During the Belle Époque — that period of time, about fourteen billion years ago, after the Gods were delivered by bus from some sort of “Spring Break” during which they are said to have “gone wild”—the Gods put things in order, made them comprehensible, provided context, imposed coherence and meaning, i.e., they created the world as we know it today. But although, as it’s been said, they abide by a stern, hieratic protocol, these Gods — Rikidozen, Los Vatos Locos, José Fleischman, The Pistoleras, etc. — when viewed from a certain perspective, can seem like harebrained cartoon characters lurching haphazardly from one debacle to another, motivated as much by mischievousness and perversity as anything resembling intent or design. For instance, most of the butt-calls that people make today are the result of bored Gods just fucking around. And a lot of the weird, unexplained things that happen to people in Florida are the work of the Gods. In a Gravy-fueled tantrum one night in a Pensacola Motel 6, the Dwarf Goddess La Muñeca (“The Doll”) turned her mortal girlfriend Francesca DiPasquale, a Chief Warrant Officer in the U.S. Navy, into a macadamia nut, then a jai alai ball, and then into 100,000 shares of Schering-Plough stock. How credible did Pensacola Chief of Police Ellis Moynihan consider speculation that a lesbian Dwarf Goddess high on a smokable form of hallucinogenic borsht called “Gravy” might have turned the missing DiPasquale into Schering-Plough stock? In other words — was Moynihan one of the
elect, one of the illuminati? Unfortunately, we’ll never know. Two weeks after DiPasquale disappeared, Moynihan died of anaphylactic shock from a severe allergic reaction to peanuts in a vending machine candy bar. Strange, isn’t it? Moynihan had never previously shown any symptoms of even a mild sensitivity to peanuts. In fact, he loved peanuts and consumed them in such quantities that his coworkers in the squad room had begun referring to him as El Hombre Elefante (“The Elephant Man”). (Although, perhaps, as Desk Sergeant Nate Seabrook confided with a nudge and a wink, that nickname actually derived from the massive plexiform neurofibroma that obscured half of Moynihan’s face.) Stranger still — when officers looked frantically for the epinephrine auto-injector in the emergency first-aid kit, they found that someone had replaced it with a whippet, a small cartridge of nitrous oxide (aka “Laughing Gas”). A taunting cosmic joke? Yeah, maybe. But what does this wild oscillation between the sublime (e.g., the creation of musical harmony, the electromagnetic spectrum, prime numbers and the Riemann Zeta Function, etc.) and the gratuitously sadistic (e.g., giving someone a grotesquely disfiguring facial tumor) reveal to us about the Gods? La Muñeca was the Goddess of Architecture — she designed some of the most spectacular of the Gods’ hyperborean hermitages, in addition to the huge biomorphic resin and silicone dining table for the Hall of the Slain that’s considered as radical today as it was eleven billion years ago when she first impulsively sketched the design on a napkin at a club! Doesn’t sabotaging a first-aid kit in a Pensacola, Florida, police station so that someone suffocates to death, someone whose only offense seems to have been suspecting that you turned your girlfriend into a jai alai ball when you were high — doesn’t this, in addition to being mind-bogglingly petty and vindictive, seem like a colossal waste of time for the Goddess of Architecture? Well, first of all, a God would contend, you can’t waste something of which you have an inexhaustible supply. And secondly, since anything a God does is an expression of that God’s essential nature and thus imparts meaning and transfigures the manifold totality of the real, gradations of significance don’t exist — everything is equally important.