,;.;.;.;.;
spasms
.;.;.;.;.;
spasms
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spasms
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divisions
creation­s
incantations

So where do we begin?
Well, of course, indeed, rather undeniably
there first comes the identification of a form
(existentialists label this essence)
then certainly some consummation of labour
under out dated regulations is carried out -
then perhaps some degree of manipulation
‘culturally, economically, politically, psychologically’
are some of the common ones to reference...
but then lastly - realisation and overcoming.
The discovery of some truth
in the illusion of this thing.
And finally there, in that vector of chaotic surfaces, that
change and ameliorate, painting life
into this picture to be hung in the Luve ,
emerges a new thing,
something entirely distinct and precise
and we ask the masses of peasants
“what shall we call it?”
and they say
“the ubermensch or some *******”
but don’t really care until they realise
it is invisible, and they cannot touch it
so it scares them into insomnia,
paralysis
and involuntary thoughts
like ‘is it real? god, enlighten me’
and most who have seen it
in full form
lie awake at night

rupturing like tissue paper,
into two soft scars
motioning towards something
in the uncertain wind,
absorbing everything fluid and free
and still of course rather insoluble,
and permeating.

pageants of pageants
fractals and hype
of faceless terrors and faceless
inside
when rain on corrugated iron
when rain and the kettle boiling

i know i have taken too much time
i have taken time from time to decide
to realise i was only wiser before trying.


Patterns of paradox haunt
the terms of all desire

tussock grass on paths
that cuts the thin skin
and sticks

and a view to nowhere

some leaf in autumn

the hope of finding

Meaning
f
a
l
l
I
n
g
like sparrows in silent wind
like leaves in seasonal flux
again and again….
into the violent dirt
inflamed mud

where we pity the worms
and their empires of clay and mortar

a pomegranate a jewelled pagoda
moving and centralised
cyclic and stagnant.

Everywhere, I do not see
directed untowards
magnetic poles.
Agni-metic people.

The sparrows song
in underwater caverns
startles ripened ears
(wrinkled, warn, and walled)
between dogmatic slumbers…

ertras, I can hear you
»»»»» —————————————-»  [you]
where?
f’-> : {inside euclidean halls}

meaning, falling
passageways toward
nothing. [frameworks]

-oliver and jonte

Come over to my house,
let’s build a fort out of blankets,
stain the quilt with Merlot
play last card with pocket torches

let’s build a fort out of blankets
we’re both in the deep of it all anyway,
play last card with pocket torches
my queen of hearts,

we’re both in the deep of it all anyway,
in the dark of the ocean, play your cards into
my queen of hearts,
smile,

in the dark of the ocean, play your cards into
my hands, draw again, restart
smile,
there are suns collapsing into

my hands, draw again, restart,
we kiss
there are suns collapsing into
your freckles

we kiss,
your lips are like mangoes,
your freckles
come over to my house.

Politics of saturation and starvation
ignore sleeping imperative intentions
in this passing light wave,
with matter in tension and
motions of presence colliding
into another in to another
syntax

(spectrums)

like that. Colliding,
categorising. "It happens
all the time" again

the flower reiterates
as it opens to the morning sun
passing through into that
clarity in contradiction
while meanwhile, in the mind
of a small worm, dirt
is brighter than blindness.

Oh where does it go to,
this timid, fragile thing?
Are we reaching
or are we lifting?

As it sit, here on peninsulas
extensions into oceans,
tides that drag, pixelating
parameters opening
to peering places,

my eyes squint
at blurred horizons;
everywhere horizoning,
circumferencing me
in swirls of cataleptic cinnamon
(you know, that pop cultured
coalescence of sensation)

And while I swim
through these streams and unconscious rivers,
on peninsulas (of dust)
placidly pouring  soft summer rain
onto concrete souls like treacle on crumpets,
it occurs to me that
we are just madness becoming
into something astonishing

In my room, I hear raindrops
on my windowsill and  rush outside,
desperately try to stop
my jeans from soaking through to the inside.

In the garden, I can hear footsteps
from the neighbours,
“What a lovely day for it” he says - oh the depths
that his observation labours.

I look over the fence and see the bras
are hanging behind the jocks
in sequence, under my breathe I pass
a slight remark about the colour of my frocks (for the sexist lots).  

The beehive is so ironic,
neighbourly love is so platonic.

This house is a melody of illusion,
each world ends at the walls.
The windows are unnatural,
pigeons are blind to the glass.
Outside, they pull at the wires
like guitarists picking strings.
Into the electric nothing,
playing old songs again.
Break of living flickers,
the science of self prophecy.
When I meet myself in the mirror,
I do not see what you see,
the glass unfolds itself on me.

Sometimes love is sharing darkness;
azure, innocent eyes of night,
tender as waiting. Along
trails in city parks, identical
sparks of eternity. It is this,
the farce of identity, that weaves
a veil between you and me.

The unraveling of sophistry,
senseless, fractal, transactions
carved into the ice of time.

To run into a stranger
in this faultless neighborhood;
cloaked invisible floating
like an apparition.
I hear the heavy purr
of a cat in the hedges
as he passes, masked
making gestures.

This twilight, as wood fires
where the dogs lie fixated
and the flames fight
amongst the empty spaces.

The same streets we walk each day
are resistant, distant
like an old wearisome lover.
He lifts his arms outstretched
and walks into the darkness.

Zephyrs through the unseen aisles.
Zephyrs through the thoughts of me.

In the morning, the calls of bell birds;
to awaken and
the night is trivial.

Steam rises from the blocks of industry
beyond the immediate trees;
a thin white veil
cloaking the city like a bedsheet.
And you waking, displacing
your head about apathetically
trying to light a smoke
with sunlight -

this linear love on a tangent,
golden, some ornament.

Everything up then falling
each morning, with light
tethered to the ceiling
while you lay still
dazed from dreaming,
the day breaks unassuming.

Give me some other world to sip at,
this one is diluting.

This is how we dance
A row of tombstones; economics?
Market of waste, reinvent me.

Aligned, invisible, gothic
Encased in amber necklaces
Suspended animation
I will wait for years. Frozen
for renewal.

At every chance, the prospect of lightning
calms the heart.

it comes on slowly
a curtain being pulled open at a theatre
the lights dim
a murmur in the aisles

slowly you feel a fading

then a small, quick intake of break



your love opens
in front of me
all around me
everywhere

A seagull on the street, matte white smeared with tar
Iridescent waste piling up carpark corners,
Leaves swirling in empty lots like schools of fish

and I slip away in the currents
lips paralyzed, a gesture mistaken
faces feeling fading,
vacant animation

but you, sacrosanct, with
coloured paint,
suspended
in glass marbles
and on the street,
paint running into gutters,
paint splashed on concrete.

In this sparse web of sophistry,
light is democratic, affirmative.

Another daylight draws across the ocean
A seagull dives head first into the crescents.

A news story draped in glitter;
glitter from the mouths that speak
from thousands of glittered boxes.
From the mouths that take time
from the crowds to tell of
the days in an hour.
And to end with the weather.

My parents eating dinner, drinking wine.
Trying to find that time that’s agreeable.
Between the coffee and the calendar lines
crossed out above the fruit bowl.

I shut my eyes at night in ritual
to vacate. Dawn is wise to imposters,
I should sleep for eternity. After all,

the forests are mostly forgiving;
when you’re lost they lead to openings,
subtle, saturated hues.

Openings in the canopies
that camouflage the light with dust.
There is no finer fear than fear of absence;
a life amid explosions, frequent with mistrust.

street lights, linings,
objects that carry us,

yet we move nowhere
repeating seasons

how have we nothing
but mornings and evenings...

if you walk at night
into a field
thick, overgrown
you would feel it

for too often the sun sets
and the postman misses the sunrise

I fall to pieces
into pieces

in confinement we escape
in appearance we are invisible

I grew up in South Auckland, Takanini
the only Pakeha in the caravan park,
I learnt how to be tall, smart and skinny
how to raise the end of my sentences in an arc.

At school, we were told words held power;
but for teachers words were flowers,
and my friend Cruz had two brothers
Harley and Davidson - they belonged to Black Power,
their fists tattooed with something like “Smother”.

But there was never violence on our street, gang was family;
I usually never felt more at home around Bourbon,
loud Reggae, bags of ****, and men so manly
they’d cry over love, and I wouldn’t get a word in.

Though my Father votes National and thinks Michael Laws is right
so moves us to Dunedin where it’s ninety percent white.
I stopped reading Lenin and picked up Rousseau  
became a vegetarian, thought it was so cool you know,
even wrote a blog that discussed rise from below.



But I’ll never know below again
until I’m drunk in an old shed at 3am on a school night
singing along to Bob Marley in Maori,
sunk deep into the mattress propped against the Harley,

the one you and I would cruise on until dawn together
as police took to the streets in riot gear -
we’d get lost in the country and learn to smother
our thoughts in starlight then stagger over,
listen in to the darkness,
and just slowly breathe
the crisp, cool air of the kiwi tundra.

They say New Zealand has two flags,
but in the country, when you’re blazed
on the benefit, ****** on the disdain
for positive discrimination, you can pick out
all the small bright koru unfurling in the stars.

As it all ensues,
sewn to the fabric of seasons,
these illusory illustrations,
they tickle every discourse.

But take a look at this here
isn’t it a quaint wee thing,
isn’t it so fragile

in all the frantic years
passes but an instant
of it all

oh, isn’t it all so dreary
surely soon enough
we will all strap multi coloured
wings to each other, hoist each other
to the skies,

we wear the flag of each other
my nation is you,
my culture is you

down by the sand dunes of St Clair
the streetlights are phantasms, diffracted
in the squinting vision of night. Lightning fractured
across the sky cracked, cathartic. Imagine, to steer
into the sea as the evening stretches, take it
to other coasts, live a life less haptic;
resurrection by the unbound, and disappear.
but most days as the wind curls the sand around my toes, this beach to wash up the same bones
the same trunks of broken trees,
what was it I was meant to be
like a limp, whale on the beach stones
eyes to the sea she dreams
  the empty ownerless sea.

Lived this life too many times
Seen it all, cascading minds

You don't see what I see,
You don't see what I see

Have I given it all away?
Have I given it all?

Another fall, another time
Another fall, another time

Near the surrounding sea
I lie in the sand; somewhere
else beside the drag
of the water waves.

I see no kingdom here;
no fantasy of mowed grass gardens,
small brick fences with oiled gates
and tightly trimmed bushes of Rhododendrons.

I see no impressions here,
to the subjects cosmic eyes,
of perfectly ordered existence

overflowing like
carefully layered, plucked and picked
lavender petals pouring
over the cliff garden.

I see twisting things overhead
and the tangling of the light
through the air to the forest floor

Oh hallowed moon that follows the Earth;
your plight is not unknown;  I swear
by the fire of Hades breath
and the pull of the heart to the heart
take me, take me now…

I am alone in the sand
turning to glass.

when time is cerebral,
marginalized

bats squabbling, dropping
fruit, swooping
low overhead
as the humid air saps
the sunlight dry.
the stones that enclose
the roots of the palm trees
slowly morphing
to an electric auburn.
the atmosphere filled
with that rust coloured dust
that you kick up when
you walk.

and kids with fishing rods
running to the wharf.

delicately, our dragonfly conversations
dance in Japanese gardens,
where jewelled concrete pagoda’s
stand stilted, like
timeless geometries, in greening water

then wind rustles timidly through
creek beds and pebbled leaves;
bells ring like wine glasses at a dinner table
and we feel our arm hairs stand on tiptoes,
pricked up to weary voices

(chanting monks, those that sit in circles
monkishly chant, in unison
“there are three meanings of loneliness”)
here, chanting also, we
find ourselves again not alone
enchanted in the fragmented daylight.

but then again, I turn, apathetically, and declare
“let us rest
in the immense imagery of our imagination

for it is easier to sleep,
as rain creeps closer to our doorstep,
than to ***** barricades, levies
and trenches around our house”

Oh, but the way the light reflects upon the Japanese trees
is so splendidly delicate,
and our delicate conversations
feel all so perfect…

so now please, time, lose me
in your whisper.

You are recurring,
effervescent,
dust on light streams.

I am elsewhere,
static, immobile,
a 30ft depression
in damaged concrete -

though still
we unfurl together,
lean towards sunlight
like Japonica’s  in bloom;
you are the coloured iris
that enfolds my empty pupil,

you are
my subtle hue,
I wish to paint you
in a surreal saturation,

a sincerity that breathes in between our authenticity.

Before we leave to write essays on realism,
come meander with me
into the depths of profundity.

Off that windy bay wharf,
where old poets speak to lost walkers,
you dove into aporia

Morality the highest myth
dreaming conquered by Capital
shelter replaced by property
the immaterial, theft by sophistry

a bay carved from jade,
crescent moon.
horizon cradling distant storms

waves upon waves accelerating towards the shore.

There are too many things to unsee in this city,
the night street holds dark memories;
traffic jams, phones blaring
the static complacency of the bourgeoisie,
faint screeches of beat up vans
and tire explosions, schizophrenic
sloth of industrial machinery
drilling roads, houses, three metres apart;
the fragmentation of the nuclear family -

if only life were a gothic fable;
we would all be mythical
deities to the dark regions of earth -

for the night is oceanic,
Atlantic, revolution
turns upon a fixed axis;
tonight’s ocean
opening, first ionization,
breath as oxidation -

the middle
the midnight

in the air where the air is alight
and the light contains substance,
the fine saturation of salience,
lust for dopamine, we light

the silk in the fire, remember the earth
spirals around a sailing sun
like a strand of DNA,
everything circumferencing
in swirls of cataleptic cinnamon,
and we are space dancers,
free in the infinite,
the embroidery of all edges,
small, but
insoluble
and dissolving.

towards another end
the black sky of winter postures

¬fireflies like stars by
depictions of dancing¬

ochre soil of rock escarpments
flood plains, buffalo grazing
and you smile at me as we’re driving

it seems presence always has a way of disassociating

  I have so much to say
but when you’re attentive it all feels cliché

   just play me piano keys and ruminations

when the storms sink the streets
and drains overflow with branches
there’s always that desire to stand amongst it

there is something you should do,
if you could
remember, but

history is bipolar,
each moment splits in two

rifts, opening
skylights in hallways

days go into days, go
into years
and still nothing.
Nothing in the daisy fields,
nothing in the fields,


white hills vanishing
behind clouds

us, here
on the side of the road

and the wind whines
through the tussock grass

and cars drive past,
bright lights speeding through darkness

Shania ngarra Nelvin
he said in an SMS
she showed me,
grinning.

Smoke lingering in the kitchen,
a bucket catching drips of liquid
filling the silence with a comforting
consistency. A figure in the corner
with a cigarette in a chair

“we really get the snakes through here.

You know those lines carved in the desert by rainbow serpents brought me.
And the trains used to come by here, it was the train station.
On the grass I would make baskets and talk to the boys with my artwork.
cute ones, ones with diamonds to spare”

Outside; two lapwings, guarding
their nest in military formation.
On the roads, armored vehicles with armored people.
Police checking the parks for alcohol.

The palms wilting down, dead
brown, tangling the canopy
light in sporadic glimpses
on the concrete walls.

it's here again
the thick ache of winter
weight of remembering

a hibernating panic
cracked hull of the seed
the Fourth season

a strange winter in the desert
hearts painted in rose madder dye
your laughter clinging like
roots of the Ghaf tree

water, water below
waste not what can grow

sand sweeping across the sand
sand sweeping across the sand

White face, wide eyes
clenched hands.

Earth churned and sliding.

A fog on the hill,
dissolving hands.

It rattles when I am still.

Like in rooms of strangers.

Ruptured scars of
mud sunken hills,
black water

runs like a death plague
through houses.

And soil washes
into cracks and thickens.

Hell's cavities splitting.

Aftershocks,
subtle dreaming,
passing in my sleep.

They say studies show
the reason for reflections
of Christmas lights on windows -
It’s the particles, they say,
that shoot like rocket ships
through the air,
bounce off surfaces
then grip
and reveal their tricks.

We have not yet travelled past Mars
but we have grown wide
and far between
each other, on acid trips
with life long friends
we laugh at the stars
and in book clubs at 4th and Alma
nestled in a quiet apartment lofts
discussing the sacrifice of Éponine,
we too are caught in revolutions.

But it still seems
the pop songs are the saddest songs
to sing on Karaoke nights in city bars,
where a million lights refracting inside
my heart swell and surround
the drunk glistening eyes around me
swaying to and fro
to “She loves you
yeah yeah yeah”

"The text is typical. It's like a speech whose units mold like a dropping of a secretion. And since he is here a glottic gesture, work on oneself of the language, the element
                                                                         It is the saliva that also sticks units to each other. The association is a sort of slimy contiguity, never a reasoning or symbolic appeal; the goop from the hazard makes sense, and progress pace by small tremors, grasping and suctions, veneer - in every sense - and slippery *******. In the mouth or along the column. "

does it outgrow you?
what you knew when you were
        talking strangers
        more familiar than thoughts

now i'd walk for miles to see a friend

cold, danger of substance
weak will of absence

it's so still in the gulleys
as the rivers run

where are they located
these memories disappearing like vapor

i know too many people


(reason has no prefix)



(oh to be immortal)


and Michelangelo

God reaches, full of brain



blinking


jigsaws out of place


and there are too many words

like fingertips


i hold my hand on the fireplace

to glimpse at burning

Distance, prince of deception
and fictions. Taunting the
lonely mind with
infractions, -

to swim in the depths of fascination.
There’s only faint phantoms awake as you wait.
It’s only the restless thoughts that are slated.
To think about those other places where
you could reach out your hand and relocate.

At the table of frantic feasts, your fate
decided between the savagery of plates
where you’d swallow your anxiety and eat.
This good treat tastes like apple syrup sauce.
Who’d pretend to be dying? No wonder
you’d spend hours researching conspiracies.

“I’ve contracted some kind of disease, I’m
telling you this is like One Flew Over the Cuckoo’s Nest
and I am Ken Kesey”

“Ah Palinurus, you were too trustful of the calm sky and the sea.
So you will lie, a shroudless form on an unknown strand”

The streetlights dawn at dusk
like imitations of the sun.
And the perfect flowers of the
perfect garden fronts enclose
and curl their eyes within.
And we close.

The twilight tears of night surround
the somber sights and sullen sounds.
The single hearse goes by, goes by
blackened by the starless sky.
As watchers watch with their dark eyes
not afraid to cry

and we wonder why
the earth is in rotation
but there is no
revolution.

Oh the dive and the descent…
for the waterless, washed out years spent
on nothing, shedding petals like flowers
on the dirt

are nothing

but straight lines on refill pad.

So, I’m sorry to all of you
But I would rather bathe in the sun-sewn air
streaming through the bronzing leaves
than breathe the air
of your sordid torn tomb
where your heart aches
like a desolate sun
in the dry, withered realm
of reason.

Now the road is vacant
and they have nothing to see,
so the docile dozens on the street
with their frameless figures there
stand and stare, unaware
that the heart is a shape
and the soul is the sky...
so today we fly.

As I inhale,
I catch your breath
next to mine in the hallway,

your hands
are covered in blue veins
and you tell me
about the amygdala
and the chemicals
in our brains.

I tell you how
there are subtleties
in the dark coronaries,
there is a linger
that assembles in the blood
before it takes in the breath,
there are secrets to the cells
and the capillaries.

Your hands are shaking
a small bit, pale and blue,
in the middle of the hallway.
I grab them,
you close your eyes,
I know you wish you were elsewhere,

but you must remember
this life is a caricature
of biology;
we are all elsewhere -

I wish I could tell you,
that all I want to do is stratify you,
lay you out across millennia,
until you are everywhere
in every rock
every mineral.

Tell you to remember,
our birth is before the first day;

we are
                        the light
   before
    the dawn breaks -

we are circulated
me and you,
like breath,
like the morning star,
effortlessly,
orbiting -

do you think we would fall off
if the earth stopped spinning?

“I do wonder
if there would still be oxygen”

I grew up chaotically
in dichotomy, my hands
in between the walls carrying bi-polarities
“cradles! babies that squeal
for fear of strangers,
mothers, where are the mothers,
where is the family, have you disappeared
in McDonalds and KFC’s?”

Flashing Christmas lights throbbing
in my left eye, so colourful I don’t know
directionality, temporality burning me up
losing me up, inside these sights I feel a, a
maze in again, and up again…like
a ****** on a horse-
“there are aliens outside!!”
though, on the other side
just
air
in my right eye. I see air, extending.
all the gentle blue hum of the air.
it goes, breathes, in and out.

Lalala,
mmmmmmmm
It's so satisfying man.
Tell everyone about it.

While everyone sleeps,
I creep into the boardrooms,
where they hold their secret meetings.

There are certain syndicates in charge
of things like this; devising plans,
scratching heads, drawing charts,
painting on brains,
with paint by numbers.  

But go on, (shuffle awkwardly),
for i am no emasculated lion
courageous in defeat,
i am merely a rose,
left lying on city streets.

when swimming with dolphins
lost phase, depth of oceans

recurrence of persuasion
the cavities erosion
a pragmatic extension, the neural hyper tension

grace the evening
split precision aching
remedies for aging



repetition
of the alkaline waste

I gaze into the distance,
silhouettes of cranes stand elegantly on crystal water.
Behind me, moonlit mountains crouch with their
caves and rocks.
And the spirits, charged atoms, flutter
with the wind.
Beneath me, only hope, immortal like Styx
cracked beckoning
as I cross to that other time.
I search for my dreams, one lost between
dark branches.
But in vain; battle, battle, clammer, gather,
go,
I am still….
To fall into the rupturing sky.

-milly and jonte

To split science
by careful measurement.
To create a subject;
abstract, computational.

I am persuaded to forget
that which while present
is dissipating,
because I am not here,
but tangential.

I am governed by the laws of particle physics,
standing motionless as eyes watch me
give a speech on the power of language.

For when you get close,
where objects touch another
in the same way you and I
touch. Cotton curling
away from fire. Oil
on water. It is identical.
Irises returning
into their dark interiors.
Intact, incessant affirmation;
properties
that intersect and
soften, striking that
which while coaxing,
eludes us.

I am a stranger to myself,
entangled.

revolutions are coming
for the bored children,
of course, just sit tight.

soon the days will no longer
coalesce together like caterpillar chrysalis
clinging onto branches;
wherever situations harmonise
we’ll make gentle gestures, moving
to and fro until we declare

“this is the medieval economy,
we belong with the hordes of ants.”

But then again
sometimes I find myself in the dark
in schoolyards at night
on the lawn grass gazing up
at towers of concrete rain

I feel the apprehension falling
from the balconies,
and I swallow
the anxious murmurings
of productivity, diligence and attention,
digest their nutrients
and spit them on cocoons
in metamorphosis.

Though, I hope the spit does not spoil the butterfly.
I mean, I would not be surprised
if I caught a tummy bug
and it killed the whole world.

still,
rhetorical coincidences ceaselessly
resort into syllogisms,
essays babble incoherent thoughts,
cranes construct rows of identical houses,
times moves forward and backward
to save light, it consumes time
in my mind. oh revolving
prisms,

there will come a tiny time,
emerging, bit by bit, in unison;
there will be gentler things
to caress the subtle
skins of existence,
one by one, all at once,
momentarily again and again.

the softness of voice is atomic
spoken, static,
lossless

speak to me, and I could not trace you,

follow me into
transience,
dissolution

Nervous butterflies
emerging from a chrysalis
of chrysanthemum wings of doves.
Flying towards burgeoning horizons
fluttering erudite on solar winds
lost amongst deranged proximities
bounded by blackened skies
Escaping realisation
subterranean rainbows flicker in prismic identities
diverging depleting
diminishing deconstruction into distinctive dominions
waning light that merges into surroundings
(bound together by the unfortunicity of birth)
[aren't all?]
Falling since conception
“all things are a part
all things are apart”
Loud
crimson daylight
excess is the prerogative of the crystalline
...
time
distances
people
such a petty quality

one feels more distance
by degrees
the closer the surroundings.
(and when I say dancing, I mean jumping through galaxies)
[oh good, I am better at the latter]
(it's like tumbling,)
[was all there ever was]

[a can? Or a cylindrical box of tin?]
…
…
…
[but I digress.]
(My my my
Don't touch the apple pie)
[if you do I will cry
antelope bones down a chalkboard.]
(what?)
[Screaming “sirens, sirens
Sleeping alarm bells
show me madness,
I am cluttered”]
there are no gods
only pillars of marshmallow
transforming, caressing
endlessly

-oliver and jonte

take me down
to the ground
where the sun
meets the dirt
where the soul
meets the sea
and the ears
and the eyes
know nothing
but their function

so take me down
to the ground
take me down

drag me down
to the bones
where the touch
meets the tone
where the salt
meets the sand
and the mind
holds no thoughts
except longing

so take me down
take me down
where the light
meets the dark
and the ghosts
meet the heart
drag me down
drag me down
drag me down

Through the tunnel
where safety lights diffract
and our cigarettes filter the exhaust fumes

where oil forms rainbows on concrete
and lilacs grow through the cracks

these incandescent heartbeats
in passing cars, passing by

and you lightly, like
a dragonfly,
realigning
to catch the light
in your half opened eye.

My mind dances with others;
flirting like a teenager
around their brain.

All I’ve done, crumbles
like a daylight ending cataclysm,
racing through darkening woods,
misty and vacant. To be
everything that hides behind
the curtains. To be
nothing but glitter on hair,
sparkling and broken.
I am. be.
nowhere.
free

like slaves. Again,
moral progress, I entertain;
the parts that constitute the brain.
Like language, ambiguity not in essence,
but expression. What is it, Kant? I can’t,
I can’t…understand you through any mention.
For all it is, bears no pretension, indiscrete
like lavender pollen; smelt
and sweet.

In my hours of ego-less desire
I still tangle round reminiscence
and dread. All my teething thoughts
scatter like Ash, collecting creatures,
wandering through digital landscapes.
I am nowhere obvious, in-between
the mud and electrical cables,
as I spin round an atom
imploding and splitting.

The garden dwellers are in revolt.


there, a chrysalis on a twig shoot  
and a lorry train of ants dragging that dead body of a beetle
but it is not the body that is dead, it is only a skeleton, a hollow casing
pulled along the highway lines of the octagonal pavement
to the nest that stands like the Dahshur pyramid.
The Queen is carried on the backs of slaves.

Is it dangerous to walk there, down that thorny avenue of roses?


reminiscing over the regret of a lust for death
what is it, absent, another layer of displacement
as you dig beneath,
this garden, this prickly avenue
the soil is drenched with autumn leaves and deepens,
it is dangerous, I am buried in it.

you are my failings
antiquated

fields of green

salvation

is it not invisible

sensation

and i'm left alone
evacuating


all around light

and dark

you know me

i have nothing in souls


nothing in history


except when emergence


awakening to birds

The train stops at 8:55am in the morning
broken down on the tracks without warning,
I sink into my seat, half asleep,
of course wishing this would keep
the car wheels from turning.

But we’re already in too deep
in the wires, underground piping
woven through the streets,
now resigned to merely typing
for the bureaucratic creeps.

If I could stop
too, fast forward to the evening
light
the fire, close the curtains,
this time I might,
though I’m not quite certain.

I have no more to give, no more to keep
the ***** is dry, the kids asleep.

The train stops
at 8:55am in the morning.