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Essays

Filtering by Category: Ordinary

Letter to the Editor

Sean Moore

Well I botched it up. That's not an uncommon thing, of course, so let me elaborate. The direction of Belligerent Mars that I've been meandering along of late is to thought-provoke, to leave something to the imagination. To leave it up for interpretation. Unfortunately, the other end of the vague spectrum is communicating another idea entirely. Unfortunately, in writing, you only get credit for what you say, not what you mean.

(Just in case it wasn't clear by this point, this is your beloved author speaking, not the character he plays on the site).

With "Settlers", the intention was to describe how the dreams and aspirations we once had don't depart because we realize they are improbable, implausible, or impossible. Rather, they depart because every moment we are surrounded by signals that tell us that even having these dreams – let alone the dreams themselves – is unreasonable. In American culture especially, there is an omnipresent haze of expectation about the life you are supposed to be living. I call it checklist capitalism – what don't you have and why don't you have it yet.

From discussions I've had with readers, I think I failed in describing it properly, describing it in full. Of course, "Settlers" wasn't – or rather, isn't – meant to be the denouement. It posed a question, and I dropped the ball in answering it properly.

Rather than mope about my failings as a writer and internet citizen any further, I'll do my best to answer some issues one of my very intelligent readers sent in:

I think that each and every day we're all just doing mini-analyses on what it is that we want our goals to be --redefining them partially- and whether it's worth pursuing them in their original form.

Absolutely – especially in the post-college wasteland of the early and mid twenties, I find myself constantly redefining what's important, what I want to pursue, what I value. But I'd argue that it isn't just an internal process – our environment is shaping us, influencing us, suggesting to us. There's interplay of course, back and forth between what our environment allows us to accomplish. But it's also immersive, wouldn't you agree? And that immersion, when it's so constant and embedded into our culture, can – and I think is – a damning influence.


I guess my point is is that people don't just wake up one day in a position where they aren't at their "goal" when they should be. They make distinct, discrete decisions that either cause them to stay the path to the "goal" or veer from it, based on their wants and wishes at that particular time. It is not a blind process.

No, it's not a blind process, in that we don't in the blink of an eye go from a twenty-something hipster with radical ideas and the thought that, like, we're gonna change the world, man, to a thirty-four year-old mustachioed man in dad jeans picking up his kid from daycare in the corporate stooge job that he hates (there I go with the hyperbole – this is what got me into trouble in the first place). But we are blind in the sense that we don't have a grasp of how our environment is leading us in one direction or another.

As an example, consider two classrooms filled with an assortment of more or less identical first-graders. Tell one class that they are math whizzes, algebraic rock stars, and give them encouragement; tell the other class that math is really difficult, that it takes a lot of work to be good at it, and reinforce the complexity of it all. I bet you can guess how this turns out. Is it because one set of kids chose to be bad at math, and another chose to be good? In a sense, absolutely –they either made decisions which led them to get better, or worse, at the additions and subtractions and all the other mathematics I've long since forgotten. But what they didn't have control over was the environment they were in. They made choices, but those choices were not wholly their own.

[T]here is something wrong with people who look back on the whole entire picture and are just regretful and confused as to why they aren't in the ideal position that they had imagined and are sad about it.

There is something wrong with people who chose not to look forward toward where they were heading and see it coming and not try to do something, however desperate it may be, about it. (One such person is doing one such something by devoting an entire week writing on that very topic, out of terrible fear he'll become that regretful, confused, sad person.)

[Y]ou are cognizant of the motivations that lead you to make the decisions that you do and you should be happy with the decisions you make according to those motivating factors –why else would you make them? You graduate college. You get your first job. You get your own place, your first real place. You get a car. You get a girlfriend. You get married. You get a house. You get a dog. You get a kid or two. Maybe you get divorced. Maybe you just get a mistress. You get old. And then, you get a grave and a headstone.

Why did you do what you do? Because it's the thing to do. It's what everyone asks you at Christmas, at dinner parties, at all the horrible, soul-crushing gatherings where other people have something you don't, and they wonder why you wouldn't want it, and when the hell you're going to get it. Call it peer pressure, sure – but I think it's more than that. It's expectational debt. There's no real question of if, and there's certainly no question of why. The if is irrelevant. The why has already been answered by the millions of "happy" people who came before you and checked off the same boxes. The only questions is when.

When, when, when?

And the people who find themselves exactly where they wanted to be and still unhappy...fuck them.

Fuck them, indeed.


This is exactly the kind of feedback I love. Belligerent Mars was never intended to be some classical piece, played once, recorded on a wax cylinder, and cherished for eternity by frumpy men in thick spectacles. It's a living breathing work. Like tennis, like jazz, like great sex – it's made good with any sort of partner, and made unforgettable with a great one. If you have something to say, do get in touch.

Greater Than

Sean Moore

Isn't it funny?

In a way it has to be. It must be. It could not be anything else. Without humor, it couldn't just be brushed off. Without the laughter, the tears take on a whole different meaning.

Isn't it funny?

Well, yeah. But who's the one laughing? And what does it say when the laughs and the tears aren't coming from the same person?


Man's got a sense of humor. Must - no other explanation. Guy goes to work every day, same time, same route. Eats the same lunch. Holds the same meetings, answers the same phone calls, asks the same questions, does the same work. Punches out – leaves at the same time. Stops at the same take out place. Orders the same meal. Flashes the same smile to the same cashier. Who asks for the same amount and hands him the same bag. Tips the same amount. Leaves the same way he came. Parks in the same spot. Opens the same mail, the same bills for the same things. Watches the same shows. Goes to his room at the same time. And then sits down on the same chair at the same desk with the same pen and the same paper and writes the same words. The same words. The same words.

Maybe it's raining. Or snowing. Or hailing. Or sleeting. Or maybe it's not. Maybe it's sunny, or cloudy, or foggy. Maybe it's hot out, and humid, or maybe it's not humid but still hot. Sweltering. But it's still the same. It's all the same.

Maybe the client on the phone is different. Or the line of code. Or the agenda. Or maybe it's all the same again – the same discussion, the same bug, the same question, or concern, or complaint. But it's still the same. It's always the same.

Because nothing moves the man. The man does not change. The man does not exist in time. He is out of it, removed completely. Time moves around him, through him even. But the man is not carried along. The man remains the same. The man is all the same. The man is always the same. And this is why the man writes at the same desk in the same chair with the same pen and the same paper and writes the same words. The same words. The same words.

So the man must have a sense of humor. There is no other way. Because those same words same the same thing: be something different. Be something better. Be something greater than the same.

There's the great irony of it all - that the man, that very same man, has the nerve to write about becoming different. The man who is trapped in his glass box of same, who is happily adjust to his stable routine of sameness, thinks himself able to write about being different. The man who can't escape his sameness, who can barely tell how deeply in same that he is, spends every night writing about what different is all about. And so he must have a sense of humor.

Mustn't he? After all, what does the incarcerated man know of freedom? What does the poor man know of wealth? What does the fool know of knowledge? What does the bachelor know of love?

What does the man, the same man, know about different? Perhaps he's dreamed about it. Perhaps he's longed for it. Perhaps he's watched it from a distance, hoping it would come to him. Perhaps he's spent so long desiring and pining for it that he's come to accept his sameness. Perhaps he's come to understand what different is. Perhaps his sameness is just enough stability to know first hand just what different is.

Perhaps it doesn't even matter. Perhaps the same words written on the same paper with the same pen at the same desk with the same chair where the same man writes every night can be something more.

Perhaps words can be greater than.

Inflection Point

Sean Moore

Every time I come in, they tell me I’m completely normal.

You’d think a man walking into a nut house on his own free will would have some sort of credibility. After all, this is the kind of place that isn’t used to calm – they’re used to the guy who thinks aliens have miraculously saved his child, the guy who hears voices at all hours of the day, the guy who thinks he’s been transformed into the family heirloom grandfather clock. These are the kind of guys that don’t really deserve credibility. But the guy who walks into one of those polished oak parlors - I always imagine for some reason that every therapist’s office is tucked away on the first floor of some shabby and forgotten English manor - and declares himself mad? You’d think he would at least have the tiniest bit of clout.

Surely the man who’s done it three times must have some sort of screw loose. He’s gone mad by the sheer act of believing that he is mad. Been driven mad by the very thought of his own madness. Doesn’t it all come down to belief, after all? What does it matter how sane you are when you’re certain, when your full to the brim with the belief that you’re hopelessly mad.

Unless it comes down to honesty. No one is honest with themselves anymore. We can’t tell what we are, we can’t look at ourselves in the mirror – and I mean really look at, stare into those pale blue droplets that have impinged themselves on that polished glass across from you – and have the nerve to glimpse at what we really are. So instead we tell everyone the story of ourselves that we’d like to be known, and we tell it over again, for the first and second and third time, until it’s no longer our own, until the fake memory that we’ve made has gone out into the world and is there to remind us when we forget. Then it’s simply a matter of asking our closest confidants what they think of us – they’ll happily parrot back the lie we’ve sculpted for ourselves.

Or else it’s a Catch–22 – the Catch–22, in fact; no doubt shamelessly stolen and repurposed. The insane man who recognizes his insanity cannot possibly be so, and so he is not, and so off he goes back out into the world. I’ll leave it to the reader to understand how the reverse logic works, then – how the sane man who thinks he’s sane cannot possibly be so.

As if that makes any sense. And of course none of it makes any sense. I explain this to them - them, always amorphous, for I cannot remember their faces and they seem to all have adopted nondescript names - for the first and second and third time, lying on my back, faux leather riveted to the fainting couch, crackling – cackling, in fact – along with my increasing frantic explanations; whether in earnest or in jest, I can never tell. They smile and nod and write it all down and say that’s nice and ask me about my mother. Or maybe they write nothing down, maybe it’s all just doodles of Freudian fantasies or silly cartoons. And then when it’s all over they smile and nod again and hand me a little white slip with god only knows what kind of incomprehensible nonsense and say, take two of these and call me in the morning.

I don’t want the pills. I just want someone to listen. If nothing else, that must make me crazy. /right?

I’m convinced it’s a matter of timing. It doesn’t take a great engineer, thankfully, mercifully, to know that if you have a high point and a low point, then there’s a pretty good goddamn chance that there will be an in between. That’s when I notice it of course, when the up, up, ups start to become the down, down, downs. or the reverse, or is it the converse, or the inverse - whatever verse it might be – the down, down, downs climbing back to the up, up, ups. When I’m feeling not just this incredible pull from one extreme – when I’m feeling exactly where I am. Not up. Not down. Just In between.

When I find myself in that point of inflection.

I’m certain that this is where they catch me. That perfect balancing point of normalcy. That brief moment when you’re coming off the hideous high of mania ad headed right toward that horrible hole of depression. You’re weightless, in that moment, nothing’s pulling at you, nothing’s a rocket and nothing’s gravity. You’re just… normal.

You come home and all you think about is the leftovers from the fridge and the re-runs on TV. You come home satisfied with what you did at work. You come home not to scheme, or plan, pr plot, or ponder, but rather you come home to relax, to rest, and, tomorrow, to repeat.

That’s what it’s like to be an everyday human being?

That’s what it’s like to be ordinary?

That’s when I reach out for the phone and dial the suicide hotline.

Maybe my kind of insanity is normalcy. The desire to have a regular bedtime and a relaxing eight hours of sleep and to grow old with a loved one and have a kid or two and a backyard with a lawn mower and a garden with flowers only my wife can pronounce and a commute with a morning talk show and me yelling at the callers and the disk jockeys and the five lanes of traffic I’ve somehow been sandwiched between and a quiet day at the office with birthday cake and corporate gossip and 401(k)s and health insurance and fringe benefits and comparison tables and Gantt charts and dependencies and deliverables and college savings and worrying, worrying, worrying at 11:58 PM when my teen-aged daughter hasn’t pulled into the drive way yet and all of it and every moment of it without spending a second being a frantic maniac knowing you’ll change the world or a hopeless wreck knowing you’ll never amount to anything.

Not up. Not down. Just in between. That’s what I find so fearsome. That’s what I find so insane. Because what I live for are the highs. What I live for are the lows. I live for the moments when I truly think that the work I’m doing can make the world a better place. I live for the moments when I doubt myself and every thing I’ve ever produced.

What makes you a better person is thinking you’re nothing and proving yourself wrong. What makes you a better person is thinking you’re everything and proving yourself right.

What I don’t understand, what I’ve never understood, is wanting to prove neither of these things. What I don’t understand is not wanting to prove everything at all. What I don’t understand is that in between the ups and the downs are the in betweens - and most everyone is just fine with that. What I don’t understand is why I’m not.

I’ll never be okay with a life lived in between.

Surely that must make me crazy.

Right?

Settlers

Sean Moore

Conestoga wagon. All covered up. Spokes are brand new, shiny – couldn’t afford the full set of wheels. Axle’s not in the best shape, had to get it used. But hitch it up to a pair of ox, and she’ll go just fine. Not the best oxen, mind you – but the oxen that’ll get the job done. It’s all a bit secondhand, thinking about it.

But this’ll do. This’ll do just fine.


It started with a dream.

Well, to be honest, it probably started with a nice date, maybe too much wine, and five seconds of forgetfulness on someone’s part, in the heat of the moment. But that’s probably rewinding the tape a little too far.

Anyway.

It started with a dream. The reasons for being here. The reason it all started. The reason this all started. It had to – no arrival is by chance. Every destination has an embarkation – and for this life, this present, this now, a dream was it.


Prairie schooner. She’s all full up. Thought of everything, planned for everything. For the winter, for the stretches of road where there are no supplies, for the dangers. For the disasters. Even prepared for the tragedies. Mentally at least. Hopefully, at least.

But this’ll do. This’ll do just fine.


How did it start? How does it always start? Sunday cartoons and too much sugar in the cereal. But maybe that’s too harsh.

Instead, maybe it was a wild imagination and not enough adult supervision. Just time. Time for that mind to expand. Time not to wonder what’s in the way, but time to wonder why it’s even there. Time to think. About anything, about nothing. Time to dream about what could be, not know what was, is and always will.

And maybe those cartoons helped a little.

Wonder how they laughed. Not right away of course – never right away – but after, when it’s polite to do so. An inventor – no, what was that? A flying motorcycle inventor! Never mind the intractable engineering. Just the audacity to suggest those two things should go together.

Wonder how they laughed. Did they even laugh? Would they even listen? Do they even know? Were they ever told?

If they were, oh how it would’ve ended! Not right away, of course – no never right away – but after, when it’s polite to do so. When it’s polite to say that dreams are just that. There’s nothing to do about them then to wake up, and realize that they aren’t real.

But maybe that’s being too harsh.


Been dreaming about this for a long time now. About that coast. About that destiny that no one else controls. Been dreaming about the future, a future, every future. Any future. Well, not any future. But a chosen future. Not the best future.

But this’ll do. This’ll do just fine.


Wake up. That dream, any dream – it isn’t real.

Wake up – that’s how it ended. That falling feeling, that tumble that comes in the flicker of a moment between asleep and awake. That’s how it all got here, that’s how this place, this feeling this life became the destination. In that tumble, that flicker of a moment. Those twenty-two years of hearing what can’t be done. The falling-out, the realize, the acknowledgement. The waking up. The waking up to a reality that says dreams aren’t real. That dreams can’t be real. Who’s reality is that? It belongs to the ones who have woken up.


That heap of lumber, she’s all washed up. Can’t move much when the spokes are broken. Can’t move much when the axles split in two. Can’t move much when there isn’t an oxen left to pull her. That golden coast, that future, that destiny. It’s not just anywhere. It’s just past that horizon. But this is the end of the road. Guess it’s time to settle. It’s not any future. But it’s a chosen future. Not the chosen future.

But this’ll do. This’ll do just fine.


They called them settlers. They called them that because they stopped and said what they had was good enough.

They called them pioneers. They called them that because they never stopped finding the next frontier.

Ordinary

Sean Moore

What do you think about when the working day is over? What courses through your head when you come home? Are you numbed, are you spent, are you tuned out, turned off?

No, not you, because you are not ordinary.

No, when the night swallows up the day, it is your buzzing brain that keeps the light on. The ordinaries go home to their televisions and their microwave dinners and their unsatisfactory relationships and their too-large apartments and their inadequate collections of art and unimpressive love-lifes and their unfulfilling hobbies and their discarded diets and their six packs of beer and their poorly adhered-to exercise plans and their beds that give them back problems.But not you.

No, not you, because you are not ordinary.

You dream about the future. You think about how the world is going to change. You think about the way the world is changing. And you think about how you'll fit into all of it. How you won't just go along for the ride. How you'll be in the driver's seat. How you'll be the change in the world. Wonder why anyone would want anything less. And you'll know how Alexander felt, how Rommel, how Patton, how Agamemnon, how Hannibal, how Xerxes felt. The whole world before them, ready to be conquered.

No, not you, because you are not ordinary.

So I wonder - What do you think about when there is no more "work" to be done, when the job has been confined to the closed door of the office, or underneath the lid of a laptop. Are you content to let your mind lie fallow?

Or can you not turn it off? Is it not satisfying to go home and enjoy the few hours of leisure before heading to bed and starting the whole thing over tomorrow? Is it not enough to put in a honest eight hours of work at a job you like working on projects you enjoy? Aren't you content to be successful at your job, to be respected by your peers, to be seen by your friends, to be loved by your family?

No, not you, because you are not ordinary.

You wish you could turn it off, but it's no use. So instead you begin to build an empire in your mind. Oh the problems you conquer. Oh the armies of solutions you command. Oh the wars you have fought to convince yourself that you are normal, that you are content, that you are ordinary. After all, everything around you tells you that this should be enough. But there is no satisfaction in it. There is no glory in retreat. So instead you press on, you throw yourself into the dreams you've held onto for so long in your head. You fight for them to be real.

Perhaps instead you feel like Horatius, the only man on the bridge, the only man against the hordes. Would you turn and flee?

No, not you.

Because you are not ordinary.

Just like everyone else.