We dance on the glass prisms
Below us burns the fire
The flick of a romance or love on the edge
A half open door...death or life?

I never understand the world
The reality where we live
It's like a crooked satire or a hallucination of walking bodies
Before they have erased all memories
Of their own faces.

But those who deny forgetting their own faces
And look at the mirror every day,
See age crawling through the naked bodies
A man and a woman in bed..then their warm skin at midnight on the brink of extinguished immortality.

Poetry comes to me in those moments
Of laughter, of a feeling after love making
An emptiness, a desolation yet hunger for everything
That is when beyond our dreams our shadow comes and dance
On the prisms.
Like Pygmalion, I create my own woman of beauty in silence.

i met a mongol once in amsterdam, we exchanged a tearful stare and said a melancholic hello, as if we were to be brother in cement or sandstone of what the sun rememebred and man forgot but nonetheless carved for enshadowed suave of the shadowing hand on hand upon handed down remnant of the handless kanji... the motherless thus tongueless river of sight utilising hand and hand as sophistication of spying thanks to the hands’ shadows: thus no shadow tongue unless that shadow be thought or the abstract off thought: pre-meditation and the subsequent minded courtsey as requested of the blank page or the buddha’s slitted eyes faking intoxication by western standards of that green plant the mongols despise: and western societies fare to tax and thus exploit.*

and it would be easiest to withhold making talks
with the slavs
by compensation of the northern-most mosque
being established
as true progression...
but then having insulated the slavs
who are "primarily" plumbers and electricians
to make any dent in the politics of the other monotheists...
where the european excludes the european from europe
there you will see war as encouraging the asian
or the arab...
there you will see war, should a
european exclude european from europe
there you will see war
caucausian againts the rooster against the morn!
TAR TAR! TAR TAR! TAR! TAR!
(in japanese tora tora tora!)
because you did not cherish our shared values
thus become devalued therefore value your integral anti-economic
evaluations that have no place in my land
but concern of keeping brown in the noun and not in the verb
of racism and sun;
i've become a barabbas among you, you messiahs,
you messiah selfies and messiah implants,
what gave you the jews scorned has given
me you as the "jews" scorned in your disorientation
of the fathomed atom bomb already spoken of in
the book of the apocalypse....
but a man ejecting an european from europe
to fantacise a non-invoked colonialism will halve in carving
this world in half for multi-cultarism!
no pole ever spoke of colonialism to see you speak
of post-colonial re-colonialisation of remote areas so ardently cared for:
conquer... and subsequently fall: your sons the additive bullets:
я и pоссия demand: the caucaucus tribes to
fake unity with the danube fools of erected bohemia.

Grab ahold
Brace yourself

The stage is set to spin

Tighten grip
Lest ye slip

A slip to pin or slit

Willow with
Within your breath


Follow with the ******

with lock and step
  A brew of sep
On gentle do you blow

So and sew
Come and go

Of staged a play so grand

That holds the Courtsey
By the hand
At metronomes
Demand

Watching politics on a four-inch screen,
( much bigger in my dream)
and it appears to me that the end is not nigh,
it
will
just pass us by with a courtsey or a bow
and that's how they'll make us
believe.

PASSING STRANGE

Rose, arose & having risen:
...was angry.

'You never call me
by my name

only love & darling.'

'A rose by any other name
would smell as sweet! '
I quoted.

'That's neat! '
she sweetly smiled.

'That's Shakespeare! '
I whispered in her ear

and kissed her
sweet sweet smile.

(Each reflected in the other's eye) .

'Oh, quote me that kiss again! '
she sighed.

'How I do love thee...! '
I cried.

'...let me count the kisses! '
she replied.

My lovely darling

Rose.

*

PASSING STRANGE is from Shakespeare's Othello...when the big guy tells his tales to Dessie and she finds them not only strange but...passing strange. I always thought of a series of inns along a journey...the first was the Ye Olde Strange Inn...then the next one was Ye Really Weirdy Strange Inn...and then surpassing all that... Ye Olde Passing Strange Inn. The Passing Strange of the title refers to the fact that the poem begins with the most strange off the wall wonderful brawl of a row and ends in the most sublime *******!
I had merely asked her(as many times before) 'Do you want a cup of tea, love? ' And all hell exploded until I could understand where she was coming from and kiss it better. Using 'love' in almost every address to a person is an Irishism that is visible to others but invisible to me as...I'm Irish. I don't hear my Irish accent until someone comments on it and its little pecularities. So, my mother would say:
' Make us a cup of tea, love? ' And I say: 'Yeah, love! ' Or a shopkeeper would tell you that that was: '...only a shilling love for all them nice juicy tomatoes love! ' And if you hurt someone, you'd say:
' Sorry, love! ' Or: 'I love you...love! ' It's like spice or flavouring... invisible until it's not there! '
Even if you are unhappy with what a person is doing and tell them in no uncertain terms...so...then the sentence construction is likely to be: 'Ahhhh for fu's sake... love! ' You still put the 'love' on the end of the sentence to show that it is their present actions that you are displeased with and that despite all this they still are your 'love! '
Frieda used to tell me that she loved being my 'love! ' And indeed if I didn't say it she would pick me up on it or ask if I didn't love her anymore! Her full name was Frieda Rose so I would call her so or just Frieda or just Rose or 'Frieda Rose love! ' Try it yourself...it's very hard to be annoyed with someone when you are calling them 'love.' In my part of the country even men would call each other love(in Yorkshire in England they still do as well) and all the normal courtsey and manners are extended to a gentleman as well as to a lady. That's why it's called common courtsey! This can be seen at the end of the Beatles YELLOW SUBMARINE where the guys make an appearance as themselves and not just their cartoons! John is looking worred and Paul asks him: 'What's the matter John, love? '
This time however Frieda went berserk and said 'Don't call me love...I'm not your love! ' It turned out that I had begun to dropp her name more and more and now she was permantently called just 'Love! ' to show how dear she was to me. There was not other word for her except 'love.' She was love itself to me...the very embodiment of the word. Turns out a guy who treated her real bad and cheated on her a lot would always call her love to make it easier for him to cover up his cheating. If everyone was love then he couldn't make a mistake. One day he broke his own rule and called Frieda Rose...Dolly!
Big mistake...they broke up and as he left he told her of his foolproof system of using 'love' for whatever woman he was with. She always hated it after that and until I came along she wouldn't let anyone call her that. She said I said it so differently and it sounded lovely in an Irish accent and I said it like I meant it! That day she had been thinking of him for some reason and all the hurt came back and I just happen to say: 'Do you want a cup of tea, love! '
My stepping into Shakespeare diffused the situation and we started playing around with the launguage and delighting in the words.
Frieda Rose didn't know much Shakespeare until she met me and then it was impossible...not to. just by the process of osmosis you would soak up my passion for the bard. She was just bored and didn't like him anyway but gradually she came to see what I saw in the guy...like.. wow! She gradually soaked up lots of poems and poets and became quite an expert in whom she liked. She had just gotten into the Brownings and this also makes an appearance at the end of the poem.
I brushed back her hair and kissed her on her neck just under her ear and she swooned and sighed 'Oh, quote me that kiss again! ' She was now fully in Shakespearean mode and her feeling and the language got married at the point and out came this lovely natural line. I wish I had wrote it(I only report it!) and I bet Shakey wouldn't have minded coming up with it himself. Today it is still one of my favourite lines of poetry and I still wish I had wrote it. ******* it...she had
out-Shakespeare'd me!
And so I had to write a poem to get my favourite line into it and so PASSING STRANGE came to be. I love reading it even if an audience don't get it or like it that particular night.
It makes me go 'Mmmmmmmmmmm! ' and I get a chance to say:
'Oh, quote me that kiss again! '
Everytime I speak that line...I enter forever the timeless time of that kiss and that's the only moment that exists!