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Dustless production sheet, May 2017 | Volume 26 proof-read

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Dustless production sheet, May 2017

Dustless production sheet

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Heavier than a thousand suns, lighter than a protium atom…

Slowly, slowly climbing the stairs in the vegetable palace of the King of Dreams, winding and winding gradually higher…

On the Siloso, the circular river, where the Lord my father standing at the rail of a fragile cruiser, among the crowds of craft, is a swan among gulls…

In a garden in the pleasure district of Shigoga, where I drew my sword and fought the famous duel of bubbles: those girls in their sumptuous robes giggling and sniggering, heads rocking and eyes blinking, lush and retarded, spirits sunken and sluggish as they float on the stream of the prince’s soul-stealing intoxicants

To arrive in a room in the Ghosts-of-Angels Palace, to look through the window on the chamber where snow is eternally falling from an invisible ceiling, and where, it is rumoured, sometimes a hunter may be seen, sometimes a lord wandering lost in winter

To the children with their little books, to the limited ones with their little dreams: left

We moved on through the crow-haunted wastes of the Desolate Cantons, met a warrior with nose broken in his youth, half an angel and half a boxer, smoked his pipe of raw kaziah, left us all to the sleep of the doomed

Heavier than a falling moon, lighter than a single feather, a feather floating from the iridescent wing of a jester hummingbird purring among the sulphur-throated blossoms of dark orange night-scenting hibiscus

In the scales, the throne of O, set against a single finger’s caress

To be in the regal state beyond the laws

What would you choose?

To be everyone and no one

To be there to feel her touch, to be

so softly undressed

To be high

To be fine

To be Dustless

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It is said, among certain Marks within the ZirCong, that “the universe has already occurred: it has completed its cycle, and returned to the void. Therefore, why hurry in our lives? They ended, long, long ago”.

If it is true, and the book of this world is already complete, how can we know whether we are near the beginning, or the middle, or the end of the text?

Since the rise of the RoMayZine and SurGaKu dynasties, and the retreat of the ZirCong from influence over terrestrial power, TanZo has put away all such theories of completed days and events already concluded. For the TanZo of these present times, it is considered a deviation from the Way to speculate overmuch upon events yet to transpire, or to sacrifice the present to a possible world to come.

Huddled in their great Metallic mansions, though, the houses of the ZirCong, their ancient bloodlines woven by ShoKun, the Mark of the Hatching Egg, do they still cleave to those old, discredited beliefs? And if so, has their power over the dusts of the mind permitted them some sense of a world to come, yet already over? Down what cerebral corridors may they move, inside what rooms may they sit and listen, straining to hear some faint echoes of futurity?

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It was a book called The Three Attitudes. In it, the woman, an educated traveller, fascinated by the differences among the three main divisions of ShiO — ZirCong, RoMayZine and SurGaKu – organised her observations of the people of the ShiO clans who, within fifty years, had started the war that would unify the whole world of O.


ATTITUDE TO THE BODY

ZirCong | Famously enigmatic, the ZirCong seem to consider the world neither ideal nor material, but in an unresolved state, or in a state that is constantly resolving towards both flesh and idea. They despise the “world of dust”, and strive for the Dustless condition. When they speak of the body, therefore, they speak of an illusion, a “thing of dust”. Even the mind, viewed from an unilluminated perspective, is to the ZirCong a thing of dust, an illusion. It is said that they do not feel pain — or, if pain is felt, they are not ZirCong. Their bodies do not belong to them: they have cast them aside.

To the ZirCong, as with all ShiO Marks, the MarIsQuess — the “building without motion”, or the “still building”, or, more simply, “the Building” — is the state or condition reached by meditation, with each ShiO division using meditation techniques peculiar to their own culture. The ZirCong use their celebrated, mysterious “Starless Darkness” techniques to achieve MarIsQuess. This is not a state ordinary people can attain. True ZirCong are said never to leave the Building, but always to dwell within it. Suspicious of language and of the “traps of definition”, the ZirCong insist that the Building can’t be described, but must be experienced. The Building must be built, through hours, days, years of arduous meditation. In this process of building, the weak eliminate themselves, as lacking the spiritual purity to maintain their path upon the Way. The foolish, the braggarts, the impatient, the greedy, all of these types of soul can never, without change, erect the Building within themselves, but must languish and perish, stranded in “the world of dust and donkeys”.

This constant striving to found and construct the Building within themselves has made the ZirCong admired, revered, feared and, by many, hated. One informal document, which has been publicly circulated, details the ZirCong attitude as follows:

What the common people call “body” and “mind”, these are merely pathways to the Building. They are gates of dust, leading to the Dustless state. Once inside the Building, all outside and inside ceases. New relations are inaugurated: all the old buildings and languages of dust, though they continue to float in the void, and are used by the common people as the limits of their world, for the Dustless one, are errors of matter and thought, imperfect perception, the toys of innocent children. People will live and die, will age and grow sick, just as they have always done — only, if you dwell in the Building, then living and dying, aging and sickening, these are changed, and their meanings are changed. The laws of sickness, the laws of age, of living, and dying, do not apply to true ZirCong. Life, death, tall, short, weak, strong, body, mind, above, below, finitude, infinity, moments, eternity, these are all categories of a diseased and limited vision: the perfect and entire vision of the Dustless ensures serenity, even as the sword goes through you, or the cancer grips. A healthy body and a diseased body are, within the Building, the same thing: an arrangement of dust.

RoMayZine | For the RoMayZine, the body is a source of struggle, the flesh is a piece of dust that may be caught hold of, polished, sharpened, hardened, quickened, improved. Men and women, both, are encouraged to exercise and to work their bodies until they are the perfect instruments of war. Both sexes swim, box, run, vault, lift weights, perform intricate ritual dances, practise with sword, bow, spear, lance, axe, they are keen horsemen, and work endlessly on their balance and speed of reaction.

There is a RoMayZine saying: The eyes for the arrow, the arms for the sword, the hands for fists, the legs for running.

For the RoMayZine, the body is very important in their philosophy. They adore action: they love to train their bodies and spirits until they are exhausted, and then they feel a tremendous peace. When they are in movement, they are irresistible; and when they are at rest, they seem sated, complete.

Life, on all levels, is a battle for them. Their Way is through action. It is not uncommon to see lords or ladies of RoMayZine clans with facial bruises, scars, misaligned bones, missing teeth.

They are warrior clans. Obviously, during war they are much sought-after as allies. In peace, their company is perhaps less pursued. It is said, among the houses of ZonO – “Society” – that when matrimonial alliances are made, then if you are not from a RoMayZine clan, but marry a RoMayZine partner, then there is often trepidation and anticipation regarding coitus. As lovers, both men and women of RoMayZine culture, are considered unsubtle, crude, demanding. A RoMayZine woman, with her strongly defined musculature and powerful limbs, is usually physically much stronger than most SurGaKu men. ZonO consider RoMayZine men as, frankly, brutes.

Love of the body is love of the Way, the RoMayZine believe. Enjoy the body, and make it do your will. But do not become obsessed with it. At the right moment, throw it away. Nothing is better than dying in battle. At such a moment, the tree both flowers and fruits: where the fruit falls, no one can say.

SurGaKu | A subtle and educated woman of ZonO explained to me that the divisions of ShiO can be broken down, very roughly, into three qualities: ZirCong, wisdom; RoMayZine, action; SurGaKu, beauty.

It is said that the SurGaKu, so concerned with beauty, find the body troubling. The SurGaKu TanZo is the effort to render the world beautiful through meditation and the practice of various forms of art. They are highly conscious of the passage of time, and of the mutability of all things. The moment has pitched its tent at the heart of every particle of dust, the SurGaKu explain, but the tent is empty.

Put simply, while the ZirCong deny the body any effective reality, and the RoMayZine treat the body with a kind of rude pragmatism, the SurGaKu are perplexed and uneasy with their bodies. They are more prone to romance, to melancholy, to dolour. They have purified their sensibilities so that they are sensitive to tiny nuances in the human and the natural world. Conscious that all pleasure and pain is fleeting, their TanZo is haunted by loss. Loss, though, is beautiful: it is the necessary condition for the existence of the world.

Their poetry, songs, prints, paintings, all celebrate the power of the ephemeral. The body, then, is a point of sensitivity, of vulnerability, of delicacy, to the SurGaKu. They know that bodies are fragile, can sicken, can break. They admit the tidal powers of sexual desire, the sweep and sway of it. Ironically, although in many ways the most refined of the three divisions of ShiO, the SurGaKu are in some ways the most fleshly, the most prone to lapse and delirium. They value tenderness and restraint, gentleness, patience, yet can be the most explosively ill-disciplined of all ShiO.

A SurGaKu love poem, from the Era of Storms, goes:

Between the room of parturition,
and the Temple of Ashes,
between the bleeding at birth,
the fire coming to death,
my body has swung, moment by moment,
like pearl beads strung
upon a wire, made into a necklace.

That necklace, my love, you wear.
Lying on your breast, my head
rises and falls,
in time with your breathing:
at sea, the waves also rise and fall,
and beneath the surface
on the shadowed bed
young pearls are forming.


Re-post

Dustless | Volume 10 | Mask [ii]

…where things give up the limits of themselves, and become revealed for what they are, the drifting envelopes of dust…

Through an immense arboreal forest, travellers make their way, and the world prepares for a universal festival.

Villages put on their finest shows. The temples are decked with ornaments, banners proclaim the beauty of the sutras, pay homage to a far-off emperor.

The roads become tracks, and the tracks become paths. Paths narrow, and the trees press in. There are only small settlements: there is much wilderness. The prospect of safety dwindles. The chance of misdirection grows.

As in the world, so in the head: one traveller takes off his flesh, enters the vegetable labyrinth of the mind, and wanders in smoke and dreams ethereal palaces, the banks of fertile rivers, the streets of unending cities…

Although form is dust, the way to the Dustless state must be by form. To hold a glance, there must be a face: to look out, one must have eyes.

If the face in the mirror is a mask, what lies behind the skin? If the person inside the mirror is invisible, what is there left to see?



Dustless | Volume 10
is approximately 270 pp./a5

status | published 01 02 2017

Australia | Dustless | Volume 10
Brazil
| Dustless | Volume 10
Canada
| Dustless | Volume 10
France
| Dustless | Volume 10
Germany
| Dustless | Volume 10
India
| Dustless | Volume 10
Italy
| Dustless | Volume 10
Japan
| Dustless | Volume 10
Mexico
| Dustless Volume 10
Netherlands
| Dustless | Volume 10
Spain
| Dustless | Volume 10
UK
| Dustless | Volume 10
US | Dustless | Volume 10

ASIN (Amazon Standard Identification Number) | B01MUHBCWN

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The process of composition lasted for years. Composition was the living organism: the novel itself was the shell the organism accumulated through its life. Like a nautilus or a conch, when the living organism ends, and decays away, the shell alone is left to remain on the seabed. Here is the shell: but of such a vast scale that a Titanic might lie inside it, near its lip, the broken vessel a mere speck of angular dust, its keel resting on a plain of mother of pearl. And perhaps, over the years, by a magical process, this shell will continue to expand, until it might mimic a human mind, and be a place you can put the ocean.

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In the House of Long Shadows…

In the Heart of Eternity, on a barren plateau where, since long before the Clouded Era, a high sea has dried, and a ship has slowly turned to crystal

By the Bug Stone, along a road no one travels, each night, a fire shines out from the summit of the lonely watchtower

In a lush meadow outside LuinLibar, in a grass-stained robe, a young lady of the Mark of the Dancing Crane, wearing the Gram of the Blue of a Midnight in Autumn, watches a butterfly emerge from a cocoon: she is motionless, and once the butterfly has flown, the cocoon is empty.

She knows

she can’t fit the butterfly back into the cocoon

She understands everything

In the Sun’s Tears Coffee House in District 8 of Faded Glory

Under the soaring shade of the sacred tower, in the Black Palace — because it is winter, and ritual demands it — the young emperor is fretful. Although he is the Dustless One, and his mind winnows emptiness to refine the void, the Lotus Crown is heavy on his head, and walking alone on the veranda of golden teak, facing the Gardens of the Four Moondials, wearing a coat of white Usurian mink, under icicles long and jagged as the teeth of translucent Shy’aamese dog sharks, shivering, he dreams of summer and the emerging of butterflies

Enter the Building where everything is contained…

And walk without deviation through the world of dust

a desert of atoms in the palm of your hand

sands enough to bury an ocean

Be no one | Be strong | Vanished, with no rest

Be utterly serene

Be Dustless

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Bad dreams in innocent minds leading to…

The prophet in the Sea of Trees

In a Still Building, which contains all motion

On the bed of the reef of Marrimo, where a loving monster lies

The Mark of the Hatching Egg was charged with maintaining forever undiluted the Rikoji blood imperial, so that my ancestors have always taken the luscious blood of men and women of pure imperial stock into our line

I raise my eyes to a different order – to a visionary domain and a new law of destinies…

Submit, and be no more…

Be Dustless…

Dustless | Volume 9

Suppression of cults

Permit him the void

Inadvertent fear of music

The sickness or the Shepherds

And the ten grams, rising up the tower to the Dustless state:
1st chen
| Gram of Natal Crimson
2nd chen | Gram of the Pink of Breaking Dawn
3rd chen | Gram of the Pale Green of the Leaves of Spring Willows
4th chen | Gram of the Dark Green of Mountain Pines
5th chen | Gram of the Turquoise Waves of the Bay of Moments
6th chen | Gram of the Blue of a Midnight in Autumn
7th chen | Gram of the Pale Silver of a Winter Moon
8th chen | Gram of the Golden Light of Summer Dusk
9th chen | Gram of the Black of Eclipsed Suns
10th chen | Gram of the White of Drifting Clouds

Be Dustless…

Dustless | Volume 1
Dustless | Volume 1
is approximately 20 pp./a5

status | published 11 02 2013

Amazon Kindle Store:
India | Dustless | Volume 1
UK | Dustless | Volume 1
US | Dustless | Volume 1

ASIN (Amazon Standard Identification Number) | B00BEZL4ZU