the full moon is out, prime orb ever changing,
no talk here of grit and mundane,
i never speak of myself as a genius,
more like a plumber, i am, a plumber,
and poetry is like fixing a pipe,
i go in... and as quickly get the **** out,
it's painful to brood over volumes of excuses,
poetry is just as mundane as any other job,
it's a nasty affair of the heart,
whereas philosophy can build the Trojan wall
of systematisation akin to ever other sunrise or
sunset, poetry's wall is honesty and spontaneity,
divorce the two and you're writing poetry in
your spare time... ever wonder why Hegel etc.
didn't write their works in spare time?
it's because they were wholly engrossed, so that you
could speak about their "improper" jobs in your
salon spare time like a Pavlov experiment:
salivating drool to the knee like Rapunzel growing her hair;
there is no such thing as a failed artist,
unless his failures are best expressed by a woman
not having a hairdresser, i.e. the Assisi oath
of the Renaissance pundits - drunk stare twice,
carousel approach, master the spider-eye-effect
and you'll paint the Sistine chapel eventually,
catching Beelzebub eventually in colour.

i wrote an A-level essay on the counter-reformation,
apparently i was awarded the resulting grade with
much esteem from the post-graduate OCR...
hence the title... versus Cabaret Voltaire...
hence Cabaret Loyola... the former became a shadowy
version of the cure mixing with depeche mode anyway,
a mediocre club of cowgate in Edinburgh (cowgate
the origin of Heart of Midlothian football club, begun by
tango dancers or caleigh dancers or something)...
but in spirit of the cabaret as a makeshift church,
in guise of a priest, albeit spy-like plain clothes no uniform
no marching orders, the grand union, a marriage;
i know i didn't do the proper arithmetic on this example,
but how a marriage works when two poets collide,
Sylvia Plath's *new year at dartmoor (1962) a
and Ted Hughes' crow's vanity (circa 1972) b, i.e.:

this is newness: every little ****** (excuse),
looking close in the evil mirror crow saw
obstacle glass-wrapped and peculiar,
mistings of civilizations  (,)   towers   (,)   gardens
glinting and clinking in a saint's falsetto.
(with) battles he wiped the glass   (,)    but there came
only you, not knowing what to make of the sudden slippiness,
(a) spread of swampferns fronded on the mistings
the blind, white, awful, inaccessible slant.
a trickling spider   (,)   he wiped the glass   (,)   he peered
there's no getting up it by the words you know.
for a glimpse of the usual grinning face
no getting up by elephant or wheel or shoe.
but it was no good he was breathing too heavy
we have only come to look.
and too hot    (,)   and space was too cold
you are too new to want the world in a glass hat.
and here came the misty ballerinas
the burning gulfs    (,) the hanging gardens (;) it was eerie.

(as the priest added: dear children of the word / of words,
you have come to this blank piece of paper
so that the ink might seal your fingerprints
over one another in the presence of punctuation
and the literate community. literate union is
sacred in that it enriches others, but robs you.
it binds those who enter it to be faithful only unto
themselves and unfaithful unto others.
etc. etc. - and whereas some pinpoint the event:
afar in articulation the two horrid articles:
i do does not necessarily mean i will -
and with what ******* are you to write a prenupital?
the bets are off... the priest has gone mad,
because he can't be bothered revising the vows with
a secular consent)...

         yes, i did pair up the poems with one
arithmetic coming short and the other exceeding the potential
of interaction... after all, he lived much longer,
and she was baking cranium & cartilage pie in an open
oven.