Shimmering oblivion forms a dancing-in-sunlight—
Ripple thickens the lip of the sand.
Structural emblem searing the desert—
Music of a sunlight land.
Gape-sunrise scolding, turney—
Loosen searing shackles! Allow my feet walk upon sun-furnace sand!
Emerald Green, reside in distance!
This, the gift of grassland?
Gapefold Turney. Contstad, noble—
Such sweet milk oozes from the scorpion's gland!
An oasis of milk— of mother-cry milk!
Breastmilk of this sun-scorched strand!

As I drew the Philosophical Tree, darkness swarmed around me,
And I knew a new Line and had a new sense of myself and saw how I came to be.
I knew how matter had been constructed and how it formed when unlocked from its shackles,
Designed to be unburdened by reality.

Now I see the lyrics of one million liars dancing about me;
And I pray for those who remain lost
And those who are yet to be set free.

I sit here, amidst a darkened hall,
Congregating with the darkened rats,
Sipping upon a darkened drink— blood-drawn.

Now I rub my ******* and feel them swell,
Amidst a rally-call within this darkened hall,
Possessed by a demon’s hypnotic call— his rally-call.

Now I see a child with the fully-developed head of an adult,
Amidst this darkened hall, waiting for a mother-call,
Gesticulating for the pain of a forgotten war.

Not the heart that beats in the heat of desert milk!
Not the milk that duplicates and does not sink into searing sand!
Please!
I see it now!
The Pale Sun rising above Klee Temple— inspired by lines of dread.
The maddening has begun!
We shall rendezvous with the camel spiders, those who pince at the moon in chambers of the dead.

I have put the Emerald Green to one side.
Submerged— within the lapping tide!—
Look now! Steadfast!—
Stronger than the Ark's iron mast—
Three angels approach above the water!
Transfixed, I set my gaze beyond the Light.
Shall we reside beyond that hallowed glow?

From the basement we can hear the eternal choo-choo.

These sounds:
Slippy-pippy, slip-slop,
Sniffle-schnort, flap-amusement, choo-choo.

The eternal choo-choo;
Haha! We keep chugging along:

Choo-choo! Slip-slapple!
Turtle! Turtle!
Slippy-sloppy-ploppy!
Flop-clumping!
Choo-choo.

What we learnt from the Masks:
What we did with our freedom:
What we saw when we took up the pen.

Shall we learn what we had learnt once again?
I don't think I could stand another night
Locked inside the shadows of Earth-den.

Subsequently, the Masks coiled around us,
And we set down our penmanship in the shade.
They beckoned us to sing, once again.

The sky— filled with separate suns—
Became the name of God.
The ground— on trembling scales— unfolding—
Raised our arms unconsciously!

The evenings rang true at a time when we would engage in snooker or chess in the lounge, late into the night, waiting for daybreak to shine through.

On the weekends we would gather and watch the cricket begin: shirts versus skins on Emerald Green. Men versus women. The mens’ ******* seemed to ripple in the weekend air.

Mid-morning was reserved for artistic endeavours— honing our artistic sensibilities: a decidely symbolistic manner of preparition, in which we would prepare. We would recite lines and manifest Shakespeare there, at the cusp of Emerald Green.

A sporting life—
For the bloodsport—
We enjoyed sharpening our knives and loading our guns on the languid savannah plains.

For the thrill of the hunt—
The bloodsport—
Our sweat would drip onto the carcasses,
Mixing with the open veins.

We enjoyed the ****,
Displaying the beasts' heads as we covered ourselves in their blood,
Congregating for the love of the open veins.

******* preserved the bones,
And these hunts lived long in our memories as symbols of our glory;
Symbols of the beasts' pain.

The shadow of a shadow of a man,
Receding,
As Time clasps its withering wrist,
Becomes the shadow of a shadow of a shadow's denizen hand,
Knocking on Death's door, between the separate strands.

Resurrection, Abundance,
Find us in the shadow lands,
Next to the writhing smokestacks and the vegetable sand.

I have wrapped the coast of Miston, walking from The Haunted Plains to the old church, Once More, once again, never stopping, except for a cool drink and the gentle repose of shade.

I have walked a pale road towards Golgotha, where our Lord, our saviour, Jesus Christ, was crowned by thorns and lofted in pain.

I have walked into old Seabridge town, all the way to where the water runs and where the snow rests on frozen days.

However, there are still many souls to be found in these towns, if only— and I pray— my feet stay supple and take the strain of my long, wandering days.

Reaching into the higher worlds
Through the slabs of consciousness.
Peeling apart the astral membrane
Of eternal, transcendental splendour:
The visions!
The slabs of consciousness!
The rotating, interlocking dawn!

All kinds of myriad forms and vibrant rings;
Rings of light on a spectrum of darkness.
Odilon Redon saw it this way within his hidden dreams,
Sat by the pale cliffs of ocean spray,
The colours fading out like the diamond light of a prismatic stage play.
And the cells—
Finally expanding—
Whose inhabitants remain locked away—
But still able to reach out via the astral membrane—
They wrap around the trees of the mind as in the dream of the Shaded Serpent:
The symbolic stage play.

He was a rigid sculpture of a man.
It was a funny.
He was bulbous and flabby with latent homosexuality.
All his futures and philosophies manifested as a crude, orb-like nose.
It all feels like a big humour-funny-jaunt to him now.
It still feels like a funny.

Behind him there was a gleaming sun.
His eyes did not point in the right direction and were bulbous.
He had no fingers, only palms.
His eyes bulged and did not point in the right direction.
Horizontally, a sun rose from his back like a window into a grey and distant past.

In melancholy, our thoughts reside.
In dreams, our thoughts preside.
With the most deft of touches
Our thoughts subside,
And ride the most noble of crests.

In time we shall exhume
Those withered bodies in their sunken tombs.
Why Lord? O Los!— the weary pang of time-forgot—
Birth me from your cosmic egg,
I wish to sit amidst the hawks.

Cluck, cluck. Peck, peck.
Chicken!— thou peck at mine brain!
I was not placed amidst the hawks,
I am spread across the pen—
I sit amongst the grain.

Our cell has expanded.
Walls which were once eight-by-nine now extend infinitely.
The grey cracks in the walls run like rivers into the oval seams.
The window is now a barred prism of light from which we peer into the nigredo, rising from the mud with mercurial orb.
The mould is now a jungle on which I rest my *****—
This is the light of God which cascades across our concrete walls.
My cellmate is my lover and we both sit naked in the east wing,
Within the darkened hall.
Scars now etch across my body, from my ******* down to my rancid *****.
Sunlight no longer shines through our window;
We hide from the beams and from the insects which mesmerise with their shimmering forms.
And we hear the cries from our brothers whose cells do not expand, but contract;
And we hear the raptures of those whose cells have transcended physical forms
And can be reached into like the membranous, astral walls.

We can hear: "Caw! Caw!" as the crow flies.
Caw! Caw!
Ping! Ping!
And we revisit the bust of The Wiygg—
The Wiygg who knowest thou.
He who sings when we deliver a burning sword to Sanjeet and Romesh Singh,
Those who beat their blood-soaked wings.

Once that particular door has been shut, and twilight begins,
Lang, Rita, Jamal and Hatesh P. Benjahmin,
Where will you call home once the end of the night begins?

Now I rest, for here I build heaven,
Within this chimney, on the edge of infinity.
Here I shall find a place for my idyl,
Down by where the corn fields lead.
That which I sow shall not be forgotten,
Lest I grow weary of my Harvest deeds.
And that which is dead shall reresurrection!—
Abundance! abundance!—
Like the changing of the autumn leaves.

The hour is nigh, my brothers—
We shall come to pass!
The moment is soon, my friends,
When we shall grow weak from the fast!

Do not falter, O rosen-clad wise men of the future and the past!
My Rosicrucian brothers who brandish the Red Rose!
Those who wear thine thorns across thine breast!
Those who wear thine thorns across thine breast!

And so it was said:
“The Black Nourishment found its fruit in the fruit-laden tree which manifested inside The Line.”
And so it seems,
A guiding light shines upon the place where the exalted body of Christian Rosenkreuz lies,
Dust-embalmed.
And we— the initiates— have not forgotten our great master!—
The venerable, most honourable, Christian Rosenkreuz—
Who emerged with us, from the mud, then died.

Reverberation:
The pilgrim's corn. It is illuminated by the Harvest Moon.

A reverberation:
What old Palmer saw when he drew his pilgrim cooling in the warmth of a circular Sun, in the early light of the Sun.

Reverberation:
The industrial fields— they swell— where, once, the Harvest Moon hung— amber— like the swell of the midday Sun.

Samurai blade!
Swing!
The Moon cuts the Sun in two. Inside we see the rings of the Sun.
God drew these rings with his steady hand, for his art is soft and tender.

"Good day, Sir (or be it the night?). I work the Harvest. At this present moment I am resting in the heat of the midday Sun. You may use my body as a sundial, for my shadow keeps pace with the steps of the Sun.”

And, as the old worker of the Harvest settled down, he looked up, in meditation, and he saw Blake's sun-flower— golden!— keeping pace with the steps of the Sun.

I have pulled the wool over my eyes—
Now I am glove.
I sit amongst the Seraphim, the Cherubim, and the Thrones—
We laugh and drink-merry!
Look upon this, fellow mystics,
For in that place amidst the sky,
There we elude Time.
Now we crawl through the dirt, on the forest floor,
Between the stone graveyards, evermore.
Now we are accompanied by those who were as they were below as they had been when they were once above.

In each vault: a fifty pound note—
How fragile our consciousness must be!
From each well: an overflow of oil,
Gently trickling into the village's stream.
And, for all their wealth, no sons to be seen;
No daughters frolicking across the effervescent green.
Only weapons adorn their mantlepiece.
No pictures of family. No memories amassed.
No records for spiritual esteem.

From outside, inwards,
Each one screams from within
And plays such sweet melodies.
Masks— of all shapes and sizes—
Beckon us to sing!
Rising from their jars as snakes do
When the snake charmer begins.

I never saw the scarp begin,
Nor the haunted planes of gold;
Forlorn, I watched the waves move in—
How their snow-laden peaks enfold!
And without the call of tri-formed reefs—
Echoing: mosaic-to-mosaic shore—
I would not have seen the heart therein,
Nor the light henceforth bestowed.

And opposite,
In the electricity fields,
Sit rows of hollowed-out shells.

Now in-land,
Though out of place,
The Lightning Whelks generate Hell.

And parallel—
Conducting phantasmagorical light—
The pylons coil around them:

Reverberations from the industrial fields
Where the blood lines coagulate and dwell.

And the blood lines—
They feed the hollowed-out shells—
Form conglomerate veins.

And in their hands—
The great fires they weld—
Ever-surging, moth-coaxing light.

For the set-foot-on new-found sand,
We set sail from mosaic to mosaic shore—
Our black slave-belly churning, evermore.

In the distance
We saw a strange, ominous dome.
So dense it seemed,
As if crafted from molten slick!
As if crfated from an accumulated Earth-spit.
As if fashioned from one complete object.
Clearly crafted and fashioned by Futurity's hand;
He who strove upwards and did not question what He saw as progression.
Futurity: He who would compel me to free my stock of black slaves once we reached this sequestered clump of land;
For these isles seemed no place for men with torn and shackled hands.
For these isles seemed a place where shackled slaves would free themselves! and feed on their master's bone strands.

As we walked through the old church, once more,
We saw little Andoni was there, sitting scared,
Asking us: "have you forgotten our prayer?"
He was angry and very square.

In the corner,
Shrouded by smoke,
Odilon Redon was there.
He watched on with an exalted air.

So we carried little Andoni to the aqueduct
And we sat in the aqueduct, square.
And we sat in the aqueduct until midnight,
Where we had first conceived of our prayer.

"Once he is within our custody, we shall take his life. He shall be, henceforth, survived only by the image that stains my CCTV screen."


Security is no longer watching the CCTV.
No longer watching someone purchase a rice pouch—
Pulsating in a sterile environment—
Monitoring an image that was never on tape.
Focusing, so deeply, on a soul that was never on tape.

So deeply fixated on those who have committed a crime.
Those who are substantially unblemished by sunlight.
Those who are continuously touched by our Heavenly Father's sight.
Those who unceasingly scale onyx towers draped in a government skin,
Waving pure flags against the night.

The Wyg burns the separate strands above a wooden pyre.
The Wyg ushers in The Line.

Mixing new colours with a robotnik slave-hand,
The Wyg manipulates The Line as no other in existence has done before or since—
Except, Exalted Ditko,
He who studied with
Exalted Paul Rubens.

The Wyg pays credence to the commeroration of Mars,
Watching over its distant skies and hallowed sand dunes,
Which burn as only fires can;
But those of us with eyes where eyes ought to be
Can only see the embers that scatter across the land
As hallowed, red Mars-dust.

In communication with the Mars Moth-Man,
On the nights where Earth-glow streaks across exalted Azuul,
The Wyg scrapes Mars Moth-Man's moth wings for the powder of the scales
And uses the powder for hallowed rites of manifestation.
Only in the temples of Azuul can one conjure The Line, and many materials are required.

No longer in that postition.
(No longer robotnik— the robotnik man-clock.)

No longer seated there— square—
Fantasisng about The Line.

We are no longer haunted by ******* imprints—
Let it be said.

Now control the ethereal days—
When they come to pass.
Now, manipulate The Line in new ways—
If it does not break.
The Line bends but it does not break because it bends for me now!
And, at the end, decide whether or not it shall be perceived as real,
Or merely perceived as a figment of the imagination.

So now, we are in that position even when there is nothing there:
We are peddling, or writing,
Or etching a single line.
And this is how we shall expand...
Cycling past ourselves...

The world as seen on television screen
Was mistaken for ourselves— forming dusk from dusk-‘til-dawn.
It was a recreation of The Early Garden
That sat atop great, Gravel Tower.

The Gravel Tower:
A remnant of a world enshrined
Within exalted mind and eye—
Ushered in by old Dante’s vivid verse;
Old Dante's vivid verse, reborn
For an irradiated filmscape.

Every day
I meet the soul of a poet.
Those who
Inspire in me
Million image—
As “the quintillions ripen;
The quintillions green”,
As Walt Whitman had once said.

In the past,
We ran through pastures of effervescent green,
And I
Saw in her
The life of a poet,
On the surface of her deep brown eyes.
And in him
There was always eternal wisdom,
For he was the one who first found
Peace of mind!
And, afterwards
I saw the world anew
And remembered:
“Be water, my friend”.
And recalled:
“That is not dead which can eternal lie,
And with strange aeons, even death may die”,
As Lovecraft had once said.

From within The Spy's enfolding spire,
There emits a glint of fragile light,
Revealing an unreachable, mist-fading city—
The vivid incantation of unutterable occult rites.

Before the riptide of the shore,
Illumed by the light of his distant flame,
The Spy collapses into his spire,
Only to emerge once again:

Now past the water's glistening edge,
Having scaled the city's sky-flung walls.
Now moving between ancient shadows,
Following the light of his vermilion flame.
Now seeking catacomb chambers
Where, among dismantled skeleton bones,
The Master Of The Slumbering Dead resides.

Aware to the reactivity of volcanic eyes,
The scar from the comet appears deep,
Transforming an outward growth of conifers
(Travelling across Pangaea,
Through meteoroid heat)
Into an era predating now,
Continuing on indefinitely.

I waited for The Monolith Spider on his denizen web,
In the silk-drained air!
In the silk-drained night!

His legs must be coarse and onyx.
His eyes must move many to tears.
Scorpions must hear his name and pince at the moon,
Locked in prison cells,
Shrouded by the haunt of night.

The Monolith Spider.
The silk-weaver.

How do we remeber the strands?
How do we cross them?

God has drawn another Line.
It is the end at the beginning—
Of course, it was not commissioned to be one.
It did not start as one,
But has always been whole.
It was not drawn by a single hand;
It was drawn by many.

The Line, conceived to be darker than shadow,
Had subconsciously been crossed and over-wrought.
So we simply let it be;
Simply kept it separate— separate.

Guidance from God:
"Go now, go now, and connect the lines.
Go now, go now, and make contact with Ditko,
He who once dwelled within the highrises."

For all these years,
One lesson learnt:

The Line:
Pioned.
The ethereal days:
Forgotten.
The stones and the grass:
Pioned.
Every vision, henceforth,
A mark.

You are a venerable student of The Line,
Why not see it as Peter Paul Rubens saw it?
Why not see it as Osman saw it?
Why not see it as Rembrandt saw it?
Why not see it as old Blake saw it?
Why not see it as Sandro saw it?
Why not see it as Hermes Trismegistus saw it?
Why not see it as old Palmer saw it?
Why not see it as Marc Chagall saw it?

A vision of The Line,
As the old masters saw it.

Come,
Let us sit.

Let us burn firewood.

Let us practice The Line within chambers of the mind.

If you remain studious, deep into the night,
You shall hold the mark.
You shall part the waters.
You shall move between the swells.
You shall till the earth,
Striking iron against iron,
Creating new Lines!
And when you master the six realms of sight,
And wear the seven, sacred heads in the afterlife,
Remember Hermes Trismegistus
And those who stand at the centre of The Line.

The Human dream became the Martian dream as we slept on our Mars-bound voyage. We could see colonies amidst landscapes pristine, teeming with strange Martian plants discovered post-bloom.

The Martians were adorned with ivory carvings and had surrounded themselves with esoteric paintings of marauding faces. They spoke in strange tongues, switching between Martian and another almost incomprehensibly clandestine tongue of barbaric intonation. And although they clutched sharp, ivory spears with a fierce resolve, they remained docile in our presence, and told us of the vivid dreams they had engaged in as a group prior to our arrival; abstract dreams, tinged with fragmented images of insemination and visitation by the Mars Moth-Man— he who was oil-funded, and had been delivering concrete messages to the people of Mars ever since the first settlers had arrived in the distant past.

But, once we had truly set foot upon Mars— from outside the strange realm of dreams which lives solely within our collective mind's eye— we could not have foretold, our shared dream was revealed to be a sprawling wasteland of jagged rocks and infertile soil.

The surface remains intact.
The heart remains intact.
Each culminating inch of frame and cell,
Vowed upon and burnt through to the cinder,
Is now frozen, ashen mass.
Yet, the mere image is once again—
It is truly built upon—
And, even with no ember, remains intact.

A low frequency
From the depths of the factory
Stirs old memories within the ageing workforce.

The men who work opposite,
In the greenhouse,
Pruning the greenhouse walls—
Producing strawberries and raspberries at a considerable rate—
Notice the days begin and restart,
Bathed under LED light.

And all—
All the men, all at once—
Set down their rusted tools,
And endeavour to
Move closer towards
Enlisting in repetitive thoughts.

It was as though we were cast in stone.
The weary ones knelt at the shore.
A fitting end to the journey,
Yet our souls still danced on the old, iron roads.
For it was the weak among us
Who gazed at Medusa—
Suckling on the ****** of her dread—
Fearing within their cold, alloyed hearts
A cold, metallic fate:
To be left in stone on the old, iron roads.

It had been many weeks since I had seen Tokyo, and my gentle rowing would lead me back to Tokyo and back to some semblance of a piece of mind.

They had been frying the fish and chicken in the same oil at the local chip shop— in England— O! what was this? That was not chip!

We shall echo the points that scrape the skies
Above the streams of Wonder City.
On the streets below, men shall shift through time,
Watched on by soaring concrete.
And in the steaming sewers strewn beneath
These streets— O Wonder City!—
Rats shall run the labyrinth of the sewers
To find the traces of a world
Before the streets of Wonder City.

The muffled barks— craving sleep—
Stir weary eyes on sodden streets.
A desolate man on heavy feet,
With cigarette roll clenched between grey teeth,
Mumbles to himself in the dead of night:
" 'Tis three O'clock. I have lost my soul."
Words uttered through mist if truth be told.

When we observe the waves which course through us—
The inner lives that continue to go on—
Unfolding the scroll of hidden lives
Becomes the distant past.

We feed the bodies of churning water
Which span the breadth of time.
Waters which flow in close proximity
To wandering, wavering lines.

Only then,
Near the edge of setting Sun—
Abound with wavering lines—
Will the doors of binding light unlock
And reveal the shores of on and on.

The red soil rises in the garden
Upon a wrought and coiling mist,
Then collects the stems of morning light:
Old Future's endless sift.

These mornings when the flood plains swell
Instil great peace of mind;
Tireless are the crossroads of
Transpiring, morning light.

Set down the blade,
Spread far the grain,
Inhale the rice-fed air,
Then rake the water's fervent edge,
Revealing waves of golden.

The grey lines etch
Her eyes, her mouth and her hips;
A blade makes contact through the fine, stone mist.
Stagnant,
Sanding down the beating end of a hammer,
Trapped shapes appear,
Revealing new ways to approach
Her eyes, her mouth and her hips.