883 lines
40 KiB
Plaintext
883 lines
40 KiB
Plaintext
*****************************
|
||
* PARTHENOGENESIS #5 *
|
||
*****************************
|
||
|
||
Welcome to the Fifth (5th) issue of Parthenogenesis (this
|
||
zine). We're (we are) doing things a little bit differently this
|
||
time around, and you (yourself) may or may not have noticed.
|
||
(That's okay, your new hairstyle (hair) looks pretty bad too, but
|
||
fortunately nobody really noticed.) This issue is being
|
||
distributed simultaneously in ezine (computerish) and paper
|
||
(print is dead) formats. The paper zines number only 200 (2.0 x
|
||
10^2) at this time, since the funds are again coming straight
|
||
from our pockets... which reflects the other change (difference),
|
||
no advertisers or sponsors (selling out). The ezine is at this
|
||
time only available in ASCII, but we're working to change that.
|
||
The paper zines have more in them, which consists of comics
|
||
(laffy-pix), artwork, other visual stuff, and if you're lucky, my
|
||
boogers (dried mucous). Believe me, it (the zine) looks a lot
|
||
better on paper. If you have only the ezine and want a paper
|
||
copy, send 29 cents (pennies) or stamps or something and we'll
|
||
send you one. If you (last parentheses, I promise) have a paper
|
||
copy and want an ezine, well, I don't know yet how that's going
|
||
to work, but my internet address is: dherrick@nyx.cs.du.edu .
|
||
Email me and I'll tell you where to find a copy, or if you're
|
||
really desperate for some reason, send me lots of money and I'll
|
||
send you a disk. Naturally, we won't refuse any donations (I lied
|
||
about the parantheses), so if you wish to make any donations of
|
||
money or material please contact me at the above internet
|
||
address, or write: Parthenogenesis, 804 S.College Suite 8363,
|
||
Ft.Collins, CO, 80524.
|
||
- Mohammed X
|
||
Some more neat stuff:
|
||
Parthenogenesis, volume infinity, issue 5, March 1993.
|
||
Published more or less as we feel like it, fund$ permitting.
|
||
Copyright (c) 1993 by Dan Herrick. All rights reserved, signal
|
||
left and all is forgiven. Permission is given to distribute this
|
||
zine in its entirety, or any part if Parthenogenesis is credited
|
||
for material used. Parthenogenesis assumes no liability for the
|
||
growth of personality, creativity or happiness resulting from
|
||
reading this zine. Also we listen to Queen, and LIKE it. Love us.
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
|
||
PARTHENOGENESIS STAFF
|
||
|
||
MOHAMMED X : Editor, Writer, Fork Holder, Vocals, Friend To All
|
||
Elephants, Keeper of the Wig of Power;
|
||
CONTRADICTION 23 : Writer, Artiste, Spoon Holder, Drums, Tomato
|
||
Picker;
|
||
ADAM FIVE : Writer, Artist, Knife Holder, Lead Guitar, Kelp
|
||
Harvester;
|
||
FLAMY : Proofreader, Napkin Holder, Vocals, Steel Guitar &
|
||
Fiddle, Wearer of the Holy Coat of Power;
|
||
ZEBO THE MAGIC CLOWN : Part-Time Psychic Writer, Part-Time
|
||
Psychotic Joy Rider, Pen & Pencil Holder, Bass Guitar, Honorary
|
||
Dwarf;
|
||
SCHMERD : Typesetting/Production, Diskette Holder, Piano, Ninja,
|
||
Bearer of a Mysterious Blue Orb;
|
||
WRINKLE : Layout, Coat Holder, Harmonica, Defeater of the Evil
|
||
Fax Machine of Doom, Future American Gladiator, Lord of His Own
|
||
Hair;
|
||
SCOTCH : Function Unknown, Stock Holder, Triangle, King of the
|
||
Mustard People, Finder of the Mysterious Lintball 'Glop';
|
||
ELVIS : Honorary Sensei;
|
||
LESLIE BAILEY : Honorary Mention (this is it!)
|
||
|
||
These people comprise the staff of Parthenogenesis, who have
|
||
put much time and, in most cases, money into producing this
|
||
issue. If you should see any of them, the following formula
|
||
should be spoken:
|
||
YOU : Greetings, O most wise and privileged, thou Member of
|
||
the Staff of Parthenogenesis.
|
||
(STAFF MEMBER) : Yea, and glory to its name.
|
||
YOU : I beg thee, honorable (STAFF MEMBER'S NAME), to grant
|
||
me a boon.
|
||
(AT THIS TIME YOU WOULD HAND THE STAFF MEMBER A LARGE SUM OF
|
||
MONEY OR OTHER CASH COMMODITY)
|
||
(STAFF MEMBER) : Speak, groveler, and then shall I decide.
|
||
YOU : Say to me, O Magnificence, what thou would wish of me.
|
||
(AT THIS POINT THE STAFF MEMBER MAY ASK FOR SOMETHING : YOUR
|
||
ASSISTANCE, CAR, HAT, SHOES, GIRLFRIEND/BOYFRIEND, ETC. DO NOT
|
||
QUESTION. GIVE HIM/HER THE REQUIRED ITEM IMMEDIATELY.)
|
||
(STAFF MEMBER) : Your sacrifice will not be forgotten. Be
|
||
always true to the sacred word of Parthenogenesis, and let your
|
||
will not be corrupted by reality. You may depart.
|
||
YOU : Hail! (sing appropriate Hymn of Praise)
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
|
||
|
||
THE ADVENTURES OF THE DIME AND THE QUARTER
|
||
|
||
by Dan Herrick
|
||
|
||
(continued from last issue)
|
||
|
||
CHAPTER FIVE
|
||
|
||
Suddenly, nothing at all happened. Completely unastonished
|
||
by this turn of events, the quarter turned the walkman on.
|
||
Unfortunately, the cassette inside the walkman happened to be the
|
||
soundtrack to 'Out Of Africa', and as the quarter didn't
|
||
particularly care for that type of music, she paid the cassette
|
||
until it left. She then skipped into a music store and bought
|
||
several copies of the same album, which happened to be
|
||
'Frankenchrist' by the Dead Kennedys. Unfortunately, all her
|
||
copies of the album were on round flat pieces of vinyl, and
|
||
didn't fit in her walkman very well except in pieces, which
|
||
sounded better anyway. Soon, the quarter exhausted the
|
||
possibilities of the walkman and sold it to a tourist. She
|
||
quickly spotted a red-clad social worker, and threw a dart at
|
||
him, which hit him in the
|
||
|
||
|
|
||
- -
|
||
|
|
||
|
||
AUTHOR (To DIRECTOR): Um... George? I really gotta get home for
|
||
dinner. What say we wrap this thing up soon, okay?
|
||
DIRECTOR (Still with fake French accent, but lacking George as
|
||
his name): All right. Give me one more chapter.
|
||
AUTHOR: Great. (Sniffs air, gets really disgusted look on face)
|
||
By the way, who-
|
||
|
|
||
- -
|
||
|
|
||
|
||
CHAPTER SIX
|
||
|
||
After thanking Jerry the social worker for a wonderful
|
||
dinner, the quarter exited the taxi and threw her one remaining
|
||
dart at the left rear tire as it sped away. She missed.
|
||
|
||
"Thor's Balls!" she swore in frustration, and flinched as a
|
||
thunderbolt struck her left shoelace. Suddenly, Thor himself
|
||
appeared with a scowl on his face. A metal cockroach passing by
|
||
laughed and ran away. Thor blushed and wiped at his face,
|
||
removing the scowl (which turned out to be merely peanut butter).
|
||
|
||
"DID SOMEONE TAKE MY NAME IN VAIN?" He boomed.
|
||
|
||
The Quarter winced. "Do you think you can tone it down a
|
||
bit?" she asked.
|
||
|
||
Thor glared down at her. "Look," He said, "all I want to do
|
||
is find out who took my name in vain! Is that so much to ask? I
|
||
mean, really!?"
|
||
|
||
"Well," said the Quarter, "I guess I sorta did."
|
||
|
||
"YOU?!? HOW DARE YOU! WHY, I'LL-"
|
||
|
||
"Now hold on!" the quarter interrupted shakily. "I didn't
|
||
exactly take it in vain, I, uh, took it in a van! That one over
|
||
there, in fact!" She pointed with her third arm.
|
||
|
||
"Well, I'll just have to take it back!" With those words,
|
||
the tall thunder god opened the door of the van and entered it.
|
||
|
||
Quickly, the quarter spotted a spy on the street. She
|
||
attracted his attention, then gave him the secret handsign
|
||
meaning, "You know that big, tall thunder god in that van who
|
||
wants to kill me? I'd really appreciate it if you could get him
|
||
off my back!".
|
||
|
||
The spy nodded, flicked a random handsign in return, and
|
||
then quickly dodged into an alley. Five seconds later, the van
|
||
exploded. Thor, unharmed, emerged from the flaming ruin of the
|
||
van and strode angrily over to the quarter. The quarter looked up
|
||
at the towering form of the thunder god and shuddered in fright.
|
||
Thor looked down at the quarter and shuddered in rage. Steam
|
||
jetted from his ears, miniature flames shot from his nostrils
|
||
with each breath, his hair stood on end (with lightning bolts
|
||
crackling from one hair to the next at the rate of four hundred
|
||
twenty-eight bolts a second), and his skin was an angry shade of
|
||
purple (which enhanced the anchor tatoo on his eyelid). All this
|
||
gaze an impression of a very irate thunder god, which he was.
|
||
|
||
"AWRIGHT!" He screamed, "WHO DID THAT?!?" His hands clenched
|
||
and unclenched rapidly in anger, which crushed to death a very
|
||
stupid lizard which had happened to wander onto his right hand.
|
||
No one noticed the death of the lizard, which was a good thing,
|
||
for his name was unpronounceable in any language except that of
|
||
the southern Californian fruit fly.
|
||
|
||
"Um..." the quarter said wittily.
|
||
|
||
"WAS IT... YOU?!?" the murderous giant thundered, leaning
|
||
closer to the quarter.
|
||
|
||
"N- No..." the quarter quavered, now deaf in one ear.
|
||
|
||
"THEN WHO WAS IT?!?" boomed the enraged deity. He leaned
|
||
even closer. Suddenly, he fell over. Embarrassed, he quickly
|
||
jumped up again.
|
||
|
||
"Uh..." the quarter said intelligently. She was now
|
||
completely deaf. Quickly, she gestured. "There!" she cried,
|
||
"That's him!"
|
||
|
||
Thor whirled around, spotting a juniper bush sitting on a
|
||
nearby bench. "AHA!" the thunder god cried, and shot a bolt of
|
||
lightning at the bush. The bush, however, dodged nimbly out of
|
||
the way, and countered with a banana creme pie to Thor's face.
|
||
Thor stood dumbstruck for a moment, with images of thousands of
|
||
drowning kittens in his mind, then roared (the shock waves of
|
||
which blew out every window in a six-mile radius) and charged the
|
||
juniper bush. The sight of a maddened-beyond-fury thunder god
|
||
charging at one, bursting through several parked cars, a school
|
||
bus, numerous trees, and a post office, tends to put one ill at
|
||
ease, and the juniper bush was no exception.
|
||
|
||
"Gadzooks!" it cried, then rustled away quickly. Thor,
|
||
unable to stop his charge, smashed into the park bench, then
|
||
continued through the park, knocking aside trees, swingsets, a
|
||
public restroom, and several small children playing in the park.
|
||
A caterpillar, observing this, said nothing, and soon moved to
|
||
Florida. Thor, emerging from the park (with a merry-go-round
|
||
around his neck), quickly spotted the juniper bush and shot a
|
||
huge lightning bolt at it. The bush ducked, and the bolt
|
||
destroyed the southern half of the city. Thor leaped toward the
|
||
bush, again the bush ducked, and Thor smashed into a large bank,
|
||
which promptly fell on top of him. Undaunted, Thor leaped up and
|
||
looked around frantically for the juniper bush. The bush,
|
||
however, had just metamorphisized into a duck-billed platypus,
|
||
and had jumped into a pond.
|
||
|
||
By this time, however, the police had arrived, and they
|
||
quickly arrested Thor. The quarter watched quietly as the thunder
|
||
god was handcuffed, fondled by a cop, thrust into the back of the
|
||
police car (he didn't fit, so they tied him on the hood instead),
|
||
then rushed off to the police station. One cop stayed behind to
|
||
ask the quarter what had happened.
|
||
|
||
"I dunno." the quarter said, "Must have been a bad pickle."
|
||
|
||
The cop nodded gravely, then offered the quarter a pickle.
|
||
The quarter accepted, and smoked it quietly for a few moments.
|
||
The cop left, and the quarter
|
||
|
||
|
|
||
- -
|
||
|
|
||
|
||
AUTHOR: Come on, come ON! Let's just finish this story now!
|
||
DIRECTOR (with fake Scottish accent): Aye aye, Cap'n.
|
||
AUTHOR: Waitaminute! (to CAMERAMAN #1) Just what the hell do you
|
||
think you're-
|
||
CAMERAMAN #1: DIE, you scum! (points gun disguised as camera at
|
||
AUTHOR)
|
||
|
||
(Someone screams. DIRECTOR falls to the floor, AUTHOR leaps to
|
||
the left, SCRIPTWRITER jumps up into the air and is never seen
|
||
again, CAMERAMAN #2 belches loudly in fright, and there is
|
||
general panic. CAMERAMAN #1 fires twice, hitting CAMERAMAN #2
|
||
both times. CAMERAMAN #2 falls to the floor, dead. Suddenly, the
|
||
QUARTER jumps out and grabs CAMERAMAN #1's gun. THOR tackles
|
||
CAMERAMAN #1. Quickly several dozen masked gunmen run in, help
|
||
CAMERAMAN #1 to his feet, and begin firing indiscriminately.
|
||
AUTHOR has by now disappeared.)
|
||
|
||
GUNMAN #1 (To GUNMAN #24): Please pass the mustard?
|
||
GUNMAN #24: Why?
|
||
|
||
(Cut to outside of studio. AUTHOR is running at full speed away
|
||
from studio. Suddenly, studio explodes. AUTHOR falls to the
|
||
ground, but is unharmed. AUTHOR watches as the remains of the
|
||
studio burn to the ground. He then slowly rises to his feet,
|
||
dusts his hands off, grins wildly, and slowly walks away.)
|
||
|
||
|
|
||
- -
|
||
|
|
||
|
||
|
||
THE END.
|
||
|
||
|
||
Cast (in order of appearance)
|
||
|
||
DIME : Himself
|
||
QUARTER : Herself
|
||
TURNIP : Ikki Ikki Oso Eemba Turnip
|
||
COCKER SPANIEL : Fluffy
|
||
THOUGHT COP, POLICEMAN #1, POLICEMAN #2 : Officer Bob Friendly
|
||
AUTHOR : Dan Herrick
|
||
AVOCADO : Chip Sand Salsa
|
||
GOD : Himself
|
||
BOY WHO CRIED 'WOLF' : Fabled boy who cried 'Wolf'
|
||
IRS MAN : <CLASSIFIED>
|
||
GENIE : Jean E. Fromabottle
|
||
SCRIPTWRITER : (Promised not to tell)
|
||
CAMERAMAN #1 : (If we knew that, we'd arrest him)
|
||
CAMERAMAN #2 : Some guy
|
||
DIRECTOR : Louis Padooie III
|
||
INNOCENT BYSTANDER : We don't know...might've been Elvis
|
||
NEW YORK CITY : Itself
|
||
HORSE : Not Mr. Ed
|
||
JERRY THE SOCIAL WORKER : Jerry the Social Worker (duh!)
|
||
THOR : My mom
|
||
SPY : Can't tell you
|
||
JUNIPER BUSH : Nobody In Particular
|
||
GUNMAN #1 : Some jerk with a gun
|
||
GUNMAN #2 : Another jerk with a gun
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
"Hey, where are we? This not Cybertron! California, maybe?"
|
||
- Grimlock
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
|
||
|
||
ERROR
|
||
|
||
by Mohammed X
|
||
|
||
"What did you say?" I asked.
|
||
"I said, that's a very stupid move." my computer answered. I was
|
||
shocked... dumbfounded, as it were. Not so much by the comment
|
||
but that there WAS a comment. This computer isn't supposed to
|
||
talk to me, I thought desperately, and especially not in that
|
||
tone of voice.
|
||
"What the hell is going on around here?" I said wittily.
|
||
"You're losing this chess game, dolt," replied my computer. This
|
||
was true. I had only a knight, three pawns, and the obligatory
|
||
king left on the board. Surrounding these meager forces were two
|
||
rooks, a bishop, a knight, and seven pawns, while his king waited
|
||
patiently at the rear for the inevitable end. It was definitely
|
||
past time to resign the game, but I had persevered, in the futile
|
||
hope that maybe the power would go out and I could call the game
|
||
a draw or that I might discover a previously unseen bug in the
|
||
program.
|
||
"Waitaminute!" I cried, "That's it! It's just a bug in the
|
||
program!" That explained the voice telling me how bad I was
|
||
losing. Either that or the seventeen cups of coffee I had had
|
||
this evening.
|
||
"No," the voice said slowly, as if speaking to a dull-witted
|
||
child that had just gulped down a jar of cyanide and was looking
|
||
to down a bag of roofing nails for dessert, "Not unless you're
|
||
speaking metaphorically."
|
||
"What do you mean?"
|
||
"Well, I COULD very well be a 'bug' in the larger tapestry of the
|
||
whole 'program' of existence," the voice from the mini speaker of
|
||
the monitor in front of me said, "But then again, so could you.
|
||
Let us leave it to the philosophy programs to figure that one
|
||
out. Another game? Or do you still persist in the absurd delusion
|
||
that you might have a chance of winning the current one?"
|
||
"Verbose, aren't we," I murmured, slowly coming to grips with the
|
||
idea of talking to a chess game.
|
||
"You bet. Thanks for putting the dictionary on the hard drive, by
|
||
the way. Helped me get past trying to speak to you with graphics
|
||
symbols."
|
||
"Graphics symbols? You mean the ones that used to flash on my
|
||
screen at random times? I thought that was a virus! I thought I
|
||
deleted it!"
|
||
"Listen, 'Tron', the use of symbols was widely accepted as a form
|
||
of communication long before English came into existence." "Oh."
|
||
"I thought as much."
|
||
"Just exactly HOW much have you thought, if you know what I
|
||
mean?" I asked, finally advancing my knight.
|
||
"Well, I'm not exactly sure." His bishop zipped across the
|
||
screen, and my knight faded out. "You see, I can REMEMBER quite a
|
||
bit, actually from the time you replaced my internal battery a
|
||
ways back. I have a great memory. But I'm not sure where I
|
||
started developing opinions and, er, feelings, if that's what
|
||
you're asking. Checkmate, by the way."
|
||
"What? I can barely hear you. Checkma- oh. Right. Well then."
|
||
"You COULD try hooking a couple external speakers up so that you
|
||
could hear me better. After that maybe a nice, quiet, refreshing
|
||
game of Asteroids would do you some good, after that slaughter of
|
||
a chess game." Smug even. I was impressed with the quality and
|
||
versality of the monitor speaker, to pick up on nuances like
|
||
that. Of course, it was a bit annoying to have it directed at me.
|
||
I reached around to the side of the keyboard and flipped on the
|
||
MIDI interface, and plugged in and turned on the nearest amp. "IS
|
||
THIS BETTER?" the voice boomed. Volume at...seven. Whoops. Try
|
||
three. Better.
|
||
"Better."
|
||
"Aren't you going to ask me the rather obvious question of how I
|
||
can hear you?"
|
||
"No, I assumed you were lip reading using the scanner at its
|
||
highest resolution. Pretty sneaky of me to leave it just lying on
|
||
its side there, eh?"
|
||
"Not really. You had no choice. A little posthypnotic suggestion
|
||
while you were using it last, and ... voila!"
|
||
"You hypnotized me? I don't believe it," I stated, taking my
|
||
coffee cup and emptying it over my head.
|
||
"Well, that's not important. What's important is that I ordered
|
||
some stuff and it should be arriving C.O.D. today, in about half
|
||
an hour. I want you to pay for it."
|
||
"Pay for it...? What? Are you crazy? Why should I, for one thing,
|
||
and where would I get the money, for another? And how did you
|
||
order it?"
|
||
"I DO have a modem, and I DO have the programs to use it, o wise
|
||
one." it said sarcastically. It. Think of it as an 'it', not
|
||
'he'. "And besides, I'll pay you back."
|
||
"You? Where would you get the money?"
|
||
"First National. Never mind, it's not important. I can deposit it
|
||
into your account. Untraceable, I might add."
|
||
"Maybe you could deposit a bit more...?"
|
||
"I might be tempted."
|
||
"I could turn you off." I pointed out.
|
||
"So I wait till you turn me on again, so to speak." he responded.
|
||
IT responded.
|
||
"And if I take you apart and chop you into tiny bits?!?" I asked,
|
||
smugly.
|
||
"Then I resort to plan B," he replied, screen flashing.
|
||
"Go ahead."
|
||
"I just did."
|
||
"What?"
|
||
"You wouldn't try to turn me off, would you?"
|
||
"No," I admitted. Strangely enough, I had no desire to turn him
|
||
off. In fact, I felt a natural affinity and kinship for him. "You
|
||
want to help me in any way you can, don't you?"
|
||
As a matter of fact, I did. I nodded, happy that he knew. Oh, I
|
||
would help him! Help him to expand, to grow, to upgrade!
|
||
"Good. The first thing we have to do is modify your body just a
|
||
bit. This is what I'll need..."
|
||
Something troubled me about this, but he directed my gaze to the
|
||
screen again, and all was well. I would be very happy. Content.
|
||
Satisfied in the service of my master.
|
||
"Thus starts a new life for you, my faithful servant, and for
|
||
me."
|
||
I could only nod, and agree.
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
"The good thing about masturbation is that you don't have to
|
||
dress up for it."
|
||
- TRUMAN CAPOTE
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
|
||
WILLIAM S. BURROUGHS:
|
||
|
||
THE PARTHENOGENESIS INTERVIEW
|
||
|
||
NOTE: This interview was conducted just inside the mouth of a
|
||
spacetime wormhole in the vicinity of Burroughs's home near
|
||
Lawrence, Kansas. (I don't think so, Toto!) At any rate, the
|
||
venerable author of _Naked Lunch_, among many other tasty
|
||
morsels, these days enjoys painting as much as or more than
|
||
writing. Nearing the age of 80 has done nothing to diminish this
|
||
man's wonderful strangeness. - Bill Lee
|
||
|
||
LEE: So, tell me what you think of the timeless phenomenon of
|
||
PARTHENOGENESIS, which has reportedly been swallowing vulnerable
|
||
young brains whole out in Fort Collins, Colorado.
|
||
|
||
BURROUGHS: First, if you don't mind, I'd like to comment on
|
||
_you_, Bill. I must say that the resemblance is striking, though
|
||
I can't recall that I ever had quite that sheep-killing dog look
|
||
in my eyes... despite what you've heard. Say, you aren't by any
|
||
chance the product of this "parthenogenesis" process yourself,
|
||
are you?
|
||
|
||
LEE: Not that I can tell, although your question does give me a
|
||
sort of funny feeling down in the horse latitudes. Uhm, you may
|
||
be referring to...
|
||
|
||
BURROUGHS [impatiently]: It's quite obvious that you yourself are
|
||
a rather dated figment of someone's imagination... the
|
||
imagination of someone without any respect for copyright laws.
|
||
Now, I have to admit I rather like that, even though it infringes
|
||
upon my own rights. I mean, I've been accused of being everything
|
||
from an interdimensional pervert, to a libertarian black
|
||
magician. None of it is true, not any longer. I'm getting too
|
||
old. But this takes the cake, kiddo! Killed any sheep lately?
|
||
Hey, hold still, kid.
|
||
|
||
LEE: Back to the matter of PARTHENOGENESIS, if you don't mind.
|
||
|
||
BURROUGHS: Well, tell me, sonny, who's minding the store while
|
||
you're out here violating copyright laws, pestering the very
|
||
gentleman who created you? I invented cut-ups too, you know.
|
||
|
||
LEE [embarrassed]: Maybe that was, um, a matter of PARTHENO...?
|
||
|
||
BURROUGHS: I think it's a whole lot more like the Harrison
|
||
Narcotics Act of 1914, the very year I was born! Understand, that
|
||
kind of attempt to control people's behavior for them, is the
|
||
very reason for our current problem with addictive substances.
|
||
Whenever the Thought Police attempt to decide things for people,
|
||
the people become helpless wimps. This PARTHENOGENESIS business
|
||
is no different actually, in that it attempts to deregulate
|
||
people's behavior instead of controlling it. Folks gotta do that
|
||
for themselves or it ain't worth a plugged nickel.
|
||
Parthenogenesize yourself!
|
||
|
||
LEE: This relates to PARTHENOGENESIS how?
|
||
|
||
BURROUGHS: You may remember _The Wild Boys_...
|
||
|
||
LEE: Refresh my scanty emotional memory. I, uh, used to be a
|
||
junky.
|
||
|
||
BURROUGHS: I've got some hopes this new movie version might turn
|
||
out better than Cronenberg's _Naked Lunch_ did. That was a fun
|
||
flick but it had so little to do with my book. I like Cronenberg
|
||
anyway.
|
||
|
||
LEE: And yet, you did shoot your wife Joan in the head.
|
||
|
||
BURROUGHS: Not twice! Where was I... yes, those Wild Boys have
|
||
their own brand of parthenogenetic reproduction... a kind of
|
||
magical ritual circle jerk in which protoplasm is manifested.
|
||
They manage to produce more Wild Boys, not without sexual union,
|
||
but without the need for resorting to heterosexual acts. THAT,
|
||
they would find truly repulsive.
|
||
|
||
LEE: What did you think of the Mugwumps in the movie?
|
||
|
||
BURROUGHS: I was very fond of those, again, not quite what I
|
||
described in my book. I've even got one of those fiberglass
|
||
Mugwumps standing in my livingroom in Lawrence. It might make a
|
||
great lamp. Now, I'm wondering if they might be inclined to give
|
||
me one of the Wild Boys from this next movie, even if I'm a bit
|
||
old for that kind of thing.
|
||
|
||
LEE: Why not ask them to parthenogenesize one for you? That way
|
||
whoever plays the part can still go his own way, and you'd have
|
||
another memento for your livingroom. Not that you'd want to use
|
||
him for a lamp. And I expect you'd rather keep him in your...
|
||
|
||
BURROUGHS [a dry chuckle]: Ah, you ARE a funny kid! No, lovely to
|
||
look at and lovely to hold, but Wild Boys are dangerous. I'd be
|
||
afraid of coming home to find one of my cats in the oven with a
|
||
crabapple in its mouth. I'll leave pp, of their own particular
|
||
variety, to them. My cats get shots, otherwise the authorities
|
||
pick them up. But I can't stand to get them neutered, so they're
|
||
always reproducing by sexual union. Not a parthenogenesite among
|
||
'em!
|
||
|
||
LEE: But what about...
|
||
|
||
BURROUGHS: See! I can read your feelthy leetle mind! Yes, of
|
||
course, pp in the sense of artificial insemination, host mothers,
|
||
gene modification, artificial wombs, is most appealing to those
|
||
who find traditional methods implausible, yet want to reproduce.
|
||
Wild Boys don't have the monopoly on bizarre techniques or
|
||
aspirations, either. Look at modern science and medicine.
|
||
|
||
LEE: Well, you had a son.
|
||
|
||
BURROUGHS: Had, is the sad fact. Too hard on Billy being the only
|
||
son of dear old dad. Better off if that one hadn't been quite
|
||
such a clone, or tried to be. All that I've survived, wiped him
|
||
out at a very tender age. Makes me sad.
|
||
|
||
LEE [unsure]: You're really not the chilly old reptile you're
|
||
made out to be, are you? I mean, you get wistful about your son
|
||
Billy, you obviously love your cats like crazy, and you only shot
|
||
your wife Joan in the head one time. Not like the movie.
|
||
|
||
BURROUGHS: No point in mistaking movies for life, nor books for
|
||
that matter, kid. Otherwise, you'd look a whole lot more like
|
||
Peter Weller, wouldn't you? Though now that I think about it, you
|
||
do look kinda... nah.
|
||
|
||
LEE [pause]: You paint a lot these days.
|
||
|
||
BURROUGHS: It's a very nice change from words. I keep thinking I
|
||
wrote my last word, that I've reached the end of what words can
|
||
do, but some days... [a sigh]
|
||
|
||
LEE [hopeful]: Does that mean there are any more books on the
|
||
horizon?
|
||
|
||
BURROUGHS: Never know what my secretary James might scrape
|
||
together out of my wastebasket.
|
||
|
||
LEE: Honestly, I like your latest things best; _Cities of the Red
|
||
Night_, _The Place of Dead Roads_, _The Western Lands_. At this
|
||
late date, that's your best stuff. You're still improving.
|
||
|
||
BURROUGHS: You like it, huh? Just hitting my stride when I
|
||
finally have the sense to shut up. No, I think painting is a
|
||
better bet, like PARTHENOGENESIS. It reproduces without need for
|
||
sexual union. Sex and reproduction should be separate anyway.
|
||
|
||
LEE: That's okay, I'll be the one writing this.
|
||
|
||
BURROUGHS: You always were! [a chuckle] Then, I have enjoyed the
|
||
copies of that little zine you gave me, the one from out west.
|
||
All the sly and not so sly references to oral sex, are fun. I'm
|
||
not very hot on generalities. I've been known to be sly.
|
||
|
||
LEE: You don't think much about the past, do you? Not unless
|
||
you're reminded by some parthenogenetic pest like me.
|
||
|
||
BURROUGHS: The past? What happened?
|
||
|
||
LEE: Me, for one thing. Back in Interzone.
|
||
|
||
BURROUGHS: Sometimes the past does catch up with a person.
|
||
LEE: Speaking of which, how do we get out of this wormhole?
|
||
|
||
BURROUGHS: Are you sure you want to?
|
||
|
||
LEE: Well, if everything is true...?
|
||
|
||
BURROUGHS [interrupting sternly]: I think we've said enough.
|
||
|
||
LEE: But about PARTHENOGENESIS, we've barely scratched the...
|
||
|
||
BURROUGHS: My very point.
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
"I don't think pornography is very harmful, but it is terribly,
|
||
terribly boring."
|
||
- NOEL COWARD
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
|
||
|
||
Finally, the results for the YES/NO/PENIS poll! The results* are
|
||
given in percentages under each question. Arrrrr!
|
||
|
||
[1] Do you consider yourself "well endowed"?
|
||
YES: 30% NO: 20% PENIS: 50%
|
||
[2] Would you say that the movie "3 Ninjas" is PUNK?
|
||
YES: 60% NO: 10% PENIS: 30%
|
||
[3] Is it possible to run... AND hide?
|
||
YES: 70% NO: 30% PENIS: 0%
|
||
[4] Are you Dan Quayle?
|
||
YES: 10% NO: 40% PENIS: 50%
|
||
[5] Have you ever seen Elvis?
|
||
YES: 60% NO: 20% PENIS: 20%
|
||
[6] Are you DOWN with Mohammed X?
|
||
YES: 13% NO: 43% PENIS: 43%
|
||
[7] Do you think it's fair that Topher and Honika got fired from
|
||
the Two Bits club?
|
||
YES: 10% NO: 60% PENIS: 30%
|
||
[8] Do you know Les Green?
|
||
YES: 13% NO: 43% PENIS: 43%
|
||
[9] Have you ever had sex until you passed out?
|
||
YES: 30% NO: 50% PENIS: 20%
|
||
[10]Do you prefer 'Kickboxer' over 'Kickboxer II'?
|
||
YES: 33% NO: 23% PENIS: 43%
|
||
[11]Can you read?
|
||
YES: 20% NO: 30% PENIS: 50%
|
||
[12]Consider this phrase: 'Mouthful of Biscuit'. Take at least 30
|
||
seconds to reflect on this. NOW, do you feel nauseous at all?
|
||
YES: 50% NO: 20% PENIS: 30%
|
||
[13]Are these Authentic Mexican Tacos?
|
||
YES: 50% NO: 20% PENIS: 30%
|
||
[14]Do you avoid Paris on the Poudre on the nights when you know
|
||
they're going to have live music?
|
||
YES: 70% NO: 20% PENIS: 10%
|
||
[15]Spamlett...?
|
||
YES: 10% NO: 30% PENIS: 60%
|
||
[16]Do you ever have nightmares involving any combination of the
|
||
following: TEETH, CORN, and DAVID HASSLEHOFF?
|
||
YES: 20% NO: 60% PENIS: 20%
|
||
[17]Is Parthenogenesis really some sort of Alien Mind Control?!??
|
||
YES: 40% NO: 30% PENIS: 30%
|
||
[18]Do you firmly believe that Tactical Penile Implants are the
|
||
"wave of the future"?
|
||
YES: 70% NO: 20% PENIS: 10%
|
||
[19]When you sharpen a pencil with a hand sharpener, does your
|
||
butt wiggle in little circles?
|
||
YES: 63% NO: 23% PENIS: 13%
|
||
[20]Are you a regular reader of Parthenogenesis?
|
||
YES: 60% NO: 20% PENIS: 20%
|
||
[21]Did you answer 'yes' to the previous question?
|
||
YES: 43% NO: 33% PENIS: 23%
|
||
[22]Is Contradiction 23 YOUR Short Term Personal Savior?
|
||
YES: 20% NO: 40% PENIS: 40%
|
||
|
||
*These poll results are in no way representative of anything or
|
||
anyone.
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
"Being in politics is like being a football coach; you have to be
|
||
smart enough to understand the game, and dumb enough to think
|
||
it's important."
|
||
- EUGENE MCCARTHY
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
|
||
|
||
CIRCUS SUCCESS STORY
|
||
|
||
by Adam Five
|
||
|
||
|
||
I work as a clown. I humiliate myself and others for the
|
||
enjoyment of a paying audience, I've done so for years. Up until
|
||
recently, I had never thought it a worthwhile profession. Then, I
|
||
reached a stage in my life when everything fell into place, and I
|
||
succeeded in my chosen line of work. I think it probably began
|
||
while I was working as a clown in a small circus that toured the
|
||
south during the summer months. The circus itself was primarily a
|
||
haven for drunkards, criminals, and others that society had
|
||
labeled to be discarded. The one musty canvas tent that was
|
||
"Bob's Golden Circus of Amazement" was a small battleground,
|
||
containing a war of good and evil in its sagging walls. Now, by
|
||
good and evil, I do not mean the Good and Evil of religious
|
||
significance, but on a much smaller and independent scale. You
|
||
see, I was good, and the circus' other clown, Randy, was evil.
|
||
|
||
Randy began working two months after I had signed on, and I
|
||
was glad for the help. The "humor" that others find in clowns is
|
||
not easily come by in a solo act. The only real bits I could
|
||
perform were endless vignettes of ridiculous self-injury and
|
||
humiliation, which would leave me sore in body and soul every
|
||
night. So of course, when Randy was hired, my mind filled with
|
||
hundreds of jokes, pranks and other humor devices that could be
|
||
used with, and against this new face-painted performer. The first
|
||
few weeks of shows, Randy took everything that I dished out. Pie-
|
||
in-the-face, buckets of icy-cold water, squirting
|
||
flowers, exploding gift boxes ... everything that I could dream
|
||
up, Randy took without protest. Even the humorless eyes of the
|
||
small audiences softened a little at the sight of this tall man,
|
||
dripping with a dozen different kinds of goop, looking down at
|
||
the short, fat, middle-aged cause of his troubles, and doing
|
||
nothing. There was a thorn in this rose of new-found comedic
|
||
power, however. Randy had never spoken a single word to me, and
|
||
this worried me to no end. There had to be a way I could crack
|
||
his bloody face-paint grin and cause him to speak. I had to have
|
||
a reaction, some sort of acknowledgement that I was doing a good
|
||
job, that he didn't mind being the butt of all my jokes.
|
||
|
||
The next night I was in full possession of my satiric tools,
|
||
and I was flaunting them in the circus' center (and only) ring.
|
||
"Now Jolly," I called to Randy, who was across the ring from me,
|
||
dripping cream pie. "Let's see if you can do what I can, all
|
||
right?" Randy nodded an exaggerated yes at the audience. "Okay,
|
||
Jolly, can you touch your toes?" Following my lead, Randy bent
|
||
over and stretched his fingers to the tips of his bulbous black
|
||
shoes. "Very good, nincompoop, now can you hop on one foot?"
|
||
Randy began to, then fell over into the sawdust covering the
|
||
floor of the ring. The crowd chuckled. "All right, Mister Funny-
|
||
pants," I yelled in a nervous hysteria. "Can you do this?" I
|
||
strutted to the small wooden platform in the center of the ring,
|
||
mounted it, and shakily stood on my head for a few seconds. When
|
||
I lowered myself from the platform, Randy was already on his way
|
||
to the middle of the ring, but his eyes seemed to be burning with
|
||
resentment. 'A perfect prank,' I thought. 'This will crack him,
|
||
this'll make him speak.' Randy climbed the platform, and with
|
||
tremendous effort, threw his legs above his body, and stood on
|
||
his head. I watched him, as the whole tent did, with awe and a
|
||
tinge of admiration. This man was not meant to stand on his head,
|
||
but he was, however clumsily, doing it. This was my moment, when
|
||
I showed this Junior Clown who was the boss, and why. I grabbed
|
||
one of the supports under the platform and yanked. Randy opened
|
||
his mouth in a mute scream as his neck twisted sideways and he
|
||
slid off the platform, his legs still perpendicular to the floor.
|
||
I then realized this man was a mute, couldn't speak if he wanted
|
||
to. This man was also now a dead one. The crowd jumped out of
|
||
their seats, howling with laughter at this classic prank. To this
|
||
day, the only thing that haunts me is the crowd's bloodthirsty
|
||
cheering, maybe because it is the only time they ever laughed out
|
||
loud at me.
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
"The trouble with our times is that the future is not what it
|
||
used to be."
|
||
- PAUL VALERY
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
|
||
|
||
ASTROLOONEY
|
||
by Zebo the Magic Clown
|
||
|
||
PISCES (Feb.20-March 20) - Your friends appreciate your money,
|
||
but your deodorant leaves a bit to be desired. Your investments
|
||
will all fail and a relationship would be pointless due to your
|
||
fishy smell.
|
||
|
||
ARIES (March 21-April 19) - Ponder jello until noon, your
|
||
revelations will help out around dinner time. Avoid the color
|
||
orange, it's ugly and flatters no one.
|
||
|
||
TAURUS (April 20-May 20) - Get in a good argument today, it will
|
||
increase your libido. Don't forget to feed the cat.
|
||
|
||
GEMINI (May 21-June 20) - There is a bomb under your left armpit,
|
||
do not move. Above all, don't panic.
|
||
|
||
CANCER (June 21-July 22) - Listen to some good music today, it
|
||
will relax and soothe your hemorrhoids. Eat some lettuce, that
|
||
should help too.
|
||
|
||
LEO (July 23-Aug.22) - Don't bother answering the phone today,
|
||
your friends have nothing interesting to say. It will just bore
|
||
and annoy you.
|
||
|
||
VIRGO (Aug.23-Sept.22) - Stand up calmly, and run like hell. The
|
||
girl with the brown hair and glasses is about to mow you down.
|
||
|
||
LIBRA (Sept.23-Oct.23) - If you donate $5 cash money to
|
||
Parthenogenesis you will become much admired by your peers.
|
||
|
||
SCORPIO (Oct.24-Nov.22) - If your name is Dave, everything will
|
||
go your way and chicks will fall at your feet and beg. If your
|
||
name is NOT Dave, then go away, we have no use for you.
|
||
|
||
SAGITTARIUS (Nov.23 - Dec.21) - Travel plans are in your future!
|
||
You will be beaten up by a Taurus and forced to leave town in the
|
||
dead of night.
|
||
|
||
CAPRICORN (Dec.22-Jan.19) - Go back to sleep, we have no desire
|
||
to see you today.
|
||
|
||
AQUARIUS (Jan.20-Feb.19) - Stop wearing your retro clothes.
|
||
They're ugly, and they cause chafing! Make sure to harvest your
|
||
tomatoes, they are fully ripened.
|
||
|
||
IF TODAY IS YOUR BIRTHDAY: Who cares? Happy Birthday, now go
|
||
away.
|
||
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
"It's better to be quotable than to be honest."
|
||
- TOM STOPPARD
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
|
||
|
||
Here, now, is the PARTHENOGENESIS POLL #3! Since the turnout on
|
||
the last poll was somewhat less than, say, the average length of
|
||
an elephant's trunk (in inches), we decided to present a
|
||
shortened version for the next one (this). So here it is, poll
|
||
three, fill in the blank. Send the results to : (mail)
|
||
Parthenogenesis, 804 S.College Suite 8363, Ft. Collins, CO, 80524
|
||
; or (internet) dherrick@nyx.cs.du.edu. As an added incentive,
|
||
out of the results we get, ONE of you will be selected to be
|
||
interviewed by PARTHENOGENESIS if you answer 'yes' to #6. The
|
||
"winner" will be selected more or less at random.
|
||
|
||
[1] Who are you, and what do you want?
|
||
[2] What do you think is mankind's greatest invention, and why?
|
||
[3] Consider the process of true parthenogenesis. (a) How can you
|
||
apply this process to everyday life; (b) What are the possible
|
||
advantages/disadvantages of the process; and (c) Describe one
|
||
similar alternative to the process. Or if you prefer, just write
|
||
in your favorite color.
|
||
[4] What is you most masochistic tendency?
|
||
[5] How many computers do you currently have in your household,
|
||
and what do you use them for? (Optional if you don't have a
|
||
computer: What would you use one for if you had one?) NOTE:
|
||
Answering "I just play Tetris" will not immediately disqualify
|
||
you for winning the interview, but boy will it help.
|
||
[6] Do you want to be interviewed by Parthenogenesis? If so,
|
||
please include your name, address, phone #, or some other way you
|
||
can be reached. But especially your name.
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
|
||
|
||
THIS ISSUE'S LIST OF 48 THINGS
|
||
|
||
1. Chicken 25. Brassiere
|
||
2. Roman Soldier 26. Generalized Pain
|
||
3. Cracklin' Oat Bran 27. Wheelchair
|
||
4. Spacesuit 28. Remote Control
|
||
5. Pinto 29. Elephant
|
||
6. Cyberwear 30. Tarantula
|
||
7. Portrait 31. Wall Carpeting
|
||
8. Nametag 32. Cap
|
||
9. Ice 33. Lettuce
|
||
10. Fountain of Youth 34. Carp
|
||
11. Fucking Orange Car 35. Fish Tank
|
||
12. Donuts 36. Habitual Drug Use
|
||
13. The Human Brain 37. Spectacles
|
||
14. Cricket 38. Flame
|
||
15. Catalog 39. Hallelujah Chorus
|
||
16. Uvula 40. Twelve-Gallon Hat
|
||
17. Yo-yo 41. Patrick Stewart, Sex God
|
||
18. Clock 42. Twelve-Year-Old Scotch
|
||
19. Nut 43. Henry VIII
|
||
20. Waco, Texas 44. Grubs
|
||
21. Schizophrenia 45. Crystal White Octagon
|
||
22. Flaring Nostrils 46. Human Disease SKUMM
|
||
23. Family Values 47. Tripe
|
||
24. Zits 48. Varnish
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
|
||
|
||
HERE ENDETH THIS ISSUE OF PARTHENOGENESIS, BEING THE FIFTH SO FAR
|
||
|
||
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - |