An interesting element of Papyrus 115:  It writes the number of the beast in Revelation 13:18 as 616, chi-iota-stigma, rather than the majority reading of 666, Chi-xi stigma, as does the Codex Ephraemi Resriptus

Six seduces and I contact six connections to a heretical sabbath and Sabbatai Sevi     I contact contacts six saturn sabbath sabbatai     Sixth planet saturn planes day seven sabbath / saturday saturn mixed marriage and mixed multitude in sixs and sevens sex     I study sabbath and six, six beasts and six numbers sabbatai sevi and the witches’ sabbath, and I create myths weaving car traffic tabernacles / I tabernacle myself among woman witches myself among women snow in water

Whorl Woman arranges leaves the variety X variety mythologies, mysteries, witches, and sabbaths, and I celebrate sabbaths as woman     I rejoice Sabbaths as Christina the Huntress, and she hunts me Son of Man and Human one, Human Earth Adam

I worship Sabbath as Saturn Woman or the bisexual Sabbath Sevi uniting writing Yahweh Shekinah     I worship Sabbath as the Woman Before The Sabbath and The Woman Who Was Before Sabbath Existence, and she stirs the waters way spirits     She skims the waters spirits in many skirts and miniskirts and I wear a monokini when immersing in abyss (For occasionally an angel of Yahweh would come down to the pool and stir up the water, and the first one into the pool after each such disturbance would be cured of whatever disease he had) (This verse is lacking in many important manuscripts, including the oldest)

I wait for the movement of the water and whorl woman whips waters into waters nonlinear rogue waves wave rosary olive oil     Whorl woman wrestles waters into waters, and natural nonlinear processes from the random background of smaller waves whisk vertical braze bull veronicas (a merchant ship laboring in heavy seas as a large wave looms ahead, Bay of Biscay, circa 1940)     I wait for the movement of the water and whorl woman arranges waves alcheringa, and off the South African coast, the Agulhas current counters the westerlies

I write the waters and I stir waters ouroboros oceanic     I scribe the waters and speech the water, the waters ox bronze basin orichalum oceanic     I interpret waters both interpolation and interpenetration, the monorail traction of seraphs and cherubim     For an angel went down at a certain season and troubled the water, and Taryn tail ticks tron trains tributary troublings     Taryn tzimtzum simultaneously contracts and floods waters water worm abyss / benjamin breaks the vessels profound play performance visor vision     Woman waters my visions weird water and wyrd water word woman and I worship her word     I worship her word sixes sabbath stickers and troubled waters

The new doesn’t come in: it needs to created… Create the new by doing it… You only need to love the new, and then you will create with it

I love the new and I worship the new     I worship the new and the new arrives as Woman     The new appears Woman and plays with and against Woman, and the Woman sixes skull salvations     Woman, Savior – Woman, Redeemer – she rests rungs of the Ladder Sabbath

I love new and I worship new but I often fear the new     I surround myself with familiar books and comfortable texts and I repeat the text     I copy the text and I expect them to transform me like they did during my initial encounters (What makes scripture truly scripture:  it invokes initial encounters every time, impossibly iterable and traces into the new – but the everyday too has the capacity to contain and embody scripture)     I must truly love the new, eat it, digest it, make my own myths – new myths, new gospels, new scriptures, new kingdoms – then I can birth again with woman, born in water and born from above

In my love of new I search to transform the absence of Yahweh into the real presence of Christianity, the very real

Whorl Woman arranges leaves laughter lighthouse and I horticulture body horror and body garden, gods rhizomes orgasms     I horticulture no-hierarchy but Woman-As-Anarchy and Woman-As-No-Absence-But-Animism (Asia draws the Hierophant and she despises this tarot card, but she interprets for me sacred mysteries and arcane principles)     Woman arranges attacks anarchy the encroachment of my apartment, and she alephs arcane arcanus arceo arca / she arch forms archlengths additions architect esoteric     She archives the arcane and animates it, nardil new, and she arranges the leaves into new jazz standards

I prophesy interstitial human space between improvisation and composition, Anthony Braxton’s geometrical conceptions: circle square triangle embedded in one another representing stable logics (information that is known and unchanging, composition), mutable logics (open and changing, improvisational), and synthetic logics (which draws upon both aspects, intuition)     I do not call it intuitive although intuition exists as a component, but rather I call it visionary     Visions allows me to open and love multilingual many languages at once: the complete work never complete and the performance always in process (I should write more Anthony Braxton: his thought and music have influenced the writing-vision and vision-writing-new) (So much to write     so much to imagine     so much to vision)

She aids, inspires, and multiplies me     I am always-already several and I listen to Bob Dylan’s I Contain Multitudes:  I sing the songs of experience like William Blake / I have no apologies to make / everything’s flowing all at the same time / I live on a boulevard of crime / I drive fast cars and I eat fast foods / I contain multitudes     I contain multitudes and I always write Leaves of Grass     I always rewrite Leaves of Grass and Bob Dylan does an admirable job expressing the mess and contradictions     Walt Whitman states:  Do I contradict myself?  / very well then I contradict myself, / (I am Large, I contain multitudes)     I too express the magnitude of multiplicity, messes, magicians     My contradictions center acentre or center-without-center the contradictions of the Cross     To pick up the Cross daily is to acknowledge the contradictions and multitudes of the Cross

Bob Dylan has long been fascinated by the concept of multiplicity of the self, evident in everything from his fondness to Arthur Rimbaud’s phrase “Je est un autre” (“I is another”), which he said caused bells to go off when he first read it in the 1960s, to the lyrics of his Rastafarian-influenced 1983 song “I and I”…     I have not read Arthur Rimbaud despite his influence on Bob Dylan and Patti Smith     I have not read Author Rimbaud despite owning his complete works in paperback – I have too many books I haven’t read (Jacques Derrida, when asked if he read all the books in his large library, responded he only read four books, but that he had read them very well) (Umberto Eco said:  It is not indispensable to read a book – its’ enough to touch it and by a mysterious fluid you absorb it…)     I absorb the works of Bob Dylan via auditory osmosis and ouroboros opens everywhere     Ouroboros opens absolute abyss world woman and word woman and she too rains rhizomes     Rhizomes rotate repeated reconnaissance (To reach, not the point where one longer says I, but the point where it is no longer any importance whether one says I, write the sources of Anti-Oedipus and A Thousand Plateaus) (bob Dylan says in a 1997 interview promoting Time Out Of Mind:  I change during the course of a day.  I wake and I’m one person, and when I go to sleep I know for certain I’m somebody else.  I don’t know who I am most of the time.  It doesn't even matter to me...)

My I rhizomes I     My I rhizomes I repeated reactions all the difference difference the non-diophantine desert and the desert uncountable by diagonal argument     My I rhizomes I Bob Dylan plays reggae rock, the songs lyrics often interpreted as an auto-commentary on the dichotomy between Dylan's’ private and public selves…     I joke with Asia that I have surrendered to the idea of constant surveillance by the FBI / CIA / NSA and now I want to become the most documented human being in history (contemporary technology makes this possible)     I was half-kidding but an unconscious goal of the book invokes the dissolution of the private and public self: what emerges is a prophetic self, a prophetic multiplicity or rhizome ritual vitality rhizome maps the impossibility of Yahweh and the Cross and the Woman (Something like:  the act of living or every gesture of living becomes an act of prophecy and gesture of prophecy     I engage with prophecy as a perpetual performance art     I write to document this prophecy-in-art     I live my rhizome and multiplicity radically open     I live the entirety of my prophetic-performance publicly

I write to live and I live to prophesy
I write my life and my life prophesies

How does my writing about God and KRYSXTRYN make people’s lives better? I ask Christina.  If at all.  It’s a delayed effect for humanity, says C.  But it has positive effects on you.  And you’re important.  Without you the work doesn’t get done.  What’s the delay effect on humanity?  Truth     Revelation     Aesthetic Value.  I have been thinking about what difference in make in times like these.  What difference do you want to make?  I was thinking, what’s the use of my life in times like these?  I don’t have the power to do anything.  I feel like what I do most – writing and art – is not useful in times of conflict, I say.  Artists, writers, historians, prophets NECESSARILY have their impact after, says C.  Your job right now is to take the measure of everything.  You’ll need it later and we will need your work.  I will do my best, I say.

Whorl Woman arranges leaves sepals petals stamens carpals and her radial rabbits research short wave radios and crystal radios (Swedish crystal radio from 1922 made by Radiola, with earphones.  The device at top the radio’s cat’s whisker detector)     Her rabbit rebounds drum rudiments, perhaps hertas or swiss army triplets, and the ensemble resembles short wave or crystal radios (1970s-era Arrow Crystal Radio marketed to children.  The earphone is on the left.  The Antenna wire, right, has a clip to attach to metal objects such as a bed spring, which serve as an additional antenna to improve reception)     I receive rabbits raspberries and rabbits resurrection my body a tarot card reshuffle, and my body rivers rhizomes erratic estuary     My body rivers rhizomes rabbits, and I sit in the chariot     I sit in the chariot and two sphinxes pull chariot charis pandemonium (the whole lobby a perfect pandemonium and the din terrific)

I sit in the chariot six-six-six and sphinxes scare sacrosanct / I have visions in zebra’s vestments     Radial rabbits trace radians summer circles and I want to remember more mathematics     I study mathematics again and I mix it with myth and music, a Christina and Christ cocktail     Radial rabbits rally radians sempiternal circles (an arc of a circle with the same length as the radius of that circle subtends an angle of 1 radian     The circumference subtends an angle of 2π radians)     Rabbits rampage raging bull circles and the rings route extended range and domain

You should try fiddling with it.  Is that want you want me to do?  Cannibalize your poems?  It could be fun.  Maybe then you can cannibalize the poems that I cannibalized.  I don’t understand a lot of my own writing either so you shouldn’t feel too bad about that.  I just write to stay alive – that’s all.  I want to share my aliveness with you.  The alternative to not write is death.  I have next week off – if you’d like, I think it would be fun to steal some of your writing.  You have permission to steal any writing, past, present, future…  Another idea:  we start with the same beginning sentence and we each write a paragraph based on that sentence.  Let’s do it.

I reread the beginning of Bunnies For Christina, and although bunnies differ from rabbits (I follow Christina’s exacting definitions), her bunnies rubberband radial rabbits rat king tangled tails Toulouse-Latrec / painted posters for Christina’s Moulin Rouge (Divan Japonais, 1892-93, canyon, brush, splatter, and transferred screen lithographic, painted in 4 color-layers)     I write with dark blue canyon, perhaps the blurple G10 of Spyderco knives utilizing S110V steel, and I will crayon often     I sometimes color oil pastels but these pastels do not evoke the rabbit nostalgia of the wax crayon (wax crayon woman and wax crayon Christina, and the wax mops wheel on wheel and wheel within wheel, and the canyon maps chariot merkabah the Taryn throne throat god)     I crayon and brush blue bronze bunnies, and the bunnies brush splatter spill midnight bunnies, and midnight bunnies run wakes in the field / Taylor Swift’s Midnights     Any writing advice you have for me?  Steal, says Asia.  What should I steal?  A style very different from your own.  Take a piece as a starting point and continue it.  Something from the new Taylor Swift album?  Do it, says Rainey.  Taylor Swift’s Midnights migrate moon monarchs midnight bunnies, and I crayon claws Christina tiny platypus claws one of the few venomous mammals