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Queso Nov 2012
Man had wept
as he watched the fall of Lucifer,
not so much due to the tragedy itself,
rather than the cutting, crystalline
beauty of the Icarian descent

After the absence of three hundred years
since the forgotten burning of Magdeburg(1),
when the Devil had returned to Europe
from the smoldering ashes of
South Africa(2),
Namibia(3),
and Congo Free State(4),
the soft hills of Picardy were
embroidered in gold
with roses and clematises

And since our girl had been fed with naught
but the shimmering positivism of Auguste Comte
from a silver spoon manufactured in Manchester,
beneath the charmingly moorish face of a lover
and a Prada he wore
quilted with railway, nation-state,
Art nouveau, electricity,
and liberal democracy,
never in her wildest, most horrendous nightmares,
-one of which was mere few dozen Jews dying in pogroms-
could she possibly imagine
His robust fingers,
so caressingly wrapped around her neck and cheek,
concealing the bayonet claws
of mustard gas and industrialized massacres

A god whose name we only knew
and whose warmth we only read of,
had called for the blood sacrifice of utmost purity,
to be fed to its altars for the promises of salvation

As the Devil ravaged her body frozen as the Siberian gulags
and her soul smoking away to the chimneys of Auschwitz,
he raked his nail to her cheek seized by the throat,
lasciviously whispering,
‘Here, this,
This is the kiss of progress
You have thrown so warmly your arms around’

Ninety-eight years had passed
since that fatal kiss of a lovesome late June,
though the summer days had returned in Picardy,
roses and clematises
no longer bloom on her hills
except as tributes for silenced youth
which petals lay as a civilization’s tears
as shroud over a massive bomb-crater of La Boisselle(5)

And never again, could she fall in love,
notwithstanding all the lover’s whispers
of the rational organization of human society
or the ultimate liberation of the working class,
for in her heart have always lingered,
the shadow of the Devil
whose chilling warmth of the Lubyanka cells
and the fiery dearth of the crematoriums of Poland
we had shared as whole, consummate days of youth

For there lies a tragic aestheticism
in deflowering of a rose just about to bloom,
for one delirious sense of snapping off the stem,
we had burned away all ardor of love for a century

---------
(1) http://en.wikipedia.org/wiki/SackofMagdeburg
(2) Concentration camps were first used as means of civilian incarceration by the British against the Afrikaaners during the Second Boer War
(3) http://en.wikipedia.org/wiki/HereroandNamaquaGenocide
(4) http://en.wikipedia.org/wiki/Congo
FreeState#Humanitariandisaster
(5) http://en.wikipedia.org/wiki/Lochnagar_Crater
EP Mason  Mar 2014
Frames
EP Mason Mar 2014
I wish I were Frida Kahlo's vibrant Mexican flowers

Or Salvador Dali's dripping watch

Van Gogh's maleficent moon

Warhol's saturated polaroid

Klimt's ****** lips

Or Vermeer's cornflower blue and singular pearl

But I am yet to make a stroke in ones historical
aesthetical
eye
© Erin Mason 2014
Trevor Gates Jun 2013
It was the rain against the windows
And the moonlight sonata playing
That accompanied my transition
Into melancholy insomnia

In the mid-morning deluge of the overcast sky

The reading of books and Freudian dreams
The watching of movies, Kubrick stare and all
Where emotions are captured and paraphrased
Amidst fight clubs and Fantasia

The Klimt surrealism outreaching from the walls

A lone piano listens, glistens; ripples of time
All dissimilar reinventions
Swirling in the incense smoke rings
Dancing in the flowing spirit air

Free and marvelous among vacant living room eyes

Memories recall the rain of Pasadena
Over rustic-themed modernism for
Eager tourists and the nonchalant few
Whispering words to descend the stairs

From the surface to below where thrusting cocktails reside

Years ago in the same position
But younger than I am now
At another desk with a bleeding pen
Pouring over the torn fickleness and skin I saw

Matchstick men smoking flesh roaches in alleyway shadows

Something hidden underneath the seen frailty
Single mothers courting hairless young men
Cracked anchor teens moving to a beat not of their own
Act of demon from the hand of God

Itching skin and slimy **** for sexes of all;
the men can take a turn in bearing the small.

Tales written from reflection and soul
Those wanderers and solicitors passing over the sick
The dead that laugh and the living that cry
Cold flesh injections stock markets for cattle to imbibe

Like so many humans do
Peter Balkus  Oct 2018
Wish
Peter Balkus Oct 2018
I don't want to be rich
or famous.
I want to be
beautiful, like a dream.

Like a greek vase,
like a butterfly,
like Mozart's concerto,
like Sunflowers
like Klimt's dancer
and her smile.

I want to be beautiful,
beacause beauty
never dies.
fray narte Jul 2019
We were always so good at pretending, weren’t we? We would always climb rooftops and pretend that we were stargazers, christening constellations with our favorite songs. Look, there was Somebody Else. There was Nobody’s Home. There was Chasing Cars.

We would pretend we were souls from the 50s, reincarnated into another life — into another happy ending. We would pretend we were art critics, as if we knew **** about Klimt; as if we could tell apart baroque from classical. We would tell each other our weirdest dreams and analyze them, as if we were Freud or something, that misogynistic pig. Oh, you dreamt about us drowning together in the Black Lake? Oh, that means we were gonna have *** tonight, in the absence of the moon. We would pretend that we’ve circled the whole world and that Italy’s got the ******* blandest pizza. We would pretend that we were rock stars, surfing on the crowd.

We would pretend that we’d read the classics. Was that Harry or Henry in The Picture of Dorian Gray? Yeah, Hamlet was pretty cool, but who was Ophelia? ******* pseudo-intellectuals, we were. Nonetheless, I loved pretending with you. We loved pretending that the whole world wasn’t crashing down — that we weren’t stuck in this ******* of a small town, and that the world spun for us. We loved pretending that everything would be okay — that we could leave someday without looking back. We loved pretending that our lives weren’t all over the place. We loved pretending that we were the brave ones, that we could **** ourselves by 40 because the world wouldn’t be kind when we’re all old and saggy.

We loved pretending that we were too cool for mental breakdowns and for any kind of feeling. Honey, we loved pretending that we were psychopaths, too voided for love and all that other crap — that we hated clichés, while doing the most romanticized clichés anyway. We loved pretending that this was where the chapter would end, and that we were together in our make-believe ending. We loved pretending that we were the ones who stayed and made it.

Now, sometimes, I would pretend that we did. Other times, it would be me pretending I was all there ever was — that you never were here to pretend with me, and that I was okay. I would pretend that the rooftop wasn’t too high, and that I didn’t need your help to climb — that the company of city lights and the empty space were enough, honey they never were. Honey, I would pretend too that I never missed you. But I did.

I always did. More than that I would ever admit.

I would look at the stars, the ones we named but I guess they all had already fallen to the earth. You said that when you died, you would live in the shooting stars so that you could crash to the earth and come back to me. But it had been more than a decade since the angels took you away and I no longer stargazed, except tonight. And maybe, just maybe, when I would catch a glimpse of a falling star, I still wouldn’t wish that you didn’t chase your meds with *****. I wouldn’t wish that we didn’t find bubbles coming out of your mouth, like they were a part of your soul. I wouldn’t wish that I didn’t see you die. I wouldn’t wish that you were okay; we both knew we wouldn’t have clicked if one of us was happy or okay.

Heaven, hell, we didn’t believe in those. But when a star would fall unto my chest, I would wish that wherever you were right now or wherever you would be in the next life, darling, you would no longer feel the need to pretend.

And with no lies, no masks, no pretenses, I loved you. Here. And in the next. And in the lives after that, until we lived in one where we would both have the courage to abandon all pretense and just sit on a different rooftop, sharing silence — sharing honest thoughts — sharing the luster of distant stars. And tomorrow, our demons wouldn’t rise with the sun. And we would be okay.
judy smith Mar 2016
If you had to pick one adjective to sum up Michael Kors' collection at last month's New York Fashion Week, a good bet might be "feathery."

The designer was going for "the flirty freedom of things that move," to quote his production notes, and there were flirty feathers on at least 10 of the looks he sent down the runway - starting with feathers adorning a pair of jeans, and moving to feathers on a houndstooth tweed coat, on a denim or tweed skirt, and on black silk for ultimate evening effect.

There also were plenty of sequins, adding a very bright sheen to some of the fashions, especially a silver sequin embroidered "streamer" dress, with the hem cut into strips that indeed looked like streamers, and also a pair of seriously glistening silver metallic stretch tulle pants.

This is Kors' flagship collection, not his more accessibly priced secondary line.

Kors always has a healthy celebrity contingent at his fashion shows, and February's event was no exception: Blake Lively and Jennifer Hudson were among the front-row guests. They were there to witness an anniversary of sorts for Kors.

"I'm not one for anniversaries and I'm really not a big kind of looking-over-my-shoulder kind of guy," Kors said in a backstage interview. "But when I started designing this I realized, oh my God, this is my 35th fall collection. That's crazy!"

Kors added that as he reflected on the milestone, he realized the most important thing was to keep his fashion fun.

"I wanted this to be full of fun and charm," he said. "So it's very flirty, short, leggy, not a gown in sight. All the rules are broken because stylish people break the rules ... The seasons are crazy anyway. So when the weather's terrible, don't you want to put on a fabulous apple green coat to change your spirits? Don't you want to wear tweed with flowers? Don't you want to put feathers on flannel? Wear flats at night? Wear metallic for a day?"

From his sunglasses to his gold glitter pumps, Kors' collection exuded fun, not fuss. Even a denim skirt is luxe, when covered in feathers. A hoodie adds reality to a silver sequin cocktail dress. And who doesn't love handbags the colors of jelly beans.

CAVALLI'S DECADENCE

MILAN - Even while venturing back in time to the Belle Epoque era, Peter Dundas' latest collection for Roberto Cavalliremains rooted in the rock 'n' roll '60s and '70s. His collection bowed during Milan Fashion Week last month.

The languid looks were strong on glamour and workmanship, from the ephemeral sheer beaded evening dresses in pale shades to the colorful patchwork fur coats worthy of any rock star: art nouveau meets Janis Joplin.

''Decadence, superstition, mysticism, Gustav Klimt, Aubrey Beardsley - things that give me a kick," Dundas said backstage, describing his inspirations.

He said the Roberto Cavalli woman for the season is ''a little wild and instinctive."

The Cavalli animal print for next winter is tiger, in long skirts and short bomber jackets, while denim gets its due with a long trailing coat and flared embroidered jeans. Looks were finished with long scarves tied casually around the neck, makeup hastily done and hair loose and natural.

Notwithstanding the labor involved in his creations, Dundas says he would like to see his collections get into stores more quickly than the current system permits.

''I wish I could. I am working on it," Dundas.

DIOR'S PARISIENNE

PARIS - Vogue fashion doyenne Anna Wintour, former French first lady Bernadette Chirac and Chinese actress Liu Yifeiwere among the celebrities on the front row of the Dior show held in an annex inside the picturesque Rodin Museumgardens in January.

In the clothes, the "spontaneous, relaxed Parisienne of today" mixed with the iconic styles of the 1940s and 1950s.

High-cut post-War shoes with occasional retro ankle bows accessorized embroidered silk gowns in freestyle volumes - often with "sensual, bare" accentuated shoulders. A couple of flapper-style lace, chiffon and tulle look also evoked the joyful feeling of the 1920s - the period between the two World Wars.

Dior's studio team of designers also set about experimenting with the famed "bar jacket" - it "changes appearance depending on whether it is worn closed or loose," said the program notes.

It thus came in myriad forms: in tight, embroidered black wool, loose and white, open to expose the breast sensually, oversized and masculine, or as a beautiful dark navy wool coat.

There were also traces of the historical musings of past creative directors - such as Galliano and Simons - set off nicely in one look off-white wool "bar" jacket interpretation with flappy 18th-century cuffs.Read more at:www.marieaustralia.com/bridesmaid-dresses | www.marieaustralia.com/short-formal-dresses
Onoma  May 2018
Klimt's: The Kiss
Onoma May 2018
effusion on the
melt, lingua franca
of gold.
tongued to the tip
of its flame, twine
of dusted skin--
lit with professing.
pilgrimage's keel over
into otherness, that
far off land.
tried truer than truth
on the lips.
membranous bouquets,
rippling beside rectangular
rain.
patchwork of an amorphous
doorway, administering
symbolisms that outshine
light.
scale's draw, the weight
of open arms met with
like weight.
a kiss such as the forgetfulness
of faces, as if to say: we've
come to this my love--lateness
surrounds.
*Inspired  by  Austrian Symbolist painter Gustav Klimt's: The Kiss.

— The End —