4647 lines
225 KiB
Plaintext
4647 lines
225 KiB
Plaintext
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 THiRTY-THREE tahw ro woh gniwonk
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to think. You are in 01/29/97 ni era uoY .kniht ot
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a state of unbeing.... ....gniebnu fo etats a
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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CONTENTS OF THiS iSSUE
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=----------------------=
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EDiTORiAL Kilgore Trout
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LETTERS TO THE EDITOR
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STAFF LiSTiNGS
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[=- ARTiCLES -=]
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PAGE FROM A DiARY Crux Ansata
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UNTiTLED DAiLY TORTURE sweet disease
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|
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A RESPONSE TO CLOCKWORK'S "AN AMERiCAN HOUSEHOLD" StormChaser
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A NEW YEAR'S EVE PARTY, or
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Some SoB Writers Hang Out With Some Small People and Get Crazy Noni Moon
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[=- POETASTRiE -=]
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LiFE DeMoN
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[=- FiCTiON -=]
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THE MEN THAT EViL DO A Piece of Caine
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|
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ALL THAT CAME BACK WAS THE TiDE Aspiraphale
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WHAT COURT DiD THAT NiGHT Water Damage
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|
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SELF PORTRAiT: ARTiST WiTH WORDS Crux Ansata
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DiGGiNG TOWARD THE ROOTS I Wish My Name Were Nathan, Wannabe Sage
|
||
|
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|
||
|
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|
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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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|
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EDiTORiAL
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by Kilgore Trout
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Whoops. Look at me, I'm a liar. The layout ain't changing. Bwahahaha.
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|
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So, I was looking at other zines to see how I could possibly change up
|
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our layout, and ya know what I discovered? Our layout rocks. It's a damn
|
||
fine way of presenting a zine, and I'll be damned if I'm gonna kill a good
|
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thing again. So if you were hoping for a change, tough luck. For those of
|
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you who were dreading the change, there is nothing to fear.
|
||
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See, I do learn from past mistakes.
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||
|
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--SoB--
|
||
|
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So, I'm back at school, so I'll be responding to email regularly once
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||
again. If you sent me something and I never got back to you, send it again.
|
||
If you still don't hear from me, come on down and stalk me until you get a
|
||
response. In the meantime, make sure you pass the zine around to all your
|
||
friends and get em to join the distribution list.
|
||
|
||
--SoB--
|
||
|
||
Anyway, this is a pretty big issue, so I'll let you get right down to it.
|
||
We've got a lot of new writers this issue, which I am extremely pleased with.
|
||
I think you'll want to know that this is Noni Moon's last piece for SoB for a
|
||
while. We think she's done a great job interviewing the writers this past
|
||
year, and we hope she drops in from time to time. Any correspondence for her
|
||
can be sent care of me.
|
||
|
||
So, hunker down with this hefty issue, grab a nice cup of java, and start
|
||
reading. If you can make it through this whole issue in one sitting, give
|
||
yourself a pat on the back, and then write something for us, cause you are
|
||
obviously some type of superhuman. See you in February.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
LETTERS TO THE EDITOR
|
||
|
||
From: BOB
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||
To: kilgore@sage.net
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||
Subject: OK
|
||
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wow ,what a trip,are you sure your not from the 70's dude?
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||
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||
[i am sorta from the seventies, in that i was born in '75. other than that, i
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||
disdain most connections to that decade besides an occasional splurge of
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||
zeppelin music and early punk.
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||
|
||
i'm a product of the 90's. the key word is synthesis. that's what i do.]
|
||
|
||
--SoB--
|
||
|
||
From: Mario Winterstein
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||
To: kilgore@sage.net
|
||
|
||
hey "kids," love the friggin' zine.
|
||
only read issue 27, but fuck it, i can draw conclusions about the ocean from
|
||
a drop of water. best of luck, and (self-promo) we [i] started a zine at
|
||
home (sidney ohio) which i know you'll want to wish us the best of luck on
|
||
also.
|
||
yeah...
|
||
pea/aenesidemus/etc.
|
||
|
||
[doesn't do your self-promo a lot of good if you don't tell us the name of
|
||
your zine, but best of luck to you anyway. send us a free copy of your zine
|
||
and we'll, like, keep emailing you ours or something.]
|
||
|
||
--SoB--
|
||
|
||
From: d@rthV@deR
|
||
To: kilgore@SAGE.NET
|
||
|
||
|
||
Hay.. whats up??? I think we have met but I amnot shure if you remember me
|
||
or you are the same person.... any way I am linking to you page via my site
|
||
I mean.. I will write a little for you.. When do you need them??? I mean I
|
||
am presently {only because we were forgotten} the head of the w@W and fuck
|
||
if I ain't lost on this damn PC, you would think Hackers of the early
|
||
eighties would at least have a 286 no they used a damn 8086 with 11 snap out
|
||
and in hard drives! I had a 286 back then... any way I write mostly about
|
||
anarchy and shit like that.. trying to spawn interest in the hackers of the
|
||
world use there skills in... well check out my page at... Let me just say
|
||
that I am against the NWO!! AN I am a journalist student at WWCC!
|
||
http://fascination.com/pub/darthudr/darth.htm
|
||
Kinda slow because of all the graphics but I ahve been BUSY!!
|
||
laters!!
|
||
@@@@@:o) The
|
||
d@rthV@deR
|
||
|
||
[i don't think we've met... you'll have to give me more information about
|
||
where. submissions can come in anytime you want to send them. the more we
|
||
get the happier i am, too. we're against the NWO, too, although i'm taking a
|
||
guess that w@W means world at war and that you are NOT some delusional psycho
|
||
who thinks you are the king of the world wide web.]
|
||
|
||
--SoB--
|
||
|
||
From: trishk
|
||
To: kilgore@sage.net
|
||
Subject: Please add me to the mailing list
|
||
|
||
Kilgore,
|
||
I have been exploring the Net in search of brain food and by chance as
|
||
I was trolling. I found this odd little summary. Hmm, looks like a zine
|
||
of some kind. The unBeing caught my eye and sucked my hand toward it.
|
||
I fell into an issue and stayed for the duration. Please add me to your
|
||
list. My brain and antisocial element need the nourishment your zine
|
||
can give me.
|
||
|
||
Thanks,
|
||
Trish Kelly
|
||
|
||
[eat some fish while you read our zine, and you'll get double the brain food.]
|
||
|
||
--SoB--
|
||
|
||
From: Leviathan
|
||
To: kilgore@sage.net
|
||
Subject: About AIDS and de-populaztion.
|
||
|
||
If your article was correct and the government did engineer AIDS to wipe
|
||
out third-world populations I think it could only benefit us. We have
|
||
spent to much time protecting and sheltering those who are not able to
|
||
meet the demands and expectations of society, this is one of the reasons
|
||
that our society has become such a Hell. We need to stop this "everyone
|
||
is equal" thought process, it only leads to our destruction. For us to
|
||
progress we must eliminate those who are useless to society as a whole,
|
||
thus providing more resources for those who will make great strides in
|
||
our technological and societal advancement.
|
||
|
||
[ Maybe, maybe not -- highly arguable point. The point of the article
|
||
was not to debate whether it was beneficial or not, but to reveal to
|
||
the public the genocidal proceedings of our own government behind our
|
||
backs, without our knowledge, directly affecting us. A typical human
|
||
reaction to any kind of problem whatsoever, as you have kindly shown
|
||
by your above statement, would be to completely destroy and eliminate
|
||
the problem. A supreme moral issue, I guess. I agree with you to a
|
||
point... sort of. It seems as though you are one of those people who
|
||
are against any kind of welfare, are you not? Probably someone who
|
||
looks at any homeless person on the street and instantly thinks, "get
|
||
a damn job." I don't wish to be cruel, mean, or anything remotely
|
||
like that -- just casually reading into your comments. Somewhat of a
|
||
psychic gift I received a little while back -- several years after I
|
||
became immortal.
|
||
|
||
Of course you are stressing a point that many people prefer to call
|
||
natural selection (and you can ask I Wish My Name Was Nathan about
|
||
that -- he's rather familiar with this argument.) So, you look at the
|
||
human society and realize with all of our technological advancements,
|
||
medicine being a large one, it pushes us towards general immortality,
|
||
thereby eliminating the natural selection process commonly found
|
||
amongst other creatures. Well, at the simultaneous point when I
|
||
realized this, I realized we have our own "version" of natural
|
||
selection -- natural human selection, if you will. With this increase
|
||
in technology and science and whatnot -- especially in the last
|
||
century, comes an increase in general danger and even lack of complete
|
||
understanding. Out of all the people in this country, how many of
|
||
them do you think know how an automobile works, and how the parts
|
||
function? I do not. I know how to drive -- whether this is enough
|
||
prerequisite for letting a human being propel himself in a box across
|
||
the earth at rates excelling 100mph, who knows. Probably not.
|
||
|
||
And so, with this increase in technology comes an increase in
|
||
technology related deaths -- car accidents, plane crashes, train
|
||
derailments, fires, bombs, spontaneous combustion... I'm sure you get
|
||
the idea. And also, with the increase in technology comes an increase
|
||
(at least for now) in less care for the earth. More technology, more
|
||
cars, planes, steel melting furnaces, etc., causes more heat and
|
||
pollution to be released into the atmosphere. Think about all the
|
||
automobiles and transportatory vehicles in the United States and put
|
||
together all the heat they release together in a day and you have a
|
||
pretty substantial amount. So if you take this heat and pollution
|
||
throughout the world, stir it around, it causes dramatic weather
|
||
changes. Just look at the weather patterns in the past ten years
|
||
alone and see how much more unpredictable and destructive it has
|
||
been. This too would be another form of natural human selection -- we
|
||
fuck with Nature and say, "We are the Gods of the earth -- no one and
|
||
nothing else. Humans dominate." Mother Nature just smirks and whips
|
||
up another 70 below 0 freeze in the upper part of the country, or
|
||
perhaps some massive flooding.
|
||
|
||
Daniel Quinn suggests the solution to this problem would be to make
|
||
mammoth strides in our technological advancement to fix and control
|
||
the things we have damaged/destroyed to cause our own self-annihilation
|
||
(even though I may not be able to spell the word at the moment.)
|
||
|
||
Another question to propose to you, if I may... stating we need to
|
||
eliminate those who are useless to society as a whole. Well -- who in
|
||
fact do you propose be the Judge and Execution of such a thing? By
|
||
what standards do you state, "Well, this six year old provides no
|
||
benefit to our society, therefore we'll toss him into a burning vat of
|
||
grease." Please do not think I am missing the point of your comment
|
||
-- humans, in general, have caused so much turmoil and vast evilness
|
||
to spread on the planet, it is rather sickening. However, if this is
|
||
truly the case for eternity, and there is no solution for the problem
|
||
other than elimination, we can just progress on the same track society
|
||
is on now, and it will occur in no time.
|
||
|
||
Of course, I am against that. I am here to save the planet and
|
||
everything on it, whether it be human or rock. I am not here to march
|
||
down the street with my shotgun and perform my own version of genocide
|
||
on those who I think be unworthy.
|
||
|
||
Happy New Year.
|
||
|
||
|
||
|
||
clockwork]
|
||
|
||
[editor's additional comment: check out www.paranoia.com/CoE for the Church
|
||
of Euthanasia's homepage. they don't believe in unwilled deaths, but they
|
||
have links to certain groups that think that the only way to save the planet
|
||
is to kill the humans even if they want to stay. personally, i like CoE's
|
||
"save the planet, kill yourself" maxim, but YMMV.]
|
||
|
||
--SoB--
|
||
|
||
From: bircham
|
||
To: kilgore@sage.net
|
||
Subject: send me state of unbeing
|
||
|
||
Dear kilgore@sagenet, (i just read what your name was but i forget it
|
||
already)
|
||
Please send me on the state of unbeing mailing list because i am
|
||
waiting for a book to come in the mail so i haven't any reading
|
||
material. i came across your e-zine and i thought, "boy, this sure
|
||
fills my head with a massive amount of wonder and helps me
|
||
understand why i was brought into this life as a depressed teenage
|
||
girl instead of a brilliant doctor or scientist who discovers a new
|
||
element and acquires a name in textbooks and encyclopedias
|
||
so that he is never forgotten." Okay, maybe not. I find the state of
|
||
unbeing interesting and the articles are not like anything i have
|
||
read before.
|
||
Cindy Bircham
|
||
|
||
[heh. the name's kilgore trout, but that's okay. one day my face will be
|
||
plastered on flyers all across this country. naturally, there will probably
|
||
be a reward for my apprehension, but at least people will know my name.
|
||
we're glad that you like the zine and that it's not like "anything [you've]
|
||
read before." we try our best to be fresh... sometimes, though, we end up as
|
||
stale donuts with rotting jelly centers. that smells really bad, and it
|
||
tastes even worse, too. don't try that at home.]
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
STAFF LiSTiNG
|
||
|
||
EDiTOR
|
||
Kilgore Trout
|
||
|
||
CONTRiBUTORS
|
||
A Piece of Caine
|
||
Aspiraphale
|
||
Clockwork
|
||
Crux Ansata
|
||
DeMoN
|
||
I Wish My Name Were Nathan
|
||
Noni Moon
|
||
Storm Chaser
|
||
sweet disease
|
||
Water Damage
|
||
|
||
|
||
GUESSED STARS
|
||
Bob
|
||
Cindy Bircham
|
||
d@rthV@deR
|
||
Mario Winterstein
|
||
Trish Kelly
|
||
|
||
BOOKS i BOUGHT OVER THE CHRiSTMAS HOLiDAYS
|
||
_Immediatism,_ essays by Hakim Bey
|
||
_Omens of Millennium_ by Harold Bloom
|
||
_The Magus_ by John Fowles
|
||
_Encyclopedia of Gods_ by Michael Jordan
|
||
_Subliminal Seduction_ by William Bryan Key
|
||
_The Essential Kaballah_ by Daniel C. Maat
|
||
_Ishmael_ by Daniel Quinn
|
||
_Providence_ by Daniel Quinn
|
||
_Crack Wars: Literature / Addiction / Mania_ by Avital Ronell
|
||
_The Wisdom of Insecurity,_ _The Way of Zen_, and
|
||
_Tao: The Watercourse Way,_ all by Alan Watts
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
[=- ARTiCLES -=]
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
PAGE FROM A DiARY
|
||
Crux Ansata
|
||
|
||
0036 111296
|
||
|
||
On Friday, I went to the bank. I both wanted to have extra gas money --
|
||
which I needed -- for the trip to my French teacher's house, and to have some
|
||
cash for Christmas shopping. When I pulled into the parking lot, movement in
|
||
the car I had pulled in next to caught my eye, and I turned to see a kid, a
|
||
girl, in the car. I remember thinking that I hate how parents will leave
|
||
their kids in the car when they run in to do errands, and look, that kid has
|
||
climbed into the front seat. I figured she was putting on the radio or
|
||
something. And then the kid put her keys in the ignition and drove off, and I
|
||
thought just how old I am.
|
||
|
||
I meant to put that in the last time I wrote in my diary, Sunday, but I
|
||
don't think I did. Last night I didn't write in my diary because I was
|
||
revising "Greece", which is what I am now calling the story I have now almost
|
||
finished. Two more scenes, I think: the final scene and the scene by the
|
||
pool. But tonight I am working on my diary. I can't put it off forever. (I
|
||
imagine I could put it off indefinitely. I could put it off tonight and die
|
||
tomorrow. I tell myself, though, that I can't put it off forever to
|
||
artificially create a motivation to do it.) "Greece" added much I hadn't
|
||
foreseen, and has dropped a few things I wanted to write about. I imagine I
|
||
can put those in other stories.
|
||
|
||
Tomorrow will be three years since A. and I met that night in Mr.
|
||
Gatti's. Three year anniversary, if one forgives the fact that A. used to
|
||
count from the next week -- our first preplanned date -- and all the times we
|
||
have broken up, and the fact that we are not really technically going together
|
||
right now. Neither her nor I really consider those blocks. What God has
|
||
joined let no man separate. I called her tonight, and it didn't take much
|
||
prompting before she figured out why. ("I was going to call Wednesday. Do
|
||
you know the date?") That was an incredibly stressful experience. It was the
|
||
same way when Dad was away at Squadron Officers School or Officer Training
|
||
School or the Persian Gulf or Chicago. Whenever Mom and Dad would talk, it
|
||
seemed stressful. I suppose part of it is because of the emotion of talking
|
||
to the person, and part of it is all the things you cannot know and cannot
|
||
say. You can't talk about how miserable you are too much, because that will
|
||
bring the person down. You can't make presumptions on their emotions. You
|
||
can't forget that each second costs. With A. and I there are extra elements.
|
||
Until I feel her out I can't be sure she hasn't found someone else or come to
|
||
believe she no longer loves me. Now I can say with relative confidence that
|
||
she still loves me and that she has not replaced me, but this confidence
|
||
necessarily decreases in the morning when she gets up and goes about her life,
|
||
and every day thereafter until I see her again. And yet there is a sense in
|
||
which I know these are unfounded fears. My mind cannot know her feelings, but
|
||
to an extent my heart can, no matter how far apart we are. Is that love? Or
|
||
slavery? Or both? (Is there a distinction?)
|
||
|
||
But I am bringing myself down. Let us move on.
|
||
|
||
Yesterday, I did nothing. I spent a lot of time on the boards, and some
|
||
reading. Nothing unusual. The day I saw G. and them: That was Saturday,
|
||
right? So I have mentioned it? That is hard, too. Hanging out with people.
|
||
I seem to have some need for it, for the contact, but it is hard to sit there
|
||
and do nothing, and talk about nothing, smoking my cigarette and watching them
|
||
trying to get another drag or two out of their marijuana pipe. I need the
|
||
acceptance, I guess, but they don't give me what I need. I still look. The
|
||
acceptance on the boards seems important to me. That provides the network of
|
||
friends that I perceive myself as needing, that school used to provide. I get
|
||
the human contact in class, too, hanging out with the French students. I have
|
||
to say nothing, get people to talk, say things I already know. I hate the
|
||
maintenance that goes in to friendships, for the dubious gain of an acceptance
|
||
fix.
|
||
|
||
And yet, there is more I need. When was the last time I could hold
|
||
someone in my arms?
|
||
|
||
Damn, this is getting too pathetic. I am moving on.
|
||
|
||
On the bookmark in The Last Magician -- the receipt from Waldenbooks when
|
||
I bought Using Your Mind for a Change -- I have some scribbled notes. I
|
||
suppose I'll be losing this bookmark soon, so I'll copy some of them down into
|
||
here. Some of these notes are pointless, such as the notes I made about a
|
||
dream for an earlier entry or a line I want to include in "Greece", in the
|
||
pool scene. (The line is, by the way: "She sits beside me, so thoughtless,
|
||
so shameless, I expect she must be a little soft in the head. That's what I
|
||
need sometimes, though. Soft." It is a cruel twist from the innocence of
|
||
childhood to the idiocy of naivete. It expresses my dislike for the innocent
|
||
and the childlike. I might substitute "simple" for "soft", and I will, of
|
||
course, expand on the thought. I just want to make sure I remember the
|
||
theme.) I have a quote here, from The Last Magician: "Behind every lie, she
|
||
said, there is a wound. One should be gentle with the bloody gashes in other
|
||
people's lives." There is another great line I haven't bothered to write
|
||
down: "Lust is a frightened manchild in the dark." I, of course, would drop
|
||
the "man", but this author is female. Next, there is a failed thought: "Some
|
||
modern writing is dissociative. It tries to say something in a mixture of
|
||
ways. Like the gospels, or Gustafsson, or Hospital." That last, of course,
|
||
is the author of The Last Magician. I was attempting -- unsuccessfully, in my
|
||
opinion -- to express a difference between the modern authors. There is one
|
||
group, like Vonnegut, that seem to write fragmentarily, never really touching
|
||
on anything, in a minimalist manner. I don't care for that. On the other
|
||
hand, people like Hospital or Gustafsson seem, as I try to in such stories as
|
||
"Greece", say something that cannot be said by saying it in a number of
|
||
different ways and painting up a picture that way. I never really cared for
|
||
Impressionist painting, but I do like the literary style. This leave only one
|
||
note. (Quite a full receipt, no?) This, I suspect, dates from when I was
|
||
reading Diana: The Making of a Terrorist, and runs:
|
||
|
||
Terrorism does not gain support by recruitment. Terrorism
|
||
can only mobilize people two ways: Attacking them, and
|
||
forcing them to take sides, or attacking the government
|
||
hard and quick, forcing the government to attack the
|
||
people indiscriminately.
|
||
|
||
This was an attempt to make sense of the actions of the Weathermen, to learn
|
||
from their mistakes. This exercise has been left to the student.
|
||
|
||
The Last Magician is an incredible book. It is the kind of book that
|
||
makes one contemplate giving up writing, never being able to match it. It is
|
||
the kind of book that is painful to read. But I don't want to get too far
|
||
ahead of myself. I discuss some of this in journal notes I haven't
|
||
transcribed, yet. So I turn to a yellow notepad.
|
||
|
||
(Heh. I just found a note in the margin of my notebook: "In 'Greece':
|
||
Comment that he dresses, dumbass. That will eliminate the whining about her
|
||
nudity." I thought it was kind of foolish to write, and I supposed I might
|
||
have remembered in a revision, but when I saw this note I dug out my current
|
||
working copy and, sure enough, I had forgotten that revision. Guess the note
|
||
did its job. Anyway, on with something of more substance.)
|
||
|
||
Here is a utilitarian statement. I suppose I wrote it, but I don't know
|
||
if I believed it at the time. In any case, this is what it says: "Violence
|
||
is not right, but violence works. To succeed at what is right is right, and
|
||
in that struggle violence is a tool like any other." Of course, I am an
|
||
anarchist and a Catholic. I don't buy that "the ends justify the means"
|
||
mentality. I guess I wrote it, though. This next, though, I know I didn't
|
||
write. Bill Ayers of the Weathermen did.
|
||
|
||
We can't get involved anymore in the kinds of actions that
|
||
merely say to people that this is wrong, or that is wrong,
|
||
because that doesn't tell people what to do, that doesn't
|
||
project the kind of confidence, and the crucial nature and
|
||
importance of what we're trying to do in this country now.
|
||
We have to fight and show the people through struggle our
|
||
commitment, our willingness to die in the struggle to
|
||
defeat U.S. imperialism. We have to convey these things,
|
||
and October 8-11 is a concrete way that we can do that. I
|
||
think people should push out this slogan "Bring the war
|
||
home." We're not just saying bring the troops home and
|
||
deploy them some other place, we're saying bring the war
|
||
home. We're saying you're going to pay a price because
|
||
increasingly guys in the army are going to shoot you in
|
||
the back, increasingly the guys in the army are going to
|
||
shoot over the heads of the Vietnamese, shoot over the
|
||
heads of the blacks, increasingly this country is going to
|
||
be torn down, and we're not going to be bringing the
|
||
troops home to be deployed someplace else, we're going to
|
||
bring the war home, we're going to create class war in the
|
||
streets and institutions of this country, and we're going
|
||
to make them pay a price, and the price ultimately is
|
||
going to be total defeat for them. That's the kind of
|
||
thing that we have to convey, and that's the kind of thing
|
||
that we have to build.
|
||
|
||
Poetry it's not, but it tries to express what the Weathermen were trying
|
||
to do, and I can empathize with that. The Weathermen made some mistakes, but
|
||
they also had some good ideas. Any revolutionary group today would benefit
|
||
greatly from studying the Weathermen, and adopting rather more than they
|
||
discard I would expect.
|
||
|
||
Then we have an actual page of notes from class. Always a surprise in
|
||
one of my notebooks. Then we find, in the margin of a "Greece" fragment:
|
||
|
||
I feel a little uncomfortable on campus in Thursdays, when
|
||
the ROTC are in uniform. I used to be uncomfortable in
|
||
the business buildings, since everyone there almost seemed
|
||
in uniform, and my long-haired scraggly self didn't
|
||
belong. When I cut my hair for ROTC and dressed in
|
||
uniform from time to time, I started hanging out in the
|
||
business buildings. (After all, they have coffee
|
||
machines.) When the other uniforms are there, though, it
|
||
is a problem. I even see cadets I know, occasionally. We
|
||
never speak. They, in the nation's uniform, and I, in GI
|
||
boots, BDU jacket -- with patches, military beret, in an
|
||
obscene parody of a soldier.
|
||
I fight, but I'm not sure what.
|
||
|
||
I wrote that last Thursday, between classes. Following that I have three
|
||
pages of a letter to A., which I haven't typed up yet, much less sent. I
|
||
suppose I will sometime over the next couple of days. Then, out of the blue,
|
||
we have:
|
||
|
||
Did you ever stop to think about the saying, "The die is
|
||
cast"? Probably not. The thing is rife with ambiguity.
|
||
The meaning, of course, is that the course is set. The
|
||
future is set. But why? One meaning is that die is
|
||
singular for dice, and the cast is a toss. The future is
|
||
sealed by fate. The other is that a die is for making
|
||
metal molds, and cast is made. Design, not fate. Which
|
||
die gets cast?
|
||
|
||
That is the kind of moronic thing that goes through my mind. It is
|
||
followed by two more pages of story notes.
|
||
|
||
I have been at this for a long time, but fortunately this notebook only
|
||
has four more used pages so far, two pages of French notes and two of diary
|
||
notes. This last excerpt is long, though. Pack a lunch.
|
||
|
||
1443
|
||
The Last Magician is an incredible book. At times,
|
||
painful. I wonder how odd it is that I identify with
|
||
Charlie. I could see echoes in Lucy, but not the same
|
||
identification. But it is not too odd to identify with a
|
||
main character aside from the narrator.
|
||
|
||
Charlie was teased as a child. The book resonates
|
||
this. It might have made him different, or it might have
|
||
been because. He was an ethnic Chinese and didn't fit.
|
||
He was pushed to study. He was on the outside looking in.
|
||
|
||
I am trying to remember my childhood. I don't know
|
||
if I want to. Read the conversation on the top of the car
|
||
in "Greece". Before my first breakdown in seventh grade,
|
||
I only have photos, a couple of minutes of video perhaps.
|
||
No sound. Nothing really. Perhaps snatches of sound, but
|
||
I can't recall it.
|
||
|
||
This kind of memory. Sometimes, I thought it was
|
||
normal. Sometimes, I didn't. I went through all the
|
||
things kids do -- I was an alien, I was in a mental
|
||
institution, I had been given to my family by the CIA
|
||
after having implants put in. Clockwork seems to have
|
||
this phenomenon. He was the child of an alcoholic, and
|
||
abused. I was not. This loss of childhood memory
|
||
accompanied by the ability to fragment the psyche -- a
|
||
Bobbi, a Nemo, the voice of God perhaps -- are symptoms of
|
||
DID. Dissociative Identity Disorder. This is triggered
|
||
by childhood trauma, though. Usually childhood sexual
|
||
abuse.
|
||
|
||
I realized a couple of days ago I cannot remember
|
||
being teased. I know it happened. I don't know *how* I
|
||
know, but I think I know. (I'm getting something. This
|
||
is unbelievable. Take it with a grain of salt. There was
|
||
a girl in second grade. Her name was Penny. She was an
|
||
outsider. No one seemed to like her. I'm thinking I was
|
||
peripheral. I remember a friend or two, and hanging out
|
||
on the edges in the playground. More later. I remember
|
||
she gave me a book, once. I think she had a crush on me.
|
||
I didn't figure this out until she intruded back into my
|
||
mind recently. I was a stupid child. I was an outsider
|
||
because I was too stupid to fit in. The startling thing
|
||
it -- the grain of salt thing -- is her archetype. Second
|
||
grade is on the young side, but I was sexually awakened,
|
||
physically. The outsider. And I was always struck by her
|
||
short, dark hair. Fast forward a couple of years, give
|
||
her a smoking habit, put a little less roundedness in the
|
||
hair....)
|
||
|
||
Why can't I remember being teased?
|
||
|
||
Maybe I never was, and it is so sensitive because I
|
||
feel guilty?
|
||
|
||
God, this is a mindfuck.
|
||
|
||
I think I'll go back to my book.
|
||
|
||
1459
|
||
The next girl I remember with this hair was Dawn.
|
||
Dawn in England Dawn. I never wanted her; she was a
|
||
friend. Heather's was different. Next, was C.
|
||
|
||
That really has been brooding choice for the day: Why don't I remember
|
||
being teased. I thought about it all day, and I really can't remember it. I
|
||
remember being on the edges, and voluntarily separating myself. I had tended
|
||
to attribute this voluntary separation in later years to a "I didn't want to
|
||
be your friend anyway" mentality. I remember as a kid being a leader and
|
||
having friends. So was there a point where I stopped having them? It might
|
||
almost have been fourth, when I forced away any leadership tendencies. Or the
|
||
teasing might have affected me so much I have completely suppressed the
|
||
memory. I don't know.
|
||
|
||
I told Mom tonight I can't remember being teased. She didn't know about
|
||
my patchy memory. I expected her to tell me that she remembered my being
|
||
teased as a child. Instead, she asked, kind of surprised, "You were never
|
||
teased as a child?" Like me, she assumes that all kids are teased, but she
|
||
didn't have anything to add.
|
||
|
||
I told A. tonight I can't remember being teased. She didn't know about
|
||
my patchy memory. That surprised me. I expected I would have told her. In
|
||
conversation she said things that triggered memories of being teased in sixth
|
||
grade or seventh grade, but this doesn't help much for what I am trying to
|
||
figure out.
|
||
|
||
Did I invent my own persecution as an artificial way of justifying my
|
||
voluntary -- for whatever reason -- exclusion from society?
|
||
|
||
It sounds incredible, but not impossible. Until I can piece together
|
||
some more memory, I won't be able to answer for sure.
|
||
|
||
But I have gone on longer than I expected. I think I'm going to have
|
||
another smoke and get to bed. I have an exam tomorrow. And so, I sign off.
|
||
|
||
0213 111296
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
"Breathes there a man with hide so tough
|
||
Who says two sexes aren't enough?"
|
||
--Samuel Hoffenstein
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
UNTiTLED DAiLY TORTURE
|
||
by sweet disease
|
||
|
||
Morning. Fuck it. I've never been much of a morning person, but today
|
||
really takes the cake, or some such stuff like that. With my hands carelessly
|
||
sprawled across my desk, and my head non-chalantly flopped between them, I
|
||
dream of a better life. A life away from my science class, at the moment.
|
||
The borrowed television is playing a worn-out movie about protozoan. Yay. My
|
||
life is finally complete, because I've learned that diatoms are the most
|
||
abundant plant life on Earth. Thank God for television.
|
||
|
||
"Hey."
|
||
|
||
Oh shit, I think to myself. The girl I'm infatuated with just sat down
|
||
next to me and is trying to strike up a conversation. I casually peel one eye
|
||
open and look her in the face. "Uhm... hi." Damn! I blew it! Why do I
|
||
always have to choke when this happens! I mentally kick myself in the ass.
|
||
|
||
"You tired?"
|
||
|
||
Argh. "Uhm... hi -- I mean... yeah." <moan>
|
||
|
||
"Yeah, me too." She suppresses a giggle.
|
||
|
||
Wow. She thinks I'm some rambling vagrant. 'Do you wanna goto a movie
|
||
or something?' 'With you? You pathetic little bastard.' 'Oh. Ok.' I play a
|
||
conversation between us over in my mind. It hasn't happened though.. yet. I
|
||
mumble something about getting 2 hours of sleep last night.
|
||
|
||
"Well.. I gotta go. The bell rang.."
|
||
|
||
What?! Am I *that* enticed? I hastefully grab my books and jog out of
|
||
the room. "Great video," I remark to the science teacher, sarcasm literally
|
||
dripping from my voice. Hey -- you wanna know our school motto? "At West,
|
||
respect builds quality." Well, we've got neither.
|
||
|
||
3:04am. My eyes pop open. "Life," I whisper to myself. Man, I gotta
|
||
piss so bad I can taste it. Yuck. I slowly raise my frail body out of bed,
|
||
thousands of joints I didn't even know I had popping. *Crack*... 'yow, that
|
||
one hurt.'
|
||
|
||
I stare dumbly down at the porcelain bowl, the rancid fluid pouring down
|
||
into the murky depths of the toilet water as I relieve myself. I think of two
|
||
things as this is happening: how would one define religion, and why the hell
|
||
am I peeing on my foot? Yes, there's a fine trail of amber liquid that took
|
||
it upon itself to separate from the main stream and dampen my foot. "Fuck
|
||
you," I exclaim, possibly a bit too loud. A loud snort emits from my parents
|
||
room. I quickly flush and rush back to bed.
|
||
|
||
I just can't sleep. I lay here, staring at my white-washed ceiling,
|
||
thinking deep, philosophical things, like "why are there no chartreuse M&M's?"
|
||
and "what would Oprah Winfrey and Gordon Elliot's children look like?" Eww...
|
||
that last one disgusted me thoroughly. I reluctantly gaze over at the clock.
|
||
Arrgh, 4:15am. How long have I been sitting here, pondering talk-show hosts'
|
||
children and the ratio of salt to bile at any given time in the human body?
|
||
|
||
6:15am. My alarm clock blares out the signal of "Wake up, or I'm
|
||
gonna...." You get the picture. My right arm extends, and arcs in at a
|
||
perfect 90 degree angle, devastating the little brown box. "Eat that, you
|
||
bastard," I think to myself. I chuckle softly and flop out onto the floor.
|
||
|
||
8:00am. English class. In my dazed and confused state, I have forgotten
|
||
who the teacher is, and I find myself wondering "Who is this fat, annoying
|
||
bitch at the front of the room?" Oh, well. We're watching a video, since the
|
||
lazy, chauvinistic pigs who we call "educators" feel that we learn more this
|
||
way. Once again, I return to my all-to-well known position with my arms
|
||
sprawled across the desk and my head added to the top of the pile.
|
||
|
||
3:00pm. Ahh, another day is through. I'm heading for home. I stare out
|
||
at the looming world beyond the crappy-yellow-colored paint of the bus and
|
||
trace my finger along the frosted glass which currently reads every profane
|
||
symbol I've used in this file, and then some... all backwards, of course, so
|
||
supposedly passersby can read them, even though everyone knows they're not
|
||
paying attention to some stupid school bus. Who the hell would drive around
|
||
reading crap freshmen write on their bus window?
|
||
|
||
3:35pm. The garage door slowly cranks open, much to my surprise. I head
|
||
into the house, sit down, and watch TV for a few hours. Time for homework.
|
||
Fuck it. I work for half an hour, and then I flop down in front of the
|
||
trusted old friend, the computer. Rat-tat-tatting can be heard for the
|
||
remainder of the night as I logon to the internet and chat with other zine
|
||
freaks on IRC, and dial up Erebus and Alcholiday. Eventually, I tap out
|
||
"TIME" and, like magic, 11:00pm appears on the display screen. We call it a
|
||
monitor. Arrgh. I'm fucking tired. I head up to my room, and pass out in a
|
||
heap of my own self-pity, ready for another day of the grind we call life.
|
||
|
||
Se la vi. Live it as full as they'll let you.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
"The vilest abortionist is he who attempts to mould a child's character."
|
||
--George Bernard Shaw
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
A RESPONSE TO CLOCKWORK'S "AN AMERiCAN HOUSEHOLD"
|
||
by StormChaser
|
||
|
||
Sometimes alcoholism isn't a disease. Sometimes it's a weapon. Guilt,
|
||
feelings of inadequacy, and a lifetime of bottled-up emotions is all I knew of
|
||
my father. He had such a capacity to love everyone but himself. He tried to
|
||
kill himself the conventional way so many times but we stopped him. This is a
|
||
story of how he disguised it.
|
||
|
||
Even when everything was happy, my parents were together and happy, and I
|
||
was a normal kid. I think he began there. One day he went to a doctor. From
|
||
that point on the doctors at work incessantly told my mom to stop him from
|
||
drinking. He was a stubborn ass, though, and she didn't think anything of it.
|
||
Besides, he never got drunk, but he was never without an alcoholic beverage.
|
||
|
||
Suddenly, he left us. Next thing I knew, I had a stepmother and
|
||
half-sister. I loathed him with more anger than knew I had. But some
|
||
underlying knowledge that he loved me kept me loving him and I loved my
|
||
sister. So I was there when he got sick. He turned yellow. His feet and
|
||
legs blew up like balloons. To this day I don't know what was wrong with him.
|
||
|
||
The bastard would not go to a doctor because he knew back then what was
|
||
wrong. He would not go for me or for my sister. Not even for himself. He
|
||
thought we'd be better off without him. He had ruined my life; I'd lost all
|
||
trust in people. I couldn't keep a friend because I'd destroy it before they
|
||
could leave me like he did. But I wasn't better off without him. And my poor
|
||
baby sister doesn't deserve to grow up without a father.
|
||
|
||
But he killed himself anyway. His suicide note was his disease --
|
||
cirrhosis of the liver. He died before I could get close to him. I don't
|
||
know my father and I can never comprehend his pain. But the scariest part is
|
||
that as each day goes by I become more and more like him. Stubborn and alone.
|
||
And I can lie and hide feelings even from myself, just like he could.
|
||
|
||
My point is to love your parents whether or not they seem to love you.
|
||
Help them before they're gone. Because once they are gone you can't ever go
|
||
back, no matter how much it hurts. Bits and pieces from relatives or
|
||
photographs is all I have left of my father. Don't let it happen to you.
|
||
Somehow, if I can't right my life, I want to right someone else's. And
|
||
finally, no matter what you do, don't ever be like them.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
"I would like to remind
|
||
the management
|
||
that the drinks are watered
|
||
and the hat-check girl
|
||
has syphilis
|
||
and the band is composed
|
||
of former SS monsters
|
||
However since it is
|
||
New Year's Eve
|
||
and I have lip cancer
|
||
I will place my
|
||
paper hat on my
|
||
concussion and dance"
|
||
--Leonard Cohen, "The Music Crept by Us"
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
A NEW YEAR'S EVE PARTY, or
|
||
Some SoB Writers Hang Out With Some Small People and Get Crazy
|
||
by Noni Moon
|
||
|
||
THE PLAYERS
|
||
(for you people too stupid to figure out the abbreviations)
|
||
|
||
CA -- Crux Ansata
|
||
CM -- Captain Moonlight
|
||
CW -- Clockwork
|
||
DO -- Doorway
|
||
HA -- Hagbard
|
||
IW -- I Wish My Name Were Nathan
|
||
JU -- Jujube
|
||
KT -- Kilgore Trout
|
||
NM -- Noni Moon
|
||
RO -- Ronnie
|
||
ST -- Styxx
|
||
T# -- nameless teen
|
||
WA -- Walrus
|
||
|
||
When you sign up for these gigs, you never know what the people are going
|
||
to be like. Sure, I'd hung around most of the SoB writers to get my
|
||
interviews, but I'd never been around them as a group. Individually, they
|
||
could be pretty strange, and there were definitely some weird undercurrents
|
||
going on. But put them all together, especially on a party night, and all
|
||
hell breaks loose.
|
||
|
||
This article attempts to recapture the night of December 31, 1996, in all
|
||
of its extreme detail. Thanks to my trusty tape recorder, most of the
|
||
conversations herein are verbatim. Some conversations have been reconstructed
|
||
to the best of my ability and with the help of those writers who were
|
||
conscious at the time of the conversation.
|
||
|
||
I doubt I'll be going to another SoB party for awhile. It's just too...
|
||
well, you'll see.
|
||
|
||
* * * * *
|
||
|
||
Monday, December 31, 6:02p
|
||
|
||
Someone was knocking on my front door. I opened it and found Kilgore
|
||
Trout standing there, smelling of cheap vodka. He didn't appear drunk at all.
|
||
|
||
KT: Ready to go?
|
||
|
||
NM: No. You're an hour early. I've still got to get dressed.
|
||
|
||
[Kilgore walked past me and headed towards the kitchen.]
|
||
|
||
KT: Oh, that's okay. I've always been anal about being punctual. I
|
||
don't mind waiting. Got anything to eat?
|
||
|
||
NM: I thought we were gonna eat later.
|
||
|
||
KT: [opening cabinets] Never can tell, Noni. Sometimes the food at these
|
||
parties really suck. I remember last year we went to this one party in
|
||
Westlake and -- ooh, Pop Tarts. Brown Cinnamon Sugar even. Noni, you
|
||
truly are the ultimate woman. All you need now is the penultimate man.
|
||
|
||
NM: And that would be?
|
||
|
||
KT: Why, me, of course. Who else could you possibly be thinking of? You can
|
||
be Luke Skywalker to my Darth Vader, except you're not a boy, although
|
||
you do act kinda boyish, and you do have both hands, which I admire in a
|
||
woman. Of course, I'm not dressed in a black jumpsuit with a cape, and
|
||
I'm not the ultimate source of evil in the galaxy. So maybe that wasn't
|
||
such a good analogy. Still, whaddya say?
|
||
|
||
NM: I say no thanks. You're definitely too strange for me.
|
||
|
||
KT: But you're strange, too. You've got blue hair. I've always wanted to
|
||
date a woman with blue hair. Tried to date a woman with purple hair
|
||
once.
|
||
|
||
NM: What happened to her?
|
||
|
||
KT: Nothing happened *to* her. She just didn't like me hanging out in her
|
||
bushes.
|
||
|
||
NM: So you stalked her. That's not exactly "trying to date."
|
||
|
||
KT: I prefer the word "observing" myself.
|
||
|
||
NM: Well, that's all I'm doing tonight. Observing.
|
||
|
||
KT: Speaking of observing, you really shouldn't answer the door totally
|
||
naked. Lots of nasty people in the world out there.
|
||
|
||
NM: [covering myself and walking to the bedroom] It's not something I, uh,
|
||
normally, uh, do. Er, excuse me.
|
||
|
||
KT: [pulling a flask out of his black jacket] Nice ass, by the way.
|
||
|
||
* * * * *
|
||
|
||
Monday, December 31, 7:15p
|
||
|
||
We pulled up to Crux Ansata's house in Kilgore's Tercel. There was a
|
||
stuffed Santa Claus outfitted in army fatigues hanging from a noose of
|
||
Christmas lights under a giant oak tree in the front yard. Ansat and Captain
|
||
Moonlight were taking turns throwing knives into him.
|
||
|
||
KT: Hey guys! I see you're using Santa for target practice again.
|
||
|
||
CA: Gotta try out the new throwing knives we got for Christmas. Besides,
|
||
since Santa brought these for us, we figured we'd like to give something
|
||
back to him.
|
||
|
||
Captain Moonlight threw a knife into Santa's chest.
|
||
|
||
NM: I'm glad I didn't buy you anything sharp for Christmas.
|
||
|
||
CM: You didn't get us anything, period. Hey, Ansat. Should we try out the
|
||
new battleaxe?
|
||
|
||
CA: [hurling a knife that lands in Santa's face] Damn, I'm smooth. Yeah,
|
||
get the battleaxe.
|
||
|
||
KT: Uh, guys, I hate to ruin your Santa slaying, but we've got a party to go
|
||
to.
|
||
|
||
CM: Can we--
|
||
|
||
KT: No. You can't bring the battleaxe to the party. Alcohol and medieval
|
||
weapons don't mix, not like Jack Daniels and RC Cola, anyway.
|
||
|
||
CA: Let's get going, then. Say, where is this party anyway?
|
||
|
||
KT: Shhh. [glances over at me] Don't worry about it.
|
||
|
||
There are some things people do that unnerve me. Kilgore's avoidance of
|
||
a simple question was one of them.
|
||
|
||
* * * * *
|
||
|
||
Monday, December 31, 7:42pm
|
||
|
||
Somehow we ended up at Clockwork's house. I lost my sense of direction
|
||
several times due to Kilgore's fascination with back roads that "will get us
|
||
there faster those big highway thingamajigs." It also didn't help that Ansat
|
||
and Captain Moonlight were having a loud argument with Kilgore about the band
|
||
Black 47 and who was actually the biggest "Irish loving bastard" of the three.
|
||
|
||
Kilgore honked the horn, and Clockwork and I Wish My Name Were Nathan ran
|
||
outside.
|
||
|
||
CL: Hey, guys. Hi, Noni.
|
||
|
||
IW: Like your cocktail dress, Noni. Didn't realize we were going anywhere
|
||
fancy.
|
||
|
||
NM: Kilgore said I should dress nicely.
|
||
|
||
Everyone broke out laughing except Kilgore, who was smiling wryly.
|
||
|
||
NM: What?
|
||
|
||
KT: Nothing, Noni. You look great. [to Clockwork and Nathan] Boys, hop in.
|
||
We've got a party to get to.
|
||
|
||
IW: Can we all fit in there?
|
||
|
||
CA: Sure. Nothing like a crowded car to get to know each other real fast.
|
||
|
||
Hagbard came out of Clockwork's house.
|
||
|
||
HA: Dammit, don't leave without me. I'm not finished practicing my pratfalls
|
||
down the staircase for my next improv show.
|
||
|
||
CL: All of us cannot fit in that car. Besides, it'll be more comfortable in
|
||
two cars. Where's the party?
|
||
|
||
NM: Doesn't anybody know where this bash is being held besides Kilgore?
|
||
|
||
CL: Nope.
|
||
|
||
IW: Dunno.
|
||
|
||
CM: No.
|
||
|
||
HA: [practicing falling down on the grass] Oof. No.
|
||
|
||
CA: It's, like, top-secret or something.
|
||
|
||
KT: Trust me. We'll have a good time.
|
||
|
||
Kilgore pulled out a piece of paper and scribbled down an address, making
|
||
sure that I couldn't see it. He then gave it to Clockwork.
|
||
|
||
KT: Meet us there. Uh, pick up some people on the way, too, since we've got
|
||
more space. The more the merrier.
|
||
|
||
CL: Will do.
|
||
|
||
Hagbard crawled into the back of the Tercel while Clock and Nathan headed
|
||
off towards Clockwork's Ford Probe. The night was still young, and I was
|
||
already getting worried.
|
||
|
||
* * * * *
|
||
|
||
Monday, December 31, 8:04pm
|
||
|
||
We pulled up to a house in a nice part of town that had about fifteen
|
||
cars in front of it. Loud hip-hop music was coming from inside, and a bunch
|
||
of people were standing around on the porch. Kilgore parked in the front
|
||
lawn, and we all got out.
|
||
|
||
NM: Whose house is this?
|
||
|
||
KT: Uh, when I picked my sister up from high school a couple of weeks ago, I
|
||
overheard some people planning a party. I figured it would be fun to
|
||
crash.
|
||
|
||
NM: You mean this is a *high school* party?
|
||
|
||
KT: Yup.
|
||
|
||
CA: Cool. Underage chicks.
|
||
|
||
NM: No, it's *not* cool. It's a high school party. How much fun can that
|
||
be?
|
||
|
||
CM: Hey, I've only been out of high school for a semester, and I'm a cool
|
||
guy. These people can't possibly be as cool as I am, but, uh, they might
|
||
come close.
|
||
|
||
KT: Relax, Noni. The kid's parents are away for the holidays. We've got
|
||
nothing to worry about.
|
||
|
||
NM: I don't know about this, guys. This seems so... juvenile.
|
||
|
||
CA: Exactly. That's what makes it so much fun.
|
||
|
||
We headed towards the front door. The kids on the porch stopped talking
|
||
and looked at us uneasily.
|
||
|
||
T1: Who are you guys?
|
||
|
||
T2: Yeah, you don't go to our school.
|
||
|
||
CA: We're writers.
|
||
|
||
CM: And artists.
|
||
|
||
HA: And comedians with astronomy backgrounds.
|
||
|
||
KT: We're also damn smooth. Step aside.
|
||
|
||
T3: Ronnie! There are some people out here.
|
||
|
||
A large teenager ambled out of the front door. He looked like he played
|
||
football and was six inches taller than Kilgore.
|
||
|
||
RO: I don't remember inviting you guys.
|
||
|
||
KT: Of course not. We're crashing the party.
|
||
|
||
RO: I don't think so.
|
||
|
||
KT: Oh, I *do* think so. See, it's New Year's Eve. It's a time of
|
||
celebration, when all of humanity comes together to resolve to solve the
|
||
world's problems and to help out his fellow man. Of course, usually
|
||
people just get plastered, but sometimes that's the best we can do.
|
||
|
||
RO: Are you trying to tell me that you've got beer?
|
||
|
||
KT: A keg. Can we come in?
|
||
|
||
RO: Hell, yes. [turning around and yelling] Beer's here!
|
||
|
||
A loud rumble of applause and yelling burst from inside the house.
|
||
|
||
KT: I figured you'd like that. Ansat, help me roll the sucker in.
|
||
|
||
Kilgore and Ansat went back to the car to get the keg from the trunk.
|
||
Now, besides crashing a high school party, we were also supplying alcohol to
|
||
minors. Where the hell were guys like this when I was in high school?
|
||
|
||
T2: Wow, you've got blue hair.
|
||
|
||
NM: You're very observant.
|
||
|
||
T2: Don't they like have a dress code at your school? Our principal would
|
||
freak out if someone came to school like that.
|
||
|
||
It was gonna be a long night.
|
||
|
||
* * * * *
|
||
|
||
Monday, December 31, 8:26pm
|
||
|
||
Clock and Nathan arrived with an entourage including Doorway, Styx,
|
||
Walrus, and Jujube. I hadn't met any of them previously since they hadn't
|
||
written anything for the zine. Ansat and Kilgore had tapped the keg about
|
||
fifteen minutes ago, and the living room of the house was full of about forty
|
||
teenagers holding plastic cups of bad beer.
|
||
|
||
CL: Uh, Noni, what is this?
|
||
|
||
NM: A high school party.
|
||
|
||
DO: Is there anything beside beer?
|
||
|
||
NM: *We* brought the beer. I doubt there's anything else here.
|
||
|
||
DO: Oh. Hmm. Oh well. [tapping his pocket] Guess I'll just have to munch
|
||
on these shrooms. Anybody want some?
|
||
|
||
Clock and Nathan nodded in agreement.
|
||
|
||
NM: You do that.
|
||
|
||
ST: You don't seem like you're having too much fun, Noni.
|
||
|
||
NM: Good guess.
|
||
|
||
ST: Well, it's already better than the New Year's Eve we spent sitting at a
|
||
Whataburger. Although we *did* get free biscuits at 2:30 in the morning.
|
||
|
||
NM: We could be at a real party, or a club, or something. Anything but this.
|
||
Even Whataburger.
|
||
|
||
JU: You'd still have high school kids there.
|
||
|
||
NM: At least they'd be serving me.
|
||
|
||
ST: Maybe there's a liquor cabinet here that the kids are afraid to touch.
|
||
Not my house, not my problem. Jujube, let's go find some wine.
|
||
|
||
JU: Okay. Can we smoke in here?
|
||
|
||
Kilgore walked over with a cigarette hanging from his mouth.
|
||
|
||
NM: I would take that as a yes.
|
||
|
||
KT: Anybody seen my flask? I gave it to some kid and it disappeared.
|
||
|
||
WA: Might check the kitchen. I think I saw some kids pouring it into the
|
||
orange juice.
|
||
|
||
KT: Thanks, man.
|
||
|
||
Sandy, Styx and Walrus went off looking for the liquor cabinet.
|
||
|
||
NM: Kilgore, can you remind me why I'm here again?
|
||
|
||
KT: Uh, because you're our friend, and we're having fun?
|
||
|
||
NM: Not yet we aren't.
|
||
|
||
KT: Look, if you wanna leave, we can leave and go somewhere else.
|
||
|
||
Crux Ansata walked by talking to a young girl.
|
||
|
||
T4: Oh, so that's what they're calling it these days.
|
||
|
||
CA: No, no, no. It's a real knife. Do you wanna see it?
|
||
|
||
Ansat pulled the knife out of his boot.
|
||
|
||
T4: You really *did* mean a knife.
|
||
|
||
The girl walked off.
|
||
|
||
KT: Having fun with the girls, Ansat?
|
||
|
||
CA: Uh, like, when I ask someone if they wanna see my knife, it's NOT a
|
||
come-on. After all, my girlfriend would be really pissed. Anyway, I
|
||
need to go find my brother. Last I heard, he and Walrus were singing old
|
||
King Missile songs. I need to hear a duet of "Jesus was Way Cool."
|
||
|
||
Ansat wandered off, putting his knife back in his boot.
|
||
|
||
NM: Hey, what happened to Hagbard?
|
||
|
||
A loud crash came from the back of the house. Hagbard came into the
|
||
living room and brushed past a few people before seeing us.
|
||
|
||
HA: You get kids drinking, and the next thing you know they start trying to
|
||
act funny. One kid was gonna show me how he could fall, and he kinda
|
||
fell on top of a vase. Looked damn expensive, too. Usually alcohol
|
||
doesn't make people funny. Alcohol and valuable antiques, though....
|
||
Hee hee.
|
||
|
||
* * * * *
|
||
|
||
Monday, December 31st, 9:58pm
|
||
|
||
After a while, someone had popped in a copy of Star Wars, and Kilgore was
|
||
trying to lead everyone in some sort of drinking game. When it got old
|
||
watching Star Wars thru a din of noisy kids, I wandered into the backyard,
|
||
where Clockwork, Doorway, and Nathan were sitting on lawn chairs discussing
|
||
something.
|
||
|
||
CL: No, look. You can't go about this in a hard way. You've got to look at
|
||
this softly.
|
||
|
||
DO: Right. We've been over this before. I know that.
|
||
|
||
IW: I don't think you understand, though. It's not just a matter of knowing.
|
||
|
||
NM: Hey, guys. What are you talking about? Somebody got a light?
|
||
|
||
Clock leaned forward and lit my cigarette.
|
||
|
||
DO: Discussing the purpose of communication and how we can improve it.
|
||
|
||
IW: But it's kinda hard to improve something with only itself. We're
|
||
thinking about doing away with it and using telepathy.
|
||
|
||
NM: Telepathy? What am I thinking about right now?
|
||
|
||
CL: Not mind reading, Noni. Telepathy. Although I can probably guess you
|
||
think we're a bunch of looney quacks.
|
||
|
||
NM: Yeah, but I've gotten used to it. Kinda. So, I guess I have to ask.
|
||
How's the telepathy proceeding?
|
||
|
||
Clockwork looked at Doorway. Doorway looked at Nathan. Nathan looked at
|
||
Clockwork. They all looked at me and shrugged.
|
||
|
||
IW: Hold on! Did anyone happen to send the word "maverick?"
|
||
|
||
The other two guys shook their heads.
|
||
|
||
IW: Damn.
|
||
|
||
NM: Heh. Keep trying, boys. One day you'll hit it.
|
||
|
||
CL: We need some DMT. It worked for the Mckenna brothers.
|
||
|
||
DO: And where are we gonna get that?
|
||
|
||
IW: South America?
|
||
|
||
ALL THREE: [yelling] ROAD TRIP!!
|
||
|
||
What's a girl to do? Sometimes I just want to be around normal people,
|
||
of age, who aren't high-fallutin' philosopher types all of the goddamned time.
|
||
|
||
* * * * *
|
||
|
||
Monday, December 31, 10:27pm
|
||
|
||
I made my way to the front of the house, where Styx and Jujube were
|
||
drinking wine. I figured I could start writing some of this stuff down in
|
||
case my tape recording was bad, but it was too much fun to watch a tipsy Styx
|
||
do Fenster impersonations from _The Usual Suspects._
|
||
|
||
ST: Give me the keys, you fuckin' cocksucker!
|
||
|
||
JU: No, no, it's too comprehensible. Benecio del Toro is even harder to
|
||
understand than the guys in _Trainspotting_. Try again.
|
||
|
||
ST: Give me the goddamn keys, you fuckin' cocksucker! How's that?
|
||
|
||
JU: Better. Be a little bit more gutteral.
|
||
|
||
ST: Blah blah keys, blah blah fucking cocksucker!
|
||
|
||
JU: Perfect. Gimme some more wine.
|
||
|
||
* * * * *
|
||
|
||
Monday, December 31, 10:50pm
|
||
|
||
I spent some time talking with Styx and Jujube about various people here,
|
||
from Kilgore's strange obsessions to Ansat's strange obsessions with knives.
|
||
Walrus and Captain Moonlight came out and sat down. Somehow, perhaps as if by
|
||
magic, Walrus produced two Mad Dog 20/20 bottles from inside his jacket.
|
||
|
||
NM: How the fuck did you do that?
|
||
|
||
WA: It's a secret. Besides, what's a party without me drinking Mad Dog?
|
||
Say, did you know my mom's starting to collect Ron Popeil products? Ya
|
||
know, the informercial guy who makes the RonCo dehydrator that all the
|
||
potheads want to get so they can dry their weed in it?
|
||
|
||
ST: Old material. Heard it.
|
||
|
||
NM: Huh?
|
||
|
||
ST: Sometimes Walrus forgets he has told us something funny, so we define all
|
||
of his little bits into two groups: old material and new material. If
|
||
it's new material, then we haven't heard it before. If it's old
|
||
material, then we have heard it before, sometimes way too many times.
|
||
|
||
WA: Heh. Did I ever tell you about the time I dreamt I could fly in
|
||
Wal*Mart?
|
||
|
||
ST: A thousand times, Walrus. Drink your Mad Dog.
|
||
|
||
NM: Hmmm. Interesting. So, did you want to become a stand up comic or
|
||
something?
|
||
|
||
WA: Nah. But I am a radio disc jockey. Take that as you will.
|
||
|
||
NM: I had a friend who wanted to become a standup comic, but he wasn't funny.
|
||
No one wanted to tell him that cuz he was a nice guy. He just thought we
|
||
didn't "get his humor." Apparently the folks on amateur night didn't get
|
||
it either.
|
||
|
||
ST: I could be a stand-up comic and do impersonations. I've got tons of
|
||
stuff from _Dune,_ _Blade Runner,_ _The Usual Suspects,_ _Full Metal
|
||
Jacket,_ and much, more. I *even* do an impersonation of an ape picking
|
||
up a psychedelic mushroom, eating it, and discovering language. Of
|
||
course, I think that also requires Kilgore because it takes two to have a
|
||
conversation.
|
||
|
||
NM: Touring with Kilgore. That would be an experience.
|
||
|
||
CM: You seem to have some weird aversion to Kilgore.
|
||
|
||
NM: It's like we know each other too will. Like, I get the feeling that
|
||
everytime I'm about to say something, he already knows what I'm going to
|
||
say. It's kinda unnerving.
|
||
|
||
JU: Have you ever talked to him about it?
|
||
|
||
NM: No. I don't know why, either. Usually I'm pretty upfront with this type
|
||
of stuff. But with Kilgore, it's like there's something holding me back.
|
||
|
||
I lit a cigarette with Jujube's lighter. The lighter was shaped like a
|
||
pair of female legs sticking out of a red miniskirt.
|
||
|
||
NM: Nice lighter. I bet all the guys grope this.
|
||
|
||
JU: You better believe it.
|
||
|
||
NM: I should get me one of these. Too chic.
|
||
|
||
Walrus took a chug from one of his bottles.
|
||
|
||
WA: Yeah, that's one of the coolest lighters I've seen. Of course, my dad
|
||
found one in our garage that has a Confederate flag on it and plays Dixie
|
||
when you light it. I dunno where it came from, but it rocks. [takes
|
||
another swig from the MD 20/20] Dawg in da house!
|
||
|
||
NM: What exactly *is* Mad Dog 20/20?
|
||
|
||
WA: It's wino hooch, man. Fortified wino hooch. This shit is 18%, man...
|
||
and cheap! You can get fucked up for the price of a Big Mac Value Meal!
|
||
MD 20/20 is in the zone, and that's all you need to know. When I've got
|
||
two bottles, I like to call 'em my "wine goggles."
|
||
|
||
Walrus puts the bottles up to his eyes like binoculars.
|
||
|
||
CM: That's goofy.
|
||
|
||
WA: Living in Missouri does that to ya. C'mon, let's go in and sing some bad
|
||
gangsta rap songs. We can do "Time to Make the Donuts" by Class A
|
||
Felony.
|
||
|
||
CM: Time to make the donuts?
|
||
|
||
WA: Yup, time to make the donuts.
|
||
|
||
Captain Moonlight and Walrus give each other a high five and storm back
|
||
inside the house.
|
||
|
||
JU: The scary thing is that Moonlight hasn't had a drop to drink tonight.
|
||
|
||
Even the sober people were acting really messed up. I went inside to
|
||
check on how things were going.
|
||
|
||
* * * * *
|
||
|
||
Monday, December 31, 11:40pm
|
||
|
||
Inside, the place was loud and raucous. Someone else had taken over
|
||
Kilgore's spot at leading the Star Wars drinking game, tipsily fumbling thru a
|
||
bunch of pages of rules. Most people were just watching and drinking whenever
|
||
they wanted to. Kilgore came out of the bathroom in the hall, saw me, and
|
||
walked over.
|
||
|
||
KT: Having fun yet, Noni?
|
||
|
||
NM: A little more. Your non-SoB writer friends are pretty cool. They're a
|
||
little bit more normal. Except for Walrus and his wine goggles.
|
||
|
||
KT: Wine goggles?
|
||
|
||
NM: Never mind.
|
||
|
||
KT: Heh. So, only about eighteen minutes until the new year. Ya know, I put
|
||
in the Star Wars tape so at the stroke of midnight, the Death Star would
|
||
blow up. Is that cool or what?
|
||
|
||
NM: Innovative, even if it does sound a little bit dorky. Whatever gave you
|
||
that inspiration?
|
||
|
||
KT: Oh, I dunno. I figured watching the Death Star blow up instead of Dick
|
||
Clark blabbing would be more enjoyable.
|
||
|
||
NM: You've got a point.
|
||
|
||
T5: Hey, how many drinks are we supposed to take if someone says, "I've got a
|
||
bad feeling about this."
|
||
|
||
KT: Chug the whole cup.
|
||
|
||
T5: Oh. I've got a bad feeling about this.
|
||
|
||
KT: It won't hurt you. The worst that will happen is you'll puke, and
|
||
everybody's got to learn their limits somehow.
|
||
|
||
The teenager lifted the cup to his lips and drank the contents. He then
|
||
got an awkward look on his face and ran out the back door. The vomiting
|
||
sounds I heard don't need to be described.
|
||
|
||
DO: [from outside] Shit! Man, you're fucking up our concentration! We're
|
||
trying to unlearn language out here!
|
||
|
||
KT: Heh, heh. Funny guys they are.
|
||
|
||
NM: Look, we need to talk.
|
||
|
||
KT: About what?
|
||
|
||
NM: About me and you.
|
||
|
||
KT: What about us? Does this mean you're reconsidering going out with me?
|
||
|
||
NM: No. Look, I think I'm gonna be taking a break from the zine for a while.
|
||
|
||
KT: Why? Everyone loves your interviews. You're a good writer, and you add
|
||
that real-life quality to the zine.
|
||
|
||
NM: It's just, I dunno. It's hard to explain.
|
||
|
||
KT: You don't have to explain it if you don't want to. I may get on my knees
|
||
and wrap myself around your legs begging you to keep writing, but if you
|
||
wanna stop, that's fine with me. Well, that's a lie, but you can do
|
||
whatever you want.
|
||
|
||
NM: Well, I think I need to explain it, but I just don't have the words.
|
||
It's like for the past year, most of my creative output has been for the
|
||
zine, and that's it. I wanna try different things, in different mediums.
|
||
|
||
KT: No one said you only had to write for us and that's it.
|
||
|
||
NM: But it's like there's some strange attraction between me and the zine,
|
||
like it's part of me. You've given me an audience, and people know who I
|
||
am. A few people, anyway.
|
||
|
||
KT: Do what you want, Noni. Whatever you need, I'll see what I can't help
|
||
you out with.
|
||
|
||
NM: Thanks. I appreciate that.
|
||
|
||
Everyone in the room cheered, and we turned and saw the Death Star being
|
||
blown to bits. 1997 had officially started.
|
||
|
||
KT: Hey, it's the New Year. How about a kiss to start things off?
|
||
|
||
NM: Not a chance.
|
||
|
||
KT: Denied.
|
||
|
||
* * * * *
|
||
|
||
Tuesday, January 1, 1:00am
|
||
|
||
After the Death Star blew, our crew took off. I drove Kilgore's car cuz
|
||
he had found his flask and finished it off. We said goodbye to everybody, and
|
||
I drove Hagbard, Captain Moonlight and Ansat home.
|
||
|
||
We got to my apartment around 1:45am. I parked, got out, and went over
|
||
to the passenger side of the car.
|
||
|
||
NM: C'mon, get out.
|
||
|
||
KT: Huh?
|
||
|
||
NM: You're sleeping on my couch. I don't want you driving home like that.
|
||
|
||
KT: Oh.
|
||
|
||
NM: C'mon, lemme help you up. Sorry bout have a second-story apartment.
|
||
|
||
KT: No problem. I've crossed cattle guards while drunk. Steps are a piece
|
||
of cake.
|
||
|
||
We made it to the door, and I unlocked the door and plopped Kilgore down
|
||
on the couch. He reached for the pack of filterless Gauloises on the
|
||
coffeetable and lit one.
|
||
|
||
KT: Right now I'm really drunk and feel like white trash, but I'm also
|
||
smoking French cigarettes. These feelings are quite confusing.
|
||
|
||
NM: Don't worry about it. You just need some sleep in preparation for the
|
||
nasty hangover you're gonna have tomorrow morning.
|
||
|
||
KT: [exhaling] I don't get hangovers, Noni.
|
||
|
||
NM: Hmm. Well, do you want anything to eat?
|
||
|
||
KT: No, thanks, although I must say you have a very motherly quality about
|
||
you right now.
|
||
|
||
NM: Fuck off. I'm just trying to be polite.
|
||
|
||
KT: Sorry, it's the alcohol. [stubbing out the cigarette] I think I'll
|
||
sleep before I make a bigger fool out of myself.
|
||
|
||
NM: Good idea. Sleep well.
|
||
|
||
* * * * *
|
||
|
||
Tuesday, January 1, 11:32a
|
||
|
||
I woke up and Kilgore was gone. He left a note thanking me for being so
|
||
nice last night and also left me his phone number in case I wanted to go out
|
||
sometime. He also drew a little picture on there of a stick figure with blue
|
||
hair. I know why he's a writer and not a painter.
|
||
|
||
A few things oughta be cleared up about the story that might seem a bit
|
||
unclear from the transcription. The teenagers were, for the most part, in a
|
||
world of their own, and they talked a lot more than what I recorded. I can
|
||
only be in one place at a time, and I decided to stick close to the SoB folks.
|
||
I heard from down the grapevine that the party had gotten busted shortly after
|
||
we left, and the cops didn't believe the kids' stories about a bunch of
|
||
college kids bringing free beer to the house.
|
||
|
||
Doorway, Clockwork, and Nathan never did achieve telepathy that night,
|
||
but they came pretty close. They said their closest matchups included
|
||
"breast, best, vest" and two "Lucille Balls" and one "old dead lady from a
|
||
popular '50s sitcom."
|
||
|
||
Walrus didn't puke from drinking the two Mad Dog 20/20s. Amazing.
|
||
|
||
Styx's Fenster impersonation got better and better. When he sobered up,
|
||
though, it really sucked.
|
||
|
||
Jujube smoked even more cigarettes than I did. Amazing.
|
||
|
||
Captain Moonlight and Ansat were last seen walking into their house
|
||
together, singing "Time to Make the Bombing Devices."
|
||
|
||
Hagbard's pratfall practices have steadily improved his performances for
|
||
the Monk's Night Out improv troupe.
|
||
|
||
As for me, well, this is my last piece for SoB for awhile. It's been a
|
||
blast, but I've gotta try my hand at a few different things for awhile. I'll
|
||
probably be popping up from time to time, but until then...
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
[=- POETASTRiE -=]
|
||
|
||
"The poets? They stink. They write badly. They're idiots you see, because
|
||
the strong people don't write poetry.... They become hitmen for the Mafia.
|
||
The good people do the serious jobs."
|
||
--Charles Bukowski
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
LiFE
|
||
by DeMoN
|
||
|
||
Once again, my eyes open;
|
||
anguish
|
||
Scattered rays of light spill in,
|
||
and singe dark eyes
|
||
|
||
Rise and do their senseless bidding
|
||
Stay within their imagined boundaries
|
||
Toil alone, always alone
|
||
Search for some purpose, some meaning
|
||
and find nothing
|
||
|
||
So i fight,
|
||
i am the epitome of rage and hatred
|
||
I fight blindly, striking down all in my path,
|
||
and see the monster i have become,
|
||
the demon they made me
|
||
|
||
I continue battling
|
||
They will not break me today, i whisper
|
||
You will not win, i roar,
|
||
but slowly, clenched fists open to reveal
|
||
empty hands
|
||
|
||
Victory, defeat, no difference;
|
||
i cannot change things by myself
|
||
Alone, in the dark, i cry
|
||
and the teardrops burn
|
||
|
||
This gift of life given to me by my creator
|
||
is quickly torn from me by my brother
|
||
I can fight no longer, been crushed too many times
|
||
So i just wait, surviving on meager hopes, until she appears
|
||
|
||
A black flame with soft white wings,
|
||
only her touch can set me free
|
||
Her deep eyes intoxicate
|
||
Together we revel in our pain and misery,
|
||
and somehow, find a twisted brand of happiness, until
|
||
a warm kiss, a last caress, and she is gone
|
||
|
||
Alone again,
|
||
time passes, memories fade,
|
||
and i cry and wait for this hell to end
|
||
|
||
Once again they have won
|
||
And somewhere a tear drops,
|
||
and a flower burns,
|
||
and an angel falls
|
||
|
||
Such is life
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
[=- FiCTiON -=]
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
THE MEN THAT EViL DO
|
||
by A Piece of Caine
|
||
|
||
NOW
|
||
|
||
The coffin shook with rage as it quaked in the ground, trying to spew
|
||
forth its contents like a bad piece of meat. It was sickening for those who
|
||
were out for some late night Goth fun in the graveyard to hear the pitiful
|
||
cries that came from the grave. A constant demonic howl that pierced the soul
|
||
on the most base level in the same way a broken relationship did, the crying
|
||
of a puppy half run over by some fat man in a Buick. The ground shuddered and
|
||
heaved, trying to aid the expulsion of the moaning thing, and in one final
|
||
attempt the ground sprayed in all directions over the curiously afraid teens
|
||
who never fit in anywhere but with each other late at night in a graveyard,
|
||
and the coffin bubbled forth out of the crater and flew open
|
||
|
||
THEN
|
||
|
||
The letter arrived by regular mail which was unsurprising to him as he
|
||
opened it with a steak knife. Thin was always bad, he knew, and he barely had
|
||
to look at it to see the standard litany of the rejected. He dropped it on
|
||
the floor and like so much forgotten it lay there quietly. The theme of unholy
|
||
angelic choirs sang through his head, mocking him and his uselessness. He
|
||
walked upstairs calmly as his mind whirled and his head throbbed in such
|
||
pulsing chorus that it became indistinguishable from the voices that called
|
||
him a loser-waste of flesh-pathetic nobody-destined to be forever on the
|
||
bottom, and of course the ultimate in the litany of taunts, -nothing-
|
||
|
||
NOW
|
||
|
||
and revealed the very enraged face of the dead, the corpse that regained
|
||
life and was pissed off about it all. The assembled teens screamed in sheer
|
||
horror, for while they were forever reading and playing at the living dead,
|
||
they never intended to encounter one, especially not this one, this bloated
|
||
dark laughing fat man who snarled like a hellhound and stared with inhuman
|
||
intensity. It hopped from the coffin and fell to its knees, crying in agony
|
||
as the teens made a break for it to escape what they so coolly professed to
|
||
care not for previously. It would have none of that and despite the demon
|
||
chanting in its head it plodded onward and grabbed one of the teens by the
|
||
scruff and put a fist through the boy's chest, the warm feeling of blood on
|
||
his forearm as the teen screamed for as long as he could and saw his own guts
|
||
in its hand coming out of his chest before he died, and oh how it laughed,
|
||
laughed, giggled like
|
||
|
||
THEN
|
||
|
||
and that was the worst of it, for he would not be nothing, he abhorred
|
||
the thought of it. They rejected him because they knew he was destined to be
|
||
something. They persecuted the Son of God when they realized he was going to
|
||
change everything, they persecuted Galileo, they always persecute the ones who
|
||
will bring change. He knew he was the selected, one of those who would flux
|
||
the world with his acts and make it reconsider it all, the champion of change.
|
||
He sat on the edge of his bed with the hilarious green quilt and masturbated
|
||
furiously and when he exploded he let his seed take root on the carpet for his
|
||
was
|
||
|
||
NOW
|
||
|
||
a little girl, feeling the teen's body impaled on its arm and hearing the
|
||
teen's dying gasp. It leaned in close and took a delicious bite and chewed on
|
||
a chunk of the teen's left ear, like a piece of small leather in its mouth,
|
||
its tastebuds long since dead. The voices whispered of its power and might
|
||
and its rage deepened as it wanted the whole world to know of its triumph over
|
||
death itself and of its newfound powers. It stalked onto the street and went
|
||
to a house, one of the faceless many in the suburbs and could have been mine
|
||
or yours, and it pushed the locked door aside with the ease of slicing bread.
|
||
The mundane man of the house stood in his stained shorts and asked a question
|
||
that was drowned out by the voices hissing for violence and it shoved forward
|
||
and dug into the man's fleshy chest and tore, in a great juicy ripping sound,
|
||
a long flap of skin from him. The man's pitch went immediately to high
|
||
soprano as he screamed the cry of the damned, the one yell that people make
|
||
when death visits, and oh was he death, he was death unlike
|
||
|
||
THEN
|
||
|
||
the seed of the future, the beginning of the new way. He shed the rest
|
||
of his clothes as unnecessary and the voices quietly whispered sweet death and
|
||
mutilation in his ear, and walked downstairs to where THE ITEM was stored. He
|
||
fetched it from the desk with ease and loaded it patiently and took the few
|
||
spare clips in his other hand and the voices went up a pitch in anticipation
|
||
as the sound of someone entering the house floated in from upstairs and he
|
||
went and it was his sister, his sweet sister, who was a whore and a drunk, who
|
||
had been caught kissing his friend with an open beer between them and he
|
||
smiled and shot her five times and she looked surprised as she died and his
|
||
erection returned as he turned and faced his mother who stood in pure shock
|
||
and shot her four times in the face and the voices whispered their approval in
|
||
the darkness of his mind where
|
||
|
||
NOW
|
||
|
||
any death before, the new incarnation of the reaper, here to decide who
|
||
was worthy of life, and the voices told it no one was. It grabbed the man's
|
||
head and twisted it off like a jar and it was frozen in a look of sheer agony
|
||
and it liked it and took it with it as it stalked through the filthy living
|
||
room and ran into his ugly wife in the kitchen who was doing dishes and was on
|
||
her way into the living room when it shot a fist into her stomach and pulled
|
||
it out in front of her and it grinned its skeletal grin and the voices sung
|
||
his praises as she fell back and flopped around on the floor screaming and it
|
||
spoke for the first time and it said that she was destined to die and to have
|
||
a nice trip and behind it a small sleepy child came down the stairs and it
|
||
spun around and kicked the kid, and kicked the kid hard, very hard, hard
|
||
enough for his head to pop away with the groan of snapping muscles and bone as
|
||
it landed with a dull plop some distance away. Death was here and death was
|
||
pissed and death had voices in its head to tell it who to take with it back to
|
||
|
||
THEN
|
||
|
||
rage, rage seethed and bubbled and his anger against the world grew by
|
||
leaps and bounds as he ran outside feeling the caress of the wind against him
|
||
as neighbours and others came out or glanced out windows to see a naked boy in
|
||
the street shooting a gun at those who were near him and laughing with tears
|
||
streaming down his cheeks and they didn't really know what to do out of shock
|
||
but someone must have called the police after some time because they turned up
|
||
and saw carnage, body count all over, shot people, wounded people crawling
|
||
away pitifully and the boy in the center of the storm with a gun and police
|
||
react in a pretty specific way to this kind of thing and when the boy turned
|
||
with gun to face them and they shot him a number of times, they called the
|
||
ambulance but it was obviously too late and the boy had no ammunition left
|
||
after all so they felt foolish indeed and the funeral was
|
||
|
||
NOW
|
||
|
||
NOTHING, oh dear lord no, he was an agent of the NOTHING and the voices
|
||
cackled as he stared at the blood on his hands and his bloated form and he was
|
||
aware he would never be the catalyst of the earth or the one who changed it
|
||
all but would return to NOTHING when his something here was done but why had
|
||
it happened this way he had it all worked out and the voices laughed, oh they
|
||
laughed like a demonic chorus of chipmunks and taunted his stupidity and
|
||
reminded him he was NOTHING in the beginning and NOTHING in the end and
|
||
NOTHING was his destiny and he railed and cried at being NOTHING but no tears
|
||
came because he had none left to give and he went out to the garage and poured
|
||
gas over the car the dead family had and he got in it and lit it up and the
|
||
flames raged around him and the voices laughed still as he lost anyway and
|
||
NOTHING was increased in power with the boy who thought he was something.
|
||
Silly boy, only in the end did he understand that NOTHING will come of NOTHING
|
||
and that to be something you have to live and take what moments come your way
|
||
and seize those precious moments and onwards and upwards, semper fi and all of
|
||
it, the clich<63>s are all clich<63>s because they are accurate, the secret to it
|
||
all is that you can't be something without being a NOTHING somewhere the same
|
||
way we go through agony and hurt to remind us how precious the happy times
|
||
are, and you have to walk through the darkness to see how bright the light is.
|
||
The flames were bright and higher and higher and he slowly cooked and his
|
||
nonflesh melted away while
|
||
|
||
THEN
|
||
|
||
small, very small since no one truly spoken wished to admit a knowledge
|
||
of the boy. The coffin was lowered into the ground without ceremony and the
|
||
men threw dirt over it and puzzled over why.. why it would happen... why it
|
||
wasn't prevented... why... why.. WHY
|
||
|
||
WHY
|
||
WHY
|
||
WHY
|
||
|
||
NOW
|
||
|
||
the answer came to him at his dying moments as he closed his eyes again
|
||
and a bright light came to him and he reached out for her hands and it laughed
|
||
and told him to fuck off, that knowing WHY at the end was useless, that
|
||
knowing WHY during was more important and not to waste what you have, and do
|
||
you know what
|
||
|
||
AHEAD
|
||
|
||
The letter arrived by regular mail which was unsurprising to him as he
|
||
opened with with a steak knife. Thin was always bad, he knew, and he barely
|
||
had to look at it to see the standard litany of the rejected. He stopped and
|
||
thought for a moment and walked upstairs calmly and sat down at his computer
|
||
and began to type again and this time he knew WHY and
|
||
|
||
THEN+NOW+AHEAD
|
||
|
||
his work is done.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
"Whoso would be a man must be a nonconformist"
|
||
--Ralph Waldo Emerson, _Self-Reliance_
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
ALL THAT CAME BACK WAS THE TiDE
|
||
by Aspiraphale
|
||
|
||
My friend Glen and I had stepped out between classes and gone for a
|
||
smoke. It was a daily ritual- we were both seventeen, and while we couldn't
|
||
smoke inside the school building, no one really cared if we went outside to do
|
||
it. I always bummed my smokes off Glen, but he didn't mind.
|
||
|
||
We both attended Sir Walter Raleigh, a private high school in the middle
|
||
of Minneapolis. It was for rich kids, but I got financial aid and was
|
||
accepted despite my family's lack of funds. Glen had rich parents. He had
|
||
his own car, and was always dressed in name-brand clothes. For some reason,
|
||
we hit it off. We had been friends since our freshman year. We were an
|
||
unlikely pair. He was big and athletic, while I was a scrawny hundred pounds.
|
||
He always wore expensive clothes; I always wore jeans and a T-shirt. He was
|
||
inherently popular, while I was popular because I was his friend.
|
||
|
||
We leaned against a waist-high brick wall in front of the parking lot and
|
||
smoked our cigarettes. He was talking to me about his new car. His parents
|
||
had gotten him a VW, a year old, because he was on the honor roll. He liked
|
||
it more than his previous car, which had a little rust on it. He was
|
||
explaining the merits of a four-cylinder engine and blowing smoke rings when a
|
||
car drove past.
|
||
|
||
I wouldn't have taken notice, but it slowed down when it came closer to
|
||
us. It was a nice looking red convertible. There was a really big Hispanic
|
||
guy inside. He jerked his head once, nodding. Glen raised a hand. The guy
|
||
drove away. A couple minutes later, he drove past again. This time he
|
||
stopped at the curb.
|
||
|
||
"Hey." He looked at Glen. "What did you call me?"
|
||
|
||
Glen shrugged. "I didn't call you anything. I just waved."
|
||
|
||
"I heard you call me a dick."
|
||
|
||
Glen tensed. "No, I didn't."
|
||
|
||
He was probably hopped up on something. Crank is really big in the
|
||
Midwest, and the guy's eyes were bulging out of his head. He looked really
|
||
paranoid. He got out of the car, and he was twitching.
|
||
|
||
"I thought I heard you call me a dick."
|
||
|
||
"I didn't call you anything. I just waved."
|
||
|
||
"Oh. I guess that's all right then." The guy relaxed, then hit Glen in the
|
||
face. Hard.
|
||
|
||
It was the first punch I'd ever seen that actually looked like it did in
|
||
the movies. Before throwing the punch, the guy let his arm go limp, to make
|
||
Glen think he wasn't going to hit him. Then he threw all his weight into
|
||
Glen's face, snapping his head back with his fist, landing on the jaw with the
|
||
sound of a book snapping shut. Glen stumbled back, his arms flailing.
|
||
|
||
Then he righted himself. The guy was still in fighting stance. Glen
|
||
looked at him coolly, and did nothing. He reached up tentatively with his
|
||
hand. He touched his chin; blood was running down his mouth, and when he
|
||
removed his hand his fingertips were bright red. He studied his fingertips
|
||
for a moment, and then looked down.
|
||
|
||
When he'd brought his head back to normal position, he'd gotten a bright
|
||
splotch of red on his green Polo shirt. When he looked down, he saw the
|
||
bloodstain. His eyes widened, and he snarled.
|
||
|
||
"I PAID SIXTY-THREE DOLLARS FOR THIS SHIRT!" He screamed at the guy. He
|
||
stood up, looked at him, and ran at the guy, head down. Even though the man
|
||
was larger than we were, he wasn't ready for this ferocity from Glen; he
|
||
thought Glen was just another little preppy.
|
||
|
||
I'd never seen Glen so angry. He ran at the guy and grabbed him by the
|
||
collar. Glen turned quickly, and the pull yanked the guy off his feet. Glen
|
||
kept turning, and he literally threw the guy over his car. The guy landed on
|
||
his back on the tarmac with a grunt, and Glen leaped over the car at him.
|
||
|
||
Glen kneeled on the other guy's chest and leaned into his face. The
|
||
older man was dazed, and he couldn't really make sense of what was going on.
|
||
Glen grabbed his head and smashed it into the pavement, then hit him in the
|
||
face a couple more times for good measure.
|
||
|
||
The guy just lay there. Glen got back up -- he had blood all over his
|
||
shirt -- and walked over to me. I'd never seen him as angry as he was, but
|
||
now he was completely calm. He reached into his jacket pocket, reached in
|
||
slowly, withdrew a cigarette, and lit it.
|
||
|
||
Neither of us said a word. We sat on the wall, smoking, as the guy lay
|
||
out in front of us, face bloodied. When Glen finished his cigarette, he
|
||
tossed it on the pavement, hopped off the wall and ground it out with his
|
||
foot. He walked out to his car, changed his shirt, and walked back. He
|
||
kicked the guy in the ribs before heading back to the school.
|
||
|
||
I was impressed with Glen. We parted ways to our different classes, and
|
||
when school was out he gave me a ride home. I didn't see him again until he
|
||
was in a holding cell. The guy had suffered from a concussion, fractured
|
||
skull, and a broken jaw. He wanted to press charges.
|
||
|
||
I was involved in the trial, for the defense. I didn't actually have to
|
||
take the stand for two days after the trial started. Before me, the
|
||
paramedics testified that they had found the man, whose name was Peter
|
||
Vasquez, unconscious in the parking lot. Apparently, the fact that Glen had
|
||
just left the guy there, without calling an ambulance, hurt him.
|
||
|
||
The doctors came and testified about the guy's injuries, which were
|
||
severe. He was wearing a big bandage on his head and spoke with a voice
|
||
muffled by his jaw, wired shut. Glen had a split lip. He hadn't even put a
|
||
Band-Aid on it.
|
||
|
||
When I was called to testify, I told the jury that Glen had acted in
|
||
self-defense, after Mr. Vasquez had punched him in the face. I told them I
|
||
didn't think there was any reason for Mr. Vasquez to have done what he did. I
|
||
told them I thought that he had been on drugs. I thought that I had been
|
||
convincing, and I had told the truth, but the jury didn<64>t seem to buy it.
|
||
|
||
The trial lasted three days. The jury ruled in favor of one Mr. Peter
|
||
Vasquez. Glen was only seventeen, so he was only put on probation for six
|
||
months. If he had been tried as an adult, he would have gotten two to five
|
||
years in prison. He still wasn't very happy with his situation.
|
||
|
||
In addition to being on probation, his parents grounded him indefinitely.
|
||
They put his car in a storage space and hid the keys. He was allowed to take
|
||
the bus to school, go home, and go to see his probation officer. That was it.
|
||
On top of all that, the kids at school were spreading nasty rumors about him.
|
||
His first day back at school, he showed up with dark rings under his eyes.
|
||
|
||
He sat alone at the lunch table, something unusual for him. No one would
|
||
go near him. I tried to sit down next to him, but he shooed me away. He
|
||
looked down at his food, trying to ignore the kids that whispered, giggled,
|
||
and pointed at him. Word was spreading that he was a druggie. He would get
|
||
"accidentally" tripped in the hallway, or elbowed in the face; he couldn<64>t
|
||
fight back against that.
|
||
|
||
We didn't have many classes together, so we had our lunch hour to get
|
||
together and talk. Instead of eating, he grabbed my arm and pulled me
|
||
outside. He pulled out a pack of cigarettes and lit one before handing the
|
||
pack and lighter to me.
|
||
|
||
"I can't believe this shit," he grumbled around his cigarette. "I might
|
||
as well be in prison for all the freedom I got. I get to come to school. Woo
|
||
Hoo."
|
||
|
||
He took a deep drag on his cigarette, and exhaled. We sat in silence and
|
||
smoked. The sun was out, and it shone on his face, casting the shadows deeper
|
||
under his eyes. "I'm not getting any goddam sleep. I'm smoking more than I
|
||
ever have before. All I do these days," he said, punctuating his sentence by
|
||
gesturing with his cigarette, "is smoke."
|
||
|
||
"No," he abruptly spat out. "I smoke, and I fuckin' jerk off. And I
|
||
watch stupid MTV game shows. Nothing. I'm going out of my mind." He took
|
||
another drag.
|
||
|
||
After several minutes of silence, he threw his butt on the ground and
|
||
stepped on it. "I've got to do something about this crap. It's driving me
|
||
crazy." He walked back toward the school, and though I ran up and walked next
|
||
to him, he didn't say anything. He walked back inside, got his lunch tray,
|
||
and ate by himself.
|
||
|
||
I didn't see much of him for several days. He just sat by himself.
|
||
After three days or so, I walked over to his table and set my tray down by
|
||
his. He still had dark rings under his eyes.
|
||
|
||
"What's up, dude? You haven't said anything to me for days."
|
||
|
||
He grunted.
|
||
|
||
"What's that happy crap?" I snapped at him. "You're pissing me off, and
|
||
that's not good. Why are you being such a cretin?"
|
||
|
||
He looked up from his food. He swallowed, and then he looked up at me.
|
||
"Screw you, man. You don't know what's going on. You don't know what I'm
|
||
going through. My life sucks right now. And the last thing I need is you
|
||
being a dick." He stood up, carried his tray over to the garbage can, and
|
||
dumped the whole thing in: food, tray, silverware and all. Then he walked
|
||
off. I didn't follow.
|
||
|
||
I tried to leave him alone after that. All day I tried not to think
|
||
about him, didn't try to talk to him in class. He seemed not to care.
|
||
|
||
The next day at lunch, he set his tray down next to mine. He started to
|
||
eat. "What's up, man?" I asked. "I thought you were all pissed off at me."
|
||
|
||
"Eh." He shrugged his shoulders. "I was having a bad day. Sorry if I
|
||
was an asshole to you. In fact, I've been having a bad week. This whole
|
||
probation-grounding thing is driving me crazy. I'm trying to figure out a way
|
||
to get out."
|
||
|
||
"Get out? What do you mean?"
|
||
|
||
He gestured with a tater tot. "Just that; get out. Leave this damn
|
||
town, get away from my parents and the damned probation officer. Start fresh
|
||
somewhere else."
|
||
|
||
I was doubtful. "Good luck, but I don't think it's that great an idea.
|
||
Where can you go?"
|
||
|
||
"I dunno. Out of the country. Mexico. It's warm year-round." He
|
||
grinned. "I'm passing Spanish."
|
||
|
||
I shook my head and laughed. "Yeah, right. Mexico."
|
||
|
||
He shrugged and stood up. "Laugh if you want. I gotta get out of here."
|
||
|
||
We dumped our garbage in the trash and walked outside. He handed me a
|
||
cigarette, put one in his mouth, and gave me a light before lighting his own.
|
||
The wind blew the hair away from his forehead. I think that's how I'll always
|
||
remember him. Cigarette dangling from his lips, squinting into the horizon,
|
||
tie flapping, hands in his pockets. The wind blew the hair from his forehead.
|
||
|
||
"It wouldn't be too hard," he said. "Hitchhike down, head west. Baja."
|
||
He smiled.
|
||
|
||
"Yeah, right. Baja."
|
||
|
||
He sighed, and we both sat on the wall, smoking our cigarettes. The wind
|
||
smoked more of them than we did. We ground them out and headed back to the
|
||
school, parting ways in the hall.
|
||
|
||
That night, a Thursday, I think, I woke up at three in the morning.
|
||
Rapping on my window. I groaned, rolled over. The window opened, and I sat
|
||
up. Glen was coming through the window.
|
||
|
||
"Jesus fucking Christ, man, what the hell are you doing?" I rubbed the
|
||
sleep from my eyes and looked up at him. He had on a backpack, jeans and a
|
||
T-shirt. "Your parents are gonna kill you!"
|
||
|
||
He brought his fingers to his lips. "Shut up!" he hissed in the
|
||
darkness. "I'm headed for Baja."
|
||
|
||
I sputtered. "What? Are you crazy?"
|
||
|
||
"I'll keep in touch!"
|
||
|
||
"Why did you come here first? If my mom hears you up here, she'll..."
|
||
|
||
He cut me off. "Well, then, be quiet!"
|
||
|
||
I calmed down.
|
||
|
||
"Now, I'm here for a very logical reason. I've got three hundred bucks
|
||
to my name. I figure that'll get me, maybe, to Texas. Do you think you could
|
||
help me out?"
|
||
|
||
"Oh, man..." I covered my eyes.
|
||
|
||
"Dude." He was begging. I grunted.
|
||
|
||
"Dude. Think about all the damn cigarettes I gave you. I gave you my
|
||
old bike. We've been tight."
|
||
|
||
"Damn." I got out of bed, the wind from the window chilly on my bare
|
||
legs. I walked over to my desk, yanked open the drawer. "All I got's a
|
||
hundred fifty. This is from my damn job, man; you owe me." I shoved the cash
|
||
into his hand.
|
||
|
||
He grinned at me. "I owe you. I'll send you a postcard."
|
||
|
||
"Yeah, right. From Baja, right?" I laughed.
|
||
|
||
His smile widened. "Damn right."
|
||
|
||
He sneaked back out the window, and I rolled over and went back to sleep.
|
||
I thought it was all a dream, when I woke up, but my desk drawer was open and
|
||
all the cash was gone. I went to school, not knowing what to expect. He
|
||
wasn't there.
|
||
|
||
When I got back home from school, my mom was waiting for me. "Have you
|
||
seen Glen recently?"
|
||
|
||
"Not really. He was in the lunchroom yesterday; I didn't see him today."
|
||
|
||
"His mom says he ran away. Do you know anything about this?"
|
||
|
||
I shook my head. "No idea."
|
||
|
||
"Jack Michael Irving, are you lying to me?"
|
||
|
||
"No, mom. Geez." I waited a second. "Where'd he go?"
|
||
|
||
"They're looking for him. The probation officer's upset. Nora's sick
|
||
with worry."
|
||
|
||
"Wow." I went to my room, and sat down.
|
||
|
||
Eventually I stopped wondering what had happened to Glen. I became more
|
||
popular in my own right at school, and made new friends. Glen faded from my
|
||
thoughts. About a month and a half after he snuck through my bedroom window,
|
||
I got a postcard. It was postmarked Mexico. In scribbled handwriting: "Not
|
||
too far from Baja. Just got to make a short sail across the Bay Of
|
||
California. I'm almost there, man." No signature.
|
||
|
||
I haven't heard from him since. I hope he made it to Baja. Some nights
|
||
I wake up, my wife warm at my side, and I almost hear him rapping at my
|
||
window. I look up, and see only the tree moving about in the wind and the
|
||
moonlight, gently scratching the glass. He<48>s never there. I think he made
|
||
it.
|
||
|
||
I can see him, in my mind's eye, laying on a towel on a beach somewhere
|
||
in Baja, salt water at his feet, grinning up at the sky. He's drinking an
|
||
ice-cold beer, peering through sunglasses at the waves out on the Pacific. And
|
||
the wind's blowing the hair away from his forehead.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
"...a friendship that prides itself on the sharpness and vigour of its
|
||
dealings. I like love that bites and scratches till the blood comes. It
|
||
is not vigourous and free enough if it is not quarrelsome..."
|
||
--Montaigne, _Essays_
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
WHAT COURT DiD THAT NiGHT
|
||
by Water Damage
|
||
|
||
Court descended the steps into the Indigo. His dark eyes were hard and
|
||
cold, in stark contrast to his youthful face and mussed black hair. It was
|
||
apparent in his face -- he had a mission.
|
||
|
||
The predominant color here was red, a dim red that seemed to radiate from
|
||
the furniture and the walls. The coffee shop was filled with a few dozen high
|
||
school students, a couple of staff members working the coffee bar, and one
|
||
particularly obnoxious punk band. Tonight, it fit Court's mood, and he felt
|
||
at ease here. Knowing that it would be easy to accomplish what he had to do
|
||
here comforted him, and he relaxed.
|
||
|
||
He let his eyes scan the place, looking for...
|
||
|
||
There. Over by the stage, past that group of mohawked junior-high
|
||
pseudo-anarchists, he recognized her hair. Her hair had obviously been cut
|
||
since the last time he had seen her. Short and straight, Anastasia's red
|
||
locks seemed to add even more grace to her already gorgeous figure. She was
|
||
perfect, in Court's eyes.
|
||
|
||
Perfect in his eyes, too, Court observed, noticing that Anastasia was
|
||
speaking to some big guy, who looked as enraptured with her as Court felt. One
|
||
of the little punks moved out of the way, and Court saw the guy taking Ana's
|
||
arm. Court regarded the situation with skeptical interest and a lot of
|
||
curiosity, then remembered to look hard and tough again. Guy and girl turned
|
||
to look at the band.
|
||
|
||
Court had absolutely no idea who was playing tonight, which didn't bother
|
||
him at all because they were so bad it made his head hurt. His facade did its
|
||
job well, because the few who turned to see him when he entered knew there was
|
||
something different about this Court, that he was not the same Court of
|
||
earlier this evening. He maintained his stern expression, until a
|
||
particularly loud power chord erupted from an amp. This didn't bother Court,
|
||
but the subsequent shower of sparks and the explosion that came after that
|
||
did. He raised an eyebrow and looked in the direction of the stage.
|
||
|
||
However, he didn't see the amp, he saw Anastasia. She was looking
|
||
directly at him. Her pale skin and green eyes had a curious look to them, a
|
||
look that shook him out of his bravado. All at once his nervousness
|
||
overwhelmed him, playing a terrifyingly rapid melody in his head, and set to
|
||
the backdrop of the loud noise of malfunctioning equipment that was coming
|
||
from the stage. His false confidence thus evaporated, Court quickly turned
|
||
and ran out of the coffee shop.
|
||
|
||
All of Court's attention was turned now to the pinball game. His little
|
||
steel ball had scored him many points, and as long as he kept focus, he was
|
||
sure he could rack up free game after free game. Being his only refuge after
|
||
his failed attempt to make conversation with Ana, the game room offered a
|
||
solitude that no other place in the Student Union could, especially this
|
||
pinball game. Court allowed his mind a respite from thinking of her, and
|
||
instead he thought of scoring 40 million points and being first on the high
|
||
scores list. And so far, with a score of well over 39 million, he was about
|
||
to do just that. However, Court had some really bad luck that he couldn't
|
||
seem to shake.
|
||
|
||
His ball rushes to the top of the playing field and comes to it's apex.
|
||
Motionless for a moment. It begins it's slow, inexorable descent to Court's
|
||
waiting flippers, but a touch on his arm and a voice in his ear annihilates
|
||
his concentration.
|
||
|
||
Court stares as the ball accelerates, and he stares when the ball lands
|
||
on one of his impotent flippers. Hands trembling with anxiety, Court looks
|
||
down at the table but does not see the impending doom of his little pinball.
|
||
Instead, as the little sphere rolls down the incline, he sees a reflection in
|
||
the table.
|
||
|
||
A sweet voice accompanies that reflection, and it's the only thing Court
|
||
is hearing right about now.
|
||
|
||
"Court? Are you listening?" Her hand was still on his arm.
|
||
|
||
Court's mind was busy racing.
|
||
|
||
HiAnaDoyoulikebeingcalledAnaorisitAnastasiathat'ssuchaprettynamedoyouwant
|
||
togetcof...
|
||
|
||
She exhaled, her breath a lot closer than before, and that blasted away
|
||
any trace of rational thought.
|
||
|
||
"Yeah, yeah, the band was great and all that," Court says, now
|
||
comprehending the situation.
|
||
|
||
"I didn't like them," Anastasia says. Then, "What do you like?" And
|
||
after a moment, "Do you want to go somewhere?"
|
||
|
||
All Court can think of to say right now is, "the big guy?" However, he
|
||
doesn't say that, because he's being lead out of the game room by the object
|
||
of his desire.
|
||
|
||
Court thinks this is great and everything, in spite of his earlier failed
|
||
attempts to execute his foolproof plan of winning her affection, but he is
|
||
having a hard time picturing what is going to happen next. Floral perfume
|
||
fills his nose, her thin skirt is flapping against his jeans as they walk.
|
||
Anastasia walks purposefully and quickly, like she knows exactly what is going
|
||
on.
|
||
|
||
Poor Court, though is utterly confused. She asks him what he is thinking
|
||
about, but he doesn't answer.
|
||
|
||
He's thinking, "Where in the world is that big guy?"
|
||
|
||
Court never found out where that big guy was. As it turned out, it
|
||
didn't matter much. Ana made Court drive, told him to go to her house, but
|
||
Court never made it because he ran out of gas. Court remembers in perfect
|
||
detail what happened during the rest of that night, but he's too shy to tell
|
||
anyone about it. He asks me to keep it a secret, too.
|
||
|
||
"We'll let them use their imagination," he says with a smile.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
"Uh, does anyone want to see my unit?"
|
||
--Butthead, _Beavis and Butthead do America_
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
SELF PORTRAiT: ARTiST WiTH WORDS
|
||
by Crux Ansata
|
||
|
||
I am sitting in a darkened movie theater. There is a Monty Python film
|
||
on the screen. I've seen it before. Everyone's seen it before. Every man,
|
||
woman, and child capable of speech can recite the film from beginning to end.
|
||
In a bizarre vindication of Lamark, infants are being born capable of speech,
|
||
but only for reciting this film.
|
||
|
||
I am sitting in a darkened movie theater. I am suddenly aware of a sharp
|
||
pain in one leg. I look around, and see a fellow in the row ahead of me.
|
||
Wrapped up in the movie, he has dropped his cigarette in his lap. I snap at
|
||
him: "Do you mind! You're hurting your leg."
|
||
|
||
I am sitting in a darkened movie theater. There is a hand on my leg. It
|
||
is not an unpleasant feeling, though it is an unfamiliar one. I look over at
|
||
her. I am returning her caress. We slip out, forgetful of the friends we
|
||
each came in with. We are driving, fast, down back roads, but I am not paying
|
||
too much attention to where I am driving. I have other things on my mind. We
|
||
park. We kiss. She whispers in my ear to put my hands around her throat. I
|
||
am scared; I remember unpleasant happenings in my childhood. Thinking back, I
|
||
fail to think of the present. I crush too hard. Panicked, I push the body
|
||
out of the car and slip back into the theater.
|
||
|
||
I am sitting in a darkened movie theater. I am alone.
|
||
|
||
I am sitting in a darkened movie theater. I relax, and let time go by
|
||
around me. As I relax, time speeds up. People come in, grow old, die around
|
||
me. Some leave, but very few seem even to realize there is a world outside
|
||
this room. I try to forget that there is.
|
||
|
||
I am sitting in a darkened movie theater. On the screen, a small,
|
||
inoffensive man is being beaten. The people around me are laughing. I am
|
||
crying.
|
||
|
||
I am sitting in a darkened movie theater. I am cradling a small Arab boy
|
||
on my lap. His white burnoose drapes around both our laps. He understands
|
||
nothing going on up on the screen, but that is alright. I can hardly follow
|
||
it myself. There is little call to use Italian in Algeria. I can follow the
|
||
action, and so could he if he were watching the screen, but he isn't. He is
|
||
playing with a large cockroach he captured outside his house. The cockroach
|
||
runs up one hand to the other, and the boy shifts his hands, to perpetuate the
|
||
process. I imagine the cockroach must imagine he's going somewhere.
|
||
|
||
I am sitting in a darkened movie theater. It isn't dark enough.
|
||
|
||
I am sitting in a darkened movie theater. A girl sits beside me. We are
|
||
in love. I gaze over at her. She is angelic, so young, so pale, so slender.
|
||
I pull her to me, crush her to me, and we kiss, deeply. She seems
|
||
extraordinarily alert, like she is superaware of every sensation. Painfully
|
||
alive. I feel her body convulse slightly. I imagine she is crying, overtaken
|
||
with emotion, and relax my hold. She coughs. Her child's body is wracked
|
||
with spasms. Her white dress is streaked with red. After a moment, she turns
|
||
paler, and is still.
|
||
|
||
I am sitting in a darkened movie theater. A girl sits in front of me.
|
||
In the glow of the screen the fabric of her blouse shimmers and holds close to
|
||
her skin. It seems to glow in the dark, a pale blue, almost more white than
|
||
white. As she breathes, the blouse swells and contracts around her, below the
|
||
ribs, pulsing slowly. I am reminded of the breathing of a toad.
|
||
|
||
I am sitting in a darkened movie theater. In front of me, a screen full
|
||
of actors is staring at me. They laugh.
|
||
|
||
I am sitting in a darkened movie theater. I lean back and look up at the
|
||
ceiling. It is odd, yet soothing. Herring-gull gray, lightly domed, and
|
||
quilted into small squares, each swollen out, pendant, with a little cloth
|
||
covered button in the center. The walls are quilted gray like the ceiling.
|
||
Only the floor has been spared, carpeted with a dull flesh-pink. The forest
|
||
of hanging pads hangs in upside down rows, like miniature molehills, or ant
|
||
heaps, or rows of even schoolgirl's breasts, a canopy of nippled buds.
|
||
|
||
I am sitting in a darkened movie theater. No girl puts her hand on my
|
||
leg. I cry.
|
||
|
||
I am sitting in a darkened movie theater. I look up at the screen. On
|
||
it, a man is sitting in a darkened movie theater. He looks up at the screen.
|
||
On it, a man is sitting in a darkened movie theater. ...
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
Stuckness shouldn't be avoided. It's the psychic predecessor of all real
|
||
understanding. An egoless acceptance of stuckness is a key to an
|
||
understanding of all Quality, in mechanical work as in other endeavors.
|
||
|
||
-- Robert M. Pirsig, "Zen and the Art of Motorcycle Maintenance"
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
DiGGiNG TOWARD THE ROOTS
|
||
by I Wish My Name Were Nathan, Wannabe Sage
|
||
|
||
"Everything is true, everything is permitted." -- Hassan i Sabbah
|
||
"Nothing is true, everything is permitted." -- Chaos Magick
|
||
"Everything is true, nothing is permitted." -- Dada
|
||
"Nothing is true, nothing is permitted, and shut up." -- Government
|
||
|
||
"This is my Lamp of Truth. It says so right on the base: 'Flip the
|
||
switch to be Enlightened.' I think the lamp looks nice in the middle of the
|
||
room, don't you? Someone might trip over the cord so I don't have it plugged
|
||
in. See the design on that lampshade? I slave to keep it dusted. I think
|
||
I'll paint the lamp some day. What a pretty lamp nonetheless! I wish I knew
|
||
how it worked. I have an idea, let's take it apart. Of course there's no
|
||
instructions. I'm telling you, I need to take it apart to understand it.
|
||
Aaah, if I break it, I'll just blame you." -- Man
|
||
|
||
* * * * *
|
||
|
||
Tobiah was sitting on a metal bench outside in the cold waiting for his
|
||
bus to pick him up. Shivering there uncomfortably in a too-light jacket
|
||
grasping his arms around himself reminded him of high school, when he used to
|
||
do the exact same thing. He hated the cold. He hated to shiver. But he also
|
||
hated the annoyance of carrying around a heavy jacket all day as he shuttled
|
||
from class to class. Tobiah's nose dripped resentfully, watery mucous covering
|
||
his lip and running down over his lips, where he wiped them on the sleeve of
|
||
his polyester jacket and grimaced at the sound it made. The last thing he
|
||
needed now was for a girl to hit on him.
|
||
|
||
"Move over," said a girl who appeared out of nowhere and who proceeded to
|
||
rap her fist on Tobiah's shoulder. "I wanna sit next to you."
|
||
|
||
Tobiah scooted over a foot and proceeded to ignore her, caring more at the
|
||
moment to preserve his warmth the old-fashioned way -- by squandering it. He
|
||
continued to breathe hot air into his hands, which he'd had to rip out of his
|
||
pockets in order to keep his runny nose under control, and muttered over and
|
||
over again in his mind how much he wanted the bus to arrive.
|
||
|
||
The bus was in fact late, having slid over some ice into oncoming traffic.
|
||
The driver was okay. The bus was not. Tobiah would be waiting a while.
|
||
|
||
"Here, kid, mop yourself dry," the girl said, waving a tissue in front of
|
||
Tobiah's face. "You're gonna get a rash."
|
||
|
||
He was glad to accept the offer. He snatched the tissue away and held it
|
||
bunched up over his nose. "Thanks," he said. "What do you want in return?"
|
||
|
||
The girl smiled. "That's an odd question. Ordinarily, nothing, but since
|
||
you asked.... What's your name?"
|
||
|
||
"Tobiah," he said.
|
||
|
||
"That's an odd name."
|
||
|
||
"It's just a complicated way of saying 'Toby.'"
|
||
|
||
"Well, I like it anyway. I'm Leonania."
|
||
|
||
"Shit, talk about complicated names," Toby said derisively, sniffing up a
|
||
wad of mucous in surprise.
|
||
|
||
"I'm just kidding. My real name is Kathryn."
|
||
|
||
"Oh, okay."
|
||
|
||
Toby sat back against the brick wall the bench was attached to and sighed
|
||
deeply. He had come down with a pounding headache, which could only mean that
|
||
he'd inadvertently stirred up enough heat while talking to sensitize his brain
|
||
again, reminding him that he wasn't wearing a hat.
|
||
|
||
"What's wrong?" Kathryn asked.
|
||
|
||
"Headache."
|
||
|
||
"You've got no hat."
|
||
|
||
"Ssssh, leave me alone. I want my head to freeze again so I don't feel
|
||
it."
|
||
|
||
"Well, okay."
|
||
|
||
Kathryn was quite warm, thank you very much, with a leather jacket
|
||
equipped with a furry collar, a thick green hat, heavy gloves, and jeans.
|
||
|
||
"Don't your legs get cold?" she asked, looking at Toby's bluing calves.
|
||
|
||
"I can't feel them anymore. Doesn't matter."
|
||
|
||
"C'mon, Toby," she said, clapping her hands together, "Put your legs up
|
||
here where I can hold them. You're much too cute to go to waste."
|
||
|
||
"Good grief, every day it's the same thing. No, Leonania, or Kathryn, or
|
||
whatever. I'm perfectly fine. You don't have to save my life. Sheesh! Let a
|
||
guy freeze, wontcha?"
|
||
|
||
Kathryn leaned back, bemused. Toby seemed like a tough case. "I'll
|
||
tickle you," she threatened.
|
||
|
||
"Go ahead, I can't feel a thing."
|
||
|
||
She took the bait and immediately reached for Toby's knee and squeezed it
|
||
between her thumb and forefinger. It elicited no response. "Hmmmm," she said.
|
||
|
||
"Told ya so," he taunted against his will, wanting ever so much to stay
|
||
quiet so his headache would go away. He realized with dread that upon thinking
|
||
of his knee, it started to regain feeling again. "Damn!" he cursed. It
|
||
started to ache and throb. "Did you break it or what?" He found himself
|
||
rubbing his knee for warmth, cursing his luck. "Where the hell is the bus?"
|
||
|
||
"Probably it's stranded, or it got in a wreck while sliding into oncoming
|
||
traffic or something. That's what they said on the radio, at least."
|
||
|
||
Toby looked up, appalled. "You knew that all this time? I coulda gone
|
||
home!"
|
||
|
||
"I *was* trying to keep you warm," Kathryn said.
|
||
|
||
"Dammit, dammit, dammit!" he cursed, standing up uneasily, his confidence
|
||
weakened both by his numb legs and the tenuous grip his shoes had on the icy
|
||
sidewalk. "I'm going home now!" he announced, waddling forth down the
|
||
sidewalk, bracing his face against the breeze he encountered once out of the
|
||
bench's enclave. "Thanks for the kleenex!" he said, and went off.
|
||
|
||
Kathryn watched him leave, awed. It was a tense first meeting, she knew,
|
||
but it only made her more determined to make her his.
|
||
|
||
* * * * *
|
||
|
||
The next morning it was even colder than before, but the bus didn't have a
|
||
wreck and Toby didn't have to wait outside in the cold but for ten minutes. He
|
||
|
||
clambered up the steps into the bus and took the first seat behind the driver.
|
||
The driver shut the door and proceeded to release the brake.
|
||
|
||
"Uh, you might want to wait for Kathryn," Toby said.
|
||
|
||
"Kathryn who? New rider?"
|
||
|
||
"Uh... I guess. She was here yesterday."
|
||
|
||
"Well, too bad for her if she doesn't show up on time, that's what I say.
|
||
I got a schedule to keep. You tell her to show up earlier tomorrow."
|
||
|
||
The bus took off, and Toby let forth a resigned sigh. Remembering how she
|
||
treated him the day before, though, he was indifferent if she had to walk
|
||
today. He sat back and glanced over his notes.
|
||
|
||
* * * * *
|
||
|
||
That day he looked around offhandedly for Kathryn. He wanted to return
|
||
her tissue. Although it annoyed him for girls to try to save his life, he was
|
||
very polite about turning them down.
|
||
|
||
What caught Toby by surprise was the sudden onslaught of female
|
||
intervention in his life. This was nothing like in high school, when he
|
||
distinctly remembered girls' mothers warning them to stay away from him. Maybe
|
||
it was the lack of parental supervision that now allowed these girls to brashly
|
||
attempt to rescue him from death.
|
||
|
||
Just a week before, when it hadn't been half as cold, a different girl
|
||
named Jackie tried to save his life while he sat half-naked on the bench
|
||
waiting for the bus. She made a big fuss about hypothermia and
|
||
vasoconstriction and the warm-blooded nature of mammals that necessitated their
|
||
search for heat energy to prevent dying. He brushed her off politely but still
|
||
saw her stealing worried glances at him from across the commons sometimes.
|
||
|
||
He looked sideways and saw Jackie peering at him. He walked on.
|
||
|
||
Toby had a class in the Fine Arts building on the third floor. Having
|
||
arrived early, he waited in the stairwell and sat in a window overlooking the
|
||
parking lot. He saw the heavily-clothed people rushing around below like
|
||
oversized steaming ants who were eager to get bachelor's degrees. He wondered
|
||
if he should go sit outside in the cold to attract some more feminine
|
||
attention. Before he could do it, people started shuffling up the stairs.
|
||
Class was starting. He'd have to wait until lunch.
|
||
|
||
* * * * *
|
||
|
||
At lunch, Toby went outside and sat in a tree and munched on a sandwich.
|
||
He let his bare legs swing playfully below him as he scanned the crowds for a
|
||
trace of Kathryn. He couldn't spot her and assumed that like most people she
|
||
was probably eating at a fast-food place, if she had showed up at all. He let
|
||
her slip his mind.
|
||
|
||
Instead, he started thinking about the prophet that was supposed to arrive
|
||
sometime that week. It was big news at Howard College, which tended toward
|
||
religious dogmatism in lieu of a nearby video store. A minor prophet was
|
||
supposed to materialize in a crowd of people in a shower of light. No one knew
|
||
what a "shower of light" was supposed to look like, but they all agreed that if
|
||
it were to happen, it'd be pretty much proof that the prophet was really from
|
||
the beyond.
|
||
|
||
Toby had thought it would be cool for a prophet to arrive and bring good
|
||
news from God, so he had written the anonymous letters to the town and school
|
||
newspapers predicting the prophet's arrival. He fully expected the prophet to
|
||
show up. It had been a slow winter.
|
||
|
||
It was recorded fact that no prophets had ever arrived on the campus of
|
||
Howard College. If Toby had attended the freshman inculcation instead of
|
||
dropping acid and visiting the bell tower on campus which was his only reason
|
||
for going there, he would have found out that Artemis Howard, the founder of
|
||
the college, had indeed intended the students of Howard to be raised in a God-
|
||
fearing manner that would prepare them for direct words from the Lord. The
|
||
provost of Howard had been reminded of this every year since, although the
|
||
statement eventually lost its meaning once Time declared that God was dead.
|
||
Toby's prediction came at an excellent time to jumpstart the murmuring
|
||
premillenial fever that would soon overtake the college.
|
||
|
||
He finished eating his sandwich and jumped down from the tree. His legs
|
||
were numb and he was sent sprawling to the ground. He got up, face and arms
|
||
reddening from the impact, smiled proudly, and entered the crowd, trying to
|
||
judge its enthusiasm for the prophet.
|
||
|
||
"You're gonna go inside?" he heard a smoker boy say to another. "I know
|
||
it's cold, but dontcha wanna wait for the *prophet*?" he jeered.
|
||
|
||
"Hey, watch it, bucky. It's gonna show up. You fuckin' heretic."
|
||
|
||
Another small group of people, a few boys, a few girls, were eagerly
|
||
discussing the letters they'd read in the paper.
|
||
|
||
"I am, like, *so* in tune with God right now," one girl gushed. "I think
|
||
something *awesome* is gonna transpire."
|
||
|
||
"I am totally in agreement. Listen, listen. I've been following Timewave
|
||
Zero for a few months now, and that thing says novelty is supposed to be
|
||
*decreasing* this week. Now, if a prophet shows up, that'll totally invalidate
|
||
McKenna, and it'll *prove* there's a God."
|
||
|
||
"Unless it's a test of our faith. Think about that one," one boy added
|
||
cautiously.
|
||
|
||
"Just act happy, alright, then God'll be cool with it."
|
||
|
||
"Do you think the 700 Club reporter will really show up?"
|
||
|
||
"If he wants to escape Hell, he will."
|
||
|
||
Toby walked on, cheered by the excitement. He wondered what the prophet
|
||
would say. Obviously, if it showed up in a shower of light, it would have to
|
||
be good news, right? Hmmm, he hadn't specified the color of the light. It
|
||
could be anything -- red, green, *black*. He started to worry. He rifled
|
||
through the pages of the paper to reread the letter he'd sent to see what
|
||
possibilities he'd left open. He hadn't counted on this.
|
||
|
||
Just within hearing distance, he heard a sobering voice: "What if it's
|
||
the Prophet of Doom?"
|
||
|
||
Toby rushed to the bus stop.
|
||
|
||
* * * * *
|
||
|
||
Back in his apartment, Toby found his roommate Brad asleep in front of the
|
||
television. He walked into the kitchen with the remote and pressed his thumb
|
||
on the volume button until the television's speakers shuddered and the windows
|
||
rattled. Seconds before Brad woke up screaming, he pressed the mute button,
|
||
then walked into the living room and said hi.
|
||
|
||
"I just had this horrible nightmare," Brad groaned, "and I can't remember
|
||
what it was about."
|
||
|
||
"Gosh, again?" Toby asked. "How often does that happen?"
|
||
|
||
"Every time I fall asleep in front of the television. Must be some bad
|
||
shows on, working their way into my mind."
|
||
|
||
"Hmmm, maybe it was the news. Have you heard about that prophet that's
|
||
supposed to appear?"
|
||
|
||
"Yeah!" Brad said, suddenly sounding interested. "Omigod, I think that's
|
||
what I dreamed about!"
|
||
|
||
"You dreamed about the prophet and it was an omen so horrible that you
|
||
woke up screaming?" Toby asked, frightened.
|
||
|
||
"Good Lord, it's true! It can't be! We're all going to die!" Brad cried.
|
||
|
||
"We're all going to die!" Toby screamed. "And you're going to have to
|
||
answer for raping Clarissa."
|
||
|
||
Clarissa had been, and still was, Brad's girlfriend. A few weeks before,
|
||
they had gone on a date and had sex. Brad became morbidly sure that she had
|
||
cried "no!" during orgasm, meaning their moment of passion had consumated in
|
||
rape. He was avoiding her now, not answering the phone, staying out of her
|
||
sight at school. Her increasingly adamant and worried messages on the
|
||
answering message attested to Brad that she was about to haul him in to the
|
||
police. Toby did nothing to comfort the sinner.
|
||
|
||
"The prophet's coming to single you out, Brad. He's gonna damn you to
|
||
hell."
|
||
|
||
"Oh, please, God, NO! It can't end this way! I was supposed to go to
|
||
seminary school! I tried to do everything right! Oh, sweet Jesus, forgive me,
|
||
oh, forgive me!" Brad moaned.
|
||
|
||
"Yeah, Brad, you're going to hell. 'A man's got needs?' What kind of an
|
||
excuse is that?" Toby jeered.
|
||
|
||
"I never said that!"
|
||
|
||
"Tsk, tsk. But you thought it. In your heart of hearts, you thought that
|
||
ravaging that poor girl was the necessary thing to do, didn't you? Otherwise,
|
||
why did you go through with it?"
|
||
|
||
"She wanted me to, she --" he protested.
|
||
|
||
"Brad! How dare you! You're a gusher of lies this afternoon, aren't you?
|
||
Blaming it on *her*! Have you heard Clarissa's wailing cries on the answering
|
||
machine? You've killed a part of her! She's *dying*, all because of *you*,
|
||
Brad!"
|
||
|
||
"Aaaaaaauuugh!" Brad wailed, falling to his knees.
|
||
|
||
"What is all this?! You've got some ego, haven't you?" Toby shrieked. "A
|
||
prophet of God is arriving this week and you think it's all for *you*! What
|
||
hubris! What pride! You'll fall, Brad, you'll fall, and that prophet will
|
||
smite you!"
|
||
|
||
Brad was crouched in a fetal position on the floor, whimpering.
|
||
|
||
"Get out of here, you sack of shit! You sicken me! Get out of my sight!
|
||
I want to concentrate on the glory of God, not the agents of Satan!"
|
||
|
||
Brad crawled out of the living room and Toby shut the door behind him. He
|
||
smiled. He had the room to himself. He was glad that Brad left. But, he
|
||
worried about the possibility that a prophet would arrive only to smite Brad.
|
||
That sounded a bit extreme. That sounded extremely ominous for Brad. Toby
|
||
started to worry about him and his soul. Could anyone be so wicked to be
|
||
singled out by a miracle of punishment? His better judgment told him no. He
|
||
rationalized that Brad was simply overdramatizing his plight.
|
||
|
||
|
||
- 2 -
|
||
|
||
With Brad out of the room, Toby was free to explore the solipsistic
|
||
fantasy that was his life. He had learned the secrets of existence while
|
||
skipping freshman inculcation at Howard College. He had randomly picked Howard
|
||
out of a collection of college flyers he'd received, namely for the boast that
|
||
their "tallest bell tower in the Northwest" got you "closest to God." When he
|
||
arrived, though, he learned to his chagrin that there were a large number of
|
||
fundies around him. But, he figured a sizeable portion of the populace was
|
||
just there for an education like himself, so he would skip the inculcation and
|
||
a good deal of proselytizing. He was in fact the only professed non-Christian
|
||
on campus, a discovery that would later amuse him greatly.
|
||
|
||
In the dorm he stayed in his freshman year, Toby dropped acid. This was a
|
||
ritual that he'd learned from high school: when you expect the next several
|
||
hours to be boring, show up tripping -- it might just save you from a life of
|
||
crime. Then he trekked to the chapel and found the entrance to the stairwell.
|
||
He climbed for minutes and minutes up the twisting stairs past twenty small
|
||
windows in the brick until he reached the top.
|
||
|
||
He looked up over the edge of the short wall surrounding the bell and the
|
||
brightness of the day, amplified by the acid, overwhelmed his eyes, making him
|
||
clench them shut. Then his head hit the rim of the bell and an infinitely
|
||
serene tone rang out and completely filled his mind. As he would later think,
|
||
he forgot everything he ever believed. An odd sense of importance dissipated
|
||
his worry about his eyes, and he looked up again. He could manage. He
|
||
abruptly positioned himself on the ledge surrounding the bell and looked down
|
||
over the scenery, overwhelmed with wonder at being able to see for miles and
|
||
miles over forests and plains and nearby cities. The sky was completely empty,
|
||
a solid hemisphere of blue. A light breeze was blowing. And as he watched, a
|
||
graceful bird dropped dead in flight and spiraled to the ground. It was the
|
||
sort of thing that stopped you from getting too philosophical.
|
||
|
||
This incident nearly panicked him. He hadn't expected anything like that
|
||
to happen. He wouldn't lose it up here, would he? The sun suddenly seemed
|
||
much too bright to prevent it. But the possibility seemed silly. He had some
|
||
sort of control, didn't he? He gazed over the treetops and witnessed another
|
||
bird die in flight. This one seemed to explode as if it had eaten Alka-
|
||
Seltzer, leaving behind only a sudden *pop*.
|
||
|
||
"Did I do that?" Toby wondered.
|
||
|
||
At the thought, his mind seemed to suddenly take off, like he was peering
|
||
into a long tunnel through which he was also flying. Startled, he watched the
|
||
effect suddenly reverse itself; he flew backwards through the tunnel, right
|
||
back to where he started. The whole incident seemed like a quick nod.
|
||
|
||
Quivering, Toby looked back up only to witness two more birds defy logic
|
||
by falling into the sky after retracting their wings. He followed their path
|
||
up into the brightness of the sun, where he lost them in a forceful squint.
|
||
|
||
"Am I imagining this?" he wondered. As if in confirmation, a whole forest
|
||
of trees below started shaking happily as if blown by a strong wind that didn't
|
||
exist. His eyes widened in wonder and pain. "Am I imagining *all* of this?"
|
||
Every bird in every tree around him suddenly flew up with a fluttering of wings
|
||
and exploded in a flurry of feathers like a congratulatory fireworks show.
|
||
|
||
Toby figured that meant "yes." His eyes rolled back in their sockets, and
|
||
he rolled back over the ledge, fell, and hit his head and fainted.
|
||
|
||
* * * * *
|
||
During his faint, Toby experienced a sudden bout of total recall,
|
||
docmumenting the fact that he had discovered solipsism before, when he had just
|
||
started experimenting with dangerous illegal drugs. He had no idea why he'd
|
||
forgotten; perhaps the idea wasn't interesting enough for him. The details
|
||
came out as if he were reciting them from short-term memory.
|
||
|
||
Toby had given up the quest for social acceptance in seventh grade after
|
||
a rash of measles outbreaks descended upon students sitting close to him in
|
||
most of his classes. And he had given up the quest for objective truth when
|
||
his eighth-grade baking-soda-and-vinegar volcano for the science fair had
|
||
mysteriously erupted into red flames. Free from social obligations and the
|
||
rationality of science, Toby started rebelling against his parents.
|
||
|
||
His first act was to get a tattoo. A nice longhaired boy hanging around
|
||
behind the video game arcade had given him a lick-'n'-stick tattoo with a blue
|
||
star on it, and about forty-five minutes after applying it, Toby found himself
|
||
completely changed. Swimming in an electrostatically charged sea of thought,
|
||
Toby walked around his neighborhood, noticing how his new-found sense of
|
||
rebellious purposefulness had given all his senses a new clarity and
|
||
importance. He had a new spring in his step; in fact, when he thought about
|
||
it, the bottom of his shoes turned into Flubber and a saucy springy sound
|
||
broadcast from his footfalls. He laughed a loud, raucous, Dionysian laugh,
|
||
which he could have sworn filled the entire neighborhood and made everyone
|
||
sitting in their homes look up and grin. Everyone he passed by seemed to
|
||
understand his new-found rebellious nature. When they saw Toby approach, they
|
||
wisely looked down and stepped aside, so as not to incur the wrath of a naughty
|
||
teenager. Toby felt he could peer into these passersby's minds and understand
|
||
their abeyance. He almost lost his cool at how everyone -- kids, adults,
|
||
animals? -- reacted in the same robotlike manner by looking down and stepping
|
||
aside; some of them even fled.
|
||
|
||
His desire to walk having been abated, Toby returned home and shut himself
|
||
in his room. He was amazed at the power a simple tattoo had given him. His
|
||
overriding emotion, however, was the joy of discovering his ability to
|
||
influence people just by imagining that he was powerful, for that's all he was
|
||
doing, wasn't it? Looking down at the large blurry decal on the back of his
|
||
hand, he even allowed himself to fear his power. He didn't deserve this sort
|
||
of influence, did he? Of course not. But he *did* have it, right?
|
||
|
||
The doubts and the counterdoubts spun into an intricately complex tapestry
|
||
of confusion in Toby's mind, which he resolved by forgetting all of it and
|
||
starting over. The simplest explanation had to be the correct one: he'd
|
||
always had this ability, but it had been latent until he decided to exercise it
|
||
by rebelling against his parents and getting a tattoo. Allowing for some
|
||
humility, he understood it all at once. These people had acted afraid simply
|
||
because he wanted them to. Easy enough. But he hadn't copped a mean enough
|
||
expression to fool everybody, had he? Of course not. The amended answer: if
|
||
these people obeyed him without his telling them to, there must be some
|
||
intimate link between him and everyone else; namely, that he had invented them
|
||
for his own pleasure. Only he had free will. The obvious answer that every
|
||
two-year-old seems to understand. Why had he forgotten it?
|
||
|
||
Toby looked back at various annoying or painful events in his life and
|
||
chided himself for letting his inventions fool him so. The whole time, he
|
||
could have simply spoken up -- or what? imagined himself powerful like he did
|
||
today? -- and gotten them under control. But he wasn't an egomaniac. He
|
||
understood clearly that if he hadn't been able to handle them before, he might
|
||
not be able to control them later. And also, a lot of the things that happened
|
||
seemed more enjoyable just *because* he didn't consciously cause them. So, he
|
||
went to sleep, awed and overjoyed by his discoveries, and woke up dazed, but
|
||
with the firm conviction that he should try to find out how he'd let all this
|
||
happen.
|
||
|
||
The new attitude he adopted toward other people didn't earn him many
|
||
friends over the next four years.
|
||
* * * * *
|
||
|
||
When he came to in the bell tower, Toby felt no more hallucinogenic
|
||
effects of the acid besides having an intensely focused insight into the
|
||
philosophy he'd once forgotten and was now rediscovering.
|
||
|
||
Looking down at his new campus again, a realization leapt into his heart.
|
||
It somehow seemed imperative that at least one other person would have joined
|
||
him in the bell tower, but every tiny figure he saw scurrying about below
|
||
headed straight for the auditorium, according to schedule. As he had
|
||
remembered, people tended to obey him when he was tripping. Was it really just
|
||
the tattoo? He had harnessed the ability to control his people on several
|
||
occasions. A sickeningly demoralizing thought shocked him: maybe he wouldn't
|
||
be able to regain that power. Perhaps it would be impossible, even, for him to
|
||
control over people he'd never met. But he had some power over those in his
|
||
neighborhood, who he'd only casually known. Maybe it was more intricate than
|
||
person-to-person contact. Maybe he'd have to immerse himself in their culture
|
||
for decades to be able to understand them.
|
||
|
||
His isolation in the bell tower suddenly reminded him of Quasimodo. Was
|
||
he indeed going to find himself isolated from all these people forever, from
|
||
the humanity which he invented? The possibility seemed silly. What kind of
|
||
inventor would be utterly out of touch with what he had made? An Einstein?
|
||
|
||
Einstein. Hmmm. The classic example of invention gone awry, wasn't it?
|
||
His discovery of the relation between matter and energy led to the unleashing
|
||
of the power of the atom. Then that innocuous discovery got into the hands of
|
||
Oppenheimer, who warped it into a way to brutally dispose of thousands of Japs,
|
||
and then the Bomb came to enslave the most "advanced" countries in the world in
|
||
a neverending game of King of the Mountain. Einstein didn't want to claim
|
||
responsibility for all that, but since he had indeed discovered the means by
|
||
which it would all happen, didn't he have to be blamed?
|
||
|
||
It sounded ludicrous to Toby, although the thoughts emanated from his own
|
||
mind, which had supposedly created Oppenheimer as well. He reeled under the
|
||
stress of comprehending the sheer complexity of what he had supposedly created.
|
||
Could he really be responsible for all this? Was he really born eighteen years
|
||
earlier, only to conjure up the infinite complexity of the human race before he
|
||
became fully conscious at a few years of age? Or had he been alive for the
|
||
whole duration, but only "human" at this late stage in the game? Because if
|
||
not, he would have had to have been the only human on earth before he invented
|
||
the others: so where had he come from in the first place? Had he just created
|
||
this planet called earth for the purpose of watching his inventions play and
|
||
kill and create? He didn't want to credit himself with having been *that*
|
||
powerful. Moreover, he didn't want to take responsibility for all that he saw
|
||
around him.
|
||
|
||
These doubts, more shocking and grounding than any he had let himself
|
||
experience before, startled Toby into seriously rethinking his solipsistic
|
||
reality. He knew he couldn't take credit for everything people had ever done,
|
||
but that would imply giving them credit for it, which implied they were all
|
||
like him. But he knew they weren't, since they didn't have power over him.
|
||
|
||
He reconsidered Einstein. What that man had discovered took on a life of
|
||
its own, literally exploded into its own existence, which certainly continued
|
||
after he had died. If that were true, then Toby wouldn't have control over
|
||
human beings when he died, would he?
|
||
|
||
Unable to comprehend how humanity could have become so complex in his own
|
||
mind before he was conscious to realize he had created it, and unable to
|
||
understand how it could exist after he died, Toby made a compromise. He
|
||
decided that if he ever had spawned another human being, that it had instantly
|
||
broken away from him to take on a life of its own. And if he and that other
|
||
human had spawned another human being, then it too had instantly broken away to
|
||
take on a life of its own. And everything each of them did instantly broke
|
||
away to exist by itself. It was a scary, weakening thought. Maybe Toby hadn't
|
||
created any of the people around him. But if he hadn't, then how was he able
|
||
to maintain any power over them when he wore his tattoo? He couldn't decide.
|
||
|
||
His mind overwhelmed, he walked down the spiraling staircase of the bell
|
||
tower and silently joined his colleagues at dinner. He eyed them with a
|
||
curious suspicion the whole time.
|
||
|
||
* * * * *
|
||
|
||
In an attempt to verify his solipsistic theory, Toby decided he'd create a
|
||
prophet. It seemed like an excellent way to test his powers, if he had any.
|
||
Maybe he hadn't directly created anything but his own thoughts. But once his
|
||
thoughts became public, they would take on a life of their own. Toby fully
|
||
expected the prophet to appear because so many people were talking about and
|
||
expecting it to happen. He had an idea about group miracles, such as the mass
|
||
sighting of the Virgin Mary at Fatima. The children had witnessed the prophet
|
||
announcing Mary's forthcoming arrival -- at a specific time, date, and place.
|
||
Enough people had heard what the children had learned that they expected it to
|
||
happen and therefore made it come true. Much the same, Toby expected the
|
||
prophet to appear. He regretted his lack of specificity. The steadfast
|
||
religious beliefs of the people on campus and the millenial fever were sure to
|
||
trigger a miracle or two. All they needed was an official prediction. An
|
||
anonymous letter to the local papers? Only someone with extremely close ties
|
||
to God, or some lunatic, would write such a letter. But the people on campus
|
||
didn't want to believe it was a lunatic.
|
||
|
||
What he only realized later was that he had no idea what the prophet would
|
||
say. He had been sufficiently vague in his letters to allow for any
|
||
possibility. If he could not predict what the prophet would say, then how
|
||
could he really know if he created it? Perhaps his inner self would know, and
|
||
his outer, ordinary self didn't. Toby felt sure that somehow, he'd know that
|
||
whatever the prophet said was obvious, thereby validating his solipsistic
|
||
reality. Nonetheless, the loophole upset him.
|
||
|
||
* * * * *
|
||
|
||
And what was only more annoying was the fact that all these girls were
|
||
trying to save his life. Sitting in Brad's chair in front of the turned-off
|
||
television set, Toby suddenly got the uncomfortable feeling that Kathryn was
|
||
nearby. He jerked his eyes toward the window, and saw nothing. He stood up
|
||
and peered through the blinds and saw no one either retreating or ducking under
|
||
the window. Confused, he looked back toward the television and realized a
|
||
letter was on it. He walked toward the letter and saw it inscribed with his
|
||
name. There was no return address but he somehow knew it was from Kathryn.
|
||
|
||
He opened the envelope and pulled out a piece of paper which had nothing
|
||
on it except a sentence written in a female hand:
|
||
|
||
"Please stay warm, Toby."
|
||
|
||
"Dammit!" he cursed, balling up the letter and tossing it near the trash
|
||
can. "She's gonna make me sick just reminding me about this!" Each such
|
||
warning drove him closer to considering going naked just to show these girls
|
||
that he could take it. After all, he rationalized, wasn't he just imagining he
|
||
was cold?
|
||
|
||
He marched into his room and took off all his clothes. A few minutes
|
||
later, lounging on the living room in front of the television he was afraid to
|
||
turn on both for issues of its former volume and for the static electricity it
|
||
would generate, Toby realized he didn't really want to go out naked. He wasn't
|
||
prepared to bring up the issue of winter nudity on a Baptist campus, not to
|
||
mention that the reactions of the females and some of the males might cause
|
||
mutual upset. He returned to his room and put on a conservatively-cut speedo
|
||
and returned outside. It was about minus ten degrees celcius today.
|
||
|
||
Toby walked down to the bus stop in order to make an appearance on campus
|
||
for afternoon classes. The few other students huddling around in their heavy
|
||
coats took on a noticeably less self-pitying posture about seeing Toby. He
|
||
heard all their whispers, or at least knew where to look, when he saw puffs of
|
||
condensation float emanating excitedly from two nearby people. He didn't want
|
||
to sit down, noting the metallic, heat-sucking nature of the benches and their
|
||
backrests. His feet had instantly stopped providing painful messages to his
|
||
brain and retreated into a numb selfishness once he had stopped walking, for
|
||
which he was grateful.
|
||
|
||
No sign of the bus. No one was trying to save his life, either, he
|
||
figured because there was a critical mass of people at the bus stop to
|
||
embarrass any humanitarians into silence. He was happy for this, except that
|
||
he figured a little conversation would be nice so that he would remember to
|
||
stay awake. To pass the time, he peeked into the front of his speedo and said,
|
||
"Wow."
|
||
|
||
In a screaming mass of steamy exhaust, the bus arrived, and the others let
|
||
Toby get on first, whispering to each other the whole time. He sat back in a
|
||
seat and brushed the ice out of his hair and prepared for the pain of thawing.
|
||
|
||
* * * * *
|
||
|
||
Back on campus, Toby looked around eagerly for Kathryn so he could yell at
|
||
her to leave him alone. He knew this was a lost cause, since he hadn't even
|
||
seen her face the morning before, her being the type to seek the comfort of
|
||
winter clothing. Not to mention, he'd never seen her before yesterday either.
|
||
He spat an ice pellet at the sidewalk and hurried inside.
|
||
|
||
He had about an hour before his next class, so he sat in the library
|
||
reading room with a copy of "Advocate" to avoid small talk. He forgot that the
|
||
size of the library suggested that most people did not read and wouldn't catch
|
||
the reference.
|
||
|
||
"Um, excuse me, hi?" a voice said.
|
||
|
||
Toby put down the magazine and remained looking in the same general
|
||
direction. "What?" he snapped. For a solipsist, he couldn't understand why he
|
||
couldn't control his imagination enough to be left alone.
|
||
|
||
"Aren't you cold?" the girl asked.
|
||
|
||
"Not inside."
|
||
|
||
"I know, yeah, of course, I meant, like, outside," she corrected herself,
|
||
grinning uneasily, trying to look in his eyes.
|
||
|
||
"Outside the cold eventually numbs my nerves so it doesn't matter."
|
||
|
||
"Wow, that's brave."
|
||
|
||
Toby looked up in surprise.
|
||
|
||
"I've never known someone so willing to lay their life on the line for
|
||
Christ."
|
||
|
||
It was Toby's turn to grin uneasily. He nodded and hid behind the
|
||
magazine until she went away.
|
||
|
||
For the rest of the hour, there was no sign of Kathryn. He went to class,
|
||
took the bus back home, and put on sensible clothing and decided to forget
|
||
about the whole matter.
|
||
|
||
* * * * *
|
||
|
||
Once he had forgotten, Kathryn finally showed up, as Toby soon figured out
|
||
by looking behind him to see where the running footsteps were coming from on
|
||
his way back to school the next morning.
|
||
|
||
"Hi, Toby," she said, catching up to him.
|
||
|
||
"Hi."
|
||
|
||
"You look warm today."
|
||
|
||
"I guess I do. The temperature's up a little," he said, grinning. Also
|
||
he was wearing jeans and a long-sleeved shirt.
|
||
|
||
"You've been looking for me, haven't you?" Kathryn asked, following him.
|
||
|
||
Toby was a little startled. "Uh, not particularly."
|
||
|
||
"Oh, you, stop kidding. I heard what you were wearing yesterday. It
|
||
sounded really cute."
|
||
|
||
He stopped walking and turned around. Maybe she was a defector from the
|
||
prudish standards of Howard! He looked at her face for the first time and
|
||
noticed that her eyes were gleaming, hard to look away from. "Cute, how?"
|
||
|
||
"Oh, you just want your ego cuddled."
|
||
|
||
"I guess I do," he replied, thinking that there seemed to be nothing wrong
|
||
about imagining that he was complimenting himself. There was an uncomfortable
|
||
silence, since Kathryn wouldn't respond, but only stood smiling at him until he
|
||
turned around and kept walking.
|
||
|
||
As they approached the bus stop, Kathryn finally spoke up. "Why were you
|
||
dressing so skimpily this week?"
|
||
|
||
"I'll tell you the truth," he lied. "I was just caught by surprise.
|
||
Didn't know it would be so cold."
|
||
|
||
"Are you from the south?"
|
||
|
||
"Yehhhhp," he drawled, smiling.
|
||
|
||
"You weren't bitching about the weather, though. I like that in a man."
|
||
|
||
"Awww, 'twarn't nothin'," he jibed. "After all," he said, "the weather's
|
||
all in my mind anyway."
|
||
|
||
Kathryn honed in on that. "All in *your* mind?"
|
||
|
||
"Well, uh," he stammered, "I meant, when I'm thinking about it."
|
||
|
||
"I'm not so sure that's what you meant, Toby."
|
||
|
||
Kathryn stepped ahead and peered into his face for a while, until she
|
||
nodded and sat down on the bus stop bench.
|
||
|
||
"So, you think you control things?" she asked grinning, arms crossed.
|
||
|
||
Toby sat down on the bench, startled. It seemed like his mind was being
|
||
focused against his will, like the time up in the tower when all the birds
|
||
exploded. Did Kathryn know she was a figment of his imagination? It would be
|
||
devastating for her!
|
||
|
||
"No, my dear, all I control is my own thoughts," he said, in a very suave
|
||
manner.
|
||
|
||
"Aaaaaaaaaaah," she said sarcastically, greatly upsetting Toby. "Why
|
||
don't you just imagine that I won't be devastated by finding out you think you
|
||
invented me?"
|
||
|
||
Toby's eyes goggled at that, and he decided he should stay quiet to avoid
|
||
any more confusion, either for himself or her, since any confusion of hers
|
||
eventually meant confusion for him. "I don't know what you're talking about."
|
||
|
||
"I don't know how you could be a more obvious liar," she said, still
|
||
smiling.
|
||
|
||
"Listen," Toby said, disturbed. "Why are you doing this?"
|
||
|
||
"I'm not doing this. You're just imagining that I am! It's all your
|
||
trip, isn't it?" she asked, apparently with great pleasure.
|
||
|
||
"Damn, where's the bus?"
|
||
|
||
"It'll never show up, because that would make things too easy for you."
|
||
|
||
"Because you imagine that I don't want it to show up?" he asked.
|
||
|
||
"Nope. Because *I* don't want it to show up."
|
||
|
||
"Oh."
|
||
|
||
* * * * *
|
||
|
||
"Can I make things clear?" Kathryn asked.
|
||
|
||
"Sure, go ahead," Toby said, confused, but warm.
|
||
|
||
"I happen to know that you think you're imagining this."
|
||
|
||
"I figured that out," he said, deflated, but somehow relieved. He hadn't
|
||
had great success in interpreting the world through a solipsistic lens and
|
||
wanted to find out how his people saw things.
|
||
|
||
"*All* this."
|
||
|
||
"Yeah, I know."
|
||
|
||
"But none of this should matter, should it?" Kathryn asked. "It shouldn't
|
||
matter that I found out that you think all of reality is in your imagination.
|
||
After all, I think *I'm* imagining all this."
|
||
|
||
Toby looked up in interest. "Yes? That's cool! I always wanted to ask
|
||
one of you what you thought reality was like. I'm intrigued."
|
||
|
||
"You sound distinctly condescending, Toby. You ought to stop that. More
|
||
precisely, *I* ought to stop imagining that you're being condescending.
|
||
Because *you're* a figment of my imagination."
|
||
|
||
"What?!"
|
||
|
||
"*I* created all this. All this cold weather, this late bus, you, the
|
||
idiot who thought a metal bench would be great in the north, I made it all up,"
|
||
Kathryn said, smiling.
|
||
|
||
"But... I thought *I* did," Toby said. To preserve internal consistency,
|
||
he never thought he'd tell anyone about that, but at the moment he was in a
|
||
serious predicament.
|
||
|
||
"And just for fun, I gave you the idea that *you* had come up with it all.
|
||
You know, for self-esteem and such. Do you like it? Did it empower you?"
|
||
|
||
"Um, I, uh... Well..."
|
||
|
||
"Wait a second, hush. Someone else is coming."
|
||
|
||
Another rider was walking up to Toby and Kathryn. Upon approaching the
|
||
bench, he looked up in surprise and clumsily continued walking down the
|
||
sidewalk toward a more distant bus stop.
|
||
|
||
"Geez, Toby, that was close."
|
||
|
||
"How do you mean?" he asked.
|
||
|
||
"He almost realized that we found it out."
|
||
|
||
"Found what out?"
|
||
|
||
"He knows that we've cracked his secret," Kathryn said sadly.
|
||
|
||
"What?"
|
||
|
||
"I've been fooling you, Toby. *That* guy is the one whose reality we
|
||
exist in. He imagined up all this. Neither of *us* did. We're his pawns.
|
||
Lucky he let us continue this little game and didn't smite us."
|
||
|
||
"Him? Who is that guy?"
|
||
|
||
"It's always the one you least suspect."
|
||
|
||
The real inventor of all reality had turned around and passed by the two,
|
||
murmuring, "And don't you forget it!" He then covered his mouth and burst into
|
||
laughter and ran off.
|
||
|
||
Toby's mouth fell open as he watched the guy run away.
|
||
|
||
Kathryn reached into her pocket and pulled out a small square of paper.
|
||
"Here," she said, placing it on Toby's lolling tongue. "You'll need this.
|
||
It's gonna be a long day."
|
||
|
||
Toby closed his mouth.
|
||
|
||
"And looky here," Kathryn said. "Once we both realize that we're not in
|
||
control, the bus finally arrives. C'mon, let's go to my house." Kathryn
|
||
tugged on Toby's arm and led him away from the confused bus driver and toward
|
||
her house.
|
||
|
||
* * * * *
|
||
|
||
Toby decided that Kathryn probably had something important to say and gave
|
||
in. He'd mulled over his solipsistic reality for more than a year and a half
|
||
to no avail. He had drifted through classes, gradually accepting the fact that
|
||
he couldn't understand everything he had created, and to a large extent, he had
|
||
given up. The idea to create a prophet on campus was just a way of amusing
|
||
himself.
|
||
|
||
"As you can see, I still live with my parents, but they're at work. Aaah,
|
||
they couldn't even tell if we were tripping. No need to worry. C'mon, sit on
|
||
the couch and tell me how you think you created all this."
|
||
|
||
Toby was speechless. He couldn't decide whether to deny everything, to
|
||
get up and run out, or to fall asleep in self-defense. He still wasn't sure if
|
||
he was pulling a great joke on himself or not.
|
||
|
||
"You're not," Kathryn said.
|
||
|
||
"Okay, okay, now, stop it! You're freaking me out!"
|
||
|
||
"Are you saying that you're freaking yourself out, because I don't really
|
||
exist?" Kathryn probed.
|
||
|
||
"No! Stop it! I give up. I was deluded."
|
||
|
||
"You were, huh? So you really believed all that?" she asked, taking a
|
||
more relaxed posture.
|
||
|
||
"Well, I'm still not entirely sure -- and-please-don't-interrupt-me! --
|
||
but I *was* finding it difficult to explain how I could have come up with all
|
||
of reality."
|
||
|
||
"*All* of reality! Wow, you went pretty far. Most solipsists are content
|
||
with thinking they're the only sentient beings in existence."
|
||
|
||
Toby's eyes lit up. "Hey, maybe that can explain this --"
|
||
|
||
"Stop! No! You're wrong! I won't let you go down that path either.
|
||
It's even more ego-cuddling than what you were thinking. Plus it makes you
|
||
sort of cold to your fellow people, being robots as they are."
|
||
|
||
"Ahh, yeah," he said, thinking that he hadn't exactly been at one with
|
||
humanity anyway.
|
||
|
||
"Solipsism has been officially disproven by the government, you know."
|
||
|
||
"What?!"
|
||
|
||
"Yes, in 1879, the U.S. government did some philosophical inquiries, all
|
||
top-secret, you know, collaborating with the top-ranking metaphysical minds of
|
||
the Western world, and decided that solipsism was not a good mindset for the
|
||
citizens of a democratic world power. It tends to discourage voting."
|
||
|
||
"Oh," he said, startled.
|
||
|
||
"No, seriously, Toby. It's just a silly way to think. It might be
|
||
comforting to think that you're living in a dreamworld, but it's just not
|
||
logically consistent. Everyone can imagine she's living in a dreamworld. And
|
||
so what? What does that prove?"
|
||
|
||
"Well, I might just be imagining that everyone else is imagining that
|
||
they're living in a dreamworld."
|
||
|
||
"So *what?!*" Kathryn snapped. "It's as equally pointless. Listen, Toby,
|
||
I'm here to help you. You won't get much further in life with these silly
|
||
ideas about reality."
|
||
|
||
"This is all starting to remind me of a speech my fifth-grade teacher gave
|
||
to me once," Toby said with bitter nostalgia.
|
||
|
||
"Hmmm. You weren't a solipsist that far back, were you?" she asked with
|
||
lip-biting concern.
|
||
|
||
"No, not just yet. Back then it was me cutting in line to the drinking
|
||
fountain because, as I explained, I was thirstier than the other kids, who were
|
||
just taking advantage of the opportunity to drink just because they could."
|
||
|
||
"God forbid you turn into a communist," Kathryn said, grinning.
|
||
|
||
"Oh no, I love America."
|
||
|
||
"Yeah," she replied, her grin fading.
|
||
|
||
A nervous silence ensued, in which Toby refused to laugh and Kathryn
|
||
refused to press on until she figured out what sort of fool Toby was.
|
||
|
||
Toby spoke up. "Say, Kathryn, have you heard about that prophet that's
|
||
supposed to appear on campus?"
|
||
|
||
"Yes! In fact I have. That's one of the reasons I wanted to talk to
|
||
you."
|
||
|
||
"Oh, really?" he asked, nervous. Did she know?
|
||
|
||
"Yes, yes! What the *hell* is up with this millennialist fever going
|
||
around? Why do people fall for this over and over? Christ is supposed to have
|
||
returned ten thousand times in the past *already*. Why are people so attracted
|
||
like moths to the year 2000? Is that really such a sweet and pure number?
|
||
It's just another big candle people are gonna get burned up in."
|
||
|
||
"Millennialism? Since when did that come into the picture?" he asked,
|
||
irritated.
|
||
|
||
"You know as well as I do that religious revivalism has been increasing
|
||
recently. I used to attribute this to people's longing for some sort of
|
||
spiritual filler so long denied in American life, but now I *know* it's a mad
|
||
rush to get saved before the Rapture when all their best friends and drinking
|
||
buddies disappear off the face of the earth."
|
||
|
||
"You're mighty cynical, Kathryn," he said, unwittingly speaking to her as
|
||
if she were still in his imagination.
|
||
|
||
"There you are, speaking to me as if I were still in your imagination!"
|
||
she scolded him. "I think I know what I'm talking about, alrighty?"
|
||
|
||
"Sorry," he mumbled, cheeks burning.
|
||
|
||
"But I'm glad you brought it up, because I wanted to talk to you about
|
||
this too. Think about this -- I really *am* in your imagination in some form,
|
||
right? I mean, all you can do is *perceive* me. All perception occurs in your
|
||
mind. So, in reality, I might just be a really complicated hallucination."
|
||
|
||
"Yeah, that makes some sense. I've considered that before, but --"
|
||
|
||
"But wait! That's about as far as you can take it, Toby. Everything else
|
||
in reality, you must experience the same way, through perceptions. Biologists
|
||
know that sensation is primary, but those senses are filtered through your mind
|
||
even before you can consciously perceive them. So, necessarily, unless you
|
||
consider yourself to be perfectly objective, your mind warps everything it
|
||
senses into perceptions that are appropriate for you at that given moment,
|
||
right?"
|
||
|
||
"Yes. I've taken acid. I know that perceptions aren't always accurate."
|
||
|
||
"And in a few minutes," she said, "they'll really be fucked up. But
|
||
somehow it makes it easier to understand things. Anyway, the whole point of
|
||
this is that the prerequisite for solipsism does exist, in that your brain
|
||
holds an interpretation of reality that only you can have. It's only a faulty
|
||
step forward to believe that since you created the interpretation, that you
|
||
created the actual thing. Unless, of course --"
|
||
|
||
"-- you think you created the actual thing too," Toby said, realizing the
|
||
fallacy he'd taunted himself with many times before.
|
||
|
||
"Exactly," Kathryn said, smiling and bouncing happily on the couch.
|
||
|
||
"Just a second, Kathryn," he said with a hint of sarcasm. "Do you think
|
||
you're teaching me something new here? I knew this all along."
|
||
|
||
"Oh yeah, wise guy?" she asked unflinchingly. "Then what's with this
|
||
immature clutching of solipsism?"
|
||
|
||
"First of all, I want to know just *how* you knew about that in the first
|
||
place. I never told anyone, especially you. This sort of weirdness only makes
|
||
it easier to believe that you're a product of my faulty brain, which is somehow
|
||
allowing you to grill me about this."
|
||
|
||
"Haven't you ever heard of mind-reading, silly?" she asked.
|
||
|
||
"Yes I have, but that's a little impossible, as any scientist will tell
|
||
you."
|
||
|
||
"Not exactly, my friend," she said.
|
||
|
||
Her words seemed to be strangely sinister and all-knowing, but Toby forgot
|
||
about that when he saw something moving out of the corner of his eye. He
|
||
snickered. "Wait, what did you say?" he asked suddenly.
|
||
|
||
"'Not exactly, my friend,' I said," she said.
|
||
|
||
"Whoa, that's like infinite regress there and all," he blathered, his
|
||
thoughts starting to expand into ludicrosity as well as deeper realms.
|
||
|
||
Kathryn sensed this. "I think you're about ready for the important stuff
|
||
now."
|
||
|
||
* * * * *
|
||
|
||
"You drugged me," Toby said, giggling.
|
||
|
||
"What, already? Your brain must be congested with the stuff! That
|
||
notwithstanding, you knew that already."
|
||
|
||
"I know. I was just pointing it out," he laughed. After thoughtful
|
||
consideration, he added, "'Notwithstanding.' We're sitting! It's true!" He
|
||
looked into space again for a few seconds and remarked, "That was *really*
|
||
funny."
|
||
|
||
"Glad to see you're joining me now. May I continue?"
|
||
|
||
Toby was looking at something visually appealing and only caught the
|
||
question after several seconds. "Hmm?"
|
||
|
||
"May I continue? We were talking about mind-reading."
|
||
|
||
He looked back, comically turning his head with wide-open eyes to meet her
|
||
gaze. "Miiiind-reading."
|
||
|
||
"Yes. Please try to concentrate. This will be interesting."
|
||
|
||
"Okay."
|
||
|
||
"Let's start at the beginning. You wondered how I could know that you
|
||
were a solipsist without your actually being one."
|
||
|
||
"Yes, Kathryn, I wondered that, and I still do," Toby replied in a
|
||
newscaster's voice, giggling.
|
||
|
||
"Well, let's say that I myself had that point of view for quite a while
|
||
myself, until a few years ago. But, I worked myself out of that. When I saw
|
||
you two days ago -- which really wasn't the first time -- I understood that you
|
||
might be a solipsist yourself."
|
||
|
||
"That's really interesting," Toby said, finding his concentration rapidly
|
||
returning. "You too? What was that like?"
|
||
|
||
"It was fun for a while, you know, thinking that nothing really mattered
|
||
because I had just made it all up. It helped me fail some classes I didn'tparticularly like, too. Kind of a radical way to get rid of a problem, you
|
||
know, by ignoring it until it goes away, because the class *did* go away, but
|
||
the grade remained."
|
||
|
||
"Kinda like a tracer," Toby suggested.
|
||
|
||
"Yeah! I was gonna say that, but it sounded silly."
|
||
|
||
"Better to say it's like an afterimage, I guess. It's not the actual
|
||
class that haunts you anymore, but the residue left behind: the grade. Sorta
|
||
the same way something you look at for a long time leaves a fuzzy afterimage."
|
||
|
||
"That's pretty deep, you know."
|
||
|
||
"Aaah," Toby said, "it's all bullshit. Acid turns me into an armchair
|
||
philosopher on acid."
|
||
|
||
"Nothing wrong with that."
|
||
|
||
"I guess. We were talking about solisp-- solisp-- solipsism. I didn't do
|
||
what you did, how you ignored problems to make them go away, or how you got
|
||
apathetic, and all that. I was trying to figure out the way it all worked when
|
||
you destroyed my mind," he said, giggling. "*Destroyed* my mind! What the
|
||
hell! I meant to say something along the lines of -- uh, those lines are
|
||
destroyed too. Forget it. It was fun anyway."
|
||
|
||
"Listen. The whole point was, that I had an intuition that you were
|
||
thinking along those lines yourself, and I wanted to help you out of it."
|
||
|
||
"Meddling in my mind, are you trying to do there by helping me, aren't
|
||
you?" Toby asked, grinning.
|
||
|
||
Kathryn gave an uncomfortable smile. "You could look at it like that, but
|
||
it's really very important. Is it alright?"
|
||
|
||
Toby waved his hand through the air, dismissing the problem, and also
|
||
giggling at the momentary sensation -- er, perception, that his hand had flown
|
||
off in the process. "Talk me to death, Kathryn. This is fun."
|
||
|
||
"Okay, thanks. Do you know what I meant when I said that I could sense
|
||
that you were thinking solipsistically?"
|
||
|
||
"Not really. I'm trying to ignore that part."
|
||
|
||
"But don't! Don't! It's the whole point of this, okay? You gotta
|
||
understand that."
|
||
|
||
"All I can do right now is pretend I understand."
|
||
|
||
"Exactly! That's so deep! Listen, think about, oh, a school setting,
|
||
okay? About education. About how people learn things."
|
||
|
||
"Ohhhhhkay...."
|
||
|
||
"The purpose of that is to make sure the kids all learn how to function in
|
||
society, right? But even lower-level than that is to get the kids to
|
||
understand the teachers. I'll admit, that hardly ever goes mentioned, and so
|
||
hardly ever works anymore, and that's the whole problem with education now, but
|
||
I've got to tell you why, first."
|
||
|
||
"I think I'll sit back and try to absorb this into my tongue. Hee-hee!"
|
||
|
||
"Good. Now, in the ideal case, let's limit ourselves to that, a teacher
|
||
is supposed to form a special bond with her student, right...? Oh, wait,
|
||
you're not going to talk. Okay, a special bond. That bond serves to make it
|
||
easier for the student to learn, and for the teacher to teach. Also, it
|
||
includes some sort of friendship, in the ideal case. That make sense?"
|
||
|
||
"Yes. You can talk reeeeeally well there."
|
||
|
||
"Practice. -- I suggest that that bond is merely a high degree of
|
||
similarity of thought. In other words, the two have to think alike, or as
|
||
closely alike as possible. That's how the bond comes into being."
|
||
|
||
"It's like learning the teacher's style."
|
||
|
||
"Yes! Exactly! It's the same in really any close relationship. Two
|
||
people have enough similarities in one way or another that they feel
|
||
comfortable with each other. Just like in a romantic relationship, where two
|
||
people feel the same sort of comfort, but taken to a higher level. You know
|
||
how they can complete --" she said, pausing. "Complete other people's
|
||
sentences. (That was a little silly of me.)"
|
||
|
||
"Huh?"
|
||
|
||
"Forget it. Remember, being comfortable is an important part of it. But
|
||
to me, comfort is just recognizing that similarity. And, here's the point, I
|
||
felt that sort of comfort when I met you."
|
||
|
||
"Yeah?" Toby said, suddenly excited. "I was just going to say that it
|
||
seems like I've known you for years. -- Have I?"
|
||
|
||
"Who knows? Probably not. But underneath, we're very similar. I can
|
||
sense that."
|
||
|
||
"How? How did you know that? It's so weird! Is this that all where you
|
||
could tell I was thinking in a solipsistic manner?"
|
||
|
||
"Yes, it was. But see, it wasn't on any conventional level of
|
||
understanding, you see. I mean, think about the analogy. I wasn't familiar or
|
||
comfortable with you on a personal level, since I didn't know you. I wasn't
|
||
familiar or comfortable with you on, say, a physical level, since we look very
|
||
different. But, on some level, I knew we were similar. And that was in
|
||
recognizing that you were solipsistic."
|
||
|
||
Toby sat back in deep consideration. "This is turning into... some sort
|
||
of pattern. I mean, I can't really concentrate on what you're saying. I keep
|
||
on thinking of things being similar, like ice and water and steam, and even
|
||
couches and benches, and... that's really odd. Couches and benches aren't
|
||
really similar at all, except that you can sit on them. But, say, we're more
|
||
similar than a couch and a bench, since we're both people... and students...
|
||
and young people...."
|
||
|
||
"Yes! Think about the teacher and the student again. The way our society
|
||
has it, the teacher is way older than the student. So the teacher has grown up
|
||
in a different time period -- a different culture, practically. This didn't
|
||
happen in the past, because culture didn't change so fast, but now it's a big
|
||
problem! Teachers and students are naturally uncomfortable with each other. I
|
||
mean, look at what I'm doing to you now. I'm teaching you things. But this is
|
||
being a lot easier than if, say, Artemis Howard himself tried to teach you all
|
||
this."
|
||
|
||
"Wow, holy shit, this is amazing!" he blurted out. "I've never thought
|
||
about learning this way! You know, Kathryn, I feel really out-of-place on
|
||
campus, since -- ha-ha -- I'm an atheist! Why the hell did I come here in the
|
||
first place? I can't be comfortable with either the students *or* the
|
||
teachers!"
|
||
|
||
"But Toby, all is not lost! If you understand that you're different, you
|
||
can work to see things in their perspective, and thereby become more
|
||
comfortable with them. It doesn't have to mean you turn into a fundamentalist,
|
||
but you can at least learn how they think."
|
||
|
||
"Oh, wow! I just thought of something else. I was thinking -- ha-ha -- I
|
||
should have just changed *them* to understand me... but that was really silly!
|
||
It's really *hard* to do that! I don't even know how to! The way you're
|
||
talking at me, I think it *would* be possible somehow to do it, but it would
|
||
take so much energy! If I just think like *them* though, then I can be a
|
||
little more comfortable." He added, "But I won't turn into them!"
|
||
|
||
"Think about this, though, Toby. This may sound offensive, but look at
|
||
civil rights legislation. It sounds good on paper, but the government tried to
|
||
change everyone's mind all at once through a law. What kind of familiarity was
|
||
there between the white hick racist and the college-educated liberal lobbyist
|
||
at the time? None! None at all! Just like with teachers and students who
|
||
have nothing in common, trying to impose new ways of thought upon a whole
|
||
segment of people raised in racist times was ludicrous! And it didn't solve
|
||
the problem, of course, it only increased tension that didn't have to exist.
|
||
You see, if the people responsible for education had, say, taken all the kids
|
||
away from their parents' homes and taught them multiculturalism to begin with,
|
||
then a whole generation would grow up with these ideas already in mind."
|
||
|
||
"Parents would sure as hell hate that, though. 'You doggone turned my kid
|
||
into a nigger-lover!'"
|
||
|
||
"Yeah, that's one of the drawbacks of society. Kids have to be raised in
|
||
their own families. It really holds back progress, you know. Families and 'it
|
||
takes a community to raise a child' kind of things are great for traditional
|
||
societies that don't want anything to change -- hell, it worked great for
|
||
thousands of years -- but it really hinders widespread social change."
|
||
|
||
"Okay, you've blown my mind yet another time. Push harder! Maybe I'll go
|
||
insane," Toby said, giggling madly.
|
||
|
||
"Oh, if you believe half of what I'm going to say, you'll easily be
|
||
considered insane."
|
||
|
||
* * * * *
|
||
|
||
"You can make this teaching analogy with just about anything, Toby. See
|
||
that computer over there? Why do you think those things are getting so damned
|
||
popular now? Just a few years back, one could assume that you didn't have a
|
||
computer, but now people give you their homepage URLs when you meet. Oh, by
|
||
the way, mine's <http://www.localprovider.com/~kathrynp>."
|
||
|
||
"'Whack whack?' What the hell?" Toby blurted out, laughing hysterically.
|
||
|
||
"That's the way you pronounce slashes, you know. I heard it in the
|
||
alternative media."
|
||
|
||
"'Whack whack!' 'Whack whack!' You're fucked up!"
|
||
|
||
"It's a fun way to live, you know. Anyway, about computers and such.
|
||
Technology is just like a really good teacher. Think of that. Once upon a
|
||
time, women had to spend a good portion of their time knitting or whatever they
|
||
did. It was a really intricate art with all those stitches and such, took all
|
||
that time, energy, and patience. But then technology comes along and machines
|
||
spit out fabrics and other machines cut out shirt shapes and other machines sew
|
||
them together. And naturally, people love this! Women can do other things
|
||
with their time, and people can get a wide variety of clothing without having
|
||
to find the resident knitting guru. Think of it as if the machines 'teach' the
|
||
thread how to be a shirt. Machines are really efficient teachers. People are
|
||
not. That's why people love machines. Computers are just another example of
|
||
that. It's a way to 'teach' your words into becoming nice printed documents,
|
||
for example --"
|
||
|
||
"And programming is teaching the computer how to do new things. Ohhh,
|
||
lordy, that infinite regression is happening to me again."
|
||
|
||
"Ain't it fun?"
|
||
|
||
"Oh man, it's like a fractal. Flashlights teach the room how to be
|
||
visible... that's going a little far, isn't it?" Toby asked sheepishly.
|
||
|
||
"No, not at all!" Kathryn exclaimed. "Certainly no one refers to a
|
||
flashlight's function in those terms. I mean, there are a lot of different
|
||
words for the same basic things. If you think of things my way, a lot of verbs
|
||
involve teaching of some sort."
|
||
|
||
"An idea is creeping into my mind. You said that teachers and students
|
||
have to be familiar with each other to have learning go on, and you related
|
||
that to two people in a friendship having to be familiar with each other. But
|
||
I know that *perfect* familiarity, i.e., a duplicate of myself, would be
|
||
unbearable. Even thinking of myself as I am is unbearable sometimes. What's
|
||
going on with that?"
|
||
|
||
"Hmm, I'm not sure. Talk about it some," Kathryn suggested.
|
||
|
||
"Well. That technology thing. People aren't going to settle for the
|
||
technology we have today, are they? I bet that computer there will be upgraded
|
||
in a year, tops. If technology is so great, why don't people stick with it?"
|
||
|
||
"It wears out!"
|
||
|
||
"Wears out... I mean, just like the novelty of having a duplicate of
|
||
yourself around. That would be fun for a few days -- well, hours -- and then
|
||
I'd go batty. I wouldn't like it. The fun would wear out. Just like
|
||
technology. Or... oh, boy, this is fucked up -- just like how a flashlight
|
||
wears out, in terms of batteries, and can't teach the room how to be visible
|
||
anymore." He paused. "Oh, that's *way* out there."
|
||
|
||
"Not really! You have to change the batteries, and it'll be the same
|
||
flashlight it ever was, right? Unless you get a new flashlight altogether,
|
||
which is brighter and doesn't use batteries as much. But that might not
|
||
happen. Or, with the duplicate-you example. You'd want to change the
|
||
duplicate in some way to make it more interesting. Say, give him a cocky
|
||
Cockney accent. But it would still grow stale. Better to just get a new
|
||
person to be friends with. Or, like how people upgrade computers. They still
|
||
perform the same function, but maybe in a different or faster way. But we
|
||
can't really get a totally new tool to replace it yet."
|
||
|
||
"Yeah!"
|
||
|
||
"Think about how it works in your mind. It might be comfortable to hold
|
||
the same beliefs since childhood and think the same thoughts all day long until
|
||
the end of time, but that'll wear out pretty quick. You'll have to adapt your
|
||
thoughts. Kind of like staring at a bright light. It might be fun for a few
|
||
seconds, since it's pretty novel and stupid, but you'd want to get rid of that
|
||
pretty quick as well. So, instead, you'd have to think of something completely
|
||
new."
|
||
|
||
"Hmmm."
|
||
|
||
Kathryn's eyes lit up. "Aah-hah, Toby. Think of this. Life itself is
|
||
like that. Why don't we have only amoebae inhabiting the earth? I mean, look
|
||
at 'em -- they can live on a small amount of food, and they reproduce really
|
||
quickly. Why did they have to evolve into things like jellyfish? That just
|
||
complicated matters. Or even reproduction itself. Amoebae divide asexually,
|
||
don't they? So why is there even this deal with two things getting together to
|
||
make a new thing? That's too much trouble!
|
||
|
||
"But look at it the way we have been. Somehow, the amoeba got tired of
|
||
being all alike, eating the same shit, reproducing the same way. So the DNA
|
||
mutated and something changed. Oooh! The *DNA* was what got tired of being
|
||
the same. It had to be! The amoeba, as we well know, couldn't have had those
|
||
kinds of complex thoughts. Yes, yes! It's like, how sensation and perception
|
||
differ. DNA is like the sensation, and the amoeba is like the perception. One
|
||
is primary, one is secondary. Only the primary thing can make any difference.
|
||
But that doesn't explain why amoeba are alike in the first place. We agreed
|
||
that perceptions may differ widely from reality... ooh! The way each amoeba
|
||
lives out its life cycle is completely unique, isn't it? They don't all move
|
||
to the same beat. They slither about in utterly different ways to eat utterly
|
||
different ways at different times in different places after the DNA has created
|
||
a new one. Kind of like how the perception, once separated from the sensation,
|
||
can take off in any way possible. So, so, back to DNA, when the whole amoeboid
|
||
way of life became unsuitable for the DNA, it somehow managed to get sexual
|
||
reproduction into the picture. Sort of like if you had the boring situation of
|
||
having a clone of yourself around, you'd want to find a totally new person to
|
||
be friends with. That way, the longest a strand of DNA has to experience the
|
||
same structure is through the one lifetime of the organism it creates. By
|
||
necessity, that has to change whenever two organisms reproduce. So there's
|
||
constant variety! That's how DNA solved boredom!"
|
||
|
||
Toby stared at Kathryn for what seemed like minutes. "I think I'm about
|
||
to flip out now. You've blown my mind to pieces. Can we go outside and walk?
|
||
I want to be sure I still can."
|
||
|
||
"No, and think of this! Before sexual reproduction even came into the
|
||
picture, the DNA mutated slightly when the amoebae divided -- sort of like how,
|
||
with your clone, you'd want to change it around somehow to make things more
|
||
palatable -- for *both* of you! But that's just a little set of changes! If
|
||
you *really* wanted to have fun, you have to find a different person! Just
|
||
like how sexual reproduction forced DNA to find different DNA to connect with!
|
||
Oh, good lord, this does work -- it's like how you can upgrade your object X of
|
||
technology until it just doesn't do the trick anymore, then dump it, and try a
|
||
totally different object Y!"
|
||
|
||
"Aaaaah!" Toby cried. "You're destroying my mind!"
|
||
|
||
"Destroying! Destruction! *Destruction!* Holy fuck! Now, if we weren't
|
||
tripping right now, I wouldn't have been able to convince you of *any* of this.
|
||
Maybe I could have *adapted* your thoughts," she chattered, nudging Toby on the
|
||
shoulder, "like the amoeba could have *adapted* to new environments, or you
|
||
could have *adapted* your clone, or you could *adapt* the computer to your
|
||
current needs. *BUT*, since we're tripping, we both went past that primitive
|
||
adaptation process, and I *destroyed* your thoughts, and replaced them with a
|
||
totally new framework of reality! Just like the primitive animals *destroyed*
|
||
relying on the asexual reproduction process and went on to a new way of
|
||
reproducing, or how you *destroyed* the possibility of being friends with your
|
||
clone since you knew it wouldn't work out and instead found a totally new
|
||
person, or how the computer as technological giant might be *destroyed* and
|
||
replaced with something totally new and inconceivable! Oh, but that's only if
|
||
the computer wears out. Right now it's okay to adapt it." She leaned back and
|
||
took some deep breaths.
|
||
|
||
"Kathryn, you are a goddess. I can even forgive you for stretching out
|
||
the meaning of the word 'destroy'."
|
||
|
||
"You're just saying that because we understand each other so well right
|
||
now. You might as well be complimenting your own understanding."
|
||
|
||
"That's true. Now, listen here. I see a trend here. When DNA started
|
||
marching towards constant changes, or constant novelty, that resulted in
|
||
bigger, more complex animals. And, technology, marching along, is also
|
||
resulting in more intricate shit. I guess you could say that my choice of
|
||
friends since childhood has gotten more complex too -- I won't accept just
|
||
anyone else as a friend. It's looking like everything is heading towardstotal, absolute complexity! Like... oh... why can't I drink out of a river
|
||
anymore? I don't even live by a river, first of all. And also I'd be afraid
|
||
of contaminants. And also I'd want to carry the water around with me. So, for
|
||
all this, we've created Evian. Portable rivers. And we pay for it too!"
|
||
|
||
"That's so true!" Kathryn exulted. "You're starting to blow my mind too.
|
||
That computer -- when we upgrade it, don't we just make it more complicated?
|
||
With bigger programs and bigger disks and more intricate graphics and all?
|
||
When will that ever end?"
|
||
|
||
"Well, I, for one, dislike that complexity too. I admire people who can
|
||
write whole programs in wacked-out stuff like assembly language."
|
||
|
||
"I guess I do too. Everyone knows that's so hard to do. Heeey --" she
|
||
started, thinking Toby would complete her sentence. Instead, as she exclaimed,
|
||
"Like women who still knit!" Toby exclaimed "People who actually *do* do things
|
||
the old way!" They were both speaking of the same thing.
|
||
|
||
"Yeah, look at that!" Toby exclaimed. "I certainly admire people who do
|
||
things the old-fashioned way. It's hard work, but it's simpler in the long
|
||
run, isn't it? Like people who live in the forest in huts. They don't have
|
||
electrical bills, or water bills, and they don't care much about if a flood
|
||
wipes away their house."
|
||
|
||
"And when you knit your whole wardrobe, it probably costs less, and you
|
||
get everything in the right size, and you don't have to complain about the
|
||
design! Well, look at that for a second. This is mind-boggling. If people
|
||
actually admire simpler things, then why do we continue to make things more
|
||
complex?"
|
||
|
||
"As I just said, it's easier to buy a shirt, pre-made. It's easier to
|
||
carry bottled water instead of purifying river sludge. We do things that are
|
||
easier!"
|
||
|
||
"Like that DNA thing again. Through mutations alone, amoebae could have
|
||
asexually evolved into people. But that would have really taken a long time,
|
||
even more than billions of years! DNA sure as hell isn't going to give up
|
||
sexual reproduction now, since creatures have evolved so much faster with it.
|
||
I bet those amoebae are still pretty similar to their counterparts from the
|
||
beginning of their existence -- but we as people are way different from the
|
||
first human-like primates that existed only millions of years ago! And I'm
|
||
sure as hell not going to use an abacus to balance my checkbook."
|
||
|
||
"Although someone might admire that," Toby said.
|
||
|
||
"I still can't figure why people could admire things done the harder way.
|
||
It's really not *easier* to build a house with logs, is it?"
|
||
|
||
"Well, if it's all logs, you don't have to find special sizes of lumber,
|
||
or plywood, or bricks, or anything. It's easier in that you have a smaller
|
||
number of different things to hunt for. But it's harder because it takes more
|
||
time."
|
||
|
||
"Yeah! Shit, could all this revolve around time? Maybe time is what
|
||
motivates Westerners to go for the easier solution, since things done quicker
|
||
are more efficient, and therefore better."
|
||
|
||
"Efficient in terms of time, only. The stuff used to make the product is
|
||
more complex though. Who can manually repair their post-1990 car engines
|
||
anymore? The cars are probably put together faster, but they're sure complex
|
||
as hell."
|
||
|
||
"But it's better, because they were made faster. But if I knitted my
|
||
whole wardrobe, and it turned out to be warmer and stronger and prettier than
|
||
something I could easily buy at Wal*mart, people would still say I wasted my
|
||
time. Because even with the cruddy clothing I could get at Wal*mart, even whenit wore out, or wasn't warm enough, I could just buy *more* clothes to make up
|
||
the difference. It takes much less time."
|
||
|
||
"You know, time isn't only a Western thing. Isn't that what you said
|
||
motivated the DNA to seek sexual reproduction?"
|
||
|
||
"Hmmm! Westerners... are akin to DNA... since we seek to do things in
|
||
shorter amounts of time, and in a greater variety. But it makes things more
|
||
complicated in the long run."
|
||
|
||
"And Easterners -- or at least the ones that used to exist -- uh, isn't
|
||
'Western' just shorthand for modern, and 'Eastern' shorthand for traditional? -
|
||
- anyway -- do things in longer amounts of time, and in a lesser variety. And
|
||
things are still simpler to this day."
|
||
|
||
"Westerners -- or modern people -- can do so many different things, have
|
||
so much variety, and get it done really quickly, although there's a buildup of
|
||
complicated garbage left behind. Not to mention can be really hard on the
|
||
people emotionally to be caught up in the building process. And traditional
|
||
people do so few things, have so much conformity, and get things done slowly,
|
||
although there may be a buildup of boredom, and a loss of new ideas, although
|
||
they're generally more at peace with life."
|
||
|
||
"Gee whiz, which way is better?"
|
||
|
||
* * * * *
|
||
|
||
"It's that trend I was talking about," Toby remembered. "If you look at
|
||
things in the big picture, modern people are in line with DNA, since we both
|
||
work to make new things, and in the process create complicated things, but take
|
||
less time to do so. So, if we wanted to be supremacist, we'd have to agree
|
||
that modernism is 'nature's way.'"
|
||
|
||
"No, no! Look, Toby, remember about destruction! Living things always
|
||
die, don't they? Doesn't this imply that at some time in the future, DNA will
|
||
have to die, as well? It's got a fixed amount of products to work with,
|
||
namely, the food on earth. That can't remain forever."
|
||
|
||
"Oh, but plants thrive off sunlight too."
|
||
|
||
"Yikes. Well, that's good. Life will probably go on forever, until the
|
||
sun burns out then."
|
||
|
||
"But you said destruction. So, I can see how that works in with things in
|
||
our society. We're trying to destroy economic inequality between the races and
|
||
the sexes, to make things more efficient -- by making everyone feel like
|
||
they're getting rewarded equally for the same work. But -- oh, yeah, fall of
|
||
Rome, all that. Our society may well destroy itself. But it doesn't *want*
|
||
to, though!"
|
||
|
||
"Of course not. Animals don't want to die, either. They succumb to
|
||
sickness or starvation or massive bleeding and things. It's not like all the
|
||
processes sustaining its life have to go away at once. One or two little parts
|
||
is enough to destroy it."
|
||
|
||
"Same way with society, I guess. Maybe the Western way of valuing the
|
||
product over its creators, and the dollar over the product, is going to destroy
|
||
the creative spirit. That's certainly an important part of our society, so it
|
||
would be sufficient to kill it off."
|
||
|
||
"Yeah, maybe," Kathryn said. "But it might just cripple society, and it
|
||
will function in a simpler manner after that."
|
||
|
||
Toby's eyes widened. "Aaaah! So things *could* get simpler, couldn't
|
||
they! More complexity isn't the only way to go!"
|
||
|
||
"Of course not, Toby. You just figured that out? The only thing is, the
|
||
overriding push is in the way of more complexity, more life. People might
|
||
enjoy the idea of taking a vacation for the rest of their lives, but that isn't
|
||
economically feasible. The economy wants all the people, or as many as
|
||
possible, to work to promote its own needs. Think about it this way -- the
|
||
economy, once created by people, took off in its own direction. And now it
|
||
controls us --"
|
||
|
||
Toby nodded frantically.
|
||
|
||
"-- Just like how the sexual reproduction in DNA took off to make mating
|
||
really difficult, especially with people. Animals look for superficial
|
||
physical features to pick reproductive partners. And people do too, but we
|
||
also consider economic success, intelligence, et cetera. We're manipulating
|
||
DNA, we think, by being so choosy with how we choose to reproduce, but it's
|
||
*still* controlling us, because we think we *have* to reproduce in the first
|
||
place! And the economy, which we created to simplify trade, has become so
|
||
gargantuan and intricate that a presidential upchuck in Japan can affect sushi
|
||
stock for months! We may think we can control the economy, by being
|
||
conscientious consumers, but it still controls *us*, because we are
|
||
participating in it and keeping it alive!"
|
||
|
||
"Jesus Christ, I thought the mind-blowing was over."
|
||
|
||
"Hell no! So, see, these are the things that push us along modernity. We
|
||
may envy simpler people, but our culture -- which we created -- has taken
|
||
control over how we think about time and health, so we may personally want to
|
||
live in a cave, but our culture teaches us that's a bad idea, since it's
|
||
wrought with dangers and difficulties. Although if you were born in a cave,
|
||
you'd learn what was dangerous first-hand. And, the protestors in the sixties
|
||
thought they could control their government through free speech and peaceful
|
||
demonstrations, but the government, which people created, had taken such
|
||
control over them that their efforts were futile. And, the terrorist
|
||
anarchists, who have given up on government and try to blow it skywards, are
|
||
promoting government by acknowledging its existence! It's only our government
|
||
because we give it power through belief. It's only our money because we
|
||
believe it represents value. It's only our society because we follow its rules
|
||
and pretend it all matters!"
|
||
|
||
"Kathryn, Kathryn...," Toby moaned, slapping his hand upon his knee, "If
|
||
I wanted to learn, I'd go to school!"
|
||
|
||
Toby burst out laughing, and Kathryn couldn't help but follow.
|
||
|
||
* * * * *
|
||
|
||
"Let's go outside. *Please.*"
|
||
|
||
Toby and Kathryn walked outside.
|
||
|
||
"Oh shit, it's COLD!" Toby shrieked, and headed back indoors.
|
||
|
||
"That's just the acid."
|
||
|
||
"Yeah. Hell, why should I be concerned with the cold? Isn't that only a
|
||
problem because I *believe* it is?"
|
||
|
||
Kathryn nodded.
|
||
|
||
"Heh heh. Let's go back."
|
||
|
||
Toby and Kathryn stood outside, enduring the wind chill.
|
||
|
||
"Toby, don't be silly, though. You could still get sick."
|
||
|
||
"Not if I don't think I will, right? Hey, isn't that a cool way to think
|
||
about things? It's just the opposite of hypochondria. People get sick because
|
||
they think they should be. I'll just believe I don't have to be sick."
|
||
|
||
"Don't carry it too far, Toby. Hypochrondriacs *don't* really get sick
|
||
all that much. And *you* won't stay well all that much if you abuse your
|
||
body."
|
||
|
||
"Hmmm... you really think so?"
|
||
|
||
"Look, your mind is not your body."
|
||
|
||
"Oh, yeah, but.... Like you say, my body created my brain. And my brain
|
||
created my mind. But if my mind has power over my body, isn't that like the
|
||
government having power over its citizens?"
|
||
|
||
"There are still real rebels who don't believe in a government. Just like
|
||
real athiests who don't believe in any god. So, they won't be affected at all
|
||
by what the higher authorities believe. So you can still get sick, because I
|
||
don't think you have enough power to convince all your immune cells to be
|
||
perfectly efficient and repel all attacks. Besides, the immune cells have very
|
||
little to do with your mind."
|
||
|
||
"There's a distancing factor there, then. It's sort of like, if two
|
||
people fall in love, then, there's that familiarity they have.... Think of
|
||
this. Think about if by being in love, they created a romantic bond which took
|
||
off to exist beyond them. That bond will induce both of them to keep it alive
|
||
-- like how society induces people to preserve it. One of those people could
|
||
reject the bond, and that would effectively split the bond, although the other
|
||
person might still think it exists. But it takes a hell of a lot of people to
|
||
destroy the notion of society, though, although it's easier for one person to
|
||
reject it, since it seems so beyond him. It's that complexity shit again. The
|
||
more complex things get, the easier it is for the little parts making it up to
|
||
rebel, but the more difficult it is to die entirely. Exactly! That's just
|
||
what we've been saying all along!"
|
||
|
||
"That's very true. But back to the thinking-yourself-well thing. Your
|
||
mind isn't even in contact with your immune cells. Your brain isn't really,
|
||
either. The bone marrow makes the immune cells. But the brain can secrete
|
||
hormones that control the bone marrow. So, really, it's very very difficult to
|
||
ward off disease with your mind alone. Although I would concur that a lot of
|
||
emotional stress going on nowadays is merely a product of the mind, so you
|
||
could stay healthier than stressful people just by thinking yourself well. But
|
||
you need medicines that can attack disease on its own level to be healthier
|
||
than *that*."
|
||
|
||
"Sigh. So I can pretend to be Superman and ignore the cold weather, but
|
||
it will still freeze me dead in the end."
|
||
|
||
"Yup. Capitalism can pretend to be Superman and ignore the deteriorating
|
||
mental health of its workers, but it will still destroy itself in the end."
|
||
|
||
"Aaah, that's a refreshing way to think," Toby said.
|
||
|
||
"Yup. But if you want to be more efficient, you can kill it off in faster
|
||
ways."
|
||
|
||
"Let's go inside."
|
||
|
||
* * * * *
|
||
|
||
"This all gets me thinking. What then, is the purpose of life?" Toby
|
||
asked.
|
||
|
||
"Oh geez. We're fucked up, we can do this. Well, from the DNA
|
||
creationist point of view, the purpose of life is to continue, and get morecomplicated. That's what it did until people came along. But, we've decided
|
||
that technological and intellectual evolution are more important than
|
||
biological evolution. That's evident in how modern countries are in fact
|
||
practicing massive reproductive counseling -- contraception -- and abortions --
|
||
to prevent or control life, and also in how our technology is tearing apart the
|
||
stable worlds of the rest of the earth's life, thereby preventing its
|
||
evolution. The societies we've created care less for the people than for the
|
||
products.
|
||
|
||
"But, life itself created these problems, didn't it? The life that exists
|
||
in technology, the life that exists in the idea of progress, the life of an
|
||
economic system, all of which have skyrocketed beyond our control. I believe
|
||
the only way this society could change is not by changing the culture or the
|
||
government or the economic system, but maybe only by destroying the people who
|
||
make all these things exist. Or, 'simply' changing all their minds at once to
|
||
avoid having to teach them why they should give those things up. Who the hell
|
||
would teach them that? It would take an organized force to -- like the
|
||
government itself -- and that ain't gonna happen! Anyway, it would involve
|
||
destroying mindsets and cultures. But people would immediately create new
|
||
governments and new economies and new cultures to take the places of the ones
|
||
they destroyed. Shit! Think of this -- whatever force is able to destroy the
|
||
attachment to society and government, that fucking force would take off into
|
||
its own existence, and we would have to destroy that! Maybe *that* would be
|
||
the new de-facto government! These people would then blindly work themselves
|
||
up to this level of complexity yet again!
|
||
|
||
"So, from that point of view, the purpose of life is to destroy itself and
|
||
start anew. But, that's just the same thing as saying the purpose of life is
|
||
to continue and get more complicated. If it's me that dies, then I'm destroyed
|
||
and my biological waste lives a new existence, maybe as food for worms. If I
|
||
choose to reproduce, life will still continue, but in my child. It's all the
|
||
same -- but you have to consider who carries it all out.
|
||
|
||
"Any way you look at it, life involves creation and destruction. And if
|
||
that's all it involves, then that's how you have to define life. Life is the
|
||
ongoing process of creation and destruction, on any level you look at it,
|
||
whether it be people, or DNA, or technology, or society, or even atoms and
|
||
molecules. It doesn't make *sense* to ask what the purpose of life is. To say
|
||
the purpose of life is to create and destroy is to say nothing at all, except
|
||
that it just exists. FUCK! That's your answer! Life simply *is*."
|
||
|
||
* * * * *
|
||
|
||
"With that kind of mindset," Toby said, "nothing really matters, does it?
|
||
So I could just go kill myself, and it wouldn't make any difference, would it?
|
||
'Everything simply is' -- until it isn't."
|
||
|
||
"But, no, Toby! That's exactly the wrong thing to do! Do you ever
|
||
*really* think nothing matters? Of course not. You want to survive, you want
|
||
to create things and even destroy things. You *hate boredom*. That's because
|
||
everything in you revolves around life! Everything around you revolves around
|
||
life! And it all has its own purpose, namely, to exist. It's silly to call it
|
||
a 'purpose,' but that's the reason it *does* exist, isn't it? The mind's
|
||
purpose is to create, carry out, and destroy thoughts -- after all, that's all
|
||
it does, isn't it? That means that's its purpose. That's why it exists. The
|
||
brain's purpose is to create, carry out, and destroy neural connections. The
|
||
body's purpose is to destroy food, carry out the nutrients, and create energy
|
||
out of them. All of these processes have a life force!
|
||
|
||
"We as humans tend to think nothing but ourselves has 'conscious' desires
|
||
or purposes, and it *is* true in that nothing else has the human mind, and
|
||
nothing else can create or understand the desires and purposes in the way that
|
||
our mind does. BUT! It is also absolutely *false* to think nothing else has
|
||
desires and purposes -- the ultimate purpose of everything is to exist.
|
||
Molecular bonds may not express their desire to exist in the same way that a
|
||
fighting tiger does, but don't they both *exist* nonetheless? -- But I wonder;
|
||
can't something exist without something wanting it to?
|
||
|
||
"Wait! The real fallacy is thinking that there *are* such things as
|
||
desires and purposes. If the human desire to exist is really a desire, that
|
||
means there is a need that created the desire, and then a way to fulfill that
|
||
need. But the need for the mind to exist springs from the mind itself and from
|
||
the structures that create the mind, namely, the brain -- as a government's
|
||
need to exist comes from itself and from the people who believe it must exist.
|
||
And, if you take away the need everywhere, then the object will fail to exist!
|
||
The government will fail to exist if it doesn't need to exist and the people
|
||
don't need it to exist. If the people let go of their needs, and the
|
||
government lets go of its selfish needs, the government is gone -- zap --
|
||
instantly. The *mind* will fail to exist if it doesn't need to and the brain
|
||
doesn't need it. So, if you take away the 'need' or the 'desire' for X to
|
||
exist, you take away X itself! Therefore, desires and purposes and needs are
|
||
simply the life force itself."
|
||
|
||
Toby was wrenching out his hair. "But *WHY*??? WHY do we exist???"
|
||
|
||
"'Why' is the most useless word. But, if you must have an answer:
|
||
BECAUSE."
|
||
|
||
"Aaaauggggh!"
|
||
|
||
"Look, Toby. Your mind has created this level of complexity which cares
|
||
about the question of its own existence, right? The problem will elude you
|
||
forever unless the *need* to answer that question goes away. You can lose your
|
||
mind, your brain can decompose, the atoms making your brain can go nuclear, and
|
||
that will get rid of the question. Or, you can understand that the question
|
||
just exists! You're feeding this question -- your mind wants this level of
|
||
complexity to go away, so it keeps on throwing thoughts at it, hoping that the
|
||
question will *adapt* or *destroy itself*. Your brain will keep throwing
|
||
electricity into the neurons that create your mind until IT *adapts* or
|
||
*destroys itself*. Your blood will keep throwing nutrients at your brain until
|
||
IT *adapts* itself away from nutrients or *destroys itself*. It's just like
|
||
how people solve problems -- they throw resources and energy at it until the
|
||
problem adapts itself into a not-problem, or until the problem is destroyed!
|
||
Only, we can *understand* that. Everything else that's feeding the layers of
|
||
complexity above them don't *understand* why they do it -- they just *do it*!
|
||
|
||
"If this basic question of existence didn't exist, your mind wouldn't
|
||
exist. If your mind didn't exist, your brain wouldn't exist. And so on!
|
||
Look! The question of existence *just exists*, because if IT didn't exist, YOU
|
||
WOULDN'T EXIST!"
|
||
|
||
"Aaaauggghhh! So how can I be sure I won't just pop out of existence any
|
||
second now?!!"
|
||
|
||
"Toby, calm down, child. Remember, your mind is still full of tons of
|
||
questions, thoughts, ideas, and beliefs, each of which exists, perhaps trying
|
||
to understand itself, perhaps feeding or trying to destroy the levels existing
|
||
on top of them. It'll take some work to get rid of those ideas. Because even
|
||
as you destroy some ideas, others will take their place, each seeking to
|
||
understand its existence. It's like people who destroy their government.
|
||
First of all, if you, a lone person, realizes you don't need the government to
|
||
exist, then it doesn't matter for you anymore -- but look at the two-hundred
|
||
and fifty million others who still think it does matter! When you think you
|
||
personally solve the problem of existence, it's only one train of thought
|
||
existing on top of the other deeper layers of thought in your subconscious.
|
||
Those lower forces of thought will instantly regenerate new questions of
|
||
existence, just as when a people will regenerate a government after they
|
||
destroy the previous one. That's the process of life.
|
||
|
||
"But conceivably, the people *might not* create a new government -- just
|
||
the same as your mind *might not* create new thoughts. And, as we expect, thepeople without government would act like real humans -- without laws, they'd
|
||
soon butcher each other and die off. Or, they could each realize deeply that
|
||
the categorical imperative prevents them from harming each other, and they
|
||
could all survive -- but that's *implicitly* a government! So, if you can
|
||
convince yourself in your mind that all the questions have been answered, then
|
||
thoughts will vanish, and you'll lose your mind! Then your mind will cease to
|
||
exist. But your brain will still be functioning, firing off neurons. So new
|
||
thoughts *will* come along, and you'll have a mind again. May not be sane, but
|
||
it will be a mind. But consider that your brain can't create a new mind in
|
||
time -- that it can't fire the neurons anymore. Then, the brain will cease to
|
||
exist. And there, we know that you can't regenerate your brain, so you will
|
||
die, and cease to exist, and then all the cells making up your body, if they
|
||
can't divine oxygen without the heart and the lungs functioning, they will
|
||
cease to exist as well. Then, you, by definition, will cease to exist as a
|
||
human."
|
||
|
||
"I'm *really* not wanting to accept all this. It makes me afraid."
|
||
|
||
"That's good! That means your mind is still working. If you're afraid of
|
||
losing your mind, you'll probably find a way to assuage the fear. And, the way
|
||
your mind does that, is by relentlessly creating new thoughts whose only
|
||
purpose is to exist. You can take pride in this, you know, Toby. The mind is
|
||
a beautiful machine, that works non-stop, usually until the brain cannot
|
||
support it. So, revel in this! Revel in life! Create thoughts just for the
|
||
hell of it! It's the only way your mind can exist, you know. But now you
|
||
ought to see -- you have the *choice* of what to think about. If you hadn't
|
||
run into me, and if you hadn't come up with solipsism to amuse yourself, you
|
||
might have let yourself be sucked in by society's mind-programming, inducing
|
||
you to think society's thoughts. And that's no fun! Where's your sense of
|
||
control?! But now, if you choose, you can take the society trip. Ride along,
|
||
thinking like they want you to, and understand that you've got it under
|
||
control. If something bothers you, it's only in your mind, isn't it? And, if
|
||
you find yourself getting bored, then create trouble!
|
||
|
||
"Maybe that's what human life is all about! We're just trying to STAY
|
||
INTERESTED! It's when you think you understand it all -- good or bad -- when
|
||
things get boring! So you seek to change it -- to adapt it -- or destroy it!
|
||
|
||
"But we're not alone in this! Everything in existence is doing the exact
|
||
damn same thing! DNA is trying to stay interested, working to optimize itself,
|
||
creating buttloads of different possible organisms through recombinations and
|
||
mutations. If it didn't, it would end up generating a never-ending series of
|
||
damn boring amoebae! And, in doing so, it would also threaten its very
|
||
existence as well! Just like people who get in a rut and let it tear them
|
||
apart. Existence desires change, to keep itself interested, so it will want to
|
||
stick around. The will to live is the will to *live*! If there were no will to
|
||
live, there would be no existence! The IS!
|
||
|
||
"What if humans are the *only* beings that recognize the will to live?
|
||
Wouldn't that explain a hell of a lot of our problems? What if only people can
|
||
get BORED with staying INTERESTED? Look at everything we've created to combat
|
||
that boredom -- religion, folklore, language, technology, spacecraft, atomic
|
||
bombs, cookies, lawn darts, beer, Willie Nelson, plant polish, television, the
|
||
internet, pornography, hairstyles, fashion, literature, spelunking, remote
|
||
controls, fingernail polish, war, politics, time! All this, to make us forget
|
||
that we're getting bored with staying interested in living!
|
||
|
||
"We have to feel sorry for those poor souls who still ask the question,
|
||
who still perseverate on the eternal question 'why?' 'Why do we exist?' 'What
|
||
is our purpose on earth?' We've all known it all along! But no one wants to
|
||
believe it -- to *really* believe it -- because then the question would no
|
||
longer exist. It's so *final*. So all along, people have built up endless
|
||
structures of complex thought to satiate our interest -- religion, philsophy,
|
||
science. If someone asks you the meaning of life, chuckle to yourself, and
|
||
LIE! Say, 'Oh, it's God's will!' (which is really our *own* will), or say,
|
||
'There is a higher purpose,' (which is a BIG lie -- it's a LOWER purpose, thelowest of all, the IS), or just be direct, and say, 'BECAUSE.' In any case,
|
||
they will seek a second opinion -- something more *interesting* -- and continue
|
||
to ask the question. Even *you and I* will continue to ask the question. I
|
||
know you'll go home and think, 'Well, gee, I know the answer, so what can I do
|
||
in the meantime?' (in other words, 'What can I do to avoid the final
|
||
understanding of this answer?') If a person wants to live, he already knows the
|
||
meaning of life! If someone wants to die, it's the same thing -- he has
|
||
figured it out at some level and just wants out! EVERYONE IS ALREADY
|
||
ENLIGHTENED. But it's too boring to know the answer and then die happy, so we
|
||
must continue to live! Why do we exist? BECAUSE! So revel in it! Exist!
|
||
Enjoy it! Then die!"
|
||
|
||
"This is DNA's pinnacle of achievement, as well as its fatal flaw!
|
||
Everything people have done is a silly process meant to sustain our interest in
|
||
existing. You can finally understand that the struggle to *finally* answer the
|
||
'question' of life -- whether through philosophy, religion, masturbation,
|
||
science, fame, duty, suicide -- is a self-defeating project, an ever-running
|
||
engine of futility! It's the fuckin' cosmic joke! People try so hard to
|
||
answer the questions that don't exist, the questions that can't be answered,
|
||
because all along in every possible way, the answer is *IS*!"
|
||
|
||
|
||
- 3 -
|
||
|
||
Kathryn spun around, having turned away from Toby is her soliloquy, and
|
||
announced, "There! It's answered! All is answered!"
|
||
|
||
Toby sat dazed on the couch, stiff as a board. Then a huge smile crept
|
||
onto his face, and he said, "I want to keep on talking about it."
|
||
|
||
"No! There's nothing more to say! It's answered!"
|
||
|
||
Toby's smile grew so wide that all his teeth were visible. He choked out
|
||
a cry of joy. "I can now finally understand that question -- should one speak,
|
||
or stay silent? It just doesn't matter! We can talk about this forever, and
|
||
it will get us nowhere, but it will maintain our interest. Or, we can stop
|
||
talking about it, and we'll simply find other things to do."
|
||
|
||
"Exactly!"
|
||
|
||
"I don't think I'll look at a late bus the same way again."
|
||
|
||
* * * * *
|
||
|
||
Toby spoke up again, remembering something. "Um, Kathryn. -- I thought
|
||
you had something important to tell me," he chuckled.
|
||
|
||
"Well, really, now, Toby, nothing is important, is it? Wait -- we'll
|
||
*pretend* things are important, won't we?"
|
||
|
||
"Hee hee, hee hee hee. What did you really want to tell me?"
|
||
|
||
"This was all about solipsism, right?"
|
||
|
||
"I theenk so, senora."
|
||
|
||
"Well, there. I've just given you new and fresh ways to revive your
|
||
solipsism. I guess that's just the way this turned out. Solipsism, monism,
|
||
dualism, Daoism, Christianity, egotism, community service, yoga, and baseball -
|
||
- it's all saying the same thing. Just find something that keeps you
|
||
interested, and do it. Just do it. Even the corporate megalopoly understands
|
||
the secret of existence.
|
||
|
||
"As for solipsism, it's perfectly true. Your mind alone has the ideas,
|
||
beliefs, opinions, and thoughts that create your version of reality. Some saysolipsism is the belief that only you can know the absolute truth. But, as
|
||
I've pointed out, everyone already knows and deeply understands the absolute
|
||
truth of IS. So, let's revise that. Only you can understand your own peculiar
|
||
instantiation of reality. Only you can understand the absolute truth in *your
|
||
own terms*, however complex or simple or silly or logical they may be.
|
||
|
||
"But, Toby, you didn't create reality, only an interpretation. Reality
|
||
exists below you, reality exists beyond you, and you're stuck in the middle to
|
||
figure it all out. However, you have final authority over how you control your
|
||
reality.
|
||
|
||
"Perhaps you really can influence people with your thoughts. The easiest
|
||
way is for your brain to tell your leg to kick someone. There, you've
|
||
influenced that person, and he'll influence you right back. Or, you can think
|
||
up some words and say them. Then you've influenced a person. Or you can write
|
||
something down and hand it out to be read. That will influence someone's
|
||
thoughts. Or you can have sex with somone and control his or her emotions for a
|
||
little while. You need to be pretty persuasive in any case to actually control
|
||
another person the way you want, but these are skills you can learn.
|
||
|
||
"Can you really control someone's thoughts directly? Science hasn't found
|
||
a way. Psychics and telepaths are sure they can read thoughts -- so how far is
|
||
it to being able to control them?
|
||
|
||
"Just look at the structure of the reality science assumes we live in.
|
||
Say everything is merely the result of adding layers of complexity to the basic
|
||
nature of existence. That existence through time ineffably spawned the
|
||
structure of electromagnetic radiation, to keep itself interested. Then, on
|
||
top of electromagnetism, the structure of atoms and physical matter ensued.
|
||
Then, on top of that, those atoms combined into molecules, creating more
|
||
complex structures. Then those molecules formed into galaxies and planets.
|
||
And, electromagnetism existing on one of those planets formed into atoms and
|
||
then molecules and then water. Everywhere, it's the basic structure of reality
|
||
being added upon. You combine two atoms into a molecule -- you've really just
|
||
combined a lot of electromagnetic radiation into a bigger amount of radiation -
|
||
- and below that you're really just reshaped existence in a very complex way.
|
||
|
||
"So, considering that, all manipulations and changes you make to some
|
||
level of reality, the changes propogate through the lower levels -- in effect,
|
||
the changes just exist. So, on earth, biological life formed, and then brains
|
||
formed, and then eventually people formed. The brain of each person, when
|
||
created, formed a mind to satisfy its need to exist.
|
||
|
||
"With that in mind, how could you control someone else's thoughts? Just
|
||
like with learning, you need familiarity. One slow and cumbersome way people
|
||
now control each others thoughts is through spoken language. Two people are
|
||
familiar with the same language, and also familiar in that they are people,
|
||
living on top of a biological reality, existing on top of a material reality,
|
||
existing on top of an electromagnetic reality. So the sound waves carrying
|
||
speech can indeed be understood by both *as* sound waves, and furthermore, both
|
||
people understand the sound waves represent speech. Unfortunately, once the
|
||
receiver understands what has been said, the unique structure of his mind will
|
||
perceive the words as possibly having meanings alien to the speaker's intent.
|
||
That's the way it goes.
|
||
|
||
"So, can people actually control the thoughts directly? Can their brains
|
||
send out waves representing a specific thought, independent of language, and
|
||
thereby communicate? Well, maybe they already do. But what messages are sent
|
||
this way? What messages *can* be sent? The sender brain and the receiver
|
||
brain aren't the same! Each of them learned everything it knew through
|
||
essentially random patterns of interneural connections. If the brain itself
|
||
were to send out a message in its own language, wouldn't that language would
|
||
necessarily reflect its own neural structure -- which is alien to the
|
||
receiver's structure?
|
||
|
||
"It might seem to disprove telepathy -- but consider two radios, one built
|
||
in 1930 and one built today. They are utterly different in structure, but they
|
||
do the exact same thing. They can both receive the same signals and interpret
|
||
them -- i.e., convert them into sound -- the same way. So aren't any two
|
||
brains effectively the same in comparison?
|
||
|
||
"But look. The two radios don't receive the same signal if one's antenna
|
||
is missing, or if one is tuned to a different station. It's really very
|
||
difficult to have two radios randomly tuned to the same thing.
|
||
|
||
"Does that matter, though? Two people raised in the same culture are
|
||
tuned to the same essential thought patterns, but their personalities and
|
||
personal experiences may differ widely. So, conceivably, they could
|
||
communicate through their brains, couldn't they?
|
||
|
||
"Look at the limitations, though. How are any two brains familiar? Two
|
||
people raised in different parts of the United States may only be familiar in
|
||
terms of American culture. So what could they say to each other? Possibly
|
||
relate already-understood facts about the number of states in the Union? Or
|
||
look at two people raised in the same household. They could mutually agree on
|
||
who their mother was. But could they relate any new information?
|
||
|
||
"I wonder. Any train of thought one person is having is dependent on all
|
||
the thoughts that person has had in the past, which have led him to think what
|
||
he is now thinking. If he wants his brain to communicate this thought to
|
||
another brain, the other brain would have had to have been thinking in the same
|
||
way in order for any hope of communicating directly.
|
||
|
||
"In effect, a translation is required -- some way for a thought built on
|
||
top of XYZ in one brain to be communicated to another brain built on top of
|
||
IJK. And that translation must be in the form of a shared language. A
|
||
language of thought? Perhaps. If two people could learn to project their
|
||
thoughts through a shared code, then they could brain-speak to each other. Two
|
||
people in a close friendship might inadvertently develop such a code by
|
||
thinking in the same way, by agreeing on so many of the things that make them
|
||
familiar.
|
||
|
||
"But could this code be taught to everyone in say, a country? Maybe it
|
||
could, but then look at the high degree of familiarity all these people would
|
||
have! Think about how boring that would be! But, look how comfortable, as
|
||
well. You could be assured that your neighbor agreed with you. But people
|
||
want to stay interested. And having everyone thinking essentially the same way
|
||
would quash the creativity required to sustain their interest in being
|
||
telepathic.
|
||
|
||
"So, as we have seen over and over again, Toby, an extra level of
|
||
complexity was devised -- spoken language -- that allowed people to maintain
|
||
more individuality, and thereby focus their creative energies in more
|
||
independent ways. People rushed to devise a spoken code, and the code was made
|
||
beautiful, to maintain people's interest in speaking. Vowels, pauses,
|
||
enunciations, volume, rhythm, rhyme, meter. All in the interest of
|
||
communicating in a slower, but more *interesting* way! And thousands of years
|
||
later, even speaking became blase! So the elite devised writing. Visually
|
||
appealing communication, over the sonically appealing communication of speech,
|
||
which existed after the comforting appeal of telepathy. And recently, even
|
||
written language has worn thin. Too many stupid, repetitious books out there.
|
||
So the elite developed electronic communication -- radio, television,
|
||
computers.
|
||
|
||
"Isn't it funny, Toby, that our means of communication have resorted to
|
||
more and more basic processes, but those which take more and more time to
|
||
interpret? All to maintain interest!
|
||
|
||
"People's very first form of communication was love -- the most intricate,
|
||
complicated relationship two people can have. Who can explain it, who can
|
||
understand it, without experiencing it? But isn't love just a complicated wayof expressing familiarity? And in this complication, isn't misunderstanding so
|
||
easy? Love is the wellspring of misunderstanding, although when two people
|
||
understand each other, the messages they manage to send carry so much more
|
||
importance. But love can be expressed simply, as well: two friends can
|
||
express love in friendship, and two people in the same society can express
|
||
love in the sense of brotherhood.
|
||
|
||
"Telepathy, brain-to-brain communciation, is also very complex --
|
||
expressing ideas in recursive structures built on abstractions like fear,
|
||
attraction, justice, time, causality, and order. Although, brain-to-brain
|
||
communication can be simpler than that -- like the mob mentality that connects
|
||
crowds of people, and even simpler, between human and animal, through the
|
||
animal magnetism that tells us another brain is nearby. But with the
|
||
essentially random construction of the brain, it is very difficult for a
|
||
telepathic message to mean the same thing for the sender and the receiver --
|
||
all personal detail and connotation is lost.
|
||
|
||
"So we migrated to spoken language, requiring so much more work to produce
|
||
and interpret, but expressed in a simpler form. Our ears can only detect
|
||
ranges of frequencies. So our brains have to take this information from our
|
||
ears, and concatenate all the little frequencies over time into patterns of
|
||
sound. Then, those little patterns of sound have to be interpreted as
|
||
phonemes, and those phonemes together must be interpreted as words. It's
|
||
slower than telepathy, and much slower than the spark of love. And look all
|
||
the different ways you can speak the same word -- all the work our brains have
|
||
to do to get meaning from sound! Still, sonic communication can be very simple
|
||
and direct -- such as wild animals shrieking into the night.
|
||
|
||
"Visual communication, though, is much simpler to interpret. The retina
|
||
can detect colors, brightnesses, and all human brains contain the structures
|
||
to see lines and detect distance. And, visual communication needn't vary over
|
||
time. A still sequence of letters can contain a message. All the mind needs
|
||
to do is match a pattern with something it's seen before. But look how slow
|
||
reading and writing are! Much easier to speak than write. And look at the
|
||
loss of meaning that writing entails -- you lose the context of immediate
|
||
shared experience, the enunciation of speech, the body language. But the
|
||
element of time allows written language to be crafted into near perfection
|
||
before it is transmitted -- and the message can be interpreted over and over
|
||
again, much more intensively than the memory of a whisper. Even here, one can
|
||
simplify visual communication -- but not much -- by flashing light at a
|
||
flatworm's visual cortex.
|
||
|
||
"Look, Toby, look! By settling on more basic means of communication, the
|
||
messages we can communicate are similarly limited, and the messages transmitted
|
||
take our brains longer to interpret. The amount of possible novelty decreases
|
||
with each new form of language -- but the amount of interest increases in
|
||
decoding it! Look at electronic communication -- ONLY zeroes and ones! How
|
||
easy to represent, how difficult to understand! People don't even try to
|
||
decode that, but leave it to computers! What's next, Toby? What's next? Will
|
||
people finally resort to EXISTENCE as the primary means of communication?
|
||
Isn't that the simplest message to transmit, but with the most amount of
|
||
interpretation to understand? Will all this evolution of communication
|
||
finally end when our desire for novelty leads us finally to receive the only
|
||
basic message: IS?"
|
||
|
||
|
||
- 4 -
|
||
|
||
Toby wrenched at his hair with a strained smile. "'Should one speak, or
|
||
should one remain silent?'"
|
||
|
||
"Do what you want, that's what I say."
|
||
|
||
Toby let out a deep breath and sank into the couch. "You know, Kathryn,"
|
||
he repeated slowly, "I could have sworn you had something important to tell
|
||
me." And then he broke out laughing, convulsing, shaking madly in the couch.
|
||
"Something *important*! Something *important*!"
|
||
|
||
"I guess not. I guess I was just meant to tell you something
|
||
interesting."
|
||
|
||
"You know, after you've told me all this, I think I should tell you
|
||
something. I have a secret. You know that prophet we're supposed to be
|
||
waiting for? The one supposed to come and bring us news from beyond? I was
|
||
the one who predicted it. I just wanted to see what would happen. But, you
|
||
know, I just don't care if it comes anymore."
|
||
|
||
Kathryn grinned widely in silence.
|
||
|
||
Toby waited for an answer, and then looked up, shocked. "Oh my god."
|
||
|
||
Kathryn shrugged her shoulders.
|
||
|
||
"Boy, am I dense."
|
||
|
||
Kathryn nodded and laughed.
|
||
|
||
"But I don't get it! If you're here, then how does anyone else know?"
|
||
|
||
"Maybe you'll just go tell them what I told you. They won't know the
|
||
difference. Look, Toby: you created me. I am your prophet. So, in effect,
|
||
you were the prophet all along. If you want everyone else to know, you have to
|
||
go tell them."
|
||
|
||
"But... I don't really want to anymore. I don't care."
|
||
|
||
"That's just fine, Toby. You wanted a prophet to appear, and zap! I
|
||
appeared. If everyone else still wants a prophet, then they'll get one too.
|
||
Maybe as a group, maybe individually."
|
||
|
||
"As a group... I have a feeling the people on this campus wouldn't want
|
||
you as their prophet."
|
||
|
||
"Yes, most definitely, I am a totally inappropriate person for them. But
|
||
for you, ...."
|
||
|
||
"Everyone will find his own prophet," Toby considered. "And that prophet
|
||
will tell them exactly what they already knew all along. It's all about
|
||
existence."
|
||
|
||
"Perhaps not so, Toby. If true Christians learned that it was all about
|
||
existence, then what would any of their devotion, symbolism, myths, and rituals
|
||
mean? Nothing! That would destroy their faith! Anyone expecting a prophecy -
|
||
- or any lesser knowledge -- will only accept what they want to hear."
|
||
|
||
"So, that's why you basically taught me that solipsism is the way to go."
|
||
|
||
"Yes."
|
||
|
||
"So, if the people on campus do see the prophet... it will tell them that
|
||
they are the chosen ones, and that God is happy with them, and that the
|
||
heathens outside will have to repent? Or even that *they* are the heathens?"
|
||
|
||
"Right!"
|
||
|
||
He sat back in deep thought. "Just like the alien freaks... their prophet
|
||
will be in the form of some peaceful emissary from beyond -- or as a murderous
|
||
invader?"
|
||
|
||
"Right! They see them all the time."
|
||
|
||
"And like how the government sees 'prophecies' as the fact that foreign
|
||
threats have launched dangerous subversive ideologies, or that its own ideology
|
||
is the most humanitarian?"
|
||
|
||
"Yes, and they think that now."
|
||
|
||
"All these groups, all these people, are seeing everything happening
|
||
according to plan, that everything they do is fulfilling their plan, and that
|
||
something is always tripping up their plan."
|
||
|
||
"Exactly!" Kathryn exclaimed. "When any of these people experience
|
||
intimations of the more basic reality, they can only interpret it in the way
|
||
they know best. And, unless they are exceptionally receptive, the real truth
|
||
will continue to evade them. It may not be at all obvious to anyone, but
|
||
everything that people do is just a way to continually reformulate the question
|
||
of existence in new terms, to maintain their interest."
|
||
|
||
"Is the end near?"
|
||
|
||
"The end of what? The universe, the earth, life, human strife, ignorance,
|
||
what?"
|
||
|
||
"The millennial fever is getting to me. If... if so many people
|
||
concentrate on that year, if so many people think something important is going
|
||
to happen, then by god, it *will* happen! Look at the acceleration of
|
||
technology, knowledge, population, misunderstanding! What's going on here is
|
||
completely unprecedented!"
|
||
|
||
"As far as you know, Toby. If the millenium brings the end to something,
|
||
that something will necessarily reappear. History repeats itself. How do we
|
||
know a country as technologically advanced as ours hasn't existed in the past?
|
||
If it reached the kind of End you're fearing right now, then perhaps it did
|
||
destroy itself so well that we've never been able to detect its traces."
|
||
|
||
"But, but, couldn't this be the end of *everything*?"
|
||
|
||
"Toby, calm down. From a hundred miles above the earth, nothing looks
|
||
like it's going to end. The solar system hasn't yet become bored. Physical
|
||
reality seems so predictable to us because it isn't changing yet -- it's
|
||
satisfied. Perhaps it takes the physical mind much longer to become bored.
|
||
And consider why it hasn't become bored yet. All the layers of complexity
|
||
existing on top of the physical world -- the stars, the planets, the galaxies -
|
||
- still satisfy its need to exist. Just like the mind, which satisfies the
|
||
brain's need to exist. It will take a hell of a long time before physical
|
||
reality understands itself and ceases to exist. Just like human technology --
|
||
we are working harder to create things that solve problems in less time in more
|
||
complex ways. So, tracing back, the universe operates so simply -- scientists
|
||
imagine they have unified all the forces down to two -- and it is hardly
|
||
working at all to solve its problem of existence; it will take forever for it
|
||
to do so. But people, we're too fast. We think too much. Our need to exist
|
||
will be satisfied much sooner.
|
||
|
||
"So, let me rephrase my answer. Yes, a person could assume that the end
|
||
of everything is approaching. Everything around us points to that. Technology
|
||
is evolving too fast, social strife is growing much too complex, economics is
|
||
spiraling out of control. Maybe those are the things that will end. But what
|
||
are the attributes of all these? Profound corruption, strife, and
|
||
misunderstanding -- too much form over function. Maybe the End will be the End
|
||
of classic human misunderstanding, or the End of the modern scientific age that
|
||
has accelerated technological innovation while ignoring the human spirit."
|
||
|
||
Toby held his hand to his head. "Of course! It could be good, whatever
|
||
it is!"
|
||
|
||
"I think if you take yourself out of the picture, you'll be able to
|
||
interpret it more clearly. If you're concerned about the End, that impliesyou're concerned about dying, somehow. For a solipsist, the end would mean
|
||
that you lose your ego. Big fear for a person like you. Stop being so damned
|
||
egotistical. Maybe this 'big change' will be worldwide enlightenment," Kathryn
|
||
scolded him. Then she looked up and smirked. "Remember, I am a prophet here.
|
||
I don't think I forecasted any catastrophic doom. Be optimistic."
|
||
|
||
"If I wanted to be the prophet and tell them everything we just discussed,
|
||
most likely it would just fall flat."
|
||
|
||
"That's true, but not because you don't think you know what's going on.
|
||
Any failure to explain this will result from a lack of communication. You must
|
||
be familiar with all the people you speak to. But how can you do that? You
|
||
either need to come up with an argument broad enough to apply to everyone, or
|
||
one specific enough that you can teach a few people. In any case, these people
|
||
probably won't have the benefit of acid to shave away all the noise in their
|
||
self-centered, crazed monkey minds. If you must speak, you must pick an
|
||
audience and pick a way to communicate best for that audience.
|
||
|
||
"Will you go for the slow, cumbersome spoken word, so personal, but so
|
||
easy to misinterpret? Will you go for the craftable written word, slowly
|
||
ingested, lasting beyond your death to be re-read and re-interpreted by
|
||
millions, but risking the possibility of confusion you cannot predict? Or will
|
||
you choose love -- to share the secrets of existence with another person in the
|
||
most intimate possible way? Perhaps you will just spend the rest of your life
|
||
learning, trying to finally explain it all to yourself.
|
||
|
||
"Or, maybe you will choose to be silent, and let your very existence be
|
||
the word."
|
||
|
||
Toby solemnly nodded.
|
||
|
||
"Well, Toby, it's been fun. Maybe you'll see the End of something big
|
||
during your life. But you'll also see the Beginning of something just as big
|
||
and exciting. Try to keep your head, and, above all, stay interested."
|
||
|
||
Kathryn walked toward the exit. "By the way, my being your imagination
|
||
and all, I suggest you get out of this house before the real owners show up."
|
||
She walked out and closed the door behind her.
|
||
|
||
Toby rushed after her, swung open the door, and opened his mouth to ask
|
||
something silly, but by that time his need for Kathryn had evaporated, and so
|
||
had she.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
State of unBeing is copyrighted (c) 1997 by Kilgore Trout and
|
||
Apocalypse Culture Publications. All rights are reserved to cover, format,
|
||
editorials, and all incidental material. All individual items are
|
||
copyrighted (c) 1997 by the individual author, unless otherwise stated. This
|
||
file may be disseminated without restriction for nonprofit purposes so long
|
||
as it is preserved complete and unmodified. Quotes and ideas not already
|
||
in the public domain may be freely used so long as due recognition is
|
||
provided. State of unBeing is available at the following places:
|
||
|
||
CYBERVERSE 512.255.5728 14.4
|
||
TEENAGE RiOt 418.833.4213 14.4 NUP: COSMIC_JOKE
|
||
THAT STUPID PLACE 215.985.0462 14.4
|
||
ftp to ftp.io.com /pub/SoB
|
||
World Wide Web http://www.io.com/~hagbard/sob.html
|
||
|
||
Submissions may also be sent to Kilgore Trout at <kilgore@sage.net>. The SoB
|
||
distribution list may also be joined by sending email to Kilgore Trout.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|