it is snowing thinly in the yard.
Go in the door, and the place is large and cavernous, haunted, and only the television in the back room seems to be working. I hear a bitchy voice, outside, which is “Emily”; and I know she has come to scrounge or scavenge, just as I. Out front, it is muddy, and Granpa sits in a little scoot-chair, pointing to an airplane up in the sky. It is suddenly 1917, and he has regressed to the point of infancy. In the yard, over a puddle, a gaggle of women surround a dispatch runner trying to fix a motorbike. He has on a flight cap, goggles, is extremely thin, and possesses three amazing tusk-like front teeth–could almost be false. Actually, most likely they are.
Then, on the set of Ken Russell’s Gothic. Sitting with the cast in a castle room, and someone somewhere in a room beyond, a ruined room, is weeping. I say “that one annoys me” to the assembled, but move forward through space and who knows time with my drawing pad.
And begin to draw, and even the mountains look good and natural as I move into a new technique.
And it is a weeping woman ULALUME, “La Llorona,” I suppose. But next, we have the Monster laid out on his surgery table, and a whorish slut walks like slippery dung from a duck’s ass down the length of the table; and I think, “Russell’s camera captures everything organically, making no value judgments as it pulls back and lets her slow-motion saunter sexily slide (she is wearing white hose, panties and garter, and what seems a sweater, with flowing curls and not much else) down the length and breadth of the viewers subconscious.” Russell.
Lastly, at a counter in a dimly-lit area of the villa that is, apparently, a sort of modern clinic. Shelley tosses a burning fireball at me, who am Renfield, and I slap it back as Byron, a hulking, cloth-masked character who is playing at being the Monster chases me into a waiting lavatory and I awake thinking of the “Ode to Joy” and Carl Panzram. The End.