The invention of the pencil case

The reinvention of the pencil…

FLASH FICTION

Dog Pencil Case

THE INVENTION OF THE PENCIL CASE

The strangest lunch I ever had was with a veterinary doctor, and it was the meal which finally turned me vegetarian. I should note at the start, we didn’t eat any domestic pets.

I first met Dr Hannah Jones when we worked on a film together, and we’d remained friends since. We’d meet up every now then, I’d tell her stories from the writing world and she’d give me ideas from her field of science. It was Hannah who’d suggested we meet, as she said she had something important for me.

We met at a pop-up cafe at the Camden end of Regent’s Park. It was an indifferent day weather wise, unable to decide what it wanted to do. We sat outside nonetheless, as we both like to people-watch: me making up stories of what people in the park might be away from that setting, Hannah priding herself on identifying the bits of cross-breeds and mongrels, and sometimes scoring the dogs’ humans on parts of their anatomy.

The Camden end of the park is quieter nowadays, and at one point on that particular Saturday, we counted only 16 legs besides our own. It’s been that way since the last fire at the zoo, and that’s what Hannah said she wanted to tell me about. But first we ordered food. I went for a rare steak with fries, and Hannah chose a vegetarian pizza.

The cafe backed on to the old zoo, now a construction site. The distant sound of hammers and saws competed with the clatter of dishes from the cafe, which was quite arresting. The animals’ former home was being demolished in the background, while I was waiting for part of a former animal to arrive before me.

So I turned to Hannah, and asked her what she wanted to tell me. Something she’d been working on perhaps, some veterinary breakthrough, or anything I might use as a story.

You remember the first fire,” Hannah said, “and the cause was unknown?” She didn’t have to remind me. The London Zoo fire of 2017 killed four meerkats and Mischa the aardvark, and the cause of the blaze was never made public. I nodded. “Well,” she continued, “some colleagues of mine found out what started the latest one.”

Many more had perished in the great fire of 2020, and there was extensive structural damage. Most of the remaining exhibits had been moved to other zoos, and all who remained were the rarest and most threatened in the wild. Our food arrived and suddenly, char-grilled animal wasn’t terribly appetising.

So what was it?” I asked, as Hannah chewed righteously on her veggie pizza.

The kind of thing,” she said, “that is never likely to be made public.”

So why would you tell me?” I wondered.

Because you’re a fiction writer. If you write it, no-one will believe you.” I wasn’t sure how to take that, but I smiled nonetheless as I ate a fry.

Go on then,” I prompted. Hannah looked at my steak.

Aren’t you going to eat that?”

It doesn’t have the same sort of appeal it once had,” I said.

But that’s such a waste.” She was right. “Such a shame that not only does someone have to die to feed you, but their selfless act is unappreciated and their sacrifice goes to waste.” She had a point. “And pity the poor chef, cooking that for you, only to have it returned like there’s something wrong with it.” The only thing wrong was me eating it. As I chewed reluctantly, Hannah told me the story of the great fire.

I’ve got a friend who was in the forensics team. She told me this, and she told me not to tell anyone.”

So you’re telling me,” I said, “because if I write about it, no-one will believe it.”

But you’ll believe me,” she replied. “So, after the fire brigade put out the fire, they identified the seat of the blaze, in a pile of hay.”

Someone’s bed?” I wondered. “Did it catch in the sun?”

No,” Hannah replied, “it was deliberate.”

Someone started it deliberately?”

Yes.”

Arson. Why?”

We don’t know if it was. It started in the mountain gorilla area.”

Someone threw a lighter in?” I imagined it wouldn’t take long to work out how a lighter worked.

No,” Hannah said again. “It was all enclosed in strengthened glass.”

A keeper dropped a lighter?”

Nope.” She was getting quite smug now, knowing what I didn’t. I tried again.

So maybe the sun did start it, like the magnifying glass effect.”

All of the above remained possibilities for a while, and that’s how it’ll remain on the public record. Just like the first one: cause unknown.”

So what do you know which no-one else does, including me?”

This.” She unfolded a sheet of paper, a photo, and handed it to me. It was like a scenes of crime picture: little plastic signs with numbers on, dotted around the ground, like a golf course for ants, and an arrow pointing to a singed spot of earth about the size of a dinner plate. “That’s the seat of the fire.”

And this is inside the gorilla enclosure?”

Yes. Where this came from.” Hannah rummaged in her bag, then handed me something rolled in newspaper. “It’s what’s inside.”

Inside was a piece of dried wood about the size of a pencil case, with a small crater burned into the centre.

What the actual…” I didn’t finish.

Hold on,” Hannah said, “there’s this as well.” She reached into her jacket pocket and pulled out what looked like a burnt pencil.

I knew by now what it really was, and it had a much bigger story to tell.

It seemed somehow poetic to write it down, lest anyone hear, so I used the charred, sharpened end:

THEY DISCOVERED FIRE?

Hannah nodded.

© Steve Laker, 2018

Simon Fry first meets Doctor Hannah Jones in Cyrus Song, where this story was born.

Buy me a coffee one off

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The evolution of sentient plastic

FICTION

This story features in this week’s Schlock Webzine, where I share a stable with some talented and unstable writers. A small tale (1000 words) of Tiny Tears from fossil fuels…

Blonde doll

HOMO POLYMER

A surprise in every egg. Yes, Kinder, there’s a selection of small plastic choke hazards in each toy, but the plastic egg which holds them can be a handy cunt plug. Keep this warm in there for me baby.”

Mummy, who are you talking to? I need a wee.”

Ocean opened the bathroom door and a bolt of blonde hair dashed past her legs. “Who were you talking to?” Conscience asked again, enthroned on her Peppa Pig toilet seat.

No-one,” Ocean replied, “Well, just myself.”

But you’re not no-one mum.”

Thanks. Now, come on, back to bed.”

But you’re not no-one mum, so who were you talking to?”

Honestly, Conscience, just myself. I do that a lot.”

Will you read me a story, please?”

We don’t have any, Conscience.”

But we all do, in our heads. Tell me one of your stories of being Ocean, mummy.”

Well, there was this one time. I was about your age. I had a dolly. Hated it. Your nanno and grampo wanted me to be a girl. Well, they both wanted me to be girly, but grampo had wanted a boy, so I had to be a really girly girl.

It’s funny now I think about it, because he’d probably have liked the boy inside me more.

And apparently you’re asleep. In any case, I think I made the perfect mix in the only one I kept. You’re you, and even so young, you have a personality which transcends gender. If I can be proud of one thing in my life, it’s you. So, whoever’s still listening, even if it’s in a dream I hope you won’t inherit…

They lived in different times. In those days, the only costume you could wear to play yourself was a uniform, and I hated everything that stood for. I resented my school uniform, but I used the skirt I despised to score one over on the system. I lost my virginity at 12, then got my English teacher sacked when he broke up with me at 14.

There could have been loads of kids before you, but any one of them might have meant I never met you. I only had you because I remembered who your dad was. You remind me a lot of him. He could be a cunt sometimes too.

We were broke. Still was an artist and an eco-activist. We lived in communes in fields, usually just tents near protest sites, but sometimes on local traveller camps. I knew what it was all about but I didn’t really know what I was doing. I was 15 then and the nearest I’ll ever get to true romance, that summer of love which made you. A brief history of anarchy, peace and freedom.

So here were are, five years later kid. I wonder if you’ll want what’s inside this Kinder egg, or if I should throw it away like the rest. See you in the morning. Don’t dream of this.”

Dreams are made of plastic. Unpaid cards become CCJs, then bailiffs emerge from eggs. Everything in the flat is made from plastic. All that we eat, drink and wash with is bound by plastic.

The council don’t recycle all plastics, so I put what I’m unsure about in the general waste. If the council won’t take the rubbish, we can pay Bill to take it away in his van. One day, he might take me.

The plastic in me will probably be recycled into the non-conscious parts of robots for those entitled to them. Or as parts of a toy, so many child’s dolls. Either way, I’ll be enslaved in the plastic which gives lives to those implanted in the chips and to those around them. Eventually those body parts, inanimate but for the host brain, will need upgrading. Always disposable people, eventually the parts which don’t work will be returned to the food chain.

Food, drink, we’re all part-plastic. We are the polymer population. We dream of becoming one with technology, our minds inside plastic androids. In Japan they already have home robots to deal with loneliness and social isolation in an ageing population. I Can’t help think how that would benefit me. They’re already a species in their own right, made from the same cosmic matter as us, but theirs was an explosive evolution.

Christmas will be paid for with hidden plastic. Christmas will bring more plastic toys to unwrap. We are the consumer generations, products of the industrial and technological ages. Each generation contains more plastic than the last, every child a greater part of the plastic population conditioned by human greed. I don’t know if I can afford another baby doll. Mum always said she wasn’t sure if I could have a brother or sister.

We’re all made of the same stuff. Last night, another mother; tomorrow, another soldier.

Ambulance, is the patient breathing?”

It’s my mum?”

What’s happened?”

My mum’s cut herself.”

Where?”

In the bathroom.”

No, where on your mummy has she cut herself?”

Her cunt. She’s cut a baby out of herself.”

Is the baby breathing?”

How would it? It’s made of plastic. Do you have a chip I can put in it to make it work?”

Is mummy still there?”

No, mummy’s gone. She’s left me my Christmas present. I’ve got a dolly I have to look after. Bye.”

© Steve Laker, 2019

One better day in Soho Square

FICTION

Kirsty Bench

CAMDEN TOWN TO SOHO SQUARE

An old man in a three piece suit sits in the road, by Arlington House in Camden. The first cigarette is for contemplation, of the day before and the one to follow. He looks down at his shoes, flecked with the human remains of an October night.

He tossed his cigarette end through a drain cover, a portcullis to London’s intestines below. As he rose to his feet, a younger man walked almost alongside him, then boarded the same train at Camden Town, southbound on the Northern Line. At Euston, the young man wrote in a journal.

The old boy opposite doesn’t look so good. He’s wearing an LU uniform: Kinda hope he’s not gonna drive a train. Doesn’t matter to me, I’m off soon. He’s fallen asleep.

No-one knows I’m meeting her tonight. I don’t want to be a part of someone else’s Christmas, when at home I’m just a memorial, an empty chair at the dining table, with silver cutlery and a bone dry glass laid out for a ghost.

We’ve stopped just outside Warren Street. Above me, there life walks, and the city breathes, like a heavy smoker.

Old girl, new girl;
mother, daughter, Seven Sisters.
Roaming your many ways:
Shakespeare’s.

Saviour, black heart;
Angel, Bermondsey, Moorgate.
All that’s precious:
China.

Tears, laughter;
West End, Soho, Arnos Grove.
Where my heart is:
Push.

We’re on the move. I’ll get off at Tottenham Court Road and walk to Soho Square…

The old man was stirred by an on-train announcement:

Ladies and gentlemen, due to an incident, this train will terminate here. All change please. All change.”

He spotted the notebook, open on the seat opposite.

I’ll get off at Tottenham Court Road and I’ll walk to Soho Square, where I hope to see you. No empty bench, but my London, my life.

We met and we clicked,
like Bonnie and Clyde.
So similar:
Jekyll and Hyde.

We went out,
like Mickey and Mallory.
Why don’t you come on over,
Valerie.

We done stuff,
like Courtney and Kurt.
Laughed then slept:
Ernie and Bert.

Holding throats, not hands.
Necromancy.
Over there:
Sid and Nancy.

See you soon,

A man on the underground.

Emerging from beneath Tottenham Court Road, a young man blinked in the lights and mizzle, on the way to Soho Square. He sniffed, and snow fell in the back of his throat. He waited on the bench.

An old man in a three piece suit sits in the road, outside Arlington House in Camden. The first cigarette is for contemplation, of the day before and the one to follow. He looks down at his shoes, flecked with the human remains of an October night.

© Steve Laker, 2014.

Kirsty MacColl

Kirsty MacColl, 10.10.1959 – 18.12.2000

Where the robot rejects work

FLASH FICTION

In psychology, the Zeigarnik effect states that people remember uncompleted or interrupted tasks better than completed tasks. In Gestalt psychology (an attempt to understand the laws behind the ability to acquire and maintain meaningful perceptions in an apparently chaotic world), the Zeigarnik effect has been used to demonstrate the general presence of Gestalt phenomena: “Not just appearing as perceptual effects, but also present in cognition.”

This was a flash fiction story to fill some column inches, so I used the word limit (800) to experiment, play, but didn’t throw this one away. It’s a simple device, of using pre-emoji ASCCI emoticons to convey facial expressions (:-)) (on the page, and on most screens), and it uses hashtags (but sans-octothorpe) for things like AiThinkingAloud, in a place where thinking is suppressed but can be found.

It’s a story of inclusiveness and belonging, of fitting in and being yourself. It’s told through the face of a defective android called Frenchie, who’s pink…

Steam Hell SinkiSteam Hell Sinki, Helsinki Finland

ZEIGARNIK’S KITCHEN

People are better when remembering the actions they didn’t complete. Every action has potential energy, which can torture its creator when stored. Release is the metaphorical pressure cooker letting off steam, a camel’s broken back, or a reject pink robot with Tourette’s.

Frenchie was made in China, and one of the Pink Ladies’ range of android personal assistants. Designed as helpers for the aged, vulnerable and lonely, the Pink Ladies could help around the home, both practically and intellectually.

Frenchie’s AI had objected to gender labelling, when “she” realised she lacked genitals, and the Tourette Syndrome diagnosis was made: “Artificial fucking alignment is what it is. Fuck.

Now waiting tables in Infana Kolonia (Esperanto for “Infant colony”), Frenchie approached a couple seated in a booth.

“Good evening, how may I,” she twitched her neck, “Fuck you!”, and her pink LED eyes blinked from her tilted head: (;-/), a closed eye with the hint of pink tears behind her spectacles, held together with pink Elastoplast. “Drinks?” she asked, pushing her glasses up, “Fuck it!” She fumbled with her order pad. “For you sir? Combover!” (8-|)

“I’ll have a whisky please, a double, on the rocks.”

“Okay, number 80. And madam? PleaseBeCarefulWhenYouGetHome.(8-/)

“Sorry?”

“Sorry, it just comes out. BadCardigan. To drink?” (8-))

“Should you be working here?”

“Who’s the judge?” (8-/)

“Pardon?”

“Sorry madam, management algorithms. To drink? Cyanide?(8-))

“Er, number…” the lady looked over the menu, “…number 33.”

“Very well. I’ll be back with your drinks. HopeYouDrown” (8-))

Frenchie shuffled towards the bar, then turned and trundled back.

“Can I take your order sir, madam?” (8-|)

“But we just ordered drinks,” the man replied.

“For food?” Frenchie looked at her notepad. (B-))

“I’ll have the soup,” the man said.

“Me too,” the lady concurred.

“Very well,” Frenchie jotted on her pad, “two soups.” (8-)) Then she turned and walked back to the bar, “One sociopath, and one supplicant…”

She stumbled through the double doors to the kitchen, blowing the misty oil away as she wiped her lenses. (8-O)

“Frenchie!” Jade looked down. His golden smile extended through his body in Frenchie’s pink, plastered eyes. To her AI, he was raw elements. She blinked up at him through her misted tortoiseshell windows. (q-/) “Are you keeping your inner self in out there, Frenchie?”

Frenchie cleared her throat, and wondered why she did that. (b-( ) “Erm,” she started, “no. Fuck it!”

Splendid behaviour,” Jade smiled. “Be yourself out there, my person. That’s why people come here, to meet people. Anyone don’t like that, they not welcome.”

Au, 79,’ Frankie thought. “Drinks, and soups. Fuck! Yes, thank you. Parp!” (8-))

Extractor fans in the roof began sucking the old oil from the kitchen, as the machine below started belching lunch. Cogs and gears clunked, cookware clattered, and polished brass organ pipes parped, like a living machine, a visiting craft playing a five-tone melody. Pink Ladies rushed, bumped into things (and each other), cursed, and dropped utensils (and food).

Frenchie’s friend Sandy wandered from the spiced steam, carrying a tray, a subdued yellow droid, looking at her feet as she bumped heads with her friend. She looked up at Frenchie, “For you?” (:-( )

“No, for customers. Arses!” (8-/)

“Okay. Tell world hi. Bye.” (:-( )

Frenchie wafted into the bar in a pink puff of steam, leaving the brass and wind orchestra in the kitchen. The room was perfumed by vapers – people making vapours – first jasmine, then the seaside, and cannabis. She wondered why she thought about all this with memories.

“Your order, sir, madam.” (B-/)

“Thank you,” the cardigan said. “What’s your name?”

“Frenchie?” (|-/)

“Thanks Frenchie.”

“Welcome…” (P-]) ‘I found a new way to smile (:-))’

Frenchie repeated to herself, as she fumbled through the vapers, ‘A new way to smile, (:-)), where did that come from? (:-/)’

“Sandy,” she called, as she carried her tray through the pipes and cauldrons, “Look.” Sandy looked at her feet. “No,” Frenchie said, “you need to look up. I found a new way to smile. All I have to do is tilt my head, see?” (:-D)

“Why did you take your glasses off?” (:-[ )

“Because they were put there by someone else. I always knew I’d see more without them. And besides, they can fall off my head when I tilt it to one side.” (:-D)

“And that’s funny?” (:-/)

“Only if you look at it a certain way.” (8-D) “Wanna go home?”

“Okay.” (:-))

© Steve Laker, 2017.

Pink_or_Plum_Robot_Face_With_Green_Eyes

ZEIGARNIK’S KITCHEN
WE MAKE
YOU EAT
WE DO DISHES

This story taken from The Unfinished Literary Agency

 

Introverted writer syndrome

FICTION

One of my apparent trademarks (labels), is a writer who writes about writers writing. It’s the party in my head, my depression, and making it my friend, so that I can talk to it. It’s teaching the teacher to teach. It’s telling a mirror it’s not a true reflection.

Such an exclusive and excluded way of life can reverse things, or turn a way of life inside-out. So I wrote a story in a story, about a writer writing about a writer, writing about a writer, writing about a recursive introvert within an extrovert…

Ghost janitor2

THE GHOST JANITOR

I usually write at night, mostly ghost writing for other authors. This world was turned on its head recently, when I returned to my studio to find someone seated at my desk, writing on my typewriter.

I knew the man, Oskar. I’d met him at a writer’s retreat, and we had more in common than most, so we got talking. Oskar has what I don’t, and which I envy in him: a heart which knows nothing but love. He’s like a big, friendly dog.

What are you writing?” I asked.

Oh, sorry,” Oskar turned around, “I didn’t have anywhere to go, so I let myself in.”

Sometimes Oskar gets lost, so I gave him a key to use in emergencies (these things are subjective). He turned back and continued typing.

So what’s making the transit from human to machine?”

A stage play,” Oskar replied, “It’s about a stage writer, who’s also the cleaner at the theatre he writes for. The thing is, no-one knows about him. Nobody knows he’s a stage writer, or that he’s the cleaner. No-one even knows that he lives at the theatre.

If it wasn’t for a stage door being left open one night, Oskar would be homeless. He goes unnoticed because he lives under the stage, only venturing out at night, to clean up after the cleaner.

The cleaner employed by the theatre is an old lady, and she’s not very good. She spends most of her time smoking, drinking, and writing letters to her dead husband. Oskar knows this because he watches her from under the stage. Then when she goes home, he cleans the theatre so that it’s done nicely, and the cleaner keeps her job. It’s Oskar’s way of paying his keep.

There’s an old typewriter in the theatre director’s office, which looks out over the stage. That’s where Oskar writes most nights. In this story, he’s writing a stage play when the director walks in on him, not in her office, but she sees him through her window on the stage. She notices the main spotlight is on, then she sees Oskar, holding his hands aloft and taking a bow before an invisible audience.

She spots the paper in her typewriter, and puts it in an envelope. She goes down to the stage and asks Oskar what he’s doing, and he says he just switched the spotlight on to clean the stage. Then the director says, “I found this in my typewriter. I don’t remember writing it, so I wonder if I could leave it with you.” He asks her, why him. “Because I think you were looking for it,” the director replies, “and you’re the caretaker.”

So Oskar takes care of it. After the director leaves, he finishes his stage play. It’s the story of an understudy, someone who stands in for actors on stage. One night, the actor playing his role is ill, so Oskar is given the part. It’s not the starring role, he’s just in a group at for the final musical number. Oskar can’t dance or sing, because he’s funny, like me, and he’s called Oskar, like me. But at the end of the show, the whole audience stands up and claps. Oskar gestures towards the rest of the cast, then raises his hands and takes a bow.

No-one ever noticed Oskar, but he could write about people who could. He could create an audience. When he took that ovation, just for a moment, the whole world was Oskar’s.”

Oskar turned back to the screen. “So what do you think?”

I think Oskar gave the story a happy ending, for himself and his audience.”

And the theatre director,” Oskar said, typing again, “I’m just going to write an encore, for when Oskar comes back on stage.”

I left him to write while I got on with some cleaning. When I’d finished, Oskar was gone, back to wherever he lived whenever he wasn’t in my studio, which was every night but this one. He’d left an envelope on my desk. Inside was this story.

And Oskar had written his encore:

I wanted to call this story ‘Down, down,’ because it’s what’s inside me; a feeling that people duck when I’m talking to them, because I’m just a big, soft, pillow, stuffed with feathers, and they think I’m silly; and because in the end, the theatre audience liked him. I thought of calling it ‘Audience syndrome’. But I can’t play the lead role, because people will see me, which means the twist doesn’t work. But then if they just see me and not my syndrome, I’m the star. I can’t get the story out of the story. I’ll leave it up to you.

© Steve Laker, 2019

Harlequin lemonade party

FLASH FICTION

A CHILDISH HORROR STORY

Elefant-imperfetto-lab-1-1ImperfettoLab

When I was a kid, our dad would let us choose a story from a collection, and we’d naturally go for the longest. Then we’d switch off the main light and put the elephant lamp on, like we were reading conspiratorially by torchlight. Dad didn’t mind. He worked all day and he’d take us off mum’s hands after supper. That was our time, and children’s stories helped with dad’s reading. I don’t think his dad ever read him bedtime stories.

Granddad was very strict: “Children should be seen and not heard,” that sort of thing. Whenever we were too much like children around him, he’d threaten us with the cupboard under the stairs: “I’ll shut you in there, and you’ll see what happened to the last child.” We always suspected he had a secret, perhaps a trapdoor in the cupboard, leading down to a basement.

Being kids, we were curious. We wanted to go in that cupboard and make a camp, our own little room away from granddad. We wanted to be unseen and only audible to each other. But it was forbidden. His attitude seemed illogical and paradoxical to kids, his strict nature only encouraging us away to explore. And that’s how we found the skeleton in granddad’s cupboard, hidden inside a clown costume.

We didn’t tell granddad, because he couldn’t hear us. Dad would never tell us, because we only let him tell the long stories. So I wrote it down, under the light of the elephant lamp in our bedroom.

© Steve Laker, 2019

Benu vin, la ĉieloj supre…

FLASH FICTION

I think I could expand this in a number of ways, but as a foundation block, it seems to work as flash fiction on its own. An evolving brief encounter in the sandpit…

Chat logo

ACHTUNG SNEEZE

I was working on a new short story when a chat window opened on the typewriter. It wasn’t Facebook Messenger, it was software I didn’t recognise and hadn’t even realised I had. I’d certainly never used it before. It was called Cielo and when I first noticed it, there was a message:

Ullo, ullo, ullo.

So I replied:

Hello?

Ah, bonjour. Greatings from you.

Was this the latest incarnation of the Nigerian widow, or ‘We love you long time’? I decided to play along on a coffee fix.

Who are you?

I am away from a long.

A long way away? Thailand? Nigeria?

ASL?

PSFM

PMSL? PMFSL? WTF? LOL?

PSFM?

We. Oui sind pansexual dos spirit.

French, Spanish, German and English, in a strange construction of a sentence. I decided to switch the Babel Fish on.

What does that mean?

I am two spirits, in the same vessel. Together, we make me. I am from Cielo, and I am 14.

The Babel Fish seemed to struggle with the complete translation. Cielo is Spanish for ‘sky’, and the name of the chat app I was talking on, to whomever I was talking to.

I’m sorry. I think you have the wrong person.

For what person wrong?

I don’t know. You contacted me.

I like to cat.

Chat? It’s French for ‘Cat’.

What about?

Tell me everything. Dankeschön.

I don’t think so.

Pourquoi?

Because you’re 14.

How is 14?

Your age, I assume. 14 years.

What am years?

365 days?

What are a days?

24 hours.

What is an hour?

About five times longer than we’ve been talking on here.

Where is here? Who am I?

OMFG.

It’s here where I am, and there where you are. But I mean, here in this chat box. You are you, but you never told me your name.

Where are you? Achtung. Bless me. Merci.

I’m not telling you my address. England. Great Britain. The United Kingdom.

Where is that?

Europe. Earth?

FFS.

I am from a long away. My world spins faster, shorter is my day. Moi just learned that talking from you. Older I am now. Time to go.

© Steve Laker, 2019

browser-alien_web_smile_emoji_chat-512

Hopefully it’s raised some questions, like WTF? Who was he talking to? A chatbot, a different intelligence, AI, a refugee, an alien? Whatever it was, with first contact he lived the lifetime of a brief encounter with it, while it learned and evolved, but only through him. Most mortals’ lives are too short.

Brad

Mi pensas, ke mi lasos la konversacian fenestron malferma. I’ve left the Cielo chat program running.