Life in the fast lane

Yesterday I worked a thirteen hour day. Coming home, I was completely knackered.

This is what I thought about as I rode the metro back to my home:

Such a fantastagorical tale had never been known.

Such was the way of these things.

Reading a bit like a history of popular culture in the early 20th century, and a tiny bit like a teen trash comedy, the combination was meant to amuse and articulate. Perhaps, most terrifyingly of all, it was the clearest representation of the inner workings and thought processes of two individuals.

One of them had come to a realization that he was often too pessimistic for his own good; he sometimes sought humor in disappointment as some kind of weak balm.

This would have to change. And it did.

Genuine excitement should not have to be manufactured. Riding on a jetski at 60 mph – for example – really has a positive effect on this. You cannot help but feel exhilaration, your mouth open and cheeks flapping with the force of the wind as you carve your way up an arm of BC’s mightiest river.

Twisting and turning you see how far you can go before the mechanical power under you can, shuddering, hurls you into the wild, flowing water. You cannot feign emotion on such a contraption, taking those risks.

SO – how to make life more like that? How to seek out, in everything, a sudden charge of passion and fury. What triggers those flags in my mind to suddenly send me rushing headlong emotionally at something or for something. I don’t need a cause to believe in so much as I need a credible dialogue, a wild formulation, a mysterious agenda.

Just think, the first people who ever read the Principia by Newton or Galileo’s letters must have thought they were reading some Clive Cusslerian escapade of fantastic proportions… and yet we now know it to be real.

But does that make Cussler any less exciting than Newton? Or just more poorly written?

(Definitely the latter.)

Also, should belief be THE defining reason for goodness?

I don’t think the best stories are always the truest ones. I like the ones that hover at the very edge between what-might-have-been, the possible, and the barely possible.

In this space we stop our minds from only formulating those images that we can understand and see, and make things that have never been made and will never be made, except inside the limits and demarcations of our own fancies, the thrum of our birthing brains.