Left

A deadpan, noir, ChapBook. As a term from the twenties for political forums, or prose, this book is based on true-to-form political insights: in the undercurrents of the world. Evelyn Hispee practices detached, and dream - like, habits, portrayed in her everyday life. Simply, from the appreciation she holds for beauty, in each instance that crosses her path, she percieves the landscape much differently -- you might say. From her slumbering corner of the world the concept of finding life in strange oddities, and things, changes the theoretical mapping of the world itself. She frees' underserving prisoners, contracting with gnome colonies, and acts as a philanthropist -- with more influence than political leaders, quietly - so. The absurd becomes rational -- where the irrational acceptances are thrown underfoot, and interchanged with what is true -- as the differences between appearances, and reality, can often be so. It is a part of a series, for which the next book will be called: "I've Heard Stories of Bears in Woods, and Alligators in the Sewers," -- Her house itself is alive: ... In from out the warm alcoves of the side spare rooms, out from hiding in each corner room, in from under, and out from in. The house bellowed, swooned, and did shrink in on itself from the inside then out, out from over. It hissed, moaned, swelled, and fell to a still, dull, null.Five variegated steps reached the front door, each long, and spanning the outside gardens. While - having moss from every angle: each step breached what comes across as a contract into an elegant yard: of young Evelyn Hisspee: ..". I am on the hunt, today, for garden gnomes that resemble fish -- since the old fable about Icelandic gnomes moving around has a strange way of acting on its own behalf. I never understood people who put fish in places they shouldn't be. I took it as a sign of irrationality," she exclaims.