it happened to me like it once did at the Gants Hill
Odeon, i supposed to see Jumaji,
instead i saw the Little Princess - with two old women
knitting - don't know how it happened -
the little girl got out of the attic like a revision of
Cinderella - somehow - later i ran skipping imitating
a deer hop home - i don't know, i must have been
10 at the time.
i said i was seeing Nabucco - but instead if was seeing
a version of operatic Goethe - (gef eh), read the work:
die leiden des jungen Werthers - the sorrows of youthful
Werthers - can everyone stop the ******* clapping
before the act is over, stop your provincial habits
like eating food without a knife only using the fork!
**** me... stop! you do it more so during ballet -
but in opera? please! stop that seagulls' flapping of wings!
mind you, that's how it goes these days -
tourists from home counties are seated -
pensioners - who apparently have no money -
i'm 30 this year, you think i wouldn't spot someone younger than
me in the oyster shell of an opera house dome?
a few, by a few i mean arithmetic of one palm of my hand -
that's about as many youths appreciating classics -
no more thereafter.
so i sat there, i was told it was Italian opera,
later i was told it was Wagner (i hate Wagner) -
but there were french horns in the orchestra and the opera
was done in french, what the ****?!
so adding the dot dot dots... the french are real bores
in Opera... the french can't do opera! for the love of god
they can't do opera! i admit a almost cried with
a dying wish and a toilet break when Werther sand his
last - i almost ****** a tear like salting a curry -
but the French CAN'T DO OPERA!
the German can, Italians too - let the French write philosophy,
the French CAN'T WRITE OPERA -
although the fourth act saved the entire spectacle -
i do admit with the back of my mind present
that the children's choir was a salvage point -
oh poor Werther - soft-spoken German, must be either
Saxon or slang - *verter - vide cor meum -
the French aren't allowed operatic expression -
banish them toward the ***** of Stendhal - banish them!
but you know... i can count almost half a year to
respect my memory since i last stood in an urban environment,
with Duck Trump accents demonising the air -
so tacky, so ******* out of place...
prosthetic limbs equated as people with their
tourist visa permits scaffolding the areas where
a Guinness sells at 5 quid while in provincial pubs it sells
well under 3 quid - i came up with a maxim along the way,
waving Kant's critique of pure reason along the way
(exaggeration, well and truly established, necessarily) -
a book contra a mobile phone use -
when i got back to the outer suburbs of London, or "London",
or simply greater, after seeing the panic in the central
sphere of commotion, i simply said the words:
an hour for them is a day for us.
an hour for them is a day for us - drop the paranoid
straitjacket clause revised -
there is clear distinction - in my fashion i was worth
less than £100 - most people where worth per item an excess
of that - London is an eerie place there days -
e.g. Sarah (33) communications manager -
an Arab stole her chance for a one-bedroom box or
something resembling living space -
Eve (24) -property guardian etc., 27 people sharing
one kitchen, quasi-squatting in a removable van of brick;
Aletheia (33) back with her parents in Brighton
(cue the scene from Hellraiser: Inferno - the last
scene, the noooooooooooooooooooooooo! and your childhood
bedroom) - well, d'uh; t'ah d'ah!
London is eerie - the only person smiling was me,
the rest of the people looked boxed, Hammersmith
Hamsterwheel types with duck-taped around their foreheads the
slogan: jog on... jog on, keep calm, keep on jogging.
you said Doreen or did i say Doreen and was this a
short-term memory placard advertising a "wish you were here"?
the French can't do opera - they're the same bores
in opera as the Germans are in thinking -
Jules Massenet did no wrong but undid so any wrongs -
but then crescendo! the most ****** fragment of the opera -
next to me a plump beauty with her boyfriend -
throughout the second act our arms were touching
and i rhymed my breathing to the rhythmic of hers -
clothed, neither naked, neither penetrating -
i guess the English pinnacle of ******, chaste -
in the third act our legs were touching sadistically knee to knee -
nonetheless London is to tacky - so eerie - so foreign -
so not imitable English - forget Soho or the East End
like you already forgot the folklore of the ancient
English smog of the 18th century chimneys -
it's gone - bye bye - it won't return - it was never intending
to return - it seems only Camden remains to be levelled -
or Vauxhall... we'll all be rich phantoms by then -
whether a real swimming pool for the rich or a virtual
swimming pool for the poor, it won't matter -
dreams will hardly be summoned for poetic partisan expression
bewildered as to whether the simulation or the actual partaking
are that far apart - it won't matter -
such a night in London i summed up with words:
for them an hour, for us a day - the discriminatory relativity
poker-handed us the ****** expressions that way -
but in the countryside... so much air, and so little
minute phobias grown into offshoots of skyscrapers -
so much air... so much air... so much air...
and no courtesan airs... bow... mm hmm... huh?
THE FRENCH CAN'T WRITE OPERAS!