2060 lines
98 KiB
Plaintext
2060 lines
98 KiB
Plaintext
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Living in such a state taTestaTesTaTe etats a hcus ni gniviL
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of mind in which time sTATEsTAtEsTaTeStA emit hcihw ni dnim of
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does not pass, space STateSTaTeSTaTeStAtE ecaps ,ssap ton seod
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does not exist, and sTATeSt oFOfOfo dna ,tsixe ton seod
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idea is not there. STatEst ofoFOFo .ereht ton si aedi
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Stuck in a place staTEsT OfOFofo ecalp a ni kcutS
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where movements TATeSTa foFofoF stnemevom erehw
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are impossible fOFoFOf elbissopmi era
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in all forms, UsOFofO ,smrof lla ni
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physical and nbEifof dna lacisyhp
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or mental - uNBeInO - latnem ro
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your mind is UNbeinG si dnim rouy
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focusing on a unBEING a no gnisucof
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lone thing, or NBeINgu ro ,gniht enol
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a lone nothing. bEinGUn .gnihton enol a
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You are numb and EiNguNB dna bmun era ouY
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unaware to events stneve ot erawanu
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taking place - not -iSSuE- ton - ecalp gnikat
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knowing how or what 2/14/94 tahw ro woh gniwonk
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to think. You are in --tWo-- ni era uoY .kniht ot
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a state of unbeing.... ....gniebnu fo etats a
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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CONTENTS OF THiS iSSUE
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=----------------------=
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EDiTORiAL Kilgore Trout
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iT iS ALL PART OF THE ART Clockwork
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A LETTER NEVER SENT or ALL i'D SAY iF i BUT HAD THE WORDS Crux Ansata
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STATE OF THE UNiON Griphon
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THE TRiAL OF SAiNT GULiK The Reverand Toad
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THE GRiD iDEOLOGY High Reverend Fenderson Hagbard of the
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Church of Eris,Ollave/Ophilia Cabal,AC
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THE RAMBLiNGS OF SURGiO Surgio
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LOST iN THE ARMS OF DiSCORD Kilgore Trout
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iNDiFFERENCE Griphon
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GOD iN A BOX Kilgore Trout
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SHELL Griphon
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DRiPPiNG SANiTY Kilgore Trout
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THE CONTiNUiNG STORY OF BUNGALO BiLL, PART II Phadrous
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BOiSE, iDAHO Monty Python
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FRED AND THE RETARD Dim
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THE DiLEMMA OF LORNE: STUD-BOY OR DiSiLLUSiONED GEEK? Kilgore Trout
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DR. GRAVES AND THE BRAZiLiAN GOLD DiNNER PARTY Griphon
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DR. GRAVES AND THE CANNABiS ROOT DiNNER PARTY John Smith
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GRiMACE, PART II Griphon
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CONVERSATiON I Wish My Name Were Nathan
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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"I dedicate this book to all the followers of Christ and his teachings; in
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particular to a true Christian--Jimmy Hoffa--because he hired ex-convicts as,
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I assume, Christ would have.
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--from the dedication to Lenny Bruce's autobiography,
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_How to Talk Dirty and Influence People_
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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EDiTORiAL
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by Kilgore Trout
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Well, here I sit on Valentine's Day, putting together the second issue of
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SoB. I'm quite surprised I made it this far, since the past weekend has
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involved numerous mishaps, a recording session, and a drunk bum who wanted to
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start a "plaid gang." But anyways, we still got the damn thing released on
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time... kinda. Anyway, Clockwork promised me about three more articles, but he
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has disappeared for the moment, and I've got a deadline to keep, so if you miss
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some of Clockwork's work, get on his ass and tell him to move it next time.
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As you have probably already noticed, we have a bunch of new writers.
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Some of you might think that's great. After you read the e-zine, then you'll
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know exactly what you think. To be warned, a few of the stories herein contain
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scenes of a graphic nature. I'll be the first to admit that some of it is
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pretty sick, but hey--I thought it was funny, in a twisted sort of way.
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We've also finally nailed down distribution sites. Thanks to the SysOps
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of those two BBSs for all their support. Their numbers are at the end of this
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file.
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Now, on to the zine. The material is pretty diverse, from talking about
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the art of writing to the homosexual adventures of Dr. Graves to more poetry to
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teenage pregnancy and abortion. Enjoy the zine. Trust me, you'll make it
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through. I'd like to thank the Constitution for the First Amendment, cause
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otherwise we'd all be hunted like witches. Actually, that already happened
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once, but that's a whole nuther story. See you in March.
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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"Sure, I find the odor of death *very* erotic. There are death odors and
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there are death odors. Now you get your body that's been floating in the bay
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for two weeks, or a burn victim, that doesn't attract me much, but a freshly
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embalmed corpse is something else.
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"There is also this attraction to blood. When you're on top of a body it
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tends to purge blood out of its mouth, while you're making passionate love...
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You'd have to be there, I guess."
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--"The Unrepentant Necrophile: An Interview with Karen Greenlee"
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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iT iS ALL PART OF THE ART
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by Clockwork
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To sit in a room filled with dense clouds of smoke produced by yourself,
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staring at a tall empty glass of what was once a refreshing drink, listening to
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the wind outside, hoping the power won't go out, while attempting to write an
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amusing piece of literature is not exactly an easy task. It is an art.
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It is not as simple as turning on that nifty technological computer thing
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your father got you for college, loading up a store-bought word processing
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package, closing your eyes as you press a key, and waiting for the computer to
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do that cyber voodoo to mystically make words appear on your screen. You can't
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just set out a bottle of 1837 scotch whiskey and a pack of German tobacco,
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caress the side of your typewriter, whisper sweet nothings onto the keys, and
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hope the Literary Gods will answer your prayers. It is as art.
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I am not saying people -- writers -- do not go through rituals before,
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during, or after they ink their pages. Of course they do. Someone out there
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has to have the ceiling fan on a low speed, the room illuminated by a green
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light bulb purchased in Tuscon, Beethoven's Fifth playing loudly around them,
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a lit filterless cigarette in front of them at all times, while the television
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is on mute, the window is open to let the traffic noise filter in, and the red
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bandana his ex-girlfriend gave him tied around his head before he could type a
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word. Some get drunk before they write, some get drunk after. Some smoke
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before they write, some after. Some drop acid before they write, some after.
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But it is not the ritual that creates the art. The art is already there; it
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all comes from the same place. It is all in their head. The ritual may
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provide a pathway for it to be let out, but it still was born, raised, and bred
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in your head. And that is an art in itself.
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I envy the soul who can just come home from a long day at the nuclear
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power plant, waltz into his bedroom while stripping the tie from his neck, sit
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down at his jet black typewriter purchased from an antique store 13 years ago
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for no reason at all, and instantly begin pounding out a piece of work, his
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mind and hands working at the same speed so one does not have to pause to catch
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up with the other, until a period marks the end of his role as a writer for the
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day. I await the day when that is possible.
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But then again, the whole joy of it would be hindered if that was
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possible. That is the fun of it; that is why you dress in a loincloth and put
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on tribal rhythms for several hours each evening. It is part of the art.
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And then, there is an art within the art. The art of composing your
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writing within your writing, where your arrange the words with a fine,
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endangered species hair, keeping the art of inspiration and meaning only to
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yourself, so that you and only you know why you composed the art in the manner
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you did. But the sweetness of that art is, you really don't know why.
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It is all just part of the art.
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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"Don Corleone, I am honored and grateful that you have invited me to your home
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on the wedding day of your daughter. May their first child be a masculine
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child."
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--Luca Brasi, rehearsing his speech to Don Corleone in _The Godfather_
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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A LETTER NEVER SENT or ALL i'D SAY iF i BUT HAD THE WORDS
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by Crux Ansata
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Dear A--,
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Every Artist has his medium. I suppose that you--actress, singer, athlete
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--can use your entire form and voice as your medium, hence you can be graceful
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and beautiful in real-time, yet without the plated gaudiness that coats yet
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flakes off those who make themselves appealing as manipulation. Your purity,
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honesty extends the same to your beauty, and amplifies it beyond expression.
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You bear the mark of the true Artist, the creature that exists simultaneously
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as creator and creation, a work and a worker of art, in that I can see a new
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expression of your beauty every time I am around you. I may never exhaust the
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variety of your media.
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My medium is the word; and not even the spoken word is mine, but only the
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written. Therefore, there is much I can say in print that I could never tell
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anyone face to face. There are many secrets told only between I and my pages
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that would be public save that I never had the courage to feel and tell.
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But every writer is a coward. It is axiomatic. The luxury of being able
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to weigh and reject every word, every brushstroke in our two toned canvas
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increases our capacity for consideration, but likewise our inability to retract
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the word that an alleged Artist in the textual world has released fills us with
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an almost paranoid dread of releasing the imperfect. We must release the
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perfect or nothing at all, and err on the side of nothing. A literary Artist
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will be sullen and silent before he will admit to that which he cannot retract.
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If this letter gets to you, it means only that my fear of telling you finally,
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truly how deeply I feel has in the end been surpassed by my fear of what can
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happen if I keep it inside.
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I regret that I brought up the subject of loss when last we spoke; the
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concept that every start must have an end, as I said, weighs upon me
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constantly. I am a perfectionist, and so, to my chagrin, I can admit that I
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am not perfect. This realization shows me that, one day, you must find one
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more perfect than I. When that occurs, I expect no less than for you to leave
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for the more perfect person. You deserve no less.
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Oscar Wilde put my feelings best when he wrote:
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"Their strong passions must either bruise or bend. They either slay the
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man, or themselves die. Shallow sorrows and shallow loves live on. The
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loves and sorrows that are great are destroyed by their plenitude."
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Only the shallow emotion can live on, for all emotion needs fuel to burn. A
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low passion can smolder in the breast of the average man indefinitely, as does
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so frequently rage, hate, discontent, or lust for vengeance. It is that
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shallow smolder by which the respectability of marriage and the passive
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passions of daily life are fueled.
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A strong emotion, however, burns fiercely in my breast. It must either
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burn itself out, collapsing the heart and with it any hope of a future love, or
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burn out the person, destroying him, me, utterly. It is this that destroys the
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great artists. It is this that creates the great artists.
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What I feel for you, however, burns too deeply within me to simply
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extinguish itself. I know full well that I will lose you someday, and I know
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that when I do I will continue to burn the same as I burn now, until I have
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burned away.
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But what is the other option? To have you, as a wife or a lover, a
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permanent fixture in my life or my home? Such an anticlimax would be no
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better, maybe worse, than to have lost you. Love can be killed as truly with
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respectability as it can with callousness or passion. A love in a sealed
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fireplace will be smothered utterly.
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You tell me you fantasize about me; if I may be so bold, I'll share one
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that I have known of you. Hardly a day goes by that I don't catch myself in
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daydreams about how life would be if we were to live together. I know it would
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be almost heaven to fall asleep in your arms and wake again to your beautiful
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face gazing down into mine. As Faulkner says, a sinner cannot reach heaven,
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but if I may never know heaven in death I may at least be permitted to pursue
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a life of paradise regained.
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But I must confess: These fantasies do afford me no small share of fear.
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Indeed, these fantasies strike greater fear in me than marriage ever did. If
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I were to endeavor to possess you as my wife, I would know with every fiber of
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my being that I had sold out any faith I had in love and permitted it instead
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to become relegated to government control. My love would have become a
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commodity rather than the miracle I know now. But if I were to live with you,
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attempting to extend the orgasm of your presence to permanence, it would be a
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death sentence. We would live distracted by our bliss until the time when our
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relationship slid across the subtle but definitive border: The point where our
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relationship is no longer noted by our joy at our partner's presence, but
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rather annoyance at his absence.
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No, I would rather you left me with my love still virile than sell love
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into the slavery of marriage or the slow asphyxiation of cohabitation.
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But to fall in love is to be infused with, even to invite, a mass of
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leaches, all clamped deep into the tender, yielding flesh of the heart. Once
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they have entered their grip and are draining away the life of their victim
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they will undoubtedly destroy the man unless they are stopped. They may be
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starved, the tapeworm technique, by bottling one's lifeblood away to
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unresponsiveness, and run the risk of deoxygenating your heart and shriveling
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into an unfeeling creature. Or you can salt the parasites, shriveling and
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killing them, yet forever poisoning your heart as truly as the carcass of
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Carthage. Or you can simply and directly lay hold of the worm and rip it out,
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or your lady can withdraw her affections and rend it free herself, but then you
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will either bleed to death, your life force flowing crimson in a plaintive
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stream towards your love, or scar over, next time to be more protected and less
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capable of being hurt. Or of feeling pleasure.
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I could never summon the will to cause such damage, though. I will
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happily allow my force to run out until I die, or does my love's love.
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Crux Ansata
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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"The poet may tell the most vicious lies to friends, to lovers, to self, but he
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must always be true to his lines."
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--Crux Ansata
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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STATE OF THE UNiON
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by Griphon
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Let me start out by saying I'm not as anti-government as my peers here,
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and I don't tend to rant and rave about how unfair the system in which we live
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is. Face it, we are not in control, so of course everything is not going to
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work out. There is no system of government anywhere, except for true
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communism, that is good for everyone. Ours is the same way. I'm not an
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advocate for Stalinism in any way, but the principle for communism, total
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cooperation and ownership of everything, is the only possible utopian way of
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government. The reason why it doesn't work is greed. No one can have more nor
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want more than their neighbor. But, everyone wants power and because humanity
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cannot survive as individuals (Nature can still beat the shit out of us, no
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matter how smart we think we are), we have no choice but to try to work
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together. There lies your basic problem. A government is only as good as the
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people in control. Want to change the system? Then put better people in
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office.
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Now, here's the thing about democracy. We don't have one. We have an
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oligarchy. A democracy, a true democracy, would allow the people (majority of
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course) to totally change the entire structure of the government if it wasn't
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working. We, as a majority, cannot do so. Surprised? Well, it does keep
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order for the most part. We the people can be effective if we learn about our
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government and what it is doing. Yes, I'll admit that doing something decent
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is not as attractive as cold, hard cash, but we can put a few good guys in
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office. Right now, corruption is the biggest thing to deal with. Federalism,
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though, wants people to be corrupt. It trains you for it. Who can get the
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most shit for the least amount of work. It's all quite simple.
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How, then, do you beat the system? Move to Canada, marry a nice girl, buy
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a farm with an uncontaminatable water source and a few trees, grow your own
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food, and tell everyone to stay the fuck away from you. That's it. If you
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want to do it any other way, there is a lot of work ahead. Personally, I don't
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have the patience or the time to deal with it. But I don't hate the
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government. It can be fixed. You can fix it. If you do, call me. I'll be
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in Canada.
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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P.J. O'Rourke
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"America wasn't founded so that we could all be better. America was founded so
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we could all be anything we damn well please.
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--P.J. O'Rourke
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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THE TRiAL OF SAiNT GULiK
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A PARABLE FROM THE BOOK OF GULiK
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by The Reverand Toad
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[1] In the last times, Devils of the Nine Hells and Daemons from all levels
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of the Abyss were free to roam the earth, and, in their roaming, to
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commit vast Unspeakable Acts, of which we will not speak, for, if we did,
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they would become Speakable, and, in so being, heard.
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[2] In this time, also, St. Gulik traveled the land, bringing Great Wonder
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and Disbelief to all the peoples to which he taught, and of which he
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healed.
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[3] One day, upon his travelings, St. Gulik was accosted by three of said
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Devils who, having been freed from the bonds of the Nine Hells, were free
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to commit Unspeakable Acts upon the sinners which they could find, to
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torment them, and, in so tormenting, to bring these sinners into the
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clutches of their lord, Asmodeus.
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[4] The Devils accosted St. Gulik, crying to him in a maddened unison, to
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halt, that he may be judged as a sinner, and that he may be found unholy
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enough to please their master, Asmodeus.
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[5] And St. Gulik rebuked them, saying, Who are you to deem me unholy, oh you
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in which I do not believe?
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[6] And they returned to him, saying, We are the Law of this world, the Order
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by which all the beasts of the earth, the birds of the air, the fish of
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the sea, and the stones of the subterranean caverns are ruled, and, in so
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being ruled, are controlled.
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[7] And St. Gulik cried to them, saying, Then you have no mastery over me,
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for I am not of the beasts of the earth, nor of the birds of the sky, nor
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of the fish of the sea, nor of the stones of the subterranean caverns,
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nor even of this earth at all.
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[8] And St. Gulik continued, saying, In these last times, you have free reign
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over this earth, as is true and fitting, but you have yet no dominion
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over the plane in which I dwell, for the House of my Lord is a powerful
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house, and his fields are many, and, despite your laying waste to this,
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but one of his vineyards, he will yet have many, by which he will return
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to this land, and cast out the alien, and replant that which has been
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uprooted.
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[9] And St. Gulik conceded of his body, his mortal shell, to the Devils, that
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they might see that he did, indeed, speak the truth.
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[10] Then, the Devil that thought of Itself as Jubela, the gigantic black
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devil, approached the body of St. Gulik, erect in his resignation.
|
|
[11] And the Devil that thought of Itself as Jubela plunged Its hand through
|
|
the stomach of St. Gulik, yea, up even unto the shoulder of Its shriveled
|
|
arm, and, taking grasp of the beating heart of St. Gulik, wrested it from
|
|
his body.
|
|
[12] And the Devil that thought of Itself as Jubela cast St. Gulik's heart
|
|
upon the dust, but, before the heart of St. Gulik could even be dusted
|
|
with the dirt of this world, it floated up, into the sky, and was taken
|
|
up, yea, even up unto Heaven.
|
|
[13] Then, the fishlike, coldblooded Devil that thought of Itself as Jubelo
|
|
approached the body of St. Gulik, erect in his resignation.
|
|
[14] And the Devil that thought of Itself as Jubelo plunged Its hand up into
|
|
the mouth of St. Gulik, and, taking grasp of the warm brain enclosed
|
|
therein, wrested it from his body.
|
|
[15] And the Devil that thought of Itself as Jubelo cast St. Gulik's brain
|
|
upon the dust, but, before the brain of St. Gulik could even be dusted
|
|
with the dirt of this world, it floated up, into the sky, and was taken
|
|
up, yea, even up unto Heaven.
|
|
[16] Then, the hideous, shriveled dwarf who thought of Itself as Jubelum
|
|
approached the body of St. Gulik, erect in his resignation.
|
|
[17] And the Devil who thought of Itself as Jubelum took hold of the wrists of
|
|
St. Gulik, and prepared as if to rend the saint limb from limb, laying
|
|
waste utterly unto his weak, mortal frame.
|
|
[18] But before the Devil that thought of Itself as Jubelum could rend the
|
|
saint limb from limb, extinguishing the appearance of life from his
|
|
mortal frame, there was a great explosion, and much smoke billowed across
|
|
the landscape, and, from out the billowing smoke, stepped the master of
|
|
these Devils, Asmodeus, and, cried he, Hold, do not rend this saint limb
|
|
from limb, thus extinguishing the appearance of life from this, his
|
|
mortal frame.
|
|
[19] And Asmodeus turned to the Devil that thought of Itself as Jubela, and
|
|
said, Has the saint shown you his chains?
|
|
[20] And the Devil that thought of Itself as Jubela said, No, though his heart
|
|
was torn from his breast and taken up, even up unto Heaven, yet he did
|
|
not show me his chains.
|
|
[21] And Asmodeus turned to St. Gulik, saying, Though my servant, Jubela, rent
|
|
your heart from your breast, and it was taken up, even unto Heaven, yet
|
|
you did not show us your chains.
|
|
[22] And St. Gulik responded, saying, I LOVE, IAO.
|
|
[23] And Asmodeus turned to the Devil that thought of Itself as Jubelo, and
|
|
said, Has the saint shown you his chains?
|
|
[24] And the Devil that thought of Itself as Jubelo said, No, though his brain
|
|
was torn from his head and taken up, even up unto Heaven, yet he did not
|
|
show me his chains.
|
|
[25] And Asmodeus turned to St. Gulik, saying, Though my servant, Jubelo, rent
|
|
your brain from your head, and it was taken up, even unto Heaven, yet you
|
|
did not show us your chains.
|
|
[26] And St. Gulik responded, saying, I KNOW, EVOE.
|
|
[27] And Asmodeus turned to the Devil that thought of Itself as Jubelum, and
|
|
said, Has the saint shown you his chains?
|
|
[28] And the Devil that thought of Itself as Jubelum said, No, though his
|
|
wrists were grasped, even as though he were to be rent limb from limb, he
|
|
did not show me his chains.
|
|
[29] And Asmodeus turned to St. Gulik, saying, Though my servant, Jubelum,
|
|
grasped your wrists, even as though to rend you limb from limb, you did
|
|
not show us your chains.
|
|
[30] And St. Gulik was silent.
|
|
[31] Then Asmodeus turned to his minions, saying, Begone, for this is no
|
|
sinner, no, not even is he a son of Adam, for he has no chains.
|
|
[32] And Asmodeus dismissed the first, saying, Leave first, Jubela, for the
|
|
heart of this saint is not so heavy as to prove a chain.
|
|
[33] And the gigantic black Devil took hold of the sky, verily choking with
|
|
the evil that blew across the land, and did he lift himself into it
|
|
through the force of his arms.
|
|
[34] And Asmodeus dismissed the second, saying, Leave second, Jubelo, for the
|
|
mind of this saint is not so heavy as to prove a chain.
|
|
[35] And the fishlike, cold-blooded Devil slipped into the river, verily
|
|
choking with the evil that flowed across the land, and did he leave
|
|
through the power of his form.
|
|
[36] And Asmodeus dismissed the last, saying, Leave last, Jubelum, for the
|
|
body of this saint is not so heavy as to prove a chain.
|
|
[37] And the hideous, shriveled dwarf stepped into the dirt path, verily
|
|
choking with the evil that walked the land, and disappeared.
|
|
[38] And Asmodeus continued, saying, There is nothing in this man heavy enough
|
|
to drag him into the Hells, nor even to fall into the dust of this road.
|
|
[39] And Asmodeus turned to St. Gulik, saying, You are truly free.
|
|
[40] St. Gulik is a cockroach.
|
|
[41] Know, then, that to enter heaven, three things are needed.
|
|
[42] And know, then, that these three things are Freedom, Love, and Gnosis,
|
|
that is, to know.
|
|
[43] Let he who has ears hear.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
"Fuck 'em if they can't take a joke!"
|
|
--J.R. "Bob" Dobbs
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
6969696969696969696969696969696969696969696969696969696969696969696969696969
|
|
HOUSE OF APOSTLES OF ERIS Vol. 529/green.%%
|
|
|
|
OLLAVE/OPHILIA CABAL OFFICIAL DOCUMENT
|
|
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
|
|
[X]Official Business Today's Date: SweetMorn, Chaos 41, 3160 ACG
|
|
[ ]Monkey Business Yesterday's Date: e^(1/2)
|
|
[ ]Profitable Business CC: House of Apostles of Eris
|
|
[ ]Questionable Business DC: Marie Osmond
|
|
[ ]Unknown fnord
|
|
|
|
The Grid Ideology
|
|
as elaborated upon by
|
|
|
|
HIGH REVEREND FENDERSON HAGBARD OF THE CHURCH OF ERIS,OLLAVE/OPHILA CABAL,AC
|
|
|
|
The essence of the Grid Ideology is that all is chaos. Everything in the
|
|
Universe, in fact the Universe itself, is chaos. All humans interpret
|
|
the chaos through a grid at any given time. The interpretation of the grid
|
|
is what is defined for us as reality. The grid is different for different
|
|
people. No grid is any more True than any other grid, neither is it more
|
|
False than any other grid (Sri Sydasti).
|
|
|
|
This philosophy is the basis for all existence, science, religion, and any
|
|
other mindset. Only now is it manifesting itself directly in the physical
|
|
world. For instance, a computer operating system is the grid for interpret-
|
|
ing the binary response of the computer. In the future, cyberdecks will have
|
|
a grid which interprets the chaos into a visual virtual reality. This, in
|
|
fact, is what the human brain has done for a hundred thousand years. But be
|
|
careful, do not confuse the software with the hardware. Our five senses do
|
|
not compose the grid, they are the hardware. It is that which interprets the
|
|
data that is the grid, the software.
|
|
|
|
Anything in the Universe may be understood, given the right grid to filter
|
|
the chaos. Western philosophy has always concentrated on searching for that
|
|
One Holy Grid which will show us the Truth. As noted above, this is a quest
|
|
which will ultimately fail. It is the Eastern method, the method of adapting
|
|
one's grid or changing it entirely to fit any given situation, which should
|
|
be mastered. Some grids will work for most things encountered in everyday
|
|
life. Unfortunately, this leads to people becoming lazy and using only one
|
|
static grid, which is also known as close-mindedness. This is also why older
|
|
people are less creative and less receptive to new ideas, they have grown
|
|
use to their grid.
|
|
|
|
If one learns early on to modify their grid, then they will forever have a
|
|
much greater chance of being creative, individualistic, mentally free, and
|
|
will always be able to adapt quickly to a new situation, both mentally and
|
|
physically. You will also become much more receptive to the Holy Teachings
|
|
of our Goddess Eris, and this will make you very happy.
|
|
|
|
Adaptivity will become increasingly important as time goes on, for as
|
|
technology increases in complexity exponentially, society will require
|
|
people who can adapt to learn how to use it, and responsibly. Adaptability
|
|
is the survival trait of human beings. The ability to induce a maleable
|
|
grid is necessary for our species to continue existing, so start hammering
|
|
out your head into weird shapes now! We do not need neophytes, we need
|
|
neophiles.
|
|
|
|
Now, you might be asking "Hagbard, if no grid is more true than any other,
|
|
than how can any of this philosophy upon which you have so richly elaborated
|
|
be any more true than...say....fascism?" Well to answer that, as the High
|
|
Reverend Toad wisely informed me, you must be able to accept that all things
|
|
are "true in some sense, false in some sense, meaningless in some sense, true
|
|
and false in some sense, true and meaningless in some sense, false and mean-
|
|
ingless in some sense, and true, false, and meaningless in some sense." Once
|
|
you can accept that, you are well on your way to having and adaptable grid.
|
|
|
|
"God does not play dice."
|
|
-Albert Einstein
|
|
"No, but Goddess does...so PTHPPPPPPTTTTT!!!!!"
|
|
-H.R.F. Hagbard, C of E, OOC, AC
|
|
|
|
Safeguard this document, it may be of some importance.
|
|
DO NOT USE AS TISSUE PAPER, ESPECIALLY IF IT REMAINS ON YOUR SCREEN
|
|
|
|
KALLISTI ***** HAIL ERIS ***** ALL HAIL DISCORDIA
|
|
|
|
If you would like more information on this subject, the Ollave/Ophilia Cabal,
|
|
or would like to join our Discordian Cabal, please fill out the following:
|
|
|
|
----------------------------Cut Along Here-----------------------------------
|
|
[ ]YES! I want to be a Member of the Ollave/Ophilia Cabal of the
|
|
Church of Eris! I will send five dollars to the address below in
|
|
order to get a nice little pamphlet about all the neat things OOC
|
|
is doing with my money.
|
|
|
|
[ ]YES! I want to be a Member of the Ollave/Ophila Cabal of the Church
|
|
of Eris! I won't send any money at all, in which case I won't get a
|
|
nice illuminating pamphlet about what OOC is doing with other
|
|
people's money.
|
|
|
|
[ ]NO! I think you are full of shit! But I will send all of my cash to
|
|
you anyway.
|
|
|
|
[ ]NO! I think you are full of shit and I don't give a damn what you do
|
|
with the money that lots of fools send you!
|
|
|
|
Name:__________________________________________________________________
|
|
Address:_______________________________________________________________
|
|
_______________________________________________________________
|
|
_______________________________________________________________
|
|
Species:_______________________________________________________________
|
|
|
|
Make out all checks to The Astronomy Consortium (our front organization).
|
|
Send this, along with your dough, to:
|
|
|
|
Reverend Toad
|
|
c/o Money Interceptors for "BOB"
|
|
616 Eaglecreek Drive
|
|
Leander, TX 78641
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
The most precious thing you can give nuclear war is your virginity.
|
|
|
|
"Well," said Digger, "liberation can be painful. But what are you going
|
|
to do?"
|
|
|
|
"Generally speaking, doing new things is dangerous. The first person to
|
|
explore new territory is most likely the first to die. But if the human race
|
|
did not constantly adapt to new situations it would be extinct. So society
|
|
produces crazies, I don't know how. We do dangerous things that most people
|
|
think are crazy. That's how society makes progress."
|
|
|
|
When the going gets weird, the weird go pro.
|
|
|
|
If you notice something, and look again, it's your imagination, which is
|
|
another manifold altogether. If you are looking for something and you find it
|
|
there's no way of knowing if it was there or if it was created by the process
|
|
of looking. Am I not correct?
|
|
|
|
--J.G. Eccarius, _The Last Days of Christ the Vampire_
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
THE RAMBLiNGS OF SURGiO
|
|
by Surgio
|
|
|
|
|
|
WHAT HAPPENED TO MY HEART?
|
|
|
|
Well I guess that I owe you a formal Intro first
|
|
|
|
"What happened to the punctuation"
|
|
|
|
I M getting to that I M SuRgiO and I hate grammatical rules so forget it
|
|
This all seems familiar to me YET I don T know why.......... Ok well enough
|
|
introduction How about my first SOB article... I was going to be in the first
|
|
issue but missed my dead line................
|
|
|
|
As I have grown up I have met people who have left lasting impressions
|
|
upon my life some good others well bad worse or really bad... I got to the
|
|
point where I just stopped caring about people in general I became null to
|
|
everything that was common... family friends and lost/future loves... I began
|
|
to accept the pain and heartache as the way it was supposed to be... Hoping
|
|
it would one day come to an end... Through DEATH or being struck by a car and
|
|
turned into a vegetable... Things were like this over some four odd years... I
|
|
began to feel hopeless and repressed all of my feelings things seemed ok that
|
|
is I accepted them as natural... Then during the summer I got this call from
|
|
a girl I was flattered no one ever called me before... In any event I was going
|
|
through some serious family troubles and needed someone to talk to... Yes I was
|
|
using her to unload my trouble on NOt the nicest thing in the world but true...
|
|
It turned out... I was once again used to have the troubles of this person
|
|
unloaded on me... Reverse Psychology... I guess I got what I had coming... So I
|
|
retreated to my state of repression and acceptance... I did not really care...
|
|
at least I helped someone who needed it... Then school started Again... I still
|
|
talked to this person but I tried not to... I just wanted to move away from the
|
|
subject... I told her I felt that way and we have not talked since thank god...
|
|
At school I was in this class that really sucked... That is until I met the
|
|
girl who sat across from me... It seemed at first like we were from two totally
|
|
different worlds... That was until I got to know her... Damn I began to feel
|
|
strange...I became incredibly moody... somewhat depressed... extremely
|
|
confused... I once again was beginning to have emotions for someone...
|
|
Something I had not done in years... Five months later... It is too bad she
|
|
didn't feel the same way... Now I M beginning to deal with my feelings all over
|
|
again towards everything... having to try and talk to her... Tell her how I
|
|
feel without scaring her off... This is hard... I wish I could become involved
|
|
with her... But I guess friendship is better than nothing... Then who knows I
|
|
don't think fate hates me... Why would it show me love only to laugh in my
|
|
face... She is the greatest thing in the world... I have gotten a lot of advice
|
|
I think I need it... I know she knows how I feel... Take care all... I wish you
|
|
luck in your lives...
|
|
|
|
|
|
BACK TO SQUARE ONE
|
|
|
|
Here I sit alone again... Slowly mixing the two poisons... Maybe a little
|
|
wiser this time... Then again not... No one can help me I M alone... The doctor
|
|
lied to you... Sorry man everything is not going to be ok... Not yet anyway...
|
|
They say the last bit of pain feels the best... Rejection and feelings of
|
|
regret are more full than this cup... Slowly I lift my chalice of everlasting
|
|
pain... I take a sip and think of you... please don't be hurt my love It I
|
|
was... My eyes are closed the chalice dropped and my heart stopped... Don't
|
|
forget me or my love... In my heart you will always mean everything...
|
|
|
|
|
|
EATiNG OUT CAN BE FUN!
|
|
|
|
Well the last two were sort of ah... Deep Depressing... So... Lets have
|
|
some fun... here are some tips for eating out at fast food restaurants... So
|
|
for you perverts out there sorry...
|
|
|
|
1. When ordering at the drive through act normal but when the annoying
|
|
voice of the food god comes back to try and sell you an apple pie or some crap
|
|
say "oh yah and don't spit on any of that ok"
|
|
|
|
2. Have you taken a foreign language do you know anyone who has Well then
|
|
this next one ought to be funny Go in speaking your local foreign language
|
|
(don't try this in a place where they know you) Begin to order if they can find
|
|
someone who speaks this language order things that are not on the menu This is
|
|
especially funny if you make up the language and someone who is proud to admit
|
|
ignorance pretends that they know your NATiVE language
|
|
|
|
3. Last of all but still just as funny enter your restaurant of choice
|
|
order just like normal but when they give you your total say somewhat to
|
|
yourself "Lets see thats my shoes my pants and my socks" remove these clothing
|
|
items and offer them to the clerk in exchange for the food Remember to stay
|
|
somewhat dressed so you are not arrested for indecent exposure...
|
|
|
|
Have fun eat well and play safe.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
"Uh, is your mayonnaise reputable?"
|
|
-- one of Kilgore's friends at the Hardee's drive-through
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
LOST iN THE ARMS OF DiSCORD
|
|
by Kilgore Trout
|
|
|
|
wine glasses clink in social graces
|
|
the crowded room reeks of society's elite
|
|
tuxedos and evening gowns mingle with each other
|
|
they speak of things unknown to me
|
|
|
|
i stand in the atrium, gazing out the window
|
|
the manicured lawn seems so peaceful, so serene
|
|
water shoots out from the stone boy's lips
|
|
peacefully landing in the pool below
|
|
|
|
outside the world revolves in utter harmony
|
|
in these hallowed halls, Eris consumes my essence
|
|
|
|
i do not belong here in this palace of wealth
|
|
their eyes perceive me as an outsider
|
|
dressing as one of them cannot hide that fact
|
|
"plebian," whispers the plush carpet upon which i step
|
|
|
|
your face shines as you float towards the guests
|
|
our eyes meet, but there is no recognition
|
|
the man that was such an important figure in your past
|
|
stares at the one that has forgotten
|
|
|
|
there will be no final attempt at acceptance
|
|
time stands still as you fade away
|
|
part of me dies here as i descend into the abyss
|
|
back into the cold, frail arms of discord
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
"We usually see only the things we are looking for--so much so that we
|
|
sometimes see them where they are not."
|
|
--Eric Hoffer, _Passionate State of Mind_
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
iNDiFFERENCE
|
|
by Griphon
|
|
|
|
Questions unanswered
|
|
and still I know no more
|
|
Rain pounding
|
|
on the rooms of
|
|
the
|
|
dead.
|
|
|
|
I hear you scream.
|
|
and I don't seem to care
|
|
|
|
Follow the road
|
|
to hell.
|
|
|
|
Breaking bodies
|
|
shattered innocence
|
|
committed sin.
|
|
I no longer care.
|
|
|
|
I drink blood
|
|
I taste your body
|
|
your tears are in my brain.
|
|
|
|
Seems like you like this
|
|
but there's too much pain
|
|
|
|
Still I no longer care.
|
|
|
|
|
|
|
|
|
|
You can go to hell alone.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
"I look for truth and find that I get damned
|
|
But what is truth? Is truth unchanging law?
|
|
We both have truths -- are mine the same as yours?"
|
|
|
|
--Tim Rice, _Jesus Christ Superstar_
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
GOD iN A BOX
|
|
by Kilgore Trout
|
|
|
|
here i await
|
|
those simple pleasures
|
|
that evolve out
|
|
of my own
|
|
pious hatred.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
"It is human nature to keep doing some things as long as it's pleasurable
|
|
and you can succeed at it--which is why the population continues to double
|
|
every forty years."
|
|
|
|
--Peter Lynch with John Rothchild, _Beating the Street_
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
SHELL
|
|
by Griphon
|
|
|
|
i look at her.
|
|
nothing left.
|
|
darkness
|
|
lost
|
|
in a world
|
|
where light
|
|
has no meaning.
|
|
she pulls away
|
|
with the tide.
|
|
she dances
|
|
and laughs
|
|
with the moon.
|
|
and she cries.
|
|
|
|
i cannot hold onto her
|
|
she is slipping away.
|
|
i cannot touch her
|
|
she is dead to me.
|
|
|
|
this shell
|
|
that i loved.
|
|
this shell
|
|
that i needed
|
|
is lost,
|
|
and will simply vanish
|
|
in the cold dawn
|
|
of my waking reality.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
"We are not in the business of putting cock rings into the hands of little
|
|
girls."
|
|
|
|
--Mattel
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
DRiPPiNG SANiTY
|
|
by Kilgore Trout
|
|
|
|
the night air envelopes me in a sheath of black
|
|
cold and wretched
|
|
life takes a sinister turn
|
|
|
|
madness
|
|
animosity deceit
|
|
betrayal apathy
|
|
|
|
devils, you are
|
|
|
|
visions come--i foresee the apocalypse
|
|
all shall find their fate
|
|
my destiny lies inbetween
|
|
|
|
seize me now
|
|
cure my hungry mind... if you can
|
|
examine that which fuels my unnatural behavior
|
|
hold down your foul bile
|
|
|
|
i am the last
|
|
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
|
|
"The world is indeed comic, but the joke is on mankind."
|
|
--H.P. Lovecraft
|
|
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
THE CONTiNUiNG STORY OF BUNGALO BiLL, PART II
|
|
by Phadrous
|
|
|
|
"Death comes to those who wait, Billy-Boy. It does, it does. And you
|
|
seem to me to be a pretty patient fellow. Oh, yes you do. I'd look on out if
|
|
I were on your side of the fence. Seems that it's just around the corner for
|
|
you, what?"
|
|
|
|
"Don't say, 'What,'" I said.
|
|
|
|
"I don't follow you, old Billy old boy old fella. What's up your skirt?"
|
|
|
|
"I said, 'Don't say "What."' You are not Eric Idle. It doesn't fit."
|
|
|
|
"Eh, what?" Not Eric Idle? Eh? Nudge nudge. Don't quite follow. Do
|
|
you follow what I'm gettin' at? Eh? What? Nudge nudge! Nudge nudge! Eh?"
|
|
|
|
"SHUT THE HELL UP, YOU STUPiD ASS! YOU'RE NOT SAYiNG iT RiGHT!"
|
|
|
|
"Eh, what...?" Dominic continued... and continued while I stared deep into
|
|
my Coke which, if you've not tried it, happens to be very shallow. I hated
|
|
Dominic in the same way one despises one's dick for being a hormone-driven
|
|
bastard and not ever thinking a fly's shit about her personality--like eating
|
|
Jello. No matter how much you get, you could still munch down *one* more of
|
|
those funky little cubes.
|
|
|
|
I looked at Frank and Bishop across the table from me, hoping that I could
|
|
draw one or both of them into the conversation so that Dom would not
|
|
concentrate all his juicy irritation on me. Unfortunately, Frank was busy
|
|
making a tower of cigarettes on top of my book, and Bishop was watching this
|
|
intently. I tried anyway.
|
|
|
|
"Hey, Frank," said I. "That's really cool how you stack those while
|
|
they're burning."
|
|
|
|
"Hmmmm."
|
|
|
|
"Yeah. Really-illy-neato, frankly speaking," Dom said in a singing type
|
|
of voice.
|
|
|
|
"Hey, Bishop?" Frank mumbled.
|
|
|
|
"Yeah?"
|
|
|
|
"Shut him up or I'm going to kill him." Frank said as he didn't take his
|
|
eyes off the smoking tower.
|
|
|
|
Bishop handed Frank some more of his cigarette butts. "Hey, Dom," he
|
|
said, turning his eyes up to the fat, sweaty, stinking tub of lard that Frank
|
|
was about to murder. "Shut up or Frank's gonna kill you."
|
|
|
|
"Okey dokey, my little Bishoptic bud. If you insistiwist, but I doubt if
|
|
ol' Frank the Hank-sank could even"--Frank lept from his chair--"hurt"--
|
|
stretched out his arm--"Ugh!"--and sank his fingers into Dominic's flabby neck.
|
|
|
|
Both by this time were standing beside the table. Dom's weight, a very
|
|
considerable one, was help up almost entirely by Frank: his legs twitched,
|
|
his face was red, and his eyes were just millimeters from bugging completely
|
|
out of his head. All this caused Bishop to grin widely.
|
|
|
|
"Hey, Frank, I was just..."
|
|
|
|
"Shut up, Dom." He did. "Dom," Frank tightened his grip some and I
|
|
thought, "This is what it would look like to see an eagle strange an infant."
|
|
Frank's fingers so very much resembled steel cables. "I want you to be very
|
|
quiet. If you're not, I... will... kill... you." I couldn't imagine that Dom
|
|
could even be thinking loudly with such a quiet, calm voice speaking. "Do you
|
|
understand?" Dom began to speak but then thought twice about it and simply
|
|
nodded his head.
|
|
|
|
"Thank you, Dom." Frank set down his victim, pulled his talons free, and
|
|
sat down to his work once more.
|
|
|
|
"Hey, Billy-boy," Dominic whispered.
|
|
|
|
"FOR CRiSSAKE, YOU STUPiD iDiOT!" Bishop was screaming a lung out in a
|
|
really raspy sort of way that let out more air than sound. "HE JUST... oh
|
|
shit. Twenty-three! That is the 23rd time that book has burst into flames!"
|
|
Dom was forgotten for a moment.
|
|
|
|
"Books tend to do that when you leave smoldering cylinders on them," I
|
|
said.
|
|
|
|
"That's just rationalization! Your book is cursed and you know it!"
|
|
Bishop demanded.
|
|
|
|
"It is not," I said, stamping my foot on the book and feeling very silly
|
|
for not taking it off the table first. "It's just unlucky."
|
|
|
|
"Unlucky?!! How many times has that book been shot?"
|
|
|
|
"Three, but it saved my life on one of those three times."
|
|
|
|
"The only reason you were shot at was because your damned book is cursed."
|
|
|
|
"You're rasping."
|
|
|
|
"Huh?"
|
|
|
|
"I said," I said, "'You're rasping.' You ought to stop smoking."
|
|
|
|
Bishop looked at me as if I were an imbecile. "Are you gonna rid yourself
|
|
of that pestilent tool-of-Satan book or must I?"
|
|
|
|
"I need this book."
|
|
|
|
"YOU DON'T EVEN KNOW WHAT THAT BOOK iS ABOUT! YOU CAN'T"--he heaved in a
|
|
full lung of air--"EVEN READ THE DAMNED PAGES. THEY'RE *BURNED!*"
|
|
|
|
"I'm not throwing away this book. It belongs to the library."
|
|
|
|
Bishop was on his knees now in a vain attempt to make me see his warped
|
|
logic. "Then turn it *in.*"
|
|
|
|
"I don't know how to explain it to them yet... Hey, where are Frank 'n
|
|
Dom?"
|
|
|
|
* * * * *
|
|
|
|
Dominic was dead. Frank had told us so. "Dom is dead, and I have killed
|
|
him." Those were his exact words. Half an hour after we had noticed his and
|
|
Dom's absence, Frank showed back up to tell us not to worry because it wasn't
|
|
"technically murder" so we "needn't worry... much."
|
|
|
|
I was sitting again in my room, in my chair, in the dark, thinking about
|
|
this. He had *killed Dom.* Killed him. Good God. I wondered how. Like
|
|
everyone else, I've thought, oh passively, about shooting people or knocking'
|
|
them off some how, but if it came right down to it, I wouldn't know where to
|
|
aim the barrel. Head? Chest? And Frank hadn't even used a gun. He said he
|
|
killed Dom with "the old broomstick method." I could not grasp that. All I
|
|
knew was that (ha ha) I was glad he was dead! It was the happiest I had been
|
|
in years.
|
|
|
|
I played a little tune on one of Stone's guitars for everyone in the room.
|
|
It was a crappy little tune, but my entire audience wa asleep on my bed so they
|
|
didn't care. When I realized that I had an easy room that was concerned with
|
|
neither quality nor quantity, I sang a poem for them, too.
|
|
|
|
It was a touchy-feely little poem which I had written during one of my
|
|
many bouts with heartache, and I played the crappy little tune as I sang.
|
|
Combining the two thusly caused me almost to spit up from the excessive lack of
|
|
artistic value. Luckily, I laughed and thereby cut the vomit off at the
|
|
larynx.
|
|
|
|
I felt like getting some Jello. And I thought, "Perhaps I'll ask out the
|
|
girl who works at the Jello shop." Then I figured, "Oh, what the hell," and
|
|
kept on singing.
|
|
|
|
* * * * *
|
|
|
|
I sat up gasping for air. "Death comes for those who wait, Billy-boy...
|
|
Guess I had the tongue for it, eh?" The voice trailed off, echoed around my
|
|
head a couple times, grabbed a glazed doughnut off the table and flew away.
|
|
|
|
"What's the matter?" Bishop thought to me.
|
|
|
|
"Dominic."
|
|
|
|
I was sitting at one of two gargantuan oak desks across from the skeleton
|
|
of Bishop who lounged in the other. His bones were bleached white. They
|
|
matched the sand, the mountains and the sky. The only color in the valley
|
|
came from myself, the two desks, and Bishop's black top hat and cane.
|
|
|
|
"So why not have a lie down?"
|
|
|
|
I didn't answer. My attention was lost in the desert which was
|
|
illuminated by a perfectly white sun. Mountains. A mile away at least in
|
|
any direction. The valley wasn't a valley. It was a...
|
|
|
|
"Bowl!" said Bishop. "It's a bowl. Like if you poured milk in, it would
|
|
fill up. Except... except that there's a top. See. The sky makes a lid and
|
|
the edges are rough. Okay, so it's not a bowl. More of a massive hamster
|
|
ball."
|
|
|
|
"You're nuts."
|
|
|
|
"I'm dead."
|
|
|
|
"No."
|
|
|
|
"Alright. I'm a living skeletal system. Have some Jello!"
|
|
|
|
"No."
|
|
|
|
"You're right," he said. "Not the time nor the place. Just one more."
|
|
He picked a Jello cube out of his desk drawer with his boney little fingers
|
|
and dropped it in his jaw. The cube fell promptly through his head, bounced
|
|
off his ribs and splatted into his pelvis to join a pile of gelatin which the
|
|
desk had been concealing. He stood. The Jello fell out of his pelvis and
|
|
dripped down his femurs and shin bones onto his toes.
|
|
|
|
"Damn," he said. "That's what I have about my prick--no matter how many
|
|
of those things I eat, there's always room for Jello."
|
|
|
|
I heard Dom's voice calling across the wasteland and began to swoon. "My
|
|
dear, dear boy. Why on earth do you want a kitten, eh?" Quietly, I died an
|
|
awesome death. "Till then, then," Dom's voice cooed.
|
|
|
|
Blackness.
|
|
|
|
TO BE CONTiNUED...
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
"Life," he replied, "up and down it goes. Excitation and resistance,
|
|
activation and inhibition, waves of positively and negatively charged currents.
|
|
All we ever know are bleeps and bloops translated into warm fuzzies and cold
|
|
prickles. We surf them, the agonies and ecstasies of life, but we are not
|
|
these things. Pleasure and pain are really the same thing, brain states.
|
|
Recognizing this is the first step towards liberation from the neurological
|
|
chains that bind us to the material world, and the development of cyber-pilot
|
|
control of the brain."
|
|
--David Jay Brown, _Brainchild_
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
BOiSE, iDAHO
|
|
by Monty Python
|
|
|
|
Running through the corn, Tom felt as if his lungs were going to burst.
|
|
And he was right. The mist finally caught up with him at the fifth row, and as
|
|
he thought about what Mary became, the mist caused his lungs to expand to
|
|
twelve times their normal size, effectively turning his torso into... a not
|
|
torso.
|
|
|
|
Mary walked up to the remains. This was the man that she had once loved?
|
|
Oh well. As the ground swallowed Tom, Mary walked back to the opening. At
|
|
least she was wanted there. Maybe not loved, but definitely wanted. And fuck
|
|
Tom for leaving her when he saw. She didn't ask him, nor did she want him to
|
|
see. She always told him to knock first.
|
|
|
|
Raul slowly watched her(it) go back to her(its) room(cell). The first
|
|
stage of the plan was complete. She(it) had broken all ties to her(its) past.
|
|
The acquisition of her(its) old boyfriend had been a stroke of genius, even if
|
|
they did have to waste some of the hallucinogen on him. It was worth it to
|
|
enslave her(it) over to them. Hehehe.... cut missiles and tanks as much as they
|
|
want. He knew, and those in charge knew, that the future of warfare was going
|
|
to be played out by those who didn't even know what they were doing. Kind of
|
|
like the congressmen funding him. He heard Carl walking up behind him.
|
|
|
|
"Well, we got it--"
|
|
|
|
"SHE you goddamned fool! We can't let her(..it..) forget her(..it..)
|
|
identity!" Raul yelled at the underling.
|
|
|
|
"Fine. I got HER back to where she needs to be without any problem."
|
|
|
|
Carl looked out into the corn field. He thought for a minute about how
|
|
proud he was to be shaping the future of the world. He looked at Raul, Raul
|
|
looked at him, and they smiled. Then Carl drew his sidearm and calmly shot
|
|
Raul right between his surprised little eyes. Turning back into the compound,
|
|
Carl armed the explosives and stepped over the body of Mary to start the
|
|
countdown. In five minutes the compound where he had spent most of his adult
|
|
life would be slag. He then walked into the corn field to meet the chopper
|
|
coming into view. As he waited to grab the ladder that Hagbard was lowering,
|
|
he smiled and started humming to himself...
|
|
|
|
"The Illuminati... They're everywhere I go. The Illuminati... They're
|
|
watching me I know... hmmm mmm mmmm"
|
|
|
|
And so dead Cthulu remains consigned to his house at Nyarlathotep, to
|
|
continue dreaming of a Future in Boise, Idaho.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
Joseph Campbell, "In the Beginning: Origins of Man and Myth"
|
|
|
|
The mystical dimension is beyond good and evil. The ethical dimension is
|
|
beyond good and evil. One of the problems in our religion lies in the fact
|
|
that it accents, right from the start, the good and evil problem.
|
|
|
|
--Joseph Campbell, "In the Beginning: Origins of Man and Myth"
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
FRED AND THE RETARD
|
|
by Dim
|
|
|
|
The short, fat retarded girl walked into 7-Eleven.
|
|
|
|
"Duh, gimme a Slurpee, please. Abbeb," she muttered to the frail
|
|
Indonesian.
|
|
|
|
"Why does everyone call me Abeeb? My name's Fred you stinkin retard!"
|
|
Fred hollered in his annoyingly nasal Middle Eastern voice.
|
|
|
|
"It's cuz you're a dune coon, you camel-jockey, and all dune coons have
|
|
names with long e's. Now gimme that Slurpee!" the obese, gelatin-like child
|
|
responded.
|
|
|
|
Fred grudgingly ripped a cup from the dispenser and crammed it into the
|
|
roach-ridden Slurpee machine. He forced the button and a stream of half-
|
|
melted sugar product began dripping out.
|
|
|
|
"Oooooo! Mmmmmm! Ahhhhh!" grunted Chelsea, the frozen fruit-lusting
|
|
retard. "I can't wait!"
|
|
|
|
Fred finished filling the cup and slammed it on the counter directly
|
|
under the huge jiggling vulture's beady eyes. The beast flung her chubby hands
|
|
around the mutilated cup and pulled it greedily to her lips. Rivulets of the
|
|
neon ice seeped through her dimples creating the illusion of a hot pink accident
|
|
on the cold tile floor.
|
|
|
|
"Oh, NO!" exclaimed the monstrous retard directly into the cup. "I
|
|
wouldn't want to lose any!"
|
|
|
|
With that, the retard fell to the floor, spreading her hulking mass over
|
|
the extent of the aisle. The creature's jaw dropped slightly, subjecting the
|
|
tile to its rough, slurping tongue.
|
|
|
|
"Mmmmmm! I got it," the girl grinned.
|
|
|
|
"That's disgusting!" shrieked Fred. "Get your gnappy lard-ridden butt
|
|
outta my store!"
|
|
|
|
"Hmph! That's the last time I come here," muttered the retard as she
|
|
turned around and waddled out.
|
|
|
|
She wallowed in glory as she barged out of the 7-Eleven.
|
|
|
|
"I sure told him," she mumbled. Her belly jiggled as she chuckled
|
|
cheerfully to herself. "That sand nigger learned his lesson: never pick on
|
|
a fat retard!" She jiggled some more.
|
|
|
|
All the while her freshly eaten slurpee dripped through her guts, and
|
|
shortly, her fat-squeezed bladder was full and ready for bursting. The retard
|
|
primed herself quickly and deftly let her bowels go. Her pants wet in perfect
|
|
form. She wallowed away from the store.
|
|
|
|
"Gee, that retard can pee!" thought Fred, staring bug-eyed with beady
|
|
eyes out the store windows at Chelsea. Fred figited crazily with a lotto
|
|
number picker and shrugged to the empty store as his numbers came up:
|
|
|
|
5 8 17 23 42 46
|
|
|
|
The retard had left him dazed. Not only had he ever yelled at a retard
|
|
so much, but he was left with a strange feeling in his stomach. Somewhere in
|
|
his guts, he felt the fluttering of little feet. Nervously, the frail Indian
|
|
lifted his shirt and peered at his rib-enhanced chest. It was dark tan, as
|
|
usual, but something was different. Fred had never had little shrimp swimming
|
|
out of his belly button. The tiny crustaceans floated lightly into the air
|
|
and began gnawing at Fred's huge nose.
|
|
|
|
"That fat retard must've planted spores in me," whined the infuriated
|
|
Arab.
|
|
|
|
Fred glanced out of the store. Chelsea stood beside the road waiting for
|
|
a gap in the speeding traffic monster. Her head spun backwards, and she glared
|
|
at the unblinking Indonesian. Fred pulled out his gun and shot the retard.
|
|
She died--fat, red, stinking, and really messy.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
"If I share my bed with you
|
|
Must I also share my life?
|
|
Love is just a moment of giving.
|
|
Marriage is when we admit our parents were right."
|
|
|
|
--Billy Bragg, "The Marriage"
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
THE DiLEMMA OF LORNE: STUD-BOY OR DiSiLLUSiONED GEEK?
|
|
by Kilgore Trout
|
|
|
|
|
|
"So, like, there was all this smoke coming out of my car, and she
|
|
says, 'But, we're gonna be late,' and I say, 'Excuse me, but my
|
|
car's on fire.'"
|
|
-- overheard in the hallway of a high school
|
|
|
|
|
|
Has there ever been a time in your life when something extremely bad was
|
|
happening to you but no one else noticed? Such was the case with my friend
|
|
Lorne. He was small for a senior, being four feet tall. Actually, that's
|
|
small for anybody, but that's beside the point. Lorne had a major problem,
|
|
if you could call it that. Every single girl at the high school wanted to go
|
|
out with him. Why, I do not know. The guy wasn't that bright, had a huge
|
|
amount of boils on his left buttock (it was common knowledge--some doctor
|
|
wrote an article in a medical journal which Lorne liked to show off), and he
|
|
had the personality of a tree stump. I guess I just felt sorry for him.
|
|
|
|
There was this one girl, a cheerleader, who really wanted Lorne bad. Her
|
|
name was Veronica, and she had the kind of body that made teenage boys go into
|
|
epileptic in an effort to keep their hormones under control. One day Lorne
|
|
and I were sitting in the cafeteria, snacking on chewy mashed potatoes, when
|
|
Veronica came over and placed herself next to Lorne, who was leaning to the
|
|
right on account of the pain from the boils.
|
|
|
|
"Hi there," Veronica said in an overly-exuberant nice, friendly voice.
|
|
She was one of those people that you just wanted to vomit on because of their
|
|
infinite positive attitudes. "How are we today?"
|
|
|
|
I thought she would make a great kindergarten teacher.
|
|
|
|
Lorne just sat there, pushing his fork in and out of his mashed potatoes.
|
|
Trying to get the conversation rolling, I said, "I'm fine." She never even
|
|
looked at me. Veronica took Lorne's silence as a sign that he was doing okay.
|
|
|
|
"Well, that's good," Veronica agreed to no one in particular. "Listen,
|
|
Lorne, would you like to go out Friday night with me? This is the first
|
|
Friday night I have free after football season, and I want to go do something
|
|
wild."
|
|
|
|
Lorne pulled his fork out of the mashed potatoes. A big clod of the
|
|
white, gooey food stuck to it.
|
|
|
|
"Wow, that's neat," exclaimed Veronica. "So, are we on for Friday?"
|
|
|
|
Lorne shrugged. He didn't really care whether or not he went out.
|
|
|
|
"Good. I'll pick you up at seven o'clock. See ya." Veronica got up and
|
|
disappeared from the cafeteria.
|
|
|
|
One thing I forgot to mention about Lorne: he doesn't speak much.
|
|
Usually, when he does talk, it's primarily in reference to the pain from his
|
|
boils, such as, "My buttocks!" Of course, this isn't the only thing he says.
|
|
Sometimes Lorne will say, "My rear end!" or "My ass!" The only word that I
|
|
ever heard him utter was "salt." Lorne is obsessed with putting salt on
|
|
everything he eats.
|
|
|
|
"So, Lorne, are you gonna go out with Veronica?" I asked.
|
|
|
|
He shrugged.
|
|
|
|
"Man, I don't understand you. Most guys would give anything they owned
|
|
for a decent shot at her, and you've got her crawling all over you. Don't you
|
|
find her a little bit attractive?"
|
|
|
|
Lorne raised his hands in front of his face, palms outward, and squeezed.
|
|
|
|
"Ah, you like her big hooters," I confirmed. "So, I guess you're gonna
|
|
go?"
|
|
|
|
Another shrug was followed by a hesitant nod.
|
|
|
|
"Wise choice. Otherwise I'd have to knock you back to your senses. Say,
|
|
if things don't work out, could you put in a good word for me?"
|
|
|
|
Before Lorne could answer my question, the bell rang. As people began
|
|
filing out of the cafeteria, someone cruelly pulled Lorne's chair out from
|
|
under him. He landed with a thud on his left cheek.
|
|
|
|
"My buttocks!" he yelled, causing hysterical laughter to erupt from the
|
|
male population in the cafeteria. As always, a massive hoard of girls rushed
|
|
over to help him back to his feet.
|
|
|
|
* * * * *
|
|
|
|
Sure enough, Friday night rolled around at its usual time. I was over at
|
|
Lorne's house, trying to get him excited about the date. Naturally, his
|
|
expression never changed once. He was dressed in brown slacks and a tweed
|
|
jacket. He even had a bow tie to complete his outfit. He looked like... well,
|
|
he just looked like Lorne should if he was going out on a date.
|
|
|
|
Before we move on, there's something else I think ought to be mentioned
|
|
about Lorne. He writes awful poetry. I don't know if this is a cause or
|
|
effect of his personality, but it's definitely not a good trait. Now, some of
|
|
you might be thinking that it can't be too bad, so I've decided to include a
|
|
few samples to prove my point. Also, he only writes poems that are four lines
|
|
longs and rhyme. Ugh:
|
|
|
|
To drink wine is to drink me.
|
|
To eat caviar is to eat me.
|
|
To smell old socks is to smell me.
|
|
To hear my voice is to hear myself (that's me!).
|
|
|
|
Or how about this one:
|
|
|
|
I loved her once when I was a child.
|
|
I loved her twice when I was riled.
|
|
I loved her thrice when I was defiled.
|
|
I killed her finally with a jar of Pace's mild.
|
|
|
|
|
|
The reason I brought this up is that as I walked into his room, he was
|
|
sitting at his desk about to write some more of this infernal poetry, if it
|
|
could be called that. I immediately grabbed the pen and paper from him.
|
|
|
|
"What the hell do you think you were doing, Lorne?" I loudly asked. "Do
|
|
you want a nice evening or a girl who thinks you're a dork?"
|
|
|
|
He shrugged. Dammit, all of this shrugging was getting on my nerves. If
|
|
Lorne would only raise his hands or even cross himself... the guy never could
|
|
decide on anything himself.
|
|
|
|
"Okay, look. Lemme give you a few pointers so you might make some
|
|
progress with Veronica. First off, none of your poetry. I hope you weren't
|
|
planning on showing her some of your old stuff."
|
|
|
|
He lowered his head and stuffed his hands in his pockets. When he removed
|
|
them, they contained pieces of paper with writing on them.
|
|
|
|
"Put those away," I ordered. He obeyed.
|
|
|
|
"Listen, Lorne, I'm just trying to help here. I don't want to hurt your
|
|
feelings or anything, but she just wouldn't go for that. And secondly, don't
|
|
bring that goddamn medical journal with you. Nobody wants to hear about how
|
|
your boils just keep growing back even after they've been lanced and how only
|
|
a certain type of sheep that lives in some foreign country has ever had this
|
|
problem besides you. It just won't do any good."
|
|
|
|
Lorne didn't move. His eyes roamed around the room trying to find
|
|
something besides me to look at. Not to be fooled, I threw an arm out and
|
|
reached inside his jacket, finding the medical magazine rolled up in the
|
|
inner pocket. I took it out and threw it on the desk.
|
|
|
|
"C'mon, man. You don't need none of that stuff. Just be yourself."
|
|
|
|
Lorne's eyes grew wide, and he looked up and grinned unevenly at me.
|
|
|
|
"On second thought, take them with you. Just in case."
|
|
|
|
* * * * *
|
|
|
|
Call me nosy. Call me curious. Call me a pervert. So what if I followed
|
|
Lorne and Veronica on their date? Does it make me such a bad person? Was it
|
|
that wrong of a thing to do? I don't think so. Anyway, if I didn't, you would
|
|
never have found out exactly what went on, and I know you are all dying to find
|
|
out.
|
|
|
|
I left Lorne's house and hid in the bushes. Veronica drove up in her
|
|
Plymouth Laser at exactly 7:00. She opened the driver's side door and stepped
|
|
out, looking as beautiful and radiant as ever in a white blouse and black
|
|
mini-skirt. Her walk to the front door was too graceful to be real, and it
|
|
seemed as if she was floating.
|
|
|
|
Lorne was going to be devastated by the sight of her. I just knew he
|
|
wouldn't be able to handle it. But hell, that was fine with me, cause if this
|
|
date didn't pan out, maybe I'd actually get a chance with Veronica. You're
|
|
probably thinking that I'm not a very nice person, plotting against Lorne to
|
|
get his girlfriend and spying on him, but that's not true. If I was a truly
|
|
evil person, I would interfere with their date and try to make it go belly up.
|
|
|
|
Lorne shyly opened the door when the doorbell rang. He did a double-take
|
|
at Veronica's outfit and then grinned sheepishly. He raised a hand and pointed
|
|
to the car.
|
|
|
|
"Oooh, I like a take-charge kind of guy," Veronica swooned. "Let's go."
|
|
|
|
Hand in hand, they walked out to the Laser. It was quite a sight, really,
|
|
to see the stunning Veronica with the tweed-laden Lorne by her side. As they
|
|
got into the car, I retreated from my hiding place and ran over to my car. I
|
|
had a Plymouth, too--a Plymouth Fury III, otherwise known as "The Tank." My
|
|
car could get hit by a tractor-trailer truck, and I wouldn't even know it.
|
|
|
|
Veronica turned on the engine and smooth pulled away. I did the same
|
|
thing, except my movement caused a bunch of rattles and pops and other things
|
|
that don't sound good if you are in a car.
|
|
|
|
I followed them.
|
|
|
|
TO BE CONTiNUED...
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
"Everything is permissible."
|
|
--Saint Paul, 1 Corinthians 10:23
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
DR. GRAVES AND THE BRAZiLiAN GOLD DiNNER PARTY
|
|
by Griphon
|
|
|
|
Dr. Stephen Graves side-stepped the disease-laden whore on his way to
|
|
Silky Buloir's apartment in Harlem. Jonny Klipp, a nervous young buck who
|
|
ejaculated early, whimpered quietly.
|
|
|
|
"Why, Johnny, I do believe you're scared." the good doctor said.
|
|
|
|
"Nay, Graves. I was remembering the time my neighbor contracted the rare
|
|
strain of whooping gonorrhea. He went insane and shot himself while playing
|
|
Tony Bennent records and wearing a pink chiffon dress with light blue feather
|
|
ruffles. I was eight when he died. I remember playing 'Hide-the-Monkey' with
|
|
my older brother's friend, Kevin, when fat Mr. Spidcock ran from behind his
|
|
house waving his infected bald-headed buddy and spurting the chunky white at
|
|
Kevin's naked bum. My father blew the infected tube-steak into the yard of
|
|
Erma Sweeney, whose dog, Poochlovey, buried the sausage, never to be recovered."
|
|
|
|
"Poor boy," Graves said. "To see a tally-whacker used in a malicious
|
|
way..." Graves paused, remembering the day Gary Comshin, a mechanic, threatened
|
|
a little boy with his greasy dong for a piece of candy.
|
|
|
|
Graves was interrupted by a black man with a limp. He was a tall man,
|
|
wearing velour and satin of burgundy, decorated with the cock feather of an
|
|
ostrich.
|
|
|
|
"Silky!" exclaimed the good doctor. The two embraced. "What in heavens is
|
|
wrong, Silky? You look like someone is trying to kill you."
|
|
|
|
"Stephen," Buloir said, noticing the gleam in Johnny's eye that suggested
|
|
the power of a bull nestled firmly in the size 30 blue jeans of Johnny Klipp.
|
|
"Stephen, I'm in trouble. Yesterday I received a shipment of 100 pounds of
|
|
Brazillian Gold cocaine and a few tablets of LSD from a dealer in Florida.
|
|
Juan Julio, do you know him? No? He is a flaminco dancer in the Cafe Blue
|
|
Ball. Famous for subduing maddened boars with his darting penis.
|
|
|
|
"Anyway, I lost the shipment and am in to Juan for 1.5 million dollars.
|
|
It's due at four o'clock this afternoon. Can you help me, Graves?"
|
|
|
|
Stephen Graves took the scared pimp into his arms.
|
|
|
|
"Yes, my turtle dove, I will help you. After all, you give the best head
|
|
in the Western world."
|
|
|
|
"Thank you, Stephen. You shall get my 'Raspberry Lollipop' special."
|
|
Johnny Klipp had an erection of stone, his pants nearly giving way to his
|
|
massive wang inside.
|
|
|
|
"As for you, my young acquaintance," Silky Buloir said, running his hand
|
|
down the chest of Johnny. "You might get a 'Dreamsicle Twirl' if you behave
|
|
yourself."
|
|
|
|
"Silky," Graves interjected, placing his hand firmly on the rock monkey in
|
|
Johnny's pants. "Where are you supposed to meet this Juan Julio?"
|
|
|
|
"In Denton--" Silky said, "Southside!"
|
|
|
|
"Quite," Graves said, noticing that Johnny's love muscle had jismed the
|
|
cream-honey into his palm.
|
|
|
|
The two men left Silky to beat the shit out of the whore who Graves had
|
|
side-stepped. In one of those funny coincidences, she was Silky's ho, and
|
|
hadn't paid her usual eighty percent to fund Silky's cocaine habit. On top of
|
|
it all, she had contracted herpes, and gave it to some kid for a nickle and
|
|
three pennies. Silky beat the shit out of her, screaming "You dirty ho! You
|
|
stinky ho!" and other phrases. Graves and Johnny began their journey to
|
|
Denton--Southside! when they were accosted by two young dope sellers.
|
|
|
|
"Say, Puto, you want some acid? Only, for you, say, six dollar man."
|
|
|
|
"No, my lice-ridden young friend, I shall pass. You see, when I was in
|
|
the Amazon with Professor Tea Barnstupple, he got so smashing drunk on rum that
|
|
his semen-alcohol level was a 50-50 ratio. I massaged his purple-headed
|
|
warrior until the smooth wiener juice flowed in my mouth. The rum reacted with
|
|
the come to produce an effect that no hallucinogen has yet to recreate. Tea
|
|
died in the morning, alcohol poisoning, but at least he died happy."
|
|
|
|
"You one sick bitch, man," the drug dealer said, pulling out a
|
|
switchblade. "I think I'll kill you and take your wallet or something."
|
|
|
|
Stephen Graves lept back and using skilled doctor-like touch, began to rub
|
|
the python sleeping in Johnny's pants. The mighty dong awoke, and with the
|
|
graceful rubbing of Graves, issued a bundle of life onto the two men.
|
|
|
|
"Slide!" commanded Graves, and the two companions jumped onto their
|
|
bellies and slid like sperm lugers past their assailants, knocking them into
|
|
puddles of Johnny's spent dong milk. Dr. Stephen Graves and Johnny Klipp stood
|
|
and hurried off into the direction of Juan Julio, the flaminco dancer.
|
|
|
|
"Was that true?" asked Klipp. "The semen and rum?"
|
|
|
|
"Yes," Graves said. "I was on fire that night. Demons burned in my soul,
|
|
each one sticking a fiery prick up my bottom. My babboon nose sneezed its
|
|
contents into Tea's ass, making him cry out in drunken agony. It was
|
|
terrifying and wonderful."
|
|
|
|
Graves was unable to finish his story, for he was interrupted by the
|
|
infamous Juan Julio. Julio was a stocky man, his girth belying the fact that
|
|
he could dance like a three-legged Spanish whore. Graves approached
|
|
cautiously. His extra-sensitive loop worm told him that a dangerous being lay
|
|
within the silk panties that Julio wore.
|
|
|
|
"I am Dr. Stephen Graves, and this is my young companion Johnny Klipp. We
|
|
are friends of Silky Buloir's."
|
|
|
|
Juan Julio pulled out a pistol and shot Johnny in his mammoth tusk.
|
|
Johnny screamed in pain, slumping to the ground. Stephen bent over him. "I guess this means no 'Dreamsicle Twirl'" he said, expiring.
|
|
|
|
"Tell Silky I do the same thing to him," Juan said.
|
|
|
|
"No, my drug czar bastard! I will crush you now. You wasted a perfectly
|
|
good ying-yang. That is intolerable!"
|
|
|
|
Juan Julio flung off his cape to reveal a dancing dress with lace,
|
|
ruffles, and star nipple covers.
|
|
|
|
"Come then" he said. "We dance."
|
|
|
|
The two men circled each other, each one performing a series of Salsa
|
|
moves and Chicano flurries. Yet Graves did not know that the panties Juan wore
|
|
were crotchless, and that years of training on the homosexual isle of Tuwanda
|
|
had given him the mystical power of elongating and controlling his one-eyed
|
|
trouser snake. Graves was suddenly caught in the death grip of Juan Julio's
|
|
magic wand.
|
|
|
|
"It would appear you've been beaten, you piece of excrement," the drug
|
|
lord said.
|
|
|
|
"Nay," Graves said, hoarsely. Using his Transsexual Buddhist Golden
|
|
Finger Rod Rub, Graves took Juan Julio to the fifth level of ecstasy. The man
|
|
passed out, his dick recoiling into the three-inch form it had once been. Juan
|
|
came, a small bead of the pearl-love rolling down his leg and mixing in a
|
|
puddle of rain water.
|
|
|
|
"You are now sterile, you bug fucker," Graves sneered.
|
|
|
|
Later that day Graves was sitting among the leather couch enjoying a bit
|
|
of marijuana and a "complementary" vial of the cocaine that Juan raised.
|
|
|
|
"You know, Silky, my cock feels like a mountain."
|
|
|
|
"Well, then, Graves," the homosexual pimp said. "let me lick that
|
|
mountain clean.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
Society--civilized society, at least--is never very ready to believe
|
|
anything to the detriment of those who are both rich and fascinating. It feels
|
|
instinctively that manners of more importance than morals, and, in its opinion,
|
|
the highest respectability is of much less value than the possession of a good
|
|
chef.
|
|
|
|
Each of us has a heaven and a hell in him.
|
|
|
|
Their strong passions must either bruise or bend. They either slay the
|
|
man, or themselves die. Shallow sorrows and shallow loves live on. The loves
|
|
and sorrows that are great are destroyed by their plenitude.
|
|
|
|
The soul is a terrible reality. It can be bought, and sold, and bartered
|
|
away. It can be poisoned or made perfect. There is a soul in each one of us.
|
|
|
|
The things one feels absolutely certain about are never true.
|
|
|
|
The books that the world calls immoral are books that show the world its
|
|
own shame.
|
|
--Oscar Wilde, _The Portrait of Dorian Gray_
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
DR. GRAVES AND THE Cannabis ROOT DiNNER PARTY
|
|
by John Smith
|
|
|
|
The small biplane skirted onto the runway with tremendous accuracy, which
|
|
was a feat in itself, seeing as how Dr. Stephen Grave's lascivious dong had so
|
|
enamored the stout, swarthy, dick-hungry pilot to turn his full attention to
|
|
the cock only. Dr. Graves had never been to Moracco, and after the lackluster
|
|
blowjob he had just received from the craft's captain, he questioned the notion
|
|
of ever returning.
|
|
|
|
The French Riviera is alive at this time of year, and Graves marveled at
|
|
the exorbitant amount of people that roamed the streets in this swelteringly
|
|
smothering heat, as his taxi (such as it was) pulled up to the dormitory that
|
|
would be his home for the next two weeks.
|
|
|
|
Dr. Graves, in keeping with the ancient Moraccan tradition of payment for
|
|
cab fares, proceeded to jack off the driver. The temperature in the automobile
|
|
rose five degrees before a sweat-laden Pierre de Toir reached a frustrated
|
|
ejaculation. At which point, Dr. Graves retracted his hand from the dingy and
|
|
now-stained britches of Mr. de Toir and smeared the warm puddle in his cupped
|
|
hand onto the face of the cabbie, saying, "A tip for my new chum Pierre. Oh,
|
|
and do look us up when you're in Southaby-on-Fenwich, old boy."
|
|
|
|
"The yellow sexwagon zipped away behind Dr. Graves as he read his name on
|
|
the distinguished speaker board that announced his lecture to the masses that
|
|
had descended upon the city for the annual Free-Enterprise Taxidermist and Star
|
|
Trek Convention. Making his way toward the registration desk, Dr. Graves
|
|
flexed his anal muscles quite readily, sending a ripple of adonic flesh about
|
|
his trunk area.
|
|
|
|
When Dr. Graves had signed in, the matron of the dorms had given him
|
|
several messages, which he now held in his left hand. The lock on his room
|
|
turned compliantly, and he nudged open the door with his shin. Upon doing so,
|
|
he burst in on two very old and confused elderly men in janitor uniforms giving
|
|
each other sponge baths. Graves, half hoping to join in on the aged orgy,
|
|
unzipped his fly and approached the prunes. The two geezers hoisted their tub
|
|
in defiance and let in to Dr. Graves.
|
|
|
|
"Basil and I rarely see each other, what with his new state pension
|
|
schedule. The state's got 'im on a three day work week now. I'd kindly thank
|
|
you not to intrude any further on our elicit pecker pow-wows," said one of the
|
|
skeletons. And, with that, they absconded with their washtub down the hall,
|
|
their sagging, meatless frames wiggling at every step, bringing Dr. Stephen
|
|
Graves that much closer to climaxing inside his airy drawers.
|
|
|
|
Graves turned his attention to the letters he held. Rifling past messages
|
|
from old acquaintances who were also in town with one-night offers of cheap
|
|
sex, he came across an unfamiliar handwriting. The note read:
|
|
|
|
Dr. Stephen Ezekial Graves, you stupid. You have taken
|
|
our briefcase of highly-priced, pure Cantonese marijuana.
|
|
Please realize we will do anything within our means to
|
|
recover it. Translation: you die tonight.
|
|
|
|
Confirming his worst suspicions, Graves threw open his attache, revealing
|
|
at least thirty kilograms of the drug. He closed the case and slid it under
|
|
the bed, next to his life-size, inflatable Ed McMahon doll with two sexual
|
|
openings.
|
|
|
|
Dick was tending the bar that night and noticed the name tag Dr. Graves
|
|
had also received at the registration table.
|
|
|
|
"What can I do ya for, Doc?" he asked.
|
|
|
|
"I'd have had you ram your fuzzy love pistol up my ass, but I've just
|
|
eaten," responded Dr. Graves.
|
|
|
|
"What does that mean?" questioned Dick puzzlingly as the smile ran away
|
|
from his face.
|
|
|
|
"Oh, I dunno chum," said Graves. "What does anything mean anymore? What
|
|
are we all but names in the little black books of prominent scientists and
|
|
politicians? I've been used too many times: caught trouncing from bed to bed
|
|
like a dried out, bagged-up piece of meat; selling myself and my profession
|
|
short; degrading my family name and chipping away what little self-respect I
|
|
have."
|
|
|
|
"Huh?" stammered Dick.
|
|
|
|
"I'll take a Harvey Wallbanger," answered Dr. Graves. He gulped it down
|
|
almost before it left Dick's hands. Setting the glass on the counter with
|
|
purpose, he felt the hard jab of a cold gun in his side.
|
|
|
|
"Better order another," said a voice. It was Gaylord Wauschman, the owner
|
|
of Dr. Graves' "accidental inheritance."
|
|
|
|
"Better stop selling kids these goddamned drugs," said Graves sharply.
|
|
|
|
"It's all they got to look forward to these days, Graves. Besides, if you
|
|
hadn't picked up the wrong case at the airport, we wouldn't be having this
|
|
discussion, and I wouldn't have thrown up when I opened *your* briefcase and
|
|
seven plastic dicks fell out," growled an angry Gaylord.
|
|
|
|
The elevator ride was inconceivably slow this time around.
|
|
|
|
"You know," said Dr. Graves, slipping his hand familiarly over the mound
|
|
of cock that had developed in Wauschman's pants, "we needn't be so coarse
|
|
toward each other."
|
|
|
|
Wauschman understood completely and slipped out of his pasties and G-
|
|
string, exploding love juice in the face of a kneeling, waiting, horny Dr.
|
|
Graves.
|
|
|
|
"Couldn't you even wait, old bean?" blustered Graves.
|
|
|
|
"Don't bitch," answered a now-limp Gaylord Wauschman.
|
|
|
|
The two were standing at the door to Dr. Graves dormitory. Graves eased
|
|
the key into its proper receptacle, turned it swiftly, and made a "you-enter-
|
|
first" motion, saying, "After you, good man."
|
|
|
|
Gaylord Wauschman bowed his head curtly and entered with great show. Dr.
|
|
Graves shrunk back and cowered outside the door, listening intently.
|
|
|
|
A scream erupted inside as the two elderly chaps stormed Wauschman with
|
|
their tub and coldcocked him. Wauschman fell to the floor, babbling something
|
|
about saving his willy for science. The raisins again tramped down the hall,
|
|
their mission again thwarted. Dr. Graves watched their shriveled bums
|
|
disappear down the hall as he came on himself, comfortably resting in safety.
|
|
|
|
Police sergeant O'Tannen scratched his head, confused, and asked, "I
|
|
understand how you subdued the cocksucker, but how'd you keep him tied up?
|
|
He's an animal."
|
|
|
|
"Well," said Graves, patting his fervent dong, "we have our little
|
|
secrets, don't we?"
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
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|
|
"It is far better to die like a man on your feet than to live forever like some
|
|
slave on your knees."
|
|
--James Connolly
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
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|
|
GRiMACE, PART II
|
|
by Griphon
|
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|
|
"It's good for you," the man in black said.
|
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|
|
"Doctors once thought genital warts were good for you, too. Said it
|
|
increased one's sex drive. 'Till some bastards prick fell off in a pus-filled
|
|
stump," I said. Who the hell wanted McDonald's ORANGE drink?
|
|
|
|
"Look, man, you've been cut by a little shithead kid and nearly smothered
|
|
by a purple mass of doom. You need a refreshing pick-me-up."
|
|
|
|
"If this contains arsenic, I'm going to be very pissed off."
|
|
|
|
"Don't worry."
|
|
|
|
I drank very slowly. It tasted a hell of a lot better than I remembered.
|
|
Something in it made it sustaining. My arm felt better, and my head cleared.
|
|
I probably didn't have gonorrhea anymore either, because my dick felt great.
|
|
It was the last time I ever slept with a Portuguese whore, but vodka makes a man
|
|
do strange things... I felt a hell of a lot better.
|
|
|
|
"Good shit, huh?"
|
|
|
|
"Yeah, what's in it?"
|
|
|
|
"Rum."
|
|
|
|
"Spanish rum?"
|
|
|
|
"Of course. You see, the original proprietor of Mickey D's developed a
|
|
nutritious beverage that had unbelievable healing properties. The secret
|
|
ingredient was 150 proof Spanish rum. But when he was bought out, the drink
|
|
was pumped full of additives that weakened a person's body. A low-level
|
|
poison." The man in black pulled me to my feet.
|
|
|
|
"That's great and everything, but what the hell does that have to do with
|
|
this shit that just happened?"
|
|
|
|
"The original founder of McDonald's was a man named Ray Kroc. Eleven
|
|
months ago he died mysteriously.He was bought out for 2.2 billion dollars, but
|
|
never was able to cash in the check. My theory is he was done in by the forces
|
|
of evil. Now, the new owner of McDonald's, the Government of Venus, is out to
|
|
take over the world."
|
|
|
|
"Excuse me? Venus owns McDonald's. You're as much a stupid fuck as my
|
|
brother's friends. Get the hell away from me."
|
|
|
|
* * * * *
|
|
|
|
The head corporation for McDonald's was a building in Trenton, New
|
|
Jersey. I caught the first available flight and arrived around two in the
|
|
afternoon. My arm was a little sore, but otherwise felt fine. I hadn't slept
|
|
either, but I felt more vibrant than ever, including the time Janet Greene
|
|
fucked me for three hours straight. I took a cab.
|
|
|
|
There was a tour every half hour, so I waited until the 3:00 tour came
|
|
by. The conductor was a long-legged strumpet with a set of melons that could
|
|
make a grown man cry. I paid the fourteen bucks to go in and quickly ducked
|
|
behind a corridor at the first available opportunity.
|
|
|
|
"Excuse me, sir, you can't be in here unsupervised." Some dumb-ass in a
|
|
uniform was talking to me.
|
|
|
|
"Excuse please. I am Greece. Tell where bathroom please?" I said,
|
|
pulling the shittiest foreign accent I could muster. I bet I sounded Hispanic.
|
|
|
|
"Oh, uh, yeah. Down this hall, SECOND door on the right," the guard said.
|
|
|
|
"Thanks please, dumb-ass," I said, running down the hall.
|
|
|
|
I got in the bathroom and pulled out a small thermos from my backpack. In
|
|
it was a concoction of ORANGE drink and rum. I figured I was going to need the
|
|
most energy I could get. I drank. My mental abilities suddenly became alert.
|
|
The more I drank, the stronger and smarter I became. Now, I had to find the
|
|
fuck behind Grimace.
|
|
|
|
* * * * *
|
|
|
|
I took an elevator to the top floor. Of course there was the matter of
|
|
security once I got to the CEO's company, but I almost had a plan. The great
|
|
thing about almost having a plan is that there is little need to worry about
|
|
whether or not it is going to work, since it's not actually a tangible idea,
|
|
and there's little need to worry about not having a plan, since you have one.
|
|
Almost.
|
|
|
|
The elevator shot me up to the 23rd floor. Almost as soon as the doors
|
|
opened, a large man accosted me.
|
|
|
|
"Excuse, please. I am Greece. Where is bathroom?"
|
|
|
|
"Fuck you, you little shit. I know who you are."
|
|
|
|
"What?" I said.
|
|
|
|
"I know who you are. Your little brother was killed a few days ago.
|
|
You want to speak to Mr. Bredstein. Tough shit, kid."
|
|
|
|
"Fuck you," I said, throwing a left into the man's testicles. He
|
|
gagged and passed out. I guess I hit him a little too hard, because the crotch
|
|
of his pants were soaked with piss, blood, and sperm. I popped his balls.
|
|
|
|
I took off down the corridor as fast as I could. People I passed began
|
|
shouting things and I think a couple of them called security. I knew I had
|
|
only a few minutes before I was arrested, and probably charged with First
|
|
Degree Malicious Testicle Harm. I had to find the president of McDonald's.
|
|
Suddenly, there it was. A big oak door with the golden arches on it. I burst
|
|
inside.
|
|
|
|
The office was nice for an evil person. Solid mahogany desk, leather
|
|
chairs. It was kind of dark, but I could make out two figures in the room.
|
|
One was a man of sixty or so, sitting in his chair, behind his desk, drinking
|
|
an expresso. The other was Grimace.
|
|
|
|
"Welcome. I am Emile Bredstein. I trust you know Grimace."
|
|
|
|
"What the fuck is all of this?"
|
|
|
|
"Come now. Vulgarity is uncouth. Please, won't you have a seat?"
|
|
|
|
"No."
|
|
|
|
"Well. I see that you are going to be a rude young man. Fine.
|
|
Grimace, kill the little shit."
|
|
|
|
Grimace began to lumber towards me. I was still high on the orange and
|
|
rum shit I had drank, so I felt pretty confident. But, there was something
|
|
about the way he came towards me. Something unnerving. I ran towards him and
|
|
threw all of my strength into a flying elbow on his purple head. We both fell
|
|
down, Grimace dazed by the force of my blow. I threw fist after fist into his
|
|
blob body, cracking ribs and bruising organs in the process. Finally, I ripped
|
|
off his head.
|
|
|
|
There lay a man, or what was supposed to be a man. His skin was blotty
|
|
and purple, almost melting off his face.
|
|
|
|
"What the fuck is this?"
|
|
|
|
"That, as you so eloquently put it, is Grimace. The original Grimace."
|
|
|
|
"Why? Why all the shit about Grimace?"
|
|
|
|
Bredstein pulled out a Smith and Wesson revolver and shot me in the
|
|
side. I staggered to his desk. He pushed me down into a chair.
|
|
|
|
"Well, as you'll be dead in a moment, I'll tell you."
|
|
|
|
TO BE CONTiNUED...
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
So I want to kill this waitress She's worked here a year longer than I If I
|
|
did it it fast you know that's an act of kindness
|
|
|
|
But I believe in peace I believe in peace Bitch I believe in peace
|
|
|
|
I want to kill this waitress I can't believe this violence in mind and is her
|
|
power all in her club sandwich
|
|
|
|
I want to kill this killing wish they're too many stars and not enough sky Boys
|
|
all think she's living kindness ask a fellow waitress ask a fellow waitress
|
|
|
|
"The Waitress," from the album _Under The Pink_ by Tori Amos
|
|
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
CONVERSATiON
|
|
by I Wish My Name Were Nathan
|
|
|
|
Tom opened the door and the bitter night cold engulfed him. He didn't
|
|
feel in the mood to debate his mother about going back in, after all, it was
|
|
her idea. He walked out to the porch swing and sat down in it very calmly. It
|
|
was a good disguise.
|
|
|
|
Tom's mother joined him on the swing, turning and giving him a friendly
|
|
enough smile. She leaned back and breathed deeply until she coughed. After
|
|
that, there was some silence. Tom looked out nervously into the dimly lit
|
|
streets, imagining random other mothers and sons having a frank conversation.
|
|
He calculated that this would be a good time to break the ice.
|
|
|
|
"So, what do you think about, uh, me smoking?" he asked, glancing only
|
|
momentarily at her face. She seemed indifferent, maybe even a little content
|
|
when he looked.
|
|
|
|
"Well, it's like this, Jack," she said, using the wrong name for no
|
|
identifiable reason. "A few weeks ago in Ann Lander's column, a mother wrote
|
|
in, asking about advice whether or not to let her daughter smoke. The daughter
|
|
had admitted to doing so for a year when she asked her. The mother thought her
|
|
honesty was good enough reason."
|
|
|
|
"So, you'll let me--" he interrupted with wild gleeful eyes.
|
|
|
|
"--And Ann Landers practically screamed and ranted and raved on paper!
|
|
'How dare you even think of making such a stupid decision, you crazy single-
|
|
mother bitch!' -- like me, you see -- 'She'll get sick and die and all! Don't
|
|
allow her to smoke, because at least when the little slutty smokestack dies,
|
|
you won't be responsible!' Ooh, you could see her ramming the keyboard with
|
|
her fists, leaving cartoon-like cussing sequences. $&@^&*%*$*$^%#, you know."
|
|
|
|
"Oh,... so you don't want me to," Tom said forlornly.
|
|
|
|
"Let me tell you a story, okay?" she said. "But first, let's have some
|
|
smokes together."
|
|
|
|
"Really?" he asked, feeling a little uneasy about the situation. He
|
|
lifted the pack of cigarettes out of his grunge metal shirt pocket and the
|
|
lighter from his pocket. Like a true gentleman, he held the pack out to his
|
|
mother to let her have her pick. She bowed her head and took one, letting him
|
|
light it. He felt like he should have been feeling cool, but he felt downright
|
|
dirty -- lighting his mother's cigarette! It was unspeakable in public.
|
|
|
|
He fumbled to get a cigarette out the package; he had done easily it so
|
|
many times before when he was with his friends. His fingers were shaking. He
|
|
almost dropped the lighter on the ground.
|
|
|
|
"Are you cold, Jack?" she asked. "You're shivering."
|
|
|
|
"I'm okay, I'm okay."
|
|
|
|
She started, "Forty years ago, I hadn't been born yet. Then fifteen years
|
|
later, I was fifteen. A lot had happened to me. My first time driving a car,
|
|
my first shot of tequila, my first prom dress; hell, my first good look at an
|
|
older boy's penis."
|
|
|
|
"And your first cigarette?" Tom asked.
|
|
|
|
"Nah, I'd been smoking for years -- it was encouraged in all the good
|
|
families. No, that was my first pregnancy."
|
|
|
|
"Whoa. But you're forty. I'm only eighteen," he pointed out. Then he
|
|
stopped.
|
|
|
|
"I didn't carry you to term the first time."
|
|
|
|
"I'm sorry."
|
|
|
|
"Oh no, no need to be sorry. Lemme tell you what happened."
|
|
|
|
"Well, you had an abortion, right?"
|
|
|
|
"Kind of. It was December 10, a night like tonight, in fact. I was in my
|
|
room, cozied up under the covers in the corner room of the house, where it's
|
|
the coldest. A window was right behind me. When I was little I used to look
|
|
out the window at the rest of the neighborhood. It sated my curiosity for
|
|
hours on end to see people go by. Well, that night it was too overcast to see
|
|
outside anyway. I was lying in bed, thinking about what I would do that
|
|
weekend, you see, because I was starting to show. My parents didn't know about
|
|
it, and of course, they'd never find out, because they were on vacation for a
|
|
few weeks in Arizona and they left me alone in the house. I didn't want any of
|
|
my friends to find out so I wanted to keep my pregnancy a secret for as long as
|
|
possible.
|
|
|
|
"Soon I ran out of ideas so I decided to abort the thing. I tried jumping
|
|
up and down on my bed, but it made me nauseated. So I went downstairs and
|
|
drank a few beers in the kitchen to think it over. There was a lot of time so
|
|
I drank a few more. After a couple of hours of that, I realized I might as
|
|
well do the right thing and use a coat hanger. You know, the pop culture
|
|
endorsed it and all. I went up to the bathroom and took off my clothes and
|
|
found a hanger. I wasn't exactly sure how it went and I couldn't really get a
|
|
good angle on the thing so I put one foot up on the counter and looked at
|
|
myself in the mirror. You wouldn't believe the funny gestures and contortions
|
|
my face was going through! I started giggling while I wiggled the hanger up my
|
|
uterus, and soon, I was laughing uncontrollably. I fell backwards but the
|
|
hanger caught on to the counter and lo and behold, my baby was out! You see,
|
|
during this time, I saw all the blood dripping on the floor and that make me
|
|
laugh some more. I walked all the way through the house, downstairs, through
|
|
six rooms to find something to clean up the mess with, and when I, drunk as I
|
|
was, got back with a broom in my hand, I lost it. I was cracking up so hard
|
|
that the bathroom echoed my laughter non-stop. Oh, it was a gas! So, I tried
|
|
to calm myself down and I did, eventually, after I got the mop and cleaned up
|
|
the mess. The baby, when I picked it up, had all this crap and blood all over
|
|
it. But it was the cutest thing! Little ears were forming, and I could make
|
|
out individual webbed fingers. I went up to my room with it and cradled it in
|
|
my arms. Before long, my boyfriend showed up at the door. Boy, was I excited!
|
|
I called for him to come up the stairs and see a surprise. He walked in, all
|
|
manly, you know, saying, 'What is it, my love? What's the big surprise?' I
|
|
kept on saying, 'Oh, you'll see. Come on up.'
|
|
|
|
"He had gotten to the top of the stairs when I announced, 'The baby
|
|
arrived! The baby arrived!' And of course, he said, 'What baby?' So I threw
|
|
the thing at him, and it hit his face with a wet, sticky slap. He fell
|
|
backwards down the stairs, screaming all the while. He was very excited too.
|
|
Then, I caught him at the bottom as he was trying to crawl away and I shoved
|
|
the baby in his mouth, holding his nose and yelling, 'Kiss the baby!' I say he
|
|
was quite upset. He muscled his way out of my house, screaming, and he didn't
|
|
come back to school anymore."
|
|
|
|
Tom moaned involuntarily, clutching the side of the swing, feeling ready
|
|
at the slightest jolt to vomit. "Mom, what does that have to do with cigarette
|
|
smoking?!"
|
|
|
|
"Hmmm? Oh, dear, did I tell you the baby story?"
|
|
|
|
"Yes!" he screamed, spitting out his cigarette weakly, leaving a trail of
|
|
mucousy spittle on his lips. "And you called me Jack again."
|
|
|
|
"I never told you about that? Jack, that was my name for the baby. You
|
|
remind me so much of it."
|
|
|
|
Tom found it impossible to smoke again.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
State of unBeing is copyrighted (c) 1994 by Kilgore Trout and Apocalypse
|
|
Culture Publications. All rights are reserved to cover, format, editorials,
|
|
and all incidental material. All individual items are copyrighted (c) 1994 by
|
|
the individual author, unless otherwise stated. This file may be disseminated
|
|
without restriction for nonprofit purposes so long as it is preserved complete
|
|
and unmodified. Quotes and ideas not already in the public domain may be
|
|
freely used so long as due recognition is provided. The editor may be reached
|
|
at The Purple Flower BBS [(512)327-8431] or The Lions' Den [(512)259-9546].
|
|
Thank you.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|