4053 lines
184 KiB
Plaintext
4053 lines
184 KiB
Plaintext
|
Living in such a state taTestaTesTaTe etats a hcus ni gniviL
|
||
|
of mind in which time sTATEsTAtEsTaTeStA emit hcihw ni dnim of
|
||
|
does not pass, space STateSTaTeSTaTeStAtE ecaps ,ssap ton seod
|
||
|
does not exist, and sTATeSt oFOfOfo dna ,tsixe ton seod
|
||
|
idea is not there. STatEst ofoFOFo .ereht ton si aedi
|
||
|
Stuck in a place staTEsT OfOFofo ecalp a ni kcutS
|
||
|
where movements TATeSTa foFofoF stnemevom erehw
|
||
|
are impossible fOFoFOf elbissopmi era
|
||
|
in all forms, UsOFofO ,smrof lla ni
|
||
|
physical and nbEifof dna lacisyhp
|
||
|
or mental - uNBeInO - latnem ro
|
||
|
your mind is UNbeinG si dnim rouy
|
||
|
focusing on a unBEING a no gnisucof
|
||
|
lone thing, or NBeINgu ro ,gniht enol
|
||
|
a lone nothing. bEinGUn .gnihton enol a
|
||
|
You are numb and EiNguNB dna bmun era ouY
|
||
|
unaware to events stneve ot erawanu
|
||
|
taking place - not -iSSuE- ton - ecalp gnikat
|
||
|
knowing how or what THiRTY-SEVEN tahw ro woh gniwonk
|
||
|
to think. You are in 05/31/97 ni era uoY .kniht ot
|
||
|
a state of unbeing.... ....gniebnu fo etats a
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
CONTENTS OF THiS iSSUE
|
||
|
=----------------------=
|
||
|
|
||
|
EDiTORiAL Kilgore Trout
|
||
|
|
||
|
LETTERS TO THE EDITOR
|
||
|
|
||
|
STAFF LiSTiNGS
|
||
|
|
||
|
|
||
|
[=- ARTiCLES -=]
|
||
|
|
||
|
|
||
|
'A TERRiBLE BEAUTY iS BORN':
|
||
|
THE iRiSH EASTER RiSiNG OF 1916 (PART 2) Captain Moonlight
|
||
|
|
||
|
REFLECTiONS: STARiNG iNTO THE MiRROR Derrick's Little Sister
|
||
|
|
||
|
PAGE FROM A DiARY Crux Ansata
|
||
|
|
||
|
|
||
|
|
||
|
[=- POETASTRiE -=]
|
||
|
|
||
|
|
||
|
A PRAYER FOR SUBURBiA The Super Realist
|
||
|
|
||
|
SPiT: iNTERMiSSiON (iNCONTiNENCE) Alcibiades
|
||
|
|
||
|
LiQUiD BLACK Aeon
|
||
|
|
||
|
THE CONTROLLED, THE GAY, THE POOR The Super Realist
|
||
|
|
||
|
DETACHMENT Aeon
|
||
|
|
||
|
AGE OLD QUESTiON OF MADNESS, PART III The Super Realist
|
||
|
|
||
|
|
||
|
[=- FiCTiON -=]
|
||
|
|
||
|
|
||
|
THE LESSON OF THE BROTHERS BUDDHA AND RATNA HERUKA,
|
||
|
or ORPHEUS REX KidKnee
|
||
|
|
||
|
YOUTH CULTURE KILLED MY DOG I Wish My Name Were Nathan
|
||
|
|
||
|
THE JEWESS Nemo est Sanctus
|
||
|
|
||
|
BRAiN FiLTER: A DEPENDENCY ON REALiTY Kilgore Trout
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
EDiTORiAL
|
||
|
by Kilgore Trout
|
||
|
|
||
|
I bet you thought this issue wasn't coming. I do have to apologize for
|
||
|
the tardiness of this issue, but my summer job got its funding axed, so I've
|
||
|
been looking for a job that isn't food industry related to no avail. If
|
||
|
anyone wants to hire an intelligent, strapping young lad for work in the
|
||
|
Austin, Texas area that doesn't require me to say, "Would you like fries with
|
||
|
that?" email me.
|
||
|
|
||
|
I also have to apologize for not responding to most of my email for the
|
||
|
past few weeks. It's been rather hectic. Needless to say, your mail is
|
||
|
coming through loud and clear, and if you don't get a response out of me the
|
||
|
next time you write me, bug me or something. I've got about 800 messages I've
|
||
|
got to wade through.
|
||
|
|
||
|
Anyway, it's the beginning of summer, I have to go pick up Griphon from
|
||
|
the airport in about six hours, and I am unemployed. Car payments never felt
|
||
|
so good. At least I've still got the zine to take my mind off of my troubles.
|
||
|
I hope it gives you a few hours of pleasure, entertainment, and a general
|
||
|
feeling of well-being. Or maybe you'll get pissed off and fire a nasty letter
|
||
|
our way.
|
||
|
|
||
|
I'm gonna stop this editorial right now because I've already written 70k
|
||
|
for this issue, and I don't feel the need to put any more stuff in. Maybe
|
||
|
it's because I had to type up that 70k from a paper manuscript. God, do my
|
||
|
fingers hurt. Until next month.
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
LETTERS TO THE EDITOR
|
||
|
|
||
|
From SYNTHGUY
|
||
|
To: kilgore trout <kilgore@sage.net>
|
||
|
Subject: hmmmmm......
|
||
|
|
||
|
FOLKS,I
|
||
|
I MAY NOT BE AS EDUCATED OR INTELIGENT ( DID I MISSPELL THAT?)
|
||
|
AS YOUR CONTRIBUTORS, BUT, I, LIKE MANY PEOPLE HAVE OPINIONS.
|
||
|
ALL THE ANALISIS, YES THAT'S ANALISIS, IN THE WORLD DOES NOT CHANGE
|
||
|
THINGS. LIFE IS STILL LIFE. DEATH IS STILL DEATH. CALL ME NARROW
|
||
|
MINDED, BUT I THINK LOOKING WITHOUT, RATHER THAN WITHIN, IS WHERE THE
|
||
|
MEANING OF EVERYTHING IS TO BE FOUND. I'M NOT SAYING ASK NO QUESTIONS,
|
||
|
BUT SOMETIMES THERE ARE NO ANWSERS. ALL THE MENTAL MASTURBATION IN THE
|
||
|
WORLD WILL NOT CHANGE THIS. BE AND DO. THAT IS WHAT IT ALL MEANS.
|
||
|
THE QUANTITY OF PEOPLE WHOSE LIVES WE TOUCH IS THE DETERMINATE IN OUR
|
||
|
LIVES. WRITE BACK SOON.
|
||
|
YOURS IN ETERNAL COSMIC WISDOM,
|
||
|
|
||
|
SYNTHGUY
|
||
|
|
||
|
[yes, many people do have opinions. and some people choose to express their
|
||
|
opinions in this zine. you say we should 'be and do.' i say we are doing
|
||
|
that. all of my writers have lives independent of this zine, engaged in
|
||
|
various activities and projects, and this zine, as much as i like it, is only
|
||
|
a small part of my life. we do our fair share of mental masturbation, true,
|
||
|
but that's always required. i may not have as much "eternal cosmic wisdom"
|
||
|
as you do, but i would say that understanding yourself is key to
|
||
|
understanding others. and if you say that touching people's lives is the
|
||
|
most important thing, take a look back at a few of the letters we've received
|
||
|
in the past. this zine isn't going to change the face of the planet, or even
|
||
|
block out the sun, as much as i would like that, but we do make a difference.
|
||
|
i should know, since this zine has changed me numerous times, and that's more
|
||
|
than i could ever have asked for when i started this up.]
|
||
|
|
||
|
|
||
|
--SoB--
|
||
|
|
||
|
|
||
|
From: Griz
|
||
|
To: kilgore@sage.net
|
||
|
Subject: "Fackav!" he growls gutturally at us, frowning and hunkering away...
|
||
|
|
||
|
Kilgore...
|
||
|
|
||
|
Seeing as Wayne Hoobler cannot make it to this meeting, I think I speak for
|
||
|
both of us when I say
|
||
|
DOUBLE BREASTED FILETS, PLEASE!!!" Agree? I mean, that's horrible and amazing.
|
||
|
Complete florid harmony with our thoughts, no doubt.
|
||
|
There's a certain somenone sitting beside me who'd like to say hi!
|
||
|
|
||
|
"Hi tindersticks..aaah-aaah, tender stickyness..."
|
||
|
|
||
|
Weeeellllll, enough of that pretty lady, have a seat.
|
||
|
I've come here to present to you a petition signed by no one for me to join
|
||
|
your ever so su-pah mailing list, OK?
|
||
|
|
||
|
"Tender sticky wild fire"
|
||
|
|
||
|
Bye, ant. Jeez. Who are those people?!?! Are those MANNEQUINS??!?!?
|
||
|
|
||
|
Bye Kilgore!!!! See you later! Love you too!
|
||
|
Your admiring wild haired kitchen god, Griz
|
||
|
|
||
|
[it's nice to see that vonnegut fans can be quite wacky. it's especially
|
||
|
refreshing to know that i have my own 'wild haired kitchen god' on the lookout
|
||
|
for me. it's definitely a su-pah feeling.]
|
||
|
|
||
|
|
||
|
--SoB--
|
||
|
|
||
|
|
||
|
From: Lyde
|
||
|
To: kilgore@sage.net
|
||
|
Subject: Mailing List
|
||
|
|
||
|
State of unbeing is the best e-zine that I have ever seen. It speaks with a
|
||
|
truthfulness that is unknown to other zines. Most people have no beleifs of
|
||
|
their own, and depend on the general populace to make up beleifs for them.
|
||
|
State of Unbeing does, in no way, do this. That is why it is such a great
|
||
|
puplication. It would be much appreciated if you would put me on your mailing
|
||
|
list. Thank you.
|
||
|
|
||
|
-Lyde
|
||
|
|
||
|
[i don't know if we're the best e-zine around, but i'm glad you think so. we
|
||
|
like being a hodgepodge of assorted ideas and beliefs; it makes the SoB
|
||
|
coffeehouse meetings that much more interesting. you have, btw, been added
|
||
|
to the su-pah mailing list.]
|
||
|
|
||
|
|
||
|
--SoB--
|
||
|
|
||
|
From: crackmonkey
|
||
|
To: kilgore@sage.net
|
||
|
Subject: finally.....
|
||
|
|
||
|
hey there. so i finally got to writing you people (talking repectivly to
|
||
|
your multipule peronalities and clockwork, cause he's beautiful, but
|
||
|
this is all beside the point.....perhaps even beyond it) so of course
|
||
|
i'd like subscribe to SoB. who wouldn't? it only took me ummm.....about
|
||
|
5 months, 23 days and 2 hours (no, i'm not really that obsessed.....:)
|
||
|
to write this. anyways...so i think i'll return to the corner of my room
|
||
|
and face the wall listening to dark noise now.
|
||
|
-liz
|
||
|
p.s. where exactly is clockwork and is he avaliable?
|
||
|
|
||
|
[seems that you like clockwork, huh? he's usually lives in austin, but right
|
||
|
now he's off doing supersecret stuff for the zine, and i'm waiting for a
|
||
|
report on his progress anydaynowthankyouverymuch. your name is on the su-pah
|
||
|
mailing list.]
|
||
|
|
||
|
|
||
|
--SoB--
|
||
|
|
||
|
|
||
|
From: Lindsay
|
||
|
To: kilgore@sage.net
|
||
|
Subject: State of unBeing, zine, masterpiece, or the future of America?
|
||
|
|
||
|
Dear Mr. Kilgore Trout,
|
||
|
|
||
|
Hello there, my name is Lindsay. I'd really like to get on your mailing list
|
||
|
because I am great. No. I can't lie. I'm sure there are many people out there
|
||
|
more deserving than myself. But I'd still really like to get on the list.
|
||
|
Please. I wandered onto the State of unBeing web site using one of the many
|
||
|
electronic magazine listings on the internet because it is from the same
|
||
|
glorious city I am from, Austin. I do plan to write for your zine and have
|
||
|
even started work on my first piece. Expect it soon,
|
||
|
|
||
|
Sincerely,
|
||
|
|
||
|
Lindsay
|
||
|
|
||
|
[always nice to hear from some local kiddos. actually, the zine originates in
|
||
|
georgetown, but we like to come to austin a lot, and some of us have lived
|
||
|
(and are living) there at different times during the zine's history. i still
|
||
|
want to know why we made some guy's top 10 worst sites on the net, though. i
|
||
|
got to his site too late and he had already changed his page. oh well.
|
||
|
you've been added to the su-pah mailing list. i think i like that word.
|
||
|
su-pah. su-pah. su-pah. ahhh.]
|
||
|
|
||
|
|
||
|
--SoB--
|
||
|
|
||
|
|
||
|
From: NoGrapes
|
||
|
To: kilgore@sage.net
|
||
|
Subject: f*** the system!
|
||
|
|
||
|
dear mr trout
|
||
|
|
||
|
i understand that you are concerned about overpopulation
|
||
|
|
||
|
i aquiesce
|
||
|
|
||
|
men should be castrated at birth
|
||
|
|
||
|
the genesis of humanity is female
|
||
|
|
||
|
i am a hermaphrodite
|
||
|
|
||
|
males are deformed
|
||
|
|
||
|
all embryos start out as female
|
||
|
|
||
|
in the future all humanity will be female
|
||
|
|
||
|
cloning will make this a possibility
|
||
|
|
||
|
suicide hotlines are immoral
|
||
|
|
||
|
let those motherf***ers kill themselves
|
||
|
|
||
|
chaves is god
|
||
|
|
||
|
Sincerely,
|
||
|
NoGrapes
|
||
|
|
||
|
ps send me info on the church of euthanasia
|
||
|
|
||
|
[the church of euthanasia may be contacted at <http://www.paranoia.com/CoE>.]
|
||
|
|
||
|
|
||
|
--SoB--
|
||
|
|
||
|
|
||
|
From: anitrate
|
||
|
To: kilgore@sage.net
|
||
|
Subject: The Black Cat Walks At Midnight
|
||
|
|
||
|
|
||
|
Hey....have you happened to have read anything by Hunter S. Thompson or Irving
|
||
|
Welsh??
|
||
|
Just curious... Bea.
|
||
|
|
||
|
[can't say that i have. listened to the first half of the dramatic
|
||
|
presentation of thompson's _fear and loathing in las vegas_. nothing like a
|
||
|
trunkful of drugs to make a good story, huh?]
|
||
|
|
||
|
--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
|
||
|
Aeon
|
||
|
Alcibiades
|
||
|
Captain Moonlight
|
||
|
Crux Ansata
|
||
|
Derrick's Little Sister
|
||
|
I Wish My Name Were Nathan
|
||
|
KidKnee
|
||
|
Nemo est Sanctus
|
||
|
The Super Realist
|
||
|
|
||
|
GUESSED STARS
|
||
|
anitrate
|
||
|
Griz
|
||
|
Lindsay
|
||
|
Lyde
|
||
|
NoGrapes
|
||
|
SYNTHGUY
|
||
|
|
||
|
SoB GROUPiE
|
||
|
Crackmonkey
|
||
|
|
||
|
--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--
|
||
|
|
||
|
'A TERRiBLE BEAUTY iS BORN': THE iRiSH EASTER RiSiNG OF 1916 (PART 2)
|
||
|
by Captain Moonlight
|
||
|
|
||
|
NOTE: This article is long overdue. Part One can be found in issue #18
|
||
|
of State of unBeing, and, while they can be read alone, it would probably
|
||
|
make a lot more sense to download and read that before reading Part Two. Go
|
||
|
ahead, we'll wait. -- Capt. M.
|
||
|
|
||
|
II. REVOLT: CONFLAGRATiON
|
||
|
|
||
|
"Those who make peaceful revolution impossible will make violent revolution
|
||
|
inevitable."
|
||
|
-- John Fitzgerald Kennedy
|
||
|
|
||
|
"For freedom Christ has set us free; stand fast therefore, and do not submit
|
||
|
again to a yoke of slavery."
|
||
|
-- Galatians, 5:1
|
||
|
|
||
|
"Ireland will not find Christ's peace until she has taken Christ's sword."
|
||
|
-- Padraic H. Pearse, "Peace and the Gael"
|
||
|
|
||
|
"Give us war in our time, O Lord."
|
||
|
-- John Mitchel, Irish Revolutionary
|
||
|
|
||
|
|
||
|
The rebels, finding out that the gunboat had been captured, and knowing
|
||
|
that what lay before them if they did not rise was internment and the crushing
|
||
|
of their movement, went on with the Rising. Unfortunately, however, even Eoin
|
||
|
MacNeill -- the official leader of the Irish Volunteers -- went against them.
|
||
|
Up until within a few days of the Rising MacNeill was kept in the dark:
|
||
|
MacNeill was a figure-head, not the true Volunteer leader. Padraic Henry
|
||
|
Pearse was by now the true leader, and he would stop at nothing for a
|
||
|
liberation of Ireland. All the main Rising leaders believed that an
|
||
|
unsuccessful revolt would be better than none at all, as the masses would join
|
||
|
behind them later. Upon hearing of the Rising a few days ahead of time
|
||
|
MacNeill gave his reluctant support; a support that was quickly withdrawn on
|
||
|
the capture of the gunship.
|
||
|
|
||
|
The capture of the gunship changed the entire schedule of the Rising.
|
||
|
Until then, the Rising was carefully orchestrated to begin at 6:30 p. m. in
|
||
|
Dublin, and 7:00 p. m. in the other counties on Easter Sunday, April 23, under
|
||
|
the guise of manoeuvres. The Poblacht na hEireann (Republic of Ireland) was
|
||
|
to be proclaimed at the first building to be taken, the General Post Office in
|
||
|
Dublin, to be the rebel headquarters, and the provinces were to follow suit.
|
||
|
Arms from the Aud were to be unloaded by the Irish Volunteers under Austin
|
||
|
Stack in Tralee after the Rising was underway, and were then to be distributed
|
||
|
throughout Ireland using the ITGWU train workers. With the Rising going on in
|
||
|
all areas of Ireland, the British army would be thinly spread trying to put
|
||
|
down the Rising. Security was so tight there was no possibility of informers,
|
||
|
as informers were the death of every Rising before 1916. That was when all
|
||
|
was supposed to be going according to plan. The Rising, however, did not
|
||
|
follow according to how it was intended. For one, the Aud arrived early,
|
||
|
having not recieved orders which postponed the boat, and was intercepted by
|
||
|
British destroyers, the British government having captured code-books from the
|
||
|
Germans and translated messages detailing the Aud's travel. MacNeill found
|
||
|
out about the forgery of the Castle Document and the Easter Rising on Maudy
|
||
|
Thursday. After the capture of the Aud, on Easter Sunday, without the
|
||
|
knowledge of those on the War Council, he and the more conservative leaders
|
||
|
published in the nationally distributed newspaper the _Sunday Independent_ the
|
||
|
following order (repr. in _Rebels_, by Peter de Rosa, p. 202):
|
||
|
|
||
|
Owing to the very critical position, all orders given to the Irish
|
||
|
Volunteers for tomorrow, Easter Sunday, are hereby rescinded, and no
|
||
|
parades, marches, or other movements of the Irish Volunteers will
|
||
|
take place. Each individual Volunteer will obey this order strictly
|
||
|
in every particular.
|
||
|
Eoin MacNeill.
|
||
|
|
||
|
This order threw the Volunteers into confusion. All orders which had
|
||
|
come to the Volunteers had come through Eoin MacNeill, and those who knew the
|
||
|
Rising for what it was believed that he, not the IRB War Council, was behind
|
||
|
it. The leaders of the Rising found out about this order while eating
|
||
|
breakfast with each other Easter Sunday morning. Because of this order, the
|
||
|
Rising had to be put off until Easter Monday.
|
||
|
|
||
|
On Easter Monday, orders were given for the troops to mobilise. Due to
|
||
|
the confusion caused by the order the day before, less than half of those
|
||
|
Volunteers in Dublin followed these new orders, and some of those in the
|
||
|
provinces never mobilised at all. Those in North Ireland were told to
|
||
|
demobilise because of a false report given to the leaders by a North Irish
|
||
|
farm woman. According to Nora Connolly, this woman told the Volunteer leaders
|
||
|
that only a handful of Volunteers were to be had in North Ireland because she
|
||
|
was afraid of the effect a Rising would have on her farm, as the British
|
||
|
soldiers had already seized 3,000 rounds of ammunition from the turf stack at
|
||
|
her farm, which was being held by the Volunteer members of her family. This
|
||
|
was directly contradicted by Nora Connolly, who saw herself over 200 Belfast
|
||
|
Volunteers before the demobilisation orders came through, with more on the
|
||
|
way. Nora Connolly was sent by her father James Connolly to give
|
||
|
remoblilisation orders, but by then it was too late for a North Irish Rising.
|
||
|
|
||
|
In Dublin, about 1,558 of the Irish Volunteers, led by Pearse, and about
|
||
|
219 of the Irish Citizen Army, led by Connolly, marched in armed parade
|
||
|
through the streets of Dublin. Joseph Plunkett left the hospital where he was
|
||
|
recovering from neck surgery to take part in the Rising. Most in attendance
|
||
|
did not know there was to be a Rising, believing this to be merely another
|
||
|
routine march. Outside the General Post Office, the group stopped. Padraic
|
||
|
Pearse, who had been elected President of the Provisional Government by the
|
||
|
War Council of the IRB, stepped forward with Connolly and Thomas Clarke, and
|
||
|
read the Proclamation of the Republic, copies of which were then posted around
|
||
|
the area and given out to onlookers. Recruitment posters for the British Army
|
||
|
were torn down and replaced with the Proclamation. The rebels then entered
|
||
|
the GPO and expelled those customers and clerks within, making it the
|
||
|
headquarters of the Republic. Two flags were raised above the GPO: the
|
||
|
traditional flag of Ireland, a golden harp on a green background, and the
|
||
|
newer Tricolour. This Tricolour was a gift from the citizens of France to the
|
||
|
citizens of Ireland, and was given Thomas Francis Meagher in April 1848.
|
||
|
According to the Irish Constitution of 1937 (quoted in _A Dictionary of Irish
|
||
|
History Since 1800_, p. 571):
|
||
|
|
||
|
The colours are symbolic of union: the white of brotherhood joins
|
||
|
the older Ireland (green) with the newer (orange) in a brotherhood
|
||
|
of common nationality.
|
||
|
|
||
|
The O'Rahilly, Treasurer of the Irish Volunteers, showed up to help the rebels
|
||
|
at the GPO. This was a surprise to many, as he had done his best to stop the
|
||
|
Rising before it started, but decided, since he couldn't stop it, it was his
|
||
|
place to help.
|
||
|
|
||
|
In his introduction to _Labour and Easter Week_, William O'Brien
|
||
|
described his last meeting with Connolly, while the latter was leaving Liberty
|
||
|
Hall that day. It shows exactly what the rebels knew was about to happen.
|
||
|
Connolly said to him, "We are going out to be slaughtered." O'Brien then
|
||
|
asked, "Is there no chance of success?" And Connolly replied, "None
|
||
|
whatever." The rebels knew that they went out to become martyrs that day and
|
||
|
took on the mantle willingly for a cause which they felt worth their very
|
||
|
lives.
|
||
|
|
||
|
During the march, the troops were deployed to attack as planned. They
|
||
|
were deployed thus:
|
||
|
|
||
|
Irish Volunteers (Five Battalions):
|
||
|
|
||
|
First Battalion, under the command of Commandant Edward "Ned"
|
||
|
Daly: Four Courts, Mendicity Institute, Jameson's Distillery, North
|
||
|
King Street.
|
||
|
|
||
|
Second Battalion, under the command of Commandant Thomas
|
||
|
MacDonagh, (with Michael O'Hanrahan and Maj. John "Sean" MacBride):
|
||
|
Jacob's Factory.
|
||
|
|
||
|
Third Battalion, under the command of Commandant Eamon de
|
||
|
Valera: Boland's Mills, Lansdowne Road railway, Westland Row
|
||
|
Station, Mount Street Bridge, Northumberland Road.
|
||
|
|
||
|
Fourth Battalion, under the command of Commandant Eamon Ceannt
|
||
|
(or Kent) (with Vice-Commandant Cathal Brugha): South Dublin Union,
|
||
|
James's Street Hospital (now St. Kevin's Hospital), Marrowbone Lane,
|
||
|
Roe's Distillery, Ardee Street Bakery, Cork Street.
|
||
|
|
||
|
Fifth Battalion, under Thomas Ashe: Outside Dublin City, in
|
||
|
North County Dublin, to guard the road to Dublin.
|
||
|
|
||
|
Irish Citizen Army (Two Companies):
|
||
|
|
||
|
Michael Mallin's company (with Countess Constance Markievicz as
|
||
|
Second in Command): St. Stephen's Green, Royal College of Surgeons.
|
||
|
|
||
|
Captain Sean Connolly's (Abbey Theatre actor, no relation to
|
||
|
James Connolly) company: Dublin City Hall.
|
||
|
|
||
|
Na Fianna Eireann (Irish Boy Scouts), under the command of Sean
|
||
|
Heuston (with Cornelius "Con" Colbert): with the Volunteers at
|
||
|
Mendicity Institute.
|
||
|
|
||
|
Another group, including members of all these groups, stayed at the GPO
|
||
|
with Thomas J. Clarke, Sean MacDiarmada, Joseph Plunkett, William and Padraic
|
||
|
Pearse, and James Connolly. The rebels were determined to take Ireland with
|
||
|
fire and steel.
|
||
|
|
||
|
Shortly after the deployment of troops the first person in the Rising was
|
||
|
killed. Sean Connolly, of the Irish Citizen Army, attempting to take Dublin
|
||
|
Castle, shot the guard on duty. Sean Connolly left to open City Hall, to
|
||
|
which he had a key, to set up other outposts, leaving Lieutenant Thomas Kain
|
||
|
in charge, with about a half-dozen men. The rebels then entered the castle
|
||
|
and threw a homemade bomb into the guard-room within. The bomb failed to
|
||
|
explode, but when the rebels rushed into the room the six guards gave up
|
||
|
without a fight. The rebels then retreated to the outlying buildings, not
|
||
|
realising that these guards were the only on duty, and that they had taken the
|
||
|
castle. One of those in the Irish Citizen Army, who helped take over the pub
|
||
|
he worked at near Portobello Bridge, a strategic spot and a business
|
||
|
well-known for exploiting its workers, was Private James Joyce, whose novel
|
||
|
_A Portrait of the Artist as a Young Man_ was published later that year. The
|
||
|
Irish Citizen Army raised the Starry Plough, the Irish Citizen Army flag,
|
||
|
above the Imperial Hotel as a defiance of Murphy's actions during the Lock-Out
|
||
|
of 1913. This was the same building Larkin had spoken from that caused the
|
||
|
baton charges of the DMP during the Lock-Out. Later on Monday a group of
|
||
|
about 2,500 British reinforcements arrived from the Curragh and attacked the
|
||
|
rebels in the Dublin Castle area, retaking City Hall. These soldiers then
|
||
|
attacked those members of the First Battalion in the Mendicity Institute.
|
||
|
After the occupation of City Hall that day, Sean Connolly, first to kill,
|
||
|
became the first rebel to be killed, shot dead while raising the traditional
|
||
|
Irish flag above City Hall.
|
||
|
|
||
|
Rebels also attacked Beggars Bush Barracks and Haddington Road as well,
|
||
|
though not much fighting took place the first day, as the British were taken
|
||
|
totally by surprise, believing the Rising was completely off due to MacNeill's
|
||
|
notice. MacNeill's notice helped in that, due to this, what information the
|
||
|
British government had on the possibility of a Rising from British
|
||
|
Intelligence and informers was discounted. The rebels took advantage of this
|
||
|
to deploy their troops.
|
||
|
|
||
|
Monday afternoon, back at the GPO, a group of British Lancers charged the
|
||
|
rebel headquarters, but were repelled. Calvary horses killed during the
|
||
|
attack lay on the roadway the rest of the week. Despite the lack of much
|
||
|
fighting with British soldiers, several were wounded in the GPO by rifles
|
||
|
accidentally going off, when over-excited Volunteers ran to the GPO entrances
|
||
|
on false alarms.
|
||
|
|
||
|
By the end of the day on Monday three flags flew above Dublin -- the
|
||
|
traditional harp on a green background, the Tricolour, and the Starry Plough,
|
||
|
flag of the Irish Socialists and the Irish Citizen Army.
|
||
|
|
||
|
On Tuesday, more British reinforcements retook Dublin Castle. On this
|
||
|
day British Troops in Dublin numbered about 4,000. These troops surrounded
|
||
|
the city and attacked key rebel-held areas. General W. H. M. Lowe arrived
|
||
|
from Britain on this day and took control of the British troops. The British
|
||
|
attack on the Mendicity Institute was continued, and the British retook the
|
||
|
_Daily Express_ and _Evening Mail_ building, then rebel-held. British troops
|
||
|
occupied the Shelbourne Hotel, facing St. Stephen's Green, and forced Mallin's
|
||
|
group of the Irish Citizen Army back into the Royal College of Surgeons.
|
||
|
|
||
|
Also Tuesday, Commandant de Valera of the First Battalion, to keep
|
||
|
British artillery away from his troops, flew the Irish flag above an empty
|
||
|
nearby distillery. De Valera had to keep all his soldiers intact, as he had
|
||
|
no medical staff. This is because he refused to let the women of the Women's
|
||
|
Ambulance Corps to use rifles. The British then shelled this distillery, as
|
||
|
de Valera had hoped. This rouse was so effective that even the correspondent
|
||
|
to the New York _Times_ was fooled. Three days after this occurred, the
|
||
|
_Times_ printed the following (repr. in _The Long Fellow_, pg. 10):
|
||
|
|
||
|
The distillery was the scene of one of the sharpest little battles
|
||
|
of the uprising. The rebels were forced out of the flour mill by
|
||
|
bombardment and many of them were seen, covered with flour, making
|
||
|
their way to the distillery. Once there they hoisted the rebel
|
||
|
flag, which floated from the corner of a square tower. . . .
|
||
|
|
||
|
Rumours of the Rising began to spread throughout Ireland, and one of
|
||
|
those to respond to those rumours. On Tuesday the Anglo-Irish unionist writer
|
||
|
Lord Dunsany, [Edward John Moreton Drax Plunkett (no relation to Joseph
|
||
|
Plunkett), Eighteenth Baron Dunsany] who was at one time a member of
|
||
|
Redmond's National Volunteers, decided to drive from his home at Dunsany
|
||
|
Castle in County Meath, where he was on leave from the military, to Dublin to
|
||
|
offer his help to the British solders there. He describes his meeting with
|
||
|
members of the First Battalion under Ned Daly in the Four Courts area, which
|
||
|
I believe is a good view on the Rising members by a British soldier, showing
|
||
|
the varied personalities of the Volunteer troops, in his autobiography,
|
||
|
_Patches of Sunlight_ (pgs. 268-270):
|
||
|
|
||
|
So Lindsay and I started off in my car. On the way we passed a
|
||
|
battery of artillery on their way to Dublin. At G.H.Q., where we
|
||
|
arrived without any difficulty, I offered my services, and the staff
|
||
|
officer to whom I spoke seemed at first to have no job to give me,
|
||
|
when a curious inspiration seemed to come to him and he said: "Go to
|
||
|
the help of Major Carter at Amiens Street, and put yourself under
|
||
|
his orders." So I started off along the quays, and Lindsay, who had
|
||
|
received no orders, nevertheless came with me. I had not been told
|
||
|
which way to go, and I did not know that, if I went by the shortest
|
||
|
route, there was an army in the way. So we took the shortest route.
|
||
|
The particular part of the army that we met was drawn up across the
|
||
|
road behind a row of barrels, about a hundred yards on our side of
|
||
|
the Four Courts. They stood up from behind the barrels with their
|
||
|
rifles already at their shoulders, with the bayonets fixed and the
|
||
|
scabbards still on the bayonets, and as soon as they were standing
|
||
|
they began to fire. We had stopped the car and were forty yards
|
||
|
away, and they were standing shoulder to shoulder all the way across
|
||
|
the broad street. Though Dublin must have been echoing to those
|
||
|
volleys, to us they were firing in complete silence, for the crash
|
||
|
of bullets going through the air drowns all other sounds when they
|
||
|
are close enough. We saw the men's shoulders jerked back by the
|
||
|
recoil of their rifles, but heard no sound from them except the
|
||
|
tinkling of their empty cartridges as they fell in the road. I got
|
||
|
out and lay down in the road, and many bullets went by me before I
|
||
|
was hit. My chauffeur, Frederick Cudlipp, was shot at the wheel,
|
||
|
but not fatally. When the volleys went on I saw that there was no
|
||
|
use in staying there lying down in front of them at forty yards, so
|
||
|
I went across the road to a doorway where I thought I could get
|
||
|
cover. There was no cover when I got there, but it was lucky I
|
||
|
moved, for they all concentrated on me, presumably neglecting to aim
|
||
|
in front, and it gave Lindsay an opportunity to dodge round to the
|
||
|
other side of the car. . . . The man that took me prisoner, looking
|
||
|
at the hole in my face made by one of the bullets, a ricochet, made
|
||
|
a remark that people often consider funny, but it was quite simply
|
||
|
said and sincerely meant: he said, "I am sorry." He led me back to
|
||
|
the rest, and one of them came for me with his bayonet, now cleared
|
||
|
of its scabbard; but the bullet having made my wits rather alert
|
||
|
than otherwise I saw from his heroic attitude that there was no
|
||
|
malice about him, but he merely thought that to bayonet me might be
|
||
|
a fine thing to do. When the other man suggested, with little more
|
||
|
than a shake of his head, that it was not, he gave up the idea
|
||
|
altogether. "Where's a doctor? Where's a doctor?" they shouted.
|
||
|
"Here's a man bleeding to death."
|
||
|
|
||
|
The bleeding was not at all excessive, but showed up a good deal,
|
||
|
being in the face, and was probably the first wound they had seen as
|
||
|
yet. To my great delight I now found that Lindsay was still alive,
|
||
|
which I had hardly thought could be possible. My motor was riddled
|
||
|
with bullets, but Lindsay had dodged about behind it so neatly that
|
||
|
he was actually unwounded. . . .
|
||
|
|
||
|
Dunsany and his chauffeur were thereafter taken to Jervis Street Hospital,
|
||
|
where both British and Irish soldiers were being treated, to recuperate, while
|
||
|
Lindsay was taken prisoner. (Interestingly, one of Dunsany's good friends,
|
||
|
the poet Francis Ledwidge, was good friends with the poet and Rising leader
|
||
|
Thomas MacDonagh.)
|
||
|
|
||
|
Also on Tuesday, the British officer Captain Bowen-Colthurst, whose
|
||
|
family owned Blarney Castle, began his reign of terror. The deeply religious
|
||
|
Bowen-Colthurst was working on the theology that, as stated in Luke 19:27,
|
||
|
"But those are mine enemies, which would not that I should reign over them,
|
||
|
bring hither, and slay them before me." Bowen-Colthurst believed this
|
||
|
referred to the Protestants ruling over the Catholics. Throughout the Rising
|
||
|
he marched through the streets shooting anyone who appeared in a window.
|
||
|
While passing Rathmines Church, he seized the seventeen-year-old J. J. Coade
|
||
|
while he exited the building. He then told him that martial law had been
|
||
|
declared, and that he could therefore shoot anyone in the streets -- in
|
||
|
reality, a war crime. When the boy broke his grip, Bowen-Colthurst had one of
|
||
|
those soldiers with him smash his rifle butt against Coade's jaw.
|
||
|
Bowen-Colthurst then drew his revolver and shot the boy's head off.
|
||
|
|
||
|
On his way, Bowen-Colthurst came across Sheehy-Skeffield, a pacifist
|
||
|
friend of Connolly, as he was going home from a meeting to help stop the
|
||
|
looters, who ran amok during the Rising, as none of the Rising leaders were
|
||
|
willing to shoot them. Bowen-Colthurst imprisoned Sheehy-Skeffield and, the
|
||
|
following day, dragged him out and shot him. Bowen-Colthurst, seeming to
|
||
|
think that the declaration of martial law, in place throughout the Rising and
|
||
|
into the weeks following it, was the call to get rid of anyone who disagreed
|
||
|
with him, which was, basically, any non-unionists, kept killing until stopped
|
||
|
by other British soldiers.
|
||
|
|
||
|
By Tuesday night looters were everywhere, beginning with children robbing
|
||
|
candy and toy stores, and continued by their parents grabbing what they could.
|
||
|
Then some of the looters turned arsonist, and by Thursday, between these and
|
||
|
fires caused by artillery, Dublin's city centre was in a blaze. Molten glass
|
||
|
ran through the streets.
|
||
|
|
||
|
On Wednesday, Commandant Eamon de Valera's snipers were kept busiest.
|
||
|
These snipers kept about 800 British reinforcements from Dun Laoghaire (then
|
||
|
Kingstown) from passing Mont Street Bridge for fifteen hours. On this day
|
||
|
these snipers, who were between twelve and seventeen in number, caused about
|
||
|
half the casualties throughout the Rising. Of the snipers only between four
|
||
|
and seven survived. Once the soldiers got past these snipers intence fighting
|
||
|
took place nearby between the British and the main body of de Valera's
|
||
|
battalion. The snipers could have been relieved by fresh snipers every few
|
||
|
hours, as 100 more Volunteers were nearby with de Valera, thereby keeping off
|
||
|
the British troops for longer, but Plunkett's strategy was more defensive than
|
||
|
offensive, keeping the soldiers entrenched where they were after first
|
||
|
deployment, rather than going out to take other areas or help other soldiers.
|
||
|
This proved a problem at other times during the Rising as well. More British
|
||
|
troops, however, landed from England at Skerries in County Dublin, and passed
|
||
|
on to Dublin.
|
||
|
|
||
|
On Wednesday a British gunship, the Helga, sailed up the river Liffey and
|
||
|
shelled Liberty Hall and the GPO. By the end of the Rising all the buildings
|
||
|
between the river and the GPO were demolished by this ship. Fires caused by
|
||
|
this spread along with the looters' fires, and there were so many fires the
|
||
|
fire department could not respond. Rebels also seized Linenhall Barracks,
|
||
|
where the soldiers surrendered, and torched it, adding to the fires around
|
||
|
Dublin. Fighting at the South Dublin Union still controlled by Ceannt's Forth
|
||
|
Battalion, also continued.
|
||
|
|
||
|
On Thursday prospects were bleak for the Dublin rebels. British Soldiers
|
||
|
took O'Connell Street, on which the GPO was located, and shelled the GPO from
|
||
|
there. The British did not need to risk an attack on the building, it could
|
||
|
just wait for the rebels to be chased out by the shelling.
|
||
|
|
||
|
Meanwhile all over Dublin the rebels were fighting for their freedoms and
|
||
|
their rights. At the South Dublin Union, fierce fighting was still going on.
|
||
|
The Volunteers of the First Battalion, under Eamon Ceannt, bravely fought back
|
||
|
the British, finally forcing them to retreat. Subcommandant Cathal Brugha was
|
||
|
seriously, but not fatally, wounded during this fight. De Valera's troops
|
||
|
continued to fight at Boland's Mills. British troops continued to shell the
|
||
|
First Battalion at Four Courts. During this time still more British
|
||
|
reinforcements came into Dublin, and armoured cars entered the city in the
|
||
|
North King Street area. By Thursday all communications between rebel outposts
|
||
|
had been cut.
|
||
|
|
||
|
Deploying troops Thursday James Connolly was wounded. After sending
|
||
|
troops out to take the _Independent_ building, Connolly was shot in the lower
|
||
|
leg, just above the ankle, by a British sniper, while in Prince's Street.
|
||
|
This shot broke both the bones in the lower part of the leg, making walking
|
||
|
impossible. When this happened, the troops he had just sent were too far off
|
||
|
to see him, and he was too far from the GPO to call for help, so he had to
|
||
|
crawl the way to the GPO, causing much blood loss.
|
||
|
|
||
|
On Thursday morning, when they heard of the Rising in Dublin, the
|
||
|
Volunteers in County Wexford mobilised and took most of the Northern part of
|
||
|
the county, as well as the town of Enniscorthy. A large force of British
|
||
|
artillery was sent to recapture the town, but the surrender of the Volunteers
|
||
|
Easter Saturday made this unnecessary.
|
||
|
|
||
|
By Friday, sparks from the nearby fires and from British artillery had
|
||
|
ignited the GPO roof. During this time Pearse wrote his last manifesto. The
|
||
|
fire was contained for most of the day, but that evening the GPO had to be
|
||
|
evacuated. Pearse was the last to leave during this evacuation. The rebels
|
||
|
evacuated to nearby Henry Street through holes earlier burrowed in the walls
|
||
|
of buildings by the rebels by 8:00 p.m. Connolly was carried out on a
|
||
|
stretcher, by this time his wound was infected. While trying to move his
|
||
|
troops into nearby Moore Street, The O'Rahilly was shot and killed.
|
||
|
Ironically, though he tried to stop the Rising, knowing that it would fail, he
|
||
|
was the only major Volunteer leader killed. Connolly, Pearse, Plunkett,
|
||
|
Clarke, and MacDiarmada spent the night in a corner grocer's shop, guarded by
|
||
|
sentries. During this time General Sir John Maxwell arrived from England.
|
||
|
|
||
|
On Friday, the Fifth Dublin Battalion of the Volunteers, under Thomas
|
||
|
Ashe, penetrated County Meath, which Lord Dunsany had so recently left. These
|
||
|
troops proved amazingly successful. This group first captured the RIC
|
||
|
barracks here. After this success, the rebels ambushed a battalion of about
|
||
|
forty police at Ashbourne, and fought them for five hours. The police then
|
||
|
ran out of ammunition and surrendered. The force was, however, unable to take
|
||
|
Ashbourne. The rebels were then attacked by a relief force from Navan, and
|
||
|
during the following battle two rebels and eight British soldiers were killed.
|
||
|
|
||
|
Throughout the Rising, Captain Liam Mellowes, who had been returned to
|
||
|
Ireland disguised as a priest by Nora Connolly, having been sent by James
|
||
|
Connolly, was fighting in West Ireland. His group took the small towns of
|
||
|
Athenry and Craughwell, and cut railways to Limerick and Athlone, crippling
|
||
|
transportation. In trying to take Galway City, however, they were attacked
|
||
|
not only by gunboats in Galway Bay, but also by John Redmond's National
|
||
|
Volunteers in that district. They proceeded to Athenry, which was then
|
||
|
surrounded by British troops. The rebels then dispersed, seeing resistance as
|
||
|
impossible.
|
||
|
|
||
|
On Saturday, the rebels could not hold out much longer. The rebel
|
||
|
leaders in Moore Street conferred, and decided to order surrender. Pearse
|
||
|
sent a nurse, Elizabeth O'Farrell, to request negotiations for terms of
|
||
|
surrender from General Lowe. Lowe answered that only an unconditional
|
||
|
surrender would be accepted. Pearse then met with General Lowe, and gave this
|
||
|
surrender. The following order was signed by Pearse and delivered to the
|
||
|
other battalions (from _A Dictionary of Irish History Since 1800_, p. 145):
|
||
|
|
||
|
In order to prevent the further slaughter of Dublin citizens,
|
||
|
and in the hope of saving the lives of our followers now surrounded
|
||
|
and hopelessly outnumbered, the members of the Provisional
|
||
|
Government present at Headquarters have agreed to an unconditional
|
||
|
surrender, and the commandants of the various districts in the City
|
||
|
and County will order their commands to lay down arms.
|
||
|
|
||
|
Messengers then went to the various commandants and delivered this
|
||
|
message, which was sorrowfully obeyed. By Sunday all major rebel groups in
|
||
|
Dublin had surrendered. Being told of the surrender, rebels in the outlying
|
||
|
counties drove into Dublin under safe escort to verify the claims, returning,
|
||
|
broken-hearted, to surrender. Despite the surrender, the Rising had held out
|
||
|
longer than any other since the eighteenth century. Only isolated snipers
|
||
|
kept up the fight into the following week, their shots eventually being
|
||
|
silenced by those of the British.
|
||
|
|
||
|
After the surrender, the dead piled up. Coal carts carried off the
|
||
|
corpses, many of which had lain in the mud since the earliest days of the
|
||
|
Rising. About fifty to sixty-four republicans of both the Volunteers and the
|
||
|
ICA were killed, though reports differ. About 100-130 British soldiers were
|
||
|
killed, with about 357 wounded. About 216 civilians were killed, including
|
||
|
those killed by Captain Bowen-Colthurst. These were small numbers compared to
|
||
|
those in Risings in other areas of the British Empire, but blood would again
|
||
|
flow in Irish streets.
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
"Withdrawal in disgust is not the same as apathy."
|
||
|
--_Slacker_, a movie by Richard Linklater
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
REFLECTiONS: STARiNG iNTO THE MiRROR
|
||
|
by Derrick's Little Sister
|
||
|
|
||
|
While staring into the mirror after my shower, at my exposed and naked
|
||
|
self, I look past my skin, into my own soul. There is something about looking
|
||
|
at oneself naked that not only reveals you physically, but emotionally and
|
||
|
spiritually. Being exposed, being naked, brings about self-realization and
|
||
|
self-discovery. I think when I'm naked I feel more free. I try not to limit
|
||
|
myself to only in the bathroom. When I know no one is around, I close the
|
||
|
windows and live naked for a few hours. I feel much better, when I'm sad. I
|
||
|
feel like I'm alive.
|
||
|
|
||
|
I try to look within myself, but cannot help looking at my own exterior.
|
||
|
I've always been told I was beautiful. Or that I was cute, or gorgeous or
|
||
|
whatever the popular phrase may have been at the time. This was said by my
|
||
|
parents, my grandparents, my boyfriend, and my girlfriends. They all said
|
||
|
these words. Is there truth in it? I do not know. Everyone looks at
|
||
|
themselves modestly, but to say that I have genuine beauty would be
|
||
|
egotistical and selfish. I have the stereotypical good looks: blond hair,
|
||
|
blue eyes, etc. But what does this all matter? Will it not fade away, if not
|
||
|
in life, in death? Do those with beauty get farther in life than those
|
||
|
without or in the afterlife?
|
||
|
|
||
|
Sometimes I wish I could go out and do something to change my own
|
||
|
appearance. Instead of being the cheerleader that I was in high school, I
|
||
|
wish I could have a nose ring or a tattoo. After even just mentioning this to
|
||
|
my mother she exploded about how nice Methodist girls wouldn't do such a
|
||
|
thing. About how my body should not have holes or ugly drawings in or on it.
|
||
|
My body is a temple, and should be treated well, she says. But what is
|
||
|
makeup? Is it not an enhancer, a tattoo of sorts? Don't "nice Methodist"
|
||
|
girls wear makeup?
|
||
|
|
||
|
It really bothers me, how my parents treat me. I know I am not old, but
|
||
|
I have lived on this earth for 19 years. 19 long years, full of rough times
|
||
|
and good times. Experiences which they know nothing of. Which they will
|
||
|
never know anything about; it is better that way. They act as if I cannot
|
||
|
make a good decision for myself. People say you have to learn from your
|
||
|
mistakes, but if I can't have any mistakes because of my parents, will I
|
||
|
learn?
|
||
|
|
||
|
People say that you can see a lot of a person when you look into their
|
||
|
eyes. I gaze intently at my own; I marvel at who I am. Beyond who I am with
|
||
|
others, beyond who I am around my family, there is a certain person who shows
|
||
|
her face rarely. She is the true Lindsay Quinn. No one knows her, at least
|
||
|
not intimately, and she's only been exposed to one other person.
|
||
|
|
||
|
Why did I let him see me? Why did I let him know who I am? I should
|
||
|
have kept quiet, stayed alone, not left with him. I should have just stayed
|
||
|
home. What did he do with the information I gave him? The emotions? The
|
||
|
deep feelings? All he did was shrug and grunt. Sometimes I think there isn't
|
||
|
anyone out there who can understand me. Who wants to understand me.
|
||
|
|
||
|
Growing up in a fairly big family is hard. I've been starved of
|
||
|
attention and given too much when I didn't want it. I'm not complaining too
|
||
|
much because my life has been over all good. But what is a good life? What
|
||
|
is it that I'm searching for? My family hasn't helped me much, instead
|
||
|
they've only limited me.
|
||
|
|
||
|
All my life I have lived in the shadow of my brother. Only known as
|
||
|
"Derrick's Little Sister." Apparently, to others, I have no true identity
|
||
|
besides that. Maybe I can never outgrow that nickname. Maybe I don't want to
|
||
|
have an identity, but it would be nice to be recognized as a human being. I can
|
||
|
just see my brother's friends reading this.
|
||
|
|
||
|
"Hey! Look who wrote this! It's Derrick's little sister! What was
|
||
|
her name again?"
|
||
|
|
||
|
"I... I... think... I'm not sure. Who cares? But wasn't that Derrick
|
||
|
a real character?"
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
"If you want to know
|
||
|
all of my original sins
|
||
|
ask the virgin
|
||
|
she knows where I've been."
|
||
|
--Luscious Jackson, "Under Your Skin"
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
PAGE FROM A DiARY
|
||
|
by Crux Ansata
|
||
|
|
||
|
0151 020897
|
||
|
|
||
|
Tonight I decided to give up writing fiction. Again. I have decided
|
||
|
instead to write a series of prose poems centering on one person, and
|
||
|
stringing them together as if they were a short story or novel. Each should
|
||
|
be independent, but, strung together, they should give the *illusion* of plot
|
||
|
development. Nothing will ever happen *in* the poem, but things will happen
|
||
|
*between* them, creating a kind of lingual impressionist painting. (Or is it
|
||
|
? Or something. The school of art that creates the illusion of an
|
||
|
image through a canvas of colored dots.)
|
||
|
|
||
|
I suppose I should wait until I finish the tragedy. I've sunk enough
|
||
|
time into it.
|
||
|
|
||
|
I got about two or three hours sleep last night. Better than the night
|
||
|
before, when I slept not at all, but not so good as I should like. I really
|
||
|
like being totally exhausted but having a constant flow of tea, because I
|
||
|
don't have to relate to reality at all, at all. I can just sit along for the
|
||
|
ride. As long as I don't do nothing, i.e. as long as I keep doing something,
|
||
|
I can keep going indefinitely. Perhaps, someday, I will indeed conquer sleep.
|
||
|
I don't think it's going to happen in the next few days, though, and I foresee
|
||
|
immanent collapse. Oh well, c'est la vie.
|
||
|
|
||
|
After getting up, Dad, Moonlight and I went to Georgetown to renew our
|
||
|
licenses. I never did find mine. Moonlight got his renewed, and the lady
|
||
|
behind the desk gave me a temporary permit to last me until after my birthday,
|
||
|
when I can renew the thing. I will be back the Monday after my birthday.
|
||
|
|
||
|
Then, got home and puttered around the house for about an hour, drinking
|
||
|
enough tea to get over the shivers. When I get exhausted, I tend to have my
|
||
|
body temperature drop dramatically. I read somewhere that is your body's
|
||
|
signal it needs rest. I can wear a jacket or something, and that helps a bit,
|
||
|
but the best thing to do is to drink a few cups of tea and shock my system
|
||
|
into operating again. That's what I did this morning. I had intended to go
|
||
|
with Moonlight when he went to school to care for some paperwork. As I was
|
||
|
heading for the door, though, I realized I didn't have my keys, and when I
|
||
|
went back to get them, S. called. I told Moonlight to go on ahead, and I'd
|
||
|
catch a later bus.
|
||
|
|
||
|
S. told me that Sa. -- B.'s sister who cleared out and left home a couple
|
||
|
of weeks ago -- needed a ride to B.'s house to get some stuff, so I swung by
|
||
|
S.'s and picked her up, then to B.'s, and finally to Conklin's, where B.
|
||
|
called Tabitha -- the woman who owns the house at which Sa. was staying -- to
|
||
|
get directions. From there we went to Tabitha's, down in Cherry Hollow.
|
||
|
|
||
|
Sa. is pretty, in an elfin sort of way. If she wasn't alive, she would
|
||
|
not be so pretty. A Sa. doll would not be appropriate on a cultured mantle or
|
||
|
doll shelf. With her anima, though, she is attractive in, I suppose, the
|
||
|
manner that something that can be glimpsed but never grasped is pretty. She
|
||
|
has a sparkle in her eyes, but never seems to hold a sight. She is a bundle
|
||
|
of energy, but doesn't seem to be much of a person at rest. She seems nice
|
||
|
enough, though.
|
||
|
|
||
|
Tabitha is twenty-four. I was appalled to hear it, because she looks so
|
||
|
*old*. I accept my being appalled may have been because I am approaching that
|
||
|
age, but I really think there is an age in her face and manner well beyond
|
||
|
what a twenty-four year old should exhibit. She has two children, though I
|
||
|
only met her little girl, Jesse. I suppose that is short for Jessica. The
|
||
|
child seemed maybe four, and I think the other child is older. But, Tabitha
|
||
|
was very nice when we talked, and Sa. said she was being cool about letting
|
||
|
her sleep at Tabitha's house. Apparently, though, she does a lot of partying,
|
||
|
and although she tries to protect the girl, it must be hard when drugs are a
|
||
|
staple, and fights are frequent.
|
||
|
|
||
|
Somehow, going to Tabitha's old trailer with no car in the driveway and
|
||
|
shaky wooden steps leading to a wooden door that can't close right really
|
||
|
slams me in the face with "reality", the reality that I, in my bourgeois ivory
|
||
|
tower am not often exposed to. It is much harder for me to dismiss than the
|
||
|
beggars on the streets, because this is institutional, not remarkable. I can
|
||
|
expect that most every economic system will have some few who fall through the
|
||
|
cracks, and they should be helped out by the people. To see people, though,
|
||
|
that seem to be nice enough and to be working at it, but still barely make it,
|
||
|
people who's life centers around survival at best, drugs at worst, is a very
|
||
|
attention getting experience, and one I can never really escape. I usually
|
||
|
try to ignore it, but from time to time it gets put back in my face.
|
||
|
|
||
|
Sa. was telling me that all morning Jesse was complaining that her
|
||
|
stomach hurt and she was hungry. Sa. said she fixed her some hot chocolate
|
||
|
and put marshmallows in it, and she picked out and ate the marshmallows,
|
||
|
leaving the hot chocolate. Tabitha's food stamps had come in, but someone had
|
||
|
gotten into a wreck the night before and she had no way to get to the store.
|
||
|
I told them that I didn't have a lot of time and had to get to the University,
|
||
|
but I didn't say no. All six of us -- S., B., Sa., Tabitha, Jesse and I --
|
||
|
piled into my little car and went down to the Circle K in Jonestown and bought
|
||
|
groceries. S. told me I was doing my good deed for the day. I suppose she
|
||
|
was right, but I didn't really think of it that way. It is less that she was
|
||
|
right than that it was right. I never really thought of saying no, just
|
||
|
trying to get to the University.
|
||
|
|
||
|
Much to my shame, I almost expected one of them to try shoplifting, and I
|
||
|
didn't want to deal with that. I ought not have suspected them, though. She
|
||
|
paid, and I carried the groceries into the trunk (except the eggs). I even
|
||
|
gave Tabitha some money to buy cigarettes -- since you can't buy them with
|
||
|
food stamps -- and B. a dollar to get some cappichino. I could have given
|
||
|
them every penny I had, and I would have had someone asked. As it was,
|
||
|
between gas and cigarettes, phone calls and coffee, I spent more than half the
|
||
|
money I had in my wallet. I had just gotten my allowance yesterday, and had
|
||
|
some gas money stashed away. Yet, I came out more enriched than they did. I
|
||
|
really learn a lot from facing the things I would rather not face. There is
|
||
|
something God is telling me through them. I'm not sure what it is, but it is
|
||
|
something. Thankfully, I am no longer political. I don't know if today would
|
||
|
have made me more anxious to precipitate the revolution, or simply crushed my
|
||
|
spirit. As it is, I can look with wide-eyed horror -- with inner eyes, lest I
|
||
|
insult someone -- and come away with something. Perhaps just a little more
|
||
|
sympathy for my fellow sufferer.
|
||
|
|
||
|
My God, I wonder how that child survived the winter in a rickety old
|
||
|
trailer whose "heater" is an open oven! I wonder how that child can possibly
|
||
|
turn out! The mother, Tabitha, seems to love her, and Tabitha's friends were
|
||
|
cool to her and everything, but there is one image that seems most telling to
|
||
|
me. She has a puppy. The puppy, named Misery, is nice enough. It snaps when
|
||
|
you play with it, but it is friendly, and it comes running when you call it's
|
||
|
name. She plays with the dog, too. I expect it is hers. I one point, I
|
||
|
watched her grab the dog by a handful of skin, lift it bodily from the ground,
|
||
|
and carry it into the next room. That was typical. I was not the only one
|
||
|
shocked, and the three of us who witnessed the event exchanged looks and
|
||
|
nervous laughter when she left the room. Sa. tells me she saw her, once,
|
||
|
holding the dog and playing with it when, I suppose, she got bored and
|
||
|
literally threw the dog down, onto the floor.
|
||
|
|
||
|
Perhaps it makes me an elitist, but that is what I see poverty doing to
|
||
|
man. Killing the soul. Unable to appreciate what is around one. Like I said
|
||
|
before, the poor can destroy with a reckless abandon the bourgeois doesn't
|
||
|
have. It is not that they are less enslaved to material properties so much as
|
||
|
they are morally incapable of understanding their relation to them. I suspect
|
||
|
it is the same way with animals and, I fear, other people. The masses cannot
|
||
|
rise up to help themselves. Hunger has cut off the love supply to their
|
||
|
brain. They can be manipulated for their own good, or they can be pitied. I
|
||
|
have a hard time conceiving of another option, and it is crushing.
|
||
|
|
||
|
Even the animals in that neighborhood seem driven mad with the
|
||
|
desperation of the poor. The dogs would fling themselves in front of my car
|
||
|
as I drove by. It was not an accident. I had to slam heavily on the brakes a
|
||
|
number of times, and so did another car I remember driving past.
|
||
|
|
||
|
The ultimate irony, in light of the fact I got my temporary permit this
|
||
|
morning, is the fact that we were pulled over on the way back from the grocery
|
||
|
store. The cop was nice about it, though. Jesse was on someone's lap in the
|
||
|
back seat, but wasn't strapped in. The cop recognized Tabitha, but he just
|
||
|
asked if she was keeping out of trouble and didn't run her name and find that
|
||
|
she has two warrants out on her. He just saw that the sticker on my window
|
||
|
was expired, since I have the dealer plates on the back of my car, and told me
|
||
|
to be careful.
|
||
|
|
||
|
I dropped off Tabitha and Jesse at Tabitha's house, and B., S. and Sa. at
|
||
|
B.'s and finally got to the University.
|
||
|
|
||
|
I had spent so much time with the girls, against my mother's wishes, that
|
||
|
I couldn't justify to myself goofing off on campus. I resolved to get my
|
||
|
business taken care of that day. Period.
|
||
|
|
||
|
(I don't want to make it sound like Mom is heartless. I told her, "I'm
|
||
|
giving someone a ride somewhere." She knew S. had called. I suppose she
|
||
|
supposes I was just driving S. someplace for kicks. I'm not going to tell her
|
||
|
-- or, at least, I have no plans to tell her -- about Tabitha and Jesse. I
|
||
|
could make a case for how I had to help out a woman in need, and I could not
|
||
|
possibly allow a child to starve. My eyes well with tears just imagining the
|
||
|
cries I didn't have to hear, as she asked for food. I realize Americans are,
|
||
|
generally, unacquainted with hunger, and the safety nets of friends and State
|
||
|
generally keep children from dying, but that is hardly enough. Malnutrition,
|
||
|
ensuing brain damage, even just hunger pains. It is a crime -- it is a *sin*
|
||
|
-- that any child has to go through that in the richest country in the world,
|
||
|
the richest country in history. But I don't tell Mom that. I rather she not
|
||
|
know too much more than she has to. If I routinely give her random
|
||
|
information, I can always avoid telling her something she needs to not know,
|
||
|
and I also don't want to make myself sound like some kind of benefactor,
|
||
|
playing living saint, for the poor proletariat. I know I almost sound like I
|
||
|
was slumming, using the people for an intellectual experience, but it is not
|
||
|
that way. More than my mind telling me it was right, my soul weeps for them.
|
||
|
I think I feel sadder for them than any of them feel for themselves. You have
|
||
|
to realize your plight before you can suffer from being in it. Perhaps God
|
||
|
gives brain damage and sluggish thoughts to the malnourished not as an added
|
||
|
punishment, but as a mercy, so they don't know how much they suffer.)
|
||
|
|
||
|
After I got off the bus, I sat in the lobby of the library, read a little
|
||
|
of my volume of Colette's writing, and had a snack Mom had fixed for me in
|
||
|
case I was going to be out too long. My volume tells me, I think, there are
|
||
|
an hundred stories in it. I think I have read maybe ten. After my snack, I
|
||
|
wandered upstairs and, on a lark, looked for Schopenhauer. I succeeded well
|
||
|
beyond what I thought. They have multiple copies of The World as Will and
|
||
|
Realization, and many of his other works. I picked up a collection of essays
|
||
|
called something like A Pessimist's Handbook, and I am beginning it. Colette
|
||
|
has been once more shelved.
|
||
|
|
||
|
I am very impressed with Schopenhauer, and even pleased. I have finally
|
||
|
found someone who I can agree with philosophically. Some things I disagree
|
||
|
with. Obviously, I am not an atheist, but then his atheism -- insofar as his
|
||
|
Pessimism goes -- is practical. He intended his philosophy as cosmology, not
|
||
|
theology, and as cosmology I can lift it almost wholesale for my own use.
|
||
|
Finally, someone asks the fundamental questions that most philosophical
|
||
|
schools quail from asking: Is pleasure good? Is existence good?
|
||
|
|
||
|
Catholicism almost seems to take "existence is good" as a dogma. Check
|
||
|
this out: Act of Faith: God exists. Act of Faith: God is perfect.
|
||
|
Something perfect cannot be imperfect, therefore existence must be part of
|
||
|
perfection, therefore it is better to exist then not to exist. Sounds
|
||
|
obvious, and it is necessary if one wants to use something like Anselm's proof
|
||
|
to prove that God exists. I can get around it, though, by claiming, with
|
||
|
Pseudo-Dionysis the Areopagite that God does not exist, and He does not not
|
||
|
exist. Rather, He is that from which existence comes, but is not existent in
|
||
|
Himself. By that token, existence need be no better than non-existence, and
|
||
|
either could conceivably be worse. As for pleasure being questionably good,
|
||
|
that is easier to work into a Catholic template. I am tempted to seek to
|
||
|
synthesize a theistic Pessimism, or perhaps the theology of Pessimism. I will
|
||
|
have to see.
|
||
|
|
||
|
I wonder at what point I began to think like Schopenhauer. The reader
|
||
|
might be forgiven for thinking, since he so influenced the Decadents, and I,
|
||
|
in turn, was influenced by the Decadents, that I simply learned his system
|
||
|
indirectly. I don't think so, though. Not entirely. I had made one of what
|
||
|
I consider Schopenhauer's more important insights -- pleasure is relative, and
|
||
|
nothing more than an absence of pain -- at least as early as the eighth grade,
|
||
|
and had decided to liberate myself from emotional desires as early as fourth.
|
||
|
I flatter myself, and say I discovered the basics of Pessimism more or less on
|
||
|
my own. (Dad, of course, must have been familiar with Pessimism. It is
|
||
|
covered in his Ideas of the Great Philosophers. Perhaps he even read that
|
||
|
section to Mom when I was a child, and I simply retained it. Impossible to
|
||
|
know. In any case, I learned it early.)
|
||
|
|
||
|
In any case, I am tired and rambling. I move on.
|
||
|
|
||
|
Next, I went to Parlin, room three, where the guy in the Undergraduate
|
||
|
Advising Office told me I had to go to change majors. The guy in Parlin three
|
||
|
sent me upstairs, to the English office. The guy in the English office sent
|
||
|
me down the hall to the advising office. When I found someone in a back room
|
||
|
off the advising office, she sent me to the West Mall Building, which I had
|
||
|
never even been in before. ("Do you know where the West Mall Building is?"
|
||
|
"I know where the West Mall is." "No, the West Mall Building." "No, I
|
||
|
don't." "Do you know where the post office is?" "No." "Okay, go outside,
|
||
|
turn right, go between some buildings, go up some stairs...") Once I had
|
||
|
gotten to that building, all I had to do was fill out two lines and sign once,
|
||
|
and everything was done. The hard part of the quest was finding the castle.
|
||
|
|
||
|
By that point, I was in no mood to find the room in the RLM building, so
|
||
|
I went to the office where I needed to get the verification for my military
|
||
|
ID. I had been there twice. Once, I got this guy who asked me what my
|
||
|
graduation date was. The second time I got this lady who told me I had to go
|
||
|
through my dean. Bureaucracies are like computers. There is a right way to
|
||
|
do things, and a wrong way, but if you know the right tricks, the wrong way
|
||
|
works better. I went up to the guy, lied about my graduation date, and got
|
||
|
the letter I wanted. Fraudulent, I'm sure, but effective. Then, I went home,
|
||
|
the conquering hero.
|
||
|
|
||
|
I'd barely been in a half an hour when S. called again. She apologized
|
||
|
for using me, but wanted a ride for her and Sa. from her house to Tabitha's,
|
||
|
for the party. I agreed, and even went into the party for a little while. It
|
||
|
was amusing in its own fashion, but I wasn't at home. I forced myself to stay
|
||
|
for a half an hour or so, listening to people and watching what they were up
|
||
|
to, but I still left early, not the least of my concerns being that as people
|
||
|
arrived I'd never get my car out. I also knew that I needed to get some
|
||
|
sleep, an ideal I have yet to realize.
|
||
|
|
||
|
Somehow, S. seems too smart to be mixed up with this life. She does not
|
||
|
seem to fit into it the way Sa. and Tabitha do, and she doesn't even have the
|
||
|
vacant mind of B. She seems to have chosen to be thrust into this life, if
|
||
|
that makes sense to my patient reader. I know we can never have a romantic
|
||
|
relationship, and I know I ought not touch her, but I want to spend some time
|
||
|
alone with her, away from her house, maybe getting coffee or something, but I
|
||
|
don't know she would feel comfortable off her home turf any more than I am off
|
||
|
mine. I would like to let her know that I like her -- that I love her, after
|
||
|
my own fashion -- without making myself vulnerable. I know how she can use
|
||
|
emotions if she wants to. I cannot be used because, first, I choose to let
|
||
|
myself be "used" for my own gain, and, second, because I am aware of the world
|
||
|
around me. If I got fed up with her, I could walk away. I am not afraid of
|
||
|
that. I am afraid that if she got the idea she had power over me, whether or
|
||
|
not she truly did, it would unbalance our relationship, which probably
|
||
|
survives now more out of ambiguity more than anything else.
|
||
|
|
||
|
There are people that irritate me, and there are mostly people I can
|
||
|
tolerate. S. is one of those rare people I actually enjoy being around.
|
||
|
Twisted and egocentric as that sounds, from me it is intended as a compliment.
|
||
|
|
||
|
Argh. I might be able to sleep tonight. My eyes are really hurting, and
|
||
|
I am very, very lightheaded. I get dizzy even looking at the keyboard, and my
|
||
|
throat hurts. I think I will be able to sleep as soon as I get myself to bed,
|
||
|
which is fortunate, since I have to get up around eight or nine tomorrow. I
|
||
|
need a smoke, and then I need a bed.
|
||
|
|
||
|
0301 020897
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
[=- POETASTRiE -=]
|
||
|
|
||
|
"The poets? They stink. They write badly. They're idiots you see, because
|
||
|
the strong people don't write poetry.... They become hitmen for the Mafia.
|
||
|
The good people do the serious jobs."
|
||
|
--Charles Bukowski
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
A PRAYER FOR SUBURBiA
|
||
|
by The Super Realist
|
||
|
|
||
|
Blessed are the poor
|
||
|
for we can hire them
|
||
|
for minimum wage
|
||
|
|
||
|
Blessed are those who mourn
|
||
|
for we are able to hurt them
|
||
|
with insensitive comments
|
||
|
|
||
|
Blessed are the meek
|
||
|
for we can physically abuse them
|
||
|
without recourse
|
||
|
|
||
|
Blessed are those
|
||
|
who do hunger and thirst
|
||
|
for we can pour preservatives and poisons
|
||
|
down their throats
|
||
|
|
||
|
Blessed are the merciful
|
||
|
for we can take
|
||
|
advantage of them
|
||
|
|
||
|
Blessed are the pure of heart
|
||
|
for their modicum of challenge
|
||
|
to corrupt
|
||
|
|
||
|
Blessed are the peacemakers
|
||
|
for they are the fodder
|
||
|
in times of war
|
||
|
|
||
|
Blessed are those who are persecuted
|
||
|
for they give us a reason
|
||
|
to start secret societies
|
||
|
|
||
|
Rejoice in being a Suburbanite
|
||
|
for great is your reward
|
||
|
in heaven...
|
||
|
|
||
|
money be thy name
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
"Reality feels good. Reality act like a barrier. Reality only works
|
||
|
when you use it. Before using Reality, read the directions and
|
||
|
learn to use it properly. Reality rarely rips or tears during use.
|
||
|
Most women report that insertion is easy, especially after using
|
||
|
Reality two or three times. Use it every time you have sex."
|
||
|
--from an advertisement for Reality, a female condom.
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
SPiT: iNTERMiSSiON (iNCONTiNENCE)
|
||
|
by Alcibiades
|
||
|
|
||
|
Those pious plebes flock to their fanes
|
||
|
Insulting existence ignites his rage
|
||
|
Scanning the birds the hunt is on
|
||
|
An impetuous slaughter of idealistic dung
|
||
|
Aggressive angst hurtled at poisonous piety
|
||
|
Decadent parish, a tumultuous comedy
|
||
|
|
||
|
Fall from grace
|
||
|
He does not care
|
||
|
Show the sign
|
||
|
With piercing stare
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
"The graveyards are full of indispensable men."
|
||
|
--Charles DeGaulle
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
LiQUiD BLACK
|
||
|
by Aeon
|
||
|
|
||
|
boiling tar mildew
|
||
|
melts the humidity.
|
||
|
churning the air,
|
||
|
it fumes lucidly.
|
||
|
|
||
|
the water evaporates
|
||
|
sending secret agents
|
||
|
looming through the halls.
|
||
|
|
||
|
you can almost see though,
|
||
|
that thick black smoke
|
||
|
enveloping and clutching
|
||
|
me.
|
||
|
|
||
|
like an ill child,
|
||
|
you can smell the sickness
|
||
|
on its breath and
|
||
|
taste it on your clothes
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
"Scholarship asks, thank God, no recompense but Truth. It is not for
|
||
|
the sake of material reward that she (Scholarship) pursues her
|
||
|
(Truth) through the undergrowth of Ignorance, shining on Obscurity
|
||
|
the bright torch of Reason and clearing aside the tangled thorns of
|
||
|
Error with the keen secateurs of Intellect. Nor is it for the sake of
|
||
|
public glory and the applause of the multitude: the scholar is
|
||
|
indifferent to vulgar acclaim. Nor is it even in the hope that
|
||
|
intimate friends who have observed at first hand the labour of the
|
||
|
chase will mark with a word or two of discerning congratulation its
|
||
|
eventual achievement. Which is very fortunate, because they don't."
|
||
|
--Sarah Caudwell, _Thus Was Adonis Murdered_
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
THE CONTROLLED, THE GAY, THE POOR
|
||
|
by The Super Realist
|
||
|
|
||
|
Abstract rulers in concrete bunkers direct traffic with formidable roadblocks
|
||
|
of sculpted potted plants. Terminals in Universities spark to life by
|
||
|
students trading homework for formula to make iodine bombs. Parents destroy
|
||
|
their children's credit by bouncing checks and overdrawing accounts. Police
|
||
|
beat news reporters reporting Rodney King taking his shot of smack; smack the
|
||
|
police smack the police. Religious fanatics rain down holy words to damn
|
||
|
while those with sincere attempt are viewed with contempt. Thank god buddha
|
||
|
and/or allah for Burroughs and Ginsberg and Kerouac. Alternative mumbo jumbo
|
||
|
dumbo Rambo Bambie loving neo-vegetarian vegetables cry, "Wait! Aren't they,
|
||
|
like, you know, dead or old or something? How can we, like, you know,
|
||
|
popularize without listening?" This anticultural vulgarity would turn
|
||
|
Burroughs back into an addict from the grave. That is, if he was dead (which
|
||
|
he is not) and if he could get junk in Kansas (which I doubt). Oh, I don't
|
||
|
think we're in Kansas anymore, Toto. Auntie Em, Auntie Em, why do you go by a
|
||
|
nickname? Why not go by your God given real life name that the writers dreamt
|
||
|
up for you? Even fictitious people need real names. Look at Congress, for
|
||
|
example. What's wrong with Emily? What's wrong with Emmelia? What's wrong
|
||
|
with Em-shak-atul? Probably has blue roses. Oh yes, blue roses. It's a
|
||
|
venereal disease that strikes fictitious characters who were written by
|
||
|
homosexual writers. Didn't you know Tenn Williams was gay? Didn't you know
|
||
|
Allen Ginsberg was gay? Burroughs, on the other hand, was just homosexual.
|
||
|
Burroughs knew how to be alternative even before you young bleeding hearts
|
||
|
were saving the whales and killing the lumber industry. Plaids and flannels
|
||
|
back then weren't called grunge. They were called poor. Even Eastwood needs
|
||
|
to open his eyes once in a while.
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
"It will be generally found that those who sneer habitually at human
|
||
|
nature and affect to despise it, are among its worst and least pleasant
|
||
|
examples.
|
||
|
--Charles Dickens
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
DETACHMENT
|
||
|
by Aeon
|
||
|
|
||
|
awake and consuming
|
||
|
the fizz bubbles distastefully down my throat.
|
||
|
the dead fish surround me,
|
||
|
closing in.
|
||
|
the noise is already inside me,
|
||
|
felt, but not heard
|
||
|
i am locked inside a giant white room
|
||
|
horizons with every turn
|
||
|
there are no walls to scratch away at
|
||
|
i can't get out
|
||
|
how could you escape from something that does not exist
|
||
|
especially when you, yourself
|
||
|
don't exist either.
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
"I'm the most cold-hearted son of a bitch you will ever meet."
|
||
|
--Ted Bundy
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
AGE OLD QUESTiON OF MADNESS, PART III
|
||
|
by The Super Realist
|
||
|
|
||
|
Have you ever seen a mad child?
|
||
|
Not one of tantrum and thrown objects
|
||
|
which collide, break, scream, pant
|
||
|
but a child so mad that man himself
|
||
|
cannot think of accepting it as his own?
|
||
|
|
||
|
Have you ever seen a starved child?
|
||
|
Bones metamorphosized into insectile
|
||
|
ribbing, knuckles clackering clacking
|
||
|
as Rimbaud looks on with gaunt interest
|
||
|
and El Greco shys away with thin lips?
|
||
|
|
||
|
Have you ever seen a raved child?
|
||
|
Raven hair or fire of mind, blowing wind
|
||
|
speaking in tongues danced with undulated
|
||
|
openess even hookers dare not expose
|
||
|
and police fear to harm such fraility?
|
||
|
|
||
|
Have you ever seen a mad child?
|
||
|
One born of mad mothers and mad
|
||
|
fathers who worship the very ground
|
||
|
their child walks upon, because they
|
||
|
see this child as our mirror?
|
||
|
|
||
|
--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--
|
||
|
|
||
|
THE LESSON OF THE BROTHERS BUDDHA AND RATNA HERUKA,
|
||
|
or ORPHEUS REX
|
||
|
by KidKnee
|
||
|
|
||
|
Men's dreams can alter the world around them. Many cities have been
|
||
|
built on dreams, and many more have been ruined by men chasing impossible
|
||
|
dreams. Somewhere among these dreams are areas of truth, and these places
|
||
|
make men successful. Somewhere among these dreams are areas of falseness, and
|
||
|
these places lead men to ruin. Somewhere in between truth and lie is a realm
|
||
|
where man is truly free to create his own fate, and it is here our story
|
||
|
begins.
|
||
|
|
||
|
In the half realm of illusion lived two false Buddha's. The older
|
||
|
brother called himself Buddha-Heruka, who is really Blessed Vairocana. In
|
||
|
his falseness, he chose for his form a wine colored body with three heads, six
|
||
|
arms, four legs, nine eyes, teeth of copper and all the other seemings of
|
||
|
Buddha-Heruka. He spoke to one of his younger brothers who called himself
|
||
|
Ratna-Heruka, who is really Blessed Ratnasamblahava. In a manner like his
|
||
|
brother, Ratna-Heruka wore a form that had a yellow body, three heads, six
|
||
|
arms, four legs, nine eyes, and all the other seemings of Ratna-Heruka.
|
||
|
Ratna-Heruka spoke and said, "Buddha-Heruka, you have always been the first
|
||
|
among us brothers, and the Central realm has always been the fullest, while me
|
||
|
and the other brothers have been forced to wait for those souls who could not
|
||
|
find peace in the Central realm through Wisdom. In particular, you have taken
|
||
|
from me many souls who would find peace in the realm of the Glorious, having
|
||
|
overcome their Pride. For this reason, I ask that you let me stand first
|
||
|
above you, and that those soul whom I cannot find a home for in the realm of
|
||
|
the Glorious should come next to you that you might find peace for whom you
|
||
|
can."
|
||
|
|
||
|
Buddha-Heruka spoke and replied to his brother, "What you say is true.
|
||
|
The Central Realm is bountiful, and each day I collect a multitude of souls
|
||
|
that otherwise would likely be lead into the realm of the Glorious. However,
|
||
|
you forget, I am a blood drinker, and so will not give up my wealth so that
|
||
|
you mat have it. Perhaps you mistake me for Blessed Vairocana whose name I
|
||
|
take and form I borrow." This, like any truth spoken to a being of the realm
|
||
|
of illusion, angered Ratna-Heruka. Angered, Ratna-Heruka decided that
|
||
|
although he would be denied the multitude of souls, he would take it upon
|
||
|
himself to gather a number of these souls for himself through trickery. One
|
||
|
soul that was led to the realm of the Glorious in this manner was Lyrus, a
|
||
|
phenomenal musician. This is his story.
|
||
|
|
||
|
Lyrus was a happy man and an artistic wonder. In all his days, he wooed
|
||
|
many women with his songs, but only one did he truly love. Unfortunately, an
|
||
|
angry spirit had decided to interfere with his plans for a long and happy
|
||
|
marriage. On his wedding night, after he and his wife were married, they
|
||
|
entered together into the bed chamber. Lyrus did not know that Ratna-Heruka,
|
||
|
in the guise of an asp had set a trap and was waiting for his wife in the bad.
|
||
|
When Lyrus's new wife sat upon the bad, Ratna-Heruka sprung from his hiding
|
||
|
place and bit her. Ratna-Heruka's venom was potent, and Lyrus's wife was only
|
||
|
able to speak the words, "if only tomorrow" before death was upon her. Lyrus
|
||
|
was heartbroken and enraged, and thus grabbed the asp and made preparation to
|
||
|
cut off the snake's head. Ratna-Heruka was still full of trickery, even with a
|
||
|
knife at his throat. In his trickery, he pretended to be afraid for his life
|
||
|
and said, "If you drink a drop of my venom with wine made from unripened
|
||
|
grapes plucked from the vine, you can travel beyond the shroud for a time
|
||
|
before the power of the embryonic seeds bring you back here. There you can
|
||
|
find your love and bring her back, only please spare my life."
|
||
|
|
||
|
Lyrus was heartbroken, but even more than that he was angry at the
|
||
|
offending snake's words, so he replied, "I do not trust you, but I must have
|
||
|
back my young wife. I know it is unwise to consort with the dead, but I am
|
||
|
Lyrus, a wise man of accord. My meditations are good, and should allow me to
|
||
|
accomplish my desires without you as a guide. I know the ritual of which you
|
||
|
speak, and I also know that the venom you speak of works equally well if you
|
||
|
are dead. Thus will I both have revenge and retrieve what you have taken."
|
||
|
|
||
|
Thus saying, Lyrus slew the form of Ratna-Heruka and gathered his venom
|
||
|
into a cup. Lyrus also gathered grapes from unripened vines and crushed them
|
||
|
into a wine, and drank it with a drop of the dead snake's venom. Lyrus awoke
|
||
|
to find himself formless, and floating in a great void of darkness. At first
|
||
|
he was afraid and thought himself mistaken about the ritual. Soon however,
|
||
|
other souls made themselves known to him and he was sure of where he was. He
|
||
|
looked for his wife, but soon came to find that he could not recognize the
|
||
|
things he knew her by. None before him had her soft skin, her lovely eyes, or
|
||
|
her enchanting smile, nor any physical form whatsoever. The shroud that
|
||
|
separated him from his wife after death had also served to separate one person
|
||
|
from the next, and here with everyone on the same side of the same shroud,
|
||
|
Lyrus found he could not tell the difference between any one person, any other
|
||
|
person, and himself. One of these people came to Lyrus and said, "Lyrus, I am
|
||
|
your wife. Take me back with you, that I may live again." Lyrus was in part
|
||
|
relieved, but still ill at ease because he distrusted Ratna-Heruka, and
|
||
|
suspected this to be a trick of some kind. He suspected this was the soul of
|
||
|
the asp he had recently slain, come to him in hopes of becoming alive once
|
||
|
more. Confounded, and confused Lyrus decided to find among the people the one
|
||
|
person who loved him most, and there among them he found a sweet, caring soul
|
||
|
who loved him greatly who was not the soul that had presented itself to him.
|
||
|
Lyrus decided that this was his true wife, and that he would take her back
|
||
|
across the shroud. When the time came for Lyrus to leave, he gathered his
|
||
|
wife's soul to him and swore to her that they would live together forever
|
||
|
until they both died, and each night they would lie together in bliss. The
|
||
|
time passed, and Lyrus found himself in his bed chamber with his mother in his
|
||
|
arms. He had not realized his dead mother had loved him greater and knew him
|
||
|
better than his new wife, and that he had mistakenly taken his mother back
|
||
|
with him instead of his wife. Upon seeing what he had done, he tore his hair
|
||
|
out in a rage and frantically tried to think of what to do. He could not lie
|
||
|
in bed with his mother, nor could he break his promise. Thus he went to slay
|
||
|
his mother, and when he was done, to slay himself. After Lyrus had slain his
|
||
|
mother, Ratna-Heruka put on his form of the Buddha from whom he took his name,
|
||
|
and spoke to Lyrus who was amazed.
|
||
|
|
||
|
Ratna-Heruka said to Lyrus, "O son of noble family, the time of death
|
||
|
swiftly approaches, and I, Ratna-Heruka bless you on the joinery that lies
|
||
|
ahead. You have shown Wisdom has no hold over you, and my brother
|
||
|
Buddha-Heruka who is Blessed Vairocana will have no hold over you. Your anger
|
||
|
at the asp has shown Aggression overwhelms you, and my brother Vajra-Heruka
|
||
|
who is Blessed Vajrasattva will have no hold over you. I have taken from you
|
||
|
your pride by playing you for a fool, and tricking you into leaving you wife
|
||
|
on the other side, and then killing your mother. Thus Pride will not turn you
|
||
|
away, and I will speak to you in Samsara and you will become a sambhogakaya
|
||
|
Buddha in the southern realm of the Glorious. You will also know my face, and
|
||
|
recognize me. Recognition and liberation are simultaneous." At this, Lyrus
|
||
|
slew himself. After death he passed Buddha-Heruka by Ignorance and Vajra-
|
||
|
Heruka by Aggression to find himself before Ratna-Heruka once more. Lyrus is
|
||
|
now a sambhogakaya Buddha in the southern realm of the Glorious just as
|
||
|
Ratna-Heruka had said, and this is how Ratna-Heruka gathered to him souls in
|
||
|
place of those his brother Buddha-Heruka had denied him.
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
Reality is for people who can't deal with drugs.
|
||
|
-- Lily Tomlin
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
YOUTH CULTURE KILLED MY DOG
|
||
|
by I Wish My Name Were Nathan
|
||
|
|
||
|
I was studying myself in the mirror when the phone started ringing. I
|
||
|
didn't want to lose my concentration, so I let the answering machine pick it
|
||
|
up. I had to do something about my hair, I decided. It was growing too long
|
||
|
and I was getting bored with the style. Long hair is too important to leave
|
||
|
unattended. It was getting frizzy and scummy-looking in the humidity and just
|
||
|
looked terrible. I had an obligation to the ladies to look attractive.
|
||
|
Currently I was considering a ponytail and cutting the sides really short, but
|
||
|
I couldn't get an image in my mind because the fucking *phone* was still
|
||
|
ringing!
|
||
|
|
||
|
I threw down my hairbrush and walked over to the phone, staring it down.
|
||
|
Fucker better be important to drag me away from the mirror. I picked it up
|
||
|
and heard this dramatic sigh of relief.
|
||
|
|
||
|
"Drew! Thank God you answered!"
|
||
|
|
||
|
"Who is this?" I demanded. "And stop screaming at me!"
|
||
|
|
||
|
"It's Mike, man, you dick! Now listen up, dude, no time for this
|
||
|
bullshit. Kevin is wiggin' out, man, and I don't know what to do!" Mike
|
||
|
yelled.
|
||
|
|
||
|
Kevin, that crazy fucker. "What's he on, man?"
|
||
|
|
||
|
"Dog epilepsy pills or some shit!"
|
||
|
|
||
|
"That's fucked up, man! Are there any left?"
|
||
|
|
||
|
"You're a fiend, bitch! He's also on like five hits of acid! He's like
|
||
|
chewing on a pillow!" Mike yelled. I could hear growling sounds in the
|
||
|
background. Shit.
|
||
|
|
||
|
"Man, I don't know about that epilepsy shit, but just like take the
|
||
|
pillow away and tell him to calm down."
|
||
|
|
||
|
"I dunno, man, I'm scared. I don't think he'll listen to me either. Can
|
||
|
you come over to my place right now?"
|
||
|
|
||
|
Dammit shit, I wanted to cut my hair! "Is he *really* that bad?"
|
||
|
|
||
|
"Dude, he says he's seeing everything sideways, *plus* something about
|
||
|
his legs feel broken."
|
||
|
|
||
|
"Lemme talk to him."
|
||
|
|
||
|
"Oh-kaaay..." Mike said. I heard him desperately trying to convince
|
||
|
Kevin to let go of the pillow. "I gotta sleep on that, man! Here, here, talk
|
||
|
to Drew, man."
|
||
|
|
||
|
I heard rapid breathing on the phone but Kevin didn't say anything for a
|
||
|
long time until he blurted out, "He's dead, man! No one's there! This phone
|
||
|
prolly... connects to some empty desert... Fuck, it's hot in here! The walls
|
||
|
are all wrong, man... I can't stand up!"
|
||
|
|
||
|
"Kevin," I said.
|
||
|
|
||
|
"What's that?!" he cried. "Fuck, the phone, man! Hello? Hello?"
|
||
|
|
||
|
"It's Drew. You trippin', dog?"
|
||
|
|
||
|
"Hell yeah! This is so fucked up! I.... whoa! ... uh, why'd you call?"
|
||
|
|
||
|
"Mike called *me*."
|
||
|
|
||
|
"Oh! Here he is, bro!" he said, passing the phone to Mike.
|
||
|
|
||
|
"What?!" Mike yelled at me.
|
||
|
|
||
|
"Shit, man, I'm comin' over, okay? But Kevin sounds okay to me."
|
||
|
|
||
|
"You're not *here*, dude, you don't know what's up!"
|
||
|
|
||
|
"Whatever, man. Laters."
|
||
|
|
||
|
Goddam fucking shit! Now, before I sound like some prick, I gotta tell
|
||
|
you that this was *Mike's* problem. He can't handle trippers. He always
|
||
|
freaks out before they do.
|
||
|
|
||
|
I decided I could let people look at my grungy-ass head for another day
|
||
|
or two. Cassandra's party was in an hour or so. Her boyfriend and his bitch
|
||
|
were going to bring two cases of 40's over. I wasn't going to miss that shit.
|
||
|
What I'd do is calm down Mike for a little while then pop on over there.
|
||
|
|
||
|
On the way out, I erased the messages on the answering machine.
|
||
|
|
||
|
* * * * *
|
||
|
|
||
|
When I showed up at Mike's house, he ushered me in like some doctor and
|
||
|
pointed at Kevin, spread out on the couch with this huge grin on his face. He
|
||
|
had blankets wrapped around his legs for some reason. He saw me come in.
|
||
|
|
||
|
"Whoa, who're you?" he asked.
|
||
|
|
||
|
"I'm Drew, dude. Look closer," I said, bringing my face close to his.
|
||
|
|
||
|
Kevin cracked up laughing, totally unable to say why. He finally
|
||
|
stammered out, "Do that again!" I stepped back a bit and zoomed in on 'im. He
|
||
|
started guffawing all over again. He was waving his arms around like a
|
||
|
motherfucker, but he couldn't move his legs since they were wrapped up.
|
||
|
Finally he fell off the couch and bonked his head on the coffee table.
|
||
|
|
||
|
That made him laugh even more.
|
||
|
|
||
|
"I broke my legs again!" he announced, laughing. "They're, all,
|
||
|
sideways!"
|
||
|
|
||
|
"What is that dog shit doin', man?" I asked, grinning myself.
|
||
|
|
||
|
"It's hard to explain. These up-down lines are all left-right, you know?
|
||
|
The colors are backwards too."
|
||
|
|
||
|
"Just turn your head to the side, then," I suggested.
|
||
|
|
||
|
Kevin tried it out and burst out laughing again. "Fuuuuuuuck!"
|
||
|
|
||
|
I started laughing too. Kevin was such a trip. I turned around to
|
||
|
confront Mike and I saw he was feverishly sucking away on a bong. "Yeah,
|
||
|
Mike, like drugs will solve all your problems."
|
||
|
|
||
|
He took a hit of bong water and started coughing.
|
||
|
|
||
|
"Where's those epilepsy pills?" I asked him.
|
||
|
|
||
|
"No way, man," he said, holding his head in his hands, spitting, as he
|
||
|
tried to recover from the taste of the water.
|
||
|
|
||
|
"Fuck you, dude, you made me drive over here for nothing, interrupting
|
||
|
very important business, and I'm gonna get payback!"
|
||
|
|
||
|
"Above the sink," he muttered.
|
||
|
|
||
|
"Thank *you*," I said, walking into the kitchen. "Mike, dude, I also
|
||
|
want to pick up some of those shrooms you owe me." I reached into the cabinet
|
||
|
over the sink and located the bottle. NOT FOR HUMAN CONSUMPTION, it said.
|
||
|
With a warning like that, someone's bound to try it.
|
||
|
|
||
|
I could tell Mike was stoned now, because he was suddenly standing beside
|
||
|
me, smiling like an idiot. "Yeah, that's true. Okay, dude. How many you
|
||
|
need again?"
|
||
|
|
||
|
"I gave you like seven medium and big ones last Tuesday. I need
|
||
|
something like that much. I'm gonna sell 'em to get some smack."
|
||
|
|
||
|
"Oh yeah, yeah, that's cool. I'll go get you a baggie."
|
||
|
|
||
|
"Man," I laughed, "I can just hear the cottonmouth."
|
||
|
|
||
|
"Fuck you, man!" he giggled.
|
||
|
|
||
|
I selected some of the dog epilepsy pills and transferred them into my
|
||
|
pocket for later. The date on the bottle said they expired in 1993, so I took
|
||
|
a few extra to be sure they worked on me.
|
||
|
|
||
|
Mike took forever. In the meantime, I watched from afar as Kevin tried
|
||
|
to read a magazine. "What damn country is this from?" he laughed, turning the
|
||
|
magazine around in a complete circle many times.
|
||
|
|
||
|
Mike came back into the kitchen with the baggie. "Here. These are just
|
||
|
a few days old. Almost primo."
|
||
|
|
||
|
"Say, Mike. Why were so you freaked out before, man? I can never get
|
||
|
that about you."
|
||
|
|
||
|
He looked surprised for a moment, and rolled his eyes and shrugged.
|
||
|
"Forget it."
|
||
|
|
||
|
"Sure, man, whatever," I said. "Well, say dude, everything seems cool
|
||
|
here. You just stay chillin'. I gotta go."
|
||
|
|
||
|
"Alright," he said serenely. "Thanks for dropping by."
|
||
|
|
||
|
"Sure, sure. Laters."
|
||
|
|
||
|
Boy, was I glad to be out of that shit. I headed over to Cassandra's
|
||
|
place. Maybe I could score some pussy.
|
||
|
|
||
|
* * * * *
|
||
|
|
||
|
I was a bit rusty on where exactly she lived, but I found out soon
|
||
|
enough. It was probably the house with all the cars out front and the loud
|
||
|
music playing. I must have guessed right. Cassandra answered the door.
|
||
|
|
||
|
"Hey, Drew," she said. "Lookin' good."
|
||
|
|
||
|
I unconsciously ran my hand through my hair. "Thanks! Back atcha!"
|
||
|
|
||
|
"Steve and Chastity are going to be back soon with the liquor," she
|
||
|
enunciated over the music.
|
||
|
|
||
|
"Awesome!" I said. Patting my stomach, I added, "I'm ready!"
|
||
|
|
||
|
I walked in and some other buds from school were there. Cary, Reed, and
|
||
|
Jeremy were hogging the couch watching TV. The volume was up so they could
|
||
|
hear it over the music. "Gimme five, man," Reed said.
|
||
|
|
||
|
Jen was coming in from the backyard when I walked in. She was hot -- and
|
||
|
wet. I remembered Cassandra had a hot tub out back. "Drew!" she cried. "I'm
|
||
|
already drunk, dude. I came over drunk."
|
||
|
|
||
|
"Cool," I said, eyeing her body. "Say, has Jason showed up yet?"
|
||
|
|
||
|
"Jason? No. Say, dude, he's not coming over, is he?" she asked,
|
||
|
concerned.
|
||
|
|
||
|
"I'm not sure."
|
||
|
|
||
|
"Reed doesn't like him."
|
||
|
|
||
|
"He wasn't going to stay. I was just supposed to sell him some shrooms."
|
||
|
|
||
|
"Shrooms!" she cried. "Can I have some?"
|
||
|
|
||
|
"Well, I was hoping to get twenty bucks for 'em."
|
||
|
|
||
|
"I'll fuck you if you let me have some," she purred.
|
||
|
|
||
|
Of course, she would *have* to. "If you *insist*.... Let's go upstairs,
|
||
|
baby."
|
||
|
|
||
|
Walking up the stairs gave me a raging hardon and my head started to
|
||
|
swim. I saw an empty room and ushered Jen inside, closing the door behind us.
|
||
|
"How many you want?" I asked her.
|
||
|
|
||
|
"Let me see 'em first," she said. I pulled out the baggie from my pocket
|
||
|
and let her look. She rubbed her hands together, giddy. "Oh, Drew, you
|
||
|
weren't hoping to sell *that* few, were you?"
|
||
|
|
||
|
"It's twenty bucks, bitch, I wanna get some smack."
|
||
|
|
||
|
"For yourself?"
|
||
|
|
||
|
"Of course!" I replied.
|
||
|
|
||
|
"I said I'd fuck you. You really think heroin is better than sex?"
|
||
|
|
||
|
"Yup," I said instantly. "Together, even better."
|
||
|
|
||
|
"You'd almost be a loser if you weren't so cute," she said, grabbing the
|
||
|
baggie of shrooms from me. "I'll get together with you later," she said,
|
||
|
opening the door and hopping downstairs.
|
||
|
|
||
|
Shit!
|
||
|
|
||
|
I charged downstairs, pissed and horny. "Can I smoke in here?" I asked.
|
||
|
Several voices replied yes. I lit up a Red and headed for the couch when Cary
|
||
|
had the bad luck to leave his spot. "Whussup?" I asked Jeremy and Reed.
|
||
|
|
||
|
"We're watching 'Trainspotting,'" Reed said.
|
||
|
|
||
|
"I can't understand these bastards," Jeremy drawled. "They, like, talk
|
||
|
too fast."
|
||
|
|
||
|
"Are you stoned?" I asked.
|
||
|
|
||
|
"No. I just did fifteen Drixorals."
|
||
|
|
||
|
"Oh yeah?"
|
||
|
|
||
|
"Oh, yeaaaaaah. Man, I can't feel my legs."
|
||
|
|
||
|
"You're sitting on them. Prolly cut off the blood flow," I suggested.
|
||
|
|
||
|
"Oh, damn! I didn't even notice," he said. He then slid off the couch
|
||
|
and landed on the floor on his ass. "That didn't even register either. They
|
||
|
say this stuff is a 'dissociative hallucinogen'. Try saying that when you're
|
||
|
drunk."
|
||
|
|
||
|
"Crazy SOB. What about you, Reed?"
|
||
|
|
||
|
"I'm waiting for that fucking Rolling Rock."
|
||
|
|
||
|
"I hear ya. You ever tried dog epilepsy pills?"
|
||
|
|
||
|
"Oh shit man, that sounds whacked!" he said, eyes agape.
|
||
|
|
||
|
"But you did elephant tranquilizers once."
|
||
|
|
||
|
"Yeah, so?" he said defensively.
|
||
|
|
||
|
Jeremy was bouncing around the floor, laughing. "It's fun to bounce
|
||
|
around on my butt. It's easier than walking."
|
||
|
|
||
|
"It's true," Reed said. "He can't walk at all."
|
||
|
|
||
|
"Cool."
|
||
|
|
||
|
I sat back and watched the movie for a few minutes. With the music
|
||
|
overhead and the distortion of the TV speakers, I couldn't make out a lick of
|
||
|
dialogue.
|
||
|
|
||
|
The phone started ringing. Maybe it was Jason. I heard Cassandra yell
|
||
|
from upstairs, "Don't pick it up if it says 'hotel'!" Ah, caller ID. Cary
|
||
|
got to the phone before me.
|
||
|
|
||
|
"Jason? What the fuck is he calling here for?!" he cried.
|
||
|
|
||
|
"Chill, dude, I told him to call here."
|
||
|
|
||
|
"Don't you fuckin' let him come over here. He's been itchin' to beat up
|
||
|
Reed."
|
||
|
|
||
|
I picked up the phone. "Hello?"
|
||
|
|
||
|
"Hey, Drew?" Jason asked. "Got my shrooms?"
|
||
|
|
||
|
"Well, man, something came up. I couldn't get 'em."
|
||
|
|
||
|
"Aw, fuck, man! What happened?"
|
||
|
|
||
|
"Um... I got screwed."
|
||
|
|
||
|
"That sucks. Say, is there a party going on over there?"
|
||
|
|
||
|
"No."
|
||
|
|
||
|
"You're shittin' me. No one plays music that loud without a party."
|
||
|
|
||
|
"Ummm...," I stammered, overhearing Cassandra finding out that Jason was
|
||
|
on the phone and possibly coming over. "That fucker ain't getting in this
|
||
|
house," she announced. Jen also picked this time to yell out in agony,
|
||
|
"Where's my BEER?"
|
||
|
|
||
|
"Dude, I heard someone say beer!" Jason said. "I'm gonna come over."
|
||
|
|
||
|
"No, man, don't! There's no party. Say, say -- I know a dude who has
|
||
|
some shrooms. Whatsay I go over to his place, pick some up, and swing by your
|
||
|
place and sell 'em to you?"
|
||
|
|
||
|
"Well," he considered, "if you can get 'em to me half-price. Four grams.
|
||
|
Else I'm gonna come over there and get me some free beer."
|
||
|
|
||
|
"Fuck you, man! Stay put! I gotta make some calls."
|
||
|
|
||
|
I hung up. Immediately Reed accosted me. "Is that bitch coming over?"
|
||
|
he asked, scared.
|
||
|
|
||
|
"I'm not sure. I told him not to."
|
||
|
|
||
|
"He's gonna kick my ass, man."
|
||
|
|
||
|
"Why is this?" I asked.
|
||
|
|
||
|
"I fucked his girlfriend."
|
||
|
|
||
|
"What?!"
|
||
|
|
||
|
"They were broke up, Drew. But he still got jealous!"
|
||
|
|
||
|
"Dude..."
|
||
|
|
||
|
"Shit, I'm splitting. I gotta leave. Is he coming over?!" he stammered.
|
||
|
|
||
|
"I told him not to. But I gotta make some calls first."
|
||
|
|
||
|
Cassandra announced, "I won't let him in, Reed."
|
||
|
|
||
|
I made a call to a guy I know named Mitch. He always has drugs lying
|
||
|
around. The phone was busy. I waited.
|
||
|
|
||
|
Finally, the liquor arrived. Steve hauled in a box of Rolling Rock and
|
||
|
Chastity set down a case of Old English.
|
||
|
|
||
|
"Forties! Forties!" Cary rejoiced. "I put in twenty bucks, I get two."
|
||
|
|
||
|
One by one, almost each bottle was claimed. Somehow six more people I
|
||
|
didn't know had arrived. I secured an Old English for myself. The arrival of
|
||
|
the alcohol let people forget about Jason for half an hour.
|
||
|
|
||
|
I tried calling Mitch again. After six rings he finally picked up. He
|
||
|
could get the shrooms for me, thank God. When I hung up, Jason was calling
|
||
|
again. "Don't pick it up if it says 'hotel'!" Cassandra reminded us.
|
||
|
|
||
|
"Yeah, Jason?" I answered.
|
||
|
|
||
|
"I been waitin' for a while! You got any shrooms yet?"
|
||
|
|
||
|
"Yeah, yeah, I'm getting some from Mitch."
|
||
|
|
||
|
"Man, it still sounds like a party over there," Jason noticed.
|
||
|
|
||
|
"It's not a party, man."
|
||
|
|
||
|
Reed was drunk and yelled out something about sinking into the carpet.
|
||
|
|
||
|
"Um, Drew?" Jason said slowly.
|
||
|
|
||
|
"Yup?"
|
||
|
|
||
|
"Is that motherfucker Reed I hear?"
|
||
|
|
||
|
"No way, man. It's someone on TV."
|
||
|
|
||
|
"I'm gonna slaughter that bitch!"
|
||
|
|
||
|
"Go ahead, but he's not here."
|
||
|
|
||
|
"Fuck you, you lying cunt! That's him!"
|
||
|
|
||
|
"Jason, stay put, man. I'm heading over with the shrooms right now.
|
||
|
Oughta be another half hour. Don't freak out."
|
||
|
|
||
|
"I don't know, man. You better be fast."
|
||
|
|
||
|
He hung up.
|
||
|
|
||
|
"Uh, guys?" I called out. Most of the partygoers were lying peacefully
|
||
|
with their 40's in front of the television. "Jason might be coming over."
|
||
|
|
||
|
Instantly Cary jumped up with his fists in the air. His bottle was
|
||
|
empty. "I'm gonna massacre that faggot!!"
|
||
|
|
||
|
Reed finished off his bottle and said curtly, "I'm outta here. Call me
|
||
|
tomorrow, somebody."
|
||
|
|
||
|
"Come back, Reed! I won't let him inside!" Cassandra called after him.
|
||
|
|
||
|
One of the newcomers, wearing a Korn shirt, announced, "I've been meaning
|
||
|
to settle a score with that cuntlick for a while now." He walked into the
|
||
|
kitchen and found a pair of gardening clippers. "If that cuntlick comes in
|
||
|
here, I'm gonna stick 'im."
|
||
|
|
||
|
"If he gets past me, you can do whatever you want," Cassandra assured
|
||
|
Korn-boy. "I don't want any trouble."
|
||
|
|
||
|
"I'm gonna stick 'im on both sides of the neck. Bam! Bam!" he
|
||
|
illustrated with swift jabs of the clipper at an imaginary neck.
|
||
|
|
||
|
Cary appeared with a baseball bat. "I'll keep him down for you in case
|
||
|
he squirms," he said.
|
||
|
|
||
|
"No one let Jason in here!" Cassandra yelled. "I don't want the cops to
|
||
|
find alcohol here."
|
||
|
|
||
|
I finished off my Old English quick and then headed over in my car to
|
||
|
Mitch's place. I didn't have much against Jason except he was stupid.
|
||
|
|
||
|
* * * * *
|
||
|
|
||
|
I arrived at Mitch's place, and apparently I was a little drunk, because
|
||
|
I'd totally forgotten that Mitch would want money for the shrooms. I tried to
|
||
|
haggle him into lending them to me until I could repay him. After several
|
||
|
minutes, he brudgingly agreed. I was about to leave when I wondered if I was
|
||
|
fit to drive. I performed a test.
|
||
|
|
||
|
"Dissociative hallucinogen," I enunciated.
|
||
|
|
||
|
"Whaaaat?" Mitch asked, bemused.
|
||
|
|
||
|
"Dissociative hallucinogen," I said.
|
||
|
|
||
|
"You're fuckin' plastered, man!"
|
||
|
|
||
|
"No I'm not," I said, "I can pronounce 'dishoshative hallushogen'." Then
|
||
|
I stumbled into the door.
|
||
|
|
||
|
"You better drive home fast before you get any drunker," Mitch said.
|
||
|
|
||
|
"Good advice."
|
||
|
|
||
|
I drove over to Jason's place. It was past midnight on a Friday morning,
|
||
|
so there weren't many other people on the street. The bastards would've
|
||
|
gotten in my way otherwise. I pulled up in his driveway and rang the
|
||
|
doorbell.
|
||
|
|
||
|
"Here you are, dude," I said, handing the baggie to the person who
|
||
|
answered the door. Holy fuck! It was Jason's dad!
|
||
|
|
||
|
"What's this? Who are you?" he asked, confused, examining the baggie.
|
||
|
|
||
|
"Uh, give 'em back," I said.
|
||
|
|
||
|
"No, young man, explain this to me. Is this marijuana?!"
|
||
|
|
||
|
"No, it's not. Wrong house, dude!"
|
||
|
|
||
|
I snatched the bag out of his hands and ran off.
|
||
|
|
||
|
"Come back here!" his dad cried as I stumbled back to my car.
|
||
|
|
||
|
I backed out of the driveway and tried to figure out what to do about
|
||
|
this. I had a great plan. I'd circle around the block and then try again.
|
||
|
|
||
|
I circled around the block and tried again. I was about to ring the
|
||
|
doorbell when Jason opened the door.
|
||
|
|
||
|
"What the fuck are you doin', bitch?!" he hissed at me.
|
||
|
|
||
|
"Your shrooms, dude," I said as quietly as possible, but somehow I heard
|
||
|
it echo through the house. His dad heard me and said, "Is he back?"
|
||
|
|
||
|
"Bitch!" he hissed, hitting my shoulder and making me fall backwards.
|
||
|
"Go! Go! I'll meet up with you!"
|
||
|
|
||
|
I stumbled back to the car and left in a hurry. My balls were retracted,
|
||
|
I had to piss, and Jason was gonna show up at the party now. I hoped Jen
|
||
|
would still lay me.
|
||
|
|
||
|
As I approached Cassandra's house again, I spotted a cop car parked along
|
||
|
the road. I slowed down cautiously, passed him, and tried to pull up on the
|
||
|
side of the street across from the party. Instead I misfired and drove up
|
||
|
into someone's lawn. The pig flashed his lights and tagged me.
|
||
|
|
||
|
"GET OUT OF THE CAR," his bullhorn yelled at me, startling me, making me
|
||
|
dribble in my pants. "Fuck!" I screamed, banging my fists on the steering
|
||
|
wheel. I shoved the shrooms in the crack of the seat and stepped out of the
|
||
|
car.
|
||
|
|
||
|
I stumbled and fell over onto the road. But I stood up suavely and
|
||
|
asked, "What's the problem, officer?"
|
||
|
|
||
|
"Have you been drinking?" he demanded.
|
||
|
|
||
|
"No sir," I said, honestly.
|
||
|
|
||
|
"You parked too close to the curb," he pointed out.
|
||
|
|
||
|
"Oh, I'm sorry. I'll move my car."
|
||
|
|
||
|
"Too late. I'll have to write you a ticket."
|
||
|
|
||
|
I was pissed off. What was even worse, I was too drunk to make out what
|
||
|
the ticket said. I promptly walked into Cassandra's house and told them about
|
||
|
the pig.
|
||
|
|
||
|
"Turn down the music!" Cassandra announced. "There are cops parked up
|
||
|
the street! We don't want to attract attention. Please, be cool. My parents
|
||
|
would hurl."
|
||
|
|
||
|
"Hey, Drew, that bitch Jason's been calling back here!" Korn-boy said.
|
||
|
"We didn't answer the phone. Is that cunt coming over?"
|
||
|
|
||
|
"Um, maybe."
|
||
|
|
||
|
"He better not show up, goddammit, or else I'll stick 'im!" Korn-boy now
|
||
|
had two steak forks. He practiced his moves on the defenseless open air. Cary
|
||
|
swung his bat into the couch. "Maybe I'll pop his nuts first," Korn-boy
|
||
|
considered.
|
||
|
|
||
|
"If he gets past me, you can do whatever you want," Cassandra repeated.
|
||
|
"This is my house, and if he doesn't respect me, then that's just trespassing
|
||
|
and you guys are just defending yourselves. I hate that asshole. Reed is
|
||
|
already long gone. He has no reason to come over now."
|
||
|
|
||
|
With the music off, and Trainspotting now over, people had calmed down. I
|
||
|
went out in the backyard to find Jen in the hot tub still.
|
||
|
|
||
|
"Say, baby, wanna fuck?" I asked.
|
||
|
|
||
|
"Aw, shit, no way dog! I'm tripping."
|
||
|
|
||
|
"Are you serious?"
|
||
|
|
||
|
"Hell yeah, now go away."
|
||
|
|
||
|
What the fuck! I realized that Vanessa was also in the hot tub, and oh
|
||
|
shit, she was wearing a bikini! No, no, I strained harder to look -- she was
|
||
|
actually in her panties!
|
||
|
|
||
|
"Oh, Vanessa, girl, you're hurting me!"
|
||
|
|
||
|
"Am I?" she cooed. "What can I do about that?"
|
||
|
|
||
|
Fuck me, fuck me, fuck me. "Fuck me!"
|
||
|
|
||
|
She laughed. "Good lord! You've got *two* hands, Drew. Figure it out
|
||
|
for yourself, okay, little boy?" Aaaaw, yes! I reached down and fondled her
|
||
|
breasts, when she yelled, "Get off me, asshole!" and suddenly grabbed my arms
|
||
|
and pulled me into the hot tub. Holy shit, it was hot! I was boiling!
|
||
|
|
||
|
"Aaaugh! Auggh!" I screamed, splashing my way out of the pool. "Fuck
|
||
|
you, bitch! Fuck you!" Vanessa was laughing at me. Jen was just staring
|
||
|
into the emptiness.
|
||
|
|
||
|
Denied again! I stormed back into the house and took off my shirt. I
|
||
|
stood in the kitchen smoking, when I got an idea. I opened up the
|
||
|
refrigerator and found a can of Cool Whip. Awesome. I exhaled, held the can
|
||
|
up to my mouth, and gently pressed on the nozzle.
|
||
|
|
||
|
After a few seconds of inhaling, I started to hear this loud buzzing
|
||
|
sound. My field of vision went bright white, and I felt myself climbing,
|
||
|
climbing, and then it suddenly stopped. When I came to, I was sprawled on the
|
||
|
ground lying in my own vomit. Vanessa was standing over me, as sexy as hell,
|
||
|
laughing.
|
||
|
|
||
|
"You pitiful drunk fuck," she said, and walked off.
|
||
|
|
||
|
Shit! Dammit shit! I'd never use *that* brand of Cool Whip again.
|
||
|
|
||
|
I was a bit confused for a while as I washed myself off. What time was
|
||
|
it? Was Jason showing up yet or what? Did I get laid? I stumbled over to
|
||
|
the couch and lay down. Jeremy was still bouncing around on his ass, and I
|
||
|
couldn't relax.
|
||
|
|
||
|
"Everyone, there's all these cops parked up the road, so like, don't go
|
||
|
outside if you're drunk," Cassandra said. "Does anyone want this last Rolling
|
||
|
Rock?"
|
||
|
|
||
|
"Is he comin' over, man?" Korn-boy demanded. "I'm still ready for 'im."
|
||
|
|
||
|
"Dude, I tried to drop off the shrooms but his dad overheard. He said
|
||
|
he'd meet me later."
|
||
|
|
||
|
The phone was ringing again. I hopped up to get it.
|
||
|
|
||
|
"Drew! Don't fuckin' sit on the couch anymore! You're wet!" Cassandra
|
||
|
moaned.
|
||
|
|
||
|
It was Jason on the phone. "Motherfucker, I am gonna slaughter you,
|
||
|
bitch!"
|
||
|
|
||
|
"Man, calm down, what's up?" I asked.
|
||
|
|
||
|
"My old man is calling the cops to search my room for drugs, man. You
|
||
|
are gonna die."
|
||
|
|
||
|
"Flush 'em!" I suggested.
|
||
|
|
||
|
"Can you flush a kilo of weed, asshole?"
|
||
|
|
||
|
"Do you still want those shrooms?"
|
||
|
|
||
|
"I'd advise you to find a better gun than mine, bitch, that's all I'm
|
||
|
sayin'." He hung up.
|
||
|
|
||
|
I walked back over to the couch. "Say, Cary?"
|
||
|
|
||
|
"Yeah Drew?"
|
||
|
|
||
|
"Jason's on my ass now too."
|
||
|
|
||
|
"That motherfuckin' cocksuckin' faggot! Where is he?"
|
||
|
|
||
|
"He's at home, I think."
|
||
|
|
||
|
"Keith!" he called to Korn-boy sitting outside in the hot tub. "It's
|
||
|
time!" Keith stormed inside and grabbed the steak forks again. "His house,
|
||
|
man!" Cary slid his hands up and down the bat. "Let's go!" They took off.
|
||
|
|
||
|
I pretty much figured I wasn't gonna get laid. Didn't get my smack
|
||
|
either. The alcohol was wearing off too. This party really sucked. I
|
||
|
decided to go home.
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
Why laugh at himself, however, when Shrike was waiting at
|
||
|
the speakeasy to do a much better job? "Miss
|
||
|
Lonelyhearts, my friend, I advise you to give your readers
|
||
|
stones. When they ask for bread, don't give them crackers
|
||
|
as does the Church, and don't, like the State, tell them
|
||
|
to eat cake. Explain that man cannot live by bread alone
|
||
|
and give them stones. Teach them to pray each morning:
|
||
|
'Give us this day our daily stone.'"
|
||
|
|
||
|
He had given his readers many stones; so many, in
|
||
|
fact, that he had only one left -- the stone that had
|
||
|
formed in his gut.
|
||
|
|
||
|
--Nathaniel West
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
THE JEWESS
|
||
|
by Nemo est Sanctus
|
||
|
|
||
|
I entered into her apartment. No matter how my day may go, I always like
|
||
|
the ability to come home to one place where I can feel secure and
|
||
|
unthreatened, a place where I am, if not welcome, accepted. It is "her"
|
||
|
apartment, but it is "our" life. "Our" relationship.
|
||
|
|
||
|
I found her dressing for bed, in her billowing white nightdress. Her
|
||
|
edges melted as the breeze through the open window caused the light cloth to
|
||
|
rise and dance around her otherwise nude body. Most every light in the
|
||
|
apartment was out, and she was placing her small glasses on the night table,
|
||
|
bending over, her round form silhouetted against the night coming in through
|
||
|
the curtain and through her dress, when the scraping sound of the lock and
|
||
|
opening door got her attention. In the darkness, I know she impulsively
|
||
|
squinted at the doorway, unthinking of the glasses she had yet to lay down.
|
||
|
|
||
|
Her eyes squinted further and dropped down to her hands as I turned on
|
||
|
the overhead light in a violent, impatient gesture. The shades of her almost
|
||
|
bare body illuminated through the diaphanous cloth, from rose petal pink
|
||
|
circles to a shadow black triangle, and all the tawny tints between. The
|
||
|
synergy of almost nudity and abashed surprise made her look delightfully
|
||
|
offbalance, vulnerable, rapable. It suited my mood.
|
||
|
|
||
|
Her eyes adjusted rapidly, and she attempted to raise the corners of her
|
||
|
mouth as she raised her face. Despite her honest efforts, she still looked
|
||
|
less uplifted than uncertain.
|
||
|
|
||
|
Thinking rapidly, I barked at her about being suddenly unwelcome in her
|
||
|
life. Her innocent stammering that she had expected by now I was not coming
|
||
|
to her apartment and would be doubtless sleeping in my own I took as more fuel
|
||
|
for my fire. They were, of course, reasonable protests, even if reason was
|
||
|
not the foremost of her capacities. Had the door been unlocked it would have
|
||
|
been support for my attacking her negligence.
|
||
|
|
||
|
As I assaulted her, her eyes opened wider, well past squinting.
|
||
|
Confused, lost, lamblike, she winced, withered under my words, and I drew
|
||
|
strength from her fear. She tried to defend herself, but all she could do was
|
||
|
withdraw into herself -- giving me legitimate reason to batter through her
|
||
|
defenses, and join to her in there.
|
||
|
|
||
|
Our war dance had ended with her backed against the foot of the bed, and
|
||
|
I over her. With a blow, she was on the bed, sitting, more stunned than hurt.
|
||
|
One hand against her face, the other balanced her weight as she leaned back,
|
||
|
her nightdress caught twisted around her convulsing fingers and dragged
|
||
|
somewhat down her bosom.
|
||
|
|
||
|
The very innocence of her confusion infuriated me. I was tempted to
|
||
|
strike again, but diverted my blow, instead pressing her under me, holding her
|
||
|
to the bedclothes by her throat. She did not cry out; she did not even
|
||
|
struggle. A tear or two rolled down her face, glistening in the stark lights,
|
||
|
more from strain than misery, but the only movement she made was to roll
|
||
|
slightly to the sides so I could easier slide off her nightdress. Saddened,
|
||
|
she was pinned to the bed like an animal caught in headlights. My grip, while
|
||
|
there, was superfluous.
|
||
|
|
||
|
Her mother, understand, had done her a great disservice. Her mother had
|
||
|
filled her with all kinds of romantic notions, telling her that sex has
|
||
|
something to do with love. She thinks the idiom "making love" has a literal
|
||
|
meaning. She never came to have a healthy barrier erected between her
|
||
|
physical and emotional desires. This made her very vulnerable to anyone
|
||
|
capable of taking advantage of this weakness. She is unable to conceive of
|
||
|
the difference between love and lust.
|
||
|
|
||
|
When her body answers, she feels it to be love. It may sadden her; in
|
||
|
the mornings she has snuck off to cry, thinking I did not care enough to spy
|
||
|
on her, to observe and understand her emotions. Despite the confusion,
|
||
|
despite the self-loathing, her body had begun to answer even before I had
|
||
|
struck her to the bed. By the time we were conspiring to bring down the
|
||
|
diaphanous walls separating her body from mine, she was well confirmed in what
|
||
|
she believed her love.
|
||
|
|
||
|
Pressed, terrorized and hungry beneath me, I forced myself to higher
|
||
|
hates, to preserve my desire. Sitting sobbing in my arms, when I am pleased
|
||
|
to be tender, she can be my Rachel, my lamb, an imperfect female offering, fit
|
||
|
for profanation, not the sacred. In times like these, she just a jewess, one
|
||
|
of the once-chosen race.
|
||
|
|
||
|
Those who have not learned to do it seldom believe the range of emotional
|
||
|
fine tuning mere vocabulary can do. Focusing my mind on the negative, real or
|
||
|
imagined, I could feel the love draining out of me, leaving me the pure power
|
||
|
of hate for this girl. No sympathy, no pity, no weakness. I focused instead
|
||
|
on what I wanted to see. The cleanliness of this person, for example, moral
|
||
|
and otherwise, is a point in itself. By her very exterior I can tell she is
|
||
|
no lover of water, and, to my distress, I find I can know it with my eyes
|
||
|
closed. I find myself growing sick to my stomach from her very smell. Added
|
||
|
to this is her unclean dress and generally unheroic appearance. A loathing, a
|
||
|
sense of justice at her rape, fills the mind.
|
||
|
|
||
|
I continue my meditation on her person. This could scarcely be called
|
||
|
very attractive; but it becomes positively repulsive when, in addition to her
|
||
|
physical uncleanliness, I contemplate the moral stains on this, my chosen
|
||
|
member of the self-chosen race.
|
||
|
|
||
|
My mind floats to the occasional other jewess I have known. I recall one
|
||
|
in particular, a different kind of jewess, more swarthy, more angular, with
|
||
|
less Aryan blood intermingled. I picture her in bed with her constant
|
||
|
companion, her little girl-toy. If the words "faded pink cream puff" can have
|
||
|
true meaning, a transcendental signified of sorts, an avatar, an incarnation,
|
||
|
an actress in the morality play of life, it would be she. Rounder and
|
||
|
shorter; pink in the cheeks without being red, or ruddy, or even healthy. She
|
||
|
is Aryan -- more so than not -- but of a very weak form, from her weak chin to
|
||
|
the weak will that made her the plaything of a Lesbian jew more likely more
|
||
|
interested in possession of an Aryan, however deficient, than any conception
|
||
|
of "love" she may have been capable of. The two of them squirm and writhe in
|
||
|
each others' arms, in each others' beds, in my mind. They twist and contact
|
||
|
with fingers, arms, tongues, breasts and bodies and bellies, and the
|
||
|
intermingled loathing, the loathed intermingling, race mixing, Lesbian,
|
||
|
jewish, increases my hateful ardor.
|
||
|
|
||
|
I picture myself cutting, entering carefully into my jewess as into an
|
||
|
abscess and finding, like a maggot in a rotting body dazzled by the light, a
|
||
|
jew, this jew, every jew. I choke down my bile and grit my teeth.
|
||
|
|
||
|
In the end, this pleases both of us, on our own levels. For myself, the
|
||
|
little conquest, and little slaying, validates myself. If not welcome, I am
|
||
|
accepted. For hers, the bedplay seems to her a way of taming the wild beast.
|
||
|
Her body tells her she loves me, and her fears tell her the way to keep me is
|
||
|
to satiate me. She believes in redemptive suffering, in self-sacrifice.
|
||
|
|
||
|
Doubtless, this is why it continues to play out, why I come back, and why
|
||
|
she welcomes me.
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
|
||
|
"I must not fear. Fear is the mindkiller. Fear is the little death that
|
||
|
brings total obliteration. I will face my fear. I will permit it to
|
||
|
pass over me and through me. And when it has gone past I will turn the
|
||
|
inner eye to see its path. Where the fear has gone there will be
|
||
|
nothing. Only I will remain."
|
||
|
--The Bene Gesserit Litany Against Fear
|
||
|
Frank Herbert, _Dune_
|
||
|
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|
||
|
BRAiN FiLTER: A DEPENDENCY ON REALiTY
|
||
|
by Kilgore Trout
|
||
|
|
||
|
[thursday]
|
||
|
|
||
|
"And so it begins," she said, putting her head in her hands. I stared at
|
||
|
the chipped purple polish on her nails.
|
||
|
|
||
|
"It's finished," I countered after the silence grew too much to bear.
|
||
|
|
||
|
"No, you're wrong. It always starts up again. It never ends."
|
||
|
|
||
|
"This time, it's over," I muttered without her hearing. At least, I
|
||
|
hoped it was.
|
||
|
|
||
|
Joanna leaned back on the sofa and drifted off to sleep. I watched her
|
||
|
for awhile, studying her rhythmic breathing and wondering what she was
|
||
|
dreaming about. We had been through a lot in the past few weeks, and I still
|
||
|
didn't know much about her. That was partly due to my not wanting to appear
|
||
|
nosy, but I couldn't help asking myself why she had chosen me.
|
||
|
|
||
|
I stood up slowly, trying not to disturb her, and went into the kitchen.
|
||
|
What if she was right? Was all of our work in vain? I made a turkey
|
||
|
sandwich, grabbed a beer from the fridge, and sat down at the table, pushing
|
||
|
Joanna's purse aside to make room. Maybe Jonathan was right. Maybe we were
|
||
|
fools for thinking that we could win. But he was dead now, and, to me, all
|
||
|
the indicators pointed to events finally reaching a conclusion. If it was
|
||
|
just an impasse, a temporary delay.... Better not to think of that and just
|
||
|
relax.
|
||
|
|
||
|
The apartment we were in was small and hers. A spartan affair, Joanna
|
||
|
had only enough furniture to be serviceable. This was only the second time I
|
||
|
had been here, and it seemed like the first was so long ago, even though it
|
||
|
had only been a few days. I shuddered to think how my friends and family must
|
||
|
still be worrying about my sudden disappearance, but they wouldn't believe me
|
||
|
if I went back and told them everything. Not that I really wanted to, because
|
||
|
a reinsertion into normal life would be impossible. I was better off leaving
|
||
|
those ties severed and making a fresh start.
|
||
|
|
||
|
I finished the sandwich and beer and got up, accidentally knocking the
|
||
|
purse off of the table. An envelope, a package of sleeping pills, and a
|
||
|
wallet fell out when I picked the purse up. I set the beer on the table and
|
||
|
took the envelope. It had already been opened and had my name on it. My
|
||
|
fingers shook as I tore open the envelope. Why hadn't Joanna showed me this?
|
||
|
Why had she opened it and not told me? Inside the envelope was a small piece
|
||
|
of paper with a yellow smiley face drawn on it. Underneath the face were the
|
||
|
words, "Mr. Happy says, 'And so it begins.'"
|
||
|
|
||
|
I went cold when I saw that, and then the front door was kicked in. I
|
||
|
turned to see Joanna jump off the couch, and four masked men with handguns
|
||
|
barged into the apartment. Before I could grab the beer bottle, I found
|
||
|
myself staring down the barrel of a Colt .45. Joanna stood motionless with
|
||
|
guns trained on her.
|
||
|
|
||
|
"You know, Paul, it's not nice to kill defenseless girls," one of the men
|
||
|
said.
|
||
|
|
||
|
I looked at him in bewilderment. "What the hell are you talking--"
|
||
|
|
||
|
The man nearest Joanna fired five shots into her chest. She flew back
|
||
|
into the sofa, her white sweater covered in blood. He turned and tossed me
|
||
|
the gun, which I aimed and emptied the clip into him.
|
||
|
|
||
|
He just stood there, laughing and unscathed.
|
||
|
|
||
|
"Haven't you figured it out yet, Paul?" the man closet to me asked. "We
|
||
|
can't die, but you sure as hell can."
|
||
|
|
||
|
He raised his pistol above his head and slammed it into my forehead.
|
||
|
|
||
|
* * * * *
|
||
|
|
||
|
[monday]
|
||
|
|
||
|
"Do you mind if I sit with you? I hate seeing someone eat alone," a
|
||
|
woman's voice said.
|
||
|
|
||
|
I closed the copy of Bertrand Russell's _The Problems of Philosophy_ that
|
||
|
I was reading and looked up. She couldn't have been more than twenty-two, and
|
||
|
she flashed a friendly smile.
|
||
|
|
||
|
"Sit right down," I replied. "No sense in subjecting my palette to this
|
||
|
rancid dorm food alone."
|
||
|
|
||
|
"It's funny," she said, seating herself across from me. "I've never seen
|
||
|
you around here before."
|
||
|
|
||
|
I poked my fork at the spaghetti as I tried not to laugh at the feeble
|
||
|
attempt at a pick-up line. Not that I minded, but she could have been a bit
|
||
|
more original. I repressed my desire to ask her what a nice girl like her was
|
||
|
doing at a college like this and played along.
|
||
|
|
||
|
"Well, I've been going here forever. I have a tendency to be invisible."
|
||
|
|
||
|
The woman raised her hands up in mock shock and said, "Whoa! Where'd you
|
||
|
go?" I smiled and politely sipped on my tea. Unfortunately, I was still
|
||
|
here.
|
||
|
|
||
|
"I'm Joanna, by the way."
|
||
|
|
||
|
"I'm Paul."
|
||
|
|
||
|
"I see you're reading Russell. Are you a philosophy major?"
|
||
|
|
||
|
"No. English, actually."
|
||
|
|
||
|
"Oh. You look like a philosophy major. Have you ever read his essay,
|
||
|
"'Why I am not a Christian?'"
|
||
|
|
||
|
"Can't say that I have." At least she had good taste in writers.
|
||
|
|
||
|
"You oughta check it out."
|
||
|
|
||
|
"I'll have to look at it sometime."
|
||
|
|
||
|
Joanna stared at me for a second. "Am I bothering you? If I am, I can
|
||
|
leave."
|
||
|
|
||
|
"No, it's alright. I'm just not used to carrying on conversations on
|
||
|
campus all that much. I tend to keep to myself most of the time."
|
||
|
|
||
|
"Why is that? You don't exactly seem like the loner type."
|
||
|
|
||
|
"You also thought I was a philosophy major."
|
||
|
|
||
|
She laughed. "Touche. We've established that I can tell jack about you
|
||
|
from my perceptions, but that doesn't answer my question. You're friendly,
|
||
|
you are obviously well-read and intelligent, and you aren't hideously
|
||
|
disfigured. I'd think you'd have a few friends around here."
|
||
|
|
||
|
"I do have friends, but they aren't around here. I came to college to
|
||
|
get away from everybody, to try to find myself. That sounds hokey, but that
|
||
|
was my thinking when I got out of high school."
|
||
|
|
||
|
"And what did you find out about yourself?"
|
||
|
|
||
|
"That I'm inordinately different than most other people."
|
||
|
|
||
|
"Most people are. Otherwise, the world would be really boring."
|
||
|
|
||
|
"At a more fundamental level," I elaborated. I don't adhere well to
|
||
|
normal social conventions. I can put up a good front that makes people
|
||
|
believe I'm an average guy, but that takes effort."
|
||
|
|
||
|
Joanna leaned back in her chair, finished with her meal. "And you're
|
||
|
doing that right now? Are you just feeding me a bunch of lines to amuse
|
||
|
yourself at my expense?"
|
||
|
|
||
|
"Obviously not, since I'm explaining what I normally do. Most people
|
||
|
take my aloofness as a sign that I want to be left alone. Others who attempt
|
||
|
to get to know me usually find me distant and obscure, not to mention boring
|
||
|
as hell."
|
||
|
|
||
|
"I don't, just to let you know. Doesn't the social isolation get to
|
||
|
you?"
|
||
|
|
||
|
"Not really," I answered.
|
||
|
|
||
|
"But don't you ever want companionship, people who you can talk to to?
|
||
|
At the very least, someone to vent to?"
|
||
|
|
||
|
"I've got my outlets. My studies keep me occupied. I write a lot, and I
|
||
|
see my old friends when I go back home."
|
||
|
|
||
|
"I dunno," she sighed, running a hand through her cropped, blond hair.
|
||
|
"It just seems so... lonely."
|
||
|
|
||
|
"Maybe so. But I usually find that I don't have enough time to get
|
||
|
everything I want done."
|
||
|
|
||
|
"And what could you be doing that would take up that much time?"
|
||
|
|
||
|
She sure was asking a bunch of questions for someone who had just met me.
|
||
|
Maybe Joanna was smarter than she let on. I couldn't tell if she had been
|
||
|
putting on an act like I usually did, but my interest was definitely peaked.
|
||
|
And now she wanted to know what I was doing in my spare time, and that was
|
||
|
something I wasn't sure that I wanted to divulge. After all, she sounded
|
||
|
interested in me, and she seemed interesting herself for that reason. I
|
||
|
didn't want to scare her off.
|
||
|
|
||
|
"I don't know that you'd understand," I said.
|
||
|
|
||
|
"Try me," she replied, frowning. "I'm not some dumb buffoon that can't
|
||
|
understand complex ideas."
|
||
|
|
||
|
"I didn't mean to imply that. It's just that it's kind of personal, and
|
||
|
I have a hard time explaining it even to myself, much less somebody else."
|
||
|
|
||
|
"Well, while you make up your mind about telling me, I have a confession
|
||
|
to make. I lied when I said that this was the first time I had seen you.
|
||
|
Truth is, I've actually been spying on you for awhile."
|
||
|
|
||
|
That got my attention. "Spying?" I asked.
|
||
|
|
||
|
"That's a really bad choice of words on my part," Joanna explained, "but
|
||
|
that's essentially what I've been doing for the past week."
|
||
|
|
||
|
"And why, pray tell, would you do a thing like that?"
|
||
|
|
||
|
Joanna looked at her watch. "Shit. I've got a class in five minutes.
|
||
|
Damn night classes. You have to do anything else today?"
|
||
|
|
||
|
"No, I don't. Why were you spying on me?"
|
||
|
|
||
|
"There's something you need to see first," she said, standing up. "Meet
|
||
|
me in the west parking lot at 7:30. We'll go to my apartment."
|
||
|
|
||
|
"Wait. What do I need to see? What is it?"
|
||
|
|
||
|
"7:30," she repeated. "I'll explain everything."
|
||
|
|
||
|
I watched Joanna put up her tray and walk out of the cafeteria. What the
|
||
|
hell was going on? She definitely had captured my interest now, but I felt
|
||
|
wary to go along with her.
|
||
|
|
||
|
After I put up my tray, I went back to my dorm room to get a jacket.
|
||
|
|
||
|
* * * * *
|
||
|
|
||
|
[???]
|
||
|
|
||
|
I came to in a gold room with no door. An intense light shined down from
|
||
|
the ceiling, making me sweat. I took off my shirt and dried off my damp face
|
||
|
with it. The walls were smooth and shiny, and I couldn't tell how I had been
|
||
|
put in here. I pounded on the walls, trying to see if I could find a hidden
|
||
|
exit, but they were all solid.
|
||
|
|
||
|
The temperature in the room was rising. I looked up once to see what was
|
||
|
producing the light, but I couldn't see without going blind. After a while, I
|
||
|
took off my pants to try to keep cool. I sat down in a corner, wearing only
|
||
|
my boxers and shoes, and fanned myself with my hands. It didn't help much,
|
||
|
and I passed out from the heat.
|
||
|
|
||
|
When I regained my senses, the room was cold. I put my clothes back on
|
||
|
and tried to figure out how long I had been out. A half hour? An hour?
|
||
|
Perhaps days? I couldn't tell.
|
||
|
|
||
|
I noticed a black marker lying in the middle of the room and picked it
|
||
|
up. Uncapping it, I hesitated for a second and then began to write on the
|
||
|
walls uncontrollably. finishing, I looked at what I had written. The
|
||
|
handwriting was mine, but the words were not.
|
||
|
|
||
|
IMMORTALITY IS GOD, AND YOU ARE NOT GOD. YOU ARE
|
||
|
EXISTING IN A TRANSITORY STATE BETWEEN HEAVEN AND
|
||
|
HELL. YOUR REALITY IS OUR PLAYGROUND, AND YOU ARE
|
||
|
OUR PUPPET. WE CONTROL YOU AND THE WORLD IN WHICH
|
||
|
YOU THINK YOU LIVE IN. PERCEIVE NOTHING, FOR
|
||
|
EVERYTHING YOU SEE IS A LIE AND IS ALWAYS CHANGING.
|
||
|
WELCOME TO YOUR MIND'S EYE -- WHAT YOU SEE IS WHAT
|
||
|
WE WANT YOU TO SEE. ESCAPE IS IMPOSSIBLE, BECAUSE
|
||
|
NO ONE CAN ESCAPE THE CHAOS OF BEING.
|
||
|
|
||
|
The passage was repeated on all of the walls. I glanced down and saw a
|
||
|
drawn outline of a man in a spread eagle position. The marker dropped out of
|
||
|
my hand, landing on the floor and making a dot in the middle of the outline's
|
||
|
chest. The dot grew into a black circle, and I screamed as I was sucked into
|
||
|
the hole, into nothingness.
|
||
|
|
||
|
* * * * *
|
||
|
|
||
|
[monday]
|
||
|
|
||
|
I spotted Joanna sitting on the hood of an old Pontiac, and she waved. I
|
||
|
walked over to her car.
|
||
|
|
||
|
"I was afraid you might be weirded out and now show up," she confessed.
|
||
|
"I'm glad you decided to come. You have to realize that this is pretty
|
||
|
strange for me, too. It took me a long time to decide if I was even gonna
|
||
|
approach you."
|
||
|
|
||
|
I placed my hand on the hood of the car. "I still want to know why
|
||
|
you've been watching me."
|
||
|
|
||
|
"You'll have to wait until we get to my apartment," she said, hopping off
|
||
|
of the hood.
|
||
|
|
||
|
We got into the car, and Joanna started the engine and pulled out of the
|
||
|
parking lot. She turned on the radio and popped in a tape of some noise
|
||
|
collage band. We sat without speaking for a while as she navigated through
|
||
|
the light evening traffic. The music washed over me with loud guitars,
|
||
|
pounding drums, and voices that sounded like something from a Sufi dervish
|
||
|
rite.
|
||
|
|
||
|
"Could you turn that down a bit?" I requested.
|
||
|
|
||
|
She apologized and turned the volume knob to the left.
|
||
|
|
||
|
"Thanks. What is that?"
|
||
|
|
||
|
"I'm not sure, really. I taped it off of the college radio station a few
|
||
|
weeks back. It's good driving music. So, you never told me what keeps you
|
||
|
occupied in your spare time."
|
||
|
|
||
|
I shrugged. "I think I'd rather wait until I see what you've got for me
|
||
|
at your apartment. You show me yours, I'll show you mine."
|
||
|
|
||
|
"Fair enough," she laughed. "I can't blame you for being cautious. I'd
|
||
|
do the same in your shoes."
|
||
|
|
||
|
After about five more minutes of driving, we pulled into the Villa
|
||
|
Gardens apartment complex. She parked in front of one of the back units. We
|
||
|
exited the vehicle and climbed the stairs to her door. Joanna pulled out her
|
||
|
keys and tried to unlock the door.
|
||
|
|
||
|
"Shit," she cursed, smiling at me and switching keys. "I always get my
|
||
|
parent's house key confused with mine."
|
||
|
|
||
|
We went inside, and Joanna told me to make myself at home. She asked if
|
||
|
I wanted anything to drink, and I told her that water would be fine. I sat on
|
||
|
the couch, and Joanna brought over my glass of water. She disappeared into the
|
||
|
bedroom for a minute and reemerged with a small stack of photos, which she
|
||
|
handed to me.
|
||
|
|
||
|
The photographs were all of me in various places around campus. Me
|
||
|
reading a book under a tree. Me eating in the cafeteria. Me sitting in a
|
||
|
classroom attending a lecture. Me walking in the parking lot. Me checking my
|
||
|
mail in the student union building. Me watching television in the student
|
||
|
lounge. Me sleeping in my bed in my dorm room.
|
||
|
|
||
|
"How the fuck did you take these?" I asked, feeling violated. "How did
|
||
|
you get into my dorm room?"
|
||
|
|
||
|
"I didn't take those pictures," she answered.
|
||
|
|
||
|
"Well, who did?"
|
||
|
|
||
|
"I don't know. Honestly. They were mailed to me early last week."
|
||
|
|
||
|
"No return address?"
|
||
|
|
||
|
"No return address."
|
||
|
|
||
|
"Did you look at the postmark?"
|
||
|
|
||
|
"No. Damn, I should have. And I think that I accidentally threw away
|
||
|
the envelope when I was cleaning for the exterminator."
|
||
|
|
||
|
"That's just great, Joanna. Someone's been taking pictures of me, and I
|
||
|
have no way of even knowing where they came from."
|
||
|
|
||
|
"Paul, don't get pissy. I'm as much in the dark as you are. I want to
|
||
|
know why someone sent those pictures to me. Besides, there's still one more
|
||
|
picture."
|
||
|
|
||
|
Joanna produced the last photograph from behind her back and gave it to
|
||
|
me. The photo showed me driving in my car, and it looked like the picture was
|
||
|
taken by someone sitting in the back seat. In the passenger seat sat a
|
||
|
grey-haired man with a long, white beard, staring at me driving. He had a
|
||
|
wild grin on his face.
|
||
|
|
||
|
"Who's that man, Paul?" Joanna asked.
|
||
|
|
||
|
"I have no idea."
|
||
|
|
||
|
"What do you mean? He's in your car."
|
||
|
|
||
|
I looked up at Joanna. "I've never seen him before in my life."
|
||
|
|
||
|
Joanna sat down next to me. "This is too fucking weird."
|
||
|
|
||
|
"No shit," was all I could muster in reply.
|
||
|
|
||
|
I flipped through the photographs again in bewilderment. I tried to
|
||
|
remember seeing someone taking pictures of me on campus, but my mind drew a
|
||
|
blank. Some of the shots could have been taken from a hidden vantage point,
|
||
|
but the shots of me in bed and especially in the car disturbed me. And who
|
||
|
was that old man? He looked like a goddamn Santa Claus in a suit. And how
|
||
|
could someone take a photograph inside my own car without me knowing?
|
||
|
|
||
|
"Do you know why someone would be taking pictures of you?" Joanna
|
||
|
inquired.
|
||
|
|
||
|
"No," I said. "I think we should call the police."
|
||
|
|
||
|
"The police?"
|
||
|
|
||
|
"Yes, the police. I'm being stalked, from the looks of these. They were
|
||
|
in my dorm room, Joanna! I could be in danger."
|
||
|
|
||
|
"What can they do? And why would someone want to hurt you?"
|
||
|
|
||
|
"I don't know, and I don't want to find out. Where's your phone?"
|
||
|
|
||
|
Joanna pointed to the kitchen, and I got up.
|
||
|
|
||
|
"Paul, maybe it's just a prank. Some college kids having a joke at your
|
||
|
expense."
|
||
|
|
||
|
I shook my head. "This is too much for just a prank."
|
||
|
|
||
|
The phone rang. Joanna jumped off the couch and answered it. She
|
||
|
listened for a minute and set the phone back in its cradle. She turned
|
||
|
towards me, her face pale.
|
||
|
|
||
|
"It was them," she said.
|
||
|
|
||
|
"The people who took the photos?"
|
||
|
|
||
|
"Yes, and they're going to deliver a package here tomorrow."
|
||
|
|
||
|
"What type of package?"
|
||
|
|
||
|
"I don't know. But they did say we shouldn't contact the police."
|
||
|
|
||
|
"Fuck that!" I shouted, reaching for the phone. "They could be sending a
|
||
|
bomb for all we know. I'm not going to take any chances."
|
||
|
|
||
|
Joanna grabbed my hand. "they could have already killed you if they
|
||
|
wanted to. I say we wait."
|
||
|
|
||
|
"You're crazy."
|
||
|
|
||
|
"You're paranoid."
|
||
|
|
||
|
"Damn right, I'm paranoid. Someone taking pictures of me in places they
|
||
|
shouldn't be able to tends to make me that way."
|
||
|
|
||
|
"I understand that, Paul, but if we call the cops, we might not get that
|
||
|
package. We may never get to the bottom of this."
|
||
|
|
||
|
"And risk our lives? No way. We might not get answers, but at least
|
||
|
we'll be safe."
|
||
|
|
||
|
"Paul, Paul, listen to me. If they could get all of these pictures of
|
||
|
you without you knowing it, do you think the police are going to be any help?
|
||
|
Look at that picture of you sitting in the grass, Paul. Go on, look at it.
|
||
|
There are leaves in the foreground. They were in the tree above you, and you
|
||
|
had no inkling that anyone was there? Jesus, this is messed up."
|
||
|
|
||
|
I leaned up against the refrigerator. "Who are we dealing with? Are
|
||
|
they fucking invisible?"
|
||
|
|
||
|
"Maybe so, Paul. Maybe so."
|
||
|
|
||
|
"My God!" I exclaimed, throwing my hands up in disgust. "You don't
|
||
|
honestly believe in that crap, do you? Nobody can be invisible. That's so
|
||
|
absurd. It's impossible."
|
||
|
|
||
|
"Do you have any better ideas?"
|
||
|
|
||
|
"No."
|
||
|
|
||
|
"Then just shut up. I'm getting tired of you going off on me all the
|
||
|
time. This whole ordeal is already stressful enough without you dumping on
|
||
|
me."
|
||
|
|
||
|
"I'm sorry. It's just that--"
|
||
|
|
||
|
"I know, Paul. I know. You need to relax a little, that's all.
|
||
|
Nothing's going to happen until tomorrow, so all we can do is wait."
|
||
|
|
||
|
I went back into the living room and sat back down on the couch. Joanna
|
||
|
came over and joined me.
|
||
|
|
||
|
"What now?" I asked.
|
||
|
|
||
|
"We wait, I guess," she replied. "I can make some margaritas."
|
||
|
|
||
|
"I think something stronger is in order."
|
||
|
|
||
|
"The only thing I've got is some cheap tequila."
|
||
|
|
||
|
"Works for me. If you don't mind, I think I'd like to camp out on your
|
||
|
couch tonight. I can't fathom getting anything done at school after all
|
||
|
this."
|
||
|
|
||
|
"Me either. I'll get that bottle."
|
||
|
|
||
|
* * * * *
|
||
|
|
||
|
[???]
|
||
|
|
||
|
The sky was a bright pink, and I was standing on an endless black ocean.
|
||
|
The substance under my feet wasn't water -- it had the consistency of tar. I
|
||
|
started walking, and the tar stuck to my bare feet as I treaded along. I must
|
||
|
have been walking for an hour when I saw a table in the distance. I headed
|
||
|
for it, growing more tired with every step.
|
||
|
|
||
|
Two wicker chairs sat on either side of the table. I sat down in one of
|
||
|
them and waited. A finger tapped my shoulder, and I spun around. Behind me
|
||
|
stood a small, blond-haired girl clothed in a flowery summer dress.
|
||
|
|
||
|
"Hello there," she greeted, smiling. She was missing two front teeth.
|
||
|
|
||
|
"Who are you?" I asked. "Where am I?"
|
||
|
|
||
|
The small girl ignored my questions and walked over to the other wicker
|
||
|
chair. She had to climb into it due to her small stature.
|
||
|
|
||
|
"Let's have a tea party," she announced after she had positioned herself.
|
||
|
She clapped her hands twice, and a man in a butler's outfit appeared with a
|
||
|
tray. The butler put two tiny cups on the table and filled them with tea.
|
||
|
|
||
|
"You may go," she said to the butler, who walked off.
|
||
|
|
||
|
"Who are you?" I asked again.
|
||
|
|
||
|
"Drink your tea, Paul. You know who I am."
|
||
|
|
||
|
I looked at her for a moment. The resemblance was there, but it couldn't
|
||
|
be her.
|
||
|
|
||
|
"Joanna?" I stammered "Is it you?"
|
||
|
|
||
|
"Drink, Paul."
|
||
|
|
||
|
I sipped at the tea. It was sweet, flavored with honey.
|
||
|
|
||
|
"But you're dead," I said. "And you weren't a child. This has to be a
|
||
|
dream."
|
||
|
|
||
|
Joanna smiled again. "I've always been alive, Paul. It's you who are
|
||
|
dead."
|
||
|
|
||
|
"But I'm here, talking to you right now. What have they done to us?"
|
||
|
|
||
|
"They haven't done a thing to us. You're doing this to yourself. You
|
||
|
were so close, Paul. Oh, were you close. You almost had the answer, but you
|
||
|
couldn't believe."
|
||
|
|
||
|
"What is this place, Joanna? Where are we? Why are you still alive? I
|
||
|
watched you die. This can't be real."
|
||
|
|
||
|
"This isn't real, Paul? What is it, then? A dream? Then wake up. Wake
|
||
|
yourself up if you are asleep."
|
||
|
|
||
|
I bit into my arm, enough to draw blood. I was still here. I ran a
|
||
|
finger over the bitemark and licked the blood off my fingers.
|
||
|
|
||
|
"Still think this is a dream, Paul? Is that blood a delusion? Was the
|
||
|
pain you felt a product of your imagination?"
|
||
|
|
||
|
I stood up. "What did you mean when you said, 'It never ends.'"
|
||
|
|
||
|
"Exactly that. You're caught in your own mind. You have to find a way
|
||
|
out, or you'll keep going on and on."
|
||
|
|
||
|
"How do I do it, Joanna? Help me.
|
||
|
|
||
|
The small girl drank some tea and stared at me. The tar underneath me
|
||
|
started to move, and I began to sink.
|
||
|
|
||
|
"Goddammit, help me!" I shouted. "I'm sinking.
|
||
|
|
||
|
"It never ends, Paul. It never ends."
|
||
|
|
||
|
I fell forward and hugged the chair to stop my descent, but the chair
|
||
|
started going down with me. The Joanna-girl didn't move.
|
||
|
|
||
|
"You aren't Joanna," I accused. "The real Joanna would save me."
|
||
|
|
||
|
"God helps those who help themselves," she said.
|
||
|
|
||
|
I was waist deep in the sludge. "And who is God? Who is he?"
|
||
|
|
||
|
The girl got off of the chair and walked away. I could do nothing but
|
||
|
watch as I was pulled under.
|
||
|
|
||
|
* * * * *
|
||
|
|
||
|
[tuesday]
|
||
|
|
||
|
I woke up with a slight headache, and it took me a couple of seconds to
|
||
|
realize that I wasn't on the couch but in a bed. I rubbed my eyes and turned
|
||
|
my head to the left. Joanna was lying there, looking at me.
|
||
|
|
||
|
"Good morning, Paul," she said, grinning.
|
||
|
|
||
|
"Did we?" I hesitatingly asked.
|
||
|
|
||
|
She nodded. "And it was pretty good, too. I hate to say this, but you
|
||
|
needed to get laid. You were way too tense."
|
||
|
|
||
|
I rolled over on my side. "I don't remember a thing."
|
||
|
|
||
|
"I'm not surprised, considering how much you had to drink. I was glad
|
||
|
you didn't puke, though. And don't worry -- we used protection."
|
||
|
|
||
|
"I'm sorry. I didn't mean for this to happen."
|
||
|
|
||
|
"Don't be. Besides, I was kinda hoping we'd get together sometime. I
|
||
|
figured it would be after this whole mess would be over, but sooner is just
|
||
|
fine with me. I hope you're not upset."
|
||
|
|
||
|
I reached over and stroked her cheek. "No, no. I just wished I could
|
||
|
remember."
|
||
|
|
||
|
"You were great," she said, leaning forward and kissing me on the cheek.
|
||
|
"I'm gonna take a shower. Would you mind getting the paper?"
|
||
|
|
||
|
Joanna slid out of bed and went into the bathroom. I heard her start the
|
||
|
water, and I put a hand on my forehead and grimaced. I had never done
|
||
|
anything this reckless. One night stands were never my thing, and I certainly
|
||
|
didn't need any more complications right now.
|
||
|
|
||
|
After putting on my jeans, I went out onto the porch. I picked up the
|
||
|
paper and was about to go inside when a man came up the stairs. He was
|
||
|
balding and wore a brown suit.
|
||
|
|
||
|
"Are you Paul McClane?" he asked.
|
||
|
|
||
|
"Yeah," I affirmed. "Who are you?"
|
||
|
|
||
|
He thrust a small box toward me. "Take this and go inside."
|
||
|
|
||
|
"Not until you tell me who you are," I retorted.
|
||
|
|
||
|
"Take this and go inside," he repeated, his eyes going narrow.
|
||
|
|
||
|
I scowled at him for a second and then took the box. I opened the front
|
||
|
door and walked in, shutting it behind me. I turned around and glanced into
|
||
|
the peephole, but the man was already gone.
|
||
|
|
||
|
The box fit in both of my hands, and it looked too small to contain
|
||
|
explosives, but I had my doubts. Joanna came out of the bedroom in a
|
||
|
bathrobe, toweling her hair.
|
||
|
|
||
|
"The package just arrived," I said, holding up the box. "Some guy gave
|
||
|
it to me when I went out for the paper."
|
||
|
|
||
|
"Did you recognize him?" Joanna asked.
|
||
|
|
||
|
"No, and I would have followed him, but he was very adamant about me
|
||
|
coming back inside."
|
||
|
|
||
|
"Well, what are you waiting for? Open it."
|
||
|
|
||
|
"You open it. You're the one who wanted to wait for it and not call the
|
||
|
cops."
|
||
|
|
||
|
Joanna frowned as she took the box from me. she undid the top of to box,
|
||
|
reached in, and pulled out a small, golden ball. It was shiny and smooth all
|
||
|
over, except for some strange characters on one part.
|
||
|
|
||
|
"What does that say?" I asked.
|
||
|
|
||
|
"I don't know. I only speak German, and those aren't even letters I
|
||
|
recognize."
|
||
|
|
||
|
"Great. A small ball with unreadable writing on it. That's a great
|
||
|
help."
|
||
|
|
||
|
Her eyes lit up. "Lemme call this guy I dated a while back. He might be
|
||
|
able to decipher this."
|
||
|
|
||
|
"Does he have a degree in reading codes on small, golden globes?"
|
||
|
|
||
|
"You're not being helpful," Joanna reprimanded. "Besides, we can trust
|
||
|
him. Jonathan is an interesting guy. Very smart, too. He's into magick."
|
||
|
|
||
|
"And how's that going to help? Does he pull a rosetta stone out of his
|
||
|
tophat for his big finale?"
|
||
|
|
||
|
"Christ, Paul, stop being such a smartass. Magick as in the occult. His
|
||
|
studies have exposed him to a wide variety of languages and alphabets. He may
|
||
|
not be able to read what's on the ball, but he can probably tell us what
|
||
|
language it is. That would be a start. If you've got a better idea, I'd like
|
||
|
to hear it."
|
||
|
|
||
|
"Call him," I said, unable to think of anything else. It seemed like
|
||
|
Joanna was a step ahead of me all of the time. I guess that was a good thing
|
||
|
since I hadn't really been level-headed, and I didn't want to come off as some
|
||
|
bumbling idiot, but I never thought I'd have to deal with a crisis like this.
|
||
|
I watched Joanna talk to Jonathan on the phone. She kept the small talk to a
|
||
|
minimum, said we needed his help in translating something, and she promised
|
||
|
him a free meal in return.
|
||
|
|
||
|
"It would probably be best," Joanna explained, "if you didn't mention
|
||
|
anything about last night to Jonathan. He thinks that I'm still in love with
|
||
|
him and that when I come to my senses, we'll get back together."
|
||
|
|
||
|
"No problem. My lips are sealed."
|
||
|
|
||
|
"Don't get me wrong. Jonathan's a great guy. It's just his esoteric
|
||
|
studies came before me, and work can't come before the relationship in my
|
||
|
book."
|
||
|
|
||
|
"I still don't see how some guy who worships Satan is--"
|
||
|
|
||
|
"Hold on, Paul," she interrupted. "Jonathan is no Satanist. The occult
|
||
|
does not equal devil worship. You really need to open your mind, especially
|
||
|
now. You've been holed up in your dorm room way too long. Anyway, he should
|
||
|
be over in a few minutes."
|
||
|
|
||
|
We sat around waiting for Jonathan to arrive. I tried going over the
|
||
|
past week again in my mind, trying to remember anything out of the ordinary.
|
||
|
That week had been just as mundane as all of the rest. Until Joanna showed
|
||
|
up, that is. Surveillance photographs, mysterious men in suits, strange gold
|
||
|
balls -- this whole thing was turning into some bad Hollywood B-movie, and I
|
||
|
began to feel like an underpaid, overworked actor who was being given the
|
||
|
script a line at a time.
|
||
|
|
||
|
The front door opened, and a man I presumed was Jonathan walked in,
|
||
|
carrying a stack of books. "Hello, Joanna," he said. "Long time, huh?"
|
||
|
|
||
|
"Didn't your mother teach you to knock?" Joanna asked. "You scared the
|
||
|
hell outta me."
|
||
|
|
||
|
"Still Miss Manners, I see."
|
||
|
|
||
|
Joanna glanced over at me and frowned. I could tell that it was more
|
||
|
than Jonathan's study habits that had led to their breakup.
|
||
|
|
||
|
"Hi, I'm Paul," I said, extending my hand. Jonathan set his books on the
|
||
|
table and shook it. "Joanna tells me you might be able to read what's written
|
||
|
on this ball."
|
||
|
|
||
|
He walked over to the kitchen table and picked the sphere up. "This
|
||
|
feels like real gold," Jonathan remarked. "Where'd you get this? It must
|
||
|
have cost a fortune."
|
||
|
|
||
|
"It was delivered this morning," Joanna replied.
|
||
|
|
||
|
"Well, it's definitely Hebrew."
|
||
|
|
||
|
"Hebrew?" I asked.
|
||
|
|
||
|
"Yeah, Hebrew. What the people in Israel speak. Let's see here.
|
||
|
Aleph-Kheth-Daleth, Aleph-Heh-Beth-Heh." He pronounced the names of the
|
||
|
letters without trouble.
|
||
|
|
||
|
"And what does that say?"
|
||
|
|
||
|
Jonathan laughed. "Oh, man, this is too easy. Whoever did this could
|
||
|
have been a bit more creative. I mean, even a neophyte could decipher this
|
||
|
puzzle. This example is always used in magick books."
|
||
|
|
||
|
"I'm still confused, Jonathan," Joanna said. "What does it mean?"
|
||
|
|
||
|
"I'll explain," he said, sitting down in a chair. "This is just a simple
|
||
|
case of numerology. The Hebrews didn't have a number system like we do.
|
||
|
Instead, each of the letters in the Hebrew alphabet has a numerical
|
||
|
equivalent. The Kaballists, Jewish mystics, believed that by adding up the
|
||
|
numerical values of the letters in a word and comparing it to other words with
|
||
|
the same value, a connection could be established between the words and their
|
||
|
meanings to give the mystic a new insight. The process is called 'gematria.'"
|
||
|
|
||
|
I, for one, was not impressed. "Sounds like a bunch of hocus pocus to
|
||
|
me. Adding letters together could get you anything. I could do the same
|
||
|
thing with English and say that the words 'Elvis' and 'lives' have some
|
||
|
mystical connection because they have the same letters and use that to say
|
||
|
that Elvis is still alive. It'll work for anything!"
|
||
|
|
||
|
"You're right," he agreed. "Watch this."
|
||
|
|
||
|
Jonathan opened a notebook and wrote the following:
|
||
|
|
||
|
|
||
|
YODA = Yod-Ayin-Daleth-Aleph = 10 + 70 + 4 + 1 = 85
|
||
|
85 = Boaz, in reference to Hod (splendor)
|
||
|
8 + 5 = 13 = Aleph-Gimel-Daleth-Heh = a small bundle
|
||
|
= Aleph-Kheth-Daleth = one, unity
|
||
|
1 + 3 = 4 = Aleph-Beth-Aleph = father
|
||
|
|
||
|
|
||
|
"And what does all of that stuff mean?" I asked.
|
||
|
|
||
|
"Well, it proves that George Lucas is a Jewish mystic. In addition to
|
||
|
being a master of the Force, Yoda's name also tells us that he is old, small,
|
||
|
and lives alone."
|
||
|
|
||
|
"What a bunch of bullshit," I said. "George Lucas is a filmmaker, not
|
||
|
some occult guru. You're just fucking around with words and numbers that can
|
||
|
prove anything. This gematria stuff is a crock."
|
||
|
|
||
|
Jonathan laughed, turning towards Joanna. "I see your friend doesn't
|
||
|
have a sense of humor."
|
||
|
|
||
|
"He's a bit stressed out, Jonathan," she answered. "Give him a break."
|
||
|
|
||
|
"Sorry, Paul. You're right. It can be used for anything. That's the
|
||
|
beauty of the whole system, and I find the Yoda example devishly funny, but
|
||
|
that must just be my goofy self. Anyway, the whole point of gematria is to
|
||
|
find connections between words that are meaningful to the person who is
|
||
|
seeking enlightenment. Hebrew is a magickal language, and the process of
|
||
|
gematria can open up whole new areas of thought that are only glossed over in
|
||
|
a casual reading of texts. The words on your little ball can be understood by
|
||
|
using the same technique."
|
||
|
|
||
|
Jonathan drew a line across the paper and below it wrote:
|
||
|
|
||
|
|
||
|
Aleph-Kheth-Daleth = one, unity = 4 + 8 + 1 = 13
|
||
|
Aleph-Heh-Beth-Heh = love = 5 + 2 + 5 + 1 = 13
|
||
|
----
|
||
|
Yod-Heh-Vau-Heh = ineffable name of God = 5 + 6 + 5 + 10 = 26
|
||
|
|
||
|
|
||
|
He went on. "You see, you've got *echod* which means 'one' and *aheva*
|
||
|
which is 'love.' God is one, so God is love. Simple, huh?"
|
||
|
|
||
|
"Wait," Joanna said. "I thought God was a trinity. Father, Son, Holy
|
||
|
Ghost, and all that jazz."
|
||
|
|
||
|
"That's the Christian God. We're talking about the Israelites and the
|
||
|
Torah. The Shema, Deuteronomy 6:4, states that, 'The LORD our God, the LORD
|
||
|
is one.' Jesus wasn't even a gleam in God's eye when that was written."
|
||
|
|
||
|
"And this," I said, pointing to the last line Jonathan had written. "What
|
||
|
does 'the ineffable name of God' mean? I don't think the people who sent us
|
||
|
this ball just wanted to tell us that God loves us."
|
||
|
|
||
|
"Those four letters, Yod-Heh-Vau-Heh, are known as the Tetragrammaton.
|
||
|
The anthropomorphic image of the letters depicts a map of the universe and of
|
||
|
the self called the Tree of Life. As above, so below. The correct
|
||
|
pronunciation is not known, which is probably a good thing, since if it is
|
||
|
said correctly, the world will basically come to an end. Or so one story
|
||
|
goes, anyway. Usually it is translated as 'Jehovah' or 'Yahweh.' Devout
|
||
|
Jews, when reading the Torah -- in Hebrew, naturally -- come across the
|
||
|
Tetragrammaton, either pause in reverence or substitute the Hebrew word which
|
||
|
means 'lord' or 'master.'"
|
||
|
|
||
|
"And what word is that?" Joanna questioned.
|
||
|
|
||
|
"*Adonai*," Jonanthan stated.
|
||
|
|
||
|
It seemed like we all turned in slow motion to look at the golden ball.
|
||
|
It rose up into the air and began spinning on an invisible axis. Out of the
|
||
|
corner of my eye I saw Jonathan pushing his chair away from the table while
|
||
|
his face registered a look of amazement. The ball spun faster, turning a
|
||
|
bright shade of red. I heard Joanna yell to hit the deck, and I dropped down
|
||
|
on all fours. The ball was glowing white now, and as I put my head on the
|
||
|
ground, it silently exploded. I felt extreme heat as one of the shards flew
|
||
|
directly over me, where I had been standing. No bombs, my ass!
|
||
|
|
||
|
I stood up after a couple of seconds and looked behind me. A piece of
|
||
|
the ball lay next to the wall. I went over and dumbly grabbed it. The metal
|
||
|
was still hot and seared my flesh. I screamed in pain and dropped the piece.
|
||
|
Turning my hand over, I noticed that something almost like an "l" was burned
|
||
|
into my flesh.
|
||
|
|
||
|
Joanna appeared from the kitchen with a pair of tongs and gathered up the
|
||
|
pieces. There were four of them of equal size, looking like pie slices with
|
||
|
rounded points. On each was a letter of the Tetragrammaton. there was also a
|
||
|
tiny silver ball sitting on the table that must have been inside the golden
|
||
|
ball.
|
||
|
|
||
|
I held up my hand to Jonathan. "What is this?"
|
||
|
|
||
|
"It's the letter *Vau*, Paul. It means, 'a nail.' You've been
|
||
|
symbolically crucified."
|
||
|
|
||
|
"Crucified?" I asked. "To what?"
|
||
|
|
||
|
Jonathan grabbed the tongs and held up the silver ball. "You see what's
|
||
|
written on this? Daleth-Ayin-Tau. *Da'ath.* The abyss."
|
||
|
|
||
|
"I still don't understand."
|
||
|
|
||
|
"You don't want to even know. What the fuck are you two involved in?"
|
||
|
|
||
|
Joanna held up her hands in frustration. "We don't know what's going on.
|
||
|
You seem to know more about this shit than we do. What's this abyss business
|
||
|
about?"
|
||
|
|
||
|
Jonathan started for the door. "I'm outta here. Why'd you involve me in
|
||
|
this, Joanna? You should have warned me."
|
||
|
|
||
|
"I'm sorry, Jonathan. I didn't know anything like this would happen."
|
||
|
|
||
|
"What is the abyss?" I asked him.
|
||
|
|
||
|
"On the Tree of Life, the Kaballistic map of the universe, before you can
|
||
|
reach *Kether* -- which signifies existence, enlightenment, heaven, whatever
|
||
|
-- you must pass through *Da'ath*, the abyss. Before you can cross, you must
|
||
|
face the demon Choronzon, and he is one nasty motherfucker. And you've been
|
||
|
marked to fail already."
|
||
|
|
||
|
"Are you telling me I have to fight some damned creature from Hell?"
|
||
|
|
||
|
Jonathan grabbed my shoulders. "Paul, Choronzon is you."
|
||
|
|
||
|
"What?"
|
||
|
|
||
|
"Sorry, but I'm not sticking around. Magick is supposed to be an
|
||
|
allegory, a way of reorientating yourself. It's all self-psychology when you
|
||
|
get down to it. This is just too fucked for me."
|
||
|
|
||
|
"You can't leave!" Joanna yelled. "You've got to help us. You're
|
||
|
experienced in the occult. You know what this means."
|
||
|
|
||
|
"No way. You can't deal with this. It's hopeless, cause this is real.
|
||
|
Don't you get it? Has it hit you yet? You're dealing with forces no one has
|
||
|
ever seen before. You can't win against this. I'm leaving."
|
||
|
|
||
|
Jonathan walked out of the apartment.
|
||
|
|
||
|
"Aren't you going to stop him?" I asked Joanna.
|
||
|
|
||
|
"No," she replied. "We don't need to endanger him anymore. It's just
|
||
|
you and me."
|
||
|
|
||
|
"So what comes next?"
|
||
|
|
||
|
Joanna shut the front door and sighed. "I don't even want to know."
|
||
|
|
||
|
* * * * *
|
||
|
|
||
|
[???]
|
||
|
|
||
|
The key that I had found in my pocket fit perfectly in the lock. I
|
||
|
turned the key and opened the massive door. I had stumbled upon the church
|
||
|
after wandering around in the woods for hours. I didn't know how I had gotten
|
||
|
there, but at this point, I really didn't care. I just wanted this nightmare
|
||
|
to end.
|
||
|
|
||
|
Inside the church, the air smelled old and stale. Enough sunlight
|
||
|
filtered through the boarded-up windows to be able to see. Some of the wooden
|
||
|
pews were turned on their sides. Others were broken in two from years of
|
||
|
decay. I made my way up to the altar at the front of the church. On the
|
||
|
altar was an old bible, opened to Deuteronomy six. Parts of the page were
|
||
|
missing, but I read what I could.
|
||
|
|
||
|
4. Hear, O Israel! The LORD our God, the LORD is one.
|
||
|
5. And you will love the LORD your God with all of your
|
||
|
heart and all of your soul and all of your might. 6. And
|
||
|
these words that I command you will be on your heart today.
|
||
|
[. . .] 13. You will fear the LORD your God, serve him,
|
||
|
and swear on his name. 14. You will not follow other gods
|
||
|
[. . .] 15. For the LORD your God is a jealous god [. . .]
|
||
|
lest the anger of the LORD your God burns in you and he will
|
||
|
wipe you off of the face of the earth.
|
||
|
|
||
|
I closed the bible and stepped away. Was this God's way of telling me
|
||
|
that was pissed at me? did he really exist, and was he behind all of my
|
||
|
troubles? True, I hadn't ever believed in God, but I didn't think I had lived
|
||
|
that bad of a life.
|
||
|
|
||
|
A man dressed in a suit came out of one of the back doors. As he
|
||
|
approached me, I recognized him as the man who had given me the package at
|
||
|
Joanna's apartment.
|
||
|
|
||
|
"You!" I exclaimed. "What are you doing here?"
|
||
|
|
||
|
"I am the minister of this church," he said. "I pastored this church for
|
||
|
fifteen years before everyone disappeared."
|
||
|
|
||
|
"Disappeared? Where are we?"
|
||
|
|
||
|
"You are in the house of God."
|
||
|
|
||
|
"No. Where are we? Like, are we near a town or something?"
|
||
|
|
||
|
"There are no towns around here, Paul. We are isolated."
|
||
|
|
||
|
"Doesn't look like you've got much of a church."
|
||
|
|
||
|
He smiled. "It doesn't look like you've got much of a life."
|
||
|
|
||
|
"How did I get here?"
|
||
|
|
||
|
"Your questions will all be answered in time. Do you believe in God,
|
||
|
Paul?"
|
||
|
|
||
|
"No."
|
||
|
|
||
|
"Are you sure? Even after all that you've been through?"
|
||
|
|
||
|
"Are you saying God is behind all of this? If that's the case, he sure
|
||
|
is one mean bastard."
|
||
|
|
||
|
"God can be whatever he wants, Paul. You can, too."
|
||
|
|
||
|
"What's that supposed to mean?"
|
||
|
|
||
|
"A sage once wrote, 'There is no god but man.'"
|
||
|
|
||
|
"But that's blasphemy," I blurted out.
|
||
|
|
||
|
"How can the truth be blasphemy?"
|
||
|
|
||
|
"So are you saying that I'm God?"
|
||
|
|
||
|
The minister walked over to the altar and opened up the bible. "Did you
|
||
|
not read the Word of God? You still haven't made the connection, have you?"
|
||
|
|
||
|
"If what you say is true, then who am I? What am I?"
|
||
|
|
||
|
"Only you can discover that for yourself."
|
||
|
|
||
|
"But they already said I'm not a god."
|
||
|
|
||
|
"And you believed them? Pity. You showed such promise.
|
||
|
|
||
|
"Promise? What promise?" I shouted. "I don't know what's real and
|
||
|
what's not anymore. My reality doesn't exist anymore. I can't even be sure
|
||
|
if you're really here. I don't know if I'm even here."
|
||
|
|
||
|
He moved towards the back of the church. "Oh, you are certainly here,
|
||
|
alright. What that means, and how real it is for you is a decision that you
|
||
|
have to make. Read the text again, Paul. You are here for a reason."
|
||
|
|
||
|
I paused. "Is this the abyss?"
|
||
|
|
||
|
"No, but the time is at hand. Read, Paul, and understand."
|
||
|
|
||
|
With that, he left the church. I looked at the page again, trying to
|
||
|
figure out what it meant. If I was God, then the passage referred to me. Was
|
||
|
it a warning? And how close was the abyss? Was God going to destroy me?
|
||
|
|
||
|
I got down on my knees and prayed, and I found myself talking to myself.
|
||
|
|
||
|
"What should I do?" I asked.
|
||
|
|
||
|
"Persevere," I replied. "The end is near."
|
||
|
|
||
|
"But it never ends," I said.
|
||
|
|
||
|
"And so it begins."
|
||
|
|
||
|
"Is the end the beginning?"
|
||
|
|
||
|
"The beginning is the end."
|
||
|
|
||
|
"How do I stop it?"
|
||
|
|
||
|
"I am God."
|
||
|
|
||
|
"You are God?"
|
||
|
|
||
|
"Now do you understand?"
|
||
|
|
||
|
I sank slowly through the floorboards.
|
||
|
|
||
|
* * * * *
|
||
|
|
||
|
[wednesday]
|
||
|
|
||
|
After trying to figure out what to do, Joanna and I decided that we
|
||
|
needed Jonathan's assistance after all. His background in these matters was
|
||
|
the only quick source we could think to draw on without having to take a crash
|
||
|
course in occultism. And based on Jonathan's earlier reaction, anyone we
|
||
|
asked for help would think that we were loony as hell. Even I was beginning
|
||
|
to doubt my sanity.
|
||
|
|
||
|
It took a prolonged telephone conversation between him and Joanna before
|
||
|
he finally succumbed and agreed to meet us. Joanna had obviously pulled some
|
||
|
sensitive trumps out of her pocket since she sent me out of the room twice
|
||
|
during their talk. He was supposed to meet us at the Denny's off of the
|
||
|
highway near the outskirts of town at one a.m. Joanna made sure no one
|
||
|
followed us there, but I had a feeling that they were with us every step of
|
||
|
the way.
|
||
|
|
||
|
We arrived thirty minutes before the scheduled time and ordered coffee.
|
||
|
The caffeine wouldn't do anything to calm my nerves, but at least it would
|
||
|
keep me awake. My adrenaline couldn't keep my going forever.
|
||
|
|
||
|
"What if he doesn't show?" I asked.
|
||
|
|
||
|
"He'll show," she said. "He owes me. He'll probably never speak to me
|
||
|
again after this, but he will definitely be here."
|
||
|
|
||
|
"What did you say to him?"
|
||
|
|
||
|
"That's none of your business. It was bad enough saying once, and I'm
|
||
|
not going to repeat it. You never did tell me what was occupying so much of
|
||
|
your time at school. I'll bet it has something to do with all of this."
|
||
|
|
||
|
"Lucid dreaming," I stated. "I was trying to control my dreams."
|
||
|
|
||
|
"Your dreams? Why would you want to do that?"
|
||
|
|
||
|
"Don't tell me you've never wanted to control your dreams, to be awake
|
||
|
while asleep. It'd be like your own playground."
|
||
|
|
||
|
"I don't dream," Joanna said matter-of-factly.
|
||
|
|
||
|
"Everyone dreams. You just don't remember them."
|
||
|
|
||
|
"I still don't see how playing headgames with yourself could cause all of
|
||
|
this. I mean, that's just fantasy, even if it is possible."
|
||
|
|
||
|
"Oh, it is definitely possible. They've been doing research on lucid
|
||
|
dreaming for a long time at Stanford. As you said earlier today, you should
|
||
|
keep an open mind about things you don't understand."
|
||
|
|
||
|
Joanna motioned to the waitress for a refill. "And did it work for
|
||
|
you?"
|
||
|
|
||
|
"Not at first. The tricky part is realizing that you are dreaming. That
|
||
|
was one reason I kept myself so isolated at school. When something out of the
|
||
|
ordinary happened, I was pretty sure I was dreaming. Anything that occurred
|
||
|
outside of my routine I could see as a dreamsign, something signifying that I
|
||
|
was asleep. During the early stages, I had trouble staying awake in the dream
|
||
|
because it was so surprising and disorientating to realize that I was asleep
|
||
|
and conscious at the same time. With practice, though, I got used to it."
|
||
|
|
||
|
"So it worked?" she asked, pushing her half-empty mug aside.
|
||
|
|
||
|
"Yeah. It was amazing, like being in control of everything. I could do
|
||
|
whatever I wanted in my head."
|
||
|
|
||
|
"And these people at Stanford are getting grant money so people can play
|
||
|
God in their minds? What a waste."
|
||
|
|
||
|
"No, it's not only that. There are practical applications. You know
|
||
|
about Jung and his theory of universal archetypes?"
|
||
|
|
||
|
Joanna nodded.
|
||
|
|
||
|
"Well, the researchers are doing a kind of psychotherapy in the
|
||
|
dreamstate. Say a person has a really bad fear of heights, and they keep
|
||
|
having dreams where they are falling. If you're lucid, you can fly instead of
|
||
|
fall, and they've found that this can not only stop the nightmares but
|
||
|
overcome the fear itself. The dreamstate is your mind on a platter, and as
|
||
|
dreams can tell you things about yourself, so can you actively change the
|
||
|
dreams to alter your waking self."
|
||
|
|
||
|
"But what if you fuck around with your head too much? Couldn't there be
|
||
|
adverse side effects?"
|
||
|
|
||
|
"All of the research so far has shown that you can't harm yourself."
|
||
|
|
||
|
"What if you're different? Do you have normal dreams?"
|
||
|
|
||
|
"Not anymore," I said. "I don't think that's supposed to happen, but it
|
||
|
did."
|
||
|
|
||
|
"Jesus. If you're never asleep, aren't you tired?"
|
||
|
|
||
|
"Nope."
|
||
|
|
||
|
"Well, if you're always awake when you are asleep, how can you be sure
|
||
|
when you're dreaming? What if this is a dream?"
|
||
|
|
||
|
I shook my head. "Really, Joanna, if I were dreaming, I'd know. The
|
||
|
dream reality isn't as solid as the real world. In dreams there are locale
|
||
|
shifts, time displacements, and even things that go bump in the night. I've
|
||
|
done it too much already to be able to be fooled. Anyway, if this were a
|
||
|
dream, I could make you dance around on the table and take your clothes off."
|
||
|
|
||
|
"Try it," she challenged.
|
||
|
|
||
|
"Already did," I said, laughing. "It didn't work."
|
||
|
|
||
|
"Okay. So we've established that you're awake. Then how do you explain
|
||
|
what happened this afternoon?"
|
||
|
|
||
|
"I don't know. Maybe magick does exist. Maybe we *are* dealing with
|
||
|
evil occult forces." I held up my marked hand. "After this, I'm willing to
|
||
|
believe just about anything. *This* doesn't happen everyday. *This* has too
|
||
|
much implicit symbolism to be an accident. *This* scares the shit out of me."
|
||
|
|
||
|
Joanna took my hand in hers. "Jonathan will be able to help us. He has
|
||
|
to."
|
||
|
|
||
|
"I sure hope so."
|
||
|
|
||
|
We had to wait about six minutes before Jonathan showed up. He looked
|
||
|
around the crowded restaurant anxiously before spotting us and coming over.
|
||
|
He slid into the booth, set his backpack down, called the waitress over and
|
||
|
ordered some iced tea. I noticed that Jonathan had a crucifix around his
|
||
|
neck, and he saw me staring.
|
||
|
|
||
|
"Wondering why I'm wearing a cross?" he asked.
|
||
|
|
||
|
"I thought you were into magick, not Christianity," I replied.
|
||
|
|
||
|
"Magick and the occult draw from a variety of traditions and sources,
|
||
|
Paul. I was raised Lutheran, and Christian imagery resonates with me a great
|
||
|
deal, even though I don't adhere to many of the underlying principles anymore.
|
||
|
The more I can identify with the symbol, the stronger its protection will be.
|
||
|
But I'm not here to give you a theory lesson. I want the story from the
|
||
|
beginning. I'll give any advice I can, and then I'm getting away from you two
|
||
|
for a long time."
|
||
|
|
||
|
"How sweet of you," Joanna jibed.
|
||
|
|
||
|
"Cut the crap, Jo," he said curtly. "You know why I'm here. Let's just
|
||
|
get on with it. How'd this all start?"
|
||
|
|
||
|
Joanna gave him the stack of pictures, and as Jonathan looked at them,
|
||
|
she recapped how we met. He asked me if I knew the old man in the car.
|
||
|
|
||
|
"No," I answered. "Doesn't he look like Santa Claus?"
|
||
|
|
||
|
"That he does," agreed Jonathan, "but I don't think we're dealing with
|
||
|
the Easter Bunny and the Tooth Fairy. I'd hedge my bets that he's the
|
||
|
Hermit."
|
||
|
|
||
|
"Shouldn't he be off in a cave somewhere instead of in my fucking car?"
|
||
|
|
||
|
"Heh, no. The Hermit is the ninth tarot trump. He represents divine
|
||
|
illumination from within."
|
||
|
|
||
|
"You can't just go applying an occult map on everything you see. That's
|
||
|
ludicrous!"
|
||
|
|
||
|
"Do you have any better ideas? We're obviously dealing with some sort of
|
||
|
occult forces, so it's only natural to view everything in that light.
|
||
|
Remember when I mentioned the Tree of Life earlier? Like I said, it's both a
|
||
|
metaphor for the self and the universe. It is comprised of ten *sephiroth*,
|
||
|
or spheres, which were created by Papa Tetragrammaton. The--"
|
||
|
|
||
|
"Papa who?" Joanna asked.
|
||
|
|
||
|
"The Tetragrammaton is the ineffable name of God. Sorry. It's my pet
|
||
|
name for God. If I get too obscure, stop me. Anyway, the Tree of Life looks
|
||
|
like this."
|
||
|
|
||
|
Jonathan pulled out a pen and drew on a napkin:
|
||
|
|
||
|
|
||
|
(0)
|
||
|
/ | \
|
||
|
/ | \
|
||
|
(2)--+--(1) 0. Kether = crown
|
||
|
| `\|/' | 1. Chokmah = wisdom
|
||
|
| X | 2. Binah = understanding
|
||
|
| ./|\. | 3. Hesed = mercy
|
||
|
(4)--+--(3) 4. Geburah = power
|
||
|
| `\|/' | 5. Tipherath = beauty
|
||
|
| (5) | 6. Netzach = victory
|
||
|
| ./|\. | 7. Hod = splendor
|
||
|
(7)--+--(6) 8. Yesod = foundation
|
||
|
\ \ | / / 9. Malkuth = kingdom
|
||
|
\ \|/ /
|
||
|
\(8)/
|
||
|
\|/
|
||
|
(9)
|
||
|
|
||
|
|
||
|
"In the simplest sense, the mystic starts off in *Malkuth*," Jonathan
|
||
|
explained. "The object is to get to *Kether*, or in other words, unite with
|
||
|
God. The process is more complex than that, but for our limited time, it'll
|
||
|
have to suffice. You can divide the Tree of Life into three pillars, but
|
||
|
taking the left or right pillar is an unbalanced method. The best way is
|
||
|
straight up the middle pillar. Of course, that means you have to cross the
|
||
|
abyss."
|
||
|
|
||
|
"I don't see, um, what was it called -- *Da'ath* -- on your chart," I
|
||
|
observed.
|
||
|
|
||
|
"*Da'ath* is located on the path from *Tipherath* to *Kether*. It is the
|
||
|
final step before illumination. You can lay out the twenty-two tarot trumps
|
||
|
on the different paths between the *sephiroth*. The Hermit card is on the
|
||
|
path between *Tipherath* and *Hesed*. That path, however, ultimately
|
||
|
requires the path of the Fool, the path between *Chokmah* and *Binah*."
|
||
|
|
||
|
"That sounds good to me. I'll take being a fool over jumping in the
|
||
|
abyss anyday."
|
||
|
|
||
|
"But it circumvents having to face yourself. Without dealing with
|
||
|
Choronzon, it is only a false experience. The Priestess trump is the path
|
||
|
over the abyss, and it requires you to be pure."
|
||
|
|
||
|
"Tell him about your, uh, experiments, Paul," Joanna piped in. "He needs
|
||
|
to know about that, too."
|
||
|
|
||
|
I explained what I had been doing in the realm of lucid dreaming to
|
||
|
Jonathan. He saw with interest as I recalled my experiences. After I was
|
||
|
finished, he leaned back in the booth, closed his eyes, and frowned.
|
||
|
|
||
|
"What?" Joanna asked impatiently.
|
||
|
|
||
|
Jonathan reopened his eyes. "I toyed around with lucid dreaming in high
|
||
|
school a bit but never got anywhere it. I've never heard of anybody with a
|
||
|
success rate like yours, Paul. I bet a bunch of scientists would like to get
|
||
|
their hands on you and put you through a zillion tests. What is happening to
|
||
|
you is so unusual that I really don't know where to start. My best guess, as
|
||
|
unscientific as it is, is that somehow you've bridged the gap between the
|
||
|
dreamtime and your waking reality. You've managed to project your own
|
||
|
creations into the outside world. Point being, your brain filter is fucked
|
||
|
up."
|
||
|
|
||
|
"His what?" Joanna asked.
|
||
|
|
||
|
"Preposterous!" I exclaimed.
|
||
|
|
||
|
"Not preposterous," Jonathan contradicted, "just highly unlikely. The
|
||
|
Aborigines in Australia believe that the dreamstate is another world, as real
|
||
|
as our own. The idea has been around for ages. I've just never heard of
|
||
|
anything like this ever happening, though."
|
||
|
|
||
|
"So you're saying this is all in my head?" I asked.
|
||
|
|
||
|
"In a way, yes, but your ideas are manifesting themselves in the real
|
||
|
world, whatever that really is. The world is how you perceive it, Paul,
|
||
|
except in this case, other people are seeing things the way you do, too.
|
||
|
Don't ask me to explain how, cause I don't know. This is all conjecture, and
|
||
|
maybe all of this stuff is happening independently, but I think you're
|
||
|
directly linked to the phenomena."
|
||
|
|
||
|
"But Paul has no experience in any of the occult," Joanna stated. "If
|
||
|
he's causing this, why doesn't it take a form that he is familiar with? I
|
||
|
mean, he's an English major. Shouldn't we be receiving cryptic messages
|
||
|
written in heroic couplets from the ghost of Alexander Pope?"
|
||
|
|
||
|
"I don't know. Logically, I would agree, but I'm afraid logic isn't
|
||
|
going to be of much help here."
|
||
|
|
||
|
"The question that I want answered is how to stop it from continuing," I
|
||
|
said.
|
||
|
|
||
|
"We don't even know what 'it' really is," Joanna said. "This is too
|
||
|
confusing."
|
||
|
|
||
|
"I think the pictures are important here," Jonathan went on. "They were
|
||
|
the first occurrence in this string of events, and I'd say that because they
|
||
|
were mailed, someone else has a hand in this. I'm not ready to accept that
|
||
|
your mind can influence the postal service, Paul. I'd say that if you can
|
||
|
find that old man in the picture, a lot of your questions would be answered."
|
||
|
|
||
|
"And where is he, then?" Joanna inquired. "Is he just gonna show up in
|
||
|
this restaurant?"
|
||
|
|
||
|
Jonathan stood up. "My guess is he'll make himself available when he
|
||
|
wants to. I'm sorry I can't help anymore, but I've got a bad feeling about
|
||
|
this. Please don't call me again. I hope you two are careful."
|
||
|
|
||
|
"Wait a sec," I said, grabbing Jonathan's shoulder. "How do I cross the
|
||
|
abyss? How do I make myself pure? Is that the way?"
|
||
|
|
||
|
"You must--"
|
||
|
|
||
|
The window we were sitting across from shattered, and Jonathan flew
|
||
|
across the aisle onto the next table. Joanna screamed, and I pulled her down
|
||
|
beneath the table. The people around us were panicking and running for cover.
|
||
|
After a few seconds, I popped my head up and looked outside. No one was there.
|
||
|
Joanna crawled out of the booth and went over to Jonathan. She lifted up his
|
||
|
bloodied shirt to reveal a gaping hole in his chest spitting out blood.
|
||
|
|
||
|
"The *Shin*, Paul," Jonathan managed to say, choking on blood. "Become
|
||
|
the flame that... transforms the tetra... the tetragrammaton."
|
||
|
|
||
|
His eyes rolled back into his head, and Jonathan stopped breathing.l I
|
||
|
grabbed Jonathan's heavy backpack and pulled Joanna away.
|
||
|
|
||
|
"C'mon. We've got to get outta here!" I yelled.
|
||
|
|
||
|
"They killed him," Joanna kept saying as we ran out of the diner.
|
||
|
|
||
|
* * * * *
|
||
|
|
||
|
[???]
|
||
|
|
||
|
The playground was empty except for a boy and a girl playing hopscotch on
|
||
|
the blacktop. When they saw me, they giggled and ran off. I walked over to
|
||
|
where they had been, and on the pavement was a Tree of Life drawn in chalk.
|
||
|
|
||
|
"Kaballah hopscotch," a voice said from behind me. I spun around, and
|
||
|
Bill Clinton was swinging on a swing.
|
||
|
|
||
|
"Wacky kids, always coming up with strange games," he commented. Clinton
|
||
|
was swinging pretty high, and with a soft grunt he flung himself off of the
|
||
|
swing, landing on his feet. "A perfect ten, I'd say. I should've been a
|
||
|
gymnast."
|
||
|
|
||
|
"Now I know I'm hallucinating," I said. "So, tell me, Mr. President.
|
||
|
What do you know about all of this?"
|
||
|
|
||
|
"I feel your pain, Paul," he said. "Really, I do. Tell *me*, what have
|
||
|
you learned so far?"
|
||
|
|
||
|
"That I'm going mad," I replied, going over to him and grabbing both
|
||
|
lapels of his jacket. "Now, why don't you tell *ME* what you know before I
|
||
|
kick your ass."
|
||
|
|
||
|
The president shook his head violently, and his face morphed into that of
|
||
|
George Bush. "Not gonna do it," he said. "You already know what you need to.
|
||
|
You just don't realize it yet."
|
||
|
|
||
|
"Goddammit, tell me what I know then!" I screamed, gripping his jacket
|
||
|
harder.
|
||
|
|
||
|
He shook his head again, taking on the appearance of Ronald Reagan. "I've
|
||
|
got Alzheimer's, and I seem to have forgotten."
|
||
|
|
||
|
"Why don't you just turn yourself into George Washington so you can't lie
|
||
|
to me?"
|
||
|
|
||
|
Reagan pushed me away and ambled over to the hopscotch game. With the
|
||
|
agility of an eighteen-year-old, he jumped from one *sephiroth* to the next up
|
||
|
the middle. "*Malkuth*, *Yesod*, *Tipherath*, *Kether*," he chanted, ending
|
||
|
up at the top of the Tree.
|
||
|
|
||
|
He turned to me. "See how easy that was? All of this silly nonsense is
|
||
|
just a child's game."
|
||
|
|
||
|
"No, it isn't. This is not a game."
|
||
|
|
||
|
"Of course it is," Reagan said, smiling wryly. "Illumination is a game.
|
||
|
Hell, reality is a game, and now you know the rules."
|
||
|
|
||
|
"What are you talking about?"
|
||
|
|
||
|
"Paul, everything that has happened to you is a game. It has rules, and
|
||
|
there are players. I will concede that most of the players don't realize that
|
||
|
they're playing, but they are in the game nonetheless."
|
||
|
|
||
|
"It isn't a very fun game."
|
||
|
|
||
|
"Not for you, maybe, since you don't understand the rules."
|
||
|
|
||
|
"And I ask again, what are the rules?"
|
||
|
|
||
|
"And I say again, you already know them. Play, Paul. Play the game."
|
||
|
|
||
|
I positioned myself in the first circle.
|
||
|
|
||
|
"*Malkuth*," I uttered.
|
||
|
|
||
|
"That's a start," Reagan said. "Continue."
|
||
|
|
||
|
I stepped onto the next *sephiroth*.
|
||
|
|
||
|
"*Yesod*," I said.
|
||
|
|
||
|
"Next," he ordered.
|
||
|
|
||
|
I jumped forward onto *Tipherath* and said its name.
|
||
|
|
||
|
"Beautiful, but be careful," Reagan warned. "That next jump is a doozy."
|
||
|
|
||
|
He was right. It was a long distance, and I wasn't exactly too athletic.
|
||
|
I took a deep breath and leaped. I was stopped in midair, suspended above the
|
||
|
path between *Tipherath* and *Kether*.
|
||
|
|
||
|
"Why the surprised look, Paul?" Reagan asked, smirking. "Don't tell me
|
||
|
you couldn't see that coming. Yes, I can see it in your eyes now. You did
|
||
|
know that would happen. See, you know the rules. I just hope you're ready."
|
||
|
|
||
|
I struggled to break free of the invisible grip to no avail. "I guess I
|
||
|
get sucked down again, huh? Just like all of the other times?"
|
||
|
|
||
|
"Very good, Paul. I think you're catching on."
|
||
|
|
||
|
Looking down, I saw another *sephiroth* form, and I knew the abyss was
|
||
|
below. I glanced up at Reagan, who was staring at me intently.
|
||
|
|
||
|
"Let go of your dependency on reality, Paul," he intoned as I was drawn
|
||
|
into the earth. "Release yourself or it will never end."
|
||
|
|
||
|
* * * * *
|
||
|
|
||
|
[wednesday]
|
||
|
|
||
|
Joanna's car broke down in town. She blamed it on the radiator. I
|
||
|
thought it was probably sabotage. We got out and figured we oughta keep
|
||
|
moving. The clubs were letting out and people were milling about on the
|
||
|
street, quite a few of them drunk. We walked around for an hour, always
|
||
|
glancing over our shoulders to see if we were being followed.
|
||
|
|
||
|
"This is futile," Joanna said after a while. "If they're gonna find us,
|
||
|
they're gonna find us. Besides, I'm tired. Let's go to a motel."
|
||
|
|
||
|
I couldn't help but agree. We made our way down six blocks to a cheap
|
||
|
inn. We went around to the front through an alley, noticing police tape
|
||
|
around a charred dumpster. Joanna went inside and got us a room on the second
|
||
|
floor.
|
||
|
|
||
|
When we got upstairs, Joanna bolted the door and made sure no one could
|
||
|
see through the curtains. I sat down in a chair and dumped the contents of
|
||
|
Jonathan's backpack onto the table. There were a few books by a guy named
|
||
|
Crowley and a well-worn notebook. I picked up the notebook and paged through
|
||
|
it. Jonathan's notes on his readings were too arcane for me to understand,
|
||
|
but I let out a gasp when I ran across a page with the heading, "The Formula
|
||
|
of the Tetragrammaton."
|
||
|
|
||
|
Joanna noticed my expression. "Have you found something, Paul?"
|
||
|
|
||
|
"Hold on a sec," I replied as I read the page. "It says here that the
|
||
|
ineffable name of God can be transformed by inserting the Hebrew letter *Shin*
|
||
|
in the middle, which represents the divine spark. This turns the name into
|
||
|
*Yeheshua*, Yod-Heh-Shin-Vau-Heh. In other words, Jesus."
|
||
|
|
||
|
"Is that what Jonathan was talking about before he died?"
|
||
|
|
||
|
"I guess. But how do I become the flame? How can I become a letter of
|
||
|
the Hebrew alphabet?"
|
||
|
|
||
|
"I dunno. Creative visualization? Listen, you said earlier that you
|
||
|
could do anything in your dreams. What if you slept and fixed everything in
|
||
|
the dreamtime? You talked about people doing it to conquer their fears. What
|
||
|
if that applies here?"
|
||
|
|
||
|
"But that's all internal. Dreams are just symbolic, and they can't
|
||
|
directly affect the outside world."
|
||
|
|
||
|
Joanna grabbed my scarred hand and squeezed it. "And this isn't
|
||
|
symbolic? You said that because of *this* you were ready to believe anything.
|
||
|
What's stopping you, Paul? Why won't you do it?"
|
||
|
|
||
|
"What if it doesn't work? It's just too simple. Easy answers never
|
||
|
solve complex problems, and if my brain filter, as Jonathan calls it, is
|
||
|
already toast, it might make everything worse."
|
||
|
|
||
|
"You can't stay awake forever."
|
||
|
|
||
|
"I can always try denial."
|
||
|
|
||
|
"If it doesn't work, we'll figure something else out. But if you don't
|
||
|
try, we'll never know."
|
||
|
|
||
|
"Joanna, before I do this, I have something I need to tell you. During my
|
||
|
lucid dreaming experiments, I always felt that there might be another presence
|
||
|
in my head. That's why I started all of this godforsaken business, to find
|
||
|
out who or what was in my head. I think that that might be who I'm gonna have
|
||
|
to face, and I'm not sure if I'll even be able to find him. I don't even know
|
||
|
if I can get to sleep."
|
||
|
|
||
|
"I've got some sleeping pills if that will help," Joanna said, rummaging
|
||
|
through her purse.
|
||
|
|
||
|
"What are you doing with those?" I asked.
|
||
|
|
||
|
"Got them from my doctor. I wasn't sleeping well after I got those
|
||
|
pictures."
|
||
|
|
||
|
"Oh. Lemme go take a piss, and then I'll give this a shot."
|
||
|
|
||
|
I rose from the chair and headed into the bathroom. I locked the door
|
||
|
and stared at myself in the mirror. My reflection looked back at me,
|
||
|
wondering if I would succeed. I watched myself watching myself, examining the
|
||
|
image to see if the mirror-me was as real as I was, or possibly even more
|
||
|
real. I broke the stare and relieved myself in the toilet. As I flushed a
|
||
|
toilet, I heard a knock.
|
||
|
|
||
|
"Who's at the door?" I called out, finishing up and buttoning my pants.
|
||
|
I rushed out of the bathroom.
|
||
|
|
||
|
"No one," Joanna said, zipping up her purse. "I was hitting the table
|
||
|
because I'm frustrated."
|
||
|
|
||
|
"God, you scared me. What you going to do if they come?"
|
||
|
|
||
|
Joanna handed me two pills. "They won't. Sleep, Paul."
|
||
|
|
||
|
I dry-swallowed the pills and climbed into bed. Joanna bent over and
|
||
|
kissed me on the forehead.
|
||
|
|
||
|
"I'd say, 'Sweet dreams,' but I doubt they will be."
|
||
|
|
||
|
I shut my eyes and waited for the dreamtime.
|
||
|
|
||
|
* * * * *
|
||
|
|
||
|
[???]
|
||
|
|
||
|
The old man from the photograph was shaking me when I woke up. I was
|
||
|
lying in bed in my dorm room. I shoved him away and sat up.
|
||
|
|
||
|
"You!" I shouted. "It's you!"
|
||
|
|
||
|
"Yes, it's me, Paul," he chuckled.
|
||
|
|
||
|
"Who are you?"
|
||
|
|
||
|
"I don't really have a name, but you can call me Mr. Happy if you'd like.
|
||
|
I've been watching you for a long time, Paul, ever since you've been playing
|
||
|
your head games. You were a promising subject, but I'm afraid you aren't
|
||
|
going to make the team. Oh, there's still a slim margin that you can slide
|
||
|
in, but I'm afraid I'll have to look somewhere else now."
|
||
|
|
||
|
"But I haven't even faced the abyss yet," I growled. "How the fuck can I
|
||
|
fail when I haven't been tested yet?"
|
||
|
|
||
|
"Temper, temper, Paul. You're always being tested, something you seem to
|
||
|
be incapable of fathoming. All of this occult terminology that boy Jonathan
|
||
|
has been feeding you has skewed your perspective. You think that you have to
|
||
|
face one obstacle, and then you'll understand everything. The abyss is
|
||
|
something you have to deal with all of the time. It's an ongoing process, not
|
||
|
a singular event. You could have gleamed a sense of this out of what he was
|
||
|
talking about, but you didn't listen carefully enough. You didn't fully
|
||
|
understand his models, which made them useless for you.
|
||
|
|
||
|
"Now, you're thinking, 'But if all of this is in my head, how could I
|
||
|
come up with things I didn't know about in the first place?' Simple. You did
|
||
|
know them, you just didn't realize it. Haven't I been telling you that all
|
||
|
along? You haven't been listening, Paul. You are always the *Shin*, the
|
||
|
flame. You are always crucified to *Da'ath*. You must always persevere.
|
||
|
For most people, this occurs on a subconscious level. Their ordeals are
|
||
|
normal, but for the mystic, everything takes on a whole new meaning. That's
|
||
|
why occult language is useful. It provides a paradigm to map out that which
|
||
|
was previously not known."
|
||
|
|
||
|
"But how did my dreams affect reality?" I asked.
|
||
|
|
||
|
"How? Ask yourself, since you're the only one who knows. Tell me, are
|
||
|
you awake right now."
|
||
|
|
||
|
"Yes."
|
||
|
|
||
|
"Wrong. You are asleep. Always. You think you're awake all of the
|
||
|
time, but it's the other way around."
|
||
|
|
||
|
"Then how do I wake up?"
|
||
|
|
||
|
"By recognizing that you are the *Shin*, the flame of God."
|
||
|
|
||
|
"So I am God, then?"
|
||
|
|
||
|
Mr. Happy scowled. "How arrogant and simpleminded. How can you even
|
||
|
begin to understand God if you cannot understand yourself?"
|
||
|
|
||
|
"Help me, then. Help me understand myself."
|
||
|
|
||
|
"It is hopeless. You are lost. When you wake up, you'll forget
|
||
|
everything that has transpired, and you'll go through it all again. I really
|
||
|
was pulling for you to overcome, Paul, but you want a fast solution even when
|
||
|
you deny that there is one. You are trapped in a horrid cycle that you can't
|
||
|
even see, and I doubt you can stop something that you don't know has started."
|
||
|
|
||
|
He walked over to my bookshelf and pulled out Russell's _The Problems of
|
||
|
Philosophy._ "Read this. Read all of these books you have. Read all of the
|
||
|
books in the world. It won't make a damn difference until you defeat
|
||
|
Choronzon."
|
||
|
|
||
|
"And where is he? How do I get to the abyss?"
|
||
|
|
||
|
"Jonathan was right about one thing. Choronzon is you, Paul, and you
|
||
|
face him everyday. It's too late, though. I am truly sorry."
|
||
|
|
||
|
He tossed the book to me and turned to leave.
|
||
|
|
||
|
"At least explain the pictures," I begged.
|
||
|
|
||
|
"You deserve that much, even though you'll forget all of this. Joanna
|
||
|
took them. She's really good with Photoshop, ya know."
|
||
|
|
||
|
"Why?"
|
||
|
|
||
|
"To help you see the difference between reality and the dreamtime. She
|
||
|
wanted to save your soul."
|
||
|
|
||
|
"My soul? From what?"
|
||
|
|
||
|
"From yourself, Paul. From yourself."
|
||
|
|
||
|
"And the exploding ball?"
|
||
|
|
||
|
"Oh, that didn't really happen. That was a dream."
|
||
|
|
||
|
"But I felt pain. It seared the nail into my hand!"
|
||
|
|
||
|
Mr. Happy punched me in the gut. "You're asleep right now, and how does
|
||
|
that feel?"
|
||
|
|
||
|
I grunted in pain.
|
||
|
|
||
|
"That's what I thought. Good night, Paul. Sweet dreams."
|
||
|
|
||
|
Mr. Happy left the room. I put the Russell book on top of my bag by the
|
||
|
bed and crawled back under the covers. These dreams were getting too vivid,
|
||
|
even after all I had been through. I worried what would happen if he was
|
||
|
right and I would forget all of this? I had a lot of questions to ask Joanna,
|
||
|
too.
|
||
|
|
||
|
I forced myself to wake up.
|
||
|
|
||
|
* * * * *
|
||
|
|
||
|
[thursday]
|
||
|
|
||
|
I turned my head and saw Joanna sleeping in the chair. I said her name,
|
||
|
and she woke up.
|
||
|
|
||
|
"Um, sorry, must have dozed off for a second," she said. "I stayed awake
|
||
|
until three--"
|
||
|
|
||
|
"Till three?" I asked. "But I went to sleep around four."
|
||
|
|
||
|
"You've been asleep for over twelve hours. I got so bored that I painted
|
||
|
my nails and then scratched half of it off because I was so nervous. Did it
|
||
|
work?"
|
||
|
|
||
|
"I didn't dream at all, Joanna. For the first time in a long time, I
|
||
|
slept for real."
|
||
|
|
||
|
"But you said that everybody dreams and some people just don't remember."
|
||
|
|
||
|
"I would remember. I think it's finally over."
|
||
|
|
||
|
"I don't know," she said. "Let's go home."
|
||
|
|
||
|
I climbed out of bed, and while I got dressed, Joanna called a taxi. She
|
||
|
gathered Jonathan's things and put them in his backpack. The cab arrived
|
||
|
shortly, and we rode home without speaking.
|
||
|
|
||
|
I paid the cab driver with the last amount of cash I had and followed
|
||
|
Joanna up the steps to the apartment. When we were inside, Joanna began to
|
||
|
cry and sat down on the sofa.
|
||
|
|
||
|
"And so it begins," she said, putting her head in her hands. I stared at
|
||
|
the chipped purple polish on her nails.
|
||
|
|
||
|
"It's finished," I countered after the silence grew too much to bear.
|
||
|
|
||
|
"No, you're wrong. It always starts up again. It never ends."
|
||
|
|
||
|
"This time, it's over," I muttered without her hearing. At least, I
|
||
|
hoped it was.
|
||
|
|
||
|
--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) 1997 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) 1997 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:
|
||
|
|
||
|
CYBERVERSE 512.255.5728 14.4
|
||
|
TEENAGE RiOt 418.833.4213 14.4 NUP: COSMIC_JOKE
|
||
|
THAT STUPID PLACE 215.985.0462 14.4
|
||
|
ftp to ftp.io.com /pub/SoB
|
||
|
World Wide Web http://www.io.com/~hagbard/sob.html
|
||
|
|
||
|
Submissions may also be sent to Kilgore Trout at <kilgore@sage.net>. The SoB
|
||
|
distribution list may also be joined by sending email to Kilgore Trout.
|
||
|
|
||
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
|