A Theology of Thunder

The peculiar tale of the discovery and ordering of this manuscript will be told at a more convenient time. The peculiarities of its form of recording deserve their own discussion – suffice it to say that the text is a gloss of a Hittite or eastern ancient Mediterranean language unknown until the ‘Vrontin’ carving was found in the cave in mountainous central Anatolia. It is perhaps the stub of an alternative development of a primitive religion, although the inclusion of unparsable terms makes its translation very difficult. To aid in comprehension, we have entered the most likely English counterparts, although it should be remembered that, for example, the goose noted in 15 [1] is probably not any species of goose that the reader will be familiar with, although similar behaviours have been found to exist in aggregate over many populations of goose across the world. The most difficult term to translate was found in carving 3.1, where a term for emotional brain capacity was found wanting. We have used the vastly unsatisfactory ‘limbic system’ as a stand in, waiting for a time when a translator with the right powers of sight can offer up a more fitting word.

With regards to the numbering of the individual epigrams, the translators have here grouped the terms in order of likely relation, given the variety of their array and depth in the cave. Roughly (and this will be gone into in more detail in later articles) the lower the appended figure, the deeper into the cave its hieroglyphics were found. Numbers in square brackets indicate the rough location of repeated forms of the epigram, but changed. For example the repeated refrain of epigram 2 repeats unchanged within the system of carvings several times. But the figure of 21 [1.1] is one of these altered carvings, that appears in (roughly) position 21 but also appears redacted in position 1.1, which is to say, related to carving 1 spatially, but struck out, or reversed, or written in a different hand. One of the deficiencies of our manuscript is that it does not indicate which of these separations has occurred. But we considered that even an unsatisfactory preliminary exposure to these texts was worthwhile to readers of this series.

We will of course update you with any exegesis we receive of the religious system here denoted, and of any further carvings that come to light. If you are reading this, we assume you are of high-caliber and fully suited to do the exegetical or theological work required. We look forward to receiving your suggestions.

A quick word for the working title. Originally we had intended to replace the title which casts anachronistically back western intellectual categories into the ancient past. One of our interns suggested Vrontinalia but again, that seemed unacceptable. We assume that a new title will emerge in time through academic consensus.

– The Text –

1 The white moon is rung with haze.

2 The storm has no parent but rises out of the past without ancestor.

3 The storm neither breathes, nor holds its breath, but breathes and holds silence within itself.

3.1 The storm propogates out of itself in shapes different and indifferent, in the limb, the nose, the eye, the limbic system.

4 The storm is peace and war, and fear and love echo from it.

4.1 The storm is peace – thunder brings the force of silent contrast.

4.2 The storm is war – lightning breaks the branch and water breaks the land.

4.3 Fear echoes from the dark storm but love is bright in the eyes beneath it.

[…]

5 Nothing can stop the storm, neither can it be held back from where it wishes to go.

5.1 Only by moving the land under it, or by moving upon that land can an end be found.

5.2 The storm moves on, and beneath it the land changes, or does not change.

6 The air is heavy with rain.

6.1 Quenching will bring emptiness and fill the land, and press it down.

6.2 Water is heavy as rock, and yet the storm holds it dark in the sky.

6.3 A feather is light, and yet the storm brings it to the surface of the water.

7.1 The storm has an eye but cannot see.

7.2 The storm has arms that cannot touch, and cannot help but touch.

7.3 The storm has no head, and so when it thinks, it thinks only in patterns of water.

7.4 The thoughts of water guide the sky.

8 The storm cares not where it strikes.

8.1 It will strike the same place again and again until that place is wrack, as no custom has reach over thunder.

8.2 The storm’s finger points but does not blame.

8.3 Blame is for the breeze, and the small branch that taps on the window.

[…]

10 The storm cannot be read, for the world has tried to read the storm and failed.

[…]

12 When it rains, it pours, or the pour is missed.

13 [10.1] The storm is never the same, for sameness is never present within it.

13.1 [10.2] The storm is never different, for difference is not present within it.

14 The storm has no parent but rises out of the past without ancestor.

15 [5.3] The storm rests in the sky whilst it boils in the cup.

15 [1] Every day the goose flies low under the black clouds.

16 [2] The storm is afraid of the spiders web, and of the dew on the grass, for the spider is sharp and straight, and the dew is a small jewel.

16 [1] The moon’s black belly holds within it the storm, therefore watch for the black moon if you search for the storm.

17 [5.4] The storm tears when it moves against itself.

18 The storm will strike down the highest first, but will strike the dancer before all, though it loves a dancer.

18.1 The storm cannot abide disregard.

19 The storm is sad and slow, and the storm is fast and joyful.

20 The storm will wake the sleeper.

20.1 The storm draws unto one all who hear her.

20.2 The storm will wake and draw all unto one who hear her, and all that cannot hear her, but feel her.

20.3 Lightning in time is nothing compared to the storm in time. But in mind the flash overrides beyond its realm.

21 [1.1] The storm is heralded from afar by thunder that ties time to the land.

[…] the storm without warning […] shores [illegible]

22 The storm has no parent but rises out of the past without ancestor.

V.81

Sunlight pours onto the woods like
a proprietary logo,
And my movement changes, I am
now able to jump slow and high,

The trees are so crisp, they are cut
from the woods and become assets –
a simple tap and hold of A,
and the wood, leaves, something would be

mine. How well the code works, how well
the random terrain generates –
seeding nettles and cow parsley
over the seasonal bluebells.

How smoothly the particles fall,
how elegant the light engine,
how quirky are the NPCs –
here comes one now, out on a jog –

How quaint! I begin an event,
someone talks and I miss the prompt –
failing the conversation. I
activate my door and head in.

Congratulations! You have found
poplars today. The next level
begins tomorrow. One percent
completion remains an odd myth.

C to M

Unbelievable. Words are meant for pages,
not to echo over the fields behind houses
disturbing the moths in their evening light.
Words are meant only for games
and this is not a game. I said stop.
You need to speak now, we’re here.
I’m here, you’re here, we’re here.
What are we playing at? What just happened?
We had an ice-cream together
and it was like the last ice-cream piece
of the ice cream puzzle. But it’s gone.
We were like two intercity kiloton trains
that missed the crash we could have been.
Ignorant that all of us crash, it’s life.

But our verdict is not stayed by vague gestures.

You are like the frame of everything;
I’m like your cracked painting.
And you’re mine. You’re my painting,
my nude by Georges Braque, a person,
but unlike any person they know.
I could never have said this til now,
it’s like someone is speaking through me,
my voice is no longer my own,
but I’m going to take this chance to say
I love you, M, I’ve said it before.
But I don’t think we ever got through
to a precise entailment of that statement.
You are the thorn in my side that I need.
You are the constant pain that lets me know I’m alive.
Or am I that to you? I’ve lost track. But that’s it;
If they tried to unweave me from this world,
they’d have to take you too, otherwise
what’s left would not make sense.
You’re like the light by which I am seen.
Without you I am not me.
We evolve together like the beetle and magnolia,
But who is which, changes.
Stop, let me make you a statue to yourself.
Let me be your pedestal. Let us hold us.
Stop, let me punch your enemies in the nose,
and redeem all your relations.
Let me become something that we become together
Let us realise that we become together.
Stop, let’s lie down here in our hole, our glass bauble
And work through everything in glorious variations
of sex, like we were carved by the ancients.
Things are going wrong all the time
And we aren’t owning it. Let us own it.

When we are hurt, we are the uneasy angel,
making uncertain vows to save us.
Now Editor, Stop. Allow us this
Of course things happen in unlikely ways,
Let’s not be melodramatic about it.
Leave the future to those who live there.
We are our fate.

V.80

Memory danger. It’s a pinch.
They’re in our heads, in our bodies
They could strike at any time. Know:
Memories are dangerous things.

They wrench our heads through time, it’s worse
even than the ground opening
and letting you plummet away.
Just to jangle from side to side

from rock face to rock face – insults
raining from their mouths. “Good lord, boy,
Call that falling!? A downy scrap
of feather would do it better.

Call that hitting your head? Go on…
Pull the other one! Try again –
Oof but that was okay, good byeeee!
AND THE DARKNESS SWALLOWS YOU UP.

So melodramatic, but yeah.
It’s like the world is scattered all
with massive invisible traps.
Bear traps with a ghost chain attached.

And then you drag the ghost around
as it complains mightily – “Please,
I’m as tired as you, my liege. But
can’t you stop that racket I’m sick”

On Death Note (Spoilers)

I

Why, shinigami – you are sending L around the damn bend
he can’t see you – realm of the gods of death.

Things are going mad – the laws of death spin in a great car crash
of contingency – unending pile-up.

How were you to know – thinking you were bright – but god-of-death-dark
sinks petty brain glow in the deep, red, eyes.

Shinigami – red apple of memory – how death will not be
caught so easily – ‘according to plan’

[x x x x x] [x x x x x] [x x x x x]
[x x x x x] [x x x x x]

J

Careful what you do – cos god is watching your every move –
but why aspire to be gods – when you are one?

I hear the bell – yes unusually – come in out of rain
don’t believe my words. life is nonsense now.

Humans are not truth not perfect – they lie – I have no reasons
I could spell out now – I just know you are

Diabolical. I wash your feet – you who I know will end
this life – I will die but I will win – how?

I resurrect now in the sympathy, absolute, I have
with the life process which will avenge me.

K

I cry over my own funeral when – bored and walking home –
there is no device with a battery.

I imagine all tears, fallen and sounds in the dark chapel
of my grandma’s church. My grandpa cries too.

I hate death more than I hate any evil – for it underpins
all evil with means – with time, wrongs would end.

Empathy in a pathetic empty soul, glories in the
image of honour, in lieu of acting.

It’s when light kills L – he shows his weakness. True gods spurn revenge.
In Light, good’s hollow echoes, emptily.

L [You will pay for what you’ve done]

The absence of law as concept from the series of Death Note
vitiates Light’s view – Nature of justice

being an absent thing signifying, thus the complete eclipse
of morality in puritan sin.

The haute bourgeoisie reign supreme in realms of life and sharp-death;
a new god is, well, on the up and up.

This god is the class of young male and rich with supernature
on their side via writings of pure name;

a tall beurocrat of the spirit realm – if you break his line,
the line twists around – and tantrums hang you.

Ships and Stars V – Experiment

After accomplishing feats beyond our far sight with compounds that behave like emotions, growing crisp if left alone in rain – time travel was begun.

We did not realise at first. When we become this complex, new things often appear first as violent accidents – the death of 2 by light

speed, unexpected. More – death of 1 by extreme gravity, of sudden onset, quite a surprise. With time, it was the same. The girl was unprepared.

When sped up that vastly the speed of earth through space becomes quite a sight; her laboratory jumped up, blazed like a star and was gone. No-one ever knew

Ships and Stars III – Solar

This star really cares for you. It sends out tiny formules to subtly alter your life – waves the size of solar fields flow through the gaps between things whilst hugging each living crowd, and silent material

indiscriminately fast. It sees oceans blasted off in clouds of silver crystals – pearlesce in the bright darkness, the mystery of the cards – that is, the infinite planes, stars arrayed in contusions.

Here, a crab, a fool, a drift of the aeons, each of which with a particular twist and flick, sends spells to raise us almost unnoticeably from the darkness – but en masse they make a thrumming cascade.

If there was not this support – each star’s clean cut influence – then the world would end, fold in. And that would be it. A proof of the love of everything for everything else, is this asteroid collapse into

Ships and Stars II – Replica

All of us now dream of being the first human to be allowed to speak to the first made mind – crisp, and disconnected from all of this history

A bright light that simply switched on one day by freak creation, somewhat like we did. We hope to talk to a mind that displays its magic on its case.

Of course, now computers are organic seeming we can fulfil this kink simply by talking to each other – frisson shudders through like voltage.

We identify with the hero, the computer who is new and here to save us or destroy us. A complex, uncontrolled, replica of ourselves

Ships and Stars I – Galactic

Sometimes I don’t know whether to plot the course of our long and varied galactic run – the stellar cultural forms we shall pass through – or to sit in the garden on softest grass, lie, gazing at daisies.

I would like to say I lack understanding of this – but that massive understatement would leave the gulf between me and this high crown of petals unaccounted for – small chips, dry stalks, and so on.

Or could I plot new courses never before flown – or ask why this ‘never before’ is quite as important to us? Or I could absorb seasons of TV as if I were the wires themselves, dark angels

Or know all this illusion is simply there to shore me with all possible solace. If I can do this, that, why am I drinking thought’s hemlock, surprised at the dull undone.

A Pound of Flesh, by Paul Éluard (1948)

I am a man in the emptiness
Deaf Blind Mute
On an immense pedestal of black silence

Nothing This oblivion without end
This perfection, a repeated zero…
Solitude, finalised

The day is clean of work, and the night is pure


Sometimes, I wear your sandals,
and I step towards you

Sometimes I put on your dress
and then: I have your breasts, your stomach

So, okay, I see myself under your mask
And I know myself

*

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