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Mateuš Conrad Apr 2017
at this point, i really don't know where to begin, in all earnet;
   this might seem unfathomable, but it's the case...

perhaps i'll begin from the end:
       ć - a shortening of ch -
                            and the case of unimaginative nouns,
say: the noun table, or chair...
       they're dull...
                           inanimate things tend to
have dull indentifications - they're dull nouns,
      they resemble the nature of the thing being named,
they don't move, they don't speak...
        but esp.                       they don't bloom -
and there's no hope for a revival of them...
   that table? that chair? it has no hope in any attempt
to return to its former, original form, i.e. a tree.

            but you already have two perfectly good
examples of a linguistic transgressions, and what's
   truly, nothing more laziness -
           the czech (check) republic...
                     what's the other one?
****... off the top of my head: i can't remember.
  
    we are talking about the second dimension of applied
diacritical marks, aren't we?
   ć     - the acute syllable scalpel is identified
                when the **** of iota enforces itself -
in an e.g. cieć (loosely... a trickle of **** from
                                                  a wound)....
                      what these symbols actually are,
are not necessarily idiosyncrasies, particular to whatever
particular they are designated to...
    look at them as punctuation marks,
             but not between words, instead within words;
sure, the ć example can only be interpreted
                     as sharpening the ch / cz compound...
because single letters are, after all, atomic.
                and there are ways of hiding -
      a č hides the z or the h: depending what
part of europe you're from...
                     but in the west they still know how to
pronounce czech republic... but have a hard time
    pronouncing the car manufacturer's logo:
              škoda - that's sh- / sz-      -koda....
                     that's being ******* rude, you don't
just avoid that sign... what? you think those people put
it up: so that it looks "pretty"?
                     the fact that škoda = szkoda (sh)
    in another langauge, and means oh well is another
matter.

    no, what really got me going to write this piece
begun as a rumour... yet another attack in germany...
football fans, bombs under buses...
         even the sadist in me (if there ever was one)
  thinks real hard about enjoying the amalgam
                        rooted in ethnicity of my nation's
former enemies... i'm really going to cringe on that point;
i cringe at white men dancing the new zealanders'
                                         - haka -
(māori)                            ergo?                      ­háka;
see it's a human decency to put "punctuation" marks
onto words... a bit like putting a kippah in a synagogue...
      so you get to then write:     ha!     ka!
           the phonetic incision in the second syllable
                                   it not necessary;
but hey! they mustered enough ***** to state in
condensed macron form a prolonging:
                             i.e.                        maa'ori.
actually, given the **** of iota, i'd write that as
                                            maa'o'rí -
         like the last letter is throwing something real
akin to a torero's                                    olé!

    what i am lamenting is the indecency of the english
language... in that they don't practice the aesthetic
of diacritical appropriation, and having acquired this
language aged 8, and having synthesised it for, oh 20 odd
years, analysing it has shown me that the english
language is far too peppered with minute idiosyncracies
that are beyond a chance of a diacritical approach being
established... as i already stated,
       czech - that word has no place in the uniform
rules of otherwise english, in matra form true here, true
there, true throroughly
.
                       combine the eastern variant of
the western "sensibility" and all you get is: chech -
                                                             chalk-cheque.
                   you can't apply diacritical indicators to ease
the suffering of dyslexics when timing their syllable
intake... you really hear hardly anything of dyslexia
in poland... maybe because there are clear incisor
                                        "coordinates" in the words?
                      like commas descending from on high?

but as the title indicates, this is but a minor point,
what bugged me today was -
     the east sports birds as emblems of their nationhood
status...
     the west? ******* flowers.

the scots?             a thistle.
   the irish?      a clover.
the english?     a rose.
            the dutch?              a tulip.
   the french?   a ******* lily!

           coming from a people that has an eagle
as its national emblem, i thought:
                         how about we choose a flower for
ourselves, and imitate these former angry colonial *******?
but on an implosive basis, so we bite into the rocks
   and slur out the words:      i'm not moving!

so i asked an older soul...
- given the above examples, what flower could contend
                  to be the naational flower of poland?
- well... there's the malwa (malva - mallow)
                 and there's the dalia (dahlia).

   i actually can remember the scent of a mallow,
the flower as such doesn't smell of anything,
   a bit like a jasmine....
                                              the leaves have the distinct
perfume, just like nettles have the distinct itch
protruding from their stems....
                                  but i was like:
   sure the mallow could be a national emblem of poland...
       but i was like: that doesn't go back to the root
of my curiosity...
                         some nouns sound so much better
in your native tongue...
       i know it's not a flower...
                   but when you're walking in the ancient
heart of your soul, that's a pine forest...
                    and you spot a bush
         and it's a paproć   (ferns!) -
                                i'll choose that as the nation's emblem...
sure, the mallow does have a nostalgic potency
to remember my great-grandmother who survived
           the second world war...
                                      but i kinda like the word
      paproć.... plus, it wouldn't be clever to imitate
western nations, with their....    FLOWER! POWER!
    i really have to make a cryptic joke by now:
   lauren sauthern = leonid brezhnev = gordon brown.
Emma S Jun 2013
It's your favorite flower
But still it doesn't have the power
To compare to your beauty

It has beautiful colors
But it doesn't show all your sorrows
It's isn't as multi colored as you are

You are my favourite star
But the dalia doesn't show what a lovely person you are
Even though you have got this far
There is a lot of things you have left to become a true silver star

You are my inspiration
You are my fascination

But most of all you are the one who made me who I am
My dalia loving Mother
Thank you
Sofia Von Aug 2012
Its all just words
No faces
No looks, no clothes, no smell
A simple connection

It could have been anybody

But it wasn’t

It started off as a hobby
Something to keep boredom at bay

By now you’re junior olympics... At least

It can be as flawless as beach glass

Or jagged
and farspread like the trees still dieing

I never know what to expect
Excitement
Misunderstanding
Seriousness
Interest
Laughter
­Understanding
Awkwardness
Distracted
An idea
... Clearly I could continue

It’s like my little escape hole
A therapist that Actually understands and wants to
We just click
Alined by the sun
Some would say

But I dunno if that’s true
All I know is what I feel

Should I not feel what I feel?
Do I feel what I feel?
Is what I feel real?
Or is it fake

Is it a lie?

Or should I make it one

I don’t know what’s best
How can I

I’m new at this remember

All I know are the words of the known
Who are unknown to me in one world
And an empty chair in the next

I sit down and wait patiently

Until it’s finally my turn, here is where I’ll sit

There is no shame finding comfort in the little things the chair offers
Its smooth silky surface
The wine stain down the middle
the dots that resemble a smile in the corner

You don’t forget what you know so well
You open up your palm

A baby snake inside

He doesn't take it
He doesn't **** it on the spot
He doesn't grimace with disgust
He doesn't burst out in laughter

He picks it up
and cradles it in his hands

And sets it free

Back into the world where it belongs

And then he gives you a dalia

You take it and tuck it behind his ear as something to be admired

He blushes

He needs you too
Maybe

But its real
Almost too real

So you push it away
It’s impossible
It might not even be close to what you think it might be

Forget

And stay silent

Hey

We start again

A haha here
A smiley face too

Climbing up the uncertain mountain that has never been climbed before

The chance of falling high
But you like the chase

And for now
It’s enough

You don’t really care if you summit anyway

A possible “when”
always dangling
Inside the clouds
Two Bulgarian poets entered “The Second Genesis” – Anthology of Contemporary World Poetry – India’2014
Poems of the Bulgarian poets Bozhidar Pangelov and Mira Dushkova are included in the Indian project “The Second Genesis: An Anthology of Contemporary World Poetry”. Bozhidar Pangelov’s poems are: “Time is an Idea” and “…I hear” translated by Vessislava Savova; as for Mira Dushkova’s poems – “Beyond”, “Sozopolis” and “The Girl”, they were translated by Petar Kadiyski.


For the authors:
Bozhidar Pangelov was born in the soft month of October in the city of the chestnut trees, Sofia, Bulgaria, where he lives and works. He likes joking that the only authorship which he acknowledges are his three children and the job-hobby in the sphere of the business services. His first book Four Cycles (2005) written entirely with an unknown author but in a complete synchronous on motifs of the Hellenic legends and mythos. The coauthor (Vanja Konstantinova) is an editor of his next book Delta (2005) and she is the woman whom “The Girl Who…” (2008) is dedicated to. His last (so far) book is “The Man Who…” (2009). In June 2013 a bi lingual poetry book A Feather of Fujiama is being published in Amazon.com as a Kindle edition. Some of his poems are translated in Italian, German, Polish, Russian, Chinese and English languages and are published on poetry sites as well as in anthologies and some periodicals all over the world. Bozhidar Pangelov is on of the German project Europe takes Europa ein Gedicht. “Castrop Rauxel ein Gedicht RUHR 2010” and the project “SPRING POETRY RAIN 2012”, Cyprus.
Mira Dushkova (1974) was born in in Veliko Tarnovo, the medieval capital of Bulgaria. She earned a MA degree from the University of Veliko Tarnovo, and later on a PhD in Modern Bulgarian Literature, from Ruse University Angel Kanchev, in 2010, where she is currently teaching literature courses.
Her writing includes poetry, essays, literary criticism and short stories. She has published several poetry books in Bulgarian: “I Try Histories As Clothes“ (1998), „Exercise On The Scarecrow” (2000), „Scents and Sights“ (2004), literary monograph “Semper Idem : Konstantin Konstantinov. Poetics of the late stories“ (2012, 2013) and the story collection „Invisible Things“ (2014).
Her poems have been published in literary editions in Bulgaria, USA, Sweden, Hungary, Croatia, Romania, Turkey and India. Some of her poems and essays have been first prize winners of different Bulgarian contests for literature.
She has attended poetry festivals in Bulgaria, Croatia (Zagreb) and Turkey (Istanbul and Ordu).
She lives in Ruse – Bulgaria.

For the Antology “The Second Genesis”:
In the anthology titled „The Second Genesis“ are published the poems of 150 poets from 57 countries. All poems are in English. The Antology consists of 546 pages. “The Second Genesis” includes authors’ and editors’ biographies and three indexes: of the authors; of the poem titles and an index based on the first verses. It is issued by “A.R.A.W.LII” (Academy of ‘raitɘ(s) And Word Literati) – an academy, which encourages literature and creative writing and realizes cultural connections between India and the other countries. Four times a year ARAWLII publishes in India the international magazine for poetry and creative writing „Prosopisia“. Its Chief Editor and President of A.R.A.W.LII is Prof. Anuraag Sharma. He is also author of Antology’s Introduction.
Participating Countries:
Albania, Argentina, Armenia, Australia, Belgium, Bosnia and Herzegovina, Brazil, Bulgaria, Albania, Great Britain, Germany, Greece, Denmark, Egypt, Estonia, India, Iran, Iraq, Ireland, Israel, Spain, Italy, Jordan, Canada, Cyprus, China, Kosovo, Cuba, Macao, Macedonia, Niger, Norway, Pakistan, Palestine, Poland, Puerto Rico, Romania, Russia, Saudi Arabia, USA, Singapore, Syria, Serbia, Taiwan, Tunis, Turkey, Fiji, Philippines, Finland, France, Holland, Croatia, Montenegro, Czech Republic, Chile, Sweden, Switzerland, Scotland, South Africa, Japan
For the editors:
Anuraag Sharma – editor and president of A.R.A.W.LII
Poet, critic, author of short stories, translator and playwrighter, Anuraag has to his credit the following publications: “Kiske Liye?”, “Punarbhava”, “Audhava”, Dimensions of the Angel: A Study of the poetry of Les Murray’s Poetry “Iswaswillbe” – a collection of short stories, “Setu” (“The Bridges”). He has also co-editor the volume of conference papers: ”Caring Cultures: Sharing Imaginations. Some of his recent publications include: “A Trilogy of plays”, “Mehraab” (“The Arch”) – translations of selected poems of four Canberra Poets, “Papa and Other Poems”, “Sau Baras Ka Sitara Eik” – translation of Andrew Parkin’s “A Star of Hundred Years”, “As if a wooden house I am”- translations of Surendra Chaturverdi, “Satish Verma: The Poet” and “Tere Jaane ke Baad Tere Aane as Pehle”. He is also editor-in-chief of two international journals – “Lemuria” and “Prosopisia”. Currently he is working as a Professor in English at Govt. College “Kekri” Ajmer, India.

Moizur Rehman Khan – co-redactor, project manager, secretary of A.R.A.W.LII
He studied Urdo and Persian Literature in college and later on competed his master degree in English literature from “Dayanand” College, Ajmer, India. He completed his research dissertation under the supervision of Anuraag Sharma on “Major themes in the poetry of Chris Wallas-Crabbe”. He is a creative writer. His poems and articles have been published in various magazines and journals. Currently he is teaching English at DMS, RIE, Ajmer, India.
References for the Antology:
“No middle no end, the poems in The Second Genesis have been speaking to you long before the beginning and will continue without you…don’t worry, its binding has long since unglued, its pages, worn and disheveled, will always be speaking to you, they’ve been compiled this way, to be read out of order, backwards, shelved or scattered in an attic between the coffee and greasy finger stains…The Second Genesis is the history of the Book where you become its words, ink and pulp.”
Craig Czury

“The Second Genesis is at the crossroads of a new poetic becoming. a poetry claiming its second beginning not only for art but the heart pulsating and feeding the entire body. This anthology is a successful fusion of unique, inimitable and polyphonic poetry, a well-organized improvisation with a solid and flexible structure.”

Dalia Staponkute

“The Second Genesis, a compendium of world poetry which is also a poetry of the world, suggests so much a new beginning as it does a recognition of the ongoing creation that continues to animate our collective existence. Our precarious era requires a global affirmation that we are all in this together. Poetry has always said as much, and here it says it again, in the idioms of our time.”
Paul Kane
**
“Visionary and international, The Second Genesis, introduced and edited by Anuraag Sharma, sparkles with poetry of insight, intelligence and feeling and is an indispensable reminder of our human aspirations and experience in the early 21st century. Poets from nearly sixty countries rub shoulders in this ambitious and wide-ranging collection, and their poems resonate and mingle in a multi-layered voice. It is the voice of our humanity.
In his Introduction, Dr. Sharma points to the invaluable importance of poetry in what he calls our destructive Lear era:
Beyond the Lear Century, across the 21st Century lies the island of Prospero and Ariel and Miranda and Ferdinand – the region of faith, hope and innocence, the land of virtue, and all forgiveness sans grievances, sans regrets, sans curses. The doleful shades lead to pastures new.
We must weigh our hopes. The Second Genesis is at hand….”
Diana Sampey
Jaee Derbéssy Aug 2015
She had this distinctive odor;
a mixture of sweet and genuine love
with this intense passion.
But she was a stranger.
Merely a stranger
in a crowd of faceless people.
Who was she?
I just had to know.
Or at least her name.
AJL Oct 2013
Mental debates of moving on and
Leaving the past, she dreams
Of working things out to make
Them last, she’s all too familiar
With solitude, its wonders,
Its dedication to her companionship

They walk hand in hand
Looking, staring at silhouettes, still vivid
and bright as the day that she first opened
Her eyes to Dalia smirks, truly hurt
She watches in awe
As he carefully places
The pieces to the puzzle of
A black and white field

Strategies flow easily from behind
The dam that is a set of porcelain eyes
Sworn to secrecy only for self fulfillment
Along the checkered floor she explored
Boundaries she had never encountered
He leads her as his pawn of choice

Through torturous escapades against
Rookie creatures and staggering Horsemen
They wane on her chances of successfully
Obtaining the crown of glory
He pushes her forward with a touch
Soft and soothing, no reason
To doubt his reasoning

She gives up the greatest of gifts, trust
In his hands she quietly moves
With no complaints, forward
Out toward a troublesome mine field

With every space she’s placed in
She’s laced with waste traced with her Demise,
he plays the creator,
How humorous it seems
The slightest sense of secure attachment
Provides a false sense of security
The way he touches her persuades
Her he’ll never let her fall

In his embrace she doesn’t see
The smirk of disgust as his face
Twisted, wretched and gruesome
Grins at the only pleasure she provides him
Empty bliss he can only wish to fill
His grasp, once tender and warm
Clenches down on her with splintering pain

With silent screams of despair
She comes closer to her peril
Glimmering crown, in the scope of her sight
The only sense of hope left in her mind
The next move can be her last
With only hopes of a clear road
As he once again guides her

Calm and steady with the kindness
He once displayed when she
Naïvely dreamt of how her life
Truly should become
Her struggles slowly ease away
From the pain she once felt

Never showed it even in the
Biggest battles he lead her through
Now she lay motionless alongside her
Fallen obstacles in complete darkness

Six cold silent walls surround
Her in her slumber until another
Cruel puppeteer falls across
The coffin of demise and despair
zev landau Aug 2014
I know it isn't ordinary
Aware it's not necessary
Not a typical routine
And something you may have never seen.

But today is my birthday
Something I do dare to share

Because I remember it well

I am not sure where I was born
Was it in Texas ? Was it Vermont?
Was I raised in Brooklyn County? Or maybe another country

But for sure I remember it well

The street where I lived was amused
Or was it the street of Hermon?
*** I am a little confused
Where I lived after I was born

But I remember it well.

I exchanged messages with ***, the newsy,
Amalia and Dalia, Gallia and Talia
And Peter and Teddy, and Geter and Freddy
I met friends all over.
A poet, a lawyer, nice pictures, and posters
Young friends, sweet babies and also proud mothers

I remember it well

So Happy Birthday to me,
matt nobrains May 2014
123456789
68747889392020292
92829299988888888
because that's how numbers
work.
I was back at my job
standing in the toy section
for little girls
there was this label
for a disney princess toy
it was labelled
"SPECIAL ***.
DP
$19.99"
and I had this rock hard
******* thinking about
*******.
***** that triple.
every hole oh my god.
right they're between the legos
and hello kitty.
there was a splash and I
awoke. the nurse was standing
in front of me with
a
bucket in her hand.
the mask was off now and
I could see that her head was
completely shaved balled.
both eyes were replaced with
cybernetic lenses, looking
like unblinking insect eyes.
I couldn't feel my arms or
legs.
-that's because we took them
she said
took them?
-yeah. cut them off. they're hanging over there. she pointed
and there they were speared
on meat hooks dangling
from the ceiling like dried
flowers.
I looked at my new stumps
they were patched at the
ends with stemcell bandages
looking like a cross between hamburger
and peat moss.
why would you do that?
-it was part of the procedure. she
didn't think you needed them
anymore
she?
-dalia.
my girlfriend.
oh my god im going to ******* puke
-not possible. we took out your stomach too.
WHY WOULD YOU DO THAT?
-a girl's gotta work aye?
she flipped the bucket over
and sat down in it, crossing her legs high. she smiled, without
showing teeth. a big smile like she
was barely containing a laugh.
combined with the lenses
the effect was that of
a praying mantis preparing
to take down a sparrow.
Norbert Tasev Nov 2020
The fall within the inner world has begun: the Commissioner is somewhere in Reality and deliberately expelled in Nothing! A herd of elephants rattled over me while my heartbeat rushed my heart attack-infected dalia heart! I measured between crystal shards of rotatable curved mirrors; a fat tuber of pathetic, chewy meat - and somehow I started on the sure path of burnout!
 
The glowing accusation of the solar systems looked back at me. In my judgment examiner, my heartbeat rumbled in the corners of my eyes, I played music star stars, and my two tearful tears would have embraced the Savior. Because on the vigilant endeavor of days: Tightened between Death and Immortality, we hang on ropes and pillars - we look confidently with a pile of abyss shouting wolfish eyes! In the field of unquenchable seas, we are tossed ready for action and yet uncertain!
 
The petals of my soul were handcuffed to self-determination by Love and Death; if I didn’t look face to face every day with my transience, I would be disgusted with boredom! Like a roast pigeon, I look forward with patience to My Beloved! He who had felt and knew everything about me even with secret rays of telepathy - now he has become a Witness as an understanding, uplifting, confidential friend! He listens and encourages at the same time: he always accepts because he needs me, even existing oxygen!
I am overwhelmed by tummy humiliation; Stammering-habogok! In the momentary expanded Silence, the Rings of Confidence of the Universe hold their eternal permanence in our clasped fingers — in our earthly solitary confinement, Love may be the only Redeeming Promise, a captive Universe Ark!

— The End —