Shepherds in haste are hurrying to Bethlehem
Their sandals on, their staffs in hand, their flocks alone  
Shepherds what have you heard from the plains?
In the distant meadow fields-you haste to Jerusalem  

Glo-ri-a, in Excelsis Deo! Glory be to God on High!

We have seen a bright star heading east
We are hurrying to where we saw the bright star
From mountains and moorlands far
We have heard whole heaven sing all this silent night:  

Glo-ri-a, in Excelsis Deo! Glory be to God on High!

Shepherds what have you found in the east?
Now that you return to your fields jubilant
We have seen and adored the Holy Child
Now we return jubilant to our wild

Glo-ri-a, in Excelsis Deo! Glory be to God on High!

Magi, Wise men what have you seen?
You hurry east carrying gifts
Gold-Frankincense-Myrrh-Kingly have been
What a choice of symbolic gifts!

Glo-ri-a, in Excelsis Deo! Glory be to God on High!

We have heard the King of the Universe is born
One foretold longtime ago by your Prophets
We hurry to Bethlehem with our gifts
To worship and adore him, this Holy Newborn

Glo-ri-a, in Excelsis Deo! Glory be to God on High!

Herod, what have you heard you look vicious?
Herod, what have you heard you look jealous?
The Magi are seen hurrying east carrying kingly gift
The Shepherd have passed here in haste to praise Christ
They say He is the said to come-King of the Universe

Glo-ri-a, in Excelsis Deo! Glory be to God on High!

Joseph what have you heard in a dream?
What has the angel said while in slumber you stream?
‘Rise, take the Holy Child and the ****** Mother
And to the Land of Egypt, there take refuge
Until such a time dies, he who seek him to damage

Glo-ri-a, in Excelsis Deo! Glory be to God on High!

© Kìùra Kabiri. All rights reserved.

well, it's still better than what populists ascribed to with omni-; which basically led two major "monotheisms" (Christianity and Islam) into pantheism: e.g. - touch a rock, mm, that's god... touch a banana, mm, that's god; stick a thumb up your ***, mm... now that's truly god.

what i was aiming to suggest was the concept
of *deo sapiens,
as an antidote to the overrated **** sapiens
categorisation, which can hardly be the limit
of our collective definition of man set apart
from nature, given his persistent submission
to the four elements of nature, which limit
man's assurance as above helpless animals he
decided to pet or industrialise in farming -
and apart from the elements the existence of
parasites and diseases (negations of ease) -
i only wanted to introduce the concept deo sapiens
to say F U to the Greek demoralising theological
poets, and enjoin the whole concept with
what was already inscribed prior: made in his image,
although image doesn't really go beyond
the demigod Narcissus in what's to be understood:
perhaps we are of the same mould in
the shallow realm of equal representation,
repraesentatio expilo (representative plagiarism),
but with the overruling body of nuance
hanging over us like a sack of **** or the sword
of Damocles, we can hardly continue as these unshaken
prefects of the firm categorisation of **** sapiens,
which is still rather an infant of conceptualisation,
we have no claim to **** sapiens, i cannot think
why man claimed such a firm atheistic belief with
his continual irrationality, perhaps certain discoveries
in science allowed him crossing the Nile of ideas,
thus in the same way as i disregard the categorisation
of **** sapiens i invite the concept of deo sapiens,
a rational god: it's just a massive grave and subsequent
plagiarism with pyramid schemes of dupes!
that thing ain't gonna fly! away from greek poets who
purposively created immoral gods to satiate their
human fancy: indeed an unfair world, but a world
where man can fully express his freedom, and what
freedom he chooses according to his will...
only a deo sapiens would allow such freedoms
(with that one ****** exception that's worth a thousand
stigmas in the shadow of the crux that gave us
so much narcissistic culture via iconography and dyslexia);
or in other words, yes, indeed only a **** insapiens
would dare craft the idea of a deo sapiens
(although in act of good faith / doubt), rather than
a **** sapiens crafting the idea of deo insapiens
(although in act of bad faith / denial) -
and yes, the paradoxical twins, who are actually
Siamese... it's now up to your choice of painting with
will what freedom you wish to see revealed on
the canvas... don't mind me, my hands are in the air,
i surrender... i'm not about to imitate an Islamic prayer
format of kneeling and mumbling something under
my breath five times a day; i'll do it in one smooth
guillotine stroke: hands in the air.

II. TO DEMETER (495 lines)

(ll. 1-3) I begin to sing of rich-haired Demeter, awful goddess
-- of her and her trim-ankled daughter whom Aidoneus rapt away,
given to him by all-seeing Zeus the loud-thunderer.

(ll. 4-18) Apart from Demeter, lady of the golden sword and
glorious fruits, she was playing with the deep-bosomed daughters
of Oceanus and gathering flowers over a soft meadow, roses and
crocuses and beautiful violets, irises also and hyacinths and the
narcissus, which Earth made to grow at the will of Zeus and to
please the Host of Many, to be a snare for the bloom-like girl --
a marvellous, radiant flower.  It was a thing of awe whether for
deathless gods or mortal men to see: from its root grew a hundred
blooms and is smelled most sweetly, so that all wide heaven above
and the whole earth and the sea's salt swell laughed for joy.
And the girl was amazed and reached out with both hands to take
the lovely toy; but the wide-pathed earth yawned there in the
plain of Nysa, and the lord, Host of Many, with his immortal
horses sprang out upon her -- the Son of Cronos, He who has many
names (5).

(ll. 19-32) He caught her up reluctant on his golden car and bare
her away lamenting.  Then she cried out shrilly with her voice,
calling upon her father, the Son of Cronos, who is most high and
excellent.  But no one, either of the deathless gods or of mortal
men, heard her voice, nor yet the olive-trees bearing rich fruit:
only tender-hearted Hecate, bright-coiffed, the daughter of
Persaeus, heard the girl from her cave, and the lord Helios,
Hyperion's bright son, as she cried to her father, the Son of
Cronos.  But he was sitting aloof, apart from the gods, in his
temple where many pray, and receiving sweet offerings from mortal
men.  So he, that Son of Cronos, of many names, who is Ruler of
Many and Host of Many, was bearing her away by leave of Zeus on
his immortal chariot -- his own brother's child and all
unwilling.

(ll. 33-39) And so long as she, the goddess, yet beheld earth and
starry heaven and the strong-flowing sea where fishes shoal, and
the rays of the sun, and still hoped to see her dear mother and
the tribes of the eternal gods, so long hope calmed her great
heart for all her trouble....
((LACUNA))
....and the heights of the mountains and the depths of the sea
rang with her immortal voice: and her queenly mother heard her.

(ll. 40-53) Bitter pain seized her heart, and she rent the
covering upon her divine hair with her dear hands: her dark cloak
she cast down from both her shoulders and sped, like a wild-bird,
over the firm land and yielding sea, seeking her child.  But no
one would tell her the truth, neither god nor mortal men; and of
the birds of omen none came with true news for her.  Then for
nine days queenly Deo wandered over the earth with flaming
torches in her hands, so grieved that she never tasted ambrosia
and the sweet draught of nectar, nor sprinkled her body with
water.  But when the tenth enlightening dawn had come, Hecate,
with a torch in her hands, met her, and spoke to her and told her
news:

(ll. 54-58) 'Queenly Demeter, bringer of seasons and giver of
good gifts, what god of heaven or what mortal man has rapt away
Persephone and pierced with sorrow your dear heart?  For I heard
her voice, yet saw not with my eyes who it was.  But I tell you
truly and shortly all I know.'

(ll. 59-73) So, then, said Hecate.  And the daughter of rich-
haired Rhea answered her not, but sped swiftly with her, holding
flaming torches in her hands.  So they came to Helios, who is
watchman of both gods and men, and stood in front of his horses:
and the bright goddess enquired of him: 'Helios, do you at least
regard me, goddess as I am, if ever by word or deed of mine I
have cheered your heart and spirit.  Through the fruitless air I
heard the thrilling cry of my daughter whom I bare, sweet scion
of my body and lovely in form, as of one seized violently; though
with my eyes I saw nothing.  But you -- for with your beams you
look down from the bright upper air Over all the earth and sea --
tell me truly of my dear child, if you have seen her anywhere,
what god or mortal man has violently seized her against her will
and mine, and so made off.'

(ll. 74-87) So said she.  And the Son of Hyperion answered her:
'Queen Demeter, daughter of rich-haired Rhea, I will tell you the
truth; for I greatly reverence and pity you in your grief for
your trim-ankled daughter.  None other of the deathless gods is
to blame, but only cloud-gathering Zeus who gave her to Hades,
her father's brother, to be called his buxom wife.  And Hades
seized her and took her loudly crying in his chariot down to his
realm of mist and gloom.  Yet, goddess, cease your loud lament
and keep not vain anger unrelentingly: Aidoneus, the Ruler of
Many, is no unfitting husband among the deathless gods for your
child, being your own brother and born of the same stock: also,
for honour, he has that third share which he received when
division was made at the first, and is appointed lord of those
among whom he dwells.'

(ll. 88-89) So he spake, and called to his horses: and at his
chiding they quickly whirled the swift chariot along, like long-
winged birds.

(ll. 90-112) But grief yet more terrible and savage came into the
heart of Demeter, and thereafter she was so angered with the
dark-clouded Son of Cronos that she avoided the gathering of the
gods and high Olympus, and went to the towns and rich fields of
men, disfiguring her form a long while.  And no one of men or
deep-bosomed women knew her when they saw her, until she came to
the house of wise Celeus who then was lord of fragrant Eleusis.
Vexed in her dear heart, she sat near the wayside by the Maiden
Well, from which the women of the place were used to draw water,
in a shady place over which grew an olive shrub.  And she was
like an ancient woman who is cut off from childbearing and the
gifts of garland-loving Aphrodite, like the nurses of king's
children who deal justice, or like the house-keepers in their
echoing halls.  There the daughters of Celeus, son of Eleusis,
saw her, as they were coming for easy-drawn water, to carry it in
pitchers of bronze to their dear father's house: four were they
and like goddesses in the flower of their girlhood, Callidice and
Cleisidice and lovely Demo and Callithoe who was the eldest of
them all.  They knew her not, -- for the gods are not easily
discerned by mortals -- but standing near by her spoke winged
words:

(ll. 113-117) 'Old mother, whence and who are you of folk born
long ago?  Why are you gone away from the city and do not draw
near the houses?  For there in the shady halls are women of just
such age as you, and others younger; and they would welcome you
both by word and by deed.'

(ll. 118-144) Thus they said.  And she, that queen among
goddesses answered them saying: 'Hail, dear children, whosoever
you are of woman-kind.  I will tell you my story; for it is not
unseemly that I should tell you truly what you ask.  Doso is my
name, for my stately mother gave it me.  And now I am come from
Crete over the sea's wide back, -- not willingly; but pirates
brought be thence by force of strength against my liking.
Afterwards they put in with their swift craft to Thoricus, and
there the women landed on the shore in full throng and the men
likewise, and they began to make ready a meal by the stern-cables
of the ship.  But my heart craved not pleasant food, and I fled
secretly across the dark country and escaped by masters, that
they should not take me unpurchased across the sea, there to win
a price for me.  And so I wandered and am come here: and I know
not at all what land this is or what people are in it.  But may
all those who dwell on Olympus give you husbands and birth of
children as parents desire, so you take pity on me, maidens, and
show me this clearly that I may learn, dear children, to the
house of what man and woman I may go, to work for them cheerfully
at such tasks as belong to a woman of my age.  Well could I nurse
a new born child, holding him in my arms, or keep house, or
spread my masters' bed in a recess of the well-built chamber, or
teach the women their work.'

(ll. 145-146) So said the goddess.  And straightway the *****
maiden Callidice, goodliest in form of the daughters of Celeus,
answered her and said:

(ll. 147-168) 'Mother, what the gods send us, we mortals bear
perforce, although we suffer; for they are much stronger than we.

But now I will teach you clearly, telling you the names of men
who have great power and honour here and are chief among the
people, guarding our city's coif of towers by their wisdom and
true judgements: there is wise Triptolemus and Dioclus and
Polyxeinus and blameless Eumolpus and Dolichus and our own brave
father.  All these have wives who manage in the house, and no one
of them, so soon as she has seen you, would dishonour you and
turn you from the house, but they will welcome you; for indeed
you are godlike.  But if you will, stay here; and we will go to
our father's house and tell Metaneira, our deep-bosomed mother,
all this matter fully, that she may bid you rather come to our
home than search after the houses of others.  She has an only
son, late-born, who is being nursed in our well-built house, a
child of many prayers and welcome: if you could bring him up
until he reached the full measure of youth, any one of womankind
who should see you would straightway envy you, such gifts would
our mother give for his upbringing.'

(ll. 169-183) So she spake: and the goddess bowed her head in
assent.  And they filled their shining vessels with water and
carried them off rejoicing.  Quickly they came to their father's
great house and straightway told their mother according as they
had heard and seen.  Then she bade them go with all speed and
invite the stranger to come for a measureless hire.  As hinds or
heifers in spring time, when sated with pasture, bound about a
meadow, so they, holding up the folds of their lovely garments,
darted down the hollow path, and their hair like a crocus flower
streamed about their shoulders.  And they found the good goddess
near the wayside where they had left her before, and led her to
the house of their dear father.  And she walked behind,
distressed in her dear heart, with her head veiled and wearing a
dark cloak which waved about the slender feet of the goddess.

(ll. 184-211) Soon they came to the house of heaven-nurtured
Celeus and went through the portico to where their queenly mother
sat by a pillar of the close-fitted roof, holding her son, a
tender scion, in her *****.  And the girls ran to her.  But the
goddess walked to the threshold: and her head reached the roof
and she filled the doorway with a heavenly radiance.  Then awe
and reverence and pale fear took hold of Metaneira, and she rose
up from her couch before Demeter, and bade her be seated.  But
Demeter, bringer of seasons and giver of perfect gifts, would not
sit upon the bright couch, but stayed silent with lovely eyes
cast down until careful Iambe placed a jointed seat for her and
threw over it a silvery fleece.  Then she sat down and held her
veil in her hands before her face.  A long time she sat upon the
stool (6) without speaking because of her sorrow, and greeted no
one by word or by sign, but rested, never smiling, and tasting
neither food nor drink, because she pined with longing for her
deep-bosomed daughter, until careful Iambe -- who pleased her
moods in aftertime also -- moved the holy lady with many a quip
and jest to smile and laugh and cheer her heart.  Then Metaneira
filled a cup with sweet wine and offered it to her; but she
refused it, for she said it was not lawful for her to drink red
wine, but bade them mix meal and water with soft mint and give
her to drink.  And Metaneira mixed the draught and gave it to the
goddess as she bade.  So the great queen Deo received it to
observe the sacrament.... (7)

((LACUNA))

(ll. 212-223) And of them all, well-girded Metaneira first began
to speak: 'Hail, lady!  For I think you are not meanly but nobly
born; truly dignity and grace are conspicuous upon your eyes as
in the eyes of kings that deal justice.  Yet we mortals bear
perforce what the gods send us, though we be grieved; for a yoke
is set upon our necks.  But now, since you are come here, you
shall have what I can bestow: and nurse me this child whom the
gods gave me in my old age and beyond my hope, a son much prayed
for.  If you should bring him up until he reach the full measure
of youth, any one of womankind that sees you will straightway
envy you, so great reward would I give for his upbringing.'

(ll. 224-230) Then rich-haired Demeter answered her: 'And to you,
also, lady, all hail, and may the gods give you good!  Gladly
will I take the boy to my breast, as you bid me, and will nurse
him.  Never, I ween, through any heedlessness of his nurse shall
witchcraft hurt him nor yet the Undercutter (8): for I know a
charm far stronger than the Woodcutter, and I know an excellent
safeguard against woeful witchcraft.'

(ll. 231-247) When she had so spoken, she took the child in her
fragrant ***** with her divine hands: and his mother was glad in
her heart.  So the goddess nursed in the palace Demophoon, wise
Celeus' goodly son whom well-girded Metaneira bare.  And the
child grew like some immortal being, not fed with food nor
nourished at the breast: for by day rich-crowned Demeter would
anoint him with ambrosia as if he were the offspring of a god and
breathe sweetly upon him as she held him in her *****.  But at
night she would hide him like a brand in the heard of the fire,
unknown to his dear parents.  And it wrought great wonder in
these that he grew beyond his age; for he was like the gods face
to face.  And she would have made him deathless and unageing, had
not well-girded Metaneira in her heedlessness kept watch by night
from her sweet-smelling chamber and spied.  But she wailed and
smote her two hips, because she feared for her son and was
greatly distraught in her heart; so she lamented and uttered
winged words:

(ll. 248-249) 'Demophoon, my son, the strange woman buries you
deep in fire and works grief and bitter sorrow for me.'

(ll. 250-255) Thus she spoke, mourning.  And the bright goddess,
lovely-crowned Demeter, heard her, and was wroth with her.  So
with her divine hands she snatched from the fire the dear son
whom Metaneira had born unhoped-for in the palace, and cast him
from her to the ground; for she was terribly angry in her heart.
Forthwith she said to well-girded Metaneira:

(ll. 256-274) 'Witless are you mortals and dull to foresee your
lot, whether of good or evil, that comes upon you.  For now in
your heedlessness you have wrought folly past healing; for -- be
witness the oath of the gods, the relentless water of Styx -- I
would have made your dear son deathless and unaging all his days
and would have bestowed on him everlasting honour, but now he can
in no way escape death and the fates.  Yet shall unfailing honour
always rest upon him, because he lay upon my knees and slept in
my arms.  But, as the years move round and when he is in his
prime, the sons of the Eleusinians shall ever wage war and dread
strife with one another continually.  Lo!  I am that Demeter who
has share of honour and is the greatest help and cause of joy to
the undying gods and mortal men.  But now, let all the people
build be a great temple and an altar below it and beneath the
city and its sheer wall upon a rising hillock above Callichorus.
And I myself will teach my rites, that hereafter you may
reverently perform them and so win the favour of my

She said, ‘You are funny, the way you set yourself up the moment we arrive. You look into every room to see if it’s suitable as a place to work. Is there a table? Where are the plugs? Is there a good chair at the right height? If there isn’t, are there cushions to make it so? You are funny.’
 
He countered this, but his excuse didn’t sound very convincing. He knew exactly what she meant, but it hurt him a little that she should think it ‘funny’. There’s nothing funny about trying to compose music, he thought. It’s not ‘radio in the head’ you know – this was a favourite expression he’d once heard an American composer use. You don’t just turn a switch and the music’s playing, waiting for you to write it down. You have to find it – though he believed it was usually there, somewhere, waiting to be found. But it’s elusive. You have to work hard to detect what might be there, there in the silence of your imagination.
 
Later over their first meal in this large cottage she said, ‘How do you stop hearing all those settings of the Mass that you must have heard or sung since childhood?’ She’d been rehearsing Verdi’s Requiem recently and was full of snippets of this stirring piece. He was a) writing a Mass to celebrate a cathedral’s reordering after a year as a building site, and b) he’d been a boy chorister and the form and order of the Mass was deeply engrained in his aural memory. He only had to hear the plainsong introduction Gloria in Excelsis Deo to be back in the Queen’s chapel singing Palestrina, or Byrd or Poulenc.
 
His ‘found’ corner was in the living room. The table wasn’t a table but a long cabinet she’d kindly covered with a tablecloth. You couldn’t get your feet under the thing, but with his little portable drawing board there was space to sit properly because the board jutted out beyond the cabinet’s top. It was the right length and its depth was OK, enough space for the board and, next to it, his laptop computer. On the floor beside his chair he placed a few of his reference scores and a box of necessary ‘bits’.
 
The room had two large sofas, an equally large television, some unexplainable and instantly dismissible items of decoration, a standard lamp, and a wood burning stove. The stove was wonderful, and on their second evening in the cottage, when clear skies and a stiff breeze promised a cold night, she’d lit it and, as the evening progressed, they basked in its warmth, she filling envelopes with her cards, he struggling with sleep over a book.
 
Despite and because this was a new, though temporary, location he had got up at 5.0am. This is a usual time for composers who need their daily fix of absolute quiet. And here, in this cottage set amidst autumn fields, within sight of a river estuary, under vast, panoramic uninterrupted skies, there was the distinct possibility of silence – all day. The double-glazing made doubly sure of that.
 
He had sat with a mug of tea at 5.10 and contemplated the silence, or rather what infiltrated the stillness of the cottage as sound. In the kitchen the clock ticked, the refrigerator seemed to need a period of machine noise once its door had been opened. At 6.0am the central heating fired up for a while. Outside, the small fruit trees in the garden moved vigorously in the wind, but he couldn’t hear either the wind or a rustle of leaves.  A car droned past on the nearby road. The clear sky began to lighten promising a fine day. This would certainly do for silence.
 
His thoughts returned to her question of the previous evening, and his answer. He was about to face up to his explanation. ‘I empty myself of all musical sound’, he’d said, ‘I imagine an empty space into which I might bring a single note, a long held drone of a note, a ‘d’ above middle ‘c’ on a chamber ***** (seeing it’s a Mass I’m writing).  Harrison Birtwistle always starts on an ‘e’. A ‘d’ to me seems older and kinder. An ‘e’ is too modern and progressive, slightly brash and noisy.’
 
He can see she is quizzical with this anecdotal stuff. Is he having me on? But no, he is not having her on. Such choices are important. Without them progress would be difficult when the thinking and planning has to stop and the composing has to begin. His notebook, sitting on his drawing board with some first sketches, plays testament to that. In this book glimpses of music appear in rhythmic abstracts, though rarely any pitches, and there are pages of written description. He likes to imagine what a new work is, and what it is not. This he writes down. Composer Paul Hindemith reckoned you had first to address the ‘conditions of performance’. That meant thinking about the performers, the location, above all the context. A Mass can be, for a composer, so many things. There were certainly requirements and constraints. The commission had to fulfil a number of criteria, some imposed by circumstance, some self-imposed by desire. All this goes into the melting ***, or rather the notebook. And after the notebook, he takes a large piece of A3 paper and clarifies this thinking and planning onto (if possible) a single sheet.
 
And so, to the task in hand. His objective, he had decided, is to focus on the whole rather than the particular. Don’t think about the Kyrie on its own, but consider how it lies with the Gloria. And so with the Sanctus & Benedictus. How do they connect to the Agnus Dei. He begins on the A3 sheet of plain paper ‘making a map of connections’. Kyrie to Gloria, Gloria to Credo and so on. Then what about Agnus Dei and the Gloria? Is there going to be any commonality – in rhythm, pace and tempo (we’ll leave melody and harmony for now)? Steady, he finds himself saying, aren’t we going back over old ground? His notebook has pages of attempts at rhythmizing the text. There are just so many ways to do this. Each rhythmic solution begets a different slant of meaning.
 
This is to be a congregational Mass, but one that has a role for a 4-part choir and ***** and a ‘jazz instrument’. Impatient to see notes on paper, he composes a new introduction to a Kyrie as a rhythmic sketch, then, experimentally, adds pitches. He scores it fully, just 10 bars or so, but it is barely finished before his critical inner voice says, ‘What’s this for? Do you all need this? This is showing off.’ So the filled-out sketch drops to the floor and he examines this element of ‘beginning’ the incipit.
 
He remembers how a meditation on that word inhabits the opening chapter of George Steiner’s great book Grammars of Creation. He sees in his mind’s eye the complex, colourful and ornate letter that begins the Lindesfarne Gospels. His beginnings for each movement, he decides, might be two chords, one overlaying the other: two ‘simple’ diatonic chords when sounded separately, but complex and with a measure of mystery when played together. The Mass is often described as a mystery. It is that ritual of a meal undertaken by a community of people who in the breaking of bread and wine wish to bring God’s presence amongst them. So it is a mystery. And so, he tells himself, his music will aim to hold something of mystery. It should not be a comment on that mystery, but be a mystery itself. It should not be homely and comfortable; it should be as minimal and sparing of musical commentary as possible.
 
When, as a teenager, he first began to set words to music he quickly experienced the need (it seemed) to fashion accompaniments that were commentaries on the text the voice was singing. These accompaniments did not underpin the words so much as add a commentary upon them. What lay beneath the words was his reaction, indeed imaginative extension of the words. He eschewed then both melisma and repetition. He sought an extreme independence between word and music, even though the word became the scenario of the music. Any musical setting was derived from the composition of the vocal line.  It was all about finding the ‘key’ to a song, what unlocked the door to the room of life it occupied. The music was the room where the poem’s utterance lived.
 
With a Mass you were in trouble for the outset. There was a poetry of sorts, but poetry that, in the countless versions of the vernacular, had lost (perhaps had never had) the resonance of the Latin. He thought suddenly of the supposed words of William Byrd, ‘He who sings prays twice’. Yes, such commonplace words are intercessional, but when sung become more than they are. But he knew he had to be careful here.
 
Why do we sing the words of the Mass he asks himself? Do we need to sing these words of the Mass? Are they the words that Christ spoke as he broke bread and poured wine to his friends and disciples at his last supper? The answer is no. Certainly these words of the Mass we usually sing surround the most intimate words of that final meal, words only the priest in Christ’s name may articulate.
 
Write out the words of the Mass that represent its collective worship and what do you have? Rather non-descript poetry? A kind of formula for collective incantation during worship? Can we read these words and not hear a surrounding music? He thinks for a moment of being asked to put new music to words of The Beatles. All you need is love. Yesterday all my troubles seemed so far away. Oh bla dee oh bla da life goes on. Now, now this is silliness, his Critical Voice complains. And yet it’s not. When you compose a popular song the gap between some words scribbled on the back of an envelope and the hook of chords and melody developed in an accidental moment (that becomes a way of clothing such words) is often minimal. Apart, words and music seem like orphans in a storm. Together they are home and dry.
 
He realises, and not for the first time, that he is seeking a total musical solution to the whole of the setting of those words collectively given voice to by those participating in the Mass.
 
And so: to the task in hand. His objective: to focus on the whole rather than the particular.  Where had he heard that thought before? - when he had sat down at his drawing board an hour and half previously. He’d gone in a circle of thought, and with his sketch on the floor at his feet, nothing to show for all that effort.
 
Meanwhile the sun had risen. He could hear her moving about in the bathroom. He went to the kitchen and laid out what they would need to breakfast together. As he poured milk into a jug, primed the toaster, filled the kettle, the business of what might constitute a whole solution to this setting of the Mass followed him around the kitchen and breakfast room like a demanding child. He knew all about demanding children. How often had he come home from his studio to prepare breakfast and see small people to school? - more often than he cared to remember. And when he remembered he became sad that it was no more.  His children had so often provided a welcome buffer from sessions of intense thought and activity. He loved the walk to school, the first quarter of a mile through the park, a long avenue of chestnut trees. It was always the end of April and pink and white blossoms were appearing, or it was September and there were conkers everywhere. It was under these trees his daughter would skip and even his sons would hold hands with him; he would feel their warmth, their livingness.
 
But now, preparing breakfast, his Critical Voice was that demanding child and he realised when she appeared in the kitchen he spoke to her with a voice of an artist in conversation with his critics, not the voice of the man who had the previous night lost himself to joy in her dear embrace. And he was ashamed it was so.
 
How he loved her gentle manner as she negotiated his ‘coming too’ after those two hours of concentration and inner dialogue. Gradually, by the second cup of coffee he felt a right person, and the hours ahead did not seem too impossible.
 
When she’d gone off to her work, silence reasserted itself. He played his viola for half an hour, just scales and exercises and a few folk songs he was learning by heart. This gathering habit was, he would say if asked, to reassert his musicianship, the link between his body and making sound musically. That the viola seemed to resonate throughout his whole body gave him pleasure. He liked the ****** movement required to produce a flowing sequence of bow strokes. The trick at the end of this daily practice was to put the instrument in its case and move immediately to his desk. No pause to check email – that blight on a morning’s work. No pause to look at today’s list. Back to the work in hand: the Mass.
 
But instead his mind and intention seemed to slip sideways and almost unconsciously he found himself sketching (on the few remaining staves of a vocal experiment) what appeared to be a piano piece. The rhythmic flow of it seemed to dance across the page to be halted only when the few empty staves were filled. He knew this was one of those pieces that addressed the pianist, not the listener. He sat back in his chair and imagined a scenario of a pianist opening this music and after a few minutes’ reflection and reading through allowing her hands to move very slowly and silently a few millimetres over the keys.  Such imagining led him to hear possible harmonic simultaneities, dynamics and articulations, though he knew such things would probably be lost or reinvented on a second imagined ‘performance’. No matter. Now his make-believe pianist sounded the first bar out. It had a depth and a richness that surprised him – it was a fine piano. He was touched by its affect. He felt the possibilities of extending what he’d written. So he did. And for the next half an hour lived in the pastures of good continuation, those rich luxuriant meadows reached by a rickerty rackerty bridge and guarded by a troll who today was nowhere to be seen.
 
It was a curious piece. It came to a halt on an enigmatic, go-nowhere / go-anywhere chord after what seemed a short declamatory coda (he later added the marking deliberamente). Then, after a few minutes reflection he wrote a rising arpeggio, a broken chord in which the consonant elements gradually acquired a rising sequence of dissonance pitches until halted by a repetition. As he wrote this ending he realised that the repeated note, an ‘a’ flat, was a kind of fulcrum around which the whole of the music moved. It held an enigmatic presence in the harmony, being sometimes a g# sometimes an ‘a’ flat, and its function often different. It made the music take on a wistful quality.
 
At that point he thought of her little artists’ book series she had titled Tide Marks. Many of these were made of a concertina of folded pages revealing - as your eyes moved through its pages - something akin to the tide’s longitudinal mark. This centred on the page and spread away both upwards and downwards, just like those mirror images of coloured glass seen in a child’s kaleidoscope. No moment of view was ever quite the same, but there were commonalities born of the conditions of a certain day and time.  His ‘Tide Mark’ was just like that. He’d followed a mark made in his imagination from one point to another point a little distant. The musical working out also had a reflection mechanism: what started in one hand became mirrored in the other. He had unexpectedly supplied an ending, this arpegiated gesture of finality that wasn’t properly final but faded away. When he thought further about the role of the ending, he added a few more notes to the arpeggio, but notes that were not be sounded but ghosted, the player miming a press of the keys.
 
He looked at the clock. Nearly five o’clock. The afternoon had all but disappeared. Time had retreated into glorious silence . There had been three whole hours of it. How wonderful that was after months of battling with the incessant and draining turbulence of sound that was ever present in his city life. To be here in this quiet cottage he could now get thoroughly lost – in silence. Even when she was here he could be a few rooms apart, and find silence.
 
A week more of this, a fortnight even . . . but he knew he might only manage a few days before visitors arrived and his long day would be squeezed into the early morning hours and occasional uncertain periods when people were out and about.
 
When she returned, very soon now, she would make tea and cut cake, and they’d sit (like old people they wer

Praeludium in via ...

Vidi heri mane quando ridebam coloribus egregiis,
Eradere auro , trans tabula caeli , tentorium ...
Excelsus super omnes montes mundi mole fratres
Nimborum desertum , ubi non sit humana exsuscitatur .
Et non vidi nobili altitudo futura ...
Bonitas terribilis Vidi , *** indomitus.
Et peregrinare in ea carne existimarem Semel tamen divina ,
Nunc datum est scire , et non confundamur ab eo opus .
Ambulavitque *** Deo, quod nunc facio , et passus est ... accentus
Proditio amor et passionibus , quamvis non recipiat ecclesia ,
Divinitatis naturam , ne occulta omnia confitentur ?
Audis tu solus in universo ab duces ineptum
Ipsos victu pascuntur finguntur mendacii .
Sed ambulavit in vobis, ex ea ipsa mundi redivivi ,
Proelia ante hos annos multos, in carne nostra, amissis vate sacro .
Nos sequi vestigia veterum monumentis, ut ostensum est ;
Quia ex nihilo nati sumus , et adhuc in filiis tuis, ac spatium vivendi ,
Latebunt , quo melius in manifesto , vultus ingenio tegmina.
Ego sum primus , et consilium ... Memini tamen alta urantur
Humanis uti licet , *** aliena michi negotium.
Lorem quid ad ignorantiam et extra ,
Quia vidisti me in tenebris, in ardentem rogum meum .
Si sustinuero , praeire , ubi angeli labuntur ...
Quis autem, si non satis est dedicata piget.
Irrisorie , quoniam ego scio quod salventur , et saepe etiam ,
Post tantum est **** , et sic esset forma in re firmatam ?
Imago Dei , huc ad nos omnes in sanguine ipsius ,
A primis ad ultima, ut alpha et omega, gladius acutus .

Prologus : ( Os meum labitur )

Puer fui servus ad aras tam sacras ,
Hymnis immaculatorum : et absque iniquitate .
Quod *** ipse portabat diadema thons nudus ...
Expositum Spiritus meus, qui intellexi gravitatem.
Quis credit sanctum profanae habitu virtutum
Et illi qui in eo sunt ut carnifices ovis ad occisionem ,
Innocentes cogit induere larvis ad porcellana et operuerunt capita sua ,
Et filii eorum diriperent pueritia , vinctus catenis rudis .
Sicut teenager : ambulans in naturis hominum omnium adprobante ,
Et egressus est a me omnes, qui violatores extiterunt in coinquinatione verebatur .
Angelo fidem reperto cecidi inveni sanctitati
Nomen meum in ea , et curet abluitur dubium inveni .
Venit ad nuptias, et omnes dedi uxorem proditione ,
In solutione huius coniunctionis nostrae et sine intervallo in solitudinem imposuit ?
Traiectus mortalis caro mea reliquit me solum in sanguinem ,
Cor ejus scissum est , absque omni cultu ex ordine funem .
Angelus autem meus et leniat iras mansit dolori
Mea lux, in vigiliis, in nigrum, quod est victa ,
Admonens quia carnis mortalitate ... maxime
Angelus vult me et tremor et durum accepimus.
Et ego factus sum quam ... traumas vitae ac lacrimis
Et dimisit , in specie quae sunt post , veluti a me plagas .
Nox deinde calor intensior saunas percipimus ...
Sicut est mihi in choro , relictum est , nisi ab illo esse extensum ,
Et invicem tradent , et mortalem , ut impunita essent, sed numquam mihi ...
Non tradent ; effundam spiritum meum , et non totum .
FYLACTERIUM creare ex omni me , et oculus innocens ...
Quod amari posco sum ​​ut carbo margarita alba et nigra ;

Section I : Sacrificium Doll

Part I : ( litus sanguinem )

Ne revoces me pupa enim priscis recesserunt cavernam
Sunt inanima appetant , non realis forma in utero ;
A puero bibere rubeam ore exploratores in vastissimam taberna ...
Dum nati psallens FARRATUS agros effusi .
Vadimus ad domum Dei , in plagis , in magna pecunia debetis ...
Hoc non est ad oras Nunc cruore manant strigitu rubra de memoria , polluetur .
Nulla est enim me primus ad ignitionem gloriae ...
Quando autem mens aeterna , in omnibus placentes, causabatur laetitiam .
In stellis ibi verba quae ego volo inauditum revocare,
Quia descendi ita pridem apud venire primum ?
Sollicitus purus fabrica MYSTICUS chaos genitus antiquorum
Mitti expectant limine signa magica.
Interdictum revertatur in carminibus meis , Licinius, ut audacia ,
Quia oblitus est mei fere est: nunc originem , ut tragici.
*** filii bibere, et se abscondunt nati seorsum
*** aquæ in sanguinem, et super triticum, et arefecit fœnum, et humida !
Signum quod venturum est mutare et laboro mentem.
Facies in luna ALLUCINOR in metu torquetur , horror ...
Dumque in fauces manu stare super pectus
Inter ordines diu frumentum umbra nigro ambula
Genus servo meo animas infantium .
Aestas flavescunt, Phoebe caelesti audent .
Mea sola mcestas lupus sonitum audiri potest ,
Et *** feris leo in pontumque moueri relinquere ...
A natura mihi dolet cupio concupivit paradisus reducat .
Vidi terram terror , ut sanguis in sinu
Ater sanguis in terra , quae facit viventia ululare ...
Sicut **** habet stultitia non dicam prava vel !

Part II : ( Crucifixo et Inferorum Animas Excitat)

Nam inertis est gemere pupa altari parato, in sacrificium,
In lapidem calcarium, et in cavernam, ubi sunt wettest fingit arcus !
Un - res sunt, sed etiam *** vivit in vulneribus animae , ut in glaciem ,
In horrore frigoris fictilem , ita *** pedibus non vocavit.
Serpentipedi mucrone subrecto , remittit praecise a pupa in collo ,
Et non potest dici , quia non habet pupa voce clamare.
Puer, et egressus est a tabernam , aspectus eorum quasi a naufragii vile ...
Ut curem hominem a superioribus agentibus , corpus totum mundum.
Infra in concavis locorum asperitate visa petram
Magna voces resonare in tenebras , et vocavit nomen tacuit.
Eripuit animam trahit nauta Multo gregis
Ubi aereum reddet unicuique antiquum signum desideratum .
Et venit ad bibendum aquas illas vitae malis mederi ...
Porcellana , et liberatus a vinculis mortis obscuris sentiat frigore ;
Animas in captivitate , unde nemo mortalium loqui
Sed statim liberavit remotis perforabit clavi ...
Omnis **** , qui dicitur Golgotha ​​, olim in cruce positus .
Omnis autem mulier quoque, ad quod omnes tales sunt tormento
Et facta est , dum consummaretur sacrificium insita primum sic infirma est,
Et intantum ut nisl tot annis perpessi .
Signati post fata diu Quod murus ignis in Terra ,
Stigmatibus ferre posset ita etiam multa futura!
Quod signum erat in manu mea, ut labatur pes meus, et dimittam ...
Tamen adhuc vetera perseverare illusionibus , et non possum excitare multos .
Ego, qui iam tantum conligati Lorem ferrum quid reale,
Factaque est infinita in dolo : Ego sum ​​, et desiderio erat pax.
Nam et ego quod negas , nisi aspera ac rudia mei liberatione ;
Angelus liberavit me , et nunc inter saevus sigillum frangere conantur .

Part III : ( The Return of lux)

Qui a mortuis Surrexit , frigidior , ubi de somno , ultrices in somnis , per
Et obliti sunt intelligentiae invocatum est super sancta miserunt innoxia verba ...
Et inde apud hominem , ut maneat MYSTICUS sequuntur revertamur ,
Ea aetate in inferno commemoratione praeteritorum.
Qui suscitavit eis manum meam , et pugionem eius lumen gloriae,
Relicta meae effercio fluere sanguis subito currere libero.
Ex profundo flamma surgit millennial amisso puella puer ,
Quæ est angeli redivivam sinit luce clarius ostendit .
Et omnis qui non occaecat oculos ad intima ;
Infideles , in momento temporis ponere in obprobrium .
*** stellae ab Diua sacrorum opera voluntatis
Dum coccineum limen transeat , lucem adfert .
Momento enim omnes in caelo et in terris sunt ,
Sicut dies longus tandem inclinatus ante noctem veniat .
In tenebris , claritas multo maiorem et perfectiorem descendit ,
Eorum, qui dum in nomine meo orbata est devium.
Sicut incensum in conspectu angelorum ira animos eorum , occlusum ...
Ferrum IRRETUS texturae talis effugere nequeunt carcerem
Nam quicquid occaecat vidit lucem et scindit
Nisi quia in templis revellens mortalibus irae.
Et , postquam ipsæ fuerint fornicatæ infidelium , ut uoles, petulans ,
Et factum est in excogitando dogma , quod de ratione immemor ?
Horrendum non fides sit , tamen ita fecisse ,
Ante finem exspectent praemia petunt .
*** enim , ut est in paradisum suscipit dereliquerunt ...
Imago autem libertatis quam servitutis et negotio.
Nimia tempus extractam converterat a gladio:
****, ut spectet ad salutem in lucem , caeca lumina sua .

Antiphon alpha :
Quia hoc est ut , barbaris quoque innocentiae gentilitium mendacium vendere ...
Numquid et vos vultis emere , aut aliquam nunc forsitan putas,
Ad sciendum neque rationi consentaneum neque aetate sapientes ...
Quod si non moverent malles *** saltare!
Pleni sunt somnia noctes ; Dies mei tantum ...
Ego ad bis et quem maxime diligebam , in purpura quoque , et aprico occasus .
Ego autem haec imago non ad tangere memoriam tot ,
Qui replet in sanguinem furoris me , et frigidam desiderio finis .
Et considerandum est quod *** in ultima desperatione rerum , in cuius manu mea, equo et pilos in ore gladii ,
Nam ni ita esset, nunquam tamen inde trans familia .
Sed abusus est , ut fuit, et quidem instar caedentes sepem
An ut reliquos omnes transcendunt omnia , amice!
Ego superfui , transfiguravi ascendi in fine est ,
Multo magis quam erat, non plus quam diruere animus .
Sed tamen , quia speravi in solitudinem , ut a somno exsuscitem ancillam meam in flamma ...
Ardet , o superi, ut arbitror , usque uror dissiliunt!
De caelo et magis obscurant vestris, et tridentes, et contritio ,
Audio furorem tympana caelo antiqui gigantes hiemes.
Dii irascantur et ecce valide erutas ,
Uvasque calcantes Angeli hominis Illi autem vinariis ageretur ...
Recordatus sum in omnibus navigantibus battleship galaxies ,
In die ortus nubes inter exaestuans, quod ' vaporem ...
Depopulari Sodomam et Gomorrham, ad contumelias !
Ibi eram: et *** impiis non perire denique gemitu.
Ut illuderet mihi : et populus , quia ego bonus sum male velle ,
A Deo est, quam diu tot mala ferre cogetur .
Ego autem non sum solus , quia multa in eo et detorqueri
Deus remittit, nam adhuc sed non est intellectus ;

Section II : Hostiam de Spider

Part I : ( Rident Primus )

Caelum non egerunt pœnitentiam super ulcus nigrum est furore , et in indignatione, et in iustitia :
Et factus sum caro , quamvis intellectus non mortale .
In antro loca , quæ transivi , et dæmonia multa discurrunt ,
Et locis minus adhuc amor in search of a provocare .
In quo autem in craticiis tectoria atria mea, et thronus fuit stabilis ...
Et super collem , ubi dolorum laborum animae perit labor in mundanis ,
Transcendi vincula et consilio fidelium expectabo laudatur.
Ignis et sulphur et, semper est dextera arderent super altare ?
Ridentem cogo faciem meam : non enim veni , ut velle,
Ut in hora *** iam iuvenem, *** proposito aureum ...
Quæ pro impenso super solidum, pretium quis ,
Qui autem non cognovit , quomodo cupiam sibi solvere ...
Furor solitudinis nascitur ira nascitur ex malitia,
Qui autem contemnunt me , quia sine causa Provocantes me .
Quid est **** , impunitatem , ne quis putaret se excusat ;
Quam sapere , *** culturis tuum: mergi , in balneis , in ardentem .
Loquor de inferno, qui est infidelis nescis ?
Neque enim suis oculis effossis clavorum ...
Loquor cruciatus qui daemonia fecerunt superat .
Primus erit mihi dolor meus *** omnis fera voluntas ut ratio ...
Ut qui me conspui caro quod ambulans ,
Nescis modo larva facies mea , abscondens se.
Attendit ad illa nihil nisi insipientis solis erratur in sonis cantus
Tantum numerus ratus e fratre soror .
Sed in caelestibus quae sine causa nata est incestus est alchemical ?
Habitat in me peccatum occultum compages sǽculo.
Sit mihi vim inter gentes auditus est ABSURDUS musica ...
Spiritus meus qui regit omne simile est genitus.

Part II ( vindicta aurum )

In hortos, in quibus cupiditas sanguis rosaria semina ,
I , in manu eorum , qui esurit Quorum sitit aquam surgit !
In quaerere dilectionis affectum bestiis pavi eget
Quid faciam ut pudeat , habet me non elit .
O **** , quo impune ausu palamque vociferari ,
Quod amor sit ex me credis , et me opus manuum tuarum ,
Ut timidus , et cucurrit ad me latere turba depravari ,
In simulata excellentiam tuam , et ipse te vile animal .
Coniunctio oris linguae quasi telam laqueari
Si fieri potest araneae ; et fugiet a turpis ut octo pedes nidum ...
Et *** jam non calidus humanitatis indignum ,
Cogitans te meliorem quam reliqui descendes !
Ut vitae pretium millies , tibimetipsi .
Creaturam factus sum nocte expectant te aranea heu !
Nolite putare quia ego audirem . utrumque stridens cruris ...
Odium ductor tuus , et equi ejus , et ascensorem ejus .
Et in vestra web Video vos, Quirites immune ungues acuti ,
Ad toxicus venenum , quod oculis non potes, nisi te , octo ...
Ex quo bases Caesios sine timore, et sic primum
Ut dolores tuos comedat vos accendentes ignem caelum ;
Detur paenitentiae venia , quae dicis omnia cogit , ne superare dolores ,
Qui tibi semper, quæ videtur , non est potentia ad non noceat .
Et ascendit ulterius sapere plus pavoris tui ...
Numquam puerile ludibrium ulla facta .
Omnis domus tua dissolutae horologiorum ad socium non est ?
In desertis chaos est gaudium, ut si quod habuerunt.
Surgit in novum ordinem , nemo potest negare chaos genitus locus ,
Dum descendes perdunt, muneribus laesae.

PARS III ( Ultimo Rident)

Et sic videtur quod Angelus se et ante deam
Angelus autem nominis vocare aliquis tenuerit formarum.
Et qui in illis est , maiora sunt, ego saepe ad extraneas ,
Fingunt enim se perfectum , ignorant eorum saevitum ,
Num amor crustacea tam veteri quam in praedam , et mendicum ,
Quod minus quam tuum est , quam sumpsi eaque cibum ...
Est autem tarn coquina sicut clibanus tua vadit et ora
Ipse, ipse est extra te praemium virtutis tuae chores ,
Sicut enim res suo cuidam negotium , qui meretricem ... Lorem ipsum leve,
Putas praemium amaret , et mendicum , falli te .
Quid autem vocatis me alienum **** ... amor est malum , et hoc pudet,
Et similiter anima atque animus , quibus tandem corpus infirmare.
Vides tantum larva ... sub aspectu nisurum
Larva ut me in tenebris tenebris latet .
Circa collum tuum habebis , ut falsae aestimationis pendet a mortuis, et corona ,
Quia sterilis tibi relinquo mundum , Intenta ancillæ.
Consurgitur in excitate de reliquis abire tibi , qui sunt cognati mei
De manibus eorum procul offendant pedes vestri ?
Qui manet in coemeterio quasi mortui
Non tollere incorruptione Nimis tibi dubium .
Hue tacito lachrymis virgines flere ...
Ad mea, et robur , in quo praeda, gregibus rursum super vias hominum ,
Ad eos qui non ineptis metus mutetur ,
Aureus transmutare non magis quam plumbea nocte dies ;
Quod verum est de fine , qui scit ... Alchemist
Magistra rerum artes a me in profundum.
Ágite , quod sum aggressus creatura placet mutare ...
Ut res sunt nostrae demiurgorum lasciva oscula enim calidius ?

Omega Antiphon :
Non est autem in Utopia , non videtur quod ...
Donec ut nosmet ipsos cognoscimus prima quaerimus imaginem .
*** et in sacrificio sui ipsius , a volunt reddi obsequium ...
Qui ad reformandam et divina se , *** Leo renata agnus mitis !
Sicut in Christo, ex parte in qua invocatum est cicatrix, et vulneratus est ...
Sed simplex conversio ad dissimilis vultus nolui .
Memini dolore meo, ut acer et vehemens ...
Donee tantum possum emissus dolor servare sensu caret.
Quomodo potest aedificare paradisum non est, nisi in se mutant ;
Mutare ante mutatum esse non est in medio ; quae est in via .
Qua ad paradisum , et oportet eam, et non deficiunt,
Ne ad caelum, nisi quam nos aedificare illud infernum iniustitiis nos .
Utopia , non ruunt ad genus humanum, nisi a te, tu es qui habitavit ?
Nisi quod est extra omne malum quod in se corrumpunt ,
Manifestum enim est , nisi malum, quod mundatam ab omnibus malis moribus.
Tunc malitia faciatis abstulit senex super pluteo tom .
An non intellegat , quid est salvator ...
*** diceret quod non omne quod simplices filii ingredi
Regnum caelorum , et inde ad delectationem pertinere ...
Et quomodo potes perfrui , si tibi placet , cauillando crudelis ?
*** aurora tempore domini nituntur hominum planeta ...
Numquam imaginandi praecipiet ut discat primum voluntatis.
Non armorum vi , nec inutile mandatum ...
Sed *** modestia , et misericordia ; ergo qui ad cor suum in satietatem,
Gáudii innumerabiles et celebrationibus quae causa ?
Sed animus intendatur dolores peccatum lacus.
Ubi plausus rotundum vt quilibet sensus ?
Modernitatem iocabitur ullum definitum ornare.

Section III : sacrificium sui

Part I : ( hortos perditio )

A ziggurat sublatus est , arenosa in calidum lateres , quos coquetis in igne ...
Septem fabulae in caelum, sicut turris Babel ,
Quod in solitudinem, et in

the alphabet is incorrect when nouns come to use,
why necessitate the ordeal of a, b c... x, y, z -
the first sequence an order of literacy,
the second sequence an order arithmetic -
the correct lineage of letters from henry ii
to richard the i, to king john was written
in the minor carta of (bytes): tetra-, petra-, exa-,
zetta-, and crucially yotta-; everywhere transgressions
of the original standard arrangement of
the first memory placebo you learn at school,
placebo memories out of schooling,
ineffective memorisation swayed by the self,
and soon that lost too; memories that shall please
the doctrines, where once we were coalminers
of our selves looking for that nugget of cold,
by being schooled to restrictions, we found only
many nuggets of coal, and as they say: the cold
grey en masse realism of being suited and booted
with the sole reward: procrastination and procreation.*

indeed quantify in the realm
of  ∞ (infinity),
but then express a quality
of 1 (the union disregarding
obstructions of centimetre,
millimetre and nanometre,
or the excess of gigabytes)
avoiding the kantian symbolism
of 0 - negation - of any
number to your liking given
power over the base:
with the squared acidic or otherwise,
mitigating ∞ of the unfathomable,
to search for deo sapiens
is to search for yourself
when others defined you in
the narrated enclosure of **** sapiens
and the 20th century's failures:
it's the pedantry of unlearning
praying to something and simply
thinking about it: secular ****
and you the wriggling anaemic tadpole.

the cat
quite elegant with
tuxedo no tail
home alone..!
Dan went traveling
across the divide..
I served as
  treat bearer with
anticipated arrival..
After dining on
flesh of the tuna
Deo in lengthy
hair care coiffure..
Interrupted only by
neighborhood noises
of night..
Imagining those
memories of fright
in this feline's
youthful stray life..
Eyes fearsome wide
Ears shifting alert..
But no harm
returning to now..
Tongue's last stroke
bath and bed
Monday is over...

Many a flower hath perfume for its dower,
    And many a bird a song,
And harmless lambs milkwhite beside their dams
    Frolic along,--
Perfume and song and whiteness offering praise
    In humble, peaceful ways.

Man's high degree hath will and memory,
    Affection and desire;
By loftier ways he mounts of prayer and praise,
    Fire unto fire,
Deep unto deep responsive, height to height,
    Until he walk in white.

I stand before the sea
and it rolls and rolls in its green blood
saying, "Do not give up one god
for I have a handful."
The trade winds blew
in their twelve-fingered reversal
and I simply stood on the beach
while the ocean made a cross of salt
and hung up its drowned
and they cried Deo Deo.
The ocean offered them up in the vein of its might.
I wanted to share this
but I stood alone like a pink scarecrow.

The ocean steamed in and out,
the ocean gasped upon the shore
but I could not define her,
I could not name her mood, her locked-up faces.
Far off she rolled and rolled
like a woman in labor
and I thought of those who had crossed her,
in antiquity, in nautical trade, in slavery, in war.
I wondered how she had borne those bulwarks.
She should be entered skin to skin,
and put on like one's first or last cloth,
envered like kneeling your way into church,
descending into that ascension,
though she be slick as olive oil,
as she climbs each wave like an embezzler of white.
The big deep knows the law as it wears its gray hat,
though the ocean comes in its destiny,
with its one hundred lips,
and in moonlight she comes in her ******,
flashing ******* made of milk-water,
flashing buttocks made of unkillable lust,
and at night when you enter her
you shine like a neon soprano.

I am that clumsy human
on the shore
loving you, coming, coming,
going,
and wish to put my thumb on you
like The Song of Solomon.

**** insapiens* writes history, deo sapiens creates
the possibility of irreversible inspection (history),
**** sapiens notices historicity's aspect of hindsight,
deo sapiens just sees eyes that do not care to blink,
**** sapiens treats this as a  rational impossibility,
**** insapiens asks whether
snakes have eyelids - and so the wheel
of deo insapiens allowing reproachable things to happen
"necessarily", as if **** sapiens would allow
such necessariliness in the first place, given his
geometric formulasiation of the space-compact.
an anglo just says: 'we found new
******* on the european continent!'
and so they have, but hardly any of them
will be worth excavating a contrast in
cultural depth for ingenuity
since most will be scared by
American counter-terrorism tactics
thinking Iraqis to be Saudis
and other cocktails of fancy...
and will succumb to the degenerate forms
of jazz (the last bloom of black man's
Mozart gifted with impromptu dying
prematurely); never understood
this aversion to poetry with rap,
perhaps i wasn't born poor enough to get it.
but hey! as long as the Afro-Caribbean crowd
is happy, we can continue our ****-piling
on European ethnicities becoming a higher
status people misguiding the Icelandic populace...
teach Darwinism using Vikings,
no other timescale justifies the theory:
the highest evolutionary in "**** sapiens" also ex
form necessary... post-colonialism does
that to you... this European masochism of post-colonialism,
it's a masochism a bit like the adventures of Tin-tin
in Congo exporting child soldiery...
a ******* mess... some would say keep it
anti-global, keep former Soviets out of it,
the majority of opportunities are in China anyway...
oh but we love our local butcher and fishmonger
don't we? thanks to globalisation we hardly know
our neighbours, we're suspicious of them,
playing the monopoly game of psychiatric evaluations
with everyone we meet: this one's mad,
and this one, so is this one, and this one...
only in a society were there's a massive incompetence
at having read philosophy, as having read it,
to not having read it, avoiding it like the bubonic plague
(yep, your tongue is about to fall off and you'll
suddenly contract dementia because of it),
to having over-psychologised it with firm rubric
of untested theory esp. theory theorised to a concrete
evaluation unworthy of examination but worthy
of implementation, not theory allowed to be discarded
or simply left to a Sisyphus wander
(remember socialism originated in a critique of
English society experimented in Mongolian society
and implemented in Muscovite society) -
but theory that upon discovery just had to be
existent as applicable as a mad hatter... give the reins
to psychology for the thinking parameters and you create a mental
cage... give reins to biology for the heartbeat parameters
and you create a dietician's antidote to a theologian;
i knew someone, once, who suggested the obvious
paedophilia in alice in wonderland, and this someone
came from sane Thailand.

SEO GO DEO

a day so huge
it would take a lifetime
to get across

a time so vast
it couldn't be
squeezed into clocks or watches

an unseen bird
the bard of birds
telling me the poetry

of a world
coming into being
that very moment

only in a language
I could not understand
but somehow

know
without
knowing

at peace
with the mystery
of it all

happy to stay here
but time flew
through me taking me

to become
this old man
and the scrape of a pen

trying to hold  
in words
that one eternal moment

*

SEO GO DEO is the Irish for THIS FOREVER...go deo meaning forever or never

How can I
furnish trust when
your name is Apathy.

How can I
furnish love when
your name is Solitude.

How can I
furnish peace when
your name is Hunger.

How can I
furnish wisdom when
your name is Chaos.

Indeed, my prayers were answered.

I asked to have no name

       --To live anonymously--

But instead He gave me pain

      Which no one else could see.

Now I am sad but holy,

      I am lost but I am free.

Now I can feel fully

       The coram deo down in me.

I live for two hours, five hours, bite to bleed.
A cryogenic coma until we begin.

Arguing in vain with the town around me,
over nothing able to be justified, and he and I don't care;
reveling in the confusion of the tri-city area—
drowning our egos and taking our time
until we truce with razor smiles; shift
to removing tongues with pliers in our words.
(living amputation and too much diet coke)

Shouted disclaimers spread to the rest of the state,
in case they never wondered how it feels
to watch a living heart exposed.
He gleamed gold with self-confidence as he cracked his knuckles.
"I'd like someone to hit me, y'know?"
Next to him, Tallahassee rolls her eyes, Tampa looks away.
(I catch his stare. Deo gratias. Deo gratias. Father, Son, and Violent Thoughts.)
Thank God, I whisper, and I am yelling.
He is split from throat to hip and I drain his open truth.

Speaker static shifts the room,
podium to floor.
This isn't over, he says, and we laugh
because nothing we ever say can be proven,
and we intend to prove it all.

I am literally just skin and bones, and maybe just enough hope to get me home.

It’s like I bounce back and forth at every chance that I get,

between a brand new face of hope, mistake and regret. 

But I’ll bet you’ll meet me somewhere in the middle. And I’ll hope it’s just enough to win me over. 

And I’ll pray for peace in the night, knowing you’ll be here when this is all over.

I feel you in my bones when they’ve all drip dried,

and I see you glaring through my vision when the discouragement won’t seem to subside. 

And I know you are watching every night that I cry; singing me to sleep in the midst of the night.

In the midst of all the lions, you rescue me out. 

In the midst of all my worries, you scorn all the doubt. 

In the midst of my failures, you blot them all out. 

And the midst of all the thieves, you still called me out.

a thousand eyes follow you from newly waxed floors
and trail after me with form-filled labels, white on gold
take as needed; do not operate machinery; relax.
the shadows follow our steps, ***** and blood next to God’s poster love.
pin it to the bathroom wall: peccavi, peccavi

two years, fifteen minutes, miles of scars.
we sleep through the days, and whisper
of nights before the hurricane

("what happened to those two?")
                                                     ("Deus misereatur, the storm took them.")

I daydream of sinking my teeth into the flesh of redemption,
to rip muscle from immaculate bone.
can we not move on?
copper denial drips from our jaws.

and Deo gratias, they say, you survived.
limbless and naked on tiled floors.
Deo gratias et Deus mortuus est.
survival is in our veins.

I watch you waiting in LCD purgatory
as you see my fingers bleed into the vinyl shielded couches of the 12am ER

perception through observation — I let you reveal who I am.
what am I feeling? how do I act?
breathing through each other with liquor in our lungs.
I know how the bile tastes in your throat,
and you know the burn of the whiskey on my tongue

why do we still reach for walls
where cicada-shell notices cling with scotch tape?
take a number and restore the riches;
leave the room and tear them down.

who but God can build over the ruins of fallen cities, fallen worlds?
and ora pro nobis, He is yet unwelcome here.


we are holy, in our own names we pray, and Hallelujah, we are saved

SEO GO DEO

a day so huge
it would take a lifetime
to get across

a time so vast
it couldn't be
squeezed into clocks or watches

an unseen bird
the bard of birds
telling me the poetry

of a world
coming into being
that very moment

only in a language
I could not understand
but somehow

know
without
knowing

at peace
with the mystery
of it all

happy to stay here
but time flew
through me taking me

to become
this old man
and the scrape of a pen

trying to hold  
in words
that one eternal moment

*

SEO GO DEO is the Irish for THIS FOREVER...go deo meaning forever or never

The cold festive wind blew;
Laughters, hollers of "Merry Christmas!"
Came along with the breeze.
Children, with their little toy drums
Bang, bang, banging away;
Choruses of "Gloria In Excelsis Deo";
Pine trees, Snow flakes, deformed Snowmen;

Houses are lined with
Blink, blink, blinking
Colorful lights and wreaths;
Somwhere among them,
in some living room,
"All I Want For Christmas" is on loop;
Cookies are laid for Santa Claus;
Presents are stacked
Under the Christmas tree--
With garlands and *****
And--

The Christmas lights
In a room in the middle of a second storey house,
Were shining as brightly as they could,
Being wrapped around the neck
Of a teenager misunderstood,
Hanging lifeless on the ceiling
With a note pinned that read,
"Happy Christmas from the dead."

Deo, a Diabolo
Who doth reign over me?

The sweet-lick of flames do torment,
But Heavens hear this plea,
and anoint me with the will of god, not the power of Beelzebub.
As within smolders the fiery wrath of hell
Satanical whispers of common temptation -
Whispers that compel.

Sanctify my soul, Atone my sin
For Abhorrent joys of the flesh
And the tender touch of calloused skin
do ****** me.

That amorous desire,
              ‘For all have sinned and fall short the glory of god’
Feel the ******* of hell-fire.
Thoughts sear the mind and poison it -
an abscess of lust
Thoughts that question the holy writ.

Beethoven once said of the cantor of Leipzig
“Not a stream but an ocean.”

Sebastian Bach wove sonic tapestries
and scoffed at notions of genius
“Anyone who pays the price can do it.”

Whether for Sunday’s choir or *****
or for a palace fete of state,
The fountains of his bounteous spring
embellished every age and station.

Yet he could crack a joke or two
in a cantata to coffee’s pleasures -
sipping from a sturdy cup
of nature's matchless brew.

Flutists, fiddlers, singers, organists,
children and masters alike,
have netted hearty sustenance
from the seas of his boundless vision.

But modesty forbade him boast
the importance of his station -
affixing to his noblest works,
a trio of humblest words,

“Soli Deo Gloria.”

December, 2007

Depression, concussion, vague delusions.
Visions, combustion, surreal illusions.
Confusion, confinement, clear conclusions.
Depression, demoralization, epitome of exclusion.

Twirls and Whirls, Headaches and Heartaches.
(in between) B a l a n c e and D   i s o   r i en tat i o  n ;
Insomnia, phantasmagoria, and distinct pseudomania.
Sought and fought, dear “Soli Deo Gloria”.

Salvation, Submission, concrete Sanctification.
Then Forsaken, but now Forgiven.
Religion, Redemption and now: Relation.
To testify, evangelize and to show His glorification.

Graces flowing free
From a marvelous Being
Filled with love and peace

I am a woman

I am a woman
who loves women
who loves men

I hate that I get confused
I hate that I act differently
depending on whom I’m with.

My name is Mayara Deo
I have a shaved head
I wear man jeans
I spread when I sit

And I rather prefer to be called masculine
than feminine

Still
I love my female body
I feel **** in bikinis
I feel **** in boxers
But I feel observed
         preyed on
         & harassed in bikinis.

I am a woman
I do have a ******

Still
I hate being told that I am not a man.

I hate that I still confuse
my identity
my sexuality
my being

for the sake of society’s expectations of
of whom I should be.

I crush on guys

I crush on girls

I have loved a man

I have loved a woman

And if one day
I love a person
I hope to marry them.

I hate labels
**** stereotypes

And
I ******* hate that they’re ingrained.

I hate not being considered
stable
sure
a manly-woman

a womanly-man.

My name is Mayara Deo
I am a person

And I want a person
to fall in love with my mind.

I don’t care to bear children
I do want kids
I want to always have a career
I want to care for my home.

I want to be seen as an equal

I want to feel comfortable
wearing a suit on date
with a man.

I want to feel comfortable holding my girlfriend’s hand

For I want to feel valued
as myself.

**** all men

**** all women

who choose to not understand

why I feel so confused:


It’s because of you.

i seem to have discovered what
drives the "average"
atheist...

   well...
     i'm not fan of either:
but the amazing atheist's
critique of jordan peterson's
book?

you pick these "nuances"
up the more you look, closely...

yes, i did go to a catholic
school,
but no, i refrained from
    being confirmed...
baptism?
   nothing i could have done
about that...

aside...

   as i of the people:
and the people just keep hanging
around the Pillars of Samson,
e.g.:
the man made "no sense":

sense as in what?
to see, to hear?
  so he made sense...
     nonsense is a different
variation of:
  what remains of
the post-pentagram
"yoga" session..

   only when an atheist
succumbs to rhetoric
do i see it...

      i thinker would sooner
succumb to etymology
and shut up...
but an atheist?
         upon listening:
do you hear it?

it's like they're craving
an ever-more necessary
expasion of their
vocabulary...

i find all atheists
to be word-starved...
they read
a thesaurus like
a bible,
like:
oh you see it when
an author reduces
himself / herself
to the use of a thesaurus:

the word looks like
a mile,
when it should looks
like a centi-
         of a -metre.

i'm not defending
either of the people
involved...

      i already gave my
cent flicked into
a fountain for luck:

rule 13: wear pajamas
to bed...

rule 12:
pet a cat when you encounter
one in the street...

yeah... about that...
(scratching of the head:
i.e. Adam implies
thought...)

imagine: Rodin's
le penseaur via a chirogram:
almost "unnatural":
with an arm
         outstretched,
then folding,
   then parts of the hand
scratching the cranium...
like: serious art,
taken to the circus...
but that would be enough
to: forget the chin,
the folded hand
in a pact of non-aggression,
a count of knuckles
like the limbs of
a sleeping spider
lodged in a spider-web...

i think: verb -
   chiro-:
              give me a minute
to sieve through
the grammatical
structures
           of the sensing...

nonetheless:
i find the majority of atheists
to be starved
          from a:
lingua anti deo...

              i haven't found
a vocal atheist to be
a case for a: silence
associated with an investigation
to amount to an etymology...

atheists, i find,
are always... "riddled"
by "feeling"
inadequate,
concerning their acquisition
of vocab.,
an atheist will always
become intrinsic to the existence
of a thesaurus...
  atheists are prone
to exfoliate their base:
of everyday spreschen
via...
    yes... the casual author
appears terrible:
  having to make use of
a thesaurus:

the ******* word
looks like a sore thumb,
or a trumpet for a worth
of an elephant's trunk
dipping in imitation:
for a flush of water...

that 12nd rule though...
eeeeeeeeh...
no...
  sorry...
someone should have told
him: cats are not that
gullible to attend to petting
from someone walking
a street at night...
drinking a beer...

      ever have a staring
contest with a fox?

           em... "oops"?!

see... not all cats can be
petted, randomly,
on a street...

      give or take: a P.U.A.'s
fraction of a gullible ****'s
worth to the
  "blessed night's" completion...

no: no random cat will
allow itself to be petted,
but find one:
sure... you'll pet it...

      but... aaah...
find a fox...
          and stand against
it with a touching distance...
now you're into
a serpentine of
at least the 15th rule,
for "life"...

             nonetheless...
atheists...
   i don't mind them...
a god, no god,
no vector,
no coordinate,
yet still the "familiar"
consequence
of "things"
being fathomed
via the medium of
in situ...

         but...
atheists have been prescribed
an ontological "quest"
that demands: of them,
     to "reiterate"...

"new" words need
to be employed...
"new" words need to be
"found"...
          
there are those words
used in a framework
of speaking "freely"
that succumb to...
  being looked up, prior...

you can see a punctuation
mark
when there's no
punctuation mark
apparent...

                    but there's a clarity
of a hunger that can only
be associated with atheism:
in that it's a...
              crafting
a necessity fabric of / for
a rubric of vocab. -
  in the least: to peacock...
in the most:
    shut-up
   and not appear as some
New Yawn-kipper...

how... ever...
why would the chin be so
incredibly important
to source it, as an artifact
for the proof of thought?

had that statue a beard:
you'd receive an imprint
of a man:
fiddling with a beard,
atuned to resemble
playing a violin...

but no statue:
of a man... in the most
worth of an chirogram attest:
i.e. scratching his head...

yes, Socrates had the questions,
he, an anomaly
of what becomes
                   of old, demented,
age process in a script's worth
of indicators...
anomaly...

and subsequent philosophers?

         as long as the narrative
survives...
as long as the narrative
becomes more and more
entrenched, intrinsic:
    then we can labor moving
forward:
on the whims of a maxim...

   but sooner or later,
a la rochefoucauld or a nietzsche
comes along...
utters his maxims
and leaves them... adrift:
on the chance of:
by precursor notices of
"said" farces: they become
resonant
pirates of wisdom...

the instruments that
are a will: to provision
a humbling...
   a...            knee to tongue
approach...

i don't mind atheists...
i just find them
vocab. starved...
   whenever i hear them
speak, i can't but begin
to orientate myself
around their "thinking":
in that,
the precursor is
always a thesaurus...
   and image becomes:
       ein waßerfall von zungen -

me? i have to unlearn
the bogus chirogram of:
in the name of the father,
and of the son,
and of the holy spirit...

i.e.
   go north / up / it goes to the head,
go crux / center / it goes to the heart,
  go left / your left hand
gets chopped off,
go right / your right hand
gets chopped off...
                    
an atheist is still
someone who seeks to
nibble on the excerpts of
politico sophistry...
not withstanding
the crux of: the short-cut...

            i can see the vanity
of atheists...
   seeking the art of rhetoric...
perfecting it...
  to me... atheists are
very much akin
              to rhetoricians...

        what couldn't
possibly be a desire to expand
on one's vocab.?
         hell...
in the age where
aesthetic is lesser known
form of knowledge,
and knowledge is
worth just as much
as: trivia...

                 petting a cat
on a street, at night?
not so easy...
                     try freezing
a fox into an exchange
of a stare
   within a framework of:
the pair of you
are made unison
for a moment...
   only a meter apart.

< So how far back can you go then ?
How far down the Rope of Songs can you go ?
You were a Rocker weren't you, you liked Rock n' Roll
In the 80's you had a Walkman, you'd be listening to tapes and songs on the radio
You also wanted to be a drummer once, you loved the power and energy there
But what about the early days though, I'm interested particularly in the early days
How far back can you go I wonder
Yea! How far back and what memories do they bring up ? >

Back in the 70's watching Top of the Pops every Thursday evening on the BBC, essential viewing
With its exciting Whole Lotta Love intro
It was something exciting, thrilling
Waiting to see your favourite Band
And to see the Charts, how they were doing
In the Seventies there was Glam Rock, my eldest brother and me we were always arguing and fighting with one another, sibling rivalry I suppose
If he supported United then I'd have to support City...silly stuff
He liked the band Slade whereas I liked...I supported Marc Bolan and T-Rex
Solid Gold East Action I really liked that song
It was very fast, he rarely did fast songs Marc
Telegram Sam..."you're my main man"
Metal Guru..."is it true"
Twentieth Century Boy..."I wanna be your toy"
The hair on your neck would stand up when he'd come on...
Slade were good though, secretly I liked Slade too, they had great songs
*** on feel the Noise/ Girls grab the boys..
Coz I luv you...Mama we'er all crazy now...
Skweeze me Pleeze me "You know how to squeeze me..."
But there were lots of other good bands and so many great songs
We used to play cards for small money...pennies, a series of different card games, and we'd put on records while we played
We even learned to play Chess and we started a Chess League between us,
We'd always listen to the music as we played.

The Sweet's "Blockbuster" with its intro of police sirens, it spent about 5 weeks at No.1 in the UK Charts...
It reminds me of...of Fish that song...Fish on Fridays, we used to have fish every Friday, I didn't like fish there was bones in it
I wouldn't eat it then Mam would get angry
One time she took a mouthful of my fish trying to prove there were no bones in it
Then suddenly she started to cough and splutter and choke
A Bone had actually got caught in her throat
I thought it was my fault, I thought I'd killed her
She had to go to hospital to get it out
I was going to tell her "I told you the fish was dangerous"
That memory just came back to me when I thought of that song and that time

Yea! I liked Marc Bolan and T-Rex, songs like Metal Guru, Twentieth Century Boy
I remember I didn't like the lyric "Twentieth Century Boy/ I wanna be your toy"
It sounded silly to me that lyric, I suppose I wanted things to make sense
And when he did that song "New York City" with the lyric
"Did you ever see a woman coming out of New York City with a frog in her hand"
I thought then he was maybe losing it a bit
< You...you were a very serious child then weren't you ? >
I suppose I was...like a lot of children are...maybe I just wanted things to make sense.

< I'm interested in the early days, even the very early days and the memories you have
How far back can you go ? What about the funny novelty songs ? >
Chuck Berry had a No. 1 with "My Ding a Ling" playing with his Ding a Ling, we all thought it was very funny
Stayed at No. 1 for several weeks
"Gimme that thing, gimme gimme that thing (or Ding)" was another funny song
"Mouldy Old Dough" by Lieutenant Pigeon a keyboard song with the constant refrain of just "Mouldy Old Dough"
Cat Stevens had a song "I can't keep it in/ I gotta let it out/ gotta show the world..."
Novelty songs were important, they'd interest even your parents
They'd pass a comment "Ha! Ha! That's a funny song"
< And there were sad songs too, weren't there, really sad songs ? >
"Billy don't be a hero don't be a fool with your life" by Paper Lace about a young bride trying to talk her young fiancee out of going off to war, he doesn't listen and never comes back, he gets killed
The Government sends her a letter, she throws it away...
"Seasons in the Sun" by Terry Jacks, 'Goodbye Michelle my little one/
We've known each other since we were nine or ten/ We climbed hills and trees skinned our knees...ABC's / O! Michelle it's hard to die when all the birds are singing in the sky..."
You'd nearly be in tears listening to it.
We used to buy Top of the Pops compilation records with lots of hits on them
Sometimes Mom would like a song, 'Stay with me' by the band Blue Mink
"Stay with me, lay with me/ Love me for longer..."
Always reminds me of my Mom that song
'Killing me softly with your song' Roberta Flack was another
'Tie a yellow ribbon round the old oak tree..."
At school every Friday the teacher would have a spelling test, I used win it a lot, I was good at spelling
The teacher used to give some sweets as a prize, I used bring them home to my Mum.

The Eurovision Song contest (all the European countries would put forward a song), I remember being let stay up to watch Abba win in 1974 with 'Waterloo'
In their fabulous outfits...they looked like Stars, Giants to us, Norse legends from Sweden.  They were amazing!
And what about our own Dana, the young Irish girl from Derry who won the Eurovision for Ireland for the first time with 'All kinds of everything...remind me of you"
I was too young to be allowed to stay up to watch that one
But you could probably hear the adults shouting for Joy from the room below
Happy Nay amazed to see one of our own having done so well, being recognised, flying the flag for Ireland
And then there was seeing Thin Lizzy playing 'Whiskey in the Jar' on Top of the Pops, the first Irish Rock band ever to appear on the show
It was so exciting watching them on our old Black and white TV...an Irish Band one of your very own up there on the World stage
And what about Gilbert O'Sullivan from Waterford I think reaching No. 1 in the Charts with his lovely song 'Clair'
We thought it was a love song but at the end it was revealed it was in fact about a little girl he used babysit for...so sweet.
We used to get comics and magazines secondhand, bought at jumble sales (remember jumble sales)
There was a music magazine for young kids, mainly for girls I think
It was called 'Jackie', there'd be a few in our bundle
They'd have big pictures of all the current hearthrobs
Donny Osmond, David Cassidy, the Bay City Rollers
The young fans would go crazy for their idols
I remember Donny Osmond singing Puppy Love and his version of The Twelfth of Never...
"I'll love you till the bluebells forget to bloom
I'll love you till the clover has lost its perfume
I'll love you till the poets run out of rhyme
Until the Twelfth of Never/ And that's a long long time"...
They were beautiful words about loving, a forever love
And Baby I love you by The Ronettes "Baby I love you/ I love everything about you...
All singing about this wonderful mysterious thing called...called Love.

<Can you go back further than that?>
When we'd go up the village where the amusement arcade was
There'd be songs playing, there were dreamy songs
Albatross by Fleetwood Mac, A whiter shade of Pale by Procol Harum
There was an instrumental I remember called "Sylvia" by the Dutch band Focus
There was a lovely leggy blonde girl named Sylvia in my class at school
And yes! I think she was actually from Holland
(We had a few foreign girls in our class)
Y'know I think she fancied me...did Sylvia
She used to smile at me a lot.
I have a memory of being at the fairground in the Summer with its swing boats and bumper cars
It's roundabouts with the horses and swings, the shooting gallery, the stall for throwing rings over things and taking a prize home
I remember candy floss and ice cream cones
I remember playing the penny slot machines in the amusement arcade, all the different machines
I remember a song "California Man" by The Move... wonderful Summer days.

In the Sixties an Elvis or a Beatles film was a big deal
I remember A Hard Days Night in brilliant black and white
And then "Help" in wonderful colour
Trying to get a fabulous Ring off Ringo the drummer's finger... great songs
Watching The Banana Splits "One Banana Two Banana Three Banana Four/All Bananas going right through the door...
Remember The Monkees"Hey!Hey! We're The Monkees/You never know where we'll be found... We're the young generation and we got something to say"
Last Train to Clarksville, I'm a Believer... great songs too
Remember The Age of Aquarius "This is the age of Aquarius..."
The Sixties yeah!

<Did your Mom and Dad have a Singles collection, the old 45's. Do you remember?>
On our old Dansette record player Roy Orbison singing In Dreams and its B side Sharadoba a magical Egyptian sounding song
And also It's Over about a love affair breaking up
And its wonderful B side Indian Wedding, that was my favorite song among the 45's
It told the story of Yellow Hand and White Feather two Indians getting married
But then going off into the swirling snow never to return
Gone to the Land of the Rising Sun...
You'd listen to them over and over again those songs and that wonderful haunting voice.
<And what were you thinking about, what would be running through your mind when you'd be listening to those songs?>
I remember I wanted to be special that I'd have some special powers and be able to do great things
Something that would make me stand out and that people would be amazed
Maybe some of the girls too, would be very impressed.
My Dad he liked Jim Reeves, he had a lovely velvety smooth voice
He sang Billy Bayou 'Billy Billy Bayou watch where you go/ You're walking on quicksand/ Walk slow/ Billy Billy Bayou watch what you say/ A pretty girl is gonna get you one of these days...
He sang a lot of slow love songs "Put your sweet lips a little closer to the phone and let believe that we're together all alone...
Anna Marie... Anna Marie
Four Walls to know me...

<Tell me about Christmas, the Christmas songs?>
Christmas was a magical time in our house, we'd have the Christmas tree with all the decorations and coloured lights on it
We'd have long concertina like decorations going from wall to wall, so colourful
And lots of glittery things
The songs... Slade singing 'Happy Christmas Everybody', Wizard singing 'I wish it could be Christmas everyday', Mud singing 'It'll be lonely this Christmas (without you to hold)' sounded like Elvis
Johnny Mathis singing 'When a child is born',
'Little Drummer Boy'...
In those days because of school and family you had a strong sense of belonging, having friends, attending birthdays and sports and community events and church
I remember the Christmas party in Primary school (Kindergarten), you had to bring your own treats
I'd only have some biscuits and diluted orange juice
Most people were relatively poor in those days
I was a bit embarrassed having so little
There was one boy and all he had was a bottle of milk to bring
Some used make fun of him, kids could be cruel sometimes.

I remember the teacher brought in a tape recorder once and taped every boy and girl's voice and then he'd play them back
I used dread when my voice would come up
'Cos suddenly the whole class would erupt in laughter
For some reason my voice sounded funny when taped
Even the teacher used smile
I felt so humiliated nay destroyed with them all laughing at me...
I remember... I remember singing the Christmas Carol 'Angels we have heard on high' with its chorus
"Glo..ooria, Gloria in Excelsis Deo"
It was Latin I think but I didn't know this
I thought we were singing "Gloria in a Chelsea stable"
I thought to myself "Jesus must be a supporter of Chelsea football/soccer club" heh!
We had Perry Como's Christmas album with the story of 'Frosty the Snowman' and 'The Christmas Song' ...
"chestnuts roasting on an open fire/ Jack Frost nipping at your nose/ Yuletide carols being sung by a choir/ And folks dressed up like Eskimos..."
And Bing Crosby of course, singing White Christmas
I think we all dreamed of a White Christmas
At school we'd sing 'Away in a Manger' and 'The First Nowell'
Y'know if I sing those songs even now to myself, I can... I can almost remember...

<What about the other songs you learned at school, funny songs, sad songs and the memories they bring up? >
There was a song 'Those were the days (my friend we thought they'd never end)' it was in the Charts
I think the teacher taught us it
The people in the song would be having a great time laughing and drinking and dancing in the taverns
But as they'd grow older their lives would change and they'd get lonelier and sadder...
'Puff the Magic Dragon' I remember there was a very sad bit in this song
Puff and his childhood friend would have so many great adventures together
But then one day, his friend he came no more (he'd found other toys to play with)
Poor Puff was left bereft, he slowly slunk back into his cave... this used to make me sad...
We did patriotic songs 'Roddy McCorley' (goes to die on the Bridge of Toom today)
We had a songbook at school, I still have it
It had lots of old folk songs
Oh! Susanna, Skip to my Lou, The Camptown Races
"Michael Finnegan beginagin/ He had hairs on his chinagin/ Poor old Michael Finnegan"
We used laugh at that song
"What are we going to do with the drunken sailor... early in the morning "
'Marching through Georgia' "Hurra! Hurra! We bring the Jubilee/ Hurra! Hurra! The flag that sets us free...a rousing song
The teacher would play a musical instrument, a melodica I think it was called
She'd blow into it and it had keys on top that'd she'd finger to create the notes
She divided the class into those who could sing and the others, the Crows she called us who couldn't
I was among the Crows
It made me feel bad being called a Crow.
In Primary school we used to play soccer during the breaks
It was usually the Boys from the Housing Estate versus the rest of us from the Village
There was never any tactics, the whole team en masse would just run after the ball LoL
I remember I used to get angry sometimes probably because of something someone had said to me
When I was angry I'd become like The Incredible Hulk
I'd go through the whole lot of them, beat them all
I was Unstoppable
I was the first boy in my class to ever score a goal using my head
The school would also have soccer leagues and we'd get put onto teams
But we were so small compared to the bigger older boys we'd hardly ever get a touch of the ball
But I... I managed to get a goal once which was unheard of from someone in our year
I was so happy.... delighted! My teacher even announced it to the whole class
That I'd scored... I was so chuffed
When I went home and told my parents though they didn't seem to think it was anything special....
My Dad he liked accordion music, he liked The Alexander Brothers from Scotland
They had a song 'Nobody's Child'
"I'm Nobody's Child, no one to love me/ No mother's kisses no mother's smiles/ I'm like a flower just growing wild..."

I used to sleep alone in my room
You'd be afraid there in the Dark on your own
There'd be a nightlight on the wall all lit up
A religious picture, the ****** Mary holding the child Jesus
I'd get Mom to leave the door open so I could faintly hear the voices downstairs
Sometimes I couldn't hear anything and I'd be afraid everybody had gone and left me
So I'd get up and sit on the landing listening
There was a few times when I'd actually go down the stairs
I'd be so relieved to see them all still there
I used sing songs in the dark to keep the fear away, songs we learned at school
"We're going to the Zoo Zoo Zoo/ How about You You You/ You can come too too too..."
Old MacDonald had a farm E-I-E-I O! and on that farm he had some...
"10 green bottles standing on a wall/ And if one green bottle should accidentally fall/ There'd be nine green bottles standing on the wall...
Sometimes I used recite poems we'd learned
"Two little blackbirds singing in the sun/ One flew away and then there was one... One little brick wall lonely in the sun/ Waiting for the blackbirds to come and sing again "
I also remember trying to recite to myself the multiplication tables...

<There were funny rhymes and nursery rhymes wasn't there? >
Christmas is coming/ The Goose is getting fat/ Please put a penny in the old Man's hat/ If you haven't got a penny a halfpenny will do/ If you haven't got a halfpenny God bless you...
Hickory Dickery dock/ The mouse ran up the clock...
They could be strangely violent sounding
Jack and Jill went up the hill/To fetch a pail of water/ Jack fell down and broke his crown/ And Jill came tumbling after...
Humpty Dumpty sat on a wall/ Humpty Dumpty had a great fall...
Three blind mice/ See how they run/ They all run after the farmer's wife/ She cuts off their tails with a carving knife...
Girls are made of all things nice... sugar and spice/What are little boys made of/ Frogs and snails and puppy dogs tails...
Adam and Eve went up my sleeve and never came down till Christmas Eve...
I remember the early games we played, Snakes and Ladders, Ludo, Tiddlywinks trying to flick little plastic counters into a tiny plastic bucket, also playing draughts and marbles...

<Can you go back any further ? >
My Mom singing in the kitchen doing her daily chores singing some song off the radio
Dickie Rock an Irish showband singer singing
"Come back to stay/ And promise me you'll never stray/ I promise that I'll be true...
Sean Dunphy another Irish singer singing "If I could choose" (came second in the Eurovision Song contest)
Tom Jones 'The Green green grass of Home '
There was a lot of easy listening type songs on the radio Burt Bacharach type songs
Andy Williams, Englebert Huberdinck (Please release me let me go/ I don't love you anymore), Doris Day maybe
There's a lot I can't remember now
Val Doonican another Irish singer who'd made it big in the UK
(Had his own TV program for many years on the BBC)
He had a big hit with the song "Walk Tall"
"Walk tall and look the world right in the eye/That's what my mother told me when I was about knee high...
I remember one magical Christmas we got a present of a plastic projector
It came with several slides, they had wonderfully colourful cartoony pictures on them that told a story
We'd turn off all the lights and project it onto the wall
I remember it was like magic, the colours they were so vivid, they were like the colors off stained Glass windows...
The colour of things was very important when you were a kid, they'd almost create feelings inside of you
Colours came first... before words ever did
We often didn't understand the grown ups with their big words...
I remember getting collections of different kinds of toy soldiers and then staging battles
I remember collecting little toy Dinky cars they were called, that was their brand
And Matchbox cars (another brand) ... even today when I see certain colours of cars I am reminded of those old toy cars I used to play with... strange

<What are your earliest memories then? >
There was a question I always wanted to ask the adults but I never did, I thought it kind of funny and didn't want them to laugh at me
The question was "Why does Life always show me ?" An existentialist question even then.

We lived by the sea so you'd be lulled to sleep every night by the flowing up and flowing back of the sea... the tide... its gentle swaying back and forth motion
We had a black cloth picture/painting on the wall, a night scene with swans on a lake and an exotic house in the background with the Moon shining
It was so quiet and peaceful to look at...
My bedroom wallpaper had lovely red or pinkish roses
There was a colourful flower design sewn onto my pillowcase
It used to be lovely getting into bed with fresh linen...
I remember I used to get funny dreams even then, sometimes scary dreams
But I remember you were always safe 'cos in the dream you had a special ring you could put on and then the scary dream would go away (I've often wondered after was that maybe where Tolkien got his inspiration for The Lord of the Rings and Wagner the music composer for his music opera "The Ring")

<Can you go back...any further ? >
Going back further, you're almost falling off the edge of the world there
To a time... to a time when there were no words
When a child comes into the world they have no words
There's only... only The Silence... The Great Silence,
Silence is a strange thing, you can hear Silence
The fact that you can hear it means it must be changing from moment to moment
It too is just like a music, it's probably the first music
Without it there could be no other
The Music of the Spheres someone once called it
It just stays there in the background... glistening... your constant companion
Probably the first sound you ever heard, and probably the last you'll ever hear
It can grow very loud
It wasn't threatening, there were no monsters in it
Not until you went to school and learned words and heard scary stories
Did the monsters come
Words they can cast shadows... sometimes very long shadows...
There was a cot with wooden bars, I remember having a blanket with lovely warm colors on it, soft light blues and yellows, wooly sheep, Bo Peep or Bears or something
We had a golden coloured curtain with lots of designs on it in the bedroom
I remember if you looked hard enough you'd start to see faces in the curtain
Sometimes they would frighten me, they'd look very sharp and angry looking or maybe very sad unhappy looking...
I suppose today I still see faces, in my mind, in the great curtain of all my memories, all those I ever met and knew...

I remember looking at my Mom's face and not knowing what she was
Babies their a complete clean slate, have no words, they know nothing of this world
Gradually they warm to their Mom's affections and come to trust her and bond with her.
Because you had no words when very young there'd be huge gaps in your consciousness
When your consciousness would be completely clear and still
The silence and stillness would envelop you
... and there was something else... something else there... something deep in the silence
Out of it would come something very strange and quite wonderful
It'd come upon you suddenly...it was like your consciousness was changing, opening up
It was like you were descending into some great... some great complex
Your eyes would be closed but still you could see it and feel it... you were part of it
And it was so natural and so familiar...it was where you came from...it was Home
There was a first part that would lead into another part... and then another, all different
Yea, it had several stages and you'd pass through each stage from the outside going inward right to the very last stage... the very Source of Life itself
And you'd be completely at ease with yourself, you'd be completely at Home there
It'd come every night... that Special thing.,. that Special Place
Y'know sometimes when I see a little baby asleep in its pram, I know... I know where they are
Their away now, away in that Special Place
Far faraway from this world of care, so peaceful and so quiet there
Guarded by unknowingness and the Great Silence
With no fear or confusion there to bedevil it
Knowing only a relaxation so deep and a great Stillness within...

But me! I was the youngest in my house, I was always fighting with my brothers
And I was a terrible worrier just like my Mother
I'd be worried about school and the teachers, and trying to understand my (school) lessons
And there'd always be problems, arguments, confusions... humiliations and cruel harsh words spoken
At night I remember I used shake my head vigorously as if trying to rid my mind
Of words that had been spoken, words that hurt or stung...or confused me
I used bump my head gently against the wall
But no! I couldn't escape them... my peace it was broken now...it was gone
And that Special Place just like in the song Puff the Magic Dragon
It came no more...it was lost to me.

I suppose this is all I can remember, all I can recall
I guess this is where I must have come in
I suppose I must have reached the end... the End of my Rope here.

El no
el no inóvulo
el no nonato
el noo
el no poslodocosmos de impuros ceros noes que noan noan noan
y nooan
y plurimono noan al morbo amorfo noo
no démono
no deo
sin son sin **** ni órbita
el yerto inóseo noo en unisolo amódulo
sin poros ya sin nódulo
ni yo ni fosa ni hoyo
el macro no ni polvo
el no más nada todo
el puro no
sin no

Forty white birds ask us to be over forty,
Thirty-three wide, 40 long...
More space to see the sky from the earth...
Live time we are alive hearing pass the time.

Forty spread God's word behind us,
And 33 distributed to our entire main front...
Forty long by 33 wide...
It is the crypt of our dreams waiting Reborn.

Tracks 40 and 33 also,
We are told flies through the world and exclaims before the creation
Your experiences,
However it is measurable only those who drag us,
In our range of life 40 x 33 ... we remain trapped and limited...

Jesus has its coordinated laptop,
We walk exponentially multiplying our life within the limits,
And their word will continue to walk with his Gospel, larger crypt which deserves a mortal on earth.

Jesumani and not Getsemani,
Crimping Christian temples...
Via Crucis Vialucis and No Viacrucis...
Generosity and no Privacy,
All the world's forests exceeding your shoulders,
It will be waiting for your return, you release your body breathe
And consecrate the spirit of all over 40 long and 33 wide.

Jesumani is more to think about to be reborn...
Is coming with handfuls of experience back the changes gives us eternity...



Life is eternal,
Eternal is dreaming,
Eternal is glistening,
Eternal is eternal,
Eternal life is hyper,
Hyper dream,
Hyper heal,
Hyper revive,
Hyper resurrect...
Hyper the gentle voice of a child,
Hyper the voice of one or more,
Hyper oxidant and execration Dream,

Forty enough the magnitude of our crypt in Heaven,
So as being take a path,
So I'll get my hands icy missing 33 to gather the meditations I dare tell me, something lost in life not knowing what else I have to live and let me do it.

Thunderclap and thunders and lightning sound come,
Big thing altogether deafening even today not having ears...

As I said, every Easter to come hear me the white birds and I sing psalms growth of my crypt, my great all inclusive resort for all to visit me in my large crypt, in my renovated say ...

Declaim to stand without getting tired, just hearing 40 and 33.
Easter, World Holy, Holy Word ...holy Eternity...


Jose Luis, Easter 2018.
Majoris Hebdomadae Mundus Deo

March 2008
I found my legs shaking
trembling before my schoolmates
somewhere
I hid it under the table, under the first
bottle of Generoso, yes, so local you puke with hate

There with me is the formidable lesbian
I fell so badly in love with back then
at first I knew coming along was a bad idea
but let me tell you, first times are as fickle
as those ******* your **** got used to

and yeah, the first drink of the grape
straightened my frightened legs
gave me courage
but no, it’s not what you think it is

I snubbed her all the way
that is right
after she got a little bit tipsy in the middle
and told me how she’s gonna tell her
big brother that she’s gonna get herself
a boy friend

and more fellow schoolmates came
most of them look up to irrelevant
people like Tupac, Snoop and whoever
it is that can speak fast on drugs.

we reached the denouement
of the unplanned gathering
I wasn’t able to handle myself
for I was ******* everyone off.

three of them even tried to gang up on me
but the tides sided with me
as Deo who almost died last year
sent me home.

my father was so ******* furious
when he first saw, smelled and heard
his son drunk
it was a replica in progress.

konj

Konj!
Tako crn.
Kao nebo.
Miriše po malo funky.
Večna inspiracija
Za pesnika i bildera.
Konj.
Običan, ciganski ili
Plemenit
Kao Aleksandrov Bukefald
Kao Markov Šarac
Kao Veljkov Kušlja i
Tomov Jolly.
Obeležio veliki deo
Istorije ljudske,
Kao heroj ili kobasica, svejedno.
Vuk’o je topove
Vuk’o je plugove
Nalickane dame u kočijama
Mrcvaren bio po cirkusima.
Konj.
Jednom je čoveku odgrizao
Sve prste sem palca
I ovaj ga vezao
Uštrojio
I terao ga da gleda
Kako mu prži i jede
Muda.