Wednesday, September 15, 2021

Orphic Line

What day is it 
It's everyday
My friend
It's all of life
My love
We love each other and we live
We live and love each other
- Prévert

Text of bliss: The text that imposes a state of loss, the text that discomforts (perhaps to the point of a certain boredom), unsettles the reader's historical, cultural, psychological assumptions, the consistency of his taste, values, memories, brings to a crisis his relation with language.
- Barthes


1. Devil-headed. Severe. Those who transfix and those who fall under the wheels. Those of boredom aside also. We are here to stand and observe before the bliss-text. Remarkable, such as to bear remark and ravaging. We used to speak a good deal about the blind diode as a means to not speaking about vantage point. I am on a circuit board; I am shooting out with speed. I am moving suddenly longitudinal and suddenly latitudinal, and I am moving faster and faster because this ritual is pure thirst for me. A film critic I like once wrote: "There's an exciting brand-new object in the world, and it's called Moulin Rouge." To that I counter: may it ever be so...

2. Barthes, the wise and blister-prone observer and negative flâneur, reminds us, in Pleasures of the Text, to make the effort to keep our pleasures leashed and domestic. Pleasure, at any rate, is already the process of counter-pleasure because pleasure cannot stop its fervid demystification of the already established. The mystical part of our pleasure becomes like a phantom limb or a vestigial one. Yes, okay, Love is Our Secular God until Love is no more than Sputtering and Suppurating Intensity. Right. Then it becomes the God of Life Itself. The Secular God had closed down shop and hoped to squat there indefinitely with the curtains drawn. Orpheus from Underground, Oedipus the Hero! Where do you stand in this complexivity of fetish? BLISS|OBJECT. How do you get your groove back, Stella? Are you just myth bound to desire and terminal flight? Wherefore art though, Moulin Rouge?

3. Getting out of prison and trying to stay out, Our Man Jackson declares war on society, buoyed by Love Moist Elemental [read: Aristotelian]. THE SOCIAL [myth] seeking to put Love [sex/kink hoodwink] back in the spot where it belongs. (Spot is a dog's name.) All blockbusters hate themselves. All blockbusters spend a lot of money on things to put into themselves in order to pretty themselves up. Is this auto-critique? Is this auto? Maybe it's mightily multiple! We begin by entering the giant complexivity of sideways spectacle and the scaffolding where its future parts are to go and erect. Theatrical as all this is, our introduction having commenced with the insinuation of actual material orchestra in the flesh (and gabardine), 20th Century Fox was always going to need a wand for that logo, this stolid monolith looming before my baby child. Immediately it is both clear and not so clear what a whore is. The onus is evidently on me. I had not been looking carefully, Ferdinand, but the wand has a conductor, and the conductor is attached also to the orchestra. I'm kinda freaking out here a little! Okay, okay. The ambiguous placement of the conductor-agent makes me realize I am being misdirected by aristocrats with sinister stratagems. I wonder where they all are. Come out, come out, wherever you are. I intuit incoming fatalities.

4. Spectacle is an additives machine. Bohemians love additives. Making of Love a Pop Sickle. Indulge in your fetish; pounce on your prize and pulverize it. Holding God, Holding Love, Up Against the Duke. Up Against the Pistol, motherfucker. Tragicomic, inevitably. A rigged game; a rock video. A sad song, paint-by-numbers. Its bliss remains intact. And in text. Golly, guys. I think it prepared its critique before it came out to join us! It has been fooling us and fooling us hardy, trafficking in tonal sets and subtonal subsets and stuff. It has been positively throwing singers at Love. If you cannot sing good, please step aside. If you are a backstabbing son-of-a-bitch, you may be upper management material. I love you truuuly...truuuuuly, dear. As in certain films inside certain films by Cassavetes, Love can and very much will fake it 'til it makes it, because that's how you remember the words to "Remember, Remember, the Fifth of November..."
5. You, whoever you are. You have a date with death. And then another and another. Forewarned is forestalled. You have a date, too, with the Moulin Rouge. For me, you are a whore. For me, therefore, you are both a bliss and a fetish. They made a film about you so that you could become all tore up by the complex, with its bureaucracies and intelligences all its own. The bliss text is a honey trap and occasionally takes this up as its subject matter. You got that, kid? Dukes and Pistols at Dawn! Whatever else bliss does, it stands and it spritzes counter to any ideology whatever.

6. The economic problem of surplus is nothing more than the problem of surplus, but then as such it becomes the problem of too much of everything, per se. Is the ending of McCabe and Mrs. Miller nihilistic? Per se? You are just buying the farm in the snow. Listening to Leonard Cohen. Per se. Am I mistaken? A kind and generous resistance indistinguishable from affably stupid generosity of spirit. A guerrilla business ethics and general tone of giddy affirmation. Bliss just keeps on keepin' on, dead on its feet or dropped to the bottom of a child's sinking wish hole. The New may assert its unsteady rights. Inhabitants you've never met may well lay dubious territorial claims. Such bliss! It moves out in all directions and it plum courses. Robert Altman has sheepishly admitted that he simply does not often know how to end a movie without a death.

7. Gilles Deleuze and Félix Guattari: "The more the archaic empire overcoded the flows, the more it stimulated decoded flows that turned back against it and forced it to change. The more the decoded flows enter into a central axiomatic, the more they tend to escape to the periphery, to present problems that the axiomatic is incapable of controlling (even by adding special axioms from the periphery)."
8. The beauty of a terminal or fatalist model is that it cannot help bucking it to the system. The machinery doesn't work; let me demonstrate. Do you see? Overcoding vs. arterial spray. Keep your resistance spraying like a wacky hydrant...and none too idealistic. When the hero dies at the end of a Robert Altman movie, elimination of one particular computer occasions a blissful apocalyptic trans-systemic (complexivity) resonance. REAL CUBAN FIRE. [The Brown River (Great She).] The register of resonance OPENS. A screaming comes across the sky...runs a spread on the network.... The problem of the computer is a headache for the circuits. Name it a failure, and, like each and every one of us, this or that computer will have every right to tell you...especially as we might now be discussing the Sun itself...that its failures aren't its failures so much as they're just its characteristics...

9. If you go to the Moulin Rouge to work there, you already know it's your head. Entertainment is murder and your boyfriend is threatening suicide. Again and again. You think you'd learn to read the marquee. The squeaky mice get real oiled. Boy Orpheus is in town; many a lass must lay down her life. When Michelangelo Antonioni (famously) brought L'Avventura to Cannes, he told everybody his new downer of a picture exposed the 20th century's spiritual malady, his greater [debatably] point being that moral, desiring, and above all spiritual development had grown, at best, static. It is amazing how many problems the people in The Iliad are having the we are having still today. My goodness! And yet technological progress literally skyrockets. Are we afraid of our databases and the broad beyond-backroom schematics that are their ever-moistening future? Do I use the word we satirically? If these and other questions are not on the back-burner, it's simply because I doused them in lighter fluid and burned them to crisps altogether very expeditiously in the tub!

          
          
                   
   
 

Sunday, September 12, 2021

Chloë Sevigny on Your Conscience

 1. Anna puts on a record. It's Count Basie and His Orchestra, a good record



2. Anna has forsaken Chloë Sevigny. She has moved across town with a novelist named Philip Wierzba. They live in a Victorian home with a black Acadian maid who speaks only French. The maid is named Mme. Diddette.

3.  Chloë Sevigny pines for Anna, alone in the loft with the lights out. Always out. She has walked off of the current production and no longer bathes; cannot manage to see any reason in any of it. Well, there fuckin' isn't any reasonChloë Sevigny has quit drinking. Chloë Sevigny cannot even bother to do that. No, even vice seems out of reachphantomic relic

4. Sometimes Chloë Sevigny goes to places that remind her of her years with Anna. When they were both still in love. She visits the Italian restaurant where they drank expensive wine, of which Anna spilt a glass on the red and white checkered tablecloth. The waiter smiled and told them not to worry about it. He could see that they were in love. They walked in a nearby park and fed the ducks. They kissed under the overpass adjacent to the college. Chloë Sevigny stands outside the restaurant and cannot be bothered to cry, although she would very much like to. Damn her, she thinks. Damn that bitch to hell.

5. Anna is too busy on the other side of town to bother picking up the last of her personal items from Chloë Sevigny's loft. So Chloë Sevigny must sit alone in that room suffocating on the memories which these objects bring flooding back. Chloë Sevigny sees Anna clearly when she closes her eyes. Go awayChloë Sevigny thinks. Please leave me aloneSlowly the images of Anna, which drive Chloë Sevigny to an endless distraction, begin to move. It all starts with looking out the windows of passing vehicles. Through foggy glass, her face slightly distorted but possessing that unmistakable look of callous indifference that became more and more the ruling aspect under which Anna cast her own life, up until the point she moved out of the loft. Peculiar visions. They begin to transubstantiate. The face, for example. Now it's Vishnua mountain before a sea of flames, grotesque tentacles reaching out into an endless horizon. Chloë Sevigny begins to hear sounds that are too loud to be loud and too quiet to be quiet. These hallucinations shouldn't even be called hallucinations. As meaning, something about the implicit content of the universal vies to vacate itself and it were as though Anna were an obstruction—a veritable  stone in the kidney. Everything, Chloë Sevigny imagines, is disseminated from her, the movie star and forward-thinking trend-setter, and she in turn from everything else. Anna, Chloë Sevigny decides, is a gauntlet unto the infinite. A volatile angel of eternity with a hard, cast-iron shell. This induces panic. There is much frantic, desperate activity in the loft. A felt marker in the desk proves effective at blacking out Anna’s face in all of the remaining photographs, which it then turns out can be burned, except for one especially infernal and persistent one in which Anna is seen clutching a noose made out of a belt in one hand and a toy gun in the other. Chloë Sevigny burns everything else that reminds her of her years with Anna. Finally Chloë Sevigny cries. And returns to drinking.

6. Anna quits her job at a popular magazine in order to stay home with Philip Wierzba who is writing a historical novel about a Cuban sugar plantation run by a brutal aristocrat and his sexually ravenous wife. The novel is narrated from the perspective of two slaves, one of whom is a man seduced by the plantation owner’s wife, and the other a young girl who turns out to be his sister. Anna thinks the novel should be called The Other Cuba. Philip Wierzba is leaning toward Black Blood. His editor dislikes both titles vehemently. Anna and Philip Wierzba do a great deal of cocaine and go to parties. Most days they take Philip Wierzba’s boxer Petrarch for walks in the nearby park where he enjoys chasing sticks into the pond as well as running after children and smaller dogs. One day Anna sees Chloë Sevigny's Agent hanging around outside the front gate. The next day she finds a photograph, packaged in an unmarked envelope, slipped in with the rest of the mail. In the photograph Anna clutches a noose fashioned from a belt in one hand and a toy gun in the other. The head is missing. On the back of the picture, Anna finds a message written only semi-legibly. The only words she can make out with absolute certainty are death and foreverAnna places a non-emergency call to the proper authorities.

7. The police show up at Chloë Sevigny's Agent’s apartment. Chloë Sevigny's Agent is drunk and hallucinating. The police inform the party in question that Anna is going through the motions of filing for a restraining order and that the party in question is to stay five hundred yards away from her and cease all correspondence immediately. Chloë Sevigny's Agent says he doesn’t know anyone named Anna. The police leave.

8. SOMEBODY IN THE SEVIGNY NETWORK buys a cat and names it Anna. Eventually this person drowns the cat in the throes of a binge. Discussions break out on the Deep Web. Rumours persist and they windmill: THERE IS FOOTAGE.

9. Anna leaves Philip Wierzba for his drug dealer. She claims the differences are irreconcilable ones.

10. There are Chloë Sevigny sitings. Some local grifters claim to have seen Chloë Sevigny purchase a black market firearm it is then rumoured she promptly sold, for fear of the foregone. This is odd because obviously Chloë Sevigny originally bought the gun in order to do something she intended to do. One would imagine. The general consensus is that this is all neither here nor there.

11. Anna leaves the drug dealer after he hits her. She takes fourteen grams of cocaine, a Rolex, and assorted household items with her. She briefly contemplates going back to Philip Wierzba, but decides that she would rather ask the editor at the magazine for her job back. She would, in fact, rather chew fucking glass. She is rebuked by the editor, and eventually runs out of money & goes back to the drug dealer.

12. Chloë Sevigny's Agent  begins seeing a psychiatrist who puts him on atypical anti-psychotics. He is unable to quit drinking and ingests much more than the recommended daily pill intake, sometimes using odd combinations. The more he drinks the more pills he takes. He begins having anxiety attacks which his psychiatrist tells him is nothing to be worried about for the time being. During these attacks he has visions that make him feel he has attained satori. He has visions of Anna again. He begins reading books about zazen. Then he has a heart attack. He is broke because he has long since quit his representing anybody. His older brother keeps him company in the hospital and offers him money, listening patiently, the whole while, to stories of Anna.  

13. Anna has another fight with the drug dealer in which she stabs him. The drug dealer is taken to intensive care. When Anna goes to visit the drug dealer at the hospital she bumps into Chloë Sevigny's Agent's Older Brother, who she once met at Thanksgiving. The brother tells her all about Chloë Sevigny's Agent's heart attack and his exceedingly strange behaviour leading up to it. Anna is stunned. She goes home without visiting the drug dealer. She cannot sleep for days. She stays up all night doing lines and thinking about Chloë Sevigny. She wonders if she was unfair in leaving her. The more she thinks about it, the more she believes that it is her actions that set off a chain reaction leading up to Chloë Sevigny's Agent's heart attack. Anna wants to go visit him but is overcome by shameShe falls into a drug-addled despair. One night the drug dealer, who is out of the hospital and staying with friends, calls her up, dead drunk, and threatens to kill her. She packs up all her stuff and rents a room at a rundown motor inn. On the outskirts, naturally.

14. Chloë Sevigny's Agent gets out of the hospital and successfully finds work. The new employer sympathizes with his new hire. The employer also has a bum ticker. Both men are also effectively "in recovery." The flat is redecorated.
    
15. One rainy Sunday afternoon, Anna shows up at the door. She is soaked and shivering; she clutches her bags in her hands. Chloë Sevigny's Dog-Walker and Anna hug one another and exchange tears for the rest of the day and, once they have composed themselves, decide to go to the Italian restaurant where Anna once spilt a glass of wine on the red and white checkered tablecloth. Anna and Chloë Sevigny's Dog-Walker then make love in the park, surrounded by trees.

16. Anna moves back into the loft. She gets a job answering phones so that she can be close to Chloë SevignyMost nights Anna and Chloë Sevigny's Dog-Walker walk in the park, arm in arm. They dream about the future. Anna is pregnant, but, ever indecisive, decides not to tell Chloë Sevigny until she is sure about what she wants to do. She is afraid of getting married and feels that it might be wrong to have this child out of wedlock. Anna undergoes a crisis of conscience.

17. Chloë Sevigny's Dog-Walker has forsaken Anna. He has fallen in love with a model from Belgium. He sees her on the sly. He still loves Anna and is confused. He drinks heavily. He decides to keep loving both women until it explodes in his face.

18. Chloë Sevigny's Dog-Walker asks Anna to marry him. Chloë Sevigny bursts into tears.

19. The model from Belgium is pregnant. Chloë Sevigny asks her to have an abortion. She says no. It goes against her moral code. Chloë Sevigny's Dog-Walker feels he is obligated to be there for her and the child. After all, he loves her very much and the baby is his responsibility, too.

20. Chloë Sevigny's Dog-Walker leaves the loft late at night with nothing but an overnight bag. He kisses a sleeping Anna on the forehead and slips out through the front door, evading Chloë SevignyHe takes a cab to the model’s apartment. They make love and talk about the future. He quits his job over the phone. No more dogs!

21. Chloë Sevigny's Former Dog-Walker and the model have a son named Tyler. He is born slightly premature but quickly becomes healthy and fat. The three of them move into a townhouse in another city. They are very happy.

22. Anna quits her job after the abortion. She takes drugs and drinks too much. Buy she' going places.

23. After a year of marriage, Chloë Sevigny's Former Dog-Walker begins to wonder if he made a mistake. He has reoccurring dreams starring Anna in which she and he make love in the park, Anna's hair caught in the serpentine breeze, her eyes ablaze. He begins to have anxiety attacks

24. Chloë Sevigny's Agent suffers a fatal heart attack.

25. One morning, Anna, who has pulled herself back together yet again and is working for a local newspaper, reads that the husband of a well-known model of lady’s undergarments has died of a heart attack in a nearby city. She is stunned. She wonders if maybe it was the memory of her, and how he had forsaken her, that brought the heart attack on. She feels partially responsible. But not in a bad way. No. She feels partially responsible in a way that makes her smileShe finishes her coffee and goes back to work. It is a wonderful, sunny day, full of possibilities. Everything seems as it should. She decides not to attend the funeral. After all, she has a whole life ahead of her and a new career to worry about!

26. All agree, Chloë Sevigny's Agent’s funeral is a smashing successthe event of the season




Wednesday, September 8, 2021

Scènes condamnées

As for me, and I come back to it, I attach enormous importance to form.

Enormous. And I believe that the form leads to the rhythms. Now the 

rhythms are all-powerful. That is the first thing. Even when one makes the 

commentary of a film, this commentary is seen, felt, at first as a rhythm. 

Then it is a color, (it can be cold or warm); then it has meaning. But the

meaning arrives last.

- Robert Bresson

A Man Escaped (Un condamné à mort s'est échappé ou Le vent souffle où il veut, Robert Bresson, 1956) 

The profoundly impassive man of curious scalpel-precise expressivity is named Fontaine . He is played by a non-professional (François Leterrier) the film's director calls a 'model,' this the term he uses for the entire on-camera company. He is condemned to death in the film whose title tells us so 

just as it tells us, at least in original French, that he is to ultimately escpae with his neck.

 

There are the man's palms and the business of their irreducibility of business. They have to be busy. Somebody let me out of here. Palm up on lap. Weighing light. Weighing the weighing of the question of weighing light. Weighing the weight of the very supposition of light. We are in the back seat of a car, traffic noise can be heard but it is distant and impossibly [calculatedly] soft. Hands turn over on the lap. Irreducibility of the hands. The image encases us in the back of the car while the sound provides us corroboration of an outer world swamped in cotton swath. Bresson tells us that “freedom is greater with sound.” Here the sound literally represents the terrain of liberation, the outside, while the image places us in the back seat of the car, effectively already in prison.


An air of urgency, made to order. For a film about a man we already know escapes having been condemned to yet-to-set-a-date hangman's checklist, and yet the idea is that the mechanics of perception might make us make up [comprise and preemptively reprise] a hot and bothered invested-in-the-urgency...donkey.

The driver’s hand on the gearshift, prisoner reaching again for the door, waiting, waiting, pushing open a moment for acting, little fingers tadpoles, critical breathing, inimical breathing, clearly a sense of apprehension mixed with desperation. We hear a horse drawn buggy on the soundtrack but are unable to place the sound until it is corroborated a moment later on the image track. Throughout the film strange unknown sounds are presented to us only to be explained later visually. There is the buggy; there are the voices of the German guards who approach our man and take him to his cell moments later; there are the guards who come to our man's door throughout the film, revealed by their footsteps, their voices, or both; and most strikingly there is the squeaking of the bicycle during the escape sequence, which remains a mystery to us for a good ten minutes before one of our big kids on the skids finally peers over the wall and sees a guard riding it. Over and over we are left free by sounds only to have many of the holes filled in by the image. Many sounds are never filled in by the image. The guns that execute the prisoners in the distance are only ever heard. The voices of the guards are almost always disembodied. Sounds of movement outside the cell maintain a perpetual air of mystery.  

There are two specific ways sound is used in A Man Escaped to field dialogic resonating complexes (real) with respect to dynamics of freedom (virtuality) and containment (actuality). The first way is of course rather obvious. Sound as a terrain of liberated virtual space and invitation to abstract/virtual extrapolation/cartography. The world of flight and ESCAPE LOGIC contains sound, eavesdrop, resistance, unencumbered hands, and light(ness). The world of prisons is the image, the car, encasement, the bolted door

André Bazin espies in the film a suspension of space/time and a stunning absence of “dramatic geometry.” However, our man, lieutenant Fontaine, the model attentif, can hardly afford to come at matters from a like mindset.

We are unable to draw a suitable map of the prison in our minds. Or have we simply not had to try that hard?  This is exactly what our man is doing. He is branching out with his ears at night; documenting with all of his senses by day. All we see is waiting, or, more accurately, waiting counterpoised with bursts of effort and risk. We are confronted, just like our man, with the liberated space of sound and the imprisoned space of action-image. We too are building a world around the action with our ears. Quite simply, our eyes are situated on one side of the wall and our ears on the other, while we remain outside of the film. We build a film we watch and hear lined up against a wall, martial takedown or liftoff, experiencing points of connection, convergence, and intensive disjunction.

At the same time: guards, industrial machinery, draconian aurality. It is precisely these sounds that make it so hard for our man to carry out his escape. Using his ears, “dramatic geometry.” He is confronted with many sounds that re-inscribe imprisonment upon the sensorial body, connecting our man and his audience together through sound. It is difficult to “take the plunge” offered by the liberating enterprise because everywhere sounds retain their music of the prisons and ritual debasements. As escapes open, prisons re-inscribe: the plane of exposure. As soon as our man and his boy conspirator leave their cell there is no going back and this cannot be anything other than a done thing considered from any and every angle. All sounds become condensed, intensified. Sounds emanating from sources organized to vouch for and stage imprisonment can map a “dramatic geography,” or can be perversely fathomed to further induce productive building and risk within a context of conditional exposure The man arrives at the point of hearing himself and hearing the doors bolt shut there too. Or this is presumably what is at stake. (If I know it, it's 'cause I feel it first!) Sounds become important on the plane of exposure and then become the enlivenment of the planar exposure. What is most frightening to a man is his own future voice (preserved from one local-specific execution or not). It is “the noise I made and the constant fear of being caught.” The electric charge of chance further condenses and distills the sensory-motor vibrations while simultaneously increasing intensification in general. A realistic/naturalist bodily tension is created, nowhere to be seen (or heard) in standard prison movie fare. 

It had been cemented at the outset. Hands reach for the door, as such reaching merely and instinctually for the perhaps better. A sure hand conditions these tremulous claws-in-search-of-nook. Apprehension and desperation. Hand pulls away nervously, only to regenerate the gesture again and again until the courage is there. The ears are builders of the plane of exposure and the fingers tickle invisible ivories. The model must bridge the gap with his tools: hope, the momentary courage to act, the prevailing dumb luck that is all that which is left standing in the interim (the circus tent never an adequate hangar, this it's preeminent virtue). 


We bust from the car. Bust out. Blast off. 


At the beginning of the film. 


We are shot at, you are returned, I am beaten. It is because somebody lacks the third and final tool. Too many critics have mistaken this tool for something other than dumb luck. It is something other than luck, though, unless luck vibrates. Shut your mouth a moment and look upward. 


The hardest lesson I ever learned about escaping was to shut my goddamn mouth.


Tuesday, September 7, 2021

PHILIP WIERZBA IS THE REAL DEAL

 

I have been thinking recently, particularly late at night when Lydia goes to town to see a movie with her lady friends, of my brief business relationship with Philip Wierzba. It was some years back, when I lived in Canada and still worked in the legal profession (please don't ask!). Late at night, when my mind finally wanders from the rheumatic anxieties of the day, I think about the first time I met Mr. Wierzba on 47th street at Sam Kabobby’s All-Night Diner fix.

It's the final minutes of the day, when they are doing their thing and I mine, surrounded on all sides by silence, Philip Wierzba slipping through the shadows, grey sheets hung out, one half mile from his dark third-floor apartment. Anyone passing him on the streets would have noticed, conspicuously suspended in the tight grasp of his clenched left (conciliatory?) hand a weary looking manila envelope festooned with a large, seemingly official stamp. Now, any guess as to the nature [furtherance] and content of that envelope would have been common hearsay, both because of the unreconcilable contradictions in the appearance of Mr. Wierzba, and because of the consummate weirdness implied in the very principle: clandestine landscaping figure, looming like animated monument, sliding through the grey sheet streets of this, the infamous northern end of town. He would have been an impossible man to place and his business could have been anybody’s guess. On the rather extraordinary subject of Mr. Wierzba’s appearance, I shall take this time to note some of the presiding elementals: 

He was dressed in a long, dark, Hamlet-like coat. The Dane.

He was wearing an old pair of horn-rimmed glasses like a goddamned owl and a brown journalist’s cap that had seen a great many better days. 

Stylishbut strangely small, and mainly strangevest in rather, uh, pressing need of ironing. A dirty pair of white tennis shoes. 

All this was combined with theand this is the only way to describe it!—incomprehensibly childish character of Mr. Wierzba’s waggishly youthful face (in the mouth of which was perched a lengthy, manure-smelling cigarette, of explicitly foreign origin).

Mr. Wierzba is as rigorously intelligible as an open book and was so as soon as you set eyes on him, his tending to carry himself in a rather regal, yet simultaneously absent-minded fashion. A girl we both knew (!) said she thought he betrayed the impression of being wrapped like a gas station tuna sandwich in a sort of mysteriously wealthy clown wrap, or perhaps a drunken aristocrat cloak. One way or the other, it is safe to say that Wierzba is incapable of moving through an urban setting/environment without causing something of a mass panic, eyes violently collating his every baroque movement, children being shielded from his wobbly approach, folks changing their course to avoid the inevitable altercation with him. These responses, as well as many others cast under a similar aspect tend to follow Philip Wierzba like a catamaran plague. However, on the day in question, he was in the part of town where nobody seems to pay him any notice, perhaps explaining certain underlying reasons for his having chosen it as a place to live shortly thereafter. He was drifting furtively through the dusk totally unnoticed by anybody excepting small dogs and the odd child. (Odd, to be sure!) Even those who periodically would pass him on their way(s) home from a friend’s or whatever or rushing off to some place of debauchery, say, would not bother to turn their gaze toward Wierzba. And those who would quickly feast their lifeless eyes upon the towering cuss would not expend the energy necessary to dwell upon either the beheld or the beholding. Philip Wierzba felt as free as he ever had in his whole life. I know this because it says so in one of his journal entries, which I have splayed open across my oak writing desk at this very moment. Here is an image of him camped outside the Apple Store, gearing up for that saviour hour...
At the exact same time that Philip Wierzba was discovering freedom, I was reading the Friday paper (it was Sunday), alone in a discreet booth at the back of Sam’s. Wierzba's choice, not mine. I was waiting for my mysterious guest to materialize. In truth, I had chosen the booth at the back so that I could drink from my flask of Scotch undetected. I would be deceitful if I said that I was not a little nervous about the meeting. I had never met Wierzba and had only talked to him briefly on the telephone two days previous. He had called my office desperately demanding to speak to me, this pro-pulsed by an apparent recommendation from a close friend; my secretary had repeatedly insisted that I was too busy to talk, but apparently he was rather obstinate, a claim which I was soon to validate through my relations with him. He could not be deterred. My secretaryI think it would have been "Damn it" Janet Turner at the time, an all together pleasant womanwas eventually forced to relent, pro-pelled to total mental exhaustion at the hands of the painfully insistent churl on the other end of the line. She handed the wireless telephone to me with a look of dismay and a quick semi-coherent apology as she rapidly scuttled back out to her desk. My first impression upon speaking to Mr. Wierzba was that he was totally, stark-raving mad. I am not sure if this impression originated from what he said or the manner with which he said it, both of which were rather immediate in their peculiarity. Definitely, though, this was my impression. His voice possessed a bohemian, mock-professional/professorial inflection of the kind one would tend to associate with young, absurdly contrived hipsters. However, this quality was offset by his immediate and clock-regular proneness to flights of half-lucid fancy. For example, a brief explanation as to how he had come into possession of my office phone number quickly evolved into a treatise on dwindling privacy in the late 20th century, which in turn shifted his interest to some friend of his who had, in the early 1970s, been under constant surveillance by at least five prominent world governments. ("Not to mention free-lancers," I recall him adding.) I retain a vivid memory of having become very interested in this strange voice rather immediately. Many of my colleagues in the legal business, I can imagine, would heave most likely, after concocting some vague excuse and dispatching some necessary pleasantries, hung up on Philip Wierzba without the slightest hesitation. Something held me there. Something prevented me from putting down the receiver or fabricating some quick lie about a meeting. It was not so much that I had nothing better to do. I was actually rather busy, I recall! It was simply a case of my having become unwittingly interested in this man on the phone. I was ready to entertain what he had to say. He, I figure in retrospect, totally sensed this...

As I was taking a hit of Scotch in the back of the diner. I am sure. I am sure. I am surely sure, sir, that all of this information was filtering through me. I must admit, sir, sure, that my recollection on the...the matter is...hazy. Sure. Surely. Both in lieu of the slow... stinting effects of the Scotch and because of some anxious residue retained from an earlier argument with Lydia. Oh, fuck me. One of all too many that day, that week. This series of arguments had been surrounding and covering [combat through grey sheets and streets] my penchant for periodically not calling her or coming into contact with her for exceedingly long periods of time. I felt her to be overreacting, mostly because we had only been seeing each other for a very brief interval and because I did not feel that I had been avoiding her. I chalked up her irritation and tension to the fact that she had recently, for baseline economic reasons, been forced into taking up a job as a counter-girl at a doughnut joint whilst I held the comparatively superior position of lawyer.

At any rate, one thing I recall quite vividly about that early evening at Sam K’s was the particular urban squalor of this unusual place. I wondered at Wierzba’s potential motivations for having chosen it as a place ideal for his specified form of legal consultation. I cannot remember the waitress, and, of course, there must have been one, but I do remember that the only other two people in the place were drinking coffee alone. A middle aged woman, with her face caked in many-day-old makeup and the rest of her cocooned in an almost tangible aura of despair, was sitting up at the bar. (As this was/is a "diner," I suppose you cannot really call it a bar.) She looked like an old, diluted prostitute making the best of a still intact, but fleeting, lucidity. Looking at her, I remember being flooded with a sort of melancholic grey of sheet street. She made me feel sad, uncomfortable, and ridiculously alien. On at least one occasion, the image of her, sullen and detached, pushed me to the verge of abandoning the diner and consequently of aborting my imminent meeting with the strange and insistent Philip Wierzba. She turned to focus outside the diner with an expression that appeared as if to be fixed on the dissolving ghost of a long-gone lover, suspended in the atmosphere before her, and it was nearly more than I could take. She held a violent air of division. She was the Living God Twitter its pre-incarnate and incarnate and post-incarnate self. She was drinking straight from the moat surrounding the Tower of Living Babel. There was also a man sitting in the furthest booth away from me, next to a primitive and I suspect long-since-defective jukebox. If not for periodic spasms in his left shoulder that would trickle with seismic accession down his aging arm, I would have taken him for dead. I only saw him sip from his coffee cup on one, fiercely laboured occasion. He wore a tattered old Expo’s cap and a thinning shot-to-shit tweed. I was too half-drunkenly terrified to look him in the eyes. This seemed no place for me to be in my present condition. 

Despite the fact that I had been carefully analyzing the street through the large front window, I did not see Philip Wierzba until he came sweeping through the second set of diner doors. He entered like a figure in total, perhaps self-mocking control of its surroundings. I knew immediately that this was my man.


He carried an energy with him. And a sweetness. It conveyed itself in his face, his countenance, every aspect of his aspect, and in his movement too. It had been in his voice two days earlier. I had felt it even over the phone, a sense of clarity and drive. There was a causal purity to him. He approached my table with a strangely clandestine lack of eye contact. It was as if he were trying to avoid having our meeting seem anything more than entirely routine. I could not imagine who he might think would be watching us, but I played along anyway, maintaining a drunken disassociation. First setting his large envelope down on the empty table, he silently lowered his wiry body into the seat directly across from me. His mind still seemed to be wandering off elsewhere and he did not speak. I was half glancing at the envelope and half summing up his physical appearance. To this day I cannot understand why his manner and dress did not alarm me; I have already described both, and thinking back on that moment it strikes me curious that these have not been more thoroughly analyzed for clues. I have no real explanation whatsoever. What at all even is this lack of prurience on my part? Suffice it to say that I was not myself that day and that my faculties of judgment were rather bleary. After a minute of silence he furtively shifted his gaze toward me and, immediately comprehensively summating, spoke to me for the first time. His voice crackled and broke. Any trouble finding the place? he asked dryly, with limpid disinterest. Not really, I responded. Good … good. He ran his hand slowly across the envelope that he had placed on the table. Let's get down to businessBy all means. After my having said this, Wierzba seemed to drift back off into his own endless thoughts. Then, without anything resembling a preliminary flurry, his face jerked as if awoken from an ongoing, infiltrating dream or perhaps a local anesthetic. Over the periodic surfacing of which he held no authoritative control whatsoever. I … I have a small …  a small proposition for you … so to speakHis voice  trailing in and out and crackling staticky also. His eyes darted about defensively. I was startled that he would talk in such a fashion. A client had never come to me before with 'a proposition.’ The term suggested to me a partnership as opposed to a normal client/lawyer association. It also kind of scans underworld. Such unfamiliar, and perhaps suspicious terminology made me somewhat uncomfortable. Despite this I politely asked him if he wanted Scotch, which he did not, and then encouraged him to pitch me. To put it simply: Do you think I could get a drink of that? He was pointing at my flask. Wait, what?..you just... He merely kept pointing at the flask as I trailed off. I reached across the table and handed it to him. Go crazy. He smiled and drank. I have been doing some rather significant work of late. Dangerous work. And I'm looking for intelligent men in the legal world to do some work for me. Well, not so much work as much as, well .. I am looking for some very easy assistance. He looked down again at the envelope. I am looking for reliable men to hold onto certain…certain unguarded documents. These documents have come upon my person, I must admit, rather…well, rather illegally, but you must understand that my possession of them is necessary. Someone must bring these things to light and it seems, well, let us just say that it appears that I have been chosen.

Chosen for what? 
I asked curtly.

Well, since you ask. The way I see it is that it is up to me and it is my responsibility to blow a hole straight through certain acts of…let us say corrupted acts and actors. He accompanied this remark with a very peculiar system of interconnected hand gestures. Certain people seem to think that they are impervious to the general tenants of quote-unquote "democratic political practice" and that they can get away with whatever they want. It is my intention and the intention of my trust to, well, you know, teach them otherwise. He finished the contents of and passed my flask back to me. His eyes settled into a strange indolence. I sat back and hit the Scotch. But there wasn't any. 

Look I don’t know who told you about me, I said taking another lazy hit off nothing, but I am afraid I must tell you that I’m a small-time insurance lawyer. I’ve never stolen anything of any greater value than an O Henry bar, which I’ll have you know made me feel so bad that I went back to the store, crying, and returned it to the cashier…I was ten

Philip Wierzba looked at me confusedly. 

I’m not James Bond, I added, after a moment’s deliberation.