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-rw-r--r--src/TODO.txt3
-rw-r--r--src/arspoetica.txt51
-rw-r--r--src/art.txt26
-rw-r--r--src/axe.txt30
-rw-r--r--src/building.txt38
-rw-r--r--src/cereal.txt36
-rw-r--r--src/dream.txt25
-rw-r--r--src/early.txt35
-rw-r--r--src/epigraph.txt22
-rw-r--r--src/father.txt35
-rw-r--r--src/feedingtheraven.txt48
-rw-r--r--src/fire.txt42
-rw-r--r--src/hands.txt18
-rw-r--r--src/hardware.txt32
-rw-r--r--src/howtoread.txt190
-rw-r--r--src/hymnal.txt29
-rw-r--r--src/joke.txt46
-rw-r--r--src/leaf.txt24
-rw-r--r--src/leg.txt19
-rw-r--r--src/likingthings.txt61
-rw-r--r--src/lovesong.txt43
-rw-r--r--src/man.txt38
-rw-r--r--src/moon-drowning.txt4
-rw-r--r--src/movingsideways.txt54
-rw-r--r--src/music-433.txt2
-rw-r--r--src/notes.txt17
-rw-r--r--src/options.txt42
-rw-r--r--src/paul.txt12
-rw-r--r--src/philosophy.txt29
-rw-r--r--src/phone.txt40
-rw-r--r--src/planks.txt24
-rw-r--r--src/prelude.txt11
-rw-r--r--src/problems.txt64
-rw-r--r--src/proverbs.txt28
-rw-r--r--src/punch.txt31
-rw-r--r--src/purpose-dogs.txt37
-rw-r--r--src/question.txt46
-rw-r--r--src/reports.txt17
-rw-r--r--src/riptide_memory.txt36
-rw-r--r--src/sapling.txt42
-rw-r--r--src/shed.txt27
-rw-r--r--src/snow.txt42
-rw-r--r--src/stagnant.txt32
-rw-r--r--src/statements-frag.txt73
-rw-r--r--src/stump.txt33
-rw-r--r--src/swear.txt9
-rw-r--r--src/tapestry.txt46
-rw-r--r--src/telemarketer.txt91
-rw-r--r--src/toilet.txt22
-rw-r--r--src/toothpaste.txt37
-rw-r--r--src/underwear.txt27
-rw-r--r--src/wallpaper.txt36
-rw-r--r--src/window.txt44
-rw-r--r--src/words-meaning.txt56
-rw-r--r--src/writing.txt26
-rw-r--r--src/x-ray.txt36
-rw-r--r--src/yellow.txt37
57 files changed, 1002 insertions, 1099 deletions
diff --git a/src/TODO.txt b/src/TODO.txt index 0030650..aff6472 100644 --- a/src/TODO.txt +++ b/src/TODO.txt
@@ -2,6 +2,3 @@ TODO:
2----- 2-----
3 3
4* add in prose stuff from Elegies 4* add in prose stuff from Elegies
5* remove numbers from filenames & links
6* add genre to YAML metadata blocks
7
diff --git a/src/arspoetica.txt b/src/arspoetica.txt index 3014498..60b6ba1 100644 --- a/src/arspoetica.txt +++ b/src/arspoetica.txt
@@ -14,38 +14,33 @@ project:
14 link: theoceanoverflowswithcamels 14 link: theoceanoverflowswithcamels
15... 15...
16 16
17What is poetry? [Poetry is.][is] Inasmuch as life is, so is poetry. Here is 17What is poetry?
18the problem: life is very big and complex. Human beings are neither. We 18[Poetry is.][is]
19are small, simple beings that don’t want to know all of the myriad 19Inasmuch as life is, so is poetry.
20interactions happening all around us, within us, as a part of us, all 20Here is the problem: life is very big and complex.
21the hours of every day. We much prefer knowing only that which is just 21Human beings are neither.
22in front of our faces, staring us back with a look of utter contempt. 22We are small, simple beings that don’t want to know all of the myriad interactions happening all around us, within us, as a part of us, all the hours of every day.
23We much prefer knowing only that which is just in front of our faces, staring us back with a look of utter contempt.
23This is why many people are depressed. 24This is why many people are depressed.
24 25
25Poetry is an attempt made by some to open up our field of view, to maybe 26Poetry is an attempt made by some to open up our field of view, to maybe check on something else that isn’t staring us in the face so contemptibly.
26check on something else that isn’t staring us in the face so 27Maybe something else is smiling at us, we think.
27contemptibly. Maybe something else is smiling at us, we think. So we 28So we write poetry to force ourselves to look away from the [mirror][] of our existence to see something else.
28write poetry to force ourselves to look away from the [mirror][] of our
29existence to see something else.
30 29
31This is generally painful. To make it less painful, poetry compresses 30This is generally painful.
32reality a lot to make it more consumable. It takes life, that seawater, 31To make it less painful, poetry compresses reality a lot to make it more consumable.
33and boils it down and boils it down until only the salt remains, the 32It takes life, that seawater, and boils it down and boils it down until only the salt remains, the important parts that we can focus on and make some sense of the senselessness of life.
34important parts that we can focus on and make some sense of the 33Poetry is life bouillon, and to thoroughly enjoy a poem we must put that bouillon back into the seawater of life and make a delicious soup out of it.
35senselessness of life. Poetry is life bouillon, and to thoroughly enjoy 34To make this soup, to decompress the poem into an emotion or life, requires a lot of brainpower.
36a poem we must put that bouillon back into the seawater of life and make 35A good reader will have this brainpower.
37a delicious soup out of it. To make this soup, to decompress the poem 36A good poem will not require it.
38into an emotion or life, requires a lot of brainpower. A good reader
39will have this brainpower. A good poem will not require it.
40 37
41What this means is: a poem should be self-extracting. It should be a 38What this means is: a poem should be self-extracting.
42rare vanilla in the bottle, waiting only for someone to open it and 39It should be a rare vanilla in the bottle, waiting only for someone to open it and sniff it and suddenly there they are, in the orchid that vanilla came from, in the tropical land where it grew next to its brothers and sister vanilla plants.
43sniff it and suddenly there they are, in the orchid that vanilla came 40They feel the pain of having their children taken from them.
44from, in the tropical land where it grew next to its brothers and sister 41A good poem leaves a feeling of loss and of intense beauty.
45vanilla plants. They feel the pain of having their children taken from 42The reader does nothing to achieve this—they are merely the receptacle of the feeling that the poem forces onto them.
46them. A good poem leaves a feeling of loss and of intense beauty. The 43In a way, poetry is a crime.
47reader does nothing to achieve this—they are merely the receptacle of
48the feeling that the poem forces onto them. In a way, poetry is a crime.
49But it is the most beautiful crime on this crime-ridden earth. 44But it is the most beautiful crime on this crime-ridden earth.
50 45
51[is]: words-meaning.html 46[is]: words-meaning.html
diff --git a/src/art.txt b/src/art.txt index c439598..dc6e0bb 100644 --- a/src/art.txt +++ b/src/art.txt
@@ -15,16 +15,18 @@ project:
15 15
16Paul was writing in his diary about art. 16Paul was writing in his diary about art.
17 17
18_This is my brain_ he wrote. _This is my brain and all it contains. 'I 18_This is my brain_ he wrote.
19contain multitudes' said Legion. I think it was Legion._ The big heading he 19_This is my brain and all it contains.
20had written at the top of the page (_ART_ it read, but only when looking at it 20'I contain multitudes' said Legion.
21from his point of view) sat cold and alone, neglected in the white space 21I think it was Legion._
22surrounding it. He noticed this presently (but not after he had written a 22The big heading he had written at the top of the page (_ART_ it read, but only when looking at it from his point of view) sat cold and alone, neglected in the white space surrounding it.
23little more about multitudes), paused, frowned, and began to write again. 23He noticed this presently (but not after he had written a little more about multitudes), paused, frowned, and began to write again.
24 24
25_ART stands alone at the top of a blank page_ he wrote. _It follows ~~itself 25_ART stands alone at the top of a blank page_ he wrote.
26in circles~~ its own footprints in a circle around its own name. It leads 26_It follows ~~itself in circles~~ its own footprints in a circle around its own name.
27nowhere but is present everywhere. ~~It contains~~ It contains multitudes. 27It leads nowhere but is present everywhere.
28Every painting ever made is a painting of every other painting. Every song is 28~~It contains~~ It contains multitudes.
29a remix, a cover version._ He crossed out the part about songs for getting 29Every painting ever made is a painting of every other painting.
30off topic. He made a note to himself in the margin---_Music is not ART._ 30Every song is a remix, a cover version._
31He crossed out the part about songs for getting off topic.
32He made a note to himself in the margin---_Music is not ART._
diff --git a/src/axe.txt b/src/axe.txt index 2c7454b..4643aaf 100644 --- a/src/axe.txt +++ b/src/axe.txt
@@ -18,20 +18,22 @@ project:
18 link: art 18 link: art
19... 19...
20 20
21Paul took his axe and went out into the woods to chop trees. Or rather he 21Paul took his axe and went out into the woods to chop trees.
22went into the trees to chop wood. He wasn't sure. Either way it helped him 22Or rather he went into the trees to chop wood.
23think. Last time he'd gone out, he'd had an idea for a shoe-insert company he 23He wasn't sure.
24could start called "Paul's Bunyons." He chuckled to himself as he shouldered 24Either way it helped him think.
25his axe and went into the forest. 25Last time he'd gone out, he'd had an idea for a shoe-insert company he could start called "Paul's Bunyons."
26He chuckled to himself as he shouldered his axe and went into the forest.
26 27
27Deep into the woods he admired the organization of the trees. "They grow 28Deep into the woods he admired the organization of the trees.
28wherever they fall" he said "but still none is too close to another." He 29"They grow wherever they fall" he said "but still none is too close to another."
29sounded like Solomon to himself. He imagined he had a beard. 30He sounded like Solomon to himself.
31He imagined he had a beard.
30 32
31He walked for a long time in the shadows of the forest, in its coolness. It 33He walked for a long time in the shadows of the forest, in its coolness.
32sounded like snow had fallen but it was still October. The first time the 34It sounded like snow had fallen but it was still October.
33trees seemed to radiate out from him in straight lines he stopped and turned 35The first time the trees seemed to radiate out from him in straight lines he stopped and turned around four times.
34around four times. After he walked on he noticed it happened fairly often. 36After he walked on he noticed it happened fairly often.
35 37
36Still, after he felled his first tree that day he realized they grew from the 38Still, after he felled his first tree that day he realized they grew from the epicenter of his axe.
37epicenter of his axe. He paused in the small dark sound of the forest quiet. 39He paused in the small dark sound of the forest quiet.
diff --git a/src/building.txt b/src/building.txt index 4ceb244..88cbefc 100644 --- a/src/building.txt +++ b/src/building.txt
@@ -18,25 +18,25 @@ project:
18 link: axe 18 link: axe
19... 19...
20 20
21_ART and CRAFT are only the inside and outside of the same building. The 21_ART and CRAFT are only the inside and outside of the same building.
22ceiling is_---here he put his eraser to his bottom lip, thinking. He crossed 22The ceiling is_---here he put his eraser to his bottom lip, thinking.
23out _~~The ceiling is.~~_ _The floor is reality and the ceiling is 23He crossed out _~~The ceiling is.~~_
24~~aspiration~~ ~~desire~~ that which is desired. CRAFT is building a chair 24_The floor is reality and the ceiling is ~~aspiration~~ ~~desire~~ that which is desired.
25from wood. ART is using the wood as a substrate for an emotional message to a 25CRAFT is building a chair from wood.
26future person, the READER / VIEWER._ 26ART is using the wood as a substrate for an emotional message to a future person, the READER / VIEWER._
27 27
28_The important thing is they are both made of wood. The important thing is 28_The important thing is they are both made of wood.
29they were both, at one point, alive natural things that grew and changed and 29The important thing is they were both, at one point, alive natural things that grew and changed and pushed their way out of the dirt into the air.
30pushed their way out of the dirt into the air. They formed buildings out of 30They formed buildings out of the air.
31the air. They didn't even try._ 31They didn't even try._
32 32
33_What separates us from them, the trees? We have to try. We must labor to 33_What separates us from them, the trees?
34create our ART, our buildings of air. We lay them out brick by brick, we 34We have to try.
35build them up by disintegrating trees and forming them again into what they 35We must labor to create our ART, our buildings of air.
36were before. Why must we do this? are there any advantages to this human 36We lay them out brick by brick, we build them up by disintegrating trees and forming them again into what they were before.
37method?_ 37Why must we do this? are there any advantages to this human method?_
38 38
39_Our advantage is memory. Our advantage is the reaching-out over space and 39_Our advantage is memory.
40time to others with our words, our ART. Our buildings last for generations, 40Our advantage is the reaching-out over space and time to others with our words, our ART.
41and after they are demolished they are written about, photographs are taken, 41Our buildings last for generations, and after they are demolished they are written about, photographs are taken, we **remember**.
42we **remember**. The act of memory is our only ART._ 42The act of memory is our only ART._
diff --git a/src/cereal.txt b/src/cereal.txt index 8a2ba8e..b353644 100644 --- a/src/cereal.txt +++ b/src/cereal.txt
@@ -18,26 +18,24 @@ project:
18 link: building 18 link: building
19... 19...
20 20
21He woke up after eleven and didn't go outside all day, not even to his Writing 21He woke up after eleven and didn't go outside all day, not even to his Writing Shack.
22Shack. What did he do? 22What did he do?
23 23
24He watched late morning cartoons meant for children too young to go to school. 24He watched late morning cartoons meant for children too young to go to school.
25He ate bowls of cereal. He watched his mother play dominoes. He played 25He ate bowls of cereal.
26dominoes with her for a little while until she was winning by such a margin it 26He watched his mother play dominoes.
27wasn't fun for either of them. He went down to the basement to do his 27He played dominoes with her for a little while until she was winning by such a margin it wasn't fun for either of them.
28laundry. He pulled the chain for the light and it turned on like magic. 28He went down to the basement to do his laundry.
29"Electricity is like magic" he said to himself. He thought he would like to 29He pulled the chain for the light and it turned on like magic.
30write that down but his Implements were in the Shack. He'd already built up 30"Electricity is like magic" he said to himself.
31so much momentum inside. 31He thought he would like to write that down but his Implements were in the Shack.
32He'd already built up so much momentum inside.
32 33
33Inertia? he thought. "What's the difference between inertia and momentum" he 34Inertia? he thought.
34asked himself as he hefted dirty clothes into the washer. "Maybe inertia is 35"What's the difference between inertia and momentum" he asked himself as he hefted dirty clothes into the washer.
35the momentum of not moving" he thought as he measured and poured the blue 36"Maybe inertia is the momentum of not moving" he thought as he measured and poured the blue detergent into the drum.
36detergent into the drum. "Momentum is the inertia of moving forward through 37"Momentum is the inertia of moving forward through time" as he selected WARM-COLD on the dial and pulled it out to start the machine.
37time" as he selected WARM-COLD on the dial and pulled it out to start the 38"What do you think is the difference between inertia and momentum" he asked his mother when he opened the door at the top of the stairs.
38machine. "What do you think is the difference between inertia and momentum"
39he asked his mother when he opened the door at the top of the stairs.
40 39
41"When you switch over your laundry could you bring up my underwear from the 40"When you switch over your laundry could you bring up my underwear from the dryer" she asked not looking up from her dominoes.
42dryer" she asked not looking up from her dominoes. A thread of smoke curled 41A thread of smoke curled from her cigarette and spread out on the ceiling.
43from her cigarette and spread out on the ceiling.
diff --git a/src/dream.txt b/src/dream.txt index b933977..90312e9 100644 --- a/src/dream.txt +++ b/src/dream.txt
@@ -18,11 +18,12 @@ project:
18 link: cereal 18 link: cereal
19... 19...
20 20
21It had gotten cold. He went to lay down in bed with a pad and paper. He 21It had gotten cold.
22began to write. Although he hadn't tried it much in bed before, he liked it 22He went to lay down in bed with a pad and paper.
23mostly. His arm got tired journeying across the page like a series of 23He began to write.
24switchbacks down the wall of the Grand Canyon. He wrote this down in the 24Although he hadn't tried it much in bed before, he liked it mostly.
25margin, for later: 25His arm got tired journeying across the page like a series of switchbacks down the wall of the Grand Canyon.
26He wrote this down in the margin, for later:
26 27
27```hand 28```hand
28Arm journeying across \ 29Arm journeying across \
@@ -32,12 +33,16 @@ backs down the wall \
32of the Grand Canyon \ 33of the Grand Canyon \
33``` 34```
34 35
35His arm began to pain him. He adjusted his position in the bed. It didn't 36His arm began to pain him.
36help much with the pain. It still hurt as he wrote. He began to be 37He adjusted his position in the bed.
37distracted by his mother's music playing in the next room. 38It didn't help much with the pain.
39It still hurt as he wrote.
40He began to be distracted by his mother's music playing in the next room.
38 41
39"Could you turn that down please" he hollered across the wall to his mother. 42"Could you turn that down please" he hollered across the wall to his mother.
40She made no reply (music too loud). He gave his arm a break to look at what 43She made no reply (music too loud).
41he'd written. He couldn't make heads or tails of it. It looked like Arabic. 44He gave his arm a break to look at what he'd written.
45He couldn't make heads or tails of it.
46It looked like Arabic.
42 47
43He woke up gasping in a sweat. 48He woke up gasping in a sweat.
diff --git a/src/early.txt b/src/early.txt index 04ab997..0553a82 100644 --- a/src/early.txt +++ b/src/early.txt
@@ -18,25 +18,26 @@ project:
18 link: dream 18 link: dream
19... 19...
20 20
21_YOU CANNOT DISCOVER ART ART MUST BE CREATED_ he sat on the couch at home 21_YOU CANNOT DISCOVER ART ART MUST BE CREATED_ he sat on the couch at home while his mother watched TV and smoked.
22while his mother watched TV and smoked. Dinner had been chicken and peas with 22Dinner had been chicken and peas with milk and afterward Paul and his mother sat on opposite ends of the couch.
23milk and afterward Paul and his mother sat on opposite ends of the couch. At 23At intervals she would look sideways at Paul writing.
24intervals she would look sideways at Paul writing. He pretended not to notice. 24He pretended not to notice.
25 25
26_ART = ARTIFICE_ he wrote. _ARTIFICE MEANS UNNATURAL. ARTIFICE MEANS BUILT. 26_ART = ARTIFICE_ he wrote.
27TO BUILD MEANS TO FIND A PATTERN & FIND A PATTERN IS WHAT WE ARE GOOD AT._ He 27_ARTIFICE MEANS UNNATURAL.
28thought about this while someone else won a car. 28ARTIFICE MEANS BUILT.
29TO BUILD MEANS TO FIND A PATTERN & FIND A PATTERN IS WHAT WE ARE GOOD AT._
30He thought about this while someone else won a car.
29 31
30"Do you think humans are good at finding patterns because we are hunters" he 32"Do you think humans are good at finding patterns because we are hunters" he asked his mother.
31asked his mother. She looked sideways at him and said "Sure Paul." "Early on 33She looked sideways at him and said "Sure Paul."
32in our evolution we were hunters right? And to hunt we had to see the 34"Early on in our evolution we were hunters right?
33patterns in seemingly random events, like where the gazelle went each year" 35And to hunt we had to see the patterns in seemingly random events, like where the gazelle went each year"
34"Paul I'm trying to watch TV. If you're going to write this stuff go do it in 36"Paul I'm trying to watch TV.
35your room you're distracting." Paul got up and went to his room and lay down 37If you're going to write this stuff go do it in your room you're distracting."
36on his bed. 38Paul got up and went to his room and lay down on his bed.
37 39
38"If the gazelle went to the same place every year" he thought "did they know 40"If the gazelle went to the same place every year" he thought "did they know the pattern too?
39the pattern too? Or was it random for them, did they think each year 'This 41Or was it random for them, did they think each year 'This seems like a good spot let's graze here' without knowing?"
40seems like a good spot let's graze here' without knowing?"
41 42
42He wrote _PATTERN = MEMORY_ in his notebook. 43He wrote _PATTERN = MEMORY_ in his notebook.
diff --git a/src/epigraph.txt b/src/epigraph.txt index 1adac49..d99d474 100644 --- a/src/epigraph.txt +++ b/src/epigraph.txt
@@ -16,19 +16,15 @@ project:
16... 16...
17 17
18I saw my life branching out before me like the green fig tree in the story. 18I saw my life branching out before me like the green fig tree in the story.
19From the tip of every branch, like a fat purple fig, a wonderful future 19From the tip of every branch, like a fat purple fig, a wonderful future beckoned and winked.
20beckoned and winked. One fig was a husband and a happy home and children, and 20One fig was a husband and a happy home and children,
21another fig was a famous poet and another fig was a brilliant professor, and 21and another fig was a famous poet and another fig was a brilliant professor,
22another fig was Ee Gee, the amazing editor, and another fig was Europe and 22and another fig was Ee Gee, the amazing editor,
23Africa and South America, and another fig was Constantin and Socrates and 23and another fig was Europe and Africa and South America,
24Attila and a pack of [other lovers][] and queer names and offbeat professions, 24and another fig was Constantin and Socrates and Attila and a pack of [other lovers][] and queer names and offbeat professions,
25and another fig was an Olympic lady crew champion, and beyond and above these 25and another fig was an Olympic lady crew champion, and beyond and above these figs were many more figs I couldn't quite make out.
26figs were many more figs I couldn't quite make out. I saw myself sitting in 26I saw myself sitting in the crotch of this fig tree, starving to [death][], just because I couldn't make up my mind which of the figs I would choose.
27the crotch of this fig tree, starving to [death][], just because I couldn't 27I wanted each and every one of them, but choosing one meant losing all the rest, and, as I sat there, unable to decide, the figs began to wrinkle and go black, and, one by one, they plopped to the ground at my feet.
28make up my mind which of the figs I would choose. I wanted each and every one
29of them, but choosing one meant losing all the rest, and, as I sat there,
30unable to decide, the figs began to wrinkle and go black, and, one by one,
31they plopped to the ground at my feet.
32 28
33[other lovers]: spittle.html 29[other lovers]: spittle.html
34[death]: deathstrumpet.html 30[death]: deathstrumpet.html
diff --git a/src/father.txt b/src/father.txt index 693a61f..3c4e366 100644 --- a/src/father.txt +++ b/src/father.txt
@@ -18,22 +18,25 @@ project:
18 link: early 18 link: early
19... 19...
20 20
21"Is man the natural thing that makes unnatural things" he thought to himself 21"Is man the natural thing that makes unnatural things" he thought to himself as he looked out the kitchen window at the shed.
22as he looked out the kitchen window at the shed. He wondered who built the 22He wondered who built the shed for the first time since he'd been going out there.
23shed for the first time since he'd been going out there. "Mom who built the 23"Mom who built the shed out back" he asked.
24shed out back" he asked. "That was your father" she said. 24"That was your father" she said.
25 25
26His father. Paul had never met him. His mother had said when he was a kid 26His father.
27that his father was caught by a riptide while swimming in the ocean. He 27Paul had never met him.
28hadn't noticed what was happening until the land was a thin line on the 28His mother had said when he was a kid that his father was caught by a [riptide][] while swimming in the ocean.
29horizon. He became exhausted swimming back and drowned. His body was found a 29He hadn't noticed what was happening until the land was a thin line on the horizon.
30week later by the coroner's estimate. Paul never really believed this story 30He became exhausted swimming back and drowned.
31because his mother's face was sad in the wrong way when she told it. 31His body was found a week later by the coroner's estimate.
32Paul never really believed this story because his mother's face was sad in the wrong way when she told it.
32 33
33She said he looked like his father but she also said all men look alike. Paul 34She said he looked like his father but she also said all men look alike.
34realized he'd been standing at the kitchen window for a long time looking out 35Paul realized he'd been standing at the kitchen window for a long time looking out at the shed without realizing it.
35at the shed without realizing it. He went out to take an inventory of 36He went out to take an inventory of everything inside.
36everything inside.
37 37
38"Where you going" asked his mother. "To the shed. I'll be back in a bit" he 38"Where you going" asked his mother.
39said. 39"To the shed.
40I'll be back in a bit" he said.
41
42[riptide]: riptide_memory.html
diff --git a/src/feedingtheraven.txt b/src/feedingtheraven.txt index ec47846..9095832 100644 --- a/src/feedingtheraven.txt +++ b/src/feedingtheraven.txt
@@ -14,35 +14,31 @@ project:
14 link: onformalpoetry 14 link: onformalpoetry
15... 15...
16 16
17You never can tell just when Charlie Sheen will enter your life. For me, 17You never can tell just when Charlie Sheen will enter your life.
18it was last Thursday. I was reading some translation of a Japanese 18For me, it was last Thursday.
19translation of "The Raven" in which the Poe and the raven become 19I was reading some translation of a Japanese translation of "The Raven" in which the Poe and the raven become friends.
20friends. At one point the raven gets very sick and Poe feeds him at his 20At one point the raven gets very sick and Poe feeds him at his bedside and nurses him back to health.
21bedside and nurses him back to health. The story was very heartwarming 21The story was very heartwarming and sad at the same time and my tears were welling up when suddenly I heard a knock on my door.
22and sad at the same time and my tears were welling up when suddenly I
23heard a knock on my door.
24 22
25I shuffled over, sniffling but managing to keep my cheeks dry to open 23I shuffled over, sniffling but managing to keep my cheeks dry to open it.
26it. Of course Charlie was beaming on the other side, with a bag of 24Of course Charlie was beaming on the other side, with a bag of flowers and a grin like a [dog][]'s.
27flowers and a grin like a [dog][]'s. He bounded in the room without saying 25He bounded in the room without saying hello and threw the flowers in the sink, opened the refrigerator and started poking around.
28hello and threw the flowers in the sink, opened the refrigerator and 26I said "It's nice to see you too" and went to my room to get a camera, as well as a notebook for him to sign.
29started poking around. I said "It's nice to see you too" and went to my
30room to get a camera, as well as a notebook for him to sign.
31 27
32When I came back he was on the floor, hunched and groaning. I looked on 28When I came back he was on the floor, hunched and groaning.
33the table to see a month-old half-gallon of milk---now cottage 29I looked on the table to see a month-old half-gallon of milk---now cottage cheese---half-empty and dripping.
34cheese---half-empty and dripping. The remnants were on his mouth, and at 30The remnants were on his mouth, and at once I saw my chance to become Poe in this [translation of a translation][] of a translation.
35once I saw my chance to become Poe in this [translation of a translation][] 31I knelt next to Charlie, cradled his head in my lap.
36of a translation. I knelt next to Charlie, cradled his head in my lap. 32He looked up at me with a stare full of terror.
37He looked up at me with a stare full of terror. I returned it levelly, 33I returned it levelly, making cooing noises at him until he calmed down.
38making cooing noises at him until he calmed down.
39 34
40When he was calm he excused himself to be sick on my toilet. He wouldn't 35When he was calm he excused himself to be sick on my toilet.
41let me follow but said he would sign whatever I liked when he got back. 36He wouldn't let me follow but said he would sign whatever I liked when he got back.
42After half an hour passed and all I'd had for company was the ticking of 37After half an hour passed and all I'd had for company was the ticking of the [clock][], I went to the bathroom door.
43the [clock][], I went to the bathroom door. I knocked carefully---once, then 38I knocked carefully---once, then twice---to no beaming face, no flowers.
44twice---to no beaming face, no flowers. I opened the door. There was shit 39I opened the door.
45on the floor and the window was open. There was a breeze blowing. 40There was shit on the floor and the window was open.
41There was a breeze blowing.
46 42
47[dog]: purpose-dogs.html 43[dog]: purpose-dogs.html
48[translation of a translation]: todaniel.html 44[translation of a translation]: todaniel.html
diff --git a/src/fire.txt b/src/fire.txt index 4ca2ce7..c68a590 100644 --- a/src/fire.txt +++ b/src/fire.txt
@@ -16,25 +16,27 @@ project:
16 link: father 16 link: father
17... 17...
18 18
19His mother ran out of the house in her nightgown. "What the hell do you think 19His mother ran out of the house in her nightgown.
20you're doing" she hollered as Paul watched the shed. "I'm burning the shed 20"What the hell do you think you're doing" she hollered as Paul watched the shed.
21down" he said smiling "isn't it warm?" "It's warm enough out here without 21"I'm burning the shed down" he said smiling "isn't it warm?"
22that burning down" she said "go get the hose and put this thing out." "But 22"It's warm enough out here without that burning down" she said "go get the hose and put this thing out."
23Mom" "Do it" she said in the tone of voice that meant Do it now. He went 23"But Mom---"
24around the side of the house screwed the nozzle on grabbed the end of the hose 24"Do it" she said in the tone of voice that meant Do it now.
25pulled it around the house and waited for water to come out the end. When it 25He went around the side of the house screwed the nozzle on grabbed the end of the hose pulled it around the house and waited for water to come out the end.
26did it was not in a very strong stream. "I don't think this is going to work" 26When it did it was not in a very strong stream.
27Paul said to his mother. "God damn it I have to call the Fire Department" she 27"I don't think this is going to work" Paul said to his mother.
28said and went inside the house. The shed continued in its burning. 28"God damn it I have to call the Fire Department" she said and went inside the house.
29The shed continued in its burning.
29 30
30After the Fire Department put out the fire one of the men said "Your mother 31After the Fire Department put out the fire one of the men said "Your mother says you set this building on fire.
31says you set this building on fire. You know Arson is a major offense." "I 32You know Arson is a major offense."
32set it on fire" Paul said. "Why?" "Because ART wants to be random, it wants 33"I set it on fire" Paul said.
33to be natural, but it isn't. Humans create ART because we can't help but see 34"Why?"
34patterns in randomness. But we feel guilty about it." The man nodded to 35"Because ART wants to be random, it wants to be natural, but it isn't.
35another man in a blue uniform. "We want the ART to feel natural, to feel 36Humans create ART because we can't help but see patterns in randomness.
36random, but we can't stop seeing the patterns" as the man in blue walked over 37But we feel guilty about it."
37and put a hand on Paul's shoulder "ART is unnatural by its very nature. I 38The man nodded to another man in a blue uniform.
38took my ART and gave it back to nature" as the man led him over to a black and 39"We want the ART to feel natural, to feel random, but we can't stop seeing the patterns" as the man in blue walked over and put a hand on Paul's shoulder "ART is unnatural by its very nature.
39white car and put him inside. He was saying something about Paul's right. 40I took my ART and gave it back to nature" as the man led him over to a black and white car and put him inside.
41He was saying something about Paul's right.
40"No it's my left that was hurt" said Paul "but it's all better now." 42"No it's my left that was hurt" said Paul "but it's all better now."
diff --git a/src/hands.txt b/src/hands.txt index 3d65193..55fa17e 100644 --- a/src/hands.txt +++ b/src/hands.txt
@@ -18,15 +18,17 @@ project:
18 link: fire 18 link: fire
19... 19...
20 20
21He looked down at his hands idly while he was typing. They were dry and 21He looked down at his hands idly while he was typing.
22cracked in places. He thought he might start bleeding so he went inside for 22They were dry and cracked in places.
23some lotion. 23He thought he might start bleeding so he went inside for some lotion.
24 24
25"Do we have any lotion" he asked his mother. "In the medicine cabinet" she 25"Do we have any lotion" he asked his mother.
26said without looking up from the TV. He walked into the bathroom and looked 26"In the medicine cabinet" she said without looking up from the TV.
27at himself in the mirror. "I look strange" he said to himself "I look like a 27He walked into the bathroom and looked at himself in the mirror.
28teenager." He stared into his right eye, then his left. He saw nothing but 28"I look strange" he said to himself "I look like a teenager."
29his own reflection fish-eyed in his pupils. He opened the medicine cabinet. 29He stared into his right eye, then his left.
30He saw nothing but his own reflection fish-eyed in his pupils.
31He opened the medicine cabinet.
30 32
31Back in his Writing Shack, he started to type. 33Back in his Writing Shack, he started to type.
32 34
diff --git a/src/hardware.txt b/src/hardware.txt index 3ff1ddc..37a6f99 100644 --- a/src/hardware.txt +++ b/src/hardware.txt
@@ -18,20 +18,24 @@ project:
18 link: hands 18 link: hands
19... 19...
20 20
21His mother drove him to the Hardware Store on a Tuesday. "I'm glad to see 21His mother drove him to the Hardware Store on a Tuesday.
22you've taken my advice for once" she said. "What do you mean." "Applying to 22"I'm glad to see you've taken my advice for once" she said.
23work at the Hardware Store. I'm proud of you Paul." 23"What do you mean."
24"Applying to work at the Hardware Store.
25I'm proud of you Paul."
24 26
25"Oh right. Sure thing." They pulled into the parking lot. "Just be a 27"Oh right.
26minute" he said as he opened the car door. 28Sure thing."
29They pulled into the parking lot.
30"Just be a minute" he said as he opened the car door.
27 31
28He walked under the door resplendent in its King William orange and white. He 32He walked under the door resplendent in its King William orange and white.
29saw the towering rows of shelves like mountain ridges in Hell. He strolled 33He saw the towering rows of shelves like mountain ridges in Hell.
30among the fixtures, pipes, planks, sheets, plants (Why plants? he thought), 34He strolled among the fixtures, pipes, planks, sheets, plants (Why plants? he thought), switches.
31switches. He realized he didn't know the first thing about building 35He realized he didn't know the first thing about building furniture.
32furniture. "I don't know the first thing" he muttered to himself "about 36"I don't know the first thing" he muttered to himself "about building furniture.
33building furniture. I know the last thing would be a couch or chair or stool 37I know the last thing would be a couch or chair or stool but the first thing is a mystery."
34but the first thing is a mystery." He turned around and walked straight out 38He turned around and walked straight out of the store and to his mother's car without looking up.
35of the store and to his mother's car without looking up.
36 39
37"How'd it go" she asked starting the car. "Great" he said. 40"How'd it go" she asked starting the car.
41"Great" he said.
diff --git a/src/howtoread.txt b/src/howtoread.txt index 2fed4be..fe51355 100644 --- a/src/howtoread.txt +++ b/src/howtoread.txt
@@ -14,141 +14,85 @@ project:
14 link: epigraph 14 link: epigraph
15... 15...
16 16
17This book is an exploration of life, of all possible lives that could be 17This book is an exploration of life, of all possible lives that could be lived.
18lived. Each of the poems contained herein have been written by a different 18Each of the poems contained herein have been written by a different person, with his own history, culture, and emotions.
19person, with his own history, culture, and emotions. True, they are all 19True, they are all related, but no more than any of us is related through our genetics, our shared planet, or our yearnings.
20related, but no more than any of us is related through our genetics, our
21shared planet, or our yearnings.
22 20
23Fernando Pessoa wrote poems under four different identities---he called 21Fernando Pessoa wrote poems under four different identities---he called them *heteronyms*---that were known during his lifetime, though after his death over sixty have been found and catalogued.
24them *heteronyms*---that were known during his lifetime, though after his 22He called them heteronyms as opposed to pseudonyms because they were much more than names he wrote under.
25death over sixty have been found and catalogued. He called them heteronyms as 23They were truly different writing selves, concerned with different ideas and writing with different styles:
26opposed to pseudonyms because they were much more than names he wrote under. 24Alberto Caeiro wrote pastorals;
27They were truly different writing selves, concerned with different ideas and 25Ricardo Reis wrote more formal odes;
28writing with different styles: Alberto Caeiro wrote pastorals; Ricardo Reis 26Álvaro de Campos wrote these long, Whitman-esque pieces (one to Whitman himself);
29wrote more formal odes; Álvaro de Campos wrote these long, Whitman-esque 27and Pessoa's own name was used for poems that are kind of similar to all the others.
30pieces (one to Whitman himself); and Pessoa's own name was used for poems that 28It seems as though Pessoa found it inefficient to try and write everything he wanted only in his own self;
31are kind of similar to all the others. It seems as though Pessoa found it 29rather he parceled out the different pieces and developed them into full identities, at the cost of his own:
32inefficient to try and write everything he wanted only in his own self; rather 30"I subsist as a kind of medium of myself, but I'm less real than the others, less substantial, less personal, and easily influenced by them all."
33he parceled out the different pieces and developed them into full identities, 31de Campos said of him at one point, "[Fernando Pessoa, strictly speaking, doesn't exist.][pessoa-exist]"
34at the cost of his own: "I subsist as a kind of medium of myself, but I'm less
35real than the others, less substantial, less personal, and easily influenced
36by them all." de Campos said of him at one point, "[Fernando Pessoa, strictly
37speaking, doesn't exist.][pessoa-exist]"
38 32
39It's not just Pessoa---I, strictly speaking, don't exist, both as the 33It's not just Pessoa---I, strictly speaking, don't exist, both as the specific me that writes this now and as the concept of selfhood, the ego.
40specific me that writes this now and as the concept of selfhood, the ego. 34Heraclitus famously said that we can't step into the [same river][] twice, and the fact of the matter is that we can't occupy the same self twice.
41Heraclitus famously said that we can't step into the [same river][] twice, and 35It's constantly changing and adapting to new stimuli from the environment, from other selves, from inside itself, and each time it forms anew into something that's never existed before.
42the fact of the matter is that we can't occupy the same self twice. It's 36The person I am beginning a poem is a separate being than the one I am finishing a poem, and part of it is the poem I've written has brought forth some other dish onto the great table that is myself.
43constantly changing and adapting to new stimuli from the environment, from
44other selves, from inside itself, and each time it forms anew into something
45that's never existed before. The person I am beginning a poem is a separate
46being than the one I am finishing a poem, and part of it is the poem I've
47written has brought forth some other dish onto the great table that is myself.
48 37
49In the same way, with each poem you read of this, you too could become a 38In the same way, with each poem you read of this, you too could become a different person.
50different person. Depending on which order you read them in, you could be any 39Depending on which order you read them in, you could be any number of possible people.
51number of possible people. If you follow the threads I've laid out for you, 40If you follow the threads I've laid out for you, there are so many possible selves; if you disregard those and go a different way there are quite a few more.
52there are so many possible selves; if you disregard those and go a different 41However, at the end of the journey there is only one self that you will occupy, the others disappearing from this universe and going maybe somewhere else, maybe nowhere at all.
53way there are quite a few more. However, at the end of the journey there is
54only one self that you will occupy, the others disappearing from this universe
55and going maybe somewhere else, maybe nowhere at all.
56 42
57There is a scene in *The Neverending Story* where Bastian is trying to find 43There is a scene in *The Neverending Story* where Bastian is trying to find his way out of the desert.
58his way out of the desert. He opens a door and finds himself in the Temple of 44He opens a door and finds himself in the Temple of a Thousand Doors, which is never seen from the outside but only once someone enters it.
59a Thousand Doors, which is never seen from the outside but only once someone 45It is a series of rooms with six sides each and three doors: one from the room before and two choices.
60enters it. It is a series of rooms with six sides each and three doors: one 46In life, each of these rooms is a moment, but where Bastian can choose which of only two doors to enter each time, in life there can be any number of doors and we don't always choose which to go through---in fact, I would argue that most of the time we aren't allowed the luxury.
61from the room before and two choices. In life, each of these rooms is a
62moment, but where Bastian can choose which of only two doors to enter each
63time, in life there can be any number of doors and we don't always choose
64which to go through---in fact, I would argue that most of the time we aren't
65allowed the luxury.
66 47
67What happens to those other doors, those other possibilities? Is there some 48What happens to those other doors, those other possibilities?
68other version of the self that for whatever complexities of circumstance and 49Is there some other version of the self that for whatever complexities of circumstance and will chose a different door at an earlier moment?
69will chose a different door at an earlier moment? The answer to this, of 50The answer to this, of course, is that we can never know for sure, though this doesn't keep us from trying through the process of regret.
70course, is that we can never know for sure, though this doesn't keep us from 51We go back and try that other door in our mind, extrapolating a possible present from our own past.
71trying through the process of regret. We go back and try that other door in 52This is ultimately unsatisfying, not only because whatever world is imagined is not the one currently lived, but because it becomes obvious that the alternate model of reality is not complete: we can only extrapolate from the original room, absolutely without knowledge of any subsequent possible choices.
72our mind, extrapolating a possible present from our own past. This is 53This causes a deep disappointment, a frustration with the inability to know all possible timelines (coupled with the insecurity that this may not be the best of all possible worlds) that we feel as regret.
73ultimately unsatisfying, not only because whatever world is imagined is not
74the one currently lived, but because it becomes obvious that the alternate
75model of reality is not complete: we can only extrapolate from the original
76room, absolutely without knowledge of any subsequent possible choices. This
77causes a deep disappointment, a frustration with the inability to know all
78possible timelines (coupled with the insecurity that this may not be the best
79of all possible worlds) that we feel as regret.
80 54
81In this way, every moment we live is an [elegy][] to every possible future 55In this way, every moment we live is an [elegy][] to every possible future that might have stemmed from it.
82that might have stemmed from it. Annie Dillard states this in a biological 56Annie Dillard states this in a biological manner when she says in *Pilgrim at Tinker Creek*, "Every glistening egg is a memento mori."
83manner when she says in *Pilgrim at Tinker Creek*, "Every glistening egg is a 57Nature is inefficient---it spends a hundred lifetimes to get one that barely works.
84memento mori." Nature is inefficient---it spends a hundred lifetimes to get 58The fossil record is littered with the failed experiments of evolution, many of which failed due only to blind chance: an asteroid, a shift in weather patterns, an inefficient copulation method.
85one that barely works. The fossil record is littered with the failed 59Each living person today has twenty dead standing behind him, and that only counts the people that actually lived.
86experiments of evolution, many of which failed due only to blind chance: an 60How many missed opportunities stand behind any of us?
87asteroid, a shift in weather patterns, an inefficient copulation method. Each
88living person today has twenty dead standing behind him, and that only counts
89the people that actually lived. How many missed opportunities stand behind
90any of us?
91 61
92The real problem with all of this is that time is only additive. There's no 62The real problem with all of this is that time is only additive.
93way to dial it back and start over, with new choices or new environments. Even 63There's no way to dial it back and start over, with new choices or new environments.
94when given the chance to do something again, we do it *again*, with the 64Even when given the chance to do something again, we do it *again*, with the reality given by our previous action.
95reality given by our previous action. Thus we are constantly creating and 65Thus we are constantly creating and being created by the world.
96being created by the world. The self is never the same from one moment to the 66The self is never the same from one moment to the next.
97next.
98 67
99A poem is like a snapshot of a self. If it's any good, it captures the 68A poem is like a snapshot of a self.
100emotional core of the self at the time of writing for communication with 69If it's any good, it captures the emotional core of the self at the time of writing for communication with future selves, either within the same person or outside of it.
101future selves, either within the same person or outside of it. Thus revision 70Thus revision is possible, and the new poem created will be yet another snapshot of the future self as changed by the original poem.
102is possible, and the new poem created will be yet another snapshot of the 71The page becomes a window into the past, a particular past as experienced by one self.
103future self as changed by the original poem. The page becomes a window into 72The poem is a remembering of a self that no longer exists, in other words, an elegy.
104the past, a particular past as experienced by one self. The poem is a
105remembering of a self that no longer exists, in other words, an elegy.
106 73
107A snapshot doesn't capture the entire subject, however. It leaves out the 74A snapshot doesn't capture the entire subject, however.
108background as it's obscured by foreground objects; it fails to include 75It leaves out the background as it's obscured by foreground objects; it fails to include anything that isn't contained in its finite frame.
109anything that isn't contained in its finite frame. In order to build a 76In order to build a working definition of identity, we must include all possible selves over all possible timelines, combined into one person: identity is the combined effect of all possible selves over time.
110working definition of identity, we must include all possible selves over all 77A poem leaves much of this out: it is the one person standing in front of twenty ghosts.
111possible timelines, combined into one person: identity is the combined effect
112of all possible selves over time. A poem leaves much of this out: it is the
113one person standing in front of twenty ghosts.
114 78
115A poem is the place where the selves of the reader and the speaker meet, in 79A poem is the place where the selves of the reader and the speaker meet, in their respective times and places.
116their respective times and places. In this way a poem is outside of time or 80In this way a poem is outside of time or place, because it changes its location each time it's read.
117place, because it changes its location each time it's read. Each time it's 81Each time it's two different people meeting.
118two different people meeting. The problem with a poem is that it's such a 82The problem with a poem is that it's such a small window---if we met in real life the way we met in poems, we would see nothing of anyone else but a square the size of a postage stamp.
119small window---if we met in real life the way we met in poems, we would see 83It has been argued this is the way we see time and ourselves in it, as well: Vonnegut uses the metaphor of a subject strapped to a railroad car moving at a set pace, with a six-foot-long metal tube placed in front of the subject's eye; the landscape in the distance is time, and what we see is the only way in which we interact with it. It's the same with a poem and the self: we can only see and interact with a small kernel.
120nothing of anyone else but a square the size of a postage stamp. It has been 84This is why it's possible to write more than one poem.
121argued this is the way we see time and ourselves in it, as well: Vonnegut uses
122the metaphor of a subject strapped to a railroad car moving at a set pace,
123with a six-foot-long metal tube placed in front of the subject's eye; the
124landscape in the distance is time, and what we see is the only way in which we
125interact with it. It's the same with a poem and the self: we can only see and
126interact with a small kernel. This is why it's possible to write more than
127one poem.
128 85
129Due to this kernel nature of poetry, a good poem should focus itself to 86Due to this kernel nature of poetry, a good poem should focus itself to extract as much meaning as possible from that one kernel of identity to which it has access.
130extract as much meaning as possible from that one kernel of identity to which 87It should be an atom of selfhood, irreducible and resistant to paraphrase, because it tries to somehow echo the large unsayable part of identity outside the frame of the self.
131it has access. It should be an atom of selfhood, irreducible and resistant to 88It is the [kernel][] that contains a universe, or that speaks around one that's hidden; if it's a successful poem then it makes the smallest circuit possible.
132paraphrase, because it tries to somehow echo the large unsayable part of 89This is why the commentary on poems is so voluminous: a poem is tightly packed meaning that commentators try to unpack to get at that universality inside it.
133identity outside the frame of the self. It is the [kernel][] that contains a 90A fortress of dialectic is constructed that ultimately obstructs the meaning behind the poem; it becomes the foreground in the photograph that disallows us to view the horizon beyond it.
134universe, or that speaks around one that's hidden; if it's a successful poem
135then it makes the smallest circuit possible. This is why the commentary on
136poems is so voluminous: a poem is tightly packed meaning that commentators try
137to unpack to get at that universality inside it. A fortress of dialectic is
138constructed that ultimately obstructs the meaning behind the poem; it becomes
139the foreground in the photograph that disallows us to view the horizon beyond
140it.
141 91
142With this in mind, I collect these poems that were written over a period of 92With this in mind, I collect these poems that were written over a period of four years into this book.
143four years into this book. Where I can, I insert cross-references (like the 93Where I can, I insert cross-references (like the one above, in the margin) to other pieces in the text where I think the two resonate in some way.
144one above, in the margin) to other pieces in the text where I think the two 94You can read this book in any way you'd like: you can go front-to-back, or back-to-front, or you can follow the arrows around, or you can work out a complex mathematical formula with Merseinne primes and logarithms and the 2000 Census information, or you can go completely randomly through like a magazine, or at least the way I flip through magazines.
145resonate in some way. You can read this book in any way you'd like: you can 95I think writing is a communication of the self, and I think this is the best way to communicate mine in all its multiversity.
146go front-to-back, or back-to-front, or you can follow the arrows around, or
147you can work out a complex mathematical formula with Merseinne primes and
148logarithms and the 2000 Census information, or you can go completely randomly
149through like a magazine, or at least the way I flip through magazines. I
150think writing is a communication of the self, and I think this is the best way
151to communicate mine in all its multiversity.
152 96
153[pessoa-exist]: philosophy.html 97[pessoa-exist]: philosophy.html
154[same river]: mountain.html 98[same river]: mountain.html
diff --git a/src/hymnal.txt b/src/hymnal.txt index 199746d..2e1b392 100644 --- a/src/hymnal.txt +++ b/src/hymnal.txt
@@ -18,21 +18,24 @@ project:
18 link: hardware 18 link: hardware
19... 19...
20 20
21_It's all jokes_ Paul wrote in what he was now calling his Hymnal. He had 21_It's all [jokes][]_ Paul wrote in what he was now calling his Hymnal.
22been writing non-stop all day, because he didn't count pee- or cigarette- 22He had been writing non-stop all day, because he didn't count pee- or cigarette- breaks.
23breaks. _All art is an inside joke. The symbology involved must be_---and here 23_All art is an inside joke.
24he put down his pen and held his head in his hands. He could never think of 24The symbology involved must be_---and here he put down his pen and held his head in his hands.
25the word---he said often that he had no words. He opened to a new page in his 25He could never think of the word---he said often that he had no words.
26Hymnal. On the top of it was written in bold script _**HYMN 386: JOKES**_. 26He opened to a new page in his Hymnal.
27On the top of it was written in bold script _**HYMN 386: JOKES**_.
27 28
28Paul scowled. Who had written in his Hymnal? he wondered. He said it out 29Paul scowled.
29loud a moment after: "Who has written in my Hymnal?" He realized he was alone 30Who had written in his Hymnal? he wondered.
30in his Writing Shack, which was really a shed in the back of his mother's 31He said it out loud a moment after: "Who has written in my Hymnal?"
31garden. He wondered why he had to say his thoughts before they became real to 32He realized he was alone in his Writing Shack, which was really a shed in the back of his mother's garden.
32him (if this was a habit or an inborn trait). He realized simultaneously that 33He wondered why he had to say his thoughts before they became real to him (if this was a habit or an inborn trait).
34He realized simultaneously that
33 35
34(a) he could ask someone and 36(a) he could ask someone and
35(b) that this was something he wondered every time he spoke his thoughts out 37(b) that this was something he wondered every time he spoke his thoughts out loud.
36 loud.
37 38
38He resolved to put the issue to rest by asking someone. 39He resolved to put the issue to rest by asking someone.
40
41[jokes]: joke.html
diff --git a/src/joke.txt b/src/joke.txt index 00053bd..78e7de3 100644 --- a/src/joke.txt +++ b/src/joke.txt
@@ -18,27 +18,35 @@ project:
18 link: hymnal 18 link: hymnal
19... 19...
20 20
21He wrote _**JOKES**_ on the top of a page in his notebook. He had run out of 21He wrote _**JOKES**_ on the top of a page in his notebook.
22notecards and hadn't been able to convince his mother to go to the Office 22He had run out of notecards and hadn't been able to convince his mother to go to the Office Supply Store for him.
23Supply Store for him. He left a space underneath it and wrote. 23He left a space underneath it and wrote.
24 24
25_"Tell us a joke" the listeners say to the clown. They have gather together 25_"Tell us a joke" the listeners say to the clown.
26in the clearing because they have heard he would be there, and they have heard 26They have gather together in the clearing because they have heard he would be there, and they have heard he knew very funny jokes that were also true.
27he knew very funny jokes that were also true. "Tell us a joke that is true" 27"Tell us a joke that is true" they say._
28they say._
29 28
30_The clown does not move from the stump. He doesn't move at all. The 29_The clown does not move from the stump.
31listeners watch, gap-mouthed, as a butterfly lands on his hat. A breeze 30He doesn't move at all.
32ruffles his coat and the butterfly flies away. Hours pass. The listeners 31The listeners watch, gap-mouthed, as a butterfly lands on his hat.
33grow impatient. Some begin yelling insults at the clown. Eventually, they 32A breeze ruffles his coat and the butterfly flies away.
34begin to walk away into the woods._ 33Hours pass.
34The listeners grow impatient.
35Some begin yelling insults at the clown.
36Eventually, they begin to walk away into the woods._
35 37
36_The moon rises on the clearing. The only people left are the clown and a 38_The moon rises on the clearing.
37listener, the last listener. She has been waiting for the joke a long time. 39The only people left are the clown and a listener, the last listener.
38The clown opens his mouth and she leans in closer to hear. He closes it as a 40She has been waiting for the joke a long time.
39tear falls onto his coat, then another. He opens his mouth again in a sob. 41The clown opens his mouth and she leans in closer to hear.
42He closes it as a tear falls onto his coat, then another.
43He opens his mouth again in a sob.
40The listener walks over to him and puts a hand on his shoulder._ 44The listener walks over to him and puts a hand on his shoulder._
41 45
42_"I'm sorry" says the clown. "Sorry for what" she asks. "I don't know. I 46_"I'm sorry" says the clown.
43don't know any jokes." He disappears. The last listener sits on the log and 47"Sorry for what" she asks.
44looks at the sky. There are no stars._ 48"I don't know.
49I don't know any jokes."
50He disappears.
51The last listener sits on the log and looks at the sky.
52There are no stars._
diff --git a/src/leaf.txt b/src/leaf.txt index dec253c..eb6941e 100644 --- a/src/leaf.txt +++ b/src/leaf.txt
@@ -18,18 +18,18 @@ project:
18 link: joke 18 link: joke
19... 19...
20 20
21He shrugged the wood off his shoulder, letting it fall with a clog onto the 21He shrugged the wood off his shoulder, letting it fall with a clog onto the earth floor of his Writing Shack.
22earth floor of his Writing Shack. He exhaled looking out of the window. He 22He exhaled looking out of the window.
23hoped to see a bird fly by, maybe a blue jay or raven. No bird did. He 23He hoped to see a bird fly by, maybe a blue jay or raven.
24inhaled. He exhaled again in a way that could only be classified as a sigh. 24No bird did.
25He sat down at his writing desk. He began shuffling through what he'd 25He inhaled.
26written, trying to find some sort of pattern. 26He exhaled again in a way that could only be classified as a sigh.
27He sat down at his writing desk.
28He began shuffling through what he'd written, trying to find some sort of pattern.
27 29
28"*Each piece of paper---each leaf---*" at this he smiled--- "*is like a tree 30"*Each piece of paper---each leaf---*" at this he smiled---"*is like a tree in the forest.*"
29in the forest.*" He was writing as he thought aloud. "*I, as the artist, as 31He was writing as he thought aloud.
30the **writer**, must select which to use, chop down those trees, bring them 32"*I, as the artist, as the **writer**, must select which to use, chop down those trees, bring them back to my shed and*---and---" he frowned as he realized the only end to this metaphor was fire.
31back to my shed and*---and---" he frowned as he realized the only end to this 33He ran his fingers through his hair in a self-soothing gesture.
32metaphor was fire. He ran his fingers through his hair in a self-soothing
33gesture.
34 34
35"I need to build some furniture" he thought. 35"I need to build some furniture" he thought.
diff --git a/src/leg.txt b/src/leg.txt index ec09227..22b93e4 100644 --- a/src/leg.txt +++ b/src/leg.txt
@@ -18,14 +18,13 @@ project:
18 link: leaf 18 link: leaf
19... 19...
20 20
21His first chair was a stool. It was an uneven wobbly stool that would not 21His first chair was a stool.
22support even forty pounds. "So my first chair is a broken stool" he said 22It was an uneven wobbly stool that would not support even forty pounds.
23after nearly breaking his tailbone on the dirt floor. "Maybe I should start 23"So my first chair is a broken stool" he said after nearly breaking his tailbone on the dirt floor.
24again but this time only with legs." He began again but this time only with 24"Maybe I should start again but this time only with legs."
25legs. He built one leg, which means he cut a straight piece of wood down to 25He began again but this time only with legs.
26four feet in length, whittled the bark off, and sanded it down smooth in what 26He built one leg, which means he cut a straight piece of wood down to four feet in length, whittled the bark off, and sanded it down smooth in what he was now calling his Woodworking Shack.
27he was now calling his Woodworking Shack. He typed up a note on how to make 27He typed up a note on how to make chair legs.
28chair legs.
29 28
30```type 29```type
31MAKING CHAIR LEGS 30MAKING CHAIR LEGS
@@ -37,9 +36,7 @@ MAKING CHAIR LEGS
374. sand smooth the leg 364. sand smooth the leg
38``` 37```
39 38
40After he tried remembered tried standing the leg up, failing, and after much 39After he tried remembered tried standing the leg up, failing, and after much thought realizing that the ends needed to be flat, he typed one more line on his notecard:
41thought realizing that the ends needed to be flat, he typed one more line on
42his notecard:
43 40
44``` 41```
455. make ends flat 425. make ends flat
diff --git a/src/likingthings.txt b/src/likingthings.txt index 1c9c15a..7aed52f 100644 --- a/src/likingthings.txt +++ b/src/likingthings.txt
@@ -11,47 +11,28 @@ project:
11 link: problems 11 link: problems
12... 12...
13 13
14The definition of happiness is *doing stuff that you really like*. That 14The definition of happiness is *doing stuff that you really like*.
15stuff can be eating soup, going to the bathroom, walking the dog, 15That stuff can be eating soup, going to the bathroom, walking the dog, playing Dungeons and Dragons; whatever keeps your mind off the fact that you're so goddamn unhappy all the time.
16playing Dungeons and Dragons; whatever keeps your mind off the fact that 16That, incidentally, is the definition of like: *that feeling you get when you forget how miserable you are for just a little bit*.
17you're so goddamn unhappy all the time. That, incidentally, is the 17Thus people like doing stuff they like all the time, as often as possible; because if they remember how horrible they really feel at not having a background to put themselves against, they will want to hurt themselves and those around them.
18definition of like: *that feeling you get when you forget how miserable
19you are for just a little bit*. Thus people like doing stuff they like
20all the time, as often as possible; because if they remember how
21horrible they really feel at not having a background to put themselves
22against, they will want to hurt themselves and those around them.
23 18
24The funny thing is that something we people really like to do is hurt 19The funny thing is that something we people really like to do is hurt ourselves and those around us.
25ourselves and those around us. We do this by thinking other people are 20We do this by thinking other people are more unhappy than we are.
26more unhappy than we are. We convince themselves that we are truly 21We convince themselves that we are truly happy, ecstatic even, while they merely plod around life half-heartedly, or, if they're lucky, incorrectly.
27happy, ecstatic even, while they merely plod around life half-heartedly, 22We take it upon ourselves (seeing as we are so happy, and can spare a little bit of happiness) to help them become happy as well.
28or, if they're lucky, incorrectly. We take it upon ourselves (seeing as 23We fail to realize that the people will probably not appreciate our thinking that we're better than they are somehow, for that is what we do even if we don't mean it.
29we are so happy, and can spare a little bit of happiness) to help them 24We forget that we are also unhappy, and that we are just doing things we like in order to cheer ourselves up a little bit, which really means that this cheering is working; but there is such a thing as working too well.
30become happy as well. We fail to realize that the people will probably 25So in a sense what I'm doing here is cheering myself up by reminding you that you are unhappy; I'm trying to keep you honest in your unhappiness; and I admit this is usually called a dick move.
31not appreciate our thinking that we're better than they are somehow, for
32that is what we do even if we don't mean it. We forget that we are also
33unhappy, and that we are just doing things we like in order to cheer
34ourselves up a little bit, which really means that this cheering is
35working; but there is such a thing as working too well. So in a sense
36what I'm doing here is cheering myself up by reminding you that you are
37unhappy; I'm trying to keep you honest in your unhappiness; and I admit
38this is usually called a dick move.
39 26
40In fact, the best way to overcome happy-hungering (this is the term as I 27In fact, the best way to overcome happy-hungering (this is the term as I dub it) is commit as many dick moves as possible, to keep people remembering that unhappiness abounds.
41dub it) is commit as many dick moves as possible, to keep people 28If you see someone smiling like a little dog who knows it's about to get pet or get a treat or go to the vet to donate doggy sperm, smile back.
42remembering that unhappiness abounds. If you see someone smiling like a 29Grin toothily (a little too toothily for a little too long).
43little dog who knows it's about to get pet or get a treat or go to the 30Their smile will start to fade if you're doing it right.
44vet to donate doggy sperm, smile back. Grin toothily (a little too 31Saunter to them, slide as if you're an Olympic quality ice-skater, as if you're a really good bowler who knows he's playing against twelve year olds and'll win by a hundred.
45toothily for a little too long). Their smile will start to fade if 32Get really close.
46you're doing it right. Saunter to them, slide as if you're an Olympic 33Far too close for what most people would call comfort.
47quality ice-skater, as if you're a really good bowler who knows he's 34And remind them of how awful life can be: "I really like your [shirt][]---really only children chained to looms can get that tight of a weave," you can say, or "You're not really going to recycle that coffee cup, are you?"
48playing against twelve year olds and'll win by a hundred. Get really 35They will probably get angry, but that's what's supposed to happen.
49close. Far too close for what most people would call comfort. And remind 36By making dick moves, you can overcome what may be the biggest evil on this earth: Happy-Hungering.
50them of how awful life can be: "I really like your [shirt][]---really only
51children chained to looms can get that tight of a weave," you can say,
52or "You're not really going to recycle that coffee cup, are you?" They
53will probably get angry, but that's what's supposed to happen. By making
54dick moves, you can overcome what may be the biggest evil on this earth:
55Happy-Hungering.
56 37
57[shirt]: theoceanoverflowswithcamels.html 38[shirt]: theoceanoverflowswithcamels.html
diff --git a/src/lovesong.txt b/src/lovesong.txt index e504e14..89a82eb 100644 --- a/src/lovesong.txt +++ b/src/lovesong.txt
@@ -14,28 +14,35 @@ project:
14 link: roughgloves 14 link: roughgloves
15... 15...
16 16
17Walking along in the dark is a good way to begin a song. Walking home in 17Walking along in the dark is a good way to begin a song.
18the dark after a long day chasing criminals is another. Running away 18Walking home in the dark after a long day chasing criminals is another.
19from an imagined evil is no way to begin a story. 19Running away from an imagined evil is no way to begin a story.
20 20
21I am telling you this because you wanted to know what it's like to tell 21I am telling you this because you wanted to know what it's like to tell something so beautiful everyone will cry.
22something so beautiful everyone will cry. I am telling you because I 22I am telling you because I want you to know what it is to keep everything inside of you.
23want you to know what it is to keep everything inside of you. I am 23I am telling you.
24telling you.
25 24
26Can you see? Can you see into me and reach in your hand and pull me 25Can you see?
27inside out, like an [old shirt][]? Will you wear me until I unravel on your 26Can you see into me and reach in your hand and pull me inside out, like an [old shirt][]?
28shoulders, will you cut me apart and use my skin to clean up the cola 27Will you wear me until I unravel on your shoulders, will you cut me apart and use my skin to clean up the cola you spill on the floor when you're drunk?
29you spill on the floor when you're drunk?
30 28
31I want you to know that I want you to know. Do you want me? To know is 29I want you to know that I want you to know.
32to know. I, you want we. We want. That is why we're here. To want is to 30Do you want me?
33be is to want and I want you. Do you also? Check yes or no. 31To know is to know.
32I, you want we.
33We want.
34That is why we're here.
35To want is to be is to want and I want you.
36Do you also?
37Check yes or no.
34 38
35There is a way to end every story, [every song][]. Every criminal must be 39There is a way to end every story, [every song][].
36caught. Even those who cry dry their tears. I cannot tell you all I want 40Every criminal must be caught.
37because I want to tell you everything. There is no art because there is 41Even those who cry dry their tears.
38no mirror big enough. We wake up every day. Sometimes we sleep. 42I cannot tell you all I want because I want to tell you everything.
43There is no art because there is no mirror big enough.
44We wake up every day.
45Sometimes we sleep.
39 46
40[old shirt]: ronaldmcdonald.html 47[old shirt]: ronaldmcdonald.html
41[every song]: swansong.html 48[every song]: swansong.html
diff --git a/src/man.txt b/src/man.txt index 686411f..0b82f66 100644 --- a/src/man.txt +++ b/src/man.txt
@@ -18,26 +18,28 @@ project:
18 link: leg 18 link: leg
19... 19...
20 20
21_THIS MAN REFUSED TO OPEN HIS EYES_ 21_[THIS MAN REFUSED TO OPEN HIS EYES][man]_
22 22
23Paul read this on an old mugshot in the library. He had taken the bus into 23Paul read this on an old mugshot in the library.
24town to check out a few books on woodworking and got distracted by the True 24He had taken the bus into town to check out a few books on woodworking and got distracted by the True Crime section.
25Crime section. He found this mugshot in a book titled _Crooks like Us_ that 25He found this mugshot in a book titled _Crooks like Us_ that was published in Sydney.
26was published in Sydney. He liked how cities were named after women, or how 26He liked how cities were named after women, or how women were named after cities, whichever was true.
27women were named after cities, whichever was true.
28 27
29The man in the picture's eyes were tightly shut, as though he'd just come into 28The man in the picture's eyes were tightly shut, as though he'd just come into the brightness of day after being dark inside for a long time.
30the brightness of day after being dark inside for a long time. His head was 29His head was tilted up and slightly to the right.
31tilted up and slightly to the right. He was wearing a short light tie with 30He was wearing a short light tie with hash marks, and a pinstripe suit.
32hash marks, and a pinstripe suit. Paul wished the photograph was in color. 31Paul wished the photograph was in color.
33He was standing in front of a plain brown wall covered in fabric. 32He was standing in front of a plain brown wall covered in fabric.
34 33
35The man's eyes were not so tightly shut as Paul first thought. His eyebrows 34The man's eyes were not so tightly shut as Paul first thought.
36lifted away from the eyes, giving the man a bemused look. His mouth was 35His eyebrows lifted away from the eyes, giving the man a bemused look.
37slightly opened in what seemed to Paul like a grin. This was accentuated by 36His mouth was slightly opened in what seemed to Paul like a grin.
38the man's ears, which were large. Paul wasn't sure why the ears made the man 37This was accentuated by the man's ears, which were large.
39look happier. He wondered what crime he had committed. 38Paul wasn't sure why the ears made the man look happier.
39He wondered what crime he had committed.
40 40
41Above the man's head was written _T. BEDE.22.11.28 / 203 A_. _THIS MAN 41Above the man's head was written [_T. BEDE.22.11.28 / 203 A_.][emilia]
42REFUSED TO OPEN HIS EYES_ was written over his suit, directly below his 42_THIS MAN REFUSED TO OPEN HIS EYES_ was written over his suit, directly below his ribcage.
43ribcage. 43
44[emilia]: http://emiliaphillips.com/books/signaletics/
45[man]: http://collection.hht.net.au/firsthhtpictures/fullRecordPicture.jsp?recnoListAttr=recnoList&recno=31230
diff --git a/src/moon-drowning.txt b/src/moon-drowning.txt index 6bb7a8d..0d65d16 100644 --- a/src/moon-drowning.txt +++ b/src/moon-drowning.txt
@@ -20,7 +20,7 @@ project:
20 link: big-dipper 20 link: big-dipper
21... 21...
22 22
23The moon is drowning the stars it pushes them \ 23[The moon is drowning][] the stars it pushes them \
24under into the darkness they cannot breathe \ 24under into the darkness they cannot breathe \
25they are flailing the moon boasts to my shadow \ 25they are flailing the moon boasts to my shadow \
26how powerful is the moon how great its light 26how powerful is the moon how great its light
@@ -39,3 +39,5 @@ My shadow fears the night as it fears death \
39but it remembers the moon's strength is from another \ 39but it remembers the moon's strength is from another \
40my shadow wants the headlights like an ocean \ 40my shadow wants the headlights like an ocean \
41might want the moon as a seducer as a lover 41might want the moon as a seducer as a lover
42
43[The moon is drowning]: moongone.html
diff --git a/src/movingsideways.txt b/src/movingsideways.txt index bc373e2..4b48c83 100644 --- a/src/movingsideways.txt +++ b/src/movingsideways.txt
@@ -14,37 +14,27 @@ project:
14 link: proverbs 14 link: proverbs
15... 15...
16 16
17A dog moving sideways is sick; a man moving sideways is drunk. Thus if 17A dog moving sideways is sick; a man moving sideways is drunk.
18you want to be mindful of the movings of the universe sideways, become 18Thus if you want to be mindful of the movings of the universe sideways, become either drunk or sick.
19either drunk or sick. By doing this you remove yourself from the 19By doing this you remove yourself from the equation, and are able to observe, without being observed, the universe as it dances sideways drunkenly.
20equation, and are able to observe, without being observed, the universe 20
21as it dances sideways drunkenly. 21Shit wait.
22 22The problem is not that by observing you are observed (although quantum mechanics may disagree[^1]), because obviously dogs don't know we're observing them when we watch them through cameras in their little yard while they play and eat and poop---who poops knowingly on camera?
23Shit wait. The problem is not that by observing you are observed 23The problem is *the actual act of observing that distorts the world into what we want it to be*.
24(although quantum mechanics may disagree[^1]), because obviously dogs 24
25don't know we're observing them when we watch them through cameras in 25What I want to know is this: Why is this necessarily a problem?
26their little yard while they play and eat and poop---who poops knowingly 26The dog is made, by mankind, to frolic and poop and sniff and growl and dig.
27on camera? The problem is *the actual act of observing that distorts the 27Why cannot the man be made to observe the world incorrectly around him, and worry about it?
28world into what we want it to be*. 28Men have always wandered about the earth; does it not make sense that also they should wonder in their minds what makes it all work?[^2]
29 29In fact this is the very center of the creative being: the ability to move sideways, to dance with reality and judge it as it judges you, much like teenagers at the junior prom.
30What I want to know is this: Why is this necessarily a problem? The dog 30
31is made, by mankind, to frolic and poop and sniff and growl and dig. Why 31Of course, reality doesn't judge us back.
32cannot the man be made to observe the world incorrectly around him, and 32But that doesn't mean that it doesn't!
33worry about it? Men have always wandered about the earth; does it not 33If you think it's judging you, then *observe in your surroundings your own insecurities*.
34make sense that also they should wonder in their minds what makes it all 34It is obvious that this way of doing things is far from vogue; usually projecting [inner pain][] onto the outer world is classified as pathology.
35work?[^2] In fact this is the very center of the creative being: the 35However, this is because it is assumed that the outer world is *on its own terms*, which it obviously isn't, as far as we know.
36ability to move sideways, to dance with reality and judge it as it 36It follows that as [there is no backdrop][backdrop] against which to judge our quirks, the quirks must not exist.
37judges you, much like teenagers at the junior prom. 37Thus all is right with the world.
38
39Of course, reality doesn't judge us back. But that doesn't mean that it
40doesn't! If you think it's judging you, then *observe in your
41surroundings your own insecurities*. It is obvious that this way of
42doing things is far from vogue; usually projecting [inner pain][] onto the
43outer world is classified as pathology. However, this is because it is
44assumed that the outer world is *on its own terms*, which it obviously
45isn't, as far as we know. It follows that as [there is no backdrop][backdrop]
46against which to judge our quirks, the quirks must not exist. Thus all
47is right with the world.
48 38
49[inner pain]: telemarketer.html 39[inner pain]: telemarketer.html
50[backdrop]: philosophy.html 40[backdrop]: philosophy.html
@@ -60,4 +50,4 @@ is right with the world.
60 50
61[^2]: I attempted to strike this terrible pun from the account, but 51[^2]: I attempted to strike this terrible pun from the account, but
62 Hezekiah demanded I keep it if he were to continue the relation of 52 Hezekiah demanded I keep it if he were to continue the relation of
63 his prophecy-slash-advice column 53 his prophecy-slash-advice column.
diff --git a/src/music-433.txt b/src/music-433.txt index b86098d..d045ba9 100644 --- a/src/music-433.txt +++ b/src/music-433.txt
@@ -5,7 +5,7 @@ title: |
5genre: verse 5genre: verse
6 6
7dedication: | 7dedication: |
8 [Randall](TODO-xkcd-comic) 8 [Randall](https://xkcd.com/1199/)
9 9
10project: 10project:
11 title: Stark Raving 11 title: Stark Raving
diff --git a/src/notes.txt b/src/notes.txt index 024d18b..d43c123 100644 --- a/src/notes.txt +++ b/src/notes.txt
@@ -18,15 +18,16 @@ project:
18 link: man 18 link: man
19... 19...
20 20
21Paul began typing on notecards. Somehow this felt right to his sensibilities. 21Paul began typing on notecards.
22It was difficult to get the little cards into the typewriter. It was a pain 22Somehow this felt right to his sensibilities.
23to readjust the typewriter for regular paper when he wasn't writing. He 23It was difficult to get the little cards into the typewriter.
24started typing everything on those little notecards: grocery lists, letters to 24It was a pain to readjust the typewriter for regular paper when he wasn't writing.
25his grandmother, even reports for work (which is what got him in trouble). 25He started typing everything on those little notecards: grocery lists, letters to his grandmother, even reports for work (which is what got him in trouble).
26 26
27But this was all later. For now he was writing his ideas, "notes" he now 27But this was all later.
28called them, something for him to combine later into something. He didn't 28For now he was writing his ideas, "notes" he now called them, something for him to combine later into something.
29like to think about it. On this particular cold winter morning, he wrote 29He didn't like to think about it.
30On this particular cold winter morning, he wrote
30 31
31```type 32```type
32Woke up from a dream I was famous. 33Woke up from a dream I was famous.
diff --git a/src/options.txt b/src/options.txt index 59f2c93..e6babc4 100644 --- a/src/options.txt +++ b/src/options.txt
@@ -18,26 +18,26 @@ project:
18 link: notes 18 link: notes
19... 19...
20 20
21What did he do when he was in the woods? Where did he go? Was there always 21What did he do when he was in the woods?
22one spot, one clearing deep within the heart of them, that he would visit? 22Where did he go?
23Did he talk to the trees or only to himself? When he chopped down trees, did 23Was there always one spot, one clearing deep within the heart of them, that he would visit?
24he leave them there to rot in the quiet or did he drag them out of the woods, 24Did he talk to the trees or only to himself?
25behind his Shack, and dismember them? Did he use any for firewood, or did the 25When he chopped down trees, did he leave them there to rot in the quiet or did he drag them out of the woods, behind his Shack, and dismember them?
26pieces rot behind his Shack, forgotten? When was the last time he built any 26Did he use any for firewood, or did the pieces rot behind his Shack, forgotten?
27furniture? Did he get any better at building it or did he just quit at some 27When was the last time he built any furniture?
28point, let the desire to create fall behind him like a forgotten felled tree? 28Did he get any better at building it or did he just quit at some point, let the desire to create fall behind him like a forgotten felled tree?
29 29
30A tree fell in the forest: did it make a noise? Paul typed his thoughts on 30A tree fell in the forest: did it make a noise?
31cards, or wrote them in a book: did anyone read it? If anyone did, was his 31Paul typed his thoughts on cards, or wrote them in a book: did anyone read it?
32life changed? For the better or the worse? Did he glance at the mess in the 32If anyone did, was his life changed?
33top drawer of his Writing Desk as he cleaned the Shack out long after Paul had 33For the better or the worse?
34quit using it? Did he put tools in there or leave it empty? What did he do 34Did he glance at the mess in the top drawer of his Writing Desk as he cleaned the Shack out long after Paul had quit using it?
35with the desk? Did he add it to the pile of rotting wood out back, or did he 35Did he put tools in there or leave it empty?
36chop it up for a bonfire with friends, or a cozy fire with his wife and 36What did he do with the desk?
37children, or did he take it to the dump three miles away to rot there? Are 37Did he add it to the pile of rotting wood out back, or did he chop it up for a bonfire with friends, or a cozy fire with his wife and children, or did he take it to the dump three miles away to rot there?
38these all the options? 38Are these all the options?
39 39
40Did Paul ever think about any of this? Walking in the woods one afternoon 40Did Paul ever think about any of this?
41after becoming frustrated with his writing, did he sit on a stump and cry? 41Walking in the woods one afternoon after becoming frustrated with his writing, did he sit on a stump and cry?
42Did he wonder whether he should have made other choices? Did he consider 42Did he wonder whether he should have made other choices?
43quitting smoking? 43Did he consider quitting smoking?
diff --git a/src/paul.txt b/src/paul.txt index e95776b..20d5c7e 100644 --- a/src/paul.txt +++ b/src/paul.txt
@@ -41,14 +41,14 @@ CONTENTS OF THE SHED
41- axe 41- axe
42``` 42```
43 43
44He typed the list in the typewriter and looked around some more. He wanted to 44He typed the list in the typewriter and looked around some more.
45make sure he didn't miss anything. Finally it hit him and he smiled. He 45He wanted to make sure he didn't miss anything.
46typed one more line, stood up, and went out of the shed. 46Finally it hit him and he smiled.
47He typed one more line, stood up, and went out of the shed.
47 48
48```type 49```type
49- Paul Bunyon 50- Paul Bunyon
50``` 51```
51 52
52He got some kerosene from under the house, poured it around the base of the 53He got some kerosene from under the house, poured it around the base of the shed, lit a cigarette.
53shed, lit a cigarette. He smoked half of it and threw it down to start the 54He smoked half of it and threw it down to start the fire.
54fire.
diff --git a/src/philosophy.txt b/src/philosophy.txt index 0ac114f..cdfb360 100644 --- a/src/philosophy.txt +++ b/src/philosophy.txt
@@ -14,25 +14,18 @@ project:
14 link: purpose-dogs 14 link: purpose-dogs
15... 15...
16 16
17Importance is important. But meaning is meaningful. Here we are at the 17Importance is important.
18crux of the matter, for both meaning and importance are also 18But meaning is meaningful.
19human-formed. So it would seem that nothing is important or meaningful, 19Here we are at the crux of the matter, for both meaning and importance are also human-formed.
20if importance and meaning are of themselves only products of the 20So it would seem that nothing is important or meaningful, if importance and meaning are of themselves only products of the fallible human intellect.
21fallible human intellect. But here is the great secret: *so is the 21But here is the great secret: *so is the fallibility of the human intellect a mere product of the fallible human intellect.*
22fallibility of the human intellect a mere product of the fallible human 22The question here arises: Is anything real, and not a mere invention of a mistaken human mind?
23intellect.* The question here arises: Is anything real, and not a mere 23By real of course I mean "that which is *on its own terms*," that is, without any [modification][] on the part of mankind by observing it.
24invention of a mistaken human mind? By real of course I mean 24But such a thing is impossible to be known, for if it be known it has certainly been observed by someone, and so it is not on its own terms but on the terms of the observer.
25"that which is *on its own terms*," that is, without any [modification][] on 25So it cannot be known if anything exists on its own terms, for it exists on its own terms we certainly will not know anything about it.
26the part of mankind by observing it. But such a thing is impossible to
27be known, for if it be known it has certainly been observed by someone,
28and so it is not on its own terms but on the terms of the observer. So
29it cannot be known if anything exists on its own terms, for it exists on
30its own terms we certainly will not know anything about it.
31 26
32By this it is possible to see that nothing is knowable without the 27By this it is possible to see that nothing is knowable without the mediating factor of our mind fucking up the "[raw][]," the "real" world.
33mediating factor of our mind fucking up the "[raw][]," the "real" world. But 28But by this time it would seem that this chapter is far far too philosophical, not to mention pretentious, so I must try again.
34by this time it would seem that this chapter is far far too
35philosophical, not to mention pretentious, so I must try again.
36 29
37[modification]: i-am.html 30[modification]: i-am.html
38[raw]: spittle.html 31[raw]: spittle.html
diff --git a/src/phone.txt b/src/phone.txt index 1460180..80da513 100644 --- a/src/phone.txt +++ b/src/phone.txt
@@ -18,25 +18,31 @@ project:
18 link: paul 18 link: paul
19... 19...
20 20
21"Hello Paul this is Jill Jill Noe remember me" the voice on the phone was a 21"Hello Paul this is Jill Jill Noe remember me" the voice on the phone was a woman's.
22woman's. He nodded into the receiver. "Hello" Jill asked again "hello?" 22He nodded into the receiver.
23"Hello" Jill asked again "hello?"
23Paul remembered that phones work by talking and said "Hello Jill." 24Paul remembered that phones work by talking and said "Hello Jill."
24 25
25"Do you remember me" she asked "we were in school together? How have you 26"Do you remember me" she asked "we were in school together?
26been?" "Pretty well" said Paul "I've been writing and making furniture." "Oh 27How have you been?"
27that's nice" said the woman's voice tinny in the phone "Listen I ran into your 28"Pretty well" said Paul "I've been writing and making furniture."
28mother at the Supermarket the other day and she said you need a job. You 29"Oh that's nice" said the woman's voice tinny in the phone
29still need one?" Paul had to tell the truth. His mother was watching him out 30"Listen I ran into your mother at the Supermarket the other day and she said you need a job.
30of the corner of her eye as she was playing dominoes at the kitchen table. 31You still need one?"
32Paul had to tell the truth.
33His mother was watching him out of the corner of her eye as she was playing dominoes at the kitchen table.
31"Yes" he said sighing "Although woodworking takes up much of my time." 34"Yes" he said sighing "Although woodworking takes up much of my time."
32 35
33"OK" she laughed uncomortably "I actually have something you could do for me 36"OK" she laughed uncomortably "I actually have something you could do for me if you think you can get away from woodworking a bit.
34if you think you can get away from woodworking a bit. It's just data entry 37It's just data entry really basic stuff entry-level."
35really basic stuff entry-level." "What's it pay" he asked. "Minimum but 38"What's it pay" he asked.
36there is room for movement." "OK" he said. "Start on Monday okay?" "Sure" 39"Minimum but there is room for movement."
37he said "bye" and the tin voice in the phone said "Goodbye Paul see you" by 40"OK" he said.
38the time he put it back on the hook. 41"Start on Monday okay?"
42"Sure" he said "bye" and the tin voice in the phone said "Goodbye Paul see you" by the time he put it back on the hook.
39 43
40"Who was that" asked his mother. "Jill Noe" he said. "Oh her was she calling 44"Who was that" asked his mother.
41about a job for you?" "Yes starts Monday" he said. She smiled behind her 45"Jill Noe" he said.
42glasses reflecting dominoes. 46"Oh her was she calling about a job for you?"
47"Yes starts Monday" he said.
48She smiled behind her glasses reflecting dominoes.
diff --git a/src/planks.txt b/src/planks.txt index 698f982..648122f 100644 --- a/src/planks.txt +++ b/src/planks.txt
@@ -23,16 +23,20 @@ EVERYTHING CHANGES OR EVERYTHING
23STAYS THE SAME 23STAYS THE SAME
24``` 24```
25 25
26This sat alone on a blank notecard in Paul's typewriter. He stared at it, 26This sat alone on a blank notecard in Paul's typewriter.
27sipping at his too-hot coffee. This made sense to him. 27He stared at it, sipping at his too-hot coffee.
28This made sense to him.
28 29
29He looked at the spot on the wall where he wanted a window to be, at the rough 30He looked at the spot on the wall where he wanted a window to be, at the rough planks above his desk as they were lit by the bare hanging lightbulb.
30planks above his desk as they were lit by the bare hanging lightbulb. He 31He sipped his coffee again.
31sipped his coffee again. It was still too hot. His Woodworking Shack was 32It was still too hot.
32becoming full of wood that was not furniture. He feared it would never become 33His Woodworking Shack was becoming full of wood that was not furniture.
33so. 34He feared it would never become so.
34 35
35He threw open the door to the snow and the ground below it. He reached for 36He threw open the door to the snow and the ground below it.
36his axe on the wall. He reconsidered. He took a few tentative steps onto the 37He reached for his axe on the wall.
37blankness on his own. He wasn't cold, not yet. He walked into the forest. 38He reconsidered.
39He took a few tentative steps onto the blankness on his own.
40He wasn't cold, not yet.
41He walked into the forest.
38The snow crunched under his feet and did not echo. 42The snow crunched under his feet and did not echo.
diff --git a/src/prelude.txt b/src/prelude.txt index 91d4541..9cb387b 100644 --- a/src/prelude.txt +++ b/src/prelude.txt
@@ -11,7 +11,10 @@ project:
11 link: purpose-dogs 11 link: purpose-dogs
12... 12...
13 13
14Of course, there is a God. Of course, there is no God. Of course, what's 14Of course, there is a God.
15really important is that these aren't important. No, they are; but not 15Of course, there is no God.
16really important. All that's important is the relative importance of 16Of course, what's really important is that these aren't important.
17non-important things. Shit. Never mind; let's start over. 17No, they are; but not really important.
18All that's important is the relative importance of non-important things.
19Shit.
20Never mind; let's start over.
diff --git a/src/problems.txt b/src/problems.txt index c5de325..9a1e916 100644 --- a/src/problems.txt +++ b/src/problems.txt
@@ -14,45 +14,31 @@ project:
14 link: movingsideways 14 link: movingsideways
15... 15...
16 16
17The problem with people is this: we cannot be happy. No matter how hard 17The problem with people is this: we cannot be happy.
18or easy we try, it is not to be. It seems sometimes that, just as the 18No matter how hard or easy we try, it is not to be.
19dog was made for jumping in mud and sniffing out foxholes and having a 19It seems sometimes that, just as the dog was made for jumping in mud and sniffing out foxholes and having a good time all around, man was made for sadness, loneliness and heartache.
20good time all around, man was made for sadness, loneliness and 20
21heartache. 21Being the observant and judgmental people they are, people have for a long time tried to figure out why they aren't happy.
22 22Some say it's because we're obviously doing something wrong.
23Being the observant and judgmental people they are, people have for a 23Some say it's because we think too much.
24long time tried to figure out why they aren't happy. Some say it's 24Some insist that it's because other people have more stuff than we do.
25because we're obviously doing something wrong. Some say it's because we 25These people don't have a clue any more than any of the rest of us.
26think too much. Some insist that it's because other people have more 26At least I don't think they do, and that's good enough for me.[^1]
27stuff than we do. These people don't have a clue any more than any of 27I think that the reason why people are unhappy (and this is a personal opinion) is that they realize on some level (for some it's a pretty shallow level, others it's way down there next to their love for women's stockings[^2]) that there is no background to put themselves against, no "[big picture][]" to get painted into.
28the rest of us. At least I don't think they do, and that's good enough 28This makes sense, because on one level, the level of everyday life, the level of *observation*, there is always a background---look in a pair of binoculars sometime.
29for me.[^1] I think that the reason why people are unhappy (and this is 29But on another level, that of ... shit, wait.
30a personal opinion) is that they realize on some level (for some it's a 30There are no other levels.[^3]
31pretty shallow level, others it's way down there next to their love for 31
32women's stockings[^2]) that there is no background to put themselves 32What's more, people try to explain how to get happy again (although it's doubtful they were ever happy in the first place---people are very good at fooling).
33against, no "[big picture][]" to get painted into. This makes sense, because 33Some say standing or [sitting in a building][] with a lot of other unhappy people helps.
34on one level, the level of everyday life, the level of *observation*, 34Some say that you can't stop there; you also need to sing with those other unhappy people about how unhappy you are, and how you wish someone would come along and help you out, I guess by giving you money or something.
35there is always a background---look in a pair of binoculars sometime. But 35I say all you really need to be happy is a good stiff drink.[^4]
36on another level, that of ... shit, wait. There are no other levels.[^3] 36
37 37In any case, people have for some reason or another, and to some end or another, always been unhappy.
38What's more, people try to explain how to get happy again (although it's 38And people have always tried to figure out ways to be less unhappy---one of the most important things to people everywhere is called "the pursuit of happiness."
39doubtful they were ever happy in the first place---people are very good at 39I think that calling it a pursuit makes people feel more like dogs, who are the most happy beings most people can think of.
40fooling). Some say standing or [sitting in a building][] with a lot of other 40By pursuing happiness, they're like a dog pursuing a possum or a bone on a fishing rod: two activities that sound like a lot of fun to most people.
41unhappy people helps. Some say that you can't stop there; you also need 41I think most people wish they were dogs.
42to sing with those other unhappy people about how unhappy you are, and
43how you wish someone would come along and help you out, I guess by
44giving you money or something. I say all you really need to be happy is
45a good stiff drink.[^4]
46
47In any case, people have for some reason or another, and to some end or
48another, always been unhappy. And people have always tried to figure out
49ways to be less unhappy---one of the most important things to people
50everywhere is called "the pursuit of happiness." I think that calling it
51a pursuit makes people feel more like dogs, who are the most happy
52beings most people can think of. By pursuing happiness, they're like a
53dog pursuing a possum or a bone on a fishing rod: two activities that
54sound like a lot of fun to most people. I think most people wish they
55were dogs.
56 42
57[big picture]: ronaldmcdonald.html 43[big picture]: ronaldmcdonald.html
58[sitting in a buiding]: feedingtheraven.html 44[sitting in a buiding]: feedingtheraven.html
diff --git a/src/proverbs.txt b/src/proverbs.txt index d0ae38f..5b4e30a 100644 --- a/src/proverbs.txt +++ b/src/proverbs.txt
@@ -14,24 +14,22 @@ project:
14 link: philosophy 14 link: philosophy
15... 15...
16 16
17[Nothing matters; everything is sacred. Everything matters; nothing is 17[Nothing matters; everything is sacred.
18sacred][sacred].[^1] This is the only way we can move forward: by moving 18Everything matters; nothing is sacred][sacred].[^1]
19sideways. Life is a great big rugby game, and the entire field has to be run 19This is the only way we can move forward: by moving sideways.
20for a goal. The fact that the beginning two verses of this chapter have the 20Life is a great big rugby game, and the entire field has to be run for a goal.
21same number of characters proves that they are a tautological pair, that is, 21The fact that the beginning two verses of this chapter have the same number of characters proves that they are a tautological pair, that is, they *complete each other*.
22they *complete each other*. Sometimes life seems like a dog wagging its tail, 22Sometimes life seems like a dog wagging its tail, smiling up at you and wanting you to love it, just wanting that, simple simple love, oblivious to the fact that it just ran through your immaculately groomed flower garden and tracked all the mud in onto your freshly steamed carpet.
23smiling up at you and wanting you to love it, just wanting that, simple simple 23Life is not life in a suburb.
24love, oblivious to the fact that it just ran through your immaculately groomed 24[There are no rosebushes, groomed never. There is no carpet, steamed at any time.][rosebush]
25flower garden and tracked all the mud in onto your freshly steamed carpet. 25The dog looks at you wanting you to love it.
26Life is not life in a suburb. [There are no rosebushes, groomed never. There 26It wants to know that you know that it's there.
27is no carpet, steamed at any time.][rosebush] The dog looks at you wanting you 27*It wants to be observed*.[^2]
28to love it. It wants to know that you know that it's there. *It wants to be
29observed*.[\^2]
30 28
31[sacred]: words-meaning.html 29[sacred]: words-meaning.html
32[rosebush]: lovesong.html 30[rosebush]: lovesong.html
33 31
34[^1]: Thank you Tom Stoppard. Ha ha ho ho and hee hee. 32[^1]: Thank you [Tom Stoppard][]. Ha ha ho ho and hee hee.
35 33
36[^2]: Ah ha! I knew this was going to happen at some point. Now things 34[^2]: Ah ha! I knew this was going to happen at some point. Now things
37 are going to get more interesting because the dog wants what we 35 are going to get more interesting because the dog wants what we
@@ -45,3 +43,5 @@ observed*.[\^2]
45 seem important? Doesn't it seem like a fish and a drop of water here 43 seem important? Doesn't it seem like a fish and a drop of water here
46 are connected? It helps, of course, that the fish represents Reality 44 are connected? It helps, of course, that the fish represents Reality
47 here.) 45 here.)
46
47[Tom Stoppard]: http://www.thesatirist.com/books/CowGirlBlues.html
diff --git a/src/punch.txt b/src/punch.txt index 9509143..b2677d8 100644 --- a/src/punch.txt +++ b/src/punch.txt
@@ -20,20 +20,23 @@ project:
20 20
21When he finally got back to work he was surprised they threw him a party. 21When he finally got back to work he was surprised they threw him a party.
22_**WELCOME BACK PAUL!**_ was written on a big banner across the back wall. 22_**WELCOME BACK PAUL!**_ was written on a big banner across the back wall.
23Someone had ordered a confectioner's-sugar cake with frosting flowers on the 23Someone had ordered a confectioner's-sugar cake with frosting flowers on the corners.
24corners. It said the same thing as the banner. "Welcome back, Paul" said 24It said the same thing as the banner.
25Jill as he was at the punch bowl. The cup was on the table as he ladled punch 25"Welcome back, Paul" said Jill as he was at the punch bowl.
26in with his right hand. His left was wrapped in gauze. 26The cup was on the table as he ladled punch in with his right hand.
27His left was wrapped in gauze.
27 28
28"Let me help you with that" said Jill. Paul had a strange feeling this had 29"Let me help you with that" said Jill.
29happened before. She took the ladle and their hands touched. She picked the 30Paul had a strange feeling this had happened before.
30cup up in her right hand and used her left to lift the spoon. "You know" she 31She took the ladle and their hands touched.
31said "we were worried about you. When Jerry heard about your hand he said 32She picked the cup up in her right hand and used her left to lift the spoon.
32'There goes one of our best data entry men.'" "I still can't really move my 33"You know" she said "we were worried about you.
33left hand" said Paul. "That's alright you can take your time with the entry." 34When Jerry heard about your hand he said 'There goes one of our best data entry men.'"
35"I still can't really move my left hand" said Paul.
36"That's alright you can take your time with the entry."
34"I'm sorry." 37"I'm sorry."
35 38
36"Sorry for what" she looked at his eyes. He imagined her seeing fisheye 39"Sorry for what" she looked at his eyes.
37versions of herself in them. "I don't know" he said because it was true. 40He imagined her seeing fisheye versions of herself in them.
38"It's alright anyway" she said and placed the full punch cup in his right 41"I don't know" he said because it was true.
39hand. 42"It's alright anyway" she said and placed the full punch cup in his right hand.
diff --git a/src/purpose-dogs.txt b/src/purpose-dogs.txt index 052b656..dae785a 100644 --- a/src/purpose-dogs.txt +++ b/src/purpose-dogs.txt
@@ -14,29 +14,24 @@ project:
14 link: prelude 14 link: prelude
15... 15...
16 16
17Okay, so as we said in [the Prelude][], there either is or isn't a God. This 17Okay, so as we said in [the Prelude][], there either is or isn't a God.
18has been one of the main past times of humanity, ever since ... since the 18This has been one of the main past times of humanity, ever since ... since the first man (or woman) climbed out of whatever slime or swamp he thumbed his way out of.
19first man (or woman) climbed out of whatever slime or swamp he thumbed his way 19What humanity has failed to realize is that an incredibly plausible third, and heretofore unknown, hypothesis also exists: There is a dog.
20out of. What humanity has failed to realize is that an incredibly plausible
21third, and heretofore unknown, hypothesis also exists: There is a dog.
22 20
23In fact, there are many dogs, and not only that. There are also many types of 21In fact, there are many dogs, and not only that.
24dogs; these are called breeds, and each breed was created by man in order to 22There are also many types of dogs; these are called breeds, and each breed was created by man in order to fulfill some use that man thought he needed.
25fulfill some use that man thought he needed. Some dogs are for chasing birds, 23Some dogs are for chasing birds, and some are for chasing badgers.
26and some are for chasing badgers. Some are for laying in your lap and being 24Some are for laying in your lap and being petted all day.
27petted all day. Some dogs don't seem to be really for anything, besides being 25Some dogs don't seem to be really for anything, besides being fucking stupid and chewing up your one-of-a-kind collectible individually-numbered King Kong figurine from the Peter Jackson film.
28fucking stupid and chewing up your one-of-a-kind collectible 26But the important thing is, (and here we go with important things again) all dogs have been bred by people for performing some certain function that we think is important.
29individually-numbered King Kong figurine from the Peter Jackson film. But the
30important thing is, (and here we go with important things again) all dogs have
31been bred by people for performing some certain function that we think is
32important.
33 27
34Note: *Just because we think it's important doesn't mean it is 28Note: *Just because we think it's important doesn't mean it is important.*
35important.* But it might as well be, because what we as humans think is 29But it might as well be, because what we as humans think is important is important.
36important is important. But be careful! just because something's important 30But be careful!
37doesn't mean it means anything, or that it actually makes anything happen. 31Just because something's important doesn't mean it means anything, or that it actually makes anything happen.
38Even though just because something makes something else happen doesn't mean 32Even though just because something makes something else happen doesn't mean it's important.
39it's important. [Shit][]. Let me start again. 33[Shit][].
34Let me start again.
40 35
41[the Prelude]: prelude.html 36[the Prelude]: prelude.html
42[Shit]: feedingtheraven.html 37[Shit]: feedingtheraven.html
diff --git a/src/question.txt b/src/question.txt index edaea2f..1581b6f 100644 --- a/src/question.txt +++ b/src/question.txt
@@ -18,26 +18,34 @@ project:
18 link: punch 18 link: punch
19... 19...
20 20
21"Do you have to say your thoughts out loud for them to mean anything" Paul 21"Do you have to say your thoughts out loud for them to mean anything" Paul asked Jill on his first coffee break at work.
22asked Jill on his first coffee break at work. It was in the city and his 22It was in the city and his mother told him she wouldn't drive him so he'd had to take the bus.
23mother told him she wouldn't drive him so he'd had to take the bus. Number 3 23Number 3 he thought it was.
24he thought it was – he couldn't quite remember. Jill said "Sorry what?" Paul 24[He couldn't quite remember.][remember]
25realized that she hadn't really noticed him there in the break room as he was 25Jill said "Sorry what?"
26hunched behind the refrigerator a little and she was busy pouring coffee and 26Paul realized that she hadn't really noticed him there in the break room as he was hunched behind the refrigerator a little and she was busy pouring coffee and exactly two tablespoons of both milk and sugar into her mug before she put the coffee in.
27exactly two tablespoons of both milk and sugar into her mug before she put the 27He decided to repeat the question.
28coffee in. He decided to repeat the question.
29 28
30"How do you think" he asked. "Like everyone else I guess" she said "I have a 29"How do you think" he asked.
31thought and if it's important I write it down." "Do you have to say them out 30"Like everyone else I guess" she said "I have a thought and if it's important I write it down."
32loud for them to make sense?" "Are you asking if I talk to myself?" A pause. 31"Do you have to say them out loud for them to make sense?"
33"I guess so" he said looking down. He had a feeling this was a bad thing. 32"Are you asking if I talk to myself?"
34"Sometimes" she said and walked out of the break room. She didn't understand 33A pause.
35the importance of his question. She popped her head back in a moment later and 34"I guess so" he said looking down.
36his heart leaped in his chest. 35He had a feeling this was a bad thing.
36"Sometimes" she said and walked out of the break room.
37She didn't understand the importance of his question.
38She popped her head back in a moment later and his heart leaped in his chest.
37 39
38"How's your first day going so far" she asked. "Can you understand everything 40"How's your first day going so far" she asked.
39okay?" "Yes" he said "you were right it's pretty basic." "Good" she said. 41"Can you understand everything okay?"
40"Paul?" "Yes." "Do you have to say all of your thoughts out loud to remember 42"Yes" he said "you were right it's pretty basic."
41them?" He shook his head. 43"Good" she said.
44"Paul?"
45"Yes."
46"Do you have to say all of your thoughts out loud to remember them?"
47He shook his head.
42 48
43Only all of the time, Paul thought to himself but didn't speak. 49Only all of the time, Paul thought to himself but didn't speak.
50
51[remember]: riptide_memory.html
diff --git a/src/reports.txt b/src/reports.txt index 61f7e12..e43c6b0 100644 --- a/src/reports.txt +++ b/src/reports.txt
@@ -18,9 +18,8 @@ project:
18 link: question 18 link: question
19... 19...
20 20
21"Paul, you can't turn in your reports on four-by-six notecards" Jill told him 21"Paul, you can't turn in your reports on four-by-six notecards" Jill told him after he handed her his reports, typed carefully on twelve four-by-six notecards.
22after he handed her his reports, typed carefully on twelve four-by-six 22He had spent the weekend
23notecards. He had spent the weekend
24 23
251. going to the Office Supply Store to buy notecards and typewriter ribbon (he 241. going to the Office Supply Store to buy notecards and typewriter ribbon (he
26 found it surprisingly easily) after his first payday 25 found it surprisingly easily) after his first payday
@@ -33,8 +32,10 @@ notecards. He had spent the weekend
33 notecards (he made many mistakes and threw away many notecards, though 32 notecards (he made many mistakes and threw away many notecards, though
34 later he used them for kindling) 33 later he used them for kindling)
35 34
36so understandably he was upset. He told Jill all the work he'd gone to to 35so understandably he was upset.
37type those notecard reports for her, for the company. She shook her head. 36He told Jill all the work he'd gone to to type those notecard reports for her, for the company.
38"Paul, you don't have to do all that work at home. Just type it up on the 37She shook her head.
39computers here, that's all you need to do. Thanks for the work though." He 38"Paul, you don't have to do all that work at home.
40nodded as she threw the notecards into the trashcan and left his cubicle. 39Just type it up on the computers here, that's all you need to do.
40Thanks for the work though."
41He nodded as she threw the notecards into the trashcan and left his cubicle.
diff --git a/src/riptide_memory.txt b/src/riptide_memory.txt index 60a42dc..da6257a 100644 --- a/src/riptide_memory.txt +++ b/src/riptide_memory.txt
@@ -20,32 +20,32 @@ project:
20 link: i-think-its-you 20 link: i-think-its-you
21... 21...
22 22
23Inside of my memory, the poem is another memory. 23Inside of my memory, the poem is another memory. \
24The air up here is thin, but the wind blows harder 24The air up here is thin, but the wind blows harder \
25than anywhere else I know. It threatens to rip 25than anywhere else I know. It threatens to rip \
26my body away, like an angel of death, to the stars. 26my body away, like an angel of death, to the stars.
27 27
28In Arizona, I thought I would forget the rain, 28In Arizona, I thought I would forget the rain, \
29forget its sound on a roof like a hard wind, forget 29forget its sound on a roof like a hard wind, forget \
30its smell like a far away ocean. Luckily for me 30its smell like a far away ocean. Luckily for me \
31it rains here. Luckily, because I forget too easily. 31it rains here. Luckily, because I forget too easily.
32 32
33In a dream, my father is caught by a riptide off-shore. 33In a dream, my father is caught by a riptide off-shore. \
34He's pulled far out, far enough that the shoreline's 34He's pulled far out, far enough that the shoreline's \
35a line in his memory on the horizon. I can see him 35a line in his memory on the horizon. I can see him \
36swimming, hand over hand, pulling his small weight 36swimming, hand over hand, pulling his small weight
37 37
38back to land. I see him as another shipwreck victim, 38back to land. I see him as another shipwreck victim, \
39coughing sand and seawater, beard woven with seaweed. 39coughing sand and seawater, beard woven with seaweed. \
40I see him laying there a long time. I see all this 40I see him laying there a long time. I see all this \
41as he tells me the story, years later, the riptide 41as he tells me the story, years later, the riptide
42 42
43only a ghost in his memory, I only a child falling 43only a ghost in his memory, I only a child falling \
44asleep. My mother's making mayonnaise rolls 44asleep. My mother's making mayonnaise rolls \
45in the kitchen, a recipe I'll send for years later, 45in the kitchen, a recipe I'll send for years later, \
46in Arizona, in the monsoon season, when my thirst 46in Arizona, in the monsoon season, when my thirst
47 47
48pulls me back home, my memory's lonesome twinkle 48pulls me back home, my memory's lonesome twinkle \
49like stars above the mountains. I'll send for it 49like stars above the mountains. I'll send for it \
50and try to make them, but in the thin air they'll 50and try to make them, but in the thin air they'll \
51crumble into dust like desert air, like a memory. 51crumble into dust like desert air, like a memory.
diff --git a/src/sapling.txt b/src/sapling.txt index e61d3ea..6cc1939 100644 --- a/src/sapling.txt +++ b/src/sapling.txt
@@ -18,26 +18,26 @@ project:
18 link: reports 18 link: reports
19... 19...
20 20
21He chopped down a sapling pine tree and looked at his watch. From first chop 21He chopped down a sapling pine tree and looked at his watch.
22to fall it had taken him eight minutes and something like twenty seconds. 22From first chop to fall it had taken him eight minutes and something like twenty seconds.
23Maybe a little change. He leaned against another tree and fished in his 23Maybe a little change.
24pocket for a cigarette. He lifted it out of its box and fished in his other 24He leaned against another tree and fished in his pocket for a cigarette.
25pocket for his lighter, failing to find it. He searched his other pockets. 25He lifted it out of its box and fished in his other pocket for his lighter, failing to find it.
26He came to the realization that he had forgotten it in his Shack (in confusion 26He searched his other pockets.
27over his True Vocation, he'd resorted to calling it simply the Shack until he 27He came to the realization that he had forgotten it in his Shack (in confusion over his True Vocation, he'd resorted to calling it simply the Shack until he could figure it out).
28could figure it out). He sighed and put his hands in his pockets. 28He sighed and put his hands in his pockets.
29 29
30"I wonder if trees are protective of their young" he said to himself, then 30"I wonder if trees are protective of their young" he said to himself, then wondered if why he had to think his thoughts out loud, then remembered he always did this, then remembered his conversation with Jill.
31wondered if why he had to think his thoughts out loud, then remembered he 31He hoped she didn't.
32always did this, then remembered his conversation with Jill. He hoped she 32He hoped that conversation was like the tree that fell in the forest with no one around.
33didn't. He hoped that conversation was like the tree that fell in the forest 33"I wonder if a thought said out loud isn't heard by anyone, if it was made.
34with no one around. "I wonder if a thought said out loud isn't heard by 34I think maybe this is what Literature (big L) is all about, if it's trying to make a connection because no idea matters unless it's connected to something else, or to someone else.
35anyone, if it was made. I think maybe this is what Literature (big L) is all 35Maybe no wood matters unless it's bound to another by upholstery nails.
36about, if it's trying to make a connection because no idea matters unless it's 36If 'the devil is in the details,' as they say (who are 'they' anyway?), the details are the connections?
37connected to something else, or to someone else. Maybe no wood matters unless 37That doesn't make sense.
38it's bound to another by upholstery nails. If 'the devil is in the details,' 38Details are details.
39as they say (who are 'they' anyway?), the details are the connections? That 39Connections are connections.
40doesn't make sense. Details are details. Connections are connections.
41 40
42"Still, a neuron by itself means nothing. Put them all together though and 41"Still, a neuron by itself means nothing.
43connect them. You've got a brain." 42Put them all together though and connect them.
43You've got a brain."
diff --git a/src/shed.txt b/src/shed.txt index f312cd4..abdab6b 100644 --- a/src/shed.txt +++ b/src/shed.txt
@@ -18,18 +18,23 @@ project:
18 link: sapling 18 link: sapling
19... 19...
20 20
21"What do you do all day in that shed out back" his mother asked one night 21"What do you do all day in that shed out back" his mother asked one night while they ate dinner in front of the TV.
22while they ate dinner in front of the TV. "Write" he answered. "Write what" 22"Write" he answered.
23she asked in that way that means he'd better not say I don't know. "I don't 23"Write what" she asked in that way that means he'd better not say I don't know.
24know" he said. 24"I don't know" he said.
25 25
26"Goddammit Paul" his mother said. "You're wasting your life out in that shed. 26"Goddammit Paul" his mother said.
27You need to go out and get---" "I chop down trees too" he said. "I make 27"You're wasting your life out in that shed.
28furniture out of them." His mother's face did a Hitchcock zoom as she 28You need to go out and get---"
29considered this new information. "Is it any good" she asked, eyes narrowed. 29"I chop down trees too" he said.
30"I make furniture out of them."
31His mother's face did a Hitchcock zoom as she considered this new information.
32"Is it any good" she asked, eyes narrowed.
30 33
31"It's getting there" he answered. "I'm getting better every day." "When is 34"It's getting there" he answered.
32it going to be there" she asked. "When are you going to sell this furniture 35"I'm getting better every day."
33of yours?" "It'll be a while" he answered. 36"When is it going to be there" she asked.
37"When are you going to sell this furniture of yours?"
38"It'll be a while" he answered.
34 39
35"Then you'd better get a job until then" she said. 40"Then you'd better get a job until then" she said.
diff --git a/src/snow.txt b/src/snow.txt index 3bb250a..dda1ede 100644 --- a/src/snow.txt +++ b/src/snow.txt
@@ -18,26 +18,30 @@ project:
18 link: shed 18 link: shed
19... 19...
20 20
21_I don't care if they burn_ he wrote on his last blank notecard. He'd have to 21_I don't care if they burn_ he wrote on his last blank notecard.
22go to the Office Supply Store tomorrow after work. 22He'd have to go to the Office Supply Store tomorrow after work.
23 23
24He looked at what he'd written. He'd been thinking about this for a while, 24He looked at what he'd written.
25felt the frustration build slowly like a thundercloud in the back of his mind. 25He'd been thinking about this for a while, felt the frustration build slowly like a thundercloud in the back of his mind.
26He thought he should write something else on the card, but everything he 26He thought he should write something else on the card, but everything he thought of seemed too confessional or too real compromising.
27thought of seemed too confessional or too real compromising. He didn't want 27He didn't want anyone, not even the notecards, to know what he was thinking.
28anyone, not even the notecards, to know what he was thinking. He decided to 28He decided to try for more of an interview with the paper.
29try for more of an interview with the paper.
30 29
31_Why?_ asked the notecard. _Because there is nothing important on any of 30_Why?_ asked the notecard.
32them_ he wrote back. _What do you mean? You have some good stuff in that top 31_Because there is nothing important on any of them_ he wrote back.
33drawer there._ He looked in the top drawer. It was stuffed full of notecards 32_What do you mean?
34in no organization. He could see bits and pieces of thoughts like leaves 33You have some good stuff in that top drawer there._
35crunched underfoot in autumn. _It will take so much organization_ he wrote. 34He looked in the top drawer.
35It was stuffed full of notecards in no organization.
36He could see bits and pieces of thoughts like leaves crunched underfoot in autumn.
37_It will take so much organization_ he wrote.
36 38
37_Why is organization important? Remember the trees, how they formed rows 39_Why is organization important?
38without trying. No matter how the ideas fall, they make something. The snow 40Remember the trees, how they formed rows without trying.
39does that too_ he wrote. _It doesn't try to make anything but it does._ 41No matter how the ideas fall, they make something.
42The snow does that too_ he wrote.
43_It doesn't try to make anything but it does._
40 44
41_No the snow is different_ the notecard was annoyed. _The snow is a blank 45_No the snow is different_ the notecard was annoyed.
42canvas that humans build into shapes or doppelgangers. It makes nothing on 46_The snow is a blank canvas that humans build into shapes or doppelgangers.
43its own._ 47It makes nothing on its own._
diff --git a/src/stagnant.txt b/src/stagnant.txt index 6de7875..121f4fe 100644 --- a/src/stagnant.txt +++ b/src/stagnant.txt
@@ -18,22 +18,20 @@ project:
18 link: snow 18 link: snow
19... 19...
20 20
21"Riding the bus to work is a good way to think or to read" Paul thought to 21"Riding the bus to work is a good way to think or to read" Paul thought to himself on the bus ride to work.
22himself on the bus ride to work. His thoughts couldn't become real to him 22His thoughts couldn't become real to him because he didn't want to look insane to everyone else on the bus.
23because he didn't want to look insane to everyone else on the bus. His 23His thoughts came to him like someone yelling over a hard wind.
24thoughts came to him like someone yelling over a hard wind. He was trying to 24He was trying to write them on his memory but the act of writing was easier and more immediate than that of listening.
25write them on his memory but the act of writing was easier and more immediate 25He was afraid that when he looked at his memory later he wouldn't be able to read what was written.
26than that of listening. He was afraid that when he looked at his memory later
27he wouldn't be able to read what was written.
28 26
29"Thoughts are like the wind outside a moving bus" he thought "or rather the 27"Thoughts are like the wind outside a moving bus" he thought "or rather the bus is a brain slamming into columns of stagnant air causing them to whistle past in a confusion of something."
30bus is a brain slamming into columns of stagnant air causing them to whistle 28He could barely hear the voice yelling to him over the wind.
31past in a confusion of something." He could barely hear the voice yelling to 29"Speak up" he thought to the voice, then remembered it was his own.
32him over the wind. "Speak up" he thought to the voice, then remembered it was 30He wished he'd remembered a book to read.
33his own. He wished he'd remembered a book to read.
34 31
35He looked at his hands to pass the time. They were dry in the winter air that 32He looked at his hands to pass the time.
36had seeped its way into the bus. He tried to figure out how many hours they 33They were dry in the winter air that had seeped its way into the bus.
37would make it before cracking and bleeding. "Maybe three or four" he thought 34He tried to figure out how many hours they would make it before cracking and bleeding.
38accidentally out loud. He looked around expecting stares from everyone on the 35"Maybe three or four" he thought accidentally out loud.
39seat. He was surprised that he was the only one on the bus. 36He looked around expecting stares from everyone on the seat.
37He was surprised that he was the only one on the bus.
diff --git a/src/statements-frag.txt b/src/statements-frag.txt index a3c40a1..9d734a1 100644 --- a/src/statements-frag.txt +++ b/src/statements-frag.txt
@@ -11,62 +11,53 @@ project:
11I. Eli {#i.-eli .unnumbered} 11I. Eli {#i.-eli .unnumbered}
12------ 12------
13 13
14"Can one truly describe an emotion?" Eli asked me over the 14"Can one truly describe an emotion?" Eli asked me over the walkie-talkie.
15walkie-talkie. He was in the bathroom, & had taken the walkie-talkie in 15He was in the bathroom, & had taken the walkie-talkie in with him absent-mindedly.
16with him absent-mindedly. I could hear sounds of his piss hitting the 16I could hear sounds of his piss hitting the toilet water.
17toilet water. 17
18 18"I can hear you peeing," I said.
19"I can hear you peeing," I said. He didn't answer so I said in apology, 19He didn't answer so I said in apology, "It's okay. Humans are sexually dimorphic."
20"It's okay. Humans are sexually dimorphic." I was sitting on my blue 20I was sitting on my blue baby blanket texting Jon, who was funny and amicable over the phone.
21baby blanket texting Jon, who was funny and amicable over the phone. He 21He made a three-message joke about greedy lawyers and I would have been laughing if not for my embarrassment toward Eli.
22made a three-message joke about greedy lawyers and I would have been 22He finally came out of the bathroom and kept his eyes straight ahead, toward the wall calendar and not at me, as he passed through the family room into his bedroom, were he shut the door quietly.
23laughing if not for my embarrassment toward Eli. He finally came out of 23Presently I heard some muffled noise as he turned on his iPod.
24the bathroom and kept his eyes straight ahead, toward the wall calendar 24I guessed he didn't feel like talking so I stayed on my blanket watching the Price is Right and texting Jon.
25and not at me, as he passed through the family room into his bedroom, 25
26were he shut the door quietly. Presently I heard some muffled noise as 26Drew Carrey was doing his wrap-up speech on TV when Eli finally came out of his room, red puffy streaks covering his face.
27he turned on his iPod. I guessed he didn't feel like talking so I stayed 27His eyes and nose were red too, which was almost festive against the pale green and white of the wallpaper.
28on my blanket watching the Price is Right and texting Jon. 28I had been laughing at the goofy costumes on the Price is Right and the jokes Jon was texting me, but when Eli came out of the room I stopped and just looked at him as well as I could.
29 29He was staring at my right shoulder as he said, "Go home now."
30Drew Carrey was doing his wrap-up speech on TV when Eli finally came out
31of his room, red puffy streaks covering his face. His eyes and nose were
32red too, which was almost festive against the pale green and white of
33the wallpaper. I had been laughing at the goofy costumes on the Price is
34Right and the jokes Jon was texting me, but when Eli came out of the
35room I stopped and just looked at him as well as I could. He was staring
36at my right shoulder as he said, "Go home now."
37 30
38"What?" 31"What?"
39 32
40"I said go home now. I don't want you here anymore, because I just 33"I said go home now.
41remembered I have someone coming over and I have to clean." 34I don't want you here anymore, because I just remembered I have someone coming over and I have to clean."
42 35
43"Look, Eli, I'm sorry---" 36"Look, Eli, I'm sorry---"
44 37
45"It doesn't have anything to do with you, I swear. Just go, okay? Go 38"It doesn't have anything to do with you, I swear.
46home now." 39Just go, okay? Go home now."
47 40
48I got up and tried to give him a hug but he withdrew from me sharply. So 41I got up and tried to give him a hug but he withdrew from me sharply.
49I walked around the coffee table as he sat down, not looking at me 42So I walked around the coffee table as he sat down, not looking at me anymore, and stared at the blank TV.
50anymore, and stared at the blank TV. The blanket I had been sitting in 43The blanket I had been sitting in was crumpled next to him like a dead bird.
51was crumpled next to him like a dead bird. I opened my mouth but thought 44I opened my mouth but thought better of talking, and closed the door behind me slowly.
52better of talking, and closed the door behind me slowly.
53 45
54II. Dimorphic {#ii.-dimorphic .unnumbered} 46II. Dimorphic {#ii.-dimorphic .unnumbered}
55------------- 47-------------
56 48
57Oranges. Poison. A compromise 49Oranges. Poison. A compromise \
58between Mary & Judas. Blue 50between Mary & Judas. Blue \
59baby blankets swaddling greedy lawyers. 51baby blankets swaddling greedy lawyers.
60 52
61Can one truly describe an emotion? 53Can one truly describe an emotion? \
62I cut my ankle with a razor blade. 54I cut my ankle with a razor blade. \
63I can only go one at a time. Humanity 55I can only go one at a time. Humanity \
64has a seething mass of eels 56has a seething mass of eels \
65for a brain, mating in the water so forcefully 57for a brain, mating in the water so forcefully \
66that it could drown you under the moon. 58that it could drown you under the moon.
67 59
68III. Declaration of Poetry {#iii.-declaration-of-poetry .unnumbered} 60III. Declaration of Poetry {#iii.-declaration-of-poetry .unnumbered}
69-------------------------- 61--------------------------
70 62
71You have to go one line at a time, and you have to start on the first or 63You have to go one line at a time, and you have to start on the first or second line.
72second line.
diff --git a/src/stump.txt b/src/stump.txt index aae6084..b9d9837 100644 --- a/src/stump.txt +++ b/src/stump.txt
@@ -18,24 +18,25 @@ project:
18 link: stagnant 18 link: stagnant
19... 19...
20 20
21He walked into the woods for the first time in months. It was a bright summer 21He walked into the woods for the first time in months.
22day but under the canopy of leaves it was cool and quiet and twilight. There 22It was a bright summer day but under the canopy of leaves it was cool and quiet and twilight.
23was no sound but his footsteps, his breathing. Instead of an axe, his right 23There was no sound but his footsteps, his breathing.
24hand clutched his notebook. His left was in his pocket. A pencil perched 24Instead of an axe, his right hand clutched his notebook.
25behind his ear. 25His left was in his pocket.
26A pencil perched behind his ear.
26 27
27He walked aimlessly until coming over a short rise he saw a stump. He 28He walked aimlessly until coming over a short rise he saw a stump.
28recognized his handiwork in the way the stump made a kind of chair back---flat 29He recognized his handiwork in the way the stump made a kind of chair back---flat until the axe had gone through far enough, then a frayed edge like a torn page.
29until the axe had gone through far enough, then a frayed edge like a torn 30Paul walked over to the stump and sat down.
30page. Paul walked over to the stump and sat down.
31 31
32He looked up and tried to find a pattern in the placement of the trees. There 32He looked up and tried to find a pattern in the placement of the trees.
33was none. They grew randomly, beginning nowhere and ending in the same place. 33There was none.
34A squirrel ran down one and up another for no reason. He opened his notebook 34They grew randomly, beginning nowhere and ending in the same place.
35and took his pencil from his ear but could think of nothing to write. 35A squirrel ran down one and up another for no reason.
36He opened his notebook and took his pencil from his ear but could think of nothing to write.
36 37
37A crow called hoarsely to another, something important. Paul looked up but 38A crow called hoarsely to another, something important.
38could not see the black bird in the leaves of the trees. He looked back down 39Paul looked up but could not see the black bird in the leaves of the trees.
39to the cream-colored pages of his notebook. 40He looked back down to the cream-colored pages of his notebook.
40 41
41He was surprised that he'd written _YOU CANNOT DISCOVER ART_. 42He was surprised that he'd written _YOU CANNOT DISCOVER ART_.
diff --git a/src/swear.txt b/src/swear.txt index 3dc80d7..57ffe3c 100644 --- a/src/swear.txt +++ b/src/swear.txt
@@ -51,8 +51,7 @@ round like the Earth.
51``` 51```
52 52
53Paul pushed his chair away from the Writing Desk and stared at the notecard. 53Paul pushed his chair away from the Writing Desk and stared at the notecard.
54He stood up, knocked his head on the lightbulb, swore. He pulled the notecard 54He stood up, knocked his head on the lightbulb, swore.
55from his typewriter and crumpled it up with his left hand. With his right hand 55He pulled the notecard from his typewriter and crumpled it up with his left hand.
56he reached in his pocket and pulled out his cigarettes. He put one in his 56With his right hand he reached in his pocket and pulled out his cigarettes.
57mouth, threw the paper in the corner, grabbed his axe, went out into the 57He put one in his mouth, threw the paper in the corner, grabbed his axe, went out into the woods.
58woods.
diff --git a/src/tapestry.txt b/src/tapestry.txt index ab87e19..6909a8c 100644 --- a/src/tapestry.txt +++ b/src/tapestry.txt
@@ -18,25 +18,35 @@ project:
18 link: swear 18 link: swear
19... 19...
20 20
21_Apparently typewriters need ribbon. Apparently ribbon is incredibly hard to 21_Apparently typewriters need ribbon.
22find anymore because no one uses typewriters. Apparently I am writing my 22Apparently ribbon is incredibly hard to find anymore because no one uses typewriters.
23hymns from now on._ So he was back to calling his notes "hymns." He looked 23Apparently I am writing my hymns from now on._
24up "hymns" in the dictionary. It said that a hymn was "an ode or song of 24So he was back to calling his notes "hymns."
25praise or adoration." Praise or adoration to what? he asked himself. He 25He looked up "hymns" in the dictionary.
26thought maybe furniture. There was still a lot of notfurniture in what he was 26It said that a hymn was "an ode or song of praise or adoration."
27again calling his Writing Shack. 27Praise or adoration to what? he asked himself.
28He thought maybe furniture.
29There was still a lot of notfurniture in what he was again calling his Writing Shack.
28 30
29The dictionary also had this to say about "hymn": that it was possibly related 31The dictionary also had this to say about "hymn": that it was possibly related to the old Greek word for "weave."
30to the old Greek word for "weave." "Weave what" Paul wondered to himself. He 32"Weave what" Paul wondered to himself.
31wrote this down on a new notecard. _Apparently "hymn" means weave somehow. 33He wrote this down on a new notecard.
32Or it used to. Or its cousin did. What is it weaving? Who is it weaving for? 34_Apparently "hymn" means weave somehow.
33I remember in school we talked about Odysseus and his wife Penelope, who wove 35Or it used to.
34a tapestry every day just to take it apart at night. I forget why._ 36Or its cousin did.
37What is it weaving?
38Who is it weaving for?
39I remember in school we talked about Odysseus and his wife Penelope, who wove a tapestry every day just to take it apart at night.
40I forget why._
35 41
36_Maybe she wove the tapestry for Odysseus. Maybe she wove it for herself. 42_Maybe she wove the tapestry for Odysseus.
37What did she weave it of? Memory, maybe? Or dream? I think these words make 43Maybe she wove it for herself.
38a kind of tapestry, or at least the thread it will be made of. I will weave a 44What did she weave it of?
39hymn to the gods of Literature, out of fiction. My furniture was a try at 45Memory, maybe?
40weaving, but I am shit at furniture. So writing it is again._ 46Or dream?
47I think these words make a kind of tapestry, or at least the thread it will be made of.
48I will weave a hymn to the gods of Literature, out of fiction.
49My furniture was a try at weaving, but I am shit at furniture.
50So writing it is again._
41 51
42He wrote _**NOTES FOR A HYMN**_ at the top of this notecard. 52He wrote _**NOTES FOR A HYMN**_ at the top of this notecard.
diff --git a/src/telemarketer.txt b/src/telemarketer.txt index e43b87c..53a5f68 100644 --- a/src/telemarketer.txt +++ b/src/telemarketer.txt
@@ -14,73 +14,48 @@ project:
14 link: weplayedthosegamestoo 14 link: weplayedthosegamestoo
15... 15...
16 16
17It was one of those nameless gray buildings that could be seen from the 17It was one of those nameless gray buildings that could be seen from the street only if Larry craned his neck to almost vertical.
18street only if Larry craned his neck to almost vertical. He never had, 18He never had, of course, having heard when he first arrived in the city that only tourists unaccustomed to tall buildings did so.
19of course, having heard when he first arrived in the city that only 19He'd never thought about it until he'd heard the social injunction against such a thing; it was now one of the things he thought about almost every day as he rode to and from work in gritty blue buses.
20tourists unaccustomed to tall buildings did so. He'd never thought about
21it until he'd heard the social injunction against such a thing; it was
22now one of the things he thought about almost every day as he rode to
23and from work in gritty blue buses.
24 20
25Inside the building, the constant sound of recirculating dry air made 21Inside the building, the constant sound of recirculating dry air made Larry feel as though he were at some beach in hell, listening to the [ocean][], or more accurately at a gift shop in a landlocked state in hell listening to the ocean as represented by the sound a conch shell makes when he holds it up to his ear.
26Larry feel as though he were at some beach in hell, listening to the 22The buzz of the fluorescent bulbs overhead sounded like the hot sun bearing down all day in this metaphor, a favorite of Larry's.
27[ocean][], or more accurately at a gift shop in a landlocked state in hell
28listening to the ocean as represented by the sound a conch shell makes
29when he holds it up to his ear. The buzz of the fluorescent bulbs
30overhead sounded like the hot sun bearing down all day in this metaphor,
31a favorite of Larry's.
32 23
33His cubicle was made of that cheap, grayish-blue plywood that cubicles 24His cubicle was made of that cheap, grayish-blue plywood that cubicles are made of; inside it, his computer sat on his desk as Larry liked to think an [eagle perched][] on a mountainous crag much like the crag that was his desktop wallpaper.
34are made of; inside it, his computer sat on his desk as Larry liked to 25The walls were unadorned except for a few tacked-up papers in report covers explaining his script.
35think an [eagle perched][] on a mountainous crag much like the crag that was 26When Larry made a call to a potential customer it always went the same way:
36his desktop wallpaper. The walls were unadorned except for a few
37tacked-up papers in report covers explaining his script. When Larry made
38a call to a potential customer it always went the same way:
39 27
40"Hi, Mr/Mrs (customer's name). My name is Larry and I'm with (client's 28"Hi, Mr/Mrs (customer's name).
41name), and was just wondering if I could have a minute of your time?" 29My name is Larry and I'm with (client's name), and was just wondering if I could have a minute of your time?"
42 30
43"Oh, no, sir; I don't want whatever it is you're selling." (customer 31"Oh, no, sir; I don't want whatever it is you're selling." (customer terminates call).
44terminates call).
45 32
46Larry had only ever read the first line of the script on the wall. 33Larry had only ever read the first line of the script on the wall.
47Sometimes he had an urge to read more of it, to be ready when a customer 34Sometimes he had an urge to read more of it, to be ready when a customer expressed interest in whatever it was Larry was selling, but something in him---he liked to think it was an actor's intuition that told him it was best to improvise, though he worried it was the futility of it---kept him from reading further into the script.
48expressed interest in whatever it was Larry was selling, but something 35So when Jane said, "Sure, I have nothing better to do," he was thrown completely off guard.
49in him---he liked to think it was an actor's intuition that told him it
50was best to improvise, though he worried it was the futility of it---kept
51him from reading further into the script. So when Jane said, "Sure, I
52have nothing better to do," he was thrown completely off guard.
53 36
54"Um, alright Mrs ... Mrs. Loring, I was wondering---" 37"Um, alright Mrs ... Mrs. Loring, I was wondering---"
55 38
56"It's Ms, not Mrs. Em ess. Miz. No ‘r,' Larry." She sounded patient, as 39"It's Ms, not Mrs.
57if she were used to correcting people about the particulars of her 40Em ess.
58title. But how often can that happen? Larry thought, and he was suddenly 41Miz.
59deeply confused. 42No ‘r,' Larry."
60 43She sounded patient, as if she were used to correcting people about the particulars of her title.
61"Oh, sorry, ma'am, uh, Miz Loring, but I wanted to know whether you'd like to, 44But how often can that happen?
62ah, buy some..." Larry put his head in his hand and started twirling his hair 45Larry thought, and he was suddenly deeply confused.
63in his finger, a nervous habit he'd had since childhood, and closed his eyes 46
64tightly. "Why don't you have anything better to do?" 47"Oh, sorry, ma'am, uh, Miz Loring, but I wanted to know whether you'd like to, ah, buy some..."
65 48Larry put his head in his hand and started twirling his hair in his finger, a nervous habit he'd had since childhood, and closed his eyes tightly.
66Immediately he knew it was the wrong question. Even before the silence 49"Why don't you have anything better to do?"
67on the other end moved past impatience and into stunned, Larry had a 50
68mini-drama written and staged within his mind: she would call customer 51Immediately he knew it was the wrong question.
69service and complain loudly into the representative's ear. The rep would 52Even before the silence on the other end moved past impatience and into stunned, Larry had a mini-drama written and staged within his mind: she would call customer service and complain loudly into the representative's ear.
70send a memo to the head of telemarketing requesting disciplinary action, 53The rep would send a memo to the head of telemarketing requesting disciplinary action, and the head would delegate the action to Larry's immediate supervisor, David.
71and the head would delegate the action to Larry's immediate supervisor, 54David would saunter over to Larry's cubicle sometime within the next week, depending on when he got the memo and when he felt like crossing fifty feet of office space, and have one of what David liked to call "chats" but what Larry knew were lectures.
72David. David would saunter over to Larry's cubicle sometime within the 55After about half an hour of "chatting" David would give Larry a warning and ask him to come in for overtime to make up for the discretion, and walk back slowly to his office, making small talk with the cubicled workers on the way.
73next week, depending on when he got the memo and when he felt like 56The world suddenly felt too small for Larry, or he too big for it.
74crossing fifty feet of office space, and have one of what David liked to 57
75call "chats" but what Larry knew were lectures. After about half an hour 58Quietly, with the same patience but with a [bigger pain][], Jane said, "My husband just left me and I thought you could take my mind off of him for just a minute," and hung up.
76of "chatting" David would give Larry a warning and ask him to come in
77for overtime to make up for the discretion, and walk back slowly to his
78office, making small talk with the cubicled workers on the way. The
79world suddenly felt too small for Larry, or he too big for it.
80
81Quietly, with the same patience but with a [bigger pain][], Jane said, "My
82husband just left me and I thought you could take my mind off of him for
83just a minute," and hung up.
84 59
85[ocean]: theoceanoverflowswithcamels.html 60[ocean]: theoceanoverflowswithcamels.html
86[eagle perched]: mountain.html 61[eagle perched]: mountain.html
diff --git a/src/toilet.txt b/src/toilet.txt index 90ae836..4cf97b7 100644 --- a/src/toilet.txt +++ b/src/toilet.txt
@@ -20,17 +20,17 @@ project:
20 20
21Paul only did his reading on the toilet. 21Paul only did his reading on the toilet.
22 22
23He read in a magazine that the universe as we know it is actually a hologram, 23He read in a magazine that the universe as we know it is actually a hologram, a three-dimensional projection of a lower, two-dimensional, "realer" reality.
24a three-dimensional projection of a lower, two-dimensional, "realer" reality. 24The article said that this model explains things like quantum entanglement, what it called "spooky action at a distance."
25The article said that this model explains things like quantum entanglement,
26what it called "spooky action at a distance."
27 25
28After he finished, he ran back out to his Writing Shack and hammered out a 26After he finished, he ran back out to his Writing Shack and hammered out a Treatise on Literature as Spooky Action.
29Treatise on Literature as Spooky Action. His mind was reeling. He typed out 27His mind was reeling.
30an entire notecard on the subject. 28He typed out an entire [notecard][] on the subject.
31 29
32He stopped to catch his breath. Reading it over, he realized he was 30He stopped to catch his breath.
33completely wrong. "Paper is made from trees" he thought "and so is 31Reading it over, he realized he was completely wrong.
34furniture." He had thought that ART and CRAFT were two separate enterprises 32"Paper is made from trees" he thought "and so is furniture."
35but he realized in a flash that they were two sides of the same building. 33He had thought that ART and CRAFT were two separate enterprises but he realized in a flash that they were two sides of the same building.
36Were there other walls? 34Were there other walls?
35
36[notecard]: treatise.html
diff --git a/src/toothpaste.txt b/src/toothpaste.txt index f8cd231..2fb3ad6 100644 --- a/src/toothpaste.txt +++ b/src/toothpaste.txt
@@ -18,23 +18,24 @@ project:
18 link: toilet 18 link: toilet
19... 19...
20 20
21He couldn't find a shirt to go to work in. They all had stains on them 21He couldn't find a shirt to go to work in.
22somewhere. He pulled out a vest to put on over the stains but somehow all of 22They all had stains on them somewhere.
23them were still visible. Most of them were unidentifiable but one he thought 23He pulled out a vest to put on over the stains but somehow all of them were still visible.
24could have come from that peach he ate two weeks before. Another looked like 24Most of them were unidentifiable but one he thought could have come from that peach he ate two weeks before.
25toothpaste but he was paranoid it was something else. 25Another looked like toothpaste but he was paranoid it was something else.
26 26
27When he took the bus into work he couldn't relax. He was paranoid everyone 27When he took the bus into work he couldn't relax.
28was staring at his stain and kept looking out the corners of his eyes to make 28He was paranoid everyone was staring at his stain and kept looking out the corners of his eyes to make sure they weren't.
29sure they weren't. They didn't seem to be but they could also be looking away 29They didn't seem to be but they could also be looking away just as he looked at them.
30just as he looked at them. "The Observation Paradox" he muttered to himself. 30"The Observation Paradox" he muttered to himself.
31 31
32Jill was the only one to notice the stain at work. She came around to his 32Jill was the only one to notice the stain at work.
33cubicle during a break because he dared not show his stain in the break room. 33She came around to his cubicle during a break because he dared not show his stain in the break room.
34"You have a stain on your shoulder" she said "it looks like toothpaste." "Do 34"You have a stain on your shoulder" she said "it looks like toothpaste."
35I" he feigned ignorance but went red at the same time "I didn't see that there 35"Do I" he feigned ignorance but went red at the same time "I didn't see that there this morning."
36this morning." "How do you get toothpaste on your shoulder?" "I don't know 36"How do you get toothpaste on your shoulder?"
37skills I guess" he said and she grinned. "You know vinegar will take that 37"I don't know skills I guess" he said and she grinned.
38out" she said "although I think I like it. You should start a museum of shirt 38"You know vinegar will take that out" she said "although I think I like it.
39stains!" "I don't have that many shirts with stains" he said frowning. "Yes 39You should start a museum of shirt stains!"
40you do" she said. 40"I don't have that many shirts with stains" he said frowning.
41"Yes you do" she said.
diff --git a/src/underwear.txt b/src/underwear.txt index 7caedd9..952d7c3 100644 --- a/src/underwear.txt +++ b/src/underwear.txt
@@ -18,23 +18,20 @@ project:
18 link: treatise 18 link: treatise
19... 19...
20 20
21He dropped the penny in the dryer, turned it on, and turned around. "What" he 21He dropped the penny in the dryer, turned it on, and turned around.
22called upstairs, pretending not to hear his mother's question over the noise 22"What" he called upstairs, pretending not to hear his mother's question over the noise of the dryer.
23of the dryer. He had heard her ask "Could you bring up my underwear from the 23He had heard her ask "Could you bring up my underwear from the dryer" but didn't want to touch her underwear any more than he had to.
24dryer" but didn't want to touch her underwear any more than he had to. "I 24"I don't want to bring up your underwear" he said to himself, and walked back upstairs as his mother was calling down again for her underwear.
25don't want to bring up your underwear" he said to himself, and walked back
26upstairs as his mother was calling down again for her underwear.
27 25
28"Did you get them" she asked when he opened the basement door to the kitchen. 26"Did you get them" she asked when he opened the basement door to the kitchen.
29She was sitting at the table playing dominoes. "Get what" he asked. She 27She was sitting at the table playing dominoes.
30peered at him and said "my underwear." 28"Get what" he asked.
29She peered at him and said "my underwear."
31 30
32"Oh I didn't see them" he answered. He reflexively opened the refrigerator, 31"Oh I didn't see them" he answered.
33reflexively bent down, reflexively tried to feign non-disappointment 32He reflexively opened the refrigerator, reflexively bent down, reflexively tried to feign non-disappointment (appointment? he thought) at seeing the same disappointing empty pickle jar, old head of lettuce, crusty mayonnaise he'd seen already on the way down to switch his laundry over.
34(appointment? he thought) at seeing the same disappointing empty pickle jar, 33"Paul" she said in that way that means Look at me.
35old head of lettuce, crusty mayonnaise he'd seen already on the way down to
36switch his laundry over. "Paul" she said in that way that means Look at me.
37Paul looked at her. 34Paul looked at her.
38 35
39"You had to get them out of the dryer to put your clothes in. Where did you 36"You had to get them out of the dryer to put your clothes in.
40put them?" 37Where did you put them?"
diff --git a/src/wallpaper.txt b/src/wallpaper.txt index 45de63c..ace1101 100644 --- a/src/wallpaper.txt +++ b/src/wallpaper.txt
@@ -19,22 +19,24 @@ project:
19... 19...
20 20
21 21
22He didn't go back into the shed for a long time. His hatchet was in there, 22He didn't go back into the shed for a long time.
23and his axe. He didn't want to face them. His papers, he decided, could wait 23His hatchet was in there, and his axe.
24in the top drawer for a while before being looked at again. The pain 24He didn't want to face them.
25medication made him loopy. He couldn't think as well as he was used to, which 25His papers, he decided, could wait in the top drawer for a while before being looked at again.
26wasn't well to begin with. Even saying his thoughts out loud, it was as 26The pain medication made him loopy.
27though they were on the TV in the next room. Someone was cheering. They had 27He couldn't think as well as he was used to, which wasn't well to begin with.
28just won a car. 28Even saying his thoughts out loud, it was as though they were on the TV in the next room.
29Someone was cheering.
30They had just won a car.
29 31
30His mother came in with lunch on a tray. It was hot tomato soup and a grilled 32His mother came in with lunch on a tray.
31cheese sandwich. "What have you been doing all day" she asked "you haven't 33It was hot tomato soup and a grilled cheese sandwich.
32just been staring at the wall have you?" He had been staring at the wall most 34"What have you been doing all day" she asked "you haven't just been staring at the wall have you?"
33of the day. The wall without the window on it, with the woodgrain wallpaper. 35He had been staring at the wall most of the day.
34"No" he said. "What have you been doing then" she asked setting the tray down 36The wall without the window on it, with the woodgrain wallpaper.
35on his lap. He sat up and almost upset it, but she caught it before it 37"No" he said.
36spilled anything. "Composing in my head" he lied. "A novel of my 38"What have you been doing then" she asked setting the tray down on his lap.
37experience." 39He sat up and almost upset it, but she caught it before it spilled anything.
40"Composing in my head" he lied. "A novel of my experience."
38 41
39"Do you really think anyone will want to read about you" she asked and walked 42"Do you really think anyone will want to read about you" she asked and walked out of the room.
40out of the room.
diff --git a/src/window.txt b/src/window.txt index 5df7dc5..817fda7 100644 --- a/src/window.txt +++ b/src/window.txt
@@ -20,23 +20,31 @@ project:
20 20
21_**HYMN 386: JOKES**_ 21_**HYMN 386: JOKES**_
22 22
23_"Tell us a joke" everyone asks of the clown. He sits on a log and begins to 23_"Tell us a joke" everyone asks of the clown.
24think. Everyone waits gap-mouthed in anticipation. A slight breeze ruffles 24He sits on a log and begins to think.
25the clown's coat, his pompom buttons, his bright red hair. His nose becomes 25Everyone waits gap-mouthed in anticipation.
26redder in the cold. Hours pass. All but the most dedicated of joke listeners 26A slight breeze ruffles the clown's coat, his pompom buttons, his bright red hair.
27leave him to rot ~~for all they may care~~._ 27His nose becomes redder in the cold.
28Hours pass.
29All but the most dedicated of joke listeners leave him to rot ~~for all they may care~~._
28 30
29_The clown opens his mouth to speak but no words come out. A tear falls down 31_The clown opens his mouth to speak but no words come out.
30his cheek, and another. He begins to sob. The last joke listener comes over 32A tear falls down his cheek, and another.
31to comfort him. She puts a hand on his shoulder. He looks up at her, red 33He begins to sob.
32face, red nose, white lips, and says ~~"Thank you."~~ He vanishes from the 34The last joke listener comes over to comfort him.
33clearing. The last joke listener sits on the log and looks up at the sky. 35She puts a hand on his shoulder.
34The moon is full. The world creaks on its axis._ 36He looks up at her, red face, red nose, white lips, and says ~~"Thank you."~~
37He vanishes from the clearing.
38The last joke listener sits on the log and looks up at the sky.
39The moon is full.
40The world creaks on its axis._
35 41
36Paul looked up to the space on the wall where a window should be. The shadow 42Paul looked up to the space on the wall where a window should be.
37of his face wavered in the candle light. He looked back down at the card he'd 43The shadow of his face wavered in the candle light.
38been writing on. He read the card. He crossed out the _for all they may 44He looked back down at the card he'd been writing on.
39care_ in the first paragraph, and _"Thank you"_ from the second one. "What 45He read the card.
40could he say" he thought to himself. "What could he possibly say to her." He 46He crossed out the _for all they may care_ in the first paragraph, and _"Thank you"_ from the second one.
41went outside to clear his head with a cigarette. He took his axe with him 47"What could he say" he thought to himself.
42this time. 48"What could he possibly say to her."
49He went outside to clear his head with a cigarette.
50He took his axe with him this time.
diff --git a/src/words-meaning.txt b/src/words-meaning.txt index ee87ad0..6b8e474 100644 --- a/src/words-meaning.txt +++ b/src/words-meaning.txt
@@ -14,46 +14,26 @@ project:
14 link: apollo11 14 link: apollo11
15... 15...
16 16
17"How astonishing it is that language can almost mean, / and frightening 17"How astonishing it is that language can almost mean, / and frightening that it does not quite," Jack Gilbert opens his poem "The Forgotten Dialect of the Heart."
18that it does not quite," Jack Gilbert opens his poem "The Forgotten 18In a similar vein, Hass's "Meditation at Legunitas" states, "A word is elegy to what it signifies."
19Dialect of the Heart." In a similar vein, Hass's "Meditation at 19These poems get to the heart of language, and express the old duality of thought: by giving a word to an entity, it is both tethered and made meaningful.
20Legunitas" states, "A word is elegy to what it signifies." These poems
21get to the heart of language, and express the old duality of thought: by
22giving a word to an entity, it is both tethered and made meaningful.
23 20
24Words are the inevitable byproduct of an analytic mind. Humans are 21Words are the inevitable byproduct of an analytic mind.
25constantly classifying and reclassifying ideas, objects, animals, 22Humans are constantly classifying and reclassifying ideas, objects, animals, people, into ten thousand arbitrary categories.
26people, into ten thousand arbitrary categories. A favorite saying of 23A favorite saying of mine is that "Everything is everything," a tautology that I like, because it gets to the core of the human linguistic machine, and because every time I say it people think I'm being [disingenuous][].
27mine is that "Everything is everything," a tautology that I like, 24But what I mean by "everything is everything" is that there is a continuity to existence that works beyond, or rather underneath, our capacity to understand it through language.
28because it gets to the core of the human linguistic machine, and because 25Language by definition compartmentalizes reality, sets this bit apart from that bit, sets up boundaries as to what is and is not a stone, a leaf, a door.
29every time I say it people think I'm being [disingenuous][]. But what I mean 26Most of the time I think of language as limiting, as defining a thing as the [inverse of everything][] is not.
30by "everything is everything" is that there is a continuity to existence
31that works beyond, or rather underneath, our capacity to understand it
32through language. Language by definition compartmentalizes reality, sets
33this bit apart from that bit, sets up boundaries as to what is and is
34not a stone, a leaf, a door. Most of the time I think of language as
35limiting, as defining a thing as the [inverse of everything][] is not.
36 27
37In this way, "everything is everything" becomes "everything is nothing," 28In this way, "everything is everything" becomes "everything is nothing," which is another thing I like to say and something that pisses people off.
38which is another thing I like to say and something that pisses people 29To me, infinity and zero are the same, two ways of looking at the same point on the circle–of numbers, of the universe, whatever.
39off. To me, infinity and zero are the same, two ways of looking at the 30Maybe it's because I wear an analogue watch, and so my view of time is cyclical, or maybe it's some brain trauma I had in vitro, but whatever it is that's how I see the world, because I'm working against the limitations that language sets upon us.
40same point on the circle–of numbers, of the universe, whatever. Maybe 31I think that's the role of the poet, or of any artist: to take the over-expansive experience of existing and to boil it down, boil and boil away until there is the ultimate concentrate at the center that is what the poem talks around, at, etc., but never of, because it is ultimately made of language and cannot get to it.
41it's because I wear an analogue watch, and so my view of time is 32A poem is getting as close as possible to the speed of light, to absolute zero, to God, while knowing that it can't get all the way there, and never will.
42cyclical, or maybe it's some brain trauma I had in vitro, but whatever it 33A poem is doing this and coming back and showing what happened as it happened.
43is that's how I see the world, because I'm working against the 34Exegesis is hard because a really good poem will be just that, it will be the most basic and best way to say what it's saying, so attempts to say the same thing differently will fail.
44limitations that language sets upon us. I think that's the role of the 35A poem is a kernel of existence.
45poet, or of any artist: to take the over-expansive experience of 36It is a description of the kernel. [It is][].
46existing and to boil it down, boil and boil away until there is the
47ultimate concentrate at the center that is what the poem talks around,
48at, etc., but never of, because it is ultimately made of language and
49cannot get to it. A poem is getting as close as possible to the speed of
50light, to absolute zero, to God, while knowing that it can't get all the
51way there, and never will. A poem is doing this and coming back and
52showing what happened as it happened. Exegesis is hard because a really
53good poem will be just that, it will be the most basic and best way to
54say what it's saying, so attempts to say the same thing differently will
55fail. A poem is a kernel of existence. It is a description of the
56kernel. [It is][].
57 37
58[disingenuous]: likingthings.html 38[disingenuous]: likingthings.html
59[inverse of everything]: i-am.html 39[inverse of everything]: i-am.html
diff --git a/src/writing.txt b/src/writing.txt index 4be9d0b..4dd5d48 100644 --- a/src/writing.txt +++ b/src/writing.txt
@@ -18,18 +18,18 @@ project:
18 link: window 18 link: window
19... 19...
20 20
21He sat down at his writing desk and removed his new pen from its plastic 21He sat down at his writing desk and removed his new pen from its plastic wrapping.
22wrapping. He remembered how to fill it from _The View from Saturday_, which 22He remembered how to fill it from _The View from Saturday_, which he'd read as a kid.
23he'd read as a kid. It had been one of his favorite books. He remembered the 23It had been one of his favorite books.
24heart puzzle they completed, the origin of the word "posh," and most of all 24He remembered the heart puzzle they completed, the origin of the word "posh," and most of all his fourth-grade teacher [Ms. (Mrs? He could never remember)][ms] Samovar.
25his fourth-grade teacher Ms. (Mrs? He could never remember) Samovar. He 25He smiled as he opened the lid on the ink well he'd just bought.
26smiled as he opened the lid on the ink well he'd just bought.
27 26
28He dipped his pen in the inkwell, screwed the converter piston up, and watched 27He dipped his pen in the inkwell, screwed the converter piston up, and watched as nothing entered the chamber.
29as nothing entered the chamber. He screwed it back down and up again, while 28He screwed it back down and up again, while dipping the nib more deeply into the ink well.
30dipping the nib more deeply into the ink well. He watched as again nothing 29He watched as again nothing filled the capsule.
31filled the capsule. He screwed it down a third time. His thumb knocked the 30He screwed it down a third time.
32inkwell over somehow by accident. 31His thumb knocked the inkwell over somehow by accident.
33 32
34As he swore, stood up and away from the table, and went into the house proper 33As he swore, stood up and away from the table, and went into the house proper for paper towels, he resolved to buy a typewriter.
35for paper towels, he resolved to buy a typewriter. 34
35[ms]: telemarketer.html
diff --git a/src/x-ray.txt b/src/x-ray.txt index 19c03e0..b04cf1c 100644 --- a/src/x-ray.txt +++ b/src/x-ray.txt
@@ -18,27 +18,23 @@ project:
18 link: writing 18 link: writing
19... 19...
20 20
21While chopping a tree in the woods with his hatchet (a Christmas gift from his 21While chopping a tree in the woods with his hatchet (a Christmas gift from his mother) a bird he'd never heard before cried out.
22mother) a bird he'd never heard before cried out. He jerked his head up and 22He jerked his head up and to the right as the hatchet fell down and to the left.
23to the right as the hatchet fell down and to the left. It cut deep into the 23It cut deep into the back of his left hand.
24back of his left hand. A low thud didn't echo in the forest because all the 24A low thud didn't echo in the forest because all the needles and snow absorbed ~~sound well~~ the sound.
25needles and snow absorbed ~~sound well~~ the sound.
26 25
27When he got back to the house his hand wrapped in the end of his shirt he 26When he got back to the house his hand wrapped in the end of his shirt he still felt no pain.
28still felt no pain. He called for his mother and found her watching TV in the 27He called for his mother and found her watching TV in the main room.
29main room. He stayed in the kitchen not wanting to get blood on the carpet. 28He stayed in the kitchen not wanting to get blood on the carpet.
30She turned around cigarette dangling from her open mouth said "Oh god what 29She turned around cigarette dangling from her open mouth said "Oh god what happened."
31happened."
32 30
33She drove him to the hospital in the car. The radio stayed off the entire 31She drove him to the hospital in the car.
34way. Paul wanted to turn it on but ~~he didn't want~~ the desire not to annoy 32The radio stayed off the entire way.
35his mother was stronger. They drove in silence. 33Paul wanted to turn it on but ~~he didn't want~~ the desire not to annoy his mother was stronger.
34They drove in silence.
36 35
37At the hospital after the X-rays and stitching and pain medication 36At the hospital after the X-rays and stitching and pain medication prescription the doctor said "You got lucky, son.
38prescription the doctor said "You got lucky, son. If that axe had hit a 37If that axe had hit a half-inch lower you'd have lost your hand.
39half-inch lower you'd have lost your hand. You won't get full mobility back 38You won't get full mobility back because we had to tie the tendons, but with therapy you should be able to work it pretty well."
40because we had to tie the tendons, but with therapy you should be able to work
41it pretty well."
42 39
43On the drive back home all he could think was that he was glad he didn't hit 40On the drive back home all he could think was that he was glad he didn't hit his writing hand.
44his writing hand.
diff --git a/src/yellow.txt b/src/yellow.txt index 693e76f..81f16af 100644 --- a/src/yellow.txt +++ b/src/yellow.txt
@@ -16,25 +16,24 @@ project:
16 link: x-ray 16 link: x-ray
17... 17...
18 18
19He would enter data at work for fifty minutes and then go on break. He would 19He would enter data at work for fifty minutes and then go on break.
20walk down the hallway to the breakroom, which had a white refrigerator, a 20He would walk down the hallway to the breakroom, which had a white refrigerator, a black microwave on a brown plyboard cart stocked with powdered creamer, sugar, and swizzle sticks, a dark red coffee maker, and yellow paint on the wall.
21black microwave on a brown plyboard cart stocked with powdered creamer, sugar, 21He'd remember that somewhere he'd read an article about yellow walls being calming.
22and swizzle sticks, a dark red coffee maker, and yellow paint on the wall. 22"They use yellow in asylums" he'd say to himself.
23He'd remember that somewhere he'd read an article about yellow walls being
24calming. "They use yellow in asylums" he'd say to himself.
25 23
26He would sit down at the round table covered in newspapers that took up the 24He would sit down at the round table covered in newspapers that took up the half of the room not occupied by the refrigerator, microwave, or counter with coffee pot and sink.
27half of the room not occupied by the refrigerator, microwave, or counter with 25He didn't drink coffee but he would think about starting.
28coffee pot and sink. He didn't drink coffee but he would think about 26He would shuffle the newspapers around on the table and see they were all the same ones as an hour ago.
29starting. He would shuffle the newspapers around on the table and see they 27"Or technically fifty minutes ago" he would say to himself.
30were all the same ones as an hour ago. "Or technically fifty minutes ago" he 28Sometimes Jill would come in for a cup of coffee.
31would say to himself. Sometimes Jill would come in for a cup of coffee. She 29She would always check that her lunch, which she brought each morning in a Tupperware container with a blue lid with her name written on it in black sharpie, was still there.
32would always check that her lunch, which she brought each morning in a 30Once he asked her why she checked.
33Tupperware container with a blue lid with her name written on it in black
34sharpie, was still there. Once he asked her why she checked.
35 31
36"Why do you always check if your lunch is in the fridge" he asked. "I don't" 32"Why do you always check if your lunch is in the fridge" he asked.
37she said. "Oh I thought you did." "I don't think so." "Why do you check at 33"I don't" she said.
38all?" "Once it was stolen out of the fridge and returned empty before I had a 34"Oh I thought you did."
39chance to eat my lunch" she said. "So you make sure it won't happen again." 35"I don't think so."
36"Why do you check at all?"
37"Once it was stolen out of the fridge and returned empty before I had a chance to eat my lunch" she said.
38"So you make sure it won't happen again."
40"No I'm waiting for the day that it does." 39"No I'm waiting for the day that it does."