Two Rivers/One Dream:Dos Ríos/Un Sueño

Posted on 3rd March 2026 in Andalucia, Articles, Flamenco, music, Notes, Stories

While it’s true, no one has yet figured out this small but significant reality that traces along the surface of the earth, your body, and history: the streets of Jerez can be scaled and mapped almost precisely onto the trail system of the Shawangunk mountains of the indigenous Lenape tribe of Esopus —  part of the land comprising what is now referred to as New York state. It is a hidden gem secret of the pervasive, elusive realities that govern our lives beyond comprehension. The same patterns can be traced in the architecture of the infinite constellations in the heavens.

As Sky would have it, the same sun radiates on Lenapehoking as it does on ancient Carmen Jerez, analogously as humanity is united by the fact that we are comprised of black hole radiation genetics that permeate the N-plex corners of the multiverse. This becomes most obvious when the human brain enters its pure, near-crystalline ancestral state under the influence of brandy produced and consumed by the indigenous of Jerez and carried by colonizers under British and Spanish flags to intoxicate the distant indigenous.

The Twischsawkin and Guadalete have the same meandering gait, supporting multitudes of ecosystems that function together as the collective brain of the tierra, thinking in birdsong, the nearly inaudible sounds of unfurling flowers signaling to all manner of living beings that their mad dance should commence to propagate and perpetuate the cycle in which they are ensnared. Both rivers cascade from their nascency through bosques and fields from mountains, generating the forest orchestra that tells the sun what to do to you and for you on this day, or any day. These two rivers are messengers from the infinite sky that gave you intelligence, language, supernovas, goddesses, and light. They are the conductors of the orchestra, overseeing how things flow, how patterns emanate, and how life regenerates.

These rivers carry tears from sky that feed tierra to nourish the fruits and grains that keep all native populations intoxicated. That’s all that remains after the rise and fall of their peoples, tormented by genocidal lunatics who crushed their cultures and erased their histories. For any sober culture will ask the obvious question and mourn the obvious answer. But there are no sober cultures and never were. Our species relies on fermented beverages to continue to exist. That may sound bleak. Yet, there is the art that spills from your mouth, the dance from the sole of your foot, the sounds from your breath through the clarinet and your fingers pressed against the fretboard, before the primal act, as if it were an incantation to get the blood boiling, and the lymph circulating for the base ritual of reproduction despite empirical downfall, the decimated ocean landscape, and the spiritual vacuousness left in the wake of the first peoples to traverse Qadis or Kerhonkson, where the Gaditanos and Munsee, respective, were born, ate, drank, shat, smoked, danced, and died.

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Si bien es cierto, nadie ha descubierto todavía esta pequeña pero significativa realidad que recorre la superficie de la tierra, el cuerpo y la historia: las calles de Jerez se pueden escalar y mapear con casi precisión el sistema de senderos de las montañas Shawangunk de la tribu indígena Lenape de Esopus, parte de la tierra que ahora se conoce como el estado de Nueva York. Es un secreto joya escondida de las realidades omnipresentes y esquivas que gobiernan nuestras vidas más allá de la comprensión. Los mismos patrones se pueden rastrear en la arquitectura de las infinitas constelaciones del cielo.

Según Sky, el mismo sol irradia en Lenapehoking que en la antigua Carmen Jerez, de manera análoga a que la humanidad está unida por el hecho de que los humanos están compuestos de genética de radiación de agujeros negros que impregnan los rincones N-plex del multiverso. Esto se vuelve más obvio cuando el cerebro humano entra en su estado ancestral puro, casi cristalino, bajo la influencia del brandy producido y consumido por los indígenas de Jerez y llevado por los colonizadores bajo banderas británicas y españolas para intoxicar a los indígenas lejanos.

Los Twischsawkin y Guadalete tienen el mismo andar serpenteante, sustentando multitudes de ecosistemas que funcionan juntos como el cerebro colectivo de la Tierra, pensando en el canto de los pájaros, los sonidos casi inaudibles de las flores desplegándose señalan a todo tipo de seres vivos que su danza loca debe comenzar a propagarse y perpetuar el ciclo en el que están atrapados. Ambos ríos caen en cascada desde su nacimiento a través de bosques y campos de montaña, generando la orquesta del bosque que le dice al sol qué hacer por ti y por ti en este día, o en cualquier día. Estos dos ríos son mensajeros del cielo infinito que te dieron inteligencia, lenguaje, supernovas, diosas y luz. Son los directores de la orquesta y supervisan cómo fluyen las cosas, cómo emanan los patrones y cómo se regenera la vida.

Estos ríos llevan lágrimas del cielo que alimentan la tierra para nutrir los frutos y granos que mantienen intoxicados a todas las poblaciones nativas. Eso es todo lo que queda después del ascenso y caída de sus pueblos, atormentados por lunáticos genocidas que aplastaron sus culturas y borraron sus historias. Porque cualquier cultura sobria hará la pregunta obvia y lamentará la respuesta obvia. Pero no existen culturas sobrias y nunca las hubo. Nuestra especie depende de las bebidas fermentadas para seguir existiendo. Esto puede parecer sombrío. Sin embargo, está el arte que se derrama de tu boca, la danza de la planta de tu pie, los sonidos de tu respiración a través del clarinete y tus dedos presionados contra el diapasón, antes del acto primordial, como si fuera un encantamiento para hacer hervir la sangre y la linfa circular para el ritual básico de reproducción a pesar de la caída empírica, el paisaje oceánico diezmado y el vacío espiritual dejado tras los primeros pueblos que atravesaron Qadis o Kerhonkson, donde los Gaditanos y Munsee, respectivamente, nacieron, comieron, bebieron, cagaron, fumaron, bailaron y murieron.

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Barrio San Miguel

Posted on 24th January 2026 in Andalucia, Articles, Flamenco, music, Reflections, Stories

 

Under the layers of centuries of construction, degradation, destruction, repeat, at the corner of Calle Jauna de Dios Lacoste and Calle Orbeja, next to Monumento a Santa Angela de la Cruz, destined for resurrection, a stone is excavated from the mound of debris. As if the stone was waiting for a Jose Maria, a Manuel, or an Agustin to lift it from the rubble and replace it to its rightful position in the sky by the hands of the transgenerational offspring who lay it in the original edifice that stood in this nascent city so that this stone will once again clock the setting sunbeat across it’s jagged face.

It will again record the rhythmic gait of local passersby, the wild melancholic music driven by the confraternities in preparation for Semana Santa, the canes of ancient matriarchs paddling from Plaza de Mercado to Plaza Arenal along Calle de Los Gatos Extranos, spanning generations from the Moors through Franco, mixed with foreign idioms crystallizing within its rich mineral structure in preparation for the new wave of tourists and extranjeros who will inevitably inhabit this repaired and rebuilt structure, replacing the locals that slowly die off or get frustrated with the radical influx of foreigners that hasn’t quite hit Jerez de la Frontera yet; yet, this fusion of antiquity and the drunken stumbling towards modernity can be felt coursing through your blood.

In the alcove under the old gymnasium, closed during COVID, whose innards will likely never again see the sterilizing sunlight, sleeps a junkie who defecates next to her bed made of cardboard and frayed, grungy blankets. A woman and her daughter, charged by the town to feed the street cats, endlessly parading around in their technicolored uniforms for a stray morsel or a random grope below the Larus, Swift, Cinconia, and Corvidae taunting from the sky. The modernized apartment to serve a few Brits who escaped their birthplace, gutted and replaced with trappings that exceed in price those in the adjacent house, but in no way match the authenticity of its architecture and décor, whose inhabitants have occupied this abode for 9 generations. With your face pressed against the fresh white surface, you can see out along the adjacent corridor, the Torre de la Catedral in el Estilo de Arquitectura gótico-mudéjar, and hear the dirge resonate in your skull, quietly reminding you of this gran pueblo’s tumultuous past.

If you catch the right angle, temperature, time of day, humidity, and location when the sun is in some precise position in the sky, you can taste Manuel Morao’s golpe and feel Lola’s cadence saturating your brain. A molecule of the scent of jasmine that flowered in barrio San Miguel terminates on your olfactory nerve after losing its way in the labyrinth nearly a millennium ago. Parfum de Citrus infused with vapors of the Palomino Fino and Pedro Ximenez whose bodegas were strategically constructed according to the sacred geometry of Arab mathematicians calculating the divine, the pervasive, and the infinite waft through the scorched skies so that when you are distracted enough for just a moment to forget yourself, you can hear ancestral Romani singing inside the stone put in place by the person whose name you bear,  who stood in the spot where the very first structure of Jerez was erected and served as the seed-crystal for the city at the center of the universe, the city that bears the scars of history and serves as humanity’s hope, the city where everything is motionless at the frontier between nothingness and eternity.

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Bajo las capas de siglos de construcción, degradación, destrucción, una y otra vez, en la esquina de la calle Jauna de Dios Lacoste y la calle Orbeja, junto al Monumento a Santa Ángela de la Cruz, destinada a la resurrección, se excava una piedra del montón de escombros. Como si la piedra esperara a que un José María, un Manuel o un Agustín la levantaran de entre los escombros y la colocaran en su legítimo lugar en el cielo, gracias a las manos de los descendientes transgeneracionales que la depositaron en el edificio original que se alzaba en esta ciudad naciente, para que esta piedra vuelva a marcar el sol poniente en su rostro dentado.

Registrará de nuevo el andar rítmico de los transeúntes locales, la música melancólica y desenfrenada que animan las cofradías en preparación para la Semana Santa, los bastones de las antiguas matriarcas remando desde la Plaza del Mercado hasta la Plaza del Arenal por la Calle de los Gatos Extraños, abarcando generaciones desde los moriscos hasta Franco, mezclados con modismos extranjeros que cristalizan en su rica estructura mineral en preparación para la nueva ola de turistas y extranjeros que inevitablemente habitarán esta estructura reparada y reconstruida, reemplazando a los locales que mueren lentamente o se frustran con la afluencia radical de extranjeros que aún no ha llegado a Jerez de la Frontera; sin embargo, esta fusión de antigüedad y el borracho tropezando hacia la modernidad se siente en la sangre.

En la alcoba bajo el antiguo gimnasio, cerrado durante la COVID, cuyas entrañas probablemente nunca volverán a ver la luz esterilizante del sol, duerme una yonqui que defeca junto a su cama hecha de cartón y mantas deshilachadas y sucias. Una mujer y su hija, encargadas por el pueblo de alimentar a los gatos callejeros, desfilan sin cesar con sus uniformes tecnicolor en busca de algún bocado perdido o de un toqueteo casual bajo los laros, vencejos, cinconias y córvidos que los acosan desde el cielo. El apartamento modernizado para servir a unos pocos británicos que huyeron de su tierra natal, fue destripado y reemplazado con atavíos que superan en precio a los de la casa contigua, pero que de ninguna manera igualan la autenticidad de su arquitectura y decoración, cuyos habitantes han ocupado esta morada durante nueve generaciones. Con el rostro pegado a la fresca superficie blanca, se puede ver a lo largo del pasillo adyacente la Torre de la Catedral, de estilo gótico-mudéjar, y escuchar el canto fúnebre resonar en el cráneo, recordando silenciosamente el tumultuoso pasado de este gran pueblo.

Si captas el ángulo, la temperatura, la hora del día, la humedad y la ubicación adecuados cuando el sol está en una posición precisa en el cielo, puedes saborear el golpe de Manuel Morao y sentir la cadencia de Lola saturando tu cerebro. Una molécula del aroma del jazmín que floreció en el barrio de San Miguel llega a tu nervio olfativo tras perderse en el laberinto hace casi un milenio. Parfum de Citrus infusionado con vapores de Palomino Fine y Pedro Ximénez cuyas bodegas fueron construidas estratégicamente de acuerdo a la geometría sagrada de los matemáticos árabes calculando lo divino, lo omnipresente y lo infinito que flota en los cielos abrasadores para que cuando te distraigas lo suficiente por un momento para olvidarte de ti mismo, puedas escuchar el canto ancestral romaní dentro de la piedra colocada por la persona cuyo nombre llevas, que estuvo en el lugar donde se erigió la primera estructura de Jerez y sirvió como cristal semilla para la ciudad en el centro del universo, la ciudad que lleva las cicatrices de la historia y sirve como esperanza de la humanidad, la ciudad donde todo está inmóvil en la frontera entre la nada y la eternidad.

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Clouds of Tears

Posted on 28th September 2025 in Andalucia, Reflections, Science, Stories

 

Like black hole radiation coalescing into what we perceive as our universe, which is rarely noticed and less rarely thought about by most of Earth’s inhabitants, we have to admit that our origin story is poorly developed and barely understood. Yet, most of us know, without direct reason or proof, that everything in the universe is connected. Some call it god, some call it karma, some call it resonance phenomena; all religions and belief systems, including science, have their version of this story. Most will agree that we are interconnected through the physical environment of planet Earth by gravity, and the chemical cycles of water, oxygen, carbon dioxide, and the plethora of elements created in suns exploding and colliding over unfathomable time.

It is difficult to delineate the origins of human emotions and how they are tied to chemical cycles, black hole radiation, human ancestry, indoctrination, and invisible cycles tied to quantum mechanical oscillations in the brain producing action-reaction pairs that reverberate in our locality, sometimes drawing laughter from someone who knows not why they laugh in that moment. Or maybe confusion reigns in someone because they live in a toxic environment, and they are sensitive to the chaotic origins of the moment they were entrapped into by birth.

The unknown origins of all things open a portal to probability where we can assume that everything is potentially true, without doubt. In this space, we find magic. I, for example, have recently realized that I cry when it rains, and finding the impetus for this action-reaction pair is as futile as it is pointless, because the origin story of the universe tells us nothing. Yet, the history of humans traversing Earth tells us that magic happens in moments where nascency is dismissed.

It turns out that some percentage of some percentage of clouds are made of ocean waters baked into the sky, coalescing, by some attractive force that scientists have reasonably determined to be accurate through theories and experiments, verified and denied through time, with fancy partial differential equations, barely tells the true nature of clouds. Yes, clouds are indeed made, in part, of ocean water – oceans in the sky. Indeed, living organisms are also made of ocean water – oceans on land. What I have come to understand is that clouds are made of oceans of emotions. That some percentage of clouds are made of tears from all living beings baked into the sky: tears of sorrow, tears of joy, tears of fear, tears of longing, tears of loss, and tears of love. And when it rains, these emotions infiltrate the local sky and saturate the land where maybe you live. And when the sun comes out later in the day, or the week, or the month, or the year, those tears are released back into the air that you breathe. And perhaps in one moment, you find yourself laughing or crying, and you don’t know why. Or maybe you do know why. You can be certain that whatever your thoughts and feelings are in the moment, they are recycled from generations of oscillations of magic harvested by clouds of tears.

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Very Short Stories: por Nora

Posted on 20th September 2021 in Stories

I

Action at a Distance

Isaac sat on the wall of the terrace facing the sun; his eyes squinted to razor-thin slights reflecting a sliver of the sun’s rays. He was collecting heat from the sun. Isaac had a profound understanding of action-at-a-distance phenomenon. He knew the sun was light minutes away, and while he could never travel there in his lifetime, he wouldn’t need to because the sun would influence him directly, from millions of miles away, delivering light and warmth. Isaac, black as he was, would fully saturate with heat in a couple of minutes, and he would then transfer that heat to his housemate, who was taking a siesta on the sofa.

He curled up next to her after carefully jumping up on the back of the couch, crawling down the arm, and slinking into place between her belly and arm. She didn’t wake up but put her hand over him, tucked it under his back feet, and curled her fingers around his toes. They slept for a while together, sharing the same dreams, until it was time to reengage with the day’s tasks which basically amounted to Lara preparing dinner and Isaac eating it followed by more sun and sleep for Isaac, and perhaps knocking over a thing or two on the patio or kitchen table. Lara had a few orders of jewelry to make for an upcoming show; an ancillary point only noted for the reason that she had to earn a living to provide for her partner, whose main occupation was turning order into chaos and chaos into order.

Isaac understood that, given enough time, heavenly bodies will coalesce under the influence of gravity, a purely attracted force that is, in fact, responsible for people falling in love; a point which Einstein failed to realize and directly contradicted, publicly, without seeing the flaw in his logic knowing full well that even light bends to the will of mass. Sir Isaac Newton Hayes, as he was formally known, didn’t have the insight Einstein had regarding the flow of light, but he full well understood that his body and Lara’s body were bound together in mutually elliptical orbits with love as the foci, and there was no force in the universe strong enough to break that influence. This made it easy for him to lounge in the sun free of guilt and with the only sense of responsibility being to honor that influence that bound Lara and he together while Lara worked diligently, sometimes late into the night, making pendants of silver and gold replicating his fine dimensions in different poses and postures.

These pendants, the Newton Collection, as they were collectively known, were in high demand because face it, people love cats and artists, especially when an artist manages to capture to essence of motion in still-life and the spirit of life in the inanimate. Isaac thusly thought of himself as a model engaged in a life-long cycle of expositions spending innumerable hours grooming himself for the next photo shoot portfolio.

Necessarily, too, he had to keep his spirits up because he knows that those who feel good, look good and those who look good feel good. To look good and to feel good empowered him, and that empowered Lara, which was his primary motivation for transferring the sun’s energy to her body while she was in repose and not directly engaged in the action-at-a-distance phenomenon-game the sun was playing with her indirectly. The Sun kept the Earth warm enough for life, in general, and when necessary, cats would transfer heat to their human counterparts to make up for the seasons, the clouds, the winds, the shade, and the coolness of the night.

 

 

II

In the Steppe: The Forest Organ

Some time ago, a small tribe in caravan arrived in the steppes and set up camp. One hundred and seventy-eight years ago, to be precise. I remember; I was here. So were many others in my family, among few of the surviving families since the last purge raged through the forest, wiping out the understory, shrubs, vines, herbs, ground cover, and many of the ground-dwelling animals among us. We were among the most resilient of the inhabitants and, dare I say, relied on such events to propagate. We watched the forest restore itself over time, so it appears today as it was in prehistoric times since most of the invasive species no longer had a suitable habitat to propagate in.

We hadn’t had human visitors for some time before their arrival, after the torrent, so we decided to gift them. Through council, conversations among our roots, leaves, flowers, branches, seeds, fruit, and trunks, we discussed what we would make for them to acknowledge their arrival and let them know that we are thankful and that we consider them our guests and will provide for and protect them. We came to the conclusion that we would build a forest organ that would play music conducted by the winds and small changes in the topography. Though the entire project would take a human generation, there were some things we could do on a smaller time scale that would say hello.

First, we had to trim back our branches in precise locations, creating a series of wind tunnels that would resonate at certain frequencies depending on the location and strength of the wind. Once a wind initiated a current, we could conduct it down the tunnel in concert, sustaining a sound directed at the encampment. Later, we would ask the fungi and animals to transmit our design to nearby groups of families among the plant kingdom. Not all of us locals spoke the same language, so the networks of fungi acted as an intermediary, or translator if you will. The sheep, cows, donkeys, and horses agreed to transfer the design to their respective territories. Still, as expected, the goats were quite disagreeable because only they could get to the hard-to-reach places, possessing exceptional talent, and they wanted compensation. In the end, they agreed because they couldn’t stand the collective shame cast upon them; we knew they would give in with the proper pressure.

I should point out that when I say “we,” I mean me and the others trees that I am connected to by networks of roots and the touch of branches and leaves. The tribe knows this, and I believe that is why they understood our message. I recall the small gathering at the base of the logging road they built into us. They didn’t realize it then, but they were doing us a favor, creating a portal directly to the mouth of their enclave. They stood there, somewhat drunk on the mead they made, mesmerized by the small chorus of voices wafting out of the logging road.
One of the younger women, there were eight of them, I think, caught one of our frequencies and began to resonate with it. An intoxicated elder began to drone at a lower frequency, bending the pitch in vibrato around the center. A wandering tribe, as they were, survived on stories of their lives’ tribulations and manifestations in the forests, villages, towns, and cities, an oral history often wrought in musical form. Soon enough, it would follow the rest of the small group began to hum and sing along. The rhythm formed, and a boy around fourteen began to sing one of their traditional songs about the fathers of their mothers’ fathers’ mothers’ tribe surviving on the lands they cultivated that nature provided already fertile and fruitful. It was a happy song, a childrens’ song written to expose the joys of life at an early age when you are still provided for by the elders before you have to make it on your own and experience the economic complexities of things like love and loss.
Their chorus grew so loud that people from the center of their village in the works came to see what was going on, some with the instruments they carried as they played by the fire in the town circle. The chorus was pretty much drowning us out, so the onlookers were slightly perplexed what all the partying was about until one among the chorus hushed the others with a few arm gestures and cupped her hand to her ear, and looked at the small, bewildered crowd.

A man, carrying a fiddle, stuck his bow up into the air with a muffled affirmation and began to play some of the notes of the forrest chorus. He created his own rhythm. The waves emanating from his fiddle began to interact and interfere with the wind orchestra emanating from the wind-pipe they built for us for them, creating a pulse that enraptured those present. They began to dance and sing and play their instruments. After many minutes of impassioned chant and enthralled movement passed, as if in unison, I recall, they all stopped what they were doing. Then we stopped what we were doing slightly after as if in response to their realization. Some of our new inhabitants began to laugh, while others began to weep, and a girl, the youngest among them who could speak, correctly spoke, “ეს არის ტყის საჩუქარი!” [It is a gift from the forest!]

 

 

III

Older than Words

The new fully human renaissance and enlightenment has recently begun, uniting experts in the fields of science, religion, spirituality, the internal arts, and the arts and letters. Sparked by a young autistic girl who discovered a language older than words, humankind has just been united with all of animal-kind and was just beginning to decipher the language of the plant-kind. Butterfly has recently been translated; completed dictionaries of sea mammals are being printed as I write this. The volumes on birdspeak took over bookstores and libraries.

Althea was born with a highly dense bundle of neurons in her brain stem and cerebellum. While this gave her the innate ability to process large quantities of information, it all happened simultaneously. She was unable to organize her thoughts and speech, which is nothing unusual for the autistic among us. Like many others with her affliction, she simply thought too much too fast and could not make sense of the complexities of human language, thought, and action. At best, her mental redux extracted the simple patterns her senses perceived, with a layer of fine detail often missed by most, but she had very little way to formulate her thoughts in a coherent fashion and express them visually or verbally. Her voice had a drawl to it like she was from Yerevan, though she was Gagra, and her words sounded more like an elder with no teeth talking while eating.

Still, she was loved as a baby, a child, and a young adult not out of pity but because she responded to everything with love and care. She treated an insect as if it were her baby sister, the village cats, and dogs as if they were her cousins, a wounded bird as if she was its doctor nursing it back to health in the palm of her hand for days, or as long is it took, feeding it with care, dropping water into its beak from the tip of her finger. She was admired by pretty much everyone in the town who looked up to her as a saint since most of them struggled with kindness, both giving it and receiving it, and struggled with patience enough to take the time out of their busy lives in their remote village along the sea where not too much was going on but the interference of the modern forms of communication through cell phones, the internet, social media, and the entire catalog of human music, video, film and literature streaming on demand.

One afternoon Althea was sitting on her favorite boulder, among the reeds, loosestrife, cattail, goldenrod, buttonbush, jewelweed, and milkweed, along the bank of the pond a short skip from her home. These flowers are a favorite among many species of butterflies, precisely who Althea was waiting to see. She knew if she went out right after sunrise, before the mist rising from the pond had dissipated and the morning dew evaporated, she would be surrounded by all manner of flying creatures, not to mention the frogs, salamanders, crickets, snakes, rodents, and small mammals. She knew that when the sun rose a little higher into the sky, the butterflies would come to begin their feeding frenzy. She could sit among them with her eyes closed and feel their presence around her like she could track them in her mind’s eye. She could smell their positions in space relative to her and taste their names and the relations among them. She could feel their thoughts and intentions.

As it turns out, many of them had been doing the same with her for some time. There were many ponds and flowers to choose from, but Althea was only at one of them, and they chose her. She didn’t know this until the fateful day when Allancastria caucasica landed on her left hand with its back to her, facing the pond, and sat there for quite some time, enough time for her to stare at it until she began to dream with her eyes open, until she began to realize that it was not there, on her, by chance. Althea began to understand it was communicating with her directly. Still, she didn’t get the message because, at first, she wasn’t using the correct sense. She was waiting for thought or sound to instruct her. But when she began to dream journey, her eyes began to decipher the scripted pattern on its wings.

The dense bundle of neurons in her brain stem that typically caused confusion was busy extracting and extrapolating the array of colors and shapes, formulating what was to be the first time recorded in human history when humans realized that for the entirety of their existence, the whole of the living ecology which they were a part of, was in direct communication with them. This may have been well understood by the indigenous inhabitants of the mothership but lost somewhere down the line when the human ego overpowered the original instructions. Althea brought it all back home with her discovery. When her brain had finished processing the message carried by the carrion butterfly, the words “We love you, too, Althea” became evident. She sat there crying a joy mothers and fathers cry when their child slides out of the womb for its first vision quest.

Aglaya, Althea’s mother, called to her from the kitchen window. Breakfast was ready. Althea didn’t respond, and after several attempts, Aglaya sent Piotr, Althea’s father, out to see what was going on. When Piotr arrived to Althea, sitting, softly weeping on the boulder next to the pond among the reeds and flowering plants, she looked up to him and tried to speak. She tried to explain what was happening. If Althea even understood what the word disbelief could mean, then that is what she would have been trying to communicate. Except, for Althea, there was no disbelief, and there was no mystery or miracle. It simply made sense, and she could see the words written all around her in the patterns on the skin of snakes, in the bark of trees, in the colored patterns of a bird’s wing, and in its song.

It was far more than a new day dawning in human history. The portal to the multiverse of transspecies communication had been opened by this young autistic genius. She was the primary interpreter and instructor for the linguists who realized that written language was not created by humans as an expression of internal need and desire. Religious scholars believed this was proof of the existence of their respective gods and goddesses and now considered all living beings to be scripture and verse in motion and that the entire planet was the garden of Eden, and somehow they missed that. The spiritualists gave a hearty yawn with a slightly cockish ‘we told you so,’ though now they had the proof. The biologists among the scientific community had to reinterpret the basic functionality of DNA transcription and translation and a dynamic ecological process and disavow the static process of molecules doing what they could within the constraints of electrochemical potentials. Physicists believed this new understanding was somehow linked to the grand unification of all of the fundamental forces of nature which they felt, or knew, but didn’t know where to begin to verify, that the universe has its own intelligence, that light has its own intelligence, that matter, and the field, and the second quantization were not just things that happened, they were things that happened with intention, and the intention was an organic manifestation of existence possessed by the things themselves.

Althea’s father had no idea what she was murmuring about as she sat on the rock, pointing to the butterfly perched on her hand. Still, he could see her joy and her tears, and he knew when she was serious and when she was clowning around. He couldn’t remember a moment in her life when she was more serious except when her little sister was born. She had the expression of complete bewilderment over the realization that this new life, that this new being, was the definition of divinity. She was instructed to care for and protect this little being, even if it meant giving up her own life. It would take Piotr a few days to correctly interpret and be convinced of what Althea discovered. Yet, with the next few days passing, Althea managed to come down from the heaven she was in, formulate a few words to try to explain what was going on, and translate a few more of the messages carried through time immemorial, conducted and patterned by the crystals that carried all of the genetic information of all life forms, to her father who finally began to understand what she was doing when she led him to the pond, pointed to a spring peeper, and translated the message on it’s back that said, “Father, it has always been this way, and now communication has been restored. You are more fully human, and I am more fully frog.”

The real miracle was not that humans began to dialog with the rest of the species. The real miracle was the new dialog that began among the human tribes, that they were not god’s chosen species privileged among the varied life forms on earth to use the earth and its inhabitants for money or pleasure. The real miracle was that humankind began to see all living beings as equal parts of a grand ecology. The real miracle is that all of the human disciplines were busy interpreting the language of others, the languages older than words, that warring between themselves began to diminish and eventually fade away as the news began to spread to the four corners of the world. The real miracle is that the human species rejoined the mutual space that the rest of the species inhabited now that they have received their original instructions, as it were, from the animal and plant world which, this whole time along, had been speaking to them with messages encoded on their skin, in the vein networks of their wings, in the patterns of flight, in the colors of their flowers, in the song of the wind wisping through the brush, through the incoherent voices of their autistic children, and through every motion of body, every scintillation of light, and every wave pattern on the surface of a pond, for everything that occurs in this place happens only as a reaction to everything else that took place so that all paths of motion and meaning could be extrapolated to the same source.

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The Suicide Revolution

Posted on 7th October 2016 in Articles, Nonviolence Resistance, Peace, Poetry, Reflections, Stories

Suicide Revolution

by h. Gibrain

 

At my first suiciding

I wanted to show my comrades

that death is a fine art

nothing to be wasted

noting to be scattered in the wind

I set up a white canvas

to catch the Rorschach Pollock

of my body spatter

that life is not static

and my body in motion

when I ignite

in dervish

my skirt splayed open

flowering umbel

my arms alight

my particulate nature

on display

like food wiped from the face

of the privileged obese obtuse

 

that life should be lived

not for love

not in fear

but in the name of art

and in the art of death

when you release that button

the harrowing screams

shattering bones

splattering fluids of babies bodies

the village animals

and a little ahway al araby

mingle in flight

a soup of sorts

simmering in free space

painting your  face

with the food

that was other peoples lives

 

to put on display

the relationship between

love of art

art of life

the living death of stolen moments

razed lands of decimated cultures

once upon a time surviving on

bear invocations of rain igniting crop

crow mythos of the wonkum mikitchia

darkening the horizon

for centuries

cleansing the terrestrial palette

for the next sun child

and the age of Aquarius

dreams of deer

that make all plants flower

all wind blow

give essence to gravity

manipulate tides

and ultimately

determine my scatter plot fantasy

of exploding in the sky

and drizzling the mist of my life

a condiment on your sloven plate

that you could taste the disaster

and wait for god in her serviette chariot

to dab the corners of your face

 

well

there is food in death

and death is art

too many people screaming about injustice

when maybe

we should be eating more of the dead

imbibing the blood drenched tales

of death’s survival in the midst of thriving lives

and how our children can lead

the suicide revolution

where each each city block is a canvas

where the ultimate expression of love and art

unite in blood and body part graffiti grafted

into murals

telling stories

of futile resistance

in the world of

racism writ large

the ultimate liberation comes

not from fighting

but from loving

and letting go

of the skin which keeps apart

 

 

 

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MSMBS Breaking News: Swiss Knesset passes Direct Engagement Law

Posted on 20th August 2014 in MSMBS, Nonviolence Resistance, Stories

 

The Swiss Parliament passed the “Direct Engagement”  law last week by a near unanimous vote. This new law requires arms manufacturers to train and deploy soldiers, militants, resistance and terrorists to fight with the weapons they sell to foreign governments. It is seen as both a victory for peace workers who believe that a neutral country, as Switzerland, can not maintain neutrality in conflict when it is, in fact one of the largest arms dealers in the world.

 

“How can we provide the means of war and still considered ourselves a neutral country. It is sheer absurdity to have such a belief that we do not engage in direct violence when we provide the world with the most sophisticated weapons on earth,” says Reudi Knopfler, a former parliamentarian from Bern.

 

Ironically, it is also considered a victory by arms manufacturers and the military. Since all men must go into the military, Switzerland’s defensive defense posture still makes it one of the most militarized countries in the world – up there with Germany and Israel.

 

“The very notion that we will be able to fight with and for our comrades in foreign lands, putting our training to good use and, finally, being able to utilize our sophisticated war machinery – which we are most certainly proud of – is a boon to all of our brave young men,” says General Sarmad Rossi one of the bills co-founders.

 

Still, there are many controversial issues surrounding the new law, yet with a majority of neo-nazi and national socialist groups now on the rise in Swiss parliament and the Swiss population at large, currently amounting to around 33% of the Swiss parliament, this sort of militarization was seen as inevitable by the left and more moderate members of parliament and civil society.

 

The new law has some rather peculiar features which are sure to raise red flags in the United Nations as they contradict some basic tenets of international law. However, the new law is crafted such that it treads in a sort of no mans land whereby a nations sovereignty supersedes certain aspects of international law when it comes to corporate personhood and the registration of international corporations on sovereign territory. One of the tenets, for example, forbids arms deals that will land weapons in the hands of children of those nations to where arms are sold. However, the bill allows for the training of Swiss children to go and fight as child soldiers under the flag of other nations since the skirts the issue of illegality of arming children of foreign nations. The first group of Swiss child soldiers is already set to deploy to South Sudan at the end of November after their basic training is complete. Protests in Geneva, Bern, Zurich and Basel were peacefully disrupted with tear gas canisters and rubber coated bullets sending a strong message that fringe elements of society will not control the destiny of a legitimately elected democracy.

 

Another battalion of resistance fighters are training in the alps to fight in Gaza as a result of a long investigation which traced arms sales from Dubai, the UAE, Saudi Arabia, and the US which finally ended up in the hands of Hamas resistance fighters in Gaza. The new law does not allow for the proxy sales of Swiss weapons to foreign nationals but it does allow for the direct engagement of Swiss civil society in conflicts throughout the world and, thus legitimizes the Swiss battalions intentions to go fight alongside their Palestinian brothers and sisters who would, ultimately, be using their weapons in some sense.

 

Similar regiments of Swiss civilians are in training to go fight US intelligence in Syria and Iraq as well as the Ukraine, Nigeria, Sudan, and other conflict zones around the world that would ultimately see the equivalent of “made in Switzerland” printed on shells and other ordinance dropped and deployed in their countries.

 

Denmark, Sweden, Norway and Holland are considering similar legislation. One Dutch Parliamentarian argues, “it makes complete sense, why should we arm innocents and subject them to the brutality of our governments policies which are completely outside of their purview. We don’t see Palestinians voting in Nederlandischer Parliamentary elections, do we? So we shouldn’t see them being subject to our policies without their voice being heard and to that end I support similar legislation as the Direct Engagement law that Switzerland has pioneered. It puts the middle man back in his rightful place. Let out brave citizens fight for our agenda in foreign lands – the way we used to do it during our proud colonial days.”