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the proust edition of la recherche i had, which i gave away to a charity shop; if you could stitch or strap the edition to my hands clenched into a fist (it was, after all a cheap 2 vol. edition), i could have knocked you out. no, i didn't read it, which is why many people never bother to use the dictionary, because it's always a one volume edition.

it became so haunting to have sang with david
with the lyre the lyrics:

             i'm happy, hope you're happy too...
             ashes to ashes, funk to funky
             we know major tom's a *****
             strung out in heaven's high
             hitting an all time low

it was so eerie i felt goose bump hoofs on my
cheeks adding for extra five o'clock shadow
that i never knew i had.

that's the thing about having european editors,
the ****** day, the whole theatrical approach,
it's just a ****** book of poetry,
it's not exactly an atom bomb,
but they sent the draft which i'm hoping to add
to with my *hoc erat in votis to armenia,
Armenia, yes, once an incorporation of
the soviet rather than tsar's empire:
so jui-seph shtalin involved himself with the russians
from georgia, and my first idea sparklers will
come from armenia - good place to ask napoleon
to escape elba, i say, ol' chap.

and after the teenage girl hype period of an artist,
ziggy, you know what i'm talking about,
you get a process where an artist matures,
becomes prone to criticism, has no hype factor,
has no real monetary appeal to the less
hyped-up juice-of-genitalia army,
has to become a sensible economist -
there! catch him! that's where an artist
translates to other mediums his actual worth,
i feel privileged to have lived at a time
when david bowie released his heathen album,
one critic pointed that it was his best album
since the 1980 release of scary monsters,
so then i bought scary monsters...
i worked backwards...
i didn't feed the ziggy & space spiders from mars
gimmick / egoism, or even the rebel, rebel choir
of cult followers, and you know what?

              i'm happy, hope you're happy too...

it worked, now i can listen to the music like a distraction
tool, refrigerator buzz, ambiance, the freelance
artistry of it all, less care for kids, more care for
the insolent kids that aged and donned their employment
qualifications as 'art critics.'

but what i listen to isn't exactly what i write with,
it would plagiarise the thought process
so much that it would destroy it - the moment's gone,
the ingrained concept of time has allowed
for the same space of the origin of the narrative
to look different, even though nothing was moved.

so with this anglo renaissance circa 1950s -
1990s (nietzsche was critical of the reformation
when martin luther attacked the renaissance creativity,
no great composer in the counter-reformation,
just ignatius layola and the jesuits),
with the beat generation poets (preceding them,
the spirit of influence that was ezra pound
and no other i dare to admit, a seal-off point,
built a hydroelectric dam in nevada f. d. r. did)
you then had the explosion, and i mean it,
the EXPLOSION! 1960s psychedelia,
1970s ******* infused black sabbath etc.,
depressive 1980s with depeche mode iconoclasm
and the cure's slit your lips if not wrists,
the great digging of ***** duran duran,
scandinavian love hopes of a-ha, etc.,
then the shift back to the geographic place of origin,
seattle, grunge, rekindling of thinking man's
rock amiss the ******* fuel of the decade
with prog rock bands, i.e. tool;
and then of course the brit pop decade
(oasis, blur, the stone roses, the la's among many,
bands that still invoked a sing-along even
in such odd places like taizé in burgundy
for the wonderwall chorus)
and then... the death of it all...
artists getting rich, flamboyant, eccentric,
and the people seeing how they were "duped"
deciding enough was enough...
came napster, came pirate - ye har me mateys! -
and the death of the anglo renaissance
with kareoke culture - indeed if
the germans never conquered england,
and that book man in the high castle
by philip k. **** isn't true...
why did we allow the japanese to conquer
our culture? huh?!

p.s. when you realise all those 5.5K reads,
all those so called morale boosters... on websites
such as these, don't have a £ / $ in front of them;
and as i learned, after being reported to a website
similar to this accused of being a troll
for simply asking the long-ago standard
a.s.l. (age, ***, location) but only sticking to location,
losing some of the haul i'd liked to keep,
i realised i can lose that, no problem,
i rather lose that than lose what i have inside of me.

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Two Bulgarian poets entered “The Second Genesis” – Anthology of Contemporary World Poetry – India’2014
Poems of the Bulgarian poets Bozhidar Pangelov and Mira Dushkova are included in the Indian project “The Second Genesis: An Anthology of Contemporary World Poetry”. Bozhidar Pangelov’s poems are: “Time is an Idea” and “…I hear” translated by Vessislava Savova; as for Mira Dushkova’s poems – “Beyond”, “Sozopolis” and “The Girl”, they were translated by Petar Kadiyski.


For the authors:
Bozhidar Pangelov was born in the soft month of October in the city of the chestnut trees, Sofia, Bulgaria, where he lives and works. He likes joking that the only authorship which he acknowledges are his three children and the job-hobby in the sphere of the business services. His first book Four Cycles (2005) written entirely with an unknown author but in a complete synchronous on motifs of the Hellenic legends and mythos. The coauthor (Vanja Konstantinova) is an editor of his next book Delta (2005) and she is the woman whom “The Girl Who…” (2008) is dedicated to. His last (so far) book is “The Man Who…” (2009). In June 2013 a bi lingual poetry book A Feather of Fujiama is being published in Amazon.com as a Kindle edition. Some of his poems are translated in Italian, German, Polish, Russian, Chinese and English languages and are published on poetry sites as well as in anthologies and some periodicals all over the world. Bozhidar Pangelov is on of the German project Europe takes Europa ein Gedicht. “Castrop Rauxel ein Gedicht RUHR 2010” and the project “SPRING POETRY RAIN 2012”, Cyprus.
Mira Dushkova (1974) was born in in Veliko Tarnovo, the medieval capital of Bulgaria. She earned a MA degree from the University of Veliko Tarnovo, and later on a PhD in Modern Bulgarian Literature, from Ruse University Angel Kanchev, in 2010, where she is currently teaching literature courses.
Her writing includes poetry, essays, literary criticism and short stories. She has published several poetry books in Bulgarian: “I Try Histories As Clothes“ (1998), „Exercise On The Scarecrow” (2000), „Scents and Sights“ (2004), literary monograph “Semper Idem : Konstantin Konstantinov. Poetics of the late stories“ (2012, 2013) and the story collection „Invisible Things“ (2014).
Her poems have been published in literary editions in Bulgaria, USA, Sweden, Hungary, Croatia, Romania, Turkey and India. Some of her poems and essays have been first prize winners of different Bulgarian contests for literature.
She has attended poetry festivals in Bulgaria, Croatia (Zagreb) and Turkey (Istanbul and Ordu).
She lives in Ruse – Bulgaria.

For the Antology “The Second Genesis”:
In the anthology titled „The Second Genesis“ are published the poems of 150 poets from 57 countries. All poems are in English. The Antology consists of 546 pages. “The Second Genesis” includes authors’ and editors’ biographies and three indexes: of the authors; of the poem titles and an index based on the first verses. It is issued by “A.R.A.W.LII” (Academy of ‘raitɘ(s) And Word Literati) – an academy, which encourages literature and creative writing and realizes cultural connections between India and the other countries. Four times a year ARAWLII publishes in India the international magazine for poetry and creative writing „Prosopisia“. Its Chief Editor and President of A.R.A.W.LII is Prof. Anuraag Sharma. He is also author of Antology’s Introduction.
Participating Countries:
Albania, Argentina, Armenia, Australia, Belgium, Bosnia and Herzegovina, Brazil, Bulgaria, Albania, Great Britain, Germany, Greece, Denmark, Egypt, Estonia, India, Iran, Iraq, Ireland, Israel, Spain, Italy, Jordan, Canada, Cyprus, China, Kosovo, Cuba, Macao, Macedonia, Niger, Norway, Pakistan, Palestine, Poland, Puerto Rico, Romania, Russia, Saudi Arabia, USA, Singapore, Syria, Serbia, Taiwan, Tunis, Turkey, Fiji, Philippines, Finland, France, Holland, Croatia, Montenegro, Czech Republic, Chile, Sweden, Switzerland, Scotland, South Africa, Japan
For the editors:
Anuraag Sharma – editor and president of A.R.A.W.LII
Poet, critic, author of short stories, translator and playwrighter, Anuraag has to his credit the following publications: “Kiske Liye?”, “Punarbhava”, “Audhava”, Dimensions of the Angel: A Study of the poetry of Les Murray’s Poetry “Iswaswillbe” – a collection of short stories, “Setu” (“The Bridges”). He has also co-editor the volume of conference papers: ”Caring Cultures: Sharing Imaginations. Some of his recent publications include: “A Trilogy of plays”, “Mehraab” (“The Arch”) – translations of selected poems of four Canberra Poets, “Papa and Other Poems”, “Sau Baras Ka Sitara Eik” – translation of Andrew Parkin’s “A Star of Hundred Years”, “As if a wooden house I am”- translations of Surendra Chaturverdi, “Satish Verma: The Poet” and “Tere Jaane ke Baad Tere Aane as Pehle”. He is also editor-in-chief of two international journals – “Lemuria” and “Prosopisia”. Currently he is working as a Professor in English at Govt. College “Kekri” Ajmer, India.

Moizur Rehman Khan – co-redactor, project manager, secretary of A.R.A.W.LII
He studied Urdo and Persian Literature in college and later on competed his master degree in English literature from “Dayanand” College, Ajmer, India. He completed his research dissertation under the supervision of Anuraag Sharma on “Major themes in the poetry of Chris Wallas-Crabbe”. He is a creative writer. His poems and articles have been published in various magazines and journals. Currently he is teaching English at DMS, RIE, Ajmer, India.
References for the Antology:
“No middle no end, the poems in The Second Genesis have been speaking to you long before the beginning and will continue without you…don’t worry, its binding has long since unglued, its pages, worn and disheveled, will always be speaking to you, they’ve been compiled this way, to be read out of order, backwards, shelved or scattered in an attic between the coffee and greasy finger stains…The Second Genesis is the history of the Book where you become its words, ink and pulp.”
Craig Czury

“The Second Genesis is at the crossroads of a new poetic becoming. a poetry claiming its second beginning not only for art but the heart pulsating and feeding the entire body. This anthology is a successful fusion of unique, inimitable and polyphonic poetry, a well-organized improvisation with a solid and flexible structure.”

Dalia Staponkute

“The Second Genesis, a compendium of world poetry which is also a poetry of the world, suggests so much a new beginning as it does a recognition of the ongoing creation that continues to animate our collective existence. Our precarious era requires a global affirmation that we are all in this together. Poetry has always said as much, and here it says it again, in the idioms of our time.”
Paul Kane
**
“Visionary and international, The Second Genesis, introduced and edited by Anuraag Sharma, sparkles with poetry of insight, intelligence and feeling and is an indispensable reminder of our human aspirations and experience in the early 21st century. Poets from nearly sixty countries rub shoulders in this ambitious and wide-ranging collection, and their poems resonate and mingle in a multi-layered voice. It is the voice of our humanity.
In his Introduction, Dr. Sharma points to the invaluable importance of poetry in what he calls our destructive Lear era:
Beyond the Lear Century, across the 21st Century lies the island of Prospero and Ariel and Miranda and Ferdinand – the region of faith, hope and innocence, the land of virtue, and all forgiveness sans grievances, sans regrets, sans curses. The doleful shades lead to pastures new.
We must weigh our hopes. The Second Genesis is at hand….”
Diana Sampey

The Alexandrians were gathered
to see Cleopatra's children,
Caesarion, and his little brothers,
Alexander and Ptolemy, whom for the first
time they lead out to the Gymnasium,
there to proclaim kings,
in front of the grand assembly of the soldiers.

Alexander -- they named him king
of Armenia, Media, and the Parthians.
Ptolemy -- they named him king
of Cilicia, Syria, and Phoenicia.
Caesarion stood more to the front,
dressed in rose-colored silk,
on his breast a bouquet of hyacinths,
his belt a double row of sapphires and amethysts,
his shoes fastened with white
ribbons embroidered with rose pearls.
Him they named more than the younger ones,
him they named King of Kings.

The Alexandrians of course understood
that those were theatrical words.

But the day was warm and poetic,
the sky was a light azure,
the Alexandrian Gymnasium was
a triumphant achievement of art,
the opulence of the courtiers was extraordinary,
Caesarion was full of grace and beauty
(son of Cleopatra, blood of the Lagidae);
and the Alexandrians rushed to the ceremony,
and got enthusiastic, and cheered
in greek, and egyptian, and some in hebrew,
enchanted by the beautiful spectacle --
although they full well knew what all these were worth,
what hollow words these kingships were.