Hi-Vis, Lo-Res Ragnarok

James Cauty-The Aftermath Dislocation Principle
James Cauty-The Aftermath Dislocation Principle

The idle rogue Al the Angle surveys the scene from the window of the 33rd floor apartment of a high-rise in the unfashionable north-eastern suburbs of Agartha where he’d holed up. He searches the horizons, the immediate, the distant, both the approaching and receding, for the event.
Lighting a cigarette he pauses before turning around dramatically to address his small audience.
“Well, fuck me sideways, backwards and every possible other angle, but blow me first, just after we have shared a glass of Kool-Aid Sangria. Though later my doves and darlings, my languid loves, for now I have to share my vision, the revelation at hand, and I need my cherished clan to bear witness because there are massed ranks of Powers, Principles and Intelligences seeking to crush and destroy the Great Work that we have just commenced, at every turn, every corner and from every angle. Of course every fibre of my being is flexing and straining to avoid this eventuality, but they are legion, their ways are not our ways, their procedures are obscure to the minds of man and I am, after it all, only human. So you are my heirs to whom I entrust everything, for the Process must be completed, we will prevail!
“Now hear this.
“Can you hear it?
“Here comes the drums, banging the tune to the end-times.
“It will be a hi-vis, lo-res Ragnarok.
“See the indeterminate warring factions ordering their indiscriminate followers around.
“Whose side are we on?
“Let’s not worry about sides; we have been spoiling for this for the longest time so that vengeance can finally be ours.
“They have taken us for fools for too long, first they say yes, then no, stop then go.
“To which I say enough already with your canting jargon, your cunning linguist stunts, your arrogant argot.
“The lion has awoken and that means war, trouble and more.
“The writing is on every wall for those who have eyes to see.
“For when they say peace and security then the world is lost.
“Can you see what I see?
“Apocalypse.
“Aftermath.
“A world no longer just numismatic or hypostatic or statistical.
“Time for a change
“Can somebody in the house say yeah?
“Fuck yes.
“But all this is the work of tomorrow, for now let the show start, the games begin. Let’s drink, ball and shout.
“Can I get an amen?”

(Another elliptical installment in the Showtime series. Random other parts can be found by following the links to Uneasy City, X Marks the Spot, and Rapturous Ascendancy).

Dreams of Desire 23 (Elle)

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Elle-Gustav Adolphe-Mossa 1905
A delirious summation of late Decadent motifs and misogyny, Mossa’s Elle presents a vision of the cosmic and mythological femme fatale. A gigantic female figure, Elle, whose baby doll face contrasts sharply with the full sensuous body sits provocatively atop a mountain of predominantly male corpses and bodies. The only colouration on her pale skin is the tiny hand prints of blood left on her fleshy thighs by her doomed victims. Her shadowed gaze is seductively direct beneath the three skulls she sports in her hairdo, watched over by two ill-omened ravens.

A potent if somewhat tawdry (but the Symbolists were never very restrained) combination of Biblical and mythological references, Elle could represent the apocalyptic Whore of Babylon or is maybe an allusion to the Valkyries of Norse Mythology (Wagner was the favourite composer of the Symbolists). The Valkyries would choose half the slain of the battlefield to come to Valhalla in preparation for Ragnarok (or Gotterdammerung in German, the twilight of the gods). Ravens were a bird considered sacred and intimately connected to Odin the All-Father who was always accompanied by two named Huginn and Muginn (Thought and Memory).