ESSAYS ON
LEADERSHIP FRONTIERS OF AFRICAN LITERATURE
By
Alexander   k   Opicho




Alexander K Opicho
(Eldoret, Kenya; aopicho@yahoo.com)

TABLE OF CONTENTS
Contents                                                                                                                Page
TABAN MAKITIYONG RENEKET LO LIYONG AND PREFECTURE OF AFRICAN LITERATURE 4
THE CURRENT EAST AFRICA IS NOT A LITERARY DESERT 27
AFRICAN WRITERS HAVE CULTURAL RIGHTS TO FORMULATE AND CREATE ENGLISH WORDS 31
LIKE PUSHKIN, AFRICAN WRITERS MUST CREATE THEIR OWN PROFFESSION OF LITERATURE 35
THERE IS POWER IN THE NAME ‘ALEXANDER’ 40
KENYAN COURTS AND PARLIAMENT ARE BETRAYERS OF HUMANE GOVERNANCE 47
AFRO-CHRISTIAN RESPONSE TO RADICAL LITERATURE IS GOOD AND SWAGGERISH 50
YUNUS’S SOCIAL BANKING IS A GOOD BENCHCMARK FOR THIRD WORLD ENTREPRENEURS 54
HEROISM IS NOT GREATNESS BUT HUMILITY IN SERVICE TO HUMANITY 57
KENYAN STUDENTS; YOUR MOBILE INTERNET CULTURE IS ANTI- ACADEMICS 61
WHAT IS THE MAGIC IN THE WORD ‘DRINKARD’ OF AMOS TUTUOLA 63
SOCIETIES IN AFRICA HAVE TO MENTOR BUT NOT CONDEMN THE LIKES OF JULIUS MALEMA 66
AMERICA WILL NOT WIN THE WAR ON GLOBAL TERRORISM 69
AFRICA CAN OVERCOME A MENACE OF **** IN EVERY 30 MINUTES 71
COMPARATIVE ROLES OF AFRICAN-BRAZILIAN LITERATURE IN THE POLITICS OF RACIAL AND GENDER DEMOCRACY 76
NEO-COLONIALISM IS NOT THE MAIN VICE TO THE GAMBIAN POLITICS 85
RELATIVE MEDIA OBJECTIVITY IS ACHIEVEABLE IN AFRICA AGAINST POWER CULTURE AND TYRANNIES OF TASTE 89
READING CULTURE IS GOOD FOR BOTH THE POOR AND THE RICH 96
VIOLENT DEATH IS THE BANE OF AFRICAN WRITERS AND ARTISTS 100
AFRICAN WRITTERS AND ARTISTS MUST ASPIRE BEYOND A NOBEL PRIZE 104
WHAT ARE CULTURAL RIGHTS OF AFRICAN ENGLISH SPEAKERS? 109
WHY IMPRISONMENT OF WRITERS CONTRIBUTED MOST TO AFRICAN LITERATURE 113
DORIS LESSING: A FEMINIST, POET, NOVELIST, WHITE-AFRICANIST AND NOBELITE UN-TIMELY PASSES ON 121
Amilcar Cabral: Beacon of revolutionary literature and social democracy 127
How the State of Israel is brutally dealing with African refugees 131
Historical glimpses of language dilemma in Afro-Arabic literature 146
THIS YEAR 2013; IS THE YEAR OF GREAT DEATHS 153
AFRICAN LITERATURE WITHOUT POETRY IS LIKE LOVE WITHOUT VAGINAL *** 156



















PROLOGOMENA
BARRACK OBAMA READS MOBY ****
Barrack Obama is reading Moby ****
American president is reading Moby ****
Ja-kogello is reading Moby ****
Ja-siaya is reading Moby ****
Ja-merica is reading Moby ****
Jadello is reading Moby ****
Ja-buonji is reading Moby ****
His lovely Oeuvre of Melville Herman
And what are you reading?

Barrack Obama is reading Moby ****
Because untimely death took his father
Barrack Obama is reading Moby ****
Because untimely death took his mother
Barrack Obama is reading Moby ****
Because untimely death to his brother
Barrack Obama is reading Moby ****
Because untimely death took the grannies
His lovely Oeuvre of Melville Herman  
And what are you reading?

Barrack Obama is reading Moby ****
Baba Michelle is reading Moby ****
Baba Sasha is reading Moby ****
Baba Malia is reading Moby ****
Baba nya-dhin is reading Moby ****
Sarah’s sire is reading Moby ****
Ja-sharia is reading Moby ****
The ****** is reading Moby ****
His lovely Oeuvre of Melville Herman
And what are you reading?

Barrack Obama is reading Moby ****
Because here ekes audacity of hope
Barrack Obama is reading Moby ****
Because here ekes dreams of fathers
Barrack Obama is reading Moby ****
Because here ekes yes we can
Barrack Obama is reading Moby ****
Because here ekes American dream
His lovely Oeuvre of Melville Herman
And what are you readings?

Barrack Obama is reading Moby ****
Because American president is like whale hunting
Barrack Obama is reading Moby ****
Because Obama is a money making animal
Barrack Obama is reading Moby ****
Because hunting Osama is whale riding
Barrack Obama is reading Moby ****
Because hunting Gaddaffi is whale riding
Barrack Obama is reading Moby ****
Because coming to Kenya is whale riding
Barrack Obama is reading Moby ****
Because Guantanamo prison is a bay of whales
Barrack Obama is reading Moby ****
Because Snowden is a Russian whale
Because launching drones is whale riding
His lovely Oeuvre of Melville Herman
And what are you reading, Moby ****?














CHAPTER ONE
TABAN MAKITIYONG RENEKET LO LIYONG AND PREFECTURE OF AFRICAN LITERATURE

I am writing this article from Kenya on this day of 23 September 2013 when the Al shabab, an Arabo-Islamic arm of the global terrorist group the Al gaeda have lynched siege on the shopping mall in Nairobi known as the West Gate where an average of forty people have been killed and a hundreds are held hostage. The media is full of horrendous and terrifying images. They have made me to hate this day. I hate terrorism, I hate American foreign policy on Arabs, I hate philosophy behind formation of the state of Israel and I equally hate religious fundamentalism. Also on this date, all the media and public talks in Kenya are full of intellectual and literary tearing of one Kenyan by another plus a retort in the equal measure as a result of the ripples in the African literature pool whose epicenter is the Professor Taban Lo Liyong .He is an epicenter because he had initially decried literary mediocrity among the African scholars and University professors, Wherein under the same juncture he also quipped that Kenya’s doyen of literature Ngugi wa Thiong’o never deserved a Nobel prize. Liyong’s stand has provoked intellectual reasons and offalities to fly like fireworks in the East African literary atmosphere among which the most glittering is Chris Wanjala’s contrasting position that; who made Liyong the prefect and ombudsman of African literature? This calls for answers. Both good answers and controversial responses. Digging deeper into the flesh of literature as often displayed by Lo Liyong.
Liyong is not a fresher in the realm of literary witticism. He is a seasoned hand .Especially when contributions of Liyong to east African literary journal during his student days in the fifties of the last century during which he declared east Africa a literary desert. In addition to his fantastic titles; Another ****** Dead and The Un-even Rips of Frantz Fanon, Professor Taban Lo Liyong also humorously called Amos Tutuola the son of Zinjathropus, what a farcical literary joke? I also want to appreciate this Liyong’s artfulness of language in this capacity and identify him in a literary sense as Taban Matiyong Lo   Liyong the son of Eshu. He is an ideological and literature descended of the great West African Eshu. Eshu the god of trouble which was dramatized by Obutunde Ijimere in the imprisonment of Obadala and also recounted by Achebe in the classical essays; Morning Yet of Creation Day. I call him Eshu because of his intellectual and literary ability to trigger the East and West Africans into active altercation of literary, cultural and political exchanges every other time he visits these regions. Whether in Lagos, Accra or Nairobi.
Now, in relation to Ngugi and intellectual quality of Kenyan University literature professors was Liyong right or wrong?  Does Liyong’s stand-point on Ngugi’s incompetence for Nobel recognition and mediocrity in literary scholarship among Kenyan Universities hold water. Are Liyong’s accusations of East Africa in these perspectives factually watertight and devoid of a fallacy of self-aggrandizement to African literary prefecture as Professor Chris Wanjala laments. Active literary involvement by anyone would obviously uncover that ;It is not Liyong Alone who has this intellectual bent towards East Africa, any literary common sense can easily ask a question that; Does Ngugi’s literary work really deserve or merit for Nobel recognition or not ? The answers are both yes and no. There are very many of those in Kenya who will readily cow from the debate to say yes. Like especially the community of alumni of the University of Nairobi who were Ngugi’s students in the department of English in which Ngugi was a Faculty during the mid of the last century. Also the general Kenyan masses who have been conditioned by warped political culture which always and obviously confine the Kenyan poor into a cocoonery of chauvinistic thought that Ngugi should or must win because he is one of us or Obama must win because he is one of us or Kemboi must win because he is the son of the Kenyan soil. These must also be the emotional tid-bits upon which the Kenyan Media has been based to be catapulted into Publicity feat that Ngugi will win the Nobel Prize without reporting to the same Kenyan populace the actual truths about other likely winners in the quarters from the overseas. I am in that Kenyan school thought comprising of those who genuinely argue that Ngugi’s literary work does not befit, nor merit, nor deserve recognition of Nobel Prize for literature. This position is eked on global status of the Nobel Prize in relation to Ngugi’s Kikuyu literary and writing philosophy. It is a universal truth that any and all prizes are awarded on the basis of Particular efforts displayed with peculiarity. Nobel Prize for literature is similarly awarded in recognition of unique literary effort displayed by the winner. It is not an exception when it comes to the question of formidability in a particular effort. However, the most basic literary virtue to be displayed as an overture of the writer is conversion of theory into practice. This was called by Karl Marx, Hegel, Antonio Gramsci and Paulo Freire, especially in Freire’s  pedagogy of the oppressed as praxis.History of literature and politics in their respective homogenous and comparative capacities has it that ;There has been eminent level of praxis by previous Nobelites.Right away from Rabitranathe Tagore to Wole Soyinka, From Dorriss Lessing to Wangari Mathai.Similar to JM Coatze ,Gao Tziaping,Alexander Vasleyvitch Solzhenystisn and Baraka Obama.This ideological stand of praxis is the one that made Alfred Nobel himself to to stick to his gun of intellectual  values and deny Leo Tolstoy the prize in 1907 because there was no clear connection between rudimentary Tolstoy in the nihilism and Feasible Tolstoy in the possible manner  of the times .In a similar stretch Ngugi wa Thiongo’s literary works and his ideological choices are full of ideological theory but devoid of ideological praxis. Evidence for justification in relation to this position is found back in the 70’s and 80’s of the last century, When Ngugi was an active communist theoretician of Kenya. His stature as a Kenyan communist ideologue could only get a parallel in the likes of Leon Trotsky and Gramsci. This ideological stature was displayed in Ngugi’s adoration of the North Korean communism under the auspice of the Korean leader Kim Yun Sung. This is so bare when you read Ngugi’s writers in politics, a communist pamphlet he published with the African red family. By that time this pamphlet was treated equally as Mao tse Tung’s collected works by the Kenya government which means that they were both illegal publications and if in any case you were found with them you would obviously serve nine months in prison. And of course when the late Brigadier Augustine Odongo was found with them he was jailed for nine months at Kodhiak maximum prison in Kisumu ,Kenya .O.K, the story of Odongo is preserved for another day. But remember that, this was Ngugi only at his rudimentary stage. But when Ngugi got an opportunity to get an ideological asylum, he did not go to Russia, nor East Germany, Nor Tanzania, nor China but instead he went to the USA , a country whose ideological civilization is in sharp contradiction with communism; a religion which Ngugi proffessess.In relation to this choices of Ngugi one can easily share with me these reflections; is one intellectually  honest if he argues that he is a socialist revolutionary when his or her employer is an American institution like the university of California in Irvine ?
Ngugi was not the only endangered communist ideologue of the time. There were also several others. Both in Kenya and without Kenya. They were the likes of; Raila Odinga, George Moset Anyona, ***** Mutunga and very many others from Kenya. But in Africa some to be mentioned were Walter Rodney, Yoweri Museven,Isa Shivji,Jacob Tzuma ,Robert Mugabe and others. The difference between Ngugi and all of these socialist contemporaries of him is that; Ngugi went to America and began accumulating private property just like any other capitalist. But these others remained in Africa both in freedom and detention to ensure that powers of political darkness which had bedeviled Africa during the last century must go. And indeed the powers somehow went. Raila has  been in Kenya most of the times,Anyona died in Kenya while in the struggle for second liberation of Kenyan people from the devilish fangs of Moi’s dark reign of terror and tyrany.Walter Rodney worked in Tanzania at Dare salaam University where he wrote his land mark book; How Europe underdeveloped Africa. Later on he went back to his country of birth in Africa, Guyana where he was assassinated while in the revolutionary struggle for political good of the Guyanese people. Yoweri Museven practically implemented socialism by fighting politics of sham and nonsense out of Uganda of which as per today Uganda is somehow admirable. Isa Shivji has ever remained in Dare salaam University, inspite of poverty. He is now the chair of Mwalimu Julius Nyerere school of Pan African studies. Jacob Tsuma and Robert Mugabe they are current presidents of South Africa and Zimbabwe respectively. The gist of this reference to African socialist revolutionaries as contemporaries to Ngugi wa Thiong’o is that a socialist revolutionary must and should not run away from the oppressor in to a zone of comfort. But instead must remain and relentlessly fight, just like in the words of Fidel Castro; fight and die in the battle field as long as it is a struggle against the enemy of the revolution. This view by Castro is pertinent as it’s a Revolutionary praxis which actually is redolent of practice of an ideology that has to be held for ever above ideological cosmentics.Ngugi scores badly on this. So if the Nobel academy looks at Ngugi in terms of defending human rights then it must be reminded that Ngugi have no marks on the same because he only ran away from the practical struggle. Anyway, Politics and ideology has its own fate. But let us now come back to literature. Ngugi and his books. As at  this time of writing this essay  Ngugi has published the following works; Weep not Child, The River Between, A Grain of Wheat, Black Hermit, Petals of Blood, Devils on the Cross,Matigari,Homecoming,Decolonizing the Mind, Writers in Politics, Ngugi Detained, Pen Points and Gun Points, Wizard of the Crow,Globalectics,Remeembering Africa, Dreams in Times of War and I Will Marry When I Want as well as the Trial of Dedan Kimathi which he wrote along with Micere Githae Mugo.Out of this list the only works with literary depth that call for intellectualized attention are ;A Grain of wheat, Wizard of the crow and Globalectics. The Grain of wheat is simply a post colonial reflection of Kenyan politics. Its themes, plot, lessons and entire synechedoche is also found in Wole Soyinka’s Season of Anomie as well as Achebe’s Anthills of the savannah. My argument dove-tails with those of Liyong’s stand that rewarding Ngugi’s Grain of wheat and forgetting Achebe’s Anthills of the Savannah and A man of the people would be a literary ceremony devoid of literary justice. Wizard of the Crow is indeed a magnum opus. I am ready to call it Ngugi’s oeuv

Listen,
I wanna embrace a blanket of your sensuality.
I wanna abandon all rationality and create our own boundaries.
I wanna become in tuned with the vibrations of each other's souls.
Want you to climb so steeply within me that you can't find the way out of me.

See I don't wanna make love, I wanna  create precious poetry.
While breathing the same rhythm.
You **** every stanza out of me.

Two pair of eyes undivided, two bodies *****, vigorous, exuding of familiarity.
Make a story out of me.

Feed it descriptions of true beauty.
Not shrewdly,  but do it smoothly.
Let's co write a poem based on our union.
We can be a masterpiece.

Ink stains left in my bed sheets.
I'll lend you my body to use as a diary.
Release all frustrations as you lay your fervor out on me.
Send a chill of suspense intensely towards the inside of my thighs,
just where the margins would be.

Our minds are deadly.
Their correlation, deadlier.
We're writing words so compelling, while releasing showers from hearts too heavy.
Our poetry is nothing to compare to the regular.

Every inch of my body manifesting your touch readily.
I recede as you synchronize my private visions of a flawless fantasy.
Basking in this radiance as you guide your pen to an astonishing ******.
Inducing my body to impasse in ecstasy.

Leaving me dripping with your artfulness.
As if announcing all expectations surpassed.
Drowning me in words that mirror ardor.
Each line so passionate,
I have no such memory of felicity that neither compares nor contrasts.

Every part of my skin left sensitive, tender, and fragile.
My body fluently floating, light as a feather.
Skin now designed and decorated with such puissant letters.
And God forbid we begin to forget the significance of our coalescence.
You can lay me down,
As you read it back to me.
This way, we can reminisce on the angelic medley.

Listen,
I don't just wanna make love,
I want our bodies to intertwine and invoke aesthetic  poetry.

How is one to be one's own
All there is to feel is disdain
What else is to be shown
To feel anything, especially happiness, is pain

"Nothing is original": Teenage Anthem
No truer words have ever been written
Emotions can't belong to any of them
They're sent via a social subscription
All one's thoughts are already said ever so splendidly
Force fed back to the mind (a reminder of the artfulness not of thyself) that couldn't vocalize
The poet says "It's nice to not be alone" all too friendly
No words have been a greater weapon to terrorize
To not be alone in the feeling of apathy is
all one needs to feel at ease...

I always take a deep breath, close my eyes and let that feeling take over me.

Every day, only for a few seconds, I allow my body to remember your touch, allow my mind to remember your voice, yet I’ll never let my heart remember your love.

The bruises are long gone from my skin, the wounds healed by time, however my heart is hardly beating, barely holding on. It took me a long time to realize the anguish I found myself in, an eternity to uncover the many masks you wore with me.

There was a finesse in your abuse, an artfulness to your ways. You would soften your blows with tender words, softly touching what you already hurt.

For days, weeks and months, I stayed. I stood by you, blindfolded, numb to the constant pain, used to the steady flow of fear cursing through my veins.

I loathe that I let you in, let you break me down repeatedly but most of all, I hate that I love you.

How odd that entropy is time’s measure—
that through the dissolution of the world
we know, time’s arrow swiftly flies its course—
irrevocable and unrelenting.
Yet isn’t there a certain artfulness
to time’s advance? The ineluctable,
the crease of wrinkle in the lover’s cheek,
a river’s tireless sculpting of its banks?
In all the scything, striving, dying, all
the loss, the grief, the thievery of years,
there is design of a kind—a subtle mind—
deaf to prayers though always true to mission.
Though time has swept us, love, in its advance,
there’s music there, I think, by which to dance.

above named orthodontist
   crowned specialist
   exemplary de jure by this dad
sans perfecting offset dentition

   of me daughter – shana – who had
quite noticeable gapped teeth –
   just the opposite when i was a lad
and pro bono courtesy

   of above named orthodontist –
   worthy of a regal pad
(okay perhaps i exaggerate just a tad)

performed prestigious dental skill with her band
of admirable merry technicians,
   who possess grand
ever so agile and gentle
   to affix and/or adjust with each hand

after countless visits
   viz number of years shifted closed spaces
   re: wide spaces did stand

brackets wired together where
   squarely rooted choppers stood askew
the completed effect = a priceless smile
   tooth thy punim – a beau
tee full young lady (this comment
   unbiased from me – math a ewe)
biological father of thine lass in question,
   where time flew

while transformation
   her dazzling smile grew
a changed ****** profile –

   admirable how maxillary masters did hue
artfulness to align mastication via calculus
   sans perfecting her bite they knew

thus this papa feels ever so thankful
   for prettifying mine offspring
with courtesy service per each appointment
   thee progeny i did bring

no matter that brackets broke loose –
   yes in some cases from chew wing
gum or eating hard foodstuffs  - fear of a skull ding
never occurred, whereby
   anticipatory anxiety expended 4 naught ting

mortis rigors of extraction,
   x-rays affecting dental precision
would be impossible without the decision
for the supreme doctor –
   who owned a schooled vision
to envision
vis a vis what provision

and necessary measures
   to manipulate dentition
   toward per mission
whereby maybe a minor revision
made to witness brilliant

   megawatt smile giving admission
of heightened sunny disposition
primed to embark on successful
   lip smacking dating expedition
anointing shana aubrey harris –
   who completed the biting inquisition.

in a rather more living language
form frames function, I think we,
should we agree,
may make waves or points proving
science is good.

Clipped from: http://www.thenewatlantis.com/publications/the-unbearable-wholeness-of-beings

If you try to describe the living processes of the cell
in a rather more
living language
than is typically found
in the literature of molecular biology —
if you resort to a language
reflecting the artfulness and grace,
the well-coordinated rhythms,
and the striking choreography
of phenomena such as
gene expression,
signaling cascades, and
mitotic cell division —
you will almost
certainly
hear mutterings
about your flirtation with
“spooky, mysterious, nonphysical forces.”
You can expect to hear yourself labeled a “mystic” or —
there is hardly any viler epithet within biology today — a “vitalist.”

I need to say, the evening with you was the best thing that has happened to me in a very long time. Watching the performances, walking to Kaldi’s our steps and gossip wandering about together, singing show-tunes in your car, being vulnerable to a person we barely know, and watching Broadway Youtube videos; you just feel like we fit.

I need to say, It’s tomorrow morning now and I haven’t had you out of my mind for a moment since we separated. I want to spend countless more evenings feeling this enraptured by your company. I want to build you a castle of experiences, filled with treasures of memories better than these first ones made last evening; and the evening’s were pretty stellar.

I need to say, “I’m crazy over you.” I think you are more beautiful than the sunrise breaking across the sky, and more comfortable to be with than a favorite pair of pajama pants. I’m feeling so much, and so much intensity. I want time to draw us together. I want to  become the one who kisses your lips. I want to be cuddled up with you on a couch sharing a lazy Sunday. I want to be your biggest fan, cheering you on from the front row when you perform.  I want to know your people and be your person.

I need to say, the hug in the passage between your dining room and living room where I held you and was held by you was a perfect singularity. I could have dissolved into it, were we hugging or were we dancing? I want to think it was a dance but neither of us knew the steps. I want to learn the choreography, to feel the artfulness of gliding across a dance floor in partnership that’s safe. I want to pull you in, hold you close, take three steps in unison, spin you out to watch you dazzle, then draw you back again to reunite and prepare for the next bars the band will play directing our movement together. I want to become your Fred and you become my Ginger. Or perhaps not, it could have just been a hug because you just needed a friend to hug.

I need to say, I will not ever send you this. I just don’t know how to risk saying all this. I wish you could know this: that you could hear these words coming from my mouth. I want to hope you felt all this too. Yet I live inside a mind that colludes against me, and the risk of these words is crippling. I don’t want to retreat, fortify a secure position, and avoid the perilousness of something amazing and new. Yet that is my modus operandi. I wish I were the person who could announce such a proclamation of your enchantment. I want to actually feel that 1000 anxieties accompanying  the chanciness of speaking these words to you; because there was an undeniable elegance to the easiness of how we click.

I need to say these things I type. That however is just not me. So another bottle of regret will get added to my emotional cupboard of elixirs I will never get to taste. Before I stock this away to be misplaced and gather dust on its shelf I needed to record it here; just to let the magic of what could be fill me up at least a little bit.

music as companionship
      his imagination intersecting
                   my own ongoing life story

Catholicism, Wendy, Fr. Greeley
        Hungry Heart even in childhood
                           beach in moonlit glory

Italian artfulness,  

              Brown both/and
    
                                 communal Irish green


Gratitude beyond measure,
                                               Mr. Springsteen

Garrulous.
Crunchy leaves don't lament the lack of artfulness
Nor artifice, or the lustful way in which I
Walk out of Kristen's house
Expecting them not to attack

I just ramble on and on
Waiting for you to draw your blade
My neck has always been naked
I don't wear steel plates

Brandishing it all the time
Your teeth sparkle in the sunlight
When you smile, they shine
Once I was a kid, back then it never forked my mind

What I do inside is not wrong
And that doesn't mean I'm clinging to pride
The way nature touches herself
Are we like the mantis?
Did you warn me not to do it again?

The brown leaves skitter across the street
They cannot escape and so they hope to be crushed up into dirt
And sometimes get swept up and strangled by plastic bags
But even plastic burns when you get it hot enough

So maybe the ocean is really getting cleaner every second

My handsome man is everything that shimmers like diamonds,
everything that makes me feel so sweet and peaceful
inside, a captivating smile like the rays of the sunshine,
the universe swirling in his soulful physique, his lips
of appealing bliss, his smoky voice luring me into his
****** attractiveness, his memories all gleaming within me,
taking me on an exciting adventure towards the deepest
and greatest lands of his time, riding ***** in his romance.

He gives me chills and thrills, unable to stay still in his
deliciously dripping masculinity, my palms full of moist,
my core longing for you more and more, my supreme source
of power that empowers my mind, strengthens my intelligence,
gives me so many pleasant feelings, just to be around him,
in all his splashing sauciness and artfulness, my heart, all his,
and I want him with me forever because I love him so much
that I will miss him if he goes away for far too long, and he is
in my lungs, the only spotlight song that moves me like no one
else can do, the only man that will always stay in my heart.