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Go and Show Yourself to the Priests
It didn't take much to read the writing on the wall. A finicky switch. A hot light. A fan's drunken buzz. A mirror. And a transparency.
Transparencies were sheets, thin and made of plastic. At times, they came in a roll. On them, a teacher, an instructor, an artist, an engineer, a mathematician, a lyric-loving praise band groupie, was able to write—or print, or draw, or smudge—examples, illustrations, analytics, iterations, or ecstasies, as they were dreamt, spoken, solved, stewed-upon, or sung.
And there they would shine. Transfigured.
Perpendicular from that place where they were laid.
For Belshazzar and everyone to see.
Before transparencies, there were other ways to share with light. The slide show. A magic lantern. The camera obscura. Shadow play, magic mirrors, trotting horse lamps, and Pythagoras, with Heinrich Cornelius Agrippa, looking-glass in hand, inscribing magic blood-scripts onto the moon.¹
The desire for one to have one's beautiful insides illuminate a room full of eager eyes is not a modern one, alone.
This is what we do. We shine our beauty for the world to see. And when we can't shine it, we share it, wearing it on buttons and on our sleeves.
And what do we do with that, within, which doesn't sparkle? Those things for which we've built cages in the forgotten oubliettes below? Those desolate and deserted parts where the perennial heads of the Baptists and the empty chairs of Elijahs are stored?
These we shine differently.
Not with lamp and fan but with fire— beautiful and rollicking—but: uncontained, convicted in its violent consumptions; zealous and scalding and unpredictable.
The beautiful, we shine. The hidden smolders, its flames arriving involuntarily, provoked with the sound of the wind, passed gas in the boardrooms of the rich, its heat fixing insides onto faces of others, as it fixed them onto the lepers and the Lazuruses of Rome, so long ago. Their appearance, zombie-esque, evoking frightened disgust, summoning premonitions and paranoias, death's foretaste, acidic belch, nausea; their skin a screen of silver, the taking-place of the horror show: monsters, meannesses, guilty desires, fantastic fears. Freed at last from the captivity.
Illuminating.
Distorting.
The lepers and the Lazaruses.
Looked at, as the prophets would have it.
In the glow but seldom if ever seen.
So it was with the Worm King who roamed the streets possessed by Soterian fervor, making it certain that the tombs would remain empty for at least another day; saving what others threw away, caring for those left beaten and bloodied as the priests and their sacristans go about their days.
Home was complicated as all homes are. And yet, his public life was Eastertide.
No matter.
The house paint was flaking.
And eccentricities are leprosies, too.
So the neighbors couldn't help it.
They looked at a man who didn't save for rainy days, but who, rather, spent them saving. And all they could see was a monster. A hell erected there on the hill.
And a mirror.
If only they had known what they were seeing.
Lights and mirrors. Fire and insides. We do this to those who are dead, too.
Sometimes we call it a eulogy.
~Thomas R Gaulke, “Go and Show Yourself to the Priests,” in Thomas R Gaulke and Matthew Holmes, Everyday Armageddons (Eugene: Cascade Books, 2023)