1.
Smith was the way and the meaning of nothing
2.
Smith liked to
3.
Smith thought about
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Smith was not by nature solitary, rather it was simply the case that He had
5.
Smith had what we might recognise as thoughts, but He had no
6.
demons as companions because Smith had never imagined imagination
7.
Smith could draw like an eighteen month old infant
8.
All that Smith was aware of was the equivalent of a cosmic itch, and
9.
impotence inherent in not quite understanding the concept of the scratch, Smith
10.
far flung boundaries of the void Smith finally determined that the endlessly irritating
11.
Smith thought through the
12.
Smith called the itch Silence
13.
Silence was the first form, the first shape upon which Smith could hang an
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Smith, using a modern
15.
the vast emptiness of Smith-time the itch eventually returned, and Smith was forced to
16.
In order that Smith might truly enjoy the silence, in the same way that a man
17.
To love silence, Smith realised, meant that as the creator He had become
18.
Smith thought, and in thinking proved Descartes right, and therein lay a
19.
steps towards origin, and in thinking, even on a universal scale, Smith began to
20.
simple fact that Smith could hang thoughts from this shape inevitably lead Him to
21.
Smith preferred those thought-shapes that pleased,
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Smith started to become predictable
23.
Predictability was, thought Smith in a broad and universal manner, a good
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Smith preferred to consider a thought from a familiar set of view points, rolling
25.
Smith liked some shades of nothing more than others
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the shades of dark void rippled in the non-light, Smith found that His tastes changed
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wonder that across the gulf of time and space Smith became a little indecisive
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For Smith, without access to
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difference within the quietude, as with the spectral shades of the void, caused Smith to
30.
Smith loved the Universal Light Programme that fizzed
31.
Smith took the melody and the rhythm of the void into the soul of creation, swinging
32.
until it began to dawn on Smith that there was simply no way to settle on a universal
33.
Basically, Smith could no more organise a cosmic booze-up in an
34.
Smith, in the madness of endless conjecture, decided to stick a virtual pin into the
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Smith drew a metaphorical line in the cosmic sand
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Smith allowed the melody of sudden voice to flood through the vacuum of the
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The music of the heavens filled Smith with delight and He swooned with
38.
universe contained any concept as simple as song, you would have heard Smith sing
39.
For things to be good, for Smith to feel the warmth
40.
to be the absolute cold that allowed Smith to feel the warmth, and the inevitable
41.
balancing factor in the equation was Smith
42.
sequence that lasted for millennia, but for Smith that moment of absolute happiness in
43.
Smith looked down upon one
44.
If, along with suns, molten planet cores and gas nebulae, Smith had invented
45.
Smith looked down upon the third rock out from a brightly burning star at the
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Smith thought about the Bad,
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millennium or two of orbital time Smith arrived at a conclusion
48.
Almost as an afterthought Smith allocated a small portion of his dream time as
49.
Smith turned his
50.
In doing this, in leaving the cameras on constant surveillance, Smith also
51.
As Smith dreamed and experimented and
52.
and Smith, even though he heard none of the individual songs sung by the flora and
53.
hearing, Smith focussed his universal ear upon the sound of this disharmony
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light that shone almost below the visible spectrum, Smith heard a plaintive howling
55.
measures of eternity and there Smith saw something quite unexpected; the utterly
56.
Smith was not by nature solitary, rather it was simply the case that He had always been alone
57.
Smith had what we might recognise as thoughts, but He had no shapes upon which to hang them
58.
Smith was unable to fashion physical angels and demons as companions because Smith had never imagined imagination
59.
In effect Smith could draw like an eighteen month old infant
60.
All that Smith was aware of was the equivalent of a cosmic itch, and he endured the madness of the itch because he was impotence personified, that impotence inherent in not quite understanding the concept of the scratch, Smith unwittingly agreed with the future earthly Buddha in that He found the unformulated conjecture of eternal peace to be vexatious and maddening
61.
Across the far flung boundaries of the void Smith finally determined that the endlessly irritating sensation that underlay the void was deserving of a name
62.
Smith thought through the very fabric of time and finally, in a moment of naturally divine inspiration, He invented the word
63.
Silence was the first form, the first shape upon which Smith could hang an idea, and He marvelled at the universe that crept into view with the naming of this first idea
64.
Smith, using a modern colloquial term, loved silence but with love comes an inevitable discontent
65.
Even in the vast emptiness of Smith-time the itch eventually returned, and Smith was forced to concede a fundamental philosophical point
66.
In order that Smith might truly enjoy the silence, in the same way that a man might enjoy the silence of a house in the early morning before the space in the world is filled with voices, He had to accept the fact that He, She or It was conceptually awake
67.
To love silence, Smith realised, meant that as the creator He had become aware of self and place and time, and of the difference between places and times and selves, none of which could ever have existed in a true void
68.
Smith thought, and in thinking proved Descartes right, and therein lay a problem
69.
Smith wanted something, but had no means to express such things in any sense other than silence and darkness, and so Smith thought un-shapes out of the fraying circular chords of absolute tranquillity
70.
Beyond the confines of earth-time, way out beyond the fringes of the universe where dark matter falls forever, Smith thought about nothing, taking slow but gigantic steps towards origin, and in thinking, even on a universal scale, Smith began to acquire the very first trappings of personality
71.
Universal silence had a shape and the simple fact that Smith could hang thoughts from this shape inevitably lead Him to choose particular ways of thinking
72.
Smith preferred those thought-shapes that pleased, that scratched the cosmic itch most effectively, and so He expressed thought in a set of patterned, reactive ways
73.
Predictability was, thought Smith in a broad and universal manner, a good thing
74.
Smith preferred to consider a thought from a familiar set of view points, rolling it across the heavens like thunder, looking at all those aspects of silence and darkness that reinforced the heavens as imagined by a responsible God
75.
Smith put away the shades that displeased, and so came the formation of ideas that later we would call Good and Bad
76.
For Smith, without access to heaven’s as yet empty libraries, the darkness was beauty beyond description, solitude was a cruel mistress who only ever tasked without instruction, and silence was the wonder, the brilliance, the radiance of an eternal symphony half remembered
77.
Smith could never quite be sure of anything
78.
Silence was bliss, was the summation of every force and vitality known to the universal mind, but the inevitably subtle tonal difference within the quietude, as with the spectral shades of the void, caused Smith to vacillate
79.
In human terms, Smith listened to silence like we listen to Mozart on a Tuesday
80.
Smith loved the Universal Light Programme that fizzed across the unseen radiation waves of His thought, but He loved each and every aspect of silence as if, for a fleeting moment, it was the only silence He had ever heard
81.
Smith took the melody and the rhythm of the void into the soul of creation, swinging in allegiance from every note to every other note in a crescendo of perfect solitude, until it began to dawn on Smith that there was simply no way to settle on a universal truth in un-sound
82.
Basically, Smith could no more organise a cosmic booze-up in an entire star field of breweries than could an ant recite the works of Rabbie Burns across the vast glens of Whisky sodden Scotland
83.
For things to be good, for Smith to feel the warmth of a billion, billion nuclear suns, there also had to be things that were bad
84.
There had to be the absolute cold that allowed Smith to feel the warmth, and the inevitable balancing factor in the equation was Smith
85.
In the primordial soup of creation a chemical chain might have a lifetime of a second, or it might exist in an unbroken sequence that lasted for millennia, but for Smith that moment of absolute happiness in the melody of life was nothing but a blink of an eye
86.
Smith looked down upon one small star and upon one totally insignificant rocky ball at the outer edge of a tiny spiral galaxy of stars, and there He heard the very first bum note
87.
Almost as an afterthought Smith allocated a small portion of his dream time as the equivalent of a galactic closed circuit television system
88.
Smith turned his gaze away from the chemical and physical experiment at the edge of what we now call the Milky Way, but he left the monitors on and the tapes running just in case he ever needed to put a face to a crime
89.
In doing this, in leaving the cameras on constant surveillance, Smith also effected a process of change and evolution
90.
As Smith dreamed and experimented and changed the fabric of time and space, as He formulated infinite varieties of life and death across the vast expanse of the void, small packages of His thought leaked out from beyond the horizon of Smith’s dreaming and drifted through the aeons and along the canals and wires that connect the universal whole
91.
In dreaming of a peacock sky on some far distant world, Smith allowed a feather to fall upon the barren rocks of our world
92.
The song was Good and Smith, even though he heard none of the individual songs sung by the flora and fauna of this long forgotten refrain at the edge of all things, found contentment in the straightforward knowledge that the song continued, a fulfilment sufficient for Him to think the work of creation a noble thing
93.
Out at the edge of an insignificantly flat spiral galaxy, by a minute speck of light that shone almost below the visible spectrum, Smith heard a plaintive howling
94.
He looked down upon the bright and savage earth for the first time in countless measures of eternity and there Smith saw something quite unexpected; the utterly familiar shape of loneliness embodied in the outlandish shell of the hairless ape who dared to contemplate creation, baying at the stars, calling out in utter desperation for the companionship that comes with that first sparkling moment of harmony within the song of songs
95.
supposed Smith to be about his business,
96.
‘He was thrilled when I told him that I knew you, Berndt, and hopes that he’ll be able to see more of you when he starts his smith training
97.
After an excellent snack I wandered through WH Smith and thrilled to the dizzy heights of buying my first phrase book but from then on it was a downward spiral of fear and boredom
