Mattel’s complete Goat Island action figures series including stage sets, costumes, props and accessories are still valued by collectors. The rare action figure from the Daylight Dies series featuring the transformer flipping head of Antonio Poppe on one end and Mark Jeffery on the other recently sold on ebay for £395. Most valued is the rare action figure of Joan Dickinson still in the box.

Spokeswoman for Mattel commenting on the discontinuation of the series said “Whereas children embraced the complexity of the figures, the general adult consumers remained mystified by the repetitive jumping and obscure movement vocabulary of the dolls.

It was a habit that lasted twenty years. The folly before starting a run-through in rehearsal. It went like this. I sat in a chair waiting for it to begin. They stood in a line ready to enter the space. But nothing occurred in the sense of beginning a run-through. Instead often elaborate scenarios took place.
One iteration went like this.
They discussed what movie star would play their roles in the Hollywood version of a Goat Island performance.

Bryan – Steve Coogan
Karen – Kate Blanchett
Lito – Natalie Portman
Mark – David Niven
Matthew – both Ben Kingsley and Johnny Depp

It is proper that we have time to say the things that need to be said to each other. On the other side there is a microphone. It is not plugged in and it amplifies silence. We have always appropriated much from that sound. We are grateful for space to place our bodies together. We leave some things behind. We carry more than we can contain and shed the weight. It passes through the ghost light. It whistles in the wings and out into the corridor.
What we can say with certainty and with pride is that we worked together.
We transformed conflicts. We did no harm. This is something that we learned once.

Because we are resolved to the distribution of ideas without restricting how these ideas are used, since we are committed to explaining the world without controlling it, we may be short lived. Even so, working without this lever, even if it wasn’t what we wanted it to be, it became more than we imagined it would be.
The diversion has become the main event. Because we are working together on essentially the same goal, to sit comfortably with the I don’t know, to throw a collective brick at subjection, to feed the dog of unanswered questions and to look again, we gather in these rooms.

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So heavy
because somehow
the last is still
in there. When normally
there is room for the foot,
now,
partly because no one remembered
what it was anymore, the last
has not been removed and so
the shoe weighs more than all
the elements of the performance
put together and now, including the last, the
form of the inside, the part that [normally] stays
in the makery,
only because of the forgetting, it
is also impossible to wear.
There is no room here for the foot.
For this reason it is in good condition.

Even so, this old boot is what you found at the end of your line when you thought you had a fish. One of the items found at the floor of the pond, when the water was drained, along with the old bucket and the tin can. Here, in this inbetween where the viaduct lets onto the vast tract of wasteland on the edge of the [settled land], this old boot has become a sacred object. And even though it wasn't what you thought it would be, it is the very thing you worked so long to find. And now here it is. Here.

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Squeezing tight,
I don’t watch as a massive shoe comes out of the sky.
It never touches the ground.
Sole up and radiating light, it is a hovercraft.
We climb up the laces and get inside and it lifts.
As we sit on the tongue and the lattice of laces we begin to see window holes of light bleeding through.

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Tough tight moment bleeds into thought release and acceptance. I’m a small atom and I accept a ride in a floating shoe from the sky. It is gigantic with room for more since we are all small atoms. Its light radiates, its sole points toward up. I am laughing on the tongue with five others whose faces come in and out of focus.

The builder strikes his flimsy saw with a heavy mallet as he sings. They asked for a city, I gave them these optics. A horse neighs. Now I'm dizzy. Everyone has been talking about St. Francis of Assisi lately, how he tried to stop the 5th crusade.

In an alternate history, Alexander never crossed the Hellespont into Asia. And not out of tiredness or gratefulness or kindness, but simply because he had heavy legs.

I am the bulldozer as well as the house. What I unbuild must last.

We have arrived in the city whose coat of arms is a heavy foot, a prophecy of the sasquatch arrival that stomped the working people out of existence. We circle the construction site, four times counter-clockwise, and then three times more slowly, in an intricate march with the steps counted in German. It is obviously true that the foundation of the city, its source code, will be too-quickly obsolete, and, as always, the building has sped ahead of all of us and will be finished before we feel our work has properly begun. We trail behind, in our forgotten overalls, with small contributions or in

There are six pathways away from the circular building. Within the building, we inhabit the circles that form the circles porous circumference. We, if I may be included (We are seven, says the girl-acrobat as she innocently spins), are a circle contained within circles like a plump Russian doll. The structure, excepting its porousness, is finite, made more finite by the route we devise, a triadic pathways on the edge of our sectors.

It is said that the thirty-ninth circle contains an aphorism pertaining to the impossible heaviness of the foot that each of us drags, erring through all of the old cities, built into hills, each with their own funicular and some combination of observatory and spectacle at the top.