Demasking is a Crime

 It was in the year _____ that a maskless society ceased to exist. Everyone was issued a mask. All masks were the same. A uniform anonymity, a sea of samefulness, or rather there was only one standard issue mask that came in three different colors. Red, blue or green. The color you were assigned to wear was based on zoning. Your location dictated your color.
When a child was born they had to be registered with the M.O.D. (Masking Ordinance Department) and implants would be surgically merged with the facial pores. If a child wasn’t registered, and the proper authorities found out, the child would be seized and enrolled in what was known as the Nursery. No one knew the location of the Nursery, or much of what happened there, but basically the Nursery children were wards of the government until they were old enough to be released back into society.
If you took your mask off, your facial pores would release an acidic chemical issued from micro-pellets which had been implanted into your face, and you would burn. And keep burning. The scalding would be excruciating, intolerable, and it wouldn’t be long before you put your mask back on, which would defuse the acid. The temptation of mask-removal had been the cause of many disfigurements, which of course remained hidden from public view. No one saw the wounds beneath the mask, no one played screaming mirror anymore to someone else’s unverified crises. Points of reflection had diminished in stature and vocabulary.
Signs were posted everywhere, rectangular slabs of mildly glowing metal that warned in red lettering—DEMASKING IS A CRIME

About John Biscello

Originally from Brooklyn, NY, writer, poet, performer, and playwright, John Biscello, has lived in the high-desert grunge-wonderland of Taos, New Mexico since 2001. He is the author of four novels, Broken Land, a Brooklyn Tale, Raking the Dust, Nocturne Variations, and No Man’s Brooklyn; a collection of stories, Freeze Tag, two poetry collections, Arclight and Moonglow on Mercy Street; and a fable, The Jackdaw and the Doll, illustrated by Izumi Yokoyama. He also adapted classic fables, which were paired with the vintage illustrations of artist, Paul Bransom, for the collection: Once Upon a Time, Classic Fables Reimagined. His produced, full-length plays include: LOBSTERS ON ICE, ADAGIO FOR STRAYS, THE BEST MEDICINE, ZEITGEIST, U.S.A., and WEREWOLVES DON’T WALTZ.
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