Wisdom has built her kingdom
She has set it on top of twelve pillars
All Killers
Who have ate the meat of the pigs and turned water into wine
And have invited Pharisees, adulterers, ****-heads; all combined.

Then Jesus said
"I'm pretty sure hominins are **** sapiens with back problems."
And they all laughed.

Socrates and Aristotle

Plato is undeniable
Something like eating food in the secret
Gloating on society like a stolen bullet.
"Are we right or are we right"
Or are we like Apollo
Who ride the muse and have love affairs with every girl in sight.

They have no shame at all
All them Freudians and the unconscious
Bearing information that is tied to foreigners
Who would steal and ******
Burn incense to Baal and other gods
Who misleadingly guide us like untamed dogs.

We have evolved
Brought the flies with us and turned them into stone
Patiently awaiting for the next evolution
Or a different revolution to tie us down
Like the gods we are not...

A yellow pill, and then into
The tender hold of Morpheus,
Surrendered to the warm embrace
Of things seen and unseen.

Under white sheets, and then amongst
The harlequins and Freudians,
The rampancy and innocence
Of false narcotic dreams.

Amongst the sailors at the dock,
Or naked in the thoroughfare,
Gathering to watch the lions
Stalk adjoining streets.

To speak in tongues, and find it well,
To call a rabbit 'Marchioness',
To draw a sword against the fray
Of marauding balloons.

Vanity but tossed aside,
A ghost with no reflected face
Walks through a foreign city
Where the streets do not have names.

In Port-Au-Prince that never was,
Truth wears a past love as a mask,
And speaks in riddles, strumming softly
On an old guitar.

One last caress, the god retreats,
Warm sun peeks through the lush blue curtains,
Subject wakes alone, the potion
Sifting through her veins.

The greatest where’s Waldo paintings to be
have him the tiniest spot at the very top
in a population of near clones.

After searching everywhere he will be
the last thing you’ll  find,
the last thing you’ll see.

Your life will have meaning again
after generations of
searching and playing the game.
                 —————
In every Picasso there is
a copulating couple
waiting to be discovered.

In Guernica, you won’t find them
above the third eye
of the bull

or between
the neighing horse
and the illuminated light bulb.
                   —————
In Hitchcock’s Rear Window
the gaze to find that one point
where meaning and ****** collide

leads inevitably to the next obsession,
not solved until the end of Vertigo
where the same blonde in the same style

in the same fog and confusion of The Birds
is  saved from the ****** of crows
by the man she didn’t pull from the ledge.
                     —————
Freud always makes a background appearance
because Salvador Dali never got paid
for any of the watches he melted.

Picasso never forgave Dali
for the bull’s eye he stole
and sliced with a razor.

If they both looked up at the
tiniest spot at the very top they might
have seen and understood everything.



Note:

Freudians have been looking for hidden copulating couples in Picasso for a long time.  
Like Trump’s claim of election fraud none have actually been found or verified.  But his paintings  are deep and big so they have to be there somewhere?  At least, that is how the rumor goes.  

Dali and Picasso did hate each other and their respective work.  The bull’s eye story is just another unproven rumor.  The eye sliced in
Un Chien Andalou was also reported to be a bull’s eye and not a real human eye.

Rear Window, Vertigo and The Birds were filmed. and released in that order.  All three featured blondes and Hitchcock has been rumored to plant Easter  Eggs to the other films in  both Vertigo and The Birds.  Some film scholars treat Vertigo and The Birds as either sequels or prequels of Rear Window.