Through the Buried Past

A diffusion tensor image of my dad’s brain would verify what I think happened to him when he went over the handlebars in a pre-helmet era, hitting his head on the pavement and sustaining blunt-force trauma on a scale rarely seen in the context of recreational cycling accidents.

Injury related frontal lobe lesions are well-documented precursors to an impaired executive decision making process, as indicated by his lack of impulse control and, to a lesser extent, his crises of identity. Further compounding the issue is the fact that behavioural changes associated with acquired brain injuries are strongly correlated with social isolation, which leads to anxiety and depression. Moreover, his accident occurred at eleven years of age, when his brain was still developing, which suggests the damage inflicted was not only more pronounced but more permanent.

Would an acquired brain injury account for the sudden appearance of A.? Typically speaking, no. However, if there was a complicating factor in the form of a predisposition, such as a genetic susceptibility to schizophrenia, then I would be less likely to say no. His grandfather’s sister resorted to suicide in order to stop the torment of her auditory and visual hallucinations—a family tragedy that speaks to his increased chances of being on the schizophrenia spectrum.

The next thing to consider are the liberty caps, and I’ll do this by way of another question: Would an acquired brain injury, combined with a large dose of psilocybin and a genetic susceptibility to schizophrenia account for his fireside discussion with A.? Again, I can’t completely dismiss this idea, contained as it is within the dodgy suitcase of his reality. In fact, it’s contained within the dodgy suitcase of everyone’s reality, or rather, everyone who has experienced what they believe to be paranormal phenomena. I think it’s scientifically safe to assume that there’s more to reality than meets the eye.

Recently, magic mushrooms were legalized in Denver, Colorado, and Oakland, California. Congratulations America for showing Canada that you’re capable of pleasant surprises. The legalizations come on the heels of clinical trials that proved psilocybin effective for treating people with treatment-resistant depression and anxiety. A single dose has been shown to revitalize the shrivelled cognitive circuitry of the severely depressed, effectively curing them. What ancient cultures appeared to have known, is now being acknowledged in twenty-first century scientific journals.

Finally, I’d like to address something brought to my attention by a friend who, although conservative in her tastes, has always had my best interests at heart, and therefore I gave careful consideration to her misgivings regarding the motel bathroom scene. She wondered if it was absolutely necessary to include it, because its placement at the end of the book would end things on an awkward note.

A daughter writing about her father’s sexual encounter was still considered untoward, according to my friend. But my dad’s ‘delving day’—as Bukowski would say—ended precisely there, or relatively soon thereafter, so redacting it from the narrative would have been interpreted as me choosing to adhere to the curve instead of deviating from it, and where’s the fun in that? Besides, wouldn’t we all benefit from taking a bus ride through the buried past, remembering who we are, doing mushrooms in a forest, and getting laid?

9 thoughts on “Through the Buried Past

  1. So, I remarked to Duke on LaDwD that I couldn’t quite tell what was autobiographical and what was fiction narrative. I’ll echo the sentiment here.
    That said, I’m rather intrigued by the concept of intentionally over-mixing for that expectation. What if the reader never really knew if the author was speaking of real live, or of fictionalized, evocative story telling? How could you draw in the reader to first assume, “Yeah, this happened to me.” But then twist in such a way as to break their minds. “No, no way could that have happened! Could it?”
    To leave readers disturbed by the proposition that the story they just read may, or may not have been real. Spooky.

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    1. That is really what I’m after. The “mid-western mind trip” as Bob Dylan called it. The waking dream. The woah that gets said when something snaps into a place that has no latitude or longitude. That acid trip interconnectivity where the wires of reality start humming with your thoughts. Or something like that.

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    2. AMole hits upon what I consider to be “good writing”. I call it informed fiction that is honest, but not so much that the words enter memoir, journalism, or history. Truth is often the standard in those genres and when the words veer from the “truth,” critics attack and people lose book deals or their reputations. As for informed fiction, someone once said, “Hey, you write witness literature.” Of course, the Russians have a great saying, “He lies like an eyewitness.” Anyway, honesty is a much easier game than the truth and it should be easier to read with more interesting twists. The truth is rather a fucked concept in my opinion. Thanks. Duke

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    3. One other thing: as to “No, no way that could have happened!” It seems to me that a “strange life’ or “unique life” often gives rise to feelings of unbelievablity in the eyes of others. Sometimes a life is way outside of the “normal” activities for people in Europe and the U.S., yet those sorts of odd lives produce perfect moments that are never to be repeated again, at least not in the same way to the individuals involved, and they are unique or strange and are kept close to the heart and mind. Now if you have the facility to write in a good way, then by simply saying what happened at that moment gives the reader pause: “This is only bullshit.” There is so much bullshit in the world of writing, that one can be forgiven for coming to that conclusion. Yet, it is an honest recounting of what happened. I recall the testimony of a nun in Guatemala. They forced her into a hole and she was on top of two other people who were tied up. They threw her a knife and told her that unless she stabbed the others to death they would go to her convent and kill all the children housed there. Slowly, she killed the two people and they let her out and she returned to the convent. It sounds unbelievable, yet I know in my heart that she is being honest and it did happen. Writing is a two way street and the reader decides if something is honest and true, not the writer. The context that both the writer and reader bring to the exchange is everything. I call it the flash of comprehension. Thanks. Duke

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      1. The nun was acting as the dispatcher of souls and maybe she was okay with that within the context of her beliefs. She may have even felt privileged to some degree, to be able to say a prayer for her victims before she killed them, nudging them toward the light, or whatever.

        The one part of Bus Back to Omaha that is a verbatim account of what actually occurred in ‘real life’, or appeared to occur, is one of the most–if not thee most–unbelievable parts of the story. This creates a kind of axial irony that I get to secretly enjoy as the writer.

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      2. Would you agree that from the outset, a work is either one of fiction or one of fact/experience/interpretation/history, and that any reader entering into the story would have an expectation of one or the other?
        I admit that fictional stories may have basis in actual events, but the reader expects that this particular story is fiction. I think this shadow-land, uneasy feeling, which is perfectly valid as a intended emotion to try and engender in a reader, comes from not knowing — is this fiction or truth?
        Especially when the story is written in first person. I mean, did that girl really jump out of the car at speed and get ground to pulp? Somehow knowing it “may” have happened is different that know that it “did” happen. And not knowing which is unsettling (even more so than if the story was known to be true).

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  2. I would agree, yes. I think every meaty, juicy piece of fiction was born from first person experience, and the names and places were changed, details exaggerated or obscured, as needed. The roman a clef, I suppose, is what we’re into here. So many great works of fiction were roman a clefs, The Bell Jar etc. There’s a magnetic effect on the reader when they begin wondering, suspecting things about the book and the writer of the book. Dimensions are added, context etc. Historicity is, I’d say, in this wheelhouse. Was Christ a real historical figure? Almost certainly not, but it adds gravitas to the bible, and maybe that’s why it’s been the number one selling book of all time.

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