If shivering burns calories,
this winter was a workout.

why do i have to be a dog for my cats?
the male one is teasing my
neighbour's dog...
the dog starts barking,
doesn't stop...
so i start barking...
a dismembered word
rough with a range of
neared onomatopoeias...
i hate barking, it never sounds
like a dog... more like a
dinosaur... Ra! (a name for a roar),
a tongue's trill at the ******'s in-between...
i hate barking...
or like at the chemists, an old man and me,
i had the seat, asked if he wanted it,
he said no,
we were both waiting for a prescription...
'well, if you're not taking it
i'll stand with you in show of solidarity'
my arms folded like a pigeon or a crow
strutting... well, if he ain't going to sit
i'm not going to sit either....
there you go, solidarity, **** Wałensa...
mushy mushy overgrown moustache nozzle...
brr brr... do the motorboat of oral ***
like you're expressing shrivelling watching
the northern lights! yep, got you...
selfie taken... now make a pose for
Lactose Falls of the waterfalls from your
eyeing *******... yep... that's a happy couple...
take two! no, you ******* go off and wait
in the tourists' queue
like the other 100 ******* did politely.

I like to think I have a little moon
behind my lips, that you
could reach in & pluck

and in your eyes, reflecting
the rare bits of light that slip through
the blankets we cover the windows
with

I never know whether to look away
or to let them fade  
in slow-     motion

all's hush and quiet
in the bathroom
and things start
to talk to one another

drip, drip, says the tap
brr, brr, says the window
hum, hum, says the pipe
tchk, tchk, says the shower


I've got the worst job round here,
whines the eloquent toothbrush

Oh, yeah? comes the reply
from the unassuming toilet roll

Guns on the battle lines have pounded now a year
     between Brussels and Paris.
And, William Morris, when I read your old chapter on
     the great arches and naves and little whimsical
     corners of the Churches of Northern France--Brr-rr!
I'm glad you're a dead man, William Morris, I'm glad
     you're down in the damp and mouldy, only a memory
     instead of a living man--I'm glad you're gone.
You never lied to us, William Morris, you loved the
     shape of those stones piled and carved for you to
     dream over and wonder because workmen got joy
     of life into them,
Workmen in aprons singing while they hammered, and
     praying, and putting their songs and prayers into
     the walls and roofs, the bastions and cornerstones
     and gargoyles--all their children and kisses of
     women and wheat and roses growing.
I say, William Morris, I'm glad you're gone, I'm glad
     you're a dead man.
Guns on the battle lines have pounded a year now between
     Brussels and Paris.

the oddity of it all, i can sound like a 70 year old, writing in 2016, by simply writing about 2004 - and that's the excuse everyone gives for lazy English text form: 2 (abc), 3 (def), 4 (ghi), 5 (jkl), 6 (mno), 7 (pqrs), 8 (tuv), 9 (wxyz) - where you had to press a button several times to get the right letter (even with spellcheck helping you shorten the digit-bag sequence) - but that's no excuse with digital phones and a complete keyboard... but that's how it looks, after only 12 years... i'm actually aged 70 given the advances of the technology advent... let's forget the technology of the 1990s... i've circled round and met up with people who collected vinyls... that's how old i am in respect to my buying habits... we're the silver-compact-vinyl kids: the ghouls of the 1960s, born in the 1980s and not getting down with the kids... and to readdress just two books: all that stream-of-consciousness made the latter end of Ulysses a bit like writing by candle-light... as was reading the plagiarism of the above stated in Sartre's iron in the soul... or as the puritans said: we're filling for at least a ¶ (pilcrow) to be inserted: not to mess up the idea of a river and "thinking aloud" where punctuation marks mean: stopping suddenly because you become self-conscious... i just needed a ****** bookmark! the monks at the time of Charlemagne used the ¶ quiet often, condensed bibles, ink was worth 20 camels and paper was worth 20 dresses for a queen... ah, the times when paper was as precious as silk... so the puritans condensed writing, they weren't as sparing in their inner feng shui - a room the size of St. Paul's... and two words in it: Jesus Christ... they were like modern day delivery guys, packaging words together, they didn't have the luxury to write paragraphs with the now established spacing afresh, i.e.:

            and Jimmy went up a ladder into the loft etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc.
             Florence was making a cup of tea when she heard Jimmy yell: 'my long lost golf clubs!' etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc.

i.e.

¶ and Jimmy went up a ladder into the loft etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc. etc.

alternatively the ¶ went out of fashion in the literary world, once writing became affordable and changed into a profiteering case of bravado... but i still think ¶ is a bit like using a clef.*

or how to keep one's intellectual integrity: have a drink or two,
and muster enough creative energy to use this encoding -
or... how to make poetry akin to computer
programming - a subtler way to encode
the now slothfully rising moon:
half of it, not full, nor scimitar crescent,
a half bitten honey biscuit, just above the forest
horizon, and the semi-detached houses
of English outer-suburbia - in a sense
transcendentalism, a box with many words
in it attributed to the cause,
as is the reason why Christianity became
the most schismatic religion that has ever
graced man's "good will" (ambiguity,
not an approximation) - in line with philosophical
whims of vogue: idealism, realism, transcendentalism,
existentialism, ism after ism after the Methodists
and the Baptists and other mongrels of current
affairs... already stated: populist Platonism
and the ransacked and burnt library of Alexandria...
yes, decidedly, poetry as a variation of
computer programming - although more akin
to: the tetragrammaton and the Noah's
checklist of paired onomatopoeia(s) (plural
form is underlined, Oxford hasn't picked up
the circumstance: there are neurotics out there
who'd send you to the guillotine for not
updating "spelling mistakes" that aren't
"spelling mistakes" quickly enough!) -
to the cause or as signatures of being easily
recognisable as: yes, that's that... a moustache
and a bowler hat...            alternatively
watch a stand-up show by Miranda -
the very typical English-ness inside out:
hysterical from the word go... the ministry of
funny walk from Monty Python ***
                      the two walks at the airport -
or the trip-up on skewed pavement slabs
checking the impromptu socially acceptable
version of the other seeing us -
comedians do it oh so well: the inside-out,
stern exterior, boy ******* a thumb and relating
to a blanket as if it were an umbilical chord...
what a tightly knit individual...
                          made complete with about a dozen
patches...
                       but it is! it is! it really is already
ready to be likened to computer programming,
perhaps there's no <xerox> or other commands,
but poetry deals with encoding sounds,
no man can encode a proper roar of a lion
or a squirt of a skunk, that's sheer travesty that
so many people can actually muster enough
encouragement to encode these sounds...
i imagine a world where we don't even care
to write knock, and knock on a piece of wood
and a noumenon is born, the sound isn't noted
down, it remains a thing in itself (synonyms,
in italics) - it's probably akin to getting a tattoo,
great if you have a short-term memory loss
like that guy in Memento... but it's going to
be hard to displace knock-knock -
again this is already an approximation -
onomatopoeia upon onomatopoeia -
it doesn't even sound akin or properly dressed
to mention Plato's theory of forms -
sounds can be forms: apparently they're waves...
no waves are forms (shapes) -
or that demigod who fell in love with his shadow,
rather than his image reflected in a lake,
he fell in love: because it gave him enhanced reflexes...
every single time... boom... shadow... boom...
shadow... and so much of language goes into
these nonsensical types of encoding -
blah for: talking a lot -
                                           hmm - when negatively
pondering something -
                                            i believe that
there should be a grammatical elevation of the onomatopoeia
to the status of nouns, verbs etc. -
                           but it is, it is, it really is
like computer programming,
               above and beyond the sheltering vacuum -
how would we ever write a word to encode the
sound of lightning, or a volcano erupting,
or the earth spinning - in these areas i find god -
       i will find man in these areas:
but i'll be hinged on mathematical explanation:
and mathematics is pure optics -
                       so what that we can write one and write
1, write two and write 2, three and 3, four and 4 -
    by now we can write to, too, free and for...
and this is just the start -
                             by acknowledging onomatopoeia
for something, we acknowledge our limitation
of encoding something in that realm -
this inability gave us the emergence of nouns -
   sooner or later when someone started
talking about an earthquake... a litmus test of:
brr grrm boom bah dobble aah! etc.
we got the picture - and why would a monkey
evolve from its conscious-sleep reservoir
to say just as much as with a simple grunt and ooh -
actually, some onomatopoeia(s) became sophisticated -
a grunt is a sophisticated onomatopoeia -
       as is weeping and crying and shouting -
as is shooing (or to shoo) -
well, that's how i see it... poetry as reality programming -
since there's more than just a computer -
at the moment it just resembles a game of
whack-a-mole -                 although there's more than
the mere 26 primary moles -
      and all this talk does relate to something,
something very important at the beginning of the
20th century... well, a century later, and something
similar is being discussed... Ivan Bunin?
noble prize winner from 1933, the first russian to do so...
  anyway... this goes beyond his concerns...
his concerns were akin to that dud i made
with the word mruwka -
                               personally? i feel that the "correct"
version of the word is aesthetically displeasing -
and anyone who says otherwise treats orthography
not as an aesthetic question, but a question
of rubrics and regime - so there we have the "correct"
version mrówka                               (ant)       -
anyone agree with me? well, the English language
doesn't have any concerns for orthographic
regulation - it has excessive spelling and that's that -
what bothered Ivan was the Bolsheviks rewriting
orthographic rules... the word in question?
izvestia - that really peeved him off...
                      everyone in intellectual circles was
disturbed by the changes (can't recall the original) -
but the changes were approved by the Russian Academy of
Sciences (immediately before the revolution) -
there would have been any dispute about the "evolution"
in orthographic terms if done prior to Feb. 1917 -
the war postponed the changes, and with the Bolsheviks
in power... then obviously the suspicion...
   now... such changes are but farts in hurricanes
in comparison with what happened in the realm of English...
i mean, ****'s sake, we're talking minor aesthetic tweaks
here and there - the changes still encompass the form
that's understood by the ear, and it's only a matter of
taste where you write the word ant as either mruwka
or mrówka - well, mind you, i'm already asking
for the incorporation of the Czech š (sz) and č (cz) -
but what's happening in English... my god: it's terrifying!
all these acronyms? all these emoticons?
        i know that English journalists are in favour of
:) and :( and ;) ;) [wink wink] - and next thing you know:
you're talking to a monkey... you soon realise:
the deaf have nurtured a superior system of communication,
as have the blind than these poor, healthy, ably nimble
*******...                   how they're superior, i don't know,
and in all honest? don't care...
         for goodness' sake: a heard a story that a girl
wrote her g.c.s.e. English language paper in text format:
   e.g. c (see) u (you) l8r (later)          -
now you see why i think that poetry is like computer
programming?
these people are scripts from a classical software program
that looks something like: 3;r/d]]aq"pk.0    etc.    
it's a complete and utter mess!
                         fair enough saying: O Shakespeare O
Milton... those guys are turning in their graves...
and they ain't showering the English language with
graces mind you: they're calling it the new
***** & Gomorrah - and it's not England was the sole
inheritor of the computer -
                                       that's what not having
diacritical accessories does to you...
                             you get hacked...
and this... pretty much... is a form of a hack:
you'll wake up tomorrow with a pair of sunglasses
or think you're looking down a microscope;
i swear to god...       me and Ivan are just laughing...
he's not drinking, i'm drinking, but we share
the same intuitive devices - the same puppet strings
pulled him in 1919 as they are pulling me in 2016...
the same ****** trials of a variation of zoology -
some look at monkey behaviour,
            others look at how language is cradled in people:
and i'm not even going to bother
elaborating on anything by Chomsky -
which brings me to the following conclusion
(back to Miranda) - i don't believe in fame apparent,
fame apparent, as in: tabloid crap and c.c.t.v.
and 20 nannies and 50 bathrooms, and not being
recognised wearing a virtual reality gear when walking
down a street when otherwise imprisoned on
a television screen rewind - that's not fame,
that's tyranny under the masses -
                         i don't believe in it... which answers
one famous English scientist's question:
why does posthumous fame exist?
                                    it's like that Camus question
about suicide - well... i guess it's a question of
endurance... a bit like a fail-safe mechanism about
why the pyramids are still standing even though
they experienced so much weathering by the elements -
well, as endurance has it: posthumous fame is
filled by introverts...
                                          i dare you to name that
famous Bolshoi ballet dancer, or that famous 1930s
actor or actress... they're part of the extrovert side of
what's called "fame" - but that's only a minor point
i wanted to make... the real zest i already explained -
ah crap, summary in maxim:
   the concept of modern fame is the result of a god
that has been attributed such qualities as omnipresence...
               well, aren't modern celebrities... a bit like that?

I found your letter today, and I went to the woods to read it.
Autumn robbed me of solitude in the tree-cover,
The wind eventually would chase me from the fire-pit.
That broke, then the snow fell accordingly, seasonally.
The solitude returned in the white and cold,
chased everyone else away, to drink and dance in their homes.
I bought my first overcoat before I caught my flight back,
a woolen grey to hide dirt I’d sit on to hide the tag.
In it the inner, right-breast pocket, I held you’re letter.
I remember its first reading in my room, on the coffee table,
taping the scissored quotes from the envelope to my mirror.
I have yet to do anything out of fear. That, I recall I laughed at.

You’d be the reason I move back west,
you’d be the reason I go backwoods,
go suspend myself between roadways.
Albeit, though, despite & regardless,
was my thrill for fear made me wanna talk,
***** the desk drawer for my metal box,
savage my skin on the lonely walk.
If fear is as atomical as you say,
a lie on the tongue of every cell,
then, I could, if you’ll say, meet
every mote as it falls—
put my hand out to see
my first snowflakes.
they are not like this,
they are not like this at all,
so crystalline, back west.

Was fear that hid me this summer from you—
true, I used to fear the way you’d kiss me.
On the dock of the lake drinking wine, I told
that I was terrified then, then retracted,
said I was discomforted by myself.
Back then, way back when, ha,
feelings came thence beyond me
like the King of Pointland dethroned—
“What It thinks, that It utters;
and what It utters, that It hears…”—
myself was suddenly not mine,
I moved unprovoked and unprovoking,
finding myself in my bed
then on the porch smoking,
later then, sitting in your café,
later still, giving you my poetry,
but then, the levees break
and I wake in bed alone and
you’re on the floor in a heap
or, worse, gone soundlessly.
And here I find myself full-suited
in the mess of snow storm,
your letter in hand.

Trip tip-toe step walk into snow; a depth unknown;
trying to light the dark spirit eagle cigarette.
I find a tent in the wilderness and pitch it.
I spend two hours in there, wet, watching snow
build up until the roof gently pushes me out.
I still don’t know if I can read it.
It is only a rereading, but it’s weighty, regardless.
I emerge from the woods to the hill overlooking my life,
embanked by a line of pine. I stop here, relight myself.
The ash blends with the snowflakes
and the snowflakes melt when they touch the paper.
Have you loved? God, it’s an assurance I want.
Really, though, could I doubt it? if it is
only my love that I deem insufficient
to recquit the typed affection before me.
I kneel and read further.

To my surprise a golden-furred dog ran up to me.
He licked me, he smelled your letter, he smiled
and asked me to pet him and to not despair.
Leave it to an animal, beast in the snow
to so recognize, too, significance.
“How do I feel?” The beast frowned,
nothing hurts more than being asked
what you mean.
I got up and left when the owner’s whistle
called him away from me.

Walking back I found that I was missing a glove.
I looked behind me and I saw –against, -down the hill
the left-hand black-leathered eyelash in my tracks.
It was the same hand that you dropped from the dock
into the water this Christmas which I fished out and
fought off your apologies with. How I loved you then.

Then I must re-emerge onto the surrounding fields
and am hit with the wind that I hid from so well
in tree-cover. Then I must grapple with the life
I only half-cherish. Must think in sentences
and hyphenated-words—and dashes! ****** them.
Then, then, then! What happens next! eh?
In the steam tunnels with Carter, smoking, I said,
“I am ruled by fear. Even now I’m palpitant.”
I wrote, in the movie theater, whiskey in the soda cup,
“I am addicted fear, or so I have surmised.”
Hush, hush, hush!

If I fear I cannot love, I know that much.
If I love, as I believe I do, then I am only in denial.
True, small enough to see pure perfection, molecular.
Like the snowflakes back home which, too, are crystalline.
But it’s not visible to the naked eye, thus inconceivable,
given you’ll probably forget it. So it is dead to me.
No, God's not dead he's just not that kind of guy.
Brr, the decisive breeze. Well, then.

shovel and hoof and the falling hood of death, worth a dozen eggs ate, as a Jew prayed to the name, whether horse or wheat be made sacrificially holy and all else be made be sacrificially sound - or a dozen children for the ***** of Adolph for jokes and iconoclastic propaganda... even i know that Adolph overthrew the rites of Abraham given Eva Braun... and whenever the whip, i'd cuddle a paraphrase for a never-figured-out venture that led to a cul de sac... and oh the rich ladies charcoal their fingerprints into nothing more than crime desirable signatures.*

Algorithm next door: another lashing of ***** maxim encyclopedia - i.e. the numbers, and subsequent replicas... brr brr bring on the clone army; and the fiddler on the roof said: if i were rich man... ha shem, translated: o horse, o cow-dung... had i but a name a name equal to yours: as mother said, Samuel - Son of Noel: sweat for chamomile tea brew...and with truce: dumb enough to build the pyramids: dumb enough to build, and thus inherit... said the Palatine Palestinian: or come to my Arctic warmth and lick the ice... for fear that insomnia might be the thief of your dreams... pa pa plumb! sha! gerrrrman schtil! let''s call culture a truant mind-set... and later count the grades as gutter of what became known as Harvard... in orifice the neon twilight to nuance the open pupil of inspector lizard, the mammal, a cat, thus petted, in cat abhorred to suit a lion's mane, and the hairdresser: and with Chopin they made entree with state-held diagnosis of Donald Duck, abbreviated with media: niet!

It's a bit too cold
in this ugly Christmas sweater
made badly, quickly by my grandmother
when she did such things for me.

I'm sitting in my room, legs pulled to my chest
shivering through my long pants and wool
finger shaking, palms clammy and cold
but somehow managing to type out these letters to you.

You tell me you're so oh so warm
where you are right now, in your little house
just on the very edge of the forest
cheeks rosy and sweet, just like the rest of you.

Brr, it's too cold outside
to be this giddy
but I am regardless of the weather
you kiss my head in the dark.

And I wake up, then, all alone
teardrops dripping from my eyes, nose running and frozen
in this horrible Christmas sweater
and I don't think I will be warm ever again.