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Some artists are so good, they leave all of the other artists far, far behind them.

There is always squabbling amongst the top tiers of any professions. Jockeying for position, vying for bragging rights, salaries, bursaries, grants and papers. There’s always one or two people every fifty years or so, however, one or two savants for whom the profession comes as easy as breathing.

Money doesn’t matter to them. Their eyes are glazed. They do nothing else besides what they do. Be it cooking, gymnastics, music, physics, acting or what have you, these people have a freakish tendency to be inhuman. Not only in their talent, but also in their dedication.

They are aware of how they don’t fit in. They hold themselves back in social situations to appear like normal humans. They are uncomfortable reminders of how much potential we all have but rarely possess. The make people nervous.

Barsom Jones was one such prodigy.

He was a mortician. A necrodermist, he called himself. He was sought after all over the country. Chilled loved ones would be shipped to him so that he could restore them to a flawless, living pallor before shipping them back. Ruined heads posed no problem. Bear attacks, shotguns shells, tumours gone wild, none of it mattered. The bodies would return to the families as if they were merely napping. Merely ‘paused’ in the act of living.

He didn’t eat much. He didn’t talk much. If he worked on celebrities, he didn’t notice. He asked for detailed lists and photographs of the deceased to do his work. He asked for recording of the deceased’s voice to get a feel for the proper mandible shapes of the jaw. He asked for crying and laughing photographs of the deceased so that he could replicate recent echoes of those emotions in the eyes and lips.

He was happiest when he was working and when he wasn’t working, he was sleeping. His bank account grew fatter and fatter but he took no notice.

No one knew his dark, dark secret.

Every so often, once every ten or twelve years, he would visit the wards of the hospitals. He’d find someone with no relatives and a terminal disease.

He would poison that someone when no one was looking with a rare toxin that would mimic death.

He’d call the nurse, the victim would be declared dead, and Barsom would take that corpse free of charge and the town would applaud his decision. A charity funeral from the best mortician in the world. People were touched.

Later on in his morgue, he would let the person wake up but only enough so that he could paralyze him or her. The poison would keep the victim’s breathing too shallow and too slow to be noticed by the untrained eye. He’d keep the person down in the basement for a day or two to give the appearance of having done a great deal of work.

Then he’d have a giant open-casket funeral for the whole town to come and see.

The town would file past the casket, remarking on how life-like the person looked. As if the person were still alive. It was like tourists filing past the statue of David in the Louvre.

Then the casket would be shut and buried.

Barsom Jones kept wanting to be caught. It was the most thrilling thing he could think of. So far, no one had. He’d put five people into the ground alive.



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A letter from Martha Graham to Agnes DeMille

There is vitality, a life force, a quickening that is translated through you into action, and because there is only one of you in all time, this expression is unique. If you block it, it will never exist through any other medium and be lost. The world will not have it.

It is not your business to determine how good it is; nor how valuable it is; nor how it compares with other expressions. It is your business to keep it yours, clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep open and aware directly to the urges that motivate you. Keep the channel open.

No artist is pleased. There is no satisfaction whatsoever at any time. There is only a queer, divine, dissaftisfaction; a blessed unrest that keeps us marching and makes us more alive than the others.

Comments on commitment from Johann Wolfgang Goethe.
you may have seen it around

Until one is committed, there is hesitancy, the chance to draw back, always ineffectiveness, concerning all acts of initiative (and creation). There is one elementary truth the ignorance of which kills countless ideas and splendid plans; that the moment one definitely commits oneself, then Providence moves too. All sorts of things occur to help one that would never otherwise have occured. A whole stream of events issues from the decision, raising in one's favour all manner of unforeseen incidents and meetings and material assistance which no man could have dreamed would have come his way. Whatever you can do or dream you can, begin it. Boldness has genius, power and magic in it. Begin it now.

Just in case you hadn't heard either of them before. They're good to come back to once in a while.


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