"They go to lean." [wip]

The strings are attached to tightly wound cogs and tuners at the level of the knee; it is said that if the performer were chased, the strings within and without her legs would snap. Two sets of four strings cross her abdomen; the first, across her chest, are drilled into the bones of her ribcage. It is said that if the performer's heart beats too fast, whether for love or rage or sadness or fear, the strings there begin to quiver and make songs on their own. Thus the performer must learn placidity, or, until they learn it, or, if they never, wear a tight, dark binding over this part of their instrument. The binding is not black, but stained dark in a highly ritualized process that will be discussed later.

Three strings each, the second longest on the instrument, are laid across the outside of each arm, connecting at the elbow and the wrist joint. These strings are close together, and often used for chords rather than single notes. These are the only strings on the body that may be removed, quickly and easily, at the performer's leisure.

Spare strings are kept behind the ear, where four to ten metal capsules are drilled into the skull. The ends of the strings screw neatly into these holes, and the strings themselves, made from very fine metal, do not hang much heavier than locks of hair upon the performer's shoulder.

"What? If they can't see nothin', then what do they go for?"
"They go to lean."

"Crazy bunch of rich ass cats."

"They're all as poor as dogs, Maurice."

"But they keep comin' back, eh?"

"Yes."

"Poor ass mutts. Skippin' meals for nothing."

"They're fed in some way, or else they wouldn't come."

"Sleepers."
"Dreamers."

"Voyeurs."

"Lovers."