Issue 44, Fall 1968
EACH THE LAST TO BE FIRST AND VICE VERSA: one beat more, one less,.., the ticking (more or less regular but uneven metronomic sequences) rebounds on the pain at different pitches. Sensing the tiny darts shoot from the alarm clock (next to the lamp) on the bedside table, before they burst into showers of sparks, reverberating on the twinges of pain and with it forming a perfect unison, an Integrated sum set (transforming it into an even stinging: tick-tock)—pain and ticking confounded both in the tick-tock and in the painful stings. Amplifying it (in the echo chamber of the head), multiplying it in accelerated and disordered pricklings (rapidly evolving microrhythmic units; chain explosions) that,
scratched out by the sound the nail makes on the map of the town—
diminish into itchings until they disappear, withdrawing into the clock.....
SILENCE. APPARENTLY MOTIONLESS THE TWO CLOCKHANDS, VERTICALLY MERGED, POINT TOWARD A SHELF TEN INCHES ABOVE THE LITTLE TOKONOMA. ON THE SHELF LIES A GREEN CERAMIC TRAY, A SQUARE TRAY WITH ROUNDED EDGES, CONTAINING THE MODEL OF A JAPANESE SAND GARDEN WHOSE PATHS AND CHANNELS—LANES AND “WATERMARK” GULLEYS, SUGGESTED BY “TORII”, ROCKS, AND BRIDGES PLACED AT HYPOTHETICAL INTERSECTIONS (EXACT AND CONTRADICTORY PLACES)—INEVITABLY LEAD