2085 lines
98 KiB
Plaintext
2085 lines
98 KiB
Plaintext
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Living in such a state taTestaTesTaTe etats a hcus ni gniviL
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of mind in which time sTATEsTAtEsTaTeStA emit hcihw ni dnim of
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does not pass, space STateSTaTeSTaTeStAtE ecaps ,ssap ton seod
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does not exist, and sTATeSt oFOfOfo dna ,tsixe ton seod
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idea is not there. STatEst ofoFOFo .ereht ton si aedi
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Stuck in a place staTEsT OfOFofo ecalp a ni kcutS
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where movements TATeSTa foFofoF stnemevom erehw
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are impossible fOFoFOf elbissopmi era
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in all forms, UsOFofO ,smrof lla ni
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physical and nbEifof dna lacisyhp
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or mental - uNBeInO - latnem ro
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your mind is UNbeinG si dnim rouy
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focusing on a unBEING a no gnisucof
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lone thing, or NBeINgu ro ,gniht enol
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a lone nothing. bEinGUn .gnihton enol a
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You are numb and EiNguNB dna bmun era ouY
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unaware to events stneve ot erawanu
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taking place - not -iSSuE- ton - ecalp gnikat
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knowing how or what 11/23/94 tahw ro woh gniwonk
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to think. You are in ELEVEN ni era uoY .kniht ot
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a state of unbeing.... ....gniebnu fo etats a
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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CONTENTS OF THiS iSSUE
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=----------------------=
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EDiTORiAL Kilgore Trout
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LETTERS TO THE EDiTOR
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STAFF LiSTiNG
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[=- ARTiCLES -=]
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DEDiCATED TO MiCHAEL COLLiNS Bobbi Sands with Captain Moonlight
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THE DESTiNY OF LiFE Hagbard
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[=- POETRiE -=]
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PREFACE by Lord Henry Wotton
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FRANKENSTEiN'S MONSTER Ivy Carson
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THE SEVEN STRANGERS The Big Thing
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MEDiTATiONS ON DEATH'S SLEEP Dark Crystal Sphere Floating Between Two Universes
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MERKABAH Nemo Est Sanctus
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[=- FiCTiON -=]
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A PRAYER FOR DEATH, Part II Michael Dee
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JOSEPH TRiES SOMETHiNG NEW I Wish My Name Were Nathan
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THE PROPHECY Nomad
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DAN AND PAUL LiVE THROUGH A TORNADO I Wish My Name Were Nathan
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NO LAUGHiNG MATTER Kilgore Trout
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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EDiTORiAL
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by Kilgore Trout
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I guess this is the Thanksgiving issue of State of unBeing, as every
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publication around this time does something on what they are thankful for. So,
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in keeping with the SoB spirit, we present what we're fucking glad for.
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I'm fucking glad for:
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o rubber baby buggy bumpers.
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o Rush Limbaugh and Hugh Downs to tell the truth like it is.
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o our higher educational facilities being just like high school.
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o people who are stupid because it makes me look better.
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o Candice Bergen telling me about long distance service the way it is.
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o Mr. Blobby because he can kick Barney's ass
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o sneeze-guards because horse radish tickles my nose so
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o 20% of the population owning 80% of the wealth because I'm sure they
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deserve it a lot more than I do and it's okay if I have to work two
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jobs in order to pay for parking fees at UT
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o Moe and Curly's granchildren's lawyer, Bela Lugosi Jr, because that
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makes him a bloodsucking lawyer
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o the fact that Ollie North didn't win a Senate seat
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o stupid lists like this that take the place of a real editorial
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Actually, I think the Pilgrims were a bit nearsighted myself. Just think,
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if they had shot a wildcat instead of a turkey for dinner, we'd all be eating
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pussy tomorrow. But enough about Thanksgiving.
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This issue is really swank. We've got a bunch of fiction here, and even
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your procrastinating editor wrote something this time. I don't really need to
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say anything about the articles and stories--read em and see how good they are
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for yourself. We also have some letters written to the editor, and if you want
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to write in and tell how you feel about this zine, my e-mail address is at the
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end of the issue.
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We also have two new distribution sites, one in Philly and another one in
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Quebec, so if you're around there you can get SoB from there. They've also got
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lots of nifty text files as well. If you'd like to become a distribution site
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for SoB, email me.
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Two last things. First off, next month is a double issue month. We will
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be releasing number twelve as planned, and also number eight (the Lost issue)
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will be released as well. Remember, if you have anything that was going to be
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put in for number eight, send it to me as soon as you can. Same goes for your
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submissions for number twelve. Also, I wanted to have a new header starting
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with issue number thirteen, so if you can draw ASCII, send me a new header and
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I'll pick the best. Hell, if you wanna do an ANSi for my board, iSiS UNVEiLED,
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I'll take that too.
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That's about it. Sorry for the high school humor, but a couple of my old
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high school buddies were over tonight and I just felt juvenile, dammit. And
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remember, Christmas is just around the corner, so give the gift of life.
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Donate some semen, anywhere you want. Damn high school humor. It won't happen
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again. Yeah, right.
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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LETTERS TO THE EDiTOR
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Dear Editor,
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I just wanted to write concerning some comments in State of unBeing's
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editorial for issue number ten. While I write this, here in the District of
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Columbia the elections are being closely monitored as each member watches the
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fate of his position, his constituency, his party. A number of races are
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being closely monitored by lovers of freedom no doubt the world over. One of
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the most vital is Proposition 187, the so-called "Save Our State" initiative,
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becoming known in the underground as "Submission Or Slavery."
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A few notes about Captain Moonlight's article first, though. It was
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interesting to see an author correct possible misreadings of his article. As
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a legal brief, no doubt, it wouldn't stand. None of ours could. As a
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political writer, though, there is no place for moderation, and the terms he
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used were powerful for the purpose. It is a fine line. The subtilties be-
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tween 'arrested' and 'detained,' for example, are more legal that active, and
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in many nations such subtilties do not even exist. The detaining for 24 hours
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is the standard party line, but it has been upheld for 48 hours for an adult,
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and recently the Supreme Court refused to hear a case permitting 72 hours for
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juveniles. This means that it is not law across the country, but it is con-
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sidered constitutional, and at any time it could be implemented.
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About 187 now. This is expected to pass by a slim margin, as I recall.
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The Republicans are expecting a great shift Right, which I tend to doubt, and
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will doubt until the figures are in. Pete Wilson, Republican governor of
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California, has staked his reelection on this measure. We hope it will fail,
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but we are not optimistic.
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I suppose first I will address the claims against it. Contrary to what
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Rush Limbaugh appears to be implying, Wilson's "racism" -- real or alleged I
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do not intend to address -- did not begin with this. It is indeed not "race-
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specific" I suppose. Blond haired and blue eyed Poles from Mexico can't come
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north, Jews from Mexico can't come north, Davidians can't come north, but the
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main people opposing it are Mexicans. Pete Wilson has practically been on the
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beaches pushing back Asian refugees, too, though, and it was his open letter
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to President Clinton that got this ball rolling to push harder on the immi-
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grants. No, he has been called a racist for years, and either way he has come
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down very plainly against immigration.
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187 will cause teachers, social workers, and all other workers in the
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public sector to become informants for the federal government. This is noth-
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ing about economics. This issue at least is one of civil liberties. It would
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deny health care (except for emergencies) and social care to undocumented
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immigrants. Most frighteningly, though, is that it cuts education and re-
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quires teachers to report children who they suspect might be illegal -- or
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might have illegal parents -- to the State.
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This was tried in Texas, and, if I have my year correct, was struck down
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by the Supreme Court as unconstitutional. Our educators have an obligation to
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educate our residents, not only our citizens. It is illegal to even ask if a
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person is a documented immigrant or no. We are not talking here about child
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abuse, where it is also law that a suspicious person must turn in a suspect.
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No one is endangering a child here except perhaps our government. And, most
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frighteningly, if a child is born in the U.S. to undocumented parents, he or
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she is an American as much as Bill Clinton or Pete Wilson. If his or her
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parents are not documented, though, they will be sent back. The child's
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parents cannot go to social workers nor to doctors, for to do so would endan-
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ger these people who have sworn to help the people. In my opinion, this is a
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very frightening precedent, to create, in effect, an underground of second
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class citizens.
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But 187 is only one of a trend that is developing on our borders. Al-
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though prominent Democrats have opposed 187 and Pete Wilson and other Republi-
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cans (i.e., Rush) have come out in support, this is not a Right agenda.
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Operation Gatekeeper has begun.
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On the Mexican-American border, a vast iron wall has been erected, along
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with a one mile wide by twelve mile long police zone between the borders
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patrolled by the National Guard. Off the coast of California the Coast Guard
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is patrolling for hundreds of miles. Although this only exists between a
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couple of cities -- San Diego and Tijuana -- clearance has been given to
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extend it. There is talk of partitioning the entire international border with
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this three-tiered area. Comparison to the Iron Curtain may be a bit prema-
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ture, powerful as this image may be, as it is claimed that it is to keep
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dangerous but disorganized people out, but the communists and Maoists among us
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I'm sure would say that the Iron Curtain was to keep the Imperialists out.
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Like any metaphor it depends on what emotional response you seek. Perhaps it
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would just be easiest, though, to present it plainly as it is: A gargantuan
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iron wall patrolled by armed guards on our own southern border.
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In Texas, a similar program is in its experimental stage, and its suc-
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cess, it may be assumed, contributed to the decision to extend this across the
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border. The Texan version is Operation Blockade and runs between El Paso and
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Ciudad Juarez. This consists of a 20 mile strip with 450 border patrol per-
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sonnel and a planned ten foot high wall, similar to the one in California, to
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run three miles and be made from scrap metal from Desert Storm. Although the
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anti-immigrant sentiment present in California is not present to such a degree
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in Texas, the feelings are being stirred up.
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The cards, too, are a national endeavor. I hadn't heard that there would
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even be a vote on them. I had heard that the five states listed by Captain
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Moonlight (California, Florida, Texas, New York, and Illinois) were test sites
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for an already determined course of action. The Religious Right have been
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publishing interesting articles on the Mark of the Beast and the way modern
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technology can dispense with cards by invisibly branding us. I happen to be
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disturbed enough by the cards alone. If there will be a vote, I pray that
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everyone who is eligible will be there to vote against it. I fear it is too
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late.
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With 187, though, there still is time. Whether it passes or fails, it
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will not die. Ansat has told me there is a lot of talk about it coming to
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Texas, and a lot of protest against it. This is an issue where your vote is
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particularly vital, since those most effected cannot vote. Everyone must look
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inside themselves and decide if they really want to increase the police state
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within the United States. If you are even doubtful, consider that there must
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be a better way to end this situation. Even Operation Gatekeeper has its
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points and is beyond prevention by voting means. 187 and the national identi-
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fication card -- under any name and for any excuse -- must be prevented.
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And one more thing before signing off. Although it is true, as you --
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Kilgore -- said, that Crux Ansata's piece, "Torn From a Diary," is from "an
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Orwellian 1984-esque time," it should not be so quickly ignored. The fanatics
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on the Right Wing are claiming that we have been invaded or will be given over
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to a socialist United Nations, and it is claimed that UN military vehicles
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have been sighted on the west coast of the United States -- Oregon, if memory
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serves. Whether this is true or not -- I transmit this claim, but with the
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caveat that it is a rumor that I do not know I believe -- there are elements
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in his tale that are true.
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These ever-present mysterious black helicopters, another favorite in the
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Right Wing press, are being used. They are used in occupied Ireland by the
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British. In the U.S., they were used during the Branch Davidian siege, just
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as Ansat states. The SAS presence is also true, as documented in the British
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papers.
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As for the extrapolations, such as why the U.S. is in Haiti and why the
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helicopters were brought to Texas, I cannot say. I do not have any reason to
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believe it is true. It should be frightening enough that it is possible.
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Greetings to Tachyon, wherever you are. I hope you come above ground
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soon; we all miss you and send out respect for your courage to go under. Oh,
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yeah. And the Dr. Graves story DID have its points.
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Bobbi
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November 8, 1994
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Washington, D.C.
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[I think your comments stand for themselves and need no elaboration from me. I
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will just say one thing about my description of Crux Ansata's story. I do
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not take those things lightly, and I know such tactics have been and are
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used; however, it *is* a work of fiction, and while some elements in the
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story are true, the story is not. I've seen it happen all too often, and I
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hope that the fiction being written right now will not avail itself totally
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to a new, darker reality. And yes, the Dr. Graves stories do have their
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moments, and for those fans of the good doctor, another one is in the works
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with yours truly taking on a major role. I just can't wait. --Ed]
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--SoB--
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From: an17523@anon.penet.fi (Tachyon)
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To: kilgore@bga.com (Kilgore Trout)
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Organization: Anonymous contact service
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Reply-To: an17523@anon.penet.fi
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Date: Tue, 8 Nov 1994 04:01:33 UTC
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Subject: SoB #8 Follow-up Report
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Lines:
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Greetings Kilgore, Tachyon here.
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I'm glad to see that SoB wasn't permanently shut down. It has been difficult
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to get it where I am at right now, but I have my resources.
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I'm also delighted to hear that you are going to reconstruct SoB #8 in a
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secure location and then re-release it on the net. That is great! Feel free to
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stick this in there too, I'm sure it will get read. I doubt there will be the
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breach of security we had last time. You know who to trust... now.
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The following report comes rather indirectly from TAC NewsWire. I say
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indirectly because the NSF mysteriously garbled all of our IP addresses, plus
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a tapeworm was released within several of our internal nets... those
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government types are too good at what they do. Needless to say, this has made
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data hard to come by. However, in the tried and true method digging for the
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facts, we persevered and struck... well, not the motherload, but paydirt
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none-the-less.
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Here is a list of some of the subjects that were to have been (and still might
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be!) in SoB #8 which the government was particularly interested in:
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Time Travel Experimental Results
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Underground Military Installations
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Anti-gravity Engines and Free-Energy Devices
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Why NASA has no money
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The Face on Mars
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Who REALLY killed Nicole Simpson
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The Second Gunman
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How to Hack Top Secret Military Networks
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Which one of these is a major threat to national security you might ask? Based
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on reports which I am not willing to go into at this time, the time travel one
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is a possibility, but it is not the real reason. The one article the US
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Government REALLY did not want to be published was the one about The Face on
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Mars! The person who wrote the article had originally submitted it to SoB's
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submissions directory on Illuminati Online in Austin, TX [io.com]. We had one
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hell of a time tracking her down, and initially she refused to talk to us, but
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we pressed and she agreed to answer a few of our questions. She did not wish
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her real name to be known, so we shall call her Jane. The conversation follows:
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Tachyon: Did you write the SoB #8 article about the cover-up
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by the US Government and NASA about the Martian Face?
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Jane: I did.
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T: Why did you submit it to State of unBeing.
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J: I didn't want a lot of attention, but I knew that it would
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get spread around pretty good to people who are willing to
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believe if I put it in a zine like SoB.
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T: Exactly what do you do for a living?
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J: I.. I'm a scientist.
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T: What sort of scientist?
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J: Planetary.
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T: Do you work for JPL or NASA?
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J: I'd rather not say.
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T: What exactly did you write about and why did it violate
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national security?
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J: Uh... well... it was about .uh.. what was that about
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national security?
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[Jane had not known of the SoB #8 affair... she was shocked,
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but agreed to a few more questions...]
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J: My article covered what I perceived to be a complete
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censure of data by NASA. Viking took more photos of the
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||
|
Martian Face than just the two rather obscure ones shown to
|
||
|
the rest of the world. Those only escaped because they were
|
||
|
released before NASA and the Pentagon knew what was going on.
|
||
|
There were three more photos taken later with much better
|
||
|
resolution and lighting levels. I stumbled across them while
|
||
|
doing a survey for possible probe landing sites. And in less
|
||
|
than a year there will be even more detailed images.
|
||
|
|
||
|
T: And why is that?
|
||
|
|
||
|
J: Because the Mars Observer was never really lost.
|
||
|
|
||
|
[Silence, on my part, for a few moments.]
|
||
|
|
||
|
T: Are you saying that it never lost contact? That it made
|
||
|
it's orbital insertion and is presently taking photos of Mars,
|
||
|
namely the Martian Face and surrounding features?
|
||
|
|
||
|
J: That is exactly what I am saying.
|
||
|
|
||
|
T: Do you have proof?
|
||
|
|
||
|
J: Only for the Viking data, which clearly shows a face in the
|
||
|
three unreleased images. I have the images.
|
||
|
|
||
|
T: Would you be willing to send us your original article and a
|
||
|
copy of those images?
|
||
|
|
||
|
J: Yeah, I think so... as long as you keep me out of it. Where
|
||
|
should I sen
|
||
|
|
||
|
|
||
|
At that point the connection was instantly severed and further communication
|
||
|
with Jane has proved impossible. It seems that Jane's article and information,
|
||
|
for now, is indeed lost.
|
||
|
|
||
|
More info as it trickles in, until then I await #8.
|
||
|
|
||
|
|
||
|
Tachyon
|
||
|
Somewhere
|
||
|
Sometime
|
||
|
|
||
|
|
||
|
NewsWire is a Registered Trademark of The Astronomy Consortium
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
STAFF LiSTiNG
|
||
|
|
||
|
EDITOR
|
||
|
Kilgore Trout
|
||
|
|
||
|
CONTRIBUTORS
|
||
|
Bobbi Sands
|
||
|
Captain Moonlight
|
||
|
Dark Crystal Sphere Floating Between Two Universes
|
||
|
Hagbard
|
||
|
I Wish My Name Were Nathan
|
||
|
Ivy Carson
|
||
|
Lord Henry Wotton
|
||
|
Michael Dee
|
||
|
Nomad
|
||
|
Nemo Est Sanctus
|
||
|
The Big Thing
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
[=- ARTiCLES -=]
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
DEDiCATED TO MiCHAEL COLLiNS
|
||
|
by Bobbi Sands
|
||
|
|
||
|
|
||
|
PREFACE
|
||
|
THE PARADOXES OF MiCHAEL COLLiNS
|
||
|
by Captain Moonlight
|
||
|
|
||
|
"Ireland shall be free from the centre to the sea as soon
|
||
|
as the people of Ireland believe in the necessity of
|
||
|
Ireland's Freedom and are prepared to make the necessary
|
||
|
sacrifices to obtain it."
|
||
|
--From the last letter of Sean Heuston (executed 1916) to
|
||
|
his sister, Sister Mary Heuston
|
||
|
|
||
|
In 1916, just a few months after returning from his ten-year stay in
|
||
|
Britain, Michael Collins burst on to the scene of Irish Republican politics in
|
||
|
his post as aide de camp to Joseph Mary Plunkett during the Easter Week Ris-
|
||
|
ing. This man, born of humble farming stock in County Cork, would become one
|
||
|
of the chief men in twentieth-century Irish politics.
|
||
|
|
||
|
This son of Colleen, the spirit of Ireland sung of by the bards of old,
|
||
|
led one of the most ruthless Revolutionary groups of the Irish War for Inde-
|
||
|
pendence, and yet was one of the gentlest men alive. His group, know as The
|
||
|
Squad or The Apostles, had a 10,000 pound reward for any information leading
|
||
|
to its capture. Collins himself had a 10,000 pound price on his head -- dead
|
||
|
or alive. And yet, he was so loved by the Irish people that he was never
|
||
|
turned in. At the funeral of Thomas Ashe, one of the greatest heroes of the
|
||
|
Easter Rising, who was killed during a clumsy attempt at force-feeding during
|
||
|
a hunger strike at Dublin's Mountjoy Prison, after an illegal three-volley
|
||
|
salute by the Irish Republican Army, Collins declared in both English and
|
||
|
Gaelic "Nothing additional remains to be said. The volley which we have just
|
||
|
heard is the only speech which it is proper to make above the grave of a dead
|
||
|
Fenian." He showed this belief in his actions-rather-than-words philosophy
|
||
|
during the War for Independence.
|
||
|
|
||
|
By 1921 both Irish and English had tired of the bloodshed, and a peace
|
||
|
delegation consisting of Michael Collins; Arthur Griffith, founder and former
|
||
|
President of Sinn Fein; Robert Barton, a British-educated landowner and Minis-
|
||
|
ter for Agriculture of the New Irish government; Erskine Childers, an English-
|
||
|
man who ran guns for the Easter Rising; and two lawyers went to London to
|
||
|
negotiate a treaty. After three months of negotiations, at 2:10 a.m. on
|
||
|
December 6, 1921, Collins, Griffith, Barton, and one of the lawyers signed the
|
||
|
Articles of Agreement for a Treaty Between Great Britain and Ireland (commonly
|
||
|
known as The Treaty) without consulting President de Valera or any of the
|
||
|
Dublin government. The result was a house divided against itself: Six of the
|
||
|
Ulster counties making up North Ireland and remaining under complete British
|
||
|
control, and the twenty-six Southern counties making up the new Irish Free
|
||
|
State, a semi-independent state not unlike Gibraltar or Vichy -- "Free" --
|
||
|
France during Third Reich German rule. Collins said that by signing this
|
||
|
unpopular Treaty he was signing his own death-warrant -- a notion which soon
|
||
|
turned true.
|
||
|
|
||
|
On September 22, 1922, Michael Collins, revolutionary hero and villain,
|
||
|
was killed by a bullet in the brain while fighting off an ambush in his native
|
||
|
County Cork. After signing the Treaty Collins had set about converting those
|
||
|
of the IRA who stayed with him into the Irish Free State Army, backed by
|
||
|
Britain and supplied with British guns, which set out to fight the ensuing
|
||
|
Irish Civil War. Collins was seen as too powerful a person in the new govern-
|
||
|
ment to be allowed to live, so the IRA cut down their old hero and brother in
|
||
|
one of the most painful attacks of the Fight for Freedom. But Collins died
|
||
|
the way he would have wanted to die: fighting for what he believed was right.
|
||
|
|
||
|
It is indeed true, as Bobbi told me, "Every Irish Republican killed
|
||
|
Collins, and every Republican died with him."
|
||
|
|
||
|
-- Captain Moonlight, November 19, 1994
|
||
|
|
||
|
- * - * - * -
|
||
|
|
||
|
We lost a great man to-day.
|
||
|
|
||
|
And when I say 'we,' I don't just mean the Revolution. Sure, there was a
|
||
|
time when he was a man of the Revolution, Michael, and one of the best. But
|
||
|
he was never only a man of the Revolution; he was a man of the people. The
|
||
|
people who needed a man to be for them. There was never a widow nor an orphan
|
||
|
neither that left his home hungry, I can tell you. No, Ireland lost a great
|
||
|
man to-day.
|
||
|
|
||
|
The Republican Army has nothing to gain from hiring murderers. We fight
|
||
|
because we love Ireland, not killing. A man who loves killing will not find a
|
||
|
shelter with us. And let me tell you, every blow we land hurts us. None hurt
|
||
|
so much as when he had to hit you, though. When I killed you, a part of me
|
||
|
died, and a part of Ireland died. It had to be done, but, somehow, the knowl-
|
||
|
edge that I did -- that we all do, we of the Revolution -- what is necessary
|
||
|
is a painful victory. I didn't want to see you fall but Ireland just couldn't
|
||
|
take any more. A part of you died long ago.
|
||
|
|
||
|
There was a time when he was a man of the Revolution. But at some point
|
||
|
we began to fight different revolutions. We still loved you, Michael, even
|
||
|
when you brought us back a country split in two. But like the story with
|
||
|
Solomon, you can tell which of us truly love Ireland, for she is ours. We who
|
||
|
want Ireland whole, not halved by the king like the Brits wanted. You gave
|
||
|
them six counties to let us have 26, but I know you knew that we would never
|
||
|
let that happen. We truly love Ireland. We truly do. Brother will fight
|
||
|
brother, but I pray to you Michael please understand. We killed you because
|
||
|
we love you. But we cannot let Ireland be divided.
|
||
|
|
||
|
But let it never be said you were not a man of Ireland. Somewhere,
|
||
|
somehow, Britain tempted you away, but we know you still love your Colleen. We
|
||
|
know you are still a man of the people, the people of Ireland.
|
||
|
|
||
|
We know you forgive us.
|
||
|
|
||
|
We lost a great man to-day.
|
||
|
|
||
|
[Those wishing to learn more about Michael Collins are recommended to read Tim
|
||
|
Pat Coogan's biography _The Man Who Made Ireland: The Life and Death of Michael
|
||
|
Collins_ (Robert Rinehart, 1992.) -- Moonlight]
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
"The fear of the word is the beginning of reading."
|
||
|
--Hugh Kenner, _Joyce's Voices_
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
THE DESTiNY OF LiFE, or
|
||
|
HUMANiTY AS A TOOL: AN EXPANSiON ON THE GAiA HYPOTHESiS
|
||
|
by Hagbard
|
||
|
|
||
|
|
||
|
VIVO ERGO SUM
|
||
|
~~~~~~~~~~~~~
|
||
|
No one knows why, no one knows how, but 4 billion years ago, life
|
||
|
developed on the Earth. Earth was a harsh environment 4 billion years back,
|
||
|
comets and asteroids were often plummeting to the surface, and toxic (to us)
|
||
|
gases erupted over the surface from within the bowels of the Earth. After the
|
||
|
development of life, only one thing about it was completely constant... it
|
||
|
grew. Life on Earth changed, evolved, became extinct in part, but always
|
||
|
expanded. Anything which did not expand, no matter the species, soon became
|
||
|
extinct because those species which were growing were absorbing the
|
||
|
resources... and thus growing even more.
|
||
|
|
||
|
This competition for resources is the basis of evolutionary change in
|
||
|
lifeforms. Competition became the norm for life on Earth because it was the
|
||
|
standard for the earliest life forms. Single celled species merely replicated
|
||
|
themselves, using up resources. If a nearby species did not use them faster or
|
||
|
more efficiently, they either moved or died.
|
||
|
|
||
|
Thus the race was on, survival of the fittest was (and still is as I
|
||
|
shall point out) the mark of evolutionary processes in the biosphere. However,
|
||
|
even if you do not favor evolutionary theory, or this theory in particular,
|
||
|
you cannot deny the fact that the biosphere is constantly expanding, or is
|
||
|
constantly applying pressure to expand.
|
||
|
|
||
|
Indeed, that is a good way to define life, a collection of processes
|
||
|
which replicate themselves in order to continue replicating themselves. Life
|
||
|
has spread to every crack and crevice on the planet.
|
||
|
|
||
|
This essay draws extensively from the Gaia Hypothesis. This theory was
|
||
|
envisioned by British biologist James Lovelock in 1969 and expounded upon in a
|
||
|
book by Lovelock and US biologist Lynn Margulis entitled _Gaia: A New Look at
|
||
|
Life on Earth_ (1979). The hypothesis influenced numerous environmental,
|
||
|
biological, and ecological studies, but aroused controversy over it's
|
||
|
perceived nonscientific aspects. Lovelock therefore modified it to be more in
|
||
|
agreement with homeostasis, now widely acclaimed in biology.
|
||
|
|
||
|
Essentially the Gaia Hypothesis holds that the biosphere of the Earth
|
||
|
functions as a single unit, and that it regulates itself for the benefit of
|
||
|
the unit and not for it's parts. This is in accordance with homeostasis in
|
||
|
that the biosphere is very regulatory. If there are too many predators and not
|
||
|
enough prey, for example, starvation ensues.
|
||
|
|
||
|
Assuming that the Gaia Hypothesis is true and agreeing that the
|
||
|
biosphere does indeed bring pressure to bear for expansion, one reaches the
|
||
|
following conclusion: The goal (destiny, process, nature, purpose) of the life
|
||
|
is expansion and the biosphere will regulate itself in a manner which only
|
||
|
serves to support this goal. This theory has rather baffling conclusions; the
|
||
|
biosphere, under these assumptions, would regulate every factor within it's
|
||
|
power in order to achieve expansion, from predator prey relationships, to
|
||
|
extinctions, to climate, to evolution itself.
|
||
|
|
||
|
Realize I am not implying any consciousness extant within the
|
||
|
biosphere unit (which was one of the aspects of the original hypothesis), I do
|
||
|
not see any evidence for that. Self regulation of the system is a product of
|
||
|
natural laws, as is the process of expansion. The process of regulation to
|
||
|
achieve the state of expansion which the biosphere undergoes is subject only
|
||
|
to natural law.
|
||
|
|
||
|
Why does life expand? It expands to survive. The survival of the
|
||
|
biosphere is paramount to all other processes. If life forms were to stay in
|
||
|
one area, they would run a much higher risk of being eliminated completely by
|
||
|
several random factors such as famine, disease, or natural disasters. Instead,
|
||
|
life spreads itself about. The more area life covers, the less it is prone to
|
||
|
being completely obliterated. Some species do indeed become extinct, but this
|
||
|
is generally due to the biosphere regulating itself. If a species does not
|
||
|
play it's part in the natural processes which develop the entire system, or
|
||
|
the species has completed it's term of usefulness the biosphere takes measures
|
||
|
to eliminate it. This is somewhat analogous to a human having an appendix
|
||
|
removed.
|
||
|
|
||
|
Many natural processes, including survival, apply not only to the
|
||
|
biosphere as a whole, but often to it's parts as well. Mankind is no exception
|
||
|
to this rule. In fact, the self regulatory processes which apply to the whole
|
||
|
biosphere also apply to humans on an individual level. The biosphere is
|
||
|
fractal in nature, every part is representative of the whole. Homeostasis is
|
||
|
one of the founding principles of biology, and it has been observed time and
|
||
|
again in the function of multitudes of species, including humans. Thus, by
|
||
|
observing processes within large scale structures such as the biosphere, we
|
||
|
can observe properties within ourselves.
|
||
|
|
||
|
Following this line of thought, it is natural to infer that humans
|
||
|
operate on the basic tenets of life outlined above. We have a need to expand
|
||
|
and therefore survive. In fact, everything we do is oriented on this goal
|
||
|
which is programmed at a genetic level. Obviously the day to day chores such
|
||
|
as eating and breathing we do for survival, but also to survive as a species
|
||
|
we must expand.
|
||
|
|
||
|
In order to expand, humans do many things beyond mere reproduction.
|
||
|
Over the past 500,000 years we have developed the means to enhance our
|
||
|
expansion and survival by engaging in agriculture, medicine, science, and
|
||
|
technology. These activities have allowed us to live longer, reproduce with
|
||
|
more success, evolve quickly, and have gradually made us the dominant species
|
||
|
of the planet.
|
||
|
|
||
|
Activities such as art, music, and philosophy also serve their purpose
|
||
|
in the need to survive and expand. Such mental exercises serve to bring us
|
||
|
stability, civilization, and social equilibrium so that we may efficiently
|
||
|
carry out the processes for which we have been genetically programmed.
|
||
|
|
||
|
|
||
|
THE RIGHT STUFF
|
||
|
~~~~~~~~~~~~~~~
|
||
|
Five billion years from now (give or take a few eons) the Sun, which
|
||
|
feeds energy to the Solar System, will be dead. It will die from having
|
||
|
exhausted all of it's fuel. Before it dies though, it will give it the old
|
||
|
college try by slowly vaporizing Mercury and Venus and making Earth a boiling
|
||
|
sphere of molten slag for several millennia.
|
||
|
|
||
|
In fact, the Earth will likely be too hot to support life a mere 150
|
||
|
million years from now, due to the Sun's expansion caused by helium fusion.
|
||
|
The biosphere doesn't have much time left, relatively speaking, since it has
|
||
|
been around for four billion years. Whats a self regulating biological system
|
||
|
to do?
|
||
|
|
||
|
So far the biosphere has been very adept to adapt. Although the Earth
|
||
|
has been through several catastrophic natural disasters and climate changes,
|
||
|
life has always hung in there... surviving as it were. The
|
||
|
survival-of-the-fittest standpoint would hold that a successful biosphere
|
||
|
would evolve to plan for all contingencies, whatever the natural occurrence.
|
||
|
|
||
|
The conclusion is that a successful biosphere must create (evolve) a
|
||
|
solution for not perishing when the star which provides it's energy dies. If
|
||
|
it does not, it will not survive the death of it's parent star. This is
|
||
|
assuming that the biosphere develops on a planet in the method outlined here
|
||
|
and not in interstellar space.
|
||
|
|
||
|
The method for a biosphere to maintain it's existence after it's star
|
||
|
dies is to have the ability to move to another star or to another location
|
||
|
where it can continue expanding and existing. There are likely many solutions
|
||
|
to this difficulty, but if Occam's Razor is applied, the easiest solution is
|
||
|
represented in mankind.
|
||
|
|
||
|
Evolving a single species which develops intelligence is the easiest
|
||
|
method for solving the problem of a biosphere death. This single species can
|
||
|
create technology which will transport the biosphere to a place where it may
|
||
|
continue. The species will not have to transport *every* element of the
|
||
|
system, nor even all the species, since every part, as in a fractal,
|
||
|
represents the whole.
|
||
|
|
||
|
Humans are the natural solution of our biosphere to cope with the
|
||
|
problem of the Sun's eventual death. We are a single species, evolved for
|
||
|
intelligence which has the means to carry out the destiny of life on Earth. We
|
||
|
are a tool created to carry Earth's seeds to the stars.
|
||
|
|
||
|
There is likely no other reason for intelligence to evolve, since it
|
||
|
would serve no other purpose in the needs of the biosphere. This argument
|
||
|
would also seem to preclude high intelligence in species of non-technological
|
||
|
orientation, since their intelligence would not serve the biosphere's needs.
|
||
|
Such a species would be `self regulated' out of the system or their
|
||
|
intelligence filtered out or limited in some fashion. This is likely what
|
||
|
happened to dolphins and whales.
|
||
|
|
||
|
|
||
|
EVERY WHICH WAY BUT UP
|
||
|
~~~~~~~~~~~~~~~~~~~~~~
|
||
|
It seems now that our purpose is clear. Our species was evolved to
|
||
|
transport the biosphere to the stars. We have evolved sufficient technology to
|
||
|
do so. Once a species has reached our level on the technology curve, it
|
||
|
reaches a point where it is able to move away from the cradle, taking it's
|
||
|
genetic code with it. Apparently it is in the best interests of the biosphere
|
||
|
that we *leave*.
|
||
|
|
||
|
So what happens if we don't? That is very simple to answer. Like all
|
||
|
other species which did not evolve to fit the needs of the system, we die. The
|
||
|
human race, if it does not fulfill the purpose outlined above, will become
|
||
|
extinct and the only things left over will be footprints on the moon and have
|
||
|
a dozen interstellar probes with nice gold records on them.
|
||
|
|
||
|
The self regulating system in which we exist, creates a pattern which
|
||
|
makes it's needs easier to achieve. The very things which give us the ability
|
||
|
to live longer and reproduce more such as agriculture and gasoline also
|
||
|
eventually lead to the ability for space travel; surprise, surprise. However,
|
||
|
once a species reaches such a level of technological sophistication, those
|
||
|
technologies which improved living conditions for that species begin to have a
|
||
|
detrimental effect *unless* that species exploits space travel. Greater
|
||
|
technology increases population, which cause a host of problems. Thus, a
|
||
|
species is pressured by the system into exploiting space travel... for it's
|
||
|
own benefit.
|
||
|
|
||
|
If humans do not release the pressure of their system by performing a
|
||
|
evolutionary and technological process needed for survival of the biosphere,
|
||
|
then the pressure will build. Nature is running out of time, and if we don't
|
||
|
do our jobs, she will kill us quickly. Without space travel, humans will slow,
|
||
|
stagnate, die in great numbers, and then likely become extinct to make room
|
||
|
for another intelligent race which may be able to do better than we did.
|
||
|
|
||
|
|
||
|
WHATS THE RUSH?
|
||
|
~~~~~~~~~~~~~~~
|
||
|
One hundred fifty million years is a long time, many wonder what the
|
||
|
rush is? The facts are that *humans* do not have 150 million years for the
|
||
|
very reasons outlined above. But even so, why not wait fifty or one hundred
|
||
|
years?
|
||
|
|
||
|
It is important that once a species has the technological capability
|
||
|
to travel in space, they should exploit it as quickly as possible to release
|
||
|
the pressure on their species. The pressure comes from the biosphere's self
|
||
|
regulating mechanisms which manifest as human overpopulation.
|
||
|
|
||
|
Venturing into space is much like going to the dentist. If you never
|
||
|
go, your teeth will likely fall out. The longer you prolong it, the more
|
||
|
difficult the eventual visit will be due to built up problems which need to be
|
||
|
fixed. But if you go early, or on time, it isn't too bad an experience after
|
||
|
all and you are much better off because of it, no matter how much it hurt your
|
||
|
pocketbook.
|
||
|
|
||
|
Indeed, we are venturing into space now, but not at a rate or a manner
|
||
|
which parallels our exponentially inflating knowledge base or population. We
|
||
|
went to the Moon and now we can't get past Low Earth Orbit. The biosphere
|
||
|
"frowns" upon taking a step back for every two forward. Policy makers need to
|
||
|
realize that space is not merely a playland for scientists or a place to dump
|
||
|
communications satellites, it is crucial to our survival and to the survival
|
||
|
of all Life on Earth.
|
||
|
|
||
|
It would be nice if our generation was noted for being the realization
|
||
|
of the evolution of a process begun some 1.5 million years ago in East Africa,
|
||
|
saviors of all Earth lifeforms from now to eternity.
|
||
|
|
||
|
Send all comments, ideas, questions, critiques, whimsies, nonsense, or flames
|
||
|
(generally ignored), to hagbard@io.com.
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
[=- POETRiE -=]
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
PREFACE
|
||
|
by Lord Henry Wotton
|
||
|
(dedicated to my own Anactoria)
|
||
|
|
||
|
'Show me your satyr's horns!'
|
||
|
You cry, giggling and falling into my bed
|
||
|
And I return your laughter
|
||
|
Or I try
|
||
|
For I know this is the second bed you have entered, laughing
|
||
|
On this night alone.
|
||
|
And the cuckold's horns are more familiar to me than Pan's.
|
||
|
|
||
|
O! how it pains me to see you
|
||
|
As you embrace another.
|
||
|
(If only in my mind's eye)
|
||
|
How it hurts to feel your laughter
|
||
|
And I know the pain comes not from your absence
|
||
|
But rather
|
||
|
That you can find as much joy -- more -- with another as with me.
|
||
|
|
||
|
But we both know I can make no claim on you
|
||
|
And should you want to stray, I have no place to hold you
|
||
|
'Go; if thou stay, not free, absents thee more.'
|
||
|
So I cultivate my pain in the soil of your joy
|
||
|
And we each experience new heights. (depths)
|
||
|
And a blessing:
|
||
|
I have worn the cuckold's horns so long, I'd miss them if gone!
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
"To ascribe predicates to a people is always dangerous."
|
||
|
--Nietzsche
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
FRANKENSTEiN'S MONSTER
|
||
|
by Ivy Carson
|
||
|
|
||
|
An array of exquisite and delicate flowers
|
||
|
sway in the breeze
|
||
|
clustered in a meadow below
|
||
|
as if someone threw the blossoms
|
||
|
from the heavens all at once
|
||
|
so that they might fall together
|
||
|
and dwell together
|
||
|
in accordance
|
||
|
|
||
|
I stand upon a ledge,
|
||
|
alone
|
||
|
for I was dropped far after the others
|
||
|
and I was hurled far away from the others
|
||
|
yet I am just as beautiful
|
||
|
I can gleefully dance in the wind
|
||
|
I can taste and savor the sweet raindrops
|
||
|
or the golden sunrays upon my petals
|
||
|
just as I am able to feel the
|
||
|
harshness of an overbearing storm in the night
|
||
|
or the stinging fangs of winter
|
||
|
I am real, with the same feelings,
|
||
|
the same needs!
|
||
|
yet I stand upon a ledge,
|
||
|
alone
|
||
|
|
||
|
As I languidly gaze onto the
|
||
|
blooms in the meadow below
|
||
|
intermixed with the warning, whistling winds,
|
||
|
the once dreamlike, brilliant flowers
|
||
|
suddenly transform into ragged weeds
|
||
|
My petals have withered as I
|
||
|
slowly fade
|
||
|
And I still stand upon a ledge,
|
||
|
alone
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
"Once it meant something to be crazy. Now everybody's crazy."
|
||
|
--Charlie Manson
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
THE SEVEN STRANGERS
|
||
|
by The Big Thing
|
||
|
|
||
|
The first stranger is a man
|
||
|
Simply a man
|
||
|
He's not impressive
|
||
|
He's not spectacular
|
||
|
He's just a simple man
|
||
|
And nothing more
|
||
|
He's still searching
|
||
|
|
||
|
When the strangers met
|
||
|
They were one no more
|
||
|
Ceremonies meant little to them
|
||
|
They just kept searching
|
||
|
|
||
|
The brothers arrived
|
||
|
Isolated for a year
|
||
|
They had no friends
|
||
|
Except the two strangers
|
||
|
|
||
|
The Strangers count reached five
|
||
|
People stayed away from them
|
||
|
But they didn't care
|
||
|
Nobody cared
|
||
|
The people just stayed away
|
||
|
|
||
|
Time passed on
|
||
|
Another stranger joined
|
||
|
He was wise in the ways of the world
|
||
|
And he brought a friend
|
||
|
A friend who knew his place
|
||
|
A friend who was sad
|
||
|
A friend who lamented
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
"Santa was in shock. Standing before him, Beretta in hand, was Pruneberry, at
|
||
|
one time his most favored elf, thrown out of Santaland for date-raping Vixen.
|
||
|
He demanded that Santa take off his clothing at once. Santa finally came to
|
||
|
the realization that he was to be crucified, mutilated, and eventually put to
|
||
|
death."
|
||
|
--from _Cute Little Bunny in Bum-land_ by Sham Dingus
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
MEDiTATiONS ON DEATH'S SLEEP
|
||
|
by Dark Crystal Sphere Floating Between Two Universes
|
||
|
|
||
|
It is easy to forget the dead, I suppose,
|
||
|
Who never quit their silent repose --
|
||
|
Cold carven marble stones
|
||
|
On time-whitened ancient bones
|
||
|
Keep quiet the cries of the Dead.
|
||
|
|
||
|
And yet, in the midst of the dark night,
|
||
|
The haunted and the sensitive mind might
|
||
|
Catch a glimpse of something dim
|
||
|
And hear Dead voices calling him
|
||
|
Reminding the Living that the Dead do not eternal lie.
|
||
|
|
||
|
Shrouded Spectres, ill-remembered from youth,
|
||
|
And the recent Dead, grotesque and uncouth,
|
||
|
Warn us of Life's transientness
|
||
|
While they call us through Time's mists
|
||
|
And warn us to seize the day.
|
||
|
|
||
|
For, once gone, the past is Dead,
|
||
|
And when at Judgment our accounts are read,
|
||
|
We must answer for the deeds, both good and ill,
|
||
|
With which we our Lives have filled,
|
||
|
And our darkest deeds shall be cried from the highest hills.
|
||
|
|
||
|
And so for the future we must prepare;
|
||
|
The past is gone -- and must be repaired,
|
||
|
And we insignificant ones with our fleeting Lives
|
||
|
Must with our short limited Time
|
||
|
Do our best -- and then we die.
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
"She is my god
|
||
|
She is my Christ
|
||
|
And in the fires of her passion
|
||
|
I am freed from sin."
|
||
|
-- Crux Ansata
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
MERKABAH
|
||
|
by Nemo Est Sanctus
|
||
|
(Inspired by the Dead Sea Scrolls)
|
||
|
|
||
|
She presses her glorious face against mine
|
||
|
And down we fall, tangled ecstatically,
|
||
|
Of arms and tongues, wrapped around one another.
|
||
|
|
||
|
Pressed full against her for a fleeting moment
|
||
|
I drink from her watery grail
|
||
|
And together we fill and glisten one another.
|
||
|
|
||
|
Rising up, I hear her divine small voice,
|
||
|
And her nubile body she folds around me
|
||
|
As a cheribum's wings, imprisoning my body to freedom.
|
||
|
|
||
|
My Goddess, my Seraphim, my Love beneath me
|
||
|
Gazes up in idyllic bliss, as my fiery firmament
|
||
|
descends, a pentacostal sacrament and the Holy Dove.
|
||
|
|
||
|
Beneath, between, within, around,
|
||
|
Angels of holiness come and go, a fiery vision of the most holy spirits
|
||
|
And around flow rivers of flame.
|
||
|
|
||
|
Prismatic colors and gleaming hues combine
|
||
|
With the soft, sweet deepness of her virgin flesh
|
||
|
And over spirits, like our bodies, magnificently mingle.
|
||
|
|
||
|
The spirits of God flow from me
|
||
|
And into her, my wonderful Chariot,
|
||
|
In our glory of perpetual movement.
|
||
|
|
||
|
Her divine small voice cries out as I depart
|
||
|
And with the path of my return she blesses and glorifies
|
||
|
The Holy One, our holy union.
|
||
|
|
||
|
I rise above her, marvelously;
|
||
|
I descend, and I find rest;
|
||
|
In settling, I find tremorous pause.
|
||
|
|
||
|
Her cries are silenced in one cry of joyful praise,
|
||
|
And the shards of her voice echo all around;
|
||
|
A stillness blankets us in the warmth of the coming of God.
|
||
|
|
||
|
A stillness falls across the chariot
|
||
|
And a silence falls across all existence;
|
||
|
In this moment of death the heavens and the earth are reborn!
|
||
|
|
||
|
A single voice of praise resumes
|
||
|
And all the divisions speak up in joyful worship.
|
||
|
All voices sing out in hymns of praise.
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
[=- FiCTiON -=]
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
A PRAYER FOR DEATH, Part II
|
||
|
by Michael Dee, with help from Ian Curtis (D)
|
||
|
|
||
|
I feel it closing in --
|
||
|
A pattern seems to form
|
||
|
I feel it cold and warm --
|
||
|
As shadows start to fall
|
||
|
I feel it closing in, I feel it closing in
|
||
|
Day in, day out...
|
||
|
|
||
|
from Digital, by Joy Division
|
||
|
|
||
|
|
||
|
I. ...Feel it closing in, feel it closing in...
|
||
|
|
||
|
Faking a death is easy. One has only to find a suitable corpse.
|
||
|
|
||
|
Cody, having seemingly fulfilled the parameters of his contract, received
|
||
|
payment in full, with a healthy hazardous assignment bonus.
|
||
|
|
||
|
"Who is this?" Cody asked one evening, pulling a small framed photo of
|
||
|
the girl and a young man from her dresser. Cody and Death were in bed, the
|
||
|
black satin sheet draped over their hips, reflecting the pale blue moonlight
|
||
|
filtering through the curtains like a wind-stirred pond.
|
||
|
|
||
|
"That," she said, sighing, "Is a very old friend. He died--was murdered--
|
||
|
almost a year ago." Cody held the frame in both hands, examining his
|
||
|
photographic predecessor. "I take it you were close," Cody said, looking from
|
||
|
the picture to her.
|
||
|
|
||
|
She was laying next to him, naked under the sheet, propped on one elbow
|
||
|
and tracing shapes on his chest absently. "He... got me out of a bad
|
||
|
situation. I loved him dearly. I still do, I guess," she said, taking the
|
||
|
picture from Cody. She rolled over on her back next to him, staring up at the
|
||
|
picture. Cody rolled on his side, facing her, and said, "I'm sorry... How did
|
||
|
he...?"
|
||
|
|
||
|
"He was murdered," the girl said bitterly. "Religious fanatics. They
|
||
|
found our lifestyle... well, they thought we were `tainted.'"
|
||
|
|
||
|
"Jesus," he said, looking at her. He saw tears welling in her dark eyes
|
||
|
as she stared at the picture. "That was the second time he saved my life.
|
||
|
They... they..."
|
||
|
|
||
|
"Shh, don't think about it," Cody told her, pulling the frame from her
|
||
|
hands and setting it facedown on the dresser. He held her gently then, rocking
|
||
|
gently and whispering quietly in her ear until sleep took her.
|
||
|
|
||
|
Night passes...
|
||
|
|
||
|
Morning, and Death sleeps, as she does every day. Her paleness bespoke of
|
||
|
one who has not seen the light of day for some time. Cody sat in bed
|
||
|
contemplating her sleeping form, the graceful curve of her so-slightly turned
|
||
|
hip under the satin sheet, the gentle swelling of her breast as she breathed,
|
||
|
the sweet curves of her face and her red lips. Never had he met one with whom
|
||
|
he shared this bond, this unity.
|
||
|
|
||
|
It is then that the Child calls to him.
|
||
|
|
||
|
He paused with the china cup half raised to his lips and felt the Child's
|
||
|
summons deep inside his soul, wrenching, painful.
|
||
|
|
||
|
|
||
|
II. ...A fear of whom I call/ hearing someone call/ I feel it
|
||
|
closing in/ I feel it closing in...
|
||
|
|
||
|
"I'm so very disappointed in you," the Child said, pouting. "You've been
|
||
|
so very bad. And who is this soulless vixen you bring before me, and why did
|
||
|
you not answer my summons sooner?" The Child warped its form to that of a
|
||
|
young girl of twelve, clad in a gold crushed velvet dress. The Child shook her
|
||
|
head.
|
||
|
|
||
|
"This one is mine. I desire her. Leave her be," Cody told the Child. "You
|
||
|
know the conditions of our bargain... or would you rather go back to the way
|
||
|
you were Before?" The Child moved toward him like a wraith, sliding it's
|
||
|
fingers along his lapel. The Child's touch was like lightning, bringing pain
|
||
|
that tore at the core of his being. Then peace, serenity, oneness. "Give her
|
||
|
to me. Be done with her, and be with me as you always have," the Child
|
||
|
whispered seductively, taking the form of a woman radiant with beauty. "Give
|
||
|
her to me..."
|
||
|
|
||
|
Cody felt the Child slip into his mind, felt it examine his thoughts,
|
||
|
begin to strip images from his mind like pages torn from a book. He thought
|
||
|
then of his little Death, laying so peacefully in bed, the way her hair fell
|
||
|
over her shoulders and caught the light in it's blue-black luster.
|
||
|
|
||
|
III. ...I see you fade away, don't ever fade away/ I need you
|
||
|
here today/ Don't ever fade away... Fade away...
|
||
|
|
||
|
"No!" Cody screamed with every fiber of his being, tearing himself from
|
||
|
the Child's vampiric embrace. "I won't let you take her from me. She's mine!"
|
||
|
|
||
|
The Child spun away from him, rage distorting it's face. "Then we are no
|
||
|
more. Take back what is yours!" The Child contorted into a ball and
|
||
|
vanished into a pinpoint of light.
|
||
|
|
||
|
"Thirty years of pain... all at once... all for you..." the voice of the
|
||
|
Child echoed in his mind, as Cody slipped into consciousness.
|
||
|
|
||
|
Images, cruel and fast....
|
||
|
|
||
|
Death awoke with a start, inhuman screams rattling the room. Cody stood,
|
||
|
still screaming, holding his head. His face was contorted in agony, his mouth
|
||
|
opening, closing like a dying fish. He fell out of the bed, and stumbling,
|
||
|
moved to the center of the room. "You raped me!" Cody screamed at the
|
||
|
ceiling. "You raped me and took everything!"
|
||
|
|
||
|
The girl slid to the edge of the four-poster, sliding to stand with her
|
||
|
small bare feet on the wooden floor. "Cody..." she said, reaching for him, not
|
||
|
understanding, hurting for him.
|
||
|
|
||
|
"Don't touch me!" Cody was frantic. "You don't know me..."
|
||
|
|
||
|
Death came to him anyway, cradling him in her arms. He fell to his knees
|
||
|
on the floor, gasping, and she held him as he wept, kneeling with him resting
|
||
|
his head on her soft white shoulder. "Mali... Kera..." he whispered, clutching
|
||
|
Death to him desperately, "all of them, and I didn't know... I never knew...
|
||
|
that damned Thing took it all..."
|
||
|
|
||
|
Gently, she comforted him. Calmed, he stared into her eyes, deep and dark
|
||
|
and full of love. "Sleep..." she whispered to him, and her voice was a soft
|
||
|
caress, one which carried him into sweet oblivion.
|
||
|
|
||
|
She easily lifted his limp sleeping form and carried him the short
|
||
|
distance to the bed, laying him gently on the cool sheets. She pulled the
|
||
|
black satin over his body, and sat thinking on the edge of the mattress.
|
||
|
|
||
|
Something had to be done about this, she thought. I will not suffer this
|
||
|
outrage to be inflicted on the one I have Chosen.
|
||
|
|
||
|
|
||
|
Two ways to choose, the razor's edge
|
||
|
with pain behind, go straight ahead
|
||
|
room full of people - grouping as one
|
||
|
I can't break out now, the time just won't come
|
||
|
|
||
|
Two ways to choose, which way to go
|
||
|
decide for me, please let me know
|
||
|
looked in the mirror - saw I was wrong
|
||
|
If I could get back to... where I belong
|
||
|
where I belong
|
||
|
|
||
|
Two ways to choose, which way to go
|
||
|
I paused for one - whom signs forbode
|
||
|
If we were immortal, we would not bend
|
||
|
washed up on the beach here, struggling for air
|
||
|
|
||
|
I see your face still in my window
|
||
|
tormented clouds won't set me free
|
||
|
|
||
|
something must break now
|
||
|
this life isn't mine
|
||
|
something must break now
|
||
|
wait for the time
|
||
|
something must break
|
||
|
|
||
|
Something Must Break, by Joy Division
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
"You are afraid of the people unrestrained--how ridiculous."
|
||
|
--Marquis de Sade, _Marquis de Sade_
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
JOSEPH TRiES SOMETHiNG NEW
|
||
|
by I Wish My Name Were Nathan
|
||
|
|
||
|
That sign had been tacked to the empty bulletin board all semester,
|
||
|
written hurriedly at the end of a science class as the professor was about to
|
||
|
leave: "Ring and Warner Bros Cup Found -- See Prof Rbts". It beckoned to
|
||
|
those studious students who walked by it twice every other day to take mercy
|
||
|
on the poor abandoned objects of commercial desire. But no one had stood up.
|
||
|
So Joseph did.
|
||
|
|
||
|
The bell had rung so Joseph flipped the hinged desk over and reached for
|
||
|
his backpack, which had been untouched this hour because the period had just
|
||
|
started. Joseph didn't think the study of aberrant chromosomal deformities,
|
||
|
i.e. fuckups, were all that exciting. He'd seen the six fingers and three
|
||
|
legs and orange eyes and patchy hair, but she was never on TV, so she was
|
||
|
boring.
|
||
|
|
||
|
Joseph's shoes clip-clopped across the floor, taking him out into the
|
||
|
hall. The search for Professor Roberts' office was not as easy as he had
|
||
|
hoped; a so-so pass-by search of the offices on each of the three floors had
|
||
|
revealed nothing. He sighed and was about to head home when he saw the name
|
||
|
"Infleunza Roberts" printed on the placard next to the door. He was sure
|
||
|
people teased her about her name.
|
||
|
|
||
|
He knocked politely on the door until Professor Roberts looked up from
|
||
|
her desk.
|
||
|
|
||
|
"Ah, hello!" she said. "You must be here to pick up the ring and Warner
|
||
|
Brothers cup." She grinned at him.
|
||
|
|
||
|
"Yes. I am," Joseph said blankly.
|
||
|
|
||
|
She gawked at him. "Really? Oh!" she said, nervously opening up the
|
||
|
bottom drawer of her desk. "I say that to everyone nowadays... everyone I
|
||
|
don't know, that is. I guess I was getting kind of tired of keeping it here.
|
||
|
They take up so much space, the ring and the cup. Much better things I could
|
||
|
put in this desk." Joseph saw the piles of pens and pencils in the corner of
|
||
|
her office. "Oh," she said, noticing, "Those I just collect."
|
||
|
|
||
|
He held his hand out and accepted the cup and the ring. The ring was
|
||
|
boring and grey; he never liked jewelry. He tossed it in the cup.
|
||
|
|
||
|
Infleunza's eyes widened. "Oh wait, before you take those, I need you to
|
||
|
prove you own them. I'm sorry, it's just common practice. Oh! Close your
|
||
|
eyes!"
|
||
|
|
||
|
Joseph stood in place with his eyes closed, clutching the cup. "Okay."
|
||
|
|
||
|
"Tell me what it says on the bottom of the cup, under the Tweety Bird
|
||
|
feather."
|
||
|
|
||
|
"Um, let me remember. It's been so long. Uh.... oh, I remember. '(c)
|
||
|
Warner Bros., Inc., nineteen eighty-fnayseek'," he said, almost sure he didn't
|
||
|
know the year.
|
||
|
|
||
|
Professor Roberts made the expression of a game-show host having to break
|
||
|
the bad news. "Actually, the year was 1991."
|
||
|
|
||
|
Joseph held out his hand in explanation. "Oh, that's alright. I bought
|
||
|
it in the eighties. I guess I was just remembering that, and --"
|
||
|
|
||
|
The professor breathed a sigh of relief and nodded. "Well, that's good
|
||
|
then. Whew. Well, have fun with those!"
|
||
|
|
||
|
"Thanks," Joseph said, and left.
|
||
|
|
||
|
Out in the hall once again, he looked about, wondering what to do with
|
||
|
the rest of the hour. He figured it was the last class of the day he just
|
||
|
skipped, so he went back to his apartment.
|
||
|
|
||
|
As usual, his roommate was out. He had moved back home a few months
|
||
|
back. Joseph went over to his beanbag bed and plopped down on it. Sunlight
|
||
|
streaming in through the edges of the window tickled his fancy so pulled the
|
||
|
blinds up. He placed the cup and ring on the window-sill and repositioned his
|
||
|
beanbag bed so he could look at them in the glow of the sun.
|
||
|
|
||
|
He smirked selfishly. When Kirk had been here, Joseph couldn't take the
|
||
|
liberties he took now. The window was open. There was light. Kirk had
|
||
|
always liked the dusky grey darkness in the room at all hours of the day,
|
||
|
being such a lowdown mellow person. Joseph had adopted Kirk's mellowness in
|
||
|
submission to him when he had been dominating the apartment with his pacifist
|
||
|
ways.
|
||
|
|
||
|
Now, once again alone, Joseph had been preserving the memory of Kirk
|
||
|
through his own regimen of acting mellow. It was a good act, because he
|
||
|
wasn't really mellow at all. People just thought he was. Inside, Joseph was
|
||
|
actually introverted and disinterested.
|
||
|
|
||
|
In aiming to overcome his deficient personality, he had decided on moving
|
||
|
away from home to a liberal arts college. He knew that suffering built up
|
||
|
character. He had decided early that morning to reaffirm his high-school
|
||
|
desire to become a non-conformist. So far his only model had been Kirk. Kirk
|
||
|
was gone. Joseph had to try something new. He grinned smarmily at the corona
|
||
|
surrounding the Warner Brothers cup he had placed in the window.
|
||
|
|
||
|
Joseph got up from his beanbag chair and carefully picked up the Warner
|
||
|
Brothers cup, turning it around in his hands. He hooked his finger through
|
||
|
the handle and carried it thusly. The ring inside was caught by the gleaming
|
||
|
sunshiney rays. He took the ring out and placed it on his thumb, where it
|
||
|
fit. He felt pretty.
|
||
|
|
||
|
Leaving his apartment, Joseph decided in a hasty, non-conformist way to
|
||
|
change his name to 'Joe'. And to get a haircut. Not any typical zipperhead
|
||
|
haircut, no. He'd get something new and original. He headed over to the
|
||
|
barber's on his bicycle with a cup on his finger and new hopes in his heart.
|
||
|
|
||
|
The barbershop appeared quite deserted except for the barber standing in
|
||
|
there. Joe walked in and shouted, "Cut me, baby!"
|
||
|
|
||
|
He hoped his new-found style of speech was shockingly original and
|
||
|
impressive.
|
||
|
|
||
|
Joe jumped into the chair and beamed at the barber. For several seconds
|
||
|
they stared at each other in silence. Then Joe said, "Gimme a haircut, Holmes."
|
||
|
|
||
|
The barber, Polo by the inscription on his shirt, rolled his eyes. "What
|
||
|
kind do you like, sir? Just a trim?"
|
||
|
|
||
|
"Nope!" Joe proclaimed. "You know poodles?" he asked.
|
||
|
|
||
|
Polo thought for a while. "You mean the dog?"
|
||
|
|
||
|
"Exactly!" Joe said. "Don't do that to me."
|
||
|
|
||
|
Polo rolled his eyes. "Okay."
|
||
|
|
||
|
"What I want is a lateral shear," he decided. "From here," he said,
|
||
|
pointing to his right temple, "to here," he finished, drawing a finger over
|
||
|
behind his left ear.
|
||
|
|
||
|
"What the hell is a lateral shear?" Polo asked.
|
||
|
|
||
|
"Polo, my master of hairs, that is your decision. I want you to have fun
|
||
|
today."
|
||
|
|
||
|
Polo's eyes widened and he let out a chuckle.
|
||
|
|
||
|
"Oh! One condition, please," Joe said. "In here," he said, pointing to
|
||
|
the Warner Brothers cup. "I'm nostalgic."
|
||
|
|
||
|
Joe leaned back in the chair and closed his eyes, signaling that the job
|
||
|
was to begin. Polo rustled about for a moment to get the scissors, comb, and
|
||
|
pinking shears, and the work began. After much wetting, combing, and mucking
|
||
|
about, Polo fulfilled his order, remembering faithfully to leave the hair in
|
||
|
the Warner Brothers cup.
|
||
|
|
||
|
"There you are, sir," Polo said, handing him a mirror. The non-
|
||
|
conformist that Joe was, he looked in the cup first.
|
||
|
|
||
|
"Wow! This has some heft, Polio...! Poley...! Polo...!" Joe exclaimed,
|
||
|
grabbing the mirror. "Lemme see." As he had much expected and hoped, his
|
||
|
hairstyle was different. "Thanks a lot, Polo! Let's call this a done deal."
|
||
|
|
||
|
Polo smirked at him. "You like it?"
|
||
|
|
||
|
"Of course, hair-boy!"
|
||
|
|
||
|
"Okay, sir. Let's just call this a freebie, okay?" Polo said. "That way
|
||
|
you've got nothing on me."
|
||
|
|
||
|
Joe bounced out of the chair, laughing. "You've always got your
|
||
|
conscience," he said, skipping out of the barbershop.
|
||
|
|
||
|
With time on his hands, a ring on his thumb, and a cup of hair on his
|
||
|
finger, Joe looked for something new to do. He thought hard about being
|
||
|
different, and realizing in a moment of brilliant lucidity that thinking was
|
||
|
so common, he decided to walk blindly ahead until he came to something.
|
||
|
|
||
|
Joe looked up and realized he had headed clear across town to his old
|
||
|
high school. He smiled cockily and entered the building, reminiscing fondly
|
||
|
those memories of half a year ago. Joe started to feel giddy, heading down
|
||
|
the hall, hearing the bright happy sarcastic laughter emanating from the
|
||
|
classrooms. He glanced into each window of each door and the memories rushed
|
||
|
back. Then, at the far end of the hall, he saw his old biology professor.
|
||
|
Hyper with giddiness, he rushed down the hall, flailing his arms about and
|
||
|
sending his hair flying everywhere, and called out, "Coach Nicks! Coach Nicks!"
|
||
|
|
||
|
Joseph leaned back in the desk, achieving the perfect high-school
|
||
|
slouch. The detention room was almost empty now. When he had been dragged in
|
||
|
here by his arm, Joe knew there were more people. They must have left when
|
||
|
the principal came in, huffing and puffing, and told him to shave off his
|
||
|
morning's growth of beard. Joe felt lucky he had saved the dollar from the
|
||
|
haircut; he needed it for the razor they made him buy.
|
||
|
|
||
|
He looked to the desk in the front of the room. Old Coach Nicks sat
|
||
|
there, grumpiness etched in stone on his flabby face, reading a bright-pink
|
||
|
romance novel. Joe called out, "Sir?"
|
||
|
|
||
|
"Yes, what," Coach Nicks mumbled from behind the book. The pages were
|
||
|
turning rapidly.
|
||
|
|
||
|
"What am I supposed to do until my hour is up?"
|
||
|
|
||
|
"Do your homework."
|
||
|
|
||
|
"I don't have any homework."
|
||
|
|
||
|
"Well, you'll just have to sit there quietly and think about what you
|
||
|
did," Coach Nicks mumbled absently, tapping his foot nervously on the floor.
|
||
|
|
||
|
"Damn," Joe muttered. No paper or anything to doodle on.
|
||
|
|
||
|
"Excuse me?" Coach Nicks cried out, slamming the cheap paperback down
|
||
|
with a slap.
|
||
|
|
||
|
"--Huh? Wha--" Joe stuttered, searching for meaning.
|
||
|
|
||
|
"Go to the office, boy!" he yelled, pointing dramatically toward the only
|
||
|
door in the darkened sensory deprivation room through which bright,
|
||
|
life-giving light oozed in.
|
||
|
|
||
|
"Huh? Why?" Joe whined.
|
||
|
|
||
|
"Don't act like you don't know about the Z.T.P. -- Zero Tolerance
|
||
|
Policy. To the office, curser."
|
||
|
|
||
|
Joe made an ugly face and muttered under his breath, "Zipperhead Tyranny
|
||
|
Politics is more like it," and left the room.
|
||
|
|
||
|
Once outside, Joe growled and waved a fist in the window of the
|
||
|
detention-room door and headed for the exit. And when he arrived back at his
|
||
|
apartment, he decided to write off the loss of his Warner Brothers cup and the
|
||
|
so-obviously-homosexual thumb ring (at least that's what the principal said,
|
||
|
along with "They don't have 'gay pride' in HELL, boy".) He decided to drop
|
||
|
his pretenses and his antisocial nonconformist ways, to close the blinds, and
|
||
|
to sit in darkness. He was hurt and disillusioned.
|
||
|
|
||
|
"Originality is so Oppressive," Joseph sighed, running the razor over his
|
||
|
head, watching the hairs flutter to the ground. "Conformity is Cool, Correct,
|
||
|
and Christian," he recited to himself, smiling. He knew he had made the right
|
||
|
choice.
|
||
|
|
||
|
|
||
|
|
||
|
To learn more about the evils of nonconformity, please visit your local
|
||
|
library and check out the following books:
|
||
|
|
||
|
o "A Group of Oranges and the Lone Apple: You'll Soon Realize Which One
|
||
|
Has the Gooey Worm Inside" by Kenneth Please.
|
||
|
|
||
|
o "Why Hair Is Truly Evil" by Margaret Rinnold.
|
||
|
|
||
|
o "'Of _Course_ I Believe in Free Will': the Lennie Ray Story and his
|
||
|
Tragic Demise" by Rev. Paul Ray.
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
"That Friday afternoon, Lennie left the house, nodding in exasperation as we
|
||
|
told him to please be careful and remember his manners. We never saw him
|
||
|
again. Only after the funeral did one of his friends approach us, and
|
||
|
solemnly tell us that he stole another kid's bike and rode it up a tree."
|
||
|
-- Rev. Paul Ray
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
THE PROPHECY
|
||
|
by Nomad
|
||
|
|
||
|
And the prophecy read:
|
||
|
|
||
|
And so it shall be mother and father will hate each other.
|
||
|
Brother and sister will love one another.
|
||
|
Son will fight with father till one is dead.
|
||
|
Greed will consume the populace.
|
||
|
Murder, suspicion, and bigotry will spread like wild fire.
|
||
|
All will hate each other.
|
||
|
No learning save by mouth.
|
||
|
Knowledge known as books will all be destroyed.
|
||
|
Buildings will fall.
|
||
|
The smell of the dead will be one with the air.
|
||
|
People pray to gods for a miracle.
|
||
|
After some years, there will be a peace and with that peace comes a
|
||
|
plague.
|
||
|
No one seems immune.
|
||
|
More will die till only a hand full of people will survive.
|
||
|
And they go back to nature with no wish to remember the past.
|
||
|
|
||
|
I read the prophecy to the ones who follow me. Me! a man who in his life
|
||
|
was a follower. "How times change," I think.
|
||
|
|
||
|
My group know the truth of the plagues and war, and death.
|
||
|
|
||
|
We alone accept the truth.
|
||
|
|
||
|
We don't believe some cosmic deity brought about this end so only to root
|
||
|
out its followers.
|
||
|
|
||
|
We know that mankind killed itself. All the great nations fell; no one
|
||
|
was safe. Even I contracted the plague. But I would not let something that
|
||
|
this race has brought upon me I will survive. And I did.
|
||
|
|
||
|
"The prophecy was true but for one thing. We shall not forget the past
|
||
|
for if we do we are forced to relive it," I said.
|
||
|
|
||
|
"Let us be off away from the carnage that the race known as man has done.
|
||
|
We will live, thrive off the land and survive.
|
||
|
|
||
|
And with that I turned and looked at the fires and death that spread
|
||
|
through the city. And tears came to my eyes of the remembrance of the dead.
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
"Chaos comes before all principles of order & entropy, it's neither a god nor
|
||
|
a maggot, its idiotic desires encompass & define every possible choreography,
|
||
|
all meaningless aethers & phlogistons: its masks are crystallizations of its
|
||
|
own facelessness, like clouds."
|
||
|
--Hakim Bey, _T.A.Z._
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
DAN AND PAUL LiVE THROUGH A TORNADO
|
||
|
by I Wish My Name Were Nathan
|
||
|
|
||
|
Dan sipped the Coke in silent consideration. It was a very quiet day,
|
||
|
still and lifeless. A grey tinge dulled the normally bright afternoon
|
||
|
scenery. He surveyed the yard he was sitting in, unmowed, unkempt, seemingly
|
||
|
abandoned. Blades of tall grass, round clumps of weeds, and several drooping
|
||
|
oak trees met his eyes. The fuzzy broadcast from the AM radio on the porch
|
||
|
said it was tornado weather. Dan enjoyed his Coke.
|
||
|
|
||
|
Glancing around, Dan saw nothing very interesting. He stood up and
|
||
|
stepped through the lawn, gazing at the sky. Until he had walked far enough
|
||
|
away, he was unable to make out anything specific through the trees, except
|
||
|
something moving. A step into the street among the quiet grey- tinged houses
|
||
|
offered him a view of the sky. Red-grey wispy sunset clouds flew over the
|
||
|
earth, all singularly headed, all constantly moving. Dan shivered, yet it was
|
||
|
not cold. He brought his eyes back to the surface.
|
||
|
|
||
|
The sound of voices harkened Dan to a scene across the street. "Water
|
||
|
wells in this hose," someone named Will pointed out to Paul; "When I squeeze
|
||
|
the nozzle, water will spray on you." Paul ducked and covered his head. Will
|
||
|
squeezed the nozzle.
|
||
|
|
||
|
Dan disliked water, so he decided to seek shelter. Looking around, he
|
||
|
noticed he was not in the yard he had started out in; rather, he was some two
|
||
|
blocks away, in another unmowed lawn. He trotted off the lawn, glancing at
|
||
|
Will and Paul. It didn't look like Paul was going to escape the water, so Dan
|
||
|
ran faster.
|
||
|
|
||
|
"Water will fall even on innocent bystanders," Will said in a louder
|
||
|
voice, as Paul and Dan were retreating to that yard from which Dan had
|
||
|
wandered. As they ran, Dan glanced at the sky. Water struck Paul and Dan on
|
||
|
their backs and their legs and even their heads which they had covered with
|
||
|
their hands.
|
||
|
|
||
|
"Damn, that thing can shoot water far," Paul complained to Dan as they
|
||
|
looked for trees to hide behind. Dan nodded, watching the arc of water fly
|
||
|
from where Will stood, to the trees they were hiding behind. Will tired of
|
||
|
his game and retired inside.
|
||
|
|
||
|
"I'm sorry, was I trespassing in your lawn back there?" Dan asked,
|
||
|
pointing.
|
||
|
|
||
|
"Ah, no. Some stupid third-grade fucks live there. Jimmy and Evvie,"
|
||
|
Paul explained, stepping out from behind the tree and glancing around.
|
||
|
|
||
|
"Oh," Dan said, nervously patting down his body. He took off his shirt
|
||
|
and hung it from the tree. "I dislike being wet." After considering the rest
|
||
|
of his body, he took off the rest of his clothes, putting each article on a
|
||
|
separate branch. Paul undressed as well and lined his clothes on the wooden
|
||
|
rails encircling the porch. "Did you hear anything about tornado weather?"
|
||
|
Dan asked, nodding toward the radio, which was now silent.
|
||
|
|
||
|
"No, nothing. But that sky sure looks like it," Paul said.
|
||
|
|
||
|
"I think those clouds are eerie," Dan said, pointing up through the mask
|
||
|
of trees.
|
||
|
|
||
|
"Yeah, no shit," he replied, picking up the radio and shaking it.
|
||
|
|
||
|
"I don't know how old that thing is," Dan warned.
|
||
|
|
||
|
"The broadcasts are new." The radio crackled, and Dan imagined he saw
|
||
|
lightning out of the corner of his eye. "There we go," Paul said, as the
|
||
|
radio came to staticky life. "It wasn't even on a station." They made out
|
||
|
another broadcast mentioning tornado weather. Paul promptly turned it off and
|
||
|
set the radio down. "You're right, tornado weather. Whose house is this,
|
||
|
anyway?" Paul asked.
|
||
|
|
||
|
"I dunno," Dan said. "I just realized I was here a while ago. I was
|
||
|
having a Coke."
|
||
|
|
||
|
Paul smiled. "I know the feeling. C'mon, let's go somewhere else."
|
||
|
|
||
|
They walked through the grass and headed for the street, away from Will's
|
||
|
house. Dan couldn't resist glancing at the clouds flowing across the sky.
|
||
|
Paul glared at them. They walked on.
|
||
|
|
||
|
At the end of the street was another tired grey house. On the right
|
||
|
side, a tiny sidewalk led up behind the house, where a rickety set of stairs
|
||
|
led to a room over the garage. "If you want something...," Paul said,
|
||
|
pointing out a full clothesline. Dan saw it and dismissed it.
|
||
|
|
||
|
"Nah, I'm already used to it," he said.
|
||
|
|
||
|
"Yeah, I was thinking the same thing." They walked up the stairs and
|
||
|
Paul opened the door. "I live up here," he said.
|
||
|
|
||
|
Inside, the light was on, and everything looked alive, and Dan smiled.
|
||
|
Paul sat on his bed and Dan plopped down in a beanbag. "You know, you always
|
||
|
hear about tornadoes striking other towns all the time, but they never came
|
||
|
here before," Dan pointed out.
|
||
|
|
||
|
"Yeah, true... but one's coming this time, I'm sure of it. I have a
|
||
|
basement though."
|
||
|
|
||
|
"I never expected a tornado to come this early in the year. I'm worried."
|
||
|
|
||
|
"Well, it happens. Shit, I don't care. I knew it'd have to happen
|
||
|
sooner or later," Paul said, waving his hand. "It doesn't matter. The
|
||
|
basement's safe. We'll make it."
|
||
|
|
||
|
"I hope so. You're reassuring me," Dan said. "Have you been in a
|
||
|
tornado before?"
|
||
|
|
||
|
"Hell yeah. It's like, I was all scared when mine came, but I braced
|
||
|
myself and stayed in the basement until it was over," Paul said.
|
||
|
|
||
|
"Were you with anyone?"
|
||
|
|
||
|
"Nope," he said, shaking his head. "Had to face it all alone. Heck,
|
||
|
twasn't that bad. I was hardly even shook up."
|
||
|
|
||
|
"Yeah?"
|
||
|
|
||
|
"Yeah... the only part I had to get used to was how when I left the
|
||
|
basement, everything was gone. Tornadoes do that, ya know. Take away whole
|
||
|
houses."
|
||
|
|
||
|
"I guess that's what they're for, huh?" Dan said, grinning.
|
||
|
|
||
|
"Shit, I dunno. That's what they seem to do usually."
|
||
|
|
||
|
Outside the steady hiss of the wind became audible. Trees nearby shook
|
||
|
and their branches rattled against the window.
|
||
|
|
||
|
Paul gestured toward the window. "Yeah, there it comes."
|
||
|
|
||
|
"Geez, that was sudden. I'm not even ready for it yet," Dan said.
|
||
|
|
||
|
Paul smiled warmly. "C'mon, don't worry about it. It's really not as
|
||
|
bad as they say." He opened the blinds. "Let's see if we can see the funnel
|
||
|
cloud."
|
||
|
|
||
|
Dan reluctantly approached the window. "I don't want to see those clouds
|
||
|
anymore." As he glanced up, he noticed they were gone. A dull grey overcast
|
||
|
remained. There were darker clouds in the distance. They both scanned the
|
||
|
sky. "How do you know where it'll come from?"
|
||
|
|
||
|
"Oh, just a hunch. Darker clouds over there."
|
||
|
|
||
|
"God, I don't want to watch," Dan murmured.
|
||
|
|
||
|
"It's your first tornado, you have to watch. Else what'll you tell
|
||
|
everyone?"
|
||
|
|
||
|
The wind gained speed and Dan spotted it -- a funnel dipping down from
|
||
|
the clouds toward the ground. He weakly pointed. Paul saw it too and nodded,
|
||
|
grinning grimly.
|
||
|
|
||
|
"Well, we can watch a while longer, then we have to go," Paul said.
|
||
|
|
||
|
The funnel thickened as it lazily meandered along the ground, spitting up
|
||
|
debris and cloudying the air. Dan was almost hypnotized, but the realization
|
||
|
that the funnel's thickening was because it was getting closer startled him
|
||
|
into attention. Paul nodded and they walked toward the door. When he turned
|
||
|
the knob, the wind pushed the door open, letting in leaves and pieces of
|
||
|
garbage.
|
||
|
|
||
|
Paul led the way, holding tightly to the railing as he walked down. Dan
|
||
|
followed, his heart beating madly. Against the side of the house the wind
|
||
|
pushed lighter so they ran along it to the basement door. Paul pulled it open
|
||
|
and urged Dan to go in first. Paul followed and flipped the deadbolt.
|
||
|
|
||
|
In the basement, none of the walls were exposed to the wind, so the force
|
||
|
of the tornado made itself apparent through creaks and moans and a deafeningly
|
||
|
low-pitched rumbling. It had gotten bad enough to drive Dan to panicked
|
||
|
yelling and crying. Paul grabbed him and held him down beside a wall,
|
||
|
embracing him tightly until it was over.
|
||
|
|
||
|
Dan was still weeping softly when the rumbling faded away. Paul released
|
||
|
his breath and rolled off him, gasping. "I don't think I'll ever get used to
|
||
|
that," he muttered.
|
||
|
|
||
|
"God, that _was_ horrible," Dan moaned. He glanced upwards and saw light
|
||
|
peeking in through the cracks in the floor above.
|
||
|
|
||
|
Paul looked up and said, "Yup, it's all gone again. You wanna take a
|
||
|
look?"
|
||
|
|
||
|
Dan got to his feet, swaying uneasily. "I guess I have to, huh?"
|
||
|
|
||
|
Paul nodded and they headed for the stairs. "Hope we can get out," he
|
||
|
said. He unlocked the deadbolt and pressed against the door. Something that
|
||
|
had fallen on the door eventually was pushed off and fell away.
|
||
|
|
||
|
Dan noticed it was much brighter outside. First, the clouds had blown
|
||
|
away, and also the neighborhood was flattened. His hand went to his mouth.
|
||
|
Paul nodded, having expected it. "You oughta be happy it's over," he said.
|
||
|
|
||
|
Dan gave a wan smile and looked down at himself and sighed. "I guess
|
||
|
there aren't any clotheslines that you know of?" he asked.
|
||
|
|
||
|
"Nope. Sorry, you had the chance. Just accept it, you're naked."
|
||
|
|
||
|
"Yeah, I suppose so. Shit."
|
||
|
|
||
|
Paul glanced around. "Well, I'm gonna go find somewhere to stay. Wanna
|
||
|
come?"
|
||
|
|
||
|
Dan shook his head. "No. I think I'll look around here for a while."
|
||
|
|
||
|
"Well, suit yourself," he said, and wandered off.
|
||
|
|
||
|
Dan looked around for a Coke.
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
"The more you suffer, the more it shows you really care."
|
||
|
--The Offspring
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
NO LAUGHiNG MATTER
|
||
|
by Kilgore Trout
|
||
|
|
||
|
I had been hitchhiking for about three days now. My last ride, a middle-
|
||
|
aged woman driving an old Chevy truck, just dropped me off in this rural West
|
||
|
Texas town. She didn't say much during the two hours I rode with her. She was
|
||
|
called Rose. That's all I really learned about her, besides the fact that she
|
||
|
chainsmoked Marlboros with a passion. Unfortunately, the windows did not roll
|
||
|
down so I was finally getting over my nausea caused by the high ratio of smoke
|
||
|
to oxygen in the cab.
|
||
|
|
||
|
The small town I ended up in was about five hours outside of El Paso,
|
||
|
though its name escapes me. It looked exactly like all of the other small
|
||
|
towns I had been to in Texas. And, naturally, when I walked down the streets,
|
||
|
people stared. I wasn't strange-looking or anything like that--the people just
|
||
|
knew I was an outsider.
|
||
|
|
||
|
Seeing a small diner reminded my stomach that I hadn't eaten in quite a
|
||
|
while. I walked up to the glass door and peered inside. A row of booths lined
|
||
|
one wall, and five tables accounted for the rest of the regular seating. There
|
||
|
was also a bar where an old man, the only patron, was dining.
|
||
|
|
||
|
I opened the door and went inside. The air was thick with the smell of
|
||
|
grease and burnt bacon. The old man turned around, looked me over and went
|
||
|
back to eating. I strolled up to the stool beside him and took a seat.
|
||
|
|
||
|
"You're not from around here, are ya?" he asked, inbetween mouthfuls of
|
||
|
scrambled eggs and ketchup. He looked to be around seventy, and his face was
|
||
|
chiseled with wrinkles.
|
||
|
|
||
|
"No, sir, I'm not. I'm from Phoenix. I'm headed towards Austin. I just
|
||
|
couldn't take life in Arizona anymore."
|
||
|
|
||
|
His face lit up with a grin as he grabbed a bottle of Heinz 57 and drowned
|
||
|
the remaining eggs with it. "Ah, women troubles I bet," he hypothesized.
|
||
|
"Nothing worse in the world, not even death. No woman around when yer dead,
|
||
|
only a bunch of maggots."
|
||
|
|
||
|
"That's, uh, an interesting way to put it," I replied, looking around for
|
||
|
a waitress to come over and take my order. No one else was in sight. The old
|
||
|
man, noticing my glances, clapped a withered hand on my shoulder.
|
||
|
|
||
|
"Martha will be back in a second. She's my daughter, ya know. Owns this
|
||
|
whole place. Yup, she's done good for herself. She had to run to the store
|
||
|
and get some more coffee. The early mornin' crowd drained her supply. So I
|
||
|
guess me and you will just have to pass the time until she gets back. Know
|
||
|
any good jokes?"
|
||
|
|
||
|
"Not really," I answered, trying to force a smile. I definitely did not
|
||
|
want to spend my whole morning listening to some old man's jokes just so I
|
||
|
could get a lousy meal.
|
||
|
|
||
|
"Oh, that's too bad," he said. "Well, I only know two jokes, so I guess
|
||
|
they'll have to do. You don't mind me tellin' these to ya, right?"
|
||
|
|
||
|
I made myself be polite and strained my lips to form the words, "Not at
|
||
|
all, sir."
|
||
|
|
||
|
"Good," he gleefully exclaimed. "Okay, the joke goes like this. There
|
||
|
once was a man who was a perfectionist, and he wanted to build himself a house.
|
||
|
So, before he began, he planned out how many planks of wood he would need, how
|
||
|
many bricks he would need, how many nails he was gonna use, and so on. Anyway,
|
||
|
he builds himself this beautiful house and is standing outside, admiring his
|
||
|
handiwork, when he sees this brick lying on the ground. The boy nearly goes
|
||
|
bonkers 'cause he had planned out everything perfectly. He picks up the brick
|
||
|
and searches around the house for hours to figure out where it should have
|
||
|
gone. Finally, he gets so frustrated that he just throws the brick into the
|
||
|
air."
|
||
|
|
||
|
The old man returned to eating his scrambled eggs.
|
||
|
|
||
|
I waited. "And then what?" I asked.
|
||
|
|
||
|
"That's the joke," he stated calmly.
|
||
|
|
||
|
"Well, I don't get it."
|
||
|
|
||
|
He grinned as he wiped a dab of ketchup off his chin.
|
||
|
|
||
|
"You will," he said. "You will."
|
||
|
|
||
|
* * * * *
|
||
|
|
||
|
It was about a month earlier, and I was still living in Phoenix. Julie
|
||
|
had moved in with me for her own safety. Ever since she lost her small
|
||
|
secretarial job, the number of hours in the day that she was sober had rapidly
|
||
|
evaporated away. Our relationship was not exactly going well at this point,
|
||
|
but it never had gotten off to that good of a start, so this was nothing new.
|
||
|
|
||
|
Oh, at first I thought Julie was the girl who I'd spend the rest of my
|
||
|
life with. My job at the time basically consisted of driving around to all of
|
||
|
the real estate appraisers on our clientele list and picking up film to take
|
||
|
back to the lab to be developed. The job paid miserably, but the company
|
||
|
picked up the tab for gas, and job-related stress was a phrase that never
|
||
|
entered my vocabulary.
|
||
|
|
||
|
Julie worked in one of these offices. When I first saw her, her looks
|
||
|
simply stunned me. Vibrant red hair enveloped a fair-skinned face, free from
|
||
|
any blemish or flaw. Her green eyes held a secret that I had to uncover--I
|
||
|
was deeply enamored with her. While I stood there, dumbly staring as she
|
||
|
typed away on a computer, a scene from the Kurt Russell move _Big Trouble in
|
||
|
Little China_ came to me. In it, James Wong was informing Kurt Russell how
|
||
|
he needed a woman with red hair and green eyes to marry, for that act would
|
||
|
make him a god. I couldn't have agreed more, and a week later I asked her out.
|
||
|
|
||
|
Everything went fine in the beginning. We had much in common, and the
|
||
|
sex was immensely satisfying. Julie had a tendency to have a bit too much to
|
||
|
drink when we went out, but I was too happy to notice the pattern. Besides,
|
||
|
I thought she was quite charming under the influence, and, when inebriated,
|
||
|
she always wanted to fuck. I had no complaints in that area.
|
||
|
|
||
|
Then Julie lost her job. Most everybody loses a job during their career,
|
||
|
but for Julie, it was like the end of the world had come. That weekend she
|
||
|
isolated herself in her apartment and drank steadily. She never picked up the
|
||
|
phone nor answered the door. I was deathly afraid of what might have happened.
|
||
|
|
||
|
Finally, on Sunday night, I drove to her apartment and found the door
|
||
|
unlocked. I slowly pushed it open and saw Julie out cold on the couch. Two
|
||
|
empty bottles of vodka sat on the coffee table, and the carpet around the couch
|
||
|
was covered with dried vomit. She had no clothes on except for a pair of white
|
||
|
socks, although they weren't too white anymore. Julie was a detestable sight
|
||
|
at that moment, the perfect poster girl for self-pity. I walked over to the
|
||
|
couch and quietly knelt down beside her.
|
||
|
|
||
|
"Julie," I said, gently shaking her pale arm. "Julie, wake up. Get up,
|
||
|
baby." I still didn't know if she was alive or dead. After a couple of
|
||
|
minutes of this, her head lolled to one side, and she let out a guttural groan.
|
||
|
|
||
|
"Derrick?" she asked in a whisper.
|
||
|
|
||
|
"Yes, I'm here," I assured her.
|
||
|
|
||
|
"I don't feel so--"
|
||
|
|
||
|
Julie promptly threw up in my face. That had to be the most disgusting
|
||
|
incident of my whole life, and yet, covered with brown puke, I knew that she
|
||
|
was still mine. I rolled her naked body off the couch and helped her crawl
|
||
|
to the bathroom. The violent sound of her vomiting echoed off the tiled
|
||
|
walls as the bathtub filled with steaming water. After about ten minutes of
|
||
|
bending over the toilet bowl, Julie announced she felt a little better and
|
||
|
climbed into the grimy bathtub. I undressed and got in behind her. We
|
||
|
soaped each other down and made love in the grimy bathwater. For a brief space
|
||
|
in time, things were as they should have been.
|
||
|
|
||
|
Julie moved in with me that night, and for about a week nothing
|
||
|
extraordinary happened. I'm not saying she was happy, but Julie didn't get
|
||
|
liquored up and had gotten back into the old habit of wearing clothes, much
|
||
|
to my dismay. I was making just enough money to cover for the both of us, and
|
||
|
I felt it would be in her best interests to stay home and rest for a while so
|
||
|
she could straighten her life out. I couldn't have been more wrong.
|
||
|
|
||
|
The longer she thought about her dilemma, the more depressed she became.
|
||
|
While I was around in the evening, Julie acted as normally as she could, but I
|
||
|
knew that during the day all she did was sulk. Her most apparent change came
|
||
|
in bed, where she bit my chest and shoulders and frequently dug her fingernails
|
||
|
into my skin. I must say I found this to be quite a turn on, but it was a far
|
||
|
cry from the subdued Julie I had fallen in love with. She could never be
|
||
|
satiated, either, always crying out "Give me more, you bastard" or "We're not
|
||
|
done yet." My sheer exhaustion was the only thing that stopped us from
|
||
|
screwing all night long, and Julie always masturbated at least once--usually
|
||
|
twice--while I fell asleep.
|
||
|
|
||
|
She tried substituting sex for all that she thought she had lost, but
|
||
|
evidently it did not work. Nine days after moving in with me, Julie was back
|
||
|
on the alcohol. It was a Wednesday night, I think, when I came home from work
|
||
|
and found her sitting at the kitchen table laughing her ass off. In front of
|
||
|
her were seven empty Rolling Rock bottles. Julie greeted me with a drunken
|
||
|
smile and said, "I'm so funny, aren't I?" She put a hand up to her mouth, and
|
||
|
the laughter turned into sobs. I sat down beside her and put my arms around
|
||
|
her, listening to her crying and watching the crystal tears run down her light
|
||
|
cheeks.
|
||
|
|
||
|
I honestly didn't know how to help her. During those times when she was
|
||
|
sober, I offered to get her counseling. Naturally, she refused to admit she
|
||
|
had a problem, and I finally let that slide because I was afraid that if I
|
||
|
pushed too hard, she would leave and get hurt even worse than she might by
|
||
|
staying here.
|
||
|
|
||
|
Naivity clouded my mind into thinking Julie's bout with the bottle was
|
||
|
only a phase and would soon pass. Yet the long nights of comforting and
|
||
|
consolation went on, turning me into an emotional wreck. I began to find more
|
||
|
reasons to stay late at work, to run a bunch of minor errands--anything to stay
|
||
|
away from home. By the time I would get home, Julie was either passed out or
|
||
|
asleep, usually at the kitchen table. I'd pick her up and carry her frail
|
||
|
body to the bedroom. I lover her the most when I did this because she was at
|
||
|
peace and off in another world, however temporary it might be. I was pissed
|
||
|
that she hated herself for nothing and even more pissed that she was making my
|
||
|
life hell, but I still loved her. I still do.
|
||
|
|
||
|
I started to avoid her when she was awake. As the days drew on, the times
|
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|
I saw Julie conscious were rare. I lived in an endless haze of going to work
|
||
|
and coming home to a drunk girlfriend. The sex had tapered off into
|
||
|
nothingness, and a sign of affection from Julie was almost unimaginable now. I
|
||
|
wondered when this would all end and our lives would return to normal. I
|
||
|
thought a lot but did nothing, and that cost me everything.
|
||
|
|
||
|
One night I got in around midnight, and much to my surprise Julie was
|
||
|
awake. She wore an old Polo shirt of mine, unbuttoned, and a pair of boxer
|
||
|
shorts. I closed the door behind me and started to go over to her.
|
||
|
|
||
|
"Stop right there, you bastard," Julie said, freezing my steps.
|
||
|
|
||
|
"Julie, what's wrong?" I asked. This was the first time she had ever
|
||
|
been angry with me while drunk.
|
||
|
|
||
|
She pointed a finger at me. "You," she answered. "That's what's wrong.
|
||
|
You." Julie sat there for a moment, staring at me. "You were the last thing
|
||
|
I had left, and now you're gone. I have nothing."
|
||
|
|
||
|
"But I still love--"
|
||
|
|
||
|
"Don't every say that word again when I'm around! You don't love me
|
||
|
anymore. If you did, maybe I'd actually see you during the day, but you're
|
||
|
never here. I wait around all day long, wondering when you'll get home, but
|
||
|
you never show up. You don't even like me enough to *fuck* me, much less
|
||
|
make love."
|
||
|
|
||
|
"Julie, listen. I--"
|
||
|
|
||
|
"Don't try to talk your way out of this. When I needed you the most,
|
||
|
you abandoned me. Is that your idea of love and caring? You... you asshole...
|
||
|
you... you...."
|
||
|
|
||
|
She began to cry. Streams of tears ran down her face, her cries deafened
|
||
|
my ears. Julie let out a yelp and put her head between her legs.
|
||
|
|
||
|
"Julie, you're a drunk!" I bluntly yelled. "You need help."
|
||
|
|
||
|
"I am *not* a goddamn alcoholic!" she screamed, her eyes filling with
|
||
|
rage. "How dare you call me that! Don't you know what I've been through?
|
||
|
Haven't I suffered enough without you adding to my misery? I hate you,
|
||
|
Derrick. I hate you. I *loathe* you. Fuck you, Derrick. Fuck you."
|
||
|
|
||
|
Those words numbed me with their sheer intensity, and I just stood there,
|
||
|
thoughtless and empty. Julie stood up and reached behind the couch, pulling
|
||
|
out a pistol. I didn't know where she got it, but at the time I was not that
|
||
|
concerned with who sold it to her. She raised the gun, levelling it straight
|
||
|
at my head.
|
||
|
|
||
|
"I had planned on shooting you tonight to make you pay for what you did
|
||
|
to me. But then I thought of a better way--to let you live and stay with me."
|
||
|
|
||
|
"Who says I have to stay?" I questioned.
|
||
|
|
||
|
"Don't fuck around with me, Derrick. You'll stay. You still think you
|
||
|
love me. I'll show you how hellish *love* can be. I'm right, aren't I, *my
|
||
|
love*?"
|
||
|
|
||
|
I knew she was. "Yes, I'll stay."
|
||
|
|
||
|
"Good. Now that that's settled, how about we go into the bedroom and
|
||
|
have a little fun? I've been pretty horny since you haven't been around at
|
||
|
all."
|
||
|
|
||
|
Julie started to put the handgun in the wasteband of her boxer shorts
|
||
|
when it went off. She dropped to the ground, clutching at her midsection and
|
||
|
madly screaming, "Ohmygod, I shot myself! Oh Jesus! Oh fuck! Help me,
|
||
|
Derrick! Help me!" Her stomach and thighs were covered with blood. I bent
|
||
|
down, helplessly examining the wound and stood up again.
|
||
|
|
||
|
"Julie, I'll call an ambulance. Just hold on. You'll be alright." I
|
||
|
ran over to the phone and picked it up.
|
||
|
|
||
|
"Derrick, wait," she called out. Her cries were replaced with a dead
|
||
|
silence. "Derrick, just end it here. You were right, but I can't face it
|
||
|
anymore. End it now and you'll be free."
|
||
|
|
||
|
"But we can work this out. You don't have to die."
|
||
|
|
||
|
She spat up some blood. "You know that's not true," she said. "Please
|
||
|
do it now. Please...."
|
||
|
|
||
|
"But--"
|
||
|
|
||
|
"If you love me, you'll do this for me."
|
||
|
|
||
|
I picked up the handgun and looked at Julie. She smiled. I pointed the
|
||
|
gun at her chest. She closed her eyes. I shot her in the heart. She died.
|
||
|
|
||
|
The gun fell from my limp hand. I got on my knees beside her and stroked
|
||
|
her red hair. Tracing my fingers over her soft mouth, I kissed her warm lips
|
||
|
for the last time.
|
||
|
|
||
|
* * * * *
|
||
|
|
||
|
"So then I packed a bag and left." Martha had come back with the coffee,
|
||
|
and the old man had graciously paid for my breakfast.
|
||
|
|
||
|
"Well, son, I don't know exactly what to say. 'I'm sorry' wouldn't seem
|
||
|
to cut it."
|
||
|
|
||
|
"That's okay. The whole thing is over now, and I'll be glad when I
|
||
|
finally put it behind me. Julie was right about one thing, though."
|
||
|
|
||
|
The old man gave me an inquisitive look. "What's that?"
|
||
|
|
||
|
"By letting me live, she let me suffer. I can't ever forgive her for
|
||
|
that."
|
||
|
|
||
|
He sighed. "Listen. I'm going to visit a friend who lives about forty
|
||
|
miles from here and in the direction you're going. Would you like to come
|
||
|
along?"
|
||
|
|
||
|
"I'd appreciate that. Thank you."
|
||
|
|
||
|
We left the diner after complementing Martha on her cooking and went to
|
||
|
his car. We drove in silence for about ten minutes before he spoke.
|
||
|
|
||
|
"Say... do you want to hear my other joke?"
|
||
|
|
||
|
"I guess so."
|
||
|
|
||
|
"Well, there's this lady and her baby riding on one of them small
|
||
|
commuter planes, and the pilot is smoking a really big cigar. The smoke is
|
||
|
irritating the baby, so she goes up to the pilot and asks him to put it out.
|
||
|
He refuses. She sits back down, but the baby starts to cry, so she goes back
|
||
|
up and asks him again. He tells her that it's his goddamn plane and that he'll
|
||
|
smoke if he wants to. She reluctantly goes back to her seat, and the baby
|
||
|
keeps on crying. Finally, she goes up to the pilot and tells him that if he
|
||
|
doesn't put out the cigar, she'll throw it out the window. He says that if
|
||
|
she does that, he'll throw the baby out the window. She grabs the cigar and
|
||
|
throws it out of the plane, and the pilot takes the baby and throws it out the
|
||
|
window. They both look out, and there is the baby hanging onto the wing.
|
||
|
Guess what was in its mouth?"
|
||
|
|
||
|
"The cigar?"
|
||
|
|
||
|
"The brick.
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
State of unBeing is copyrighted (c) 1994 by Kilgore Trout and Apocalypse
|
||
|
Culture Publications. All rights are reserved to cover, format, editorials,
|
||
|
and all incidental material. All individual items are copyrighted (c) 1994 by
|
||
|
the individual author, unless otherwise stated. This file may be disseminated
|
||
|
without restriction for nonprofit purposes so long as it is preserved complete
|
||
|
and unmodified. Quotes and ideas not already in the public domain may be
|
||
|
freely used so long as due recognition is provided. State of unBeing is
|
||
|
available at the following places:
|
||
|
|
||
|
iSiS UNVEiLED 512.930.5259 14.4 (Home of SoB)
|
||
|
THE LiONS' DEN 512.259.9546 24oo
|
||
|
TEENAGE RiOt 418.833.4213 14.4 NUP: COSMIC_JOKE
|
||
|
MOGEL-LAND 215.732.3413 14.4
|
||
|
ftp to io.com /pub/SoB
|
||
|
|
||
|
Submissions may also be sent to Kilgore Trout at <kilgore@bga.com>. Thank you.
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|