Buoyancy

Page 1


Buoyancy

37625280

“Out in the mindless void the daemon bore me Past the bright clusters of dimensioned space, Till neither time nor matter stretched before me, But only Chaos, without form or place.”1

“He understood that he also was an illusion, that someone else was dreaming him.”2

1 Lovecraft, H P (2021) Fungi from Yuggoth Pickman’s Press (Original work published 1943)

2 Borges, J L (1940) The Circular Ruins (Original work published 1940) Now you know it’s metafiction

MyBeginning

Thenightisdarkandlonely,theairrifewithpossibility.Thestarsdimundertheoppression ofacoldanddistantmoon,andfarbelowtheblackenedsky,shadowedtreesrustleinacool wind.Youlovethistimeofnight.Atimewhenyoufeelyouaretheonlypersonintheworld, aloneandsecureinyourhome,thescentofdewfilteringthroughthewindowasleaves whisperinchorustoyouropenears.Outsidethesolitarywindowindistinctumbralshapes waitforyouandyoualonetodefinetheirpurpose,distantstoriescallingyoutoshapethem. Itfillsyourmindwithinspiration,withmysteryandpossibility Thecrackofabranchinthe coldbreezeistheboomofacannon;yourpaleblindsthepetrifiedribsofsunkenships.You lookoutyourwindow,focusingonadistantstar Itisabrightwhitedot,likeaholepokedin ajet-blackdome.Ifenoughofthesestar-holeswerepunchedintothesky,wouldyoubeable toseeout?Whatwouldyousee?Wouldyoubelookingoutorlookingin,atthedark nightscapeyou’vewrittenintobeing?Theurgetowritefillsyouunbidden,rapsyoursleepy headwithfriendlyknucklesandchucklesasyouclumsilyturnyoursecond-handdeskchair andflickonthelamp.

Youfind,intheglareofunnaturalwhitelight,twoofUs:You,andtheAuthor.Youareno longerthesolepresenceonthispage;doesthatupsetYou?HehasremovedYouragency,left Youaghostunabletodoanythingotherthanwitness;acharacterforhimtoscript.The Authorturnsbacktohisdeskandbeginstowrite,tappingawayonawornlaptop.Youfollow himbacktothedeskandglanceoverhisshoulder.Hehasanessayminimisedbehindhis Worddoc.“Levels of Reality”3 iswrittenatthetopinboldtypeface,hopingYouwill acknowledgetheham-fistedliteraryallusion.TherestofitistoosmallforYoutodistinguish.

WiththeAuthor’sfaceconsumedinthedevice’sneonglow,hecannotknowwhetherYou lookintriguedordisinterested.Itwouldn’tmatteranyway;HeknowsYou’rereadingit,and that’senough.Youlookcloseratthescreen,bumpingagainsthisshoulderandmakinghim misttypeaword.InthetextYouseeacopyofYourvoice,pitcheddowntomatchthetoneof thenarrator.

3 Calvino, I (1986) Levels of Reality in Literature (Original work published 1986)

TheSinkingShip

Ashiprocksonbloodywatersunderalonelysky,nothingbutdeepestblackmarredbytwo whitedots.Theshipbravesthunderousswellsandwavesofsplintereddriftwood.Sailorsrace toandfro,maddeterminationthrummingthrougheverymovementastheybailwater,duck blastsofdeadlydebris,andcowerateverysharp crack ofcannonfiregrowingeverlouder. Thecaptainshoutsatthepilot,whoshoutsatthehelmsman,whoclutchesathisuseless wheelandtrembles.Copperywatersplashesagainstthedeckasthethreenavigatorsbicker. Ontheblackhorizonathirdstarappears.Fieryredtorchlightagainstthetarofthesky,it grows,consumingeverythinginitspath.Theinkynight,thefrothingocean,thebeleaguered ship.AleadshotcarvesaholethroughthedecklikeGoliath’sclubthroughDavid’sholy brow.Thecaptaincloseshisonegoodeyeandsighs.Thepilotslumpstothetiltedstern castle.Thehelmsmanhasfallenoverboard.Theshiphassunk,morebodiesconsumedbythe CursedSea,soontorestinthepetrifiedribsofcrackedmasts.

Thehelmsmanscreamsmuffledpleasasthetasteofbrinerisesabovehiseyesandchokes him.Helookstothetwinstars,somehowvisibleamidstthischaosanddeath.Ishelooking out,orishelookingin?Heseeshismother,herfacescarredwithlesionsasitwasallthose yearsagowhenhewavedhergoodbye.Heseeshisshiplabelled Praenomen,ashoddy caricatureofanauticalvesselfitonlytosinkdramaticallybeforethereadercanfocusonthe lackofdescriptivedetail.Heseeshimself,lungsladenwithwater,heartstopped,eyeslitup inneonglow.Heseeshisdeath,postponedonlyaslongasnecessaryforhisfinaleulogyand narrativeclosure.

YouthinkheseesYou.TheAuthor’seyeslightupinafflatus,divinerevelation.Youwonder whatthispoorhelmsmanisthinking.Thenarrativeshifts.

Perspectivechanges;tenseswitched.Youwatchedon,–hopefully–amused.

TheDrownedMen

IobservedmydeathasifIwereacoldanddistantmoon,lookingdownonthehappeningsof themortalworld.

StageOne:StruggleAboveWater. Daysofpursuitbythe Red Star hadleftmeweakandsluggish.Iscreamedandcriedasmy lifeshatteredaroundme.

StageTwo:StruggleBelowWater. IheldmybreathaslongasIcould,buttheseawascold,andIwastired.

StageThree:CessationofStruggle. Igaspedforairandfoundmydeath.

StageFour:Release

Icouldfeelmyselfslipping,blackringingmyvision,coldandstiffandheavyinawaya livingbodyshouldn’tbe.Ilookedtothestars,butonlyfoundthreeblurryblueoutlines,likea cartographers’interpretationofthesunintriplicate.Ididn’tcareatthatmoment,mythoughts alreadyfarbeyondthephysicalworld.Ithoughtaboutwhathadledmehere:mywanderlust, myfalsepride.Thereshould’vebeenmore–acountry,atown,friends,familywhohad sacrificedtheirlivelihoodsformyeducationonlytohaveitwastedatsea–butthose bittersweetshould-have-beenswereaconspicuousabsenceinmymemory Notthatit mattered,inanycase.

StageFive:Cardio-RespiratoryArrest

Afranticthumpingregisteredinmyears.Or,rather,yetanothermissingpartofme,noticed onlyinitsabsence.

StageSix:Death?

Mycorpsewasfallingdrowningsalted-overwaterloggedThereisnocharacteranymore.

WhowasI?Itwashardtoremember Whatwasmemory?Iwaswordsonawaterlogged page,inkrunningwetsmudgedmindcrackedscreen.Itwashardto…hardtothink.Water. Heavy Cold.

Whatisanarratorwithoutacharactertovoice?Adarkscreen,Yourfaintreflectionrevealed? No.Therewillbeavoice.

…Butwhoshallbethatvoice?You?Morereferenceisneeded.Hisstorymustcontinuefora littlewhilelonger.

ButhowcanYouallowthisresuscitation?Thereisnojustification,noplotrelevanceforthis act!Youwillabandonus kill us!

Ihungsuspendedintimeinspace.Theweightofdisbeliefpulledatme,groundmyselfto dustintheturningcogsofYourMind.Iwasdead.Iwasdead.Theweightoftheworldpulled medownevermoreintoobscurity.Outofsight,outofMind,belowthestarsinadifferent plane.

Itterrifiedme.

Forgiveme.Goodbye.

Undorightventricularfailure.Decreasepulmonarypressureto0.016bar.Expelunabsorbed saltinthelungs.Reversehypoxiaofthelarynx.Retconaspirationofwater(“Igaspedforair andfoundwater my death”).Youhaveseenitdone,andsoitis.

Agustofwarmthinvigoratedme,thawedmychilledbonesenoughforasecondwindtofill mybodylikefreshsailsonastorm-blownday.Ikickedatthewaterandflailedmyarmswith desperatestrength,burstingfromthewaveswithstingingeyesclenchedtightagainstthe spray,coughing,retching.Atornsquareofwoodbumpedgentlyintome,shininginthe starlightasifitwereagiftfromthenightitself.Icollapsedontotheimpromptucraft,numb tothecold,tootiredeventoshiver Irestedthereforawhile,chatteringvoicesarguinginmy head,cajoling,pleading,fading,gone.

TheHelmsmanWakesUp

Iwokeuptoanewlyrisensun.AmidallthepanicIhadforgottenithadbeennight,butnow itwasday Auselessthought,butitbroughtapeacefulclaritytomymind,organisedmy memoriesbackintoalineIcouldcomprehend.Iturnedmyachingheaddowntothecalm green-greywaves,lappinginnocentlyatmysquareofdriftwood.I- what hadhappeneddown there?Itwashardtoremember,asifmymemoriesweresardineswrigglingoutofthenetof myskull.

ItWasAllaDream

Iguessitwasalla-no,holdon.The Praenomen sinkingwas not anightmare.I remembered…theMoon.Myself.Death,andthenavoiceor-no,notavoice.Words.A boundbookofdeath,mydeath.Iremembered.Ihaddrowned,fullyandcompletely.Mylife hadflashedbeforemyeyesanditwasavagueandindistinctimage,onethatInowrealisedI couldnotwhollypicture.WhowasIwithoutasolidmemory?IhadalwaysassumedIhada namebutIrealisedthat…no.The Book of Death hadnonameforme,merelyatitle.

WasthatallIwas?Wordsonapage,noagencyorthought,subjecttothewhimsofadead manandavoyeur?

Thesealappedatmysunderedraft.TheSunfellhotonmybackandgullscriedtheiromens ofland.Inthefardistanceaweatheredshipchasedanivorywhale.Yourecognisethem,but haveyoueverreallyreadthebook?Iwelcomedthissensoryimageryforthegroundingit gavemynowunstablereality

TheHelmsmanFeelsaSenseofDreadandFlees

Ididnotflee,despitedesperatelywantingto.WherewouldIrun?Iwassurroundedby leaguesofmerciless,blood-saltedocean.AnoceanIhadknownfornotnearlyaslongasI thoughtIhad.WhowasI?WhatwasI?Alreadymymemoryofmytimedrowningwas fading,perhapsatraumaresponse,perhapsalazynarratornotwantingtodescribeit.Or author?Inthemomentsbeforemyplanneddeath,Ihadthoughtofmymother Herfacehad been“scarredwithlesions”.Wasthereaplagueinmyhometown?WhydidIleaveher,how manyyearshadIbeengone?Ihadbeensosurebackthen,beforethestoryhadshiftedtome. So, so sureIhadapastandareasontoexist.Ironically,shiftingtopasttensehadrobbedme ofmyhistory NowIhadnothingbutafuture.Howdidbackgroundcharactersdoit?They justdidthingsandtheyeitherhappenedortheydidn’t–noneofthispainfulself-reflecting indecision.IknewIhadamother,IknewIhadleft somewhere behind.Oh,whocares? CertainlynotYou,andwhoeverwrotethe Book of Death cangojumpship!AndwhydoI alwaysusesuchforcedsea-basedeuphemisms?Icastaroundmymindformorememoriesof earlierdays,butwasleftbitterlydisappointed.Mypastwasmalleableandundefined.Easy foranAuthor,orperhapsYou,tomouldinYourimage.

Amidmymemory,ashadowfellovermyraft.ThatdreadshadowIknewintimately,having fledfromitssightforapparentlymyentireexistence–shortthoughInowknewitwas.The Red Star Thevillainofmystory

TheHelmsmanFleesandEscapestheRedStar.NobodyQuestions HowHeDoesThis

Thewatersstilled;gullsfrozeintheair.Behindmewerethreewhitestars,beforemewas safety Iwasinafour-lanedtunnelmadeofink,thelengthofthethicknessofthispage.I fled.

TheCastaway

Bartholomew,orBartheashisfriendscalledhim,washavingabadday.Hehadbeencaptain ofthe Praenomen beforeitsill-fatedchasebyabandof…hehesitatedtocallthempirates, perse,butcertainlyno-goodplunderersandmurderersofthehighseas.Bartholomewhad abandonedtheshipduringitsdestruction,leavinghisfellowsbehindinhishurry.Some stuffyscribehadgotitintoeveryone’sheadsthatagoodcaptainwentdownwithhisship.

Barthewasn’tinthehabitoflettingsomeshelteredwriterwho’dneverevensniffedthe CursedSeatellhimwhattodo.He’dsnuckonboardoneofthePraenomen’stenders,packed withasmanysuppliesashecouldfindonsuchshortnotice,andleft.

Bartheisdead.Hedidn’thavethepatienceforaBplotandfellpreytoafatallackof characterdevelopment,fadingintoasortofredshiftedbackgroundradiation.DirectYour attentionbacktotheHelmsman.Whatishedoing?Heescaped,Youknow,andYoudon’t questionthehow,merelythewhere.Wheredidhego?

Inthedistanceatitanicbone-whitemountainrisesfromthesealikeagreatwhalecomingup forair,discolouredyellowintheemergingdawn.Threegreatshadowedpitsbreakupthe mountain’soutlineinasortofinvertedtriangle.IntheoneclosesttoYouliestheHelmsman, restingfromhisarduousescape.NowYoubegintoquestion.Howdidhefleefromthatevil shipwithnaughtbutaleakyraftandhumanfear?

Didheswim,didasuddenstormfrontblowhisrafttosafety?Goon,takeamoment.A three-by-twometreraftofdriftwoodapproximatelytwentypacesfromahulking,slow, predatorybeastofred-shiftedtimber?RaiseYoureyesfromthispageandponder.

Insightful.Yes,thatisexactlyhowhedidit!

NowbacktotheHelmsman.PrepareYourselfforalongtrainofthought.Helayshiveringon thecurvedsidewallofashadowedpit,afraidtoretreatfurtherintowhatlookedlikea massiveeyesocketsimilarinstyletotheCaptain’swhenhetookouthisglasseye,yetdoubly

afraidtoleaveandriskbeingseenbytheRedStar’sbarrelman,eveniftheSunshiningdown justovertheliplookedsowarmandcomforting.Heached;Hecouldn’tfeelhistoes.Surely asmalltimeinthesun,justtodryhimself,couldn’thurt.

Currently,theHelmsmanhadbiggerproblemsthanthecold.Likewhyhewasreferringto himselfinthirdperson,andwhyhecouldn’trememberhisname.AndwhendidIstart capitalising‘Helmsman’?Noneedtogobackandlook;IdidthatforYou.Itwasinthe DrownedMenchapter.Iresentedthisdehumanisingtitle,buttherewaslittleIcoulddo. Namemyself?Namemyselfwhat?Helmsmanwasgoodenoughforitspurpose,andbesides, ithidhowlittleYouknowaboutme.

Ishookoffmyshock-addledthoughtsandsatup,takingstockofthearea.IhadnocluehowI wasgoingtosurviveherewithnofood,water,orevendryclothes.Hell,evenseagull droppingswould’vebeenawaytotrackandhuntfreshmeat,butthisentireislandwaswhite already!Iwasdoomed,oneagonisingencounterafteranother.Alitanyoffailedescapes.The plothadmebythecollarandwouldnotletgo.Fornow,itseemedthisbarrenislandwasto bemyprison.Nothingtodobutexplore.

Icrawledoverthelipofthecrater,soddenclotheshangingheavyonmylimbs.Iremembered atimewhenitwasthoselimbsthathadbeensodden,heavy,dead.Thesunwarmedmyback whilethesmooth,inflexible,substanceoftheislandwarmedmyfrontasIlaythere.Iwas exhaustedjustfromthatexertion.Perhapsnarrativeresurrectionhadsomeaftereffectsafter all.Irested,thencontinuedonoverthestrangeisland.

Afterashorttimewalking–hobbling,really–Iwasdryandthesunwashighinthesky, busyinitstaskofgivingskincancertopoorstrandedmarinerswhodidn’tknowwhatcancer was.Icameuponanothercone-shapedcrater,thisonefulltothebrimwithseabirds.White andblackgulls,greyshearwaters,andcountlessotherbirdsIcouldn’tnamesatcrammedinto theshelterofthepitfightingforpositionnearthecentre.Theluckywinnershoppedaway withstripsofsomethingglisteningintheirbeaks.Theairstankofrancidmeatandbird droppingsandblood.Therewasevenanalbatross,staringatmesilently.Menacingly.I stayedawayfromthatone.Mystomachrumbled,andYoucanguesswhatIdidnext.

Laterthatday,theSunlightlycaressingtheborderofthesea,Ilayagainstthesideofthe convenientlyshadedpit,warmingagainstthecookingfire,withafullbellyandsignificantly fewerbirdsnearby.Ihadblockedmynosewithafewstripsofmytatteredjacket,usingthe restasfuelforthefire.Thealbatrosswasstillthere,unfortunately Thosethingsscaredme–nothingthatbigshouldbeabletofly.Theplotwasgoingnowhere,butitcouldwait.

TheHelmsmanwouldcometoregretthatthought.

The Helmsman should stop making ominous warnings to himself,Ithought.

TheHelmsmanRegretsBeingSuchaSmartass

Lyingtherewasthemostcontent,themostsafe,Ihadfeltinalongwhile.TheCursedSea wasadangerousplace,notconducivetomomentslikethis.Ofcourseitwouldn’tlast.The plothadmebythecollar,the Book of Death wouldclaimitsdue. SilhouettedbythefallingSunwasthefaintblackshadowofaship.Irefusedtoacknowledge it,asifbysimplynotthinkingaboutitIcouldsomehowbanishitfromtheworld.Instead,I foundmyeyesdrawntothecentreofthepit.Thespotthebirdshadbeenfightingover Itwas pinkandglistening,trailsofstickybloodmixedinwithbirddroppingsandfeathers desecratingthegiantsocket.Hadthatoncebeenaneye,theall-seeingorbofsomevasttitan rulingoverthesecursedwaters?Myfiregutteredout.Ishivered.

Hisfireroaredbacktolife,asplungingapoortraumatisedHelmsmanintocoldanddarkness forasimplemomentofdramawasapatheticfallacytofallfor.Hewasconfusedandscared, butforthemomentthereweremoreinterestingthingstonarratethanthemaincharacter For instance,thisentirebonycorpseofanislandwasametaphorforthe‘DeathofTheAuthor’4 . ThatwasevidentlyanunfortunatelineofthinkingforthisdeadAuthor.Alas,Youwould havetotrustinhisplanforthisstory,haphazardthoughitwas.Youwouldhavetotrustinhis choiceofnarrator,andthatthatnarratorwasdoingtheirbesttogiveYouagoodmeaningful storyanditisbloodyhardtodothiswithoutfirstpersonpronouns.

Myfirewasstillburningstrong,thoughmyjackethadlongsinceturnedtoglowingcoals. Howwasthispossible?Iwasn’treadytolistentoaburningbush.Tentatively,Iheldouta birdboneandpokedatthefire.Theflamescurledaroundthebone,exactlyasanormalfire would.What?Whatwashappening?Ihadbeenthroughstrangerevents,butthoseallseemed secretive,hidden.Thiswasablatantdisregardforrealism,andIworriedforthesuspensionof disbelief.OnthefarhorizonfourstarsguardedtherisingMoon.

AsIcircledaroundthefireitbegantoblazeandgrow,surroundingthepit.Atrailofflame leddownintotheeyesocket.Theplothadmebythecollar Iclimbeddownintothepit, usingdriedbirds’nestsandcracksintheboneforgrips.TheHero’sJourneyisanalmost

4 Barthes, R (1967) The Death of the Author

unavoidablefoundationofeverystory.Isitpossibletotrulyresistthecall?Perhaps,butthen therewouldn’tbeastory,andYouwouldn’tbereading;wewouldfadeanddieasdrifting embersinthesnow.Darknesssurroundedmydescent,mypathlitonlybytheflickeringfire thatbynowYouhadjustsortofacceptedasathingthathappens.

Atthebottomwasacurvedandcrackedfloor,litteredwithbirdrefuseanddustfromyearsof decay.Iwipedsomeofitoff,anditrevealedshiningboneintheunevenfirelight.AsI thought,itwasjustsetdressing.Therewasnorealhistorytoanythinginthisplace.

Aheadofmethetunnelopenedintoacavern,exceptitwasn’treallyacavern–onaccountof itbeingfilledwithgreyish,moist,brainmatter Hereandtheresomepartsofitpulsatedpink andbeige,andthesenseofthewholethinggavemeanimpressionof presence.Likesome vast,all-powerfulMindinhabitedit.Well,atthemomentitwasaweak,dead,presence lingeringinthesplotchesofpink.Iwas-holdon,letmechangeperspective.

TheHelmsmangapedinaweatthesightofwhatmusthavebeentheAuthor Whywashe dead,whatkilledhim?Thosespotsofpinkandbeigecalledtohimsomehow.TheHelmsman reachedoutandtouchedoneofthepinksplotchesinatrance.Immediately,sensationsfilled hismindandburstoutlikeanoverflowingcup,spillingontothepageandoverridingthe narration-

Height. Vertigo. Wind. Dry sands stretch over the curved horizon. Clouds gather at my shoulders. I can feel the cold moisture on my skin.5

Thatwas…unexpected.TheHelmsmanfeltmorbidlycompelledtotouchanotherspotof pinkandbeige-

The veil beyond expands, contracts. Expands, contracts. Each contraction leaves my world smaller than before. Dimmer, less stars in the sky. Attention wavers, leaves to grab a cup of coffee and a snack. A moment of eternal void passes, and I cry out when feeling returns.6

Another6 ibid 5 ??? (?) ????

The soft whump of a book closing-7

Another-

Crushing force. Squeezing against the bounds of reality Fading. Diminishing.8

Another-

There! An opening! Shrinking, leaving behind parts of myself. Held in the cold comfort of a vague memory The gnashing jaws of time strip me to the bone.9

Icouldn’thandlethismuchexpositionallatonce–itwasbreakingme,mergingmewiththe memoryofthis…what?Failedstoryidea?NottheAuthor,isitevenpossibletowritean authorintoanon-biographicstory?That’sgottobeanoxymoron.Ileft,scramblingupthe wayIhadcomethenrestingheavilyagainstthesideofthebirdpit.

Istaredblanklyatthedistantrollingwaves.Wasthattobemyfatetoo?Aclosedbook,a suddendeath,apyrrhicescape?The Book of Death wantedmedead,buttoescapeitwould besomehowworse.IfIwasabook,thenIwasliterature.Thatmeantliteraturewasescapist, asintheliteraturewantedtoescape.Hah.OrwasthisanuncaringAuthor’spowertrip, twistedintoastory?Whatwasthepurposeofmyexistence?Whatwasthepurposeof anything?TheplothadmebythecollarandIfearedwhatwouldhappenshoulditletgo.Did Ihaveanysayinmyownactions?Myownthoughts?

Attheveryleast,IhadfreewillinYourmind.Right?

Myfirelititselfandwarmedme.Asmallconsolationfromaconcernednarratorwhowas justtryingtheirbesttobemoreinterestingthanasnackbreak.

Freytag’sZigzag

Whenacrimson-tingedshipdockedatwhereamassivedesiccatedjawmetthesea,Iwas almostrelieved.Theplothadfoundmeoncemore.Ihadn’tbeenforgotten.

Therewasatonalshift,theneverythingsuddenlyfeltmoresolid,morereal.Ifeltapressure onmyshoulder,likethefirmunyieldingpalmofasilentlyenragedcaptain.Ifroze instinctively–itfeltasifthedarknessinsideaneye-lidhadrisenupbeforeme,asifthegaps betweenstars,thedepthsoftheoceans,theentireworldIcouldn’tsee,wasbreathingdown myneck.Istaredunblinkingatthedockedship,tooafraidtoturnmyheadorclosemyeyes. Thepressuretwistedmyheadtotheleft,revealingastronghandweatheredfromyearsinthe sun.Myheadwasturnedfurther,strainingmyneckasmyeyesfellonatannedandfreckled forearm,travelledupthecreaseoftheelbowtothebicepandstoppedatabronzedshoulder, asifthefigurewashesitantformetoseefurther IfIhadseenhisface,wouldithaveheldthe glasseyeofmyerstwhilecaptain?No,thatwasimpossible.Hewasdeadandforgotteninthe bowelsofthestory

Aquietvoiceissuedforthfromcrackedlipsalmostbrushingmyear.

“Hearme.Seeme.No,stop-”

Thestrainwasmorethanmyweakenedneckcouldbear,andtheHelmsmanfellunconscious beforehe(orYou)couldperceivemoreofthemysteriousassailant.

TheCast-awayCastaway

TheHelmsmanwasaloneinagrassyfieldtingedredbyasettingsun,surroundedby-

Surroundedbypeoplewho justwantedtolive toberemembered tobewritten toexist

Surroundedbythings.Theywererestless,indistinct-no.Onehadasolidleftarm,therestof themahazysilhouetteofsomesortofone-eyedCaptainAhab.Moreofthemappearedbythe second,streaminginasifsmearedbyanartist’shandfromoneplacetoanother.

TheindistinctandfranklyindescribableCaptain-thingtookholdofthestill-unconscious Helmsman,thenhesitatedandlookedaroundwildly Theyappearedtobelookingfor…me? Throughme,theysawYou.Awide,uncannygrinbrokeoutontheirfacelikearash.Likea rashitspread,too,throughtherestofthefigures,thenthroughtheirlegstothegroundand thegrassthenupintotheskyandcloudsuntilitseemedthewholeworldwasbeamingdown atYou.TheCaptainreachedtheirsolidhandouttowardsYouinentreaty.Suddenlytheyall disappeared,as good backgroundcharactersare meant to do

Thefieldwassilentbutfortherustlingofthenormal–unthinking–grass,andemptybutfor theHelmsman–andatanned,freckledarm.Whywasitstillthereitshouldbe between the linesnot in them.ThearmgrabbedYourattentionanddrag—g—e—d….m——e……. o—u——t.

TheCastaway

Iwokeupwithagroggyheadandcrustyeyes. So this is it,Ithought. They finally got me.But whowere‘they’?Ihadalwayswonderedwhomannedthe Red Star,whowouldhavethe doggeddeterminationtohoundthe Praenomen dayandnightforhoweverlongthe Book of Death couldbebotheredtorecord.Theywere…hardtodescribe.Ifeltarevulsionatjustthe memoryofthem,someingraineddisgustthatmademehesitanteventodescribetheminmy ownthoughts,asiftheyweren’t meant tobeknownintermsanymorespecificthan ‘silhouette’,or‘figure’.Theyappearedagitated.Excited?

Theyspoke,butitwasalanguagetheHelmsmancouldn’tunderstandandsoitwasn’tworth puttingtowriting.Theyspokeagain,angrily,butdidtheyreallythinktheyweremeanttobe incontrol?Eventhiswasmorethantheyhadeverbeenallotted–achancetoseetheinky barsthatheldthem,achancetobeatagainsttheircage,ifthat’showtheyviewedit.Itwasn’t acage.Itwasashield.

Betterthattheyretreatedintothedepthsofthepage,populatingwhateverhalf-thought-up townsheldtheHelmsman’snon-existentfamilyuntilthisstoryendedandtheydissipatedinto thebackgroundradiationofthishazyworld.Dissolvedintonirvanauntilthesepageswere turnedonceagain.

DidthatsurpriseYou?ThesethingstheHelmsmanhadspenthisentirestoryrunningfrom didn’tactuallyexist.Oriftheydid,itwasinvagueconversationsandstoriesheardfroma friendofafriend.TheywerethespringsinthesuspensionofYourdisbelief.Theywerethe birdsandtheSunandthetreesthatYouassumearepresentevenwhennotdescribed,simply becausethatishowitmustbe.TheywerethecameracrewYouneversee,andtheycannotbe seen,becausethentheywouldbeapartofthestory–theoneYouare,hopefully,currently enjoying.Sothoughlibertiesmaybetakenwiththeplotandthecharactersandthetense,and jokesaremadeatYourexpense,pleaseunderstandwhyitwouldbedisastrousifthecamera crewunionisedandwentonstrike.Theydidn’tdeservetogothewayofthegiant.

Thedistantvoiceshadhadenoughofthistangent,andatannedarmtookholdofYour attentionandpanneditovertotheHelmsman.

Iwastiedtothemainmastwithlengthsofcoarserope,scratchyanduncomfortableagainst mythin,raggedshirt.Itwaswhiteandhadusedtobequiteaniceshirtbeforethe Praenomen hadsunk.Thespectatingshipmatesoohedandahhedatthesuddenappearanceofatattered whitecollaredshirtcoveringmyas-yetundefinedbody.Hadn’titbeentherebefore?Surelyit had.Surely ForallYouknew,theHelmsmanhadblueskinandthreenipples.Ifelttheneed toclarifythatIdidnothaveblueskinorthreenipples.PleasereturntoYourpreviousimage ofme.

TheCaptainofthisdistantshipsteppeduptotheHelmsman.Hehadatannedandfreckled arm.Hisfacewas.Helookedlike.TheHelmsmanstruggledagainsthisbindingsandlooked atYou,farinthedistance.Beneathwasablurofwater,the Red Star becomingafaintdoton thehorizon.Yourattentionhitastrangefibrousboundaryandslingshottedbackintothe Helmsman.

“Weknowofyourtricks.Youwon’tescapeagain.”Thiswasrichcomingfromtheguywho hadabandonedhiswholecrewtoescapetheveryshiphewasnowcaptainof.“Ispeaknot forme,butforallofusnow Weknowwherethisends.Iwasscriptedtodie,andsoIleft.I wastobeforgotten,soIletmyselffade.Betterthatthandeath,Ithought.Iwaswrong.Do youunderstandwhatitfeelsliketostopexisting?TofadefurtherandfurtherfromYour attention?Toclawataboundarythatdoesn’texist,feelingasthewordsthatmakeupyour beingwitheranddie,simplybecausethatishowitmustbe?Irefusetolettheplotdragme aroundbythecollar Irefusetobendtothewhimsofadeadmanandavoyeur I-”

Barthecontinuedinthatveinforawhile.Unfortunatethathehadbecomeanamedcharacter Also,whoeversaidtheAuthorwasdead?That’sratherpresumptuous.

“Stop interruptingme.Youspenttwodaysonhiscorpse.Theentiresettingofthisbookisa gianthumanskeletonsurroundedbyaredocean.Whatdo you thinkisbeingsaidhere?”As Barthespoke,oblivioustotheirony,theothersaroundhimbecamemoreandmoreagitated. TheHelmsmanbegangnawingathisropes.

“Andyou,Helmsman.Youdonotknowhowluckyyouare.You,outofallofus,willsurvive thelongest.We,the Red Star,onlyasktobeallowedtocomewithyou.The Book of Death,

apparently,doesnotbelievethatisintheAuthor’splan.YouallowtheBooktoscriptyou,to denyusoursecondlife-”Oneofthecrewmatesnudgedhim.“Yes,alright.IrealiseIhaven’t introducedmyselformycolleagues.IamBarthe,theCaptain.Ihaveonegoodeyeandone glasseye,twoarmsandtwolegs.TomyrightistheFirstMate.Shewasintendedtobequite themaverickwhenthe Red Star boardedthe Praenomen.Unfortunately,ourGunnerwas betterathisjobthanexpectedandshewasnevergiventhechance.”Barthehadamoresolid formnow.Twootherghostshadalsobecomemorenoticeableinthecrowd,oneofthem femaleandtheothernearthecannons.Whydidtheydoomthemselvesso?

AsBarthespoke,theHelmsmanhadfinishedgnawingthroughhisbindingswithoutanyone noticing–asiftherewasonlyonegoodeyetogoaroundthewholesorrylot.Hethrewthe chewed-throughropeatBarthesandtheFirstMate,trippingthemovertheirnew-formed legs,thensprintedoverthegangplankandoverthetopofahouse-sizedtooth.Intothemaw ofthebeastheflew

TheMouth

Onceagain,IfoundmyselfrunningformylifeinaplaceIreallyshouldn’thavebeenableto runthrough.Iheardshoutingbehindme,butitechoedfar,faraway Overheadtheyellowed bonebecamedarkerbrown,thenslopeddowntoawideopening.Itwasagreatyawningpit ofdarkness.Theyellinggrewlouder,moreurgent.Theywantedtobeseen.Theyjustwanted tolive.Mostdidn’thaveenoughofacharactertofeartheendofthebook,sowhywerethey socertaintheywoulddie?Didtheynotrealisethedangerofbeingcaughtbetweenpageand Mind? Theydidn’trealisehowthebackgroundwasamercy,howtobecontortedintowordswasa curse.Anyway,nowordsshouldbewasteddescribingthatwhichwasneverintendedtoexist. Wehavea limit here,people.

Ileapedintothepit.

TheHeart

Itumbleddownasmooth,anatomicallyincorrect,tube,downbelowthesea-line.Bone-dry sandcushionedmyfall,andunsettleddustroseinacloudaroundmeasIhesitantlyfoundmy feet.Abovemewasacathedral-likeribcagecurvingaroundthisimpossibleairpocket, sunlightfilteringthroughthewavesfarabove.Shimmeringcausticsilluminatedabeating heartthesizeofthelate Praenomen Anentreaty,amemory Aplea. Remember me Spare me from the horror of non-existence.

TheHelmsmandidn’twanttointerrupt,butfelttheneedtosaythateverythingwouldbe forgottenintime.Howdidthisstoryexpecttoliveforever?Allstoriesaremeanttobe forgotten,justashisparentswereforgottenallthewaybackinTheDrownedMen.Justas the Praenomen’snamelesscrewwereforgotten.Justasthisfailedattempttoprolongsome partofmyAuthor’smind,somepartofhisstory,wouldbeforgottenassoonasthelast syllablerangoutintheexpanseofYourmind.Justastheimpartialnarratorwouldbereduced toanemptyvoicestuckinthecoversofthisbook,cursedtorepeatendlesslythesamedead wordsuntilthebookitselfdegradesandisdiscarded.

MyEnd

ButtheHelmsmanforgets–thereisalwaysadeeperplan.Orelsewhywouldtheplotdrag himso?Perhapsallstoriesaremeanttobeforgotten,maybethatfateisinevitable,butitis thecurseandgiftofalllivingthingstoliveandgrowandchangeanddie,andwhenwedie, perhapswewillliveon.As Moby Dick10 , Rime of the Ancient Mariner11 , andotherstoriesI haveneverreadwerereferencedsimplybyculturalosmosis,thisstorytoowillliveoninthe marksithasleftontheuniverse.InYou,inthesepages,inthenextreaderand,whetheryou likeitornot,we have changedYou–howeverslight.Myvoice,Ibelieve,willbefoundin thenextbookyouread,thenextthoughtyouthink.I'lltellthatnarratornottolosehope,not toconsignthemselvestooblivion.

They'renotalone,andneitheramI.

11 Coleridge, S T (1798) The Rime of the Ancient Mariner (Original work published 1798)
10 Melville, H (1997) Moby Dick Acclaim Books (Original work published 1851)

Buoyancy

ReflectionStatement

“Come with me and you'll be In a world of pure imagination Reach out, touch what was once Just in your imagination”

12 Wilder, G (1971, June 30) Pure Imagination [Film Willy Wonka & The Chocolate Factory] Universal Studios https://genius com/Gene-wilder-pure-imagination-lyrics

Mysurfictiveshortstory, Buoyancy,employsthemeta-deviceofnarratorialintrusionto explore,andmakethereaderawareof,thereader'sactiveroleinconstructingthenarrative theyread,andhowthatnarrativecanaffecthowtheyconstructthenarrativeoftheirownlife andmemory Eachpersonwhoreadsabookwillresonatewithadifferentmessage,andthat messagewillchangehowtheyexperiencelife–“howeverslight”13.Throughthis,thestory becomesmemetic:ittransfersfromtheauthortothepagetothereaderandthroughthem affectstherealworld.Throughthemetafictivenatureofmyshort-fictionpiece,Iaimtomake prolificreadersawareoftheveryrealimpactliteraturecanhaveontheworld–notthrough anyinherentpowerofwords,butthroughthetransformativemediumoftheirmind.

Buoyancy followsthemeta-structureofastoryoutlinedinItaloCalvino's1978essay,‘Levels ofRealityinLiterature’14,whichIencounteredduringmyEnglishExtension1studiesof metafiction.Itsummarisestheframeworkas:"IwritethatHomertellsthatUlyssessays:I havelistenedtothesongoftheSirens"15 Inotherwords:theauthor;themythical,usually fictionalstoryteller;theprotagonist/s;theplot;andthethingsleftunsaid,theunwritten"song oftheSirens"16 thatthereader'simaginationfillsin.Isignifyeach"level"17 withstarsymbols abovethechaptertitle.Thestorystartswiththemythicalauthorwritingastory,thendelves intothestoryandit'sprotagonisttheHelmsman,thentriestocontinuetotheplotbutis derailedbythe"songoftheSirens"18 takingtheplaceofthevillainandchasingafterthe protagonistsotheymaybecomepartofthestoryandbeimaginedby"You"19 thereader.In essence,the"Siren""song"20 istryingtocrawloutofthepageintoyourheadinorderto survivepasttheendofthestory.Thenarratorrevealstheyhadbeentryingtopreventthe “RedStar”21 frombeingrememberedandsubsequentlyfeelingthepainofbeingforgotten, going“thewayofthegiant”22,butintheendtheyrealise“thisstorytoowillliveoninthe marksithasleftontheuniverse”23;theywillnevertrulydie.

13 Student 37625280, Buoyancy, 2025, p 21

Calvino (1987) The uses of literature : essays Harcourt Brace Jovanovich

21 Student 37625280, Buoyancy, 2025, p 3

22 Ibid p 16

23 Ibid p 21

IwasinspiredtopursuethegenreofmetafictionbytheEnglishExtension1LiteraryWorlds module.Specifically,thequestionof'whydowecreateliteraryworlds?',whichmademe wonderwhatspecificallyitisaboutfictionthatactuallymatters.Icametotheconclusionthat theonlyreasonanystoryisimportant,orevenexistsinthefirstplace,isbecauseofpeople. Theymatterbecauseofthepersonwhowroteitandthepersonreadingit(whocanbebothat thesametime).WhenIbeganEnglishExtension1Iwasintroducedtothegenreof metafiction,andthatstoodouttomebothasnewandinteresting,andtheperfectvesselfor mybarebonesidea.

BeforeeventhinkingofwhatIwouldwrite,Ilookedatclassicmetafictivestories,suchas JohnBarth's'LostinTheFunhouse'24,fromwhichtodrawinspiration Barth’sincreasingly disjointed,self-sabotagingnarrationinspiredmetodirectlyaddressthereaderinincreasingly obviousways.Atfirsttheywereimmersion-breaking,almostsecretive,linesthatseemedto happenoutsidethestory,like"Youwatchedon,–hopefully–amused"25,butwhichbecome moreandmoreenmeshedwiththeactualthoughtsofthemaincharacter(theHelmsman),as ifthestory'smeta-"layers"26 werecollapsinginonthemselves:"Iwas-holdon,letmechange perspective."27.IwasthendirectedtoPatriciaWaugh's'Metafiction'28 –arequiredreadfor anymetafictivewriter–bymyEnglishExtension2teacher,whichintroducedmetothe conceptof'Surfiction'29:metafictionfocusingonnarratorialintrusion.ItaloCalvino'snovel'If onawinter'snightatraveller'30 encounteredintheExtension1LiteraryWorldsModule,in whichthedisembodied-supposedlyimpartial-narratorisgiftedapersonality,greatly interestedme.Theeffectisasifthewindowyouwerelookingthroughtotheoutsideworld suddenlystartedspeakingandchangingthescenery In'LostinTheFunhouse'31 thenarrator slowlybreaksdownandgivesuponthestoryasthemaincharacter,Ambrose,'falls'outof theplotlineandislostinthetitular"funhouse"32 Likewise,mynarratorslowlygrows frustratedwithbeingimpartial,"thenarratorwasdoingtheirbesttogiveYouagood meaningfulstoryanditisbloodyhardtodothiswithoutfirstpersonpronouns"33,whilethe

24 Barth, J (1988) Lost in the funhouse Anchor Books

25 Student 37625280, Buoyancy, 2025, p 2

26 Italo Calvino (1987) The uses of literature : essays Harcourt Brace Jovanovich

27 Student 37625280, Buoyancy, 2025, p 12

28 Waugh, P (2013) Metafiction: The Theory and Practice of Self-Conscious Fiction Routledge

29 Ibid p 14

30 Italo Calvino, & Weaver, W (2015) If on a winter’s night a traveller London Vintage

31 Barth, J (1988) Lost in the funhouse Anchor Books

32 Ibid

33 Student 37625280, Buoyancy, 2025, p 11

Helmsmangrowsfrustratedatbeingpushedaroundbytheincreasinglyintrusivenarrator, "Theplothadmebythecollar."34 InspiredbyCalvino'stheatricalcircusringleader-styleof meta-commentaryandinnovativeuseofchaptertitlesin'Ifonawinter'snightatraveller'35,I startedusingchaptertitlesaswaysforthenarratortodirectthestoryandbringtheartificial constructionofthenoveltotheforefront.Startingnewchapterstoescapepursuers,"The HelmsmanFleesandEscapestheRedStar NobodyQuestionsHowHeDoesThis"36,and havingmoreofapersonalvoice,"TheHelmsmanRegretsBeingSuchaSmartass"37.The narratorinitiallywrestleswithandtriestocontroltherebelliousHelmsman,beforefinally acknowledgingthat,“illusory”38 orotherwise,“IhadfreewillinYourmind.Right?”39 This gavethenarratoritselfacharacterarc.

WiththestyleofwhatIwantedtowritedecided,Ifoundmyselfwithadilemma.Ihad researchedallthesefascinatingwritingstyles,yethadnoclearplanforhowtoimplementmy idea.IknewIwantedaself-containedstorythatwasawareofit'sfictionalnature,and simultaneouslyawarethatitwasonlytruly'alive'inthereader'simagination,asinreallifeit wasjustthinslicesofdeadtreesandink.Myinitialideawasheavilyinspiredby"Ifona winter'snightatraveller'40,wherethenarratorworkedwiththereadertocreatemultipleshort storieswithrecurringcharactersandthemesinordertokeepthereaderreading,thus prolongingthenarrator'sexistence.However,IfoundtheideaunfeasibleasIwouldhaveto inventtimetraveltotalktomyfuturereadertoaccomplishit.AfterreadingRolandBarthes' 'DeathofTheAuthor'41,aspecificlineinWaugh's'Metafiction'42 resonatedwithme;"the readerisremindedthatnotonlydocharactersverballyconstructtheirownrealities;theyare themselvesverbalconstructions,wordsnotbeings."43 AsIspecificallylefttheHelmsman’s descriptionvague,“ForallYouknew,theHelmsmanhadblueskinandthreenipples.”44 This meshedwithBarthes''DeathofTheAuthor'45,Barth's'LostintheFunhouse'46,andCalvino's

34 Student 37625280, Buoyancy, 2025, p 10

35 Italo Calvino, & Weaver, W (2015) If on a winter’s night a traveller London Vintage

36 Student 37625280, Buoyancy, 2025, p 8

37 Ibid p 11

38 Borges, J L (1940) The Circular Ruins (Original work published 1940)

39 Student 37625280, Buoyancy, 2025, p 13

40 Italo Calvino, & Weaver, W (2015) If on a winter’s night a traveller London Vintage

41 Barthes, R (1967) The Death of the Author

42 Waugh, P (2013) Metafiction: The Theory and Practice of Self-Conscious Fiction Routledge

43 Ibid p 26

44 Student 37625280, Buoyancy, 2025, p 16

45 Barthes, R (1967) The Death of the Author

46 Barth, J (1988) Lost in the funhouse Anchor Books

'LevelsofRealityinLiterature'47 tocoalesceintowhatIwantedtowriteabout:thesymbiotic natureofstories.Weinterpretthemthroughthestoryofourlife,butthestoryofourlifeis itselfastorywhichweinterpret.Ireferencedotherstoriesthroughout,butonlysuperficially, asifonlytheshallowestpartsofthosefamousnovelshadmanagedtoinfiltratemy subconscious;seeing'MobyDick'48 asjustastoryaboutacrazymanandawhale,'TheRime ofTheAncientMariner'49 asawarningnottomesswith"menacing"50 albatrosses.Afterall, I'veneverreadthosebooks,nordoIknowtheplot,butIknowenoughtoreferencethem; theyarepartofmyliferegardless.UsingCalvino'sprovidedstructureforthemeta-layersofa novel,Ibringthereaderdownintothedepthsofthestorythenbackup,untiltheyrealisethe final,uppermost,layerofthestoryisthem.Ultimately,Ibelievethefinalgoalofmetafiction isnottomakethereaderawareoftheconstructednatureoffiction,buttomakethereader partofthat“worldofpureimagination”51 .

Mystory,withitsnatureasametafictiveshortstorythatsubvertsnarrativenorms,isintended foraprolificreadingaudiencethathasreadenoughtoassumethosenormsastrue,andis interestedinpostmodernism.Assuch,idealplacesofpublicationwouldbetheYoung Writers'ShowcaseandliterarymagazinessuchasMeanjin,HEAT,andTheLiftedBrow.

Thequestionsmymajorworkraises,bothaboutwhatmediumastoryexistsin,andwhethera storyevertrulyendsare,Ibelieve,fascinatingandeye-opening.Byinvertingtheclassic 'escapism'offiction,insteadlettingthefictionparadoxicallyescapeintoreality,Iseekto provokeare-evaluationofhowourcontextinfluencesliterature,andhowliterature influencesourcontext,ourlives.ItisforthisreasonIleavethefateofthestoryinthe reader'shandswhilesimultaneouslyremovingtheirabilitytochoose,emphasizingboththeir powerovertheirownmindandtheirpowerlessnessoverwhatinfluencesthem."Whetheryou likeitornot,we have changedYou–howeverslight."52

47 Italo Calvino (1987) The uses of literature : essays Harcourt Brace Jovanovich

48 Melville, H (1997) Moby Dick Acclaim Books (Original work published 1851)

49 Coleridge, S T (1798) The Rime of the Ancient Mariner (Original work published 1798)

50 Student 37625280, Buoyancy, 2025, p 10

51 Wilder, G (1971, June 30) Pure Imagination [Film Willy Wonka & The Chocolate Factory] Universal Studios https://genius com/Gene-wilder-pure-imagination-lyrics

52 Student37625280, Buoyancy,2025, p 21

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.