Portrait of Venesia (Taken by Venexia before their forced separation, after their parents discovered their incestuous relationship).
The Love Letters of Venesia and Venexia. First Letter from Venesia.
My Dearest, Darling V. I am writing to you from the holiday house on Lake Orta. It started snowing two days ago. Père and Mère are always fussing about, hovering around, getting on my last nerve. They're always asking me how I am, how I'm coping without you, as if they even care. We are cooped up together here like sardines in a tin. I never get a moment to myself. I wish they'd just let me suffer on my own. Every day they buy me a new gift. It's usually something expensive, a piece of jewellery or a rare book, the other day it was a first edition copy of Lolita signed by Nabokov, something I would usually love, but because I know they're doing this to try and make up for separating us, I won't accept any of these "gifts" which are actually, in truth, bribes offered in exchange for my fealty and my affections. I won't forgive them for doing this, taking you away from me, not ever, I promise you that. Last night, when I was getting dressed for bed, a fox came to my window. He looked at me and I looked back at him. His eyes were unbearably sad. I went to get him a bowl of water but when I came back he was gone. I wanted to tell him how beautiful he was. But I didn't have the chance to. I can't say what, exactly, but there was something about him that reminded me of you. Did you come visit me last night in your dreams? Were you the sad fox? How are things in Berlin? How are you bearing up? Are you as lonely as I am? Do you miss me? I miss you terribly. Write soon. Send your letter to Alicine, at the address written on the back of the envelope. She'll give it to me when I get back to Paris. I send you kisses, my love. We must find a way to be together again soon. I love you more than I can possibly say. Your Sistren Other and True Soul's Wife V.
Fast forward two years. Venesia and Venexia meet for the first time since their separation.
Fast forward five years. V and V have been reunited for half a decade and have since married. Their mother, Omnia, committed suicide not long after they were wed. The twins continue their research into anti-time architecture and anti-time processing with the end goal of constructing a time vessel to travel back into the past to re-write their mother's fate. They have, over the course of their lives, become even more perverse than before, with their latent pathologies spawning a proliferation of erotogenic modes and forms and shapes and codes and configurations. They have also acquired a polysubstance drug habit, which they have tried to kick, but, regrettably, have as yet been unable to.
Fast forward two years. Venesia has given birth to Venexia's child. A daughter, they chose the name Siaan for her. The name is pronounced "See-arne." When Venesia discovered she was pregnant, she stopped drinking and taking drugs. In solidarity with her, and for the sake of their unborn child, as well as his own well-being, Venesia also brought an end to his substance abuse.
Venesia + Venexia = V + V. V + V = W. W = Double U. Double U = Ursula and Udo. Ursula + Udo = U + U. U + U = Double You.
The sister on the left is called "Coa." The sister on the right is called "Atl." "Coatl" is a Nahuatl term which can be translated as both "twin" and "serpent."
His beautiful teenage cousin, Ursula, on the occasion of their first meeting, wore a black veil, long black leather gloves laced up to her elbows, black louis-heeled boots, riding pants made of mesh filled with potassium powder and selenite crystals, and pale nylons shined with iodine vapor, jet black, slippery with the taste of a stolen kiss, or a bite hard enough on her bare throat to leave a purple blemish on her pallid white skin. She was an unusually smart girl, industrious and cheerful, her red hair restrained in a French roll, her face twisted into an expression of coy adolescence, painted over with a translucent glaze of depraved wickedness, her elfin eyebrows shot up past the starry regions and the celestial vault, into the safe, secluded nape of a sleeping seraphim's wing. Ursula frequently dreamt dreams of eating her cousin, Udo. "Devouring," in her description, with "aggression, fanaticism, untrammeled force; piles of filleted organs, limbs, tumorous growths, dorsal fins, gams, spurs, hymens, gonads, and other prohibited delicacies rising up over the two of them, to bury their bodies beneath mountains of pink snow" which were in truth their own innards, disemboweled. Udo, now 16, yearned for Ursula, recently turned 14, with a desire that cannot be prescribed to simple lust with its singed thoughts and never gentle impulses. And yet he was terrified of her. Stalking around her bedroom, Ursula was wearing a prosthetic brace, which made her walk in ever-diminishing concentric circles, and gave her stride an asymmetrical, ambling gait, like someone born with spina bifida, a brace that she herself had designed and assembled, along with a second for, as she put it, her "grotesque, distorted arm and its sinister cross sign". Udo saw her discovering nothing about him interesting at all except his "tactics of make-up application or posing nude in the back garden in front of the neighbour's wife." So, she "very gradually and very carefully, cultivated an intrinsic quality of insanity in him" for no other reason than to simply amuse herself. She saw him as a boy piston, lubricated with the salves of lunacy, hammering away at her sainted gash, and her, a girl monster with her legs spread, her eye balls crunching with the nausea of his extreme passion, her eyes piercing straight through him with a greedy, throbbing nullity. She terrorized him and mesmerized him in equal measure. This made him want her even more. Udo was an exemplar of The Ultrasadian Man trapped in a vesicle of malign intelligence, caring for a captive heroine who twines her gamine legs around his bony elbows, as she hums the 2nd Movement of Beethoven's 7th symphony into the warped, deviating, hypercolorated grooves at whose mouths lie, with no cover and no privacy, the contents of his core. Facing swathes of unremitting light her sweetened sweat runs down and swoons the wood beneath on tender leather tongues, swineskins quantifined and oiled. It creosoted cream-men. Plancksplit the grain itself, rumbleshelled the tundras. And cowed into submission by the sheer curiosity of his prey, he let her fuck him on the traffic island as the cars circumnavigated their bodies, as they honked helliously while veering about, squealing voices and tyres, making obscene gestures out their windows, Ursula moaning angrily, playing with a lemon wedge sticking out of his asshole, silently defying them all. Are Ursula and Udo Venesia and Venexia? Might be. Are Ursula and Udo you and me? Let’s see.
Amlehn's face liquifies as he shifts into another dimension. In this parallel reality he finds himself embedded in an instrument panel, his eyes have become dials; his nose, a gauge; his mouth, bulbs of unknown purpose. Amlehn looks down at a hybrid lifeform composed of love-birds and the twisted metal of a car crash. A man is seated to the right with a giant Mulberry silkworm. Mulberry silk were the panties the character Omnia wore in Amlehn's novel (when she wore them, that is, as most of the time she was wont to go au naturale beneath her skirt or dress). A line artifact left over at the bottom right of the centre panel connects to a crudely-drawn line which, in turn, connects to an abstract geometric configuration. This form appears to be cradling a pair of lovers, an older male and a younger female, who are engaged in an impassioned act of coitus. Part of the geometric form connects with a Roman relic of a crucifixion. The rusty nail penetrates the wood as the man penetrates the girl.
The trigon vessel arrives. A trinity of geysers ejaculate. The skull of Oannes is attended by W whose virtual hand sign translates into the English tongue as: "Knowing Heaven."