Death Again

I mean, death possesses a certain life of its own does it not? A glimpse into the bowels of what once was. Life and death refer to existence and no longer extant, but existence functions on a continuum. A sentiment and philosophy acknowledged in the band name N.E.R.D. (No-one Ever Really Dies), unless…

William S. Burroughs makes astute observation and provides deeper (spiritual) commentary on a not dissimilar concept on page seven of his book, The Western Lands, when he postulates scientific substantiations of souls and their cosmogonalogical essence and life span: 

Can any soul survive the searing fireball of an atomic blast? If human and animal souls are seen as electromagnetic force fields, such fields could be totally disrupted by a nuclear explosion. The mummy’s nightmare: disintegration of souls…

As long as electromagnetic force fields (Souls) composed of inter-connective energetic matter (flesh-less human entities) are our corporeal destinies (if mushroom cloud causing annihilation’s remain unpressed) then Pharrel Williams and the rest of the N.E.R.D. clan, countless musicians, artists, and other cosmically tuned creatures of the Universe, and, lastly, the sagacious Joni Mitchell, who eloquently expresses her Universal understanding in the song Woodstock at the Woodstock festival: 

…We are stardust / We are golden / And we’ve got to get ourselves / Back to the garden / Billion year old carbon / Caught in the devil’s bargain / We are golden / And we’ve got to get ourselves / Back to the garden…

there exists an irrefutable responsibility upon the mislabeled and scapegoat identified “lost” : individuals blessed and cursed with grace and consciousness bound to infinity’s universal, sentient composed, stardust – an invincible ubiquity beyond our limited access to the physical realm. And this was exactly Toshio’s conundrum, reality: and its proceeding stages of ambiguous recompense. What Toshio began to realize was (gifted by way of metamorphic transition from experiential waking to purgatorial ephemera) these were his his final days of corporeal engagement: now he, like Dante, must back-fill the blind spots of his emotionally inconsiderate and selfish past: Toshio was relegated to self-examination – how does one determine, with grace, the severity of their consequential past? Now he is to tease out, through the allegorical recapitulations of actor’s by other names, the degree and severity of other’s resentments, and interpersonal miss-firings – all slowly comes to view once relocated from petri dish to viewfinder. 

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