In an American suburb like Cheltenham, the landscape is mostly occupied by nothingness places— homogenized, generic strip malls and thoroughfares, along with neighborhood after neighborhood of undistinguished, unattractive homes, parks, and schools. It is an outside the mind reality of entrenched nothing and nothingness— places which not only mean nothing to anyone, but which were specifically designed and manufactured to mean nothing to anyone— hostile places for kids with brains and imagination. Old York Road is the archetypal suburban pivot point— supporting commerce, facilitating different forms of traffic, but generic enough to guarantee that cognitive-affective attachment to Old York Road is extremely unlikely for those who use it. Connecting nothing with nothing, in 261, manifests the process by which the human mind, surrounded by nothing and nothingness outside the mind realities (soulless realities), internalizes nothingness also as an interior reality; having, under the weight of perpetual imposition, no choice but to do so. Once the nothingness of the suburban landscape is internalized, the mind’s affective and imaginative capacities grow numb, and subsist in a state of dormant torpor. When the hero/anti-hero of 261 pulls his rough u-turn in Old York Road, it is both to demonstrate rebellion against internalized nothingness and to (by risking death) express complicity with it. It is an ambiguous gesture, which also encompasses expression of an internal landscape incompletely homogenized with Cheltenham’s outside the mind tactility.