The Last Questions for Jerry Schroeder concerning his hologram/ hologolem as narrative (interview part 4)

Symphony is an amazing work by Jerry Schroeder, a 1,000 page epic journey through initiation and the magical universe. Check out some samples at Quizmeta .

This is the final part of my interview with Jerry on his multidimensional book. Check out the first part here, the second part here, and the third section here.

What role does initiation play in the narrative?

The entire book constitutes an account of one tall in a short cup/a billion seemingly infinite initiations. Could be for readers too, maybe, but.  The narrative might more actually speaking be said to play a role in initiation.  Most people need to be going through some kind of initiation to get it. I know one person--also once-mentioned in the book-- who was only able to understand it the one omnes time she went into ketosis. Another person opened the book, and landed on/in that page out of 1000 where his own name appeared.  He slammed it shut, refused to look at it again for years, until his father died and it all started to make sentence sense (not that I see myself supporting the black iron prison).

Characters seem to shift identity and names. Can you go into the role this shifting characterization plays in Symphony? Also, can you talk a little about the main character?

Multiple emanations of God.  Really.  The main character constitutes the initiations embodied as humanoid, mental case, mystic, mistake, author encore, etc.  Also covers people’s legal tracks, and hides them from certain agents looking for them.  The main character is a card.  A tarot card.  In fact, a deck. Character, deck: a whole space ship dreck deck, a whole holo deck dreck of characters, yes?rmhousesandbarnsagaindespitetheirutilitylastnameaafnufaunaaaeglalgaeaaegpagapeaaegt

While not a memoir, how have you drawn from your life for the narrative?

Actually speaking, as one or more of my more paranoid mentors used to say, it’s more a memoir than a number of other things, which is of course why it has the opportunity to looks like such a laddie load a bullshit. But then again, it’s not really a memoir.  My life just got drawn into it, like shit down the drain.  I would say that it might be more causally accurate to see my life as having drawn on the narrative, though it did get a spanking, a grounding, a forfeiture of allowance, no TV and a trip to confession for doing so in indelible markers and dog shit insignia on the nice guy’s garage wall.

The book owes a debt to James Joyce, among others. Can you go into this connection some more?

Hologrammatic manifestation of as much as possible at once, Joyce’s brilliance at this.  The miraculous not only in the supposedly quotidian, but indeed more accesible there than under the bright lights of ego stardom.  Hyper-density in magical cognition.  By the way, Joyce won’t accept my currency in the pay-off as he claims it’s counterfeit.  Now what?


What other works and writers/artists influenced the text?

Blake, Anton Wilson, Beethoven, many, many. Castenada, Gertrude Stein, bill bissett, Shakespeare.  Stan Brakhage, Bach.  Vallejo.  Emily Dickinson.  David Antin. Neruda. Tends toward modernism, I suppose, but revitalized  formally for visionary reportage.  Modernists (though only technical advice).  Coolidge, Dick, Burroughs, Gysin, Cage, Karasick for fugue.  McKenna. Language poets, albeit problematic. Books of Genesis, Revelations.  The next generation.  Jackson Pollock.  Joseph Caveno.

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At 1000 pages, how long did it take you to write Symphony?

Not counting prep work and initiatory mechanisms pre-wired from puture and fast, about 7.5 years.  Transpersonally, at least 3000 years as a humanoid, considerably longer if one factors other species and entities in. Who By Fire by Leonard Cohen playing.

From a process point of view, how do you write? Do you do it in long hand first? Do you use a computer? What kind of writing space and schedule did you keep? 

For this one, a lot of early longhand notes, though the keyboard took over pretty early into the process.  Now I’m mostly a computer, though I do take long hand notes at the time boundaries, sometimes.  My schedule was all over the map, irretrievable.  Now I write to a schedule, for I have become a quasi-autistic hermit as I write Series E, tales of the secret paths.


BY the way, the latest edition of the Exegesis (Beatles Los Paranoias playing), pages 581 (the footnote) and pages 581-90 seem venty relevant here. Now it’s Bowie Queen Bitch live at Santo Manica, 1972, playing.  Bippitty boppitty!


Now REV, I’m hoping this isn’t actually a spoof like that innerview you did with that other famous Canadian author.

Sorry, Doc, not this time.

More Questions for Jerry Schroeder concerning his hologram/ hologolem as narrative

Symphony is an amazing work by Jerry Schroeder, a 1,000 page epic journey through initiation and the magical universe. Check out some samples at Quizmeta .

This is the third part of my interview with Jerry on his multidimensional book. Check out the first part here, and the second part here.

The work can be read straight through or by following other vectors that are actually hidden narratives within the text itself. Why did you structure the narrative in this way? How difficult was it to get the mechanics sorted out?

Mainly to catch the complexity of experience that I in this intercranial incarnation as an averaged out humnaoid actually experience. The multiple font portion took 3 years to write and collate. It has some fairly strict formal and numerical constraints, the kind that can slow writing speed down to a sentence or less a day.


There are a couple of instances with there is a meta-commentary on the structure/intent of the text itself (for instance, on page 514 and on Page 601). Are these accurate assessments of Symphony from within the text? Within the text, the narrative is connected through several dimensions simultaneously. Does this metacommentary show that the work is conscious of itself? Is the work connected (or interconnected) to the “real” world as a possibility or alternate universe?

To the best of my knowledge.  There are actually many, many more (arguably every word in the book).  (“Diamonds, Fur Coat, Champagne” by Suicide playing.) One working title was The Living Book.  Certainly, among numerous other cababallistic possibilities.

There is the occasional “typo.” Are they intentional? For example, Loa Tzu on 461 instead of Lao Tzu, (given that Loa a reference to spirits in voodoo).

I thought there was a shitload floda typos.  Then again, one aeon’s typo is another’s codex key.  On page X it says “Every typo is deliberate.”  On page Y it says there is no typoes or gramatcal mistakes, “ or something some such.  This is all true. This book has been very heavily edited.  Rev, you’re bang on the old voodoo drum with ol Loa Tzu. Loa Tzu and inverse corollary esoteric action in the swamp all end up at the beginning of yet another consensus meltdown downtown and all around.

The typo-like constructions gring the reader to the moment of compisition, just as a pianist might be to a keyboard etcm puts one there.

One thing I would note would be vis a vis the grammar.  In the book, there are numerous grammatical constructions that appear, ahem, rawtha “exotic,”  if not downright WRONG (sick and wrong?), particularly in the poly(p)modal fugue sections.  One clue I would give the more normatively inclined reader would be to track her/his sense of this as these shaky grammatical moments oscillate back and forth between suspect structures and elliptical constructions.  Look at Joyce for some less schizophrenic uses of such structures, Stein too of course.  One of the disappointments of my mortal existence as a reader of contemporary literature is witnessing the extent to which deep grammar doesn’t seem to get exploited for its entheogenic possibilities.

Reading these constructions with full attention to rhythm also allows one much more access to meaning, and gives a better understanding of the book’s title.  Also read while focusing melodically.

Each page is designed as a single unit even within this larger project. Can you talk more about the reasoning for that?

Hologrammatic all-one-on perception of inifinity, universe in every grain of sand, panels from the walls of heaven, as Kenneth Patchen might have putted it. The single pages are designed to give the reader a massive magical hit from all 32 paths on the tree plus some select secret ones on each page.  Each page is also a work of visual art, albeit a bit subtle and conceptual.  Think Joseph Beuys.  Each page a scrying panel.

Joyce influenced the fugue: each font shift acts as a mass conceptual pun.  Also sentences, paragraphs, pages all function as puns within puns right down to the quark level.  In particular, pages act as pun structures, especially the fugal.

How does this work reflect your own concept of a magickal universe?

In more ways than I can describe: at least 64, to tip one’s blade to that sense of an I-Ching exacto knife.  All space-time unified in a traversible web of secret paths.

With the structure, there seems to be a nod to Deleuze and Guattari’s idea of the rhizome. If so, how is this expressed in the book?

Yes.  Repeating spatial arrangements, words that demonstrate multiple schizoid identities and interconnection.



Stay tuned. The final part will be coming soon.

Some more on Symphony by Jerry Schroeder

Here is a continuation of my interview with Jerry on his hologram / multidimensional book, Symphony.

Check out the first part here.

What is the origin story for the book? How did you come up with the idea for it?

The “story,” such as it might be, originates out of an initiation that caused me to have to process between 65 and 70 complete, and at times extremely contradictory and quarelsome, realities at once.  In some ways, the experience has resonance with Philip K. Dick’s Valis transmission. Indeed, looking at the recently published version of the Exegesis,  I’d say there are a fair number of overlaps, though I processed the experience rather differently.  By the time of the experience I had read some excerpts from the Exegesis in Dick’s Selected Non-Fiction Prose.  I read Sutin’s edition of the Exegesis in around 2002.  Of course I knew about the experience, had read Albemuth and the Valis trilogy.  At the same time, it’s a mode of expression I’ve spent my entire infinite life attempting to develop. It’s also embedded within an experience of path 25/Samekh/Temperance/Art. Leadbelly, “Outshine the Sun” playing.


Can you talk about the structure of the novel?

It’s actually not a novel, though there’s one thread that’s slightly quasi-fictionalized.  Of course, from the perspective of that one hologrammatic thread, yes, I suppose Symphony could be read as fiction. Otherwise, it’s reportage, an interview of a transtemporal, multispatial, metaquizzical averaged entity, though not a memoir, and not tempura. Many renditions of what it “is” do not really emerge until after I dies. So not a memoir, and also because that genre implies memory of the past, while what gets described in Symphony goes constantly. Sorry bout that.  Think of Castenada, perhaps. The only mostly fully fictional work I’ve completed is The Great Time, Book 1.  There are also fictional components to Every Atom Has a Holiday.  And of course, Rev, there’s our co-written epic in progess, that torque-wrenching tale of heartbreak and triumph in the bionic age, Deus Fever.

Structure-wise, the book has a number of interlocking aspects.  One obviously consists of the 32 paths of the Hermetic Kaballa.  Another is the I-Ching. The numerical constraints/openings that are present on every page of the book take form from these operational algorithms, among others.  It also has numerical and phonological structurings at the sentence and line levels.  Structure is something I will leave a lot unsaid about, as the book is designed to structurally unfold in the reader’s mind as a process of self-initiated idiosyncratic comprehension. Overall, though, one could perhaps say that it has fractal and hologrammatic and self-embedding and paradoxical structural aspects. Penderrecki, Threnody for the Victims of Hiroshima, playing.

The multi-font fugue can also be perceived as witch writing. As well, on page 482 the text notes that it is a Gott shell, which is a means of time travel that functions by contracting and re-expanding timelines. The multi-font writing also functions as machine elf speech, among other dialects, ideolects, and languages.

Still more to come!

Questions for Jerry Schroeder concerning his multidimensional narrative, Symphony

Clocking in at exactly 1000 pages, Symphony is an amazing journey into a multidimensional, magickal universe. This book pushes boundaries of experimental narrative and form. Audacious, transcendental, frustrating, and brilliant, this is the book I wished that I had written. I rate it as one of the best I've read. Check out some samples at Quizmeta .

Here are a couple of questions I threw Jerry's way (via email).


First off, what is Symphony about?

Well (and let me say again, REV, we are honored and unworthy), insofar as it could be about anything, pretty much all and anything and/or nothing.  It could be read as representation of consciousness encountering its own akashic substrate.  In this case, my personal consciousness supplies some of the fuel for the incineration.  It’s mostly about damn near anything and/or everything: it records an initiation, a sorcerer’s DNA, a mystic’s mutter, among others we will leave to whatever reader stumbles and gets stuck in it will make of its muck.  Hole, “Miss World,” live in Minnesota 1994, playing.  Is Kennedy actually in the house?

What is the significance of the title?

Because each language module functions as a different instrument, the many vessels and strings of the book resonate like different instruments in a symphony orchestra, many at once.  It also refers to itself as a manifestation of one fullest possible logic I can muster of listening to something like, say, for example, Beethoven’s 9th Symphony, five hundred times simultaneously.  Also, the entire phonetic alphabet functions as notes, of course and natch.


More to come!

Introduction for Parasite Vol 1 - revised and improved

Here is the introduction I wrote for Parasite Vol 1 by David Mitchell. However, I improved this version by replacing every letter with the letter "P." It reads far better than my original version, here.




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While you are at it, check out Parasite Vol 2 as well. I'm not mentioning it just because I have a piece in it either ...

Kicking Back at the Taco de Setas

excerpt from Fever by Michael Roth and Jerry Schroeder

The girl behind him held his right arm outstretched, while the other attached the mushroom to it. Her tentacle arm wrapped around his bicep. When his veins had filled with blood, sharp roots, like tentacles from a jellyfish, appeared from the bottom of the mushroom and pierced his skin. Fever could feel a warm sensation flow through his body. He relaxed into the booth, his other arm draped over the back of the seat. He stared at the fluorescent lights in the ceiling. Their soft glow pulsated slowly. He heard laughter and talking as the restaurant became busier. The women took seats in the booth as well and the three stared at Fever as the warm circulated through his body. After a while, he could feel this mind becoming itchy.

“Is the rain falling or is the falling the rain?”

“Are you the product of a spore from space seeded billions of years ago?”

“Who is it who repeats the Mushroom's name?”

“Who is dragging your corpse about?”

“What did your face look like before your father and mother were born?”

To read more from this chapter, and other samples, please check out the website at the OI.

More reviews

More reviews past and present! This is a followup to a post last year with a couple of reviews/impressions of work I've done. Most responses waver between laughter and boredom, so it's nice when something strikes a cord with someone and they express hatred or disgust. Here we go!

“Who cares? They are just a bunch of blurry pictures.”

      This was in response to a photo series I did this past summer.

“Sounds like he just discovered his dick.”

     This was in response to a reading I did many years ago on a local radio show. Hopefully, those tapes are lost forever. I don’t do readings anymore. For one, I think they are silly, but also, because of my stutter, they would devolve into unintentional performance art.

“You’re such a fucking square!”

    I think this was directed at my personality and work in general.

The first round of reviews can be read here.

DB Cooper Church of Perpetual Grace Communique 2014

DB Cooper Church of Perpetual Grace

Communique 2014

The Church does not have much time left on this physical plane. While many believe we belong to the past, we in fact belong to no-time. We are a walking suicide, exuding our (it's) own potential, able to bring our(it)self into (out of) existence at any chosen moment. We are not as talented as we once believed we were. We have no answers. We have no questions. The destruction of dreams can compel one to jump out of a plane. That was the first good idea we had.

Tool Shed Art Show

This one-day show featured a selection of paintings and visual poetry works by Michael Roth. It was held August 1,2014 in a backyard tool shed. We believed this was the most appropriate place to show these works outside of the local garbage dump. 

More pictures at  
http://www.opsonicindex.org/graphics/toolshed.html 

and at our new Flickr page (Tool Shed Art Show album)

https://www.flickr.com/photos/126570884@N03/


Who needs an art gallery when you have a tool shed!

Tumble on down

Been quiet here, although I've been posting more graphic related work over on a new Tumblr blog.

http://opsonicindex.tumblr.com

Check it out for the usual range of hack paintings, visual poetry and photographs!

Advice for Artists and Writers

A little bit of advice for both new and established artists and writers from guest blogger, noted artist  Michael Edward Michaels.

Advice for Artists and Writers

By Michael Edward Michaels

1)  Quit now.

2)  I cannot make this clearer  - Nobody cares about your so-called art and they never will.

3)  If you insist on this pointless exercise, know that you will be ignored in life and forgotten in death. For the most part, this will be justified.

4)  Other artists and poseurs will only pay attention to you if you can further their careers. Or make them money.

5)  You are not as important or creative or original as you think you are.

6)  If you believe you have something important to say, think again because you do not.

7)  Narcissism and relentless self-promotion trumps talent. Always.

8)   By the age of 40, your creative days will be over. Accept that you are a failure and move on.

MEM (Michael Edward Michaels) is considered to be probably the 47th best performance artist in the Greater Vancouver area (excluding Metro Vancouver).

Playing Chicken With Dire McCain

My interview with Dire McCain on her new book, Playing Chicken With Thanatos

Dire McCain is a writer, editor, publisher, and creative force. I've known Dire for several years, and I'm always impressed with her energy. We could have easily gone down the rabbit hole of a myriad of other topics, but we focused and got down to what's new and groovy- her new book, Playing Chicken With Thanatos.


The book is based on your experiences growing up. Can you talk a bit about that?

Dire McCain: The book chronicles my life between the ages of 12 and 19, although I touch upon the years that preceded and followed as well. The back cover blurb describes it best:

“Playing Chicken With Thanatos tells a hard-hitting yet sympathetic tale of a precocious forgotten child who sought refuge in self-annihilation, and ultimately had to choose between doom and survival.

Set primarily in Southern California in the 1980s and 90s, the narrator takes you headlong on an intensely revealing and turbulent odyssey through the abysses of madness and junkiedom to the peaks of liberation and personal evolution.

Born from the author’s harrowing formative experiences, Playing Chicken With Thanatos transcends autobiography, evades the niche of vicarious voyeurism, and reaches out an empathetic, nonjudgmental hand to anyone who’s ever teetered over that ineffable precipice.”

Why did you decide to write the book?

DM: It began as a form of therapy, a release of the ghosts that had been locked away and eroding my spirit for ages. Before long, it took on a life of its own, and I soon realized that I could provide a resonant voice and empathetic hand for others who have “teetered over that ineffable precipice,” whatever their demons.


For the rest of the interview, please go to the Opsonic Index website -

My Interview with Dire McCain

You will be glad you did!

A Review of Playing Chicken With Thanatos

Playing Chicken With Thanatos

by Dire McCain

Apophenia

9780615903156

I’m not going to bury the lead. I thought Dire McCain’s book was a wonderful read. Funny, harrowing and emotional, it is a wicked fast-paced ride that is worth checking out.

So, what is this book about? Playing Chicken with Thanatos chronicles Dire’s life as a teen growing up in California and her descent into drug addiction. Dire and her friends spend their days looking for kicks. They have a knack for finding people they can use to get free drugs, and this quest for drugs and parties eventually becomes their lifestyle. Along the way, she hangs out with drug dealers, gang members, skinheads, rockers, yuppies and jocks, just to list a few “types” that come into her circle. And, as a young party girl, she draws the attention of the odd ephebophile or two. Of course, it’s all fun and good times hanging out with friends and getting high.

The first part of the book reflects this mood. The style and tone are light. It almost reads like a picaresque novel, with the action jumping from party to party. Eventually, the good times start to fade. A darker mood takes over as the monotony of addiction settles in. Drugs lose their fun and the personal and physical toll becomes greater. This lifestyle leaves her hollow, an emotional shell.  However, she does not succumb completely to this hell. In the end, there is hope and promise ahead.

While the book itself is episodic, with many chapters able to stand on their own, there is a strong arc and continuity to the story.  The book is structured into three parts, each part named after rivers running through Hades – Acheron (woe), Phelegethon (fire) and Lethe (oblivion).  Thematically, this book is a journey through the underworld, beginning with melancholy before moving through to the excitement and destructiveness of her party days, and on to the eventual final destination, oblivion. It is here that she sees the exit and begins to leave this (under)world behind. For me, the end feels like someone surfacing from the water after having been held under, although Dire does not use that imagery. It ends with her taking the first steps out of the claustrophobic life of addiction and the emotional and psychic toll that life wrought. And there it is. 

While the narrative takes place in the 80s and 90s, the dating within the book is intentionally vague. In an odd way, the story is not necessarily tied to that time, but transcends it. I also feel she does that with place. The work is set in California and she is fairly specific as to locations. However, the action seems to take place without regard to these geographical boundaries, while remaining intimately tied to them. It is not the location or the time that is important here; it is the personal journey.

Dire has an interesting writing style. It’s relaxed, yet intense and straightforward. The language is neither forced nor flowery. The text itself is layered, and filled with interesting allusions and asides. Just check out the chapter titles! When she referenced Fedor Emelianenko, it made me sit up and take notice. Then along came nods to Lolita and Magnum PI and on and on. For me, these “easter eggs” added a depth and playfulness to the text.

There you go. What more do you want? I know I’ve barely scratched the surface for the narrative and did not mention any of the other players except in passing but, hey, this is not Cliff Notes. Read the book and find out for yourself.

Reid Fleming - a little update

I seem to have forgotten to post this, but there you go. Last April, I stopped by David Boswell's table at the Vancouver FanExpo. I asked him if and when a Volume 2 of Reid Fleming, World's Toughest Milkman would be coming out. I picked up the first volume a couple of years ago and have been waiting eagerly for the second instalment. Dave said that he was still writing the last chapter of the Reid Fleming saga. He was hoping to have it finished for next year, but, depending how it goes, it may be another two. He also mentioned that the final story has Fleming competing in the Milk Truck games for glory and more. (The games may have a swimsuit competition as well!) Definitely going to be worth waiting for. If you have not checked out this comic yet, grab the first volume which collects Reid Fleming, World's Toughest Milkman volumes #1 to 6 plus Heart Break Comics which features Laszlo (with appearances by Reid). It's a nice hardcover with a decent trim size and great reproductions of the artwork. All for around $30!

The new Intro!

I asked playwright and poet Peter Duffer to write this introduction for my latest book. I was so excited when I got it back that I decided to post it right away. I haven’t had a chance to read it yet, but I’m sure it’s wonderful. Hopefully, the book will be out sometime next year. Thanks Peter!

__________________________

First off, Michael Roth, go fuck yourself in your mouth. You are a narcissistic, delusional asshole. Quit writing or painting or whatever it is you do and just go away. Let’s be clear, sitting in your parent’s basement obsessively masturbating does not qualify you as an artist. It’s pathetic enough when someone in their 20s playacts at being a douche bag artist; it’s even more so when they are in their 40s. So give it up. Nobody cares about you or your bullshit.

To be clear, as a person, Roth is a stuttering, inbred mongoloid, unable to comprehend his own incompetence.  And his art? Simply put, it’s pure bullshit. It is amateurish, derivative, shallow, and ultimately forgettable. He reuses the same old avant garde clichés without any reason and to no effect. I could barely make it through a page or two of this manuscript without throwing it across the room or stomping it into the floor in pure disgust. This type of banal, pseudo-intellectual posturing makes me vomit. Don’t waste your time. You have been warned.

Why has he done this? That’s my main concern. Why? All of these works are truly pointless. I believe it’s really a narcissistic project for him, fueled by a strong desire to be accepted by the artistic community (and beyond), and, ultimately, in leaving an artistic legacy. He believes he has talent. He does not realize that few will see these works and none will care. That he and his art will descend into obscurity, where they belong. With any luck, I hope he will realize on his deathbed that it was all just a waste of time; that he has wasted his life. That none of it mattered when he was alive and that it will matter even less after he has died. Mr. Roth, if you do not realize this simple fact right now you are indeed delusional. Please stop immediately. For our sake, please do not inflict these mediocre, moronic ramblings on anyone again. Just stop. Please. For fuck’s sake. Stop. It’s embarrassing. It’s meaningless. It’s unnecessary.

So I need to know, why did you ask me to write this introduction?  Why do you even bother? Just, why?

Peter Duffer, PhD.

Failure to translation

The priest gives my ideas of them, in many cases, the performance of a series of Vancouver Writers Festival, 12 days of the file in Word, 120 Marquis de Sade "was confusing in the same pizzeria and the leader of the team, as they say, a long period of time I did not read it looks at the '12 Sodom Sodom, both to lay down for the night. slowly read it because it's a pain, indeed, a class of people at the beginning of the month on Sunday near the end of the bird bread, it's a miracle pill.

Of course, to read as it is fully taxable, mix them all and technology. Sometimes it is to dig a few pages of Morse code, but I saw a book on the fact that he was cruel. Pantomime play, because the laws of different countries around the world or 3 cups of another person.

I think I have the best vegetables you can smell the pizza insane leader of the Tuscan sea and took a break. Read it in my book. Thus, the desire to you at all times, and memory to play with. I'm not Mr. Stewart Wu Ming yesterday, but unfortunately, it's not, I want my writing lip sync.

But some players said marketing opportunity and a new suitcase. But you're a man, he found the afternoon of popular, but the anarchists came by night, you know, hands. Fortunately grant of power (and, believe it or not, just throwing my shoes), my friend stopped emetic sprint stage lighting and involuntary. These are the things that are done well, and tens of thousands of professionals.

That this night, light and AJ piles: Breakfast and it begins to dawn, a few drops of passage. At this point, I said to you, even as the east is a little less than great. You want to read the book, the audience shouted: "Oh my God, she is released to create a dog!"

On that day, I used to catch the one that will lead to end the Etruscans, and that people will hear it. DLE in the past the fair, which is really the leader of all the equipment to a high degree shot just started middle of the night. Moreover, more than 12 hours, but it does not matter in the end.

____________________

A(n) (un)successful translation of a post "120 Hours of Sodom", originally from Oct 20, 2009. The post was run through Google Translate and back into English. I thought it was a cheap way to translate my articles. Instead, I realize that it's an easy way to make them better.

M

This is an improved version of a short work called Breaker's Party Room.  I have removed every letter except "m", while keeping the spacing the same as the original. Here is the first page. More will be posted to the website at a later date.  And, no, I don't think I've heard of Monica Aasprong. Really.


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m           m

                                                

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                         m   m m
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