An unpaid library employee is describing his journey to Sheridarp to Millie, the librarian. He traveled on a moving railway station, passing stationary carriages resembling everyday buildings. Part 1 is here.
The station stopped at various constructs,
and after an elastic interval to night,
I deboarded, wandering in the dark
until a flight of ancient currawongs
dressed in bells
led me to a hazardous occupation
in this very library.
Millie glanced towards a monitor
where windowed morning light
was streaming on the internet.
Millie, the librarian, has been listening to an employee’s story about waiting to catch a train to Sheridarp, and has given him a book on the unknowable. It’s late on a Saturday night, early on the day following, and the characters have inexplicably diverged from their raisons d’être, or would have if they existed. Part 1 is here.
I riffled through “The Unknowable,”
pausing here and there to admire Rorschach
snack and coffee stains.
After several repetitions, I observed that
every page was blank, apart from butterflies
and their suggestions.
A library employee has been explaining the theory of transmission lines to Millie, the librarian. Part 1 is here.
Every day was crumpled like a tissue,
starless rooms, vacant eyes,
until I cried out in a supermarket—
Check-out people, heed my warning:
concrete doesn’t show our true reflections,
it hides the motors that exhaust the immaterial,
the proton-powered furnaces of darkness,
and don’t trust geese.
The rail clatters its rhythms but the carriages never move.
They’re always here, and through a frame, a door,
a window, a hole cut in a rainy mirror,
you can see them waiting.
Telma was painting the feature wall
with essence of vanilla. Joanne was reading
a possible book, perhaps the persistence of trains,
or a painting, the persimmonence of time.
She’d need her glasses to be sure.