i think i chose the wrong artistic medium
to express myself,
i'm expressing, that's undoubted,
but as we all know success in the marketplace
needs you to be tacky, cheap,
ready for the tourist memorabilia,
too many professions attacked poetry,
first the philosophers, then the psychiatrists,
it became a beehive of femininity and teaching;
no, i definitely chose the wrong medium,
there's no raw product, the un-popularity
of poetry is due to the memory-market of
vocabulary, there are no raw materials used,
no paints or brushes, just backward experiences
used for the banking of investment,
poetry is either cheap or priceless,
a poet can confuse someone like a tarantula
what a philosopher must do in dialogue or paragraph.
my father was never taught german,
i rekindle the strangeness of germany on the autobahns,
eerie feelings feed the warmth of former home;
and they do, every winter i remember travelling east
from west germany always appealed to me for its
melancholia unforced where rome's light never shone,
britain is the perfect historical satellite,
it's moaning like a ***** when rome ***** her
and she becomes nostalgic... the ideal ***** i say,
she wishes rome's return like a boomerang.
'killed the wallaby?'
'aye and koala too.'
'**** the Tasmanian devil?'
'if only there was an angel to counter
freckled ****-in-boots readied dodo.'
capitalism is really heavy on poetic shoulders,
given that poetry doesn't sell, it's a near-identity of
dodo, near extinction, what will remain of poetry
in terms of language expressing poetic technique is rhyme,
the other rhetoric, rhyme the other rhetoric, sounds good,
nothing like couplets making you speak more, or more
persuasively: and all will be song, and no volatile
singled-out voice in the wilderness speaking,
whether actual with honey and locust diet
or homed wilderness of click click pixel algorithm.
poetry is almost like classical music these days,
with bach's wedding cake layering: there's a difference
concerning poetry and classical music:
classical music is almost non-vox, whereas poetry
is almost pure vox,
polyphony must be translated - the layering,
poetry must listen to bach, instead of sounds it
must be a poly- of subject matters, after all polyphony
is impossible given symbiotic otherwise chiral
resemblance: cat, kettle, knife (silent k),
                        psychology (silent p), gnostic (silent g)
                        pseudo (silent p), wrath (silent w), etc.
πολoιθεμα (many subjects, rather than sounds if poetry
was music, but it isn't): anecdote,
in england your ability to engage many subjects in
a conversation (the only antidote to engage with dialectics)
is summarised and thanked for by: you need a girlfriend;
good to be appreciated.
poetry has to change, it can't be as monochromatic and scarce
as it allowed itself to be, it has become akin to atlas
holding up the globe of the monochromatic theme of love,
modern poetry idealises too much, itself not the ideal medium,
after all, poets don't invest in oil paint, canvases,
brushes, studios, these compact artists need to escape
the sheered sheep laziness when engaging with the world,
first of all, they need the shield of honesty,
and a sword cutting through their comfort zone of scarceness
duping them into an adequacy of expected productivity.
and what will keep πολoιθεμα sustained?
the once famous enemy and murderer of poets, kant,
and the concept that fuels this poetic project:
per se, poetry has to become a relief, tentacles of an octopus,
range beyond the vector of safe coordination,
the only subject of relevance of poets is poetry in itself,
make poetry scarce in terms of aesthetics... but make
it distracting, distracting enough to be engaging.
what i mean by the poetic aesthetic is that
it's written with scarceness in my - but so much
blank space is left for so little wording,
it's almost like a telescope enlarging a needle-head,
of course you can keep it terse, keep it neat,
but will you vouch to keep it remotely relevant?
prose is far more economically sound in terms
of ink use and two-dimensional wood compressed,
it's economic to write prose, and less economic
to write poetry, and due to a forced interaction
with poetry, many more songs are heard
by impasse of laziness than poems are uvula coupled
for a sunday feast: where sabbath laziness was replaced
with a need for prayer; odd.
see these gesticulating lunatics before a non-existent
subject they poured so much attention at,
so many subjects appear so the non-existent object
can be gratified in the mimic or mute fluency:
not a sound mind among them, yet still the need to
assert some direction worthy of both prayer and
sacrifice... their salah is like a whirlwind of
cognitive contraception: put a ****** on your head
and be safeguarded against the thought of
refrigerators / frozen meats... and with prayer
all hope withstanding cancer; ******* lunatics;
islam is the best example of prayer, i could handle
the christian need for ******* at the stump of the crucifix,
but muslims mumble when raising their *****
to be ****** by shadow satans, and it's peculiar
to see them in their psychiatric asylum known as the mosque
freely going about their daily business
(personal reasons for criticism - given the pervasive
spirit of a few that tried to convert me, one that
almost killed me - and this need to be literate from
only one book, rather than many - this inherent
perception of a superiority of any monotheism,
which evidently implodes and provides schisms,
a bit like a w. b. yeats poem: things fall apart;
                                            the centre cannot hold).

                                                         *θ = φ.