£..£.£..£. .£.£..£.£.
£.££.£.££. .£.£.££.£.
£..£.£..£. .£.£..£.£.
£.££.£.££. .£.£.££.£.
£..£.£..£. .£.£..£.£.
£.££.£.££. @ .£.£.££.£.
£..£.£..£. .LIZARDRY .£.£..£.£.
£.££.£.££. « £ @£ @@@ @@@@@@@@@@@@@@@@@@ .£.£.££.£.
£..£.£..£. @@ THE ART OF C~NNECTING .£.£..£.£.
£.££.£.££. . WITH THE OLD MIND .£.£.££.£.
£..£.£..£. .£.£..£.£.
£.££.£.££. MY MIND IS BEING SKEWED. MI .£.£.££.£.
£..£.£..£. SKELETON IS STRINGY AND OLD AND ALIEN .£.£..£.£.
£.££.£.££. THE SITUATION IS LITERALLY .£.£.££.£.
£..£.£..£. PRESSED OUT THROUGH MY EYES, IT'S .£.£..£.£.
£.££.£.££. ECHOING LIKE .£.£.££.£.
£..£.£..£. THE SUNSET OF THE ETERNAL .£.£..£.£.
£.££.£.££. OCEAN .£.£.££.£.
£..£.£..£. PERSISTENTLY AGAINST MY EMULSION .£.£..£.£.
£.££.£.££. .£.£.££.£.
£..£.£..£. IT'S UNGRASPABLE TO ME, WHAT OTHER .£.£..£.£.
£.££.£.££. HUMANS ARE DOING AND ABSTRACTING, .£.£.££.£.
£..£.£..£. AND ABOVE ALL ELSE, WHAT TIME THEY USE? .£.£..£.£.
£.££.£.££. HOW LONG A TIME HAS PASSED, FOR THEM? .£.£.££.£.
£..£.£..£. . .£.£..£.£.
£.££.£.££. . ... . ................ £££££££ .£.£.££.£.
£..£.£..£. CONTINUOUSLY I'M CROWDING THROUGH .£.£..£.£.
£.££.£.££. . THE FOURTH WALL ~OUTWARDS IS WHAT . .£.£.££.£.
£..£.£..£. .. I'M THINKING BUT IT'S WRONG.. A NEW .£.£..£.£.
£.££.£.££. . . NARRATOR IS INTRODUCED, OCCASIONALLY .£.£.££.£.
£..£.£..£. ~ ~ AWARE OF THE PREVIOUS ONE, DEEPER . .£.£..£.£.
£.££.£.££. ~ ~ DOWN IN THE DRAGONS THROAT. .£.£.££.£.
£..£.£..£. ~ .£.£..£.£.
£.££.£.££. ~ .£.£.££.£.
£..£.£..£. .£.£..£.£.
£.££.£.££. .£.£.££.£.
£..£.£..£. .£.£..£.£.
£.££.£.££. .£.£.££.£.
£..£.£..£. .£.£..£.£.
£.££.£.££. .£.£.££.£.