time is better spent wasted.
girls do that all the time - haven't you noticed. ¶ 5:32 pm 1 Comments
FRUITIQUE
SURRY HILLS
PHONE_3196779
23-01-06 MON #O
0195
M,ROOM CUP 2,61
0,290 KG
@ $8,99/KG
0178
LETTUCE FANCY 1,50
0057
BANANA LRG
0,785 KG
@ $2,99/KG
PEACH WHITE 3,08
0,385 KG
@ $7,99/KG
0067
PEACH WHITE 3,40
0,425 KG
@ $7,99/KG
0001
LRG TOMATOES 1,82
0,365 KG
@ $4,99/KG
SUBTL 14,76
CASH $14,75
ITEM 6
CASHIER10766 14:09TM ¶ 11:45 am 1 Comments
"America's Free Speech Zones"
This vicious cycle of political, military, and corporate control seems overwhelming beyond the point of frustration into complete disillusionment. The hypocrisies and abuses that are committed by persons who seek to gain, or maintain arbituary and unnecessary posititions of
political power are - for the most part - unnoticed by large portions of the public. A public that elects and re-elects officials. A public that continues to support the out-dated political systems of the world. A public that continues to consume the products of environmentally unsound producion methods. A public that suffers from the oppression of totalitarian laws and despotic dreams. A public that makes up the police officers, the fighting forces, and the secret police - have these people no individual conscience?
Yet the opposition sits in disarray. The individual does have the power to change the climate. We are all but individuals. Linked inextricably to this planet. For this reason alone I, personally find it mind blowing that there exist people willingly and needless destroying the planet on the premise that "if i didn't do it someone else would". 'That if I didn't make money out of doing what i do, no matter what i am doing, there would be someone else with even less independant thought that would continue the job - perhaps even underselling me.'
Such lack of faith in the other.
Corporations need the individual to buy their products. The corporations market, and advertise, to the individual.
Militaries need men and women; to clean weapons, to push buttons, to make defensive/offensive strategies, to develop weapons programs, to fire the trigger.
Politicians need votes. The political system requires stable citizens willing to submit.
The Individual can still choose what to do. Make that choice while you still can. ¶ 1:10 pm 0 Comments
dancing fish
moonlit waters
underneath a great flower
pouring forth, insisting a shower
of sweaty beads and magnanimous
laughter. ¶ 4:24 pm 0 Comments
I
Can You feel the waves crashing
On the coast, the sea breeze in Your hair?
My town clings to the coast -
Growing from the sea
Built from the sea
Where the ships landed so long ago.
The North coast
More at ease
People feel better
Life is percieved, greener.
It is a breeze,
But it's just the weather
My water -
My weather -
My coast -
My box -
Is My home.
An insignificant world far from cramped civilisation
(far from metropolitan), far from the head of State.
- far from the city
- the coat-hanger
- and the house of Opera
Let Me show You, friend, My box
Can You see its flowing river?
The life-blood of the valley - the wide artery
Inverted
It grows from My mountain in the West. It runs beneath
My Bridge, it empties into
My sea.
Can You see the sun setting?
It revels behind My mountain as though
A flame waited beyond the horizon.
Streaks of colour reach above the peak, desperately (secretly)
Coveting the stars, like I covet You; dear friend, dear listener.
Come with Me, sit atop My bridge with Me.
Here we can view the lights.
A cloudless nightscape
As the darkness overcomes the receding sun,
You can watch the town slowly switch on.
At first a few, then many, many more.
As the dark encircles the small town, that which is mine,
It mostly looks silent -
The landscape lying before us
Is that of a night sky.
No matter how You try - You cannot count
The house lights...
Look there, to Your left, how bright!
Those, yes, large light bright in this night
Of stillness.
Active; Alive; Awake
A night-life that thrives on tennis lights -
My city-suburb (in the country)
- sport lights
- card nights
- and the local R.S.L
Compares not to Greater Sydney
A city-suburb
- the nightclub
- the disco
- the superfluous range
drowns even My bright tennis court
with a light comparable only to the rising sun
Sydneysiders, how much fun.
Still My town is awake
My box sleeps not - yet.
Stay longer, linger, later You will notice
Something, anything, one thing.
Can You feel the vehicles rolling by?
The rumbling of framework beneath
Flickers of light, flickers of life
Stretches on the long black road ahead,
Lighting ourselves to each other
Revealing Your smile, My solace.
Cars pass cars as we pass time;
High beam, low, high; undulating lives.
Cars come less and less, petering out
Like we travelled a stream to its end,
But where, where cars leave
The larger, multi-axled monsters replace.
The trains of the road and the trains of the track
This path lead all to the city -
Leads Me from the silence
Leads Me from My box
And brings You (within My box)
Within My reach
Within My grasp (embrace) (box).
Within all that is familiar (to Me).
Now here we are
You and I
- in Your city
- in Your apartment
- in Your room
- within that which is unfamiliar (to Me)
- that which is not mine
From My box, from all familiar, from safety;
You lured Me on that to Your city.
How You talked - exclaimed even -
- of the fun we would share
- a busier life (more fulfilled?)
- more people (less friends?)
- less thinking and more doing
and...and I would be closer
- to You
- to school
- to a career
- (to death?)
The lights are low, it is bright outside
Yet You know the shadown brings Me comfort.
Here in Your room above
The streetlights of Newtown
You have gathered candles
Reminiscent of My town.
The small lights,
Witin the large lights,
The town of My mind
Within Your city
A unique moment - magical
That We share, You and I here
Where our minds meet with no words.
And here the candles are drowned by the light
Flooding from the window.
Outside, another world -
The city
Now it is You showing Me -
Your city
Though first, before revelation, before I see anything;
I have to show You something - or rather,
You wish Me to explain
To elaborate.
You ask; a timeless question:
"What are You thinking?"
It then occurs to Me -
'I thought then, and think now, if even You surely,
wish to know, truly, what I think.'
And now the music that drifts along My voice
Accompanies us -You, My precious
And You My audience.
The words spoke, linger still.
There Your are
You lie, listening
You look tentatively into mine eyes.
Are You intrigues?
Captured by the words I speak
The rhyme, rhythm, that I seek,
In places I describe, in thoughts that are contrived?
A journey I took, on that path that leads
To Your city, in My mind waking seeds
Were planted firm, fixated, for there they thrived.
And I survived; breaking out, outgrowing My box.
Are You listening,
As I rattle on and on
About My days at home,
About My days at home,
Talking of a broken box,
Of a weary life left long ago
To sit in the recesses of poems?
And yet here I am,
To tell, to tell,
Of a box...
My box...
A box is that costruct of mind
That develops meaning
That develops boundaries
That develops restrictions
A meaning - of self
An identity
No need for schizophrenia
No bad dreams.
Eating well and no microwave dinners.
You are not Me and never wish to be,
You are comfortable with Yourself
Because of a box.
Boundaries - of the mind
A calm belief in what is real and what is not.
No need for paranoia.
No fear of monsters.
Getting on with real life and not travelling in circles.
A firm grip on reality, or what You precieve as reality.
A healthy existence,
Because of a box.
Restrictions - of consciousness
A self-imposed censorship to make Your life more
- (endurable)
- (bearable)
- (pleasant)
No need for neurosis (psychosis).
No unsightly confrontations.
Content with society; concerned (but powerless)
Pragmatism not idealism
Uniques: just like everyone else,
Because of a box.
Comfortable.
I want You to listen
I want You to feel
I want You to think
Dear listener
Are You comfortable?
To sit next to me; in this poem.
Do You drive to school each day,
Or is there a bus?
Perhaps You walk or ride, but
Are You comfortable?
Do You see comfort in Your life,
Within Your box -
What do You fear?
Do You fear people?
You do; in Your box; filter people -
The lock on Your door.
Where do You live,
Somewhere safe, somehwere comfortable.
Are You comfortable with people?
Are You comfortable with Yourself?
Are You alone?
So many people You don't
Acknowledge, denied by Your box.
Make You feel safe, doesn't it?
You feel more important with less people
Concerned - no tears for the unkown.
Will You Remember?
Will You Remember?
Have I already become
A listless face
Among faces?
A listless poem
Among poems?
But You would rather be attached
To a cat; four billion a year
To Western cats, when Your coloured cousins starve.
Does a dependant cat make You feel
Less alone?
You downsize the world in Your
Box, leaving out unpleasantries that don't quite fit.
Recreate Your box - to be - to be more
More inclusive.
Learn from life, grown in life,
Acceptance.
Listen!
Listen to the mother earth cry.
Feel!
Feel for the thousands that die.
Think!
Think of a world not in opposites
Think of people and their rights.
Listen!
Listen to the choke of the last river.
Feel!
Feel for the homeless that shiver.
Think!
Think of Yourself as part of a whole
Think of others, their heart, their mind, their soul.
later the monk would confide in satan that he did not manage to address the punch-line in the joke he was working up to in his speech. it was the one about marriage being like picking up a hitch-hiker on a highway in a stolen car heading for the state line. but the monk was convinced he had thought of an even better coup-de-tat - better than "...it was the hitchhiker's car!" - while he was relieving himself not half-an-hour ago. satan considered whether or not if the joke would had been tasteful in the current climate, yet did not mention this thought allowed. instead he piped up about the beasty and gaudy costumes, how you couldn't trust accountants and that most of the crowd here, particularly the bride's side (which made up the majority of the gathering, even though she is supposedly from a small family - although it does seem these days that those from small families seem to need more people around them. it seems as though their small world thoughts need to be shared with as many people as possible. or perhaps they grew up being listened to and respected for their own opinion, without being shouted down or outspoken, that they continue to expect such treatment in a more realistic world. that they expect people from outside the family, in the general populous, to admit their frivolous and outright stupid behavior. nevertheless mostly they surround themselves with dubious people that are willing to submit to their verbal bouts) were boring clouts who couldn't manage two sentences without boring the tits off a bull.
yet the wine was spilt. Amy, ignoring a flood of criticisms and advice from her table, gathered herself and hurried off to the amenities block to clean herself up.
it could be said at this point in the story that there is an inherent lack of explanation of the motivation for the actions of the characters that are being written about. and this is true. however a number of facts must be remembered, and if not remembered then at least stated for the written record.
firstly this is not a story.
it then follows that there are no characters.
secondly, even if there are characters, which there are not, i do not know their motivations. it seems that most characters, within stories (of which this is not one) are combinations of people. it is to be understood that this is done because people are not characters. people are not interesting enough to be characters and hence stories tend to use the actions and motivations of multiple people in the creation of fictional character/s. however it is needless to say - yet needful in having been written - that people nevertheless enact and act upon motivations. yet most of the time these things are unbeknownst to even the self-owners, people, of action and motivation.
in a sense, therefore, i am concluding that there are no characters in this novelette, but indeed people. people who will never know their motivations. people who will forget their actions. people who are inexplicable even to themselves. their actions are not only not to be condoned, but also to be forgiven and laughed at.
Amy and Bill had sex in the amenities block.
it was fun.
it was passionate.
it started with an argument.
another stain accompanied the white wine.
Labels: shortstory
¶ 2:56 pm 1 Comments
in such times she would remember childhood beliefs of a grandfatherly god looking over her; approving and disapproving of anything she did. the moment was more than inspired. it was engineered. and who, at this moment, would not believe for a second that a creator had a hand in this world. that the life of god walked among the lives of men.
however, like all moments, this one passed. soon enough she had closed the boot to her 1997 model BMW sedan. the motor burst into ignition, and with a little too much anticipation the tyres skidded on the leafy surface. a solid grip of rubber and earth; the blue sedan sped out of sight, leaving the door swinging in the draft.
the out of town weekender would lie vacant for at least another three days. just because amy had taken a wrong turn and refused to turn back when her better part realised that she was indeed lost, did not for any point in time make her a victim. sure she was running. she was hurt. but again she knew she brought it upon herself more than anything else.
this was stupid. the whole idea. the series of events. the extraordinary amount of time she would need to spend away for the whole idea to blow over necessitated a second life in another city. what did she think she was doing. that she would spend a week at her mother's, then return home with everything forgotten about and her life awaiting her return.
it was never going to be the same. the words have never made more sense. "...oh i wish i could and i will but i just don't have the time..."
and then she missed the turn-off. did not even see it amongst the vegetation. something that would come as second nature to amy. chicks would beck and call for their mother's food amy would blindly strike a path home. to her mother's home. today she drove onwards.
her mind was not merely pre-occupied. it was infested. hijacked to the point of dysfunction. it was a miracle that amy still had the bodily control to operate her vehicle. what finally awoke her from the myriad of internal conflict between conscious thought and the alien infestation that had been doing ever so well at taking control of her inner sanctum, was indeed a length of drool that fell from her lower lip and struck her naked foot. the awkward feeling induced a reflex action to look at the cause of such an interruption.
the downward movement maneuvered the sedan in left bearing direction into an exit lane. amy eventually sat upright and when her brain recognized the road the little of her left realised she was lost. yet the sedan careered onwards.
later, rather than sooner, the BMW had to stop. either by application to the breaks or careening into a house. the car preferred, and opted for, the former.
directions. a map. a location. a phone to call mother. anything would have been nice. what amy discovered in the summer villa was perfect. it seemed that she would not have to visit her mother after-all.
[1] a point must be made at this position in the document. there has been much harassment to the point of sleep, that my paragraphs are painfully long and make the reading all the more difficult. in this allotment of reslashed i have evidently collated smaller paragraphs. now you know why.
Labels: shortstory
¶ 9:56 pm 0 Comments
- capture fresh images; write at the time
- record moods/emotion; relate to space
- how quickly routine sets in
- found objects -> tickets/propaganda/ etc...
- get out and explore -> familiarity with locals
- try to understand cultural differences:
-> paradoxes
-> extraordinary
-> impossible
Reviews
- give readers some insight
* articulate something reader cannot put into words.
- opinionated within structure
*interest in literature
- expert knowledge
* establish credentials in field
- tailor text to your readership and publication
* highlight and accentuate areas of readers interest.
* publications publish certain tones and styles => eg. savage criticism turned away - readers enjoy positive and uplifting writing.
- no universal standard of literace quality
* what are the intentions of the text
* evaluate the 'product' in terms of its genre
- keep context of text
* place within its genre and time
- word count => expectations are inherent within the properties of publication space
- interacting with a 'consumer' => buy/sell
* before/after - readers; must cater for both; give nothing away of plot etc. ¶ 8:54 pm 0 Comments
1. contextualize
- style
- genre
- director
2. interpret
- plot
- issue
- theme
3. evaluate
- does the 'product' achieve its aims?
- what are the aims
* provide insight over these three (3) categories to entice readers into what you are reviewing.
* sympomatic deconstruction. latch onto and evaluate pieces of the product. dialogue/acting etc
* predictive evaluative comments; such as the longevity of the product.
* implay consensus between writer and reader. "as we know..." "awareness of..."
* read/familiarise yourself with all the other works of the author.
* posit the work within the history of its category/class. - taxonomy
* indicate your knowledge/depth/authority by making intertextual references.
1. do the research
2. who will publish the review?
3. familiarity with product - tell readership insight
4. figure out your evaluation. ¶ 8:43 pm 0 Comments
generated by news
2. Backgrounder
timeliness of event, cover background
3. Event linked
cover an event
4. Hybrid
profile/review or event/profile
=>one person creates something e.g. album or book
=>profile at distance e.g. where an event is because of someone
5. Seasonal
christmas/easter - special occasions: event troubles and how to's
6. Travel
* capture a sense of place
* sense of ethics (review of who is paying)
-> modesty e.g. walking milford track
-> lots of research: facts and figures
why should other people go and how?
7. How-to
most conventional - set out steps for readers.
-> easiest to sell and write
-> all formats - breakout boxes etc
8. Activites
similar to how-to
-> bringing attention to a trend or option/new options
* informative
* personal experience
-> explain depth and balance.
9. Issues
exploring issues and/or debate
* prisoner for life / fear / drugs in sport
=> still must be timely and exciting/dynamic
$ HYBRIDISE -> be creative in mixing genres - everything requires serious research.
To Write Features From Massive Research:
*NB must cover the basic - where, when, what, who, how.
Structure:
at the beginning is the hook
-> something to keep people reading.
Keep readers interested -> disperse drama/high points of story; by personal acts/important drama
If possible link the hook to the conclusion.
hook: slight drop-off: capture: slight drop-off: capture: slight drop-off: conclude - link back to hook. never dropping back to origin, always progressing in intensity in gradual steps.
Lead needs to be very strong to persuade the audience to begin reading.
main types of lead;
anecdotal
descriptive
contradictory/paradoxical - juxtapose
question - setup problem
chronological - where time is important
shocker!
Structure -> angle and lead should suggest the most appropriate structure.
if a stuck, go back and answer pre-questions. the questions that developed the research and answer those. ¶ 8:42 pm 0 Comments
1. Define Audience
2. Generate Questions
3. Outline Scope -> from generated questions
4. Query -> before investing research query editor. what you know the editor should know.
a) hook
- problem/solution
- information
- question
- anecdote
- attention/hyperbole
b) pitch
- brief summary
c) body
- 2 paragraphs, provide detail
d) credentials
- simple...potentially sources and interviews for article
e) close
- word count & sincerely yadda yadda
5. Research
- interview
- documentary sources
* internet
* databases
Types of Feature:
Newspaper/newsreview Vs. magazine/wknd throwaways/special interest/inside mag
1) news-based feat. -> generated by news
2) backgrounder -> timeliness of event, cover backgrnd
3) event linked -> cover an event ¶ 6:11 pm 0 Comments
Features in how to do this:
Structure -> paragraphing
very short: one sentence
30 word maximum
2 clause maximum
limited complexity
use of relative clauses only when necessary and only once in a sentence.
Grammatical Structures:
to make easier to read and removes bias...
co-ordination - but, and -> info of equal weight
used less because it prioritises info thus creates bias...
sub-ordination - while, if, since, when -> drop on former clause
ACTIVE over the PASSIVE when at all POSSIBLE
-> look at the relevance
if, the passive places emphasis on the subject of relevance then use it.
Verb Usage:
concrete, fact-stating, verbs - not sensational.
+ try and avoid two-step, compund, verbs => use single word.
+ avoid attitudinal or judgemental words -> use direct quotes for this.
+ avoid: cliche - euphemisms - technical jargon - formal conjunctions - archaic/formal expressions - slang/natural expressions
Punctuation:
not used... the colon and the semi-colon, brackets.
used.... fullstop, comma, quotation marks, hyphen, dash, CAPITALISATION, parentheses. ¶ 6:02 pm 0 Comments
1. bright line lead
- pique readers' interest in other ordinary story
2. short jab
- first sentence of 3-7 words. then a 2nd of 18 words maximum.
3. surprise
- sting in tail - unexpected twist
4. tag
- package in several pieces of information of apparently equal newsworthiness.
5. shotgun
- similar to tag. each element occupies a short sentence of its own. (followed by nutgraph)
6. narrative/anecdotal
- descriptive and present tense. needs to be immediately followed by information.
7. descriptive/scene
- creating a scene/emotion/atmosphere.
Attribution:
quotes - paraphrase => authority
secondary => also makes interesting reading
* human or documentary sources -> gvt reports etc.
=> tell reader where info came from
- do not use a direct quote in the lead -
1. direct quote - concise/colorful/coherent. never change words_ accurately or not at all. correct name and clear.
2. indirect quote - paraphrase of individual's words to make sense/point within context.
3. partial quote - lead into and out with ...
all quote must make grammatical sense within their position of the article. ¶ 5:54 pm 0 Comments
* impact/relevance - for audience are newsworthy
* proximity - how close is the audience to the story -> a. geographic. b. cultural.
* prominence - elite importance
- does the media preserve the structure of the elite by repeatedly affirming stature?
* timeliness - sensitive to context and media
* conflict - fictional novels demand conflict => news revolves around the conflict of the world.
=> disproportionate representation of conflitct in news. -> threatening and destabilising of society's/cultural values.
* currency - recycling and feeding stories
* odd and unusual - bizarre/quirky/novel =>change
* frequency
* threshold - size and/or volume
* unambiguity - easily interpreted
To write a summary lead answer as many as possible of; who what why when where how
Sources usefullnes in descending order;
authoritarian institution - e.g. government
academic institution - e.g. university
alternative institution - e.g. gay and lesbian
shopowners/landowners - e.g. representatives and public relations
individuals ¶ 5:47 pm 0 Comments
1. That newsreports are accurate & balanced & complete
2. Information relevant to what people should know & need to know
3. Reporting should avoid harm
Skills of Journalists
. communication skills
. a questioning, curious and inquisitive mind
. writing abilities
. news sense
. IT knowledge
. listening/language/interviewing skills
. general knowledge
. empathy, patience and understanding
. a sense of working for more than self
Newspapers:
expert interpretation.
=> sectionalisation -> developed knowledge of audience and field -> experience base => specialised
experts => journalist as mediator => public
Article styles:
Most common and useful for reporting hard news... the inverted pyramid
required hard-hitting information stacked at top. so that the reader knows events in first paragraph. continues into details, quotes and argument.
alternates:
1. circle - create a starting point which is the conclusion
2. anecdotal - relate the facts to a personal story
3. hourglass - used when 2 1/2's make a whole. info-detail-detail-info.
4. running - live as it happens
5. technical list - list of info
6. foreshadowing - key scene (description) then stat to lead into key points.
Transitions.
~> move to two different but connected points. followed by...
NUT GRAPH -> this is why we have written the story. ¶ 5:30 pm 0 Comments
Field -
stable obvious fields (topic) -> remain the same thoughout (usually)
Tenure -
(audience, readership, relationship between reader and writer)
text implies a reader
*examined prior to writing a text.
-> thought of tenure throughout writing
before writing know your audience's:
- age
- education
- demographic
- interest (required knowledge in topic)
- cultural background
- gender
- lifestyle/money
- ideologies
- location
Finding Audience:
* Identify publications readership ->do they correlate?
* use writing techniques to place the writer within the position of the reader.
serious
objective
impersonal
humorous
personal
opinionated
-> mood in clauses
- declaratives
- interogatives
- ellipsis
- imperatives
-> vary subject of clause
it/she/he/noun
pronouns...you/we/i
-> express attitude
judgement/opinion/emotion -> creating relationship
Similarities:
-> each text is an e.g. of genres -> they are not random
The use of high and low language for readership -> variations
continuim of formality; invisible/visible author
+> direct
+> vernacular
+> complexity of language
....all these things imply a reader/audience.
similar processes of creation.
Differences:
largely in readership.
huge increased readership for factional texts as compared to fictional.
fact cannot be changed - it is reported.
Principles of writing investigative journalism:
*Awareness... notice and remember details -> shapes, colours, phrases, positions...etc
*Empathy... aware of life from 'other' perspective.
*Ego... should be promptly eliminated - effacing oneself.
*Purpose... writing with clear intention/purpose rids purple and superfluous passages.
Learn To...
notice:
1. treat the everyday as foreign and bizarre
2. stir things up ~> force yourself out of your habitual mode.
~> be inquisitive - ask questions about everything
+ take.record reality - how.what.when.why. ¶ 5:13 pm 0 Comments
have it squeezed into position and follow me. not once but twice i asked for the finer points. oh for those delicacies to be shown and made known to all those who wished to look upon such work. what was left however was the mind-numbing work of receptionists and temporary employment types. those who dribbled on and gruelled for the tedium in order for their otherwise fruitless livs to continue. the working dreams and drinks of yet another frustrated artist caught in the trenches of a capitalist society. work-time-was-paid. this will never do.
<><><>the insipid characters; left to their own devices would chatter inanely to themselves about the latest pornographic flick to pass through the soiled - and closing - 'Arthouse' cinemas. or - as it was often done - separated from anything that may remotely represent a free-thinking individual, the 'worker' has been placed in a position with communicable access. in the latter case screaming communique may be intercepted. such writing would denote the despising of said workforce and the need to create, divided of course by splatterings of occasional drivel posted to labelled 'loved ones' on correct thoughts, issues or banalities that may have at some point been remembered by the sieve thay call their memory.
<><><>these great works of the ordinary fill the greater majority of minds and pop culture, with them - such works - so conveniently labelled alternate culture. a life that is in all reality not worth living, but alone worth the expense to be marketed, categorized, and sold to the mainstream in palatable meat dishes. the nine-to-fivers flitter in a media pipedream, as they are flooded with the excitement of an alternative - an other to the boring pathetic existence that they grapple to hang on to; that which they call their 'lives' - lifestyle that involves saving little coupons, having a monogonous relationship/marriage, caring about their children and drinking beer - is heightened by the 'other' - lifestyle that involves saving cute animals, having promiscuous sex, caring about world politics and taking drugs.
<><><>music may have something to do with it, but no-one knows what that is anymore. and art has always had a pretensious language unto itself to preclude and exclude absolutely everybody.
<><><>ultimately the whole mess was completely tied up. people had begun wondering why it had not collapsed in upon itself, but concluding that they had no answers, they stopped thinking about it (in fact they stopped thinking altogether) and returned to socially important jobs; such as answering telephones. the fact that it had not collapsed on itself thus far was a satisfactory indicator for them that it never would; and if that was not the case then it would probably definitely not be likely that it would collapse in their lifetime. therefore it would be a problem for another generation - different people - a different world. as long as it didn't affect them than that was o.k. they would be too busy anyway. what with tickets to stamp, telephones to answer, and files to be filed, who had time enough to consider the consequences of it all giving up on it itself. sure it would be catastrophic - it was agreed. and most likely at the point of recognition it would be inevitable. so at what point should one care if the insurmountable consequences were precisely unstoppable? the answer is simple - at no point. and their never was one. however the consequences were never quite expected. the consequences could never had been better. not even if someone had planned it.
the idea had seemed ridiculous at first. but Jack was never at all worried about first impressions. it was as he thought it would be, the last impression that really impressed - made that first painful cut a little deeper and got the blood flowing - this got Jack's heart racing and he knew he was on to something.
<><><>so it would work and if, nay, when it did the idea would effect enormous change. what change to be expected exactly was still quite unknown to Jack. the change however, he was sure would be stupendous. how it would bring about this stupendous change Jack was even less sure about. he was certain that it - the idea - could do it because change was part and parcel - inherent - of the idea. yet the idea itself would indeed have to be understood and ultimately enacted. this worried Jack greatly. the concern for Jack was not time, resources or initiative - those three treachorous things that thought to torment the think-tank - the concern laid directly with Jack's most present inability to persuade his thought into a concept - into a form, but not into just any form, specifically into an intelligible form. not just any intelligible form, but an intelligible form that Jack may be able to work with, to come to understand. the idea was presently unworkable and therefore utterly useless to Jack. this frustrated him endlessly.
Bill never suspected anything. not in the sense that he was wandering, rambling, the world unnnoticing. rather he knew too well of his suspicions that drove him mad with idiosyncrasies. as such Bill rathered to be considered slightly pretensious and naive rather than suffer from himself. so in a way Bill allocated his suspicions the way of his expectations. in a sense he deposed them onto a nameless someone else. someone belonging to a social class that he conveniently self-omitted and denied any trace connection to. thereby removing any suspicion or expectation from his self. it proved to suit his purpose well enough and sat well with his parents, both of whom were under the unjustified illusion that their son was a well-adjusted performing member of the society they loved and nurtured (unlike their son). the truth was that Bill was far from a well secured man in a nurturing society - whatever that may have or may not have been.
<><><>Bill enjoyed the surplus of emotional surprise he gathered from his lack of expectation and suspicion. considering that he never thought ahead of suspecting negativities or expected the best or worst of something. Bill experienced dizzying wafts of greatness of emotion in its most joyous and catastrophic. this also made him an unsociable character, but on the other hand this trait simultaneously made him someone that most people wanted to talk to, in depth, personally and usually alone with disturbingly quiet background music.
<><><>Bill's reaction would constantly be honest (and honestly shocked) and uncensored due to his peculiar nature. not that everyone enjoyed that response at all, or all the time, but the beauty of such a repose took a hold in everyone he interacted with. this was the drawcard - this sensibility is what drew people to Bill. Steven would never admit to confiding in Bill. and Bill would never speak of their - or anyone's interactions with him. sometimes, however, Steven would lie in bed, unable to sleep, thinking, reposing, considering his flatmate Bill. perhaps it was love.
Bill's parents had done a better job of nurturing the community they lived in, maturing their society, than they ever could have with their only son, Bill. how both of them spoke of loving children, but that Bill was such a handfull all on his lonesome; and that would be the end of Bill's applause. the conversation would stem to the little league, and then the parklands maintenance, who was on the PTA and why hadn't the GST been introduced into the taxation system yet. oh there were, are, greater concerns at hand than the raising of one's own child.
<><><>actively involved within all the going PTA's, community services, extinguished clubs and political concern groups - Bill was in turn enrolled into every kiddies, mock and junior association partner committee of his parents' involvement. in this sense Bill was cared for. in this sense, Bill never met any real kids outside the local public school, and because he would not meet up with other kids outside of school because of 'prior engagements' - as his mother would say - Bill's peers thought him a weirdo and never looked upon him politely. on the odd occasion when the children of other members in Bill's parents' chosen group were old enough to join the said group - or join the army - Bill's parents would set-up a kiddies association in which Bill comprised the only member. in these times Bill would daydream - of imaginary battles in which he had a battalion of men in terrible odds in which he would always rise the victor, or sometimes about winnning the local cart race down the big dipper - a local event that his parents disqualified Bill from participating due to its lack of intellectual challenges.
<><><>Most of the time spent day-dreaming, however, was spent creating a girl. of course at this point Bill had no idea of the full potentials of girls. that the could fight in combat (if they wanted to), they could administer a nation (if they wanted to), and they could even break a man's heart (if they wanted to). Bill just thought she was pretty and that she would be a fun playmate. Bill did not know about love just yet. and Bill certainly did not know about Amy, just yet.
Labels: shortstory
¶ 10:38 am 0 Comments
...progressively closer in a single stroke...
...glides comfortably and effortlessly across your...
...lubricating strip that fades away...
...you are no longer getting the optimal...
...rub into the affected area...
...friction may cause uncomfortable warmth...
...to hydrate and moisturise...
...use to make the best even better...
...delivers protection and comfort...