you know, on that N86 bus listening to dikanda's
https://goo.gl/OAUjMe (ketrin ketrin),
while going to the brothel, where i kissed *****'s
eyelid skin i turned my heart into a lung...
and it burst akin to muscled stress of the softer tissue,
by heart was the black horse of the race...
she would only be worth £110 an hour...
but in my heart... a lifetime... so classical fm is
asking for three songs to be enlisted in the hall of fame
here are my three:
1. something to think about (christopher young) -
   hellraiser ii,
2. no time for caution (hans zimmer) -
    interstellar,
3. spectres in the fog (hans zimmer) -
     the last samurai, competing with
(4. any other name (thomas newman) -
     american beauty,
and....
5. carpe diem (maurice jarre) -
     the dead poets' society);
i always found classical music invoked
by fast image exchange most adhering
to a modern public... after all...
the notes written down are transliterated
from moving geometries
asking for a human face...
that one abstraction leaving another created...
so enriched we can be living and leaving here,
but leave and live here cradled and crawling
and nothing more than an attempt for
a crafted shawl of woollen care...
assuredly we were the blank canvas,
when the sheep and lion were clothed...
the lizard inwardly having its blood cooled...
and we the mediators...
to evolve from an origin of such biological diversity?
why will darwinism claim to be a humanism
and let no humanism in?!
if darwinism branched from science for a populism
of understanding prepositions as propositions
(given that propositions are allowed expression
with far many more complex words than prepositions,
given the former are deemed a nature or origin
and the latter a nature of coordination)
why allow it a humanistic simplicity
and complicate humanism to a non-expression's
extent of a complexity? darwinism cannot grasp
humanism's complexity per se, for each its own per se
allowance... darwinism cannot relate to humanism,
since humanism deals with the one diluted into the many,
while darwinism deals with the many concentrated into
the one:
and noting the varied dimensional usage of pronouns,
the singular (engaging), the singular (disengaging),
the plural (effective), the plural (ineffective),
to use but a few among others... how would a self,
as either realistically concerned or as expressed
in an atlas pose when one individual speaks of a species
to ever survive... to speak of humanity per se,
is to not speak of being human per se (a self),
but as if under a constant threat from either internal
or external stimuli, it's to speak as if human
but hardly being human... darwinism only said
in simpler terms 1 = ~∞ 0 1 (one equals
approximately infinity denying one... expressed
further: one equals approximately infinity denying
oneness, hence ethnicity, hence disparity,
the infinite approximate is due to the no. of equally
represented identities of reflection as one's akin
in historical content for a vanity representation
of ego) / although there's a parallel disparity:
1 = ∞ 0 ~1 (1 equals a reasonable infinity
of the semblance collective, as approximated within
one's own constitution, denied by the constitution
of the semblance collectivised denying 1 its
oneness by a division, into pop. psychology
of subconscious, unconscious, ulterior and posterior
assembling of identification in order to relate
a concrete un-divisible one, to a oneness
of ~∞ 0 ∞†, whether governed by animate or inanimate
things, worthy of either representing
∞ = 0 ~1, or ~∞ = 0 1 (infinity equating itself to
a denial of an approximation of one,
or approximate infinity equating itself to a denial
of one) - by most standards a collective power
increases, while an individual coercion with
such increase in power is diluted to mediocre representation
of what was once hoped for to be an individual...
as worded: i'm about to inherit a pickaxe, an igloo,
a herd of sheep, a land arable for regular hunts
to provide sustenance, but as i said, the oddity
of increasing vocabulary as body-building index muscle,
will hardly teach you the physics of quanta in
the realm of modulating grammar,
on the basic basis of grammatical as
a method of de-categorisation one word from it being
named, to it being acted upon as a termed way of
walking (differently), or otherwise.

†a bit much for me, an alfred jarry moment
at the end of dr. faustroll's opinions and exploits...
papa **** got the dangling essence of things:
je suis jarry among the je suis cherub charlies,
if poet does not appreciate other artistic mediums
he can't mediate them,
poetry is supposed to mediate all artistic expression
with platonic criticism... it's supposed to mediate,
with poets appreciating each and every craft...
whether sculpture we scrap metal stolen from a park,
or whether an oil canvas be worth as much as toilet
paper when the painter is alive, and millions more
when he's dead.. we need gravity a demanding
drama to extend drama into grammar...
poets have to become the middle-men of haggling,
they need to appreciate art in an elitist way
in order that art can't become genealogically defining,
like dramatics of the theatre lost between idols
of 1950s screening compared to idols of 19'90s screening...
we need poets as the glue stuck to every output...
we need to appreciate all art other than their own
to discover their own... we can't have the mindless
jealousy bribe us to reconcile composition,
so that poet against poet is still writing poetry...
he isn't... he's writing a polemic... and that's hardly
a dialogue... it's a mortifying analogue of monologue...
and we don't want poetry to be such a belittling
circumstance of the original intent of practice,
why would a poet's rarity be reduced to
a market blasphemy of ultra-eloquent speech
in order that it might be used to scold?
why the jealousy? why?! it reeks of revenge
that only requires a Darwinism to include it,
as sustainable and necessary,
too many monkeys to create a single man...
too many difference in man from continental span
of africa, to asia... to even bother a standing ovation
origination in genetic scrip of a chimpanzee...
script wants man to be genetically above
a genetic script of a banana numbering more genes
that itself... the biodiversity of monkey
is akin to man... why would the two chiral statues
suddenly become gemini of explanation?
it all fits... but it stinks...
well, whatever that was... it's the pride of a language
that keeps darwinism alive...
but theology is closer to humanism than darwinism...
it's a compound logic, darwinism ends with with an ism,
an empiricism... and the only logic accounted for
is a logic of repeat... just look at the forms of these words...
formulated by L and Γ (origin of the kabbalistic interpretation
of allah)... keep the prefix akin to a suffix composed to
an enclosure... theology provides the better logistics
of expressing being human than an empiricism
known to be darwinism... after all a -logy tends to
repeat a systematic use of words...
empiricism a systematic use of facts...
easier to become bored of facts than words.

A Tale for the Mid-Winter Season after the Mural by Carl Larrson

On the shortest day I wake before our maids from the surrounding farms have converged on Sundborn. Greta lives with us so she will be asleep in that deep slumber only girls of her age seem to own. Her tiny room has barely more than a bed and a chest for her clothes. There is my first painting of her on the wall, little more a sketch, but she was entranced, at seeing herself so. To the household she is a maid who looks after me and my studio,  though she is a literate, intelligent girl, city-bred from Gamla Stan but from a poor home, a widowed mother, her late father a drunkard.  These were my roots, my beginning, exactly. But her eyes already see a world beyond Sundborn. She covets postcards from my distant friends: in Paris, London, Jean in South America, and will arrange them on my writing desk, sometimes take them to her room at night to dream in the candlelight. I think this summer I shall paint her, at my desk, reading my cards, or perhaps writing her own. The window will be open and a morning breeze will make the flowers on the desk tremble.

Karin sleeps too, a desperate sleep born of too much work and thought and interruption. These days before Christmas put a strain on her usually calm disposition. The responsibilities of our home, our life, the constant visitors, they weigh upon her, and dispel her private time. Time in her studio seems impossible. I often catch her poised to disappear from a family coming-together. She is here, and then gone, as if by magic. With the older children home from their distant schools, and Suzanne arrived from England just yesterday morning, they all cannot do without lengthy conferences. They know better than disturb me. Why do you think there is a window set into my studio door? So, if I am at my easel there should be no knock to disturb. There is another reason, but that is between Karin and I.

This was once a summer-only house, but over the years we have made it our whole-year home. There was much attention given to making it snug and warm. My architect replaced all the windows and all the doors and there is this straw insulation between the walls. Now, as I open the curtains around my bed, I can see my breath float out into the cool air. When, later, I descend to my studio, the stove, damped down against the night, when opened and raddled will soon warm the space. I shall draw back the heavy drapes and open the wooden shutters onto the dark land outside. Only then I will stand before my current painting: *Brita and the Sleigh.

Current!? I have been working on this painting intermittently for five years, and Brita is no longer the Brita of this picture, though I remember her then as yesterday. It is a picture of a winter journey for a six-year-old, only that journey is just across the yard to the washhouse. Snow, frost, birds gathered in the leafless trees, a sun dog in the sky, Brita pushing her empty sledge, wearing fur boots, Lisbeth’s old coat, and that black knitted hat made by old Anna. It is the nearest I have come to suggesting the outer landscape of this place. I bring it out every year at this time so I can check the light and the shadows against what I see now, not what I remember seeing then. But there will be a more pressing concern for me today, this shortest day.

Since my first thoughts for the final mural in my cycle for the Nationalmuseum I have always put this day aside, whatever I might be doing, wherever I may be. I pull out my first sketches, that book of imaginary tableaux filled in a day and a night in my tiny garden studio in Grez, thinking of home, of snow, the mid-winter, feeling the extraordinary power and shake of Adam of Bremen’s description of 10th C pre-Christian Uppsala, written to describe how barbaric and immoral were the practices and religion of the pagans, to defend the fragile position of the Christian church in Sweden at the time. But as I gaze at these rough beginnings made during those strange winter days in my rooms at the Hotel Chevilon, I feel myself that twenty-five year old discovering my artistic vision, abandoning oils for the flow and smudge of watercolour, and then, of course, Karin. We were part of the Swedish colony at Grez-sur-Loing. Karin lived with the ladies in Pension Laurent, but was every minute beside me until we found our own place, to be alone and be together, in a cupboard of a house by the river, in Marlotte.

Everyone who painted en-plein-air, writers, composers, they all flocked to Grez just south of Fontainebleau, to visit, sometimes to stay. I recall Strindberg writing to Karin after his first visit: It was as if there were no pronounced shadows, no hard lines, the air with its violet complexion is almost always misty; and I painting constantly, and against the style and medium of the time. How the French scoffed at my watercolours, but my work sold immediately in Stockholm. . . and Karin, tall, slim, Karin, my muse, my lover, my model, her boy-like figure lying naked (but for a hat) in the long grass outside my studio. We learned each other there, the technique of bodies in intimate closeness, the way of no words, the sharing of silent thoughts, together on those soft, damp winter days when our thoughts were of home, of Karin’s childhood home at Sundborn. I had no childhood thoughts I wanted to return to, but Karin, yes. That is why we are here now.

In Grez-sur-Loing, on a sullen December day, mist lying on the river, our garden dead to winter, we received a visitor, a Swedish writer and journalist travelling with a very young Italian, Mariano Fortuny, a painter living in Paris, and his mentor the Spaniard Egusquiza. There was a woman too who Karin took away, a Parisienne seamstress I think, Fortuny’s lover. Bayreuth and Wagner, Wagner, Wagner was all they could talk about. Of course Sweden has its own Nordic Mythology I ventured. But where is it? What is it? they cried, and there was laughter and more mulled wine, and then talk again of Wagner.

When the party left I realized there was something deep in my soul that had been woken by talk of the grandeur and scale of Wagner’s cocktail of German and Scandinavian myths and folk tales. For a day and night I sketched relentlessly, ransacking my memory for those old tales, drawing strong men and stalwart, flaxen-haired women in Nordic dress and ornament. But as a new day presented itself I closed my sketch book and let the matter drop until, years later, in a Stockholm bookshop I chanced upon a volume in Latin by Adam of Bremen, his Gesta Hammaburgensis Ecclesiae Pontificum, the most famous source to pagan ritual practice in Sweden. That cold winter afternoon in Grez returned to me and I felt, as I had then, something stir within me, something missing from my comfortable world of images of home and farm, family and the country life.

Back in Sundborn this little volume printed in the 18th C lay on my desk like a question mark without a sentence. My Latin was only sufficient to get a gist, but the gist was enough. Here was the story of the palace of Uppsala, the great centre of the pre-Christian pagan cults that brought us Odin and Freyr. I sought out our village priest Dag Sandahl, a good Lutheran but who regularly tagged Latin in his sermons. Yes, he knew the book, and from his study bookshelf brought down an even earlier copy than my own. And there and then we sat down together and read. After an hour I was impatient to be back in my studio and draw, draw these extraordinary images this text brought to life unbidden in my imagination. But I did not leave until I had persuaded Pastor Sandahl to agree to translate the Uppsala section of the Adam of Bremen’s book, and just before Christmas that year, on the day before the Shortest Day, he delivered his translation to my studio. He would not stay, but said I should read the passages about King Domalde and his sacrifice at the Winter Solstice. And so, on the day of the Winter Solstice, I did.

This people have a widely renowned sanctuary called Uppsala.

By this temple is a very large tree with extending branches. It is always green, both in winter and in summer. No one knows what kind of tree this is. There is also a spring there, where the heathens usually perform their sacrificial rites. They throw a live human being into the spring. If he does not resurface, the wishes of the people will come true.

The Temple is girdled by a chain of gold that hangs above the roof of the building and shines from afar, so that people may see it from a distance when they approach there. The sanctuary itself is situated on a plain, surrounded by mountains, so that the form a theatre.

It is not far from the town of Sigtuna. This sanctuary is completely covered with golden ornaments. There, people worship the carved idols of three gods: Thor, the most powerful of them, has his throne in the middle of the hall, on either side of him, Odin and Freyr have their seats. They have these functions: “Thor,” they say, “rules the air, he rules thunder and lightning, wind and rain, good weather and harvests. The other, Odin, he who rages, he rules the war and give courage to people in their battle against enemies. The third is Freyr, he offers to mortals lust and peace and happiness.” And his image they make with a very large phallus. Odin they present armed, the way we usually present Mars, while Thor with the scepter seems to resemble Jupiter. As gods they also worship some that have earlier been human. They give them immortality for the sake of their great deeds, as we may read in Vita sancti Ansgarii that they did with King Eirik.

For all these gods have particular persons who are to bring forward the sacrificial gifts of the people. If plague and famine threatens, they offer to the image of Thor, if the matter is about war, they offer to Odin, but if a wedding is to be celebrated, they offer to Freyr. And every ninth year in Uppsala a great religious ceremony is held that is common to people from all parts of Sweden.”
Snorri also relates how human sacrifice began in Uppsala, with the sacrifice of a king.

Domalde took the heritage after his father Visbur, and ruled over the land. As in his time there was great famine and distress, the Swedes made great offerings of sacrifice at Upsal. The first autumn they sacrificed oxen, but the succeeding season was not improved thereby. The following autumn they sacrificed men, but the succeeding year was rather worse. The third autumn, when the offer of sacrifices should begin, a great multitude of Swedes came to Upsal; and now the chiefs held consultations with each other, and all agreed that the times of scarcity were on account of their king Domalde, and they resolved to offer him for good seasons, and to assault and **** him, and sprinkle the stall of the gods with his blood. And they did so.

There it was, at the end of Adam of Bremen’s description of Uppsala, this description of King Domalde upon which my mural would be based. It is not difficult to imagine, or rather the event itself can be richly embroidered, as I have over the years made my painting so. Karin and I have the books of William Morris on our shelves and I see little difference between his fixation on the legends of the Arthur and the Grail. We are on the cusp here between the pagan and the Christian.  What was Christ’s Crucifixion but a self sacrifice: as God in man he could have saved himself but chose to die for Redemption’s sake. His blood was not scattered to the fields as was Domalde’s, but his body and blood remains a continuing symbol in our right of Communion.

I unroll the latest watercolour cartoon of my mural. It is almost the length of this studio. Later I will ask Greta to collect the other easels we have in the house and barn and then I shall view it properly. But for now, as it unrolls, my drama of the Winter Solstice comes alive. It begins on from the right with body of warriors, bronze shields and helmets, long shafted spears, all set against the side of Uppsala Temple and more distant frost-hoared trees. Then we see the King himself, standing on a sled hauled by temple slaves. He is naked as he removes the furs in which he has travelled, a circuit of the temple to display himself to his starving people. In the centre, back to the viewer, a priest-like figure in a red cloak, a dagger held for us to see behind his back. Facing him, in druidic white, a high priest holds above his head a gold pagan monstrance. To his left there are white cloaked players of long, straight horns, blue cloaked players of the curled horns, and guiding the shaft of the sled a grizzled shaman dressed in the skins and furs of animals. The final quarter of my one- day-to-be-a-mural unfolds to show the women of temple and palace writhing in gestures of grief and hysteria whilst their queen kneels prostate on the ground, her head to the earth, her ladies ***** behind her. Above them all stands the forever-green tree whose origin no one knows.

Greta has entered the studio in her practiced, silent way carrying coffee and rolls from the kitchen. She has seen Midvinterblot many times, but I sense her gaze of fascination, yet again, at the figure of the naked king. She remembers the model, the sailor who came to stay at Kartbacken three summers ago. He was like the harpooner Queequeg in Moby ****. A tattooed man who was to be seen swimming in Toftan Lake and walking bare-chested in our woods. A tall, well-muscled, almost silent man, whom I patiently courted to be my model for King Dolmade. I have a book of sketches of him striding purposefully through the trees, the tattooed lines on his shoulders and chest like deep cuts into his body. This striding figure I hid from the children for some time, but from Greta that was impossible. She whispered to me once that when she could not have my substantial chest against her she would imagine the sailor’s, imagine touching and following his tattooed lines. This way, she said, helped her have respite from those stirrings she would so often feel for me. My painting, she knew, had stirred her fellow maids Clara and Solveig. Surely you know this, she had said, in her resolute and direct city manner. I have to remember she is the age of my eldest, who too must hold such thoughts and feelings. Karin dislikes my sailor king and wishes I would not hide the face of his distraught queen.

Today the sunrise is at 9.0, just a half hour away, and it will set before 3.0pm. So, after this coffee I will put on my boots and fur coat, be well scarfed and hatted (as my son Pontus would say) and walk out onto my estate. I will walk east across the fields towards Spardasvvägen. The sky is already waiting for the sun, but waits without colour, hardly even a tinge of red one might expect.

I have given Greta her orders to collect every easel she can find so we can take Midvinterblot off the floor and see it in all its vivid colour and form. In February I shall begin again to persuade the Nationalmuseum to accept this work. We have a moratorium just now. I will not accept their reasoning that there is no historical premise for such a subject, that such a scene has no place in a public gallery. A suggestion has been made that the Historiska museet might house it. But I shall not think of this today.

Karin is here, her face at the studio window beckons entry. My Darling, yes, it is midwinter’s day and I am dressing to greet the solstice. I will dress, she says, to see Edgar who will be here in half an hour to discuss my designs for this new furniture. We will be lunching at noon. Know you are welcome. Suzanne is talking constantly of England, England, and of course Oxford, this place of dreaming spires and good looking boys. We touch hands and kiss. I sense the perfume of sleep, of her bed.

Outside I must walk quickly to be quite alone, quite apart from the house, in the fields, alone. It is on its way: this light that will bathe the snowed-over land and will be my promise of the year’s turn towards new life.

As I walk the drama of Midvinterblot unfolds in a confusion of noise, the weeping of women, the physical exertions of the temple slaves, the priests’ incantations, the riot of horns, and then suddenly, as I stand in this frozen field, there is silence. The sun rises. It stagge

Once I met a lady in a store who looked at my daughter and asked me
what was wrong with her why was she behaving this way
I saw my daughter and told her nothing, she is just dancing to her favourite song
and this is also one of the ways she plays

She looked confused so I explained and told her she is autistic
For which the lady congratulated me as she thought I said artistic

She may have not heard it properly but she was right wasn’t she?
Both the words had so much in common if only world could see


Autistic is artistic cos they look at the world very differently from us
They paint or write or sing what they feel and create a beautiful buzz
An autistic’s perception of world is so different so unique
And like any other artist they  prefer to let their work speak
Most autistics/artists are still looking for the medium
they want to express their feelings in, what makes them comfortable
Or maybe what they are doing right now is their art,
their stroke, their poetry,
whether or not we find that agreeable

Are we mature enough to understand their art?
Are we talented enough to polish their skills?


Don’t ruin it for them by moulding them into something they are not.
You will lose them for ever, for they won’t be the same without their art
Guide them through this life, make them as independent
as you would any other child but give them space and time
Don’t rush them into this life, for every child autistic or not,
is a caterpillar in cocoon, and will only emerge when nature chimes
You won’t get a butterfly by breaking the cocoon,
or else they will neither be a caterpillar nor a butterfly
Give them time, nourish them make them feel loved
and see how your beautiful butterfly flies

Do we have patience to give them that time?
Do we not know what broken dreams feel like? *


Guide them give them the proper tools to move and grow
How to overcome obstacles that you have to show
Don’t overload them with your expectations or pampering’s,
For every child autistic or not is like a seed,
and overloading will be very hampering
Always remember too much spoils and too little leaves impoverished
They need just the right amount of everything you can offer
and oh the places these kids go when they feel loved and cherished
Care for them, they are part of you, involve them in your life
and participate in theirs with all your Arden
And see how they bloom into the most beautiful flower in your garden

Have you learnt and polished your skills to be good gardener?
Have you taken training to be a good coach?

I have a child with autism and I have had my share of
taunts, staring, worthless advices and criticisms,
But I never let those rule my life; for it would have been insult
to all those angels I met in this journey of autism
This is a long journey and we will fall and fail, a lot, I know that
But I will learn, get up and make corrections
and move ahead and not worry about the stat
I will get up every time and help my daughter get up too,
I promise to my child and myself
We will keep moving whether life offers us
an empty or a well-stocked shelf

When I see my child I see
-A budding artist,
- A butterfly emerging from a cocoon,
-A beautiful sprouting seed.*

Yes I will give her all that she needs and enjoy the process.

She is A Queen
She's something special, similar to a candy coated dream.
The God in her will sooth you soul as if you were Listening To the sound of the rushing river Streams
Her spirit Shines brighter than a car's high Beams.
Her love is sweeter than brown sugar
And Me oh my she is Looker
Her big chestnut sultry eyes reveals the beauty of Her soul inside.
I can just smell the aroma of her Shea butter and coconut fragranced skin as it glows due to her internal flame shinning within.
Cocoa Brown is the color of her melanated Bronze complexion.
Man, her smile drives me wild.
That luminous smile, her glorious smile, is as gorgeous as the clouds when she shows her pearly whites.
It brightens my day like a lamp in the darkness of the night.
And her mind Is a secret treasure That only her King Can discover and uncover the bountiful mountains he'll climb.
She's Artistic and Musically Inclined
And at the drop of a dime shell bust out in A poetic rhyme
And her words, Gosh her blissfully profoundly spoken words, will send chills up your spine
She's My own little personal ray of sunshine
Radiating truth and her words are so kind
She's simply divine
She's a peacemaker staying serene
From the inside out she is a beautiful Human being
She's good for your mental hygiene
Kinda like how your body needs protein.
Royalty is embedded in DNA gene
And her crown is made of lustrous flowing locks shining like oil sheen.
She is Royalty, She's My sister from another Mister, She is an Unshaken, Strong, melanized Beautiful Queen.

Artistic
Respectful
Intelligent
Avantgarde

Empathic
Moving
Intense
Loving
Youthful

Sporty
Preppy
Emotional
Nice
Caring
Eccentric
Resourceful

Happy
Adamant
Natural
Naughty
Aware

Alive
Learning­
Isolated
Scared
Original
Naive

I feel artistic tonight
meaning a mess
I feel like a true poet
who knows of tie dye emotions;
heartbreak within passion
and sorrow for missing someone I haven't lost
well, yet

My age has brought me wisdom
Great memories from moments in my past.
I don't see myself as becoming old...
Quite the opposite
I grow younger in my energy as hope's signal has been cast.
I shall make a difference in this lifetime.
My name shall be remembered, forever.
In the great deeds that I have done
In the artistic inventions I've left as a gift to the world..
That remains a bright light and message to fade, never.
In the pages of my books and the paintings you have displayed on your walls.
Such are part of me, my true everlasting spirit
That shall roam your heart's artistic loving halls.

(Sorry Friends, for posting educational type of poems, I know Haiku are easier to read & comment! But if you happen to like this true story, kindly recommend it to your other friends! Thanks, -Raj)

STORY OF EUROPEAN RENAISSANCE: PART TWO

THE CITY-STATE OF FLORENCE :
The city of Florence lies in the historic valley of Tuscany ,
Along the banks of the Arno river, surrounded by hills
of scenic beauty !
Here during the first century BC , the conquering Romans
established their ‘Colonia Florentina’,
To settle the war veterans of Caesar’s army in Northern
Italia !
But later after the fall of Rome , it became a battleground
for the Holy Roman Empire and the Pope ;
But the independent nature of its people refused foreign
yolk !
They preferred commune rule led by a powerful leader –
called the Signore ,
Just like the city-states of ancient Greece, in those days of
yore !
But unlike Greece , Florence saw no Democracy ,
Since the Medici family finally usurped power in this
city of Northern Italy !
Unlike Venice , Florence is landlocked and not a port
city ;
Relying on banking and trade to prosper economically .
Their gold coin florin became the standard coinage
throughout Europe ;
While through the export of its quality textile and woolen
goods, great wealth got secured !
But to become patrons of art and letters mere wealth is
not enough ,
One must have a refined taste to become a true lover of
letters and art !
And here the Medici carved out a niche for themselves
under the Florentine sun !
Writers like Francesco Petrarca , Dante, and Boccaccio ;
And artists such as Giotto , Lippi, Dontello, Leonardo ,
and Michelangelo , were all born Florentines !
Even classical Athens couldn’t boast of such a vast
galaxy ,
Of artistic talents within such a limited time frame of
History !
These artists embellished their city with their literary
works, sculptures, architectures and paintings ;
Made Florence to reawaken, dazzle, and shine ;
Carving out a proud moment in history for the
Florentines !

CONTRIBUTION OF MEDICI FAMILY OF
FLORENCE :
Giovanni de Medici (1360-1429) :
This Medici family became the Godfather for the Italian
Renaissance ,
And I feel obliged to narrate their story tracing their
historical source !
In those early days Art was considered a lowly craft ,
There were no art galleries, and one couldn’t make a
living out of Art !
Without patronage the artist and his art couldn’t survive ,
So I speak of the Medics, who had originated from the
Tuscan countryside !
Gaining power through wealth and political astuteness,
And not through military force for dominance !
The founder of family’s fortunes was Giovanni de
Medici ,
An educated man with a simple life style , who
traveled on a donkey !
A humble man who had never aroused any enmity .
He established the Medici Bank with innovations
in ledger accounting system ;
And became a pioneers in tracking credits and debits
through a double entry system !
He opened branches of the Bank in Rome and Northern
Italy ,
Facilitated bills of exchange and credit bills, to multiply
his money !
After the return of the Papacy from Avignon to Rome ,
The Medici Bank was made the official bankers of the
Pope ;
And Giovanni became the wealthiest man in Italy , if
not in entire Europe !
In 1421 Giovanni was made the Chief Executive of his
city ,
And he commissioned its leading architect Brunelleschi , -
to glorify Florence city .
The challenging task for Brunelleschi was to build the dome
of the Cathedral of his city .
This was the first octagonal dome in history , a breakaway
from the earlier Gothic structures ,
And even surpassing the Roman Pantheon as a marvel of
Florentine architecture !
It took sixteen long years to complete this huge dome ,
And stands today as an icon of Renaissance Europe !
Giovanni had taught his son Cosimo to follow a simple
life style ,
To patronize art and letters, and to his people be kind !

COSIMO De MEDICI (1389-1464) :
After Giovanni’s death , Cosimo the Elder built upon
his father’s inherited wealth ;
Absorbed most of the 39 Florentine Banks, operating its
branches in London and Bruges as well !
The greatest rival of the Medici fortunes were the Albizzi ,
They plotted against Cosimo and the Medics ;
And in 1433, exiled Cosimo and his family out of jealousy !
But after a year the Medics were recalled back as heroes ,
Since the Florentine coffers without the Medici Bank , -
had become almost zero !
But both peace and prosperity are needed for flourishing
of art and culture ,
So Cosimo engineered the Peace of Lodi (1454) with Milan
and Venice , -
To prevent future wars and misadventure !
Scholars were made to collect precious manuscripts from
the East, and the churches and vaults of Europe ;
And an ensured period of stability , contributed to Early
Renaissance’s growth !
Sculptor Donatello’s bronze **** David stood up as an
unique art form ,
And with paintings of Fra Angelico, and Filippo Lippi , -
the style of art itself began to reform !
Architect Michalozzo built the famous Medici Palace ,
And Cosimo opened the Medici Library for the spread of
classical knowledge !
After the fall of Constantinople in 1453 , the Greek scholars
with their classical manuscripts fled to Italy .
They flocked to Florence where Cosimo established a
Platonic Academy !
Renowned Humanist Marsilio Ficino became its President ,
And complete works of Plato got translated from Greek
to Latin !
Thus the growth of Early Renaissance owed much to
Cosimo’s patronage ,
And the Florentines inscribed “Pater Patriae” on his tomb , –
(‘Father of His Country’) after his death !

LORENZO THE MAGNIFICENT (1449-1492) :
Cosimo’s son Piero the Gouty died within five years ,
Never achieved anything spectacular worthy of tears !
The Medici Bank had loaned large sums of money to
King Edward IV of England and Charles the Bold of
Burgandy,
Failed to recover getting into bad debts and insolvency !
So when Cosimo’s grandson Lorenzo succeeded at
the age of twenty one ,
He focused on other areas of creativity, and the period
of High Renaissance begun !
Lorenzo , a genuine lover of arts, also wrote poetry in the
dialect of his native Tuscany ;
Following the footsteps of Tuscan born poets Donzella ,
Davanzati , and Dante the author of ‘Divine Comedy’ !
On 26th April 1478 , the Pazzi family in connivance with
the Archbishop of Pisa and backing of Pope Sixtus IV ,
Tried to assassinate the Medics during the High Mass, -
in the Cathedral of Santa Maria del Fiore !
Younger brother Giuliano was fatally stabbed , but they
failed to **** Lorenzo .
All the conspirators were hanged including Pisa’s
Archbishop !
Ecclesiastic censure was issued against Florence ,
And Lorenzo was excommunicated by the Pope !
But Lorenzo worked out a treaty of peace with the King
of Naples ,
And became the undisputed ruler of the Republic of
Florence !
Unfortunately , Lorenzo died young at the age of forty-
three ,
At the dawn of the great Age of Exploration and
adventures by sea !
During his rule Renaissance reached its Golden Age ,
And literature, art, and architecture blossomed with
Lorenzo’s patronage !
It earned him the title of ‘Magnifico’, now know to
us as Lorenzo the Magnificent !
Leonardo da Vinci , Michelangelo , Raphel , Giovanni
Bellini ,Titan, Veronese, Correggio , Tintoretto ;
All became superstars of the Renaissance era ;
Their works are cherished, valued and treasured to
this day of our Modern era !
In the year 1492 with Lorenzo’s death , Italy entered
a period of turmoil and instability,
And the Renaissance saw a period of decline in Italy !
But the flames of the Renaissance spread to other
parts of Northern Europe ,
And in the 16th century reached England’s shores !
The Medici Family had also provided three Popes to
Italy, and three Queens to France ;
Besides patronizing the growth of the famous Italian
Renaissance !
Now dear readers, to do justice to Renaissance art ,
architecture, and literature briefly ,
I propose to narrate its story in Part Three !
-- By Raj Nandy of New Delhi .
*ALL COPY RIGHTS ARE WITH THE AUTHOR

Philosophically, Camus is known for his conception of the absurd. Perhaps we should clarify from the very beginning what the absurd is not. The absurd is not nihilism. For Camus the acceptance of the absurd does not lead to nihilism (according to Nietzsche nihilism denotes the state in which the highest values devalue themselves) or to inertia, but rather to their opposite: to action and participation. The notion of the absurd signifies the space which opens up between, on the one hand, man’s need for intelligibility and, on the other hand, 'the unreasonable silence of the world' as he beautifully puts it. In a world devoid of God, eternal truths or any other guiding principle, how could man bear the responsibility of a meaning-giving activity? The absurd man, like an astronaut looking at the earth from above, wonders whether a philosophical system, a religion or a political ideology is able to make the world respond to the questioning of man, or rather whether all human constructions are nothing but the excessive face-paint of a clown which is there to cover his sadness. This terrible suspicion haunts the absurd man. In one of the most memorable openings of a non-fictional book he states: “There is but one truly serious philosophical problem and that is suicide. Judging whether life is or is not worth living amounts to answering the fundamental question of philosophy. All the rest – whether or not the world has three dimensions, whether the mind has nine or twelve categories – comes afterwards. These are games; one must first answer” (Camus 2000:11). The problem of suicide (a deeply personal problem) manifests the exigency of a meaning-giving response. Indeed for Camus a suicidal response to the problem of meaning would be the confirmation that the absurd has taken over man’s inner life. It would mean that man is not any more an animal going after answers, in accordance with some inner drive that leads him to act in order to endow the world with meaning. The suicide has become but a passive recipient of the muteness of the world. “...The absurd ... is simultaneously awareness and rejection of death” (Camus 2000:54). One has to be aware of death – because it is precisely the realization of man’s mortality that pushes someone to strive for answers – and one has ultimately to reject death – that is, reject suicide as well as the living death of inertia and inaction. At the end one has to keep the absurd alive, as Camus says. But what does it that mean?

In The Myth of Sisyphus Camus tells the story of the mythical Sisyphus who was condemned by the Gods to ceaselessly roll a rock to the top of a mountain and then have to let it fall back again of its own weight. “Sisyphus, proletarian of the gods, powerless and rebellious, knows the whole extent of his wretched condition: it is what he thinks of during his descent. The lucidity that was to constitute his torture at the same time crowns his victory. There is no fate that cannot be surmounted by scorn” (Camus 2000:109). One must imagine then Sisyphus victorious: fate and absurdity have been overcome by a joyful contempt. Scorn is the appropriate response in the face of the absurd; another name for this 'scorn' though would be artistic creation. When Camus says: “One does not discover the absurd without being tempted to write a manual of happiness” (Camus 2000:110) he writes about a moment of exhilarated madness, which is the moment of the genesis of the artistic work. Madness, but nevertheless profound – think of the function of the Fool in Shakespeare’s King Lear as the one who reveals to the king the most profound truths through play, mimicry and songs. Such madness can overcome the absurd without cancelling it altogether.

i.

for the past few weeks i've been doing an experiment,
thankfully philosophy allows such things,
of course, they're deviations from what i'm used to
in chemistry, they're less, what's the word?
spectacular - but they are nonetheless experiments,
and that's the beauty of being grounded in some sort
of science (trinity of biology, chemistry and physics
and that's the limit, beyond this there are only
pseudo-sciences)... medicine? that's the tsarina of
learning: like any tsarina: gets down and *****,
and yes: mathematics is the genteel queen.
philosophy on the other hand seems like a vagabond
in learning, never really pieced together,
never really sentenced to a single direction:
and for that matter, thought can become less narration
that stretches into the sort of philosophy that Sartre
embodied with his novel, and more into thought becoming
experimental...
you might be wondering what the experiment consisted
of... well, over the weeks i've been sadistic unto myself,
it's to do with trying to figure out the modern curse
that's the 3D's: debt, depression, dementia.
                i can't fall asleep without a bottle of whiskey
cigarettes, sleeping pills and music playing in the background:
which would make me a terrible partner, anyway.
   beyond that though, for weeks i repeated a pattern,
i fell asleep to the *hellraiser ii: hellbound soundtrack
by christopher young...
       day-in-day out: as if to pressurise the idea that
the faculty of dreaming could be censored in the same way
that thinking is censored in liberal speech
eroding people's vocabulary, **** included.
     what i mean by that: every day i woke up with 15 minutes
of despair, then the zenith came after i lay in bed
for 4 hours and felt too many leeches ******* at me...
   those 15 minutes of despair were always there,
but then i usually got up and went about my daily business...
i admit that whiskey could be to blame,
anyone could argue the alcohol-is-bad argument,
but arguing as R. D. Laing might have that it's
also a sedative if you don't include social adhesion to loosen
the tension of going out and dancing:
then i don't see the point of saying it's all bad.
         sleeping pills (i found) are not 100% active without
what the prescription states that you should do:
i exceed limits, but then i write during the night -
            create a balance and i'm sure any insomnia
might be made minimal... anyway:
so i've been doing this roundabout experiment,
listening to the above album while falling asleep,
but then yesterday i decided to fall asleep listening to
godspeed you! black emperor's album F♯ A♯ ∞,
and guess what the experiment proved:
  i felt little or no anguish for 15 minutes,
obviously the usual groggy of a pseudo-hangover,
  but that doesn't mean staying in bed for 4 hours
because you feel **** about life 'n' all...
                   as already stated there's what we call
a cartesian dichotomy, that somehow altered mental
states cannot be translated into a physicality -
depression in this sort of language becomes lethargy -
people never seemed to connect the dots that
state the monism of everything having a pairing either
side of Humpty-Dumpty sitting on the ergo fence
asking about a flying omelette... ergo is a variation
of what precipitates... depression = lethargy...
the purest kind of what i know (i have enough psychiatric
literature to redeem myself from what would
be deemed quack-medicine with their quack doctors) -
some say that taking the vitamin B12 supplement
could help you: or that weak digestion is to blame, too.
i would be quack doctor if i was in a position of power,
and since i am not really earning anything from my
"poems", what sort of power can i abuse? trust -
but then again these are thought experiments,
           i first experiment on myself, then note down
the observations i have accounted for.
               so what will my unconscious eat today while
i switch off my consciousness? i was thinking of
the cure's disintegration album,
         perhaps that's why i did weeks of falling asleep
to a horror movie soundtrack, to later move into
neo-prog "rock" and then into 80s goth melancholia...
    i'd say that pop ****** melancholics off...
and such a nicer word for depression...
                   it's not even close to compression and has
nothing to do with aviation or the Netherlands...
     melan, melan: ah! melanism - a certain darkness,
    choly -         condition of darkness...
       and that star of Bethlehem appeared at night...
man of sorrows, well that's just blatant;
           but for all the romanticisation about darkness
and the mysterious moon and all the insomnia,
i still prefer the anti-cartesian explanation of actually
creating the proper answer to what has become
a dichotomy between the physical sciences and
the pseudo sciences, given that ergo is a precipitation
then for the two opposite to become inseparable
depression must be equal to lethargy: which is a variation
of the grander genus (family): metabolism.
               is this the point where i re-quote that famous:
doctor! heal yourself!
                                      well, if there's anything to go by
i have in my mind, given my life a prolonging in a way,
what was it... amitriptyline?
                                         the new ******* for
the respectably prone to citizenship's serenity of leaving
other people to their own demises -
  i mean, look at all the teetotalers: hyperactive bunnies
with too much energy that translated into things like
the infamous pyramids and the doubly infamous chimneys.

ii. the danish girl

i would have never thought that the transgender movement
had such a puritanism about it,
such platonism - nearing martyrdom;
who could have thought?! i only managed to see the film
today... i'm a sentimental ******* and i was choking
on not crying at the end of the film
here was a true representation of an artist,
         there's he (einar wegenar): a successful local
artist, within the confines of Copenhagen,
modestly famous: primarily because of having
perfected a technique and sourced it in a childhood
memory that keeps haunting him,
    thus he keeps repeating it, although with slight
alternation to refresh it, but no photograph to work
from, hence my previous statement:
  memory is the best cinema or arts' gallery (this
is not a universal statement, memory doesn't always
heal, or fascinate or have the ability to revitalises itself
or become the most potent "hallucinogenic" experience);
and then she's there (gerda wegener), also
painting, but more in line with paying the rent
rather than appeal, rich people needing portraits to
hang on the walls of the future of their lineage
        in years to come so someone might boast:
that was my ancestor, who founded the first bank
of Copenhagen sort of stories -
and all she wants to do is be an artist like Einar;
and she keeps coming back from galleries with her
works and they never give the critics any appeal
at being original - they have a suggestive generic
quality to them: precisely because they've been painted
for money. art is cruel in that way,
  when critics reduce producing art like they might reduce
being a cashier in a supermarket on the basis of:
job done... then comes the offense from the artist.
the beauty of this film is the platonism that soon explodes,
the near innocence... i really don't know how
the transgender movement borrowed from this:
all those Baphomet ******* with too many parts,
silicon chests and ***** and what not?
       this is one of the finest forms of defamation -
these days the transgender movement is so sexually
potent it doesn't really deserve what can only appear
as a self-imposed crucifixion...
              this story predates the unearthing of the nag
hammadi scripts, it's intuitively bound to what was
unearthed in 1945...
      einar sees the desperation of gerda, he knows
that he'll simply remain a local artist,
    bound to a square mile of earth, local, provincial
even... what he decides on is best expressed
by Marilyn Manson's lyrics: now i'm not an artist
i'm a ******* work of art.
        how can not this resonate further into the film
if not by this motto:
it is a consecration of a memory, to invert it and
un-seize the moment long ago experienced and now
fuelling art, or the repetition of a safe technique established.
one man's frustration and a woman in a cage:
the potential seen - then a sudden bursting of madness,
the evident anti-cross -
                                  to say he had reached his limits
and she was kept frustrated and under-appreciated is
blatant enough, this self-sacrifice for a woman to
find her subject, was all too evident when she utters
the words that: the student overcomes the teacher,
and that's the whole story,
                       he has to walk into the canvas,
     in whatever way imaginable, and what a better way
than on a whim to escape the dreariness of parties
   by dressing up as a woman, after gerda's model
is late so she can continue a painting and einar
has to step in and wear a few female garments...
       to later realise the Dionysian consequence:
                                  only to the utmost excess, from here.
this could hardly be a propaganda movie for
the transgender movement... the "propaganda"
aspect ends when you hear children imitating this
artistic "prank" in today's society...
      it wasn't a prank in the slightest: but a profound
expression of love between two artists...
          outside of art the whole transgender movement
is still only ***** and silicon **** of Thailand's lady-boys:
that's not reality?        
although i actually did choke with nearing to cry
in the closing scene...
    unlike the Christ story... there was no resurrection.
so hans and gerda travel to the place where
einar depicted the landscape in his revisions,
       and both of them are standing there
        and it's ****** pulverising with so much depth
upon being so little when reduced to a canvas
but because you see the painting first, do you later
see the landscape with more emotion...
     and i thought to myself: gerda will recreate
the landscape in her own eyes, she'll what he saw
and what he gave up for her to paint him in his
transformative (transfigurative) state of becoming
lili elbe...
                     that's why i was about to cry -
     that she could put lili aside, and return to /
resurrect the memory of einar the locally famous
artist... that she would apply the same technique in
painting lili / einar but turn her attention to
landscapes... as if to imply that both of them became
reunited before all the madness of life came chasing them
into extremes.
          to my dissatisfaction? after the film ended
and before the credits started rolling... postscriptum facts
after these true events... she continued to paint
lili / einar as she did, which prompted her to fame
on the Parisian estrade; after seeing that, written down?
tears? what tears... i'm actually thankful that i choked
on them and didn't do an outburst necessarily...
thank **** i wasn't watching the film alone!
     i know that i might have invoked a sense of:
rough around the edges with this description, but i'm hoping
it's abstract enough to make the film more potent:
filling the blanks with images;
still, this was used for a transgender movement?
                                                did he make it plainly obvious
that this was a transcendental transgender iconoclasm?
         it's the platonic element in it that steers this whole
story, away from what 21st century movements regard
as prototype for their ******.

MY FROG MASTERS

How thoughtful were the rainfalls
To water our gardens and flowers
The flowers spread wide garments
To celebrate their terminal beauty

The joyful frogs occupied my pond
To orchestrate their vocal prowess
They taught me to take blind leaps
Like lightning bouncing in the skies

Squatted, stretched, beeped down
I was a millstone on the pond floor
My slippery pond mates wondered
How soft I was in the maritime arts

Mortally rescued in a muddy mood
The clouds sent in rescuing showers
To confirm my firm loss to the frogs
Like a grain of salt cast into the seas


673. MONEY BAGS IN THEIR BODY BAGS

The money bags shopping for their body bags
Waggled through the makeshift supermarkets

Their ancestral homes they plotted modernity
Like the general gathering fine forces together

To the villages they made to return with pride
Like pregnant elephants caught up in the mud

Their desolate villages are deep and sickening
Glowing flamingly in the crucibles of local gins

The dusty and gravy pathways are like furnace
Burning the leather off from their frozen souls

Traditional birth attendants cut off their cords
And zipped the money bags in their body bags

674. A GLORIOUS DAY

The new day spoke powerfully
Like a war making superpower
And his voice roared forcefully
Like the skies forced to shower

The sunrays came dynamically
Like love responding to silence
Beauty crawled in submissively
Like the mixed arts and science

One eagle soared energetically
Like lions feuding in the colony
Far clouds relocated peacefully
Like souls betrayed to harmony

The breeze sighed thoughtfully
Like horses galloping on the lea
Inspiration unfolded thankfully
Crowns monuments with a pea

675.  THE FOG BANK

The sun had gone to pay our bill in the fog bank
The world foggily crawled into the strong rooms
Darkness demonstrated her strong mindfulness
Provided for the strong gale with lurking shrieks

The black paint billers snowballed to our dreams
With the bill of exchange for wild sunny excesses
Ghostly bats emerged with the bill of indictment
In demonstration of our acrophobic dispositions

We packaged the sunrays for our folk memories
To reassure the day of our eternal followerships
We cherish our follow-throughs in our dark beat
To usher the sunlight out of the hollow fog bank

676. THE PROTRACTED INTERNECINE FEUD

These things had happened before we were born
Like sulphur deep into our fresh hearts they burn
Now we stumble on the bumpy terrains in horror
Like one frightened by ghosts in a standing mirror

The internecine feud has razed our men of valour
With their carcasses dumped in their cold parlour
Our community cattle graze in the barren pasture
Like the unrepentant sinners awaiting the rapture

For our plight the once glorious sky is grown pale
Like the ***** fetching territorial waters with pail
The storms have rolled off the catalogues for rain
All our efforts to mop up the mess end up in vain



677. THE AREA LEADERS

They cracked coconuts on the heads for the crown
And embraced our days with their castaway pollen
Sadness and sorrow have dyed our garment brown
With the strongest song sung when night has fallen

These are the blinding dusts from our barn’s grains
They breed cunning serpents in the soft pasturages
They are failed cargoes on our broad societal trains
They dedicate our common committee to outrages

Now our days seek deliverance from their tentacles
Like the colourful fields immersed in gloomy beauty
They play our eyeballs with the stenciled spectacles
With our consciences to sight and found us off duty

To rescue us the colossal clouds were born gadarene
Our communal life was willed to pageants of gaieties
Then moonlight stories held us for a larger gathering
Now all the objects we sight dress up like cold deities

678. THE LAST DESCENDANTS

The rapacious thunderstorms ***** the skies for their tears
The hot embers were born to glow mourning the late forest
The moon crawled out of the blue like a great grandmother
Cuddling her descendants wrapped up in her ancient shawls

The wild waves were weird weavers weaving withering wails
The captioned wigs gyrated on stunning shoes upon auctions
The little creatures crouched in primeval baskets of the night
To gnaw at the generational tubers in the creative farmlands

The dazzling specimens of dentitions relaxed in water basins
Like bright red artistic architectures on potent ocean boards
Golden hearts glow in the threatening prisms of the furnace
As beautiful sunset defines her beauties in her nightly corset

It had been a sweet pill for the past descendants to swallow
Depending on the colonial masters for loaves, lore and lures
Our creativity had been packaged in their mortal depravities
Like the tranquil days resting sorrowfully upon the dark oars

The centenarian thunders downgraded our minute whispers
We had been kept upon our toes by the eternally sworn foes
At last our worthy artworks have worn their wormy catwalks
The refreshed dawns greet our easting days in their greenery



679. VICTIMS IN THE VALLEY

The victims in the dark rally
Caged, dried and browning
Therein their meanings tally
With waves born drowning

In the depth of a cold valley
Horrible nobles are cultures
Like pilgrims in the dark alley
Willed to ravenous vultures

The victims all robed in tears
With hearts like potter’s clay
For pains they have no fears
Only mimed games they play

For victory awaits the victims
Alien to a blind mimed game
Glorious are eternal rhythms
For death Christ died to tame

680. THE GIANT SCARS

These are our giant threatening scars
Engraved on our demonstrative heads
Our sympathies crawled on superstars
Weeping for us on their moonlit beds

They threatened us with nasal sounds
Like thunderclouds seasoned to burst
For us their galleries are out of bounds
Behind the iron bars plagued with rust

Our patience passed their wildest tests
Like the lions roaring in the thick jungle
On the heart of the Lord our faith rests
Like numbers posted on the right angle

681.  A LADY

In a lady’s handbag
Is her hidden hunchback
Stuffed with her heart ache
For the pains relieving groom

In a lady’s tender smile
Is hidden miles of similitude
Marked with the zebra crossings
For the ever winning marathoner

In a tender lady’s heart
Is hidden her cowboy’s hat
Soaring within the white clouds
To soothe the earth with the latter rains

682. BRING BACK OUR GIRLS

Bring back our homesick girls
Their vacant cradles are bleeding
Bring back our innocent girls
On the chariots of fire descending

Bring back our suckling girls
Their feeding bottles are weeping
Bring back our infant girls
Their mothers’ ******* are heavy

Bring back our harmless girls
The united universe is thundering
Bring back our dewy girls
In the sharp sun rising in the skies

Bring back our beautiful girls
Like light plucked from darkness
Bring back our glorious girls
Aboard the shore-bound waves

Bring back our worthy girls
On their fresh faces our lights seek to glow
Bring back our living girls
Our fountains of joy are bubbling to burst

For our returned girls the skies shall bear
Roaring rivers, singing seas, chiming clouds
With gongs and songs, pianos and praises
Dulcet dulcimers and documentable dances
With healthy hymns and eloquent embraces
All nations shall into a common cathedral flow

683. ****** GENEOLOGIES

They electrify their demonic high tables with old fears
Only their ****** genealogies are bookmarked to reign
The sight of their portables whetted our eyes to tears
We are reinforced by the clouds born to the later rain

Our skins have renovated the sickening cattle wagons
With our dreams flying upon huge smokes in the skies
Beneath their tables we abridge their creaking jargons
Upon their floors with our generational landmark tiles

The dew drops dropped like old crops upon our brows
To soften the veils falling to the flaming edged swords
The flaming hearted sword of the penetrating sunrays
Born to pluck us alive from our hotly bandaged bruises

684. LET US SPEAK UP

The light is climbing downstairs
And danger is sprouting abroad
Our feet are listening for a word
Let us speak up lest they go deaf

The light is melted on the glades
And terror grazing our eyelashes
Our feet are listening for a word
Let us speak up lest they go deaf

The light is late and lately buried
The mourners are on danger list
Our feet are listening for a word
Let us speak up lest they go deaf

The light has divorced the grave
Her grave clothes are dew dyed
Our feet are listening for a word
Let us speak up lest they go deaf

Silence is a forgotten tombstone
Lost in the din of cold morticians
Our feet are listening for a word
Let us speak up lest they go deaf

685.  THE SUN

The sun smiles on all prescriptively
Like the waves spreading on shores
The green grass glows descriptively
Like the full moon upon dark sores

The sun is a tailor fixing the buttons
Preparing the sky for incoming stars
Like the weaverbird weaving cottons
To conceal the day’s damnable scars

The sun is a marker on diurnal pages
Tall grace he bestows on the flowers
The sun retains his graces for all ages
Bees and butterflies are his followers

Our common laughter is endangered
When sun bows down in big setbacks
All mortals have the starlets fingered
When the night comes on drawbacks

686. UNTIL HERE

(For Lou Lenart and his team)

Their floods came seeking Jewish bloods
Like streams they roared for our dreams
They emerged as columns of soldier ants
Like whirlwinds they zoomed towards us

Until here we were crumbs for the reptiles
Until here we were like airborne cloudlets
But here the sudden change unveiled to us
From here the elusive victory embraced us

With skeletal jets we fought like bold lions
Soared like eagles and spoke like thunders
We conquered columns of invading armies
The bleeding armies turned back and blank

From here we turned from victims to victors
From here enemies’ defeat our greatest feat
Upon this memorable bridge it all happened
Victories leapt upon our pool like joyful frogs

687.  JOY UNLIMITED

The fledging sun offers its rays
And the rays offer golden trays
For our joy a platform to spray
Rowdy paratroops like thunder
To scoop roses from pure oasis

Our joy is ripe upon celebrations
Our celebrations with decorations
Decorations with documentations
Documentations for all generations
Generations in our joyful habitations

688. ANOTER RAINING DAY

The dark clouds are wandering river basins
Spiral bounded by breakable outer casings
The rivers and the seas display empty cups
For the swift blessings descending the tops

The rains come as defense troops’ missiles
And the drowning lands look like imbeciles
Now we are groaning in the watered claws
With the liberated scales marking our flaws

The retreating clouds crawl away in a belch
Dumping the missing cargoes on the beach
The winds bow in a state of shock in a cord
Praying and fasting for a visit from the Lord

689. GRANDMOTHER

Grandmother, please wake and get up
The sky is quarreling with her husband
Soon they will spill their freezing sweat
On our bodies for us to catch dead cold

Grandmother, please sneeze not louder
The sky and her husband are quarreling
Soon they will send old floods like gales
To sweep mankind away from the world

Grandmother, you are everything I have
My moon, my sun and my morning stars
Provoke not the couples with your cough
Lest they refill their greasily wraths again

Grandmother, the big reptiles have come
With their lethal grandchildren following
They are laced with secret burial shrouds
With sympathetic tears tearing their eyes

Grandmother, I kiss you a shaky goodbye
With broken pains roaring within my soul
Grandmother, where are your groundnuts
To conduct my solo heart as you sing away

690.  A NIGHT WALK THROUGH THE FOREST

Lured away on an alluring dream by fables
I trudged along the grassy paths with fears
Upon my steps spilling the prevailing dews
The shadows bowed their heads in silence
Like the soul issued with a death sentence

The night crawlers emerged above boards
Throwing light upon contrary communities
In their hearts and eyes were painful tears
Crawling down their exaggerated eye *****
Like a handbag filled with rotten cosmetics

The shadows were bold animators’ shelves
Stage managing the horror motion pictures
In the ghostly commodities I met wild hosts
Lifeworks evaporated from my fresh breath
Like foreign tragedies in common comedies

The sorrowful shadows cast away their veils
Like the candles letting go of the weird wax
Sadly I sat in the sack for conflicting fetuses
Another sun appeared like a serial divorcee
Counting the testicles of another naked day

691.  SUBJECTIVE SUBJECTS

The sad sun descended upon her haunting melodies
Reeling from mysterious layers for electoral riggings
To harden the flowerbed for flower girls born tender
Disenfranchised voters came weeping in barren polls
Dressing the blank nest for the fat electoral parodies
With the mourners the faulty bells they came ringing
Like the angry water castigating a ****** port fender
And the smokes climbed upon their wide aerial poles
Arching over the emptied shelves with liberal singing
They subjected their subjective subjects to all objects

Stick with me, friend.
I’d like to make a distinction:
I revere writers but do not deify them.
My heroes and role models must be grounded,
Must have so-called feet of clay.
And there’s always something more in my craw,
Whenever I see scribblers carved in marble,
Glorified to the point of divinity and magic.
Because in my heart of hearts,
Reverence for writers,
Is an odyssey of disillusionment and

I fancy myself a man of letters,
Although “Humanoid of Keystrokes,”
Might be more apt; an appellation,
Digitally au courant.
I am a man on verbal fire,
Perhaps, I am of a Lost Generation myself.
And don’t you dare tell me to sit down, to calm down.
You stand up when you tell a story.
Even Hemingway--even when he was sitting down--knew that.
Let us go then you and I.
Moving our moveable feast to Paris,
To France, European Union, Earth, Milky Way Galaxy.
(Stick with me, Babaloo!)
Why not join Papa at a tiny table at Les Deux Magots,
Savoring the portugaises,
Working off the buzz of a good Pouilly-Fuisse
At 10:30 in the morning.
The writing: going fast and well.

Why not join that pompous windbag ******* artist?
As he tries to convince Ava Gardner,
That writers tienen cajones grandes, tambien—
Have big ***** too—just like Bullfighters,
Living their lives all the way up.
That writing requires a torero’s finesse and fearlessness.
That to be a writer is to be a real man.
A GOD MAN!
Papa is self-important at being Ernest,
(**** me: some lines cannot be resisted.)
Ava’s **** is on fire.
She can just make him out,
Can just picture him through her libidinous haze,
Leaping the corrida wall,
Setting her up for photos ops with Luis Miguel Dominguín,
And Antonio Ordóñez, his brother-in-law rival,
During that most dangerous summer of 1959.
Or, her chance to set up a *******,
With Manolete and El Cordobés,
While a really *******,
Completely defeated & destroyed 2,000-pound bull,
Bleeds out on the arena sand.

Although I revere writers,
I refuse to deify them.
A famous writer must be brought down to earth--
Forcibly if necessary--
Chained to a rock in the Caucasus,
Their liver noshed on by an eagle.
In short: the abject humiliation of mortality.
Punished, ridiculed and laughed at.
Laughing himself silly,
******* on one’s self-indulgent, egocentric universe.
If not, what hope do any of us have?

Writing for Ernie may have been a divine gift,
His daily spiritual communion and routine,
A mere sacramental taking of dictation from God,
But for most of us writing is just ******* self-torture.
The Hemingway Hero:
Whatever happened to him on the Italian-Austrian front in 1918
May have been painful but was hardly heroic.
The ******* was an ambulance driver for Christ’s sake.
Distributing chocolate and cigarettes to Italian soldiers,
In the trenches behind the front lines,
A far cry from actual combat.
Besides, he was only on the job for two weeks,
Before he ****** up somehow,
Driving his meat-wagon over a live artillery shell.
That BB-sized shrapnel in his legs,
Turned out to be his million-dollar wound,
A gift that kept on giving,
Putting him in line for a fortunate series of biographic details, to wit:
Time at an Italian convalescent hospital in Milano,
Staffed by ***** English nurses,
Who liked to give the teenage soldiers slurpy BJs,
Delirious ******* in the middle of the night,
Sent to Paris as a Toronto Star reporter,
******* up to that big **** Gertrude Stein,
Sweet-talking Sylvia Beach,
At Shakespeare & Company bookstore,
Hitting her up for small loans,
Manipulating and conning Scott Fitzgerald—
The Hark the Herald Jazz Age Angel—
Exploiting F. Scott’s contacts at Scribners,
To get The Sun Also Rises published.
Fitzgerald acted as his literary agent and advocate,
Even performing some crucial editing on the manuscript.
Hemingway got payback for this friendship years later,
By telling the world in A Moveable Feast,
That Zelda convinced Scott he had a small ****--
Yeah, all of it stems from those bumps & bruises,
Scrapes & scratches he got near Schio,
Along the Piave River on July 8, 1918.
Slap on an Italian Silver Medal of Valor—
An ostentatious decoration of dubious Napoleonic lineage—
40,000 of which were liberally dispensed during WWI—
And Ernie was on his way.

Was there ever a more arrogant, world-class scumbag;
A more graceless-under-pressure,
Sorry excuse of a machismo show-horse?
Look: I think Hemingway was a great writer,
But he was a gigantic gasbag,
A self-indulgent *****,
And a mean-spirited bully—
That bogus facade he put on as this writer/slash/bullfighter,
Kilimanjaro, great white hunter,
Big game Bwana,
Sport fishing, hard drinking,
Swinging-****, womanizing,
*** I-******-Ava-Gardner bragging rights—all of it—
Just made him a bigger, poorer excuse for a human being,
When the chips were finally down,
When the truth finally caught up with him,
In the early morning hours,
Of July 2, 1961, in Ketchum, Idaho.
I can’t think of a more pathetic writer’s life than
Hemingway’s last few years.
Sixty electric shock treatments,
And the ******* still killed himself.

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So why am I still mesmerized by,
The whole Hemingway hero thing?
That stoicism, the grace under pressure,
That real men don’t eat quiche,
A la Norman Mailer crap?
I guess I can relate to both Hemingway the Matador,
And Hemingway the Pompous *******,
Not to mention Mailer who stabbed his second of six wives,
And threw his fourth out of a third-floor window.
One thing’s for sure: I’m living life all the way up,
Thanks to a steady supply of medical cannabis,
And some freaky chocolate chip cookies
From the Area 51--Our Products are Out of this World—Bakery
(“In compliance with CA prop 215 SE 420, Section 11362.5,
And 11362.7 of CA H.S.C. Do not drive,
Or operate heavy equipment,
While under the influence.
Keep out of reach of children,
And comedian Aziz Ansari.”)

So getting back to Hemingway,
I return to Cuba to work on my book.
During the day--usually in the early morning hours--
When “the characters drive me up there,”
I climb to my tower room,
Stand up at my typewriter in the upstairs alcove.
I stand up to tell my story because last night,
Everyone got drunk and threw all the ******* furniture in the pool.
By the way, I’m putting together my Nobel Prize acceptance speech.
I can’t decide between:
“I may be defeated but I’ll never be destroyed,” or
“You can destroy me but you’ll never defeat me.”
The kind of artistic doublespeak they love in Sweden.
Maybe: “Night falls and day breaks, but no one gets hurt.”
God help me.
I need to come up with a bunch of real pithy crap soon.
Maybe I’ll just smoke a joint before the speech and,
Start riffing off the cuff about literary good taste:

“In my novel, For Whom the Bell Tolls, for example, I had Maria tell Pilar that the earth moved, but left out the parts about Robert Jordan’s ******* and the tube of Astroglide.”

Stockholm’s only a month away,
So I’m under a lot of pressure.
Where’s Princess Grace under Pressure when I need her?
I used to work for the Kansas City Star,
Working with newspaper people who advocated:
Short sentences.
Short paragraphs.
Active verbs.
Authenticity.
Compression.
Clarity.
Immediacy.
Those were the only rules I ever learned,
For the business of writing,
But my prose tended to be a bit clipped, to wit:
A simple series,
Of simple declarative sentences,
For simpletons.
I’m told my stuff is real popular with Special-Ed kids,
And those ******* that run
The International Imitation Hemingway Competition,
AKA: The Bad Hemingway Contest.
The truth is: I always wanted to get a bit more flowery,
Especially after I found out I got paid by the word.
That’s when the *** and **** proved mighty useful.
        
I live at La Finca Vigia:
My house in San Francisco de Paula,
A Havana suburb.
My other place is in town,
Room #511 at the Hotel Ambos Mundos,
Where on a regular basis I _
(Insert simple declarative Anglo-Saxon expletive)
My guantanmera on a regular basis.
But La Finca’s the real party pad.
Fidel and Che and the rest of the Granma (aka “The Minnow”) crew
Come down from the mountains,
To use my shower and refresh themselves,
On an irregular basis.
At night we drink mojitos, daiquiris or,
The *** & coke some people call Cuba Libre.
We drink the *** and plan strategy,
Make plans for taking out Fulgencio Batista,
And his Mafia cronies,
Using the small arms and hand grenades,
We got from Allen Dulles.

Of course, after the Bay of Pigs debacle,
You had to go, Ernesto.
Kennedy had the CIA stage your suicide,
And that was all she wrote.
And all you wrote.
Never having had a chance,
To tell the 1960s Baby Boomers about class warfare in America.
Poor pathetic Papa Hemingway.
Lenin and Stalin may have ruined Marxism,
But Marx was no dummy.
Not in your book.
Or mine.

from the simple email, to now a pitch-perfect complication
of the internet - no performance poetry found here -
performance meaning singing, meaning cascade of rhymes
to help you memorise sentences and shake your hands
about - ekphrasis (εκφρασις) - performance stand-up
but not stand-out - i'm not complaining, i'm just feeling
the fear and loathing too - or according to M. Schmidt (
no, not Martin Schmitt, the ski-jumper, but then again
the two seem almost indistinguishable when said -
counter e.g. gnome - 'nome and schmi'dt'dt'dt'tt stutter
at the end of words rather than at the beginning before
the dam gates open for the word to flow out from).
besides the point, can you imagine Kant using the phrase
a fortiori in his work that uses only a priori and
a posteriori? i only came across it today - but given
the big *** systematic approaches, you'd find it hard
to squeeze in a fortiori into the complex narrative -
an entire blackboard of mathematical proof concerning
disallowing the end product to be ∞: in philosophy that means
explaining something on a universal basis, the entire human
concern for things said, things done, things owned -
inserting the term a fortiori where once came a priori
would be a disaster for the Kantian narrative, he'd
have to write another critique all on its own to insert that phrase
among a complete systematisation of that phrase -
well the funny thing is, this expression goes in line with that
i observed about left and right, hands eyes whatever -
indefinite a- and the definite -the articles and then an ism -
i sometimes feel funny or at least embarrassed that i keep
repeating this notice from time to time -
but you would expect me to include gravity too,
or how i used to be a flower thief in spring bordering
on winter, plucking the eager flowers in the frost around
the countryside - well, i revived that practice today,
plucked two stalks of lavender (they were pinching my
nose when i walked past with a beer) and something
resembling lavender... google-moment... if only they
created apps that could tell you what flower it is you're
trying to identify, search engine impromptu -
well... it's either a coin-toss between
summersweet (clethra alnifolia) or butterfly bush
(buddleia davidii) - but it could be something else -
cigarette, beer and sniffing lavender, just my kind of night -
i swear to god i once drank a lavender-flavoured beer,
or cider... i can't remember -
but by definition, when i look at philosophy books i feel
they're much too bound to something said earlier
and followed by something to support it -
or in the case of a fortiori the expanded-upon basics,
i.e.: from a / the stronger (thing) - which means
it's a dual-carriage way of saying what you want to say:
from a stronger thing - from the stronger thing -
in real life that's like: what we get from a telescope,
or? what we get from a microscope -
stars aplenty - G-Rex 5571 in the Zodiac constellation,
U80802Z from the constellation of Poseidon -
i mean, flimsy answers - sky's the limit - then
the azure cage hovers over us during the day and
we turn to daydreams packing apples into crates -
telescope: oh airy-fairy, somewhere far far away -
microscope: got that needle and thread with you?
well, whatever we have, we know that our minds are
not build for the omni- affix when affixed to anything,
esp. god. Jews never bothered with it - there are just
as many necessary limitations of a deity as there are
as many unnecessary limitations of our freedoms -
that's how you move away from big ideas and narratives
of a Kant, with his chequers of analytic / synthetic
a priori / a posteriori and concern yourself with
knives (indefinite) and scissors (definite) articulation of
language - hell, we can go down the road much further
and say something about indirect and direct articles -
pronouns are the prime subscribers -
you wouldn't talk to a Jihadi directly as you'd talk about
him indirectly - i shared that curiosity with a local
stranger-mate in a park once walking his dog,
an ex-banker - those boom-bomb boys are being prescribed
the same thing that the Lufftwaffe pilots were prescribed
(pervitin) - but i doubt they got their hands on the pure
medical stuff, they're probably on amphetamines...
oh the R.A.F.? yeah, drunk like skunks.
but just imagine rewriting the Critique with a fortiori
and a infirmiori - disobeying "correct" definition,
as already mentioned the pronouns composed from
articles, as in condensed to indistinguishable parameters -
a fortiori - from something stronger            -
             a infirmiori - from something weaker -
(as already stated, the original definition of
  a fortiori was - from a / the stronger [thing]) -
so the articles disappear and couple themselves to the word
thing (word meaning, no grammatical classification is
really necessary, because if grammatically classified it would
be too obstructive) - but because of this lack of
grammatical classification of the word thing,
we are already associating the definitions via only the
indefinite pronoun - rather than a definite pronoun (i.e. nothing),
it would be pointless to write definitions using a definite
pronoun - well, up to a point, i suppose that
suggesting both a fortiori and a infirmiori to be defined
as: from nothing stronger and / or weaker we can create
a self-mechanistic-propeller, a way of self-overcoming that
in the end arrives as self-knowledge, obviously the
ultimate purpose - and this goes against all solipsistic despair,
as it also goes against making too many comparisons
with others, some who are weaker than us, and some who
are stronger than us - for the stronger will make light
of one set of propositions as the weaker will make light
of another set of propositions to suit their demands -
this can only be seen in light of Kantian-Darwinism,
survival of the fittest and what not -
Kant had in mind something simply said historically in
a condensed sphere of reality, Darwinism kinda did away
with historical realism, soon after the English Renaissance
after the second world war, Darwinism picked up again,
as a way to shut off the murk of the Holocaust -
Elvis did his bit, the Beatles too, but once the imagination
dried up, people decided they wanted to travel back
in time to 10,000 B.C. - and you think artistic expression
will end up a concept prog rock album, or a cute 3 minute
synthesizer song while M.T.V. turns into a 16 year old's
******* of a baby? i'm going keep the acronym, and instead
call it MORAL TELEVISION, or? how to buy a ******
or pull out early - but obviously i'd get a wisecrack comeback
from Juno - see a preacher man anywhere around here?
Kantian algebraic (big words, small people, Belgian waffles
too):                                                    ­              a. / s. after
                                           (event) x.
a. / s. prior
                                     what qualifies?
                                    - historical hindsight -
                                    - the current historical catalyst(s),
        THE BIG BANG... or as i like to call our current history,
an interchange on the words: BIG BANG BLACK HOLE...
BANG A ******* HOLE... get a BIG CLOCK...
******* HOLE... which is what it looks like at night...
two catalysts overall - and boy we're speeding
to Groundhog day - the biggest changes in history were
some celebrity's haircut - that's relative to
what happened when the Treaty of Versailles was signed;
BIG HOLE BLACK BANG (and that's thanks to dark matter) -
but to be honest, if i'm given only these two historical
vectors to work with... i'm not surprised so many
Islamic youths are disfranchised, choosing a third,
Jannah - it seems like a natural thinking process that
will never make it into popular media -
just thinking about it probably warms the heart,
obviously to an extremely violent end -
but this is gone way beyond the heliocentric and
geocentric arguments - because up there, where you
can see the earth where the hell is Copernican East
or Copernican West? it's nice to know that the earth
isn't flat... but that won't help you reaching the Panama
Canal from Portugal... will it?!

Let me climb the intellectual bandwagon of Chamara Sumanapala of the Sunday Nation in Sirilanka, to recognize a world literary fact that Taras Shevchenko was the grandfather of literature that paid wholesome tribute to Ukrainian nationalism. In this juncture it has to  be argued that it is ideological shrewdness that has taken Russia to Crimean province of Ukraine but nothing like justifiable law and constitutionalism. Let it also be my opportune time for paying tribute to Taras Shevchenko, as at the same time I pay my homage to Ukrainian literature which is also a cultural symbol of Ukrainian statehood. Just like most of the European gurus of literature and art of his time, Taras Shevchenko received little formal education. The same way Shakespeare and Pushkin as well as Alexander Sholenystisn happened to receive education that was clearly less than what is received by many children around the world today.
Like Lucanos the Greek writer who wrote the biblical gospel according to saint Luke, Taras Shevchenko was Born to parents who were serfs. Taras himself began his life being a slave. He was 24 years a serf. He spent only one fourth of his relatively short life of 47 years as a free man. The same way Miguel Cervantes and Victor Marie Hugo had substantial part of their lives in prison. Nevertheless, this largely self-educated former serf became the headmaster, the guru and fountain of Ukrainian cultural consciousness through his paradigmatic literature written basically in the indigenous Ukrainian language. He was a prototype in this capacity given that no any other writer had made neither intellectual nor even cultural stretch in this direction by that time.
And thus in current Ukraine of today, Taras Shevchenko is a national hero of literature and collective nationalism. But due to the prevailing political tension between Ukraine and Russia, his Bicentenary on March 9, 2014 was marred by hoi polloi of dishonesty ideology and sludge of degenerative politics. For many us who derive pleasure from literature and diverse literary civilizations we join the community of Ukrainians to remember Taras Shevchenko the exemplary of patriotism, Taras Shevchenko the poet as well cultural symbol of complete state of Ukraine.
There is always some common historical experience among the childhood conditions of great writers.  In the same childhood version as Wright, Fydor, Achebe, Nkrumah, Ousmane and many others, Shevchenko was born on March 9, 1814 in Moryntsi, a small village in Central Ukraine. His parents were serfs and therefore Taras was a serf by birth. At the age of eight, he received some lessons from the local Precentor or person who facilitated worshippers at the Church and was introduced to Ukrainian literature, the same way Malcolm X and Richard Wright learned to read and write while in prison. His childhood was miserable as the family was poor. Hard work and acute poverty ate up the lives of the family, and Tara’s mother died so soon when he was nine. His father remarried and the stepmother treated Taras very badly in a neurotic manner. Two years later, Taras’s father also passed away. Just in the same economic dint poverty ate up Karl Marx until the disease known us typhus killed her wife Jenny Westphelian Marx.
The 19th century Russian Empire was largely feudal, Saint Petersburg being the exception, just like the current Moscow. It was the door and the window to the West. Shevchenko’s timely and lucky break in life came when his erratic landlord left for Saint Petersburg, taking his treasured serf with him. Since, Taras had shown some merit and knack as a painter, his landlord sent him to informally learn painting with a master. It was fashionable and couth for a landlord to have a court painter in those days of Europe. However, sorrow had to build the bridges in that through his teacher, Shevchenko met other famous artists. Impressed by the artistic and literary merit of the young and honesty serf, they decided to raise money to buy his freedom out of serfdom. In 1838, Taras Shevchenko became a free man, a free Ukrainian and Free European.
As it goes the classical Marxist adage; freedom gives birth to creativity. It happened only two years later, Taras Shevchenko’s collection of poetry, Kobzar, was published, giving him instant fame like the Achebean bush fire in the harmattan wind. A kobzar is a Ukrainian string instrument and a bard who plays it is also known as a Kobzar. Taras Shevchenko also enjoyed some literary epiphany by coming to be known as Kobzar after the publication of his collection.
He was dutifully speaking of the plight of his people in his language, not only through music, but even poetry. However,  there were unfair and censuring restrictions in publishing books in Ukrainian. But lucky enough, the book had to be published outside Russia.

Shevchenko continued to write and paint without verve. Showing considerable merit in both. In 1845, he wrote ‘My Testament’ which is perhaps his oeuvre and best known work. In his poem, he begs the reader to bury him in his native Ukraine after he dies. Not in Russia. His immense love for the land of his birth is epitomized in these verses. Later, he wrote another memorable and compelling piece, ‘The Dream’, which expresses his dream of a day when all the serfs are free. When Ukraine will be free from Russia. Sadly, Taras Shevchenko came to his demise just a week before this dream was realized in 1861.
Chamara Sumanapala wrote in the Sirilanka Sunday Nation of 16 march 2014 that, Taras lived a free man until 1847 when he was arrested for being a member of a secret organization, Brotherhood of St Cyril and Methodius. He was imprisoned in Saint Petersburg and later banished as a private with the Russian military to Orenburg garrison. He was not to be allowed to read and paint, but his overseers hardly enforced this edict. After Czar Nicholas II died in 1855, he received a pardon in 1857, but was initially not allowed to return to Saint Petersburg. He was however, allowed to return to his native Ukraine. He returned to Saint Petersburg and died there on March 10, 1861, a day after his 47th birthday. Originally buried there, his remains were brought to Ukraine and buried in Kaniv, in a place now known as Taras Hill. The site became a symbol of Ukrainian nationalism. In 1978, an engineer named Oleksa Hirnyk burned himself in protest to what he called the suppression of Ukrainian history, language and culture by the Soviet authorities.

So you know you’re looking at two very different styles of dress, here. But precisely what decades? When did that waistline move back down? What details are the defining touches of their era? How long were women actually walking around with bustles on their backsides?

Lydia Edwards’s How to Read a Dress is a detailed, practical, and totally beautiful guide to the history of this particular form of clothing from the 16th to the 20th centuries. It tracks the small changes that pile up over time, gradually ******* until your great-grandmother’s closet looks wildly different than your own. As always, fashion makes for a compelling angle on history—paging through you can see the shifting fortunes of women in the Western world as reflected in the way they got dressed every morning.

Of course, it’ll also ensure that the next lackadaisically costumed period piece you watch gives you agita, but all knowledge has a price.

I spoke to Edwards about how exactly we go about resurrecting the history of an item that’s was typically worn until it fell apart and then recycled for scraps; our conversation has been lightly trimmed and edited for clarity.

The title of the book is How to Read a Dress. What do you mean by “reading” a dress?

Basically what I mean is, when you are looking at a dress in an exhibition or a TV show, reading it in terms of working out where the inspirations or where certain design choices come from. Being able to look at it and recognize key elements. Being able to look at the bodice and say, Oh, the shape of that is 1850s, and the design relates to this part of history, and the patterning comes from here. It’s looking at the dress as an object from the top down and being able to recognize different elements—different historical elements, different design elements, different artistic elements. “Read” is probably the best word to use for that kind of approach, if that makes sense.

It must send you around the bend a little bit, watching costume adaptations where they’re a bit slapdash. The one I think of is the Keira Knightley Pride and Prejudice, which I actually really enjoy, but I know that one’s supposed to have all over the place costuming-wise.

Yeah, it does. I mean, I love the BBC Pride and Prejudice one, because they kept very specifically to a particular era. But I can see what they did with the Keira Knightley one—they were trying to keep it 1790s, when the book was written, as opposed to when it was published. But they’ve got a lot of kind of modern influences in there and they’ve got a lot of influences from 30, 40 years previously, which is interesting to an audience and gives an audience I suppose more frames of reference, more areas to think about and look at. So I can see why they did that. But it does make it more difficult if you’re trying to accurately decode a garment. It’s harder when you’ve got lots of different eras going on there, but it makes it beautiful and interesting for an audience.

The guide spans the 16th to the 20th century. Why start with the 16th century?

Well, partly because it’s where my own interest starts, in terms of my research and the areas I’ve looked at. But more importantly in terms of audience interest, we get a lot of TV shows, a lot of films in recent years—things like The Tudors—that type of era seems to be something that people are interested in. That time is very colorful and very interesting to people.

And also because in terms of thinking about the dress as garment, obviously people wore dresses in medieval times, but in terms of it being something that specifically women wore, distinct from men’s clothes, I really think we start to see that more in the 15th, 16th century onwards.

Where do you go to get the historical information to put together a book like this? What do you use as your source material? Because obviously the thing about clothing is that it has to stand up to a lot of wear and tear and a lot of it doesn’t survive.

This is the other thing about the 16th century stuff—there’s so little surviving. That’s why that chapter was a lot shorter and also that’s why I used a lot of artworks rather than surviving garments, just because they don’t exist in their entirety.

But wherever possible, you go to the garments themselves in museum collections. And then if that’s proving to be difficult, you go to artworks or images, but always bearing in mind the artist will have had their own agenda, so they won’t necessarily be accurate of what people were actually wearing. So then you have to go and look up written source material from the time—say, diaries. I like using letters that people have written to each other over the centuries, describing dress and what they were wearing on a daily basis. Novels can be good, as well.

Also the scholarship that has come before, the secondary sources, works by people like Janet Arnold, Aileen Ribeiro. Really well researched scholarly books where people have used primary sources themselves and put their own interpretation on it can be really, really helpful. Although you take some of it with a pinch of salt, and you put your own interpretation on there, as well.

But always to the dress itself wherever possible.

What are some of the challenges you face, or the constraints on our ability to learn about the history of fashion?

Well, the very practical issue of trying to see garments—some of them I did see here in Australia, but a lot of them were in the States, in Canada, in New Zealand, so it’s hard to physically get there to see them. And often, even when you can get to the museum, garments are out on loan to other exhibitions or other museums. That’s a practical consideration.

But also, especially when I’m talking about using artworks and things, which can be really helpful when you’re researching, but as I’ve said they do come from a place where there’s more interpretations and more agendas. So if someone’s done a portrait and there’s a beautiful 1880s dress in it, that could have been down to the whims of the person who was wearing it, or the artist could have changed significantly the color or style to suit his own taste. Then you have to do extra research on top of that, to make sure that what you are seeing is representative.

It’s a fascinating area. There’s a lot of challenges, but for me, that’s what makes it really exciting as well. But it’s really that question of being able to trust sources and knowing what to use and what not to use in order to make things clear for the audience.

Obviously many of these dresses were very expensive and took a lot of labor and it wasn’t fast fashion—people didn’t just give it away or toss it when it fell out of season. A lot of times, you did was you remade it. When you’re looking at a dress that’s been remade, how do you extract the information that you need as a historian out of it?

I love it when something like that comes up. I’ve got a couple of examples in the book.

Well, it can be quite challenging, because often when you’re first looking at a piece it’s not obvious that it’s been remade. But if you’re lucky enough to look inside it and actually hold it and turn it round different angles, there’ll be things like the placement of a seam, or you’ll see that the waist has been moved up or down according to the fashion. And that’s often obvious when you’re looking inside. You can see the way the skirt’s been attached. Often you can tell if a skirt’s been taken off and then reattached using different pleats, different gatherings; that can give you a hint that it’s then been remade to fit in with a different fashionable ideal.

One of the key ways is fabric. You can often see, especially in early 19th century dresses when they’ve been made of these beautiful 18th century silks and brocades. That’s nice because it’s the first obvious clue that something’s been remade or that an old dress has been completely taken apart and it’s just the fabric that’s been used. I find it particularly interesting when the waist has been moved or the seams have been taken off or re-sewn in a different shape or something like that. It can be subtle but once your knowledge base grows, that’s one of the most fascinating areas that you can look at.

You page through the book and you watch these trends unfold and there are occasional sea changes will happen fairly quickly, like when the Regency style arises. But how much change year-to-year would a woman have seen? How long would it take, just as a woman getting dressed in the morning, to see styles just radically alter? Would you even notice?

Well, this is the thing—I think it’s very easy, when we’re looking back, to imagine that in 1810 you’d be wearing this dress and then all the frills and the frouf would have started to come in the late 1810s and the 1820s, and suddenly you would have had a whole new wardrobe. But obviously, unless you were the very wealthiest women and you had access to dressmakers who had the absolute newest patterns and newest fabrics then no, you wouldn’t have seen a massive change. You wouldn’t have afforded to be able to have the newest things as they came in. You would have maybe remade dresses to make them maybe slightly more in line with a fashion plate that you might have seen, but you wouldn’t have had access to new information and new fashion plates as soon as they came. To be realistic, there would have been very little change on a day to day level.

But I think also, for us now—it’s hard to see it without hindsight, but we feel like we’re fairly fluid in wearing the same kind of styles, but obviously when we look back in 20 years, we’ll look at pictures of us and see greater changes than we’re now aware. Because it happens on a slow pace and it happens on such a subconscious level in some ways.

But actually, yeah, it’s to do with economics, it’s to do with availability. People living in towns where they couldn’t easily get to cities—if you were living in a country town a hundred miles away from London, there’s no way that you would have the resources to see the most recent fashion plates, the most recent ideas that were developing in high society. So it was a very slow process in reality.

If you have a lot of money you can change out your wardrobe quicker and wear the latest styles. And so the wealthiest people, their clothes were what in a lot of case stood the best chance of surviving and being in modern collections. So how do we know what working women would have worn or what middle class women would have worn?

Yeah, this is hard. I do have some more middle class examples, because we’re lucky in that we do have quite a few that have survived, especially in smaller museums and historical collections, where people have had clothes sitting in their attics for years and have donated them, just from normal families over the years.

But, working women, that’s much more difficult. We’re lucky from the 19th century because we have photographic evidence. But really a lot of it will come down to written descriptions, mainly letters, diaries, not necessarily that the people themselves would have kept, but there’s examples of people that worked in cotton mills, for instance, and people that ran the mills and their families and wives and friends who had written accounts of what the women there were wearing. Also newspaper accounts, particularly of people who would go and do charity work and help the poor. They often wrote quite detailed descriptions of the people that they were helping.

But in terms of actual garments, yeah, it’s very difficult. Certainly 18th century and before, it’s really, really hard to get hold of anything that gives you a really good idea of what they wore. But in the 18th century—it’s quite interesting, because then we get examples of separate pieces of clothing worn by the upper classes, like a skirt with a jacket, which was actually a lower middle class style initially and then it became appropriated by the upper classes. And then it became much fancier and trimmed and made in silks and things. So then, we can see the inspiration of the working classes on the upper classes. That’s another way of looking at it, although of course that’s much more problematic.

It’s interesting how in several cases you can see broader historical context, or other stories happening through clothes. Like you point out that the rise of the one-piece dresses is due to the rise of mantua makers, who were women who were less formally trained who were suddenly making clothing. Are there any other interesting stories like that, that you noticed and thought were really fascinating?

There’s a dress in the book that a woman made for her wedding. I think she was living on her own, or she was living with a servant and her mother or something. She made the dress and then turned up to her wedding and traveled quite a long way to get there, and when she arrived, the groom and all the guests weren’t there. There was nobody. So she went away and came back again a week later, and everyone was there. And the reason that no one was there before was that a river had flooded in the direction that they were all coming from. She had obviously no way of finding out about this until after the fact, and we have this beautiful dress that she spent ages making and had obviously gone to a lot of effort to try and work out what the latest styles were, to incorporate it into her wedding dress.

Things like that, I find really interesting, because they talk so much about human and social history as well as fashion history, and the garment is the main way we have of keeping these stories alive and remembering them and looking into the kind of life and world these people lived, who made these garments.

Over the centuries, how does technology affect fashion? Obviously, we think of the industrial revolution as really speeding up the pace of fashion. But are there other moments in the history of fashion where technology shapes what women end up wearing?

One example is where I talk about the Balenciaga dress from the early 1950s—with a bubble hem and a hat and she would have worn these beautiful pump shoes with it—with the introduction of the zipper. Which just made such a huge difference, because it suddenly meant you’d have ease and speed of dressing. It meant that you didn’t have to worry about more complicated ways of fastening a garment. I think the zipper made a massive change and also in terms of dressmaking at home, it was a really quick and simple way that people had of being able to create quite fashionable styles on a budget and with ease and speed at home.

Also, of course, once women’s dress started to become simpler and they did away with the corset and underwear became a lot less complicated, that made dressing a lot easier, that made the introduction of the bias cut and things that sit very closely to the natural body much more widely used and much more fashionable.

I would say the introduction of machine-made lace as well, particularly from the late 19th, early 20th century onwards where it was so fashionable on summer dresses and wedding dresses. It just meant that you could so much more easily add this decadent touch to a garment, because lace would have been so much more expensive before then and so time-consuming to make. I think that made a huge difference in ordinary women being able to attain a kind of luxury in their everyday dress.

That actually makes me think of something else I wanted to ask you, which is you point out in your intro the way we casually use this word “vintage.” I think about that with lace. Lace is described as being a “vintage” touch but it’s very much this question of when, where, who, why—it’s a funny term when you think about it, the way we use it so casually to describe so much.

Oh, yes. It’s crazy. I used to work in a wedding dress shop and I used to make historically inspired wedding dresses and things. And brides used to come in and say, “Oh, I want something vintage.” But they didn’t really know what they meant. Usually what they meant is they wanted something with a bit of lace on it, or with some sort of pearls or beading. I think it’s really inspired by whatever is trending at the time. So, you know, Downton Abbey became vintage. I think ‘50s has always been kind of synonymous with the word vintage. But what it means is huge,

If only I was a crayon drawing
Where each smiling face looks the same
Where stick figures and three fingered hands
illicit the smiles of adults and adoration
of how beautiful the picture is
of how artistic the drawer is
Despite the fact that the people are purple
and everyone has a beautiful smile.

If only I was a crayon drawing.
With the sun always shining,
though I hover off of the blob of green grass
Though I am taller than the house beside me
At least I am happy
At least people tell me I look beautiful
though I am a blue colored person
and have no feet or hands.
At least the sun is always shining
at least I am happy.

If only I was a crayon drawing.
With no need to worry about how I look.
With my family in a line beside me,
clumsy names written above us, barely readable.
But then I would be tacked to a bulletin board.
Then i would be fawned over, Oh how sweet.
See, look at the smiles on their faces! Look how
happy they are! How cute, how adorable.
See how artistic, how true to life. See the smiles?

If only I was a crayon drawing,
I could never grow up.

Most find the crash to be a nuisance
Not me.
I find an unusual serenity in the calamity.
An undeniable calm in the chaos.

As for the flash
Well it adds a little mystery
To the life I live full of misery.

Rain runs down windows
Replicating the tears down my face.
Reminding me I'm not alone
In this desolate place.

Thunderstorms are therapy
Designed to drown out our thoughts
And provide inspiration
For artistic creations

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

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

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

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

Star endorsements

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

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

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

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

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

Loving his haters

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

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

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

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

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

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

Clear leader

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

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

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

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

Obsessed with Gucci

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

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

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

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

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

'Beautiful spirit'

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

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

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

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

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

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

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

Reaching new population

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

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

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

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

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

Clothes key to revenue

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

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

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

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

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

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

You are somewhere but you're hidden there;
You are with me in my every step.
I cannot see you yet I feel;
I cannot sense you yet I hear.

You are the shade no-one can catch;
You are the force they cannot make.
You are behind their pale shadows;
The one they're too tired to know.

You are in every flavour t'at I taste;
You live in every drop t'at I drink.
You breathe in every move I make;
You stay with me and ne'er fall apart.

You are the leaf of my autumn shade;
The emeralds of my summer gem.
The orchids of my cold jade stones;
The tulips of my skin and bones.

You are for whom I feel feeble;
You are for whom I have felt hurt.
You are for whom I endure pains;
You are for whom I hate.

But in your presence t'ere's no hate;
For with you there, then love is just love;
Love and hate are like dust and water;
They are separate, and not to be together;

And in your presence t'ere's no fear;
For tears turn into sweet poems t'at I hear;
And t'ose bleak midnight dreams shalt end;
Whenst in your arms, my very best friend.

And you are told once more and again;
By my untouched love and laughters;
From my untold hands and right words;
From the eyes of insane poetry.

And you are there, all over again;
You make things right whenst they do not;
You are in the cold tales I make;
You saw my first love bloom and grow.

You are in my words and prayers;
In the dreams t'at live forever.
You are the strength t'at makes me write;
You are in me all through the day and night.

You are my blood and my sacrifice;
You are my truth, honesty, and lies;
You are my moon, stars, and my hectic skies;
Your soul is mine and shalt ne'er die.

You are the hate and filth t'at I say;
The happiness t'at comes in my way;
You are on my mind night and day;
You are my poem in April and May.

You are my eggplant and cherry tree;
My green lime and sweet strawberry.
My purple lavender and rose;
My morning dew and midnight gloss.

You are the green moors I walk on;
The curved path I always stride on.
That my heart beats when I am beside you;
With a love genuine and passion so true.

You are the sun by my clouded grass;
The light t'at soften hearts' anger;
The love behind one's gritted teeth;
The truth behind deformed false mirth.

You are my ginkgo tree and peach;
The shine among the filth and foul.
My savour sea and fragrant beach;
Cure for the darkness of my soul.

You are my summer and fall tales;
My exact said and written words.
The blood and flesh of my red cells;
The light and promise of my worlds.

You are in my skin and my mind;
You need just love to make me blind.
You are in my ears and my hair;
I feel your presence everywhere.

You are the miracles that I see;
The poetry God carries with me.
The dramas I sing of and write;
The true love that makes things sound right.

You are the one lie that sounds true;
The ******* ****** heart desires.
The essence of my breath and *******;
The frank lust of mine in the West.

You are the thirst my heart falls for;
You are the rain that soaks it wet.
You are the fertile grass it grows;
The autumnal tears that it sheds.

You are the kite that soars up high;
And I shalt be your protective shield.
And whenst you fall with your knee wounded,
My poem's the very drop that makes it heal.

And it speaks of you with sanity;
And misses you with high verity.
And with such warmth t'at is still mine;
It longs to keep you in the heart and mind.

It's thus the immortal in you;
T'at makes it sees with clarity.
T'at it loves you eternally;
T'at it seeks you again and again.

T'at it wants you all over again;
T'at it wants you for no clean reason.
T'at it wants you now and once more;
T'at it wants you like never before.

T'at it loves you like it loves itself;
T'at it loves you with no falsehood.
T'at it loves you like it loves life;
T'at it loves you and shall die for you.

Ah, Immortal, whatfore art thou doing t'is dark afternoon?
My heart is alone in abrupt silence;
And it wants to disturb thee again;
It wants to run after and play with you.

Ah, Immortal, but doth thou tread some-times, on our fav'rite green path?
The one smelling like musk and red berries;
The one thou took to the most;
On which thou called me whenst thou got lost.

Ah, Immortal, and I ran fast like a blind nymphet;
For I was afraid of finding thee not;
Ah, I was in a ruffle skirt and with my poetry book;
Thou said I's pretty after one brief look.

Ah, Immortal, and we crafted one dusk ode together;
And t'at dusk grew more beautiful altogether;
With a soul as handsome as thine by my side;
Brightened by the streets' thrilling fluorescent light.

Ah, Immortal, and so I've written another ode today;
T'at maketh me remember everything without delay;
All joy t'at we had t'at night, on t'at lil' path;
A portrait of once live, but now vanished worlds.

Ah, Immortal, and such an ode maketh me smile again;
It feels like thou art here, my lover and best friend;
And the only lover I shalt ever run for;
The only man for whom my heart beats fast.

Ah, Immortal, and nothing is sweeter t'an t'is green ode;
A piece of innocent poem t'at thou shalt like;
Just like the ones thou always read;
By my side, with thy head laid by my orange lap.

Ah, Immortal, and nothing is more honest than my own poems;
For it thinks absurd not, of what is absurd;
Like t'is immortal passion it feels for thee;
Ah, for thy soul t'at too is immortal.

Ah, Immortal, but now that I've written this poem;
I shalt retreat to a peaceful rest;
I've laid about what's within my chest;
I'm ready for a sleep's endless virtual doom.

Ah, Immortal, and you wilt say in my oblivion;
T'at I have reached my destination;
The very place where there's no thee;
The desolate ice with thee gone.

Ah, Immortal, and you wilt sit in my unconscience;
Keep me asleep in my confusion;
T'at I escape, and escape not from my guilt;
T'is endless guilt of loving thee.

Ah, Immortal, to whom I still love, and love again;
Whom t'is very heart still adores;
For whom my prayers still breathe;
And for whom my tears still flow.

Ah, Immortal, and you wilt dream in my limbo;
Of a dream t'at leaves me conscious;
T'at there's no more love between I and thou;
A love t'at once made our hearts luminous.

Ah, Immortal, and you wilt rock me back and forth;
'Till I but wake again to this world;
And the horrid sands of Yorkshire;
Where I smellest none but dire loneliness.

Ah, Immortal, but dream of me—make me unaware;
And let t'is love for thee step forward;
Sending me back my triumph;
Shoving me up with virility.

Ah, Immortal, let such a bashful moon distract me;
But turn me not about my long sleep;
And with its horns slaughter my love;
That I shalt wake up loved and unloved.

Ah, Immortal, let the grim grimace slander me;
Let t'is love for thee hinder me;
But ****** not my love for thee;
And the longing for thee to be by my side.

Ah, Immortal, and stay with me but in my words;
T'at I am able to tackle the worlds;
To **** its failed virtues and vice;
Its cruel pride and fatal conventions;

Ah, Immortal, thou canst feed me through my bare poems;
And attend more of my illusions;
Take to my imaginations;
Breathe through the words and circles I draw.

Ah, Immortal, thou canst witness my weird footsteps;
Sleep on my imaginary lap,
And leave thy heart to me by one side,
T'at I canst but rub and play with it again.

Ah, Immortal, and thou canst leave to me your heartbeat;
And I wilt adorn it with warm heat;
That like you are, it shalt stay immortal;
Like a love poem I'll craft in fall.

Ah, Immortal, and thou canst leave me thy love to me;
T'at I shalt kiss and cheer it every day;
For it has more than what I have to say;
For it speaks to me with proud sanctity.

Ah, Immortal, and thou canst leave thy hours to me;
T'at I canst write you a good poem;
A poem t'at breathes through thy chest and hands;
T'at thou canst feel my presence again.

Ah, Immortal, and thou outta' leave thy blood to me;
T'at I canst shield, I canst protect it;
T'at I shalt act like its owner,
With a thousand smiles and promises.

Ah, Immortal, and thou canst leave thy flesh to me;
T'at I canst heal and empower it;
T'at I canst cast spells on its wounds;
T'at it shan't dwell rott'n forever.

Ah, Immortal, and thou canst leave thy doom to me;
T'at I can retrieve your old laugh;
Although I'm young and I am not her;
I'll love you again and again, more than ever.

Ah, Immortal, and thou canst be mortal to me;
But I shalt still call you my immortal;
Like I once did when we were young;
With the blossoms of love in our hearts.

Ah, Immortal, and thou wilt see my promise is true;
I'll shed my blood and flesh for you;
From such shalt flow fresh spring water;
T'at shalt heal thy cracked wounds and lungs.

Ah, Immortal, and thou wilt see my love's not a lie;
For if thou rot, then I too shalt die;
For my gripped breath too shalt be broken;
For my vain heart too shalt die hurt.

Ah, Immortal, and thou wilt see thou art my heartbeat;
Thou art part of me and my wit;
For t'ere's no poem but one about you;
For t'ere's no dream but of our first love.

Ah, Immortal, and thou wilt see thou art my thousand skies;
For t'ere's no love but by your side;
And no words written but for thee;
Thou art the voice of my clarity.

Ah, Immortal, and thou wilt see thou art my life;
Thou art inside me as thou wished;
Thou art a breath t'at withers not;
Thou art a thought t'at leaves me not.

Ah, Immortal, and thou wilt see I shalt not wander;
My love for thee is clear and again;
And one intact, and whole, and untorn;
And one civil, and pure, and unburnt;
Thou art my light, my cold fire and warm ice.

Ah, Immortal, and thou wilt see t'at my love is chaste;
For whenst betrayed, it betrays not;
For it cuts not our story short;
For it stays with thee still, in blood and flesh;
For it thinks of you yet, in its wake and rest.

Ah, Immortal, and thou wilt see my love is genuine;
For it shoulders guilt on its own;
A guilt t'at comes from loving thee;
For loving you is what makes it live.

Ah, Immortal, and thou wilt see my love lives forever;
For thy remembrance gives it breath;
And thy memory frays its hate;
You are the love t'at's ne'er too late.

Ah, Immortal, and thou wilt see thou'rt my perfection;
Thou attend my poetic arts and visions;
Thou art the precision it makes;
The decision it firms hard life on.

Ah, Immortal, and it screams for you by its walls;
And calls your name again and again;
T'at it keeps you in a heartbeat;
T'at it shalt seek you in its every sense.

Ah, Immortal, and thou wilt see my love is not hate;
For it knows not what hate is itself;
Like it knows not hatred on its own;
For it knows only bland virtues.

Ah, Immortal, so thou wilt see my passion is true;
T'at this etched love is not a disease;
T'at my love shalt hatch again and again;
Give birth to frank newborn poems and thoughts.

Ah, Immortal, and so being alone tortures me;
It renders me dead and my sanity;
Like an empty chair in its solitude;
I sing to myself, and no Eolian lute;

Ah, Immortal, and thou wilt see by my virile sense;
T'at I longeth for thee again and again;
T'at thou'rt the thought I verily ponder;
T'at thou'rt the only love I embrace.

Ah, Immortal, and I'll embrace thee again and again;
No matter how long, nor how many times;
My insane guilt is in loving thee not;
And knowing not how to tell of thy love.

Ah, Immortal, so I shalt proceed but to love thee;
And keep thee alive in my heart and mind;
And keep thee breathing in my story;
A story t'at, I hope, comes back alive one day.

Ah, Immortal, and thou see my nonsense is true;
Though full of holes and discolours;
Telling words is to me obligatory;
For it keeps my love in order.

Ah, Immortal, and t'ese diffused hues are but thine;
Just like my whole journal of tales;
T'at I shalt recall with virtues;
Because 'tis t'ere—t'at promise of mine.

Ah, Immortal, so thou'rt my artistic vision;
My endemic paints and phrases;
My arts' reposes and relapses;
My chanted spells all over the place.

Ah, Immortal, I craft thy poems with precision;
T'at all is unique in their nature and order;
T'at it preserves love and enigmas;
And so it preserves for you, just what you love.

Ah, Immortal, and I tell my tales with perfection;
T'at thou become my whole saturations;
Thou owneth the major gold'n utopias;
And preserve still, t'ese hovering dystopias!

Ah, Immortal, and I've seen in thee such myopic senses,
T'at what is iconic seems atomic,
T'at what is static seems dynamic,
Ah, but all seem such—in thee!

Ah, Immortal, I've too seen in thee such pictures;
Pictorial and ethereal in such a sense;
But malevolently, and fervently true;
Ah, Immortal, thou art my powerful hero!

Ah, Immortal, thou art the magic of my art;
The very clay of earth I step on;
The very suit of life I wear on;
The immortal mind among those mortal!

Ah, Immortal, thou art the soil of my being;
The very breath that I leave awake;
The primary cause I think of;
My multitude of secret reasons!

Ah, Immortal, and I want but' make thee—make thee mine;
We canst drink together and feast;
On t'is love and artistic gleams;
Of  joyed literary and poetic pleasures!

Ah, Immortal, and our young souls shall ne'er decay;
We hath more than t'is world shall say;
We own even more in our poetry;
We own every part of immortality!

Aye, Immortal, and thou wilt see my virtues are true;
I lied not to thee and about our love;
For our love is what art canst portray;
Whilst art itself is my pal and friend!

Aye, Immortal, and thou wilt witness my plain truth;
For t'ere's no mirrored truth than thine;
And even the truth of wan reality;
The reality of joy, tears, and gloom.

Aye, Immortal, and thus thou wilt admit 'tis mine;
Thy very heart and eternal conscience;
Thy cordial mind and vast concerns;
Aye, such are all—all mine, my darling dear!

Aye, Immortal, and thus thou wilt confess such's mine;
Thy very mind and ordinary senses;
And too thy literary and recreational thoughts;
Ah, and thy visions too are mine, my gorgeous dear!

Aye, Immortal, so such is a tale of my love;
T'at brews and boils just because of thee;
T'at loves and hates within thy spheres;
T'at cries and mourns whenst thou art gone!

Aye, Immortal, and thou hath seen what true love's like;
Just like the one I hath for thee;
And I want thee more like I want autumn;
I adore thee more like I do winter!

Aye, Immortal, how canst I find true love then;
Whenst all is blurry and clear not;
With thee gone and my poetry cut short;
I shalt but dream not of marriage!

Aye, Immortal, for such wedded bliss is with thine;
The king of my heart, *******, and mind;
The fairytale I read again and again;
The one old song I keep'n singing thru!

Aye, Immortal, and I longeth for thee just like t'at;
My love hides behind every labyrinth;
Where'n t'ere are green and red and gray clouds;
Where'n poetry is recited out loud!

Ah, Immortal, and thou'th seen t'ere's no-one but thou;
Thou'rt the simplistic art I seek;
The one I'm with whenst strong and weak;
The dream I hath, every day of the week!

Ah, Immortal, and so t'is naughty ode is genuine;
For 'tis mere' thy heart it longeth to win;
T'at it ever boasts proudly of;
T'at it ever wants to get, and again!

Ah, Immortal, and so t'ere's no heart but t'at' thine;
To be entwined with t'at of mine;
To be accounted down the line;
The one I speak of, and I hide behind!

Ah, Immortal, and thus t'ese phrases are but true;
For t'ere's no hero nor villain like you;
Who knows much 'bout truth and untruth;
Who sang perfectly 'bout our own youth.

Ah, Immortal, and thus t'is pleasure is all thine;
Physical and mental and of all designs;
For thou owneth my whole love labyrinth;
And all the tasty scents in its maze.

Ah, Immortal, and thus all t'is poetry is thine;
Just like my severed soul and breath;
For without thee, all t'ese dreams are but of death;
A dream of grief, t'at I shan't find rest;

And Immortal, thus t'is longing is thine;
For thou only canst amend such dreams;
And brings to it candlelight rainbows;
Just like the promise of my true love.

Ah, Immortal, and thou shalt see my plain love is true;
For it fails just anyone but you;
And thus I want thee here with me;
I want thee still, like ever before.

Painters, by the highest degree of inspiration,
And poets who with the Muse commune,
Command in their respective trades un-
Common craftmanship, exquisite creation
Of pen and brush upon the parchment
And canvass, through unfettered figment.

Gifted: poets, painters and musicians. Three
Geniuses on this terrestrial plane, with mind
As efficient as the moon in its fullest grind,
As do all artistic souls whose mastery
In finest workmanship are seen. Worship
The God of arts ye astronauts in spaceship,

For poets and painters are cardinal in artistic
Enrolment--and no less endowed are many another
Like sculptors--with thoughts solitary and cryptic.

the caffeine is crucial
for this day-time creature,
the low-lit room an optional feature
for my attempted artistic-flair
paint brushes discarded on the floor
i took up drawing, graphite stained hands
and red eyes in the light of morning's sun
through the cracked window
of my old apartment-turned-studio
it was that morning i realized
the faces on paper would never
come to life
or serve a greater purpose than
good looks and candy-to-the-eye
it was that moment, i realized,
there was much more than re-creation
remixing and redoing
redundant copies of someone else's idea
and in that moment, when i realized,
talent is subjective and in the general eyes
of the artistic world, i was **** on the side
of the street where van gogh and picasso
strutted their dead-man's artistic *****.
and now i know that there's got to be something
more than staying up all night drawing from a
photograph a classmate gave to my sight
and earning ten dollars for every hour spent
dragging pencils across leaf-thin skeletons of
plants that could have grown to serve better.
and now i know i was made for something more
than sitting on my **** cold bedroom floor
and replicating the eyes of a sixteen-year-old
spanish self portrait photographer.
in the western world, the people want me as
an artist making prints of their faces and loved ones
but for the rest? my hands are needed to build homes
for those who have not had the privilege of holding a
pencil or seeing their faces on a mere piece of paper.

Dali's brush, she has
in her expressive tongue;
his cubist sensibility,
laps up that dense macabre
as if it's cadence par excellence.

Before the birds and the bees the sun and the moon
without stars in the sky nor the land nor the dune

Not a sea not a plant not a tree not an ant
there was not a wildebeest nor an elephant

Just one small room
was the Craftsman's dark tomb

He toiled unstoppably without night nor day
in the blackened room he was bound to stay

for eternity the Craftsman seemed doomed
to continuum to be stuck in the loom

Blindly toiling in the binding shadow
with black tools viciously hallow

hammers and nails mud clay ashen bricks
marble chisel mortar pestle tricks

Monotony sparked the craftsman's lost temper
the wall became canvas for angry distemper

His artistic equipment brushed the prison walls
hour upon hour O' mighty hammer falls

He hammered until it whittled away
his fists were red raw like the break of day

The Craftsman was caked in saddened rough sweat
dejection on brow heavy did get

The Craftsman let his head fall low
out of the wall did a light show

A peephole smaller than a rat's tail
was broken wide in the prison cell

Wondrously untamed the light spilled
rolling and soaking all was filled

With light's glory the Craftsman could not see
another blindness that harsh bright brought be

His tools and materials all were a beautiful gleam
the Craftsman pleasantly content with the scene

Slowly but surely the room was filled
and then his neck almost needed t'be gilled

Lacking a need and bound to drown
he singularly thought his problem profound

The Craftsman deftly picked up his tools
and set to building collective pools

To contain flowing light
he took all his might

and built wholly right
a fountain delight

Artistic wonders into his structure
of beast and nature all perfect sculpture

Of timber and clay of marble and grass
he worked until the fountain's completion at last

In the Craftsman's abode was the most beautiful fountain
which all of the light was collectively bound in

Little black Leeches began squeezing through
at first it was only one Leech or two

The Craftsman was able to squish them all out
but even he grew tired bout after bout

They began to stick to his precious creation
Leeches worthy of the vilest waste-bin

The evil pulled petals off of wooden flowers
and the nose off of many clay tigers sin powers

Duly distraught for days he sat
tormented watching his statue crumble flat

Under the weight he watched stone clueless
wondering who endeavored to do this

Disregarding he set to his one task
deep within his mind he firmly did ask

He built a statuette and endowed it with life
by breathily bestowing will to battle strong strife

Using only dirt that had flowed into home
he crafted brains limbs and torso and left them alone

The Craftsman thought and pulled out a rib
and crafted the partner the woman most glib

The Craftsman sat back and watched ambition grow
the seeds thrived and they the **

They fought and they loved they created and destroyed
they lived and they died but survived all the void

The combat with Leeches
embattled stony beaches

Watching the battle
he saw no major rattle

When the Craftsman realized he was needed no longer
he built a chair for himself and sat down to ponder

Years and years more was the Craftsman
stoically sitting watching his creations gain traction

They leaped and progressed
with clothes or undressed

Intervening no more
they handled their score

His beard grew longer and longer and his eyes drooped lower and lower
until finally the Craftsman's heart beat slower and slower

comatose he waited ever in slumber
for his creations to need him to save any blunder

Ever hoping it never was necessary
life flowed around purposefully predatory

He watched their lineage improve naturally and viciously
and off they went history to history
the future was as it will be just a mystery

Graceful curve of the flower enriched with mystery
melting away any bubbling misery
walking towards the beauty.

(I'm looking to pull this special flower today.)

Wait shall I praise the wonderous bloom
with fragrant colors infused within me soon
something to admire on a daily
choosing between multiple types that look equally lovely.

(I just want to love you.)

The vanilla scent which never fades
you rose from a bed of vibrant shades
to hold and caress -
in your walk stems artistic introduction
keep me within your symmetrical seduction

And in your radiance glimmers across the horizon and seas
its in your nature to please while you tease -
but i cant lie, your approach continues with ease.
to compare your style with nature only makes sense.
how lucky can one be to build a connection that's so intense!

*I pluck the fascinating petals of an orchid.

Integrity The quality of being honest and having strong moral principles; moral uprightness.

[Integrity] is a personal choice, an uncompromising and predictably consistent commitment to honor moral, ethical, spiritual and artistic values and principles.[1]
In ethics, integrity is regarded by many people as the honesty and truthfulness or accuracy of one's actions. Integrity can stand in opposition to hypocrisy,[2] in that judging with the standards of integrity involves regarding internal consistency as a virtue, and suggests that parties holding within themselves apparently conflicting values should account for the discrepancy or alter their beliefs.

Washingtonians, this Wednesday afternoon, come to the Starbucks on 1600 K Street to become acquainted with some young, interesting, average income level Asian American guys and gals. Instead of meeting Asian American doctors, lawyers, and consultants, you’ll meet Dr. Dre copycats, alcoholic paralegals, and T-Mobile wireless salespeople.

These guys and gals are looking to meet new friends that include: white, black, Hispanic, or any other race of people, just as long as you aren’t a F.O.B. Because after all, they don’t want to perpetuate the stereotype that Asians only hang out with other Asians. Just kidding, we love our F.O.B brothers and sisters! But **** stereotypes.

If you are a Washingtonian who likes drinking alcohol and smoking marijuana, stop by and make a new Asian American friend who will provide mixers and match you on a blunt. Please, do not ask these guys and gals for college study notes for Math or Bio, because all of them have dropped out of college to pursue their artistic passions, like: writing a novel about having a white group of friends and being the token who reads Tolkien and likes Toking; playing electric guitar in a grunge, punk, post-emo garage band with your black buddies who like Fugazi and bad brains but ******* hate Green day for selling out; and drawing sketches and painting portraits of the half-Asian girl you’re dating on a wide canvass, but really you’re secretly into selfies and taking photos of breakfast on Instagram.

We don’t discriminate against the kind of alcohol you drink, whether it be wine, beer, or liquor—within reason please don’t bring Franzia or Rolling rock, this isn’t college anymore. Yes, we get it, you’re highly considering attending this group because you’re a huge Haruki Murakami fan and you’re wondering two questions: are our Japanese American patrons also huge fans of the author, and do our patrons behave in a similar fashion to Murakami’s characters like Toru Watanabe and Toru Okada?

First, our Japanese American patrons are huge fans of Murakami and they own books like Sputnik Sweetheart and The Windup Bird Chronicle, but they also think the author often is obsessed with Western culture, in a way that possibly, and seriously possibly transforms him into a Brett Easton Ellis derivative based on Ellis’s American ****** and Glamorama.

Second, no these particular patrons do not behave like Murakami’s characters, because they’re real, living, breathing human beings, and not some fantasy figure or made-up person! But enough of the rant, please come though and let’s have conversations about jazz and talking cats.

While we respect Asian American actors like Ken Jeong and Randall Park, we really aren’t interested in having a lengthy dialogue about The Hangover’s Asian **** scene, or how Park was kinda offensively funny in The Interview. Although Park is awesome in Fresh Off The boat! All we really want is to just drink jack and cokes and smoke Marlboro lights and have conversations about the latest trends in indie rock and Hip Hop culture, and whether Citizen Kane was better than Casablanca, or vice versa.

At the meeting, we will have our guest speaker Jeremy Lin’s college roommate George Park answer questions about Lin, as well as a special appearance by Steve Yuen’s ex-girlfriend Marcy Abernathy who will give us an inside scoop to Yuen’s fetishes as well as his quirky habits. We will also be providing free snacks like LSD Pho noodle soup and Marijuana Mochi ice-cream. On a serious note, we’ll be giving out guilt-free Twinkies.

Before you arrive at the Starbucks, you’ll be getting a name tag and a free A.A.A T-shirt that wasn’t made by little children from China; instead, the shirts are made by Ronald Mai, our aspiring fashion designer whose twitter handle is @thatsmyshirtwhiteman! If you’re interested in coming out to the group our first meeting is this Wednesday at 6 p.m.

Leave your apprehension at the door and walk in with a warm smile, as you’re greeted by an expressionless face. And phoreal if your car is messed up and you require a ride, please call A.A.A’s number at (202) 576-2AAA (we know we’re phunny). Hope to see you there, and if you don’t come, you’re a ******* racist! But seriously come out and meet some cool *** people.

I'm born
Airborne
Forlorn
In war torn
Discord
My ripcord
I pull for liberation
Alienation aviation
Away from a station
Of no relation
Where their elation
Lies in degeneration

The fright fair
Nightmare
In sight there
Is a right scare
But light flares
From an illuminated theater
I dive into art
To fill my meter

I consume
Darkened tomb
Screen in room
Is where I loom
Inspiration blooms
From a sense of doom
My separation reparation
That will lead to veneration

My artistic fervor
Drifted further
Drifter's murmurs
Lifted learners
But gifted murderers
Shifted girders
Of shame and honesty
To my grave of modesty
Where they prey upon me

This plagiarism
Layered schism
Cratered rhythm
Of great decisions
Now I make incisions
With repetition
And the definition
Of words stolen from me
They're all I can see
And I can't get free
Or just let it be

Consumption disruption
At this junction
I can't function
A plagiarist
****** mist
Grips my fist
Makes me wish
I don't exist
I must resist
Before I miss
My chance at bliss

They're ****** me
By aping me
Making me
Shaking trees
Of bumblebees
With rumble pleas
On humble knees
Drinking antifreeze

Nobody cares
What's fair
They bear
And share
Blank stares
Up stairs
Of artistic compromise
Integrity lost in lies
They're not that wise
I hypothesize

My baby
Caught rabies
From Hades
Now ladies
Flock to a thief
Giving me grief
Beyond belief
In my coral reef
Sword in sheath
I drown discreet