Paradox II: The Chancelling 04: Indigo

From: “baker b.” <>
Date: Tue Nov 15, 2005  2:42 am
Subject: eirre pierre  edwardston
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I’m not sure if this is a good thing to do, but thought I’d give you an example of posts I sometimes write in the middle of the night to myself. Edna enjoys them, but she knows a lot of the in jokes. This is one I wrote right after completing this post I’m replying to.

It just involves recycling junk I’ve taken into my brain during the day, or the week — or my lifetime — but usually the specific day I write it. Like this one is reflective of a TV show we watched earlier tonight.

It was probably triggered by the reference to Sphere I was trying to explain to FLynn here. Perhaps this explains better why I call Pierre a bastard at times.

Here goes!

From: “baker b.” <>
Date: Tue Nov 15, 2005 2:20 am
Subject: It continues edwardston
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“Thank you for speaking with me — and us –tonight Pierre. I’m not sure how you can chat online through a post like this, but I thank you all the same.”

Pierre: “It is the instant that counts. Like coffee.”

Baker: “Um, right. So Pierre, I want to talk about when we first started interacting. This was in November of 2001. Do you remember these posts?”

Pierre: “I remember them because you put them in your book, baker. You captured them as you like to say. You bastard.”

Baker: “Now Pierre, don’t start with the name calling.”

Pierre: “You just remember who calls the shots here.”

Baker: “Right, I’ll remember.”

Pierre: “Remember Corky the dream dragon rising out of the swamp? Do you remember ‘Monster MASH’ the graveyard smash? Remember the smashing?”

baker: “Now stop that Conk…er, Pierre.”

Pierre: “You’ve got to stop watching so much Trailer Park Boys Jul… er, baker.”

Baker: “I know. You sound just like…”

Pierre: “It was a graveyard sma—aaa—aash!”

baker: “That’s interesting how you can dig that up Pierre. You *are* a bastard.”

Pierre: “I call the shots.”

baker: “Alright. Can we talk about your…”

Pierre (interrupting): “Your Mess’n Sphere is what you want to get at without recklessly beating around the bush. You’re talking to me like Normal Norman talked to the Sphere. Ooooh, afraid he’s going to turn into a monster, are they? Well, *they’re* the monsters. I did their charts, however imaginary they are. They all have faults. Their planets are all screwed up. Of course they’re monsters. Few people aren’t in some way.”

Baker: “Well, Pierre, I think a lot of people are different things other than monsters, like machines or perhaps even vegetable beings, if you get my drift.”

Pierre: “Flowers? Tulips?”

Baker: “Dammit, you still sound like…”

Pierre (interrupting): “Corky rose out of the swamp. He was a monster-machine. He was dragon and mammoth and Lord Frankenstein and Hilo and Gila and Hidalgo and…”

Edna: “Refreshments anyone?”


(minutes later)

Edna: “So I still don’t understand about the Monster. I know that I miss [Soybean] and that I want to keep in contact with him, Pierre. I think you should stop playing games with baker. After all, you’re married to my best friend now!”

Pierre: “Cammie and I like to play as one. We make a journey together.”

Edna: “Well, that’s nice Conk…” (to baker): “Now you’ve got *me* hearing it.”

Baker: “It’s damn hard to get out of your head, isn’t it?”

Edna: “Well we watched the episode twice in the last two days.”

Baker: “Right.”

Edna: “Pierre?”

Pierre: “Hmmmm?”

Edna: “How do we stop this?”

Pierre: “You mean the Corky thing? You mean exposing your innermost weaknesses? Making you feel totally vulnerable until you have to shoot me? You don’t feel that you have any other options?”

Baker: “Yeah, Pierre. You have to cut that out. Just cut out the Corky shit.”

Pierre: “I’m a good boy baker.”

Baker: “Cut it out.”

Pierre: “Who’s calling the shots here?”

Baker (reprimanding): “Pierre…”

Pierre: “It was a graveyard smaa—aaa—aaa—aaa–ash…”

Baker pulls a gun out and is about to shoot Pierre, but he only has it pointed to a computer screen that Pierre is inexplicably typing on. Edna reminds him of this fact.

Edna: “You’ll just shoot the computer screen, Baker, and the glass will probably fly back into your face and blind you, perhaps kill you! Put the gun down.”

Baker laughs. “I was just funning you anyway. It’s a toy gun. See?”

Baker aims gun toward ceiling and pulls the trigger, and blows a wide hole in it as the gun actually goes off. “Holy shit!”


Edna: “Sorry you didn’t get any information out of Pierre tonight.”

Baker: “I’m sorry about it too!”

Edna: “But at least no one was hurt.”

Baker: “There’s the hole in the ceiling, though.”

Edna: “No there isn’t.”

Baker looks up. “Oh cool, it’s gone!”

Edna: “Remember, we’re just words on a screen.”

Baker: “Right!”


Edna: “Refreshments anyone?”

Baker: “Pierre, I’m glad you came back to talk to us.”

Pierre: “Right, you just had to get that show, and specifically that character out of your head. When that happens again, I prefer you talk to Chance instead. He’s better to project that stuff on.”

Baker: “Really?”

Pierre: “Yep.”

Baker: “Is it true in that world that Bubbles killed Ricky for killing Conky and threw him into the swamp as well?”

Pierre: “How do you think the gun got there. And why was the pond smoking. Smoking gun!”

Baker: “I suppose that could work.”

Pierre: “It’s the best I could come up with. I was only half a chancellor without Cammie by my side.”

Memmenger (disembodied voice): “Cammie is here.”

Baker: “Hmmm. Sounds like Cammie is here, I suppose.”

Pierre: “Right.”


(seconds later)

Baker: “So Cammie, I’m glad you showed up. We’ve got almost the whole gang together again.”

Cammie: “Not quite. We’re missing one still.”

Pierre: “Right, the most mysterious one.”

Edna: “The one who…”

Pierre: “…makes the journey alone.”

Baker: “Is he man, machine, or monster… or vegetable… or plant, animal… mineral… plasma?”

Pierre: “Play as if he is.”

Baker: “Um, alright.”

Cammie: “Jello!”

Baker: “Oh! We’re getting to that topic finally.”

Pierre: “I think it’s time!”

Edna: “4orrin1?”

Cammie: “The Big Four.”

Baker: “So what is green jello?”


(4 hours later)

Baker: “So that wraps up the mystery of 4orrin1! Thank you guys.”

Pierre: “It was a pleasure.”

Cammie: “A privilege to sit in on this.”

Edna (yawns, and then sleepily): “A trip for the head for sure.”

Baker: “Right.”

Pierre: “For sure.”

Baker: “Sure.”

Pierre: “Well… do you need us for anything else Baker?”

Baker: “I’ll get refreshments this time Edna.”

Cammie: “Do you have any cauliflower?”

Pierre busts out laughing: “Cauliflower? CAULIFLOWER?

Baker: “Something is happening…”

Pierre: “Ahahahahahah!”

Baker: “Cammie, stop him.”

All are staring at Pierre.

Pierre (doubled over in laughter): “I… I can’t breathe.”

Baker: “It’s time to leave.”

Edna: “Wait.”


A man named Orrin walks into the coffee bar.

From: “baker b.” <>
Date: Tue Dec 6, 2005  5:34 am
Subject: Charlie  edwardston
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Sorry to just reply to myself here, but I’ve tried to catch up with messages but haven’t quite made it back to the place where I ended before.I wanted to write some loose notes, though, about this map while I have a little time before returning to bed.

baker: “*You* created the Archie synchs, didn’t you Pierre.”

Pierre: “Um hum. Not much of a snow last night, eh? Only a dusting.”

baker: “Two Archies… obviously Archives. And then you’ve put other names related to Archives in there as well.”

Pierre: “You just appraised.”

baker: “”A”s all over everything. Archies.”

Pierre: “You need to look at East Lynn and East Lynne. 8 Miles. Daugherty. Peculiar stuff like that. You need to listen. Archies are linked by Head. Mudhead. Stand back and look and listen.”

baker: “It has something to do with your vision… at the Fisher Caves.”

Pierre (correcting): “Cave.”

baker: “Yeah, the dragon emerging. Tile Creek?”

Pierre (pretend mock): “Tile, tile, tile.” (then, getting serious): “Of course!”

baker: “Vermillion is Red. Reds.”

Pierre (looking out the window again): “Really disappointed about that snow.”

baker: “Million there as well.”

Pierre: “Yeah, about a million.”

baker is silent.

Pierre: “You’re closer!”


Cammie: “The monster has returned!”

Pierre (slapping Cammie hard on the cheek): “No it hasn’t. You’re dreaming.”

Cammie (rubbing cheek): “Where?… oh, Pierre. I had a dream.”

Pierre: “The same?”

Cammie: “The swallowing.”

Pierre: “Dean’s okay. We know where he is now. He journeys alone.”

Cammie: “I’m… worried.”


Edna: “I’m worried about Dean.”

baker: “Soybean? Why?”

Edna: “Don’t you even think about him that much?”

baker: “Yeah. I suppose.”

Edna: “Don’t you… love him?”

baker: “Kind of… I suppose.”

Edna: “He’s gone, I think.”

baker: “Nah. He’s around.”

Edna: Where?

baker: “He may be in Arizona. Zona. Gale.”

Edna: “Does this…”

baker: “Maybe.”

Edna: “Is she…”

baker: “It’s possible.”

Edna: “So…”

baker: “… that…”

Edna: “… means…”


Peter Dunne: “I’m new!”

Dean: “The riverboat! I’m back!”


Dean: “I’ve assembled you all to tell you a very important thing to tell you all. I’m not at all here atall. I’m one with the son and the other one, the fruit. In all, I’m a waste of space but one with the universe and thus not atall spaced. 8 directions at once; 1 direction at all.”

Pierre: “Read us some poetry.” (then, fanning himself): “Dang, I can’t believe how hot it can get in this state in December, even. Dean… make some sense. We’ve come a long way.”

Dean: “Not atall true and false at once. You are one with the son and that makes you a leader of 8 directions and not spaced.”

Cammie: “I love you.”

Pierre (jealous): “No you don’t. You’re dreaming again!”

Cammie: “Monster Man Moon!”

Pierre: “Stop swooning!”

Dean: “It is all here in the now and when and how and what and who. I am you you see you. Oooh it’s great to be back.”

Peter Dunne: “I’m here too! I’m new!”

Pierre: “Who let that dummy in?”

Peter Dunne: “I love heat… (clangs chest, seemingly to correct himself)… *heart*.”

Dean: “Announce yourself you see.”

Peter Dunne: “I’m a Dunne deal! I’m a shark with no heart (clangs chest again)… all heart! I do not sweat! I am not a crook! I love he…”

Pierre (to Dean): “Stop manifesting these god awful…”

Cammie: “Stop.”


Dean (in the silence): “He is a beehive.”


baker: “So that’s where you went.”

Cammie: “To Utah?”

baker: “Morris dancers all.”

Edna: “Vermillion. Pretty color.”

baker: “You… must… be… protected!”

Edna: “I am solid platinum now. Fully protected!”

baker: “Good!”

Edna: “Yes!”

Peter Dunne: “It’s a Dunne deal!”


baker: “Tell us about yourself Peter Dunne deal.”

Peter Dunne: “Ask Dean!”

baker: “Dean, tell us about yourself Peter Dunne deal. ”

Dean: “He is a beehive.”

Edna: “Not alive.”

Dean: “No deal.”

Cammie: “I love him.”

Dean: “You…”

Pierre (jealous, but more realistic): “She doesn’t love either of you and all of you at once. She is a dreamer.”

Cammie: “I heart love.”

Edna: “I am protected.”

baker: “She is one with the son and 8 directions at no time atall.”

Dean: “Here’s the answer. We must go back in time to no time to answer all.”

baker: “The Black Hole Prick of Red Lick?”

Dean: “All.”


p.s.: You forgot your parrot.

From: “baker b.” <>
Date: Wed Dec 7, 2005  9:15 pm
Subject: the flat world we live in  edwardston
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Print out material on the SID’s 1st Oz at the center of Paradox II. Begin in earnest to edit this document. Put Floydada document out as is. Create the b_hive web site. Add Edna’s QE stories. Peter Dunne, the new character (I’m new!), is originally from The High Octave Story. He is what the people of the High Octave (High Plains, at the top of the beanstalk… did I have a specific name for it?) had to turn into in order to be spared from the Jasper virus that ravaged the place and turned people, apparently, into giant potatoes (?). Or perhaps they had to be turned into potatoes in order to be saved. Hard to remember exactly. But this was the dream material at the center of HOS, while Decker/Sixtus was dreaming in his bed in his home in Mythopolis. Yes I remember now: in their *dreams*, men had to turn into Peter Dunnes and women into Zona Gales in order to survive. Peter Dunne was a newspaper journalist from Wisconsin, while Zona Gale was a Wisconsin fiction writer who lived in Portage most of her life and depicted it fictionally through the village of Friendship. Have to look this up. Peter Finley Dunne was famous for creating the editorial character Mr. Dooley. Perhaps tie into Dulley of fictional maps, the capital and largest city of Brimaco ([delete parenthetical comment]) Scan this map! Zona has come up recently in the Hidalgo map collage of AZ/NM where the central Billfork Core Diagram highlights the “zona” part of the word Arizona. This circular diagram is also divided north to south by the Gila River. Zona = Gila. Gila rearranged is Gail, which is phonetically identical to Gale. Resonates, of course, with Dorothy Gale ([deleted parenthetical comment re Jasper]).

Peter Dunne may find map after map of Jasper County somewhere, appearing like an epidemic. It is a virus or bacteria… multiplies rapidly. Also reminds me of the multiplication of the Verne novel in Sphere. It represents the presence of the Monster.

Perhaps Edna thinks that the new Dean (I’m back!) is the same as their Soybean Dean, more mature with, somehow, the growing part sped up. But baker is unconvinced, and not just because of the time distortion needed.


baker: “He’s different. He has that peculiar Peter Dunne following him around all over the place; they’re like synchronized dancers and prancers.”

Edna: “And prowlers.”

Pierre: “A caged leopard. Good spots.”

Memm suddenly flies toward the TV screen that “SID’s 1st Oz” is still playing on, at the line “opening dawn of her face” in Barrett’s “Long Gone”. She eclipses the figure of Toto, who has just cleverly opened a window by himself with the singing of these lines. Memm appears to be trying to fly into the screen itself.

Parrot: “Kark. Squawk!”

Pierre (waving parrot away): “Hey, you’re scratching up the TV screen, bird! (softer): Damn parrot.”

baker (pointing): “The door to Memm’s cage!”


Pierre: “Gillingham’s Island is a difficult place…”

Cammie: “Here comes the monster again!”

Pierre: “No. Dream.”

Cammie: “Oh.”

baker: “She is deep in the chancelling ways.”

Pierre: “You warned me she was open!”


baker: “Peter, are you related to Peter Gunn, or possibly Paul Drake?”

Peter Dunne: “I investigate too. Only the living.”

Parrot: “Ekard!”

baker: “That’s another one it says. The same words each time, with the letters rearranged. Drake, Ekard, Kark, Darke… some others I’m not remembering.”

Parrot: “Kark!”

Joyce James: “She is the Elision Parrot!”

Pierre: “Kark?”

baker (to Peter): “He was framed, wasn’t he? For the murder. D is 4… my brother, my more ordinary but more skilled sibling! I had forgotten!”

Parrot: “Ekard!”

baker: “Peter Dunne, are you to dig up evidence to help my more ordinary but more skilled brother?”

Peter Dunne: “I investigate the living.”

Cammie: “I heard him in concert last month performing the Messiaen piece you bragged upon, baker. An incredible talent!”

baker (correcting): “Skill. Speaking of concerts, important ones, I remember asking him to play ‘Vexations’ at Darwin’s funeral in Black Mountain but he wouldn’t do it.”

Edna: “He probably had his reasons.”

baker: “He could have managed it. He flat out laughed at me. That’s all… laughed!”

Edna: “You can’t expect him to be John Cage. You’re the experimenter.”

Cammie (chanceling): “He is you! Split off. If you would have been more encouraged and funneled into a particular, more acceptable pattern of creativity and resulting increase of skill and reliance on already composed works. Archie comes to mind.”

“Pierre created Archie.”

“Then Archives. You must dig. Pretend these memories are potatoes, ripening underground.”

baker: “But the blight!”


“4orrin1. The center and the 4 quadrants. Each king or ruler looks out upon their particular kingdom or domain, facing the respective compass direction. See here? Jethro faces north, his Queen south.”

Cammie: “I think he may be more her king than she his queen.”

baker: “Right, in a way. Time and non-time, then. Sun and Moon.”

Cammie: “But there are others.”

baker: “Yes, the two siblings, both named Roger. They are both equal within the 4orrin1.”

Edna: “But this is SID’s 1st Oz.”

baker: “No.”

Edna: “But it is. That illusion has been shattered in “The Monster Hidalgo.””

baker: “No. So each Roger possesses an earring, the first with a white pearl and the second a black pearl. The white is worn in the right ear, the black the left. Each earring contains 13 letters of the alphabet in the spirals, with no overlapping between the two sets.”

Edna: “Who gave them these earrings?”

baker: “I suppose I would have to give it to them, but in what form I’m not sure. The white earring represents the flow of Baker’s Creek in Mississippi from source to mouth. The black earring represents perhaps the backwards flow of same. These earrings are centered by a pearl, but they contain encrusted jewels as well in the spiral part, which should technically be Alexandrite for the 7 tiles of both Rogers but couldn’t be because of their incredible cost. The stones are practically priceless. So we substituted…”

Edna: “Jasper.”

baker: “Yes. I mean, in part. There is also lapis lazuli for blue and quartz for yellow. Quartz? I’ll have to check. Topaz perhaps.”

Edna: “Hitchcock wouldn’t like that. Fred, I mean.”

baker: “No. He hates Topaz, true.”

Edna: “Are these earrings still around. I mean, are they in this world we live in?”

baker: “Tucker…”

Edna: “NO, Tucker didn’t take them. Tucker hasn’t been around in a long time.”

baker: “The earrings appear on the computer screen, much like Corky. And that’s all. I have a picture, but the jasper is unclear since it is replaced by glyphs with letters.”

Edna: “[the collage] ‘Just Passing Through’… is that about the opposite Rogers?”

baker: “To differentiate, the Roger with the white earring prefers to be called Ronge. He is expected to allow this label, I mean.”

Edna: “The differentiation is hard there, though. The separation comes later, after “Billfork, the balance of SID, is found about a year and a half on.”

baker: “Have you been staring at the mouth of Baker’s Creek lately, Edna? Because you sound a lot like…”


Pierre: “…me. I created the Archies, thank you. Have you? That’s how you can write about me in the first place for the most part. The 10×10 is now your base. Use it wisely. A pearl of great price. Perhaps priceless.”

baker: “As much as Alexandrite?”

Pierre: “You must retreat from the dichotomy of that stone. Ursa, Urals.”

baker: “No, *you* must retreat.”


Cammie: “I’m sorry Pierre. I had to tell you.”

Pierre is silent.

Cammie: “He controls the nighttime. I can love you during the day, but I have to love Dean at night. He is the narrow and funneled, like starlight. You are the opened sun. Daylight. Consciousness. That’s why I keep dreaming about the monster.”

Pierre (reluctantly): “I guess that makes sense.”

Cammie: “Remember how Larry David joked that he could dedicate his life to his wife till death do them part but not beyond? The wife got mad, because she stated marriage carried on beyond death. It’s the same argument with us in a way. I’m like Larry David here, and you’re his wife. You’re upset at me for the same reason.”

Pierre: “But what about that creepy Peter Dunne?”

Cammie: “He’s here to help baker help his brother Kark. To rescue him. He is on trial. You know all that.”

Pierre: “I do and I don’t.”

Cammie: “Kark, I think, is like baker’s Ronge, and baker is Roger or Syd, or SID, hopefully. He regains the split. That’s what he is working on.”

Pierre: “There was a point where Rick Wright had to decide between best friend Syd and the rest of the band… who to stick with. He only chose Waters and Gilmour because he became convinced that Syd was losing his mind. This was 1968.”

Cammie: “He did, as I understand.”

Pierre: “Yes, but…” Pierre is silent.

Cammie: “Maybe that is the same as the edge we stand on, you and I.”


From: “baker b.” <>
Date: Thu Dec 8, 2005  6:04 am
Subject: “Hi. Bob Ekard. How may I help you?”  edwardston
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Remove Author | Ban Authorbaker: “That’s the last thing I want to start now. Another synchronicity. I have Paradox II to edit, and I haven’t even committed 4orrin1 to tape yet!”Pierre: “Nevertheless.”baker: “For Kark, you mean.”Pierre: “KARK.”


“I knew it would be the hardest synch yet. I dreaded it yet took the responsibility on, as Pierre encouraged. “Here’s a dollar, baker,” he jokingly coaxed, waving it back and forth in front of my face. Another dollar… now you have enough money from me for one of your precious lattes. “Can’t I just write about creating a synch and that will be good enough?” I asked. Pierre gave the example of Arthur C. Clarke and Stanley Kubrick: “They worked simultaneously on both the book and the movie 2001; the one fed off the other.” “I really don’t want to do this now.” I paused, taking in Pierre’s reaction. “I really don’t.” “How `bout if I promise this will be the last one,” he responded. “The last dollar, the 4th. Tetrad.” And then he added: “I’ll take full heat if you get in trouble. Look upon it, perhaps, as my commission or my charge.” “Are you my benefactor, Pierre?” Pierre looked thoughtful. “I gave you the Archies so that you could create me, both my head and body and then together.” I took that as a yes, but didn’t understand fully. “Do you hear from Johnnie at all?” I asked, returning to an earlier subject. “She seems dead to me, although there was a time in [delete state] that I thought we may have a future. This is after my inner tube journey down the [delete] to [delete] for the purpose of [delete 4 sentences]. And then [delete 2 sentences].” “Fascinating!” I responded, trying to take in the magnificent impact of this incredible revelation. So [delete] told you that the child was not [delete] and only [delete]. [Delete] could see into the [delete] and tell you.” [Delete two sentences of exchange]. “So you don’t hear from [delete] either?” I then asked. “Maybe you should switch to another conversation, baker, since it is obvious you can’t reveal much about what we are talking about here.” Which I thought was a reasonable suggestion given [delete] [delete] [delete]. “One more, then: Are you and I going to create this synch, this new 4orrin1 as it were, together? Is that what you’re trying to tell me?” Pierre paused, index finger on lip, thinking. “On the surface I would say yes,” he replied finally.


“I think it’s a fine idea, baker,” Edna said. “You and Pierre should work together on another synchronicity. Look at the success so far! So what is the trial about?” I reviewed in my mind the images I had cobbled together in the last day or two about this trial. “It is the trial of Kark, my more ordinary and more skilled brother.” “Piano- wise, you mean,” Edna responded. “Yes. He is on trial for the murder of Johnnie, Pierre’s old flame.” “Was she really killed?” Edna asked. “No,” I replied. “She pretended to be beheaded in concert. This was…. oh, 1981.” “Pierre knew her way back then?” she asked. “No,” I replied. “Pierre took up with her when she was trying to make a comeback. You see, after this concert and the beheading, Johnnie and her band packed it up and called it quits. Pierre became interested when she was rehearsing with three old members of this same band…” “The Cars?” Edna asked, interrupting. “No, The Garrs. Pierre claims that Johnnie claims this was the original punk band of the United States, or at least the western states. I can’t verify this fact, though, through Internet research.” “Why was Kark implicated in the murder?” Edna then asked. “This was part of the rock opera at the time.” “But she couldn’t have known about Kark,” Edna responded, “because he is *your* brother, your creation. She couldn’t have known about this in 1981 or whatever year you said the beheading took place.” “True,” I responded. “Well… how are you going to explain that?” Edna queried. “Kark merely witnesses the beheading, outside of the rock opera. Kark is not necessarily part of the rock opera itself.” Edna looked thoughtful. “Was he there… your brother?” “Yes, but only fictionally,” I replied. “The concert was real, though. It took place in Tempe, Arizona, I believe, or so Pierre has told me. Again, I’ve not been able to verify any of this on the Internet.” “No hits for ‘punk’ and ‘Garrs’ comes up?” Edna asked. “No,” I admit. “I think it has been hidden.” Edna: “Hidden?” “Like Thomas Ekard… you remember him.? “Of course,” Edna responded. “Your Civil War self. Maybe Thomas Ekard hid Kark… ever think about that baker?”


“I think he’s going to do it Cammie,” Pierre says. “The dollar bill in the face taunt seemed to work.” “Did you tell him about [delete] [delete] [delete]?” Cammie asks. “How could I not!” Pierre responds. “That was the real lure!”


To go back and manipulate time. That was the lure. Pierre knew he had me hooked, then. We would practice in the new 4orrin1 and then create for real with Thomas Ekard. He was probably a Virgo, like Kark. Attention to detail, more conservative, playing it safe but getting the most he could out of what he had. I know that Ekard acquired some kind of success with his first two novels, in the style of Verne, but when he departed from this borrowed style, discarding them like training wheels —  plus the fact that the second book was conceived, in part, by his wife, who is the same, essentially, as Edna in the here and now — he lost what audience he had managed to acquire. The book dropped like a hot potato. It was about the beanstalk again, but a beanstalk come alive now. This was the secret history of the United States: that it had a parallel to the Eastern hemisphere’s Great Pyramid of Cheops, but not in the form of mineral but plant. And the plant had hid itself in the past of our country. It had hid Ekard as well, since Ekard had conceived of the existence of the plant in the first place. The hiding began with that third novel. It was coded. Maybe.


“He waved Cash in front of my eyes and I could not resist,” I told Edna.

From: “baker b.” <>
Date: Mon Dec 12, 2005  3:44 am
Subject: D – I – N – G – O  edwardston
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12-09-05: Thinking about starting up my journal again. *Very* bad about writing in one. What happens to the b_hive, then? It will keep going… synchronicity oriented. Perhaps I can write about hikes, etc., on the b_hive. When I first began dating Edna.

“You’ve found one version of the Monster.”

“Really? Where?”

“The Octopus. That’s you baker.”

“I don’t….”

“And then Golden Hair is Kark. Let me explain,” he quickly followed.


“An Octopus is a monster, an eight legged or tentacled variety, like the spider. It is like the spider’s web of death and then transformation. It is risky and chancy. It is vastly creative. The song Octopus is quintessential Syd. It was his only released single as a solo artist, although it didn’t sell well. He was pleased with the lyrics and song overall. The flip side, the b side, is Golden Hair, so these two songs, while appearing in one tile within SID’s 1st Oz, also appear as flip sides of one record or single, sides A and B. They are opposites, baker, like you and Kark. Octopus is a very complex collage of prose and poetry from a variety of sources, a study of which can be bewildering, like a Monster. Golden Hair is totally simple in comparison. It borrows, word for word, the same named poem from Joyce’s Chamber Music. It has one source, a one-to-one match. Octopus is many faceted in comparison.

“In your study of SID, you had to, at a certain point — in Paradox II, I mean — had to stop examining Octopus because you felt you were being absorbed into the monster. You and the Monster were becoming one, as you are in hypertime in a negative fashion. Kark is your salvation. Golden Hair pulled you out of the study of Octopus, and kept you marching step by step through the progression of the synch. Tile by tile, I mean.

“Who are you?”

“Pierre, silly! So when we inject the Jasper virius into Syd. I mean, Dean. Dammit, I mean Dunne (!), we may have found a way around the Monster in a similar way. But we must rescue Kark, because he is being framed, or has been framed. Dean, er, Dunne will then have all the answers that we need. It is no good looking further into Bruno, baker. That’s yet another Monster taken as a whole. You need an editing device, and Dunne gives it to us.”

“When do we inject him and how will it be Dunne?”

“I will say this about Bruno, baker, before answering your question. Bruno does have its moments. Like the fact that Dunne, in Bruno, although sketchy as all things are in that ancient (note)book, uses what you call the VishMach, or Vision Machine, to bypass the equivalent of the Monster in that book. You see that what has possessed Kark — in Bruno again — is not totally good nor evil, but just another teaching device in the School of Terra Firma. And in a very real way, you, baker, put Kark in this situation, in order that you may rescue him. It is the same as Ozma of Oz trapped in the existence of boyhood as Tip. This was created as part of the overall play of Oz, and not as some form of absolute cruelty. Ozma/Tip willingly accepted this role on an unconscious level.”

“In Bruno, I saw the Monster as a blue double helix, like DNA.”

“That may be another aspect of the virus. Getting to that, then, as you know, the Jasper virus is artificial or mechanical, just as Dunne is the same, at least in part. He may be part vegetable as well, but we’ll find that out soon enough.”

“Depends on if he, or Dean, or both, are really our Soybean Dean, come back to us from the future.

“True enough. So, baker, the Jasper virus comes in the form of a cube, of course. Each cube contains 144 times 144 elements of 12 separate varieties on a continuum, like the 12 colors of a color wheel: primary, secondary, tertiary. The mathematics behind it are based on the number 12 instead of our 10, like we have in, for instance, the hours of the day or inches in a foot. This helps prove its Sirius origins, and also explains the ties with music and art outside of pure math.”

“Yes. It appears to be a very serious virus!”

“Each of these cubes. — hypercubes, really — are at least as small as a strand of DNA, perhaps much smaller. Activated they vibrate, resonating with a specific color not found in the original twelve: indigo.”

“The “i”. The third one.”

“Yes, like a vast swarm of miniature 3rd eyes. Good. They will be injected into Dunne perhaps via a syringe. If Dunne is truly Soybean Dean come back to you and Edna, then the virus will affect the plant material of the body. He will literally turn blue, like the virus we are injecting into him. If the transformation then goes correctly, he will be able to transmute this potentially very harmful virus into something incredibly useful to both him and us.”

“Sounds a little like the Dune guy. Muab Dib.”

“The process does sound similar from what I remember of it. Dunne… Dune. Hmmm. Paul was able to transmute the chemical makeup of the Water of Life after ingestion, turning it from a poison into a triggering device for true consciousness. Seems like the color blue is involved there as well… I’m remembering [Paul’d] solid blue eyes. But this is not just an allegory of that, or a parody, although I realize when we speak here it only shows up as only words on a computer screen, much like Dune only exists as words in a similar way.”

“Understood. The parallels are interesting, though. Especially with the name Dunne. Does Peter Dunne know the dangers? Is he aware of all that is going to happen or potentially happen?”

“He will be the first of his kind in our story. Either he does not remember his origins as Soybean Dean or he is purposely hiding that origin. I tend to ‘believe the former. He accepts that he might be the same as Soybean Dean, but transformed into a mechanism at a certain ‘rebirthing’ or “remodeling’ point.

“Dunne claims he has no memories before Dean #1 returned to the b_hive, and our Dean simultaneously announced his renewed presence. Our Dean also claims that Dunne is a beehive. This aligns him with the Tinman of Oz, or Tin Woodsman of Oz, but also Tik Tok, the mechanical man. The Tinman, in the 1939 Oz movie, was similarly described as being a beehive, or a potential beehive, at a certain point in the movie. In a deleted scene from the movie, bees fly out of his funnel on the top of his head to prove this point. But this seems to point more to Tik Tok through SID’s 1st Oz; Tik Tok is the real beehive, the discarded part of the 1939 Oz movie as interpreted through the accompanying Dark Side of the Rainbow, which, as you and I know now, was created at the same time, in hypertime, as the movie.”

“Same for Dark Side of the Moon,” baker adds. “I’m just saying that more for the reader here.”


“I don’t think I’m quite ready to write about this injection of Dunne, Pierre. Thank you for your additional insights here. It is obvious that for me, baker, to help my more skilled but more ordinary brother, Kark, a hyperconscious Dunne has to be inserted into the field of play. Is this a pawn transformed to a Queen? Is the Queen a poisonous Black Widow which can be turned inside out and transmuted into pure White? Does this seem to imply that Synchpatch, USA will be invoked again as well? The Great White Man’s Dog? Diamond body. That’s it, Pierre! Dunne must become a Diamond!”


> >
> > “Golden Hair” is a song by Syd Barrett used in SID, but it employs the
> > text of a James Joyce poem from his “Chamber Music”, unaltered.

> > The “Whuppity Stoorie” material is attached more to his song “Octopus”,
> > which lies in the same tile in SID’s 1st Oz (tile=cued region), but
> > also represents the front and back of perhaps the only single Syd
> > released as a solo artist.

> > SID’s 1st Oz can be considered a golden braid as well, since it is
> > what I call a golden synch (uses whole movie) and also braids the
> > selections from the involved musical artists (4).
> >
> > Again: fwiw.
> >
> > Yeah, it’s his only solo single according to this web site.
> >
> >

From: “baker b.” <>
Date: Mon Dec 19, 2005  3:12 am
Subject: cubed sphere  edwardston
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“I’m nude!”

baker: “He’s conscious, Pierre!”

Pierre (quickly turning around from his set up): “For better or for worse.” (to Peter Dunne): “That’s right Peter Dunne. We had to… ” (pause)

“…immerse you in ice water,” baker continues for Pierre.

Peter Dunne (looking around; groggy; arms moving slightly up and down): “Cubes!”

“They’ll be gone soon enough Peter Dunne,” Pierre says. “You’re melting them.”

Peter Dunne’s arms stop moving again. Slowly, the eyes shut halfway, then close.

Peter Dunne (softly): “Heater… Hellmouth.”

Pierre (to baker): “This doesn’t appear to be good baker. I think it’s the…”

baker: “Surely not yet!”

Peter Dunne: “Tem-per-a-ture. Tempe.”

Pierre: “Arizona. See!”

baker (more solemn): “Yes… I see.”

Pierre (bending over the tub to meet Peter Dunne’s face): “What do you see Peter Dunne?” (nods to baker, then softly): “Turn on the VishMach recorder.”

Baker moves to a small, old-style Sylvania brand TV set that sits on a table near the bathtub. The TV shows the same as what Peter Dunne sees. Baker presses the record button on the VCR next to it.

Pierre: “We triple checked all the connections, right? Everything is good to go?”

baker: “Yes, absolutely.”

Peter Dunne’s eyes open again but are now glazed over, his face just above the level of water with the melting ice cubes cradling the oval shape.

Peter Dunne (very softly): “It was a graveyard smaa–aaa–aaa–” (pause) “smaa–aa–aa–” (longer pause) “smaa– ”

Peter Dunne’s eyes close; entire body falls limp.

Pierre (without turning): “You saw?”

baker: “Yes.”

They are silent for a couple of minutes, staring at the body. Baker goes to get a glass of water. Pierre is still kneeling next to the bathtub when he returns. Both stare at the motionless Peter Dunne for another long time. Pierre finally gets up and moves toward the VCR player and ejects the tape that has been recording.

Pierre: “Well… should we watch?”


Cammie: “So let me get this straight. Peter Dunne was able to set up an alternate reality in Tempe, Arizona where Johnnie wasn’t killed, just the lifeless puppet on her hand. And that’s what was shot, its head, I mean. Nothing left.”

Pierre: “Nothing left. It’s all on the screen for us to see. Peter Dunne knew the shot was coming and took it for Johnnie. He stopped baker’s brother Kark from being a murderer. All he shot was a dummy.”

Cammie: “I can’t imagine what he felt. The anticipation.”

Pierre: “If he did feel.”


Cammie: “Funny how you accidentally recorded over SID’s 1st Oz.

baker: “I swear I triple checked everything!”

Pierre: “I believe you baker. Something happened. Some mysterious intercession.”

Cammie: “The tape; purposely switched?”

Pierre: “Right. I timed it. The tape of Peter Dunne’s death trance began just after the 1st cue of the synch, which means the moment of death would have occurred at the lines “opening dawn of her face,” when Toto cleverly opens a window and jumps out to race after Dorothy Gale. 5:23 into the synch.”

Cammie: “The parrot!”

Pierre: “Precisely. The same thing. The parrot’s door mysteriously opened at this time in the synch as well. The parrot then appeared to believe that what was on the screen was real, just as the death trance of Peter Dunne that we just watched — and on the same TV set, by the way — was real, albeit in a time long past relative to our own.”

Cammie: “1981.”

Pierre: “December 11th, 1980, but transferred to the next month in the Tempe concert of the Arizona desert.”


Edna (still sniffing): “You’re sure it wasn’t Soybean?”

Pierre: “He, or it, didn’t turn deep blue, as we might have expected, and which would have acted as a cooling device, among other things. That means the dye didn’t follow a starch path. I don’t know if that totally reassures you…” Pierre looks at Cammie, then back to Edna. “He appears to be pure mechanism, except for…”

Edna: “You saw the giving up of the ghost.”

Pierre: “True. We knew.”

baker: “An autopsy…”

Pierre: “No baker. No autopsy.”


baker: “Another thing good that came out of this is we know now that Pierre’s VishMach really works.”

Edna. “Like ‘Monster Mash’?”

baker: “No, Mach is short for Machine in this case. But good spot Leopard Edna.”

Pierre (correcting baker): “It is no accident. He knew it was turned on. He projected himself into the machine. That’s the only way it could have worked in the first place. It was Dunne all along.”


Dunne (offstage): “And all the little “i”s inside formed a composite picture. Doors and windows flung open. Past, present, future as one!”


Cammie: “He said “Tempe-rature.””

Pierre: “For Peter Dunne, the desert and the mouth of Hell were as one. Burning Man, or Burning Man’s Best Friend. He is now with true mate Zona Gale. The window has been opened.”


Peter Dunne (offstage; echoing): “Zona.”


Edna: “Something isn’t right here. A mechanism can’t just die.”

Pierre: “No, it isn’t. That’s why we have to finish the process properly.”


A man wanting coffee walks into an Orrin bar.


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