Volume Three, Issue 3

Crônica for the 25th Letter

Rone Shavers

Why default to sententious positions? Remember, the world needs less of la poesie and more plain verse. Music is the first language. Even insects and animals fall sway to it.

Is it “right as rain” or “right as reign”? One denotes nature, some sort of natural order; the other denotes an executive fiat. In either case, isn’t it odd that we have such a polite phrase to describe what is essentially a violent imposition?

When considering dissociative behaviors, it’s important to first remember that any discourse concerning personalities must bear in mind that there is no rational, specific definition of “normal.” All there are is a set of normalizing behaviors, which vary according to time and ethical custom, from place to place, epoch to epoch. The very idea of a dissociative, then, can be contemporaneously misleading, an historical/temporal oxymoron.

Like when you see a squirrel and you say, “What’s up, squirrel?” And that squirrel, he don’t say or do nothing but run away. Cause squirrels, they stuck up, that’s why.

And we turned and turned and turned; y volver, y volver, y volver.

Why mention Borges? Why not mention Borges? Especially since the approach, the very idea of the form evokes Quevedo via way of the wily Argentine, and thus things come full circle. The minimal becomes baroque through the use of implied ornamentation.

You’re not wrong when you say I ain’t right.

I’m here to fight the tyranny of the canto/ Here to tell a rhyme a bit slant/ Oh, I think it sounds best in Esperanto/ Because the cant I keep reciting/ Isn’t oh that fantastic.

What it is, is the act of copying. What it is, is that the act of copying creates something new because each copy, in its attempt at creating a perfect replica, fails to achieve perfection. And it’s this imperfection in the drive towards perfection that creates something novel, something wholly original.

Hermetic. After inebriation, Dionysian.

And of course, we all recall the story of the famous Lothar, the fiercest monster in all the land. What a shock it was when we discovered that he ate all those villagers as a way to compensate for his crippling sense of social anxiety.

And time and space and motion, they’re all there. Il y a quelque chose là, là-dedans. But it’s only a feeling, an emotion, the impression you get when you take your hand from the frosty window and the mark is still there. A testament to ephemera, preserved.

Rone Shavers: "I am a writer who publishes in multiple genres. My fiction has appeared in various journals known for showcasing experimental or innovative work, including ACM: Another Chicago Magazine, Identitytheory.com, Longform.org, Nth Word, PANK, The Operating System, and Thought Catalog. My non-fiction essays and essay-length reviews have appeared in such diverse publications as American Book Review, BOMB magazine, EBR: Electronic Book Review, Fiction Writers Review, and The Quarterly Conversation. My latest work is an experimental Afrofuturist novel titled Silverfish, forthcoming from Clash Books in 2020."

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