SO WE ARE

...alienated from our divinity. Then we are alienated from the institution that claims to be in touch with the divinity because we don't believe it anymore. Christ rose from the dead, founded the church, and so on? But what if he didn't rise from the dead? Was he really what he claimed to be? Born of a virgin, true God and the true man and all that? Suppose you doubt that. Okay, the truth is taken away from you. The institution has taken divinity out of the world, put you in a relationship to it through an institution itself, and now the institution is gone, so you don't have any relationship to divinity at all. This is thoroughgoing alienation.

28.

Therefore neither the mind nor the objects perceived by the mind are ever born. Those who perceive such birth may as well discover the foot-prints (of the birds) in the sky.

NASRUDIN DREAMT

...that he had Satan's beard in his hand. Tugging the hair he cried: "The pain you feel is nothing compared to that which you inflict on the mortals you lead astray." And he gave the beard such a tug that he woke up yelling in agony. Only then did he realize that the beard he held in his hand was his own.

HIS ARM HAS GROWN LONG

HE MOURNS FOR THE CHANGE THAT HAS COME UPON HIM AND HIS BELOVED, AND LONGS FOR THE END OF THE WORLD

Do you not hear me calling, white deer with no horns?
I have been changed to a hound with one red ear;
I have been in the Path of Stones and the Wood of Thorns,
For somebody hid hatred and hope and desire and fear
Under my feet that they follow you night and day.
A man with a hazel wand came without a sound; 
He changed me suddenly; I was looking another way; 
And now my calling is but the calling of a hound;
And Time and Birth and Change are hurrying by.
I would that the Boar without bristles had come from the West
And had rooted the sun and moon and stars out of the sky
And lay in the darkness, grunting, and turning to his rest.

TEETH LIKE OPERAS, KEUE YEO

My new album, Keue Yeo, released under my musical moniker Teeth Like Operas, is finished and available to purchase. It is a limited-run cassette release of 50, containing songs that I recorded in 2011. These songs mean a great deal to me, and so I took care in designing and making the packaging that houses them. Each case is one-of-a-kind and handmade from scraps of second-hand leather clothing, sewn at home, with hand-painted details on the packaging as well as the artwork enclosed. 

Above is a glimpse of the handmade packaging. 

Additional songs can be heard on soundcloud. To view the teaser for the album, visit here.

This album is an invocation to Murcielago, the Zapotec bat god that, among other things, is a bridge between heaven and hell. A deity to carry me up and out of the depths of a trying year. Much gratitude is due to all those who have supported me and encouraged me this past year, during these dark days and hours.

The track listing is as follows:

SIDE A

bound by grass

under the pipes of solomon (excerpt)

SIDE B

so many other places

mirrored hall

Each cassette is $10, plus $2 for shipping to US & Canada, $4 for shipping internationally. To purchase the tape, e-mail me at hugeancestor@gmail.com to inquire about availability. Purchases will then be made through Paypal.

Thanks be.

KEUE YEO, a preview

Here is your first preview of one of the tracks off of my album Keue Yeo, which I am releasing as a limited-run of 50 cassettes. More information will be available soon. (I'm duplicating no. 22/50 as I type.)

Please be kind enough to listen/watch with headphones or decent speakers, as much of the song is completely lost through computer speakers. Much obliged to ye.

I DID NOT WORRY

...then, any more than I do now, about the little apprehensive "spirituality" milieu, or about the opinions of those perpetually frightened people who see refuge in a cheap junk nirvana in an effort to avoid facing the monstrosities of life, the daily panic dimension...It was not a question of staging a nice little show whose audacity would be applauded in trendy reviews, but to question myself completely. I wanted to expose myself: to put life, death, madness, wisdom in a game and to undertake a kind of ritual sacrifice.

WATTS ON JUNG

TEATRO SIN FIN

How did you put this program-manifesto together?

I promoted among the spectator-actors the practice of a radical theater act, which consisted of interpreting one's own drama, exploring one's own intimate enigma. It was for me the beginning of the sacred theater and was almost therapeutic. Then I came to realize that if I had, in my theatrical expression, shattered form, space, the relationship between actor and spectator, I had not yet attacked time. I was still a prisoner of the idea that the show must be repeated, performed many times. At the time when "happenings" were taking place in the United States, on my part in Mexico, I had invented what I called the "ephemeral panic", which consisted in staging a show that could be presented only once. It had to be accomplished by introducing perishable things: smoke, fruits, jelly, live animals...It had to do with accomplishing acts that could not ever be repeated. In summary, I wanted the theater, instead of tending toward the fixed, toward death, to return to its uniqueness: the instantaneous, the fugitive, the only moment forever. This way, theater is made in the image of life where, according to a saying by Heraclitus [of Ephesus], one never bathes in the same river. Thus, to conceive the theater was to carry it to the extreme, to go to the paroxysm of this art form. Through the happenings, I rediscovered the theatrical act and its therapeutic potential.