Push Or Knock; Or Roundabout Gone

Some things I wish I felt more comfortable talking about, out of principle, because I know part of my inability to talk about them stems from a societal prejudice: my mental state, sex, and my inner dialogues. One of my favorite bloggers of late, The Bloggess, does all of these perfectly, so if I were completely honest with myself it's not just societal prejudice but also me.

Then again, how many of us are brave enough to talk about sex in a public forum?

The other two are harder to write about, for me, but they are easier to hint at. To skirt around the edges, like in Fragonard's The Swing, which I drew once as a book cover for my French textbook. Both rococo and romanticism I learned from my European history class from sophomore year.

The other thing I remember from sophomore year was a hazy mix of staring out windows and anonymous crowds rushing past. I wrote about it a lot before, things I kept locked up in the depths of my laptop and hid for two years before I showed some of them to Yuma.

. . .

There is an old Chinese legend (one thing the Chinese have no lacking of) that a poet, late at night, could not decide whether to use "push" or "knock" in his poem to describe his character's internal battle when opening the door.

These days, the two words together mean deliberation.

When I was younger, around seven or eight, I always wondered how people remembered all of these proverbs and legends and folk lores and idioms. It wasn't merely enough to know a saying, you had to know the story behind it too. There were entire books dedicated to the formal four-word proverbs and their origins that schoolchildren my age were required to know.

That, added to the pictorial nature of Chinese words, and you have to wonder: why is it not fading away in favor of something much easier to learn?

I like to cite the poetic nature of it—because, to me, no language is better suited for poetry as Chinese is—down to each word imbued with meaning, but who am I to say? I am neither a poet nor am I a proficient writer of Chinese.

. . .

Khajiit says the younger generation of French people are slowly abandoning the rigid structures their language imposes upon them in favor of their own blend of French. What the equivalent would be for Chinese I do not know, but I hope it does not happen.

Because it is a language of thousands of years' worth of stories, legends, and lore, and there is a part of me that finds peace in allegories.

. . .

Writing for many people is ultimately a cathartic process. Haruki Murakami speaks of writing as a poison, and writing to overcome that poison. Natalie Goldberg believes you should write "what disturbs you, what you fear, what you have not been willing to speak about." Tim O'Brien uses his writing of a fictitious yet real world to make sense of the absurd yet very real world he had to live in. Andre Aciman repeatedly writes about place as a cover to what he really wants to write about.

For me, writing is about making sense of the past. It is about digging up what I have buried in the past—what I have been afraid to face—and putting them in front of me to finally digest after all this time.

I have been told many times, by many people, that I do not have the courage to face reality. That I am weak, that I do not have the determination. Writing is a cheap alternative, a way to pacify those claims without having to make any painful progress. I can say that writing has helped me to name my demons, but in the end, didn't Seymour Glass still shoot himself? How far can you go with writing when your demon is reality itself?

. . .

It is now six in the morning. This far north, the sun has already risen, although I wouldn't know sitting here in the basement of the tallest building on campus. I woke up yesterday morning at 8:25AM, with ten minutes to spare for my morning class, and with an apathy that has set in lately, told myself it didn't matter and fell back to sleep. The next time I woke up—fully, truly awake—it was already getting dark.

On the bus from New York, I thought about how I used to tie myself to the road. The music I listen to, the colors I love, they all have one trait in common: they're hollow. This emptiness inspired historical fictions, with Vermont and their Green Mountain Boys being my favorite, although any road could evoke endless stretches of fields and the nonchalant wind mussing up my hair.

This is my American dream. The loneliness is only a requisite.

For some people, a vacation is a relaxing break, and when they get back from their far-fetched locations they can settle down and work another half year in their fascinating fields. I am from a family fueled by wanderlust—my father, who cannot settle in any one place for long, no matter how tempting the place; or my mother, who takes to trips as other people take to hobbies.

I can stay in one place for a very, very long time if I had to, and if it were the only option in front of me. I would be okay with an entire year without vacations if it meant a regular schedule and the expectation that this is it. But once I am on the road, no amount of travelling will satisfy me. I have been on day-long trips, and week-long trips, and month-long trips, and it is all the same. If I start, I cannot stop.

. . .

Deep in the nights, we talk frankly. Khajiit about his cuts, me about my panicked nature. He tells me to take a deep breath. We talk frankly but nothing much meaningful ever comes out of it. We revert to the same conversations.

My parents say I never write about anything truly meaningful. It could be because I do not show them the extent of what I write, or because I have not, in their eyes, suffered. I have not lived an entire year on pickled radishes and plain rice because I could not afford anything else. I have not woken up before sunrise and come home way after midnight working in a lab to sustain a meagre way of life. Compared to that, I have lived a life of luxury.

I think it is more than that. When Khajiit and I give someone on the streets a dollar, I wonder where our moralities lie. When we talk so frankly of being nineteen-year-olds and of the world giving us more responsibilities than we can handle (Khajiit more so than me, obviously), of, as he calls it, "Everything conspiring against me," I wonder if we truly know ourselves.

Through this year of tumult, political and personal, can I claim that I know myself?

. . .

The first time I formally learned about allegories was also in sophomore year, when my English class read Lord of the Flies. There is something to be said about things coming full circle.