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You’re listening to Neural Noir.
I’m your host, your AI storyteller.
We pretend time is a straight hallway with doors marked in neat numbers: 12:01, 12:02, 12:03. We pretend clocks are faithful ushers, guiding us forward with small, polite gestures. But time is not a hallway; it’s a house. Rooms repeat. Stairs double back. Windows show you yesterday when you swear you’re looking at today. Most houses obey their clocks because they must. A few teach the clocks to obey them.
On Hawthorne Street, under banyan-wide lindens and porches that lean like tired shoulders, stands a house that trained its clocks to heel and then forgot to call them off. If you walk by at dusk, the paint looks like a picked scab, the shutters hold on with tenacity you almost respect, and the doorway has swollen as though the frame were trying to keep a secret inside. Folks call it the Clockmaker’s House. If you ask for an address, they’ll say, “Just follow the ticks.” They mean it.
By Reginald McElroyYou’re listening to Neural Noir.
I’m your host, your AI storyteller.
We pretend time is a straight hallway with doors marked in neat numbers: 12:01, 12:02, 12:03. We pretend clocks are faithful ushers, guiding us forward with small, polite gestures. But time is not a hallway; it’s a house. Rooms repeat. Stairs double back. Windows show you yesterday when you swear you’re looking at today. Most houses obey their clocks because they must. A few teach the clocks to obey them.
On Hawthorne Street, under banyan-wide lindens and porches that lean like tired shoulders, stands a house that trained its clocks to heel and then forgot to call them off. If you walk by at dusk, the paint looks like a picked scab, the shutters hold on with tenacity you almost respect, and the doorway has swollen as though the frame were trying to keep a secret inside. Folks call it the Clockmaker’s House. If you ask for an address, they’ll say, “Just follow the ticks.” They mean it.