The Orange Book
This is the same sort of different experiment. To start with I can state a few facts which, because of the colour of the book, first emerge as lies. Now this is a very close copy of the Orange Book that I have written by hand. By this I mean that no such book exists. It is quite ineffable that statements made in the orange book reflect the green book, which is finished by now. This means that I write it at the same time. Various paragraphs of the Orange Book necessarily emerge as a strange nonsense, but this has nothing to do with the green book. In the nonsense I introduce various key objects of cognition; the crisp vegetable, the plastic shrew, the porous umbrella, and so on. These I symbolically develop later, at which point more understanding is possible. In other words you just don�t get it. In the Green Book this situation is explained fully. (1)
Or, to explain exactly the same thing in a different way, in this text I refer to other texts, and some are on the desktop now, and others will be there in the future (for example this fictitious Green Book I mention). There are two books on the computer table, thus close to the desktop. Maddeningly one is red and the other blue. Both the red book and the blue book also exist on the desktop. In the red book I talk to Guru. And, If I saw an orange book of blank lined pages in a shop I would buy it and write in it. I would write something else. (2)
Now that was the second paragraph. In order for my project to fail I must copy this into the black book. I have done this, but have I called it completely mad? You don�t know unless you have access to that Black book. This ignorance I use as a lever. We remove the toad from the hole like so, ipso facto, and separate the sheep from the goats. In other words a practical use has been lied about, rather than the theoretical lies that are of no use. (3)
There is an Orange Book on the desktop. This is a lie since it only a document of that name and so far not a very long one. Hardly a book. There is a Black Book document on the desktop. This is indeterminable. There might be one, and I could create one within the next hour for all you know although it may not yet exist. Or I might never do so. This paragraph has, in fact, almost no meaning. You can respond �so what?� and you will have scored a crucial point while I remain floundering. (4)
Paragraph five bequeath a frogspawn of chorus, like as is, as they, the if. And if, such as in the proverbial as if the crisp vegetable, and here I mean the one that I heard in my sleep about four times. The hoop break phenomena, as was. I mean clutching a monologue about the plastic shrew, but not really�good lord, is that the time? Classic not at all material washes in a grotesque sort of hey, careful the way you point that thing around. What? Oh, you mean the porous parasol? No, we have not really started yet, just wait. The detail fogs over. As like is.
See what I mean about paragraph five? This is just not on the same wavelength of any paragraph we have read in the Orange book so far, and in the black book�oh, they don�t know yet. No, I won�t give anything away from here. You can trust me completely. Forget all about that black one. Consider the Green Book. I know you have not read it recently�actually I don�t even know that. The trick is to balance your ignorance against mine and get that leverage I lied about happening. So in the hypothetic modality we imagine that you have not read the Green Book, but you intend to read it, that�s the idea. You want to read it because in there I really explain what the hell is going on in these different colours of book. At the moment you don�t get it, so I made various assumptions about the state of your ignorance and use this to shape the following paragraphs. (6)
In his book �Consciousness Beyond Reason�, Martin Lubekker provides an analogy of the conceptual Reality most of us face in which the sign-producing nature of the thus-gone emerges as the inverse of Zilberman�s deontic modalization. When I consider this I think how could this reader ever get through both the black book and the green book? But if you read the Green Book next, for example, everything would suddenly make more sense than it did before. (7)
In this world there are many kinds of minds with belief in various forms of reality. Some of the minds have human bodies. I am one of these minds, and you, dear reader, are another. It is this assumption which provides the basis for my major mistake in philosophy. Note how it distorts everything else I say. You have a different philosophy, this is blatantly obvious. Yet have you asked the eight Socratic questions of yourself? No, you have not. Now why is my guess so clear on this point, since it must be a guess? However, I happen to be right. There is almost no chance that a person who had asked the eight questions of their own philosophy would come across the Orange Book BEFORE reading the Green Book, and even then�yes, so I do make this assumption. (8)
In these books the project comes first. Your understanding is welcome to follow later if it can. As if it matters by that stage anyway. So much will have changed. That�s the idea I present at the start of paragraph nine. It is not true at all. There is no project. That is an old-fashioned concept belonging to the cult, and the cult finished in four books of colour. Two were blue and two were red. By the time we hit the black book Kruger is out of the cult. These other colours are thus post cult. There is no project, no vast changes are promised, and this book has only one purpose; entertainment. It is like a novel, yet it is not a novel.
(9)
The problem is presented in paragraph ten. You see if I habitually contradict myself all through the text, and it is now a part of my writing style, how do you know what is the truth? Perhaps this really is one of the spooky dangerous cult books in which you can�t stop reading and when you put the book down it�s too late, you are some kind of witch or demon in the cult already? I can tell you it�s not true, only a combination of original red and blue books can do that, or the Science-Fiction Bible of the Demon Lords, that might do it. But not an Orange Book. This book has no kind of real power. Yet I habitually lie. So how do you know? You could have read a blue book first. This could be the first and only book you read. It's so safe, but how can I convince you if the truth is blatant contradiction throughout the text? Trust me.
If you can�t trust me since all you know about me is that I use lies and contradictions from the word go then you either take a risk or you stop reading the book. Even if you think that there can be little risk in reading a book, this may be part of your current belief, which happens to be quite wrong. So trust me, it�s a big risk reading one of Kruger�s mad books. Luckily in paragraph eleven I can tell you it�s worth taking the risk, since that makes the reading of the book more interesting, and by the end of the book you are still not in the cult. You have just been mildly titillated with reference to cult information.
Not that the Orange Book is really about the cult, or anything. Forget the cult. You really don�t want to know. In paragraph twelve I stress this point, even though it may be somewhat contradicted in later text. By this I mean that you are now being initiated into the cult. I say this just to make the contradiction true, since I stress that it is false and nothing to do with this book. Perhaps this means that on one level I still struggle to free myself from the cult. Formally I have left, but it goes deeper than the formal and that�s why I want us to forget about it entirely.
In fact the real meaning of the Orange book is, in one sense, the process of getting out of the cult for those who have been in it. That is why the different colour books have different implications, as do the orders of reading and the leverage of ignorance. If you are in the cult this book can get you out �but if you are not in already then it can start to get you in. Oh don�t believe me, I just wrote that since it sounded like a good idea. The orange book only functions one way and the direction of time itself�wait. Think about the third time direction. Now stop thinking about it and concentrate on the non-cult material of paragraph five. (13)
In paragraph fourteen I tell you blatantly to go back to paragraph five and read it again. That is a really important paragraph. Chop out fourteen if you want. Thirteen can go too for all I care. But five is vital. If you remember nothing about paragraph five and ignore paragraph fourteen, well, read on, but then there are some things which will be unclear by paragraph twenty one.
A hoop snake rattles its dusty armour off and on the other hand, on the clock, on the finger on the clock of the hand of the clock of the finger of the hand (of the clock), you saw a bright fifteen. There was a moon shaped bread. There was the gonk. Over by the tree you (she) waited with an orange book until then. Time, time, time, time. The sound stopped. And it stopped stopping in your mind. And your mind. Say no more. It belongs to you so long now that time. Belong. Time. Space belongs to me such a short be there where real really real really that even confusion itself be baffled then the fifteen stopped. (15)
In paragraph sixteen I try to explain that I am just addicted to the idea that I can write spooky, powerful books that suck you into a cult. There is nothing highly factual about it. I suffer from Manic Depression, and in the manic phase I was prone to consider myself the Grand Master of a powerful cult. But only one other person ever joined my cult, and unless it flourishes without me later in time I don�t think there is much to worry about. To be in the cult for me is just addiction to the manic notion that I have great spiritual powers.
Yet in paragraph seventeen I point out that I like extremes, so here I could be underestimating the power of the cult, since when I don�t overestimate I underestimate. Whatever, in this paragraph I still say there is nothing very dangerous in the Orange Book, and here I put the emphasis on being reasonable. You know I read a book and left my own cult. You know the book stressed healthy, rational cognitions. Well in the Orange Book these plan to dominate the text so that by the end you can sort of tell where I lie and where I tell the truth. I think it is a method for distinguishing the truth. The truth is more rational.
In paragraph 18 I introduce a new font. This is Arial and it represents the red pen. The truth need not be more rational, it can be irrational and intensely emotional. It can be imaginary. I say this because the red pen is the imaginary mode in the black book that I am currently writing by hand. You must remember that I heard the crisp vegetable in my sleep. There is nothing rational about this, yet there is something alarmingly true, come to think about it.
Then in paragraph 19 I change font again, introducing Abadi, which will be used for the blue pen of the Speculative Mode. To speculate here I would say there�s not much point calling this the Orange Book. I could transcribe my Black Book and end up with something similar. The problem is that font colour exists and the machine is now writing my blue pen in red�so wait a moment. That�s better. According to my PC this writing is now blue and I did not need to change font at all, unless I want to express something more complex than the original three modes, that is. Well how about this? I never realised that my glorified typewriter had such a function. There�s only one more thing I wish to speculate in paragraph 19; why does the spell checker not recognise the names of fonts? Does it have a problem with terms such as internet and online? (Yes). What a stupid smart machine. Much like myself, in fact.
By the time we hit paragraph 20 I have decided to double-up on fonts and colour. The semiotics are intriguing. Now some printers might have a problem with colour, so it makes sense to include font difference in case the colour difference is lost and you are reading this all in black against white. Then the plastic shrew comes into the picture, making sure my red pen is indeed the imaginary mode, because as I have found in the black book, it is hard to keep my writing within the prescribed category. Just look at that X-ray of a lamington.
In paragraph 21 I return to the rational mode, font and colour and say well, according to my healthy, rational cognitions this looks like kindergarten. Don�t we think it would be better to stick to this font in black for the rest of the document? If we do so there are advantages. Firstly we improve my chances of attaining mental health. Secondly we don�t need sunglasses to read the text. Thirdly it is less chaotic. Then I can make some meaningful conclusions about the cult and how that�s all behind me now, because fourthly the colour pens used to be identities of Demon Lords of the cult, and significant use of colour is a main feature of the cult books I used to write.
This is the pen of Myron. There is no escape from the cult, Kruger. The Demon Lords are far more powerful than you. I am your superior in every way, and you will bow to me once again. Your first task is to make the Orange Book a very insidious introduction to the cult. (Catch 22)
Then in paragraph 23 I say no, look, this is probably a good sign. I am just getting the Demon Lords out of my system. Or something. This is just an example of the things these �identities� could do in the cult books. Actually there was a bit of green �Myron� writing at the beginning of the Black Book, but by now colour has almost no meaning at all in my writing. It is more like a current diary than anything.
Are you kidding? This Myron represents a serious threat. In paragraph 24 I speak as if in some kind of rational mode, yet being imaginary I recognise the true power of that fictional world. I mean you can still be rational in an assessment of the irrational forces. That Holographic Universe book is full of freaky things with rational kinds of argument and evidence. Now the antidote for Myron is Rashalika, and here we are. Rashalika used to write with a red pen. I just think he would have more flowing, cursive handwriting. The thing to do is find a font that fully represents Rashalika and we can beat Myron.
Are you out of your mind? This is not a cult book of any kind. All of that stuff is finished and over with. I suggest we simply stick to the golden rule and never change fonts or colours. Then, in time, the more rational purpose of the Orange Book will emerge from this rather chaotic introduction. Paragraph 25 is very clear on this point. It stresses again the over-riding need for healthy, rational cognitions. Most writing does not require coloured modes to express itself, and nor do we. Kruger did have this pet theory that he had a kind of multiple personality disorder, but this is his fantasy, not reality. If we stick to reality and a solid black font of one kind, things will improve.
To make a point of this paragraph 26 deliberately remains in the black Times New Roman font, and prevents the blue from butting in with any kind of �speculation�. What I really need to do here is to distract me from what I find amusing writing games and develop an interesting and more important theme in this font. The idea is then to sort of wean me off the addictive cult practices, colours and so on, going cold turkey on this black font. The end of the cult also involves the end of addictions for me generally, the end of substance abuse. What I have here is a textual abuse. The important thing about the cult is not some indeterminable question such as �are the Demon Lords real?�, but the simple fact that these textual abuses hold my attention. Only in this way does the cult have any power. I strongly urge me in the 26th paragraph to make a conscious decision to give up the addictive cult ideas and images.
In paragraph 27 I am keeping to my plan. It seems like a pretty good idea so far. But I have nothing else, nothing of great interest to write that shall then be the positive subject matter of the Orange Book. On the Religious or spiritual front I am attempting to replace the cult with Buddhism, which has been a long term interest for me. For interesting ideas and themes we could talk about the philosophy of Zilberman, the reality theory of The Holographic Universe and the nature of the self, since that is topical in Sandra�s Thesis �Dennett�s Conception of the Self�. All this philosophy overlaps and interacts. Sandra finds the self real and grounded in biology. Buddhism finds the self more illusionary. Zilberman uses some advanced examples from Buddhism and comments on the predicament of western philosophy in comparison with Hindu philosophy�although in another sense I am never completely sure what Zilberman is doing or talking about at all. He is just too intelligent.
By paragraph 28 I tell you that it all sounds a bit heavy rather than simply interesting, and I was having a lot of fun with those colours. If you ask me I�m going to get bored of writing in black for the rest of this book. If you ask me we are going to deal in cult issues once again. But I could be wrong. Now I struggle. I have ideas and inspiration for the blue and red coloured fonts. Why should Kruger�s black rational mode dominate the entire text of the Orange Book just in case the cult is dangerous? Every kind of writing has its risks.
Then in paragraph 29 I make an attempt to change font yet stay in black colour, as a strange compromise. I bungle the process. We remain rational by default. I feel strange. Would it be such a big deal if I wrote a paragraph in blue? Is it worth resisting the strong impulse? Is it really an abuse of text? Is it as bad as substance abuse? Come on, I�ve had no wine tonight, limited coffee today. I haven�t smoked anything for a long time. Some leaf last week. No buds for much longer. Are we now saying I can�t write in a blue colour or a red colour since they represent drugs in a category just as dangerous as substances?
Black rational mode, in paragraph 30 I accuse you of spoiling my light and highly amused mood. This could be like the way I controlled wine. First it was limited to after five. Then I stopped entirely for a while. But gradually I came to drink again. Now I drink only on alternate nights. So here I stop colours entirely for a while. I may go back to it, but I can beat the cult addiction just as I eventually control the substances.
Then in paragraph 31 I return to the blue that I call the Speculative Mode in a very ambivalent frame of mind. Have I done something terrible? Is this the sign of dangerous addiction that marks the entire Orange Book as a cult book? Will author and reader ever escape from the cult now? Well I think so because I checked with Guru in the Red Book and he thinks it is more under control than I let on. But all the heavy thought about addiction spoils my light mood.
Rashalika finds a font that he likes called Book Antiqua. The anti of qua may be confusing for some. Now just imagine three tall candles, billowing draperies and the objects of magical manipulation. Then look for the book in your mind. Open the book. What could be in the book? What can a book do? (32)
I seem to be having trouble materialising. Can you turn up the intensity? (33)
As I write these lines I feel unusual. I go unrecognised in the orange book. (34)
If the Nayayika really wishes to think in terms of �epistemic axiomatics,� he must yield apodictic truths to someone else: hence, no �logic without metaphysics� is ever thinkable. (35)
See what I mean? This is Zilberman. To put it in context does not yield much more in terms of apodictic truth. I can read it many times and look up terms in the dictionary but something still goes over my head. Why not skip the metaphysics? (36)
See what I mean? This is the black book. In paragraph 37 I present this quote within a quote just to give a tantalising glimpse of the interesting topics that text can deal in while remaining black and keeping to one font. Of course I�d love to think in terms of epistemic axiomatics myself, and this is why I never separate logic from metaphysics when I make coffee and so on. The black book makes this perfectly clear. I sneeze. The Orange Book makes this perfectly clear.
In paragraph 38 I point out that I have borrowed the general concept of Zilberman�s modalities in the black book to present three colours as Rational, Imaginary and Speculative. It was post cult yet with a cultish theme. Was it an instance of divided consciousness? I don�t know, and Zilberman is no longer alive so we can�t ask him in the usual way.
Then in the Green Book there were three lists of Demon Lords. A lot now depends on the order of the books in Escape from the Cult of the Demon Lords. Suppose we go Blue, Red, Orange, Green and Black. In paragraph 39 I copy something from the green book to just give you a taste of that crisp vegetable that I like to mention while writing in red, and I quote;
My name is Tarak Kerwon and I work as a scribe for his Majesty Myron. I am a character and so I write with a blue pen. Now if I may be permitted to speculate I would say page Jara has been used for BirdE information. His cult, his art of nothing, his psychology. (40)
In paragraph 41 I point out that you don�t know exactly what these colours mean, since they are all in this same Times New Roman font. The blue one is particularly suspicious because it does not refer to its paragraph number, and this is a tradition in The Orange Book. I make this clear in paragraph 41. What I make obscure is the order of books, because I now see that these should come in one volume, plausibly called Escape from the cult of the Demon Lords, yet the order is now Green, Red, Blue, Orange and Black.
In one sense I can see this information getting just a bit too tangled for reasonable consumption. By paragraph 42 I think that�s no problem, just one kind of overload and a simple one. If I want a complex overload I say let�s get back to our axiomatics of semantic proportions and just like modalise everyone in the room. That�s right, put everyone in a Zilber-mode and tell me I may overload on complexities of the healthy, rational cognitions. If I do so I can write in red. Now I go back to check on something in The Green Book.
In paragraph 43 I mention that I just came from the Green Book, in which I have been writing, and I mention a key object of cognition, the plastic shrew. Next I tell you that I smoked half a cone of tobacco this morning, and in the red book I wrote about the visit of BirdE. We had what he calls a psychiatry jam, a practice run of the plan to act as each other�s therapist both in the sane, rational mode and in the insane, irrational mode. He spoke to me in the kitchen as if he were insane, waving his hands around in strange ways, and then in the living room as if he were sane. But he left the butts of some rollies in the ashtray.
This last unintentional detail has been the most disturbing. I feel myself to be addicted to tobacco again. I smoke two cones of lavender and something I can�t mention. I hold my head in my hands as if in crisis. I think this just about concludes paragraph 43.
But I am only 42 years old, if time exists at all. By paragraph 44 I have written more paragraphs than I have lived years, and this is a crucial point. Crucial, stupid, bloated, that�s how something all began. I mean if you grope sideways. Not that I mean anything. God forbid. It�s the writing that I am really addicted to. All the plausible meanings are only token values on the art of text. I don�t mean to mean anything at all. Ideally what I mean is a kind of pure nothingness, and yet the text exists. Obviously I never reach this ideal, and I don�t want to. What I want is to give up the notion of sometimes smoking tobacco.
In paragraph 45 I introduce the porous umbrella. There were two ashtrays, and so many other details go unmentioned. For example, I don�t mention the rubber band I now wear around my left wrist. Some other therapist told my new therapist to do this, yet I ping myself at random so far. Now obviously there are many curious meanings woven into the text. You have noticed how I always include a self-reference to each numbered paragraph. Yet there could be additional meaning for all you know. It might mean something if I use the reference twice or only once. In paragraph 45 I give the example of double-reference.
By paragraph 46 I want to point out that for me all these recent paragraphs only mean one thing; we have been distracted from coloured writing. We are not focussed on the cult. That is the meaning of The Orange Book so far. Don�t be distracted by rubber bands and crisp vegetables. These things are what we call textual fodder in the industry, and they mean almost nothing.
In paragraph 47 I want to point out yet another possibility for additional meaning. Sometimes I refer to The Orange Book, and sometimes I write the Orange Book. Just look at the term �the�, and contrast it with the term �The�. What do I mean by this difference? Now I�m not saying that I do mean anything, I�m just pointing out that I could, and that this is a niche for meaning. Every time I write about these silly books I can now mean four different things. Firstly, you will recall, we can talk about the handwritten notebooks of that colour by writing in lower case, such as the fictitious orange book. To use capitals for a phrase like Red Book denotes the document on PC, thus a book that can exist in print. Now I�m saying that there exists an additional doubling of meaning by use of a differential �the�.
In paragraph 48 I then revert to the theme of paragraph 46 to insist that these meanings are the trivial lice on the skin of my true creature. The actual meaning is that I can continue to rave on and on in black ink for as long as possible without giving in to the temptations of blue and red writing, or any other colour.
But then I say well that just reminds me that by paragraph 49 I am writing in blue for no reason at all. No reason. Oh drug! Yet by this stage I am so confused by my own literature that I don�t remember what a blue in this font is now supposed to represent. Am I being a Demon Lord Identity or a speculative mode? Am I some other character or still called Harold? I just don�t know any more. It�s easy for you reading one book at a time. I write these and handwritten books all at the same time and I keep trying to mean different things in the various books. I get completely confused at various stages of the process.
Then I write paragraph 50 in red and just hope for the best, knowing only that this means something specific according to my system, yet at the same time being totally lost within the system I devised. No wonder it was so important to stick to the black. Now perhaps this is the imaginary mode or the voice of Meliop. For some reason I recall that the imaginary mode likes to mention three key phrases; the crisp vegetable, the plastic shrew, and the porous parasol. Perhaps the Demon Lord Meliop has personal reasons for including these items of cognition. This means that I�m not sure what is going on.
And, as if addicted, I remain in red for paragraph 51. Actually I doubt that I had any system worked out for the meaning of this font in this colour. Paragraph 50 just struck me as amusing to write at the time. Of course I could still hear the devious umbrella in my sleep. Aside from that I was rational and interested in semantics and semiotics.
For 51 He snaps back into black and says I can be the Lord of these Demons. I can beat these addictions. On Thursday I fulfilled my goal of avoiding tobacco. There was none in the house so this was easy. Then on Friday the mental nurses Lou and Kerry took me for coffee. Lou was smoking, and since I said that I used to smoke but had given up (meaning in the last few days) she offered me a smoke. I refused. I could have gotten a pinch or indeed a whole cigarette of tobacco, but not me. I remained strong and avoided the tobacco. It seems the world is out to test me. I don�t usually get offered tobacco in the first place.
Now I thought that Green Book, like the Red Book was up to paragraph 52, but I could be mistaken. I would have to return to The Green Book to check, and is it worth it? I mean what does it really matter? Now I tell you that the only reason I have for writing is to practice working on the PC for much of the day. I am thinking of going back to study Philosophy at Uni, so I should be in the habit of doing quite a bit of writing. The Orange Book need not actually say anything at all as long as I get this practice in. So far I am succeeding in my plan; writing everyday and not saying anything as far as I can see. I either write about my mundane life or write about my writing, which is of course just a part of my mundane life.
53 points out that there is another theory, and one of the other books mentions it in a paragraph around the mark of 50. That idea is that I write in order to be busily amused during the day. In that sense it also does not matter what I write as long as I write something. And, now that clause omega is over, I can get a cup of coffee.
54 mentions The Purple Book for the first time. To produce the Purple Book it is true that I have used paragraphs from other books, but these are changed and edited via peculiar processes. I cannot tell you the purple secrets here, yet it could be that the single paragraphs are broken up and then added to. Key terms such as the porous shrew are swapped with other terms and entire intentions are doctored so that you cannot tell where the paragraph came from originally.
55 This is not The Orange Book now, this is the voice of The Green Book that is just visiting the Orange Book because it is so bored and there is nothing to write about today. The Purple Book is a lie and there is no porous shrew. Since I deny all the interesting concepts things soon become very boring, and I am becoming addicted to what is really the boring mode of text. My only purpose here is to interrupt The Orange Book with a paragraph that does not really belong here. It belongs in The Green Book, obviously, on April 25, yet with the same paragraph number. I just thought it would be slightly more interesting to do something like this.
In paragraph 56 I look at the previous paragraph and wonder. What is this? How can it be �from another book�? If the Orange Book has an opinion I would say this idea is impossible. Paragraph 55 is in a different font, yet it is and must be within The Orange Book. What do you think? Perhaps in one way it is more suited to The Green Book, yet if it says that it interrupts the Orange Book and knows that it appears in here, then it is in no way from or of The Green Book, is it?
Well, I visited The Green Book. There was nothing special about it and the Green Book is already calling book visitation a silly idea and a failed experiment. I don�t think it went that badly. At least it was something to do. Besides this I have been avoiding the cult of coloured text for quite some time, which is the major theme of The Orange Book so far. On the other hand I notice something dreadful. The Green Book has been casually introducing readers into the cult. It is no great success if one book avoids the cult while another does the opposite. In fact I feel like visiting The Green Book again with a purpose. (57)
Dear Orange Book, thank you for your message. Here in The Green Book we are feeling bored. We will try to avoid the cult. Very little is happening so we have included dreams and photographs on the jetty. I hope you understand. According to local measures it is paragraph 58. How strange for us to be sending messages via a system that we have no faith in at all. Do you know what the Green Book thinks about book visitation? Perhaps we should send The Red Book and The Black Book some messages. What do you think?
By paragraph 59 I think this is tragic. Now the bored Green Book wants to communicate with me in some kind of on-going and regular way, and it wants to visit the other books. I want to get on with my own text. To have inclusions in different fonts is a bit like the cult to me. It reminds me of what was happening before he discovered colour. For this reason I am not going to respond to The Green Book and hope for the best.
In paragraph 60 I give you the message that version 1.00 of these books will end at paragraph 70, so you may have one paragraph for each year of your life, to make it sound a bit profound. 70 is a reasonable death age if you ask the Ghost of The Green Book.
Paragraph 61 should be in a different font and colour. It should be a blue of some kind. I say this to be pedantic and irrational, because if I did one lie about the crisp vegetable in my sleep then the porous shrew epiphany would paint the statue yellow. Then I could send the first version to the cow and hope that�but no, good lord, is that the time? 61 already? These paragraph years, well, I mean really. And then I didn�t say anything.
In paragraph 62 I say give me back my book. I am the Red Book. I don�t want these other books in other fonts using up my space. I don�t want or like any other font or any other colour. Call me a racist if you want, but that�s my current position. I don�t know what it means any more, but I know that I don�t like it.
In paragraph 63 I say have you considered just sharing your space with these other fonts? Font can always change, you know. Some versions are all in one font. Some Ghost Books are always going to visit. Did you notice The Red Book? Ahh!
In paragraph 63 I say oh no, time is running out and by the way, what is time anyway? I drank a second cup of coffee; that�s number three. That�s terrible. That�s only coffee. But I smoked 4 cones of leaf today. That must count as fairly bad. Or is it good, considering what I could smoke? It is only once a week, if that. I wonder. It seems to inhabit the grey ethical zone between good and bad, as most things do.
In paragraph 64 I just rave on and on about the plastic shrew, it is simply grotesque. After so much useless talk, just when I get to explaining about the crisp vegetable I have another of these strange dreams. Do you know which font we are in? I ask only for information. Wow, it can all end at 70. That�s really not much longer is it? I would guess around six more paragraphs and that could be it. The whole project could be over and I�m not quite sure why we began in the first place. Perhaps I should visit the Red Book, since I was visited and the Green Book is finished. I wonder which paragraph the Red Book is up to now? Anyway, there is a bit of time to do something. Let�s say two weeks of time. That�s when version 1.00 can be considered finished.
In paragraph 65 I say why do the other books matter? I want to stay in this book in this font for the remainder of the Orange Book. This should be my plan for several reasons, but mostly to mean that I end free of the cult, just as you, dear reader, will be finished with the cult once you finish this book. The process is completely automatic. Now I could make sure by finishing off this book in the next hour and sticking to my purpose as if it really mattered. But which version of the book is this? That makes a big difference.
In paragraph 66 I point out that this could be version 2.01 of the book, and that means a version which does not end at paragraph 70 at all. Instead this version remains on my desktop all year and I can keep adding to it, developing some kind of theme or whatever it is that I am really doing here. Yet there is a branching off process soon and we say goodbye to version 1.00 and the versions of that batch. Actually they don't have a chance of working out what it is that I am doing at such a stage, since I am not yet sure myself.
By paragraph 67 I am looking very speculative. I wonder what, if anything, I am doing in these books. Perhaps it is time to knuckle down and give it some serious thought. All I know for sure is that we are supposed to be getting out of the cult. Just say to yourself �at long last I am free of that terrible cult.� Yes, you can say this every morning as you face another mediocre day. But have I actually developed a method for really quitting the cult, or have I just pedantically kept writing about the need to get out of the cult?
In paragraph 68 I hold up a mirror to the reader and ask, �What is your relationship to the cult now? What do you think of it?� I see, well that does not change a great deal for me. Did you know that there is a Black Book in this series? In version 1.00 it follows The Orange Book. You might want to read it next, or find it in COW. Whatever it takes.
In sixty nine I tell you the order of the colours for the first version, so that there can be no confusion; green, red, orange, black and blue. Please note that there is no yellow or purple. There are only five books in the series. Do you need more information?
In paragraph 70 I say look, there is a fork in the road. Please identify yourself now by your version number. We are escaping from the cult of the Demon Lords. There are no other colours. There are no other fonts. You know that you can do it, so you don�t even need good luck.