There was a moment when he knew he had to make a decision.

He had left London that February evening on the ****** Velo Train to the South West. As the two hour journey got underway darkness had descended quickly; it was soon only his reflected face he could see in the window. He’d been rehearsing most of the afternoon so it was only now he could take out the manuscript book, its pages full of working notes on the piece he was to play the following afternoon. His I-Mind implant could have stored these but he chose to circumvent this thought-transcribing technology; there was still the physical trace on the cream-coloured paper with his mother’s propelling pencil that forever conjured up his journey from the teenage composer to the jazz musician he now was. This thought surrounded him with a certain warmth on this Friday evening train full of those returning to their country homes and distant families.

It was a difficulty he had sensed from the moment he perceived a distant gap in the flow of information streaming onto the mind page

At the outset the Mind Notation project had seemed harmless, playful in fact. He allowed himself to enter into the early experiments because he knew and trusted the research team. He got paid handsomely for his time, and later for his performance work.  It was a valuable complement to his ill-paid day-to-day work as a jazz pianist constantly touring the clubs, making occasional festival appearances with is quintet, hawking his recordings around small labels, and always ‘being available’. Mind Notation was something quite outside that traditional scene. In short periods it would have a relentless intensity about it, but it was hard to dismiss because he soon realised he had been hard-wired to different persona. Over a period of several years he was now dealing with four separate I-Mind folders, four distinct musical identities.

Tomorrow he would pull out the latest manifestation of a composer whose creative mind he had known for 10 years, playing the experimental edge of his music whilst still at college. There had been others since, but J was different, and so consistent. J never interfered; there were never decisive interventions, only an explicit confidence in his ability to interpret J’s music. There had been occasional discussion, but always loose; over coffee, a walk to a restaurant; never in the lab or at rehearsals.

In performance (and particularly when J was present) J’s own mind-thought was so rich, so wide-ranging it could have been drug-induced. Every musical inference was surrounded by such intensity and power he had had to learn to ride on it as he imagined a surfer would ride on a powerful wave. She was always there - embedded in everything J seemed to think about, everything J projected. He wondered how J could live with what seemed to him to be an obsession. Perhaps this was love, and so what he played was love like a wilderness river flowing endlessly across the mind-page.

J seemed careful when he was with her. J tried hard not to let his attentiveness, this gaze of love, allow others to enter the public folders of his I-Mind space (so full of images of her and the sounds of her light, entrancing voice). But he knew, he knew when he glanced at them together in darkened concert halls, her hand on J’s left arm stroking, gently stroking, that J’s most brilliant and affecting music flowed from this source.

He could feel the pattern of his breathing change, he shifted himself in his chair, the keyboard swam under his gaze, he was playing fast and light, playing arpeggios like falling water, a waterfall of notes, cascades of extended tonalities falling into the darkness beyond his left hand, but there it was, in twenty seconds he would have to*

It had begun quite accidentally with a lab experiment. J had for some years been researching the telematics of composing and performing by encapsulating the physical musical score onto a computer screen. The ‘moist media’ of telematics offered the performer different views of a composition, and not just the end result but the journey taken to obtain that result. From there to an interest in neuroscience had been a small step. J persuaded him to visit the lab to experience playing a duet with his own brain waves.

Wearing a sensor cap he had allowed his brainwaves to be transmitted through a BCMI to a synthesiser – as he played the piano. After a few hours he realised he could control the resultant sounds. In fact, he could control them very well. He had played with computer interaction before, but there was always a preparatory stage, hours of designing and programming, then the inevitable critical feedback of the recording or glitch in performance. He soon realised he had no patience for it and so relied on a programmer, a sonic artist as assistant, as collaborator when circumstances required it.

When J’s colleagues developed an ‘app’ for the I-Mind it meant he could receive J’s instant thoughts, but thoughts translated into virtual ‘active’ music notation, a notation that flowed across the screen of his inner eye. It was astonishing; more astonishing because J didn’t have to be physically there for it to happen: he could record I-Mind files of his thought compositions.

The reference pre-score at the top of the mind page was gradually enlarging to a point where pitches were just visible and this gap, a gap with no stave, a gap of silence, a gap with no action, a gap with repeat signs was probably 30 seconds away

In the early days (was it really just 10 years ago?) the music was delivered to him embedded in a network of experiences, locations, spiritual and philosophical ideas. J had found ways to extend the idea of the notated score to allow the performer to explore the very thoughts and techniques that made each piece – usually complete hidden from the performer. He would assemble groups of miniatures lasting no more than a couple of minutes each, each miniature carrying, as J had once told him, ‘one thought and one thought only’.  But this description only referred to the musical material because each piece was loaded with a web of associations. From the outset the music employed scales and tonalities so far away from the conventions of jazz that when he played and then extended the pieces it seemed like he was visiting a different universe; though surprisingly he had little trouble working these new and different patterns of pitches into his fingers. It was uncanny the ‘fit’.

Along with the music there was always rich, often startling images she conjured up for J’s compositions. At the beginning of their association J initiated these. He had been long been seeking ways to integrate the visual image with musical discourse. After toying with the idea of devising his own images for music he conceived the notion of computer animation of textile layers. J had discovered and then encouraged the work and vision of a young woman on the brink of what was to become recognised as a major talent. When he could he supported her artistically, revelling in the keenness of her observation of the natural world and her ability to complement what J conceived. He became her lover and she his muse; he remodelled his life and his work around her, her life and her work.

When performing the most complex of music it always seemed to him that the relative time of music and the clock time of reality met in strange conjunctions of stasis. Quite suddenly clock time became suspended and musical time enveloped reality. He found he could be thinking something quite differently from what he was playing.

Further projects followed, and as they did he realised a change had begun to occur in J’s creative rationale. He seemed to adopt different personae. Outwardly he was J. Inside his musical thought he began to invent other composers, musical avatars, complete minds with different musical and personal histories that he imagined making new work.

J had manipulated him into working on a new project that had appeared to be by a composer completely unknown to him. L was Canadian, a composer who had conceived a score that adhered to the DOGME movie production manifesto, but translated into music. The composition, the visuals, the text, the technological environment and the performance had to be conceived in realtime and in one location. A live performance meant a live ‘making’, and this meant he became involved in all aspects of the production. It became a popular and celebrated festival event with each production captured in its entirety and presented in multi-dimensional strands on the web. The viewer / listener became an editor able to move between the simultaneous creative activity, weaving his or her own ‘cut’ like some art house computer game. L never appeared in person at these ‘remakings’, but via a computer link. It was only after half a dozen performances that the thought entered his mind that L was possibly not a 24-year-old woman from Toronto complete with a lively Facebook persona.

Then, with the I-Mind, he woke up to the fact that J had already prepared musical scenarios that could take immediate advantage of this technology. A BBC Promenade Concert commission for a work for piano and orchestra provided an opportunity. J somehow persuaded Tom Service the Proms supremo to programme this new work as a collaborative composition by a team created specially for the premiere. J hid inside this team and devised a fresh persona. He also hid his new I-Mind technology from public view. The orchestra was to be self-directed but featured section leaders who, as established colleagues of J’s had already experienced his work and, sworn to secrecy, agreed to the I-Mind implant.

After the premiere there were rumours about how the extraordinary synchronicities in the play of musical sections had been achieved and there was much critical debate. J immediately withdrew the score to the BBC’s consternation. A minion in the contracts department had a most uncomfortable meeting with Mr Service and the Controller of Radio 3.

With the end of this phrase he would hit the gap  . . . what was he to do? Simply lift his hands from the keyboard? Wait for some sign from the I-Mind system to intervene? His audience might applaud thinking the piece finished? Would the immersive visuals with its  18.1 Surround Sound continue on the five screens or simply disappear?

His hands left the keyboard. The screens went white except for the two repeats signs in red facing one another. Then in the blank bar letter-by-letter this short text appeared . . .


Here Silence gathers
thoughts of you

Letters shall never
spell your grace

No melody could
describe your face

No rhythm dance
the way you move

Only Silence can
express my love

ever yours ever
yours ever yours


He then realised what the date was . . . and slowly let his hands fall to his lap.

Hey guys. This isn't truly a poem but a paper I wrote for English class. I wanted to share this view with people and this is the only vehicle I knew to use. So here it is. I hope you enjoy it.
-------------------------------------------------------------­--------------------------------------------------


The amplifiers were turned up to ten. The young and fresh crowd looked at us with anticipation.

What were they waiting for? As the music began I noticed the subtle movements and growing tension in

the crowd. Men shook their heads and we shook ours in a violent duet between the crowd and

performer. Women and men flailed their limbs as they awaited the ******. We knew when it was

coming; they did not. When we decided to let it all go I witnessed something crazy! There was a brief

pause in the music and when it began again we kicked it into overdrive. We shook our heads with a

more frantic pace. We jumped about like madmen. The crowd erupted; it became its own entity. You

could feel the heat and power of this new creature. We were locked in a violent psychic-sphere of

crazed young teens and when the ****** was over there seemed to be a sense of relief and happiness

in the crowd. Had my after school hobby become a healing agent, even if only temporary, in society?

This papers purpose is an attempt at piecing together the phenomena of catharsis by merging

philosophy, psychology, history and spirituality.



First, to understand the psychology of catharsis we must think back to the roots of this behavior. Since

human life has existed we’ve formed crowds for various reasons. The first reason held the sole purpose

of protection. Tribes of people, men as hunters and women as gatherers, teamed up for the benefit of

human survival. Erich Fromm says that “the meaning of life is not to be found in its fullest unfolding but

in social service and social duties; that the development, freedom, and happiness of the individual is

subordinate or even irrelevant in comparison to the welfare of the state.”(Fromm, 1947, page 51) This

states that a crowd is actually very necessary to the function of human life. The second reason crowds

gathered was in form of revel, shamanistic healing and worship of deities (Ehrenreich, 30). Men and

woman would often enter trances, speak in tongues and become involved in a collective ecstasy while in

worship of their God. In later years, politics, entertainment and rebellion or protest was a main factor in

the gathering of people (Ehrenreich, 102). People gathered at Festivals that were in the midst of being

suppressed and would dance in mockery of their Kings or leaders.



What exactly is catharsis? Catharsis is a purging of emotional tension brought out in a crowd through

the viewing of a tragedy or tragic play. In the article “The Power of Catharsis” Kearny says the following

More specifically he (Aristotle) defined

the function of catharsis as 'purgation of pity and fear'. This comes

about, he explains, whenever the dramatic imitation of certain actions

arouses pity and fear in order to provide an outlet for pity and fear.

The recounting of experience through the formal medium of plot,

fiction or spectacle permits us to repeat the past forward so to speak.

And this very act of creative repetition allows for a certain kind of

pleasure or release. In the play of narrative re-creation we are invited

to revisit our lives — through the actions and personas of others — so

as to live them otherwise. We discover a way to give a future to

the past. (Kearny 1)

I figure that, even though he states that it is a purgation of pity and fear, it could also be involved with

many other suppressed emotions. Take my introduction for example. These kids were not releasing

pity and fear, they were releasing their angst! They were releasing their desire for competition.

They were making up for the violent feelings of agression they felt in their body that had been

suppressed by society for so long! They were revolting! Could catharsis also be used to purge other

emotions as well such as ****** suppression or communicative issues?





How would one come about actually attempting this catharsis that I speak of? We need to first look at

some ways in which people have controlled crowds in the past and realize that crowds form by

themselves but often look for leadership due to what Nietzche called that “herd mentality.”

In the article “Seducing the Crowd” by Urs Staheli it mentions that repetition is a key factor in beginning

to control the crowd. (Staheli, 69) This means that through repetition you can get the crowd to side with

your beliefs. The crowd could begin to think about what your suggesting and potentially be swayed by

the other people that are now following your ideas. It could also be repetition of body movements as

well. What better vehicle is there to sway a crowd than music? It’s repetitive in instrumental and lyrical

form!



Another way to “******” a crowd is to act like a madman! Specifically how I stumbled upon this in

the first phenomena place.

The leader himself is possessed and hypnotized by the ideas

and visions he holds, obsessed to such an extent that he cannot rationally exercise

control over the crowd. Instead, he devotes himself to fascinating the

crowd by more ecstatic means.8 He often resembles a madman but fascinates

by the mere power of his determination. What distinguishes the leader from

the rest of the crowd is his will alone, not any particular intellectual capacity

or a superior morality. (Staheli, 68)

The theory is that through mythological story telling or acting tragically and in a spectacle, we can

actually release negative emotions and potentially even heal neuroses or psychic ailments. Later in the

article he goes on to say that a shaman was actually documented to have cured a woman with a blocked

birth canal and in labor by telling her a story about a warrior trying to exit a cave that had monsters on

the outside trying to get in.

The function of a shaman is to heal his tribe. He uses drugs or plants to change his state of mind and

then by going over to the other side of reality he invokes spirits that help to heal.

In the séance, the shaman led. A sensuous panic, deliberately evoked through drugs, chants,

dancing, hurls the shaman into trance. Changed voice; convulsive movement. He acts like a

madman. These professional hysterics, chosen precisely for their psychotic leaning, were once

esteemed. They mediated between man and spirit world. Their mental travels formed the crux

of the religious life of the tribe. (Morrison 1967 pg. 71)

This shows an ecstatic crowd dancing and chanting while one man acts out a tragic spectacle. Through

this spectacle the shaman acts like a madman. This causes wild emotions within the crowd and allows it

to release their built up and suppressed emotions. Also, the dance and chants bring them to a feeling of

unity and oneness!



One may not believe in the spiritual shaman because of their own beliefs about God and religion. Some

may not believe in the other world that parallels our own.  It is a skeptical concept without a doubt and

there are probably many people who disagree with the legitimacy of the shaman. Is there a way that we

could think of the phenomena in a psychological sense rather than strictly spiritual? The answer lies in

Carl Jung’s theory of the unconscious mind and dream therapy as well as in Nietzche’s philosophy on art

and aesthetics.  



Carl Jung believed that there is a conscious mind and an unconscious mind. The conscious mind is the

everyday mind that occurs in waking life. It is rational and helps us survive. The unconscious mind can

be found in dreams or whenever you experience a déjà vu (Jung 1964 21).  He also believed that through

the study of dreams you could heal certain aspects of your psyche that have been altered by neuroses.

Symbols and archetypes make up dreams and the unconscious, and often you will find that archetypes

appear in the form  of people. Jung believes that through living in society that men and women have lost

touch with their feminine or masculine characteristics depending on their gender. Dreams can help us

get back into union with these lost roles through connecting us with our anima(female) or animus

(male) through symbols in our dreams or unconscious minds. Jung wrote that when society was

formed people took on roles and caused a dissociation in their psyche and caused a duality rather

than a unity when they suppressed one side of their mind.  He mentioned that at all times the

unconscious mind is connecting us on a psychic level.



How does this tie into shamans and catharsis? It seems like something completely different all together

right? My theory is that the shaman or crowd leader brings forth a forgotten union of the masculine and

feminine forces in the universe. Nietzche believed that there are two polar forces that are natural in this

world and in art. These forces are given the names of deities in his book “The Birth of Tragedy.”

The first is the Apollonian force that is masculine. This force in art governs form and dreams. The

Apollonian artist directly takes ideas from his dreams and brings them to life whether it is in form

sculpture or poetry. Apollo appears through an oracle often in tragedy or in visions of the waking life.

The second force is the Dionysian which is feminine. This force governs intoxication, revel and ecstasy.

Dionysian artists are improvisers and dancers and are usually tragic figures. Nietzche believed there are

three different types of artists: Apollonian, Dionysian and the fusion of both (Nietzche 1872 14). This

latter artist is what I believe the shaman is.



Through connecting these polarizing forces he fixes the psychic neuroses in his own mind. He becomes

a unified artist, or a magician of duality. The shaman, as stated above, takes drugs to intoxicate himself.

Often the drug of choice is wine or alcohol though it could be hallucinogenic drugs as well. This tied with

repetitive revel is the Dionysian side of the spectrum and also helps draw the crowd’s attention through

spectacle and repetition. Everybody is ecstatic and experiencing the collective vibrations of the crowd.

Through his intoxication he is able to go into the unconscious mind and produce dream symbols in

reality! The crowd follows the leader into this unconscious mind and brings back forgotten wisdom of

mythology and archetypes. This is the Apollonian side of the spectrum because it deals with the

unconscious mind and dream images. It also could be this “other world” that traditional shamans speak

of. Now the psychic duality is merged and a tie is formed between the masculine and feminine forces of

nature! People feel at one with themselves and the crowd and the societal suppression is vanished

briefly. All the neuroses caused by the suppression fades away in the ecstatic revel. This is the appeal of

the rock concert. Notice how many leading figures of rock bands have androgynous features and

shamanistic nature. This is because they have fixed the psychic neuroses in their own mind and become

at peace with the masculine and feminine duality of their psyche.



Stumbling upon this phenomena in my rebellious youth was very eye opening. Ever since I have been  

very excited about this theory and I’ve been trying to piece it together. It seems to be coming along

further and further in my study of this. What exactly this ancient wisdom is; I don’t entirely know. I

do know that I have witnessed this in reality and the subject is interesting and fascinating. My theory

still has a lot of work before it is completed but I think that within this article I’ve given a decent

amount of history about the topic as well as my own thoughts. Whether this phenomena is true or

not, we can leave that up to the psychologists and philosophers to decide, though I think many may

agree. Either way, catharsis surely does exist and it is a fun way of entertainment as well as a

therapeutic option for many stressed out individuals out there

To realize, your malice intent,
and power hungry destruction of my
most hidden and vulnerable *****...

I am relieved to be free of your
vindictive and spiteful soul;
everything about you is abrasive,
brooding and angry, vicious and ugly

That person,  so gentle and endearing
is lost, I am not so sure he even exists,
just one of your many disorderly personas

And to think of my pain,
self-mutilating thoughts and attempts
to make sense of the shock
trying to free myself from your lock of
enamoring lies. I could feel the
end when we had just sprouted,
battling my intuition with a fawn dawn heart-
with you, I finally felt full after some empty time.

But upon reflection of your undeniable misogyny,
I thank you! I could not be more thankful for you exiting my life,
the confirmation of this delusion we called love,
I am so thankful I was tricked, you see,
without honesty, I could only give you so much, and
only that much, is what you could take away from me-

Leaving behind such vitality and adventurous expression,
Charm, wits and sentiment for living
the performer in me you never could accept,
Merely shaking the strength only a woman could have.

You could never break me, although you tried-
and in that I find pity, that you feel so small
You seek power in destroying a lover
like breaking a heart is a triumph,
You are no huntsman and I am not your doe
I refuse to be your object for show

Infinity - The name of the planet where the story takes place.

Eternity - The name of the main Continent where the story takes place.

Darkness - The name of the country where the sins live.

Chaos - The capital city in the country Darkness.

Tranquility - The name of the country where the virtues live.  

Glory - The capital city in the country Tranquility.

Lust - The wife of Greed and the mother of Anger.  Lust is a ******* and a ****.  Her husband Greed is her ****.  Lust has an affair with Hatred and becomes pregnant.  She gives birth to Anger.  Lust and Envy are best friends.  

Greed - The husband of Lust, the older brother of Envy, and the step father of Anger.  Greed is Lust's ****.  Greed is a ****, corrupt politician, gangster, and a ***** businessman.  Greed is Pride's right hand man.

Hatred - The father of Anger and Cruelty.  Hatred has an affair with Lust.  She becomes pregnant and gives birth to Anger.  He also has a fling with Envy.  She becomes pregnant and gives birth to Cruelty.  Hatred rapes Love.  Hatred is a terrorist, an assassin, and a cold calculated killer.

Love - The wife of Loyalty, the mother of Kindness, and the older sister of Truth.  Love is a humanitarian and a healer.  Love is ***** by Hatred.

Loyalty - The husband of Love and the father of Kindness.  Loyalty is a soldier and a warrior.  He gets revenge on Hatred for ****** Love.

Kindness - The daughter of Love and Loyalty.  She is the niece of Truth.

Anger - The son of Lust and Hatred, the stepson of Greed, and the half brother of Cruelty.  Anger is best friends with Ignorance.

Faith - The wife of Truth and the mother of Hope.

Hope - The daughter of Faith and Truth.

Pride - The elected commander who rules over all the sins.

Cruelty - The daughter of Envy and Hatred.  She is the half sister of Anger.

Envy - The younger sister of Greed and the mother of Cruelty.  Envy has a fling with Hatred and becomes pregnant.  She gives birth to Cruelty.  Envy is best friends with Lust.

Truth - The husband of Faith, the father of Hope, and the younger brother of Love.  Truth is the uncle of Kindness.  Truth is a soldier and a warrior.  He gets revenge on Hatred for ****** Love.

D.E.A.T.H. - A terrorist organization created and operated by Hatred.  D.E.A.T.H. stands for Darkness Engulfing All Things Holy.

Knowledge - The younger brother of Understanding and Wisdom.

Understanding - The brother of Wisdom and Knowledge.  Understanding is a teacher.  He and Mercy have a romantic interest in each other.

Wisdom - The oldest brother of Knowledge and Understanding.  Wisdom is the elected commander who rules over all the virtues.

Sloth - The wife of Gluttony and the mother of Ignorance.

Gluttony - The husband of Sloth and the father of Ignorance.

Ignorance - The son of Sloth and Gluttony.  Ignorance is best friends with Anger.

S.O.U.L. -   A humanitarian organization created and operated by Love.  S.O.U.L. stands for sharing our undying love.

Grace - She's a singer, entertainer, and a a performer.

Mercy - She is a member of S.O.U.L.  Mercy is best friends with Love.  She has a romantic interest in Understanding.

Limbo - A country that's in the middle of the two countries Darkness and Tranquility.  Darkness is to the west of Limbo and Tranquility is to the east of Limbo.  The country Limbo has a river of blood running down the middle.  There is a civil war taking place in the country Limbo.

Deceit - Deceit is a master of disguise.   It is a male and and a female.  Deceit is a member of D.E.A.T.H.

Written by Keith Edward Baucum

There is a stage that no one sees,
built from open arms and steady smiles
The audience, the world, they notice not
The Great Performer amongst them.

He hides his puppet behind curtains,
the curtains made of little things
like silence, shame, a flinch, a tug of sleeve
its screams drowned out by applause

When the mask slips and someone looks,
when light finds what the fabric hides,
the performer straightens, bows, and keeps the act;
a gentle smile—an apology

A Close friend said "The Perfect Woman"
is much like a shark.

if I am greeted in this ocean,
by a woman
I will allow her to look at me with all primal intent.
splay my wrist open and watch her

as she smells the little turn of blood
floating now in spirals between us

I'll have done it not for the pain, or shock
but for the honesty.
to watch a creature struggling to hold onto their facade
and the tears that start to bloom in the pink
above their sharp teeth.
Look, I know sharks don't cry.
it's not about the crying,
I crave the visceral emotion.
want to give my body to the indulgence
the electric moment where
I feel them feel conflicted
with my whole body
feel their suffering and internal struggle
in my entire manic smile
tight cheeked
all eyes on them like a paid performer
or Alternatively,
I would give them all this passion,
my body in anticipation of their opening
clenching to their masks,
They Devour me.

Infinity - The name of the planet where the story takes place.

Darkness - The name of the country where the sins live.

Eternity - The name of the main continent where the story takes place.

Chaos - The capital city in the country Darkness.

Tranquility - The name of the country where the virtues live.

Glory - The capital city in the country Tranquility.

Lust - The wife of Greed and the mother of Anger.  Lust is a ******* and ****.  Her husband Greed is her ****.  Lust has an affair with Hatred and becomes pregnant.  She gives birth to Anger.  Lust and Envy are best friends.

Greed - The husband of Lust, the older brother of Envy, and the stepfather of Anger.  Greed is Lust's ****.  Greed is a ****, corrupt politician, gangster, and a ***** businessman.  Greed is Pride's right hand man.  

Hatred - The father of Anger and Cruelty.  Hatred has an affair with Lust.  She becomes pregnant and gives birth to Anger.  He also has a fling with Envy.  She becomes pregnant and gives birth to Cruelty.  Hatred rapes Love.  Hatred is a terrorist, an assassin, and a cold calculated killer.

Love - The wife of Loyalty, the mother of Kindness, and the older sister of Truth.  Love is a humanitarian and a healer.  Love is ***** by Hatred.

Loyalty - The husband of Love and the father of Kindness.  Loyalty is a solider and a warrior.  He gets revenge on Hatred for ****** Love.

Kindness - The daughter of Love and Loyalty.  She is the niece of Truth.

Anger - The son of Lust and Hatred, the stepson of Greed, and the half brother of Cruelty.  Anger is best friends with Ignorance.

Faith - The wife of Truth and the mother of Hope.

Hope - The daughter of Faith and Truth.

Pride - The elected commander of all the sins.  Pride is a priest.

Cruelty - The daughter of Envy and Hatred.  She is the half sister of Anger.

Envy - The younger sister of Greed and the mother of Cruelty.  Envy has a fling with Hatred and becomes pregnant.  She gives birth to Cruelty.  Envy is best friends with Lust.

Truth - The husband of Faith, the father of Hope, and the younger brother of Love.  Truth is the uncle of Kindness.  Truth is a soldier and a warrior.  He gets revenge on Hatred for ****** Love.  

D.E.A.T.H. - A terrorist organization created and operated by Hatred.  D.E.A.T.H. stands for Darkness Engulfing All Things Holy.

Knowledge - The younger brother of Understanding and Wisdom.

Understanding - The brother of Wisdom and Knowledge.  Understanding is a teacher.  Understanding has a romantic interest in Mercy.

Wisdom - The oldest brother of Knowledge and Understanding.  Wisdom is the elected commander of all the virtues.

Sloth - The wife of Gluttony and the mother of Ignorance.

Gluttony - The husband of Sloth and the father of Ignorance.

Ignorance - The son of Sloth and Gluttony.

S.O.U.L. - A humanitarian organization created and operated by Love.  S.O.U.L. stands for Sharing Our Undying Love.

Grace - She's a singer, entertainer, and performer.

Deceit - Deceit is a master of disguise.  It is a male and a female.  Deceit is a member of D.E.A.T.H.  

Misery - An island off the coast of Darkness.

I lap up your wetness
like a kitten its milk.
I wash my face with your moisture,
you wiggle and moan.

You swallow me whole,
like some carny performer.
Emptied, I sigh,
You lick your lips and grin.

Fukiko had woken before her accustomed time. She was alone and would have prefered to sleep, and sleep on until Narumi had lit the brazier in her room and brought tea. But she had woken, and was aware that outside the world had changed. The world, her world of Yukiguni, where the mulberry fibres for paper-making were laid out in the snow-bleached fields. Her world where men from the cities sought the kind of woman she was, a woman uncultured in the ways of geisha, but possessing a freedom no city-bred geisha could possess. She had been schooled by an aunt, was accomplished as a performer on the samisen and though her voice was thin, it held a quality of understanding, it had a fine texture, though thin. And yes, this morning a change had come over the world outside her small house that looked over Hikachi Lake, that looked towards the southern flank of the Central Mountains where during the previous day and night the snows from across the seas had fallen on the landscape. She imagined the roofs of the monastery across the lake were heavily white, and as she sought the image in her mind’s eye so the large brass bell of the temple sounded, no, it throbbed across what she knew would now be hard-frozen water.

I am floating she thought, like the snowflakes I glimpsed in the reflected lamplight when last night I opened the shutters for a moment before bed, before sleep and descent into my dreams. For days now she had been dreaming like never before. She seemed to enter a dreamstate; she would then wake purposefully; she would then fall instantly into quite a different world; over and over this seemed to happen until she found herself wondering if she was dreaming within a dream; she would become aroused, her skin glowing with the ministrations of hidden hands and fingers; she would feel that presence on her upper thighs, a kind of perspiration born of that ****** sensation that, when awake, would sometimes steel upon her.

The coming of the deep snows before spring was always a delight, an excitement carried her from childhood. The way its coming turned daily life upside down. She would enjoy choosing her very warmest garments, the bringing together of layers, her rabbit-skin mantle perhaps, a bright warm scarf over her hair, which she would not today ‘put up’ but allow to flow comfortably next to and down her back, then the hood only if the snow and the wind persisted. She could tell from the warmth of her bed that this was not so, that outside there was a stillness. Even the birds were subdued. Only the brass bell broke the stillness born of this deep snow of spring.

She heard Narumi rise, heard her **** in her chamber ***, heard her roll her bedding away, heard her bring the stove into life and fill her mistress’ brazier with the few precious coals brought across the mountains. There would be tea soon, and this young girl, appointed by her aunt to her charge, would appear to kneel beside Fukiko and give the morning blessing her mother had given Narumi since infancy. Then, she would say, ‘Madam, the snow is deep this morning. We are bound in snow today. Our path has disappeared.’ Still a child’s voice, and still a child at thirteen winters, such a slight girl. And she would retire to the warmth of the kitchen and Fukiko’s cat who was not allowed into her mistress’ presence unless requested.

Fukiko could feel the warmth from the brazier. It was as comforting as the thought of the silent snowscape outside. Gathering her cloak around her, kneeling on the covers of her bed, she held the bowl of tea in her hands, letting its warmth caress her fingers. Standing up, she stroked herself as though to bring her body awake - her flanks, the front of her thighs, her stomach, her slight *******, the long curve of her bottom and then the back of her thighs, her right hand stroking her left arm, her left arm stroking her right arm from shoulder to fingers. She was awake, and placing her feet on the cold matting found her night cloak of deepest blue with the ornamental sash of red and white. She would open the shutter and gaze out into this fresh world of snow and light.

It seemed quite miraculous that a covering of snow could so change this view across the lake to the monastery and its attendant village and then to the mountains beyond. She had once seen a woodcut of this scene, in snow, and had been mesmerised by what it revealed. Despite her status, her profession, such as it was, any ambition she might have harboured to dwell in a city, evaporated at this vista, this snow country scene. It was as though she was living in a story book where she could imagine herself as a concubine of some favoured lord, even better, a princess groomed for a fine marriage, a marriage she knew she would be unlikely to experience. There was one, a land-owner beyond Huchin whose business brought him past her domain, who, widowed and childless, had been advised to seek her presence. And she had been charmed by his shyness, his lack of experience with such as the woman she was, or thought she had to be. And it was often that she would find herself thinking of his presence, and imagining her body melting to his careful touch.

Suddenly, out on the lake figures moved. Was the hard frost of the last week really able to sustain figures on the ice? The brothers from the monastery were tentatively moving too and fro, they were suketo, skating. She would summon Narumi. Her girl should see this sight. The brothers in their crimson robes moving to and fro across the ice, their robes flowing. ‘Narumi’, Fukiko said, ‘a sight so rare. Come and look, the monks are skating.’

So Fukiko and Narumi opened wide the shutters and let in the whole landscape, the lake, the monastery, the snow-roofed village, the mountains beyond into the room. The snowlight dazzled, the hard cold air rushed into the warm room filling its very corners with an enervating freshness. Narumi knelt beside the brazier in her best purple cloak, her hair already pinned for the day, her eyes wide at the sight of these figures dancing with movement on the ice. Although cold, Fukiko would not pull herself away from this play of forms, this wholly pleasurable sight. Just below her window her camellia bushes were in bud, almost budding, their dark redness, bloodlike, enhanced by the vivid snow white. And then the bamboo, snow on the bamboo, as though carefully layered on the fragile stems and branches. This morning no wind and a period of snow falling that had laid flake upon flake upon flake giving the bamboo a wholly different form and weight and body. Its stems bent as though in supplication, as though in prayer to bless the landscape of this snow country.

One must bend
In the floating world -
Snow on bamboo

Kaga no Chivo (1701-55)

Written on 11/20/2017

That awkward moment when someone flirts with you on a dating app and says "I like that you look masculine."

You see,
I never saw masculinity as a part of me.

My identity was always flamboyant,
wearing pink shirts and sashes,
crop tops with styling gelled eyelashes,
sparkling headbands and dazzling bandannas,
snapback hats featuring giant bananas,
I dressed with the raging flamboyance of flamingos!
Sporting a certain type of femininity that only a gay man knows.

All the trimming and cutting, and shaving and nairing,
for hours,
as time and body hair intertwined in the showers,
washed masculinity off my body down the drain,
Experienced electrolysis burns, but the pain
had infected my thoughts,
like each hair is unnatural.  

Purge it all,
Scorch and torch it all,
Leave nothing at all!
No trace
of evolution's flawed attempt to grace
me with an adaptive advantage to take on the world's harsh climate.  
I admit,
this hair entangles me and strangles me,
it also oozes out of me like pimples from a pore,
a ***** to testosterone,
poor me - a victim of nature's masculinity.
What a hairy situation I've gotten myself in.

--

Femininity.
Its bestowed upon me by society.
When I sashay or say hey gurl hey,
society recognizes these things as girly and gay,
not a very masculine way to walk or talk.  

Stereotypes about *** and gender are so easily manipulated.
Like a circus performer on the tight rope,
the suspense keeps people wondering where will I fall?

But hold me under a microscope and you will see it all,
a million molecules that makeup my femininity.
I wear skinny jeans and tank tops,
then get complimented on them by dude bros,
like yo that's tight- where'd you get it boss?

I bought it in the girl's section at Ross.

My toe nails painted and displayed for public view,
flip flops emboldened with matching turquoise hues,
Femininity is worn on me like a fabulous armor plate.

--

Fast forward to a fateful date during No-Shave November.
I remember,
growing out my ****** hair for the very first time,
I wore it like a mask,
portraying a fictional character who was masc-uline.
Bathing in manliness at this masquerade.
It was through this charade,
that I grew
... temporary happiness for me from all of you.

The compliments they poured in.
My once smooth canvas of a face,
waiting to be crafted into the Mona Lisa,
had been turned into an artistic masterpiece,
'Gay Man with Amnesia',
of who he used to be.
A painting of someone society wanted,
someone whose masculinity was outwardly flaunted.
But inside, I felt taunted,
each time they complimented
me and my newfound masculinity.

--

Then, it happened on Grindr,
a gay dating app.
This masculine mishap.

A stranger's message read, "I like that you look masculine."
It sounded even stranger in my head.
Their profile description read,

"Masc 4 Masc
Masculine man seeking other masculine men to hangout with."

That's when I felt it.
My mask had made me masc.

This particularly manic morning brought me to ask
myself in the bathroom mirror,
"Who the hell am I looking at?"

In sheer terror, I teared-up,
scanned the portrait of 'Gay Man with Amnesia',
and then decided to tear it up!

I grabbed my electric razor,
grum grum grummm
as these blades grazed my face and chin,
I was offered sweet, soft, porcelain skin - my absolution.

pause

heh heh
When I came to and snapped out of the amnesia,
eager to see results of this restorative procedure,
the mirror was fogged with steam and slop.

I tried logging in to my laptop's webcam,  
for naught.  
The ****** recognition feature -- didn't recognize me
... but finally, I did.

Once again, I see the man behind the masc-ulinity.