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Like a psychotic docent in the wilderness,
I will not speak in perfect Ciceronian cadences.
I draw my voice from a much deeper cistern,
Preferring the jittery synaptic archive,
So sublimely unfiltered, random and profane.
And though I am sequestered now,
Confined within the walls of a gated, golf-coursed,
Over-55 lunatic asylum (for Active Seniors I am told),
I remain oddly puerile,
Remarkably refreshed and unfettered.  
My institutionalization self-imposed,
Purposed for my own serenity, and also the safety of others.
Yet I abide, surprisingly emancipated and frisky.
I may not have found the peace I seek,
But the quiet has mercifully come at last.

The nexus of inner and outer space is context for my story.
I was born either in Brooklyn, New York or Shungopavi, Arizona,
More of intervention divine than census data.
Shungopavi: a designated place for tribal statistical purposes.
Shungopavi: an ovine abbatoir and shaman’s cloister.
The Hopi: my mother’s people, a state of mind and grace,
Deftly landlocked, so cunningly circumscribed,
By both interior and outer Navajo boundaries.
The Navajo: a coyote trickster people; a nation of sheep thieves,
Hornswoggled and landlocked themselves,
Subsumed within three of the so-called Four Corners:
A 3/4ths compromise and covenant,
Pickled in firewater, swaddled in fine print,
A veritable swindle concocted back when the USA
Had Manifest Destiny & mayhem on its mind.

The United States: once a pubescent synthesis of blood and thunder,
A bold caboodle of trooper spit and polish, unwashed brawlers, Scouts and      
Pathfinders, mountain men, numb-nut ne'er-do-wells,
Buffalo Bills & big-balled individualists, infected, insane with greed.
According to the Gospel of His Holiness Saint Zinn,
A People’s’ History of the United States: essentially state-sponsored terrorism,
A LAND RUSH grabocracy, orchestrated, blessed and anointed,
By a succession of Potomac sharks, Great White Fascist Fathers,
Far-Away-on-the Bay, the Bay we call The Chesapeake.
All demented national patriarchs craving lebensraum for God and country.
The USA: a 50-state Leviathan today, a nation jury-rigged,
Out of railroad ties, steel rails and baling wire,
Forged by a litany of lies, rapaciousness and ******,
And jaw-torn chunks of terra firma,
Bites both large and small out of our well-****** Native American ***.

Or culo, as in va’a fare in culo (literally "go do it in the ***")
Which Italian Americans pronounce as fongool.
The language center of my brain,
My sub-cortical Broca’s region,
So fraught with such semantic misfires,
And autonomic linguistic seizures,
Compel acknowledgement of a father’s contribution,
To both the gene pool and the genocide.
Columbus Day:  a conspicuously absent holiday out here in Indian Country.
No festivals or Fifth Avenue parades.
No excuse for ethnic hoopla. No guinea feast. No cannoli. No tarantella.
No excuse to not get drunk and not **** your sister-in-law.
Emphatically a day for prayer and contemplation,
A day of infamy like Pearl Harbor and 9/11,
October 12, 1492: not a discovery; an invasion.

Growing up in Brooklyn, things were always different for me,
Different in some sort of redskin/****/****--
Choose Your Favorite Ethnic Slur-sort of way.
The American Way: dehumanization for fun and profit.
Melting *** anonymity and denial of complicity with evil.
But this is no time to bring up America’s sordid past,
Or, a personal pet peeve: Indian Sovereignty.
For Uncle Sam and his minions, an ever-widening, conveniently flexible concept,
Not a commandment or law,
Not really a treaty or a compact,
Or even a business deal.  Let’s get real:
It was not even much in the way of a guideline.
Just some kind of an advisory, a bulletin or newsletter,
Could it merely have been a free-floating suggestion?
Yes, that’s it exactly: a suggestion.

Over and under halcyon American skies,
Over and around those majestic purple mountain peaks,
Those trapped in poetic amber waves of wheat and oats,
Corn and barley, wheat shredded and puffed,
Corn flaked and milled, Wheat Chex and Wheaties, oats that are little Os;
Kix and Trix, Fiber One, and Kashi-Go-Lean, Lucky Charms and matso *****,
Kreplach and kishka,
Polenta and risotto.
Our cantaloupe and squash patch,
Our fruited prairie plain, our delicate ecological Eden,
In balance and harmony with nature, as Chief Joseph of the Nez Perce instructs:
“These white devils are not going to,
Stop ****** and killing, cheating and eating us,
Until they have the whole ******* enchilada.
I’m talking about ‘from sea to shining sea.’”

“I fight no more forever,” Babaloo.
So I must steer this clunky keelboat of discovery,
Back to the main channel of my sad and starry demented river.
My warpath is personal but not historical.
It is my brain’s own convoluted cognitive process I cannot saavy.
Whatever biochemical or—as I suspect more each day—
Whatever bio-mechanical protocols govern my identity,
My weltanschauung: my world-view, as sprechen by proto-Nazis;
Putz philosophers of the 17th, 18th & 19th century.
The German intelligentsia: what a cavalcade of maniacal *******!
Why is this Jew unsurprised these Zarathustra-fueled Übermenschen . . .
Be it the Kaiser--Caesar in Deutsch--Bismarck, ******, or,
Even that Euro-*****,  Angela Merkel . . . Why am I not surprised these Huns,
Get global grab-*** on the sauerbraten cabeza every few generations?
To be, or not to be the ***** bullgoose loony: GOTT.

Biomechanical protocols govern my identity and are implanted while I sleep.
My brain--my weak and weary CPU--is replenished, my discs defragmented.
A suite of magnetic and optical white rooms, cleansed free of contaminants,
Gun mounts & lifeboat stations manned and ready,
Standing at attention and saluting British snap-style,
Snap-to and heel click, ramrod straight and cheerful: “Ready for duty, Sir.”
My mind is ravenous, lusting for something, anything to process.
Any memory or image, lyric or construct,
Be they short-term dailies or deeply imprinted.
Fixations archived one and all in deep storage time and space.
Memories, some subconscious, most vaporous;
Others--the scary ones—eidetic: frighteningly detailed and extraordinarily vivid.
Precise cognitive transcripts; recollected so richly rife and fresh.
Visual, auditory, tactile, gustatory, and olfactory reloads:
Queued up and increasingly re-experienced.

The bio-data of six decades: it’s all there.
People, countless, places and things cataloged.
Every event, joy and trauma enveloped from within or,
Accessed externally from biomechanical storage devices.
The random access memory of a lifetime,
Read and recollected from cerebral repositories and vaults,
All the while the entire greedy process overseen,
Over-driven by that all-subservient British bat-man,
Rummaging through the data in batches small and large,
Internal and external drives working in seamless syncopation,
Self-referential, at times paradoxical or infinitely looped.
“Cogito ergo sum."
Descartes stripped it down to the basics but there’s more to the story:
Thinking about thinking.
A curse and minefield for the cerebral:  metacognition.

No, it is not the fact that thought exists,
Or even the thoughts themselves.
But the information technology of thought that baffles me,
As adaptive and profound as any evolution posited by Darwin,
Beyond the wetware in my skull, an entirely new operating system.
My mental and cultural landscape are becoming one.
Machines are connecting the two.
It’s what I am and what I am becoming.
Once more for emphasis:
It is the information technology of who I am.
It is the operating system of my mental and cultural landscape.
It is the machinery connecting the two.
This is the central point of this narrative:
Metacognition--your superego’s yenta Cassandra,
Screaming, screaming in your psychic ear, your good ear:

“LISTEN:  The machines are taking over, taking you over.
Your identity and train of thought are repeatedly hijacked,
Switched off the main line onto spurs and tangents,
Only marginally connected or not at all.
(Incoming TEXT from my editor: “Lighten Up, Giuseppi!”)
Reminding me again that most in my audience,
Rarely get past the comic page. All righty then: think Calvin & Hobbes.
John Calvin, a precocious and adventurous six-year old boy,
Subject to flights of 16th Century French theological fancy.
Thomas Hobbes, a sardonic anthropomorphic tiger from 17th Century England,
Mumbling about life being “solitary, poor, nasty, brutish and short.”
Taken together--their antics and shenanigans--their relationship to each other,
Remind us of our dual nature; explore for us broad issues like public education;
The economy, environmentalism & the Global ****** Thermometer;
Not to mention the numerous flaws of opinion polls.



And again my editor TEXTS me, reminds me again: “LIGHTEN UP!”
Consoling me:  “Even Shakespeare had to play to the groundlings.”
The groundlings, AKA: The Rabble.
Yes. Even the ******* Bard, even Willie the Shake,
Had to contend with a decidedly lowbrow copse of carrion.
Oh yes, the groundlings, a carrion herd, a flying flock of carrion seagulls,
Carrion crow, carrion-feeders one and all,
And let’s throw Sheryl Crow into the mix while we’re at it:
“Hit it! This ain't no disco. And it ain't no country club either, this is L.A.”  

                  Send "All I Wanna Do" Ringtone to your Cell              

Once more, I digress.
The Rabble:  an amorphous, gelatinous Jabba the Hutt of commonality.
The Rabble: drunk, debauched & lawless.
Too *****-delicious to stop Bill & Hilary from thinking about tomorrow;
Too Paul McCartney My Love Does it Good to think twice.

The Roman Saturnalia: a weeklong **** fest.
The Saturnalia: originally a pagan kink-fest in honor of the deity Saturn.
Dovetailing nicely with the advent of the Christian era,
With a project started by Il Capo di Tutti Capi,
One of the early popes, co-opting the Roman calendar between 17 and 25 December,
Putting the finishing touches on the Jesus myth.
For Brooklyn Hopi-***-Jew baby boomers like me,
Saturnalia manifested itself as Disco Fever,
Unpleasant years of electrolysis, scrunched ***** in tight polyester
For Roman plebeians, for the great unwashed citizenry of Rome,
Saturnalia was just a great big Italian wedding:
A true family blowout and once-in-a-lifetime ego-trip for Dad,
The father of the bride, Vito Corleone, Don for A Day:
“Some think the world is made for fun and frolic,
And so do I! Funicula, Funiculi!”

America: love it or leave it; my country right or wrong.
Sure, we were citizens of Rome,
But any Joe Josephus spending the night under a Tiber bridge,
Or sleeping off a three day drunk some afternoon,
Up in the Coliseum bleachers, the cheap seats, out beyond the monuments,
The original three monuments in the old stadium,
Standing out in fair territory out in center field,
Those three stone slabs honoring Gehrig, Huggins, and Babe.
Yes, in the house that Ruth built--Home of the Bronx Bombers--***?
Any Joe Josephus knows:  Roman citizenship doesn’t do too much for you,
Except get you paxed, taxed & drafted into the Legion.
For us the Roman lifestyle was HIND-*** humble.
We plebeians drew our grandeur by association with Empire.
Very few Romans and certainly only those of the patrician class lived high,
High on the hog, enjoying a worldly extravaganza, like—whom do we both know?

Okay, let’s say Laurence Olivier as Crassus in Spartacus.
Come on, you saw Spartacus fifteen ******* times.
Remember Crassus?
Crassus: that ***** twisted **** trying to get his freak on with,
Tony Curtis in a sunken marble tub?
We plebes led lives of quiet *****-scratching desperation,
A bunch of would-be legionnaires, diseased half the time,
Paid in salt tablets or baccala, salted codfish soaked yellow in olive oil.
Stiffs we used to call them on New Year’s Eve in Brooklyn.
Let’s face it: we were hyenas eating someone else’s ****,
Stage-door jackals, Juvenal-come-late-lies, a mob of moronic mook boneheads
Bought off with bread & circuses and Reality TV.
Each night, dished up a wide variety of lowbrow Elizabethan-era entertainments.  
We contemplate an evening on the town, downtown—
(cue Petula Clark/Send "Downtown" Ringtone to your Cell)

On any given London night, to wit:  mummers, jugglers, bear & bull baiters.
How about dog & **** fighters, quoits & skittles, alehouses & brothels?
In short, somewhere, anywhere else,
Anywhere other than down along the Thames,
At Bankside in Southwark, down in the Globe Theater mosh pit,
Slugging it out with the groundlings whose only interest,
In the performance is the choreography of swordplay and stale ****** puns.
Meanwhile, Hugh Fennyman--probably a fellow Jew,
An English Renaissance Bugsy Siegel or Mickey Cohen—
Meanwhile Fennyman, the local mob boss is getting his ya-yas,
Roasting the feet of my text-messaging editor, Philip Henslowe.
Poor and pathetic Henslowe, works on commission, always scrounging,
But a true patron of my craft, a gentleman of infinite jest and patience,
Spiritual subsistence, and every now and then a good meal at some,
Sawdust joint with oyster shells, and a Prufrockian silk purse of T.S. Eliot gold.

Poor, pathetic Henslowe, trussed up by Fennyman,
His editorial feet in what looks like a Japanese hibachi.
Henslowe’s feet to the fire--feet to the fire—get it?
A catchy phrase whose derivation conjures up,
A grotesque yet vivid image of torture,
An exquisite insight into how such phrases ingress the idiom,
Not to mention a scene once witnessed at a secret Romanian CIA prison,
I’d been ordered to Bucharest not long after 9/11,
Handling the rendition and torture of Habib Ghazzawy,

An entirely innocent falafel maker from Steinway Street, Astoria, Queens.
Shock the Monkey: it’s what we do. GOTO:
Peter Gabriel - Shock the Monkey/
(HQ music video) - YouTube//
www.youtube.com/
Poor, pathetic, ******-on Henslowe.


Fennyman :  (his avarice is whet by something Philly screams out about a new script)  "A play takes time. Find actors; Rehearsals. Let's say open in three weeks. That's--what--five hundred groundlings at tuppence each, in addition four hundred groundlings tuppence each, in addition four hundred backsides at three pence--a penny extra for a cushion, call it two hundred cushions, say two performances for safety how much is that Mr. Frees?"
Jacobean Tweet, John (1580-1684) Webster:  “I saw him kissing her bubbies.”

It’s Geoffrey Rush, channeling Henslowe again,
My editor, a singed smoking madman now,
Feet in an ice bucket, instructing me once more:
“Lighten things up, you know . . .
Comedy, love and a bit with a dog.”
I digress again and return to Hopi Land, back to my shaman-monastic abattoir,
That Zen Center in downtown Shungopavi.
At the Tribal Enrolment Office I make my case for a Certificate of Indian Blood,
Called a CIB by the Natives and the U.S. Bureau of Indian Affairs.
The BIA:  representing gold & uranium miners, cattle and sheep ranchers,
Sodbusters & homesteaders; railroaders and dam builders since 1824.
Just in time for Andrew Jackson, another false friend of Native America,
Just before Old Hickory, one of many Democratic Party hypocrites and scoundrels,
Gives the FONGOOL, up the CULO go ahead.
Hey Andy, I’ve got your Jacksonian democracy: Hanging!
The Bureau of Indian Affairs (BIA) mission is to:   "… enhance the quality of life, to promote economic opportunity, and to carry out the responsibility to protect and improve the trust assets of American Indians, Indian tribes, and Alaska Natives. What’s that in the fine print?  Uncle Sammy holds “the trust assets of American Indians.”

Here’s a ******* tip, Geronimo: if he trusted you,
It would ALL belong to you.
To you and The People.
But it’s all fork-tongued white *******.
If true, Indian sovereignty would cease to be a sick one-liner,
Cease to be a blunt force punch line, more of,
King Leopold’s 19th Century stand-up comedy schtick,
Leo Presents: The **** of the Congo.
La Belgique mission civilisatrice—
That’s what French speakers called Uncle Leo’s imperial public policy,
Bringing the gift of civilization to central Africa.
Like Manifest Destiny in America, it had a nice colonial ring to it.
“Our manifest destiny [is] to overspread the continent,
Allotted by Providence for the free development,
Of our yearly multiplying millions.”  John L. O'Sullivan, 1845

Our civilizing mission or manifest destiny:
Either/or, a catchy turn of phrase;
Not unlike another ironic euphemism and semantic subterfuge:
The Pacification of the West; Pacification?
Hardly: decidedly not too peaceful for Cochise & Tonto.
Meanwhile, Madonna is cash rich but disrespected Evita poor,
To wit: A ****** on the Rocks (throwing in a byte or 2 of Da Vinci Code).
Meanwhile, Miss Ciccone denied her golden totem *****.
They snubbed that little guinea ****, didn’t they?
Snubbed her, robbed her rotten.
Evita, her magnum opus, right up there with . . .
Her SNL Wayne’s World skit:
“Get a load of the unit on that guy.”
Or, that infamous MTV Music Video Awards stunt,
That classic ***** Lip-Lock with Britney Spears.

How could I not see that Oscar snubola as prime evidence?
It was just another stunning case of American anti-Italian racial animus.
Anyone familiar with Noam Chomsky would see it,
Must view it in the same context as the Sacco & Vanzetti case,
Or, that arbitrary lynching of 9 Italian-Americans in New Orleans in 1891,
To cite just two instances of anti-Italian judicial reach & mob violence,
Much like what happened to my cousin Dominic,
Gang-***** by the Harlem Globetrotters, in their locker room during halftime,
While he working for Abe Saperstein back in 1952.
Dom was doing advance for Abe, supporting creation of The Washington Generals:
A permanent stable of hoop dream patsies and foils,
Named for the ever freewheeling, glad-handing, backslapping,
Supreme Commander Allied Expeditionary Force (SCAEF), himself,
Namely General Dwight D. Eisenhower, the man they liked,
And called IKE: quite possibly a crypto Jew from Abilene.

Of course, Harry Truman was my first Great White Fascist Father,
Back in 1946, when I first opened my eyes, hung up there,
High above, looking down from the adobe wall.
Surveying the entire circular kiva,
I had the best seat in the house.
Don’t let it be said my Spider Grandmother or Hopi Corn Mother,
Did not want me looking around at things,
Discovering what made me special.
Didn’t divine intervention play a significant part of my creation?
Knowing Mamma Mia and Nonna were Deities,
Gave me an edge later on the streets of Brooklyn.
The Cradleboard: was there ever a more divinely inspired gift to human curiosity? The Cradleboard: a perfect vantage point, an infant’s early grasp,
Of life harmonious, suspended between Mother Earth and Father Sky.
Simply put: the Hopi should be running our ******* public schools.

But it was IKE with whom I first associated,
Associated with the concept 1600 Pennsylvania Avenue.
I liked IKE. Who didn’t?
What was not to like?
He won the ******* war, didn’t he?
And he wasn’t one of those crazy **** John Birchers,
Way out there, on the far right lunatic Republican fringe,
Was he? (It seems odd and nearly impossible to believe in 2013,
That there was once a time in our Boomer lives,
When the extreme right wing of the Republican Party
Was viewed by the FBI as an actual threat to American democracy.)
Understand: it was at a time when The FBI,
Had little ideological baggage,
But a great appetite for secrets,
The insuppressible Jay Edgar doing his thang.

IKE: of whom we grew so, oh-so Fifties fond.
Good old reliable, Nathan Shaking IKE:
He’d been fixed, hadn’t he? Had had the psychic snip.
Snipped as a West Point cadet & parade ground martinet.
Which made IKE a good man to have in a pinch,
Especially when crucial policy direction was way above his pay grade.
Cousin Dom was Saperstein’s bagman, bribing out the opposition,
Which came mainly from religious and patriotic organizations,
Viewing the bogus white sports franchise as obscene.
The Washington Generals, Saperstein’s new team would have but one opponent,
And one sole mission: to serve as the **** of endless jokes and sight gags for—
Negroes.  To play the chronic fools of--
Negroes.  To be chronically humiliated and insulted by—
Negroes.  To run up and down the boards all night, being outran by—
Negroes.  Not to mention having to wear baggy silk shorts.



Meadowlark Lemon:  “Yeah, Charlie, we ***** that grease-ball Dominic; we shagged his guinea mouth and culo rotten.”  

(interviewed in his Scottsdale, AZ winter residence in 2003 by former ESPN commentator Charlie Steiner, Malverne High School, Class of ’67.)
                                                        
  ­                                                                 ­                 
IKE, briefed on the issue by higher-ups, quickly got behind the idea.
The Harlem Globetrotters were to exist, and continue to exist,
Are sustained financially by Illuminati sponsors,
For one reason and one reason only:
To serve elite interests that the ***** be kept down and subservient,
That the minstrel show be perpetuated,
A policy surviving the elaborate window dressing of the civil rights movement, Affirmative action, and our first Uncle Tom president.
Case in point:  Charles Barkley, Dennis Rodman & Metta World Peace Artest.
Cha-cha-cha changing again:  I am Robert Allen Zimmermann,
A whiny, skinny Jew, ****** and rolling in from Minnesota,
Arrested, obviously a vagrant, caught strolling around his tony Jersey enclave,
Having moved on up the list, the A-list, a special invitation-only,
Yom Kippur Passover Seder:  Next Year in Jerusalem, Babaloo!

I take ownership of all my autonomic and conditioned reflexes;
Each personal neural arc and pathway,
All shenanigans & shellackings,
Or blunt force cognitive traumas.
It’s all percolating nicely now, thank you,
In kitchen counter earthen crockery:
Random access memory: a slow-cook crockpot,
Bubbling through my psychic sieve.
My memories seem only remotely familiar,
Distant and vague, at times unreal:
An alien hybrid databank accessed accidently on purpose;
Flaky science sustains and monitors my nervous system.
And leads us to an overwhelming question:
Is it true that John Dillinger’s ******* is in the Smithsonian Museum?
Enquiring minds want to know, Kemosabe!

“Any last words, *******?” TWEETS Adam Smith.
Postmortem cyber-graffiti, an epitaph carved in space;
Last words, so singular and simple,
Across the universal great divide,
Frisbee-d, like a Pleistocene Kubrick bone,
Tossed randomly into space,
Morphing into a gyroscopic space station.
Mr. Smith, a calypso capitalist, and me,
Me, the Poet Laureate of the United States and Adam;
Who, I didn’t know from Adam.
But we tripped the light fantastic,
We boogied the Protestant Work Ethic,
To the tune of that old Scotch-Presbyterian favorite,
Variations of a 5-point Calvinist theme: Total Depravity; Election; Particular Redemption; Irresistible Grace; & Perseverance of the Saints.

Mr. Smith, the author of An Inquiry into the Nature
& Causes of the Wealth of Nations (1776),
One of the best-known, intellectual rationales for:
Free trade, capitalism, and libertarianism,
The latter term a euphemism for Social Darwinism.
Prior to 1764, Calvinists in France were called Huguenots,
A persecuted religious majority . . . is that possible?
A persecuted majority of Edict of Nantes repute.
Adam Smith, likely of French Huguenot Jewish ancestry himself,
Reminds me that it is my principal plus interest giving me my daily gluten.
And don’t think the irony escapes me now,
A realization that it has taken me nearly all my life to see again,
What I once saw so vividly as a child, way back when.
Before I put away childish things, including the following sentiment:
“All I need is the air that I breathe.”

  Send "The Air That I Breathe" Ringtone to your Cell  

The Hippies were right, of course.
The Hollies had it all figured out.
With the answer, as usual, right there in the lyrics.
But you were lucky if you were listening.
There was a time before I embraced,
The other “legendary” economists:
The inexorable Marx,
The savage society of Veblen,
The heresies we know so well of Keynes.
I was a child.
And when I was a child, I spake as a child—
Grazie mille, King James—
I understood as a child; I thought as a child.
But when I became a man I jumped on the bus with the band,
Hopped on the irresistible bandwagon of Adam Smith.

Smith:  “Any last words, *******?”
Okay, you were right: man is rationally self-interested.
Grazie tanto, Scotch Enlightenment,
An intellectual movement driven by,
An alliance of Calvinists and Illuminati,
Freemasons and Johnny Walker Black.
Talk about an irresistible bandwagon:
Smith, the gloomy Malthus, and David Ricardo,
Another Jew boy born in London, England,
Third of 17 children of a Sephardic family of Portuguese origin,
Who had recently relocated from the Dutch Republic.
******* Jews!
Like everything shrewd, sane and practical in this world,
WE also invented the concept:  FOLLOW THE MONEY.

The lyrics: if you were really listening, you’d get it:
Respiration keeps one sufficiently busy,
Just breathing free can be a full-time job,
Especially when--borrowing a phrase from British cricketers—,
One contemplates the sorry state of the wicket.
Now that I am gainfully superannuated,
Pensioned off the employment radar screen.
Oft I go there into the wild ebon yonder,
Wandering the brain cloud at will.
My journey indulges curiosity, creativity and deceit.
I free range the sticky wicket,
I have no particular place to go.
Snagging some random fact or factoid,
A stop & go rural postal route,
Jumping on and off the brain cloud.

Just sampling really,
But every now and then, gorging myself,
At some information super smorgasbord,
At a Good Samaritan Rest Stop,
I ponder my own frazzled neurology,
When I was a child—
Before I learned the grim economic facts of life and Judaism,
Before I learned Hebrew,
Before my laissez-faire Bar Mitzvah lessons,
Under the rabbinical tutelage of Rebbe Kahane--
I knew what every clever child knows about life:
The surfing itself is the destination.
Accessing RAM--random access memory—
On a strictly need to know basis.
RAM:  a pretty good name for consciousness these days.

If I were an Asimov or Sir Arthur (Sri Lankabhimanya) Clarke,
I’d get freaky now, riffing on Terminators, Time Travel and Cyborgs.
But this is truth not science fiction.
Nevertheless, someone had better,
Come up with another name for cyborg.
Some other name for a critter,
Composed of both biological and artificial parts?
Parts-is-parts--be they electronic, mechanical or robotic.
But after a lifetime of science fiction media,
After a steady media diet, rife with dystopian technology nightmares,
Is anyone likely to admit to being a cyborg?
Since I always give credit where credit is due,
I acknowledge that cyborg was a term coined in 1960,
By Manfred Clynes & Nathan S. Kline and,
Used to identify a self-regulating human-machine system in outer space.

Five years later D. S. Halacy's: Cyborg: Evolution of the Superman,
Featured an introduction, which spoke of:  “… a new frontier, that was not,
Merely space, but more profoundly, the relationship between inner space,
And outer space; a bridge, i.e., between mind and matter.”
So, by definition, a cyborg defined is an organism with,
Technology-enhanced abilities: an antenna array,
Replacing what was once sentient and human.
My glands, once in control of metabolism and emotions,
Have been replaced by several servomechanisms.
I am biomechanical and gluttonous.
Soaking up and breathing out the atmosphere,
My Baby Boom experience of six decades,
Homogenized and homespun, feedback looped,
Endlessly networked through predigested mass media,
Culture as demographically targeted content.

This must have something to do with my own metamorphosis.
I think of Gregor Samsa, a Kafkaesque character if there ever was one.
And though we share common traits,
My evolutionary progress surpasses and transcends his.
Samsa--Phylum and Class--was, after all, an insect.
Nonetheless, I remain a changeling.
Have I not seen many stages of growth?
Each a painful metamorphic cycle,
From exquisite first egg,
Through caterpillar’s appetite & squirm.
To phlegmatic bliss and pupa quietude,
I unfold my wings in a rush of Van Gogh palette,
Color, texture, movement and grace, lift off, flapping in flight.
My eyes have witnessed wondrous transformations,
My experience, nouveau riche and distinctly self-referential;
For the most part unspecific & longitudinally pedestrian.

Yes, something has happened to me along the way.
I am no longer certain of my identity as a human being.
Time and technology has altered my basic wiring diagram.
I suspect the sophisticated gadgets and tools,
I’ve been using to shape & make sense of my environment,
Have reared up and turned around on me.
My tools have reshaped my brain & central nervous system.
Remaking me as something simultaneously more and less human.
The electronic toys and tools I once so lovingly embraced,
Have turned unpredictable and rabid,
Their bite penetrating my skin and septic now, a cluster of implanted sensors,
Content: currency made increasingly more valuable as time passes,
Served up by and serving the interests of a pervasively predatory 1%.
And the rest of us: the so-called 99%?
No longer human; simply put by both Howards--Beale & Zinn--

Humanoid.
Z  Aug 2018
Bipolar and Addicted
Z Aug 2018
Too many thoughts, too many feelings, too many faces

Yea, what’s the feeling of success?
Achieved so many things, but all I feel is regret,
I feel alone inside my head what don’t you get?
Wake up every morning like it’s still my set,
Reminisce on where I come from so I don’t forget,
Been to rehab a dozen times, they called me a vet,
You thought you knew me, I haven’t opened the curtains yet

Alcohol destroyed all my relationships
Forgot most of my life - except for the video clips,
Poisoned my brain to forget the pain, on the daily I feel insane
I’m above the ground though I can’t complain, god relieve this pain
I feel like I drank the blood of Cain,

Every day is a surprise, my brain tells me I’m so wise,
But he’s a master in disguise, while I’m the one who cries,
He’s the one who lies,
To me in my own voice watching my demise,
When he’s in in control anything flies,
It scares me, I built a fortress to disguise,
This out of control mind, I want to cut the ties
A Broad perception, in a beautiful world, through these eyes,

Try to express my feelings, no one can understand
**** it no one can, this experience is mine god had it planned
Just hope I can grow up to be the man,
The one he created to do whatever he can,
Yea, whatever he wants, his drive his will he can make a stand,
A visionary, Socrates his thoughts are grand,

Who do I trust, who I am or who I want to be,
It’s confusing with a devil living inside of me,
Loving spouse, family man what I try to be,
This bipolar got a hold of me,
Blindfolding me I can’t see,
Please doctor doctor set my mind free,
I thought I knew everything with my degree,
The lessons I learned from the things I failed to see,

Mommy and daddy got divorced when I was a kid,
I think I was 8, I can’t remember, who am I to kid,
My first blackout in life, daddy’s about to lose his wife,
So much anger, “he’s” telling me to find the knife,
Take it to the artery just a little slice,
Life’s not as nice, as people make it seem,
No one hears me scream, from the pain,
Inside this brain, some days I feel insane,
110 on the freeway trying to stay in my lane,
Drunk driving no I’m not sane,
Getting high to alleviate the pain

One day I can be the man, goals, driven, and full of will,
The next be full of sadness, regret, life stands still,
I can remember anger that drove me to ****,
You don’t know how I feel,
People probably thought I made a deal,
With the devil to have all this skill,
I write all these thoughts, hoping there’s a heart to fill,

Hope someone can relate,
I hope my pain makes you elate,
My perceptions not up for debate,
Here is my life there’s no room to understate,
The reality of my life and the things on my plate,
Strive to be in a mentally stable state,
Sometimes life’s not so great,
My minds locked in a crate, and he is the key holder of my fate,

My life feels like an afterthought,
Stepdad thought love was something that could be bought,
Used to get in trouble every time I got caught,
Only if they knew the realism of what I did, or maybe they ought
Not to know, but for the sake of the flow, I’m going to let go,
Put on a show so they finally understand what they missed long ago,

Let’s start as a little boy, all the love you showed was a decoy,
For the truth that mommy and daddy were ready to destroy,
Split us up, brown moving boxes was it all momma’s ploy?
I still don’t know the truth, I don’t want to ask or annoy

They say they fell out of love, how can you fall out of love,
Unless you gave up? Don’t you realize who’s above,
Poor American white family, three kids and divorced, man the stereo type fits like a glove,
Never got physically, but always received a verbal shove,
Psychologically I wish I could dispose of,
This garbage that’s left behind, in this mind how am I supposed to give away free love,


One day at a time, one fight, I’m going to give it all my might,
Serenity prayer please give me the light,
To accept my life and guide me right,
Some days things are out of sight,
God comfort me so I feel alright,
I’m shrouded in darkness, call me the dark knight,
Noble I’m my cause, daily life’s a plight,

As a teenager I survived off my drive,
Then there was the day I didn’t want to be alive,
Locked those feelings deep in the archive,
Padlocked in the deep parts of the brain so they don’t thrive,
Questioning the purpose of life when I was five,
Asked about space and God, curiosity already took a dive,
Most people and me don’t really jive,
One instinct on my mind is to survive,
Mania kicking in putting me in overdrive,
Found out when I was twenty-five,
I’m mentally ill, my life took a nose dive,
Time to wake up and revive,
It’s time to deprive,
The addiction and the **** I do to connive,
God im going to work on my life until arrive,
To the kingdom, hopefully I live to see thirty-five,

Todays a new day, no telling what I might do,
Try to hold my family together, backbone and the glue,
Just accept my view, everything’s not about you,
Been self-reflecting, I’m having a break through,
This story is contagious, call it reality flu,
Knocked on deaths door, Alcohol blood volume .492,

What was I thinking? Pores stinking, breath wreaking,
Family and friends shrieking, at all my drinking,
Woke up surrounded by the medical team,
Asked me if I was suicidal, I said what do you mean?
I’m a genius, with a good job, had one since fourteen,
Worked hard my whole life, why am I here confused as hell - creating a scene,
Needle in my arm, threatening to restrain me,
God please set me free, right now you’re the only one that can help me,
Ready to fight the doctors and nurses, now they’re going to petition me,

When I opened up my eyes,
Seen my momma with tears in her eyes,
Most painful look I’ve ever seen on her face,
Now I feel like a huge disgrace, wish she knew gods grace,
My hearts racing at a fast pace, anxiety took over freaking out in this place,
The realest hug ive ever felt was from momma while I was in that room,
Time to clean up my life, time to clear my mind and get out of the back room,
Where my thoughts are locked, time to forgive and bury the in their own tomb,
Most think they know me, and its dangerous to assume,
Most my life you seen me in my costume, hiding behind the monster of doom,
Spent so many hours in my bedroom, drinking so much leaving behind an ethanol fume,
Days later it’s still hanging around, how the poison turns everything into a darkroom.

12 days locked in the psych ward, hopefully I can move my life forward,
Dr. says I had an episode of major depression, I forgot to tell them about my secret obsession,
These words are the closest thing I have to a confession,
When I die take my brain for a case study dissection,
Don’t let my evil said lead you to mis-direction,
When im aware I can make the correction,
What an elusive lie, chasing perfection,
Life is about love and a real connection,
God im tired, give me a symbol give me direction,

Therapy sessions for years, did nothing to help these tears,
Still react with impulsion and anger, watch out for the danger,
the biggest fear ive ever had was the fear of myself,
and the things I was capable of to destroy myself or secure the wealth.
So many secrets it’s a masquerade, im hidden behind my stealth,
The lies created to maintain this alter-ego destroying my mental health,

My biggest pains in life are when I had it all and left it all,
My depression after mania was the biggest fall,
I felt like I was the king of the world, king of the jungle; hear my call,
My ego inflated from my achievements, made me feel tall,
Daddys dream was his oldest boy would play college ball,
Just like the song boys of fall,

Daddys dream wasn’t mine to live,
But that wont stop me from giving all I can give,
Im sorry for the night I was drunk and we got combative,
I shut that night out its not something I want to relive,
Please daddy forgive, now you’re so corroborative.

Now momma I know we do not speak,
The real issue is we don’t want to feel weak,
Why are we so strong, the ones who cant take critique,
Maybe we are so unique, and live life with such technique,
The type of thoughts people think are antique,
Their arguments bleak, our common point is its our mind we speak,

Im ready for the conversation, a common destination,
Where we live in harmony, and actions don’t lead to causation,
I hope my dictation, and the acceptance of your creation,
Allows you to accept me and the ground I call my foundation,
Rebuild our family, together we can create a formation,
Our time and love the only donation, mix em together titration,
It’s a ruination of the family, its everything I wanted it to be,

Ive struggled with every relationship,
With anyone I let close I seem to lose myself and flip the script,
Those evil days I hide in my mind, security equipped and encrypt,
I feel like im writing a manuscript, a story of a man who slipped,
On the struggles of life, and opportunities that have been stripped,

Went to college on a full ride, paid for room and board seen the debt and just about cried,
350 a month to the government talk about a life hurdle that broke my stride,
Since graduation I noticed im the new dr. jekyl and mr hyde,
Success in my life was implied, mental health hit me on my broadside,
Missed my grad school opportunity, I should have applied,
Had love going for me, turned into a landslide,
All I want to do is have a good job and be able to provide,
Im not the only one suffering this epidemic is worldwide,
I just want to sit by the lake side, retire and reside,
Somewhere peaceful where a simple life is implied,
The only downside, is the demon inside me that takes me on the regular for a joyride.

Worked 80 hours a week, drinking a fifth a day,
Most people don’t even know what to say,
To me it was just another day,
Its about to get nasty watch out for the word play,
Life not black and white live in the grey,
Area, mass hysteria, my mind runs astray,
Enough liquor in my blood to make me sway,
One wrong move may be my doomsday,
I write about my life like a final exam essay,
Giving it my all no halfway,
Yea, im making headway, opening the doorway,
For all to enter; serve up my experience like a fine dining entrée,
Living check to check, cant wait for payday,
Maybe someday, ill be on the golden walkway,
To the kingdom of god then ill be okay,
Impulses so strong its hard not to obey,
The other side of me that’s so hard to portray,
When hes manic I get risqué,
Let me paint a picture, get your tickets to the screenplay.

They say its not what you go through, but what you became of it,
My lifes not a stereotype, those stipulations don’t fit,
I seem to get back up after every hit, I couldn’t write this skit,
Im trying to use my ****, my mind feels split, I cant take this ****,
I just want to quit, go to therapy to learn skills and what to omit,
From my life, its hard ill have to admit,
Elementary school I realized I was a misfit,
Dreams in the stars, illuminated and moonlit,
Building a legacy without a permit,
Try to live life so im not a hypocrite.

Shocked by the responses to voice and gods word,
You can say in high school I was a nerd,
Football MVP and valedictorian man that’s absurd,
Wanna know my secret, ask me the password,
Stand on my own, not a part of the heard,
Forgive me for all my problems and troubles that have occurred.

The darkest secret you don’t know,
Is that im not motivated by the dough,
It’s the times where Im feeling high and low,
Sometimes it feels like time is slow,
The biggest crush to my ego,
Was when I had a 20-gauge ready to pull the trigger and blow,
Racking the shells, playing with the ammo,
The rest of my life I was about to forego,
I wanted to let go, because I wanna know
I write to share my story of experience, strength and hope.
In Recovery mentally and Recovering from substance abuse
mûre  Nov 2012
Inbox Archive
mûre Nov 2012
The trouble with writing a
relationship through technology
is that the bygones are never gone.

Why do I pour a drink in your absence
and settle to re-read our old fights, heartbreaks
like *******, lips parted, heart racing?

I shudder through those weeks where you petted me, darling
but could scarcely afford to feed me the same heart
being doggedly masticated in the maw of another
I trace over my retinas the lines where you didn't,
wouldn't, couldn't love me, they scan me
for my identity.
My mug shot, beside
hers.

After how little it meant, how can you possibly love me now?

I could edit these now, you know, you're able to do that.
Everything I wish I had been and said.
The pages left blank, I should've painted red.

In the spaces, hiatuses, I recall your ill-suited suitors
I can't tell whether I feel grief, jealousy, or ecstasy.
At the time, you know, it was like falling upon
The Secret Garden
unbefouled by poison nor passion
to inhale the heady scent of white rose
and discover the brim of someone else's hat beneath the foliage.
The place wasn't secret. Oh, it wasn't mine. Never ever was mine.

I'm ahead of myself. Oh, for want of technology.
We courted on Facebook and Gmail,
it was a convenient torture, given the circumstances.

Now my mate belongs where I do.
Loving, tenderly, wisely true.

I cannot start loading the page for the future
so much as delete our archive,
a prelude to love
written in diminished chords,
sung by the jilted and ghosts.
Purcy Flaherty Jan 2018
From Alan Lomax to the commercial art and now the money machine.

At the turn of the century; when sound recording 1st became available to the masses, recording a song was an opportunity for folk to reach out; and tell the world something up front and personal.
It meant that people were able to put themselves on “The record” A way of leaving a permanent audio statement, an epitaph, an audio sound bite immortalising ~ life, mood, emotion captured and bottled for all eternity.
(A medium that conveyed messages from artists and storytellers of all kinds)

A recording was also a great addition to "The family album" something more tangible, a window to a real person, with a real life, a message and a point of view; a legacy, a blast from the past.
Few people expected sound prints to be re-designed, homogenised, formulated, copied, repackaged and that art and the message would be played over and over again by new artists in the form of "cover music" or that the style of the messages would become secularized, seperated into distinctive groups, or constrained by an elite clique or commercial genre.
Labelling and streamlining art & music mostly benefits the commercial art & music industry; and no longer the artists and creators.

I've no problem with good business, or the multi-billion pound industrys that have gained commercial success.

However the process of mass homogenisation, product synthesis, marketing, streamlining and then packaging fashion, sound and synthetic culture to sell a product, leaves very little room for creative people to just be creative.

A medium originally open to many for self expression, a historical record, an archive, a voice, a personal message;
Is now just a vehicle for advertising and perpetuating a genre of nonsense, so much so that there is now more white noise immortalised than messages.

To re-cap ~ I Think that creativity and expressionism; like story telling conveys moods and messages from the present and past!
Artists and musicians should have the opportunity to create and produce more information than they copy; thus creating a richer more colourful tapestry, whilst not devaluing the message of their predecessors!

Purcy Flaherty.
From Alan Lomax to the commercial music machine.
A culture of cover singers, blinkered snobbery and the hermetic music industry !
Nigel Morgan Oct 2012
I can imagine her in Aarhus Kunstmuseum coming across this painting, adjusting her glasses, pursing her lips then breaking out into a big smile. The gallery is almost empty. It is early in the day for visitors, but she is a tourist so allowances are made. Her partner meanwhile is in the Sankt Markus Kirke playing the *****, a 3 manual tracker-action gem built in 1967 by Poul Gerhard Anderson. Sweelink then Bach (the trio sonatas written for his son Johann Christian) are on the menu this morning. In the afternoon she will take herself off to one of the sandy beaches a bus ride away and work on a poem or two. He has arranged to play the grand 83-voice Frobinus ***** in the Cathedral. And so, with a few variations, some illustrious fugues and medley of fine meals in interesting restaurants, their stay in Denmark’s second city will be predictably delightful.
       She is a poet ‘(and a philosopher’, she would say with a grin), a gardener, (old roses and a Jarman-blue shed), a musician, (a recorder player and singer), a mother (four girls and a holy example), but her forte is research. A topic will appear and relentlessly she’d pursue it through visits to favourite libraries in Cambridge and London. In this relentless pursuit she would invariably uncover a web of other topics. These would fill her ‘temporary’ bookcase, her notebooks and her conversation. Then, sometimes, a poem would appear, or not.
          The postcard from Aarhus Kunstmuseum had sat on her table for some weeks until one quiet morning she decided she must ‘research’ this Sosphus Claussen and his colleagues. The poem ‘Imperia’ intrigued her. She knew very little Danish literature. Who did for goodness sake! Hans Christian Anderson she dismissed, but Søren Kierkegaard she had read a little. When a student, her tutor had talked about this author’s use of the pseudonym, a very Socratic device, and one she too had played with as a poet. Claussen’s name was absent from any online lists (Were there really on 60 poets in Danish literature?). Roge appeared, and the painter Willumsen had a whole museum dedicated to his work; this went beyond his El Greco-like canvases into sculpture, graphics, architecture and photography. He looked an interesting character she thought as she browsed his archive. The one thing these three gentlemen held in common was an adherence to the symbolist aesthetic. They were symbolists.
         For her the symbolists were writers, playwrights, artists and composers who in the later years of the 19C wanted to capture absolute truth through indirect methods. They created work in a highly metaphorical and suggestive manner, endowing particular images or objects with symbolic meaning. Her studies in philosophy had brought her to Schopenhauer who considered Art to be ‘a contemplative refuge from the world of strife’. Wasn’t this what the symbolists were all about?
         Her former husband had introduced her to the world of Maurice Maeterlinck through Debussy’s Pelleas and those spare, intense, claustrophobic dramas like Le Malheure Passe. It was interesting how the discovery of the verse of the ancient Chinese had appeared at the time of the symbolist project, and so influenced it. Collections like The Jade Flute that, in speaking of the everyday and the natural world, held with such simplicity rich symbolic messages. Anyway, she didn’t do feelings in her poetry.
           When she phoned the composer who had fathered three of her children he said to her surprise ‘Delius’. He explained: C.F. Keary was the librettist for the two operas Delius composed. Keary wrote a novel called The Journalist (1898) based on Sosphus, a writer who wrote plays ‘heavily laced with symbolism’ and who had also studied art and painted in Paris. Keary knew Claussen, who he described as a poet, novelist, playwright, painter, journalist and eventually a newspaper owner. Claussen was a close friend of Verlaine and very much part of the Bohemian circle in Paris. Claussen and Delius’ circle intersected in the person of Herman Bang, a theatre director who produced Claussen’s Arbedjersken (The Factory Girl). Clauseen wrote an important poem on Bang’s demise, which Delius set to music.
          She was impressed. ‘How is it that you know so much about Delius?’, she asked. He was a modernist, on the experimental edge of contemporary music. ‘Ah’, he replied, ‘I once researched the background to Delius’ Requiem. I read the composer’s Collected Letters (he was a very serious letter writer – sometimes 10 a day), and got stuck into the letters of his Paris years when so many of his friends were Scandinavian émigrés. You once sent me a postcard of a painting by Wilhumsen. It was of Clauseen reading to two of his ‘symbolist’ colleagues. I think you’d picked it up in Denmark. You said, if I recall, that you’d found it ‘irresistible’’.
          And so it was, this painting. Irresistible. She decided that its irresistibility lay in the way the artist had caught the head and body positions of reader and listeners. The arrangement of legs, she thought, says so much about a man. Her husband had always sat with the care embedded in his training as a musician at an instrument. He could slouch like the rest of us, she thought, but when he sat properly, attentive to her words, or listening to their sweet children, he was beautiful. She still loved him, and remembered the many poems she had composed for him, poems he had never seen (she had instructed a daughter to ‘collect’ them for him on her passing). Now, it was he who wrote poetry, for another, for a significant other he had said was his Muse, his soul’s delight, his dearly beloved.
          The wicker chair Sophos Claussen is sitting in, she decided, she would like in her sitting room. It looked the perfect chair for giving a reading. She imagined reading one of her poems from such a chair . . .
 
If daydreams are wrecks of something divine
I’m amazed by the tediousness of mine.
I’m always the power behind throne.
I rescue princes to make my own.

 
‘And so it goes’, she thought, quoting that American author she could never remember. So it goes, this strange life, where it seems possible for the mind to enter an apartment in 19C København and call up the smell of brilliantined hair, cigar tobacco, and the samovar in the kitchen. This poem Imperia I shall probably never read, she thought, though there is some American poet on a Fulbright intent on translating Claussen’s work into English. In a flash of the mind’s miracle she travels to his tiny office in his Mid-West university, surrounded by the detritus of student tutorials. In blue jeans and cowboys boots Devon Whittall gazes out of his third storey window at the falling snow.
 
There is nothing in the world as quiet as snow,
when it gently descends through the air,
muffles your steps
hushes, gently hushes
the voices that speak too loud.
 
There is nothing in the world of a purity like snow's,
swan's down from the white wings of Heaven,
On your hand a flake
is like dew of tears,
White thoughts quietly tread in dance.
 
There is nothing in the world that can gentle like snow,
quietly you listen to the silent ringing.
Oh, so fine a sound,
peals of silver bells,
rings within your innermost heart.

 
And she imagines Helge Rode (his left arm still on his right shoulder) reading his poem Snow in the quiet of the winter afternoon at Ellehammersvej 20 Kastrup Copenhagen. ‘And so it goes,’ she thought, ‘this imagination, flowing on and on. When I am really old like my Grandmother (discharging herself from hospital at 103 because the food was so appalling) will my imagination continue to be as rich and capable as it is today?’
          Closing her notebook and shutting down her laptop, she removed her cat from its cushion on the table, and walked out into her garden, leaving three Danish Symbolists to their readings and deliberations.
GfS May 2015
I got some things I want to confess
From an awkward nerd to a beautiful countess
You're more confusing than the Higg's Boson
I understand more the positrons and electrons
You're more complex than a polysaccharide
"Understanding You" is no book my archive
Why can't our relationship be a mutualism
Rather than the one sided commensalism
Could we be close like the tibia and fibula?
So close like the aorta and vena cavas?
To be close, I could only hope
Like uranium 237 and uranium 238, inseparable isotopes
Whenever I see you, I get the "kilig" affixes
Like the sour taste of citru sinensis
I can't get enough of your wonderful smile
It's like the taste of pentahydroxyhexanal
You might think I'm in delirium
But my thoughts are in equilibrium
You're the only girl inside my cranium
And this love for you is more precious than *titanium
Who said nerds aren't romantic?
Lvice  Jun 2017
Archive Mind
Lvice Jun 2017
(A Thousand-Mile Poem)
by JAC and JAB

I went hunting for history
Between the walls of a house
Peeking through its windows
In case its eyes went without.
Collecting the shadows
From shelves under his eyes
The storage room was full,
His heart heavy with lies.


Archive mind afloat with mystery
Memories and history
Saving me a seat
At the back of the library.

Reading through aisles of empty thoughts
I've known him since that moment.
The memory he nearly forgot,
He still carries a rusting watch
*The watch and time, no longer friends
Rust and poison, a story again
The archive mind begins and ends
At the touch of the forgotten face.
Another poem with the poet JAC! His work is in italics!!
Lovely working the Thousand-Mile Poetry Collection with you!!
I sat along this opened window,
wishing to escape your empty home.
Yet, you will never archive my peace,
You're clogging up my bones.
Sadly in your breath stung darkness,
I knew this house was my prison,
when this home stayed dark as night,
after the sun had risen.
You ignored my pleas for leaving,
and left a window open.
I'll escape as I've pled before,
if only I could focus.
Yet you knew what I could do,
as you stared into my past.
You closed the window with a smirk,
and said you felt a draft-
Funny back story, I made this a couple months back after watching a cartoon.
Two dogs are competing to get someone to go to their gym.
One places their hands on the open window sill,
and the other calmly reaches over saying "I think I feel a draft,"
slamming the window on his fingers.
I don't know, I'm weird. It made me think, and I made this. :)
All feedback is welcome and appreciated
Soma Mukherjee  Jul 2011
Mr.Page
Soma Mukherjee Jul 2011
I now present to you the talk of the town Mr Page
He looks are deceptive; please don't be fooled by his age
He lives alone in a house near to his office in front of a park
He has far too many enemies for he is a loan shark

Before I tell you more let me put a disclaimer
Now days anyone can sue you, even a lamer
So if there is any resemblance with anyone dead or alive
It’s a mere coincidence, have checked all archive

Mr Page as you read this, is now in a court
Facing a trial bravely and holding on to his fort
Lawyer asked him if he would promise not to lie
Mr Page told, truth it shall be, till he would die

Not only was he a loan shark whose guts every one hated
He spoke in rhymes, even when he debated
All he did was to threaten people all the time
He made them sound ridiculous adding punches and rhymes

When the lawyer asked, 'Mr Page can you show us how you rhyme.'
He replied, ' No sir this is neither the place nor the time.'
'Besides I am not carrying any dictionary or copy of rhyme zone'
'Watch what you say Mr Page' said the lawyer, 'I don’t like your tone'.

'Order order', said the judge, 'I don’t want any rhyming in my court.'
'I can see my lawyers have started rhyming too', he added with a snort
'Do you see Mr page what a bad precedence you have set'?
'Why my lord how could I corrupt the court, ' said Mr Page, ' we have just met'

'There you go, rhyming again even when I told not to'
'Sir why are you so against rhyming I have absolutely no clue'
'Mr Page, please stop.'
'Sorry sir I will try to drop.'
'Mr Page I warn you.'
'I am trying, I am trying, and it’s hard! Phew'
'A phew! Did you have to add that'?
'Sir please, it’s all part of a chat'
'Mr Page you are not helping'
'Please my lord, stop yelping'
'What! How dare you! Handcuff him and put him in jail,
No books, No net, No friends and No bail.'

So you see this how Mr Page landed up in prison
And for what, rhyming, which was certainly no treason
Funny laws, funny punishments, this certainly was a funny case
But the people were happy as long as they didn’t see Mr Page's face.
TIZZOP Nov 2019
take me away from this journey
i am trapped in the land of placelessness

blind / hypnotized
route 36 / bolivia
deaf / treated with ultrasound
simultaneously

scarcely knowing
what all that means

i am feeling the rising of blood
a wave of heat like sandstorms

inevitability: willful / knowing / aware

i am putting myself at risk of dying
long ago i read about the risks and consequences
of my ******* abuse
pervaded them intellectually while

my heart remains deafly because
of *******
bitter
sear
aflutter and in panic

there is just:

one life
one heart
one body one man

man what are you doing?!?!
i am hollering into my inner
embracing the envelope
obsessed over bitterness
numb love
in the dungeon of plotted heavens
lofty as never before
is where i am running away from:
every day

in the 1920s there was a man
who they called "koks-emil"
he sold ******* in the nightstreets of berlin

the national archive has been keeping
a picture of him doing business with
two girls out of gangland we
can't see the face of the one standing left only  
her back

however her companion typifies precisely
what the drug creates in our souls:
a form that can not be imitated
like the effect of the drug

a form of longing and greed in the
girl's face

longing and greed
balancing each other
not one of
these states predominates

while beholding the girl i am becoming
horridly conscious
about myself
horridly about

my relationship with *******
my affair with *******
my love to ******* this
sounds sick?
indeed it is

we call it
suffering from an addiction

we call it
suffering from a dependency

become clean.
i wish you willpower
wish you strong luck
wish you peace at last

the rate of relapsing
******* users is vast
during the night

when the wind is
breezing mildly

when the stones of the cities
are breathing out the heat of the day

while you are
sneaking over the streets

while every street corner resembles
the very one where
koks-emil used to sell his product

while you are sensing the smell
of bitterness

while you are being preoccupied with
her face: her longing her greed

while you are experiencing
yourself:

more deeply
more soberly
and more knowingly
as before

while you
are reaching out your hands searching
with kidfingers for koks-emil

the guy with the warped corner of the mouth
the reliable / greedy one

the one who is always ready

a salesman has to be available for
every second of your longing
every second of your greed

koks-emil: your world is made of black and white
your hat is grey its bonnet is vanishing as your
shivering hands

hands that spread capsules
hands that grap at bills
hands that you use to brush away your sweat

**** between the lipps
shabby coat

koks-emil your spirit
blows through inner cities like gas fumes
a grin on your face coming from
lurid lights

you became immortal
you underwent rapid decades
you were an addict
you created addicts
you served addicts

the ****** expression of the girl
your child-like customer
remains for

all for everybody with a
*******-addiction

for all and for everybody
who depends on *******

for all and everybody
who is clean from *******

for all and everybody:
longing and greed

rest in peace girl
Based on true events.

Today is a good day.
Nigel Morgan  Aug 2013
Pitch
Nigel Morgan Aug 2013
It’s nearly two in the morning and the place is finally quiet. I can’t do early mornings like I reckon he does. Even a half-past nine start is difficult for me. So it has be this way round. I called Mum tonight and she was her wonderful, always supportive self, but I hear through the ‘you’ve done so well to get on this course’ stuff and imagine her at her desk working late with a pile of papers waiting to be considered for Chemistry Now, the journal she edits. I love her study and one day I shall have one myself, but with a piano and scores and recordings on floor to ceiling shelves . . . and poetry and art books. I have to have these he said when, as my tutorial came to a close, he apologised for not being able to lend me a book of poems he’d thought of. He had so many books and scores piled on the floor, his bed and on his table. He must have filled his car with them. And we talked about the necessity of reading and how words can form music. Pilar, she’s from Tel Haviv, was with me and I could tell she questioned this poetry business – he won’t meet with any of us on our own, all this fall out from the Michel Brewer business I suppose.

This idea that music is a poetic art seems exactly right to me. Nobody had ever pointed this out before. He said, ask yourself what books and scores would be on the shelves of a composer you love. Go on, choose a composer and imagine. Another fruitless exercise, whispered Pilar, who has been my shadow all week. I thought of Messiaen whose music has finally got to me – it was hearing that piece La Columbe. He asked Joanna MacGregor to play it for us. I was knocked sideways by this music, and what’s more it’s been there in my head ever since. I just wanted to get my hands on it. Those final two chords . . . So, thinking of Messiaen’s library I thought of the titles of his music that I’d come across. Field Guides to birds of course, lots of theology, Shakespeare (his father translated the Bard), the poetry and plays of the symbolists (I learnt this week that he’d been given the score of Debussy’s Pelleas and Melisande for his twelfth birthday) . . . Yes, that library thing was a good exercise, a mind-expanding exercise. When I think of my books and the scores I own I’m ashamed . . . the last book I read? I tried to read something edifying on my Kindle on the train down, but gave up and read Will Self instead. I don’t know when I last read a score other than my own.

I discovered he was a poet. There’s an eBook collection mentioned on his website. Words for Music. Rather sweet to have a relative (wife / sister?)  as a collaborator. I downloaded it from Amazon and thought her poems were very straight and to the point. No mystery or abstraction, just plain words that sounded well together. His poetry mind you was a little different. Softer, gentler like he is.  In class he doesn’t say much, but if you question him on his own you inevitably get more than the answer you expect.  

There was this poem he’d set for chamber choir. It reads like captions for a series of photographs. It’s about a landscape, a walk in a winter landscape, a kind of secular stations of the cross, and it seems so very intimate, specially the last stanza.

Having climbed over
The plantation wall
Your freckled face
Pale with the touch
Of cold fingers
In the damp silence
Listening to each other breathe
The mist returns


He’s living in one of the estate houses, the last one in a row of six. It’s empty but for one bedroom which he’s turned into a study. I suppose he uses the kitchen and there’s probably a bedroom where he keeps his cases and clothes. In his study there is just a bed, a large table with a portable drawing board, a chair, a radio/CD, his guitar and there’s a notice board. He got out a couple of folding chairs for Pilar and I and pulled them up to the table.

Pilar said later his table and notice board were like a map of himself. It contained all these things that speak about who he is, this composer who is not in the textbooks and you can’t buy on CD. He didn’t give us the 4-page CV we got from our previous tutor. There was his blue, spiral-bound notebook, with its daily chord, a bunch of letters, books of course, pens and pencils, sheets of graph and manuscript paper filled with writing and drawings and music in different inks. There was a CD of the Hindemith Viola Sonatas and a box set of George Benjamin’s latest opera and some miniature scores – mostly Bach. A small vase of flowers was perilously placed at a corner . . . and pinned to his notice board, a blue origami bird.

But it was the photographs that fascinated me, some in small frames, others on his notice board, the board resting on the table and against the wall. There were black and white photos of small children, a mix of boys and girls, colour shots of seascapes and landscapes, a curious group of what appeared to be marks in the sand. There was a tiny white-washed cottage, and several of the same young woman. She is quite compelling to look at. She wears glasses, has very curly hair and a nice figure. She looks quiet and gentle too. In one photo she’s standing on a pebbly beach in a dress and black footless tights – I have a feeling it’s Aldeburgh. There’s a portrait too, a very close-up. She’s wearing a blue scarf round her hair. She has freckles, so then I knew she was probably the person in the poem . . .

I’ve thought of Joel a little this week, usually when I finally get to bed.  I shut my eyes and think of him kissing me after we’d been out to lunch before he left for Canada. We’d experimented a little, being intimate that is, but for me I’m not ready for all that just now; nice to be close to someone though, someone who struggles with being in a group as I do. I prefer the company of one, and for here Pilar will do, although she’s keen on the Norwegian, Jesper.

Today it was all about Pitch. To our surprise the session started with a really tough analysis of a duo by Elliott Carter, who taught here in the 1960s. He had brought all these sketches, from the Paul Sacher Archive, pages of them, all these rows and abstracts and workings out, then different attempts to write to the same section. You know, I’d never seen a composer’s workings out before. My teacher at uni had no time for what she called the value of process (what he calls poiesis). It was the finished piece that mattered, how you got there was irrelevant and entirely your business and no one else’s. So I had plenty of criticism but no help with process. It seems like this pre-composition, the preparing to compose is just so necessary, so important. Music is not, he said, radio in the head. You can’t just turn it on at will. You have to go out and find it, detect it, piece it together. It’s there, and you’ll know it when you find it.

So it’s really difficult now sitting here with the beginnings of a composition in front of me not to think about what was revealed today, and want to try it myself. And here was a composer who was willing to share what he did, what he knew others did, and was able to show us how it mattered. Those sheets on his desk – I realise now they were his pre-composition, part of the process, this building up of knowledge about the music you were going to write, only you had to find it first.

The analysis he put together of Carter’s Fantasy Duo was like nothing I’d experienced before because it was not sitting back and taking it, it was doing it. It became ours, and if you weren’t on your toes you’d look such a fool. Everything was done at breakneck speed. We had to sing all the material as it appeared on the board. He got us to pre-empt Carter’s own workings, speculate on how a passage might be formed. I realised that a piece could just go so many different ways, and Carter would, almost by a process of elimination choose one, stick to it, and then, as the process moved on, reject it! Then, the guys from the Composers Ensemble played it, and because we’d been so involved for nearly an hour in all this pre-composition, the experience of listening was like eating newly-baked bread.  There was a taste to it.

After the break we had to make our own duos for flute and clarinet with a four note series derived from the divisions of a tritone. It wasn’t so much a theme but a series of pitch objects and we relentlessly brainstormed its possibilities. We did all the usual things, but it was when we started to look beyond inversion and transposition. There is all this stuff from mathematical and symbolic formulas that I could see at last how compelling such working out, such investigation could be . . . and we’re only dealing with pitch! I loved the story he told about Alexander Goehr and his landlady’s piano, all this insistence on the internalizing of things, on the power of patterns (and unpatterns), and the benefit and value of musical memory, which he reckoned so many of us had already denied by only using computer systems to compose.

Keep the pen moving on the page, he said; don’t let your thoughts come to a standstill. If there isn’t a note there may be a word or even an object, a sketch, but do something. The time for dreaming or contemplation is when you are walking, washing up, cleaning the house, gardening. Walk the garden, go look at the river, and let the mind play. But at your desk you should work, and work means writing even though what you do may end in the bin. You will have something to show for all that thought and invention, that intense listening and imagining.

— The End —