. 'as for those poets, only the perverse follow them. do you not see that they go too far in every direction and say things, which they cannot do?' (ash-shu'ara / the poets 26:224-226).

call them what you like,
the Huguenots,
for all i care...

   you always side with
the "heretics"...
  
   given that, "said" heretics
retain some cultural value
relativism of other cultures,
namely in the form of
depiction -

    since why would, "the word"
be deemed holy,
    ****-naked,
                rather than donning
a bikini of "iconoclasm"...
         when words... are at
the meat-market of copyright -
what with © coca cola?

                 sunni islam would have
never allowed sufism...
  but Farsi does...
  and will continue...
since no Iranian will bow
before an Arab within the schematics
of history...

          Sunni Islam, it's Wahhabi sentimentality...
so why persist in signing
the Adhan?
   why not speak in a honing like
drone sentiment of plain speech?
i thought all music was banned?
the current Adhan is a form
of music... isn't it? BAN IT!

    you never side with these Sunni
muslims, exploiting Bangladeshi labor,
you side with the heretics of Iran...
these *******, i can at least respect...
  
      no fast cars, convenient ongoing
cultural insurrections -
   Sufism...
       Afghan women's poetry,
and all that much closer to Hindu mysticism...
    
yeah... "islamophobia":
but only against Sunni Islam...
   but Shia Islam?
   no problem...
   i could stomach these peoples
like i could stomach the in-between
of the Turkish variant -
no ideology - simply, pure, power throttle...

i could make a great Janissary -
with a Turkish barber...
         for a great trim of hair and beard...
i'd cast a shadow on some
obscure chocolatier of Brussels
who thinks himself a politician...

     but there are certain aspect of Islam
i am willing to tolerate...
   what happened to the son in law
of Muhammad, namely, Ali...
was raw ******* kicking...

               promises, promises...
no promises...
           Shia Islam, as an European,
i can tolerate, Turkish Islam, i can tolerate...
Turkey is incrementally shy
of being treated at the 2nd variant of Iran...
at least with Iran, we share a history
via the insurrection into the ancient
texts through Greece...

  come to think of it...
whenever i listen to
matta's song echo babylon...
i start feeding myself goosebumps,
reminding myself
of Cyrus... Nebuchadnezzar...
and the dim-wit that was
   Belshazzar...

always siding with the heretics...
if not on economic groundwork,
then at least motivating,
rather than monetizing an idea...

and the Shia muslims are...
    one way or another...
   unlike the gluttons of Dubai...
the barbie dolls of postage stamp
"proof" of progress,
in size, and worth...

   Sunni Islam would have
never allowed poetics to remain
a viable form of expression -
the Persian tradition that is,
far beyond the western concern
for a comment section...

         Shia Islam allows patronage
of the arts, notably poetry,
without concern for monetary
funding, it, at least, doesn't prohibit it...
given the pride of the Persians...
Sunnis and their continual quest
for finding water...
    sure... poetry is pointless within
such restrictions of
existential concerns...
    but... given the current, civilized
establishment?
   sky-scrapers in *******
sand dunes?

         the qu'ran should have
forbidden the architectural ambitions
equivalent to the tower of babel
being erected, in environments,
that could never sustain said projects...

    and who originally spewed the term
islamophobia?
Sunni Islam...
        i never liked this strand of belief...
i hate the Sunnis like
a Shia partisan...

p.s. it's called patriotism is America...
but nationalism in Europe...
    you sure that's not a synonym?
Europeans can't be patriotic,
and Americans are never nationalistic?

...

   well: how could i ever convert to islam,
i do enjoy the adhan from time to time,
"sorry", but i do...
  i can't help it:
if i'm a sucker for pop songs,
i'm also a sucker for the adhan...
   crusader songs, templar songs become
stuffy after a while...
and last time i checked:
     there were the northern crusades
against the baltic people:
notably prussians, lithuanians...
with that cushion of: mediating the
escalation of war by the polacks...
coming from the east:
  last time i checked the mongols
didn't reach leipzig...
               buffer zone people...
and what of the ottoman onsalught
of vienna 1529: the ****** winged hussars
won the charge...

so, coming back to heidegger... aphorism 26
ponderings IX... how am i to not be
the historical animal?
         perhaps in german, in germany
i might become a non-historical animal,
to begin: anew, but with a terrible
past to hide, to negate...
   i could do that: if i were a german,
speaking german, in germany...
but i'm in england:
            i might have some roots in
Silesia, but it's "hard" to not be a historical
animal, an "animal" with a sense of time,
i.e. a future a past a present...
esp. under the english conditions
of: the biological animal momentum narrative,
like a tsunami, like an earthquake...
ripples throughout...
              i can't move forward with
the english championing darwinism every
single ******* step of the way...
why can't they hide darwin like the polacks
hid copernicus...
given the motto: copernicus -
who moved the earth, and stopped the sun...
why wouldn't i escape into history
if the current biological reality is:
(a) a yawn... the cruel nature of per se?
   the courting of pigeons on a t.v. antenna...
pigeons get rejected all the time,
lesson learned, he bows and bows,
coos... expands his tail feathers upon
the bow then folds them... she flies away...
repeat...
    (b) i can't escape being a historical
animal in the way that what the current
facts are being repeated have encountered
a whiff of Chernobyll...
              history is inclided to answer reality...
biology? not so much... not from what i've
seen and heard...
             truly a schizophrenics disney dream:
to walk among the newly insane feeling
like the only sane among them...
beau-ti-ful!
                   well... given the current criteria
of being bilingual as being synonymous
with being a schizophrenic...
           magic!
                    
   now the crescendo...aphorism 24
ponderings X:

              the word designates, the word signifies,
the word says, the word is (heidegger)...

i found that you can only write
"philosophy" with a neat, fixed vocab. regime,
clarity of boundaries...
    quadratic events in vocab.:

i.e. the reflexive: yourself, himself, itself etc.
and the reflective: your, self....
                       his, self...
                                  it, and the self...
                    ergo? atheistic scissors,
  the two articles, indefinite and definite
                                 a / the "self"...

i'm not playing "identity politics",
when i say that only two peoples ever managed
to sack Moscau... the mongols and the polacks
with the help of lithuanians,
"identity politics" only happens in
post-colonial society, akin to the english,
i'll speak the english,
but i will not be a cucked indian of
the former raj: i will eat the fish & chips,
i will eat the sunday roast,
   i will eat the english breakfast with great
delight...
            but i will not do what these former
colonial masters expect of me:
integrate at the expense of making my
mutterzunge into hubris!
stubborness contra pride...
                hard to tell the difference...

and why do i like heidegger so much?
i'm not into the ad homine arguments...
my grandfather, was, a communist party member...
so?
       i like heidegger... because he appreciates
poetics, i like that poets can share the same
values as philosophers,
thanks to heidegger: we have been requested
back into the republic...
if plato and islam didn't like us, hanging around,
some offshoot german thinker / promenade
enthusiast like used enough to,
i suppose: ban the theatre puppeteers...

i am not playing identity politics...
biological reality is not enough...
but archeological reality?
       can you really advance to counter?
i was born near:
Krzemionki Opatowskie, a Neolithic and
early Bronze Age complex of flint mines
for the extraction of Upper Jurassic (Oxfordian)
banded flints...
  personally? i don't believe in
the African genesis conundrum...
i believe "my" people originated from
the Indian sub-continent,
as, associated with the complex:
Indo-European categorization of language;
i'm still to see an African phonetic
encoding system, beside the hieroglyphics...

i, was, born, there! i'm not a displaced
post-colonial debacle between former master
and former slave...
i have: roots... i'm not ******* up to the fish & chips
brigade with a friday night's worth of curry...
i cook my own curry,
and by god: it is the food of the gods...
i'll give the blue indians that counter...
but sure as **** not the worth of mead
or whiskey...

if they only tolerated themselves,
sure, learn the english language,
but know this much:
           english is the modern lingua franca...
it's the language of economics,
forget the natives, too ignorant to learn
either deutsche or française:
island-folk...
                what else, what other attitude?
even the russians are like:
that land of the weirdos? the idiosyncratics?
yes, we know that land...
the only "thing" that shelters the english
are the h'americans, the south africans,
the australians etc.,
  sure as **** the scots aren't sheltering them...
and, mind you?
   if the i.r.a. really wanted to plant
a bomb?
   a real bomb? they'd revert from speaking
any english to begin with... resorting
to revising their usage of gàidhlig:
ga-id-hlig... gaelic...
   like the welsh, stubborn people, proud people,
retaining their Çymraeg...
celt: said kelt...
the glaswegian football team?
       Çeltic... not: keltic...
  borrowed from the greek: sigma (ς: cedilla to ****)...
   wow! all the particulars in the english tongue!
guess it would take an ausländer to spot them!

U-21 european championships,
england versus romania:
                           a magnificent match...
the youngsters playing better football
than the oldies in their mid to late / early 30s...

i'm trying to tolerate Islam,
               it's not in my nature...
            hell... i enjoyed visiting a turkish barber
shop, i still have an unflinching opinion that,
the turks are the best barbers in the world...
but...

              this quote, is going to **** you:
same aphorism / pondering (24 / X) -


*** fight videos - count dankula...
you know what i'd love to do to these little
snarky *****?
the french revolution isn't enough...
n'ah, them hanging, is not enough....
ever heard of the butchers' hook?
                 it's also callled close-up fishing...
imitation hang-man...
   you insert a fishing hook...
and you let the sweeney todd ****** dangle...
on a hook, rather than a noose...
lords of salem come your way?
i'd rather the snarky teen hanging off
a fisherman's hook than dangle
like some lynched ******...
beside the suffocation,
i'd like them with a fisherman's hook entombed
in their hard palette...
         i don't want them hanging...
what am i? a sadist?
  i want them on the fisherman's hook!
when suffocating without a broken spine absorbed
by the neck isn't enough!
  fisherman's hook gallows is a
masterpiece... of suffering...
  most certain...
  when cheap comedy is being towed...
making fun of bums, or homeless people...
the current society is so welcome
to bypass all the "adventures" of Loki...
but akin to the lords of Salem...
burn!? such a limitated imagination!

ah... right... digressing...
        the reflexive / reflective quadratic...
language - only if speech  has acquired
the highest univocity of the word does it
become strong (enough) for the hidden
              play of its essential multivocity
(as withdrawn from all "logic"),
             of which poets and thinkers alone
are capable, in their own respective modes
and their own directions of sovreignty.

we do live in a time of a lost sense
of dialectic, since we do not live in a time
of etertaining dialogue,
perfectly sensible opinions,
that's all we have...

                       if one of these snarky *******
came up to me...
they'd get a chance to experience a rubric
of 4, knuckles...
what's 189 centimeters in empirical?
6ft2...      oh!
                   see where imagination takes you?
and here i was: thinking i was without it!
butcher's hangman...
oh, not so easy...
                  
                fame by no association to fame...
just the tears of parents who raised their children
to be nothing more than rugrats...
annoying gnat like bothersomes;
and nothing quiet special to be associated
with weimar berlin...
     just, these,
   h'american mall onlookers
with pwetty-guy-for-a-white-fly-mentality,
as borrowed from californian
1990s punk;

re-used ****** losers.

mad-hatter's fraction: 10/6....
      0.666...
      well: to the given extent:
1.666666(7)....
     1, 0, /6,
no number is divisible by 0,
every number, divisible by 1:
is the same number...
    mad hatter's 10/6...

   re-used ****** losers...
i like that phrase...
        7 for every 6, 7 for every 6...
until the 0. fraction comes
a 1.: exponential serf of 0...
0 being the multiplier...
          
         i really am growing a beard to less
don it, but rather to experience
a relief from patience...
war robots?
the first non n.p.c. game...
i like that, very much...
      and when i did:

you know my first experience of
love at first sight?
the younger sister of my then girlfriend...
****** up ****...

love at first sight is a terrible phenomenon...
i was nearing 18, she was barely 13...
i was dating her older sister...
but it was love at first sight,
the trouble with: love at first sight:
it doesn't lie...
it tries to lie...
          but it can't lie...

   paedophilia? a bit... untouched bodies
though... bodies of people who were
never supposed to touch...
i once said to a fwend:
well wouldn't it be ****** up if i touched
her?
   she's a muse, which doesn't translate
into vacating her as a busy body
worth of a touch, does it?
     if only my old friend samuel said
otherwise:
sylvester "contra" tweety:
my first girlfriend...
but her sister?
         i was nearing 18, she was about 13...
love at first sight...
untouched, cradled, unscathed...
and so she remained...
   until she did what every girl would
have done...thank god she remained
a figment of my imagination...
   rammstein: rosernrot...
    
           i have seen love at first...
such a load of ******* that it had to be
the younger sister of a girl i was dating...
and the **** that i had to be 18 and see
was just beginning her teenage transition...
the world unfair i grant
the most justifications... as being
the (just - unnecessary adjective) arbiter...

love at first sight becomes a forbidden love...
love at first sight was always a forbidden
love...
           and the sort of "love" that achieves
a perspctive of change that doesn't
translate into old age...
love at first sight is soon translated
into a love of affairs closely associated
with middle-age disenfranchised
state of affairs...
i.e. to love again...
            how else to feel relief from
having lost both one's inhibitions
               as well as one's ambitions?!
in the conundrum of the mortal
"question" of the continuum being
preserved?

the average cost of a funeral is
$8,515

death is unaffordable for me

put me in  big oblong cardboard box

2 feet by 3 feet by 6 feet

packing list enclosed

fragile (not really)
      please handle with care

keep upright

       or

supine

send me to the
grande vide

postage due

Dear…

I don’t even know what to call you. But, already, we are beyond such things, aren’t we? When you wander into my head from time to time and form to form I am left with out a course of action. Mostly because action seems… so… very…very… silly. But this time. I took said action. Here it is.

I am sounding this letter off of the sky as postage. I am licking my lips to seal the envelope and throwing my marbles into the sun. I am lifting you, without strings, with the last of my magic.

I am not sure how the universe will choose to eclipse or supernova our meeting. But I am patient. In the mean time, I will remain so.

But I thought you should know.

I promise you passion.
I promise you fire.
I promise you mood swings, and fights, and making up, and making love.

I promise you an insatiable hunger to touch you. Kiss you. Be with you. To a fault if you wish.

I promise you a less than perfect attention. I promise to get too caught up in my vision of you to notice you, from time to time. I promise to notice you, more often than not.

I promise laughing. Together and at each others expense. But laughing. And laughter. And cause for it.

I promise to be serious. And scowl. And furrow my brow and nod my head at just the right times.

I promise to picture you naked at the most inappropriate times. I promise to paint pictures of your smile on the back of my eyelids while I sleep. I promise to sleep next to you, feeling my body scorch as our temperatures press together in red patches of skin.

I promise you poetry. And wine. And both at once.

I promise you adventure. I promise you distant landscapes and matching our rhythm to the train we find ourselves in, watching the blue, gray, and green streak by our window like an exercise in futility and motion.

I promise you futility and motion.

I promise you faith. I promise you doubt. I promise you a clenched fist and an open hand. I promise you my shoulders to stand on and my frame to drink from. I promise you holding hands on midnight drives from place to place.

I promise you silly.

I promise you gifts and flowers for no reason. I promise you a constant reminder of my awareness of the gift of a woman that I have been blessed with.

I promise you breakfast in bed. I promise you all day in bed.

I promise you discipline. And craft. And becoming a master of loving you.

I promise you truth. And empty promise. I promise you the promise of more.

I promise to be artful. I promise to be delicate. I promise to be crass and a brute. I promise to regret what I have said, over and over. I promise you steadfastness through the changes as we learn to navigate the many tides of the sea we find ourselves drowning in together.

I promise to be your opposite and drive you mad. I promise to be your equal and touch you thusly.

And you. I promise to only allow you entry to my heart if you are what I know I want.

I am faithful. I am loyal. I will not fill your space with less than you.

And I’ll only ask that you be worthy of this.

And here is something shiny.
And red.
For you.
To wear.
As your own.

It is all I have.

My return address is on my palm, out stretched to you. I await the scent of perfume on the letter you will write in me.

Red and Shiny.
And worthy.

All My Love,
Sean

When I was younger
I stood there waiting.
I stood there,
Waiting for someone who would not come,


Back,


Against the cold damp wall I stood,
As an unwanted postage stamp,


Forgotten,


Waiting to be remembered.
I watched,
As I stood there.

It’s New York Fashion Week, and there is a frenzy backstage as models are worked into their dresses and mob the assembled engineers for instructions of how to operate the technology that magically transforms a subtle gesture into a glowing garment suggestive of the bioluminescence of jellyfish. I know there’s not enough time for them to do their work. Almost instinctively, I find the designer and bargain for 20 more minutes.

While I wonder to myself how I got here, backstage at a runway show, I also know I am witnessing what may be the harbinger of how a fourth industrial revolution is set to change fashion, resulting in a new materiality of computation that will transform a certain slice of fashion designers into the “developers” of a whole new category of clothing. By driving new partnerships in tools, materials and technologies, this revolution has the potential to dramatically reshape how we produce fashion at a scale not seen since the invention of the jacquard loom.

The jacquard loom, as it happens, inspired the earliest computers. Ever since, textile development and technology have been on an interwoven path — sometimes more loosely knit, but becoming increasingly tighter in the last five years. Around that time, my colleagues and I embarked on a project in our labs to look at “fashion tech,” which at the time was a fringe term. These were pioneers daring to — sometimes literally — weave together technology and clothing to drive new ways of thinking about the “shape” of computation. But as we looked around the fashion industry, it became clear that designers lacked the tools to harness the potential of new technologies.

For a start, all facets of technology needed to be more malleable. Batteries, processors and sensors, in particular, had to evolve from being bulky and rigid to being softer, flexible and stretchable. Thus, I began to champion “Puck [rigid], Patch [flexible], Apparel [integrated],” an internal mantra to describe what I felt would be the material transformations of sensing and computation.

As our technologies have steadily become smaller, faster and more energy efficient — a progression known in the tech industry as Moore’s Law — we’ve gone on to launch a computer the size of a postage stamp and worked with a fashion tech designer to demonstrate its capabilities. In this case we were able to show dresses that were generated not just from sketches and traditional materials, but forward-looking tools (body scans and Computer Assisted Design renderings) and materials (in this case, 3-D printed nylon). At the same time, we integrated a variety of sensors (proximity, brain-wave activity, heart-rate, etc.) that allowed the garments themselves to sense and communicate in ways that showed how fashion — inspired in part by biology — might become the interface between people and the world around them.

Eventually, a meeting between Intel and the CFDA lent support to the idea that if technology could fit more seamlessly into designs, then it would be more valuable to fashion designers. The realisation helped birth the Intel Curie module, which has since made its way down the catwalk, embedded into a slew of designs that could help wearers adapt, interpret and respond to the world around them, for example, by “sensing” adrenaline or allowing subtle gestures to illuminate a garment.

As the relationship between fashion and technology continues to evolve, we will need to reimagine research and development, supply chains, business models and more. But perhaps more than anything, as fashion and technology merge, we must embrace a new strand of collaborative transdisciplinary design expertise and integrate software, sensors, processors and synthetic and biological materials into a designer’s tool kit.

Technology will inform the warp and weft of the fabric of fashion’s future. This will trigger discussions not just about fashion as an increasingly literal interface between people, our biology and the world around us, but also about the implications that data will generate for access, health, privacy and self-expression as we look ahead. We are indeed on the precipice of a fourth industrial revolution.Read more at:www.marieaustralia.com/red-carpet-celebrity-dresses | www.marieaustralia.com/black-formal-dresses

The mug stains leapfrog a linoleum asphalt countertop, sunbathing in the breakfast nook.
A magazine proofreads a hole in a bagel. Scanning for clues to the whereabouts
Of a Jewish heart. Beads of Oolong tea archipelago from a resting kettle
All the way to the 'good ' China. A cup on a pearl, laying flat… ear to the ground.
Listening to the stories only Formica can tell. Deciphering the steam
Rising from a steep. Curling whiskers into omens, embroidered upon a shaft of light
Heaven sent. Postage dew. Gilding quaint luxuries, tucked in a cozy roost
Smelling of oak musk and slow roasted dreams, evaporating before memory may lay claim
To the riddles of Morpheus. There’s an aire of Return.  
It molts in the bacon fats hovering in the strata unique to kitchen islands lousy with active volcanoes that shuffle in stocking feet and terry cloth bathrobes. Restless and foggy minded.
Looking for the keys. And...
Chewing a thumbnail. Staring out the window. Where there used to be a car in the driveway. But the officer flagged a taxi. Explains the migraine, like a Vulcan; stoically flipping switches in a fuse box wired to a vague recollection of a soiree.
All the while holding a pitchfork and today's horoscope.
For irony and street cred.

{ But out of cream cheese. }

Concurrently... This part of the house still has the rustic naivete of a celibate beatnik picking teeth with a signature pen presenting an Hawaiian girl with a vanishing skirt; blinking in and out of Vaud-villainy, like Erwin Schrödinger’s Cat. A kind of hole in a barge with an ornate cubby; loitering with sugar cubes and a bendy plastic fern.
Like the foyer to a room, still under construction.
      A busy little metaphor, lounging around the east wing of a humble abode… like news clippings in a mason jar… it’s superfluous handle threading a ceramic eye.
Like a stainless steel joke under a refrigerator magnet, pinned to a plate in your forehead. As any lamp-shade with ambition.  
      Playing to a rough Cloud, hung over an ashtray; that has seen Better Days - envy the baroque occlusion of monotony and routine, merging a hangover - into morning traffic. Replete with modest gains.
And Horizons that stab bleary eyes that would know a gypsy
By the weight of her purse…
     When the day begins, it gains a foothold by the spine of an overdue book, reclining adjacent runcible spoons and antique kitche. As a bathroom light squeaks between a door and a frame.
As ancillary and precise as a beacon for a blindfold.

Like turpentine palming a brick. And Wagner.

Honest,

that meaningless word left dangling before children,

a damoclean sword held fast in a gordian knot tied with scarlet thread,

finer than the spider's that once tied men's souls to an angry American God,

birthed in Transylvania,

over the woods, and through the dale, no lie

There is a tale of lies told in Nobel houses, never reachin' ground,

Down here, we situations manifested to, vain, again, stem the tide,

We flounder, fish out of water, why are we sent if

wait



he hears, he listens, haps he knows, and

how such as we came

to be here,

Welcome and see, dare ye ask me in? Might I ply you with lies

and you, believe 'em?

I could make a mindless robot out of your parts, but

that would take forever and

that's not how

Wisdom's child would tend to be, for first,

You must believe a lie and I, amusing as can be,

can't tell lies.

Discernment, fine points, per-spicacity per se, the only way.

Good luck (Luc, said luck in many tongues, is said Lose- as in Luc-ifer.

It means light, as in light, regular old granted light.)

Lightifier, good, take some, good light, for the travail, in the night.



You see, not so long ago, for me, five years before I'as born,

my momma moved to town.



What was that like, I axed my old uncle, while back,

movin' t'town, in 1943?

Well, he says,

We had electricity.



USA, 1943, some folks still was poor, and all the good men

was gone to war.

Cities, it was different,

if the movies got it right, Bowry Boys, n'em.



In the desert we did, okeh, in town, though,



we had electricity.



He was ten back then. He'd been huntin' rabbit's,

to buy Christmas presents from Sears and Roebucks,



since he was five.

C'mon, I say. No lie, he say,

BLM or some gover'ment

whatsajigger, was payin' 2 cents a pair fer jack rabbit ears.



'Said he bought Christmas presents for his mom and dad,

and my mom, with his first rabbit money, at five.



Shootin' with a single-shot 22, 12 cents a box,

Jack Rabbits, 2 cents a head.



Three Christmas presents, plus postage, $2.56.

Do the math, I think, and go -



Five years old, at ten, he moves to town, 1943,

we had electricity. That's all.

When you're lost,
carry a post card of who you are.
So, near and far,
you carry an illusion.
Pressed between pages like moth wings.
Folded in a dry rose petal.
Locked away in a magic stone.
Born upon a mind absent.
I'll lend you pocket lint postage
for a never-where journey.

Prose is unpretentious, that's its attraction. Avoids bombast of line breaks but forgoes -- what -- perfect rest. Anyway today, a November day in February, no chance getting rest with the poor clay I'm made from.

With my mother this weekend, her dementia proceeding according to what plan. Saturday the kind of day I never have. Actually read three stories by Updike. One extraordinary -- Tomorrow and Tomorrow and So Forth -- which I chose from his Complete through 1975 for the reference to Macbeth and in it he so humanely, sympathetically explains through the high school English teacher's thoughts Shakespeare's mid-life bitterness or disappointment realizing few men achieve their potential in the face of history, society and their personal flaws. Making for tragedy. Hard to be humorous about that although Updike finds in Shakespeare's late plays, especially The Tempest, a resolution amounting to wisdom that there can be contentment with imperfection and partial achievement. Updike took some of the starch out of my contention that all Shakespeare's plays are comedies, impossible to take Hamlet, Lear, Macbeth and Othello seriously. Certainly not Romeo and Juliet. It is a consolation that Updike's and even Shakespeare's achievements are imperfect although it would be wringing blood from a rock for me to achieve as much. The other two stories by Updike assured me that prose story-telling is as hit or miss as poetry. Bulgarian Poetess and How to Love America and Leave It At the Same Time made me think how fortunate I had been to find Tomorrow on the first try.

Not so much luck. I was attracted like a bee to a blossom to Shakespeare's lines in my personal anthology. No anthology and the poetry dependency it has created and I might have passed over the story. But now there is this conversation between me and all other writers. The anthology helps me know what I like but now I am tempted to try to articulate why I like what I like. Like the calendar, time and all else man lays his mind to it is a matter of bringing order from chaos by naming things according to our observations.

First, I like to understand what's going on in the poem. Not paraphrase it but describe the action. In Yeats' Lapis Lazuli, in the first paragraph, strophe or stanza, he talks about a community, a city or country, in which people, the women especially, high-toned maybe?, are upset about a political or wartime situation and are too hysterical for art or grace. Then he talks about actors playing Hamlet and Lear holding it together even though their characters die at the end of the play. No shouting, no crying. Then a paragraph or stanza about how whole civilizations are transitory too. Finally, in a reference to one of our oldest civilizations, two old Chinamen and their retainer are in the mountains. From their perspective, calm acceptance and longevity, perhaps some sadness, they look on all of history and non-history with something like gladness.

From there we can appreciate the artistry -- in Yeats' case the interesting rhymes and variable line lengths -- recognizing, however, that the artistry is not so much a demonstration of skill or a performance as the particular vehicle or discipline by which this artist discovered the content of his mind. It little matters whether verse is free, rhymed, blank, or formed as long as it is understandable and meaningful. Understandable to anyone, meaningful to someone.

The oldest formulation I have is Pound's -- the great themes of literature can be written on the back of a postage stamp. Until recently, I thought you could do it but you'd have to write very small. Now I know you can do it in your normal handwriting. I think they are Love (how we come into the world), Death (how we leave the world) and Governance (how we live in the world together). It may be possible to group Love and Death together, coming into and going out of life being similarly unknowable mysteries. The ways of talking about this one same mystery are apparently endless and endlessly fascinating. We cannot leave it alone. Almost all the greatest poems are about this mystery. Life is but a dream.

Then there is Governance -- how we live in the world together -- about which there are far fewer great poems. And usually they are about how our failure to live together leads back into the unknowable mystery through premature and sometimes mass death. Siamanto's The Dance comes to mind. I think the best poems of this type are written by so-called oppressed people.

Many poems treat both themes. But on the question of content, Pound is where I begin. My anthology -- Whole Wide World -- has a section which I'll call Double & Triple Features: Poems to Read Together, which pairs and groups poems according to my feeling that they share something -- theme, voice, structure -- in common. Subject matter is, I think, the commonest sharing. If I tried to name each pairing or grouping I might then have a hundred or more themes. Naming them adequately would be difficult to impossible. But why? And why not try? It would be a necessary start to talking about the poems: I read these poems together because....

Prose doesn't have to be beautiful, sometimes it's best when it's flat as Hemingway conclusively proved and one of its attractions is you can run on and on as long as the mind goes on following a thought without a stop sign for a whole page of books like Proust or Faulkner or Joyce.

Auden's is the second useful formulation that comes to mind (besides his chummy reverence for Shakespeare in naming him Top Bard). He classifies poems five ways:

            1. A good poem that's meaningful to him;
            2. A good poem that's not meaningful to him;
            3. A good poem that may someday become meaningful to him;
            4. A bad poem that's meaningful to him;
            5. A bad poem that's not meaningful to him.

I find I do about the same. But I discard all poems, good and bad, that are not meaningful to me. I have little taste for artistry for art's sake. The poem must speak to me or awaken me. Dickinson's formulation -- takes the top of your head off -- is the same as We can't define ******* but we know it when we see it.

A short aside: it feels inappropriate to answer the question What do you do? by saying I'm a poet. It would be like saying I'm a leader or I'm a prophet. You cannot anoint yourself a poet, a leader or a prophet -- others must do it for you. I wonder if I would be more comfortable if I had a larger audience (following) like Billy Collins for example. I think not. It would be like being a rock star, not a composer.

It's much more acceptable to say I'm a writer. Then when you answer the question Oh, what do you write? with Poetry, you are not self-aggrandizing, merely irrelevant, effete. Being a poet is viewed as being a flasher or nudist, exposing parts of yourself others would rather not see, at least not up close and personal, providing more information than others need or want to have. Maybe that's a good definition of a bad poet. Self-revelation dressed in verbal prowess is acceptable but naked, abject confession is unpardonable, tedious.

Although content is requisite for a poem to be meaningful, a poem is not really a communication like fiction or essay. It is more like an object, like a painting or sculpture, and perhaps like a musical score, sheet music. Yet I would still instruct students of poetry to first read each poem by the sentence, not the line, to derive its meaning, understand its argument, visualize its action. Then one might ask how and why is it sculpted, structured, with line breaks and strophes. Ultimately, the form of the poem is nothing more or less than the method by which the poet discovered his meaning. Although it is arbitrary -- it could have been said another way -- it is the only way it could be said by this person in this time and place. I have always liked the idea of a sculptor carving away stone or wood to reveal the form inside the block.

The poem lives on as an object, recognized by many or few or none. Like art or furniture, most are briefly useful then are moved to the attic or shed where they gather dust and mouse turds then break, dry and decay and find their way to the dump, the dust heap of history, only not even human history, just your personal history.

The anthology has made me an antiquarian -- one who cares as much for objects made by others as if I had made them myself.

So how can one talk about poems? The argument that any attempt to discuss or describe a poem is better served by simply reading the poem, perhaps memorizing it, has merit. Except in one respect -- the process can take you to undiscovered and half-discovered country within yourself. Always, first, you must understand the action otherwise we are just re-reading ourselves in our own tried and untrue ways. We must not mistake an old dog dying for a puppy being born. Misunderstanding the words is like constructing a science experiment with a flawed methodology and then using the results to shape or live in the world. It can be dangerous. Therefore reading poetry is a mental discipline worthy as the scientific method itself. It takes you out of yourself.

The fun of criticism comes in examining why and how the poem made you feel or think as you did. You can read closely for the chosen words, rhythms, lines and stanzas. You may admire the skill or wit of the poet. And you can refer to your own experience to understand your reaction. You can even disagree with the poet's thought or perception, or reject the sentiment. You can say that's him, not me.

Then there are Bloom's formulations of which I am wary, he being a critic not a poet. Yet here they are. Three sources of healthy complexity or difficulty in poems: 1) Sustained allusiveness -- cultural references that require the reader to be educated beyond the poem's content, for which he cites Milton as an example and could have Dante; 2) Cognitive originality -- leaps of perception and depths of understanding that startle, enlighten and take off the top of your head, for which he cites Shakespeare and Dickinson as examples and to which I would add much of what is memorable in modern poetry; and 3) Personal mythmaking -- whereby the poet constructs over time a system of images and personal (more than cultural) references that with familiarity become understandable and meaningful, citing Yeats and Blake as examples. How to make this formulation useful.

A second formulation by Bloom discusses poetic figures or the indirect means by which poetry uncovers truth, dancing with and romancing language rather than wrestling and pinning it down like philosophy tries. There are four: 1) Irony or saying one thing and meaning another, usually the opposite; 2) Symbol (synecdoche) or making one thing stand for another; 3) Contiguity (metonymy) or using an aspect or quality of something to represent the whole; and 4) Metaphor or transferring the qualities or associations of one thing to another.

Meanwhile, here's my **** poetica:

1) Poetry is an acquired taste, like golf or wine, with no obligation to appreciate it.

2) Poetry is divination; prose explains what we think we know but poetry discovers what we didn't know we thought.

3) Poetry is one of many man-made systems, like baseball or the scientific method, for producing knowledge, meaning and pleasure. Or are they all natural as ***?

4) Of all the other arts, poetry is most like sculpture; the word "poem" comes from the Indo- European root meaning "to make, to build."

5) It is impossible to write exactly what you mean or be accurately understood; poetry uses this to its advantage.

6) Line length -- enjambment -- is the single most important feature of poetry.

7) Poems are made from ideas; poetry is philosophy but where philosophy wrestles language down, poetry romances language.

8) Meaning is the most important product of poetry but it's completely personal; poems almost always say one thing and mean another but the poet often doesn't know what he meant.

9) It is almost impossible not to rhyme or write rhythmically in English or any other language.

10) The forms poets use are how the poet gets to his truth and are basically arbitrary choices.

11) Poems may be difficult and complex and irrational but they must be comprehensible.

12) Just describing the action of the poem will take you where you need to go.

210,089 views on the internet, you sorta get the picture
as to why there's this need to keep count... esp. given
the video content...
    well... it's not that i live
   in a big brother society,
i can't believe that the concept of
a minority report by philip k. ****
hasn't become mainstream...
   and yes, i have this great distrust of
what was once oath, but now has become
a case of: all things otiose...
concerning Hippocrates...
        people begin to question reality
because: there's no reality beyond touching
a brick, or licking a postage-stamp...
psychiatry is contrary to Hippocrates...
   given that there's this illness
that incorporates the whole world,
and that a god omni-this-that-and-the-other
has created people who seem to want
to establish themselves as: with those
attributes inherent in them...
      all we can say about the god we created
is that: he's unthinkable...
   now come the pronoun assaults...
what if i weren't a man, and merely called
god a she or a gender-neutral it...
        jesus against the slackers...
   i find the second coming that happened
in 1945 with the unearthing of the Egyptian
library so, so so ******* revolting,
that every time i burp up a canape of *****
i only think about swallowing it back down...
   that's how revolting i find the second
coming to be... it happened... hello!
back in 1945... it already happened when
the nag hammadi library was unearthed at
the end of world war ii: "ironically"...
         well, sure: foretell the end of the world
drop an atom bomb on hiroshima and nagasaki...
i still don't see how the professional philosophers
of our age draw the line past the big bang theory
and darwinism and look for "ideas"
or "laws of thought" with a "beginning"
starting from the Greeks... don't know,
it passed me by... i found a new beginning
with the Germans... the so-called titans:
and yes, i: the little man...
    as akin to heidegger: how there is nothing
worth observing and everything must be willed:
the asian maggot-brains would just look
at Everest and not think to climb it...
when thought turns into verb...
you don't see a Vishnu... you see a Shiva...
people can't be trusted with heidegger's concept
of dasein... sure, people need a will,
but when will becomes obliterated
  due to certain nuances that only demand
such a light-stroke of being kept:
you don't get anything profound from
   a physics akin to working from dasein
coordinates (0, 0)...
       well, you do: violence and numbers...
angry ***...
           on an individual basis the dasein doesn't
work... on an individual basis there is no dasein...
it's really about a personal trainer, a newspaper,
a rhetoric manipulator...
   working from heidegger's dasein
   there emerges no concern for a hersein
(a hereness, a being here) -
always that ******* flight toward the stratosphere
of heaven...
         and always that fetish for looking
at the ancient Greek ego like the genital parts
you're about to **** off...
    it's become a case of: i could easily
discard the 20th century advert of what was lived
and return to the late 19th century
   with the genesis of the 21st century:
and i wouldn't even flinch.
   read a book and look at the stillness of it all...
and i did, i then turn onto the internet
and see this ******* pigeon...
   and it really is a pigeon talking really
profound things... i listen to this pigeon from time
to time... and he really is a pigeon:
   paul joseph watson on youtube really
is a pigeon... i hope his neck doesn't break...
a bit like O'Hara's ode to Ginsberg
   and that ref. to adolf deutsche, the composer:
no, not the maniac genocide artist...
   i'm really, only slightly against the concept
of dasein... for me there's no there with me
included... but then again: i might only be
half human when i think it out...
    plus, given the fact that this mass-connectivity
construct exists, i can sorta jump from
one end of the earth to another and feel:
nothing equivalent of sniffing jasmine in Lebanon...
none of the 20th century writers could have
predicted the internet canvas...
  and given that: they're not even out of vogue:
they very much are the vongue:
   but their context, contained within a book
  is dodo.
       so what i find from the concept of dasein:
a need for physics...
******, you ain't moving, i'm not moving!
and as the two tiers of language emerge:
a. noting the langusage sausage as: about to be said
and b. language noted: i can't believe i just thought that up!
funny how bilingualism works...
   deemed by strict authoritarians as worth
the noun schizophrenia... naturally...
   but then shrapnel words do make up the cocktail...
the Greek oν (meaning being) translates into
Polish as merely: he...
    and pronouns can be so much more involved in
kinetics: the pyramid hierarchy of pronoun motivational
tactic: how you can become him... by not listening
to your i... the whole shabang of: me, myself and i...
   let's treat nouns and alzheimer's on a segregational
level... given we have to establish nouns
on a firm basis... so everyone knows what everyone
else it talking about...
    what really ***** the game up to give
pronouns the full categorical impetus for a worth
to change is this (recently unearthed) game
of changing the he to a she...
      not transcendental concerns but transgender
escapes... god is by now unthinkable,
given the prefix omni- there is absolutely no
way to discuss (gender neutral) it... easier said
and done with stephen king's clown...
i swear to oh oh...
    but why is no one catching on why Islam is
so agitated? given the pages were unearthed by
some Egyptian shepherd, and the authority of
the church was bypassed... people started to think
it would be as non-kinetic as donning a pink
scarf when wearing a tuxedo...
       approx. 2000 years, gone, down the drain...
this is what you get when you bypass
established authority, and still keep the said
authority and create this weird quasi-religious
secularism... long gone the church-state divide...
long gone the church... and so too the state...
it really has become a case of money
being akin to water or fire...
  an element, for the most part we can contain it,
but in some cases: it astounds us...
a but like man's second dream contained within
the a.i., sure, pocket-money / wage and we have
ourselves a campfire... inflation and national
expenditures, tax and the likes? well... throw your
marshmellows into that raging forest-fire!
we created the concept of an element in how
we kneel to the dynamic of transcending beyond
the category: animal...
     we drink water so we can rehydrate...
we breathe air so... d'uh...
    we start fires so we can keep warm...
we created money so we can have a plumber
   or an electrician: in order to not have to talk
or eat with the said plumber or electrician...
           i can only see money as i see fire...
but that doesn't mean i equate money with god...
   better still: that word will not disappear or become
devoid... but the fact that the said word is
given the omni prefix: it's become unthinkable to
even begin with entering a narrative or a dialectics
concerning it... but there we were: most of us:
incubating the word, the concept, the whole shabang!
still... i have that pigeon online: paul joseph watson...
   it's really called lazy when you wrote it
and someone else read it and when you reciprocated
something of mutual effort and when you
weren't the really eager speaker and someone else
wasn't but a miser of a listener...
   just the motto of what the Russians call:
keeping it real... and alive, and bothering to read books.
and yes, having settled out differences,
    revised Marxism and did with it as one might
confuse using a hammer to a pencil /
prior to cultural marxisim there was, once upon a time:
an economic premise - we settled our
differences and became whining bull-mawled
ponces that didn't really care to make it to
the zummit (on purpose) of inter-racial marriage...
never mind making dating boring
by de facto disclosure of ourselves in profile:
  tourism really did **** off a sense of adventure
when diving into another person alongside
it being staged in a theatre of uncertainty...
   art is such an autocrat: it wants to make us
believe we can all be artists...
art did that to me: hence i realised i'm merely a drinker;
and sure, i have a riddle for my palette:
     bourbon whiskey is equivalent to rosé wine...
                          (olé emphasis)
scotch whiskey is equivalent to red wine...
  i.e. bitter... for care of a better word -
laphroaig? smoked salmon -
                                       may i say bourbon
really is: ***** liquor? ever time i drink it i get
this nasal infusion of the perfume of
walking into a ******* brothel...
         and all the fine bollocking that is...
but i wanted to avoiding writing this digression and
go back to heidegger and dasein and how
  that german ****** is merely prescribing kinetics...
movement... how being = doing...
             or something like that...
     oh right! the whole: pronouns are the sole
motivational tools in how they behave to make me
'''jealous'' of him having attained his achievements
could make me move toward attaing his stasus
   (italics and ditto marks are the knife and fork
of existentialism) / emphasis and ambiguity respectively...
   but i mean that as " " denotes being passed-on
(or that's how existentialists took to it...
that it was akin to a hereditary concern with
a beginning, and therefore a chinese-whisper
that became mutated across the years -
in a shorter version, any word with the " " membrane    
could also be encapsulated by, e.g. ~red, i.e.
crimson).
aren't we living in times when the mathematical
sprechen is having due ******* with
linguistic sprechen, just like the pronoun debate
akin to an igloo in Hawaii, only because we all gained
access to this digital canvas? where else if
not in the anglophone world would you actually
experience a feast of acronyms?
   n00b... i thought that meant: ****... apparently
it just means colt... or beginner...
   of l8er...           this leads me to only
one conclusion... when the Greeks started to dress up
their language with very complex diacritical
marks (even though they really didn't have to):
English / pseudo-Latin was asleep...
            and it's still sleeping...
            this acronym safe-haven is getting ulgier
and uglier... i feel like i'm 70
even though i'm 30... well... at least i can tune
into the pigeon online and pass the time.