i can sit on a windowsill that encompasses
my right **** cheek, for days,
and laugh out a can...
because it's the feeling that infuses passing
and pst with memorabilia of the museum;
hence i caught hearing a ****.*
man tries to b funny in greater number,
make him less and war answers....
when deftones released white pony i was circumference
jogging over the moon more than
when red hot chilli peppers released the album
containing under the bridge...
i'm still sitting on the window sill with one **** cheek...
oh the ****...
japanese ensō poetry will debauch the haiku...
i say: 'the only interruption of ensō
poetry is a toilet break... i'm drinking and writing,
i'm not going for haiku short and quickie
****** for the needy...
ensō poetry is like prosaic poetry of
europeans lying rather than hiding their
sociological lie attempt...'
when you write ensī you write without interruption,
of course you can be interrupted, like a leap year,
but i am writing confessing to
the superiority of ensī over haikus...
haiku is brief and spring,
it's a maxim you wish to never fulfil or prove,
regardless of proof or the valued truth in it...
the ensī are like haiku, although with european
poetic excess of narration,
but **** up it's not about the quantity of the narration,
i know the purposive art technique behind imagism,
it's about fluidity: and a measure of want of editing.
the ensī are perfected when you leave them
as they are...
they alone know when to end,
they alone know when to recede.
but in my paediatric diary i noted something odd
with that olive skinned child by the quasi mosque
gripping my fingers:
warm hands are heat-bed of brain (exponential
imagination, solipsism all the time, asexuality),
and my hands cold (warm heart, the brain dead when
imagination chooses either phonetic symbols
or treats phonetic symbols as mathematical
and creates mickey mouse),
the same thing happened to me...
when a single mum with a blond haired child
started to read to me in german,
and i started gentle silent crying with a beer.
but still: the ensī are the new, better, elongated
haikus.... just because europeans can't
manage keeping their mouths shut,
and to treat them cheap... i wonder if they can
elongate into narration from the haikus they fake
in order to resemble an understanding of metaphor.
put the kabbalah way into the noun allah...
(allah, a noun famous for also being a maltese croissant)
you get llh and a, a...
then look at the story... adam didn't bow to iblis...
two adams already... i know of Abigail...
but i'm working from a narrative most people
repeat to a blood drenched maxim...
a and adam, a and iblis... no e for an eve talking first...
women remain hidden, veiled,
otherwise the noun yahweh mentions
adam and eve... and the geometry of y, h, and w
is more than l and h can offer;
but as i decided long ago, monotheistic gods
are gamblers, they presupposed the existence of money,
so you can have large scale bureaucracies of theocracy,
sheiks, among them most notable sheikh hassan i sahba
and sheikh casbah... not like the mohikan gods
of pure tribalism (tribal cultures don't use money,
civilisations use money) with the godheads of deer,
crows, arrow splinters that are crafted into tribunals
of newtonian physics, and as is said of einstein:
your relativity forces a straight into a magnetic field
that bends straight lines of flighty.
