Perhaps one of the first things I could try writing about is the name of the blog.

‘Axxon N.’ appears in David Lynch’s ‘INLAND EMPIRE’, written on a door/wall connected to the backstage of a studio where an actress sees herself in the past, and then doesn’t. Axxon N. indicates the portal to ‘stranger things’, the curved vector into nonlinear explorations of darkness. An axon transmits.


Earlier, the actress is told two old tales by a visiting “neighbour”.

A little boy went out to play. When he opened his door, he saw the world. As he passed through the doorway, he caused a reflection. Evil was born. Evil was born, and followed the boy.

[And its variation:] A little girl went out to play. Lost in the marketplace, as if half-born. Then, not through the marketplace – you see that, don’t you? – but through the alley behind the marketplace. This is the way to the palace. But it isn’t something you remember.

“Axxon N.” shows the way to the (eponymous EMPIRE’s) ‘palace’, situated on the dark underground peripheries of the marketplace. It is the beginning of a journey into dream realities of weird mysteries, with temporal complexity, multi-dimensional interconnected passages, fractured, many and fluid selves, phantoms, curses, demons, and monsters. The illimitable unknown…

“Axxon N.” is “the longest-running radio play in history” (see), the initiator of old tales. It is ‘deep time’ itself, which is inextricable from the Unknown, and that something termed Evil in the Visitor’s old tale. In other words: Horror.

It helps that ‘INLAND EMPIRE’ has been on each of my four viewings (two of which were theatrical) the most viscerally powerful film.

And that quite disturbingly, “Horror” and “Axxon N.” (or “axxonn”) are equivalent by Barrow’s ‘Anglossic Qabbala’ (here’s how).


Explorations of strangeness, weirdness, and horror are in the interest of this blog.

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