Ckafybarja Piece 2. Nick Nicholas pamo'o <> li'u>> .i lei puze'a tirna cu milxe ke se cfipu cmila .i la paul. bacru <> gi'e cevni melbi co dasni lo xekri birtu'ucau .i'ero'u nercreka .i ge lerci tcika vi le barja gi carmi melbi co xekri fa le tsani za'a loi selca'o nenri prenu .i so'o ve barja mo'u cliva .i la lizbet. na'e go'i cadykei {be le xekri {tedykerfa be la paul.} kalsa be'o} se mlifanza cisma no'e zanru le xajmi .ivu.u'esaibo ti'e xekri kalsa tu'a loi juntytri .ii poi vlipa joi vlile joike daspo joi finti vau.u'e .ikivive'i kamjikca simsa go'i .i'unai no'i la liz. dasni lo grusi notcreka (to leno'a cu se kanla loi danmo blanu za'a toi) be <> ne loi lerfu co xekri .i mi (to lego'i cu se kerfa loi na'e kalsa za'a toi) cairmau meleli'i grusi .i grusi fa lemi plokarlycreka .e le palku .e le kosycreka noi jgena se dasni ru'u le xadmidju .i su'o prenu cu ba'anaika'uta'o sanga bacru <> .ina'igo'i sa'e .i lu'e gy.ce'ory.ce'o.ubuce'osy. cuka'u drani se basti lu'e xy.ce'o.ebu ce'o ky.ce'ory. .ita'ocu'i su'u xekri kei vi le kafybarja ni'oremo'o su'o bevri cu.a'acu'i masno kalsydzu zo'i loi ve barja .i la paul. cu tavla (to leno'a mebri cu jurja'o .i le laurxajmypre pu'i vlipa .i'e.i'onai ceibu'a toi) fi leli'i gletro .i <> <> <> <> <> <> (to bu'a .o'e fi leka smaji ke lamji prami joi pendo noisu'anai se mupli na'ebo lecaca'a seltra .i'o toi) <> .i la paul. ce la liz. co'a cisma simtipyda'a ni'a le jubme .i la liz. (to gasta bo demxa'e ce margu bo jamfu ce xamsi bo kanla vau .io toi) certu lezu'o ca'arcau damba .i mi se mliburna ctacarna co na'eke ca'arcau damba certu gi'e zgana le barja ni'o le paltylu'i kujo'u le jukpa puza cliva .ija'ebo le barja cu tatpi smaji .iji'a le trixe be le barja be'o {noi di'i krasi {leka to'e cando gi'e kurfa kei} ki'u {lepu'u reru vi ri zdidabysnu (to <> <> <> toi) tigni fi loi ve barja}} cu ca malmliselgu'i ke dukri'a kunti .i la paul. jinga fi la liz. fe lenu birvrajvi .i la liz. go'i fi mi fu'i (to ba'e dukri'a kunti toi) .i lerci tcika vi le barja .i mi'a pu'o jbuboikei ni'ocimo'o le jatna <> .i mi <> .i le re jibni be mi depcni catlu le jatna .i le jatna <> .i la paul. ce la liz. smaji casnu lenu ri jo'u ra ba litru la'e le merko .i le jatna cu degji jarco le clani ke blabi creka xadyti'e be le cnino be mi gi'e cisma bacru <> gi'e cliva .i la liz. bacru <> .i le re se cimei na lojbo .i mi <> .i la paul. <> .i mi <> .i la paul. <> li'u>> .i mi <> .i la liz. <> .i la paul. <> .i mi <> (tosa'a lemu'e sitna na dunli lemu'e xusra .i la paul. cu nalri'i bacru daipezo simfra gi'u xusra .i loi cmavo be "zo zo'o na'o banzu lenu lo te sitna lo se xusra cu frica .i lemu'e mi se sitna cu te ciste lo pemci joi kelci jenai xusra plitadji be la paul. bei le bangu bei lenu jikca pluja .i na nibli fa le nunsitna lenu morna sinma .i na nibli na'ebolesego'i.u'i .i mi mutce me"zoto tavla .ixuse'izo'o purpla go'i toi) .i la liz. <> .i lerci tcika vi le barja .i mi'a puba'o jbuboikei .i lei bevri cu.a'acu'i masno bo kalsydzu fa'u sutra bo kalsydzu fa'u cando .i casnu loi sancrfrikative .e loi relcinpampre girvlici'e .e loi nalzva pendo ca'o le nicte noi sruri be loba'a vu trene co pelxu gusni nenri pamei ke sirji darno xelkla zmitra ke snura grusi nalkalsa kunti be'o .uo xekri *** I. "That's right. And then he says, 'Beware of the mammals.'" Those who have been listening smile with mild confusion. Paul says "So, it's a mammal kind of situation!", and is godlike-beautiful in his black tank-top (mmm...). It's late in the cafe, and the night is pitch-beautiful dark to those inside, on the other side of the window. A few cafe patrons have already left. Lizbet, who hasn't, toys with the chaos of Paul's hair, smiling slightly annoyed in disapproval of the joke. Far, far away, I hear, there are black chaoses of gravity, that strongly and violently both destroy and create! Right here and now, social-wise, something similar is happening... Now, Liz is wearing a grey T-shirt (her eyes are smoky blue, I see), saying "Love is an intense fondness and attraction to a person whether male or female!" in black letters. I (her hair is not a chaos) am more into greyness. Grey are my shirt and my pants and my sweater tied around my waist. It has been sung, I recall, in my culture: "For grey he was, and grey he wore, and grey too was his steed." Actually, not precisely so. The string "G.R.E.Y." should be replaced with the string "B.L.A.C.K.". To sum up (or to expand!), there's a blackness going on in the cafe. II Waiters, I suppose, are ambling slowly past the patrons. Paul is talking (his brow looks serious. The loud joker has been known to show strength --- how I envy!) on topping. "I get topped too often, I'm afraid. But I did top Liz last night! Hehehe!" "On purpose? :) " "Oh, I think it was an accident." "Paul is being a pest, don't you think so, Liz?" "Quite a pest! Stop being a bastard, love!" "Oh yeah? Make me!" (... he has been known to show strength in a quiet, close love/friendship --- which is not exemplified by this behaviour in particular!) "I *will*!" Paul and Liz start smilingly kicking each other under the table. Liz (fists of steel, legs of mercury, eyes of the sea...) is an expert in self-defence. I, not being an expert in self-defence, turn around in slight embarrassment and observe the cafe. The dish-washer and the cook have left. As a result the cafe is tired- quiet. Also, the back of the cafe, normally the source of bustling and comfort because of the two of them debated there for our --- ("Your biceps are smaller than mine! Ha!" "Yeah? Let's test them! Arm-wrestle. The *right*! You *know* my left is weaker than my right, Paul!" "On purpose? :) " ) --- amusement, is now ill-lit, and anguishingly empty. Paul beats Liz at arm-wrestling. Liz beats me, surprise surprise. (*Anguishingly* empty.) It's late at the cafe. We're about to play pool. III The Manager: "I hope you and your friends are enjoying the evening?" Me: "Indeed, sir. This is the first time I've been at the cafe on a Tuesday. I see the patrons are leaving early today!" My two neighbours patiently look at the manager. The Manager: "That's because Wednesdays get quite busy in this town. By the way, since you usually come into the bar on Saturday nights, you will not have met Chiron, who has been helping out here." Paul and Liz are quietly talking about their trip to the States. The Manager points out to me the long, white-shirted back of someone new to me and smiling says: "I'll (hm...) send him to you later", and leaves. Liz says "You... clearly have the advantage of language over us." Two of the threesome do not speak Lojban. Me: "It's power conflict! I top and am topped." Paul: "At any time more than one persons interact, there is a power conflict. Jen says so on the electronic news, so it must be true!" Me: "On purpose?" Paul: "Our good man here has been saying 'On purpose' a bit too long." Me: "... On purpose?" Liz: "It's getting late. Paul, you promised we'd get to bed early. I'm busy tomorrow." Paul: "On purpose?" Me: "Aha! I've been quoted!" (Editorial digression. Quotation is not equivalent to assertion. Paul informally utters the "Interacts" sentence, independent of whether or not he is asserting it. My being quoted is part of the poetic, or playful, rather than assertional usage of language by Paul to make his social interactions complex. The quotation does not imply emulation. Nor does it imply non- emulation! I use parentheses a lot. On purpose? :) ) Liz: "You're a bad influence. *smile* " It's late at the cafe. We have been playing pool. The waiters, I suppose, are ambling slow and ambling fast and idling. We're talking fricatives and bisexual politics and absent friends during a night that, surrounding a distant putative train, lonesome yellow lit interior / direct distant vehicle automaton / secure grey unchaos empty, is (THE END) black.