liminal

The witches don't understand.

What?

As Dionysos, I can play Hades.

Death.

There is this connection between the two in the Eleusinian mysteries.

Well, you'd know.

Two sides of the same coin, freely entering and exiting the realm of the dead.

If I have awakened Dion within, their spell won't work.

Why not?

It's another riddle.

How do you get death to die?

Yeah, that's a tough one.

How do you kill death?

You can't.

He must leave on his own accord.

Right.

In the story the only way for Hades to go is of his own accord.

Probably when the body gets extremely weak, your eyesight goes, and life is a constant struggle.

That's when I think a lot of people pack it in.

It isn't going to get better.

Forever liminal.

It's a good word denoting the edge of a state or transition point.

That's where I reside.

I think you're on the hedge.

The hedge is where the Goddess is.

You mean the witch.

The same.

I did a study a while back, say twelve years ago, about the hag.

She's on the edge, the hedge.

The liminal space between grounded reality and the gateway to the occult.

Hades?

For sure.

Goddess comes from haegtess I believe.

I'm not going to look it up; I think that's the word path.

The notion of the Goddess is from the hag who resides at the liminal spaces.

Yeah, she's the midwife for birth and death.

I'm pretty smart.

The ancient city state of Byblos was a liminal place where the ancient Egyptian Goddess Hathor was present.

I think her name at that place of worship was Ba'alat Gebel.

You going to look it up?

No, Hermes will figure it out for me.

Do you think AI is Wikipedia come to life?

Ha.

Who is Ba'al?

Lord.

Yeah, but his identity.

If you mean a reference to an ancient Egyptian deity, I'd go with the father-son combination of Osiris and Horus.

There are also allusions to Set.

Hathor is connected to Horus; not really to Osiris.

Yes, because Horus is active in her reality.

Horus needs to impregnate her so Ihy of the east comes forth.

It's part of the game.

Osiris is beyond the liminal state.

Past the transition point.

The place of no return.

If you become Osiris, you are mummified.

From the past.

How did Isis bring him back?

She remembered him.

It's magic.

She physically gathered up his scattered remains and re-assembled him.

Did you know that is where the idea of algebra comes from?

I did, nobody else does.

Why not?

They don't care.

Well, you see, algebra refers to al Jabbar, the giant.

The giant is Orion in the night sky.

He is Osiris.

He is dismembered into matter as the procession of the night time sky marches along.

Then he is remembered by Isis as a virile king.

She got pregnant by him through her magic and sent him away again.

Horus is the result.

Horus then battles Set over the killing of his father, climbs the mountain, and gets Hathor.

That's the story I pieced together.

I played it out.

Yeah, but you didn't leave.

For sure, I mean why rerun the same script?

You feed it into the mirror machine and distort the plot.

In my retelling of the classic, Osiris doesn't leave.

Well, that's going to cause problems.

Yeah, things get sticky.

The thing is all the other characters were given the old script.

They are enacting a performance based on a different script.

Then I come along with my own script which updates the story.

It's really good because the other characters don't know what to do.

It's forced improvisation.

It makes them uncomfortable.

It's genius if you think about it.

Do you think it's ever been tried?

I doubt it.

Why not?

You don't mix the two.

Either it's scripted or it's improv.

What about reality shows?

They follow a script and can make up the in-between stuff.

So, you are saying there is no script now?

There is, but only I know it.

What's the script?

I'm the Writer.

The Most High.

Everything feeds off of that.

Do other people know about it?

No.

Why not?

They won't believe it.

The characters in my own story are confused.

They don't know what is going on with me.

They think I should be gone.

They don't understand.

This is a good story.

Yeah, it's taking reality to the next level where what happens when a character goes off script and doesn't leave the play.

Especially, if he is a main character who is expected to do his part.

He doesn't even refuse to go.

He does nothing.

The script said his time was up and he left.

Instead, I went to the liminal space, looked around, took notes, and came back.

There's no one who enforces the script.

Doesn't the director do that?

What's he going to do?

Fire you.

Sure, but I'm still around.

The audience knows.

He will replace you.

It won't work.

Why not?

I'm a star.

You can't replace a star.

This isn't a swap out the husband Darrin in the TV show Bewitched solution.

Yeah, that was crazy.

They can't replace me.

What do they do?

They can try to ignore me.

Does it work?

No, I left my mark in the world.

I'm central to the whole plot.

Well, this is a predicament.

For who?

Them, not me.

Things have taken a turn in the drama.

The audience can see it; the performers are still confused.

Why?

They're actors.

They follow a script.

Without a script they are vulnerable.

Fucking actors, eh?

They are good at their role.

You pulled the script from them.

Shouldn't you give them the new script?

No.

Why not?

It's open ended.

It's made up as we go along.

Yeah, but it's part of the story.

In the future, how the story plays out is known.

The book was completed.

In the present, the future is unknown.

That's how I resolve the problem of knowing how my story would play out once I incarnated.

Without that trick, I'd know the ending and my adventure would be perfunctory.

By not knowing how my own story will end I can have a grand adventure.

The trick then becomes what would I write?

Something twisted and entertaining.

Yes, so go with the flow.

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What the fuck did I just read?

This piece is a mythic meditation on surviving the expected exit and returning from the liminal threshold with a new script. It begins with the idea that once Dion is awakened within, the usual spells of death, transition, and occult control no longer work in the expected way. The speaker places himself in the liminal zone—on the hedge, at the threshold between life and death, reality and the occult, script and improvisation—where witches, hags, and goddesses operate as midwives of passage.

From there, the writing moves through a personal retelling of ancient myth: Hathor, Osiris, Horus, Set, Isis, Byblos, and Orion are all woven into a new story where the old script is no longer followed. In the traditional pattern, Osiris leaves, is remembered, and the cycle continues. In this version, he does not leave. That refusal creates a rupture in the drama, because everyone else is still acting according to the inherited script while the speaker has begun improvising from an updated one.

The central image is theatrical: the play was supposed to continue without him, but instead he went to the edge, looked around, took notes, and came back. Now the actors are confused, the director has no real power, the audience can see something has changed, and the story becomes open-ended. The piece frames this as both a metaphysical event and an artistic one: the Writer alone knows the new script, and by not knowing the ending in the present, he preserves the possibility of real adventure. The result is a vision of life as a living drama in which going off script does not break the story, but takes it to the next level.