The basics of their story are as follows:
- there was a wedding
- nearly a year later, a honeymoon
- followed by her father’s swift, surprising death
- succeeded by the loss of a child
and the presence of a curious cat.
The basics of his story are as follows:
- there is a woman
- he has many sorrows and passions
- there are children involved
- he is poor
- from a distance his life’s deemed “ideal”
the cat’s name is “Fractal” or “Luna,” a.k.a “Predicate Isabitch.”
His sorrow lay in the pace of things. Both what there is, and what there is not.
No matter the fortunate outcomes, or happy resolutions, his reckoning turns it to grief [perhaps in the manner of Werther] – a “bent,” a “perception,” or “filter.”
Turns to literature and texts of all kinds, from the dead – in near religious belief [nigh Fundamentalist fashion] that they bring joy or consistent melancholy satisfactions.
Alias Harlequin is sick and he’s dying – he knows it.
He lies at the end of his rope. STOP.
Impression alters there. Import and significances warp.
Some things that seem pressing, dissolve. Don’t matter the same, at the ends.
Will occur, and pass by, to negligible consequence. Comparatively.
Other happenings seem to reveal profound differance.
True import (such an intimate, idiosyncratic affair). Nothing true, yet perhaps only.
Alias sits at his perch on his porch, calculating.
What’s the matter (for the head, and the hand, and the heart)?
While Laramie stumbles at camp on a rock. And he falls.
We don’t (always) know what we need when we’re down…but (sometimes) we know what we don’t…
Polysemic Stupor 