Grey

Leaves smell grey. It's the dust. There's so much dust. Apocalyptic dust. Only the world is never going to end. I know now. Late realization. Like into an obese overgrown child, truth takes its own sweet bitter time to seep into me. It's never going to end. Pain is omnipresent. Grief is eternal. Nothing is going to die, once and for all.

Children are going to sink. Boats are going to catch fire. Flying demons will swoop down on us. There will be blood everywhere. We will have nightmares all day and roll sleepless all night.

Joy will constantly feel like a fast disappearing memory in the mind of an amnesiac. Love will feel like too costly a trade-off. Our race will perish of heart-break.

The Butcher's Daughter

If nothing else, there is the butcher's daughter. She changes into her work clothes in the bushes. In the bushes by the hyacinth ridden drain canal with floating purple flowers. Work clothes are a must in her profession. Or else where else would the blood spill. Blood of the goat that's throttled. By her father. I suppose he is the father, but he doesn't look the other way when she is changing. Behind the bushes. In the early morning sun. Just before they set up shop. Beneath the tarpaulin strung between mildly inclined poles of bamboo. The butcher girl has sharp piercing eyes. As if she can see everything you are trying to hide. Her hair is dirty. About those eyes, I can't be right. It's a deception. Nobody can see what is going on inside us. We camouflage too easy. Our lives come too cheap.

The butcher girl makes a diligent assistant. She packs meat in plump black polythene bags, wards off  stray dogs and returns the exact change, without an expression on her face. Behind their shop an unseen bird hides beneath the bulbous leaves of the exuberant hyacinth. It walks on water. Impossible, but yes it does. As if it was weightless. No agony of past, no fear of future. One weightess bird. At first sight, the bird looks like a myna. But then, the prints on it are not the same. God must have painted that one, when mildly high. Oh sure. There must have been a love poem at the back of his mind. And he must have been living through the shit of heartbreak when he imagined those eyes on the butcher girl. 

I believe that basically you write for two people; yourself to try to make it absolutely perfect; or if not that then wonderful; Then you write for who you love whether she can read or write or not and whether she is alive or dead. I think Scott in his strange mixed-up Irish catholic monogamy wrote for Zelda and when he lost all hope in her and she destroyed his confidence in himself he was through. 

Ernest Hemigway