Embalming

You’ll need a corpse, your own or someone else’s. You’ll need a certain distance; the less you care about your corpse the better. Light should be unforgiving, so as to lend a literal aspect to your project. Flesh should be putty, each hair of the brows, each lash, a pencil mark. If the skeleton is intact, its shape may suggest beginnings of a structure, though even here modification might occur; heavier tools are waiting in the drawer, as well as wire, varied lengths and thicknesses of doweling. Odd hollows may be filled with bundled towel. As for the fluids, arrange them on the cart in a pleasing manner. I prefer we speak of ointments. This notion of one’s anointing will help distract you from a simpler story of your handiwork. Those people in the parlor made requests, remember? Don’t be concerned. Whatever this was to them, it is all yours now. The clay of your creation lies before you, invites your hand. Becoming anxious? That’s good. You should be a little anxious. You’re ready. Hold the knife as you would a quill, hardly at all. See that first line before you cross it, and draw.