-
AuthorSearch Results
-
December 4, 2016 at 7:26 am #4233
In reply to: Seven Twines and the Dragon Heartwoods
By the following spring, Trustinghampton had fifty seven inhabitants. Under the leadership of Leroway, all had comfortable homes and enough to eat. There were numerous workshops, a bakery and communal brick oven, vegetable gardens and a traveling scavenging team with a mule cart. It was Lobbocks who had suggested a distillery: what we need now is a pub, he’d said. Somewhere to party.
And that is how Leroway became the Lord Mayor. When the first spirits and wines were ready, the villagers held a party. The scavengers had found, among other things including additional wines and spirits and party drug stashes, a vast collection of clothing of all kinds, and so they had a fancy dress party. For fun they had a competiton of the best costumes, and Leroway and Jolly won, with their royal robes and tiara crowns. Eleri won second prize for her fetching maids outfit.
Lest anyone be confused as to the nature of the workings of the village, there was no hierarchy and no laws. It was a mutual cooperation under the obvious and natural leadership of Leroway. The villagers were fond of him and grateful for the part he played, and Jolly was popular with everyone. The First Party was such a success and everyone loved their costumes so much that they continued to wear them, and play the parts. Thus, Leroway and Jolly became Lord Mayor and Lady Teacake, and Eleri played the part of their maid, although nobody was dictating to anyone else as it was just a game.
It was the maids outfit that led Leroway astray. Try as he might, for he was devoted to his wife, he couldn’t subdue the flames rising in his purple clad loins. Eleri deftly avoided him as best she could, for she too was devoted to her friend Jolly. Had she fancied Leroway at all, she might have considered approaching Jolly with a view to an amicable ménage à trois, but the fact was, she didn’t. She had eyes for the latest arrival, the mysterious Mr Minn.
September 14, 2016 at 9:56 am #4166In reply to: The Chronicles of the Flying Fish Inn
One of the best things about going away is the pleasure of coming home. Never in a million years would I expect to miss dust, or overflowing ashtrays, but it was so good to see that familiar layer of dust all over everything.
I cut Maters grumbling short and lugged my case up to my bedroom, calling “Jet lag, speak later” over my shoulder. What was she on about anyway, two more twins from the past? It rings a bell, but I’ll think about that later. I hope she’s preparing a bit of dinner, some of that food in Iceland was ghastly, especially if you’re not a fishy sort of person.
Now all I want to do is get out of these clothes and into an old tattered T shirt ~ the oldest favourite, the black faded to greenish grey ~ and sprawl back on my bed smoking. Dropping ash on the bed cover watching the smoke and dust motes dancing in the shaft of warm sunlight. Stretching my limbs out unencumbered with layers of clothing and feeling the air on my skin.
Iceland is very nice in many ways, I took hundreds of photographs of the scenery and all, but shivering outside while quickly sucking down a lungful, or leaning out of an open window in the arctic blasts is not my idea of a relaxing holiday. Not that I went there to relax I suppose, which is just as well, because it wasn’t the least bit relaxing.
I drifted off to sleep, contentedly gazing at the stains on the ceiling that looked like maps of other worlds, vaguely recalling some of the names I’d made up for the islands and continents over the years, and woke up later dreaming of Fred, of all people. For a minute when I woke up I could have sworn he was standing right there next to my bed, watching me sleep. I blinked, trying to focus, and he was gone.
August 11, 2014 at 9:16 am #3421In reply to: The Time-Dragglers’ Extravaganzas
“What? Teleportation sandpapered granite boxes in an old forgotten temple? You really want to stretch my beliefs to the point of rupture, little one”, Irina looked surprised at Greenie after their little meditative chit-chat.
The angel guy with bad tastes of clothing, who said he was named George, interrupted rudely.
“I think she’s right, it rings a distant bell. I don’t know how I know about it, but somehow getting out of Karmalott altered my memories… But I think it’s true, they were used to travel on and off the island, also to other places. Why they’ve been lost is a mystery… But they should be getting us back up to the City in no time…”
“Or out of the island…” Irina gave a look to Mr R. “Let’s find these precious ruins”.Thanks to the sabulmantium’s information, Arona had recognized the strange travelling companions of the young girl she was supposed to find. It was no coincidence she’d dropped on that awful bog water so near to the raft. She had actually aimed for it before Mandrake panicked at the sight of the murky waters and got them both in for a swim.
She’d decided to stay with them, and reveal her purpose at an appropriate moment, while trying to keep the stranger’s hands off her butt.
She was pleased to see Mandrake was also struggling being left alone by the blinking parrot.
August 27, 2010 at 12:54 pm #2813In reply to: Snowflakes of Tens
Whether or not Arachne was actually better at weaving than Athena is still a mystery, or perhaps it is a moot point and no mystery at all. Weaving is by no means a solitary endeavour, as Blithe found early one summer morning. The river mist was rising and the air itself was dancing in droplets. It was hard to determine if the droplets were falling or rising, or simply milling around on the air currents. Hard green oranges (clearly oranges had been named in winter, or they would likely have been called greens) were festooned with silver threads, linking orange to orange, orange to tree and tree to wire fence, and back again. It was debatable whether or not the individual spiders were aware of the grand overall design of the early morning web links of the orange groves, just as it was equally debatable whether or not the inhabitants of the various Gibber realities were aware of the network of waterpipes that connected the other inhabitants to themselves and each other, and to the other Gibber worlds. Individuals were individuals, whether they be spiders, or Gibblets, and individuals generally speaking were focused on their own part of the tapestry (and often those of their immediate neighbours). Spider 57 on the east fence might be positioned to catch the first rays of sunshine in the mornings, but Spider 486,971 over near the dung heap was in a better position to catch the afternoon flies. And so on, as somebody famous once said.
As Blithe prowled around the orchard capturing potential clues on her Clumera she inevitably became part of the laybrinthine web of sticky threads herself, as they attached themselves to her hair and clothing. All of the gaps between the solids in the field were joined together with spun filaments, just as the Gibblets were joined together with fun spillaments (although leaking waterpipes were sadly misinterpreted as not-fun all too often, despite that they could be used as an opportunity to view the connections of the Waterpunk more comprehensively.)
The individual spiders lacy parlours were framed in wire squares, several hundred, if not more, along the perimeter fences. Not every wire fence square was filled; there were many vacant lots between established residences ~ whether by practical design or mere happenstance, Blithe couldn’t say. Many of the individual webs were whole and perfect, like the windows of Lower Gibber whose inhabitants kept their lace curtains clean and neatly hung. Many of the webs on the wire fence were not perfect in the symetrical sense ~ some had gaping holes, and there were those that appeared to be unfinished, despite showing great potential. Others appeared to be abandoned, hanging in shreds, not unlike many of the residences in Upper Gibber.
The wire framed residences of the field (and likewise the peeling paint framed residences of Upper Gibber) that appeared to be defunct were not quite as they seemed, however. They were simply being viewed from a different timeframe. It was quite possible to view each wire or peeled paint framed en-trance side by side, notwithstanding that they were, so to speak, located in varying timeframes. All that was required was a more flexible viewpoint, and an ability to view more than one timeframe simultaneously. It was all a question of allowing an entrance to en-trance ~ which was, after all, its function.
{link: misty morning; entrance}
May 10, 2008 at 10:56 pm #1798In reply to: Synchronicity
Some interesting syncs:
Discussing the comment on Franiel and Vincentius with Francie, some things of interest:
F: hahaha i laughed at the egg bit
E: bit silly I reckonbut somehow it synch’ed with two movies we’ve been watching yesterday
F: yes, good to have a bit of silly in our otherwise serious story
E: In one, there is thatghost girl who stalks her husband new love affair, and ends up speaking through a parrot
And the other, there is this shaman old woman who remote-views her people went on a quest, and ends up dying in stead of a girl, so that the young one lives…F: oh that is like your plants in the courtyard dream too —just had a recollection of you saying one gave up its pot for the other one
E: Oh yes, true… Perhaps it’s just like a layering, like you do for strawberries, you use parts of the roots to do new plants…
“Layering is more complicated than taking cuttings, but has the advantage that the propagated portion can continue to receive water and nutrients from the parent plant while it is forming roots.”E: “In air layering (or marcotting), the target region is wounded and then surrounded in a moisture-retaining wrapper such as sphagnum moss “
“Peat moss is also a critical element for growing mushrooms” that’ll make Tracy happy
“In New Zealand, care is taken during the harvesting of sphagnum moss”F: “it can also be used as a substrate for tarantulas as it is easy to burrow into”
E: “Such Sphagnum bogs can also preserve human hair and clothing, one of the most noteworthy examples being Egtved Girl , Denmark”. Egg and B.C. sync
F: cool name, Egtved. Oh thats interesting about the Egtved girl: due to be public this month
E: oh, well spotted!
F: shall we all pop over and check it out
E: Ahahaha sure…
February 21, 2008 at 10:15 am #741In reply to: Circle of Eights, Stories
Elvira was tucking into some reindeer stew left over from Becky and Sean’s wedding when she telepathically tuned into Becky’s distress signal. Chewing thoughtfully, Elvira tried to make sense of the visual imagery she was receiving. She seemed to be getting a mixed message; was it a nun, or was it a tart? She reminded herself to trust her impressions, and not discount them even if they seemed incongruous or unlikely, and accepted that Becky was indeed in some kind of tarty nun trouble. The question was, where was Becky.
Elvira pushed her empty plate away, and focused on the situation. AHA! Nutley Park, 25th bush on the left.
Boris, I’m going out, she said. Becky’s in a spot of tarty nun trouble in Nutley park.
Right Ho, dear, shall I come and help?
Another image of popped into Elvira’s head of the see-through black mini dress. Er, no Boris, I’ll handle this myself.
And with that, Elvira, sprightly old crone that she was (and fortified with mushroom laced reindeer stew) bustled off to hail a gondola cab, carrying a large carpet bag containing a selection of hastily chosen clothing.
December 26, 2007 at 11:15 am #603In reply to: Circle of Eights, Stories
Sam was feeling like a human being shaped balloon… not in rubber, but more in some waterproof material… with holes in his hands and his feet…
It was like him as essence was blowing the air into the puppet to give it more or less consistency, more or less presence.
At times his action would not be on the blowing into the bodily structure but on the looking of its canvas, its blueprint… the puppet would appear slack or flabby.
At times his action would be the blowing into the structure, and how he would insufflate the air into the structure, how he would direct it through the canvas would create different actions, different movements of this energy pattern, some wavy, some more rigid, and some pulsing.He currently felt he was trying to block the air from coming out of the puppet clothing… blocking the flow of the attention, of the energy into something absolute… he felt he was doing that to understand what he could create in doing it. It was not a continuous action and not something he wanted to make last much longer. Only the understanding of the movement of the air through his body was interesting him.
He just breathed in and out and decided to do something different. He had what he wanted of it now.
There was a click in his right ear, and he could feel his attention and his energy movement beginning to shift.
October 12, 2007 at 5:29 am #1308In reply to: Yuki’s Livrary
September 24 th
Quintin remembered a snapshot of the notes that Dory had taken during her first trip to the Madagascan caves, a year ago.
Relevant extracts:
At one moment, I saw some hooded figure in the sideways tunnels… He vanished on the left, couldn’t follow him…
[…] HE KNEW HIS WAY INSIDE !
When he vanished, I had the vision of something, […] like the layout of a labyrinth, of cave tunnels — that are all underground and the many entrances are all over the world… PORTALS
focus opening/doors ; time/space…
The central cavernous part is some kind of key center, where anyone can meet…This has inspired Quintin to write some notes too.
He has the vision of these portals organized as clusters, like a tree, with branches and leaves… I will send him a more detailed image, but that may take him some time to digest!September 26 th
The latest additions to the story have inspired Quintin. He had some inkling of how “essence” (or what is somewhat referred as “oversoul” ) and all the “focus” of essence (or lifetimes) interplay, and are not as separate as they sometimes seem to be.
Here would be what we will say to him, if he wants to listen:
« Now, terminology can become tricky as, for much time, you have been accustomed to be considering of your experience as the projection of that of an “essence”, somewhat separate from you, the lowly focus.
Of course, you pretend the contrary, and become quite nifty in brandishing sentences like “I am essence, and I create all of my reality”, which you are and do actually, but that you do not always believe and trust.
These terms of “essence” and “focus” were given to you as means for you to better understand the interplay of consciousness. In the beginning of the acquaintance with these new terminologies, you have felt them remotely blurry and unrelated to previous concepts, which was the intention. But now, you once again objectify your understanding in something too rigid at times, and that little story is giving you a hint of what your real power is.
And you begin to really experience it, and really pay attention.« As was expressed many times, “essence” is no thing. It is an action.
The “essence” is each of you, that very portion of you that you feel when you slide your attention into the comment box.
In that, your purpose, you see, is only to experience, nothing more, nothing less.
And then time, as you know it, becomes irrelevant, you see. Your natural time is expressed through you and your explorations.
Notice how playfully, as essence (essence playing focus or focus playing essence), you let your natural time unfold, and at times find some strange weather pattern in your awareness that needs clarification. As essence, you playfully find the most perfect habits [shapes and clothings] to wrap around you, and continue your story.
Just as your dreams at night overlap and blend into each other.
Just as Rafaela created new focuses [Sam and Becky] to continue to play and make the story expand for all of the other focuses, Dory included.« That “I” of you is ever present, and is reflected perfectly in others’ perceptions, as you are drawing them to you purposefully. Do not brush aside their adjuncts, for they are also you, having moved your pawns forward, so to speak, through their moves.
« Thus understand that the story is a continuous stream reflecting the essence that is you, and your travel through the various guises you borrow.
In that manner, it does not matter how much sense it makes in linear terms. Because, in a way, it can’t make sense in these linear terms.« Let us explain this in other terms.
When you found difficulties in understanding the “scheme” so to speak, the figure that is drawn by the participants, it is because you apply the linear understanding of what such a scheme should be.
In that, you only perceive the “plot” as a succession of dots without a continuity, whereas the continuity is to be found in the other stories interwoven.
You are accustomed to stories where a single individual is enacting throughout the play, in a linear continuous fashion. The individual goes through many different actions, but is always the same in your perception.
Here, the tricky thing is to notice the continuity throughout the various habits [clothings] taken by the essence(s). It matters not that the essence takes that guise of say, a pirate sailing on high seas, just after having been an old crafty Lord in his windy castle. The underlying aspects of his exploration has been continuous and coherent: in this case, exploring and making sense of one’s exploration. It is just that a certain appearance has been perhaps more fitting to express certain aspects or qualities of essence, but the exploration has been one, throughout the entirety of the experience.« We will let you ponder this, and we will continue our own story, writing about you… »
September 28 th
This sand symbol that Quintin has brought up seemed to have come from many directions at once. Each character has connected it, in various ways.
Armelle (Arona) to her magic, Rafaela (Becky) to her collecting customs, etc. etc.Let us say that this symbol is not as innocent as it may seem. There are lots of associations with sand.
It is solid, yet fluid. In association with water, it can be used to build, and also to erode. It can shift into many forms, one of which is your glass, and your electronic components.
And most of all, it is, after your very oxygen, the most abundant constituent of your reality.
It is almost limitless in your understanding.
As is your magic.This magical device we made Quintin see in a visualization is an analogy of your very action of creation as essences.
The sand which molds itself to make forms and shapes in three dimensions is in fact likened to your consciousness. Each grain of sand represents your links of consciousness that bind together to do your command.
The shapes are moved by your essences, in which you may see that the essence is no thing at all, but is a continuous stream of action, not separate from others’.As Quintin said to Fiona, some individuals do differently when they create and shape their sands.
In analogy with the coloured sands, some people like Quintin enjoy using other people’s colours in shaping his own characters, while some others prefer to keep their own colours, to create a more definite sense of individuality. But they integrate the others’ movements and shapes nonetheless, regardless of how much they perceive it to be coming from them.With that said, let us see how much more will appear from that sandbox…
September 30 th
The Wrick family tree as it is now (or “will be” drawn around the time of the twins in 2057).
The Secret Life of Margaret Wrick , a newspaper cut from 2033.
October 7 th
The dragon Naasir’s dream
A panorama illustrating the portals between the worlds created by each of the participants… But who is dreaming, really?And an illustration of Chiara’s encounter with the glutton “dreggun” Buckberry…
September 24, 2007 at 1:06 pm #212In reply to: Circle of Eights, Stories
Fiona wandered slowly along the road to the supermarket in the Village, deep in thought, pondering a recent dream. In her dream she had been talking to someone from the power company. He was very chatty. Eventually he asked her if she had any issues with her power service. In her dream she had started to focus on some electricity issues she was experiencing. Well as a matter of fact I do, she had replied. At which point the man from the power company had abruptly cut the call short.
In her dream she felt a little put out, although resolved to let the power company know later.
The message of the dream felt clear enough, it was her focusing on the difficulties which cut her connection. Yet this presented Fiona with some difficulty, because she dearly loved to analyse even when this did mean focusing on not so pleasant things, though she had been aware for some time how this mental work would deplete her energy.
Actually there was almost a feeling of grieving in her. To let go of this part of her felt like losing something warm and comforting in it’s familiarity, like a well worn and loved article of clothing. It left her wondering a bit about her own identity.
On the way back home, laden with bags of shopping, Fiona saw Jarrod.
Jarrod was lying on a park bench conversing loudly to himself. Well, Fiona mentally corrected herself, to someone I can’t see anyway.
They just don’t understand reality he was saying vehemently they just don’t get it.
Fiona smiled to herself, noticing Jarrod getting a few concerned looks from the well dressed locals. With his bare feet, unkempt hair and long beard he would stand out even if he wasn’t shouting at the top of his voice. She decided to try and sneak past herself, he looked like maybe today he would not recognise her anyway.
She turned back.
Hey Jarrod
Fiona, here’s the thing. Here’s the question okay. Should we swim up-stream or down? Fiona what do you think? Should we head for the Source or the Ocean? Up river or down? We’re on the edge of a new era Fiona. So what will it be, the shallows or the rapids?
Before she needed to come up with an answer Jarrod’s attention was diverted by the shopping bags.
FOOD! Great is that for me Fiona?
-
AuthorSearch Results