I know this road
It leads straight into Cairo
Twenty-two miles straight ahead
I can’t walk down this road to Cairo
They’re better thinking I’m dead
Brian Auger and Julie Driscoll – Road to Cairo
One fine day in 1992 I entered California from Arizona, on I-10, passed the produce checkpoint, and was pulled over in my Freightliner at a small truck scales. Officer found four tires below any tread standard, ordered me to go back to a truck stop and replace at least two. That was some $600, the exact amount I didn’t have. Back at the truck stop, I studied the local map, and couldn’t help but noticing a tiny line parallel to the freeway; more of a shadow of a material road. Two minutes later I was in my seat, storming down the road and into the desert. And what a road it was, barely any different from the Darb el-Arbain trade route, or the great sand dunes of Bilma.
Some five miles into nowhere, there was a sign on the side (as if I needed a sign to tell me I was in trouble): warning, don’t take this road unless you have extra fuel and water, only for four-by-fours. Another mile further my idea of a path upon which travel occurs got more and more flexible meaning. Until my truck and trailer sunk in deep sand, far away from civilization. Cellphones were rare back then, and I sure didn’t have one. Jumped out of the cabin, walked around the scene, and finally lit a cigarette; whistling A Horse With No Name, in E minor.
Now, the setup was all but identical to one surrounding Kowalski as he was trying to hide his Challenger from the police chopper: it was Kowalski and me taking different twists of fate. While he went on to pierce through his own boundaries, and flip middle finger to forces utterly human and thus laughable – I was happy just to fool police and keep on pushing through serfdom in the free world my family inhabited just two years prior: a fly taking off from cheetah’s ass as it accelerates to 70mph.
Horizon will always be distant, but sooner or later we hit the wall of our Truman Show, and halt to a stall. This idea puzzled me for decades, even more after reading a book by Wilhelm Reich about levels of endurance our body can achieve. Most people will give up at the third level of exhaustion, falling down wasted. Then, he added, there are four more levels our organism could endure; or something like it, since I had the book in my teens. Reich’s ideas came back to mind while reading Kerouac’s On the Road, as well as during FDA’s burning of his books Luddites style – a U.S. contribution to medieval hobbies.
In Billy Wilder’s classic Five Graves to Cairo, Erich von Stroheim portrays Erwin Rommel, popularly known as Desert Fox. Rommel’s military endeavour redefined the complex dynamics of desert, conquering the tangibles of tempestuous sand motion with a fundamental mind behind heavy metal. For good or bad, or irrelevant, this esprit de corps ignores the quality of sand as a factor.
In a different movie as well as war, T.E. Lawrence heads to Cairo to be spoon-fed with lies from General Allenby, handled by politics’ typical empathy deficiency. He is at his prime, after subduing the intangibles of sand storms, his own mind, and mentality of desert tribes. Unaware of the Serbian saying Never walk bare-ass among besotted Turks, Lawrence inexorably succumbed to desert’s wrath, sound and fury, and his own jangling emotional complexities – only to slide down the rainbow.
I’d argue that the sheer quality of time itself changed due to instruments that we measure it with. One Tag Heuer or Rolex are both fine watches, the pride and the prejudice of modern man, and so were clepsydras, or water clocks, back in early days. Yet, the former are inhumanly precise, replacing fluid time with engineering, while the latter were unreliable on caravelas and carracks, and far below human mastery. It took an hourglass to sit vis-à-vis time and listen, then spread the word, as well as it took the finest white sand of Cairo to provide that hearing ability.
‘Your great-grandfather gave this watch to your granddad for good luck. Unfortunately, Dane’s luck wasn’t as good as his old man’s. He was captured and put in a Vietnamese prison camp. He knew if the gooks ever saw the watch that it’d be confiscated; taken away. So he hid it in the one place he knew he could hide something. His ass. Five long years, he wore this watch up his ass. And then he died of dysentery, he gave me the watch. I hid this uncomfortable hunk of metal up my ass for two years. Then, after seven years, I was sent home to my family. And now, little man, I give the watch to you.’ This remarkable speech reiterates the irrepressible nature of time, as it honors the saturnine endurance of timepieces
In 1954, the year I was born, Salvador Dali, fifty years minus five days my senior, abbreviated from La Persistencia de la Memoria to The Disintegration of the Persistence of Memory. I guess the initial charge was too strong for a single painting. These melting watches were itching the sphincter of world’s curiosity, even more so when they realized Dali had time in his back pocket. Pressed by Ilya Prigogine – eager to connect the dots in his predictable Baedeker world – if he painted under the influence (of Einstein), Dali shot back a Dali glare: ‘I just sat on the freakin’ Camembert cheese!’
According to Borges and his New Refutation of Time, language is so saturated and animated by time that, quite possibly, not a single line in all these pages fails to require or invoke it. I’ll take it as a compliment, and stretch the melting Camembert cheese beyond time forgeries, matching the most extended Domino’s Pizza ad.
Seriously, I simply have no time for this distraction, I promised to take Eileen out for dinner, but I’m not there: I’m stuck west of Blythe, running out of daylight. I’m not there because I’m here, and even though it’s dinner time, it’s not my dinner time, let alone Eileen’s, since she can’t figure out where the hell I am around the time for dinner.
Well, dinner I could skip. But what about dessert?