James A. Reeves

Notebook

Some Strange Region of the Universe

Some Strange Region of the Universe

I spent the month of February in Iceland as part of the NES Artist Residency, where I worked in a little café by the Arctic sea in the town of Skagaströnd, population 498. There was no snow when I arrived because we’ve ruined the Gulf Stream. Instead, there was an endless twilight that saturated the red rooftops, black rock, and patches of yellow moss. Although I remain committed to black-and-white photography for reasons of simplicity and accuracy, Iceland demands color.

Watching the ships rocking in the harbor, I cultivated elaborate fantasies of trade winds and oil lamps and drowsing beneath a wool blanket while a radio murmured about barometric pressure and shipping lanes. Iceland was an ideal place for imagining other possible lives. Sometimes the clouds and mist hung so low they erased the boundary between land and sky.

I visited a cozy library lined with books, encyclopedias, and manuals that had been donated by an ambitious collector who passed away in the 1970s. The librarian whistled along with “Manic Monday” while shuffling through papers, a sound that blurred with the wind beating at the windows. And my god, the wind. It knocked us over as we raced along the sea, drilling into our ears and slapping us across the cheeks, sending our voices flying from our mouths. It was a wind that rewired your nervous system, a sensation that could drive a person mad.

The Northern Lights dance, which I did not know until I saw them. They darted across the sky, blooming and unfurling in patterns that I could not detect, and it was a reminder of the ancient philosophers who believed souls must live in the sky because “the stars make us less lonely.” A garbled line from a Godspeed You Black Emperor song looped through my head as I watched: The sky’s on fire, and there’s no driver at the wheel—and it seemed impossible that we would waste our time down here arguing about money, imaginary borders, and local gods.

A road trip through the northwest peninsulas reminded me of my peculiar relationship with nature. I admire nature in relationship to the manmade—the park in the city, the lone stop sign in the desert—but landscapes without any place for the human overwhelm me in the Burkean sense of the sublime: a display of time and scale that I cannot absorb without feeling overwhelmed. Perhaps this reaction was exacerbated by reading Learning to Die in the Anthropocene, a summary of the inevitable trauma of climate change and how, just as the individual must reconcile himself to death, so must our species. And so many surreal vistas in Iceland amplified this sensation of living in end times, an effect further enhanced by a series of brutalist churches that looked as if they belonged to alien gods. With pools of boiling mud, sulfur coloring the air, green light streaking through the night, and columns of steam pouring into the sky, it was not difficult to imagine the need to invent gods and myths for an explanation.

When Abbot Suger walked into the Basilica of Saint Denis in 1144 and saw its Platonic geometries, stained glass, and pointed arches, he said, “It seems to me I see myself dwelling, as it were, in some strange region of the universe.” This sentence came to mind often during my time in Iceland, and I hope the remainder of these photographs capture some of this.

Another moment in Iceland that amplifies the sensation of living in end times.
Cultivating deep fantasies of trade winds and oil lamps and drowsing beneath a wool blanket while the radio murmurs about barometric pressure and shipping lanes.

Further Reading and Listening: Godspeed You Black Emperor, ‘The Dead Flag Blues’; Edmund Burke, The Sublime and Beautiful; Roy Scranton, Learning to Die in the Anthropocene; the Basilica of St. Denis.

Hymns for the End of the World
Midnight in Athens

Hymns for the End of the World

Slow-motion strings and liturgical drones from Athens, Greece. Mohammad’s latest album reaches toward the sublime in its strictest sense: wonder coupled with dread, the jittery thrill of the dark and unknown. Now available as a digital download and triple 10″ vinyl from Antifrost.

Guilt and Grace
A pier in the Aegean sea.

Guilt and Grace

On January 5 I walked along the sea in Crete and remembered my father who died on this day last year. The things I should have done, the desire to rewrite the past. But why punish myself with guilt? A line from Bergman’s The Seventh Seal nattered at my thoughts: “I often wonder why people torment themselves as soon as they can.” I ran my hands along the stone wall of an ancient fortress while tormenting myself for everything left unsaid and undone. Perhaps this self-punishment was an echo of the blood sacrifices of the past, a modern variation on the ritual of sati or the tribes who chopped off their fingers to illustrate their grief for the ones they’ve lost, to relieve their guilt for continuing to live.

As I walked along the sea of a strange country, I recalled the day-to-day details of my last year with my father. Our morning drives to physical therapy, his constant tidying of our tiny pantry shelf. The comfortable rhythm of our conversations and silences, our routines and quiet complaints. We built a little life together, two men living in small clinical rooms, waiting for a lung. Looking up at the clear winter sky, I realized my parents would kick my ass if they saw me brooding like this—and I was surprised to find that I was still having a conversation with them. I walked on, feeling less alone, and I found a small moment of grace at the end of a pier in the Aegean sea.

The Story of Philosophy

The Story of Philosophy

Finally tracked down a clean hardcover copy of Will Durant’s Story of Philosophy, which might be the book I return to the most. Something about it feels like home. Aside from elegantly navigating the depths of Bacon, Spinoza, Kant, Schopenhauer et al, Durant might be the most kind-hearted and humble writer I’ve ever encountered. A valiant warrior against the incomprehensible language of academia, he seeks to “break down the barriers beyond knowledge and need,” arguing that the academic’s “barbarous terminology” has forced the world to choose between “a scientific priesthood mumbling unintelligible pessimism, and a theological priesthood mumbling incredible hopes.” Instead, he is on the side of warmth and humor, “not only because wisdom is not wise if it scares away merriment, but because a sense of humor, being born of perspective, bears a near kinship to philosophy; each is the soul of the other.” And all of this is in the first three pages of the preface.

Desk No. 2

Desk No. 2

New Orleans, Louisiana. A bundle of letters written by my grandfather in 1943, a book of Winogrand photographs, and some quiet music for Sunday afternoon moods and atmospheres.

The Last Year of My Father

The Last Year of My Father

When I lost my mother, I met grief for the first time and I ran. I thought grief would be dignified and monumental like a tower shrouded in mist or quiet days spent weeping in a dim room. Instead I discovered that grief is a feedback loop, a wash of static riddled with fractured images, creepshow dreams, and broken questions that would never be answered. How could this. Why didn’t she. If only I. This wasn’t supposed. Science tells us grief is a biological necessity, a Darwinian driver that teaches us to protect the ones we love—or at least, the ones who still remain.

My father’s breathing became labored in the years after my mother’s death, as if staying alive had become too demanding. He was diagnosed with pulmonary fibrosis, which meant his lungs were stiffening due to a patchwork of scars that covered the precious tissue which translates oxygen into life. The doctors could not point to a specific cause beyond a crossed wire somewhere deep within the machinery of his cells, a faulty line of genetic code which sent his immune system on a terrible mission that rejected the logic of life: his body was attacking itself.


We tend to die when we are not working. A stroke at the dinner table, a car wreck on a Saturday night. We like to die on weekends or during the holidays. This is something I learned while waiting in Wisconsin with my father for a lung, a factoid gleaned from hours spent sitting among gnarled old men waiting for their telephones to ring with news of fresh hearts, livers, and lungs—men who cheered when they learned that Wisconsin does not require motorcyclists to wear helmets. Each night they gathered with their oxygen tanks, heart attack vests, and grisly math, eager for the weekend or the next holiday to come. “Might get some lungs now,” they said before Easter. “Thousands of drunk drivers can only be a good thing,” they said as Memorial Day approached. “Alcohol and explosives are better than Christmas,” they said on the Fourth of July.

One of these men approached my father when we first arrived in Wisconsin, our nerves still buzzing with the speed and heat of the interstate after a sixteen hour drive from New Orleans. He was the kind of man most people ignore, the lonely soul puttering at the margins of a discount superstore with uncombed hair like a cloud, or the blurry retiree doing the crossword on a bench at the mall—but here in the rooms where we would wait for a lung, he was an authority, and he leaned towards my father and asked, “What’s your blood type?”

My father took a drag from the oxygen tube that circumnavigated his head. A puff of compressed air accompanied his answer. “O positive.”

“Me too.”

They nodded at one another, enjoying this primitive bond. The same brand of blood flowed through their bodies yet they would not hinder each other. My father needed a lung; the white-haired man was waiting for a heart. The wheels of my father’s oxygen tank squeaked down the hall as he shuffled towards our room. The white-haired man picked up a butter knife and grinned as he followed my father, making swift stabbing motions towards his backside, mugging and jiving for the others in the lounge. “He’s the right blood type and I need a heart.” Everyone laughed. He would play this gag dozens of times in the months to come. At first I did not think this was funny, but in a few months I began to understand.


The tribalism of our bodies is profound. If one of our cells encounters another cell that does not share the same DNA, the body launches an attack. It’s the scene in the science fiction film when an interloper’s retina or barcode fails to scan and red lights flash through corridors to the beat of a klaxon alarm while men with guns hunt down the intruder. Organ rejection is the enemy of transplantation, a defense mechanism that has only been brought to heel in recent years.

The first recorded attempt at installing an organ in someone else’s body dates back to the third century BCE when Bian Que, a Chinese physician and author of The Yellow Emperor’s Canon of 81 Difficult Issues, claimed to have used anesthesia to swap the hearts of two men, one with too much willpower and another who was too passive. Hoping to achieve balance, he “cut open their breasts, removed their hearts, exchanged and replaced them, and applied a numinous medicine,” according to a Daoist text. “And when they awoke, they were as good as new.” Some Catholic histories describe the replacement of Emperor Justinian’s gangrenous leg with the limb of an Ethiopian man, a surgery performed by the twin physicians Damian and Cosmas, for which they earned sainthood. Such accounts are improbable yet the idea of saving someone’s life with the parts of another is rooted in our most ancient notions of healing. In the early twentieth century, a series of successful transplants were performed on dogs, chimpanzees, and convicted murderers, and the increasingly refined use of immunosuppressants extended the likelihood of survival—yet the procedure remains haunted by rejection. (A sixteenth-century doctor in Italy attributed this phenomenon to the “force and power of individuality.”) Transplantation is particularly risky for the lungs because this is the organ that connects our bodies with the outside world, its dust and heat and microbes.

Whenever my father’s telephone rang, we jumped, knowing that if a voice on the other end offered him a lung, we would have one hour to get to the hospital where they would cut a slit along his ribcage, pull out one of his bad lungs, slide in the new one, and attach it to the trachea. “Sort of like changing a vacuum bag,” said the doctor. The other bad lung would remain in his body. Something needed to fill the space.


One lung is fine. People can run marathons with one lung. The pope has only his left lung, due to tuberculosis when he was a boy. In terms of daily activity and life expectancy, one lung is just as good as two.

Two years ago my father underwent a battery of tests and procedures while they determined his suitability as a candidate for a lung transplant. The word ‘candidate’ lingers in my mind as I recall him shaking the hands of dozens of doctors and administrators, a man running for the strangest kind of office as they peppered him with questions about his drinking habits and propensity for depression, about his lifestyle and future plans. Would he go back to work if he received a lung? Would he exercise and eat sensibly? These queries were polite variations on a single question: Do you deserve to live?

They inspected my father’s heart with a camera and biopsied his lung tissue. They removed all of his teeth to reduce the possibility of infection. He spent hours chewing on an elaborate mouth guard attached to a screen, a dystopian video game that refined his swallowing reflex to minimize the possibility of food or liquid entering his trachea. A series of social workers interviewed me, evaluating my fitness as a caregiver.

We sat in the cafeteria of the Veteran’s Hospital in Madison, one thousand miles from home. We watched snow cover the windows while we killed time until his next appointment, a test to confirm that he could still walk at least nine hundred feet in six minutes. If not, they would remove him from the list, classifying him as a lost cause, a body unworthy of someone else’s organ. Yet I never saw my father express even the faintest glimmer of anxiety. Even as his breathing grew worse and he maxed out all of his oxygen machines, he would smile, dutifully taking his daily trips to the Dollar Store, and we spent long afternoons by the Wisconsin River, where he pretended to fish. “If I’m going to die,” he said, “I might as well die outside doing something.”

Watching him calmly munch a cheeseburger in the hospital cafeteria, I realized this distant figure throughout so much of my life had become a grand old man and one of my closest friends while I was not looking. Only now do I see how hard he worked at this. He had traded his beer and high blood pressure for a grey beard and a fishing hat, and he would wake before dawn to meditate and highlight passages from a book by Thich Nhat Hanh, a Buddhist monk he referred to as ‘Nathan’. Going through his files after he died, I found folders labeled Sears pension, Telephone bill, and Buddha. He went to all kinds of churches with anyone who wanted company, and he began talking about the godhead, how everything is connected. He loved the water. He loved boats. “When I die, toss my ashes in the nearest body of water,” he’d say. “Even if it’s a puddle.” Rather than watch game shows and gossip with the other patients, he bought an old canoe and began refinishing it in the parking garage beneath the hotel. The fumes from the paint thinner and varnish were ferocious, but he figured a new lung was on its way.

Then the doctors called. They told us there was an organ drought—a grisly phrase that conjured apocalyptic scenes along dried riverbeds.


At first we believed in math. We spent the month of March researching blood types and averaging wait times, hoping to calculate the odds of receiving a lung. Did the odds improve with each passing day or was it like getting struck by lightning? In April we passed through a superstitious phase of gut feelings and prophetic dreams. We sensed vibrations in the air. “I’ve got a feeling the call will come today,” we said. But the phone never rang and we ended the month believing in bad juju and jinxes. We began playing long quiet games of chess in May, keeping an ear cocked for the phone. Summer came and we watched our neighbor down the hall return from surgery with two new lungs, his face nearly unrecognizable without his oxygen mask. Another man gave up after nine months of waiting and flew home to Arizona. Time became elastic and calendars stopped making sense. In June we switched from chess to backgammon, thinking we might as well include an element of chance.

At a pizza party for the transplant patients, a man took me aside. “People don’t know how to pray for this,” he said. “You only get an organ if somebody else dies.” I learned a lot about prayer during the ten months we spent in Wisconsin. In the laundry room, I listened to a woman describe the night Jesus Christ said her husband would get his heart next Tuesday. When I awkwardly tried to comfort the family of a man who died during surgery, they smiled and said everything was okay, this was part of God’s plan. I met a Marine who was visiting the parents of the boy whose heart he received. They put their ears to his chest, listening to the sound of their son’s beating heart. I imagine them posed in a pyramid formation, an echo of the Pietà. I envied this faith that comforts so many people in the face of uncertainty and tragedy because I did not know how to find my own.

Instead I drove. After midnight I would hit the interstate and speed west, fantasizing about space and light yet never daring to drive further than thirty miles from the hospital. When the lights of the city faded away, I would pull to the side of a county road and look at the stars while making my usual promises to be a better son, a more patient man. Then I drove back to our room where I would fall asleep to the sound of my father’s oxygen compressor, a burst of air hissing every six seconds through the night.


“With falling gas prices and a beautiful holiday forecast on the horizon, a record number of Americans are expected to hit the road this weekend. Experts are predicting an increase in auto accidents, so be careful out there.” I smiled at the radio, no longer caring that I was rooting for death.

My father’s telephone rang at six o’clock on the Friday before Labor Day, a weekend filled with car wrecks just like the radio had advertised. “Will you accept the lung of a recently deceased individual?” asked the voice on the phone. Oh god yes, he said. “Be at the hospital in one hour.”

After the surgery, I watched his lungs on a monitor while a camera rooted through glistening pinks and reds, tracing the dark purple slashes of a suture. For days he teetered between life and death, and I watched the numbers and quizzed the doctors, absorbing a brutal lesson in the language of blood, gases, and tubes. At night I dreamt in the beautiful slang of nurses. “You only have a true mixed Venus when you insert a swan,” they said. I learned that a patient who insists on standing up despite repeatedly falling down is called a ‘jack-in-the-box’. But my father did not stand up. Not at first. Each time I looked at him I wept, thinking about the life he had in front of him. When he finally opened his eyes, I took his hand and told him he was safe, that he made it. “It’s coming along,” he whispered.

After nine days of blood clots and collapses, of atrial fibrillation and intubation, the doctors removed the tubes and wires from my father. With one hand on his IV pole and the other wrapped around my arm, he took his first walk towards the nurses’ station. “King for a day,” he said. “I’m ready for the world.” We took dozens of careful walks through hospital hallways in the weeks that followed, and each time he went a little further than everyone expected. When I told him I was proud of him, he would give a small smile and say, “It’s coming along.” Each night when I left the hospital, he would turn off the lights in his room and wave a flashlight in his window while I stood in the parking lot, watching his little show.


Every Saturday we would explore Wisconsin, looking at its hills and Main Streets and lakes. Six weeks after his transplant, my father and I drove towards a spot on the map that advertised a scenic waterfall. When we arrived, there was a two-mile footpath through the woods. I didn’t want to walk it and I didn’t expect my father to manage it. “Let’s do it,” he said. Watching my father walk among the autumn trees, kicking leaves without any tubes or machines, I felt a sensation I can only describe as grace. No matter what happens, I thought, this moment was worth everything we’d gone through. I told him I was proud of him. “It’s coming along,” he said.

After 301 days in Wisconsin, we packed up the phenomenal number of spatulas, paintbrushes, floor lamps, and other things my father acquired from the Dollar Store, and at seven o’clock on a Sunday night, we pointed the car at the Mississippi River so we could follow it home. We were hungry, but we would wait to eat until we were in a different state. And there’s my father and me, sitting in a parking lot on a hill overlooking the river, munching cheeseburgers and watching the lights of Dubuque.

In one month, a doctor would tell me that my father was the sickest man in the hospital. I remember thinking he would take pride in this fact when he got out of the hospital, and I told him about it while we took another drive.


Septic shock is as fast and brutal as it sounds. On New Year’s Day, my father said he had a sniffle. He refused to go to the doctor. The next morning he could hardly stand. I poured him into the backseat and rushed to the nearest emergency room. They said his body was too weak to build a fever, that his blood had turned toxic. They flooded his body with antibiotics and fluid, which crippled his breathing. Soon he was on dialysis and intubated with a swan in his neck—his vital functions once again outsourced to machines. At dawn, a nurse brought me a telephone, a rerun of the day I lost my mother, while a doctor’s voice told me my father was going to die, that all they had left to offer was prayer. “If I had brought him here twelve hours sooner, would it have made a difference?” I wanted absolution. “Theoretically yes,” he said. “But he was very sick and weak, so theoretically no. I’m afraid this is a question you will carry for the rest of your life.”

I held my father’s hand while I watched the numbers on the monitor like an altar, whispering please don’t go while his blood pressure quietly dropped to single digits. The red and blue numbers for his pulse and oxygen saturation flicked to white. A nurse shut off the screen.


Here is an endless bayou with lots of birds and interesting clouds in the sky, and there’s my father in a little tin boat with my mom sitting next to him and his dog in the front, a breeze blowing through its fur. This is what I hope heaven looks like for him.

I kissed my father on the forehead and told him I was proud of him, and for the first time, he did not say it was coming along. I told him he was the kindest and gentlest person I’d known and he was leaving this world very well-loved. In the end, this might be the best any of us can hope for.


After my mother died I drove her ashes from Michigan to the California coast because she always wanted to see the ocean. And I kept driving for weeks, thinking I could outrun my grief at seventy miles per hour, hoping I could escape it by hiding in unfamiliar towns and anonymous motels, by becoming a stranger who sometimes marveled at the terrible thing that happened to an old friend named James.

Now that my father is gone, I want to run again. My first instinct was to point my car into the Yukon or the Mojave desert. But this impulse faded as quickly as it came. My father taught me some crucial lessons about patience and grace in his final year. In the days after his death, I received calls and visits from so many lives he had touched, even when he simply took his dog for a walk or futzed with his boat. I discovered he had a ladyfriend and they were making plans to live together. (“Don’t hang up any pictures in the new house,” he’d written her. “That will be my job.”) Despite losing the ability to breathe without gasping, my father remained present in the lives of others and I could hear him telling me to do the same.

I see him standing in the woods on that October afternoon with his quiet little smile, a simple gesture that reflected an entire life. A constellation of love and loss and dogged faith in taking one more step no matter how shallow our breath might be. His smile radiates through me as I write this and I know there is a lesson here even though it evaporates as soon as I try to describe it. Much like the impossibility of looking into the sun, perhaps it's better to simply enjoy the light.

Decree #1 on the Democratization of Art
Aleksandr Rodchenko's portrait of Vladimir Mayakovsky for “Conversations with a Tax Collector About Poetry”, 1926

Decree #1 on the Democratization of Art

Published in Moscow in 1918, this short manifesto first thrilled me as an undergraduate student when I began drifting from my studies in film towards graphic design:

Comrades and citizens, we, the leaders of Russian futurism–the revolutionary art of youth–declare:

  1. From this day forward, with the abolition of tsardom, the domicile of art in the closets and sheds of human genius – palaces, galleries, salons, libraries, theaters—is abrogated.
  2. In the name of the great march of equality for all, as far as culture is concerned, let the Free Word of creative personality be written on the corners of walls, fences, roofs, the streets of our cities and villages, on the backs of automobiles, carriages, streetcars, and on the clothes of all citizens.
  3. Let pictures (colors) be thrown, like colored rainbows, across streets and squares, from house to house, delighting, ennobling the eye (taste) of the passer-by. Artists and writers have the immediate duty to get hold of their pots of paint and, with their masterly brushes, to illuminate, to paint all the sides, foreheads, and chests of cities, railway stations, and the ever-galloping herds of railway carriages.

From now on, let the citizen walking down the street enjoy at every moment the depths of thought of his great contemporaries, let him absorb the flowery gaudiness of this day’s beautiful joy, let him listen to music—the melody, the roar, the buzz—of excellent composers everywhere. Let the streets be a feast of art for all.

And if all this comes to pass, in accordance with our word, everyone who goes out into the street will grow to be a giant and in wisdom, contemplating beauty instead of the present-day streets with their iron books (signboards), where every page has been written on their signs by greed, the lust for mammon, calculated meanness and low obtuseness, all of which soil the soul and offend the eye.

Written by Vladimir Mayakovsky along with other members of the nascent Russian futurist movement, its optimism is infectious—and heartbreaking. Shadows in the wake of the Bolshevik Revolution would turn this vision into a dark joke. A century later, Mayakovsky’s salvo continues to circulate through the veins of every idealistic design manifesto, from Ken Garland’s First Things First to the proclamations of Adbusters to the contemporary writing of Mike Monteiro.

Enchanted Desert

Enchanted Desert

A jittery man with long blonde hair and a tight leather jacket warns me about the desert. “When you go out there, don’t listen to anybody who dares you to walk into the desert,” he says, sending his half-smoked cigarette skittering across the dark parking lot where it sparks against a pick-up truck. He clamps a big hand on my shoulder, squeezing hard. “I’m serious, man. People do it all the time. They’ll challenge each other to walk ten miles into Death Valley without any supplies and then walk back. They wager money on it.”

I tell him I’ve never heard of such a thing and he stares beyond me, watching the late-night traffic. “Yeah, you can make some good money on a bet like that,” he says, “but I lost a few good friends that way.” His eyes narrow and I can see the tension in his jaw, the cords in his neck. God knows what he’s remembering. I turn to go. “Don’t forget,” he calls, “if you’re out there and you’re thirsty, you’re already dehydrated!”

James A. Reeves – Enchanted Desert

From American Decay | 2015 | Bandcamp

Built from a blurry loop of ‘Enchanted Sea’ by The Counts (Sea Crest Records, 1964). This track appears on American Decay, a collection of loops and reverberations recorded between 2009 and 2014.

Reverberated Crying

Reverberated Crying

A dusty ballad plays in a grand old ballroom filled with tailored men and elaborate hairdos. The singer’s baritone drifts from the dashboard of a Cadillac Fleetwood idling in the starlit desert. The rolling drums bleed through the static of an all-night pancake house. These echoes of an old single from 1961 wash over one another until we’re left with nothing but the ghostly outline of a nostalgic age in which we have not lived.

Reverberated Crying

From American Decay | 2015 | Bandcamp

Original song performed by Roy Orbison in 1962. This track appears on American Decay, a collection of loops and reverberations recorded between 2009 and 2014.

Orfeo

Orfeo

Writing about technology is tricky. The language is hideously undignified (tweet, google, blog, etc) and the landscape shifts by the minute. Many novelists skirt the issue by setting their stories in the near past or distant future. In Orfeo, Richard Powers tackles today’s digital age through the lens of a seventy-year-old classical composer and captures the fractured and jittery gestalt of our times. He writes about how we listen to music today:

“White wires ran from the cuff on her arm into her ears. Jogging and the portable jukebox: the greatest musical match since tape hit the V8. A thousand and one nights of continuous hits, all inside a metal matchbox. When this woman reached his age, mind-controlled players would be sewn into the auditory cortex. And not a moment too soon, because the entire nation would be deaf… Every few dozen steps she condemned the Now Playing to the dustbin of history. Her player must have contained thousands of tracks tagged by artist, year, genre, and user rating. A few menu clicks and she could be the Minister of Culture for her own sovereign state of desire… She was running through her several thousand tunes like random speed-date suitors. Songs were breaking over her in waves of wild accident—the mix-and-match mashup that was her birthright.

She was looking for something, the perfect sonic drug. And the medicine chest was endless: the laughing gas of a forties big band, a highball of brassy show tunes, punk heroin, techno-ecstasy, folk songs like a pack of tobacco, the hashish trance of Pali chanting, a caffeinated Carnatic raga, cocaine-tinged tango… A player filled with her private reserve, and still the random shuffle produced dozens of songs in a row that had to be killed. Or maybe she was streaming on mobile broadband—3 or 4 or 5G, or whatever generation the race had reached by that morning. A server farm on the far side of the planet was piping down one hundred million tracks of recorded music into her blood pressure cuff, and none suited. The job of taste was to thin the insane torrent of human creativity down to manageable levels. But the job of appetite was never to be happy with taste. How many tunes did anyone need? One more. The next new one.”

The Last Free Place

The Last Free Place

About two miles southeast of the Salton Sea, make a right turn on Main Street and keep going until the stink of dead fish fades into salt and dust. A mile or two beyond the Niland Turbine Plant, as the Santa Rosa Mountains shrink in the rearview and the Chocolate Mountains draw near, a painted concrete box appears, saying Slab City. The Last Free Place.

Some places grab your imagination without seeing them. I’ve been fascinated by Slab City since stumbling across a sentence describing it as a “decommissioned and uncontrolled community” of snowbirds, people living off the grid, and “people who want to be left alone.” The name demands attention: Slab City. Its cadence sounds like the stuff of underground pulp and purple noir, yet its etymology is straightforward, referring to the concrete slabs left behind after the Camp Dunlap Marine Training Facility closed shop at the end of World War II.

After passing the candy-colored Jesus slogans shellacked across Salvation Mountain, a kiosk appears with a laminated sheet of paper tacked to the wall: “Welcome to Slab City, an off the grid community since 1956. This is a free campground, free as in free rent, not free as in anything goes.” Some basic rules are listed: “Violence is not okay. Trespassing is not OK. A campsite owner may be absent for a while. Do not assume that it is abandoned. California acknowledges the Castle Doctrine. We are not vigilantes. We lead by example. ‘Rights’ usually end at the beginning of someone else’s ‘rights’. This is where rights become obligations. Be aware of obligations.” Next to this constitution is a hand-drawn map that illustrates the ‘paved roads (some rough)’ and ‘dirt roads (at your own risk)’ that cut the land into parcels with names ranging from ‘Sidewinder Cove’ to ‘Builder Bill’s Place’ to ‘Poverty Flats’. Also labeled are ‘tree’ and ‘swamp’.

My Slab City fantasies looked like a land of heavy zen where wind-battered American mystics sat cross-legged in the sand, meditating among their yurts and herb gardens. Sometimes I dreamt Mad Max dreams, fistfights between desperate renegades dressed in roadkill furs, their faces illuminated by tire fires with electric Kool-Aid flashing in their eyes. As I crunched down the gravel road towards the cluster of buses, trailers, and gigantic recreation vehicles, I discovered the reality of Slab City is the neutral sum of both visions: pleasant and practical with mild hints of anarchy and moments of generosity we rarely see.

Slab City on the horizon

I saw trailers with all kinds of figurines and jewels glued to the sides. Flags of all kinds: Jolly Rogers, POW MIA, rainbows, American, Canadian. Painted messages saying ‘love everybody’ and ‘no trespassing’ and ‘the sun works’. Walls made of tires, fences made of soda bottles and beer cans. The dusty sign for an makeshift internet café said “We Remember Freedom” and across the sandy road sat a library whose hand-painted sign said ‘Open 24/7’ and it was very open: a maze of bookshelves covered by a few sheets of plastic and canvas, its aisles of sandy Encyclopedia Britannicas, Michael Crichton novels, and Thoreau (of course) opening onto the endless Sonoran desert.

Driving around, I felt uneasy snapping photographs. The refrain of people who want to be left alone echoed in my head. It was quiet that Wednesday afternoon in Slab City, save for the occasional sound of a radio or stray peal of laughter in a distant trailer. There were no rowdy bonfire parties or meditating yogis. I only passed two people: 1) a leather-jacketed walking his dachshund, who also wore a little leather jacket; and 2) a crisp man in a melon polo shirt standing in front of the Living Water Mission, a trailer church painted sky blue. Both men gave polite nods.

Further reading: Slab City website; Slab City; Down and Out Escape to Slab City; A Trailer Park Utopia

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