Crackling Circuits

 

 

Mother wears a complex crown of branching wires and red spheres; vibrating neuronal orbs or dried pomegranate seeds cracked open by time. We sit around her, sharp-faced and praying on our knees. A new geometry has replaced our old language. The cathedral where we are is quiet but the windows leak smoke. One of us, maybe the green one, the one I have never met before, was born within an MRI machine and only speaks in oscillating voltages. Another swears they can smell burnt ozone every time they blink.

Behind us, the cities rot gently. Red towers, blue fog, yellow silence. The past is a velvet couch with a distinct stain of decaying wine and betrayal. The future? A nerve bundle shooting static at my spinal column. All of us have been altered, in one way or another. All of us are half-code, half-sacrifice.

The diagram is labeled. BNC-1. BNC-2. AN-1. Like cousins that got lost in the folds of the brain. What does the diagram do when we sleep? Does it grow into a dream we can’t escape? Does it sprout roots into our bones? I wake up with the impression of a dendrite pressed into my ribs, like a fossil of thought, like a tenuous broadcast from a dead radio station.

My old teacher looks sideways at all this. His nose knows more than his eyes. He’s seen angels broken apart by logic. He’s counted stars with the same fingers that now point towards an imaginary exit… Or is it just the edge of the page where the publisher forgot to bleed the ink all the way through? Philosophy is just a hallucination you probably won’t get arrested for.

Page 23. Three. That’s how many selves you have. The one who dreams, the one who watches, and the one who screams into a live socket in sheer anguish.

I remember: Ricardo told me once that the nervous system is just a very elaborate radio. Pick up the right frequency and you can hear your ancestors whispering in the hiss between channels. Some call that schizophrenia. I call it astral archaeology.

And the family in the first painting that you see in here; they’re not people. They’re the remains of a signal. Cracked forms that used to carry sound; all color-coded to avoid confusion. You might think the triangle face is the mother but no, it’s the transmitter. The true mother is the background; those streaks of black and orange, bursting upward like a transmission from a volcano. Her voice is what births the rest of them. Her voice is what kills them, too.

Somewhere in the back of the museum, there's a room where the paintings blink. The nerves are mapped and projected against the wall. I can see how BNC-2 wraps around BNC-1 like a lover, like a trap, like a rhetorical fallacy. In the corner, a speaker plays my old teacher’s thoughts in Latin, but reversed, like a Satanic record. I hear it if I close my eyes and press my fingers against my teeth.

Sometimes I wonder what would happen if the diagram got loose; if the neurons spilled out of the paper and rewired the gallery. Visitors might start to convulse in sync. My blood pressure would spike. My spine would vibrate. I would start naming things in languages I don't know.

I try to leave but the door has turned into a waveform. I can only exit if I match its frequency. Most of us can never leave. How can you match a frequency if you don’t know how to shape shift?

My old teacher knew about this. He saw it, a long time ago in Mexico. He saw it in the eyes of young obsessed junkies decoding the Bible one track mark at a time. He knew that the human body is a relay tower, and that most signals are poison. But if you listen closely, really closely, you can hear the true message: EAT THE SKY. BITE THE STARS. BECOME THE STATIC.

One of the figures in the painting—the one on the floor with a long face like a melted mask—she says: “There are secrets buried in the synaptic delay.” I nod because my tongue has fused to my palate and I am no longer able to speak. Still, I nod because my heartbeat is being monitored by a machine in a different time zone.

BNC-1 fires. The ink trembles. AN-1 pulses like a drum. A tribal beat only insects can dance to. The museum lights flicker in Morse code. Someone translates it. It says: “THEY'RE ALREADY INSIDE.”

My teacher's finger keeps pointing. (Is he really here with me?) Now it's pointing at my gut. Now it's pointing at my unborn memories. Now it's pointing at the wall, where a crack has opened and I can see the city outside. The towers are bleeding data. The sky is peeling away to reveal circuits underneath. The birds are twitching in binary spasms.

And I finally understand the diagram. It's a map. Not of the brain. But of a long life in exile, away from everything that made me who I am.

And I am somewhere between BNC-1 and AN-1. A spark traveling a blackened path. A lost child in a neuron forest. Every choice I've made is a synapse. Every regret is a firing pattern. Every time I almost say something true… it lights up red.

I look again at the painting. The figures are moving now. Slowly. The mother-transmitter blinks. The geometry shifts. They’re recalibrating for my newfound presence. They’ve been waiting for me. I am the missing circuit. I am the noise in the system. And now the system is listening.

The Numbers on the Gate

the streets are cracked sun flares bouncing off the silver car the red one bleeding against the driveway like a wound still fresh the palm trees whisper in some dry electric code above the suburb that thinks it’s safe the mailboxes like tiny black obelisks transmitting coordinates to some god that is not god jehova is real but not the thing you prayed to when you were seven on your knees with the bedroom door shut he’s a parasite on the signal a swollen insect lodged in the skull of the world the quiet cul de sacs are just the holding pens until he calls in the harvest and you can feel it in the sunlight the air’s wrong the sky too clean it hides something sharp and the hills roll away gold and brittle like the skin of an old reptile I keep walking past the road barrier with the spray paint 277 or 2 or maybe it’s a key code from the other side of the membrane and there’s the shadow of me long and insectile stretching down the cracked asphalt like I’ve already been eaten and replaced by something else the paint is flaking off the metal gate and the rust is bleeding out the joints and in my head the heat is telling me that the people in those houses aren’t really people anymore maybe they never were maybe they are shells filled with him with jehova the demon the architect who has been here since before the roads were laid and a group of them found out and they woke up one night with the static roaring in their heads and the dream of an open desert with no sun they met in garages and drained swimming pools whispering in code about his weaknesses about how his body is stitched into the telephone wires and the taste of him in tap water the strategy was to cut him out piece by piece like a tumor so they tagged the gates and the asphalt with numbers the numbers mean where to cut the artery the silver car the red car are just vehicles left as markers this driveway is an altar disguised as middle class safety the palm tree a green knife pointing up into the glare and I can feel the shadow of him over the hills even as the suburbs cluster in the valley like a swarm the chain link fence rattles though there is no wind my own shadow wavers like a bad projection and I keep thinking about the road that curves out of sight maybe it doesn’t go anywhere maybe it just loops back into the same scene with the same cars the same palm tree the same mailbox only every time I pass it something is slightly wrong an extra window on the house a number flipped backward on the curb maybe the grass growing darker because he’s closer the road surface splitting like dried skin and the hills are silent but I swear I see them breathing a ripple passes through the grassless slopes and it’s like a lung under a ribcage made of sky and all the while the demon is feeding and feeding on their prayers because the prayers are contracts binding them to him the group that fights him knows not to pray they burn the words before they leave their mouths they walk these roads under the noon sun so the heat can strip the last signals out of their skin I pass the same barrier again the numbers look different this time black paint dripping like coagulated blood maybe it’s not numbers maybe it’s the face of something in profile the hook of a jaw the coil of an ear but the shadow grows longer even though the sun is straight overhead and I know the cars are watching the silver one with its empty mirror eyes the red one with a door slightly ajar like a mouth that’s been whispering instructions for centuries the garage doors like eyelids that will never close the group hides in plain sight walking among them smiling but never touching the palms of the infected they keep moving from cul de sac to cul de sac from cracked asphalt to cracked asphalt because he can’t catch what doesn’t stop the hills turn gold to white in the glare and the valley tilts as if the whole place is a dish sliding toward a drain and I keep walking I keep walking because to stop is to be seen and to be seen is to be filled and finished

Roof

I am trying to get out. The factory is immense, a huge labyrinth without clear edges; a living structure that breathes in old metals, forgotten gases. I move through corridors where there are no lights, and yet everything is illuminated with a dull glow, as if the air itself remembered the sun.
I know my friend is nearby, outside. I saw him one last time in the half-light, near some broken stairs, lifting his hand without saying a word. My beloved is out there too. Surrounded by a group, speaking as if time didn’t exist, as if we had all been born inside this same factory and she were the only one who knew the way out. But I don’t.

•  

I arrive at an open space. There are giant holes in the floor, geometric mouths. Perfectly cut, black inside. I walk to the edge and look down.
People are working down there. Like tiny figures in an underworld, carrying things I don’t understand. Sometimes they look up, but not at me. It’s as if I don’t exist from this height; as if anyone who makes it this far up has already been forgotten by those still inside.
The fall is deep. There are no railings. Just the edge, and the echo.

•  

I think about walking carefully around it. The lines in the metal form uncertain routes, curving from one end to the other without logic. Everything seems designed to have no exit. But then I see a sign, nailed crooked into one of the walls:

"THE BEST WAY OUT IS THROUGH THE ROOF"

And it’s so absurd that it might be true. There’s no map. Just a suggestion that sounds impossible.

•  

I start going up. The stairs are rusted. The metal creaks under my weight, like it remembers others who tried to escape. The entire roof is covered in sheets of corrugated metal. Worn, warped, some on the verge of falling off. Small holes let in a sick, white light. Every step is a distinct possibility of a final fall.
I don’t think they just let it decay. I think they made it dangerous on purpose. It’s ideology; their particular way of seeing the world: If you want to get out, you have to risk something. If you fall, you didn’t deserve to leave. They believe in the merit of lethal danger and deep wounds.

•  

I go forward. My hands brace against the jagged edges of the metal sheets. Some shudder, others come loose as soon as I touch them.
There’s no one else up here. Just me and the sound of the wind sneaking through invisible cracks. But I feel something else. A presence—not a person, but an awareness.
The factory is the body of an idea. And I am just a tiny mistake in its huge digestive system.

•  

I reach a place where the sheets no longer lie flat. Now I have to climb; there’s a steep incline that quickly becomes a wall. That’s where the greatest danger is. Not because of the height but because of what’s behind it.
It’s as if the roof has a guardian. Not a creature, but an intention. A final test.
The sheets are loose. I have to move silently. Each step must be taken with a silent prayer.

•  

I stop and think of my old friend. His endless jokes and his polite, restrained laughter. The way he said everything was a game and that one day we’d get out, it was certain. Always so sure of what he said.
I think of my beloved, looking at me with that particular blend of anxiety and patience. They are both outside but I am not.

•  

I breathe. The air up here tastes different, as if the particles were older. As if what I’m breathing now was exhaled by someone long ago and only just reached me; a kind of air full of memory.
I place one foot on the steepest part of the slope. It groans beneath me and I freeze. The wind touches my face. Ahead, there’s nothing—just a curve of brightness hiding whatever comes next.

•  

I remember a moment… she once told me a dream she had. She was walking down a long dark hallway, and at the end her grandfather was waiting. And her grandfather said: “There is only one path through this life, mi niña, but no one can tell you what it is.”
And she woke up crying.

•  

I take one more step. The metal shifts and my entire body tenses. I’m not sure I should keep going but I know I can’t go back. I have come too far.

•  

I look behind me. The path I climbed already seems further away than it should be. As if it was someone else that walked it.
There is definitely no return. Only rooftop ahead of me, and sky.

•  

I think of my father. The way he talked to me, his mind always full of twisted ideas. How he believed everything in life was a system of hidden pipes: if one part gets clogged, everything breaks down.
Maybe he helped build this place; maybe it was his own design in the first place. Maybe the ideology that sustains it passed through his hands as well.

•  

I raise my eyes and a single black bird crosses the sky.
Silent. No one sees it. Only I do.

•  

And then I understand: There is no door in the roof. No marked exit.
The only way out is to dismantle the roof itself, piece by piece… to tear it apart, to completely break the inner logic.

•  

I begin to pull carefully on the metal sheets. Each one that loosens lets in more light. A growing light, as if the factory itself doesn’t want this to happen.
But it’s too late. I no longer belong to it.

•  

One final sheet and a great gust of wind. And then:
The sky.
Real.
Open.
Without geometry.
Without limits.
And far below, the sound of someone calling my name.