Between Brisbane and Japan, some whimsy and Dan (All contents © 2013 by Dan Ryan, unless noted)

Archive for January, 2011

Tokyo in the Underbrush—A small, old poet-O-graphical portfolio

Author’s Note: I published this old work of mine as an Amazon Kindle eBook in May, 2012. If you like the photos and poems you are about to see and read, well now you can own a copy. Just click here. –Dan Ryan, Brisbane, California, February 2014

Introduction

If I had read the instructions more clearly, these photographs would have gotten me into the photography program at the Yale University School of Art. But, like an idiot, I submitted this portfolio in print form rather than on 35mm slides as was required. Anyway, long story short: I didn’t get into Yale, though I did come close. Damned instructions.

Anyway, what you are about to read and view are poems and photographs I created while living in Tokyo in 1987 and 1988. The words were not specifically written for the images, but I paired each piece of text with each photo as a kind of experiment which I thought ended up working. You will note that all the photos are of Japanese drunks and homeless people. I was not on a social crusade, as I might be today. I was merely out to document an aspect of Japanese society which I could not believe existed. And it still exists, as my wife and I discovered during our trip to Tokyo in 2008. There are still tons of dispossessed in Ueno Park, for example.

The words and images are presented pretty much the same as they were 22 years ago. I have formatted the poems to flow more like straight prose, as they seem to read pretty well that way and it saves me some space here on the internet. And please keep in mind that while I make no apologies for the quality of the poetry (I am actually still quite pleased with some of it), these words were written by a man less than half the age of his current 47 years.

So there it is. Please take your time and enjoy. (And please note that each photo is paired with the text beneath it, and the location and date for each photo is directly beneath the image.)

—Dan Ryan, Brisbane, CA, January, 2011

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Bagman-san—Except from a diary….

Last evening, I saw the first “crazy-dude-shouting-at-the–top-of-his-voice-to-no-one” that I’ve seen in Japan. It was while I was walking through Roppongi. I have only been here for a week and some days. If it had been New York, this guy probably would have been my average cabbie. Or a Druze militiaman. The Japanese businessman I was walking near laughed at the guy, who was indeed shouting like Renfield with a razor. I smiled, wishing I new enough Japanese to grin and say “Yeah, we have crazy people in America too.” The moment was funny.

I saw my first Japanese bagman the next day. He had chest-length hair uniformly around his head. I could not see his eyes. He sported a dirty coat and some trendily-labeled shopping bags full of trash, or what I thought was trash. His long, glistening hair was eminently noticeable in the early work-day commuting crowd.

The sight of these two men shattered my view of Japan as the ultimate socially-restrained society, one which keeps all members within prescribed societal behavior parameters. I never thought I’d see a bagperson in, Japan. Even the most finely woven silk has a frayed edge somewhere.

Maybe being a bagman is a form of rebellion. Or an honorable profession.

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Akihabara—May, 1988▲

Humor of the ‘surd

When you stare straight ahead, people love you. They use that stare as a guide rope to the smooth underside of a city. Then they talk to the loops of themselves, whipping about their hair to combine, crashing, at the bus stop.

And they can fill their cold capsules with beer. Large beer capsules, to claim they are no longer the child who loved Star Wars.

People who seem to breathe when they should not. They exhale and breathe more, and soon the mixture is not air. One can see through it, yet it blocks the pores like a bad handshake.

Some say there are valleys because mountains trip and fall. Or, proportionately, there are potholes.

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Ueno Station—May, 1988▲

A bruised and side-tracked equinox

My body is hot, though my brain won’t feel it. Hot nerve flashes scale like firemen up my neck gathering to swim where my jellied thoughts collect.

I trip the crust of the curb. A fine Goodyear necklace forms the halo for the ghosts of my hands, I dream. In the way my toes wriggle, there is the hint of the prehensile, of the old way of walking.

I think of all those grimy seasons, the sun singing “I am the Queen of Anonymity” to me. Hard luck pressed to bad. The cowboys are weeping tonight between some snowflakes and the blue Ueno fog.

These manholes are the holes in the lute of Earth. My heat, xenophobes killing xenomorphs. There is a tangible future; I know others will be born.

And for them, heaven should be renamed.

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Ueno Station—May, 1988▲

Varmint Burgundy

Cool metal. Bent metal aluminum siding. Shiny, warped, and reflecting the street beacon in the shape of a 6. Metal warped with head impressions; perhaps the heads were Cambodian. The Cambodians of Rio, where I have lived for many years. They learned from Pol Pot to take small bites, as people do on T.V.

So come those crushed in my crackers, denting my house, those green in the salad of the Earth. I pray to some monochrome muddy that I do not go to the moon and marry.

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Akihabara Station—June, 1988▲

When one feels low, go where the low go

At times, I must lean against the refrigerator and think. That is all, and whether boiling bleach makes chlorine gas, I wonder. I have too many bugs, too much video tape. And a mass in my mean body that takes a protectorate form. For once, this grunt of a wicked rainbow makes you laugh.

What else; the clock and what it represents do not impress me. Just as time is rubber, so are intentions. The way today’s rain falls sounds as if the earth was frying.

And it makes some think the lives we make are fit sculpture for some men’s lavatory. Weeks of wood can not build this, or centuries of fire burn it. So I disagree, but not so hot, or feeble, to faze a sternly casual method. I should leave them, perhaps you, to “When something wants to eat something, What does it do?”

An eye drifting from the TV to the wallpaper told me about this. And more, of your earth-son domus and shamed elastic, and changing the channel with a brick.

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Mikimoto Rat (Keiseiueno)—June, 1988▲

Venison Love

You call me dear. Is this because you love me? Or, have I misspelled it? Do you view me just really as meat? A 6-point prize to be hunted?

Shot? Skinned? Bonnet-slung?

Dressed up and….eaten?

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Ueno Park—June, 1988▲

Pyants

“Organic lifelessness refracts light” to an old man coughing lovely luminous vapor trails in the park. He tells this to a pretty woman, who, in the process of describing trousers as “pyants,” does not listen to him.

He coughs up the nervous laugh of the aged, dumps his head upon his duffle and sleeps. Distantly, there ring slide guitar chords made using a finger inserted in a hip-flask bottle.

They sing.

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Ueno Park—August, 1988▲

Terrible Clichés

If there were cocaine in the Bisquick, do you think we’d live better lives? Really? Let us be intelligent about this; let’s pretend we’ve read Newton’s Principia. Sometimes, you, well, maybe not, however, you know, I feel like crying.

I’ll run my fingers through my hair and wish it was yours. Yet you wonder if the sun will be brilliant tonight. You wonder if your gun is loaded. And you wonder if the cat’s water dish is full.

I haven’t read much since college. Yet, I’ve read enough prostitute cards in smog-coffin Tokyo phone booths to know: love’s harbinger, lust, is alive and welcome if you’ve an 80-minute coffee break. But, there are certain things you care nothing about. There are certain things I object to. Why are they the same things?

Tomorrow, if my love hits you between the eyes, don’t say “Love hit me between the eyes.” It’s a terrible cliché.

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Okachimachi—August  1988▲

Quietly sinking with the Japanese sun (written in Kamiya Bar, Asakusa)

Some electrolytic brandy, and the brain’s synapses change and lose voltage, like a battery, sparking of its own chemical volition. We change this way, and we squeak.

Remember, John Wayne proclaimed some liquids unfit for the young. Here, an older crowd; here, a louder loud. Boot tips, and teeth grinding the edge of some brandy glass.

When poured, brandy has its own inertia. This is a fact. This is a physical law. Yet, why need the real be basis for delusions? Or impressions? Like ball-point lines. Or bad Polaroids, fading in the street, matching road shade, road texture. Yet, sitting in this pit any room you climb up into seems infinite, no matter its size.

Here, cigarettes burn down, strand by strand, their flames scorching lengths of RNA. I could be other places, to be warm and alone; perhaps the street.

I am cold, reading utopian literature, in a long, cylindrical chamber A cold chamber, heating slowly. I think it is the barrel of a gun. Once more, I sip brandy.

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Sanya—July, 1988▲

The grade-Z cast of thousands

Pride, diplomacy; they are not wasted in empty wheat fields. Out there. It’s where the bearded winds sing the slalom music, the careening scherzo of life. Upon such music: a spirit.

The Melancholy Marabou Stork. He airlifts sadness so sweet, it leaves sugar burns with the tongue. From the tongue it takes words, leaving them scattered at the toes to dry with other empty wheat husks.

With each monolog a husk pyre forms, until the night. Then, a match applied warms the cool, hard soul ‘til next morning.

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Sanya—August, 1988▲

On an Alabama road in the dead of 10 a.m.

The sun bakes the wetness in my eyes into a sugary dome that I saw Julia Child put upon a dessert once. It is a natural contact lens I peel off with a paring knife when I am not dodging meteors.

I look at the backs of my hands; they contain charred fleshy nexuses, like I was Christ-vampire-incarnate crucified with spikes of sunlight. At the tip of my tongue, some velcro, which I use to strip the petals from a bluebonnet.

It is the free slope of the morning; the point from which the day’s time curves down Einstein’s extended index. The point from which discreet time quanta will add up to the point of the next morning on a hill several miles from here.

Far. In a county named after a dog, where each blade of grass is registered in the county seat, as the officials have precious little else to do.

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Sanya Market—July, 1988▲

The Unpublished Poets of Tokyo

The unpublished poets bend in the breeze; reeds in a pond. Ducks eat them. Bigger things eat the ducks. The poets mildew in the canyons of Tokyo, where crows bleached in soot whitewash dying brambles.

Is brambles the correct word? The unpublished poets take the dictionaries from beneath their oily heads, street pillows, and page … xenophobia, autodidact, ah, here … yes. The poets eat the bones of their procrustean kin.

Others, too, have stopped by. Poets toothpick their pens, flicking bones, and write sloppy words to Japan’s shoeleather orchestra. It is no symphony; it’s a water ballet.

The unpublished poets tread water all day.

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Drunk in Sanya—August, 1988▲

Alleys are homes to our greatest unknowns

My flesh is parched and broken from the cigarette I put out in my palm. It was curious to’ve done such a thing, I know; but for agony, alleys are best. To scream in, to sit in, and chew the bubble-gum bits before gangrene sets in.

This, then, is concrete, polished with dust. A banquet of oil and rubber beneath my shoes. Fitting food for my king of the feast, who can afford to die slowly as cancer’s camp ground yet cannot afford an ashtray.

A creamy socket of lymph stares at me like an eyeball in the bishop’s stigmata. Twenty meters from the curb. There, walk-and-pass women walk and pass, themselves nude in the eyes of the men with the rabbit-skull cuff links

There, sun. Rising, spreading Sunday’s hungover glow. From school, I remember the plane preposition test as a jet passes above. flying from that cloud to another. Planes jot the sky’s water vapor island.

Day #8576. Wakeup. I wonder if I can step on every crack when I walk downtown home.

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Shinjuku—September, 1988▲

A strange, provocative solution (excerpt from a diary)

If more people lived in the street, there would be fewer street people; because an increased number of persons inhabiting the street would create a climate in which street residence would be more acceptable, by virtue of its prevalence.

Therefore, there would be less of a stigma attached to being a street person. Gradually, it would become acceptable; gradually, there would be fewer ‘street people’ in the negative, social commentary sense because living in the street would be no more objectionable than living in the suburbs.

People will always be a mélange of jerks, geniuses and slick pederasts; but if more of us live in the street, we can, by virtue of making an unacceptable situation acceptable, solve a great social malaise.

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Shinjuku Sidewalk—September, 1988▲

The discreet rainbow lady

Teeth, and beige silk, molded into fine oriental dentures. Such things are worn by women who snore. She’s one; my Bencliffia. A saltpeter heiress. Controller, mixer of disconcerted realities, she’ll say “The beginning and end product’re cheap; it’s their transition that’s expensive.”

Silver eyed; onyx irised. She moves the way liquid in a shaking bottle sounds. “They are a noise, they are one life,” She says, as she moves. She says and she moves a lot.

Almost never in unison, though.

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Sanya—October, 1988▲

Solitude

Edgar Allen Poe is dead and I don’t have the energy to danse like the bones of Christ along the power lines at dawn. Not like I used to.

No one could plant a bullet, as I have, only to see roots of red attack squirrels as the plant matured. Seems Mars is for rent. I’m going. I’d like a room with a view for once. All that …. red soil.

No need to cover the wounds of the dead. So, there are no cheaper imitations of plastic, are there? Let it speak for itself. I can’t; I have splinters on my tongue from talking to trees too long.

This breeze is good. So good. It penetrates every molecule, for there is no blood to block it.

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Ueno Park—October, 1988▲

Wino Christmas

We can chew on the bread of a Yakuza wife and become parodies of our own physiognomy. Like prisoners at Corsica we may spend our leisure converting rural tools for urban wilderness.

Perhaps you’ve found waters of coveted rivers refreshing. Such liquids make us ill. We prefer whiskey, for a spinal block. We are the phantoms of language who spurn the dance of the affected poseurs in subway clothing ads.

To wit, we are greasy freedom in tune with the beagle years. We spew walrus, and we use you and that makes us feel ok.

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Sanya—October, 1988▲

Blade Runner Tuesday

The sweet fibers of the beer that ails me. The mask of the face that kills me. At war with god, the tequila oak leaves kiss me. Biting a macaroon, the tight fangs who know I goad next week’s hounds smile in the weeds with the intelligence of those who don’t comprehend stupidity. I grip the hands of the Sanskrit poets who wrote me.

To ask god for greatness is to blame another for failure. The woof of the flame, it taunts me. I smile there, through the library of the dead. Mozart’s skull, I…. a brouhaha and a homily.

The cold cotton pits that jail me. I attend the three-fold mass for the gods of the rainy bus-stop. I wear those cellophane clothes; they never fit me. On these frequent days, I sip bombast cocktails and elude great ideas.

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Asakusa (near Kamiya Bar)—September, 1988▲

Greta Garbo

There is a ring on my hand. It is made of Strontium 90 because I am anti-social.

Most people do not interest me, most contacts do not arouse me. But, for you, the ring is tragic; it dissolves my hands, the ones I once did, and still long to, touch you with.

It is a price, the glow, that is too high for me to stop paying now.

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King Subway (Tokyo Station)—October, 1988▲

Vampire

Walk. Walk amongst the people. Make no sound as you walk.

Walk light, step bright and ghostly kiss the passers-by. Here. Hear the sounds of their step. Pound their hearts with the aura of your love. Watch the waves of ochre sound.

They love you and they need you and they don’t know you exist.

You walk through them. Your blood cells and theirs shake hands. You kiss every forehead. You own ever fiber of their suits and their jewelry. You own every crowd. You are a harvester of chaste souls, of buttery blood vessels.

You are what you need them to think you to be. You are something I see without you seeing me.

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Ueno Park Son—October, 1988▲

Urban poem

Rudy went to the gas station

bought three gallons

went home

lit a match

and burned.

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These poems and photographs were originally exhibited at Lehigh University in the Spring of 1989. More recently, the photographs were published in 2008 in issue 57 of Giant Robot magazine and on Scholars and Rogues in August, 2011.


Daruma-View™—A small playfulness

The essence of Daruma does not require that you see him in color.

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The power of Daruma does not object if you conform his appearance to suit your own warped reality.

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But the hopefulness of Daruma would really love it if you grabbed the pink one to go next to your Hello Kitty™ clock, and maybe the yellow one, since it would go with your bathroom decor.

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The Ruins of Feltran—A small exploration

The advance probes had made it very easy to find the ruins on Feltran. The journey had been long, but uneventful. And now that we were there, establishing orbit and the optimal descent were proceeding normally.

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However, as the pilot lowered our ship ever carefully to the preset landing coordinates on the edge of the ruins, we started to realize….

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…the advance probes may have missed a few things.

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My Woman of Tokyo—A small appreciation

She loved the things placed about Tokyo, like the figures outside the shops that beckon you almost irresistibly inside, even if the place doesn’t sell anything of particular interest to you.  She reveled in the presence of these playful things.

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When she stood by these figures, like the Milky girl in Nakano Broadway, they became enveloped in her space.  It was like she gave some of her light and energy to these inanimate things when she touched them.  It seemed like some part of her wanted the advertising figures to come alive so she could play with them with her little girl’s spirit and sense of wonder.

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I tell you, it was the weirdest thing. It really was as if she was trying to bring these things to life. The marshmallow-candy girl in Harajuku actually did move.  It might have been the human inside, I’m not sure.

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But the best part was that when she looked at me, well, that’s when I came to life.

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