fear rituals from the 49th parallel no.1

Shivnath-Prasad_Indian-National-Theater-Bombay-1970s.jpg_dezeen_1000_10

…grain elevators in flames… a series of totem poles sinking betwixt the mangroves… a church tower daring to reach up through the smog… abandoned train-lines writhe, overgrown and forgotten… factory smoke stacks hang dormant above terraced homes, alleyways, school-yards, gas-stations… a dismal sky blankets the city as a blazing sun hangs buried in a yellowed heavens… a lone generator moans and reverberates in a sunken outhouse as a campfire flickers and spits… a coleman lantern glow from a quonset doorway… water bubbling in a rusty pan, the sound of metal-work… a camera flies high above a ruined city in the western lands, detailing the devastation as it moves from outskirts, to the suburbs, to the centre itself… a soundtrack of rusty chains over a freezing-cold stone floor…

6|6|7

amnesia dreams in the quarantine fields no.1

John_Smith,_King_Solomon's_Portrait_of_Old_Age,_title_page._Wellcome_edit-667scottM0013789

. . . 6|5-6|5-6|5-6|5-6|5-6|5-6|6|7-6|5-6|5-6|5-6|5-6|5-6|5-6|6|7 . . .

bring your own annihilation . . . burial ground panhandlers . . . handing out wolf-tickets for the immaculate misconception . . . amnesia dreams in the quarantine fields . . . amnesia dreams in the quarantine fields . . . ribald-like . . .  standing out . . . vague face on a platform . . . saying something ’bout: ‘hold up; (wait a second) this doesn’t make any sense… ‘ . . . old john smith road . . . garage island . . . holler at your boy . . . i ain’t even lying . . . filtered recollections trapped in the waves . . .  the slow ongoing droning sounding out in the concrete maze . . . do that flagship . . . that half-mast communion . . . sing the songs and take your medication . . . get bent get dead go wrong go broke get dead get bent get dead go wrong go broke get dead go home . . . old john smith road . . . garage island . . . holler at your boy (my friend scott) . . . i ain’t even lying . . . what are you leaving behind? . . . who are you leaving behind?

. . . 6|5-6|5-6|5-6|5-6|5-6|5-6|6|7-6|5-6|5-6|5-6|5-6|5-6|5-6|6|7 . . .

6|6|7