“Personally I don’t like to look at the thing,” she spoke, facing way from the map. “But there it is. The Maebaleia blue galleries of lore. Notice — and I’m not going to turn around for this — that Cassandra City near Bluestocking is closest to The Moon here.”
“I know,” cooed the staring Heart Queen, thinking back to the previously examined map on the second floor of the House of Truth. “Barracuda. Just like in ‘Moby Prick’. Gypsies. Karoz! I’m remembering. He was there!”
“He has been disguised as (similarly blue-green) Tealy for the current run of Collagesity photo-novels,” admitted Grey Scale. “Waiting to reveal himself.”
“Now’s the time!” requested the queen.
“Not quite yet,” tempered Grey Scale, who was still in charge despite the niceties. The Heart Queen, like Chesteria before her, was learning when to keep in line; bend her own will. “Don’t cross Grey Scale,” urged Chesteria as newly appointed executive advisor. “She knows what she’s doing. Despite the purse.” They both had a laugh about the yellow handbag after that — so unfashionable, both agreed. Doesn’t really go with any of her earrings, for example.
“We have to determine the identity of Tillie, the accomplice. She may be Baker Blinker, the wife in Our Second Lyfe. Or she may be…”
“Very close.” Grey Scale turned to the Heart Queen. “Very close.”
Pitch had always gotten chills when walking past this particular spot on his Grassy Avenue. Tonight he understood why. Two cardboard figures, Derek Jones and
Sikul Himakt Mykall Skall, awaited him at the location. Pitch temporarily lost his sight.
“Ahh, my eyes! I can’t see.”
And soon he couldn’t hear or speak either.
Jacob I. was now up on the second floor of House Greenup in Rubi. He had reached Greenup 11 in his examination. Himself.
Baker walks out of that mysteriously appearing door in the Blue Feather again from the Table Room and notices another opening he hasn’t paid much attention to, down through the years now: the double iron gates into the property of his never seen neighbor Clarity Dagostino. The two neglected openings become linked in his brain. No stopping now, I suppose.
Just after that, he goes back into the Blue Feather to find what he originally thought was *another* “intruding” avatar like the one encountered the day before — get to that in a moment — but what turned out to be a mere 2-d flattie placed there by unknown hands.
The flattie holds a guitar with the name Mykall Skall scrawled on it. I quickly discovered this was the fellow who founded the Virtual Hotel Chelsea (or Virtual Chelsea Hotel), located in a sprawling Heterocera continent municipality I simply call VHC Town in this blog after its dominating, centerpiece structure. This could be significant for several reasons. But what next caught my eye was the t-shirt the flattie was wearing: it’s obviously suppose to double as the one John Lennon famously posed in during a promotional shoot for his “Walls and Bridges” album. And then the flattie’s army jacket is also a Lennon inspired garb.
Back to the intruder from the day before. Baker Bloch had decided to open up the formerly banned property of the Blue Feather so that visitors could take a look around the recently upgrade Table Room and its mysterious door (etc.) if they wished. Very soon after that, Baker found a male avatar appearing by his side as he positioned a representation of the 4 Beatles walking Abbey Road on the wall of the room, just at the top of its stairs. Seeing only a naked (male) human torso for the avatar’s profile picture, Baker decides to quickly delete the Beatles cutout and temporarily log out of Second Life. 10 minutes later he returned, with no avatar in sight. He quickly reinstated the ban on the property. He didn’t return the Beatles to the wall — until the second intruder showed up the next day. Because, of course, both involved *Lennon* now. And Lennon was and is a major player at The Table itself, projected to sit there under the guise of Salad Bar Jack LINK.
I must be forthcoming here to fully explain the oddness of the juxtaposition. Through Baker Bloch, I actually *did* rezz the Mykall Skall flattie in that corner of the Blue Feather but it was a spontaneous action on my part. I didn’t know the flattie would be projecting a strong image of Lennon. And I didn’t make the avatar from the day before show up just as I was positioning Lennon and the rest of the Beatles on the wall just up the stairs from him. I was merely rezzing stuff spontaneously here and there, going through my inventory. It was, as one could say, an *accidental* juxtaposition. But we know in the Blue Feather that such accidents are too frequent to be called chance. This is synchronicity again.
I’m going to perhaps shock the reader by stating that I believe Lennon himself (or an official representative thereof) wanted to make his presence known in the Blue Feather. He knows I’m working on The Table and he is to sit there. He is, broadly speaking, the gateway figure into (“Billfork”) and out of (“Uncle Meatwad”) my peak grouping of audiovisual synchronicities created during the Pierre Schaeffer era of 2004 through 2007. He knows this is important to protect and eventually disseminate. The organization goes beyond the Oz/Floyd Paradox.
I imagine Wheeler will be super pleased to find out about this turn of events when I next catch up with her.