which makes sense eating an english breakfast
at 2a.m., and then whining:
where's the sunrise, and business of day?
but i do love how certain people can extract
a narrator out of me, a potential to be as such,
capable to exfoliate. and in my own secret
space i am milking the she-goat,
and i mean: that's quasi-Hindu given the lack of
vegetarian experts...
      i mean: having been
most benevolently excavated from placebo solipsism
a cure to experiencing schizophrenia,
i find the crowd once again, but that doesn't mean
i'm writing from a crowded scene...
i'm simply devoid of commuter squabbles, let alone
those prancing arcades of blinking lights that
are known as the protestor crowds...
   i sorta of don't get that scene...
i just don't see the need the rush for the commotion...
  wait... let me get my banner...
(enter snigger) -  i'd be more handy with a
kalashnikov or a molotov dead-end
that i will ever be.. sheep-shy-sheep-bound
to hoister a banner:
    i just think repetition is a bit of a dead
given samples in music, and how you can re- re- refresh
      on the scratched-vinyl altar...
(how a noun for again: in Latin,
  became shortened to a prefix re-, so that
it could be made into an adequate "grapheme"
builder to note things like: resaid, regained....
without it: on crutches, alone)...
maybe i'm not even zeitgeist,
and wouldn't that be a real worry for me...
   i'd start seeing the vietnamese
nail nuns... asking that it becomes hard, acrylic...
   feline grr... scratch that *******'s
scalp into an Ed Gein mask...
oh sure... the jokes are free from this point.
but i just *** it away,
farting like a zeppelin...
              and really, language could never
be poetic and alphabetical at the same time...
that bogus bow-tie bachelor of bloom
would never help to solve the daffodil's lack
of bloated turkey in april debate for
one Frenchman's vision of
         caging a > / < b...
                 subsequently c... no one new
whther a > b or whether a < b...
were either a < b or b > a? to later state a c?
talk to a greek: he won't know what the hell
you're talking about...
why is why greek didn't employ siamese
principles regarding vowels to expose
          the difficulty, of coupling consonants
into covert-graphemes... phi non-vs. theta, e.g.
perhaps ratio *******? a : b : c...
no? it's a lot to ask for when there's no real punctuation
to be sordid about... i already stated:
   how the Romans cut up words
isn't exactly how the Greeks cut them up...
  when you cut up a word
the roman way, you work from the principle
of a grapheme... or the φoνoς,
beginning with æ - some might call that
as merely: tongue tied, or tongue numbed...
ello ello... but there's a clear sound...
apart from the sounds encrusted in h, w, y...
     but it's exactly what the doctors ordered,
given they become sort of truant with
the Hippocratic oath...
   the φoνoς finally belongs parallel to the
Heraclitus λoγoς...
based upon the sole prime of how individual sounds
were noted...
i.e. it had to mean something, so Heraclitus
was looking for "the" word, only because
individual greek letters were giving a noun
status, rather than a sound status... there was
no φoνoς principle in the greek alphabet...
letters weren't mere sound units, they had the status
of nouns, which is why they became pivots
for keeping them as such, in a hierarchy of
optical superiority above the Roman encoding,
ranging from mathematical or chemical coordinates...
which is why the Greeks have no good music
these days: well, apart from rotting christ...
and aphrodite's child...
          the Greek tongue has no idea of a grapheme,
(μ, ν, ξ and π don't even come close...
  the grapheme principle needs a siamese graphic:
the cited examples would require
   a siamese of opposite sexes... and since i haven't seen
such an example... i beg to differ)...
there's no siamese entity in it, there's no æ...
nothing Greek is explicit in sound,
which is why i guess the lisp comes from...
they're eating custard every time i hear them talk
or whistling via a pigeon feather turned into
a flute... ****** fla fla... falaffel and theta cheese...
oh but there is, it exists in the realm
of consonants and vowels... rather than among
vowels, exclusively...
      but that is why Heraclitus invented the λoγoς...
he contemplated the λoγoς because he couldn't
see the φoνoς, given that α couldn't
be taking a seat in dentistry and saying ah...
   or that φ couldn't just end with phi...
but had to lead onto a complexity of φlosophy...
and god... look at the mutilation of aesthetics
with that one! the λoγoς isn't that enigmatic as it appears,
old, dusty and about 3000 years revised too late...
  not with what the Roman caricature of
the λoγoς actually is... a, b, c, d...
or how close proximity deviating from the λoγoς
makes the φoνoς pop out...
  why / i              y / why
                               see / c
        b / be
                              a / aye / i / huh?
     t / tea                     p / ***
                      q / queue / cue...
     this is the limitations of the φoνoς...
  and only with the φoνoς being presented will
Heraclitus ever find the λoγoς, that might
suggest to him: α, will never have to be suffixed
with -λφα: cue -λθα.
- the reason why he concenptualised it
is because Greek gave restrictions on how
the phonos could be constructed...
   it couldn't! it revolves around the Greek alphabet
being noun-based... logoístic... rather than
pure phonetic carrying the ideal shrapnel...
       Heraclitus thought up the logos
for the sole reason that Greek stated
α as αλφα... rather than αλθα... or merely α
(and then you'd sing the rest, say #a)
hence the concept of the logos... but not the phonos...
because even if α or β could attain a status
of being a grapheme... both would forever remain
a noun... a word: rather than a sound-unit...
or as the moderns like to call them: sound-bits...
only because of the roman concept of
a grapheme does this arise from: the æ
testmanet of an Adam and Eve, clearly making
******-***** differentiation appealing...
so a return to the thesis of androgony?
  what, make the world siamese?
you ******* kidding me?
listen, the only problem about being genius
in poetry is that: well... there aren't any shortcuts...
you want to write narrative like exponents,
but you are writing something that's to be read
standing up, like watching a canvas in an art
gallery... this isn't reading a Tolstoy reclining
in bed, the counter to turning on the radio and
listening to music to fall alseep...
   i can't simply destroy the narrative principle
that poetry is also prone to...
    and trying to provide the equivalent of
a mathematical proof / equation in purely
linguistic symbology, will eviidently mean i'll be prone
to spaghetti / digression...
     for example stating a + in language is really
a problem as to how you can comprehend me when
i write: i see a an auburn flame of a setting sun...
      is that only one + or many in that sentence?
   educated as a chemist, son of a roofer...
  am i really middle-class ponce concerning this?
do i ******* look like i'm gearing up for a tea-party?
   basics... well, better a summary than
giving a vanity project to this narrator...
poets indeed are anti-novelists: there aren't
any characters in their works,
the only thing more numerous in poetry than
characters in a novel... are the narrators...
   Heraclitus spoke about the logos working from
α = alpha...
   i'm speaking about the phonos working from
a = a multitude of sounds...
             which is why they revised this *******
alphabet with the NATO of alpha romeo...
     zulu and i should probably state: *******...
   that's the whole principle of the phonos...
to work back to the logos...
         and since Heraclitus is a bit vague about
the logos in itself...
      it has to come down to Hippocrates talking
about freeloading on ***** when
   you receive cancer's foetus and try to alleviate the pains.