Oct 2015
and while adam inherited the sunrise of eden, the devil inherited eden's sunset;
so that writing about something is less satisfactory
than what was never really envisioned, but otherwise handed
with the befriended samael away from library or cocktail party,
**** writing i suspect, but the feeling is too immense for words
to capture the images that were sequenced in that frailty, because they were fleeting moments; thus the night's former admiration for the eyes to behold, the lowered horizon of the moon in such bulging yellow as might encompass the frozen one of winter's heights.
how can language be made believable in the sense of
creating images out of words?
here is an example,
and man did his "buddhist" bit under a tree in the
night, on the field he fancied himself a stranger
but a place he forgot to frequent.
upon return to civilisation from equating
******* of sexuality as that of the ******* cut
before being able to be experienced
laughing about it,
he walked down the hill,
a herd of deer made it onto the darkened streets and pavement,
the stag died, the harem was in disarray,
but the youngest one did not follow the herd
and turned into the street the man was walking on,
in lightning momentary genetics of similitude via atoms
the man looked at the young deer mare
and told her: run! with eyesight.
then came the sight of the harem herd at the crossroads,
and thus this same man started galloping, wild at heart,
herding the deer mares back into the forest.
be warned, i had witnesses who would vouchsafe that
they saw and that i too had eyes.
this is the equivalent of heideggerian expression of this one
remaining truth: man, he who herds animals,
he who domesticates animals also.
i never write from fantasy, i experience my sickness
as a woman weeping in my mentioned care for mentality;
it's simply... the misery of not being with me, being near;
thus i reside writing from experience,
nothing more, nothing that could make me give into
the modern twist of fashion and fame:
only fictional characters elevate any mention of realistic fame,
all the real people are journalistic target practice;
fifteen minutes are up! time to create fictionalised celebrities,
and that time is upon us.
thus the problem with fiction, given this poem.
i imagine the women after muhammad's death, just
to make it easier for you to imagine a man with this harem (otherwise herd)
of deer mares; i frequented populated places too often
in winter, now spring's passing deflowering comes sepia-like,
thus i can unbutton my need to cherish human interaction,
and return home, forest bound.
thus we say, unto clarice lispector, wild at heart,
thus we say, written out of parring against images that haunt
the schizoids' arable need to see in colour and phantom; i cannot;
take it or leave it.
if this is my best itemisation of events
then i didn't run the deer off the street to allow the traffic to
pass, but because i wrote it like picasso drawing 90º metered
into hammer blows in architecture class
doesn't mean it didn't happen, it only means i wrote
it like the remnants of a child in an ageing man - which suits
the quote by him, be an artist by remaining true to childhood,
ensure there's no precision no schooling
in the work you try to vogue, because it won't vogue
after all, given you're still encrusted in imaginary befriending
and dreaming, just remain true to childhood
and your art will not become overladen with itemisation
of *** being the last remaining frontier away from
the antarctic, the alps and buddhism;
indeed all children are born artists, but only a few
make it art in adulthood, most make it to jealousy
and marketing or sleepwalking into selling furniture
with hope to buy it back into self-employment,
that's why art is borne from those who cherish childhood
and think less and remember more.
so ardent me within her deer-like to her prance jesting happy
jump-over invisible fence-like structures content
with the *** so full of life, and her, the *** of so much potential for death
ably being guarded to return, out of man's sight;
i didn't even bother to count them to a number;
i hate it, beauty cannot given the righteous expression,
letters are nothing but skeletal compared to the muscle of images.
so that writing about something is less satisfactory
than what was never really envisioned, but otherwise handed
with the befriended samael away from library or cocktail party,
**** writing i suspect, but the feeling is too immense for words
to capture the images that were sequenced in that frailty, because they were fleeting moments; thus the night's former admiration for the eyes to behold, the lowered horizon of the moon in such bulging yellow as might encompass the frozen one of winter's heights.
how can language be made believable in the sense of
creating images out of words?
here is an example,
and man did his "buddhist" bit under a tree in the
night, on the field he fancied himself a stranger
but a place he forgot to frequent.
upon return to civilisation from equating
******* of sexuality as that of the ******* cut
before being able to be experienced
laughing about it,
he walked down the hill,
a herd of deer made it onto the darkened streets and pavement,
the stag died, the harem was in disarray,
but the youngest one did not follow the herd
and turned into the street the man was walking on,
in lightning momentary genetics of similitude via atoms
the man looked at the young deer mare
and told her: run! with eyesight.
then came the sight of the harem herd at the crossroads,
and thus this same man started galloping, wild at heart,
herding the deer mares back into the forest.
be warned, i had witnesses who would vouchsafe that
they saw and that i too had eyes.
this is the equivalent of heideggerian expression of this one
remaining truth: man, he who herds animals,
he who domesticates animals also.
i never write from fantasy, i experience my sickness
as a woman weeping in my mentioned care for mentality;
it's simply... the misery of not being with me, being near;
thus i reside writing from experience,
nothing more, nothing that could make me give into
the modern twist of fashion and fame:
only fictional characters elevate any mention of realistic fame,
all the real people are journalistic target practice;
fifteen minutes are up! time to create fictionalised celebrities,
and that time is upon us.
thus the problem with fiction, given this poem.
i imagine the women after muhammad's death, just
to make it easier for you to imagine a man with this harem (otherwise herd)
of deer mares; i frequented populated places too often
in winter, now spring's passing deflowering comes sepia-like,
thus i can unbutton my need to cherish human interaction,
and return home, forest bound.
thus we say, unto clarice lispector, wild at heart,
thus we say, written out of parring against images that haunt
the schizoids' arable need to see in colour and phantom; i cannot;
take it or leave it.
if this is my best itemisation of events
then i didn't run the deer off the street to allow the traffic to
pass, but because i wrote it like picasso drawing 90º metered
into hammer blows in architecture class
doesn't mean it didn't happen, it only means i wrote
it like the remnants of a child in an ageing man - which suits
the quote by him, be an artist by remaining true to childhood,
ensure there's no precision no schooling
in the work you try to vogue, because it won't vogue
after all, given you're still encrusted in imaginary befriending
and dreaming, just remain true to childhood
and your art will not become overladen with itemisation
of *** being the last remaining frontier away from
the antarctic, the alps and buddhism;
indeed all children are born artists, but only a few
make it art in adulthood, most make it to jealousy
and marketing or sleepwalking into selling furniture
with hope to buy it back into self-employment,
that's why art is borne from those who cherish childhood
and think less and remember more.
so ardent me within her deer-like to her prance jesting happy
jump-over invisible fence-like structures content
with the *** so full of life, and her, the *** of so much potential for death
ably being guarded to return, out of man's sight;
i didn't even bother to count them to a number;
i hate it, beauty cannot given the righteous expression,
letters are nothing but skeletal compared to the muscle of images.
