I sleep with

twenty-seven books on the floor next to me. Just in case. In case of what I am not sure. A moment without input, although I do not know about this as I spend long periods of time in the dark. Doing nothing, but that is not true as I journey here and meet many beings. Books are here too. Or rather notebooks about my head. A through X, they are filled with articles, mostly from newspapers, on murder, cults, forensics and neurology. And little tidbits of one thousand miles of frogs that occasionally manifest in China. These latter events create anxiety as they are outside my understanding and my rules of nature. The creation of books or at least characters occurs here in the dark. At least now. Before I’d pull the blinds, then the curtains, put in earplugs and listen to music playing on my CD as loud as I dared. Mostly the soundtrack to
. I have moved on to
. Most go. That damnable cash and survival thing. Will tell more of the characters (or entities) here in the dark, but before you go, a little more on Bauhaus the architectual movement (from Wikipedia):

Although neither the Nazi Party nor Hitler himself had a cohesive architectural ‘policy’ in the 1930s, Nazi writers like Wilhelm Frick and Alfred Rosenberg had labelled the Bauhaus “un-German” and criticized its modernist styles, deliberately generating public controversy over issues like flat roofs. Increasingly through the early 1930s, they characterized the Bauhaus as a front for Communists, Russian, and social liberals. Indeed, second director Hannes Meyer was an avowed Communist, and he and a number of loyal students moved to the Soviet Union in 1930.

Under political pressure the Bauhaus was closed on the orders of the Nazi regime on April 11 1933. The closure, and the response of Mies van der Rohe, is fully documented in Elaine Hochman’s Architects of Fortune.