"There are certain queer times and occasions in this strange mixed affair we call life when a man takes this whole universe for a vast practical joke, though the wit thereof he but dimly discerns, and more than suspects that the joke is at nobody's expense but his own."
― Herman Melville, Moby-Dick

From my old web-site - from 2003 or so.

Since my porcine companion, Portobello Poblano, (we call him "Porto" for short) and I had a grand day of adventure planned, we decided to have a hearty lunch at the restaurant in our hotel, the Akimbo Arms. Porto had the fried chicken and cream gravy which is too greasy for me, so I ordered the fruit plate.

The mangoes, strawberries, and plums were wonderful. The melon balls, green, yellow, and fleshy orange were passable, cool yet a tad slimy. I was horrified to discover there were no grapes on my plate (and they are in the prime season now!).

I complained to our waitress, a stoic, statuesque woman, until I was literally blue in the face. Finally she left to fetch a bunch.

Where is she? She is the slowest waitress I have ever seen! It is as if she is made of stone!

The young man aged before our eyes. The day darkened, he changed. His painting, though, became developed in color and enveloped in light. This is art. The artist grows old but the years of experience are preserved in the bright colors on his canvas.

We are approaching the heart of the Mythos.
The Dallas "Sacred Can"
A mural, a memorial to the creators of it all.

The Rhinos were being overrun by their mortal enemies, the Hephalumps. Their horrible Hephalump claws were penetrating the inner perimeter defences. It would be only a matter of minutes until the Hephalumps were dancing their victory jig over the corpses of the enemy. Soon it would all be wails, horror, the grinding of horns into aphrodisiacal teas.

The only recourse available to the heroic, if dim-witted, Rhino commander was to call in an air strike on his own position. On his command the orange-flamed lead finned death screamed from the green afternoon sky.

The only victor on the field of battle today would be the angel of death and her minions of buzzing flies and conqueror worms.

We came to a door.

Adventure

A door, a door to where?

Electric Frankenstein ("Takes on Texas!")
Chumps
Huge Peter
Orbit Room
BARFeeders
Pump 'N Ethyl
Spazmis
Urine Trouble
The Murderers (on tour) (all ages)
Hi Yah!

Visa and MasterCard Accepted

We had credit cards, so we went in.

The yuppies were advancing on the Mythos. Buiding their condominiums, their gated communities.

In self-defence, the denizens built this moat. Lined its walls with the most effective totems in their arsenal.

The spiked foot
The burning bathtub. (Life is what happens to you when you are making other plans).
The crazy old man.

That'll hold them yuppies, keep the barbarians at the gate.

We were now past the paintings and the only remaining clue to the mystery that was the Mythos were the Cylinder Mounuments. These were everywhere, lined up, these wooden shafts. The local denizens decorate these poles with metal and paper. They are studded with small strips of steel, hammered in or shot through by spring loaded guns. Starnge cryptic messages are sometimes attached, extolling the virtues of various mysterious meetings, shindigs.

What strange ceremonies lead to the decorating of these poles? What goes on in these promised parties?

We came around the corner and there it was. Up high, next to a drawing of the king's head and crown. The roundear king's grubby hand reached up towards the words. Small print, yet legible, the words, the words. We had walked so far and braved so many dangers to find these words, this phrase.

But what did they mean?

This is a place that in which you are in a joint of pleasure and pain. A possible everlasting joy of never reaching the end.

Ah was watchin' mah TeeVee when this voice comes on and says that it was time to activate the 'Mergency Broadcast System. The voice said it was only a drill, but I decided not to take any chances. I 'membered that there was this place where the street goes under the railroad tracks, an underpass, I 'membered that there was one of them yeller 'n black deals, fallout shelter signs. So me 'n Ol' Paint, we walked down to the spot. Ol' Paint is too old for me to ride 'er, so we both walked.

Ah saw what I thought were rooskie planes flyin' overhead so we giddyuped under those tracks as fast as we could. Ol' Paint 'n I huddled 'gether in that there underpass, which smelled o' wino piss somthin' awful, I'm not afeared to tell ya, fer what seemed like hours and hours. We heared what we thought was the end of the world, this terrible rumblin' and shakin' and what not. We were plum scared, we was, I'm not afeared to tell ya.

Turned out out it was only a fast frieght out o' Beaumont, carryin' imported machine tool parts and tank cars of acrylic monomers 'cross that bridge over our heads, but we didn't know any o' that, not at the time anyhow. So we were sorely relieved when that policeman told us nothin' was goin' on and rousted us otta there. He told us to move along and we went out the other end from the one we come in on.

And there he was. Painted up on the pillar 'tween the two roads, one goin' in, the other out. The darm Cactus Cat-Dog Angel, painted up there, pretty as real life. And twice as scary too. As relieved to find out the world wasn't endin' in a nucular holocaust, that Cactus Cat-Dog Angel shore gave us the willies, chillin' right up our backbones.

We'd both heard the stories. 'Bout the Cactus Cat-Dog Angel showin' that day out in Abeline, 'bout how the sun had turned red and the wind blew hot, and all the birds flew off, squakin, in fear. Folks don't talk 'bout much mor'n that, they's too skeered. In Fort Stockton, 'n Monahans, 'n Tulia too, all those towns where nobodys got nowhere to go 'cept out into the open land with the sagebrush and mesquite when the scary things come.

Since that day, Ol' Paint 'n I go down to those tracks and check on that ol Cactus Cat-Dog Angel, makin' sure he ain't up to nothin' bad. Sometimes I leave a little beef jerkey, or a half a plug of chewin' 'baccy there by the wall, Ol' Paint 'l leave a hank of fresh hay or a piece o' salt lick. Just to be sure.

Don't hurt nothin' to stay on the good side. Y'all know what I mean?

The Giant showed up out of the blue. Pulling his wheeled cart he tore through the parking lots, grabbing cars left and right.

He chose carefully, not the most expensive or most exotic vehicles. He picked certain ones because he liked their colors.

The police were overmatched, they were forced to call out the big guns, the army and Toho studios.

But as the tanks were assembled, as the planes took to the air, the Giant decided to leave, as suddenly as he arrived.

"I think I hear my Mommy calling!" were his only cryptic words as he left.

At the edge, we found the artists working on the Mythos itself. A young man, painting. Extending the wonder, the art, the legends on and on, into the darkness.

Porto and I climbed up through the crack, hammering steel pegs into the rough rock as we went. We used our trusty sisal ropes to pull our bicyles and other provisions up after us.

We were afraid the Mythos would be extinct on the surface, but as our eyes became used to the sunlight we spotted a sign that indicated we would have a clear view ahead.

One look at the wall, with its Atlas and winged globe, fantastic preacher, and purple eye creature, showed us that the Mythos was alive and well in these here parts.

We were now at the end, the last door. Set behind one of the mysterious metal encrusted cylinder monuments was the nondescript entrance. As Porto and I were examining the portal, a dirty man shuffled up to us on the street.

"Cain't y'all read! It says there to Leave yer rad'ators outside!"

Properly warned, we leaned our radiators up against the monument, pulled open the door, and passed through.

She was handsome, he was beautiful. They were in love. They were doomed.

The dark slick night, red hotel sign blinking vacancy, reflected in wet asphalt of the parking lot. He sat in his car outside room 15, idling the engine. A cold, hard mist continued to fall.

On the dash was an empty bottle of Jonny Walker Red, on the seat beside him was a loaded 38. She was inside the room, excited, expecting romance.

"Sorry, honey, not tonight" he said to nobody in particular as he backed out into the night.

Porto and I were worried that we would be lost in this savage land. The symbols and streets were mazelike and confusing, promising unknown pleasure or death around each blind corner.

Luckily, the denizens of this place had provided a map, applied with cunning dexterity and accuracy to an side wall. My companion and I stopped for a pull on our refreshment flasks and discovered the map.

As a matter of fact, I practically leaned my bicycle upon the very lines before I was able to decipher the 'glyphs and determine its meaning.

Lady luck and her elusive lover, Good Fortune, have both smiled upon us this very day.

A crack a creavase.
Tremendous hideous strength.
Sound of rumbling, steel and rubber thunder.
Through the crack of light
giant luminous buildings, floating on air
and green green cash

Down here the lost wander
sleeping unseen in the open
smells of filth, smells of alcohol
Shanty smells, in the clear, yet dark

Climb, climb if you dare
If you can
Don't forget us
Thought we know you will.

We'll forget you too.

There is no way that I can put down in this humble notebook all the wonders that Porto and I saw, heard, and smelt on our perilous journey through the Mythos.

At the end though, as we were returning to the paddle boat, was a surprise for me. A very personal surprise.

Totally by accident (dare I say it - by Chance?) we met up with Betsy, a woman I was in love with a long, long time ago. It was a youthful, torrid affair, but I was soon put off by her sometimes coldness, and the terrific differences in our backgrounds. So I grew proud, and resentful, and then came that one terrible, regretful night, when I drank too much cheap wine, and said things that should have been left unsaid.

We have drifted far across over these years, but meeting her again brought the memories back. Her regal air, that precious spit curl on the side of her head, those firm naked breasts.

Betsy and I will meet again next week. What will happen? I don't know. I'm wiser now, I can see clearly what I gave up for pride long, long ago.

Here in the Mythos, the tales and stories of the real world filter in. But they become distorted, warped by the peculiar needs and desires of the people here into lessons for their own place and time.

"The little engine that could" is a mural in honor of the little steam train that almost made it over the mountains, bringing toys for the deserving girls and boys. He almost made it but needed help from Arcturus, the eagle, and Wilbur, the strongman of the mountains.

But when the engine reached the city on the other side, he didn't mention Arturus or Wilbur and took all the credit for himself. He was hailed a hero; songs, books, and films were made in his honor. Parents would tell the fable to their children in a pitiful and futile attempt to spur the kids on to a purposeful and brave life.

At night though, the engine would hear the caw, caw, of high and distant eagles. When he rolled past the woods, it seemed that someone would throw mudballs and faint curses from the deepest forest.

It wasn't long before the little engine was replaced by diesel-electrics. He was left to rust on a siding, croaking out his tale to any unfortunate passersby. His story lives on, but he is known now by the few that know him as a pitiful old loser, whining away on lost glories.