By now,the seed varieties of the world,  
may have been attacked beyond recovery
by wars of pretense and relapses.
We are still learning
how to handle it properly.
We tend to say.

Some will talk and plan over dinner parties,
over TV or Radio. Most will leave
it behind like another corpse
of lessons thrown to the gutter,
like a dead *** on another Sunset Boulevard.

Iraq's seed banks
we blew up in the 2000s.
In various places in Asia
and the Middle East, places of life and cultured
varieties gone in an instant.
Echoing our imprisoned
ignorance and drives for more instant goods and services.

Indian farmers have committed mass suicides after
their god Hanuman was used by a chemical giant
to sell poison seeds and renewed
bondages of indebtedness.

One question a stranger asked a group of writers on tour
was not what their poetry or books were about,
nor why they wrote it, but how writing may and
may not be helping as we make decisions and solve problems now?

Once agricultural lands turn into new promises
of commercial buildings. Cities of inaccessible towers and
abandoned malls in America, Spain, China, and Russia
feeds us back our own echo.

Like converted uses of lands, our humanity
is converted into inanimate collections and status
symbols of some players or parties. As we face
our continuing struggle between
our oppressor-selves and our genuine roots.

Despite the perversions,
inside vicious habits of waste
where we glorify promises of war and efficiencies,
we continue to be entrusted with the ongoing lessons:
Rarely do surviving generations through famine, war and diseases,  
throw away means to live, or destroy any kind of seed.

Every day we wake to the ruins and remains of
Our living poetry, word spaces, hours, exchanges,
gains and losses, stopping and going. This time,
not just for fires of anguish or unnecessary losses,
but for each other's midnight lamps.#

when i first found about will alexander, i immediately bought three of his books: kaleidoscopic omniscience, compression & purity, the sri lankan loxodrome - i saw the potential, rekindled surrealism - perhaps a second peacock on the stage, as in more peacock of vocabulary, rather than a peacock of historical quanta merging (E. Pound).

i really do distrust this division in what science speaks
and what poverty stricken humanism speaks of -
i distrust it because science sediments itself supposing
humanism the pauper - science and all its immediate solutions,
humanism and all its delayed problems -
the new priests look so innocent - but i'm bothered,
i don't understand their need for awe-on-purpose -
the old priests demanded kneeling and an agonising
penitence - not a concept of predestination, but
this sort of minority report: you've done nothing wrong,
but we'll assume you already have, better than a microchip
implant, the idea, we'll use that, pre everything
limit the pro of everything, and catch you in a fishnet of
omni, it was too much, all in one go, in defence it started
with a mediator impersonal, Cartesian later Spinoza's
substance - partly due to the omni-etc., a shortcut -
the easiest way out - sure, if i went to a progressive school
rather than a catholic school in an Irish neighbourhood of
far-beyond the East End locality, i might have written
you L.S.D. filled poems, instead i start off tipsy working my
way around vocabulary that's adequate - hushing out
all possible onomatopoeia static in crude tongue -
ridicule feeds the beast, ridicule my prime loathing -
criticism well and truly accepted... ridicule feeds the beast -
but i mean, this perpetuated awe of scientists,
modern philosophy anti-Aristotelian does not begin
with awe, but with a ridicule of it, a disgust -
when did humanism ever experience awe? a stranger's
kindness would be a start, but even then there's hardly
any awe in it - it soon fades, scientists have immersed themselves
as prophets of awe's preservation, one picks up
a stone and speaks of a mountain, one draws a circle and
howls out the moon - i don't know how they can fake their
awe with so many certainties - so many facts -
awe reminds me of my first bicycle lesson, attempting
balance, failing, bruising a knee, and awe when
the balance was mastered - very short-lived, then the
drudgery of re-, i distrust scientific awe, primarily because
we're slowly no longer stepping out into the unknown,
we're stopping into knows and denies - not many unknowns
out there - except as in the case of Iraq, and Donald Rumsfeld,
known knows and there are known unknowns -
now... that's awe... i don't know who was keeping check
on this, but that's more mesmerising that explaining
1,000 million years ago... in a nutshell... how long has
this pneumatic drill of Darwinism been pumping custard
into our brain? is this the part where you tell me we're experiencing
the Alaskan day in the summer months or Alaskan night
in the winter months? all this scientific awe-bashing
is no longer vogue, but they keep at it - oh amazing, ah,
stupefying - and all of it just becomes a regurgitation -
someone said in the 16th century that Aristotle was wrong,
the wrong in Aristotle is that he might have been wrong,
but he was still perplexed... we're no longer perplexed creatures,
not so much... well maybe a bit when it comes to social justice,
but it's not like: sigh and a tear in your eye... it's more like:
if a white boy was shot from a private school, the mothers
and fathers would come up to the police officers with guns
in their hands... you can see awe vanishing when the butterfly
feelings flutter away silently... it's now violent awe:
why is this still happening?! huh?! scientific awe is not
a cushion you can fall back on: we have ~100 years to live
(if you're lucky... or unlucky) and we're being told of life
in caves and trees - Darwinism has hijacked history, this is
where science in written form is like an atom bomb, it wipes
away the best part of humanism, that is: to make human
life itemised on the microscopic level - i don't care if you
go to church and **** out alms for the poor and put on
those ruby shoes and walk the yellow-brick road,
you can't relate to Judea 10 a.d. - not to save your life -
in that famous motto *carpe diem - but strained it's not
so much seize the day, but... relate to the days and those
around you who share them: pertineo diebus - or something
like that, imagine, going to a Catholic school and they
don't even have the manners to teach you a bit of Latin slang,
travesty; but that's how it is, we're no longer awe-stricken
in what the scientists are selling us, fair-dos to
the medicine men, shampoo men, cologne men,
but the awe-invoking men are a bit n'ah-ah to me -
given the timescale for one -  i'm a simple man and i want
to enjoy my beer thinking about last Friday,
my life... not the collective origin of life, and whether
i was too hairy back then - you don't need theology to
argue this point, just a little bit of common sense self-respect,
last Friday, not 1,000 million years ago when there was
no Friday, no Sunday, no March, no human imprint -
no: i can touch it, i can feel it, i can see it... i want it.
just like in my dream today - it's rather strange that i dream,
i rarely do, but sometimes i remember one or two -
and all i can say is that - i had the best *** in my life
last night, asleep - yeah, i was ******* in it -
but what bothers me is that it wasn't lucid in terms of
images, but sensations - i can thus say it wasn't completely
impotent in terms of colour, but then again it was -
i'm starting to believe that i'm a blind-man in my dreams,
i ~see sensations rather than actual images in reel -
i can remember leaning against a wall and moving my
tongue in her mouth and my middle-and-ring fingers
into the... what? cliche? anatomic? *****? you choose -
a strange parallelism - we can use the tongue for such
eloquent fragments, and yet reduce it to other atrocities
of equal eloquence - then the whole dream-world changed
and i felt sitting at the tipping point where the sea meets
the beach sands, sitting down awash the waves and her sitting
on me. it's what i felt, i didn't see anything vivid -
but the sensations presented themselves as such -
i associate that with delving into writing in my mother tongue -
email / diacritics "crossword" (un-ditto and apply a
non-misnomer, i.e. give it a proper name, cf. Aristotle).
to finish i guess i might as well write a short critique:
the over-burdening of man with nouns -
as in will alexander's index of the sri lankan...
a few examples: proxima centauri (nearest star to our sun),
hemiopia (loss of vision for one half of the binocular field),
dukkha (buddhist term for suffering),
nystagmus (involuntary jerky movements of the eye),
nosophobia (morbid dread of some particular disease),
telesto umbriel larissa (moons of saturn, uranus
and neptune, respectively),
karina (egyptian demonology, a familiar attached
to a child at birth),
pretas (ghosts) -                                  or as some people say
including Christian Guerrero - 'they're just words...'
oh yes, and words are not the cogs in the machine?
just words... just words?! a banker's bonus is just
an array of... just numbers... why is this nonchalance
to these fundamental units? first they teach us to read
and write an escape the sunny harvests of the fields,
the easy mental but demanding physical life -
after the demanding physical life went our supposed
"ease" mental life changed into a demanding mental
life and an easy physical life... that's the problem with
establishing a suitable vocabulary in yourself, you can
sometimes overdo it, meaning not many people will
understand it, globalisation didn't save us from
the babylon ambition rekindled (whether myth or whatever,
it doesn't matter, read a book literally and you'll end
up realising what could have possibly been mere myth)...
all the above cited words from the index, by god, impressive,
but why would i pain myself to use a word that i'd
have to write an index to? globalisation and words from
Iran - southern coastal to be exact home to afro-iranians -
but locally it's just a ******* shish kebab and nothing more -
or central scotoma (area of the retina that's blind) -
all this vocab wall building is amazing, it really is,
a fortress at Acre - admirable... but then a return to the dull
grey reality of everyday speech - the painful art of poetry
reduced to a personal involvement with certain words -
it's heart-breaking, well, not for me, for Will it must be,
but hey, bought three of his books, that must have counted
for a cheeseburger and a portion of fries at some point
in his life.

Scroll through the newsfeed
that feeds anything but your
starving human soul.

Invisible chain
Trapped by the hand that feeds me
Weighing me down, slowly pushing the life out of me
Everyday a new chance to leave it all
But I chose to endure and thrive
To break and earn my release from the chains that hold us down
Sink or swim we pick one everyday
I'm not Michael Phelps, but I sure do earn my gold everyday
I take a 9-iron to my problems everyday knock em out the park
Never a straight shot or a hole in one
Always a challenge not so much fun
We have our moment with the hand that feeds us
Let's hope it's not more than we can chew

If you're ever on the riverside
where the sun beats your head
you would see the old man
selling hats of palm leaf
but you care not to notice him
having already smelled the sea
and too keen to cross the river
travel southward on the island
till the saline wind scalds your eyes
your skins itch to jump into the waves
yet the man with the palm leaf hats
would not cease to tell you
how burning would be the sun on the sands
and so badly you need to protect the head
by parting bucks that mean nothing to you
but a world to the mouths he feeds
and before you stamp on him a final no
she has one atop her hair
beneath which her eyes flutter like butterflies
her sun rouged cheeks untimely blush
and two born anew lovers
merrily head for the sea
having bought romance
for forty bucks.

All consumed by thoughts of you
Tied with chains
my heart in pain
I long for your touch your taste
body begs you to penetrate
It's like you can't hear or see what you do
So effortless yet you have no clue
my physical illnesses stem directly from you
head bangs of desire from chemicals that set my brain on fire
You're the air that feeds the flames
squeezed from my lungs
I'm locked in a haze
Waiting to be saved

1.

From our
safe windows,
we crane our necks,
rubbernecking
past the slow
motion wreckage
unfolding in Homs.

We remain
perfectly
perched
to marvel at
the elegant arc of
a mortar shell
framing tomorrows
deep horizon,
whistling through
the twilight to
find its fruitful
mark.

In the now
we keep
complicit time,
to the arrest
of beating hearts,
snapping fingers
to the pop
of rifle cracks,
swooning to
the delicious
intoxication of
curling smoke
lofting ever
upward;
yet
thankfully
remain
distant
enough to
recuse any
possibility
of an
intimate
nexus
with the
besieged.

2.

From our
safe windows,
we behold the
urgent arrivals of
The Friends of Syria
demanding
clean sheets
and 4 Star
room service at a
Tunisian Palace
recently cleaned
and under new
management
promising a
much needed
refurbishment.

The gathered,
a clique of
this epochs
movers and shakers,
a veritable
rouges gallery of
ambassadorial
prelates, Emirs and
state department
bureaucrats
summoned
with portfolio
from the
darkest corners
of the globe.

They are
eager to
sanctify
the misery
of Homs,
deflect and
lay blame
with realpolitik
rationalizations,
commencing
official commissions
of inquiry,
deliberating
grave considerations,
issuing indictments
of formal charges for
Crimes Against
Humanity
while
remaining
urgently
engrossed
in the fascination
of interviewing
potential
process servers
to deliver the bad news
to Bashar al-Assad
and his soulless
Baathist
confederates,
if papers
are to be
served.

Yes, the diplomats
are busy meeting
in closed rooms.

In hushed circles
they whisper
into aroused ears,
railing against
Russia’s
gun running
intransigence
and China’s
geopolitical
chess moves.

Statesmen
boast of the
intrepid justice
of tipping points
and the moving poetry
of self serving tales,
weighing the impact
of stern sanctions
amidst the historical
confusion of the
asymmetrical
symmetries
of civil war.

Caravans
of Arab League
envoys roll up
in silver Bentleys,
crossing deserts
of contradictory
obfuscations,
navigating the
endless dunes
with hand held
sextants of
hidden agendas.

The heroic
Bedouins are
eager to offload
their baggage
and share
on the ground
intelligence from
their recent soirées
across Syria.

They beg
a quick fix,
the triage of a
critical catharsis
to bleed their
brains dry
of heinous
recollections,
pleading
release from a
troubled conscience
victimized by
the unnerving paradox
of reconciling
discoveries of
perverse voyeurism
with the sanctioned
explanations
of their respective
ruling elites.

The bellies
of these
scopophiliacs
are distended;
grown queasy
from a steady diet
of malfeasance
an ulcerated
world parades
in continuous loop;
spewing the raw feeds
of real time misery;
forcibly fed
the grim
visions of
frantic
fathers
rushing
the mangled
carcases
of mortally
wounded
children
to crumpled
piles of smashed
concrete that were
once hospitals.

We despondently
ask how
much longer
must we
look into
the eyes
of starving
children
emaciated from
the wanton
indifference
of the world?


3.

From our
safe windows
we wonder
how much
longer can
the urgent
burning
ambivalence
continue
before it
consumes
our common
humanity in
a final
conflagration?

My hair already
singed by the
endless firestorms
sweeping the prairies
of the world.

How can we survive
the trampling hoards,
the marauding
plagues of acrimony
fed by a voracious
blood lust aspiring to
victimize the people
of Homs and a
thousand cities
like it?


4.

From my safe
window I stand in witness
to the state execution of
refugees fleeing the
living nightmare
of Baba Amr.

The ****** of innocents,
today's newly minted martyrs,
women and children
cornered, trapped
on treacherous roads,
mercilessly
slaughtered and
defiled in death
to mark the lesson
of a ruthless master
enthralled with the
power of his
sadistic fascist
lordship.

I cannot avert my eyes
marking sights
of pleading women
begging for the
lives of their children
in exchange for
the gratification
of a sadists
lust.

My heart
is impaled
on the sharp
spear of
outrage
beholding
careening
children mowed
down with the
serrated blades
protruding
from marauding
jeeps of laughing
soldiers.

I drop
to my knees
in lakes of
tears
reflecting
a grotesque
horror stricken
image of myself.

My eyes have
murdered my soul.

The ghastly images
of Homs have chased
away my Holy Ghost
to the safety of a child's
sandbox hidden away
in a long forgotten
revered memory.


5.

From my safe window
I seethe with anger
demanding vengeance,
debating how to rise
to meet the obscenity of
the Butcher of Damascus.

The sword of Damocles
dangles so tantalizingly close
to this tyrants throat.  

The covered women
of Homs scream prayers
“may Allah bring Bashar to ruin”

Dare I pray
that Allah trip the
horsehair trigger
that holds the
sword at bay?

Do I pick up
the sword
a wield it
as an
avenging
angel?

Am I the
John Brown
of our time?

Do I organize
a Lincoln Brigade
and join the growing
leagues of jihadists
amassing at the
Gates of Damascus?

Will my righteous
indignation fit well
in a confederacy
with Hamas and
al-Qaeda as my
comrades in arms?

Do I succumb to
the passion of hate
and become just
another murderous
partisan, or do I
commend the power
of love and marshal
truth to speak with
the force of
satyagraha?

I lift a fervent prayer
to claim the justice
of Allah’s ear,
“may the knowing one
lift the veil of foolishness
that covers my heart in
cloaks of resent, cure
my blindness that ignores
my raging disease of
plausible deniability
ravaging the body politic
of humanity.”

6.

Indeed,
physician heal thyself.

I run to embrace my
illness.

I pine to understand it.

I undertake the
difficult regimen
of a cure to eradicate
the terrible affliction.

This
pernicious
plague,
subverting
the notion
of a shared
humanness
is a cunning
sedition that
undermines
the unity of
the holy spirit.  

The bell from
the toppled steeples
still tolls, echoing
across the space of
continents and eons
of temporal time.

The faithful chimes
gently chides us
to remove the wedge
of perception that
separates, divides
and undermines.

Time has come
to liberally
apply the balm
that salves the
open wounds
so common to
our common
human condition.

The power of prayer
is the joining of hands
with others racked
with the common
affliction of humanness.

Allah,  
My eyes are wide open,
my sacred heart revealed,
my sleeves are rolled up,
my memory is stocked,
my soul filled with resolve,
my hand is lifted
extended to all
brothers and sisters.
Lift us,
gather us
into one
loving embrace.

Selah


7.

From the safe
windows of
our palaces
we live within
earshot of
the trilling
zaghroutas
of exasperation
flowing from
the besieged
city smouldering
under Bashar’s
symphony of terror.

Our nostrils
fill with the
acrid plumes
of unrequited
lamentations
lifting from the
the burning
destruction
of shelled
buildings.

Our eyes spark
from the night
tracers
of sleeking
snipers
flitting along
the city’s
rooftops.

The deadly jinn
indiscriminately
inject the
paralysis of
random fear
into the veins
of the city
with each
skillful
head shot.

These
ghoulish
assassins
lavish in their
macabre work;
like vultures
they eagerly
feast on the
corpses of their ****,
the stench of bloated
bodies drying in the
sun is the perfume
that fills their nostrils.


8.

From our
safe window
we discern the
silhouettes of militants
still boldly standing
amidst the
mounting rubble of an
unbowed Homs
shouting;

Allah Akbar!!!
Allah Akbar!!!
Allah Akbar!!!

raising pumped fists,
singing songs
of resistance,
dancing to
the revelation of
freedom,
refusing to
be coward by
the slashing
whips of a
butchers
terrible
sword.


9.

From my
safe window
my tongue laps
the pap
of infants
suckling from
the depleted
teats of mothers
who cannot cry
for their dying
children;
tears fail
to well from
the exhaustion
of dehydrated
pools.

10.

From my
safe window
my heart stirs
to the muezzin
calling the
desperate faithful
from the toppled
rubble of dashed
minarets.

We can
no longer
shut our ears
to the adhan
of screams
the silent
voices that echo
the blatant injustice
of a people under siege.


11.

From my
safe window,
I pay
Homage to Homs
and call brothers
and sisters to rise
with vigilant
insistence
that hostilities
cease and
humanity be
upheld,
respected and
protected.


12.

From my safe
window
I perceive
the zagroutas
of sorrow
manifest as a
whiling hum,
a sweeping
blue mist,
levitating
the coffins
from the rubble
of ravaged streets.

The swirling
chorus of
mourning
joins my
desperate
prayers;
rising in
concert
with the
black billows
of smoke
dancing
away
from the
flaming
embers
of scorched
neighborhoods.


13.

From my
safe window
I heed
the fluttering
wings
of avenging
angels
furiously
batting
as they
climb
the black
plumes,
lifting from
the scattered bricks
of the desecrated
city.

It is the
Jacob’s
Ladder
for our
time;
marking
a new
consecrated
place
where
a New Adam
is destined
to be formed
from the
pulverized
stones of
desolation.

14.

From our
safe windows
we peer into
resplendent
mirrors
beholding
the perfect image of
ourselves
eying
falling tears
dripping blood,
coloring death
onto the
blanched sheets
of disheveled beds.


15.

From our
safe windows
our voices are silenced,
our words mock urgency
our thoughts betray comprehension
our senses fail to illicit empathy
our action is the only worthy prayer


16.

From my
safe window
I hear the
mortar shells
walking toward
my little palace,
the crack
of a ******
shot
precedes
the wiz of a
passing bullet
whispering
its presence
into my
waxen
ear.


17.

From my
safe window,
my palms scoop
the rich soil
of the flower boxes
perched on my sill.
I anoint the tender
green shoots of  the
Arab Spring
with an incessant flow
of bittersweet tears.

Music selection:
John Coltrane
A Love Supreme
Acknowledgment

Oakland
2/28/12
jbm

All.

I, All-Creation, sing my song of praise
To God Who made me and vouchsafes my days,
And sends me forth by multitudinous ways.

  Seraph.

I, like my Brethren, burn eternally
With love of Him Who is Love, and loveth me;
The Holy, Holy, Holy Unity.

  Cherub.

I, with my Brethren, gaze eternally
On Him Who is Wisdom, and Who knoweth me;
The Holy, Holy, Holy Trinity.

  All Angels.

We rule, we serve, we work, we store His treasure,
Whose vessels are we, brimmed with strength and pleasure;
Our joys fulfil, yea, overfill our measure.

  Heavens.

We float before the Presence Infinite,
We cluster round the Throne in our delight,
Revolving and rejoicing in God's sight.

  Firmament.

I, blue and beautiful, and framed of air,
At sunrise and at sunset grow most fair;
His glory by my glories I declare.

  Powers.

We Powers are powers because He makes us strong;
Wherefore we roll all rolling orbs along,
We move all moving things, and sing our song.

  Sun.

I blaze to Him in mine engarlanding
Of rays, I flame His whole burnt-offering,
While as a bridegroom I rejoice and sing.

  Moon.

I follow, and am fair, and do His Will;
Through all my changes I am faithful still,
Full-orbed or strait, His mandate to fulfil.

  Stars.

We Star-hosts numerous, innumerous,
Throng space with energy untumultuous,
And work His Will Whose eye beholdeth us.

  Galaxies and Nebulae.

No thing is far or near; and therefore we
Float neither far nor near; but where we be
Weave dances round the Throne perpetually.

  Comets and Meteors.

Our lights dart here and there, whirl to and fro,
We flash and vanish, we die down and glow;
All doing His Will Who bids us do it so.

  Showers.

We give ourselves; and be we great or small,
Thus are we made like Him Who giveth all,
Like Him Whose gracious pleasure bids us fall.

  Dews.

We give ourselves in silent secret ways,
Spending and spent in silence full of grace;
And thus are made like God, and show His praise.

  Winds.

We sift the air and winnow all the earth;
And God Who poised our weights and weighs our worth
Accepts the worship of our solemn mirth.

  Fire.

My power and strength are His Who fashioned me,
Ordained me image of His Jealousy,
Forged me His weapon fierce exceedingly.

  Heat.

I glow unto His glory, and do good:
I glow, and bring to life both bud and brood;
I glow, and ripen harvest-crops for food.

  Winter and Summer.

Our wealth and joys and beauties celebrate
His wealth of beauty Who sustains our state,
Before Whose changelessness we alternate.

  Spring and Autumn.

I hope,--
          And I remember,--

                            We give place
Either to other with contented grace,
Acceptable and lovely all our days.

  Frost.

I make the unstable stable, binding fast
The world of waters prone to ripple past:
Thus praise I God, Whose mercies I forecast.

  Cold.

I rouse and goad the slothful, apt to nod,
I stir and urge the laggards with my rod:
My praise is not of men, yet I praise God.

  Snow.

My whiteness shadoweth Him Who is most fair,
All spotless: yea, my whiteness which I wear
Exalts His Purity beyond compare.

  Vapors.

We darken sun and moon, and blot the day,
The good Will of our Maker to obey:
Till to the glory of God we pass away.

  Night.

Moon and all stars I don for diadem
To make me fair: I cast myself and them
Before His feet, Who knows us gem from gem.

  Day.

I shout before Him in my plenitude
Of light and warmth, of hope and wealth and food;
Ascribing all good to the Only Good.

  Light and Darkness.

I am God's dwelling-place,--
                              And also I
Make His pavilion,--
                      Lo, we bide and fly
Exulting in the Will of God Most High.

  Lightning and Thunder.

We indivisible flash forth His Fame,
We thunder forth the glory of His Name,
In harmony of resonance and flame.

  Clouds.

Sweet is our store, exhaled from sea or river:
We wear a rainbow, praising God the Giver
Because His mercy is for ever and ever.

  Earth.

I rest in Him rejoicing: resting so
And so rejoicing, in that I am low;
Yet known of Him, and following on to know.

  Mountains.

Our heights which laud Him, sink abased before
Him higher than the highest evermore:
God higher than the highest we adore.

  Hills.

We green-tops praise Him, and we fruitful heads,
Whereon the sunshine and the dew He sheds:
We green-tops praise Him, rising from out beds.

  Green Things.

We all green things, we blossoms bright or dim,
Trees, bushes, brushwood, corn and grasses slim,
We lift our many-favored lauds to Him.

  Rose,--Lily,--Violet.

I praise Him on my thorn which I adorn,--
And I, amid my world of thistle and thorn,--
And I, within my veil where I am born.

  Apple,--Citron,--Pomegranate.

We, Apple-blossom, Citron, Pomegranate,
We, clothed of God without our toil and fret,
We offer fatness where His Throne is set.

  Vine,--Cedar,--Palm.

I proffer Him my sweetness, who am sweet,--
I bow my strength in fragrance at His feet,--
I wave myself before His Judgment Seat.

  Medicinal Herbs.

I bring refreshment,--
                      I bring ease and calm,--
I lavish strength and healing,--
                                I am balm,--
We work His pitiful Will and chant our psalm.

  A Spring.

Clear my pure fountain, clear and pure my rill,
My fountain and mine outflow deep and still,
I set His semblance forth and do His Will.

  Sea.

To-day I praise God with a sparkling face,
My thousand thousand waves all uttering praise:
To-morrow I commit me to His Grace.

  Floods.

We spring and swell meandering to and fro,
From height to depth, from depth to depth we flow,
We fertilize the world, and praise Him so.

  Whales and Sea Mammals.

We Whales and Monsters gambol in His sight
Rejoicing every day and every night,
Safe in the tender keeping of His Might.

  Fishes.

Our fashions and our colors and our speeds
Set forth His praise Who framed us and Who feeds,
Who knows our number and regards our needs.

  Birds.

Winged Angels of this visible world, we fly
To sing God's praises in the lofty sky;
We scale the height to praise our Lord most High.

  Eagle and Dove.

I the sun-gazing Eagle,--
                          I the Dove,
With plumes of softness and a note of love,--
We praise by divers gifts One God above.

  Beasts and Cattle.

We forest Beasts,--
                    We Beasts of hill or cave,--
We border-loving Creatures of the wave,--
We praise our King with voices deep and grave.

  Small Animals.

God forms us weak and small, but pours out all
We need, and notes us while we stand or fall:
Wherefore we praise Him, weak and safe and small.

  Lamb.

I praise my loving Lord, Who maketh me
His type by harmless sweet simplicity:
Yet He the Lamb of lambs incomparably.

  Lion.

I praise the Lion of the Royal Race,
Strongest in fight and swiftest in the chase:
With all my might I leap and lavish praise.

  All Men.

All creatures sing around us, and we sing:
We bring our own selves as our offering,
Our very selves we render to our King.

  Israel.

Flock of our Shepherd's pasture and His fold,
Purchased and well-beloved from days of old,
We tell His praise which still remains untold.

  Priests.

We free-will Shepherds tend His sheep, and feed;
We follow Him while caring for their need;
We follow praising Him, and them we lead.

  Servants of God.

We love God, for He loves us; we are free
In serving Him, who serve Him willingly:
As kings we reign, and praise His Majesty.

  Holy and Humble Persons.

All humble souls he calls and sanctifies;
All holy souls He calls to make them wise;
Accepting all, His free-will sacrifice.

  Babes.

He maketh me,--
                And me,--
                          And me,--
                                  To be
His blessed little ones around His knee,
Who praise Him by mere love confidingly.

  Women.

God makes our service love, and makes our wage
Love: so we wend on patient pilgrimage,
Extolling Him by love from age to age.

  Men.

God gives us power to rule: He gives us power
To rule ourselves, and prune the exuberant flower
Of youth, and worship Him hour after hour.

  Spirits and Souls--

Lo, in the hidden world we chant our chant
To Him Who fills us that we nothing want,
To Him Whose bounty leaves our craving scant.

  of Babes--

With milky mouths we praise God, from the breast
Called home betimes to rest the perfect rest,
By love and joy fufilling His behest.

  of Women--

We praise His Will which made us what He would,
His Will which fashioned us and called us good,
His Will our plenary beatitude.

  of Men.

We praise His Will Who bore with us so long,
Who out of weakness wrought us swift and strong,
Champions of right and putters-down of wrong.

  All.

Let everything that hath or hath not breath,
Let days and endless days, let life and death,
Praise God, praise God, praise God, His creature saith.

The void
Or the scowl.

Are you sure you know which you’d pick.
When the right hand that feeds you,
Succulent wisdom,
While the left hand kills the next breed.

You see the void on sundays,
in time that is only passing seconds.
in moments where you scream silently.
When precious life is the cold bone you hold.
Down the path you walk, you long to be led.

Submission
Is the game for so long,
Catch a ball, avoid a fall
Until you chase it when rolls
Off the edge
And you follow it in faith
Rather than in fear
Keeping your white collar near.

What a historic day it is, that the birth of Motherland we celebrate,
She beautifies herself with Independence and prides in freedom;
Like a berry, Her seeds are nurtured and groomed to pomegranate,
Its the birthday of Nigeria, a tectonic day of liberation from Edom.

A day to celebrate Her sweet Autonomy and Ultimate Supremacy,
An October 1st that marks an Independent and historic liberation;
She prides herself in political Authority, Power and Predominancy,
Its the born day of Motherland, a day of a feast worthy celebration.

Let's all celebrate the birth of Nigeria, for Her age's a befitting feast,
We must unite together as One Nation built on our Elite's landmark;
This day calls for a jubilation to a lasting freedom and a vital feast,
Motherland glows with honour and pride, for her birth's a hallmark.

She fought like an Eagle with great might and valor, for the liberty
Of Her future generation, and Hero's blood a fountain of freedom,
Today we laud a Nigeria that birthed the Independence and stability
Of a Sovereign Nation, that feeds no more on the putrid of Edom.

Today marks the 56th born day of Nigeria, and still a Sovran Nation,
It calls for a celebration, a befitting feast and a historic merriment;
An October 1st that marks an Independent and historic liberation,
Its Nigeria's Independence, a day to celebrate a sweet merriment.

©Vabec.

Betrayal is the closest friend
and the most eager lover.

Betrayal is the whetted apathy towards the willow tree
that lay in the rubble of old letters and scents.

Betrayal feels nothing
but joy in itself, blinded by its ignorance.

Betrayal is the abrasive hug
and the facile drawings of a thundered smile.

Betrayal feeds the poppies
and waters the corpse.

Betrayal is the closest friend
and the most eager lover.

BOOK I

S.  Patrick. You who are bent, and bald, and blind,
With a heavy heart and a wandering mind,
Have known three centuries, poets sing,
Of dalliance with a demon thing.

Oisin. Sad to remember, sick with years,
The swift innumerable spears,
The horsemen with their floating hair,
And bowls of barley, honey, and wine,
Those merry couples dancing in tune,
And the white body that lay by mine;
But the tale, though words be lighter than air.
Must live to be old like the wandering moon.

Caoilte, and Conan, and Finn were there,
When we followed a deer with our baying hounds.
With Bran, Sceolan, and Lomair,
And passing the Firbolgs' burial-motmds,
Came to the cairn-heaped grassy hill
Where passionate Maeve is stony-still;
And found On the dove-grey edge of the sea
A pearl-pale, high-born lady, who rode
On a horse with bridle of findrinny;
And like a sunset were her lips,
A stormy sunset on doomed ships;
A citron colour gloomed in her hair,

But down to her feet white vesture flowed,
And with the glimmering crimson glowed
Of many a figured embroidery;
And it was bound with a pearl-pale shell
That wavered like the summer streams,
As her soft ***** rose and fell.

S.  Patrick. You are still wrecked among heathen dreams.

Oisin. "Why do you wind no horn?' she said
"And every hero droop his head?
The hornless deer is not more sad
That many a peaceful moment had,
More sleek than any granary mouse,
In his own leafy forest house
Among the waving fields of fern:
The hunting of heroes should be glad.'

'O pleasant woman,' answered Finn,
"We think on Oscar's pencilled urn,
And on the heroes lying slain
On Gabhra's raven-covered plain;
But where are your noble kith and kin,
And from what country do you ride?'

"My father and my mother are
Aengus and Edain, my own name
Niamh, and my country far
Beyond the tumbling of this tide.'

"What dream came with you that you came
Through bitter tide on foam-wet feet?
Did your companion wander away
From where the birds of Aengus wing?'
Thereon did she look haughty and sweet:
"I have not yet, war-weary king,
Been spoken of with any man;
Yet now I choose, for these four feet
Ran through the foam and ran to this
That I might have your son to kiss.'

"Were there no better than my son
That you through all that foam should run?'

"I loved no man, though kings besought,
Until the Danaan poets brought
Rhyme that rhymed upon Oisin's name,
And now I am dizzy with the thought
Of all that wisdom and the fame
Of battles broken by his hands,
Of stories builded by his words
That are like coloured Asian birds
At evening in their rainless lands.'

O Patrick, by your brazen bell,
There was no limb of mine but fell
Into a desperate gulph of love!
'You only will I wed,' I cried,
"And I will make a thousand songs,
And set your name all names above,
And captives bound with leathern thongs
Shall kneel and praise you, one by one,
At evening in my western dun.'

"O Oisin, mount by me and ride
To shores by the wash of the tremulous tide,
Where men have heaped no burial-mounds,
And the days pass by like a wayward tune,
Where broken faith has never been known
And the blushes of first love never have flown;
And there I will give you a hundred hounds;
No mightier creatures bay at the moon;
And a hundred robes of murmuring silk,
And a hundred calves and a hundred sheep
Whose long wool whiter than sea-froth flows,
And a hundred spears and a hundred bows,
And oil and wine and honey and milk,
And always never-anxious sleep;
While a hundred youths, mighty of limb,
But knowing nor tumult nor hate nor strife,
And a hundred ladies, merry as birds,
Who when they dance to a fitful measure
Have a speed like the speed of the salmon herds,
Shall follow your horn and obey your whim,
And you shall know the Danaan leisure;
And Niamh be with you for a wife.'
Then she sighed gently, "It grows late.
Music and love and sleep await,
Where I would be when the white moon climbs,
The red sun falls and the world grows dim.'

And then I mounted and she bound me
With her triumphing arms around me,
And whispering to herself enwound me;
He shook himself and neighed three times:
Caoilte, Conan, and Finn came near,
And wept, and raised their lamenting hands,
And bid me stay, with many a tear;
But we rode out from the human lands.
In what far kingdom do you go'
Ah Fenians, with the shield and bow?
Or are you phantoms white as snow,
Whose lips had life's most prosperous glow?
O you, with whom in sloping vallcys,
Or down the dewy forest alleys,
I chased at morn the flying deer,
With whom I hurled the hurrying spear,
And heard the foemen's bucklers rattle,
And broke the heaving ranks of battle!
And Bran, Sceolan, and Lomair,
Where are you with your long rough hair?
You go not where the red deer feeds,
Nor tear the foemen from their steeds.

S.  Patrick. Boast not, nor mourn with drooping head
Companions long accurst and dead,
And hounds for centuries dust and air.

Oisin. We galloped over the glossy sea:
I know not if days passed or hours,
And Niamh sang continually
Danaan songs, and their dewy showers
Of pensive laughter, unhuman sound,
Lulled weariness, and softly round
My human sorrow her white arms wound.
We galloped; now a hornless deer
Passed by us, chased by a phantom hound
All pearly white, save one red ear;
And now a lady rode like the wind
With an apple of gold in her tossing hand;
And a beautiful young man followed behind
With quenchless gaze and fluttering hair.
"Were these two born in the Danaan land,
Or have they breathed the mortal air?'

"Vex them no longer,' Niamh said,
And sighing bowed her gentle head,
And sighing laid the pearly tip
Of one long finger on my lip.

But now the moon like a white rose shone
In the pale west, and the sun'S rim sank,
And clouds atrayed their rank on rank
About his fading crimson ball:
The floor of Almhuin's hosting hall
Was not more level than the sea,
As, full of loving fantasy,
And with low murmurs, we rode on,
Where many a trumpet-twisted shell
That in immortal silence sleeps
Dreaming of her own melting hues,
Her golds, her ambers, and her blues,
Pierced with soft light the shallowing deeps.
But now a wandering land breeze came
And a far sound of feathery quires;
It seemed to blow from the dying flame,
They seemed to sing in the smouldering fires.
The horse towards the music raced,
Neighing along the lifeless waste;
Like sooty fingers, many a tree
Rose ever out of the warm sea;
And they were trembling ceaselessly,
As though they all were beating time,
Upon the centre of the sun,
To that low laughing woodland rhyme.
And, now our wandering hours were done,
We cantered to the shore, and knew
The reason of the trembling trees:
Round every branch the song-birds flew,
Or clung thereon like swarming bees;
While round the shore a million stood
Like drops of frozen rainbow light,
And pondered in a soft vain mood
Upon their shadows in the tide,
And told the purple deeps their pride,
And murmured snatches of delight;
And on the shores were many boats
With bending sterns and bending bows,
And carven figures on their prows
Of bitterns, and fish-eating stoats,
And swans with their exultant throats:
And where the wood and waters meet
We tied the horse in a leafy clump,
And Niamh blew three merry notes
Out of a little silver trump;
And then an answering whispering flew
Over the bare and woody land,
A whisper of impetuous feet,
And ever nearer, nearer grew;
And from the woods rushed out a band
Of men and ladies, hand in hand,
And singing, singing all together;
Their brows were white as fragrant milk,
Their cloaks made out of yellow silk,
And trimmed with many a crimson feather;
And when they saw the cloak I wore
Was dim with mire of a mortal shore,
They fingered it and gazed on me
And laughed like murmurs of the sea;
But Niamh with a swift distress
Bid them away and hold their peace;
And when they heard her voice they ran
And knelt there, every girl and man,
And kissed, as they would never cease,
Her pearl-pale hand and the hem of her dress.
She bade them bring us to the hall
Where Aengus dreams, from sun to sun,
A Druid dream of the end of days
When the stars are to wane and the world be done.

They led us by long and shadowy ways
Where drops of dew in myriads fall,
And tangled creepers every hour
Blossom in some new crimson flower,
And once a sudden laughter sprang
From all their lips, and once they sang
Together, while the dark woods rang,
And made in all their distant parts,
With boom of bees in honey-marts,
A rumour of delighted hearts.
And once a lady by my side
Gave me a harp, and bid me sing,
And touch the laughing silver string;
But when I sang of human joy
A sorrow wrapped each merry face,
And, patrick! by your beard, they wept,
Until one came, a tearful boy;
"A sadder creature never stept
Than this strange human bard,' he cried;
And caught the silver harp away,
And, weeping over the white strings, hurled
It down in a leaf-hid, hollow place
That kept dim waters from the sky;
And each one said, with a long, long sigh,
"O saddest harp in all the world,
Sleep there till the moon and the stars die!'

And now, still sad, we came to where
A beautiful young man dreamed within
A house of wattles, clay, and skin;
One hand upheld his beardless chin,
And one a sceptre flashing out
Wild flames of red and gold and blue,
Like to a merry wandering rout
Of dancers leaping in the air;
And men and ladies knelt them there
And showed their eyes with teardrops dim,
And with low murmurs prayed to him,
And kissed the sceptre with red lips,
And touched it with their finger-tips.
He held that flashing sceptre up.
"Joy drowns the twilight in the dew,
And fills with stars night's purple cup,
And wakes the sluggard seeds of corn,
And stirs the young kid's budding horn,
And makes the infant ferns unwrap,
And for the peewit paints his cap,
And rolls along the unwieldy sun,
And makes the little planets run:
And if joy were not on the earth,
There were an end of change and birth,
And Earth and Heaven and Hell would die,
And in some gloomy barrow lie
Folded like a frozen fly;
Then mock at Death and Time with glances
And wavering arms and wandering dances.

"Men's hearts of old were drops of flame
That from the saffron morning came,
Or drops of silver joy that fell
Out of the moon's pale twisted shell;
But now hearts cry that hearts are slaves,
And toss and turn in narrow caves;
But here there is nor law nor rule,
Nor have hands held a weary tool;
And here there is nor Change nor Death,
But only kind and merry breath,
For joy is God and God is joy.'
With one long glance for girl and boy
And the pale blossom of the moon,
He fell into a Druid swoon.

And in a wild and sudden dance
We mocked at Time and Fate and Chance
And swept out of the wattled hall
And came to where the dewdrops fall
Among the foamdrops of the sea,
And there we hushed the revelry;
And, gathering on our brows a frown,
Bent all our swaying bodies down,
And to the waves that glimmer by
That sloping green De Danaan sod
Sang, "God is joy and joy is God,
And things that have grown sad are wicked,
And things that fear the dawn of the morrow
Or the grey wandering osprey Sorrow.'

We danced to where in the winding thicket
The damask roses, bloom on bloom,
Like crimson meteors hang in the gloom.
And bending over them softly said,
Bending over them in the dance,
With a swift and friendly glance
From dewy eyes:  "Upon the dead
Fall the leaves of other roses,
On the dead dim earth encloses:
But never, never on our graves,
Heaped beside the glimmering waves,
Shall fall the leaves of damask roses.
For neither Death nor Change comes near us,
And all listless hours fear us,
And we fear no dawning morrow,
Nor the grey wandering osprey Sorrow.'

The dance wound through the windless woods;
The ever-summered solitudes;
Until the tossing arms grew still
Upon the woody central hill;
And, gathered in a panting band,
We flung on high each waving hand,
And sang unto the starry broods.
In our raised eyes there flashed a glow
Of milky brightness to and fro
As thus our song arose:  "You stars,
Across your wandering ruby cars
Shake the loose reins:  you slaves of God.
He rules you with an iron rod,
He holds you with an iron bond,
Each one woven to the other,
Each one woven to his brother
Like bubbles in a frozen pond;
But we in a lonely land abide
Unchainable as the dim tide,
With hearts that know nor law nor rule,
And hands that hold no wearisome tool,
Folded in love that fears no morrow,
Nor the grey wandering osprey Sorrow.'

O Patrick! for a hundred years
I chased upon that woody shore
The deer, the badger, and the boar.
O patrick! for a hundred years
At evening on the glimmering sands,
Beside the piled-up hunting spears,
These now outworn and withered hands
Wrestled among the island bands.
O patrick! for a hundred years
We went a-fishing in long boats
With bending sterns and bending bows,
And carven figures on their prows
Of bitterns and fish-eating stoats.
O patrick! for a hundred years
The gentle Niamh was my wife;
But now two things devour my life;
The things that most of all I hate:
Fasting and prayers.

S.  Patrick. Tell On.

Oisin. Yes, yes,
For these were ancient Oisin's fate
Loosed long ago from Heaven's gate,
For his last days to lie in wait.
When one day by the tide I stood,
I found in that forgetfulness
Of dreamy foam a staff of wood
From some dead warrior's broken lance:
I tutned it in my hands; the stains
Of war were on it, and I wept,
Remembering how the Fenians stept
Along the blood-bedabbled plains,
Equal to good or grievous chance:
Thereon young Niamh softly came
And caught my hands, but spake no word
Save only many times my name,
In murmurs, like a frighted bird.
We passed by woods, and lawns of clover,
And found the horse and bridled him,
For we knew well the old was over.
I heard one say, "His eyes grow dim
With all the ancient sorrow of men';
And wrapped in dreams rode out again
With hoofs of the pale findrinny
Over the glimmering purple sea.
Under the golden evening light,
The Immortals moved among thc fountains
By rivers and the woods' old night;
Some danced like shadows on the mountains
Some wandered ever hand in hand;
Or sat in dreams on the pale strand,
Each forehead like an obscure star
Bent down above each hooked knee,
And sang, and with a dreamy gaze
Watched where the sun in a saffron blaze
Was slumbering half in the sea-ways;
And, as they sang, the painted birds



























































­

























Kept time with their bright wings and feet;
Like drops of honey came their words,
But fainter than a young lamb's bleat.

"An old man stirs the fire to a blaze,
In the house of a child, of a friend, of a brother.
He has over-lingered his welcome; the days,
Grown desolate, whisper and sigh to each other;
He hears the storm in the chimney above,
And bends to the fire and shakes with the cold,
While his heart still dreams of battle and love,
And the cry of the hounds on the hills of old.

But We are apart in the grassy places,
Where care cannot trouble the least of our days,
Or the softness of youth be gone from our faces,
Or love's first tenderness die in our gaze.
The hare grows old as she plays in the sun
And gazes around her with eyes of brightness;
Before the swift things that she dreamed of were done
She limps along in an aged whiteness;
A storm of birds in the Asian trees
Like tulips in the air a-winging,
And the gentle waves of the summer seas,
That raise their heads and wander singing,
Must murmur at last, ""Unjust, unjust';
And ""My speed is a weariness,' falters the mouse,
And the kingfisher turns to a ball of dust,
And the roof falls in of his tunnelled house.
But the love-dew dims our eyes till the day
When God shall come from the Sea with a sigh
And bid the stars drop down from the sky,
And the moon like a pale rose wither away.'

#######
BOOK II
#######

NOW, man of croziers, shadows called our names
And then away, away, like whirling flames;
And now fled by, mist-covered, without sound,
The youth and lady and the deer and hound;
"Gaze no more on the phantoms,' Niamh said,
And kissed my eyes, and, swaying her bright head
And her bright body, sang of faery and man
Before God was or my old line began;
Wars shadowy, vast, exultant; faeries of old
Who wedded men with rings of Druid gold;
And how those lovers

I use technology to take me to a time when it only half-existed. In a blue-shell room of mega-pixel photographs and rolling news feeds, I can put on my headphones and disappear into an instrumental Sunday.

There are stamp collectors making their lazy way over beaten roads and disused railways. 'Surrender' only means to fall asleep and to leave your book as a hut on your bedside table. Where war may still go on and on,

but at least you don't have to hear about it. Show me the place where pine-cones fall and women stare across the river. Where coffee is for taste, and not self-medication. I want to walk bare-foot and feel thorns

toughen my heels, infect my blood with Earth or God or Any Other Name. We will **** in the bushes, singing those fragments of Leonard Cohen lyrics that we can still remember from times spent smoking in my room.

I can almost feel that pointless happiness. That location in a canopy to retreat when the bills are due, when the walls needs re-painting. When the neighbour strangles puppies and all you do is complain about the time.

I use new music set to old sounds: freed slaves living in the cross-hairs of tradition. White lovers breaking their hearts over guitar strings and harmonies, always a semi-tone apart. I find your hair on my pillow.
There is no technology in the world to distract me from that.

They say, beauty is in the eye of the beholder
But sometimes I ask myself, how can this be?
Cause when I look with my eyes, I only start to feel resent
and I begin to despise, the things I realize like
how my women of color have been simplified, and hypserxualized
how the black woman's body has been used and abused and now
It personifies, sexuality and promiscuity, out of all the things media feeds us these are some of the worst lies
You see cause black women are queens, and when white culture saw their worth, they were rattled
They couldn't help but try to minimize and de-legitimize, and put a guise over the eyes of all that viewed her
She is not just a big ***, big lips or hips
She is the mother of humanity, in her essence from her hair, to lips to her fingertips she is a Queen, and she is to be respected.
And I will die for her honor, We will not go back into slavery days, I will not stand here while she gets up on stage naked and her body is dissected, and her soul, her essence neglected, her heart, her mind infected.
From these queens come the workers, the Kings, without the black woman we have no past and we have no future
We must protect the black woman, for she is sacred like scripture.

Life’s about the adjectives,
it’s how we know the world.
Nouns, you see, are only names,
with adjectives - life is knurled.

Think about the apple,
just fruit upon the tree,
red ripe skin with tasty pulp,
better lets us see.

Providing us the texture,
of color if you will,
ADJ allows us space,
to give our lines the fill.

Life’s about the adjectives,
spice for the written line,
Verbs, you see, are motion,
and index things like time.  

Think about the race car,
going around the lane,
zipping fast with lightning speed,
better feeds the brain.  

Providing us the feeling,
of nature if you will,
ADJ gives the taste,
to writings we distill.  

Verbs contain the action,
and nouns have the heart,
adjectives add the flavor,
for cooks of written art.  

Life’s about the adjectives,
how else could it be,
that words paint the pigments,
in poems for us to see?

Living freely in this world
My vulnerability, feels so lost
As it seeks the skies to escape all
Perched high away and hiding
My heart forsaken
For my vulnerability
Has left

The little bird has flown

My retreating heart lives behind
Many layers of frozen ice
The warm waters of my heart
Have all frozen over

Come back, come back little bird

A teardrop falls
For I see the loss of potential
In this frozen pond
Where waters should be warm
My heart should sing
Great rich jungles, it should bring

My pride wounded by this world
I stare into my murky depths
My standing in this world falling
As my legs are taken
By the jaws of a giant beast

Far away a bird twitches

My stomach twists and turns
Absorbed I am into the belly
Of a great giant crocodile
I begin to feel my vulnerability
In these dangerous warm acidic waters
As I merge into a crocodile
And high above a bird leaves his perch
As the ice layers break
With the force of my tail

New eyes see the self importance in people
Of this earth, with all their arrogance
I will bring you back to earth
For I am the last living dinosaur
Born from a time when T.rex reigned
And even the birds had teeth
For I still live in waters
Where Piranha's seek to
Frenzy on living flesh
And I am to be scared of you

I warn all of those who wish to disturb
My open and most precious heart
That rests in silence over my pond
For your flesh will quiver
With the sound of my ancient growl
And your eyes will panic
With the sight of my jaw

A quiet bird flutters closer

Bring your bitterness and all your sourness
For I am hungry and love rotten meat
And your disregard feeds my fury
Circle my pond
Where my heart rests softly
With rich and green waters
Bursting and growing in love
For I am not scared to feel

And I will lounge and grab
As a tonne of me, slaps itself
Bang, ******* this earth
For I am here to feel it
And not escape it
But you will be blind
And lost in my depths
I will turn you over and
Your arrogance will feed me
As I grow stronger
You will be ripped limb from limb  

A little bird comes closer

My heart free from noise
A silence nestles in me
And all innocence is seen
Beautiful souls float freely
Butterflies dance and play
And my beautiful vulnerability
returns in sweet song
And rests softly in my jaw

A strange paradox becomes so very clear
With a little bird we hold so dear

Blue Hill Avenue

It begins with Spanglish-speaking merchants
conducting business inside of bulletproof stalls,
where the faint scent of dried cod follows you
to the flat fix next door, into the auto body,
a hair shop, and to the steps of a church
for first generation Cape Verdean-Americans,
their offspring and that old lady --
someone’s  grandmother --
who wears a black dress on Fridays
and walks home from the Market Basket
the same time that you get off the bus
who wears a shopping bag full of tropical foods
and memories on her head.

And if you stand at its first **** south,
you will notice how the families disappear
in the African American section.
There are fewer stores here, lots of energy boxes
with epitaphs: “Tiffany Moore Died Here”;
a seatless swing set, a playground gone fallow.
You won’t see any church steeples in this section
that feeds on a neon CITGO sign too small
to illuminate the skyline like the mega one in Copley does.

A few blocks away, a ghost of the Jewish past sits
with pointy stars of David nestled inside its
bulbous steeples that simmer on summer Sundays
where Haitian congregants stew inside,
praying and giving to the building fund
in damp envelopes that will go to the omnipotent one
who will someday replace the stars with crosses.

And as you keep walking, past the temple,
you enter Grove Hall’s Mecca, a strip mall
with a drive-thru Dunkin Donuts,

a Stop & Shop, CVS, Bank of America,
and a Rainbows that sells your teenaged aunt
the sequined one-off shirt she needs for a date
and the fishnets she wears to the carnival
that parades through a sliver of the avenue,
the very next section of our beloved Blue Hill.

Across the street, Check Cashers speak English
as good as the number of dollars and cents
they count when they hand you back your cashed check
or the double win you scratched out of a Gold Rush ticket.

Adjacent to them, a Greek-owned sandwich shop
that feeds you steak bombs as long as your forearm or
Festive Fridays: 20 wing dings, a pound of fries,
a Greek salad, and a gracious gulp of fountain cola --
essentially, a heart-attack meal.  

Next, another ghost of the Jewish past,
a church in the former Franklin Park Theater,
where Yiddish entertainers performed vaudeville acts
which nobody living can remember.

Then a building that resembles an African footstool,
one that will allow you to see over the **** of the hill
and down below at a gospel choir trapped in everlasting song
against the wall of the one-hour cleaners and that store
where a turkey-shaped lady with flour dusted hands
stands behind a window, noticing you,
while guarding her beef patties and cocoa bread
with a bulletproof smile.

THE BANSHEE*

Late at night, whilst lying in bed,
two sisters hear a sound of dread.
Mixed in with the beating hail,
is the dreaded Banshee’s wail.

The storm is directly overhead,
and the thunder so loud, no word is said
Because the sisters cannot hear
anything spoken, even shouted in ear.

However, over the storm’s great row,
they hear the Banshee even now,
Howling around the chimney top,
Oh, will that screaming never stop?

Fiona and Caitlín look at each other,
with fingers in ears, the noise to smother.
The Banshee, a dire harbinger of death,
is wailing louder with every breath.

Who will die in that house tonight?
It really doesn’t seem to be right.
Only the two girls live there now,
for either to die would be a blow.

Eventually, after a couple of hours,
the storm decreases to merely showers.
Quieter now calls the Banshee,
it seems to pleading, “Please help me!”

Fiona and Caitlín become afraid.
Why is the Banshee begging for aid?
It only cries, a death to foretell,
is it predicting its own death as well?

Finally the storm blows out,
and Fiona and Caitlín think about
The Banshee, is it still around?
Then they hear a moaning sound.

It abates, then rises again,
like some creature suffering pain.
The two sisters decide they should
try to help if they could.

With dawn’s approach it is getting light,
and so the sisters think they might
Go outside and try to see
if they can find the groaning Banshee.

The sisters live on a little croft,
in a cottage that’s got a goodly loft
With a sloping ceiling overhead,
in which they’d placed a double bed.

A few outbuildings dotted around,
a meagre crop grows in the ground.
A pig, some sheep and one milk-cow.
that has sustained them both ere now.

A donkey, more a pet than use,
and fattening for Christmas, one grey goose.
A flock of hens and one old duck,
the sisters haven’t had much luck.

The cottage, a mere but-and-ben,
the but, a parlour, the ben, a kitchen.
This hovel is heated by one hearth,
and chinks in the walls are stopped with earth.

The roof is only thatched with turf,
there’s a constant background noise of surf,
And though their homestead looks forlorn,
they have lived there since they were born.

The croft is quite close to the sea,
and seaweed, obtainable for free,
Is often collected by the sisters,
carried in buckets which gives them blisters.

They use it to fertilise their crop,
and work all day until ready to drop.
Their father had been lost at sea,
their mother, heartbroken, soon after died she.

The sisters dress and go outside,
to find the Banshee where’er it may hide.
They can no longer hear its moan,
and wonder if by now it’s flown.

They slowly walk around to try,
the importunate Banshee to spy.
It isn’t now on the roof at all,
it is lying huddled by the wall.

No longer seeming a creature of dread,
only a shivering person, nearly dead.
The sisters kneel down by her side,
they cannot just let her there bide.

“What can we to to help?” asks Fi.
“Nothing, please just let me die.”
“Not an option,” then declares Cait,
“I’ll fetch a blanket, you two wait.”

The Banshee turns her face away,
“I thought to be gone ere break of day.
I was flying across your croft
when the lightning struck down from aloft.”

“I’ve never been hit like that before,
I couldn’t then fly any more.
I tumbled down from out of the sky
in terrible pain. I thought I’d die.”

“And in my agony I screamed out,
not knowing you would hear me shout.
I am not here, your deaths to foretell,
I would for you that fear dispel.”

Then Caitlín does soon return,
Fiona says, “Our help she’d spurn.”
“Oh no she shan't,” Caitlín said,
“we’ll just to carry her to bed.”

To the girls the Banshee appears light,
extremely pale, albino white.
She hardly seems to have any weight,
and looks as though she rarely ate.

On her shoulders two white wings,
tiny little vestigial things.
Her only clothes, a vestment white,
ripped to shreds by the storm in the night.

Cait carefully lays the blanket down flat,
and they place the Banshee onto that.
Then lifting the blanket between them both,
they carry her in, though the Banshee’s loath.

They go into the but, through the ben,
noticing as they do so, when
The Banshee is shaken around,
she bites her lip hard to prevent any sound.

They lay the Banshee down on their settle,
realising she is full of mettle.
She obviously is still in great pain,
though will not show it, that is plain.

Fiona back into the kitchen goes,
intending to heat up some brose.
Caitlín with the Banshee does stay,
determined to help as best she may.

Beneath the Banshee’s head she lays
a pillow then to the Banshee says,
“You should get out of your wet clothes,
you could catch you death from wearing those.”

Caitlín realised as soon as she spoke,
to the Banshee that would be no joke.
“I’m sorry if I’ve offended you,
that’s the last thing I would want to do.”

“It is just that when *we were wet,
these words from our mother we would get.”
The Banshee replies, “I don’t mind,
I know you’re trying to be kind.”

“And there’s something you should know,
no-one’s seen my body ere now.
However, although shy I may be,
I will try to let you undress me.”

Fiona at that moment comes in,
carrying on a tray of tin,
A bowl of brose with slices of bread,
then seeming surprised, to her sister said,

“Haven’t you yet the wight undressed
and warmed her up to help her rest?
If she stays in that dress, cold and wet,
she might catch her death from cold, yet!”

The Banshee and Caitlín glance at each other,
and then both snirt, which they try to smother
By each pretending to need to cough
while Fiona snaps, “Let’s get them off.”

Fiona places the tray on a table,
then kindly says, “I think I’ll be able,
If you sit up, to remove your gown,”
then worries, hearing the Banshee groan.

“I’m sorry, I am still in pain,
it came on when I moved again
As the result of having to cough.
Please do your best to get my robe off.”

Caitlín sits by the Banshee’s side,
and across her back her arm does slide.
She helps the Banshee to sit up straight,
who winces and then smiles at Cait.

Fiona manages to ease the robe down
to the Banshee’s waist then gives a frown.
“No wonder so much pain you’ve had,
the lightning seems to have burnt you bad.”

The Banshee’s skin is bleeding and raw,
the robe stuck in places making it sore.
Caitlín asks, “Why didn’t you say?
You don’t need to suffer this way.”

The Banshee begs, “Please don’t be mad,
until now my life’s been bad.
You’re the first mortals I have known,
until now I’ve been alone.”

Overcome with emotion, she cries,
the tears, in rivulets, fall from her eyes.
Caitlín hugs her close to her breast,
saying, “Soon you will be able to rest.”

“Fi, get some scissors and cut her robe free,
then bring some Aloe Vera to me.
I’ll use the sap to coat each wound,
and with strips of cloth they can be bound.”

So Fiona with scissors cuts the cloth,
while the Banshee closes her eyes, both
To avoid watching the scissors being used,
and not see the cloth to her body fused.

After cutting through as much cloth as she may,
Fiona picks the pieces away.
And then Caitlín does tenderly use,
to soothe the wounds, Aloe juice.

Fiona cuts the Banshee’s dress
into strips, which, more or less,
Provide enough cloth, the wounds to cover,
which they hope will soon heal over.

Fiona then goes to the bedroom to get,
to cover the Banshee, a dry blanket.
Caitlín stays sitting with her on the settle,
hoping the Banshee’ll soon be in fine fettle.

The blanket warms her up a treat,
then the sisters help the Banshee to eat.
Caitlín supports the Banshee’s head,
while Fiona feeds her brose and bread.

They leave her sleeping on the settee,
and go to the kitchen to brew some tea,
Then sitting down, they discuss what to do,
it’s new to them, they haven’t a clue.

Cait says, “I thought her a creature of myth,
a fable, though mentioned long sith.”
Fiona remarks, “And I thought as well,
she only appeared, a death to foretell.”

“This, she has said, is not why she’s here,
and also her life’s bad, so I fear
If we don’t help her to try to mend,
she might think her own life to end.”

At that the sisters feel so sad,
how can the Banshee’s life be so bad?
Since she’s a poor creature in so much need,
they’ll try to help and not ask for meed.

Into the parlour they quietly peep,
the Banshee still seems to be asleep.
So Fiona and Caitlín each start on a chore,
Fi feeds the hens, Cait goes to the shore.

On the beach Cait harvests seaweed,
collecting only as much as they need,
Then carries it back to the croft, up the lane,
trying to ignore, caused by blisters, the pain.

Cait leaves the buckets and enters the ben,
and sees the Banshee is awake, then
She goes to her and sitting down,
asks, “Why’ve you always been on your own?”

The Banshee replies, “That’s just how it is.
There’s never been a time ywis,
That I’ve ever met another like me.
Mayhap I’m the only one to be.”

At that the Banshee seems so sad,
and continues, “And what else is bad
Is that I feel Death draw near
to mortals. That’s the time I fear.”

“I cannot stop that ‘sergeant fell,’
however, I feel his pull too well.
I feel so sad at what he does,
and try to help by being close.”

“That is why when he is present,
I always try not to be absent.
I give warning as best I might,
by screaming loudly in the night.”

“People hear me and suppose,
I am there, a life to foreclose.
Then I feel the awful hate,
which from the mortals does emanate.”

Caitlín then goes back outside,
leaving the Banshee safe inside.
Fiona and Cait continue the work
that they must do and should not shirk.

Fiona finally milks the cow,
and hoping the Banshee’s feeling less low,
Pours some warm milk into a cup,
and carries it in for the Banshee to sup.

The Banshee wakes as Fiona comes in,
Fi says to her, giving a grin,
“I can’t believe you’re really here,
I must say, you are quite a dear!”

The Banshee gratefully takes the cup,
and with Fi’s help drinks the milk up.
Then back down on the couch she does lie,
and Fiona, embarrassed, again sees her cry.

Fiona sits down by her side,
while the Banshee tries, her face to hide.
Fiona, silent, her hand does hold,
noticing it’s very cold.

She strokes the Banshee’s silvery hair,
and waits for the tears to disappear.
The Banshee, eventually, does her eyes dry,
and then gives out a heartfelt sigh.

“I am so happy here with you,
without you I’d not know what to do.
Please forgive my moody tears,
I haven’t cried like this for years.”

“The first time was when I experienced Death.
I was drawn to a blasted heath,
Where a woman had a babe, stillborn,
and was gazing at it so forlorn.”

“She’d been constuprated in a wood,
by a man who’d left as soon as he could.
She was overcome with shame,
she hadn’t even known his name.”

“The babe was born before its time,
the ground was cold and hard with rime.
The woman did not even have
a ***** to dig the baby’s grave.”

“She opened the clothes across her chest,
and wrapped it tightly to her breast,
Then untied the cincture from her waist,
moving slowly not in haste.”

“When, going to a nearby tree,
not knowing I was there to see,
Around a branch she did it thread,
and hanged herself. She soon was dead.”

“Death knew what there would occur,
and therefore, to lay claim to her,
Had gone to the heath to watch her die,
and I’d been drawn, by Death, nearby.”

“I could feel the woman’s pain.
It came in waves again and again.
I didn’t know what it did mean,
and in my anguish I did keen.”

“My voice grew louder, I did scream,
Death looked at me and it did seem
At that moment, in pity, said,
‘She really is now better off dead.’”

They then hear the back door open
as Caitlín enters into the ben.
She shuts it close and locks it tight,
as she comes inside for the night.

“The animals are safely put away,
and now it’s time to hit the hay.
I’ll make supper and a *** of tea,
then it’s off to bed for me.”

Fiona says, “I’ll give you a hand.”
Then slowly stretches and up does stand.
She goes with Cait to make the tea,
leaving behind the poor Banshee.

Fiona tells Cait of the Banshee’s plight,
though they cannot think how to make it right.
They place three bowls and cups on a tray,
and back to the parlour make their way.

The Banshee sits up, with her feet on the ground,
it seems as though some strength she’s found.
She takes a bowl and says, “I suppose
it’s another delicious helping of brose.”

She beams at the sisters, who feel a glow
deep inside them slowly grow.
They realise that perhaps this is how
the Banshee is able, her feelings to show.

The Banshee asks, “Will it be all right
if I go outside for a stroll tonight?
I’ll only take a turn round the croft,
I will not try to fly aloft.”

“I am a denizen of the night,
which is why I thought I might
Have a walk by the light of the moon.
I promise I will be back soon.”
  
Round the Banshee’s waist Cait ties some rope
so that the blanket will not ope,
Then walks with her across the floor,
to help her get to the back door.
  
Caitlín unlocks it and opens it out,
though, for the Banshee, has some doubt.
Suppose the effort is too great?
She can only watch and wait.

Meanwhile Fi does the washing up,
and then she shouts, “I’m going up
To make our bed, don’t be late!”
Caitlín replies, “All right, don’t wait.”

Fiona goes to the top of the stair,
she makes up the bed then brushes her hair.
She quickly undresses and gets into bed,
and on the pillow rests her head.

Caitlín’s still standing at the door,
she’s not anxious any more.
The Banshee seems to be doing fine,
walking slowly in the bright moonshine.

As she walks she seems to get stronger,
so Caitlín, waiting for her for longer
Than she’d thought that she might do,
steps outside to have a walk too.

She takes the Banshee by the hand,
For a time they slowly walk round and
Then the Banshee asks to stop,
to rest before she’s likely to drop.

Still on her feet the Banshee sways,
and seems to be in a sort of daze.
So Caitlín holds her in her arms tight,
and thus they stand in the bright moonlight.

Hugging the Banshee close to her breast,
she’s aware of her nearness to their guest.
Caitlín feels her heart start to pound,
and in some confusion stands stilly and stound.

Then she pulls herself together,
at the same time wondering whether
She has experienced her first love,
or if this feeling false will prove.

So fragile and helpless the Banshee appears,
Caitlín can’t help but be moved to tears.
She lifts her up, and carries her inside,
and places her onto the sofa to bide.

Caitlín then stumbles up the stairs,
Fiona is shocked to see her in tears,
And asks her if she is all right,
and if anything’s happened out there in the night.

Caitlín, crying, lies down on the bed,
then Fiona, on her *****, pillows Caits head.
She gently wipes Caitlín’s tears away,
and waits to hear what she might say.

Caitlín then cuddles up to Fi,
saying, “Thank you for looking after me.
Really, I am quite all right,
nothing bad happened out there in the night.”

“It’s just that the Banshee is still frail,
she appeared to be getting a little more hale,
And then she seemed to become weak again,
so I carried her in, on the sofa she’s lain.”

Cait then stands and doffs her dress,
and gets into bed, still feeling a mess.
Fiona holds Cait as to sleep they go,
and they stay like that the whole night through.

Fiona and Caitlín wake up together,
and happily smile at one another.
It’s the start of a brand new day
which they’ll face together, come what may.

Fiona dresses and downstairs goes she,
into the kitchen to make some tea.
Caitlín shortly comes down too,
entering the parlour, the Banshee to view.

The Banshee wakes as Caitlín goes in,
still looking pale and painfully thin.
Caitlín sits on the sofa with care,
saying, “Last night you gave me quite a scare.”

“You seemed to get stronger in the moonlight,
so I thought everything was going all right.
Then I feared that you might fall down,
and so I carried you back here on my own.”

The Banshee responded, “I’m ever so sorry.
I didn’t mean to cause you worry.
I also felt I was getting str

Upon the mighty raging sea, whirlpools of fiery sparks, Catherine wheels of light and mist mix with the foam of time. Tossed by unseen movements a tiny globe is floating on the tides and flotsam swirls around its contours, attracted by invisible smooth ripples. Dashed to smooth curves, rare and precious treasure pebbles dance in the flotsam, around the tiny globe, lost in that vast sea, tossed aside by finned entities. Together they ride the foam of endless ocean.

Upon his bed of green soft flotsam, in peaceful tranquillity, gazing out at other treasure pebbles, upon the most precious jewelled blue sapphire, swimming in the azure sea, the purple man soaks up the rays of green made by the yellow globe.

The purple man sees and understands.

The lines of his world are shining silver light, for him there is no darkness in the night. Beset by cares he glances at the fractal flotsam and sees himself reflected, unfolding, timeless. Cares melt in mellow green.

The purple man fades and expands, his nebula fills the ocean wide and everything folds, unfolds; breathes in and out. Allfather stands beside the gate.

Where the fish swim and water snakes, where rivers run and wash the mountains silt upon the shore, there one day the star man came descending from a ship that sails the ocean Sky. The purple man was dreaming as before. From far away where people live in light, from where there is no hunger, fear or pain, where none deceive because there is no gain, where power is within and all are free, Wayland came.

Sitting by the river in the mud his fingers sinking into rich red clay he saw this world so full of music and in love, he sought the matrix seeds that dormant lay. Weaving the matrix then this Wayland made a pair of people from the clay and calling to the green fire of life, he gave them this garden free, to care for and in which to learn and play.

The purple man, who on his misty pillow lay said to Wayland then,

“Will you not stay?” The star man answered,

“I have so far to go and there is so much I want to see, you stay here awhile and tell them this: they are the keepers now of flotsam Zu, and you can teach them all that they must know. Say to them and get it right, 'you are the children of the light, travel where you will; you are not bound here by the clay. In all who say, “I am“ there is the life, and all who live are one in truth, this moment does not pass away.' I will return to visit you one day.”

Purple light shines green around the gate and all pass to and fro. There were the flying elephants of old, bright butterfly wings and iridescent scales, and fire within they blew and rose to mate high in the careless foam of space.

“I see, I see,” the purple man exclaims, “And I will leave a legacy.” Then taking out his notebook draws a stone and then another, places both together high upon the hill.

“All shall know!” he cries and gives them eyes and crowns. Thrones they hold with firm rock fingers, king and queen in rock of jewels tiny crystal shimmers. Eyes gaze out along the silver lines of truth, eyes of stone, and he cuts a small notch in the place the eyes alight their vision.

“Now all will know.” He spreads his cloak and sleeps beneath the hill in quiet satisfaction but dreams he did the task and lost in thought forgets. Stones stand waiting in dreams of eyes that only dreamers see and ride the light that only globe green rays can ride in pale yellow day.

“Forget, forget.” The whispers of the shining huntress sing sweetly and the residents of the butterfly house are soothed and filled with wonder. Dancing light reflects from yellow sand. Lifting hot feet to cool in baking oven rays.

Skating on tension, walking on invisible support a fish jumps from the water of a lake, cascading diamond spray around golden wings, then plunges back into the familiar world. Together all are one and life renewed. Wisps of purple smoke rise from a burning pile of old splendid green boughs now brown and brittle and delicious waves cook as chatter rises in anticipation. Toes muddy and wet warm as much as they dare and faces shine as globe of green gives energy. Wisteria sweet twists its tendrils on the gatepost and spreads its fingers wide to reach the stars.

The white and shining orb that, with full sails, is dancing with the flotsam sapphire tells her story in the ripples of a darkened pool. As in each drop the orb is, so it is with all and in all flows the green.

A grey cat-wolf with silky coat, who sweetly purrs sinks her teeth into feathers and warm nourishment flows from vein to vein. Carrying proudly to the doorstep leaves the gift but pricked purple fingers drip blood as tears flow for the tiny, feathered form.

Misunderstanding of the gift and weary sleep claim the mourner. In the corner stands a child of dusty clothes, untidy and ragged feathers. Grey coloured and brown his hair, face, and hair all dusty and brown. In mind of purple song was singing sad songs of green trees and fields of flowers and seeds. The child turns and eyes as old as time look deep as hands are stretched to greet. The purple man takes outstretched hands and they dance to music of the ocean deep.

“It cannot end, the green can never end, it just returns.” and round they dance, as the child is filled with light and transparent power touches purple hands and spirit surges to pull the purple man to stand before the gate.

Purple man rides on steed of unicorn; who sheds his twisted horn of white and says,

“With this you may write and tell the keepers of Zu to teach their subjects true.” His purple fingers hold the shining torch as on the saddle of his steed he carves the key, the binary. “All is here!” he shouts, “it is enough for all to be and all who will to see! Freedom is my gift to humanity!” Walking to the golden shore, he breathes the green fire to his steed, “Fly now and take my pattern home for all to learn.” The unicorn, now dragon born and horse is manifest, with fiery nostrils and shining fins swims into the long and winding currents of the thread of gold.

From that island home is cast the stone and off it goes into the seas of time, the circle seas. Music wafts around the globe as jewelled pebbles sing. The purple man, his eyes upon the depths, his head on soft flotsam pillow looks horizontally and wanders paths of space between.

A king of Zu in earnest thought upon the shore, a hornless unicorn has caught. A dragon horse who will not bear but shakes his saddle, burden gone he flies into the air. This trinket fine will grace the royal belt and a medallion the king does wear; magic token lost in time as those who knew could not stay and to the music danced away. Beyond the gate, into the ocean deep they to while away, until the wafting air lifts up the drops to bear.

Within the turbulence of that wild sea of calmness where regular tides disguise, mountains are ground, their pieces smashed and broken into shimmering beads of light. Each piece the matrix seed does hold within its crystal frame and life its energy. They shoot forth in forces, travel star to star, globe upon globe they circumnavigate and chaos brings movement to the stagnant ponds of flotsam, pools stirring, breathing life.

In Zu, the wanderers, who had no houses yet, who lived among the stars and trees, gathered round fires to eat their fruit and seeds at Mothers knee and told their oral histories.

Memories of mine and theirs and time distorts the tales so pictures made they to endure but meanings lost as careless child is watching dripping fat of meat and mouth is watering at the food to eat. Within the ring of warmth and fire the wild beast fears, the stories fall distorted on deaf ears.

“Remember well the lessons here: Once our world was full of fear. The seas rose up and swallowed whole the land of Zu, the air was cold. The globe its shining rays of green was hid beneath a reddish sheen of fire as worlds collided higher. The cold it came, the ice giants walked upon the land, so I was taught. Now eat this meat the hunter men have brought.” Within the shamans cave the purple man sleeps and walks on paths of many feet.

On bellies laid upon a hill of hot dry golden sand, the purple man looks down with his band of friends upon the tall city gate below. Beyond he sees the golden domes and tall white towers of so fair a place. A white wall stretches far as he can see and by the gate two fierce lions guard with swords of shining steel.

“I know not how to enter there.” he says, but then finds he is inside, alone and the white city walls are high around him. Trepidation grips his thought and on tiptoes he intrudes in wonder, clinging to the walls. The giant who stoops to lift him smiles, gold flashes from ornaments, turquoise beads on olive skin, and strong muscular arms pick up the purple man who looks around and down to see the white towers are but square pools of proportion huge. The strong hands plunge him down into clear water cool, so fresh it cleans, from showers of silver droplets a babe is raised up to the shining pale blue sky.

Seeing a tortoise then beside the waters edge, the purple man, still having horn of unicorn, inscribed the pattern of the nine with movement of the all, so that he would remember all that Wayland said. Then silence and dreams were once more inside his head.

Purple man sat at the foot of a great tree. A red furred squirrel ran up and down the bark, collecting food and going deep to keep its secret safe. Above the tree the globe was shining bright and yellow light was all around. The good folk who dwell in light transparent crystal vessels sang their song for all to hear and as the squirrel gathered food she heard their voices clear. Then, scampering along the ground quietly in case the purple man should wake, she buried down to the deep pools where three watch the water that feeds the sap. She hummed the song but had not listened to the words and got it wrong before those there to guide the destiny.

“Oh, careless child who listens not when at the fire, who now will tell the history?” The purple man saw the green sap of the tree within and understood.

“Make a machine!” the keepers say, “for you are bound by clay. Rip out the sapphires heart and give us power so that in darkness is the light of day. We have the words and wisdom here,” the keepers fight and hide the secret words, “the nine is ours not yours to know, we only have the power, is it not so? We are your keepers, guardians true; we would not lie to you.

“We took the power from Mother of the tribes to keep you safe from beasts who roam. They would not stay outside the ring of warmth and fire but come inside, devour you in your home.

“The seas rose up before and swallowed Zu, the people perished all except a few. Those few were chosen by the unicorn and here to us a tortoise bore its horn. We stole the fire that came on flotsam Zu, we have the lightening here entombed, the stars that fell in dire punishment, we kept them to remind you of your doom.

“We took the prophets all and kept their words, we wrote them down and only we can give those words to you. He who was here is gone for now but will return, to judge all those who will not heed our rule.

“We must make war to punish those who hate, we must sacrifice to please the beast. Then within our boundaries you will be safe in service to our cause for we are wise.”

The slaves of Zu who toil and sweat all day, all fearful of whatever comes their way; the slaves who have no water and no food and not because they have not loved the good, the slaves who weep for flotsam Zu, the ones who try to do what they believe is true, all listened to the keepers and were quiet, they had no heart to war and die in riot. They had no heart to disobey the rules well taught from their first day. Some turned and struck their fellows in dismay.

The feet upon the pavement hard in hardness crunch and shocks run up the legs and bounce the brains of those who cannot see. Purple streaks the sunrise comes and petals yawn to greet the sailing globe of yellow breathing green. Herded and obedient, the subjects of the kingdom of Zu wake and queue politely as keepers set the tasty morsels. Wheels and tides, time and ocean turn as globe spins in eddies and careless diamonds sprinkled in the flakes of cornfields tell the story unfolding.

Shadows play. The sickle shines its ****** sweetness horned and lovely; sparks of stars surround the misty blue. Knees and cries on time forget the sly insertions and nourish soon forgotten virtues.

A bell is ringing on the shore. Sound bounces wave to wave and lost in purple wandering a passing bee remembers that it cannot fly and hurriedly taking scissors cuts a fine raft of leaf, pointed as a ships bow and hops aboard to surf and glide on currents of the sky.

From the deep oceans light, Wayland sees and sends a whisper from his mind, the purple man is dreaming still among the many others of his kind.

“Its time to wake now, of slumber is enough. Zu needs to have its gardeners intact, its time to plant the Iris bulbs to grow in pasture and in desert before the ice comes back. Seeds of the rainbow must be sown on every track. When summer dawns on frosted fields, fingers of warmth probing into the hearts of seeds that sleep, come now its time for growing. Plough the furrows deep. When summer dawns on frosted fields, fingers of warmth probing into cold frost hardened hearts. Awake, its time for knowing!”

The purple man in forest sees green light of yellow globe is shining energetically its light on all, and one with all he walks in joyful song. Along a branch a leg is stretched, a long leg, there a person sits within the tree, smiling song of life,

“He's just like me!” the purple man does not intrude but curiosity is wakened as the man is standing tall and then is gone before his eyes of sight. A figure dressed in light, not vaporous, a solid man who flickers on and off he sees. The purple man perplexed is wondering, when at his side a figure tall and grey is standing, branches on his head, without a face in the full light of day. The purple man looks for the face, the seat of senses known to know who is it there and meets an eye as old as universe. The eye is looking for the same and as they meet in trap of combined senses all, there is a spark and purple man is travelling then, he is not in the planet Zu at all. The visitor who comes to show the way gives him a choice of paths to take, he forward walks along a narrow lane with strange and pointed leaves of maize. Rustling in the plants the other chases past, he greets him at the other side, and man of light is shining on and off out of the gate the purple man to guide. The rainbow bridge connecting all the worlds, the green path that all who live must share, the purple man looks for the visitor but turning finds that nothing's there. Then rippling wave of green comes flowing through the woodland and the day, it passes through all that lies before, and purple man is standing in its way. Green fire! The life! The sap of tree! I see! His spirit soars as Wayland flies away.

Looking down at hands and feet with rainbows shine, in great delight he finds he is not purple now but made of light sublime and at his step the irises spring bright.

India is a bird
In the map
Ready to soar.

Bengal and Assam
A wing.
Gujarat and Rajasthan
Another.

The pinnacle
Jammu Kashmir
Gazes.

Delhi and Punjab
Stirs the body.

Kerala
Hangs on tail
A stylet.

LOOK

A vulture feeds corses ?

A myena that sings ?

Take me to that place
Where all are worried free
Fills with warmth and abundant grace
And everyone is longed to be

Take me to that place
Where love is in the air
By the look of people embrace
A sweet load one can seem to bear

Take me to that place
Where things are so hectic
Loneliness a complete disgrace
Like someone with epileptic

Take me to that place
With waves of ocean view
Romance is of the human race
And side by side they walk by two

Take me to that place
With old shrines everywhere
Feeds some with seeds of knowledge base
And back in time to loved ones there

This place I tell the world
Slakes thirst like waterfall
To be apart it's to be hurled
On a cliff, down to a great fall

Turns out the joke's on me yet again...
Monsters don't really disappear when the light comes on.
And they don't hide when you shine the light on them either.

No. Instead they rise up. They grow to fill the space that was created by spotlighting them and become ready-


To be the star of a show that you helped to curate.






I thought for certainty that talking to you about my depression would somehow alleviate it in some way...
           
                             but it didn't...

I actually feel more like I'm recessing further since we spoke about this

Like I just let the demons out to run a muck instead of putting them down  to rest.

So instead of hurting me when I'm alone, it happens any time now.
When ever it likes

                               It  feeds



and I feel it eating me...
                                              
                 ­ and I want it to
-

Captive of the city.
A walk between the drawing and the camera, a drawing and a camera.
Blindness is about understanding gesture.

Stereoscope Sound Scenes Systems

Blue lines form the links between
the black cats suggesting, what we know is that we do not.

Forget me the sweet song
rising from her ashtray
be gone hearts frayed afraid.

Coma Cluster
Coma Cluster
Coma CLUSTER
COMO cluster
CLuster cOma ClUsTeR CoMa

Soma simply trying to muster
Domino Christos no longer allow my suffer

ECCE ****
IN The GARDEN of ever EARTHLY delights

Strings
Filaments
Voids
Soap

bubbles filling a sink
slide through

Pop. Pop.

I float above stronger than a rock
my blue black burning body

love
emirates
emanating

Red-Shifted

For You

though dust clouds interfere

Let the night in, for I'll be writin' the letters of light in the air.
Our bodies pulsate by the notes of gentle symphonies, and we adhere.
Two elements shakin' and mergin' into one.

We are makin' it and cravin' for more of this addictive fun.
The moonlight rays reach the shapes of the furniture, movin' along with the temperature, increasin' with each movement.

Like desert diamonds, we will reflect in the pearly sun.
You will be the meadow that I will prefer and the lover within my arms to cover. Until amusement, let my cries give you inducement.

From the color of sulfate, this night is glowin' with universal sparks.
We both have bewitchin' feels for each other.
I am tastin' honey on the curves of her skin, and we embark on the hill.

The darkness is sailin' on the waves of our unity.
We stomp on a bed full of cherries, and the night stays still.
She feeds me with her tempting body, and I see her lucid thrills.

I climb on her high balconies, and I am one with the moon,
drinkin' from the passion of her milky skin.
Our hearts entwined. I attune from the voice of the raccoon.

Her body is femininity incarnated into a guitar. I play on her strings, listenin' to the music from noon until dawn, bound to our emotional devotion. Our irresistible pleasure is bowing to our connection.

I have to say I absolutely love art
The art which feeds from my inspirations
My inspirations which feed from the art based from my core obsession

Although I’m not sure if this is my real obsession

What if it’s an obsession within another?
Or an addiction concealed behind obsession?
How much more burdensome can these be
Will it grow past this point
The point where it’s all I love yet all I fear?

How am I supposed to say that I love my body?
How am I supposed to raise a normal self-esteem
And gain respect for myself When
I hate what I see?

And can you even say it’s wrong for me to hate it?
How is it wrong to hate what stares at me from the mirror?
How is it wrong to hate the smooth and pale skin?
The hairless exposure
The hint of bones in my figure

They say that is supposed to be beautiful don’t they?



I have to say I absolutely love what’s in my future
The future which feeds from my inspirations
My inspirations which feed from the future idea of my own self

Although I cannot be sure this will be the real me

What if this future is just a dream?
Or a wish concealed behind a dream?
How much more dangerous can these be?
Will it grow past this point?
This point where this future feeds off of me?

How am I supposed to say I don’t want this?
How am I supposed to hold my esteem at a healthy level
And also be so absorbed when
I know better than to do this

And how can I even think its wrong for me to hate it
How is it wrong to hate the ghost in my mirror?
How is it wrong to hate the sculpted and carved skin
The meatless disclosure
The manifested fissure

They say that is supposed to be beautiful don’t they?

Matilda.
The light of my life.
The poem of my tongue.
The fire of my chest.
The wind of my *****.
The hate I loathe.
The beauty I view.
My lady.
My dream.
My hesitant rainbow.
My fearless tears.
My coverlet and starlet;
my blanket and dainty amulet.
My distant promise and cautiousness;
but in all my darling; looking ever so stately-
yet not like yon faraway, morning dew.

Matilda.
The hands I adore;
the fingers I want to kiss.
The solitude I live in;
the fate I was born in.
A pair of eyes ever to me too divine,
A charm that loyally strikes, and glows and shines.
A lock of hair that petulantly sways and sweats.
A midday tale of love; as how it is mine,
a beauty that this world ensures,
but cannot adore.

Matilda.
Even the brisk turquoise sea
is ever less glossy than thy eyes,
for their calmness is still less harmful,
unlike unbending, thus insolent tides, at noon.
Ah, Matilda, thou art yet too graceful,
but tricky and indolent, as the puzzling moon!
Thy purity is like unseen smoke,
tearing the skies' linings like a fast rocket,
making me ever thirsty, turning my heart wet,
but still this attentive heart thou canst not provoke;
thou art a region too far from mine;
but still luck is in heart whose fate's in thine.
And as thou singeth a tone I liketh to sing
I cannot help but more admiring thee;
And as thou singeth it genuinely more,
thou capture all my breath and give it all a thrill;
for I realise then, that thou canst be stiff, as sandless shores;
but thy beauty canst so finely startle,
and whose startledness
canst ****.

Matilda.
But deadness, and ever desolation
are vividly clamouring in thy eyes;
Thou art but distinct, distinct indeed-from serenity;
for thou warble thyself, but gladly-away, from thy sullen reality.
Ah, Matilda, how canst a soul so comely
be hateful to fame, and dishonest just from its frame?
Matilda, to those merciless hearts indeed thou beareth no name;
Thou art a shame to their pride, and a stain to their bitterly fevered, sanity.
Yet still, thou art to innocent to understand which,
and in love naively, as thou just art, now-
with that feeble shadow of a pampered young fellow,
Whose stories are also mine,
for his father's money is donned,
and coined every day-by my servant's frail hands;
The sweat of my palms obey me in doing so-
I am my master's son's poor sailor,
and he his sole heir-and soon is to inherit
an indecent boat; full of roaming paths, doors, and locks
And at nights, costly drapery and jewels shall be planted in their hair-
yes, those beastly riches' necks, and skin fair,
And thou be their eternal seamstress,
weaving all those bare threads with thy hands-
ah, thy robust ****** hands,
whilst thy heart so dutifully levitating
about his false painting, and bent even more heartily, onto him.
Ah, 'tis indeed unfair, unfair, unfair-and so unfair!
For such a liar he was, and still is-
Once he was betrothed to a bitter, and uncivil Magdalene;
Uncivil so is she, prattling and bickering and prattling and bickering-
To our low-creature ears, as she once remarked,
She who basked in her own vague hilarity, and sedate glory
And so went on harshly unmolested by her vanity, and fallibility;
But sadly indeed, occupied with a great-not intellect,
As not sensible a person as she was;
At least until the winds knocked her haughty voices out-
and so then hovering stormy gales beneath,
took her out and gaily flung her deep into the raging sea.

Still he wiggled not, and seems still-in a seance every night,
whenst he but cries childishly and calls out to her name in fright.
Her but all dead, dead name;
'Till his father tears him swiftly out of his solitude
And with altogether the same worried face
but drags his disconcerted son back into his flamboyant chamber.
Ah, and I caught thee again, Matilda,
Bowed over the picture of yon young sailor;
'Twixt those sweet-patterned handkerchiefs
On thy lil' wooden table, yesterday
And curved over yon picture, I was certain;
I caught some fatigued tears in thy eyes-
for from thy love thou wert desperate,
but still unsure even, of the frayed tyings of cruel fate.
Ah, Matilda, your hair is still as black as the night
The guilty night, though nothing it may knoweth, of thy love,
and perhaps just as unknowing it seemingly is;
as th' tangled moon, and its dubious arrows
of unseen lilies, above
Shall singeth in uncertainty; and cordless dignity
And which song shall forever be left unreasoned
Until the end of our days arrive, and bereft us all
of this charismatic world-and all its dearest surge of false,
and oftentimes unholy, fakeness.
Oh Matilda, but such truest clarity was in thy eyes,
And frightened was I-upon seeing t'is;
As though never shrouded in barren lies
Like a love that this heart defines;
but never clear, as never is to be gained.
Ah, Matilda, and such frank clarity dismays me;
It threatens and stiffens and chortles me,
for I am certain I shan't be with thee-
and shall ever be without thee,
for thou detest and loathe me,
and be of no willingness at all-
to befriend, to hold, or to hear-
much less reward me with thy love,
as how I shall reward thee with mine.

Matilda, this love is too strong-but so is, too poor
And neither is my heart plainly bruised;
For it is untouched still, but feeling like it has been flawed
Ah, why does this love have to be raw-and far indeed, too raw!
I, who is thy resilient friend, and fellow-sadly never am in thy flavour;
for in his soul only-thy love is rooted;
And this love is forever never winning-and it is sour,
Like a torn, mute flower; or like a better not, laughter.
And my heart is once more filled with dead leaves-
Ah, dead, dead leaves of undelight, and unjoy;
Whose cries kick and bend and strangle themselves-
all to no avail, and cause only all its devouring to fail,
For his doorless claws are to strong,
Stealing thy eyes from me for all day,
and duly all night long.
How discourteous! Virtual, but too far, still-
corrupting me; ah, unjust, unjust, and discourteous!
Tormentingly-ah, but tormentingly, torturously, insincere!
Ah, Matilda! But soon as thou prayeth,
every single grace and loveliness thou shall delicately saith;
Thy voice is as delightful as nailed, or perhaps, cunningly deluded vice-
Which I hath always feigned to be refuting tomorrow,
but is only to bring me cleverer and cleverer sorrow
'Till hath I no power to defy its testy soul,
that for no reason is too shiny and bold,
but so dull, and bland as a hard-hearted summer glacier,
and too unyielding as hurtful, talloned wines.
Oh, but no appetite I hath, for any war
against him-for he is fair, and I am not,
He is worthier of thee, than my every word;
He who to thee is like a graceful poem,
he who is the only one to smirk at
and hush away thy daylight doom.
Matilda! For evermore thy heart is mine;
and mine only-though I canst love thee
only secretly, and admire thee from afar,
Still cannot I stand bashful, and motionless-too far,
For I wish to hath been born, for thy every sake
Though it shall put my sinless tongue at stake
And even my love is even gentler then blue snowflakes;
and more cordial than yon rapturous green lake.
Ah! Look! Upon the moors the grass is swirling,
so please go back now; and be greedy in thy running.
Still when no music is playing,
all is but too painful for thee,
which I liketh to neither witness, nor see,
for upon thee the moon of love might not be singing,
as it is upon all others a song,
But somehow to nature it not be wrong,
for he cannot still be thy charm, nor darling.
O-but I hate thinking of which affectionately,
when thou crieth and which sight, to my heart, is paining.
Ah, Matilda! For even to God thy love is but too pure;
for it is faultless as morns, and poisonless-
like those ever unborn thorns;
Of yon belated autumn melody,
But is, somehow, fraught and dejected
With sorrow, for it is him, that yesterday and now
Thou loveth softly and securely,
Two hours later and perhaps, in every minute of tomorrow.

Matilda! But still tell me, how can thou securely love a danger?
For I am sure he is but a danger to thee, indeed;
Once I witnessed how his face
grotesquely thrusted into furtive anger
As he burst into a dearth of strong holds,
of his burning temper-under the blooming red birch tree;
And as every eye canst see,
He is only soft, and perhaps meek-as a butterfly,
Whenever the world he eats and sleeps and feeds on in-
Tellest him not the least bit of a lie;
Ah, Matilda, canst I imagine thee being his not,
ah, for I shall be drowned in deflating worry, indeed-I shall be, I shall be!
I dread saying t'is to thee-but he, the heir of a ruthless kingdom,
and kingdom of our God not-within their lands and reigns of scrutiny,
His words are but a tragedy, and a pain thou ought not to bear;
O, Matilda, thou art but too holy and far too fair!
Thy soul is, so that thou knoweth, my very own violin-
To which I am keenly addicted;
I am besotted with thy red cheeks-;
As whose tunes-my violin's, are thy notes
as haunting and sunnily beautiful,
And cloudless like thy naivety,
Which stuns my whole nature,
and even the one of our very own Lord Almighty.
Ah, Matilda, even the heavens might just turn out
far too menial for thee;
and their decorum and sweet tantrums idle and unworthy;
Thou art far, far above those ladies in dense gowns,
With such terseness they shall storm away and leave him down.
But why-why still, he refuses to look at thee!
Ah, unthinking and unfeeling,
foolish and coquettish,
unwitted and full of deceit-is himself,
for loving should I be-if thy smile were what I wished,
and thy blisses and kisses were what I dreamed;
I wouldst be but warmer than him,
I wouldst be but indeed so sweet,
I wouldst be loftier than he may seem;
and but madden thee every sole day, with my gracious-
though sometimes ferocious-ah, by thy love, ever tender wit.

I hath so long crept on a broken wing,
And thro' endless cells of madness, haunts, and fear,
Just like thou hath-and as relentlessly, and lyrically, as we both hath.
But not until the shining daffodils die, and the silvery
rivers turn into gold-shall I twist my love,
and mold it into roughness-
undying, but enslaved roughness;
that thou dread, and neither I adore;
For for thee I shall remain,
and again and again stay to find
what meaningful love is-
Whilst I fight against the tremor
and menace this living love canst bring about-
To threaten my mask, and crush my deep ardor.
Ah, my mask that hath loved thee too long,
With a love so weak but at times so strong;
and witnessed thee I hath, hurt and pained
and faded and thawed by his nobility
But one of worldliness; and not godliness
For heavens yonder shall be ours, and forever
Shall bestow us our triumphs, though only far-in the hereafter;
Still I honour thee, for holding on with sincerity-
and loyalty, to such contempt too strong
For thou art as starry as forgiveness itself,
and thus is far from yon contempt-and its overbearing soul;
And perhaps friendly, too unkind not-
like its trepid blare of constant rejection, and mockery
And as I do, shall I always want thee to be with me;
For thou art the mere residue, and cordial waning age of the life that I hath left;
For thou art the only light I hath, and the innate mercy I shall ever desire to seek;
and perhaps have sought shall, within the blessed soul of my 'ture wife.
Oh, Matilda, thou art the dream t'at I, still, ought not to dream,
thou art the sweetness I ought' only charm, and keep;
As thou art the song, that I may not be right'd to sing;
but the lullaby; which in whose absence, I canst shall never sleep.

Shortly after 3pm on September 29, 31-year-old Olivier Rousteing strode through the shimmering, fleshy backstage area at Balmain's Spring 2017 Paris Fashion Week show. Along the marble hallway of a hôtel particulier in the 8th arrondissement, long-limbed clusters of supermodels were gamely tolerating final applications of leg-moisturiser, make-up touch-ups and minutely precise hair interventions from squads of specialists as fast and accurate as any Formula 1 pit-stop team. The crowd parted as Rousteing swept through.

Wearing a belted, black silk tuxedo and a focused expression that accentuated his razor-sharp cheekbones, Rousteing resembled a sensuous hit man. Target identified, he led us to the board upon which photographs of every outfit were tacked.

We asked him to tell us about the collection (for that's what fashion editors always ask). "There is no theme," said Rou­steing in his fast, French-accented lilt. "No inspiration from travel or time. The inspiration is what I feel, and what I feel now is peace, light and serenity. I feel like in my six years here before this, I have tried to fight so many battles. Because there is no point anymore in fighting about boundaries and limits in fashion. Balmain has its place in fashion."

And the clothes? "There is a lot of fluidity. A lot of knitwear, lightness, ponchos. No body-con dresses. But whatever I do, even if I cover up my girls, it is like people can say I am ******. So this is what it is. I think there is nothing ******. I think it is really chic. I think it is really French. It is how I see Paris. And I have had too many haters during the last three years to defend myself again. So, this is Balmain." And then the show began.

Star endorsements

Under Rousteing, Balmain has become the most controversial fashion house in Paris. Rousteing has attracted (but not bought, as other, far bigger houses do) patronage from contemporary culture's most significant influencers. Rihanna, all the Kardashians, Kanye West, Taylor Swift, Miley Cyrus, Beyoncé, Justin Bieber – a royal flush of modern celebrity aristocracy – all champion him.

Immediately after this show, in that backstage hubbub, Kim Kardashian told me: "I thought it was very powerful…I loved the sequins, and I loved all the big chain mail belts – that was probably my favourite."

Yet for every famous fan there is a member of the fashion establishment who will sniff over coffee in Le Castiglione that Rousteing's crowd is declassé and his aesthetic best described by that V-word. The New York Times' fashion critic Vanessa Friedman reckoned this collection appropriate for "dressing for the captain's dinners on a cruise ship to Fantasy Island". At least she did not use the V-word. When I once deployed it – as a compliment – in a 2015 Vogue menswear review that declared "Rousteing is confidently negotiating a fine line between extravagance and vulgarity", I was told that Rous­teing was aggrieved.

The fashion world's ambivalence towards Rousteing is a measure of its conflicted feelings towards much in contemporary culture. Last year Robin Givhan of the Washington Post wrote of Balmain: "The French fashion house is always ostentatious and sometimes ******. It feeds a voracious appetite for attention. It is anti-intellectual. Antagonistic. Emotional. It is shocking. It is perfect for this era of social media, which means it is powerfully, undeniably relevant."

Since joining Instagram four years ago Rousteing has posted 4000 images and won 4 million followers. The combined reach of his audience members and models at this Balmain show was greater than the population of Britain and France combined. Balmain was the first French fashion house to gain more than 1 million followers, and currently has 5.5 million of them.

Loving his haters

As digital technology disrupts fashion, Balmain's seemingly effortless mastery of the medium galls some. Last year, the designer posted an image of a comment from a ****** follower to his feed. It read: "Olivier Rousteing spends more times taking selfies for Instagram than designing clothes for Balmain." Underneath, in block capitals, he commented "i love my haters".

Rousteing can be funny and flip – doing a video interview after the show, I opened by asking, tritely, how he felt. He replied: "Now I feel like some Chicken McNuggets with barbecue sauce, and then some M&M;'s ice cream."

When at work, however, that flipness flips to entirely unflip. The previous evening, at a final fitting for the collection, Rousteing had paced his studio, his face a scowl of concentration, applying final edits to the outfits to be worn by models Doutzen Kroes and Alessandra Ambrosio. The 30-strong team of couturiers working in the adjoining atelier delivered a steady stream of altered dresses.

"We are ready," he said from behind a glass desk in a rare moment of downtime. "This a big show – 80 looks – and I want a collection that is full of both the commercial and couture. But it's smooth too. All of the girls are excited about the after-party and interested in the music. And eating pizza." In the corridor outside Gigi Hadid – this season's apex supermodel – was indeed eating pizza, with gusto.

The fitting went on until far beyond midnight; Rousteing, fiercely focused, demonstrated the work ethic for which he is famous. When he was studio manager for Christophe Decarnin, his predecessor at Balmain, the young then-unknown was always the first in and last out of the studio. Emmanuel Diemoz, who joined Balmain as finance controller in 2001 and became chief executive in 2011, says that his hard graft was one of the reasons he was chosen to succeed Decarnin.

"For sure it was quite a gamble," says Diemoz. "But we could see the talent of Olivier. Plus he understood the work of Christophe – who had helped the brand recover – so he represented continuity. He was a hard worker, clearly a leader, with a lot of creativity. Plus the size of the turnover at that time was not so huge. So we were able to take the risk."

Clear leader

Which is why, aged 24, Rousteing became the creative director of one of Paris's best known – but indubitably faded – fashion houses. In 2004 it had been close to bankruptcy. In 2012, Rousteing's first full year in charge, Balmain's sales were €30.4 million and its profit €3.1 million. In 2015, sales were €121.5 million and its profit €33 million. Vulgarity is subjective; numbers are not.

Rousteing, who is of mixed race, was adopted at five months by white parents and enjoyed an affluent and loving upbringing in Bordeaux. "My mum is an optician and my dad was running the port. They are both really scientific – not artistic. So I had that kind of life. Bordeaux is really bourgeois and really conservative, I have to say."

After an ill-starred three-month stint at law school – "I was doing international law. And I was like, 'oh my God, that is so boring'" – he did a fashion course that he managed to tolerate for five months.

"I found that really boring as well. I just don't like actually people who are trying to **** your dream. And I felt that is what my teachers were trying to do."

Obsessed with Gucci

Following a three-month internship in Rome – "also boring" – Rousteing became fascinated with Tom Ford's work at Gucci. "I was obsessed, obsessed, obsessed. Sometimes the press did not get it but I thought 'this is like genius, the new **** chic'. Obsessed, full stop."

He wanted to work there – "that was my dream" – but applied to every fashion house he could, and found an opportunity to intern at Roberto Cavalli. "They took me in from the beginning. I met Peter Dundas [then womenswear designer at the brand] and he said you are going to be my right hand – and start in four days."

Rousteing counts his five years in Italy as formative both creatively and commercially, but when the opportunity came to return to France in 2009 he leapt at it. "Christophe said he liked my work and that he needed someone to manage the studio. So two weeks later I was here. I loved Balmain at the time, when Christophe was in charge. It was all about rock 'n' roll chic, ****, Parisian. And he was appealing to a younger generation. You can see when brands become old but Balmain was touching this new audience. I always say Christophe's Balmain was Kate Moss but mine is Rihanna."

When Decarnin left and Rousteing replaced him, the response was a resounding "who?". His youth prompted some to anticipate failure.

"It was not easy at all. Every season I had the same questions." Furthermore, Rousteing (who has said he thinks of himself as neither black nor white) was the only non-white chief designer at a Parisian couture house. In a nation in which very few people of colour hold senior positions, his race may have contributed both to the establishment's suspicion of him and to his powerful sense of being an outsider.

'Beautiful spirit'

As he began to build a personal vernacular of close-fitted, heavily jewelled, gleefully grandiose menswear – fantastical uniform for a Rousteing-imagined gilded age – for both women and men, that V-word loomed.

"They asked, 'But is it luxury? Is it chic? Is it modern?' All those kinds of words. But you know there is no one definition [of fashion] even if people in Paris think there is. And, I'm sorry, but I think the crowd in fashion are those who understand the least what is avant-garde today."

In 2013 Rihanna visited the studio, met Rousteing, and reported all with multiple Instagram posts. "You are the most beautiful spirit, so down to earth and kind! @olivier_rousteing I think I'm in love!!! #Balmain." :')"

Rousteing met Kim Kardashian at a party in New York – they were drawn together, he recalls, because they were both shy – and was promptly invited to lunch with her family in Los Angeles.

An outsider in the firmament of old-guard Paris fashion, Rousteing was earning insider status within a new, and much more influential, supranational elite. He points out that Valentino, Saint Laurent and Pierre Balmain himself "were close to the jet set of their time. What I have on my front row is the people who inspire my generation".

From them, he learned a new way of doing business. "I think it was Rihanna and the music industry that first understood how Instagram can be part of the business world as well as the personal. But in fashion? When we started it was 'why do you post selfies? Why do we need to know your life, see you waking up, see you working? Why don't you keep it private'. And I was like 'you will see'."

Rousteing cheerfully declares his love for Facetune – "I don't have Botox but I do have digital Botox!" – an app that helps him airbrush his selfies and tweak those ski-***** cheekbones.

Reaching new population

From his office around the corner from Rousteing's, Diemoz adds: "When Olivier first proposed Balmain use social media, our investment in traditional media was costing a lot. Here was an alternative costing less but bringing huge visibility. It has been successful, quite rapidly…we decided to be less Parisian in a way but to speak to a new population. A brand has to be built around its heritage but we are proposing a new form of communication dedicated to a wider group of customers."

The impact of that strategy became apparent in 2015, when Rousteing and Balmain were invited to design a collection for the Swedish fast-fashion retailer H&M.; Within minutes of going on sale – and this is not hyperbole – the collection, available at vastly cheaper prices than Balmain-proper, had completely sold out. In London, customers fought on the pavement outside H&M;'s Regent Street branch. "Balmainia!" blared the headlines.

You have to move fast to get backstage after a Balmain show. I was out of my seat and trotting with purpose even before the string-heavy orchestra at the end of the catwalk had quite stopped playing Adele.

Rousteing had taken his bow merely seconds before. Still, too slow: I ended up in a clot of Rousteing well-wishers stuck in a corridor blocked by security guards. A Middle Eastern woman against whom I was indelicately jammed looked at me, laughed, shook her head, then said: "We pay millions for a fashion house – and then this happens!"

In June, Balmain was bought for a reported €485 million by Mayhoola, a Qatar-based wealth fund said to be controlled by the nation's ruling family. As so often with Rousteing-related revelations, some declared themselves nonplussed. "Why Would Mayhoola Pay Such a High Price for Balmain?", one headline asked. Yet Mayhoola, which acquired Valentino four years previously for $US858 million, might have scored a bargain.

Clothes key to revenue

Despite its huge, Instagram-enhanc­ed footprint, Balmain is a small, lean and relatively undeveloped business. Most luxury fashion houses today – Chanel, Burberry, Dior, et al – will emphasise their catwalk collections for marketing purposes but make most of their money from the sale of accessories, fragrances and small leather goods like handbags and shoes. One of the big fashion companies makes a mere 5 per cent from its catwalk clothes.

At Balmain, by contrast, clothes bring in almost all the revenues. If Balmain had the same clothes-to-accessories ratio as its competitors, its overall annual income could be more than €1 billion ($1.4 billion).

The company is moving in that direction. New accessory lines are in the pipeline. "Now we have to transform that desire into business activity," said Diemoz. "Sunglasses, belts, fragrances, the kind of products that can be more affordable."

The first bags should be available in January, as will a wider range of shoes, and then more, more, more.

Six days after his show, on the last day of Paris Fashion Week, I returned to the Balmain atelier. Apart from two assistants, Rousteing was the only person there – everybody else had gone on holiday to recover from the frenzy of preparing the show, or was busy selling the collection at the showroom around the corner.

Rousteing sat behind his desk in the empty room, wearing slingback leopard-print slippers, sweatpants and shades. "I am not even tired! I am excited. Because there are so many things happening – and I can't wait."Read more at:www.marieaustralia.com/red-carpet-celebrity-dresses | http://www.marieaustralia.com/formal-dresses-adelaide

Far back in the ages,
  The plough with wreaths was crowned;
The hands of kings and sages
  Entwined the chaplet round;
Till men of spoil disdained the toil
  By which the world was nourished,
And dews of blood enriched the soil
  Where green their laurels flourished:
--Now the world her fault repairs--
  The guilt that stains her story;
And weeps her crimes amid the cares
  That formed her earliest glory.

The proud throne shall crumble,
  The diadem shall wane,
The tribes of earth shall humble
  The pride of those who reign;
And War shall lay his pomp away;--
  The fame that heroes cherish,
The glory earned in deadly fray
  Shall fade, decay, and perish.
Honour waits, o'er all the Earth,
  Through endless generations,
The art that calls her harvests forth,
  And feeds the expectant nations.