WAR AND PEACEfulness

I am writing a novel
in which nobody speaks.
Also, in this novel
nobody acts from any
particular volition --
which is to say, that
nobody does anything
which might possibly
be construed as having
some significance for
plot or for character 
development. But when
I say that no-one speaks,
I mean just that: no more
and no less. Each and
every one of my characters
moves like a shadow, has 
no discernible motivation
imparted by the novel.

Here then is the first
significance: no language
no volition -- or is it
vice versa? Here then is
the first conundrum -- not
that it matters or will
take anybody very far. 
There is no music, so no
backing to accompany their
slow drift to... perdition?
(Recall: the novel is  not
yet finished, will not at
the present moment resolve 
all questions might be asked
of it.) There are no tele-
phones... but then again, 
why would they want them?

Here then are chapters one 
through to ten of thirteen,
shortened, but otherwise as 
I have penned them -- as I
hope you will rwlise in 3D --
superimposed on top of one
another. (You have realised
already that with no volition,
no essential motivation, even
warfare will be peaceful, no?)

Before a row of houses sits
a rabbit on a burned out car
peeling a Jaffa orange with
a Bowie knife. Other rabbits
sit on other vehicles (tanks,
tractors, tricycles and the
odd barrow) peeling a variety
of other fruits - and vegetables
(apples, grapes, bananas, pears
and radishes) with other knives.
As they peel they watch with
interest the magpies and the
crows pick over Christmas debris.

In the sky above them wheel back
and forth two flocks of starlings,  
but always flying in the contrary
direction to each other. Therefore,
from time to time they fly full tilt
and through each other. There are
casualties... yes, of course there 
are, as birds collide and fall, as 
dead as stones, down to the ground,
disturbing the more peaceful rabbits 
as they peel. Disturbed, but not
essentially concerned.

                    Chapter thirteen
cannot be written until the issues 
raised in ten and then elaborated
in eleven are resolved. As of now
Chapters ten and, to a lesser extent
maybe, eleven, seem quite unpenable.
Here, though, are those issues about
which I have been compelled to write.
..............................
Written in response to Anna Montgomery's prompt
 Postmodern (Experimental)  at dVerse Poets - Meeting the bar: Critique and Craft