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Entity 1, Section 1, Part A (Prime Locutions Shuffling)
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Entity 1, Section 1, Part A (Prime Locutions Shuffling)
1. Strange and familiar
2. Facing old bonds never surfaced
3. Objections to the idea that some evil is �necessary�
4. To be continued, and continued, and continued, and continued, and conti . . .
Entity 1, Section 1, Part A (Prime Locutions Shuffling)
Where did you come from? I can never understand a dam thing you are saying!
�You don�t? Why don�t we began with something easy?�
�I want to make this easy for you. I would like to see you enjoy this conversation.�
Hmmm, what are you getting at?
�I just mentioned the body. What do you feel when you hear the word body.�
Uhm, well, focused or, at least, trying to focus but uneasy.
�Body! Body? Human body.�
I�m aware of my breathing. I want to relax but something seems �tentative�incomplete.
�Are you sure that�s an adequate description?�
�That�s not exactly what you�re feeling.�
"What is a robot? What is money?"
Two questions at once?
"Two questions at once."
A robot reminds me of something cold, something mechanical. Money reminds me of both security and greed.
"Do you relate them to the body?"
No, because they are man-made.
"Humans have created some beautiful things."
But never just for the sake of money.
"So money can be considered a robot. Our personified creations will always gain an independence (a sacrificial contingency when confronted with the world). You are not alone but you are you (subjective, subjectivity). Money is the creation that is replacing the lovers, the individual, and family by attaching values that can�t be shared or dreamt about. It is not always like that and it doesn�t always have to be this way. Money could just always be treated as a means and let the ends proliferate. The ends are Maya Daren�s dancers plunging into an astronomer�s gaze on procreation. How are you doing?"
You raised some questions that I wanted to get at. You seem prone to a certain, I don�t know, an easy romanticism.
"Please retrace the last twenty seconds of the conversation. You�ve let your hands become cold. Take your heart and embrace it in that place that will always be your home. Return to your body. Recall this conversation, Body to money, money to robot, robot to ends. There is a world with emphysema soothed by codeine and antidepressants, poisons to counter poisons. The present is shimmering. Allow me into your home."
"� an irresistible gained by the forms of presence. Inter-connectedness is a power that we have, but cannot fence. Eidetic, the smooth round beauty of the meditative mind modeling holograms and drive-in movie screens. Dust covers of cobalt blue and laser green haunt our shadows. Trees of the peninsula hang from the cliff in a lace of fog dissipating back to the beginning."
I remember as a child eating rose petals. Plucking their fragrant blossoms from the bush. We used to share these when we were young. My hair, the color of my eyes, the path of my body, have become memorized. I�ve been stiff from the taunts of splintered voices and scarred fingers.
" And now?"
Now, I want to go outside an look at the moon with trusting eyes. I want the sacrament and the wonder.
"It�s that type of night when it isn�t small talk to comment on the weather."
And my arms relax as I loosen my Knees to a home in embrace.
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"Alright class, please take note on how this is a fine example of how one should not write. The author of this piece believes him/herself to be a "pioneer" in the field of literary endeavor, but please notice how he/she so obviously and easily confuses and then completely loses the reader by making absolutely no sense. The point of a work is to be clear, even if the piece isn't specific." -- Professor.
"I guess the author wants us to translate this or something. Well, I'll give it a shot. I think it's about a 40 year old guy who likes little boys. I could be wrong, but how the hell can you tell with this thing." -- Bob.
"For all Storymania readers and writers, this is actually pretty decent criticism of this story. The two critics get right to the point of the flaws of the work, and though they insult it, they are criticizing the work and not the writer, which is the way it should be when doing a critique." -- Tad.
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