Close to the Knives. David Wojnarowicz
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in the doorways ahead of me, the rise and fall of his cigarette describing a clear arc, like a meteorite, then disappearing into the shadows of his face. As I left by the back stairs, he drifted out of a room over to the top of the staircase and stood silently watching me descend from view.
Standing in a waterfront bar, having stopped in for a beer in mid-afternoon: smoky sunlight riding in through the large plate-glass windows and a thumping roll of music beating invisibly in the air. Over by one window and side wall, a group of guys are hanging out playing pool – one of them is this chicano boy, muscular and smooth with a thin cotton shirt of olive green, black cowboy hat pushed down over his head, strong collarbones pressing out, a graceful curve of muscles in his back and a solid chest, his stomach pressed like a slightly curved washboard against the front of his shirt, muscles in the arms rising and falling effortlessly as he gesticulates with one hand, talking with some guy who’s leaning into the sunlight of the window; in his other hand the poolstick is balanced against his palm, a cigarette between his fingers. He leans back and takes a drag and blows lazy smoke rings one after the other that pierce the rafts of light and dissolve within the shadows. The guy that he was talking to looked like some faraway character straight from the fields of old skittering wheat and someone I once traveled with by pickup truck with beer cans in the dusty backseat and buzz in the head from summer: dark eyes and a rosy complexion, roughly formed face made of sharp lines and his hair cut short around the sides and back of his neck. Standing there sipping from a green bottle, I could see myself taking the nape of his neck in my teeth as he turned and stared out the window at the rolling lines of traffic for a moment. Light curved around his face and the back of his head, the shaved hair produced sensations that I could feel across the palm of my hand, my sweating hand, all the way from where I stood on the other side of the room. He looked around after turning away from the windows and set his eyes on me for a moment, studying me for indiscernible reasons, and I felt myself blush: felt the movement of the bass tapping against some chord where the emotions or passions lie, tilted my head back and took another swig from the beer, a humming gathering from my stomach and rising up past my ears.
He turns away and the chicano guy leans over the pool table for a shot, his back curved and taut like a bow, arm drawing back to softly clack the balls on the table: a couple dropping into the side pocket, and for a moment the two of them were lost in the drift of men entering the bar. I move over a few feet to bring them back into view and some sort of joke developed between them. The country boy reaches into the bottom slot of the table and withdraws a shiny black eight-ball and advances toward the chicano, who drew back until his buttocks hit the low sill of the window. He giggles and leans his head back at an angle and lets a hardness come from his eyes. The country boy’s face turned a slight shade of red in the light and he reached out with his hands: one hand pulling the top of the chicano’s shirt out and the other deftly dropping the eight-ball into the neckline. The ball rolled down and lodged near his belly and the two of them laughed as he reached in, hand sliding down the chest and stomach retrieving the ball. I took a last swig from my beer, overcome with the sensations of touch, of my fingers and palms smoothing along some untouched body in some imagined and silent sun-filled room, overcome with the heat that had been gathering in my belly and now threatened to overpower me with a sense of dizziness. I barely managed to place the bottle upright on the nearby cigarette machine and push open the doors, into the warm avenue winds, push open the doors and release myself from the embrace of the room and the silent pockets of darkness and the illuminating lines of light thinking it was Jacques Prevert who said “why work when you have a pack of cigarettes and sunlight to play with?”, and listened to the horns of ships along the river, far behind the fields of buildings and traffic, turned a corner and headed across town.
Passing down a long hallway there were glimpses of frescoes, vagrant frescoes painted with rough hands on the peeling walls, huge murals of nude men painted with beige and brown colors coupling several feet above the floorboards. Some of them with half-animal bodies leaning into the room’s darkness with large outlined erections poised for penetration. Other walls contain crayoned buddhas and shining gems floating above their heads in green wax. One wall where a series of black wire-strewn holes pull apart the surface, where crowbars and hammers searched out copper pipes and wires, but still filled with floating faces almost japanese with pink high-boned cheeks and multi-colored eyelids, a stream of hair touched by loving or by winds, small crudely drawn lanterns serving no discernible purpose but to genie these faces from the vague surface of the plaster.
Passing doorways in slow motion, passing through shadowed walls and along hallways, seeing briefly framed in the recesses of a room a series of men in various stages of leaning. Seeing the pale flesh of the frescoes come to life: the smooth turn of hands over bodies, the taut lines of limbs and mouths, the intensity of the energy bringing others down the halls where guided by little or no sounds they pass silently over the charred floors. They appear out of nowhere and line the walls like figurines before firing squads or figures in a breadline in old times pressed into history. Stopping for a moment, I thought of the eternal sleep of statues, of marble eyes and lips and the stone wind-blown hair of the rider’s horse, of illuminated arms corded with soft unbreathing veins, of the wounding curve of ancient backs stooped for frozen battles, of the ocean and the eyes in fading light, of the white stone warthog in the forest of crowfoot trees, and of the face beneath the sands of the desert still breathing.
IN THE SHADOW OF THE AMERICAN DREAM
Soon All This Will Be Picturesque Ruins
I HAD ALMOST BECOME completely abstracted. At some point I think I woke up; I think it was minutes ago or maybe hours ago in this motel room. I never felt a sensation like this before but the heavy plasticized curtains covering the three windows of my room created what I imagined a flotation tank might feel like, or a dry rug-covered terrarium with the glass painted black and fitted with an airtight lid. When my eyes first opened it took some measure of time to realize I’d stepped away from myself among the veils of sleep and with that motion my eyes had disconnected from the nerves of the brain: that area where sight flows uninterrupted. The only vision from back there was a sub-vision: the magnified abstraction of a shiny black abdomen like a motorcycle gas tank or a mirrored black globe. Straining against the contours of the room and its furniture to reach back into that area and retrieve more of its form from the shadows, I could see or feel it for moments; the soundless click of its eight legs tapping the surfaces of the walls and ceiling of my sleep.
Later, drinking watery coffee in the motel restaurant, the hot sun of the day slanted across the highway illuminating truckers climbing into their rigs. In the watery circling of shapes and textures, I saw pieces of anatomy surfacing from my sleep: the lips or cheekbones or the fingers of some man or woman speaking and there was no sound but I recalled some story about a man lying in a prison cell with no sense of time forward or past, floating in either his or someone else’s interior abstractions for maybe days or years or centuries. A small window high up on the wall across from his bed allowed him on tiptoe a view of a tiny piece of landscape, the tip of a rock or the shallow hip of hillside. In this landscape he could never receive evidence of the seasons and the temperature always remained constant. One day he discovered that he could measure the distances of the landscape by lying on his back in the center of the floor and placing the soles of his bare feet against the shafts of sunlight extending diagonally through the bars. With a series of small walking motions he could trace something calendar- and distance-oriented from the lengths of light. It might have been something algebraic but I never had enough of an education to question this and that was the only way it made sense.
Driving a machine through the days and nights of the empty and pressured landscape eroticizes the whole world flitting in through the twin apertures of the eyes. Images in the distance that could fit in the centimeter of space between the upheld thumb and forefinger of my hand carry the compacted energy of the same image close up. Possibly more. Turning the bend in the highway suddenly reveals, a quarter mile away, a highway crew standing in a jumble of broken earth and enormous machines. In that instance I see the browned flesh of a shirtless man in shorts; I see the bare arms and ribs of a man buried in the shadows of a tractor’s cab; I see the bent-over back of a man swinging a pickax with all his might; I see the pale white underarm with the accompanying dark spot of wet hair belonging to a guy up in a cherry picker among the