earthquake, once a volcanic eruption across Namless. Once—once only in living memory—there had been a shift of ice down the mountains burying an entire village.)
On every hand Goodrich could see those bizarre clusters he had noted yesterday, cathedrals of rock upon which he had seen his phantom, the Director-General’s rare robot lying upon the pavement of heaven while everybody flashed past at great speed and looked the other way. Now the change of tone affected these too—both cathedral clusters as well as pavement spires or dinosaurs in the midst of the pace of infinity—a slowing down rather than speeding up of the light….
They (the rock clusters) all subtly moved as if one detected the most curious refugee church of mankind in action, walking bones, uprooted bones all fleshed by an avalanche where the very nature of things ceased to be a self-conscious theme and became the subconscious theatre or liberation of men from fanatical pursuits. Thus there was a submission to movement, yes, in cultural phenomena of Namless Theatre—but so intuitive, so unspectacular —it became an opus contra avalanche.
This sensation of liberation accented by unspectacular tokens of place and time began to occupy Goodrich enormously. Looked at in a certain light he saw the walking bones of mankind disappear. Looked at in another light he saw the flesh upon the bones as a unique contrast or animation which created an abstract void or disappearing dancing bone.
The ribbon of road wound now around an enormous basin in the land and the sensation Goodrich had was of overhanging features in the very action, the very process of collapse as bones or rocks hung upon the very rim of abstract void or flesh in intercourse with light or space; a delayed action, a delayed precipice. That was the first sensation he had.
But as the taxi swerved further along the road to face the basin differently, another sensation occurred. Now the action had happened. The rocks were in helter-skelter embrace and pursuit of each other until their appearance was blurred in their mad love affair with light and space.
There was a third vision or sensation as the road swung and they began to ascend. The air seemed saturated by a dream—a film—an almost transparent cloud of dust which came over the rim of the basin and drifted across Namless Theatre. Goodrich felt an irrational correspondence with the “milky way” when the spaces between the stars are filled with a nameless cloud of particles; but now one was looking not up—not vertically into the spaces of night—but horizontally into the spaces of day. The delayed action of the rocks before they plunged possessed its quintessence here: quintessential shock or deliberation of movement, seminal ruin, seminal catastrophe.
The actual plunge, the helter-skelter mad embrace and wildest conviction of drama, of an action leaving no trace, possessed its quintessence here: quintessential cloud or seminal tree of relief….
These dual seminal proportions drifted effortlessly now at eye level across Namless Theatre like the epitome of movement or flesh of movement, the quintessential contours of all stages and movements before and after actions and times. In it were the grains of the precipice, Goodrich mused; in it were the grains of relief, self-reversible architectures and collaborative phenomena. It seemed the enduring rising and falling blanket of lost worlds sleeping endlessly, broken endlessly, endlessly over and done with. It seemed also the dream of an unborn, waiting to be born age….
The ribbon of road along which they travelled continued to ascend gently and after a mile or so, a new almost weighted stillness was added to the presence of the rocks in the basin below; they (the rocks) stood now less upon the rim of the basin and more clearly within the contours of an ancient lake or sea waterless now as a desert. Goodrich was fascinated by this transparent sea within a terrestrial cloud on the bed of
On every hand Goodrich could see those bizarre clusters he had noted yesterday, cathedrals of rock upon which he had seen his phantom, the Director-General’s rare robot lying upon the pavement of heaven while everybody flashed past at great speed and looked the other way. Now the change of tone affected these too—both cathedral clusters as well as pavement spires or dinosaurs in the midst of the pace of infinity—a slowing down rather than speeding up of the light….
They (the rock clusters) all subtly moved as if one detected the most curious refugee church of mankind in action, walking bones, uprooted bones all fleshed by an avalanche where the very nature of things ceased to be a self-conscious theme and became the subconscious theatre or liberation of men from fanatical pursuits. Thus there was a submission to movement, yes, in cultural phenomena of Namless Theatre—but so intuitive, so unspectacular —it became an opus contra avalanche.
This sensation of liberation accented by unspectacular tokens of place and time began to occupy Goodrich enormously. Looked at in a certain light he saw the walking bones of mankind disappear. Looked at in another light he saw the flesh upon the bones as a unique contrast or animation which created an abstract void or disappearing dancing bone.
The ribbon of road wound now around an enormous basin in the land and the sensation Goodrich had was of overhanging features in the very action, the very process of collapse as bones or rocks hung upon the very rim of abstract void or flesh in intercourse with light or space; a delayed action, a delayed precipice. That was the first sensation he had.
But as the taxi swerved further along the road to face the basin differently, another sensation occurred. Now the action had happened. The rocks were in helter-skelter embrace and pursuit of each other until their appearance was blurred in their mad love affair with light and space.
There was a third vision or sensation as the road swung and they began to ascend. The air seemed saturated by a dream—a film—an almost transparent cloud of dust which came over the rim of the basin and drifted across Namless Theatre. Goodrich felt an irrational correspondence with the “milky way” when the spaces between the stars are filled with a nameless cloud of particles; but now one was looking not up—not vertically into the spaces of night—but horizontally into the spaces of day. The delayed action of the rocks before they plunged possessed its quintessence here: quintessential shock or deliberation of movement, seminal ruin, seminal catastrophe.
The actual plunge, the helter-skelter mad embrace and wildest conviction of drama, of an action leaving no trace, possessed its quintessence here: quintessential cloud or seminal tree of relief….
These dual seminal proportions drifted effortlessly now at eye level across Namless Theatre like the epitome of movement or flesh of movement, the quintessential contours of all stages and movements before and after actions and times. In it were the grains of the precipice, Goodrich mused; in it were the grains of relief, self-reversible architectures and collaborative phenomena. It seemed the enduring rising and falling blanket of lost worlds sleeping endlessly, broken endlessly, endlessly over and done with. It seemed also the dream of an unborn, waiting to be born age….
The ribbon of road along which they travelled continued to ascend gently and after a mile or so, a new almost weighted stillness was added to the presence of the rocks in the basin below; they (the rocks) stood now less upon the rim of the basin and more clearly within the contours of an ancient lake or sea waterless now as a desert. Goodrich was fascinated by this transparent sea within a terrestrial cloud on the bed of
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