During un-countable simian generations, the simian human being (simian female, simian male, simian transvestite), he progressed by means of the error, mostly using primitive tool made with wood or bone.
The grouping of the primeval cell of the simian -known as family- evolved later into a more extense federation: the tribe, which was nothing but an association of families, often related genetically.
As the human life was getting more sophisticated, the introduction of the concept of incest as taboo, and the use of metals appeared
and the myth.
The concept of incest and the birth of morals is important, since it marked a dramatic difference between the human sexuality and the sexuality of the other animals.
The other pillars that marked his difference were the myth, and the language which, unlike the languages of the rest of the animals, was created by himself.
Later the tribe was agglomerated into the kingdom, or nation, also republics (which contrarily to the credence of some, are almost as old as the monarchies)
and the nation was nothing but an association of tribes, an association of gentes.
The myth and the un-explained nocturnal terror made the man look at the skyey elevations, which are air, and are nothing, and he saw.
He saw many things to be told; and he also saw dreams (or did he think he saw them?)
Allegories and symbols she saw, and he saw signs in the night, as in the canicular day.
She and he created celestial figures which were said to come by prophecy or reverie... these deities were sometimes monsters, acquiring a more and more airy and gracile condition as the religion progressed and the foederati became European countries, like Scotland or Aragon, or the religion of the Hebrew, expulsed from his land, living in the medieval arrondissement of others, like the intruder or the stranger.
Or the religion of the Muslim, who -despite he had his own land- tried to own the Europe, and never could, becoming resentful.
The rest... of the planet was barbarity, atrociousness, dementia, grotesque.
In the darkened cloister of the monk same as the zodiacal platform of the astronomer, she observed the arithmetic motion of the astral houses, glowing like hollow red boxes in the wild blue yonder... as her sleep got profound and ample, they seemed to talk to her eyes in a silent sequence, because she felt the tepidness of the reminder, the subliminal cadence of a memento, among the voiceless voices that called her name in whispers, and among all those voices, one:
"Dream on, little one, freedom and happiness, after all, are around every corner, I lied to you and did wrong things, and I'm dead for the world... but you, my lost good, don't let your shadow get taller than your laughter, and then... maybe
maybe I'll find you on that golden ascending road, which is hopelessness and is disillusion
because I'll wait for you there all day long, till the evening gets blacker than my fate."
Maybe she dreamed a mnemonic dream in which she summoned the data filed in her mind -even the atavic one-
and maybe the dream was a journey in which she was embarked before, a journey far from home, and maybe she foresaw
and maybe the world didn't understand
and maybe she searched for that cord to connect her with that infinite, to disconnect her from that finite
and maybe the search was the goal
and maybe she cried
and maybe the world didn't understand.
In 1.975 the ufologist and paranormal-ist Fabio Zerpa submersed himself in the EMI Studios of Buenos Aires, to record a phonographic album that would see the light of day in LP & cassette's:
"El OVNI y sus misterios / más allá de la cuarta dimensión-Vol. 1" (The UFO and its mysteries / beyond the fourth dimension-Vol.1).
The sessions were secret, and happened exclusively late at night... the whole recording process coincided with extremely cold nights (un mes frío):
every night Zerpa -seemingly- arrived to the studio in a black hermetic car, driving from his subterranean mansion of Temperley at high speed, toward the very EMI Studios, which were located in the pitiless centre of the metropolis.
Zerpa parked his black vehicle in front of the studios and descended vertiginously, running through the mirror-like sidewalks of the night, and entering the EMI installations through a metallic door, that once he was inside, got hermetically closed by means of a complicated automatic mechanism, controlled with IBM computers (ordenadores).
In this obscure record, Zerpa included 23 tracks, in which his spoken word was accompanied by electronic sounds of analog synthesizer created by unknown musician.
During the long interludes of ambient electronica, Zerpa pronounced extended divagations and peroratas about intra-terraqueous cities, a sort of incomprehensible and insane "universal love", milky white quartz skulls of non-terrestrial origin endowed with esoteria, aberrations of radar, intelligent buildings on the Moon, aberrations in the FM radio receiver, "the fifth man", the poltergeist, vibrational therapies, casuistry of the UFO:
actually the subject matters of his speeches were as unfathomable and ambiguous as the song titles:
Program A
1.Overture
2.Mi name is Fabio Zerpa
3.What's the UFO?
4.The radar receives
5.Manoeuvres encounters with astronauts[sic]
6.The obelisks of the Moon
7.Ways and waves of UFOs
8."Flying saucers"
9.16 photos of an UFO in the USA
10.A noon in Mendoza
11.Confusions
12.Origin of the extraterrestrial life
Program B
1.Where does the UFO come from
2.100.000 million galaxies
3.12 planets in our Solar System
4.1 million civilizations
5.Definition of the UFO phenomenon
6.Plurality of the inhabited worlds
7.A perfect case in Argentina
8.The radio signals
9.The Crystal Skull
10.A space capsule called Earth
11.Thanks for being there
Once the sessions ended, Zerpa locked himself up in his "Instituto de Estudios Psico-espaciales" (Institute of Psycho-Spatial Studies) located in the mountains of Andorra.
As soon as it was released, the record was denounced, and accused of promoting the sophrology, the un-scientific medicine, the infernology (hellism), and the vulgar witchcraft for the populace.
Zerpa disappeared and all the copies of the album were destroyed, even those of the Spanish issue of 1.976, which were sequestered by express order of the king, Juan Carlos I, and incinerated at midnight in a suburb of Madrid (Chinchón).
As an edgarallanpoe-esque footnote -or lie-, in Chinchón was invented the card game of the same name.
Notwithstanding, and despite the record got lost for the world, a brief excerpt from the last track of the side one has been stolen by some anonymous individual (an agent) from an unknown intranet, and uploaded on the internets: "Origen de la vida extraterrestre":
Dale gas >>>
The transcription:
"In a reunion of the Science Academy of New York[?] Dr. S*** A***** informs, in front of the amazement of the scientists, that in 19 meteorites fallen on the terraqueous soil were found aminoacids and pyrimidines... aminoacids which are similar to those present in the living cells, mixed with other aminoacids, like those that form the proteins... which rarely are found on this planet [the Eartf]...
... and pyrimidines, of biological origin, from the chain of the ribonucleic acid [RNA], which represents the primary genetic information of the life:
an incontestable proof of the extraterrestrial chemical evolution... in the Universe, there's a life... similar to this planet's life.
THEN, we ask the biggest question:
where do the flying saucers come from?
Where does the UFO come from?"
Zerpa was not seen again*, until 1.985, when an individual claiming to be Fabio Zerpa appeared... a secret and detailed physiognomic scrutiny of his facial features, voice and -especially- his ocular globes, digitally processed in a laboratory of Toyota, Japan, proved that the person was not Zerpa, with 99, 099, 0099% of accuracy:
The questions that stay floating in the air of this hour are two:
is this man an impostor, or is he the real Fabio Zerpa?
Does anybody still have a copy of "El OVNI y sus misterios" in the world, or all were destrolled?
Ah?
Eh?
Ih?
Oh?
Huh?
And is is is this man Fabio Zerpa, is or not?? Is he? Is he?
... Mystery my friend, the mystery is atrocity
AAAAAAHAHAHAHAHAHAHAHA!!!!!!!
*Note. An individual called Roberto Schuman claims to have talked to a man who said to be the real Fabio Zerpa in January of 2.014, at the "Royal Theater of Marionettes Lope de Vega", precisely in Chinchón.
Zerpa (or his pseudo) was seated on one of the wooden seats of this theater, enjoying a curious performance of Guiñoles with stereo surround sound emerging from both baffles, located to the right and left of the stage.
A while before this spectacle of puppetry would end, on the empty seat, little beads of a milky and quartz-like crystal were disseminated, shining under the chandeliers:
Zerpa was not there anymore.
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