i.
today,
i woke up
with my head
swamped with thoughts of you.
a smile started at the corner of my lips
that eventually coursed through my face
like how the first light of the day spreads at sunrise,
or how i feel my body respond
to the first sip of coffee in the morning.

i look at the space beside me that is intended for you,
a space that i have saved just for you.
pillows substitute your presence.
not as warm, but they will do.
for now.

ii.
what gets me through the day,
no matter how difficult it is,
is the idea that there is you
(to look forward to)
at the end of it.

that later that day,
i will be seeing you again;
but i will have to wait for a while.
which i find very difficult to do
because patience was never my virtue.

iii.
if there is one word that lost its appeal to me,
it would definitely be the word forever.
how can someone of ephemeral existence
promise something as pretentious as forever?

i would not tell you that
i will forever love you;
what i would tell you instead is that
i will always love you.

always, meaning all the time.
always, meaning every time.
always, you and i.

I am
Eternally exasperated
Frequently frustrated
Incessantly irate
Perpetually perturbed

Awfully ambivalent  
Forever fickle
Frustratingly finnicky
Laconicly labile
Madly mercurial
Virulently volatile

And every other ******* adverb, adjective alliteration

The first cold letters, alone on the page.
A quick pencil found them,
and the lively and beautiful syllables blossomed.
The pale book felt the pencil,
and the terrifying, hot words entered.
The lines grew, living and sensitive,
gleaming as never before,
and I knew the unheard lines!

First, a tiny and unselfconscious sound.
A noun struggled to appear among overpowering words.
A strong, golden adjective ran out,
a short, fragrant adjective, beautiful in the early spring.
A young verb grew among tiny blue conjunctions,
and a fortuitous adverb understood, instinctively.

The first sentence dreamed of trees, and a sad cloud.
It dreamed a grey rain,
and the tall trees felt the rain.
There was a first and unknown river,
imagined, inconsequential, like snow in summer.
A red bird glided beyond reach,
as if it had never happened.
The soft sounds fitted the lines,
and the quick bird cried,
Remember the short rain!
Remember the sad poem!

****!

All you need to say
in seventeen syllables
wrapped up cunningly.

life more abundant calls forth an expandable reality primo,
thus wisdom, the principal thing when-ce all other
things may be made

machine level codifiers ifying
meaning back into idle words.

Keep the secret. Answer the call,
who will help the widow's son?

You, Templar, what message bear ye to my child?,
asked the widow.
Fi-del-e-tus. with a squeeze and a tap,
wink and grin

Poet, who named the prophet?
who named the teller to tales?
who gave thee hearing ear and seeing eye?

Some mind imagined those as yet unformed in forever past.
You agree. You experienced living, so far.

So good, we move on, figurative re re re al-it if-ity
Haps apt to appear be fore your veri variety of being even
hapt as a thing thought, imagined made for a function, as yet

undone. Conserve the NULL set, that whole idea is dangerously
close to fading…

Have you seen those videos of soap bubbles filled with H
and no O?
You should see those, to recall the phenomenonal pre-dictatorial
image, see the bubble, invisible but
for reflection of ambient ambits in our epigenetic radiosphere,

bubbles collapse, and for a flash, flame orange shaped
as the bubble was.
No ex-plo sion it-a-tivity, mere dis cipation,
loss of grip on the shape of things that were, now
con forms to re per ceive,

try again, get a good grip, swing and a miss, go again
take a Mulligan, I think, some game has such a rule,

We can use it here. We can scroll back up,
like a rope lift on the bunny hill at Big Bear, back when…

wheels in wheels, bubbles in bubbles, forms in forms

this is the information age I was informed. Adamkind, those
qubitical, ambitical little images of

Who, who? would a name comfort-you worth more than a breath?
Fresh air after a minuted moment twixt out and in again,

Power, create ific power haps twixt out an in again,
the cipitation, the d was missed, what if it were not?

re-read, religion once meant that, re-connect, too,
religion meant that state of having re-read the map,
re-tied the worth carrying,
stacked the worthless by the trail so
some hapless stranger may see
the treasure it was and is, to any who care to

receive, or con ceive it for the
truth I found in it and kept, which I leave to you
here:
Both treasure and truth are where ye find them,
and shall be for ever, when ever starts for you.

Ezekial, judge my riddle, please. The fool missed the
point of conception…
No, no no no

A fool's dance in a Phrygian cap with useless, symbolic wings…
gee, Phrygian, means nothing to you? Google it, you live in the future.
Later,
A time upon which a Mercury dime would comfort
a rich American Tyrant, son of the Flim-flam man,
no lie, this is mythic, you can't make this stuff up
its history. Hysterical, right
John D. Standard-for-Petropower-manifestation,
the dead's carbon footprints bubbling up
to fire and fridgin' ice, whoa, who broke the world,

I was distracted. Did you know the planet is
as self healing as those scabs on my grandkids knees?

ah, caper, eh? Capere, to grasp, to take,
ceive means accept by taking,
be liefing an idea ceived ex nihilo, is likened unto

Drinking from a still pond in a distant land. Sults,
results. may result in,
Dear Rhea revenging Montezuma, at a gut level.

However, a sort of how in an open mind facing forever,
a sort of omni-directional saliency
seeing further,
--Bomb, Jesus-bomb--

At least two reasons for thinking Jesus is objective, out side
you or inside you. You aren't Jesus. Jesus is a friend of mine,
in my mind, object-if-I-try
to pray, listen pray hopes
happen
shapes form
forever from ever point, every point, not of, in buy

a why..
why does a y on the end of every mean any thing?

That's the y-factor. You will learn why wise men still seek those.
As treasure, they are light, and the taste is beyond

the grasp of tongue to tell

that whole class of moded-ever words weave wards
whenever, forever, however, whatever
used proper, everafter,
that will save Dresden, some time, we think.

However, now, Rhea by name has entered the game.

Who is this named femofame? What game is she good in?
Or does she just knock the **** out of lying spirits?
Cool.

Ah, mother of all the gods, I recall, I mean
I meant to say
I remember, then I for got the power words hold here
exactly heare in eleven metrixed mentions,

this point, in time, not of time.
In the world, not of the world, you've heard the pharse?
The allusion is not lost on you, you know the phrase,

In the world, not of the world, holier men than I have
claimed to be, while I follow a few fine words,
linguistic kief, sprinkled fairy dust, like the stuff
captured in the gleaming film on your
microscopic-outer eye

see a salient point in time.

A pin point 'pon which one,
no more,
one story begins for ever, a gain in good net
value, if

we have tasted that word, chewed the gristle,
indigestible ligaments and sin-yews and such,
which once anchored meat to bone,

value is first good. Good e nough, nough
Gut genug, okeh,
maybe not my best, my best is yet to come, they say.

sufficient for today
------

enough (adj.)
c. 1300, from Old English genog "sufficient in quantity or number,"
from Proto-Germanic compound *ganog "sufficient"
(source also of Old Saxon ginog,
Old Frisian enoch, Dutch genoeg,
Old High German ginuog, German genug,
Old Norse gnogr, Gothic ganohs).
First element is Old English ge- "with, together"
(also a participial, collective, intensive, or perfective prefix),
making this word the most prominent surviving example
of the Old English prefix,
the equivalent of Latin com- and Modern German ge- 
(from PIE *kom- "beside, near, by, with;" see com-).
Second element is from PIE *nok-, from root *nek- (2)
"to reach, attain"
(source also of Sanskrit asnoti "to reach,"
Hittite ninikzi "lifts, raises,"
Lithuanian nešti "to bear, carry," Latin nancisci "to obtain").

As an adverb, "sufficiently for the purpose,"
in Old English; meaning
"moderately, fairly, tolerably" (good enough) was in Middle English. Understated sense, as in have had enough "have had too much" was in Old English (which relied heavily on double negatives and understatement).

As a noun in Old English,
"a quantity or number sufficient for the purpose." As an interjection, "that is enough," from c. 1600. Colloquial 'nough said is attested from 1839.

From <https://www.etymonline.com/word/enough#etymonlinev8703>

from an idea by Sheila Sharpe

In the foul heat and damp and rot and stench
After dusting off 1 the bodies of dead pals
The living and the dead, the living dead
Old Boats 2 lit off a cigarette and growled

“They say this stuff’ll **** ya.”



1 Dustoff – noun.  Dust off – verb with an adverb.  A dustoff is a medical evacuation via helicopter, as in “Doc, your dustoff will be here in three.”  To dust off a patient, then, is to transport a patient, not to tidy him.  I have recently read detailed arguments about the terms dustoff, dust off, and medevac, but no one quibbled about such minutiae along the Cambodian border.  

2 Boats – a boatswain’s mate, the brains and muscle of the Navy.  Boatswain’s mates do it all and are seldom acknowledged in history or art, not even in the recent film about Dunkirk.  A boatswain’s mate is often addressed as Boats, and always with deference, even by the C.O.

A root of confusion in math
is not knowing whether a term
is a noun, verb, adjective, or adverb.

An equation is nothing but
a string of nouns.
But I may think about these nouns,
by their adjective or adverb
alternatives, for example,
which convolute the matter.

Verbs in math are really the outliers.
Thus, I've been thinking wrong
with "math is a verb" mentality.
The most common math terms are
nouns, which function alone
as subjects and objects.

What I think of as "doing math"
is akin to "doing porch".
It entails a deck, railing, stairs,
a chair, a roof.
So too, does math include these
things.

I walk on the stairs and deck.
I sit on the chair.
I enjoy the roof's shade.
So too, the things of math are
used via terms which are not
included usually in math terminology.

Almost the only verb used in
math is "think" which is convoluted
by the subjects/objects which I
employ during thinking.

It's seemingly not enough
to curtly say what I've done
and truth be truly told,
there honestly hasn't been much

so thank you kindly
for craftily making it seem
like apparently there's so much more
than what's inherently me.

BELIEF & TECHNIQUE FOR TELEPATHIC PROSE
Lee Sharks & Jack Feistfrom Pearl and Other Poems

1.     Compose real poems telepathically, with mind control powers, inside your glorious brain.

2.     You are your own best advocate. Insist the world acknowledge your poems as artifacts of tiny doom. Accept nothing less. Threaten to smash yourself in the face with gasoline and set your hair on fire. Leap over the seats to aggressively stand inside the world’s personal space and get up in its grill. Take this container of Tic-Tacs and smash it on your forehead. Crush each Tic-Tac individually into your eyeballs and ask the world if it likes your poem, and if it likes your poem, then eat your poem: “Do you like my poem? Then eat it.”

3.     Always seek constant approval, then punch your cat in the face.

4.     Arrive alive. Don’t text and drive.

5.     Always write poems all the time.

6.     Never professionalize writing. Professionalism is the last refuge of responsible people looking for work.

7.     Your life is your poem. Take care to write it biographically. Failing that, invent false biographies and post them on Wikipedia.

8.     Get as much education as you can, then ****** your education in the face to save it from sloppy education. Get enough education to respect your contempt for education.

9.     Give it all that you have, as deep as it goes, as desperate and total as taking a breath.

10.  Also be pedantic mundane pig-critic of precise punctuation juggling and ruthless crossed-out darling murdering of your own puny sentences. Save every draft and revert to original after enormous work, then drown yrself in the bathtub. Remember: editing is organization.

11.  Be long-sighted prodigy of skeptically believing in nothing, but also believe in destiny, but quietly, and hit yourself in the face for naivety’s sake.

12.  You are a seamstress of words—place each stitch carefully, deliberately. Develop a series of rituals and perform them, without variation, prior to placing each word. Allow the frequency and intensity of these rituals to grow until you spend hours, each day, touching and retouching your left index finger to the tip of your nose in a rhythmic, counter-clockwise motion, in sets of thirty revolutions, in order to place a single character. Spend years of your life shut away from the world, wasting away into an awkward, unhygienic shadow of your former self, and have, to show for it, a two-syllable word of Germanic origins on an otherwise clean, white page. This word will be redoubtable, the bedrock of your writing career. Go on to spend vast sums of personal wealth and total dedication, alienating the remaining handful of long-suffering friends who continue, despite all odds, to solicit the memory of your humanity, in order to learn the arts of metalworking, Medieval alchemy, and font design, recreating a metal-cast, alpha-numeric set of Times New Roman font, from scratch, going broke long before “numeric,” and with only the half-formed germs of the characters W, N, and sometimes-vowel Y.  hat are such retrictio s to  ou?  ou are a poet,  ot a mathematicia .  ou are a creature of steel.  ou  ill  rite a  e  and better  orld, a  orld  ithout the letter   , forgi g it, o e smoki g husk of a  ord at a time.

13.  Turn over a new leaf. You’re not getting much done like this, anyways, let’s face it. Break the chains of your censoring, conscious mind; tap into the spontaneous well of unconscious human brilliance that springs from the source of dreams. Thwart the stick-in-*** tyranny of your internal editor by making a commitment to write constantly, without ceasing, editing, or even thinking, no matter what, ignoring the anally retentive quips your brain will no doubt make. Make a further commitment: you will not only write, irrespective of internal censorship, but in a way that is unconscionably terrible, on purpose. Your writing will be, by turns, embarrassing, infantile, automatic, and marmaduke poppers—or shall we say, antagonistic to the indoctrination in repressive concepts such as “sentence” and “word” of your reader, who is always, and only, you. Let your writing be a spiritual discipline of Bat-a-rang pancakes and lightly alarm clock, ding—your toast is done.

14.  Always Alka-Seltzer eyelids all the time.

15.  At last, you are ready to make it new, to ****** your darlings, to first thought, best thought, to your heart’s content. Your adverb will be the enemy of your verb, the difference between your almost-right word and your right word will be the difference between your lightning bug and your lightning. You are ready to have a spontaneous overflow of powerful feeling, then censor the s**t out of it. You are ready to turn your extremes against each other: Unlearn your apple pancakes and burst through the mental barriers; then slow the flood, let the lovely trickle out & edit, edit, edit. Capture spontaneous gem of native human genius, then marshal vast armies of technical knowledge & self-discipline to ensure it glimmers and cuts.

16.  Believe in things like destiny. No really—the path will shatter you so many times your shards will have splinters, your bombshells, shrapnel. By the time you get there—which you probably won’t—even your exhaustion will be tired. Exhaustion of mind and body will have passed so far beyond the physical, and through malaise of spirit, that it will emerge on the other side, as physical exhaustion again. In the face of this, nothing but a little Big Purpose will do. Besides, a little ideology never hurt anyone. Feel free to be all Voltaire with your bad self, in public—but don’t give up.

17.  After all of this, when your will is finally broken (again), and you have given up for the final time (again), start over. The former model wasn’t working. Refashion yourself and your writing. Lather, rinse, usurp your noble half-brother, and repeat, until you get somewhere, or die in the trying.  

18.  Achieve consistency of voice; it is the signature by which you will be known. Your “you” should ring out clearly from each individual letter. In this, the writer is like the salesman. Like a new car, neither the writing’s merits, nor the reader’s needs, will be the final, deciding factor. Ultimately, the deciding factor is you.

19.  Unlike a new car, it is difficult to drive a poem, to use it to get to school or work. Unlike a car salesman, a writer does not wear enormous ties.

20.  Be so consistent that your writing consists in composing the same words, in the same order, creating the some overall voice and style, consistently, over and over, an eternal return of the same. Maintain this disciplined drudgery over the course of years. Let years become decades, and decades, an entire life: You will have “found your voice.” Variety is the spice of life, but consistency is its signature.

20.  Be so consistent that your writing consists in composing the same words, in the same order, creating the some overall voice and style, consistently, over and over, an eternal return of the same. Maintain this disciplined drudgery over the course of years. Let years become decades, and decades, an entire life: You will have “found your voice.” Variety is the spice of life, but consistency is its signature.

21.  Then again, consistency is the hobgoblin of small minds. Throw things up a little bit. One day, put on your hobgoblin hat, the next day, your small mind.

22.  On second thought, re: #16-17: Stop here. You don’t look like much of a writer. Save yourself the trouble of a deep investment that is sure to yield no returns. The prize is big, and not many take it. The Iliad showed us that the prize of writing is life eternal, and taught us to long for that promise; but the Odyssey taught us not to bother. There are many suitors, a single Odysseus. While the husband wends arduously homeward, Penelope weaves impending glory, an evaporating glamour, enchanting them, until he arrives. We are in for a bad end, if we chase another man’s wife, or a prize not rightfully ours. There are many suitors, a crowd of them. They begin as a chittering swarm of bats and end in the very same manner. You cannot have what is not yours. What is yours, no man can take. So, like Emily says,

I smile when you suggest that I delay ‘to publish’—that being foreign to my thought as Firmament to Fin. If fame belonged to me, I could not escape her—if she did not, the longest day would pass me on the chase—and the approbation of my Dog would forsake me—then—My Barefoot Rank is better—

23.  Therefore, take these Sturm und Drang commandments to the trash heap. Return to step 1, as the only useful piece of advice: Compose real poems telepathically, with mind control powers, inside your glorious brain.

(c) 2014 lee sharks & jack *****

from Pearl and Other Poems:

http://www.amazon.com/Pearl-Other-Poems-Crimson-Hexagon/dp/0692313079/ref=sr11?ie=UTF8&qid;=1429895012&sr;=8-1&keywords;=lee+sharks+pearl

My dream began
with a pronoun waking  
in the morning light,
followed by a verb  
carried in the wind
from across the lake,
as the adverb
whispered a preposition,
adjectives modified
a proper noun, and
I sailed quietly
to your beautiful name

Everything: pronoun.
a.) every thing of particular of an aggregate or total; all.
This is what I’m told you are
but I’ve never been one for deities.
You hear my thoughts
but command me to speak.
You know my human ways
but still expect to have me all to yourself.
You’re jealous- a “jealous god”
but I’m to believe you’re perfect?
The book says your ways are higher
but the coincidences and rules
that surround your mystery
just don’t add up enough for me.

Enough: adverb
a.) in a quantity or degree that answers a purpose or satisfies a need or desire; sufficiently.
I have a desire to change,
I have a desire to love,
hell, I want a Ferrari!
I don’t have those so are you
really enough if I use the book definition?
But, no, seriously, some people are starving
while others cant stop killing
or lying or stealing or hating.
Are you enough for them too?
Im still waiting,
but we at least have that in common.
They say you are too.
“They” being the activists, the followers, “yours”
and yet you’re still waiting for surrender.

Surrender: verb
a.) to yield to the possession or power of another; deliver up possession of on demand or under duress
You want me ever so much
-or so I’m told.
When I want something
I have to ask or initiate.
Where are you?
Are you planning on ever
speaking to me or asking?
Where is your humility
to simply ask?
Waiting for what you don’t ever request
is more foolish than I ever assumed
a deity of great power and might
could be.
You astound me for sure,
but not in a good way.
I thought the zealous screamed
something about you being the definition
of everything,
but I don’t seem to be able to define you that way at all.
I ask these questions innocently,
yet still I hear no response.
Did you perhaps,
in your infinite wisdom
create the world
and forget to give yourself a voice?

Peri Kousmos became effective with the thunderous lightning and mighty deluges, huge exhalations of fire Spiritu et Igni began with all the beads from the bottom of the sea rising by the seven suns that were duplicated odd, and even on the firmament of Agios Andreas. It was three o'clock in the morning of the antipode, and a splendorous halo with seven satellites that had at their summit the tops of roosters on some resplendent rays, which covered the meridian of a Demiurge that existed erected and frozen, opened over paradise. on the Peri Kosmou or Reference of the World of metamorphosis. Spuriously the emanations of the pamphlet that began to move from its geological boundary were made where everything was silenced and bruised in the compact parts, with all the wandering parts that wanted to enter under the ***** of the islet that was becoming spiritually. The Necromancer Monograph or work was violently prostrated in the four elements of nature with the geodesy of Vernarth, towards the Mandragoron Surveying for when Vóreios slipped into Nótos when Borker and relaxed both senses, then Dyticá with the demiurge Leiak relaxed from the Equinoctial of the Aftó, to fork through the narrow spaces and finally rise in an eternal vertical, whose center was relieved of a non-bellicose admission in a tremolo that wanted to shudder and defer from an extreme like the Eplinctae that made them move obliquely, the Stymphalos came out from the meanders, then the Brastae earthquakes bubbled from the Notós de Borker when he held them on the straight that contorted on the lacerated ones, later with the observation shot of Theus when the subsidence of the ground with the Hizematiae held them evidently parapsychological. Vikentios did the logistics of bridging the lands that were opened and divided around the perimeter, Marie des Allées held them with great force the ground that naively used to quiet for ephemeral moments with the Astae earthquakes, until Wonthelimar appeared and became effective in the verticality that expanded when it sank due to its shaking with the Palmatiae, and finally Vernarth bellowed with disgusting gutturals so that they would react to the Mycetas earthquake, which was exhaled from disgusting visions of the Peri Kosmou evidencing incidental paragraphs of Apollo, which although he understood of analogous emanations that seemed to be demonic plasmas of the aldehyde in the Valley of the Pleisto close to the Phocis. The sublunar pretended to have tangible oracles through the gasifications of the original Epiclintae earthquake that moved them towards the meanders where the bronze birds awaited the precepts of the Saint to take an advance on the celestial kingdom. This implied that the nature of the Stymphalos would require the sensory stimulation of the golden cowbell of the *** to stimulate them in their gift of flight, with their heavy wings that rested at the right angle to later draw on the cavities.

The sky was beginning to disappear and in the fissures that the Dyticá de Leiak line leaned, the shores of the sea were rearranged to assist them by magnifying the supine lines with the vertical ones, within the microseisms that began to increase from the earthquake, avoiding breaking the surface who was still generously supporting them by the cross of Patras that was he bilocated with his five-meter golden cross, up to his goddaughter island with the little finger of the Apostle Andrew. From here in the surface of the earth would be ajar when cracked by the little finger of the Apostle, then he would leave in his hand a minimal piece of earth so that they could be preserved from the cataclysm, and be redeemed by the bronze birds. Only in this way was the revived earth aware of what was happening, and let it escape in the concrete stones that had evaporated from the apostle, only letting in some bursts of the Metelmi that interlaced by springs of the lusters of the sublunar cycle, which intermingled with the land and the ocean, and the fire with the scalded air. The rebellions of the Mega Seism transferred them in psychic divergences towards the Palmatiae earthquake, which recovered the edge of the pilgrims who did not manage to attend the course of the Mashiach holocaust when they were apprehended by this force of the Palmatiae earthquake on the path of Bethany. From the valley of the Pleisto the uproar effects of Golgotha were counteracted, and from Patras when the sense of the earthquake shone on Vernarth's Mycetias in the 70th Earthquakes with the reverberated waves that flared in the verb, and in the guttural lows that They freed themselves from the subsoil, when the substrates of the mother's possession forged discrepancies of order or Kousmos, having to be reissued with so much rapture and sordid frenzy of the verb that did not recognize him from the stench of the waves that rose from the creeping subsoil, like a cobra that smiled linearly through the eyes of the fire conjured by the infected, and with the disproportionate deviations of the adjective, where salvation was the correct invocation where it has not been seen in the pharynx of the cobra, which struck itself in the impetuous fierceness of the burning global balance. The Peris Kosmou or reference of the World was compared with the paragraph that the evangelizing writings indicated with the chromatic, and not with the adverb when the fiery red of the Mycetias Seismic went directly to his fetid belly with halitosis to fully protect the wounded and Marie des Vallés with the reasons for the vertical and horizontal movement of the “Brastae and Epiclintae”.

god, words, where do you start?
when i get like this, i just write my thoughts
is that the same as speaking from the heart?
what heart, what heart?
this thing that beats against my ribs
i'm sure it's just a hollow shell;
pumps blood and oxygen
allows me to live through this hell
but there's nothing more to it
i'm not doing so well

do rhymes make pain sound simpler?
i have a bad habit of using them when i'm heartbroken
rhymes are used to undermine meaning, according to my old English teacher
half rhymes and nursery rhymes and rhyming couplets and sentences left open

to interpretation, to ambiguity, to aching wounds and clinical analysis
i'm thinking of pretentious hipsters and all my therapists as i'm writing this

"the mechanism which allows you to feel is broken"
it wasn't the best movie but that line stuck with me
i think the mechanism which allows me to feel is broken
don't worry, Harry, i know how you feel, Harry
i, too, use the adverb; i, too, feel badly.

the sharp things that cut me, the dull things that bruise me
everything i should feel is either absent or agony.
love, they say; let love in, she heals your thoughts and broken skin!
fickle *****, she is, what lies i've heard her spin.
do you love me when you lie to me, darling love o' mine?
do you love me when you trace your fingers over the nubs of another's spine?
love o' mine, love o' mine, that Touch was supposed to be mine,
divine, divine, beloved and reverent and MINE

it's a good thing i don't want to hold onto you anymore
the rope burns were finally sleeping into my core.
my god, these splinters, i'm bleeding from my fingers
as i try to reach out for something that isn't withered,
because the flowers that you bloomed are shrivelled and abused
i refuse to water them, give them life anew
does that make me a murderer?
well you murdered them, too.

What is the point in
Poignancy?

Fragment,
you tell me.
Another one in paragraph three.

What do words matter?

I have spelled love with Lilacs instead of an “L”
I have drawn the curve of my “O” with the chill of a
Sweeping breeze.
A “V” can only appear as the violet of a
sparkling sky, or I will be unable to read it,
and every “E” will amount to nothing more than
emptiness if the voice it has been given
does not epitomize song.

Comma-splice,
Replace it with a semicolon.

I am trying live freely.
I want to breathe in color,
to inhale an orange Savannah sky
And exhale green which
shows through the translucent dew
of grass.

Unnecessary use of description.
Limit it, Lidiah. Limit it.

My fingers itch with the ferocity of
A vengeful army.
They are waiting to trample pages with
The lead of my pencil, the bayonet
of a Revolutionary-War-era rifle.

The word limit sounds like tragedy.
A single word that can somehow act as
a precursor,
To the death of passion.

Your words have put you in a box.

People always say
“Actions speak louder than words.”
In a way that is true.
But I also know it to be
a tremendous piece of fiction.

Lidiah,
Please watch your run-ons.

Why can our words and our actions
not be the same thing?
Isn’t the act of speaking,
the act of raising your voice,
the act of being heard,
isn’t that an action?

Lidiah,
how many times do I have to remind you?
Clarification throughout.

Why have we decided that our words
Mean nothing more than
stepping stones on the road to action?

When did we decide that our voices
which rise like clarion calls,
forever instilling our promises,
are to be left on silent?

Precious jewels set into rings.

Poison in a water tank.

Lidiah,
what you say is irrelevant
if your MLA bibliography isn’t in
alphabetical order.

Our words are our actions.
They mean the same.
Words are the distinctions of our beliefs
Illustrations of our personas
They are not mosquitos to be slapped away
and forgotten.

Lidiah,
paragraph five is too long.
Stop rambling.
Be concise.

Please tell me,
what is the point of being concise?

Lidiah,
stop rambling.

Why do we let justification
equate to useless rambling?

Lidiah,
you have to detach yourself from the narrative.

Feelings mean more
than a couple of sentences.

More than a good or a bad.

A mad or a sad.

Comma-splice

What about ferocity?

Never end with a preposition.

What about passion?

Replace this with a conjunctive adverb.

What about the discernable strife
that follows even indifference?

What about that?

Lidiah,
what is the point of
Poignancy?

What are we without it?
What does the human soul matter
if we have forsaken the parts of ourselves that
remind us of what a soul is for?

Lidiah,
you will never be heard
if you do not learn to follow the rules.

Did I ever ride one of these casino busses?
That's how I met my wife.

Is this weird enough?
seven measured spans of ten plus some,
this bit, this collection of second chances,
in how many?
in ever,
how many spans of tens have passed, without me?
or,
without the star stuff Sagan says  
I am made of?

or I am made? I was.

That's the measure of my worth,

nay, I say.
Rue the day I told that lie

shall be my epitath, should I leave without
a-counting
them there ex
acted, mockinbird killin' days and ways we was

when we was
never governed, as a people, or a tribe.
as ids,
we was wild injuns, us kids was. we did as we pleased.

life was fine,
livin' by the river, you can imagine a cloud

occlusion of green greasewood smoke
softening a barely waking moon
four thumbs high at sundown

keeping fairy tales down low enough
that grandpas
can snag

-- and release and come back jack, right here
--to this dangling hook

and it's always gonna be this way

catch and release,

life's story your story goes on.
You never lose your place,

that's mortally impossible
to pose a

quandry
quandary (n.)"state of perplexity," 1570s, of unknown origin, perhaps a quasi-Latinism based on Latin quando"when? at what time?; at the time that, inasmuch," pronominal adverb of time, related to qui"who" (from PIE root *kwo-, stem of relative and interrogative pronouns). Originally accented on the second syllable.

pronomial adverb, eh?
Writers were warned away from adverbs,
back when grammar tyranny strained
at knots and gnostic gnats magi-ifical
add-on augmented at your own risc

made you notice
tech times change faster than Timex

Sinclair-- sorry, senility function was left on from earlier missions

Force-recon recollected war stories being moved permanently into fish story status before
legend adds a layer
of gloryshit
at funerals.

Reduced Instruction Set Chip, chip
chipping is
addiction diction
A.I. *** us a whole Yah bus win, it's
Free Play day at the Ol' Folk Home.

We sing old songs on the way to Viejas and
laugh about all we left in Vegas.

I ****** up.....once again.
no, 6x8 doesn't equal 46, it's 48.
I know, well is an adverb, and I said I'm doing good.
Oh, he's there. I'll just flip my hair. **** I don't have hair.
I've known myself for 17 years, and I just spelt my last name wrong. awk
It's quiet, and I don't even know what that burp sneeze cough sound that just came out of my mouth was. So I will hum for now.
I'm singing passionately and loud because this is my song, that I apparently don't know the lyrics to. Why me.
and then finally, I couldnt explain how I felt.
but in all that was ****** up,
he understood me.

There is no adjective we can be.
There is no verb which can make us exist.
No adverb to define the time we will never live.
Let's not even talk about nonexistent nouns.
You and I are only meant to be pronouns.

I have been hard-pressed for words
An adverb modifiying a verb
So I threw in a
Hyphen
For good measure
In bad taste

Work was hard
And my bones ached
They said
"Come to dinner with us down off the highway"
Seems fine to me






Wait
Stop
Pause
Hold on a minute-
Tick Tick Tick Tick

"Where did y'all say we were goin'?"

"Deenos"

All could think was **** **** ****
I know you work on Saturday nights
I looked down at my watch

And I knew right then
Tock Tock Tock
I would be seeing you again

The car ride seemed gigantic
All tires wheels highway
Saftey glass peppered the cross lights
From an accident the other day

Broken bottles poking in the grass
Dirt road and trees
I was looking but not seeing all of that

The parking was almost empty
...if it had not been for your car
I remember when I replaced the radiator in that thing
I remember how it had'nt felt like work
Fixing your car under a blazing sun

But you just hugged me and said thank you
Well at least I got the hug

Its been a little bit since then
I rember as I washed the grease from my hands
I wanted to wash off your hug

Touchdown
You put me in the Friendzone
You would probably laugh at me
For thinking I was the only one

I rember how I followed the boys into Deenos
I felt like a zombie
A prisioner led to the block

and just
My
******* luck
you look up
and smile the biggest smile I have ever seen

You seemed to talk so fast
I tried to keep up
Listening intently for single syllable words
My mind might comprehend
And your soft gentle palms
And a desk fan
blowing a strand of your hair
I felt like I was at the fair
Riding the FIREBALL
You talked in your embarrassed voice
And your soft pink lips
Smiled a song right through me

So we sit down
Eat
Well I pretended to eat
Whenever I wasn't trying to chance a peak at you

The guys were getting drunk
Because your uncle Oscar came out and was giving us
free beers
soon he locked the door
and pulled out a deck of cards
I pretended to play
When I wasn't busy, looking at you
And uncle Oscar brought out clear Russian
Liquor and in between jokes and shots
I pretended not to notice you
Being beautiful as you counted down the till

I had to pretend to ****
It was just an excuse to talk to you
"Hey, I'm about to have my break in a minute meet me outside"
I walked to the bathroom
Staring at myself in mirror
My heart tick tocks tick tocks
Shaking my head at this stupid shirt



Outside you were sitting cross-legged leaning your back against the wall
Nursing a coffin nail
I wanted to hold you
I wanted to tell you
I wanted to write some story
Where me and you talk all night


Sitting only a subtle reach away
I sat and smoked and watched you talk
Under the 75watt lamp

I want to touch you with my words..
I want to spill myself in verbs...
Creating one sound
About one Noun..
I want these emotions to be heard...
Thought about then felt..
Translated then yelled
I want me to be memories..
Recited scriptures on the tips of your tongue..
I want this to be Fun...
Me explained in dictionaries..
You reviled in song...
I sing of you in rhythm..
This verse...
one untitled song
And you will love it's tune..
Adding power to these feelings
I adverb my love inside...
To many adjectives to describe..
The sight inside my eyes...
I want to create us memories..
Dreams that fall ideas..
Let my words surround you...
Releasing all your fears..
Touching you with every syllable
Accenting every R..
Pronouncing all my Ps and Qs
Our details will be the fuse..
Light the match with your sweet lips
Lets us burn in pages
But our memories and dreams
Are now Ideas
Words thought without a Fear...

You are the quake that sent me tumbling into
the places I didn't want to go
and the jagged edge that cracked my cranium open
sending my head to spin around the thought

I have never been home
until I break down the walls
that blocked the sunlight from my view
You've painted my ceiling with tomorrow
You are the cracks that made it my own

You have always been the irony
the non-relational and everything
The adjective and the adverb that confused my very soul

You were inside my head for the shortest time
which made me call it home
You are my familiarity and my unknown
the comely tragedy that goes on and on

I can never blame you for the things you haven't done
as it was I who claim you did
You taught me that the most difficult emotion there is
is the emotion when you think