Diana

Above the site, the Artemis memorial crash site, where some pedestrian might crash a car, crumple zones about the thirteenth pillar / memorialize / fantasize, meld enmeshed in metal, a pulse upon the concrete cardiograph where hearts give out, slow and stutter in honour of the cardiomonarch / deific heartstopper. Above / hovering above the monolith - replica of sidereal purpose - with its rotating wheel of concrete, slow centrifuge disposing of wreckage. Axis and wheel inset in arboreal shadows and form, a small slip road giving access, designed to minimize adjustments in vector and velocity from the lengthy straight of road upon which a suitable momentum and trepidation can be built / brick upon brick, an oppressive mausoleum and its mark of exclamation!
Above this and hovering, a helicopter lurched, heavy and overcrowded with paparazzi manoeuvring cameras / hanging, leaning, bodies stretching to articulate about the point of focus, a constellation of elbows and incongruous postures formed for each shot. Squinting, the only other eye gathered up behind the lens. Those unable to be in the front ranks hold their cameras aloft, as though crossing a river with weapons for a surprise attack / shooting blindly. Zoom flash focused above site, one eyed man in hand, paparazzi masturbating furiously / cloud of red dots blinking, winking on/off, palpitant, concupiscent flesh and flashes. The pilot struggles amongst limbs, struggles to find his own joystick / a wash of irate flesh obscures / the treeline >> shit! << the pilots’ voice breaks across imminent foliage and is left behind as an aleatory movement of crowding bodies conspires with the helicopters controls to gain altitude. A brief respite of stability, a new conspiracy takes hold, that of imbalance and escalation / an occasional payload is dropped, with time enough to operate the shutter before impact. Lurching, pitching from left to right, from one extreme to / the equipoise of imbalance is lost to inversion / paparazzi penis first into a system of rotating airfoils, rotor immolated, blades - under the pressure of bodies - distort upon their axis, parallel to that other, concrete wheel, now wet, red and filmy after a precipitation, a fine drizzle of phallic flesh and bloodstained spermatozoa released before their time. Helicopter inbound / in ground and partially submerged.

The folds of the forest slick with blood and come, the rattle of summer foliage conjoins with the dripping / drip / dripping, the sonics of liquescence.

Hind legs twitch, scratch, scraping air. Rabbit recumbent / diseased skull, ocular sockets froth, bubble effluvial, a vapour of delusion / holds / strangulates and numbs senses. Legs paddle air, a final journey of incremental decelerations / punctuated / fitful / jerks until, all movement comes to an end, overtaken by destination.
Adjacent to this fleece, this pelt matted and sticky with the liquids of paparazzi, lies a jerrycan / residue of an impact and full of its odour. Rust grows a little, ekes out an existence where the paint is scratched off / a foothold upon the site of ecstatic collision.
A wire frame cube, made up of digital white translucent struts, descends from the ether in which they hang out / clusters of dissident time / real time, mean time, slow motion and in the case of this particular cube, time lapse. Descending upon its clutch / rabbit and jerrycan contained within its dimensions / subject to its aberrant chronology. Processes speed and jerk / decompose / collapse / cycle after cycle, life upon death. A mound of humus builds up, covering the jerrycan, the bleached skeleton of the lagomorph / roots circulate, push through the organic matter of the mound, providing structure and form / ovoid / womb.