We are all human beings
We all have our own lives
And different ways we live them
But each one of us is a writer
And this poem is for all of you

All of you who have virtues and use them in your writing
Those who use flashbacks and revisit mental photo albums

Beginning the story from the middle for that’s usually where you mind is at
Looking back then looking forward
Studying the past so you can be ready for what is to come

Recording catastrophes with a number two pencil

Tales and blurbs of tragedy
Caused by love or the lack there of

Rewards and punishment
Self-reliance and self-fulfillment

We are mere narrators
Humble, maybe unreliable
Equipped with numerous devices
Ironic Paradoxes
Red herrings
Fortuitous plot twists
Metaphors
Allegoric hyperboles
Analogies
Oxymorons and onomatopoeias

We sling Chekhov’s gun like bandits of literacy

We’re visionary revolutionaries
Revolution of the mind, body and soul

Changing ourselves and examining who and what we are
To become what we are destined to be
The best

Rejecting convention
Building our own paths
That lead to cliffhangers

Romantic lust
Comedic affairs
Dark massacres
Spiritual healing

Religious speculation
And the questioning of the way we, the people are being governed

We use the tools we are giving to sculpt new art that the world can stand in awe of

Personification
Symbolic imagery

Practicing pastiche with respect
Dionysian imitatio

Surreal reality
Defying mortality

Reiteration and retort

Using nature to express emotion and thought

Doubts and fear

Opposites
Morals and ethics

Satisfying curiosity

Parodying what we see
Embellishing just a little

We us word play to dive deep into the topic of conscious, subconscious and unconscious thought

Using satire to poke fun at the human condition,  its senses and perception of the universe to get readers thinking

Expressing our anger, our boundless joys
Desiring unknown pleasures

Seeing past the fallacies put before us

We write with great candor about war, personal conflicts, and self-abuse

With hinting undertones to give these ideas a second thought

We write of the supernatural, metaphysical mysteries
Outlandish, obscure mind boggling theories

As the clock ticks too fast for us and the characters we’ve created

Demolishing the fourth wall with a sledge hammer of defamiliarization

Epiphanies in a parking lot
Speaking in the 1st, 2nd or 3rd person

Using fun things like anagrams and palindromes
Candy for the lovers of such things

Spontaneity is an understatement
Nonsense is an insulting overstatement
Absurdity seems to fit just right

We are chameleons
We can write in various forms
Streams of gratifying consciousness
Brilliant prose
Beautiful poetry

And chose to use or merely acknowledge the ways to achieve these forms
Rhetoric, rhythm  and rhyme
Meter and mora
Conceit and consonance
Assonance
Intonation
Working with phonaesthetics  

And accenting aesthetics

A poem can or could not be organized as such
If we want to get technical about it

We have a poem
With a number of verses
And in those verses
Are lines
And those lines might rhyme
And have a meter or rhythm
Stressed or unstressed syllables

In contrast to that we may write
Without all of that and use emotion
Feeling and structure our work with what we feel is the best way
Line breaks
Pauses and puns
Silly similes
Ambiguous antonyms  
Intonation, linguistics
Fight against the fascists of grammar and conservative correctness

So, in the end we are writers of a rainbow kaleidoscope forms, devices, ways and ideas

But we alone are the ones who make the world think
Make it move
Revolt
Renew
Learn
Look back
Remember
Cry
Smile
Forget
Ease

Write my friends write until your mind explodes and your fingers bleed

Read, read and become inspired
Even if what you’re reading is bad cheese

Forget getting published it’s the writing that matters
Disregard the off-putting, critical chatter

And if you think no one reads
Than be the seed and sprout a tree of astounding artistry
And let’s begin a new movement composed of ideals that will hold true forever
I might be preaching to the choir but it must be said that poetry; literature isn’t dead

1.) tizzop introduced gangsta poetry february 2021
     no man ever before created a poetry genre alike
     gangsta poetry, robust melting *** of languages
     and ethnicities, as it reflects the united states

2.) the idols of gangsta poetry are rooted in the
      underworld, blacks, hispanics, italo- and irish-
      americans, asians, arabs, germans, kurds,
      yugos, albanians, afghans, northern-africans...

3.) multilingual are the core, heart and soul of
     a gangsta poem: glockz, rubix cubies, 31er
     salam, jebeš igru, habibis, brüder, fo' sho':
     rapid months, frozen silverfruit, whole ones

4.) every letter of gangsta poetry becomes the
     side effects of our brand's real-life greed and fury
      mourning the end of beloved baby mommas
      deaths caused by strayed bullets that vamoose

5.) gangsta poetry aims to be published among
      all ethnic communities of the 50 united states
      deadline 08/16/21 stresses american willpower
      gangsta poetry scandalously hits us's curriculas

6.) each of the 194 remaining countries is urged
     to promote and govern gangsta poetry for
     the neglected, weighted with glacial contempt
     these males and females discover their kind in us

7.) tizzop established a saying: "treat every being  
     with an open mind, but fight back, baby, if anyone
     disrespects you, the gps, or our hangarounds"
     at war, we remember our families before we blast

8.) bar none, each gangsta poet is free to connect
      affiliate and distribute with and for the gp's
      brothas and sistas -- gps create examples of
      social diversity and historical dimensions

9.) female gangsta poets are a quarter of us
      some keep it gal, united sisterhood, astute flow
      in memory of leery leyla, chalondra, kateyy,
      mountainbird, ivanka cociç, ashima abraham

10.) genderfree, gangsta poets are chosen
        undertakings composed by thugs & artists
        the spirit of a few meets strife of hood speech
        gp evolved from a movement to an own identity

11.) restrictions do not apply for written creation
        strategic outgrowth and unshaken cash flow
        gp embraces brainy ones, and our soldiers
        narrators in conspiracy, art nouveau trips

12.) gangsta poetry admires the following people:
        jeezy, killa cam, toni der assi, iron sal, dmx
        anton chigurh, sigmund freud, rashid stoogie
        larry hoover, elliot york hp, kevin of allpoetry

13.) taktloss, luis fonsi, blockmonsta, all bolivian
        and peruvian farmers, te amamos, our brothers
        187 strassenbande, senion mogilevich, nirvana
        john murphy, dem dudes alpha hotel frankfurt

14.) much love to all global units, poets, thieves
        traffic architects, hackers, true skippos
        german bakeries, all-black betting shops
        jews from brighton beach, hispanic halos

15.) benny da bandit, tony tarantula, gambino, brate
        hamza al-mighty, fat **** frank, jens, das brain
        fred merciless, familia escorpio, ruben and levi
        ali firefists, kimbo slice, scarface, oleksiy, dejan

16.) daim, loomit, dns 1up, **** my **** crew
        berlin kreuzberg 36ers, playboys hannover
        yard bird 1955, taki 183 n.y.c., basquiat, level
        dbl ffm-skychildren, bomber, city mission
    
17.) gangsta poetry overwhelmingly shaped by
       our ancestors who boosted the poetry of ages
       train bombers, rappers, trappers, taggers, cutters
       we descent from them, honor their names

18.) gangsta poets die for poems that struck
        gps, fans and critics in a possessive way
        limits of real talk and boasting are in flux
        trance batters the face of reason, at dusk


                                          *


Once upon a time at March 22nd, 2021
Kreuzberg SO 36, Berlin, Germany...
Dedicated to all Gangsta Poets Worldwide

Heaven and hell yeah, disciples outpace seconds
Greetings from Wondaland, a.k.a. The Magic City

books written by men, for men, while only read by women... that's sexist mon... books written by men should also be read by men, not some sexist housewives... hence the dire need for househusbands, and stopping sexism against these men as bending over and needing a ***** pucker.*

you hear of it: oh ****, so much of woman
in everything pro contra wom-ah...
  she just said it was weird that a guy
wanted to **** her her on her period,
thankfully this time round she mentioned
mr. rubber, and doing  it in the bathroom...
   because, "apparently"
a lot of guys found it
disgusting... then she said: take the rubber
off, let's make a baby! oh right,
heliums around us? no? ****...
     what's become disgusting
is yet another question of: huh?
        you can do unprotected ***,
but when it comes
to some sort of "emotion":
say hello to ms. ****-buddy-****-forever...
ah, but she's a rich *****...
     has a prior boyfriend in the russian
defence etc., and has a st. petersburg
     apartment... it's not like she's poor...
hence me waiting for a bolshevik defence
to hand the **** and ****-loader
unto the guillotine...
        come on, the guillotine is,
to be honest, a rather civilised method
of execution...
       better than hanging...
    with a gamble of: high enough
to break a neck, or low enough to dangle and
choke on the suffocating ooze of state sponsored
monday...
           i never thought
the guillotine was brutal,
    i always thought the guillotine was
humane in comparison to the practice of hanging,
or decapitation with a blunt axe...
  sorry...
    but at least there was some humanity
worth engrossing oneself in a faking of an escape:
to prove the point of the spirit of propagandism,
i.e. default "failure",
           or rather failure via "default" -
at least there was an attempt that required
a failure to prove its success in being a failure...
let's applause!
      shame to see such "loss of interest" in terms
of spelling...
   when so much can be given in
the aggravated form,
some say charlie wished di, the fate current
for ***** and harriet as now prescribed..
                who the hell asks for writing to
be akin to an i.k.e.a. manual?
most probably a pseudo-irishman...
             i can't believe some people want to write
an an i.k.e.a. manual....
                 and never have the imagination
to invoke a chance for nuance, suspicion,
or a "fictional" monochromatic "bias" of
q. vs. a., as is usually the case;
it's rather abhorring to be demanded
             an i.k.e.a.. form of narrative,
without a necessary imperfection that's necessarily
perfected...
                     having a plan breeds actors,
not having a plan breeds characters,
  which also means that by being
discouraging of characters, the narrators can
unshackle himself from the narrative role...
well, sure, great, women first,
i am pro matriarchy, but can i be the first,
officially recognised and respected
house-husband?!
                  no? guess not.
                       that's sexism!
                        why can't i be a househusband?!    
why are you being sexist?! we don't you
like coal-mining?! you're being sexist!
sexist! sexist! why can't men be househusbands?!
******* sexist feminists.

with the internet the fictional characters rebelled, added to the  stealing of shadows by hollywood, now comes the true time of who the  narrators are... if no narrator relieve character studying and keeping  narration in a state of ~necessary placebo we’ll only get alien  invasions and bomb blasts to succor the anaemic characters... we need  charisma from narrators who are characters as if imbued by the  surrounding... we hardly need mythologies of ghosts that replaced  mythologies of gods... we need narrators ready to forget fictive  chronology and engage in the life of what their characters live; nothing  else, nothing more; show us a weak narrator overcome by a strong  character... stop shoving us so much imagery of contentment resembling  ~strength  of characters... when the narration is weakened by cloning  termed sequal / prequel / sequal no. 2 / no. 3 / 4 / 5 / 6 etc.  how can  a weakened narrator ever provide a strength of character? never mind,  the punctuation in philosophy is stressed by the question mark - meaning  a question will provide offshoot narrations in whatever arrangement the  comma, the full-stop semi and colon will allow... the question mark is  an entry point of punctuation, it’s the full-stop with something being  added in relation to another person... so if a poem is given alliance to  parallels, i always italicise in a method of anti p.s., although  strickly p.s. as pre scriptum: what made me think after i have written  something as easily disposable in comparison with tolstoy’s war &  peace on the basis of what denotes civilised people?*

when i do something that’s not too excessively adjectively biased
like the book of genesis: ‘ah ****... it’s good,’ said god
concerning the world that gave us
the infestation of diseases and statues of david...
good thing he didn’t say: it’s amazing! it’s psychedelic!
that would be untrue... he chose neutrality...
like me... i thought i lost a poem, i saved it with ctrl c...
and i get pavlov’s reward with a memory:
i’m buying beer in a turkish shop,
i start chatting to a boy ~10...
i tell him my childhood secret
about how i thought animals couldn’t see in the realm of 2d...
given that no cat or dog ever watches the t.v.,
mindful of sleep / mindful of the owner...
cat: i missed an hour in the sloths physiology, go away!
dog: i really need to ****! i really need to ****! get me
a tree quick or it’s going to be your leg getting soaked! soppy miu miu **.
god... adele’s hello single... if i had to mine for salt
i'd check the dog’s ******* first.
boy from the turkish shop - when you grow up
and are still interested in my game from youth:
about how animals don’t see in 2d -
i hope... i hope... i hope they still don’t.

poets’ ~sadness is what feeds people’s apathy,
people feel the lack of pathology in apathy
that they sense something must be wrong,
and poets provide this ~something-is-wrong
pathology - modern computers hibernate like bears -
it’s still very basic... we’ll need more than poets
to feel like ****...
i said once: apathy creates no pathologies...
but people desire pathology to craft drama...
they despair at the celestial ingenuity of orbits...
they despair at the leo’s strenght and cancer’s recycling
to endear their characters with zodiacs...
the west is too individualistic that it divides...
take the year of the tiger in the chinese shadow of belief...
it’s hardly specifying samuel tollbridge with a confirmation
name to gimmick the tetragrammaton as the catholics do...
i don’t feel like feeding people’s apathy...
i rather enjoy my own ~sadness than feed it...
if anything i want to oppose philosophy’s testimony
that scarceness of words in poetry... unsung...
unsung with guitars pianos and harps is sad...
and the simplicity of words in songs
sung with guitars pianos and harps is profitably ‘appy...
poetry is merely what the composer wrote
in silence in that complexity of
what poetry isn’t:
what the violin had to say,
what the piano had to say,
what the concerto d-minor sounded like
in the life of john smith disillusioned with living idealism
necessarily lived...
poetry the silent background...
fruitfull in automating the lives of others... the crackling wood
of the woodwinds necessarily lived to the score /
or off the pavement of dialogue expected...
poetry not sung is less akin to music it’s true cousin...
poetry not sung becomes philosophy.

upon the universal statement:
once upon a time...
and subsequently to end with a universal
statement: they lived happily ever after.

well poet ought to shatter the narrator,
he should never allow the narrator
a narrative so well consistent
as to remember a character's standstill
psychology from one writing session
to the next, in between living his very
eventful life (i don't know how irony
is noted, italics or en-dittoed?),
but moving words about is high treason
against materialism, encapsulated by
the merchants' motto: move a stone
make a penny, move a mountain,
make a fortune. so beautifying language
is so horrid? really? we are all going
to be satiated by a dull numbed expression
like adding numbers, while the birds sing?
poetry is just hushed opera, to appreciate
the birds, and on the odd chance,
a raised human verse sung;
so when i give you examples, i wonder,
will you agree or wilt beside me,
from the italicised introduction,
four examples to invoke particularity / chirality
rather than universalism / parallelism:
a. *breakfast at tiffany's (truman capote)
    'i am always drawn back to places where i have lived,
     the houses and their neighbourhoods.
    "african hut or whatever, i hope holly has, too.
b. the catcher in the rye (j. d. salinger)
     'if you really want to hear about it, the first thing
      you'll probably want to know is where i was born,
      and what my lousy childhood was like, and how
      my parents were occupied and all before they had me,
      and all that david copperfield kind of crap, but i don't
      feel like going into it, if you want to know the truth.
     "don't ever tell anybody anything; if you do, you
       start missing everybody.
c. steppenwolf (hermann hesse)
     'this book contains the records left us by a man whom
      we called the steppenwolf, an expression he often used
      himself.
     "pablo was waiting for me, and mozart too.
d. don quixote (cervantes)
      'somewhere in la mancha, in a place whose name
       i do not care to remember, a gentleman lived not long ago,
       one of those who has a lance and ancient shield on
       a shelf and keeps a skinny nag and a greyhound for racing.
       "vale.
the ninth gate is truly a film about bibliophiles,
and the alley where i popped open a beer bottle
while two lovers kissed waiting for me to
craft a scene as if a forbidden love was revealed to me,
and indeed it was: no dread of jealousy at not
being coupled, but all the same, hatred
invokes apathy, it cannot claim platonic pathologies
of lovers (first), poets (second) and sibyls / prophets
(third)... hatred is tiresome, it walks no thirteenth mile
the same day, and when hatred exposes apathy
it is assured: apathy breeds no pathology,
love on the other hand breeds a lacerated maggot pit
of pathology; whereas atheism just breeds factual
reevaluation and constant reinterpretation
without proofs, theism plagiarises, and wants
to prove... really really prove... and get *******,
or at least roman catholic castrato songs to boot...
pure narration? just now, you spotted it?
poetic digression is the only way a poet can
become akin to a narrator in the medium of fiction,
poets digress... fictional narrators are all bound
to the titanic... on course for unchangeable history...
poets digress to create their own narrative.
so to begin with (need to ***, need to ***, will
i survive the wording to the end?)...
the generic and easily analogous once upon
a time is akin to an open field... many directions,
much open space, many congregational opportunities...
in the end few books of fiction are finished,
too much inanimate details and symbols,
not enough images, books without pictures
are stupid, as alice would have said...
slowly but surely the readers drop off,
a bound book with a thread of silk that acts
as a bookmark end halfway through the thickening:
undercooked pasta, raw tomatoes...
but the process from the beginning to the end
makes the acre of gold-simmering wheat
turn into a pinhead...
writers forget the element they're writing
parallel to is claustrophobia, i know,
how can a phobia become elemental?
people get killed, that's the foremost proof for me...
narration in grand novels is a bit like
a growing bulging claustrophobia...
the acre of a wheat field becomes a box-room...
and as this happens the paradox emerges:
we all wish to embark upon a and they
lived happily ever after, but we're given
a once upon a time, in reality we begin
with they lived happily once,
and end with it was once the case...
i figured i did the worded arithmetic better
in my head a few minutes prior...
but then i became bothered by julien torma's
words. who was julien torma,
he was a would-be-poet on the fringes of the Dada
movement: Dada being like black panthers
and big lebowski movements against the war in
vietnam, although more to do with world war i,
let me cite him just so you get a feel...
lyricism: a venereal disease.
             a poet who is preoccupied with
poetry is a shopkeeper.
on the second point... i think he's more of an antique
dealer, but never mind that,
i get the point, and i don't mind what he minds,
i find any if all poetic endeavours a futility,
but i rather write a poem to be discrete and actually
read fully / contently / due course to express
the way a poem is written with ensō fluid
spontaneity: than oblige myself to write a novel:
better a stack of stones dismantled from a pyramid
shape than a mountain never climbed;
as i told you, poets can't narrate, they can digress,
and poets aren't like writers of fiction,
they can't latch themselves to the narrowing
from acre of field to a box, or a room,
they can't grasp claustrophobia as the drive
for that perfected the end, it's impossible...
they're always shrapnel narrators, a free moment,
a guess; as the paradox of writing dramas,
they're written because they're intended
for what the populace expresses: an uneventful
life to the limit of the total of all predictability:
death - dare not tire of boredom, keep it
like a constantly stretching rubber band, and then
death comes... SNAP! cushion cosy on that morphine
are we?

i can usually feel it coming,
a bit like watching a glass being filled
with the usual contenders for my mind...
but at the same time,
i write from within the prompt
of memory...
   this bulgarian *******
with a tattoo on he shoulder blade...
and her words:
- you haven't changed!
and then she enters a realm of tears...
and i just have to stop doing
what i'm going, and think to myself:
what change is there to speak of?

to write poetry, is narrate: proper -
in the proper sense of the term
that is... to somehow become
         the central figure in the story...
       for numbing the current affairs
of narrators...
how predictable with their
she said* / he said "events" -
         that generic style of inviting
characters...
    isn't that the basis of "good literature"?
that the narrator is mundane,
and that the characters are peacock supreme?
well...
               strip away the fluidity of
literary fluidity within the mundane:
god is very much like this -
      he narrates like a boring sog...
but then exfoliates with the bards akin
to shakespeare -
                 to finally rest
among the poets -
      and yes: rhyming is cheap poetry,
to stress rhyme
   is like reading a tabloid newsopaper!

poets require no need for puppets...
     they move via the chasms of
historical figures, unable to express
a will of confiscation -
of all the literary mediums,
all high school students are put-off
the art, because it is under a surgical
scalpel of investigation!
            it's borderline with the schooling
of linguistic precision...
        i can't see as to why there is no
guarding motto for poetic expression -
             a string of words that can
protect it from certain enemies it seems
to have conjured to defy and redefine it
as a useless art form:

    or one that can be at least treated
with contempt,
disdain,       ridicule.

poetry is, after all: a constantly revived
theory of written tongue -
short, sweet, i gather, esp. given the oriental
haiku: barren for a year,
                 succinct for under a minute:
surely we can add this to the times:
years, days, hours, minutes, syllables, seconds...
are we not implied in realm of
        the space-time parabolla to say so?

poets become anemic when trying to conjure
characters,
   the he said / she said architecture of a novel,
what with the anti-irish / anti-polish
loss of immediately talking,
   not abusing the ditto markings "
   but instead implying the swift winds
   (a conversation in ulysses looks like this,
  jimmy and paddy talking respectively):
- toad's a two day bargain.
- aye! and a claim tow two weeks
                       of *****!
- aye!
    poets don't really need puppets,
          the poetic "narrative" is always
necessarily non-descriptive -
             do we really describe within the framework
of: a matter of fact?
   no! the landscape is always a view
of a metaphor!
                        but poets are
puritan narrators... in that:
        it's very hard to conjure up characters...
the self-invited fascination with
  the barren-wasteland of fictional narrators
is what pushes us...
        no, it's no longer a concern
for song...
                          as to be sung
given the exfoliation of black (classical) jazz
and white (classical) classical -
               not so much the pivoting
on a word, but merely psyche...
                  ars poetica est ars narratio:
mind you,
   a cohesive narratives takes time to
be established into something akin
to the bros. grimm, or a h. c. andersen -

why wouldn't stephenie meyer
cite the poet-general moses in her first
book twilight from the book of genesis?

we're a multitude of narrators -
  only because poets cannot conjure
the bland narrator -
  and the supra-human characters!

i can't become a bland scribbler of
the descriptive method, i can't play chess
or draft puppets within a bland
narrative...
            that's ******* excruciating!
i'd rather run a marathon!
  and believe me: i have been wondering
about this for a long time: give or take
10 years (and counting) -
  
i simply can't forsake my mono-presence
(alone), and become some omnipotent
omnipresent (etc.) ******:
i can entertain a self-voyeurism,
but to invent characters i can manage
like puppets, or chess pieces?
     i have an ****** inability to perform
such feats!

let's just say: i an entertain the idea of
missing characters and plots -
   but i can't entertain the idea of a nullifyingly
boring narrator
   that requires prompts for character
study, ending with a mouth piece
and the need to state a:          he / she said.

no narrator ever becomes self-conscious
either...
               not like this they don't:
to me fictional literature is nothing but an
exfoliation of the bardic tradition -
beyond the obvious mouths and limbs
of the theatre...
   and why wouldn't i be critical?
            of the entire content of a novel,
how much is actually worth a cinematic /
memorable application of, regarding
the digested content?
            
                           i'll be kind: i'd say a third;

and this has bothered me:
   what is the worth of narration
           in literature of imposed fiction?

funny that, sidelining the question:
there is more truth in fiction than in
real life...
     people will always believe in fiction
than in what a heinrich harrer
wrote about his seven years in tibet -
maybe that's why poetry is so vilivied
and how poetry is only read by
poets...
                    maybe real life truly is
so mundane, that for nature to fill the vacuum
of the everyday mediocre,
poetry had to be born?

              hard time explaining homer though;
i hardly think that life in that aeon
was boring...
      only that:
  as life moved us to the present -
we have the exact mirror before us -
  that mediocre times, breed mediocre poetry...

in summary?

                         i rather see poetry as a mirror -
          upon the blank slate of a self-imposing-defeat,
with my words: like contortions of my face -
   telling me, of beauty, disgust...
              fear...
                              and ******* on lemons.

Watching documentaries about your trendy bands.
The 'Creative Process'. My shaking hands.

I'm inspiration and envy and my own constant shame
Because I'm still Lost to Larsson but by a new name.

I find meaning in nothing and nothing is mine.
I find meaning in water, in four inked red lines.
I fixate and form cycles, I'm Beckett's star act.

I make all these references, I muddle all that.

I'm an artist, I read, these aren't my own thoughts.
I'm not troubled, just open,
And I'm not really lost.

So what can I believe in? Hell, what can anyone?
**** God. **** 'The Classics'

I'll believe in being young.

yes, i understand diacritical arithmetic, odd, isn't it, that so few people pay attention; e.g.? mötórhead: which for english ******* is written in excessive spelling as: mootoorhed... english becomes so ugly so soon, the **** language can't help itself, given its dyslexia outpouring, english become ugly the minute you attach, but one diacritical distinction, gulp oh the differences between A and ah, and count the breath, which is H, in english... the slowly oozing curling slither of a python... the english language hides plenty of aesthetic cruelties, medusa-gorgons, snakes in wine barrels, you need but one diacritical investment in this edenic tongue, that rose to the propensity of a british empire, with the daft belief, that little england would never arrive, so sure they were, to not revise the latin bet, by adding "barbaric" distinctions... now you have you sally aussie, and your tom-boy canna.

and why am i not reciting my verse,
on the odd occasion,
i do listen to spoken word,
to poetry being recited, rather than composed,
and sure, it has a decent amount
of attention... but... but!
what's with all the hysteria?!
every, single, poet, i listen to,
is hysterical! these days madmen speak
with a more calmer countenance than
these "poets"!
perhaps i'm buying my time,
but the shrill of these efforts to perform
makes the hyenas seem inviting,
it makes a tiger's roar a cat's meow,
and yes, the prime "defence" of poetry,
or "technique" namely that
of rhyme, it's still vogue, rather than a
faux pas, but only if it's not methodological,
if it's not systematic,
   the cute bit on the side,
the spontaneity of:
   within the prose - the classy origin
of the beaten drum -
rhyming like that works,
but systematic rhyming belong in the 19th
century...
        no one would dare write,
within the guiding help of a poetic school,
just like painters wouldn't paint
within a school of cubistic replication...
rhyming is dead,
because poets had to write a prosaic
"aversion" of themselves -
given that prose itself: became all too
simplistic, therefore?
   *poetry is the new prose /
   ars poetica est prosa novus;
right, that's settled then,
we won't be hearing an argument about this
observation, any time soon...
people have become bored
with the imbalance of over-complicated
characters, who are studied too often
and to an even greater extent than
is necessary, while the narrator dwindled
beneath them, in their shadow...
   people enjoy crafty narrators,
intelligent narrators -
     the only medium that care little
for such narrators, and much for
the most versatile and inventive characters
is the movie industry,
or the art of writing scripts -
  where the narrator plays the most
glorifying aspect of any writing genre:
the pawnbroker,
   and in more kinder words:
     the invoker of pawns as the shields
for the grander pieces of drama,
nonetheless: indispensable,
  and securely staged with an honourable
purpose.
- and yet, every time i watch these
recital videos by poets,
  i can't feel but a certain pinch of salt
on a freshly made wound,
   or the idea of eating raw onion, or garlic,
or for that matter, ******* on a lemon
and not providing slapstick humour
with the ****** expression that ensue;
the sheer desperation, the sheer
"heroics" of *****-fits, the mere exasperation!
i have yet to come across a soothing
voice in the current poetic zeitgeist,
a sane voice,
           and as all critiques tend to show:
apart from the vanity project,
  that is me;

i guess the best i can do, is leave you with
a quote from jack spicer from
his poem: ode to walt whitman...

  along east river into queens
the kids were wrestling with industry.
the jews sold circumcision's rose
to the faun of the river.
   the sky flowed through
               the bridges & rooftops -
herds of buffalo the wind was pushing.

p.s. his output was hardly the stuff of
prodigy, but sometimes:
  saying the least, is saying: just enough;
me? i'm a rapacious wizard -
  first i'd write an encyclopedia -
then a dictionary,
       but that is not to suggest it's a forced
error of "expertease" -
      namely? either the anti-thesis of
the christian third party (the zeitgeist)
took grip of me,
  or some other wielding demoniac artefact
of my "idle hands" spurned me on...
it doesn't matter,
    a 1000 mediocre,
             equals 1 that's popular -
but popular is never: the finer effort -
just a congested, constipated drag of
having to recite, recite, recite,
recite, over & over & over again -
that one popular brooding...
  
if you'd know, you'd also know that writing
1000 "mediocre" verses -
is less teasing an overcast of boredom
and tedium,
        or as kant said in his grave of
english society:
    i said that the categorical imperative is
to live by one maxim, alone!
one!
    these english are throwing maxims
left, right and centre,
      and i call that: the imperative of fickleness!
if not toward.

i might recite something one day,
but i'm waiting for the hysterics of today,
to hush down, and so that silence can
overwhelm these "poets" -
    and, in the end? scare them.

(Note: the italics are the narrators thoughts)


Dearest Love,
Are you okay all alone?
I miss you with all my heart.
No, I miss you with all the hearts in the world
you are the only fish in the sea for me.
I love it here in paradise.  I just wish it wasn't for work.
I hate it here with all my heart.  I dread the lack of your presence.
If only you could see the sky as the sun sets.
It reminds me of your eyes, and I cry everyday.
I hope the distance didn't cause you to forget me and pick another lover, just kidding.  I know you wouldn't do that.
You wouldn't... right... cause if you did, I'd die.
Well anyways dearest love, I hope to see you soon.
I'll book tickets for you now, even if it takes my life savings just to see your face.
I wish you were here.

Love,
More than any quantity of love imaginable.
Your one true love.
*I hope...

if it be a tribal issue, i'd craft a society
from each nation,
but it be a furthered without ethnicity
for a system,
socialism is equated with borders
where the many calais migrants are male
with no female counterparts,
a sort of faked ******, more apparent
when the tennis matches roll into quarter finals,
kacap ******* moaning and groaning
a serve, a return... russian galls all eager-******
for the ooh-ah, ugh-nibble pull apart the ribcage!
even serena williams imitated for a while
the welcome ******* distraction,
the song named the misty mountain colds
will define my life, i invested many words
for the emotion behind it, and i'll invest in nothing else
in order to feel:
like i feel lessened in creative exploits
with a thousand blank pages between me and the ink
of zoological phonetics encoding emerges
(put a number to it, and every time
i get depressed - because the quality changes
very little, and the little that's left only
belittles with a sudden loss of adventure:
poets the naked narrators who cannot
craft characters, instead writ into action
a familiarity with narration but no
de-personifying narration),
mind you the god that endowed you with adventure
mind you the god that endowed you with pampering,
and which world to designate life with will you choose?
kacap! kacap! orthodox mad monk kacap *******!
let the commonwealth oar its last into the geography
of poland ukraine and lithuania carved from the mapping
of frequented transit of commercial goods...
that i find my un-originality among the blank pages
published, when i read the inked blotches of former
invaders of the blanks tattooing their tongue
from breath and into word, in order to ignite a nobleness
of delay: that word might invoke memory porous,
and breath imagination, and the riddle of dissected
airing of thought: with vowels the zenith and consonants
the nadir, i here by name meeting a loss of anonymity
proclaim a union in syllables of the height and depth
coordinating a linear road well travelled, universal;
here too i claim the sloth of slang mismatched from
quicksilver, taking off the trailing technology of
such an endeavour of rhyme upon rhyme with the
sole expressing it successfully: the utility of a rhymed couplet:
rap pancake potato sack readied for the flip flip
of the slavish rubric of packing the ones readied
for cotton picking.
route back to tennis: kacap ******* smoking
thick tough cigars of: umf! pooh! plough! ooh oh ah!
backhand spin, forehand ****! umf! ****! clap loud!
ooh oh ah!
the iceberg sized diamonds were easily dispersed,
and all other riches were stored with
screams in helium kept tight: advantages of
wealth circular economy
in the octopus incisor depths of
the mosquitoes of iron maiden skeletons
of sharpened blood draining arteries dubbed
the clippings of st. peter's of st. petersburg insignia nailing
a fathomable curse, readied for the public,
and readied for the ***** of a concentrated public
expression in only one statistical imprint: continuum
(be met assuredly):
our garden of eden readied for the public barbers
where once the bread of the beards begot a trimming
of a diet, should erotica feign a menopause of onomatopoeias
once readied for the ultimate pleasure,
now readied for old age's onslaught of readier
sober speech to make choice akin to mistake,
given 2 be 2 and both located in a flat earth of the square,
as seen in linear rather than omnipresent orientation
of the optics... and so on and so on, successfully,
to unsuccessfully remind us all of the candle flame hush,
arable the last neared star to give moon dominion
over the night that was a feline gaze of luminescent
fattening of many mirrors in termed phosphorous
elemental, when john, catherine and gabriel
stood contrast erectile on the spaniel's spine converted
to a dimension of dissection of rooted distances
made worthwhile unknown now (the surd k)
and the phonetic approximation of knowing (surd
the 15th century, surd the 16th, 17th, 18th, 19th, 20th,
in order to speak now and sepia the rest, as the
equivalent of not having the surd for the syllable now).

even hegel read jakob böhme                   (boo m'eh) -
to keep the democratic spirit - obviously the Kardashians don't
know a hairbrush from a toothbrush - but that hardly matters -
what matters is how Pearl Harbour turned into karaoke applause -
the idea of an american in europe: spaghetti slurping  -
even that considering the "special"
       relationship of anglophiles -
    anatomy of antagonism:
        spaghetti swindlers of talk -
slurping that tangle into an easily sold
global affair would never juice up the idea
to think about my neighbour as someone
i'd care to be;
          and as common with the postmortem
childhood educators, the curriculum of such
people always stated: learn otherwise -
       no wonder their screened the
personal vanities of Versailles in the 21st century
coming from the 18th and 17th century -
learn the truths concerning the genesis
of the 21st century in the 24th century at least...
i'm under the righteous impression:
most of the people i live with have
been savaged by science fiction,
and the slowness of science in itself
that they are tattooed with a care for now,
but never tomorrow... imagine living in a society
that pays its workers in month's wages than
in week's wages... can you imagine it?
the two re- debate: again quick (reflexive),
and the again slow (reflective) -
if i'm glorifying the latter than the former?
oh, that question... you have to reply with:
usury and why the libido of old men
equips young girls to the same libido,
and why young men are worthy of a war memorial
and the mud of trenches...
and why young men can't with enzyme-fervour
bind of the satiated young woman sexually
compete... and why so many say: **** it.
one *** spends its youth barraged by usury -
and all other hamster wheels,
the other *** parties with the cocksure crowd:
and then you expect a withstanding human bond?
ha ha.    forget it... hey lady, how's that old man
treating you? he's the pope, i know.
                         forged from the Martian
        ashen heat cooling: in how she thought
the two would meet and raise a family in the mythology
of Eden... when she got paid her student fees
by sugar daddies, and he got spit to extract feeding
handshakes - that only turned into jacking off
                                                                ­      gambles.    
  she now the happy soul fathomed as the bigoted
              entrenchment in this world: as forever
  and if only trying: then at least expecting war
to solidify the point.
                just the other day in Camden Market:
she's complaining about her libido with older men,
   he's complaining: your problem is that you go
for older men... oh ****, then all the problems of
natural correlative assertions, and children to
masquerade the real problems... and pop culture
and what's being gagged (apart from the gimp,
forever caged and clad in leather, and a mouth
that's really an ****) -           the children suffer
    from would otherwise been a beneficial anti-evolutionary
suggestion: that i was recipient of the outside environment,
rather than the inside environment of some benefiting
sir esquire toff -                 give me my tail and fur back!
   i don't care for gymnastics or vogue! give it back!
******! this ain't an improvement,
                 who heard of primeval predators building
guillotine scaffolds (although, i admit, that's humane) -
or ****** Mary being beheaded with a blunt blade -
or gas chambers... when i think of tigers i think of
humanity greater than man with his apple i7 phone -
i think of vampires... i find it hard to believe
we evolved from what was already perfect...
                   to improve what? we were always outsiders...
    narrators - then again, if i'm the sort of
"creationist" scumbag, then i can just say:
Chinese and Welsh dragons and dinosaurs...
   and to be honest: history is obsolete given the
two timescales of the big bang (what a ****** name
to start things off... heard a bang in a vacuum?) -
              and monkey -
                                             which is no wonder
why history died given the timescales, and why we
are overly saturated with journalism, the 24 hour reels
and nothing really happening in those 24 hour counting
                   mechanisms:
which is no surprise journalism resurrected a pseudo-dialectics,
   i.e. an opinions section - and there they are,
like third world dictators, unchallenged, journalistic
freedom is the last thing to fight for right now,
   not when journalists don't have any journalism to give,
  and invoke the need to be opinionated,
and in thus being the above said: unchallenged.
                 Colonel Falafel? sign me up!

If you fancy
a cheap thrill,
I suggest you
buy erotica read on CD.

The narrators never disappoint.

Listen to it only in your car.
Be sure to take the route
with one too many stoplights—
teeming with all of
the self-righteous pedestrians
who think they always warrant
the right-of-way.

Roll down
all of your windows.
Turn the volume up
to a number that will
allow you to suitably share.
Employ a smirk of
the most contented caliber,
& bank on making
someone’s ******* day.

*('Cause, no matter how you skin it,
we’re all some kind of human.)

symbols, some just say zodiac, with Gemini at my lowest ebb - ebb, funny word, unravelling nouns from the cauldron of onomatopoeias, say knock on wood precipitated into a privacy of owning a door - whereas the Irish and the Poles encoded dialogue (like in Ulysses) with hyphen for snappy convo; in a pub, Charlie and Harry spoke:
- pint's on me.
- aye, on you the one and no more.
- why not more on me?
- i won the lottery, i'm goonah buy half of Cork.
- so who's this Yorrick fella'h?
- apparently a resurrected maxim.
- travesty...
- indee- doodley oh.
which beckons the question why the un-imaginative encoding of sounds gave English narrators too much power... the supposed ditto / invert comma wasn't expression of approx., nuanced, why wasn't the interpretation that of nuance? we can all use the unit Sartre chose to nuance, instead of "ego" the ref. point of conduct ~ego, i.e. approximately me, living with my mother but nonetheless womanising... unimaginative narrator, speeding, never gave his characters a chance, "i went to the market today", he said; that's the narrator masquerading - call this a dubbing mechanism? i would... like i'd hope for the centimetres and miles and nanometres of pause differentiating a comma from a hyphen, a hyphen from a colon, a colon from a semi-colon... and a semi-colon from a fullstop (exampled a germanic word with missing hyphen not authorised by the Oxbridge dictionary of couture, disassembling a navy sweater and toad-green jeans)... i mean, **** me, give me the precision tactics to read without invoking an αsθmαtιc imitation of a sailor's last breath; are those dots above i and j really necessary? it just rained down y y y y y y y y y y on top of them, enzyme activity? yep, ιoτα; otherwise just inert *******; and no, it's not a language these days, English has been reduced to pixel graffiti.

well... mandrakes and sparrows
aren't exactly androgynous...
maybe a mascara advert went missing
along the way... maybe.
here the piano... here the broken
fingers of Liszt... you poker me,
it's worth the gamble...
well ontologically *sprechen what
the hell is a natural appropriation
of waiting for water to boil,
or an egg to be poached in shell
for a runny yoke? me neither,
i'm as dumb as a doughnut concerning
such affairs... i said there's no androgynous
behavioural patterns in sparrow and mandrakes,
you choose you adaptability whenever you
choose to stress a chequered flag...
parasitically i'll march with telescope
ants and flies of what alienation did
to the food-chain - yeah, aliens with an
enlargement syndrome -
bathtub of hydrochloric acid -
i just imagine the newly beloved painting
unseen, a squid cleaving fat and muscles
off a skeleton in the same light
as seeing a ******* - artist or pervert?
i guess both go hand-in-hand;
the hyphen, equal parallel usage with the inverted
coma / well... it used to be known as a ditto
                                                           ­            "
                                                               ­        "
                                                               ­        "
but mind you, before Oxford accepts a german
sounding word compound it requires a hyphen
in english - pistachio shells and shrapnel -
yep, as the above - unravelling of fictive tactics
of the bothersome nature for the narrator not only
loßing the plot but also the characters;
hey, english is perfect, i can apply whatever stresses
of φoνo i want... it's stark naked Adam & Eve...
i can put a ballerina's leotard on this encoding,
and no one will truly mind.

which makes sense eating an english breakfast
at 2a.m., and then whining:
where's the sunrise, and business of day?
but i do love how certain people can extract
a narrator out of me, a potential to be as such,
capable to exfoliate. and in my own secret
space i am milking the she-goat,
and i mean: that's quasi-Hindu given the lack of
vegetarian experts...
      i mean: having been
most benevolently excavated from placebo solipsism
a cure to experiencing schizophrenia,
i find the crowd once again, but that doesn't mean
i'm writing from a crowded scene...
i'm simply devoid of commuter squabbles, let alone
those prancing arcades of blinking lights that
are known as the protestor crowds...
   i sorta of don't get that scene...
i just don't see the need the rush for the commotion...
  wait... let me get my banner...
(enter snigger) -  i'd be more handy with a
kalashnikov or a molotov dead-end
that i will ever be.. sheep-shy-sheep-bound
to hoister a banner:
    i just think repetition is a bit of a dead
given samples in music, and how you can re- re- refresh
      on the scratched-vinyl altar...
(how a noun for again: in Latin,
  became shortened to a prefix re-, so that
it could be made into an adequate "grapheme"
builder to note things like: resaid, regained....
without it: on crutches, alone)...
maybe i'm not even zeitgeist,
and wouldn't that be a real worry for me...
   i'd start seeing the vietnamese
nail nuns... asking that it becomes hard, acrylic...
   feline grr... scratch that *******'s
scalp into an Ed Gein mask...
oh sure... the jokes are free from this point.
but i just *** it away,
farting like a zeppelin...
              and really, language could never
be poetic and alphabetical at the same time...
that bogus bow-tie bachelor of bloom
would never help to solve the daffodil's lack
of bloated turkey in april debate for
one Frenchman's vision of
         caging a > / < b...
                 subsequently c... no one new
whther a > b or whether a < b...
were either a < b or b > a? to later state a c?
talk to a greek: he won't know what the hell
you're talking about...
why is why greek didn't employ siamese
principles regarding vowels to expose
          the difficulty, of coupling consonants
into covert-graphemes... phi non-vs. theta, e.g.
perhaps ratio *******? a : b : c...
no? it's a lot to ask for when there's no real punctuation
to be sordid about... i already stated:
   how the Romans cut up words
isn't exactly how the Greeks cut them up...
  when you cut up a word
the roman way, you work from the principle
of a grapheme... or the φoνoς,
beginning with æ - some might call that
as merely: tongue tied, or tongue numbed...
ello ello... but there's a clear sound...
apart from the sounds encrusted in h, w, y...
     but it's exactly what the doctors ordered,
given they become sort of truant with
the Hippocratic oath...
   the φoνoς finally belongs parallel to the
Heraclitus λoγoς...
based upon the sole prime of how individual sounds
were noted...
i.e. it had to mean something, so Heraclitus
was looking for "the" word, only because
individual greek letters were giving a noun
status, rather than a sound status... there was
no φoνoς principle in the greek alphabet...
letters weren't mere sound units, they had the status
of nouns, which is why they became pivots
for keeping them as such, in a hierarchy of
optical superiority above the Roman encoding,
ranging from mathematical or chemical coordinates...
which is why the Greeks have no good music
these days: well, apart from rotting christ...
and aphrodite's child...
          the Greek tongue has no idea of a grapheme,
(μ, ν, ξ and π don't even come close...
  the grapheme principle needs a siamese graphic:
the cited examples would require
   a siamese of opposite sexes... and since i haven't seen
such an example... i beg to differ)...
there's no siamese entity in it, there's no æ...
nothing Greek is explicit in sound,
which is why i guess the lisp comes from...
they're eating custard every time i hear them talk
or whistling via a pigeon feather turned into
a flute... ****** fla fla... falaffel and theta cheese...
oh but there is, it exists in the realm
of consonants and vowels... rather than among
vowels, exclusively...
      but that is why Heraclitus invented the λoγoς...
he contemplated the λoγoς because he couldn't
see the φoνoς, given that α couldn't
be taking a seat in dentistry and saying ah...
   or that φ couldn't just end with phi...
but had to lead onto a complexity of φlosophy...
and god... look at the mutilation of aesthetics
with that one! the λoγoς isn't that enigmatic as it appears,
old, dusty and about 3000 years revised too late...
  not with what the Roman caricature of
the λoγoς actually is... a, b, c, d...
or how close proximity deviating from the λoγoς
makes the φoνoς pop out...
  why / i              y / why
                               see / c
        b / be
                              a / aye / i / huh?
     t / tea                     p / ***
                      q / queue / cue...
     this is the limitations of the φoνoς...
  and only with the φoνoς being presented will
Heraclitus ever find the λoγoς, that might
suggest to him: α, will never have to be suffixed
with -λφα: cue -λθα.
- the reason why he concenptualised it
is because Greek gave restrictions on how
the phonos could be constructed...
   it couldn't! it revolves around the Greek alphabet
being noun-based... logoístic... rather than
pure phonetic carrying the ideal shrapnel...
       Heraclitus thought up the logos
for the sole reason that Greek stated
α as αλφα... rather than αλθα... or merely α
(and then you'd sing the rest, say #a)
hence the concept of the logos... but not the phonos...
because even if α or β could attain a status
of being a grapheme... both would forever remain
a noun... a word: rather than a sound-unit...
or as the moderns like to call them: sound-bits...
only because of the roman concept of
a grapheme does this arise from: the æ
testmanet of an Adam and Eve, clearly making
******-***** differentiation appealing...
so a return to the thesis of androgony?
  what, make the world siamese?
you ******* kidding me?
listen, the only problem about being genius
in poetry is that: well... there aren't any shortcuts...
you want to write narrative like exponents,
but you are writing something that's to be read
standing up, like watching a canvas in an art
gallery... this isn't reading a Tolstoy reclining
in bed, the counter to turning on the radio and
listening to music to fall alseep...
   i can't simply destroy the narrative principle
that poetry is also prone to...
    and trying to provide the equivalent of
a mathematical proof / equation in purely
linguistic symbology, will eviidently mean i'll be prone
to spaghetti / digression...
     for example stating a + in language is really
a problem as to how you can comprehend me when
i write: i see a an auburn flame of a setting sun...
      is that only one + or many in that sentence?
   educated as a chemist, son of a roofer...
  am i really middle-class ponce concerning this?
do i ******* look like i'm gearing up for a tea-party?
   basics... well, better a summary than
giving a vanity project to this narrator...
poets indeed are anti-novelists: there aren't
any characters in their works,
the only thing more numerous in poetry than
characters in a novel... are the narrators...
   Heraclitus spoke about the logos working from
α = alpha...
   i'm speaking about the phonos working from
a = a multitude of sounds...
             which is why they revised this *******
alphabet with the NATO of alpha romeo...
     zulu and i should probably state: *******...
   that's the whole principle of the phonos...
to work back to the logos...
         and since Heraclitus is a bit vague about
the logos in itself...
      it has to come down to Hippocrates talking
about freeloading on ***** when
   you receive cancer's foetus and try to alleviate the pains.

I looked through all the crap writings I did when I was 15
and one of them
had the phrase
"I am resurgent"
carved on it.

That was from
those days where
I havent realized that
I was
born to be an
anti hero;

Two years later I grew up
to be a vicious menace
and I deeply resented the way people around me manifested and projected their halcyon feelings of contentment in front of me because I was the only one who hasn't been able to feel those things amongst everyone I know.
I thought I could have been happier if I decided to redeem myself down as a hero but I
was
wrong.

No one will ever be a chaste saint nor a hero without desecration and it's alright that you won't ever be one because so won't I and all those premonitions of fright and dread will end once you've come to accept that maybe some of us were
born as anti-heroes
or
even
villains.

The visceral skies might be mad at me for I pushed people away by thinking that only drugs can make me smile and only my backup guys can save me and those skies were trying to warn me. If I seek for my knight in a shining armor just to use him as my escapist redemption to help me turn my back against everyone who claimed to love me then it's not love that I'm looking for; it's just revengeance towards the wrong people. The ferocious dissonance of black hole sun inside me hated the fact that everyone was happier than me and I was the only one who deserved headwind storm whilst everyone else deserved the sun.

Not everyone behaves generously all the time, some can turn into complete ******* including me and all those ****** up antiheroes and antiheroines who happen to be the unreliable narrators of the books I read. I have died a myriad of times after circumstances beat me up relentlessly until I choked on my pool of blood that tasted like the hard liquors that I got drunk on. At times I kept on dying for a long time and at times I resurrected but I didn't always resurrect into a better self and there were times I decided to reconstruct my past heroic self as a villain.

But I want to believe that I'm not all good nor all bad.

The caged princess valkyrie who used to wish she had a six-shooter gun, has been released from her cage and she now flies freely with her reconstructed wings to the vast iridescent-coloured visceral skies in order to reach the sun.

I am undefeated
eventhough I'm not.

/                    nietzsche wrote
his ecce ****
                                                  book...

­                         now?!

apparently we're all supposed
to write a book, entitled

mea culpa...                                 (?)

i just want an authenticity
of using the index,
index finger,

and being able
                        to point...
without sacrificing
the ownership
of a shadow attachment...

               and how
does the víšégrād group
    (oh i'm into linguistic
sabotage,
     writing such a word,
treating it as a bomb,
     and knowing the "nuance"?
well...
   the manchester mob,
the panic,
           and what is the concept
of islam if not advocacy
        for literacy? no? really?!)

invite the bulgars...                         (?)

like a birth of a 2nd. yugoslavia...
or the shift of
   the 2nd holy empire
to the, "left" in copernican
"terms"...

    there are the narrators,
the observers,
the critics,
   and the: chanced eyes on the mess...

no... in the collectivist / corporate
mind-sent?
              mea culpa is not on
the agenda...
                           "we" have already
stressed the situation past
the mea culpa:
  
           come: ecce ****
                      and the crucifixion /
                                          guillotine.

come the bulgars...

   and why am i not expressing
an intellectual ben hur
of an index finger?

managed to punch myself
20 times in the face
and give myself a plum beneath
the eye?

          so what's wrong with
"flexing" attributing
the tongue to an index finger
"exasperation"?
    
so few books are actually
ecce **** orientated...
            
       always the mea culpa,
never, never, ever,
                         tua culpa:

ergo?
                   ecce ****!

              shh...

quiet...

     just mention the concept
of mea culpa

                     to elißabeth fritzl

   how much of masochistic
              "moralißing" does it have
to take place, trans-temporal
  and justifying
                 the mono-spatial realm
of a "past", and, "now"
                before being crucified
is no longer deemed
the same as labouring with
                       a hammer, or a chisel?!

i say that: metaphorically
frothing at the mouth.

firt i learned to throw a punch
onto my face...
   give myself a plum just beneath
the eye socket:

   now i know the mea culpa mantra,
as i know the existence
of the index finger, being
differentiated from the fist...

and?

          the tua culpa mantra.

box ***** box! no one ever said bare x-rayed knuckle rough up, but my tongue ain't just an oyster, so here's to a champagne flute ***** and an oyster shell tilted for a slurp ultra crescendo, a runaway: writing philosophy lets you explore the many narrators that are impotent creating characters, while fictive narration has many characters and a few dimensions of narrations, like the *** in the city gall said: newspapers are printed, they're not supposed to convey stories, or be the post-modern basis for a skeletal anastrophe of storytelling.*

you will not get any more artists
when you educate blanks
to canvas a Gucci with a brothel
of colours that might be tamed
into the anti-artist vocabulary deciphering
cubism... brothel of colours?
well **** is red, **** is brush,
you get an orchestra of vowels
with hues, pink is for arson,
the other pink is for fish against stream,
they never air-guitar bass rhymes or
solos, it's a shame, bass guitar is more
akin to drums and therefore more memorable
than brown-nosing vocals and lead guitars...
well coral red became gangrene green
when the snorkelling offshoot to finding
the titanic wreckage took off...
i said the titanic rhythms of bass guitar
was more airy than the scandalous
pitch notes of guitar turned soprano
like a michael jackson wannabe...
twist of the ***** / twist off the *****...
get a screwdriver, scandinavian ha ha:
am i grey bearded enough to act out a norwegian
version of hamlet? no? gooooood...
that's dracula saying mornin' 'n' evenin'
together; i'm into revising tabloids
by making many references...
culturally explicit ***** crap... ******* elephant
***** wide... i'm all ****** up for it to be the
defining concern of our times.

i can't be repentant, he's there, strapped
to that stump of iconoclasm of his,
and you expect me to repent?
i have no mea culpa left in me to
do that, strangers' dogs familiarise themselves
for a brief petting and i cry,
a riddle: what two upturned sockets
give a smile? two harlequins and a pierrot:
for the eyes eagle sadness when laughter approaches,
and the eyes eagle happiness when laughter's
concubine (sadness) revels naked trapped by
waterfalls of eager misery.

you're not going to school me...
ponce... poets are paranoid concerning
a narrator, poets are paranoid about narrators,
sartre's c.c.t.v. existentialism, the eye
through the keyhole...
while he's strapped to that holy geometric of
his, that stump, i'm not supposed to
do penance, do a *mea culpa,
in rite of imitating a heartbeat of guilt
with clenched fist against the chest:
mea culpa... mea culpa... mea culpa...
what am i, the democratic demographic
of the Pharisees?!
i have though, a philosophical inquiry,
let's imagine you're old school,
born in the 1980s, ha ha (old school,
i guess the internet does indeed belong
to *****-like creatures of youth
who'll swarm and literally abuse the **** thing),
so let us imagine you were old enough
to buy compact disks and respect artists
for their effort (i've said countless times,
i'd rather ask for free ***** than free music,
that's the first step to initiating the power of a.i.,
make certain professions redundant,
better in communism where no art was allowed,
althought breakout - kiedy byłem małym chłopcem - https://goo.gl/kHzmEi -
******* hippies via the beatles
when they were back in the u.s.s.r. - or something
akin to that six sharpshooter visa a vie via...
a.i. is a mingling of analytical and synthetic perception,
a perfect balance, analysis is worth storage,
synthesis is a non-replica guidance,
what is experienced cannot be replicated
for fear of mistake,
indeed the old question, was god who crafted man
or was man who crafted god, only a mechanic
technicality, like this philosophic curiosity i have
for you in hope of stalling you:
then man with steam engine and in linear fashion
for once plump beauty to venture into
anorexia... then god with his vacuum engines
of planetary orbits, neither able to immerse in
plagiarism...
i used to buy compact *****, i still do,
i'd burn them onto the hard-drive,
but some were scratched, the scratches in mp3
formatting were like computer viruses,
i'd put them into an ipod and guess what,
once the ipod played the former scratched c.d.
mp3 version it would create a physical malfunction,
the ****** thing would break apart...
it would twitch, it would shut the power off...
a scratched c.d. converted into mp3 can destroy
an ipod.

LIFE

I ask you as I begin, how would you describe LIFE?

For me the word "Euphoria" comes to mind in a weird sense.

Have we become our own narrators forbidden to live our own rehabilitated LIVES?

Does LIFE for some have no meaning, where laws have incarcerated in the hearts of people who declare our own existence?

We somehow fly a flag of nations, of countries what does it represent?

Peace new LIFE or a pushchair war?

Seems to me LIFE has become a class of its own distinction, never knowing its own ending.

Is money the ultimate ruler of our hormonal LIVES?

At the end do we desire what we fear the most?

                                                                                         LAZA 09

the nausea of wine is to say: one cannot drink it without eating, even after a meal, and a few slices of watermelon, the nausea from drinking it alone and not in the celebrated way with food... beer and whiskey are better compatriots to fuse a feeling upon feeling on an empty stomach, that spawn no nausea, but only reward at the limits an irresistible hunger that ends the ritual, unlike wine.*

sober composition is oh so unsatisfying,
so predictable, so afraid of the world so un-daring,
not patted by subtle sarcasm or some other Dionysian
muse: so rigid so accountable for strictness and base
facts...
      almost nothing heartfelt...
and so long winding it would seem,
without a clever feel for impromptu...
so time consuming and space
filling...
                           ...never again,
for this face it too recognisable,
to analogous to everything
else, so "with the times" or
by whatever definition
                        undemanding,
strained by the expectable,
never the unexpected even
in form of a nonsensical whim,
this sober use of language for
me the opposite of the poets
of the 20th century...
who invested in composition
in tiers higher even than drinking
beer...
          to me soberness is like
the higher tier of writing with
and within a certain intoxication
no intoxication at all...
a hefty sum of all elements,
all organs... where abstracting
the brain in the mind and allowing
a dis-joining of it:
to feed a placebo question
of fear relieved by actual fear
rather than its appreciation is no more,
or if nothing more, a bit like
awaiting caveman hunts reduced to shopping
in aisles of markets... deadened and therefore
predictable... afraid twice over with the loss
of familial tribalism of closet connectivity...
reducing us to a monetary interchange
or: broken roof, someone fixes it,
broken toilet, someone fixes it...
banking failure... suddenly we all congregate?!
i hate writing sober... it means i get to notice
i don't like my poetry, and poetry per se,
because i just don't want to voice it,
i just want to narrate, pure and simple...
a narration without characters akin to fiction,
or characters without third person narration
to ascribe a narcotic feeling of presence...
it's a drug that's hardly one worthy an ascription
of a psychoactive ingredient, it's a platonic cave drug,
a shadow you can touch and disappear...
i'm not like a writer of fiction,
i'm trying to reconcile poetry with philosophy,
i spend most of my times thinking, losing thought,
trailing with the unthinkable or simply thinking,
but i never see the book, that's why i'm sad
in terms of composition,
like the last wish of bukowski, to have written
a semi-pure fiction of the novel pulp,
to discard semi if not full autobiography...
true psychiatry is of the living
to read nuances into the once lived out leaving
notations... more to take care of the dead
than just through mantra or prayer...
if analysis leaves us without third party acquisitions
of thought away from the dualism of egos
as one sick and the other ascribing a status of healthy;
you see, it's a harsh case of not having
a narrators' complexity, not spending time
typing to excess, but the time spent
thinking about other people's units of thought:
also known as ideas... and with so many
decimals of measure a lifetime of individuals,
it is hard to narrate...
since the productive side aligns to dis-joined
expression of productivity,
and the economic side aligns to a linear fluid
expression of non-productivity....
it's hard to create a narrator let alone a narrative
of one's self without a loss of one's self to
the existential notation of a "self",
the inverse reminder of what writing fiction was
about: a concrete narrator...
there's no concrete narrator here,
no craft of character formulation...
instead we have an unstable narrator
that cannot truly narrate,
and the only character formulation
from the unease of the once eased narration
of existential fiction is a self lost among selves /
existential notation of a self as a "self" /
with loss of an anti-chiral hegelian approach
i.e. i am i... forgot the unearthing of a pluralism
of narrator that could not fathom a required
imagination for a raskolnikov,
                               marmeladov,
                               petrovich,
                               razumihkin... etc.

you know, you are allowed a Kandinsky or a *******
moment in poetry:
it's like the development of the cut-up technique
beginning with Tristan Tzara and the Dada "school"
of "thought", developed later by William Burroughs
et al., it doesn't have to be fixated to a definite
curvature, a smooth narrative, this is poetry
in a boat, during a storm on the sea, it's not a Cambridge v.
Oxford boat race on the pristine Thames...
some critics ascribe such methodology as either
outright stupid or by psychiatric definition a word
salad, but it's simply kaleidoscopic juxtaposition,
it really is a dog drooling ultraviolet saliva onto a
canvas, while someone shakes his head
(preferably a bulldog, or a boxer, or a St. Bernard)...
oh look at him, such ***** eyes, gotta just cuddle him...
i'm not using newspaper snippets, as if writing
a stalker's letter, cutting out letters and gluing them
together on a piece of paper... it's spontaneous
combustion (most of the time)... the only method in it
is that there isn't a method to begin with...
unless randomisation of a gaseous substance with
that hectic squash game of atoms is the adequate
simile... if i were to say that was a metaphorical comparison
i'd be walking through foggy streets of London (circa 1884):
after all words have only a one dimensional interaction
that's the existential recipient of all of them,
the existentially affirmative aye - i left the other
affirmative word thought among the others,
since, sometimes, as in the cases of melancholia, thought
isn't necessarily categorised as affirmative, relegating,
drowning the prime affirmative aye with its awkward
structure (form)... all the words must pass through the ego,
not all of them have to pass through thought,
the ones that bounce against the squash cube wall that's
ego make it onto the page... more do so when compared
with treating thought as the wall and the effective structure
for the rubber ball to bounce against.
me playing squash? oh yes, very much so, loved it,
played about 4 times a week, better than tennis,
which is why no squash tournaments are televised, it's
not really a spectator sport, it's too enjoyable to have
a passive public... it's a sport with the player in mind,
like a horse attached to a carriage with those shutters
over their eyes; so now what? is poetry not allowed to
look like a ******* painting, randomised and incoherent
when compared to the standard practices of narrators?

painting pictures in my head
with the brush of memories
that exist because i do
& so do you

discovering & remembering

being in two places at once:
here
&
the part where i'm not anymore

two narrators in my mind:
soak it all in, it's beautiful
&
because you soon you won't be here

browsing through the works of art
stone carved in my mind
will sustain me & soothe the pain
of missing the pieces of my heart
i don't get to touch everyday

& from now until i hold them again
my mantra will be:

these goodbye's are temporary
soon we will meet
on the other side of ourselves
& i can't wait
to get to know you again

The last letter of blatant words condemns one’s thoughts
Yet, truth and lies hurt in our freedom of religion

Unbelievers speak and fight their own slanderous path
Yet, modern romanticism thrives in bitter sweet times

Writers critique riddled lyrics and light of knowledge
Yet, question wordless replies that have doubt to smile

Lame philosophy torments innocence minds like grains of sands
Yet, eternity calls outcry in the sword of defence

Unbendingly cliché, the stern morality of betrayal
Yet, our hearts voice goodwill without idleness

What do you have in the ability to survive in the external world
Yet, the division between persona and new blood Christianity exist

Mixing fact with fiction how fluid is identity with unreliable narrators
Yet, they are purged with pride though still live in darkness of the past

But, no man or woman has written their epitaph
Yet, the anonymous voice has the final say of words

The cave, a discovered diary.
Rock walls, pages of history.
Etchings and markings
A social commentary,
Buried for an eternity.

Lost in a melee
Of storms and hurricanes
And earthquakes shaking.
Depictions of life,
Of civilization in the making.
Messages chiseled
With muscle and blood,
Signs of existence
Where communities once stood
And thrived on the need
Of food through labours,
The skies, the trees
Their pagan saviours.
Dark rains that poured
Before the construction of Zion,
The shifting of contours,
The shaping of horizons.

Art: the first form
Of true communication.
The observing of omens
Through pictorial narration.
Lessons unlearned,
Warnings unheeded
From a time when the promise
Of future was seeded.
Histories left to benefit man
Before possession was borne
And conflict began.

A legacy left, designed by tribes
From an ancient time
For narrators and scribes.
Their duty to record
An ever-changing world
Through parchment and pigment
And the spoken word,
For future species
Of woman and man
To strategise survival,
To project and to plan.
Knowledge more likely
To be buried, interred,
Then discovered too late
For lessons to be learned

Copyright Marc Hawkins 2017

Probabilistic thinkers

post hoc narrators, experience
teaches us mistakes,

we learn to walk by falling down.

we never really learn to fly.

I don't want to write about love or beauty
I don't even know if I want to write about truth
my past is filled with unreliable narrators
and hazy bits of memories and thoughts

they tell us in school to write what we know
but even what is known is unknown
and even things I have seen I can't believe
blanks in memory filled in subconsciously

sometimes my brain reconnects the dots
and it feels like I'm remembering all the bad
all the things I never wanted to see again
especially not right before I fall asleep

that's one of the reasons that i don't
"think"
                                          that **** sapiens
   exists...
            it seems that from dementia
praecox's evolution into schiozophrenia
has allowed a poetic evolution
of spreschen...
                     you can write subjectivity
and subjectivity,
       completely devoid of polar attitudes
as to how the word is accomplished
  in a sentence...
  but in terms of objectivity?
   you always tend to side with the people
who cite "objectivity",
       i.e. third party narrators...
   these this precursor stress
                                       for a necessity
of ambiguity...
****'s sake, like inverting a caron
   into a circumflex...
               ^ > <              ? the ****?
      yeah... manga
    why wasn't it ever > <
                                         _             ?
ob.                             human



animal                      sub.

   if there's a subconsciousness,
   surely, given the prefix-rule,
  there must also be an obconsciousness...
    that's ******* with my mind
right now...
  but, after all, there's the categorical
foundation...
                  we already have puritan
objectivity... it's called physics...
dynamic (ɔ) - an "invisible" hand:
       ball (p) smacks against ball (b)
and you have the dynamic (c),
   i.e. ball (p) stops moving,
              and ball (b) moves from
    the interaction.
               journalism isn't a science,
  you can't be objective as such,
                you don't have the safety of
                          a lab. slothing away at
some mundane experiment...
      in journalism you only have 1 chance...
you don't get to compare
                      within the concept
   of heidegger's dasein...
         you're there, be a ******* journalist!
objectivity to me is a myth of
  pompous brats who really want to
reach the apathetic potential of
                            a psychopath;
that's all they're doing,
                      imitating psychopathy;
and might i add? very poorly...
           the ultimate psychopaths,
i.e. giving the most objective: oops?
                      the manhattan project...
  so yeah...
   "objectively" speaking i'm a late cousin
of harambe (the gorilla)...
   but subjectively i'm equipped
   with the ability to write,
  something like this, rather than reduce
myself to a rainbow onomatopoeia of
    syllables, imitating a human
  coughing or sneezing or laughing,
  rather than a gorilla intimidating
        a contender for his abode and harem.

you hear of it: oh ****, so much of woman
in everything pro contra wom-ah...
  she just said it was weird that a guy
wanted to **** her her on her period,
thankfully this time round she mentioned
mr. rubber, and doing  it in the bathroom...
   because, "apparently"
a lot of guys found it
disgusting... then she said: take the rubber
off, let's make a baby! oh right,
heliums around us? no? ****...
     what's become disgusting
is yet another question of: huh?
        you can do unprotected ***,
but when it comes
to some sort of "emotion":
say hello to ms. ****-buddy-****-forever...
ah, but she's a rich *****...
     has a prior boyfriend in the russian
defence etc., and has a st. petersburg
     apartment... it's not like she's poor...
hence me waiting for a bolshevik defence
to hand the **** and ****-loader
unto the guillotine...
        come on, the guillotine is,
to be honest, a rather civilised method
of execution...
       better than hanging...
    with a gamble of: high enough
to break a neck, or low enough to dangle and
choke on the suffocating ooze of state sponsored
monday...
           i never thought
the guillotine was brutal,
    i always thought the guillotine was
humane in comparison to the practice of hanging,
or decapitation with a blunt axe...
  sorry...
    but at least there was some humanity
worth engrossing oneself in a faking of an escape:
to prove the point of the spirit of propagandism,
i.e. default "failure",
           or rather failure via "default" -
at least there was an attempt that required
a failure to prove its success in being a failure...
let's applause!
      shame to see such "loss of interest" in terms
of spelling...
   when so much can be given in
the aggravated form,
some say charlie wished di, the fate current
for ***** and harriet as now prescribed..
                who the hell asks for writing to
be akin to an i.k.e.a. manual?
most probably a pseudo-irishman...
             i can't believe some people want to write
an an i.k.e.a. manual....
                 and never have the imagination
to invoke a chance for nuance, suspicion,
or a "fictional" monochromatic "bias" of
q. vs. a., as is usually the case;
it's rather abhorring to be demanded
             an i.k.e.a.. form of narrative,
without a necessary imperfection that's necessarily
perfected...
                     having a plan breeds actors,
not having a plan breeds characters,
  which also means that by being
discouraging of characters, the narrators can
unshackle himself from the narrative role...
well, sure, great, women first,
i am pro matriarchy, but can i be the first,
officially recognised and respected
house-husband?!
                  no? guess not.
                       that's sexism!
                        why can't i be a househusband?!    
why are you being sexist?! we don't you
like coal-mining?! you're being sexist!
sexist! sexist! why can't men be househusbands?!
******* sexist feminists.

your magnetic strung up
hydro fields sit in this
delicious precarious
silver storm
of my new June

your rain tethers on
into gentle purple trees
across from the NE window
where I sit perched
in May's altostratus fogs

your gliding about
the unrequited escapings
of my consciousness
or lack-there-of
my unresolved words
now tracing across lined sheets
of which I sip relentlessly

i am thriving
off unreliable narrators
to which I cannot name
achilles' heels
to which I cannot see

neither you nor I
can make sweets
out of
these bitter
and too often
extended
metaphors

Sugar coated verbiage
Lengthy sentences
Phrases sink in sunk places
Spaces containing
Made up boxes
Fan open and spill
Plot twists and tone shifts
Into our visual ears
Eyes become narrators
Hard cover to unwanted thoughts
Get lost
In fantasy words
That make fantasy worlds
When pieced and assembled
Precision of a surgeon’s knife
Hidden in stamped black ink’s life
The title makes sense

~kb

I remember how you use to hide your tears inside the downpour.
Always prayed to be the one to  lift and be your Savior
Your teary smile my downfall yet in my eyes you grandeur
Poetry in motion by elegance you revered.

This is sincere, a window to my soul inside its depth you have peered.
A piercing light from your eyes luminous it appeared
Breaking through the dark in me and now the sky's seems so clear.

There's no fear
From this day forward I will be your smiles protector
Behead the evil of this world , headless, it's decapitator.

In this life we narrators
Idling as life unfolds, never in control. Jesus take the wheel.
merely passengers.

Fake freedom sold to us
Like caged birds our path to true freedom locked. The holder of the key under the impression it's what we need or want.

All I want is to build a life unencumbered
Put in the effort reap the rewards
Without all the judgement
Our beliefs may differ, tolerance.