Ich ging durch den beschmutzten bevölkerten Korridor mit den Reben, die drinnen und draußen wuchsen, entlang und ich sah in jeder Tür mein Spiegelbild, während ich vorüberging. Ich wohnte genau zum Zimmer – nicht einhundertfünfzig Zentimeter weg; die Entfernung war fast nicht größer, als ich war, und nicht alter. Ich erläuterte meine Angst vor dem Dunkel mit einem Frösteln. Meine Zähne klapperten und klingelnden Münzen, die in meiner Tasche blieben, schrien in meinem Ohr gewohnte Lieder.
Eine Tür öffnete und einen Moment lang hörten wir das Weltall. Wir allesamt waren in dem Korridor. Ein krystallener Stab wie einer, den Leute in der Versuchsansalt oder in der Kneipe benützten, zerbrach. Der Stabinhalt floß in die Hand des Mannes, der sein Zimmer verließ, eine silberne Flüssigkeit. Das Echo des Wortes „Quecksilber“ klang in dem Korridor.
Jedes Zimmer ist gleichbedeutend wie das Letztere, aber es ist auch unterschiedlich. Jedes beinhaltet grenzenlos Fähigkeiten, und unterschiedliche Chemikalien, unterschiedliche Chemie, und unterschiedliche Emotionen.
Ängstlich öffnete ich meine Tür und trat in einen millionsten Anteil von mir selber und ich war ich selber. Symphonien flossen von meinem Kopf weiter, und von den Symphonien kamen fliegende Fische.
Es war nicht wichtig, dass andere Menschen ähnliche Zimmer wie mein Zimmer hatten; es war nur wichtig, dass ihre Zimmer verschieden waren. Ihre Zimmer waren Käfige, genau wie ihre Herzen und auch ihre Hände. Der Mann im Korridor, der hirschartige Augen hatte, blies das flüssige Metall, das seine Hand fasste weg. Die Flüssigkeit wurde Staub und glitt zu mir wie Backpulver oder Schnee im Schneesturm. Ich konnte alles hören und ich musste mich von dem Weiß, das der Staub brachte, trennen. Ich hasste den öden Morgen, den das hervorbrachte.
Ich wollte meine Tür öffnen und wollte den silbernweißen Straub vorzeigen, dass ich auch Sachen in der Luft erschaffen konnte. Ich wollte, aber ich konnte nicht. Ich konnte Sachen in der Luft meines Zimmers erschaffen, aber nicht im Korridor. Man braucht Ressourcen, um etwas zu ändern oder zu formen. Ich besaß Keine.
Die Welt schüchterte die Leute ein, die Verstand hatten.

I can’t wait to be a hundred;
turning over the thoughts
and plots, of Caledon
floating on Zimmer inserts
and dusted Florsheims
three steps forward
in a dream woven
summer afternoon

Through the barn doors
and bee keeper flats
assimilating voices
from Sachems
and Forbes
and Hope Healers
coming and going
as the countryman
comes and goes

You can feel it
in a place like this
the 3 in the tree memories
of Allis Chalmers
and combine parts
of Sundrim poppers
and shallow carp fields
of patterned lawsons
and fading caulk
(on the ripped and rolled
frontier seats)

it’s a wishing well
for the peddler
and bold hydrangea...
both peeking their way
through the rusted
grinders wheel

you know, on that N86 bus listening to dikanda's
https://goo.gl/OAUjMe (ketrin ketrin),
while going to the brothel, where i kissed *****'s
eyelid skin i turned my heart into a lung...
and it burst akin to muscled stress of the softer tissue,
by heart was the black horse of the race...
she would only be worth £110 an hour...
but in my heart... a lifetime... so classical fm is
asking for three songs to be enlisted in the hall of fame
here are my three:
1. something to think about (christopher young) -
   hellraiser ii,
2. no time for caution (hans zimmer) -
    interstellar,
3. spectres in the fog (hans zimmer) -
     the last samurai, competing with
(4. any other name (thomas newman) -
     american beauty,
and....
5. carpe diem (maurice jarre) -
     the dead poets' society);
i always found classical music invoked
by fast image exchange most adhering
to a modern public... after all...
the notes written down are transliterated
from moving geometries
asking for a human face...
that one abstraction leaving another created...
so enriched we can be living and leaving here,
but leave and live here cradled and crawling
and nothing more than an attempt for
a crafted shawl of woollen care...
assuredly we were the blank canvas,
when the sheep and lion were clothed...
the lizard inwardly having its blood cooled...
and we the mediators...
to evolve from an origin of such biological diversity?
why will darwinism claim to be a humanism
and let no humanism in?!
if darwinism branched from science for a populism
of understanding prepositions as propositions
(given that propositions are allowed expression
with far many more complex words than prepositions,
given the former are deemed a nature or origin
and the latter a nature of coordination)
why allow it a humanistic simplicity
and complicate humanism to a non-expression's
extent of a complexity? darwinism cannot grasp
humanism's complexity per se, for each its own per se
allowance... darwinism cannot relate to humanism,
since humanism deals with the one diluted into the many,
while darwinism deals with the many concentrated into
the one:
and noting the varied dimensional usage of pronouns,
the singular (engaging), the singular (disengaging),
the plural (effective), the plural (ineffective),
to use but a few among others... how would a self,
as either realistically concerned or as expressed
in an atlas pose when one individual speaks of a species
to ever survive... to speak of humanity per se,
is to not speak of being human per se (a self),
but as if under a constant threat from either internal
or external stimuli, it's to speak as if human
but hardly being human... darwinism only said
in simpler terms 1 = ~∞ 0 1 (one equals
approximately infinity denying one... expressed
further: one equals approximately infinity denying
oneness, hence ethnicity, hence disparity,
the infinite approximate is due to the no. of equally
represented identities of reflection as one's akin
in historical content for a vanity representation
of ego) / although there's a parallel disparity:
1 = ∞ 0 ~1 (1 equals a reasonable infinity
of the semblance collective, as approximated within
one's own constitution, denied by the constitution
of the semblance collectivised denying 1 its
oneness by a division, into pop. psychology
of subconscious, unconscious, ulterior and posterior
assembling of identification in order to relate
a concrete un-divisible one, to a oneness
of ~∞ 0 ∞†, whether governed by animate or inanimate
things, worthy of either representing
∞ = 0 ~1, or ~∞ = 0 1 (infinity equating itself to
a denial of an approximation of one,
or approximate infinity equating itself to a denial
of one) - by most standards a collective power
increases, while an individual coercion with
such increase in power is diluted to mediocre representation
of what was once hoped for to be an individual...
as worded: i'm about to inherit a pickaxe, an igloo,
a herd of sheep, a land arable for regular hunts
to provide sustenance, but as i said, the oddity
of increasing vocabulary as body-building index muscle,
will hardly teach you the physics of quanta in
the realm of modulating grammar,
on the basic basis of grammatical as
a method of de-categorisation one word from it being
named, to it being acted upon as a termed way of
walking (differently), or otherwise.

†a bit much for me, an alfred jarry moment
at the end of dr. faustroll's opinions and exploits...
papa **** got the dangling essence of things:
je suis jarry among the je suis cherub charlies,
if poet does not appreciate other artistic mediums
he can't mediate them,
poetry is supposed to mediate all artistic expression
with platonic criticism... it's supposed to mediate,
with poets appreciating each and every craft...
whether sculpture we scrap metal stolen from a park,
or whether an oil canvas be worth as much as toilet
paper when the painter is alive, and millions more
when he's dead.. we need gravity a demanding
drama to extend drama into grammar...
poets have to become the middle-men of haggling,
they need to appreciate art in an elitist way
in order that art can't become genealogically defining,
like dramatics of the theatre lost between idols
of 1950s screening compared to idols of 19'90s screening...
we need poets as the glue stuck to every output...
we need to appreciate all art other than their own
to discover their own... we can't have the mindless
jealousy bribe us to reconcile composition,
so that poet against poet is still writing poetry...
he isn't... he's writing a polemic... and that's hardly
a dialogue... it's a mortifying analogue of monologue...
and we don't want poetry to be such a belittling
circumstance of the original intent of practice,
why would a poet's rarity be reduced to
a market blasphemy of ultra-eloquent speech
in order that it might be used to scold?
why the jealousy? why?! it reeks of revenge
that only requires a Darwinism to include it,
as sustainable and necessary,
too many monkeys to create a single man...
too many difference in man from continental span
of africa, to asia... to even bother a standing ovation
origination in genetic scrip of a chimpanzee...
script wants man to be genetically above
a genetic script of a banana numbering more genes
that itself... the biodiversity of monkey
is akin to man... why would the two chiral statues
suddenly become gemini of explanation?
it all fits... but it stinks...
well, whatever that was... it's the pride of a language
that keeps darwinism alive...
but theology is closer to humanism than darwinism...
it's a compound logic, darwinism ends with with an ism,
an empiricism... and the only logic accounted for
is a logic of repeat... just look at the forms of these words...
formulated by L and Γ (origin of the kabbalistic interpretation
of allah)... keep the prefix akin to a suffix composed to
an enclosure... theology provides the better logistics
of expressing being human than an empiricism
known to be darwinism... after all a -logy tends to
repeat a systematic use of words...
empiricism a systematic use of facts...
easier to become bored of facts than words.