Friday, January 13, 2006

The Case of the Stolen Chickens by Elijah Hetrick (My nephew, when he was eight years old).


The day started out like any other day. I hopped out of bed and jumped into my clothes. I bolted to the fish tank to feed my fish. Five minutes later I ran to the barn to chop wood. Suddenly I remembered I was supposed to furnish the eggs for breakfast. So I sprinted to the hen house to see if there were any eggs for breakfast. When I arrived at the hen house, I saw that all the chickens were gone.

I rushed to search for some clues. When I jogged in the forest, I looked on the ground for some clues. I saw a chicken feather. I picked it up and dropped it in my pocket. Finally I walked deeper into the forest. All of a sudden, I bumped into a thorn bush! I yelled, "Ouch!" I thought to myself, someone's clothes caught on this branch and a piece of it tore off. I yanked the piece of chothing off the branch! I grabbed my magnifying glass out of my pocket and looked at the piece of clothing! It had the initials S. H. on it. I had two choices of people with those initials, and they were Seth Hammer and Scott Hinkle.

Then I rushed deeper into the forest and while looking to find clues on the ground I saw a messy footprint. I studied the footprint and memorized what the bottom of the shoe looked like. I left the footprint in the woods beside a creek and continued to walk on looking for more clues. I stepped on something squishy. I picked it up and held it cautiously away from me. It was a half-bitten donut. So I threw it down and walked on into a field. There was a campfire. Over the campfire was a half-eaten chicken on a stick. I walked farther into the field and I saw buzzards circling something! I ran over in the middle of the field and saw chicken guts. On the way back I met Seth Hammer. I asked him, "Did you eat a donut or at least half of it?"

He responded, "No!" He looked serious. I trusted him and let him go. Then I rushed out of the field and onto the street then down to another kid's house with the initials S. H., Scott Hinkle. I knocked on his door. Scott opened it and I saked him, "Did you make a campfire in the field?"

He muttered, "No."

I brought him to my lie detector in my barn and I sat him down in a chair. I asked him, "Did you eat any chicken last night?"

He exclaimed, "Maybe."

I demanded, "It's a yes or no question."

He answered, "Yes, why?"

I asked, "Where did you get it?"

He replied, "Wal-mart."

I said, "Oh, okay."

He made a weird face at me like he didn't know what I was talking about then he ran like a cheetah to his house.

After that was over, I started looking for clues beside the road. Suddenly I bumped into a kid named Steve Harris. I was thinking to myself, "His initials are S.H., too." I demanded to Steve, "Come to my office!"

Slowly, he came and I spotted his shoe. It was the same sole as the footprint in the woods. I asked him, "Did you take a walk in the forest?"

He said, "No." Then I sat him down in the lie detector and it said he was telling a lie. Next I tied him to a chair and I asked him, "Where are the chickens?"

He said, "Behind that house." I left him tied up while I ran quickly behind the house, but the chickens weren't there. When I got back to my house I found a fork and a plate and a CD player with headphones. When I returned to the barn, I put on the headphones, turned the music up, and began scratching the fork on the plate next to Steve's head. The scratching made a sound like erererererere.

Steve said, "Okay-okay! I'll tell you where they are."

I questioned, "Where?"

He answered, "There across the creek." I jumped across the creek and I saw a chicken running around. I ran after it and jumped and caught it by the legs and threw it in a box. I caught some more and shoved them in boxes, and then I caught the rest and flung them in boxes. I brought them home and put them in their pen.

Steve Harris had a penknife up his sleeve that he used to cut the rope that was tied to his wrist. He jumped up, burst out the door, and ran crying to his parents.

The chickens were plucking on the ground so I got a bunch of corn and fed it to them.

CASE CLOSED.

Monday, January 02, 2006

Renegade Karma Police (Conclusion)

We pulled out of the parking lot onto the main drag into town, only we went the other way. Three flashes were closely followed by three ripping explosions of thunder, and rain struck the beater with a force just shy of a fire hose. I've seen less water pressure than we were pelted with in drive thru car washes. We crawled for about half a mile through the storm, then turned down a side road I'd never explored before.

"Just for a starting point, you can call me Ted," said the driver, "and him Todd." He watched me with a pained squint and a recurve smile.

"Why don't I just call you Don Rickles and Alex Carras," I said.

Rickles shrugged. The window between the front and back seats whirred shut and, along with the back, and my side, windows gradually tinted to black. I tried to determine and memorize the directions they were taking with a long serious of sudden and gradual turns and stops, but eventually lost track and gave up.

The rain had died to a drip by the time we stopped. I heard the front doors open. My door locks popped up. The front doors closed. My right side door opened. Carras was holding the outer handle. Rickles stood back about ten feet, and to the right, giving me a view of what looked like a very old, very grey factory with broken windows and strata of dust caked to its cinder block walls. I climbed out. Rickles thrust a thumb toward the factory, turned and began walking in that direction. Carras waited for me to follow. I stretched and scoped the scene. The large parking lot was surrounded by a hurricane fence which, though not very high, was crowned all around with inward sloping razor wire. I followed Rickles. Carras closed the car door and followed close behind me.

We entered the factory through a windowless iron door. It had been closed but was unlocked. As I stepped inside, I felt my shoulder blades contract inward. I tucked my chin and held my breath so that it wouldn't interfere with my hearing.

"Don't worry," said Carras, behind me. "If I was gonna kill you, you'd be dead already."

"We're not going to hurt you," Rickles said without looking back.

We went through a series of doors and narrow corridors, past old empty offices with dust-mottled windows and indistinct shadows lurking within. Then we went into a stair well lit by yellow bulbs in wire casings, and started what turned out to be a long descent. With each successive flight, the lights got dimmer. I lost count after about twenty flights. The bulbs had begun to flicker and the effect was somewhere between hypnotic and nauseating. Rickles pressed something on his wrist and suddenly was guiding a flashlight beam ahead of us.

We continued downward. The walls began to show signs of moisture until the cinder blocks were covered with moss and oozing muddy rivulets. Their was a strong scent of mildew.

"You fellas ever heard of Lysol?"

"Almost there," said Rickles.

We left the stairwell through a doorway with no door and rusting hinges onto an iron catwalk didn't feel too sturdy. Far below I could make out several flames and what looked like an intricate grid of piping. We came to a dead end. Rickles reached out to the right. He seemed to pass his arm right through the block wall. Then he flicked a switch and a light from within revealed the doorway.

Rickles gestured me on ahead of him. I looked him in the eyes. He evinced nothing. I went in.
The room was colder and more damp even than the stairwell. There was a single, stark cone of light falling from a conical metal shade. In the cone of light was a metal folding chair, by a desk. I assumed it was a desk. Only one corner was visible, protruding into the light.

"Have a seat," said Rickles.

"You'll take it from here?" said Carras. Rickles nodded, stepped in behind me, and shut the door between us and his partner.

I sat down in the well of light. Rickles waved his flashlight beam around the room, located a chair not far from mine, and sat at the desk. He turned off the flashlight and folded his hands on the corner of the desk, within my light. The tendons of his fingers shone yellowish and tense.

"You already know why you're here."

"Because I followed you in?"

"Think about it, Jack." His voice was patient.

"Was it the chicken?"

"Think about it, Jack." He drew the words out as if to hint that he had all the time in the world.

I went over my past, jumping from tile to tile of questionable actions over a long and checkered ground.

"Are you thinking?"

"Yeah," and I really was. I was thinking about joy rides in stolen cars, petty acts of spontaneous cruelty from childhood days, infidelities, minor cases of arson, vandalism... "Is this about the robbery of the poker game? We didn't do it. We planned on doing it, but I don't think we ever really intended to follow --"

"Think back further."

"Christ, that was fifteen years ago."

"Think back much further."

Further than fifteen years. I'd used to drink an awful lot during the first four years after one of my brothers died. I'd had a lot of alcoholic blackouts. Once, I had come to my senses atop a three-storey building. Other times, whole nights were missing from memory. I'd awakened in strange places -- weeds, hallways of aparment buildings, rolled up in rugs, on a sofa in the parlor of an aquaintance -- with telltale signs of violence: torn clothes, bruised knuckles, a bloody nose.

"No. Further back than that."

I hadn't said anything. I stared into the darkness above his folded hands.

"What are you?"

"We used to work for the N.S.A. That's true. We were in a special, top-secret division -- secret even from all the other divisions -- of operatives with extra-sensory abilities."

"You're psychic?"

"You, too?" He placed his hands palms up on the table. His palms glowed in the light. "That was a joke. Yes, okay: psychic. I need you to think back as far as you can."

I remembered my first nightmare. I was about four years old. I'd dreamed that skeletons with needles were chasing my family. When they poked them with the needles, they too turned into living skeletons. I hid in a dark warehouse, in an empty crate. I listened as an army of skeletons rattled by, until all was silent. Till the only sound was my choked breating. Then a needle pricked me through the crate. I woke up screaming and ran to my mother's bed. (My dad was in the Air Force then, stationed in the Azore Islands.) Only later did I realize that the dream was a warning of the ravages of addiction in my family. I couldn't think back any further.

"That's a good starting point," said Rickles. "I can lead you back from there."

"What could I possibly have done before I was four years old?"

"Think in terms of former lives."

Something clicked in my mind. And churned in my gut. I thought of my strange dreams of murder guilt.

"Yes. That's the connection. The tangible symptoms of intangible deeds, obscured in the bardo."

"Could you say that again, in English?"

"I'd like you to stare at my palms."

"Why? You forget to shave them?" I was getting queasy. I had a sense of impending tragedy on an apocalyptic scale. The walls were about to implode. I didn't want to see what was behind them. There was also a weight, a liquid weight of sadness, beginning to fall in layers over my shoulders.

"Stare at my palms, and REMEMBER. You are kicking in your mother's womb, clenching your little fingers, shaking off a misunderstood feeling of dread. Now you are a spark of muted awareness, a barely conscious zygote beginning to form the nubs and wiring that will become limbs and nerves. Now you are in the dark bardo between lives, clinging to your place in a teeming line of returning souls..."

As I stared at Rickles palms, the light that reflected off them began to shift and morph into images of what he was describing. The longer I stared, the more the reflection grew until it was as if I fell into its midst and began to feel myself in the scenes he was describing. After a while, I wasn't even sure if Rickles was talking anymore. I seemed to be careening through a series of personalities and life events that, though I'd never thought of them in this life, suddenly felt very real and familiar.

This went on like a long, lucid dream. Then I was completely locked into it. I was in a sparse forest, near the ocean. I could hear the lapping and hiss of the waves on the shore. The climate was mild. I looked down at my arms and found them sinewy and hirsute. I was wearing a loin and buttock covering of fur. A companion followed slightly behind me. He seemed both bent upon whatever we were about to do, and fearful. I was clearly in charge, but he had influence with me. He nodded me on at the same time as his eyes looked to mine for courage.

We came to the edge of the woods. Beyond were low sand dunes, over which we could see the beach, and beyond that, the ocean glimmering with the dawn. A primitive hut sat just beyond the dunes, at the highest point of the sloping beach. A man came out of the hut through a side doorway and ambled down the beach to the shoreline. I felt my blood stir at the sight of him. My sidekick laid a hand on my shoulder and pushed it. I slapped his hand away and glared back at him. Wrath radiated through me like steam heat.

The man on the beach turned suddenly, and just as suddenly, my accomplice and I darted behind great trees. I realized then that I was holding a primitive bow in my left hand. I held out my right hand to my accomplice and he took from a quiver an arrow and gave it to me. The beach man was squatting, his feet in the lapping waves. I took aim and let the arrow fly. It struck the man between the shoulder blades. He stood, then fell to one side. As he fell, he dropped a bundle into the waves. The bundle was moving.

By the time I realized it was a baby child, it was probably already too late. But I bolted for the ocean, frantic. I stepped over the dying man as he tried in vain to pluck the arrow from his back and groaned in anguish. I scanned the tide, wading in up to my navel until I saw the baby gently bouncing off a rock in the water. I yanked it from the ocean and looked at its pale blue face. A male infant. I howled as I shook him upside down and commanded him to live. But it was too late.

After a while, I turned to my companion on the beach. We had come there to kill the man. It was somehow an act of vengeance. We hadn't known of his baby boy. We agreed we had to bury the infant. But I knew I had permanently ruptured something.

And then, I was perceiving that rupture in two persons at once. I was experiencing the guilt as this ancient incarnation, and profound grief in my current person. Gradually, this bilocational sensation faded, leaving only a sobbing Jack on a folding chair in a cone of stark light in a cold, black void. My tears ran like the earlier rain. Sorrow constricted my heart. Rickles pulled his hands back out of the light.

I really wanted to protest. But I knew that what I had seen had happened. I had murdered that primitive man. And his infant son. In a past life.

"Why did you show me this?" I said.

"So you'd know what you've been running from, through one life to the next. It's what we do, since we fled the N.S.A."

"But what good does it do to know?"

"You asked me that last time around. And the life before that. And my answer is the same: live according to the golden rule. Try to be less selfish and more giving. Try not to judge others, but find a practice that increases your consciousness, your compassion, your peace of mind, and your love for everything."

"What practice?"

"Oh, there are so many. Pick one that resonates with you and stick with it. Above all else, you have to reach a condition of permanent non-violence. Otherwise, the worst could happen again."

"And then?"

"And then you help others? Find the ones you've harmed and help guide them to a greater self awareness and to break the chain of oblivious repetition."

I had, then, one of my rare sparks of intuition; a leap in the deductive dark.

"You did something to me, didn't you, in a past life? What?"

Rickles leaned into my light, his eyes slowly rose to meet my own. I had the sense we'd been through this many times before, and that each time it had been very trying for him to tell me.

"It was during the Crusades. You were a part of an entire Moslem village that we slowly killed with various methods of torture that we pretended were a measure to try to convert you for the good of your own souls. You were stubborn. We put you..."

I held up a hand. Rickles sighed. "We put you..."

"It's okay, don't tell me. Let this be my first gesture in the right direction."

He nodded. "We have to go now. We have a lot of people to find and debrief. Can we give you a lift back into town?"

On the ride back, once the tint was withdrawn from the windows, and the one between the front and back seats opened, I studied Rickles and Carras, or whoever they were. It slowly dawned on me that they were both somehow familiar. Carras must've sensed my gaze. He looked over his shoulder, then away, then back again. He started to speak.

"It's okay," I said. "I don't want to know what you did to me, either."

He nodded. "Try to make some progress before the next go-round."

They dropped me back at the "Six-Pack-and-Snack Shack". I've not seen them since. But I know that what Rickles showed me was true.

Sunday, January 01, 2006

The Year in Rear View


Contrary to cliche, hindsight is not twenty-twenty. Or, it may be twenty-twenty, but with a tunnel vision that brings only pieces of our puzzles into focus. It takes a lot of hindsight, insight, effort, and time to arrive at clearsight. But hindsight is still usually clearer than foresight.

Here, then, is my 2005 as seen in a rear-view mirror, somewhat foggy and rapidly receding into the background. (Warning: Objects may be closer than they appear):

It is a sunny autumn landscape rich with the tapestry of nature's dying blush. An orange light bathes everything. A banner straddles the skyline over the highway. It reads: The Year of the Pumpkin. I see bumper stickers for many folk radio programs on the roadside phone poles. I see a decal on a newspaper dispenser that says Chosen by WYEP as one of the best local releases of 2005.

Okay, 'nuff with the rear-view metaphor. Sheesh. 2005 was for me a year of milestones and surprises. As a fitting final example of the kind of surpises I mean, dig this: I just discovered that a well-edited portion of this blog was included in the latest issue of the Pittsburgh City Paper. My first response was to feel violated. Nobody asked my permission. I guess I think of this little effort as a sort of sanctum sanctorum for those who dream large and deep, and have made a calling of cultivating both thought and feeling. I never wanted it to be fodder for mass consumption. But I soon realized that no matter how many insensitive and loutish folks drop in on this space cruising for thrill fodder, only the sincere and studious would become frequent visitors. So, thank you City Paper for posting signs to this otherwise obscure destination!

I turned forty. My older friends answered my hill-cresting apprehensions with good-natured chiding. My younger friends... Well, they no longer take my calls. But they both came in force to help me celebrate the occasion on a night of communion and song that I'm sure we'll all remember at least until the big blow-out when we celebrate senility.

Musically, I've never had a better year. Hell, I've never had a better year in any of my overlapping (and oft advised-against) career choices. My second CD, Pumpkin, was released in September at The Rex Theater, to an enthusiastic audience of about a hundred and twenty folks. So far, Pumpkin has garnered only positive critical and popular responses. And it's due to be reviewed by both FAME and Sing Out! in the coming months.

The experience of creating Pumpkin was at least as thrilling as the response it has been getting. I got to work with a dizzying number of ingenious helpers. Most of them are credited in the liner notes of the CD itself. Between Pumpkin and the songs I've written since, the songs that were once my most requested, like Battered Umbrella and Every Broken Street, have been displaced by new audience favorites like Poor Boy, Let Their Heads Roll, The Speed of Darkness, and Through Your Eyes.

I finally got to open for some national acts, including Johnny A. and Ellis Paul. I met Maree Gallagher who sometimes functions in a managerial capacity, and she got me the gigs with Ellis. Mr. Paul proved to be a songwriting and performing inspiration, and was down-to-earth and gracious Maree also got me a spot at Cefalo's in the company of Joey Murphy, Brad Yoder, and Dave Pahanish. And a spot on Saturday Light Brigade. Host Larry and wife Rikki Berger are two of the most friendly and musician-supportive folks I've ever met.

I met Anthony Frazier at the Johnstown Folk Festival and he had me perform on his radio show on WCCS in Indiana. Then he designed my website. What a boon.

I won my second "Acoustic Challenge" in two years. This was another of many great surprises because I was up against some formidible talent. In fact, I would not have voted for me, and voiced a mild protest when my name was called. I think I said, "What's wrong with you people?" But I had recently quit another job, and desperately needed the prize money, so I took it and ran to the bank before the recount. Crime pays, little brother, oh yeah. But it has some bad side-effects...

I've gotten to watch the evolution of another generous brain-child of Robert Wagner's: The Three Penny Opry. I've been a hands-on assistant some of the time, and a ringside cheerleader at others. This venture, which was born and continues to thrive at Ron Esser's Starlite Lounge, has been a source of nourishment and camaraderie for me for over a year now. Thank you Robert, Mark Stroup, John Wells, Rosa Colucci, and all you other participants.

The Calliope Songwriters' Circle put out our first anthology of original music. Fourteen of us recorded a song apiece on what turned out to be very tasty little recording. The process was seemingly ego-free and mutually supportive, helmed by John Hayes and George Kantor, and engineered by Doug Wilkin, who also recorded and co-produced Pumpkin.

Camille and I celebrated our eleventh anniversary by heading for the hills. We went down to Davis, West Virginia to visit Black Water Falls, which is where my parents had their honeymoon, and my old family camp, now owned by the State Police. I'm sure Camille was right in her judgment that trespassing on this latter property was a bad idea, but it was one I couldn't resist. I even found some Paw Paw fruit among the autumn leaves!

Not all my memories of 2005 are good. The family "arrest" factor went up again. My ex-brother-in-law is still in jail, and now another relative (who will remain unnamed) was in a violent fracas with the mutant inbred brothers from Bedlam, and is slated to go on trial for a felony. If convicted, he may get between three to ten years prison time, boosting the family "penal quotient" to even greater heights.

December was a scarce month for paying performances. In fact, all during 2005 I've put more money into music than I've made. 2006 is starting off with a good run of performances. I may even make more this month than I did delivering packages for FedEx. But if I skated through Decemeber, it was always on thin, creaking ice. Pray, for Camille's sake, that the pay gigs continue to increase.

I've made some new comrades this year, like Annette Dietz, Sue Gartland, Anne Feeney, Stacy Mates, Doug Wilkin, Patti Spinner, Jon Ritz, George Kantor, Christiane Leach, John Wells; and grown closer to some old comrades, like Robert Wagner, Mark Stroup, Dave Wells, Bob and Suzie Lenart, Mark Perna, and many others. (I trust you know who you are!)

Thank you all for sharing this journey with me! Don't forget to call on me when it's your turn to be helped. Now let's all go out and make 2006 a revolution of love, compassion, and creativity!