a dísablót of a dísplacemént

john diss had counted the mirrors and rads and thought about them in relation to design mass aesthetics location and had begun a brief study on number and storey when a tumour appears on an unmarked doorstep and remarks when we talk of the totality of death  the manifestations

but disss placement in a hebridean haberdine displaces communication and in distant irides farce rises from the sacrifice

the tumour says seeing the pink panther movie fast as a prophet last week made me doubt peter sellers existence   it was as if he assumes a violation setting him apart from lifes hefty definitions  that makes him  in a word  holy

and out of a word?

holys a word thats easy to be out of

i begin in rads and meres by entering your enthusiasms and attempt to prolong them for their pleasance but death enters through a hǫrgr of dísir and i collapse and collapsing becomes the enterings and i speak pictish like eunan of hagio and vita and i love funereal pronouncements and aphrolok and moditē of inescapably quotidian presences begin their endings with that presaging of a puppetry that due to its distinctive allowances for cosmically empty commonplaces permit embellishments ones rarely entitled to without penalty for flourishes of meaningless excess

what we mean is that the precautions procedures psychologies protocols of the pandemic  their invasions into physical psychic space  encapsulating as it were every activity and thought in its quidditative encompassing  and in this act introducing through a strange usurpation a new monism  one molecular cognitive emotional and mediated by the priests of medicine media science  bears almost no resemblance to the anomalous strings of occurrences that would have to enter reality in order for these totalitarian usurpations to be justified

the tumour says what i particularly love about fast  a moment that surely rivals  for me at least in my cinematic psychoses and disturbed adorations of indefensible wanking  one that doesnt simply sit like most moments in upsetting skiffs but in like à la poupée  is its derelict transference from a kind of indefatigable chronological mayhem to a point that  while not inexplicable  so escapes anything resembling analysis that it might enter the very sanctuary of questions were it only able to perform sleights making mayhem and point converge if even in gravitationally collapsed peritremal spectra of innermost unstable framedragged antiphoton prograde hyperobjects

and isnt this nonny rumps intelligence  entombing our last days in the farce of dialogue  reliably gyrating vorticial frenzaríssima of words  taking upon itself like a greedy christ the chaos orgasma vacancy contradictoriness carnivalesque charades  of our communicative sorrows

i am pepito

my sibling is pepita

we ride pumpkin trains

to titepu city

and the joke  whether the title standing in for film which in turn stands in for life which then stands for whatever we cant and dont know  is a comparative or imperative  and if the former what could it possibly do

we are koans of furthering faces of falseness and our falseness our treasury

i find whenever a friend of my spouse dies the sex is better

oh tumour

oh farce of my pumpkin

rite of mirrors

praise communication

and i do not walk tonight but negate the statements like a yoctostate wrapped in archives of excoriating addictions