She loved her eyelids – silk curtains that moved like wings. She clenched them down and cast herself a soul of darkness with lids for skin and womb, and unveiled it to the birthing sight of its host-flesh in a mirror.



His dying vision was a lyrical edit of his life. He coughed a tiny laugh at this vision’s attempt to make culmination of conclusion, resolution of ramble into the abyss.



On Salomé’s arms were beads that jangled as if their music had authored their movement, her body cascading with their rhythm through a looped dance of sound and steps through this hoop of cause and effect. Continue reading


Actus Impurus

The Abyss was a map of its digressions from its essence, an infinitely broken chain of its being, a labyrinthine passage from its right path, a misshapen and impossible sphere that contained itself within its all-embracing circumference, alongside a dim image of its centre in the distance.


Cosmological Argument for the Existence of the Abyss

The Abyss, a thing of seemingly absolute complexity and infinite contradiction, was that of which nothing more confusing could be imagined, and from which our slightly less confusing and contradictory existence must thus have descended.



Analogies of the Abyss are true only in their imperfection in illustrating the Abyss, for only that which is false to coherence is true to Abyss, and thus it is only by misleading and deceiving that this sentence can be true to the Abyss.


Tunc motu vitae suae intellectivae in se descriptum reperit quod quaerit

The Abyss, which was absolute imprecision itself (or at least so in language, in which it was almost always described imprecisely), baptised the mind in immeasurability itself when the mind delved into measuring Abyssal things, and then emerged from itself somewhere in the imprecise distance.



A peculiar feature of Abyssinia is its tendency to make minds marginal in their imagination of its landscapes: to make the mind an incongruous caravan in its visualizations of Abyssinia. Continue reading




Prose adaptations of Francisco Goya’s Caprichos, I-XXVIII



Artist Portrait

His expression is a pretence at inscrutability, but it gives him away: there is that haughtiness of the besieged, the embittered mercifulness, that tense, intermittent truce of compassion and disdain that distances a man from mankind as he finds men caught in the crossfire and sees them hurt…


They Say Yes and Give Their Hand to the First Comer

Every man is a boatman on the infinitely branching river of his possible lives, and every man is condemned to the course ordained by those faults and misfortunes particularly his, and she will marry one and embark, as first mate, siren and captive, with those faults and misfortunes particularly hers, to certain death amid the wreckage.


Here Comes the Bogeyman

A mother and her children cower before a hooded figure, who is perhaps the bogeyman, or a comparable human evil, as he prepares to eat the children, or extract his payment, or drag his family back home.

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