_____________________________________________________________________

SOMEWHERE ELSE.
Written By Adi Cox.
CONTENT.

Spring
Chapter One (verses 1-25) --- March 2017.
Chapter Two (verses 26-61) --- April 2017.
Chapter Three (verses 62-85) --- May 2017.

Summer
Chapter Four (verses 86-114) --- June 2017.
Chapter Five (verses 115-172) --- July 2017.
Chapter Six (verses 173-214)--- August 2017.

Autumn
Chapter Seven (verses 215-229) --- September 2017.
Chapter Eight (verse 230) --- October 2017.
Chapter Nine (verses 231- 278) --- November 2017.

Winter
Chapter Ten (verses 279 - ) --- December 2017.
Chapter Eleven --- January 2018.
Chapter Twelve --- February 2018.

Introduction.
Somewhere Else is a collection of dreams and meditations over a
one year period. Each verse is one dream or one meditation that I
have remembered and described in verse to the best of my ability.
These surreal abstractions are often very surprising and they
reveal an unusual angle in which to see a place that is not here.

REVIEW

"This novel is, A,A,A. A,B,C. There is not even a word to describe
it!"

A channeled female voice.

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SOMEWHERE ELSE.

Chapter One - March, SPRING 2017.

____________________________________________________

(Verse 1) The Room Removement.

(Verse 2) Two Pounds Fifty!
(Verse 3) The Multimeter.
(Verse 4) Into The Physical.
(Verse 5) Even Squared.
(Verse 6) I Sleep Out In My Car.
(Verse 7) Pub Lunch.
(Verse 8) ... Said The Vicar To The Rubbernecker.
(Verse 9) Bobby Of The Jazz Age.
(Verse 10) At The Hotel Strange Reception.
(Verse 11) A Dodgy Set Up.
(Verse 12) At the Prestwick And Yearly Town Annual.
(Verse 13) The Great Master And Baby Maker Opens The Doorway.
(Verse 14) Her Silence.
(Verse 15) In This Room.
(Verse 16) He Warms Up Inside.
(Verse 17) A Lack Of Resources.
(Verse 18) Preparation Is The Key.
(Verse 19) 'I Guess It's Out Of Date Then!'
(Verse 20) Wake Up!
(Verse 21) Getting on.
(Verse 22) Funny Bugger!
(Verse 23) Fun And Games.
(Verse 24) I Try.
(Verse 25) My Guilty Secret.

(Verse 1) The Room Removement.

We have seating arrangements, but the seating arrangements all
change. Someone is laughing because the settee is now up in the
air as I make my mind up where to sit, because my chair is out of
there now. The someone who was laughing has now sat up upon
the settee that is up in the air and I am just standing there
undecided about where to be?

(Verse 2) Two Pounds Fifty!

I am on the computer with Mark Book. Mark suggests to go out
and see the races. I am thinking about this as I am looking out the
window watching the races. There is a giant wire frame costume
man bouncing over a ramp in a field. I am not sure if there are
motorcycles riding around in that costume, but it is impressive the
way that the giant wire frame costume man is bouncing around.

"Come on, it's only two pounds fifty." Urges Mark in a persuasive
tone, but I am undecided, although I think that it is a good idea to
get out. I am vaguely aware of another event that is on. I do not
know what this event is and I cannot make my mind up about
where to go.

(Verse 3) The Multimeter.

I am with two other people, a lad and a lass. We are testing this
machine. It has several settings on it. We test out the ampere
setting and the volt setting. There are also three levels; low,
medium and high. I am concerned that if I hold the two
electrodes, one in each hand with the machine on the ampere
setting at a high level, that I will be electrocuted. So cautiously no
one gets electrocuted and we end up cooking some sausages with
this machine. These sausages are so black and overcooked that
they look carbonic. No one is eating these sausages.

(Verse 4) Into The Physical.

This lad is saying how he danced right down to the tips of his toes
and that he couldn't get backup again. I said, "Done that before." I
thought to myself, 'You're only young. Much younger than me.'

I had been crouching among many people. So many that I forget

so much now, but I remember there was a lass complaining that
she'd been pushed by another girl whilst playing football. I saw
her land on her bum as she fell down onto her arsey being,
because that was when she complained. Her name is Jade Good
and to be jaded is not good!
(Verse 5) Even Squared.
There were arguments, big problems with numbers and mental
health was a big part of this. I heard some people shouting
outside. We all ran out of the building. The building was like a
petrol station. It was such a flammable situation. I was thinking
that numbers related to the number four were the safest and so I
ran out into the forest in search of these such numbers. At any
moment I was ready to change my route, take another path for
safety reasons. The mobs of people were prevalent, dangerous
gangs were a need to avoid.

Rupert Holt had something to do with all of this, but I just could
not work it all out, it was a mystery to me and so I had just made
myself aware of everything around me. I remember Mick Boldham
being there also, but for the life of me, I just could not work it all
out.

(Verse 6) I Sleep Out In My Car.

I am driving my car at night in the rain and my engine konks out
and my lights go out as well, just at the same time. I am concerned
that I will cause an accident because no one will be able to see me
stuck on this road. All this just as the rain pours, it pours down
ever more hard onto my windscreen and all my driving vision is
gone. So I'm free wheeling my car up the curb and off the road
before I lose my momentum. This manoeuvre is partly on purpose
and partly out of control as I bump along to a rough stop on this
wild wet and windy night of darkness.

It is not until the sunshine morning when I wake up in my car and I

see that I am parked up on a lush green grass lawn. There is a
forest of trees surrounding this lush green field and of course the
long Roman road that runs straight and true through this forest
that I have been driving along. I can hear a blimp of an airship in
the distance and I look up through my windscreen into the clear
bright blue sky to see that the blimp of an airship is coming along
quite fast in the sky, as it gets ever closer to me. I can see that it
says 'Butlins' on the front. I watch the blimp airship intently. It is
becoming so close that I can see right inside it. The blimp airship
takes a dive, it gets ever close to me now. The blimp airship has
become so large and so near that I truly believe that it will crash in
front of me, into the ground, at such a steep dive it goes below
the ground of this grassy knoll that my car and myself sits on. I am
so expecting to see an air disaster, a cloud of black smoke rising up
and I imagine all the shock and the horror and the headline
papers, just before the blimpy airship comes back up above the
horizon in front of me. Miraculously it is safe.

Now I am concerned that I am on private property and that the

super rich Mr Butlin is personally onto me.

(Verse 7) Pub Lunch.

I am sat in a pub having a pub meal eating my chicken dinner on a
table by myself. My sister and my dad are sat on another table
having their dinner. On the radio in the pub comes on the track,
'Give In To Me' by Michael Jackson. I love that song with the guitar
playing by Slash in it. So I am listening to this song intently, really
getting a feel for it, but I can hear my dad talking to my sister and
the song is cut short on the radio. Before I know it other songs
have played and I don't get the full effect and enjoyment from this
song. There have been interruption, but the song is in my head
now. I can hear the words singing:
Love is a feeling,
Get it when I want it.
Give in to me,
Give in to me.

(Verse 8) ... Said The Vicar To The Rubbernecker.

There are four of us, me and these three women. Two of the
women are at the bar. Me and the other women tell the two
women at the bar, "We will meet you in the car." As we go off to
the car in the carpark outside. I am concerned that I am rushing
and cajoling the two women at the bar. I am thinking to myself,
'There is no rush ladies.' But I do not tell them this as we have
already walked away from the two women at the bar.

Previously I had seen the vicar. He was dressed in black with his
white dog collar on. He was with two large monkeys. One of the
monkeys had jumped on the vicar. It must have been almost as big
as the vicar himself. Nosily I was looking, I watched them overtly
as I walked past. I laughed at such a spectacle and so the vicar
informed me, he said to me, "He doesn't want to leave me."

(Verse 9) Bobby Of The Jazz Age.

Me and this other lad would go steeling. Back in the jazz age we
would go steeling songs. Minding the police on the street, on their
beat we would play behind their backs, eager not to get caught. It
was all quite exciting. All this music and sneaking about and
running through streets, but it all came to an end when I woke up.
At least we never got caught, our tunes were disguised so well. It
was just as if we were playing a radio, but then I had to go and
wake up!
(Verse 10) At The Hotel Strange Reception.
It was all a bit suspicious. I had caught the ginger haired lad in the
corridor creeping up on me and chucking a cup of water on me,
but much of it landed on him too. I got him in a headlock and I
said "Come on I'll get you a beer at the bar." My cousin Sue was
there in a wedding dress and she announced to me that it was a
surprise party. I guess I had been set up! My dad was there. I said,
"How did he get here?" I had just seen him a bit earlier
somewhere else. This was all a big surprise to me and as Sue was
making her announcements in her wedding dress. So the
spectacle was dawning on me and I was shocked to the core and
then my dad announced, "My dad was draughted out to
Mozambique and this was very rare." In a matter of fact sort of
way, but I really did not get the significance of all this. What is
going on?

(Verse 11) A Dodgy Set Up.

Sponge and his brother Coffin latch onto me and we hang out.
There is another lad too who I have a banter with. There is
something a bit off with these people. I don't usually drink, but I
end up having a rough night out with them. The next day I hang
around with the other lad who I was having a banter with. He is
just a young lad and he seems okay.

I am travelling back home now. I have my luggage. I am in the

shops and I am greeted by the police. There are two policemen
and a police woman. "Can we have a look at your bag sir?" Asks
the police woman and immediately I have alarm bells ringing in
my head and so I unzip my white bag and to my horror I see two
glass jars with brass weights and conkers in them. "I've been set
up!" I protest and I had been. 'They've got to be drugs. I am in so
much trouble.' I think to myself. "I don't take drugs. I don't even
drink." I proclaim, and the police woman sternly tells me that I
could be arrested right now just for the amount of alcohol that
she can smell on me!

I am silent for a short interval as the magnitude of this incident

dawns on me. 'I am so stuffed!' This is my disparaging thoughtful
conclusion.

(Verse 12) At the Prestwick And Yearly Town Annual.

I am at this gala representing myself as a business. I end up
improvising, singing my versions of the blues swinging out those
rhythms in the long grass fields to the sway of the wind. I can't
help but feel that there is a bias here somewhere as all the people
at the gala intermingle. I can't help but feel that I am getting a raw
deal. There seems to be some kind of disdain for me, but I am
right on! Singing those blues, improvising those tunes. Ain't
nobody gonna stop me! As I deal out my expressions:

Yo yo yo,
ching ching ching,
get a load of this.
Sing, sing, sing!

Lordy lordy lordy,

hordy hordy hordy,
haddy haddy haddy.
Ring, ring, ring!

(Verse 13) The Great Master And Baby Maker Opens The Doorway.
At this show I am talking to this man who makes wild claims. "I am
a great master and I will put on a show." He says. Sure enough
something happens. It is like a great vortex that comes down near
to us and a doorway opens up which leads us into a bright world.
So the man gets up off his dull bed where he has been resting for
ages and goes through into the vortex door to deliver his show
into the next world of bright light.

He makes babies. His twenty seventh baby is a humanoid pig baby

highly advanced. Later babies are other new species of advanced
humanoid babies born healthy and alive. I witness them asleep,
there are strange and new breeds. It turns out that he was once
Queen Elizabeth the first's dad, but now he is a great master and a
magician putting on this show for all to see and I am astounded!

(Verse 14) Her Silence.

I am helping a lass prepare for her act. First we go up in a lift and
then through a loft hatch in the ceiling of the lift. I struggle to get
up there and I am concerned about how I will be able to get back
down again later. She says, "I love to look across the tops of the
buildings high up on my own." I said, "Yes, that is nice especially
on sunshiny days."

Once we are up there I am surprised to see that we are at ground

level, as we can see outside through massive glass walls, pathways
and greenery and ultra modern buildings glinting in the sunshine. I
help her to prepare for her act. There are plates everywhere. I
wash the plates in a plastic bowl of soapy water as we have a little
banter. I tease her as follows:

"Well I will be going home soon. I think that I will put my feet up
and relax a little and what will you be doing? Oh yes, you will be
working your act : )" I tell her, as I look for a reaction from her. I
look deep into her face, but she is too cool to give a reaction.
There is no reaction. There is just a glint of awareness in her eyes,
a little smile and a silent determination to prepare for her show. I
am attracted to her at this moment, as I am ogling her young and
attractive face. I empathize with her and the effort that she will
need to make her act work. I feel for her, my heart goes out to her
now, in this silent moment of preparation.

(Verse 15) In This Room.

I am in this room. I have been chatting to Karen Brian. I want her
to go out with me. She has left this room and has gone to her own
room. I am hoping that she will return soon so that we can carry
on with the chat, but it has been a while now and I doubt that she
is interested. There is someone else in this room. They are sat in a
comfy chair, but I do not know who they are? This place belongs
to Michael Richards and he has gone out for the night. I decide to
jump into bed in this room.

There becomes a very bright light that shines into this room
through the window, so I look outside and I see a helicopter
landing. This is no ordinary helicopter because it resembles a
Rhinoceros. This is no ordinary landing because it lands as though
the Rhinoceros is running along in a curve and then to stop. This
man gets out of the Rhinoceros helicopter. I don't know who he
is? I don't know what is going on outside, but it is very busy.

(Verse 16) He Warms Up Inside.

There is a thermometer and I say to this man. "I can't read this
thermometer the fluid has gone to gel, because it's so cold."

"Let's have a look." the man replies and with that, to my surprise,
the thermometer is a bottle of beer and the man is drinking from
it!

(Verse 17) A Lack Of Resources.

I am at school and I am filling my plate up for dinner, but there is
not much food here. Mainly mash potatoes and gravy, but even
that is scarce. I go off in search of more mash and gravy in far off
places. I had to put my plate down for a while with the food on
and now I have come back to it, but there is some debate as to
whose dinner this is. I know it's mine because I stuck a fork in the
mash to stand up vertically. There is a line of people in front of my
dinner now and they are determined to obscure me from it. The
dinner will be cold now anyhow. They say that it belongs to
someone else and that the dinner is not for me. I feel that I am at
a loss. I am disappointed. A similar thing to this happened to me
yesterday too.

(Verse 18) Preparation Is The Key.

I am filling up the ovens with food for George Lucas. I don't know
how long it takes to cook the food, but I am just filling those ovens
up.

(Verse 19) 'I Guess It's Out Of Date Then!'

I am in the decks of an old fashioned sailing ship with royalty. It is
all dark wood interior apart from a dark one way glass wall facing
the bow of the ship, so that people can watch us, keep an eye on
us without us knowing. Our supplies are low and so we are looking
for what food supplies we have. This man finds a pig on a spit
roast. He slams it on the table so that everyone turns around to
look. The queen looks over and says, "What is the date on it?"
"The fifteenth." The man replies whilst shaking his head in
disappointment, as he leans on the table.

(Verse 20) Wake Up!

I meet with this other lad and we are wandering around town,
before we go to this meeting place. It is more like a flat with a
living room and a settee in it. This flat has a small kitchen area and
a toilet. I have made myself at home here, so much so that I am
surprised when this man appears with his I.D. badge on a string
dangling around his neck. He dumps some equipment off in the
middle of the living room. He doesn't really acknowledge me sat
there on the settee as he is intent on what he is doing. Before I
know it the living room has become cluttered with mechanical
equipment. The man has left and there is just a woman who has
arrived in the kitchen and myself there now. I watch her as she
gets a bottle of milk out of the fridge, makes an indentation and
takes the silver foil top off.

I need to use the toilet and so I make my way through the clutter
of machinery in search of a toilet. I notice a small room with blue
patterned tiles so old as to be Victorian. 'Is that where the toilet is
or is it a kitchen?' I am thinking, 'Yes this is the toilet, but I am not
going to be able to use it. I really need to wake up.' I am still stood
there for a while trying to make my mind up. 'No, seriously, I need
to wake up and go to the toilet!'

(Verse 21) Getting on.

I have been travelling, but now I have arrived at this woman's
house. I have never met her before and I walk right in. I say to her,
"Shall we get on with this?" So as I apply she is happy to comply
with my creams and lotions for the vulvae area.

(Verse 22) Funny Bugger!

I am at this meeting. Just a normal random everyday meeting. We
adjourn for a break. I am off to get a seat on this old bench with
some of the other meeting guests. We are just deciding where we
all sit on this bench and one chap says to me, "Do you want to sit
on the end or in the middle of the bench? My understanding is
that there is no middle."

"Not if you sit in a circle." is my instant reply and I wonder, 'Just

what did he mean?' I look across the room and I see that Brian
May is sat across the room with his feet up and I am thinking to
myself, 'When I get the chance, I want to have a chat with him
about guitars.'

So later on Brian May walks over to me, but it's not Brian May. It's
just someone who looks a lot like him and he says to me in a
broad Yorkshire accent, "A think tha plays guitar dunt tha?"

"Yes." I reply, as I look at his Brian Mayish face and I think. 'He's
not quite a Brian May.' I am also aware that this is a bit of a show
now and that there are hundreds of people listening and watching
me. It's like a talk show with Brian Mayish.

"Would tha be willin ta play a little?" Brian asks me searchingly.

"Yeah, yeah." Is my immediate response. I have a quick think and I

really would like to play guitar because I feel that I am ready for
this. "Yes I would like to play." I confirm to Brian again.

I am quizzed by Brian. "Are ya shoower that ya only want to play a

little?" And this microphone is held to my mouth.

"Errr, 'O' I don't know?" I'm thinking, 'what have I said?' As the
audience laugh at my pondering. I feel a bit silly for a split second
and then I laugh with the audience at my hesitation. 'I think that
he was trying to be funny.' I conclude to myself.

(Verse 23) Fun And Games.

I had said to Sponge and the rest of them that I was going upstairs
to walk around the toy shop. "Yes, yes, that's fine." They said, but I
thought, 'should I be doing this?' I know that there was a big hoo-
ha about little Katie wandering around this toy shop on her own
with a full packet of chocolate digestive biscuits to herself!

So I am upstairs in this toy shop and I am watching people from

this balcony at the top of the stairs. I am looking down on people
and I am totally free as I wander this toy shop.

(Verse 24) I Try.

Football is on TV. I find that watching football is all about how well
we can copy the football into our own minds. So I try to copy the
football well into my mind, but to try is to be unable to. You either
do it or you don't.

(Verse 25) My Guilty Secret.

We are under gunfire. There are three of us and two cars which
are, more or less parked back to back on the freeway. The boot
doors are open up above our heads for some protection. I do not
have a gun but they do. They are Iraqi men in uniform. They have
dark skins and they are smartly dressed in their light uniforms. We
are rocked by big explosions as we get our heads down. I am
pointing out the helicopter's above us which fly between the high
buildings. I also notice a sniper and I point him out to one of the
men with a gun. To my surprise they both shoot each other! I
didn't think that that was possible. I keep my eye on the sniper
after the shooting to make sure that he is dead. It is after this that
I notice that the man who shot him is also dead!

Now I am back in town with the people. The busy shops and the
food bars, but I feel guilty. I am cautious as to what I say to people
now. I have left a dead man lying on the freeway. This is the man
that has helped me to survive and this is my guilty secret, but
what was I to do?

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SOMEWHERE ELSE.

Chapter Two - April, SPRING 2017.

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(Verse 26) Doing The Rounds.

(Verse 27) Borrow The Banker.
(Verse 28) All In A Jiffi.
(Verse 29) Impress Me.
(Verse 30) She Missed The Boat.
(Verse 31) A Pocket Full Of Keys.
(Verse 32) Excursion At The Workmen's Club.
(Verse 33) A Big Stage In My Life.
(Verse 34) "Hello Is That The Zoo Please?"
(Verse 35) To Arrive By Comfy Chair.
(Verse 36) Military Madness.
(Verse 37) To Face The Icing On The Bun.
(Verse 38) I Don't Believe It!
(Verse 39) She And Her Friends And I.
(Verse 40) Down In The Hull.
(Verse 41) "Morning Edna."
(Verse 42) The Four Hour Rule.
(Verse 43) What Do You Think?
(Verse 44) Obnoxious Me!
(Verse 45) Geometrically Laundering.
(Verse 46) A Dream Hidden In Its Recollection.
(Verse 47) In Comparison.
(Verse 48) "Hello Is That The Police?"
(Verse 49) Convulsions Of love.
(Verse 50) Heal Me!
(Verse 51) Old Fool!
(Verse 52) "Some Gossip."
(Verse 53) There Are No Strangers Now.
(Verse 54) Shining The Light.
(Verse 55) Taking Us Back.
(Verse 56) The Plastic Baby Doll Machine.
(Verse 57) 'Grandma Don't Do That To Me!'
(Verse 58) I Am Choked!
(Verse 59) My Soapy Affair.
(Verse 60) Things Like This Don't Happen!
(Verse 61) Random Memory.

(Verse 26) Doing The Rounds.

I am out of my body, doing the rounds. It is like being dead and in
my light suit spirit form, but just not quite so high vibration. I have
this list of things to do, places to go and people to see. What this
is all about, you don't know, I don't know, but the information is
here for me to follow and so that is what I do.

(Verse 27) Borrow The Banker.

Borrow says that the debt is his and not his customers'. He tells
me that he is like a magician, but the people do not like it because
they do not get anything substantial. He has accrued and
accredited a customer database of debt. This trick is all done on
computer. The smoke and mirrors is all virtual, but there is nothing
in reality and this is why he does not lend. He is racking up a debt
as he is going around to people and he is borrowing money to give
to them. Every new customer is new debt and new money coming
into the system. There is a letter code, w for woman, m for man, r
for retired and so on.

(Verse 28) All In A Jiffi.

This is a standard call. Just going through the usual routine with a
delivery at this ladies, as I account for my actions. I am in there
and then I am out of there all in a jiffi.

(Verse 29) Impress Me.

I am doing all my sums and going to all the great lectures. Some of
the writing on the blackboard is in red chalk and so I have to get
up real close to see the numbers as I am colour blind, you see.
This is a big class of students and many of us go over to sit on this
long black upholstered leather seating. As we all squeeze up on it
we are all getting squashed. This is so much fun as I have a crush
on these two girls that I am in between : )

(Verse 30) She Missed The Boat.

Jenny has this appointment. I think that it is a college
appointment, but she ends up on a boat trip to this island. This is
a new town to Jenny and she is checking out the area. Some
woman has told Jenny that this boat trip is the only real attraction
in the area and so Jenny is checking it out.

Well Jenny has now missed the boat to get back off the island and
so she is stranded on this island and running late. She has rung up
her tutor at college to inform her about the situation. I am waiting
in the car for Jenny to get off the island so that I can give her a lift
to college. When she finally appears I find myself struggling with
all her luggage. I am struggling to put all these bags into a single
trunk which has wheels on it. It makes sense to me to put all these
bags into a single trunk as the luggage will then be easier to
handle and so it all gets sorted out eventually.

(31) A Pocket Full Of Keys.

I am travelling on this bus. It is dark outside and difficult to see my
stop. I manage to climb down the stairs from the top deck and get
off the bus. There is a key that I use at the bus stop that I get off. I
am not sure if I have the right key. I don't even know why I have to
use this key. I walk off and I am disoriented. There are youths in
the dark streets and I find that I am walking in the wrong direction
and so I correct myself.

I find myself in someone's bedroom with a group of other people

and I am searching my pockets for keys. I take out all my keys. I
empty out my pockets and I am looking for the bus stop key, but
to no avail. 'Did I leave my key in the bus stop?' I wonder. So I have
the contents of my pockets out on this single bed and I notice that
under the covers of this bed are loads of coins. I can feel these
coins through the bedding, but I don't take the covers off because
it is not my money. It's not my bedding or bed or bedroom. I feel
uneasy about being here, but that does not stop me from putting
on the bedroom light so that I can see a little better. I say, "Let's
have another look for this key." And one of the other lads who I
am with says, "Let's not have a look for this key." I kind of take his
point here. This key thing is a nuisance.

(32) Excursion At The Workmen's Club.

I am at the front of this queue to get into this club. People are
edging forward as the queue increases behind me. This is some
club when I get inside. It's all rough brickwork as the cement is
oozing out from between the bricks in the walls. There is
scaffolding and workmen in dungarees. I am fascinated as I watch
the workmen scrape the oozing cement off the walls and then
take down the scaffolding in no time at all. It more like falls down
with the workmen on it. The tonnes of scaffolding poles and
planks of wood come crashing down to the ground in a wave of
debris as the workmen ride the scaffolding planks that they are
stood on. Just like they are surfing the wave of noisy scaffolding as
it unfolds onto the ground, crashing and banging about. This just
leaves the workmen to stack it up neatly by the wall. They really
mean business. I guess that they want to finish early.

There are some other people in this club that I know, but I end up
doing my own thing. There is a bus outside and I get onto that.
Maybe someone else I know will get onto this bus, but I am not
holding my breath. There are a few of us on this bus and the driver
drives it a little way and then stops at a more suitable place to
wait for some other people to get on. I don't even know where
this bus is going.

(33) A Big Stage In My Life.

What's going on? I decide to leave the stage. It is at this point that
the stage seems bigger than ever, as I get off it and then into
where the crowded audience are there does not seem to be
enough room for them.

I see this other chap who I was on stage with earlier and I say to
him, "I have decided to get off the stage because I heard the word
'improvisation' and I thought that sounds a bit professional. I
thought that we might have to do Hamlet or something."

The other chap seems to be up for it and he says in a jovial voice,

"I can do that." And he poses as though he is holding an imaginary
skull with this false cheesy grin on his face.

It had truly been fun, my time on stage. The stage was so big that I
didn't think that I would ever manage to walk off of it! But here I
am and I find myself in the stalls.

(34) "Hello Is That The Zoo Please?"

"There's a Rhinoceros walking down the street! I think it's a bit
drunk. There's a man climbing out of its mouth! There's another
man climbing out of its mouth! Errr! He's being sick all over. He's
been sick on the first man. The Rhino's gone all floppy!"

(35) To Arrive By Comfy Chair.

Mobility can be an issue for many people. Recently three people
have arrived in hospital using a chair on casters to get around. I
see someone holding onto the back of their chair. Holding on
using it as a support to walk, slowly pushing it along the pathway
on its casters. It helps them to get around. Every now and then
they just nip around to the front of their chair so that they can
have a sit down for a while and have a rest. The doctors at the
hospital are all joking about it and one of them says that he is
hoping for a set of twelve new chairs to arrive tomorrow.

(36) Military Madness.

There are historical aircraft flying all over and I am mapping them
all out as they crash. There is one big old aircraft lumberously in
the sky, that reminds me of a moth. It is miraculous how it hangs
in the sky for so long. So big and so slow, it finally comes crashing
down to Earth and folding its great structure into an horrific dust
cloud and disturbance and debris.

I am told that the military have gone mad, taking over its own
people. Taking over their shores, taking over their shorelines, deep
in the oceans, rivers and even rivers in oceans. This is what I am
told.

(37) To Face The Icing On The Bun.

Ant and Deck are hosting a live TV show and they do their pranks
in the street. Well they just happened to do a prank with me at a
bus stop, but I am wise to it. I know what's what. The cameras are
hidden, but I know that they are there. So Ant and Deck come
over to have some fun at the bus stop. But I accuse them of
pushing in the queue. They don't prank me, I prank them. So now
they have to go off script, I'm telling them, "What's tha doin? Duz
tha Know thaz pushin in? Git back thee a!" And I tell them what's
what as I point my finger directing them to get back. This is what
you get when you prank too much. People get wise to you. Well I
have got wise to Ant and Deck.

In the second half of the show Ant and Deck have people in the
street making faces in the icing on their iced buns by scraping
some of the icing off. One lad gets off to a bad start. He scrapes off
too much icing to begin with, but then he makes quite a good face
in the icing on the bun in the end.

(38) I Don't Believe It!

I am on this crowded beach with family walking on the hot golden
sand. There is this young lass who keeps following me around.
'Why is she following me?' I am wondering to myself as I talk to
her, but for some reason I do not ask her why she is following me.
She is quite tanned and brown from the sun and in contrast her
hair is quite blonde from the sun. It is in a short bob style. Her
fringe is a very straight line which is not level to her eyes. She
turns out to be my sister!

My sister says, "I've got sixteen brothers and sisters in the

Philippines!"

"How come?" I ask her searchingly with a disbelieving frown on

my face.

"My husbands got brothers and sisters." She snaps back.

I find myself in this dark room. There is this music playing and I
have my back against the speaker, which makes the music sound
different everytime I move my back. I position my back so that it
covers all of the speaker and the music comes out muffled. My
back is pulsating and vibrating now. The M.C. is cool and fast with
the rap lyrics. There is this young magician making things
disappear and then reappear with his slight of hand and I am told
about this chap whose brain was damaged by his own broken
shoulder blade!

Yorkshire police in the nineteen seventies were instructed, when

using a truncheon to hit the elbow, collarbone, ankle or knee in
order to disable a culprit. So it is hard to imagine how the police
can confuse a collarbone with a shoulder blade and it is hard to
imagine how a broken shoulder blade can legitimately end up
giving someone brain damage. I am not a detective but I think that
this chap whose brain was damaged by his own broken shoulder
blade was probably bonked on the head with a truncheon.

(39) She And Her Friends And I.

We are all sat at this table and this lass she really likes me. I end
up kissing her as she really wants me to and because she is nice,
but she knows that I am not keen on a relationship with her and it
is an awkward situation for us both. We do not talk about this but
there is a realization, a body language. There are tears in her eyes.
I decide that I will not be staying around here because that would
be too awkward.

(40) Down In The Hull.

I just love travelling on boats. I am usually a lone traveller and I
never seem to find a relationship on my travels, but I do a lot of
people watching. There is one boat that is tiny and a crane lifts
your car and yourself in it onto this tiny boat and so your car
becomes the outside of the boat. This is just for a river crossing,
but this is one massive river to cross. There are other boats that
are bigger and I climb around them. It is very strenuous climbing
aboard and then down into the boats, but getting back out is even
harder. They are very deep some of these boats and so it is some
climb to get back out. I will not be doing this in old age.

(41) "Morning Edna."

I am talking to this woman and looking at the chem trail in the sky
that she has made. This is a clue as to what care she needs. I see
what is missing in the curvature of the white trail against the blue
sky. There are other chem trails too, other curvatures against the
blue sky. They are all important clues that I take notice of.

(42) The Four Hour Rule.

We are community care workers doing our rounds. I am just
checking to see if we can go on with this round. It is later than I
thought so we can go on, as I check the time on my phone. I am
reassured that there will be no medication error. You see there
needs to be a four hour gap between medication times.

(43) What Do You Think?

David Baddiel is talking to Frank Skinner and he is saying,
"Knowing the mind of an eight year old, knowing the mind of an
eighteen year old and knowing the mind of an eighty year old. It is
much harder to get an eighty year old out of hypnosis."

I am thinking about this Baddiel statement thing and my

conclusion is that he started off too young. There was no need to
include the eight year old. In my opinion he should have just
started off with the eighteen year old and then mentioned the
eighty year old. That would have sufficed.
(44) Obnoxious Me!
I am wanting to sit down somewhere. There is a chair with a lot of
chalk dust on it. It is the only seat available to me so I decide to sit
on it knowing that I will get chalky white jeans. "Oh bollocks to it!"
I say as I sit down, "It's only chalk, it will come off." I reason out
loud to a couple of other chaps who are also in the room. There is
football on the TV. "Fucking football!" I complain, although I don't
really want to complain, but I do. Then I justify myself by saying,
"You can't beat a good moan." I state it to the other two chaps
who have been suspiciously quiet.

(45) Geometrically Laundering.

I am helping this lad do his washing. You see we have to be
accountable for what we do. So I am making room on the window
sills and on the mantle piece for the washing. There are maps to
fill in too, but I am not sure how to do this. There is triangular
Britain and oval Ireland to the left and I am just wondering how to
fill these in so that we are accountable. I draw lines on the maps
and I elliptically stretch them, then hyperbolically shrink them yet
I am still undecided as to what is the best way to fill these maps in.
I end up drawing an equilateral triangle of red lines in an
elliptically stretched map of England. The three vertices of the
triangle are replaced by three small circles in the directions of
north, east and west. This is not even topologically correct, but I
guess that this will have to do.

(46) A Dream Hidden In Its Recollection.

I am in bed. I have been doing personal care. I am just folding it up
neatly now. There is much more to it than this, but for the life of
me I cannot remember. This moment is passing me by as I sit here
and this is how I feel about it as it leaves me like an evaporation.

I have had my dream and then as an extension of that dream I

have been mentally writing that dream down within the
conclusion of that dream, but nothing has been written down in
reality. I wake up to the evaporation of my dream memory. I only
remember that I have been doing personal care and that I have
folded it up neatly.

(47) In Comparison.
I get called over by a service user's family member. She is a middle
aged woman. "Have you got any diesel?" She asks me. I'm
thinking, 'God, that diesel in there is very old.' I go to the fridge
and sure enough, there is a small 500ml bottle of diesel. I am
thinking that there might be some gunk floating on top of it by
now, so I shake it up well before handing it over to her. She opens
up the bottle and takes a sniff, "Yes, that's okay." She says
energetically. This is a relief for me. "I have had a three million
pound meal, all expenses paid." She says boasting in a matter of
fact kind of way. So I take a good look at her. She is not
overweight, although she has a sister with her who looks similar
and she is a little thinner. They are in their forties I guess as I check
out their desirability. 'Not bad' I surmise, as I imagine making out
with them. The first sister is slightly more desirable than the
second sister. Her skin complexion, her brown shoulder length hair
and her nicely proportioned body are all taken into account, as
well as her nice facial features that I have just emoconically read
through our brief encounter. : ) : o
:p :| ;)
(48) "Hello Is That The Police?"
"There is a robbery taking place. This woman knows what she is
doing. She has a small pistol on her and she is very organised.
There is a man in a light suit and he is not so organised. He also
has a pistol. He has big handfuls of paper money in both hands
and some of the money is falling out of his hands and floating
around to the ground like confetti. There is this bloke watching
and although he is slightly behind some cover, it is only a hedge
and he is watching this drama unfold intently. He is carmly stood
there with a frown on his face >:-\ He looks suspiciously confident.
He may be security or he may be involved in this robbery
somehow, I don't know." Bang! Bang! ... Bang! There are gunshots
as the two run off.

"The female suspect has been well hidden from me, but the male
suspect has been in full sight to me all the while. The only time I
have seen the female suspect was as she handed some notes over
to the male suspect. There may be more people involved, I don't
know, but I haven't noticed anyone else."

(It turns out to be a themed marriage. This is a wedding

ceremony!)

(49) Convulsions Of love.

This lad is so young, maybe two years old, spouting off about race
relations. He is talking about getting on well with our fellow races
and he has got an audience. This little boy has got his voice and a
delivery style at such a young age. Where did he get it all from? All
the other little children around him are asking him questions and
he is preaching racial tolerance.

As I walk off I am taken aback. I am flabbergasted, as I think about

the young boy and all that he says. The paradox is that his love
and peace convulses my mind. So much so, that as I am convulsed
by his love I can see through his little boy goaty beard and his little
boy intentions that are so pure and so genuine that:

"I myself have got an aquarium going on in my middle path!"

(50) Heal Me!

There is a family walking along a sunny beach. The mother is in
front carrying a bag and then the father who is carrying a small
infant and then there is a little girl who is walking behind them
and she is complaining. Her father encourages her to keep on
walking, but eventually they all come to a stop because the little
girl is too upset complaining about her heal. The father looks at
the little girls heal and it looks sore. The mother says accusingly,
"That's because you have been walking her through that water."
Then she remembers her husband eating a peach as he walked
along the beach earlier and now she suspects that the little girl
has trodden on some peach. She telepathically transmits this
accusation by her frown that scorns her husband. He loves his
wife and his children so much and they are having a moment, a
moments rest of whispering discussions that bonds them all
together as a family unit on this sunshine beach.

(51) Old Fool!

I find myself sat up in this attic, but how did I get up here? There
are no steps to get back down and it is too high up to jump down.
The same old record keeps playing over and over again and like a
fool I am stuck up here, high on life singing out the same old tune,
reciting the same old lyrics.
(52) "Some Gossip."
"I saw this girl walking along and she is supposed to be with her
husband. They have not been married long and I don't think that it
is going too well. She is having to be told that she is meant to be
with her husband and she keeps putting him off. She was all smiles
when I saw her. She was on her own walking along clutching her
hand bag, but who knows?"

"My dad was playing football with me and he said, "Watch this, I'll
get John Coddington." At which point he booted a football and
blasted it at John Coddington. It was in this old house and I saw
the ball ricochet around the room after it had hit John. I don't
think that john was very happy about that because he looked to
be disappointed, although to be fair he did not say anything about
it."

"I have done some painting in a young girls room. I painted this
cloth with a picture on it. I half filled the picture in. I think that her
room is an orange colour scheme and I painted the cloth in a more
chocolate brown colour, but being colourblind I am not too sure. I
think that my paintwork clashes with her colour scheme and so I
have hidden the half painted cloth by folding it up and tucking it
away. I felt guilty about this and I am worried that she is going to
find out soon. Being the brave person that I am, I plan to just deny
it. I have already distracted her from finding out a couple of
times."

"Barbara and Les have been travelling. They have come back and
have planned to go away again, but because they owe some
money out they are having to stay put here in this country now,
poor souls."
(53) There Are No Strangers Now.
I've got no roof and the rain comes in. There are many others who
live in this field and they have no roof too. The field is sodden,
there are big big puddles as deep as your waist. TV's and furniture
are all wet through. It's a washout.

The strange thing is that I meet old friends who I have never seen
before. I watch these people and their mannerisms which are
familiar to me now and yet I have never seen them before. I know
things about these people and yet I have never seen them before.
How can it be that the people who I have never met before are
not strangers?

There are two brothers, one of them likes golf, I know this. I listen
to their conversations and they are familiar to me. I look at their
faces and I know them you see and yet I have never seen them
before. A past life familiarity is so much apparent to me now as
my memories from my previous selves come flooding back to me.
My memories pour down into me, into a storm of remembrance.
It floods my mind then with these thoughts I find that I've got no
roof and so the rain comes in, the rain has truly come in!

(54) Shining The Light.

I am ogling Sarah. She has changed so much, she is gorgeous now.
Such a nice bum, get a load of that bum. Her sister is also nice too.
Although I do not speak to Sarah I am weighing her up, I am
weighing up how I can go about chatting her up. What cool moves
I can make towards her, but I am dreaming, I am fantasising and so
passively and cautiously I do not make my moves towards her.

In the meantime I am watching this young black lad who is being

cute with another girl. He is really putting on the charm as he
sings her praises, he winks and smiles at her. He is loving the
interaction. How to chat a woman up. This is text book. This is
how it is done, but then after a while he walks off and he is as cool
as a cucumber.

So now I have this fantasy of Sarah who has changed so much

since I saw her last and now I see her in a new light. Although
Sarah has gone she stays with me and plays with me in my mind.
Sexy Sarah and her gorgeous body is wriggling in my memory with
those moves and with those curves that will not go away.

(55) Taking Us Back.

I am on the streets with a gang of lads. We have all got to get
back, as we play this game. The rule is that we are not allowed to
play on the partition wall. "It's a good job that we live near the
partition wall, or else we wouldn't be able to play this game." One
of the lads tells me. I am just trying to work out how we can get
back without playing on the petition wall and it is not at all
obvious.

(56) The Plastic Baby Doll Machine.

There are these plastic dolls being mass produced, these dolls are
formed out of a formlessness, it only takes two seconds. I watch
them being formed. They are blobs of melted plastic and then the
moulds come out like branding irons on piston rods punching the
plastic. First one side then another, then another and another
melting the plastic, moulding it into shape with a thump and then
the top of the head is finally punched into shape with such a crazy
speed as to induce a visual madness.
(57) 'Grandma Don't Do That To Me!'
The cat has an unfortunate name. He is called 'naughty'. Grandma
is looking after him. She only has one arm to stroke him with. This
day I see her slumped on her sofa, her hair covering her face.
"Grandma! Grandma!" I sound out to her and then after a few
long seconds later I am relieved to see that there is some
movement in her. Naughty jumps up onto her and then it is life
back to normal again.

(58) I Am Choked!
I cannot get this holographic game to start up, but then some kind
person comes to my aid and shows me how to start this ruddy
thing up. I am playing this holographic game in my sleep which is
the only way that I will play it because I don't play it when I am
awake. There are these dinosaurs and they are wandering around
in our three dimensional space. They are about as big as a small
dog. They are so real and they are ugly buggers too. The idea is to
spray them in their face, up their nose, in their eyes and in their
mouth. They will then eat themselves from their head first and
then down to their tail. I am really wrestling with this one. I keep
spraying it in its face, but it still won't eat itself and at the same
time the spray is going into my face too. I think that I must have
eaten myself because suddenly it is 'game over' as I wake up too
late, just as I swallow my own tail!

(59) My Soapy Affair.

Paul is a character from an Australian TV soap opera. He is a
businessman who dresses smartly and who likes to make deals.
Well he is criticizing the show 'Home And Away' or 'Neighbours' I
cannot remember which of these Ozzie soaps he is from. "All the
years of this show and there has never been a tax review." He
complains.

Sneakily I am in this room in the house where Paul lives. He loves

his wife and his lovely wife knows that I am there for we are up
against the cold white wall contodjulating in a secret passionate
fling. For some unknown reason I turn on the shower in this room,
but I cannot switch it off again and we are flooded. We are
inundated with water from the shower head. I try in vain to soak
up all the water, but there is not enough tissue in Australia to soak
this up and I am found out, me and Paul's nice lady are rumbled. I
protest my innocence, but to no avail and so I have a breakdown.
My clothes and I are drenched right through as lean up against
this wet white wall, the sunlight shines through the window onto
me then dramatically I am in tears, as I do a dieing swan act whilst
Paul's Mrs points her finger at me. I find myself washed out and
without any form of forgiveness. I am unforgiven.

(60) Things Like This Don't Happen!

This is North Hykeham, Lincoln, England and I am standing on this
street corner at Wetherby Crescent and Newark Road T junction.
It is night time and there is not a lot of traffic about but, I watch a
three wheeled Robin Reliant van drive up to this T junction. It
doesn't slow down. It is being driven too fast unable to turn either
left or right at this T junction. It careers over the Newark Road
then on up the curb stone over the path on the other side of the
road and jumps the grassy embankment of a small stream as it
careers on towards the brick wall of a building at the Forum
Shopping Centre. I am thinking, 'This driver is suicidal.' What
should I do? Impact is imminent, but strangely the Robin Reliant
van appears to shrink in size and so it seems to take too long for
the van to impact the brick wall. In fact it does not impact the
brick wall. It shrinks down to the size of a Tonka Toy and then goes
through a plastic grate in the Forum Shopping Centre's wall. Now
this plastic grate is not damaged in any way. My eyes cannot
believe what I see. This van has merged through the plastic grate
and my body reacts with a chill down its spine. I am astounded.
'Freaky things do happen!' I note to myself. Just at that moment
for some inexplicable reason I look into the deep night sky and I
watch as the starlight and the moon light kaleidoscope above me
and I am excited to see such a spectacle and I am more alive now
than I have ever been. It seems that my life has suddenly become
more interesting.

(61) Random Memory.

I have a memory that stays with me. I am a community care
worker in Mansfield and on my third call I struggle to park my car
because there are a lot of cars already parked up along these
narrow back streets of Mansfield. So I drive up the curb stone to
squeeze between two cars so that I park my car half on the
pathway and half on the road. I am aware of a tall thin woman
with long platinum blonde hair and she has a tan, which is rare to
have a tanned skin in England in spring time. You are more likely
to go rusty from the rain than to get a tan from the sun here this
time of year. The wrinkles in her skin tells me that she is oldish,
but somehow I can not place her. She is not a service user and she
is not a colleague. I do not recall any conversation with her, but
her presence is so strong and the visualisation of her stays with
me and plays with me in my minds eye.

____________________________________________________
SOMEWHERE ELSE.

Chapter Three - May, SPRING 2017.

____________________________________________________

(Verse 62) The Sports Day Problem.

(Verse 63) As The Tabloids Spew Out Their Spurious Lies.
(Verse 64) Beyond The Board.
(Verse 65) A Beauty And A Beating
(Verse 66) The Shame And The Shambles.
(Verse 67) The Vagueness.
(Verse 68) So Special.
(Verse 69) A Lesson In The Metaphysical Trainstation Of Wonder.
(Verse 70) Incognito Or Not? That Is The Question.
(Verse 71) Play Time.
(Verse 72) Alpha, Beta And Delta.
(Verse 73) The Frick!
(Verse 74) The Barber And The Wig Of Hair.
(Verse 75) All the Crazy People.
(Verse 76) Fun At The Zoo And A Kiss From A Ewe.
(Verse 77) The Ever Satirical Everso.
(Verse 78) Boxes Down And All Boxed In.
(Verse 79) Tunnels Of Love.
(Verse 80) Musical Rounders.
(Verse 81) My Joint.
(Verse 82) A Little Perusal.
(Verse 83) A Soiled Pig.
(Verse 84) A Blind Disconnection.
(Verse 85) Tables Upon A Table.
(Verse 62) The Sports Day Problem.
The normal geometry of an athletics track is obround in shape. An
obround is two semicircles joined by straight lines. The inside lane
on the track is shorter in distance to run a complete circuit and so
the starting positions need to be at different points for each lane.

This athletics track is elliptic in shape. This is not the normal

geometry of an athletics track and I am challenged to find the
starting positions for each lane.

The cartesian equation for an ellipse is:

(x/a)^2 + (y/b)^2 = c^2

The parametric equation for an ellipse is:

x = acost
y = bcost

The arc length of a curve in parametric form is:

Integrate ds where

ds = squareroot[ (dx/dt)^2 + (dy/dt)^2 ] dt

The polar equation for an ellipse is:

r(p) = [(b.cos(p))^2+(a.sin(p))^2]^(1/2)

(Verse 63) As The Tabloids Spew Out Their Spurious Lies.

My dad is a sage and we have been travelling so far. We have been
travelling for so long, but he asks many questions. How do I do
this and how do I do that? He seeks the ways of a young person
and I can see what he is doing. He is a peaceful man negotiating
the ways of a traveller whilst the ways of this world weigh upon
him and his ways. So which way for this eastern traveller?

(Verse 64) Beyond The Board.

I am playing darts in the back garden at Rupert Holt's house and I
miss the dart board. The dart goes behind the dart board and into
the grounds of somewhere else. A place that I am not familiar
with. That I briefly glimpse with its mottled green and yellow
shrubbery. It is rustic and a far removed place from here. It is out
of site in a place that usually does not appear. There is no fence of
separation to this place. I have just a glimpse, because I am
suddenly once again fenced back in within the perimeter of the
garden of Rupert Holt's house, confined within this urban district.
I have been aware of the grounds of somewhere else. I have the
memory of this mysterious place that has now become unseeable
to me again.
(Verse 65) A Beauty And A Beating
This big ship has been taken out of commission. I am so proud to
have served on her for so long. It is not safe now because as I
explain to some people the chord that runs through her is not
being replaced and so this big ship sails for the last time
unmanned. With no one aboard she grandiosely goes on, out of
her way.

There is a young lass in a bikini and she is very pretty. She is in this
swimming pool that represents the sea. It is like a map of the
world with its islands that simulate the world map. This lass is
serving on a ship which is about the same size as her as she is
languid on it in her bikini she is sent to one of the islands in the
pool and this island is Argentina. I am there with Dean Wilson and
Michael Richards. Me and Dean are watching her from the side of
the pool and we are watching the world go by as we are chatting.
Michael is in the shower which is located just on the edge of the
pool behind a door just big enough for one person. Me and Dean
are standing there and we watch Michael as he proudly comes out
of the shower in his speedos looking neat and trim. He confidently
swims up to the pretty young lass, but she grabs hold of Michael's
big swimming goggle and she pulls it on its elastic and she pings it
in his face. Michael is shouting at her asking her to stop and there
is splashing and a frantic display from Michael. I turn to Dean and
in a surprised tone I say to him, "She's beating him up." We are
astounded. Michael is pleading to the pretty young girl to stop and
he is trying to calm her down, but she is nasty and unrelenting.

(Verse 66) The Shame And The Shambles.

There is a gathering at 'The Forum' of military personal and
someone is being hounded, they are being shamed. It is said that
he has got a medal or badge or something for killing his own men.
He is accused of friendly fire and these people are not friendly
towards him, not at all. There is so much disdain.

I am aware of this police motorbike, but it looks more like a push

bike to me. It has pads all over it. Black PVC pads they fold over
the frame and stick around it with velcro, but I gather that there is
an unnecessary piece of padding that has no right to be there. It
has been put on under false pretences and it is the pad right in the
centre. It has no right to be there and there is only contempt for
this pad.

(Verse 67) The Vagueness.

We have got the hard task of balancing the books. If there is too
much red powder, then we need more blue powder and If there is
too much blue powder, then we need more red powder. It's as
simple as that. You just have to keep a good look out. I saw Colin
Smith in a hood and we were discussing things. How they should
be. We discussed it with the vagueness, but we will dispel the
vagueness in time.

(Verse 68) So Special.

Sam Hammond and Everso (Jim Eversom) come round our house
they are like special cases. It is always a pleasure for me to listen
to them talk. I love their breezy interactions and I like what they
have to say. They go to a special school. Sam has this special push
bike. The handle bars are high up in the air, high up above his
head as he sits and peddles, but the most unusual thing is that he
can transform his push bike so that he can also ride it upside down
from time to time. This push bike has been designed like this to
make Sam feel good about himself, because like I say Sam and
Everso are not the most normal kinds of people and they are most
welcome around our house. I think that that is because me and
my dad are not normal too.

(Verse 69) A Lesson In The Metaphysical Trainstation Of Wonder.

There is this old steam train replica, it's big, about as tall as me to
the top of the chimney. It is a big black chunk of iron. The men are
putting a camcorder on the front of it to record its journey. The
men are all riding in front of the steam train beside the train
tracks on their chopper motor bikes that are all lit up, as it is
getting late and is getting dark now.

I am looking on the walls of this big train station place for a TV

monitor to watch them ride away, but I can't see one anywhere. I
notice some other blokes and they are all sat in a line on steel
frame stools that are all joined together so that they cannot be
moved individually. One of the blokes I recognize and he calls me
over. I notice a spare stool so I sit on it and I find myself working
from a text book. This text book is more like a magazine, but there
is a piece of thin rubber sheet with dimples on, on the front page
and mine has come off. I decide to put the rubber sheet inside the
pages of this book so that I do not lose it when I hand my book
back in. I am considering not handing my text book in and sneakily
gluing the rubber sheet back onto the text book cover and leaving
it in my locker to dry, but then I think better of it and decide to
hand my book in.

I find myself wandering around this concrete industrial train

station type place and inside a little shop I notice two people
starting a procession. One of them has an orange flag and the
other has a bugle. They are marching along together and I watch
them, but I do not join in their procession and I am wondering
about their egos. 'Do they have big egos?' And I am wondering
about my ego. 'Do I have a big ego?' And I don't know. I am just
wondering as I am wandering around this concrete industrial train
station type place.

(Verse 70) Incognito Or Not? That Is The Question.

We are escaping persecution, me and this black lass. It is awful.
Every person we meet, we don't know if we can trust them, by
good luck we have got on this flight out. A big fat man called Bob
flies us out from our persecution from within this African nation.
There are so many of us on this aircraft and we are so grateful. I
am trying to tell Bob how grateful I am and to my surprise he does
not want to know. After we have landed and we finally walk out of
this aircraft with our lives and our freedom intact I say, "Bob,
thank you from the bottom of my heart." I put my hand on my
heart and he just turns away. He is so genuine. He just does not
want to know.

So now I am talking to my black lass about who we can trust and

in my mind I just want to keep away, well away from everyone.
She is going on about her dad and about how someone was
listening to her reading a book out loud and I'm thinking 'What!
Do you always read out loud to yourself?" But I say nothing about
this and I am just listening to her talk and she talks. I am thinking,
'How the hell am I going to get away from people with this crazy,
lovely girl around me all my days?' But we are in a safer place now.
There is grass and trees and wilderness in this safe zone. It is still a
part of Africa, but I feel happier here. It would be so easy to meld
into this vast wilderness here to live out our lives incognito now.
(Verse 71) Play Time.
I am goofing around with my friends at school. We have drugs like
Ritalin in schools these days for those children who have attention
deficit hyperactivity disorder (ADHD). I have ADHD. My friends and
I we get these orangey berries and we are throwing them at each
other. I pretend that I am eating some and start acting wacky. We
go into these changing rooms where there are these benches that
have steel frames above them to hang our bags and coats on. I am
climbing these steel frames. I am upside down with my bum in the
air. I pretend to fart by blowing rasberries with my mouth. This is
such a juvenile fun thing to do that my friends are all laughing at
me and my naughty behaviour as I clown around making a fool of
myself. You see I have not taken my Ritalin tablet and there are no
teachers around to absolve me.

(Verse 72) Alpha, Beta And Delta.

It is such a small boat that it is just like a three seater settee
floating down the river. So three of us jump on and sail down the
river.

(Verse 73) The Frick!

I am meditating and I am surprised to see a translucent humanoid
being run through my mind and then out through my face. It all
happens in a split second. It is about as big as my head, but then it
becomes invisible as soon as it leaves my face. It has made me
jump. So who the frick are you?

(Verse 74) The Barber And The Wig Of Hair.

"Any chance to slot some hair in?" This question is asked because
a big wig of hair has just come out, falling from my head leaving a
tunnel of hair on the top of my head. I can feel the cool air breeze
on top of my head now. I am a baldy sat in a barbers chair, but I
am also the barber stood looking at my seated self and my hair
loss. So curiously I am two people. I can see where my old wig of
hair has fallen out, where it has been unslotted from my
diminished head of hair. Both of us inspect the hair of the one of
me in the chair, because we are each other. We are in the
superposition of being both of us at the same time.

(Verse 75) All the Crazy People.

I am having a moment with this lass. The strange thing is that
although I know her so well, I do not know her name. We have a
hug and we discuss a few things. She is so nice. We get on so well,
but that is when it all kicks off. I sense a bit of tension and people
are starting to move about. Sam Hammond is there with all his
crazy music. This is the man who I get all my crazy music from. It is
he who is at the centre of the fray. Not to say that he is the cause
of any trouble.

It is all getting heated and people are going crazy. Little things that
are said and done are being picked up upon. There is limited food
about now, although I manage to find some bread cakes with jam
in them. They have been stored in a brown paper bag and I am
careful not to be accused of stealing them. I am talking to Charles
and he has got it in for someone as he confides this information
with me as we are walking along. Someone is shouting their head
off in the distance and Charles has taken an exception to this.
"Who was that?" I ask and with that this other chap smiles and
tells me that it is someone singing some song from two thousand
and three. This chap recognises the tune. It all seems to make
sense to him, but now I notice that Charles has gone off. He is not
talking like he was, all since this chap has started talking to me. I
am guessing by
Charles's reaction that he does not like this man.

So now I am looking down at some crazy music that I have

acquired. I have a hand full of music that I think this lass will like. It
is all boxed up and neatly packaged for her. I am hoping that she
will like these gifts as I take a good look through the shiny
cellophane at the art work on these packages and I casually read
the dark font inscriptions on one of the boxes.

(Verse 76) Fun At The Zoo And A Kiss From A Ewe.

Aaahhh! A gummy mouth suddenly takes hold of my left hand.
W.T.F! This big dumb animal gums my hand and drags me this way
and then that way with the suction of a thousand plungers. This
oppotunistic Alpaca/Llama/Sheep type thing is looking at me,
blinking its eyelashes at me and at this moment in time I am
concerned, I panic! 'Will I ever get my hand back?' So then with all
my concerted effort I pull back my hand and:

Thththlop! I have my hand back, wetter and shinier than ever

before. So then as I inspect my salivary hand I notice that Jenny is
laughing at me and taking the piss out of me. "Well I hope that
something grabs hold of you and eats you sometime... ...Or
maybe I don't." I reconsider my initial statement in a
contemplative and sulky tone as I look up at Jenny out of the
corner of my eye from inspecting my hand.

Awwwwe! A sudden big long cry from a thousand conscientious

voices fills my head like a choir, that acquires a constant low tone,
of a drone of condemnation.

Oooops! Did I just imply that I hope my sister does not get eaten
because it would kill the very thing that would try to digest her?
Yes, I did. Yes, I definitely think that I did say that : )

(Verse 77) The Ever Satirical Everso.

I have nearly knocked over this young girl in a wheelchair. I am
driving this coach. I don't even know why I am driving this coach.
It is a real nice white coach and I do this crazy manoeuvre. It is
something more like what a skateboard would do! The strange
thing is that I did not even know that I was the driver of the coach
until after the incident. It was a real shock to me. So I am guessing
that this coach must be an automatic. This young girl is crying. She
is sat in her wheelchair sobbing her heart out. I go up to her and I
apologise to her. I notice that she has old wounds and scares and
massive damage to her body. 'I didn't do that.' I am thinking to
myself. I am relieved that I did not hit her, but she is very
unforgiving towards me for my crazy driving and so I back off.

I find myself at this party. The guests are all in fancy dress. I am
fascinated with one person who is throwing bits of paper, because
a bit of paper lands on me and I trace it back to them. They have
this massive head mask on with a great big nose. It looks so
lightweight sat on this persons head. I guess that it is made from
foam rubber. They could be male or female, I just don't know, but
they are oblivious to me as they are sat chatting with their friends
just above me on the veranda. Everso's sister makes an
appearance, she comes up to me chatting away to me. She has a
white face of makeup and her blonde hair is held back by her
yellow hair band. She looks like a very theatrical Alice in
Wonderland. She tells me that she is living here where the party
is. I try to engage with her, but for some reason tonight I am at a
loss for words. It is only now, by identifying the exaggerated
features of the headmask, that I realise who the person is in the
headmask.

(Verse 78) Boxes Down And All Boxed In.

Here I am in the big warehouse of life. There are rumblings of
something big happening. It all starts as a flood. The water is
flowing. Boxes are being torn away from their stacks. Little fires
start up and then it just escalates from there on until the
magnitude of this crash is monumental. Everything is tumbling
down. The stacks of boxes fall at such a rate that I am astounded. I
fear for my life as I jump from the stacks of boxes just before they
fall, but I am exhilarated by this disaster. This is such a seismic
event.

I find myself in this safe zone of mezzanine floors, aluminium

panels and locked down doors. How I long to open the locked
doors, but there are three of us on lock down safe in the security
in the security of this metal box of a room. I make a controversial
statement, "We didn't win the Iraq war." And then Duncan Parks
says, "No, it is still going on." I take a good look at Duncan and this
other person in the room. I have so many questions for them:

I wonder, 'Are they really devastated by this disaster? Have their

lives been so great before this fall from grace for the
establishment? Has their investment in the status quo truly been
working for them?' Because I can categorically say that it has not
been working for me. I for one, I am ready for this change and I for
one, I am not unduly worried about the fall of the establishment.

(Verse 79) Tunnels Of Love.

Circles within circles with equal areas of colourings. For some
inexplicable reason I find myself in these tunnels of love. The
oesophagus, the circle-ophagus of love digests and draws me in.
Swallows me up with its geometry:

The idea is to draw as many circles as you like in such a way that
when the area within the circles circumferences are coloured in,
the areas are of equal sizes. Some examples:

circles(a,b,c)
a=number of circles
b=number of colours
c=number of circle sizes

EXAMPLE 1:
A circle within a circle.
circles(2,2,2) {x^2+y^2<r is colour1,
x^2+y^2<r/2 is colour2,
where r=radius squared}

EXAMPLE 2:
A circle within a circle, within a circle, within a circle.
circles(3,3,3) {x^2+y^2<r, is colour1,
x^2+y^2<(2r)/3, is colour2,
x^2+y^2<r/3, is colour3,
where r=radius squared}
EXAMPLE 3:
A circle within a circle, within a circle, within a circle.
circles(4,4,4) {x^2+y^2<r, is colour1,
x^2+y^2<(3r)/4, is colour2,
x^2+y^2<r/2, is colour3,
x^2+y^2<r/4, is colour4,
where r=radius squared}
EXAMPLE 4:
A circle within a circle, within a circle, within a circle.
circles(4,2,4) {x^2+y^2<r, is colour1,
x^2+y^2<(3r)/4, is colour2,
x^2+y^2<r/2, is colour1,
x^2+y^2<r/4, is colour2,
where r=radius squared}

PROBLEM 1:
circles(a,b,c)
a=number of circles
b=number of colours
c=number of circle sizes
Give values for a,b and c where circles(a,b,c) has no solution and
prove that it has no solution.

PROBLEM 2:
x-1 circles within a circle.
circles(x,x,x)
x=number of circles
x=number of colours
x=number of circle sizes
Find a clear notation where the number of circles equals the
number of colours which in turn also equals the number of circle
sizes. Examples one, two and three are clues to this problem.

PROBLEM 3:
A circle intercepting another circle of equal size.
circles(2,3,1) {?}

clue:
circles(2,3,1) {circle1[+ve sqrt(r-x^2),-ve sqrt(r-x^2)],
circle2[+ve sqrt(r-[x-A]^2),-ve sqrt(r-[x-A]^2)],
circle1-intersection is colour1,
circle2-intersection is colour2,
intersection is colour3,
where r=radius squared,
A=translation along the x axis }
Find the value of A.

(Verse 80) Musical Rounders.

"Get back, get back, get back to where you once belong." I sing
and I play a few bars of a song and then I run with my guitar to the
next point to sing and play a few bars of another song. I am aware
of someone watching me. I am hoping that this person watching
me knows the songs that I play, although I am thrashing my way
through these songs at such a fast rate I wonder if I relay these
songs correctly.

(Verse 81) My Joint.

It is more than a pound of flesh and I have second thoughts about
putting this joint of meat in the oven. I am stood there looking at
this joint as I hold it in my hands. Tony walks past and casually
informs me that it will take half an hour to cook in the oven. I look
at the clock on the wall and I wonder to myself, 'Do I want to wait
that long?' I look at the shape of this joint of meat and the shape
seems familiar to me. I seem to remember that I have eaten this
joint once before in 1984. This joint of meat is so tough that it
never gets digested. Tastlessly it gets chewed over and it never
gets put away. Like some fossil of meat I decide not to eat it again.
It has been preserved forever and so I put it aside. It is never to be
eaten again.

(Verse 82) A Little Perusal.

We are parked up on the top of a little scorched grassy incline
somewhere deep in this African nation. I am to clean up this bus. I
am to clean up the sweetcorn and the coconuts into the crates,
but it is getting late. 'Where are the people to help me?' I am
thinking to myself. I am standing at the front of the bus as I look
down this long bus and then out through the big screen at the
back of the bus, I can see some activity down the old grassy track
where the bus has previously been. Some people are making their
way on up the grassy incline to the bus. Suddenly some people
come alive in the bus and as they do so we all clean up the bus
whilst we dance and we sing out loudly. "Have you ever been to
The Bus Stop Shop?" Someone asks me. "It is so cheap there!"
They tell me before I have had a chance to answer their first
question and so I go to take a look in this black nations shop called
The Bus Stop Shop.

(Verse 83) A Soiled Pig.

Secretly I have hidden some items in the soil; an eraser, pencil
sharpener, some drugs, a toy pig which Jenny is mad about
because she wants to see this pig again to check it over for
something or other. I don't exactly know what. There are some
people asleep in lines and rows. It is all discreet but someone is
talking in their sleep.

So these items are buried now for good. I took a deep trowel and
pierced the earth into a deep tunnel of a hole and in went the
items. I showed Jenny before I put these items down the hole but
Jenny was not happy because the toy pig was not included in
these items and telling Jenny that I had already hidden the toy pig
did not help.

(Verse 84) A Blind Disconnection.

I am swimming under water. I am a humanoid whale swimming
with a female humanoid whale. We roll around each other
underwater. She is like an obese mermaid and me an obese
merman. My dorsal fin stears me back and my tail fin wraps me
around her soft body. In underwater slow motion we are gentle
and giants of the deep rolling around underwater in the swimming
baths of life, but she breaks away and swims away from me. So I
make my way on up to a big tiled window sill and I look out
through this big window. Me the whale humanoid merman with
all my big belly rolls of blubber pushed up against the glass that I
see through. I look for the female who I have just interacted with,
but I do not know what she looks like. Every female who swims
past the other side of this big window I wonder if it is she who I
have been rolling around with, but I just don't know who she is.

(Verse 85) Tables Upon A Table.

There is a girl and her girlfriend who I remember from school and
although I confidently interact with them the connection is weak.
Then I meet up with these other girls in this great hall of a room. I
am confident and I interact but the tables are small and there is
nowhere to sit. So somehow I balance myself at this small table
with the others and I am careful not to knock it all over, but it is
precarious and I am precocious as I rearrange two tiny tables
which are sat upon the small table that I am sat at. ((+_+))

____________________________________________________
SOMEWHERE ELSE.

Chapter Four - June, SUMMER 2017.

____________________________________________________

(Verse 86) The Strange Case Of The Pressure Hose.

(Verse 87) A Touch Too Much.
(Verse 88) Sharon And Her Spider Machine.
(Verse 89) Really?
(Verse 90) A ghost In High Summer Season.
(Verse 91) Lovely Jenifer.
(Verse 92) This Dull Space.
(Verse 93) Bell Sung Was A Gas.
(Verse 94) Snap, Snap, Boom!
(Verse 95) Meantime.
(Verse 96) Wanking Off In Art Class.
(Verse 97) A White Building And An Influx Of Dark People.
(Verse 98) As I Address Limbo.
(Verse 99) As I Feast On A Buffet In Crystalline Light.
(Verse 100) Looks Can Be Deceptive. (meditation)
(Verse 101) A Playground Oasis.
(Verse 102) Ian's Team.
(Verse 103) A Key Conundrum.
(Verse 104) Sleep Safely Now.
(Verse 105) I Am Here.
(Verse 106) Adi You Plonker!
(Verse 107) Only Red Towels.
(Verse 108) How Many Hertz?
(Verse 109) Rude Boy.
(Verse 110) The Right Channels.
(Verse 111) Dick!
(Verse 112) Quitter.
(Verse 113) The Beef And The Bear.
(Verse 114) In Contrast.

(Verse 86) The Strange Case Of The Pressure Hose.

Some wooden drawers have been delivered. Apparently they have
had milk in them. They come all wrapped up in cellophane. So I
get the high pressure hose out and blast the drawers to clean
them out. These drawers are to have dog food in them, but the
dogs do not like to eat from milk soaked wooden drawers. So as I
blast these drawers with the high pressure hose I am surprised to
see that I am setting walls on fire behind where the drawers are
stood. I just hear this voice, "Woo! Stop! You'd better hope that
this fire will go out!" There is melted plastic and I stamp out a few
flames. I am really concerned that it might take hold and burn the
place down, but then after a short while the flames subside and
we are left with some mis-shaped plastic melted out of shape. A
disgruntled voice booms out to me, "Now let that be a lesson to
you! Now you've learnt something there, haven't you!" The
wooden drawers are alright they have been washed out nicely
with the high pressure hose, but I have done some damage to the
back walls and the plastic surround.

(Verse 87) A Touch Too Much.

I put my finger through a touch screen. I am reversing my big artic
lorry and I hit something with my lorries forty foot trailer. So I am
on my computer trying to remedy this situation when my first digit
goes through the plexi glass. I am at this shop and I tell the man
there what I have done. I explain to him how my index finger
penetrated the plexi glass and how there are layers of thin
transparent pages behind the broken plexi glass now and that I
have found myself flicking through these transparent pages that
are underneath the broken plexi glass. He tells me to make my
computer work for me. He says, "Get your computer to clock in in
the morning like any employee would."

"That that would be difficult." I tell him.

"No I am serious." The man behind the desk reassures me. "And
be prepared for a cleaning revolution." He says as if he is some
kind of great prophet seeing into the future, while he hands me
some new plexi glass for my computer screen together with the
layers of the thin transparent pages.

(Verse 88) Sharon And Her Spider Machine.

I am fascinated as I watch Sharon Thorpe doing her mechanics on
her car because she is partially paralyzed and she has this
octiframe around her to support her. To help her to stand and to
be able to work on her car. Her weak hands work the joy stick that
helps her to use spanners, to stand up within the octiframe and to
manoeuvre herself about. Sharon's mother is there too and she
has a joystick also. Her mother is not handicapped in any way, but
she joins in with her daughter and the octiframe to give Sharon
the extra support.

(Verse 89) Really?

I am asked, "What's your surname?"

"Cox." I reply.
"You're not a boxer are you? Because boxers called Cox are
unstable." I am interested to hear this because I believe what I am
being told here. "Yes boxers called Cox are unstable and women
who are pregnant who are called Cox are stable." She goes on in a
matter fact kind of way and I am taking this all in because I believe
what I am told.

(Verse 90) A ghost In High Summer Season.

I am still getting to know this new place where I live. I am by the
seaside. There are seaside attractions, but it only gets busy in high
summer season. I live in a nice home with vertical wooden panels
on the outside and it has big windows.

As I walk around inside this home, it is very large. I do not even

know where the light switches are yet, but I find them if I look
around for them long enough. The woman who owns this place
walks around, but she does not notice me as I watch her go by and
I feed the cat. No one knows me.

(Verse 91) Lovely Jenifer.

There are two ladies in the library. One of them has just helped
me on the computer, but then she has had to go off. It is nearly
tea time now and so I decide to get the file off the computer
myself and so I am putting my rubber gloves on. The other lady is
the librarian's assistant. She has short red hair and I have heard
the librarian call her Jenifer. Jenifer is very helpful and often
outshines the librarian with her helpfulness I feel.

I am back home for tea now with my mum and my sister Sue,
"What's for tea then?" I ask them both.
Sue replies, "We've got candles and a duck!" As she watches my
reaction to her reply.

I retort. "Does that mean that we have a wax duck then?" I

conclude this by trying to be witty and feeling clever with myself. I
look for some feedback for my humorous remark, but mum and
Sue are not as keen on my remark as I am.

(Verse 92) This Dull Space.

I am in the car with my family just me my mum and my dad. My
dad is driving us on some grassy field and we are ushered up at a
designated parking spot. There are a few other car loads of friends
who are also parking up near us. We stay in the car when we park
up and I look out of the window of our car to get a glimpse of
where our friends have parked up. We find ourselves all huddled
up in our vehicle, me, mum and dad. The atmosphere is a bit
tense. "Will you stop starring at us?" My mum whispers to me in a
determined tone. "We're not performing for you." She says to me
sternly.

"Thank God for that!" I exclaim with a childish expression.

"Aye!" She and my dad snap back with frowns and glares.

Alan Wilson has joined us now and he is drinking cans of beer. He

tells us that he had ten cans yesterday as he smokes his cigarette
and I look at him. I am thinking to myself that all that drinking is
not good for him. I imagine a smoky alcoholic induced dehydration
of a headache for him. Emphatically I can feel his wuzzy head now
as he draws on his cigarette and it glows brighter for a few
seconds which lights us all up briefly in this dull and smoky space
that we find ourselves in.
(Verse 93) Bell Sung Was A Gas.
"Anyone for some Sex Pistols cheese cake? Free with the bollocks
album. Never mind the bollocks here's the cheese cake. A crumbly
biscuit base with a union jack topping and more cheese than you
can manage in the middle! God save the cream aye Johnny. Pour
some cream on me today and stuff someone else. Be a man. Stuff
someone. Stuff yourself!"

I cannot believe what I am hearing, an advert for cheese cake with

attitude on the radio. This is in bad taste. "I've heard it all
now!"

(Verse 94) Snap, Snap, Boom!

I go around this ladies house. I go through all the routine of a care
plan to get her up. I feed the crocodile as it floats like a log in the
swampy back garden. I follow policy and procedure and it
only takes one neutron bomb to get her up and out of bed.

(Verse 95) Meantime.

We go around to this lasses house she has sausage legs and she
puts Wellington boots on her fat feet. The street that she lives
down is dry now, but for some reason we know that when we
return it will be flooded. There is another girl who is stood on the
top of my feet. She holds onto my sleeves with her hands. Her left
foot stands on my right foot and her right foot stands on my left
foot as she faces me and I walk her around. She keeps falling off
my feet as she hitches a lift on them and as we walk the streets.
We shall return and it will be flooded, but in the meantime ...
(Verse 96) Wanking Off In Art Class.
I am sat at a table. There is a girl to the left of me and a girl to the
right of me, but they are on the opposite side of the table. I
just can't stop masturbating. There is so much seamen flowing to
the floor that one of the girls asks me, "Are you alright?"

"Yeah." I reply positively and surprised that she would ask me such
a question. There is newspaper on the floor and the seamen is
splashing on the newspaper as a pale sky blue water colour paint
until there is a puddle down there splashing out circular ripples of
pale sky blue water paint.

(Verse 97) A White Building And An Influx Of Dark People.

Billy has an ear infection. This lass is worried that she has caused
his ear infection somehow. I reassure her, I say, "Billy has often
had an ear infection." I am thinking to myself, 'He does not look
after himself. He drinks excessively every night.'

We are at this large white concrete building. There are two railway
lines which come to buffer stops in the grounds of this building.
There are hundreds of us who have trespassed onto this land. I
climb up onto the roof of this large white concrete building there
are two other lads already up there on the roof. There is another
concrete white wall on the roof where the building goes up even
higher and in this white wall there is a window with a thick
insulated wire coming out of it. One of the lads pulls the wire
several times and the window eventually opens up. I am surprised
as I watch the two lads climb into the window and disappear into
this big white building. I am thinking, 'They are in big trouble if
they get caught inside that building!' I decide to climb down off
the roof and as I look around I see that there are hundreds of
people milling around, trespassing in the grounds of this building.
Dark figures in dark clothes, moving around hundreds of them in
contrast to the white grounds of this white building as the sun
shines on the brilliance of the brilliant white concrete. I see a lass
with her phone out and I wonder if she is some kind of official
calling security. I don't even know what this building is.

(Verse 98) As I Address Limbo.

We are getting up and dressed to see where the clothes fit and to
see where we end up. Then we have to get undressed in the
correct way in order to get back to where we have come from.
This is my concern, that I may get to where I get by getting
dressed, but then it is getting back correctly that I think that I will
find difficult and so I feel that I am in limbo here.

(Verse 99) As I Feast On A Buffet In Crystalline Light.

I find myself in a large public hall. There are quite a few people
here and there is a speaker at one end of the hall or maybe he is a
preacher of some sort. I am with my family here as I decide to just
sneak into another large room where there is the biggest buffet
you have ever seen and I am keen on some chocolate swiss roll,
but I am discrete. I do not want everyone to know what I eat.
There is so much glassware here. The light shines onto it and in
through this glassware which is everywhere brightly lighting up all
around us. It is like a room full of diamonds as the crystal glass
glints ornately in this place. This is a crystal sugar bowl of super
optical light. A feast of food and of a transparency that reflects
irridescently and beautifully. This room is a jewel of light and I am
clearly impressed.

(Verse 100) Looks Can Be Deceptive. (meditation)

There is a man who looks like a big fat catapilla. He is a lavae, a
squirming lump of bright green and yellow. People think that he is
grumpy because of the way that he looks, but he is not grumpy
and when people get to talk to him and get to know him they are
surprised. I can see that there is a black beetle with a red crash
helmet on who is talking to this man and it is a very cordial
conversation that they have too. Now the beetle he just flies off to
somewhere over there. So then the lavae of a man starts to
become the pupae of a man as he is squirming on the spot and he
is not getting anywhere.

(Verse 101) A Playground Oasis.

School children can be cheeky. A teacher is told by a student,
"You're not from around here, go back." The child instructs the
teacher. The teacher is from London. He is a supply teacher and he
has been draughted in, but this is northern England and London is
in the south of England.

There is a child who is giving me some cheek. "You're fat sir. God
look at how fat you are." He says as he shows me a disgusted
facial expression. I look down at myself and I think to myself. 'I'm
not that fat. I might not be as thin as I used to be, but I'm not that
fat.' With one hand I grab hold of both of this lads lapels and
everytime he gives me some cheek, without letting go of his lapels
my index finger of that hand pokes him under his chin. But I am
careful because he is a child and I am an adult. I could
permanently disable him with one hand tied behind my back. I
would never do that, but he keeps on giving me cheek. So with
minimum force I keep poking him under his chin everytime he
insults me.

It is breaktime now and I am being as cool as I can be. There is a

wire mesh fence with holes in it and I negotiate my way through
this fence careful not to get stuck to find myself in a playground. I
climb onto a red square frame but as I step onto it, the frame
pivots in the centre. My weight on the frame tilts it down to the
ground because there is a schoolgirl on the frame next to me and I
hear her quietly moan about me as she eventually has to break
with her private concentration and acknowledge me. On the
opposite side of this frame, now up in the air, is a young school
boy who is like some Liam Gallagher singing out loud up in the air
at the top of his voice and without a care in the world.

(Verse 102) Ian's Team.

First I am in one team and then suddenly I am opted out into
another team. I lose my drink to the old team. It was a non
alcoholic beverage, but now in this new team there is only
alcoholic drinks, mainly beer and I do not drink alcohol. I search in
vain for a suitable drink for me. I have no choice. It is mostly lager
beer, which is sealed in a plastic that I do not know how to get
into. Then I get it. No wonder there is only beer in this team
because Ian is in this team!

(Verse 103) A Key Conundrum.

I am sharing a flat with some others. I am stood outside this flat
and there is a key in the flat door which is shut. I think to myself,
'Is that my key in the door? Did I leave that in there?' I am thinking
that the flat is empty and that everyone is out, but then I hear
some voices in the flat. Gary is in there with Patricia (Pat) as Pat
has brought round some videos and information to answer some
of the hardest questions to this quiz that we are taking. I hear
Gary say to Pat, "Isn't the North East depressing." And before Pat
can reply Gary concludes, "I can say that because I am from the
North West." And then he laughs at his own witty remark.
Meanwhile I am wondering to myself, 'Whose key is this in the
door?'

(Verse 104) Sleep Safely Now.

I am lying in bed half asleep, but I am aware of other people
around me and there are some knives. The people around me are
my friends and my family and they are taunting me with these
knives. My friends and my family are crazy and I do not trust
them. So I wake up and there by my pillow are three sharpe
knives. So I pick up the knives and I put them away in a tool box
on the floor in my room by my bed. Those knives could have
stabbed me in my head. I am aware that the other people around
me in my room are watching me. They can see what I do, but I can
go back to bed without being taunted anymore and I can sleep
safely now.

(Verse 105) I Am Here.

I go around to this ladies house. I have been here before.
Hopefully I am not here too early and that she still wants me. It is
still dark outside now, but this call is a regular one and everything
is familiar to me. From the address to the layout of the furniture. I
know where I am with this call.

(Verse 106) Adi You Plonker!

I go around to Brian Hill's house as I am due to do a run with him,
but I am waiting ages and then he asks someone to help him
move this big white fridge. 'I can't wait any longer.' I think to
myself and so I am prompted to say, "I'm going now Brian." And
impatiently I just find my way out I think about the implications of
what I have just done. 'I will not have any work because Brian has
got all the addresses for the run and Brian will not be able to do
the run either because he does not have someone who can help
him now.'

So now that I am outside I am searching all over. I am struggling to

find my way. I am looking for the exit onto the road, but no matter
where I go I cannot find my way out of here and I conclude that I
am stuck in Brian's back garden. Then the man who was helping
Brian to move his fridge comes out and I ask him, "Do you know
how to get out of here?"

"Did you know that there is no mathematician called 'Brilliant'?"

He tells me randomly.

"I'm not brilliant." I confess to him and I find myself going through
a few Mathematicians names in my head:

'I guess that the eighteenth century mathematician Euler was

probably the greatest mathematician, or maybe it was John Von
Neuman. Henri Poincare at the beginning of the twentieth century
was the last universal mathematician. (universal meaning that he
knew all of the subject before the subject of mathematics became
too big.) Although, when asked how much of mathematics John
Von Neuman knew, after careful consideration he said that he
knew Twenty eight percent of the subject. This was in the
nineteen fifties.' So I am thinking all this as Brian's friend shows
me the way out of Brian's back garden. I am grateful for his
direction, although I do feel like a plonker for getting lost in Brian's
back garden.

(Verse 107) Only Red Towels.

I meet Liam Gallagher. I go round to his flat. Someone says,
"Notice that there's no blue towels." 'What does that mean?' I
wonder to myself. He is alright Liam. We have a really good night
out. I even forget that it is Liam Gallagher! I shake his hand at the
end of the night. I say to him, "You are alright you are." He is so
modest and unassuming. Come to think about it he didn't even
look like Liam Gallagher.

(Verse 108) How Many Hertz?

There is an upside down push bike. The tyre on the back wheel is
as wide as a car tyre. This bike is peddled so that the back wheel is
spinning at seventy five kilometres per hour. The sun shines down
onto the back tyre as it is spinning and suddenly there is an
illumination that shines stroboscopically from the back tyre, from
the reflection of the sun shining down onto it. This is no ordinary
tyre.

The radius of the back wheel is from point p on the circumference

of the wheel to point t at its spindle.

The radius of the front cog that is joined to the peddles is from
point q on the circumference of the front cog to point u at its
spindle.

The radius of the rotation of the peddles is from point r at the

peddle to point u at its spindle.

The radius of the back cog that is joined to the back wheel is from
point s on the circumference of the back cog to point t at its
spindle.
The circumference of the back wheel is from point p to point p.

The circumference of the front cog that is joined to the peddles is

from point q to point q.

The circumference of the rotation of the peddle is from point r to

point r.

The circumference of the back cog that joined to the back wheel is
from point s to point s.

The ratio of the gears is the circumference of the front cog divided
by the circumference of the back cog. This will give the number of
times the peddles rotate in comparison to the number of times
that the back wheel rotates.

The inverse of the ratio of the gears and is the circumference of

the back cog divided by the circumference of the front cog. This
will give the number of times the back wheel rotates in
comparison to the number of times that the peddles rotate.

Hertz equals the number of times per second that an event takes
place. ie. One hertz may be the single rotation of the back wheel
in one second.

Question 1:
How many hertz will the back wheel spin at to get to seventy five
kilometres per hour where circumference p equals one meter?
Question 2:
How many hertz will you have to peddle at to get to seventy five
kilometres per hour where circumference p equals one meter and
the ratio of the gears equals 2:1?

(Verse 109) Rude Boy.

Sam Hammond, Ivan Moore and myself catch this bus and we
stand at the door where we have just got on because Ivan is
talking to the bus driver and now he is singing a lewd song and we
are laughing. I don't get all the lyrics, but the gist of the song is of
someone having sex with themselves.

Squeeze Box.

There is a young lass

who is usually quiet.
She found here squeeze box
and decided to try it.
She screams in the night
with such pleasures and delight
that people are starting to enquire about it.

Now she's not so shy

with her curly locks.
So she always pops up
to play with her box
as it helps her to pass her time by.

She plays at a rate

that makes her vibrate
to a frequency that beggers belief.
There's no time to date
as it gives such relief
and no one could match it as a mate.

She plays so much

and the pleasure is such
that she squeezes and squeezes
until it takes a toll
as she plays with light fingers
'Down The Rabbit Hole.'

Later Ivan sings another song to an American lass. I watch them

both intently. Ivan is delivering this song with such glee. The
American lass is fascinated with Ivan. I watch her facial
expressions as she cringes slightly and I cringe too and I doubt that
anyone has ever stuck their own penis up their own arse!

(Verse 110) The Right Channels.

I go out for a trip to France. There is a big queue of traffic up
ahead. There are two lanes. I am driving my car and I get into the
right hand lane to turn right across the traffic. Suddenly I am not
driving a car anymore and I am in the same place but I am
walking. There is a train to the right of me that is slowly over
taking me with all its carriages, slowly passing me by. This train
turns onto the right track.

The train has now passed me by and I am aware of another train

coming from the opposite direction. It is slow moving, it turns to
the left onto the track behind the first train that has turned right
and I find myself walking on the train track with a big group of
other people behind the train. We will be catching this train for
France as it will be stopping here for us all to get onto it.
I see Mark Book and he is on this trip too. "Is it good to be going
to France?" I ask him.

"No, but it's good to get away from here." He replies to be cool
about this trip to France. I smile at Mark's remark. It's not like
France is a million miles away from England. It is just a train ride
under the English channel, through the channel tunnel and then
we are there, but it is a totally different culture in France. This is
mainland Europe with totally different languages and I too am
glad to be getting away from what I perceive to be the over
familiar way of life in England.

(Verse 111) Dick!

I am parked up in this cul de sac, on this grassy area and I am just
watching this man get something out of his van. It is big white and
rolled up and looks to be light. The man is in a rush and he runs
with this big white rolled up package and bang! He runs into his
own van door which he has left open. 'Ouch!' that will hurt him I
think to myself. He is not happy. He is shouting at his van and now
he is pushing the van door back the wrong way. He must be as
strong as two people. He is a big white male, about in his thirties
and as he is raging and shouting, to my surprise the white van
door is creaking and buckling and giving way.

This man with a white van is now doing something on the grassy
area. I do not know what he is doing, but he is making a do, do do,
do, do do, noise. I have things out of my van strewn across this
grass and I am not comfortable here now. This man is
unpredictable. He is a knob head.

(Verse 112) Quitter.

I am sent out to deliver milk. "Come on! I want two bottles of
milk. I'm a busy nurse." This irate woman yells out to me and
another woman yells, "Yeah come on! I want some milk too."

'God, these women are pissed off. They must have had some bad
service in the past to react like this. I am new here, It's not like I
have given them a bad service in the past.' I go and look at my
milk trolley. It is nothing more than a hand cart on wheels. I pull
the handle and the trolley tips over. There is a smash! Milk and
broken glass line inside my trolley and helplessly I wonder what I
can do. I look up and I see a man sprawled on the grass and I
notice that he has a tube of glue next to him. It looks like this man
is out of it. He is not aware of me, or anything as far as I can tell. It
is just then that I remember that I do not work any more. I have
handed my notice in. 'So why have I turned up for work today?' I
find myself wondering to myself. It is just then that I realise that
no one will miss me if I just walk away. No one will ever know that
I turned up for work and then just walked away from it and so that
is what I do. I just walk away.

(Verse 113) The Beef And The Bear.

This is a summer's evening and we are camping in this field. There
is a tent up and there is a large sturdy table with some food on it. I
am serving myself up some food. I have got some chips and there
is a big joint of beef which I am tearing apart with my hands. This
beef is tough and it takes all my strength to rip out a suitable
chunk of beef for myself. Jen is here and she looks over to what I
am doing, she says, "That's the bit of beef that had most of the
ginger when I cooked it. No wait it's mouldy look." She points to it.
I am colourblind and so I cannot see that it is mouldy but I take
Jen's word for it.
"A Bear!" I shout at Jen and throw the beef at this big black bear
who is just behind Jen with its head up sniffing the air. Being the
brave person that I am I run around behind this tent, but then my
path is blocked by the biggest kangaroo with a baby kangaroo
which are layed out snoring on the grass which vibrates the earth
with which I am stood on. I decide that the big black bear is not
that scary after all and I go back round the tent the way that I
came.

(Verse 114) In Contrast.

I am playing football in this big field with Neil Mc Donald, with big
kicks in the air, a bit of running and some cocky contact with the
football as we pass to each other and practice our allegiant skills.

In contrast there are two girls playing football with each other. We
watch the video of them later and we notice the fouls and the hair
pulling. In slow motion the camera zooms in, into the hand grabs
of locks of hair and into the pushing and pulling as the girls tackle
each other and compete with each other aggressively. The nasty
cows.

____________________________________________________

SOMEWHERE ELSE.

Chapter Five - July, SUMMER 2017.

____________________________________________________
(Verse 115) Mum's Mansion.
(Verse 116) Mr Fellon My Chemistry Teacher.
(Verse 117) Winners We Are.
(Verse 118) Clair Voyant The Medic.
(Verse 119) Waking Up.
(Verse 120) War Torn And Derelict.
(Verse 121) Neighbourly Love.
(Verse 122) A Glimpse.
(Verse 123) So Many Questions.
(Verse 124) In The Frame.
(Verse 125) Fret Board Blues.
(Verse 126) A Mark Of Ignition.
(Verse 127) A Change Is As Good As A Rest.
(Verse 128) A Bad Influence And A Good Fucking Time.
(Verse 129) What Will We Do?
(Verse 130) Passing Time.
(Verse 131) Do Your Nut.
(Verse 132) A New Now.
(Verse 133) Our Odd Behaviour.
(Verse 134) A Random Recital.
(Verse 135) To Escape By A River.
(Verse 136) A Scratchy Rent.
(Verse 137) Confused Feed.
(Verse 138) The Change In Oil.
(Verse 139) The Prodigal Son.
(Verse 140) Where Do I Belong?
(Verse 141) A Vision In Suds.
(Verse 142) Distracted. : p
(Verse 143) The Man In The Middle.
(Verse 144) Big City Problems.
(Verse 145) My Endorsement.
(Verse 146) In Decision, Or Indecision?
(Verse 147) Hidden In Silence And A Oneness.
(Verse 148) Dream Paper Does Not Compute.
(Verse 149) A Wet Concrete party.
(Verse 150) The nth Plus One Person.
(Verse 151) Melting Momentum.
(Verse 152) Deviant Behaviour!
(Verse 153) A Cat On A Boat.
(Verse 154) Too Many Cables.
(Verse 155) Communication Lets Me Down.
(Verse 156) A Wall Of Essays.
(Verse 157) My Song.
(Verse 158) Another Language.
(Verse 159) Verbage.
(Verse 160) We're A Happy Family.
(Verse 161) Three Blokes.
(Verse 162) This Is Where I'm At Right Now.
(Verse 163) Keep On Walking.
(Verse 164) Coming Together 1+1=3.
(Verse 165) Decorated.
(Verse 166) The Girl Who Sings ...
(Verse 167) Travel Chaos.
(Verse 168) Third Serve Advantage Miss You, Forty Love.
(Verse 169) A Tale Of Woes.
(Verse 170) No Plans To Crash.
(Verse 171) Pick Away.
(Verse 172) All In Good Time.

(Verse 115) Mum's Mansion.

I am in an old mansion. This mansion is occupied with females and
me, young and old women. I notice an attractive woman, but I do
not fancy my chances with her. I am wandering around this
mansion. The rooms are painted bright orange and a not so
obvious blue colour. There are clothes and cushions and all things
made of fabric that I have to walk around to avoid. There is a
woman who is throwing clothes onto different piles. Sorting out
all the pants into one pile, all the socks into another pile and so
on. There are many other women who are casually chatting. There
is one woman I notice with light blue hair. So I keep wandering
around this mansion and I find myself in this large empty room.
The floors are wooden and creaky. I am upstairs and there is a
settee with sheets on it, in this room and there is a big window,
but I do not look out of the window and then I hear an air raid
siren. 'Are we about to be attacked?' I wonder to myself. 'Am I safe
here in this mansion if we get bombed?' I continue to wonder to
myself. So this is enough to get me moving. I walk out of this room
to the top of the stairway when I hear my mum call me, "Adi, your
dinner is ready." It is at this point that I wonder if I am awake or
asleep and so I decide to jump from the top of the stairs to the
bottom to see if it will wake me up. There is a moment of finding
the courage to jump, followed by a moment of weightlessness
only to be interrupted with a big wooden thud as I land on my feet
at the bottom of the stairs. 'No, I am still here. I have not woken
up.' I think to myself after my landing, having jumped from a
landing at the top of the stairs. My hands are numb now and I
start hitting my hands together with each other to stop the
numbness from spreading any further into my hands and then I
am in bed still hitting my hands and the numbness is subsiding. It
is dark in my room.

(Verse 116) Mr Fellon My Chemistry Teacher.

My chemistry teacher is in prison. He is only out on parole to do
some teaching. I was chatting to another teacher, Miss
Somethingorother and my chemistry teacher arrives. He is
unshaven. He sits down with a bowl full of cereal. As he has his
head down, sat there at this table spooning his milky cereal
breakfast into his munchy mouth. I explain to him, "I am
concerned about the peroxide in the upper chamber in my
chemistry experiment." I feel good talking about this to my
teachers as I feel that I know what I am talking about.

"If that is what you are concerned about then it shows that you
are on the correct lines in your chemistry experiment." Concludes
my chemistry teacher. He goes on to talk about being in prison.
'Well he doesn't mind admitting to being a convict in prison.' I
think to myself and I further wonder what it is like to be in prison.
I consider asking him a question or two about his prison caper as I
am looking at him thoughtfully and at the same time I am not
listening to a word that he is saying to me. In the end I do not ask
him about his prison life and then our attentions are diverted
when I suddenly find that I myself am somewhere else.

(Verse 117) Winners We Are.

There is four of us. We are all winners. We have won a flight on
this delta winged aircraft and all four of us are just getting to know
each other. This jet aircraft is parked up on a square tarmac area.
This area looks like the top of a skyscraper. Two of the four of us
have gone out of this aircraft for a walk and a smoke. So there is
just me and this lass on board this delta winged aircraft when the
engines charge up. This jet aircraft that we are in starts moving
backwards. "Someone's touched the controls!" I shout to the
other lass and I am horrified that I am in an out of control aircraft.
Dramatically we go off the edge of the tarmac square and
disastrous we plunge into a deep dive backwards and into a deep
body of water. My life is over is my conclusion with all the terrors
of such a tragedy when miraculously there is an unprecedented
change and the body of water becomes tarmac to land on. There
is a commotion outside and one of the people who went outside
for a smoke and a walk is throwing large rocks at this big window
that me and this lass find ourselves behind. The aircraft has
morphed and then it morphs again into large steel and glass walls
which rise up in front of us out of the ground. The lass who I am
running around with suddenly exclaims "It's a maze!" And we are
running through this maze which is popping up as large steel and
glass walls out of the tarmac ground.

Things have settled down now and the four of us find ourselves in
the aircraft as before as if nothing has ever happened. This
Geordie bloke with his broad Geordie accent starts chatting. He
tells me that I am quiet. I say nothing, I just aknowledge him with
a nod. He goes on talking about his marriage and how wonderful
it is. He talks about all the opportunities that he has had with
other women and about how faithful he is to his wife. I believe
him. He talks honestly with such love and compassion for his wife.
'He has had more luck with women than me.' I think to myself as I
quickly reflect on my non existent love life, but it is what it is and I
am quite happy with my life and the way that it is, here in this
aircraft with three other winners as I tidy up some mess on the
floor and sweep it up with a pan and brush.

(Verse 118) Clair Voyant The Medic.

I am walking around and I am not sure where I should be. I find
myself going onto this ambulance. There is no emergency and
there is about six emergency medics on board this ambulance.
They all look bored with nothing to do and I am disturbing them
as I am on this ambulance trying to get past them stepping over
them and whatnot. I decide that I don't think that I should be on
this ambulance. There is one other lad on this ambulance and
then the rest of the medics on board are females. The lad has
made himself comfortable on the back seat with covers on him as
I step over him to get past. I get to the front of the ambulance and
I am stepping over these lasses who are sat in the front seats and I
recognize one of them. "Hello." I say surprised to see her and she
immediately recognises me. We get talking and she asks me,
"What do people say when they are dead?"

"They don't say anything, they are dead." I answer her smiling at
her and wondering why she is asking me such an obvious
question. She is embarrassed now, but we keep talking and the
subject moves on. She is a nice lass and I enjoy our conversation,
but I do feel like there is something that I am just not getting here.

(Verse 119) Waking Up.

I am supporting the elderly to go out. Individually I take them to
their desired destinations in the morning. These destinations are
all in the busy city centres which I have to negotiate all the traffic
of people and the busy roads. When I arrive at these destinations
with my elderly companions who I am dropping off
individually I find someone to receive them. I ask what time will
be a good time to pick them back up again, to take them home.
The only thing is, is that I have supported a few elderly people out
to their desired destinations, but I have not clocked in at these
destinations and so I will not get paid for all the work that I have
done this morning. 'Wake up Adi' I think to myself as I am
disappointed with myself for not remembering to clock in, but I
accept it in my mind. This time on this drop off I remember to
clock in. So now I have done all my many runs for this morning
and I see that I have finished early. So now as I am randomly
wandering the city streets and rubbing shoulders with the other
pedestrians. A black and white television switches on in my mind
and I am watching this TV in my minds eye and as I am wandering
the busy city streets, I am listening to this TV in my minds ear:

A serious male voice on this program says, "What will you do

when you get old?" There is a black and white visual of a decrepit
old man tottering about. This serious male voice goes on to say,
"How will you be when you are old and in ill health? Will you
become nasty and frail? Will you become a horrible person as you
reach ill old age?" The visual is of twisted old people being as
twisted and as old as a twisted and old person could be. All in
black and white.

I switch the television off in my mind. 'This program is shit! It is

such low vibration it will only get me down.' I think for myself and
I start to reprogram myself, as I am walking around these busy city
streets and rubbing shoulders with the other pedestrians who in
turn are walking around with their television minds, but I am
waking up.

(Verse 120) War Torn And Derelict.

We are a tight knit family. There is much poverty here and I do not
have much money. We are down on our luck and we are broken. I
am burying some clothes. I have put these clothes in a back pack
bag because these clothes are damaged. I try to save some of
these clothes. I manage to save a pair of old jeans. I look at a blue
striped shirt, but it has blood stains on it and so it goes into a
dusty hole in the ground to be buried. There is a man who is not
family who goes by. We are guarded with our actions and we do
not speak to him. We barely speak to our own family members
such is the deprivation around here. You see our family has been
damaged and we are grieving here. So Solemn is our demeanour
and dying are our peoples. I am sad for my people.

(Verse 121) Neighbourly Love.

I am in a square swimming pool that is in someone's garage. I am
swimming with two lovely ladies, but one of my neighbours, Mr
Mandal is stood on the side of this pool and he is telling me
sharply, "Watch what you are doing in that pool!" I decide to take
a deep breath and to sink to the bottom of the swimming pool. It
is about three metres deep to the floor at the bottom of this pool
and it takes me some time to sink down there. I eventually go
back up and I spring up out of the water to get my breath back.
"That's it you go and hide yourself in that water when I am talking
to you!" shouts Mr Mandal to me. 'Is he still on one with me?
What is his problem?' I think to myself and I swim among the two
lovely ladies. I decide to keep quiet to keep the peace and the two
lovely ladies are not saying anything either, but that Mr Mandal is
really getting on my nerves.

We are all out of the swimming pool now. The two lovely ladies
and myself are walking back through the streets with Mr Mandal
from the swimming pool in the garage to go back home. "Here
carry this!" Mr Mandal snaps at me, in an annoying tone. I grab
hold of some yellow wet proof clothes that he hands over to me
and I notice that some of them have press studs on them. So I am
attaching these yellow water proof clothes together with their
press studs. As I am doing this I am walking the streets with the
two lovely ladies and Mr Mandal. Some of these yellow water
proofs do not have press studs on them, but I manage to press
stud three jackets together. One of the jackets has a double press
stud on it which can take two press studs. One jacket joined at the
front of this stud and another jacket pressed into the back of this
stud. So that I have three yellow water proof jackets that are
joined together by press studs. "What are you doing with those
jackets?" Mr Mandal interrupts my concentration and I do not like
his tone. In fact I have not liked his tone all night.

I am super annoyed. I am shocked to find that I have punched Mr

Mandal in his right ear several times with my right fist. "Will you
shut up you fucking cunt!?" I shout out loudly, clearly pronounces
each word to emphasise my irritation. Then I punch Mr Mandal in
his right ear several more times as he unsuccessfully tries to avoid
my fist by crouching down and that has surely shut him up, as sure
as it wakes me up.

(Verse 122) A Glimpse.

I am here in this precious garden. There are iridescent shells of
mother of pearl and there are purply blue roses in bloom. She has
a growth of greenery, a musicality with which I interact with, as I
play a tune in this effervescent lady's beautiful garden. I play with
her sweet music for a very short while. She has a subtlety that
evaporates so quickly and so I have glimpsed a rare prize, before it
all fades away. In no time at all this feeling has gone. Her words
have been heard and her song has been sung.

(Verse 123) So Many Questions.

For some reason I find myself in the grounds of this nice old stone
walled hotel. I am walking across the green lawns of this hotel
when I here an incoming helicopter. So I watch this helicopter up
in the blue skies above as it slows its movement, as it hovers
above my head. 'It looks like this helicopter is landing here on the
lawns of this hotel.' I am thinking to myself, when I see the
helicopter loop up forward just above me and then it comes
tumbling down tail first. There is a deep sense of panic inside me.
This helicopter might land on me, but before I have a chance to
get out of the way this helicopter has crashed into the ground,
close by on the lawns of this hotel and I am stunned. I look across
at the wreckage to see the lady pilot of this helicopter laid out on
top of this wreckage and she is not moving. There is another lady
who has come out of the hotel who comes rushing over to this
crash scene and immediately gets across and into the wreckage.
"Should I phone the emergency services?" I ask the lady as I try to
get to grips with this situation.

"There is no point." Is her instant reply to me. So this leaves me

wondering, 'Is that because the pilot is dead, or what? And what is
this lady doing in the crash scene?' I have so many questions.

For some reason I am aware that the timing of this helicopter's

arrival is close to the golden mean ratio. It is 13.21 as I look at my
watch. These numbers are in the Fibonacci sequence:

1,1,2,3,5,8,13,21,34,55,89,144, ...

The nth number in the Fibonacci sequence when divided by the

(n-1) number is asymptotically ever closer to the golden mean
value as n gets larger.

The formula for the nth Fibonacci term is:

[(((1+sqrt(5))/2)^n-((1-sqrt(5))/2)^n]/sqrt(5)

If G is the golden mean then:

G = (1+sqrt(5))/2 = 1.61803398875 to 11 d.p.

21/13 = 1.615384615 to 9 d.p.

x y
|-------|------------|

Essentially the golden mean G is the ratio that satisfies the

following:

y/x = (x+y)/y where y>x

rearranging the formula we get:

y^2 = x^2 + xy

If y=1 then the formula becomes the quadratic equation:

x^2 + x = 1

The two solutions to the Quadratic equation x^2+x=1 are:

Ax^2+Bx-C=0 So A=1, B=1, C=-1,

Solution x1 = [-B + sqrt(B^2 - 4AC)]/2A

= [-1 + sqrt(1^2 - 4(1)(-1))]/[2(1)]
= [-1 + sqrt(1 --4)]/2
= [-1 + sqrt(5)]/2
=G-1
Solution x2 = [+B + sqrt(B^2 - 4AC)]/2A
= [1 + sqrt(1^2 - 4(1)(-1))]/[2(1)]
= [1 + sqrt(1 --4)]/2
= [1 + sqrt(5)]/2
=G

The formula for the nth Fibonacci term is:

[(((1+sqrt(5))/2)^n-((1-sqrt(5))/2)^n]/sqrt(5)

(Verse 124) In The Frame.

We are in this big warehouse with a shiny smooth concrete floor.
There is me and a few other lads and lasses and there are potato
crisps everywhere that need clearing up. There must have been a
few burst crisp bags here. This lass is crunching up these crisps on
the floor to make them smaller. I'm wondering, 'Why is she
breaking up the crisps like that? They just need to be swept up. It
will take ages to clear up these crisps if we crunch them up before
we sweep them up and we will be wanting to go home sometime
today.'

Later I am opening some packagings. I am wondering what it is in

these packagings and I accidentally unpack them too much. I get
down to some wine gums Ooops! I've opened them too far. But
seeing as though they have been opened now, these wine gums
are damaged goods so we might as well taste them to see what
they taste like and I share them out.

There is a spray bottle that I find. As I am opening it up I am

wondering, 'What is it in here?' I am aware of some people
looking over my shoulder and they too are wondering and then in
unison they say, "It's corn oil!" It is held within this plastic frame
with its plastic leavers. I am just working out how the frame fits
over the plastic spray bottle. I pull a small white plastic leaver on
the spray bottle frame and it releases a part of the plastic frame
that pivots over the spray bottle, but Colin Smith has put a finger
in this mechanism and I am quick to notice and so I do not close
the frame onto the spray bottle, as this would crush Colin's finger.
Colin has a shock when he realises what he has done and pulls his
finger away immediately. He is concerned about what could have
happened. What nearly happened, namely him getting a crushed
finger. "I knew that your finger was in there Colin and so I did not
close the frame up." I reassure him, but that was a close call. It
was almost a crushed finger for Colin. We don't want any
industrial accidents here.

(Verse 125) Fret Board Blues.

I've got a gig to play

at this couples house. They say
that its an easy place to find
and they don't mind,
as I get stuck into my set.
There is no let.
Before I know it
the show is over, shit!
I'm due to play another show
and you know.

Tripping on our fret board blues.

Our spider hands are running up and down.
Tripping on our fret board blues.

This gig is harder to find.

I'm jamming with Gary
and I'm playing blind.
We've never jammed before,
but it all goes well,
as far as I can tell.
So as he sings
on these things
that we do
as we travel
we're just passing through
doing our show,
and you know.

Tripping on our fret board blues.

Our spider hands are running up and down.
Tripping on our fret board blues.

(Verse 126) A Mark Of Ignition.

Pat has put her gas blowers on, on the walls. They are burning gas
to a torch flame, to heat up this room. Pat checks her gas level in
the wall. She can see through the gas container in the wall, as it is
a clear plastic and the gas is stored in there as a dark liquid. There
is not much left of this dark liquid gas. It will last a little while
longer, but Pat will need to get some more gas
later.
There is an old lady sat in her wheelchair. Pat and myself help her
to get undressed. The old lady has a fluffy white top on that feels
soft and synthetic to the touch. I notice that there is a mark on the
sleeve of this top. It is about the size of a thumb. It is a creamy
coloured mark that is soaked into the sleeve of this top. I am
looking at this mark in the old ladies sleeve when I suddenly
notice a yellow flame come up dancing from this creamy mark. So
I am tapping this flame down with my hand as the flame is
dancing around on this fluffy white top. This flame will not go out.
No matter how much I try to tamper the flame down, it comes
back up dancing around and it starts to spread. "Quick Pat! We are
going to have to get this top off. Quickly!" I instruct Pat with an
urgent panic. The flames on this fluffy white top have now spread
across it as we quickly pull this top from the ladies elbow and over
her head. I throw the flaming top out of the open back door and I
inadvertently throw the flaming top onto the lid of the green
plastic rubbish bin. So then I have to go outside and quickly pull
the flaming top off the top of the green plastic rubbish bin. So that
this flaming top can melt and burn itself out on the concrete floor.

(Verse 127) A Change Is As Good As A Rest.

I am ready for my body transplant. We are all gathered here to
jam. To play our music, but just now I am ready for my new body.

It seems strange to see a headless torso, especially when it is your

own headless torso that you find yourself looking at! But I have
my new body on now and I feel good. I am ready to pose to a
camera to show off my new and improved physique and ready to
play my music to the good people who have gathered here
tonight.
(Verse 128) A Bad Influence And A Good Fucking Time.
This is a party that we are not meant to have. This party has been
organised and orchestrated by a lad called Tomo who has
influenced us and roped us all in and it is so much fun. Tomo has
made a lot of party things out of black bin liners and also a lot of
things out of red bin liners. 'Where did Tomo get those red bin
liners from?' I wonder to myself. This is so much fun. I am chatting
to a gorgeous lass who is far too nice and far too young for me.
Naughty naughty, I give her a shot of gin. She is not interested in
me, but the gin goes down in one big gulp. I am so enjoying this
party, but this is a guilty pleasure of mine because in the back of
my mind I am thinking that it will all come to an abrupt end when
we all get caught having a good fucking time. In the back of my
mind I know that I should not be having this much fun, but in the
meantime ...

(Verse 129) What Will We Do?

I go out playing my music with this woman. I go around to her
house regularly to make music in her house. We have someone
who is responsible for us and for some reason this woman who I
make music with decides to ask the person who is responsible for
us if it is okay if we go out to make music at her house because
there is another lad now who is making music in another house
down that very same street. I feel that this is awkward. Awkward
for the person who is responsible for us. Awkward because we
have asked them. I am just a silent witness to this situation who
watches in the background and who wonders what we will do.

(Verse 130) Passing Time.

I am with this woman and we are kicking a football back and
forwards to each other. There is a passage way behind this woman
and I am aiming this football to go down this passage way. As the
ball bounces in front off me I aim looking for the perfect kick to
curve the ball up in the air to go around the woman and then on
down into the passage behind her, but she is good. She can kick a
ball. She can stop a ball. She has some skilful footwork and a big
kick to boot too. She kicks one shot up in the air and past me. The
ball rolls off along the grass and this old chap bless him, finds a bit
of energy. He finds a bit of life as he steers his old body with its
reluctancy to move and manages to get the ball across and back to
me. I thank the old chap for his trouble and he puts his hand up in
the air as he nods his head in aknowledgment. The woman who I
am kicking the ball with complains, "I've still got two and a half
hours before the bus arrives!" I just shrug my shoulders and kick
the ball back to her.

(Verse 131) Do Your Nut.

I am negotiating my way out of a train station on my bicycle. It is
busy and people are constantly getting in my way as I ride my push
bike through and I weave between the pedestrians. I have a
cardboard box on me with two strawberry jam donuts in it. The
magic thing is that this cardboard box is like a seed. There are
always two donuts in this cardboard box because they germinate.
You eat a donut out of this cardboard box and the germination
process produces another donut with strawberry jam filling inside.
It is always strawberry jam.

This cardboard box is an unusual shape. It is an npolagonal torus.

Where n is greater than 2. When the box is closed up it has 4n
vertices, 8n edges, and 4n faces. This gives an Euler characteristic
of zero:

When the npolagonal torus is an 8polagonal torus so that n=8 we

get:

V = vertices = 4n
E = edges = 8n
F = faces = 4n
C = characteristic = 0 (torus)

V- E+ F=C
32 - 64 + 32 = 0 where n=8

When the cardboard box is open it is a double torus and it has

12n-4 vertices, 20n-2 edges, and 8n faces. This gives an Euler
characteristic of minus two.

V = vertices = 12n-4
E = edges = 20n-2
F = faces = 8n
C = characteristic = -2 (double torus)

V- E+ F= C
92 -158 + 64 = -2 where n=8

Problem: Can you draw the shape of this box when n=3 and the
box is open?
(Verse 132) A New Now.
I see Tomo and Sean Crab. They are 'the new bright and breezy.' as
we all sit down, we all talk with a new nounosity and verbosity,
they blow on me. They blow me away. They have a new insight, a
new shiny attitude, an arresting behaviour. A brighter breezier way
about themselves as they engage with me they come across with
jokes and laughter. They are fun to be around and they have a lot
of new things to say to me. They demonstrate their new type of
energy. I liken it to the energy of up beat soap characters like they
have in 'Friends.' Well it all makes sense to me now. It all makes a
refreshing change and after they stop blowing on me and blowing
me away they explain their new way of life, I think that I get it
now. It is like an infectious laughter and I have got it now. I am
taking something away from all of this frivolity. I am taking
something away from this great encounter. They have truly found
a new form of consciousness that I am now only just becoming
aware of, because this is the new now and now I have just entered
the new now.

(Verse 133) Our Odd Behaviour.

Everything has changed. My sister and I hide our modern
behaviour from our family. We avoid our mum and our grandma
as we walk on our hands and we walk upside down and
backwards. We hide from the silhouettes of our mum and our
grandma's human form that is behind the smokescreen glass door
of opacity. We are constantly keeping tabs my sister and I of the
movements of our mum and our grandma so that we can avoid
them. We hide our odd behaviour from them until one day we go
smiling up to our mum standing on our hands, upside down and
backwards saluting her with our feet to our heads. "Oh my God."
Says our mum as she smiles back to us and watches our awkward
movements. We reveal our odd behaviours to her for the very first
time and I stub my roll up fag of a cigarette out into the bottom of
my damp wicker basket bin. I watch as the glowing tobacco
embers on the end of my roll up cigarette, that we call 'the carrot'
is stubbed out making a small round black mark in the bottom of
my damp wicker basket bin. I know that I should not be doing this
as I am careful not to burn my fingers. I observe the extreme heat
of the carrot on my cigarette and I feel the heat of this cigarette on
my fingers as I stub it out. I blow the last of the smoke out of my
lungs then through the movement of my lips and my mouth I
redirect this smoke out all around me.

(Verse 134) A Random Recital.

Me and my dad are sat relaxing in the living room when a young
woman with big round glasses on comes in through the door from
outside. I guess that she is here to see my dad for something. The
next time I look up I am surprised to see that she is sat at our
piano and she is taking her round glasses off and making her self
comfortable on the piano stool. I look at my dad who is sat
reading his newspaper and he says nothing. He doesn't even look
up. I have so many questions. I wonder to myself, 'How many
more people has my mum invited to come around here and play
our piano? Does my mum charge for the use of our piano? And
should I have said hello to this lady when she arrived?' She is
ready now, she is poised to play. 'Well I might as well listen to her
and see what her playing style is like.' I reason to myself and I sit
up ready in anticipation for this random young woman to start her
recital.

(Verse 135) To Escape By A River.

Wrap-A-Tee-A-Wrap-A-Ho. I hear them sing their song to the two
suns in the sky. With my guitar I am scraping off the Mansfield
ground with first, A-Wrap and then A-Tee and then A-Wrap-A-Tee-
A-Wrap-A-Ho to the foundations here we go.

I watch as an old man throws a raft from one side of the river to
the other side of the river and it lands with a splash and it is all
moored up. The strange thing about this raft is that at first glance
it is made out of ducks who are all tightly packed together and
then at another glance this raft is made from onions all tied
together. This mysterious old man miraculously evades everyone
only to settle on his raft all moored up. He jumps onto his raft with
a flying leap of faith from the opposite side of the river bank!

(Verse 136) A Scratchy Rent.

I see my grandma being charged rent for her flat and that it is
scratching the surface. Being charged rent is somehow scratching
the surface and this is its description.

(Verse 137) Confused Feed.

I hear a 'meow' and I look around to see where it is coming from
to find a ruby red kitten curled up and yawning up at me on the
settee. I open my lunch box to see if I can find anything in my
sandwich for the kitten and I find some chicken. There is a wide
open box on the floor for the kitten. The kitten goes into its box
and I put the food into this box, but the food has morphed from
chicken out of my sandwich and into a dead fat hamster. I wonder
if the kitten will be able to deal with this big chunk of food with
fur on it, but after a while the kitten manages to tear the dead
hamster apart. I suddenly notice a little brown rabbit in the cat
box moving about with the kitten. I look in my bag to find
something for the rabbit to eat. I am not sure what to give the
rabbit to eat. I find something that is like a celery stick that I break
off from the celery root with a crunch, but the celery stick has
feathers for leaves and this leaves me confused. I am not sure
what the rabbit thinks of it as it sniffs and twitches its nose at this
food offering.

(Verse 138) The Change In Oil.

We are taking the oil out of a camera. The camera is being passed
around and individually we take the oil from a hole in the camera.
It is quite intense as we are being watched by the other people
around us as we take the oil. This oil has to be taken in the correct
way and to not take the oil in the correct way will find us out.
There is a man who is scrutinising another lad about the way that
this lad is taking the oil out of the camera. "Look." The man
instructs us all to look. "I don't believe that this lad has a tropical
disease because this oil would have congealed if he had." The man
goes on as his concern about this lad and there are suspicions
about this lad that is putting pressure on him. He is being careful
not to make a mistake as he takes the oil from the camera and he
makes sure that all this oil goes back into the same camera in
exactly the correct way that it should do. The correct way involves
some warming up of the oil which alters the viscosity of the oil
and without spilling a drop we all watch, we all witness the heated
oil as it gloopously surrounds the circumference of the camera's
hole as it viscously changes shape to reveal the transparent
colouration in this light just before it finally transcends down,
before it descends deep into the lightlessness of the camera's
containment. It is the change in oil that is paramount here. It is
the change in the oil that reveals all to everyone and the way that
we do this is so poignant. Everything else is by the wayside.
(Verse 139) The Prodigal Son.
People are not talking to me much. It is my family who are not
talking to me that much. I am out of their social circle you see and
Everso has got something in boxes that he has not told me about. I
am thinking that it is money, that it is notes, but I don't know that
because I am out of the loop. I am not privy to know what goes on
in this social circle. So I have decided to go for a walk. I find myself
on the veranda and I am stepping off this veranda onto a stairway,
but before I do there is a lift that s going down the stairway. The
lift is a stairlift I guess but it is also like a pleasure ride and there
are two girls sat in it. Anna and her friend are all strapped in. They
have not gone down the stairway in this lift yet and so they are
motionless at the top of the stairway waiting to go down. I am
wanting to go across the stairway from the veranda. So that I can
step onto the stairway and then out of the building. So I decide to
step out onto the lift with the two girls as it is going to go down
the stairway in order for me to get across, but Anna's friend
decides to talk to me as I am stood on her lift car and she prods
me in my stomach. "Auh! She's just prodded me." Stating the
obvious is my immediate reaction to her prodding me.

"Auh! She's just prodded me." Anna's friend mocks my words and
prods me again. This is a little annoying, but also makes me feel
giddy. So I can not be too annoyed which is even more annoying.
So I am just stuck on this lift on the stairway in the building trying
to go for a walk because no one will talk to me and this lass will
not stop prodding me and mocking me, everything that I say. She
is a cheeky girl and she has all my attention now as I take a good
look at her in her sparkly pink jumper and her blue jeans and her
cheeky face with her determined stare that will not take her eyes
off me. And that fucking finger that will not stop prodding me.
(Verse 140) Where Do I Belong?
I am on military ground and I am riding on my push bike along a
worn dirt pathways. I am keen to avoid anyone as I am trespassing
on this military land. There is someone driving some plant
machinery clearing up rubbish that has been dumped here in the
grounds. It is in the distance, but I am keen to avoid them. I also
notice a military man on a push bike. He is wearing his camouflage
and I am too, but I am an impostor here on this military land. I
would not know how to address another soldier. 'Should I salute? I
don't even know what rank the other soldier is.' All these thoughts
are going through my mind when I spot another worn dirt track
that leads off this military ground and onto a public road which I
take.

So now I am off military land. I make my way into what looks like a
cafe area with its tables and chairs. It is very clean and tidy. I hear
this inner voice in me that tells me, 'don't be fooled by all the
leads and the table and this set up.' I suddenly realise that I have
sat at a table where factory staff jet spray water at dirty factory
food equipment. I feel like a fool sat here at a table wanting a cup
of coffee and I feel like I have been misled. So I pick up a couple of
items at this table and I walk off with them to make out that I
belong here and that I know what I am doing here. I do not want
to steal these items and so I rest them up against a wall before I
leave this area and head off back down the public road again.

(Verse 141) A Vision In Suds.

What you want. What you want. What you want, want, want:

I see one picture in an unlimited number of pictures in the

reflections on bubbles. These bubbles are all huddled together
and in these abstractions of bubbles you are wanting to sing.
There are an unlimited number of pictures of you singing in an
unlimited number of varying bubbles as representations that all
reflect the whole picture. Each bubble reflects in a slightly
different way. Each bubble with a slightly different curvacture on
its reflection of the picture as a whole. The picture as a whole is
the hyperbolic room that I am standing in and so each bubble
within this hyperbolic room is an elliptical geometrical reflection
of a possible outcome of your singing.

(Verse 142) Distracted. : p

In general I make a point. I subtly demonstrate something to this
lady who is stood there in her nice beige dress. Her dress folds
over in the front. It shows off her shapely female form with her
sexy legs and this is all too clear to me. Everything else is all too
vague. There was something even more specific on my mind, but
that thought has completely gone from my memory. : b

(Verse 143) The Man In The Middle.

I have been taken in. A generous family has allowed me to stay
with them, but there are problems. I do not know what all the
problems are. There are just a few vague clues. People are not
knowing what to do as they discuss various options. A lack of
money seems to be just one of the underlying factors here. Well
what they do not know is that I am the owner of this house and
that will remain a secret as people chat to me. I do not let on and
so I will get to find out more about things that as the property
owner I would not get to know about. These are generous people
who have many problems. They have generously taken me in and
my motives are to help these people, but I wish to help them in
secret. If I do it that way then it will be less awkward.
(Verse 144) Big City Problems.
There is a group of us wandering around trying to solve problems,
but the problems are too difficult. We look at the problems of
living high up in sky scrapers. All the resources that needs to travel
from ground level high up in these buildings. There is a
demonstration of getting the heating high up as we sit in these
seats and test them out as they become nice and warm. The heat
in the seat is so relaxing as it warms my bottom.

I am with a group of people who are trying to solve problems, but

I am following this lass who is not taking anything seriously. She is
laughing at how incompetent people are at solving problems as
we charge around buildings, through doors, down corridors and
not really knowing what we are doing. After so long I find myself
with another group of people who are getting a little tired of
wandering around. I listen to someone who is trying to reason
things out for the group, as he tactfully enlightens us on what his
friend has done by giving him some praise for his work in an effort
to just show off to other people the sort of things that we should
be doing.

(Verse 145) My Endorsement.

I am at work talking to Carl Best. He is okay but I am careful what I
say to him. He has a little accident. "Are you alright?" I enquire. I
did not see what happened but I heard a fuss and apparently
something heavy fell on him and now he has a sore back. So Carl
goes off.

A lad comes up to me and he says, "Another Muslim woman

wants you." This has happened before so I go and investigate as I
walk down the corridor I see a young Asian girl who I recognize.
She smiles at me and shows me a small magazine that she is
putting out. I get a small crowd of girls around me as I flick
through the magazine and the girls make a fuss about this. They
want me to endorse this magazine somehow. So I show some
interest and ask some poignant questions about this magazine.
They seem genuinely surprised at the questions that I ask them.
To me it is just a magazine to sell girly products. The magazines
that I have been shown before had more creative articles in them.
I feel that this is a step backwards, but I also feel that maybe I
should not be a judge of that and so I keep my thoughts to my self
and I appease the crowd.

(Verse 146) In Decision, Or Indecision?

I have been chatting with this lass and now I am playing a song
called 'How I Should Be.' She listens to me sing this song and she
watches me play my guitar when a spider suddenly runs up my
arm, my arm that is strumming. I stop playing and the spider stops
running so I look at the spider on my arm. I notice its mottled
brown colouration and I am in decision on what to do next.

(Verse 147) Hidden In Silence And A Oneness.

I refer back to being in a beautiful park on a sunshiny day with the
bright green of the plant life that meets the blue sky high on a ball
of piercing heat. The lake that reflects into flickering light with its
gentle surface movement of water. I refer back to being in a
beautiful park.

There is something else here. There is something more. I am at a

loss to know what that is. I know that there is more to this than I
can tell you and that it is there that I have placed my wonderment.
It feels like an incompletion, it feels odd like an unending. Like a
deep unknowing and then suddenly I become aware that it is the
depths of a deep silence, the depths of an unknowable soul. Who
are you?

I am in conflict with myself here because I want to listen to the

silence and speak to it at the same time. The problem is, is that
when I speak to the silence then the silence is gone and in this
silence together we are one.

(Verse 148) Dream Paper Does Not Compute.

I am playing this song to a few people around me and it all goes
down quite well. I am applauded as the crowd shows their
appreciation. It all gets written down and recorded in my dreams
on dream paper, then when I wake up I have to write it all down
again on real paper before I type it all up into my computer.

(Verse 149) A Wet Concrete party.

I go around to Jenny and Iggy's house with a kettle full of wet
concrete. They are all sat outside in the garden Jenny, Iggy, Mum
and Dad. There is wet concrete everywhere. "Are you making
concrete socks?" And "Did you want anymore concrete?" Are a
couple of rhetorical questions that I jokingly ask them. We start to
empty out the kettle of concrete and discover that the concrete
has not been mixed up enough in this kettle and so mum and dad
mix it up a little more and then it is fine to tip out with all the
other wet concrete.

(Verse 150) The nth Plus One Person.

I am out in the community with a job to do, but it is difficult to get
help in this job. Each person that I meet has n, plus one divided by
n (1 + 1/n) alcoholic drinks. For some reason the one divided by n
(1/n) drink gets proportionally stronger as n gets larger. So I find
myself out in the community and I am on the nth person. I have
asked some people for help several times and everytime that I do
they make their excuses and leave without helping me. So I have
explained this situation on the phone to my superiors.

I see Jenny on an off chance and we get chatting. I ask Jenny about
her daughter. "How's Nancy?"

"I'm meeting her in twenty minutes. I told you that!" Jenny snaps
back.

'I do not remember Jenny saying anything about meeting Nancy,

but I guess that she must have done if that is what she says.' I am
thinking this quietly to myself.

"Here she is!" Jenny with her jingly car keys in her hand points out
Nancy who has just arrived in her shiny new car down the road,
just across the way and so Jenny goes off to talk to Nancy.

(Verse 151) Melting Momentum.

This large woman with short blonde hair and a pale blue dress on
is sat in the passenger seat of a big pale blue van. She has some
chocolate in the dashboard of this van, but the chocolate has
melted. Not only has the chocolate melted in the dashboard, but
the whole dashboard has melted too. We take a look at the van
from the outside to find that the bottom of the windscreen of the
van has melted and sunken into the bonnet of this van and so the
shape of this van in front looks quite odd.
(Verse 152) Deviant Behaviour!
I am working in this clothing factory producing clothes and I am a
bugger. I am doing every scam possible. I am queuing up
pretending to hand in work done and then at the last minute I am
switching lanes. I am being deceptive, but I see a woman who is
onto me and I just look at her in her face smiling at her. Later I put
some stuff in a plastic bag to pinch it. I casually take this plastic
bag full of stuff. I want to take this stuff to my locker to take home
with me, but I am aware, I am very aware of who maybe watching
me. I am wandering around the corridors and I can hear some
chatting coming from a room. There is some manager and Julie
Smith sat down in some comfy chairs having a chat. So I take a
diversion into a gents toilet where this bloke comes out. "Anyone
seen my club thumper? ... Only joking." This man says whilst
smiling as he comes out of the gents toilets and I walk in with my
plastic bag full of stuff. I see a big thick club of a branch resting up
against the toilet wall when I walk in. 'That must be his club
thumper.' I think to myself.

(Verse 153) A Cat On A Boat.

There is a stamp commemorating a trade deal that us British did
with India. It is a one rupee stamp and the deal that we did
involved a lot of oil.

I am just walking around and jumping from one place to another.

There are all these dogs and cats about and I am aware that I am
on someone's property. It is a white boat and the owners are sat
out on the deck of this boat watching me. I think that I am a cat!

(Verse 154) Too Many Cables.

I am aware of these headphones. They are made for a group of
people to listen through because they have about six head sets all
joined to one plug to plug into whatever you want to plug into.
Packing these headphones away is a nightmare. They have such
long leads on them. So there are six left ear pieces, six right ear
pieces and we are folding all these wires up around our elbows to
pack the headphones away. I just can not get my head around this.

(Verse 155) Communication Lets Me Down.

As we are both walking along, I am talking to Sally Mann about
Tom Webb and his paintings. "I get the impression that Tom wants
to leave his job now but he is going to have to stay a little longer
to get things done at work that he needs to do."

"Who Tim?" Asks Sally who is only half listening to what I am

saying. I think that Tim is another artist who is similar to Tom.

"No Tom, Tom Webb." I keep insisting to Sally who is still not
listening properly.

"What does he paint?" Sally asks me.

"He paints oil paintings of sailing ships. Big canvases of tall sailing
ships with the big sails. You know." I look at Sally as I tell her this
and I inadvertently glance at an interesting picture that has been
drawn very intricately with fine ink pens of all different coloured
inks. Like thin lines of colourful swirls of intricate scribble.

"Who Tim?" Asks Sally.

"No Tom." And I half laugh at the unbelievable mix up that we are
having. This is a very difficult conversation.
(Verse 156) A Wall Of Essays.
There is a group of us and we are looking into ways of building a
wall. It is a specific wall. We use bricks without cement and just
place these bricks on top of each other in the best possible ways
that we can and then we write an essay about this. It is just one
short essay each using no more than one side of one sheet of A4
writing paper. There are three boards up on another wall where
we pin up these sheets of A4 essays. There are two square boards
with four essays pinned up on each of these square boards and
then in the middle of the two square boards there is a rectangular
board with four essays pinned up in a row. There is a panel of
people who scrutinise our essays and we have each of us invested
much time and thought into the possibilities of building a wall:

Problem: We have 3n^2 bricks with dimensions x, y, z. How many

combinations of patterns of brick walls can we build?

where x=x, y=2x, z=3x, n=2.

(Verse 157) My Song.

This is my light vehicle and this is my light song. A guitar and a
guitar case that follows me around. I think about my song called
Lazy and the way that I will play it:

Lazy

Intro:
e|-7--5--3--0--0--
B|-0--5--3--3--0--
G|-0--0--3--4--0--
D|-0--0--0--4--2--
A|-x--x--x--0--2--
E|-x--x--x--0--0--
-|-|--|--|--|--|--
-|-G--A7-Gm-D6-Em-
-|---sus----add---
-|----4-----9-----

[NC]The summer is here

[NC]the sky is blue
[NC]the clouds are gone
[NC]its nice and warm and peaceful[Am][D]

[NC]and I like it to be, so free[Am][D]

[Am]and you know just what it [D]is
[Am]I like to see [D]you
[Am]and its nice under the blue [D]sky
[Am]In the summertime its so [D]peaceful[Am][D]

Bridge:

e|-7--5--3--2--0--
B|-0--5--3--2--0--
G|-0--0--3--2--0--
D|-0--0--0--4--2--
A|-x--x--x--4--2--
E|-x--x--x--2--0--
-|-|--|--|--|--|--
-|-G--A7-Gm-F#-Em-
-|---sus----m-----
-|----4-----------

[NC]To watch you walking down the street

[NC]it's so peaceful its so neat
[Am]and I'm so [D]tired
[Am]and I laze around all [D]day
[Am]and I do nothing at [D]all
[Am]I like to laze around all [D]day

Bridge:

e|-7--5--3--2--0--
B|-0--5--3--2--0--
G|-0--0--3--2--0--
D|-0--0--0--4--2--
A|-x--x--x--4--2--
E|-x--x--x--2--0--
-|-|--|--|--|--|--
-|-G--A7-Gm-F#-Em-
-|---sus----m-----
-|----4-----------

[Am]I do nothing at [D]all

[Am]I do absolutely nothing at [D]all
[Am]just like I wanted it to [D]be all the time
[Am]just like I like to [D]be
[NC]every day of my life.

Outro:

e|-7--10-12-5--3--0--0--
B|-0--0--0--5--3--3--0--
G|-0--0--0--0--3--4--0--
D|-0--x--x--x--0--4--2--
A|-x--x--x--x--x--0--2--
E|-x--x--x--x--x--0--0--
-|-|--|--|--|--|--|--|--
-|-G--*G-*E-A7-Gm-D6-Em-
-|-------m-sus----add---
-|----------4-----9-----

Chords used:

e|-5--0--2--0--12-0--3--10-7--
B|-5--1--3--0--0--3--3--0--0--
G|-0--2--2--0--0--4--3--0--0--
D|-x--2--0--2--x--4--0--x--0--
A|-x--0--0--2--x--0--x--x--x--
E|-x--0--x--0--x--0--x--x--x--
-|-|--|--|--|--|--|--|--|--|--
-|-A7-Am-D--Em-*E-D6-Gm-*G-G--
-|sus----------m--add---------
-|-4--------------9-----------

(Verse 158) Another Language.

I am watching this video of a comic strip. There are words
graphically appearing and disappearing and I have no clue as to
what they are saying because they are in another language. It
looks like some East European language. Words like 'ewek' that
means nothing to me. These words roll across the screen, then
they will pop up and then disintegrate creatively. There is a
backdrop of cartoony scenery and I watch this in my minds eye
like a video, but there is no sound.
(Verse 159) Verbage.
My mum is doing my head in. She is constantly talking about
uninteresting things. She is moving things about in the house and
she is waffling. She is droning on about nothing and I just cannot
help myself from saying something. "Can you be quiet mum?" I
feel that I have to say this and then my mum is quiet.

"Yes mum it's a bit much." I hear my sister back me up on this one.
I feel awkward now, but the quietness is so nice.

My mum and dad are watching television in the living room now. I
come down the stairs from my room to pass through the living
room. My mum is laughing and joking about what is on television
and I am pleased that she is back to being talkative again. It is nice
to hear her talk now and she is not being annoying anymore.

(Verse 160) We're A Happy Family.

I am relaxing at home. There is Patricia my x girlfriend is there and
Anna Landa who I have known since we went to school together. I
am so relaxed at home and I give Anna a hug and I am laid there
with her and we have our arms around each other, she and I. So I
start to feel around. Anna suddenly exclaims, "Ooo my tit!" And I
am feeling her tit and so she moves away.

"Ooops!" I say with a smile on my face. I am still relaxing on the

floor and although Anna has moved away I have my arms around
her young lad now who has been with us the whole time. He and I
are watching television. So Patricia and Anna are watching us
relaxing on the floor watching television. They are both laughing
at us as we are so relaxed.
(Verse 161) Three Blokes.
I am out on a lorry with two other blokes. They are big blokes and
one of them is autistic. We are doing some building work, but the
autistic bloke is unpredictable. He storms off down the road for
some unknown reason and we have to coax him back onto the
back of the lorry. So we are on the back of this builders lorry and
we are mixing cement when the autistic bloke suddenly smashes
the back of the cab of the lorry with his fist. With that the other
bloke grabs the autistic bloke. Within a split second of this
aggression, "Get back!" He says loudly and physically forces the
autistic bloke back. I am shocked at the speed and the violence of
their actions, but I am so impressed with how the big bloke
contained this situation. He does not mess about and so I did not
need to get involved.

(Verse 162) This Is Where I'm At Right Now.

Little Imo needs some imodium. So she says. She tries all sorts of
drugs. There is a part of me that thinks that she should not be
taking all these drugs, but then what do I know? It is her life and
not mine.

I am not working now so I am in two minds as to whether to

contact Aaron Aspel, but in the end I decide not to as we have not
seen each other for so long. It might feel a little awkward if I just
go around randomly to see him now.

I am on my guitar and I am playing this song of mine, but I have

forgotten the last chord sequence to this song and so I play it a bit
wrong. The music sort of makes sense. It makes me laugh because
the rhythm is there and so it is kind of right, but some of the
chords are wrong. So I think that I will have to look into this tune a
bit more.

(Verse 163) Keep On Walking.

I am in South Yorkshire. I have travelled up to Rotherham. So I am
wandering around these streets in Rotherham. I want to avoid the
pigs and the dogs as I walk along. I work out the best route in
order to avoid the pigs and the dogs which roam around here
freely. I go into the Gents toilets for a waz and I hear two lads who
say how they are going to get someone in retaliation. Their
conversation echoes throughout the white tiled interior and I
dubiously make my way past these two lads and outside again
when I come across some people who are investigating some
vandalism. A building has been flooded and a message has been
left in there saying, 'Get the new vax deluxe supreme.' "Oh this is
new age!" I hear someone say and then I decide to walk on.

(Verse 164) Coming Together 1+1=3.

I am on a completely different time line to these people as they go
off and collect their collectibles whatever they may be. I see them
bring out two vases out of their car to set them up and to put
them onto show, but I am somewhere else. I am over here. I
observe them from this other place. A vantage point from out of
nowhere, but we are assimilating as I integrate with these people.
We assimilate together at an ever closer level, closer than we have
ever done before. These people who were once unknowable are
now only mysterious to me. I cannot make them out yet, but it is
only a matter of time before we merge into a completeness, a
togetherness, a wholeness.

When one reality interacts with another reality we get a third

reality. So in quantum physics one plus one equals three, 1+1=3.

(Verse 165) Decorated.

I am meditating and in my dreamy meditation an old man says,
"I'm going to give you three medals. You deserve it."

"Do you have to go and get them?" I enquire.

"No they are right here. They are always right here with me." And
with that the old man places three medals on my chest.

Later I wonder, 'Why have I been given these three medals?' And 'I
wonder why I never thought to ask the old man who gave me
these medals just exactly what they are for?

(Verse 166) The Girl Who Sings ...

This girl she sings up on the roof top of my house. She is coming
out with us to busk today with her beautiful voice. We are here to
show her the ropes. To guide her on her way. On her first public
performance out in the city pedestrian streets of Mansfield. To
play her guitar. To collect money and to sing with her beautiful
voice, is the girl who sings up on the roof top of my house.

(Verse 167) Travel Chaos.

I am in the chaos of travelling on public and private transport. I
have got news that the travel industry is not accepting one
thousand and the five hundred Euro notes. So I am queuing up at
a bank to change these denominations when I decide that I am
going to be too late if I stay here in my bank. I think that I have
enough of the smaller denominations of notes to get to where I
want to be and so now I am queuing up for a train. I am wanting
to get back to Lincoln England. "I might try and give them a one
thousand Euro note and see what they say." I say out loud as I am
queuing for the train ticket.

"Well they have said that they will not accept a one thousand Euro
note." Says this woman who looks at me down her nose at me. I
am starting to change my mind now as I look to see how many
two hundred and one hundred Euro notes I have. They are yellow
and white in colour respectively and so I think that I will be alright.
I think that I will have enough of these smaller denominations of
notes. The five hundred and one thousand Euro notes are blue
and pink in colour respectively. I am considering asking someone,
anyone in the queue if they can change five hundred and one
thousand Euro notes into one hundred and two hundred Euro
notes.

(Verse 168) Third Serve Advantage Miss You, Forty Love.

I am in the queue again, but this time I am sat in a plastic chair at
the back of the queue whilst everyone else in the queue is stood
up in front of me. I do not care to inch forward in this queue as it
leads to a white trailer that has a hatch down where the people
serve you. I am interested in one particular lady who serves
behind this hatch. She is a talent. She is a star. She is a lady who I
admire so much more than the others that I am willing to sit at
the back of the queue just to spectate.

As I am sat at the back of the queue a young lass pulls up a chair

and sits right next to me in her short summer shorts that expose
her fleshy legs. So I inch away from her to create a space. With
that she hitches up her chair and butts right up next to me as I am
sat in my chair, invading my space. So I push back full force and
she bolches me back again. So I grab her fleshy legs and squeeze
the back muscle of those fleshy thigh legs of hers. So then she
goes to squeeze the back of my legs with her hands, "No! No! No!
That hurts!" I cry out loudly before she has even grabbed me. We
are both laughing as we are both now stood up jostling against
each other.

(Verse 169) A Tale Of Woes.

She is a lovely lass, all smiley teeth with long blonde hair. She is
tall and thin and full of energy that radiates her joyfulness. I tell
her, "It was a freak accident that I had gotten into that day."

I go to work without my phone. I go into this room that is in the

process of being refurbished. I shut the door behind me, but the
door handle is jammed so that when I try to get back out of this
room I am trapped inside it. This room has breeze block walls with
untidy dried cement that has oozed out from behind these breeze
blocks. There is no window in this room as they have recently all
been blocked up. Luckily I am aware of a loose block that I
dislodge and I make my way out that way, but I could have been
trapped in there forever. I could have become the skeleton in that
room. Doomed to be entombed in isolation.

(Verse 170) No Plans To Crash.

I am out with my woman and she has picked up a cake on a plate
in the shop to buy for me. "I've already got one." I tell her as I
show her the cake on a plate for me.

"Oh you've already got one." She suddenly realises as I have

shoved the cake on a plate right up near to her face. So we pay for
the cake and other things and as we get outside she sees
someone she knows. He is wearing a black crash helmet and they
have a quick conversation as the man gets onto a 'toboggan of a
motorbike.' I say that because the motorbike is long and it holds
four people on it in a row and this chap in a helmet is the second
person in the row of others who are also in their crash helmets. I
am struggling to work out what their conversation is about.

"Yeah, yeah, I know I shouldn't be doing it with just one layer of

polymer. I know I'm stupid!" Says the man in the black crash
helmet to my woman as he is getting onto his toboggan of a
motorbike. I understand that they have had a brief conversation
about his crash helmet. I am guessing that he has made his crash
helmet himself and that it may not be quite up to safety
specifications, 'but hay ho, you don't plan on having a crash I
guess.'

(Verse 171) Pick Away.

She goes out to play her songs of sweetness on the 28th of April.
She needs to play her soothing songs on her own guitar as the
people will come out to listen to her play. For three days and for
three nights she needs to play her songs of sweetness in her own
inimitable way. So she sings and picks away until the incorrectness
of that very day. The very first of May is when she really needs to
go away. The cat's aunt.

(Verse 172) All In Good Time.

She looks through oval glasses. She is relaxing. She has heard us
play. She knows what it is that we have to say out here in the park
way growth of grass and trees. She will come back to what it is
that we play. Her smile and her knowing and her going away will
be reconciled. She and I and her oval glasses.
____________________________________________________

SOMEWHERE ELSE.

Chapter Six - August, SUMMER 2017.

____________________________________________________

(Verse 173) A Wreckless Policeman.

(Verse 174) It's Showtime!
(Verse 175) Performing Arts.
(Verse 176) The Narrow Corridors Of Fame.
(Verse 177) The Demented One.
(Verse 178) Free To Be.
(Verse 179) A Word From The Wise.
(Verse 180) Restraint.
(Verse 181) A New Day.
(Verse 182) The Office Of Mathematics.
(Verse 183) A Reptilian.
(Verse 184) When Words Escape Me.
(Verse 185) Consideration.
(Verse 186) Tsunami (The Play).
(Verse 187) My Hairy Tusk.
(Verse 188) Like Ships In The Street.
(Verse 189) Resistance Is Futile.
(Verse 190) Fatality.
(Verse 191) The Ghost Train.
(Verse 192) A Circle, A Square & A Triangle & A School Of
Performing Arts.
(Verse 193) To Ponder.
(Verse 194) A Broken Music Of Unrequited Love.
(Verse 195) Don't Do More Than You Have To.
(Verse 196) Fire In The Academy.
(Verse 197) He's So Breesh.
(Verse 198) Pumped Up.
(Verse 199) An Endless Track.
(Verse 200) Fucking Christmas.
(Verse 201) The Best Move To Make.
(Verse 202) The Gooseberry And A Strange Entity.
(Verse 203) Supergrass.
(Verse 204) Fire Cover.
(Verse 205) Yeild.
(Verse 206) The Esoteric Puzzle.
(Verse 207) An Abandoned Scenario.
(Verse 208) Some Changes.
(Verse 209) Golden Moments.
(Verse 210) Into The Next Dimension.
(Verse 211) An Arboretum Of Fun.
(Verse 212) The Monkey Within.
(Verse 213) Sweet.
(Verse 214) This Is England.

(Verse 173) A Wreckless Policeman.

I myself and a few others walk the streets with this policeman
when the policeman points out this caravan. This caravan is very
smart, clean and tidy and it is two shades of green. The policeman
makes a joke about this caravan, but I do not quite hear
everything that he says, "Call that a _ _ _ caravan." And he laughs
at his own joke, but no one else does. With that the policeman
confidently grabs the caravan by the tow ball socket at the front
and drags the caravan along with us as we are walking down the
street until we get to a point along the street and the policeman
manoeuvres the caravan confidently and with ease, forwards and
backwards and parks the caravan up on this raised curb. He lets go
of the caravan and the caravan rolls off this raised curb and into a
rocky decline. With a metallic crunch and a clatter the caravan
tumbles gathering momentum it violently rolls over crashing up
against the rocks and the boulders until the caravan comes to a
stop upside down in a rocky decline. I look at the policeman and I
think 'How embarrassing!' The policeman is still as confident as
ever as he shouts to everyone, "Come on lads give us a hand here
to roll it back over!" And with that myself and the other lads
muster up the work force in no time at all to push the caravan and
to roll it over from off its roof. With a metallic crunch and a final
bounce the caravan lands onto its two wheels still amongst these
rocks and boulders. We look at this caravan which is now in a
sorry state of just a mangled wreckage of a metal frame of a
caravan on two wheels. All the nice clean two shades of green
panels have fallen off this framework and lay bashed and dinted
and strewn amongst this rocky ground. We all look at this
policeman. "I was going to put three hundred pounds on that!"
The policeman jokes to us as confidently as ever. I am thinking,
'Well you will definitely have to put some money down on it now!'

(Verse 174) It's Showtime!

I see Conran, we have a good chat about the shows coming up. I
have three works to recite. Three songs to sing. Three songs to
play on my guitar, but there is a knife. A whooping great big
sharpe steel blade of a knife with a sharpe point at the end of it. I
get a feel for the three songs as I play them over and over again in
my mind. Like a sharpe steel blade these songs run along and
point dangerously in my mind. Able to cut me, over and over again
I dance with this blade. I play with this knife point as sure as I play
my songs that I practice alone, that we rehearse together to the
threat of this knife that is held to the throat of our live
performance. Every performance is a stabbing in the dark back
streets of my mind. Every performance is a serious incident open
to investigation.

(Verse 175) Performing Arts.

Gods, Guns, Gasoline.

Verse 1:

[A]Where you been? [C]Where you been?

You're [D]living upstate in your old red stream.

[A]It's a disgrace. [C]You're a disgrace.

A [D]star sticks out from your tattooed face.

[A]A big sky. [C]It's a big sky.

Your [D]bug eyed boy can't look me in the eye.

[A]Avalanche, [C]avalanche,
The [D]rocks fall down on your thousand mile ranch.

Chorus:

[E]I can tell by the way you walk,

[E]Boy you need a little vaseline.
[E]I can tell by the way you talk,
Give me [A]god.
Give me [G]guns.
Give me [D]gasoline.

Verse 2:

[A]Lady luck, [C]lady luck,

[D]Sucking on the pipe of your pick up truck.

[A]More pills. [C]Give me more pills.

The [D]world may burn but we need the thrills.

[A]A big sky. [C]It's a big sky.

Your [D]bug eyed boy can't look me in the eye.

[A]Avalanche, [C]avalanche,
The [D]rocks fall down on your two bit ranch.

Chorus:

[E]I can tell by the way you walk,

[E]Boy you need a little vaseline.
[E]I can tell by the way you talk,
Give me [A]god.
Give me [G]guns.
Give me [D]gasoline.

I enjoy the words and the music to this blues song of the
legendary blues guitarist Kev Thorpe from Retford,
Nottinghamshire, England. I recite the words and the music for a
show that I will appear on in in a months time on 2nd September
2017. These words they seep into my consciousness and the music
works its way on through down into my very being. Like water that
soaks up into paper, my soggy mind dries off through my
sleepiness to reveal a paper mache morning mindfulness of a
bumpy solidity. An inky blotting dreaminess becomes dry, ready
for the next days layer of wet paper remembrance. I build up a
three dimensional musical form that I mould in my minds eye and
down through, into my heart.

(Verse 176) The Narrow Corridors Of Fame.

I am walking along the corridors of this building when I see a
remote delivery coming my way. It is like a small cart on wheels
with a package on. There is not enough room in this corridor. So I
decide whether I am going to jump over this remote delivery or
whether I am going to walk back the way that I came, because this
delivery takes up a lot of room in these narrow corridors. Then I
hear an echoing voice coming from someone down the corridor
who I have not seen yet. "You're alright mate, I'll make some room
for you." A man shouts. So I make my way past this remote
delivery to find a man pushing a manual trolley. It looks like a steel
shopping trolley with television monitors and other electrical
appliances in it.

"Did you have a good night?" I ask the man as he looks like he runs
some kind of mobile disco unit. He is a little slow to answer me, as
I can see that he is getting his thoughts together.

"There was a medium/clairvoyant/psychic? on last night." He

finally gets his words out.

"How were they? Were they okay?" I continue my enquiry as I

look to see the mans face for the first time. His eyes are dark and
intense which at first. I am not sure about him as he first stares at
me, but then he looks away from me as he searches his mind for
the answers to my questions when I notice his dark ginger hair
and a bald patch on the top of his head. He seems ambivalent
about the psychic.

"Well you know, they are alright, but I didn't really get into it." I
decide that this lad is not as dodgy as I first thought that he might
be. I aknowledge his review of the night that he has DJ'd with a
smile and a nod. So we part company as I can see that he is busy
and I am going in the opposite direction.

(Verse 177) The Demented One.

I sing out loud in my taunting voice:

"I'm coming to get you! The front doors are locked. The back
doors are locked. I'm having fun and I'm going to find you!"

I am in a mansion house. The young girls are scared and hiding as I

run around from room to room creating terror where I can,
wearing my special pants. I am all naked. My unfit middle aged
body is all naked except for my special pants. They wrap around
my wobbling waist then through between my legs and fastening
with four press studs in the front. I sing out loud again:

"How do I look? Do I look a twat? I'm going to find you! There's

nowhere to escape to!"

As I taunt the girls. It is just a matter of time. I will find them all in
the end, but in the meantime it is such good fun being the adult
acting out as the demented one! I sing out my intension:
"My body's here to build a byrection!? And no ones going to stop
me!"

(Verse 178) Free To Be.

I am in my hunting jacket for the last time as I make my way in the
crowd. I am now watching a lady in her hunting jacket as she
expresses herself and gives her advice. I listen to what she has to
say. So then I take my hunting jacket off. I will not be a part of this
conformity any longer. I am free to be me. To be how I want to be.
A man without a hunting jacket.

(Verse 179) A Word From The Wise.

I am talking to Andrew Ridgly of the Wham! fame and he is dissing
the record industry:

"If you do what you are told you end up with a half descent record
with the songs on it that they want you to play. So if you end up
selling millions of records you make two million, but the record
industry makes so much more money. For all the years of
rehearsing. For all the shows that you do. This is what you get if if
you do what you are told then this is what you get, a half descent
record."

And Andrew Ridgly points to an album spinning on the turn table

next to him as he looks at the camera that he is talking to. With
his big eighties hair style in two colours, brown with a big blonde
patch at the parting. He tucks in his grey shirt. Then there is a
silence as he looks at the camera searchingly to what he has just
said. When he realises that there are no more questions, he looks
down thoughtfully and then the interview is over.
(Verse 180) Restraint.
Sean Peel and I are wrestling. I have him in a headlock. "You are
supposed to let go." Sean informs me.

"There is no set time for how long I can keep you in a head lock." I
tell him. He does not like my answer because he is crying with
frustration.

"Let go!" Sean shouts loudly.

"No." Is my calm and instant reply.

"How long are you going to keep me like this?" Asks Sean.

"About ... " I pause to consider his question. " ... Seven minutes."
Is my answer that I finally give Sean, even though there is no clock
and so I have no idea as to how long I can keep him in a headlock.

(Verse 181) A New Day.

In my everyday dreams I am dreaming about someone. I look keep
into my dreams as I dream out my everyday connections. I am
careful to avoid a fear base. I am careful to look deep into my fears
to face them and this is how I avoid a fear base. I look deep into
that that I wish to avoid and it melts away under the scrutiny of
my mind to find my truth, my uninterrupted truth. The anxieties of
fear are melted away like a dirty black snow in the heat of the day.

Within the darkness of night time I suspend my beliefs, as life has

a way of proving my beliefs to be incorrect. So much for my beliefs
as they hang from the gallows of inspection. As they swing from
the gibbet of their own resurrection into the thought of a new
conception. My paradigm shifts and my vibration lifts to the
sunshine of a new dawn.

(Verse 182) The Office Of Mathematics.

Like a female version of me. She has some of the same habits as
me. I am in a new job and there are problems. People are not
getting on, x shouts at y. p,q,r,s and t are a clique.

I have an old fashioned bag with different compartments. In one

of the compartments is a container with many lids. I open a lid
and it speaks to me in a gruff male voice, "Tea." I open another lid
"Coffee." And another, "Sugar." Then the voice surprises me as I
open the tea lid again, "Tea. Why do you keep opening my lids
without getting anything out?" WOW! This container knows what I
am doing. I have other bags that have been given to me with
problems in them. I quickly finish the work that is in one of these
bags. They are quick problems to solve:

Question:
Find 21 ways to circumnavigate.

Answer:
point a goes to points b,c,d,e,f,g,h.
points b,c,d,e,f,g,h go to points i,j,k.
points i,j,k go to point a.

The office of mathematical politics is algebraic as follows:

It is m for me and z for zee and Zee is the girl who is just like me. e
is laughing at Zee by the way that she does her paperwork. Zee is
lovely and cute and she confidently smiles as e teases her about
the way that she does her paperwork. Me I do my paperwork like
Zee, but I keep it quiet for now because I am new to this office,
you c?

(Verse 183) A Reptilian.

I am walking down Wetherby Crescent in North Hykeham, Lincoln,
England with Jenny and I see an Alligator walking down the road in
the distance. "Look Jenny!" As I point in the direction of a huge
Alligator. We walk up to the passage way that leads to a children's
playground with swings and a slide. There are oily Alligator foot
prints down this passage and onto the road. There is a thick oily
mark on the road between the footprints where the Alligator has
dragged its underbelly along. Like some great big slug with big feet
I am fearful for the safety of the good people of this street.

"Shall we go on the swings?" Jenny asks me, wide eyed with

excitement.

"What for old time sake, us adults go on the swings?" I clarify to

her.

"Yes." Jenny confirms to me. So we take a walk down the passage

way to the park, but there are some cabins set up down there and
there are people in the park.

"What are they doing there?" I ask in wonderment.

(Verse 184) When Words Escape Me.

There are so many exercises here today. I am sat here in a massive
tank of a vehicle. There will be explosions as we drive along. We
are packed neatly into this vehicle. We are surrounded by air
cushioning and we brace ourselves in anticipation for the
unpredictable explosions that we are due to receive in this
exercise.

We are onto a new exercise now. There are children everywhere

and we are in charge of them. They are all running around
following our lead, as the children copy our moves except there is
a little confusion and different groups of children get mixed up
with other groups of children. There is a joke on me here
somewhere. Some of the other instructors are making fun of me. I
do not really know what the joke is and I dread to think what it
might be. I just hear someone say, "It's okay it's his niece." And
this young black girl is smiling up at me. She is very familiar to me
and she looks very happy. I just look at the other instructors and I
cannot find my words. So I shake my head, roll my eyes and give a
weary smile within all this hectic confusion. I am at a loss to find
my words.

(Verse 185) Consideration.

I am in a big building. We are giving out food to people here in this
building. There is a woman here who gives me a lift down and she
is giving me some advice, "Don't ever get yourself in debt. I am in
debt after I had a wild party." She tells me and I look into her and
she gives me a knowing look as if to say 'I could tell you a few
stories.' But we have a job to do. We are giving out food and we
are also eating here with the people who we are serving. I get this
small clear plastic container with clear liquid in it except for a
brown liquid centre. It looks like a chocolate centre. It looks
disgusting. I put my tongue into it and I lick it before I suck it up. It
is sweet and it tastes nice.

Time is getting on and I decide to walk home. I get out of the

building and I am happily walking home down this ally way. I have
undone my work wear top to take it off as I am walking down this
ally way when I realise I had a lift into work this morning. It is a bit
rude to just walk back home without telling the lady who gave me
a lift in this morning. She will be waiting for me to give me a lift
home and I will not be there. So I do up my work top again and
press the studs back together and I go back to work for a lift home
in the car with this lady. I was enjoying the walk back, but it would
be rude of me to just leave my colleague without letting her know.
So I do the considerate thing. Selflessly I go back to work to accept
her kind offer of a lift home.

(Verse 186) Tsunami (The Play).

There is this woman that I am on stage with. She is beautifully
dressed in white. It is our big moment on stage. Her beautiful wiry
thin body and her beautiful thin face. There are diamonds and
gold, a great pearl necklace. We make out on stage. I kiss her
neck, but I know that it is only for show. I have this memory of the
very same thing or something very similar. That I was here on
stage with a beautiful lady. It might have been something that I
read in a book or maybe it was something that I saw in a film or
could it have been a long lost love. Someone I left a long time ago.
Whatever it was it comes back to me now, in the heat of the
moment, in the light of the stage. All the feelings and emotions
they wash me all up and carry me off on a tide wave for sure. I am
washed out to sea in an ocean of love. I float like a buoy as a body
above.

(Verse 187) My Hairy Tusk.

In my dreams I am practicing my high vibration. I am doing all that
I should. Being all that I should be to raise my vibration. I am being
as correct as I can be, but what about my tusk? No one mentions
their tusk. This throw back to ancient times that has remained so
close to me now. In my dream I have a tusk! What sort of person
am I? I am out in a field dancing to a band in my own astral space
with many other people and I have a tusk with hairs at the base of
it. A single hairy tusk.

(Verse 188) Like Ships In The Street.

"We should be safe if we sail as United States Of America." I tell
the others.

"Where are you sailing from?" My dad asks me.

"I think that it is Rumania." I am not even sure myself.

"And where are you going to?" My dad continues to ask.

"I think that it is Russia, but I am not sure." I half inform my dad as
I am searching my mind for clarification.

"You might have problems." My dad concludes as he shows me a

picture of a photo that has been taken from an upstairs window
and it shows a lamp post in the street. The picture is looking down
on this lamp post. It is night time and this lamp post is shining its
lonely light in the stillness of the night. For some strange and
inexplicable reason I can see what my dad is saying. I am
wondering how can a ship manoeuvre around that lamp post!

(Verse 189) Resistance Is Futile.

There is a car full of people and I stop the car. There is only one
reason that I come here. "Get out!" I shout. There is someone in
the back seat who will not conform. I am not messing about. A
crow bar to the door and it is a way of getting in as the painted
white metal frame bends and folds and cracks and gives way to
open the door and to let me in. "It would have been much simpler
if you'd have given yourself up." I tell this man as I get to grips
with availability.

AVAILABILITY.

If I was to randomly shuffle the twelve letters of the word

availability then the number of combinations that those twelve
letters could make is:

3xa
3xi
2xl
1xv
1xb
1xt
1xy
_______
12 letters total.

where n! is n factorial

Number of combinations
= (12!)/[(3!)(3!)(2!)]
= (12x11x10x9x8x7x6x5x4x3x2x1) / (3x2x1 x 3x2x1 x 2x1)
= (12x11x10x9x8x7 x5x4) / (2)
= 11x10x9x8x7x6x5x4
= (11!)/(3!)
= 6652800
If I was to randomly shuffle the twelve letters of the word
availability and then lay those twelve letters out then the
probability that they would spell out availability is:

[(3!)(3!)(2!)]/(12!) = 1.503126503 x 10^-7

= 0.0000001503126503
= (3!)/(11!)
= 1/6652800

Which is the multiplicable inverse of the number of combinations.

(Verse 190) Fatality.

I am day dreaming as I look at a step that leads to a door which
leads to a house. I look at the next door's step that also leads to a
door which in turn leads to another house. I compare the steps to
these two houses. The steps are ornate. There are inscriptions.
The step on the left is a little higher than the step on the right. The
step on the left has a little more decorativeness. I can see the love
that has been put into the making of these steps and in my mind I
make up a story about how two families were trapped in a fire or
maybe I am not making this up. As I stare at these steps I can feel
the love and the loss of a child of a loved one. In the architecture
of the frame of the entrance to these homes that are side by side I
can feel the emotions. The trauma of a tragic situation that time
cannot erase. I feel for the people who have rebuilt their lives as
they have rebuilt their steps. A new step into an uncertain future
without a loved one. Without their respective family members
who have perished in a fire.

(Verse 191) The Ghost Train.

I am on a train. I am travelling with this woman who is sat
opposite me. There is a table between us. It is quite dark. The
interior lights are on in this train. I am travelling backwards. The
window is to the right of me. It is difficult to see out of this
window because there is just a reflection of the interior of this
train and I get a quick glimpse of myself reflecting back as I try to
see outside. I try to make out the dark objects that pass by
outside behind my reflection in this window.

The woman who I am travelling with, she and I have a good

conversation. We discuss a tricky situation that we find ourselves
in. We talk at great length about our social circle and the problems
that we are aware of between the people in our social circle who
clash with each other.

It is like there are two female ghosts who are sat opposite me. The
two ghosts are either side of the woman who I have had an in
depth conversation with and who is also sat opposite me and
travelling with me on this train. I know that they are ghosts
because I can see through both of them onto the upholstery of
the backs of the train seats that the two ghosts are sat in. They are
two female ghosts, they are quiet to start off with. There are just
the odd stark glances at each other, but they are tense spirits.
Suddenly there is an empty twenty cigarette pack that goes flying
from one ghost to another and the empty cigarette pack hits its
own reflection in the window. I watch as one of the ghosts passes
through the woman opposite me and the two ghosts begin to
argue with each other in the isle of our train as the train taps out
its signature on the train tracks as it speeds along: Tut her, tut her.
Tut her, tut her. "Just leave them to it!" I exclaim to the woman
opposite me and I watch her roll her eyes before she leans
forward and folds her arms on the table whilst trying to see
outside to make out the dark movements passing behind her
reflection in the train window.
(Verse 192) A Circle, A Square & A Triangle & A School Of
Performing Arts.
It is all about Toyah Wilcox. I get it. Three peoples obsessions.
There is a silhouetted geometry to all of this. The coming together
of a circle, a square and a triangle. There is the coming together of
three peoples passions. A chance meeting and I jump in at this
opportunity and I explain the situation. I explain about the
obsessions. I talk at great length about what is occurring and with
an intense passion of my own I find my voice. We are laughing and
joking and I cannot believe my luck. Who would have thought that
this would happen to me. That one day it would all come together
like this. That we would all click so well together and that I would
get to perform in a show with Toyah Wilcox. That I would really
get to perform her greatest album 'The Anthem.'

(Verse 193) To Ponder.

I have gone for a walk and I find myself surrounded by my
thoughts in a day dream. I sit down on a wooden seat. I am
contemplating to myself and as I am contemplating I suddenly
become aware of this noise that interrupts my concentration and I
look up to see two noisy go carts whizzing around a track with
their noisy exhausts spluttering and spitting as they accelerate. I
am sat here on this wooden seat and I did not know that it was
surrounded by a track. I am surprised to see these go carts
whizzing around here. It was peaceful around here a minute ago.
Where did these people in go carts come from? I am concerned
about getting out of this place because I will have to cross the
track that these two go carts are whizzing around and so with
careful consideration I make my exit across this track at a
convenient time and I head off with my thoughts to find a more
private location in which to ponder myself out of this existence
that I find myself in.

(Verse 194) A Broken Music Of Unrequited Love.

In the great store room of vinyl record albums there is a genre that
the East Europeans point to that is German heavy rock
(Krautrock). They point to the artwork on these album sleeves. I
watch in my minds eye as a speed painting assembles itself to the
accompaniment of fast and heavy rock sounds. There is a picture
of a motorbike that comes into an illusory existence out of the
loving brush strokes of oil paints on a canvas. Then this picture
gets transferred to an album cover as a pictorial representation for
a music that has been lovingly prepared, but we kick this cover
down the street. For some inexplicable reason we kick holes in
this album cover to reveal the black vinyl disc within it with its cut
grooves. We bullishly boot this record with a brutish passion of
destructive hatred that befits the music, that has been lovingly
prepared, that is out of alignment with popularity, that is cut deep
into the two spiral vinyl grooves of sides A and B until it is nothing
more than a battered vinyl frizzbee of unplayable scratches that
no needle could traverse. A plastic throwaway that has had its
music kicked out of it.

A love song to an alien:

Blue Pleiadian.

[Am7]I love to reach you

[Bb]in that perfect space.
[Am7]Deep in meditation
[Bb]you always leave a trace.

[Em]Blue Pleiadian
I [Bm]find you make me high.
[Em]I must have let you in
as [Bm]you was passing by.

Instrumental: {Em Bm Em A} x2

[Am7]I love to reach you

[Bb]in that space between.
[Am7]Deep in meditation
[Bb]your blue spark can be seen.

[Em]Blue Pleiadian
I [Bm]find you in my heart.
[Em]I must have let you in
my [Bm]pretty little part.

Instrumental: {Em Bm Em A} x2

(Verse 195) Don't Do More Than You Have To.

I am driving around in my job which is to deliver glass slides with
tiny rocks on them. Firms are on the look out to hire people like
me who can deliver these rocks. So as I go to load up the slides
with rocks on. I feel that the people who work for these firms are
keen to know what rocks I can deliver. I feel that I know what I am
doing and I feel confident as I feel people staring at me. Sizing me
up. Trying to evaluate me to work out just what I can do for them.
Which rocks on what slides to deliver wherever. I can feel myself
laughing out the tension of this situation because I am dragging
my heels here. For some reason I am not putting everything that I
have got into this job. I am pacing myself and this is what makes
me smile.

(Verse 196) Fire In The Academy.

We all meet up at the academy and there is this nagging female
voice following Oswald around. It seems to be targeting him about
his cannabis use and alcohol intake, "'O' we shall just have
another spliff." She tells him sarcastically. "You only smoke on a
day with a 'y' in it, because you are a musician and that makes it
okay then does it?" Her sarcasm continues and Oswald does not
react. He is as cool as ever. He continues to be in his own time and
space which is several notches in the "I am cool." direction. Me, I
am just observing all this conscientiousness as I am smoking and
when I finish I go to flick the cigarette across the room from
between my thumb and fore finger. Only it misfires and the
cigarette goes up into the air and into Oswald's long hair. There is
a singed reaction from the usually cool Oswald and some flailing
of arms as he goes into panic mode. I am seriously concerned
about what I have just done in my carelessness when we discover
that a bale of straw that has been stored at the bottom of the
stairwell below our classroom has caught on fire and it is ablaze.
We watch in horror as the flames dance around and we search our
minds for a suitable reaction. But these flames are far too big now
for anything but a full scale evacuation. I am just in the process of
realising that I am to blame for this building being on fire! So there
is a silent and feeble apology from deep down in my heart space
that no one else will ever hear that comes from my own private
inner voice: 'Sorry.' : <

(Verse 197) He's So Breesh.

I am walking along chatting with this lad when he randomly goes
off and does a forward roll in a barn of flour. He just wanders off
into this barn and does a forward roll on the ground before joining
back with me to carry on with our walk and conversation. He is
powdered with white flour in his short cropped hair and on the
side of his face as we speak. He tells me, "There are some cool
people about but they are breesh." He speaks in a low key and
with a matter of fact kind of tone to his voice. "It doesn't help that
I am alevriphobic. I have a phobia of flour." He continues to tell
me whilst we are walking out of this farm at a faster pace than
before. He appears to be keen to get away from this farm, but I am
wondering to myself 'What does 'breesh' mean?'

(Verse 198) Pumped Up.

Tyrone is a mechanical engineer. I would not say that I am working
with him. I am more like going along testing out his designs. There
are many things that he builds, but the one thing that I like the
most is a big wheel that you walk on. The best way that I can
describe it is that it is like a flat tyre. I walk on a wheel with a flat
tyre and at first I do not get anywhere as the wheel spins around
and counteracts my movement, but then when I get some
momentum up I stop walking and it is like the wheel pumps its
own tyre up from the energy of my previous movement. This
analogy is a little misleading because there is no air pressure
involved. It is not a pneumatic process. Visually there is a shifting
mechanism that comprises of pieces of metal that are right angle
triangles where the right angle shifts about the centre of this
wheel. This is what takes you up on the wheel like an escelator.

(Verse 199) An Endless Track.

I am traveling on this endless train journey. I wake up on this dinky
train, on this model railway, to see alotment gardens going past
and I wonder how far I have traveled. I wonder how long I have
been asleep. It is a warm and summer's day. The carriage that I am
in is small and open top. This is a driverless train and there is no
one else aboard. The train it slows down and I wonder about
jumping off, but then it speeds up again and I miss my chance to
jump off. I do not know how far I have traveled or even where I
really am. This journey is a lonely one as it clanks along the track. I
feel that I am going nowhere and that there is no way of getting
back.

(Verse 200) Fucking Christmas.

It is the middle of August and I overhear someone talking about
christmas shopping. So I have written a song called 'Fucking
Christmas.' For reasons of not offending people with bad language
the word fucking is replaced with the word ruddy and so this song
is also called 'Ruddy Christmas' and every 'fucking' in the song is
replaced with the word ruddy.

Fucking Christmas.

[Em]We will find our [Am]christmas spirit.

We will [C]find it where we [G]can.
We'll [Em]meditate on [Am]Santa.
[C]He's our fucking [G]man.

There's [Am]trouble in the [Em]workplace.

There's [G]people on the [B]go.
There's [Am]so much to [Em]do now.
And there [G]aint no fucking [B]snow. But.
[Em]We will find our [Am]christmas spirit.
We will [C]find it where we [G]can.
We'll [Em]meditate on [Am]Santa.
[C]He's our fucking [G]man.

[Am]Family is [Em]all we have.

It's [G]all we ever [B]need.
[Am]With good will and best [Em]wishes.
It's [G]all we fucking [B]need. Cos.

[Em]We will find our [Am]christmas spirit.

We will [C]find it where we [G]can.
We'll [Em]meditate on [Am]Santa.
[C]He's our fucking [G]man.

I [Am]love to cele[Am]brate with you.

You [G]are my christmas [B]wish.
[Am]Let's go out and [Em]rock this party.
And [G]have a fucking [B]dish. And.

[Em]We will find our [Am]christmas spirit.

We will [C]find it where we [G]can.
We'll [Em]meditate on [Am]Santa.
[C]He's our fucking [G]man.

[Em]We will find our [Dm]christmas spirit.

We will [F]find it where we [C]can.
We'll [Am]meditate on [Dm]Santa.
[F]He's our fucking [C]man.
Conversation:

Adi -
"What do you think to my christmas song that I wrote?" I open up
my book full lyrics and chords to show Sally.

Sally -
"Is there a joke that comes with that?"

Adi -
'Why is she asking me if there is a joke that comes with my
Christmas song?' I think to myself. Then I remember an old
Christmas joke:

"What do you call the reindeer behind rudolph the red nosed
reindeer?"

Sally -
"I don't know."

Adi -
"Randolph the brown nosed reindeer." I look at Sally's
exspressionless face.

Sally -
"Oh Randolph."

Adi -
"Yes, but the main point here is that he has a brown nose.
Sally if I have to explain this joke to you then it's not funny."

Sally -
"I don't get jokes. Did you make that joke up?"
Adi -
"No someone told me it." I look at Sally's expressionless face and
she makes me laugh more than any joke could.

(Verse 201) The Best Move To Make.

I am in Bilsthorpe. I watch the traffic speed down this road. The
road is wet and I imagine the drivers losing control of their cars as
they slide off the wet road. I imagine that I have to jump out of
the way, but this never happens. I have a black box full of things
and I suddenly think, 'Maybe I should lock that box up before I go.'
There is a young lad playing near by and I say to him, "Do you
want a hat?" He nods his head and comes on over. So I get a hat
from out of my black box. This hat is made from cardboard and I
have to make it up for him as he waits patiently. A few folds here
and tuck a few tabs in there and the hat is made in no time. The
young lad takes off his baseball cap and puts on this new
cardboard hat that I have just made up for him. I am thinking that
the hat that he has just taken off is much better than the hat that I
have just made for him, but he is happy with his new hat and so I
lock up my black box and then I make my way out of Bilsthorpe.
That is probably the best move to make.

(Verse 202) The Gooseberry And A Strange Entity.

I am walking towards three people. Two of them are a couple who
are kissing and laughing and swinging each other around like the
teenagers that they are and the other is a female. She is the
'gooseberry' as we say. Meaning that she is the only single in a
group of people who are all with their partners. I feel awkward as I
approach these people because I can feel the single female watch
me as I walk past. The other two are contojulating with each other
and they do not even know that I am there. So I self consciously
walk past them and I am now down between an old stone wall
covered in moss and a privet hedge making my way through when
I am aware that someone is phasing through into me. It is a
strange sensation. I feel an entity. I feel their essence, "Who are
you?" I exclaim out loud and with that I am not there. I find myself
startled, somewhere else.

(Verse 203) Supergrass.

I am working with this woman. We are care workers. She has a
service user on the toilet, but the careworker suddenly becomes
impatient and manovers the service user on her own. This is bad
practice and is against the rules. The service users back snaps
clean off at the waist. Her head and torso fall to the floor with a
thud leaving her legs and bottom sat motionless on the toilet. I
cringe at this spectacle. 'My co-worker is in trouble now.' I think to
myself as I carry on going about my work. My co-worker carries on
with her job. She knows that she has done wrong and I would not
like to be in her shoes. I am witness to the service users legs and
bottom lifelessly still on the toilet and then the head and torso
with two arms sticking out on the floor. There is movement on the
floor. There is life in the body and I wonder about the pain that
she must be in. I am not covering up for this. I will be called as a
witness to what my co-worker has just done and I will tell all. I will
report on everything that my co-worker has just done to this poor
service user. I will grass her up and turn her in.

(Verse 204) Fire Cover.

There are some motor bikes at this train station. They are big black
chopper bikes and a big black steam train turns up. I hear some
people say their good byes and they are joking about a lad who
set a house on fire. They are explaining about a manual for this
house and that the manual is not fire protected. These people go
into great length about a manual not being fire protected and I am
thinking about how complicated it is to own a property. Talk about
preparing for the worse and I see the fine print as they flick
through the pages of the house manual.

(Verse 205) Yeild.

I am walking the corridor, just me and my plastic mug when I
come to some double doors. I am negotiating my way through
these double doors when I am aware of some work men waiting
to place a merry-go-round inside the foyay of the double doors, or
is it a roundabout? I am not quite sure. I give way to these work
men, but they signal me to go through these double doors before
they enter into the corridor from outside. So I find myself outside
with these people for a brief moment just before the work men
enter into the corridor and place the merry-go-round/roundabout
in that corridor. I am pleased that they let me go through the
double doors before them because I would have been held up
otherwise.

(Verse 206) The Esoteric Puzzle.

There is a puzzle that I have to do here, but there is no frame of
reference. There is no explination that I can give to you because
this is another realm entirely. Sometimes there is no translation. I
can feel the puzzle slip away from me as I come into this space
from another space entirely.

(Verse 207) An Abandoned Scenario.

I go to park my car down into a carpark below. There is a long
steep ramp which leads down into this carpark. As I drive onto this
ramp I notice that the ramp has had steps built onto it since I last
drove down here and my car bumps down these steps before I
have a chance to stop. So now I am trapped down in the carpark
unable to travel back up these steps to get out. This car park is
private and I should not be parked here. So I quickly find some
bricks and I lay them up on the steps so that my car tyres can be
driven up onto these steps in order to get out of this private
carpark which I have trapped myself in. I am aware that there is
the land owner who has just arrived and I am wondering what I
should say to him. I see a lass that I know. She is in her open top
car parked up on the road and I think about coopting her car for
some reason. "Can you drive in reverse?" I ask her.

"No. I have never driven in reverse." She tells me, which surprizes
me in one sense but not in another sense. She is an unusual lady.

"Can I borrow your car?" I ask her forthrightly. She does not
exactly say yes but it is clear to me that she is okay with lending
me her car.

THE END.

... Never to be continued.

(Verse 208) Some Changes.

I am working on something. I have made a template on the back
of my room door. Ripple, Jenny, Liz Warns are there and I am
showing them what I have done. Hoping that they will appreciate
the work that I have done. Jenny seems to like it, she can see
where I am coming from and the vision of what I am doing here.

Ripple says, "You know that disco booking, if you had taken that
booking then there would have been another disco booking
available as well."

"Oh no, I have done with DJing all these discos now. I've done too
many." I tell Ripple that I have moved on from the disco days as
fun as they were at the time.

(Verse 209) Golden Moments.

I spend my time just chilling out in the old Craggy Crack. The
Craggy Crack is a golden river of sand with sandstone cliffs beside
the river that reflects on golden sunlight. I am paddling in this
wonderful scene. The bees are buzzing for their pollen that they
collect from the blue flowers that grow here and I watch as fish
gently nibble my feet beneath in the cool flowing water in the
heat of the day. With blue sky and sunlight above me there is not
a cloud in the sky. I make the most of this peaceful spot. There is
not a soul around. I look at some perfect slabs of golden
sandstone perfectly out as cubes that slot together except there is
one tyre mark that runs through the lot. A once wet tyre mark
that has since dried and set in stone. A record of long ago.

(Verse 210) Into The Next Dimension.

I am on this commune type farm place. I do not know what I am
doing here. I am not in control. For some reason I am given a lift
out of this commune place. A man in a big Jaguar car is taking me
away. I do not think that I have many rights. I do what I am told
and I am told what I do. We head off down the road in his Jaguar
speeding along for a while. I do not know where he thinks that he
is taking me. Suddenly without explination the man slows his
Jaguar down and turns back down the road the way that we came,
back to the commune. This time he drives even faster. As we get
close to the commune I notice that it is on fire. I tell the man who
is driving the Jaguar, but he does not say anything to me. I am in
the passenger seat next to this man and I do not think that he is
going to stop. We are heading straight for the burning building on
the commune. It is dark out there, but the orange flames are
burning bright. As we just approach I know that he will not stop
now. I brace myself for impact into this burning building. I brace
myself for imminent death.

"I'm not dead!" I exclaim incorrectly, surprized that I am still

conscious.

"Of course you're not." The man replies. This is the first time that
he has spoken to me. I look across to him and I notice on the
inside of his driver's door the following writing:

Don't let it
get off T 4
you 2.

'What does this all mean?' I wonder to myself as only the dead
person that I am could do.

(Verse 211) An Arboretum Of Fun.

We are having family fun in the park with trees that do grow and
then we grind them up. This is Simons thing. He loves to grind the
trees right up. We all jump on these trees and bounce on the
stacks of branches, then we grind them all up and spit out wood.
Like fountains of chips they fly through the air. The smell of wood
goes through the air.

There is memerabilia of 'EMO Adi' strewn across this place. EMO

Adi training shoes and the music of EMO Adi is deep in the heart
of these people and places. It is all kept neat. The merchendise is
clean as the music rocks out its rhythms obscene.

It all goes back to the trees that grow so fast. With branches that
spring. Like a trampolene we bounce on these branches up in the
air. This is so much fun, we bound without care. A family of people
we play on the wood. We splice it all up and the feeling is good.

(Verse 212) The Monkey Within.

I am a monkey who climbs on the wire cage that I am in with all
the other monkeys. I know this wire well as I hang on, as I jump
around in counterpoint to the other monkeys. There is a part of
this wire cage fence that hangs lose and low. There is some banter
between two other monkeys who taunt each other. They are so
adept. They are the top monkeys and it is hard to tell who is the
best as both monkeys perform their manouvers around this wire
cage and I watch them intently. I copy their actions. I learn their
moves. The tactics that they use are displayed for all of us to see
and in this case I feel free to be the monkey that you see.

(Verse 213) Sweet.

Intuitively I am aware of this wonderful feeling. I can see it as a
white light spark with a hint of a creamy peach. I am not exactly
sure as I have a colour vision impairment and it bleeds through
into my intuition. I am aware of this creamy peach gentle female
sweetness that permeates its essence within me and all of its
feelings as a spark that has an intense ball of light within. A
sweetness and a gentleness that I have never encountered before.
There is no weakness here, only a silent love and a strength. A
silent love and a strength as old as time itself. A dualistic state as a
spark and an intense small ball the size of a pinprick point that
makes me aware of a beautiful place of silence that I have never
been aware of before. A lovely encounter of a sweetness and a
gentleness. A female beautifulness that invades my heart and soul
with love. That wrestles my dumb male ego heart. A spark in my
heart of forgiveness with a depth of feeling and a poigniancy that
goes way beyond.

(Verse 214) This Is England.

I am walking along outside down a country pathway singing this
song next to a woman who is also walking along with me:

"Who Do You Think You Are Kidding Mr Hitler

If You Think We're On The Run?
We Are The Boys Who Will Stop Your Little Game
We Are The Boys Who Will Make You Think Again
'Cause Who Do You Think You Are Kidding Mr Hitler
If You Think Old England's Done?

Mr Brown Goes Off To Town

On The Eight Twenty-One
But He Comes Home Each Evening
And He's Ready With His Gun

(So Who Do You Think You Are Kidding Mr Hitler

If You Think Old England's Done?)

So Watch Out Mr Hitler

You Have Met Your Match In Us
If You Think You Can Crush Us
We're Afraid You've Missed The Bus
'Cause Who Do You Think You Are Kidding Mr Hitler
If You Think Old England's Done?"

As I am walking along and singing I am fiddling about with some

old nuts and bolts and washers that I have found on the ground.
The nuts and bolts are joined to an old bracket which I have taken
off and discarded. I have joined two bolts together with one nut.
Inside this nut where the two bolts meet I have placed a cap of
gunpowder. So that when I drop the bolt the cap goes off, CRACK!
As the bolt impacts the ground.

"I say it is awfully nice out here, what." Says the woman who is
walking next to me in an old fashioned and over exagerated
English accent which startles me for a second.

"Yes it is awfully." I reply in an equally old fashioned and over

exagerated English accent and it is just nice as we meander in the
countryside.

____________________________________________________

SOMEWHERE ELSE.

Chapter Seven - September, AUTUMN 2017.

____________________________________________________

(Verse 215) "I Know Nothing Sir."

(Verse 216) Get With The Program.
(Verse 217) A True Story Of 'Irony.'
(Verse 218) Poly My Girl.
(Verse 219) Priceless.
(Verse 220) Mum Knows Best.
(Verse 221) A River Of Life.
(Verse 222) A Separation.
(Verse 223) Without My Receipt.
(Verse 224) Revealing Myself.
(Verse 225) Deep In Rural England.
(Verse 226) A Steeplechase Of Jobs.
(Verse 227) Jody Makes me smile.
(Verse 228) One.
(Verse 229) Someone Else.

(Verse 215) "I Know Nothing Sir."

The secret service is here. Someone is on the run and we are
being questioned here. I am being shown how two screws can be
screwed into each other. One screw is a grub screw, left hand
threaded, that can screw into the top of another larger ordinary
right hand threaded screw. "I didn't know that screws can do
that!" I exclaim to the secret service.

"Yes well they don't want you to know about these sort of things,
do they." I am told by one of the secret service members.

For some reason I get an instinctive feeling that the person who
went on the run went over to Belgium to avoid the people like
these secret service members here in England. I am not saying
anything. I am not admitting to anything. I imagine a lonely
existence hiding out in a foreign country not understanding the
language. Restricted to a strict discipline of keeping out of
surveillance areas like banks, town centers, computers etc. I
imagine a sad lonely grufty man on the run unkempt, unshaven. A
tramp at their wits end. Living out their life in a rough existence,
but then what do I know?

(Verse 216) Get With The Program.

I am trying to make food out of very little. More like magic food
into existence from nothing. There is a dark blue glass ashtray with
some burnt bits in it in the bottom. "This is your dinner." We tell a
young lass no more than twelve years old and then the young girl
starts to cry.

"Oh now, we are only joking." Says Sally all concerned as she
rushes up to the young girl and leans sideways looking into her
face as she talks to her. "I daren't tell you that there's no fags for
you either." Says Sally in a joking kind of way.

'Sally is too kind.' I think silently to myself. 'And I would not want
to be responsible for giving cigarettes to a child.' I watch in
judgment as Sally shows off her inappropriate kindness to this
young girl. Sally is so sweet and I do not want to interject here,
but giving cigarettes to a minor is a bridge too far for me. This is
up to Sally not me and I am not getting involved, but what is she
thinking?

For some strange reason I suddenly feel a buzz in my head like a

phone going off vibrating in silent mode. I am aware that this buzz
in my head has changed the way that I think and I wonder to
myself, "Am I being programmed here?"
(Verse 217) A True Story Of 'Irony.'

"Is It Still There?"

It was back in the early 1980's. I was an apprentice at Ruston Gas
Turbines in Lincoln. Too young to drive a car the apprentices had
mopeds to get to work. The typical mopeds of the time were
Suzuki AP50, Yamaha FS1E (commonly known as a Yammy fizzy),
Honda SS50 or Honda C50. There was some banter between the
lads about whether a two stroke engine is best like the Suzuki
AP50 and the Yammy Fizzy or whether a four stroke engine is best
like the Honda SS50 and the Honda C50. I had a Suzuki AP50 and
so I was firmly on the side of the simple two stroke engine. We
would joke about the four stroke Honda mopeds calling them
tanks.

There was a lad at work who was an apprentice electrician and

some of the other apprentices would often ask him, "Is it still
there?" They would ask this question with a smile on their face
and the electrician would typically reply back, "Yes it is still there."
With a smile on his face too. 'What was that all about?' I would
wonder to myself.

It was very expensive to get your moped insured being so young.

It cost more to get insured than the moped was worth. So when
my mum woke me up one morning to ask me if I had parked my
moped in the drive I told her "Yes."

"Well it's not there now." She replied all concerned.

"Okay." I said and rolled over and went back to sleep for another
hour or two. Later that day we got the police involved. They found
my missing moped. It had been set on fire and it was a burnt out
mess. After some time I got a nice cheque from my insurance
company covering my loss.

So one day I am at work and I over hear someone ask the

apprentice electrician, "Is it still there?" With the same typical
smile on their faces and the same reply from the apprentice
electrician, "Yes it's still there." So at this point I did something
that I would not usually do as a carefree teenager not bothered
about anything. I bothered to ask, "Why do you keep asking the
electrician "Is it still there?"" And it turned out that because the
electrician had paid so much for fully comprehensive insurance on
his moped and because he wanted to buy a new moped. He had
been parking his moped in a dodgy area under Pelham bridge with
the keys left in the ignition for months and no one would steal his
moped!

(Verse 218) Poly My Girl.

We are playing with bras for polyhedra. There is a cup for each
vertex and each cup is a different colour. It is the latest craze. So
get some bras for your die today. We are cheeky in the street as
we play with these bras and we upset the people with our cups as
we throw these bras around we are chased around in the street by
the angry people incensed by our actions. All I can think about is
my lovely girlfriend. Her small cups on her polyhedra body. She is
so fit. She is a beautiful girl with her small vertices of titties I am in
love with her shape. Her edges and faces are beautiful too. I throw
her around. I am hypnotized by her rolls. She is beautiful to me.

(Verse 219) Priceless.

Money can buy you lots of nice things but,
if you live a life without money,
then you live a life that money can't buy.
Can't Make Me.
______________

Intro:

e|-------------------
B|-------------------
G|-------------------
D|-------1--------1--
A|----1--------1-----
E|-0--------0--------
-|-|--|--|--|--|--|--

{ E G Bb A } x2

Eb D C A
Looking for the people to set the rotas right.
Eb D C A
Wanting everybody working day and night.
Bb E A G
Money, money, money, can't make me.
Bb E A G
Money, money, money, can't make me.

Eb D C A
I don't want to go to work tonight.
Eb D C A
I just need to set the record right.
Bb E A G
Money, money, money, can't make me.
Bb E A G
Money, money, money, can't make me.

Solo:
* *
e|-3--5--7--0--0--0--0--3--5--7--0--0--0--0--0--0--0--0
B|-3--------5--5--5--5--3--------5--5--5--5--5--5--5--5
G|-3--------6--6--6--6--3--------6--6--6--6--6--6--6--6
D|----------6--6--6--6-----------6--6--6--6--6--6--6--6
A|-----------------------------------------------------
E|-----------------------------------------------------
-|-|--|--|--|--|--|--|--|--|--|--|--|--|--|--|--|--|--|

*slide from 5th fret to 7th fret.

Eb D C A
I don't want to go to work tonight.
Eb D C A
I just need to set the record right.
Bb E A G
Money, money, money, can't make me.
Bb E A G
Money, money, money, can't make me.
Bb E A G
won't break me.
Bb E A G
can't shake me.
Bb E A G
can't make me.

Outro:

E G Bb A

e|----------
B|----------
G|----------
D|-------1--
A|----1-----
E|-0--------
-|-|--|--|--

Chords used:

e|-0--1--0--2--3--0
B|-2--3--1--3--4--0
G|-2--3--0--2--3--1
D|-2--3--2--0--x--2
A|-0--1--3--x--x--2
E|-0--1--3--x--x--0
-|-|--|--|--|--|--|
-|-A--Bb-C--D--Eb-E
-|-----------------
-|-----------------
(Verse 220) Mum Knows Best.
It is my mum, "Come on." She says, "I've got some cream for you."

"What's that for?" I ask her as she is in front of me with her

rubber gloves on and what appears to be sugar and water on her
finger.

"It's vaginal cream." She informs me.

"But I haven't got a vagina!" I state awkwardly. I am not sure what

is going on here. So then I decide to move my underwear over to
reveal my right groin area and she puts some sugar and water on
what appears to be a tiny sphere on my groin there. Then I move
my underwear over to reveal my left groin area. There is a small
sphere on that groin area too and the sugar and water is applied.
'How did she know that these spheres were there? And how did
she know to put sugar and water on them?' I wonder to myself. I
am perplexed. I am so perplexed.

(Verse 221) A River Of Life.

I have the whole world behind me now as I sing my songs of love.
As I follow the tributaries with everyone behind me. I sing out
loud for everyone to hear. As I cut through the path of least
resistance. The flow of water here. I sink into my narrow boat to
get myself some sleep. I live a sheltered life in these tributaries
and locks. As I follow my hearts content down this river of life. The
fishes they swim along with me and the birds they chirp their song
to the sweet sounds of nature. My river boat afloat. My platform.
My home.

A song for X X Xxxxxx:

Instrumental:

e|10-10-7-7--3-3--2-2--0-0--0-0-
B|-0----0----0----0----1----0---
G|-0----0----0----0----2----0---
D|-0----0----0----0----3----2---
A|-x----x----x----x----0----3---
E|-x----x----x----x----0----0---
-|-|----|----|----|----|----|---
-|-G----G----G----G----F----C---
-|-------------- maj7-maj7-maj7-
-|-----------------

Verse 1:
[Cmaj7]I have the whole world be[Fmaj7]hind me now
[Cmaj7]As I sing my songs of [Fmaj7]love
[Cmaj7]As I follow the tribu[Fmaj7]taries
[Cmaj7]With everyone behind [Fmaj7]me

Instrumental x2

Verse 2:
[Cmaj7]I sing out loud for everyone to [Fmaj7]hear
[Cmaj7]As I cut through the path of least resis[Fmaj7]tance
[Cmaj7]The flow of [Fmaj7]water
[Cmaj7]A river of life is [Fmaj7]here

Instrumental x2

Verse 3:
[Cmaj7]I sink into my narrow [Fmaj7]boat
[Cmaj7]To get myself some [Fmaj7]sleep
[Cmaj7]I live a sheltered [Fmaj7]life
[Cmaj7]In these tributaries and [Fmaj7]locks
[Cmaj7]As I follow my [Fmaj7]hearts content
[Cmaj7]Down this river of [Fmaj7]life

Instrumental x2

Verse 4:
[Cmaj7]The fishes they [Fmaj7]swim along with me
[Cmaj7]The birds they chirp their [Fmaj7]song
[Cmaj7]To the sweet sounds of [Fmaj7]nature
[Cmaj7]My river boat a[Fmaj7]float
[Cmaj7]My platform. My [Fmaj7]home.

Instrumental x2

(Verse 222) A Separation.

I am on a train with Pat and we get to our destination station as I
quickly get off the train, but before Pat has a chance to get off the
train the train moves. Pat is jolted and forced to lean up against a
wall. I am watching this from the platform. So then Pat tries to get
off this train again. She is right at the door of this train, but the
train moves off again. This train it does not stop. I watch it as it
does not stop. I watch it as it leaves the station with Pat still in the
carriage. I witness passengers in the carriage all banging on the
windows from inside. Wanting to get off.

The train has left the station and so I make my way to the desk
and explain my situation. I am told that the train has gone for
repairs. What use is that for me?

(Verse 223) Without My Receipt.

I hear Johnny Green, singing and playing guitar next door. His
voice and playing bellows through the walls of our house. 'I didn't
know that he could play guitar!' I think to myself and I go round to
investigate. Next door is like a social club. I ask about the singing
and playing to a man sat at a table there who appears to be
running this club. It turns out that it is all for charity. The man goes
off and Johnny comes back with his guitar and gives me some
money. I think that this money is meant for the man running the
club, but I take the money anyway and Johnny rushes off.

Later I see the man on the door and I explain about the money,
but I am not sure about how much money I was given. There is a
mix up and I am really not sure about this money.

(Verse 224) Revealing Myself.

I am showing my parents my book of dreams and I show them my
illustrations. I get the impression that Jenny and Iggy are going
into business using art and creativity as a way to help children.
'They have never been interested in my creativity.' I think to
myself.

I show my mum my tattoo on the top of my left arm and she

shows her disapproval of it most strongly. It says 'Christmas 777'
on the tattoo which is written within the shape of a shield.

(Verse 225) Deep In Rural England.

I am hiding out in the rows of growth, in the farmers' fields. Just
me and my girlfriend we crawl along the rows. We slide and
burrow along the furrows of these harrowed fields. Free from the
world of hustle and bustle. Carefully we follow the activities of the
civilized world from the safe space in the farmers' fields and the
wild growths. I go deep into the wild growths away from everyone
else. Just to be sure that no one will find me. Then I reappear at
the side of the crops starring into the movements of the organized
people in the streets of the towns and the villages who shape this
world into their conglomerations. So it is just me and my girlfriend
far away from everyone else. Crawling in the thick sodden claggy
mud under the crops for shelter.

(Verse 226) A Steeplechase Of Jobs.

I am on a journey and I am looking for my counterpart. We do a
job and then I race on up ahead to find another person to do a job
with. I am so far up ahead. I am out of sight. I have past so many
people on my journey up this course. I find another counterpart. I
am really doing well. I am way on up ahead in this race of doing
jobs. No one can stop me now!

(Verse 227) Jody Makes me smile.

I am in this pub to do some more singing and playing on my guitar.
It is all quiet in the pub when Jody spots me out of the corner of
her eye. She comes over to me effervescing with her bubbly style
and we chat for a while.

(Verse 228) One.

I come on down and our subtle energies merge. We just lounge in
our energy and so everything has been unsaid. Deep in our energy
we feel the love that we feel and it is a glorious day beyond all
that I could say. We just lounge away with nothing to say because
all has been unsaid. There is nothing to do because all has been
undone. We are free of it all now that we are one. All the doubts
and fears have suddenly gone. Now that we both have now
become one. In a peachy space of subtle hues we have found a
new centre. Without need and into our new hope we enter. A new
path we choose now that we are one. The feeling it carries and it
just goes on and on.

(Verse 229) Someone Else.

I can feel this song fading away like a fog on the ocean, like a spray
in the grey. I feel the words fall from the sky. I look around in the
haze and I ask myself why, why do I feel like an open space? A
seascape of greyness. An open remote place. Please forgive me for
I am out here alone. So far away, the furthest that I have ever
known. I would really like to come back now. I have wandered too
far as a buoy in the wilderness and an ocean we are. Please be
gentle, please be kind. I am not quite myself. I am so far out of my
mind. In a place so remote. A vision at sea, I am lost in nowhere
and this is not me.

____________________________________________________

SOMEWHERE ELSE.

Chapter Eight - October, AUTUMN 2017.

____________________________________________________
(Verse 230) A Non Dream.

(Verse 230) A Non Dream.

No dreams have been remembered for October 2017 as the
conduit for the dreams was busy relocating from Ollerton in
Nottinghamshire to Torquay in Devon.

____________________________________________________

SOMEWHERE ELSE.

Chapter Seven - November, AUTUMN 2017.

____________________________________________________

(Verse 231) Javelin Mice.

(Verse 232) Second Level Traffic.
(Verse 233) She Makes An Arrival.
(Verse 234) A Shop Front.
(Verse 235) Here Is A Tool.
(Verse 236) Name That Band.
(Verse 237) The Currency Of Splendour.
(Verse 238) Little Dotty Bubble.
(Verse 239) Nowhere Else To Go.
(Verse 240) Without Throwing Stones.
(Verse 241) Isolation.
(Verse 242) To Love A Girl Who Does Not Love Herself.
(Verse 243) Neighbours.
(Verse 244) Take Me Out.
(Verse 245) My Corruption.
(Verse 246) Tubes Of White Plastic.
(Verse 247) My Mute Mind.
(Verse 248) A Consensus Album.
(Verse 249) Entitled.
(Verse 250) Give Me Shelter.
(Verse 251) Prison Planet.
(Verse 252) There Is No Poison Between Us.
(Verse 253) Climbing.
(Verse 254) Catch Up.
(Verse 255) Down At The Club.
(Verse 256) Together Separately.
(Verse 257) Shadow Work.
(Verse 258) The Unknown.
(Verse 259) A Carnival Of Fun.
(Verse 260) My Dispensations And I.
(Verse 261) My Path To Knowledge.
(Verse 262) Three Dimensional Polyhedra With Bras On.
(Verse 263) A Few Snags.
(Verse 264) More Now.
(Verse 265) The Infinite I.
(Verse 266) A Telepath.
(Verse 267) The Purpose.
(Verse 268) Alone.
(Verse 269) Bite The Bit.
(Verse 270) Songwriters' Competition.
(Verse 271) Biddy On The Ale And The Old Man On The Cart.
(Verse 272) In The Moment.
(Verse 273) So Big!
(Verse 274) Local Musicians.
(Verse 275) Deny Reality.
(Verse 276) I Go For Supply.
(Verse 277) Bicycle.
(Verse 278) A Cow Of A Pole Fence Woman.
(Verse 231) Javelin Mice.
The spear is thrown and there are mice in the centre. It is like a
javelin with two mice sat in the centre. One mouse looking out
whilst the other is completely hidden. I am thinking, 'It must be
claustrophobic for that hidden mouse!' We watch as we open up
the javelin and the mice come out. "I feel so stupid." Says my dad.
"I never knew that there were two mice in there!" He is
embarrassed to say. I am just thinking, 'Poor mice! They must be
terrified being thrown about like that in the javelin.' But all you get
from the mice is a high pitched "Wheet wheet."

(Verse 232) Second Level Traffic.

It is all about getting a parking slot near where you live, when
there is a shop close by. When you and the shop is on a second
level street and there is a ramp road that you need to drive up in
order to get access to the shop and your house.

(Verse 233) She Makes An Arrival.

Bleep, bleep. Bleep, bleep. I hear a phone bleeping just as I notice
little Sally driving a big coach. I look up to her as I am walking
along the path and she drives by. Is that my phone bleeping or is
that sound coming from the coach? Am I phoning Sally or is Sally
phoning me? Well, she has arrived.

(Verse 234) A Shop Front.

There is a shop. The shop front is respectable. They deal in writing
and there is an old fashioned typewriter in the window but, this is
just a front. This is just a cover up for all the dodgy illicit deals that
they do to survive. Secret deals that no one is allowed to know
about. Just like an art dealer who really deals in arms and uses art
as a cover up. The writing dealer delves deep into dodgy deals to
mis construe and skew their readership. They manipulate their
readers thoughts indiscernibly. This quaint old shop with an old
fashioned typewriter in the window is not as innocuous as it
would seem.

(Verse 235) Here Is A Tool.

There is a lad who owes my dad some money. Spanner is his
name. He says that he can not pay my dad what he owes him
because the money has been taken already for someone else that
he owes money to. My dad does not want him on our premises
and so Spanner is persuaded to leave. Spanner was reluctant to
leave at first. He was arguing the toss with my dad. So I step in and
politely advise Spanner to leave which he does without any
trouble.

It is strange because there is another Spanner sat in the back

garden now. Who looks exactly like the spanner who was
persuaded to leave. We all decide to solve a problem together
Spanner, my dad and myself. Spanner has already shown us a
problem. I was going to show them the Monty Hall problem but
my dad says that he has a problem to show us.

(Verse 236) Name That Band.

I am auditioning for a stage show. There is a lot of improvising.
There is a woman who I must impress to secure my place in the
show. I put my heart and soul into the performance. I make it all
up as I go along. I sing and I dance. I make up the song and the
dance moves on the spot and I feel good about it. Then we stop
for a break. I take a good look at the woman who I am to impress
to get my place in the show. She is young and pretty. I catch her
eye and she suddenly shows me her serious face and turns away
from me. 'She is going to be strict.' I think to myself. We are
suddenly distracted:

A team of cyclists have just whizzed past. I hear someone say with
a slightly amused expression, "It's the band. The lead singer does
not know where to go." And I notice someone shouting out to
them and waving his hat in the air to get their attention, but they
went past so fast that they are a long way up the road now. I met
the lead singer earlier today. He is a young lad. He has a strong
Irish accent when he speaks. I do not know his name.

(Verse 237) The Currency Of Splendour.

We are setting up when people are on stage. We are negotiating.
There is a big board up on the wall in the hall that has been
adapted to show when people perform. Some people only want to
do a short spot on stage. They do not want to do a full
performance. They only have a few things to say and that is okay.
We all have a different message to convey. We accommodate
those people who entertain us and they give us their splendour in
return. The loud and the proud and the subtle alike. Lending and
spending their time up on stage as a preoccupation to all those
who attend.

(Verse 238) Little Dotty Bubble.

I dream about my Dotty. My scrawny little Dotty with her little
hands and her big hair do. She dots around like the social butterfly
who she truly is. I dote on that girl and her empathic bubble that
she floats in. I dote on all that she does. I dote on who she truly is
to me. My little Dotty Bubble she is all of my desire. My little Dotty
Bubble is the sweetest girl. I have walked away from her now but I
can not deny her, my affection. <3

(Verse 239) Nowhere Else To Go.

I see her getting cosy with a lad that she is talking to. I want to go
home from this party right now! I could not bare to see her in love
with another man. I get my scarf on to go home, but I can not go
home. The doors will be locked and I would disturb the household
on my return. What should I do? I go back into the roon where she
was getting close with that lad, but they are not there. So I wander
around this big house full of people. No one really knows me now.
My old friends have moved on. I see them chattering with their
new friends who I do not know. Friendlessly I walk dispondently
through this party house. The girl who I love can not be found. I
look around but she is nowhere to be seen, her and that lad who
she talks to. My imagination sees a worse case scenario. My heart
is being broken apart and I am feeling alone. I would like to move
on now, but there is nowhere else for me to go : (

(Verse 240) Without Throwing Stones.

I learn to grow in the greenhouse of hope. I look past the
squarking chicken. Past the creeping plant on the trellis on the
wall. I hang around with the greenary. The plant life are my
friends. They grow and crawl and twine as those birds with
flapping feathers squark and squabble for food, around on the
ground. I climb up through thicket and make my way out. With the
smell of tomatoes behind all that glass in a warmth of sunlight and
with a hose of water that sprays out, through leafy vegetation and
petals of flowers, this salad bowl of plant life is a natural home for
me now.

(Verse 241) Isolation.

It is hilly here. With my bag across my shoulder full of bits of paper
I am making my way across a tar mac car park. This car park is on
the top of a hill and so it is flat and level. At the corner of this car
park are pathways like the footings of a building. These footings
are like a raised up maze of pathways to get lost in but I am in this
car park and so I am not lost, but there are no cars. This car park is
empty because there is no road to access this car park and I am
rushing about with nowhere to go, nothing to do and no one to
see. On this hill top of isolation there is no one else around as I
freely make my way and one day merges into another day.

(Verse 242) To Love A Girl Who Does Not Love Herself.

There is a small red square with a pale blue line on the bottom
edge of it on my computer screen. I have a message. I press the
square with my forefinger and wait but it does not respond. I
press the square again and Sally appears on my screen. She is
anxious. She fears being alone. I watch her anxiety as she is
desperate for contact. There is a time delay you see. So then
suddenly she realises that we have a connection and she begins to
relax. She is not alone now and so she starts to chat and I wonder
what she has to say as I am concerned. I worry about that girl. I
just wish that she could be happy. : ( <---> : )

(Verse 243) Neighbours.

I am trying to out the registration plates of this car. I am sat at the
back of the car with the registration plates in my hands but they
are broken. I am wondering which way around do they go?
[ DB7][ 6L5] or is it [ 6L5][ DB7] ?

I look around to see in what order number plates have their

alphanumerics in when noal Smith walks past looking inquisitively
at the car, the number plates and myself.

From nowhere I hear someone laugh, "Do you remember this? It

was very strange." I hear them say as it was some old comedy TV
show from the nineteen eighties. I look across the road and inside
a bungalow that has two windows. I see noal Smith in the left
hand side window and he is sat at a table with some wind up
teeth that chatter on the table in front of him. In the right hand
side window in this bungalow is an unknown woman who is sat at
the other end of the table. She is balancing small objects on top of
each other on this table. In the left hand side window noals teeth
start to chatter and in the right hand side window the woman's
objects fall down. She is miffed and I ear laughter from an invisible
audience. I am still sat behind this car with its registration plates in
my hands wondering which way they go. I think that they go:

[ DB7][ 6L5]

(Verse 244) Take Me Out.

I find myself in an old fashioned black and white movie:

Sally picks me up in her old fashioned car to take me up north, but

she is wreckless and our car spins out of control. We find
ourselves bouncing along the road, side by side on our arses up
the road until we come to a stop. We do not feel a thing. She is
laughing and I am laughing and she is so excited. "Come on!" She
says. "Leave the car. No one will know."
"But they will trace your paperwork." I tell her.

"I'll throw it away. Come on!" She says and we go off laughing and
joking and reliving the crash. She is so crazy and I am such a fool.

"Sally you are so much fun to be with and to die by your side, well
the pleasure and the privilege is all mine."

(Verse 245) My Corruption.

I am walking around and I am listening to something on my laptop
computer that I have with me. I do not even know what it is that I
am listening to, but it is interesting to me and I am so engrossed in
it. I am also carrying some chocolate swiss rolls, but they are not
mine, they belong to my dad. I really want one of these chocolate
swiss rolls. Tantalisingly tasty, I imagine how nice they would be
and then I can not help myself. I take some of the swiss roll for
myself and it is delicious. Suddenly I have a problem. I am now
working out how I can repackage these swiss rolls so that my dad
will not know that I have taken some of his swiss roll?

I rearrange the swiss rolls in the clear plastic packaging that they
came in. I try to look objectively at the packaging. Does that look
like I have not eaten a swiss roll? I feel guilty. Taking without
asking and then covering up my tracks. But my dad is not here and
those swiss rolls are so nice.

(Verse 246) Tubes Of White Plastic.

I am eating plastic. I did not know that I could eat plastic! 'This
could be useful.' I think to myself. I am reassured to know that I
can eat plastic and get nutrition from it. But this is no ordinary
plastic. So what sort of plastic is this?

(Verse 247) My Mute Mind.

I am dropping a lad off at this house. I do not talk I just listen to
him, "I've been getting into this band errr, I forget who they are
now." He says as he opens a car door at this lads house where a
few friends are meeting up. 'Surely you could have quickly worked
it out by google on your phone.' I think to myself. The lad gets out
of the car and meets another lad called Winnie who is smartly
dressed in black jeans and a black shirt which is in contrast to his
blonde hair. They get talking and I hear Winnie say to the lad, "I
don't find Mel interesting considering that we have the same
interest, mathematics." I am intrigued, I like mathematics. "He is
boring. He is not interested in the night until it gets exciting and
then he will claim the night for himself and make it his own."
Winnie goes on to say as he and the lad are drinking in the back
garden of this house.

(Verse 248) A Consensus Album.

My dad and myself are looking through a photo album. Sally has
taken the photo that we are looking at on a trip out that we have
been on. My dad is not impressed that there are many photos of
graffiti. I remind my dad, "Well, she is an art teacher." I can see
how Sally's sense of art differs from my mums sense of art.

There are also pictures of my cousin Wendy and I try to work out
the household members who she lives with, but I am not sure and
I give up trying to work that out. The genealogical landscape of
our family is too vague for me to make sense of it.
(Verse 249) Entitled.
I find that I have two messages that I can understand: 'This is a
message to you.' Spelt out in hypertext and 'This is another
message to you.' Not spelt out in hypertext. These messages are
both simultaneously from Sally and from God at the same time. I
do not need to open the messages up and read them because just
by reading their titles I get the impression of the messages. I
understand where the messages have come from. It is with a
feeling and a knowing, just by reading the titles it all becomes
clear. The messages are more inexplicable and much more
eloquent than I could ever say. I get their meaning instantly, but
now that meaning has gone away.

(Verse 250) Give Me Shelter.

I am homeless. I am looking for a good place to cross the road of
busy traffic. All my belongings are on wheels that I push around
and the wheels get stuck in the cracks of the pavement. I looking
for a good place to shelter from the cold and the wind. The traffic
is crazy, turning unexpectedly, whizzing past me and beeping out
loud making me jump. I eventually manage to cross this busy road.
There are large gardens to big houses hidden behind large trees of
spruce that blow in the wind. I am out in the elements. It is
bitterly cold. A one man show with nowhere to go.

(Verse 251) Prison Planet.

I feel like the manager David Hazelhurst is checking up on me.
Most people are watching sport in another room. I am not
interested in sport so I am watching television in here. I am
watching more arty things. Dave is quiet. I know that he does not
want to be in here with me, in this room, at this time. "I bet you
are missing the sports results." I say to him. He takes his gaze off
the television. He looks down at his watch and rearrange it on his
wrist and after a thoughtful delay he says, "Yes." And then he
looks up again to carry on watching the television, but he does not
want to be in here with me. I know it and I can feel it. But he is a
manager and he has to keep an eye on me.

(Verse 252) There Is No Poison Between Us.

My ex and I are weeding in the garden. We pick out the weeds in
the garden with our hands. We are very relaxed. She has a friend
in the garden with her. Her friend is so down on me. She criticises
me to my ex. I just listen quietly. I do not respond and my ex does
not respond either to these criticisms because we are relaxed. I
have a long pole and I poke the pole into a hole in a bucket to
manoeuvre that bucket along. I am going to fill that bucket up
with the weeds that I pick out of the soil. My ex makes her way
over to me. "What's up with you then?" My ex asks me in a casual
and meandering kind of way.

"Noat" I reply calmly as I carry on picking out the weeds with my

hands in this green and overgrown garden. There is no trouble.
There is no drama and even my ex's friend begins to relax in this
garden and so we all pick out the weeds with our hands relaxed
and calmly.

(Verse 253) Climbing.

The food is up the hill. The people climb up that hill to find their
food. I find everything in this little seaside community. I find
everything as the traffic goes by. It rushes past me only to greet
me at the stop, before it takes me up that hill. Spilling my cereal,
oozing out my porridge as I listen through my headphones to
mask the noisy sounds of the traffic up the hill. The people of this
good neighbourhood with their traffic up the hill encountering the
steepness and the noisy traffic up the hill.

(Verse 254) Catch Up.

I am eating a sandwich. I see Roger Hales. He is eating his dinner
sat on his settee. He tells me of this girl he sees with size twelve
eggs. His eyes widen as he tells me and his ands exaggerate their
sizes. He tells me of the food that he cooks. "What's for dinner
then Roger?" I ask him as I pick up bits of tuna out of the carpet
that has fallen out of my sandwich.

"I don't know what's for your dinner but I know what's for my
dinner." He smiles as he tells me this. "I have not had anyone
around here for a month now." He confesses. I tell him a few
things about my life. 'It is good to catch up with old friends.' I think
to myself as I eat up my tuna and sweetcorn sandwich on brown
bread.

(Verse 255) Down At The Club.

Sally and I we play pool upstairs. When we finish playing our game
there is a man at the top of the stairs. "Can you take this down on
your way down?" He asks me and I carry a golf club down for him.

At ground level now I notice that Sally and this man are emptying
pool balls onto the pool table down stairs. A lot of the balls are
new and so I notice that the man is sorting the balls out and
accounting for them all.
Then Sally and I we go to sit down. We share a comfy chair
between us. She tells me what to do. "That is the strict teacher in
you coming out." I tell her. Sally is lovely. She is so small and so
cute and very girly too. I go to kiss her on her cheek. She is
embarrassed and unsettled and I feel clumsy as we both jiffle
about in the chair.

I hear a song called, 'Open Up And Shine On Me.' By Mark E Smith.

So revealing is this new song to me.

(Verse 256) Together Separately.

This is my spirituality. This is my journey as I follow it along
independently I make my way with others. Independently because
I stand alone on my journey. With others because they stand
alone on their journey with me and we all go along with our
independence together. We all need each other to be separate
and free. So let us stop the fighting and work together on our
own. In separation we can all unite as one. Together separately an
oxymoron.

(Verse 257) Shadow Work.

I have been looking for myself. I have been looking deep within.
There is something that wants to attack women, I dare it, because
then it will reveal itself to the light. It does things that it should
not do. So now I keep a watch. I see a silhouette of the girl who I
love. I play around in the shadow of her mind. I seek out the dark
entities. I look to see what I can find. I look in all the dark places
without fear. I bring it to the light, deep in my subconscious, in my
dreams. I light up the shadows at night.
(Verse 258) The Unknown.
I am feeling disgruntled. I am in America. I have flown over here
from England, you see. There are cartoon characters and Disney.
Michael Jackson and others who stand out from the crowd, but I
am disgruntled here. Their culture is so bias. It puts me down for
being who I am in this life. I stand up for myself with respect. I am
careful how I make myself known. This culture is bias and against
me, but I am careful not to become a victim to their ways. There is
a way to fight back without violence. There is a way to make
yourself known. In the face of growing pressures and adversity I
learn how to keep my cool in the heat of the day.

/////
--/
00
|> /
| //|
||||
_||_
The Little Cartoon Character.

There is a little cartoon character who has got more integrity than
the rest. A little cartoon character who I have more respect for
than anyone else. Who can see all the injustice around them. Who
knows how it is all going wrong. This little cartoon character has a
different to all of the others. There is hope in my plight now you
see, for as long as this little character is around me. Who can see
that I am friendly and fair. That I am just caught up in the bias and
the prejudice. I have found my own little friend who will back me
up when all those around me who are against me and working in
fear. My only true friend in this world.
They may be little but they are strong. They may be a cartoon
character but they have learnt how to become so real. Somehow
their attitude is different. They have more integrity than the
others. They are so much fairer than the rest. This little cartoon
character can stand as a force of its own. This little cartoon
character is changing a culture on its own. So as the wheels of
America are turning there is a little cartoon character who is
changing America for the better. There is a little cartoon character
who is straight and is so true and so strong, as to change the
culture of a nation and so right what is surely so wrong. No one
will ever notice them. For they are little and out of sight, but they
make so much difference to a culture. They can make a great
nation change its course, to suddenly to become right over night.
So now a new day is dawning. There is hope now for me in this
life. That is only for this little cartoon character who nobody cares
to know. But they can change the ways of a great nation and still
they are working alone. In the back streets of a great nation. They
are forever, 'The Unknown.'

(Verse 259) A Carnival Of Fun.

I fall asleep in a little trailer caravan. I am waiting for someone to
come. I thought that I saw someone peer through my caravan
window earlier as I was asleep on the couch. A man with short
hair who then went away. I was sure it was nothing and so then I
went back to sleep. I decide to get up to go to the loo outside and
there are people outside everywhere. More caravans have arrived.
There are children running around and I am walking about in my
P.J's.

For some reason I need a curly cable that I anchor to a child's toy. I
run this cable up to a light in the ceiling, so that the light comes on
in the loo. Without knowing a young child twangs the curly cable
and the cable boings off its anchor. The child's mother and I laugh
about this and I apologise to her for the cable getting in the way.
Maybe I will get dressed now.

(Verse 260) My Dispensations And I.

It is all about renewing my car insurance. It is a special deal
indeed. It is a rare thing this freedom that I have. To be free to do
what I choose. To be free to go where I go. I give you my pitch and
I show you my dispensations. There are people who just can not
attain this. They go through their lives in a box. Confined in a small
space of oppressive four walls. It is all about my freedom of
choice, you see. To be able to determine my fate I have got this
way about me. To somehow get the edge. To face my oppressors
square on. I am free you see. They can not tie me down, because
before they know it I am gone. I will not stick around in a corner. I
make sure that I am open and free. It is all about my
dispensations. This is all about me.

(Verse 261) My Path To Knowledge.

With respect to pompous living.

With respect to you.
I feel my endeavours,
to do what I want to do.

Here in Torquay.

This is my message.
This is my plight.
To make my way out,
of this unequal night.

I find my direction.
I find my way out.
To truly find out,
what I am about.

(Verse 262) Three Dimensional Polyhedra With Bras On.

*-----------*
|\ /|
| *---* |
| | | |
| *---* |
|/ \|
*-----------*

Above is a diagram of the three dimensional polyhedra that is

commonly known as a cube which has:

6 square faces.

8 vertices v=8
12 edges e=12
6 faces f=6

f+v-e=2

To put a bra on this cube is to draw lines at the mid points of every
edge. This will give six diamonds set into each square face
of this cube. This will result in eight cups that are tetrahedral in
shape and each of these eight cups cover each of the eight
vertices.

So what is the point of putting bras on polyhedra? This is done to

find out if the faces are flat. Below is an example of a polyhedra
without all of the faces being flat:

*
/ \
/ \
*-----------*
| |
| |
| |
*-----------*
\ /
\ /
*

This shape does not work in three dimensional space it has:

2 triangular faces
1 square face
1 hexagonal face

6 vertices v=6
8 edges e=8
4 faces f=4

f+v-e=2

And so to make this shape work there will have to be curved faces.
It might seem quite obvious in this example that it will have to
have curved faces but in more complicated examples this will not
be so obvious. By putting a bra on this shape we will draw lines
from the mid point of each edge to get a triangle opposite way up
to the triangle that it has been inset into. In this case there are
two triangles. There will be a diamond shape inset into the
square. The result of this is that there are now six cups, one
around each of the vertices. Four of the cups are tetrahedral but
two of the cups are triangular. It is the triangular cups that point
to the fact that this shape must have curved faces because it is a
two dimensional cup represented in a three dimensional space.

(Verse 263) A Few Snags.

I am racing off on my push bike wanting to get away. There is a
puddle of mud and dollops of shit to get past. I am aware of
people in the distance behind me. I want to keep my distance in
front and so I make haste.

I find myself down a dead end road. I am caught up in barbed

wire. It snags my jeans and my sock as I am trying to unsnag away.
I notice as I do so. It is empty and out of the way with banners
outside that try to attract the customers, but this pub is well out
of the way. I am tangled in the barbed wire. More than ever
before now. The people in the distance behind me have now long
gone a different way. So I unsnag my jeans from the barbs, but my
sock is still on a snag. I pull my foot away and that tears a hole in
my sock, but I am free now. I wonder how it will feel with a hole in
my sock at the heel when I put my shoes back on.

(Verse 264) More Now.

More now, that I feel that I miss you. More now than I have ever
felt before. I see you in this great world as someone who can lead
me along. I am now fully open, more consistent than I have ever
been in the past. I feel this great world of change that brings me
into myself. More now than I have ever felt before. I can grow up
now here with you and put myself out here with you, you see. But
I need to find the right way and give my life all that I can. I do not
want to give up now. More now than I have ever felt before.

(Verse 265) The Infinite I.

An Algorithm For The Infinite I:

1, Draw a vertical line length x.

2, Draw two horizontal lines perpendicular at each end of the first

line, that have a ratio of y/x.

3, Draw four vertical lines perpendicular to the second set of lines

with a ratio of y/x to the previous lines.

n, Where n is even (n ---> 2n), draw 2^n-1 horizontal lines

perpendicular to the previous set of lines, with a ratio of y/x to
the previous set of lines.

Where n is odd (n ---> 2n-1), draw 2^n-1 vertical lines

perpendicular to the previous set of lines, with a ratio of y/x to
the previous set of lines.

Questions:

Q1, What is the line length of all horizontal and vertical lines
with respect to x and y?

Q2, What is the maximum ratio y/x possible without overlap? Give
values for x and y.

Answers:

A1, (2^0)(x/y^0) + (2^1)(x/y^1) + (2^2)(x/y^2) + ... + (2^n)(x/y^n)

A2, Derrr! Don't know?

(Verse 266) A Telepath.

I can see Max Keiser from RT and his wife Stacy Herbert was
briefly there too. He is sat there in his white summer clothes and
his big brimmed summer hat. I download information from him,
as Stacy goes off shopping. They have a challet next to the beach.
'It costs a fortune for that challet!' I think to myself. And then they
also have a hotel where they are staying at too. I download all that
information that Max has to give me. We do not speak, but there
is a communication just by his presence of being there sat on his
own in the summer sun, as I take it all in.

(Verse 267) The Purpose.

I am in a pub full of people. We are a select group you see. We are
here for a purpose. We are hear to get things done. In this group
full of people we work out what they say and we watch the way
that they say it. We get behind their minds and in turn they get
behind ours too, because we are a select group of people and we
are here to get things done. Deep behind the surface we wake
each other fast. Deep behind our faces is a truth behind our mask
that points us to our new age. That points us up on stage to get
behind our truth and to turn another page.

(Verse 268) Alone.

I am just me and I am just being myself. I prepare myself in
support for all of this lack of sleep, this sleep that I need. All alone
in my bed I take myself off to an astral plane. A plane in this
sphere that is so far removed from here.

(Verse 269) Bite The Bit.

I am screwing in a gold dangly filling into one of my top teeth?

(Verse 270) Songwriters' Competition.

I am improvising some music about a woman. Her husband is here
and he keeps interjecting. Pointing me and guiding me with things
to say in this song. He is putting words into my mouth as I
concentrate. As I write this song the woman is here laid out on the
ground. She is part of the show. As I play this song and make up
the words I talk to the woman intermittently asking her questions
about things that she likes.

When my song is done, then another person is doing just what I

have now done. Improvising a song for this man about his wife
who is here all the time. I watch and I listen. I am looking at his
style and the way that he writes his song. He is similar to me but
different somehow, as his song finally falls into place. So which
song is best, mine or his? Which song will the husband choose?

(Verse 271) Biddy On The Ale And The Old Man On The Cart.
I think that I must have had a good time. I have been to some
great hotel and I can not even remember the visit. I vaguely
remember chatting to Sally. I am walking away now. I am in the
grounds of this great hotel, walking on the black tarmac to make
my way home. The grounds are massive and walking all the way
home is daunting to me.

Suddenly I hear this, Honk! Honk! It makes me jump. I look over

my shoulder and in the distance there is this old man who is stood
up riding this motorised cart. He must be only doing about two
miles an hour, because at the side of this motorised cart there is
an old lady who is steadily walking along with a pint of larger in
her hand. The curious thing is that they are catching me up, even
though I am walking at a much faster pace than what they are!
How does that work?
(Verse 272) In The Moment.
I am being driven by this lad on a high backed soft comfy chair
without arms. There is no seat belt. It is quite exhilarating. This is a
regular occurrence as we slide and spin half out of control around
a corner. Then there is another lad who is on an office chair, who
takes us by surprise by overtaking us. "Come on! Get a move on."
He shouts, showing off as he overtakes us. I have been
somewhere, but I know not where I have been. I am going
somewhere but where I do not know.

(Verse 273) So Big!

There are three of us, three lads, we are working at peoples
houses. We go from room to room doing what we do, cleaning up
the rooms. I tell one of the lads:

"I feel like one of those people who lay down on the ground. Who
have sand spread all around them and then you get up and your
human shape is impressed in the ground. For then it to be filled in
with a different colour in order for it to be highlighted. Leaving a
floor that has your human shape in it."

I have only got one shoe on. I am looking for my other shoe. "I
have taken both my shoes off." The other lad tells me. The other
other lad who was with us before is in a room way on up ahead by
this time. So we are lagging behind now.

I am aware of the lady who we are doing this work for. She is such
a beautiful aspect. She is so trusting. She has so much trust in us.
So much so that I feel obligated. I feel that I am obliged not to
breach her trust in us. She is such a wonderful wonderful lady. I
feel that, and I would never ever want to ever let her down. I feel
that it is important to do a good job here, because we can prepare
for something so big here. It is not exactly known what that will
be, but we just know that we are on the verge. On the precipice of
something sooo, so big!

(Verse 274) Local Musicians.

There is a write up on local musicians. There is a write up on me:

Adi Cox plays acoustic guitar and he sings mainly punk, new wave
and rock songs. He also writes and performs original songs. Adi
enjoys busking and open mic nights in the Torbay area since he
moved here in 2017. You can usually find him playing on
Odicombe beach in the early hours of each morning.

Please let us know if there is anything that you take as being

untrue. Anything that you feel is not right in this write up. Please
let us know as we would like to hear from you.

(Verse 275) Deny Reality.

"Are you alright?" Mark asks me and I immediately know that he
means, "Did you let off that smelly fart?"

"Maybe." Is my reply as I casually do my thing. As I down play the

smelly thing that lingers in the air.

(Verse 276) I Go For Supply.

There are four of us. Sally, myself and two others who I do not
know. We have gone on an expedition in this huge old building
which have massive underground tunnels. Sally is not feeling too
happy. She says that she wants some cola cubes. I volunteer to go
off to get the cola cubes and a few other things for the others on
this expedition. I am so full of enthusiasm as I tell Sally that I will
get her cola cubes and I tell her not to worry.

I have now got Sally's cola cubes and I am driving back in a car. I
have the things for the others on the expedition too. But the
traffic is horrendous. It has been raining and I can see cars sliding
up ahead on the slight bend of this fast road. So I decide to slow
down. I am so careful now but I can see cars losing control on the
opposite side of this road also and these cars are heading towards
me. Then it just goes silly:

It is as if everything is in fast motion. It is just like a small scale

model traffic system with small scale traffic, being driven crazily by
the tiny little people who are ramming each other. There are tiny
little people flying through wind screens. There is snow and ice
and carnage on these roads now. I am just anxious to get back to
Sally and the other people on the expedition in this car of mine
with Sally's cola cubes. Sally needs her cola cubes.

(Verse 277) Bicycle.

I know a girl and to keep up with her is to catch up on her push
bike rides. So I play catch up through her local city streets and we
ride and we ride and we ride. She has been around the block a
few times I can tell you!

(Verse 278) A Cow Of A Pole Fence Woman.

I am sawing this horizontal wooden fence pole. I am wanting a
neat straight cut with the saw, but this is not exactly the case.
There is a head drawing that I am looking at and working from.
There is a group of people around me. They check that what has
been done here does not exactly look good. But it is getting there
though. There is saw dust and odd shaped wood cut by my saw.
There is an older woman who I am aware of. Who is there
checking on me. When I have sawn this piece of wood out from
the fence pole I will slot in another piece of wood in its place. A
new cleaner piece of wood, being the wood joiner that I am. But it
is a cow of a fence.

____________________________________________________

SOMEWHERE ELSE.

Chapter Eight - December, Winter 2017.

____________________________________________________

(Verse 279) Noal Smith Says:

(Verse 280) American Races.
(Verse 281) Thanks Gale.
(Verse 282) Sad : (
(Verse 283) Gym Class Personified.
(Verse 284) Without.

(Verse 279) Noal Smith Says:

"Thomas Benn is not getting on with his wife anymore. It is sad
really. They have been together for over forty years now. He tells
her that he loves her. They have grown up children. I was
surprised that they don't get on anymore."

(Verse 280) American Races.

There are three of us in this car; Myself, Loud American and
Another Lad. Loud American calls me 'Antelope.' "Antelope's in
the basement!" He exclaims to me. So then I get into the back of
the car and I do the gears. Another Lad goes into the passenger
seat and he does the navigation. The driver, Loud American
accelerates and steers the car as fast as he can avoiding all the
other traffic. It is crazy fast out there. We all change seats and we
all swap roles as we take it in turns and so we are in the American
Races risking our lives.

(Verse 281) Thanks Gale.

Gale tells me what I need to do but I do not understand her
correctly. There is an illness about and Gale needs to go to a
funeral now. I have not done what she asks. She sees me. She
comes across with her scissors and cuts he paddles of three
models that I have made. Like cutting bits of spaghetti. She cuts
the paddles in exactly the right places and I am grateful to her for
making the effect to see that what is needed is carried out. It is all
very inexplicable. These models that I have made I do not know
what they are but there are three types and they go in the water.

(Verse 282) Sad : (

They are two young girls. One is the shop assistant and the other
is the customer. They dress so nice both of them. The customer is
called Tammy. She has just bought some white shoes. They are
very nice and she is demanding her money back. The shop
assistant has agreed to let Tammy have the shoes for half price,
but Tammy is cool she is looking into legal proceedings. She is
ruthlessly shopping for bargins and then the shop assistant says,
"Look you should be happy. You are rich. You have so much!" I
think to myself 'That is not professional. A shop assistant should
not be talking to a customer like that!' The shop assistant is
getting upset now, but Tammy the customer is cool. She is cold.
She is young and beautiful and rich and cold and demanding
more. She demands so much, but she is not happy. She is the girl
with everything but happiness.

(Verse 283) Gym Class Personified.

I go to a local school and I do my exercises in the gym on the
wooden tiles of the gym room floor which is in a zig zag pattern
that is varnished and buffed and polished. The floor has only
recently been revarnished after many months of use that has seen
the previous varnish worn away by the movements of thousands
of gym shoes. With trepidation I think about the maintenance of
the gym. The cost of the upkeep and the seasonal budget of the
school.

You see I am a small group of people who do exercises. I am

thinking of disbanding the group. It is the same format everytime I
go to do my exercises. The same moves in the same positions, in
the same order of delivery and nothing ever changes.

(Verse 284) Without.

I am in a dream and I am dreaming about my dream. I share my
dream with my girlfriend. I confide in my girlfriend my dream of a
far away town, and so now I find myself here in that far away
town, but without my girlfriend to share my dream to. The girl
who I have run away from.

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