FilmtoBook Project — Civilizat its Disco

TO

J E R E M Y

FI L M

P RO J ECT

B O N W I C K

B O O K

The concept of the book was centered around ideas of deconstruction.

The film I produced featured a non-linear narrative which disrupted conventional ideas of storytelling, leaving much of the meaningbuilding up to the viewer. I took this idea and attempted to subvert the classical idea of the novel in the same way.

This manifested in the creation of a physical object, the deconstruction of a book, beginning with taking a pre-existing text and literally cutting it in half. The book chosen was Sigmund Freud’s “Civilization and its Discontents” in a classic orange penguin format. The book already carries connotations of conceptualism and deconstructivist tenancies.

The text is then intersected with a new narrative, perhaps flowing between or a seen in a more disruptive way, intervening. There are parallel narratives, between the books and across pages. There is a sense of tangentialism as well, as the new pages extend from and then loop back into the original book.

D E C O N S T R U C T IO N

Like the film, the book has a multitude of ways of being read — or not, being an object of sculpture in itself. Each page of the new text can stand by itself, or be read on the exterior or somewhat obscured interior.

The new text itself is set in a non-traditional way, with design intervening to support or contrast with the storyline. The words follow a linear narrative, but their presentation on the page works to hinder its reading in a traditional fashion. Moments of disruption occur when the character fixates on a word, or a conversation is dissected into two halves. The design choices major seek to represent the mental state of the main character, using simple type — sometimes spaced, sometimes overlapped, sometimes repeated and redacted — to convey the story.

Meaning is obscured and problematised, leaving the reader to construct, or perhaps re-construct, meaning for the words.

The city skies swirl, clouds being blown into a yellow and red tornado, catching the last beams of sunlight. They twist, somewhere between violent and serene, fading with the light of day, plunging into a night that is somewhere between black and technicolour.

You never see real black, the blackness of nothing. If you look hard enough at the night sky even the clouds are visible, reflecting the lights of the city below. Even in the country, without the lights of the city, the night sky has a tinge, a blue hue that makes the stars sing even brighter. The tram turned a corner and a row of tall concrete flats rose from the ground, obscuring the retreating sun.

Mel closed her eyes. Blackness.

But even then, her brain invented flickering in her vision, the black was not steady. There was a grain to it. Like hairs on an old film reel. Real blackness was empty. Void, by definition. But then, she thought, wasn’t black also everything? When every light is absorbed and gone only the black remains.

Maybe, like everything, black is complicated; caught somewhere between everything and nothing, absence and excess to the point of overwhelming darkness...

She opened her eyes again, the Tram had turned another corner and was now trundling away from the sunset, trying to catch up to the rays of sunlight overtaking from behind.

Or maybe it was just trying to catch the tram in front. So many trams. So many people. Did the drivers like it when the carriage was packed, she wondered. Or are they just like everyone else — silently pleading with the person next to them to get off at the next stop, to vacate, to empty.

Balaclava road next stop “Balaclava road next stop,” came the crackling voice of the driver.

STOP STOP STOP STOP STOP STOP STOP STOP STOP STOP STOP

TRAM TRAM TRAM TRAM TRAM TRAM TRAM TRAM

TRAM TRAM TRAM STOP TRAM TRAM TRAM STOP TRAM STOP TRAM TRAM STOP STOP STOP TRAM STOP STOP STOP TRAM STOP STOP STOP STOP STOP STOP STOP STOP STOP STOP STOP STOP STOP

STOP STOP STOP STOP STOP STOP STOP STOP STOP STOP STOP

Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava Balaclava road road next next stop stop Balaclava road next stop Balaclava road next stop Next stop Balaclava road Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava Balaclava road road next next stop stop Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava road next stop Balaclava road next stop

Why did they use a radio that still sounded like it was from the early 20s?

T T T TT T TR RARTARTTR TRRARRAA R AM AM M MAMRAAMMAMMMM

The tram came to a stuttering halt and Mel poked her head from the carriage door to check for traffic. An impatient older man behind her audibly shook his head. He was in a hurry; no time for checking that other people would stop for him, he just assumed they would.

No cars. The pavement was wet, dampened by a late afternoon storm.

The trees had blown their leaves across the city, falling at the end of a hot summer with a sense of relief that finally their job was done. The trees were just that bit barer than they had been this morning.

Mel watched as the older man in a blue suit trudged away up the hill, pulling out his phone to make a call. Something dreadfully important, she thought without hesitation.

Mel set off in the opposite direction, down the slope towards her flat. The road cut through a hill in front of her, from the top of which she could see out over the city she had just trundled away from. The sky was still swirling above it, darkening with every breath. A faint haze hung in the air, maybe pollution or maybe the remnants of the rain that had just passed through. The glass skyscrapers were brilliantly reflecting back the dying light, the added sheen of rain blooming in the sunset glare. Everything had the shimmer of water, the trees still wet, the roads taking on that darker colour, as if soaking up the rain.

6

She passed by the Finch household — an old Victorian affair with fretwork and a stain glass panel next to the front door. Mrs Finch stood on the threshold, watching the swirling sky.

“Quite pretty, isn’t it?” she motioned towards the horizon.

Mel nodded her agreement, “Jacob home yet?”

“No, soccer training tonight,” Mel’s apartment did not have the same vantage point as the Finch’s house. It was round the corner on the other side of the hill. Instead of looking onto the city sunset, Mel’s lounge room

looked out to a sprawling brewery — its uncompromising high brick walls not bothered with the concept of windows — and a tram depot. These and the surrounding houses were already huddled in the early evening, the hill blocking the final rays from reaching them. These places would never see a sunset. The clouds were already harder to see, merging into the blue-black sky. Mel dropped her duffle-bag onto the couch and headed to the window. There was a thin layer of condensation there which always made an appearance after a storm. Instinctively she reached out a palm and placed it on the glass. Cold. Very cold.

7

8

any flowers? owers?

She should really open the window.

Turning away from the winodw, Mel let her couch embraced her. She was starting to be able to feel the springs beneath the cushion. Sometimes, when the lighting was right, she could see the indentation she had made in the middle of it, opposite the TV, with just enough room for her laptop next to her. An empty vase sat on the coffee table in front of her, pushed to the side of countless coffee stains. When was the last time it had

31

actually held

Her head lolled back, starring up at the ceiling she began to trace the cornice. A simple geometric pattern. Nothing like the Finch’s house. The cornices in there looked like something out of a palace.

Regal. Timelessly carrying the connotation of wealth.

OOOo0OOO0OOo0OOO OOO0OO0OO0OOOO0O

0OOO0OOOOO0OO0oO0 0OO0OOOO0OO0OOOo

OOOOOOOOOO00OOO 0OOO0OOo0OOOOO0O

0OOOOOOOOO00OOO 0OOOOOOOOOOOOOO

OOO00OO0OOOO0OOO 0OOO0OOOOO0OO0oO0

o0OOOOOOOoOOOO0O OOOOOOOOOO00OOO

OO00oOOOOOOOO00o 0OOOOOOOOO00OOO

OO0O0OOOOOOOOOO OOO00OO0OOOO0OOO

OOOO00000ooZOOOOO o0OOOOOOOoOOOO0O

0OO0oooOO0oOOO OO00oOOOOOOOO

DD D DD D D D D DD D D D D DD D D D D D D DD D D D D D D D D D DDD D DD D D D D DD D D D KD DD D D D D DD D D D DDD DD D D D D D D D D D DDD DDD D D D D DD D D D KD DD D D D D DD D D D DD DD DD D D D D D D DDD D DD D D D D DD D D D KD DD D D D D DD D D DD DD D DD D D D D D D D D D DD DDD D D D D DD D D D KD DD D D D D DD D D D DDD DD D D D D KD D D D D DDD D DD D D D D DD D D D KD DD D D D D DD D D DD DD DD DD D D D D D D DD DDD D D D D DD D D D D DD D D D D DD D D D DDD DD D D DK D D D D D D D D DD DD D D D D DD D D D KD DD D D D D DD D D DD DD D DD D D D D D D D D D DD DDD D D D D DD D D D KD DD D D D D DD D D D DDD DD D D D D D D D D D D D DD DD D D D D DD D D D KD DD D D D D DD D D DD DD D DD D D D D D D D D DDDD D

O0 OO

M MMMMMM MMMMMMMMMMMMMMMMMMMMMMM MMMMMMMM M MMMMMMMMMMMMMMMMMMMMMM MM MMMMMMMM MMMMMMMMMMMM MM

MMMMMM MMMM MMMMMMMMMM M M M M M M M M MMMMMMMMMMMMMMMMMMMMMM MMMMM MMMM M M M M M M M MMMMMMMMMMMMM MMMM MMMMMM MMMMMMMMMMMMMMMMMMMMMM MM MMMMMMMM MMMMMMMMMMMMMMMMMMMMMM MM MMMMMMMM MMMMMMMMMM

***

MMMMMMMM MMMMMMM MMM M M M M M M M M MMMMMMMMMMMMM MMM

MMMMMM MMMMMMMMMMMMMMMMMMMMMMM MMMMMMMM MMMMM

MMMMMM MMMM MMMMMMMMMMM M M M M M M M MMMMMMMMMMMM MM

***

MMMMMM MMMMMMMMMMMMMMMMMMMMMMM MMMMMMMM MMMMM

***

MMMMMMMM MMMMMMM MMM M M M M M M M M MMMMMMMMMMMMMMMMMMMMMM MMMMM MMM M M M M M M M M MMMMMMMMMMMMMMM MMMMM

*********** ************** * ********* ****** *** *** *** ***

A ST PA A ST PA A ST PA A ST PA A ST PA

A ST PA

TO RS HOU E E THR OOK O C T RS HOU EE R H K T COO TO S R HOU

K COO TO RS U O E H HRE K T O O C

A ST PA

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K COO TO S E UT MIN

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EE THR 0 K 2 OOK C COO O TO S T R S U HO UTE EE MIN THR 20 K K O O O TWELVE HOURS TO COOK TWELVE HOURS TO COOK TWELVE HOURS TO COOK TWELVE TWELVE HOURS TO COOK TWELVE HOURS TO COOK CO O CHOURS TO COOK TWELVE HOURS TO COOK TWELVE HOURS TO COOK TWELVE HOURS TO COOKTO S T TES OUR U H N I E 0 M HRE K 2 K T COO COO O O T S T RS UTE HOU MIN UTTEESS EE 0 R 2 H T IINNU ES S K T ES COO 2200 MMINU TO M MMIINNUUTTE ES S 0 E 2 0 T 2 0 U S 2 N ET I M TU UN 0 NI 0 M 2 I 2 M 0 K UTES 2 O N O I C 20 M TO S UTE MIN 20 K O CO TO TES U N I 0 M K 2 COO O T TES INU 0 M 2 K COO TO S E T INU 0 M K 2 O O C TO TES INU M 20

A ST PA

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A ST PA

There was something mesmerising about cooking. Mel didn’t understand why some people didn’t like it. She was not a chef, just a cook. She cooked well enough to get by but never strayed into the experimental realm of cooking.

Watching the water boil was strangely satisfying, she was never quite able to take her eyes of it. Slowly building in intensity, from serenity to chaos. First a fain shimmering on bottom of the pan. Then plop, one bubble.

And another, plop. Until finally the water was jumping around the a madman, trying to escape the heat from below.

Then in with the pasta. So brittle until the jumping water begins to take a hold of it. Slowly it bends away from being rigid and linear to flowing and curved, weaving in with the bubbling water. With a simple stir the whole pot begins to cartwheel, a spinning vortex of water and pasta, steam rising up into Mel’s face as she leans over to watch the whirlpool, fogging up her glasses.

In a very odd way, it made Mel hungry — the process of cooking. Not necessarily for what she was making either, just to eat. She always had the urge to graze while stirring away at her dinner. There was always a nagging voice she had to tell to shut up, telling it no, she wouldn’t go looking for that half eaten packet of chips or a biscuit from the tin the little woman on reception had given her a week after her birthday.

54

“I didn’t realise,” she had crooned.

“Not many did,” Mel had replied as the woman handed over the red tin.

“Did your parents call?”

Mel couldn’t help but pause, “No,” she smiled.

The woman crumpled her already wrinkled face, “Well, enjoy those then,” And with a parting smile Mel turned towards the lifts. She’d not really spoken to the woman that much. But she’d seen the same tin of biscuits around the office and knew it was not a gesture of close friendship but of principle.

of PRINCIPLE of PRINCIPAL PRINCIPAL PRINCIPAL PRINCIPAL PRINCIPAL PRINCIPAL PRINCIPAL

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They look expensive Happy birthday, by the way. They’re quite nice, actually...sort of salty, but you can still taste the sugar in there somewhere Did she used to have that brand?

Fair enough...

Shit Soccer training was canceled — there’s a storm coming apparently. That’s okay, if Mic doesn’t mind I’ll come straight back after I collect him

But we both knew Mic would mind.

Even if Mic didn’t really mind.

The tin was still in her cupboards somewhere. An old school friend had come to visit a few weeks back. Coffee and a chat which was promised as a rip-roaring nostalgia jaunt but fizzed into a quite cuppa and biscuits. The tin had been a topic of conversation, but little else was.

“They look expensive,” her friend had offered after an inordinately long pause in the conversation. Mel had directed her attention out the window. The brewery was unmoving as always and the tram yard housed a sole figure awaiting their next task, leaning against a power pole in the trademark yellow vest. Clouds were gathering in the distance, maybe it would rain.

“Just a present, can’t really afford anything like that,” “Happy birthday, by the way,” Mel smiled another thank you, “they’re quite nice, actually,” her friend said biting into one of the biscuits, “sort of salty, but you can still taste the sugar in there somewhere,” which she followed with a short laugh.

“They remind me of my Gran,” Mel said whilst not eating a biscuit.

“Did she used to have that brand?” she said with a hand up to her chewing mouth.

“No, but,” Mel paused, “they seem the sort of thing she would like. You know, a proper tin... not plastic wrapping,” “Fair enough,” her friend’s phone beeped and she looked down at the screen hurriedly, “shit,” Here we go, thought Mel. “Soccer training was canceled — there’s a storm coming apparently,” she was already collecting her things, a little too quickly, “that’s okay, if Mic doesn’t mind I’ll come straight back after I collect him,” But both of them knew Mic would mind. Even if Mic didn’t really mind.

82

Just a present, can’t really afford anything like that

They remind me of my Gran

No, but they seem the sort of thing she would like. You know, a proper tin... not plastic wrapping

Here we go

But we both knew Mic would mind.

Even if Mic didn’t really mind.

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OF LIGHTS THE REFLECTING THE THE OBSCURINGTHE OBSCURING GROUND,OBSCURING GROUND, THEGROUND, THE THE THE FROM FROM THE FROM ROSE ROSE OBSCURING ROSE OBSCURING OBSCURING OBSCURING FLATS FLATS FLATS GROUND, GROUND, GROUND, THE THE CONCRETE THE CONCRETE CONCRETE FROM THE FROM TALL FROM TALL TALL ROSE FROM OF OF ROSE OF ROSE ROW ROW ROSE FLATS AAROW AFLATS FLATS FLATS CONCRETE CONCRETE CONCRETE TALL CONCRETE TALL TALL OF OF TALL OF ROW ROW AOF AROW AEVEN GOA ROW THAT HUE A BLUE TINGE, AGROUND, HAS SKY NIGHT THE CITIES, WITHOUT CLOUDS. CLOUDS. CLOUDS. SWIRLING SWIRLING SWIRLING THE THE THE AND AND AND SUN SUN CLOUDS. SUN CLOUDS. CLOUDS. CLOUDS. SWIRLING RETREATING RETREATING SWIRLING RETREATING SWIRLING THE THE SWIRLING THE AND AND THE AND SUN SUN AND SUN SUNSTARS RETREATING RETREATING RETREATING GORETREATING AND A CORNER TURNED TRAM THE BRIGHTER. 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OF LIGHTS THE REFLECTING ROSE ROSE FLATSROSE FLATS CONCRETEFLATS CONCRETE TALLCONCRETE TALL TALL ROSE OF OF ROSE OF ROSE ROW ROW ROSE FLATS AAROW AFLATS FLATS AND AND AND CONCRETE CONCRETE CORNER CONCRETE CORNER AACORNER TALL CONCRETE A TALL TALL OF OF TALL OF TURNED TURNED ROW TURNED ROW OF A AROW ATRAM TRAM ROW AND TRAM AND A THE AND THE THE AND CORNER ACORNER A ACORNER CORNER ACITIES, TURNED TURNED TURNED TRAM TURNED TRAM TRAM THE THE TRAM GOTHETHE THAT HUE BLUE AFLATS TINGE, HAS SKY NIGHT THE WITHOUT EVEN SWIRLING SWIRLING THESWIRLING THE ANDTHE AND SUNAND SUN SWIRLING SUN RETREATING RETREATING SWIRLING RETREATING SWIRLING THE THE THE THE SWIRLING THE THE AND AND THE AND SUN SUN AND OBSCURING SUN OBSCURING OBSCURING SUN GROUND, GROUND, RETREATING GROUND, RETREATING RETREATING THE THE THE RETREATING THE FROM FROM THE FROM OBSCURING OBSCURING OBSCURING OBSCURING GROUND, GROUND, GROUND, THE THE GROUND, THE FROM THE FROM FROM GOFROM BRIGHTER. EVEN SING STARS MAKES BRAIN BRAIN HERBRAIN HER THEN,HER THEN, EVENTHEN, EVEN BUTEVEN BUT BUT BRAIN BRAIN BRAIN HER HER BRAIN HER BLACKNESS. BLACKNESS. BLACKNESS. HER THEN, THEN, THEN, EYES. EYES. EVEN EYES. THEN, EVEN HER EVEN HER BUT HER BUT EVEN BUT BUT CLOSED CLOSED MELCLOSED MEL BLACKNESS. MEL BLACKNESS. BLACKNESS. EYES. CLOUDS. CLOUDS. EYES. CLOUDS. EYES. HER HER EYES. HER HER CLOSED CLOSED CLOSED MEL MEL CLOSED MELMEL CLOUDS. CLOUDS. CLOUDS. GOCLOUDS. ROSE FLATS CONCRETE TALL OF ROW ABLACKNESS. AND A CORNER TURNED TRAM THE STEADY. STEADY. NOTSTEADY. NOT WASNOT WAS BLACKWAS BLACK THEBLACK THE THE STEADY. STEADY. STEADY. VISION, VISION, NOT VISION, NOT STEADY. NOT HER HER WAS HER WAS NOT IN WAS ININ WAS BLACK BLACK BLACK THE THE BLACK THE FLICKERING FLICKERING FLICKERING THE VISION, VISION, VISION, HER INVENTED INVENTED HER VISION, INVENTED HER IN IN HER IN IN FLICKERING FLICKERING FLICKERING FLICKERING INVENTED INVENTED INVENTED GOINVENTED SWIRLING THE AND SUN RETREATING THE OBSCURING GROUND, THE FROM REAL REAL REEL.REAL REEL. FILMREEL. FILM OLDFILM OLD ANOLD ONANAN ON REAL ON REAL REAL HAIRS HAIRS REAL REEL. HAIRS REEL. REEL. LIKE LIKE FILM LIKE REEL. FILM IT. FILM IT. OLD IT. OLD FILM TO TO OLD AN TO AN OLD AN ON ON GRAIN GRAIN AN ON A AAGRAIN ON HAIRS HAIRS WAS WAS HAIRS WAS LIKE HAIRS LIKE THERE LIKE THERE IT. THERE IT. LIKE IT. TO TO IT. TO TO GRAIN GRAIN A A AGRAIN GRAIN WAS WAS A WASWAS THERE THERE THERE GOTHERE BRAIN HER THEN, EVEN BUT BLACKNESS. EYES. HER CLOSED MEL CLOUDS. EMPTY. EMPTY. EMPTY. WAS WAS WAS BLACKNESS BLACKNESS EMPTY. EMPTY. EMPTY. WAS WAS EMPTY. WAS WASFLICKERING BLACKNESS BLACKNESS BLACKNESS GOBLACKNESS BLACK WAS NOT STEADY. THE VISION, HER IN BLACKNESS INVENTED DEFINITION. DEFINITION. BYDEFINITION. BY VOID, VOID, VOID, DEFINITION. DEFINITION. BY BY DEFINITION.

BY BY VOID, VOID, VOID, GOVOID, ON AN OLD FILM REEL. REAL LIKEBYHAIRS GRAIN TO IT. ADEFINITION. WAS THERE EVERY EVERY WHENEVERY WHEN EVERYTHING?WHEN EVERYTHING? ALSOEVERYTHING? ALSO EVERY ALSO EVERY EVERY WHEN EVERY BLACK BLACK WHEN BLACK WHEN WHEN WASN’T WASN’T WASN’T EVERYTHING? EVERYTHING? EVERYTHING? THOUGHT, THOUGHT, ALSO EVERYTHING? THOUGHT, ALSO ALSO SHE SHE SHE ALSO BLACK BLACK BLACK THEN, THEN, THEN, BLACK WASN’T BUT BUT WASN’T BUT WASN’T WASN’T THOUGHT, THOUGHT, THOUGHT, SHE SHE THOUGHT, SHESHE THEN, THEN, THEN, BUT BUT THEN, GOBUTBUT EMPTY. WAS BLACKNESS LIKE LIKE MAYBE,LIKE MAYBE, REMAINS.MAYBE, REMAINS. BLACKREMAINS. BLACK LIKE BLACK LIKE LIKE THE THE THE LIKE MAYBE, MAYBE, ONLY ONLY MAYBE, ONLY MAYBE, GONE GONE GONE REMAINS. REMAINS. AND AND REMAINS. AND REMAINS. BLACK BLACK BLACK THE ABSORBED ABSORBED THE BLACK ABSORBED THE IS IS ONLY IS THE ONLY ONLY LIGHT LIGHT GONE ONLY LIGHT GONE GONE AND AND GONE ANDAND ABSORBED ABSORBED ABSORBED IS IS ABSORBED IS IS LIGHT LIGHT LIGHT GOLIGHT DEFINITION. BY VOID, BETWEEN BETWEEN SOMEWHEREBETWEEN SOMEWHERE CAUGHTSOMEWHERE CAUGHT BETWEEN BETWEEN BETWEEN BETWEEN COMPLICATED; COMPLICATED; COMPLICATED; SOMEWHERE IS IS SOMEWHERE IS SOMEWHERE SOMEWHERE BLACK BLACK CAUGHT BLACK CAUGHT CAUGHT CAUGHT EVERYTHING, EVERYTHING, COMPLICATED; EVERYTHING, COMPLICATED; COMPLICATED; IS IS COMPLICATED; IS IS BLACK BLACK BLACK EVERYTHING, EVERYTHING, EVERYTHING, GOEVERYTHING, EVERY WHENCAUGHT EVERYTHING? ALSO BLACK WASN’T THOUGHT, SHE THEN,BLACK BUT OF POINTOFOF POINT THEPOINT THE TOTHE EXCESSTOTO EXCESS EXCESS OF OF AND AND OF OF AND POINT POINT POINT ABSENCE ABSENCE THE ABSENCE THE POINT THE TO TO THE TO TO REMAINS. NOTHING, NOTHING, EXCESS NOTHING, EXCESS AND EXCESS AND AND AND EXCESS ANDAND ABSENCE ABSENCE EVERYTHING EVERYTHING ABSENCE EVERYTHING NOTHING, NOTHING, NOTHING, AND AND NOTHING, AND EVERYTHING EVERYTHING EVERYTHING GOEVERYTHING LIKE MAYBE, BLACK THE ONLY GONE ANDABSENCE ABSORBED ISAND LIGHT DARKNESS. DARKNESS. DARKNESS. OVERWHELMING OVERWHELMING OVERWHELMING DARKNESS. DARKNESS. DARKNESS. DARKNESS. OVERWHELMING OVERWHELMING OVERWHELMING GOOVERWHELMING SOMEWHERE BETWEEN CAUGHT IS COMPLICATED; BLACK EVERYTHING, EVERYTHING AND NOTHING, ABSENCE AND EXCESS TO THE POINT OF OVERWHELMING DARKNESS. VOID VOID VOID VOID VOID V OID

HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE HERE

SOMEWHERE WAS A TIN OF TOMATOES SURE THERE SHE WAS TOMATOES

TOMATOES, SHE WAS SURE THERE WAS A TIN OF TOMATOES SOMEWHERE TOMATOES, SHE SURE THERE WAS A TIN OF TOMATOES SOMEWHERE SHE WA SUR ERE WAS A TIN OF TOMATOES SOMEWHERE TOMATOES, SHE WAS SURE THE AS A TIN OF TOMATOES SOMEWHERE TOMATOES, SHE WAS SURE THERE WAS IN OF TOMATOES SOMEWHERE TOMATOES, SHE WAS SURE THERE WAS A TIN TOMATOES SOMEWHERE TOMATOES, SHE WAS SURE THERE WAS A TIN OF MATOES SOMEWHERE TOMATOES, SHE WAS SURE THERE WAS A TIN OF TO MATE SOMEWHERE TOMATOES, SHE WAS SURE THERE WAS A TIN OF TOMAT S SOMEWHERE TOMATOES, SHE WAS SURE THERE WAS A TIN OF TOMATOE SOMEWHERE TOMATOES, SHE WAS SURE THERE WAS A TIN OF TOMATOES OMEWHERE TOMATOES, SHE WAS SURE THERE WAS A TIN OF TOMATOES SO EWHERE TOMATOES, SHE WAS SURE THERE WAS A TIN OF TOMATOES SOM WHERE TOMATOES, SHE WAS SURE THERE WAS A TIN OF TOMATOES SOME ERE TOMATOES, SHE WAS SURE THERE WAS A TIN OF TOMATOES SOMEW ERE TOMATOES, SHE WAS SURE THERE WAS A TIN OF TOMATOES SOMEWH RE TOMATOES, SHE WAS SURE THERE WAS A TIN OF TOMATOES SOMEWHE E TOMATOES, SHE WAS SURE E WAS A TIN OF TOMATOES SOMEWHER TOMATOES, SHE WAS RE THERE S A TIN OF TOMATOES SOMEWHER TOMATOES, SHE AS SURE THERE WAS A TIN OF TOMATOES SOMEWHE TOMATOES, S E WAS SURE THERE WAS A TIN OF TOMATOES SOMEWHERE TOMATOES, SHE WAS SURE THERE WAS A N OF TOMATOES SOMEWHERE TOMATOES SHE WAS SURE THE WAS A T OF TOMATOES SOMEWHERE TOMATOE , SHE WAS SURE HERE WAS A TI OF TOMATOES SOMEWHER TOMATOE , SHE WAS SU E TH RE AS A TI OF TOMATOES SOMEWHERE TOMATO S, SHE WAS S E TH RE WA S A TI OF TOMATOES SOMEWHER TOMAT S, SHE WAS SU RE T ERE AS A T N OF TOMATOES SOMEWHEE TOMAT S, SHE WAS S E THE E WAS A N OF TOMATOES SOMEWHEE TOMATO S, SHE WAS SUR E THERE WAS TIN OF TOMATOES SOMEWHR E TOMATO S, SHE WAS SURE RE W TIN OF TOMATOES SOMEWH RE TOMATOE , SHE WAS SURE THER WAS A TIN OF TOMATOES SOMEW ERE TOMATOE SHE WAS SURE THERE WAS A TIN OF TOMATOES SOME HERE TOMATOES, SHE WAS SURE THERE WAS A TIN OF TOMATOES SO WHERE TOMATOES, HE WAS SURE THERE WAS A TIN OF TOMATOES S MEWHERE TOMATOES, S WAS SURE THERE WAS A TIN OF TOMATOES SOMEWHERE TOMATOES, SHE AS SURE THERE WAS A TIN OF TOMATO SOMEWHERE TOMATOES, SHE W SURE THERE WAS A TIN OF TOM OES SOMEWHERE TOMATOES, SHE WAS S E THERE WAS A TIN OF MATOES SOMEWHERE TOMATOES, SHE WAS SURE T N OF TOMATOES SOMEWHERE TOMATOES, SHE WAS SURE THERE WAS A TIN OF TOMATOES SOMEWHERE TOMATOES, SHE WAS SURE THERE WAS A TIN OF TOMATOES SOMEWHERE TOMATOES, SHE WAS SURE THERE WAS A TIN OF TOMATOES SOMEWHERE

Tomatoes, she was sure there was a tin of tomatoes somewhere. The cupboards weren’t exactly filled, but she remembered last time she went to the supermarket there was a little yellow sale tag on the tomatoes. Never miss the chance. She had put two tins in the basket and continued on.

Surely one of those tins was still there. For a moment she began to doubt, and then — ah, there it was. In the second last cupboard. She emptied the contents into a second pot next to the pasta. A crack of pepper and salt.

That was it. Sauce done.

DONE DONE DONE

E DDD DD DD DDDDD DDD D D D D D DD D D D DDD D D D

DD D D D D D D D D D D D D D D D D D D D D D D D D D DD

D D D D D D D D D D D D D D D D D D D D D D D D D D D D DD

DONE DONE DONE DONE DONE DONE DONE DONE DONE DONE DONE DONE