I miss your fingers
intwined
inmine

long
        skinn-y
                     perfect

Chapter XIII
Ekadashi, Nix in the Dark

From all the districts they came to witness the material effects of Gaugmela. Three days before, the Falangists under Vernarth were hit by the Ekadashi. They fasted three days before and gave themselves over to the radiations of Zeus, imposing the radiosities of the lunar movements. It is the penultimate step, there were already hours to walk through the dust that shook the heels of the Falanges. All the accoutrements and animals given over to the devotion of his soul and to his disputable faithful.

Already in the immediate circle of Gaugamela's possessions. Darius then came to cross the Tigris, organizing his troops and his harem. The Macedonians arranged the army that numbered 7,000 horsemen and 40,000 infantry. Alexander's elite heavy cavalry were the Hetairoi (Companions) and were made up of the Macedonian nobility, who accompanied Alexander in this battle and were the deciding factor in the battle. Vernarth commands the more than 40,000 infants, keeping a close relationship with the Hetairoi, with his arms twinned with divine caste. And Greek Hoplites who intervened to cover the rear of the phalanx, which Vernarth sponsored in the farthest reaches of thought of this moving stain of thousands of Macedonians singing institutional war poetry.

From the Dodecanese, Kalidona and all the central Greek archipelagoes came to pay tribute to Vernarth, accompanied by Etréstles de Kalavrita, great hero and defender along with Markos Botsaris (Chapter 6, page 36 Koumeterium Messolonghi / Palibrio USA) in this great epic. Raeder also joined his Petrobus Pelicanos, Brisehal and Strigoi from the Transylvanian transverse valleys, soon arrived from the Reign of Horcondising, after boarding his Frigate in Valparaíso. Adding the nine elements of the Megatons reviving in case they are ratified of a new Era.

They all camped five kilometers from the Rio Bumodos, on the north ***** where the moon shadows favored them of a new lunar phase, movements, ebb and flow, the influence of energy. The devotees of the clan did not attach any particular importance to it, they attach importance to these days for one reason only because these days it can enhance their devotion, so they are engaged in service. They are waiting for these days to have the opportunity to further strengthen their devotion, in order to accept the procedures at their right hand with the astrological or cosmic interpretations of the Ekadashi that can be explained by the people of the material world.

Concept infringed upon the devotees is that Ekadashi is the day when the Lord strives for greater enjoyment, to challenge incessant pain from the imbalance of the collective emotions of the attendees. And the others as an ingredient of souls that are destined for their enjoyment should try to give more energy to Vernarth and his regression parapsychological. But we must also understand that we are in the margin of life, so we should not think that Zeus extremely needs our service. He is completely self-sufficient and is in the transcendental world. But he does not leave us alone with his vague glimpses of company.

Ekadashi is a Sanskrit word that means "the eleventh first." The holiday refers to the eleventh day of the fortnight belonging to the lunar month. The moon has two fortnights in a month - The waxing phase of the moon and the waning phase of the moon, so Ekadashi falls twice a month. If we count the contest it was the first of October 1, the ekadashi is biweekly. Is worth to say; that the lunar flows would scrub their triple lunar circles from September 20 331 a. C., which is cyclically corresponding to the eleventh day of self-generation of the phenomenon. That would be crucial in the moldy veil of consecration of the Macedonian Holiness and their immortal souls.

The Falangists' minds will tend to ask millions of circular questions one after another, but it is not their great task to be busy and deal with a lot of various questions in the cold of the night. Our task is to learn to chant the Holy Name without committing ineffective offenses. And in a certain state of mind this will appear in our hearts, rather than in the concentric circle of our Hoplite shield in the defensive Hellenic rear.

An eclipse before battle
Let's go back in time momentarily to October 1, 331 B.C. That day the battle of Gaugamela took place, one of the most important in antiquity. The setting was the banks of the Bumodos River, just over twenty kilometers from Mosul (Iraq). There the Macedonian troops of Alexander the Great (356 BC-323 BC) and the Persian army of Darius III (380 BC-330 BC) faced each other. Vernarth was close to the leader, and they were playing the Dorius with the hoofs of the Steeds and they were vibrating the Sarissas spears with the dark spots falling from the top of the tinted sky, more than the foot-tapping of the sandals of their Thessalonic infants filling their glasses with greater wine Cretense not to tarnish your upstairs fears cosmological.

Eleven days before the battle, under the gaze of thousands of Mesopotamian and Macedonian soldiers, the Moon hid. Not even her benevolent lady sphinx managed to express stunned, almost disheveled before the stars that looked at her. The camp was suddenly plunged into the deepest darkness. Far from marveling and enjoying this astronomical event, the undaunted human troops of both armies interpreted it as a sign of bad omen, sensing an imminent defeat. The panic was greater among the Macedonian ranks that at that time forded the Tigris River in search of Darius III's troops. The soldiery interpreted the Dark Moon as symbolizing the advent chaos against the celestial order, so there was a marked reluctance to continue. This gesture was about to destroy the empire of Alexander the Great.

Fortunately, the Greek strategist managed to change their minds by making a very different reading of the lunar phenomenon: the divine message had to be translated as that the sun, a Macedonian symbol, was going to eclipse the moon a symbol of the Persians.

Alexander Magnus says to them:
I know that your tracks will leave visible traces of the high sky for those who do not go unnoticed. I know that your bellies will empty all your viscera to the sheer Death that is decked out by scaring its docile and nascent hair, like seeds germinated without the freshness of the unruly Sun, yet atoned for in the bowels of the prophecies of the augur.

In spite of everything, the arrogant Macedonian must not have them all with him because he summoned Aristandro, his personal necromancer, in his tent, and asked him to make a sacrifice to the god Phobo, the god of fear and horror. The augur inspected the entrails of the slaughtered animals and assured Alexander that fortune was on his side and he would achieve victory. The prophecy had to reassure the bulk of the army, since the next day they set off, moving away from the bank of the Tigris River, looking for the confrontation against the Achaemenid hosts.
In the Battle of Gaugamela the Macedonian army showed its teeth and twitched the profiles of the Persian temples and their lodge. The cavalry enveloped the Persian troops on their right, penetrating to the heart of the army creating the devastating effluvium that frozen the impression of the eternity of an empire and its empty policy. Darius III intuited that his life was at risk in the face of this contingency, and he fled a horrifying flight, which created a greater confusion among his troops, definitively unbalancing the result of the fight against Alexander the Great. Vernarth, their main commander, before Darius was filled with the worst fear, stormed his own scythe carts and shot the troops head-on, many of the scattered victims being severed. He sprinkled first-degree alcohol on their heads to leave them out in the open and posterity would come the Goddess of the night Nix, spilling sour macerated petals on all of them to bury us in the imprecations of the God Erebus in the deep light devoid of the calm margin of redeeming them of chaos.

Over the sea of crushed earth, beneath the surface of Gaugamela, their floods of elusive phlegm ran through the catacombs, the hurried insectaries of the underworld of the god Tartarus fled. Nix is usually depicted as a winged woman dressed in a black cloak covered in stars. She drives a cart drawn by two horses and normally, her twin sons Hipnos and Thanatos accompany her, here they ran everywhere, to attest the regrets of the Hoplite Phalangists, after being invaded by mythological forces of the Achaemenides. His powers were believed to be superior to those of any other god (believed to even arouse the fear of Zeus) and his worship occurred throughout Ancient Greece. Normally, consecration rituals were performed with roosters and black sheep since it was believed that their singing disturbed the stillness of the nights. Its sacred animal was the owl and its symbolic plant, the ****** poppy. Greek myths believed that when Nix emerged from Tartarus to the surface of the earth, night took place while day suffered from shyness.

Saint Corinth night
The Acrocorintus was a citadel with a triple line of walls, which according to mythology would have corresponded to the sun god Helium, in the dispute it had with Poseidon (god of the seas), who was assigned the Corinth isthmus. of the referee of the contest, Briareo, who was a Hecatónquiro (giant that had fifty heads and a hundred arms) according to the story of the Greek historian Pausanias. The Acrorintus was located on the steep mountains in the south of the city, where the temple of the goddess Aphrodite and the fountain of Pyrene were, and which was larger than Corinth itself, so it could serve as a refuge for the inhabitants if were invaded. It was also the target of the destruction of the Roman consul Mumio, and later rebuilt.

Laus Iulia Corinthiensis, colony of that time in one night under the maroon influence of the blizzard of millions of Fireflies, invaded all the fields of Macedonia. Some of these super noctulizing species migrated from the poles fainting before the Dodona oracle in the twilight that espouses the night of the day in vicious reconciliation. They entered the oracle sworn by civilizations 650 B.C.

The night of Saint Corinth is the vision that a Chrysalis had when observing a Firefly in the center of the barley fields. The oracles at Dodona were performed by interpreting the sounds of the sacred oak and the flight of pigeons. In the middle of the 4th century BC., the athenian Demón mentions another tradition on the oracle of Dodona: he related that from the ceiling of the temple of Zeus hung a series of cauldrons or tripods closely together. Since the temple lacked walls, the wind beat the cauldrons and its sound was what had to be interpreted by the priests or priestesses who appropriated their non-transferable powers, creating a cosmogony of appropriation of illegitimate powers, aggressively changing the destiny of those who came closer to the oracle. Event that was marked in the last minute of the dogma, when everything leaned towards the omen of overcoming an entire almost subdued civilization of mythology turned into an imminent reality, which vividly demonstrated an environment of tangible and prosperity in Gaugamela having made a myth reality like the Dodona and its chrysalis.

It is interpreted by the priestesses, as a harbinger of the common preservation of the Egyptian and Greek theological bastions. But above all of the Dodona, who anticipated the facts, come to reappear according to the forces of nature in Guagamela, which he would risk in 331 BC. C. In all those faithful to Vernarth, presuming to be always loyal in the first and last line, when the oracle entered them by the temples and stole their entrails with doves, later it deposited panting to all equally in the tops of the oaks getting ready to enunciate to the same oracle what was going to happen one day, that year in Gaugamela. Chrysalis hotbeds bathed in a field humor of St. Corinth were always seen fluttering when the Oracle was invoked to the one who came in the name of Vernarth coming from Sudpichi.

To be continued… / under edition.

"en qué consiste el juego de la muerte" preguntó
sammy mccoy parado en sus dos niños
el que fue el que sería
"en qué consiste el juego de la muerte" preguntó sin embargo

antes había bebido toda la leche de la mañana
jugos del cielo o de la vaca madre según
untándola con los sueños que
se le cían de la noche anterior

sammy mccoy era odiado frecuentemente por una mujer
que no le daba hijos sino palos
en la cabeza en el costado
en la mitad del desayuno esa fiebre

de cada palo que le dieron
brotó una flor de leche o fiebre que le comía el corazón
peor todo se come el corazón
y sammy nunca se rendía sammy mccoy no se rendía defendiéndose con nada:

con la memoria del calor
con la cucharita que perdió una vez revolviendo la infancia
con todo lo que iba rezando o padeciendo
con su pelela mesmamente

así
del pecho le fue saliendo
una dragona con pañuelo y la luz
como muchacha envuelta en aire

como dos niños sobre los que niño
sammy mccoy se paraba y
"en qué consiste el juego de la muerte" preguntaba
ya cara a cara con la gran dolora

cuando murió sammy mccoy
los dos niños se le despegaron
el que fue se le pudrió y el que iba a ser también
y de todos modos fueron juntos

lo que la lluvia o sol o gran planeta o la sistema de vivir separan
la muerte lo junta otra vez
pero sammy mccoy habló todavía
"en qué consiste el juego de la muerte" preguntó

y ya más nada preguntó
de sus falanges ángeles con mudos
salían con la boca tapada
a cucharita a memoria a calor


"güeya güeya" gritaban sus dos niños
ninguna mujer salvo la sombra los juntó
qué vergüenzas animales
y las caritas les brillaban calientes

así ha de ser caritas de oro
señoras presidentas o almas cuyas acabaran
a los pieses de sammy el que camina
sammy mccoy pisó el sol y partió

Na sombra uma mulher jaz morta, despida e dependurada pelo tornozelo, seus braços esticados portam dedos inchados de sangue coagulado, enquanto seus anéis apertam estreitos entre suas falanges, e as pontas de suas unhas quase tocam o chão. Posso ainda escutar seus gritos atormentados ecoar ao longe, posso ainda ver seus olhos escancarados diante uma plateia que saboreia sua tortura, posso ainda ver seu corpo obeso se debater em fobia e desespero numa tentativa ridícula e frustrada de escapar. Imóvel, resta apenas uma ***** enorme de banha e tetas caídas, algo em mim se compadece por esta criatura patética, algo não consegue segurar as gargalhadas. É apenas um corpo, nada demais. Se estrebuchou de forma caricata e cômica, desengonçada, amarrada de ponta-cabeça, toda espalhafatosa, desajeitada, seu desespero é hilário, acho que é a coisa mais patética, mais desprezível, mais insignificante, mais burlesca, mais tosca, que imaginei. Apenas um corpo escroto que em breve será engolido pelos vermes do vazio, sem nunca ter representado qualquer coisa além de uma involuntária comédia . Apenas um corpo. Já não sofre, nem se deleita, há somente um caminho incerto pelo qual percorro, e que ela já conhece a chegada.

Estarei eu ao fim dependurado pelo tornozelo? Ou quem sabe dando gargalhadas ao ver a fraqueza dos homens? Ou ainda mais, serei eu a amarrar os tornozelos da humanidade? Todos são os algozes, todos riem da desgraça que não lhes pertence, mas ao fim todos terminam dependurados pelos tornozelos.

Devo continuar caminhando. O corredor é muito escuro, devemos estar no subsolo, esse barulho nojento é perturbador... Um ninho de baratas! Saiam dos meus pés! Saiam dos meus pés! Não há como evitá-las. Elas sobem e se aninham no meu corpo, se reproduzem na minha virilha, fazem sua morada em meus orifícios. Sou tomado por baratas. Sou o homem-barata, o homem fétido, o homem-praga. Aqueles milhões de patinhas que caminham no meu corpo realizam uma massagem profana, sou tomado por um prazer proibido, me deleito com o perfume nefasto, nauseabundo, a ânsia me regurgita um animus enterrado, o horror de estar completamente desencontrado de tudo o que é convencional, a minha criança enlouqueceria ao me defrontar e saber que carrego seu destino com o pênis encoberto por uma gosma preta que se forma ao espremer as baratas que ali se encontram num movimento de masturbação decrépita. Minha mãe, ah, minha mãezinha tão simplória, tão católica, tão temente à um deus inexistente, com suas orações decoradas, com seus hinos de louvor,  seus terços pendurados na cabeceira da cama de madeira antiga e seu falar típico de quem decorou e aprendeu suas frases mais interessantes nas missas tediosas do Padre Adalberto, para mim a melhor hora da missa é a hora que ela acaba, minha mãezinha, ah minha querida mãezinha, definharia até a morte no exato instante em que me visse trepando freneticamente com baratas esmagadas no meu pau. E meu pai, sempre austero, seja lá o que se passa em sua cabeça, como uma parede pintada de bege escuro, como um corredor estreito e sem espaço nas laterais, simplesmente reto como uma tábua de madeira seca, inflexível, adepto de tradições antigas, de costas dadas não reconheceria esta figura repugnante, a se satisfazer de tão nefasto pecado, como uma prole de sua descendência.

Todos desejam esmagar o homem-barata. Mas ninguém quer limpar a gosma fedida. Deixem que as formigas carreguem essa coisa nojenta! Eles dizem. Que prazer insano é este de ser mutilado e fodido até às entranhas? De saber que não há mais volta para tamanha perdição? Isso é deixar todos os dentes da boca apodrecerem. Eis que entendo a velha! Eis que compreendo as gargalhadas de quem acaba de perder todos os dentes podres num chute violento de quem perde a paciência. Eis que pertenço onde de cá estou. Há uma beleza magnética no horror, algo que me arrasta para o interior do objeto horrendo, me distanciando sou arremessado às entranhas da podridão, como um espelho a revelar em mim mesmo aquele objeto da experiência, que em repulsa não posso parar de olhar.

O motorista tira a roupa, a velha tira a roupa, e todas essas pessoas horrorosas tiram a roupa, eu já estou nu e besuntado por essa gosma cinzenta de entranhas de baratas que exala esse odor nauseante que penetra as narinas de qualquer um que se aproxime, odor hipnótico para aqueles que compreendem o segredo. Parece que sou o mais desejável nesta câmara escura. Se aproximam de mim como animais ferozes a saltar de forma muda em direção a um pedaço de carne.

Doy a los cuatro vientos los loores
de tus dedos de clásica finura
que preparan el pan sin levadura
para el banquete de nuestros amores.
Saben de las domésticas labores,
lucen en el mantel su compostura
y apartan, de la verde, la madura
producción de los meses fructidores.
Para gloria de Dios, en homenaje
a tu excelencia, mi soneto adorna
de tus manos preclaras el linaje,
y el soneto dichoso, en las esbeltas
falanges de mis índices se torna
una sortija de catorce vueltas.

debajo de la almohada
una mano,
mi mano,
que se agranda,
se agranda
inexorablemente,
para emerger,
de pronto,
en la más alta noche,
abandonar la cama,
traspasar las paredes,
mezclarse con las sombras,
distenderse en las calles
y recubrir los techos de las casas sonámbulas.
A través de mis párpados
yo contemplo sus dedos,
apacibles,
tranquilos,
de ciclópeas falanges;
los millares de ríos
zigzagueantes,
resecos,
que recorren la palma desierta de esa mano,
desmesurada,
enorme,
adherida al insomnio,
a mi brazo,
a mi cuerpo
diminuto,
perdido
en medio de las sábanas;
sin explicarme cómo esa mano
es mi mano,
ni saber por qué causa se empeña en disminuirme.

Adoremos las carnes de marfiles,
doremos los rostros de perfiles
arcaicos: aristócrata presea;
las frentes de oro pálido bañadas,
las manos de falanges prolongadas,
donde la sangre prócer azulea.

              Venid, adoremos
        el arcano Ideal, compañeros.

Adoremos los ojos dilatados,
cual piélago de sombras, impregnados
de claridades diáfanas y astrales,
los ojos que abrillanta el histerismo,
los ojos que en el día son abismo
los ojos que en la noche son fanales.

              Venid, adoremos
        el arcano Ideal, compañeros.

Adoremos las almas siempre hurañas,
las más silenciosas, las extrañas
que jamás en amores se difunden:
almas-urnas de inmensos desconsuelos,
que intactas se remontan a los cielos,
o intactas en el cócito se hunden.

              Venid, adoremos
        el arcano Ideal, compañeros.

¡Oh poetas, excelsos amadores
del arcano Ideal, dominadores
de la forma rebelde: laboremos
por reconstruir los góticos altares,
y luego a sus penumbras tutelares
              venid adoremos!