Skip to main content

First

Essentially I am using this as an area for storing a collection of nocturnal happenings in my brain. Sometimes, and it waxes and wanes over the year, I awake and write down what I've been thinking about whilst asleep. It's a bit more ethereal than simple chronicling, as I tend to be mostly asleep when it happens, and writing comes automatically to my fingers. Most of it is ache. However, patterns will emerge. These notes develop, eventually (and after a long process of twiddling, mastication and reconstruction), in to what is currently called The Last Night Tree. I will sometimes add brief notes/explanations to where certain items/instances have come from and why they are included. (?) indicates sections and ideas that I cannot presently recall, but apparently could at the time of writing. The only grammatical changes made to each entry are adding capital letters to the beginning of sentence which I am for some reason incapable of doing at random o'clock. I should point out that almost all of these ramblings happen in or around the same fictionalized city, which is an amalgam of the places I have lived in at various stages of my life. There are a few exceptions, this being one of them. For starters then...something short, and from the middle of the road, which happened as if being filmed.

'Escaping with huge amounts of money, driving in a small car, being pursued through down town Los Angeles. There is a quick transportation sequence, out to a few roads around Ramridge I think, where I learnt to drive. We (?) crash by a field and a lake, much like the previous encounter. Cut to a shot of three people, now as small wooden dolls, being set on fire. I assume this is me and my companions. Kevin Spacey is in charge of our swift dispatch (sic). Later, we wake up in a patch or clearing amongst grass, circled by tall trees. There is money scattered all about. My friends are all Tom Hanks'.

Comments

Popular posts from this blog

Sixty Eight

In some sort of wasteland, possibly Malton from urbandead but in reality. The buildings and general lay out of the space appears to be a grid system, dark green, crisscrossing and bisecting the land; it resembles a giant board game. The sky is muted orange, and I have a feeling there is something lurking in the increasing shadows that dusk has introduced. Someone who I am with shows me around their flat. From the window I see abandoned car parks, and in the distance lakes and mountains, though this view is partially obscured by smoke rising from refineries that seem to encircle the town. The light is falling away. No-one is on the street when I am taken to the next house. The view from the window is the other house. Each subsequent place I am shown around offers a view of the preceding property. I am caught in a loop of property viewing, with some unknown menace responsible for the trap I find myself in.

Seventy Two

'In an underground complex, all crumbling concrete and rusted stairs. There are zombies here, mouths red with blood and flesh. I pilot a small buggy, knocking many of them over, until I end up being stopped by the sheer number. I climb out but they vanish. A man in strange suit motions toward a stair case as an elephant-man-type zombie stumbles toward me. I am to fight him. I hide behind a strange wall. The zombie turns in to a gun turret which I eventually destroy.'

Seventy Four

  The city has been invaded by some sort of 14th century Shogunesque army. They've taken over the giant bathhouse/restaurant, akin to the one from the film Spirited Away. We attempt to retake it by crossing a bridge, carefully balancing on taught wires [I've been playing a lot of Ghost of Tsushima], but archers lean from upstairs windows: they fire down at us, and I see bodies plunge into the river below. I try and alternative tactic for entry, taking an alleyway behind the building, but before I am able to help I become entranced by the unusual intersecting pipework that criss-crosses the space . Staring dumbly at the patterns, I hear the battle continue in the distance.