Categories
Essay

Without Protest : On the meaning of Searching for Truth

By Dustin Pickering

According to the Online Etymology Dictionary, the root of the verb protest is “to make a solemn declaration” or as a noun it refers to a pledge. Throughout The Story of My Experiments with Truth, Mohandas Gandhi notes the oaths he carried with him at various lengths. In Part One: Chapter VIII, he resolves to never steal again after he began atonement and reconciliation with his father. At a young age, he shows devout courtesy to truth. He dedicates experience of life to the pursuit of truth hence the book’s subtitle.

Later he swears an oath to his mother to not consume meat while visiting England. His Hindu faith, of which he claims ignorance, requires vegetarianism. He studies and reads on his visit to learn dietary regulations on his own that keeps his promise. When he returns home, he learns of her passing. Throughout his life he continues a strict diet without meat or milk, and his wife Kasturbabai, is also expected to abide. Even under severe threat of losing her life, Kasturbabai refused the doctor’s advice to have beef broth. Gandhi demonstrates such commitment to his ideals that he writes, “Let no one cavil at this, saying that God can never be partial, and that He has no time to meddle with the humdrum affairs of men.” His abidance to truth and oath seem to uncover God’s existence within the human sphere.

The land of India has not changed much since Gandhi’s protests and life devotions. What then is the purpose of a man of God? Gandhi notes the lack of sanitation and negligence of the poor. He is appalled that Indians would defecate in the sacred of river Ganges. He opposes the caste system and refuses to wear the sacred thread until Hinduism improves and serves the people’s well being. However he is not a bigot as he notes, “In matters of religion beliefs differ, and each one’s supreme in himself.” Gandhi’s dedication to moral improvement becomes a passion he shares with his fellow countrymen by founding schools to eradicate prejudice and ignorance so that the poor can become stronger in their self-reliance. Gandhi is not just a political activist as we understand it, but he is also a moral leader and a clear signal that God indeed exists and is concerned with human affairs.

India’s national life and character may not have improved according to Gandhi’s liking or expectations. He frequently suggests that God allows his efforts to flounder. He cannot explain why but suffers his disappointment gladly. He offers this piece of wisdom that all religions aspire to express, “The salvation of the people depends upon themselves, upon their capacity for suffering and sacrifice.” The people of India have their leader and learned to love him—however, the next important task for them is to learn to reverence each other in their habitude. It is always up to a people to secure their own blessings and reconcile with the Spirit.

Satyagraha, or passive resistance, is not a tool of destruction or self-interest. In the Autobiography, Gandhi expresses that passive resistance intends to improve the enemy’s well-being also. This is a powerful statement of political reality, that to resist you must hold the deepest compassion for the opponent and maintain moral strength and fearlessness. In the world today, such moral sacrifice and leadership appears to be absent.

In the United States, riots and violence broke out in protest of police brutality and racial injustice. The movement Antifa, a decentralised ideology and tool, wages violence with right-wing counter protests in a display of moral cowardice. Without securing blame, these street battles escalate and small businesses are ravaged. Government buildings are burned to the ground. A legal analyst on CNN requested that the viewers not focus on the destruction of property because the pain of the Black community is of greater importance. This response was in reference to the killing of Rayshard Brooks in Atlanta, Georgia. In his drunk fear of being sent back to prison, Brooks stole a taser from police and resisted arrest, eventually being shot by the officer who then tried to administer CPR.

Some scholars of literature compare Black American fiction to dalit fiction. Dalits are the untouchables of the Indian caste system. Gandhi’s social mission was to unify people of all castes, faiths, and walks of life. Frequently meeting with people of different faiths, his life effort was in understanding and showing compassion even to those with whom he disagreed. The caste system was something he wished to see overcome so that Hinduism could bear equal measure to other faiths. As mentioned earlier, he would not wear the sacred thread because he felt it was a symbol of superiority. He disavowed himself of self-righteousness.

His ideal State is one without violence, yet he maintained realistic understanding of the nature of the State. He wrote, “If national life becomes so perfect as to become self-regulated, no representation becomes necessary.” For this writer, such anarchism is the height of mature political ideals. Gandhi served this ideal of a nonviolent state with utmost clarity and dedication.

Finally I must refer to the great statement in the Autobiography on language. As a poet, I am deeply engaged with the thought presented, “Human language can but imperfectly describe God’s ways.” The devotee of Truth must recognize that our world is predicated on falsehood and deceit. Truth, it seems Gandhi suggests, is a lifelong pursuit in virtuous effort and suffering. Sincere willingness to undergo the difficult pursuit of Truth was Gandhi’s mission: however, in no way has he completed it for us. After all, it is our own choice to renounce the world and defy it’s injustices.

.

Dustin Pickering is the founder of Transcendent Zero Press and editor-in-chief of Harbinger Asylum. He has authored several poetry collections, a short story collection, and a novella. He is a Pushcart nominee and was a finalist in Adelaide Literary Journal’s short story contest in 2018. He is a former contributor to Huffington Post. 

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL. 

.

Disclaimer: The opinions expressed are solely that of the author.

Categories
Humour Poetry

Upon Leaving the Tavern

By Dustin Pickering

(With due apologies to Amir Khusrau and Omar Khayyam)

I left the tavern empty cup in hand

seeking my only love in the land.

.

I follow behind the earthly caravan

as eyes from the Beloved blissfully command.

.

My bare feet draw solace from the sand.

What love was left is now forever damned.

.

The moonlight scolds my gaze to reprimand.

I quietly fill my belly with wine from Your hands.

.

Once drunk I understood love’s immortal bands.

A song filled my heart, both true and grand.

.

Dustin Pickering is the founder of Transcendent Zero Press and editor-in-chief of Harbinger Asylum. He has authored several poetry collections, a short story collection, and a novella. He is a Pushcart nominee and was a finalist in Adelaide Literary Journal’s short story contest in 2018. He is a former contributor to Huffington Post. 

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL. 

Categories
Interview

A Renaissance Poet in the Twenty-First Century?

Dustin Pickering in conversation with Mitali Chakravarty

He talks of love and religion and writes poetry that is often critiqued by some as similar to verses from the past. And his role model is from the Renaissance — Michelangelo. To some, he is a loyal friend in need, a person who whips up essays and articles on demand. He is often published within India, which could well be his second literary home. He is prolific with his writing and publishing. He also does paintings and sings songs with a guitar on you tube. Some might have guessed by now — he is Dustin Pickering.

Pickering is the founder of Transcendent Zero Press. This year one of their books, Neon Apolcalypse by Jake Tringali, has been nominated for the Elgin Award 2020 along with names like Ilya Kaminsky, Marge Simon and Brian Dietrich. Pickering is also the founding editor of Harbinger Asylum, which  was nominated for best poetry journal by the National Poetry Awards in 2013. That same year, Pickering participated in Houston’s Public Poetry reading series and was interviewed on 88.7 KUHF. He has been a featured poet for Ethos Literary Journal, a contributor to Huffington Post, and has published essays in Cafe Dissensus, Countercurrents, Borderless, Journal of Liberty and International Affairs, as well as reviews in The Statesman (India), Tuck Magazine, Lost Coast Review, World Literature Today, and Inverse Journal. He placed as a finalist in Adelaide Literary Journal‘s 2018 short story contest, and was a Pushcart nominee in 2019.

His books include The Daunting Ephemeral, The Future of Poetry is NOW: bones picking at death’s howl, Salt and Sorrow, A Matter of Degrees, Knows No End, Frenetic/No Contest, The Alderman: spurious conversations with Jim Morrison, O’Riordan: spurious conversations with Dolores, The Madman and Fu, Be Not Afraid of What You May Find, The Red Velvet Robe, The Forever Abode, and a collaboration with Dory Williams called Imitations of Love Poems. He recently attended New York City Poetry Festival, and has been a reader at Austin International Poetry Festival many times. He hosts the interview and oddities for authors site thedailypoetsite.com. He co-edited the anthology Selfhood: Varieties of Experience, and published its companion Epiphanies and Late Realizations of Love. He has written introductions for books by Amit Saha Sankar, Kiriti Sengupta, Bitan Chakraborty, and Jagari Mukhergee. He was given a Jury Prize at Friendswood Library’s Ekphrastic reading in 2019, and was awarded with honourable mention by The Friends of Guido Gozzano in 2019. He lives in Houston, Texas, USA. In this exclusive, Pickering reflects on his journey as a writer.

Why do you write?

Within me, there seems to be a deep passion and yearning for something inexplicable. I also write to combat doubts, leave a record of my thoughts for myself, and to tell the world whatever interior mysteries I uncover within my own mind and studies.

When and why did you start writing?

Very young. One boring day at home in 1st grade, I asked my grandmother what sort of activity I should do. She suggested I write a story about something I wanted but didn’t have. I wrote a children’s book called The Little Red Wagon about a child who loses a wheel on his wagon. He looks everywhere for it and finds it behind a tree where he least expected to find it.

What form came to you before — poetry or prose?

Prose, but poetry is always more natural to me.

Lots of your essays and poetry have to do with God or spirituality. What makes you weave these into your lore?

I was raised Catholic, and as they say, “Once a Catholic, always a Catholic.” I model myself after an early hero of my teen years, Michelangelo. I consider myself a person of Renaissance nature. I also believe we are in a pivotal moment in human history where the guidance of God and Spirit is needed. I think poets are the best people to bring this message to the world, that science and faith are compatible.

You have a whole book dedicated on God, I believe, which did rather well — Salt and Sorrow. Do you believe in God or are you an atheist? Do you believe in any religion? If you are an atheist why do you write on God?

I counted myself an atheist for many years, beginning at age 13. I was probably led there by the punk band Bad Religion and may have inherited it from my mother whose father was also an atheist. Yet some part of me felt connected to the mysteries of Spirit I could not apprehend and did not want to. Something moves the world and the universe, but I believe that is something I am inclined to believe is sentient, not merely pure accidental motion. I believe this because my life has always felt purposeful to me. I also borrow from Christian humanists such as Erasmus, the Renaissance artists, Shakespeare, many others who share a love for humanity and a sense of purpose for our existence. Although Macbeth did say:

“Life’s but a walking shadow, a poor player

That struts and frets his hour upon the stage

And then is heard no more: it is a tale

Told by an idiot, full of sound and fury,

Signifying nothing.”

The use of the word “signifying” is mysterious to me. It seems to designate a sense of randomness or entropy — perhaps humankind is the idiot? Yet life is a tale told, passionately!

You have published Salt and Sorrow in India. Was there a reason for that?

I connected with publisher Kiriti Sengupta a few years ago after publishing the acclaimed Indian poet Usha Akella’s masterful work The Rosary of Latitudes. He saw a lot of my Facebook posts at the time concerning spirituality and asked me to write a collection that brought out “the God of the Bible.” For some reason, perhaps my sensibilities, I have developed a strong presence in India. I have never visited, but I hope to someday!

You often refer to fossil in your poetry, especially in your upcoming collection, The Skin of Reality, you have a poem that says, “I stare but see an empty fossil:/ what is final is never the end.” To what purport do you see the fossil? Is it a relic from the past? Why do you use the image of fossil?

The simple answer is I am fascinated by rocks, fossils, embodiments of history. What came before. It is still present in the very earth we walk on. I believe the human genome is a record of where we have been, and it also records where we are individually and contains a lot of animal history. Jung’s archetypes and collective consciousness seem to indicate this as well. As a child age 5, I used to sit on the playground where there were a lot of rocks. I picked them up, observed them. I kept some but the teacher told me I could not take them home. I told her they were fossils. She examined them herself and agreed, surprised. She allowed me to take one home. I still have it. That line seeks to illumine the truth I see that death is not final—who we are leaves an impression on the world irrevocably.

Where will you be bringing out this collection? In India or US?

I don’t have a publication plan right now. It is still in its infancy.

Where do you find/seek your inspiration?

Most of my ideas come from a lot of readings and thought. I don’t even entirely understand a lot of what I read, but it shapes my creative impulse in an extraordinary way. I am very forgetful too, so I have to continuously reinvent myself and how I choose to express my ideas. A lot of my imagery comes from life, including my long battle with mental health struggles.

Which writers fascinate you the most? Have any of them influenced your writing?

I cite as my primary influences in thought and writing the German philosopher Friedrich Nietzsche and The Holy Bible, particularly The Old Testament. I also am intrigued by mystical writings from the Kabbalah, St. John of the Cross, sacred Hindu texts such as The Upanishads and Bhagavad Gita, St. Francis of Assisi, and the endless list of mystics. I also found metaphysical poetry interesting in my college years. I accidentally stumbled upon John Donne and found him interesting. Milton influenced me in my teen years as well. My senior yearbook quote was, “The mind is its own place and in itself can make a hell of heaven, a heaven of hell.”

I love the surrealist poetry of David Gascoyne. I read all of William Blake, W H Auden, and a long list of others, but those seemed to have left the strongest impression. I’m also interested in psychoanalysis and have read a lot of Anthony Storr, Freud, Jung, Kay Redfield Jamison, and several others.

I appreciate philosophy too, and enjoy works by Plato and Aristotle, Heidegger, Sartre, Emerson, Burton, and many others. Among fiction writers, I enjoy Henry James, Tennessee Williams, James Joyce, Samuel Beckett, Hermann Melville, Dostoevsky, and many others. I especially love Dostoevsky’s psychological acumen in The Double. I tend to prefer short fiction but have read all of Joyce. Nietzsche has invaluable insights into the art of writing, but you have to mine them.

You bring out a popular quarterly, Harbinger Asylum. Did you start that? When and why?

I founded the journal in 2010 with my longtime friend Alex Maass who sometimes writes the “Not Quite a Political Column” and suggests themes. I started it after a poetry gathering at University of Houston-Clear Lake. I was invited by my new friend at the time Dru Watkins, who was an early contributor, and after coming home I thought about how I could better serve the literary community. The journal started with an anarchist bent and I published a lot of libertarian writing. I also included writing by friends. Over the years, we’ve had submissions from highly regarded poets such as Simon Perchik, Joseph Bottone, and others whose names I ran across before getting their submissions. Later on, we acquired two new editors Z. M. Wise and Stuti Shree. Z. M. is my good friend and business partner, and Stuti is a university student in India.

You run a blog that belongs to Transcendent Zero Press. It is a strange name. Any reason for calling it as such?

Transcendent Zero Press is the company through which I publish Harbinger Asylum, as well as other books. It’s the name of my publishing company. Years ago, it was my punk band that never happened. I liked the concept. So, I re-made it into the publishing company.

It began with a word I read in the dictionary combined with the popular song “Zero” by Smashing Pumpkins. I thought it had a distinct conceptual flavor. Ultimately, I also designed the logo to be conceptual. On one side of the zero, there is a dark crescent. The other side has a bright crescent. This symbolizes Ultimate Nothingness, the idea that all is in harmony. Essentially my own mystical concept. Then a “T” crosses it, symbolizing the axis of the universe. I also conceived of God as having the qualities the Tao ascribes to great leaders. A person who does nothing yet let’s all happen. Lao Tzu wrote, “A leader is best when people barely know he exists, when his work is done, his aim fulfilled, they will say, we did it ourselves.” Zero signifies such an approach to life.

What are your future plans as a writer, editor and publisher?

We recently expanded into publishing literary criticism. So far, the books have dealt with Indian works in English. I would like to publish more literary criticism but about literature in other countries. We will soon have an anthology of Albanian poetry released. I’m interested in Southeast European literature as well. I may publish a broad collection of Edgar Lee Masters’ lesser known work. I have a friend, Dr. Ryan Guth, who plans to work that out for us.

Any message for aspiring writers?

My English teacher in high school Mrs. Teltschik used to say, “Write because you have to.” Something in you must answer a call. Write to contribute but write for yourself. It is hard to break in at all. Don’t shoot high if you are young unless you have exceptional talent, connections, or both. Work your way through. Don’t be afraid to learn. Be thankful and mindful of all your successes, and consider failure and rejection an instructor, not an obstacle. Don’t fear revision. Stay focused. Write a lot. Read a lot. Find what makes you spin rapturously and write about it. Keep a journal, especially if you are young. Don’t throw away your writing. Mine old material or edit when you are dry on inspiration. Most of all, learn to enjoy! Live as well as write. Travel!

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL.