Extract from 'Perrix' by Jack Burston

Expecting Perrix, Lillian changed from grey into pink. She also turned off the television and turned on the radio. Lillian fingered through the periodicals then thumbed through the angled blinds (occasionally parting them to potentially spot an arriving Perrix). Lillian sat, she prepared to eat the sandwich that she had prepared to allow her appetite to become small in Perrix's presence. The appetite-alterer contained cheese, butter, tomato and mayo. Lillian demolished the snack and hid the plate.

Perrix climbed along the 'pathway' that led to Lillian's. He was persistently annoyed by her description of the route as a 'pathway'. There was too much climbing involved - there was no route, except the roots of the 'beautiful' blackberry bushes. Perrix felt that Lillian had confused beauty and usability when naming the 'pathway' as such.

The blackberry bushes, despite their troublesome roots, were important to Perrix's trips up the hill to see Lillian. He would leave his house fifteen minutes earlier than required, and spend these spare minutes sitting on the slight bank beside the bushes. Whilst on the rock he picked berries from the bush. He lined his stomach before his tea with Lillian - he didn't want her referring to him as 'The Glutton'.

'Raw-brack of Lamb 2' by Jack Burston

Raw-brack walked through the gate that foot-noted the end of his trimmed front garden. He sneezed in reaction to the pollen. The mask filled with mucus. With the paper in his inside pocket he carried on towards the bus-stop. He nodded in the direction of a rapidly sobering bench dweller.

He showed his pass to the driver and moved up the stairs. Raw-brack sat as close to the front as possible: third row. Whole row to himself. He pulled the paper from his pocket. He recited the address.

"Fifteen Maurice Avenue. Upper Bredmo. Carlstown. Zip code is: 8765-680-abdjjk."

Faster:

"Fifteen Maurice Avenue. Upper Bredmo. Carlstown. Zip code is: 8765-680-abdjjk."

Faster again:

"Fifteen Maurice Avenue, Upper Bredmo, Carlstown. 8765-680-abdjjk."

He placed the paper back in the zip lined pocket. He reconstructed the train station and recalled where he would be able to find the timetables.

'Raw-brack Hol.' by Demost

'Raw-brack of Lamb 1' by Jack Burston

Raw-brack dragged on his mask and walked to the kitchen. He sat, rolled the mask up to his nose and reached for the milk on the table in front of him. He slurped and swallowed. Beneath the milk, papers and clippings covered the table. Behind him a symmetrical mural covered the cupboards and the walls that held them up. He held a strongly highlighted, much rippled note, describing the address of a director. The paper had arrived to him from his contact. The contact was well concealed, but still unreliably visible. Raw-brack had dragged him through puddles and thrown him into walls, but the physical did little for the contact's reliability - but he provided.

'Swansong' by 'Spratt Writes, Scotch Draws'

Extracts from 'Boog' by Jack Burston

c. v. x. ii. iii. ix. xiii. xiv.

'Bouncer Ice Creamin Again' by Jack Burston

'Every- Fills Out In The End' by Jack Burston

Every- fills out in the end, got to maintain the levels and the heights, a protein there and a complex carbohydrate in the back. Plastered walls covered with papers, diets, sick promises and apologies surround the central: the clover smelling seller in the middle. Pleading through the walls and posters to the surrounding crowds. And in no clearness: from the outside, this is a simple mound of 'art installation' dirt that has excelled in the city for years, but still, it houses its artist.

When Sarah slipped in to its design, she received the plaudits with a grin and gratitude that charmed them in to cushioning her commission with hints and advice.

As she went to the building stage, she delegated too far and relied on the workers, she took no place in the construction. Leaning on the concept post, she ordered them and tarnished them with curses when errors were made. Sarah cursed and ordered until the very last moment of construction, when pointing to the middle of the design, the construction workers placed her in the centre of the mound. Fulfilling the concept -- the builders locked the door permanently.

'Ringbinder: Reactive: Rest Up Through' by Jack Burston and Murray Somervile aka 'Spratt Writes, Scotch Draws'

Click on da image for a larger version with supreme quality.

'Spogg' by Jack Burston and Murray Somerville aka 'Spratt Writes, Scotch Draws'

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'Every-dahdah People' by Jack Burstona and Murray Somerville aka 'Spratt Writes, Scotch Draws'.

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'Red Chilli' by Jack Burston

In presence are the following:

Tee
Elle

Excellent, but I've got to leave along the line and there are a few distractions in here, games console, chatter and bad jokes. Little food in the cupboard, but bean chilli becomes a possibility when I spot a few kidney and pinto beans, chillies and chopped tomatoes: barely enough though. I experiment with keepy-ups and a few swings around the tree in the falling. I await the gate that the landlord promised several months ago. I question the purpose of the Droop Inn opposite.

And red as it isn't after the events of Blue Sunday, the twitches through the morning and the itchy nose in memory of vodka and soda. It isn't red anymore, just pale to tanned, settling for the simple and the constant, despite need for the complicated and the diminishing. No chilli, just toast and vegetable oil.

'Bouncer Ice Creamin' by Jack Burston

Saluting the sun with a couple of ice creams, the bouncer sat up early in the day. Usually a later riser, and starter, the bouncer was at work early today - he wasn't a friend of football but he did involve himself with the larger lanes of European football, still though: early start, late finish. The ice cream though, was melting slowly and despite the time, the sun wasn't heating the black uniform.

Awaiting 'Zaza in Tempestuous'?

The 'first' one page piece of comic/storyboard shiz from 'Spratt Writes, Scotch Draws'
is coming soon.

Excellent.