A man sculpts dolor into a figure. As it needs three more strokes to complete he stops, thinking: “If I finish this I’ll die of sorrow.” He leaves the chisel and the mallet with the figure and goes out to think more.
Done with thinking, he comes back, wraps the figure in a piece of cloth until its outline does not show clearly anymore.
With the figure imprint in his head, he starts talking to the package as if it were totally different to the thing in his mind. He says when he was born he felt really light and the world really heavy so it sank and it just kept sinking. He says if you swallowed a coin it would get stuck in the throat and the taste of metal was really weird and if you managed to take the coin out the smell would still plug your throat. He cries a little when he says those things, like he’d cry sometimes when he carved the anguish.
Closing his eyes, he unwraps the cloth. As he touches the figure he gropes around for his chisel and mallet, looks to find where he has last stricken, takes a breath, opens his eyes quickly to strike again and close them immediately. In only a fraction of a moment still the pain stings him here and there. He wraps it again.
Now that the figure has faded a bit more while the new trike has not totally registered, he talks to the package again. This time he talks about the stray dog that followed him for food, when crossing the street was knocked dead; he buried it, and after that he still fed stray dogs but would throw stuff at them to shoo them away. He talks about the time he ate so much crab soup with salted garden egg that he had diarrhea the whole evening and it felt like his intestines all ruptured but afterwards as he thought about it he did not scare but would still long for crab soup and salted garden egg. He smiles.
Again he closes his eyes and undo the cloth. As he feels the figure he finds the new mark, visualizes it, grabs the tools, and strikes anew without opening his eyes. The mallet hits the chisel, hits his thumb too. It hurts so much he goes numb. He drops the tools, grips the figure for his body to loosen. Then he swathes it again. As the figure emerges from rawness the frequency of thumb hitting increases so much it has deformed the finger; one more blow isn’t that big a deal.
Now, neither of the strikes is as clear as the figure. So he says that he has wanted to break it into two. Prop it with the biggest stool, use the longest chisel and the heaviest mallet, hit it hard. Swift, focused, sharp, the strike would not break it but simply divide it into two. In fact he is going to do it now. He puts it on the biggest stool, brings around the longest chisel and the heaviest mallet. He undoes the cloth. The more the figure emerges, the less air he can keep inside of him. Even with his eyes closed he still “sees” the figure sucking him in. He unravels it hastily, points the chisel on its top, raises the mallet. He opens his eyes. In no doubt of the spot nor of the figure, with all strength left within, he hammers down.
The figure bounces up. The mallet hits his hand making a cracking sound, then plows into the stool in a short “phubp”. The figure falls to the ground. There it trundles, and it rolls away, and it keeps rolling.
When the figure stops, a tramp upon seeing it picks it up to look closer. Unable to work out what it is, he however suddenly feels at the same time extremely excited and tremendously angry; his left and right selves simultaneously shook hands with and charged him. Indecisive between the impulses, holding the figure with one hand he lances the other furiously, walking with one leg he jerks the other uncontrollably, and he shouts, and he laughs. In a second of tranced conflict, he drops the figure. It falls to the ground and breaks in two. In the middle of the white thing there is a black substance similar to dust. The tramp looks at the broken halves almost identical in size, breathing heavily. Air rushes out of him by lumpy masses.