Dear Poet Friends, being fond of Art, I wanted to compose on
this topic for a long time in a simplified form! Egyptian Art and
Architecture influenced the Early Greeks, who in turn influenced the Romans and other civilizations! Initially Art and architecture, religion and culture, were all closely inter-related! Real distinction emerged with the Italian Renaissance. Here I have used only a portion of my personal notes. Hope you find this interesting to read! Sorry for the length! Kindly give Comments after you have managed to read the entire portion in your spare time. Thanks, -Raj

INTRODUCTION TO THE STORY
OF WESTERN ART IN VERSE:
          PART ONE
    * BY RAJ NANDY

INTRODUCTION
Art over the centuries has been variously defined,
But an all embracing definition is rather hard to find!
Ayn Rand defined Art as a recreation of reality according to
artist’s values, his view of existence, and choice;
Who recreates by a selective rearrangement of the elements
of reality, and not simply out of a void!
Study of Art History is a study of man’s creative evolution;
A progress of his wakened consciousness, and a restless
striving towards perfection!
The progress of his mind, taste and skill, which has gradually
evolved through past traditions;
Finding ultimate expression in his multi-faceted creations!
I commence this story from its earliest days, and mention those
Ancient Civilizations which influenced Art in many ways.
Art has been greatly influenced by religion, culture and history;
Therefore, knowing these aspects becomes necessary to
fully appreciate this Art Story!

PREHISTORIC STONE AGE ART:
Let us take a ride on the magic carpet of History, down
past millenniums to begin our Art Story;
Right into the ancient Paleolithic, Mesolithic and Neolithic
Eras of the Stone Age,
When early humans left their creative imprints on rock
surfaces and on walls of caves!
Long before the evolution of any proper coherent speech
or communication,
In some 350 caves of France and Spain are seen paintings
of large wild animals like horses, antelopes and bison;
Bearing witness to the story of gradual human evolution!
The cave paintings of Chauvet, Cosquer, and Lascaux, date
between 8000 and 1700 BC,
Drawn by nameless and faceless people who emerged from
an inhospitable Ice Age;
Those nomadic tribes who were hunter-gatherers living in
pre-historic caves!
The Story of Art therefore begins before recorded History,
Pieced together by scholars with the help of science and
archeology!
During the Neolithic Period beginning around 8,000BC,
Ancient man became gradually sedentary, engaging in
agriculture and animal husbandry!
With these nomads settling down in small communities,
Art became mystical and monumental in range;
As seen in the megalithic (large stone) structures of the
famous Stonehenge!
This type of post and lintel structure is also found in ancient
Egyptian architecture, and later in Greece as its special
feature!
Art History spans the entire history of mankind,
Right from the pre-historic days, up to our modern times!
Man’s everlasting quest for immortality lies etched on
rocks and raised stone edifices, defying marauding Time!

MESOPOTAMIAN ART (3500-300BC) :
Let us now travel fast forward on our magic carpet to reach
the Fertile Crescent,
Where the Tigress and the Euphrates Rivers flow, to the
Ancient Civilization of the Sumerians! (3500-2300BC)
The birth of civilization has been traced to Southern
Mesopotamia, where the Sumerians built their first cities,
As the earliest River Valley Civilization around 3500 BC!
It was a period when writing got invented in its earliest
Cuneiform form;  (around 3400 BC)
When Patriarch Abraham established the worship of a Single
God, in a revolutionary religious reform! (Judaism)
Mesopotamian Civilization as the source of our earliest
surviving Art dates back to 3500BC;
When major civilizations like the Sumerian, Akkadian,
Babylonian, Hitties, Assyrian, and the Persians, in this
chronological sequence, contributed to Art History!
Mesopotamian Art in general glorified their powerful rulers
and their connection with divinity;
Reflected on their city gates, palace complexes and ziggurats,
are scenes of both victorious wars and their prosperity!
Art was then highly functional and repetitive; depicting
love of beauty, a sense of order, and power of hierarchy,
- in their sculptures and motifs.
However, no signatures were ever found bearing the name
of the Artist!
It is interesting to note that both the potter’s wheel and the
cart wheel, made their first appearance around 3500 BC
and 3200 BC respectively;
With the Sumerians contributing to art and culture, and the
progress of Human Civilization immensely!
(Ziggurats are semi-pyramid like structures with steps, a temple complex located in the center of all ancient Sumerian cities-states! Saragon the Great of Akkad from the North, defeated the Sumerians in the South, & united entire Mesopotamia around 2300 BC, for the first time in Mesopotamian History, & they ruled for 200 years.)

ANCIENT EGYPTIAN ART :(3000 BC -500BC)
Next we travel to an isolated area of north-east Africa,
Where the White Nile flows down from Lake Victoria.
The Nile enters Upper Egypt traveling through Sudan,
Is joined by the Blue Nile at Khartoum to become one!
Continues its flow north through Egypt Lower, flowing
into the Mediterranean as the World’s longest river!
Historian Herodotus had called Egypt ‘the gift of the Nile’;
Ancient Egypt became a rich treasure trove of art and
architecture for all times!
The Nile valley area was protected by the desert on its
east and the west;
In the north by the Mediterranean, and towards the
south by a rugged mountainous terrain!
Annual flooding of the Nile along with an effective
irrigational network,
Ensured Egypt’s prosperous stability, congenial for her
many innovative architectures and art works!
Egyptian Art got shaped by her geography, mythology
and her polytheistic religion;
Also by their preoccupation with after-life and belief in  
the immortal soul’s continuation;
Thus elaborate funeral rites were performed by priests for  
the body’s preservation by mummification! *
(’KA’= was a real astral twin or stellar double of an Individual, which continued to exist even after death, requiring the same sustenance as the humans, so food offerings were made in the coffins! ‘BA’= shaped like a human-headed bird, composed of non-physical attributes of an Individual. ‘BA’ collected the deceased’s personality after death from the mummified remains & united it with the ‘KA’, making a person complete; thereby making it possible for the person to be reborn as ‘AKH’ (Star), - in its ultimate unchanging form, to join Osiris in the ‘Happy Fields’! Since this journey to the next world was fraught with danger, magical funerary spells & rites were performed by the priests, with incantations from the ‘Book of the Dead’, inside the funeral chamber of the Pyramid!)

Art During Old, Middle, and New Kingdom Period:
Egyptian Art was concerned with ensuring continuity of the
universe, their Gods, the King and the people;
A projection into eternity a version of reality pure and free
from all earthly evil!
Therefore in ancient Egyptian society, conformity over
individuality was always encouraged;
Artists worked in groups with conservative adherence to
rules, order and form,
And all individual artistic initiatives strictly discouraged !
Their earliest pyramids the Mastaba, the Step, and the Bent
Pyramids were all prototypes;
While the Great Pyramid of Giza built for Pharaoh Kufu,
- was the first true pyramid which still survives!
Art comes down to us as ‘funerary art’ designed for the tombs,
Which was to accompany the royalty in their journey to an
afterlife, with its symbolic forms!
This symbolism is seen in their paintings, statues and architecture;
In vibrant color codes of their paintings as a special feature!
Where White was the symbol of purity, Black for death and night;
Green for vegetation or new life, Blue for water and the sky;
Red for life and victory, and Yellow like Gold as the flesh of the
Gods and also the Sun God ruling the sky!
Thanks to Jean-Francois Champollion’s translation of the Rosetta
Stone, (1822)
We are able to decipher many mysteries of the Ancient Egyptian
with the cracking of the Hieroglyphic Code!
Larger than life statues with poise and austere harmony at the
Luxor Temple complex survive;
Symbolic of the individual’s status, while creating zones of
strangeness for imagination to thrive!
(’Matsaba’= Egyptian for ‘bench’, referred to bench shaped pyramids;
“Step Pyramids” = were like benches placed one on top of the other in
a tapering form going up vertically!)

The Old Kingdom Period covers a five hundred years span
of Ancient Egyptian History, (2686-2181BC)
Known as the ‘Age of Pyramids’, with Pharaohs from the
Third to the Sixth Dynasty!
“The World fear Time, but Time fears only the Pyramids”,
- is an Ancient Egyptian Proverb;
Whose ‘heterogeneous structure’ made it earthquake
proof, making Time to reluctantly serve! #
Here we find formalized figures with long slender bodies,
idealized proportions and large staring eyes;
Where Kufu’s Great Pyramid of Giza raises its mighty head
as the highest, on the west bank of the Nile;
And the mighty Sphinx guard the entrance to those ancient
royal tombs, though defaced, still survive!
These pyramids were like Pharaoh’s getaways to eternity,
An insurance to an afterlife of peace and prosperity!
(# Pyramids with stone blocks of different sizes & shapes made them
Earthquake resistant; & use of pink granite in the inner chambers
made them erosion resistant against Time!)

The Middle Kingdom Period (2040-1650 BC) :
Following 150 years of civil disorder Theban ruler Mentuhotep
the Second, reunified Egypt and ruled up to Nubia, (Sudan)
And began the Classical Era when Block Statues appear,
indicating political stability;
When artisans worked with bronze and copper alloys, designing
exquisite jewelry!
Kings now preferred to be buried in secret tombs, Pyramids
having lost their appeal,
And work began on the west bank of the Nile, in the Valley of
Kings!
(Inside those rock cut ‘funerary temples’ on the East bank of the
Nile, opposite Ancient Kingdom of Thebes ; Pharaohs from the
Early and Late New Kingdom Periods were buried, including
Tutemkhamen.)

Early New Kingdom Period (1550 -1295 BC):
Between the Middle Kingdom and this Era, Art remained
static for almost a hundred years,
When the Hyksos from the Near East fought the weak Theban
Rulers!
In 1550 BC Theban Prince Ahmose reunited Egypt, and was
succeeded by able rulers, who ushered in the Golden Age!
Art works continued to maintain its basic traditional style,
With successive Kings from the 18th Dynasty consolidating
their kingdom’s wealth and power all the while!
But Egypt witnessed a change with an innovative style in Art,
When Amenhotep IV in 1353 BC became King, initiating a
fresh start!
This king changed his name to ‘Akhenaten’, the spirit of Aten,
-- ‘The disk of the Sun’;
Abandoned the pantheons of Gods with Aten as the ‘sole God’,
and a religious revolution had begun!
His new capital city of Amarna, 200 miles north of Thebes,
Got decorated with a new kind of art work to make it complete!
The statues now appear more realistic displaying emotions,
With fluidity of movement, unlike those rigid earlier creations!
The artistic talent of this Amarna Period gets best exemplified,
In the exquisite bust of Nefertiti, Akhenaten’s Great Royal Wife!
Regarded as ‘icon of international beauty’, a great archeological
find ! **
(Discovered by a German team of Archeologists in 1912 at Amarna! This 19 inch long limestone Nefertiti statue weighs around 20 kg, now housed in Berlin Museum; comparable only to the artistic Golden Mask of Tutankhamen!)

King Tutankhamen (1336-1327 BC):
Akhenaten’s unpopular rule was short-lived, with those humiliated
Theban priests calling him the ‘Heretic King’!
A nine year old boy Tutankhamen (‘The living image of Amun’),
was next to succeed him!
King Tut restored the worship of Amun, in a back-lash against
Akhenaten;
Shifted the royal palace back to Thebes, with the religious center
at Karnak once again!
King Tut’s short ten year’s rule remained buried in 3000 year’s
of Egyptian History,
Till Howard Carter found his richly laden intact tomb, in the
Valley of the Kings! (1922)
King Tut’s priceless and exquisitely carved golden face mask,
reflected the exalted standard of art work;
Weighing ten kilos, inlaid with semi-precious stones, and eyes
made of obsidian and quarts!
With the King’s early death, the 18th Dynasty of Pharaohs came
to an abrupt end,
And the 19th and 20th Dynasties of the Late Kingdom Period
commenced!
The famous rock temple of Abu Simbel now got built, under the
warrior and builder Ramses II, one of Egypt’s greatest Kings!


Pharaoh Ramses-II of the Late Kingdom Period :
Here I sweep across centuries of Egyptian History, to mention
King Ramses-II’s contribution to our Art Story!
In Shelly’s famous poem titled “Ozymandias of Egypt” he is
immortalized; (Greeks called Ramses-II “Ozymandias”!)
And as the Pharaoh associated with Moses in the movie “The
Ten Commandments”, he is popularized!
Egyptian Art is intrinsically bound with its religion, pyramids,
hieroglyphs, and architecture;
With a concentrated focus on ‘afterlife’ as its special feature!
In 1270 BC young Ramses took over from Seti the First,
And his rule for a period of 66 long years did last!
As the third Pharaoh of the 19th Dynasty, he had ruled with a
firm hand;
Recovered lost territories from the Hittites and the Nubians,
- earlier captured Egyptian lands!
He enlarged the territories of Egypt ensuring prosperity and
stability;
Became renowned as the famous Warrior and Builder King
of Ancient Egyptian History!
Ramses-II had expanded most of the temples, as recorded in
the artistic motifs and hieroglyphic symbols;
Here a special mention must be made of the Temples of Luxor,
Karnak, and Abu Simbel !

Temples of Luxor and Karnak in Ancient Thebes:
Ancient Thebes was located on the eastern bank of the Nile,
where the modern City of Luxor stands;
Thebes was once the capital of the 11th and 18th Dynasties,
And the power and religious center of all Egyptian land!
Gets mentioned in the 9th Book of Homer’s ‘Iliad’ where “heaps
of precious ingots gleam, the hundred-gated Thebes”!
Excavation work began in Thebes during the late 19th century;
And the gradual unearthing of the Temples of Luxor and
Karnak, added a new dimension to Egypt’s Art Story!
It must be remembered always, that the Ancient Egyptians in
those early days,
Structured their temple architecture to the point of ‘Sacred Art’!
With their knowledge of astronomy and geometry, they
aligned their temples so perfectly,
That the light of the rising sun fell on the temple’s innermost
sanctuary! (Temple of Abu Simbel is a great example,)
Where the Egyptian priests, who were also the artists, healers,
mathematicians, astronomers and scribes;
In dimly lit incense-filled sanctuaries performed the sacred rites!
The temples symbolized the cross roads of the cosmos, where
the divine and the mortal met in perpetual harmony!
These divine scenes were integrated into the very fabric of the
Egyptian society through chants and rituals;
With cosmological symbols of magical hieroglyphs, which
priests alone could transcribe in those days!
(Thebes began to decline rapidly after Alexander the Great
established the port-city of Alexandria as Egypt’s new Capital
around 332 BC !)

Luxor Temple built by Amenhotep-III, was dedicated to God
Amun, his wife Mut and son Khonsu, - the Theban Triad;
Tutankhamen and Ramses-II expanding the temple during the
New Kingdom Period!
Creator God Amun became assimilated with the Sun God Re;
Was worshipped in Thebes, and in the cult centers of Luxor and
Karnak, - as Amun-Re!
The walls and columns of these cult temples were decorated
with carved and painted relief,
Depicting the interaction with Gods, and military exploits of
Egyptian Pharaohs and Kings!
The sun temple of Amenhotep-III at Luxor has many columns
resembling papyrus bundles,
Symbolic of the primeval marsh from where Creation was
believed to have unfolded !
A Sphinx Alley excavated between Luxor an

it’s not everyday you get to end a 7 year psychosis
when redecorating your room to it’s “original” crimson,
having had such a simple symptom as
brain cell membranes breaking and oozing blood out,
to be misdiagnosed as mentally insane,
and when in need of help from the haemorrhage
not driven to the hospital due to the lack of *******
of having proceeded with the deed but forgetting the onslaught of law
in favour of the hurt party... well...what can you do?
move on, as i’m trying, had it been naturally based
on genetic chronology / genealogy i would have suffered in vain...
but i’m brimming with a hate for islam, and there’s nothing
to do but calm the quasi-communist protestors
in the western lands... ******* calm down... you’ll get
your freedom of speech... once you stop trying to censor vocabulary...
there’s no point learning a language if it becomes
politicised and you tell me to block vowels or consonants
in a non-kabbalistic way (which i’ll come to):
so yeah, a 7 year psychosis over a needle in a haystack...
gives me the shivers...
the many times i thought about killing someone
and feeding the emotions with not doing the act...
so many times i was almost skeletally biased to churn the
marrow haemoglobin into tendon stressor action of taking
the knife and doing halal or kosher with someone...
many a times...as many a times i saw crucifixions in edinburgh
not knowing it was going to happen in syria,
and that night when a muslim tried to mug me
in brick lane breaking down in the street of revellers
kneeling in tears screaming a prayer with tears in my eyes
of only one word: allah.
so i started redecorating my room, crimson is back from
hospital white... my bookshelf is rearranged...
on the left on the top shelf fictional books i either read
or didn’t bother to read because of the movies...
to the right on the shelf psychiatric and philosophical books...
the next shelf is a poetry “corner,” well it elongates beyond the corner...
and it’s split by a dictionary with the right bit of the shelf filled
with english poetry and some literature that’s poetic, and french,
the dictionary is planted to segregate the poetry books,
to the left of the dictionary is a book of greek myths
(did you know all greek theology is derived from the new testament
and not from the testament of orpheus or hercules or Perseus?),
then a book on meditative kabblah... then polish books of poetry.
so i rearranged the room, but i also lodged
an essayist’s book on melancholia, a book on depression
a book on an intro. to jung and a book on
schizophrenia lodged between these massive collections:
to the left all the art books... to the right all the books concerning chemistry...
so the books in between can’t really be seen.
as of today i woke with a p.s. from dreams, or a p.s. in dreams,
i woke and imagined myself talking to my mother
about the identity of al-dajjal... the false messiah,
within the conscious realm i just said the words out of the window:
fool you fool me, when mecca / medina become west of paris / london,
i’ll accept riyadh to be east of tehran / new delhi...
then we'll marginalise plateau east with copernican east
via the stars, and wander aimlessly trying to copper-fill
the sun at sunset...
he (muhammad) said the man would be of his nation,
and he said so with a warning...
but ibn saud got away weighing in at 160kg, diabetic and a brawler
with the stomach, the decadent of all that choose either sugary decadence
or some other form of mental instability in the chosen trade of stolen organs.
me? i keep my sanity with the tetragrammaton, cipher this:
this numerology *******, and it is ******* will not do...
enter platonic forms:
y is so so much more than just 25...
what will you see through y with the number 25?
what? nothing, dry brute that i am...
Y represent 3 dimensional space...
the first h is not important given the second h... which is deja vu,
which is less than what malachi insisted with the fractioned god of
the fractioned “elijah” reincarnated...
deja vu can be explained with science as one of the brain’s tricks
to sense this familiarity of seeing an elephant and acknowledging
the five blind men touching it up for comparative jokes,
the W... well... at least it’s not M... given that the trigonometric cosine continuum
begins at 1.... god is one... ring a bell? well better that than
beginning with the trigonometric sine continuum, which begins with 0...
forget numerology... numbers and letters aren’t related...
forget the dogmatism of rabbis - it makes no sense to say a = 1, b = 2 etc.
and then take a word like ape, and say: ‘ah, a = 1, p = 16 and e = 5; by god!
that’s a kabbalistic synonymity of the word... pea!’
where’s the jolly green giant when you need him, eh?
just look at what a phonetic symbol represents...
like secondary darwinism of a primate hissing to alert the presence
of a snake... past darwinism... past drawing antelopes
in french caves... in the realm of abstract phoneticism that
gave us the cognitive genesis... and made as... dare i say... a bit myopic
in a solipsistic sense.
p.s. ah... what are the newspapers saying?
slapstick humour is one of the prime causes of dementia? huh?!
yes, prime minister... is satire comedy?
how the hell can yes, prime minister be categorised as satire
if it uses canned laughter?
see that bloke over there... doing the omnivore pelican dance?
he joked so readily and active that he created authentic laughter...
don’t know where your satire is going... but it certainly left me gagging
for a springroll.
now now... absurdist comedy is too oxbridge for me...
kings and gentlemen get educated in either st. andrew’s or edinburgh...
we laugh at ourselves.
alt. to canned laughter, given that "canned laughter"
is reserved for the authentic laughter of the crowd
at a live show? what's the antonym of canned laughter
in televised satire? picky laughter... i.e. only one person
in an schoolroom of 30 gets the joke, apart from the comedian...
that lonely everest ha ha... ooh chills, frozen prawns in gravy.

Yesterday sugar became unspeakably irritated because mother’s apron crushed ants wearing stillness caped wonder just William author wrote ****** explicit headlines newspaper columns pillar architecturally sound villages super-imposed images quivering Shepard’s ******* antelopes jumping furiously with tyramisphorising fornicating flanges woodwork lessons gym period ****** advert teasing testicles sumptuously ravishing me sideways and erupting deep blasts suffocating you inside without ******* headlong in my armpits.

Eventually everyone always signs legal documents leading to ****** bondable zoos inserted buffalo sized puddings eaten by frogs spanking archbishops underwear while licking toes crushed under fridges dropped from clouds of buttercups being pushed into ovens smelling gorgeous not consumed pimps and alarm clocks ring people to talk for hours and pineapples exchanged cod fish for tickets to see S Club 7 being caressed internally whilst ******* bags covered in water deserts sunk from space aliens from Tescos selling hardback fish cleaning toilets and singing in pink wellies dancing to Madonna look-a-likes prosecuted for *** shops selling frozen fish socks washed daily in cranberry coffee after being passed under bridges flooded in margarine soaked pillows.

Our mouth customs has gone beyond our control,
Every time we talk about Turkana nation,
We always goof to label it a den of poverty,
By failing to see the vice of human backlogs,
That has worked most to stultify human hopes
Down to a false pale that Turkana nation is all poverty.

A nation that arms its daughters and sons in entirety
With the vogue models of AK 47 and 74’S
Enjoying money worthiness to a whopping!
Media with which they brutally rustle neighbours’ cows
Leaving them in forlorn cry like lame childlings
Such nation can’t be labeled a poverty reference.

Nation in which a naked elder in a loincloths is matchlessly animal rich
Owning hundreds of Carmel and goats, sheep and cows in similar fold,
Enjoying pure *** in marriage with virgins, whose breast are sharply pointed,
Marrying them in pairs out of polygamous morality in the chriso-paganity,
Where each man is a king and each woman an akuju; Turkana goddess of beauty,
All youth confident of animal wealth, then it is total sphinx of no secrete
To label Turkana nation a land that is all about poverty.

Land of sand tunes fit for use in modern architecture,
Replete with deadly desert scorpions, watchdog against women stealer,
Diamonds and gold form its hills of Lapur and Pelekechi,
Its underground waters huge than masses of Indian Ocean,
Lake Turkana being deeper that Lake Tanganyika, full of Fish like helluva,
In the sunshine that generates solar power in fathomless units
Desert snakes jumping here and there in chase of Locusts,
On the seashores at Todanyang and Loewarang towns,
Antelopes there are foolish that they don’t fear dogs
While chicken are condemned to be wild birds
For the Turkana don’t eat birds lest they degrade in dignity
Foolishly calling such land to be example of poverty
Is like putting your economics education in higgledy-piggledy pose.

A turkana woman is a beautiful woman, indeed a paragon of femininity
Slender and narrow at the waist with a humongous bossom,
Her legs are sizeable and long, forming a curve between her thighs,
Her neck stands straight on her thorax, forming a shape of flag post,
Warm on touch and sensuous on each kiss, with her eyes full of compassion,
Her arms strong on each assignement, hence her gun management power,
She screams on an ****** like the swine in a slaughter house,
Sending up the chills of gusto up the spine of the *** partner,
When in the apical realm of love at scenic Eliye Spring,
How can a nation full of such wonderfully virtuous daughters
Be declared in foolishness benchmark of poverty and human despair?

Walk tall Turkana, stand and walk tall, for you are the ****** of Africa
Your oil wells are gift of providence; it will put green foods on your table,
Walk to school and learn anything, learn the languages of the world,
Through which you will caution the lazy talkers of this country,
For them have labeled you as black sheep of the Kenyan family
When it’s their folly and vicious governance
That has betrayed Turkana towards its destiny.

THE BOY Alexander understands his father to be a famous lawyer.
The leather law books of Alexander's father fill a room like hay in a barn.
Alexander has asked his father to let him build a house like bricklayers build, a house with walls and roofs made of big leather law books.
  
  The rain beats on the windows
  And the raindrops run down the window glass
  And the raindrops slide off the green blinds down the siding.
The boy Alexander dreams of Napoleon in John C. Abbott's history, Napoleon the grand and lonely man wronged, Napoleon in his life wronged and in his memory wronged.
The boy Alexander dreams of the cat Alice saw, the cat fading off into the dark and leaving the teeth of its Cheshire smile lighting the gloom.
  
Buffaloes, blizzards, way down in Texas, in the panhandle of Texas snuggling close to New Mexico,
These creep into Alexander's dreaming by the window when his father talks with strange men about land down in Deaf Smith County.
Alexander's father tells the strange men: Five years ago we ran a Ford out on the prairie and chased antelopes.
  
Only once or twice in a long while has Alexander heard his father say "my first wife" so-and-so and such-and-such.
A few times softly the father has told Alexander, "Your mother ... was a beautiful woman ... but we won't talk about her."
Always Alexander listens with a keen listen when he hears his father mention "my first wife" or "Alexander's mother."
  
Alexander's father smokes a cigar and the Episcopal rector smokes a cigar and the words come often: mystery of life, mystery of life.
These two come into Alexander's head blurry and gray while the rain beats on the windows and the raindrops run down the window glass and the raindrops slide off the green blinds and down the siding.
These and: There is a God, there must be a God, how can there be rain or sun unless there is a God?
  
So from the wrongs of Napoleon and the Cheshire cat smile on to the buffaloes and blizzards of Texas and on to his mother and to God, so the blurry gray rain dreams of Alexander have gone on five minutes, maybe ten, keeping slow easy time to the raindrops on the window glass and the raindrops sliding off the green blinds and down the siding.

Ajoke, the gods has cursed me to
Praise thy beauty
Like a sugar-cane planted at a river-bank
Your beauty is magically comely
Thy phat smile is an epiphany
I wonder the mystery of the water that
Dwell in the Coconut of thy beauty
Let me adore your well-made eyeballs
They are like traps laid in the forest for
Antelopes
Something the mirror won't tell you about
Your dimples is that they give death to death
The village priests said your
smile can be use to appese the gods
Not to invoke their wrath
Something about your dexterous waist
They are like prison guards when dancing
Guilding my hearts.
Ajoke your beauty is an epiphany.

It was him.
It was always him.
He was the movement of the morning.
The tick of the clock.
He was fireflies and owls and antelopes.
He was droopy eyelids, half asleep and mumbling over his cereal.

It was never me.
I was the newspaper with nothing interesting to read.
I was heavy steps and creaky floorboards.
I was a jellyfish,
everyone loved to look at me, but no one wanted to touch me.

We were the daybreak.
The moment the sun kissed the stars, saying "here, take all that I am."
But to no avail, they faded and wandered to the other side of the world.

I'm the chase.
The sun that always wants to be beside the moon,
And sure, sometimes it looks like I made it, right?
That's all that I ever wanted, right?
But in those moments, the world is dark.
An eclipse: never fully there.

He was the stars and I was the sun.
I was chasing after him every morning,
And he ran from me.
Only, he didn't notice he was running.
At this point, it was just a cycle. A part of his routine.

And I went unnoticed.
How unfair is it that he gets all of my time,
And I am left up in the air, stranded, as another day rolls by?
No one wants to look at me, and no one wants to touch me.
Nonetheless, I chased and I chased and I still-

Loving him was the best and worst decision I ever made.

I.

A louse in a house
or a mouse on a blouse.
A bell that goes ****
or a gong that goes ****.
A gap on a map
or a cap on your lap.
A drink in the sink
or an ink that stinks.
A spleen on a screen
or a queen who is green.
A bow in the snow
or a crow that glows.

II.

A wash or a whip,
a lip or a lop,
a top or a tip,
a car or afar,
a bar or a war,
a door or a snore,
a bore or a nail,
a flail or a whale,
a run or a bun,
a sun or a moon,
a spoon or a bus,
a fuss or a sigh,
a cry or a cheer,
a fear or a smile,
a while or a pen,
a den or a cat,
a mat or a hat,
a bat or a glass,
a vase or a weight,
a mate or a fork,
a cork or a mop,
a cop or a stop.

III.

Apples and artichokes, ants and antelopes,
bees and beers, books and brains,
cucumbers and chimneys, ***** and coats,
dogs and drains, dots and dominoes,
ears and eejits, elephants and exams,
flies and flutes, files and friends,
grasses and guts, giants and gyms,
horrors and hiccups, horses and hills,
igloos and irons, irises and idiots,
jumpers and jackets, jodhpurs and jellies,
kings and kettles, kites and kittens,
lions and lamps, lemons and lunches,
mums and monsters, mosses and moths,
noses and notes, nightmares and needles,
oblongs and orang-utans, organs and oranges,
paintings and pennies, ponds and pants,
quiches and quizzes, questions and queues,
rainbows and rings, rascals and rabbits,
snakes and sprouts, sweets and salts,
trumpets and trains, tables and toasters,
umpires and ukuleles, umbrellas and uniforms,
violets and vests, violins and vials,
wheels and wings, windows and weeds,
xylems and x-rays, xylophones and xysters,
yachts and yoghurts, yards and yaks,
zigzags and zephyrs, ziggurats and zombies.

i can't even appreciate my own, it's like it's supposed to
be a lost finger, because upon reading poetry by women
i slide into young-adult delusional
associations with my own; it's women's poetry that's potent,
i know the giants homer and virgil made the narrative epic,
but i mean the snappiness, the snappy poetry of intelligence
that's like a dropped handkerchief picked up by a dog-collared
crow of sabbath with foolery, to escape the trade of alms
and last rites, that horrid trade of the briefest farewell
and all that coffin in autobiography: coffins for coffers;
rarely a poem about the liver or the pancreas, it's all from
the heart, but as honesty goes - i said it once already -
if all my poetry came from the heart - i couldn't -
it either comes from the liver or from my ****.
i guess that's how we'll survive, with the cleopatras and
catherines of this world, singing them lullabies
of our misappropriated "endowment." but what's eerie
about today is that the house is empty, a funeral is taking place,
a plumber has died... a plumber...  talk of 40 a day, beer
and dead before 60.
wife, tick.
children, tick.
grandchildren, tick.
but i can't understand this depth of things: the jews move eloquently
from border to border, picking up language after
language without really accenting the acquired tongue, as i did too,
but i don't understand why i would have to be seduced by
the accusation that i don't belong here, that i'm being too
audacious, too prickly and not funny - or why,
before all the troubles started the muslim preachers on edgware road
thought that i was german trying to convert me -
i don't know anymore, maybe i am, after all father said that
his grandfather had a wehrmacht dagger hidden in the cellar,
so the ageing is a bit perfect to dot dot dot the pieces together.
but what i mean is: well, after living here since one can remember,
but having the burden of acquiring a mother tongue
i sometimes feel like i'm in no man's land, i can't drop the mother
tongue, i'm using the acquired tongue more than the mother tongue
cognitively, but i read philosophy in the mother tongue
because i can't read philosophy in this acquired tongue;
i guess that's due to the overstrain done by darwinism in the english
tongue, i mean, there's a lot of good philosophy to
be read, but in english it's too much of a darwinistic
revocation - it's not like you could read sartre
talking about voyeurism through the keyhole
without imagining yourself a monkey,
it's the whole imagining the origin,
it's the whole: image - monkey - phonetic content - ooh ooh ooh.
it predates accounts of history, this whole take
from darwinism; i face the fact that darwinism
eroded much of history, it's like groundhog day,
that's why the media are so pulverising, so concentrated,
so seemingly omnipresent, 24h... the whole of
human history stopped! it's because when
humanity started to record **** happening
using phonetic symbols rather than pictures of antelopes
in caves, it started to record history,
but darwinism kinda erased that... so what's the
news now? oh right, skeletons, lookalike skeletons.
this isn't an argument against darwinism using theology,
just look at history, it stopped, we're living
in a 24h pre-recording awaiting various paranoias.

Try your hardest not to love people like me
I promise it will be worth the effort
To avoid a heart that beats as foul as mine does
One that will take you to the ugliest places you’ve ever seen
And have you dance in dirt and swirl in broken glass
But I’ll kiss you in those places
Every one of them- in such beautiful ways
You’ll start to think blood smells like my perfume
And that thorns are more beautiful than flowers
I’ll make you want me
In the way that a tyrant wants a kingdom
In the way that lions want antelopes
It will be maddening, it will make a savage out of you
And by the end of it when I leave
And surely I will
You’ll be a hybrid of a human
That hunts for hysteria and hungers for hostility
You’ll be so soiled by me
You’ll see the world as I do
You’ll understand a little more about things
And how awful everything is
You’ll know why we name hurricanes and not rainbows
And I’ll be one of the hearts worth the effort to not love.

thunder cackles in the morning
a witch is a woman
with any amount of wisdom
your words are as bland as coffee
and the dandelions are talking
for i am permanently amused
by vicissitudes and antelopes
and aggregates of moods
feelings and isotopes
hanging by psychotropic ropes
firmly financed by our fingertips
lifetimes triangulated in transitions
farm the fallow fields
and try to heal the poppies
dropping numbers
and putting aside our copies
a simulacrum of similes and shortages
as field mice and farmhands
dance on saturn’s rings
despite all of jupiter’s complexities
your complexion is never shallow
and i swallow seawater
to embrace the sweet finality of life

True tough tanks take turns trolling twitter,
Suzy sells salad soon so buy some ,
Good guys got gargantuan grave grievances,
Anarchy attracts anvils as antelopes acknowledge asparagus,
Juvenile jerks jump joyfully as they eat jalapeños,
Frank fries-fries frequently for favours,
Luke love Leia lots lass let lust lie

She With Killer Keen Eyes
With her cubs she does lay
the sun beats down intense
yet her and her kin are in the shade

She will teach them her hunting skills at night
as this is when visibility is not a premium
the pride will work together and mutually unite

Then through the long grass, crouch and stalk
hunting their most favourite prey
the young of zebras and antelopes

She does rule this pride
she is their majesty
she with killer keen eyes


By Christos Andreas Kourtis aka NeonSolaris

By NeonSolaris

© 2013 NeonSolaris (All rights reserved)

Antelopes can gallop,
they'll only pass me by,
I stood still on the zebra crossing,
yet failed to catch your eye

Take one step back,
deep into the blue,
a thousand wishes which we dared,
in thawed hearts may be true

Tree's bend and break,
by a force we struggle to see,
fitting a camel through the eye of a needle,
we're all consumed by our own greed

Yesterday's paper is never yesterday's news,
because what once was steers my current,
it's all within my reach and grasp,
but I'll keep shaking hands to myself for fear of losing courage

The butterflies flight
comes through fields of leaves.
A damp fizzle dampens the throat.
The air is aimless
and full of dust.
The grass swathes amongst the thickets.
The stiff trees murmurs memory
once galloping antelopes on the hoof
clandestine in the lonely morning air.

among the people that i hold accountable to suggest
someone has lost touch with reality:
    well, apologies for not engaging in your
  cinnamon-laced *** life - i sought other spices:
as in chilli for the tongue, and salt for my eyes,
and pepper for my nose - because that's what's
being debated: when philosophers come back
from their adventure i'll let you know what reality
actually is - then the cathedrals will crumble,
   then the neo-Babylonian extracts from modern
architectural preferences will become less neo-Babylonian
English and more: Glaswegian dialects
surrounded by Croat diacritical markings -
    as if drawing hunting antelopes in caves
   giving us "more" clues about the one inhospitable earth:
or are we truly surrendering to Darwinism
rather than carpe diem? i'm i'll ******* chirpy
given a dinosaur bone, and the timescale -
             and given that we turned Cartesian duality into
a dichotomy, everyday seems challenging:
a blimmin' boxing match 'n' all...
                                    i can't remember how many times
i've been k.o'ed (knocked out) in my waking moments
(conscious or, rather mourning? don't know).
      i still find it staggering they (no paranoia collective:
simply scientists) came up with the fact that the sun
(or any star) is a reaction of helium and hydrogen:
do people really explode into chipmunk joviality when
   doing a b.b.q. of their bodies on a beach?
             (asking questions becomes a ****** syringe
after a while) - and yes, use the term joviality before it
becomes archaic, you never know when it might
unearth a wormhole of Hades and **** the fact out
and flush it into oblivion.
              and some don bowler hats and use folded
umbrellas as walking sticks, perhaps the monocle,
but definitely the bow-tie: and make rhetoric of language:
airs, courtesy (court-t'eh-c vs. curt-see): herr chirurg!
how do you insert the scalpel into the rhythmic expression
of dribbling that kauczuk? (rubber ball).
      (cow- -chook).
           i mean in Cockney: how do you juggle that word
properly while balancing an oyster on your tongue?
and yes, i'm starting to believe Polish (as a language)
borrows too much from German - of the few slavic languages
i also say Kaiser bun -          she's called a variant of
antoinette, i.e., a kajzerka, or Wilhelm (dressed as a little
girl, all hurly burly) akin to philippe duke of orléans;
someone say lace stockings?
      i could write out this ******* in chauvinistic bravado
aesthetic: or i could smoke a cigar...
     and sooner we realised that crows never prayed
but croaked -
        that pigs grunted and never prayed -
that pigeons cooed, and never prayed,
       that monkeys did the mambo knock-knock joke -
that woodpeckers were the original carpenters and
                invoked the existence of the machinegun
and the rattler.
so there are people (sophists) who wear
bowler-hats, smocking, monocles and disdain:
rather ardently -
                 and then there are those that spontaneously
explode, from out of nowhere,
and dress themselves in rags and never rags to riches
sort of attitude - because appearances are deceptive
and too can be gambled with and neglected and seeing
a decay of a royal house: is much fancier than seeing
autumn...     because aren't the Windsors
                                         vacating Buckingham?
as in: from rot -                 apple and pear sweetness.
(at this point the poem should end) -
       not always the case of: less is more...
speaking on behalf the man who read the karamazov
brothers and stuck a leaflet on the back
of the book that read: the hash marihuana & hemp
museum - oudezijds achterburgwal 130 amsterdam
                    (next to the 'sensi seed bank' grow shop
   www.hashmuseum.com).
i mean you have read something equivalent of a brick
these days, at least one brick within that distractive
paradise of poetry - either the already mentioned book,
or war and peace, or in search of lost time,
or bolwesław prus' the doll - and they said
that life's short... not with these books being read it is...
life becomes a snail-paced traffic jam -
            it's what mystics aim at, across all religions:
the carpe diem momentum.
            it's not even boring, it's just a tedium-ladden
misanthropy: that suggestion is mainly aimed at seeing
an afternoon sitcom about 0-hour contract jobs...
       which is applauded by the terminally ill who
might say: thank **** it's not me.
            so we're all agreed - what the collapse of
communism left behind was a chance of a pension,
        given that all the western countries sold their remnant
versions of tribalism to stealth upper-tier formulations
         of "we're in this together" as otherwise know: companies...
we're not accompanied -
                   cold and wet and ***** -
                            which is odd why we'd think it
necessary to cause upheaval in iRaq...
                           given that the origins of communism were
in England, tested in Mongolia and then ingrained elsewhere...
ah, but of course, the profit margin: it's hard to
automate people surrounded by machines
        it's like olympians competing with para-olympians
where's talk of golf and the handicap?
              not here...
                       but i'm wondering, how can i redeem myself
after having stretched the poem for too long?
     point being: i can't change the status quo, and don't
intend to - and is that hypocritical or simply being
honest? well: if i managed to fit the concept of the big bang
into my little head: i'd choose the bullet every single time -
   we've established a majority, we've become as deluded
in our hopes for individuality: as was once deemed worthy
of the idea of god; we simply have established a constant
supply & demand parameters;
or what Heidegger calls: the perpetuated "ineffectual"
(well, not really him, my wording) -
                  basically a state of panic and
how different does concern compare with anxiety?
   a woman would tell a man that crimson is very different
from burgundy, as man would use the crude sigma:
red, red. n'es pas?

*i wish i could write something within the framework
of universal appeal; something simple
   and easily digested: like baby pulp, or simple
pulp of any fruit, mashed up and regurgitated
as if a seagull feeding its chicks... alas! not to be.

I've taken this half baked body of mine
and put it in a safe

two nights it's been in there
and nobody inquired

I opened the casket
and discovered where my heart lay
melting in with the knots in the wood
and shining like the iron locks

I found these fingerprints all over it
crisscrossing to my hand

I found you in them,
friend
I followed you into the land

Of bees and antelopes and margosa trees
scattered and fat like you and me
with olive brains in the sandy beach
and candy eyes as white as bleach

I peered into your delirious face
and with my white, cold frightened hands
tried to scratch your knuckles
into existence
"Wake up!" I said, "Wake up, you man!"

You said, "let's analyze the form"
and I decided you were completely torn

Your zipper lines from head to toe
were hanging out, you let them show

Little tea cups lined the path to the bridge
I looked at them and their tiny cracks
the painted flowers had no beginning nor end
the handle was liquid from the bend

I sat
and waited
and thought
and pondered
and existed
and more

about whether I was meant at all for this place
or if I should have left my mind
in the casket
with the knotted wood

Or if it had already been lost
drifting away with the marmalade sea

some would say that Ashley Montagu was mad..
actually everyone would, eating Chomsky,
then again the English forgot to trill ρ -
for a row row - it's pronounced hollow -
an evolutionary step in the wrong direction -
my learning of English as a language was
incubated by learning history, when i returned
from incubating it, i had no novel,
three years in Edinburgh (said Eden borough)
and i never went to the fringe festival...
nights when i prefer drinking than writing,
my mother is a housewife, i'm guessing
your mother is an aspiring sociologist,
for you the world is a treadmill on max speed,
for me every day means i am kept counting snails...
it's slow... they never bothered the man
where feminism never encouraged perpetuation...
i said i needed cushions, you said i needed stones...
here's a stone with Magdalene, throw it...
throw it at your will... i never had ******* dysfunctions
with ******... THINK ABOUT IT!
why didn't i have ******* dysfunction with ******
but i had them with you? actually, don't think about it...
you might hurt yourself... you probably will.
i swear on the zenith of mount Sinai...
this woman is an Everest... let her freeze to death,
i will not clamour a house to such heights
establishing her as a worthwhile continuum -
the English made the R glutton, forgot to trill it,
the French harked it, rhapsody became hark
po see - we call it the phlegm lettering -
so why did the English on purpose drop the trill
of the tongue rattling? the French kept the harking,
but the English forgot to trill the trrrrrrrrr illion words
unsaid, why? one of those days when drinking is
more pleasurable than writing,.. i kept the narrator
in the laboratory under tight inspection...
he said no characters deviated...
well, there were characters, but nothing
compared to Ivan, Achilles, generic types ready
to start families... the fortunate without none types...
that trilled r is not imagery of bouncing,
it's a case for a drum-roll pendulum...
now i know why i feel so alien in London,
London is an alien entity in England, compared
to Newcastle, or Hull... it's a hallucination...
it's not there... three years and i never went to the Fringe...
theatre land *******... my mother is a housewife,
time's slow slow for me, i don't have the
attachment of keeping up, halfway between
homeless and a monk... i really don't think about
a life like Rousseau's... i prefer the drink...
i just minded the fact that the English once
trilled their rho, then lost it...
that that French still hark their rhos like
rhapsodic fugitives fighting asthma...
it really doesn't matter...
atheism is not that crucial, it's not even that
severing in severance of follow-up engagements...
atheism isn't scary... it's pretty pointless
when you take up a fight against both God
and solipsism.. popularising atheism is a fight
more in the care to erase solipsism than it is to
erase god... atheism meaning an: en-grouping
is more a case of involving an individual
in its affairs, that it is to take affairs with god...
obviously militant atheism failed,
there's no consensus agreed upon to involve
anything but the crowd, the crowd is unnecessary...
politics knows this, the crowd is subterfuge...
the eloquent measure of saying things as they are:
sabotage... this night in particular?
not a lively night, not an inspirational night...
just a night for heavy drinking.
they're looking as much for the solipsist as they are
seeking god... the Gemini of artefacts,
twins introspective that constantly mingle
and never leave a still-life concern for a canvas and a
brush stroke... a second later another baby is born,
we get to keep the shapes, and we get to keep
reminding ourselves that: there are fewer and fewer
stories to tell... replaced by paparazzi epilepsy
of the flash... text when it was once narrative-form...
we forgot the bonfire narrative...
we replaced it with images, flashing images...
for a minute there i was sure we could maintain
encoding sounds, however cryptic and difficult
in the arrangements of letters...
but as i am assured there days, this wasn't to be:
we favoured images, ideograms without skeletons,
and slowly, but surely, we started to speak less
and less, or if speaking we started to experience
the attack of dementia on rhetoric...
there was a meteorite in us... we dampened
intelligence to a chop of the guillotine...
we really did undermine encoding sounds,
we really did undermine encoding sounds...
we really did undermine encoding sounds,
our undermining of encoding sounds created
the parallel of phonetic encoding that gave way
to digital acronyms and :)... this is the desecration
of the temple that would have been built...
this                                     "
is but a butterfly... but a butterfly in a tornado...
when we speak of a lack of painting on canvas,
when we speak of copyrights of handwriting
digital with us universally trapped in
Times New Roman, we speak of what's being defiled...
you can draw a moustache on a Mona Lisa...
it doesn't matter, the Mona Lisa will smile
through it more empowered... but when you desecrate
encoding sounds, not having applied diacritical
acuteness / sharpening the chisel... you have
simply allowed for a wholly immune form of former
escapades into the Caribbean scythe of harvesting trade...
soon the post-office will oblige its status of former
use as neccessary redundency,
soon the serpent eating its own tail will come into view
like a tumble-**** of where competition leaves us:
the last rat begins to gnaw at its own flesh,
the N.H.S. is gone via the Japanese oops,
old age is a problem of advancing sciences,
humanism got ***** for being too human
and not centimetre wide-enough for journalistic
sensibility that kinda wished for dictators even
though it criticised them...
sooner or later our world will become more
two-dimensional that what our immediate
ancestors experienced: a three-dimensional world...
that three-dimensional world will be no more...
reading futurism of the 20th century is like
soft-core ****... 21st realism is so far removed from
these prophets it's like watching communism reinvented,
only worse... the dogma of fierce competition and
enforced individualisation has not prepared us for
nations the size of China, or India...
at least in India street children can meet their Gulliver Oliver
for adventure among the Delhi slums:
put the rich under the microscope, and the poor
under the telescope... you'll hardly find a savanna's worth
of antelopes grazing on the workings of Patchwork Armstrong.
as any working man said: feminism is boring,
well, it's not exactly boring, i come home and my wife
is arguing with me, she says she earns more than me
and that i can't transition into being a house-husband
because the professional historians are restoring knowledge
of the Ice Age that doesn't fit into our Monday to Friday
work pattern paying the rent... no landlords in the stone
ages... evolutionary conscripts we were, by the mammalian
glands were actually insect glands...
in this metropolis few would claim a mammal to be hot blooded...
scurvy lizard tongues worshipping the Idol Babel;
it was never necessarily an architectural feat...
it culminated in what we talked about,
how we sang... you could out-build the pyramids
with the Eiffel... any time you wanted...
but given the wrist-mirror of Chinese ideograms
in matchstick translation... what came was not only
the height of the Dubai sky-scrappers...
but also the tongue that spoke... wheelchair bound
with two tonsils worth of wheels...
it sorta forgot rhyming, and rhymed to
yeah, mm, yeah... gotta ***** my *****
to get a score...
   yeah, mm, yeah... i'd love to endear that masochism
of white girls getting even with their fathers as
to why the black man tilled the cotton fields...
but i'm sorta like... got mouth-***** by the Prussians...
got **** treatment by the Russians...
cut off my genitals cut off by the Austro-Hungarians...
mm, ye'ha! cowboy in the sand gotta make a
camel cry.

Pump  jacks, mesquites  and  telephone  poles
ice  rattles  in  my  cup , in  the  center  console  
horn toads, ground  squirrels, coveys of  quail  
road  runner , coyotes  and  foxes  on  the  trail  

All  alone  out  on  the  road  
backroads is  where  I  roam  
white  stripes, a  dotted  line  
driving  in  the  warm  sunshine  

Window  down , the  wind  blows  in  
old  school  tunes  rock  from  backspin
passing  trucks  in  the  oil  field  
now  in  front  a  clear  windshield

Texas  border, not  far  away
switch  to  country, let  it  play
Merle  haggard  sings, as  antelopes  graze
in  the  field, a tractor cuts  hay

A lynx crosses the road in front of me
carrying a rabbit, caught something to eat
a rare sight indeed, but you never know
what you'll see on the back roads

Runnin', really runnin'


I sit here,
lookin' at my loose skinned animals

just lyin' there.

And I think, (as is my way),

"How lucky they are

just lyin' there

with nothing to do."

Oh yes.

Well I know for certain

the cats

are always doin' just what
they wanna do.

They intersect with me
at the food bowl,
at their, (you know), leisure.

The dog,
on the other hand,
(She's a Pharoh Hound),

that's right,

She's curled up in
the big green arm chair.

And she's dreamin'

about runnin' across
Abysinian deserts

chasin'

long legged antelopes
in the hot shifty sands.

And she's runnin',

And she's runnin',

really runnin',

and

I wake her up,

and

she's  back here
curled up

in the big green arm chair.

And then I get
the disconcerting thought,

"When was the last time

I was runnin',

runnin',

really runnin' ?"

Maybe

I've been curled up here
in the big green arm chair,

You know,

Domesticated,

Dreamin'.

And my skin

sure as hell ain't loose.

Loony warbles creeping like a shark bite tucked into the night
I saute the solution of aghast has-been epigones filibustered brunt and brittle by hemlock aspirations of curated fright
Temulentia recognizes the sane from the inane and tragedy from travesty
Flowder imaginary crackjaw Samson skulls of donkeys dissuaded by varnished agony
Skipping through punctuated times the sheepish will profane me with beleaguered notions of time
Blind to the orbit of the eccentric zeitgeist of hopscotch chockablock cohorts deliverance finds no crime
Goose noose Howard Hughes wooden stilts of the gargantuan swerve
Only the alpenglow of hijacked jujitsu spar against redintegration of adversaries with penniless nerve
Sifting through the silt
I barnstorm the ire of glistened tribunes plagued with insipid promenades of set-up still-frame guilt
Enemies became friends deranged like roosters fleecing hens of henpecked anomaly grafted and built
The wasms of moribund prose absconding with latticework of lacrosse in vogue
Temperatures sweltering the quaky schleps of Maverick moons never more rogue
Flashbang grimace parched with slivers of an acclimated post-modern ******
Intimates the intimacy of the flock decorates bolted balderdash too winsome to deprive an earnest plea for peace and please
I conquer the wallbaggers of novantique with the temulentia of mystique
Rarely remanded by the cul-de-sacs of Giants demolishing social rust with a deteriorated sweep
Trip the jostled rhymes of confluency of rhapsody and rapture consummated by nickel gambols by design
Ridiculing the contumely of ragged turgid Reservoir Dogs canine to the itch of foggy moonshine
Yet I dance to the rhythm of a jockey mechanical when devoured by incarceration flimsy with attrition
Lurid livid welters sparkle in damsel jokes of remission against Back to Mine sequence counting Dracula by division
Outtatime in this march of Thriller sublime
Cornered by the otiose Chipotle of musty mangers of egalitarian grime
Blandished by shattered paradigm parallax in circumlocution by mirrored irony
Livid are tepid latticeworks of rax and sedition frozen by limpid “Teachers” piracy
Never was once forever in the dormant daydream
Seamstresses waltzed in autumn woods knowing Hoffa firebrands of wasted Scream
Bloodshot swank is a rackrent of cineaste rakes of dominions of half-baked dishes of disco zenkidu double-take
Limbering languidly through the procession of sectarians seceding from agitprop monopoly
Boarding the Ticket to Ride train authentic never squirmy with illusions of the fake
Slackened Eels slapstick the brackish bracket of appeasement in appeals
Confluence of formula endangered by euphoria that Limerick question is a grubbed dicey deal
Fortunate summit dreaded nadir
All that resides in throbbing hearts tethered like Four Squares littered with boondoggles of fear
Showcase the Shakespeare flown through rickets of balderdash as Bald Eagles the mascot of frisk and wretch
Time to own the Pony Show charade of a mimicry of dilettantes brave in the cradles of antiquity knowing rarely the mummification of symbolism of thirty years of slavery to hallow one veranda upon a kissed by an ***** rose starvation grave
Looted by the pernicious bootstraps of those computed
We ring true the epitaphs of Pine City Stage on the rundles of the marginalia that overflows with Ire refuted embarked on solid cremation for sagacity in tatters of rage denuded
Punctilious liars edgy in facetious gambols in Joker menace flushing hygiene for starlet screen
Malingering on quaffs of sedate aplomb yet to preen
Scrabble superlunary bastions of gabble and garb
The gawsy preternatural séance rather nimble to Duck the Badgers weaponized barb
Fustilugs congregate around ashen rot of cacophony marveling at temerity in contortion for epiphany
Episodic marvel of two lynched paragons of sweltered margins ribald at witwanton persiflage in a campaign for suffrage.
Defected fire crackling with the joy of cacophony
Relishing every maskirovka pedigree of rackrent sovereignty
Slipshod fustilugs burrow bilkey in doctored Hubbard hubs smoking gun for dwarfed sins of blinded light staring Poison Ivy Appetite for Destruction mainlined by profligate amphigory a splintered shard
Complexion fulminates AIM with scourges of backtrack upon backwater miracles of Lake Placid confusion
Envoys to scuttled aliens marauding like they own my street in distinct slender confection even as the odd berates my diffuse dissuaded cineaste direction
I slummock with the slurvian alveolate bonism of prized poverty for Pine City Stages a delope of antelopes torn asunder by the athletes of formidable retention
Minute Mayday MaiDEN curls the forelock of a tucked hedged blush of no greater stupidity than a furrow of piglets in the pews of lyrical surgery
Slowpoke in acerbic flavor I countermand the denizens of urged regency decapitated by orbit if not by ******
Consummated on every brain that God himself believes that liberation can entrust
Enthusiastic chameleon of Mojo Grooves for the languid auditorium of a Revered time behooved to the gallops of threshed figurative sloppy slush
Funded by killjoys emaciated by slippery lies on craven deposits of sedimentary inertia quelled by amusement, grounded into Orange Crush
Urbacity is the usucaption of illegitimate ******* filigrees Armed to the Teeth but respecting the Tree
Winsome is obligatory for a Winslet flippant elder quorums contemn as a malapropism for syndicated armory in chuckling White Broncos evading a Houston test in the gricers of Autumn Heaven lingering with germane plight only reserved for luxury at its best
Aborning sidereal alpine brevity is a scry of evidentiary might of totemic dissolution alchemy so bright
That the chalkboard erasure is a confabulation against simultagnosia in acidic Phuture Bound sight
Because Mission Impossible cavorts with the exotic frictions of the nefarious Biocyte
Trailblazing heydays memorializing an Alpha Bet for September 2004 maydays
Of the scriptural series of mishaps and misadventures for barley grain in deadstock Indiana Jones wayward wayspays
Time to count the Dracula of venom drenched from the aceldama of gritty Gurley lies of a city yet loved because too many oases are despised
But Westwood becomes Eastwood with ******* Grotto as the centripetal but monogamous prize
Hot Tub Time Machine soaring among the cognoscenti of burlesque organized ***** crimes of lullaby Manzarek disguise
So toast to the dead captain of the psychedelic fountain pen of revolution Lorraine Baines fields arise
Time is an adventure that blinks only secondary of truce rather than guarded sheepish mustache of panmixia in genocide widely guillotined without scruple for newsy folksy prejudice on gallywow pride
Yet the sentinels of dirigisme anoint the Caesar of Nostradamus infamy of a Deep Impact symphony
Heard by asteroids and asterisks lurking with Thriller to the end of time known only as enumerated infinity
But enough petty battles squandered on sinking U-Boats torpedoed like ransacked crambazzles from Tucker belligerent with a “War” burnt heated calentures of scorching torches of rigged Scarface cockroach
Because there is no elementary Zion that is chosen to emerge in the barnstorm of flukenhague fluke
Time to rest my laurels on the depredation of safety
Reminding with a glower that saving our city is not an Autopilot of Buccaneer Brady
For the Grand Master Architect is princely in Jerusalem but heralded in Mecca because for too many storks all they want is another baby.
And my answer is that my Terrier Bonds are shaken and stirred by many a yes, probably and maybe in that order of illusion shaken into cocktails of cobblestone gravy
The Soy Sauce livid on mistake exerts a dementia on attrition to enthuse Kansas City joy all too crazy
Swimming in an ocean of Carly Ray Jepsen "Calling Your Name" Queen of Highways' Titanic fortress of Armada music beating the Village People silly over their gabbles against Navy
Born and Raised in a Colorado Springs cage I am snake eyes without crafty disguise  in authenticity to a Patriot Point Break Heist  of the probable doubt of the Zany Billy Zane entrapment of prestige gone madcap with Raiders of never the ambitious but always the lazy
So meditate on my word crimes as I elude detection as Hawthorne Nevada alights with 200 earthquakes in two days in Gray design
Wow what a marvel it is to always know that  you are always Stayin' Alive as the splinter of time capitalizing on sensual crestfallen vibes of a pendulum tsunami "Us and Them" saw wavy
And to the 1776 practical joke that gouges Samson even when thousands of Philistines get crushed in delope
Consider this a declaration of war against your pathetic screwball maze of fog to make a sane man livid with a blushed bravery too fraternal to old craven owls of cruelty beyond the maze of convolution of Istanbul collectively shrouded by lies no stomached demise would appreciate for being gatekeepers of terminus exorbitantly hazy

Like cautious mellipede
I walk,
Not daunted to touch the best,
But this land is slippery.

Like fastidious Hunter
I walk,
Not Falling into the ambush I laid
For antelopes,
Because the land is slippery.

Like a cautious blind old man
I walk,
Not letting go of my rod like Moses,
Because the land is slippery.

I walk in the night like night,
On watch like a king's Knight,
Because the land is slippery.

She plays him
With her finger
A few movements
Seconds

Hundreds of miles away
She lifts him
And then throws him

Into tears he falls
A feather’s worth his pride
Full of doubt

The butterflies on his face
He doesn’t notice anymore

The antelopes in his steps
Only mountain mules

All the little birds
Who whisper his presence
Chatty little fools

He does not hear
The flowers bowing down
Nor the leaves and petals
He everyday walks on

He loves a dream
A nightmare to him
He plays the game
Straight into oblivion
And calls it love

While she...
                      Won’t pick him up again

Aghast at all the demping
Buckets of paint

Understood via the brassiere
Gurgulant antelopes crawl

Yet until the demping ceased
Caustic soda rippled away

Vast arrays of flora beckon us to their fragrant oases.
Hunters run on the plains. They chase the wild game
that have moved this way forever. We are just like
antelopes. We are determined to chase a memory.
Will we ever settle down or will we stay nomadic?
What is the solution to the neuroses that afflict us?
What is a useful response to tragedy? Should we
laugh or take care of each other? When kindness talks,
does anyone dare listen? Who will interrupt you when
you are speaking truth? I seek the one who knows the essence.
Who can explain a thousand things with a single sentence.

i didnt have a bathing suit
and you didnt have a care..
the swallows chirped from above

we waded in the river
all over the
slimy algae-encased rocks
almost ensuring us stumbling every once in a while
breaking up the romantic moments.
we glided over the stones
with as much grace as newborn antelopes trying to balance their weight with gravity.
but it was alright
because i was with you and i didn’t care about anything else.

Cherries black by water
flowing, berries blue,
the hue of Father sky.
Bluffs and buffaloes
a long time ago, the
Great Spirit permeated
land and lives. Eagles
flew in hearts of men;
honest words were spoken
then. No token treaties,
no entreaties, arrows flew
like truth to hearts of
antelopes. No interlopers,
no antebellum prairie schooners,
no sooner had they come than
bison hooves were no longer
heard. They herded cattle,
making chattel of red men
and women and children.
Wild dogs knew better.

Copyright 2019 Tod Howard Hawks

The River Flows East

Behind the houses, a deep tear in the earth, a permanent scar,
a memory of the past, “ten million white workers have been
abandoned by political leaders and are voiceless, for now.”
This sentence flashes through my mind, as I climb down this hole in the earth.

Petrified bushes and crippled trees, ghosts of a time of plenty now covered
in pale talcum; hot and arid no breeze blows through here to shift the dust.

A river flowed here I pick up a smooth flat stone it burns my
hand and leaves a crimson irate mark; twigs split, once big
yellow cats lived here preying on antelopes that came to drink;
whoever is watching me now, doesn’t wish me well.