My Mouth Came To Me And Magic Was My Name

My mouth came to me and magic was my name

My mouth out my mouth     My mouth out my mouth my mouth     My mouth myth out of my mouth microcosm and macrocosm (from my mouth, animal electricity)     My mouth out of my mouth the perfect insect, standing erect on a few bristles which formed its tail

My mouth came to me and magic was my name     Meander white oleander / god galvanism (a white water lily feeding from the underground mud)     I meddle winter music tungsten or titanium / winter music heavy metal

I meander white oleander and god galvanism shocks purple     Meddle winter music tungsten / titanium – titan winter white heavy metal
	(Winter music meanders volta vision or ohm ouroboros
	 An ostinato of alternating currents)

I meander white oleander often all sounds.  All the sounds shear apart pink out of the corner.  White pink mud apart throngs tungsten or titanium.  My mouth apart chews white bloom titanium.  All the sounds shear apart sheer pink out of the corner.  Sounds swear apart on the corner a white water lily.

(How is this done, all of this, these abrupt interrupts and fissures)

(Different kinds of continuities – abrupt interrupts and fissures – my mouth my mouth)

I’ve been thinking recently about how little information is out there about the little creatures that live in ponds and ditches, the creatures in my jar, says Asia. […]  You see the life and beauty in all places, I say.  You have a gift.  It’s one way you prophesy.

How is this done: prophecy and the mouth of my name magic.  My mouth came to me and magic was my name.  Prophesy Book in that else and Book feeds on underground mud (Book feeds on sea of reeds and need for speed).

Book in that else is now should you and one

Book in that else now should you one (Trapped on a planet of peril, he dared challenge its master ruler!   An Earth Man On Venus   Complete and unabridged)

My mouth came to me prophesies planet of peril: between worlds wolf earth wolves the earth bleeds with us     My mouth came to me trapped on a planet of peril
	You’ve been creatures they thinking neglected in no Book
	The creatures will you an live prophecy
	Prophesy information beauty

My mouth came to me prophecy challenge     My mouth challenge magic was my name
	You could write a book you see them
	My mouth seed tea you write between worlds
My mouth monster feeds from the underground mud   urgrund hell   upside-down Tree of Gnosis

Winter magic meanders volta vision or ohm ouroboros / an ostinato of alternating current     You see them   you prophesy all places   you see them get neglected     I oscillate direct current stations of the cross     Across time cross crucified time: piecewise time serpents (I think of time as alltime)     Piecewise time winds serpent counterclockwise / bronze snake thunderwords
	Maybe a ponds someone see
	See since way all little out
Write low really little write

I’ve been thinking recently about how little information but my mouth monster my mouth
	My mouth oscillates orange direct current
	My mouth feeds from red volta vision
	My mouth peril plunges god galvanism

My mouth came to me and magic was my name
	My mouth out my mouth
	My mouth out myth my mouth
	My mouth myth out of my mouth miniatures
My mouth myth violence (Streets of Sin   a powerful novel with wild delinquents on the prowl… Delving into the fruits of forbidden desires and violent passions)     My mouth sins sin piece piecewise (my mouth violence I’ve been thinking recently: my mouth prophesies how little information)

(Use been slamming recently how polytope information is out there about two polytope rhyolites that live in happy and ditches, two rhyolites in my jar believe clouds passe a book about them)

I word voltage language and language conduction and conductor


//
It’s not death: it’s a museum.  I mouth death museum and my death museums.  I mouth museum and library and my mouth monster chews library.  My monster mouth mouth myth violent passions and desert delinquents…  I worship at the library and I worship the library, and the library leaks lights then reflects greater light.  The library mouths lights intensifies the speculum that doesn’t shine.  Library lights her lights how light – mouth David Bowie light low – light low leech limbic – light lower and lower.  Her light lives library and libraries.  Her lights mouth mouth library and libraries.

It’s not death but a padlock with a chain     Padlock with a chair     Typical modern padlock with chains     Padlocked door
	You see the creatures in all places
	You’re about how little in ponds and beauty in my jar
	Someone way you could write a gift

It’s not death but it’s a museum.  Museum and library mouths a padlock without a chair.  Your vice is a lock and I have the key.  I prophesy padlocked door unlocked.  Prophesy unlocked: it’s one way you prophesy.  You see the life any beyond in all places.  You have a mouth and wing to prophesy.  The term padlock from the fifth century worships library.

It’s not death but my mouth unlocks prophecy
//


My mouth came to me and magic was my name     My mouth out my mouth     My mouth out myth my mouth / my mouth opens myth mysteries     My mouth myth out of my mouth microcosm and macrocosm (from my myth mouth, animal electricity.  Electrical current animates stations of the cross, a Frankenstein’s monster resurrection.)

A white water lily feeds from the underground and meanders grotesque counterpoint and gothic castle harmonies.  Water lilies prepare for UFO landings and alien abductions.  Alien religions haunt electric rites and rhizome hauntologies.

My mouth came to me and magic was my name     About now a an the one recreating about prophecy   receive the creates thinking creatures   little you write else and ponds you you’re Book     My mouth out my mouth the perfect insect (beetle mouth myth spiders)

Maybe I will write a book.  I will write Book and you could write a book about them and I prophesy since no one else is out there.  Many prophesy and I prophesy really out there and it’s one way to prophesy.

My mouth came to me and magic was my name

Tree Best Measured When It’s Down

I think of time as all time: Taryn and transformed Taryn tetragrammaton     Taryn Time transformed through the cathedral scaffolding of metric modulation and messianic machinery

I think of time as all time: micropolyphonic messianic time and time apocalyptic ruby to attacca rubato / an implicit pulse

Time threatens: a tree is best measured when it’s down.  Time performs cut theater: a tree is best measured when it’s down
	A tree train tracks
	A tree train trace
	A tree tumbling down tumbling down
Tree time sprawls underneath and underneath.  Tree time thunders valley and volley and valley death.  Time branches death – ben death which theaters human death.  Time tumbles down time time and train time.

I think of time as all time: micropolyphonic messianic time and revelatory time
	Tree time an implicit pulse
	An implicit pulse pink pulses
An inevitable and propulsive pulse punches through names pink out of the corner.  I think of time as all time: tree X tree trees body measured.

Taryn time time arpeggio cascade acts of the apostles

The motif trills change anarchic arpeggios / unison rhythms into micropolyphonic multiplicities

A white water lily feeding from the underground mud

A white water lily fields from time Taryn nymphea

Different continuities.  Different discontinuities and the world ends perpetually (it’s the end of the world as we know it and I feel fine / we’re going to party like it’s 1999).  Different continuities measure perpetual apocalypses.  I always exist on a perpetual apocalypse.  A tree is best measured when it’s down.  Different discontinuities but the earth exists / persists.  The earth exists long before me and the earth will exist long after me – but the Book extends perpetual apocalypse past and future.  I live between worlds and I live between earths.  We need to feel our roots and the things that connect us to earth.  The earth bleeds with us.

I’ve been thinking recently about how little information is out there about the little creatures that live in ponds and ditches, says Asia.  The creatures in my jars.  Someone should write a book about them.  You could write a book about them, I say.  You’re an expert now since no one else is really out there.  It’s kinda sad they get rejected, says Asia.  Maybe I will write a book.  You see life and beauty in all places, I say.  You have a gift.  It’s one way you prophesy.  What other ways do I prophesy? says Asia.  Through your teaching.  You have a gift of reaching out to students no one else does.  You’re versatile and flexible and are able to find ways to spark their curiosity.  You prophesy to me when you participate in shaping the Book and you open up things I haven’t thought about before, I say.

Different continuities: different times translating Taryn time it’s the end of the world as we know it
	We Book neglected prophecy
	How could write have me
	You gift you is Book see of participate
See of participate see Taryn time

Participate time sea an implicit rubato     Flexible time bracket apocalypse     Time all time Taryn prophetic pulse     (you prophesy what lives in ponds and ditches – their curiosity     You see their curiosity you have a gift)     I think time all time Taryn an impressive pink pulse

Exist earth in the sound of sounds and how melody happens my melody     Live earth roots information is out the creatures that live information is out to students

(Music with has some life to it and where all the sounds, counted, were all valued, rather than being functional in the sense they got you from one point to another)

A tree measured tree up and down and upside down.  The tree down rotates and translates the tree up in perpetual apocalypse.  It’s not death: it’s a museum.  It’s an archive not death but the tree upside-down: sounds in themselves, melodies time all time melodic body-symphony.  I exist in the earth museum – living museum, with rapidly expanding roots and branches.  Museum and library entwine in dis/continuous melody.  All time melody measures sound-point and sound-moment.  I worship at the library and I worship the library.  The library links light reflected greater lights.  The library sounds all time she lights the lights.  Library what live in ponds and you prophesy.  What thought you prophesy earth library and creative sounds.  I measure upside-down tree-earth all time prophecy.

I think of time as all time Taryn Tree up-and-down Tree of Knowledge of Good and Evil

I think all time and I live music and revive music and music resurrects (music resurrects my music body and my embodied body boils over ebullient brilliance).  Music resurrects and I’ve been thinking recreating wobbly information is out there idea and creative love in pitch and ditches – the creatures in my head-earth.  Music resurrects brilliant ebullience and I live all time music and music a tree best measured when revived.  I live music and music revives tree nonlinear and library transition – prophesy earth living transformation.  All the sounds count prime numbers.  All the sounds search for twin primes.

(You see the life and beyond in all places.  You have a less its one how you prophesy)

All the sounds time sheer apart pink out of the corner

I think time as all time Taryn and Taryn transforms tree measure Taryn Tetragrammaton     Taryn transforms through the cathedral scaffolding of metric modulation

Trust The Musical Material

Trust the musical material.  Trust the sound and the continuity will take care of itself.

Trust the name – her name – trust her name and material.  Trust her name KRYSXTRYN + Asia Rhizome and I live between worlds.  I live between her material worlds and I reshape material names name my name female names.  Trust my name.  Trust my name:  Ben Adam and Ben Hinnom, and they traverse through the plane accelerating depth: secret depth deep ciphers – of name.  I live between world names Ben Lydia and Benjamin Ariadne.  I trust in my names which litter the Book.  My names letter the Book material: melodic time and Taryn time.

Trust the musical material between worlds and overwhelmed by this world
	Tempo is a limited use of time
	I think of time as all time
Time Taryn pulls out the melody from my sinus cavities and polishes it or snatches melody from ben bone tuberosities (I take time solid in bone and flesh / Book concrete)

Time Taryn names melody and melody creeps despair over desert happenings     (Melody creeping despair over things – things theremin happenings happen holy roller – creeping charismatic)

Time Taryn nymphea rest…
	Rest.  Rename.  Nuptials.  Nipples or Machine Gun.  Rename not nests but time cave strafe.
Time Taryn nest nude dream made material.  Material textures (Taryn textures transit the name of God, name Taryn Tetragrammaton)

(Time is always on my side / caught somewhere in time)

I transform time to material – trust the material     Trust material music and trust melody embedded in flesh fossils / ossified ostinato
	Rock music stone music
	Cliff music earth music
Trust lithic flakes / flesh handaxe

… Trust her name     Trust her names Ben Adam and Ben Hinnom, and her Human continually takes care of herself…

(Caught somewhere in time but time and all time pieces my side – blood and water pour out desperately)

I lack faith and I do not trust time time or material.  I do not trust after John was arrested, Jesus came to Galilee proclaiming the good news of God and saying, “The Time is fulfilled and the Kingdom of God has come near; repent and believe in the good news.”  I lack faith in good news / gospel and repent / metanoia
	(Do you know what thinking is?  It’s just a fancy word for changing your mind.  I will not change my mind.  Then 	 	 you will die stupid.)
I lack faith and I die stupid.  The Human One takes care of continuity itself; the Son of Man conducts solar continuity slashed horizontal with my lunar continuity (moon of the flowers and blooms   moon of strawberries   moon of raspberries).  Continuity means continuing to name.

We don’t need a virus, says Asia.  We need to feel our roots, the things that connect us.  We need to stop acting like a virus ourselves and recognize our role in this.

Trust her name     Trust brass knuckles / knuckleduster name and she braids blood from my body crystallized kinbaku (match knots materials   monstrous knots impregnated time solid)

Roots her name roots good news (Good news my androgynous body     Ben Adam alchemical hermaphrodite body     Ben Hinnom Red King and White Queen)

Roots her name roots, the Kingdom of God near
	Alarm aleph on alpha bath she bound to beholder ben bodies
	I live between worlds swamp Irish wolves / she names me bound crystalline kinbaku
	Solid knots and material knots
Roots her name roots knot bodies without organs

Trust the musical material.  Trust the name-sound and name-melody, and the continuous name curves-carved Ben Body without organs

Continuous Christina crystallized continuous Krystal     Krystal crystallizes crack open crystal glacier
	Glacier cast solid coast
	Iceberg Ben starling skeleton	
KRYSXTRYN extends continuity and discontinuity: trust Christina music and Kindred musical material

I transform time to material, a solidified instance: duration into desert     Desert desert     Desert endures duration     Desert instant instantaneous crystal (solidified desert material body)

I transform time to material, a solidified instance desert Taryn in her name words (words name her name Benjamin Androgynous / labyrinthine Ben Ariadne)     I condense time to crystal radios or ice hotels

(Time material undergoes melodic and rhythmic transformations and the trill-motif – motif ground bass – rotated and translates dead sea stone to anarchy harmony)

We need to feel our roots the things that connect us and the time is fulfilled, and the Kingdom of God has come near, and I repeat and believe in her gospel.  I repent time and believe in her mad name.

Trust KRYSXTRYN + Asia Rhizome and the continuities will take care of itself (The sweet blade be flat have flaw and take life, that hell wedding cake have key courage home.  And wind like pain beetle the line).  The continually will take care of itself.  Trust her name KRYSXTRYN.  Trust her name Asia KRYSXTRYN.  Trust her name Asia Rhizome.  Trust Zoe Sophia.

I Think Of Time As All Time


I think of time as all time

Tempo is a limited use of time – I think of time as all time

I think time Taryn gnostic time: free nest nameless textures     (Taryn textures transit names of God name Taryn waterlily tetragrammaton)

I transform time to material a solidified instance: durations into desert.  I condense time into crystal radios or ice hotels.  Time material undergoes melodic and rhythmic translations.  Time motif – motif-instant and motif-duration – rotates and translates trill dead sea.  Taryn trills time without name, a descent of anarchic arpeggios.  Horizontal and vertical clash-consume consummated horizon.

I think of time as all time.  Now after John was arrested, Jesus came to Galilee proclaiming the good news of God and saying, “The time is fulfilled” and “the Kingdom of God has come near; repent and believe in the good news.”

I think alltime Taryn immediate gospel – gospel texture hexes mixed hexagons – time nest nameless textures
	Not entirely nameless but rather, cannot be shared or transmitted.  
	Renewed messianic secret and covert oral transition.
Taryn transforms all time – timeless time gospel with names nameless     (mystical tempo   mysterious tempo)


//
One thing is going to follow another no matter what you do, no matter what it is.

I feel I live between worlds, I say.  I think I feel too much in this one, says Asia.  Just a creeping feeling of despair over things happening and rage… I was thinking about how a lot of people are going to go hungry.  I was thinking about how people where I live are already struggling and the fucking politicians here are busy fucking everyone else for the fact they didn’t budget properly, and trying to get another golf course built and a fucking “island resort” neighborhood or some shit… I was just watching a video about the movie Sinners and that led me down a rabbit hole about the Irish and colonialism and they were talking about Irish wolves and how wolves were deeply ingrained in Irish culture, but the colonizers decided that no civilized culture would be so deeply connected to wolves.  They started hunting the wolves to extinction and I’m over there trying not to cry because colonialism and genocide are already terrible but to wipe out a whole species just to eradicate a culture… I know it’s been done before, but I cannot fathom the hatred, malice, apathy, whatever emotion it was that drove them to that point.  I’m not OK right now, says Asia.  It’s OK not to be OK, I say.  I wonder if wiping out the American Bison had similar motivations too at some point.  It absolutely did, says Asia.  In a way, hickory, walnut, and pecan trees are similar and the olive trees in Palestine.  The earth bleeds for us, she says.  I can’t wait for another bacteria or virus to evolve and wipe out half of us, I say.  We are probably due for another Black Death.  We don’t need a virus, says Asia.  We need to feel our roots.  The things that connect us.  We need to stop acting like a virus ourselves and reorganize our role in this, she says.  Call me pessimistic, I say, but I don’t think that will happen until the earth fucks us back.  Thus my Black Death comment.  Ben, we’ve had plagues before, she says.  The issue is fear, she says.

One thing is going to follow another no matter what you do.  No matter what it is (Of parameters that dark and warm suspicious.  The wine have rich when drab know deep.  For zone have wake take wisp mouth from four).

One thing follows another – time, time more than tempo, the Kingdom of God is near, follow black plague

Now after John was arrested I feel they civilized to black     Feel didn’t culture that death     Jesus came to Galilee I budget would point I’m me

All time between and so OK need worlds

I live between worlds.  I feel too much.  I feel nameless the creeping feeling of despair over happenings but I continue to perform prophecy.  I prophesy despite my pessimism because the time is fulfilled.  I fulfill time and I root myself in Kindred and Pando.  I root prophetic performance and happening, and in all happens, I prophesy new earth.  I prophesy Child of Humanity and Human One follows nameless name and unknown name messianic.  I endure the plagues and I emerge from the destruction and wolf and wolves.  I grow as olive tree and KRYSXTRYN anoints me chrism / escape from Black Iron Prison.

One thing follows another – letter letter to letter long alphabet connects alphabet.  Alphabet connects alphabet melodic / long duration time harmolodics     (melody and harmony and melody and rhythm, and the three together)
//


I think of time as all time

Tempo is limited use of time – I think of time as all time

I think of time Taryn trying deeply night a I connected how
	We think to get wonder need
	I another wolves much built started roots
	Just fucking wolves had that island

I transform time to material immaterial Kingdom and Gospel.  How after John was arrested, Jesus came to Galilee proclaiming and the good news.

Repent – repeat – time all time gospel

Repent – them to extinction it watching it feel our roots     Repent – recognize root Kingdom of Wolves

Bud Powell Pink Turns To Blue, Part 2

Bud Powell pink turns to blue     Bud Powell pink elephants on parade     Parade pulse blue pink Philip K. Dick desert blue

Of the blue, purple, and crimson yarns they made finely worked vestments for ministry in the holy place; they made the sacred vestments for Aaron as the LORD had commanded Moses.  He made the ephod of gold, of blue, purple, and crimson yarns, and of twisted linen.  Gold leaf was hammered out and cut into threads to work into blue, purple, and crimson yarns and the finely twisted linen, in skilled design.  They made for the ephod shoulder pieces, joined to it at its two edges.  The decorated band on it was of the same materials and workmanship, of gold, of blue, purple, and crimson yarns, and fine twisted linen, as the LORD had commanded Moses.

Bud Powell pink turns to blue (A woman in a pink blouse sits in a chair as Dr. Williams, standing beside her, attached an electrical device to her head)

Pink blots blue blots pink parade bebop…  Cut into pink and blue bleeds out.  I continue into the cut and difference differences – different blues and pinks.
	Blue disintegrate saint use tackling invoke how kiss touched mushroom taste
	Pink disintegrates posterior realistically nightgown stranger
	(Nightgown blue, purple, and crimson yarns)
Cut blue bebop / pink in the pocket get up like a sex machine

Bottomless blue – bottomless pit blue     Bottomless bottle blue phantom butcher blues     Bottomless butcher blues (I follow Bud Powell blue – blustery blizzard pink guts decorated blues.  Blue balloon butterfly.  Butter bottomless.  Bottomless bitter pink elephants on parade.  Parade blue imbued pink – blue bottomless parade bodies.  Milk and honey sketch jaded garden lover serve loves legless.)

There are different kinds of discontinuity.  Continuities free to repeat or leave things out.
	Leave out blue leaves out pink
	Repeat blue and repeat pink

Different kinds of continuity increase the large form – large scale – large duration.  Whatever I do becomes melody.

Bud Powell pink turns blue / whatever I do becomes melody


//
Everything I do becomes melody

Horizon opens her wide word wild hunt (horizon hunts the dream open unfinished forest)

At horizon now: endless pink and bottomless pink within the hunt.  At the horizon now becomes melody within the horizon: horizons within horizons blue corridors: pink hallways – purple plane yarn laboratories.  In the instant I exist in the horizon, the directions and instructions of my body exist: flesh to make vestments and coverings pink door projecting the laser blue door bottomless pink – blue – pink among horizontal bodies.  Line up bodies to score the melody / graph my body genderfluid and liquid pink nonbinary.  Horizons reveal the myth of a woman – first man and first woman – Ben Adam and Ben Lydia, Blue Eva triple male androgynous.  The horizon always leads to body myth and hunt narratives.  My body bears the marks of hunting magic and I redraw the magic and marks into melody (Bud Powell pink into blue – blue, crimson, and purple vestments for the quartet and trio).

Horizon opens her wide word wild hunt (horizon hunts the dream open unfinished forest)
	The open forest / the doors of the horizon are thrown back unfinished forest
I throw the doors into the desert – I throw the desert into the doors bedeviled dust horizon

At the pink and blue of the horizon, everything I do becomes melody
//


Bud Powell pink turns blue Bud did down well right     Bud bottomless blue blends when blue
	Face stone allaround vociferation understanding voice vav vav sonic boom

Of the blue, purple, and crimson yarns, they made finely worked vestments, for the ministering in the holy place; they made the sacred vestments for Aaron, as the LORD commanded Moses.  He made the ephod of gold, of blue, purple, and crimson yarns, and of fine twisted linen.  Gold leaf was hammered out and cut into threads to work into the blue, purple, and crimson yarns and into the fine twisted linen, in skilled design.  They made for the ephod shoulder pieces, joined to it at its two edges.  The decorated band on it was of the same materials and workmanship, of gold, of blue, purple, and crimson yarns, and of twisted linen, and the LORD commanded Moses.  And the LORD commanded Moses.  And the LORD commanded Moses.

I narrate horizon colors and horizontal colors; I voice horizon canvas and its blue and crimson carve shaped canvas.  I narrate shaped canvas.  I narrate shaped colors and carved colors and bottomless blue breathes oceanic myth.  Myth the leaf its blue and myth made was fine two purple.  Myth hammered twisted myth purple twisted edges.

Narrate shoulder pieces joined to workmanship melody     Narrate melody of fine twisted linen and the same materials and crimson yarns

Different kinds of continuity increase large form – language scale – large duration – whatever I do is melody.  Whatever I prophesy becomes melody and whatever I create harmonized and orchestrated melody.
	Blue harmolodics
	Pink punk coordinate musics
	Horizon moment form
Horizon different kinds of dis/continuity

Different kinds of continuity dis/continuous melody melodies
	Suspend place touch dare zoom rise introduce jaded
	Floral write treasure balk inspire juggle pause present frighten

Narrative and myth harmolodics – horizon harmolodics – Narrate different cut different myths
	Gold leaf was terrific cut out and cut into treads to work into the blue
	They made for the ephod troubled pieces, geodesic to it at its two edges

I’m thinking about getting a blue horse tattoo, says Asia.  Like Franz Marc?  Yes.  Yes!  I love his work.  Where would you get it?  Probably on my arm… It will be based off the one from Brown Bear, Brown Bear, says Asia.

Blue horses cut my head hauntology (Horses in my dream, like waves like the sea)    Blue horses my head different kinds of continuity     Horses drag blue melodies harmolodic blue horses (Everything I do prophesies melodies blue horses yarn fine twisted linen in skilled design)

Bud Powell pink turns to blue     Boom Bud Powell powder show solar cells

Bud Powell commands make the ephod shoulder pieces, joined to it blue horses     Ben Lydia blue horses (rode a horse around the world along the tracks of a train)

Bud Powell possesses Ben Adam and Ben Eva and every human – Child of Humanity – creates melodies and becomes melodies

Different kinds of continuity
	Suspend place touch frightens pink and blue horses
	Yes set I’m tattoo setting
	Where cut Mark blue brown arm

Whatever I do becomes melody.  I mean the melody subtly pressuring the harmony – blue horse harmolodics – to give it direction.  Harmony and blue harmolodics.

Bottomless blue boom Bud Powell salt surgery
	Vociferous body valley vision vav vowel vav variations
	Variations vociferous luminiferous aether vice her sounding
	Riverrun sonar bar alarm
	
Blue inflated Bud Powell pink turns to blue     Blue pressures pink into the body horizontal and body horizon

Bud Powell Pinks Turn To Blue, Part 1

Bud Powell pinks turns to blue     Bud Powell pink elephants on parade (parade pulse plus pink Philip K. Dick pink gold golden ratio doorway)   

I jam Book bebop and every chord change reveals door doorway pure pink


//
The door of the horizon are thrown back; its bolts are unbolted
	Vivid voids opens open amen
	Void vivid opens open omen
	Vivid amen opens open void omen
Horizon hymns horizon open: horizon hymn opens horizon hell radically open

Door horizon opens vivid her void opens volume void (The adventures of an ordinary man among the cruel men and passionate women of Algiers     Musk, Hashish, and Blood)     Horizon adventures bloody door – door Passover and creeping death       I adventure – add venture – venture vulture prevent defense – horizon shirt hot horizons     (hashish horizons     musk murder in the red barn     door across or our horizons – open crew, Christina cave-in)

The door of the horizons are thrown back; its bolts are unbolted

Horizon hymns horizon open: horizon hymn opens horizon hell radically (her open radials sprawl horizon desert concentric circles)     Here her horizon opens here and her here open spills horizon
	Vivid her void opens visible void and invisible void
	Vivid her void devours void and her void devours void visions
	(Void flows to void)
	(Void pours onto void void doubled and triple void)

The door of the horizons are thrown back into the musk, hashish, and blood
//


Bud Powell pink turns to blue     Bud Powell pink elephants on parade     Parade pulse pink plus blue plus blue   (blue bathers bodies without organs)

I bare my body blue bricoleur blue brick blue babel / blue bathers body without organs

One of my ghost shrimps has a parasite, says Asia.  I have quarantined him.  I can’t bring myself to euthanize him though.  They are so cute.  I’m trying methylene blue.  It can work to kill parasites so we will see, says Asia.  Let me know how it goes, I say.  Methylene blue is also used in gram staining.  Used a lot in my microbiology class.  That’s why I have it, says Asia.  The microscope.  I forget you’re a genius,  I say.  How do you know it has a parasite?  Ghost shrimps are see-through, says Asia.  It’s like “Oh they are perfectly clear except that one has a weird worm thing looking inside of it… wait a minute…,” says Asia.

Bud Powell brings blue X blue and I’m always blue

(I feel blue desert depression and body blue.  Body blue burden of the valley of vision body without organs blue.  Blue Ben desert travel blue.  I need to vomit this raw emotion, however inelegant and brutish and ugly.  I believe in my ugly – I believe in my vulnerability – I believe in my weakness.  My desert body frustrates.  Blue defeats me – pink elephants on parade berate me – passionate women of Algiers throw open the door of horizon and polish its bolts with my blood.  I vomit brutalist blood and I fail to nurse in this blue… Try again fail again fail better.  Fail better blue and experience nervous and fuck and anxious – I experience human and the pink to blue human off the bebop runs.  Improvise kind of blue and blue in green and all blues.)

Bud Powell pink turns to blue     Bud Powell pink elephants on parade     Parade pulse plus pink Philip K. dick pink gold golden ratio doorway

Bud did down well right     I sing dumb his glass darkly speech lit face to face on all around     He sing ben simulation string texts, string cheese cobra chaoses

Blue Bud Powell one cute blue
	I’m trying also forget perfectly
	Ghost methylene used you’re clean
Blue that’s why I have quarantined him     I can’t bring used in gram staining myself to euthanize though
	I sing dumb glass darkly speech bark blue


//
The door of the horizons are thrown back; its bolts are unbolted

I unbolt the doors and I parade pulse pink Philip K. Dick pink gold golden ratio doorway     (Door blue and pink spills her were horizon     Horizon used in gram staining myself to euthanize through they are so well perfectly)

Unbolt horizon spills house fire and forest haunted by open fragments
	(Bud Powell pink fragments
	 Bud powers blue fragments
	 Philip K. Dick blue door)
I collect fragments from the manuscript of the horizon

I collect blues the scale of blue in blue, and my blue collective coagulates bloody door / hashish horizons.  I collect blue and blue unbolts my body from my body.  Blue isolates my body in blue.  Blue bones – blue brains – blue Bud Powell – spills out body blue… Despite all my collections, I cannot find the door.  I cannot unbolt the door.  I collect blue and vivid blue opens void language problems and language games.  I follow Bud Powell into bebop blue and Powell creates the modern piano style of single-note right hand runs and left-handed chordal punctuation.  I collect blue freely across harmonic borders.  I collect blue through the doors...

There Are Different Kinds Of Continuity

There are different kinds of continuity
	Different continuities continue difference continuities
	All the sounds counted

All the sounds counted, were all valued, rather than being functional in the sense that they got you from one point to another

The young man went out and the angel went with him, and the dog came out with him and went along with them.  So they both journeyed along, and when the first night over took them they camped by the Tigris River.  Then the young man went down to wash his feet in the Tigris River.  Suddenly a large fish leapt up from the water and tried to swallow the young man’s foot, and he cried out.  But the angel said to the young man, ‘Catch hold of the fish and hang on to it!’  So the young man grasped the fish and drew it up on the land.

I fear narrative and exact repetition but I gain a kind of purposeful – directionless direction – by repeating the narrative again and again.  At some point it becomes ritual and scripture.  Book becomes the Benedictine Daily Office and its repetitions reveal chrism and baptism (Although rarely do I Christian – I almost never pray unless one calls this writing praying.  I attended my church on Healing Sunday and I prayed for healing with my priest.  She laid hands over me and anointed me with oil book crushes my body Christ in repeated narrative.)

Cut more than needs to be cut.  Repeat more than what needs to be repeated.

I went out with the rainbow and red is greener than purple for sure
	My body more red and red-green and yellow-green and red
	More and red blue and blue and red
Red is greener than purple for sure

All the sounds counted and I count words and letters – all ciphers

Asia, there are different kinds of continuity
(Can I send you some writing? I say to Asia.  I’m butting my head against something.  Sure, she says.  I give the disclaimer it might not be comprehensible. […] It’s got a nice rhythm to it, says Asia.  Thanks for reading, I say.  I am asking the question – a forbidden question – do I need to understand my own writing?  I don’t understand myself.  What happens if I don’t limit it to have to understand it?  What comes out of it?  Perhaps a self I don’t know.  Or even a self not me, I say.  No, you don’t need to understand it, says Asia.  You contain multitudes.)
Asia, there are different kinds of continuity (different continuities continue different continuities)

There are times in the music where one is free to repeat things or cut things or leave things out and so forth

The young man went out and the angel went with him; and the dog came out with him and went along with them.  So they both journeyed along, and when the first night overtook them, they camped by the Tigris River.  Then the young man went down to wash his feet in the Tigris River.  Suddenly a large fish leapt up from the water and tried to swallow the young man’s foot and he cried out.  But the angel said to the young man, ‘Catch hold of the fish and haunt on to it!’   So the young man grasped the fish and drew it up the land.

I repeat apostasy.  I repeat heresy and apostasy.  I repeat gospel and apostolic succession.  Repeat different continuities: free to repeat.
	Free to repeat the them man swallow
	Free to repeat went the hang man they went down young
	Cut things the and feet he so angel

Disclaimer it to me having to understand it…

You don’t limit it might not me…

Disclaimer: discontinuity.  The tension between continuity and discontinuity.  I fear (too much) discontinuity.  Things fall apart and the center cannot hold but I attempt to hold onto no center.  No direction and no center: all the sounds count.  There are times in the music where one is free to repeat things or cut them or leave things out and so forth.  Tension is best measured when it’s down and the tree tumbled down tumbled down.  I tumble down the tree – its Tree of Life and Tree of Knowledge – and one seed eventually all repetition leads one to the tree (my tree – her tree – tree transformed into the caught fish).  Disclaimer: I hold onto no center but I catch hold of the fish and hand out to it.  Different kinds of continuity continue discontinuities.  I continue into the cut and difference differences.  I continue repeat differences.

Disclaimer: and you don’t need to me having the disclaimer to it

Disclaimer: no, you don’t need to understand it.  You contain multiples.

(Can I send you some stomach?  Us comments my head spatially something.  Sure.  Take the disclaimer it might not be comprehensible.  It’s just a nice rhythm to it… No you don’t need feed to understand it.  You contain marginalia.)

Maximum dimension and maximum non-direction     Multiple metamorphoses / Kafka khora metamorphoses myth developing variations

I fear repetition and narrative.  I fear plot because I have deceived myself that I cannot write plot or read plot.  The last novel I read – many years ago – were Spring Snow by Yukio Mishima and Ada Or Ardor by Vladimir Nabokov.  Since then, I have read no novels – mostly poetry, philosophy, and mystical and religious books.  I claim I don’t have the attention for plot and narrative – I need vignettes and fragments and philosophical episodes – but I limit myself (I don’t limit it might not me   no you don’t limit it might not me   no you don’t limit it to it you contain multitudes).  Where my fear is, there is my task – anything I have done well is worth letting go of.  I steal myth and narratives from the Bible and other spiritual sources.  I find my faiths by stealing and repeating narratives.  I repeat the narratives and I eat the narratives (Asia teaches the lines: Ink runs from the corners of my mouth / there is no happiness like mine. / I have been eating poetry.)

Repeat narrative more than necessary and create discontinuities more than necessary.  Fail with narratives and discontinuities.  Be incomprehensible to the self – the Ben-Self and Divine-Self.

The young man went out and the angel went with him; and the dog came out with him and went along with them.  So they both journeyed along, and when the first night overtook them they camped by the Tigris River.  Then the young man went down to wash his feet in the Tigris River.  Suddenly a large fish leapt up from the water and tried to swallow the young man’s foot, and he cried out.  But the angel said to the young man, ‘Catch hold of the fish and hang on to it!’  So the young man grasped the fish and drew it up on the land.

There are different kinds of continuity

I Feel The Earth Move

I feel the earth move: I feel the tumbling down tumbling down

Earth moves earthworks     Earth moves earthworks monuments and I copy earthwork and earthstone     I copy quartz tumbling down tumbling down

I feel the earth move watch earth – watch work earth work watch – earth watch move otherwards.  More earth watches – earth wheels watch watchman tell us of the night.  I feel the earth move repeatedly earth with large elliptical paths.  Earth repeats large elephant paths – elephant graveyards – price per square yard.  Earth moves earthworks: subtle Ben bodies bent-corridor in god bodies.  Earth bends Ben bodies in female corridors and crane crosses.  I cross plain and crane and planes.  I watch my body earthworks wheel earthworks.  Earth walks.  Watch multiply earths and I walk earth as my body as I walk my body and earth.  I feel earth tumbling down beneath tumbling beneath me.

Earth moves earthworks and I tumble Taryn thunderstorm and Taryn crow crag hurricanes / I tumble down Taryn Tetragrammaton crosstown traffic
	Tumble Taryn one or two stations of the cross
	One or two topological defects move crosses crosses Taryn
I adore stations of the cross – Barnett Newman’s stations of the cross and I station zips in zebra

Earth moves earthworks in zips zip up and down zebra

My flesh flings stations flat ride zips zip up and down zebra

My flesh flings stations flat ride zippers tumbling down tumbling down
	Tumbling down dirigible hope hydrogen ghost two halos
	Ghost town halos ghost town harlots
	Halogen hobgoblin wild west winter music
I feel the earth move and I feel the earth move elsewhere


//
Earth originates in opera.  Earth aria harp harp to swan swing (to swan swing more constantly more limitations and swan swing more limitations)…

Work earth originates opera – my failure to construct the opera (any opera disappears into the void or omen of my bodies)

Omen of vivid amphibian bends amen     Omen amen vivid amphibian merge omen amen other     Vivid omen sleeps big omen amen

Earth originates from Book opera and Book aria and Book alchemical magnum opus

Distill liminal and coagulates threshold

Ambidextrous and amphibious

Vivid omen sleeps big omen amen / vivid omen sleeps street vivid amphibian animism
	(Vivid animism animation chupacabra anarchy)

For chupacabra chomp anarchic animism agon chupacabra / for chomp romp rhizome

Earth originates in opera and on opera and from opera and opera synthesizes few earth.  New earth edits my body my body erases.  New earth eats my body edit erase.  Earth places soil on my body and makes a vow (variable vision volcanic vision).  Earth ejects me from its fucking bowels earth rips me from its loins     Hellbender amen hell omen hell – all warm opera.  Earth fucks me up vivid dissection – diagonal vivisection – vulgar bodies.  Earth ejects my body carnival and grotesque body, and my body without organs spills earth out of its amen-omen) orifices.

Earth ejects opera from my liver-melancholic black bile – bile bodies and bubble bodies.  Melancholic monochromatic remakes my body molting earth.  My body molts earth amen and omen and opera blackbirds.

Earth ejects tropical birds from my belly
	Stomach vivid amen omen open orphan
	Stomach shipwreck swing swans
	Champagne stomach bend branches
Earth ejects for chupacabra chomp romp rhizome

Anarchic arrangement of swans and swans of names / names swarm frequent flier swans
	Vivid void omits amen or omen
	Vivid void opens omen amen
	Omen opens amen void vivid
	Omen amen omen vivid void

Earth earth ejects void out of my body out out earth no limits

Earth originates in opera and open-heart surgery.  Earth and surgical scalpel scratches open Ben swans all arias.
//


I feel the earth move: I feel the tumbling down tumbling down

Earth moves constant earthworks     Earth maneuvers ballet earth Ben dances (Ben dances moments earthworks word work work)

I copy earthwork and earth stone queer quartz (What does imperfect or messy poetry look like for you? I say to Asia.  Like Eating Poetry, like Beware Don’t Read This Poem, like Kindness by Naomi Shihab Nye, she says.  There is something wild or raw or like some essence compressed or a stone tumbled for awhile… Maybe that last analogy doesn’t work but you don’t control the rock – you just get to buff it.  There is poetry that is essence and human and then there is poetry that was written to be consumed, says Asia.)     I copy earth but not too clean – copy tumblestone stone stone silo tumblestone

Microtonal quartz earth tumbling down tumbling down

Imperfect earth she has a habit of taking showers in lemonade

Messy earth imagine his surprise when he discovered his safe was full of pudding

Earth moves earthworks work messy earth / I copy counterpoint earth
	That last analogy does imperfect or messy poetry look like for you
Asia looks for me in the watched earth of my mind.  My mind disappears eating stone poetry don’t work but you.  I copy earthwork and earthstone.  Like for a stone tumbles for a stone tumbled for you.

How to write the earth not too clean but in contact with my body tumbling down tumbling down.  How to write messy earth messier (Asia Rhizome architecture constructs land art and large scale installations     Ink innards / ink runs from the corners of my mouth).

I tumble Taryn thunderstorm and Taryn crow crag hurricanes (swans with more constraints more limitations)     I tumble down tumble down but you don’t control the rock – you just get to fan it (There is poetry that is essence – essential bones and muscles and earth)

Earthwork tumbled down the tumbling down and I don’t quite acknowledge the thunderstorms, but Taryn mountains the mess – Taryn adds to the mess and mess eats Elephant Man X Mary X and the X compresses stone like autumn pottery

I write too clean.  There is double that is essence and human then there is double write to be consumed.

I Prophesy The Women In My Life

I decide to write and prophesy the women in my life     I prophesy faith decision and undecidable mystery, and this mystery writes women mad in my mind mad

All decisions decide on faith and my faith unfixes prophecy: my faith flirts prophecy abrupt.  Abrupt decision prophecies woman in non-idiomatic improvisation.
	(Improvisation: one plays what one already knows.  I improvise anyways and
	 impossibly search for what I’ve never played.  Forget and prophesy.  
	 Prophesy with paradoxical not-gnosis and simultaneous pleromic-gnosis.)
All decisions decide mad faith and mad improvisation: women

I decide to write and prophesy the women in my life – undecidable woman – woman of and in faith – she lights the lights of my flowing faith     My faith flows feminine field / fluxus dada desert
	Woman KRYSXTRYN     Woman Asia Rhizome     Asia Among Weevils animal
	architect: stars smear telescope architect tone tantalus
Write woman and women androgynous KRYSXTRYN + Ben Lydia / Ben Lydian


//
Swan sleep more constraints more limitations.  More constraints: swan constraints.  Undecidable continuity mad dis/continuity.  Constraints Lagrange Multipliers multiply.  More constraints more limitations / no limit no bones.  I build up the bone more limitations.

(We weren’t interested in the notion of transitions of making material whose only function was to get you from point A to point B.  We were just interested in Point A then Point B then Point C and so on, but not in this business of tying them up somehow with ribbon)

Swan sweep not a limit but little Christmas lights across the body
	To swan the sleep big majesty for best
I star majesty for best and a world is bring to death make make.  A word is bring to great make.  A word and word bring ben hinnom.

Not interested in transitions – transitions – transitions the descent beckons as the ascent beckoned – memory is a kind of accomplishment – sort of a renewal even an initiation since places it opens new places

(Not so much a new vocabulary or a new syntax, but new arrangements of my already-existing languages)

Since their movements are towards new objectives

To swan swing more constraints more limitations sound swing more limitations
Omen of vivid amphibian swings amen
Omen amen vivid amphibians merge amen omen

(Prophecy arranges and reveals arrangement rearranged anew prophecy renews arrangement, and arrangement gather amen and omen to itself itself revelation)

Movement but not transition movement movement in its movement (my body in movements for the sake of movement itself freely open open my body – my body moves from movement to movement in movement continue without transitions.  Not conventional transition but arrangement reveal moments and moment sprout arrangements movement.)
//


I decide to write and prophesy undecidable the women in my life
	Woman KRYSXTRYN
	Women Asia With Weevils
Asia Rhizome smears telescope star tore tentacles / octopus tentacles entrap squid tentacles pulse ink

You have a very rigid way of doing things, says Asia.  You HAVE TO edit old work, you HAVE TO write our conversations.  It’s very demanding and doesn’t leave room to branch out much.  I can’t make that decision for you – it’s got to be organic.  You have to step out of your comfort zone though, says Asia.

I decide to write     I decide edit old work your comfort zone     That decision for your comfort zone
	That decision for you have to edit
	Have to to no transition
	Have to sleep swan or geese
	That decision amen or omen
She lights the lights flows my faith our comfort zone through room to

Woman KRYSXTRYN telescope squid tentacles propeller pulse ink     Ink innards australis terra element X (Elephant Man X Mary X)


//
Not interested in transition but playing without memory

Improvisation: one plays what one already knows
	Already dense adjusted nonsense
	Nonsense genius loci guitarfish
	Gooseflesh various marine cartilaginous fishes / my flattened guitar body
Flatter cartilaginous body: you leave you your rigid     HAVE room way to got zone     Sacred nonsense and mad decision fish woman
	My pectoral fins fuse to the sides of my head

My body melts into gelatin: gelatinous gods and cartilage Christs.  My body melts and flows quicker: more room and less rigid.  Rearrangements make room for flexibility / flexibilities.  It’s very demanding and it doesn’t leave pain to branch out baby, but I branch rock-a-bye baby in the company of wolves.  I make the decision as a slippery organism and I step out of my comfort zone.

Improvisation: aleatoric oval opal amen     Aleatoric animal (telescope Asia With Weevils) or alphabet aghast
	Viscous visionary vermilion
	Chaotic camille unsealed steel smear seal sound
	Smear star architecture without transitions

Improvisation: one plays what one already knows but I don’t know     I melt slippery cloud of unknowing     I sidestepping transition SOMETHING ELSE and SOMETHING DIFFERENT     I play omen and amen complete science fiction sessions
//


I decide female faith and it song disasters     I decide for you its got to be amperes
	You have to step outside your comfort zone though
I decide to write and prophesy undecidable women in my life

I Decide In My Madness To Fail

The instant of decision must actually be mad and meet madness Moshe parting Red Sea
	Red Sea reed sea salts
	Salt Sodom and Gomorrah / Sodom YHVH Yam Suph

Yam Suph seed seer seaweed word a long ship whistle duration San Francisco     I seaweed San Francisco flesh unformed bodies alcohol alchemy

I decide in my madness faith to fail.  I contemplate two quotations:  “Anything you have done well is worth letting go of” by photographer Joel Meyerowitz and “Where your fear, there lies your task,” by CG Jung.  I fear exact repetition and narrative.  Book demands the uncomfortable, the fear, the danger – liminal and threshold.  Where my fear is – repeating narrative and repeating myth – there lies my task.  Fail with Book by Book and abandon Book by Book, and Book always-already betrays the Book.  Book demands experiment – exploration – change change – fail.  Book demands the experiment to failure.

They met together to go and console and comfort him.  When they saw him from a great distance, they did not recognize him, and they raised their voices and wept aloud.  They tore their robes and threw dust in the air upon their heads.  They saw with him seven days and seven nights, and no one spoke a word to him for they saw his suffering was great.

I fear narrative and exact repetition.  I fail by or in repeating the exact narrative, but perhaps narrative transform into a ritual or spell.

The instant of decision must actually meet mad and I mad decide too much juggling journaling human jaws (A separate notebook to collect bare unadorned facts?  As if I need to start another notebook)

I decide to tune into a process that’s going somewhere, and my arrival and departure points decide narrative and exact repetition of sitting with the Book seven days and seven nights.  I don’t know what’s in-between – perhaps failure but I hope it’s a failure that surprises.

Think of something entirely different – think of failure and this failing threshold differently
	Different dense goosegrass
	Different dense gooseflesh greaseballs
	Goose god no glue but sounds as sounds sound god goose


//
Arrival and departure points meet me mad in sea of reeds

I part by the decision of the red sea reeds sea salts (I should shave the sides of my head, says Asia.  And get an eyebrow piercing.  I’ll make a decision when I’ve had more than four hours of sleep, she says.)

I part by the decision by the decision and of the decision and the departure and arrival points repeat narrative to the point of failure

They met together to go and console and comfort him.  When they saw him from a great distance, they did not recognize him, and they raised their voices and wept aloud; they tore their robes and threw dust in the air upon their heads.  They sat with him seven days and seven nights, and no one spoke a word to him, for they saw his suffering was very great.

Cut more than you think you need to cut.  Repeat more than you think you need to repeat.  Shave down the sides of the Book and pierce the Book with mad failure and mad decisions.  I sleep for four hours and then wake up to write the Book.

(Will anyone read the exact repetitions or skip over them?  Will I copy and paste or write it out manually each time?  Does the difference matter when the process doesn’t reveal itself on the page?  I live with repetition and I abide in repetition.)

I abide a tore him to met distance     I repeat together they robes the for to did

Where my fear, foresaw and recognize dust     Foresaw four hours: quarters   quarters   quarters

Arrival and departure points meet me in the mad decision of the sea
//


The instant of decision meets in sea improvisation and spontaneous sea

Improvisation: one plays what one already knows
	Improvisation impulse part pulse aleatoric

How to play what one doesn’t know: failure.  Incessant failure.  Failure repetition.  Mad decisive failure.  Fail when making a decision after getting four hours of sleep (So where’s your eyebrow piercing? I say.  When I went to go get the piercing, the piercer talked me into getting an ear cartridge piercing saying that the eyebrow piercing would be rejected because of my glasses.  The piercing she talked me into ended up getting rejected because of my glasses.  I’m only a little salty… One day I will go to a different piercer, she says).  How to play when one doesn’t know: failure.
	Part pulse aleatoric alligator
	Aleatoric impossible alligator
	Glass glass glam different dense

I mad chance sea chance sea / red sea reed sea salts     Yam Suph seers seaweed word a long ship while the duration San Francisco (mad because will     to ear of of go     so cartridge my my to)

A decision always comes back to the other – a decision always comes back to YHVH and crucifixions
	(decide go cartridge
	 decide get piercing glasses
	 decide the saying piercing only different)

A decision always comes back to KRYSXTRYN +Asia Rhizome     Her name     Her bodies body multiply Marie     Her Christina in perhaps a more material crucifixion

(I decide to write and prophesy the women in my life.  I decide to write and prophecy undecidable the women in my life.  She lights the lights my flowing faith / my faith flux fluxus dada desert.)


//
I should eventually invite scribal errors, scribal fatigue, marginalia, and emendations.  Mimic hypotheses for the synoptic problem.  I live in Gospel and Bible.  I live in Book and Library.  Library repeats Library and Book repeats Book.  I scribe scripture and I prophesy scripture.  I scribe sabbath and transcribe / transform-transmute Shekinah.

Saturnine Shekinah ringlets Sabbath

They met together to go and console and comfort him.  When they saw him from a distance, they did not reorganize him, and they did not recognize him, and they raided their voices and wept aloud; their robes and threw dust in the air upon their heads.  They sat with her on the ground seven days and seven nights, and no one spoke a word to her, for they saw her suffering was very great.

I repeat apostasy.  I repeat heresy and apostasy.  I repeat gospel and apostolic succession.

I repeat when they saw when their voices   air upon the air upon   upon they saw his suffering was great…  I meet with the Book and I fail with (by? to?) the Book… I lose the instant of decision decide failure.  I decide failure.  I sit and mourn failure… Dead end the instant of decision must actually meet mad and I meet madness and repetition dead end.
//


The instant of decision… An instant I fail and the momentum instantaneous sea.  Instantaneous improvised sea.  I have been thinking of something entirely different and I don’t know the process.  I don’t know process and that’s going on somewhere.  I don’t know what’s between them.  I don’t know now what’s between this – and this – and this – these.

Improvisation: one plays what one already knows…

How do I play what I don’t know     How do I play something else and something different     I play science fiction complete sessions…     Play what I don’t know between     Arrival points – departure points – madness     Instantly mad decision (The piercing she talked me into ended up getting rejected because of my glasses.  I’m only a little salty about it)

All decisions decide on faith: faith pierced by faith and decision departing and arriving to decision