Dear Friends, kindly read the Foot Notes at the end for
better appreciation. I tried to convey some interesting
information in my verses for my few interested readers!
Thanks, -Raj

THE STORY OF ALPHABETS:
PART ONE

INTRODUCTION
Alphabets are the noblest and the greatest of
inventions of our civilization,
For transmitting human thoughts and concepts
through visible notations!
In the olden days those magical symbols and
signs,
Could be written and understood only by the
priests and scribes !
But with the invention of printing, literacy began
to spread, * (see notes below.)
When people began to read and write with standard
Alphabets!
The 26 English letters with which we read and express
ourselves so easily and well,
Has a legendary and checkered past, and an unique
Story to tell !

FROM PICTOGRAM TO WRITTEN SCRIPTS :
The story of writing can be traced back to over
thousands of years you see ,
From pictogram to ideograms and various cuneiform
scripts!
From the ancient Sumerians and the Egyptians, to
the Semitic tribes;
Up to the Phoenicians, the Greeks, right up to the
Roman times !
Till the Latin script got refined into modern alphabets,
And with 26 letters our literary aspirations were met !

PICTOGRAM & IDEOGRAMS :
Ancient pictogram and symbols were painted and
carved on rock walls and caves, -
But speech sounds and letters remained unrelated !
Followed by the ideographic, logographic, and the
syllabic stages ,
Evolving into written alphabets through these different
phases!
Ideograms expressed an idea through visual or graphic
symbols,
Giving rise to Chinese script without alphabets, but
with only ideographic symbols! @(notes below)
The Sumerian cuneiform and Egyptian hieroglyphs
were the oldest of these,
Let me now tell you something about the Sumerian
script !

CUNEIFORM WRITING :
On that land between the two rivers the Tigris and
the Euphrates,
Which the Greek’s called ‘Mesopotamia’,
Rose the earliest of ancient civilizations called
Sumeria!
Those Sumerians used a stylus, - the head of a
squared-off reed ,
To inscribe wedge shaped angular symbols on
clay tablets - for their accounting needs!
These tablets could be dried in the sun to form
hardened scripts ,
And also recycled if necessary, giving birth to the
Cuneiform Script!
The earliest clay tablets date back to 3500 BC ;
While archeologists and linguists could detect
and see ,
That with modifications over the centuries this
script was also used, -
By the Akkadians , Elamites , the Hittites and the
Uratians ;
And scholars say that it was the forerunner of the
hieroglyphs of those ancient Egyptians!
The earliest clay tablets found in Mesopotamia,
Indicate accounting of barley crops by the Sangu
of Sumeria!
Sangu was the Chief Official of their Holy Temples ,
Who recorded all temple wealth on clay tablets, –
with cuneiform symbols !
Herodotus the Greek historian tells us a story ,
About a letter sent by the Scythians to the Persian King
during the days of Scythian glory!
This letter contained symbols of a bird, a mouse,
a frog, and five arrows;
When translated it read: “Can you fly like a bird, hide
in the ground like a mouse, leap through the swamps
like a frog? If not, do not go to war with us, -
We shall overwhelm you with our arrows!”

EGYPTIAN HIEROGLYPHS :
Hieroglyph comes from a Greek word meaning
‘sacred inscriptions’ ,
Consisting of a large variety of images representing
sounds, as well as ideas and actions !
The images were depicted in rows or columns , -
oriented from right to left ,
And the signs were positioned as if looking towards
the beginning of the text!
They were used from end of Prehistory to 396 AD,
And the last text was written on the walls of the
Temple of Isis, on the Island of Philae !
The oldest one dates back to 3100 BC, - inside the
Temple of Ramesses II at Abydos ,
Where Thoth the ibis-headed God, - patron Deity
of Writing and Scribes is seen ,
Holding a scribal palette in one hand and in the
other a stylus of reed ;
And King Ramesses II holding up a water *** , -
To assist the great Thoth, their Writing God !

HIERATIC, DEMOTIC & COPTIC SCRIPTS :
The hieroglyphics were used for many varied
situations; -
Written on temple walls, statues , tombs , papyrus ,
and as monumental inscriptions !
Through its 3000 year’s long history it developed
into three other written scripts; -
The Hieratic, the Demotic and the Coptic, as
reformed hieroglyphic scripts !
Hieratic script was simplified with a more cursive
form ,
Could be drawn more quickly as over the years it
also reformed !
Though used in administrative and business text ,
Also found its way into literature and religious texts!
Around 600 BC it was supplanted by the most cursive
of all scripts,
Herodotus called it ‘Popular’ so it became a ‘Demotic’
script, meaning 'popular' !
Unlike the Hieratic, which on papyrus with a stylus
and ink was written ,
This 'popular' one could be engraved, and also hand
written, -
On a hard surface, and on papyrus by the ancient
Egyptians !
This script was found in the middle section of the
famous Rosetta Stone, $ = (see notes below)
Which for centuries held the secrets of the Hieroglyphic
Code alone !
And finally, during the 4th century AD, when Egyptian
was written with Greek alphabets,
We arrive at the last stage of the Egyptian language;
Which came to be know as the Coptic Script, with the
adoption of the Greek alphabets.
During the 2nd and 3rd centuries AD , Coptic became
the pre-Christian Egyptian language.
However, after the conquest of Egypt by the Muslims
in 642 AD,
Arabic became the main language of Egypt gradually.

A PAUSE & A BREAK :
It is interesting to note that all these ancient scripts ,
Inscribed on rocks , or written on papyrus or
engraved on wooden strips ;
Were written from right to left, with only consonants ,
Without any punctuations or any break!
Till centuries later, due to the innovative Greeks, -
Vowels got introduced to shape up the Alphabets!
Here friends I pause to take a break .
In my Part Two I shall tell you about those Semitic
Scripts ,
About those seafaring Phoenicians who preceded
the Romans and the Greeks;
Those worthy forefathers of the Latin alphabets ,
Which gave birth to ‘English’ with its Anglo-Saxon-
Germanic roots ,
Happily blending with some French vocabulary, -
Making English as unique as it possibly could !
-by Raj Nandy

FOOT NOTES : -
Friends, I tried to keep it as simple as possible for my readers;
adding Notes as explanations & for all knowledge seekers!
= Johannes Gutenberg in 1440 set up the first Printing Press in
Europe. William Caxton in 1476 set up the first printing press in
Westminster, England, he was the first English retailer of books!
* = Lascaux cave paintings of animals in SW France are 16,000
years old! Similar types also found in Spain and Africa!
= Pictogram date from the earliest cave paintings; represents
concrete nouns. Some civilizations like the North American Indians never
ventured beyond pictogram stage! Ideograms – the next stage, represents an abstract idea and verb also.
The Egyptian word-sign showing image of an Eye +a Bee+ a leaf = meant ‘I Believe’, i.e. Pictogram & Ideogram combined ! Since they did not write verbs, we do not know how they pronounced it!
Logograph = each written sign represents an actual word & Not sound of the word!
A tree is shown by the image of a single tree. A single logogram could be used by a plurality of languages to represent words with similar meanings.
After 3000 yrs of use, a large no. of symbols & the chasm between oral & written script made the Hieroglyphs obsolete!
The Semitic people tried to improvise a better script with limited consonant signs only!
@ = The Chinese use a combination of pictogram & ideograms along with complex symbols, but with only through association of spoken words; instead of alphabets!
$= Rosetta Stone, discovered by the soldiers of Napoleon in 1799 in Rosetta. The hieroglyphics on the stone was inscribed in 196 BC in the Ptolemaic Era. The French scholar Jean Champollion deciphered the script, and thereby solved the mystery of Egyptian Hieroglyphics for the world! .
* ALL COPY RIGHTS RESERVED BY RAJ NANDY

I take a walk into the parkour graveyard,
looking for Polish dealers and cellphone halos.
I heard Thoth resides in sobriety,
but words fail me
whenever you are near.

I let my tongue run in endless stutters,
disguising 'I love you' as some off-hand request.
I could take you to dinner,
I could show you a longing
without the need for ***.

This late-night food has lost its flavour.
This ******* never picked up.
All that is left is to dial these numbers,
and wait by the window
for any car but yours.

Let's take a walk to the railway bridge.
We'll smoke a joint by the open forest.
You'll push your breath into mine,
make me high,
and forget why I ever
felt so low.

Published in The Quill on November 19, 2014:

http://www.amazon.com/Quill-Fall-2014-ebook/dp/B00PNVT6PG

...

On being overweight (whatever that means)

Even if you were the moon, they would complain about how much space you took up in the sky, how you were too bright, wanted too much from the stars, demanded more light than the others.

And when you shifted, from waning to full to waxing to waning, they would remind you of how instable you were, how much of a hassle it was to keep track of your instability, your need for attention. Have you tried to be a vegan yet? All the stars are doing it.

You have tried. In fact, last week was your third try – an attempt, they call it – not enough, they emphasize, try again, they say this as if it is encouragement.

That’s when you found them - the celestial crescent, the earthshine, the perilune, how the lacus are lakes without lakes, why the Gibbous is brighter either way, especially during conjunction – all strung together in pearls.  

You are a full the night you return.

As you reflect off the lake, you see Selene, Hecate, Mani, Tsukuyomi, Iah, and Thoth. You tell the stars to look, to breathe your reflection, to succumb to the glow and the beauty of it all, that you are not alone—

They laugh.

Say how historical that is, how out-of-touch you are, how myths aren’t mirrors, how you -  you are not a mystery at all.

But when you died – if you died – (we still do not know) - they do not wonder where you went. They spin, spin, spin the entire night home, only once confessing to how empty the sky is without your shine.

But every night they burn.

(To Marcel Schwob in friendship and in admiration)

In a dim corner of my room for longer than
my fancy thinks
A beautiful and silent Sphinx has watched me
through the shifting gloom.

Inviolate and immobile she does not rise she
does not stir
For silver moons are naught to her and naught
to her the suns that reel.

Red follows grey across the air, the waves of
moonlight ebb and flow
But with the Dawn she does not go and in the
night-time she is there.

Dawn follows Dawn and Nights grow old and
all the while this curious cat
Lies couching on the Chinese mat with eyes of
satin rimmed with gold.

Upon the mat she lies and leers and on the
tawny throat of her
Flutters the soft and silky fur or ripples to her
pointed ears.

Come forth, my lovely seneschal! so somnolent,
so statuesque!
Come forth you exquisite grotesque! half woman
and half animal!

Come forth my lovely languorous Sphinx! and
put your head upon my knee!
And let me stroke your throat and see your
body spotted like the Lynx!

And let me touch those curving claws of yellow
ivory and grasp
The tail that like a monstrous Asp coils round
your heavy velvet paws!

A thousand weary centuries are thine
while I have hardly seen
Some twenty summers cast their green for
Autumn’s gaudy liveries.

But you can read the Hieroglyphs on the
great sandstone obelisks,
And you have talked with Basilisks, and you
have looked on Hippogriffs.

O tell me, were you standing by when Isis to
Osiris knelt?
And did you watch the Egyptian melt her union
for Antony

And drink the jewel-drunken wine and bend
her head in mimic awe
To see the huge proconsul draw the salted tunny
from the brine?

And did you mark the Cyprian kiss white Adon
on his catafalque?
And did you follow Amenalk, the God of
Heliopolis?

And did you talk with Thoth, and did you hear
the moon-horned Io weep?
And know the painted kings who sleep beneath
the wedge-shaped Pyramid?

Lift up your large black satin eyes which are
like cushions where one sinks!
Fawn at my feet, fantastic Sphinx! and sing me
all your memories!

Sing to me of the Jewish maid who wandered
with the Holy Child,
And how you led them through the wild, and
how they slept beneath your shade.

Sing to me of that odorous green eve when
crouching by the marge
You heard from Adrian’s gilded barge the
laughter of Antinous

And lapped the stream and fed your drouth and
watched with hot and hungry stare
The ivory body of that rare young slave with
his pomegranate mouth!

Sing to me of the Labyrinth in which the twi-
formed bull was stalled!
Sing to me of the night you crawled across the
temple’s granite plinth

When through the purple corridors the screaming
scarlet Ibis flew
In terror, and a horrid dew dripped from the
moaning Mandragores,

And the great torpid crocodile within the tank
shed slimy tears,
And tare the jewels from his ears and staggered
back into the Nile,

And the priests cursed you with shrill psalms as
in your claws you seized their snake
And crept away with it to slake your passion by
the shuddering palms.

Who were your lovers? who were they
who wrestled for you in the dust?
Which was the vessel of your Lust?  What
Leman had you, every day?

Did giant Lizards come and crouch before you
on the reedy banks?
Did Gryphons with great metal flanks leap on
you in your trampled couch?

Did monstrous hippopotami come sidling toward
you in the mist?
Did gilt-scaled dragons writhe and twist with
passion as you passed them by?

And from the brick-built Lycian tomb what
horrible Chimera came
With fearful heads and fearful flame to breed
new wonders from your womb?

Or had you shameful secret quests and did
you harry to your home
Some Nereid coiled in amber foam with curious
rock crystal *******?

Or did you treading through the froth call to
the brown Sidonian
For tidings of Leviathan, Leviathan or
Behemoth?

Or did you when the sun was set climb up the
cactus-covered *****
To meet your swarthy Ethiop whose body was
of polished jet?

Or did you while the earthen skiffs dropped
down the grey Nilotic flats
At twilight and the flickering bats flew round
the temple’s triple glyphs

Steal to the border of the bar and swim across
the silent lake
And slink into the vault and make the Pyramid
your lupanar

Till from each black sarcophagus rose up the
painted swathed dead?
Or did you lure unto your bed the ivory-horned
Tragelaphos?

Or did you love the god of flies who plagued
the Hebrews and was splashed
With wine unto the waist? or Pasht, who had
green beryls for her eyes?

Or that young god, the Tyrian, who was more
amorous than the dove
Of Ashtaroth? or did you love the god of the
Assyrian

Whose wings, like strange transparent talc, rose
high above his hawk-faced head,
Painted with silver and with red and ribbed with
rods of Oreichalch?

Or did huge Apis from his car leap down and
lay before your feet
Big blossoms of the honey-sweet and honey-
coloured nenuphar?

How subtle-secret is your smile!  Did you
love none then?  Nay, I know
Great Ammon was your bedfellow!  He lay with
you beside the Nile!

The river-horses in the slime trumpeted when
they saw him come
Odorous with Syrian galbanum and smeared with
spikenard and with thyme.

He came along the river bank like some tall
galley argent-sailed,
He strode across the waters, mailed in beauty,
and the waters sank.

He strode across the desert sand:  he reached
the valley where you lay:
He waited till the dawn of day:  then touched
your black ******* with his hand.

You kissed his mouth with mouths of flame:
you made the horned god your own:
You stood behind him on his throne:  you called
him by his secret name.

You whispered monstrous oracles into the
caverns of his ears:
With blood of goats and blood of steers you
taught him monstrous miracles.

White Ammon was your bedfellow!  Your
chamber was the steaming Nile!
And with your curved archaic smile you watched
his passion come and go.

With Syrian oils his brows were bright:
and wide-spread as a tent at noon
His marble limbs made pale the moon and lent
the day a larger light.

His long hair was nine cubits’ span and coloured
like that yellow gem
Which hidden in their garment’s hem the
merchants bring from Kurdistan.

His face was as the must that lies upon a vat of
new-made wine:
The seas could not insapphirine the perfect azure
of his eyes.

His thick soft throat was white as milk and
threaded with thin veins of blue:
And curious pearls like frozen dew were
broidered on his flowing silk.

On pearl and porphyry pedestalled he was
too bright to look upon:
For on his ivory breast there shone the wondrous
ocean-emerald,

That mystic moonlit jewel which some diver of
the Colchian caves
Had found beneath the blackening waves and
carried to the Colchian witch.

Before his gilded galiot ran naked vine-wreathed
corybants,
And lines of swaying elephants knelt down to
draw his chariot,

And lines of swarthy Nubians bare up his litter
as he rode
Down the great granite-paven road between the
nodding peacock-fans.

The merchants brought him steatite from Sidon
in their painted ships:
The meanest cup that touched his lips was
fashioned from a chrysolite.

The merchants brought him cedar chests of rich
apparel bound with cords:
His train was borne by Memphian lords:  young
kings were glad to be his guests.

Ten hundred shaven priests did bow to Ammon’s
altar day and night,
Ten hundred lamps did wave their light through
Ammon’s carven house—and now

Foul snake and speckled adder with their young
ones crawl from stone to stone
For ruined is the house and prone the great
rose-marble monolith!

Wild *** or trotting jackal comes and couches
in the mouldering gates:
Wild satyrs call unto their mates across the
fallen fluted drums.

And on the summit of the pile the blue-faced
ape of Horus sits
And gibbers while the fig-tree splits the pillars
of the peristyle

The god is scattered here and there:  deep
hidden in the windy sand
I saw his giant granite hand still clenched in
impotent despair.

And many a wandering caravan of stately
negroes silken-shawled,
Crossing the desert, halts appalled before the
neck that none can span.

And many a bearded Bedouin draws back his
yellow-striped burnous
To gaze upon the Titan thews of him who was
thy paladin.

Go, seek his fragments on the moor and
wash them in the evening dew,
And from their pieces make anew thy mutilated
paramour!

Go, seek them where they lie alone and from
their broken pieces make
Thy bruised bedfellow!  And wake mad passions
in the senseless stone!

Charm his dull ear with Syrian hymns! he loved
your body! oh, be kind,
Pour spikenard on his hair, and wind soft rolls
of linen round his limbs!

Wind round his head the figured coins! stain
with red fruits those pallid lips!
Weave purple for his shrunken hips! and purple
for his barren *****!

Away to Egypt!  Have no fear.  Only one
God has ever died.
Only one God has let His side be wounded by a
soldier’s spear.

But these, thy lovers, are not dead.  Still by the
hundred-cubit gate
Dog-faced Anubis sits in state with lotus-lilies
for thy head.

Still from his chair of porphyry gaunt Memnon
strains his lidless eyes
Across the empty land, and cries each yellow
morning unto thee.

And Nilus with his broken horn lies in his black
and oozy bed
And till thy coming will not spread his waters on
the withering corn.

Your lovers are not dead, I know.  They will
rise up and hear your voice
And clash their cymbals and rejoice and run to
kiss your mouth!  And so,

Set wings upon your argosies!  Set horses to
your ebon car!
Back to your Nile!  Or if you are grown sick of
dead divinities

Follow some roving lion’s spoor across the copper-
coloured plain,
Reach out and hale him by the mane and bid
him be your paramour!

Couch by his side upon the grass and set your
white teeth in his throat
And when you hear his dying note lash your
long flanks of polished brass

And take a tiger for your mate, whose amber
sides are flecked with black,
And ride upon his gilded back in triumph
through the Theban gate,

And toy with him in amorous jests, and when
he turns, and snarls, and gnaws,
O smite him with your jasper claws! and bruise
him with your agate *******!

Why are you tarrying?  Get hence!  I
weary of your sullen ways,
I weary of your steadfast gaze, your somnolent
magnificence.

Your horrible and heavy breath makes the light
flicker in the lamp,
And on my brow I feel the damp and dreadful
dews of night and death.

Your eyes are like fantastic moons that shiver
in some stagnant lake,
Your tongue is like a scarlet snake that dances
to fantastic tunes,

Your pulse makes poisonous melodies, and your
black throat is like the hole
Left by some torch or burning coal on Saracenic
tapestries.

Away!  The sulphur-coloured stars are hurrying
through the Western gate!
Away!  Or it may be too late to climb their silent
silver cars!

See, the dawn shivers round the grey gilt-dialled
towers, and the rain
Streams down each diamonded pane and blurs
with tears the wannish day.

What snake-tressed fury fresh from Hell, with
uncouth gestures and unclean,
Stole from the poppy-drowsy queen and led you
to a student’s cell?

What songless tongueless ghost of sin crept
through the curtains of the night,
And saw my taper burning bright, and knocked,
and bade you enter in?

Are there not others more accursed, whiter with
leprosies than I?
Are Abana and Pharphar dry that you come here
to slake your thirst?

Get hence, you loathsome mystery!  Hideous
animal, get hence!
You wake in me each ******* sense, you make me
what I would not be.

You make my creed a barren sham, you wake
foul dreams of sensual life,
And Atys with his blood-stained knife were
better than the thing I am.

False Sphinx!  False Sphinx!  By reedy Styx
old Charon, leaning on his oar,
Waits for my coin.  Go thou before, and leave
me to my crucifix,

Whose pallid burden, sick with pain, watches
the world with wearied eyes,
And weeps for every soul that dies, and weeps
for every soul in vain.

The blinding moon pellucid says,
                       shining loud yet never heard;

"I follow you where you may go."

In a child's wondrous nights,
                    cast away shadow's monster delights,

"I follow you where you may go."

Mene mind of Thoth complete,
                     for child's attention doth compete;

"I follow you where you may go."

genghis knew two food groups.

red and white, look it up.

Many Genghis genes remaing, tut tut tut,
no error yet, wait

in time the idea, the reason for so simple a sorting
is lost
and food laws arise to insure the purity
of progenity
"man ist vas man eats, nicht nur brot, y'kin, hear-ken"

destined to rule the world in the

here,
after all the others are killed by our wisdom and
dietary rules.

--- toxic masculinity
--- I heard first hand, a hipster-seeming voice tell me
--- Jordan Peterson is the source of the poison

Ah, am I to reply?
Am I to add a layer onto each pearl I feed the swine?

laque of knowing growing pains for what they really are,
we, the people,
blooming, bhering weight, finding worth

feeling ing ing the squeeze,
squeeze,
glory in the pain for gain, gain is good, grow, grow grow
try---umph
ic magi
bent and bowed bansai-wiseman, fed for years mere humble PIE
chanting more enthralled-folk songs
marching
words bubbling to the surface of spaceship earth,

blistering the deserts and the forests with black tar sludge
seeping from the fractures

to form mortar
to re
build the tower... that was Sad'am's idea,
it fell short in shocking offal from the rusting empir-
ical rule of laws of matter,

dis integrating to dust, leaven in the winds...

But every hundred years or so,
some one sees the problem
accused of causing the laquering of peace that seems
to be
beginning
to shine on
the rub,
the itch,

the cause celebre of this warrior mind, this
toxic
masculinity, but in the end

times change, nue and new and aljadid genii arise,

winds converge in great gyres and plan the melting of
the frozen one,

the great gyre in the north, the up-end of the spin,

locked these twelve thousand years
in de-salinated ice,

the salt squeezed from the very molecules of frozen ocean
once free

to spin
counter
clock, lock, lock the POV, see it, see it, see

the direction of the spin,
does it **** or blow?

You could know. Such things are not hidden now,

our simple sort of men have visionary tools,
eyes in the sky,

we look from the moon and see immediately,

there should be six spinners spinning currents
returning, turning turning
as winds return on their circuits on an un flat earth,

as Solomon noted in the sayings of Thoth;
so,
we see the ice, as ***** Gibson said it would be seen,

cybernetic, tic, you, tic, know, tic
what i mean
magi-
confidence in uncom-fort-ible
am-big-yous-is-us-ness

--- it was them ****** cow boys
--- imagined forever afters, based on guns for Christmas
--- appearing areal, Asreal can be, if one stared,
-- starry-eyed, Uriel appears to grant a wish, stare

staring in hope and prayer.
for all a child's prayer is worth

--- long-enough, at the wishbook from monkey ward
--- I'maxin' Please, Ma t'tell Santa I'd wear my guns t' school, Ma, I'd be cool.

hour-wareness of war;s worthlessnesses, winking eye sign;
pure floccinaucipilinihility, winks 'n' nods

manifestations of the imaginings of men,
wombed and un,

for money, not its use, just
luv o'the stuff it's made from in minds so inclined,

which tend to destruction from the mere knowledge
of a missing something, a meaning,
a hole,
a place of nada-zil-chic spells re re re main al and  
analible and
allathat, uninalienable mass of meaningful things...

name your God same as mine, shibbol-ethical as allhells-gnownstinki

fini.
eh? Fini? Uno fini, allathestinki? Bad-wind or kami-kazi?

it's a wish,
come true.
this world containing life, an air bubble to pre
vent
our inventions
from drowning in the fields of far-flung, far-fetched

god ideas gone sour,
for lack of a proper fungus. We can fix that now.

From now on,
we can listen to Lex Fridman sing "Simple Man"
from
a bubble remaining inside the lost disco years,

we can listen to Richard Feynman make plain what he meant
about life's locks all having keys in
a bubble remaining viable inside those Leave it to ****** years,

or read, since when in ever writing for ever began
and Google can translate, and
we can read by listening, now, we can read asif blind, and
see

there's more to this than that, why
settle for the simple, when

if
you step beyond, one step,
you find treasure
in truth
kept for you in the heart of your hiding child.

Today is your birthday, spindle-top maid.
Another year of desolate bridges.
Bridges by us, once believed to be true,
now laid to rest in mineralised brine.

Though my desires have long since faded,
small town streets will forever sing your name,
calling, calling, for youth and infant love.
Time may have set, but as with Giza stone

you lay in evidence of what has been.
And now, in years progressed, I tend to this,
my page. Some hungover apology,
for cruelness, that in ignorance, I wreaked.

For, though in my life there is ugliness,
and evil now apparent in this world;
I have learnt through experience, virtue
of kindness, of careful tread upon land.

Oh, mother of Horus, and Christian slave,
you bought me devotion in time of aid.
I'm calling, calling, in meekness undue,
for your sandstone likeness to hold in place.

With time comes erosion, African wind,
to scorch at the kindness, held to your breast.
So, in fear of forced blindness, cynical
waste; I mumble in this dirt-kissed prayer.

God of knowledge, oh God of braying flock,
bring to me your scripture, word of Thoth.
All so I can deliver, all so I
can sing; this tuneless ode of my redress,

this humbled hope for spring.

i do a pretty good rendition of vader’s cover of mayhem’s track: freezing moon.

i tend to forget what it’s all about the minute i think of it,
obviously thinking about something can’t make you doubt it /
esp. if you think in a way to deny its existence:
if something is doubted it’s not thought about,
there can’t be a doubling of anything like that -
if it’s... it’s denied... pushed to the back of our minds:
theme park thrills to deny gangsters and terrorists -
there’s no such thing as a cartesian “chirality” - whereby
the thought attributed to something can work
in the classical sense of *i think, i doubt, therefore i am
(cartesian chirality exists on the doubt v. negation axis).
it’s not being that’s doubted, but the consequences of undoubted thought:
that abraham did right, for example...
but it’s not really about that...
i was reading a part of plato’s defence of poetry by julius a. elias
and i recognised, there and then: my aversion to christianity
is due to platonism... i’m from the root of artistotelian philosophising,
not the platonic root... i couldn’t go against nietzche’s rebellion -
plato the boor... plato the bore...
why did plato assume all poets are liars?
why is it necessary to reveal the real of a potter’s *** making as basis for lies
in poem... and excuse a crap bit of pottery as above a really good poem?
as in the language of roofing... someone does a **** job and it leaks...
kiszka panie picasso... kiszka! brussel’s pâté! van damme muscles no more!
there’s a great point being made right on page 12...
i don’t have the original but it sent shocks right through me,
it’s the old chair and table fascination...
should we **** on a chair or **** on the table?
that’s plato to me... more **** than yawn.
it’s not about representing the chair as it is... that would simply
be boring... it’s about distortion, it’s about finding the self
in such a way as to provide a “callous” interpretation...
what would be the point of originality in the creative process
if it was otherwise - the gods created, man interpreted, and only that to
harbour existence per se?
we’re standing on the membrane of originality, given this world,
why would we suddenly comply to it without a “delusional” distortion
to ensure the self is encrusted in it? there would be no point
in such an endeavour... we'd all comply to 90º of the angle
and 100ºc of boiling water and london would
be the capital of hawaii... i.e. i don't lie, i just read a lot - more so:
i guess you get to be a plato supporter if you study philosophy first...
and not science...
i guess you get to be a disciple of plato if you start sheering language
to the bare minimum - the theory of forms...
but i like the telescope and microscope (autism) of aristotle looking
into a bog with tadpoles for spiderweb niches...
so the god of the jews beamed corrupt because of the ******* snipping...
‘looks nothing like what we originally intended!
what metamorphosis of the sword of his will give to rust because
it’s missing a sheath...’
thoth interrupted him - ‘guess what my people have done...
they trim the girls’ *******...’
‘tell you what thoth... i’ll go down and sort it out...
i’ll disguise myself as a burning bush.’
‘ha ha ha ha ha ha ha! ***** on fire! ha ha ha ha ha!’
the god of abraham to abraham concerning isaac:
‘don’t circumcise him! there’s a massive empire in the right top
corner of africa that’ll marry you and prove
i’m a god jealous of the others gods with your warring phallus!
the other gods just don't get involved!
i didn’t want to be involved in the first place, for *******’s sake!’
abraham losing the plot: ‘you want me to **** isaac?!’
‘no, don’t circumcise him! ah ****... too late.’
the whole story loses the medial aesthetic after centuries of
religion / being squeamish / 9am to 5pm / 2000 years of sunday being the last supper:
which is more viper confusion venom injection than the planet’s orbit
provides already: stop the carousel... stop the carousel!

in same place as last writing, wondering
what context this end of sweating will
bring. what this one's lackadaisical - to
juxtapose, let's write Bardical - musings
are found to be. treacherous thoughts pa-
tterned, knit in pearls of alternating colors
from the many revelized experiences of the
months since fleeted. this one's catacombed
mind filled with ex-grievances, and a once
real question of primordial retaliation. of
how to revoke Nature's iron grasp thought
to be called deity's divined fate of this kilned
clay vessel. and wondering on creation, life
given only to spite slaves formed of fire. and
now to leave aside psychpomic thoughts, and
now to return to ground. to stand firm upon an
earth that is essence entirety of this one's base
of creation. only, blood absorbed in place of
retained in circulation. going back, traversing
thought, bringing forth the white man's implic-
ation as ruler of time though known always that
circulation must cease, must become no longer
fluid. and with history being that of the sole
victor. that of labeling, defining, forcing selfish
perception as truth. and this one realizes reason
in fire's hatred of earth. to need to burn out, to
need to consume, but fire lacks choice of will to
action. this one can never leave aside idyllic thou-
ght of a primordial war of elements merged.
digressing, even though the end must find full-
circle. I the Destroyer writing in hopes of finding
thoughts on We the Emerging, all the while
Gregorian has foreseen existence from time beg-
inning. guaranteeing only that structure will
survive time's ending. history of sorts pre-writ
day for day for week for years for aeons of never
ceasing circulation. all the while, victor shedding
for the earth to absorb. Thoth the great, the great,
the great; of lacking elemental composition. the only
one in this one's knowledge whom defies either
circulation of absorption. We the Emerging consume
of the firmament. He the great, the great, the great
witnessing from without the firmament. He the
ancestors taking trice-form to malleate clay from
perpetual fermentation. and digressing more, but
again stating the achievement of culmination of words.
this one stating understanding that perceiving self
as a psychopomp stems from earthen forged vanity.
and all writ is true in belief of prisca theologia.
perhaps this one's words are found to be Hermetic,
found defying interred ideologies as ink rushes to
awaken We the Emerging before dreaming mind
collides with the dawn. and perhaps only Nature may
be found as decided for those taking their cycles of
mindless bliss. and digressing, merging trained-thought
into the next. merged here to be found, We the Emergent
modernity with open palms for another's thoughts. and
here to be found, this one, of I the Destroyer choosing
a percepted chaos to the permanent pre-dawn bliss.

The other day I recognised Anubis
walking down the street smoking cannabis,
soon joined by his good friend Thoth
who was strangely disguised as a moth.

The jackal headed one fell into crisis
and cried out for his mother Isis,
who, puzzled, said she didn't get this
and called for her sister Nepthys.

But this was beyond even her art
so they summoned their cousin Maat,
She said only one could conspire this
blame must lay with the Lord Osiris.

Then up popped the hawkish Horus
to join his voice to the growing chorus,
followed in shadows by his brother Set
who hadn't a clue what was happening yet.

An angry Osiris appears with lips a'froth
denying he transformed Thoth into a moth,
this magic only one deity has mastered
so you can blame that ****** cat Bast..


Pagan Paul (02/10/23)