1759 lines
80 KiB
Plaintext
1759 lines
80 KiB
Plaintext
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Living in such a state taTestaTesTaTe etats a hcus ni gniviL
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of mind in which time sTATEsTAtEsTaTeStA emit hcihw ni dnim of
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does not pass, space STateSTaTeSTaTeStAtE ecaps ,ssap ton seod
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does not exist, and sTATeSt oFOfOfo dna ,tsixe ton seod
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idea is not there. STatEst ofoFOFo .ereht ton si aedi
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Stuck in a place staTEsT OfOFofo ecalp a ni kcutS
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where movements TATeSTa foFofoF stnemevom erehw
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are impossible fOFoFOf elbissopmi era
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in all forms, UsOFofO ,smrof lla ni
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physical and nbEifof dna lacisyhp
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or mental - uNBeInO - latnem ro
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your mind is UNbeinG si dnim rouy
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focusing on a unBEING a no gnisucof
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lone thing, or NBeINgu ro ,gniht enol
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a lone nothing. bEinGUn .gnihton enol a
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You are numb and EiNguNB dna bmun era ouY
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unaware to events stneve ot erawanu
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taking place - not -iSSuE- ton - ecalp gnikat
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knowing how or what 10/25 tahw ro woh gniwonk
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to think. You are in -T-E-N- ni era uoY .kniht ot
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a state of unbeing.... ....gniebnu fo etats a
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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CONTENTS OF THiS iSSUE
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=----------------------=
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EDiTORiAL Kilgore Trout
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STAFF LiSTiNG
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[=- ARTiCLES -=]
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TO MARS OR BUST Hagbard
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CHALLENGE Nomad
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MUSiC The Watcher
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OUR LiTTLE FRiENDS Nomad
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A LETTER TO THE WORLD, POSTED ON A TREE Griphon
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FREE BORN Nomad
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MASTURBATiON Smack Ruby
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LABELS Nomad
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THE POWER OF FORREST GUMP I Wish My Name Were Nathan, Doorway, Styx
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& Kilgore Trout
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[=- POETRiE -=]
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EMPTY Griphon
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OCCASiONED BY THE DEATH OF Dark Crystal Sphere Floating
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ROBERT BLOCH (1917-1994) Between Two Universes
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3 FT. Griphon
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A MEANiNGLESS RHYME Flying Rat's Nostril
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[=- FiCTiON -=]
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TORN FROM A DiARY Crux Ansata
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JiM AND TANK CLEAN THE ATTiC AND TALK ABOUT iT I Wish My Name Were Nathan
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A PRAYER FOR DEATH, Part I Michael Dee
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DR. GRAVES AND THE AVANT-GARDE DiNNER PARTY John Smith
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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EDiTORiAL
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by Kilgore Trout
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Yeah, I know. I promised I'd never do it again. But yes, you saw
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right. Dr. Graves is back. I really wouldn't have considered putting it in,
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but there were quite a few people at Texas A&M University who wanted more of
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the doctor, so I figure whatever makes you readers happy. (Of course, since
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they come from A&M, it may not take much to make them happy. I'm sure Doorway
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and Styx will tend to differ on that remark, but that's what they get.) Your
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immaculate editor even makes a cameo in the story, albeit a very small one.
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And, no, that is _NOT_ my real name. I felt my editorial powers were needed
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and changed it. So don't go looking around for a Kevin Midland to prank call
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about being a pedophile. Nuff said about that.
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I think everything else is pretty good (hell, I even KINDA liked the Dr.
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Graves story... it has its moments). A few of my friends and I discuss the
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movie "Forrest Gump." Two guys clean an attic and talk about it. Diary
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entries circa an Orwellian 1984-esque time. And lots of nifty stuff on
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colonizing Mars and masturbation (not related, BTW). Read it and see.
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Now, for a little housecleaning. Last issue I mentioned that Harlequin's
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poem in issue #7 was a Joy Division song. I was both wrong and right. The
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poem in issue #7 _was_, in fact, Harlequin own... so if you went searching
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thru all your Joy Division albums trying to find that song, you have not gone
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crazy. It was the poem "Something Must Break" in issue #6 that was a Joy
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Division song and not Harlequin's. Sorry bout that mix up.
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Also, a little note from Captain Moonlight about his article in issue #7:
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"...I recently found that in my "The Beggar Crackdown" I made a few
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misleading comments and I would like to request that you mention them in your
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editorial for the next issue and mention that I apologize for them. First of
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all, in legal terminology, I misused the words 'arrest' and 'imprison.'
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Please mention that you can only be 'arrested' when you are charged with a
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crime, and 'imprisonment' is only for convicted criminals. Please mention to
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have any future readers mentally delete these words and insert 'detain' and
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'jail,' respectively. Also, my comments may be misleading in that I didn't
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mention that you can only be detained for twenty-four hours without being
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charged with a crime, unless this is done by a court order. However, a new
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law called Proposition 187, or Save our State (S.O.S) which will appear on the
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Nov. 8th ballot in California will allow the government to force people to
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carry papers saying they are citizens. This law will allow police officers to
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demand these papers at any time and, if they cannot be produced, to arrest the
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'law-breaker.' This law will soon go to vote in five states: California, New
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York, Texas, Florida, and Illinois. (For more information on this, please see
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'SOS and the War on Immigrants,' October 16, 1994.) Also, please mention that
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I mentioned that cops 'always' patrol in pairs. This should be 'usually'
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patrol in pairs: budget cuts no longer allow for the 'always' bit. Just
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wanted to let everyone know: wouldn't want to mislead either by direct
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statement or implication."
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Hope that cleared up any questions you might have had about Captain
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Moonlight's article. Interesting, that Proposition 187. I didn't know we
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were about to become the last Iron Curtain country after all the others fell.
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Oh well. That discussion is for another time. Now, just sit back, read, and
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enjoy.
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BTW, we are unsure of this, but there are rumors circulating that The
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Astronomy Consortium's office was ransacked by unknown individuals and that
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Tachyon has not been in contact with us since early October. If you have any
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information about Tachyon, please contact us in a secure manner. Any
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information would be greatly appreciated. In the meantime, the reconstruction
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of SoB #8 is still underway. To all my writers out there, if you can rebuild
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any of your stuff, please hurry and get it to me. I may be changing locations
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soon... in the meantime, stay tuned.
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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STAFF LiSTiNG
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EDITOR
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Kilgore Trout
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CONTRIBUTORS
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Crux Ansata
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Dark Crystal Sphere Floating Between Two Universes
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Doorway
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Flying Rat's Nostril
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Griphon
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Hagbard
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I Wish My Name Were Nathan
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Michael Dee
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Nomad
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Smack Ruby
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John Smith
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Styx
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The Watcher
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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[=- ARTiCLES -=]
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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TO MARS OR BUST
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by Hagbard
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Do you think the Earth is going to Hell? Do you think that there are
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better ways to do things than what is being done right now? Are you
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frightened of the world your children may or may not live to grow up in? Are
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you tired of waiting for the world to change for the better? Are you tired of
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people with lots of money maintaining the status quo? Do you have a
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pioneering spirit? Do you wish to have new experiences and see new places? If
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you answered yes to all or most of these questions, then you are likely a
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prime candidate for colonization.
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WHAT IS THIS MAN TALKING ABOUT?
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-------------------------------
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I am talking about doing exactly what our forefathers did, exactly what
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humans have been doing half the time for the past 500,000 years... MOVING!!!
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The people that settled this once great country didn't like the way things
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were back at home, so what did they do? They took a dangerous journey to an
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unknown and unexplored land. There they set up shop, lived off the land, set
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up a government which supported their own ideals, morals, and philosophies.
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They were composed of all kinds, from daring intellectuals like Thomas
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Jefferson to merchants and craftsmen, to mere beggars.
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The MARS COLONY UNDERGROUND wishes to do the same. MCU is an
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organization devoted to creating a new life, for those who want it and can
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work for it, on Mars. We will not wait for silly governments to say when we go
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and how we go, we will take the initiative and colonize Mars ourselves.
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WHY?
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----
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Mainly for the reasons outlined above. Without space colonization, the
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human race will stagnate. This leads to all the problems involved in resource
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depletion, population, etc. All that want to go to Mars have their own,
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equally valid, reasons. The goal is to start a new life, to help ourselves,
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and to help a dying planet.
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HOW?
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----
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The task set before you by the MCU is not an easy one, in fact it is
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extremely difficult, and likely to be strongly opposed by those in power. The
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key is, of course, you. MCU needs people with a desire to go and people with a
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desire to help us achieve our quest. This means we will need people from every
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background available, especially those skilled with geology, mining, planetary
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science, closed-system living, construction, space flight design, ship design,
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propulsion, and a host of other professions related in the endeavor of
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colonizing Mars.
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With enough people, with people who desire this and will work for it,
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and with people who are willing to help us plan and build no matter the cost,
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we CAN do this.
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Realize that this is not a lighthearted matter, those involved may
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well be persecuted for their involvement. But it is imperative that we begin
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now, because there is no where left to go, and time is running short.
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It is a dangerous undertaking, filled with risk. Pioneer life was
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never so hard. If this is achieved, the colonists will be at risk to
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unprecedented dangers: cosmic radiation, lack of breathable atmosphere,
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closed-system living, and a host of other difficulties. But I am confident
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that those with the will have the knowledge and courage to overcome these
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dangers.
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But remember, if you are willing to work for this, it is completely
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voluntary. You will receive no compensation for loss, and the only
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compensation you shall receive for success is living with a harsh climate in a
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barren landscape on a dead(?) world several million kilometers from Earth.
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That, and maybe the knowledge that you have achieved your dream, whether a
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dream of freedom, of exploration, of cooperation, or of a new society.
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In truth, this is merely the dream of MCU and myself. I fear that it will
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not happen. You are probably thinking "All of that sounds good, but where is
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the money going to come from?", and indeed, funds are the major block to the
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plan. I propose of course that MCU gain investors, such as major aerospace
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companies. In return, after the Mars Colony has established itself, they would
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receive a portion of profits from the sale of raw materials and micro-g
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manufactured products to Earth. The raw materials would likely come from
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asteroid mining, which would be easy to do once the foundation for a colony
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has been established. This, as anyone can see, is a high risk investment, but
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the returns are unfathomable. For instance, it has been reported that an
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average asteroid contains $6 trillion worth of precious metals.
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If you wish to be a part of this monumental effort, or you have comments,
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criticisms, ideas, support, or flames, please send all correspondence to:
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hagbard@io.com
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Live long, and prosper.
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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A human being should be able to change a diaper, plan an invasion, butch-
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er a hog, conn a ship, design a building, write a sonnet, balance accounts,
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build a wall, set a bone, comfort the dying, take orders, give orders, cooper-
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ate, act alone, solve equations, analyze a new problem, pitch manure, program
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a computer, cook a tasty meal, fight efficiently, die gallantly. Specializa-
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tion is for insects.
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--Robert Heinlein
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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CHALLENGE
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by Nomad
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Life, death, are we so unimaginative that we must constantly think of it?
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Humans are so afraid of dying all of us even me but not in the way of most.
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Most fear the change. They don't want to acknowledge the strange. They don't
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want to change. They cling so desperately to something they have and are not
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willing to take a chance. I want it to come. I want the change be it death
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or living. I want to go into the darkness to discover its secrets and truths.
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I want to go into the light and feel loved and cared for. But I won't re-
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strict my self to those standards. I won't go by their rules and laws. For
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me the land is always changing with it my body, soul, and mind and I learn
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from what others ignore. I watch. I listen. I roam.
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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Even though a man's health may be poor,
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He may not be unhappy in all things:
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One may be blessed with good sons,
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Another with friends,
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A third with full barns,
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A fourth with good deeds.
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Better to live and be happy.
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--Havamal
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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MUSiC
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by The Watcher
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Name me one culture on this planet that doesn't use music?
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It's hard isn't mainly if there is there is only one or two in the entire
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history of the world. Music is what brings people of a common thread togeth-
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er. If you're able to listen to different kinds of music then your horizon is
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broadened. Those who listen to one kind of music are usually simple in mind
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and imagination. If you 'taste' other music you increase your knowledge of
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others around you. You learn what others use as a basis of their lives. What
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they view as entertaining. If you're truly a musical person you would not
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limit yourself to one type of listening pleasure.
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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Vox populi, vox dei.
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(The voice of the people is the voice of God.)
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--Alcuin, in a letter to Charlemagne,
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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OUR LiTTLE FRiENDS
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by Nomad
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The hawk, the insects, and such animals were born free. Mostly the
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insects we try to destroy them because they're 'a nuisance.' We won't allow
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them to live because they annoy us. We destroy things that get in the way.
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While learning and developing we're being ignorant and selfish we lay waste to
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things around us. If we need something we don't care what lives in it or uses
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it for living. We take it and use it for our selves. If we're such an ad-
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vanced race, the smartest race on the planet. If this is our world then we
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need to wake up. We need to take our charges and live up to it. If we're the
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smartest race then we need to care for the world around us, we need to care
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for the animals. If we destroy the plants and animals around us we will not
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be far behind in our deaths.
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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Few people see the value of honesty. Even those that do are usually lost
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in the confusion: the world creates its own illusions, and power crazed
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people find it useful to multiply them. Most people find it convenient to
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believe what their parents, families, and friends believe: Jews beget Jews,
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Buddhists beget Buddhists, Christians beget Christians. The truth is likely
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to be found where such systems of propagation clash: seaports, border towns,
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and the centers of great empires. If everyone in a community believes in
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heaven the fact that no one has seen it is no cause for concern, but the
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appearance of one person who denies it can provoke great crisis.
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--JG Eccarius, _We Should Have Killed The King_
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--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
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A LETTER TO THE WORLD, POSTED ON A TREE
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by Griphon
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Two very different lives. Each decision leads to a thousand more which
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leads to a thousand more. The morbic would eventually trace it to death.
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One cannot help but to ask, "What if I had done this instead of that?
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What if I had changed this or altered that or ran forward here or retreated
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there?" Where would we be?
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I know you have cast me as a writer, but I am not very good at it.
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Besides, what a poor and useless thing. The only language that would begin to
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cover this life might be Sanskrit, where there are a hundred words for
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everything, and even then it fails to scratch the surface of the ideas and
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experiences this life holds. But, every so often, one might come across a way
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to formulate an idea or experience into words. Then, it becomes magical, that
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expression is real from something that was not real.
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Right now there is too much emotion. My stability is gone and I am
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unable to collect myself for any amount of time as though being overwhelmed by
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gargantuan proportions of this life and my circumstances. Where do I begin to
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regret my life? Birth? When I began to hate my mother and stepfather? When
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I lost the meaning of Life for three months and lost the faith I had in
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everything? Or when I met the first one and lost the second one.
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The new people I have met have not known me. I relate to them some of
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the more meaningful experiences I have had, both bad and good. They say I am
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not the average eighteen year old, but who is? Have these experiences made me
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wise? I suppose they have, and that is good. But why must pain be a
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teacher? Sure, the morose poetry and self-defilement is fun, but it does
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hurt. And there are a few that can't handle it.
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The first one. Perfection. Total apparition of the feminine. She
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taught me how to love, but not how to receive it. I bled for her
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unbelievably. She never returned the emotion.
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For two years I chased what would never be mine, spurred on only by how
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beautiful and wonderful she was. I had no reason to hope, but I did anyway
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and lost all hope eventually. I contemplated death for her, so sick at hear
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was I. But I carried on and have strength from it all. She still is the
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dream I'll always dream, but I am immersed in reality and accepting of that.
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The second one, my first real experience, was bittersweet. The first
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months were spent convincing her to trust her heart, the next spent loving
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her, and the final month was spent letting her go. I loved her purely, as I
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loved myself. Perhaps more which was not good. But everything about her
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complemented me. she had problems, though. Problems I couldn't, and later
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realized I wasn't supposed to, fix. Pain was amplified, the reverse side of
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the coin that made every good moment with her heaven. Finally the pain was
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all that remained.
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She nearly shattered the remnants of what life I had left. No parents,
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no future, no love. Only a few friends who cared and offered sympathy. But,
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|
I grew.
|
|
|
|
I continue to grow. Every day I become stronger and better equipped to
|
|
handle Life. I grow wise. Decisions I regret I look back upon. Do I want to
|
|
change them? Some yes, some no. My life is far from perfect, but if it was
|
|
perfect it would not be any fun.
|
|
|
|
So, I do not regret living. I hope I never shall.
|
|
|
|
An inhabitant,
|
|
Griphon
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
|
|
If you have no children you are a genetic dead end.
|
|
If you have no family you are a social dead end.
|
|
If you have no folk you are a cultural dead end.
|
|
Think of the future, plan carefully, live fully,
|
|
And do the very best you can.
|
|
--Ed Fitch, _The Rites of Odin_
|
|
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
FREE BORN
|
|
by Nomad
|
|
|
|
Free born is more than just a phrase used by revolutionaries, freedom
|
|
fighters and the such. It stands for all of life. It stands for those who
|
|
won't let others take too much from them. Now it's different from fighting
|
|
the "system" because mainly its not the system it's the ones who run it. Free
|
|
born are those who are willing to share what they have, to take shit from
|
|
others, to a point. Not to the point where they take your freedom of choice
|
|
from you or your ability to think. If you allow others to tell you how to
|
|
think then you're not free. If you can't think for your self then some one
|
|
who will take advantage of you will. They you're caught and put in a cage.
|
|
Life is a series of choices. Let yourself learn from them good or bad. Don't
|
|
rely on others to make decisions for you. Be Free in your thought.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
|
|
Sir, what is obscene?
|
|
Filth. Filth. Filth is obscene.
|
|
Sir, what is obscene?
|
|
Dirt. Dirt. Dirt is obscene.
|
|
Sir, what is obscene?
|
|
Desire. Desire. All desires are obscene.
|
|
Sir, what is obscene?
|
|
The body. The body. The body is obscene.
|
|
Sir, what is obscene?
|
|
Sex. Sex. Sex is obscene.
|
|
Sir, what is obscene?
|
|
Life. Life. Life is obscene.
|
|
|
|
--Rev. Malcolm Boyd (Episcopal), _Free to Live, Free to Die_
|
|
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
MASTURBATiON (Great titles always come one worded)
|
|
by Smack Ruby
|
|
|
|
When I was in sixth grade my friend lent me his Dad's _Penthouse_. Over
|
|
the weekend I learned why so many people enjoyed reading or, excuse me, drool-
|
|
ing over these magazines. It was the first time in my life I had ever reached
|
|
orgasm. I usually would just stroke my penis a couple of times and be satis-
|
|
fied. But this time was different. I didn't stop I kept sliding my hand over
|
|
and over my penis. Finally, I felt movement in my testicles. I was en-
|
|
thralled each stroke went faster and faster. My heartbeat was thumping anx-
|
|
iously, just as I was squeezing, and pumping. ONE more stoke would lead
|
|
closer and closer. UNTiL it happened. My aunt came in the room. At first
|
|
she just closed the door so she wouldn't see me. Then just as she reopened
|
|
the door I climaxed. She ran out of the room again silently. I just laid
|
|
back and enjoyed the postorgasm-shakes. She came in and handed me some tis-
|
|
sues. Very firmly she said "I want you to clean up, take a shower, and then
|
|
mister you are going to have some explaining to do."
|
|
|
|
I cleaned off the interesting new substance that had immersed from my
|
|
genitals and took my shower. After I finished putting on my clothes I walked
|
|
out and I knew I was expected in the living room.
|
|
|
|
When I went in my aunt asked me, "First of all where in the HELL did you
|
|
get this magazine". I told her that some kid at school sold it to me. She
|
|
yelled at me for about 5 minutes about the magazine. The she said "If I ever
|
|
catch you masturbating ever again you will be sorry". That really didn't
|
|
scare me because that's what she always threatened me with.
|
|
|
|
A week later after thousands of evil stares from my aunt and uncle they
|
|
started sending me to counseling by a Baptist Preacher. He gave me a bunch of
|
|
bullshit like that God lets us have choices and if we choose the right ones
|
|
then we shall rise unto the kingdom of everlasting life. He said that if I
|
|
didn't change my ways that I would have a meaningless life and I would basi-
|
|
cally fry in hell.
|
|
|
|
For months I believed that bastard. I mostly forgot what he had said
|
|
after a year or so. I would still masturbate occasionally, but it was lat at
|
|
night so I never got caught.
|
|
|
|
I don't know why people don't like talking about or admitting about
|
|
things that feel so damn good.
|
|
|
|
As I pull out my cock and start stroking it. One hand holding the base
|
|
firm and the other moving simultaneously to my heartbeat. My whole life
|
|
flashes before my eyes. With me masturbation isn't just jollies it is spirit-
|
|
ual LiFE!
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
|
|
Why is it that the people who campaign most fervently for "decency" are often
|
|
reluctant to call so many realities by their names: racism, napalm, sex, death?
|
|
--Rev. Malcolm Boyd, _Free to Live, Free to Die_
|
|
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
|
|
In this book it is spoken of the Sephiroth & the paths, of spirits &
|
|
conjurations, of gods, spheres, planes & many other things which may or may
|
|
not exist. It is immaterial whether they exist or not. By doing certain
|
|
things certain results follow; students are most earnestly warned against
|
|
attributing objective reality or philosophical validity to any of them.
|
|
--Aleister Crowley
|
|
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
LABELS
|
|
by Nomad
|
|
|
|
As I look at people run from here to there I notice that they all want to
|
|
organize them selves into nice little groups like kickers, preps, freaks,
|
|
stoners, skaters, dorks, nerds and other little groups. We are a race of
|
|
dependents that so desperately want to feel wanted. But then they'll turn on
|
|
those who are different than them. Me and my fellow distorters of reality
|
|
have realized one thing. When you belittle some one only because of how they
|
|
dress or act is a sin. To say that if some one doesn't believe in your reli-
|
|
gion they'll go to hell.
|
|
|
|
Labels: If you talk to kickers they'll say the freaks and stoners are a
|
|
bunch of long haired hippy satanists. If you talk to freaks or stoners you'll
|
|
hear that kickers are a bunch of stupid, inbred, goat molesters. And the
|
|
geeks and nerds think that all the others are bullies. I know, for I have
|
|
friends in all these groups. It's hard at times but peace is such a hard
|
|
thing. Each group has its decent people and their ignorant prejudice ass-
|
|
holes. It's not the group or the labels, its how you view others and ignoring
|
|
those stupid enough to use the labels.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
|
|
Showering money on the Wall Street brokers was the TV age version of
|
|
driving the money changers from the temple.
|
|
--Abbie Hoffman
|
|
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
THE POWER OF FORREST GUMP
|
|
by I Wish My Name Were Nathan, Doorway, Styx, & Kilgore Trout
|
|
|
|
My friends and I were sitting in a well-lit Whataburger one night
|
|
discussing the sheer intellectual power of the movie "Forrest Gump." While
|
|
some guys may be ashamed to admit it, I think this movie brought out something
|
|
special in all of us -- a vibrant discussion. While I can only imitate the
|
|
power of that night, I'll try to reprint the conversation here. Names are not
|
|
necessary, that's how good it was.
|
|
|
|
"Ya know, that Forrest Gump. That was some movie."
|
|
|
|
"Yeah, it was."
|
|
|
|
"I mean, it was so symbolic and shit. Like, all the characters
|
|
represented something."
|
|
|
|
"Yeah."
|
|
|
|
"Hey, you know something? If Forrest had been less friendly in the
|
|
movie -- and you know he was a very friendly, outgoing guy -- he woulda been
|
|
'Forrest Grump'."
|
|
|
|
"Oh! How astute! I understand your point. That would have changed the
|
|
entire focus of the movie."
|
|
|
|
"And if he were dirtier, he'd've been 'Forrest Dump'."
|
|
|
|
"Exactly! Did you not notice that Lieutenant Dan fit the last two
|
|
alter-egos perfectly? That was him. That was Lieutenant Dan."
|
|
|
|
"I wonder, if he had been lazier, if he would have been 'Forrest Lump'."
|
|
|
|
"Hmmm... keen observation. He was a very busy man."
|
|
|
|
"Or! If he had accidentally run into you, if he'd be 'Forrest Bump'."
|
|
|
|
"Hmm! I didn't think of that. Those people who he ran across the
|
|
country with might have supported that line of reasoning. I'd say more
|
|
research is needed."
|
|
|
|
"I wonder, if he had had sex with Jenny more often, if he'd be 'Forrest
|
|
Hump'."
|
|
|
|
"That is a point. I think that would have focused on the social
|
|
implications of the mentally retarded reproducing. Quite interesting
|
|
discussions can be had with the geneticists on that one."
|
|
|
|
"I wonder if he'd wandered on stage with Eddie Van Halen if he'd be
|
|
'Forrest Jump!'."
|
|
|
|
"All the symbolic encounters with celebrities could have quite conceived
|
|
such a notion. Unfortunately, Van Halen wasn't around back then. Excellent
|
|
idea, though."
|
|
|
|
"Or if his penis were too small and he got help from the ads in the back
|
|
of Playboy, if he'd be 'Forrest Pump'."
|
|
|
|
"I wonder if he would even be capable of self-conscious behavior like
|
|
that. He seems too much like a tabula rasa, completely innocent, naive
|
|
throughout life. But it is that naivete which so endears him to us."
|
|
|
|
"If he was really rich and went into architecture, he'd be 'Forrest
|
|
Trump'."
|
|
|
|
"That would have been quite symbolic. Trump was a product of the 'me'
|
|
decade, the 80's, which is such a stark contrast to that of the 60's and 70's
|
|
when Gump was at his peak. That would have been interesting, the comparison."
|
|
|
|
"If he'd been a robber, he'd be 'Forrest Bump-in-the- night!"
|
|
|
|
"Hmmm... I don't really think he was the criminal type. That may have
|
|
been plausible if the cynical attitudes of his compatriots even adversely
|
|
affected him."
|
|
|
|
"And if the movie had been any longer, it'd be 'Bore Is Gump'!"
|
|
|
|
"Well, they did have to cover two decades."
|
|
|
|
"And, when all the fans walk out of the movie theatre, they say, 'I
|
|
really liked that movie called Forrest Gump'!"
|
|
|
|
"I suppose they would, but --"
|
|
|
|
"And if he had low self-esteem, his teachers'd always say to him, 'you're
|
|
Forrest Sump-in' special!'"
|
|
|
|
"Uh, well, I guess, but he wasn't aware of --"
|
|
|
|
"If he was really high up in the air and full of helium -- helium,
|
|
right, 'cuz hydrogen explodes and shit -- yeah -- he'd be 'Forrest Blimp'!"
|
|
|
|
"I don't think --"
|
|
|
|
"If he was a piece of carpentry, he'd be 'Forrest Clamp'!"
|
|
|
|
"Come on, this is --"
|
|
|
|
"And if he had been a militant protector of the tree, he'd be
|
|
'Deforestation Sucks'!"
|
|
|
|
"Yup."
|
|
|
|
"Don't you see all the imagery?"
|
|
|
|
"Yes."
|
|
|
|
"That movie really brings out the best in us."
|
|
|
|
"Yup."
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
|
|
[=- POETRiE -=]
|
|
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
EMPTY
|
|
by Griphon
|
|
|
|
The way things ended
|
|
No one could imagine
|
|
so much hatred...
|
|
frustrated rage.
|
|
|
|
Feel empty,
|
|
abandoned.
|
|
No one could stop her
|
|
Barely saw her go.
|
|
|
|
Feel empty.
|
|
Piecing together
|
|
everything
|
|
Try not to cut myself
|
|
|
|
Unanswered questions
|
|
of vainly spent tears
|
|
She didn't mean to hurt me.
|
|
She didn't mean to...
|
|
|
|
She wanted
|
|
something more than myself
|
|
I couldn't give her
|
|
fallen stars
|
|
I am empty.
|
|
I am empty.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
|
|
To die will be an awfully big adventure.
|
|
--J. M. Barrie, _Peter Pan_
|
|
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
OCCASiONED BY THE DEATH OF ROBERT BLOCH (1917-1994)
|
|
by Dark Crystal Sphere Floating Between Two Universes
|
|
|
|
A writer's life is short -- limited to the life of the paper on
|
|
which his words are inscribed, and the memory-span of his readers.
|
|
Paper is brittle and soon crumbles to dust, and the worms eat memo-
|
|
ries.
|
|
--Robert Bloch, _Night-World_
|
|
|
|
I am the Faceless One,
|
|
My existence is limited to this page,
|
|
My lifetime is limited to the existence of this poem,
|
|
And your memory,
|
|
The great curse of authors and artists,
|
|
Poets and painters,
|
|
Is that their works mean more to their readers than they,
|
|
We are the Faceless Ones,
|
|
Who write for those we shall never know,
|
|
And shall be remembered only as words on a page
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
|
|
A single death is a tragedy, a million deaths is a statistic.
|
|
--Joseph Stalin
|
|
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
3 FT.
|
|
by Griphon
|
|
|
|
She stands thre feet from me,
|
|
A wall between us.
|
|
If I were omnipotent
|
|
I wouldn't get close to her.
|
|
|
|
She stands silent.
|
|
I stand silent.
|
|
|
|
Three feet between us.
|
|
Worlds of pain between.
|
|
So much hatred
|
|
So much pain
|
|
So much pain
|
|
In three feet.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
|
|
"Did you smoke his ass?"
|
|
|
|
"Like a pack of Kools."
|
|
|
|
--Keenan Ivory Wayans
|
|
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
A MEANiNGLESS RHYME
|
|
(That may not Rhyme at times)
|
|
by Flying Rat's Nostril (who is this guy?!?)
|
|
|
|
*Translated from Pig-Latin*
|
|
|
|
Verse I
|
|
*sung to the tune of "Oh Susanna"*
|
|
|
|
I like to sit in a big tree,
|
|
And have some tea,
|
|
And think on great things
|
|
like Cthulhu's eyebrows.
|
|
He doesn't have any you know,
|
|
I noticed one night when I
|
|
Saw him sneaking out of my toilet.
|
|
|
|
Whoa! Totally mind blowing, man!
|
|
|
|
Verse II
|
|
*To the tune of "Passecaglia"*
|
|
|
|
"Uh, excuse me yung 'un, but how
|
|
do ya pass a Kaglia?"
|
|
I like to lie on my lawn,
|
|
while eating fish spawn,
|
|
And think on great things,
|
|
like Yog-Sothoth's bathroom.
|
|
And how he fits in,
|
|
being miles of bubbles might
|
|
make that hard.
|
|
However, I revised,
|
|
being a god might make
|
|
you exempt from
|
|
constipation.
|
|
|
|
Huh???
|
|
|
|
Verse III
|
|
*No tune just in a dark scary voice*
|
|
|
|
Dead puppies aren't
|
|
much fun.
|
|
But a lot depends on
|
|
the sauce.
|
|
I mean, the right sauce
|
|
can make a 5-day-old road
|
|
kill, taste like fresh.
|
|
But never use that A-1 Bold
|
|
that like sucks and stuff.
|
|
|
|
I dig man! I dig.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
|
|
[=- FiCTiON -=]
|
|
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
TORN FROM A DiARY
|
|
by Crux Ansata
|
|
|
|
[Transcriber's note: The following pages were found in the diary of one Crux
|
|
Ansata during a routine search of his papers at one of our new anti-drug
|
|
roadblocks in Austin. They indicate a paranoid personality, and we cannot
|
|
vouch for the accuracy of his statements. Particular attention should be paid
|
|
to his belief that he can see things happening that most people don't notice.
|
|
An obvious borderline psychotic with subversive tendencies. He has been, of
|
|
course, detained in a prison camp. If he comes to trial, these papers will be
|
|
used against him, and are to be presumed a confession. We recommend they be
|
|
sealed as Secret and sent back to FBI main offices until the determination has
|
|
been made whether to bring him to trial. Excerpts may be advisable for
|
|
distribution to other field agents until the last of the subversive elements
|
|
are apprehended. October 16]
|
|
|
|
October 13
|
|
|
|
A cold front came in today. The heat is finally leaving, I suppose. It
|
|
seems to start to leave and then come back, though. I wish it would finally
|
|
start to winter, and stop the heat. I'd rather be chilly than tepid.
|
|
|
|
Saw Bobbi today. Only had a couple of hours. She was locked out of her
|
|
house, and we went for a walk in the dark. Sitting in the park, we heard the
|
|
helicopter again. The black helicopter just hovered above us, rattling win-
|
|
dows and teeth.
|
|
|
|
It's hard living under occupation. Especially when so few people realize
|
|
it. Even the government isn't admitting it. "Military exercise ... invited
|
|
members of allied nations ... peace keeping forces."
|
|
|
|
"I love you," she whispered. The helicopter probably picked that up.
|
|
Even in a whisper. But who cares. Even under occupation we have to try to
|
|
live. If we accept the invasion, if we accept the police state, they have won.
|
|
|
|
Recognized the type. It was the same type of helicopter they use in
|
|
northern Ireland. The SAS use. The British equivalent of some kind of mass
|
|
bastard child from the Delta Force, Green Berets, Navy Seals, and the LAPD,
|
|
but with a worse attitude. They used them in Waco, too. During the Koresh
|
|
incident. That ran in the British papers. Guess we in the States didn't need
|
|
to know.
|
|
|
|
Seeing the helicopter again, hovering over our home town, reminds us how
|
|
short our lives our; how something is fated to happen to one of us, or both of
|
|
us. We are among the few who can accept that things are happening that we
|
|
can't accept.
|
|
|
|
October 14
|
|
|
|
Friday today. Had a few classes, but nothing serious. Midterms are
|
|
over, and most homework isn't due until midway through next week. Can relax
|
|
for a while.
|
|
|
|
Sitting home tonight. All night. Bobbi at work; Quinn "disappeared"
|
|
(could mean government or girlfriend; can never tell with his disappearances;
|
|
just that damn weird voicemail message...); my brother out; the only phone
|
|
call tonight from a friend who can't do anything this week-end due to an
|
|
unfortunate incident with a welding torch and his hair. Going for the Michael
|
|
Jackson look....
|
|
|
|
Watched the news. Still in Haiti. Training our armed forces to be
|
|
police men. Some people say this isn't the military's mission. I say this
|
|
isn't the issue.
|
|
|
|
Check this out: couple of years back, the ATF people botch a job in
|
|
Waco, Texas, trying to bring down an armed cult. They call in the FBI, and
|
|
lay siege. Lots of people die.
|
|
|
|
Later on, some of the facts begin to trickle out. Like, the fact the FBI
|
|
was using tanks. Where'd they get them? They say they took them from the
|
|
Texas National Guard. Sound illegal, they "suspected Koresh had a speed lab,"
|
|
and pulled some War on Drugs bureaucratic footwork. So we have U.S. military
|
|
(the FBI nationalized the National Guard equipment, remember) to use against
|
|
American citizens. So we had U.S. troops armed and ready to fire against U.S.
|
|
citizens. This has only happened once before, during the L.A. Rebellion a
|
|
couple of years back. Creepy.
|
|
|
|
Another fact: the U.S. called in the SAS from Britain. Why? Guess if
|
|
they needed to storm the place, they needed people trained in "anti-
|
|
terrorism." Of course, Delta Team was already there. Guess they had an odd
|
|
number of people, and we dividing up for bridge. I know it always irritates
|
|
me when we can't form a foursome.
|
|
|
|
But seriously, what is the SAS trained in? Besides "everything." Well,
|
|
in northern Ireland they have been providing stormtroopers and surveillance
|
|
for the British Army of Occupation. When they came over here, they brought
|
|
along those nifty helicopters, the big black ones. What did the British
|
|
papers say? "Can read the ingredients off a package of chips" -- no, it's
|
|
British; they call them "crisps" -- "off a package of crisps at a half mile
|
|
range, and can pick out a single voice from the crowd at a football game."
|
|
They were talking about soccer, not American football, but either sport gives
|
|
the same concept.
|
|
|
|
I suppose they could really use those in case of an anti-terrorist raid.
|
|
Seriously, I suppose they had them on stand-by. Or I suppose that's what they
|
|
would have admitted. The American papers didn't have them just watching,
|
|
though. All the black helicopters were SAS, presuming we didn't invite a
|
|
special regiment of Morrocans to take pot shots or whatever. And the papers
|
|
said they flew low over the building and strafed it with machine guns, firing
|
|
through the ceiling. I shudder to think who came up with that plan. Some-
|
|
where in Washington, I can picture Janet Reno saying, "Well, they might be
|
|
abusing children. Let's invite the British to blast massive holes in their
|
|
ceiling with machine guns." "But that's illegal!" "It's okay. Koresh might
|
|
have a speed lab."
|
|
|
|
I suppose it is not a justifiable assumption to assume that while these
|
|
fellows, with a background in totalitarian occupation of a nation, were hang-
|
|
ing out with the FBI and the Delta Force and the ATF and whoever else happened
|
|
to be visiting Waco at that time, that they were training them.
|
|
|
|
So now we are in Haiti. What are we doing? Disarm the population and
|
|
keep the peace. Patrol the streets. Kind of a field training exercise in
|
|
case we ever decide to return the favor and help the SAS patrol northern
|
|
Ireland. Or perhaps they were auditioning for a new job, since the peace
|
|
process is well underway in Ireland.
|
|
|
|
And these damn black helicopters keep flying overhead....
|
|
|
|
October 15
|
|
|
|
She's dead. Bobbi's dead. It doesn't seem real, but she is. We were at
|
|
the park again, just after nightfall, and they killed her. One of those black
|
|
helicopters starts hovering overhead, so we go under a grove of trees, and
|
|
this unmarked sedan pulls up across the street with more antenna than a cheap
|
|
'fifties movie spaceship, and some guy starts spraying with machine guns. We
|
|
both dropped and rolled, of course. We're all learning to do things like
|
|
that, those of us who can see what's going on. But we didn't go down fast
|
|
enough, and they were aiming for her first.
|
|
|
|
I laid still. I thought she was, too. I could feel wet, but I thought
|
|
it was from the rain, not blood. They drove away and we could here sirens
|
|
coming to clean, or cover, up. I showed up home covered with blood; I haven't
|
|
a clue how I got by the patrols without being searched.
|
|
|
|
The second most frightening thing was that, when I got home, my family
|
|
informed me I am wanted for murdering her. Like I'd kill Bobbi! Of course, I
|
|
can't endanger my family. I changed my clothes, but I took the bloody ones
|
|
with me, so they can't prove my family knows anything. Then I grabbed my
|
|
notebooks and left. I'll drop most of them off at Quinn's. They shouldn't
|
|
have reason to search him, if I keep moving.
|
|
|
|
Oh, I almost forgot. The first most frightening thing was that she was
|
|
wearing my beret and my jacket. She'd complained that she was cold, so I
|
|
loaned her my jacket. In the darkness, they probably thought they were aiming
|
|
for me.
|
|
|
|
And that helicopter made the mistake of flying low enough that I could
|
|
see the uniforms of the people inside. The pilot was in camouflage with the
|
|
raspberry beret of the SAS, and the other two were in normal American police
|
|
uniforms.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
|
|
If they want lead, we'll give them lead.
|
|
--Subcommandant Marcos
|
|
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
JiM AND TANK CLEAN THE ATTiC AND TALK ABOUT iT
|
|
by I Wish My Name Were Nathan
|
|
|
|
Jim and Tank carefully turned the ladder up to the entrance of the
|
|
attic. This entrance was to be found in the ceiling of a tiny hall closet,
|
|
right above a wooden shelf under which hung a full rack of outdated clothing.
|
|
After Jim shoved some slippery cloths out from under the ladder's feet, he ran
|
|
his hand through his hair.
|
|
|
|
"It's damned hot right _here_," he said to Tank. "But I don't know if I
|
|
can stand living with this stench much longer."
|
|
|
|
Tank nodded and sighed. "Just get yer ass up there and I'll follow you."
|
|
|
|
"I guess a few minutes of attic heat is a small sacrifice to make," Jim
|
|
said, rubbing his hand across his t-shirt.
|
|
|
|
"Yeah, sure." Tank walked behind the ladder, ducking his head so it
|
|
didn't hit the shelf above him. He grabbed the sides of the ladder in his
|
|
hands and waited for Jim to go up.
|
|
|
|
Jim looked around and at his and Tank's hands and asked, "Uh, where's the
|
|
bags?"
|
|
|
|
Tank rolled his eyes and muttered, "You were supposed to get it. I got
|
|
the gloves, remember? Go get 'em now. I like standing here like this."
|
|
|
|
"Okay, okay," Jim said, walking away toward the kitchen, muttering "fuck
|
|
you" under his breath. He knew specifically that Tank said he'd found the
|
|
garbage bags, but of course, he had left them in the kitchen. Luckily they
|
|
hadn't entered the attic and walked clear to the other side of the house
|
|
before realizing it.
|
|
|
|
He stomped into the kitchen, darting his eyes around the room to see
|
|
where dumbass Tank had left the bags sitting. Ah, right there in the open
|
|
drawer. So fucking efficient he was. Jim snatched the whole box and started
|
|
to head back toward the hall when he stopped and clenched his fists. He
|
|
realized he was losing his temper and rolled his eyes and glared at the
|
|
ceiling. He took a deep breath, wiped back his sweaty hair, and went back.
|
|
|
|
"I found 'em," he tried to say cheerily, sounding rather emphatically
|
|
sarcastic instead. He smiled at Tank to say no hard feelings. In response,
|
|
Tank's eyes drew a path from the bottom of the ladder to the attic. "Yeah,
|
|
cool!" Jim cheered, and thinking about Tank's grip on the ladder, decided to
|
|
shut up. He threw the box of bags on the shelf and climbed up into the attic,
|
|
banging his tailbone on the arch of the door in the process. "Watch the
|
|
angle," he advised. Tank nodded.
|
|
|
|
Up in the attic, Jim stood over the entrance and waited for Tank to come
|
|
up. Slowly but surely, he made it. He couldn't have been less than two
|
|
hundred pounds. But he was taller than average, though not enough. Jim
|
|
helped pull him through the tiny opening.
|
|
|
|
"Yeah, thanks," Tank said, ducking in the short crawlspace. "Uh, lemme
|
|
see, it's back there I guess, right?"
|
|
|
|
"Uh-huh, let's --" Jim started, then groaned. "I forgot the flashlight."
|
|
|
|
"Wait, I got one on my pocketknife," Tank said, fishing for it in his
|
|
pocket and handing it to Jim.
|
|
|
|
"Oh, really? Great. Thanks. Oh, and let's not forget the bags on the --"
|
|
|
|
"I have those too, okay?" Tank said. "C'mon, let's do this, I can smell
|
|
it from here already."
|
|
|
|
Jim sniffed the air and coughed. "Shit!" he cried, clutching his nose.
|
|
"Well, we can't _see_ it yet, so, bingo for us. Let's go," he said, walking
|
|
on the beams toward the corner of the house, cutting the stale air with the
|
|
weak beam of the tiny light.
|
|
|
|
"Tell me when to stop," Tank said, watching his feet and holding the box
|
|
of bags and the gloves out in front of him for balance.
|
|
|
|
"You ever fallen through a roof before?" Jim asked, chuckling.
|
|
|
|
"Would you _like_ me to? It's your house," he retorted.
|
|
|
|
"No, guess not," Jim answered. Looking around, he noticed the crack of
|
|
light where it must have come in from outside. "Oh, uh, stop. Need to turn
|
|
left now."
|
|
|
|
"I'm following my nose," Tank gasped, breathing through his mouth. He
|
|
heard and saw the flies swarming about. Fuck, what _is_ it?" he cried out,
|
|
standing behind Jim, waving his hand across his face.
|
|
|
|
Jim stood silent for several seconds, staring. Finally he said, "It _is_
|
|
Gabby."
|
|
|
|
Tank frowned. "Shit," he said. "Which one was she?"
|
|
|
|
"_He_, _he_, it's short for Gabriel, but we --" Jim started to explain,
|
|
cutting off his words with a sigh. "He was the _other_ one, alright? The one
|
|
who isn't Faulkner, the one who isn't dead."
|
|
|
|
"Sorry, Jim, I never got them straight, and --"
|
|
|
|
"It's okay," he said, bending down, holding his breath. He stood up
|
|
again and gasped for air, peevishly waving the flies away. "His collar's all
|
|
the fuck the way around his _chest_!" he cried. "Damned if we didn't search
|
|
for the _specific_ collar to --"
|
|
|
|
"Can I see?" Tank asked. Jim stepped out of the way.
|
|
|
|
"Just _look_! It's like one leg got through, and then the other, and --
|
|
oh fuck! What the hell happened to his back leg?! Lookit that!" he cried,
|
|
bending down in shock and banging into Tank. "Shit, move! It's like almost
|
|
ripped off!" He coughed violently, searching for fresh air.
|
|
|
|
"Wait, wait, c'mon, Jim, ya gotta calm down. Mebbe it got hit by a car
|
|
or something... I mean, I've seen worse."
|
|
|
|
Jim moaned. "Oh, God, and Gabby just ran all the way up here with like
|
|
three legs. Shit! Shit! I see it now. She was crossing the street, and one
|
|
of those FUCKS down the road --" he screamed, throwing the bags down and
|
|
angrily trying to crush flies in his hands.
|
|
|
|
"-- Calm down, Jim, it's not getting any cooler up here."
|
|
|
|
"Okay, okay, one of those not-very-considerate FUCKS down the road just
|
|
smashes him -- I mean, look! The _back_ leg! He was running like crazy!
|
|
And, shit, those front legs... Gabby prolly fell down a few times, too.
|
|
Geeeez." He sniffed and quickly regretted it. "Put on the gloves," he said,
|
|
reaching for the bags.
|
|
|
|
Tank stood out of the way while Jim crawled into the tight corner of the
|
|
attic and held open the garbage bag. He got a grip on Gabby's front legs and
|
|
torso. When he pulled, the sound of the cat separating from the plaster was
|
|
disgustingly audible. Jim groaned. Tank tossed Gabby in the bag. Jim
|
|
twirled it shut and with a sullen nod prompted Tank to start leaving.
|
|
|
|
"I'm sorry, Jim," he said.
|
|
|
|
"Yeah," Jim answered.
|
|
|
|
--->*<---
|
|
|
|
Jim returned from his shower. "Tanks for waiting, Tank," he jibed. Tank
|
|
was slouched on the couch in the living room watching television. He sat up.
|
|
|
|
"Yeah, sure."
|
|
|
|
"Hey, let's go outside, okay? It's cooler there," Jim suggested.
|
|
|
|
"Yeah, man! What's with the air-conditioning here?" Tank asked, fanning
|
|
himself with his hand.
|
|
|
|
"It's just not on yet. Anyway, my hair'll dry faster."
|
|
|
|
"Mophead," Tank said, grinning.
|
|
|
|
"Hey, I'm proud, okay?" Jim retorted, shoving the back screen door open.
|
|
"Yeah, yeah, much better here." He headed for the patio table.
|
|
|
|
"I'm thirsty," Tank said.
|
|
|
|
Jim bolted. "Fuck yeah! I was drinking out of the shower nozzle! Oh,
|
|
since you're already up, just get something from the fridge. Get me a Coke
|
|
too."
|
|
|
|
"Yeah, sure," Tank said.
|
|
|
|
"Massive vocabulary," Jim muttered under his breath. He scooted his
|
|
chair back and leaned back in the sun. He shielded his eyes, and glanced at
|
|
the grave he had dug for Gabby over in the corner of the yard, beneath the
|
|
hunchback tree. He snorted. "Here, Faulkner," he called, looking around. No
|
|
cat came. "Shit."
|
|
|
|
Tank lumbered out of the house with three Cokes, and handed one to Jim
|
|
and sat down.
|
|
|
|
"You got two for yourself?" Jim asked incredulously.
|
|
|
|
"That's all that was left," he answered, smiling. "I found a new 6-pack
|
|
and put it in the fridge."
|
|
|
|
"Cool, thanks," Jim said, popping the top and taking a sip.
|
|
|
|
"Choice of a new generation," Tank said.
|
|
|
|
Jim noticed Tank was blocking his view of the grave, as well as the sun,
|
|
and sighed. "Yeah, yeah."
|
|
|
|
Tank frowned and rolled his eyes. "That's Pepsi."
|
|
|
|
"What, this? No it's not," Jim said.
|
|
|
|
"The slogan, I mean. It's Pepsi."
|
|
|
|
"Oh, yeah. Shit," he answered. "Dammit! Faulkner! Here, Faulkner!" he
|
|
called, tilting his head back.
|
|
|
|
"Where is he? I'll go catch 'im if you want," Tank offered.
|
|
|
|
"_She_, _she_, okay? You can't catch her anyway."
|
|
|
|
"Why're your boy cats named girl names and your girl cats named boy
|
|
names?" Tank asked.
|
|
|
|
"Maybe I'm just queer for cats, okay?" he cried. "I've explained it
|
|
thousands of times! Gabby is short for Gabriel, but he meows -- meowed really
|
|
loud all the time so we called him Gabby. Faulkner, I just wanted a cat named
|
|
Faulkner. And it was a female. So what? It's a fucking last name!"
|
|
|
|
"Oh, it is?" he asked.
|
|
|
|
"Yeah, yeah, it is," Jim muttered, jerking his head around in hopes of
|
|
seeing Faulkner slink by. "You don't even know my cats, do you?"
|
|
|
|
"No, I really don't. I never came over here much before," Tank said.
|
|
|
|
"Yeah, I guess not. Man. I dunno. Do you like cats?"
|
|
|
|
"Yeah, sure. I never had one, but I still like 'em."
|
|
|
|
"Yeah, yeah, cool. You certainly have the credentials," Jim said.
|
|
|
|
Tank crushed the first can with his hands and tossed it on the patio
|
|
table. "Jim, I know you're upset about Gabby, and I can understand why you're
|
|
so pissed-off, but I _will_ smack you in a second."
|
|
|
|
Jim opened his eyes and looked for fists. "Okay, okay, sorry. You
|
|
_were_ my last hope, ya know. My whole family's away today, and Henry and
|
|
Paul and even Amanda were out of town. Not to offend you, but most of my
|
|
friends can _stand_ me, alright, especially when half my cats fuckin' _die_!"
|
|
he cried. "Faulkner!! Get the fuck home, Faulkner!"
|
|
|
|
"It's true, yeah, sure," Tank said. "Sorry, then. I guess you really
|
|
liked that cat."
|
|
|
|
"Yeah, I did. Well, it's all taken care of now, I don't smell a thing,
|
|
so if you want you can take my Coke and go home now," Jim said, dismissing him
|
|
with a wave of his hand.
|
|
|
|
"No, wait, I wanna hear about Gabby, if it's okay," Tank said, holding
|
|
his hand out.
|
|
|
|
Jim sighed and smiled. "Well, alright. You know, I try not to be a
|
|
bitch, but I just -- oh well. Okay, I don't know if you could tell up there,
|
|
but Gabby was this grey-and-black striped cat. As cool as hell, man. And
|
|
this eyebrow, man, right over one of the eyes. So weird. It was like it knew
|
|
a good joke, ya know?"
|
|
|
|
"Yeah, bitchin'," Tank said, grinning.
|
|
|
|
"You could say that. Well, Gabby came before Faulkner -- if Faulkner
|
|
ever comes back, that is -- Faulkner!! Damn you, second cat! - - oh, well,
|
|
anyway, Gabby was actually like the fifth or sixth cat I had. Lemme see...
|
|
Limpy, Hatch-Patch, Grover, Spot --"
|
|
|
|
"'Spot'?" Tank asked, laughing.
|
|
|
|
"-- Well, yeah, it had this _spot_, you see."
|
|
|
|
"Shit," he grinned.
|
|
|
|
"Yeah, and, uh... J-... Jiminy? No, it was Jermaine. Yeah. My mom
|
|
named that one. I just called it 'Cat'."
|
|
|
|
"'Cat'."
|
|
|
|
"Yeah. Well, as I was saying, Gabby wasn't the first cat. But that's
|
|
why I knew he was so cool. Like, all my other cats had been really bland.
|
|
Totally boring. Well, except Hatch-Patch, he was so fucking hyper, but that
|
|
got boring too. Gabby was just a nice cat. My dad likes to say that he
|
|
'talked to us' when he meowed. Shit, he meowed all the time! For a coupla
|
|
hours I tried to see if he understood me or something. I said shit like,
|
|
'Gabby, meow if you understand what I'm saying.' 'MEOW.' I was young and
|
|
stupid at the time, ya know. And now I'm older and stupid. Anyway, Gabby
|
|
would also follow me around the yard when I did the lawn. Wasn't even scared
|
|
of the motor or anything. But also wasn't stupid enough to go near it. Oh!
|
|
And he could stand on his hind legs for a really long time if you made him
|
|
think you had food."
|
|
|
|
Tank was leaning back, grinning. "_I_ want a cat."
|
|
|
|
"Well, you won't get one like Gabby, trust me, unless you search for it.
|
|
You might get one like Faulkner instead." Jim turned his head and screamed,
|
|
"Faulkner! Get the faulk over here!" No cat came. "Actually, I'm
|
|
exaggerating. Faulkner's interesting in her own way -- and you could actually
|
|
see if she were around anywhere."
|
|
|
|
"Wanna look for him?" Tank said.
|
|
|
|
"_Her_, her. No, let's make her get trained. She's only like a year
|
|
old. I've seen cats become nicer over time. I usually have to resort to
|
|
petting them when I feed them. Then they associate me with food. So, it's
|
|
like, being nice to me and living go together."
|
|
|
|
"That's kind of sick," Tank said, shoving the second empty can toward the
|
|
first one.
|
|
|
|
"Yeah, it is, but it works. Oh man, speaking of food, when Faulkner
|
|
eats, she like shoves the food dish with her nose clear across the patio.
|
|
Isn't that wacky?"
|
|
|
|
"Funny, man," Tank said. "Hey, look over there!" he said, pointing.
|
|
|
|
"Oh, hey, cool, that's Faulkner. Hell, and she's heading towards us! It
|
|
must have been the discussion of food or something." Faulkner started jogging
|
|
towards them.
|
|
|
|
"She's going even faster now. _Food_," Tank said. Faulkner ran to Jim.
|
|
|
|
He smirked and picked up Faulkner. "That's really cool. Maybe I should
|
|
call her 'Food' now." She nuzzled against Jim's face and meowed sweetly.
|
|
|
|
Tank grinned, glanced at his watch, and stood up. "Yeah, Jim, I guess I
|
|
should go home now."
|
|
|
|
Jim smiled. "Well, alright then. Thanks for helping me in the attic."
|
|
|
|
"Sure, yeah," he said, petting Food.
|
|
|
|
"Hope you never have to come back," Jim said, "for that."
|
|
|
|
Tank nodded. "Yeah, hope not. Well, see ya later, Jim," he said.
|
|
|
|
"Bye," Jim said, and spent the rest of the afternoon playing with Food.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
|
|
Freedom of the Press is guaranteed only to those who own one.
|
|
--A. J. Liebling
|
|
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
A PRAYER FOR DEATH, Part I
|
|
by Michael Dee, with help from Trent Reznor and Ian Curtis (D)
|
|
|
|
i am the voice inside your head (and i control you)
|
|
i am the lover in your bed (and i control you)
|
|
i am the sex that you've denied (and i control you)
|
|
i am the hate you try to hide (and i control you)
|
|
|
|
i take you where you wanna go
|
|
i give you all you need to know
|
|
i drag you down i use you up
|
|
mr. self destruct
|
|
|
|
i speak religion's message clear (and i control you)
|
|
i am denial, guilt and fear (and i control you)
|
|
i am the prayers... (and i control you)
|
|
i am the lie that you believe (and i control you)
|
|
|
|
i take you where you want to go
|
|
i give you all you need to know
|
|
i drag you down i use you up
|
|
mr. self destruct
|
|
|
|
you let me do this to you (i am an insect)...
|
|
|
|
i am the needle in your vein
|
|
i am the high you can't sustain
|
|
i am the pusher, i'm a whore
|
|
i am the need in you for more
|
|
|
|
i am the bullet in the gun (and i control you)
|
|
i am the proof from which you run (and I control you)
|
|
i am a silencing machine (and i control you)
|
|
i am the end of all your dreams (and i control you)
|
|
|
|
i take you where you wanna go
|
|
i give you all you need to know
|
|
i drag you down i use you up
|
|
mr. self destruct...
|
|
|
|
|
|
"So who is she?" Cody asked. "She calls herself Death. The file says
|
|
she's approximately sixteen, of slight build, black hair, dark eyes. Spooky
|
|
looking, according to Security," the Mister Johnson replied, showing teeth in
|
|
a surgically-enhanced grin. "Just your type."
|
|
|
|
He handed Cody the glossies taken during an ill-fated raid. Cute, but
|
|
typical teenage haute coture. Heavy eye makeup, chrome on black on black. "So
|
|
what's the problem?"
|
|
|
|
"It seems no-one can get near her. She killed three of our guys with
|
|
simple physical contact. It might be a high-voltage implant of some sort - all
|
|
three died of heart attacks. Needless to say, we weren't able to retrieve the
|
|
bodies for autopsies. What little information we do have came from the
|
|
biomonitors the guys were carrying." � "Sounds strange. So what do you
|
|
want, the basic retirement package?" Cody asked, taking a pull from his
|
|
cigarette. "Yeah, nothing fancy. Make it look like some boostergang pumped
|
|
her, something like that. The authorities won't blink an eye. Just something
|
|
simple, okay?"
|
|
|
|
"Fine. I get fifty per up front, the rest when it's done," Cody sighed. A
|
|
piece of cake.
|
|
|
|
Cody scanned the shitsheet the Mister had given him. Other than some nail
|
|
razors and possible headware implants, she was clean - no weapons, at least
|
|
none visible. She liked clubs and mingling with the other freaks of nature, so
|
|
he adjusted his wardrobe and went hunting.
|
|
|
|
The sidewalk was alive with various forms of vermin, some human. He
|
|
shoved his way through the crowd congregated around the entryway to her
|
|
favorite club, paid the doorman, and stepped into the cacaphony of humanity.
|
|
Bodies twisted as if in agony, twitching to the throbbing beat of the music.
|
|
She was there, writhing with the rest of the punks, zoned out and sweating
|
|
profusely. The adolescents surrounding him reeked of sweat and chemicals; the
|
|
smoke nearly obscured his vision. He waited until she left the floor, panting
|
|
and jittery. He noticed the bitch-bag hung from her belt, and her dialated
|
|
pupils and frozen grin told him she was in the throes of a drug-induced ecstasy.
|
|
|
|
"I'm looking for Death," Cody told her as she passed him. "Try a gun,"
|
|
she called over her shoulder as she headed for the trip-room. He followed her
|
|
and sat next to her on a ratty overstuffed divan. "That's not what I need," he
|
|
told her, and she stared at him.
|
|
|
|
"Maybe you're right. A gun's very messy. So's a razor. How about rat
|
|
poison?" she smiled again, the frozen rictus-grin.
|
|
|
|
"I mean, I'm looking for you," he said. "Well, then, that's different.
|
|
Dead people aren't too much fun, unless you're a necrophiliac. Have you ever
|
|
tried it?"
|
|
|
|
"Uh, no," Cody said. "Have you?"
|
|
|
|
"Once, but it's not really my kind of thing, I guess. Hey, you want
|
|
some?" Death hefted the bag, untied it and offered it to him. "Great stuff."
|
|
|
|
"I tried it once, but it's not really my type of thing, I guess," he
|
|
smiled. She smiled back, her grin a little less rigid. "I want coffee," the
|
|
girl blurted, hopping to her feet. "Cody followed her out of the club, avoiding
|
|
the reeking bodies as much as possible.
|
|
|
|
When they reached a relatively empty and quieter part of the street, she
|
|
turned to him and said, "Hey, you're kind of cute, in an anal-retentive kind
|
|
of way."
|
|
|
|
"Thanks, I guess. Uh, where are we going?" he asked as she led him down a
|
|
dark alley. "My place. I've got this great cappucino thing I want to try out.
|
|
It's all silver and brass, really expensive. Do you mind?" she stopped and
|
|
looked at him with drug-widened doe eyes. Perfect, Cody thought. Simple
|
|
retirement. "No, of course not."
|
|
|
|
"Great!" She grabbed his hand and turned to a recessed doorway. "It's up
|
|
here. I hope you don't mind climbing a couple flights of stairs, 'cause the
|
|
elevator's broken." She smiled and led him to the fifth floor of the building.
|
|
|
|
She opened her door and turned on the lights. The room was decorated
|
|
almost entirely in burgundy and black, the only other colors being a few
|
|
posters, some dead flowers in a green glass vase, and a score of stuffed
|
|
animals scattered around the room.
|
|
|
|
The loft was a giant room, apparently converted from an old warehouse,
|
|
and was divided into little sections. Against the far wall was an ancient
|
|
four-poster hung with dusty wine-colored velvet drapes. The only other
|
|
remarkable item was the huge espresso machine sitting in the center of the
|
|
room. "This thing's gonna take a while to fire up, so make yourself
|
|
comfortable, okay?" She turned to the metallic beast on the floor and began
|
|
fiddling with it.
|
|
|
|
"Your decor is kind of... morbid," he said, and settled into a leather
|
|
bean-chair. "Who decorated, H.R. Giger?"
|
|
|
|
"Just me," she called over her shoulder. "Do you like it?"
|
|
|
|
Cody stared at the girl, sized her up. Her jeans fit rather closely, and
|
|
the denim hugged her flexed buttocks and hips. "Yeah, it's great." He thought
|
|
for a minute, contemplating her squatting posture. "Unique. Does it reflect
|
|
your personality?"
|
|
|
|
"Uh, no. Not really. But it's pretty cool, don't you think?" She stood,
|
|
one hand behind her back, and walked toward him. "Guess what," she said,
|
|
leaning over him, one hand on his knee. He felt his heart pounding and slipped
|
|
the Palmer gun from his sleeve, expectant. He couldn't help but notice her
|
|
cleavage, and necrophilia came to mind.
|
|
|
|
"Coffee's ready," she said, bringing the thin white china cup from behind
|
|
her back and setting it between his legs. "Sugar?" she asked, picking up a
|
|
bowl of sugarcubes and offering it to him. He reholstered his gun and took two
|
|
lumps from the bowl. His shaking hand knocked two more from the bowl, and they
|
|
dropped between his legs. "Oh," the girl said, and set down the bowl. She
|
|
reached between his legs and retrieved the sugarcubes. "Do I make you
|
|
nervous?" she asked as she dropped the cubes into her own cup and sat
|
|
indian-fashion on the floor in front of him. "I make a lot of people nervous."
|
|
She handed him a spoon. He stared at it. "For your coffee..." she said, making
|
|
little stirring motions with her finger. "You know, to break up the little
|
|
sugar granules?"
|
|
|
|
"Right." He cautiously sipped at the coffee. "Hot," he told her, and
|
|
looked up to find her staring at him. She set her cup and saucer on the floor
|
|
beside her and leaned forward.
|
|
|
|
"I take back what I said before," she said. "About what?" he asked,
|
|
sipping the steaming brew. "About you looking anal. Noble, maybe, like a
|
|
knight or something," she made a face, "but not anal."
|
|
|
|
"Really," Cody said dryly. "Yeah. You've got beautiful eyes, they're sort
|
|
of just there. Honest." After a moment, she said, "You don't talk much, do
|
|
you? It's not bad or anything, I mean, most people who talk a lot are trying
|
|
to hide something. It's like by talking a lot, they can sort of hold in
|
|
whatever it is that they don't want other people to know. I like quiet people."
|
|
|
|
"Are you hiding something?" Cody asked, smiling faintly. "Not really,"
|
|
she told him, leaning back. "Are you saying I talk a lot?"
|
|
|
|
"You talk more than I do," he said, sipping the strong coffee. He looked
|
|
up at her, and she stifled a giggle. "You've, uh, got something..." she
|
|
reached up and wiped a bit of cream from the tip of his nose. She stuck her
|
|
finger in her mouth and sucked off the cream, smiling up at him impishly.
|
|
"There... all gone," she smiled. They looked at each other for a moment. "I
|
|
want to show you something," she told him, jumping to her feet and pulling him
|
|
out of the chair. "It's, uhh, over here..." she said, leading him toward the
|
|
bed. "I think you'll like it..."
|
|
|
|
"It's gonna cost you extra," Cody told the Mister over the
|
|
vidphone. "Something's come up."
|
|
|
|
|
|
When you're looking at life,
|
|
in a strange new room
|
|
Maybe drowning soon,
|
|
Is this the start of it all?
|
|
Turn down your TV,
|
|
Put down your books
|
|
Turn away from it all
|
|
it's all getting too much
|
|
|
|
When you're looking at life,
|
|
deciphering scars
|
|
tense group all who
|
|
sit still in their cars
|
|
The lights look bright
|
|
when you reach outside
|
|
Time for one last ride
|
|
Before the end of it all...
|
|
|
|
Exercise One, by Joy Division
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
|
|
Masturbation doesn't appeal to you? Then you're doing it wrong.
|
|
--one of Griphon's friends
|
|
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
DR. GRAVES AND THE AVANT-GARDE DiNNER PARTY
|
|
by John Smith
|
|
|
|
Dr. Stephen Graves lifted his head from the bowl of Leg Drop soup he was
|
|
eating at Spanky's Brothel and Cantina to answer a paige.
|
|
|
|
"Graves? Stephen Graves?"
|
|
|
|
"Over here my good man. I am Dr. Stephen Ezekiel Graves. What is it?"
|
|
|
|
"A telegram for you, sir." The bellhop waited, hand thrust out
|
|
expectantly.
|
|
|
|
"Oh yes, quite right," Graves said to himself, patting the pockets of
|
|
his shirt and pants. "Here you go," he said, handing the bellhop a French
|
|
Tickler. "In and out very slowly. It drives them wild."
|
|
|
|
The bellhop stormed off in a rage. He remembered the last time someone
|
|
had given him such a "tip." It was a hotel in Rio. And was it so long ago?
|
|
Yes, nearly two years now. A saucy young flamenco dancer who was in the
|
|
spotlight that night. She had every man's attention and every man's desire.
|
|
But she chose him, the bellhop for the Rio Diablo Grande. She had been in the
|
|
lobby, waiting for the famous prize fighter Lupe "Crazy-Eye" Juanero when he
|
|
brought her the sad news that Lupe had been knocked silly in an upset bout
|
|
against Myron Kickapoo, who, funny enough, had been trained by Stephen Graves
|
|
to tolerate massive amounts of pain many years beforehand. She had wept on
|
|
his shoulder, slipping a ribbed condom and her room number in his pocket.
|
|
That night the bellhop arrived, awaiting a sexual experience that would rock
|
|
the two and a half star hotel to its very foundation. Instead, he found a
|
|
drunk Lupe, who took the bellhop's penis and sent it flying out the window to
|
|
the street below, where it got eaten by a roaming dog.
|
|
|
|
Graves knew none of this, of course, and would not have cared if he did
|
|
know. He was absorbed in the telegram. It read:
|
|
|
|
GRAVES STOP I AM IN DANGER STOP PLEASE COME TO FRANCE STOP
|
|
AM AT THE LUXUS ROYALE DOWNTOWN PARIS STOP LOVE MARIE STOP
|
|
|
|
Marie was the famous cabaret dancer that had intrigued the passion of
|
|
Graves when he was but a fledgling. She was known to turn boys into men in a
|
|
rite of passage that was cosmic. So had been the way with Dr. Graves. he had
|
|
snuck into her dressing room and waited in the dark, holding for her a single
|
|
rose. When Marie came in, she saw the timid boy waiting, his pants showing
|
|
the desire he felt for her.
|
|
|
|
She had taken him like a typhoon descending upon a small boat. Graves
|
|
still shook with awe when he remembered his fair Marie. He paid the bill and
|
|
caught a cab to the airport. Soon he was off to Paris.
|
|
|
|
* * * * *
|
|
|
|
Paris was alive with the libido that Graves found intoxicating. He
|
|
checked into a hotel in the area near Marie's. Two people were engaging in
|
|
oral sex on the stairwell that led to Grave's floor. The woman, a cute little
|
|
hor d'oeuvre with short black hair was breathing with a frustratable rhythm.
|
|
the man was inexperienced. Graves interrupted.
|
|
|
|
"Good day. I am Dr. Stephen Graves. Allow me to show you how to get
|
|
the most out of the feast you are partaking in," he said to the young couple.
|
|
He then proceeded to explain to the man how to perform oral sex in a way that
|
|
would disable the young woman. Screams of orgasm filled the corridor as
|
|
Graves smiled and entered his room.
|
|
|
|
A woman was sitting on his bed, holding a rose. She was silhoutted in
|
|
the night against a bright and teeming Paris rue. Stephen's heart leapt.
|
|
|
|
"Marie!" he exclaimed, flipping on the lights.
|
|
|
|
"Sorry to disappoint, hon," a rich baritone voice replied. "I had heard
|
|
you were coming to town so I thought I'd stop by and show off the new me."
|
|
|
|
Graves did a double take. "Pierre? Oh my sweet Thesba, goddess of the
|
|
orgasm, it _is_ you! How the hell are you, old chap?" Pierre de Marc was a
|
|
painter who used oils and semen to create very original works of art. His
|
|
most famous piece, "Bad Jim," sold at an underground auction for 30,000
|
|
francs. It was no surprise, either, for Graves thought of the painting of a
|
|
woman, kneeled, eyes closed, mouth open, waiting to receive a bundle of life
|
|
from her lover and the wad of Pierre's juice splattered across her cheek and
|
|
eye.
|
|
|
|
The two "men" embraced.
|
|
|
|
"Well, I'm more of a chap-ette now, Stephen. Dr. Bob can do miracles. I
|
|
would have come to you, but you know how you got when Danny Pritchett was
|
|
impaled during the fencing tournament in Napal last year."
|
|
|
|
"Yes, I wept like a baby. The medic said a major organ had not been
|
|
wounded, but he didn't know Danny the way I did."
|
|
|
|
"Amen to that, Graves. Anyway, I had it taken off. Put in a jar on the
|
|
mantle. Mother nearly died when she saw it. It was a gas."
|
|
|
|
"Oh, Pierre. I have been away for too long. Paris forgets me. The
|
|
world forgets me. I sometimes wish I could settle down and have a normal
|
|
life. But oh, my wandering soul and flaming passion leads me to one adventure
|
|
after another."
|
|
|
|
"You would not like the tame life, Stephen. I've known you for too
|
|
long. You are an adventurer, a world lover." Pierre had his hand on Grave's
|
|
shoulder, caressing it gently. Stephen patted his old friend on the bottom.
|
|
|
|
"I do care for you, Pierre. But right now my Marie needs me. I must go."
|
|
|
|
Stephen Graves left the transsexual to a solo flight to ecstasy and set
|
|
out to the Luxus Royale. Upon his arrival, he was greeted by two large
|
|
Frenchmen. They gruffly showed Dr. Graves to the penthouse apartment
|
|
upstairs. He was admitted into a large area where a dinner party was in
|
|
progress. Around the table sat many important figures in society. Pip
|
|
Longfellow, the English diplomat to France and co-founder of the Diplomats Who
|
|
Wear Women's Lingerie Society. Naomu Tokosuma, the sumo wrestler and bisexual
|
|
gardener. Thurston Snobpocket, the wealthy business tycoon who produces 80%
|
|
of the world's vibrators and other tools of pleasure. Kevin Midland, the
|
|
notorious pedophile and underground author and editor of a publication that
|
|
corrupted the moral fabric of the world.
|
|
|
|
"Darling, you've come, so to speak." Graves turned his attention to the
|
|
foyer where a beautiful woman emerged.
|
|
|
|
"Marie. I came as soon as I got your letter. Then I left for Paris.
|
|
Are you alright?"
|
|
|
|
"Oh, my poor Dr. Graves. Always the gallant knight. I was never in any
|
|
danger. The telegram was a ruse. Oh, such the chauvinist. You men think a
|
|
woman you've had is a woman you must protect. Tsk tsk tsk."
|
|
|
|
With that, Graves found himself suddenly bound and sat next to Jack
|
|
Mehay, the Australian lesbian who had claimed more women than the entire U.S.
|
|
Navy.
|
|
|
|
Marie addressed her "guests."
|
|
|
|
"You are all lovers I have had. Some of the greatest, I might add. You
|
|
are also very important figures in the world of sex and sexuality. My plan is
|
|
simple. If you were all to be eliminated, I would be the most powerful and
|
|
influential of the sexual bourgeoisie."
|
|
|
|
"You will never succeed. You are not powerful enough." It was Pip
|
|
Longfellow. Graves remembered his first encounter with Pip. A lace teddy and
|
|
English peas.
|
|
|
|
"Pip. One of my favorites. The times we've had. I'm surprised you
|
|
doubt me. After all, wasn't it I that caused you to lock yourself in a closet
|
|
and whimper like a whipped pup for three days? Don't worry, though. I shall
|
|
treat you well. You shall be buried in a silk and leather negligee."
|
|
|
|
"Who amongst you shall be the first to die? Stephen, you arrived
|
|
latest. You will be my first. Just as I was yours so many years ago."
|
|
|
|
Marie ran her hands down Dr. Stephen Graves' chest and over his pants.
|
|
|
|
"One last 'kiss' before you go," Marie whispered as she unbuttoned
|
|
Graves' trousers.
|
|
|
|
Graves felt the semen build in his purple headed warrior. Marie worked
|
|
her magic and Graves was barely able to hold it in.
|
|
|
|
"Let it go, Stephen. One last shot. I..."
|
|
|
|
Stephen Graves released his love juice and blew out the back of Marie's
|
|
head. The pressure, combined with the muscle power of Graves' penis, had
|
|
launched a sperm missile that destroyed Marie. Graves sank back into his
|
|
chair, his heart broken, his will spent, his dick limp.
|
|
|
|
* * * * *
|
|
|
|
Two days had passed since the dinner party of Marie's. Graves was not
|
|
his usual, robust self. He had somehow found his way to Pierre's and was
|
|
comatose to the world. His heart was broken and his soul was numb. Pierre
|
|
had done his best to console the world-reknown lover and philanthropist.
|
|
|
|
The third night came and Pierre called Graves into his studio.
|
|
|
|
"I have something for you, Stephen." Pierre unveiled a painting of
|
|
Marie, head intact. Graves began to cry. He softly kissed the pursed lips
|
|
and whispered an apology to her. Graves thanked Pierre warmly and left that
|
|
night for Tokyo. He did not see Pierre cover the painting with the life force
|
|
of some bum he had met in the alley, nor did he hear about the painting's sell
|
|
of 13,000,000 francs. He was busy wrestling a bisexual gardener.
|
|
|
|
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
|
|
|
|
|
State of unBeing is copyrighted (c) 1994 by Kilgore Trout and Apocalypse
|
|
Culture Publications. All rights are reserved to cover, format, editorials,
|
|
and all incidental material. All individual items are copyrighted (c) 1994 by
|
|
the individual author, unless otherwise stated. This file may be disseminated
|
|
without restriction for nonprofit purposes so long as it is preserved complete
|
|
and unmodified. Quotes and ideas not already in the public domain may be
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freely used so long as due recognition is provided. The editor may be reached
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at The Lions' Den [(512)259-9546] or at kilgore@bga.com. Thank you.
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