so are you in or are you out

For a long time nothing happens and then something happens. The something can be good, bad, or neutral. The something can also be large, small, or medium. Furthermore, the space between somethings can be short, long, or in-between. Infinite permutations of this scheme occur and reoccur over a finite expanse of time. Tornadoes of frenetic activity tempered by vast plains of incremental movement. Hurried descents down spiral shadow staircases. Careful crawling across gleaming parquet floors. Hoarse screaming from the tops of turrets. Nothing is happening. Everything is happening. Synchronicity! Coincidence! Randomness! Chance! Snowflakes! Mollusks! Drifting sand dunes! Pointlessness. Pointilism. Your face as a series of points inside a frame on the wall. Don’t move, there are a few more points to fill in. Early morning purity dissolves into a sooty smudge of horror hours. I’m pulling up mandrake roots and delivering ornate twig bundles to your front porch by the light of a blue moon. You’ll thank me later, I’m sure. Tractor beams. (We’re veering off-course.) [You’re steering, of course.] The Periodic Table is, what, sometimes a chair… Electron clouds swarming with blue-gray gnatcatchers. Mechanical ants marching toward your workplace. Abort mission, stat.

Nothing is just nothing. Something is always happening. But is it happening again. Has it already occurred. How does it compare to, say, nothing. Can we try it on for size. The universe is a dressing room with no doors. No recording is allowed. Over-sized objects make us laugh. Tiny things make us weep with joy, crinkle our faces and speak in strange nonsensical babbling tones. It’s why so many of us collect miniatures. The pleasures of total control, the power to rearrange the tableau at will. Meanwhile, think about a giant foam cowboy hat. Why does it exist. What purpose does it serve. Who wears these things, anyway. It doesn’t matter because it’s hilarious. Its mere existence inspires drollery. Put the hat on and caper around a bit. See, don’t you feel better. You’re in the center of the vortex now. Look out, you’re pulsing with radioactive humor. But wait. Now you’re a homunculus in a jar, placed on a shelf, with the late afternoon sun hitting the embalming fluid just right. You could be an actor. The range of emotions you have mastered is simply stunning. They wrote this role just for you, and they so rarely do that these days. Have your lines tattooed onto your body and report to the set at half-past the chimney swift’s flight pattern on the sixth Thornsday of our evasive thirteenth month. We may need to trephine, though rest assured that we only ever use Stan and he’s the best. Check the clause in the contract due to arrive soon at your doorstep, tucked inside the front pouch of a wallaby. It will be a grand play, like no other, replicating the many permutations of the earlier scheme. Each act will be called something or nothing. Intermission will be long, short, or in-between. The entire thing will last until the end. So are you in or are you out.

light | dark

Light Dark Light Dark Light Dark Light Dark Light Dark Light Dark Light Dark

Light Light Light Light Light Light Light

Dark Dark Dark Dark Dark Dark Dark

LIGHT

DARK

DARK

LIGHT

[narrator leaves house, unpacks moon-viewing instrument]

LIGHT LIGHT  LIGHT LIGHT

[the ‘light’ from the moon is false — it is a reflection of the sun]

DARK DARK DARK DARK

[narrator adjusts focus, lets in more light]

LIGHT dark light

LIGHt dark lighT

LIGht dark ligHT

LIght dark liGHT

Light dark lIGHT

light dark LIGHT

[narrator goes inside, observes black ring around eye, laughs bitterly]

DARK light DARK

[narrator watches solar eclipse on television, loses vision in one eye]

one eye: DARK DARK DARK DARK

other eye: LIGHT LIGHT LIGHT LIGHT

[other eye compensates, dilation lets in more light]

LIght DARk LIGht DArk LIGHt Dark = dark | LIGHT

[narrator freaks out at giant pupil peering back out of mirror]

LIGHt dARK

LIGht daRK

LIGHt dARK

LIGHT DARK

[narrator takes sedative, falls asleep]

D-A-R-K

[narrator sleeps for days, dreams about moon]

D–A–R–K     l-i-g-h-t

[narrator stands on moon in dream, looks at sun, falls asleep in crater]

D_A_R_K

[narrator feels hot, wakes up on sun, quickly returns to sleep, wakes up on earth]

L_I_G_H_T

[narrator applies eye shadow, begins collecting shiny objects]

light light light light

[narrator sprouts bushy tail, gathers nesting material]

dark light dark light

[narrator curls up in ball, falls asleep in nest]

DARK DARK DARK DARK DARK DARK DARK

[narrator dreams about the sea]

LIGHT | DARK

[narrator wakes in forest, burrows deeper in nest, falls asleep again]

DARK | DARK

[narrator dreams of monks self-immolating, twitches in sleep]

L__I__G__H__T | dark

[narrator wakes, crawls out of nest, forages on forest floor]

L–I–G–H–T

[narrator lies on a rock, soaks up sunlight]

LIGHT LIGHT LIGHT LIGHT

[narrator leaves dark, enters light]

L____I____G____H____T

synopsis of a seventeen second play

A reflection is almost always false. Remember that next time you think it’s a good idea to hang a mirror on the wall. But never mind about props. On with the play for today. I’m doing the lighting. No, wait. I’m the leading man! I’m a researcher searching for secrets in the archives. If you read them, you will find them. The secrets, that is. In the archives. Perhaps. They are secrets, after all, so it’s not like they’re just out in the open.

In the second act, I guestate in your house for a while, but as I was never actually invited I eventually fade into the wallpaper. Why does that always happen to me. Like when I attend office baby showers. What is the point. When will I learn to politely decline. At least the fruit was fresh. At least that was the case. I took full advantage. And then I left. Three delicious strawberries later. Retreat!

Since I’m also writing this play while acting in it I get to decide what the the final sound of the final act will be just as I make it. And it is this. A tree falling alone in a forest. Wait, I can’t replicate that. Sooo…yeah, guess you’re gonna need to make up your own sound, after all, in your head, man. Is it the same sound when you’re around or not? Is it. Is it the same sound. How should I know. This is not a philosophy lesson; it’s a play.

In the epilogue, I talk about how the letter ‘M‘ has held significance for me throughout my life. Ooh, sounds intriguing, huh? Well, you’re not going to get to read it because I wrote that part at night sans lumière and so it’s illegible. Too bad for you. So are my seventeen seconds up or what? Yes? Okay, close curtain.

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