Myths of Origin

Inward is the only conceivable direction. All arrows point within. So too, this book, which faces down and in, along the sallow thread of my tongue, into darkness and out again.

If I were to tell you that I am an old woman-hermit, who lives on the side of a mountain I cannot name in the year of the ascension of Taira Kiyomori, this would be true. It would, of course, be as true to say I stood outside the Theban wall whose mud-bricks are the color of pages and asked riddles with lips of verdigris. It would be as true to say I drove six brown horses around the walls of a burning city, that I gathered my husband in fourteen pieces and knelt in delta-silted river reeds with my arms full of his flesh. It would be as true to say I invented the world last year, from coffee beans and plantain leaves mixed in my veins. We are a body of Contradiction, flesh-full an

d fleshless.

But perhaps I am just a mad old woman squatting in the wreckage of a pagoda halfway up the mountain, mending my sandals for the seventeenth time and scraping in my bean patch, waiting for the new green shoots to slide out of the earth like stars. Perhaps I am only she, Ayako of One-Name-Only, who each night brews a sour tea of dandelion roots and watches the stars slide out of the sky like bean-shoots. It is possible that I only dream her, her rags and thin hands, her snow-cold calves and breathing eyes. It is possible I have never been anything but her.

If I do not dream her, then these are my hands deep in the soil of the Mountain whose silence booms in her heart as though it were an empty hall. If I do not dream her, then the others are a mist on the wild goose’s wing , the dream of my lion-haunches and terrible teeth.

I wish to be dreaming her, so that I may call these others true.

Larvae Begin to Twitch in Their Cocoons

(To be alone is to work at solitude. It is very difficult, a lifetime’s work, like the building of a temple. The first years are the carving of steps from camphor wood and the bodies of infant cicadas. Desire is still present like a moth—he flits onto your hair, your thigh, your smallest toe. He sits so quietly, small and brown, intricate as leaves. And you are not truly alone, because he is there, slightly furry against your skin, breathing.

The next years are the erection of a great Gate, red as poppy-wine, with guardian statues of jasper and knuckled silver. Now you are learning, you have begun to fashion your solitude with skilled hands, to chisel away at all that is not loneliness, to dwell in seclusion as you would in moon-white larval flesh. Desire has gone, but Need remains, and you look down the path for the shape of any human at all. Soon you begin to dream that they come. Your joints have begun to fuse, to make an utterly separate beauty.

The interior hall comes next, in shadow and rough-cut incense. You had thought yourself a Master already, but in these years like flapping crows you begin to scream, and your screams become the temple bells of perfect bronze, and you clutch their silken ropes, caught in the great work. These are the maddened years, when you have only the strangling Self. You are a pre-suicidal mass. There is no release from it now, and you begin to sow seeds in a little garden, understanding for the first time that there are no endings for you.

After a bushel of winters tied with chewed leather, the roof is laid out, corners dipped in boiling gold, arcing up towards the sky, which has begun to speak to you. You have polished and cut and painted with hawk’s blood the edifice of your solitude, and it shines so under the dead moon.

And you are the icon, the holy relic to be housed. Your bones have calcified into sanctity. You are the created thing, unfathomably apart, clothed in antlers and rain-spouts. There is nothing now but you and Alone, not even a body, which long ago hushed itself into the snow-storms. It is completed, your magnum opus. A fontanel has re-appeared at the crown of your head, pulsing gold and silver—you are an infant again in the arms of the empty air.)

I have been alone for a long time.

Fish Swim Upstream, Breaking the Ice with Their Backs

The dream-pagoda has five floors. It is red like dripping wax and in my cloud-body I have not climbed to the top. I think I meant to, once, but the cycles of fat salmon spawning took my smooth limbs and left juniper twigs. I huddle, or she does, the dream-Ayako, on the first level, against a wall that was once lacquered green and blue.

I cannot tell if it is me curled on the damp earth. The gray spider perched on her dusty wall seems equally myself. I apologize, it is what happens when the loneliness is built up and frescoed in costly paints. Solitude becomes populated with a legion of selves, each laid on each like stacked frames of film, like pig’s ears in the noontime market, or the floors of a pagoda that once was red. The original is lost, just one of a thousand thousand silvern copies, scattered upwind.

Laying over the dream-tower is the dream-wall. It is brown, glum-grained and jaundiced by a Sun which frowns under her straw hat. Dream-men pressed the earth together to build it, and now it is my Nest. In this copy, which is not Ayako but comes from her like a long braid which begins at her crown, I can feel the bristle of fur like a bronze brush on my thighs, the jut of morphine-wings on my back. It is the dream of the lion-haunches, which is familiar as a shoe.

A Boy comes to the dream-wall. He is smooth and brown as an almond tree, with wide-set eyes and a cruel mouth. His hips sing of palm-oiled pleasures and I like him in a moment, because his beauty touches me like a hand. My paws are deep-padded and hungry—I breathe his smell in sheaves, smell of cinnamon and burned bread. My belly yearns for him, knows he is meant for me, will swell inside me like a black apple. I am certain of him, of how he will feel inside me, how his sweat will taste.

But he is waiting for me, and I oblige, for the dream-body knows the thing for which it is intended. Riddles, and games, and adulation.

“What is my name?” I ask in a voice like the sound of the Mountain gnawing his knees. The Boy looks at me with a quixotic raise of his brows.

“That is not a very good riddle,” he replies, and I let his voice slide through me like spiced honey. He is worried, now, for he must suspect that he cannot possibly guess the answer among the possible answers that spread out in his brain like a Euclidean plane. When he attempts it, I can hear his tongue thicken in his mouth.

“You are named Truth, for only Truth can loose what is bound.”

And it is a good answer, better than most can dredge from themselves, pulling their words up like wooden well-buckets. My belly exults.

“No, beautiful boy, dream-within-dream. I am called She. She who travels when the snow flies fast. She who devours with woolen teeth. She who asks. I am all possible shes. There is no other She born under any mockery of a moon. I am the she-Wolf, the she-Axe, the she-Belly. I am the destination of that which is He. I cannot be guessed, and I am never known.”

And then the dream-boy was inside me, in my throat and in my lion’s stomach, whose ulcerated walls pulse in time to the flooding of rivers. My teeth drank him, and I slept in the corpulent sun.

Woman rises out of no-woman, and Ayako stirs in her sleep.

River Otters Sacrifice Fish

Metamorphosis. It is a long line of bellies, chained together flesh-wise, circling each other in a blood-black smear. The sparrows pick cold red berries from the mud, the hawks pluck the sparrows from the sky. The fish swallow grasshoppers, the otters gulp down the fish. The world eats and eats and eats, and stomach to stomach it embraces itself. Hawk is Berry, Otter is Grasshopper. Woman is Fish and Sparrow.

Ayako sees this as she watches the new sun tiptoe on the river. She understands it, for she, too, has a belly which longs to pull creatures into it. The I-that-is-Ayako knows that dream-bellies also connect, along a strange umbilicus of tamarind bark and snow-pea shells. In the half-shelter of our ruined pagoda, I can see the stars, the constellations rotating in their angular anatomy. Over my/our flaxseed hair the kimono-sleeve stars tumble like lost feathers. The river whispers arcane spells, thick-voiced and gurgling with pleasure at the face it holds in its ripples, which is mine. The dream-face, with eyes of new apples, for in dreams, all eyes are green. The River and the Mountain split me between them—they have a treaty which is re-negotiated regularly. Codicils are added, addendums and appendices drawn up with rustling laughter. There is no time here—Thursday has been killed in his sleep. They can afford to wait.

It is a small dream, this. It follows the seasons and eats orange kabocha squash boiled with wild greens. And into the dream occasionally some black-eyed boy or girl comes, to bring me a sack of rice or a little box of tea. They come from the dream-village, which has not the gentility to know it is a dream, because they pity the old woman on the Mountain. And I long to ask them riddles they cannot answer, I long to hold them belly-to-belly. They go back down the Mountain with innocent feet, back to huts and miso and smoked fish.