Ich ging durch den beschmutzten bevölkerten Korridor mit den Reben, die drinnen und draußen wuchsen, entlang und ich sah in jeder Tür mein Spiegelbild, während ich vorüberging. Ich wohnte genau zum Zimmer – nicht einhundertfünfzig Zentimeter weg; die Entfernung war fast nicht größer, als ich war, und nicht alter. Ich erläuterte meine Angst vor dem Dunkel mit einem Frösteln. Meine Zähne klapperten und klingelnden Münzen, die in meiner Tasche blieben, schrien in meinem Ohr gewohnte Lieder.
Eine Tür öffnete und einen Moment lang hörten wir das Weltall. Wir allesamt waren in dem Korridor. Ein krystallener Stab wie einer, den Leute in der Versuchsansalt oder in der Kneipe benützten, zerbrach. Der Stabinhalt floß in die Hand des Mannes, der sein Zimmer verließ, eine silberne Flüssigkeit. Das Echo des Wortes „Quecksilber“ klang in dem Korridor.
Jedes Zimmer ist gleichbedeutend wie das Letztere, aber es ist auch unterschiedlich. Jedes beinhaltet grenzenlos Fähigkeiten, und unterschiedliche Chemikalien, unterschiedliche Chemie, und unterschiedliche Emotionen.
Ängstlich öffnete ich meine Tür und trat in einen millionsten Anteil von mir selber und ich war ich selber. Symphonien flossen von meinem Kopf weiter, und von den Symphonien kamen fliegende Fische.
Es war nicht wichtig, dass andere Menschen ähnliche Zimmer wie mein Zimmer hatten; es war nur wichtig, dass ihre Zimmer verschieden waren. Ihre Zimmer waren Käfige, genau wie ihre Herzen und auch ihre Hände. Der Mann im Korridor, der hirschartige Augen hatte, blies das flüssige Metall, das seine Hand fasste weg. Die Flüssigkeit wurde Staub und glitt zu mir wie Backpulver oder Schnee im Schneesturm. Ich konnte alles hören und ich musste mich von dem Weiß, das der Staub brachte, trennen. Ich hasste den öden Morgen, den das hervorbrachte.
Ich wollte meine Tür öffnen und wollte den silbernweißen Straub vorzeigen, dass ich auch Sachen in der Luft erschaffen konnte. Ich wollte, aber ich konnte nicht. Ich konnte Sachen in der Luft meines Zimmers erschaffen, aber nicht im Korridor. Man braucht Ressourcen, um etwas zu ändern oder zu formen. Ich besaß Keine.
Die Welt schüchterte die Leute ein, die Verstand hatten.

i still believe that φ (phi) and θ (theta) used to be a grapheme, akin to the Trojan / Roman æ, cf. Virgil's the Æneid, then too a γraφeme in german: ß, not necessarily scharfes, but rutschig s... a slippery s... s the marijuana fiend all hippy and ****, then the z, using Beat vocabulary slang, the suited and booted for either war or the office environment □ (square)... i still believe φθ used to be a grapheme... separated at birth... as with V so too Φ and Θ have the prime incisors' touch the bottom lip to be said, honestly, the bottom lip makes more bone-interactions than the upper-lip; criticism is a type of medicine, you either take it... or bite the bullet. but hear a German utter the disparity: noticeable given Rammstein: ich v. sachen: i.e. ich (-sh) v. sashen or simply sahen - maybe learning Yiddish would help - the error, apart from the Malachi introduction of polytheism with two Elijahs? well, i helped you once, i won't help you again, one proof means no repetition, boorish Moses dragged from high status and belief in a birthright to garbage, from the right-hand of the Pharaoh that Joseph was, to the lowly pits of bricklayers - English bricklayers are 'appy, indeed the Grecian dispute over the surd Ηη (eta), on a hunch... hitch-hiking letter - Hitchens attacked mother Teresa, i attacked John Paul the soocoond... a Turk with grievances illuminated the story further... pope forgave the ****** in a prison cell, once law was enforced, the mighty confusion between sins (perversions) and outright bookmaker's testimony concerning the gambling of laws. i still believe φθ used to be a grapheme... look toward languages that instil the pressures of tongue-tying-tornadoes... if it weren't the grapheme ß, i'd say it was a dance between s und zee, in that the tango was danced, and the mantis convened its presence with alimony or other tactics for the hangman to fidget on the noose; obviously as confusing as to place Backgammon alphabetically coerced with ßimilarity.

poetry hasn't been altogether banished from
the republic - i concede that poetry is
best written in a frenzy - drunk - intoxicated
with whatever is deemed necessary,
prior to the battle of Hastings (1066), Harold's
army drank and drank and drank -
berserker alternative to *****? mushrooms -
so if no battle, no vain hope to compete
with Achilles - then in poetry too, phantoms
in white, cutting and bruising with every word
emerge - a solemn pledge to the art.
well, poetry hasn't been totally banished,
it's an undercurrent - manoeuvring tactic
of intelligent argument - so many poetic techniques
are used when one suddenly appears ridiculous,
sooner or later people fall back on metaphor,
with such sly excuses: oh, not really, metaphorically
speaking - oh but that's just imagery - etc. etc.
poetry is kept, precious in every circumstance in
the **** sapiens brain - to keep appearances -
to sober up - oddly enough - poetry as a method
to sober up from a frenzy of rhetoric - the 'not really'
of things that pass - it's the usefulness of disguise,
the ridiculous and pompous can suddenly take
on priestly demur - suddenly any traces of religiosity
disintegrate, and a cold and hardened heart emerges
with crystalline belief in the ruler, the protractor
and all manners of *the sensibility of science,
anything not humbled by science is deemed childish...
chillingly this childishness is also the childishness
waving a machete or firing a Kalashnikov - oh how
childish it becomes - the ***** to take someone's life...
great disputes in heaven, about four angels are
pop, Gabriel, Michael, Raphael and Satan -
total pop culture up there - anyway, it's not the glorification
of science is fairing well, to glorify science while
being a pauper with a limited scientific vocabulary is
already entrenched, so much so that the proof is there
regarding what's happening in western societies -
to create a universal vocabulary - a tactful one,
a vocabulary that does not impress because it does not
offend - a silk vocabulary, scientifically speaking
a smooth vocabulary, perfected to be pitched so that
the overall un-offended apathy of the listener is kept,
gay is out, homosexual is in, god forbid you mention
the word pederast or simply **** - god forbid,
bite your nails, say your mea culpa prior to jumping
into bed and all is well on the western front -
it's a revolution, didn't you hear? they say iron chains
i say liquorice tangles that can be eaten through -
apologies if your palette is not suited to the particular
Anise; but a revolution nonetheless - how did we get
to the point of trying to limit other people's vocabulary?
but of course certain words contain certain emotions,
better feel dread and disgust than an emotional flatline
with no emotion present. regarding pop culture
in heaven, ever hear the names: zehpanuryay,
abirzehyay, atarigiash, nagarniel, anpiel, naazuriel,
sastiel? you probably haven't - but it's not like you'd
keep names such as: the family of amine-boranes,
ammonia-carboxyborane, tamoxifen, paraaldehyde,
dihydropyran, polyester / dacron / mylar made from
dimethyl tereφθalate and ethylene glycol...
so what's more ridiculous? funny enough, the only
remaining aspect of the English language retaining
its roots in Saxony is expressed in chemistry,
the obvious lack of hyphen usage - chemistry is the
only revealing essence of English as having origins
in German, the excessive compounding of words,
chemical nouns that require a breathing technique
and a good optical scalpel to pronounce them -
as is well known, Germans don't believe in keeping
shrapnel, they see wordy shrapnel they get the grammatical
kiln out and melt everything together, e.g.
staatlichverantwortung (duty to the state, civic duty),
only in chemistry is the German a thick block of writing,
elsewhere it's aquatic or even gaseous - one
word jokes: Richard - ****... Mr. W. Kerr - Wayne.