Fiction

BUMMING by Chelsea Harris

April 14, 2019

We’re outside the corner store bumming smokes off each other. He’s a redhead, says he’s got a bad habit of picking his face. The whole thing covered in craters. Our friend shows up, Andy. He’s got something to show us. We take a drive.

Up the road there’s a car. Totaled. Hit a tree. We get out of ours and I slam the door, hard, a privilege. There’s someone inside the wreck. A crumpled napkin. A pair of puckered lips. Andy tries to pull her out but her body has been deflated. I poke at the airbags. She’s dead, the redhead says. He isn’t wrong. We head back to Andy’s, a real shithole. He gets a beer, leaves his fridge wide open. We join him out back, on the porch. He says, I look at it two ways. Either we do something with the body or we don’t. Redhead smiles, his fingers scratching at a fresh one on his cheek, What did you have in mind?

Before I knew it we were hauling her onto the pavement. Her hair matted in jellied blood. Arms twisted up like a pretzel from the fair. Her eyes had popped from the impact. Face swollen. Andy jabs at her sticky thighs with the toe of his boot. What now? I ask. They scoop her up by her arms, drag her to the edge of the woods. Redhead hocks a loogie back towards the car. Squeezes a big one by his eyebrow, rubs the goo between his fingers. I tell them we should leave her. I tell them we should call the cops. They both laugh, turn around to look at me, nothing but a Barbie, a toy for them to play with. Don’t be a pussy, they say, Check her glovebox. Inside I find some money, a joint, a weathered photograph. It’s of her and a woman. They’ve got their arms draped over each other like a shawl. They’re laughing. I shove it in my back pocket, take the joint over to the boys.

It takes them an hour. Their hands choked in blood. Redhead’s got it all over his face in big smears like jam on toast. They leave her body, the hole in her chest clogged, her clothes in a heap beside her. We drive back to Andy’s, the radio buzzing. Redhead holds it in his lap like a puppy. They roll down the windows, barbed gusts of wind slashing my face. The night a hole, waiting to swallow me up. When we get back, Redhead plops it on the kitchen table. A gummy, tacky mess. A wad of chewed gum. A punctured water balloon. The boys take turns snorting snow. I sit against the wall, the clock above me pulsing to the beat of itself. My shoes stick to the kitchen tile. Want some? Andy asks. Redhead blows snot into his hand, wipes it on the back of his jeans. I join them at the table.

We wake to sirens. Our bodies spliced together on the floor. I pull a sweater over my head, gather my hair into a bun. Before I have time to stand Andy is by the freezer, his head buried deep inside, a fog of frost folding over him. I feel Redhead behind me, his presence a cloud suspended over the back of the couch. He puts his hand on my shoulder. Time to play, he says, silent enough that only I can hear it.

On our way out of town we pass her. A string of yellow tape tacked up around her body. A tow truck in the midst of hauling her car away. We listen to the news on the radio. Redhead and Andy snicker in the front seat. We pass exit after exit, every sign a blur. Three hours in we stop. A rest area. The boys pull the cooler out of the trunk. Open it up. Touch it, Redhead prods with a smile. His teeth are brown, gums bright red, the toilet after a period shit. He grabs my arm, yanks me close. Come on, it’s got special powers. Andy laughs. I pull myself away, away from them, away from the car. You’re a fucking pussy, Redhead coos. Andy runs at me, eyes thumping like a drum. I race towards the bathrooms, hoping I can lock myself inside, but I’m too slow. His hand catches my wrist, nails scraping my skin like hot iron. His way of branding me. He pulls me to the pavement, pins me down, climbs on top of my chest. His face plump with rage. He socks me once, then again. My head goes numb. Vision dim. I hear Redhead slam the trunk shut, feel them scoop me up, toss me back inside.

We make it to a motel outside of Denton. All of us pressed into a full-sized bed. The boys strung out, their hands on my thighs. The TV blinking a scramble of shifts in front of us, the bed illuminated in a blue pixel haze. I reach for the remote. Outside, Andy’s car is on fire. I hear a boom, glass bursting onto the pavement. People yell, their voices strangled by the flames. The motel manager knocks on our door. Three long whacks. I scurry off the bed, out from underneath them. They roll over to face each other. Redhead’s got a few new ones busting from his forehead. A cluster of fresh eggs. The motel manager tells me I better get dressed and get down there, tells me he’s already called 911. I shut the door, look down, untamed pubes erupting from my panties. Andy sits up, wiping his eyes. I take a beer out of the fridge, park myself beside him, offer him a sip. The cooler is in the car, I say, waiting, holding my breath. Redhead stirs behind us. Andy takes another drink. I expect it to hurt, but I barely feel a thing.

ETYMON STREET VIEW by Mike Corrao

April 8, 2019

She (subject) receives a note which says, “I am without past.” On the backside is a photograph of a street sign: Roberta Ave. The crossroad is obscured. What used to be green is now dull and graying. Its metal spine curves to the left. Backgrounds are warped by time. The subject is tasked with determining the origins of this symbol. Finding what has been vacated of context. Erasures performed without audience. Certain criteria are arranged to flesh out her process. Suites are dressed in ethernet cables and blue light filters. Rounds of copper are blanketed in rubberized shells. She moves through a set of localized databases. Dragging her feet along the surface of the excavation site. Playing with direct keywords and terminology. Each result yields answers specific to its location. One meaning does not proliferate into the next. One prominent figure does not name a second street after themself. In Waukesha, Wisconsin she finds a Roberta without a source. The avenue appears without momentum, emerging quietly from a larger grid. Harrison, Frame, Wabash, Estberg, Douglass, Roberta, Coolidge, Hoover. Incipit formulas and procedures are unveiled:

All names have an origin. If they are one word, they will come from one place. If they are many words, they will converge from many places.

In the case of the former, said source might be of significance to specific people involved in its creation, zoning, or development. Specific Robertas. Those famous or related.

If the name has no origin here (which it does not), then its origin might arise from better hidden minutiae. Roberta who performed a charitable act. Significant strangers. Offhanded mentions of artists or architects. Misheard introductions.

When a street is unimportant, that is to say, not worth thoroughly documenting, it might appear to abruptly jump from not existing at all to having existed forever. Somewhere between the years of 1974 and 1986, Roberta Avenue is conceived.

An unspecified individual (under government employ) signs forms that are assumed to exist and names the street after someone (something, somewhere) for some particular reason. The individual then shifts interest to another street and loses any tangible connection to Roberta.

Over time, the relationship between land and language become obscured. What was once straightforward can quickly spread into endless and ever-changing labyrinths. The entropic nature of duration disrupts these pathways. A mountainside road becomes Silver Lake Drive. A coastal boulevard becomes Pine Street.

What is left is hard to identify. She sways through luminous corridors. “My tactility is measured in lumens.” Her hands collapse around strands of frayed monitor hair. What is visible is rendered haptic. What is spoken is rendered real. New data accumulates. Particles of dirt climb from key to nail bed. Neural structures materialize in the periphery, but again this etymology is without its source. Metonyms form chains, linking from part to whole. From whole to greater whole. Roberta extends her reach across liminal spaces. Ennui in posture. Dancing around the virtual ballroom. “Your physiology is tested for anomalies.” White text crawls across the screen, but she does not pursue this lead. Instead, she continues her excavation. Old web pages map outdated countrysides. Where roads crawl through unwieldy topographies, each hill flattened and repurposed.

She skims a series of land acquisition and zoning documents. No new information comes to the surface. Phone calls lead to answering machines and non sequitur transfers. Landlines form matrices under guise of the rhizome. Disembodied voices dictate a lipid yawn. Keys displaced by an external pressure. She sifts through prophetic audio files and CCTV footage. The natural slouch of the human physique makes her nauseous. Each figure that wobbles across the monitor. The slow pan of the camera. “Towers form under veil of ash.” She returns to the photograph. Searching through image aggregators and video archives. Long-dead strangers construct each house in zig-zag patterns along the avenue. Surveys form jagged plots of land. She again shifts focus, moving from historical evidence to abstract representations.

Foreign documents rise out of the engine. Where dataplasm has begun to coagulate. Radio waves are dragged under the surface by spore densities “I speak to you as if we have not spoken before.” But this is a lie. There is a familiarity in the candidness of the white text. “We reconvene after the fires are out.” Roberta Ave consumes its own identity. The machine feeds on its own afterbirth. Nourished by the infrastructures which reveal its parentage. Clergymen divinate the body in paraffin. In this web of connections, each thread has been severed. White text mocks with conspiratorial glee. “You see only what has been present.” Phantom limbs caress her interior, feigning their introduction. In which these new appendages might continue her search while she is away—passive and unconscious.

Roberta Ave taunts her with hints of information. “SUBJECT gifts [redacted] namesake to new passage.” The sign mutates. The metal spine straightening its posture. Anachronistic compulsions render previous data collecting methods obsolete. Street names rearrange themselves. Harrison, Roberta, Estberg, Douglass, Coolidge, Hoover, Frame, Wabash. Script removed from its plate. She fears that each name is without purpose, without origin or incipit. There is no event to create this creature. It stumbles haphazardly through time, appearing before and after its predicted creation. She finds obscured photographs and scrawled notes.

Computational deities form a new lexicon. She watches as they reorient each previously scanned and cleared database. Roberta Ave disappears from familiar places, and reappears in previously unseen alcoves. The machine unhinges its yaw. And the subject is gifted the phantom limbs that she has been promised. New appendages climb from her hips and shoulders. Anatomy expanding / Exoskeleton forming. She feasts on etymon. With tendrils latching to electrical currents and expanding the circumference of the circuit. Molluscular mouth siphoning power for the ever-growing mechanism. A new praxis must be organized. Where these phantom limbs may continue working through unconscious states. Collecting and categorizing the mass of data as the body lies dormant. She allows these sentient extensions of her self to carry on through intermission.

THE FIRST TIME I PERFORMED by Benjamin Niespodziany

April 7, 2019

The first time I performed in Russia was under the direction of the king. His daughter's best friend's wedding was held in a refurbished factory that once made statues of the great whirling dervishes. I was the third piece of the matryoshka at the wedding, jumping out of a cloud once the song started to play. The fellow who fell after me broke his leg, and the rest of the event was a medical disaster. The king got drunk. We still got paid.

The first time I performed in Penn Station, an overweight man asked me to be his wife. He said he had a basement down the street that was just for me. My top hat grew full of spare change, and an eyeless woman snatched it. She hopped on the next train just as the doors closed and showed me her dead white eyes. The rats fast scurried up my shirt. I ate a napkin, swallowed a receipt. I slept on the floor and dreamed about warmth.

The first time I performed on a beach in Vietnam, I passed out. Woke with nightfall, covered in sunburns. The local entertainers told me to wrap up head to toe in clothing. They wore bandannas over their faces and asked for fast massages. I took off the next week and soaked in aloe vera. Plucked fruit I had never seen from a tree I could hardly reach. I bathed in a cave while the locals prayed about King Kong's promised return. A rude man in my canoe ate my shoes then offered me coffee. I laughed at a three-legged calf. I deserved it. The sunsets were so damn beautiful, less cheap than the noodles.

The first time I performed at the circus, I was a lower-level balancing act. Most of us were hungover, unsober, tip-toeing gracefully into our next sip. I slipped into a spin but caught myself and avoided disaster. No one but the director noticed my error. I was never asked back. As I left, I said farewell to the lion as it ate the trapeze artist's vibrator inside of his cage, a cage nicer than mine.

The first time I performed my last performance was earlier today. The sky was gray, vacant of both sunshine and stars. I was flawlessly processing the Macarena on a tight rope when the opera house caught fire. At first, everyone cheered, thinking it part of the show, but when the song went silent and I properly screamed atop the balance beam, the audience knew it was real. We are all outside now, wrapped in firefighter blankets, watching the building burn, the ash dancing with the already damp sky. It felt like the end of a black and white movie but with fewer cigarettes. I put in my resignation and waited for the curtain to close.

THE INENARRABLE HEAVINESS OF SEEMING by Will Bernardara Jr.

April 5, 2019

“Perception of a state is not the state.”

M. John Harrison

A teetering bulb of dread and dream referred to – sometimes, by some – as Wes Boolean walks into a hardware store, his/its synapses scintillating with composite images of saw-teeth and conceptions of disjoining girl-parts.

(Interjection: The “bulb” of the foregone ‘graph isn’t a floating sci-fi brain. It [the bulb] is impounded in the standard ossein case of a bipedal primate “person” = Wes Boolean.

Thing is, the lump of gray mind-goo is the person; i.e., the “person” is a pattern ejaculated out of cerebral media, and so it’s [awkwardly] precise to state that a glob of neurons, glia, and organic miscellany walks into the hardware store.

[Moreover, it’d be less accurate to say, e.g., “Wes Boolean walks into the hardware store.”])

The hardware store, Doblhofer’s Drills ‘N Whatnot, enfolds mallets and monkey wrenches and fitted blades and omnifarious screws nails bolts nuts within a brick tetragon architecturally emblematic of Main Street, USA.

Wes, substrate of vortextual feedback (a.k.a. a “person” [which, tantalizingly, tellingly, probably comes from the Greek prosopa, which means mask]), browses Doblhofer’s dust(insect waste, dirt, husks)-diffused aisles, its timeworn bins and mummified 3-D, with the mien of a mako roving for a soft belly.

person = mask

self = feedback pattern

Posted by Anonymous on September 18, 2002 at 11:41:19:

Special orders don't upset us, we have any special cuts of meat of Teri Salsbury that your hungry for.She is primce USDA grade A meat and we are selling choice cuts of her for $1.59 per pound.We have Chuk Roast of Teri SalsburyWe have Ham Hocks of Teri Salsbury

We have breast fillet's of Teri SalsburyWe have prime rib's of Teri SalsburyWe have cunt steak of Teri SalsburyWe have shoulder rounds of Teri Salsbury

Come and get it special orders don't upset us.

(Interjection: Charles Crumb, artist R. Crumb’s older brother, never got around to reading Kant or Hegel.)

Perceptual impressions are notoriously, platitudinously labile… e.g., a building housing devices parts machines. For most, maybe, this is received sensorially as a structure that stores tools for, e.g., making a cabinet or fixing plumbing or crafting a lazy Susan. For some, like Wes, the same structure is interpreted as a den of murder implements for, e.g., slaking a bloodlust or hacking apart a lazy call girl named Susan.

Let A(x) be an arbitrary formula of the language of F with only one free variable. Then a sentence D can be mechanically constructed such that

F ⊢ D ↔ A(⌈D⌉).

It is a beautiful world.

Help you with somethin’?

Deo volente.

Pardon?

Nothing. Let’s see. I’m a burgeoning… Well. I need to, like, break something? And then uh… Well… Disassemble it?

Huh.

Yep.

Right. Got it. So you’re lookin’ to do some demolition? For the home? And then some dismantling? For your house?

Close enough.

So this is home not commercial?

You know, rethinking it, I really just have one question.

Shoot.

Dismantling something… err… subsistent.

Pardon?

When cutting up something living or recently made dead –

Like a buck? There’s a Goose Peak outlet over in –

No, no. You have saws. Say for instance you wanted to dismember an antelope.

Dress it?

Sure.

Well.

Would you use an electric – like a buzzsaw or?

No.

Chainsaw?

Nothin’ like that. Hell. It’d fling bits of flesh and blood everygoddamnwhere. Christ.

Good! Good. See, this is the sort of wisdom I was angling for now.

A nice sharp knife and a hacksaw’s what you need.

Knife. Hacksaw.

Nothin’ electric. Christ, that’d make one helluva mess. The churning teeth you know would spit meat and blood back at ya.

Where’s the aisle with the hammers? I think I need to pick up a nice ball-peen hammer. In addition to.

For any statement A unprovable in a particular formal system F, there are, trivially, other formal systems in which A is provable (take A as an axiom). On the other hand, there is the extremely powerful standard axiom system of Zermelo-Fraenkel set theory (denoted as ZF, or, with the axiom of choice, ZFC), which is more than sufficient for the derivation of all ordinary mathematics. Now there are, by Gödel's first theorem, arithmetical truths that are not provable even in ZFC. Proving them would thus require a formal system that incorporates methods going beyond ZFC.

Wes plumbs the depths of the Internet. Tor Browser. Tails OS. Dark Web. He lurks electronically, fishing through the hidden digital murk for vile links and files containing repulsive material. He views heads shotgunned to gushing, sloppy fragments by ISIS weapons. He sees kittens suffocated and roommates dismembered. He watches as a feed reveals a child sadistically molested and abused in a bathtub.

And worse.

Posted by S.C on April 25, 2002 at 23:26:22:

I have frozen male members and human fat candles and soap my slave did a good job and I have a bit extra scraps to if you have a dog or like scraps.

Posted by Joe Chef on March 22, 2002 at 22:36:11:

I need young female longpigs for live roasts, live butcher, or if you want you can be beheaded or hung before butcher, or how ever you want it, the choice is yours. Applicant requirements are:Be willing!!!!Be between Ages 16-40(the younger the better).Be Physically fit.Be free of communicable deseases.Be able to realize and accept their own fate.Be able to compleatly disappear with no trace except to false locations.Be willing!!!!!

The street appears skewed and, due to some actinic phenomenon of rabid complexity, the streetlights stain the curb and stores and road a preternatural pink, like watery blood or light through a glass of Robitussin DM.

Night in all its protoplasmic enigma.

Wes meanders along Thrill Cherry Rise, the road a clotted municipal gut of liquor stores laundromats bowling alleys tattoo parlors etc. He emphasizes and exaggerates the aimlessness of his gait, to fool the maggots.

It is always possible to pass, purely mechanically, from an expression to its code number, and from a number to the corresponding expression.

Maggots are ubiquitous, pole to pole. They’re basically the not-Wes, the squirming pointless – coils of distorted info convinced they’re “people.” Maggots operate motor vehicles and bake casseroles for church potlucks; maggots rent silent movies and jerk off to streaming Yhivy porn; they spend (unconsciously) most of their days and nights trying to not be maggots. They are thralls to impressions, illusion-addicts, thrashing dumbly in the liquid fray of sentience. Maggots are paradoxes gone kinetic. They are, most categorically, rapacious with a demand and need nature cannot sate.

But, Wes concludes, halting the introspective litany of maggoty definitions, coherence is hostile to vision. So fuck it, if not entirely at least in part.

For any 1-consistent axiomatizable formal system F there are Diophantine equations which have no solutions but cannot be proved in F to have no solutions.

Time shreds itself to quantal bits of chronofractals; inwardly, all becomes a bleeding echo chamber of languor. Life is spawned in delirium and promptly crushed inert by sheer lethargy.

Weltschmerz informs everything.

Murder stimulates.

Wes reads prodigiously, the moon’s bone-colored light glimmering in the sprawl of black sky. He focuses, letting the text sink into himself, the words of On Formally Undecidable Propositions of Principia Mathematica and Related Systems amalgamating with Vasili Ivanovich Komaroff’s 33 victims. Slashed throats and bludgeoned craniums; for any set of axioms and inference rules proposed to encapsulate mathematics, either the system must be inconsistent, or there must in fact be some truths of mathematics which could not be deduced from them.

A surge of compulsion, a jolt to see something horrible; brainwave entrainment, the practice of entraining one's brainwaves to a desired frequency. The frequency of death, of maiming, of illusions and lies pouring out, of blood and gore. Wes sweeps the numbers book aside and searches the Net for war atrocities.

He watches Liberian kids in bootleg 2Pac T-shirts cut each other’s hearts out and devour them. He looks at streaming video of machete fights in the Dominican Republic. Rapists beaten with pipes and set on fire by villagers. Crush videos – high heels and fur and small animals squealing.

What differentiates Wes from the larvae: Wes allowed his mind to turn in on itself, utterly. Wes looks around and sees not “humans” but carbon-based snarls. The system of configuration had retroflexed somewhere in the phylogenic trajection. This “turning back” educed tangled webworks of repercussive data that believe they’re “selves” and “individuals” and “identities” and bipolar comptrollers and suicidegirls and Nabokovian novelists and dentists with erectile-dysfunction issues and Spinell-esque pederasts with suburban Oedipal complexes and Jews for Jesus and feminists with erotic cyborg fantasies and Abel Ferrara and Tom Jones and Alexis Dziena and Nixon and Wesley Snipes and Lord Byron and Michael Dudikoff and Shadoe Stevens and Tony Robbins and Ortho Stice and Isidore-Lucien Ducasse and Morarji Desai and Coffin Joe and your mom and Gorbachev and Robert Gordon Orr and Brinke Stevens and Levi-Strauss and this writer and Nicola Sacco and Maurice Sendak and Gilbert Gottfried and whoever owned Orlando’s Mystery Fun House and Zapffe and Russell Edson and Ariel Rebel and MC Ride and Osamu Shimomura and E. LaFave and Vigny and Andrei Tarkovsky and Peter Weller and Derrida and Xenophanes and Mussolini and Emile Zola and Eliphas Levi and Peter Scully and GG Allin and YOU.

Snarls, all.

Where ⌈A⌉ is a name of a sentence of the object language, and B its translation in the metalanguage. If the metalanguage is identical with the object language, or is an extension of the object language, B is simply A itself, and the T-equivalences are of the form:

True(⌈A⌉) ↔ A.

At the risk of coming off rhapsodic, I’ll say you looked like an inebriated angel stumbling along the sidewalk just now.

I’m not drunk.

No?

Bath salts. And gorilla glue. Or sour diesel. One of the two.

Sure.

I’m fraying. Eroding.

I’m Wes.

April. Not an angel, unfortunately.

Fortunate for me though. Accounts of encountering angels – ancient accounts – describe it as a terrifying experience. Sublimity’s close to horror, you know.

So what are you into?

Skeletons of DMT and GenX. Bacteriophage 0X174. And orthogonal shadows.

Ha. You’re funny.

In Rome around 1451 AD, a woman, according to more than one written record, was enthralled by a demon. Lilith. The succubus and queen of crib death. The story goes she woke up one morning and knew the demon was inside her. So she swaddled her baby and took it to a bridge, then she threw the infant over the edge into the canal. The instant she dropped the child, the spell broke. The demon fled. And this is what makes the story so horrific: the second she let go of her baby the possession ceased, and she screamed and wailed and killed herself later that same day. Opened her wrists. Have you ever felt possessed, April?

April Brighton has buttery black hair dyed blue in swaths. Her face is model-pretty and her body same. She looks like a garbage angel churned out by some grunge chic fabricator. She wears a Minor Threat T-shirt and a thrift-store skirt, combat boots and fishnets. She exhibits a lot of silver jewelry, rings, a platinum (fake) barbed-wire-necklace thing, and a pierced nostril, the silver stud so tiny it’s barely visible, just a pinhead twinkle in the skin there. April is easygoing and fun and relaxed. But April isn’t a human being. April is just noise adorned in fabric and metal. A maggot. And what Wes does to this thing that calls itself April is, he makes a mess of her/it using various tools bought from Doblhofer’s.

Posted by charlotte on October 10, 2001 at 11:17:11:

I only just found this site, after being a regualar user of the IRC channel for ages.I love the format, I could be tempted to apply to be livestock myself, as long as I get to be live roasted 🙂Just wanted to post a post anyway XD

Looking for anyone that would literally like to cut my butt off for eating, I would also like to have my feet and legs cut off, I have always wanted to be eaten since I was a kid and now I'm ready, I'm 27 y.o, nice looking male,very clean d/d free, drk. blonde hair, green eyes, 6ft,200lbs. I would like to be gutted and have a spit put into my anus going through my mouth, I'm looking for serious replies only so no fantasies.I will send you a pix.of me when you respond, you can e-mail me at: keen_31@yahoo.com

Keith

There exists y such that y is the Gödel number of a proof of the formula with Gödel number x, AND there does not exist z smaller than y such that z is the Gödel number of a proof the negation of the formula with Gödel number x.

More formally:

Prov*(x) =def ∃y[PrfF(y, x) ∧ ∀z < y(¬PrfF(z, neg(x)))],

where PrfF(y, x) is the more standard proof relation discussed earlier.

(Interjection: By the time Wes Boolean was five years old, he’d already displayed, chronically, two of the three behavioral characteristics outlined in the Macdonald triad. I.e., he set fires constantly and tortured small mammals purchased from pet stores. [Guinea pigs, mostly.] These behaviors were habitual compulsions lacking any sort of credo or rationalization.)

April had her shirt off – no bra – and just as she was about to remove her skirt Wes whacked her with the hammer. An awkward, glancing blow that stunned and shocked, blood slithering down her neck from the gash in her scalp – but nothing potentially fatal. April started screaming and Wes began screaming too, mimicking her, matching her volume. He struck her twice more with the hammer, this time with the claw end, and the second impact caused the split-and-curved side to break through skin and skull and lodge there, stuck in April’s forehead like a new and extreme piece of facial jewelry. Fascinated, Wes stumbled back and admired her: she was still alive and conscious, a hammer stuck in her forehead, some homemade unicorn, a brutal chimera, her shrieking now degraded into a kind of stutter-scream. Wes wished he had an endoscopic gyno-cam to film the wounds in slow-mo, rip off the zygomatic process to reveal the wonders inside: the symphony of neurological dissonance, landscapes of gum tissue and deep muscle geographies that would resemble something Other; optical deformation, maybe, enhanced by software-based filters or Rutt/Etra, that would show in April’s glitching gray matrices the hexagon atop Saturn, observed by ritual and satellite alike. Sharp force trauma to the temporal region: prevailing cartilage, scant bone, composed like a Bach translation of a brain-pogrom only visual, not orchestral.

Wes tried to wrench the hammer loose from April’s head; her eyes had rolled back in their sockets and twitched repulsively. The hammer wouldn’t detach. Wes as not-Arthur, April’s head as the fabled stone.

Rapturous thoughts and equations blitzed through Wes’s mind-stew: rend the “person,” the body that generates the “persona waves,” and by doing so rend the illusions – the noise of seeming cuts out for fucking good. The inenarrable heaviness of seeming.

For any consistent system F within which a certain amount of elementary arithmetic can be carried out, the consistency of F cannot be proved in F itself.

Do this enough times and you’ll transcend the status of maggot – maybe, perhaps, could be, right?

NON SERVIAM

LITTLE SISTER, WHY HAVEN’T WE HEARD FROM YOU? by Timothy Boudreau

April 4, 2019

We remember the shy teenager who visited aunts and uncles with a novel and a piece of knitting. The adult in an over-sized sweater, huddled in a corner over a cup of tea.

Though separated by ten years we had similar interests and for a time considered ourselves creative people.

We always meant to collaborate. What happened?

Especially now I feel you may have insight to offer. Wisdom from a place unknown to the rest of us.

Thus enclosed find a few ideas. Feel free to alter them in any way. Merge your memories. Melt your vision over mine like caramel over an apple.

Our story about a brother and sister. Begin as children, the brother thirteen, the sister three, sitting in his lap with a book. Enchanted castles, blue cheerful moons, talking animals, silver stars shining. His eyes on the page, her head tilted to watch him as he reads.

A sense of trust. A sharing of words and imagination. Her then soft hand on his knee. Her shaking laughter, curls bouncing, when he mimics the animal sounds.

We must allow ourselves to make brave mistakes. There will be opportunities for lyricism. There should be a place for deep feeling.

Her heart. A condition she was born with. Poor circulation; its inefficiency. Later this might be a metaphor for other things.

The essay she writes in her single semester at UVM, detested by her sour coven of dormmates. Her brother tries first to bully her into believing it isn’t any good. We must tell it from her side. Stress its shimmering quietude. Its common sense and strength.

Sister, while you consider this know also that Uncle Fred and Aunt Josie miss you terribly. Mother awaits word. She sits near the phone while looking out the kitchen window. Lights a candle; listens for the wind.

In our story perhaps the brother finds for a time a female companion. Jittery, frail, tongue-tied with strangers, his hands fluttering birds—yet still. The family at a loss how to explain his good fortune. Sensitive to his sister’s loneliness, when he calls he tries not to sound giddy.

It would be realistic to write a scene after the brother’s companion breaks it off. The sister is called, a sobbing message left. He mangles and repeats the phrase, But I didn’t do anything wrong. The words likely unintelligible due to the sobbing, though he’ll never know if his sister listens. Or if she does whether able to understand.

The sister calls some months later.

“I’m sorry but I can’t be there. Seeing Mom now makes me crazy. I have to get away.”

“Away” is a series of apartments in towns no further than an hour distant. “Away” is a bedroom to which she returns after work to read and knit, as a wind rattles the windows.

On long winter nights she masters a variety of stitches. Cabled, seed, herringbone. Waffled, cross, garter, farrow. Dreams of the undulating line formed by a succession of purls; knit stitches in mounded V’s.

Little Sister, as you read these understand we’re trying everything. Mother’s idea to spend time in your favorite places. At the Reading Room in the Prescott Library; on the bench next to the birdbath; along the winding path through mother’s birches where we try not to imagine you as a fallen leaf fading into the forest floor.

The sense of dislocation, a misplacing of years, when the older brother at last visits one of her apartments. After not having seen or spoken to her. She has called because she needs money. Her building is dark, shabby; the apartment cramped. Around the living room saucers with crumbs and saucy smears. Empty wine bottles under an end table with cracked legs.

“I’m working again.”

“I’m glad to hear.”

She asks, “Are you still at the office?”

“Yes.”

“Do you still hate it?”

He spends at most an hour. The sister is experiencing various ailments and takes miscellaneous prescriptions. She wears several sweaters. Her hair is gray at the temples though she is twenty-eight. The brother’s hair entirely white.

“The blue and white pills are for my heart. They regulate the pulse.”

“What are the yellow ones for?”

“Anxiety.”

Her skin a pellucid blue the paleness of water-reflected moonlight.

“Do they help?”

“No.”

Had we known your heart was as serious. We worried but didn’t know it was worse than suspected.

We swear we would’ve been there to put our arms around you.

Near the end of our story he runs into his sister at an outdoor event. She wears a paisley blouse and skirt; she is drunk, perhaps high. Hair short, wrists and shoulders tattooed, wearing sunglasses though rain threatens. Her fingers sketch intangible shapes in the air. She is with an older man with a cane, shawl and silver medallion. He is charming, in fact riveting. The brother knows at once that they are involved.

The man’s handshake is firm. “Ah, the brother. I’ve heard so much.”

After they part she watches her brother’s bent figure walk away. “Bye now. See you never.”

Little Sister, we wonder about your modes of communication. Mother’s clock that mysteriously stops and starts; inexplicable slamming doors; phenomena of other kinds. We want to believe these are signs.

We can’t be sure the extent of the powers you’ve grown into. We wonder by what hidden currents you’ll arrive, via what vivid strikes of multi-colored lightning. Some of us are afraid but we feel sure you’ll make the attempt.

No reason for our story to conclude with her body in bed, limbs splayed, eyelids frozen open, tongue visible between parted lips. But the family has read that approaching the final moment the dying sometimes experience an enveloping warmth and comfort. An immersion in an embracing light. Perhaps later the opportunity to reach out for those left behind. Little Sister, please don’t tell us we’ve heard it wrong.

GENTLY USED by Olivia Holbrook

April 3, 2019

I sit outside on the hard concrete, feeling the cold seep through the fabric against my thighs, then through my skin, then to my bones. I hold the mug in my hands, they’re shaking. The warmth feels like something distant, warming my palms, making them sweat, while the air numbs my knuckles. And fingers. I see the light in the clouds, reflecting off of something that only my dilated pupils can see. It’s morning. But we’re still here, and I’m still seeing the patterns in the sky that are telling my brain, “you just might not make it to that dentist appointment later, babygirl." He’s passed out on the couch inside. If I force my eyes away from the colors dancing in the sky and look through the glass, I can see his feet dangling off the end, his skin blending with the mahogany wood as my brain keeps the world melting and twisting. I turn back and try to stare up into the sun, trying to take in all of that blinding beautiful light with my eyes that are so black and so tired from seeing what isn’t really there.

We had dropped at midnight, the acrid taste seeping out from under my tongue. For some reason I had expected the paper to melt, I know paper doesn’t melt, but still my throat had been surprised as the little square, sapped of its chemicals, forced its way down. I look at my phone, nine fifty four am. It has been such a long night. I can feel every minute spent shivering, then curled up in bed, our bodies pressed together in the hope that somehow his skin against mine would force our muscles to relax, our jaws to unclench, the shivering to stop. I can feel those minutes like wrinkles embedded into my skin. I spent so much time looking at the skin. The transparent skin stretched tightly over the writhing, pulsing veins running along my palms, now safely hidden away against the hot ceramic inscribed with: “Life isn’t about finding yourself. Life is about creating yourself”.

I look down at my shoulder. I see the grittiness of my skin, a tell tale sign that I have been sweating, covering myself in salt and life and God it has been such a long night. My eyes, so tired of seeing, but forced open from the drugs still flowing through my brain, land upon lines. Thin white scars, relics from a time when I had not yet learned how to love myself through the pain.

I think of an old denim jacket, hanging up in a thrift store, the edges frayed, the blue, once dark and saturated with indigo dye, faded to something soft, and just a little patchy. The seams are puckering, curling the edges of the collar, from that time, or all of those times, that someone decided to throw it in the dryer rather than waiting for the thick fabric to air dry, telling themselves that it would just make the jacket softer, no harm done. The kind of jacket that makes you go: “wow, you sure have been loved” which really means: “wow, someone took shit care of you.”

I look down at my shoulder, covered in sweat, and hair, and little, smooth, white lines that cut through the pores, and I feel at once all of the hands that have kneaded their way into my skin down to my bones.

I think of thin brown hands with tapering fingers that reach down to a place untouched and push their way through the delicate pink skin all the way up to my chest where they hold on to my heart, only a little bit too tightly, until they decide they don’t want to anymore. They squeeze before letting go, leaving fingerprints that stay embedded in the flesh to always remind me that these hands no longer want me. I think of fingers with skin like mine, just a little too pale to be beautiful, and nails covered with chipping black paint, running along my neck down to my chest with a gentleness that I have never felt in my life. These hands make me feel like porcelain. I think of hands known by sight but never by touch before now, before we are both a little bit broken. These hands hit me and I learn that it is not safe to have skin made of porcelain when so many hands don’t know how to hold on to something without breaking it. I think of hands that are golden and covered in an ashy layer of chalk or salt. These hands are wide and strong and dig into the skin that I have turned into clay in the hope that it will not break again. They leave white fingerprints wherever they grab at me, trying to pull me closer without letting me get closer and I see that having skin like clay will only leave me shaped into something by hands that are not my own and I think that this might be worse than breaking.

I am the denim jacket, worn and faded and stretched by too many hands. My body, like all bodies, is used, not in the “you only used me for my body, you asshole” type of way, but in the way that makes old denim jackets so much more comfortable than new ones. I laugh as I look at the mug in my hands. How silly to suggest we could ever do anything in the bodies we are given other than to try to find ourselves.

SHARP PAIN by Andrew Ciaccio

March 31, 2019

You can get by just fine being dull. You can actually do very well for yourself.

My husband was an accountant in suburban Oklahoma at an office above an Applebee’s. He made six figures and drank from a coffee mug with Mount Rushmore engraved on it. He did this every day for 20-some years. Then on a snowy Tuesday, standing at the microwave in his windswept khakis, watching his leftover casserole go round-and-round, he lost his edge. Out the window, kids skated on a makeshift ice rink in the strip mall parking lot. The casserole boiled over then exploded as he walked out of the building, leaving the dead hum of fluorescents behind.

I was in the kitchen chopping onions for goulash when he walked in and took the knife out of my hand. He threw it in a 50-gallon black trash bag where it clanked against the other serrated knives already at the bottom. He moved down the granite counter, throwing in a butcher knife and paring knife. “Anything sharp has to go,” he said tossing in a peeler. I sat down at the table with tears in my eyes. “Damn onions!” he shouted back, disappearing into the garage with the bag slung over his shoulder.

He emptied the fishing hooks from his tackle box. He tossed in drill bits, needle nose pliers and a putty knife from his workbench. He dismantled the lawn mower and bagged the blades. Then up the stairs to my office. He riffled through my desk, took out a pair of scissors and emptied the stapler. He examined two pencils, threw the sharpest one in. He moved through dressers and drawers, shelves and crawl spaces. When he came to the last closet at the end of the hallway, he stopped. I watched the blood drain from his face like he’d been cut lengthwise. Out of a plastic bin, he brought up a pair of little pink ice skates. He took off his glasses and rubbed his eyes. The blades went out of focus as the sharp realization of what was really lost came clear.

HUSK by James Nulick

March 29, 2019

I like them really young. She’s out there scraping the sidewalk like an old idiot. She’s going to wake them up and that would be bad, the young ones like their sleep. I feed off them during sleep. She’s old and she has old ideas and I honestly don’t know why I keep her on. Maybe because she knows my real age, though she’d never say. If Esmeralda were asked by the press about my age she’d say she was born in when she was born, that’s all.

###

My wiki page states I was born in 1968, but we both know that isn’t true. My manager set that up for me in 1996 – you start off with a lie in one magazine and it continues in another. We both know I was born in 1958. The old actresses used to lose ten years all the time, but that’s gotten more difficult now, high definition tells the truth. It flattens everything and cheapens it, even though the manufacturers’ claim the opposite. There is no magic in it anymore, only junkets and press and interviews and lonely hotel rooms where the boys aren’t with me. When I’m not near the boys, my skin starts changing, returns to its natural state. You’re changing again, Esmeralda says, a lighthouse reminding me of the inevitable. Shut up and act like I pay you, and she does, she returns to her old ways, but she is my constant companion and my watchdog. The press doesn’t get near me without first going through her. She has tighter access than my manager, who perhaps suspects but has no knowledge. The only ones who know for sure are the ones I sleep with, the dancers with forgettable Latin names. Maybe everything’s different this time, Esmeralda says. Shut up and get out of my face. Sometimes I’ll slap her if she gets too familiar. Puta, don’t forget where you come from.

###

I’m sixty now, my last boy before Carlos was twenty-four. I love it when they’re half my age or younger. Esmeralda finds them at dance clubs. They have to look the part, and she knows my part. Mexican, Cuban, Rican, keep them dark and young. You have new world tastes, Esmeralda jokes, too familiar. Shut up and keep in the dark, like I pay you. I need a new boy, so go out and find one, my skin hurts. Ay ay ay, she says. I should just leave here. If you leave you will die, I tell her, and she knows it’s true. I have a housekeeper but I keep her away from the master bedroom, and she’s not allowed to speak to the boys. I took her on after Esmeralda started complaining of lack of sleep. I never sleep, I told her. Yes but I don’t have your gift, she said, and it’s true. She’s an old fool and she looks it, though in truth she is younger than me, born the year Kennedy’s head exploded on television, pieces of him still on the bench seat as she was being delivered. Where were you when blah blah blah? Mi madre was pushing me into the world. You are mine and you always will be, you stupid old fool.

###

My first album, You Know Me, was a crossover hit, and I earned a million dollars from it. I knew I wouldn’t have to worry about money after that. The record label exec was an old Jewish pedophile. We understood each other. You look different in the light, he said. So do you. He knew I knew him. How many Jacobs and Justins and Jasons had he made? In his office, so many years ago, he’d said I’d like to aim for the Latin audience. You’ve got the look for it. Looks are all I’ve got. Keep that attitude up and you’ll have all the boys you’ll ever need. I don’t need anything Lou – only your silence.

###

I’m not sure when I learned I had the gift – maybe eleven or twelve. A boy from the neighborhood came to our ratty apartment after school, a friend of my brother. He came into the bedroom I shared with my younger sister, born in 1961. He sat beside me in a hand-me-down tiger striped t-shirt that smelled of an older brother. The shirt drooped off his neck, stretched over his head a thousand times. Your skull and your brother’s, housed in the same fabric. I bent over and bit him on the shoulder, my teeth puncturing his skin. He screamed like a girl and ran from the room. The feeling in my mouth was exquisite, as if I had been reborn. I looked in the mirror, beautiful and radiant, my behind already gathering attention from neighborhood boys, attention eventually converted into money, a singing and acting career. Callipygian, Lou’d once said, in his office, framed gold records reflecting my face. Lou titled my second album Hover to Zoom, I got the idea, well, nevermind. The Jews are good with words – they created the world, after all.

###

When I was thirteen I brought a boy into my bedroom. My sister was at school, my parents not around. Show me, I told him, and he unbuckled his belt and dropped his pants, corduroy gathered round his ankles, his legs peach. I hooked my thumbs on the band of his briefs and grew younger as he collapsed onto the floor, his face a pinched walnut. What are you? Shut up, my hand over his throat, and he left the room, his pants pulled quickly over broomstick legs as he fled the apartment looking twenty years older. They never came back, never bothered learning my last name. It didn’t matter. I grew younger as they grew older, I signed contracts and they worked in hardware stores and 7-Eleven’s, claiming to not know me. But didn’t you… the timzy reporter asked. They would know me soon enough.

###

My last boy was Carlos Moncebáez. Esmeralda found him decorating the wall at Boulevard. He was twenty-three. She lured him with three C-notes. He was relieved when I walked into the room. I know you, he said. You’ll be good for me, two plus three is five. Que? It’s alright, just shut up and look pretty. The press was harsh, who does she think she is, dating someone twenty-seven years younger than her? If they only knew. Men have arm candy, why can’t women? And he was strong, his legs pistons pushing his desire into me. He could maintain a forty-five degree angle for hours, so much so my skin slippage would create dark pools on the bed. He was advised to never turn on the lights during, due to my beliefs. Dumb and handsome, he always obliged – good for him. I kept him longer than usual because he was beautiful and didn’t talk, which the press find mysterious.

###

I don’t like being like this, he said, like I’m some young and dumb thing that follows you around everywhere, like I’m a puppy or something. Aren’t you happy? Aren’t you taken care of? Isn’t your allowance enough? Yes but a man has to be a man, baby, and I wanna try something different, Carlos said.

###

The darkness of the house closed over them. Expensive cars on Sunset winked and flickered like rare jewels.

###

Come to bed, I told him, after Esmeralda turned off all the lights. I was growing bored with him, and my skin was hurting again. The pain was coming on, each new hour nearly unbearable. What was it you wanted to try, baby, I whispered to him, as a mother might whisper to her child. He took me into the bedroom, the green glow of an alarm clock illuminating the records on the wall, pressed gold reminding me who I am and who I was.

###

Officer Javier Linares

One of the virtues of being old is knowing when to disappear. If you’re a pop star, even more so – the public doesn’t want to see its pop stars old, skeletal, and reminiscent of death. She dated a young man and then disappeared. Her wiki page claims she was born in 1968. We all thought she was fifty. That was the official story, anyway.

###

It had been three weeks since anyone had seen her, and the press was getting antsy. Maybe they’re living in Greece or somewhere, my partner said. Who cares? Stop complaining – I’ll go in. I pulled on a pair of black nitrile gloves. My partner stayed in the car. It was only a wellness check, after all.

###

There was a door key hidden on the sconce light, tucked between brass and stucco. She’d clawed her way out of the ghetto but still had ghetto ways. It was funny but I didn’t mind – she had a nice butt for her age.

###

Despite the air conditioning, the smell was overpowering. Lights were on, a microwave door left mysteriously open. I called out her name – Miss Romero? But there was no answer. I sensed there wasn’t any staff in the house. You get a feel for these things. I moved slowly down the hall, my gloves invisible, my weapon drawn. You get wrapped up in it, the fear. I am thin but my partner isn’t – he’s not a good runner. I laugh at his heavy breathing, running down an alley after a suspect. You’re gonna have a heart attack one of these days. Go to hell, he says. But those are the good days. Some days aren’t so good, days when you can’t figure people out, when you wonder if this one will finally be the death of you.

###

The bedroom door was partially cracked, yellow light illuminating the deep white carpet. The pile was peppered with black spots, the negative of white spots on an X-ray. Death. I wasn’t looking forward to it. I quickly toed the bedroom door open.

###

In the room, five or six mummified corpses, their teeth removed. Desiccation would make identification nearly impossible. I radioed my partner in the car. You’re not going to believe this. You want me in there? Yeah, I need you in here.

###

There’s something under the comforter. Dave had his weapon drawn. I moved closer to the bed, my gloved fingers near the mound. Dave nodded. I quickly drew the comforter away. On the mattress lay a black mass, its wrists and feet bound by a ligature. Is it human? I can’t tell. Does it have teeth? The open mouth reminded me of the victims at Pompeii. I felt drawn to the darkness of it. There’s a ring on its finger. Let’s get the hell out of here, man. My face was partially reflected in the framed gold records on the wall. I recognized one of them. Damn, it’s her, man. As we moved back toward the hall a soft garbled voice came from the direction of the comforter. Wait, it said.

IDROT by Levi Rumata

March 28, 2019

[ WALL LIFE ]

In the new curved shapes to come, how we’d imagined the arrival at a monument – something we’d rehearsed many times in anticipation of a disillusionment we’d known then only as some vague, signless desire – it was not as we could have guessed. There weren’t accompanying gestures or sightings of ectoplasm at the old cement factory. It turns out that, for much of our searching, it had been around. Like a landscape pulling apart stretched seethrough thin, so much so we were passing right with it. Screenprinting. On the house that still had its xmas lites up, we noticed how the bulbs that had for two seasons been flashing closed faulty lengths of its strand into a nitely eyesore was signaling just fine now. You were saying how you’d crashed your dad’s car and how it was no big deal. It’s been years. And so there was plenty of time to get to know the inside of the monument, standing in the same spot. Timeshare. There had been furniture. We’d hauled the furniture out to the curb. We went a while without furniture and then eventually in increments we’d accumulated other furniture. New and different furniture from the furniture we’d hauled to the curb, but not so different that it wasn’t furniture. And all this time we’d covered up our nakedness with cloth.

[ CIRCLE ]

At the identification olympics our source says he’s pioneered backward modular projection. There have, he says, been offers from sponsors. Patrons they used to be called. Grants as well they say sometimes. Something done presumably to mutual benefit. An agreement to enter into that form of social engineering, the business of presenting new linkages. Strategically. Gracefully imprinting an action with the flourish of signature. One’s mark at once removal and a making real. When you cut out a piece of wall to make a door you’ve created both the passage and the door itself. A hoof is half ground. An idea is born and dies if it can’t get its jigsaw wet enough with what’s at hand. Institutional codes. But at the other end there’s the quota of inner bridges. I live, says our source, above the reptile shop on Division Street, and some mornings I like to wake up early and buy flowers at the little place next door. I take them back upstairs to my apartment and I burn them to keep warm.

[ COMMUNION ]

Is this where I sign up for enlightenment? asked the false orphan. All around him the other patrons of the tavern glared. They knew who his father was and they liked him. He was nothing like his father. Unlike his father he’d fathered no children. Even in strange places, places he’d never been, like this one, the townsfolk seemed to know. Word travelled as fast, at least, as he did. Finally he’d arrived at the exact place, now, that he wasn’t, and as such felt should be able to sleep the sleep of a destroyed god. He makes his way over to an open table in the middle of the room amid the rising murmurs. He takes from his rucksack the sack of dead batteries he uses as a pillow. In his condition, there’s the cheapest thing on the menu and then there’s how much he’ll pay for it.

[ LOCUS ]

A basement or a garage is no place for modesty. The best decisions are left out in the street the way you might remove your shoes in a home with nice rugs. Even the consciousness of choice as such, the casual wielding of one’s sword to separate according to taste or inclination one thing from another. Even that demands forgetting. It hardly matters whether the space in question is under the house or adjacent to it. Fundamentally, it’s both, the prefixes of designation loosening their hold, slipping. Stripped to the root of being thrown, the arc describes our narrowing orbit. The resulting convergence sans intention is what gives birth to the room. It’s base age, and also it’s garment.

[ EXHIBITION ]

Our sciences were on display. Laid out across the gymnasium in a great tangle, its hallways and staircases indifferent to where they deadended. We give the order to seal up the cul-de-sacs, domed underwater cities, a lock-in at the skating rink. On this particular screen you can observe live in real time the activities of those most distant from you. You provide commentary. In order to succeed, it needs to breed more of the same. And perhaps one day it will, all dressed up in ribbons and recited. For now we stack the chairs. We fold the tables. We polish up our silence and the lock on its box. We take off our clothes at the block party and meditate in the center of the parking lot. We stack the parking lots. We feed mistakes into the apparatus, prep the disquisition. The vivisected image nostalgic for the defiance of form.

RELATIONSHIP MONTAGE by Derek Andersen

March 25, 2019

Just as the conventionally attractive couple locks eyes, igniting a passion that burns with the fury of a thousand supernovas, “I’m a Believer” begins to play. / Cut to a long shot of the conventionally attractive couple skipping through an idyllic meadow, chuckling as they pursue a yellow butterfly. / Cut to the conventionally attractive woman massaging the man’s shoulders as he steps up to a carnival booth. / Cut to the conventionally attractive man ensnaring a bottle and bestowing a massive plush bear upon the woman. / Cut to a crane shot of the conventionally attractive couple breaking out in a meticulously choreographed dance routine in a public square, compelling onlookers to toss aside their belongings and join in. / Cut to the couple locking lips in the eye of a hurricane, too absorbed in one another to notice the debris swirling around them. / Cut to the conventionally attractive woman helping the man’s mother plant a row of tiger lilies in her garden. / Cut to the man toasting a beer with his father, who nods approvingly from his lawn chair. / Cut to a tracking shot of the conventionally attractive couple trailing a real estate agent through a cozy, cottage-style home. / Cut to the couple assuming the missionary position in their new bedroom. / Cut to the conventionally attractive man balanced atop a two-story ladder, hanging Christmas lights. The backing track skips as the conventionally attractive woman rocks the ladder, cackling maniacally. / Cut to a close-up of the man cautiously climbing down, pale-faced. / Cut to the conventionally attractive woman ambling into the man’s study. Even as she insistently kisses the back of his neck, he remains fixated on pinning a green butterfly. Zoom out and pan over his boundless menagerie—wings of magenta, indigo, chartreuse, fuchsia, etc.—trapped in eternal flight. / Cut to a reaction shot of the woman rolling her eyes and tossing a baby blue specimen to the floor. / Cut to the conventionally attractive couple holding hands atop a white tablecloth. The candlelight throws shadows into the woman’s cavernous eye sockets. / Cut to the man strolling to the bathroom, leaving his phone facedown on the table. / Cut to a closeup of the phone, faceup, as he returns to his seat. / Cut to the conventionally attractive couple locked in unremarkable coitus. / Cut to a Dutch angle shot of the conventionally attractive woman placing a box cutter in the man’s hand. Zoom in on her blissful expression as she guides the blade into the tender flesh of her ribcage. The backing vocals in “I’m a Believer” erupt into shrieks as a single drop of blood crashes onto their pristine, white bedsheets. / Cut to the conventionally attractive man gagging as his father carves the Thanksgiving turkey. Pan to the woman passed out, a pair of empty wine bottles before her. / Cut to a shadowy shot of the conventionally attractive man drawing the blinds of his study, plugging earbuds into his phone, and dipping his hand in Vaseline. / Cut to a low angle shot of the woman slamming her fist against the door, nostrils flaring. / Cut to a high angle shot of the man fumbling to wipe the Vaseline from his fingertips, frantic expression illuminated by his phone screen. / Cut to a Dutch angle shot of the conventionally attractive man, again, pressing the box cutter to the conventionally attractive woman’s ribcage. / Cut to a closeup of the woman grasping his trembling hand and hungrily forcing the blade deeper. A crimson rivulet oozes forth, gleaming in a flash of lightning. The backing track slows to half-speed, perverting the singer’s voice into a nightmarish baritone. / Cut to a closeup of the woman’s eyes rolling back into her skull like a euphoric junkie. Pan over the legion of purple scars, crisscrossing her abdomen. / Cut to the conventionally attractive man answering his phone and making a “whoa, slow down” hand gesture. / Cut to the man’s mother, on the other end of the line, breaking down into sobs. Zoom out over her garden, viciously choked out by the tiger lilies. Continue zooming out until the mother is a pixilated speck in a fiery orange jungle. / Cut to a long shot of the conventionally attractive man writing in the jaundiced glow of the moon. The wings of his specimens drench the room in mournful shadows. / Cut to a quick closeup of the phrases “something missing,” and “dying spark” penned in impeccable cursive. / Cut to a longer-lasting closeup of “what is broken is broken.” / Cut to the conventionally attractive woman slumbering in their bedroom. The man tiptoes into the shot. He sets the letter on her nightstand, looking her over. Her chest rises and falls in a delicate rhythm, expression lost in some blissful dreamscape. Grimacing, the man snatches the letter and tucks it back into his pocket. / Cut to a closeup of the woman shooting one eye open as he slinks out of the room. / Cut to the conventionally attractive man cinched in the woman’s embrace. Pan behind his back to reveal a pregnancy test clasped in the woman’s hand. / Cut to a nurse lathering gel on the woman’s stomach. Pan to the man and zoom in on his bloodless face, as the backing track’s vocals skip “I couldn’t leave her—I couldn’t leave her—I couldn’t leave her—” / Cut to the conventionally attractive man stumbling into the house late one night, visibly drunk. As he chucks leftovers into the microwave, he spots his office door ajar. / Cut to a high angle shot of the man collapsing to his knees. Pan over the man’s butterflies strewn across the office floor, mutilated beyond recognition. Keep panning to convey the sheer scale of the decimation—several carcasses have been decapitated, others de-winged, and a choice few stomped into a pulp. The man’s letter lies at the center of it all, ripped to shreds. “I’m a Believer” cuts off. / Now, in silence, cut to the man slamming his fists against the bathroom door. / Cut to the conventionally attractive woman slumped naked in the bathtub, legs spread. / Cut back to the man repeatedly throwing his shoulder into the door, until he collapses. / Cut to a closeup of the woman unraveling a coat hanger. / Cut back to a closeup of the man, unleashing an anguished shriek that causes the projector to sputter maniacally, machine-gunning an incomprehensible blur of frames. / Wait for a moment as white engulfs the screen—an immaculate, all-consuming white, like the first glimpse of daylight from the womb. / Pan across a wine-dark sea, catching faint glimmers of moonlight. / Continue panning until the beach comes into view. And then the crackling tongues of flame. / Zoom out slowly, deliberately over the flames. Give the viewer a sense of their breadth—their sprawling, football-field breadth. / Stop zooming when the conventionally attractive man and the conventionally attractive woman come into view on the left and right side of the flames, respectively. The woman’s stomach is flat. / Cut to a medium shot of the man, face contorted in a constipated grimace. Several other conventionally attractive couples line the frame behind him, doling out shoulder rubs, we’re-here-for-you’s, and other gestures of support. / Cut to a closeup of the woman, shot through the fire. Between red and orange undulations she can be seen gritting her teeth, the cords in her neck springing forth. A single tear trickles from her left eye as she charges forward. / Alternate between closeups of the conventionally attractive woman and man. In each of these shots, the woman grows more agonized, her shrieks of pain piercing the night like daggers, growing incrementally sharper. The man, meanwhile, becomes increasingly distraught, until the couples must band together and restrain him from dashing headlong into the flames. / Cut to a long shot of the conventionally attractive woman emerging before the conventionally attractive man, unscathed. The couples release the man from their grasp. He doesn’t say anything. He stares teary-eyed at the woman, nostrils oozing discharge, lower lip trembling like a child’s. The woman bows her head, awaiting his judgment. Let the shot marinate for several moments. / Pan across the faces of the crowd, each more spellbound than the last. / Cut back to that same long shot of the conventionally attractive man and woman. At last, the man rushes forward. The instant he embraces the woman, “I’m a Believer” comes crashing back through the speakers, undistorted, in a triumphant tidal wave. / Cut back to the crowd, hysterically applauding and hooting and whistling (with one man even pantomiming ass slapping). / Cut to a long shot of the sugary beach, the conquered flames, the jubilant crowd, the man hoisting the woman above his head and twirling her in a spasm of joy—capture it all. Hold that same long shot as fireworks crackle through the sky, their blue and yellow shrapnel cascading down in the shape of butterfly wings. / Roll the credits. / At the conclusion of the credits, cut back to the conventionally attractive man, still twirling the woman counterclockwise. / Zoom in on the woman’s back pocket, until a slender white tube comes into view. Draw into focus the words emblazoned on the tube: Lidocaine Topical Numbing Cream.