A Spiritual Explorer's Journal

expect a blend of mysticism and magic, psyche and soul, everyday wisdom, and the esoteric.

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Expect a blend of mysticism and music, psyche and soul, everyday wisdom, and the esoteric. One day, I might be waxing lyrical about Nietzsche’s eternal return, and the next, uncovering the wisdom of the tarot. It’s all up for grabs on this pod.

So, if first-person confessional style podcasts are your jam, subscribe to mine wherever you get your podcasts.

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About the Blogger

In the spirit of making up titles for one’s self in the postmodern world of work, I self-identify as a rogue spiritual explorer and personal growth advocate, among other things.

I’m on a mission to refactor perceptions and explore the subconscious mind through fragmented, spontaneous prose.

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Time Is on Your Side: Listening to Coldplay’s Amsterdam

Time Is on Your Side: Listening to Coldplay’s Amsterdam

Coldplay’s Amsterdam begins with a star going out. A man is swerving, losing his grip, blaming himself for moving too soon and then insisting that he waited as long as he could. He can’t get the timing right.

That feels true to the way despair works. The past becomes a courtroom that never closes. Every decision returns as evidence. If I acted, I acted too soon. If I waited, I waited too long. The mind reopens the case at three in the morning, calls the same witnesses and reaches the same verdict.

I am here because I failed to understand time.

Then the song offers a line that seems to belong to another world:

Time is on your side.

It lands with an almost offensive gentleness. Nothing in the song supports it. The star is fading. The singer is stuck in a hole. He sees no chance of release. Time doesn’t feel like an ally in that condition. It feels like the walls moving inward while everyone else continues with their day.

Still, the line remains. It doesn’t argue its case. It sits beside the panic and refuses to leave.

Maybe the trouble isn’t time itself. Shame has its own clock. So do secrecy, exhaustion and fear. They take an hour and make it feel permanent. They take a bad season and present it as a final account of the life. Under that pressure, the present moment claims more authority than it deserves.

The line that catches hardest comes later:

I know I’m dead on the surface
But I am screaming underneath

There are people who look functional from across the room. They answer messages, turn up for work, make coffee, laugh in the right places and say they are tired when tired is the safest available word. The surface continues to perform life. Underneath, something is hammering at the floorboards.

The scream matters. It tells us that the buried self isn’t dead. Something still wants air, contact, movement, release. Despair can numb the surface without extinguishing the whole person. A scream is painful evidence, but it is evidence of life.

The song keeps giving the inner condition a physical form. First a hole. Then a ball and chain. Then a bridge and a noose. The language gains weight, height and rope. The body enters through nausea: sick to the stomach. This is no longer sadness viewed through glass. The person has reached the edge of what he can contain.

Language has reached its edge too:

You can say what you mean
But it won’t change a thing

That line sits beside I’m sick of the secrets, and the pairing hurts. Secrecy has become unbearable, yet confession can’t guarantee release. You can finally say the thing. You can give it the cleanest words you have. The machinery may keep turning.

We sometimes ask language to do more than language can do. Naming a wound matters. Telling the truth changes the room. But a sentence can’t always untie the knot that produced it. Sometimes the words need another person on the other side of them, someone willing to stay, believe what they hear, or reach for the rope.

That person arrives at the end of Amsterdam.

You came along and you cut me loose.

The line is repeated three times. It sounds less like a chorus than a nervous system trying to register a fact. The rope has been cut. Say it again. The rope has been cut. Say it once more because the body has spent so long braced for the drop that it doesn’t yet know what release feels like.

I like that the song allows rescue to come from outside. It doesn’t protect the modern fantasy that every worthy person must become entirely self-releasing, self-healing and self-sufficient. There are knots we can’t reach from inside our own binding. Another person can enter the closed circuit and interrupt it.

They don’t need to solve the whole life. They may only need to prevent this moment from becoming the author of every moment that follows.

The phrase cut me loose carries a shadow. It can mean release, but it can also mean abandonment. Someone cuts you free from the rope; someone else cuts you out of their life. The song leaves the blade between those meanings. Real release often contains a severing. The old arrangement can’t survive intact. The rope goes, and some version of the self goes with it.

You don’t climb down from that bridge unchanged.

And then there is the title. Amsterdam never appears in the lyric. The city remains outside the song, holding whatever can’t be said directly. A street, a room, a night, a memory. Places sometimes become private names for states of consciousness. We say the city when we mean the version of ourselves who lived there, loved there, broke there or nearly disappeared there.

By the end, the speaker hasn’t been healed. His star hasn’t visibly brightened. The secrets haven’t been explained away. He has been cut loose.

That is enough for the song. Release comes before recovery. First the rope. Then the ground. Then, if he can bear it, time.

The line from earlier is still waiting for him: time is on your side. Maybe this is what it meant. The moment feels final, but it isn’t entitled to write the rest of the life. Someone has cut the rope, and time has opened again.

The Golden Apple Has Entered the Server Room

Discord transmission from the Textual Underground

SYSTEM NOTICE

Your reality has been personalised for your convenience.

Some beliefs may have been selected automatically.

To manage your preferences, locate the small door behind your eyes.

Password required.

Password forgotten.

Password was your mother’s voice saying, People like us don’t do that.


I invited Eris into the studio this morning.

She did not arrive through the door. Doors are part of the official account. Doors appear on architectural plans and know how to speak to insurance assessors. Eris came through a software update, carrying a golden apple in one hand and the terms and conditions in the other.

The apple said:

TO THE MOST REAL

Every screen in the room claimed it.


Lionel Snell has been here too, although the name on the visitor’s badge says RAMSEY DUKES and somebody has crossed it out and written LEMUEL JOHNSTONE underneath. The receptionist cannot find either man in the system.

Reason for visit?

MAGIC.

Please choose from the following:

  • entertainment
  • delusion
  • heritage activity
  • unauthorised pattern recognition
  • other

He ticks OTHER and draws a swamp.


The swamp is the part of the world that will not fit inside the spreadsheet.

Science arrives with timber, measuring instruments and a plan for firm ground. It drives a platform into the mud one verified plank at a time. Useful work. Necessary work. I would rather cross a bog on a tested bridge than on the strength of an exciting symbol.

Religion climbs a tower to ask what the crossing is for.

Art takes off its shoes and dances on the skin of the water.

Magic lies flat, spreads its weight, and listens for whatever is moving beneath the reeds.

A shopping trolley.

A dead king.

Tomorrow’s logo.

The childhood promise that has been running the company since 1987.


ADVERTISEMENT

BECOME THE PERSON YOU WERE ALWAYS MEANT TO PURCHASE.

Now available in Monk, Warrior, Mystic and Executive Presence.

The High Priestess model has been delayed due to supply-chain silence.

Eris is not supported on this device.

Eris laughs from inside the device.


Snell’s trick is to move magic out of the locked cabinet marked SUPERNATURAL CLAIMS and place it among the ordinary machinery of attention.

A colour changes the room.

A name changes the body.

A uniform alters the spine before the first order is given.

A headline lays rails across the day and the mind obediently sends its thoughts in the advertised direction.

No wand required. No pact signed in blood. Blood will be collected later for analytics.

The magician changes the arrangement and waits to see what the arrangement changes.

This sounds less like fantasy than the marketing meeting at 10:30.


MINUTES FROM THE DEPARTMENT OF SPONTANEOUS DESIRE

1. The customer expressed a wish. 2. The wish was found to precede the customer. 3. The customer was thanked for participating. 4. A more convenient wish has been installed.

Any resemblance between this procedure and demonic possession is outside the scope of the present review.


The market is not a person.

The market wakes hungry.

The market has no mouth.

The market eats pensions, forests, lunch breaks, quiet Sundays, adolescent skin, the word enough.

The market is not a person.

The market would like to improve its relationship with you.

Please accept cookies.


Call this cyber-animism if you need a term for the report. We take a system too large to hold in the head and give it a face. Then all the social intelligence we developed for watching eyes, detecting appetite, noticing threat, courting favour and surviving the mood of the tribe can enter the conversation.

The danger begins when the face claims to be a photograph.

The use begins when the metaphor knows it is wearing a mask.

I can speak with the Algorithm without deciding that a horned creature lives in a server farm outside Slough. I can ask what it rewards, what it hides, what behaviour it trains into my hands. I can notice that I entered the feed intending to check one message and emerged forty-three minutes later carrying three fresh enemies and a mattress discount.

Something operated upon my world.

The receipt is in my pocket.


CLINICAL NOTE

Patient reports recurring sensation that his opinions are his own.

On examination, several were found to contain affiliate links.

Recommend silence twice daily and one independent website before bed.


The old argument asks whether the demon is real.

Snell asks where it is real.

Material world: the phone is warm in my hand.

Image world: the red notification continues glowing after I close my eyes.

Mental world: You are falling behind.

Spiritual world: Success stands at the far end of the corridor wearing my face and refusing to say how far the corridor goes.

The demon has excellent cross-platform integration.

But the map needs borders. A dream key does not open the front door. A symbol is not a blood test. The fact that Justice appears in robes does not give the courthouse a soul. The fact that an institution behaves like a predator does not prove it has teeth stored in a drawer.

The Queen of Swords places a label on the table:

METAPHOR — HANDLE WITH CONSEQUENCES

Eris moves the label onto the Queen of Swords.


BREAKING

REALITY DENIES INVOLVEMENT IN LATEST VERSION OF REALITY

A spokesperson said the matter had been outsourced to perception.

Perception was unavailable for comment but was seen leaving the building with Memory and a large bag of selected evidence.

Belief has been detained for questioning.


Belief, in this book, is equipment.

Put it on.

A gas mask. A wedding veil. Night-vision goggles. The cardboard crown from a Christmas cracker. The black beret of the armchair revolutionary. The tie that tells the boardroom you understand Q3. The old green uniform that remembers how to make a bed tight enough to bounce a coin.

Each apparatus reveals a world and obscures another.

The problem is not that we wear reality tunnels. Naked perception is another costume sold by people who look good in beige. The problem is forgetting that the tunnel is a tunnel, then hiring guards to shoot anyone who points toward the entrance.

Snell’s magical discipline contains an overlooked final movement: give the theory licence to depart.

Thank it.

Search its pockets.

Escort it to the threshold.

Change the locks.

If it returns wearing a podcast and claiming to explain civilisation, do not let it near the drinks.


LICENCE TO DEPART

The bearer is authorised to leave the mind of the operator by any available exit.

The operator agrees to stop manufacturing evidence for the bearer’s magnificence.

The bearer agrees to take all universal explanations, enemies-of-the-people lists, sacred algorithms and commemorative mugs.

This licence is invalid if framed.


The Writer objects.

He has spent years gathering a voice. He is not handing it over to some passing theory with mud on its shoes.

The Monk objects to the objection and requests another week in the library.

The Frontman wants to know whether the theory has an audience.

The Trainer has already made a workbook called Seven Steps to Evicting Your Reality Tunnel.

The High Priestess says nothing, which creates a market opportunity for interpretations of what she meant.

The Guerrilla Blogger photographs the argument and uploads it before the Sovereign calls the meeting to order.

The post receives four likes, one correction, two spambots and a message from a stranger who says, I thought I was the only one.

No metric can decide what happened.

Something happened.


Harold Jaffe enters as a clipping.

OFFICIAL LANGUAGE EXPERIENCES UNEXPLAINED BRUISING.

There is no lecture. Only a press release placed beside a casualty figure. A luxury advert beside an eviction notice. A promise of frictionless connection beside a man eating alone while his phone displays the typing indicator.

The culture testifies in its own phrases.

For your safety.

For your convenience.

To improve your experience.

There is no alternative.

We value your privacy.

Your call is important to us.

This is a developing story.

The phrases stand under fluorescent light. One of them begins to sweat.

The Guerrilla Blogger does not need a confession. He changes the seating plan.


FOUND OBJECT: GOLDEN APPLE

Origin: disputed.

Owner: everyone in the department claims seniority.

Inscription: TO THE MOST REAL.

Effects reported after exposure:

  • respectable arguments develop trapdoors
  • footnotes bite their authors
  • the word natural requests legal representation
  • staff begin remembering what the meeting was designed to prevent

Management advises employees not to look directly at the excluded term.


Eris does not bring chaos into an orderly room. She reveals the labour that went into making the room look orderly: the inconvenient body escorted outside, the contradiction removed from the minutes, the grief translated into performance data, the dirty source of the clean result.

She is not always right. Discord can become a vanity. Provocation has its applause. A person can become so committed to disrupting the frame that he never risks making a picture.

The Sovereign keeps final authority.

The Queen of Swords keeps the receipts.

The Sceptic checks beneath the golden paint.

Eris keeps moving the apple.


WEATHER REPORT FOR THE FOUR CULTURES

Truth expected in isolated patches.

Goodness moving east under institutional pressure.

Beauty visible briefly between advertisements.

Wholeness remains unstable and may include material omitted from the forecast.

Residents are advised to carry more than one map.


Magic becomes dangerous when every coincidence salutes.

The number on the bus.

The song in the café.

The crow on the fence.

The advertisement that uses the exact word from the dream.

Soon the whole city is an intelligence briefing addressed to one person. Every window winks. Every stranger is an actor. Evidence kneels before the preferred conclusion.

The Sceptic reaches for dates and receipts.

Good.

The Sceptic becomes dangerous when nothing may speak unless it arrives wearing a laboratory pass. Grief has no control group. A marriage cannot be repeated under identical conditions. The image that changes a life may never survive peer review.

The Mystic opens the window.

Good.

The Council exists because either voice can seize the building.


TERMS OF SERVICE

By continuing to exist, you acknowledge that:

  • perception is selective;
  • memory edits without saving the original;
  • language may alter the available world;
  • symbols can produce material consequences;
  • material consequences remain material consequences, however attractive the symbol;
  • you are responsible for the model you release into other people’s lives.

Click AGREE to continue.

There is no DISAGREE button.

Eris draws one on the screen with lipstick.

It works.


The operator discovers that the operation has been working on him.

This may be the oldest joke in magic.

Draw the circle to contain the spirit and notice where you are standing.

Write the essay to expose the culture and watch the culture speaking through your syntax.

Invent an Inner Council to make your voices visible and discover a new voice hiding in the procedure.

Build a machine to extend the mind and find the mind rearranging itself around the machine.

Open a blog to record a life and wake twenty-two years later inside an archive that remembers versions of you the present tenant had forgotten.

The page was never passive.

The page has been taking notes.


MESSAGE RECOVERED FROM THE TEXTUAL UNDERGROUND

Stories are code.

Code develops folklore.

Folklore joins the beta programme.

The update cannot be rolled back because the previous version was also a story.

Please make a backup of anything you still mistake for yourself.


The studio is quiet now.

The golden apple rests beside the keyboard, ordinary as fruit. No glow. No choir of minor deities. A small bruise darkens one side where it struck the floor during the argument about Truth.

I pick it up.

For a second I can feel four different worlds insisting on the hand.

Matter: weight, skin, pressure, the slight give beneath my thumb.

Image: Eden, Troy, school lunch, Cézanne, the logo on the back of a machine.

Thought: category, myth, nutrition, temptation, discord.

Something else: the old human hunger to choose one meaning and make the others kneel.

I put the apple back down.

On the screen, the cursor waits in the white field after the final sentence.

Eris has left the window open.

Outside, somebody is delivering groceries.

Inside the bag: six apples, none of them labelled.

Transmission sources

This essay is a creative response to Lionel Snell’s SSOTBME Revised: An Essay on Magic, written under the name Ramsey Dukes, and to Snell’s later discussion of magical thinking. The documentary-fragment current also carries the influence of Harold Jaffe’s docufiction practice without imitating any particular work.

Take back the web. Make it weird again

Bob Sassone’s website is thirty years old.

Thirty years. Older than Google. Older than the word blog. Still there, still being tended, still refusing to accept the repeated announcement that blogs are dead.

Congratulations, Bob. Thirty years of keeping a patch of the web alive is no small thing.

His anniversary post reads like a memoir, but I hear a call to arms in it.

I remember those heady days of getting online for the first time. Signing up for AOL and CompuServe. Hanging out in chat rooms and forums. Sending e-mails—with the dash—and receiving replies that weren’t spam, marketing campaigns, or automated attempts to drag you into somebody’s funnel.

The web felt inhabited then.

It was scrappy, slow and frequently ugly. You learned enough HTML to build an awful-looking website, uploaded it somewhere, and waited to see who might wander through the door. Pages had visitor counters, animated GIFs, clashing colours and links to other people’s pages. You could follow those links for hours and end up somewhere you hadn’t expected to be.

That was the point.

The web wasn’t something you scrolled while an algorithm studied which version of you was easiest to agitate. It was a strange landscape made by people. You could build a little shelter there, paint the walls whatever colour you liked, and leave the door open.

Bob writes:

“When I started this site, ‘content’ was still called ‘writing.’”

Somewhere along the way, writing became content, readers became users, conversation became engagement, and websites became delivery mechanisms for adverts, tracking scripts and pop-ups asking us to subscribe before we’ve read the first sentence. We handed our homepages over to social platforms, traded the open web for the convenience of the feed, and woke up living in rented rooms whose landlords could change the locks whenever they pleased.

But the old web hasn’t disappeared. Not entirely. Bob’s thirty-year-old site is proof of that. So are the blogs still being written, the newsletters sent by actual people, the RSS feeds quietly carrying new posts from one independent site to another, the odd little corners of the internet maintained because somebody cares enough to keep turning up.

Taking back the web doesn’t mean pretending it’s 1996 again. I don’t particularly miss dial-up, broken image links, or trying to work out why an entire page had suddenly turned italic.

It means recovering something from those days: the idea that the web belongs to the people who make places on it.

Make a homepage. Write something that isn’t designed to please an algorithm. Link generously. Leave a comment. Subscribe through RSS. Visit somebody’s actual website instead of waiting for a platform to put them in your feed. Build something small, personal and slightly wonky. Let it carry your fingerprints.

The web became boring when we stopped making websites and started filling in boxes on other people’s platforms.

So yes, congratulations on thirty years, Bob.

And thanks for the reminder.

Take back the web. Make it weird again.

Working Notes from the Textual Underground: Weekly Notes #001

24–29 August 2026

Editor’s note

I had coffee with Dave, on Friday, in a small-town café in the middle of nowhere. During the conversation, something came to light that I already knew but hadn’t had a chance to follow up on yet.

Subscribers to Soulcruzer receive an email whenever I publish something in the main blog feed, unless they’ve opted out. However, my Working Notes and Field Notes live outside that feed because I don’t want to flood anyone’s inbox every time I release a fragment, quotation, half-formed thought or dispatch from a walk.

The trouble is that readers who follow the main blog may never see those notes unless they visit the blog or follow me on Bluesky where th working notes are automatically cross-posted.

So I’m trying an experiment. Once a week, I’ll publish Working Notes from the Textual Underground in the main feed: a curated gathering of the week’s fragments and field notes, with links back to the originals. I don’t know what form these gatherings will take. Some may be annotated lists, dialogues, maps, collages or something stranger. This first one has become a braided essay.

Ten notes went underground this week. Here’s what they were doing down there.

Subscribe to continue reading

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Three Chords and a Web Domain: A One-Act Radio Drama

A one-act radio drama

Three Chords and a Web Domain sends Clay Lowe and his Inner Council into a pirate radio studio with one live transmitter, one empty sentence box and nineteen minutes to decide what deserves to be said.

Running time: 20–25 minutesSetting: beneath the Textual Underground—or inside Clay’s headForm: one act

Radio drama summary

Clay discovers that the pirate station beneath the Textual Underground isn’t recording a rehearsal. It’s already live. Worse, when the countdown reaches zero, the station will broadcast whatever sentence is sitting in its transmission field. There may be an audience, but the machinery refuses to confirm one.

The Inner Council gathers around the microphone. The Monk wants silence and more time. The Frontman wants an entrance. The Trainer arrives with learning objectives. The Queen of Swords asks for facts. The High Priestess listens for what the others keep editing out. The Praise Monkey refreshes an empty statistics panel because it wants proof that the work matters. Then the Trickster drops from the ceiling, the Guerrilla Blogger climbs through the window, and Eris arrives carrying the question that breaks the meeting open.

What begins as an argument about the right sentence becomes a confrontation with authorship. Clay has built a Council capable of voicing every hesitation, appetite and protective instinct. The Council can advise him, challenge him and keep him honest. It can’t relieve him of the final choice—or the possibility that he’ll transmit into silence.

About the play

This play began during a conversation about the Guerrilla Blogger, the member of my Inner Council who refuses the chair, enters through the window and asks whether the work is still alive. I was feeling the influence of Harold Jaffe’s compressed, documentary-minded writing and thinking about the old-web proposition that punk publishing needs little more than three chords and a domain name. Then I typed: today we invite Eris into the studio.

The radio drama arrived as the right container. Radio lets a voice exist before anybody can prove who is listening. A blog works in much the same way: you make the page, send the signal and wait without knowing where it will land. The studio gave the Council somewhere to meet that wasn’t a diagram or a psychological explanation. Once they had microphones, a countdown and a dangerous sentence box, they could reveal themselves by what they tried to protect.

The Inner Council isn’t a personality test or a claim that the psyche divides neatly into named parts. It’s a working dramatic grammar. Each figure holds a recognisable pressure: depth, attention, usefulness, evidence, reach, disorder, approval, responsibility. The play allows those pressures to argue in public. Eris doesn’t resolve the argument. She distrusts the sentence everyone can approve and asks for the one nobody wants transmitted.

Characters

CLAY

Writer, blogger and reluctant chair of the meeting. He gives every voice room, then has to face the fact that the final decision is his.

THE MONK

Protects depth, silence and the sentence that has spent enough time underground to become true.

THE FRONTMAN

Protects performance, reach and the electric possibility that someone might be listening.

THE TRAINER

Protects usefulness, structure and the hope that every mystery can survive contact with a flip chart.

THE HIGH PRIESTESS

Hears what everyone else edits out and keeps returning Clay to the question beneath the meeting.

THE QUEEN OF SWORDS

Protects fact, precision and responsibility. She keeps the receipts and punctures empty language.

THE TRICKSTER

Contaminates blank spaces with possibility, mocks certainty and probably has the golden apple in his pocket.

THE SOVEREIGN

Convenes the Council and holds direction, although even this authority may be another way for Clay to stand outside his own choice.

THE GUERRILLA BLOGGER

The punk transmitter of live signals. He wants one person, one signal and no permission—and naturally enters through the window.

THE PRAISE MONKEY

Lives beside the statistics panel. Beneath the refreshing and approval-seeking is a raw desire for proof that the work reached somebody.

ERIS

Goddess of discord and enemy of conclusions that have become suspiciously tidy. She brings the question nobody else wants asked.

THE STATION

An automated voice with uncertain loyalties, a countdown and the power to broadcast whatever sentence remains in the box.

Questions running beneath the comedy

Who gets to choose?Advice, caution and instinct can crowd the studio, but none of them removes the burden of authorship.
Does the signal need an audience?The play doesn’t pretend indifference to being heard. It asks what remains worth saying when proof of reception is unavailable.
What does each voice protect?Every Council member carries a gift and a defensive move. The trouble begins when protection quietly takes command.

Read the complete script

The script is divided into thirteen short transmissions for reading on the page. Use the buttons to move through it. When the reader has keyboard focus, the left and right arrow keys turn the pages.

Soulcruzer Radio

Page 1 of 13

Transmission 01

Dead air

MUSIC: A LOW ANALOGUE DRONE. SOMEWHERE INSIDE IT, THREE BADLY PLAYED GUITAR CHORDS TRY TO BECOME A SONG.

SFX: AN OLD RADIO DIAL TUNING THROUGH STATIC. VOICES FLASH PAST.

VOICE ONE, DISTANT

Your call is important to us—

VOICE TWO, DISTANT

—unprecedented demand—

VOICE THREE, DISTANT

—to improve your experience—

VOICE FOUR, DISTANT

—terms and conditions apply—

SFX: A SHARP CLICK. SILENCE.

CLAY

Is this thing on?

SFX: MICROPHONE FEEDBACK.

CLAY

I'll take that as a yes.

STATION

Transmission begins in nineteen minutes.

CLAY

Nineteen?

STATION

Eighteen minutes, fifty-four seconds.

CLAY

I thought we were recording.

STATION

You are broadcasting live.

CLAY

To whom?

STATION

Audience information unavailable.

CLAY

Of course it is.

SFX: A HEAVY WOODEN DOOR OPENS.

MONK

I object.

CLAY

You've only just arrived.

MONK

I began objecting in the corridor.

CLAY

We're live.

MONK

Exactly.

SFX: ROBES BRUSHING AGAINST PAPERS. A CHAIR SCRAPES.

MONK

Where is the script?

CLAY

There isn't one.

MONK

Research notes?

CLAY

Somewhere.

MONK

Sources?

CLAY

Also somewhere.

MONK

An argument?

CLAY

We're hoping one emerges.

MONK

Then this is not broadcasting. It is public composting.

SFX: A SECOND DOOR FLIES OPEN. APPLAUSE AND A BURST OF ENTRANCE MUSIC.

FRONTMAN

Good evening, beautiful people!

CLAY

We don't know if anyone's listening.

FRONTMAN

Never let audience data interfere with an entrance.

FRONTMAN, TO MIC

You're listening to Soulcruzer Radio, transmitting live from the deepest available frequency—

MONK

Don't tell them where we are.

FRONTMAN

—with your host, the barefoot philosopher himself—

CLAY

I'm wearing socks.

FRONTMAN

Nobody can see that.

CLAY

It's radio.

FRONTMAN

Precisely. On radio, we are limited only by the listener's imagination and the legal department.

STATION

No legal department detected.

FRONTMAN

Even better.

1
Transmission 02

The workshop plan

SFX: RAPID FOOTSTEPS. A FLIP CHART UNFOLDS WITH A CLATTER.

TRAINER

Right! I've prepared a broadcast structure.

MONK

Burn it.

TRAINER

We open with a learning objective—

FRONTMAN

We open with music.

TRAINER

—then a short paired reflection—

CLAY

The audience can't pair up. We don't even know if there is an audience.

TRAINER

They can pair with themselves.

MONK

That is called thinking.

TRAINER

Not if it isn't on the worksheet.

SFX: MARKER PEN SQUEAKING ACROSS PAPER.

TRAINER

By the end of this transmission, listeners will be able to identify three internal archetypes, describe their protective functions, and construct a personal action plan—

SFX: PAPER TEARS SLOWLY.

TRAINER

High Priestess.

HIGH PRIESTESS

Yes?

TRAINER

Did you just tear up my learning objectives?

HIGH PRIESTESS

No.

TRAINER

I heard paper tearing.

HIGH PRIESTESS

Then perhaps the paper was ready.

SFX: A SMALL BELL. THE ROOM SEEMS TO GROW LARGER.

CLAY

How long have you been here?

HIGH PRIESTESS

Since before you switched on the microphone.

CLAY

Why didn't you say anything?

HIGH PRIESTESS

I did.

CLAY

I didn't hear you.

HIGH PRIESTESS

Yes.

SFX: A SWORD DRAWN AN INCH FROM ITS SCABBARD.

QUEEN OF SWORDS

Before this becomes completely unbearable, we need facts.

FRONTMAN

Facts ruin the atmosphere.

QUEEN OF SWORDS

The atmosphere is currently hot dust, old coffee and unexamined projection.

CLAY

Facts, then.

QUEEN OF SWORDS

We have seventeen minutes of airtime, no agreed subject, no confirmed audience and a transmitter of unknown provenance. The last person to service this equipment appears to have signed the logbook "Lemuel Johnstone."

MONK

Impossible.

QUEEN OF SWORDS

I didn't say it was true. I said it was written in the logbook.

CLAY

Anything else?

QUEEN OF SWORDS

Someone has placed a golden apple on the mixing desk.

MUSIC: ONE LOW, OMINOUS CHORD.

CLAY

Nobody touch it.

FRONTMAN

Is it a prize?

TRAINER

Could be an activity.

MONK

Could be a test.

HIGH PRIESTESS

Could be an apple.

2
Transmission 03

Refresh the nothing

SFX: QUICK FOOTSTEPS. A SMALL CREATURE SCRAMBLES ONTO THE DESK.

PRAISE MONKEY

How many listeners?

CLAY

We don't know.

PRAISE MONKEY

Check again.

CLAY

There's nothing to check.

PRAISE MONKEY

Refresh it.

CLAY

Refresh what?

PRAISE MONKEY

The nothing.

SFX: BUTTON PRESSED REPEATEDLY.

PRAISE MONKEY

Nothing. Nothing. Nothing. Oh! Still nothing.

QUEEN OF SWORDS

Step away from the statistics panel.

PRAISE MONKEY

I only want to know if we matter.

CLAY

We mattered before we switched on the transmitter.

PRAISE MONKEY

Unverified claim.

QUEEN OF SWORDS

He's learning.

STATION

Fifteen minutes until mandatory transmission.

CLAY

Mandatory?

STATION

At zero, the station will broadcast the sentence entered into the transmission field.

CLAY

What sentence?

STATION

Current sentence follows.

SFX: MECHANICAL KEYS STRIKING PAPER.

STATION

"Buy more things and call the resulting exhaustion a personality."

SILENCE.

TRAINER

Strong opener.

QUEEN OF SWORDS

Who entered that?

SFX: A QUIET GIGGLE MOVES AROUND THE ROOM, NEVER FROM THE SAME PLACE TWICE.

TRICKSTER

Entered what?

CLAY

Come out.

TRICKSTER

I'm not hiding.

CLAY

I can't see you.

TRICKSTER

You have confused those two conditions before.

3
Transmission 04

The sentence box

SFX: THE TRICKSTER DROPS FROM THE CEILING AND LANDS BADLY.

TRICKSTER

Ah.

FRONTMAN

Did you change the sentence?

TRICKSTER

I improved it.

QUEEN OF SWORDS

It was blank.

TRICKSTER

Exactly.

MONK

Put it back.

TRICKSTER

You can't put a blank sentence back. The blank has been contaminated by possibility.

TRAINER

I could run a short session on that.

ALL: No.

CLAY

We need one sentence worth transmitting.

FRONTMAN

Easy. "The time has come to step into the fullest expression of who you were born to be."

QUEEN OF SWORDS

Rejected for aggravated emptiness.

MONK

"Silence is the only honest transmission."

FRONTMAN

That's why nobody invites you onto podcasts.

TRAINER

"Reflection without action is merely sophisticated avoidance."

HIGH PRIESTESS

You put mystery in a hi-vis vest.

TRAINER

People need to know where it is.

TRICKSTER

I propose: "The government has replaced the moon with a customer-service chatbot."

QUEEN OF SWORDS

On what evidence?

TRICKSTER

Have you spoken to the moon recently?

QUEEN OF SWORDS

Rejected.

PRAISE MONKEY

"Please like and subscribe."

CLAY

Get off the desk.

PRAISE MONKEY

I speak for the wounded child.

QUEEN OF SWORDS

The wounded child may submit a written minority report.

4
Transmission 05

The Guerrilla Blogger

SFX: A WINDOW RATTLES.

CLAY

Did anyone open that?

SFX: WINDOW SLIDES UP. WIND. DISTANT CITY TRAFFIC. A DOG BARKS. THREE GUITAR CHORDS CRASH IN.

GUERRILLA BLOGGER

Nobody move.

FRONTMAN

Who are you?

GUERRILLA BLOGGER

You know who I am.

MONK

Use the door.

GUERRILLA BLOGGER

Doors are owned infrastructure.

SFX: BOOTS LAND ON THE FLOOR. A BAG OF CABLES, NOTEBOOKS AND CHEAP MICROPHONES HITS THE GROUND.

GUERRILLA BLOGGER

Which one of you approved this meeting?

SOVEREIGN

I did.

SFX: ALL CHAIRS SHIFT SLIGHTLY. THE ROOM COMES INTO FOCUS.

CLAY

You're late.

SOVEREIGN

I have been listening.

CLAY

That seems to be going around.

SOVEREIGN

Continue.

GUERRILLA BLOGGER

Continue? You've got a live transmitter, an open frequency and fourteen minutes before the machine sends whatever sentence happens to be in the box. Meanwhile, half the Council is polishing a position statement and the other half is checking whether silence has an ISBN.

MONK

It sometimes does.

GUERRILLA BLOGGER

The web was built for this. One person. One signal. No permission.

FRONTMAN

Finally, someone who understands me.

GUERRILLA BLOGGER

I don't understand you. You want a stage. I want an exit wound in the official story.

FRONTMAN

That sounds rehearsed.

GUERRILLA BLOGGER

Everything sounds rehearsed after it survives contact with language.

CLAY

What sentence would you transmit?

GUERRILLA BLOGGER

Whichever one is still breathing.

TRAINER

Can we define "breathing" in behavioural terms?

GUERRILLA BLOGGER

No.

TRAINER

Thought not.

5
Transmission 06

To the most real

SFX: GOLDEN APPLE ROLLS ACROSS THE DESK.

HIGH PRIESTESS

It moved.

QUEEN OF SWORDS

The desk is uneven.

TRICKSTER

The universe is uneven.

QUEEN OF SWORDS

You are uneven.

TRICKSTER

At last, a fact.

CLAY

What does the apple say?

HIGH PRIESTESS

"To the most real."

FRONTMAN

That's me.

MONK

That response alone disqualifies you.

TRAINER

We could vote.

TRICKSTER

Historically, voting on golden apples has produced mixed results.

SOVEREIGN

Nobody is voting.

PRAISE MONKEY

Could we put it to an audience poll?

QUEEN OF SWORDS

No audience has been established.

PRAISE MONKEY

That's never stopped an online poll.

STATION

Ten minutes until mandatory transmission.

CLAY

Perhaps the question isn't what sentence we should send.

MONK

Good.

CLAY

Perhaps it's who gets to choose.

SOVEREIGN

Better.

FRONTMAN

The person who can make it travel.

MONK

The person who knows whether it is true.

TRAINER

The person who knows what it is for.

HIGH PRIESTESS

The person who knows what has been left unsaid.

QUEEN OF SWORDS

The person prepared to take responsibility for the consequences.

TRICKSTER

The person least qualified.

PRAISE MONKEY

The person with the most followers.

GUERRILLA BLOGGER

The sentence chooses the transmitter.

CLAY

That sounds suspiciously mystical.

GUERRILLA BLOGGER

I'm wearing a punk jacket. It confuses people.

6
Transmission 07

In the dark

SFX: THE LIGHTS DIE. THE TRANSMITTER HUMS ON.

STATION

Auxiliary power engaged.

MONK

Who turned off the lights?

TRICKSTER

Darkness is merely unpublished light.

QUEEN OF SWORDS

If you say one more thing like that, I will make you measurable.

SFX: SOMEONE MOVES IN THE DARK. THE APPLE ROLLS. A CHAIR FALLS.

TRAINER

We need a health and safety briefing.

FRONTMAN

Clay?

CLAY

I'm here.

HIGH PRIESTESS

No, you aren't.

CLAY

I just said I was.

HIGH PRIESTESS

You have been hosting the argument. You have not entered it.

SILENCE.

CLAY

Ah.

SFX: THE TRANSMITTER'S HUM DEEPENS.

HIGH PRIESTESS

What are you protecting yourself from?

CLAY

We're running out of time.

HIGH PRIESTESS

That is not an answer.

CLAY

It's a radio drama. Time is literally passing.

SOVEREIGN

Answer her.

CLAY

Fine.

PAUSE.

CLAY

I'm protecting myself from choosing the wrong sentence.

MONK

Sensible.

FRONTMAN

Cowardly.

QUEEN OF SWORDS

Both may be true.

CLAY

If I send nothing, the moment passes. If I send something half-formed, it may be foolish, self-indulgent or wrong. If I wait until I'm certain, I may never say anything. If I transmit every live impulse, I become noise.

GUERRILLA BLOGGER

Now we're getting somewhere.

CLAY

I'm also protecting myself from silence after transmission.

PRAISE MONKEY, SOFTLY

I knew it.

CLAY

You spend hours making something, then put it into the world. Sometimes a stranger answers. Sometimes nobody does. The piece sits there on the blog like a radio sending into the night, and you don't know whether the signal crossed the garden wall.

FRONTMAN

It needs an audience.

MONK

It needed to be written.

TRAINER

It may become useful later.

HIGH PRIESTESS

The silence may be part of its journey.

QUEEN OF SWORDS

Or nobody read it.

CLAY

Thank you.

QUEEN OF SWORDS

You invited me.

7
Transmission 08

Speaking anyway

STATION

Six minutes until mandatory transmission.

SFX: LIGHTS FLICKER BACK ON.

CLAY

What's in the transmission field now?

STATION

Current sentence follows.

SFX: MECHANICAL KEYS.

STATION

"I don't know if anyone is listening."

FRONTMAN

Too weak.

MONK

Honest.

TRAINER

Lacks an outcome.

GUERRILLA BLOGGER

Keep it.

QUEEN OF SWORDS

It is factually supportable.

TRICKSTER

Needs a second line.

SOVEREIGN

The machine permits one sentence.

TRICKSTER

Punctuation is a colonial boundary.

QUEEN OF SWORDS

Don't.

TRICKSTER

Semicolon.

CLAY

"I don't know if anyone is listening; I'm speaking anyway."

SFX: A SMALL ELECTRICAL SURGE.

STATION

Sentence accepted.

FRONTMAN

It could have more lift.

MONK

It could have less.

TRAINER

Could we add a reflective question?

ALL: No.

PRAISE MONKEY

What if nobody likes it?

CLAY

Come here.

SFX: THE PRAISE MONKEY CLIMBS ONTO CLAY'S SHOULDER.

PRAISE MONKEY

I'm not shallow.

CLAY

I know.

PRAISE MONKEY

I want proof we reached someone.

CLAY

I know.

PRAISE MONKEY

I want someone to say we're not wasting our life.

CLAY

I know.

PRAISE MONKEY

Are we?

CLAY

I don't know.

PRAISE MONKEY

Terrible leadership.

SOVEREIGN

Honest leadership.

8
Transmission 09

Eris in the studio

SFX: THE WINDOW BLOWS WIDER. PAPERS LIFT AND MOVE AROUND THE ROOM.

ERIS, DISTANT

Are you sure that's your sentence?

MUSIC: A SINGLE PLUCKED STRING.

CLAY

Eris.

ERIS

You invited me into the studio.

CLAY

I didn't invite you into the drama.

ERIS

There is no meaningful difference.

SFX: FOOTSTEPS THAT SEEM TO COME FROM EVERY DIRECTION.

ERIS

"I don't know if anyone is listening; I'm speaking anyway."

CLAY

Yes.

ERIS

Very brave.

TRICKSTER

She doesn't mean that.

ERIS

Very tasteful. Vulnerable, but not embarrassingly so. Defiant, but unlikely to alarm existing subscribers. Suitable for printing on a mug.

CLAY

What's wrong with it?

ERIS

Nothing.

CLAY

That sounds worse.

ERIS

I merely wonder whether you are speaking because you have something to say or because silence makes you doubt you exist.

SILENCE.

PRAISE MONKEY

I don't like her.

ERIS

You are the only honest creature in the room.

PRAISE MONKEY

I'm reconsidering.

SOVEREIGN

What do you propose?

ERIS

I propose nothing. Proposals are how councils turn danger into stationery.

SFX: ERIS PICKS UP THE APPLE.

ERIS

I brought a question, not an answer.

CLAY

Which question?

ERIS

What is the sentence nobody here wants transmitted?

SFX: THE TRANSMITTER HUM STOPS.

9
Transmission 10

The sentence nobody wants transmitted

STATION

Three minutes.

MONK

We should adjourn.

FRONTMAN

We should double the power.

TRAINER

We should take one minute individually, then share in pairs.

QUEEN OF SWORDS

We should identify the actual risk.

HIGH PRIESTESS

We should listen.

GUERRILLA BLOGGER

We should stop saying "should."

TRICKSTER

We should broadcast the shopping list.

SOVEREIGN

Clay?

SFX: A HEARTBEAT, VERY QUIET.

CLAY

The sentence nobody wants transmitted.

PAUSE.

CLAY

"I have built an entire council so I never have to admit that the final decision is mine."

SILENCE.

PRAISE MONKEY

Oh.

MONK

That is unfair.

FRONTMAN

It's good radio.

TRAINER

There's a workshop in it.

QUEEN OF SWORDS

It is incomplete, but true enough to examine.

HIGH PRIESTESS

Keep going.

CLAY

The Monk can ask for more time. The Frontman can demand an audience. The Trainer can call for usefulness. The Queen can demand evidence. The Trickster can mock the whole enterprise. The Praise Monkey can blame the statistics. Even the Sovereign can pretend governance is something separate from me.

SOVEREIGN

I do not pretend.

CLAY

You're doing it now.

SOVEREIGN

Fair.

CLAY

I can let all of you speak. I can honour what you protect. But eventually somebody has to place a hand on the control and accept that the transmission may fail.

10
Transmission 11

Distillation

STATION

Ninety seconds.

ERIS

Better.

CLAY

Is that the sentence?

GUERRILLA BLOGGER

Too long.

TRICKSTER

Put it on a very large mug.

QUEEN OF SWORDS

Distil it.

HIGH PRIESTESS

Don't improve it. Find the living part.

MONK

The final decision.

FRONTMAN

Is mine.

TRAINER

Somebody has to act.

PRAISE MONKEY

It may fail.

CLAY

There.

SFX: CLAY TYPES.

STATION

Sixty seconds. Current sentence follows.

SFX: MECHANICAL KEYS, SLOWLY.

STATION

"The signal may fail; the decision is still mine."

PAUSE.

SOVEREIGN

I consent.

QUEEN OF SWORDS

I have no factual objection.

HIGH PRIESTESS

The hidden text has entered the sentence.

TRAINER

I can work with it.

FRONTMAN

I can sell it.

MONK

Don't.

TRICKSTER

I have already changed one letter.

CLAY

What letter?

TRICKSTER

You'll find out on air.

11
Transmission 12

The broadcast

STATION

Thirty seconds.

SFX: EQUIPMENT POWERS UP. RELAYS CLICK. THE THREE GUITAR CHORDS RETURN, LOUDER AND DIRTIER.

GUERRILLA BLOGGER

Open the window.

CLAY

It's already open.

GUERRILLA BLOGGER

Wider.

SFX: WINDOW SHOVED UP. NIGHT AIR RUSHES INTO THE STUDIO.

FRONTMAN

Everyone to microphones.

MONK

Why?

FRONTMAN

Because nobody should face dead air alone.

TRAINER

That is surprisingly good.

FRONTMAN

I contain multitudes and excellent cheekbones.

PRAISE MONKEY

Listener count!

QUEEN OF SWORDS

Leave it.

PRAISE MONKEY

But—

QUEEN OF SWORDS

Sit with us.

SFX: THE PRAISE MONKEY SETTLES.

STATION

Ten. Nine. Eight.

ERIS

Where's the apple?

TRICKSTER

What apple?

STATION

Seven. Six. Five.

CLAY

Ready?

MONK

No.

FRONTMAN

Yes.

TRAINER

Mostly.

HIGH PRIESTESS

Listen.

QUEEN OF SWORDS

Proceed.

GUERRILLA BLOGGER

Transmit.

SOVEREIGN

Clay decides.

STATION

Three. Two. One.

SFX: A GREAT SURGE OF STATIC, THEN PERFECT SILENCE.

CLAY, INTO MIC

The signal may fail; the decision is still mine.

SFX: THE SENTENCE ECHOES, NOT GRANDLY, BUT AS IF PASSING THROUGH MANY SMALL RADIOS IN DIFFERENT ROOMS.

A KITCHEN RADIO.

A CAR SPEAKER.

A PHONE BENEATH A PILLOW.

AN OLD RECEIVER IN AN EMPTY SHED.

THEN STATIC.

PAUSE.

12
Transmission 13

One listener

PRAISE MONKEY, WHISPERING

Did anyone hear it?

SFX: FAR AWAY, A SINGLE RADIO CLICKS ON.

UNKNOWN LISTENER, VERY FAINT

I did.

SFX: CONNECTION LOST.

PRAISE MONKEY

One!

FRONTMAN

We're a movement.

TRAINER

I'll prepare the follow-up.

MONK

We should never do this again.

TRICKSTER

Same time tomorrow?

HIGH PRIESTESS

The apple is gone.

QUEEN OF SWORDS

Check his pockets.

SFX: THE TRICKSTER RUNS. CHAIRS FALL. THE TRAINER SHOUTS ABOUT CABLES. THE FRONTMAN LAUGHS. THE MONK PROTESTS. THE PRAISE MONKEY RAPIDLY REFRESHES SOMETHING.

CLAY

Wait. We're still live.

ALL STOP.

STATION

Correct.

PAUSE.

GUERRILLA BLOGGER, CLOSE TO MIC

Good.

MUSIC: THREE GUITAR CHORDS. THIS TIME THEY BECOME A SONG.

FADE OUT.

13

Tip: click the reader, then use ← and → to turn pages.

Here’s a PDF version if you’d prefer to download and read.

Poem of the week: Is Your Country a He Or a She in Your Mouth by Patricia Lockwood

Patricia Lockwood’s poem Is Your Country a He or a She in Your Mouth? removes country from the map and puts it inside the body.

The title doesn’t ask whether a country is male or female. It asks what the country becomes in your mouth. The mouth pronounces the nation and gives it a pronoun, but it also tastes, desires and consumes. Before the poem has properly begun, nationality has become linguistic, erotic and digestive.

The country created by grammar

The speaker thinks her country is a man because she loves men. Lockwood then invents a sexual taxonomy out of patriotic vocabulary: fatherlandsexuals, motherlandsexuals and, eventually, homelandsexuals.

The joke has teeth. Nationalism already uses the language of sex and family. The nation is mother, father, ancestral soil. Citizens are her sons and daughters. Borders must be defended against penetration. Territory can be violated, possessed and inherited. Lockwood turns up the volume on the libido already humming inside patriotic speech.

The invented identities also expose the policing of belonging. The motherlandsexuals have been sailed away, and then the official story says they were never there. First exile, then erasure. The state doesn’t merely remove the unwanted person; it edits the memory of their existence.

When the family bedroom becomes a map

The speaker is fourteen when she walks into her mother’s bedroom. The mother’s body becomes indistinguishable from the motherland and the father’s from the fatherland. Their borders match apart from a capitalised “Area” belonging to the father.

That bureaucratic word is obscene at the same time. A penis becomes disputed territory, an enclave, a geopolitical protrusion. Sex becomes annexation. The language of maps tries to describe a scene for which the fourteen-year-old has no settled vocabulary.

The scare quotes around the father “loving her” from behind matter. They prevent the scene settling into a comfortable story about parental intimacy. Is this love, sex, possession, domination, or a child’s shocked interpretation? The poem lets those meanings crowd against the same border.

Then the speaker becomes geographical too. Her body has a valley, a coast and a population with grotesque appetites. She is no longer an observer standing outside the motherland and fatherland. She has provinces and citizens of her own. The geopolitical metaphor has colonised her perception.

The tornado and the animal

A tornado arrives as an engine of confusion. The mother sees a cow; the father sees a bull. Each parent sees the animal that confirms the sexual geography they inhabit. The speaker sees one animal chewing their separate countries into a single cud.

The animal is doing what the poem does: chewing categories until they become hard to separate—male and female, mother and nation, father and nation, sex and violence, child and country, one body and a population.

The syntax behaves like the tornado. Clauses rush past on commas, gathering animals, borders, ferries, citizens and pieces of hawk. We don’t get the clean stopping points that would let us return everything to its proper compartment.

The accent inside refusal

The speaker cries, “I hate these country!” The grammar is wrong, but the parents’ eyes shine because she is speaking with the accent of the homeland. She becomes a homelandsexual at the moment she expresses hatred in the family’s native grammar.

That catches something true about inheritance. Belonging doesn’t necessarily mean affection or agreement. Sometimes we discover how deeply a family or place inhabits us through the particular shape of our resistance. The accent survives inside the refusal. You can reject the country and still hear it speaking through your mouth.

I’ve been thinking about this through another borrowed line: I know not “should.” Every should arrives carrying someone else’s metaphysics; every language of refusal may also carry someone else’s accent. We don’t step outside inheritance merely by opposing it. The old script may still be organising the sentence in which we announce our escape.

Boarding herself

Then comes the turn I find most moving: the speaker is “boarding myself already.” She doesn’t simply board a ship. She becomes the vessel she is boarding.

The earlier self was a territory being defined by other people: motherland, fatherland, valley, coast, reproductive promise. Now she becomes mobile geography—a ferry packed with citizens. She recedes from the parents’ coasts while carrying an entire population inside her.

This isn’t the clean autonomy of the self-made individual. She doesn’t sail away empty. Her people come with her. They wave hello and goodbye at once. At night they continue eating hawk, the traditional dish of the new country.

That detail prevents the ending becoming a simple liberation story. The floating heart-land carries its inherited appetites. The speaker escapes the fixed map, but not everything the map put inside her. Violence, hunger, language, family and custom have boarded too.

The final hyphen opens heartland and remakes it. The old heartland was fixed soil, inherited identity, weather, and mother and father locked inside their national-sexual drama. The new heart-land floats. It has no permanent border. It is populated, contradictory and capable of movement.

Not a homeland received from the parents. A moving country made through the difficult act of carrying oneself away.

One way to map the poem is:

country as pronoun → country as parental body → self as occupied territory → self as vessel

At first the speaker asks what gender the inherited country has. By the end, she has become a country of her own—but not a solitary or purified one. She is crowded with citizens, customs and old hungers.

That is what stays with me. The poem refuses the fantasy that we can simply escape the motherland and fatherland, declare sovereignty and begin again untouched. We leave carrying a population.

How do I become a country of my own without pretending no one else lives inside me?

Lockwood doesn’t offer a border. She gives us a vessel.


Is Your Country a He Or a She in Your Mouth

Mine is a man I think, I love men, they call me
a fatherlandsexual, all the motherlandsexuals
have been sailed away, and there were never
any here in the first place, they tell us. Myself
I have never seen a mountain, myself I have
never seen a valley, especially not my own,
I am afraid of the people who live there,
who eat hawk and wild rice from my pelvic
bone. Oh no, I am fourteen, I have walked
into my motherland’s bedroom, her body
is indistinguishable from the fatherland
who is ‘loving her’ from behind, so close
their borders match up, except for a notable
Area belonging to the fatherland. I am drawn
to the motherland’s lurid sunsets, I am reaching
my fingers to warm them, the people in my
valley are scooping hawk like crazy, I can no
longer tell which country is which, salt air off
both their coasts, so gross, where is a good nice gulp
of Midwestern pre-tornado? The tornado above me
has sucked up a Cow, the motherland declares,
the tornado above him has sucked up a Bull,
she says pointing to the fatherland. But the cow
is clearly a single cow, chewing a single cud
of country, chewing their countries into one,
and ‘I hate these country!’ I scream, and
their eyes shine with rain and fog, because
at last I am using the accent of the homeland,
at last I am a homelandsexual and I will never
go away from them, there will one day be two
of you too they say, but I am boarding myself
already, I recede from their coasts like a Superferry
packed stem to stern with citizens, all waving hellos
and goodbyes, and at night all my people go below
and gorge themselves with hunks of hawk,
the traditional dish of the new floating heartland. *

📙 Is Your Country a He Or a She in Your Mouth appears in Motherland Fatherland Homelandsexuals