Our Death 5 / About the Weather

Sometimes the heat gets so much the earth becomes invisible. This is the meaning of symbology. The imaginary walls of the city become real, become a hell of blinding mirrors and we do not know if we are gazing at those walls from the inside or the out. Everyone talks about the weather. So do we. Its been coming on with the speed of a feral hadron collider, a viscous amalgamation of water and glass, where the calendar of British incidents becomes transformed over and again into a posse of burning ballerinas advancing on the city across the landscape of some kind of scorched moon. Nobody can see anything except the murderous glare of the sky, the entirety of human history split to a constellation of more or less inaudible sound particles. The scrapings of giant beetles up and down Karl-Marx-Straße, for example. Or a righteous triangulation of the ghosts of Jean Charles de Menezes, Nat Turner and Lucy Parsons, injecting a supra-imaginary strain of Martian scabies into the collective body of the property developers of Berlin. That type of thing. Or the haunted secret corridor that leads from doing Special Brew screwdrivers in some godforsaken English town to lighting disposable barbecues under the wheels of parked cars in Friedrichshain. Or a meteor of pure plutonium smashing into the intersection of Parliament Square and Kottbusser Tor. Etc. It is difficult, in this heat, to know what a calendar or a nation is, beyond a shower of deafening bells, alterations in the so-called blood supply, corpuscles as expression of the rent equation, other specious horrors, that moment when the heat fades, and what was invisible becomes visible once more, and what was irresistible becomes unbearable, and everything is completely different to what it was before, and we wonder worriedly through the streets of the un-nameable city until the stink of dawn arises and everything vanishes once again.