Opium is a bureaucracy of the flesh. A ledger. A meticulous clerk with a pen of black tar ink, scratching endless entries into the neural book. It does not create—it records. A meticulous hand. A totalitarian librarian, bent over his desk, stamping “APPROVED” on each incoming sensory impression, filing away the vast detritus of human experience into cabinets of warm smoke.
Users think it expands the mind. No, it narrows the mind into exquisite precision. The poppy does not paint, it indexes. It does not compose symphonies, it organizes the instruments. You dream on opium, yes, but they are not dreams of raw creation. They are inventory dreams, structured, compartmentalized. Oneiric spreadsheets. Every sensation measured, numbered, tabulated.
On opium, a man can recall the weave of a carpet he saw twenty years ago, the exact curvature of a lover’s spine in a candlelit room in 1938, the precise flavor of a spoonful of soup in Tangier before the war. But ask him to paint a new picture, to invent a new song, to imagine something that has never existed—he will stare at you, lost in the great, endless archive of what already is.
It is a drug for the historian, the archivist, the obsessive chronicler of lost detail. Good opium—real Yunnan flower, Persian gold, laudanum laced with Victorian melancholy—sharpens the mind into an engine of retrospective clarity. You will remember everything, but you will create nothing.
Opium does not erase the world, it fixes it, embalms it, traps it in amber. It turns life into a museum of itself, perfectly cataloged, perfectly dead.
No, not dead. Not exactly. Not like a bullet to the skull or a man dangling from a beam in a cold water flat. No, opium preserves. A taxidermist of the senses. Life, embalmed in its own juices. The body breathes, the pulse ticks on, the eyes flicker in candlelight, but nothing moves. Nothing changes.
The moment is lacquered, sealed in a glass case. A perfect butterfly pinned to a velvet board. The cigarette in your hand will never burn down, not really. The woman beside you will always be there, her perfume suspended in the air like a relic, untouched by time. The jazz from the bar downstairs loops endlessly, every note exactly where it was the first time, the thousandth time. You are not dead, no, but you are filed away. Cataloged in a place where decay does not reach, where entropy is held at bay by the steady drip of black tar reverie.
You do not create on opium because creation requires destruction. Fire to paper, ink to page, the friction of the new burning away the old. But opium is anti-fire. It is a slow fossilization of thought. The dream stays in its frame, perfect, pristine, unaltered. You can examine it from every angle, catalog its every detail, but you will never change it. You will never bring it into the world, because to do so would be to disturb the stillness.
Opium is not death. It is the eternity before death, where everything is preserved exactly as it is, forever.