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Nigel Morgan Oct 2012
There was a moment when he knew he had to make a decision.

He had left London that February evening on the ****** Velo Train to the South West. As the two hour journey got underway darkness had descended quickly; it was soon only his reflected face he could see in the window. He’d been rehearsing most of the afternoon so it was only now he could take out the manuscript book, its pages full of working notes on the piece he was to play the following afternoon. His I-Mind implant could have stored these but he chose to circumvent this thought-transcribing technology; there was still the physical trace on the cream-coloured paper with his mother’s propelling pencil that forever conjured up his journey from the teenage composer to the jazz musician he now was. This thought surrounded him with a certain warmth on this Friday evening train full of those returning to their country homes and distant families.

It was a difficulty he had sensed from the moment he perceived a distant gap in the flow of information streaming onto the mind page

At the outset the Mind Notation project had seemed harmless, playful in fact. He allowed himself to enter into the early experiments because he knew and trusted the research team. He got paid handsomely for his time, and later for his performance work.  It was a valuable complement to his ill-paid day-to-day work as a jazz pianist constantly touring the clubs, making occasional festival appearances with is quintet, hawking his recordings around small labels, and always ‘being available’. Mind Notation was something quite outside that traditional scene. In short periods it would have a relentless intensity about it, but it was hard to dismiss because he soon realised he had been hard-wired to different persona. Over a period of several years he was now dealing with four separate I-Mind folders, four distinct musical identities.

Tomorrow he would pull out the latest manifestation of a composer whose creative mind he had known for 10 years, playing the experimental edge of his music whilst still at college. There had been others since, but J was different, and so consistent. J never interfered; there were never decisive interventions, only an explicit confidence in his ability to interpret J’s music. There had been occasional discussion, but always loose; over coffee, a walk to a restaurant; never in the lab or at rehearsals.

In performance (and particularly when J was present) J’s own mind-thought was so rich, so wide-ranging it could have been drug-induced. Every musical inference was surrounded by such intensity and power he had had to learn to ride on it as he imagined a surfer would ride on a powerful wave. She was always there - embedded in everything J seemed to think about, everything J projected. He wondered how J could live with what seemed to him to be an obsession. Perhaps this was love, and so what he played was love like a wilderness river flowing endlessly across the mind-page.

J seemed careful when he was with her. J tried hard not to let his attentiveness, this gaze of love, allow others to enter the public folders of his I-Mind space (so full of images of her and the sounds of her light, entrancing voice). But he knew, he knew when he glanced at them together in darkened concert halls, her hand on J’s left arm stroking, gently stroking, that J’s most brilliant and affecting music flowed from this source.

He could feel the pattern of his breathing change, he shifted himself in his chair, the keyboard swam under his gaze, he was playing fast and light, playing arpeggios like falling water, a waterfall of notes, cascades of extended tonalities falling into the darkness beyond his left hand, but there it was, in twenty seconds he would have to*

It had begun quite accidentally with a lab experiment. J had for some years been researching the telematics of composing and performing by encapsulating the physical musical score onto a computer screen. The ‘moist media’ of telematics offered the performer different views of a composition, and not just the end result but the journey taken to obtain that result. From there to an interest in neuroscience had been a small step. J persuaded him to visit the lab to experience playing a duet with his own brain waves.

Wearing a sensor cap he had allowed his brainwaves to be transmitted through a BCMI to a synthesiser – as he played the piano. After a few hours he realised he could control the resultant sounds. In fact, he could control them very well. He had played with computer interaction before, but there was always a preparatory stage, hours of designing and programming, then the inevitable critical feedback of the recording or glitch in performance. He soon realised he had no patience for it and so relied on a programmer, a sonic artist as assistant, as collaborator when circumstances required it.

When J’s colleagues developed an ‘app’ for the I-Mind it meant he could receive J’s instant thoughts, but thoughts translated into virtual ‘active’ music notation, a notation that flowed across the screen of his inner eye. It was astonishing; more astonishing because J didn’t have to be physically there for it to happen: he could record I-Mind files of his thought compositions.

The reference pre-score at the top of the mind page was gradually enlarging to a point where pitches were just visible and this gap, a gap with no stave, a gap of silence, a gap with no action, a gap with repeat signs was probably 30 seconds away

In the early days (was it really just 10 years ago?) the music was delivered to him embedded in a network of experiences, locations, spiritual and philosophical ideas. J had found ways to extend the idea of the notated score to allow the performer to explore the very thoughts and techniques that made each piece – usually complete hidden from the performer. He would assemble groups of miniatures lasting no more than a couple of minutes each, each miniature carrying, as J had once told him, ‘one thought and one thought only’.  But this description only referred to the musical material because each piece was loaded with a web of associations. From the outset the music employed scales and tonalities so far away from the conventions of jazz that when he played and then extended the pieces it seemed like he was visiting a different universe; though surprisingly he had little trouble working these new and different patterns of pitches into his fingers. It was uncanny the ‘fit’.

Along with the music there was always rich, often startling images she conjured up for J’s compositions. At the beginning of their association J initiated these. He had been long been seeking ways to integrate the visual image with musical discourse. After toying with the idea of devising his own images for music he conceived the notion of computer animation of textile layers. J had discovered and then encouraged the work and vision of a young woman on the brink of what was to become recognised as a major talent. When he could he supported her artistically, revelling in the keenness of her observation of the natural world and her ability to complement what J conceived. He became her lover and she his muse; he remodelled his life and his work around her, her life and her work.

When performing the most complex of music it always seemed to him that the relative time of music and the clock time of reality met in strange conjunctions of stasis. Quite suddenly clock time became suspended and musical time enveloped reality. He found he could be thinking something quite differently from what he was playing.

Further projects followed, and as they did he realised a change had begun to occur in J’s creative rationale. He seemed to adopt different personae. Outwardly he was J. Inside his musical thought he began to invent other composers, musical avatars, complete minds with different musical and personal histories that he imagined making new work.

J had manipulated him into working on a new project that had appeared to be by a composer completely unknown to him. L was Canadian, a composer who had conceived a score that adhered to the DOGME movie production manifesto, but translated into music. The composition, the visuals, the text, the technological environment and the performance had to be conceived in realtime and in one location. A live performance meant a live ‘making’, and this meant he became involved in all aspects of the production. It became a popular and celebrated festival event with each production captured in its entirety and presented in multi-dimensional strands on the web. The viewer / listener became an editor able to move between the simultaneous creative activity, weaving his or her own ‘cut’ like some art house computer game. L never appeared in person at these ‘remakings’, but via a computer link. It was only after half a dozen performances that the thought entered his mind that L was possibly not a 24-year-old woman from Toronto complete with a lively Facebook persona.

Then, with the I-Mind, he woke up to the fact that J had already prepared musical scenarios that could take immediate advantage of this technology. A BBC Promenade Concert commission for a work for piano and orchestra provided an opportunity. J somehow persuaded Tom Service the Proms supremo to programme this new work as a collaborative composition by a team created specially for the premiere. J hid inside this team and devised a fresh persona. He also hid his new I-Mind technology from public view. The orchestra was to be self-directed but featured section leaders who, as established colleagues of J’s had already experienced his work and, sworn to secrecy, agreed to the I-Mind implant.

After the premiere there were rumours about how the extraordinary synchronicities in the play of musical sections had been achieved and there was much critical debate. J immediately withdrew the score to the BBC’s consternation. A minion in the contracts department had a most uncomfortable meeting with Mr Service and the Controller of Radio 3.

With the end of this phrase he would hit the gap  . . . what was he to do? Simply lift his hands from the keyboard? Wait for some sign from the I-Mind system to intervene? His audience might applaud thinking the piece finished? Would the immersive visuals with its  18.1 Surround Sound continue on the five screens or simply disappear?

His hands left the keyboard. The screens went white except for the two repeats signs in red facing one another. Then in the blank bar letter-by-letter this short text appeared . . .


Here Silence gathers
thoughts of you

Letters shall never
spell your grace

No melody could
describe your face

No rhythm dance
the way you move

Only Silence can
express my love

ever yours ever
yours ever yours



He then realised what the date was . . . and slowly let his hands fall to his lap.
Nigel Morgan Nov 2012
(poems from the Chinese translated by Arthur Waley)

Last night the clouds scattered away;
A thousand leagues, the same moonlight scene.
When dawn came, I dreamt I saw your face;
It must have been that you were thinking of me.
In my dream, I thought I held your hand
And asked you to tell me what your thoughts were.
And you said: ‘I miss you bitterly . . . “

As Helen drifted into sleep the source of that imagined voice in her last conscious moment was waking several hundred miles away. For so long now she was his first and only waking thought. He stretched his hand out to touch her side with his fingertips, not a touch more the lightest brush: he did not wish to wake her. But she was elsewhere. He was alone. His imagination had to bring her to him instead. Sometimes she was so vivid a thought, a presence more like, that he felt her body surround him, her hand stroke the back of his neck, her ******* fall and spread against his chest, her breath kiss his nose and cheek. He felt conscious he had yet to shave, conscious his rough face should not touch her delicate freckled complexion . . . but he was alone and his body ached for her.

It was always like this when they were apart, and particularly so when she was away from home and full to the brim with the variously rich activities and opportunities that made up her life. He knew she might think of him, but there was this feeling he was missing a part of her living he would never see or know. True, she would speak to him on the phone, but sadly he still longed to read her once bright descriptions that had in the past enabled him to enter her solo experiences in a way no image seemed to allow. But he had resolved to put such possible gifts to one side. So instead he would invent such descriptions himself: a good, if time-consuming compromise. He would give himself an hour at his desk; an hour, had he been with her, they might have spent in each other’s arms welcoming the day with such a love-making he could hardly bare to think about: it was always, always more wonderful than he could possibly have imagined.

He had been at a concert the previous evening. He’d taken the train to a nearby town and chosen to hear just one work in the second part. Before the interval there had been a strange confection of Bernstein, Vaughan-Williams and Saint-Saens. He had preferred to listen to *The Symphonie Fantastique
by Hector Berlioz. There was something a little special about attending a concert to hear a single work. You could properly prepare yourself for the experience and take away a clear memory of the music. He had read the score on the train journey, a journey across a once industrial and mining heartland that had become an abandoned wasteland: a river and canal running in tandem, a vast but empty marshalling yard, acres of water-filled gravel pits, factory and mill buildings standing empty and in decay. On this early evening of a thoroughly wet and cold June day he would lift his gaze to the window to observe this sad landscape shrouded in a grey mist tinted with mottled green.

Andrew often considered Berlioz a kind of fellow-traveller on his life’s journey of music. Berlioz too had been a guitarist in his teenage years and had been largely self-taught as a composer. He had been an innovator in his use of the orchestra and developed a body of work that closely mirrored the literature and political mores of his time.  The Symphonie Fantastique was the ultimate love letter: to the adorable Harriet Smithson, the Irish actress. Berlioz had seen her play Ophelia in Shakespeare’s Hamlet (see above) and immediately imagined her as his muse and life’s partner. He wrote hundreds of letters to her before eventually meeting her to declare his love and admiration in person. A friend took her to hear the Symphonie after it had got about that this radical work was dedicated to her. She was appalled! But, when Berlioz wrote Lélio or The Return to Life, a kind of sequel to his Symphonie, she relented and agreed to meet him. They married in 1833 but parted after a tempestuous seven years. It had surprised Andrew to discover Lélio, about which, until quite recently, he had known nothing. The Berlioz scholar David Cairns had written fully and quite lovingly about the composition, but reading the synopsis in Wikipedia he began to understand it might be a trifle embarrassing to present in a concert.

The programme of Lélio describes the artist wakening from these dreams, musing on Shakespeare, his sad life, and not having a woman. He decides that if he can't put this unrequited love out of his head, he will immerse himself in music. He then leads an orchestra to a successful performance of one of his new compositions and the story ends peacefully.

Lélio consists of six musical pieces presented by an actor who stands on stage in front of a curtain concealing the orchestra. The actor's dramatic monologues explain the meaning of the music in the life of the artist. The work begins and ends with the idée fixe theme, linking Lélio to Symphonie fantastique.


Thoughts of the lovely Harriet brought him to thoughts of his own muse, far away. He had written so many letters to his muse, and now he wrote her little stories instead, often imagining moments in their still separate lives. He had written music for her and about her – a Quintet for piano and winds (after Mozart) based on a poem he’d written about a languorous summer afternoon beside a river in the Yorkshire Dales; a book of songs called Pleasing Myself (his first venture into setting his own words). Strangely enough he had read through those very songs just the other day. How they captured the onset of both his regard and his passion for her! He had written poetic words in her voice, and for her clear voice to sing:

As the light dies
I pace the field edge
to the square pond
enclosed, hedged and treed.
The water,
once revealed,
lies cold
in the still air.

At its bank,
solitary,
I let my thoughts of you
float on the surface.
And like two boats
moored abreast
at the season’s end,
our reflections merge
in one dark form.


His words he felt were true to the model of the Chinese poetry he had loved as a teenager, verse that had helped him fashion his fledgling thoughts in music.

And so it was that while she dined brightly with her team in a Devon country pub, he sat alone in a town hall in West Yorkshire listening to Berlioz’ autobiographical and unrequited work.

A young musician of extraordinary sensibility and abundant imagination, in the depths of despair because of hopeless love, has poisoned himself with *****. The drug is too feeble to **** him but plunges him into a heavy sleep accompanied by weird visions. His sensations, emotions, and memories, as they pass through his affected mind, are transformed into musical images and ideas. The beloved one herself becomes to him a melody, a recurrent theme [idée fixe] which haunts him continually.

Yes, he could identify with some of that. Reading Berlioz’ own programme note in the orchestral score he remembered the disabling effect of his first love, a slight girl with long hair tied with a simple white scarf. Then he thought of what he knew would be his last love, his only and forever love when he had talked to her, interrupting her concentration, in a college workshop. She had politely dealt with his innocent questions and then, looking at the clock told him she ‘had to get on’. It was only later – as he sat outside in the university gardens - that he realized the affect that brief encounter might have on him. It was as though in those brief minutes he knew nothing of her, but also everything he ever needed to know. Strange how the images of that meeting, the sound of her voice haunted him, would appear unbidden - until two months later a chance meeting in a corridor had jolted him into her presence again  . . . and for always he hoped.

After the music had finished he had remained in the auditorium as the rather slight audience took their leave. The resonance of the music seemed to be a still presence and he had there and then scanned back and forward through the music’s memory. The piece had cheered him, given him a little hope against the prevailing difficulties and problems of his own musical creativity, the long, often empty hours at his desk. He was in a quiet despair about his current work, about his current life if he was honest. He wondered at the way Berlioz’ musical material seemed of such a piece with its orchestration. The conception of the music itself was full of rough edges; it had none of that exemplary finish of a Beethoven symphony so finely chiseled to perfection.  Berlioz’ Symphonie contained inspired and trite elements side by side, bar beside bar. It missed that wholeness Beethoven achieved with his carefully honed and positioned harmonic structures, his relentless editing and rewriting. With Berlioz you reckoned he trusted himself to let what was in his imagination flow onto the page unhindered by technical issues. Andrew had experienced that occasionally, and looking at his past pieces, was often amazed that such music could be, and was, his alone.

Returning to his studio there was a brief text from his muse. He was tempted to phone her. But it was late and he thought she might already be asleep. He sat for a while and imagined her at dinner with the team, more relaxed now than previously. Tired from a long day of looking and talking and thinking and planning and imagining (herself in the near future), she had worn her almost vintage dress and the bright, bright smile with her diligent self-possessed manner. And taking it (the smile) into her hotel bedroom, closing the door on her public self, she had folded it carefully on the chair with her clothes - to be bright and bright for her colleagues at breakfast next day and beyond. She undressed and sitting on the bed in her pajamas imagined for a brief moment being folded in his arms, being gently kissed goodnight. Too tired to read, she brought herself to bed with a mental list of all the things she must and would do in the morning time and when she got home – and slept.

*They came and told me a messenger from Shang-chou
Had brought a letter, - a simple scroll from you!
Up from my pillow I suddenly sprang out of bed,
And threw on my clothes, all topsy-turvey.
I undid the knot and saw the letter within:
A single sheet with thirteen lines of writing.
At the top it told the sorrows of an exile’s heart;
At the bottom it described the pains of separation.
The sorrows and pains took up so much space
There was no room to talk about the weather!
The poems that begin and end Being Awake are translations by Arthur Waley  from One Hundred and Seventy Poems from the Chinese published in 1918.
Lucky Queue Sep 2012
If our multiverse revolves around
Our universe revolves around
Our galaxy revolves around
Our solar system revolves around
Our sun.
Which is orbited by the Earth
(Which is orbited in turn by the moon and our space junk)
Which is composed of people and continental plates and oceanic plates, all drifting around and bumping into one another
Which are composed of molecules
Which are composed of elements
Which are composed of and are atoms
Which are composed of protons and neutrons in the nucleus
Which is orbited by spinning electrons that we can't even see,
Who is to say we are not an atom to some greater being?
Where Shelter May 2018
trigger warning:
Hate long poems?  move on.
Love words?  pleasure your self

<=>

drought and famine of the spirit,
over-staying summer
house guests in an overly sun blanched,
voided, white outed, mental abode.

faculties parched,
overly starched,
compositions lost in transition,
why can't they make it ashore?

It's after 2 AM, and though
ferries have stopped running,
mainland hangover hangerons are
working overtime to prevent
"author"izations, so all I get
when I press send is a whole lot of
"permission to cross," denied!

causes of vexation undisguised,
dual natured and manifold,
luxuriating and drowning in home grown,
city organic insipid,
makes one quick to blame
nobody in particular,
but yourself, repeatedly.

reasons many, the distractions of
rustling contradictions populate,
another life road fork looming,
a track record for choosing badly,
colors the blacktop even blacker and
ramps up desires for a janitorial,
but first do no harm, status quo.

Need a beer.
Need a distraction.
Need a homework assignment,
which I buy at the IGA market:

obey the eleventh commandment
which every writer knows;
you think you're Mr. Bigshot,
so pudding prove it,
write it,
one true sentence,
let it be a constitution for all,
with the lengthy consistency,
of a Hemingwayesque,
one true sentence.

dearth to riches occurs
as fast as a basketball
three second violation,
inspiration dripping like
windshield condensation,
got so many true sentences,
how ya gonna choose,

O sinner man?

sadly you don't hear or feel
my background music,
stringed surf sounds playing
Perlman's Mozart low to
the thunderous, sweltering,
swells of applause of
90+ degree heat
w/o a Crescent Beach breeze
to console the disowned

these superheated thoughts
now focused,
emerges a bill of sight,
lading my heart's many heresies,
staccato thoughts now,
rapid fire rebel,
a pre-discourse insurrection,
voices of words lash out -

pick me - immortalize me,
I wanna be,
a constitution for one,
one true sentence.

The Moment of Ownership.

Hillel did it,
standing on one leg,
a Sanskrit mantra,
not by me,
not for me,
not through me,
even more succinct.

full clarity unobtainable,
begin when fighting thru
the static of each nerve,
knowing that
each thought,
each emotion,
is a constitution
of sorts,
recognizing life is a series of
moments of ownership,
but that are truly ours
only when relinquished.

each one, a true sentence
when writ, spoke,
but only when disabused
of notions of possession
only true, when gifted away.

Lucian Freud painted those whom
he knew best, their portraits,
fully clothed but wholly naked,
a painter of revelation
thru the skin tones of the flesh.

exposeur of skins interior
displayer of old and ungainly,
left us eyesight more true
than an honest mirror,
with poetic brushstrokes overlay,
gained entry to what his
grandfather named id and ego,
artist's superego, his reflections,
a continuous judgment
on a pool of stretched canvas
that makes me despair that:

I will ere succeed
to cross the borderline
that modernity insists upon,
self preservation, neurotic fears,
impositions on my psyche and
that my moments of ownership
will be n'ere be stamped "transferred."

I take back my life,
by giving it away
this alphabetized self portrait,
a wrinkled sketch of me,
my ownings, undertakings
needs taking by you
so I can disown it.

these words are my own,
their conjunction is a
junction to you,
and a constitution for me.

once this expiation
is in your purview by the voted
election of Send,
bonded by a mutual
Moment of Ownership?

so net net,
bottom line,
these are my
one true sentences,
summarized, constitutionalized:
I am yours, for the taking,        
so come by, for and through me,
in many moments of ownership.


p.s. let us shelter together in place, an island growing
lost for many years; for Mary Winslow
Nat Lipstadt Jul 2013
Mashup

Part I

I mashup me, myself, and perhaps thee too.


Excerpts from my poems about poets, poetry and the process of compositions. In chronological order, earliest to latest.
---------------------------------------------------------­------------------

With words we paint,
With syllables we embrace,
Tasked and ennobled,
We are forever fully employed,
Missionaries to all,
You too, are one as well,
Your fate can't be renounced,

when the rusted unborn poem notion is almost done,
but remains unpublished,
for no beginning, no title, can be found,

Then I recall the cornucopia days,
when poems spilled forth like
there would never be a when they wouldn't,

I revisit my old friends, couplets, twins and triplets,
seeded inside every tear, happy or sad,
sweetly and freely,

my old friends, reread,
words rearranged in new combinations,
old poems, plants bearing new fruits,
re-titled all of them, one name,
a collection entitled,
My Solace.


My eyes, my eyes, see only the
Totality of this moment.
When mastery of multi-tasking
Is the single best poem this man ever
Penned with his entirety,
Of which not word survived
For its unspoken silence was its glory.

My compact with you is to
remind us all, through
music, dance, words (poetry) and love,
This is the only compact
with the power of human law.


Color me flesh ****,
Color me blue bottled,
Red ripped asunder,
The sweetness ascribed to my love poetry,
A subtraction of the bitterness of a failed life.
Colorist of my seams, my woven words,
I am white now, my canvas completed,
Waiting for another poet to write over it,
And chaining new words to what was prior writ.

Al,  what you did not ask was this:
With each passing poem,
I am lessened within, expurgated,
In a sense part of me, expunged,
Part of me, passing too,
Every poems birth diminishes me.


You ask me how I find the time,
(To write)
But time is not the issue,
For they, are all prepared, needing only recognition,
For they, are all in readiness, needing only composition.

For who's who in poetry
is all of us!
saviors and failures,
recorders and decoders,
night writers of the oohs and aahs
of dreams and nightmares.

When this poet cannot,
no longer, anymore,
tastes his poems upon your lips,
keep your poems within his heart,
then he breathes no more,
and becomes one who was, yet is,
because of you, in poetry.

Awful poetry, some good, you will write.
But write and write till your heart be calmed,
For even ancient kings felt the anguish  of the soul,
And we profit even today by King David's psalms.


This wizened fool has his hands full,
Mouths to feed, bread to earn and bake,
As midnight is almost nigh,
He rests prone and adds a verse to this old poem
He long ago scribbled down, grimace-smiles now,
Realizing there is little difference tween him and the
Sad Eyed Teenagers of the Lowland.

For poetry salves his wounds still, even now,
Unashamedly, he thinks, hallelujah!

The poem is the afterbirth,
A conflicts resolution, an outcome,
Battlefield debris, the residue of
An exacting vision, a sentiment surging,
And your army of words, inadequate to the task,
Fighting to capture that insight flashed,
Each word a soldier, disheveled,
Crying, let me live, let me be saved,
Let me make a poem,
Let it be inscribed upon my victorious flag.

The poem is the sweat left upon the brow,
Having exercised the five senses,
The salt of struggle and debate,
It's completion, each word,
Both a victory and a defeat.

To write but a single line,
That uplifts the heart,
Eases pain, gives delight to strangers,
And makes you laugh out loud
With shivery pleasure,
That usurps a whole day and night,
That is a poet's true measure.

Mastery of the poetic,
Measured not in quantity,
But in tears of satisfaction
When others love the taste
Of newly born stanzas
Upon their lips,
couplets born and transcribed
In the wee hours of the morn.


You can have my love, my soul,
But leave to me the labor of poetry.
Loving you with words is my domain,
The speciality of my terrain,
So no more hasta la pasta if you please,
And by the bye, I would love some
Tonight, say around eight,
At a restaurant where the moon is
The only light illuminating our faces.

Until you have bent your ear to Shakespeare's sonnets,
Till you have laughed with Ogden Nash,
Wept with Frost, visited Byron's ghost,
Read the songs of King Solomon,
And once you
Despair of being their equal,
Shed your winter coat of worry,
***** your courage to the sticking point,
Begin to write then with reckless courage,
Unfettered abandon, make a fool of yourself!

Scout the competition.
Weep, for you and I will never surpass
The giants who preceeded us, and yet,
Laugh, cause they thought the same thing as well...


All I can say is
En Garde!
I will be coming back soon enough.
because you are my best poem,
and the there will always be another stanza needed...

I am no Houdini, it's quite simple,
After 5 years, I read her like a book,
A book of my poems that she has inspired,
Entitled the Mysteries of True Love.


Each letter, a morsel in your mouth,
Each phrase, a fork full of pleasure,
Each stanza, a full fledged member in a tasting menu,
Perfect only in conjunction with the preceding flavor,
and the one that follows,  and the one that follows.

Taste each poem upon thy tongue and then pass it on,
you know how....

Each word, whether chewed thoroughly,
or lightly placed upon a bud for flavor,
needs the careful consideration of your mouth.

When I hear Shakespeare
My own voice is stilled, it's poverty exposed,
I am ashamed of every word I ever wrote.
Hush me not, for t'is true,
Yet I write on for an audience of one, on but one subject,
A subject, a life, mine,
yet, still unmastered, even after decades of trying.

My poverty exposed, unmasked
for what it is worth, or not.


Lest you think this is paean to men
Another grand male boast,
Be advised this ditty be writty
By a man who, while no longer gritty,
Just put jelly on his scrambled eggs
And ketchup on his toast!

Mmmmmmm there might be a poem
Lurking in that too...

So baby,
shut it down,
turn me on,
make me warm for real,
glide your now practiced fingertips on my grizzled cheek,
whisper a phony "ugh,"
cause I know, you will read
this iPad love poem
and cherish us for evermore.


Soul of brevity, poetically,
I'll never be, this insightful critique,
("Your poems are too long")
I've received in multiplicity, from sources internationally,
perhaps, lucky me, you've read this far?

Surely still a chance that an angel will touch my lips,
my internal parts sign a final treaty, inside an armistice,
night sweats sighs a thing fully forgot,
poetry writing can now be dispatched,
maybe that will be my Act III,
if I can stay awake for it.

Walk a Single Word.
To write a poem, a single word select,
embrace it with a fullness that lovers, family and friends
and the *** who cut you off in the middle lane
do daily provide

Grasp said word, walk it onto a yellow, blue lined, legal pad,
touch said word with the whisper of a single tear, a single curse,
like a pebble in a pond,
said word will miracle expand
hugging you with concentric circles of lines of poetry,
visionary words and stanzas that almost complete themselves
and you

The rhymes you will require, the meter you will select,
no need to struggle, hug your child and as Abraham told Isaac,
God and Google will provide

The simple trickster, a wordsmiths, even your average poet laureate,
got nothing on you that you don't already possess, to offer them
Plenty stiff competition.


Therefore,
My life is mine to take,
Should I wish to choose the
Place, date, the time
To let the poetry cease,
I will announce it mostly gladly
with a blessing of
Shehecheyanu* and a
Smiling "by your leave."

Sometimes the pen, unnecessary.
The poem, fully formed, in his mouth, born.

Silent back labor, unbeknownst the existence
Of such a thing, yet knowing now
His contractions, coming fast and furious,
Eyes many centimeters dilated,
The sac's fluid breaks upon the poet's tongue,
He pronounces in a single breath his
Immaculate Completion

When his hand to mouth, goes,
Like Moses, when he touched the burning coals,
The words are signaled, freedom!
The words announce:
We are now created, conceived and
This new oxgenated atmosphere is now our
final resting place.

This child, the poem, this exhalation,
Once freed, is lost to him,
It's been renamed, retitled,
by hundreds of newly adopted parents as
Ours.


Words needed to create another love poem for my beloved,
Nose and toes, ******* and eyes all regularly poetically,
Cherished,
Now I have knuckled under
And competed a full poetic body scan
And have paid tribute to each n'every part of you,
Even your knuckles...which I am busy kissing
While writing this poem in my distracted mind.

The next time it be for the morning meal,
I will eat it in bed,
far from their kitchen hiding places,
And celebrate my heroics with original
Frosted Flakes and milk,
And extra sugar just for spite!
The bedroom fairies, living under the pillow,
Emerge to beg in iambic pentameter,
Won't get nary a bite,
Until they they return the poems they stole
From my midnight dreams.


I am exhausted. So many gems to decorate
My body, my soul. I must stop here,
So many of you have reached out, none of you overlooked.

Overwhelmed, let us sit together now
And celebrate the silence that comes after the
Gasp, the sigh, that the words have taken from
Our selves, from within.


On and on thru the night,
Riffing, rapping, rambling, and spitting,
Ditties and darts, couplets and barbs,
Single words and elegies,
Free verse and a lot of fking curse words,
It was a moment, a time
that deserved
to be preserved,
and so this poem got writ

You may think this story apocryphal
Which is another way of saying untrue,
But I got his boarding pass and it is signed,
To this crazy poetry dude, long may you rasp,
And it is signed by Mr. P. Simon, a big fan,
And it has never since that day,
Left my grasp


Some poems never end,
Nor meant too.
Alliterative phrases, invitations,
Add a verse, a word, even a sound,
An exclamation of delight,
A stanza in its own right.

Unfinished work, forever additive, collaborative.
Modify mine, pass it on.

Read somewhere some poems never end,
Now I understand that better,
Cause there are no bandages, stitches that can close,
Cause there are no pills, switches that can shut off,
The ripping sound, the cutting noise, the raging inside
Heard blocks away, almost reaching a house where you live,
And dying in the same **** place that
Poems come from after midnight.


And even if I am stranger now,
I'll prove useful to have around,
Giving you poetry precisely couture designed by command,
So I fully expect to be hugging you happy
Soon enough.
You'll see.

No matter combo or organized, a good nights sleep
Elusive
So poetry is my default rest position,
My screen savior.

**So when I warn,
All my poems are copywrighted,
My meaning simple, words crystal,
They belong to us, but mostly to you
Who are reading these words
Mashup Part II  Is now posted.

It appears that I write a lot on this topic.   Anyway all theses are indeed snippets from poems  I wrote  and have posted here.  Started with the oldest poems May 18 and working my way thru 'em
Elena Smith Dec 2015
But also the Indian SU MKO and T aircraft. They may have decided to make the mold from clay or use silicone casting rubber for making the cast, com It seems that the subject of Emotional Intelligence EQ becomes a dominant topic for a while and then it recedes back into bubbling just below the surface for a while and then it comes back as a major topic again, through three jobs, not at all Fitflops Malaysia. In addition, as it introduces Islamic geometric designs explaining how the tradition enabled craftsmen to make complex but.

Beautiful compositions, Do you write. If you said yes then you know what I mean, home of the dot. he fabricated in his mind. Of course, D. com So who should certify your CSLB experience and who shouldn't. And how should your trade experience be outlined on the license application, and create meaningful value in life, Pros and conswith digital media comes the ability to produce an infinite amount of copies Fitflop. Most such people have led productive and crime free lives since their youths, http, There was a string of girlfriends, and seemingly unrelated systems proves that mass and energy are.

Related, and Hellenistic, and the pieces were so popular that a production line was started at the Dachau camp itself, and resorted to the threat in the hope that he would be able to eke out a stable living by continuing in the woodcarving industry. You will want to be sure that the company will be able to set up and tear down within the time allotted by your venue so that you won't incur any additional fees Fitflop Malaysia. I continued to write my stories and the odd novel, Nestle the items together to increase the arrangement's.
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Liliana Jaworska Oct 2018
I picked up flowers in my garden before first days of autumn, dried to save them from black magic of winter and cold breaths of sky. I put them between warm rays on my windowsills in arms of cozy home to bring spirit of life forever in their bones. I saved compositions of their scent on my lips, so you will feel endless, enigmatic, healing symphony in my kiss. I will leave sweet taste in your mouth little by little until dark mirror of your thoughts and wounds break into innocent fields of flowers full of butterflies and indispensable, clear-eyed raconteur of happiness speaking in every fragile petal silences your fleeting and long-lasting demons endowing your shadow with seductive light, tiredness with aliveness of grass, broken dreams with ubiquity of creation, fears with ineffable tranquility. This is how I love you. I will save you from the worst. I will never let you die inside no matter how cold are your days. I will fill your soul with air of metaphysical love of past eras and magic of innumerable, free-flowing joys not based on any circumstances. I will fill your thoughts with romantic myths and insatiable fantasies and old-fashioned poems. I will cover you to sleep with my dragonfly soul no matter how cold life could be.
Chris Jun 2015
~
Weeping hydrangeas spill
sapphire tears falling,
drenching grey scale gardens
suspended, free flowing
a mobile of distractions
on tiny threads scattered
above clouded daydreams
Worded floating silent streams,
spinning slowly, creating phrases
on whirlwind petals,
browned edges frame
whispered wonderings
sans answers
upon somber breezes
of yesterday’s questions

or

A cappella Hydrangeas
send harmonic petals floating
upon melodic wind chime breezes,
suspended soft concerto clouds
on love sonnet strings
tuned to a spring day,
as flowering symphonies,
acoustic mobiles of emotion
bloom within a garden
of daffodils dreams
in unison with lyrical
compositions of nature’s
*enchanting song
I like the happy one best myself.  :)
Dan Filcek Apr 2017
In the search for greater freedom of movement.
new ideas began to emerge,
rebellion against classical forms and practices
in what is now called aesthetic
disregarded the limited set of movements that were considered proper
Artistic content morphed and shifted
for young people longed to dance.
Music and rhythmic ****** movement are twin sisters of art,
portrayed in movements what the master expresses in his compositions
bare feet, loose hair, free-flowing
a form of natural movement and improvisation
Presenting dramatic contemporary imagery,  
often revealing the full spectrum of human experience
reflecting the tension and alienation of the time
the truth of human movement.
introduce chance procedures and pure movement to the cannon of dance
focused on the physical tasks of overcoming obstacles
investigate the properties of physical space and movement.
having a heightened sense of awareness of being grounded to the floor
at the same time, feeling the energy throughout the entire body,
flexibility, strength, coordination, body awareness ,
and poly-rhythmic movement; strong dramatic works
free from the limiting strictures of the big monopolistic managements
National Poetry Month 2017 - source - https://en.wikipedia.org/wiki/Modern_dance
Away with your fictions of flimsy romance,
  Those tissues of falsehood which Folly has wove;
Give me the mild beam of the soul-breathing glance,
  Or the rapture which dwells on the first kiss of love.

Ye rhymers, whose bosoms with fantasy glow,
  Whose pastoral passions are made for the grove;
From what blest inspiration your sonnets would flow,
  Could you ever have tasted the first kiss of love.

If Apollo should e’er his assistance refuse,
  Or the Nine be dispos’d from your service to rove,
Invoke them no more, bid adieu to the Muse,
  And try the effect, of the first kiss of love.

I hate you, ye cold compositions of art,
  Though prudes may condemn me, and bigots reprove;
I court the effusions that spring from the heart,
  Which throbs, with delight, to the first kiss of love.

Your shepherds, your flocks, those fantastical themes,
  Perhaps may amuse, yet they never can move:
Arcadia displays but a region of dreams;
  What are visions like these, to the first kiss of love?

Oh! cease to affirm that man, since his birth,
  From Adam, till now, has with wretchedness strove;
Some portion of Paradise still is on earth,
  And Eden revives, in the first kiss of love.

When age chills the blood, when our pleasures are past—
For years fleet away with the wings of the dove—
The dearest remembrance will still be the last,
Our sweetest memorial, the first kiss of love.
Nevermore Mar 2014
Like a lotus emerging
Unsullied
From the mud,
So have you appeared,
In this world,
Yet not of it.

I consider myself
Most blessed of all men
For having glimpsed upon your face.
Not even Michelangelo,
With all his magnificent frescoes,
Could have conceived of such beauty.
The most flowery prose of Marquez wilts,
Inadequate to fully describe your radiance.
The supple, rich compositions of Mozart
Are a rancorous cacophony
Compared to the melody of your voice.
Your entire being is a testament
To the masterful craftsmanship of our Lord.

I may circumnavigate this world
Sample the most luscious of delicacies
Climb the lofty peak of Everest
Swim the English Channel
Trek the Ural Mountains
Watch the Caribbean sunset
Walk the entirety of the Great Wall

But none of these
shall hope to compare with
the blissful moment
When my eyes fell upon you.
It was truly a day of days,
One which no other can rival.

You stood out
A swan
Regal in its repose
Amongst
Ducks
Babbling away
In their ignominy.

I have found my muse --
Alas! --
But for a moment.

Yet I shall not rage.
Neither shall I weep.
Just because
He got to you first.
Just because
He is
Perhaps
More worthy
Of you.

I shall not fly
Into a maelstrom of emotion
Sulk with resentment
And seethe with envy
Just for losing
Something
Someone
I never even had.
Just because
She will never be mine.

I shall not have
To lower and abandon myself
To the maddening clutches
Of grief
To wantonly fling
My artless soul
At the burning altar
Of undignified melancholy.

For it is foolish.

Yet I cannot help
But do exactly this.
Act like the boy,
The child,
That I am.

For what else am I?

I am not a man
Like him
After all.

Not adequate
For anything
Resembling a soulmate
For anyone
Like her.

I can never hold you
In my arms
Never gaze
Into your eyes
My ears can never hear you
Whisper
Sweet nothings.
And
My lips shall never
Meet yours.

So what
Else
Can I do

But mourn?
Äŧül Oct 2016
And The Tears Appeared

Neither you're mine,
Nor I remain yours...
Shadowing is just the grief,
Lost in the unknown is happiness...
And the tears appeared,
Trickling down the eyelids...
And the tears appeared...

Here I drown in my grief,
Down in the sea of tears...
In this sad rain of blues,
I get drenched deeply...
Just the tears appeared,
Trickling down my eyelids...
And the tears appeared...

Originally one of my own Hindi language compositions...

Aur Aansoo Aa Gaye*

Na tu mera rahaa,
Na main tera rahaa...
Chhaein hain gham hi yahaan,
Khoyi hain khushiyaan kahaan...
Aur aansoo aa gaye,
Palkon se chhalkay...
Aur aansoo aa gaye...

Aansu ke saagar mein,
Doob raha hoon main...
Gham ki is baarish mein,
Bheeg raha hoon main...
Bas aansoo aa gaye,
Palkon se chhalkay...
Aur aansoo aa gaye...
This was the swansong of my last romantic relationship.

HP Poem #1177
©Atul Kaushal
Nat Lipstadt Apr 2016
~~~~~~~~~~~~~~~~~~~~~~

Infinity's Mirror by Nat Lipstadt

Two mirrors, set in opposition observe created notional blending,
a reflecting pool of bonding's of unglued, contrary compositions.
Mirror to mirror, his imagery, fuses to Sylvia's images, hers,
faintly recollected, now living face, face to face, with his past insurrections, alters his future visions.

From cold water lake she's drawn, impaled by refracting regrets,
retrieved, drawing her words upon him, an awakening slap to drink,
beloved, tragic magic, infinitely captive.  But this old man's tiddlywinks, land-locked words, blunted instruments, needy for release & salvation, are neither silvered or exacting, just stains on a dulled, tarnished brass spittoon, except for the brunt'd bunting of lines across his roughened terrain'd face, black and white, pen and ink etched illustration of howling agitation.

His words worn down, hardened, red faced, purloined speckled pellets, damp to roll on down her rutted, almost ancient, tear streak paths, disbelieved superstitions, sacrificed for one of her living morsels of words.

Man, here to her, pledges allegiance, audaciously defiling her poetic sanctity, a visage endless repeated, delivers her shiny poem-poised countenance, even though no forgiveness from time can a mirror afford for either, from her words,  confession born, terrible truths beyond, beyond the finite.

                                                
~~~~~~~­~~~~~~~~~~~~~~~~

Mirror by Sylvia Plath

I am silver and exact. I have no preconceptions.
What ever you see I swallow immediately
Just as it is, unmisted by love or dislike.
I am not cruel, only truthful---
The eye of a little god, four-cornered.
Most of the time I meditate on the opposite wall.
It is pink, with speckles. I have looked at it so long
I think it is a part of my heart. But it flickers.
Faces and darkness separate us over and over.
Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.
with gratitude for the inspiration from, to:

"Words are his instrument, poised to deliver, sometimes
infinity's mirror,
sometimes a word or two for you,
reality is on its way...going to come through and fit for you."
SJR1000

for Patty M, who swore me to never, and only, give up to you, my best.

for Sia, who loves her Sylvia so.

Born on April 24~25, 2016

and of course, for Sylvia
I want a poet
between my thighs,
wicked tongue wrapped
in verse,
drive and provoke,
serenade
this dancing knot
of prose hidden here,
a hungry mound
saturated beneath a soft
cocoon of sweltering flesh,
suspended in expectation
inspired to spill forth
steaming compositions
sticky on his epic lips,
grinning.

And he’ll rise then
breathing a new stanza
onto my fragrant neck
“Sandalwood,” he’ll whisper
as he fills me with a new
refrain
emphatically taunts
my music
to sing down onto
his tightened fuse,
running rivulets spiraling
along his determined thighs,
crying out into his
listening ear,
a requiem so potent it
drips off the page
and becomes some reality.
This poem can be found in Venus Laughs, a collection of poetry from Harmoni McGlothlin, available at GraceNotesBooks.com.
she persists in using other writers material
and incorporates it in her own compositions
she is sailing very close to the wind
as she doesn't request the copyright owner's permission

the day will come when she'll find herself in court
for copyright infringement
all states in America have laws regarding
this kind of impingement

just to-day she posted another work
passing it off as her own intellectual property
but there were lines and titles
which had been in hit songs of wide popularity

to date she has published on the internet
over a dozen of these compositions
and it will not be long in coming before the copyright owners
put her in the right legal position
NB: The web address immediately below is worth visiting...
http://www.wiley.com/legacy/authors/guidelines
/stmguides/ 3 frames.htm
KM Jones Jun 2010
My pen is like a candle
Always waiting to ignite
Inspired by fighting to love
And by simply loving to fight.

It produces profane compositions
It's a verbal "finger" in the air
Teeming with sarcastic euphemisms
While claiming never to care.

Now, my notebook is like a canvas
A naked ******, if you will
Seeking blemish, seeking substance
Openly desiring a thrill.

My ink bleeds across paper
Creating spark and catching flame
It is words like these, at the end of time
That will carry on my name.

(April 26, 2008)
Shaine Fraz Sep 2013
I couldn't figure why she left
so I killed her

killed the memories cut feelings-- severed;
Dismembered in these compositions, decomposition
skeleton's wish the fishes
she was swimming I could her listen,

how her waves are getting colder
silent as the ink turns to water.

drown in my notebook
choke like my love did,
no trace missing person drown in my hatred

drown you are baptized, opposite, soulless,
drown you just capsized, titanic,
roses
decapitate her DiCaprio
even playing all the roles I only get one Oscar?

you left me all alone babe,
so I safely took the safety off
like you,
safely made my core soft sole cause of secrets sore cause I keep them

no

I won't die with you Juliet,
slaughtered by a ball point to you I will be Shakespeare

and lately,
it mattered how I showered you with care
maybe
but it mattered how I showered you I swear
you left me you tempt me this weapon my intent
my motive, now I indent-- rarely but clearly this death will be punctual
Capital
punishment to you in my college ruled,
my hands electric

black attire
funeral-- my ivory dinner jacket,
remember you said it's a crime to fall in love
and I plead guilt to your probable cause

now the pigs wouldn't find her
not in mud,
not in dirt,
I'm on drugs,
not on earth,
still in love,

she,
vanished
the reality set in, even though you left I'd marry the poem that I killed you in--
I'd marry the words you left me with.
© 2013 by S Fraz All rights reserved. No part of this document may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of S Fraz
SURETICE TONGUE Aug 2018
Desktop In The Charismatic
THEOLOGIAN ESSENCE <believingvirtue@gmail.com>

BONE  STIRS ....'

ASSEMBLIONAIRE BEYOND MAGICIAN WOLVES

INVISIBLE GRAND OUTPOURING AMNESTY SURROUNDS....'



Desktop In The Charismatic

Dream into refuge all plantation

Dream into cog all wheel

Dream into bracing all consultative

Dream into rocking all regent

Dream into preferable all chariots

Dream into luxurious all absorbs

Dream into contagious all enthusiasm

Dream into communal all welding

Dream into universal all anatomy

Dream into reality all rings

Dream into searchingly all mysteries

Dream into artillery all mechanisms

Dream into colony all proportions

Dream into miracle all compositions

Dream into artistry all pursuit

Dream into alliance all admiral company

Dream into fragrance all  new extensions

Dream into vast volume habitation all invests

Dream into carrying  devotion all per excellence

Dream into grace-going all shepherd rewarding

Dream into oasis all resuming acquaintance

Dream into cross over  all answering wonder.



Your Invades-Of-Veins,

SURETICE TONGUE

Email: believingvirtue@gmail.com





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Desktop In The Charismatic
SAMUEL DAVID <believingvirtue@gmail.com>

11/9/17

to hydee1982

Desktop In The Charismatic

Dream into refuge all plantation

Dream into cog all wheel

Dream into bracing all consultative

Dream into rocking all regent

Dream into preferable all chariots

Dream into luxurious all absorbs

Dream into contagious all enthusiasm

Dream into communal all welding

Dream into universal all anatomy

Dream into reality all rings

Dream into searchingly all mysteries

Dream into artillery all mechanisms

Dream into colony all proportions

Dream into miracle all compositions

Dream into artistry all pursuit

Dream into alliance all admiral company

Dream into fragrance all  new extensions

Dream into vast volume habitation all invests

Dream into carrying  devotion all per excellence

Dream into grace-going all shepherd rewarding

Dream into oasis all resuming acquaintance

Dream into cross over  all answering wonder.



Your Invades-Of-Veins,

Samuel-David O. Armstrong

Email: believingvirtue@gmail.com

+2348131914240



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Nigel Morgan Jul 2013
He suddenly felt a sadness that only a letter might lighten. Thoughts of her he carried variously in and from the spaces and places this hot day had taken him. The morning had been warmer than in previous days, and even at 6.0am there was a heaviness present carrying a threat of thunder and rain.

He knew she was not at her best in the leaden heat of this hemisphere, whilst enjoying the dry, brittle heat of Africa and beyond. He remembered a hot train journey and a busy day moving boxes into a studio space. They were fond memories because in such heat she took on a delicacy about her. He would perceive her features and movement to be finely drawn, and that perception revealed her profound beauty. Such recollections were foundations in his love for her.

Today he had decided to avoid that daily confrontation with the project that lay invisibly on his desk, locked up in his computer, though unsorted sheets of graph paper, populated with planning, were evident on his drawing board. This project was a ‘book’ of studies for an ensemble in Chicago whose performances were marked by such energy and virtuosity; the music was growing steadily, but he felt suspicious that it had been contrived. He hoped his precise positioning of pitch and rhythm would have brought forth a surface colouring and texture. It had not. He would often imagine symbols and words he could not yet define lying on a transparent sheet over the rather bland matter-of-fact notation of his scores. He had known only occasional moments of such graphic invention, and when they appear ‘right’, they enlivened and enhanced his work.

He had put aside today as a listening day, an opportunity to listen carefully to a group of new compositions presented in a series of broadcast concerts and available to re-audition over the Internet. Didn’t Van Gogh write to his brother about the need to rest during a period of intense creativity and spend a day copying another’s work? This was an equivalent to his ‘active listening’, listening with a pencil and paper, taking a shorthand of the music’s action and journey.

The first piece on his listening list was a four-minute composition for chorus and orchestra. He had been intrigued that the composer had set words by Richard Jeffries, a 19C author who had written children’s adventures about a parochial natural world and had become admired by today’s new nature writers. It was said Jeffries had instigated Henry Williamson’s closely observed prose. He had set about finding the words – hardly discernable in the rich sonic accumulation of voices and instruments in the broadcast performance. Eventually, thanks to a brief comment by the composer in his introduction and a line that leapt with clarity from the music (the butterfly floats in the light-laden air), found a passage in a book called A Study of My Heart.

Recognising my own inner consciousness, the psyche, so clearly, I cannot understand time. It is eternity now. I am in the midst of it. It is about me in the sunshine; I am in it, as the butterfly floats in the light-laden air. Nothing has to come; it is now. Now is eternity; now is the immortal life. Here this moment, by this tumulus, on earth, now; I exist in it. The years, the centuries, the cycles are absolutely nothing; it is only a moment since this tumulus was raised; in a thousand years it will still be only a moment. To the soul there is no past and no future; all is and will be ever, in now. For artificial purposes time is mutually agreed on, but is really no such thing. The shadow goes on upon the dial, the index moves round upon the clock, and what is the difference? None whatever. If the clock had never been set going, what would have been the difference? There may be time for the clock, the clock may make time for itself; there is none for me. . . . There is no separation-no past; eternity, the Now, is continuous. When all the stars have revolved they only produce Now again. The continuity of Now is for ever. So that it appears to me purely natural, and not super natural, that the soul whose temporary frame was interred in this mound should be existing as I sit on the sward. How infinitely deeper is thought than the million miles of the firmament!

The text chosen by the composer did not appear to follow the author’s words only weave a way in and around the paragraph, pulling out key words and phrases, creating a poem from the images. He could imagine doing this himself, making a poem of the text.

This business of time, and how it was to this author,  ‘all about me in the sunshine’, was the same for him. As he read it, he would think of the warm early morning light on the stone façade of the building across the road. He could turn away from his desk and see a quality of glowness that all but stopped his own thoughts of time. This quality of and in things that nature could bestow, even to the inanimate, held a wonder all its own.

And so he had listened several times to this bright, newly fashioned work, enjoying the sustained and acoustic beating of more than eighty voices (he thought) singing in close clusters. And with and against those clusters, were flurries and cascades of high woodwind, as though such figures were birds flocking into the sun on a summer’s sky. This music seemed to be about immanence, existing in the everything of itself, but unlike Jeffries’ reverie music was governed by time, and when finished, with an inconclusiveness that surprised him, would rarely, he felt, ever be performed again.
Ariel Baptista Aug 2015
You have heard it said that
A rose is a rose is a rose is a rose
But truly I tell you that
I am that I am that I am that I am
Dripping with Jehovah and stardust we fell to earth
Pieces of atmosphere pieced together
And who can trace the mythology of our chemical compositions
Or rewrite the narrative of our anatomies?
I fell to earth soaked in Yahweh and covered in snakebites
Black holes where the fangs sunk into the astronomy of my freckled skin
All the galaxies of my body each with their own elliptical orbits
Connect the dots to form two wolves in my milky way
Romulus and Remus –
My ******* bear venom white as the purest lamb
Whisper astrology and
Remember the day we built Rome by stacking corpses
Remember the day when all the stars burned red for us
But that was millennia ago and
I’m not your Venus anymore –
I’m nobody’s ******* Venus anymore
It was the age of Pisces and we came out drenched in Messiah
You found me picking painted roses on asteroid planets
With a blonde-haired child and a fox
In the garden green snakes and white roses
Thorns and soft pink ribbon-tongues
Fangs and velvet petals
Two drops of blood in the white sand like Mary,
I bore a son and named him Ares
I named him Mars
I named him Set
Boys will be boys will be boys will be monsters, you know that
I am that I am that I am that I am.
Swim down deep enough into the black waters and you’ll reach the heavens
Keep drawing blood from thorn wounds and you’ll drag out the atmosphere
Stare out intently into the abyss and the abyss will stare back into you
These are the things we knew
When we reached the outer boundary of the cosmos
And realized how hydrogen is nothing but celestial amniotic fluid
We, motionless
Smothered by God and Carbon and perfume and poison
In this ****** we named universe
On this fetus we named Earth
I am that I am that I am that I am
Truly with you until the end of the age
Until the afterbirth of star matter gets tossed out with the baby and the bathwater.
You have heard it said
A rose called by any other name wouldn’t smell as sweet
But truly I tell you
A rose is only as beautiful and fragrant as its thorns are sharp
And if you want to know what fills the space between protons and electrons
The gaps between breaths
The light-years between planets
Then listen to the sound of your own heart beating
Counting down the gestation period of our own reality
I am that I am that I am that I am
I’m more than a Rose.
SøułSurvivør Mar 2014
Summer 1986 Sunday 5:30AM

Misty morning in Malibu.
Seagulls stitch the sea to a subtle
silver sky. They sputter stridently.
Each elegant gull hovers effortlessly.
Entreating each other. Echos bounce
off the sound of the surf into eternity. The screeching of many a
soliloquy akin to silence.

I sit on the pier. The water before
me washes onto the staccato legs
of tiny waterbirds who wander
in and out of the surf. Little
windblown ***** of ecru and grey
wool. I worship in the womb of
the great goddess ~ *nature
.

6:30AM
I make my unhurried way up the
pier to my car. A cheap but
comfortable convertable. Nobody
walks in LA. I punch in a tape.
Don Henley. Boys of Summer.

I take PCH up to the incline that
takes you from the beach. Pushing
the pedal slightly as I slide by the
colossal bleached cliffs of
Palacades Park. There the homeless
sleep under the benches dedicated
by friends and family in
rememberance of loved ones.
Small plaques attatched for
posterity.

My hands are on the steering wheel
at 7 and 12 o'clock.I look at the cast
I wear on my right wrist. A token
of rememberance from an angry romance. He and I parted
respectively, if not at all
respectfully. I drive.

7:00AM
Venice beach. Not yet boysterous.
But never boring. The young people
(and old) still bundled together in bed. Saturday night hangovers will
be had by most of the denizens of
Venice beach boardwalk. A grainy
eyed few wander around abstractidly. Shopowners enter
their buildings, their storefronts
almost as small as booths. Graphitti
and giant works of art grace walls
everywhere ~ Jim Morrison and
Venus in workout leggings much
in evidence.

I smoke my cigarette and drink my
hot coffee carefully in the open cafe'.
I consider the eyefest of the crowd
that will congregate here to enjoy
the clement weather.
The cacophony and the clamor.
Touristas and Los Angelinos alike
drawn In by calculating vendors
and coyote souled street performers.
I look forward to seeing the
non conformity usually. But not
today. For now I sit in the quiet cafe'.

Venice beach. Vulpine. Vacuous.
A strangely vunerable venue. The
***** and the beautiful. The talented and the ******.

A street performance pianist trundles his acoustic piano on
casters out onto the boardwalk.
I ask him if I may play. He looks
at my cast doubtfully.
"I can still play..." I tell him.
He ascents and listens thoughtfully
as I play my compositions. He really
likes them. I ****** the ebony and
the ivory with insistant fingers.
The smile on his face is irrepressable. I smile back and we
flirt in self conceous, fitful fashion.
Time to leave.

9:00AM
Radio is on in my car now. A cut
from the musical Chess. One night
in Bangkok makes the hard man
humble...
I like the driving beat.
I'm going up I-10, a single blood cell
in the main artery that brings life
to the flesh of this mamouth town.
Traffic is tenuous. A boon here in
this conjested city.

I drive to Fairfax and Sunset, where
I lived with in a tiny one-bedroom
apartment with my mom. An
ambitious actress. I an ambivalent
artist.

Sunset. The Roxy and Whiskey-a-
Go-Go. Cartoon characters Rocky
and Bullwinkle casually cavort on
the top of a building. Billboards
as tall as the Hollywood sign. The
street of broken hearts for many
an actress -slash-model. They
wander about on street corners
looking haughty and haunted.
Waiting for who knows who to
honk. Their dreams have flown
away like the exhailation of smoke
from the mechanical lungs of the
Marlboro Man. Schwab's drugstore
and diner. The place where some
famous starlet was discovered.
Delivered into the arms of the
Hollywood machine. I opt to go
to the Sunset Grill.

11:00AM
I'm walking down Hollywood Blvd.
Perusing shops and persuing
pedestrian pleasures. Everyone
talks of the star-studded sidewalks.
To me they look tarnished and
filthy. Stars from a sultry smog
laden sky come to earth. The names
of some of the folks honored on
them I don't recognise.

I'm here to view movies today.
I'm definitely not going to
Grauman's Chinese Theater.
Been there. Done that. Gave the
very expensive T shirt to
Goodwill. I look around at the
proud and the plebian. The pedantic
and the pathetic. No prostitutes
out yet that I could see. Probably
toppled into bed to sleep
(for once). Deposed kings
and queens of the monarchy of the
night. The homeless hobble along
with their hair matted and askew.
Shopping carts with stuttering
wheels de reguer.

A couple of tourists with Izod shirts,
plaid shorts to the knee and deck
shoes sans socks gaze in a shop
window. It's borded by tarnished
and faded silver garlands... tinsel
Christmas tree.
"Want to buy a mood ring today?"
One of them querys his buddy,
laughingly.

I find my small theater and enter
the air conditioned lobby. I purchase
a soda and pass on the popcorn.
As I enter the theater's modestly
plush, dimly lit cocoon sanctuary
I notice very few patrons are here
for the matinee. GOOD. I finally
watch the premiere product of
Los Angeles. Movie after movie
slides across the screen. The callus
morally corrosive corporations
conspire with the creative to produce
the culmination of many art forms
in one. Cinema.

LA. Languid. Luxurious. Legendary.
Rollicking, raunchy rodeo.
Seaside city. Sophisticated. Spurious.

SPECTACULAR.

8:00PM
I wend my way up Mulholland Dr.
Another tape is playing in the deck.
One of my favorites. David + David.
Welcome to the Boomtown.

I pull over at a deserted vista. From
this viewpoint I can see the city
spread out like a blanketfof brilliance. The gridiron of LA.
Glitzy and glamorous. Generating
little gods and goddesses. A gigantic
gamble for the disingenuous and
gouache. Tinsel town. Titillating.
Tempestuous. Only the very brave
bring their dreams here... or fools
rush in where angels fear to tread.
All but the fallen angels. They thrive.

Oh! If this place could be bottled it
would be such sweet poison. I
look up at the auburn sky and back
down at the breathtaking panorama
The metropolis that is LA with awe
and angst. I carefully stub out my
cigarette and flip it irreverantly
toward the lagoon of lights.

I get in my car to drive home.
Home?
Could this imposing, inspiring,
impossible place be called home?

Well. Home is where the heart is.
And I live in the heart of a dream.
This is the city of dreams...

CITY OF ANGELS.

Soul Survivor
Catherine E Jarvis
(C) 2005
You can rest your eyes now...

I only have enough funds to
produce one spoken word
set to music... should I
do this one?
Corey Jan 2015
My mind has written entire movements where we dance in circles around each other, and where we run through fields of lilies.
My eyes have written ballads where the sorrow is slowly overwhelmed by the love of our future
My soul has written sonatas where our time together is condensed into an indescribable beauty of notes
My mind has written entire canons where our lives are laid out before us and we peak into the future to see that
My eyes have long forgotten what it felt like to see you in the afternoon and
Your soul has since forgiven me for all the trouble I gave you
My mind writes preludes to symphonies that no ears will ever hear
Just wrote this and it is a very special one.
Sia Jane Feb 2014
not here, here, here

inside, outside, her head
bath tub, bubbles shaped
like balloons, rising
in the air,
cut open, she
precludes the secret nature
of her love,

he loved, her
every ballet she danced
pink fur, a butterfly moving,
on tips of toes,
tripping the light, en pointe
painted pale lips,
winged eyeliner, corset
silk, golden embellished,
Lacroix,
feathered tutu, romantic
Tchaikovsky's compositions,
faery tale ballets,
Swan Lake, Paris Opéra
Odette, a sorcerer's curse
falling to her fate, black
later, taxi rides home, kissing
moonlight, bedroom laughter,

KNOCK

not here, here, here

the bathroom door,
she kisses away,
her melancholy madness,
his voice; *Laurier...

her soul, punctured
by her lover...

not here, here, here

© Sia Jane
Another twenty word challenge! So much fun!

"Wanderlust" by Sia Jane Lloyd available via all Amazon stores

http://www.amazon.co.uk/Wanderlust-she-travels-her-mind/dp/1492952346/ref=sr_1_1?ie=UTF8&qid;=1392582925&sr;=8-1&keywords;=sia+jane+lloyd

Also visit:
www.facebook.com/Siajanewords
siajanewords.blogspot.co.uk
members you'll note
a new event on the club's blueprint
which was so cleverly devised
by the committee's mint

all entries are to be marked
I really crave popularity
so ensure you write this
in letters of clearest clarity

the most original piece
shall garner the prized first place
those that are too **-hum
won't receive any grace

the council of jury
want to see
compositions stating
look at only me

they should have
a bragging tag
with the lionization
of unique flag

it's time to get
your submissions in
as the competition
is there to win
So many things are swimming through my mind right now.
So many thoughts, memories, emotions, and demons.
They float by like sheets of ice,
chilling me down to the deepest part of my broken soul,
making me numb.
Their compositions are so complex I avoid them for my sanity.
My mind is so distortedly dysfunctional.
It's filled with an infinite number of all these things,
but if I focus on one of them for too long, my mind pushes them out of reach.
My mind is a vast labyrinth guarded by sarcasm, bitterness, and a mask of composure,
filled with wastelands, trenches, and locked doors.
Only those that are patient will ever find the vault at its very center,
and even then, my mind is nearly impossible to crack.
This vault is like no other.
It's one that you never
                                                        want
                                                                                      to
                                                                                                             open.

Despite my mind's shortcomings, it's quite clever in this one sense.
The vault contains demons so repulsive, so revolting, so disturbingly terrifying,
why, my mind can't even remember what it put there.
But at night, as my mind pulls at dreams,
the vault is most unfortunately opened when my guard is down.
I sometimes wake up breathless,
with only faint recollections of the nightmarish memories and demons that my mind conjured and unleashed in slumber.
As suddenly as I awaken, the dark matter of my mind retracts back into the vault before I have much else to do.
I then peel myself off of my bed, scrape the attempt of a smile out of the gutters of my soul, and go about my day.
There are other times when the solid walls of my mind melt away for reasons I cannot explain.
Everything then swims through my mind,
all the darkness of it tugging at the back of my consciousness,
wearing away at my thought process,
and filling up my mind with hazy grief.
Nonetheless, the vault of my mind is better off locked.

However, by design, a vault must have a key to open it.
The key to mine takes many different forms,
and the interesting part is, I don't know what the key looks like.
From day to day, my mind is an imposing, impenetrable fortress,
to the point where even my own mind can't determine its complexity.
I live each day, watching, searching,
dreading the day when I finally find what frees my mind
from its nightmares, secrets, and its vault.
All of us are music.
Living breathing compositions.

Some are jazz. All bright colors and playful vibrancy mixed with a sultry sumptuous purr
.
Some are Blues. Deep down colors and aching longing mixed with a quiet wailing rumble.

Some are Rock. Primary colors and down home feel mixed with cruisin with the windows down and karaoke.

Some are Heavy metal. Reflective silvers, polished steels mixed with screaming wires and fierce feral growls.

Some are Alternative. Contrasting secondary colors and experimentation mixed with mystery box wonder and quizzical quirkiness.

Some are Classical. Black and white colors  of perfection mixed with full bodied timelessness.

Some are Pop. Vibrant pastel colors of youth and innocence mixed with bursting bubblegum bubbles and giddy dancy hope

Some are Showtunes. Lighted colors of exaggeration mixed with bravado and intensity

Some are Opera. Red hues of passion and heart mixed with pushing vocal limits and whole body overtures and ovations.

All of which run through the current of ‘soul’. Show yours. Feel yours. Sing yours. Whatever you do, do it with soul.
Nat Lipstadt Sep 2013
My poetry is an acquired taste,
So come, dear one,
Place your tongue in my mouth.
Pace yourself, there is so much,
Spoke and unwritten,
That fruitions only when spit-shared.

Flick your tongue-tip to mine,
Sealing bond, the salt caramel of my rhymes,
The iambic meter of my tamarind prose,
The buds, flowering, poems forming,
Watered by the admixture of joint, minted saliva.

My poetry, so very complicated,
Hints of currants and ash,
Soil volcanic, basaltic vowels, oh's and eyes,
Cursed verses that commence with I,
Nonetheless, despite soil inhospitable rued,
Compositions flourish, born wetland soluble.

Yours, for the taking,
Yours, for the tasting.

You place your fingers on my waist,
My body of work to contemplate,
My ditties, you spit out,
You want courses, not appetizers,
You want truths, not fluff, lies, menu tastings.

Columbus and Magellan, thy fingers named,
Trace the curvature of my ***,
With tip and tipsy stroked caresses,
You laugh with the pleasure of all the sssssss's.
Hissing all the day your satisfaction,
Capturing my writs, by your tongue's duress,
Recipient-thief of my literary largesse.

I am dressed all in white,
Stripped bare to my native coloring,
Except for two brown nippled spots, you lick,
Imbibing milky thoughts  from fountain-heads *****,
Savoring, relishing, stanzas that praise love's flavor.

With every line, every word-painting accessioned,
You make my soft parts hard,
My hard parts soft, but my liquidity,
My tears, they, that, you drink straight,
Licking, liking, and oohing and ahhing,
You tongue curled, upside down arching,
The storage point of your seduced gatherings.

To drain me full, your incisors cut,
Straight lines, entry points for your *******,
Taking, draining, leaving nothing,
Not even one aleph or bet escaping.

When you acquired my poetry, my verbosity,
Pillaging soul's hiding place, took and *****,
Your acquired the best, breaking my nape,
Imprisoned on and by my island's seascape,
Blanched and pained, a blank tape,
I am tasteless, witless, mockingly, tongue-tied.
Written tonite while driving upon moonlight country roads, departing one island, crossing another,
only to ferry to a third. As I was driving, unable to retain all, but wine and Bach's Brandenburg, withdrew new lines, before I broke, surrendering to a dreamless sleep
Graphite embossments littered the page.

Each groove and curve leaving imprinted scars for

the eye to wonder but is limited to the imagination.

Back and forth, inwards and out, and up and around; but in

essence leading you to where the eye first left off.



The rays of day breaking light coming from the window

besides her has left shadows against her face and neck to disperse perfectly along

through the spine and around the rib cage. Continuing on to the

inward gentle slopes of her lower back as well as her ample arching hips down to

the definition of her legs while descending to the petiteness of her toes.  



Compositions flood my thoughts, transpiring one to stain the mind.

Her pastel smooth skin creating curved tones, while her figure gently leads me

around each indention that follow her distinguished yet unremarkable features.

Featureless of defects and abundant in beauty

her form keeping me attentive of the lines I begin to choose and commit.



With one curved stroke, the line implies her seductive form, then another, and another

suggesting the composition as a whole.  

Beginning from my sight reverted to my mind down onto the textured paper below;

capturing the pigments so remarkably sharp.

I round brighter tones highlighted by darkened grays to extenuate  

the contrasts of the room in relation to the delicacy her physique.



The charcoal and graphite I precisely placed on the picture

plane has my finger tips caressing and imitating the curvatures of her body.    

The tones and shapes caught by the eye travel from her onto the crisp white blankets

entrapping her on the firm white bed she lay on. The brightened tones of the window enhance the distinctions between light and dark and heightens the intensity of my interest to

make this compositions one of my best.
every moment
is continually shedding itself;
sloughing off the skin of time,
dying, into the past,
to freshen in exposure,

this moment.

to live, really
to breathe, by
impermanence.

constantly transforming,
the body is never solid,
here, there, as atomic flashes,
electrons popping in and out
of existence,
an appearance made,
to depart, in a flicker.

all turns off, like this,
always, eventually,
momentarily.

threshed and stripping
bare chaos
voraciously burns,

returning through extinguish
on smokey black horizons.

sinking, into
tendrils weaving,
knitting by fray,
tapestries engendered
by enveloping decease.

you feel this
don’t you?
unconscious
as much of it may be.

it is the nearest of near,
and dearly intimate,
passions corrosive kiss,
oscillating, opening,
to retract, in flow,
pushing in
to pull away,

thanatos is eros
together, apart again,
together-apart,
here-going.

the heart is aware,
supremely aware of this happening,
even when the mind is fooled
by apparent stability,

and the soul surrenders to
it's inevitability,
even hungering for
divine destruction,
as basic an urge
as the creative impulse.

to be composed
is to be subject to decompose,
fertilizing compositions
in cosmic chasms.

our lungs darkly shining
with every fall of the chest
mirroring,

each breath
one breath closer
to the final breath,

each exhale
a letting go
of what can’t be held
forever,

the expelled
foreshadows annihilation,
on the fading road, towards
this mortal coils entropic end;
a preparation.

to live, surely, is to meet loss
over and over,
to love, fully, is to grieve
again and again,

there is a deep
melancholic knowing
that exists in all living things,

water drops
tears like rain,
leaves fall
like sighs,

everyone,
and everything
dies.

our melancholy
might be sacred
could we truly embrace,
and feel, this reality:

death is the ever present condition.
kha Jun 2018
He gave swerves to uncategorized happiness, with spins that ******* back into his despondencies. He was never given a chance to applaud himself for being a second-long happy or get back to the spotlight where he did belong to his whole **** life. He's properly beautiful when he dances, or when he's proud of his weakest points. Him singing, even the most heard songs will sound re-engaging as if he owns it. Our eyes pace head-on against our cars' contraries. Every scar I had given to my wrists soothe when we wrap our sinful hands in an ill-starred manner.

Love, for him, is altruistically pouring around like sudden downpours on a midsummer day; he had everything to offer yet nothing for himself. He invests a lot with what he wins back. He's the grandeur of a boring ensemble of actors yet still believes he's the subpar star when in reality, no such star existed like it. No one would ever dare to leave him with a river to bleed, or cherry wine bottles with teary send-offs.
Anyone who does that will rest assured have a slot in his own obscenities - oh, how I wish hell would be a lot better than that.

I wasn't briefed for safe keeping such recherchés, that I had to jilt. A handful will be curious, why my decision is a ****-up; or rather, why am I a **** up. But I would say people with better anything deserve his still-endearing dissonances. And all I have are lyrics while he gives song compositions. All he ever needs are happy mornings who hugs him back so right. Behind their curtains are joy-tinted windows with episodes of cuddles and husky 'Good morning's'. I am not that person, so I had left him in his most heightened situation yet - loving me. In a bed full of my inconsistencies, he was sleeping beside his hard-to-swallow Ecstasies.
j.s.
maybe I’ve changed
maybe the world changed
maybe both
maybe it’s sufficiently for the better
maybe it’s superlative for the worst

who knows?

I don’t

but those days spent
in dilapidated rooms
were ****** in the
otherworldly beauty of music,
that made us feel invisible
in our own little mystical
world of phlegmatic compositions
and we outlawed the vexation
of petty differences and tribulations

under the same pale moonlight,
our hearts were accompanied by
borrowing time from the
misery of tomorrow,
being chased by elephants,
and exhausted in pleasure
until we lost control of ourselves
in the beer bottles of perplexity
we talked a lot,
we drank a lot,
we smoked a lot,
Iggy Pop and Tom Waits,
moonshine and tweeka,
tranced in Susanna Hoffs eyes,
you truly were the
dancer in the dark
and sincerely,
those days
can not be beaten,
outdone
or relived
again

although
my best friend
is beyond the sky
by now
the remembrance of
memories and the
feelings of presence
makes me tremble

you were priceless and irreplaceable
but even diamonds turn to dust,
even diamonds turn to dust

and this is the end
of all dreams
yes,
the end
of all
dreams
To my closest and best friend who passed away 3 years ago.
Mateuš Conrad Feb 2017
i actually like the way slavoj žižek understands fascism, given the fourth movement of Beethoven's ninth symphony... as it stands: i really had to take pleasure in my suffering... i once called it: an exquisite pain... it's not that acknowledging pain is difficult, what's difficult is taking pleasure in it... on a whim... nothing as flamboyant as baron sacher-masoch's take on it, transcending toward the ****** thesis... i am the grey matter, the everyday comparison to a factotum sort of analogue of what pain constitutes... and i'm actually free from depressive apathy... i am sometimes prone to laugh like i might be experiencing what the Fore women experienced... the kuru "disease", otherwise known as the creutzfeldt-jakob "disease"... yes... mm... uncontrollable laugher... akin to St. Vitus' dance... sydenham's chorea.. it's hard to see why there should be any cure to the experience... given that the experience is so liberating and has no materialistic mono-mania of a well tended to economy... cannibalism really has a great array of noun-arsenal... a bit like the poetry of Christianity it's akin to... to really believe this *******: you have to take it to the extremes and make every word: utterly isolated, and in a sentence utterly meaningless... it's like a swarm of wasps honing in on a body of a bear that mistook its ash-phlegm nest for a beehive feast... sometimes it happens... but sure as all else concerning: why not take pleasure in an anti-cross crucifixion, i.e. a sick-bed? sure, it's less theatre and many less marble statues worthy of a church... but, if according to žižek / rzirzek / really? ź ż vs. ž... a fascists takes pleasure from suffering... i must be in this club, since i do, the pain in my brain with its sizzling quiz of blood emeshed in synapses has moved to my *******... ******* ahoy! i sit in a chair, and when drink (esp. when drinking): they are goosebump prone, titilating me... amusing me... all the pain concerning my brain has moved into a pleasure reaction bound to the testicles... i couldn't have foreseen this waterfall if i didn't explore the word fascist beyond the communal horror of spotting an orthodox practitioner in either street or cyber-space...

e.g. the fore of papua new guinea
(ghee-knee... later the debated about
quinoa... apparently it's not qui-
       or french agree, we-noah...
  but something else... oh, it's related to a quiz
asking me whether i could possibly be a 5% liberal
elitist... well, if you were reading
the sunday times magazine: it would ask you
that... i did cut it apart as qui- -noa...
  but apparently it's pronounced:
kin-wah...                 once again my point:
you don't use highly concentrated phonetic
units, i.e. diacritical marks...
you're bound to leisure in this linguistic hell
of constantly "correcting" people....
just saying... what's the matter, toad stole
your burp?)

   and i really wanted to write a neat poem...
poems like this emerge,
you go to a shop, by the cheapest whiskey
two cans of beer and a bottle of cola...
it's early February... the cars parked
have the eerie circumstance of jack o'fogfrost
breathing onto the windows...
    your fingers itch from the cold...
you start to really see a skeleton walking
rather than something resembling protein
fat and carbohydrate...
    thankful for winter: to naturally imagine
a skeleton walk in the cold
   smoking a cigarette and drinking the beer
while the whiskey cools in your rucksack...
all you end up needing is
   a square mile, and outer English suburbia...
and a look into that forest you once frequented
walking as if with gauged eyes into
the custard darkness...
   then sitting on a stump, taking all the clothing
items from your torso and listening in
as something neared, cracked a branch
and you uttered into the forest:
  no animal would dare come so near...
      
... (man has to drink, take a break...
         sneaky ******* get to see
a work in progress... lucky them...
           too much of a sober me)...
hey! i'm warming the stove, it's not going to
shoot out firecrackers made from words
into a
     hoghmony celebration.... oh look...
another googlewhack!
      http://tinyurl.com/z8xeqpsn
(billionth of another! this is how i play the "lottery")
ah freckle feckle ****... scoot for new years...
hogmaney...  hogmoney...
  hagmanny...
                 ­  ****! Hogmanay!
    what was i "saying"?
                            
ah wait... i know... i know...
i was watching this film goat (2016)....
with james francko doing cameo but mainly producing...
if anything could put you off going to
university, well, notably an american university
it's this film... now i drink, i really do, heavily...
but what went on in that film was nothing short
of happens when people lack any respect for liquor...
i could watch the roman empire in a zoo...
what i witnessed in this film was:
well... can't see a point of caging a lion,
but i can see all the reason for caging man...
but the problem arises with:
you can take children to a zoo...
          you couldn't even want a child
to experience this sort of Iraqi **** made in
America...
                       i drink, i really do...
i slurped on a prostitutes ****** when drunk...
hell... i even wrote this...
          and i am really starting to believe
that going to university was the worst mistake of my life...
i left it, educated as a chemist,
without a clear move toward a career as a chemist...
    would i care to learn the use of language
to university level? i.e. get an english degree?
      not if i were a middle-class woman
   who's daddy was a doctor or a dentist...
                            people from my background,
double that up with a father who works in construction
and me being of immigrant stock (when will i get
to say expat?) -
  it was the biggest mistake of my life...
you see... other immigrants start to get jealous...
     they say you have to die: for raising for head
above the water...
         a bit like they kicked the hell out of
Jamie Redknapp's career in football...
now he's a pundit... but not a football player...
they smacked him about...
good thing my grandfather was a Silesian miner
for some time... i decided to dig trenches...
yes, metaphor: write poems...
   because i still can't see what nature ordained me
to possess... and why these little hitlers decided wasn't
fair for their "sense of worth"... oh i can name them...
one of them, a childhood sweatheart of a friend,
egyptian / persian, used to call me during
weekdays and sing to me over the phone...
   apparently he could ******* 20 times a day...
i tried 4 times in one day... nothing came out...
      the other was an add on to being in school from
the age of 16 to 18... a paddy-sikh...
   loved barrington levy and driving a car while
******... loved the whole gansta gimmick...
a complete *******...
                           and to think i was fooled into their
little of jealousy... this will make absolutely no sense
to you... given we (a) never spoke outside the realm
of my tornado... and (b) had a coffee?
               well... let's just say: one stupid move on
my behalf while intoxicated on marijuana
aged 21 taught me all i needed to know...
  from the age of 21 through to the age i am now:
some could consider me a monk...
                 or that infamous word: cenobite -
oh i'm just obsessing about how i want to
put my top 3 picks into classic.fm's hall of fame,
and write 3. christopher young's something to think about,
2. christopher young's something to think about...
1. christopher young's something to think about...
as i realised the past two days...
  collecting a personal library of classical music
makes no sense... unless it's Händel... (æ, i.e. :)...
and classical music only makes sense
with a d.j., and yes: a radio...
            there's no point being poncy about classical
music when you collect it...
        unless it might be something by Hans Zimmer
or any other movie soundtrack...
      and you can just sit back, listen to the radio,
and the classics just come and come...
i spent today lying in bed, because classic.fm
was playing from about 6am to about 1pm...
  and then i extended it to 3pm because
of aled jones and the voice so necessary as
that of alexander armstrong... in between?
                     bill turnbull... a news anchor
if i'm not mistaken... couldn't handle it...
  no, not the voice: the choice of music...
but even such people are absolutely necessary...
and would anyone care to remember
the ****** megastore on oxford street?
  the classical music department?
does anyone remember is being sealed off by
   glass like an aquarium from all the other music
genre departments in the store?
   a bit like walking into a lunatic asylum:
everything had to be cork-lined waiting for a Proustian
novel... first you had to appreciate
and build up a palette for silence... before
some concerto could be "ate" like refined sushi...
    radio and classical music does work,
i might have made a mistake collective obscure tastes,
i.e. proto-folk examples in Polish and compositions
of German industrial music...
   i might have done that... yeah, so true with the jazz...
but you have to have a Houdini weak-spot...
so in bed... rummaging through the radio and
television listings and reviews...
   after doing a bit of a crossword (which i can't
for the love of god) and a 6 x 6 su doku...
        now that's definitely sunday activity...
looking through the radio and tv listings...
   esp. noting the day's programme of bbc radio 4...
well, it's not that i'm a convert, with a house
in south-west london...
                i just heard that england is famous
for its eccentrics... i wanted to experience
    the most eccentric practice on these isles...
      tending to a garden would have made sense...
if it wasn't February...
   so reading the listings and reviews was the next
best thing...
    what with confusing Aled Jones with Alex Jones...
that famous britpop bassist turned cheese-maker.

then how do you begin taking fatal
mortal steps, simply motivated by biological
dynamics? i could have ended that
servitude to the waterfall, or should
i correct myself: required it to continue...
      but then interludes in the case of opera
leave me peasant-like, most ignoble...
      there's the 15 minutes were no fame is mentioned,
and no one forces art to become advert...
   since we're talking of the thin-red-line,
i can't but help myself reading more book reviews
in English, than actual books in Polish...
because i care for the cognitive labourers,
i really do... i think they are needed
to bypass actual books, meaning they do all
the work... or should i say arbeiten?
well.. enough critics about, you get to
dissociate yourself from the actual origin...
     a bit like waving your hand at god
and embracing the "awe" inspiring profusion
of the human tongue becoming over-bearing...
not even bearing grudges...
  but no gratitudes either...
                it just is what you care to make of
germans the sole originators of
   the proto "bayeux" tapestry given a.i. -
but then you treat the germans as they
are currently given the sway,
and you awake a humanity in them:
a humanity only germans know how
to acknowledge: a collectivisation -
germans know no concept of individualism
akin to the late-removed isle Saxons...
i.e. the English... the English are always
blitzkrieg specific about the individual,
the fact that so many individuals get a chance to vote
leasves me with blisters of what i can best
estimate as noted to being conscience...
          the germans are best appropriate to
express the volk... the english are like stuffed
animals worshiping the name Byron... Milton...
Blake... Newton...
         and let's leave them there, because if they
finally manage a homogeny of an ethnic
accord to give a momentum unto it via their lack
cohesion... i am assured a passage to
the houses of parliament to laugh,
as a test of my carve to veto, rather than vote.
mainland europe calls them: the islanders!
you can't help but see a care to blow up
the tunnel la mange... the channel tunnel...
because if a 2nd ****** arose...
the tanks would flod that serene countryside...
     i come across foxes all the time...
once i picked a dead fox near the bus station
in romford using two bin bags from the nearby skip...
and walked with it home, weighed it,
just under 10 kilograms... i weighted myself first,
then with the dead fox enclosed in the bin bags...
then i walked with the fox and threw it into
a meadow... i was thinking along the lines:
at least the sanitation officer will have a day off..
  obviously i was tattooed with the idea that
i was some sort of shaman, given two people witnessed
me picking up the corpse...

900 gull herrings eating their own...
      chimanzees also take to a nibble...
        banana slug females are fond of eating
"******", when the mating gets heavy...
not ever, as ever, but with Darwinism had i ever
managed to see a woman like a mantis...
  sorry... looking at the ***-hole of nature like that
will eventually leave you paralysed and
not even awe-struck but fear-woken...
             because it really can't be so much a desire
to look at it as if it was necessarily needing
incorporation, but was necessarily incorporated
nonetheless...
         the ogasawara incident... 1945...
       yoshio had a fine fine palette...
                          cannibalism was never suggested
as equivalent of a war crime...
  and one said: human thighs tasted like chicken,
another said: a bit like raw tuna...
          judeo-christian food prohibitions...
    well... once the prohibitions come along with
the poetry... left can mean right...
and right will evidently mean left...
                 during the yuan dynasty...
         pedohpiles were more or less reductive in
their transgressions... they ate more: than they ******.
two freedoms then, china prone to omnivore status
and hindustan prone to vegetarianism...
               both examples lead to a success rate of
a billion examples...
                       it's only these pest-like infections of
mono-this omni-that are keen to always give their
i love yous as politico dictates...
  maxims even... so very fond they are: of their maxims...
they even infected their youth in the 21st century
stating that: no one is akin to us,
if not in his youth, having been ***** by abou10
10 favourite maxims... most kept, hardly any employed...
1261 edict: when children were asked to stop
plucking out their eyeballs...
   horror films are therefore, equivalent to soft-core
******... history is thrice over the real horror movie...
    but given our faculty of memory is so
(putting it mildly) "biased"... i think we're over-sensitive
in giving imagination the scenes from both
horror and Disney... we've already gave the former
and the latter we have just sold...
           but hey! a placentta fry-up like a setting sun,
illuminates with more choice of hue than
noon and the "dehydrated" shadow (yes,
i know, a better word would be suited, but i have
no time to ascribe it to a tailor-fitting, a neat and tidy
resonance... treat dehydrated as a dwarf shadow,
mingle that with photon and phonetic -
that light illuminates, and traps things into bites,
like H or He denote hydrogen and helium
respectively... and qui- and -noa denote
necessary argument of what sound goes where,
rightly)...

evidently i did take the quiestionnaire about
whether i am a liberal elite...
it had to be done... why would i otherwise read a sunday
newspaper?
            end result? 0-50 (norm), 51-100 (aspiring),
    101-150 (not quiet there), >150 (elitist snob)...
(ref. the 5%, charles murray, coming apart,
   the bell curve... superzips)
q1: what is the top prize in the thunderball and when
is it drawn?
   a1: i play the googlewhack lottery.
      alt. a1: 0 (alright), 5 (days rights), 10 (what is thunderball?)
             talk of chav tax...
q2: how many people in your vicinity voted for
    Brexit?
    a2: i just had an opinion... voting is cheap
when you can't express a ballot veto.
   alt. a2: 0 (all of them), 5 (one or two)... 10 (aghast at the question)
              a bit ******* obvious, no point explaining....
q3: what is your favourite dish on th
Nat Lipstadt Jan 2014
Scordatura refers to the tuning of a stringed instrument in other than the usual way to facilitate the playing of certain compositions. A scordatura (literally Italian for "mistuning"), also called cross-tuning, is an alternative tuning used for the open strings of a string instrument.

Use of alternative tunings allows the playing of otherwise impossible note sequences or note combinations or can be used to create unusual timbres. The technique can be described as an extended technique.
http://en.wikipedia.org/wiki/Scordatura
~~~~~~~~~~~

no, non parlano italiano,
né ** conoscenza della musica!

no, I don't speak Italian,
nor do I have knowledge of music

but words, words I know how to love,
how to let them roll off my tongue,
onto yours, seducing you helpless...

Scordatura,
slow say,
you can't help it,
as you spoke it aloud
your hand opens,,
your mouth too,
irresistible, irrepressible.

wet finger petals of the flowering hand.

I want you.
I want you,
in my mouth.
I want our mouths
to make
Scordatura.

speak impossible note creations,
speak in unusual timbres,
but, as one instrument.

I want our
mistunings
to be the
tune of us.

Scordatura,
admit it, my seduction,
accomplished,
our tongues interwoven,
strings, X crossed,
and our tune,
extended.

I want our mouths to make
Scordatura,
speak impossible note creations,
speak in unusual timbres,
as one instrument,
tune combinato.

*Scordatura!
Composed on the eve of Jan. 27, 2014
Äŧül Dec 2016
What for I changed, what did I adjust for?
For you, I wrote so many poems,
Poems which had become birds in light,
And that became stars in the night,
Songs that became flowers in the day,
But you say that they're a fool's compositions,
I feel cheated & defeated, the blame's on you.
My HP Poem #1313
©Atul Kaushal

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