only a scouse inhabitant could have pointed it out (merseyside english / liverpool) to no better comparison.

i'd love to have the salt & pepper dilemma
between low alcohol sessions and
high ******* session, just did the low
alcohol sessions and laughed, after having
become equipped with marijuana "abuse"
starving / fasting, never gearing for chips
and munchies...
the streets of london look a lot different
walking about high & hungry
rather than jokey and as a jockey of an
imaginary horse...
god made sanity and soberness an ivory tower
that was not worth defending
unless for manual tasks... all other tasks
were never ready for the multipliers of human presence,
not all of us would hammer a nail
for all the scratches of a vinyl disk if all were able.
indeed the scouse lad knew it,
languages that clung to latin were left historically
naked, without diacritical marks,
instead they delved deep as to upkeep the latin
they forced the closure of grammar schools
along with coal mines...
and what they earned was not a sense of categorisation,
english slosh tongue said the 18th century
happened akin to the abhorrence of moral relativism
by socrates to make stab in the eye a ******,
to thus say bronze age was but a hundred years...
keeping latin naked as it was by the abhorred
conquered land of the romans due to its bad weather
may have made a milton or a shakespeare arable...
but because of a certain type of censoring not ever used,
what became beautiful in other european tongues
became the ugly spelling of the english tongue,
what became stress marks of "accent" for the french,
and german, romanian and polish,
there was none of that in english, instead
we became accustomed to aesthetic "marks", that
were "marks" because there were no actual examples
for a clear rubric... instead we received too many examples,
the particulars of why we wrote the and said a sharpened v
in written form v'eh off veer...
there are no unitary aesthetics marks other that words
themselves... rather than what we have in terms
of unitary diacritical marks of akin umlaut...
there's no where else to go... the Minotaur has caught
up with us and our shadow! there's no labyrinth to further
our heaving lung to cheat both silence and breath! there's isn't!
it's the end... not using diacritical marks on units
only creates aesthetics of multiplying units
where they are multiplied: riddle... mirror...
                 keep, kettle, leer, pass, throttle, amiss.

(the syllables are not perfectly connected,
therefore much of "coining the phrase"
with prefixes anti- con- un- sub-
being endeared into your vocabulary,
then again clearly, accenting and aesthetics
compare to reach a parallel,
never leave it naked i say, never leave it naked,
for fear of reprisal of that which ought
be buried still alive, and with clear
acuteness for certain letters appropriating
there is no originality in the british tongue
for origins of the a - z under virgil
who originated the letters to the plagiarism
of grecian theology with the trojans
moving from turkey to italy -
therefore you become akin to other european
nations enacting a parasitic semblance
for the simple reason of ease coupled
with the many "loop holes" of the tongue,
or you reach absolution with the missing diacritic
as reasons for the modern acronyms: l8r, o.m.g.,
b.a.e., i.r.l.... all of this crap is a byproduct.)

but to say latin is dead, you must recreate the latin
alphabet with an ethnic particularity of a modulation
that might be compared to the migration of goths /
huns / vandals... to say 'latin is dead' and keep the
latin a without a modulation to craft an ą,
is a darwinian heresy that demands counter-evolution;
there's hardly one coliseum in london, although
i admit plenty of football stadiums;
still the evolutionary need is still necessary
and consistent, because it's not the case of the three
wise monkeys seeing, hearing saying no evil...
if this phonetic geometric is to survive and the crucifix
not be a vanity shield of artists due to the wrathful lamb,
it will need to specify whether it's gaelic english,
welsh, australian, london based, come home county based,
arizona or texas draw.

ol king crab kingo the highwaymen**

cumma walking down that hallways street
oll king crab king o the highwaymen
he got swagger boom swagger
he got boom bap pow
pow
pow
-
i seen im runnat comb through his hair
i seen it move back
i seen it glitter-glisten under em bright lights
onna ceeling
-
i seen im touchin
mercury aphrodite
i seen im touchin onna ladies
hera n persephone
he been touchin onna ladies
backadatruck
backadatruck
back seat
pull em uppa cliffside
pull em uppa cliff
bring em inna that backseat
5 minutes in heaven baby
you know it
-
ol king crab dont go to school
he appears
he come-and-go
touch-and-go
in-out
he just visiting
dont need no work
dont need to work
get nuffa that at home
-
ol king crab drop out
not too much trouble
he never drop in

get a job drivin a truck
aint no better way to live
then watching those glitter-glisten lights
on that highway
run that comb through your hair
do it one more time,
do it for us king crab

yeah, just like that
-
down that road he go
b back l8r
b back
b back
down down down
hot stuffy old car
dice onna mirror
just like a movie

luck pair of dice
such a lucky paradise
inna truck

down that road

fulla nuthin

fulla nuthin

fulla NOTHING.
-
Ol' King Crab he *****
he chew
he *****
that how to live
that how to live?
yeah, son.
in back o tha gas station he *****
back inna gas station he chew
tobacco gum tobacco

he take em ladies by the hand
them ladies aint outta worry
king crab outta worry
watch whose hand you take.
-
Listen.
Don't let him take you by the hand.
Don't let him TAKE YOU.
DON'T LET HIM TAKE YOU BY THE HAND
-
ol king crab gettin
****** inna back of the gas
station
pullin outta driveways
and outta women

watch whose hand you take on that open road
you lose yo head

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?

they say Hollywood legends
never fade from gold,
and we know Florida's coast
will never grow cold.
I wrote you pleading letters
and to my surprise
you returned them all
with summer's untimely demise.

Honey, where'd you go?
my Love, where do you hide?
you spend every day away
with no breath of goodbye.
you fed me pearls of promise
and chased them down with wine.
I'm not ready to leave just yet,
but I'm running out of time.

I know you loved me once,
you're not that bad of a guy;
you're held with such high regard,
yet the games you play really break my heart.
I should've known you were lying
when you came back around
saying I missed your bed like that;
I know what you're trying.

I can feel you leaving again
and my heart is broke;
what I thought would be beautiful
was just a shot in the dark.
I hope you'll be happy
with another beauty at your side,
but she'll never match my boriqua
or cast my longing gaze your way.

Dark hair. Two pins, keeping each other company.
Green eyes like transparent emeralds
and skin like porcelain dolls
carried by a loving girl
given by her mother
taken by none, until later.

Through the city I make my stroll
but I've already gone and paid my toll.

Hair like slinkys left outside too long
curling thrown aside, up, and away
eyes like thunderstorms over blue sea
watched by lovers
fled by less than lovers
never closed, until later.

Through the city we make our stroll
but I've already gone and paid our toll.

Have you seen the cafe? the one with the pig
inside, licking peoples feet and running about
like a dog with no training, like a person with
no idea what they should be doing?

I challenge you, O my love to challenge me.
do I bring out a potbelly pig in myself with you?
isn't that what you wanted?
It would be cute, if I could manage it. maybe l8r.

Through the park we take our walk,
never really needing or wanting to talk.

mango tea and meltdown tears
don't do anything to my existing fears.
They just bring me along, again, to feel closer,
to convince you that you're not simply a poser
but a person that's more than you. more than me.
Thus saith the lord, the lord of hosts.

Around the lake you start to talk,
and I listen closely while we take our walk.

Hissing geese and widowed ducks
only show the gratitude of those things
that are happy to recieve your bread of life
and my grin of awe at you, feeding them.

Hair like palm trees in the wind, tall, thick
happy to have you under his care, he supposes,
but even happier to have you in his arms
watched by others
envied by more.
never saying goodbye.

Hair, getting longer. Have you pearl earrings?
two pins saying hello to the top of a desk
and to the rim of a crystal cup
lips like a rose petal, touched by one in my hand.
Lips carried by mine,
given by both,
taken by none other, evermore.

what an improvement, if they keep it up, working from: Κατά τον δαίμονα εαυτού, toward rituals - they'll be remembered in history, just like aphrodite's child, and i guarantee this to be true; you really have to build an edifice of religiosity.

stray dogs...
                                    you heard me,
poland is filled with stray dogs,
homeless dogs,
   homeless cats that live
in the cemetery and wait
for the next burial...
   no stray dogs in england...
i was the one who finished off
the roof on the battersea shelter
laying the slabs on the extension...
it's god awfully strange
returning to a monochromatic
society,
        you feel, what's the word:
bleached?
           it can be sometimes
irritable, but then again:
i'm bound to read a book in
polish immersed in the language
proper, without some english
background noise to
disturb me...
    the day when english psychiatrists
mishandled the case:
the day when bilingualism was
actually "schizophrenia" -
i could sue the n.h.s. if i wanted,
how can you misdiagnose
bilingualism as split-*****-for-a-brain?
       when i visited london
the only face i can now remember
is that of a homeless person -
  all the other faces are either
boring, or myopic blurry...
              not worth the storage space
in the memory compartment;
i have a child to tell me what's
worth keeping,
  the once obedient child says:
you've been taught what requires
forgetting...
all the lesson in school are
erosions of your psyche...
                you learn, but by learning
you clog the river of thought
(flumen cogitatus) -
        unlike the *labyrinthus cogitatus -
schooling erodes memory,
   pythagoras is a bit pointless
given newton and projection -
and other trigonometric guises of
expansion...
        ****** schooling, schitty life:
the only option being:
   learn from yourself, by yourself,
and feed that learning to no other than:
your self.
               the english, what can you say:
how did the greek establish a need
for diacritical marks, while the english,
in their pompousness didn't bother?
the ambition to remain of latin stock
fizzed up in their heads...
even the greeks returned to helen's
*****, away from the byzantine crown...
the english? no, they didn't...
which is why i'm writing in a naked
form of inserting pieces or whole sounds...
rule being: if there's still any saxon
in the anglos -
ßpin...          soma...    soup...
                            ßpeak...
          suggest -
                               sacrifice -
                  ßpark!
               you think e. e. cummings
spoke of orthography? you want
to introduce orthography?
listen... english is a blank slate of
a language, it's ready to be imbued
with diacritical markings to invent
an orthography in the language...
   let's begin with:
   a word beginning with an S is
a grapheme when it's followed up
by a consonant...
      ßpit!
                    but when it's followed
by a vowel - it's a normalised S;
          i.e. prolonged.
      and yes, the R devolved when the french
started harking at it,
  and the english started numbing the
rattler serpent hidden in R...
           stood the statue of the two tongues -
are we clear about what orthography is
concerned with?
                there are two options,
only one is aesthetically accepted:
   guwno & gówno - **** & **** -
                      miraculously w = ł....
              so the V salute...
                         gavron, gavron... gavron.
no, you don't see any stray dogs in
england, you'll sooner find a homeless man
sitting by a tube station outcast
than a stray dog...
in poland? you'll sooner see a stray
           dog than a homeless person.
O beacon of the civilised world!  
speak to me!
                     **** it, shut the **** up;
i've heard illuminating ideas to
construct a chandelier.
          - and i did sometimes pitied
wooden houses, when winter came...
      how i thought stone was marble,
and then i realised, placing my crow foot
onto the porch wood: warm,
staggeringly warm,
   wood is besides the cold -
    it's actually warm...
    at least wood does not insulate the cold
as the stone does...
    we have no talk of orthography in
the english tongue, if we do not have
diacritical marks introduced...
      'n writing back to 'ye ol' english -
with that ******* thy 'twine v'eh
          rather than a f'eh perfect word -
forget it...
        i'm past integrating into this tongue:
i'm into disrupting it, mingling by mangling
it silly...
                   might i add...
rotting christ ought to revise the song
   ze nigmar...
there is a crucial melodic element in the song,
it's barely receptible,
but it's there, shy,
like all the bass in metallica's songs...
       this song (ze nigmar) needs
to be revamped - it needs revision,
a remastering, so the melodic backdrop
stands out from the heavy guitars...
           given the guitars play a rhythmic
section, it would not bother the entire
track to spectacle the melodic element...
upwards and onwards with this
greek band...
                         oddly enough,
by this track alone (ze nigmar), i might
actually buy their rituals album;
nonetheless we're still stuck with english
in eden...
          you ever wonder why they derived
so much political power not having
revised the original latin script with
northern or southern revisions and
       additions?
   the birth of unaccountable accents comes
from missing diacritical markings -
and the reply goes:
  why do you have an accent?
an english man asks.
the person with an accent replies:
and why do you not have diacritical
marks that are all-too-apparent
                          in your lettering?
you can't fake orthography by Mm -
or for that matter,
why has your tongue been cyber-netted -
lost in the abyss of a.i. -
to have once written later to now write l8r?
   you and your digital "orthography" -
he discarded the hieroglyphs,
he discarded the cuneiform -
but kept the latin, to write out an electronic
base, and kept the coliseum for
the modern football arena;
  yes, **** grammar, **** pedantic -
         and if anyone's going to "dox" me...
it will be done by me, and me alone;
that's how i appreciate the "****" element
of things: the pedantry is the pivotal crux
of writing a confession of
  having established the likes and dislikes
of using a language -
  given that this tongue is but my second
and subsequently my last,
   i relish the fact that i was born to turn
this language into a tool, a hammer,
a blunt knife...
     and how others are born into this
language, and know no other,
  while some attempt an escape -
  others treat this language as the all-encompassing
crutch of expression...
              for me a tool...
    for them a safety wheel -
     for me a language i can deviated into
aggressive tendencies,
  for them a language used to cushion
my exploitative advances...
   true assimilation only arrives when
the acquiring party speaks the native tongue
better than the natives...
                     but still retains respect for
its genesis of born "loss" & subsequent acquisition...
one never deals in assimilation in
the hegelian terminology of master & slave -
in terms of language -
    akin to etymology being the other part
of history - more apparent, and always
more nimble in being resurrect at a glance -
to me english is a parasite -
                                  and i'm but a host.