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June 2023

My Friend, the Minotaur/ Part One

Brian George

Zdzislaw Beksinski, Untitled 1972

A challenge had been issued: "Find the past!" Most records had disappeared. The ones that survived were not worth the DNA they were printed on. The reasons for the body count—which, each year, grew by exponential leaps—were as variable as was the scale and appearance of the labyrinth. Some claimed that the labyrinth was actually just a concrete pillbox bunker, left over from the days of World War II, whose iron doors, streaked with salt, had long ago rusted shut. On one door: a large eye beneath a pair of horns, and on the other one: an octopus. Perched on a plateau, the complex gave access to a 360-degree view, and there were "wheel tracks," cut deep into the stone, which led from it in a network of straight lines to the beach, and then continued on, straight down through the surf and down into the depths. Every seven years, of course, would come the drawing of the lots, though few had ever met the occult corporatists who would materialize to serve as judges on the pageant, and the doors never did appear to open or to close.

Now, it was obvious that a new Reich was in charge, and that, from their makeshift cybernetic Bindu, they were ready to wrap their spell around the next 1000 years. At each of the 28 U-turns, they had cut the throat of a professor of geometry. It was a time for glad preparations. With his gold -tipped training horns, a tiny and scrunched-up bundle of omnipotence had arrived. It seemed possible, however, that the director of the WTO had been incorrect in his reading of the entrails. Many objects had been
thrown, noses had been bitten, and ears had been torn off. A seizure had occurred, it was said, which had somehow split an atom. Great fissures had opened up in the holographic stage-set, which, as the Minotaur continued to stamp his tiny hoof against the world, had all the more aggressively to be closed. Amid the glow of the radioactive fallout, it was possible that the Guardians of the Double Ax had begun to lose control. It was possible they too might succumb to the madness that, until then, they had found the means to micromanage.

Commandos in black parachutes had dropped like electrocuted birds and then landed in broken heaps, to form two rings around the steadily expanding complex. No direct assault could prevail against the Minotaur, no challenge to his force-field from without, no intrigue of rogue sub -departments of DARPA from within. He existed, as was scheduled in the stars. To attack the Minotaur was to amplify his strength. To turn against the labyrinth was to magnify its breadth.

Felix Labisse, Troisieme Voyage a L'interior du Pays, 1957

Hoarse bellowing had flown across the black waves of the ocean. Foam had gathered on the lips of the scrunched-up bundle of omnipotence. His eyes rolled, striking fear into the hearts of even those in the inner circle. Was there some way to distinguish between a tantrum and a seizure, some method marked with the thumbprint of the Ancients, some safe way to harness the convulsions of the beast? This issue was a source of ongoing speculation among the Long-Skulled Seers of the Federal Reserve, yet both of these phenomena had pointed towards one end. It was feeding time. The technology that had been meant to keep the monster in had instead provided him with access to fresh victims, who were even less able than he was to escape.

The beast must be fed, that much was certain, yet strange reversals had conspired to cloud the vision of the Rulers, even they who had access to the best corrective lenses, even they who had perfected the most invasive algorithms. Once, in the gray sky of the Underworld, there had appeared an alternate sun. It shone, for some period of centuries, coldly, on the cities that a race of ant-like workers built, and then stopped at three o'clock. It had been put there, perhaps, by Daedalus, because the real sun had disturbed him. At present, none were old enough to determine the source of the false light.

Turning back and forth through the labyrinth of the self, around each of the 28 U-turns, I probed almost to the circumference and then back again toward the center, where the scent of blood was strong, where, row upon row, the archaic glyphs began to look me in the eye. Some looked like broken eggs, others like DNA, others like snakes with walking sticks, others like humanoid knots. Some looked like portable oceans, others like pulsing shields, others like severed heads, and still others like overturned boats. As I stared at these glyphs, they more than met my gaze, and I slowly realized that I could not move my limbs. My lips buzzed. Some force was attempting to twist them into shapes.

I could smell salt in the air, and the iodine of seaweed, and the creaking of masts was not too far away. There was also another smell, like that of copper, and the taste of rusted iron. I could feel the coolness of the air around my ankles, inching up, then further up. When I woke, I saw then that the glyphs were random scratches on the wall. Whose eyes were those that saw, though? What had happened to my tongue? In my search to penetrate the top-secret lair of the narcissist, probing almost to the circumference and then back again to the center, where I could sense that some human had just been yanked out of his shoes, I asked myself eight questions, each corresponding to one of the eight primordial elements of the cosmos. These are as I present them here, or would be, had not circumstances pulled the notebook from my hand, had not the questions and the questioner been lost.

***

Sego Canyon petroglyph, circa 2000 B.C.

Most records have gone missing, and those that survive are not worth the DNA they are printed on. Some catastrophe would appear to have intervened. The Earth tilts at a different angle. As I attempt to remember the eight questions that I asked, I often seem to be moving in slow motion, as though walking at the bottom of an ocean, in lead boots. My intellect is approximate, my bones creak, and my heart is filled with the fog of a shore that does not exist. So, instead, I will ask a substitute set of eight, which are as I present them here:

1) How can narcissism be considered a disease if the narcissist is superior to all but one percent of the race, and Fate has chosen him to be rich,
smart, beautiful, and famous?

2) Is the narcissist aware that other people exist, or do they exist only insofar as they act out his scenarios, which are grand, and unlike any that mere mortals could imagine?

3) If the narcissist can create an artificial self, which he then engorges with blood, can he keep it in a state of maximum tumescence, and does that mean he is happy?

4) What is the source of the narcissist's rage against the world?

5) If the narcissist is driven by rage against the world and contempt for other human beings, how is he able to project so much charisma?

6) Is not industrial-strength sacrifice the birthright of the narcissist, the very reason that he was placed within the center of the labyrinth?

7) Is it fair that the narcissist should be forced to answer to any law, whether man-made or supernatural, when there are 8 ½ billion who are begging to blamed?

8) Is narcissism a disease, as defined by the A.P.A.'s "Diagnostic and Statistical Manual of Mental Disorders," or is the narcissist, in fact, the proponent of a cosmology, the priest of an occult Reich, whose forces will soon dominate the world?

I will attempt to answer these eight questions, in both a personal and a more general way, by exploring an incident that occurred in August 2002, when I reached out to a friend I had not seen in ten years. I will describe what led up to the phone call, the deep background, the immediate cause, as well as what followed from it. Then, I will probe the reasons for why this phone call haunted me for weeks.

***

Andre Masson, The Workshop of Daedalus, 1943

Virgins had gone missing. They were fuel, which had been consumed. They were not dead; they had simply "disappeared," for such are the rites demanded by the agents of the IMF. In search of a drop of blood, the Rulers of Prehistory had set up sweatshops in Honduras, where clothing for the Gap is manufactured, as well as Nike slave-labor factories in China, and tantalum mines in the Congo, without which no iPod would see the light of day. That the Many were created for the enjoyment of the One was a secret that few dared to speak aloud, and fewer still to celebrate, with no slight-of-hand, in public, although lately that had begun to change. Truly, the Elite were those who did not hesitate to kill.

The years had taken a circuitous route. Lost innocence demanded justice. Such demands would, for the remainder of the time-cycle, continue to fall upon wax-plugged ears. Blackened bones showed teeth marks. Ghosts cried from pyramids of skulls. The labyrinth was a paradox. There was no
clear inside or outside, even as it served as the most foolproof of
containers. I turned back to go forward, out to go in. When I woke, I found that I was standing in the spot where I began—where my sense of smell had long ago abandoned me. The narcissist was just a breath away. As shadows had magnified the monster's strength, making him look taller than he was, the contest, when it did occur, was brief.

In the process, I was forced to take the Minotaur by the horns, with their terrible gold tips, to tear away his mask, to disentangle the thread of my own breath from the labyrinth, as turn by turn, I discovered the identity of its builder. And, finally, I was forced to mourn the ruins of a friendship that was dead but not yet buried. This essay is the epitaph.

 

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Brian George is the author of two books of essays and four books of poetry. His book of essays Masks of Origin: Regression in the Service of Omnipotence has just been published by Untimely Books at
https://untimelybooks.com/book/masks-of-origin. He has recently reactivated his blog, also called Masks of Origin at https://masksoforigin.blogspot.com/. He is a graduate of the Massachusetts College of Art, an exhibited artist and former teacher. He often tells people first discovering his work that his goal is not so much to be read as to be reread, and then lived with.
For more of his writings in Scene4, check the Archives.

©2023 Brian George
©2023 Publication Scene4 Magazine

 

 

 

 

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