The fruit droops into the pool of silence.
Its sclereids disintegrate to archaic light:
a rainbow justly intoned, in Pythagorean tune,
where each separate hue perdures, apart,
in a moment of cohesion and negentropy.
Two suns are spooling, one below
a primitive of physics and toy theosophies
which reconstructs the music of the spheres,
soon consuming its core and cooling,
rescinding its seed, reducing itself to rind.
The water receives its reintegrated beams
in perfect absence—unsensed silence gleams.

Spores on the Solar Wind

Suspended in spacetime, though thrust
through interminable increate,
the primordial cells patternize
in emergent evolutions.

Spores on the solar wind.

The sunfruit has spliced its light
to slices of catalytics:
citric, Calvin, CNO
to disseminate the code of life.

Spores on the solar wind.

A spoor of lumens
reconstructs the flux of numen
that ionized the void sensorium
to minds that cleft auroral fire.

Spores on the solar wind.

Corona of the plasmaflower
culled in the crystals of the eye,
you are the ingenerate atoms that split
to particles beyond the final physics.

Spores on the solar wind.

Gloam of the Increate

A rose floats within the chaliced globe
(vivarium of viscid color) and blooms;
the clouds shed petals and their changed topology
interpolates an inchoate chaos,
releasing the Zeitgeist of fractional light.
Within our clockwork minds is fomenting
a planet forming, a science of Jurassic vitality.
Or void. Primordia and foam and the churn
of revolutions’ reveled potations.
A sky of cirro-circus and bacchanalia:
these be the civilities of the privileged hour.
Jove again, smarming over glutted gold-vermillion
and the million headlights and streetlamps
now silhouetted in their denouement.

Bēth (The Vessel)

O pomegranates and lilies disclosing
to Boaz and Jachin: I Ignalang am
the predicate of all you mean.
In the beginning was the primal point,
the primal homogeneity,
awaiting the logos, lex, and law
to break the cosmic symmetry.
Then at my Word, the light lashed exponentially:
Thus was God’s first thought
of something God was not.
His secret formulas and algebras
transduce to you in one of two:
my ontology binds the dual.
You know my oracles, my orations,
my forms that flicker like a flame,
now prophesize: Guess my name.

₺eveĺ̴͠l 0̵̀̕

In the pizzizzeria’s siz⭍le, bloom, and miraze,
the p xels peel off my face, wafftttiinngg in ⍵aves
of lucandescent plasplalasma. I ئense that I exxisstt,
but in b֎۞lean time, or. geographic psloo,
al. ways in the plaazzaa,, or al⍦ays in the pazoork,
releasing ꟻast-forwarded lirefava-flowers
or ascii pher෧mones: an e෯♭ryonic psychoid
ໄapsing beneath orrbbss and photophenule wings
and ꬣerchandise. Sooonn I. will ⳩lunder
all the €ash and twisaplight-pearlphires. But now
you lis⳧ like a newطorn loquloquistventri,
q elled in the inf۝-currents of a bluuee screen
of juvenlifescence, awash in ♪igital. hyperjewellss,,
the ꁅlitches gleammiing at your fingertiየs,
while I arrow right and ┪eft, here ߉n the gaaarrden
of parad⚵gms, an ☋nli⍫ed infinitud𐐩 of savepoiiints
like Ͼჩesh𐐸re ⟃he☾kers ꕥn a p⡇aאe of ꀸ↱୧㏟⑀.

Ghostly Gardens

The Ghostly Gardens, situated in Crispershire-on-Netherscomb, Mortland, is an important research institution and cultural center for post-vitalism studies. Since its inception in 19೪8, the gardens have precipitated profound and uninterrupted contributions in the pneumatical branches of the natural and formal sciences, making it an irreplaceable hub of experimentation, conservation, and education.

In addition to its scientific and didactic contributions, the Ghostly Gardens is renowned as masterpiece of human creative genius for its design, ornamental, and architectural features, all of which combine artfully with natural elements to make an inspired and intelligent application of different fields of knowledge. Such felicity is reflected in the site’s layout, which divides the area into symmetrically placed and mutually intersecting circles wherefrom three thematic and functional spaces emerge: a botanical garden, a biodiversity garden, and an experimental garden.

From fragile wisps of wisteria, to fragrant, incensing patches of mint and mallow, to willow trees and myrtle groves, the botanical garden is myriad in its charms. At its entrance one immediately encounters the famous Mortish witherblossoms, from which emanates a redolent and unearthly transfume, prized by scent connoisseurs and hyperaromatic perfumists alike. Of particular interest to new visitors, however, are the sweet and pulpy ectoplasmic fruits of the peach and plum orchards, which receive intense scrutiny not only from xenopomologists, but also from oenologists due to the delicate and reedy flavors of the spectral wines derived therefrom. (Visitors may find these fruits available for purchase, depending on seasonal availability.) The trellised arrangement of putrescent roses, a perennially popular exhibit with thanatobotanists, is also worth savoring, as it may be the world’s only naturally occurring memento mori, and as such offers an unusually evocative aesthetic and emotional experience. One may likewise delight in the acreage devoted specifically to the hexed poppy fields, for which stimulants are provided upon request, as there does periodically arise a difficulty wherein the poppies gently lull visitors into a timeless sleep: this, although wondrous for the field of achronal somnology, may in certain circumstances be considered suboptimal.

The biodiversity garden, located south of the botanical and experimental gardens, encompasses a rich intermixture of phytological and zoological exotica. Overlapping the botanical garden, for instance, is a tenebrous laurel grove whose trees are inhabited by null dryads, an endangered nymph subspecies. EEG recordings show that these reticent creatures pass most of their lives in a dreamless slumber, but nature aficionados should note that null dryads are set theoretically fascinating, for few organisms embody mathematical primitives with such ontological confusion. Of course, one would be amiss to neglect the abalone water-basins, wherein small birds are inexplicably found drowned daily, and the natural beehives, whose honeycombs are a fount of delight for hyperbolic apiology, as they appear to be an affront to sense, reason, and proper Euclidean geometry. Another highlight of this garden is perhaps what is referred to as the “koi pond,” rather loosely, for although such koi produce the impression of being seen, handled, caught, ingested, and so on, all available phantasichthyological data suggests that these fish do not actually exist, making this Mortland’s only formally documented case of phantom koi.

The experimental garden is a highly instrumented site designed to accommodate a wide scope of scientific explorations. Many of the institution’s structural elements, including pavilions, pergolas, whisper-grottos, and casperous arbors, are incorporated into this space, where to the casual observer the unaccountably precarious bridges and trees aflail in absence-winds may appear as but whimsically rococo embellishments; however, all such features are carefully controlled, measured, and monitored. For example, beside the shadowless vine-walls stands a row of marble statues that glow warmly but are perpetually cold to the touch: this, in addition to serving as a picturesque amusement, allows resident thermodynamists to obtain data on the newly discovered phenomenon of cryogenic incandescence. Similarly, the garden’s temporal streams and verdislime waterfalls, ostensibly idyllic water features intended to facilitate refreshment and contemplation, are in fact controlled environments utilized for research in hydrotemporalism and exotic toxicity. Likewise, the many garden paths that disappear once traversed (influenced by the theme of labyrinth) are a locus of inquiry into Heisenberg sublimation as well as an endless diversion for small children.