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Nov 2016
i just don't some things,
i don't understand that under the pretense
of writing very little
being able to write a rhyme is enough
to suggest that you're toying with
an art-form...
   personally? i don't know how i got here,
but right now that doesn't really matter.
the whiskey is cold and a cigarette is
only 10 minutes away, gone is the macho
strive to impersonate the Kray twins,
or in that line of thought: blue for boys
pink for girls,
why is the transgender movement happening?
erm... could it be because of
gender stereotyping?
   it probably has nothing to do with
annexing the words from St. Thomas' gospel,
it could really be a rebellion against
                 gender stereotyping...
out comes a woman dressed as a nun,
then out comes a woman dressed in a niqab....
  curtain-sellers! i knew it!
                 what's pajamas in punjabi?
     chuckles?    chack'ah chuck chittering?
**** me and a throng of sparrows, land ahoy!
what i don't get is that there's a science in poetry,
poetry for its lack of volume gets this leechy
science of itemisation, this vague anatomy...
i don't think i write for an anatomy,
i ****** well hope i don't write something
worth an anatomy... i basically write to give people
a feeling of eating sushi, or raw red meat...
    i entrust them with the notion that it's a narrative
that needs to be there between having a glass
of whiskey... i don't write with the hope of being
itemised and stripped bare by some English students
equating a metaphor with liver...
******* bog-standards... i really do not understand
this whole concern for a hussle-and-bussle
that surrounds poetry: you have a ******* pelican
taming the skies, why invite a Mongolian beehive
to fill in the blanks intended with "notes"?
     it's to do with the fact that you don't need to
strain your eyes, *******, it's not:
i write sparingly so you have to comment...
           why note the ****** crap from four words
when you're intended to sorta spread them out,
and feel them over a spectrum of a few days,
so that there's no synonymous-amgiguity ascribed
to them, which means you can act upon
deviating from the idealism of words thought,
and antonym them within the realism of words acted
        i just can't stand people mutilating poetry,
they're not even performing a postmortem surgery,
they're hacking at a stump of wood
    in a forest, when there are so many trees to be
               again the point... maybe the transgender
movement is due to the fact of gender-stereotyping?
blue boy, pink girl, salmon fading pink of shirts on
metrosexuals? hey, Sherlock! i'm not the answer!
   what i'm bothered about it the fact that
poetry attracts bothersome flies...
who feel a need to make poetry into prose:
economically speaking, yes prosaic literature is
worth the money, with more words in a chapter than
in a poetry collection.. how's your eyesight though?
    then there's this girl, a Joe Pachelbel (sorta),
and she does the worst thing imaginable to poetry,
the educated norm...
              the bothersome fly bit...
              it's just narration girl, it's just narration
too lazy to invent characters fake schizophrenia
          and say too many words that don't appear in
urban conversations about a ****** or a juicy mango...
and that's why i think people are put off poetry,
the fact that poetry is like this magical artefact that
might give you eternal youth... that you have to
scrutinise it so much that you almost get sick of it...
you couldn't even if you tried put a question of metaphor
into a journalistic entry...
                      so why put so much science into
an area of the humanities?
            where's the feeling part, and the part where you
have to create volume from poetry for it to compete
for an existence alongside prose?
    most prose works these days don't even deserve
a campfire anyway... in the same way that poetry shouldn't
really accept all this excess of narrative,
it's like people who read poetry are characters in
    a prose novel, they're asking for the part of
lynching the narrator into suggesting less ambiguity...
   in prose the narrator is almost too easily discredited
from playing chess, in poetry the chess pieces gain
consciousness that they're being moved and subsequently
rebel and ask too many questions...
          what the **** dragged me into this realm?
the question serves itself...
   and even donning a cravat or a boutique corset you
suggest not talking *****...
   then off the donning attire gets ripped,
   and it's heathen sprechen in onomatopoeia of
knocking on a door to open, a flower to open in spring,
a ***** to get juicy, and de Sade coming home.
                i say fiddle with the idea of a river...
  end this bogus fly-trap of people playing surgeons
with poems like they might play doctor with dolls...
                 it's getting annoying:
it's written sparingly for a reason, the blank spaces between
the words is not a prompt to comment and vandalise
the poem, which they do; pristine bourgeois? you'd
think, wouldn't you... graffiti on some urban slum wall,
a comment in a poetry book: same ****, different cover.
i never understood why they needed to say
so much about poetry in order to make it
economically viable to compete with prose custard,
     i just thought: poetry and photography are akin...
say much more than the photograph endorses
and you've just started blinking...
         which to the photograph in-itself means:
  look at another if your eyes are watering with
            peppery tears that itch; and another... and another...
and another.
Mateuš Conrad
Written by
Mateuš Conrad  36/M/Essex (England)
(36/M/Essex (England))   
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