She said, ‘You are funny, the way you set yourself up the moment we arrive. You look into every room to see if it’s suitable as a place to work. Is there a table? Where are the plugs? Is there a good chair at the right height? If there isn’t, are there cushions to make it so? You are funny.’
 
He countered this, but his excuse didn’t sound very convincing. He knew exactly what she meant, but it hurt him a little that she should think it ‘funny’. There’s nothing funny about trying to compose music, he thought. It’s not ‘radio in the head’ you know – this was a favourite expression he’d once heard an American composer use. You don’t just turn a switch and the music’s playing, waiting for you to write it down. You have to find it – though he believed it was usually there, somewhere, waiting to be found. But it’s elusive. You have to work hard to detect what might be there, there in the silence of your imagination.
 
Later over their first meal in this large cottage she said, ‘How do you stop hearing all those settings of the Mass that you must have heard or sung since childhood?’ She’d been rehearsing Verdi’s Requiem recently and was full of snippets of this stirring piece. He was a) writing a Mass to celebrate a cathedral’s reordering after a year as a building site, and b) he’d been a boy chorister and the form and order of the Mass was deeply engrained in his aural memory. He only had to hear the plainsong introduction Gloria in Excelsis Deo to be back in the Queen’s chapel singing Palestrina, or Byrd or Poulenc.
 
His ‘found’ corner was in the living room. The table wasn’t a table but a long cabinet she’d kindly covered with a tablecloth. You couldn’t get your feet under the thing, but with his little portable drawing board there was space to sit properly because the board jutted out beyond the cabinet’s top. It was the right length and its depth was OK, enough space for the board and, next to it, his laptop computer. On the floor beside his chair he placed a few of his reference scores and a box of necessary ‘bits’.
 
The room had two large sofas, an equally large television, some unexplainable and instantly dismissible items of decoration, a standard lamp, and a wood burning stove. The stove was wonderful, and on their second evening in the cottage, when clear skies and a stiff breeze promised a cold night, she’d lit it and, as the evening progressed, they basked in its warmth, she filling envelopes with her cards, he struggling with sleep over a book.
 
Despite and because this was a new, though temporary, location he had got up at 5.0am. This is a usual time for composers who need their daily fix of absolute quiet. And here, in this cottage set amidst autumn fields, within sight of a river estuary, under vast, panoramic uninterrupted skies, there was the distinct possibility of silence – all day. The double-glazing made doubly sure of that.
 
He had sat with a mug of tea at 5.10 and contemplated the silence, or rather what infiltrated the stillness of the cottage as sound. In the kitchen the clock ticked, the refrigerator seemed to need a period of machine noise once its door had been opened. At 6.0am the central heating fired up for a while. Outside, the small fruit trees in the garden moved vigorously in the wind, but he couldn’t hear either the wind or a rustle of leaves.  A car droned past on the nearby road. The clear sky began to lighten promising a fine day. This would certainly do for silence.
 
His thoughts returned to her question of the previous evening, and his answer. He was about to face up to his explanation. ‘I empty myself of all musical sound’, he’d said, ‘I imagine an empty space into which I might bring a single note, a long held drone of a note, a ‘d’ above middle ‘c’ on a chamber ***** (seeing it’s a Mass I’m writing).  Harrison Birtwistle always starts on an ‘e’. A ‘d’ to me seems older and kinder. An ‘e’ is too modern and progressive, slightly brash and noisy.’
 
He can see she is quizzical with this anecdotal stuff. Is he having me on? But no, he is not having her on. Such choices are important. Without them progress would be difficult when the thinking and planning has to stop and the composing has to begin. His notebook, sitting on his drawing board with some first sketches, plays testament to that. In this book glimpses of music appear in rhythmic abstracts, though rarely any pitches, and there are pages of written description. He likes to imagine what a new work is, and what it is not. This he writes down. Composer Paul Hindemith reckoned you had first to address the ‘conditions of performance’. That meant thinking about the performers, the location, above all the context. A Mass can be, for a composer, so many things. There were certainly requirements and constraints. The commission had to fulfil a number of criteria, some imposed by circumstance, some self-imposed by desire. All this goes into the melting ***, or rather the notebook. And after the notebook, he takes a large piece of A3 paper and clarifies this thinking and planning onto (if possible) a single sheet.
 
And so, to the task in hand. His objective, he had decided, is to focus on the whole rather than the particular. Don’t think about the Kyrie on its own, but consider how it lies with the Gloria. And so with the Sanctus & Benedictus. How do they connect to the Agnus Dei. He begins on the A3 sheet of plain paper ‘making a map of connections’. Kyrie to Gloria, Gloria to Credo and so on. Then what about Agnus Dei and the Gloria? Is there going to be any commonality – in rhythm, pace and tempo (we’ll leave melody and harmony for now)? Steady, he finds himself saying, aren’t we going back over old ground? His notebook has pages of attempts at rhythmizing the text. There are just so many ways to do this. Each rhythmic solution begets a different slant of meaning.
 
This is to be a congregational Mass, but one that has a role for a 4-part choir and ***** and a ‘jazz instrument’. Impatient to see notes on paper, he composes a new introduction to a Kyrie as a rhythmic sketch, then, experimentally, adds pitches. He scores it fully, just 10 bars or so, but it is barely finished before his critical inner voice says, ‘What’s this for? Do you all need this? This is showing off.’ So the filled-out sketch drops to the floor and he examines this element of ‘beginning’ the incipit.
 
He remembers how a meditation on that word inhabits the opening chapter of George Steiner’s great book Grammars of Creation. He sees in his mind’s eye the complex, colourful and ornate letter that begins the Lindesfarne Gospels. His beginnings for each movement, he decides, might be two chords, one overlaying the other: two ‘simple’ diatonic chords when sounded separately, but complex and with a measure of mystery when played together. The Mass is often described as a mystery. It is that ritual of a meal undertaken by a community of people who in the breaking of bread and wine wish to bring God’s presence amongst them. So it is a mystery. And so, he tells himself, his music will aim to hold something of mystery. It should not be a comment on that mystery, but be a mystery itself. It should not be homely and comfortable; it should be as minimal and sparing of musical commentary as possible.
 
When, as a teenager, he first began to set words to music he quickly experienced the need (it seemed) to fashion accompaniments that were commentaries on the text the voice was singing. These accompaniments did not underpin the words so much as add a commentary upon them. What lay beneath the words was his reaction, indeed imaginative extension of the words. He eschewed then both melisma and repetition. He sought an extreme independence between word and music, even though the word became the scenario of the music. Any musical setting was derived from the composition of the vocal line.  It was all about finding the ‘key’ to a song, what unlocked the door to the room of life it occupied. The music was the room where the poem’s utterance lived.
 
With a Mass you were in trouble for the outset. There was a poetry of sorts, but poetry that, in the countless versions of the vernacular, had lost (perhaps had never had) the resonance of the Latin. He thought suddenly of the supposed words of William Byrd, ‘He who sings prays twice’. Yes, such commonplace words are intercessional, but when sung become more than they are. But he knew he had to be careful here.
 
Why do we sing the words of the Mass he asks himself? Do we need to sing these words of the Mass? Are they the words that Christ spoke as he broke bread and poured wine to his friends and disciples at his last supper? The answer is no. Certainly these words of the Mass we usually sing surround the most intimate words of that final meal, words only the priest in Christ’s name may articulate.
 
Write out the words of the Mass that represent its collective worship and what do you have? Rather non-descript poetry? A kind of formula for collective incantation during worship? Can we read these words and not hear a surrounding music? He thinks for a moment of being asked to put new music to words of The Beatles. All you need is love. Yesterday all my troubles seemed so far away. Oh bla dee oh bla da life goes on. Now, now this is silliness, his Critical Voice complains. And yet it’s not. When you compose a popular song the gap between some words scribbled on the back of an envelope and the hook of chords and melody developed in an accidental moment (that becomes a way of clothing such words) is often minimal. Apart, words and music seem like orphans in a storm. Together they are home and dry.
 
He realises, and not for the first time, that he is seeking a total musical solution to the whole of the setting of those words collectively given voice to by those participating in the Mass.
 
And so: to the task in hand. His objective: to focus on the whole rather than the particular.  Where had he heard that thought before? - when he had sat down at his drawing board an hour and half previously. He’d gone in a circle of thought, and with his sketch on the floor at his feet, nothing to show for all that effort.
 
Meanwhile the sun had risen. He could hear her moving about in the bathroom. He went to the kitchen and laid out what they would need to breakfast together. As he poured milk into a jug, primed the toaster, filled the kettle, the business of what might constitute a whole solution to this setting of the Mass followed him around the kitchen and breakfast room like a demanding child. He knew all about demanding children. How often had he come home from his studio to prepare breakfast and see small people to school? - more often than he cared to remember. And when he remembered he became sad that it was no more.  His children had so often provided a welcome buffer from sessions of intense thought and activity. He loved the walk to school, the first quarter of a mile through the park, a long avenue of chestnut trees. It was always the end of April and pink and white blossoms were appearing, or it was September and there were conkers everywhere. It was under these trees his daughter would skip and even his sons would hold hands with him; he would feel their warmth, their livingness.
 
But now, preparing breakfast, his Critical Voice was that demanding child and he realised when she appeared in the kitchen he spoke to her with a voice of an artist in conversation with his critics, not the voice of the man who had the previous night lost himself to joy in her dear embrace. And he was ashamed it was so.
 
How he loved her gentle manner as she negotiated his ‘coming too’ after those two hours of concentration and inner dialogue. Gradually, by the second cup of coffee he felt a right person, and the hours ahead did not seem too impossible.
 
When she’d gone off to her work, silence reasserted itself. He played his viola for half an hour, just scales and exercises and a few folk songs he was learning by heart. This gathering habit was, he would say if asked, to reassert his musicianship, the link between his body and making sound musically. That the viola seemed to resonate throughout his whole body gave him pleasure. He liked the ****** movement required to produce a flowing sequence of bow strokes. The trick at the end of this daily practice was to put the instrument in its case and move immediately to his desk. No pause to check email – that blight on a morning’s work. No pause to look at today’s list. Back to the work in hand: the Mass.
 
But instead his mind and intention seemed to slip sideways and almost unconsciously he found himself sketching (on the few remaining staves of a vocal experiment) what appeared to be a piano piece. The rhythmic flow of it seemed to dance across the page to be halted only when the few empty staves were filled. He knew this was one of those pieces that addressed the pianist, not the listener. He sat back in his chair and imagined a scenario of a pianist opening this music and after a few minutes’ reflection and reading through allowing her hands to move very slowly and silently a few millimetres over the keys.  Such imagining led him to hear possible harmonic simultaneities, dynamics and articulations, though he knew such things would probably be lost or reinvented on a second imagined ‘performance’. No matter. Now his make-believe pianist sounded the first bar out. It had a depth and a richness that surprised him – it was a fine piano. He was touched by its affect. He felt the possibilities of extending what he’d written. So he did. And for the next half an hour lived in the pastures of good continuation, those rich luxuriant meadows reached by a rickerty rackerty bridge and guarded by a troll who today was nowhere to be seen.
 
It was a curious piece. It came to a halt on an enigmatic, go-nowhere / go-anywhere chord after what seemed a short declamatory coda (he later added the marking deliberamente). Then, after a few minutes reflection he wrote a rising arpeggio, a broken chord in which the consonant elements gradually acquired a rising sequence of dissonance pitches until halted by a repetition. As he wrote this ending he realised that the repeated note, an ‘a’ flat, was a kind of fulcrum around which the whole of the music moved. It held an enigmatic presence in the harmony, being sometimes a g# sometimes an ‘a’ flat, and its function often different. It made the music take on a wistful quality.
 
At that point he thought of her little artists’ book series she had titled Tide Marks. Many of these were made of a concertina of folded pages revealing - as your eyes moved through its pages - something akin to the tide’s longitudinal mark. This centred on the page and spread away both upwards and downwards, just like those mirror images of coloured glass seen in a child’s kaleidoscope. No moment of view was ever quite the same, but there were commonalities born of the conditions of a certain day and time.  His ‘Tide Mark’ was just like that. He’d followed a mark made in his imagination from one point to another point a little distant. The musical working out also had a reflection mechanism: what started in one hand became mirrored in the other. He had unexpectedly supplied an ending, this arpegiated gesture of finality that wasn’t properly final but faded away. When he thought further about the role of the ending, he added a few more notes to the arpeggio, but notes that were not be sounded but ghosted, the player miming a press of the keys.
 
He looked at the clock. Nearly five o’clock. The afternoon had all but disappeared. Time had retreated into glorious silence . There had been three whole hours of it. How wonderful that was after months of battling with the incessant and draining turbulence of sound that was ever present in his city life. To be here in this quiet cottage he could now get thoroughly lost – in silence. Even when she was here he could be a few rooms apart, and find silence.
 
A week more of this, a fortnight even . . . but he knew he might only manage a few days before visitors arrived and his long day would be squeezed into the early morning hours and occasional uncertain periods when people were out and about.
 
When she returned, very soon now, she would make tea and cut cake, and they’d sit (like old people they wer

It is so measured that rising arpeggio, only to fall and rise again in quicker values, through the dominant seventh to the heartache moment of that minor ninth, a very apogee of dissonance. Then it goes higher still to the fifth, holding to that Phrygian harmony before returning to the tonic minor and a measured fall in the bass. This is a deliberate descent to the sub-mediant, and Bach’s touch of magic, the equivalence with the dominant minor ninth. But then he gives us hope: an extended and joyful play through sequences that rise and fall within each bar, to rest finally on the mediant’s echo of that opening, that measured rise and the quickening fall. We have hardly smiled with relief when Bach pulls us back into the insecurity of the dominant of the subdominant, that V of IV acting like a bridge to a long, long discourse in the dominant, a pedal E holding firmly to itself whilst rising arpeggios and falling decorations and sequences pull and pull through innocently related keys. Longer and longer play the rising passages until short motives of imitation interrupt, treble to bass, tenor to alto, until:  a first inversion arpeggio of the dominant seventh measures out the opening rhythm. This happens twice in short succession, as though holding the progress of the music to account. A questioning perhaps before a four-fold sequence asserts the dominant and a chorded caesura. There is a pregnant, though faintly resonant silence as Bach spins the dice of tonality and chooses the subdominant to bring the music towards a waiting Allemande. The music moves through a play of subdominant to dominant, minor to major, the mix of flattened fifth and flattened ninth. It is those intervals that determine Bach as the father of ambiguity in the 20C school of jazz harmony, Arpeggio then a falling scale, and repeat and repeat again, but moving ever higher by sequence. At last five chords – merely a shorthand for closure via the expectation of a right display of the performer’s improvisatory prowess. They prepare us reverently for the tonic minor before the stately Allemande leads the music into the elegant steps of its walking dance.

Crash
Amnesia blaring in your ears.
Piano running through its arpeggio
as you hear muffled questions being
shouted from a distance.
Take off your helmet.
Remove your ear buds.
Open your eyes to a disgusting amount of dead valley sky.
It's time for you to sit up.
Engine still puttering like a champ.
The stranger mutters something like,
"That's a lot of blood. Are you ok?"
Stifling ***** and a laugh you reply,
"Feelin' fine. Never better."
You notice that he's still in his car.
He didn't even roll down his window fully. This is the extent of help or empathy you've come to expect.
The taste of iron fills your mouth.
You spit. Crimson.
You smile. Fake.
You wave him on.
It's time to work. It's a process.

You are a walking symphony.

Feet, eagerly stepping on the strings of my heart to create the most beautiful arpeggio that I've ever heard. Arms, grazing the old red bricks that seem to structure this sad place. You screamed "I love you"  and these ragged walls shook as they carried the acoustics of your voice through this concert hall of a heart. I dare you to trust that this place wont collapse. Not with you in it. I refuse.

There have been way too many prior casualties for you to fall victim to the same disasters. I will guide you through. I will love you. Together we will reconstruct what is left and turn the debris into something beautiful.

The master of emotion,
The king of the dance,
Hurried fingers add
A note of daring chance.

Molten happiness
Floats in the air
Like a passing good dream;
With never a care.

Now poignant,
Now sad,
How melencholy
How deep and drab.

Silver metal gleams
In the eye of the mind,
Lost an ancient battles
On which the sun shined.

Melodies curl around inside,
Twining round my arms-
This music can protect me
From any kind of harm.

Sharp, shrieking voices
Let out a scream
As they find out the world
Is not what it seems.

A starry night captures
A beautiful song
For a love through the ages,
The ages so long.

The smooth rythms
Of the everlasting trees
Whisper quietly
Throughout the leaves.

Musty notes
In a darkened room,
And sunshine floods
Into the gloom.

Music tells the truth
And the truth never lies,
But pianos are tricky
And their feelings they hide.

Anger forces the
Furious beats
Into the world
And off silent sheets.

Midnight and brightness
Float in the stars,
Connecting all people,
So close and so far.

Pure and simple,
Liquid notes
Fall in arpeggio scales
Through dancing dust motes.

A single tears falls,
Making no sound
As keys pull memories
Up from the ground.

Everything's so simple
When played in black and white;
The piano controls
My darkness and light.

Lucid, abusive
Tongue in cheek divine
Stupid, elusive
Lost soul of mine

A snap of orchestral fingers to summon the suave illustrator
Mohawk punks and minions to smash the limp masturbator

Loveless, acquiesce
Arpeggio flutter ripples
Convalesce, Fancy dress
******* with perky *******

One or two drinks, make it three then five
Keeping the blood warm and love alive

Visceral, peripheral
Dark raven hair
Liberal, scriptural
I couldn’t even care.

I adored her all, her everything, her gleaming demeanor
The subtle wink of her eyes, the glow; even greener

Exotica, ex machina
Street amazon of desert glass sand
No drama, rural karma
Flesh sweating like the heat of Sudan

Dead singers like Cole and Morrison sing of paper moons and Crystal Ships
The mixed CD segues to U2, Pulp, and then a full disk of The Flaming Lips.

"Nightingale", minor scale
The saxophonist played under the street lamp outside
Folktale female
“Another drink?” she abides, two glasses and wine supplied

On her balcony we watched and listened, to the call of urban passion
The wordless music we adored, a testament to our mutual attraction.

Onward, soldier.
Onward.

That’s what they all
tell me, but
let me
slow down for a moment.
There’s a little something I gotta
say,

Thank you.

To that swing set in Greenhills Music Studio
San Juan City,
without you,
I’d never have learned that sometimes
it’s the other way around—
feet in the sky and head on the ground.

Mrs. Arambulo, the swing set’s owner,
who made sure I was well versed in
sonatinas and arpeggio scales
before I found out they’d already made
a piano that didn’t need tuning, and

Ma, who’d test my memory by
asking me if I
could recite
whole paragraphs at age four,
she’s why I remember things like
the smell of pilmeni,
the color of our first house’s carpet,
and nine page spoken word poetry,

to everyone behind that old kids’ show, Bayani,
watching it in my
second grade HEKASI class
would bring me to tears each time — no kidding,
you all paved the way for my homeland’s history
to make its home in my heart,

my English teachers from
sixth all the way to eleventh grade,
who all believed and still believe in the words I put down on paper
and spew out on dark stages armed with imagery and the Spirit,
you made me fall deeper in love with the way words can be waves
or flames,

Dad, who taught me
to climb mountains, to read books,
to let myself run free among the nations
but to always remember to leave a part of my heart at home,

to the four little boys I met in Hong Kong,
if we meet again, I owe you a better explanation to your question,
“Why do you dance?”
thank you for asking me that, and I’m sorry for my cowardly answer back then
but I’m braver now, and
I promise it’s for more than just fun or exercise,
it’s for this God I hope you get to know,

and to every Philippine history teacher I’ve ever had,
keep teaching like that,
we need more young ones who’d be willing
to die for their homeland,
you taught me that there is so much more to this country
than its own people tell me, so
burn on.
and make sure they catch fire.

Onward, soldier.
Onward.*

I’m not sure where I’m headed,
but I’d rather be uncertain of the road ahead
than forget
where
I started.
I’ve told you mine, now

tell them yours.

Hearing the high-register flute tones
Drift up from downstairs-
Not sweetly like the angels' song
Or gently like a bird's:
But forcefully, repetitively,
Like the sound of a car's anti-theft alarm,
Has slowly heated my mind past its boiling point.

And now the walls are closing in
And the water's running black from the tap
And it's dripping down your cheeks
Flowing like your endless grievous tears.

We can't accomplish anything we set out to do
You call me and we babble for an hour
About nothing.
You'd had something important to say
But it never came out-
Your plans like the half-formed sneeze that looms imminent
And then inexplicably disappears forever.

Vernarth sequence

Prophecy I -  “Eighth month of sailing in systemic plenitude”

“Since they will not hunt us down in all our Itheoi cycles…
nor in other lapses from where the fine eye could have sewn the buttonholes of the shroud, where there will be life and if there will be a short time without life...
dragged by you for a long time where the sun is melted over the word, staying stored and locked in your pocket to collect it blushing,
tomorrow's jump without a yesterday declining..., without a tomorrow in the heat of a bonfire...
lamb in bait handled being the portal of those who have been slapped inside their cheeks… who will not shorten the cycle that transcends all the oblong sepulchral vaults or who abound in the nonsense of sanitizing nights of ***** despot life having to measure themselves in your flourishing duel by Aiónius of the cleanest dew of its solid stroke and announced delineation of the new one that has been retraced again being more than a brief syllable created again fertile, in the biosphere mouth so as not to see you omnipresent mist, meditating not having you and that dares to meditate on your future that will have to be reserved for yourself by professing it when you are cold in front of you and insinuating if in living followed by letters to be flooded pondering like a paralyzed sleeping part that wants not to be covered with feigned warmth and that does not fit in all the parts of me being who wants to be consul of some shelter with all those who sleep also half dreaming in the company of the lost afternoon that never ends serving Saint John in Katapausis here, perhaps Aiónius del Ibico 1 as a magnificent and net unit that sees the luminous truth when we all come out of a prophecy alive even if it's dark ".

"What a reckless job of losing value,
I am already in Katapausis in the eighth month...,
I entered as the light opened with my hand turned into the light...
being already a katapausis meaning in Sabbatarianism.
Quasi-unit method exhibiting cohesion to the rest motif
With levers in my hands and intra-sabbatism in his dissertation...
of an exegetical and theological nature that has transpired soft insomniac light, We are a people who do not have to fear or air to deposit for a future warehouse above the Sycamore or birds that guard all the Gold above my hands on the Sycamore…”

"Stay in my house, if I don't come back it will be yours
stay at home, it will belong to everyone even in the apocalypse...
that more reckless will be silent as a work of losing value,
Katapausis is the threshold where my life enters and leaves at once,
stay at my house, if I don't come back it will be yours...
Open windows by meekly closing them to that confronted obverse to you...

He comes from a den relativized on reliefs in weathered beads...
they will be soluble mineral beings convened moving away from the most distant and closest to the least distant…, from waters of underground siphons… there we will all be floating… like vertebrate invertebrate animals”

Vernarth, after not entering the grotto not having found Saint John, goes outside where he goes on a campaign for three months before he can be received by God's law. Here he meets with Reader and his pelican, as well as Eurydice.


Prophecy II -  “Seventh, Inter-synergy energy”

“Three months I have waited in the middle of this mountain,
symmetrically arranging the steps to be taken, not going backward
prana of life walking in oceans of life walking…
us and them… how much must separate us to reach us?
what I have not tried to separate…, what I have not been able to achieve…

I think I died early in the worlds that haven't risen yet,
I think I was reborn late among dense curves that overwhelm us with straight lines
soul, principle, matter, and material distinctive ontology
Ghost god of parallelisms beings and activities in affinity...
starvation body of low energy ceasing creatures in embryo
incessant firstborn to infuse other confining souls
trails demons slip where my ashes hands are sore
wounded doctrines to engender and doctrines to ulcerate...

As the prophecy uses the sea carrying messages resolved from shore to shore
close to a Virtual why in the twilight your Faith that must be glandular… matter of soul and body exposed to predisposing theological and chemical, in pursuit of the corruptible whole in vice versa if he does not burst with atheistic impatience.”

Eurydice takes a zither and sings tempting stormy actions to Vernarth, Raeder and Petrobus put their souls in line in the first linear principle, Together with the matter of corporeal fire proceeding to the definition where all the parts are confirmed without distinction dancing next to them creating the greatest bond of faith in body and soul, thus spending the three months in a few words of light of the sated fire.

"In the eighth-month katapausis, eight times your permanent peace must rest in
cited state; once it is translated into Sabbathisms and it will be the same state… When everyone finishes their dance in the cave and enters believing they have the courage to enter eight times in connection with rest…, plus eight times in connection without rest.
In some verses, the urgency of the entrance will be accentuated. The main issue “is that history will be repeating itself exactly where the Israelites were at Kadesh-Barnea. A related term either synonymous with Kadesh or referring to one of two sites, is Kadesh (or Qadesh) Barnea. Various etymologies for Barnea have been proposed, including 'wilderness of travel' but none have produced a broad consensus. What is the consensus? will we stop believing or lean on the shores of a preacher rain of Jehovah or lean on the shores of a preacher sinful waterfall or lean on the shores of a preacher confessing rain or lean on the shores of a preacher wet wind inquisitor...? where ever the aromas of its faithful winds served will go sacred to everything named before and many before the confessing rainy…, waterfalls in favor of the temperamental inquisitor wind”.

Astheneiais”, in Greek is and will be a weakness, in Hebrews a moral connotation and will mean not only physical weakness but a conscious weakness and trembling in temptation. Our Lord also understands us in this weakness because he was tempted in every way as we are. Since he himself was tempted he knows from experience what it means for us to be tempted. He was not tempted in all the particulars of our life, for example, He was not tempted as a husband or father, owner or employer or soldier, because he was none of these things. But he was tempted in all three areas of human susceptibility: body, soul, and spirit.

Prophecy III -  “Sixth, Resilience…”

“They were on the perimeter trying to keep me together at his command,
I go every day for its pantry, food, groceries, bookstore supplies and ink, oils, and other essences for the environment in continuous handwritten obedience, I have to leave for Skalá where some residents are waiting for me who have ordered to bring materials from Gricos and Psili Ammos to project your home,
If this has been written like this, it is because my pleasure in walking has written it, in the company of the one, he has written for the one who walks next to me the god Ibicus!

They always asked me why to mention why I have to do this for them… I will tell you that I used to serve leaders who consolidate the Hellenic geography,
without them, everything would have been invaded by unled foreign hands… in that rest, I have to attend to the verse that precedes it...
which says that we have already entered where I already intend to argue the following…

Resilience and exhortation that from the beginning I have taken since it began... now I will abide by and present your messages in a very predominant note, I was Hoplite Commander of the Falange and Hetairoi, now a Christian who does not dispute living a life of obedience to those who are not and are not without his martyrs...
like those people to whom God swore they will not enter my rest
whose amen will be preached in the passive voice verse!

Remain as the verb indicates with the real facts, the word
independent of the present, independent of who and when…
Saint Gabriel my Abrahamic angel will give me white strength and frolicking lilies like baskets of hermaphroditic lilies procreating only-begotten forests at the altar.

Stand tall over the Abrahamic fire without knuckles or shields,
rethink your beloved woman and take a sudden step to heal your wounds there is so much grass to cut and so much poetry to chew...
up the mountain towards Skalá at night after drinking wine
Epitrapezios Inos setting fire with innocuous saffron atmosphere
lips of fire and bread, for a good offensive fight.
Greek fire naphtha, cinnabar, and anthracite.

Wake up united with the deep disorder
Grant the color that deserves to have your day as a constellation
with the image that rests on your angular and calloused hands.
stopping spaces of loss more than all the centuries that waited for the minimum incense to a good warrior, sweet wine for open bleeding wound not his… the thunder that hides baptisms in all hearts empty of blood...

“While Vernarth was praying in the oracle he felt a thunderous supra sound As if the gates of hell had opened...
As if millions of seconds of angels were to be dispersed from the sky
To reduce more seconds of silence to the thinnest pleading eardrum

A few days ago I saw a ghost that was chopping wood...
I couldn't realize that he was really Him...,
I also saw him cutting thousands of volumes from a library...
Also, not realizing it, I saw several, like more than eighty manuscripts..., of breaths that still did not prosper in the hands of San Marcos...

A gigantic door slam is felt again...!
again it was the angels that came
at the wrong time in his return..., but now in his repatriation
they climbed through and into the Garden of Eden.”

Vernarth, evicted from the habit of the unknown, was apprehended by his craftsmanship of him, he was still attentive to be received by San Juan. The longer he waited to be arranged for an audience, he did not postpone what his memory pointed out to be more than an experience plotting capacities in the face of his own limitations. From that moment on, a gigantic gate slam is felt again! the angels who went back one after another with their polished golden-white cloaks relapsed..., but now making the Garden of Eden their own,... being theirs in what was theirs, that they would be in the house of a wise gardener of Eden perhaps being the same Katapausis manger at once!

Raeder says: hugging him profusely! time has to fly like little angels, having them by your side as companions of the time that is leftover on their wings, giving it all to your enjoyment of living and feeling it lost in you without finding it. ! khaire mi Vernarth!, I have some karidopitas with nuts and yogurt accompanied by baklava with nuts in delicious syrup from Kalymnos. Petrobus jumped for joy and fluttered like a hummingbird to steal a few pieces! Eurydice and Vernarth did the same. That night they told militia stories while they ate the morsels, so they fell asleep as if it had been the first time they had fought such a great menu. Euridice assists in the same with his fresh clean face, creating an atmosphere of conciliation to renew the dream of a day that will dawn close to his waking up far from the criminals. Vernarth takes the staff from him from then on and divides books and manuscripts into two portions so that he has time to take steps to really feel that he can walk close to Saint John.

Prophecy IV -  "Fifth, Nature, Manuscripts and Jophiel"

“Zeus wakes up trembling, full of headaches saturated with Herbs for headaches Jophiel speaking this time with the Kabbalistic language of the Torah...with golden commoner super zone of the Organikon Sorousliston Papadikon….age-old music that supplies Zeus with protein albumin, to make him more human…Zeus accepts Jophiel by placing his head about the house of Jophiel; a divine island to throw cards…brings the second ray to the Sahasrara at the crown of your head, pacifying love that is the suspicious and risky loser of everything risk in the head especially when a feeling is born!

Zeus turns his head and Jophiel twists it to the opposite side
about the ruined zeros that he did not count from the plasma of his dependency, Zeus feared having albumin at risk of human transmutation... happy to be able to cry he imagines slipping into the middle of a lake and he sees that he falls on Hera's poultry harming none, Zeus pours brimstone from his mouth and milks inelegant prose from the scythe…

Trina flame whose son bears glorious her bearer,
thousands of lives being clumsy for the wisest destitute
being what in the present you were more than past trine
when you harbor from Hanael's Blue Sodalite quarry
the imperfect perfects when you listen to your
body how it beats, how it breathes... you realize that it is perfect
as is Jophiel and discerns repairing the wisdom in the decisive punt
where gum rosin myrrh and multi urban frankincense go
towards the soul plane architecture of the human plane.
Hardened Zeus overflows glazed sallow emulsion of war
coagulated exhausting guarantor of everything is well,
books of the silent world of nails that do not sound sheets,
Hanael in massive books divides sounding with her iris gel-colored nails encrypted library manuscript of a thousand years, the voluptuous organism of a thousand years…
flapping unpredictable millennia and wiry hands,
colossal capstans…, annihilated with a thousand years…
a silly propeller that spins like a sickle rolling over a certain holistic tabernacle of the small portion of the next day when Zeus awoke to the diaphanous threatening light with sunless cloud waistband…
His face is seen with frowns and he looks at his face as well
without seeing folds…but in front of the Aiónius.

The geranium appears in the representation of the natural whole kicking the Sickle, much more here lost of our spiritual being
Zeus Jophiel's hardened shoulder heats up only to lean on Him...
light on his shoulders fires on both of them…
how long it takes to save us perhaps twenty times what supports us even tired and much more unwrapped than the treachery of him alone and without being followed without knowing
nothing more than a thousand-year-old shell through which he would drain…perhaps a tortoise-like millennial angel walked up to the omega! joy preparing to give you live hopeful,
that if it would be timely to give you more life...
Here is Aiónius reordering the world together with Zefian…
He shares everything eternal of all your life that floats in the sea,
miserable mix space where capo dastro separates the end
where all the wheres cannonade the hoarse fire...
cement that joins brick wall and plenary adobes
love without nature that castrates your beautiful woman
that hides her face without mascara looking for it...
let's go outside says Vernarth..., we still have a few seconds in his solvent... sensible, full, and arc well-being...
as if you were floating in the air floating more
also needed me to teach you before your limits limit you,
and make you angry from the miserable sense,... Don't listen to me anymore...!!”

Vernarth puts his first three fingers on the capo dastro roosters crow with his skin vibrating beyond the sleep of Raeder and Petrobus. Reader wakes up and says…; My Vernarth I will make fire and heat water. Petrobus runs with his wings to look for sacred wood. Eurydice comments…, I will prepare the praiseworthy sacred breakfast.

When they were preparing to do all this, Jophiel and Hanael appeared to him, joining in the breakfast that would feed all the days and millennia of the world. Unleavened fruit, honey, and milk multiply above all, satiating hunger with satiated satisfaction.

Prophecy V – Fourth, Limbus Necropolis

“From so far away…, so far away that I listen to your sacrosanct cries…!
from the Koumeterium of Messolonghi…, rocking my elbows and hurting myself
moving in rare pleasant crypt upon crypts disconsolate stones
not so far away..., keys held in the eighth cemetery...
Who is to open the heavy door now...?
I come from Messolonghi 555 km in linear figures to Patmos...,
narrowing concave… doubtful in extension, passion princess cloud
He must welcome me benevolently in the night nymph consort...
Limbus N cloud, Cloud Cemetery lofty lofty hypogeum
soul of Limbo, before seeing the nut that girds the face in the graceful Grim Reaper resurrecting restless…, sinning… grail sacrament without Being or being…?
Necropolis Cloud, expectant mortuary technology...
amaze me if there is a byte for me...
narrow conscience, unseemly to amaze me?

Here the lost mist of the Nothofagus God phoneme-photon vanishes with divine mass light to build the Áullos Kósmos. The Sacrament of Limbus will provide spaces and assemblages of meters for thousands of areas of infamous wandering the Ouranos, approaching the Áullos Kósmos to host him and rescue the children of the meter that was missing in the numeral rule of the Megaron acroteria before going up to the Necropolis Cloud. Vernarth, mere body formalizing principle...
extinct delicate evocation of the shadow of Elpenor;
Achaean warrior of Ulysses grandiloquent who even has otitis
and verse where flu spreads influenza
heartbreak from far away reverberating in the elite of lexicons…
arriving equidistant ... the last one arrives threatening with his Kantabroi staying neither divided nor captured, taking refuge in outright failure twilight of megahertz, farce propaganda surrendered fear will not fall even after …

Vernarth falls from the Koumeterium Mesolonghi in the Necropolis cloud privileging his status, he falls from this gloomy digital platform with a high alcoholic degree! from the high heaven after drinking hours he came in the carriage that was from Zilos, with the passion of heaven depriving his understanding stunned on some branches of will of Ziziphus…, stunned on branches of mercy….

Vernarth in a contrite accident with Elpenor, his psyche flies to the realm of the dead, Hades was remaining prisoner in that world taking the form of a Homeric icon or shadow. Vernarth was asleep after his binge, and Elpenor asks him if he wanted to join him with some concoctions. He was with blurred vision, a headache, and still lying down. But in the passionate horror of his drunkenness, he gets up quickly, saying to Elpenor: For me, it was one less pain to drink after having fallen from such a distance without being able to request and have had the grace of my mother's lullaby. For this reason, I hug you! They went together to the Cloud Necropolis to continue in the Limbus trying to alternate their physical body to gaseous liquid. At that moment Eurídice hits her with a piece of wood on her legs so that she wakes up from the bite of that nightmare that overwhelmed her to finally be able to wake up. Raeder had gone with Petrobus to Skalá to seek inputs of gnosis and his own inspiration for accents before the welcome in Katapausis to come in the blink of an eye of San Juan, necessary redaction for licenses and to be admitted to his library.

Prophecy VI - “Third, Rethymnon City and State”

“Vernarth heard the sound of a bouzouki, spoke of a 40-day fast that Greece celebrates before Easter, at the Rethymnon carnival they come from all over Greece to attend as a family during the week with animations, evenings and concerts, dances…theatre, floats with Venetian art in the picturesque old town and modern city, in this ancient city …

Rethymnon Political Ellipsis

“Like territorial extension, past-future organized infamous scene…Vernarth imagines being with Etréstles in immediate predictions
with years and thousands…, clan hobbies, Rethymnon manuscript…
while he thus deliberated…, thus rejoicing in the immaculate extramural grotto thus being as if it were comparable to a Neolithic village; being together lost with eagerness to appear from political power... palaces, kings, pro-organized religions..., rancorous superlative temple, priestly-eucharistic, nationalized sovereign citizen... commanding Parliament of the Hellenic politai people
the competent anti-value entity of the substratum political state…
sedentary-agricultural or nomadic-livestock culture…, vertical Hoplite culture!”

In Thessaloniki street, he would meet his brother head-on...Imagining how he would be...? Well-dressed-shiny, he would be in a passing tavern usually naming himself tradition and terms of questionable validity rather than those of a retro-linguistic family, in the remarkable urban-city dialogue called seditious inns with networks of political territorial extension, reaching the colossal size of multinational ideals of a complex stratification, social meeting place, future ministries to whom to delegate?. They would arrive at the tavern in Rethymnon in Crete, they order coffee, biscuits, and Mosaikó chocolates. In an unexpected moment, he suddenly wakes up from this deep, hallucinating, and futuristic imagination! His brother appears immediately, not in Rethymnon but in Katapausis with the goddess Lepidoptera!

End Ellipsis Rethymnon

“At the moment his imagination breaks just when they were preparing to toast… Etréstles in this same interval appear in Katapausis Reader and Petrobus coming in a singular pilgrimage from Skalá…this is how the syllabic song of the arcane ***** is heard emitting from the grotto…, yellow lights and saffron…. Saint John and the Gospel celebrating the Eucharist…Vernarth would believe for the first time that the hermit would come, but No…!
his brother was to be in the intervening yellow-white light
in front of him nothing more than Etréstles visiting him”

Likewise, they would no longer be in Rethymnon,
but the carnival would already begin in the region of Patmos...
eating delicacies, and the Sousta towards the circle of the Sun in the hands…They have been two months with the sweetened Moon and the Sun posing its mass of light in her… soft palm next to her waiting for him in the proximity of a Hebrew silence

Estretles says Khaire Vernarth! from Piacenza who did not see your joyous lux! I can see now to the sound of yourself the stoic zither...
countenance light, the orbit of your eyes, pale asthenia without photon without light, expectorant suppuration of your sacred Lynothorax, Absent in front of the long and fatal transverse lapse!
Raeder makes a speech to Zeus Photon Child Lux
Fulminant spends time where it remains greater than the minimum...
Patmos is the time of the Messiah…, retrograde years…
polis Helennic city-states.

Culture-state… state time chorus in tune
Philosophical poetic-epic Olympian Aiónius global leader
Homeric poems..., Raeder I am..., a naughty Politai...
you Vernarth are Politai Hetairoi militia
candy wasted by me Raeder… sweetened in my memory
polytheistic, cultured and declined…
theocratic referendum or democratic right,
Exciting porridge of my Kourabiedes cookies
butter, icing sugar, flour, eggs from the icy cliff
vanilla or Mastica resin, ***, Ouzo, mastica liquor…
or other alcoholic beverages…, which bubble on the underside of Aiónius soaked in my mouth with water from petal buds
coated for you with sugar on the tip of my tongue…
reflective cops in a wonderful dialogue of a tasty recipe...
It's time for everyone else to snack too!!

In that second Raerder was choking on a Kourabiede biscuit,
but there was the guardian of the Petrobus who piloted the
throwing hieratic water on the inside of his mouth,
forcing him to take heart from the buttress of his speech
shooing thick crumbs from his skinny dialogue spitted...
Gerakis, ray, tabletop oak bull, scepter for those who rule with him and not...My Zeus friend I invite you to play marbles,
I invite you to tell us that we are friends...
we're both fine… only Space-separated us…?

Raeder runs towards Zeus' thunderbolt from his right hand.
he jumps up and takes it from her, in exchange for this she gives him his marbles...The entire earth tilts over the Aegean..., the earth's axis tilts eight degrees, altering the cerebrospinal fluid of the Hellenic geopolitical conception..., with Zeus poly infarcted over descending magnitudes of inter-politics, millennia and headless governments...

“Apokalypsis lightning restarted, emerged from a New World”
Prophecy VII -. “Second, Alikanto Aion, Quantum”
"Kalymnos, golden tetra steed Alikanto was grazing under the metallic moon...
transiting its quantum physics…, golden legs…, four golden domes
the super host being in Apoika Andros next to the villagers,
commemorating troupe and advent…, Heraklion next period
celebrant anniversary, progeny bearer of Kanti Cretense,
close cycles of the sacred fire, domestic environment, and private zeal...
funerary hidden cult… streets in the hieratic family dwelling
fertile women… totalized and lustful ****…
productive longevity and harvests…, family Apoika
next successor belligerence…, funerary plexus…
culty predecessor…, treatise and imprecation of law, theme and legible religion domestic scene, family civic servant ceremony

Goddess Hestia austere, head with eight sacred candles dressed
Olympus lacking without gods…, only Goddesses embargo!
Feminine Hestia Domestic Goddess, an emanation of the female oval to ovulating…Pritaneo, the central decree of the political harvests… foreign exchange grains to be minted monetary stock exchange of Athens… Pritaneo ford on the rise, ford on increase Aion... hesitant dart swoop into eternity,
Alikanto Perpetual Aion…Speaks with both hands
synchronized and tilted tongue…
stutters and swallows, in six paranasal sinuses
saturated with fiery saliva..., and an Internal voice saying say...
what makes sense to feel and what does not turn off...
sleeping waves in the poison of love igniting
intra-Vernarth love…, billing infected holy blood
methodical coupled time…, Gaugamela the bronze extremity,
of a lost leader…, won leader!

If I had to run to rewrite retro Adhoc poems and chosen trova,
With a shy Trojan verse, I would dare today if I kissed her in front of me… she!
she would jump from the hyperesthetic-Ouranos…, inhuman to the Aion world
aurora celestina, bleeds big and defiant today in your star
In herself Ella…, pestiferous condemnation sweetness and aura between her…she just be, she herself be supported be…, Oh… Goddess Hestia on your opposite leg unbraced arm, meadow and vein braid… assaulted by lost and thirsty love written everything if she tempts…, everything wields darkly if it took you to our Olympus… at night loving you whole..., emptying everything with no inappropriate hand singing don vine fissure and intimate company, may it be exterminated... passion outside with nailed stake..., iron embedding..., nails wounding...exhausted supra lips supra yours…, mid sand writing full to her…
tip of my Xiphos… blood made written with written maiden mythology,
letter sword Spatha…, cyclamen balm made whole if I had you!

“To the loves of the world I say…, cover your ears fungus of boredom, your torn ears squander ignoring more than sordid saying...my blood kills, my blood revives! I **** my blood and I **** everyone, with your blood scattered, ***** blood scattered…!
do not leave me alone until nightfall… I only ask for holy water,
emptied from your mouth goddess Hestia who flies tons over me...
I only ask for a spatha romantic blood sharp, ******, and scattered...
to write to the love wars that I have lost...
to the wars of love that I have won, slicing the jugular of the
treacherous and wicked emperor"

“… Alikantus, he remembered the Hoplite commander in Gaugamela, he remembered when he dodged arrows with his head so that they would not hit his body or his pectoral. From such a present moment falling by surrendering to the evocation of him. He goes down to a stream and confines himself to the vanity quagmire, continues on his path reaching a suspicious lagoon, drinks sacred water, drinking again manages to perceive the effigy of Vernarth in the mirror of Aion's Hydor... calling him from Patmos! Law reminded his master how he died for everyone in the world just as the world would not let him bring more than agonizing for him because there was no more space said Aionius ... "

Alikantus then clenched his jaws too hard, falling out all his molars, he asked the Gods in front of Hestia to restore them fifteen days before arriving at the Ekadashi in Patmos where his master, thus loving all the lives of the world, as well as the hidden cries behind the Dypilons hiding the power of God… or laugh at gagged iris flashes and mummified sighs with lives that subsist!

Vernarth from Patmos called to him so that his eyes looked invigorated like the swarms of green and gray vanadium fire, of mood in the predictive table and close prediction. AlIkantus bids farewell to Kalymnos spraying sorrel and hyper-odoriferous flowers of the Apoika in Kalymnos loving from above, very close, flying, loving everything so much that he forgot to fly. He sometimes fell hard but recovered retried as a baby steed in the womb of a mother new species to be born again in Apoika!


Prophecy VIII -  "First of Aionius, "Eleusis Prophecy of Hamor"
“Aiónius received news of Hamor's prophecy; cosmic orgiastic order
tyrannical snake victim throwing herself into her abyss and purpose..., banishment as an objective void to be decreed, even so ending the world from another world,
discontinuous terse march, slurred arpeggio, speech by Aiónius
there is no world left but if extermination…, undone threshold…, provoke in delicate chaos…!

As a child, I ran to the supreme world herding lions... I called them and they ran to me..., they came alone, some didn't...! Being young, one day Aionius went to the farm and counted the lions... Some came others No... Aionius..., in such a hamorio he was locking an earring from his ears, he hung them again, which happened the next day relaxed..., he saw a maiden who laughed hypnotized…, he sighed when she turned around saying with her poor gestures… Destroy it! The afflicted turned away not knowing what was coming… destroying the desolate world vilifying silky physiognomies, chipped and dandruff face slipping from yours being captive and arid…, tempts to flow libertarian imprint in foreign praxis, origin, and end,
me from the slime being born in my eighth life in nothingness ataxia…

The beloved Victim surrounded by snakes moved the stump of her arms
eaten away by the serpent that took refuge in thorns of forged steel...
she kept walking…, Aiónius pointed at her and kissed her gestures escaping frightened towards the valley in farewells... not fitting itself in valleys that were never anything she paraded with the current of her last word, the beloved again moved her arms following her in front of her the beast was on her, Aiónius buried from fleeing and coming… with fiery phenotype, abrupt vocabulary, says: “Strapping and interludes, after beings of impiety, the world of impiety, Hamor of the first wit… towards other refuges I will depart about a Yes devouring bare ring on it…”
escape curve that cuts the pelvis of my beloved
destructive be your curved world that before had to destroy me...
ultra pre-hellenic nymph Harpé passion spread on me…
Hailed libertarian praise, aristocratic vermilion accent, minority ruling? Overwhelming rigor expended, prophetic Hamor, prophetic expansive arsenal! It must come from all the supreme worlds with strokes and silhouettes conquering...true dream, confused hypothetical oscillate sweeping imploring and contracting popular decision, management and space of my Sickle…, sometimes uncontained… worse avenues in its radius and dark mourning badly wounded shadow! The vertex that finally launches opens the dawn and his Hamada flees... Leaving with the untidy serpent, about touching and causing rangers in the stuck earth.

Demeter and Persephone; based on Eleusis in ancient Greece
mystery myth of the abduction of Persephone daughter of Demeter…
by the king of the underworld of Hades, Abrahamanica's offspring
cabal, life in the descent, the search and the ascent…
Ascent of Indra lightning Vahana and lightning from her right eye,
Persephone to the reunion with her beloved daughter ascending.

Zodiac and mysteries involved, visions and sleight of hand
that of an afterlife, rain of seven trunks, long-lived Airavata
elephant, Eleusis jump psychedelic mystery, incision, and coherent rites, ceremonies and experiences of cold winters and life on earth
plants in gestation under the gift of Elitíaen and beings that
they are about to germinate and be born, beings in a chain of genes...
vegetable running on the earth, vegetable in March in its glory
September in the jaws of the purified phrase and inaccurate acropolis I…

Sacred obscenities, deadly tributes with the death penalty...,
wandering nights without clothes with obese and badly fragrant meats point and taco dances praising the harvest in honor of a dead Thracian bull, libating priestly vessels and bullfighting heads in a deliberately defined and improper triweekly ritual, revealed in Demeter and Persephone.

Only Hamor in his venerable pyx lies locked up knowing he is unable to open inside this lustful bewitching sparkles, the mystery of emancipated disenchantment that awakens from his slow consciousness without knowing how to go on passing in the sum of all happenings of Aiónius. ”

This is how he defined himself from the syncretism of Indra and the mystery of Eleusis, from Demeter and his daughter Persephone from the vile kidnapped underworld. Of the divine Goddess Elitia and the annual records of children born within a year in the germinating seed of the mystery of love that would begin with this prophecy with the initial "H" of the underworld exclaimed Hades and Greek heritage in this event. Vernarth and his companions listened to this prophecy, almost falling asleep, it seemed to them sweet pallor-bitter, love-heartbreak in the previous day before diagnosing having a presence in the hermitage of San Juan Apóstol for the superior company of a later day that was approaching as the greatest daring of all up in the mountains while disposing of Vernarth's Apologist obverse of Aiónius's.

Epilogue Prophecies - “Eleusis, Isadora Duncan to the Parthenon”

“Vernarth and Eurydice indulged in the jargon of agitated diasporas
of inhabitants fleeing the Rite of Eleusis, crossed hands and feet
They dueled on olive trunks with Theban thunder, vague Insurrection of the ancient world, and consonants of barbarian Pleiades,
acclaiming predilection of the Eremita San Juan to appear...
in a breath of peace resurfacing... but seeing that Vernarth was accompanied of Eurydice hid in front of them leaving only her aura near from the stream of a chrysalis!
In the dizzying succession of myths, good news reaches her sacred ears, waking up her trend and her high quarterly price outside the walls... being later received in the grotto of the hermitage in growing expectation and a link of longing that weaves to remind him of being a crusade piece.

The kidnapping of his reverie feared and timid frivolous crushing blizzard, he was walking surrounded by Falangists on horseback pointing at him and threatening him, scrutinizing in the distance loneliness of his past lives,
his regressive life, concerning key to origins of his illustrative Existence, stranded at this moment..., Vernarth makes a pact with himself to detach himself..., of his spirit, detach from their lives under a hypnotic and compelling law..., like a suspended index in the Sistine Chapel, homologous ship Ave Maria Messiah!

From Eleusis Vernarth vanished in aerial horse-dreaming,
he crossed through the pavilions with himself persevering some wake
riding his Alikantus ******* and standing with him to pillage the Empyrium niche Persephone's trace of herself and her ******* ******* them...
with devoted passion, milky way, and milky syrup chin howling...
Vanishing dancer, Athenian acropolis, Dionysian sanctuary of the acropolis… Stepdaughter-patron in the dance of Zeus and Themis lopsided frame of the season's wildness of all creation and defiance of Eleusis looking for her daughter and her children, priestesses safely taking off their corset and their pictures…
raging chastity, oligo blood, Itheoi music, outraged dance complaining, Possessed expressing being seductive but also a native *******... the underworld in darkness, free daughter, and iconoclastic Greek mythologist
inconvenient Victorian mania, a courtesan from Olympus, courtesan undressed! Isadora, Demeter, and Persephone… flooded with Aphrodite foam!

She “prayed songs with plexus and feet, plotting gardens around the world… full of baseboard feet where everything created in brief Apokálypsis was dying! By desolate Parthenons dancing in Muscovite ruins, maenades sweaty enclave and also throwing back his head as if possessed by ecstasy in her Bugatti and Leonidas…, enchanted by Aiónius! intoxicated and exorbitant with beautiful rosy placebo eyes... Hair with headbands vine petioles, her Nebris tight skin was wearing... in her hand's bunches of barberries to Dionysus with torches and live snakes a chaste crook naming Thirsus; rod topped with Kashmar branches wrapped in borders, vines and ivy, allusive link…, morbid ecosystem! covering her crotch in the Temple of her Kopanos dancing from the eternal fire cremated and in a romantic dimension remembering Byron's meritorious…
Hellenic passionate, and of Hölderlin poeticizing together with Aiónius.

Rudiment wound … ruinous on value exciting in those
of the imagined and creative in her perdition, Sicalipsis e impudicias
torn fire in the Metelmi and her ***** we are twisted,
epic worthy of greek tragedy dancing like waves of fire
in the forge in terrifying death of her children Deirdre and Patrick,
submerged and injured in the Seine in Paris in 1913, falling into the
water in the car that was traveling with her wet nurse… before…!
saying goodbye to them in urgent social commitments,
I Aiónius take you to the Empyrium.

What a dire tribulation in the prevailing misfortunes by not postponing it, retain the fate of whose children is quite a story with the kidnapping of theirs and merits of fulfilling commitments committed to solicitous artists... support, crestfallen inside a dresser or Bolshoi dancing statue, dancing empty with bare feet, frigid anemone, frigid Sea…

Arriving at the dawn of her last prophecy, Isadora Duncan accompanies her in full life beyond all limiting borders with the borders of her dance, the flat field of Eleusis receives her presumptuously associating in around for the dressings...
And left-handed dalliance self-indulging…, advanced barefoot to the Parthenon…!naked towards the world and the orb dug out of her before her undressed.

Reader and Petrobus jumped on this steep stone, emulating the meteorites that shone in the sky of Patmos such a party of nocturnal lights, such emery detached from a fleeting planet in the largest Hellenic scene saying: "Well-being to the Hellenic World all calm, dance and immunity to the firmament where Isidora rests in the Kantabroi of Aionius”

the good old baritone advises her,
his sopranino daughter tweets disjoint,
arpeggio his point, her counterpoint
a syncopated rhythm of meter,

her high pitched protestations in her pleas,
and low-pitched grumbling sighings alternate,
as puntal, contrapuntal altercate,
to musically the rolling of her eyes,

his stern yet soft soprano wife defers,
while yielding to her baritone's movement,
conducting, though, the orchestrated theme,

as tenor, alto sons  caesur' occurs,
her soothing background voice reveals eschewment,
with daughter's movement stuck 'tween measures' beams

(C)2012, Christos Rigakos

If hip-hop is the night club of music,
The place where everyone wants to be,
Then, metal, you are the abandoned trainyard,
The gritty reality of close friends,
Bonding over empty cans.

Bluegrass might be a picnic,
With blankets in the park.
And rap might be the ghetto,
Urban streets,
Perpetual fear.

However, you have a different touch.
Sure, phat dubstep beats sound great,
When blasted by waves of bass.
But what of the feeling,
From uncountable bass pedal strikes.
Creating a wall of hard-pressed consistency.
And when the bass drum stops,
You know you'll hear a well-practiced,
Well-executed,
Well-written fill.
From the snare, to the toms,
To the chinas and splashes.
32nd notes all around.

And if punk is a bunch of teens,
Landing one out of twelve tricks,
At the local skate park.
If reggae is a house party,
The place your parents don't want you,
But where you feel happy.

Then metal is where you feel REAL.
A darkened elementary school,
Yours for the weekend,
Reminding you where you came from.
Years and years of practice,
All leading up to a perfectly nailed arpeggio.
You don't even hear the pick as it sweeps,
String to string.
You only hear notes and scales,
Arranged just so.
Pure dedication,
Displayed by the clean solos,
And harmonies,
Which fall back into downtuned chugging,
Rhythms,
Simply rhythms,
True unison,
The brotherhood dynamic,
Of a lesser-liked genre.

And the sounds of the world,
Are the way you go to school,
To work and home again,
And silence,
Is nights spent alone,
Silence is the absence of passion,
Silence is suicide,
Death.

Metal, you are my resonance.
My threshold.
And the words,
Repeated throughout my mind,
Are not shrill notes on the treble-clef.
They are not auto-tuned, worthless.
The words I feel,
The words I live,
Are the common words and phrases,
That no one can understand,
The deep grating and churning,
Of vocal chords that learn not to ring,
But to shout.
To scream.
To growl, like the guttural and primordial calls.
Of our wild side.
This growling echoes,
From throat to mind.

Metal is my flag,
My skin,
My pyre.

Where O' Where
Does the Lion Roam
On the mossy hillsides He sings
to flowing water, arpeggio chatter,
in a shaded chamber hall of green
He sings to the sounds of acorns crashing
onto the leafy forest floor
Fallen Autumn Colors dance all around us
Pirouetting through air to rocky shore
The wooden logs bow to take their hallowed headed rest
As angled current sings slapping songs of merry ***,
sliding over verdant brown beds

Creatures Love to find a secret message
Sent from a stranger God
a ring tucked on wooden bough
a peacock feather lodged in bark


KERPLOOP

into the water
another acorn splops

Prophecy VIII -. "First ...," Eleusis of Hamor Prophecy "

“Aion, news received from Hamor's prophecy; cosmic orgiastic order victim tyrant snake, jumping into its abyss, purpose ..., exile as emptiness? objective to be decreed even though the world is ending from another world, discontinuous smooth march, arpeggio dragged, hamar's speech there is no world but if extermination ..., the threshold is undone..., dazzle delicate chaos ...!

As a child I ran to the supreme world herding lions ... I called them and they ran to me ..., they only came, some No ...! Being young one-day Aion went to the farm and counted the lions ... Some came others No ... Hamor ..., in such a hamoryo blocking an earring in his ears, he again hung them with Hamor who passed the other day relaxed ...
he saw a maiden who was laughing hypnotized ..., sighed when he turned around saying with his poor gestures ... Let him destroy himself! afflicted they turned not knowing what was coming ... destroying the desolate world, staining silky faces, chipped and dandruff face draining yours, being captive and arid ..., tempts to flow libertarian, imprint foreign praxis, origin and end, me from the mud being born in my eighth life into nothing ...

The Hamada Victim surrounded by snakes moved the stump of their arms eaten away by the tiller that took refuge in some forged steel thorns ... she kept walking ..., Aion pointed her and kissed her gestures, scared to the valley in farewells ... valleys that were never anything paraded with the flow of his last word, the Hamada again moved his
arms following her in front of her, fierce upon her he was, Aion buried in flight and coming ... with ardent phenotype, abrupt vocabulary, saying: "Straps and interludes, after beings of impiety, the world of impiety, Hamor of first wits ... I will depart for other refuges on a Yes, devouring a naked ring in it ... escaped curve that cuts the pelvis of my destructive Hamada be your world, curved that before had to destroy me ...? ultra prehellenic nymph Harpé spilling passion on my ...

Hailed libertarian eulogy, aristocratic blond accent, minority failure? Overwhelming rigor dispensed, prophetic Hamor, prophetic expansive armory! It must come from all the supreme worlds, traces in silhouettes conquering ... True dream, confusing hypothetical oscillating, sweeping imploring and contracting, popular decision, handling, and space of my sickle ..., sometimes unrestrained ... worst avenues in its radio and dark mourning, badly hurt shadow! Vertex that finally launches opening the dawn and her Hamada flee ...
Leaving wild tiller, over touching and raising wild beasts in the jammed earth.

Demeter and Persephone; based on Eleusis in ancient Greece
mystery myth of the abduction of Persephone daughter of Demeter ...
by the king of the underworld of Hades, Abrahamanica descent, Kabbalah, life on the descent, the search and the rise ... the rise of Indra lightning Vahana and a ray of her right eye, Persephone to the reunion with her beloved mother ascending.

Zodiac mysteries involved, visions and conjuring
those of a future life, rain of seven tubes, Airavata long-lived elephant, Eleusis jump psychedelic mystery, surgery, and coherent rites, ceremonies and experiences of cold winters life on the earth and the plants in gestation under the gift of Elitía in beings that are for to germinate and to be born, beings in a chain of waste gene ... plant running over the earth, plant in March in its glory, September in the jaws of the purified phrase and inaccurate acropolis  ...

Sacred obscenities, deadly tributes with the death penalty ...,
roaming nights without clothes with their obese and smelly meats
point and heel dances praising the harvest in honor of the dead Thracian bull, libating priestly vessels with bullheads, purposely defined and improper three-week spiritual, revelation, and secret rays of Demeter and Persephone.

Only Hamor in his sacred chest lies locked up, knowing that he is incapable of the opening inside this lustful box and spellbinding flashes, the mystery of emancipated disenchantment, which awakens from his slow consciousness without knowing, passing in the sum of all that happens. ”

Hamor self-defined the syncretism of Indra and the mystery of Eleusis, of Demeter and his daughter Persephone from the abducted underworld. From the divine Goddess Elitia and the annual records of children born within a year, a germinating seed of the mystery of love would begin with this prophecy with the initial "H" of the underworld of Hades. Greek heritage in this event. Vernarth and his companions listened almost falling asleep this prophecy, it seemed sweet pale-bitter, love-heartbreak, on the previous day before diagnosing having a presence in Katapausis with the hermit, for the superior company of a later day that approached like the shadow greatest of all up in the mountain.

there's something 'bout jazz music, fills the eye
with thoughts of woodwinds brass and smoky dives
where clubs and streets meet moonlight in the sky

the music notes, arpeggio, they fly
with drinks around, the smoky mood arrives
there's something 'bout jazz music, fills the eye

the New York nightlife entertains the eye
past midnight, sewer smoke floats up alive
where clubs and streets meet moonlight in the sky

with Songs From the Night Before, Sanborn is high
and carries all, along with him they jive
there's something 'bout jazz music, fills the eye

the room is dark but for a stage so nigh
spotlight exposes New York's heartbeat live
where clubs and streets meet moonlight in the sky

where jazz songs live forever, never die
the spirit of New York at night it thrives
there's something 'bout jazz music, fills the eye
where clubs and streets meet moonlight in the sky

(C)2009, Christos Rigakos

Today she wore curlers in her hair
looking like cannons staked out ready to blare

Her lipstick and powder
like bouillabaisse chowder

And when she demanded a goodbye "peck"
I said "No way!" to the wreck

Which made her rear back and bray
"Go home then and kiss a stingray!"

She cackled and cackled
raising my hackles

Thinks she is the second Joan Rivers
but she only gives me the shivers

Soon I was fearing another fight nearing
seeing her witch's eyes evilly peering

And when she rose in those clumpy army boots
I heard an arpeggio of loud flatulent *****

Forcing me out the door needing fresh air
and away from her threatening glare

But one day I'll be back
once I can align myself on the proper son-in-law track

It is raining Chopin
Reminding me that together we are an arpeggio
Alone, I am played in legato
I plant myself in every horizon and
at one end of each rainbow; the other end belonging to somebody else.
I watch the clock and can tell it is 8:00 when the train passes
but I can’t see the hands move.
It is 2012 not because of the fireworks in
limbo between December and January, but because
I can feel the red yarn in me tightening –
I have less.

Listen to those quiet old streets,
A throng of old people,
Soaked with years they’ve gone through
Bending meekly and closing their eyes,
You’ll hear them if you close your eyes.
Notes fall from the heavens
As if on this earth’s piano roll
Arpeggio from the heavens
Gray angles play them overhead
I have never seen god, but now
We have a friendly rendezvous,
In the streets I walk
And now I see his tears.


Listen here, the lapping of tiny oceans,
And the croaks of delight
From the sneaking strangers

Or listen, the Apsaras,
They have deigned to dance on earth than in heavens
Their fairy-tale robes kissing the mud, the water.


Or the strings of a Sitar,
That echoes from the blossomed clouds.

Or if you’re tired like me,
Let’s take a seat beside those
Who with their all life loathe this day,
As their homes get washed away
Drenched to their skin they wait for the sun
God doesn’t live here for them
You can find him in those lanky edifices.
O look at those naked but happy toddlers!
They know not what life can be
Being the debris of a society
Hah, only were they blessed by these tears
God cries from the heavens…

Your nose scrunches up in normal conversation. It makes you look a little bit like a piglet.
Trust me, that may sound like a backhanded compliment, but it's adorable.

When you yawn, you sound like you want to cry.
Nothing freer than you transposing your tears for the sake of singing sad songs,
To Children you've never met, as if you've never slept.
We're both a little too sure about what we eat, and
The times you sit on your hands are the days when your guts moan...

[Others would call these imperfections, but the little things are always the best parts...
Birds flapping their wings (hollow arm-bones)
Tree-roots burrow and anchor (lungs)
Grass pets your eyes]

Always busy, the words form on the tip of our toes, everything I say
Is written with our silhouettes.
Outlines pigment the natural world...
Like a horror-show,
Hallways stretch for hours
(I can not currently see out this window).

Your open sockets spill waterfalls of true understanding from a crimson sunset of genius scars,
Like open wounds of the best silence, only the sound of teeth clashing
Between stretching lips
You hook your palms into my cheeks, bones creak
Gazes reflecting thoughts, unity in unmerited shame,
Our legs conversing softly, hair intertwined (snakes on our necks), and all night...
I keep playing a triplet between your ribs
A simple arpeggio archway under moans from dead skin in light,
I hold you by the red skin, carve you, for just one moment
Until we're living art. Skin static, roots spreading wings.

No expiration date for us, just a point when our bodies no longer parallel
But after that, we speak in clouds
We paint murals for each other in abandoned city parking lots
Or empty train halls.
The moon is our vanishing point,
All eyes on craters.

My language is something undiscovered to me,
I don't know if I want to let all these words go.
You mean Reincarnation to me,
Some jaw of life, some whale's mouth.
I am snow.

Everything loses focus but the stars...

Like teenagers.

so much music and there are clouds outside coloring the sky grey (or is it gray no I'm not British) and the green trees contrast against it like black notes on a sheet of pale white music.

music is pale white and thick black but more color is drawn from it than from anything else on earth.  grey skies are like sheets of music and I find more color in them than in the sunshine.  clearly I am eager to please eager to learn but perfection is hard is humanly impossible and music is all about perfection.

SO MANY BE VERBS

my violin professor smells like green naked juice and something sweet and over-chewed mint gum while his short nailed fingers tiptoe accurately onto pitches I awkwardly slide into. my fingers are shuffling like an introvert dancing to the YMCA in public for the first time.  I am deeply humiliated by my incompetence.  sometimes I want to cry when his pitches mock mine but somehow I remain placid which is rare for me.

baile baile baile black dots and rain drops
crescendos and silver painted toes
sad eyes and arpeggio tries

someone said music is the most intricate concept in the world.  it connects the whole brain and captivates controls enthralls the movements of the body so frustrating I want to pull my hair out.  

extraordinary be extraordinary be EXTRAORDINARY they all scream into my bleeding ears and I crumble because carrying that responsibility is impossibly euphoric and tragic

proof proof I demand proof that I am alive

Ice arcs through the air
like solid lightning.
The large bolts strike with a rumble
and clatter to rest
where they gleam with bravado
at the dispirited winter sun.
The small bolts explode
with a skittering hiss
and trickle down between the bricks,
prodigal drops returning to the watertable.
Cast out from its plastic host,
the ice bears grooved testimony to their symbiosis,
but this testimony concedes to the crafting thaw
a bevel smoother than a human hand could fashion.
Some ice lies clustered on the brick paving
like terra incognita wrought on a vellum map
by the feverish imagination of an Olde World explorer.
Some lies scattered among the purple and white alyssum
in imitation of a Tyrolean spring.
As a breeze releases
the olfactory history of myriad fridge dwellers,
a cloth rings over a wire tray
in a crude arpeggio which segues into
the basso profundo of the resurrection hum.
The cycle begins anew.

I dedicate myself to you and your happiness,
I dedicate my upraising to bring a smile to your eyes,
And I dedicate everything I can be to your peace.

As I wake up every morning, whether or not the sun's in the sky,
And I can sit up and get to my feet, walk outside -
It's more than I deserve in this life,
And it's everything from you that's been taken away.

To be able to go and sit at the piano,
Not knowing one key from an arpeggio, but having the ability to play,
Is what I want you to have from my life.
That maybe, despite what is a hindrance to you,
I can use mine to bring you a delight.

And though I may not be able to bring back what has been taken away,
I can use my faculties to let you forget for a second,
To take you away on the waves of my voice
And raise you up in the sky, hold your head up in the clouds,
Making you light as the air, removing some of your cares,
Helping you forget, if only for a moment, the trials of life,
And it's all worth it to bring your smile to light.

Build. 
And once destroyed, remember to learn nothing. 

Walk. 
And when arriving, forget to rest. 

Speak. 
Think of what to say, taste the silver tongue's bitter ring.  

In a fit of rage I exclaim-
I have nothing to say. 


Anywhere but here. 

Anyone but me. 


Until then, destroy a child's heart. 

Play under rusted girders. 

Photograph and frame. 

Box and and store far away. 

All memories, all truths. 

And lies. 


All moments of you. 


Remove those. 
Explain yourself. 


And rise. 

Higher toward the sun. 

Your wings draping over the sweet gaze. 

All heavenly light. 

Weep in silence. 

Curse all those before. 

And search for those to come. 


Anyone but me. 


Try again. 

With tongues from different skulls. 

One bleeds. 

And one waits. 


And now there is a no. 

And now there is no now. 


Only your hazy future. 


Or only a brilliant past. 


The first littered with gold. 

And the last rot and decay. 


So remember. 

Anyone but me. 


And your stare. 
Into me for what seems eternal. 


Waking to see you sleeping. 
Covering your sight. 


And walking far off. 
Into wilderness. 

Finding love buried. 
There's nothing after sleeping. 


A year. 

And there are now six. 

Sending off for answers. 


Love the automatic. 
I passed it off. 
Planned for the son. 


Choirs great in their grey woven spells. 
I am a shape in the wood. 


From the vocal thought, my age becomes my choice. 


To return strife. 
In cold silent gaze. 


Pressed into you. 


Ten feet from now I will forget. 

From you into some place obvious. 

A Corvette in a forest. 

With smoke in hand. 

Sewing the ends of this letter loose. 


Fall down new barriers. 

Fall to the sun and fade. 


Walk with moans and smile with rhythm. 

The Baptist arpeggio of a life forced meaningful. 

These cliffs speak of charm and integrity. 

I see him made. 
And I hear his end in the bottle. 

Synthesized in fermented preservation. 

My hands won't move and my face numbs again. 

Against the wind in name of life. 

Wake before ghosts. 
 
Racing home. 

And the horns cry so low. 

With your eyes I find shame. 

Replaced with some word soiled. 

Work found for the haste. 

So I am told to breathe and forgive. 


And I end. 
To begin something I could not finish. 


In leaving I presuppose I will return. 

In gold worth more. 

On wings of purity. 

Lifted to fall and stay humble. 


And the yes I gave should now be a no.

the arpeggio of strings,
a distant voice sings,
for pleasantly contained spaces,
in far away places.
somewhere sweet
and safe, with
sorrows embraced,
far in the distance,
neath moonlit plains,
white stars,
wave crashing and
undeveloped terrain.
the cool cast of a fire-y past,
riper, wiser, and
unaffected by change.
looking black,
at looking back.

I wish I could make music with my words
and spin a beautiful arpeggio, piano-piano web:
a breath-taking composition of minor cords
and soft leaps over thick ivory keys
that sing under my fingers.

I wish I could create an embrace
entirely of music. An embrace to hold
and to love and to kiss sweet, sweet joy
right into your ears.

How you always wake me up early in the morning

Standing on the roof of my house while the house sparrows

Chatter among themselves in their sweet frenzied way

Arguing over food, and space and all the other things that

Siblings squabble over



They flutter around and you pay no attention to them

But like Zarathustra on his hillside, you continue to call out

And demand answers with that strange rising intonation at the end

A rising arpeggio of riddles asking of me in the morning-

Who-who, who-who, who?

grief, a melody I composed
out of the trill in your lips
and in mine, regretting
not having kissed you alive
when you came to me, a corpse in disguise,
a costume
wearing a hero beyond saving
and I knew by the season in your eyes
and the chill in your finger tips:
through doors you thought you closed
winter came in

your encore ends
with a last arpeggio, mine

Why would you bother?
Why would you cut so low?
Expressions fracture,
The breaths arpeggio.
All for your nothing...
Your heavy fall shapes my everything.

What's the attraction?
Your tricky undertow's
A cruel distraction
From rocking too and fro.
And when the dreams come
You must stumble, tumble from yellow skies.


Sky shuddered and the world came down,
And I'm still here.


Speak to the child,
And hold him in your arms,
Be reconciled.
And as forgiveness calms
Your weary wary,
You will float, float from yellow skies.

~~~


Come listen...

https://soundcloud.com/wingless-night/yellow-skies

close the gaps between
the white pads of my extended
fingertips
and your bitten nails
put just enough weight
to feel the heaviness of the first
arpeggio

follow the tune
with your eyes closed
forearms laid on one another
like the bricks of a hollow building
waiting to be filled with our
melody

curl your wrists so they latch
over mine
and press your cheek against my own
and steady the 9/8 time with
our synchronized breath


relax with poise as your hands
may finally rest
follow each ivory memory as it leaves
me and runs into you
flooding your minds eye with nothing
but me

stay until you are done
wait until you no longer mimic my measures
give until your soul is weightless

and i'll lay my hands over yours