PASSION PLAY

Ayad Gharbawi




Location: Desert Shore, Bitterly Cold Night, next to strong waves from the ocean.
Characters: Man ((M) and his Lover, a Woman (W).

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


W: “Search as I forever do, in manifold ways unknown, I seek but to love thee, and the meagre goodness from Life, with steely ardour - my armour faithful.”
M: “Alone I may be, and still, yes I love thee; these days heavy are and beset I am by burdensome trivialities, but I remain trusting, though my corner so narrow remain.”
W: “My Love! Your speech I hear aloud and thine lips I live within and yet, my Love, all Solitude I am. Man! I am unaided! In this journey of sinful thorns, my love, in this unforgiving journey, this blurred odyssey, I stand alone”.
M: “This trial you speak of, but I do know of it well; so, listen then: within the strength of trusted togetherness we can plough on, though everlasting harm shall do its spiteful tricks, warm to our united truth shall we remain.”
W: (Surprised) “O! My love! This thought I cannot hear! My life, my destiny, is but mine. And all have their own solitary roads of jagged rocks to embrace, like it we or not. We heartbreaking earthly sad beasts, either fiercely clutch at integrity, or we do let it go to perish away.”
M: (Confused) “My Love! I do hear, I do hear. But when Times decide on burdening us, what then can we achieve? To face Reality within the frail arms of solitude is to ignore, to refuse the severe threats of repulsive grins.”
(Silence)
M: (Passionately) “O! My sweet! Only in us, can we envelope, through joined, clasped warmth can we be as one united! The screams that so truly are meant to slice us off, only we, our Unity, can destroy. For mine eyes can only find sleep in your ears, and it is so - for otherwise nothing and no one can be.”
W: (Angry) “My Passion too is bubbling for thine bewildered ears. Am I not your soul? Do we not suffer as one? Do we not reflect as one? Am I not your lover true? Is not our warmth not weighty to our fickle bones?”
(Silence)
W: (Passionate) “But, Lover, this much ought I to formally declare unto thee: For our eyes, and all eyes, envision unequally at one another. Till eternity, in its casual, indifferent flicker, snatches at us all wretched mortals, the gazes from lords to paupers remain veritably mismatched. O my passion! My woeful heart! These words I thunder forth defines love unfeigned, and what mine eyes do pour out unto thine ears is authenticity true.
(Silence)
W: (Passionately) “What joined mem’ries you choose to caress may possess thee, but your exactness for what love is to you, doth not dwell in mine mind. What tears, what weepings you do, fall stormily upon thine own soul’s wildernesses. You choose to be chained by changing visions and indefinite sentiments of light weight – though so poignant at the moment they veritably are?”
M: (Inquiring) “My love! I cherish thee; where hast thou been in thine mind, for now ye talk of that truth you relate to in your heart. Your pronouncements, what depths I do feel! Can it perchance be that my passion has strayed our winds far from me?”
W: “No, my love! Why is anger, I feel, lush on thine tongue?”
M: (Surprised and Frightened) “Anger! I am too distant from that affliction! But yes, I feel my words make only for unstable murmurs in my breath.”
W: (Quietly) “Then, do tell me, lover, who do your murmurs betray - myself or yourself then?”
M: (Quietly) “Perhaps so, perhaps so. But my anxiety wilfully demands of me to eradicate your vision.”
W: (Firmly) “You answer naught from my undemanding question. Or, are mine meanings too violent for you? What aches thee?”
M: (Passionately) “My sweet! In so many moments, I created mysterious planets for thee! Bizarre worlds of contrasts and opposites and musical words of antiquity and sensual ravines. My love! I, my soul, my life, my inner deepest breath, tempted as I am by Fates’ inscrutable cruelties to ashamedly yield, I have yet always expressed to mine eyes’ heart, though they be in bleak darkness, to faithfully fight without pause all shades of vice and still yet - with loving integrity; I have stood with arms of righteousness and love for thee up and never down! Yes, sincere good and venal ill remain joined in life for all to feel, but you knew it was not for me to disentangle them. And so, I pronounce unto thee, still, and yet ever and ever more, my love for thee, though still beholding a thousand mountains before me, I remain sturdy for thee; I remain undisturbed by burly laws, and by exotic dictums, I stand fierce and unhurt, save in your absence.”
W: (With Sadness) “My beloved, your vivid voice stabs the falsehoods for thee, and I say unto thee, unto thee your excessive and unreasonable chains, and for myself my unreasonable and extreme chains remain.”
M: (Shocked) “But I burden thee with no steely chains, nor verbal fetters! For naught I produce for thee save grace, passion and freedom to love for us both to be in Unity Sacred! Dost thou embrace my visions as ‘shackles’, then ‘tis better we agree to class that which we are as but madness! Hear me, for my tears now must truly change their colours!”
W: (Determined) “Your feverish hands clutch only upon mine erratic wings!”
M: (Anger) “Never! Never! For I clutch only to destroy all malevolence; as for thee, Lady of the purest, untouched, guarded, secluded Ponds, I seek to unshackle for you the scattered, scared shadows that yearn for thine sovereignty. And what is this ‘sovereignty’ but our Sacred Union? What curse deemest you I impose? Do you equal my purest passions with atrocities? Murmur unto mine ears, your clearest love for me.”
W: “Ah! You enquire of me my ‘sincerity’ for thee? What demands!”
(Silence)
M: “I see naught but heaving forests of love betwixt us, and yet, you discover my words being ‘demanding’?”
W: (Drily) “Perchance, your visions are indistinct and ever more blurred, through these years cannot be ignored.”
M: (Begging) “My love! All mine life, though it be lengthy, I fought most venal tyranny, and for this moment, you question my righteousness?”
W: (Indignantly) “I have been plunged into seas hostile and I have plunged in a thousand miles of inert minds troubled beyond conceivable comprehension and I have yet to have my Right for my own greedy, ravenous flesh to be vigorously and forcefully embraced by sensuality and serenity. Yes, I do love thee, and yet in our union, as in all unions, I have been adorned with naught, save snickering, gossiping scenes of festive *****, games, chatter and farewells, themselves festooned within silly and sincerely stupid smiles and frowns, and shallow tears and never ending ludicrous chatter unworthy of monkeys conversing. I have met programmed rows of pats, respect and all other so-called decent intents and gestures, but, where, lover that you are of mine, where does my personal heart, throb and manically vibrate, save in your heavenly imaginations?”
(Silence)
W: (Quietly but Determinedly) “My love! I truly thee love and with passions, I tell you, of proportions of precise exactitudes; in your eyes I have witnessed symphonies of exquisiteness; and, I of thee ask: where dwelleth your own love for myself in thine body?”
(Silence)
W: (Passionate) “Do you recognise the changing structures that form this, that I name ‘My Love’? In my solitude eternal, I do evermore and always do pause, and be pensive, and be thinking of questions, such as ‘where’, ‘why’, ‘when’ ‘how’, and ‘which’ should be my path; I am forever and ever more searching, seeking the heavens of every corner, and the irritable tempests, within my changing self as they themselves do try to seek me, and we forever, through inconceivable murkiness, do try to assemble the everlasting entirety of these disorganized puzzles into some measure of comprehensible cohesion that ‘I’ am. That is how the ‘I’ you love is forever changing and thereby formulating itself, and within all these meandering passions, and endless errors, where am I to feel thee? Where? And where do you seek me? In which land? In which forest? You trivialise my beingness as you focus upon my lands as being that which so effortless to find, and yet, you are much too distant from an understanding of my conflicting, emerging civilisations.”
(Silence)
W: (Passionate) If the utterance ‘Never’ is pathetic for thee, then allow me to introduce you to my latest heart: for it screams out that single, protracted utterance! Never! My love, these winds of raging wraths, both within and outside by flesh, must and can only be annihilated by mine own sincerities – were I not to play against my own self. My uncontrolled desires and, yes, thirsty manic passions can only be tempered and thoroughly satiated to the utter brim, by mine own loving, sources of pleasure, my own uncontrollable ecstasies. As for the rest of ****** pleasures, my own erroneous words, speeches and utterances can only be severed and sliced by my tranquillity.”
M: (Resigned) “I hear thine words. Do not abandon me. Do not destroy our civilisation of justice.”
W: “What we share, the bonds, are enjoyment. Listen though to mine lips: enjoyment is what - when it is to be compared with convulsive ecstatic quivers of satisfaction?”
M: (Puzzled) “And what of all our journeys to attain that unity? For all that, is it to be of mere insignificance? And if that be your truth, for what then did we toil and labour for unity of minds and bodies?”
W: (Laughing) “Did you understand from Life itself, that here it was, grandly to proclaim its furtive faces unto thine own awaiting face?! “
M: (Baffled) “It was so far too plain and vastly clear unto me these sceneries we faced before our loving bodies.”
W: “Yes, and I too, did see them with thee. Our four eyes, did see unity for that flicker of time. How true you speak! But, time clocked on, I saw you as you stood there, moving nowhere, unawares that it was your duty to squash onwards whatever vile breaths faced us.”
M: (Desperate) “And did I not? Did I abandon thee in these crushing paths?”
W: (Accusing) “No, you did not. Never, once did you abandon me. I ask of thee; for what sense do we feel a need for a continuation of these gruelling marches? For unity? For love? Or, is love unity? Was that and is this our reason for us to carry on with these shackles?”
M: “For assuredly, yes, and more yes, I tell thee! Toil and gruelling dawns, and unbearable evenings and the whitest of nights are all for the sacred attainment of that heavenly summit of joy I name as blessed ‘Love’.”
W: (Assured) “And, Sire, what if my nerves, blood and ****** hunger tell thee in truth that we, all of us, need no longer, and need never in truth, to undertake these paths, for we find naught that nourishes us at the blessed summit of your definition of what ‘Love’ is?”
M: (Confused & Sad) “So, I falter here and now upon understanding your speech; do I reason from thee that our loving days in unity are frivolously bygone now?”
W: (Calmly & Gracefully) “Do the wandering birds, and do the blind bats, and do the reckless storms, and do the blindly, raging waves and do the supremely arrogant oceans eternally march on in but one direction only with the savage passage of time within their particular lives? You did pronounce that you built planets for our unity; well then, did you not view how planets endlessly revolve along the same path?”
(Pause)
W: (Calmly & with Dignity) “For, Sire, I am not as a Planet - could you not feel that throughout our journeys? You endlessly query and question ‘who’ it is that ‘I’ am? Well, I speak this much on myself; I am as the birds, and the bats, and the storms and the waves and the oceans.”  
M: (Angry) “Woman! I can only then tell of thee that you are naught but feuding clutter and violent disarray!”
W: (Unconcerned) “Those are your words. Not mine. Speak for what you wish, Sire.”
M: (Angry) “And I stand here, before thee, in anger – nay, more, more! In fury!”
W: (Laughing) “For what? For the deeds that created but sticky, and grimy grains of sand for the undoubted pleasure our eyes?”
M: “And so you label our truths, our love so much! Fair indeed, you speak, Woman of Justice.”
W: (Arrogantly) “Man! Express your delights for your own delights. And, alas, there the circle and reality ends – and it ends only for you. That is one morsel of truth for you to ponder. What we ‘created’ and what we ‘loved’ was never and never, ever be the same for you as it is for me. Are you a sincere believer that your personal vision is the same sight all other seeing creatures envision?”
M: (Angry) “Woman, you enrage me! Your arrogance is drenching thine rags.”
W: (Sarcastic) “Tis the Man with no reason who allows his breath and words to be a veritable cesspool of fuming stenches!”
M: “But I, that I am, no longer can define your contours?”
W: (Pointedly) “Precisely, Man, precisely. Perhaps, now you have come closer to the vulnerable shores of reality!”
M: (Confused) “Do you express that you are ever varying and so for that reason there is not a one unified you?”
W: (Calmly) “For we are all ‘varying’, to borrow your word – if you do so allow me, Sire. There was never ‘unity’ of soul, nor mind, nor self, nor of any one personality. This, I desire, that you may understand.”
M: (Aghast) “Then if that be your truth and then, are we naught but multitudes of ever changing confusions, Lady of the Desert?”
W: (Calmly) “Yes and no! For those who are muscular and full of fertile vigour in their flesh, and in their intellects, and those that are severely and strictly scholastic, then they do need and they can succeed in time, in their never ending struggle to bring together the mutually antagonistic factions of that which constitutes our beingness. And, as for the dense brained soulless beings, then, it is equally veritably true that, a descent into madness can be rapidly produced, since from their erratic constituents, they cannot attract together these antagonistic and mutually-hating emotions in some vision of cohesion, and thus mayhem can be fashioned.”
(Silence)
M: (Calmly) “So, pray do tell me, where does Love and Justice and Truth and Morality stand in your universe?”
W: (Serenely) “That has been mine desire to hear the words being produced from your lips, Man!”
(Pause)
W: “So, now perhaps, your sight may be getting clearer, for your question is certainly apt. Foremost, we pathetic mortals, we the be are forever slimy specks of sand that  crumbles, must necessarily seek to survive and flourish within whatever forest, desert, meadow we find ourselves cast upon.”
M: (Startled) “At what cost, Woman? At the expense of Morality?”
W: (Rapidly) “Yes and no.”
M: (Shocked) “Horrendous! How can you spout out such filth?”
W: (Quietly) “Restrain your stupidities, and give more room to your intelligence, Sire.”
(Silence)
W: (Gracefully) “In times of trouble, what can Man do when he be forced to embrace evil, even though he finds the act of the embrace loathsome, but he does what he does for the truth of his vital existence to continue. Only when he need never embrace vile, and then allows himself to commit the act, then he is for certainty to incur the everlasting wrath of God. Evil is thus never one truth to be utterly rejected, perchance you may now see. ”
M: (Calm but Tired) “I follow your words and their ideas therein.”
W: (Gracefully) “When you talk to me on Man and everlasting, conflicting changes within that self-same creature, I tell you with all the earnestness that I possess, of what God has scattered and endowed upon me; for this beast, we all call in unity Man, this creature has far too many a numberless number of mutually self-contradicting, distrusting, loving, hating, inspiring and a never ending number of feelings and emotions that are in constant flow and change – as in any rapid river descending unto its eventual destination, which in its case, is the sea, while in our case, it is Death itself for sure.”
M: (Despair) “And how can this beast ‘love’ anyone within this welter of confusion?”
W: (Rapidly) “He cannot!”
M: (Rapidly, Begging) “But Man and Woman do love with bristling passions! Do you deny that, Woman?!”
W: (Calmly, eyes downwards looking) “Yes, and no. Since the beast has needs, based on his vastly intricate constituents, to ‘love’ his fellow beast, he imagines and believes

PASSION PLAY

Ayad Gharbawi




Location: Desert Shore, Bitterly Cold Night, next to strong waves from the ocean.
Characters: Man ((M) and his Lover, a Woman (W).

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



W: “Search as I forever do, in manifold ways unknown, I seek but to love thee, and the meagre goodness from Life, with steely ardour - my armour faithful.”
M: “Alone I may be, and still, yes I love thee; these days heavy are and beset I am by burdensome trivialities, but I remain trusting, though my corner so narrow remain.”
W: “My Love! Your speech I hear aloud and thine lips I live within and yet, my Love, all Solitude I am. Man! I am unaided! In this journey of sinful thorns, my love, in this unforgiving journey, this blurred odyssey, I stand alone”.
M: “This trial you speak of, but I do know of it well; so, listen then: within the strength of trusted togetherness we can plough on, though everlasting harm shall do its spiteful tricks, warm to our united truth shall we remain.”
W: (Surprised) “O! My love! This thought I cannot hear! My life, my destiny, is but mine. And all have their own solitary roads of jagged rocks to embrace, like it we or not. We heartbreaking earthly sad beasts, either fiercely clutch at integrity, or we do let it go to perish away.”
M: (Confused) “My Love! I do hear, I do hear. But when Times decide on burdening us, what then can we achieve? To face Reality within the frail arms of solitude is to ignore, to refuse the severe threats of repulsive grins.”
(Silence)
M: (Passionately) “O! My sweet! Only in us, can we envelope, through joined, clasped warmth can we be as one united! The screams that so truly are meant to slice us off, only we, our Unity, can destroy. For mine eyes can only find sleep in your ears, and it is so - for otherwise nothing and no one can be.”
W: (Angry) “My Passion too is bubbling for thine bewildered ears. Am I not your soul? Do we not suffer as one? Do we not reflect as one? Am I not your lover true? Is not our warmth not weighty to our fickle bones?”
(Silence)
W: (Passionate) “But, Lover, this much ought I to formally declare unto thee: For our eyes, and all eyes, envision unequally at one another. Till eternity, in its casual, indifferent flicker, snatches at us all wretched mortals, the gazes from lords to paupers remain veritably mismatched. O my passion! My woeful heart! These words I thunder forth defines love unfeigned, and what mine eyes do pour out unto thine ears is authenticity true.
(Silence)
W: (Passionately) “What joined mem’ries you choose to caress may possess thee, but your exactness for what love is to you, doth not dwell in mine mind. What tears, what weepings you do, fall stormily upon thine own soul’s wildernesses. You choose to be chained by changing visions and indefinite sentiments of light weight – though so poignant at the moment they veritably are?”
M: (Inquiring) “My love! I cherish thee; where hast thou been in thine mind, for now ye talk of that truth you relate to in your heart. Your pronouncements, what depths I do feel! Can it perchance be that my passion has strayed our winds far from me?”
W: “No, my love! Why is anger, I feel, lush on thine tongue?”
M: (Surprised and Frightened) “Anger! I am too distant from that affliction! But yes, I feel my words make only for unstable murmurs in my breath.”
W: (Quietly) “Then, do tell me, lover, who do your murmurs betray - myself or yourself then?”
M: (Quietly) “Perhaps so, perhaps so. But my anxiety wilfully demands of me to eradicate your vision.”
W: (Firmly) “You answer naught from my undemanding question. Or, are mine meanings too violent for you? What aches thee?”
M: (Passionately) “My sweet! In so many moments, I created mysterious planets for thee! Bizarre worlds of contrasts and opposites and musical words of antiquity and sensual ravines. My love! I, my soul, my life, my inner deepest breath, tempted as I am by Fates’ inscrutable cruelties to ashamedly yield, I have yet always expressed to mine eyes’ heart, though they be in bleak darkness, to faithfully fight without pause all shades of vice and still yet - with loving integrity; I have stood with arms of righteousness and love for thee up and never down! Yes, sincere good and venal ill remain joined in life for all to feel, but you knew it was not for me to disentangle them. And so, I pronounce unto thee, still, and yet ever and ever more, my love for thee, though still beholding a thousand mountains before me, I remain sturdy for thee; I remain undisturbed by burly laws, and by exotic dictums, I stand fierce and unhurt, save in your absence.”
W: (With Sadness) “My beloved, your vivid voice stabs the falsehoods for thee, and I say unto thee, unto thee your excessive and unreasonable chains, and for myself my unreasonable and extreme chains remain.”
M: (Shocked) “But I burden thee with no steely chains, nor verbal fetters! For naught I produce for thee save grace, passion and freedom to love for us both to be in Unity Sacred! Dost thou embrace my visions as ‘shackles’, then ‘tis better we agree to class that which we are as but madness! Hear me, for my tears now must truly change their colours!”
W: (Determined) “Your feverish hands clutch only upon mine erratic wings!”
M: (Anger) “Never! Never! For I clutch only to destroy all malevolence; as for thee, Lady of the purest, untouched, guarded, secluded Ponds, I seek to unshackle for you the scattered, scared shadows that yearn for thine sovereignty. And what is this ‘sovereignty’ but our Sacred Union? What curse deemest you I impose? Do you equal my purest passions with atrocities? Murmur unto mine ears, your clearest love for me.”
W: “Ah! You enquire of me my ‘sincerity’ for thee? What demands!”
(Silence)
M: “I see naught but heaving forests of love betwixt us, and yet, you discover my words being ‘demanding’?”
W: (Drily) “Perchance, your visions are indistinct and ever more blurred, through these years cannot be ignored.”
M: (Begging) “My love! All mine life, though it be lengthy, I fought most venal tyranny, and for this moment, you question my righteousness?”
W: (Indignantly) “I have been plunged into seas hostile and I have plunged in a thousand miles of inert minds troubled beyond conceivable comprehension and I have yet to have my Right for my own greedy, ravenous flesh to be vigorously and forcefully embraced by sensuality and serenity. Yes, I do love thee, and yet in our union, as in all unions, I have been adorned with naught, save snickering, gossiping scenes of festive *****, games, chatter and farewells, themselves festooned within silly and sincerely stupid smiles and frowns, and shallow tears and never ending ludicrous chatter unworthy of monkeys conversing. I have met programmed rows of pats, respect and all other so-called decent intents and gestures, but, where, lover that you are of mine, where does my personal heart, throb and manically vibrate, save in your heavenly imaginations?”
(Silence)
W: (Quietly but Determinedly) “My love! I truly thee love and with passions, I tell you, of proportions of precise exactitudes; in your eyes I have witnessed symphonies of exquisiteness; and, I of thee ask: where dwelleth your own love for myself in thine body?”
(Silence)
W: (Passionate) “Do you recognise the changing structures that form this, that I name ‘My Love’? In my solitude eternal, I do evermore and always do pause, and be pensive, and be thinking of questions, such as ‘where’, ‘why’, ‘when’ ‘how’, and ‘which’ should be my path; I am forever and ever more searching, seeking the heavens of every corner, and the irritable tempests, within my changing self as they themselves do try to seek me, and we forever, through inconceivable murkiness, do try to assemble the everlasting entirety of these disorganized puzzles into some measure of comprehensible cohesion that ‘I’ am. That is how the ‘I’ you love is forever changing and thereby formulating itself, and within all these meandering passions, and endless errors, where am I to feel thee? Where? And where do you seek me? In which land? In which forest? You trivialise my beingness as you focus upon my lands as being that which so effortless to find, and yet, you are much too distant from an understanding of my conflicting, emerging civilisations.”
(Silence)
W: (Passionate) If the utterance ‘Never’ is pathetic for thee, then allow me to introduce you to my latest heart: for it screams out that single, protracted utterance! Never! My love, these winds of raging wraths, both within and outside by flesh, must and can only be annihilated by mine own sincerities – were I not to play against my own self. My uncontrolled desires and, yes, thirsty manic passions can only be tempered and thoroughly satiated to the utter brim, by mine own loving, sources of pleasure, my own uncontrollable ecstasies. As for the rest of ****** pleasures, my own erroneous words, speeches and utterances can only be severed and sliced by my tranquillity.”
M: (Resigned) “I hear thine words. Do not abandon me. Do not destroy our civilisation of justice.”
W: “What we share, the bonds, are enjoyment. Listen though to mine lips: enjoyment is what - when it is to be compared with convulsive ecstatic quivers of satisfaction?”
M: (Puzzled) “And what of all our journeys to attain that unity? For all that, is it to be of mere insignificance? And if that be your truth, for what then did we toil and labour for unity of minds and bodies?”
W: (Laughing) “Did you understand from Life itself, that here it was, grandly to proclaim its furtive faces unto thine own awaiting face?! “
M: (Baffled) “It was so far too plain and vastly clear unto me these sceneries we faced before our loving bodies.”
W: “Yes, and I too, did see them with thee. Our four eyes, did see unity for that flicker of time. How true you speak! But, time clocked on, I saw you as you stood there, moving nowhere, unawares that it was your duty to squash onwards whatever vile breaths faced us.”
M: (Desperate) “And did I not? Did I abandon thee in these crushing paths?”
W: (Accusing) “No, you did not. Never, once did you abandon me. I ask of thee; for what sense do we feel a need for a continuation of these gruelling marches? For unity? For love? Or, is love unity? Was that and is this our reason for us to carry on with these shackles?”
M: “For assuredly, yes, and more yes, I tell thee! Toil and gruelling dawns, and unbearable evenings and the whitest of nights are all for the sacred attainment of that heavenly summit of joy I name as blessed ‘Love’.”
W: (Assured) “And, Sire, what if my nerves, blood and ****** hunger tell thee in truth that we, all of us, need no longer, and need never in truth, to undertake these paths, for we find naught that nourishes us at the blessed summit of your definition of what ‘Love’ is?”
M: (Confused & Sad) “So, I falter here and now upon understanding your speech; do I reason from thee that our loving days in unity are frivolously bygone now?”
W: (Calmly & Gracefully) “Do the wandering birds, and do the blind bats, and do the reckless storms, and do the blindly, raging waves and do the supremely arrogant oceans eternally march on in but one direction only with the savage passage of time within their particular lives? You did pronounce that you built planets for our unity; well then, did you not view how planets endlessly revolve along the same path?”
(Pause)
W: (Calmly & with Dignity) “For, Sire, I am not as a Planet - could you not feel that throughout our journeys? You endlessly query and question ‘who’ it is that ‘I’ am? Well, I speak this much on myself; I am as the birds, and the bats, and the storms and the waves and the oceans.”  
M: (Angry) “Woman! I can only then tell of thee that you are naught but feuding clutter and violent disarray!”
W: (Unconcerned) “Those are your words. Not mine. Speak for what you wish, Sire.”
M: (Angry) “And I stand here, before thee, in anger – nay, more, more! In fury!”
W: (Laughing) “For what? For the deeds that created but sticky, and grimy grains of sand for the undoubted pleasure our eyes?”
M: “And so you label our truths, our love so much! Fair indeed, you speak, Woman of Justice.”
W: (Arrogantly) “Man! Express your delights for your own delights. And, alas, there the circle and reality ends – and it ends only for you. That is one morsel of truth for you to ponder. What we ‘created’ and what we ‘loved’ was never and never, ever be the same for you as it is for me. Are you a sincere believer that your personal vision is the same sight all other seeing creatures envision?”
M: (Angry) “Woman, you enrage me! Your arrogance is drenching thine rags.”
W: (Sarcastic) “Tis the Man with no reason who allows his breath and words to be a veritable cesspool of fuming stenches!”
M: “But I, that I am, no longer can define your contours?”
W: (Pointedly) “Precisely, Man, precisely. Perhaps, now you have come closer to the vulnerable shores of reality!”
M: (Confused) “Do you express that you are ever varying and so for that reason there is not a one unified you?”
W: (Calmly) “For we are all ‘varying’, to borrow your word – if you do so allow me, Sire. There was never ‘unity’ of soul, nor mind, nor self, nor of any one personality. This, I desire, that you may understand.”
M: (Aghast) “Then if that be your truth and then, are we naught but multitudes of ever changing confusions, Lady of the Desert?”
W: (Calmly) “Yes and no! For those who are muscular and full of fertile vigour in their flesh, and in their intellects, and those that are severely and strictly scholastic, then they do need and they can succeed in time, in their never ending struggle to bring together the mutually antagonistic factions of that which constitutes our beingness. And, as for the dense brained soulless beings, then, it is equally veritably true that, a descent into madness can be rapidly produced, since from their erratic constituents, they cannot attract together these antagonistic and mutually-hating emotions in some vision of cohesion, and thus mayhem can be fashioned.”
(Silence)
M: (Calmly) “So, pray do tell me, where does Love and Justice and Truth and Morality stand in your universe?”
W: (Serenely) “That has been mine desire to hear the words being produced from your lips, Man!”
(Pause)
W: “So, now perhaps, your sight may be getting clearer, for your question is certainly apt. Foremost, we pathetic mortals, we the be are forever slimy specks of sand that  crumbles, must necessarily seek to survive and flourish within whatever forest, desert, meadow we find ourselves cast upon.”
M: (Startled) “At what cost, Woman? At the expense of Morality?”
W: (Rapidly) “Yes and no.”
M: (Shocked) “Horrendous! How can you spout out such filth?”
W: (Quietly) “Restrain your stupidities, and give more room to your intelligence, Sire.”
(Silence)
W: (Gracefully) “In times of trouble, what can Man do when he be forced to embrace evil, even though he finds the act of the embrace loathsome, but he does what he does for the truth of his vital existence to continue. Only when he need never embrace vile, and then allows himself to commit the act, then he is for certainty to incur the everlasting wrath of God. Evil is thus never one truth to be utterly rejected, perchance you may now see. ”
M: (Calm but Tired) “I follow your words and their ideas therein.”
W: (Gracefully) “When you talk to me on Man and everlasting, conflicting changes within that self-same creature, I tell you with all the earnestness that I possess, of what God has scattered and endowed upon me; for this beast, we all call in unity Man, this creature has far too many a numberless number of mutually self-contradicting, distrusting, loving, hating, inspiring and a never ending number of feelings and emotions that are in constant flow and change – as in any rapid river descending unto its eventual destination, which in its case, is the sea, while in our case, it is Death itself for sure.”
M: (Despair) “And how can this beast ‘love’ anyone within this welter of confusion?”
W: (Rapidly) “He cannot!”
M: (Rapidly, Begging) “But Man and Woman do love with bristling passions! Do you deny that, Woman?!”
W: (Calmly, eyes downwards looking) “Yes, and no. Since the beast has needs, based on his vastly intricate constituents, to ‘love’ his fellow beast, he imagines and believes

Here is a primer on the history of poetry

Features of Modernism

To varying extents, writing of the Modernist period exhibits these features:

1. experimentation

belief that previous writing was stereotyped and inadequate
ceaseless technical innovation, sometimes for its own sake
originality: deviation from the norm, or from usual reader expectations
ruthless rejection of the past, even iconoclasm

2. anti-realism

sacralisation of art, which must represent itself, not something beyond preference for allusion (often private) rather than description
world seen through the artist's inner feelings and mental states
themes and vantage points chosen to question the conventional view
use of myth and unconscious forces rather than motivations of conventional plot

3. individualism

promotion of the artist's viewpoint, at the expense of the communal
cultivation of an individual consciousness, which alone is the final arbiter
estrangement from religion, nature, science, economy or social mechanisms
maintenance of a wary intellectual independence
artists and not society should judge the arts: extreme self-consciousness
search for the primary image, devoid of comment: stream of consciousness
exclusiveness, an aristocracy of the avant-garde

4. intellectualism

writing more cerebral than emotional
work is tentative, analytical and fragmentary, more posing questions more than answering them
cool observation: viewpoints and characters detached and depersonalized
open-ended work, not finished, nor aiming at formal perfection
involuted: the subject is often act of writing itself and not the ostensible referent

............
Expressionism

Expressionism was a phase of twentieth-century writing that rejected naturalism and romanticism to express important inner truths. The style was generally declamatory or even apocalyptic, endeavoring to awaken the fears and aspirations that belong to all men, and which European civilization had rendered effete or inauthentic. The movement drew on Rimbaud and Nietzsche, and was best represented by German poetry of the 1910-20 period. Benn, Becher, Heym, Lasker-Schüler, Stadler, Stramm, Schnack and Werfel are its characteristic proponents, {1} though Trakl is the best known to English readers. {2} {3}

Like most movements, there was little of a manifesto, or consensus of beliefs and programmes. Many German poets were distrustful of contemporary society — particularly its commercial and capitalist attitudes — though others again saw technology as the escape from a perceived "crisis in the old order". Expressionism was very heterogeneous, touching base with Imagism, Vorticism, Futurism, Dadaism and early Surrealism, many of which crop up in English, French, Russian and Italian poetry of the period. Political attitudes tended to the revolutionary, and technique was overtly experimental. Nonetheless, for all the images of death and destruction, sometimes mixed with messianic utopianism, there was also a tone of resignation, a sadness of "the evening lands" as Spengler called them.

Expressionism also applies to painting, and here the characteristics are more illuminating. The label refers to painting that uses visual gestures to transmit emotions and emotionally charged messages. In the expressive work of Michelangelo and El Greco, for example, the content remains of first importance, but content is overshadowed by technique in such later artists as van Gogh, Ensor and Munch. By the mid twentieth-century even this attenuated content had been replaced by abstract painterly qualities — by the sheer scale and dimensions of the work, by colour and shape, by the verve of the brushwork and other effects.

Expressionism often coincided with rapid social change. Germany, after suffering the horrors of the First World War, and ineffectual governments afterwards, fragmented into violently opposed political movements, each with their antagonistic coteries and milieu. The painting of these groups was very variable, but often showed a mixture of aggression and naivety. Understandably unpopular with the establishment  — denounced as degenerate by the Nazis — the style also met with mixed reactions from the picture-buying public. It seemed to question what the middle classes stood for: convention, decency, professional expertise. A great sobbing child had been let loose in the artist's studio, and the results seemed elementally challenging. Perhaps German painting was returning to its Nordic roots, to small communities, apocalyptic visions, monotone starkness and anguished introspection.

What could poetry achieve in its turn? Could it use some equivalent to visual gestures, i.e. concentrate on aspects of the craft of poetry, and to the exclusion of content? Poetry can never be wholly abstract, a pure poetry bereft of content. But clearly there would be a rejection of naturalism. To represent anything faithfully requires considerable skill, and such skill was what the Expressionists were determined to avoid. That would call on traditions that were not Nordic, and that were not sufficiently opposed to bourgeois values for the writer's individuality to escape subversion. Raw power had to tap something deeper and more universal.

Hence the turn inward to private torments. Poets became the judges of poetry, since only they knew the value of originating emotions. Intensity was essential.  Artists had to believe passionately in their responses, and find ways of purifying and deepening those responses — through working practices, lifestyles, and philosophies. Freud was becoming popular, and his investigations into dreams, hallucinations and paranoia offered a rich field of exploration. Artists would have to glory in their isolation, moreover, and turn their anger and frustration at being overlooked into a belief in their own genius. Finally, there would be a need to pull down and start afresh, even though that contributed to a gradual breakdown in the social fabric and the apocalypse of the Second World War.

Expressionism is still with us. Commerce has invaded bohemia, and created an elaborate body of theory to justify, support and overtake what might otherwise appear infantile and irrational. And if traditional art cannot be pure emotional expression, then a new art would have to be forged. Such poetry would not be an intoxication of life (Nietzsche's phrase) and still less its sanctification.  Great strains on the creative process were inevitable, moreover, as they were in Georg Trakl's case, who committed suicide shortly after writing the haunting and beautiful piece given below

................
SYMBOLIST POETS
symbolism in poetry

Symbolism in literature was a complex movement that deliberately extended the evocative power of words to express the feelings, sensations and states of mind that lie beyond everyday awareness. The open-ended symbols created by Charles Baudelaire (1821-67) brought the invisible into being through the visible, and linked the invisible through other sensory perceptions, notably smell and sound. Stéphane Mallarmé (1842-98), the high priest of the French movement, theorized that symbols were of two types. One was created by the projection of inner feelings onto the world outside. The other existed as nascent words that slowly permeated the consciousness and expressed a state of mind initially unknown to their originator.

None of this came about without cultivation, and indeed dedication. Poets focused on the inner life. They explored strange cults and countries. They wrote in allusive, enigmatic, musical and ambiguous styles. Rimbaud deranged his senses and declared "Je est un autre". Von Hofmannstahl created his own language. Valéry retired from the world as a private secretary, before returning to a mastery of traditional French verse. Rilke renounced wife and human society to be attentive to the message when it came.

Not all were great theoreticians or technicians, but the two interests tended to go together, in Mallarmé most of all. He painstakingly developed his art of suggestion, what he called his "fictions". Rare words were introduced, syntactical intricacies, private associations and baffling images. Metonymy replaced metaphor as symbol, and was in turn replaced by single words which opened in imagination to multiple levels of signification. Time was suspended, and the usual supports of plot and narrative removed. Even the implied poet faded away, and there were then only objects, enigmatically introduced but somehow made right and necessary by verse skill. Music indeed was the condition to which poetry aspired, and Verlaine, Jimenez and Valéry were among many who concentrated efforts to that end.

So appeared a dichotomy between the inner and outer lives. In actuality, poets led humdrum existences, but what they described was rich and often illicit: the festering beauties of courtesans and dance-hall entertainers; far away countries and their native peoples; a world-weariness that came with drugs, isolation, alcohol and bought ***. Much was mixed up in this movement — decadence, aestheticism, romanticism, and the occult — but its isms had a rational purpose, which is still pertinent. In what way are these poets different from our own sixties generation? Or from the young today: clubbing, experimenting with relationships and drugs, backpacking to distant parts? And was the mixing of sensory perceptions so very novel or irrational? Synaesthesia was used by the Greek poets, and indeed has a properly documented basis in brain physiology.

What of the intellectual bases, which are not commonly presented as matters that should engage the contemporary mind, still less the writing poet? Symbolism was built on nebulous and somewhat dubious notions: it inspired beautiful and historically important work: it is now dead: that might be the blunt summary. But Symbolist poetry was not empty of content, indeed expressed matters of great interest to continental philosophers, then and now. The contents of consciousness were the concern of Edmund Husserl (1859-1938), and he developed a terminology later employed by Heidegger (1889-1976), the Existentialists and hermeneutics. Current theories on metaphor and brain functioning extend these concepts, and offer a rapprochement between impersonal science and irrational literary theory.

So why has the Symbolism legacy dwindled into its current narrow concepts? Denied influence in the everyday world, poets turned inward, to private thoughts, associations and the unconscious. Like good Marxist intellectuals they policed the area they arrogated to themselves, and sought to correct and purify the language that would evoke its powers. Syntax was rearranged by Mallarmé. Rhythm, rhyme and stanza patterning were loosened or rejected. Words were purged of past associations (Modernism), of non-visual associations (Imagism), of histories of usage (Futurism), of social restraint (Dadaism) and of practical purpose (Surrealism). By a sort of belated Romanticism, poetry was returned to the exploration of the inner lands of the irrational. Even Postmodernism, with its bric-a-brac of received media images and current vulgarisms, ensures that gaps are left for the emerging unconscious to engage our interest

......................

.
IMAGIST POETRY
imagist poetry

Even by twentieth-century standards, Imagism was soon over. In 1912 Ezra Pound published the Complete Poetical Works of its founder, T.E. Hulme (five short poems) and by 1917 the movement, then overseen by Amy Lowell, had run its course. {1} {2} {3} {4} {5} The output in all amounted to a few score poems, and none of these captured the public's heart. Why the importance?

First there are the personalities involved — notably Ezra Pound, James Joyce, William Carlos Williams {6} {7} {8} {9} — who became famous later. If ever the (continuing) importance to poets of networking, of being involved in movements from their inception, is attested, it is in these early days of post-Victorian revolt.

Then there are the manifestos of the movement, which became the cornerstones of Modernism, responsible for a much taught in universities until recently, and for the difficulties poets still find themselves in. The Imagists stressed clarity, exactness and concreteness of detail. Their aims, briefly set out, were that:

1. Content should be presented directly, through specific images where possible.
2. Every word should be functional, with nothing included that was not essential to the effect intended.
3. Rhythm should be composed by the musical phrase rather than the metronome.

Also understood — if not spelled out, or perhaps fully recognized at the time — was the hope that poems could intensify a sense of objective reality through the immediacy of images.

Imagism itself gave rise to fairly negligible lines like:

You crash over the trees,
You crack the live branch…  (Storm by H.D.)

Nonetheless, the reliance on images provided poets with these types of freedom:

1. Poems could dispense with classical rhetoric, emotion being generated much more directly through what Eliot called an objective correlate: "The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." {10}

2. By being shorn of context or supporting argument, images could appear with fresh interest and power.

3. Thoughts could be treated as images, i.e. as non-discursive elements that added emotional colouring without issues of truth or relevance intruding too mu
...............
PROSE BASED POETRY
prose based poetry

When free verse lacks rhythmic patterning, appearing as a lineated prose stripped of unnecessary ornament and rhetoric, it becomes the staple of much contemporary work. The focus is on what the words are being used to say, and their authenticity. The language is not heightened, and the poem differs from prose only by being more self-aware, innovative and/or cogent in its exposition.

Nonetheless, what looks normal at first becomes challenging on closer reading — thwarting expectations, and turning back on itself to make us think more deeply about the seemingly innocuous words used. And from there we are compelled to look at the world with sharper eyes, unprotected by commonplace phrases or easy assumptions. Often an awkward and fighting poetry, therefore, not indulging in ceremony or outmoded traditions.
What is Prose?

If we say that contemporary free verse is often built from what was once regarded as mere prose, then we shall have to distinguish prose from poetry, which is not so easy now. Prose was once the lesser vehicle, the medium of everyday thought and conversation, what we used to express facts, opinions, humour, arguments, feelings and the like. And while the better writers developed individual styles, and styles varied according to their purpose and social occasion, prose of some sort could be written by anyone. Beauty was not a requirement, and prose articles could be rephrased without great loss in meaning or effectiveness.

Poetry, though, had grander aims. William Lyon Phelps on Thomas Hardy's work: {1}

"The greatest poetry always transports us, and although I read and reread the Wessex poet with never-lagging attention — I find even the drawings in "Wessex Poems" so fascinating that I wish he had illustrated all his books — I am always conscious of the time and the place. I never get the unmistakable spinal chill. He has too thorough a command of his thoughts; they never possess him, and they never soar away with him. Prose may be controlled, but poetry is a possession. Mr. Hardy is too keenly aware of what he is about. In spite of the fact that he has written verse all his life, he seldom writes unwrinkled song. He is, in the last analysis, a master of prose who has learned the technique of verse, and who now chooses to express his thoughts and his observations in rime and rhythm."

.............
OPEN FORMS IN POETRY
open forms in poetry

Poets who write in open forms usually insist on the form growing out of the writing process, i.e. the poems follow what the words and phrase suggest during the composition

Shortly after 3pm on September 29, 31-year-old Olivier Rousteing strode through the shimmering, fleshy backstage area at Balmain's Spring 2017 Paris Fashion Week show. Along the marble hallway of a hôtel particulier in the 8th arrondissement, long-limbed clusters of supermodels were gamely tolerating final applications of leg-moisturiser, make-up touch-ups and minutely precise hair interventions from squads of specialists as fast and accurate as any Formula 1 pit-stop team. The crowd parted as Rousteing swept through.

Wearing a belted, black silk tuxedo and a focused expression that accentuated his razor-sharp cheekbones, Rousteing resembled a sensuous hit man. Target identified, he led us to the board upon which photographs of every outfit were tacked.

We asked him to tell us about the collection (for that's what fashion editors always ask). "There is no theme," said Rou­steing in his fast, French-accented lilt. "No inspiration from travel or time. The inspiration is what I feel, and what I feel now is peace, light and serenity. I feel like in my six years here before this, I have tried to fight so many battles. Because there is no point anymore in fighting about boundaries and limits in fashion. Balmain has its place in fashion."

And the clothes? "There is a lot of fluidity. A lot of knitwear, lightness, ponchos. No body-con dresses. But whatever I do, even if I cover up my girls, it is like people can say I am ******. So this is what it is. I think there is nothing ******. I think it is really chic. I think it is really French. It is how I see Paris. And I have had too many haters during the last three years to defend myself again. So, this is Balmain." And then the show began.

Star endorsements

Under Rousteing, Balmain has become the most controversial fashion house in Paris. Rousteing has attracted (but not bought, as other, far bigger houses do) patronage from contemporary culture's most significant influencers. Rihanna, all the Kardashians, Kanye West, Taylor Swift, Miley Cyrus, Beyoncé, Justin Bieber – a royal flush of modern celebrity aristocracy – all champion him.

Immediately after this show, in that backstage hubbub, Kim Kardashian told me: "I thought it was very powerful…I loved the sequins, and I loved all the big chain mail belts – that was probably my favourite."

Yet for every famous fan there is a member of the fashion establishment who will sniff over coffee in Le Castiglione that Rousteing's crowd is declassé and his aesthetic best described by that V-word. The New York Times' fashion critic Vanessa Friedman reckoned this collection appropriate for "dressing for the captain's dinners on a cruise ship to Fantasy Island". At least she did not use the V-word. When I once deployed it – as a compliment – in a 2015 Vogue menswear review that declared "Rousteing is confidently negotiating a fine line between extravagance and vulgarity", I was told that Rous­teing was aggrieved.

The fashion world's ambivalence towards Rousteing is a measure of its conflicted feelings towards much in contemporary culture. Last year Robin Givhan of the Washington Post wrote of Balmain: "The French fashion house is always ostentatious and sometimes ******. It feeds a voracious appetite for attention. It is anti-intellectual. Antagonistic. Emotional. It is shocking. It is perfect for this era of social media, which means it is powerfully, undeniably relevant."

Since joining Instagram four years ago Rousteing has posted 4000 images and won 4 million followers. The combined reach of his audience members and models at this Balmain show was greater than the population of Britain and France combined. Balmain was the first French fashion house to gain more than 1 million followers, and currently has 5.5 million of them.

Loving his haters

As digital technology disrupts fashion, Balmain's seemingly effortless mastery of the medium galls some. Last year, the designer posted an image of a comment from a ****** follower to his feed. It read: "Olivier Rousteing spends more times taking selfies for Instagram than designing clothes for Balmain." Underneath, in block capitals, he commented "i love my haters".

Rousteing can be funny and flip – doing a video interview after the show, I opened by asking, tritely, how he felt. He replied: "Now I feel like some Chicken McNuggets with barbecue sauce, and then some M&M;'s ice cream."

When at work, however, that flipness flips to entirely unflip. The previous evening, at a final fitting for the collection, Rousteing had paced his studio, his face a scowl of concentration, applying final edits to the outfits to be worn by models Doutzen Kroes and Alessandra Ambrosio. The 30-strong team of couturiers working in the adjoining atelier delivered a steady stream of altered dresses.

"We are ready," he said from behind a glass desk in a rare moment of downtime. "This a big show – 80 looks – and I want a collection that is full of both the commercial and couture. But it's smooth too. All of the girls are excited about the after-party and interested in the music. And eating pizza." In the corridor outside Gigi Hadid – this season's apex supermodel – was indeed eating pizza, with gusto.

The fitting went on until far beyond midnight; Rousteing, fiercely focused, demonstrated the work ethic for which he is famous. When he was studio manager for Christophe Decarnin, his predecessor at Balmain, the young then-unknown was always the first in and last out of the studio. Emmanuel Diemoz, who joined Balmain as finance controller in 2001 and became chief executive in 2011, says that his hard graft was one of the reasons he was chosen to succeed Decarnin.

"For sure it was quite a gamble," says Diemoz. "But we could see the talent of Olivier. Plus he understood the work of Christophe – who had helped the brand recover – so he represented continuity. He was a hard worker, clearly a leader, with a lot of creativity. Plus the size of the turnover at that time was not so huge. So we were able to take the risk."

Clear leader

Which is why, aged 24, Rousteing became the creative director of one of Paris's best known – but indubitably faded – fashion houses. In 2004 it had been close to bankruptcy. In 2012, Rousteing's first full year in charge, Balmain's sales were €30.4 million and its profit €3.1 million. In 2015, sales were €121.5 million and its profit €33 million. Vulgarity is subjective; numbers are not.

Rousteing, who is of mixed race, was adopted at five months by white parents and enjoyed an affluent and loving upbringing in Bordeaux. "My mum is an optician and my dad was running the port. They are both really scientific – not artistic. So I had that kind of life. Bordeaux is really bourgeois and really conservative, I have to say."

After an ill-starred three-month stint at law school – "I was doing international law. And I was like, 'oh my God, that is so boring'" – he did a fashion course that he managed to tolerate for five months.

"I found that really boring as well. I just don't like actually people who are trying to **** your dream. And I felt that is what my teachers were trying to do."

Obsessed with Gucci

Following a three-month internship in Rome – "also boring" – Rousteing became fascinated with Tom Ford's work at Gucci. "I was obsessed, obsessed, obsessed. Sometimes the press did not get it but I thought 'this is like genius, the new **** chic'. Obsessed, full stop."

He wanted to work there – "that was my dream" – but applied to every fashion house he could, and found an opportunity to intern at Roberto Cavalli. "They took me in from the beginning. I met Peter Dundas [then womenswear designer at the brand] and he said you are going to be my right hand – and start in four days."

Rousteing counts his five years in Italy as formative both creatively and commercially, but when the opportunity came to return to France in 2009 he leapt at it. "Christophe said he liked my work and that he needed someone to manage the studio. So two weeks later I was here. I loved Balmain at the time, when Christophe was in charge. It was all about rock 'n' roll chic, ****, Parisian. And he was appealing to a younger generation. You can see when brands become old but Balmain was touching this new audience. I always say Christophe's Balmain was Kate Moss but mine is Rihanna."

When Decarnin left and Rousteing replaced him, the response was a resounding "who?". His youth prompted some to anticipate failure.

"It was not easy at all. Every season I had the same questions." Furthermore, Rousteing (who has said he thinks of himself as neither black nor white) was the only non-white chief designer at a Parisian couture house. In a nation in which very few people of colour hold senior positions, his race may have contributed both to the establishment's suspicion of him and to his powerful sense of being an outsider.

'Beautiful spirit'

As he began to build a personal vernacular of close-fitted, heavily jewelled, gleefully grandiose menswear – fantastical uniform for a Rousteing-imagined gilded age – for both women and men, that V-word loomed.

"They asked, 'But is it luxury? Is it chic? Is it modern?' All those kinds of words. But you know there is no one definition [of fashion] even if people in Paris think there is. And, I'm sorry, but I think the crowd in fashion are those who understand the least what is avant-garde today."

In 2013 Rihanna visited the studio, met Rousteing, and reported all with multiple Instagram posts. "You are the most beautiful spirit, so down to earth and kind! @olivier_rousteing I think I'm in love!!! #Balmain." :')"

Rousteing met Kim Kardashian at a party in New York – they were drawn together, he recalls, because they were both shy – and was promptly invited to lunch with her family in Los Angeles.

An outsider in the firmament of old-guard Paris fashion, Rousteing was earning insider status within a new, and much more influential, supranational elite. He points out that Valentino, Saint Laurent and Pierre Balmain himself "were close to the jet set of their time. What I have on my front row is the people who inspire my generation".

From them, he learned a new way of doing business. "I think it was Rihanna and the music industry that first understood how Instagram can be part of the business world as well as the personal. But in fashion? When we started it was 'why do you post selfies? Why do we need to know your life, see you waking up, see you working? Why don't you keep it private'. And I was like 'you will see'."

Rousteing cheerfully declares his love for Facetune – "I don't have Botox but I do have digital Botox!" – an app that helps him airbrush his selfies and tweak those ski-***** cheekbones.

Reaching new population

From his office around the corner from Rousteing's, Diemoz adds: "When Olivier first proposed Balmain use social media, our investment in traditional media was costing a lot. Here was an alternative costing less but bringing huge visibility. It has been successful, quite rapidly…we decided to be less Parisian in a way but to speak to a new population. A brand has to be built around its heritage but we are proposing a new form of communication dedicated to a wider group of customers."

The impact of that strategy became apparent in 2015, when Rousteing and Balmain were invited to design a collection for the Swedish fast-fashion retailer H&M.; Within minutes of going on sale – and this is not hyperbole – the collection, available at vastly cheaper prices than Balmain-proper, had completely sold out. In London, customers fought on the pavement outside H&M;'s Regent Street branch. "Balmainia!" blared the headlines.

You have to move fast to get backstage after a Balmain show. I was out of my seat and trotting with purpose even before the string-heavy orchestra at the end of the catwalk had quite stopped playing Adele.

Rousteing had taken his bow merely seconds before. Still, too slow: I ended up in a clot of Rousteing well-wishers stuck in a corridor blocked by security guards. A Middle Eastern woman against whom I was indelicately jammed looked at me, laughed, shook her head, then said: "We pay millions for a fashion house – and then this happens!"

In June, Balmain was bought for a reported €485 million by Mayhoola, a Qatar-based wealth fund said to be controlled by the nation's ruling family. As so often with Rousteing-related revelations, some declared themselves nonplussed. "Why Would Mayhoola Pay Such a High Price for Balmain?", one headline asked. Yet Mayhoola, which acquired Valentino four years previously for $US858 million, might have scored a bargain.

Clothes key to revenue

Despite its huge, Instagram-enhanc­ed footprint, Balmain is a small, lean and relatively undeveloped business. Most luxury fashion houses today – Chanel, Burberry, Dior, et al – will emphasise their catwalk collections for marketing purposes but make most of their money from the sale of accessories, fragrances and small leather goods like handbags and shoes. One of the big fashion companies makes a mere 5 per cent from its catwalk clothes.

At Balmain, by contrast, clothes bring in almost all the revenues. If Balmain had the same clothes-to-accessories ratio as its competitors, its overall annual income could be more than €1 billion ($1.4 billion).

The company is moving in that direction. New accessory lines are in the pipeline. "Now we have to transform that desire into business activity," said Diemoz. "Sunglasses, belts, fragrances, the kind of products that can be more affordable."

The first bags should be available in January, as will a wider range of shoes, and then more, more, more.

Six days after his show, on the last day of Paris Fashion Week, I returned to the Balmain atelier. Apart from two assistants, Rousteing was the only person there – everybody else had gone on holiday to recover from the frenzy of preparing the show, or was busy selling the collection at the showroom around the corner.

Rousteing sat behind his desk in the empty room, wearing slingback leopard-print slippers, sweatpants and shades. "I am not even tired! I am excited. Because there are so many things happening – and I can't wait."Read more at:www.marieaustralia.com/red-carpet-celebrity-dresses | http://www.marieaustralia.com/formal-dresses-adelaide

My autism's a part of me,

But it is apart, you see.

...

Who are you?

With your ‘normal’ view.

Are you just one thing, or are you a person

With thoughts & feelings, that are your own unique version.

Preferences, ideas, talents, and dreams?

That are bound by senses that meet at their seams.

Are you fat, short sighted or visually impaired?

Are you ever wondering why I just stood and stared.

Those may be the things that I saw the first time I meet you,

But you’re more than just your ‘normal’ diagnosis…. True?

As an adult, you have control over how you’re defined.

Your normality means your perceptions are refined.

So why would you single out one characteristic of mine that you can make known.

As a child, I am still unfolding, I’m not fully grown.

Neither you nor I yet know of what I am capable.

If you think of me as just one thing, then one thing’s inescapable.

You run the danger of assuming I have no chance of achieving.

And my heightened senses know this, it’s only you you’re deceiving

For I am not endowed with any ordinary sense.

You need to know this before I commence.

You take for granted sight, sound, taste, touch and smell.

Never once realising that these things can be as painful as hell

For me.

You see.

My world often feels hostile, and makes me so fearful.

I may appear withdrawn or belligerent, whilst others are cheerful.

Or mean to you, or antagonistic,

Defending myself, then going ballistic.

You tell me we’re going on a trip to the shops

And out of the world my safety net instantly drops.

My hearing, you see, is hyper acute.

But I’m put in the car, though I loudly refute.

At the shops, walls of people jabber and whoop.

The loudspeaker booms and adds to the soup.

Music blares and lashes and whooshes.

Tills beep and cough, a coffee grinder swooshes.

The meat cutter screeches, a baby starts wailing,

I’m starting to malfunction and am rapidly flailing

As trolleys pass creaking, and fluorescent lights hum.

I’m starting to panic, but also turn numb.

My brain can’t filter the input, the voltage is massive

I’m in overload with no chance of staying passive.

My sense of smell is stratospheric.

That fish on the counter is NOT atmospheric.

The man in front hasn’t showered today,

That Stilton cheese – someone take it away!

A baby goes past, it’s ***** needs changing.

Things are going faster and turning deranging

They’re mopping up pickles on aisle two with some bleach and a rag.

My stomach is churning, and I’m starting to gag..

And there’s so much hitting my eyes!

This trip has turned into the world's worst surprise.

The fluorescent light

Is not only too bright,

it’s that flicker.

The space seems to be moving, getting quicker and quicker.

The pulsating light bounces off everything and distorts what I am seeing.

I don’t know what I’m doing, or saying, or being.

There are too many items for me to be able to focus.

The world starts to drain me of my internal locus.

My eyes try to compensate by tunnelling my vision

Fans on the ceiling, twist my senses into nuclear fission.

All this affects how I feel just standing there,

and I can’t even tell where my body is in space, do I care?

You’re yelling at me now, and shaking my shoulder

But the fiery fog is down and is starting to smoulder

It isn’t that I don’t want to hear your instruction.

I just can’t understand, due to mass self-destruction.

You're shouting now, but what does "£$%^&&% NOW! !£$%^&*" mean?

My senses will **** me in a collusion so obscene.

Once we’re back at the kids home, it all feels less absurd.

And now when you speak, I can hear every word.

Simple instructions, that I know off by heart.

And I cling onto these so I won’t fall apart.

You tell me what you want me to do next and I’m able to reply.

Now I’m happy and it’s easy for me to comply.

Now I’m OK and I’m running about

And performing my ritualised songs, which I shout.

Then a visitor grabs me saying, “Hold your horses, cowboy!” – This means danger!

I can’t stop the horses, I’m me, not the Lone Ranger!

And I’m thrown into panic when what you mean is, “Stop running.”

But I don’t know that! Those stampeding horses are coming!!

That’s my life, you see, it’s not “a piece of cake”

When there’s no dessert in sight and you’ve made a mistake.

When you say, “its pouring cats and dogs,” I see pets flooding from the sky.

Tell me, “It’s raining hard,” so I won’t fear the animals will die.

Puns, sarcasm and allusion

Simply generate confusion.

Tell me facts and keep things clear

So I can live, yet not in fear.

It’s hard for me to tell you what I need when my senses are reeling

When I don’t have a way to describe what I’m feeling.

I may be hungry, frustrated, frightened, or perplexed.

But I can’t find the words, and lash out, angry and vexed.

Be alert for my body language, or my gestures and obsessions

Then you’ll handle my feelings like your own treasured possessions.

Watch out for me compensating for not knowing the right word

By mimicking my favourite film star, or something just as absurd.

Rattling off words or whole scripts, which will leave you confounded

That I’ve memorised from Disney, because they make me feel grounded.

They may come from the TV, or speeches, or a book

And though they make people give a funny look

I just know that saying them gets me off the hook.

Show me, show me! I’m visual, you see.

And I’ll understand rather than you just telling me.

And be prepared to show countless times.

I’m listening, despite my ritualised rhymes.

Visual supports help me move through my day.

They relieve me of the stress and I feel OK.

I don’t have to remember what’s happening next

For I operate on a visual text.

This makes for smooth transitions in my life

And we’ll finally progress without anger or strife.

I need to see something to learn it, because spoken words are like steam to me;

They evaporate before my mind's eye, and are gone instantly,

Before I even have a chance to make sense of them,

They've died in the ether, leaving me in mayhem.

I don’t have instant-processing skills.

Instructions and information are my life giving pills

Images can stay in front of me for as long as I need,

and will be just the same in years, for they'll never recede.

Without visual help, I live the constant frustration

of knowing that I’m missing big blocks of information,

Not to mention falling short, by being a misfit

And I'm helpless to do anything about it.

Unlike other people, I'm unable to learn

If it's normal interaction for which you do yearn.

I’m constantly made to feel that I’m not good enough

And people are stern and people are tough.

They think I need taking in hand and need fixing.

Never knowing the world and my brain are tranfixing

I avoid trying any new things, for I'm sure I'll get 'dissed'

And another grown up will be angry and get 'real ******'.

But no matter how “constructive” you think you’re being.

Look for my strengths, though they're hard for the seeing.

There is more than one right way to do most things.

It may look like I don’t want to play with the other kids on the swings

But it may be that I simply do not know how to start

They just think I'm weird, and set me apart.

Teach me how to play with others.

Remove my autistic shrouded covers.

Encourage other children to invite me along.

They might learn something of value from my life's different song.

And rather than spend my day as separate, secluded.

I might show an ethereal delight at being included.

I do best in games that have a clear beginning and end.

Random play is something my fears won't transcend.

And just one other thing, a sort of confession

I cannot interpret a ****** expression

Or body language, or other peoples' emotion

So in group situations I'm resigned to demotion.

I want to learn, I want you to teach me.

Reach into my mind and help me to see.

If I laugh when Tommy falls off the climbing frame,

It’s that I don’t know what to say, nastiness isn't to blame

Talk to me about Tommy’s feelings and teach me to say,

“Are you hurt, Tommy, I'll get teacher, then you'll be okay?”

If you don't I'll meltdown or blow-up, and get in a stew

And this is a thousand times worse for me than for you.

For my mind will go into overload

My sense of equilibrium will start to off-road.

For I'm well past the limit of my social ability.

As those off road lights glare at my own disability.

If you can figure out why my meltdowns occur, they can be prevented

And my behaviours will abate, less frequently lamented.

Keep notes about me and a pattern may emerge.

As your understanding of me will gradually converge.

Remember that everything I do is a form of communication.

It tells you, when my words cannot, how I’m reacting to each situation.

My behavior may have a physical cause.

Think for a moment, just have a pause.

Food allergies and sleep problems can affect my behaviour.

Just look for signs, for you might be my Saviour.

Because I may not be able to tell you about these things.

That blunt my affect and cause my mood swings.

Throw away thoughts like, “If you would just—” and “Why can’t you—?”

You didn’t fulfill every expectation your parents had either, that's true.

And would you like to witness a constant rewind.

Of the traumatic deficits by which you're defined?

I didn’t choose to have autism.

Or to live with this division

Remember that it’s happening to me, not to you.

But without understanding, my chances remain few.

With love and support, my horizons are broader

But I can't live my life by other peoples order.

Patience. Patience. Patience, are the three words we need to live by

For my dreams to be reached, and my confidence fly.

View my autism as a different ability

Rather than as a freak show disability.

Look past what you may see as limitations and feel for my strength

I may not be good at eye contact or conversations of length

But have you noticed that I don’t lie, or cheat at a game

Or pass judgment on people, and make them to blame?

I rely on you, if you can make me your personal vocation

All that I might become won’t happen without you as my foundation.

Be my advocate, be my guide

Be my strength, stand at my side.

Love me for who I am, and not what you know

And we’ll see just how far I can go.

Matt Revans 2014
©Copyright

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

tell me what words are there
to articulate this savage parade
not here, not in all the Lebanons
whose crystal castles sparkle
like broken glass
on the dark horizons
at the jagged edges of the world
from which cultured minds have receded
and all humanity has been relinquished
to the barbarity of the frenzied flavours of fools
who will speak for this wild parade
without impediment to mythical protagonists
tell me where are the energised arguments
against sophisticated yet false laments
where testament is torn through
weeping cedar trees
producing the unpredictable accidental quality
that memorialises phantom caresses
that have neither been invented nor encouraged
the hallow that inaugurates
the distinctive features of
destructive energies that are both
exuberant and hard to comprehend
this parade where there is
a savage sensibility
capable of apprehending
contradictory ethical imperatives
that vouch for a mocking stream of
tragic political consequence
displayed vividly in the inextricability
of civil order and political violence
that defies exclusive claim
by casting itself as freedom warrior
in disguise as militaristic humanism
and burns the temple tree
and where human identity
becomes an elusive possession
owned by a few
who in the inevitability of ignorance
refuse to recognise their tragic error
and the world does not mount
a strenuous protest
at this headlong dash for Ephesus
where antagonistic language and
neutral expression of thought converge
and here the value of valulessness
repudiates, even in a single poetic moment

queer creature of white stone:
the spirit of the island in the head of this lion,
the soul of the natives in the body of this fish,
spirit and soul, lion and fish, mingle together by
mere wry humour of evolution’s word

we revere this beast, (it watches over us
from nine metres above), we bow down our backs,
(worship it as our exemplar): for many of us,
unknowingly, we emulate the spirit and soul
of this queer white creation of stone.

standing tall (unshaken!) even as jaundice bolts of heaven’s
creep tip-toed behind its scales and strike:
its cemented steadfastness of stone we emulate,
for through the towering grey waves of crisis, and
the threatening dark clouds that foretell our very fears,
we too, have floated and transcended and appeared
unscathed.

mutated monster – child of bad genes,
they despise such unfavourable antagonistic features
(shall it rule like a lion or flail like a fish?):
its unlikeliness of surviving, of thriving we emulate:
for this dotted smudge of red pen ink on the globe,
destined to bow down to fate – bowed down not, and
flourished.

beams of white water spouting out in a
perfect shape of a quadrant’s circumference, endlessly,
its majestic spewing action we emulate:
this island of expectations, sterile smell of success,
fate of our future in the setting of an exam hall,
(in there do you not think we resemble the merlion,
our mouths the hoses, the papers our well?)

but, oh, the merlion – so many of it –
the merlions, same-maned, same-scaled,
fluttering and bursting with imitation across our home:
such congruity, conformity we emulate:
for years of yearning to swim in the mainstream waters,
of being goldfish, instead of losing the waters for flight like flying fish,
have made us very much, about
the same.

queer creature of white stone:
do you see not how we resemble your very self,
how we offer you praise (by
lifting our human arms, arching on our mere knees,
hoisting our lowly mortal heads, surveying your colossal royalty,
camera in hand)?

oh i didn't write something to change the boundaries,
i wanted to capture the digital narrative,
or how the hope of destroying all forms of theology
with our a.i. gravitas, we started to
apply the digital anaesthetic -
and cradle the numbing effects of:
                 us, in experiment,
or: us, in a medium of synthetic material...
             either way pushing us apart friom actually
inhabiting organic matter...
           the many of us these these are merely pawn
in the game...
                  we're pawns in a construction site
of all thing theretical... meaning it's truly 2D by comparison
to the 3D structures we see...
       the element that will truly give a.i. it's ego?
wait wait... why with latin dead and me not speak it
but i have this theoretical baggage of ego?
            ego is only short of en egg should i decide to
write it... arbeit macht frei must come from
counter-conceptualisation of the remains of the roman
empire with self- (hyphen included), to remind people
that it's all about work, and how we will either loose
or free ourselves from the re in the setting sun to echo aeons...
that might be the case...
            but find me a modern day writer who has
to use this medium of people talking over one another...
find me a writer who''s lodged in the internet like
a cherry atop a cake...
          who can't be gagging for a log cabin in some obscure
place, who has to be in the thick of it...
       i'm not writing to change the world,
i'm writing to describe the status quo...
            qua norm, or should i say "norm"...
from status quo comes the question: qua status?
     when i write i think about throwing a pebble into
a lake, compared to throwing a pebble into a river...
compared to throwing a pebble into a sea...
to be honest? throwing a pebble into a sea is
the most involving...
                  and there is poetic subconscious in this,
which i will unearth: the pebble is supposed to mean this:
the three forms of water are supposed to represent
another this:
                                 the pebble is supposed to represent
a soul, a concentration of my my, my sigma (total),
and the three tiers of water are supposed to represent this...
that said, i watched
    an internet video... by angry mgtow...
an answer to white women are rejecting beta males now /
blonde in the belly of the beast...
   first thing: why are men using the internet
deemed more "creepy" than women?
    we've already embarked on this a.i. project for the sole
reason as to overcome theological argument and
religion... we are living in a Frankenstein experiment,
but the "problem" is that we're only working on
the software package of the beast...
         the hardware can wait... we're not going to replace
our fondness for busdrivers and cleaners any time soon...
  we love our manual labourers...
                  american woman! stay away from me!
american woman! mama let me be!
   (it's daily, over and over in my head, that line and
many more kindred sing-alongs)
   we've already been drafted into creating the software
of the a.i. beast, it doesn't matter that the
hardware is already there but that we've stalled its
potential... the software is harder to be bound to
the logistics a limb might be drafted to exhibit basic
tongue of movement...
          all compliments to women:
they're the irrationality that will give the a.i. the spark!
           meaning autonomy...
  and how could i not even sound like an atypical man?
don't date the opposite ***?
              tease urban living with what life's like in
the middle-zone of outer-urbanity, i.e. the case of
a ******* bungalow? ha ha.
                              but this video got me like i might
catch a herring, and i do love pickled herrings...
raw pickled herrings...  it just got me
when i said: i'd like to move to the Faroe Islands...
no please, spare me the misery...
                         it's hard not to be
sexually antagonistic (sexist) - esp. when you're
not a sheikh with a motorboat and a fluffy moustache
that might brush-up against the ******* like
a vibrating ***** while you taste the pastries of flesh
with a saintly glee...
             every time i performed oral ***
on her i felt i left that hot-spot having slobbered
a tonne of lard... smeared a tonne of ****** cream and
that my face became phosphorescent, or an anglerfish:
which is the first sign before you don't even
bother to care to launch a space mission apollo 13
into the depths containing stars... or ask
      ridley scott...
                          i think he's the one dubbed:
coping mechanism... unlike philip k **** this guy's
a coping mechanism, a rare spectacle:
science fiction obstructs actual science...
                     i'm glad he's around and i pray that
we truly explore the depths of seas before going up
there: where the sun don't shine.
                  but this video got to me...
                i can't relate to it, either with the masculine
theory or the feminine experience...
i don't know: it almost feels like i live in a time
capsule at the best part of the 20th century when
i could still buy compact discs in a music shop
on a high-street... when there was no over-arching
agarophobia and claustrophobia telling us
when it was worthwhile to leave the house...
   and when it wasn't...
                         i opened another bottle of wine
that i made myself, and i don't know...
                  we started by ridding ourselves of god
to later replenish that end with a death of us,
it's almost as if we're staging parameters of being human
in this 2D construction site, on the basics:
merely exchanging opinions...
                                         i have, coming naturally:
this curiosity with the internet...
   i remember times of hotmail.com chatrooms...
      it's not as old as some people will claim the burden
to be, but the times when the ****** medium was
being sold to us... before facebook and subsequently otherwise
people were still very much comfortable before the television
set... but then people became less interested in
music and decided music could only exist in software
and not hardware, and i started to forage the berry shrubs of
youtube for music...
  i hope i don't precipitate any thought toward
nostalgia... bearing in mind i did establish myself
on the memory of having been to the cinema
to watch the films blow and austin powers 2:
the spy who shagged me - and in the latter case
i laughed at the shadow-scene like i might at
a laurel and hardy... and in the former case i loved
the music... and that's before comedy became too
"intelligent": too canned laughter...
revisionist existentialist, when dittoing can no longer
mean borrowing, or passing on a meaning,
                     or d.n.a. competition, when the end result
is but ~ (approximate) / ambiguity...
    the too intelliget: canned laughter...
                   the last time i really laughed at the movies
i was watching austin powers 2: the spy who shagged me...
the tent scene... it was the epitome of comedy,
a laurel and hardy slap stick incantation of a viewer...
   i guess it only comes with a sense of an individual
finding something so simple funny, that when
the same individual is dropped like a paratrooper into
a cinema audience: his laughter will become akin to
a virus, and thus become infectious and the individual
in mind because the cursor for canned laughter
later stored, to witness a televised episode of Friends
or Fraiser... which... would you believe it: aren't funny at all.
what was i going on about in the first place?
      ha ha... dunno... which makes Nick Harper a comic
genius... every time i see him
i laugh like a tickled ******* dangling off a bull horn
and two words ring a bell: mein shawl! and yes: it's
dramatically flinged, like i might be found
******* against the wind...
   quick question! five easy pieces rebel or cool hand
luke rebel?!

She hopes, silently, that he will chase her,
catch her in his embrace and smother her
with feverish kisses.
He wants to glance back, towards the stinging
sun, towards the opposite direction she has stayed in
and beacon her with words of licorice.
She wishes to let her voice drown the antagonistic
opposition to their current disposition and listen
attentively to reciprocated admissions.
But they cannot, will not, because
this is not a fairy tale, this is not a fantasy, this
is the sad reality of both decisions.
And so torn apart between letting go or
catching to,
they walk away towards opposite directions.

Every chance we get,
we’ll fail one another.
All of us.

We’ll talk over one person;
ignore all the others.

We complain that no one
ever listens to us.

We rail from our personal
pulpits against the injustices
leveled against the least of us,
doing so behind the comfort
of our keyboards.

Even if we know that we’re
wrong, misaligned, misinformed,
we fight onward anyway.

At this point,
the goal seems
to be that humanity
is choosing to be as
insular, isolationist,
antagonistic as is
possible.

We’ll hate one another
from across the world,
never bothering to cross
the street.

We’ll shoot one another
emails, messages of our
discontent, before we let
the bullets fly.

But, we’ll fire those too.

Each new home sold
will come with it’s own
chain-gun turret.
(Why the hell not?
It’s the American Way,
Isn’t it?)

We’ll climb down from
our turrets each morning,
log onto our computers, tablets, or smartphones;
sending our family, friends, neighbors, and even a few
strangers a fresh round of electronic hate-mail or
a few new anti-social media posts that finally say what
we all think anyway:

“Greetings and salutations!
*******! I’ve always been smarter than you.
I hate you, but I hate myself more and I’ve
never gotten the attention that I think I deserve.
Have a miserable day!
I know I will!”

After that we’ll back our
cars out into the driveway,
We’ll get on all fours;
fellating our exhaust pipes
for about 30 minutes.

After we’re exhausted,
(Get it?! Exhausted!)
We’ll climb back into
the car and pull it back
into the garage.

We’ll punch in the code
to our home security system.

The code will automatically
activate our ambient anti-anxiety
and antidepressant systems

(conveniently included in our home HVAC unit.)

These will fill our homes with enough meds/particles
so that we will be easily sated, manipulated
all day long.

For an extra $200
these systems will also
post positive comments
on all of your social-media
posts so as to maintain
the body’s highest levels
of dopamine.

We want you to end your day
feeling like the center of The
******* Universe.

(Remember when they made posting
vague, attention-seeking updates
On social-media illegal?)

Lights out!
Time to get
the government-sanctioned
2.75 hrs. of  sleep.

Goodnight!
I hate you!
Stay off
of my lawn!

My chain-gun is
set to auto!

Hail Trump!
Hail America!

*
-JBClaywell
©PZPublications 2018

The empty air has a bitter tone
When it bites at my fingers
And yells profanities in an unrecognizable tongue.

It stings when it sings.

It has an aberrant gait
And a detached mien,
This lack-of being.

The tempest’s strides jounce its overly-wide shoulders;
Its prominent brow sends an antagonistic shadow
Cascading down its lip and jaw.

This active silence whispers age-old secrets
Its fingers tousling the amber leaves
Of my autumn’s long-dead trees.

The sound resonates,

And this taunting, all-knowing,
Omnipresent, nonexistent-but-still-there wind
Smiles at my naïveté.

Weary under the weight of the world
And the smog of self-importance.
Its eyes are clouded with grey rain,
Its teeth sharp with a bitter resentment;

“I’ve disliked you since the 1700s,” it breathes,
Throwing an airy, acrid gaze at humanity.
(“I’m sorry, but it is you who made me this way,
With your scornful industrialization.”)

Its eyes are frigid, piercing,
Wicked, yet reserved.
Cruel in their taunting assumptions,

Yet,

In those forget-me-not eyes

I found the sky.

Lured by the siren voices of human aggrandizement,
The hedonistic, headlong pursuit of material satisfaction.
By the few who seek wealth and power
On a scale undreamed of
By the Caesars and Pharaohs
Or even by the lofty, pampered Imperialists
Of the heady nineteenth century.

Ignored, are the vast stinking, majority,
The teeming poor who sink deeper
Into the morass of hunger and wretchedness.
In circumstances of inescapable horror
Which breed hopelessness
And the smouldering hatred
Of lasting resentment and fear

A world of vast inequality.
Marshaled by the incorrigibly rich
In order to sate their selfish and aggressive
Lust for more.
An ideological evil
Which grips the lost and deprived
With the extinction of hope
And the rage to exact…a retribution.

Then there is the deterioration
Of international leadership,
The willingness or inability
Of world powers to control
Excess or anarchy within or without
Their borders…
Even whilst circling each other
With monstrous weaponry
And an engulfing, growing,
Antagonism of distrust.

America is in retreat to it’s fortress shores.
Europe is leaderless, timid and uncontactable.
Russia, near bankrupt, snarling aggression
And clawing back a buffer of unwilling former satellites.
Eurasia and the Middle East seething
With religious and racial warfare.
Africa in the throes of losing control
Of a world threatening Ebola pandemic.
China clawing it’s way forward
To global economic and military dominance.

A world without referees or rules
Where antagonistic giants force
The un-powerful to adopt
An  ultimatum of “either them or us”.
Where the threat of terrorism transcends borders every day,
Where genocidal practices and weapons of mass destruction,
Computer global anarchy and environmental depredation
Illustrate the growing volatility
Of a deteriorating world order.

There is a Paralysis of Will in mankind.
Anthropology, psychology and physiology
Recognise only one single human species.
But that species is impossibly fractionated….
By an entrenched pattern of conflict,
An inability to compromise,
A refusal to disperse wealth for the common good,
Global racial and religious disharmony and animosity
And a fundamental refusal to communicate
Proactively …at all.

The consequences of tolerating
And furthering this Paralysis of Will,
Shall lead mankind to an apocalypse.
The consequences of which,
Are just too terrible to contemplate.

Somehow we should, as one,
Engender… a common aspiration,
With a level of universal commitment,
To induce an attitude, a consciousness
Of great and abiding…
World Citizenship.

Realistic? …No!
Likely? …No!
Do you give it a snowballs chance in Hell? …Not this week!

Why?... The frailty of Human Nature!

M.
From just about as far away from everything as you can, thankfully, possibly get….
NEW ZEALAND.
20 September 2014

Words found in the wind supreme telling boisterous antagonistic they form in the great ocean they
Come they challenge everything and much is changed the sea cleanses land and its tenuous hold
Everything fair and precious must find a harbor a defiant manner to endure broken trees exemplify the
Hardy the uncompromising bend you must if broken it only gives up the dead and weak branches if up
Rooted it only shows the growth of deception that presented itself as truth all trivia superficial living will
Be reveled in the wind that which is rock solid and is built on a solid foundation will only flourish the
Storm is its bestowing gift these matters deeply rotted in the emotional center of the heart heeds the
Elemental force brought to bear by the wind it stands and shows its power that is not fake or foreign
But has a lasting place that grows because it is pure and is undaunted by assailing contradictions its
Value claims a root system born of time and reason compromise and injustice has never been found in
The hidden places of the heart there is no hidden agenda friend or foe is welcome to look and see to a
Friend it speaks of deep comfort knowing that all is open and it will stand any test and afford great help
In time of trouble the enemy will find a formidable foe not all enemies are without worth in the struggle
You can acquire skill and knowledge that will give you resources that will guide you to hidden veins of
Gold that can be found in no other way a rich life compared to one of poverty is to be much desired in
The lax uncommitted world of anything goes but that is about to change our enemies have found the
Formula that no one can win against its deadly poison the nation so grandly founded will turn on its own  
People to try to survive it will survive but a different streamlined and hardened one we believe it will be
An Outcome of good as weakness and folly are thrown off and the core values in much smaller form will
Continue sadness will pervade our world because of lost glory and our guilt that brought the big
Upheaval that reduced the heritage our children should have inherited this started with the sea wind so
I will insert this earlier piece and then continue
Sea Thoughts
Oh stand thy great waters contained in thee is mirth and terror some you have beguiled and then
Have taken them to your depths of destruction but by your benevolence the sea breeze blows
Inland from this moisture rain is called from its dwelling place the earth is refreshed the tides
Have cosmic ties by gravity the lone solitary moon is entreated and responds one speaks if only
There was a love potion that I could give my beloved so she would respond to me favorably it
Can never be created it already exists go out into the mysterious night stand under a great tree its
Dark silhouette will be more bewitching than the days shade speak your heart as you do take her
Hand and stroll out into the moon beams that drew magic from the great waters as it passed over
Does not wonder advance in this light softer exquisite the hardness of life bows and retreats to
Wait the daylight hours where harshness has its intrepid way so it leaves you with the volumes’
Darkness of night every person desires excursions into intrigue shadows will touch your faces
As tender as the willow then the soft glare of the moons love the mind and heart as its signature
Equation that old crazy moon has moves that are centuries old that birth love every time romance
And her broadest throne follow and are attended by moon light to develop a relationship
Correctly don’t go to the artificial neon lights that are futile and tinged with wickedness but
Sea side strolls are the ultimate inducement a pure stimulus that thwarts the too often knotted
World that keeps everyone at odds with one another everyone knows a great deal of love and
Romance when they are younger to revisit those cherished memorable times that started your
Life of promise with your beloved is invaluable mature love needs to feel the saturation of sea
Breezes the moons ghostly sights will fill in deep shadows where hurts have collected they need
To be free so they can go back to the darkness that gave them life your lives shouldn’t be defined
by them But the deep calleth to the deep set sail for Trafalgar not to war with enemy ships but to
sign With tender’s hand a peace accord to stitch the soft fabric of love that life’s mean elements
can rend in this you will find the sea’s glory and the moons positive glow has become a true part
of your life it is time the spring of renewal is in the offing and it sways to love’s song this speaks
Of man and women’s love this speaks of God’s love they saw the works of the LORD, his wonderful deeds in the deep.
____________
Sing to the LORD a new song, his praise from the ends of the earth, you who go down to the sea, and all that is in it, you islands, and all who live in them
I inserted this because the piece was running hard and it’s not my purpose to be negative or black
With troubling thoughts but at the sea you will find tumult and danger and at this time it echoes
Financial woes that are buffeting are precious nation there will be a resolution but not a pretty
One there are laws mathematic ones that you dare not trifle with but we have people who
Arrogantly hold office and think they can do as they please and all will magically fall into place
Because they wish it to be so it has never been true since earth began and will be no different
Now all will suffer as the same as the guilty but in extreme hope and faith possibly those seeds
Of greatness that was our true heritage will weather the storm and will re surface with pure
Power and grace that will create within each of us the true an unending love of country that will
Give us an arching back to the hearts and minds of our forefathers we will bestow a new
Beginning that Lincoln spoke of in the Gettysburg address after strife and winds that carry
Destruction there will be a new tomorrow from children who owns up to the mistakes and turns
Back to the true paths that will always assure glory and victory too many generations just like
before

Hello, little god,
cornered in this world of insignificance;
between sips of too-cold raspberry tea
create your own brand of madness
and label it "art."

From the blueberry stool
that is your throne, conduct
symphonies of beluga whales and
daisy chains molded together
to craft another colorful beginning.

Papercuts and calluses
are your battle wounds;
a diligent ballpoint pen
is the dog that marks its territory.

But then--

White knuckles
crumple mistakes,
transforming them into carpet-coating origami.
Your fingers keep the beat
that defines disincentive:
bmm, bmm, bmm.

Possessed
by antagonistic demons, tug
at the noose that is
a favorite paisley tie
and admit defeat.

Take another bite of your
overpriced Reuben sandwich.

"Who am I, mother?
Who am I and what do I do?"

–Norman to his mother Norma, "Bates Motel"

And so it goes, a split self - the protagonist defending the darkness as
Bizarre murders satisfy obsessions of a mothers love, taking a
Chefs knife, stabbing victims to death.

Dualistic wars within, a helpless man whose mother taught him of the
"Evils of women," instilling her own moralities of their wickedness.

Fostering the antagonistic personality of his mother
Giving to his incomplete soul a sense of wholeness.

Hidden behind the boy next door innocence, a terrified man
Incarcerated; locked & bolted
Juddering with fear - promising to adhere - set free said to be "cured."

Kleptomania returns; unearthing bodies from their graves, stealing skulls; a comforting souvenir, as
Loving anyone meant destroying them also.

Multiple personalities dominate him
Norman Bates becomes Norma; his mothers persona, crawling into her skin
Originating from their very kiss, kick starting a timeless love affair

Paraphernalia of skins tanned, butchered conquests -keepsakes turned to art & now protecting an un
Quiet mind
Reasons pertaining to mental insanity
Sectioned to institutions

Taxidermy as a young boy fascinated his mind
Urges to **** & fill, feeding euphoric highs, & even
Vertigo.
Women thrilled him; their smell lingered on each garment he kept.

Xenos to himself; who, am I mother?
Youth denied, cried away
Zenith ended; his final resting place behind the bars of Mendona Mental Health Institution, 1984.

© Sia Jane

there may
   or may not
exist
certain colours
that the human eye
is unable
to see
an insipid
   blueish-yellow
an unpalatable
   greenish-red
each said
to be impossible
for our eyes
to process;
if seen
it could appear
in all manner
of forms
but would remain
indescribable

they say that
butterflies can see
the ultraviolet spectrum
and that
the honey bee
sees in infrared;
and so
it would not
be too absurd
for a person
to dismiss
the "impossible"
to believe
in the possibility
of the as-yet
unseen

although
scientifically
the only way
to perceive
these "forbidden" hues
is through trickery
and constraint
by forcing the brain
into seeing both
antagonistic colours
simultaneously
and
without reprieve
until the border
between
the opposing shades
finally dissolves

there may be
a truth
but it is hidden
somewhere between
the plausible
   yet impalpable
and the proven
   yet proselytised

NOT LOOKING AT OURSELVES

August 7, 2009 - Damascus

Ayad bin Izzet


Why is it so hard to think of ourselves?
Why is it so hard to change bad habits that seem to possess us?
It seems to be a near certain fact, that humans do not like to think of themselves; certainly, very few seriously, deeply think about themselves. Who asks himself: “How do I look like to people?” “How do I sound to people, when I say this and that?” “Why is it people like certain aspects of my behaviour?”
When you open up such a subject to people in general, it is common to hear: “Look, I don’t care what people may think of me”. But an answer like that will not help you go far in this world. You do need to pay attention to what people think about you, otherwise you will be, de facto, behaving like a tyrannical dictator – you are, in effect, alienating and restricting the advancement of your varied self interests.
Why you ask me?
Because we all need people if we are going to succeed in our professional and social lives. Without the agreement of people you cannot succeed, unless if your work can survive within a hermit’s context.
So why are people so antagonistic to change themselves?
I think that for people they are scared of thinking about themselves because they fear what they might find out the nature of what is existing within themselves.
Another reason, is addiction. A person may simply be compulsively addicted to the harmful personality he has – yes, even if he knows that his personality is harmful to his own self interests.
I talk about this subject because we all do need to change our selves, our personalities - since all the troubles of our entire lives emanate from one source: we dysfunctional humans!
Where else do they come from?
And yet, anyone who has ever tried to explain to another person their faults will surely go nowhere. No one is interested. I know one lady who I call the ‘Pharmacist’ because she lovingly showers everyone else with advice, while she herself cannot bear to hear one word with respect to her faults. And then, as the years passed, I came to realize, why all people are basically ‘Pharmacists’!
People have an obstinacy that harder than leather, colder than an icicle; we simply will not improve, as human beings, if we remain this determined not to reform our minds.
And there is nothing else to add on this sorry subject.
How pathetically sad.
A fine epitaph on Humanity’s grave.

New International Version
For the flesh desires what is contrary to the Spirit, and the Spirit what is contrary to the flesh. They are in conflict with each other, so that you are not to do whatever you want.

New Living Translation
The sinful nature wants to do evil, which is just the opposite of what the Spirit wants. And the Spirit gives us desires that are the opposite of what the sinful nature desires. These two forces are constantly fighting each other, so you are not free to carry out your good intentions.

English Standard Version
For the desires of the flesh are against the Spirit, and the desires of the Spirit are against the flesh, for these are opposed to each other, to keep you from doing the things you want to do.

New American Standard Bible
For the flesh sets its desire against the Spirit, and the Spirit against the flesh; for these are in opposition to one another, so that you may not do the things that you please.

King James Bible
For the flesh lusteth against the Spirit, and the Spirit against the flesh: and these are contrary the one to the other: so that ye cannot do the things that ye would.

Holman Christian Standard Bible
For the flesh desires what is against the Spirit, and the Spirit desires what is against the flesh; these are opposed to each other, so that you don't do what you want.

International Standard Version
For what the flesh wants is opposed to the Spirit, and what the Spirit wants is opposed to the flesh. They are opposed to each other, and so you do not do what you want to do.

NET Bible
For the flesh has desires that are opposed to the Spirit, and the Spirit has desires that are opposed to the flesh, for these are in opposition to each other, so that you cannot do what you want.

Aramaic Bible in Plain English
For the flesh craves anything that opposes The Spirit and The Spirit craves whatever opposes the flesh, and they both are contrary one to another, lest you would be doing whatever you want.

GOD'S WORD® Translation
What your corrupt nature wants is contrary to what your spiritual nature wants, and what your spiritual nature wants is contrary to what your corrupt nature wants. They are opposed to each other. As a result, you don't always do what you intend to do.

Jubilee Bible 2000
For the flesh lusts against the Spirit, and the Spirit against the flesh; and these are contrary the one to the other, so that ye cannot do the things that ye would.

King James 2000 Bible
For the flesh lusts against the Spirit, and the Spirit against the flesh: and these are contrary the one to the other: so that you cannot do the things that you would.

American King James Version
For the flesh lusts against the Spirit, and the Spirit against the flesh: and these are contrary the one to the other: so that you cannot do the things that you would.

American Standard Version
For the flesh lusteth against the Spirit, and the Spirit against the flesh; for these are contrary the one to the other; that ye may not do the things that ye would.

Douay-Rheims Bible
For the flesh lusteth against the spirit: and the spirit against the flesh; for these are contrary one to another: so that you do not the things that you would.

Darby Bible Translation
For the flesh lusts against the Spirit, and the Spirit against the flesh: and these things are opposed one to the other, that ye should not do those things which ye desire;

English Revised Version
For the flesh lusteth against the Spirit, and the Spirit against the flesh; for these are contrary the one to the other; that ye may not do the things that ye would.

Webster's Bible Translation
For the flesh lusteth against the Spirit, and the Spirit against the flesh: and these are contrary the one to the other; so that ye cannot do the things that ye would.

Weymouth New Testament
For the cravings of the lower nature are opposed to those of the Spirit, and the cravings of the Spirit are opposed to those of the lower nature; because these are antagonistic to each other, so that you cannot do everything to which you are inclined.

World English Bible
For the flesh lusts against the Spirit, and the Spirit against the flesh; and these are contrary to one another, that you may not do the things that you desire.

Young's Literal Translation
for the flesh doth desire contrary to the Spirit, and the Spirit contrary to the flesh, and these are opposed one to another, that the things that ye may will -- these ye may not do;

He took issue with the small gestures in life. The birthday message from a friend not seen in a decade, the idol chit chat that filled the cafe's, cinema's and other such places, proclaiming them fraudulent unthinking habit, a motion with no true sentiment and in return the followers of such social constructs took issue with him - or worse, pitied him.

He despised most human interaction because of this. Often being told that he 'rubbed people up the wrong way' or was 'too antagonistic' He just saw this as another excuse to expel him from the group (whatever that group was) All because he didn't partake in the usual social etiquette and fakery of the masses- this view only led to him being mocked further and neatly labelled as a stroppy, teenage rebel. His thoughts and voice cut down with replies of "Aaah stop feeling sorry for yourself!" "Stop going on about it!" " You're soo negative!" Because in all honesty nobody wants to be around a down in the dumps, killjoy, party pooper right?

He could find no solace in the little things nor understanding in the greater questions of life, so he drifted along. Bitter onlooker to a species so separate from his own. Desperate to somehow integrate into their ranks but convincing himself that such thoughts were mere acts of desperation.

And he was a desperate young man, desperate and despairing at his separation from the world and all others in it. Yet admittance to such feeling would rarely depart his form. No, he would mock and ogle at them from afar.
**He would rather be Outcast than Cast Out.

I squander countless days
Reading in the library
since our last encounter
the tales I have learned
About women of magnificent legacies
Amazement on how you
Imported the hunt for wild game
In the African regions
Your skills bombarded as my attraction
Which is so astounding?
Preying behind me
With loss words of love
I was pounced
As the night falls to darkness
We intertwine to the drumbeats
Of African native songs
Doing their sacred dance
Heartbeats overrun
By antagonistic contemplation
I cannot let go
To a mystic woman
Whom I can't forget

bold face lies
he experiences them everyday
masked in a never ending blanket
that unknowingly smothers him
confining him to a mere subject of ones own trickery
giving him the comfort of trust and honesty
then tearing it away
at the cost of ones own credulity
smirking in a way that makes him want to
lift out of his mortal body
damaging the soul of the antagonistic entity
the same entity that stole his confidence
that shattered his reliance on credibility
that shunned his desire to persevere
and at what cost?
an elitist mentality that was created to fool him?
what reward do the liars get?
for they are deceived as well
but are blind to knowing it.
their minds clouded by their own self resilience
that when they are the ones in need
they are alone
exiled to a vast plain of empty yellow pages
a victim of ones own doing
and from what origin is this conduct of behavior
well... have you ever been lied to?

Antagonistic
adorable
pink
rushed
in my
cheeks
speaking
instead of my
real emotions

My liberal friends, who love to preach
who deign to enlighten and to reach
the lower orders with their light
to guard what’s left and set things right
must deal with recent facts unkind
which threaten the Progressive mind.

Your narrative took a massive hit
so **** it in—acknowledge it.
Your media, misinformed and lame,
now limping, has to bear the blame
for polling as they hoped to hear
leading (and speaking) from the rear.

Indeed; you claim we won by Hate?
in this you tend to under-rate
your sanctimonious fusillades.
Your nemesis, against great odds
was voted for by US, and won.
(So sorry that God’s will was done.)
Our diverse voters clinched the fight.
You thought we had none on the Right?
Hispanics? Thirty-odd percent.
And black votes came in (heaven-sent),
more numerous than they were for Mitt
so shut your pie-hole. Deal with it.
Without them Trump could not have won;
we’d be deprived of all this fun!
The people did not buy the goods
you foisted on our neighborhoods.
And patriots now meet brand-new friends:
political correctness ends
when Truth joins hands with common sense.
The truth will ALWAYS bring offense
to smug elitist hypocrites
and democratic counterfeits
projecting their neurotic fears
upon the Right. Oh the things one hears.
We’re fascist and unfit to live,
we eat our children; never give
a **** for the poor or a prayer for a soul.
The “War on Women” our evil goal.
We hear ourselves described as bigots.
Bilious brew–and we must swig its
bitterness in constant sips
as insult pours from your spiteful lips.

We’re rigid, white, misogynistic
(my, how you wax antagonistic.
Thought you were all about tolerance
and doing that Multi-Kulti dance…)
We’re gender-biased (and repressed)
unkind, unwise, uncouth, unblessed.
What-- since we don't like Globalism,
technoid One-World Kommunism
we dwell in some hateful **** state?
(You blather on…it’s getting late
to re-use all your left-wing smears
which barely reach our deafened ears.)

As young folks like to say: tough *****.
You’re stranded outside the holy city.
Our vast right-wing epiphany
out-sung your PC tyranny.

Bounds and bounds of names of the forgotten,
I wandered through the dredges of solemn
Wastes that had entangled my thoughts,
The antagonistic braves of loss,
The ones who’ve left ones petrified,
The ones who’ve died, left crying alive,
I have also forgotten each name,
The false memory of these people, all the same,
Dead is dead, this flair for the living,
This selfishness bears no arrogance deceiving,
I am one who welcomes death,
This fortitude alarming to some who step,
Along the edge of insanity,
I am the abyss, the abyss is me.
So strong I was, walking head high,
Disregarding tokens left behind,
Until a sight then stopped me cold,
A sullen grave but marked ”Unknown.”
-
I couldn’t move,
I was frozen in place,
I was then proved,
My heart, indeed, was laced.
Not even I, who so asked for sleep,
Could even stop tear
From escaping me,
I couldn’t stop but wont to weep.
-
Aside from the sorrow ”Unknown” had caused,
What’s worse is that he had someone,
Here I was, alone and hateful,
Someone remembered, and was grateful,
For the stone had upon it but five little roses,
Alive and well, not dead like the others,
Some person some where had remembered ”Unknown”
So that not even ”he” was left alone.
-
Destroying everything I have believed,
Spiteful, hateful, and aggrieved,
I stepped back and cursed him in jealousy,
Fell back, I tripped, shocked, and conceived,
That perhaps I was thinking like a child,
Everyone deserves there life so mild,
Who was I to curse anyone?
All in all, I wanted everything undone.
-
The real beauty in this situation,
Is that no one earns stagnation,
No one knew him when he was buried,
But someone now shows care and hurried,
To his site to show their love,
I just hope he’s diseased, but Above.

Thou, my Helsinki, art but none like the whimsical England;
A sultry bruise in its own pretense and fear of foreign lands,
A sordid gate through which oneself ought not to fall,
With curses and dominions of souls awaiting by the wall,
And for we hath none there to live on and feed and exist,
That I had but to restrain my ripe taste for exotic bliss;
I could put neither my mind nor countenance at rest,
All fed from wealth, and churned an insatiable hole in my chest.
My heart is lost, and with a love gone for too long,
Misery has become too good, and cries are far prolonged.

My Helsinki is too sweet, unlike the ****** sun;
Perplexed only by my art at first, but not my literature.
With you, Aurora, all ice shall become ardent and lighter:
My sins shall fade as they penetrate the laden fun,
And the griefs that wash away shall quench the fire,
Returning to me my young snowstorms, and lyre.
I shall long to stride across thy satin-like blue mud,
Keeping my peace at pace within a salubrious heart.
All is thoughtful, my Helsinki; all is wicked but pure inside me,
That I can but love again when fate is too close to see.

Thou hath encased in a little lily my English violet,
A purple evil living on within a shiny swollen pocket.
In a place that is so laden with the promise of death,
Let’s forget our fallen fate and dream without breath.
Let us mock the rolling stars in the sour, unkempt sky;
To believe that England is not alive, that ‘tis but a lie.
To see that England is but a slithering little mire anew,
And a mire among beautiful mud like thee, wise and true.
To hear, or but to see that I can knit a new story,
That thou hath always had conscious faith in me.

Thou, who hath brought the sight of joyful days,
And the promise of such hath entertained me;
The vanished boughs of England once seemed real today,
Which my eyes found too unmerited for us to see.
All the squandered fate to me shall mean nothing,
Nor their grace shall carry the luck of the unknown.
All the wasted feasts that were once everything,
The past hath gone, leaving no absurd reality alone.
To me then, all of my England is oblivious and utterly dead;
That with a salubrious sweat, I shall send it into thorough death.

That the mind alone, of the poet, never loses its imagination,
That the fits it celebrates shall keep the delirium eternally;
That with delight shall celebrate poetry’s reincarnation,
In a daring love and human thought seen at the edge of Helsinki.
Where but did England’s spirit forsake me, every now and then,
I was beneath no love and the care of apparition friends,
That know not how to penetrate a crowd beneath its cheers,
Nor console the sick right in their hearts, all was too weird.
I was dwarfed in those cold whereabouts, I was unloved,
That even my favourite winter seemed too harsh to laugh.

You will tear me away from such despair, I believe;
Grab my hand, and lull it to sleep by the wealth it sees,
Make it rejoice at the fortune for which it writhes—and lives,
Make it love the days for whom it was devotedly decreed.
Ah! For just this once, I shall deliver my congratulations to you;
You have been the cold flower that spoke so clearly and true.
You are the fond memory that woke me from the steep sleep,
The depth that surrounded me in my virile anger, and weeps.
You are the quiet splendour that my mind boasts of, and conceives,
You are the trebled grace that my spirit strives to believe.

You are the one with the trident on the throne;
And you recall all my salubrious and tired moves,
That you say my love is sour yet fresh as warm vinegar,
That my love is a warmth to thee, much less thy solitude,
A solitude that hath been left clueless at its heart,
A solitude so magnanimous and cheerful like a flute.
You are the one who shall consecrate my love,
Make it as firm as the benign loving throne,
You are the one who shall feed from their naught,
Cheer, pamper me with a feat so real to me alone.

You are the one whose fiery fate shall contain me;
That rejects the bad and keeps to me eternally,
No further mist of love hath drifted by me, and all hath been vain,
Thou shalt but catch the one for me; and the colds that remain,
I shall be the first to crave for the form of my love, my man,
I shall be the first to witness the emergence of rain.
I shall be the first to look behind the heatless statue,
To see first the form of a man so definite and true.
Thou shalt me grant a life and solitude far better, not worse,
Thou shalt idolise me as thy special Goddess of words.

And guess who shall but take hold of my pleasurable arms,
The night’s chamber hath lost its insatiable moans, and warmths;
Long since, they all melted down on an antagonistic sunny day,
Riveting as it was, lethal in too many narcissistic ways.
Ever since, they all never came back in any lifelike form,
They are haunting each other in their own abysmal dreams.
That is, nonetheless, just how it should still be,
To be the charmed poet I am, to fathom the world as I do.
That too, my love, is how my poetry shall ever want me,
That a love, as I did know, shall only ever come from you.

Hail! Hail! I feel so newfound and beautifully charmed and true,
Thy wind hath tossed me about like a pink-cheeked village child,
There is no spirit with freshness and joy, indeed, like you,
You gleam like a star, even on the summer moors so wild.
Everyone lives—the idea England seldom wants to confess,
Everyone lives on our art, for everyone and art are at their best.
And guess who is to swim into the heartless, shadowed sea,
For all is not cold and merely awake in our imagination.
The seas, which stir to life on the breaths of a sunny day,
Vitriolic attempts they make, much less their thankless ways.

Hail! Hail! I feel my imagination is about to be restored;
That all wrinkles and pains and worries shall but fade,
I shall again sail to the autumn breezes and daylight cold—
Facing my auburn destiny that ne’er comes too late.
Ah, Helsinki, whose hundreds of Christmas dusts shall overwhelm me,
Open my heart in a fun satire, full of delightful joy.
I seek to celebrate the clear day in thy ice of victory;
A beauty the sun shan’t thaw nor lay nor destroy,
Ah, Helsinki, so beautiful are thy majesty and cordial rains,
A pyre of stars by agreeable mountains, and dramatic friends.

Hail! Hail! My Helsinki is melancholy from what I hath seen,
It appreciates much the work of heaven in worried poetry,
That all solitude is passionately brewed, and born again
Within the real magnitude of love and festive sanctity.
My heart was too young and frivolous to follow the tender nature;
To gain what poetry truly was, nor share its sensible culture,
That once a call of tempt sloshed flippantly over me;
I became corrupt and unable to see the light in thee.
That I was wrong, I was too lighthearted to be wrong;
Bring me back my art—wash me with your newborn love, my Helsinki.

tachyphylaxis - tach·y·phy·lax·is (tāk'ə-fĭ-lāk'sĭs)  n.
1.    A rapidly decreasing response to pleasure following initial administration.

I didn’t know this
demon had a name.
Ugly as it is it fits,
a random mish-mash
of unpleasant sounds
and equal unpleasantness
felt.

I’ve known the *******
forever, manifest in vitamin cures
and psychological processes,
SSRI’s and stabilizers.

He attends to the end of
affectionate loving and all
the designer vacations
you've ever taken.

He is the golden handcuffs of
square foot home ownership
and his business cards are
set in silver.

To put it bluntly
his continuous presence
is intent on destruction
of any contentment.

He is all things along the way
that appear so promising at first
but never last.

Synonymous with tolerance,
antonymous with precedence,


the antagonistic leaven of all living.

westerners: we're basically the people with a big bang theory in our heads (what a ****** name for what used to be an awe-inspiring venture into the natural environment and colours, now just a black dot, no wonder the imagination dried-up at the end of the 20th century and it all became, "a little bit technical" / technology perfected the making of money / no -logy attache with art, the feel got the most of it), and having to still perform menial tasks, most of which became anti-physical, exports to China - an intellectual flatline of bureaucratic esteems, preferably lost among scientific theories that demean, devour and conspire to reach pinnacles of overstretched pronoun usage... too many nouns, too many nouns, there are to many names in this world that gather inert verbs around them - say the word aeroplane and i bet you won't end up being a pilot, able to fly the **** thing from London to Helsinki.*

i just realised i can't do it - applying
poetry to historical prose is exhausting -
the project has been terminated -
it's like two-hydrogen atoms coupled
to an oxygen atom defining the Atlantic,
the Pacific and a few lakes in between -
how can a single human being
encapsulate all that history? i don't
mind people spying on me, i know
spying is a form of fetishism, but trying
to encapsulate all that history in one
unit is counter-productive, non-representative,
i stopped on page 55, i didn't even get to
Greek history - what i love about all
that philosophical bollocking is that it's
airy, a modern arts gallery - you can fudge
in an elephant in there and people would say
that it's the five-blind men - or the sixth
deaf man, given the odd trumpet sound -
history literally does exhaust poetry the
easiest, philosophy at least antagonises it,
it's on the same playing field, both are in tune,
however well or however badly the strummed
guitar / ego - if i was going to sift through
another ******* of historical facts predating
antagonistic history like the events of
the Cold War or the horrendous disintegration
of Yugoslavia (Gorbachev was rightly
pompous to the end, the Soviets went their
separate ways peacefully, now Azerbaijan
sponsors the Euro football tournament) -
but if i were to shove all that **** into my head...
you know where Alzheimer's stems from?
i think i know - too much information,
too much information canvased against
easy, menial tasks... if they only taught us how
to not feel bored, instead of ******* us with
Pythagoras and calculus and whether it was
Newton or Leibniz who finished the finishing line
first... education in the West is a fool's game,
it's like that fable about giving an African
a fish or a fishing rod - they sell this **** in
Calcutta - me? i'm selling you a pirate copy,
don't bother - don't even go to university,
they'll turn you into a double-*** that you already
are, professional academics are not high school
teachers, they're the ones in line with ambitious
Higgs' boson, oh sure, Mr. Blair and that famous
'education, education, education,'
how about go **** yourself, go **** yourself,
go **** yourself?
the educated are in debt and the common
sense people,
well, they're also in debt - mortgages and what
not, but when i think about it...
i'd be earning super money to spend it... on what?
if  had children, fair enough,
the grand selfless act - maybe... erm...
never trust a female politician because she ends
up a tarantula, a black widow, caring for her own
rather than the ***** masturbated into a hanky?
listen, if you had a woman try to ****
you via your childhood friend... you wouldn't be
Kentucky frying chocolate bars to mush and
lovey hubby dub dub either.

Is it really any wonder
That we court the God of war ?
When a man offends in innocence
With imprudent comments poor,
When the slightest altercation
Leads to seeking of red blood,
And grudges borne with vehemence
Paste protagonists with mud.

Why is it that we tip toe
Through the fragileness of life ?
How is it that you rage
When he glances at your wife ?
What generates the jealousy
Of competitive bright flame
And activates the trigger
In the deadly baiting game ?

Why should we seek redemption
When the way is set in stone,
When antagonistic temperament
Is the customary way home,
When the flare of angry attitude
Leads the bearer to abyss
And inevitable conflict
Throws all reasoned thought amiss ?.

Reflect on how protracted
Is the winding road to love,
How long to place the building blocks
Of friendships’ hand in glove,
How gradual the process
Of steady cultivating trust
To the wondrous actuality
Of a brother bond that must.

Why does the God of war surmount
Mans best and dearest quest
To find a peace and harmony
Despite discords’ very best,
To live his days in certitude
Sidestepping risk of harm
To work toward tomorrows’ dawn,
And evening’s soothing charm.

Shatter prides absurdity
To dare to breach the norm,
To reach aloft for courage
And scale the unknown’s form.
To rail against mans’ enmity
To flail against his foe
To conquer human natures‘ worst
This beast of war must go!

Marshalg
Victoria Park Tunnel
21 June 2010

...and that i own a bed.., but rather sleep on the floor... make-up an Ibiza from a Beirut... i rather **** the fathoming of a fizzle... to somehow compensate the tirade... this most unwelcome clue and loss... this gravity toward a... copper skin... and spit of biting totoises toying: limbo years... leftover... come... cushioning brief: fudge-packaged "thought"... this limbo-slant... as somewhat crude work-around... kiev a... "scheme"...

vielen dank zu gott! many thanks to god!

my greatest fear is that of homelessness...
who's to fear... to fear and "what"?

to be at home is some synoynmous
with something:
beside a being: and a home!

loitering in the quasi lane...
i'm about to travel across
europe with three rotten
teeth and i'm to suspect:
myself toying with some
variation of journalism...

       i see no end to the cold,
or war... the warm or
the shrapnel excavation
project...
when communism
was beast established
among the slavs
as your: yours one and truly...
antagonistic
warsaw pact whistling
and lobotomy...

even if i were the evil genius
of descartes...
i wouldn't be so...
fine detailed: ****...
      so... pristine... so...
otherwise... lobotomy blues...

exactly! what's scary is not
the laws being implemented...
but how... easily they are...
talk about climbing a tree...
talk about learning to ride
a bike... achieving a pass
with a bruised knee...

              a scrap: heaping...
lost teeth and... what of the jihad...
for the lost fraction of the ummah...
what of the jihad...
expected... in the chinese...

where is the ummah to be
summed to salvage...
and save the...
frolic over...
              the detail... in hair...
when hair is being shipped
away to "elsewhere"...
for ****-holes awaiting...
xinjiang... hair from...
would be... hibernating bear farts...

the jihad! the jihad!
i'm guessing the arab elites
are in on the "gimmick" with
the choke ***** men...
because... jihad only behaves
like a jihad on former
cursader territory...
south of france...
herr tao is somehow immune...

calls for being debility funny...
calls for...
bonfires of the turban of the sikhs...
orientating...
the house of gondor with
the house of rohan...

                 we'z needz 'air!
atypical confused jihadi saladin would-be...
we must all thank...
vielen dank zu gott!
                   but i still wait...
for the jihad to save the... project islam inc.
of the ummah...

sloth-riddles of the islamic project...
clearly they want to stamp on
the face of a man beaten down by...
a non-resurrected christianity...
too scared to face off with...
chinese atheism...

      *****-soldiers... where the ummah
where the... oh... wait...
the bangladeshi being paid
in "reperations" having
a chance to relieve themselves
with a game of cricket...
i'd sooner send... the locust
to abu dhabi than allow a foot
of mine to set...
on a worse idea beside the already
ailing reality of venice...

once upon a time...
was the fortune of settling on the basin
of the river...
all that oil must have shot those
arabs to the head...
the egyptians started screaming
at the camel-jockeys:
you never listened to the sand-*******...
did you?

all that black gold in one's pocket...
all that... yacht ambition...
all that and that...
all that frivolity... prized pride of
the... ahem... "ummah"...
looks like the chinese muslims are
forever and the will of the dubai classics...
fern fusions readied for...
the wigs!

       ****** readied they are...
some mongols would dear strap a horse
to their grave than excavate a hair plough
from...
eh... slaving prior to genocide...
it's like... they are... "allies"...
               it's a genocide mingling
with a joke... of slavery...
but the slaves did work that...
oh no... the germans didn't trust...
the hebrews with anything...
they performed genocide like a "failure"...
or rather a joke...
  
ask the serbs...
ask someone in rwanda...
you never perform a genocide...
by way of... imitating slavery...
by... stalling... by making people perform
menial tasks...
hello horror...
hello the sleeping ummah of islam...
to outright **** a people...
you wouldn't want them...
being teased...
a god teasing and his precursor for
having a 2000 year old wait
to establish: re- ishrael...

         the outliers of rome...
alaos pagan... converted to
the judeo-greco project of: three rotten teeth...

"toxic masculinity"... problem?
not enough of it is going around...
enough for it to be shared...
likewise...
my retreating toward...
japanese insinuation ****...
gravure idols...
   hell... absolute "toxic femininity"...
porcelain white girls...
all... lemon *******... peanuts dead...
while their... glob-trotting...
glutton sized up 66s...
   have forgotten the concept of:
insinuation ****...
foreplay...
all readied for...
extract ******* woman...
****... bred for... **** like a piston...
****** readied...
   blah "blah"...

       it doesn't translate... plain jane...
the sort of toxic you seek...
in man... revels in a deity lady madonna...
i **** myself over all second come...
blessings! blessings they calls them...
yeah... the best dates i've ever had...
concerning the "middle path"
of buddha is bound to the clarity
of a transation in a brothel...

so much for a justified jihad in xinjiang
to... save the people of the ummah...
pseudo malcom X consricpt... 0...
negation... not going to happen...
    japanese porcelein ****...
but they'll wait for the hyprocrisy...
they'll come for the arabs first...
when they finally engineer a man...
that will be better than all
the supposed doping advances of western man
allowed...
  
i'm starting to like *******
from the perspective of a japanese hard-on...
insinuation...
    i'm less the ****** and i'm more...
about to sniff a stinking dog's bowl
of processed meat of a ****'s oyster behalf...
i like that...
less *****... more hard-on...
     n'ah... i never did buy into the whole:
sorry loser ******* in amsterdam
cinema sessions...
    i liked... the tease of a tier...
more imaginative... more human...
than... a tease of a harem via a niqab...

so... no jihad come xinjiang?
should we suppose the mongols also invested
in a conversion and it wasn't the grand
imitation buddha kahn?
the wrath subsided: god was proven...
time for meditation...
    what's a jihad...
when you could entertain...
the... tsunami of the horde of...
the fall of angels.... fully-workable replica
metaphor...
what's the ****-poor islam "spread"
by comparison?
                
no real ummah then...
   unless...
that's diesel of a lamborghini burning
rubber on a tarmac in knightsbirdge
for a faking 'ard on...
    
  two days from now...
i'll be passing through germany...
        i'll be retiring 2 weeks to that land
of paradoxes that's my land of birth...
the aristocratic democracy brothel
of crown and... *******...
foreign hands foreign lands...
all the ready to retreat into their habsburg cul de sacs
of prior to: asserted powers...

no... there's just that...
"we" forgot a healthy ground for
doubt... the plethora of emotion...
the rollercoaster of it...
there's just now... the yoyo-denial cringe
lobotomy...
the best best cringe...
slav soviet communist...
Teddy! Teddy! sell 'em spleen
and iron grips!
no good Warsaw Tadeusz!
Beijin new bwest fwend!

            t-eee-sted...
                  new zealand: tee-st...
not station: tested... but...
t-eee-sted **** the rats and retards...
the philonthropes...
because...
   the noise made by bwah bwah...
  the misathrope...
it's like an accent from...
that last best reserved concept
of growing figs... otherwise a...
goof-ball and course for ralph...

now for the self-congratulatory letter
of championing the dodo project:
well thank **** for not solving this brain-drain
spaghetti puzzle and not exactly buying into
the d.n.a. project ugly pass...
with all that..... bewildering...
"consciousness" debate...
michael myers' "consciousness" debate...
one... 'em... those sudoku nuggets
of... "sober"?!

best resolved...
i drink alcohol to keep calm...
after i forgot to... take my ****** pills...
my... i came late to the party...
21 was illegal to smoke marijuana...
amitriptyline... 25mg...
how many times do i think
about a slaughterhouse?
i think of all the boys with:
chemical soup for brains aged
16 and under...
i was lucky...
they only got to me aged 21...
i was still allowed to retain
a labyrinth of wording(s) to shelter my anger with...
surprise? what surprise?

toxic masculinity = not enough james bonds
running amok for...
oh... weight... *****-whipping...
there's all that... i forgot what...
period drama this was all about...

drink drink drink...
i'll sooner kick my liver dead than...
allow society to sober my half-wit frankenstein
brain of theirs...
    i'll die with:
i don't scare myself with drowning...
i don't scare myself with falling...
flat into a pancake...
i shouldn't be afraid of homelessness...
but i am because...
this avenue of the freely available stars...
and those... made rebel...
that will answer to me...

                  the butterfly... waiting...
for the most pristine... prized... first...
insecurity of... h'america about to be exported...
and it's a... oh my! a zephyr...
tornado... one of those: flush 'em...
when you 'ave 'em...
sort of... scenarios...

hegel: improtune... the will of the thinking man...
thought is a butterfly...
it's hardly... a well-knitted-marx-beard-and-sweater
of consolidations...
  
honest to the god i don't believe in...
i'd shadow **** that crucifix if it
had a japanese gravure model hanging on it...
******* as insinuation...
they did catch me...
libido pressed...
aged 21...
they would have got to me aged 16 and prior...
with ****** and former brain:
the chemical soup...

          i want to smash **** up... then i remind
myself: wait... and giggle...
   the extract... mikhail popkov...
                 albert fish... fan boy for every:
groupie of history...
            is that... like... a somewhat missing:
oops?
        CHRISTINE CHUBBUCK...
               INCEL...
       wouldn't it be... just.. oh so strange...
to... drag a man into a prison cell...
and shoot them... obviously retaining leaving
them there to rot...
   andrei chikatilo...
                              the urban myth of cockroaches
being subjected to the guillotine...

sure... whizz vite boyz aged...
napoleon dynamite... jeffrey dahmer...
      16 is the right time to call brainz...
chem. soup...
bubbly...
me comez 21... me's perfecto...
   me no cain signature idiot primo...
                 i like me horror story...
i get to play the... plot line of
the anaesthetic...
                      
who is to be surprised by: who's who...
of anyone's who of...
the currency of... this... surf...
lost... a "somehow"...
a "somewhat"...
oh... this is... for... today?
                                this has to be...
the advent of the pontius pilate metaphor...
no... not me...
dies ist alles sie:
   scheiße!     es ist mich?
              verwesendtrauben....

kommen, sehen... der welt...
                           verstopfungselbst.

Serenity: that's what goes through my mind when I think of you.
Extroverted: takes over from the previous thought and changes the dimension of my fantasy. I look around, all I see is cold war. A form of cheap resistance from my egometric side. then I let go and let you in.

I walk beside you, when alone, in a crowd, anywhere. I feel the warm grasp of your soft fingers; happiness smears my heart. I dwell in colloidal eternity as I gain a clear entrance into your serenity bowl, your heart.

it starts with attachment, then emotional induction sets in. At that point when you pull all strings trying to gather fences round your fetish desires. "Get a Life", I tell myself. I walk away from the walkway with my head bent low as I look upon your intimidating glare not knowing how soft-laden your heart is.

As I walk back towards your outstanding figure, my heart colloids in pleasure. I notice your beautiful curvy legs. they hit me ******* the most integral part of me. I feel dipped in love, so I bury the hatchet with my antagonistic soul. I move closer, hold your hands and there I feel it; the most common of all senses leaving me. Am filled with fresh new blood, full of hope and desire. It is then that I realize how hard I have fallen. Fallen hard in LOVE.

people who feel like to extend their pinky fingers
when the others have been recently offered
in assistance to greedy children, antagonistic husbands,
selfish friends.

they would never see people that way though

because if they did, and on the few days that they do,
when humanity is tire slashing puppy decapitation,

the people who feel crumble into a *** of sappy person,
resorting to gulping sobs and furious scribbles in
a journal no one will read.

people who feel like to assume they are alone,
that if God wanted to, they might all have been
rounded up, dumped on an island, and left
to offer conciliatory remarks, hugs, and shared
assumptions of responsibility and ethical treatment.

people who feel like to believe people are good,
as good as cotton wrapped tightly
around a small, slender, white stick:
dutiful, essential, uniquely purposeful.

but those people who feel woefully forget

the Ones who Feel

and feel to such a degree
that they create destructions and downfalls,
messily, angrily
like a toddler desperately trying
to make the blue crayon look black.

they are dangerous.
powerfully effective at harnessing the attention
of those who digest and regurgitate what
Society has in mind about the condition of people,

that there are troublemakers and peacemakers,
but the bad apples are more capable of wiping out
the apples who never had a chance,
and merely were in line of fire because they were
apples of the same kind at the same place
with the same name.

people, plain regular people, like to remember this
silly notion from childhood,
the devil and the angel entertaining either shoulder
of people, all, everyone people.

but what I think, me, who feels and feels and feels
until the feeling goes far away
until I beg for it to return,

everyone feels. some listen too keenly. some explode. some are deaf.

others mute.

Where are you to hold me when I need you to?
Where are the understanding thoughts others have of my imperfections when I can't help myself either?
Why do the horrid memories replay in my hippocampus when I thought I already turned them off?
Where is my mania to squash my depression half?
Why do I seem helpless and wait forever to succeed in the adult world?
Why do I get so intensely excited then become an antagonistic monster?
Why did I not know then what I know now?
Becoming a victim completely unaware.
Proved wrong and I strip to be the bad one
so everyone shuts up.
Humiliated and hurt and everyone looks out for me.
Naive behavior and hunger too strong I steal from others.
Tears swelling in front of small children.
A girl who wanted nothing but for me to suffer.
A boy who wanted nothing but my genitals.
A troubled woman who wanted nothing but my time.
A guy who wanted nothing but for me to be his *****.
A guy who possessed me,
Though everyone at some point
Did.
I've been owned, abused, humiliated, hurt, assaulted, victimized, bullied, made fun of, attempted to **** myself, blown off, screamed at, fought with, admonished, antagonized, used, looked down on, bossed around, yelled at, pushed, shoved, thrown away.
Today,
I have love that is a beautiful miracle and proof I will be loved without being pushed into what's only for him.
I have a few good friends who care and don't grab my hand.
I occasionally hate who I'm becoming when the anger within is the kraken in my body swerves herself around me inside slowly and aggressively.
Only way she comes out is through profane vulgarity in my words and through my lips.
They're gone,
They're not mine,
They're hurtful,
But remember they're only for a moment.
I'll be done with the anger one day someday,
and the kraken is just a myth.
Though my traumatic stories may seem like a myth too,
be grateful I'm still here and
smiling.:)