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Dry Guillotine
By Paul Cameron Brown
In my childhood, "Verdun," meant madness.
Bars on the windows, cages around the intellect.
Time was a poor keeper of souls, it seems, wore out all but
a fragment of my memories. Musical, poetic. The sounds of clay china
being dropped on the floor. Fierce Celts with a gift for the muse in
keeping with their love of lyricism and war.
Driving by 999 Queen in Toronto accompanies a lot of the above.
A cuckoo bin by any calculation and a reference not meant to be
pejorative. A subject so clothed in solemnity only irreverent
"kidding," can hope to disarm its grasp. Still, the truth must be told.
In university, no one shrinked from whispering the ultimate fate -
a stint in Sydenham or a trip down the road to Cedar Springs.
Delightful euphemisms, the names reminiscent of sonorous rivers,
tree lined groves, peach blossoms across Georgia springs. Or
Ophelia's funeral oration wherein Polonius rightfully alludes to her
sudden falling away amid laughing brooks.
I am reminded of Charričre's desperate attempt to stay sane on Ile
du Diāble, the cutting edge of his dry guillotine - his mind's fabric
giving way to the slightest irritation. In the present, the chant of
a crowd's "jump, jump," to the would be suicide. Then there is the
most foreboding type of all dementia, the collective sort. A strength
through joy movement of the Hitler camp with society's many
institutions set up along the spit and polish order of the Reich.
Indeed, if we think of it, we all have a deep knowledge of madness;
days when the centre is about to break alongside the pit. Days when
wars on the periphery take hold, colours appear different.
As a child, madness was watching Ichabod Crane in cartoon form
outrace the Headless Horseman. In Sleepy Hollow trying to put
down the panic in himself. Ichabod, the peaceful school master,
driven to the edge. At war with himself but trying to reassure that
same self the plodding sound of approaching hooves was only dried,
bullrush stems hitting against his head.
Madness is more than Van Gogh offering an ear; Druid priests
garnishing oak trees in a British forest or plaintive Gauguin
abandoning his family at 34, mid-stream in a successful career. It
probably stands behind half the men on skid row, beckons like a
welcome friend before turning fiend and consuming impulse to a
bag lady.
The close relation between the creative impulse and "letting go."
Between the arts and wide eyed eccentricity. Between wanting to be
free. And knowing. Hearing if you go on like that you'll end up on
the Lakeshore. Another pretty euphemism. A dangerous truth left
like an upturned rock for someone to trip on in another garden.
The farthest away anyone can be.
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