Narrator 1: Sweet children of pure honesty, Hansel and Gretel
Narrator 2: Really aren’t nice ones, they’re weeds like stinging nettles
Narrator 1: And that evil little missus
Cooked that poor witch, and that does not distress us
Narrator 2: So here is our story
And perhaps, purposefully, it’s a little bit gory
Both: Of Hansel and Gretel,
The annoying children like stinging nettles…

Narrator 1: There was a family of four
Who lived in a house with a rotting floor
In the middle of the woods,
With no money for basic goods
Narrator 2: A little boy lived there, his name
was Hansel
He was always forcing his father to cancel
His trips to the village in effort of food
Which did no good
Narrator 1: Then there was his sister, her name was Gretel
Always mistaken for being gentle
Rather, though, she was a spoilt brat
Always scoffing any food and becoming fat
Narrator 2: Their father, desperately weak,
Told by his children he was a freak
Narrator 1: Married a woman, perfectly strict,
Who had perfect legs for a mean kick
Both: You must remember now, these children are brats,
And need to have their heads chopped off with an axe
Narrator 1: Of course as you would expect,
Their step-mother wanted their severed necks
She taught them well, and she tried hard,
But their minds always seemed afar
Narrator 2: One day, she had had enough
Sent them off into the woods, she felt rough
But she told herself, you to me
This had to be done to the banshees
Narrator 1: The children, chubby and rude
Were sent off into the wood
Narrator 2:After a while, Gretel moaned
Gretel: ‘Where is all the food?’
Narrator 2: she groaned
Narrator 1: Of course you see she was greedy
So didn’t care about the needy
Both: And…...****! Just like that
A gingerbread house appeared with a snap
Narrator 1: Gretel always wanted to boast
And she felt she was the foodie host
Narrator 2: Hansel ran forward, teeth sunk into the ginger
No idea of the injure
He was causing to the house
And the occupant; a little mouse
Narrator 1: The mouse came out, shaking with fear
And said to the boy
Mouse: “Now look ‘ere!
You have no right to come bargin’ in
I just finished decoratin’!”
Narrator 1: Gretel sniggered, and winked at her brother
Narrator 2: Something that would’ve scared off their mother
Both: The turned their bottoms to the mouse
And let rip a **** that blew her back to the house!
Now these atrocious children
Needed to learn a very good lesson
Narrator 1: The mouse scampered away and awoke the witch
Who for some strange reason loved to stitch
Narrator 2:The witch was kind, her name was Brooke,
As you can see she loved to cook
Narrator 1: She loved gingerbread, for her village was made of it
If anyone ate her houses then she would throw a fit
Both: These children were no exception,
And Brooke was a witch of deception
Narrator 1:She lay on the floor in a fit of temper
The mouse feared she could not help her
Narrator 2: Brooke got up and slowly grinned
Witch: ‘I’ve a plan, it’ll make them run out of wind!’
Narrator 2: She whispered carefully to the mouse
Witch: ‘Bring them in the house,
I’ll give them lots of food,
And teach those brats for being rude!’
Narrator 1: The two children continued to munch,
The mouse came out and said
Mouse: ‘Come in! Have some sweets for lunch!’
Narrator 2: As soon as they were in, the trap fell
Trapping young Hansel, but it was too small for Gretel
Witch: Nevermind,
We’ll make a maid out of the girl with a big behind!
Narrator 1: Gretel slaved around, but slowly began to eat the walls
The mouse knew this but only said,
Mouse: ‘The fools!’
Narrator 2: After a while Hansel also got big,
He, like Gretel, was such a pig
Both: The children simply got fatter and fatter
Whilst the witch continued making her batter
Narrator 1: One day Gretel awoke to the smell of delicious food,
And rolled over to find she couldn’t move!
Narrator 2: Hansel was in a similar position
But still the witch hadn’t completed her mission
Both: She brought the greedy children more food so sweet
Which Hansel and Gretel couldn’t help but eat
Narrator 1: The witch wandered down the steps and whispered to the mouse
Witch: ‘Quick! Evacuate the house!’
Narrator 1: The witch and the mouse ran far away,
knowing about the end of the children’s days
Narrator 2: The children munched on and on
But at one point on the beds where they lay upon,
Narrator 1: Gretel moaned,
Gretel: I’m so full I could pop!
Narrator 1: And pop she did! There was no stop
Narrator 2: Hansel followed not long after
Both: And that is their Happy Ever After
That is the true story of Hansel and Gretel
The incredibly annoying and greedy children like stinging nettles.

This story is called death of a superhero.

We see the superhero flying at full speed after a getaway vehicle.  A group of armed men just robbed over one million dollars in cash from the bank and are now speeding through the city.  He darts back and forth to dodge the shower of bullets flying at him from the car, which was preventing him from getting any closer.

"I can't let these crooks get away," he grunted to himself as he curved back and forth through the air.

Suddenly he was blind sighted by a large black object coming from the car.  It was a high powered electric tazer.  It hit him in the side and his muscles locked up, he stopped mid air and went crashing down and smacked and bounced on the ground.  This bought the thieves time to escape from his view.  By the time he got out of it and regained control of his muscles enough to fly, the crooks had maneuvered the city like a maze, and he didn't know where to look, they had gotten away.  He looked over several city blocks and couldn't find him, and was forced to give up.

"****" he said to himself.

He flew off to the nearby park and found a secluded spot to meditate and heal.

That was the forth unsuccessful attempt to catch bank robbers this week!



On the news that night

"The Tomerarenai purotto corporation just received over $5 million dollars in donations from an anonymous donor this evening for their new project on Zenchō hill outside city limits.

The project to build a new factory there has been underway for three months now and they've really been moving along thanks to the help of all these private donors that must really believe in their cause, which of coarse is to develop new "greener" technology to help the environment and cut down on pollution.

We have a spokesperson for the organization here with us now how are you?"

"Good and thank you, I'm really honored to be part of this amazing organization and to see such a great turn out of donors for such a good cause.  It's been amazing with over 37 million dollars donated by private, anonymous donors over the last three months, it's amazing..."

About half the city watched that news broadcast stream into their homes on their television sets.



It was about 2am when the superhero came out of his meditative state in the park.  

He got up energized and flew around.

He saw some guy trying to steal some lady's purse, he zipped down and stood right behind the guy without him even noticing.

The guy got the purse turned around and ran right into him and knocked himself down.

"What do you think you're doing?" the superhero said authoritarily.  Then he lunged in grabbed the guy by the shirt at the scruff of the chest.  With his other hand he picked up the lady's purse, handed it to her, and told her to go home and get out of the dangerous night city streets.  Then he flew the criminal to the police station, told them what he had witnessed, and took off.

Suddenly he heard police sirens all over the city they seemed to be closing in on a specific area, the superhero flew to that area to see what was going on.

He found a police sergeant standing next to a cop car, and stopped to ask him what's going on.

"A masked lunatic just killed 19 people and is now trying to escape in a small silver car, we've got every available unit trying to hunt him down."

He wasted no time, taking up in the air leaving a wind in his wake, the superhero started quickly combing the city for a small silver car driving conspicuously.  He found one, and when he flew over it to check it out, all of a sudden he had gunshots being fired at him from inside the car.

"This must be it," he charged the car with full speed but the driver sped up to keep ahead of him.

This isn't going to work, he thought, I should make them think they lost me and follow them secretly and see where they go.

The next time a gunshot was fired the superhero grabbed his chest and purposefully fell down, to make them think he had been shot.  Once their guard was down he followed them in secret.

They drove outside of the city thinking they had lost all tails, down a couple winding roads, then climbed Zenchō hill toward the Tomerarenai purotto corporation's construction spot, then went inside.  

The superhero landed outside the building and contemplated his next plan.  He noticed an open window to an office on the second floor, he carefully peered through the window and saw no one in the office, he flew in and landed on the floor careful not to make a sound above a mouse squeak.  He quietly crept through the empty hallways until he reached the staircase, when he heard voices whispering downstairs, "He's gonna be here any minute/ get everything ready."  

The hero thought he had no time to lose, he took to the air, bolted down stairs and with a loud dramatic voice yelled "Halt!"

"He's here!" they yelled as one of them ran toward a giant device that looked like a satellite dish, and the other one ran and pulled a rope, dropping piles and piles of smoldering coal around the superhero that immediately made him so sick he could barely move.  industrial type smoke was his weakness.  

"We've been planning for you to come here," the guy in the mask said firing up the satellite dish looking weapon and pointing it at him.  

"W-What do you want?" the superhero asked weakened, frail, and short of breath on his hands and knees on the floor.

"To **** you so you won't stand in our way"

The superhero was growing weaker, and weaker, as the giant atomic laser pointed at him started glowing red, I told you this story was called "death of a superhero".

"Death, of a superhero?"  the superhero grunted, "DEATH, of a SUPERHERO!?!" he shouted again, "YOU'VE BEEN ORCHESTRATING MY DEATH!" The superhero yelled at the narrator.  

Yes I have, the narrator said all the people in the room could hear me, I've been planning your death since before you went after that getaway vehicle, I have such omnipotent like power over your world, I'm the reason the taser gave the one's working for these two time to escape, I'm the reason you never checked this place out until everything was ready, and now I get to watch these two **** you, and laugh, knowing that you'll never find me and there's nothing you can do to change events.

Now, the beam was fully charged

"No!" the superhero thought, "up till this point, I thought I had to go along with everything the narrator said, but no!"  He started to slowly manage to get up.

The masked killer hit the button, fired the laser, and killed the superhero instantly.

Wait what?

"You think you can just **** me by saying so," the superhero grunted out louder slowly rising to his feet.  Mentally forcing his body to work even in the presence of his weakness, in reality, contrary to what the narrator said, the beam was still charging.  

"No!" the superhero continued, getting stronger and healthier, "THERE WILL BE NO DEATH OF A SUPER HERO!!!" suddenly the superhero's personal energy was strong enough to clear a bubble around him of fresh air pushing the smoke around it.  He flew through the air at bullet speed and punched the masked killer across the room and out of consciousness.  Then he went for the assistant who was running to the door, in the heat of the moment, the superhero, hitting him up from behind, punched a hole straight through his skull and he fell to the ground head-gored-dead.  The superhero deactivated the laser. and stood and looked around to try and find that supervillian mastermind, the narrator.  

"You will never find me," the narrator said, "I exist in an inexcusable part of your reality."

Then another voice broke through, "I will open up a portal to the narrator for you" the author said, "be wary though, even in his own part of this dimension, he is very frippery and slick, you must not let him break free into you're general reality, lest he end your world."

Suddenly a glowing golden sword appeared in a light before the superhero, he took it and bowed, understanding what he was to do.

A shimmering white and grey portal swirled out of thin air.  He looked at it for a second as it grew outwards until it was big enough for him to walk through.  He slowly marched into it, guard heightened as he did not know what to expect, carrying the glowing golden sword behind his back.

Inside the portal was a large white room where the narrator lived.  there was a large white shelf, four walls and a ceiling, the portal remained open.  

He looked around but didn't see the narrator at first, when he realized the narrator had filled half the room with a thick white fog to mask himself.

"Show yourself you coward!" the hero yelled.  Sudddenly a large fist came out of the fog and punched the superhero right in the face, he stumbled back a few steps, but didn't let it knock him over.  Suddenly a humanoid figure stepped out of the fog, it had a body like a man but a head like a king cobra.

"S--sssss--o" it said, "you found a way to find me," "Hisssssssssssss..."

"I found you and I will destroy you to free my world from your evil," the superhero said.

"Is-s that sssssssssso" the beast said.  "And how do you plan to do that? Hisssssssss".

Then the narrator's eyes widened when he say the glowing gold sword behind his back.

"I will cover myself in armor that that sword can't pierce." He said.

"And an armor appeared around the narrator, except it only appeared to cover his head, and his face was still bare." The narrator said and it happened.

The superhero lunged at the narrator with the sword but the narrator slipped to the right and shot ***** of fire at the superhero, but the superhero dodged.

"And his hand got shaky and it greatly effected his aim," the narrator hissed out.

The superhero swung at the narrator, but missed everytime.

"I've got to steady my aim" the superhero thought to himself, putting most of his energy into his arm to hold it steady.  The narrator backed away from him, hissing and darting back and forth as if antagonizing him, perhaps trying to distract him and his focus.

Suddenly he felt a surge of energy push back from the sword, flow up his arm and flood his body, the sword glowed brighter and he was in control of himself again.

He went after the narrator full force, swinging and jabbing the sword, but the narrator dodged every attack.

"You'll never defeat me!" the narrator hissed.

But while he said that he lost focus, and the superhero swung the sword right into the side of the human part of the body, so deep it hit something metal and stopped.  

"Then he dropped the sword," the narrator said quickly and it happened.  The superhero's hand snapped wide open before his willpower could stop it, and the sword dropped to the ground with a "shink".

Acting super fast, the narrator dropped to the ground and picked up the sword with his teeth, and slithered out of his fake, damaged human body into his true form, a giant king cobra looking snake, covered in a heavy metal armor that was scaly and didn't restrict his movements.  Quickly, he slithered  over to the portal, but the superhero grabbed his lower armor before he got a chance to escape into the hero's world, and used his body to anchor the snake to that spot.

The narrator swung and slithered his body to try to free himself from the hero's hold but he was holding on to well, and the serpent could not escape.  

The hero did not know what to do, he needed to get the sword back and slay the serpent, but he had to keep both hands on him to keep him from getting free.

He had an idea, he used his legs to help anchor the serpent, and climbed him to get to his head to retrieve the sword.  Slowly he worked his way up the snake as he slithered and struggled to get free.  When it seemed inevitable that the hero was gonna get the sword back, the serpent spit it out and it landed next to the door.  Then he shot fireballs out of his mouth at point blank range at the superhero which distracted him enough for him to loose his grasp, and let the serpent break free.  The serpent quickly slithered over to the portal, hissed "goodbye sucker", mouthed the sword once again, and slithered out the portal.

The superhero jumped up and flew after the serpent, and crash landed onto of him on the other side of the now closing portal.  

"The masked murderer woke up and came over to help the narrator," the serpent hissed out.

Suddenly the masked murderer came over and the hero was trying to get him on his side to break the stalemate.

As the snake and the superhero wrestled, the superhero called out to the masked murderer, "Don't help him, if he escapes me now, he'll destroy the world!"

"Don't listen to your enemy," the narrator hissed out, "**** him!"

"Don't listen to him," the superhero tried to reason with him, "he's just manipulating you, everybody, he's the reason you wanted to **** me and do this whole project in the first place, YOU ultimately have free will! and we need to **** him."

The narrator strikes and bit the superhero's arm for telling the masked killer he had free will.  

"What do you need!" the masked ****** shouted when he got over there.  

"**** him" the serpent hissed out!

"The sword!" the hero shouted.

The masked murderer, not knowing what to do, picked up the sword and handed it to the hero.

The superhero used it to pry off a piece of the serpent's armor, poised it into position and struck down.  The narrator shifted his body however so the sword narrowly missed, and curved his tail so the open spot in the armor was underneath him, "Grab him!" the superhero said, hold him steady so I can get a good shot."

The Masked murderer did just that, and the hero drove the sword through the opening and impaled the narrator right there, and actually cut him in two.

"But then the narrator's body sealed at the womb and he slithered free" the serpent said and it happened, and he slithered at full speed toward the same door the masked murderer's assistant tried to escape through, and he was making distance.

"And then a layer of cement formed around the superhero's ankle so he couldn't chase the narrator." and a piece of cement attached to the floor formed around his ankle.

But the superhero made quick work of that, a **** of the leg and it reduced to crumbles and he got up and chased the serpent.

The serpent got outside the door and mumbled something, suddenly the door was a pure steel wall.  Three punches by the superhero weakened the steel and severely dented it, the forth punch and it went flying off and the superhero ran outside and saw the narrator escaping into the brush.  He knew what he had to do, he lunged at him and grabbed him just by the head, and ****** the sword through a hail of fireballs straight into it's mouth, the narrator couldn't speak to reverse that action and he died shortly after.

(Scene:)
The Victorian house painted brown with red shutters, a porch that’s large, a white porch swing and a purple rocking chair on this porch. Where grandmother Daisy may sit when the day is sunny or rainy. The house is on a side street covered up and down with trees so green that even in the coldest weather the leaves look as if they are still blooming. This place is called Applewood Road. To see the dark black paved road late in the fog covered night, there is a bright Victorian street lamp. A woman named Daisy the granddaughter of Nelly, who has spent most of her life going to college and having to struggle with learning and finding a place to belong.

Lawyer: writing to Nelly telling her of her grandmother’s death. Giving her news that all her grandmothers’ assets and property are hers.

Nelly: realizing she does not need to stay at college.

(Narrator):
  Due to this unexpected news Nelly has decided to quit college and move to her grandmother’s place. When she gets there she sees that on this property there is the house and a smaller building that could be turned into something else, so she decides that she will as the new owner opened an herb shop called Crystal Fairy.

Nelly: [places fliers around the town.]  I will be open for ten hours every day at Crystal Fairy selling my plants and herbs.

(Narrator):
This being Nelly’s first day opening her business, she sees that she only has three customers.
Enter Lorelei: she brings her purchase up to the counter

Nellie: oh, lavender! Do you know the properties?
Lorelei: I just saw it and the smell reminded me of a perfume my mother wears. Why is it useful for something else?

Nellie: yes!  It helps with cuts, bruises, and also functions as an antiseptic.

(Narrator): Ollie enters the store. Looking around at the plants.
Ollie: looking at the lemon balm plant. I think I’ll buy this one, going to counter.

Nelly: you wish to buy this?

Ollie: yes!

Nelly: Very well. Do you have any questions about the plant?

Ollie: yes I do.  What are its healing properties?

Nelly:  it helps with anxiety, insomnia, wounds, insect bites, and an upset stomach. It also speeds the healing of cold sores,

(Narrator):
In the back on the far left side of the shop there is an older man wearing plain black pants with a red shirt; he is looking at the plants on the shelf to his right. His name is Samael. He turns around and looks in Nelly’s direction.

Samael: this plant called chamomile what are its properties for healing?

Nelly: Samael this plant can be used for infusions and salves to relieve indigestion, colic, skin inflammations or irritations to the skin.

(Narrator):
Samael turns away because he sees the other patrons waiting to pay their bills and wanting to leave. Knowing soon that he will be all alone in the store with Nelly you can feel the tension building from him and the excitement rapping its way around his mind because of what he is thinking about. Just at this moment Samael plans out his plot to ****** Nelly. Samael looks around to see what he can use as his ****** weapon, he finds a heavy ceramic-clay bowl that he intends to use. To hit Nelly over the head. He makes sure the store is empty and that Nelly has her back turned so he can lock the door. Once the door is locked he pulls down the window shades. Once this is done he turns in her direction while her back is still turned.

Samael: [hitting nelly over the head]

Nelly: ouch!

(Narrator):
She falls to the floor!  Samael starts talking loudly.

Samael: I’m going to rip her blouse and jeans apart.

Samael: [Tatter… rip………]

(Narrator):
He wants to show her how much he loves her and to show her that ignoring him and his presents will only ensure their relationship.
Nelly: [staring at him with utter fear].

Samael: [he pulls a blade out from the back counter and puts it to her face].

Samael: I’ll cut your pretty face then no one will want you or look at you. You will have to come to me for comfort I’m the only one who will understand.  

(Narrator:)
Nelly looks up at him crying and pleading for him not to hurt her, that she does not even know him so what could he be talking about? Suddenly Samael reaches for her and strikes out at Nelly’s face, leaving a bruise that causes her to scream out in pain.

Nelly: [ouch!] Please don’t no more.

(Narrator):
There is a sudden silence as Nelly realizes that Samael is crazy and nothing she says or does will make a difference. As Nelly remains on the gray tile floor of her shop with Samael hurting her, she gets a sudden burst of energy, and she starts to fight him to break his hold over her.
Nelly: looking around where she lays for something to use as a defensive weapon.  That will allow her to free herself, to get to the green wooden door of her shop.

(Narrator):
Seeing a statuette of a flower in a *** Nelly grabs for it. She slams it into Samael’s face. Gaining her feet, she runs to the door trying to open it in order to scream for help.

Nelly: [screaming at top of her lungs].

Nelly: [ha………]

Nelly: help! Help! Somebody help me please!

(Narrator):
Samael stopping her, throwing her hard against a red wooden shelf. Then taking this same statuette he hits her even harder than before, only to realize that he has just killed her. The sound of Nelly’s fall so close to the door causes the neighbors near her property to turn the lights on in their homes.

(Narrator):
Samael: [seeing the lights turning on in the neighborhood becomes scared. Running for the metal door in the back of the store, he takes off down a dark alley way. Just as this happens, Lorelie, a neighbor and friend, opens the store’s front door. Coming inside, she steps forward to turn the store lights on. Suddenly seeing Nelly’s body lying on the cold tile floor with her head smashed in, her body at an odd angle because of the way she is laying and blood pooling around her, she also sees strange foot prints that don’t belong, and then she screams.]

Lorelei: oh! Oh my god! Oh what has happened?

(Narrator):
Lorelie’s screams cause Ollie, who lives across the street, to come running over to the store. When he gets to Lorelie’s side he sees what’s wrong and starts looking around trying not to disturb anything. As he is looking around trying to find out what has happened to Nelly he turns to Lorelei.

Ollie: Lorelei call detective Walter he will help find Nelly’s murderer

Lorelei:  pick up the phone calls detective Walter

(Narrator):
Ollie continues looking around the store. He finds the ceramic-clay bowl broken, and the statuette believing that in some way they are the answers to Nelly’s death or at least a start. Turning back towards Lorelie, he sees that Walter is coming up the street with Beatrice, his partner. Ollie goes outside to meet them. The detectives come into the store called Crystal Fairy, seeing the dead body of Nelly. Like Ollie, Walter starts looking at the scene around him noticing specific things. The turned over book case, the broken bowl, and the busted statuette, but most of all the back door gets his full attention because that’s where the ****** footprints lead. Leaving Beatrice behind to ask questions

(Narrator): enters Walter

Walter: [following these footprints outside and down the back alley. These prints lead him to a house’s back porch. There he sees more ****** prints and comes to the idea that the person who is responsible for Nelly’s death is inside.]

Walter: going into house [squeak- silent slam]

(Narrator):
Inside the house looking around, listening for any sounds and sudden movements. A sudden sound catching his attention, he looks up to see a cat jumping from a window.

The cat: [thump, bang thump again]

Walter: [making his way down the hallway and up the stairs, sees a door to his left with lights on.  It opens with a slam.]
Sound of door: [crash…]

(Narrator):
Samael rushing out at Walter with an iron bar.

Samael: [swinging the bar. [Swish……..] missing]

Walter: [stepping back, moving out of the way].

(Narrator):
This causes Samael to stumble and fall down the stairs, crashing to the bottom.

[Enters Beatrice]
Beatrice comes through the front door she sees Samael and goes to check him out. Walter and Beatrice pick him up off the floor, waking him up; this causes him to start confessing to what he has done.

Samael: [tells them that he was only trying to show his love to Nelly, but that she wouldn’t listen and thus he had to **** her so he could have her to himself. He didn’t want anyone else to love her or for her to love anyone else either].

(Narrator):
The detectives hearing this confession look at Samael completely surprised that he would confess so easily and without having to be drilled about the truth. But what gets their attention is how he confesses.

Samael: I love her; she would not see me or love me back. I just want her to see me.

Beatrice: So you frighten her and torture her, then **** her.

Walter: Beatrice, he’s crazy can’t you see that. We’re wasting time.

Beatrice: I know he’s crazy. I just feel sad that he could be so stupid and think that killing someone shows feeling for them. Poor woman, she was so young.

Walter: From what I could get from the neighbors, Nelly had just moved here after her grandmother’s death due to inheriting everything. Her life was just getting stated.

Samael: I love her; I’m the only one who can.

Walter/Beatrice: Will you shut up already! We get it. You love her so you killed her.


                                                                The End

(Narrator):
Upon a sunny day you see a girl leading a horse up a beach in the heated sun of the Roman Empire. She is a princess to a great roman king. This king’s name be Alexander the Great who in our history died young. The king dressed in white with red sashes covered over it is in the mist of trying to find his daughter a husband, one who will be fit to be king when he no longer can. The beach being sunny and warm princess Auria has chosen to take her horse for a ride while her father speaks to his men of the council.
Princess Auria: [riding her horse down the beach in a gentle stride] [clip clop………]

(Narrator):
Suddenly the horse rears up into the air throwing the princess from its back!

Princess Auria: [haa… … screaming [smacking into the ground] thump!]

Enters: Tibius [walking up to the horse who threw the princess tibius calls for it to calm itself and then walks up to Princess Auria asking… …]

Tibius: dear lady do you need some assistance?

Princess Auria: no but I thank you for retrieving my horse. Asking herself under her breath… What could have scared you so…?

Tibius: I believe it may have been that serpent over there near the sands edge.

Princess Auria: oh that must be the reason, Thank you again. What be your name young man.

Tibius: my name lady be Tibius and you are most welcome.
Princess Auria: Tibius you say. Would you be willing to come with me to see my father and gain his thanks as well for he would be most grateful to you for what you have done this day.

Tibius: I know not why this is needed but I will follow lead the way my lady.

Princess Auria: please call me Auria.

(Narrator):
Princess Auria leading the way takes Tibius to the king her father who sits in the throne room talking to friends and family. Walking up to her father she tells him what tibius has done. Tibius stands there after being shocked that the lady he helped was actually the princess. Not knowing what to say to the king tibius stands before him in silence.
King Alexander: you a man so young and by the looks of it having little coin save my daughter! This cannot be…

Tibius: if I may speak great king.

King Alexander: you may do so.

Tibius: I was walking along the beach when I saw a horse running in my direction but without rider. I choosing to find said owner came upon your daughter the princess Auria and thus I am now before you.

King Alexander: if this be true what my daughter says than you must in some way be rewarded. But how is the question…

(Narrator):
Enters Princess Auria’s mother Dayanara, coming from tending the gardens within the palace walls dressed in a blue dress trimmed in silver she walks towards her husband the king.

Dayanara: my husband may I say a word or two for I have heard what was said and have an idea.

King Alexander: what idea would you have dear wife.

Dayanara: I speak this let him guard Auria from this time forward both within the walls and without them so as we her parents need not fret so when she goes off alone. I know it may be much for so small a thing. Let him be her personal protector. My other words spoken, I have word of someone who wishes marriage to our daughter.

King Alexander: this is a wondrous idea about Tibius being a protector, let as my wife speaks be done. Do you agree daughter? What about this marriage you speak of Dayanara? Who?

Princess Auria: yes father it is a pleasing reward.

King Alexander: and you Tibius. What do you say to this?

Tibius: I can do nothing else but agree for not too would be a dishonor to both you and your family king Alexander. So yes I say to what has been spoken.

(Narrator):
Scene changes to a battle on the high mountains behind the palace near the ocean. Hundreds of men from Rome and far off Greece that comes by ship battle on the damp sands and grasses of roman earth to take what is not theirs the Greeks wish. Blood and life be spilled at all ends and innocent’s being slaughtered without care. The roman princess waiting in the palace by her mother’s side wondering what is to become of them because no word has yet come about how the battle fares.
[On the battle field]

King Alexander: men raise your blades, your shields, do not yield! Do not I say!
[Clashing, banging of armor and weapons]

King Alexander: men forward March, lances and horses ready. [Forward……!]

(Narrator):

Enters: solder sadeen

Sadeen: my king the battle falls not to us but our enemy we lose men to fast.

King Alexander: we must find a way to get them into the water and then hit them with fire and oil that will burn greatly.

Sadeen: we could place oil along the hills and light it aflame this may drive them back if we make it strong and high.

King Alexander: see it done sadeen; see it done fast for I fear we will lose as you spoke before if you do not.

Sadeen: [riding away from the king at full gallop towards his men to carry out the orders given]
[Gallop… gallop…]

(Narrator): Sadeen follows the Kings orders by lighting aflame ***** of hay covered in oil his soldiers pushing them down the green grass hills where battle takes place to weaken the Greeks ground and might. [Greeks screaming]
[Outcry…… Shrieking…… Men dying]

King Alexander: [praying to himself that what he has asked of his men does not fail] you boy over their go to my family and give them this letter see to it that it is only to them you give it.
[Yes my lord]

(Narrator):
The boy with the letter runs as fast as his legs can carry him back threw the roman streets to the palace and gives the letter to the queen. The queen opens it and read the news of how the battle fares and the instructions given if the king falls.

Dayanara: [calling her daughter] auria… auria…

Princess Auria: what is it mother? Why do you yell so?

Dayanara: your father has written of the battle he pleads with us to leave and go to the villa where you grew as a child for the battle does not fare well and he fears that they will lose. He speaks to us that he will send someone to find us if they win. Come we must go.

Princess Auria: I will find Tibius he can see us to safety out of Rome and to the villa.

Dayanara: go to him in silence speak to no one else only him.

Princess Auria: yes mother [off she runs with her footed sandals slapping on the marble floors as she does].

(Narrator):
Princess Auria runs to the solders corridor and finds Tibius telling him in hurried breath that they must leave fathers words for they are in danger. Tibius gathers up his things and follows the princess back to the royal halls and they silently leave threw the gardens heading to were the villa rests dressed in peasants clothing they be. The king back in the battle hopes that the letter he wrote as found them in time. [He once more prays]

Tibius: come my ladies this way but be careful and quite

Dayanara: we walk silent but you must call us by our names not by title Tibius

Auria: mother is right do as she says for doing so will make others think we are peasants and family. It be less likely they will look our way with suspicion.

(Narrator):
[Suddenly Greek soldiers come of darkened shadows intending to strike and **** the ladies Tibius raises his blade to stop them].

Tibius: [Crash…… his blade smashing into another]

Soldier: his blade striking back [Clashing……]

Tibius: striking the soldier down leaving blood pooling upon the marble path [rushing away]

(Scene):
Days later the three peasants make it to a quite villa outside of Rome and begin a new life as mere workers for those who live there. Any who ask about the owners the peasants simple tell them that they are away due to the battle. They being servants were made to stay behind to keep the place clean for when the owners returned, when that is they do not know. Weeks and more months pass with no word from the king they begin to fear that all is lost when one day a man wearing roman armor rides up asking for the lady Dayanara. Tibius stepping forward asks why? They must return this man says for the king calls them to him.

Tibius: who is the king?

Stanger:  King Alexander of course

Tibius: wait here go nowhere else

Dayanara: what is it?

Tibius: there is a roman outside he says the king calls for us

Dayanara: then we go; this is the sign, find my daughter and gather our things.

Tibius: yes lady right away

(Narrator): They return home going back the way they had left, but through the city rather than the village.

(Scene change): they are home at the royal palace before the king once more, but he was not alone.

King Alexander: you have returned safe, this makes me happy, and rushing to them he smiles [giving them fierce hugs]

Dayanara/ Auria: we are glad to be with you once more, it was worrisome and lonely without your presence being with us.

Dayanara/ Auria: who is this man that stands before us with Greek Armor?  Why is he not dead or imprisoned like the others?

King alexander: he is the prince of the Greek people and the son of King Simentos. Please be polite let me explain what has come about from the great battle on Mount Tear. [He explains]

(Narrator): alexander tells both his wife and daughter that the battle was won due to the son calling up a white flag of truce and asking that no more blood of their people be shed. (Enters Brontes).

Brontes: I am the son and prince of Greek and I wish to come up with a way to unite our lands and people. Your father mentioned that he was looking to finding you Auria a husband; I know that me being Greek may not seem a pleasant thing but I hope for a chance to prove my worth to you.

Auria: I know you be Greek but what does that have to do with the man you have become I see not. The place we are born and live helps us to grow but does not make us who we are.

Dayanara: husband I believe that Auria likes him and they seem to be getting along well [she whispers to him].

King alexander: do you think then that the idea of marriage to Brontes will suit her well, that she will love and or care for him as he will to her.

Dayanara: I do, but let them decide what their choice will be.

(Scene):  the princess and prince wonder into the garden that is covered with the roman flower called the Gladiolus which means sword lily. Speaking of many things that have happened in their lives they continue walking. She tells him that she would hope to see both her homes often if she were to say yes to this peace proposal.

Alexander/Dayanara:  we must speak with the two of you. Have you come to a decision about what this marriage may mean?

Auria/Brontes:  we have come to a final choice after our long talk. We believe that this marriage would be well placed for both of us to accept. We have chosen to wed here and stay till the spring then to travel to Brontes’s home and have a smaller wedding there to please his father. Though this set of weddings we will sign a truce treaty combining our to lands and people.

Dayanara/ Alexander: that is well thought of from both of you. Well done, I believe that this is going to be a very happy time for all of us. Let the wedding be within a months’ time.

(Narrator): the wedding takes place upon the hill where the battle was once fought this is where they will make peace and sign the treaty. The wedding is beautiful and the flowers that are thrown around them show their unity. Both are dressed in the colors of the ocean and their prospective homes. {This is the end of their tale and perhaps a new beginning for us all on earth}.

THE END

.i. if Kant could have his von Kleist... well... who else to juggle juggernauts if not me? as a task of redeeming that poor soul who succumbed to the terminator of all poetic ambitions, with his systematisation off-the-page, as eccentric and punctual as a sunset on a sundial at 16:11... and in case either the spring of sunrise, or the autumn of sunset... but so many hours after exacting a sunset... that gluttony of the eyes to stare at it... 16:11 is the zenith of a sunset in november the 15th... much prolonged when warmer... supersized sun when setting in summer, and all that whiskey-copper wiring for the eyes to stare at it: oh for goodness sake, who really cares for Ikea likened assembling of words... we're not putting together a coffee table, we're looking for Darwinistic entrapment, we're scared of the aeons and yawns... we're trying to create a Darwinistic entrapment saying what segregates us from apes! that's how anti-Darwinism works - if they can easily call you a poet and a technophobe... then that hardly makes you a merchant with a Quran... to encapsulate the language of our modernity we're doing everything against writing the onomatopoeia of our beginning... monkey ooo! monkey ooo ah ah! or a gorilla grunting and then snorkeling... we're encapsulating our language more and more... because beginning with ape and then looking at history, and then looking at the consensus of the contemporary: Darwinism's greatest enemy is not theology... it's history... Darwinism and history are not compatible... oddly enough Darwinism and theology are compatible, simply because they are dynamically equal for the case of furthering both arguments in debate... but Darwinism is an odd starting point to argue, given that physicists argue from the perspective of prior to dinosaurs, prior to all things formed.

how can i begin this? it will leave me having to
write it for two days,
the anti-narrative sketch first, then filling in
the gaps sober... just to get second opinions...
i might have to cook a quasi-Hungarian borscht
and fry up a few potato flattenings to a crispy
yum... first the narrator comes in to describe what's
in store, a bit like a translator comes in and says
of Joyce: that's Irish... well, yeah.
               hence the italic preface...
as some would say, the person who wrote these
sketches worked quicker that an algorithm in asking
and also quicker to copy & paste the required
atomic encoding... e.g. ч and ch
                   э and euro and epsilon...
      once upon a time there was nothing prior
to Copernicus, then the somersaults came,
    h ч y        what coordinates where?
    well of course perfecting the encoding of something,
if things weren't stated awry there would be
no optometrists either...
                  it's not hard to read, it's hard to
remember how to read, given that being literate reached
the omnipresent velocity, the new powers had to
include some new power struggle...
mingling Latin and Runes, Greek and Cyrillic...
     and the proto-Latin of additional diacritical marks...
they exposed the entirety of humanity to literacy
within the framework of post-industrial society,
after hitchhiking a ride on the 19th century donkeys
they suddenly had to reveal their power-secret of
being literate, and by the account of women:
corset bound and bored in salons...
      but something else appeared that didn't really fascinate
them: that over-complication of Latin with
punctuation marks above letters: or diacritical
distinction, crowns over letters, subatomic particularisation
of once favoured: universal applicability...
as a narrator? i have to make a complicated
introduction, the sketch lends itself to do so,
it suggests that not all writing can be as simple as
a nursery rhyme, not all writing can actually
    **** memory, not all writing desires being remembered,
not all writing can be remembered,
                in the mediation of the two chiral opposites
there's fiction, which is suspended in an armchair of
pleasurability... but on the opposite side of a nursery rhyme
or a well versed poem? writing akin to arithmetic...
  something truly painful for those competent with
lettering, but not really competent with ten digits...
      as a narrator who has already read the sketch,
i'm trying to not write a "filling in the gaps" to the sketch
like an art-critic might do to a painting deviating from:
brushstrokes were employed. well... d'uh!
variation of italics as in transcending the pause that
implies a condescending variation of taking a pause,
also excluded are: dot, comma, hyphen, semicolon
and colon.                         dot-dot-dot is not joining up
the dots: it implies a variation of how to anticipate
a punchline: drummed: tu-dum wet snare!
     i am actually a narrator who is trying to find
that other part of me that might digest this sketch properly,
     and return fully competent to pick up another
sketch... if ever there was a narrator in this sketch,
it has to be me, after the sketch has been scripted,
and i am left to suggest a need for a dot-dot-dot connectivity
of the strokes of the pen...
i warned myself: do not overdo the introduction in italics,
you know how picky people are...
whether pickled pineapple of cucumber...
i swear Turks invented pickling chillies...
         oh look! an inflatable gazebo filled with helium!
no one's laughing: only because i didn't mention vegina.
narrative puritanism? you get distracted a lot...
but this sketch is really a thesis for narration,
all i have to do is find the antithesis of narration in it:
an actual narrative!          it stretches for ~30 pages...
   well that's me turned archaeologist with a Grecian urn
with a snap of the finger... because that's how this
sketch looks like: ancient -
                         but understandably modern.
              so .  ,  - and ;
        were racing... out came the world record
             9.58(0)         the full-stop is the bracket-bound
0... i.e. it actually happened: hence the pinpoint...
or in Formula 1 a timed nonsense of ave. m/ph
     noted to three decimal points: 130.703...
                                    or chicane cha chicane cha cha!
as said, this is an actual representation of a narrator
encountering this sketch: so before you lose your head...
i've lost mine!
  look at the correlation though!
we've gone way past atoms with the atomic bomb
and encountered subatomic particles...
    we're not going to get beyond subatomic particles
because we're going to encounter the already apparent
reality of obatomic particle: namely our bodies,
   the perceived ******* (ob- is the antonym
                                                  prefixation of sub-):
             that's were the microscope adventure ends,
    and this is parallel to cutting up a second with
three decimal points, as the safetynet suggests:
                                                              π / 3.14;
yep, the obstructive - hence we can't spontaneously
combust... but then again Goethe's Werther did:
  out of love... down the spiral: you sweet little *******.

~ii. i'm actually too lazy to write the sketch and fill
in the blanks... so i'm going to fill in the blanks as i go along,
  or that's what's called the rebellious stance of narrator: mmm,
work in progress, could you see that coming?

ii. a beer in between glugs of whiskey - runes
combined in the ******* / sigma, variant of agliz or
the rune-zeta extended toward a dark shadow of the rebirth
of Ishrael: zoological enclosure; sigma *******
sigma ******* sigma *******, sigma *******...
rune-zeta... we cannot say there are ******
mathematicians and poets akin,
not then one optic encoding states
     a b c d e
         another states f u þ a r
yet another а б (ρ) в г
  α β γ δ:
for worth of gamma into a trill only because of
   a wave, that's ~ approx. on the side of the letter
   e.g. г & r.
   or rho upside down? what the ****?
did Voltaire write this? reading Candide,
i hope he ****** did!
you the problem is pixelated paper? if you know
how you enter a deciphering mode...
                    but you require a personal library to boot,
all that dos formatting,
                       well there's formatting in the humanity
outstretch of this white medium too...
after it isn't all ******* white when all the psychiatric
pills are white too... i have really found something better
than the Bermuda Δ...
       Greek, Latin, Cyrillic and Runes...
i could say neo or proto otherwise,
but i still haven't unearthed the sketch, that
is probably puzzling the Danes, with Cnut on the forefront...
                    but the arrangement of numbers is universal,
but it's not universal, given the particularity of
how language is encoded and why some people are
richer than others...
            but it's still a beer between glugs of whiskey that
makes more sense...
i said, retype the sketch and go to bed...
and i figured: that's probably the wisest of all possible
events stemming from this...
    that's ~27 pages of notes to retype... and i'm already
in a disclosure mode as to expect what's to be jargoned...

p. 1        cкεтч       /      σкεтχ
   necessity of                        (acute
a-       -the           (ism)
is that of language structure,
          only from the use of one's language does
a deity present itself: from within the noumenon
ground work, not the reverse, as in from
(pp. 2, 3)
                 a phenomenological exercise in
the use of language: Islam, Christianity, Buddhism, (etc.)...
       e.g. Islam is a phenomenon,
  it's not a noumenon: or a thing-in-itself...
  for the Islamic god to emerge from Islam's-in-itself
Islam will have to prevent itself from being-outside-itself...
or overpowering other in-itself contentions
but still: to no apparent success narrative of true intention
as satisfactory appropriation and hence lending itself
to a widespread nod of approval.
  challenging space: word compounding, or the space
between conjunctional deficiencies: nod-of-approval (e.g.).

p. 2    concussion (great film, Alec and Will, 2015, NFL)
concussion... Blitzkrieg Alzheimer's....
brain is fat.... dementia = attacking proteins...
  steroids... the noumenological use of language:
e.g. that ****** is an enigma,
therefore his views will not go viral,
and he'll not become fashion trendy...
it's not individualistic idealism, it's reality.
as will die sonne satan - orbis reach more than 5K
views... so... clap clap... clap, clap.
           what i meant about the a-     and -the
and the ism is following a sentence that sort of
does away with conjunctional fluidity,
apart from the big words, i treat all minor words as
categorically conunctional... and, the, a, is, to, too...
given the sentence: brain fatty *****,
brian organic giraffe wall... ******* hieroglyphic...
           stood above the rest, rest assured.
  dementia: invading protein cells
   (bulging prune of the opportune: purely
digestion?) no thought to eat or eat itself like,
cannibalistically. the brain is fatty...
not fat in muscle for mmm, schmile and flex
for the selfie. how about a protein inhibitor?
(by now, rewriting the sketch, i've lost the page count,
it's actually p. 5 of note paged toward 27).
how about the explanation that we're living in
times of post-industrialisation and thanksgiving
feminism? to me post-industrialisation has created
a class of meaningless white-collar workers
and no blues... it's what the Chinese blues call
the Amazonian nomads: ******* happy...
no amount of crosswords or sudoku will exert
your body to do things for others...
   no amount of mind games will actually tell your
brain to be equipped with: a bunch of hyenas... run!
dementia is a result of creating too many
white-collar jobs (thanks to feminism)
and exporting the blues to China (thanks to feminism
and: oh i broke a nail, can i get a Ching plumber to
fix my heating while i get a ****** to **** me up my
****?!) - maybe i'm just dreaming...
it's great to censor dreaming, i mean: you stop dreaming,
you get to see reality, and you don't even need to
read Proust on a ricochet.
  - so we have brain as fat, and invader cells as protein...
protein digests fat... and creates cucumbers out
of people... where do the carbohydrates come into play?
it can't be at the point of a.d.h.d., can it?
     i'm blaming post-industrialisation, the complete
disappearance of the blues (formerly known as the reds,
in the east) for the whites...
or that old chestnut of: my god you're goon'ah luv it!
   to till for worth from the sweat of yer brow -
funny funny funny... to earn your loaf of bread
you will toil...
                   and toil until you are physically assured
that not ghostly / mental life can enter your world /
books... that went well... didn't it?
   i should be tilling a potato plateau rather than
be bound to be writing this epic (by modern standards)
poem...
             but that's the curse of exporting all the blue
collar jobs to China, then importing mindless
white collar jobs to the west, what the hell do you think
would happen, not the pandemic of dementia?
if you do not exert the body, and then you do not
exert / exhaust the mind... do you think
you can secure a narrative with a post-industrial
westerner on the premise of that person simply being
able to solve a crossword? well... i believe in santa
claus too... but i don't believe in him giving out
presents... because to me, in my oh-so-called maturity
that's called an anagram of satan's clause: which is a legal
term for: i can turn civilisation into shrapnel
of what's said and what's to be said: and what's not to be
said. people can't expect to turn honest labour
for the recreational run on the treadmill in a gym...
and they can't expect photocopying in an office space
to replace Newton's curiosity, and then compensate
all this distraction with mind-games...
          can they? well... they did!

poets are gagged by writers of prose,
no wonder they write so sparingly,
      they are gagged in the sense that they write
as if asphyxiated: they need breathing room.

well sure, if he can revive the Polish steel industry
and i can go back to steel plates and pillars,
then the rust belt will get a polishing also.

or what's called: shrapnel before the waterfall of
narration: darting eyes, and poncy **** all the way through...

     muse... muse...

        well, how about we take the fluidity out of language?
declassify certain words into one grammatical broth,
say words like i and they
                              a  and the    are all conjunctions?
how about that? let's strip it bare, after all: what categories
of words exist for us to primarily speak (let alone think)?
     nouns, verbs, adjectives... adverbs?
       but all those words in between are so jungly classified
into a tangle that i'm about to sprout a handshake
          of a Japanese vine grip: and never let go...

an actual extract from the sketch:

      https that doesn't recognise UCS
                   and insists on IPA cannot be deemed
       encyclopaedic

              i need runes for this! i need runes for this idea!
i don't need transliteration right now...
                but hey! that's an idea, etymological transliteration...
bugly term, sure, but the previous night i was thinking
  of transcendental etymology, as you do, likened to
carbohydrates... so it was transliteration after all...
but a dead end when it comes to geometry and Pythagoras...
      
    three words... and they are computerised (i guess you
have to buy a decent book to decode this), a bit like
buying paint in a d.i.y. shop...
       16DE (dagaz / d) 16DC (ingwaz / ŋ / grapheme of n & j)
                  16DF (ōþala / Valhalla / o / ō = oo),
in total d'njoo / d'nyoo - even i concede the fact that this
is a ******* mind-******... it's a ****** congregation of
four optic encodings of phonos... i moved away from
the ancient greek fetish for the logos... i'm looking at
the phonos... not the logos with Heraclitus et al.
               φº θ þ фª f

ªgreek
  ºcyrillic                ever see a prettier pentagram?
                      i haven't.

(false original title:
škic / cкэтч / φº θ þ фª f: thespian pandemic - pending)

looking at the phonos is painful, actually painful,
it's like reading a book with a myopic pair of glasses:
a ******* aquarium blurry right there, befor...

- - - - - - - - - - - - - - - - - - - -

'e'? were you: was i, looking for an 'e'?

i can say this much...
what do you get when you mix a shot
of whiskey with a shot of bourbon:
i'm moving between bottles...
it's nearing christmas eve and i'm a ripe
taoist... i.e. i better this world:
by not having the world mind me...
on the odd occasion: oh... you're still here?!

yeah... i'm still here... i have glued-to-fascination
with my shadow... i'm just waiting
for the atom bomb to relieve me of a body
but ensuring my shadow is kept intact...
as if it were a Monet signature on a wall...

but i lament... the momentum has vanished...
i don't even know why i'm so idiotic as
to presume that: from the hour 22:00GMT
to the hours 00:00 circa 00:30GMT...
something will land into my lap,
my lisp... my cranium the oyster shell
my tongue the oyster...

it will not... i can't simply **** anything into
an existence that doesn't want to exist...
perhaps lurking in a canvas of:
"lost luggage" in an airport...
perhaps "there"...
i could be excused my... lethargy...

when was this written? back in 2018?
so i was thinking about teasing cyrillic even then?
wasn't i?
sketch cкэтч or?

what do you get when you mix a shot of whiskey
with some bourbon?
a Burguandian whisker...
i am not going to sound witty...
Ron's key...

that's still a cyrillic "or"... isn't it?
шкиц: škic...

i'm... deflated... nothing "new" has come my way...
i would have thought that...
reading some Knausgård would have /
could have... invigorated me:
reading him was supposed to be my:
dialysis my transfusion!
my zombie-go-to-literature...
it has proven an exhaustive enterprise
to begin writing again:
i became too comfortable
in reading - i almost forgot
the agony of writing...

alas... a contemporary of mine...
and someone well adjusted to prose...

notably: who would have thought
that death in june - the calling (MK II)
was something to be recorded in 1985...
for one: i wouldn't...

but i did begin: back in november 2016...
begin what? to tickle the cyrillic alphabet...
which is way before i discovered my reply
to the runes... to the ancient greek...
and this... "ancient", ahem... still in use...
latin script...

that script that went into the molloch couldron
of being invested in to code...
pristine as the hebrews cited:
how many holes in it?
to write onto a canvas of 0?
q Q R O o p P A a D d g b B...
which leaves...
W E T Y U I S F H J K L
Z X C V N and M "out of the equation"...

škic / cкэтч / φº θ þ фª f: thespian pandemic (pending):
i better rename it as... circa 2016...
that's way before i even acknowledged
the cyrillic text applying diacritical markers...
i thought them too crude at the time...

beside borrowing outright from greek...
the already at hand oddities of glagolitic,
notably: Ⱎ...Ⱋ...

it's only a single word i'm using...
i have abandoned all notions of metaphysics
in favor for orthography...
i'm not going to burden myself
with: what's after the physics...
i'm after: what's now...
in the respective tongues...
2 tongue deviations from
the original latin and greek...

what came with the runes and what
came with the glagolitic scripts...
what was ****** and had to succumb
to inter-breeding...

come 2020... i will have one clarification
to base my existence on...
pronouncing the growth of my ****** hair...
i will hope to aim at a length of beard
that will forever hide the neck...
i will aim at... somewhere to the level
of my heart... when i will then manage
to turn my beard into an orchestra's
nieche of violins when i procrastinate with it...

since 2016...
i have identified russian in ******...
i've seen it... finally!
зъaрт... i.e. żart
and the "hard sign" becoming a "soft sign"
in źrenica: зьрeницa...

i still think the russian orthography
is... as... primitive as the western slavic...

after all... зъ = ż...
зь = ź...
the balkan slavs have a caron...
which is neither a hard or a soft sign / acute...

their caron is... ч (č) or cz...
CHeaper in english...
and their caron is ш (š) or sz...
SHeep...
or the two together...
and always шч (šč): szczekam...
i'm barking...

pu-shch-air... a rare example in english
of the puщair...
but then lookie lookie 'ere:

CZACHA... skull...
ЧAХA...

perhaps this is my "revenge ****" on russia?
hey! boris the kremlin mascoot...
come and 'ave a look...
with how i disect your orthography
on the / with the language that asks
too many metaphysical questions and no
orthographic curiosities!

i'll meet you in Warsaw... given that you're
probably moving from Novosibirsk...
and i'm either in Stockholm...
Edinburgh or the outskirts of London:
Warsaw will be halfway for both of us...
you don't have to like Warsaw...
i only like it when the Ukrainian smugglers
and the Mongols appear
in the West Warsaw coach station...

smart as who? i am discovering this for
the first time myself...
i was only teasing it back in 2016...
way before i found the right sort of accents
in mother russian...

i do know that that crescent oddity:
above the ja: йa... is what it is...
if you only cut off the head in english... ȷ...
again: it's я given that most russians
are pulled toward an anglophile world-view...
they all see the window to europe...
the baltic and st. petersburg is somehow...
London... and the atlantic...
like hell it is...

i guess i feel it was a waste of time to
have re(a)d Kant, simply because:
i'm not here for the schematics...
i want to know how my thought my labyrinth
building architecture is coming along...
but with no one to talk to about it?

i found the categorical imperative most
dissatisfying... i didn't want to abide by universal laws...
poetry is already shoved out of waiting room
of the republic...
if my "poetry" is not a categorical imperative...
and it's not quiet a a hypothetical imperative...
it needs to be sharpened on a thesaurus
and some grammar...

categorical (adjective)... imperative (adjective)...
well two adjectives never imply much
if there's no noun involved...
and i'm pretty sure that... if i sharpen
the next word i'll compound with categorical-
in that hyphen construct that's only
allowed in oxford dictionary english:
since it's not: propergermannonhyphenfaustian:
i.e. carboxylic (carbo-xylic) acidity...

poetry doesn't belong in either
the categorical imperative focus...
nor the hypothetical imperative focus...

i.e. i must write a poem... to feel better...
i must write a poem... to organise my thoughts...
no! a poem is not a maxim is not a categorical
imperative! a language of poetry is not
a language of morality: it's a language
of experience - or a lack / a lackey's "sentiment"...

i need a... categorical: impetus!
it's not enough to have read kant's critique of pure
reason... it must also involved
having re(a)d the: groundwork of
the metaphysics of morals...
but i'm a democratic reader...
i need to hear the other voices...
i can't be a kantian scholar...
a snippet 'ere, a snippet v'ere (funny how
THETA disappears when making the posit:
THERE - ver!)

who needs metaphysical absolutes...
when orthography (or a lack of it)
in english... spreads open its legs...
and the tongue remembers its tongue-brain-phallus
stage of co-existence in the oyster?!

i'm pretty sure that a categorical imperative
is by no means a categorical impetus...
this had to be written,
but it had to be written in order to disregard
anything a priori... prior to it...
a poem is a shady concern for action or inaction...
it's a deviation from the cartesian crux:
res cogitans (thinking thing)...
into the cartesian levy (res extensa)...
it's an action of inactivity...
as much as it's an inactive activity...
"the rest"...

impetus is not an imperative...
an impetus sources its meaning in a per se
investement... of itself - in itself - for itself...
an imperative?
in pronouns... impetus: i want... i will...
imperative? you want... you will...

an impetus is self-dictative...
an imperative is: indicative...
someone would rightly claim...
those that mourn indicatively...
will don the right garments for the process
of mourning...
which is indicative and devoid of
the per se manifestation of mourning...
it is an imperative when compared to
the impetus to mourn -
which is self-dictative...
which does now shallow itself in
grief by making a socially agreed to fiasco
of a very specific choice of wardrobe...

basically: however you like it...
an IMPERATIVE ≠ IMPETUS...
the year is almost over and i want to break-off
the dust from the thoughts that fudge-packed themselves
as worthy of occupying the minor instance
of having to count a depth of:
not dead within the year of being written.

They. Whomever They are have a weapon aimed at the back of my neck, its warm, unsettling even. Reminds me of when I, along with many others, witnessed the ****** of Dean Warwick when he was giving a presentation at a conspiracy conference back in 2006 (link will be included at the End of this Chapter).

Yes. The Narrator is here dear reader, just for you. My mother isn't here though. Or maybe she is. Could be she is everywhere and nowhere. Are we even here ? We believe we are here - but in the middle of belief is a LIE (a John Trudell observation). This. THIS. May be a ******* dream, OR should that read NIGHTMARE.

I spoke about my mother in the introduction. I still have issues. Guess you can tell huh !

I Am the Narrator. I narrate. NARRATE. YOU read and make of these words what you will. But choose very carefully what drawer you place these words in.

I hear music. Can you hear it dear reader ? A fusion of  jazz and metal. Nice. What ! You can't ! Are you ******* deaf ? Have you not attuned into our comfy little twilight zone with fluffy pink sheep ? Can you not see the pervy creepy priest nailed to his crucifix made from shrapnel ? And no ! I am not Jesus ******* Christ. Their never was a Jesus ******* Christ. And the same goes for GOD ! Its a mind **** - religion. It is a toxic disease with a twist and a tease. Heaven and hell, trick or treat. NEAT.

I Am. CONSCIOUSNESS.
I AM.
Consciousness.
To deny that I AM CONSCIOUSNESS I have to be HERE. THERE. EVERYWHERE. NOWHERE.

What a rambling rumble of trash, I the Narrator spews forth; and yet, yes and YET - if you are OPEN to what is being written you will remain none the wiser. Maybe these written words should carry a public health warning.

I, the Narrator do not bind myself up in what is labeled POLITICAL CORRECTNESS. NO ! Why should I ? I am the Narrator, and you - YES YOU - are the reader, my reader. Until you bail out. Bankers always get BAILED out because we - WE are too ******* timid to say NO !

The suits
preen themselves
climaxing in front of mirrors
on a daily basis
the suits
falsely crown themselves
and think they are so ******* cute

BUT. We let them. The politicians. The bankers. The priests. The MAFIA of our SOULS(credit to Osho for that one).

And so. Its TIME. No it isn't. Its a ******* DREAM, but sadly more of a NIGHTMARE. But WE can CHANGE this. THIS. Yes we can. Don't believe we can - DO WE CAN. No more whining, unlike The Shining with here's Johnny.

Once upon a time
a circle gave birth
to a line
and we all
rubbed it out.

Well folks I, the Narrator has decided to bring an end. END. To CHAPTER 1.

Thank you most sincerely for reading these words. Many more will follow, and there will be casualties. However, as this is a DREAM *** NIGHTMARE, its all MAKE beLIEve. Who ******* cares ?

I, the Narrator, is smoking a **** good cigar. Until CHAPTER 2, do sleep well.


Lenny Gazbowski(c)2015

I am the Narrator. I Narrate. You read what I have narrated. I often wonder how my words will be digested by you the reader, will my words spark an intense desire to burn in the Fire of What Is ? I am the Narrator, I am not Jesus ******* Christ - OK, or O ******* K ! There never was a Jesus ******* Christ dear readers. Oops I have digressed, alas I digress an awful lot; my mother told me I distracted the delivery doctor and nurses at my own birth, something I cannot recall myself. Wonder if he had a beard. You see my mother had an intense dislike of bearded men, and if this be true then my birth must have been deeply traumatic for her. Such a brave woman to carry on and remain as my mother. She was perfect for the residency. Mother, wherever you are please do take a bow.

Just a reminder - I am the Narrator. I Narrate. And you read what I have written - this is not spoken word(unless you want to read it aloud)it is the written word of the Narrator - nor is it the word of god, and I have already mention Jesus ******* Christ, so I will swiftly and smoothly move onwards to the goal; I will rise to the challenge, I will seek the final word. Mother did not have a sense of humor. She never laughed - never. Smiles did occasionally appear. Mother, oh desperate and perfect mother of mine. You never lost your shine.

This is the introduction dear patient reader. Be brief I said to myself. Yes ! I can be brief, but they all laughed and cried so much they ended up in a river of oral, nasal and tear ducts; what messy contents. Be brief ! Brief ! Be ******* brief ! So here I am, but who am I ? What am I ? Yes, yes, I know I am the Narrator for the duration of these words I write. It is a role, one of many roles I will play during the day and occasionally the night. Who is it that drives this wreck of a physical vehicle, which has changed beyond recognition since my face appeared from my mother's womb. STOP ! OH PLEASE STOP ! Is what I imagine you are screaming out loud at me - the Narrator.

So here is brief in the style and pomp of your Narrator. I am sitting upon my throne which is not made of gold. Oh but please I must refrain from letting loose and going on another rampaging digression. Do tell me dear reader when you next see me. You will wont you dear reader ? I am here writing these words and you are there reading these words, which is kind of cute without wearing any dazzling suit. I can't avoid the occasional rhyme, its such an effortless joy. Here endeth the introduction. Yes ! I, the Narrator have completed the unimaginable. I wonder where the words will take us ? I'm quite excited - are you dear reader ? Life is a freshly created golden wave head butting its invisible opposite. Everything is already known. But by whom, or should that be Whom ? Or am I going down another digressive hole ? And so dear reader I do give to you the final full stop.


Lenny Gazbowski(c)2015

.i'm in luck, they're selling it at under 11 quid right now,
stock dry - gone in an instant - laphroaig like -
but not as smoky - but smoked scotch it it
at £10.34 - oh the little joys of having little money to spend -
you end up less picky and less hoarder and
the junk yard.

na głowe sypano mi, tak popiół:
     popiół! a obiecano mi *****!
           popiół! a obiecano mi *****!
                 popiół! a obiecano mi *****!
                  (not my words... lao che's dym)...

me, beer, cigarette, outer-suburbia -
police whizz past, silent with flare
or screaming toddler and Odysseus' 20 sirens
with wax in the ears of oaring company
akin to Ajax'ς vitality -
along the way, my neighbour (who's mother
killed my cat.. listen, i know he had
heart problems, he was on aspirin -
but kidneys, even if complicated are not
real problem, felines take longer to ****
than do the no. 2, pigeons don't have kidneys -
they're always of an **** diet of diarrhoea;
write like Aristotle sometimes,
forget the facts, be wrong, get it wrong,
never put a glass cup into the waterfall of
poetic cascades - get it wrong, be wrong -
get to know yourself - it's not that dumb
to be predictable in yourself -
if you allow self-predictability you will
see certain social events as being pointless -
you'll see friends and "friends" -
self-predictability is a verb, compounded -
i already know i'll make references to grammar
and it being missing in philosophy -
no, not coherence and appropriate arrangement -
i mean undoing the box of thing-in-itself
and the subsequent tennis with a brick wall,
to surprise yourself when something is unearthed,
a little piece of the puzzle - simulating awe,
the genesis of all that's to come, even awe from a yawn
and boredom... it's here somewhere... i'll karate
catch it with chop sticks.... (looking around)...
i don't know, might be a moth or a fly...

Antichrist: or a summary of Antisemitism - a variant of,
or at least a concentration - mainly confiscated
by Christianity - prime complaint:
a democracy of Anointed One (Messiahs) -
obviously a manifested justifiable practice of Antisemitism -
the throng of Golgotha intelligence quotient -
Jew v. Jew, and one convert from the delusional
4 x 4 (in the name of the father, and of the son, and of the holy
                                         spirit... hold on!
                                    i make four gestures... and make a fifth
                 with Romeo and Juliet talking -
St. Matthew-Luke-Mark-and-John... penta penta pent-up
pentagon - evidently there's a pentagrammaton somewhere:
ah! i b l i s.                       Surat no. via Rumi - 7:143 - veils and
the one - reward in heaven - more veils, gardens veils,
grapes in heaven veils - stomach a veil - hunger a veil -
rewards in heaven also veils - the poem?
praise be Jesus - and Jason and the Argonauts - and whoever
wanted a strawberry flavoured pastiche to lick tears off -
love's apocalypse, love's glory -
         well bloodhound eyes say it all - droop drool -
droop & drool... Jack & Jill... went up the hill, and passed
the Grimm Bro. baton to Hanzel und Gretyl in the 100m x4
relay of Disney Limps - then rabbinical literature to sober up -
Albotini's Sulam HaAliyah (Ladder of Ascent, formerly Jacob's
ladder - to be: Ladder of Skip-rope; Oxford, hello! yes,
can you please consider un-hyphenating what is desirably
a compound worthy word in the practice of German?          )?
is a bracket necessary anywhere and i missed it?
Antichrist - or a very strange form of antisemitism -
be like a Jew, congregate applauding in the right corner: Jesus -
in the blue corner: Crux Golgothia.
export from Portugal - the said book -
key principle (kefitzah) jumping or skipping (dilug) -
and this being applied to the one practice of mystic Judaism -
the ****** gematria; hishtavut (stoicism) -

me - is it still 20 quid for an eighth?
Sim (my neighbour) - yeah, but these days
                                       they sort of cheat,
                                       you'd get an eighth nibbled on,
                                       twenty for a tenth?!
me - ******, well, we can't expect it to not happen,
         we had coin debasement - clippings of silver
         keratin with Siliqua, third stage and
         all encoded authority is gone: Thomas and Anne
         till death and nail clippings be fraud unison in
         the depart (or when narration extinguishes
         a character, the character is worth nothing -
         the narrator wakes up - all the characters run
         like phantom-hares into nonexistence -
         phantom! thin air!
politeness said: only one **** at the wacky wee ö wee
(umlaut O / double oh, 007 - 00'7 - double u... oh!
                                 i get it!                             Jamie Oliver!)
DEI.GRA.REG.FID.DEF.
   "   (-tia) (-ina)(-ei)(-ensor) -
all that would have been clipped - authority of visage -
the courtesan only knew the mint in silver
and the mint in the flesh - hence clipping of coin
to erase the authority from the holy authority of words -
in the beginning - but once dei.gra.reg.fid.def.jpeg /
                                   dei.gra.red.fid.def.gif.

that ****** moth is here somewhere! there it is! catch it!
                                                             ­   catch it!
SLAM!          and the job is done )                                      ).
i really waiting a bus stop pretending to wait for a bus
toking on a joint - joint is mix tobacco and wee wee
and spliff is pure? i forgot the slang - haven't been
addicted to it in years.
Sim - yeah, that's how it is. work in central london -
         have to get up early in the morning.
         corporate finance - no that's a commercial firm,
         corporate finance - McDonald's, etc.
me - oh cool waiting for  ghost bus - never get paranoid
         then?
(police cars whizz by)
Sim - n'ah, a perfectly decent area, got stopped once,
          three years ago.
and the price goes to the laziest narrator in history - absolutely
no engagement with characters - it's too real, everyone's
lying - this is the second time i spoke to my neighbour properly
in the past.. ooh 2002... 14 YEARS - it's not even funny -
no amount of marijuana will make you feel comfortable -
you can mate and make Kingston handshakes and what not -
this is purity of absurdity and western isolation,
we went against the maxim: no man is an island on purpose,
not by chance like Robinson Crusoe -
at least Crusoe had a talking Friday - we have a ghost
of Michael Faraday on Friday - ******* disco blink blink -
poet... or alt.: the narrator complex - inhibitions toward
character craft and pseudo-schizoid symptom -
believing in ghosts is easy, fiction writers and their ghosts
and abortions, hardly a way to escape from that -
poetry: rebellious narration - just anything with narration,
modern fiction is read like a chess match between deep blue
and Kasparov - or Pavlov v. Jezebel playing gynaecologist.

blank.... blank... wait for the atoms trilled R to make
their toady presence felt -
the more pricier the whiskey the more pristine water,
i.e. you get drunk more easily -
anyone that smokes marijuana and thinks
they're clever are stupid; how many people are out there that are
stupid! - resounding hearsay-hooray!
drugs, ******, crack, blow, marijuana, ****, ***,
  cannabis, dope, ******, mary-jane, 13, M - herb shake -
Humphrey saying to Bogart - that joint. as said in Saudi
Arabic - a Ferrari G.T.I. and MeKubalim HaMitbodedim
                  )
                                  -chism - schism - sky - ski -
                                  cha cha, cha cha - kilo or 100th -
                                  1000 thd. - hundredth a thousandth -
                                  - where then the acute,
                                  timber from Czechs -
                                  kebab from Mesopotamia -
                                  and the Trojan horse to boot -
                                 chatter - chopper whopper -
                                 astoikism - not chew off
                                 curve into cherish but
                                 cravat chew in -
                                 Slavic mining zed - czarna
                                 ciasność - blackened claustrophobia.
a Buddhist clap
                   immersion -
left handed the right hand claps against air
                  )             )              )               )            ) ) )            )
a night at the Opera, right handed the left hand claps against air
(                       (        (            (               (          ( ( (            (
scimitar Luna - so they said, would like an audience with the
further unmentioned mention -
you're mates with neighbours who over 14 years you only
spoke to the count of thumb and index on occasion -
and thus necessarily high -
i was going to write something really important before
i finalised this draft... but i forgot what it was...
got almighty this whiskey is good...
i'm smoking salmon and pickling reindeer hooves and antennas;
a bit like practising Chinese miracle medicine with
whale blubber and Mongolian nostril hairs.

it's not about loving your enemies -
this love sinister must be invoked as: making your
enemies bearable.

i'm sure i had something concerning poetry and narration -
ah! it was... poetic compensation -
a.d.h.d. narration - attention deficit hyperactive disorder -
true - all psychiatric terms are metaphors -
at least outside the psychiatric realm -
poetry as a.d.h.d. meaning: shrapnel narration -
a custard pie of missing characters -
poetry: i.e.: the inability to believe in ghosts
or write characters - claustrophobic or agoraphobic narration?
a mix of both - poetry - the inability to conjure
Ouija fancies - poetry, the over-specialised gift for
narration, but an inability to invent characters -
poetry, the truth of the narrative, and the truth of un-invented
characters, poetry: the ability to narrate, coupled
with the inability to create characters -
fiction and the dumb narrator - poetry and the exquisite
narrator - fiction and the exciting characters -
poetry and the God - our focus is based on that vector,
or bias to that vector - fiction and the Oscars -
narrator and director - when to change from first person
to third person - again Burroughs was right -
images 50 years ahead of writing - a bit obvious,
nothing spectacular with that phrase -
lightning and the sons of thunder: 12 of them -
made the tetragrammaton less spoken and swear words
fucken-uppen censored so the crucifix and **** could
collide - a fine fine excuse - the Boeing 747 first
and later the quasi-sonic broom shoo' 'mm -
poetry as fiction disguised when fiction was given
a seance with pure narratives - splinter group:
philosophy's juggling with pronouns esp. the plural deviation
from first person as if to proper punctuation -
psychiatry and the theory of pronoun usage -
poetry and the pronoun rōnin (macron = umlaut -
count to two, or prolong - reasonable man / **** sapiens, pre-noun pro-adjective / adjective attache-noun, noun counter-noun es duo-adjective, Kellogg's sunrise cockle-doodle-dip-in-tartan-chess) -
only poetry mediates the parallel vectors of prose-fiction and philosophy - it consolidates the use of pronouns, art of poetry alone -
pure narration we're talking about,
the narrator and characters of its fancy,
philosopher and dialectical placebos (character equivalence)
with self-conscious moments, mono-pro-noun - alone i name -
the sacred squash wall of lecturing an invisible audience -
rummaging epitaphs in a graveyard along with birth dates
and live by dates - yes, that sacred we philosophers use -
an entire theatre was summoned to continue in appearing
sensible when writing without fictive apparitions -
enabling a fluidity in pronoun use, without sensible letter
writing, as in dear sir,
                                       me in reverse, thank you.

before i pull this one out of my *** (again - listen, these words are not coming from either head or heart, it's best to pull them from the bowels, a gut-wrenching-feeling is more potent than that "something" that "something" delusional pulled from a clenched heart... as far as i know, the brain is incapable of emotions, it doesn't understand them, and since it doesn't understand them: it ridicules them)... which brings me to point:

(a) perhaps the idea of a soul is out-dated... why wouldn't it be, 21g worth of breath does not equal a soul... hence the autopsy of man, each detail studied seperately, the cardiologist knows the heart, the neurologist the brain etc., but some items work in a solipsistic mode... the heart is robotic, automaton pump queen (and not the kind of pump you'd get from Shveeden) - thump thump thump! come to think of it, most of our bodies are robotic, automated... lucky for me: i don't have to think about the heart doing what it does, it just per se does it... i'm not even sure i'm gifted with the a.i. brain functions... but there's an underlying principle that governs all of these items... some call it the self... i prefer: the Σ ultimatum... some would call it soul... but there has to be something akin to the Σ ultimatum that allows me to become detached from this body, while at the same time be bound to it: high blood pressure, heart attack on the horizon... take the high blood pressure pills... ****... what was (b)? oh... yes...

(b) i'm sorry, virginity doesn't cut it for me, lucky me that it was isabella of grenoble that allowed me to move aside from: god, prior to losing my virginity.... roxette: do you feel excited, you're still the one (shanaia twain), fade to black - metallica... i was such a romantic before i lost this dreaded curse... i was a romantic... 19th century style romanticism... but you really can see past this sort of romanticism unless you haven't ******... these days the right complains about cultural marxism: plenty of things to complain about... it makes as much sense as a pickle in a dollop of custard... or cooking with pale indian ale to make a stew: bad idea... wine, brandy, cider? fine... beer? terrible idea to cook with... but unless you haven't lost your virginity, you can't see what cultural marxism chose as its opponent: cultural darwinism... you know how little you hear about darwinism outside of the english speaking world? zero to none, yes, it's an accepted fact, but this fact does not permeate outside of the fact per se, the fact contains itself and the whole subsequent narrative because subconsciously stored... no other people than the people who found it ensure there are subplot proof statements of a reconfirmation of the validity... the whole social science bogus trap of rating people on looks... contradicting the meritocracy of that old Socratic saying: let me be as beautiful on the inside as on the outside... if you haven't ******: you're still the same old romantic i was at puberty... once you ****... well... cultural marxism dwarfs... yes yes it's there... so? but at the same time you can at least appreciate seeing the antithesis: cultural darwinism... the romantic needs to die the most carnal death via experience... all my ideals were shattered, this perfection of woman... i very much liked the idea / not even the ideal of a woman... but when the idea fizzled out and there was no ideal to begin with... i saw cultural darwinism for the very first time and... it was as ugly as cultural marxism so heavily criticized by the conservative right of the west... so... i decided to walk the middle ground, ignoring both sides (of the argument).

(c) i wouldn't have come up with a point see, unless my favorite square schematic didn't pop into my mind, Kantian, as ever: the best philosophy is the antithesis of English pragmatism and overt-politicisation, so it has to be German, ergo? i will not explain these terms, i figured: if i nail a decent example to fit each category, that's enough: since you can then visualize the concept via the example:

analytical a priori                           synthetic a priori
there's a need to throw                   learning
a ball at                                                to throw a ball
a target                                                 at a target once
                                                            ­  the need has been
                                                            ­  established...



synthetic a posteriori                    analytical a posteriori
there's a  need to                           perfecting to throw
      throw a ball at                               a ball at a target
a target, in order
to perfect this need...

                                            baseball..­. cricket...
at least: that's how i define knowledge of something
simple without having to use mathematics
that Kant used to explain... 2 + 2 = 4...
mathematics isn't exactly a man's best friend
at explaining philosophy...
you write philosophy that alligns itself
to mathematics... no wonder: moths in books...
yawns, unfinished works...
i found that sports work just as well
as mathematics... and you have the already
primitive objects to work with...
rather than pseudo-objects: i.e. numbers...
the abstracts of perception: i'm actually 6ft2...
not 6ft1... karolína plíšková is 6ft1...
       as noted when watching her today...

  i'll admit, i'm always a bit shaky when it comes
to this sqaure, whether it's over-simplified,
notably the top left corner: analytical a priori,
i'm always of a mindset that wants to associated
this definition with: analytical a- priori...
  i.e. borrowing from atheism:
    to analyse something without there
being a prior to example...
               analysis without a prior example...
i guess that's the mojo of science... the driving force...
back to sports... bow and arrow...
   tools: target...
       whether a bow and arrow and a deer
to begin with...
or a hand and ball and a wicket to end with...

there's a need to throw                  
a ball at a target...

            and cricket was the precursor of
baseball, but prior to cricket?
   there was archery...
              and prior to archery...
   there was forever a fundamental need,
e.g. to go from point X to point Z...
   see... as much as Kant wanted...
   numbers don't really solve the "problem"
of explaining something: algebra would be
better suited... x + y = z...
                    with numbers either hovering
above, or below (in the instance of chemistry's
subscript)...

talking of squares... sūdoku...
well, if at any time the french were to receive a hard-on
in terms of inventing something,
the english: rugby, cricket, football, tennis...
the french really did read some of the hebrew
qabbalah literature, as i am doing...
magic squares...
       the secular version of this puzzle
first appeared on july 6, 1895 (the modern version)...

it came to us from India and China...
again... why do western cultural darwinists
always tell our genesis from
the perspective of: "out of Africa"?
aren't there elephants in India?
            i will not believe i originated in Africa,
i'm not an "out of Africa" sorry state of
incompetence... i place my origins in
the sub-continent... at least that's where my
current language originates from...
the great migration across the Siberian tundra,
rather than some African savannah...
after all the Bangladeshi and the Sri Lankans
(the tear of India) resemble burnt cinnamon
in tone, some even as dark skinned as
east africans...
   if the germanic people want to stick to
the "out of Africa" narrative (notably the English):
let them have it... i place my origins in
India...

   never mind, now i'll write a name's dropping
history of how july 6th, 1895 happened...
the "magic" squares...

    from either India or China (chess from India)...
moschopulus of contantinople
  introduced them (the "magic" squares)
in the early 1400s... apparently ancient qabbalists
had knowledge of them
  (so... a trip well spent)...
                             rabbi joseph tzayah (1505 - 1573)
magnum opus: responsa...
             rabbi joseph castro: avkat rokhel...
tzayah in jerusalem wrote his major work
Evven HaShoham (the onyx stone) - 1538 -
   a year later the book: tzeror ha-chaim discussing
the Talmud: he never really bothered about
the Zohar...
               the hebrai word for "letters": otiot...
divided into two:
                         tav aleph (a line of aleph)
and tav yod (a line of yod)...
                   one is to never concentrate
upon the keter within the realm of the sefirot...
hence the matisyahu expression:
   king without a crown...
                         one example of a "magic" square
later dictated into a 9 x 9 newspaper puzzle?
      2     9     4
      7     5     3
      6     1     8     (up down across = 15...
my date of birth? 15th may 1986,
no coincidence, just stating an oblivion's
worth of a "point)... 15 x 3 = 45...
   and that's about as significant as any
                               insignificance can be...

album of choice?
    old horn tooth - from the ghost grey depths...

and without even associating the arabs
to the hebrai practice of gamatria,
i once inquired an old pakistani (who tried to convert me)
what: Alif, Lam, Meem
implied in the opening of the al-baqarah sutra
implied?
   he replied: god knew...
        so i thought, you don't know what
alif (letter) what lam (letter) and meem (also a letter)
means? you have to search for god
for the answers? good look making me into
a proselyte... mind you:
if the jews abhor proselytes,
while the muslims are so so oh so *******
welcoming... isn't that a tad bit suspicious?
how can a muslim convert me
when he can't explain to me what
alif lam and meem implies at the opening
of al-baqarah?!
            let's play some hijāʾī order game...
and the three letters...
       28 letters in total...
alif (28), lam (6), meem (5)...
    i'm not even going to go into the gamatria
mental gymnsastics related to any
"significance"...
   point was made upon the question being
asked... if a muslim tries to covert you...
and he can't explain to you
the significance of alif lam meem at the beginning
of al-baqarah... they're letters...
well... how is he going to explain to you
what's bothersome about those letters
to begin with? ALM... does that imply: zakat?!
to give alms? zakat being one of the pillars
of islam?
  **** me... i haven't even converted
and it would appear: i know more than the person
who tried to convert me!

.i. Yuri Gagarin and the yo-yo

if ever the potency of a "keyboard crusader"
existed, it's now -
   i can dangle a mouse above a bear-trap
and tell an elephant of a phobia concerning
mice any day of the week,
          when in fact i'm talking about
a mousetrap: nothing more.
     hence the exaggeration in the imagery
comparison:
        or it begins with a story told in the 20th
century:
             when women put down their mascara
brushes, men put down their swords:
never mind the voice in the wilderness:
       mind the voice in the crowd -
there's absolutely no reason to speculate
urbanity and tribal environments without
addressing, or regressing the crowd,
or as i like to call it: what Nietzsche said,
minus the Wake... but now inclusive of the wake
and the Bacchus cult of fun fun fun.
            the Wake in condor terms?
we congregate praying for something to die...
      i don't pretend to be whatever
that sachet of concrete-Cartesian labels entitles me
too:        for the most part
        people say 'i am' without a thought to
govern the rain shaman telling you what thought
is required to 'be', oh, a very old ontological
stipend: you need people to experience a collectivisation,
a herding, a "bound together" sort of mentality
before the critic arrives and says: well, that's not
what i'm really about.
                    a bit like the **** firs, mouth second
debacle...
                but what heart they had, our predecessors!
what heart!
             they'd wage war over a woman,
a Helen,
                  would you wage a war against
the feminist version of Helen these days?
would you pluck a Scottish thistle over an English rose?
      true: you might be a bishop
and of lesser rank... but would you wage a war
over the women of these days?
my **** is in a pickle jar anyway! we have become
a *** of a species unburdened by an obligation...
             finally! we can become eternal bachelors
sort of ******* that we're here, and hear less and less
of sayings about the "things that matter".
            you know what vile? really really vile?
oh i know my contemporaries when i bother to
hear them talk, oddly enough never bother when they
think, i'm quiet content with a Godot stage of
a park bench and an old man as my company,
      i know Douglas Murray,
               i know the wild-eyed Icke,
but a thing that concerns me is why: the safety room
parallel to the leftist thesis of offensive speech
was put in play when a discussion took off
concerning feminism, between milo yiannopoulus
and julie bindel - that's like saying:
ask a pederast to talk for a heterosexual man
with a woman safe-space...
                                no one wants to hear
the heterosexual side of the argument....
  you'll sooner see heterosexual intellects have their
marriages come undone then get paired with either
side of the argument...
     little richard is in the pickle jar anyway,
and he's not coming out...
                it's a bit like ****** for dummies....
       hence i have to succumb to violence without
the glory, tongue waggling blah blah
when i'd gladly take a weapon and shove it into
a shattered cranium bone: had i the ****** chance to
do so!
           no heterosexual is taken seriously:
and won't be:
    of a woman to be like a rosy cushion on which
i can lay my head after the darkly toils of
    roofing, or laying bricks, or excavating the sewers...
no! let the Chinese do that:
the basic argument of slavery, although imported
therefore ****** ******* fine.
                         cryogenic fathers,
      pickled *****:      where's the middle in all of this?
     a coconut just fell from the Boddhi tree:
money!           and those that defend it,
don't know squat about the tribalism of squatters!
but hey! they have the ****** stage!
         i have a bench when someone approaches me
and talk, doing the best thing possible:
               knitting opinions -
i don't want the truth of opinions: i want a sweater,
or a pair of socks! that's metaphor for something
different altogether.
  keyboard crusader? really? can i ask you for
directions to the high street, in every single town
across the country? i can't find one!
         no one hears a heterosexual argument
on the various topics: because there isn't one -
                     as of the end of the 20th century,
working classes in the west striving to ensure
there is something mundane to do during the day
and kick back with the family in the evening
are the "inferior" neanderthals: who
haven't jacked into discovering a 3D reality
of what's otherwise a 2D computer screen and
aren't hooked on #crack;
honestly, so much debating ought to be opera,
and so much opera ought to be debating -
    ah: that famous tingle of utopian paradoxes
never in duality, but always in dichotomy.
   keyboard crusader?
really? i thought people were always moaning
about how many emails they receive:
   and never a single postcard from, say,
someplace like Venice?
           it's still early days,
                   and already we're brewing enough
cliches to replace all known nouns in
    the surrogate mother that's the dictionary
of our completed version of a soul -
if ever to be experienced upon meeting the omni-vocabulary;
jigsaws, i know my idiosyncratic version
of events, he says photosynthesis within parameters
                            of photon deconstruction of hydrogen;
'cos' it's sub; d'uh! i say god i say this perfected
version of nearing telepathy - you say god i hope you
don't mean satan's clause - great anagram to frighten
children with: the Babushka surprise of a Pumpkin head
laughing it's way toward: how easy life would be
if we had all that time to think it through as being hard,
rather than that mortal fleetingness in both thought
and body.

ii. Macbeth

it really dawned on me, when i was watching the film
Macbeth (2015) -
            there was an eeriness to it, a near perfection
of Shakespeare on screen...
           honestly? i'd rather read Kant early on in life
while i have the vigour, and leave old age to Shakespeare...
but it truly was eerie all over the place.
      i do recall seeing Romeo + Juliet
          and reading the script, and imagining the fallacy
of word for word translation from theatre to cinema
of the script: the narrator a news channel anchor,
and everything said, word, for, word.
that film with DiCaprio as Romeo and Claire Danes
as Juliet - it just felt itchy, uncomfortable -
                            Shakespeare, word for word, on screen?!
     (surprise, then astonishment, not !? or astonishment,
   then the surprise, because: it didn't really work);
and it didn't! you can't adapt Shakespeare to the screen
and put everything in! i noticed it at that ******
generous scene in Macbeth concerning the battle
of Ellon... so i was like like... this isn't typescript...
(and thank **** it isn't) -
you can't depict Shakespeare word for word,
to be honest, Macbeth (2015) is the only worthy
translation of Macbeth (the text) into Macbeth (the movie);
all this scientific exactness in previous examples
like Romeo + Juliet, the Merchant of Venice
and a Midsummer's Night Dream don't work,
it's their precision making,
     a theatre cast can take it, but a cinema going crowd,
with all these cutting and copying and repasting
    succinct moments? it doesn't work!
maybe because there's no actual narrator in the staged
examples? narrator as a necessary character understudy:
surely Puck and the news anchor are there:
don't know about the Shylock scenario...
           but these screen adaptations didn't work for me,
too rigid, too formal... in the case of Macbeth?
finally! the long awaited piquant version of Shakespeare:
all that matters, and the rest is thrown into
poetic technique: imagery, metaphor,
                everything that's necessary can be given grammar
as image and not word!
       want an example? from the text...
the Royal Shakespeare
  from the text of Professor Delius
  and introduction by f. j. Furnivall, ll.d.
         vol. v (special edition)
Cassell & Company, Ltd.
        sure, it feels like a Roman Polanski moment
akin to the 9th Gate scenic affair of a bibliophile
fetishist, and it is:

     ... (the only enemy of enso poetry
is the bladder) ...

well the screen play first:

banquo: what are these?
macbeth: live you? or are you aught
                          that man may question?
       speak if you can - what are you?
1st witch: macbeth! hail to thee
                    thane of Glamis!
2nd witch: macbeth... hail to thee,
       thane of Cawdor!
3rd witch: all hail Macbeth! that shalt be king in-after.

but such disparity, such **** as if once
of Lucretia, then of the authority,
for i have before me the original composition:
which is not worth cinema -
nonetheless, a **** takes place:
an assortment for the abdication of a king:
or as ever suggested: the wrong footed path:
never was tossing a coin in a gamble
that of tossing a crown into the air
for a court jester to appear less amusing
and more scolding.

act i, scene iii: post the battle of ellon...
  if ever the refusal to give up Greek myth,
then Macbeth's witches
      and Perseus' Graeae -
                            or naturalise a myth:
like you might not naturalise a strengthened
economy.... canonise the nation
with Elgin Marbles - Elgin: less than
what's said to be the exfoliation of the Aegean -
a municipality somewhere in Scotland:
west of Aberdeen, on the Northern Sea's
battering of the coast...
but word for word? or how to write Shakespeare
into cinema?
                 herr zensor must come into play -
you have to bypass imagery in poetic tongue
and relay it with actual images, a direly needed
necessity:

just after the three witches arrive,
enter Macbeth and Bonquo...

   Macb. so foul and fair a day i have not seen.
Ban. how far is't call'd to Fores? - what are these,
     so wither'd and so wild in their attire,
that look not like th' inhabitants o' the earth,
   and yet are on 't?
             live you? or are you aught that man may
question?
                  (how word for word, but the words
waggle from a different tongue, namely that of
Macbeth, and not that of Banquo, hence
italicised).
                   continuing:
       you seem to understand me,
by each at once her choppy finger laying upon her
skinny lips: - you should be women, and yet your
beards forbid me to interpret that you are so.
Macb. speak, if you can - what are you?
         the witches. all hail, Macbeth!
     hail to thee, thane of Glamis!
         all hail, Macbeth! hail to thee, thane
of Cawdor!
         all hail, Macbeth! that shalt be king hereafter.
            
so does he really belong on the psychoanalytic
couch? is he really that necessarily wonton of talk?
  Cawdor v. Gondor - it's an ongoing narrative.
but is he in need of a couch?
                 what sort of talk is talk when
in fact the only talk that's need to be said is the talk
of man's sexualised naturalisation for strife,
and here: as if knocking on a door:
you want to simply hear the onomatopoeia of
the Kabbalah in a woman gasping for breath
while puny Jewish boys under strict rabbinical
studies study?

                mama, take this badge from  me,
i can't use it, anymore,
            it's getting dark, too dark to see,
feels like i'm knockin' on heaven's door -
      my big mouth and man as a piston
                                               Ferrari acrobat

(even the soundtrack is a shrill, a strangulation
variant of higher pitch of the bagpipes -
not that braveheart ****** of whisking out
a song like for the love of a princess addition to:
  and can i have a madonna to boot too?
it's piercing, a whale sonar above refrigerator
white noise hum for the new age Buddha -
and that's because all the poetry has been excavated
  to suit cinema: not theatre).

and this is the first adaptation of Shakespeare i actually
could stomach...
     the genius was in how Macbeth spoke the lines
of Bonqua - so the character didn't start smacking
the narrative ****** in terms of solipsism:
even Shakespeare can be attacked on this front...
        if in the movie Banqua said all that was in
the typescript: the film wouldn't have worked...
i don't know what the big deal is with Lady Macbeth:
i thought that in the olden days
Macbeth suggested to King Duncan that:
can i leave the warring if you **** my wife?
i can go on the contract that you **** my wife
and i stop serving you?
      first impressions: strange English.
well, i'm sure she's important as it might be said:
within the programme of Orthodoxy,
            but never catholic (metadoxy) tradition of
saying: way hey! ensnare the mare in a funfair!
       and play the game: pin the tale on the donkey!
heads or tails?      it looks pretty damnable
     in the first place: as all honesty hogs to pout and
***** a hoggish sneeze out of the story.

iii. shaken, not stirred

and indeed, how many a times
did not a neon blossom sprout,
thinking it might rattle an oratory
with an oak in autumn, and behold
a swarm of leaves descend -
not out of passing ease,
but out of wishful thinking
that some indentation might be made:
with whom the hands of will reside,
and yet: to no gratifying effect,
to whatever atomic-centralisation
dream, be that ego or be it hydrogen
(lending hands: so too
electric or thus negative, neutral and
thus proto) - shake foundation
and give a revising repertoire of
              the covering dust humanity
that once made famous: never
again to learn the humility of the start;
        to whatever centric dream that
does not waver in demands of orientation,
be it father (sun), son (shadow)
  or the holy spirit (night) -
  make them earn! be obscure!
            or simply say: in the community
of the stated congregation:
  i find all to be as night,
   and safer that plague the father:
  i am not akin to the shadow:
                   but the shadow in mirror.
so, a centric dream that does not
waver in demands for orientation,
has ever or will be enthroned in man's
heart as the stability of Sabbath's demands
       for less, oh so much less to agitate with!
as too, when the ancient appliances
were adorned by countless demands of
mimic, so too our modern
fibbles are to stage a usurping of
such things demanded and their mimic;
for with such disclosure does all fate
of anewed become burdened in what
history could be: shaken,
rather than simply a stirring of the void,
nothing more than the unburdening
of sweetening a cup of coffee, of that and
the layers: or bitter at the top, drank
through toward the sedimented sweetness -
and all that: hoping i could have retained
that silver spoon lodged in my ***
          when i first met her and thought about
consolidating marriage: so fresh, eager prune
of the flesh embodiment as first
    watered ash, then entombed in marble
and the eternal... ah
               but it was all just the faintest of dreams;
so lumberjack sleep ensued,
                      as did a kindred worth ethic:
we are a long way from Eden...
      there is but the idyll of the absurd fruition of
albreit macht frei... or a redefinement of
such stakes as: what occupies our days?
                    if not war, if not disease,
if not the Chinese... what does, occupy our days?

The typewriter misses one of its keys
Every word is an orphan, and the lines
Wither away in an unfurnished room
Above a garage infested with ghosts

          Life is an unreliable narrator

The phone that isn’t connected doesn’t ring
While past-due notices fight among themselves
And on the hot plate macaroni boils
Sometimes you can see islands in the steam

          Life is an unreliable narrator

You’ve got a gift; that’s what everyone said

But

Your worn-thin sleeping bag is still your bed

          Life is an unreliable narrator

i.

i really want to write this like a poet, but i'll probably
ramble on, i want to create this poetic haiku
or what one might call a punchline
in a joke, i will, obviously,
           i will (obviously) provide
how the alternatives would look like,
but sometimes i think that the poet
is enraged by the idea of the narrator:
or the consolidator of personae -
defeatist poets write from a personae
perspective, as if each poem is
a new and nuanced character -
a nuance of the narrator,
   yes: not novels, a plateau of literature
that poetry is...
           the setting is unknown,
but these people simply congregate
and say something, akin to the burning man
festival, and then return to their
day jobs...
          i don't know why poetry is less and less
resonating with music: maybe because
the old critique of poetry being faced off
with philosophy doesn't make sense
given that there's this rainbow of musical
tastes and the general diversity?
looking at the classical circumstance of
poetry vs. philosophy makes no sense
when the *logos is removed and the phonos
is inserted in its place...
   bad grammar, bad spelling... why look for
meaning in words in the almighty sphere
of all things holy, when in the trenches
   people are shooting bullets not at targets
but at empty space?
    that's why i love the notion that writing
can become something akin to a will to power:
the power over not of those illiterate -
urbanism has dissolved such a concept...
  we became literate in order to read adverts:
or the iconoclasm of the alphabet:
pretty coca cola nearing arabic for all
those magpies out there...
           the myth goes that the magpie spotted
the shimmer of a silver spoon and stole it
and as the debate of the fates go:
i was to marry a rich woman and leverage
myself into a calm suspense... but it wasn't
to be. such is the case: when writing
can become as difficult as arithmetic of numbers,
and certain blemishes on the fountain head
of humanism that's literature can provide
the right arithmetic complexity...
   given that, what could possibly be the sum
total of this "poem"?
  the irony of the cartesian 1 + 1 = 2...
                in terms of meaning? in a polyverse
   of the what if? universe?
        a cinema better than the Hollywood industry...
that could fit into my concept of man enduring
for eternity, even with the vain hope of challenging
his mortal frailty... have a historiological cinema
of the what ifs... i'd sit in there and be like: wow!
Adolf graduated from the Vienna Art School
and world war two didn't happen?
    the treaty of Versailles wasn't a version of
colonial powers against expansionist politics
concerning a European nation? wow!
they basically didn't join the club of colonial power,
and they were punishing the colonial powers of
the time... or that's how i see it:
i don't see myself needing to ascribe myself
to pronoun pluralism in any shape or form:
it just breeds some overt concept of paranoia;
and obviously this has nothing to do with the title,
because it i shunned the narrator, i'd be a poet,
and if i wrote a cutiepie version of this
i'd feel hungry for not having played the piano
long enough while tipping a glass of whiskey
into my mouth... just is the curse of
enjoying typing: hurrah for our loss of handwriting
and that beautiful circumstance of writing
words with connectivity - by modern standards
undecipherable as if Hebrew or acronyms
and emoticons: puncture after puncture and nothing
concerning waves or serpentines of encoded talk...
beautiful... absolutely beautiful.
  the new form italics? syllable-ism, to stress,
punctuation marks in words: beau-ti-ful!
there, goes a weeping pair, that's Ludovico Arrighi
& Aldus Manutius...
    and what i do understand, and it's pivotal,
take the concept of a narrator out of the prosaic mosaic
and take away the concept of personae out of
poetry, and mould the two together...
you get an implosion worthy of a Hiroshima...
a bit like what the Beatles conceded too after
releasing their revolved album... they stopped
live touring... they had an implosive moment
and said: as any artists in the background,
we are the invisible hands of the plumbers
who connected toilets to the pipes: hey presto!
the Beckton ****-stink on the A406...
poetry can become this...
        it can also become something akin to:
etymology is a version of archeology,
although there's no physical space to engage with it,
   and i know why Heidegger turned the word
being into beyng... it's not a mutilation
of the word, he was practising a version of
archeology (not etymological) in that he was
excavating (as archeologists do) an archaic word
from the modern equivalent... Sherlock Holmes
of the black forest... found an amber tear
                      wedged in a tree...
i never know why they called it the Baltic sea...
i'd change it... i'll start calling it the Amber Sea...
given so much amber can be found on the shorelines
of it...
             and yes, this prompted the additional bits
in the title: considering the idea that it's twice as important
as what i will eventually write with dues for
the lightning bolt's worth of a title...
    language has to be mandible, language has to
be plasticine... it can't be dittohead bound -
strict, regulated, ivory encased in a museum hush...
   esp. if it doesn't need something controversial to
be spoken... exactly at that point...
          what was i originally intending?
            language as form archeology? perhaps...
no! no no no... the pro-life vs. the pro-life debate...
    a destitute woman, perhaps a *******, perhaps
a woman who was *****...
                         as the laws in Poland currently stand:
she has to give birth...
      i never said i agreed with the stranglehold of
my "brethren", i simply said
           bilingualism as a rhinosaur (dino remnants?)
        stampede against multiculturalism...
what is the perspective? i respect the culture that
assimilated me, only through having the capacity
to speak the language of the culture i was born in...
    multiculturalism has no respect for its
host culture, the multicultural argument goes:
if i speak good enough English, i'll still be able
to wear Pakistani pyjamas in public...
it's the hijab wearing English-pristine girl who
knows ****-all arabic: but speaks good English,
so she's assimilated well enough...
       and there's me... when everyone is going
muddles berserk in their groin regions
     flirting with bisexuality... so few flirt with
bilingualism... well: how could all that fucky-sucky
go to waste, eh?   multiculturalism doesn't work
if the person attempting integration doesn't
have a moderation minder,
    if you don't respect your own original society
in the least, as in: ensuring you keep your
mother tongue and do the utmost to speak two
languages... multiculturalism of people who
don't do this are just plain lazy...
   lazy!           is that an excuse if you were born
in a host country? only if your parents were
so worked up thinking that knowing two languages
was a disadvantage... and so the byproduct
of all things that aren't part of the multicultural
franchise... if you have no respect for your mother
tongue / culture when moving to a different
country... you don't have respect for your
country of birth... or in a more succinct way said
by Napoleon: a man who knows two languages
is worth two heads... etc.
       ah, the debauchery of narrating and not
orientating yourself around creating characters...
bliss... and also the main reason poets feel guilty
about writing poetry... the missing characters.
but onto the title and the main point i was going
to make...

ii.

over an egg.

iii.

can't we simply argue the point
between pro-life and pro-choice
over breakfast of scrambled eggs?
or poached eggs... or fried eggs...
or eggs boiled for 5 minutes
so the yoke is all runny?

iv.

and they said there's no purpose to
abortion...
         the most popular food of
choice for breakfast... is an abortion.

v.

i'd say... make sure those pro-life protesters
stop eating eggs...
           they're eating abortions...
but ****... can you imagine anything
                          more yummy than an egg?
don't worry, Darwinistic existentialism
of furthering the human question
   has already been answered by an abundance
of the Mandarin and the Sanskrit population.