There Was A House We All Had

Strangers Used To Gather Together At The Cinema And Sit Together In The Dark, Like Ancient Greeks Participating In The Mysteries, Dreaming The Same Dream In Unison.

With That, The Poignant Charm Vanished. Inside The Fifth Machine, All Was Rampant Malignity. Deformed Flowers Thrust Monstrous Horned Tusks And Trumpets Ending In Blaring Teeth Through The Crimson Walls, Rending Them; The Ravenous Garden Slavered Over Its Prey And Every Brick Was Shown In The Act Of Falling. Amid The Violence Of This Transformation, The Oblivion Of The Embrace Went On. The Awakened Girl, In All Her Youthful Loveliness, Still Clasped In The Arms Of A Lover From Whom All The Flesh Had Fallen. He Was A Grinning Skeleton.

Cats Of All Kinds Weave In And Out Of The Text; Burroughs Has Clearly Taken To Them In A Big Way In His Old Age And Seems Torn Between A Fear They Will Betray Him Into Sentimentality And A Resigned Acceptance That A Man Can't Be Ironic All The Time.

Irish Was A Man Of Parts Even If Some Of Them Didn't Work Too Well.

The End Of All Stories, Even If The Writer Forebears To Mention It, Is Death, Which Is Where Time Stops Short. Sheherezade Knew This, Which Is Why She Kept On Spinning Another Story Out Of The Bowels Of The Last One, Never Coming To A Point Where She Could Say: "this Is The End." Because It Would Have Been.