Friday, December 05, 2003

vignette: blood lens

I ride the knife as it slashes towards the woman, her screams muffled by the null-audits of my helmet. Still, I feel the sound, the sibilance crashing over my compartment at the blade’s sharpest point, melding with the low rush of wind as I cut through the air.

Everything occurs in slow motion: time plays tricks in the miniaturized world, but my radon clock keeps absolute time. Around me, the cameras record the approach; the digital images they capture streamed across the impossible gulf and recorded by receiving computers somewhere measured in terms of geological time.

As I near the break point, I cannot not help but blanch at the inelegant terrain that is the woman’s skin. At my size, flesh tones define the sky and the horizon, follicles tower like sullen gods forced to kenosis, and a scab is a valley where all the world’s evils reside in putrid glory.

I adjust the cameras for optimal perspective. I need every possible shot, every possible angle of entry to create the movie in my mind. There are some things one just cannot fake with editing suites, and the moment of penetration is one of them.

I prepare for impact, checking my harnesses and helmet one last time. I am confronted by an obscene emptiness before the knife tip makes contact with the skin. For a moment, it is as if nothing else would happen – in this exquisite moment before the inevitable, I ejaculated, cursing myself silently for coming too soon, for my picayune vagaries.

Then, the cut.

Skin gives way, diaphanous and irrelevant. A tear and what is the beneath the epidermis is exposed. I have a chance to breathe before the blood reacts, welling up, flooding out in a single eternal globule, black and blacker from my viewpoint.

And the ride continues, as cut past skin and go deeper within the woman. Darkness is replaced by the lambent glow of my cockpit lights and, as I find myself embraced by the hot wound, the temperature in my capsule adjusts, lowering to accommodate the heat outside the blade.

I command the cameras to 3D-mode, orientating ellipses, making panoramic cycles of motion, enslaving everything that can be seen.

Everything is beautiful.


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