The Silence Between

The silence between two people is a space that is immune, meaning, that nothing can quite break the silence except action, and since we presume silence then there is no action anyway. So silence, though fragile, is also somewhat indestructible by the very virtue of being itself. In silence what develops and what is lost is what ever there is inherent already whilst there was action and interaction. In silence only lies potential. Distance itself is a great carrier of silence, though not unique as a place where silence may reside. Instead, silence plays to its own tune, and challenges one to sustain it. Do you have faith? In faith there can be that silence, a blissful one. From the lack of faith, a tumultuous silence, one filled with fearful thoughts, thoughts of lack, thoughts of failure. Silence uncovers all these things.

I think what silence uncovers as well is our will to grow. Our will to take a step out of ourselves now and then to ask questions. We see a lot of what is real when given some distance, when given that silence. The silence between close friends comfortable, the silence with a distant acquaintance or relative at times unbearably awkward. Physically both are the same, but implications wise, never more different. We need to grow out of these moments, find a will to want something more out of ourselves. I think that in such moments we have to think of ourselves first, ask if we are comfortable with the way things are and whether this silence, in what ever form it comes in, will be what defines your relationship with the person or what destroys it. We have to ascertain early on whether there will ever be the potential for growth, and if there is that in our silent shells we decide that we want to fight or not. There’s no point anymore, if say, the silence is one that swallows you whole and makes your heart sink. Then you have to reconsider the silence, maybe take some action. Fight or flight.

But also, silence teaches us patience. Silence can be blissful, but also a time when thoughts wander and you struggle to fill them with anything else but what you really want to fill them with. But you cannot. Silence teaches us that waiting isn’t just about letting time pass. It is an act of self improvement. As I said before, physically it seems simple, but in every other aspect it is an act of supreme endurance, a conscious act of trying, pulling the brakes, letting feelings come and go unattended. It’s all ok, in the sense that, it’s ok that there is a struggle. It is only to be expected. That’s what the silence is for. To grow.

The silence between two people then, is a gamble. Because as invulnerable as silence is, it makes its participants ever more vulnerable, the most vulnerable they can be. Once there is action again we do not know how the other has changed, or even how the interaction will change. Do you believe that two people have a specific essence? I do. I think that any interaction is its own self-contained universe. In the silence that universe is allowed to morph, but morph separately, apart, disjointed. It tends towards growth, or towards death. Something is bound to change. Put them back together and you get an essence that wasn’t what it was, something different. Not necessarily better or worst, but different. Silence is the slow preparation of what there is to mix, of thoughts, emotions, identities flailing, changing, ripening, decomposing. Everything. Silence is invulnerable because you do not know what the other person might change into. It is the impenetrable wall that you either grow stronger for or falter.

Silence between two people exists. And that’s all there is in between is faith, all sorts of faith; the good, the bad, the ugly. We don’t always conquer the silence, but we always learn something about ourselves in the process. If we see it that way, then any silence gives us something valuable. A part of ourselves, perhaps, that we hadn’t previously known.

Just to Set Things Straight

Interesting

Pink leaves falling off grey trees
A watch that announces the time rather than shows it
Having a fresh banana in your carry on
Eating a mudpie whilst unicycling across Times Square

Over-invested

Calling twice in an hour
Taking a taxi instead of a bus when there’s still time just so you can impress
Colouring your drawing when the teacher said at least black and white
Making someone’s day just in case their day isn’t already made

Unimpressive

Having no resume to show
Eating a burrito with a fork
Having a rickety shower head
A boat that has bullet holes in it

Trying

Taking a taxi instead of a bus when you know you might be late
Eating a burrito with a fork
Plugging the holes on a sinking ship
Calling to make sure they are safe

Knowing

The doctors face when he walks out of the operating theatre
The hangman as he measures the thickness of the noose
A gifted child in a first grade maths class
When she tells you ‘we need to talk’

Loving

Making someone’s day just in case their day isn’t already made
Plugging the holes in a sinking ship
Calling to make sure they are safe
When the tide turns but you don’t.

 

I Wore a White Shirt to Art Class

I wore a white oxford button on the first day of school because I wanted to look presentable.  People who wear such attires often look presentable. And so I wanted to be that guy and so I wore a white shirt to my first class.

It was an art class. I should have known.

Charcoal in hand and white sheet in front of me where all the charcoal should go. We go through lines, curves, values. We go through the history of art from then to now to God knows when. And I don’t know when either because art seems to stretch on to the future as well because as long as there are people in that future and there will be art. There will be chances for 23 year-old men to get their shirts dirtied should they wear light coloured shirts to art classes. I think about lines.

I think about how you can’t quite draw an object fully, to represent it fully because no matter how you try, the distance between you and the object is something that already distorts. Lines aren’t as straight or as crooked or sometimes you draw lines when there aren’t even any lines at all. The object exists outside of you and you can’t ever just conceptualise it with 100% accuracy and as long as you can’t you realise the error is already in the blueprint. I pull my hand back to reevaluate my attempt at drawing a cluster of objects and all I manage is a thin line of charcoal across my shirt.

Objects in your mind are conceptualised and bubbling around in that fun space but now comes the terrible part; you have to get it from head to hand and hand to pencil and pencil to paper. You go through these manifold translations, where some are better at representing than others. The pencil to the paper portion can simply be decided by the quality of the pencil and the paper. Some pencils have the sort of rough quality to it that renders things easy to rub and make faded and form more veritable impressions of shadow and darkness. Other pencils are just nicer to hold. But in the end it’s not the materials you have that really define your work. It’s the whole head to hand portion which messes people up.

Sometimes you’re good at it; and for good artists on good days the idea of the object flows sumptuously to the page and on the page the art flourishes. For some other artists it is the emotion that they capture very well and how it interacts with the conceived object and that flows around in their head for a while before it leaks out from their hands and you get a work that is not objective but tainted with some emotional valence and you’re suddenly taken to a different place in time when maybe you saw her standing there beside you at a museum or when you saw rabbits playing in their pens. The soft fur, the languid stares. The potential to feel something is always in the art. But the feelings you feel and the ideas conceptualised sometimes when flowing out of unskilled or unsure hands looks many shades away from the truth you hold in yourself. And it that sense art can serve to really disappoint. You try and you try but your heart, you realise, is a fortress that doesn’t let any of itself out by virtue of a poor slight of hand, of unavailable resource, or inability to garner enough faith in yourself. All this disallows that which you feel to be cast out into the open.

I scratch my ribs and leave another dark, less defined mark on my shirt.

I think again as I sit there looking at scenery with pencil in hand, thinking of how I’ll miss home even before I leave it. And then when I leave home I think of how I’ll hate the place I might go to and I think about it so much that I hate it already, even before I set foot. I think about how sometimes learning a new skill is like that process of leaving and hating. You discover yet you doubt and through that doubt you unearth what is really expected of you. You feel so exposed that it’s almost unfair. You try to hold on to anything that reminds you of what you are. I think of the stories to tell when I try to draw and I think of how much of me, if any of me at all, is in the end product.

I wonder if untrained hands possess any soul at all. Maybe they do, but maybe those souls are…how should I put it… Yes, tainted, in some way or another.

All I know is that when I wore a white shirt to art class, I left my class with that shirt in various shades, with some sort of tiredness registered on the collar along with a irritability on the sleeves. This shirt might not have emotions, but I feel for the shirt. It must miss its former self. To have some ‘character’ isn’t all there was to life, it seems.

I feel bad for my shirt, but I know that in time to come this shirt will go through the wash and it will be as if nothing happened. It will be absolved of all its past filth and find new meaning in whiter shores.

But for now, the shirt remains as it is, hanging in my closet, tainted.