La muñeca abrió los ojos.
--Alejandra Pizarnik
Sitting on the porch, listening to a curious cricket, I heard the bike in front of me as it tic-tic-ticked down my street. Inside, I feel like an empty aquarium, filled with space and a total lack of desire. It's an unfamiliar feeling, the one of just being. It's not unfamiliar at all, actually, but more like the way I felt alone on a third floor leaning porch balcony in Richmond, Virginia or on a night bus from Cuenca, Ecuador to Quito. It's the way I felt when I was unhinged from the thousand desires of a thousand people whose fingers felt like they were always on me, pushing into my skin and leaving one of those white marks as they pulled them back. I feel empty, in a way that is so incredibly freeing. Maybe it is not emptiness, per se, but rather a fullness of only myself brimming with clarity.
Graduate school takes a toll, she says. It's not that it just opens the mind, it opens the center of desire. Michael Warner observes that we don't know what or who we desire until it is upon us. We don't necessarily know what we seek until -- too late or too early -- it has enveloped us in it in a way that makes us realize what we were looking for without even trying. It's like arriving to gate 32 at the airport, getting on a plane, and winding up somewhere you never intended to go, but upon stepping foot in the sand, realizing that you are home. Desire. It's so hard to control because it is precisely letting go of that control. But desire is dangerous. It brings us to the brink of loss of self, as we dive, foolhardy, without even knowing we are diving into pools that can drown the very person we are.
I'm empty of desire right now, in the serenest of ways. I want things, sure, but they are elusive and unnamed. And the most important part is that they do not want me. In the not wanting, the pushing away, the clearing of space, the emptiness enables one to close up only so that one can open up again, with an ownership and a steadfastness and an assurance that was muddled in a forest of too many trees.
In the greatest of ways, I am in my own clearing. It's scary, the exposure of myself to myself, the exposure of the responsibility and the unhinging, but in facing the raw openness of the clearing, I can see my own version of the story. I can see my own version of the present. And I can just sit and enjoy it, and not desire at all, only so that I may, one day, desire all over again.
Yo estaba en el pequeño jardín triangular y tomaba el té con mis muñecas y con la muerte.
--Alejandra Pizarnik