Delfina and Pierrot are on their way to New Zealand, travelling backwards through time inside a cardboard box that was meant for a fridge. Pierrot became a translucent alien like Delfina when she buried him in sephine. The previous instalment is here.

Delfina explained time travel
à la mode.

“As we travel, our presence creates
new timelines, more realities
in the eternal infinities.

“Time quanta will tunnel
through the Von Bingen field,
change our outward appearance
a little.”

Although I’d only heard,
Eternity, infinity, miaow, miaow,
I wanted to impress Delfina.

“I suppose it’s there and must be
brightly in even thought
sunlight synthesis rails
ways between flashes beyond
is yet flat the irreducible.”

She stared at me.

“You’ve turned rather red, Pierrot,
inside and out. You look like
a translucent tomato.”

I pouted in petulant silence,
dreaming of the new timeline,
where I would spontaneously transform
into an opaque and mysterious stranger
who spoke
very little,
but whose
every word
was filled
with significance.

Except for prepositions,
words of courtesy,
and a few others.

to continue

An introduction to my work in the Arts is now on-line at SULΦUR, a magazine with a fascinating range of surrealist artworks and writing. Because fools rush in, I’ve also explained the difference between the Arts and the Sciences, and because she insisted, I’ve included a portrait of Antimony, once and future android and goddess of the godless.

artwork
Namba Parks is a shopping mall and office block with an iconic eight-storey garden. Namba timelines is from a photo taken on the seventh floor on a hot summer day. The closest timelines to ours differ in the smallest details, like the locations of leaves and twigs that no-one notices. The tiny differences create diffraction patterns that you can sometimes catch a glimpse of. Either that, or it was the visual evo engine and CYNDE, Cyclic Nonlinear Desaturation.