Wednesday, December 25, 2013

Deep Sleep

In my teens up to my early 30s, I got by on very little sleep. At most 6 hours a day, usually 4-5. I felt most awake in the early morning. I woke up mentally around midnight and hit my most lucid moments around 2 am. According to my grandfather, my father and various uncles, this is the time when ghosts come out. Scary, long-dead, amorphous (usually) women with long hair and no feet who waited for you in outhouses and country schoolrooms. Before Park Chunghee modernized the country through military “democracy.” Before the 1988 Olympics when I got my first bra and perm and playing cards buckled in the humid summer air. Before segyehwa. Before KPop.

When you write or party or watch a movie or have sex or do anything after midnight, time stops or slows down, and everything feels like a deeply significant event. Images, actions and moods take on an enhanced, dreamlike quality. For me it used to be the best time to write. Whether it was a poem, an academic paper or just me communing with myself and my future selves in the many journals I have kept since I was 8.

These days, I find myself craving sleep. Just like I crave food. Constantly. It’s as if living in my mind all these years has finally caught up with me at age 40. And all I want is to live in my body, experiencing as much pleasure as I can in it and through it. This means often turning off my brain. Not analyzing. Not thinking. Not judging. This is difficult for me. Believe me.

Sleep is good for this, because it allows for dreams. I read recently that Thomas Edison used to sleep only 3 hours a day, much like Leonardo Da Vinci, both famous eccentric inventors. Edison would tie metal balls to his wrists and sleep sitting down (while working, one presumes). As soon as he dozed off too much, the sound of the metal balls hitting the ground would wake him up and he would immediately write down any genius ideas he had cooked up in his sleep before he forgot them.

Impressive.

Insane.

I’ve been trying to write down my dreams. It’s hard. I think sometimes forgetting dreams is not bad. Why do we try so hard to remember? To document memories through writing or photos or videos? As if, by reminiscing over who we were in the past – through selective memory – we can better understand who we are and what we have become, or shouldn’t become? But sometimes the memories are burdens, just like histories. Writing can become a burden. Language is a burden.

Deep sleep – with no lucid dreaming, no neoliberal attempts to mine productive commodities from subconscious play – this is what I crave these days, and have decided to indulge in, with wild abandon. It is the most wonderful luxury.

To sleep in.

To not do anything.

To slow down.

To NOT GIVE A SHIT.

To become Luscious Vegetable.

Of course I can only do this when I’m on holiday or depressed. I’m an academic after all. I make my living by being awake, alert. This – “alert” – is the adjective that a PhD supervisor once used to describe me in a glowing reference letter. The sentence went something like, “She is one of the most alert students I have ever had the pleasure of supervising.” I think he probably meant “neurotic” and “paranoid” as well. These are the companions of alert. One becomes awake in this hyper conscious way -- of one’s environment and others -- through training.

When I was a kid, I had to develop really good nunchi. Because my mother who I love and who loves me but who used to be crazy, had a way of communicating her desire and anger in the most inconsistent ways. I had to learn to read her body language so I wouldn't make her mad, or disappoint her, or turn into my father whom she hated. With (some) good reason. My dad – now he really liked to sleep. He slept instead of writing the academic papers and books that would have gotten him tenure. He slept, I think, because he was afraid of the failure that he had become and kept becoming. He slept to escape a life he probably never wanted.

My brother, who is younger than I am, and much more successful (he owns his own company and can make friends with anyone) also liked to sleep. Once, when he was in elementary school, the teacher asked the students in class to to go to the blackboard and write what they most liked to do. Other kids wrote things like, “I like birthday parties … ice cream … Transformers.” My brother wrote, “I like to sleep.” The teacher thought he was a very peculiar child.

Almost everyone I’ve dated – except one strange exception who slept 12+ hours a day – has slept few and irregular hours. In my last serious relationship, I managed to convert my lover into someone who went from sleeping 3 hours a day to a regular 7-8 routine. He was very grateful. He also stopped being an alcoholic for 3 months because, he said, he loved me. But old and bad habits die hard. The lovely fairy tale we lived for a little while is over (the messy dramas documented neatly in my journal for future analysis). No doubt, he is back to the drink and 3 hours of sleep.


I write this in Kuala Lumpur at my friend’s quiet flat in the suburbs. The sky is overcast. I arrived 2 days ago from a conference in Hong Kong. I feel very glam and grateful to the universe. This morning I got up at 6 am then went back to sleep and woke up at 11 am. I am looking forward to delicious Malaysian food tonight. In a few days, I’ll be back in the air (my favorite place, nowhere), watching another bad movie while everyone else sleeps. Then to Korea, the place that didn’t feel like home for a long time. Oddly, it’s beginning to since I left my adopted home of America to live in a third space called Australia. A place where I have no history and no commitments. An in-between, interim place where I can indulge in deep and dreamless sleep every night. 

Part of 잠물결"Restless" - an art exhibit by Taey Iohe, Seoul, December 2013

Saturday, June 30, 2012

Drowning Not Waving

paperclip pricks kill

tiny daily wounds fester
follow random
natural patterns
of swarms of ants and bees

lemmings and their
suicide trajectories:
dark puffy dots cover
the cold surface of the water

how lovely to meet a cool and quiet end.

but what if
that sought after
peace is only the portal
to a parallel world
with the same absurd day-to-day

the same stupid people with the same stupid
jokes and higher degrees and fancy
wooden salt and pepper shakers
receding hairlines extending bellies
popping out the same
smelly drooly mottled babies
shitting and sucking and crying
to be held

tight smiles masquerade as
happiness, fearful mediocrity
spews toxic purple fumes
as it burns, warms toes
feeds institutions and marriages
tuition, therapy, plastic surgery

away from that communal fire
a brief yearning,
not for dreams deferred,
but memories of what
dreams might have been
for what or why

© Jane Park 

Tuesday, June 26, 2012

Twelve Years Ago

What is it I want most in my life, she asks herself.

2001
The real new millennium
27 years and alone
Blunt cut growing out
Nails bit down to blood

Resolutions:

Drink more water.
Exercise.
Stop dating.
Stop fucking.
Make peace with silence.

Make peace with myself.

Where does she see herself in a year, 5 years, 10?

An airy condo, a spiral staircase
White window seats
Splashed with colorful pillows

Windows
Big, clean, clear

A breathtaking study
Wall-to-wall books

An uncluttered mind complemented by
A spare, efficient body with 
Elegant, logical lines

Lines that don't break.

Drink more water.
Exercise.
Make peace with silence.
Make peace with myself.

Make peace.

© Jane Park 

Emille

The Sacred Bell of King Songdok
The sacred bell of King Songdok; Emile Bell This bronze bell, the largest of its kind in the Orient, was cast in 771 A.D. during the reign of King Hyegong, the 36th ruler of Shilla. An impressive example of Shilla metal craft, the bell is approximately 3.78 meters high and 2.24 meters in diameter, weighing 18.9 tons. The making of the bell was first undertaken by King Kyongbok to honor the spirit of his deceased father, King Songdok. King Kyongdok died before realizing his dream and the bell was not completed until the reign of his son, King Hyegong.The hollow tube, which is believed to control the tone, the kneeling apsaras (or heavenly maidens), the four panels (each containing 9 nipple-like protrusions), and the lotus and grass designs are all typical of bells of the Unified Shilla period (668-935). The bell is commonly known as the Emile Bell, a name derived from an ancient Shilla term, pronounced em-ee-leh that means "mommy." According to legend, the bell would not ring when it was first cast, so it was melted down to be recast. The head priest of a temple threw a small child into the molten metal, saying he was told to do so by a vision. When the bell was recast and struck, it sounded like the baby's cries of em-ee-leh when the child was sacrificed.  --Gyeongju National Museum Travel Guide

Above mountains swathed in thin blue mist
Teeter giant dragonflies
Buzzing drunken mid-summer songs

Under black earth and bright green grass
Slumber kings and soldiers
Servants and concubines

Ancient tongues, wrist bones, and hair
Ache and hope
The everyday grind

Between the two worlds
A large bronze bell
Is tolling is pleading

Inside 

The necessary sacrifice of a woman 
Who had nothing else to give
A nation under threat
A grateful, indifferent king

The child’s voice cries for his mother
em-ee-leh em-ee-leh em-ee-leh

Knowing no one will answer
No one will come

© Jane Park

Saturday, June 23, 2012

From Whence Comes the Title of my Blog


Ernest Hemingway's Iceberg Theory of Prose:

"If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured, or well-bred, is merely a popinjay."

(Death in the Afternoon. Scribner, 1932)

A popinjay:
1. a person given to vain, pretentious displays and empty chatter; coxcomb; fop.
2. British Dialect . a woodpecker, especially the green woodpecker.
3. Archaic . the figure of a parrot usually fixed on a pole and used as a target in archery and gun shooting.
4. Archaic . a parrot.



The popinjays are winning over the icebergs in the world. Of course I have problems with Hemingway as I would with any man who compares a woman to a racing yacht. But if I let ideology govern my taste in art, I'd be bored out of my mind. (And as sexist as that metaphor is, you have to admit it's pretty compelling and it sticks.) What I admire about Hemingway is his approach to writing as life - thought and feeling embodied in action. I also have a thing for doomed, stoic heroes. I.e. being them not necessarily wanting to be with them. How to write a Hemingwayesque heroine - Octavia Butler comes close - but I want my female heroes to be slightly less geeky, and funny. A funny woman of color. Now that would be revolutionary.

There Are Beings That Give Off Their Own Light



There are beings that give off their own light
     said Carl Sagan as we watched strange,
amorphous aliens undulating in effortless space.

The water crept in through our ears.

We were holding hands that slowly, surely
were growing into wide primordial fins.

Fish.

I could feel your smile through warm ripples in the water.

We were FISH.

But it was as if nothing outoftheordinary had occurred.
As if
     we had always been fish swimming in human bodies.

Suddenly
     the two legs, two arms, and
fresh fruity skin that
moments ago had covered us
seemed useless,
     extraneous

Primitive appendices outgrown aeons ago.

We had come full circle and were returning
to the sea, which had borne us and hurled us away.

The ocean roared
     white horsehooves beating distant.

We have come home,
     said the dance you danced
with odd, watery grace.

I almost didn't recognize you ...
You gave off
     such light.

© Jane Park

Echo


I woke up mute this morning, searching for my voice
     which had flown its birdcage of tendon and bone.

I saw you, tried to speak with you
Tapped you gently, insistently, on your shoulder
It was cold.

You turned around, looked at me.

I tried to get through to you, tell you the importance of

You standing there, and me
     waiting for the words to come to tell you

But the only words that came were cereal jingles and
Theme songs from recycled sitcoms.

You turned away, disgusted.

With invisible fingers
I traced the tension of your anger
     taut as the vibrations on a just-slammed door.

You did not see my pleading eyes
My gesticulating arms

You did not hear my hollow love songs.
 
© Jane Park