I Saw Nothing When I Saw It

I didn’t see nothing when I saw him.  From $22 - $11 hr, the factory downsizes. We have our secrets. Behavior’s behavior.  Then I find myself having, like, thoughts. Visibly intoxicated roller skater. They’re like, oh, I was freaking out for nothing. It is what it is. A small group of well-educated professionals enjoys rising wages while most workers toil in low-wage jobs with few chances to advance. It’s like, where do you begin the end. Kenny Shopsin: (god bless)  And when they look at my menu, the only conception they have is that it’s out of their conception… Decoding metaphors. They hoarded the meaning. Good for them   not.   The text just means what it says it means. Excuse me, says who? It’s been there for god knows how long and now they’re taking it.  Don’t ask me what I’m doing here, I don’t know. When I saw it I saw nothing. When I saw nothing, I couldn’t believe it. When I couldn’t believe it, I wondered if I could see it. If I could see it, I saw nothing when I saw it. When I saw it, I didn’t want to believe it. Because I didn’t want to believe it I didn’t flinch it. Because I didn’t flinch it, everything seemed steady. Because everything seemed steady, nothing was breathing. Because nothing was breathing, it was all very still. Because it was all very still, nothing made waves. Because nothing made waves, there was no sound. Because there was no sound, there was no noise. Because there was no noise, no one could hear nothing. Because no one could hear nothing, no one was really listening. Because no one was really listening, no one really understood. Because no one was really understood, nothing made sense. Because nothing made sense, we turned around at nothing at all. And when we turned around, we saw nothing when we saw it.


Steph Gray. To Remember Who You Were (sparkle)

For Ricky Powell

But you have to show up for that / cruelly reducing the world to words

A low roar fades in and out.  They saw they were there on social media. It’s all who you know and who’s pulling for you. No conceptual framework to pack it all into. I think that ended up being what happened. Like walking into a horror movie but everything is real. For de Man, deconstruction was terrifyingly a theoretical justification for erasure of his past. Cruelly reducing the world to words. Snatching at eternity. That big range of empty frequency. Calling into question the absolute truth of anything. Like a dream but you know it’s not a dream.  There is no ultimate meaning. We were asked what was going on. There’s warm distortion.  Everyone looks like everyone else. Simulation of static. The question is, where are we all going to go now? High and low frequencies rolled off like crazy. I decided, let me get out of here. A comforting droning industrial quality. We’re going to backtrack that.  Sparkly and rough in the top end. This is the last thing I’d expect to wake up to.  Wishy washy in the low end. “Nobody puts Baby in the corner” became a rallying cry for disaffected Generation X.  On some records the too-massive bass catapulted the pickup arm out of the groove. Oh yeah, that happened.  Behind all of the noise. A whole world folded inside.  Driving through the analog outboard. The middle ground between sincerity and sarcasm.  Handling the hot signal input.  It is what it is.  Giving it that vintage warmth. I don’t know how this could happen around here. Taking out a loan to go to school so you can get a job to pay off the loan. We’re not out of this. Having fewer glitches. We’re not going to apologize. Someone keeping you as a secondary character in the documentary of their life that you haven’t seen, but they have. This is what it is going to be. There is no other word for it.


Poet-filmmaker Steph Gray is the author of seven poetry collections, including Shorthand and Electric Language Stars (Portable Press at Yo-Yo Labs, 2015), and the chapbooks Words Are What You Get/You Do It For Real (above/ground press, 2019) and A Country Road Going Back in Your Direction (Argos Books, 2015). Gray’s experimental super 8 films and videos have screened internationally, including retrospectives at San Francisco Cinematheque, Anthology Film Archives, Microscope Gallery and Mono No Aware in NYC.