceptance, hence we are striving for whatever image of adulthood we've had in our head since the age of four. We look up to people we are incapable of emulating, as we see them as real adults, while we see ourselves as promising kids. As we keep on failing to become like the adults we admire, we hope at least in their benevolence, in their acknowledgement that eventually we'll get there too. Of course, when the kid in question is older than the accomplished adult he/she wants to impress, or when the admired adult is already dead and cannot validate you anymore, Inertia steps in to save the unity or integrity of the dream. It protects the dream from shattering into a million imperfect, immature, pieces. The faulty logic is that, in our solipsistic nature, we project ourselves into others, and look back at ourselves with disdain for having failed to reach all those goals that are, ultimately, only known or important to us. Until today, I thought that my goal was to please my dad and Pablo Picasso, and I tried so hard to speak a language and follow a path that were not natural or even possible for me. It's a lie, I didn't try hard at all, I just listened more to Inertia than to Adventure, because, in order to impress my dead heroes I thought I had to be deliberate, know my destination before embarking on the journey. Who I really am, though, is a vagabond, led by an insatiable curiosity and a relentless douleur de vivre. Wherever my mind takes me, there is where I need to go, no matter how winding the path, how many real and imaginary obstacles, how uncertain or far away my destination. When I see it at the horizon, I am sure I will recognise it.

To hell and back

I've always been intrigued by different realities, different states of consciousness, and the idea that, armed with your accumulated wisdom and the right mental tools and training, you could just close your eyes and astral travel. I was sure that the umbilical chord that keeps the astral you attached to the awake, "normal" you, would snap you right back in place with no effort at all. I thought I knew a lot, and why shouldn't I? I have a first degree in philosophy, a PhD in ancient philosophy, and I spent my entire life studying religions, spirituality, psychology, anything to do with the mind, the exploration of the mind, and the mysterious Universe. Which to me, of course, held virtually no mystery... So, what exactly happened on the night of October 15th, when I closed my eyes and suddenly fell from a state of joy into a world of utter terror? When, from a place of certainty, I ended up on quicksands? When, instead of one umbilical chord linking me to me, I found dozens, and didn't know which was the right one? We shall never know. Because you cannot really understand a state of consciousness when you are in another. It's either or. Either sane or insane, happy or unhappy, dead or alive. Of course, you can tell stories, anecdotes, recall images, try to relive (or forget) the emotions, even, to a degree, describe them, but you cannot be in two places, you cannot reconstruct the dynamics, the feel of that other place, most of all its logic. The climb back out of the hole is still going on, but today I felt like putting some of it in writing, creating a distance between today me and the me in the hole. I've learnt a few things in this journey: we are not always in charge, we don't know very much at all, we are vulnerable, yet the force that holds us together is pretty strong. And we mean to others much more than we think. Time, patience, faith and our internal guiding system, for how confused or blurry it may seem, will eventually takes us back into the light.

What travels

You are here. Your senses tell you so with certainty. You can touch the surfaces and taste that scrambled egg you just cooked. You sit in the hot-tub wondering if a big black bear is going to climb over the fence. You hear the fountain trickle. You are here. But not in a permanent, historic sense. No time continuum has brought you here, a job or family in Tahoe, a cabin for sale. No, you are here, but only in the moment. Now. You are here NOW. But if now is all that ever exists, then, if you really, really, relaxed into this immense feeling of belonging, you would perhaps find the KEY that shifts you into a different continuum, the one with the past and the future you always wanted. In this expanded windy morning, out in the desert, in a later now, you try to imagine what kind of act of rebellion or enlightenment would have brought you to live here, in that other life, of which you are only living, intensely, the now. Later still, you look in the mirror, the same mirror you looked into last year, and the year before. You have more wrinkles, you are skinnier, fatter, fitter, less fit than before. You discover that now, as you are not protected by your continuum. You are naked. You also find that you are not as flexible, nice and funny as you thought you were. Divided as you are between fear and bliss.
As you travel, you morph into a new person, you shed some resentment and grow jewellery, new t-shirts and hats, sunglasses and a tan. All of these things, you think, will keep me here. Time is slow at first, and during the walks on the beach with your travelling companion, the now and the future of here seem so permanent, so exciting, so infinite. And your past, really, doesn't feel that real. It's a remote blue planet seen from space, round and simple, easy to conquer. Your life seems easy to conquer. As the journey progresses and time suddenly accelerates into shorter and shorter nows, the walks and talks on the beach change intensity, not so much about future adventures, but on ways to bring back all of this, to pack this light, this sun, the funny dogs that lick your knees, the chollas, the desert, the swimming pools, how to pack all of this in your 23kg suitcase. And, in the safety of distance, you approach conversations based on change, on solving, on climbing mountains, conquering the universe. But the very last night, while emptying bins full of your discarded bottles, hiding in the shelves the books you thought you might want to read and now are not so sure. While you pack all your knick-knacks, bits of stones and driftwood, the pain of separation becomes overwhelming, the light seems to dim, and you find yourself walking with your partner on a dark beach, staring at the stars, and feeling that you are now torn even from him. Because you've failed. You failed to find the KEY.
Silence on the plane. You try to sleep but your eyes are full of images going faster and faster. And then. Then you are here. For real. Although, it doesn't seem real at all. The key fits the lock. You slip back into your continuum. But it doesn't feel right, at all. You sit on what you rationally know is your couch, and think, I can't cope. I WILL NEVER COPE AGAIN. You open the suitcase, pull out all your knick-knacks and new t-shirts and put them on the floor. They are all dead. You take your socks off, and there is sand between your feet. You look at your partner, shyly, "We are still there, aren't we?". We are still there, where we belong. In a life without continuum and just an expanded intense magical now. You realise that all the stuff you put in your suitcase, the sun, the rented car, the museum tickets, has lost its fizz, like imported champagne. You are here, again, naked.
Too much sleep or not enough sleep, images flitting, tan fading, bills paying, going for local walks, slowly, some of your cachinas end up on the TV shelf, some new recipes sneak into your cooking routine, and a sense of achievement, peace and expansion slowly takes over. We were there, you say. We were there, together.