Around midnight, after everyone in the café had gone to a
concert, Paul was alone in the Drawn & Quarterly bookstore’s manager’s
apartment. He looked at Twitter for what felt like twenty minutes, alternating
hands to hold his iPhone ten to fifteen inches above his face. He emailed
Charles –
I’m lying in bed on a
sofa
Fell strongly like I
simply want to relate my feelings of
Bleakness in this
email
My legs feel cold
- with “Feeling bleak” as the subject. He was looking at
Twitter again, a few minutes later, when for the the fifth or sixth time since
getting it in August he dropped his iPhone on his face, which did not register
in its expression that anything had happened until after impact. He considered
emailing Charles that his iPhone fell on his face. Then he tried to do what he
couldn’t specifically remember having done since college – he chose one of his
favorite songs and, with a meekly earnest sympathy towards himself, listen to
it on repeat at high volume and tried to focus only on the drums, or bass
guitar, until he was drowsy and decontextualized and memoryless, when he would
half-unconsciously remove his earphones and turn off the music, careful not to
be noticed and assimilated by the world, and disappear into the reachable
mirage of sleep.
But he couldn’t focus on the music. He couldn’t ignore a feeling that he wasn’t
alone – that, in the brain of the universe, where everything that happened was
concurrently recorded as public and indestructible data, he was already
partially with everyone else that had died.
The information of his existence, the etching of which into space-time
was the experience of his life, was being studied by millions of entities, billions
of years from now, who knew him better than he would ever know himself. They
knew everything about him, even his current thoughts, in their exact vagueness,
as he moved distractedly towards sleep, studying him in their equivalent of
middle school “maybe,” thought some fleeting aspect of Paul’s consciousness,
unaware what it was referencing.
. . .
. . . . .
. . .
. . .
. . .
. . .
. . .
. . .
To Paul, who’d stayed mostly in his uncle’s sixteenth-floor
apartment on previous visits, the vaguely tropical, consummating murmur of
Taipei, from his parent’s fourteenth-floor apartment, had sounded immediately
and distinctively familiar. The muffled
roar of traffic, hazily embellished with beeps and honks and motorcycles engines
and the occasional, looping, Doppler-effected jingle from a commercial or
political vehicle – had been mnemonic enough (reminding Paul of the 10 to 15
percent of his life on the opposite side of the Earth, with a recurring cast of
characters and no school and a different language, almost fantastically unlike
the other 85 to 90 percent, in suburban Florida) for him to believe, on some
level, that if a place existed where he could go to scramble some initial
momentum, to disable a setting implemented before birth, or disrupt the out of
control formation of some incomprehensible worldview, and allow a kind of
settling, over time, to occur – like a spaceship that has exhausted its fuel
and begun falling towards the nearest star, approaching what it wants at a rate
it’s wanted, then easing into the prolonged, perfectly requited appreciation of
an orbit – it would be here.
“I have lived, that is, I have been bored”, Flaubert famously wrote.
ReplyDeleteTao Lin explores both the existential (acedia, nausea and depression) and the situational: feelings of annoyance, indifference, weariness, laziness and immobility. The writing itself illustrates boredom. See “After Bovary” by Lucy Scholes, Times Literary Supplement no. 5757, August 2, 2013- page 8.