J.A. Tillmann

The Forgetters*
 J.A. Tillmann 

The forgetters were provoked in the circle of nomads by frequent tension and unworthy objects, but otherwise serve for the forgetting of understandable emotion. From without, they do not appear to be bigger than a snuff-box, but their simple exterior disguises quite complicated equipment. Namely, within the hermetically sealed body is concealed a series of – according to some versions, infinite – further bodies fitting into one another. These bodies, however, do not press close to one another, like some sort of matryoshka nesting dolls; just to the contrary: the apparatus functions according to the principle of non-contact, whose employment assumes the widest and gentlest knowledge of the sense of its principle. 
The thin-as-air springs connect every single nook of the bodies closed upon each other with the closest corner to it. This extremely sensitive suspension provides the equipment with its soul, or rather quintessence, which multifariously resonates to the changes in the world. The system springing into motion at the smallest movement gives out sounds of unusual delicacy and incomparable tenderness. (Its unheard of voice reminds our sort of researcher of that special music that we heard in childhood, pealing forth when we stooped over enormous seashells, and which, since then, together with so many other natural phenomena, has been laid prey to annihilation.)
Judging from their external appearance, the forgetters display a diversified image. One generally sees smaller, more ornamental ones in the ears of ladies: these bend at a number of sides and they present a play of bright colours. Men wear larger, heavier forgetters. Their form is simpler, exhibiting less projections, and they are covered with opaque paint deriving mainly from the darker regions of the palette.
The use of forgetters is quite widespread: in public places, almost every second adult nomad wears one – from this, among other factors, we must conclude that there is plenty for us to forget.