"So, what can you do? Man is mortal and, as was once said so fittingly,
sometimes suddenly so..." - Mikhail Bulgakov, 'The Master and Margarita'
I: "Meditation Blues"
Cherry blossom fritters. Side ordering
daisy tacks, a low mockery wit; her
cast of auburn colours the lawn even
by day, where I, by high light and cold cof-
fee sit. On biro swell I swallow the
sky in books by its day and by night, trees
that sing like taverns. The world knows nothing
of my name, and yet; and yet, man to the
starboard and not yet my fame. Sighs of a
hosting and bowing in flame
The basket run of a broken young yearn-
ing what brings me here in both parts man in
a casking, suffocation suffering
caskets, blind and cast against a craft of
failures. Roads were sickening fair, fire boast-
ing its tall but angels all were they (mining
prose in glass and thick with wrong). Dynamo
rapture of daydreams an' skullcracking mino-
taur; these waves of shuffling, tune and love-lock
Imaginist. Gravehobbler. I, a wealth-
less showjumping cobbler coddling manic
gun moll Bonnies from their soundless chamber
doors. I, who wished upon a Ginsberg; I,
a burning clash of words borne of type an'
wire and set to pull his trade on stacks of tusk
an' bone. I, alone, who culled a bunkum
treat from wakeless dark and cursed it's
ongoing. I, who muse in signal sounds
and books (and both are making tiresome)
IV: "A Drive in the Rain"
If you see it, the 'Stroszek' dance. 'The Id-
iot' tandem turn and set toward the rope
I burn to climb a stool and glance, alas:
Tell me I'm a fool, I'm. A bored sensi-
crat and cannot drive for daydreaming that
I'd sooner slice an unintelligentsi-
a growth upon my family plot, a wart;
That all is said and done that I may move
The devil knows where; I haven't a dime
on, nothing to prove (dreams against a wheel)
There's birds on the wall at the Bates' motel.
Mundane slip o' Courvoisier cadence
a rape, a-sudden, boils on a breathless
(somebody knows a man, knows a man who did
it in carrion.) Swelling on a breast of
boos(e) a conversation a who roll o'
periphery slimate, and through it then
who wants to know? I lock a glass a stiff-
ened vice a charming moon of falsey an'
half hope, "tomorrow can't in rising"
VI: "Canal-Bank Blues"
If all is themed on love and death then what
is there left to tell? The Windsor knot's a-
round my breast a cosier lot than hell
an' I am of none but collar white and
sticky grey (the warehouse sun bruise of a
sleepless iris and calling it crimson).
My days are long in passing o'er pixel
perfect picturing never she O sec-
ret Aphrodite who is so cruel. It's
never my last "do you love me so?"
VII: "Feier Musik"
Little 'ood awn across a boundary sickle safe and sewn of sexless mound-
ing molars brought me here in high hope sinking
piece a supple sullen flesh (that lovelorn oops upon a nailwound on my back) and loose
across a high scale Munich I challenge the entire city -
"Do what thou wilt. So mete it be"
(hollow and hollow in any degree)
17/06 - 22/06
III: "..." - Allen Ginsberg, poet, born 1926. Important literary figure during the 'beat' movement of the 1950's and early 1960's. Died 1997.
IV: "A Drive in the Rain" - 'Stroszek', a 1977 surrealist comedy directed by Werner Herzog and 'The Idiot', an LP by avant garde musician Iggy Pop, were supposedly the last things (respectively) watched and listened to by Ian Curtis, lead singer of influential post-punk band Joy Division, before his suicide on the night of May 18th 1980. He was 23 years old.
V: "E(a)ves" - The first line is a reference to the 1960 Psychological thriller 'Psycho' directed by Alfred Hitchcock
VII: "Freier Musik" - The quote in the second last line is taken from the writings of spiritualist and occult related mystic Alesteir Crowley (1875 - 1947)