For the end of the plague, for victory the erection of a scutulously ornate votive column in the isolation of the multiaxial crossroads of the citycenter, for here is the palimpsest of vehicular crossroads, for the completion of the navmesh, for the nativity of Salty, for nothing more than the ecstasy of sculpture, for successful dolphin harvesting, here upon this plinth is the destruction of the Parliament Hall, here upon this plinth is the meatjam of the royal family beneath a great & flat granite boulder, for parthenogenesis, for apomixis, for in the granularity of death Roger Bucklesby is so persistently loathsome toward every person in this piazza, here upon this plinth is the incineratory pyre of plague victims, for the abolishment of the monarchy, for the folly of the watery nothingness, in buttery varicose marble the legless phasmid consciously misphasmidic alone and paralytic is a rostral column of the truest ilk—with the ruddy black rostra of Baldick dolphins lying in mummification inside cantilevering ovate vitrines—though hovering within the transparent volume on a horizontal armature—upon collections of cartilaginous fleckings in the nadir of each glass egg on a proportionally squatty conspicuously conical shaft is the apparition of a Rusekeala marble obelisk emergent within a cumulonimbic sculptural medium is rising up pyramidal supporting a variety of statuary—the spoilage of conquest in an ornamental pastiche—pale—bleeding through polychrome—popstars & teddybear law enforcement & a vacuumcleaner & archers & tiny horses & grotesques berobingly lurking in vortices of climbing filigree foliage & partial babies & fierce angels & the rendering of kitchenware and crockery in castings of precious metal & cubics from tetrahedral couplings, the independent articulation of the pinnacle is a swirling composition of leering lolling bivalves & three narwhal tusks each in the argent clutching of three putti flailing ensilveringly losscast in a cloudbank of spheres & rumply drapery & ribby wefting esophagi & the disembodiment of outreaching hands & the disembodiment of putto feet & glaring cold sunburst of silver sunlight & the fourstroke suppedaneum heraldcharge of Murmur & giant fingertips & wormgears & glinting musculature & a pale halo & macarons oozing amygdalal rufflage & the eightpoint doublecross of «Daemon» & partially open fine silvermesh foldable handfans,

ADAemones sitting vigilant in adornment of scarves and shawls over their scalps around the freestanding rostral column in the quire is performing no structural role in the Basilica—not being a static system of trabeation but of vaultings and the bruteforce of raw thickness—behind a quirescreen of egg&dart filigree in sheaves of moireing strata passing silhouettes can be seen from either direction, those within the quire are disappearing into a pyramid of buttery luminance and emerging in graduating bits—the intarsia of the quire floor is terminal at a kerb is inscribing a medallion of crumbling asphalt containing inapposite excerpts of navmesh and road markings in reflective yellow impasto within which is standing the column on an equilateral triangle plinth sharing three vertices with the kerb, reaching across the quire through an aperture in the floor of the axial chapel a series of mechanical interconnections—a functionality analogous to a transformer that is dropping the acquisition of tremendous cumulative mass into the gyration out from the valvestem to the valve rod into the bell cranker—branching off to a failsafe mechanism actuator in the reversing yoke leading to the gear reaching rod & the reversing shaftarm & the reaching rod—which is motivating the gear connecting rod and via the gear connecting rod footerpin is actuating the eccentric rod to the eccentric crank pin pivoting and orbiting the a wormgear axle urging the breakwedge forward imperceptibly—and with the elimination of any incremental metric for gauging the concurrence or registration of its forward progression into the shaft of the column—either the column is standing or the column is crumbling—a purposeful omission for the enhancement of the ritualistic and divinatory connotations although conjecturing is abundant that the movement could not be more than a femtometer in any given observational increment—the marble is endlessly creaking—and also driving around the reactive series of mechanisms from the eccentric crank is jogging back and forth the main rod against the translatory crosshead wristpin revolving with the union link back to the valve stem is translating—through direct analogy and with the utmost sensitivity—the miniscule nuances of the cumulative burdenment of all depositions in the citywide arrayal of receptors, the armature of the breakwedge is suspending it at a downward inclination with its nose bearing in inert equilibrium against the shaft of the column—none of the weight of the breakwedge is burdening the column and the mechanism is providing the column with protection against acceleratory concussion, only gentle and incremental encroachment—with orientation assistance from an independent guidesled on an armature reaching up from the intarsia floor of the quire, the breakwedge—not a pristine triangular prism but the bilaterally symmetrical corbelling of seven precast concrete panels into a broad wedgeform or dartform—with blunt nosing against the shaft of the column and concave aft,

although the ingenuity is existing for digital translation of individual mass data from receptors around the city into responsive action of the armature only the analogical transmission of the actual burdenment of mass is granting daemonic validity to the unavoidable destruction of the column, although the complexity of that mechanism of tentacles sprawlingly gripping the hoppers of the city through is ostensibly digital although in the byzantine hierarchy of levers & valves & rods & crankers and the lack of documentation about its functionality is ostensibly the equivalent of digital sentience in that it is replete with selfhealing redundancy & is of a construction not commensurate with its ultimate application & its existence is almost entirely in the darkness of urban plumbing conduits,

conception of the volumetric limitations of these hoppers are involving no expectation of fulfillment through the accrual of single shafts of human hair & navel detritus & hangnails & pulmonary condensation—whose evaporation is resulting in the imperceptibly equivalent retraction of the breakwedge—& dusting off pollen from a light jacket & the festering fleck of paper hanging from cigarillo ash & the inescapable sedimentation of windiness & the manifestation of palingenetic mass in the guise of rustiness & the fraying wisps of a shirtcuff & dandruff & the precipitation of dustiness on the surface tension of raindrops & frayings & chaffings & sheddings & flickings of all manners of offcastings,

the electrochemical quartzite vibrations of the column are teasingly mimicking or tantalizing the vigilants with the tension of its obliteration—the images of luminous reflections in its sheen vaporizing and reintegrating in seemingly slightly variable locations and its fine dermis of dustiness is a low and damp valley fogging is retracting to its dormant coating across the marble—with the pulsation of its sinuous sheen the kneeling vigilant eyelashes lustingly dovetailing,

conjecturing about the manner of its breakage—a pristine cleavage along the rift of the helical shaft where the breakwedge is bearing, a complex failure skitteringly fracturing the column into debrisfields of crazy wreckage, slowly crumbling absolute disintegration into the hydrological cycle of the Basilica crossing—is abuzz in the alleys and transports, reverent silence in the quire, greensick apparitional visages hyperbolically breathing—an asymptotic method of never fully inhaling or exhaling—through their vigil stint around the column,

a child is sprinkling pocketlint into the hopper of a receptor and spitting into the dim mouth of a brakemetal chute gaping in a stucco wall below her kitchen window, the breakwedge is bearing the column is not outwardly creaking, the breakwedge is transgressing the column is not outwardly buckling, the column is not outwardly shearing, the column is not outwardly chipping, at very small scales the murderous violation of materiality is of no consequence is of knives passing through the empty space between skin cells and the jelly of adipose vastness, the flowing forth of the blood or medium is gaseous pollen in the breeze and smoak on the breath,

with incidental choreography of motion in the stillness of murky darkness the divestment of all of the sunflower oil from all of the fryvats in the entire city into all of the receptors—in alleys & elevator lobbies & derelict duplexes & public kitchens & roominghouse basements & dayschools—with the accompanying movement of the breakwedge a catastrophic 13×10-8—13 nanometers or 13 billionths of a meter—is crazing the molecular integrity of the marble in a skittering spaciousness all throughout chinking—at an imperceptibly small auditory scale—the diminutive echoing caverns of airy marmoreal snowfall sounding throughout themselves and only the corpse lying under the accumulating—selfsame with its drifting—is hearing the precious annihilation of the structure—loosing all the crystalline bondage that is marble—invisible to the obediently persistent gazing of the vigilants and the column is remaining standing & integral & ornate & proud and the relief of the breakwedge—its mainspring in a cavernous sewer beneath the city is without tension—limply resting in the cleft of the column’s stoic braiding.

 

John Trefry is an architect and the author of the novel Plats, the caprice Thy Decay Thou Seest By Thy Desire, and the forthcoming novel Apparitions of the Living. More diminutive writings have appeared in various outlets. He lives in Lawrence, Kansas.

 

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