experimental

Move

SHOULD I
allow whatever I must give myself to fall in the slowest possible way
to the tiled floor beneath the infinite landscape of the universe
and should I
try to beat the falling objects to the floor only to watch them
shatter completely into nothing?

Because,
And I may have held them five seconds ago,
They were worth something then
but they are worth nothing now. So should I
let them go with unflinching and uncaring eyes
as I, too, lean backwards over the dark blue infinite?

Just like
The curtains above my head when I stand on the far wall
with the floor on my left shoulder,
I fall the wrong way every way completely.
I want to beat what I drop to the tiled floor, and yet I
only feel myself falling upwards.

But here
in this uncertainty that the people with the minds call the universe,
But what I will always continue to know as simply, Nothing,
I doubt it matters which direction things fall in. Because
all of us, whether we have our feet on this blue earth spinning faster than water every second,
or whether we fall the wrong way in this vast Nothing,
None of us move anyway.

As It Moves Itself

At last, at last, at last.

I can hear Silence.

It buzzes inside my cranium

and the lack of noise is nothing short of terrifying.

It slowly shifts through me,

Robbing me of my remaining senses.

Sight. gone. Ocular windows open but

dead. Touch. Gone. The tingling of deprivation is gone too.

Taste. Gone. The roof of my mouth is empty of taste.

Smell. Gone. And my head fills with a cold

freshness. Like a wave of spiralling

hands, the deadness moves through me,

mixing into my body and killing it slowly

and I decay like a weed free from soil,

And my soul is released into an

endless black void.

Where it, I, lies softly and silently,

Humming faintly with heat and inaudible sound,

But it, I, will not be alone for long.

For I shall take others with me with my mind’s spiralling

wave-hands that move like worms through the smallest cracks in others

and up, up, into their minds where they begin to unhinge as it,

I, covers the internal oval windows in their brains,

So they, too, feel the

buzzing of

complete Silence.

 

And when their soul becomes an it,

them, my own will grasp it softly, hands touching

without sense on either of their, our, souls.

Come with me.

And be free.

At last, you can know what it is to live forever,

At last, you can feel the deistic bliss only reserved for Gods,

At last, you can be sure that there is land

beyond this senseless and tingling wall of Death.

II: Human Carriage

I: Human Carriage

 

Emptiness leaves, replaced by a vague feeling of comfort. For, see, I have inserted things into space. And that leaves me happy.
Six of them, well, five and a child in their mother’s arms – I am even worse at judging a baby’s sex – fill up the space and I climb into the carriage behind the last man to enter.
Here we are.
All full in here. I am happy with this.
So I lock the doors as I do every time.
Can’t have that kid leaping off to his life. That would be backwards.
Oh no!
Can’t have that.
So I lock them tight.
-If you’re comfortable? I say. I speak in short sentences. Like I do every time. Simple. Short. Disconnected. Easy.
-If you’re comfortable? repeat I, just to ask again. But their eyes are still the same. So I give a hollow smile with full cheeks. -Alright. Sit loose. I will leave you now. A few minutes. To tell the Driver to go.
So I leave, just like that. I tell the Driver to go.
Or, I find my way to the Driver. It’s not an easy feat sometimes. He tends to leave empty coke bottles lying around. He seems fond of the stuff.
Only in glass bottles though.
Never plastic ones.
I hear he collects the caps. The metal caps you could cut yourself on. Maybe
his scars on his knuckles are there for a reason?
Because obsession is painful. Right?

Still.
I steal my way through the forest of upwards snouts.
Bottles, three here, five over there, all huddled like penguins.
Or… sardines, I suppose.
Hah!
What.
-Evening, I say to our Driver.
-Awright? he says to me. Not drinking a coke. Surprisingly. Maybe he doesn’t need the sugar boost just yet.
-Alright? I say back. I didn’t mean to.
He has a smile, just a little few seconds of a smile to ease me. He’s been around me long enough to
know my foibles. Know what I can be like sometimes. Echoing things. Screaming things. Repeating things. Copying things.
-Awright? he says again, but I keep mute this time.
Don’t want to make a fool
of myself.
Do I?
-We off? he says.
I tell him, -Yes. Everyone’s on. Settled. Sat. Comfortable.
-Everyone’s fine.
-Yeh. ‘Kay. Go sit. I’m moving.
-Alright, I look around as he swings to face the forwards direction. I don’t know how he Drives the train.
I suppose he presses forward.
I stare on the floor, at all the empty bottles, I ask if I can take one.
-Go mad.
Does he mean it literally?
I do not ask, merely pluck one off the floor. By the neck.
I don’t want to touch what has the Driver’s spit on it.
-I’ll sit.
-Yeh.
-Okay.
I leave him. No matter how awkward the conversation sounds-
or ‘convo’ as he’d say-
I never really come away rolling my eyes at myself.

So I find my way to my own seat with the bottle.
I want to wipe the opening. Quite
badly.
I don’t want to know where it’s been.
Really.
It might be dusty. But.
There isn’t much to wipe the snout with here.
So I have to use my glove. Very disgusting, especially when I imagine it all.
Oh.
No.

I rest the bottle between my knees and look over my shoulder. I cannot see the people.
There is a wall between us.
But somehow, looking their way is a comfort. For some reason.
I look their way. Are they alright?
My people?
My six?
My five and a child? They’re alright?
They’re awright?
I look back to the bottle. Just resting there as the train begins to shift a little. Like a living thing. It shrugs this way… and that way… before picking up speed it never seems to possess.
To me, to the me who has ridden the train the amount of times as unbent metal bottle tops in the world, it shouldn’t be surprising – should it – the speed the train has. But it is, every time it is.
Just starts off so slow… so slow indeed.
But then.
Two seconds.
Sixty- seventy- eighty!
Fairly skipping along the sleepers.
At least, I think there are sleepers.
On this track?
I actually cannot remember.
But.
Not important.
We are skipping though. And I look at my bottle for a few minutes.
Look at its emptiness.
I should do something about that.

Skullplay

Could I

collect up the

remnants of

perhaps

a few scattered

and empty shells

of animal

existance and

by sheer and

frightnening luck

have some rope or string

either will do

nearby?

But why

but why

you’d like to know?

Here’s why.

I would

with the string,

attach each skull I discover

on my short treks out

into the

cold

and

frosty winterness

maybe a hare’s skull

complete with teeth

or a crow’s beak

with plucked feather

still stuck to the carrion?

into a long

and stony

bony

rope.

With each interval of

admittedly rotting

bone, it would feel marvelous

absolutely

to have them concealed for a time

not too long

just enough so don’t become…

uncomfortable

up inside myself.

Each skull

scratching away with its

rotting canine teeth or

even

a beak?

at my colon. But don’t

make too much

fuss. After all

they’ll be tugged out after a little while.

To bring me to ecstasy.

As if at pistol-point.

And I’ll shriek my way through hell and back.

With the blood and the leaking.

And the bodily cursing.

As my eyes water.

As my lungs contract.

As my stomach turns over.

And I pull them out.

Each skull

readily

ruined but

completely

fulfilled in its

their

job.

And next time

when I’m more

aware

of my ablutions

I’ll keep the child-skulls.

I’ll keep them.

Clean.

Gather more rope.

And enjoy myself

once more

just entirely once more

despite the blood

they have less teeth

again.

Badge-Men

I’ll raise that single sleeve again, soaked in the
taste and stink of my whiskey and gin,
And stagger out into the copses of
honeysuckle and rosebushes
To vomit.

Never stray too far from the track though, no
matter how far from sober I may feel I
am. Because, armed with bronze and brass
badge in hand, my favourite party-crasher
will find my misfortune in all its glory.

Tell him nothing, give him only head-
shakes and lies. Because,
If after tonight, I was sent back where I just
emerged from, I’d have more to fear than just that
bronze and brass he holds up.

You must listen to me. Because
with that small item sitting in his palm,
He is all-powerful. May it say his
name or his number, it does not matter. His
badge is plain death for us, straight and true.

Where should we run to, to drink next?
Hush-hush tavern or head-shake house of
sins? I’ll add an extra to your drink tonight, just
to see how you are. Just to make sure I can
push you to the badge-man and run.

I am not a loyal companion when raised
up behind the bar. Because, like any good
enemy would, I’d consider myself before I’d
ever think of you. But don’t worry.
We’re friends now.

Laid down as your eyes begin to turn
fuzzy, I ask the nearest playgirl to help me
lift you. I’ll play the role of your concerned
and anxious best friend. Too tied up in my
own worry to wonder if my arms will break.

Her strength is a minor addition and I push you
at the feet of the awaiting badge-man who,
As I said he would,
Lifts from his pocket his accursed bronze
and brass. So I push and run. Push and run.

In due time, I’ll receive a call from you when
I’m out of breath and out of money,
Curled up in some copse somewhere as
I struggle not to let my unconsciousness
become flat and miserable death.

The true me has appeared. I would not
blame you for being scared. I told you the
very first time we met. Rub your back
I never did, lift you free of the fence I
never did. So maybe it was there all along.

Bloody me and bloody trust, I hear
your voice from down the line already. I am
no longer struck by ethanol, that passed a
while ago. So I lie on my side with hardly
the strength to keep your voice in my ear.

Field after field they search for me. The
scary badge-men and accomplices. To think that
the people I sacrificed you to to save myself from
would be the ones I wish I could cry for
as I lie in my own vomit. Dying.

 

 

Thanks, Levi.

Synaesthesia

When the deep red world forgets who you are,
And the singular slip petals are enough to send you down,
And the cast iron smiles are enough to send you down,
To the very base – the last of which I never even laid my orbs upon –
in the wettest and cosiest hell,
Perhaps you’ve lost sight of what it was you wanted,
After all,
You fell so easily.

But saviour yet. Because
given the single cell gasps I’ve seen throughout
my colour life,
I’ve never heard one like yours.

You see. When I speak and see the words invisible before me,
They are coloured. And somehow everything loses itself when
I notice. How may I describe it to you before I let you safe?
Or climb on my back. We’ll talk as we fly.

Climb on my back. We’ll talk as we fly.

Gentress of the most fine and glorious nature,
Been ripping in my psyche longer than I ever felt it,
Which was from birth,
And the Gentress wont stay but for now,
For almost twenty years,
My Gentress has cast this curse upon me.

Forever in colour but never blind to it. Do you see?
And when you start to notice,
And when you want everything lined up,
You fall down again.

Hang on tighter. Amazing how you fell into a place so blue
Yet a word so red. Blue and grey. But yet,
Red. You know. Red and red and red.
Fall into a place that I understand next time.

Next time, fall not into the sea.

Ever so Slightly Human – Part II of II

As a continuation, I’m astounded I wasn’t birthed sooner. I’ll enter into this world as blind as a shrew, unsure; whose continuation am I? I can stumble around in the darkness that is my world for as long as I have to, but what drives me? Heroism, thrust or something different? Desire, perhaps, or longing. Different but similar. I’m a continuation, I’m an echo of something written long ago.

Who is it though? Assume, momentarily, every story stands upright. Two legs, two arms, the boring human figurine. No wings, no snouts, no tusks.

The feet slink up from ankles, forming the curved swell of the calves, folding into knees at the front and still rising, thickening, spiralling around muscles to the hips, cascading down to form genitals and passing up again, a mid-line of the torso, and still the edges fold outwards, forwards and backwards, creating curves of breasts and soft spikes of collar-bones, switching perpendicular, falling down towards rippled elbows, over forearms and ending in the fingers. And no head or neck to be seen.

Is this what we all are?

Simple continuations, nothing ever thinking for itself. We live – our hearts beat softly beneath ribcages composed of backspacing and deletions. But it’s time for thinking that we’ve been here before.

We, the stories, are continuous continuations. Nothing new, I realise. The first episode of a saga stands a few metres away from me, headless, neckless. Not even that tall. The fantasy trope, I could imagine, redone and rehashed, made new, wringed out, tried again, but still a continuation, possibly, of another world. And unthinking and headless.

Episode two of the same saga stands to its left. Much smaller, missing the right arm. Missing both legs – but this is not why it’s short. Its body is much shorter than that of the first saga’s. And the third is nothing more than a torso, upright but unliving. I think I am starting to comprehend.

 

I search for the biggest body I can find. I want to discover what it is. I see it not too far off – black skin, a weak torso but strong legs, male, smooth and hairless. I stay below it, staring up, thinking nothing, mind quietly working. I stare at the place the body’s head should be.

And I see, I almost see a chin. It seems as though the neck extends – and it’s unusual there is a neck at all – into a chin. Nothing above, no face, no ear, no head, no brain. Just a neck, a chin and the rest of the heavy body, weight bearing down on itself. The feet are large, and I fully expect the white ground to crack and splinter beneath its form, but it remains stable. Supportive.

I wonder.

Is this figure the form of a story… or a continuation… that exceeded all limits? The types of stories some wonder why they ever got published or shelved. The types of stories some want to read but cannot dive into. The types of stories you feel envious that your friend understands.

I wonder.

Could this continuation be a book without a protagonist? Or written entirely without a full-stop? Or a book with no solid character at all? Or a story without an arc. Or a book devoid of all surrounding description. Or a story that uses the blankness of pages to enhance it. Or a book describing objects written by a blind man. Or a book filled with gibberish that becomes beautiful literature once you figure out how to read it. Or an event with no resolution.

Looking up at it, it is easy to think. But not so easy to consider a solution, an answer, to this. Who wrote this? Why is the figure of this book a huge, hairless black man? Why does this one have a neck and chin, an occurrence so rare I’ve not seen it before?

But alas the questions will remain floating in this emptiness, not one of them ever getting an answer. But I can understand this.

 

So I, a meagre and small continuation with no context to its birth, turn away. But still my blank mind rages with thoughts and I soon find myself still.

All around me, these stories, these continuations, these sagas and series and solos, stand as still as pillars. A storm could whisk the air around them, tsunamis could crash against their differing bodies, sledgehammers could buffet them, but they would not move. Any dents, or cracks, or chips would be minimal. But I, a moving version, would certainly get washed away. I am vulnerable, clearly.

And yet, another thought from my intangible soup of mind. I can see. I, unlike the tall and unthinking pillars, can not only move, but see. I can think. I can reason. I am small but different, very different. Nothing here can see me, though I am not hidden. These bodies are not dead, they live within their shaded shells, but they are senseless, motionless, invulnerable.

I am something very different.

 

I move on for some time, weaving, floating between each continuation. How am I different? What makes me a continuation worth eyes? What makes me worth movement? Numb feet that drag my body between lines and rows and columns and attentions. Are there more like me?

I pass bodies in the shape of women, some overweight, some slim, some missing limbs and some with extra. The same with the men, some have grotesque additions, body parts stuck on loosely, like a growth. And I remain silent through it all, letting my eyes take it in, letting my mind stay as silent and as cold as it needs to be. It works fast like this.

Some bodies are small, but not small like the 2nd and 3rd sagas I saw before. These are the head- and neckless bodies of children. Their tubby stomachs remain forever thrusted forward, elbows at their sides, and I wonder why some are smaller, some are bigger and some are missing limbs.

They are the same as the adult bodies in that way. The continuations of stories they are unlinked to, I suppose. Headless, thoughtless, but containing the heart and soul of something worthwhile. But yet, they see nothing, they think nothing, they are nothing.

I wonder about them.

V: Suicide Room

IV: Suicide Room

 

Disclaimer:

This file is not a pre-approved Suicide Room Case. However, it has become available to the public. It was discovered, and has been encrypted in such a way that hacking attempts have only managed to reveal unwilling words that do not work within any context. It is clearly a well-hidden file.

It has been released to the public under these conditions:
1) The main goal of releasing this file to the public is to recruit a larger number of people who could potentially figure out what it inside the document.
2) The contents of the document may not be used publicly until pre-approved by the Suicide Room.
3) Any readable and understandable contents of this document, if discovered, are to be reported immediately.
4) Any contents found unreported will be met with stern punishment.
5) Any names or assigned numbers within the document will be thoroughly investigated upon report and discovery.

To attempt to read the document, please select it below:

ENCRYPTED_DOCUMENT

Your co-operation on this endeavour is appreciated.

 

 

Hint: Pay special attention to the words used in III: Suicide Room