“Some things are reserved for the dead and they can’t imagine them”. That’s either Artaud or Heraclitus, or more likely a combination of both, I don’t remember, but anyway its been echoing around whatever remains of my skull these past few days as I wander around the neighbourhood trying to work out exactly when it was the catastrophe took place. My routine is simple. I go to the cafe. I order breakfast. I usually eat it. I sit by the canal. I go to the bar. I talk to people. I want things. I never fuck. I’m not bothered. At some point I make minor adjustments to the flow of red and white corpuscles through my body. Eventually the day stops and I sit around in Kotti and drink beer and sometimes I spit blood and I wonder what, if any, micro-social effects my corpuscles might have on the cobblestones, kind of like if you threw a brick at a window and both of them shattered, both brick and window, and the pieces then combined and mutated and split apart and cut across corporate time and un-lived time and un-dreamt time and, well, yeh, the catastrophe, whatever that is. We all know its happened. We’re all pretty sure what it means. Most of us know that most of its light has yet to reach us. Britain’s preening little act of self-destruction was one of its more minor manifestations, of course. And the sound of the word “Britain” ringing inside my skull forces me to my feet, and I stare at the faces of a few passing strangers and wonder about the ratio that must exist between the precise number of blood-cells tormenting my body, and the precise number of unidentified stars in what we still so un-precisely call the sky. Somewhere down near the bridge I pick up a brick. It’s rough and smooth in my hand like the bones of a murdered aristocrat. I drop it again and it breaks into two pieces. I pick up those pieces. I drop them again. I keep doing this. I start to scream. I arrange the pieces on the ground. With each scream I name one of them. The bones of Boris Johnson. The face of Theresa May. The sudden screeches of a million birds descending on the broken alchemical stench of what was once called London. One of those screeches is called the Human Rights Act. One of them is called Immigration Policy. Each of them sounds like the noise I imagine a comet would make as it slammed into the earth, and smashed into roughly the same number of pieces as there are blood-cells in my body. I feel the need to sleep. I pick up another brick. I stare at nothing. Everything is silent now, silent like the noises the canal sometimes makes at dawn. Of course, none of this actually happened. I live a quiet life, and it is many years since I threw a brick through a window. I am, as the saying goes, “worried but outwardly calm”. I lean against the wall of the elevator as it carries me up to my 6th floor apartment in this more-or-less modern building in this still more-or-less working class part of Kreuzberg, and I wonder about the sounds the dead would make if they could imagine the light that surely does reach them from whatever future still remains to us. I open the door to my apartment and sit there in the dark. I feel old and tired and deeply afraid of my dreams.