Someone in a Chrysler Valiant driving along the Botany Bay shoreline has picked up a couple of skeletal hitchhikers who have come from the sea. The first part is here.
We are Sam and Sammy,
please drive us to the West,
to invoices and wheat fields,
where desiccants and accountancy abound,
and everything is warm and flocculant.
Imagine meeting you here, it’s been forever,
and never in this reality.
Do you still have that sinusoidal staircase,
with beds beneath the maxima?
Let’s dispense with arbitrary greetings,
the usual meteorology and meander.
I’m marketing linoleum, perhaps you might
be interested in purchasing a tessellation?
And yet you’re glowing, sunlit gold,
photoshopped and pasted by the seaside
for our chance encounter.
I sleep beneath the tire marks
on roads of eggshell bones,
carried by the bubble birds
in their serrated beaks from caves
where rainy pebbles fall,
clattering on my roof, taking fluid forms.
I was painting my house with Dulux
when a whirlpool wind came calling.
It was fleeing from the west,
from particulate mirages and miracles of water.
Isabela, leader of the infernal army from Omégaville and winner of the Succubus of the Year Award, has been interviewed by a panel of celebrities, and now she’s having a little ‘me’ time. Part one is here.
Another bar, on a rooftop
far beneath the overworld,
another tissue paper town,
another rooster tail or two.
Isabela was staring down the unrepentant butterfly,
while I was writing up her interview.
Led by Isabela, the underworld army from Omégaville has marched across the land. Isabela has won the coveted Succubus of the Year Award and is about to be interviewed on the Tonight Tonight Show. Part 1 is here.
Four wise media personalities filed onto the set,
wearing numbered T-shirts.
Number one took a sip of water,
cleared her throat, and began.
Through the magic of fiction, all lifeforms in Omégaville have been transformed into creatures of the underworld. They are miffed because the military’s missiles incinerated their township. Part 1 is here.
I’d never really liked my neighbor, Maria Isabela,
endlessly complaining about my midnight bagpipes,
until she became a succubus with eyes
like sinful turn signals, flashing left and right,
In Omégaville, humans and other lifeforms are misbehaving. Instead of chasing each other or watching tv, they’re climbing upward as best they can and occasionally howling at the moon. The local government representative advised that action (unspecified) would be taken. The first part is here.
A committee in the hollow halls of government
met in secret and agreed in unanimity
that every living creature in Omégaville
was unnatural, illegal,*
and with surprising prescience,
most likely dangerous.
The normal dimensions vanished long ago,
and except for secrets covered in a skin
of words, we were left with only three.
Under every door in Marimbondo,
a letter of demand appeared, stamped
By hydraulic decree, the Itaipu
catchment will expand.
Marimbondo will be submerged
and you must leave.
You’ll be rehoused in tents at Alta Vista.
At the Café Économique,
they serve one class of patron,
one strength of resteamed coffee grounds,
a minor bird is hopping on a plastic olive branch
and a mangy city cat is watching.
I’m seated at a likeness of a table
reading faded scrawls on a communal
unimportant safety information
On my journeys through forgotten nights
I collect my dreams,
trade them for indulgences and bitcoins
with the goddess of the godless:
the deity of pillows,
of changing sheets, of hiding,
commander and distracter,
of games and roles,
played and yet to be.
The detective has left the building and the world. With a coterie of penguins and axolotls, his client has gone on without him, heading to a post-apocalyptic crystal city. The story began here.
We journey onward to the west, finding
country corners and strangers
who make believe their ordinary lives
have not been lost:
motels with sewing kits and swimming pools for guests,
where the penguins jump and splash,
dance their stately dances,
raise their beaks to the stars
with enthusiastic cries of ‘encore’
from the axolotls.*
The detective and his client continue their post-apocalyptic search for what lies beyond the obvious sea. For implausible reasons, the detective wrote a fantasy of his own death in his diary which he passed to his client, who is now keeping a record of their journey. The Detective started off here.
It was no-one’s fault, not his nor mine;
even the bivalves weren’t to blame.
They have capabilities beyond
our human constructs
yet they’re living creatures,
borne below and risen
from deep within the earth.
A detective and his client are seeking what lies beyond the obvious sea. The detective is in a supermarket, the usual refuge in case of an apocalypse, and his client has wisely left the building. (The detective sequence starts here.)
The ceiling and the roof have vanished,
breakfast for a bivalve, and a curling snake
of sulphurous vapor scorches my eyes,
runs bitter in my nose, my throat,
like the small red chillies
one should never purchase.
A detective and his client journey through the post-apocalypse, seeking what lies beyond the obvious sea. Here is part 1.
We walk for hours towards a hidden horizon
where the distant bivalves are silvery phantoms,
in the darkness.
My client has her axolotl armaments,
and I might be brave, but I’m myself—
a frightened woodland creature
seeking refuge from the restless night.
She makes a stop sign with her hand,
although it’s not hexagonal.
Over there a building stands.
We’ll rest until the daylight.
In a post-apocalyptic world, a detective and his client seek to discover what lies beyond the obvious sea. Part 1 and part 2 already happened.
I follow her, wander through
the ravaged landscape
searching for her dream, a fantasy
from long ago.
At dusk, we reach a silent square
of broken swings and slippery dips,
of roundabouts and culs-de-sac,
where all the fallen houses
are numbered zero.
A detective, his client, the mystery of what lies beyond the quotidian sea, and a marginally relevant precedent.
The sunlight hurts my eyes,
I’m unaccustomed to the lack of walls,
and I miss the certainties
my office prison offered me.
My client gives me glasses, dark,
and thoughtfully plasters zinc cream
on my nose,
but the world is not as I expected.