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Difference between revisions of "Knorton "Grassy" Knoll"
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Revision as of 07:57, 25 September 2018
The world's leading rock guitarist, mentioned in Robert Anton Wilson's Schrodinger's Cat Trilogy, a science fiction series published in 1979 consisting of The Universe Next Door, The Trick Top Hat, and The Homing Pigeons. Jealous, he destroys a sexbot.
The clock struck midnight; the cleaning women left; and out crept Chaney with an evil grin.
Alas, he was not the only intruder that night, for as he padded lightly down the hall he suddenly heard a hoarse voice in one of the laboratories.
Better than human, are you, you %$#&ing #$%&#er? Better than human, my %$#&! Take this, you $%#)*$#-eating #$%%$*er!"
The voice was near inarticulate with rage, but it was clearly that of a jealous male, as any ethologist would easily recognize. Markoff slowly opened the door and peeked around the corner.
There in the dim light, fully dressed and in his wrong mind, stood the idol of millions, the world's leading rock guitarist, Knorton ("Grassy") Knoll, feverishly working with a monkey wrench upon an object the likes of which Markoff Chaney had never seen-a Giacometti robot with a gigantic human phallus.
"I'll take you apart, you $%$#," the demented rock musician was muttering. "I'll tear your $%$@0 out by its roots, I will." And he continued his assault, gargling and panting like one obsessed-which he was. "Man against machine," he gasped. "First they out-think us, now they out-fuck us. It's time for all-out war, by $%*@$…"
Markoff watched, silent as a cat, until the hebephrenic cuckold was finished with his foul work, and the machine stood, a heap of scrap metal, with the phallus removed. Then, after the musician slouched off into the night, the midget crept into the room and carefully wrote on the wall in stark purple crayon:
THE PIGEONS IN B. F. SKINNER'S
LABORATORIES ARE POLITICAL PRISONERS.
RELEASE THEM OR FURTHER ACTIONS WILL
FOLLOW.
EZRA POUND,
FOR THE DREADED NEUROLOGICAL ARMY (DNA)Spur-of-the-moment inspiration was his specialty.
"In the typical Beethoven scherzo," Justin Case explains with precise emphasis, "the elements are so mingled that, even though some may be the musical equivalent of cries of pain or grief, the total construction is both grotesque and gay."
Like most rock musicians, "Grassy" Knoll was a Second Circuit neurogenetic type, quite incapable of the Machiavellian mentations of Third Circuit schemers like Markoff Chancy. When "Grassy" carried Ulysses away from Orgasm Research, he planned only on throwing it in the first garbage can he passed. On the spur of the moment, he threw it in an alley instead.
