In her gauzy garments
Above the bowing trees
The moon has many lovers
In the sighing breeze.

They all take her dancing
In exotic lands
They give her sparkling diamonds
They kiss her milk-white hands.

She is round & fullsome
Or slender as a waif
When she is then waning
Her flowers are kept safe.

Silken skeins of darkness
When she's waxing full
Are parted by her brightness
She is NEVER dull!

Her beaux are all so courtly
But she eschews them all
Her only love can make her pale
She burns at his call...

She lets out her moonbeams
Through her eyes they weep
She loves the one eclipsing her
They can NEVER meet!

She, so strong within her court
Will curtsey when he comes
The moon has many lovers

But she's taken by the SUN.


Catherine Jarvis
(C) 12/14/2019

White gauzy smoke is blown through the lily,
Floating on air,
Fondling leaves and dewdrops who're glittery,
A view so rare.

On a picture elegance is enjoyed,
A Polaroid,
Presented in a silver-gallery,
Who's gloomy ne'er.

With gauzy threads from a silky cocoon,
White as the moon,
Lily-hands craft blooming embroidery,
With flowers there.

Like gossamers this elegance's tender,
Lit and slender,
Shining at the afternoon silvery,
Which does not flare.

O Mâhî, this form is a web of rhymes,
Who slowly chimes,
With threads we're finally stitching poetry,
Crafted with care.

It's true that I never really knew you.
But I did love you
In a certain, breathless way.
In a hushed way.
I was very small, then. And very sad.
And I looked out on a great, green, vivid world,
And I was afraid, even, to whisper into it
As if my breath would push the color out.
I watched. I noticed.
I perched on the edge of myself,
On the line between me
And the air around me,
Too cautious to slip into either fully.
I was used to looking.
I was used to being a shadow, and I enjoyed it.
I thought I enjoyed it.

The day I met you, you looked back at me.
You were the first.
Imagine that- all those years, and you were the first person
To wonder what it was like behind my eyes
Enough to really look into them.

I could have loved you
Just for that
And maybe I did, originally.
I remember small things, small wakings-up,
Tiny moments that made me realize who I was.
I never lived inside myself before that year.
When I met you I discovered
That I had hands
That when the breeze was warm
I felt it
That my fingers could read the world I so loved to look at-
Change it
Mold it,
Have it.
I discovered that maybe I didn't have to exist alone
And for that knowledge
I must bitterly thank you,
For ever since then I have craved to be held,
Every second
And it has been wonderful and terrible.

I remember snapshots of that time.

The first time, when you looked at me, when you stood close to me
And I was so surprised that I forgot to recoil
And I discovered that I didn't want to.
Your eyes,
Pale and warm, a clear grey-blue, sparkling with mischief,
And what was behind them-
Pain, fear, love, wit and imagination.
You.

I didn't know you,
But I saw you.
I was looking. I always look.
I rarely see anything I wish I could write poetry about.
When I do, it keeps on coming, even years later.
Go figure.

I remember going home and laying awake in the dark
And your face wouldn't leave my mind.
You were leaving within the week,
And I didn't want to forget it, somehow.
I didn't know what made me want to look at you.
Thinking of you-
The curtain of dark hair you hid beneath a hat,
Your softly freckled skin,
Your low, husky voice that always made my head turn
As if everyone else was just background noise.
Maybe it was the way your lips would quirk up in a half smile
Whenever you said something witty and knew it.
(I loved that you knew it.)
Somehow the sum-total of you
Stuck with me and wouldn't leave.
I'd met handsome men.
I'd met beautiful women.
I'd met many people, by then,
But none I'd wanted to know quite like I wanted to know you.

It had never occurred to me
Before that summer
That I would ever want to kiss anybody.
When I discovered that I wanted to kiss you...
I didn't know what to do.
So I said nothing.
Did nothing.
I passionately looked at you
As you told your mesmerizing stories and laughed and looked elsewhere.
I didn't mind.

That was the year
Two weeks later
That I rolled over in bed and asked my best friend to kiss me.
That was the year I discovered why I'd never fantasized a white wedding
(It wasn't legal yet.)

In the years after, I searched for you.
Sometimes I found you.
Sometimes
I couldn't stop telling you you were beautiful.
Sometimes I felt close to you
And my heart would race.
Sometimes you chose a boy
Over my small, dainty face and my eyelashes and my high heeled boots
And that was the first time I felt
The now familiar aching shame- the fear
That maybe that would always happen.
The fear I still grapple with, if I am to be honest.

Still, there were moments when you and I were close, and I treasured them.
Once, I asked you for a hug
And you pulled me down onto the bed beside you
And that was the first time
I ever felt my stomach fall through my feet
In a delicious way,
In a thrilling way.
All I did was hug you,
And looked at your soft, brown eyelashes
Casting shadows down your cheeks.
And then somebody walked in and the moment was over
But I never quite forgot it.

You were kind to me.
You were kind to me in a way I hadn't experienced before,
And I wanted to make you smile.

I remember the day you told us why you wore shorts at the pool.
I remember the white hashmarks shining in the sun
All the way up your thighs.
I remember I thought a thousand things in that second.
I wanted to tell you that you didn't have to hide them.
I wanted to show you that you were beautiful.
I've kissed scars since then, you know.
Because of that moment, I've kissed scars before I've kissed lips.
I've left people loved instead of wounded.
If I'd have let myself think such things about people back then,
I'd have wanted to touch those long-healed cuts with my fingertips,
Feel the smooth hills and valleys of a chaotic heart
Made damaged flesh.
I'd have wanted to kiss them, too, like I did to different skin-
Softly and without lust, looking into the eyes that witnessed their creation.
It was a very, very personal thought. A very, very private longing.
So confusing that I locked it up and didn't think of it for years to come.
And when I did once more,
I was raising a pale white wrist to my lips, tracing a wax-white pattern of healed hatred with soft kisses
And I saw what I wanted to see in the surprised, vulnerable brown eyes I was looking into.
That moment for her
Was your fault.

I remember when I realized why you had such trouble eating.
I never did hear all the details.
I couldn't presume to ask.
All I did was watch you walk away from the table,
Burning with the desire to comfort you
But
I was so used to looking
And not touching
And so I watched you go
And thought of you all night.

It rained a lot, those years.
It never seems to rain like that anymore.
Whenever I saw you it seemed to rain at least once,
The sky turning the same grey blue as your eyes when you were thinking
And thought nobody was looking
And cracking open with a rush of rain and lightning and the sweet, low rumble of thunder crackling through the hot clouds high above.
The holes in the road would fill with water
And the whole place would become a river.
It was so free.
Somehow I began to think of you whenever it rained.

I'm almost sure it was your eyes. They were so deep and stormy, sometimes.
Sometimes they were bright blue, like those summer days when the clouds skip along the sky, pushed by warm winds and shattered by sunlight.
Sometimes they looked very, very pale, like the tide when it folds up in satiny layers against the sand.
I always felt a little strange, looking at your eyes like I did.
I couldn't stop.
That was probably why I rarely touched you.
I was afraid that I was already invading, already pushing too much
To see what was inside of you.

I remember listening to you learn lines late at night,
The way your voice would rise and fall,
And I didn't even know why I was listening-
It just pulled me in, a sound I was partial to,
A tone I wanted to feel on my skin.

I remember tagging along for countless adventures,
Making up excuses to be here or there that I knew you'd be
Just so that I could be a bit closer.
I didn't have an end game.
Didn't have a goal.
I wasn't me enough yet. I acted from fascination.
I wanted to stand near you and watch you be.

I have the most vivid memory of you taking off running
One hot, hot summer day
Into a field of tall grass,
Your laughs and shouts echoing further away
And sometimes I'd see your pale arms stretch above the wildflowers and underbrush,
Waving a gauzy net after the white butterflies that rode the sunbeams.
What a happy field that was.
I didn't run.
I watched.
I always watched.
But I remember that the smile that touched my face
Filled my bones.

I remember when you cut your hair
And I could finally see your face in full
And I wanted to photograph it
In black and white
And maybe catch the way your laughter lived in your gaze.

That was when
You started to fade away.
I saw you less,
And you saw me... much less.
Perhaps I should have let you turn away
And never said a thing,
But
You were the first thing I ever really wanted
Enough to reach for in any way.
I spoke, and you heard me.
And even though you pretended you didn't
It was still the first time
I ever shouted.

Now... now I'm not sure what I think of you
Or what
You think of me.
But I know what you were when I knew you
And I love that girl
And that girl
Created much of what I love about who I am.
And most of the time
I think she grew up.
Found a man, found a life, found a place.
Most of the time I think it's okay that we don't talk
Because you probably aren't her anymore.
I wish I could say
I thought I'd grow up like that and leave my skin behind
But
I am the girl who looked at you back then.
And I have been her ever since,
Only added to.
I know I will never outgrow how I love,
Who I love,
Whatever woke up when I first realized how I felt about you.
I will only learn to wield it.

Sometimes I wish I knew you now.
Sometimes I wish I'd known you then.
Just because... look at all the firsts you were, to me,
And for years into knowing you
I didn't even know your real name.
Imagine if you'd let me in, how we could have changed each other.
I wonder who I'd be
If I'd done more than just watch you silently and smile.

What I learned
From years of gazing at you across picnic tables and bunk beds is that
You can love somebody you don't know.
You can give to someone you haven't taken from.
And you can be changed by someone who never even touched you.
And I'd like you to know that.
And I'd like to remind you
That you never quite know who out there
Is quietly writing you poetry.

The wild bee reels from bough to bough
With his furry coat and his gauzy wing,
Now in a lily-cup, and now
Setting a jacinth bell a-swing,
In his wandering;
Sit closer love:  it was here I trow
I made that vow,

Swore that two lives should be like one
As long as the sea-gull loved the sea,
As long as the sunflower sought the sun,—
It shall be, I said, for eternity
‘Twixt you and me!
Dear friend, those times are over and done;
Love’s web is spun.

Look upward where the poplar trees
Sway and sway in the summer air,
Here in the valley never a breeze
Scatters the thistledown, but there
Great winds blow fair
From the mighty murmuring mystical seas,
And the wave-lashed leas.

Look upward where the white gull screams,
What does it see that we do not see?
Is that a star? or the lamp that gleams
On some outward voyaging argosy,—
Ah! can it be
We have lived our lives in a land of dreams!
How sad it seems.

Sweet, there is nothing left to say
But this, that love is never lost,
Keen winter stabs the ******* of May
Whose crimson roses burst his frost,
Ships tempest-tossed
Will find a harbour in some bay,
And so we may.

And there is nothing left to do
But to kiss once again, and part,
Nay, there is nothing we should rue,
I have my beauty,—you your Art,
Nay, do not start,
One world was not enough for two
Like me and you.

All summer I made friends
with the creatures nearby ---
they flowed through the fields
and under the tent walls,
or padded through the door,
grinning through their many teeth,  
looking for seeds,
suet, sugar; muttering and humming,
opening the breadbox, happiest when
there was milk and music. But once
in the night I heard a sound
outside the door, the canvas
bulged slightly ---something
was pressing inward at eye level.
I watched, trembling, sure I had heard
the click of claws, the smack of lips
outside my gauzy house ---
I imagined the red eyes,
the broad tongue, the enormous lap.
Would it be friendly too?
Fear defeated me. And yet,
not in faith and not in madness
but with the courage I thought
my dream deserved,
I stepped outside. It was gone.
Then I whirled at the sound of some
shambling tonnage.
Did I see a black haunch slipping
back through the trees? Did I see
the moonlight shining on it?
Did I actually reach out my arms
toward it, toward paradise falling, like
the fading of the dearest, wildest hope ---
the dark heart of the story that is all
the reason for its telling?

Her Voice by Oscar Wilde
THE wild bee reels from bough to bough
With his furry coat and his gauzy wing.

INDEX


                            Foreword

1  Despertación of Etréstles 13

2  Constitución New Government . 22

3  diabolic Intromisión 25

4  Kanti, the Corcel . 28

5  Ante the Council 30

6 Inauguración the Monument to Botsaris . 36

7  Losas abandoned 41

8  Satagénesis and Deidagénesis Four. Five

9   Enviados to Deidagénesis / Lepanto 52

10 Drestnia in Kalidona 56

11 Etréstles returns Lepanto 64

12 And the fourth cemetery 71

13 Top of the flight of Lucifer 79

14 In the crypt of the patriarchs 87

15 Etréstles part Valplacci 98

16 Etréstles fleet in the Ionian Sea 114

17 Near Messolonghi 120

18 A new era begins 123

19 Universal Era breaks 129

20 Goodbye Messolonghi 135

21 At the beginning of a new millennium. 141

Epilogue. 153








FOREWORD






Mi theme concept concerning Cemeteries, has been maintained for many years under a remarkable process falls recoup credibility. Unknown worlds which we do not know what to believe, are usually put into question.

Constantly let the silent fields where lie the dead, but it is not, rather that me thinks so. Undoubtedly, the Quantum Theory indicates a basic unit of the whole universe, showing that it is possible to decompose the world into small units of independent existence. This theory shows that the dynamics in the art is such that, solid objects are in constant motion entramando relations between different parts of a unified whole.

As we believe that matter is inherently sterile, we think the cemetery is in the same condition, and therefore inert bodies are also only turned into a pile of bones scattered.





7

8 Etréstles


My conception of the world of subterranean acting, aims to support the theory of Quantum, because at first glance it seems that under these moles cement there putrefaction and eternal solitude. Well, I, I do not think so, I think there is tremendous activity, above all tends to seek fulfillment in a world that concerns him, and also has the infinite grace of thanks from all lurking diseases that shake us. That is, each inhabitant of the subterranean acting as a Franciscan Noble receives worship existence, and not faints by the destructive effects of all known diseases.

Near the garden of heroes, they are the remains of those who died in this output. It was a legendary struggle for libertarian revolution of 1821 in Greece, exactly Messolonghi. Markos Botsaris's tomb and the statue of Lord Byron great Hellenophile found in this garden.

Once, I was looking for a book, and this was inevadiblemente of oriental trend. I used to remind my teacher, the monk talking Virajánanda Given the processes of time, yesterday, today and tomorrow; all at once were a pure unity. That physical death had to be spiritual satisfaction, so that the spirit can not disconnect your disposable body. Child saw my family to go to leave flowers garden home to their loved ones. But I am noticing that my grandparents were still alive, and then would leave, looking for ways to inhale the smell of the earth to prepare the farewell that someday would come from the dark beyond. It never was painful to see them

Ko umeterium MESSO LO Nghi 9


from, because I've always been with them. In addition always our body, which would be living in a merger with vague spirits, to vague minds that do not hold their interest in spirituality as a way of life, tend to make us climb through dark passages of ignorance.

Etréstles, the protagonist; It has place at a lineage that marks limits warriors of ancient Greece, since fought with neighboring nations. Thus, generation after generation, he meddles in successive reincarnations that are to be transported in time by different spaces.

Its Vitabión and Regma Mother, father and as Staktos and Esaedt, both from different eras. His monogamous romantic company is coyuntada with the presence of Drestnia; woman who had to pull out of her womb, better said from his rib, emulating the biblical account.

While it is noteworthy that the secondary characters are related to Greek mythology such as Eurydice, and real characters like Markos Botsaris, who was a great hero who drove the Turks. The famous Florentine sculptor and architect Lorenzo Ghiberti, is present in the action, so that his image is immortalized in an eternal cemetery. Similarly we should mention Asurbanipal king of Assyria (667-626 C), the Auriga; the coachman and truck driver where he had his Herreros over time to release the Hellenic descent.

Other memorable as Aristotle, Hesiod, Praxiteles, which are knowledge to every reader of Greek literature. The judge presiding over the classroom

10 E tr é stles


sesionaba time to time, trying to revive the rituals and reject the stubborn efforts of Lucifer, who was trying to have a place on earth, then God expelled him from heaven.

In the chapter of the onslaught of Lucifer, he is accompanied by his minions Heosphoros and Phosphoros; they are the ones who brought Lucifer from heaven to Messolonghi. In addition Mesopotamian demons appear hostile world, these were the Annunaki who were the jailers of the dead in hell. The Etimmu, were the ghosts of all those who had died unhappy. The Utukku lived in desolate places or cemeteries; they are all part of malignancy presence as oppressive form and manner of presence to the exuberance of good all-encompassing.

Kanti Botsaris steed, is nothing more than his superconsciousness, wearing it as a link between the different physical and oneiric dimensions. It should be noted that Kanti is a Cretan horse and belongs to the fallen in battle, as Botsaris.

Eulalia and Zultina, both courtesans who spent their lives together with Ghiberti and Botsaris.

And it could not ignore the Menopausal, puerperal and Enamorada, as they like female members suffer alone beyond the earthly life that had consequences that affect the desolate silence of death camps.

And to finish, arrival at Valplacci, where it meets a world and a rare man in an unknown dimension by Etréstles. subsequently arriving at Patmos, where St.

Ko umeterium MESSO LO Nghi eleven


John the Theologian, to regain some of its lost soul by the intrusion of Lucifer. Here manages to discover that there is no need to fight warriors who always talk about physical war, because many of them tend to succumb to the same battlefields. discovering, mind mentor as the best ally to overcome any difficulty, wherever it is that the human race is found, or infra-human.

Finally, Etréstles is discovered in a way that would open a new numeral cycle, to start a new era and a new physical space where the projection Messolonghi be situated; nothing less than Nineveh, Ashurbanipal land where the winds blow, as a priest in his exsufflation it does to remove the demons that inhabit the world.

The "Zero" is the initiator of a new era, from whose base the only means available to the new life that awaits the residents of escombroso Messolonghi, after the invasion of Lucifer appears.

My concept of the cemeteries, while seeking an answer to approximate I think now that enormous efforts are made to understand fully. Cemetery remains for me a scenario of hideousness and terror, seen from the observation point that everyone has it, however, I think that in a strange world where you're not supposed to govern ethics, aesthetics, law , and the professional, economic and social status; It is where more wealth is the multiestimulante vitality, "I think

12 E tr é stles


nowhere inhabited earthly souls, will be able to find more life here in the

Messolonghi cemetery ".


José Luis Carreño Troncoso San Antonio, 1997




1





Wake-up of Etréstles



Dfter sleeping a thousand years fell on my face greater light current Solar. I slept without smiling at the crowds inhumaron smearing me my only bones.

The search of that hubbub, made me celebrate the porous bodies and pelusientos arañosos falling on my fingers, delighting my humble tributes to the beetles that accompanied me to direct my view to the nearby burial vaults me. Some were swollen with a semblance augury despertativa; like starting today, with the ominous words They moved from today, the paddling of my fleshless jaws.

Among gravestones of Floreas esmeraldinas dinosauric, in a clear blue autumn, some birds refregaban on edges of the carved stones. Meanwhile, mustards was riding on dry leaves leaves clavelinas. The white-clad looked up Drestnia slab that closed their senses, remained behind bars with his hands crossed as evolving body


13

14 E tr é stles


to attend a new era of geography and different technology. On his chest he would run the living vertiginante wind up the corporeal hint in the light of Koumeterium Messolonghi; that housed over a thousand years ago, at Etréstles of Kalavrita.

This huge palace and flat, it is nothing more than an asylum, where the worst plague that began with the death of the sentinels of Lucifer, who dropped this place with its beautiful golden layers originated; whose satagénesis emerge the burning soil to ten fossilized cemeteries under the Messolonghi.

He walked slowly dragging my old body, the tenth floor, and that teenage girls pointed stones would break my nails; as such if they were claws of a mammal trapped by lava from a volcano. In each advance I awaken in my armor patriotic my last fight, and his enternecedor observe how parents tilled by the conglomerate caste, fighting in underground elements.

Etréstles awakening ...:

Etréstles ...: Which of all columns erected is able to open all columns built in the pavilion of these moles without form or color ... just vitalizing lung diaphragm Eólico my daydreams, is who I think would ...?

To all who are runaways and trapped underground Messolonghi, I bring you good tidings ... Auriga with its Herreros come from the region of the Dodecanese to loosen the bars you father

Ko umeterium MESSO LO Nghi fifteen


Staktos lucid and my mother Vitabión well that in a thousand years, has been damaged her beautiful body. Since my birth in Ayia Lavra, I was being buried for the ninth time in the Ninth Fossilized Cemetery. Whose archpriest with holy oil trickled down my wall, pretending to be a dance of water generated at the bottom of the Ionian. Between the arches of the temple columns running down my mother Vitabión; outward sacravertebral bathe in the water of my past christenings. My past lives were providing mandated by the Auriga their previous lives. And your mother ... A day tried the weight of my recycle ... ?!

Beyond you., Comrades of wars, pilgrimages sacrosanct, lush gauzy baths civilization in the Olympic and equestrian fields.

To you. That you lie here, as is my death in my last life in the hands of a Spartan soldier. Pcs., Blood of my blood, I feel inside me speak your need ...

And in the postrería Drestnia, which by its sixth rising from here from Messolonghi, between bars sealed thy grave situation for the Hellenic indeterminar.

I had to drink from the Pinosa resin to speak here, with my bony hands to touch the others are like yours ...

... Drestnia, my rib still preserved, I will be reborn placating the domain of collective wishful thinking, which prevents your freedom.

My rib you return to your present life, whose cold, flower seeds esqueletizaron the perimeter of your life ...

16 E tr é stles


Etréstles was with them into the Koumeterium Messolonghi, to about 1800 meters zenith direction.

They were to be the Necromesolongui Council to define the minutes. -while music with winds adorned arrival-. Just at the moment, came the Auriga with its blacksmiths, they came to liberate Drestnia with its multiconciencia. What happiness to Etréstles! He ran through the underground halls, to the oldest Koumeterium, the first fossilized. Where thousands of years ago, with many now extinct species, Etréstles came to them resoundingly good news.

While the Council inveighed promulgating the divine sarmiento spray fields Dodecanese in producing seeds of Markos Botsaris.

Judge…: With my lameness, I have to advocate the reintegration of outstanding Markos Botsaris, that once we free them of the Turkish occupation!

Asurbanipal ...My Sirio reign, full of dynamism, placed on their doorposts the powerful image of South-west wind, in honor of his victorious from Kalidona.

Etréstles brought Drestnia just walking the Council and thousands of harmoniums undermined doubts Manor invoking the hero. They all stand, the Council at its octagonal table with his assistants left empty vine glasses to welcome, to the last surviving female first Koumeterium Messolonghi.

Ko umeterium MESSO LO Nghi 17


Harmoniums, as Apollonian rubies widen the dimensions of the cavernales vaults. She sit and ends the music. Drestnia with some leaves on his shoulders, adorned the new escenáculo, which would sit by the new future.

Asurbanipal ...: To you gifts Oh, the universe, you are welcome to this Council, where one day they brought me to praise my contributions from the entrance of Humanity!

But the issue for today, will await the arrival of Markos Botsaris as you who have reached this border, thanks to the generous Auriga.

Charioteer…: ***** wax Orion; Eternal fuel, donated them strength to my steeds pairs, that were raised over distant lands, to reach my Herreros desoldering the bars of Drestnia.

Blacksmith…: Our eyes closed every hundred kilometers, but Eurydice with your calendar, made the aphelion arrimara us this feat.

Ecos ...: Dust ..., Mito ... Dream ... illusion ... have swirled galloping millennia, wearing gray Borrasca ...!

What dark words illuminate the hopes, just below, it is well known that there is much to do, because there is more activity on the surface ...!

Judge…: Etréstles, Drestnia ... past, present, or future will speak of you.

18 E tr é stles


You Drestnia ... !, how long dream ..., defied your gothic vision, not move my neck to your neighbors, loved ensepulcrados in the first Fossilized Koumeterium.

Vitabión ...: Messolonghi lives up to all cemeteries in the world, where they loved their near them. But they do not know life here is more dynamic than in the world of their own.

Menopausal women ...My husband cry on my slab, because his infidelity caused me a bad venereum, which today has removed me from his life. The cries and cries for me ****** decline, all for being with another woman condemned me.

one curtain rises and leaves Funebrio; concelebrating priest all recent deaths ...

Funebrio ...: Woman when you cry my black clothes, cry black tears ...!

Your husband remains static, no movement, despite many kilometers to their own devices. Forbidden habit becomes, how tempting. But contestataria Mother Nature pours us their punishment.

Staktos ...: Friends kisses you give yourself, Where have posted ideations ...?

O dais to scatter everywhere the osculaciones they meet other mouths.

Ko umeterium MESSO LO Nghi 19


Etréstles ...: Everyone I ask do well to prepare your labors. Even so, his desire to hold my naughty pleas heart in this hour by the arrival of Drestnia.

The judge asks adjourn for the recess could then discuss strategies for future deaths.

Sepulcrero ...Lord Judge at the stepped eastern sector have buried an architect. We could ask your cooperation to Botsaris monument.

Judge…: All in good time. It will be done, does anyone want something narrow ...? -Drestnia raised his hand and asked ...:

Drestnia ...: With Etréstles in the last minutes of our lives, which extortioner once it is finished this monument, where our souls will be destined to remain here temporarily ... Messolonghi?

Judge…: General demented wars, take Etréstles the field of Lepanto, because there are stubborn souls who defy the vanquished souls ...

… and as for you, the benevolent Auriga take your soul colors of the sunset, to divide megatons of the Romantics, who along with Ghiberti, on some trunks of beautiful minerals, will anchor his best poems and hiperestésicas forward to outshine their suicides groups.

After the meeting, the attendees are removed, and Drestnia with Etréstles go to spring the celestial napa

twenty E tr é stles


with its golden glow waiting to sail to Tangier and Morocco. In their ships were concurrent, Etréstles woman carrying her ribcage navigation oriented towards the sound of the oars that were the femurs of a Diplodocus itself.

Drestni

And like a dying lady, lean and pale,
Who totters forth, wrapped in a gauzy veil,
Out of her chamber, led by the insane
And feeble wanderings of her fading brain,
The moon arose up in the murky east,
A white and shapeless mass.

November 5, 2010 at 2:59 am

{Inspired by Dr. Boshra 3agban, Nizzar Qabani}


You're a woman;
created from the Greek myths,
wrapped in the veil of my fantasies,
Reborn from all the phoenix ashes,
You're the history of my life, miss;
it bounds u not..no years no seas,
you grant the moon those glaring flashes,
So I never sleep at nights to see thy gypsy eyes,

It's enough to write your name,
Just to be the perfect poet,
It's enough to be loved by thee,
It is so enough for me,
& I'll be mentioned in the history;
As the man & the angel that met,
At the horizon's end,
On the edge of the dreams,

You're a woman;
Carved by an angel's hands,
& made from the diamonds of verse,
Veiled in the golden cloak of my dreams,
A deity from some mystic lands,
Glowing through my murky universe,
Born from heaven's springs & streams,
Your tidal dormant waves through me they arise,

You're a woman;
Greater than Aphrodite & Athena,
You're the endless music of the lyre of pan,
You're the gauzy clouds that may make spring a winter eve,
Picturing you ..Tottering...is the ****** of me,
Thy swift stalk...gazing at you; forever I span,
arrayed in thy mantle of every hyacinth's leaf,
That sings the odes of love in me heart they incise,

You're a woman;
Caring not for time or years,
Neither aging nor death can touch thee,
You're the eternal rose of all the nerieds,
Knowing not no pains or fears,
Thy treads' rhythm lurks through me,
Your love's a religion, belief & a creed,
& my prayers from now forth art thy drowsy sighs,


It's enough to write your name,
Just to be the perfect poet,
It's enough to be loved by thee,
It is so enough for me,
& I'll be mentioned in the history;
As the man & the angel that met,
At the horizon's end,
On the edge of the dreams,

You're a woman;
Drest in the Elysium stars,
With pinions of an angel of life,
Fretting on waters of rivers of Eden,
Healing my feeble searing scars,
Heaping my ardent fires that thrive,
With dewy kisses That're unforgotten,
I've never lived before...now I realize,

You're a woman;
Of wavy hair & wavy weather,
Of blushy cheeks, like of the primrose,
Nestling these lips gushing with love,
I pledge my heart & soul for a feather,
Of thy wing that flips & shows,
Sublimity with that dimpled smile of a dove,
That holds all the answers & whys...


It's enough to write your name,
Just to be the perfect poet,
It's enough to be loved by thee,
It is so enough for me,
& I'll be mentioned in the history;
As the man & the angel that met,
At the horizon's end,
On the edge of the dreams....

Fashion designers love foraging through the antique markets of Clignancourt in Paris and Portobello Road and Alfie’s Antiques markets in London snuffling out vintage pieces for inspiration. The flurry of romantic Victoriana on the catwalks for autumn can clearly be blamed on this obsession.

There has been an undercurrent of reserved, covered-up fashion ever since Pierpaolo Piccioli and his former co-designer Maria Grazia Chiuri introduced a more demure aesthetic to Valentino five years ago. Longer skirts, prim higher necklines and covered arms have become the slow trend of recent seasons creating a hyper-feminine look.

Riccardo Tisci at Givenchy and Sarah Burton at Alexander McQueen have long been beguiled by the Gothic romanticism of Victorian fashion with their use of corsetry and dark dramatic lace and velvet for eveningwear.

In fact, London-based vintage fashion dealer Virginia Bates admits she doesn’t remember there ever being a time when Gothic Victoriana didn’t feature in at least one designer’s collection. “The fascination with the romantics, poets, artists and even horror [classics and films] give designers a great source of inspiration,” she says. “It’s an irresistible era.”

Certainly a lot of it has appeared on the catwalks this season at McQueen, Marc Jacobs, Burberry (shown only a month ago in the see-now, buy-now collection), Simone Rocha, Preen, Bora Aksu and Temperley London, as well as at smaller brands such as Alessandra Rich, Three Floor created by Yvonne Hoang and A.W.A.K.E.

There were dark distressed Linton tweeds, unravelling knits and black tulle in Simone Rocha’s autumn collection. Rocha was pregnant when she started designing it and was inspired by Victorian dress and motherhood, in particular the nightgowns and matrons.

“All the wrapping and swaddling of babies,” she says, before elaborating on how “the Victorian ideals of properness were made perverse with the conservative and covered-up pieces contrasted by the sheer and embroidered fabrics.”These gauzy vaporous fabrics succeeded in making her eerily romantic silhouette look rather contemporary and daring.

Subversion is key to making such a prim and proper period in fashion history modern and relevant for women today. Marc Jacobs, for instance mixed long Victorian coats, ballooning crinolines and crochet doily collars with sweatshirt tops and laser-cut leather for skirts and jackets together with some scary Goth horror make-up. Nothing is, or should be literal.

As Justin Thornton of Preen says “we love the Victorians, the laces and the white shirts, but it is the vintage pieces rather than the era that inspire us”. His partner Thea Bregazzi has collected aristocratic laces and ruffly vintage shirts from Portobello Road market for as long as he has known her and these frequently find their way into their collections, “but linings would be ripped, garments will have holes in them – it is a deconstructed look”.Virginia Bates once owned a famous vintage fashion emporium in Holland Park with a client list including the biggest names in fashion from John Galliano to Donna Karan and Naomi Campbell. Now she only works with private clients and designers and they, especially, she says were looking for genuine Victorian pieces when planning their autumn collections.

“A black fitted jacket with inserts of handmade lace [that is] embellished with crystal and jet beads, ***** and silk lined ... How exciting and inspiring is that? Silk and fine lawn shirts, soft and flowing with ruffles. Don’t we all want to wear one and live the dream?”

Thankfully a few designers do right now, and there were lots of heavenly creatures in fragile asymmetric lace dresses toughened up with leather corsetry at Alexander McQueen, and richly coloured swishy dresses at Bora Aksu. While Christopher Bailey cherry-picked the centuries in his Burberry collection, lighting upon frilled white cotton shirts, nipped in jackets and military capes from the Victorian era. Given that Victoria reigned for more than 60 years there is a lot of history for designers to plunder, so this will not be the last we will see it.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

Today there is a veil upon my world:
A gauzy muting of sound,
A mist that’s permeated the corners of thought.

I know there is a crisp clarity outside:
a pounding passion in the sunlit world,
A million hues to roll in and embrace.

My tingly thought centers all recede:
Rejecting stimuli like adventurous taste buds
Recovering from exciting, scalding tea burns.

I just have to remember and accept:
Sometime there are going to be days like this.
Lazy, hazy.

1.
Mother, my Mary Gray,
once resident of Gloucester
and Essex County,
a photostat of your will
arrived in the mail today.
This is the division of money.
I am one third
of your daughters counting my bounty
or I am a queen alone
in the parlor still,
eating the bread and honey.
It is Good Friday.
Black birds pick at my window sill.
Your coat in my closet,
your bright stones on my hand,
the gaudy fur animals
I do not know how to use,
settle on me like a debt.
A week ago, while the hard March gales
beat on your house,
we sorted your things: obstacles
of letters, family silver,
eyeglasses and shoes.
Like some unseasoned Christmas, its scales
rigged and reset,
I bundled out gifts I did not choose.
Now the houts of The Cross
rewind. In Boston, the devout
work their cold knees
toward that sweet martyrdom
that Christ planned. My timely loss
is too customary to note; and yet
I planned to suffer
and I cannot. It does not please
my yankee bones to watch
where the dying is done
in its usly hours. Black birds peck
at my window glass
and Easter will take its ragged son.
The clutter of worship
that you taught me, Mary Gray,
is old. I imitate
a memory of belief
that I do not own. I trip
on your death and jesus, my stranger
floats up over
my Christian home, wearing his straight
thorn tree. I have cast my lot
and am one third thief
of you. Time, that rearranger
of estates, equips
me with your garments, but not with grief.

2.
This winter when
cancer began its ugliness
I grieved with you each day
for three months
and found you in your private nook
of the medicinal palace
for New England Women
and never once
forgot how long it took.
I read to you
from The New Yorker, ate suppers
you wouldn't eat, fussed
with your flowers,
joked with your nurses, as if I
were the balm among lepers,
as if I could undo
a life in hours
if I never said goodbye.
But you turned old,
all your fifty-eight years sliding
like masks from your skull;
and at the end
I packed your nightgowns in suitcases,
paid the nurses, came riding
home as if I'd been told
I could pretend
people live in places.

3.
Since then I have pretended ease,
loved with the trickeries of need, but not enough
to shed my daughterhood
or sweeten him as a man.
I drink the five o' clock martinis
and poke at this dry page like a rough
goat. Fool! I fumble my lost childhood
for a mother and lounge in sad stuff
with love to catch and catch as catch can.
And Christ still waits. I have tried
to exorcise the memory of each event
and remain still, a mixed child,
heavy with cloths of you.
Sweet witch, you are my worried guide.
Such dangerous angels walk through Lent.
Their walls creak Anne! Convert! Convert!
My desk moves. Its cavr murmurs Boo
and I am taken and beguiled.
Or wrong. For all the way I've come
I'll have to go again. Instead, I must convert
to love as reasonable
as Latin, as sold as earthenware:
an equilibrium
I never knew. And Lent will keep its hurt
for someone else. Christ knows enough
staunch guys have hitched him in trouble.
thinking his sticks were badges to wear.

4.
Spring rusts on its skinny branch
and last summer's lawn
is soggy and brown.
Yesterday is just a number.
All of its winters avalanche
out of sight. What was, is gone.
Mother, last night I slept
in your Bonwit Teller nightgown.
Divided, you climbed into my head.
There in my jabbering dream
I heard my own angry cries
and I cursed you, Dame
keep out of my slumber.
My good Dame, you are dead.
And Mother, three stones
slipped from your glittering eyes.
Now it's Friday's noon
and I would still curse
you with my rhyming words
and bring you flapping back, old love,
old circus knitting, god-in-her-moon,
all fairest in my lang syne verse,
the gauzy bride among the children,
the fancy amid the absurd
and awkward, that horn for hounds
that skipper homeward, that museum
keeper of stiff starfish, that blaze
within the pilgrim woman,
a clown mender, a dove's
cheek among the stones,
my Lady of first words,
this is the division of ways.
And now, while Christ stays
fastened to his Crucifix
so that love may praise
his sacrifice
and not the grotesque metaphor,
you come, a brave ghost, to fix
in my mind without praise
or paradise
to make me your inheritor.

Bathed in the shade of
a rubbery rhododendron,
I sway imperceptibly,
Lulled by nature's rhythms,
A silent, sleepy visitor
splayed on a ropey nest,
Serenaded by an aerial orchestra,
Chirps and trills
and throaty warbles
spiral downward,
Atomized in the languid breeze
like a Roman candle,
A staccato riff,
Jack-hammered into a dying birch,
Urges me back from the edge,
Where dream and dreamer part,
A gauzy memory of a melody lost,
Performed for the oblivious,
and a dozing, grateful
audience of one.

Right now
in your kitchen
on the bottom rack of the dishwasher
resides a secret;
a dark spot on your soul –
a malignant little horror
that threatens to destroy
your sense of self worth.

Maybe it’s a butter knife
with an in-congruent rust spot
on one side of the blade…
Maybe it’s a random salad fork,
the final piece remaining
from a long forgotten flatware set,
with a fossilized chunk of radicchio
lodged between the third and fourth tines.

Probably it’s the fork.

There it has sat
without being moved;
without being touched;
just existing as the metaphor that it is
for 8 straight wash cycles.
The result has never varied.
The dirt remains.

Soon will come a ninth wash cycle.
You hope that things will change.
You know that they will not.
Despite this unwavering conviction
that the fork will always be *****,
the next time you run the cycle,
open the dishwasher door,
peer through the gauzy veil
of lemon scented fog
and see the small bit of filth
you will still feel disappointed.
You will grow a little bitterer.
You will be a little more contemptuous.
The world will be a deeper shade of gray.

It doesn’t have to be this way.

You can go
right now
into the kitchen
to the bottom rack of the dishwasher and
reach down
with a trembling hand
to grasp destiny.

You are bigger than this fork.
You are bigger than this fork.

You
are bigger
than this fork.

With a sense of control firmly clasped between your fingers
take that 15 uncomfortable seconds
to scrape away the debris with your thumbnail
and then be free.

BE FREE

Deep and resounding will be
the sigh of relief;
the utter completion;
the contentment absolute
that you experience
when you place that clean salad fork
back in the drawer.

It will never match
the new silver
that your In-Laws gave you last Christmas, but
at least it will be clean and
in its home
safely ensconced
in that wire organizer.

Right now
in your kitchen
on the bottom rack of the dishwasher
is a chance for redemption.

Today, my day is painted a gauzy green.
I am feeling beautiful and lush and everywhere I see, I see nothing but beauty.

That is very simply put, I know.

But today is that kind of a day.

Just beautiful.

I

And, like a dying lady lean and pale,
Who totters forth, wrapp’d in a gauzy veil,
Out of her chamber, led by the insane
And feeble wanderings of her fading brain,
The mood arose up in the murky east,
A white and shapeless mass.

II

    Art thou pale for weariness
Of climbing heaven and gazing on the earth,
    Wandering companionless
Among the stars that have a different birth,
And ever changing, like a joyless eye
That finds no object worth its constancy?

I love the way
You make
Drowning look like
Breathing easily

Freely suffocation yourself
Not even realizing
That your sinking
Deeper and deeper down
You're convincing me
Don't take the high road
Because the hill there will **** you
You guarantee me  
That I cant afford that
So don't even try
Then
Invite me to come fly
To feel what its like
To blur my sight
To the extent of clarity
Amidst the gauzy reality
We've been brainwashed to believe
Is sanity
This feels like
Insanity
And these feelings
I don't want to feel anymore
I just want to know
Tell me whats real
Because I've tasted air
And it freed me
It was free to me
And in that moment
I had totally clarity
And in that moment
It became everything for me

But for some reason
Its not sticking
Its not addicting
But you
**** you had me
The second you walked in the room
And I cant stop
Thinking about you
And
Thanking about how
I need a cigarette
Because this air
Is going stale
And its not so clear
Anymore
And I'm not so clear
Anymore
And I want you here
All the more
To help me feel real
Once more
Because I can't feel
Whats real
Anymore
And these feelings
I don't want to feel
Anymore

I just want to know
Tell me whats real

Because I've had it
With this
******* hypocrisy
Where I pretend like
I know what I'm talking about
Where I pretend like
I see through the
Gauzy reality
We've convinced ourselves
Is sanity
Because its easier than
Facing the insanity
We are faced with
Every day
Daily
Rolling every thought
Of imperfection in our lives
In thin white sheets of paper
Blowing
In
In
In
In
Holding
Feeling
Releasing
Freeing ourselves to fly
At least for a moment
Or maybe just to fall but
At least for a moment
We touched the stars
And

I love the way
You make this look fulfilling

I love the way
You make this look satisfying
But

I hate the way
That I keep coming back for more
Knowing its not helping
But I cant handle
All these thoughts
And I cant handle
All these feelings

Tell me whats real
Because I've tasted air
And it freed me
But its not free to me
And the more I think about it
The more I'm realizing
That the cost of breathing
Is my whole life
And I'm not sure
I'm willing to trade everything
Im not sure
I'm able to give everything
For a freedom
I'm not even sure
Is sticking around
Because it hasn't been addicting

Tell me whats real
Because I'm digging
Deeper and deeper down
Tell me whats real
Because I'm sinking
Deeper and deeper down
And I cant breath easily anymore
I'm freely suffocating myself
In a confinement of uncertainty
Where I'm certainly going to drown
If no one can tell me
Somebody
Tell me whats real
Because I cant keep guessing
And then confessing
For a blessing
Always testing and
Investing myself
In momentary highs
Because this isn't living
This is simply surviving
An unsatisfying life

Always searching
But never finding

Tell me whats real
Because I need to feel
Alive again

Tell me whats real
Because now its not enough
To just feel
I need to know
Tell me
Because I need to know
Whats real



                                        The End.

The gauzy nightdress caresses her thighs
as her bare arms, trembling feet defy
the gnawing, gnashing wind.
The world hangs below,
teetering on the edge of a cliff.
She turns, back to the open air;
taxicabs panic below her.
She tilts, arms whirling like pinwheels,
and falls into freedom.
Serenity, it seems, is found in flying,
if only for a moment.

She has hair that glows neon
In the midnight chill of the mind.
It blacks out her face from memory
Like the lace of a
Wedding veil dream catcher
Spun like spider silk
To bind her blind.

And she wears polka-dotted
Cigarette scars on painted,
Sallow, yellowed skin,
And her heart is made of patchwork,
Some pieces lovingly stitched,
Some loose,
Some worn,
Some dotted with blood from
Hazy misaimed needles.

She’s swathed in Virginia silk,
A feast for the eyes,
A feast for the moths,
And as gauzy as
Bandages, as gauzy as
The swirling darkness of her mind
As it whispers
Frightening, beautiful thoughts
From behind her button-black eyes.

She needs mending, she says,
Needle against her skin and
Eyes shining like marbles.
She needs loving, she says,
Stuffing herself with OxyContin
Laced with lies like the lace of a
Wedding veil dreamcatcher
Spun like spider silk
To bind her blind.

I am surprised to see
that the ocean is still going on.
Now I am going back
and I have ripped my hand
from your hand as I said I would
and I have made it this far
as I said I would
and I am on the top deck now
holding my wallet, my cigarettes
and my car keys
at 2 o'clock on a Tuesday
in August of 1960.

Dearest,
although everything has happened,
nothing has happened.
The sea is very old.
The sea is the face of Mary,
without miracles or rage
or unusual hope,
grown rough and wrinkled
with incurable age.

Still,
I have eyes.
These are my eyes:
the orange letters that spell
ORIENT on the life preserver
that hangs by my knees;
its ***** canvas coat;
the faded sign that sits on its shelf
saying KEEP OFF.
Oh, all right, I say,
I'll save myself.

Over my right shoulder
I see four nuns
who sit like a bridge club,
their faces poked out
from under their habits,
as good as good babies who
have sunk into their carriages.
Without discrimination
the wind pulls the skirts
of. their arms.
Almost undressed,
I see what remains:
that holy wrist,
that ankle,
that chain.

Oh God,
although I am very sad,
could you please
let these four nuns
loosen from their leather boots
and their wooden chairs
to rise out
over this greasy deck,
out over this iron rail,
nodding their pink heads to one side,
flying four abreast
in the old-fashioned side stroke;
each mouth open and round,
breathing together
as fish do,
singing without sound.

Dearest,
see how my dark girls sally forth,
over the passing lighthouse of Plum Gut,
its shell as rusty
as a camp dish,
as fragile as a pagoda
on a stone;
out over the little lighthouse
that warns me of drowning winds
that rub over its blind bottom
and its blue cover;
winds that will take the toes
and the ears of the rider
or the lover.

There go my dark girls,
their dresses puff
in the leeward air.
Oh, they are lighter than flying dogs
or the breath of dolphins;
each mouth opens gratefully,
wider than a milk cup.
My dark girls sing for this.
They are going up.
See them rise
on black wings, drinking
the sky, without smiles
or hands
or shoes.
They call back to us
from the gauzy edge of paradise,
good news, good news.

January 1, 1000

Year One-thousand, January One,
starts the new millennium.
The villein, Jacques, in Reims,
wakes to find his world unchanged.
His hut stinks; his flour's wormy.
He fears God's wrath, but trusts His mercy.
Walled in by his community,
set in Christian certainty;
by their fireplace, with his family, sitting,
he plans the plots he'll plant come spring
The stars above him do not move;
he knows God's power --and His love.

                                                          ­                                        
1118

Others loathe such conformity:
their minds and spirits must be free.
Tutor Pierre finds knowledge increase
in the arms of his pupil Héloise.
Risking life and reputation,
they learn a different conjugation.
(L'Université de Paris's great philosophe
and the canon's niece --in reckless love.)
You think the danger overstated?
Let me remind you that Abélard was castrated
--and the **** confined to a nunnery ...
whence she wrote most eloquently.
("Though I should think of God, I think of thee.")  


225

Dear Francis,
I hear that when you visited St. Peter's
you exchanged clothes with a beggar
and stood all day at the door of the church;
that you asked the people of Gubbio
to be kind to the wolf who was eating their sheep;
that you call birds your "sisters" and fire, your "brother";
that you would have us give all that we own to the poor....
--Perplexed in Perugia

Dear Perplexed,
I ask only that you see God's hand in all creation:
wolf, *****, flower, stone --
God gives to each His rain and His sun.
What man is in the eyes of the Lord,
that I am --and nothing more.


1517

Martin Luther says you can't buy salvation;
the individual conscience is the only true religion.
Of intermediaries, he'll have none;                              
Man is responsible to God alone.
The Bible, being God's holy Word,
must, by each Christian, be read and understood.
Humble toil is a service of God
far surpassing the holiness of monks.
God is terrible in his majesty;
by faith in God, are we made free.  


1611

[London; Shakespeare addresses assembled friends as he
retires to Stratford;... a mysterious stranger rebuts.]

"Despite it surely not being my intention
to slight the worth of imagination,
to doubt the value of our fictive craft,                                          
there can be no question:  in their import,
the actual deeds of actual men
must, perforce, surpass the disembodied pen.
This [pointing] is merely men upon a stage;
these, merely words I've placed on the page."

"Master Shakespeare, I beg to differ:
it is your words which will live forever.
When fiery Phoebus ten million times
has run his course 'round rotund Earth, men will
still be astonished at Lear's great woe,
still sigh with Juliet for her Romeo."


1711

They've placed Monsieur Voltaire in prison.
This will not postpone the Age of Reason.
Men will speak and write as they see fit,        
be governed by laws and the intellect.
        

1783

[General Washington, at Annapolis, Maryland]

"My friends, I'm honored deeply,
by the faith which you here show in me,
your confidence that these qualities
which served so well in war might now
to governance be applied successfully.    

"I, myself, have doubts:
I fear that battle's clear, cold steel will be dulled
in the gauzy murk of diplomacy.
And though I were suited to this high estate most perfectly
still I should shrink from it.
I think of Caesar,
returning, triumphant, from Gaul,
his heart full of zeal for the good of his people,                  
who achieved much, but whose lordly rule
gave way to others far less wise....

"There's a name for a man raised above men as a god:
it's 'king'. I'll have no kings!

"Thus, I surrender to you,
the duly-elected representatives of the States,
the outward and visible sign of my authority:
this sword. Let the world take note
that these united States, born under tyranny's yoke,
shall, in word and deed, henceforth
be governed democratically."


July 27, 1890

Vincent finds his world has narrowed,
(--what wonders he'd seen in la lumière d'Arles!--)
all the things for which he's sorrowed--
rejection by his cousin Kee,
reliance on his brother's charity,
failure of his "painters' community"--
come welling up....
He walks to the field from which he'd come.
In his pocket, the letter he'll never mail.
The wheatfield he'd so recently painted.
In his pocket, by his chest,...
the gun.


July 16, 1945

[Robert Oppenheimer, near Alamagordo, New Mexico]

    If the radiance of a thousand suns
    were to burst into the sky at once,
    that would mirror the Mighty One's splendor....
    I am become Death --World-destroyer.
    --The Bhagavad Gita

Everything was so much clearer
when it seemed the Germans might get the thing first....
Now it's all so terribly muddy....
Who knows what these generals'll do with it.
...The radiance of a thousand suns....                                                         ­                                                 

That 100-foot tower --completely gone!...
If we didn't do it, someone surely would....
I am become Death --destroyer of Worlds.  


January 1, 2000

Year Two-thousand, January One,
starts the new millennium.
The sales-clerk, Jacques, in Reims,
wakes to find his world unchanged.
He's got Internet access! Two cars!
He doesn't fear the universe....
The only group he's part of
is guys who drink at the local bar....
He goes to church, but doesn't believe.
His job, his marriage --nothing is certain....
Even the stars above him move.
He knows God's power --but not His love.

I* am the one who owns this game
This game of cat and mouse; the chase
Not him, not them, not those
The men
Who think it is in their place

The ones who covet the loving gleam
In a woman’s drawn up eyes
But then tell her that she was no more
Than a *****, a ****; filthy pennies in disguise

They leave her rotten, confused, revised
Writing sickly poems of love and gore
Reflection in her puzzled heart
Rebuild the sloppy, slaughtered gears, restart and then restore

I have written those poems too,
When I bore marks of the lost and broken
whispered words, shaking from my lips,
of things yet unspoken

Now I need no more
For poetry unheeded brings more sorrow on which to thrive
And anyways poetry writes itself for me,
Cause I have eaten it, alive

I have learned the trades of love
And unlearned how to feel
I threw my heart away gladly
For the others I could steal

I am the one who pulls you in,
Not you, strong soldier, the statue,
clearly cut and manned
I am the one whose glistening strife
Slides, dripping, through your open hands

I have the voice, purring rolls of silk,
Emerald slants, gaudy blue feathered eyes
Lupines bloom upon my lips
And foxgloves on my thighs

I have the sterling studs of class
The cocky robin smile,
A drink like silver wine am I
From a savory crystal vile

I have the shift of gentleness,
A tender, blooming embrace
You hold nothing but trust in me
Adoration upon your disgusting face

But I know something you do not
That only I have the key
Patience until the shaking burst
A monster waiting to break free

She howls and rips your heartstrings raw
Ignores your pleading glance with glee
A smirk, a sneer, arched lips pause
Knowing your demise is our reward
We won’t stop until you cease to be

I have strength beneath my beloved monster’s wings
The power to bend with whip-like throw
Each man I take, battles for my neck
And I slaughter each, basking in the glow

We have done this for ages
Sold perfection, curving laces at every door
Like gypsies we steal what you cling to most
Our silver infused fingers beckoning for more

Love is no longer fun for us
We crave deception, challenged lies,
We’ll never give you what you want
Only slay your mind and watch as it dies

As the madness creeps on mottled claws
And you beg and plead curled up in pain
Letting us in through your wracking body rocks
A glimpse, peeled back to reveal the stain

So pound the floors as much as you want
Drag splinters from your drooling cavernous screams
Throw yourself away again and again
Cause I will never leave your mind,
Having sown myself into your dreams

I am what you think about
What you've sold every scrap of yourself for
But I am a fake, a mask, the satin covered machine
What you fear will reap your corrupted core.

You never knew that all I want
Is to take but never give
To ****** but never stay
The girl who steals your love to live
And buries it in your own decay

After every sumptuous feast,
We give a trill, a gauzy lilting stream
Notes lift our cool heads high
Poised waiting for the choking screams

And as we slide through fractured lives,
My monster and I
We ponder the day we'll wake in hell
Eagerly awaiting the reward for all our lies

For we're not scared of death or flames
Flickering bodies of damnation
Cause we know we’ll live forever
In those suffering from love starvation

--Lily

vacant mind keeping its distance in search for
answers without questions while living up to
gauzy expectations of peaceful endings to all
uneasinss as the duration of life elongates into
elements of squalidly uplifting surprises
---
or... daydreaming while waiting for the answers
to the questions that are cornered by squares
right down to the rectangeled circles of blue notes

Mud drenched months, so soporific,
I love and find you beatific
Envelope too my heart and brain
In a gauzy shroud and tomb of pain

The south wind plays on this great plain,
Where nightly creaks the weathervane,
With ebbs and flows, my soul sings
As it extends its raven wings

My heart is filled with dreary things
As it does when frosts descend,
Oh shaded seasons, my regal friends!

Your shadows sweetly lingering,
- Unless in darkness, like newly-weds,
Numbing the pain of a hazardous bed.

From the blue black alley of my worst night terror, you reappear.

I wake, sweating a gauzy film of so many lost years.

You were that nightmare I never wanted to wake up from.

I was your stolen piece of fiction,
You plagiarized my youth,
Writing your own broken inventions
Into the fabric of my innocence;
You ripped my seams
Until I was your blank canvas.

But as you came tearing your way up that alley I realized,
I've been rewriting history,
stitching together a past with crooked seams.

Because every nightmare begins with:

eyes closing,

breath slowing,

the sandman whispering,
"Sweet dreams."

You were not always a monster.

Bullets stand ***** directly projecting from

The decaying flesh hugging gauzy esophaguses

Like unicorn horns delivering vast oceans

Of blood oaths upon their palms



With octave ranges of innocent angels

Tainted with the **** sins carved

By the tainted fingers of evil deeds

Awaiting the taste of the nether regions



Of a destitute harlot; I must warn you

She grows weary of using her body

As a pedestal to your waterfalls of *****

Yet she suckles your ***** with the fury

Of a thousand demons on the prowl to slaughter

Our garden's masterpiece,
Fairies in each fleur-de-lis,
Blossoms of gauzy glory,
Perennial veils of fairy stories,
Beribboned spangled treasury,
Fairies flitting so flowery,
Our queen of ruby roses,
Posies for all, one supposes,
Flowerets the best cuddle,
Essence of Spring, residual,
There are fairies in the flowers in the garden,
One ruby rose--then a garland!

it is always nights like this, where everything is so quiet you can hear beneath the absolute threshold, when i begin to wonder if i am going mad. technically, if one were truly losing their mind, they wouldn’t take much notice to the clarification that their reality is nothing but intricate lies spun by their brain.

pushing onwards within the dark, i can feel it. a whisper of a dance in memory slices gracefully across my cheek. the hungry caress of a lost lover. it is a random number between three and four, counting the days of sleepless solitude; as my lover is playing tricks on me.

it is just before dawn. the house breathes and groans like a wretched soul trapped in a bottomless pit long before midnight. in the gray morning light, delicate wrists stained with ink serve as maps through a desolate labyrinth. “lasciate ogni speranza, voi ch’entrate.”

from the corner of my eye i see shadows of uncharted men that feed upon the protective covering, encasing us; separating our world from theirs. the barrier is a shield at best, yet doorway at worst.

try to detach your eyes from their persistent, wandering gaze; and you might just catch a glimpse of a shadow gliding out of sight.

don’t second guess yourself sweetheart, you know exactly what you saw.

shadowy figures slightly out of reach, but still quite visible – gliding silently amidst, whispering quietly to those surrounding. looking directly at the figures, a gauzy lace veil delicately masks and covers each shadow.

unseen claws shred the thin barrier before it is tattered and torn. one by one, little by little, each figure sharpens into perfect visual acuity, wholly in sigh(t). as you slowly inch back, eyes unblinking with disbelief, their voices are no longer whispers.

the gaping pits of opened mouths drown you in hollow prattles, screeching rasps; the cruel high pitched icy sneers of laughter.

petrified with terror and shock at the shadow’s newfound ability to speak, you acutely notice that the house is creaking and wheezing. you can hear footsteps on the opposite side of the house, and with your eyes averted, they are gone.

with this, you must take into consideration that i have spent far too long with eyes wide shut, drowning in utter fear fueled by morbid curiosity for this world: things seen and heard. each is a cancerous tumor mutilating my mind beyond repair.

to me, the shadow figures’ tattered veil appears to be a doorway, a portal to another universe. this sheer possibility spawns the magnitude of infinite and parallel universes.
much like the shifting hallways concealed in an e(in)ternal labyrinth.

amidst this never ending maze, man is forced to wander blindly from birth to death; where he then circles back around to his exact place of previous conception, only to be born anew. condemned to blindly roam and repeat his unbroken cycle for all eternity.

in this labyrinth we are all gods, we are all monsters. each creation story is universal, yet individual to each new life.

the sinner and the saint are both born into divinity.

angels.

angels who miss their wings at 3 am when they feel more out of place in this body then before, angels who need pain to bring themselves out of their dreams, who ink themselves with words only prophets would understand; angels who have the most ordinary jobs like bus drivers and paper boys, people see them and think about them for moments too long.

angels who turn to drinking and smoking, trying to forget the feeling of their wings pushing air behind them as they flew. angels who can't avoid the call of the sky and become pilots who are always drinking coffee because the caffeine reminds them of the golden ichor that was once flowing through their veins.

vengeful angels who become pilots as well, who terrorize the winged folk to feel powerful again, to feel control again. angels who message each other, fingers trembling as they type out their dreams, trying to grab those memories that are just out of reach, gauzy and filled with blood and silver-tinted skin and golden eyes and so many feathers. angels who live in church basements and see pictures of themselves in the stained glass windows and go unclothed, trying to reach that feeling of purity, freedom.

fallen angels who burn churches, filling their lungs with smoke as they climb to the steeple, not just from reprisal but from the feeling of mutiny. angels who ride out into the country alone with a handful of stolen cash who steal from nearly empty gas stations and throw rocks at the windows of abandoned barns after they've climbed to the roof and back to earth. angels who streak their backs with ashes because they don't have the scars that they should from having their wings torn away and the golden ichor doesnt bleed away and stain the ground like it used to.

angels who hang out in bookstores and coffee shops because they're looking for an oracle or someone, anyone, who will listen to their impossible dreams of flight and blood spattering the ground, of fighting and dying and they can't explain it.

angels with shaky hands who try to find love because there's something missing and everyone tells them that love will help them, and maybe it does, but there are always angels out there who have loved and loved and there is still something BROKEN, something LOST, and it's been pounded into their minds that they'll never know what it is. angels who run with demons and devils because there's nothing quite like the rush of running in the dark, standing at the edge of the city and feeling the wind nearly blow you off as you curl your toes on the edge of the roof, so close to the sky it takes their breath away.

angels.

Fair insect! that, with threadlike legs spread out,
  And blood-extracting bill and filmy wing,
Does murmur, as thou slowly sail'st about,
  In pitiless ears full many a plaintive thing,
And tell how little our large veins should bleed,
Would we but yield them to thy bitter need.

Unwillingly, I own, and, what is worse,
  Full angrily men hearken to thy plaint;
Thou gettest many a brush, and many a curse,
  For saying thou art gaunt, and starved, and faint:
Even the old beggar, while he asks for food,
Would **** thee, hapless stranger, if he could.

I call thee stranger, for the town, I ween,
  Has not the honour of so proud a birth,--
Thou com'st from Jersey meadows, fresh and green,
  The offspring of the gods, though born on earth;
For Titan was thy sire, and fair was she,
The ocean nymph that nursed thy infancy.

Beneath the rushes was thy cradle swung,
  And when, at length, thy gauzy wings grew strong,
Abroad to gentle airs their folds were flung,
  Rose in the sky and bore thee soft along;
The south wind breathed to waft thee on thy way,
And danced and shone beneath the billowy bay.

Calm rose afar the city spires, and thence
  Came the deep murmur of its throng of men,
And as its grateful odours met thy sense,
  They seemed the perfumes of thy native fen.
Fair lay its crowded streets, and at the sight
Thy tiny song grew shriller with delight.

At length thy pinions fluttered in Broadway--
  Ah, there were fairy steps, and white necks kissed
By wanton airs, and eyes whose killing ray
  Shone through the snowy veils like stars through mist;
And fresh as morn, on many a cheek and chin,
Bloomed the bright blood through the transparent skin.

Sure these were sights to touch an anchorite!
  What! do I hear thy slender voice complain?
Thou wailest, when I talk of beauty's light,
  As if it brought the memory of pain:
Thou art a wayward being--well--come near,
And pour thy tale of sorrow in my ear.

What sayst thou--slanderer!--rouge makes thee sick?
  And China bloom at best is sorry food?
And Rowland's Kalydor, if laid on thick,
  Poisons the thirsty wretch that bores for blood?
Go! 'twas a just reward that met thy crime--
But shun the sacrilege another time.

That bloom was made to look at, not to touch;
  To worship, not approach, that radiant white;
And well might sudden vengeance light on such
  As dared, like thee, most impiously to bite.
Thou shouldst have gazed at distance and admired,
Murmured thy adoration and retired.

Thou'rt welcome to the town--but why come here
  To bleed a brother poet, gaunt like thee?
Alas! the little blood I have is dear,
  And thin will be the banquet drawn from me.
Look round--the pale-eyed sisters in my cell,
Thy old acquaintance, Song and Famine, dwell.

Try some plump alderman, and **** the blood
  Enriched by generous wine and costly meat;
On well-filled skins, sleek as thy native mud,
  Fix thy light pump and press thy freckled feet:
Go to the men for whom, in ocean's hall,
The oyster breeds, and the green turtle sprawls.

There corks are drawn, and the red vintage flows
  To fill the swelling veins for thee, and now
The ruddy cheek and now the ruddier nose
  Shall tempt thee, as thou flittest round the brow;
And when the hour of sleep its quiet brings,
No angry hand shall rise to brush thy wings.

i am your woman in
ruby red silk sari with
gold thread-
i bear the mark of a
married woman high
on my forehead

for you i cook aromatic
spiced lamb-tender as
the light over morning
calcutta
yellow rice soft as a
painter's yellow ochre
on drying pallate

for hours i have watched
over slow rising flat bread
each  ****** of the heel
of my hand forming warm
dough into flat ovals

i bathe in the essence of
warm sandalwood and
the fruit smoke of incense

tonight i give to you the
secrets of womanflesh and
take you to me david
under white gauzy canopy
as the garden peacock
prims it's silken feathers
under the shadow of the
sundial-

tonight i am your temple
and the gods smile softly
with pleasure.            
                       ana christy

All sound is muted
Vibrant colours overlaid with gauzy grey.
My skin, my hair, are damp,
As if those things were weeping,  but have ceased,
As if I am made of tears
Or, have bathed in them,
Yet, I feel nothing, nothing but numb
No pain, ah – well, a faint, dull ache
As if my etheric body were trying to escape.
I am lost within and without myself
All insular, enclosed
Boxed, redundant, closed away
Grey is the way to the end of today.

Ruby lips etched sharply
Against a gauzy memory
Pensively floating on the hope
Of a love long lost.
She resides in a murky present
Time out of place
Creating a romance of a silky past
Delicately draped on her soft shoulders.
Locked in a whirlpool of faded emotions
She yearns for substance that is both
Supportive and translucent
Unsatisfied but not hopeless
Resting upon her reverie
Evening slips into night
Dreams envelop her.

There’s something about hotel rooms
that just taste better
Their silent is more silent
You’re stacked and lined-up
and you still feel so out of the way
Have you ever made love in a hotel room?
Soundless, pricey mini-bars as foreplay
First light through those gauzy drapes
that don’t belong to you
******* on those crisp white sheets
that don’t belong to you
Room service forever waiting
on the tip of your fingers
through those granite goes dark Teledex phones

And the water-flow is just the thing
I guess they add something to the water
or it’s the way they boil it
there’s something unusual about it
that perfectly matches our skin
And when the ***** leaves
there's just no guilt
You won’t ever call her again
but there’s just no guilt
You know you were great
she’s downright pleased
and you feel on top of the world