it's 10:20 a.m., or a.d. for that matter,
i'm drinking for a sloppy mistake
i call ease, in circumstances that
are rather necessary for my balancing /
juggling act... the alarm on the clock just went off
but i woke up two hours earlier, listening to
b.b.c. radio 4... talk of birds (cuckoos /
winged parasites the specialist says) and
hindu assimilation into western opera via goa;
i'm watching a pair of sparrows build a
nest in my neighbour's guttering;
they noticed me perched on the windowsill
puffing out smoke, so they figured,
no better safety than under the watchful
presence of a dragon;
and indeed the chinese and the welsh
drew dragons long before any bones
of dinosaurs were unearthed;
it wasn't necessarily instinctive,
but a premonition, i.e. prior to the motion
of accommodating such a truth,
or truce, however you mind it;
so an eventful morning, while i stress over
the fact that i have two sleeping pills left
in the reservoir, and am about to phone
up the surgery to, "hopefully" getting a
triage appointment with the medical
bureaucrat / general practitioner (who
gets the entitlements of the status 'dr.'
and a 'dr.' salary, while the surgeons doing
all the ***** butchery gets less and only
a title 'mr.', i guess paying them less is
a motivational tool, look at all the pauper
artists of the Renaissance for a comparisons,
the pope and all his riches could never
enrich the message of our father);
so a pair of sparrows flying in and out
of the shrubbery, he brings back a beaked
piece of twig, she brings back her presence,
i don't know who to attach the
number of caterpillar legs i.e. who's
doing the leg-work to, i know she's the oven,
but why isn't she chopping twigs off?
she's just randomly flying to and fro -
and indeed man imploded, he knew
the hunter gatherer, the beer brewer, the plumber -
she exploded with the numbers,
and only in times of war was she conscripted
as equal and equally able in the realm of
man's autism of provisions of profession,
into that deathly hollow of obsession -
the prostitutes just laughed the whole thing off,
you could see them from 20 miles off:
ha ha he he... but boy were they *******
when they received an ****** on the job...
the highest reconciliation, and yet the lowest ebb,
the futility of the matter,
having gone through all that trouble
using skin creams to create a fake arousal
and actually reach the peak of being aroused
via an ******...
well i did once **** a girl with a dry *****...
obviously i'd proclaim it as ****,
i have to... we watched the film the machinist
prior - when you have *** with a girl
who isn't aroused but she still wants to,
then we'll have a talk about the precautions
that prostitutes take when having ***
without psychological intimacy,
oiling themselves up with skin cream
to ease the matter of engagement.
but still, two sparrows building a nest,
because they know a dragon perched on the
windowsill puffing out cigarette smoke
is formidable enough for a cuckoo or
predatory affairs curbing the multiplicative
chances of defence tactics being used -
and as man, we have become that in a sense,
we provide a multiplicative evaluation of things -
yes we are, yes we were, yes there's more to come -
but in terms of addition, there's hardly an
explanation at hand... i mean you diminish the
chances of addition by citing maxims of those who
added to the history, but that's still a multiplicative
evaluation - you haven't ventured into the realm
of adding something to the feat and fate of humanity,
you're still there, a maggot on a fishing hook-curl;
so whether you (x) to humanity and seek the algebraic
fascination of questioning to the extent of not really
answering, or whether you (+) to humanity and become
yourself, an algebraic fascination that asks and answers
in baby-steps... there are still two sparrows
building a nest in my neighbour's guttering.

the night i found a woodland pigeons roosting
on my guttering, tried to catch it given
the maxim: better a robin in your hand,
than a dove on your roof, but failed, and
to my surprise, felt no feeling of failure,
nothing competitive, and the world needs this
at this moment, the shattering of the clocks,
for a moment, to hold your breath and take
snapshots of the world as if drowning -
with a held breath, and ninja gymnastics
slowly edging toward the pigeon perched
in the guttering... do people understand that
poetry isn't about competing in the Olympics?
you can't laurel crown a poet of ability
among others, just like you can't discourage others
from the freedom to write it, however ridden with
orthodox methodology, or however concerned
with the purity of a narrative...  nor can you
have poetic prodigies - poetry takes time,
it takes fermentation, it's not one of those first
come first served allocations of ability...
it takes years, experience, i'm not talking about
a viola player in an orchestra, reduced to
muscle work, sure, you can be the muscular equivalent
of a viola player in an orchestra in poetry,
that's the easy part, tweak a few things in your
imitation and we're set to go... you'll be known
as pseudo-Plato or some other grand name...
you can't become a prodigious poet, i.e. if your
mother or father was a poet... this is the only
place where Sartre's existence precedes essence
takes form, elsewhere it doesn't,
the most evident i.e. is time flies when you're
having fun - the presupposed essence of time
defines the supposition of having fun and
the non-existence of time - the two together are
what's required of a proposition taking form -
fiddling with the prefix doesn't concern anyone that
much, i.e. a preposition is lodged between
the presupposition (preposition) and supposition -
as i said before, systematisation is a method of
economising vocabulary - a boa constriction, a restraint,
imagine yourself being a pauper while writing out
lavish decking, chairs, marble toilets and gold-gilded
toilet seats, tacky stuff according to the failing
of the concept of money, once gained: to lavish out
on things, to keep the merchant class constantly busy
and adaptable - what with the Koranic procedures
we can be assured that there will be a constant
confidence in producing, selling, exchanging,
or the tonne of food thrown out because it didn't sell.
like growing vegetables, you probably ingest
5 nutritious poems a day, the rest you throw out...
you take a fat poem, a protein poem, whatever,
there's always a variation on what poem fills
the carbohydrate allowance, but the rest is thrown out...
a thinking man's poem is fibrous, that means:
slow on digestion, reminding, an agitating gnat
or mosquito; but it truly is a case of having to be
an entertaining narrator, without character study -
or character concern - in that i lend myself
to the poetic practice of ensō - one smooth stroke
and the narrative is finished - also a culminating point
of worth consideration, name revelation 13 -
and the suggestion: what the contemporary affairs
would also suggest -
it's kinda funny when you think about it...
isn't the beast from the sea Moses and the beast
from the earth Jesus?
early Christianity probably wasn't prone to iconoclasm,
only when it reached popularity this
iconoclasm play a key role...
but what does John actually write?
in our modern tongue? Moses (the dragon) and
Jesus (the beast), as stated in the tale:
the transfiguration, or the shifting of power -
who is able to make war against the beast?
the Antichrist (some words have been kept in
straitjackets, use them, they either think you're
mad, or religiously psychotic, under-use them
and they fall into the wrong hands... bit of a juggle,
but coming from a religious school education,
i'd keep such words categorised in controversy
as euthanasia and abortion); so unto the beast...
a mouth speaking great things and blasphemies
(sermon on the mount), and the deadly wound was
healed (the crown of myrrh, and the resurrection),
and they worshipped the dragon and they
worshipped the beast - many do still preserve
"tact" of kneeling before an icon, esp. in orthodox
tradition... and the blasphemies,
well, i'm not sure Jesus was crucified for nothing...
see how people can make you look silly when you
use parts of their vocabulary? you write Jesus
and immediately you can't think of an Eddie Izzard
sketch... you're trapped with how other people
over-use certain words, keep them "sacred" in order
that they might be treated as sustenance...
some people write the word tomato or potato and
get a meal out of it, others write Jesus and they
win the ******* lottery with their flock of goody-two-shoes
fanning their ***** in packed churches in the Bible Belt.
then there's John doing a bit of Spartacus -
if any man have an ear, let him hear -
by the way hunter s. thompson was keen to study this
book too... he that leads into captivity...
and when did i not felt being captive under Christianity?
they catch you early on, get you educated in *******
and then release you into the world as mince meat;
it's all a fatal exercise in / of metaphor -
i'm not surprised rushed toward the book of Genesis
for a stability of thought, trying to
write an equivalent of Paradise Lost, i.e. Paradise
Regained basing it solely on the book of Revelation
with is complex use of metaphors would drive
anyone mad... so far i'm stumbling, we have
the dragon giving power to the beast of the sea
(Jesus' harem of nuns, water, juiced up *****)
and then we have the beast of the earth -
then there's the many deceptions or "miracles"
that Jesus did - any magician will gladly succumb,
altogether the purposes of any image,
not a statue, but an image, basically a sphinx on paper,
how ancient worship of statues and building them
turned into a worship of oil-on-canvas...
from 3D into 2D... by the time we reach 1D we are
talking the big bang... oh, right... we're talking
about the origins of the universe already...
i'll test you: compose me a Milton-like poem working
from the book of revelation and never touching on
the book of Genesis - let's face it, the only poetically
riddled book of the New Testament is the book
of Revelation... and it truly is a ****-up for any poet
to consider... easier to be a novelist and joke
at the bible being accessible in every motel room
across America... such books are agitators,
they're implants, something you get rid off in your
spare time, bite out the access of such books to your mind
like a dog with rabies... praying:
just so i don't have to wear the Golgotha geometry,
just so i don't have to wear the Golgotha geometry...
in summary? to me the dragon is Moses
(every Greek would side with the Egyptians given
Alexandria and whatnot), armed with all the physics
bending plagues (yes, i think they're true,
Darwinism is no better at their myth of Tarzan,
given we're watching sprinting 100 metres in under
10 seconds, everything starts to look ridiculous given that),
yes, both assumptions are quiet honestly absurd,
it just depends where you want to begin with:
the clash of fur versus tanned buttocks,
or the clash between female genital mutilation
versus male genital mutilation...
i told you, i am circumcised during ***, i roll the *******
back, and hey pesto! a helmet!
i think i better change the concept of enso into
a concept of the waterfall, just for the exotica (but there's
no exotica in globalisation, it's hard keeping
history and learning to get together without
some part of us rebelling to rekindle ancient wrestling),
aha! taki! can you imagine what would have been
if the Egyptians were able to keep their ideograms?
they wouldn't ever have kept them to see them off
on the evolutionary sprint to success, they weren't
using matchsticks like the Chinese were using
and kept on using, waiting for numbers to prop up
and tell you Hong Kong was 1 million light years away
from Beijing... because it was all d'uh to them
and the Mongolian harmonica imitation of the steppe
idiot laughing at a horse taking a **** like
a male dog taking a ****, giddy up on the leg over.
i'm well surprised the Chinese ideogram is alive...
it's a source for many ideas, without me even wanting to
travel there... they built the great wall of China with their
ideograms, the wall itself was unnecessary to protect
the people from Mongolian optometrists...
that's the key in Chinese, using matchsticks the sounds
are pretty much basic: Xi Lung Chi - or Chang Chewy Lo,
pretty crap, isn't it? i agree, their strength comes
best expressed by their proficiency in less matchsticks
included in the Jenga of 1, 2, 3, i mean the bendy bits,
we Europeans have to first remember the aesthetic,
then the dyslexia antidote to get our ideas out and into
the open, for the Chinese every ideogram is
not a letter but another bright new idea... eo or ea-,
whatever... 1 billion of them content with the scraps
of individuation waiting for them... with us it's
about conquering the world, but our **** doesn't sell
in Mongolia... when was the last time
you picked up a newspaper and read news from
Mongolia? the 13th century and Genghis Khan?
probably. god, feels great to unwind without
paying too much attention on the book of revelation,
every time i muster the strength to consider
religious topics i immediately feel i'm claustrophobic
and want to get out...
that book is still but a fatal exercise in metaphor -
it's overly-poetic, the book of Genesis is full of
princely imagery, but the book of Revelation
is not compatible with imagery, a garden and three
characters makes imagining it far more easily
than the three characters in the book of Revelation
on a beach... when i think of a garden i think
of vineyards and pear orchards, i.e. wine and cider -
when i think of the beach i only think of
hot dog selfies of a girl's tanned legs... and that
ain't helping... and why people vacate on beach
resorts but are scared of swimming in the sea,
and only want the sea as a canvas when swimming
in the hotel swimming pool.

one candle flame
guttering

joined by all other
candle flames

a sky full of faraway
worlds

creatively opens the mind
to hearken to the heart.

(France -- Ancient Regime.)

I.

Go away!
Go away; I will not confess to you!
His black biretta clings like a hangman's cap; under his twitching fingers the beads shiver and click,
As he mumbles in his corner, the shadow deepens upon him;
I will not confess! . . .

Is he there or is it intenser shadow?
Dark huddled coilings from the obscene depths,
Black, formless shadow,
Shadow.
Doors creak; from secret parts of the chateau come the scuffle and worry of rats.

Orange light drips from the guttering candles,
Eddying over the vast embroideries of the bed
Stirring the monstrous tapestries,
Retreating before the sable impending gloom of the canopy
With a swift ****** and sparkle of gold,
Lipping my hands,
Then
Rippling back abashed before the ominous silences
Like the swift turns and starts of an overpowered fencer
Who sees before him Horror
Behind him darkness,
Shadow.

The clock jars and strikes, a thin, sudden note like the sob of a child.
Clock, buhl clock that ticked out the tortuous hours of my birth,
Clock, evil, wizened dwarf of a clock, how many years of agony have you relentlessly measured,
Yardstick of my stifling shroud?

I am Aumaury de Montreuil; once quick, soon to be eaten of worms.
You hear, Father? Hsh, he is asleep in the night's cloak.

Over me too steals sleep.
Sleep like a white mist on the rotting paintings of cupids and gods on the ceiling;
Sleep on the carven shields and knots at the foot of the bed,
Oozing, blurring outlines, obliterating colors,
Death.

Father, Father, I must not sleep!
It does not hear -- that shadow crouched in the corner . . .
Is it a shadow?
One might think so indeed, save for the calm face, yellow as wax, that lifts like the face of a drowned man from the choking darkness.


II.

Out of the drowsy fog my body creeps back to me.
It is the white time before dawn.
Moonlight, watery, pellucid, lifeless, ripples over the world.
The grass beneath it is gray; the stars pale in the sky.
The night dew has fallen;
An infinity of little drops, crystals from which all light has been taken,
Glint on the sighing branches.
All is purity, without color, without stir, without passion.

Suddenly a peacock screams.

My heart shocks and stops;
Sweat, cold corpse-sweat
Covers my rigid body.
My hair stands on end. I cannot stir. I cannot speak.
It is terror, terror that is walking the pale sick gardens
And the eyeless face no man may see and live!
Ah-h-h-h-h!
Father, Father, wake! wake and save me!
In his corner all is shadow.

Dead things creep from the ground.
It is so long ago that she died, so long ago!
Dust crushes her, earth holds her, mold grips her.
Fiends, do you not know that she is dead? . . .
"Let us dance the pavon!" she said; the waxlights glittered like swords on the polished floor.
Twinkling on jewelled snuffboxes, beaming savagely from the crass gold of candelabra,
From the white shoulders of girls and the white powdered wigs of men . . .
All life was that dance.
The mocking, resistless current,
The beauty, the passion, the perilous madness --
As she took my hand, released it and spread her dresses like petals,
Turning, swaying in beauty,
A lily, bowed by the rain, --
Moonlight she was, and her body of moonlight and foam,
And her eyes stars.
Oh the dance has a pattern!
But the clear grace of her thrilled through the notes of the viols,
Tremulous, pleading, escaping, immortal, untamed,
And, as we ended,
She blew me a kiss from her hand like a drifting white blossom --
And the starshine was gone; and she fled like a bird up the stair.

Underneath the window a peacock screams,
And claws click, scrape
Like little lacquered boots on the rough stone.

Oh the long fantasy of the kiss; the ceaseless hunger, ceaselessly, divinely appeased!
The aching presence of the beloved's beauty!
The wisdom, the incense, the brightness!

Once more on the ice-bright floor they danced the pavon
But I turned to the garden and her from the lighted candles.
Softly I trod the lush grass between the black hedges of box.
Softly, for I should take her unawares and catch her arms,
And embrace her, dear and startled.

By the arbor all the moonlight flowed in silver
And her head was on his breast.
She did not scream or shudder
When my sword was where her head had lain
In the quiet moonlight;
But turned to me with one pale hand uplifted,
All her satins fiery with the starshine,
Nacreous, shimmering, weeping, iridescent,
Like the quivering plumage of a peacock . . .
Then her head drooped and I gripped her hair,
Oh soft, scented cloud across my fingers! --
Bending her white neck back. . . .

Blood writhed on my hands; I trod in blood. . . .
Stupidly agaze
At that crumpled heap of silk and moonlight,
Where like twitching pinions, an arm twisted,
Palely, and was still
As the face of chalk.

The buhl clock strikes.
Thirty years. Christ, thirty years!
Agony. Agony.

Something stirs in the window,
Shattering the moonlight.
White wings fan.
Father, Father!

All its plumage fiery with the starshine,
Nacreous, shimmering, weeping, iridescent,
It drifts across the floor and mounts the bed,
To the tap of little satin shoes.
Gazing with infernal eyes.
Its quick beak thrusting, rending, devil's crimson . . .
Screams, great tortured screams shake the dark canopy.
The light flickers, the shadow in the corner stirs;
The wax face lifts; the eyes open.

A thin trickle of blood worms darkly against the vast red coverlet and spreads to a pool on the floor.

She has blown hard for three days
and had centuries of practise
a NE gale force batterer.
The Gulf Stream keeps us from freezing
solid, we do not have deep ground frosts
and for that we are thankful.
One Willow keeps banging on the guttering
I will have to clip her wings.

Bent double, like old beggars under sacks,  
Knock-kneed, coughing like hags, we cursed through sludge,  
Till on the haunting flares we turned our backs  
And towards our distant rest began to trudge.  
Men marched asleep. Many had lost their boots  
But limped on, blood-shod. All went lame; all blind;  
Drunk with fatigue; deaf even to the hoots  
Of tired, outstripped Five-Nines that dropped behind.

Gas! Gas! Quick, boys! –  An ecstasy of fumbling,  
Fitting the clumsy helmets just in time;  
But someone still was yelling out and stumbling,  
And flound'ring like a man in fire or lime . . .  
Dim, through the misty panes and thick green light,  
As under a green sea, I saw him drowning.
In all my dreams, before my helpless sight,  
He plunges at me, guttering, choking, drowning.

If in some smothering dreams you too could pace  
Behind the wagon that we flung him in,  
And watch the white eyes writhing in his face,  
His hanging face, like a devil's sick of sin;  
If you could hear, at every jolt, the blood  
Come gargling from the froth-corrupted lungs,  
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,  
My friend, you would not tell with such high zest
To children ardent for some desperate glory,  
The old Lie; Dulce et Decorum est  
Pro patria mori.

Tears from dusky lowered lids
crystallize and scintillate in the
flames of the guttering candles.

(Walk away, love, walk away!
Kiss my cheek and turn.-
A shattered heart beats, ****** in your breast.)
We love, and yet we return to our 'others'.
We pray we never hurt them. Pray we never break.

I cannot stop this love!  I do not regret it. There!
I only hope that we hide it well enough that it not disturb the innocents...
because, we were innocents too, when it came crashing into our lives.
Bien!  Non Regrets Rien.  Sing the song, and Edith will sing with us. ...
Or Aznavour will.  Or Lara Fabian, or Jacques Brel...
Sing on le chanteur et les chanteurs,  
then come and weep with me.

When Susan’s work was done, she would sit
With one fat guttering candle lit,
And window opened wide to win
The sweet night air to enter in.
There, with a thumb to keep her place
She would read with stern and wrinkled face,
Her mild eyes gliding very slow
Across the letters to and fro,
While wagged the guttering candle flame
In the wind that through the window came
And sometimes in the sentence she
Would mumble a sentence audibly
Or shake her head as if to say,
“ You silly souls, to act this way!”
And never a sound from night I would hear,
Unless some far-off **** crowed clear;
Or her old shuffling should turn
Another page’and rapt and stern,
Though her great glasses bent on me,
She would glance into reality
And shake her round old silvery head,
With-“You!—I thought you were in bed!”
Only to tilt her book again
And rooted in Romance to remain

ባልቴቷ ሱሳን

ሱሳን ሥራዋን ሰራርታ
ትቀመጣለች ወፈር ያለ
ሻማ አብርታ፣
መስኮቷን አርጋ
በሰፊው ከፈት
ባለግሩም መአዛውን
የማታ አየር
በደንብ ለመሸመት!
ገፁ እንዳይጠፋባት
አልባ በአውራ ጣት፣
ሻማዋን ንፋሱ እያንገላታት
ተመስጦ በሚስተዋልበት
ቅጭም ያለ ፊት
እየተደመመች ታነባለች
ዓይኗን ከዚህ ወደዚያ
ወደዚህ ከዚያ
በፊዴሎቹ ላይ
እያደረገች ሸርተት፡፡
በዛ ኮሽታ አልባ ፀጥታ
ይሰማል በለሆሳስ ስትናገር
የሆነ ነገር
ወይ ጭንቅላቷን ነቅንቃ ስታበቃ
ስትል ‹‹ምን አይነት ናችሁ
እንዴት ንደዚህ ታደርጋላቸሁ?››
ከሩቅ አውራ ዶሮ ኩኩሉ
ረጭ ብሏል ሥፍራው ሁሉ--
አይሰማም ምንም ድምፅ
ካልሆነ መፅሐፍ ሲገለፅ፡፡
በትልቁ መነፅሯ ልታይ ዙራ፣
ሥፍራውን ማትራ፣
ሽበት ቀመስ ጭንቅላቷን
እየነቀነቀች ወደኔ ያየች
‹‹አንተ ገና አልተኛህም?››
ትለኛለች
ዳግም ወደመፅሓፏ ተመልሳ፣
በተመስጦ የፍቅር ታሪከ ውስጥ
ራሷን ልትረሳ!
(በዋልተር ዲላሜር)//

I would not have a god come in
To shield me suddenly from sin,
And set my house of life to rights;
Nor angels with bright burning wings
Ordering my earthly thoughts and things;
Rather my own frail guttering lights
Wind blown and nearly beaten out;
Rather the terror of the nights
And long, sick groping after doubt;
Rather be lost than let my soul
Slip vaguely from my own control—
Of my own spirit let me be
In sole though feeble mastery.

We'd found an old Boche dug-out, and he knew,
And gave us hell, for shell on frantic shell
Hammered on top, but never quite burst through.
Rain, guttering down in waterfalls of slime,
Kept slush waist-high and rising hour by hour,
And choked the steps too thick with clay to climb.
What murk of air remained stank old, and sour
With fumes of whizz-bangs, and the smell of men
Who'd lived there years, and left their curse in the den,
If not their corpses...


                                    There we herded from the blast
Of whizz-bangs, but one found our door at last,
Buffeting eyes and breath, snuffing the candles,
And thud! flump! thud! down the steep steps came thumping
And sploshing in the flood, deluging muck -
The sentry's body; then his rifle, handles
Of old Boche bombs, and mud in ruck on ruck.
We dredged him up, for killed, until he whined
'O sir, my eyes - I'm blind, - I'm blind, I'm blind!'
Coaxing, I held a flame against his lids
And said if he could see the least blurred light
He was not blind; in time he'd get all right.
'I can't' he sobbed. Eyeballs, huge-bulged like squids',
Watch my dreams still; but I forgot him there
In posting Next for duty, and sending a scout
To beg a stretcher somewhere, and flound'ring about
To other posts under the shrieking air.


                                               *
Those other wretches, how they bled and spewed,
And one who would have drowned himself for good, -
I try not to remember these things now.
Let dread hark back for one word only: how
Half-listening to that sentry's moans and jumps,
And the wild chattering of his broken teeth,
Renewed most horribly whenever crumps
Pummelled the roof and slogged the air beneath, -
Through the dense din, I say, we heard him shout
'I see your lights!' But ours had long died out.

i must be the only one
who finds sparrows
amusing outside my window
filled with song,
the same in me trying to imitate
their song with a range of onomatopoeias
never written (thankfully, poets
who write sparrows' song, may you
be disgraced, chirp chirp,
beat-box that **** elsewhere, where
you're welcome by admirers),
the same in me laughing
at the kangaroo hops
unable to use both feet to walk
in the guttering of the carcass plateau of crows...
but there my laugh,
like the last whims of a pope when a robin presides
over the ritual outside the window on the sill...
i find pronouns unable to capture
timing, a class of words for standing still,
they just can't capture timing, they're space
orientated, a man of 70 will say the same
of a man aged 20 about a woman,
but both will be idiotic about the size of
her earrings concerning her promiscuity:
bigger the earring, the bigger the need to feed
her juiced up genitalia lips...
warm **** and cold mouth,
some say in reverse: getting ****** off
is like ice-cream being eaten...
and cold in reverse would give you circumcision
defined lawfully as ****... a cold genital
assertion of womanhood will peel the skin
right off... ask for a cake you''ll be welcome
away from the bony **** of your hand's embrace...
perhaps marriage... and that cold mouth
that encompasses all hidden glaciers;
still, the **** is about sparrows in rain rain gutters
hopping along to the orchestra playing only
one tune that's ha ha ha.
all in all, when aroused, one hole warms
up the other cools down... the third?
don't know, don't care, apparently it's exhilarating,
trying to turn men onto all three
and away from homosexuality,
with the fourth (woman's ego) being missed...
could never equate that to a phallus and a hole...
i always felt ***** by that thing, the fourth dimension
once the **** was explored... it's all Dostoevsky after that...
everything is permitted, no deity exists,
i guess a the end is required of such a poem as this.

Eulogising was a challenge
under constant bombardment
from falling masonry.
But the gathered crowd deserved the effort.
There was Honest Bob,
whose cut-price bricks
had won the tender
and built the edifice behind us.
Slick ****, the concrete king
fresh from an industrial tribunal
and ready to pay tribute.
Fat Larry, the glass magnate,
dodging the shrapnel
from his wind-shattered panes,
just like the rest of us.

I raised my voice
amidst the crash and crumble
to praise the architect.
There were those who had forgotten
the terrible designs
that had been *******
by her dogged determination,
Her clarity of vision
(here, I was interrupted
by three roof-tiles in succession,
smashing at my feet),
her strength of purpose
(nine bricks and a length of plastic guttering)
and her shining conviction.

But here, in the shadow of the teetering mass,
we could all acknowledge
her unforgettable legacy
with pride and gratitude.

Champagne, truffles,
and off we all went,
helicoptered to who knew where
happily leaving others
to clear up the mess.

Now hollow fires burn out to black,
And lights are guttering low:
Square your shoulders, lift your pack,
And leave your friends and go.

Oh never fear, man, nought's to dread,
Look not to left nor right:
In all the endless road you tread
There's nothing but the night.

A
Drop.

Then it came
Pirouetting.
It came clattering
It came guttering
with furore and fight
with rhythm and rhyme
like many dancing feet.

On steel roofs
On downy pines
and baobabs
and old cracked earth
Pattering and shimmering
drawing dust from dirt
women and men from houses
enshrining the sky with their trembling hands.

It’s a lovely restaurant.

   Lovely.

   There is no artificial lighting. Just hundreds of candles that flicker from recessed niches in the walls and on every table.

   And you’ve done everything right so far. From seating me in my chair, with the slight brush of your knuckles across my bare shoulders as you removed my light jacket, to taking my purse from my bloodless fingers to place it next to my feet, you have excelled. As you knelt beside me and ran your fingertips up my bare leg you lift your perfect lips into a melting smile that promises everything.

   I want everything

   And there you are, sitting across from me. So perfect, my dream, my nightmare, my man of the hour, my choice. The candle light is kind to you and as I stare over the glass rim of a red wine I’m enthralled by your voice. I don’t know what you're saying but you just have to keep talking and I’ll just keep redrawing you in the candlelight.

   You have utterly, beguilingly captured me.

   The candle on the table has lit a fire in your eyes. I imagine the fires of Hell burn there and shiver at the thought of all that wickedness. The way you ran your fingers through your hair has tricked me into thinking that two small (very ****) horns protrude from your head. It’s an illusion, but one that I’m happy to run with.

   As you pick up my hand and feather kisses along my fingertips I feel the brush of the stubble on your face which I’m sure wasn’t there when we walked hand in hand to our table but the ****** hair is unmistakable. Is it possible I’m here with a Lycanthrope? Will our evening end with me running bare foot through the woods while a howl scrapes delicious shivers down my spine? Will I fall to my knees, a victim of the beast as it stalks me, scenting the wind, marking it’s prey, spying me and leaping to devour me? One glance at the full moon suggests I might be in for a wild night.

   In the candlelight you morph into all of my fantasies. But now, I’m just hungry.

   The illusion is just too hard to hold. I haven’t eaten since my last foray into the mortal world and I’m too tired to hold onto the hope that I can make it past reality.

   The restaurant drops away. The candles burn down to one lowly guttering torch and you're just a little boy (next to my 712 years) standing in a cave, where I have lured you and you're more than aware that you're not desert, you’re the main meal and the adrenaline coursing through your beautiful veins have my fangs dropping and my eyes smoldering but don’t worry, I can make it pleasurable, if I want to, it depends whether my fantasies have been strong enough, but I will respect you…

   Of course!

The airport
bar in Boston,
I'm sway
drunk
& holding
my glass as
if it's liquid
gravity.

She sits
next to me,
technically.
But she's
drifting away
like Orion into
unreachable
courts of evening.

Its a hard thing
to live with
someone who
loves you
less and less.
Rooms are
always empty
& loneliness
settles like
ash on the soul.

The heart
passes sentence
against itself.
Guilt's rapier
parries any
kindness.

Sometimes
I was desperate
and clawed
my way through
acres of gin.
It never
ended well.

But at that
airport bar
I first heard
a voice calling
from under the
scattered waves of
the alcohol sea
inside me.

It told me
the truth:
her love was
guttering
like a candle
whose wax
is fleeing
across the table.

well acting is a metaphysical assertion of the physical act of theft, in Cartesian terms: a part of the extension is stolen, for example an object passed down via generations, your grandmother's wedding ring... acting is in a sense a theft that defines creating a civilisation and eradicating tribalism: galoshes, guttering, sewers and irritable bowel movements.*

some said acting
was a subtler form of
defining theft,
given the term
      doppelgänger;
i.e. i stole your shadow,
all you have is a hand
to mimic a shape of a hare's head
to please children,
                          deal with it.

The night flopped over the chimney tops
and dripped from the guttering as
the day broke through in spots
I could hear the house martins sing.

The radio sizzled, the
bacon crackled,
on the range was a pan
full of porridge from the
morning before.

Boots by the door which were itching to go
everything's slow when you want to go fast but
at last we were out on the last day of the world,(a
game that we played where zombies were real and
they were coming for us to make of us a meal)

Each day is a  bonus where the onus to be, is
the King of all castles, the Queen of all seas and
to seize with both hands the hands of all friends.
The day ends with a call from,
Mother, you know,
everything goes fast when it ought to go slow.

We are never the same person twice.
"Now" ends as soon as the word is uttered;
whoever we are in one breath
flickers and fades in the next
until it is a thing of the past,
a guttering candle.

We are never the same person twice.
I promised myself I'd never fall for a smoker.
You promised yourself you'd never smoke.
And we swore to each other we were not promise-breakers.
So tell me,
when I first saw you with
the ****** thing
between your fingers,
why did I so badly crave
the taste of nicotine
as long as it meant
your lips against mine?
And why was I willing to risk
entering your carcinogen-filled haze
just to be near enough
to hold your hand?

You turned me against my own self,
yet I could not bring myself to hate you.
You could not bring yourself to love me,
though I've given you all the reasons to.

We are never the same person twice.
Yet we are not always so volatile.
I constantly find myself on my knees.
I am constantly digging through our ashes,
Searching for embers that must still be there.
I constantly find you towering above me.
You are constantly pacing around in your drenched shoes,
Blindly extinguishing everything we could ignite
With your saltwater tears I know will never be for me.

We are never the same person twice.
I await the morning this actually feels true.
The morning I wake up a version of me
That is no longer in love with every version of you.

KABUL, Afghanistan
scorching sun
phantoms of heat
drifting above the roadway

Col. Geoff Parker, 42
"rising star"
perched in the command vehicle
proudly on guard

Taliban
wild rush -- crump
waves of heat and fire
spinning debris

"This barbaric act of aggression"
anger and outrage
desert wind flutters
tattered and scorched fatigues

"It's always unfortunate"
reek of charred flesh
guttering flames
unfortunate

He knelt
for twenty
years and
more to
fan the
guttering
flame, and
when he
sifted
through
the ashes
found
no reason
to remain.

Sun
From rain
Guttering it's vibrating current
Feeding flowers,
Flowers from Hell.
They bloom through the cracks,
Cracks in our streets
For the dealers to prune and pick.
What chronic digestion pains, prays
For relief as petals scatter,
Scatter the windy alleys.
The night gives no surrender
To the lowly craving bones,
Caught in shadow the flowers blown bare,
Leaving only the seeds naked and black
Slipping the cracks
And dealers awaiting the bloom.

Time ticking down,
Like the guttering of a dying flame,
So close,
Can nearly taste,
Where you and me will soon be three,
When our son we can finally meet.

I can picture his little hands,
His oh-so little feet,
Eyes as big as plates,
So filled with possibilities and innocence,
A pitcher for you and me to fill,
With kindness and glee.

But it seems so far away,
Still seems like a bit of a dream,
That the hypothetical seems to still carry me,
On a cloud,
Gently floating,
On an azure dream.

Do not feel sorry for yourself
Self pity is silly
The whole world is full of the brutish agony of life
Struggling to survive the gales of it's storm
You are a small candle guttering in the wind

But

Please,
Know yourself
Inspect yourself
Dig deep and look deeply
Into all the little crevices and cracks
At all the dark lines of imperfection
All the edges that threaten to break themselves
On all the surfaces of the world
And when you have investigated the whole of yourself
Then own yourself
Own your cracks, your faults, your hates, your loves,
Your lacks
And when you own them,
When you have accepted the intimate nature of your own imperfection

Please,

Work on them

Change them,
And change yourself
Only a fool stays the same
Just,
Don't feel sorry for yourself

What a strange place this is, hovering between the perpetual dark and the grey light of dawn. It was nowhere you would find on any map. It was said to exist only in the psyche, in that moment between sleep and wakefulness. But  I found it and, should these words ever be read, you will know that I am there still …

Tall ramparts of the dullest stone rise up skyward. Sightless windows stare out across a strange landscape: it is not possible to make out any landmark for the mists twine in psychotic patterns making the tangible invisible to the eye.

I came to this place … I don’t how I got to be here. As I write down these words, I try to recall my journey but my memories are as fogged as the barren mist-infused heath below me. It is as though I have been here for a lifetime, maybe more. I seem to have a sense of having been somewhere other than this place but it is impossible to draw a coherent recollection from my mind.

It is cold here in my room high in the turret of this place. The cold stone arch that is my only eye to this outside world is presently covered with a ragged curtain. There are faded colours discernible on it; age has dulled them. It ***** forlornly in the insignificant breeze that blows through the window. It is dark outside the window. I know it must be as the tears in the drape are showing no light coming through.

On my writing table is a candle that is burning with a yellow flame. It sputters as the breeze catches it unawares. My candle casts a little light; enough to write with. I look down at the yellowed paper and my words you have just been reading. In my hand is my pen. How old-fashioned; a feathered quill. At the top of the table is a small *** and the trail of ink suggest this is my ink-***. Strange. It seems perfectly natural and familiar to be writing these words in this archaic fashion yet oddly out of place also as though a thread of a memory is tugging somewhere in my brain telling me it cannot be real. My hand reaches out to rub the surface of the table. It is rough, hewn not by a skilled artisan but functional. A shiver courses through me and I draw my rough cloak closer about me …

I don’t know if I had slept but becoming aware of my surroundings, I can see a little greyness coming through the drape over my window. It is not daylight in the sense you would know it; it is never daylight here. The candle is no more than a stub now and it’s flame is gasping it’s last breath. My surroundings are eerily visible now in this dull light. I can see the door across to my right. It is old and heavy with a large handle and studded panels. I expect to see a bed but craning my neck all I can see is a rough straw pallet in the opposite corner. That part of the room is still hidden in shadow so I am surmising that the rumpled pallet and rough blanket heaped against the wall is where I sleep. But I do not remember sleeping.

My pen is laid down next to the sheaves of manuscript I had clearly been working on. All this time, whether sleeping or writing, I had not considered whether I was alone here in my room. There was nothing in that moment I considered it to suggest I was here in anything but solitary isolation. Yet something made me look again at the rumpled bed in that dark corner. I realised then with a start that what I had assumed to be just my bedding had a clear form. Straining my eyes against the grey shadow, I saw an imperceptible movement. I held my breath, unsure if my eyes were deceiving me in this half light. I pushed against the table to lift myself as quietly as I could from my chair and padded over to the bed in the corner.

Crouched against the wall was the form of a woman. Her breathing almost imperceptible, coming in short, tremulous whispers. Clearly she was sleeping but something told me it was not a comfortable sleep but rather a sleep brought on by sheer exhaustion. Her pose was unnatural; half lying, half crouching. Her hands were clasped against her chest and rose and fell with each breath. I staggered backward my heart pounding in my ears, drowning out the sound of her breathing.

Turning to the table, my trembling hand reached for the candle and, cupping my hand to protect the dying light, I crept back to her. In the faint yellow cast of the flame I could see her more clearly. A once silvery gown now grey and tattered covered her small frame. There was a rough blanket draped carelessly across her shoulders. Her elfin face was as pale and dull as the grey light and threads of golden hair hung across her face. I found myself reaching out to her only to brush a strand from across her eyes. In that moment her eyes flew open and stared wild and frightened. Immediately she cowered back against the wall whimpering like a cornered animal. The shock of her awakening startled me and I fell back from my crouched position. Her hands flew up to protect her perfect face and to my horror, I saw they were bound at the wrist. Who was she? Why in all the gods’ names was she here, my apparent prisoner?

I recovered my senses and as gently as I could I approached her again. The blanket had fallen from her shoulders and in the still guttering candle flame I saw what I could only guess were silver feathers seemingly growing from her shoulders. This was impossible. The light was playing with my senses surely?

Reaching out to her I ever so gently touched her clasped hands now held against her face as though in prayer. She let my take them in mine – so delicate, so perfect, so cold to the touch – and my fingers slid down to her bound wrists. The binding was a dull silver, so flimsy yet seemingly strong enough to hold her hands together. There were welts where the bindings had dug into the flesh. And now she stared unblinkingly at me, sheer terror in her eyes.

I let her hands go with more force than I intended and recoiled from this scene, my whole frame trembling, my skin crawling with cold dread. Had I done this? I cannot remember. If I had, why? I closed my eyes willing it to be no more than a nightdread. Opening them seconds later I realised what I knew; that this was real, as real as anything could be in this strange world I found myself in.

I knew then what I must do and turning to my table I looked frantically amongst the sheaves and found the blade I had been using to pare my quills. Grasping it I returned to the pallet and approached her, blade in one hand, sputtering flame in the other. She gasped in horror as I drew close to her. How stupid of me. The poor creature was terrified of me, terrified by the cruelties I must have inflicted upon her.

“Hush, I mean you no harm.” My words seemed to belong to someone else. I placed the candle on the floor and reached out for her hands again. Pulling them toward me, I told her I was going to remove her bonds. She seemed to understand and, though still staring wildly like a frightened child, she let me insert the blade under her bindings. I could only imagine she had trusted me once and was now prepared to do so again. With a deft flick, the bindings parted to the blade and slithered to the floor. She turned her eyes from me for the first time to inspect her wrists massaging them lightly. She looked up at me once more and though she spoke no words, her eyes framed the question, “Why now? Why now after so long?”

I stood up and backed away from her and gestured toward the door: “It is time, that’s all, time for you to go.”

Rising uncertainly from her rude bed, this angel, for that is surely what she was, stood before me trembling. I removed the cloak from my shoulders and placed it about hers, my fingers lightly brushing the feathers on her shoulder blades. I gestured toward the door once again saying as I did so: “Walk toward it; I shan’t stop you. There is no lock; it will freely let you pass. I will not follow.”

The poor creature turned from me and walked to the door. Grasping the handle, it opened with a groan. She passed through and was gone …

In a stupor, I went toward the window and pulled the drape to one side. The sky was still grey but now a silver moon hung in my vision. I sensed a movement to my left and saw my angel soar across the face of the moon and into the gloom.

I walked back to my table and sat heavily down. Grasping my quill and dipping it into the inkpot, I reached for another sheet of parchment and continued to write in the hope that you will find these words and tell my story …

everyday i'm discussing with everyday, myself as i make out to the glamouring
the inches and dashes of every self i have
and stitches of sinew here in which lies the me that is this i, i that am

i walked in leaves of grass, of wriggling splendor's summers of shoulders
and achy crimsoned necks by the suns meters of light
measuring the stints of our crawling opaque days and suns of many sons

it's very that is that even when sun should repose his ***** of uncadenced
carefully miraculous shimmering blood
like orange and ardent flesh he'd go on us it, giving his very stuff our bodies

to wear on our wheres and whens and whys. is night not also beautiful?
it is naked beautiful. **** and beautiful
plenteous and beautiful with all its hearts in tinder palely igniting every

atom of copious earth. bowls of copious illuminant children, the things
which will become after us
the us that we were before their coming. but they are gorgeous and neither

would i weep if in my going they should take that space where were was
i. resting the shouts of my self
in the orchards of youth, i am now so but it's quickly running, flitting

eagerly from my this. in vines and plurals i am single and many. neither
none nor many. but many ones,
little bubbles of tranquil vile fluid guttering the songs of wind.

i go to streams and they are me. i go to mountains and they are me. i go
to valleys and they are me.
can i be streams and mountains and valleys? can i not be streams and

mountains and valleys? they are weeds and i am a ****. a **** is a rose.
i am rose.
i am blossomed in full spring. able of petals. i am turned to the sun, with my

root between the lips of earth. who is my lover. the earth is woman.
she is a ****.
a **** is a rose.

by another name. they smell just as sweet.

Young, yes, but even so the boy spun circles ‘round the sallow priest.
This older man was young, too -- almost too young to shoulder his responsibilities. Undisturbed by time, unbowed by gravity, he was the still spoke in this wheel, remaining tall, straight, like a candle: smelling of tallow, waxy and sinuous. He burned dimly with certainty, the simple certainty of the taught. This was the priest, but also burning was the spinner for he span circles unbroken, in simplicity complete.
"So, God knows what we will do tomorrow?”
"Yes, yes," answered the priest, annoyed already. Always annoyed at the impositions of children, who call and caterwaul when they have not learned respect, who do not learn respect in an age of information, who do not shut their eyes against the dark awe of the ineffable.
Still spinning, light glinting from him, the boy was marvellous and profound without even trying. "But we do what we want?" His head flamed too, not the guttering candle flame but instead the true brightness of a star.
"Yes, yes," answered the priest, "we have free will."
"But God wants what is best?" The boy span, the circle tightened.
"Yes, yes," answered the priest. "God always wants the best.  Everything is for the best, for God has willed it."
"So what I do tomorrow God already sees. What God wants is the best. If what he saw was not best, he would change it." The boy was concluding that everything was for the best, all he did was for the best, for this was always the best of all possible worlds. And his head rang with the circuit of the circle, for it came back around and completed itself.

The priest pinched fingers at his nose.  "You do not understand."

The words form in my mind
But I cannot commit them
To pen or paper
The tears well in my eyes
But I cannot wipe them
With soft napkins
The hurt settles in,
like an old friend
On my couch
I am bereft of clever ways
to express how I am
Or to mingle phrases
To express my sorrow
I am silenced by this
Pain

The pain that churns
In your gut
And chokes the life
From your throat
I walk the street
But my feet cannot
Feel the cracks
Nor the wetness of
The rained-on brick
Through my tired
Old shoes

I  am lost for now
Seeking solace in
The sunshine
And raindrops on
Window panes
Trying to forget
Longing to remember
The times we had
When I held you
In the sea
When we climbed the
Rocks
Together

Now is all there is
Like a guttering candle
It is flickering
In and out
And my mind wanders
Following the weak flame
As it hovers between
Light and darkness
Another day shall come
And I shall be some other me
Forgetful of this pain
So I write it down
For it is the doom of men
That they forget.

In dank imprisoned mind,
cellared,
thrown against a wall
by guttering candle,
huge monstrous thing
clawing at the stone.

On palmy beach, timorous,
hiding in sand, stored
Under feet in noonday heat.

Drinking wine with
the moon,
the three of us
flaggoned,
aliened underneath arches,
faintly there, drinking
out time away,
girding our *****.

Merged with She,
sheet crumpled, replete
with lust.

In every space, nook, cranny,
in qiuet contemplation,
thought myself alone,

But you have never left me,
capricious, morphing,
paranoic delightful
shadow of mine.

always end with a pre-scriptum, rather than a p.s., although, contrary to the actual meaning, you write a pre-scriptum last, yet place it first: you might call it a deviation from the original intention.*

well spring on the third day is
very much english,
dull grey ***** of a weather,
but the sparrows still fly near
my window, sit on the guttering
for a while, brush of some odd
material in their beaks,
readied into building a nest...
then in hushed chirps fly away
and build one;
but i haven't seen a lot of swallows
(jaskółki) - although in memory
that has eyes to not spot them currently:
their nests are fascinating,
in the corner of buildings,
a spidery castle of phlegm,
like an third adenoid protruding
next to the uvula... no, not necessarily
removed... (yes, i still have mine)
anyway, you know what
they say about swallows:
if they fly high there's no chance
of rain... if they fly low rain will come;
and indeed, a synonym
of the adenoid is almond (migdał).

Flickering little flame,
guttering in your final moments,
what was once some great blaze,
now gasping your final breaths.

Lower and lower now,
blinking some kind of morse code into the Aether,
telling those out beyond the dark of your tale,
of your victories and defeats.

Of where you were and what you did,
the sights you saw and the things you heard,
whisper some more now,
little flame.

Tell them of how you started out as this little spark,
brought forth from material energy,
whose trip was a tale all its own,
summoned from the heavens to bear down,
and claim your terrestrial throne.

And oh, what a throne you held,
little flame,
rising up to conquer this world,
beautiful yet terrifying,
horrifying and baroque,
a destructive force that would sweep the board,
and set up the pieces anew.

You smolder out,
little flame,
accompanied by a little whisp of smoke,
a sad but appropriate epitaph,
to mark the end of your reign,
a glowing ember all that remains,
which disappears soon after you.