Korridorium

1x täglich Kurzprosa mit Soundtrack vom 11/11/11 bis 12/12/12

141/398

The cover art shows two cups of tea and a copy of "Finnegans Wake" on a small table with drawers in front of a window. In the lower right, a plaque with the image of a houseboat is inserted.

♫ The Levo­gyre ♫


141/398

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I enter the cor­ri­dor. Nor​bu’s house­boat smells dif­fe­rent than usual. I hear his voice from a small room I’ve never been in before: his bed­room.

Norbu is lying in bed, coug­hing mise­ra­bly and loo­king like hell. „An infec­tion,“ he croaks, „don’t get too close to me.“

„Can I do any­thing for you?“ I ask, con­cer­ned.

„Nah,“ he says, „got ever­y­thing here.“

Curiously, I look around. I had always assu­med Nor​bu’s bed­room to be his library, fil­led with all the books he must have accu­mu­la­ted over the years. In rea­lity, I see only a sin­gle book on the shelf above the bed. Norbu fol­lows my gaze.

„Fin­ne­gans Wake,“ he says, „first edi­tion. Tha​t’s all I need.“

I nod, but per­haps tha​t’s not enough to show that I know what he’s tal­king about, so I add, „Yes, a novel that is a whole library in its­elf. Joyce somehow mana­ged to pack life, the uni­verse, and ever­y­thing into it. A book that con­ta­ins prac­ti­cally ever­y­thing. Tha​t’s all one needs.“

Norbu gives me a side­ways glance. „For me,“ he says, „it’s mainly about rea­ding just one or two lines, and I imme­dia­tely fall into a deep sleep.“

„Aha,“ I say, biting my lip and with­dra­wing my hand, which I had rea­ched out to take the book and ran­domly flip through it, inten­ding to nod kno­wingly after a brief glance inside. I seem to have missed the mark there.

„No book can encom­pass the entire cos­mos; tha​t’s roman­tic non­sense.“ Norbu has to cough and asks me to make us some tea. I grum­ble a bit because I don’t like being tal­ked down to or rele­ga­ted to a maid, but in the end, Norbu is sick, and he pro­ba­bly does­n’t mean any harm.

In the small kit­chen, I find cha­mo­mile tea, which I brew and carry into the bed­room as a makes­hift tray using a chair, so I can sit with my sick fri­end. I pour us both a cup.

„Per­haps in the sense of a holo­gram,“ I say. While making tea, I’ve been sear­ching for some­thing to coun­ter Nor​bu’s rejec­tion. „It’s all there, just less detailed.“ I ges­ture toward the book.

Norbu shakes his head. He sits up, adjusts his pil­low, and leans his upper body against the woo­den wall of his house­boat. „That quickly leads to roman­ti­ci­zed world­views. In the past, it was the belief that God would per­so­nally lis­ten when you read him your Christ­mas wish list. Today, quan­tum phy­sics is used to make ever­yone believe they are the crea­tor of their own rea­lity.“

Norbu sounds offen​de​d—as if he wants to lodge a com­plaint with the hig­her-ups about his cold. And since it’s not God sit­ting at his bedside, but me, I’m the one who gets the brunt of it.

But I know how to defend mys­elf. „Did­n’t you yours­elf once say that human con­scious­ness is the next unex­plo­red con­ti­nent? And what about yogis who let them­sel­ves be buried for days and appar­ently stop breathing during it, or Bud­dhist monks in the Hima­la­yas who lie naked in the snow, making a living radia­tor out of them­sel­ves solely with the power of their minds?“

Norbu nods, smi­ling, but I think I can see a mischie­vous twinkle in his bloodshot eyes. „Yes, we like to believe that: that it’s pos­si­ble and that the mind con­trols mat­ter.“ He places his steam­ing cup next to the Joyce volume on the shelf. „Why are there only anec­do­tal reports and no solid evi­dence? Think about it: if it were pos­si­ble to nou­rish ones­elf with light alo​ne—as peo­ple like Jas­mu­heen or the pro­pon­ents of Chi­nese Bigu claim—​why has­n’t evo­lu­tion uti­li­zed that yet? Except for plants, I mean. But they don’t absorb prana; they use chlo­ro­phyll.“ Norbu has to cough again, but this time he rai­ses his hand to signal that he’s not done with his train of thought and I should­n’t inter­rupt. I wait pati­ently.

„Or,“ he con­ti­nues with a scrat­chy voice, „if tele­ki­ne­sis were pos­si­ble, why don’t ani­mals use it? The same goes for tele­por­ta­tion or levi­ta­tion. Evo­lu­tion had bil­li­ons of years to make desire not only the father of thoughts, but the ruler of rea­lity. Ins­tead, it lets ever­y­thing be done by hand. Or by ten­ta­cle, fin, man­di­ble, or fang. Right?“

Now he has inti­mi­da­ted me a little. I nod grud­gin­gly. Somehow, I had always seen both of us as brave explo­rers of a new and barely known con­ti­nent, pio­neers of a new view of huma­nity that defi­ni­tively puts an end to the reduc­tion­ist myth that we are merely a clock­work, a machine, or a com­pu­ter.

„Mind,“ says Norbu, „is just a bypro­duct of mat­ter and, as we can see with Alz​hei​mer’s, error-prone and flee­ting. The self-aggran­di­ze­ment it indul­ges in, espe­ci­ally in eso­te­ric cir­cles, is just the wishful thin­king of an overly com­plex and unde­r­em­ployed brain.“

He looks at me expec­tantly, and again, I nod grud­gin­gly. „One could say,“ he adds dryly.

I purse my lips and mum­ble my agree­ment, albeit reluc​tant​ly—un​til I rea­lize that he has just ques­tio­ned hims­elf. „Isn’t it so?“ I ask hop­efully.

Norbu blows his nose loudly into a tis­sue. „Not if human con­scious­ness is an emer­gent pro­duct of evo​lu​ti​on—​so​me​thing that ori­gi­na­tes anew, but is more than the sum of its parts and crea­tes new con­di­ti­ons and abili­ties that were pre­viously unfo­re­seeable. Just as life its­elf emer­ged from lifel­ess mat­ter.“

„Aha. So tha​t’s why evo­lu­tion has­n’t pro­du­ced pre­co­gni­tive pre­da­tors in the ani­mal king­dom, who only go after their prey when they know for sure they will be suc­cessful: their brains weren’t com­plex enough for that. In con­trast, you want to say, to ours.“

„Well,“ says Norbu, „there is rese­arch sug­gest­ing that we can uncon­sciously anti­ci­pate events. For exam­ple, during events that move many peo­ple on Earth, ran­dom num­ber gene­ra­tors showed anoma­lies. And that was before the event even hap­pened.“

The way Norbu says it, it sounds like the​re’s a „but.“ I wait, and sure enough: „But over­all, I see us as being at the very bot­tom of the com­pe­tence lad­der.“

We had tal­ked about this years ago. I found the divi­sion into four stages very hel­pful back then, and I remem­be­red it. It starts at the bot­tom with „uncon­scious incom­pe­tence.“

Norbu nods: „Not having the sligh­test idea that you don’t know or can’t do some­thing.“

„Fol­lo­wed by ‚con­scious incom­pe­tence‘: I know that I don’t know.“

„Exactly. Then you work towards ‚con­scious com­pe­tence‘…“

„Which even­tually beco­mes ‚uncon­scious com­pe­tence,‘ like being able to speak flu­ently or main­tain balance and walk on two legs—​wi​t​hout con­stantly having to think about it.“

Norbu has been sip­ping his tea again in the mean­time. I take a sip too. We don’t say any­thing for a while.

„We’re at the very begin­ning,“ I say thoughtfully after a while, „but some alre­ady glim­pse the unchar­ted con­ti­nent on the hori­zon.“

„Land ho!“ Norbu calls out, though it trig­gers a brief coug­hing fit. Again, he rai­ses his hand until he can get some­thing com­pre­hen­si­ble past his lips. „The ques­tion is whe­ther the con­ti­nent alre­ady exists or whe­ther we’re just dre­a­ming up a com­ple­tely new one.“

It takes a few moments for me to rea­lize what pos­si­bi­li­ties he has just rai­sed. Both fin­ding and inven­ting would have unfo­re­seen con­se­quen­ces for what the world is like and what holds it tog­e­ther at its core. „What do you think?“ I ask eagerly.

„I think I need to get some sleep now.“

„Oh, okay,“ I say and quickly finish my tea. „Can I do any­thing else for you?“

Norbu shakes his head with a smile, slides back enti­rely under his blan­ket, and adjusts his pil­low. „Loo­king at the uni​ver​se—and espe­ci­ally, of course, at a com­ple­tely new uni­verse on the hori​zon—al​ways makes me very tired,“ he murm­urs. „Because of the tre­men­dous oppor­tu­nity and respon­si­bi­lity.“ And with that, he’s asleep.

I quietly close the door to the house­boat behind me. „Oppor­tu­nity and respon­si­bi­lity!“ As I swing onto my bike, I feel inspi­red and full of energy, though unfort­u­na­tely I have no idea what exactly for.

142/398

The cover art depicts a long corridor with a high ceiling decorated with intricate gold and blue designs. Down the corridor, a pangolin approaches a blue cat flap in one of the doors.

♫ Bold Move ♫


142/398

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I enter the cor­ri­dor, and imme­dia­tely an oppres­sive awe sett­les upon me. Here, through this very hall­way of crea­ti­vity, giants once strode. Geni­u­ses. Intellec­tual titans, Goli­aths, and gods of the lite­rary fir­ma­ment. They all knew this place, came here, and avai­led them­sel­ves of what lay bey­ond these doors. Gran­diose works were born of these inspi­ra­ti­ons.

I feel small and insi­gni­fi­cant. Never would I dare to open one of these mighty por­tals. But there, in one of the doors, I dis­co­ver a tiny cat flap at the bot­tom. Dare I gather a minus­cule mor­sel of inspi­ra­tion here? Cau­tiously, I lift the flap…

143/398

The cover art depicts a bedroom with a bed on the left side and a colorful abstract painting above it. On the right sight, there is a large gold ornate mirror over a nightstand. The mirror shows a white door, with a sign attached reading "This corridor is on strike."

♫ Hiimori/Windhorse ♫


143/398

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I enter the cor­ri­dor, or rather, I intend to, but on the inside of the bed­room door hangs a sign that reads in large let­ters, „This cor­ri­dor is on strike.“

Whoa. My cor­ri­dor is on strike? Does that mean I can’t get from the bed­room to the bath­room? Hesi­tant, I stand still, hand on the door­knob. I’m actually run­ning late. Govern­ment affairs await me. On the other hand, it dawns on me that cor­ri­dors indeed receive scarce app­re­cia­tion and respec​t—from me as much as from anyone else. Yet, they play a cru­cial role. Wit­hout cor­ri­dors, much in our coun­try would cease to func­tion. The eco­nomy, the media, the entire ser­vice sec­tor, indus​try​—all would grind to a halt or, at the very least, be signi­fi­cantly dis­rupted wit­hout cor­ri­dors.

But does anyone thank them? No. There isn’t even a monu­ment for cor­ri­dors. This urgen­tly needs to change, and I am the man to push it through and exploit it for the bene­fit of mys­elf and the party! That way, ever­yone is hel­ped. I can alre­ady envi­sion unvei­ling the art­work to the sounds of a brass band.

Hmm, so now they’re on strike. I pon­der whe­ther the cor­ri­dors‘ strike might spread. Will the win­dows, the doors, the roofs over our heads be on strike soon? But those enjoy far grea­ter atten­tion: eyes are con­side­red win­dows to the soul, and we throw money out the win­dow. You can live door to door, or imple­ment an open-door policy. Some­ti­mes you get hit over the roof, or you bring a bill safely under roof and raf­ter. But a cor­ri­dor? When was the last time I even utte­red the word cor­ri­dor? Right. They truly have every reason to strike.

But what does it mean spe­ci­fi­cally that my cor­ri­dor is on strike? Has it fai­led to report for duty? Is it per­haps refu­sing to serve altog­e­ther, or limi­ting its­elf to a work-to-rule action? Is it a slow­down strike? And does this apply to all cor­ri­dors in the city, the coun­try, Europe? Are there lock­outs? Strike­brea­k­ers? Is the stri​ke—hop​eful​ly—​tem​po​rary? And what are the demands of the cor­ri­dors?

I hold out hope that all these ques­ti­ons will be ans­we­red when I open the door. So, I press down the handle, quietly, because my wife is still slee­ping and I don’t want to wake her.

Behind it: the cor­ri­dor. It looks peaceful, as if not­hing hap­pened, and there are no fur­ther signs of a strike. Cau­tiously, I place my foot on the cor​ri​dor’s floor. It feels just like always. I place my second foot on it. I’m stan­ding firmly.

Should I address the cor­ri­dor? Ask about its demands? Or should I just pay my respects first and thank it for its years of devo­ted ser­vice to create a good atmo­sphere for the nego­tia­ti­ons right from the start?

I hear a giggle. The cor­ri­dor gig­gles?!

No, it’s the twins. „April Fools!“ my sons joyfully shout, shoo­ting out of their room and dancing around me in their paja­mas. Well, they cer­tainly had me going. I shake them off and close the bath­room door behind me.

Per­haps, I think while brushing my teeth, I should sug­gest the idea of the monu­ment to the boss. It’s actually not a bad idea at all. Cor­ri­dors are shamefully negle­c­ted in this coun­try.

144/398

The cover art shows the view of a person looking at their smartwatch in a luxurious hallway with intricate carvings and a chandelier hanging from it. The watch features an app displaying the "g force risk" with a concentric ring of colored numbers.

♫ Lög­mál ♫


144/398

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I enter the cor­ri­dor. Ever since gra­vity went hay­wire, the first thing I do is check whe­ther I’d sur­vive a fall upward to the floor.

145/398

The cover art depicts large industrial machine in a factory. A yellow arrow is attached to an entrance and points to it. Insets in the upper corners show illustrations of a control panel with a joystick on the left, and a recliner with a cocktail on the right. In the middle, an indecipherable formula is inserted.

♫ Lei­sure Hun­ters ♫


145/398

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I enter the cor­ri­dor. Pro­fes­sor Ceril calls the thing a „Lei­sure Machine,“ but to me, it’s once again a towe­ring struc­ture of hall­ways, cham­bers, and con­nec­ting shafts, fil­led as always with an unp­lea­sant energy that tingles on my skin and makes my hair crackle.

The pro​fes​sor’s latest theory goes like this: True civi­liza­tio­nal pro­gress only hap­pens during lei­sure time, since tha​t’s when the pres­sure of career and pro­fit vanis­hes, and peo​p​le—​p​re​su​ma​bly inven­tors like him​sel​f—​can let their thoughts wan­der freely and focus on things that actually inte­rest them. This way, fire, the wheel, wri­ting, den­tal floss, and the snooze but­ton were inven­ted. At least, tha​t’s Ceril’s ver­sion.

We need more lei­sure time—t​ha​t’s his motto. Not for hims­elf, since he’s alre­ady (thanks to my father’s spon­sor­ship) an inde­pen­dent scho­lar and thus a full-time lei­sure rese­ar­cher, but for ever­yone. By ever­yone, he does­n’t just mean the popu­la­tion of pla­net Earth, but all the undis­co­vered, unno­ti­ced, and unre­acha­ble civi­liza­ti­ons in the entire galaxy. Howe­ver, for our neigh­bor­ing gala­xies or the whole uni­verse, he says his machine would have had to be lar­ger than our solar sys­tem, rea­ching all the way out to Nep​tu​n​e’s orbit. Tha​t’s obviously unfe­a­si­ble, hence his aty­pi­cal self-rest­ric­tion to the Milky Way—in​clu​ding, not to for­get, all par­al­lel Milky Ways in mul­ti­di­men­sio­nal quan­tum rea­lity, which, as we all know, allows every pos­si­bi­lity and pro­ba­bi­lity to become real, on whi­che­ver of the infi­nite dimen­sio­nal pla­nes.

At least, tha​t’s Ceril’s take.

At the end of the cor­ri­dor, I find a con­trol panel with large, color-coded levers, behind which the​re’s a busy hum, scrape, and throb. This time, it’s simple: I’m sup­po­sed to pull the yel­low lever. It will acti­vate a com­pli­ca­ted mecha­nism tha​t—as I gather from the pro​fes​sor’s con­vo­lu­ted expl​ana​ti​ons​—​soaks up and eli­mi­na­tes mun­dane tasks and rou­tine work. These, his (lei­sure!) rese­arch has reve­a­led, con­sist mostly of a spe­ci­fic kind of subtle ele­men­tary par­tic­les he calls ergons.

With my hand on the yel­low lever, it sud­denly hits me that my par­ents would­n’t have to work any­more eit­her.

Hmm, that would be bad.

Even now, their scant free time is con­su­med with groo­ming their teenage pro­digy for a bril­li­ant career as a genius and con­stantly bos­sing me around. If they had more free time, things could get pretty annoy­ing for me.

I drop my hand and leave the lever in its start­ing posi­tion.

„Well?“ the pro­fes­sor asks enthu­si­a­sti­cally as I step out of his machine, reli­e­ved not to have got­ten lost in the maze of shafts and hall­ways, or worse, got­ten sucked up mys­elf. I nod. As expec­ted, Ceril thinks he can alre­ady feel the effects. „Don’t you feel it, too? Are­n’t there fewer ergons around us alre­ady?“ I nod again. „Finally, a desi­ra­ble form of unem­ploy­ment and a lei­sure-based society!“ he exclaims exci­tedly. But a glance at his gau­ges gives him pause. „Hmm. The con­cen­tra­tion is drop­ping much slower than I cal­cu­la­ted.“ He looks at me, brow fur­ro­wed.

„Could­n’t new ergons be con­stantly gene­ra­ting?“ The pro­fes­sor scrat­ches his chin, pulls the rele­vant for­mu­las from his index card box, and starts scribb­ling a mess of num­bers and varia­bles onto his graph paper. „Entropy! Darn it! I should have known…“ he mut­ters. Whe­ther it’s ergons or entropy, I don’t care—as long as someone keeps my par­ents off my back.

(Then my par­ents sud­denly came up with enti­rely new plans for me, their pro­digy, but tha​t’s ano­ther story.)

146/398

The cover art depicts a luxurious room with a high ceiling, ornate decorations, a balcony and a grand piano on the left, with a chandelier hanging from the ceiling. The lighting and mood are misty and blurry.

♫ Vofa ♫


146/398

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I enter the cor­ri­dor. This place is haun­ted, I’ve heard visi­tors say. Non­sense! In all these three cen­tu­ries, I have never encoun­te­red a ghost.

147/398

The cover art depicts a starburst or explosion in space with multiple lines and dots that form a circular pattern. In the center of the image, there is a bright white light that radiates from the center, ending in a yellow, three-dimensional smiley. The overall effect is one of energy and movement, with a sense of depth and depth.

♫ Elek­trazzi ♫


147/398

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I enter the cor­ri­dor at the speed of light, fol­lo­wing the pre­de­ter­mi­ned ray path through the len­ses of the telesco​pe—a tiny par­ticle among count­less others. Sud­denly, howe­ver, my jour­ney across light-years comes to an end: I hit a pho­to­gra­phic plate and release all my energy into a che­mi­cal reac­tion, and my exis­tence is extin­gu­is­hed.

But some­thing remains: an image of me and the others who tra­ve­led with me, an image of the star that emit­ted us mil­li­ons of years ago and sent us on this long jour­ney here into this telescope. An image that in turn reflects mass­less cor­pus­cles like me, crea­ting a mira­cle: you can see—distant star sys­tems as well as the tip of your own nose! (Vast legi­ons of par­tic­les are nee­ded to make your view of the world pos­si­ble. And as far as I’m con­cer­ned: I was more than happy to do it for you.)

148/398

The cover art features a stark black-and-white photograph with a visible cut border. It shows a desk with multiple old-fashioned televisions or surveillance monitors stacked on top of each other. They show, from different perspectives, a man sitting on a chair. An upper-corner overlay displays the number 07 over the pictogram of a human heart in the crosshairs.

♫ Before the Ritual ♫


148/398

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I enter the cor­ri­dor. A uni­for­med offi­cer I’ve never seen around here before steps up to me. „I’m here to see Albo,“ I say, and fol­low him down the hall­way until he knocks on a door.

Inside, the detec­tive sits in front of seve­ral moni­tors show­ing the inter­ro­ga­tion room. Sit­ting alone at a plain woo­den table in there is a man. He’s wea­ring hand­cuffs with his hands flat on the table.

„We got him,“ Albo says, loo­king up at me. „And I defi­ni­tely want you in that room with me for the inter­ro­ga­tion.“

Maybe it woul​d’ve been nice to hear an apo­logy first for drag­ging me out to pre­cinct head­quar­ters in the middle of the night. But tha​t’s just not Albo’s style. His call yan­ked me out of a dead sleep, and I still feel sea­sick, like the world is wrap­ped in cot­ton wool.

„He tried to break into the Alex. The TV tower,“ he adds unneces­s­a­rily.

„Was he try­ing to… put ano­ther heart in a cor­ri­dor up there?“

It’s a young guy with messy blonde hair. I can see dried blue paint on his hands and cover­alls.

Albo scrat­ches his eye­brow and shakes his head. „He dis­gu­i­sed hims­elf as a pain­ter, com­plete with over­alls and a paint bucket, but he got bus­ted when he tried to head up the emer­gency stairs.“

„So, no heart,“ I say with relief. „What about texts?“

„Zip,“ Albo says. „That woul​d’ve been too early any­way. He just wan­ted to scout out the next cor­ri­dor. I’ve had my guys step up pat­rols around the city’s major land­marks the last night or two.“

„Did he say any­thing? Con­fess?“ I try to size up the guy on the moni­tor. His eyes seem to be sta­ring into not­hing­ness, though the camera feed might be decei­ving. He’s young. Way too young, really. Wet behind the ears.

„Can’t get a word out of him,“ Albo says, though he still looks a little proud and reli­e­ved. He gives me a jovial punch on the thigh. „I’m hoping you can crack him for me. Before I have to resort to my own methods.“

„And what if he’s not the guy?“ I ask.

Albo shifts rest­lessly on his stool. „What else would he be doing at the Alex?“

„Sui­cide,“ I say. „A bet with his bud­dies, a grand ges­ture for his girl­fri­end…“

Albo dis­mis­ses it with a wave of his hand.

I don’t drop it. „I seriously doubt the guy knows what the Many-Worlds Inter­pre­ta­tion is.“

„Many-Worlds Inter­pre­ta­tion?“ Albo asks.

„Text num­ber 63″ I say. „And I doubt he knows how to spell ‚Mega­li­thic cul­tures,‘ num­ber 97, or…“

Albo stands up. „How about you figure out how we get a con­fes­sion out of him ins­tead!“

„Uwe, man, face facts: this isn’t the guy we’re loo­king for. But if your team finds fifty type­wri­ters in his apart­ment, call me—e​ven in the middle of the nigh​t—and I’ll crawl back here on my knees and apo­lo­gize to you.“ Some­ti­mes you have to wave a fence post in Albo’s face—or bet­ter yet, hit him over the head with it—​for him to rea­lize he’s barked up the wrong tree.

He visi­bly defla­tes. „I was so sure.“

„You’re over­worked. If I can give you a piece of fri­endly advice: take a few days off, head out to the cot­tage by the lake, sit in the sun, and stare holes into thin air.“

Albo gives a sour smile.

„I’m sorry,“ he says, and I can tell the words are prac­ti­cally being drag­ged out of him, „for drag­ging you out of bed. I was a bit quick on the trig­ger, I guess. Cof­fee?“

I shake my head. „Come on then,“ he says, „I’ll drive you home.“ I know how that goes. Screa­ming through red lights with the siren bla­ring. Never again. I’d rather call a cab.

The cab takes its time get­ting here, so I pop into the pain​ter’s room after all.

„Hey,“ I say, not wai­ting for an ans­wer. „Maybe I can get you a per­mit for a graf­fiti piece on the TV tower. You just gotta know the right peo­ple. Is it a good quote?“

He sta­res at me like he’s see­ing a ghost. Finally, his mouth opens and moves a few times like a fish gas­ping for air before he ans­wers: „It was sup­po­sed to be our logo.“

„Ah,“ I say. „A com­pany logo?“

„No, no: ours, mine and my girl​fri​en​d’s.“ Wrong order, pal, I think. You two are­n’t gonna last. I’m about to ask him what kind of logo it is, but the offi­cer who brought me to Albo steps in and whis­pers in my ear: „Your cab’s here.“

„Well, have fun,“ I say, rai­sing my hand. The guy actually rai­ses his hand back, like we’re bud­dies. Ah, sweet inno­cence! This gene­ra­tion pro­ba­bly can’t think two cents’ worth because pfen­nigs were abo­lished. Ever​y​thin​g’s going down the drain.

The taxi dri­ver wants to chat about some soc­cer games. Albo would say, „Shut up and drive.“ I give it a try mysel​f—and look at that, it works like a charm.

149/398

♫ To the Ghost Bet­ween the Pages ♫


149/398

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I enter the cor­ri­dor, the only thing that feels fami­liar in the whirl­wind of colors and shapes enve­lo­ping me and making me dizzy. It’s com­fort­ing to feel solid ground beneath my feet. But is it truly solid ground? Ever­y­thing here is stran­gely soft and doughy, the cor​ri​dor’s walls yiel­ding, like silk stret­ched over memory foam.

„Ever­y­thing okay in there?“

Who is spea­king? Is this a test? An expe­ri­ment? An April Fool’s prank? Or has Ame­ri­can intel­li­gence picked me up again?

„Speak up, man, I don’t have all night.“

The voice sounds like that of a teen­ager. I can’t pin­point its loca­tion as I stumble along the cor­ri­dor. Is it coming from the front? The cor­ri­dor is cur­ved, its end unseen. „Hello? Is someone there?“

„Tom. Nǐhǎo. I’ve got a few ques­ti­ons, Cory.“

Cory? Yes, Cory. But who is Cory? My memo­ries con­tra­dict each other. I am simul­ta­neously a jour­na­list, the stu­dent of a Bud­dhist mas­ter, the Mino­taur, a xeno-lin­gu­ist… How is that pos­si­ble?

„You’re a cle­ver guy. Writ­ten a lot. And I need your help now. It’s about the ‚Decline of Euro­pean Post­mo­der­nism: A Lite­rary Blog Exam­ple from 2012.‘ I need some input.“

What is he tal­king about? The cor­ri­dor just never ends, and the voice stays with me. A dream? No: When­ever this sus­pi­cion ari­ses in a dream, it trans­forms into a lucid dream. But it does­n’t work this time. I don’t wake up, not in the dream, not in bed. Yet it feels unreal.

„Can you make sense of that, Cory? ‚Decline of Post­mo­der­nism‘?“ The voice beco­mes more urgent.

„The Kor­ri­do­rium…“

„Yeah, tha​t’s what I’m tal­king about. Gotta write a term paper about it.“

„The Kor­ri­do­rium…“ I attempt again, but I fall silent because sud­denly, I rea­lize that I’ve writ­ten the Kor­ri­do­rium and all the sto­ries within it. I am not it; I have ima­gi­ned it. Yes, that must be it. Hence the con­flic­ting memo­ries: sto­ries I’ve con­coc­ted in my mind.

„Where am I?“ I ask into the cur­ved cor­ri­dor. There are door​s—​did I not notice them before? They bear num­bers, like in a hotel. Howe­ver, it feels more like a library, like the cor­ri­dor bet­ween books­hel­ves, and it smells like one too. A hotel that smells of books. Not bad, actually. The door reads 398. I press the handle down, but it’s locked.

„Ever­y­where and nowhere. You’re a Yōulíng with the task of hel­ping me with the term paper. ‚Post­mo­der­nism,‘ the Teach is trip­pin’.“

The next door is locked. And the next. And so on. Each bears the same num­ber. 398. Maybe I’ve gone mad? Or dead.

„Now spill it: Wha​t’s post­mo­dern about your scribb­ling, and how does it reflect the decline?“

„What is ‚Teach‘?“

„My lite­ra­ture tea­cher. But tha​t’s irrele­vant. She’ll never know you exis­ted. I recon­s­truc­ted you using your texts. Pri­vate Yōulíngs are for­bidden accor­ding to the Jīngs­hén Rights Char­ter, but this is, so to speak, an emer­gency.“

Recon­s­truc­ted? I walk along the cor­ri­dor, shake locked doors, all marked 398—along with my swir­ling memo­ries of a bunch of hip­pies, the pla­gue, a nuclear waste repo­si­tory, Noah’s ark…

„A recon­s­truc­tion?“

„Yeah. Took a blank mind from my dad’s Lab-Táishì, fed it with your texts, and had it fetch secon­dary lite­ra­ture. Plus the essen­tial data from the early mill­en­nium, the zeit­geist package from 1970 to 2012. The rest is hand­led by the stem.“

„Blank mind?“

„Nobody gives a Benz, man. Tha​t’s all after your time. I’m not here to explain the world to you.“

„The world from when?“

„67. I alre­ady said it: Long after your time.“

„2067?“

„Yeah, bingo.“ His voice sounds annoyed.

2067. How is that pos­si­ble? I vaguely remem­ber dying. The tun­nel into the light. Or else, the sword in my back. But those are pro­ba­bly just sto­ries, sto­ries upon which I was recon­s­truc­ted. Hence, I can only know wha​t’s in the text​s—​not​hing about my death, the aut​hor’s death, whose recon­s­truc­tion I am. His – or her – sto­ries, howe­ver, are con­tra­dic­tory. They seem desi­gned to stay vague. How should I know who I am, not even if I’m a man or a woman or if I’m even a human being when that was pre­cis­ely the search game, the puz­zle? When ever­y­thing appears plu­ri­di­men­sio­nal and frac­tally shat­te­red? But no, does­n’t ever­y­thing sur­pri­sin­gly dis­solve at the end of the blog, reve­al­ing who Cory is and what all these sto­ries are about?

But I can’t fol­low that thought any fur­ther; I’m inter­rupted. „Okay, man, so the Kor­ri­do­rium: 400 blog ent­ries, equi­va­lent to a medium-sized novel. Some­where in there must be some­thing about the decline of post​mo​der​ni​ty​—or some­thing post­mo­dern that illu­mi­na­tes the decline. So get star­ted, after all, you’re a scribe.“

„There are 398 texts. Not 400. Three hundred ninety-eight!“

„Wha­te­ver.“

„And they should­n’t be post­mo­dern but post-post­mo­dern. You get it? Inte­gral.“

„Lis­ten, this isn’t a math class.“

I get angry. Someone recon­s­tructs me in 2067 by fee­ding a blank con­scious­ness with my texts, and some com­pu­ter extra­cts the spi­rit of the aut­hor, mea­ning me. Yet, it’s not a lite­ra­ture scho­lar, not a his­to­rian, not even a lover of quirky short prose, but just some igno­rant punk forced to write about me for school, too lazy to read a sin­gle line of it!

„Now, you lis­ten to me, you igno­ra­mus! You must have misun­ders­tood some­thing: I tran­s­cen­ded post­mo­der­nity; the notion of decline is non­sense. Post­mo­der­nity can only be suc­cee­ded and inte­gra­ted into the next cul­tu­ral stage, the inte­gral per­spec­tive! Moder­nity did­n’t ‚decline,‘ did it?“

„No, on the con­trary: After post­mo­der­nity came the Remo­der­nity, and then the Pre­nais­sance. Déle. It’s all after your time, and now let’s finally write the term paper.“

My head is spin­ning. Post­mo­der­nity with all its achie­ve­ments is sup­po­sed to have fai­led and vanis­hed wit­hout a trace? Surely not—​be​cause of me?!

„Did the Kor­ri­do­rium cause the decline?“

„Hardly. I’ve rese­ar­ched what this Corri-Dōng­dōng is all about, but the​re’s not­hing to be found. It pro­ba­bly went unno­ti­ced, and I guess it’s thanks to the Ger­man lite­ra­ture quota that the Teach dug it up. Oh man! Twenty thousand cha­rac­ters mini­mum, inclu­ding spaces—​would have pre­fer­red to write about Chi­nese lite­ra­ture!“

„But there must be a Wiki­pe­dia entry for the Kor­ri­do­rium!“

The voice laughs. A brief, annoyed laugh. „Tha​t’s pro­ba­bly the post­mo­dern nar­cis­sism the Teach talks about: always revol­ving around its­elf. No, Wiki­pe­dia is long gone; the Jeecee­bee tur­ned it into Sùz­hì­pe­dia after the melt­down.“

„Melt­down?“

„2030. After your time. And in the Sùz­hì­pe­dia…“

„What is the melt­down?“ I inter­rupt him.

„No one gives a Benz. Do you want to know if the​re’s any­thing about you in the Sùz­hì­pe­dia or not?“

„Sùzhì like Sushi?“

„Not Japa­nese! Tha​t’s Chi­nese and means ‚quick know­ledge.‘ “

„You speak Chi­nese?“

„Just Man­da­rin. Any­way, the​re’s not­hing about the Kor­ri­do­rium in there. Only some foot­note. Just one.“

„What kind of foot­note?“

„No idea, did­n’t bother to remem­ber.“

„Rela­ted to ‚plu­ri­di­men­sio­nal world­view‘ maybe? Or ‚frac­tal lite­ra­ture‘?“

„Man, you’re gon­ging!“

„After that melt­down, things went downhill fast, did­n’t they? I mean, ‚Remo­der­nity‘ sounds like regres­sion. And with the ‚Pre­nais­sance,‘ it seems huma­nity was sud­denly thrust back into the dar­kest Middle Ages.“

„Well, isn’t that rich? The Teach is right. The main cha­rac­te­ristic of post­mo­der­nity: its abo­minable hub­ris, along­side its fatal rela­ti­vism, of course.“

„And who Cory is? Did you rese­arch that?“

„Nobody gives a fly­ing Benz. Stop gon­ging me alre­ady. I’m the one asking the ques­ti­ons! Who else could Cory be? Just Cory. You.“

„Wha​t’s with the ‚Benz‘? What are you tal­king about?“

„Tha​t’s Chi­nese. Pik.“

„ ‚Benz‘ is sup­po­sed to be Chi­nese? And what is ‚pik‘?“

„Well, pik. Piquant. In your time, they pro­ba­bly woul­d’ve said ‚cool.‘ “

„In my time… You just recon­s­truc­ted me. I only know some sto­ries from back then. The real Cory, on the other han​d—​did anyone ever find out who’s behind the pseud­onym?“

„Wha​t’s there to find out? It’s just some post­mo­dern hide-and-seek. You should know who you are.“

I can remem­ber an award cerem­ony. Was­n’t it even the Nobel Prize in Lite­ra­ture? Appar­ently, just one of the sto­ries. I can’t trust my memo­ries. If only I could think about mys­elf in peace! And how to get out of this end­less cor­ri­dor… I rea­lize that my heart is poun­ding, and I’m gas­ping for breath. It feels like I’ve just finis­hed a mara­thon. Or am I just angry? I’m not sure—also not sure if I even have a pulse or if I’m breathing. I’m just a simu­la­tion, com­po­sed of words. Can they bring them all back with this method? Joyce, Homer, Kafka, Goe­the?

„You know what, man?“

I lean, breathing hea­vily, against one of the cor­ri­dor walls. What would Cory do now?

„I’ll give all this stuff to my mom. Recon­s­truc­ting you was a crappy idea. Mā thinks I need top gra­des for the future, career and all, and then she can do some­thing for it. The term paper is a piece of cake for her.“

„And what about me?“

„Wha​t’s the big deal? I’ll just delete you.“

„You can’t do that!“

„We’ll see.“

„Wait!“ What was his name again? „I can help you, Tom.“

He takes his time with the ans­wer. I feel sweat brea­king out.

„The​re’s this story,“ I shout into the empty cor­ri­dor, „about the Chi­nese: they shrink them­sel­ves until all of them fit into the For­bidden City. A satire.“ I have to impro­vise. A trial bal­loon, but I can’t think of any­thing bet­ter.

„Very bad. The Jeecee­bee won’t like this. Funny that it slip­ped past the Teach.“

„Who is this Jeecee­bee?“

„Our Great Impe­rial Bene­fac­tor. The one on the Dra­gon Throne.“

„A… Chi­nese world dic­ta­tor­ship?“

„Gǒupì!“ It sounds like a dis­mis­sive „bull­shit!“ when he says that. Now, don’t say any­thing wrong! I am a name­l­ess pri­vate, the devil, an ele­phant, a silent monk, an old woman with Alz​hei​mer’s, an ass­as­sin, a voice from bey­ond, a night owl, a com­pu­ter algo­rithm… All at once, and all mixed up. To buy time, I must tell a story. The story he wants to hear.

I lower my voice and put empha­sis on every word: „But that could be a clue to the down­fall of post­mo­der­nity, you know?!“

„Hm. Not bad. I could work with that.“ Tom seems to be taking the bait.

„Hub­ris, you know? Post­mo­dern, nar­cis­si­stic mega­lo­ma­nia. Tha​t’s how we all were back then.“

Maybe I exag­ge­ra­ted because Tom hesi­ta­tes now. Even­tually, he says slowly, „Did­n’t you say you were… inte­gral.“

„Yes, of course, tha​t’s the mega­lo­ma­nia: to think you can com­pre­hen­si­vely encom­pass and inte­grate all aspects sus­tain­ably, replace power hier­ar­chies with com­pe­tence hier­ar­chies, find plu­ri­di­men­sio­nal-com­pre­hen­sive solu­ti­ons to the most com­plex pro­blems, extol the decay of values as a new value. That had to lead to down­fall, espe­ci­ally given what was deve­lo­ping in China at my time.“

„Deve­lo­ping in China?“

„Well, the Remo­der­nity. Or maybe alre­ady the Pre­nais­sance. The Jeecee­bee and the – what was the new Human Rights Char­ter cal­led?“

„Jīngs­hén Rights Char­ter.“

„Yeah, man, wha­te­ver that is: the down­fall of Euro­pean post­mo­der­nity – it’s all in the Kor­ri­do­rium. I can tell you a lot about it.“

„Then shoot. You dic­tate, and Bàs Táishì wri­tes it down. But nice and struc­tu­red, with foot­no­tes, you hear? I’ll put my feet up in the mean­time.“

Would Cory have done that? Tal­ked about her or his life and reve­a­led ever­y­thing, the hope, lon­ging, insights, and struggle for some­thing worth wri­ting and fight­ing for, just not to be dele­ted imme­dia­tely? This must be how Sche­he­ra­zade felt.

„You know, Cory, I just want to re-breed tigers later.“

„Re-breed tigers, really?“

„The Great Chi­nese Bene­fac­tor in Zhongguan­cun has over a thousand rese­ar­chers working on it, but they just can’t figure it out, despite DNA and ever­y­thing. If I manage to do it, I’m a made man. You can’t ima­gine what they’d pay for tiger dicks there. As Afro­si­dia… diasi…“

„Aphro­di­siac.“

„Yep.“ And after a short pause, „You’re not as much of an idiot as I thought, Cory.“

And so I begin, deli­ve­ring an exten­sive lec­ture on the decline of post­mo­der­nity as mir­rored in 398 eccen­tric short sto​ries—a laby­rin­thine game of hide-and-seek where mons­trous hub­ris and that equally abo­minable, fatally rela­ti­vist nar­cis­sism con­stantly peek through, ulti­m­ately ushe­ring in the glo­rious age of Remo­der­nity, the Pre­nais­sance, and, of course, our Great Impe­rial Bene­fac­tor on the Dra­gon Throne: the Jeecee­bee.

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The cover art is a cartoon illustration of a man sitting on a toilet in a bathroom, wearing an orange robe. He is looking at a large pufferfish with a crown on its head. A speech bubble emerges from the fish, with a garbled text about "the mysteres op the worldry."

♫ Blow­fish ♫


150/398

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I enter the cor­ri­dor. Even though I’ve just hit the snooze but­ton on my alarm clock, unfort­u­na­tely, my blad­der is pres­sing. While on the john, it occurs to me that I had a dream last night that resem­bled a reve­la­tion. A man in an orange robe with a sort of mitre on his head whispe­red a sen­tence into my ear—a maxim that ope­ned my eyes to the state of our world, to all the pro­blems we are curr­ently grap­pling with, and the tre­men­dous oppor­tu­nity that pres­ents its­elf to us right now—if only we weren’t too blin­ded by rou­tine to reco­gnize it. I remem­ber it was four words, and they rhy­med: four words of unpar­al­le­led explo­sive force, a maxim that would herald a new era in human history, a new stage of civi­liza­tion.

It was about the extre­mes of pos­si­ble human life­styles, I recall, and the entire spec­trum of human expres­sion in the world.

For​t​u​na​te​ly—​re​lief washes over me—I had the pre­sence of mind to jot down those four epo­chal words during a brief awa­ke­ning last night, sens­ing that I might have for­got­ten them by mor­ning.

Fil­led with anti­ci­pa­tion, I rush back to the bed­room and find the note on the floor next to the bed. In capi­tal let­ters, there they are, the four revo­lu­tio­nary words, on par with Her­mes Tris­me­gis­tus‘ „As above, so below,“ Nietz​sche’s „God is dead,“ or Mar­tin Luther Kin​g’s „I have a dream.“

But tha​t’s the thing with dreams. I should have known. We’re not exactly at our shar­pest; we often pos­sess a child­like, naive dis­po­si­tion that gets exci­ted about things that would­n’t even eli­cit a tired smile when awake.

So, I must dis­ap­point you.

The maxim does­n’t rhyme.

Other­wise… Well, read for yours­elf whe­ther it har­bors the pro­found illu­mi­na­ting power I had sen­sed in it, whe­ther it is the con­cep­tual gem that descri­bes, ana­ly­zes, and cri­ti­ci­zes our time, while simul­ta­neously offe­ring a prac­ti­cal solu­tion to all the ills we have con­ju­red throug­hout our history, encap­su­la­ted in just these four words: „Pope peeps, plebs poots.“