It is true that the rivers went nosing like swine,
Tugging at banks, until they seemed
Bland belly-sounds in somnolent troughs,

That the air was heavy with the breath of these swine,
The breath of turgid summer, and
Heavy with thunder's rattapallax,

That the man who erected this cabin, planted
This field, and tended it awhile,
Knew not the quirks of imagery,

That the hours of his indolent, arid days,
Grotesque with this nosing in banks,
This somnolence and rattapallax,

Seemed to suckle themselves on his arid being,
As the swine-like rivers suckled themselves
While they went seaward to the sea-mouths.

before i pull this one out of my *** (again - listen, these words are not coming from either head or heart, it's best to pull them from the bowels, a gut-wrenching-feeling is more potent than that "something" that "something" delusional pulled from a clenched heart... as far as i know, the brain is incapable of emotions, it doesn't understand them, and since it doesn't understand them: it ridicules them)... which brings me to point:

(a) perhaps the idea of a soul is out-dated... why wouldn't it be, 21g worth of breath does not equal a soul... hence the autopsy of man, each detail studied seperately, the cardiologist knows the heart, the neurologist the brain etc., but some items work in a solipsistic mode... the heart is robotic, automaton pump queen (and not the kind of pump you'd get from Shveeden) - thump thump thump! come to think of it, most of our bodies are robotic, automated... lucky for me: i don't have to think about the heart doing what it does, it just per se does it... i'm not even sure i'm gifted with the a.i. brain functions... but there's an underlying principle that governs all of these items... some call it the self... i prefer: the Σ ultimatum... some would call it soul... but there has to be something akin to the Σ ultimatum that allows me to become detached from this body, while at the same time be bound to it: high blood pressure, heart attack on the horizon... take the high blood pressure pills... ****... what was (b)? oh... yes...

(b) i'm sorry, virginity doesn't cut it for me, lucky me that it was isabella of grenoble that allowed me to move aside from: god, prior to losing my virginity.... roxette: do you feel excited, you're still the one (shanaia twain), fade to black - metallica... i was such a romantic before i lost this dreaded curse... i was a romantic... 19th century style romanticism... but you really can see past this sort of romanticism unless you haven't ******... these days the right complains about cultural marxism: plenty of things to complain about... it makes as much sense as a pickle in a dollop of custard... or cooking with pale indian ale to make a stew: bad idea... wine, brandy, cider? fine... beer? terrible idea to cook with... but unless you haven't lost your virginity, you can't see what cultural marxism chose as its opponent: cultural darwinism... you know how little you hear about darwinism outside of the english speaking world? zero to none, yes, it's an accepted fact, but this fact does not permeate outside of the fact per se, the fact contains itself and the whole subsequent narrative because subconsciously stored... no other people than the people who found it ensure there are subplot proof statements of a reconfirmation of the validity... the whole social science bogus trap of rating people on looks... contradicting the meritocracy of that old Socratic saying: let me be as beautiful on the inside as on the outside... if you haven't ******: you're still the same old romantic i was at puberty... once you ****... well... cultural marxism dwarfs... yes yes it's there... so? but at the same time you can at least appreciate seeing the antithesis: cultural darwinism... the romantic needs to die the most carnal death via experience... all my ideals were shattered, this perfection of woman... i very much liked the idea / not even the ideal of a woman... but when the idea fizzled out and there was no ideal to begin with... i saw cultural darwinism for the very first time and... it was as ugly as cultural marxism so heavily criticized by the conservative right of the west... so... i decided to walk the middle ground, ignoring both sides (of the argument).

(c) i wouldn't have come up with a point see, unless my favorite square schematic didn't pop into my mind, Kantian, as ever: the best philosophy is the antithesis of English pragmatism and overt-politicisation, so it has to be German, ergo? i will not explain these terms, i figured: if i nail a decent example to fit each category, that's enough: since you can then visualize the concept via the example:

analytical a priori                           synthetic a priori
there's a need to throw                   learning
a ball at                                                to throw a ball
a target                                                 at a target once
                                                            ­  the need has been
                                                            ­  established...



synthetic a posteriori                    analytical a posteriori
there's a  need to                           perfecting to throw
      throw a ball at                               a ball at a target
a target, in order
to perfect this need...

                                            baseball..­. cricket...
at least: that's how i define knowledge of something
simple without having to use mathematics
that Kant used to explain... 2 + 2 = 4...
mathematics isn't exactly a man's best friend
at explaining philosophy...
you write philosophy that alligns itself
to mathematics... no wonder: moths in books...
yawns, unfinished works...
i found that sports work just as well
as mathematics... and you have the already
primitive objects to work with...
rather than pseudo-objects: i.e. numbers...
the abstracts of perception: i'm actually 6ft2...
not 6ft1... karolína plíšková is 6ft1...
       as noted when watching her today...

  i'll admit, i'm always a bit shaky when it comes
to this sqaure, whether it's over-simplified,
notably the top left corner: analytical a priori,
i'm always of a mindset that wants to associated
this definition with: analytical a- priori...
  i.e. borrowing from atheism:
    to analyse something without there
being a prior to example...
               analysis without a prior example...
i guess that's the mojo of science... the driving force...
back to sports... bow and arrow...
   tools: target...
       whether a bow and arrow and a deer
to begin with...
or a hand and ball and a wicket to end with...

there's a need to throw                  
a ball at a target...

            and cricket was the precursor of
baseball, but prior to cricket?
   there was archery...
              and prior to archery...
   there was forever a fundamental need,
e.g. to go from point X to point Z...
   see... as much as Kant wanted...
   numbers don't really solve the "problem"
of explaining something: algebra would be
better suited... x + y = z...
                    with numbers either hovering
above, or below (in the instance of chemistry's
subscript)...

talking of squares... sūdoku...
well, if at any time the french were to receive a hard-on
in terms of inventing something,
the english: rugby, cricket, football, tennis...
the french really did read some of the hebrew
qabbalah literature, as i am doing...
magic squares...
       the secular version of this puzzle
first appeared on july 6, 1895 (the modern version)...

it came to us from India and China...
again... why do western cultural darwinists
always tell our genesis from
the perspective of: "out of Africa"?
aren't there elephants in India?
            i will not believe i originated in Africa,
i'm not an "out of Africa" sorry state of
incompetence... i place my origins in
the sub-continent... at least that's where my
current language originates from...
the great migration across the Siberian tundra,
rather than some African savannah...
after all the Bangladeshi and the Sri Lankans
(the tear of India) resemble burnt cinnamon
in tone, some even as dark skinned as
east africans...
   if the germanic people want to stick to
the "out of Africa" narrative (notably the English):
let them have it... i place my origins in
India...

   never mind, now i'll write a name's dropping
history of how july 6th, 1895 happened...
the "magic" squares...

    from either India or China (chess from India)...
moschopulus of contantinople
  introduced them (the "magic" squares)
in the early 1400s... apparently ancient qabbalists
had knowledge of them
  (so... a trip well spent)...
                             rabbi joseph tzayah (1505 - 1573)
magnum opus: responsa...
             rabbi joseph castro: avkat rokhel...
tzayah in jerusalem wrote his major work
Evven HaShoham (the onyx stone) - 1538 -
   a year later the book: tzeror ha-chaim discussing
the Talmud: he never really bothered about
the Zohar...
               the hebrai word for "letters": otiot...
divided into two:
                         tav aleph (a line of aleph)
and tav yod (a line of yod)...
                   one is to never concentrate
upon the keter within the realm of the sefirot...
hence the matisyahu expression:
   king without a crown...
                         one example of a "magic" square
later dictated into a 9 x 9 newspaper puzzle?
      2     9     4
      7     5     3
      6     1     8     (up down across = 15...
my date of birth? 15th may 1986,
no coincidence, just stating an oblivion's
worth of a "point)... 15 x 3 = 45...
   and that's about as significant as any
                               insignificance can be...

album of choice?
    old horn tooth - from the ghost grey depths...

and without even associating the arabs
to the hebrai practice of gamatria,
i once inquired an old pakistani (who tried to convert me)
what: Alif, Lam, Meem
implied in the opening of the al-baqarah sutra
implied?
   he replied: god knew...
        so i thought, you don't know what
alif (letter) what lam (letter) and meem (also a letter)
means? you have to search for god
for the answers? good look making me into
a proselyte... mind you:
if the jews abhor proselytes,
while the muslims are so so oh so *******
welcoming... isn't that a tad bit suspicious?
how can a muslim convert me
when he can't explain to me what
alif lam and meem implies at the opening
of al-baqarah?!
            let's play some hijāʾī order game...
and the three letters...
       28 letters in total...
alif (28), lam (6), meem (5)...
    i'm not even going to go into the gamatria
mental gymnsastics related to any
"significance"...
   point was made upon the question being
asked... if a muslim tries to covert you...
and he can't explain to you
the significance of alif lam meem at the beginning
of al-baqarah... they're letters...
well... how is he going to explain to you
what's bothersome about those letters
to begin with? ALM... does that imply: zakat?!
to give alms? zakat being one of the pillars
of islam?
  **** me... i haven't even converted
and it would appear: i know more than the person
who tried to convert me!

.i. Yuri Gagarin and the yo-yo

if ever the potency of a "keyboard crusader"
existed, it's now -
   i can dangle a mouse above a bear-trap
and tell an elephant of a phobia concerning
mice any day of the week,
          when in fact i'm talking about
a mousetrap: nothing more.
     hence the exaggeration in the imagery
comparison:
        or it begins with a story told in the 20th
century:
             when women put down their mascara
brushes, men put down their swords:
never mind the voice in the wilderness:
       mind the voice in the crowd -
there's absolutely no reason to speculate
urbanity and tribal environments without
addressing, or regressing the crowd,
or as i like to call it: what Nietzsche said,
minus the Wake... but now inclusive of the wake
and the Bacchus cult of fun fun fun.
            the Wake in condor terms?
we congregate praying for something to die...
      i don't pretend to be whatever
that sachet of concrete-Cartesian labels entitles me
too:        for the most part
        people say 'i am' without a thought to
govern the rain shaman telling you what thought
is required to 'be', oh, a very old ontological
stipend: you need people to experience a collectivisation,
a herding, a "bound together" sort of mentality
before the critic arrives and says: well, that's not
what i'm really about.
                    a bit like the **** firs, mouth second
debacle...
                but what heart they had, our predecessors!
what heart!
             they'd wage war over a woman,
a Helen,
                  would you wage a war against
the feminist version of Helen these days?
would you pluck a Scottish thistle over an English rose?
      true: you might be a bishop
and of lesser rank... but would you wage a war
over the women of these days?
my **** is in a pickle jar anyway! we have become
a *** of a species unburdened by an obligation...
             finally! we can become eternal bachelors
sort of ******* that we're here, and hear less and less
of sayings about the "things that matter".
            you know what vile? really really vile?
oh i know my contemporaries when i bother to
hear them talk, oddly enough never bother when they
think, i'm quiet content with a Godot stage of
a park bench and an old man as my company,
      i know Douglas Murray,
               i know the wild-eyed Icke,
but a thing that concerns me is why: the safety room
parallel to the leftist thesis of offensive speech
was put in play when a discussion took off
concerning feminism, between milo yiannopoulus
and julie bindel - that's like saying:
ask a pederast to talk for a heterosexual man
with a woman safe-space...
                                no one wants to hear
the heterosexual side of the argument....
  you'll sooner see heterosexual intellects have their
marriages come undone then get paired with either
side of the argument...
     little richard is in the pickle jar anyway,
and he's not coming out...
                it's a bit like ****** for dummies....
       hence i have to succumb to violence without
the glory, tongue waggling blah blah
when i'd gladly take a weapon and shove it into
a shattered cranium bone: had i the ****** chance to
do so!
           no heterosexual is taken seriously:
and won't be:
    of a woman to be like a rosy cushion on which
i can lay my head after the darkly toils of
    roofing, or laying bricks, or excavating the sewers...
no! let the Chinese do that:
the basic argument of slavery, although imported
therefore ****** ******* fine.
                         cryogenic fathers,
      pickled *****:      where's the middle in all of this?
     a coconut just fell from the Boddhi tree:
money!           and those that defend it,
don't know squat about the tribalism of squatters!
but hey! they have the ****** stage!
         i have a bench when someone approaches me
and talk, doing the best thing possible:
               knitting opinions -
i don't want the truth of opinions: i want a sweater,
or a pair of socks! that's metaphor for something
different altogether.
  keyboard crusader? really? can i ask you for
directions to the high street, in every single town
across the country? i can't find one!
         no one hears a heterosexual argument
on the various topics: because there isn't one -
                     as of the end of the 20th century,
working classes in the west striving to ensure
there is something mundane to do during the day
and kick back with the family in the evening
are the "inferior" neanderthals: who
haven't jacked into discovering a 3D reality
of what's otherwise a 2D computer screen and
aren't hooked on #crack;
honestly, so much debating ought to be opera,
and so much opera ought to be debating -
    ah: that famous tingle of utopian paradoxes
never in duality, but always in dichotomy.
   keyboard crusader?
really? i thought people were always moaning
about how many emails they receive:
   and never a single postcard from, say,
someplace like Venice?
           it's still early days,
                   and already we're brewing enough
cliches to replace all known nouns in
    the surrogate mother that's the dictionary
of our completed version of a soul -
if ever to be experienced upon meeting the omni-vocabulary;
jigsaws, i know my idiosyncratic version
of events, he says photosynthesis within parameters
                            of photon deconstruction of hydrogen;
'cos' it's sub; d'uh! i say god i say this perfected
version of nearing telepathy - you say god i hope you
don't mean satan's clause - great anagram to frighten
children with: the Babushka surprise of a Pumpkin head
laughing it's way toward: how easy life would be
if we had all that time to think it through as being hard,
rather than that mortal fleetingness in both thought
and body.

ii. Macbeth

it really dawned on me, when i was watching the film
Macbeth (2015) -
            there was an eeriness to it, a near perfection
of Shakespeare on screen...
           honestly? i'd rather read Kant early on in life
while i have the vigour, and leave old age to Shakespeare...
but it truly was eerie all over the place.
      i do recall seeing Romeo + Juliet
          and reading the script, and imagining the fallacy
of word for word translation from theatre to cinema
of the script: the narrator a news channel anchor,
and everything said, word, for, word.
that film with DiCaprio as Romeo and Claire Danes
as Juliet - it just felt itchy, uncomfortable -
                            Shakespeare, word for word, on screen?!
     (surprise, then astonishment, not !? or astonishment,
   then the surprise, because: it didn't really work);
and it didn't! you can't adapt Shakespeare to the screen
and put everything in! i noticed it at that ******
generous scene in Macbeth concerning the battle
of Ellon... so i was like like... this isn't typescript...
(and thank **** it isn't) -
you can't depict Shakespeare word for word,
to be honest, Macbeth (2015) is the only worthy
translation of Macbeth (the text) into Macbeth (the movie);
all this scientific exactness in previous examples
like Romeo + Juliet, the Merchant of Venice
and a Midsummer's Night Dream don't work,
it's their precision making,
     a theatre cast can take it, but a cinema going crowd,
with all these cutting and copying and repasting
    succinct moments? it doesn't work!
maybe because there's no actual narrator in the staged
examples? narrator as a necessary character understudy:
surely Puck and the news anchor are there:
don't know about the Shylock scenario...
           but these screen adaptations didn't work for me,
too rigid, too formal... in the case of Macbeth?
finally! the long awaited piquant version of Shakespeare:
all that matters, and the rest is thrown into
poetic technique: imagery, metaphor,
                everything that's necessary can be given grammar
as image and not word!
       want an example? from the text...
the Royal Shakespeare
  from the text of Professor Delius
  and introduction by f. j. Furnivall, ll.d.
         vol. v (special edition)
Cassell & Company, Ltd.
        sure, it feels like a Roman Polanski moment
akin to the 9th Gate scenic affair of a bibliophile
fetishist, and it is:

     ... (the only enemy of enso poetry
is the bladder) ...

well the screen play first:

banquo: what are these?
macbeth: live you? or are you aught
                          that man may question?
       speak if you can - what are you?
1st witch: macbeth! hail to thee
                    thane of Glamis!
2nd witch: macbeth... hail to thee,
       thane of Cawdor!
3rd witch: all hail Macbeth! that shalt be king in-after.

but such disparity, such **** as if once
of Lucretia, then of the authority,
for i have before me the original composition:
which is not worth cinema -
nonetheless, a **** takes place:
an assortment for the abdication of a king:
or as ever suggested: the wrong footed path:
never was tossing a coin in a gamble
that of tossing a crown into the air
for a court jester to appear less amusing
and more scolding.

act i, scene iii: post the battle of ellon...
  if ever the refusal to give up Greek myth,
then Macbeth's witches
      and Perseus' Graeae -
                            or naturalise a myth:
like you might not naturalise a strengthened
economy.... canonise the nation
with Elgin Marbles - Elgin: less than
what's said to be the exfoliation of the Aegean -
a municipality somewhere in Scotland:
west of Aberdeen, on the Northern Sea's
battering of the coast...
but word for word? or how to write Shakespeare
into cinema?
                 herr zensor must come into play -
you have to bypass imagery in poetic tongue
and relay it with actual images, a direly needed
necessity:

just after the three witches arrive,
enter Macbeth and Bonquo...

   Macb. so foul and fair a day i have not seen.
Ban. how far is't call'd to Fores? - what are these,
     so wither'd and so wild in their attire,
that look not like th' inhabitants o' the earth,
   and yet are on 't?
             live you? or are you aught that man may
question?
                  (how word for word, but the words
waggle from a different tongue, namely that of
Macbeth, and not that of Banquo, hence
italicised).
                   continuing:
       you seem to understand me,
by each at once her choppy finger laying upon her
skinny lips: - you should be women, and yet your
beards forbid me to interpret that you are so.
Macb. speak, if you can - what are you?
         the witches. all hail, Macbeth!
     hail to thee, thane of Glamis!
         all hail, Macbeth! hail to thee, thane
of Cawdor!
         all hail, Macbeth! that shalt be king hereafter.
            
so does he really belong on the psychoanalytic
couch? is he really that necessarily wonton of talk?
  Cawdor v. Gondor - it's an ongoing narrative.
but is he in need of a couch?
                 what sort of talk is talk when
in fact the only talk that's need to be said is the talk
of man's sexualised naturalisation for strife,
and here: as if knocking on a door:
you want to simply hear the onomatopoeia of
the Kabbalah in a woman gasping for breath
while puny Jewish boys under strict rabbinical
studies study?

                mama, take this badge from  me,
i can't use it, anymore,
            it's getting dark, too dark to see,
feels like i'm knockin' on heaven's door -
      my big mouth and man as a piston
                                               Ferrari acrobat

(even the soundtrack is a shrill, a strangulation
variant of higher pitch of the bagpipes -
not that braveheart ****** of whisking out
a song like for the love of a princess addition to:
  and can i have a madonna to boot too?
it's piercing, a whale sonar above refrigerator
white noise hum for the new age Buddha -
and that's because all the poetry has been excavated
  to suit cinema: not theatre).

and this is the first adaptation of Shakespeare i actually
could stomach...
     the genius was in how Macbeth spoke the lines
of Bonqua - so the character didn't start smacking
the narrative ****** in terms of solipsism:
even Shakespeare can be attacked on this front...
        if in the movie Banqua said all that was in
the typescript: the film wouldn't have worked...
i don't know what the big deal is with Lady Macbeth:
i thought that in the olden days
Macbeth suggested to King Duncan that:
can i leave the warring if you **** my wife?
i can go on the contract that you **** my wife
and i stop serving you?
      first impressions: strange English.
well, i'm sure she's important as it might be said:
within the programme of Orthodoxy,
            but never catholic (metadoxy) tradition of
saying: way hey! ensnare the mare in a funfair!
       and play the game: pin the tale on the donkey!
heads or tails?      it looks pretty damnable
     in the first place: as all honesty hogs to pout and
***** a hoggish sneeze out of the story.

iii. shaken, not stirred

and indeed, how many a times
did not a neon blossom sprout,
thinking it might rattle an oratory
with an oak in autumn, and behold
a swarm of leaves descend -
not out of passing ease,
but out of wishful thinking
that some indentation might be made:
with whom the hands of will reside,
and yet: to no gratifying effect,
to whatever atomic-centralisation
dream, be that ego or be it hydrogen
(lending hands: so too
electric or thus negative, neutral and
thus proto) - shake foundation
and give a revising repertoire of
              the covering dust humanity
that once made famous: never
again to learn the humility of the start;
        to whatever centric dream that
does not waver in demands of orientation,
be it father (sun), son (shadow)
  or the holy spirit (night) -
  make them earn! be obscure!
            or simply say: in the community
of the stated congregation:
  i find all to be as night,
   and safer that plague the father:
  i am not akin to the shadow:
                   but the shadow in mirror.
so, a centric dream that does not
waver in demands for orientation,
has ever or will be enthroned in man's
heart as the stability of Sabbath's demands
       for less, oh so much less to agitate with!
as too, when the ancient appliances
were adorned by countless demands of
mimic, so too our modern
fibbles are to stage a usurping of
such things demanded and their mimic;
for with such disclosure does all fate
of anewed become burdened in what
history could be: shaken,
rather than simply a stirring of the void,
nothing more than the unburdening
of sweetening a cup of coffee, of that and
the layers: or bitter at the top, drank
through toward the sedimented sweetness -
and all that: hoping i could have retained
that silver spoon lodged in my ***
          when i first met her and thought about
consolidating marriage: so fresh, eager prune
of the flesh embodiment as first
    watered ash, then entombed in marble
and the eternal... ah
               but it was all just the faintest of dreams;
so lumberjack sleep ensued,
                      as did a kindred worth ethic:
we are a long way from Eden...
      there is but the idyll of the absurd fruition of
albreit macht frei... or a redefinement of
such stakes as: what occupies our days?
                    if not war, if not disease,
if not the Chinese... what does, occupy our days?

I WAS born on the prairie and the milk of its wheat, the red of its clover, the eyes of its women, gave me a song and a slogan.

Here the water went down, the icebergs slid with gravel, the gaps and the valleys hissed, and the black loam came, and the yellow sandy loam.
Here between the sheds of the Rocky Mountains and the Appalachians, here now a morning star fixes a fire sign over the timber claims and cow pastures, the corn belt, the cotton belt, the cattle ranches.
Here the gray geese go five hundred miles and back with a wind under their wings honking the cry for a new home.
Here I know I will hanker after nothing so much as one more sunrise or a sky moon of fire doubled to a river moon of water.

The prairie sings to me in the forenoon and I know in the night I rest easy in the prairie arms, on the prairie heart..    .    .
        After the sunburn of the day
        handling a pitchfork at a hayrack,
        after the eggs and biscuit and coffee,
        the pearl-gray haystacks
        in the gloaming
        are cool prayers
        to the harvest hands.

In the city among the walls the overland passenger train is choked and the pistons hiss and the wheels curse.
On the prairie the overland flits on phantom wheels and the sky and the soil between them muffle the pistons and cheer the wheels..    .    .
I am here when the cities are gone.
I am here before the cities come.
I nourished the lonely men on horses.
I will keep the laughing men who ride iron.
I am dust of men.

The running water babbled to the deer, the cottontail, the gopher.
You came in wagons, making streets and schools,
Kin of the ax and rifle, kin of the plow and horse,
Singing Yankee Doodle, Old Dan Tucker, Turkey in the Straw,
You in the coonskin cap at a log house door hearing a lone wolf howl,
You at a sod house door reading the blizzards and chinooks let loose from Medicine Hat,
I am dust of your dust, as I am brother and mother
To the copper faces, the worker in flint and clay,
The singing women and their sons a thousand years ago
Marching single file the timber and the plain.

I hold the dust of these amid changing stars.
I last while old wars are fought, while peace broods mother-like,
While new wars arise and the fresh killings of young men.
I fed the boys who went to France in great dark days.
Appomattox is a beautiful word to me and so is Valley Forge and the Marne and Verdun,
I who have seen the red births and the red deaths
Of sons and daughters, I take peace or war, I say nothing and wait.

Have you seen a red sunset drip over one of my cornfields, the shore of night stars, the wave lines of dawn up a wheat valley?
Have you heard my threshing crews yelling in the chaff of a strawpile and the running wheat of the wagonboards, my cornhuskers, my harvest hands hauling crops, singing dreams of women, worlds, horizons?.    .    .
        Rivers cut a path on flat lands.
        The mountains stand up.
        The salt oceans press in
        And push on the coast lines.
        The sun, the wind, bring rain
        And I know what the rainbow writes across the east or west in a half-circle:
        A love-letter pledge to come again..    .    .
      Towns on the Soo Line,
      Towns on the Big Muddy,
      Laugh at each other for cubs
      And tease as children.

Omaha and Kansas City, Minneapolis and St. Paul, sisters in a house together, throwing slang, growing up.
Towns in the Ozarks, Dakota wheat towns, Wichita, Peoria, Buffalo, sisters throwing slang, growing up..    .    .
Out of prairie-brown grass crossed with a streamer of wigwam smoke-out of a smoke pillar, a blue promise-out of wild ducks woven in greens and purples-
Here I saw a city rise and say to the peoples round world: Listen, I am strong, I know what I want.
Out of log houses and stumps-canoes stripped from tree-sides-flatboats coaxed with an ax from the timber claims-in the years when the red and the white men met-the houses and streets rose.

A thousand red men cried and went away to new places for corn and women: a million white men came and put up skyscrapers, threw out rails and wires, feelers to the salt sea: now the smokestacks bite the skyline with stub teeth.

In an early year the call of a wild duck woven in greens and purples: now the riveter's chatter, the police patrol, the song-whistle of the steamboat.

To a man across a thousand years I offer a handshake.
I say to him: Brother, make the story short, for the stretch of a thousand years is short..    .    .
What brothers these in the dark?
What eaves of skyscrapers against a smoke moon?
These chimneys shaking on the lumber shanties
When the coal boats plow by on the river-
The hunched shoulders of the grain elevators-
The flame sprockets of the sheet steel mills
And the men in the rolling mills with their shirts off
Playing their flesh arms against the twisting wrists of steel:
        what brothers these
        in the dark
        of a thousand years?.    .    .
A headlight searches a snowstorm.
A funnel of white light shoots from over the pilot of the Pioneer Limited crossing Wisconsin.

In the morning hours, in the dawn,
The sun puts out the stars of the sky
And the headlight of the Limited train.

The fireman waves his hand to a country school teacher on a bobsled.
A boy, yellow hair, red scarf and mittens, on the bobsled, in his lunch box a pork chop sandwich and a V of gooseberry pie.

The horses fathom a snow to their knees.
Snow hats are on the rolling prairie hills.
The Mississippi bluffs wear snow hats..    .    .
Keep your hogs on changing corn and mashes of grain,
    O farmerman.
    Cram their insides till they waddle on short legs
    Under the drums of bellies, hams of fat.
    **** your hogs with a knife slit under the ear.
    Hack them with cleavers.
    Hang them with hooks in the hind legs..    .    .
A wagonload of radishes on a summer morning.
Sprinkles of dew on the crimson-purple *****.
The farmer on the seat dangles the reins on the rumps of dapple-gray horses.
The farmer's daughter with a basket of eggs dreams of a new hat to wear to the county fair..    .    .
On the left-and right-hand side of the road,
        Marching corn-
I saw it knee high weeks ago-now it is head high-tassels of red silk creep at the ends of the ears..    .    .
I am the prairie, mother of men, waiting.
They are mine, the threshing crews eating beefsteak, the farmboys driving steers to the railroad cattle pens.
They are mine, the crowds of people at a Fourth of July basket picnic, listening to a lawyer read the Declaration of Independence, watching the pinwheels and Roman candles at night, the young men and women two by two hunting the bypaths and kissing bridges.
They are mine, the horses looking over a fence in the frost of late October saying good-morning to the horses hauling wagons of rutabaga to market.
They are mine, the old zigzag rail fences, the new barb wire..    .    .
The cornhuskers wear leather on their hands.
There is no let-up to the wind.
Blue bandannas are knotted at the ruddy chins.

Falltime and winter apples take on the smolder of the five-o'clock November sunset: falltime, leaves, bonfires, stubble, the old things go, and the earth is grizzled.
The land and the people hold memories, even among the anthills and the angleworms, among the toads and woodroaches-among gravestone writings rubbed out by the rain-they keep old things that never grow old.

The frost loosens corn husks.
The Sun, the rain, the wind
        loosen corn husks.
The men and women are helpers.
They are all cornhuskers together.
I see them late in the western evening
        in a smoke-red dust..    .    .
The phantom of a yellow rooster flaunting a scarlet comb, on top of a dung pile crying hallelujah to the streaks of daylight,
The phantom of an old hunting dog nosing in the underbrush for muskrats, barking at a **** in a treetop at midnight, chewing a bone, chasing his tail round a corncrib,
The phantom of an old workhorse taking the steel point of a plow across a forty-acre field in spring, hitched to a harrow in summer, hitched to a wagon among cornshocks in fall,
These phantoms come into the talk and wonder of people on the front porch of a farmhouse late summer nights.
"The shapes that are gone are here," said an old man with a cob pipe in his teeth one night in Kansas with a hot wind on the alfalfa..    .    .
Look at six eggs
In a mockingbird's nest.

Listen to six mockingbirds
Flinging follies of O-be-joyful
Over the marshes and uplands.

Look at songs
Hidden in eggs..    .    .
When the morning sun is on the trumpet-vine blossoms, sing at the kitchen pans: Shout All Over God's Heaven.
When the rain slants on the potato hills and the sun plays a silver shaft on the last shower, sing to the bush at the backyard fence: Mighty Lak a Rose.
When the icy sleet pounds on the storm windows and the house lifts to a great breath, sing for the outside hills: The Ole Sheep Done Know the Road, the Young Lambs Must Find the Way..    .    .
Spring slips back with a girl face calling always: "Any new songs for me? Any new songs?"

O prairie girl, be lonely, singing, dreaming, waiting-your lover comes-your child comes-the years creep with toes of April rain on new-turned sod.
O prairie girl, whoever leaves you only crimson poppies to talk with, whoever puts a good-by kiss on your lips and never comes back-
There is a song deep as the falltime redhaws, long as the layer of black loam we go to, the shine of the morning star over the corn belt, the wave line of dawn up a wheat valley..    .    .
O prairie mother, I am one of your boys.
I have loved the prairie as a man with a heart shot full of pain over love.
Here I know I will hanker after nothing so much as one more sunrise or a sky moon of fire doubled to a river moon of water..    .    .
I speak of new cities and new people.
I tell you the past is a bucket of ashes.
I tell you yesterday is a wind gone down,
  a sun dropped in the west.
I tell you there is nothing in the world
  only an ocean of to-morrows,
  a sky of to-morrows.

I am a brother of the cornhuskers who say
  at sundown:
        To-morrow is a day.

Here come I to my own again,
Fed, forgiven and known again,
Claimed by bone of my bone again
And cheered by flesh of my flesh.
The fatted calf is dressed for me,
But the husks have greater zest for me,
I think my pigs will be best for me,
So I’m off to the Yards afresh.

I never was very refined, you see,
(And it weighs on my brother’s mind, you see)
But there’s no reproach among swine, d’you see,
For being a bit of a swine.
So I’m off with wallet and staff to eat
The bread that is three parts chaff to wheat,
But glory be!—there’s a laugh to it,
Which isn’t the case when we dine.

My father glooms and advises me,
My brother sulks and despises me,
And Mother catechises me
Till I want to go out and swear.
And, in spite of the butler’s gravity,
I know that the servants have it I
Am a monster of moral depravity,
And I’m ****** if I think it’s fair!

I wasted my substance, I know I did,
On riotous living, so I did,
But there’s nothing on record to show I did
Worse than my betters have done.
They talk of the money I spent out there—
They hint at the pace that I went out there—
But they all forget I was sent out there
Alone as a rich man’s son.

So I was a mark for plunder at once,
And lost my cash (can you wonder?) at once,
But I didn’t give up and knock under at once,
I worked in the Yards, for a spell,
Where I spent my nights and my days with hogs.
And shared their milk and maize with hogs,
Till, I guess, I have learned what pays with hogs
And—I have that knowledge to sell!

So back I go to my job again,
Not so easy to rob again,
Or quite so ready to sob again
On any neck that’s around.
I’m leaving, Pater.  Good-bye to you!
God bless you, Mater! I’ll write to you!
I wouldn’t be impolite to you,
But, Brother, you are a hound!

It was Christmas Eve, a Thursday
On the Northern Express Christmas Train
We were on our way north through the wilds
And our  destination was to be old Hornepayne

One hundred and eighty two people
Three kittens, one goat and nine dogs
Were riding up north on the railroad
Oh, I forgot to mention six hogs

There was snow coming in from the waters
Surrounding the bays, both Hudson and James
The engineer was prepared for a whopper
This would not be a time to play games

It was nineteen twenty in the year of our lord
The great war had been done for two years
These people were travelling homeward
To spend Christmas with those they held dear

The storm was gathering force over water
There was no way to safely arrive
They only had one option before them
If he wanted them all to survive

He pulled the train off on a side spur
They were not getting home safe tonight
But, the train, being old wasn't worthy
Of surviving the storm and it's fight

The conductor gathered up  all his courage
And he entered each car in their turn
He said "It looks like we're here for a while"
The storm looked real bad, as they'd learn

Remember it was nineteen twenty
The trains had no heat to keep warm
There was just an old stove and the engine
To keep them alive in the storm

The lines were down, so no message
Could be sent via morse code machine
They were stuck in the Ontario wilds
In a storm worse than they'd ever seen

They prayed and they sang hymns all together
Christmas carols and some all would know
As they sat, and they watched out the window
At the wind whipping, white sheets of snow

It was just after four when it started
Six hours in it was worse
One man, a fellow named Woolner
Said "we're stuck on a CP rail hearse"

The children were kept calm by their mothers
The men were watching as well
They were keeping an eye on the weather
They would not die in this frozen hell

It was just before midnight I reckon
When the storm broke enough to see out
The snow was now done and was over
Of this there was surely no doubt

Christmas Day...it was now after midnight
Some were sleeping while others were not
They had left to go start a fire
This was an idea given plenty of thought

The people awoke and they followed
To the fire to keep warm and still pray
They would make the best of a bad situation
Don't forget it was still Christmas Day

Christmas happens, it doesn't pick a location
It doesn't give a **** where you are
Christmas happens, and it gives a feeling
Of goodness, whether you're close or home is quite far

These people all stuck in the forest
Still a day or so from where they would go
Spent a Christmas with a whole bunch of strangers
some dogs, cats and hogs and a goat

Gifts that were destined for family
Were opened that night by the crowd
And the carols they sang in the forest
Shook the snow, they were singing so loud

The trees were lit up by the fire
Snow was covering branches up high
When they looked up into the dark heavens
And they saw the bright lights in the sky

The rainbow of colours was awesome
It shone brighter than bright in the sky
But one thing stood out in the distance
The one star that shone bright from on high

What was it that brought them together
Made them share this Christmas as one
Was it the storm that was the only reason
Or was there something else there that had come

The word came on out from the engine
The lines of communication were back
They should all get on back to their carriage
And he'd get this train back on track

When they all climbed aboard to get moving
Every seat had a package, all wrapped
No one saw who delivered the presents
As they were all in this outland, and trapped

Was it Santa come through to deliver
Their presents while they all went to pray
It's a question that no one can answer
It's a puzzle that remains to this day

If you ever go north on the railway
And you pass by the park near Hornepayne
Remember the big storm they encountered
And the magic on the Christmas Train

hand slaps shoulder knee rhythmically that’s called hamming the bone sitting on a street curb singing making up lyrics i got a transitor sister loves cossack named jake he rides Cherokee chopper all he’s ever known is hate he’s going down underground where a man can be a man wrestle alligators live off the land ebb flow i don’t know racing chasing hair-pin turning at 150 miles per hour downshift to 3rd spread the word sweet sour naked flower touching skin deep within defies all sin with a grin speed speed speed all i need i’m getting off coming on you tawny scrawny bow-legged pigeon-toed knock-kneed Don Juan Ponce de Leon Aly Khan all wrapped up into one going to have ******* good time good time tonight i feel like an orphan mom and dad seem so far away tonight i feel like an orphan you make me feel this way hand slaps shoulder knee rhythmically hand bone hand bone

Odyseuss drifts job to job construction worker office assistant waiter whatever he does not understand how road to recognition works continues showing portfolio to art dealers but they react indifferently he does not know how to attain notice in art world begins to suspect there is no god watching over souls instead he imagines infinite force juggling light darkness creation destruction love hate Mom and Dad insist he can earn respectable income if only he will learn commodity futures like cousin Chris Mom says you can work down at the exchange and paint on the side a part of Odysseus wants desperately to please his parents he considers perhaps Mom is right for the time being maybe build up nest egg it seems like sensible plan he wonders why Dad and Mom never speak about money how to save manage they treat the subject as forbidden topic Odysseus has no idea what Dad or Mom earn or investment strategies Odysseus is about to make serious mistake the decision to get job working at commodity exchange needs deeper examination why is he giving in to his parents what attracts him to commodities trading is it Chris’s achievement and the money? does Odysseus honestly see himself as a winning trader or does it simply look like big party with lots of rich men pretty young girls is that where he wants to be why is he giving up on his dream to be a great artist does it seem too impossible to reach who makes him think that? is he going to give up on his true self? he halfheartedly follows his parent’s advice begins working as runner at Chicago Mercantile Exchange several friends including Calexpress disloyalty for entering straight world commodity markets are not exactly straight in 1978 clearing firms pay adequately hours are 8 AM to 2 PM over course of next 6 months Odysseus runs orders out to various trading pits cousin Chris rarely acknowledges Odysseus maybe Chris feels need to protect his image of success perhaps in front of his business associates Chris is embarrassed by Odysseus’s menial rank and goof-off attitude maybe Chris senses what a terrible mistake Odysseus has made

Chicago suffers harsh winter in February Roman Polanski skips bail in California flees to France in April President Carter postpones production of neutron bomb which kills people with radiation leaving buildings intact in October Yankees win World Series defeating Dodgers in November Jim Jones leads mass-****** suicide killing 918 people in Jonestown Guyana in December in San Francisco Dianne Feinstein succeeds murdered Mayor George Moscone in Chicago John Wayne Gacy is arrested

darkness descends upon Odysseus his heart is not into commodity business more accurately he hates it he loathes battleship gray color of greed envy he resents prevailing overcast of misogyny he meets many pretty girls yet most of them are only interested in catching a trader it is rumored numerous high rolling traders hire young girls for sole purpose of morning ******* remainder of day girls are free to mingle run trivial errands commodity traders typically trash females it is primitive hierarchy Odysseus bounces from one clearing firm to another then moves to Chicago Options Exchange then Chicago Board of Trade on foyer wall just outside trading floor hangs bronze plaque commemorating all men who served in World War 2 Uncle Karl’s name is on that plaque Daddy Pat bought his son seat hoping to set him up after war Uncle Karl’s new wife wanted to break away from Chicago persuaded him to sell seat move to California Uncle Karl bought car wash outside Los Angeles with Daddy Pat’s support Mom and Dad encourage assure Odysseus commodities business is right choice they promise to buy him full seat on exchange if he continues to learn markets they feel certain he can be saved from his artistic notions the markets are soaring in profits cousin Chris is riding waves a number of Chris’s friends are sons of parents who belong to same clubs dine at same restaurants as Mom and Dad Odysseus is not alpha-male like Chris Odysseus is a dreamer painter poet writer explorer experimenter unlike Chris who has connections Odysseus starts out as runner then gets job holding deck for yuppie brokers in Treasury Dollar trading pit Odysseus holds buy orders between index and middle fingers sell orders in last 2 fingers arranged by time stamp price size in other hand holds nervous pencil he stands step below boss in circular pit in room size of football field full of raised pits everything is traded cattle hogs pork bellies all currencies gold numbers flash change instantaneously in columns on three high walls fourth wall is glass with seats behind for spectators thousands of people rush around delivering orders on telephones flashing hand signals shouting offers quantities every moment every day calls come in frantically from all around world space is organized chaos sometimes not so organized fortunes switch hands in nano-seconds it is global fiscal battleground rallies to up side or breaks to down side send room into hollering pushing shoving hysteria central banks financial institutions kingpin mobsters with political clout daring entrepreneurs old thieves suburban rich kids beautiful people pretty young females abound big guns **** in same air stand next to low-ranking runners everyone flirts sweats sneezes knows inside they are each expendable Odysseus is spellbound by sheer force magnitude he feels immaterial only grip is his success with girls it is not conscious talent he grins girls grin back Chris’s trader friends recognize Odysseus’s ability they push him to introduce girls to them it is way for Odysseus to level playing field he has no money or high opinion of himself he simply knows how to hook up with girls

1979 January Steelers defeat Cowboys at Super Bowl Brenda Ann Spencer kills 2 faculty wounds 8 students responds to incident “i don't like Mondays” in February Khomeini seizes power in Iran in March Voyager space-probe photographs Jupiter’s rings a nuclear power plant accident occurs at Three Mile Island Pennsylvania in May Margaret Thatcher is elected Prime Minister in England in Chicago American Airlines flight 191 crashes killing 273 people in November Iran hostage crisis begins 90 hostages 53 of whom are American in December Soviet Union invades Afghanistan 1980 in November Ronald Reagan defeats Jimmy Carter one year since Iran hostage crisis began

he meets good-looking younger girl named Monica on subway heading home from work he has seen her running orders on trading floor she is tall slender with long dark brown hair in ponytail pointed nose wide mouth innocent face she confides her estranged father is famous Chicago mobster Odysseus recognizes his name they talk about how much they dislike markets arrant disparity of wealth between traders and themselves Odysseus says i hate feeling of being so disposable worthless Monica replies yeah me too he tells her if i was a girl i’d ******* myself to several handsome generous traders Monica acknowledges that’s an interesting idea but who? how? which traders? do you know? he answers yeah i know exactly who and how Monica says if you’re serious i’m in i have a girlfriend named Larissa who might also be interested i’ll call Larissa tonight following day Monica approaches Odysseus at work agrees to meet at his place after markets close that afternoon Monica and Larissa show up eager to learn more about Odysseus’s scheme Larissa is petite built like a gymnast giggly light brown hair younger than Monica he lays it all out for them cousin Chris and his buddies the money ******* both girls are quite lovely he suggests they rehearse with him he will coach them on situations settings techniques girls consent for 4 weeks every afternoon they meet at Odysseus’s place get naked play out different scenarios he shows girls how to pose demure at first then display themselves skillfully fingers delicately pulling open ***** spreading wide apart buns working hidden muscles he directs each to take up numerous positions tasks techniques then has them switch places he teaches them timing starting slow gradually building up rhythms stirring into passionate frenzy having two mouths four hands creates novel sets of possibilities one girl attends his front while other excites his rear he positions them side-by-side so he can penetrate any of all four holes he stacks them one on top of the other many other variations after reaching ****** several times making sure to reciprocally satisfy their eager needs Odysseus dismisses girls until following day finally after month of practice Monica and Larissa feel confident proficient primed Odysseus arranges for girls to meet with 2 traders through Chris most traders have nicknames Twist who is hosting event is notoriously wild insatiable on opening night Odysseus behaves like concerned father Larissa and Monica each bring several dresses and pairs of shoes Odysseus helps them choose suggests Monica ease up on make-up he styles Larissa’s hair instructs Monica to call him when they arrive again when they leave he requests they return directly to his place Monica wears hair pulled back in French twist pearl earrings sleek little black dress black stiletto heels she stands several inches above Odysseus Larissa wears braided pigtails pink low-scooped leotard brown plaid wool kilt just above knees brown suede cowboy boots he kisses each on lips then pats their butts warns them to be careful mindful Monica winks Larissa giggles more than an hour passes as Odysseus sits wondering why he has not heard from girls suddenly reality hits he does not want to be commodities trader and certainly not a **** this is not how he wants to be known or remembered Odysseus wants to be a painter and writer Monica and Larissa are good sweet girls whom he has misguided he calls Twist’s place Twist answers Odysseus asks to speak with Monica when she comes to phone he questions are you all right Monica answers yes we’re fine we’re having a fantastic time why are you calling what’s wrong he explains you were suppose to call me when you arrived i began to worry i think maybe this whole arrangement is a bad idea i want you to call it off and come back home i don’t want either of you to become prostitutes i love you both and don’t want to be associated with dishonoring you Monica says it’s a little late to call it off but we’ll see you when we’re done kissy kiss bye Odys another hour passes then another he frets wondering what they are doing after 4 hours as he is about to call Twist’s house again doorbell rings Monica and Larissa both giggling beaming Odysseus can spot they have a coke buzz Monica announces you should be proud of us Odys we got each of them off 2 times we left them stone-numb and tapped out the girls open their purses each slaps 5 hundred dollar bills unto table Monica says this is your cut Odys we both got a thousand for ourselves he replies i can’t touch that money we need to sit down and talk Monica demands no talking Odys take off your clothes he insists i’m serious Monica i’m never going to send you out again Larissa claims there’s no turning back for me i had too much fun Monica  pleads come on Odys we’ll be good we promise now take off your clothes Twist and his buddy never attended to our needs i’m ***** as hell Larissa where’s that little bottle of dust Twisty handed you

Chicago Monday night December 8 1980 Cal and Odysseus sit at North End they're on 4th round feeling buzz the place is lively adorned with holiday decorations Cal says you’ve changed Odysseus questions what do you mean? how? Cal says the commodity markets and your cousin and his friends they’ve changed you when was the last time you painted Odys? are you dealing coke Odysseus looks Cal in the eyes answers they’re so ******* rich Cal you can’t believe it one drives a black Corvette Stingray another a ******* Delorean anything they want they buy girls cars clothes condos boats yeah i’m dealing coke to Chris’s friends it’s my only leverage remember the Columbian dude Armando we met at tittie bar? i score from him and keep it clean Chris’s buddies pay up for the quality i don’t remember my last painting maybe the black painting i never finished after breaking up with Reiko Lee a girl falls off bar stool crashing to floor at other end of bar Cal says Odys, you better play it careful you’re messing with the devil got any blow on you suddenly bar grows quiet someone turns up TV volume they watch overhead as news anchorman speaks slow solemn camera pans splattered puddle of blood pieces of broken glass on steps to Dakota Building Cal looks to Odysseus John Lennon has been murdered Cal waits for Odysseus to say something tear rolls down cheek Cal glances away stares down at floor they drink in silence

Lawrence Hall, HSG
Mhall46184@aol.com

           The Great Matter of Processing Hogs at the County Jail

       The poets have been mysteriously silent on the topic of hogs

                           -as G. K. Chesterton did not say

Our candidates for county sheriff have promised
There will be no more hanky-panky hog-ness
At the county jail
                    (Where Elvis says the cats do wail)
Maybe the prisoners are going vegan now

The chief deputy says the hogs are a charity
That the prisoners are happy to butcher them
And share the meat out for the hungry poor
And nobody gets any personal advantage out of it

But whether the prisoners were volunteers or tasked
Certainly none of the hogs was ever asked

She yelled out her back porch and into the alley as if one calling home the hogs. “Johnny! Johnny! You get home for supper! John—nyyy! You spend all day in that godforsaken tree that you’re gonna grow branches! Johnny, get home now!”

Up in his friend’s tree house, Johnny slammed his card down from his good hand that he was planning to win from. “****! She always does that to me”, he complained. “Just when I’m right in the middle of—“

Zack laughed. “Your ma’s voice carries down the whole neighborhood—practically to China!”

Everyone laughed. Iris’s daughter, Violet, said to her mom. “Grandma and Dad always butted heads.” She loved when her mom told stories of her childhood, especially when it was amusing.  

Iris’s good friend and neighbor, Bree, asked Iris, “I bet you never thought in a million years that she’d eventually be your mother-in-law”

“No, I sure didn’t”, Iris answered. “I am just glad that she liked me!”

Everyone laughed. Telling that small tale took her back to 1961 when her and her twin brother Isaac—known as Zack to most everyone—would hang out together with his best friend, Johnny Lindstrom. Because Iris was like one of the boys, she fit perfectly in the mix. Zach and she were fifteen and were referred to in good humor by their father as “double trouble”. It was that summer that they lost their dear dad, Ray Collier, and memories of him became as precious as gold. If it wasn’t for her brother and his friend, Iris be lost. Hanging out all day—from dawn til dusk—with Zack and Johnny was her saving grace.  Her mother was glad to have them out of her hair, not enforcing their chores very much.

“I was a tomboy to the fullest”, Iris told everyone. “I had long, beautiful blonde hair that I put back in a pony tail, and the cutest bangs, but I didn’t want to be seen as girly. I wore rolled up jeans and boat shoes with bobby socks, tied the bottom of my boyish shirt in a knot—but I guess I could still get the boys to whistle at me. I think it was my blonde hair that did it.”

“Oh, Mom”, Violet said, “You were beautiful and you know it! Such a gorgeous face!” She’d seen plenty of pictures of her mother when she was younger. Both Iris and Zack were tall and blonde. Zack’s hair could almost turn white in the summertime.

“Were beautiful?” Iris asked, giving Violet a concerned look, her hands on her hips in a playful display of alarm at her daughter’s use of the past tense. She may have been an older woman now, but she didn’t think she has aged too badly.

“Are beautiful”, Violet corrected herself. She leaned over and kissed her mom on the cheek. Iris was nearly seventy, and she aged pretty gracefully, and she was content with herself.  

They all sat in the living room sipping wine or tea and eating finger food. It was a celebration, after all—or just an excuse to get together and have a ladies night out. Not only had Iris had invited her daughter and friend, she had her sister-in-law—Zach’s wife, Franci—and her daughter-in-law, Rowan, married to her youngest son, Adam.

“Weren’t you going to marry someone else?” Bree asked Iris.

“Yes”, Iris responded. “We all wouldn’t be sitting here right now if I did. My life would have been very different.”

“A guy named Frank”, Violet stated. “I used to joke that he was almost my dad.”

Iris said to Violet, “Ha…ha. You know it took both your father and I to make you you. Everyone laughed at how cute that this mother-daughter duo talked. Iris went on, “I actually went on a couple of dates with your dad when I was seventeen. I was starting to get used skirts and dresses and went out of my way to look really nice for guys, but it was just high school stuff. After I graduated, I met a guy named Frank Hautmann, and we were engaged within several months.”

“What happened to him?” Rowan asked.

Iris sipped her tea and seemed a bit melancholy. “We did love each other, but it just didn’t work out. I know he eventually married and moved out of state. I ran into John about two or three years later, and everything just clicked. His family moved several miles away once we all graduated, so being best friends with Zack kind of faded away for him. But once I saw him again, we were really into each other. We took off in our dating as if no time ever lapsed. Soon we were married, and that was that.” There was an expression of “aww” going around the room in unison.  

Bree stood up and raised her wine glass. She announced, “Here’s to true love!” Everyone lifted their glass or cup in response.

Franci stood up next to have her own toast. She said, “Here’s to my husband and father of my three, handsome sons being declared officially cancer free, to Violet’s little bun in the oven soon to be born and also to my *****-in-law, Iris, for finally finding that pink pearl necklace that she thought was hopelessly gone forever! Cheers!”

“Cheers” everyone echoed and sipped on their wine or tea. “That’s some toast and makes this get together even more meaningful”, Iris complemented Franci.

Almost eight months pregnant, Violet restricted her drinking to tea. Her mother was so thrilled that she found out Violet was having a girl. It was equally wonderful that Iris’s beloved brother had recovered from his prostrate cancer, for throat cancer had taken their father’s life when they were young. So really finding the necklace that her mother gave her many years ago—that was misplaced while moving seven years ago—was just the icing on the cake to all the other news.    

Iris said, “My brother being in good health and my daughter having her baby girl is music to my ears. It trumps finding that necklace that I never thought I’d ever see again—even though it was the most precious gift my mother ever gave me.”  

At age thirty-five, Violet had suffered two miscarriages, so having a full-term baby in her womb was such a relief. It would be the first child to her and her husband, Paul, and the first granddaughter to her parents. Iris had three children altogether. Ray was named after her father, and then there was Adam and Violet. Only Adam and Rowan had any children—two sons, Adam Jr. and Jimmy. Ray and his wife, Lorene, lived abroad in London because of his job, and they had never wanted any children.  

“What name have you decided on?” Rowan asked Violet.

All eyes were on Violet who had quite a full belly. “Paul and I have agreed on a few names, but we still aren’t sure.” She turned to her mom and said, “Sorry, Mom, we won’t be keeping up the tradition.”

Iris was puzzled. “What tradition?” she asked.

Violet smiled. “I know it’s not really a tradition”, she admitted, “but didn’t you realize that your mother, you and I all have flower names?”

Everyone laughed at that observation. “That’s hysterical!” Bree noted. “Flower names?”

“That’s news to me” Iris said, not getting it.

“Me, too”, Franci agreed.

“Okay”, Violet explained to her mother “Grandma was Aster, you are Iris and I am Violet. Get my drift?”

The others started laughing, but Iris never even thought of this connection. She responded, “Well, my dad’s nickname out of Aster for my mom was Star.  I never thought of her name as something flowery but more heavenly…I guess. And I never thought of Iris as the flower—more like the colored part of the eye comes to mind. And Violet was my favorite name for a girl and also my favorite color—purple—but you can’t really name your daughter, Purple.”

The others laughed again. Everyone began to get more to eat, mingling by the food.  The gathering lasted for almost two hours, and eventually lost its momentum. Meanwhile, everyone took turns passing around the strand of beautiful, light pink pearls that Iris displayed so proudly in its rediscovery. It was a wedding gift from her mother in 1971, and Iris was painstakingly careful with it, swearing she’d never lose it again. She’d make sure of it. She prized it above anything else she owned, for she had no other special possession from her mother. Her sister got all of their mother’s items of jewelry, for Aster always felt it was the oldest girl’s right to it and this other sister gladly agreed.  Aster was never flashy or showy, and didn’t desire much. Her mother’s wedding ring, silver pendant necklace and an antique emerald ring from generations ago in England was all she wanted. Anything else was up for the grabbing by her two younger sisters.  

Iris learned the hard way to be mindful and not careless about her jewelry. An occasional earring would fall off and be lost, but any other woman could say the same thing. There was only one other incident that happened when she was a teenager that she never shared with anyone other than Zack. If she would confide in anyone, it would be him. Not even her husband knew, and she wasn’t going to tell anyone now. It was too embarrassing to share in the group, especially after tale of the pink pearl necklace that went missing.  

Bree told her, “Keep that in a safe or a safety deposit box—somewhere you know it won’t form legs and walk away.”

“Oh, ha, ha”, Iris remarked, flatly. “I don’t know how it ended up boxed up in the attic with my wedding dress. I sewed that dress myself, by the way. I guess too many hands were involved packing up things, and I am sure I did not put it in that box. Tore this house apart while it was stuck in the attic. Tore that apart, too.”
  
“And yet you didn’t find it until now”, Rowan stated. “It is as if it was hiding on you”.

“Well, I wasn’t even really looking for it when I found it, Iris said. “I was just trying to gather things for my garage sale, and thought of storing my old dress back in the closet. Luck was on my side. It’s odd that I didn’t find it earlier… but it sure did a good job of hiding on me.”

“Like it had a mind of its own”, Franci said, winking, “and didn’t want to be found.”

“Yeah”, Iris agreed. “It was just pure torture for me thinking I may never lay eyes on it ever again. All I had were a few pictures of me wearing it. I was convinced it was gone. ”

After a while, Iris’s friend, sister-in-law and daughter-in-law left one by one, but Violet remained with her mom.  They went in her bedroom to put the necklace back in its original case and in a dresser drawer —or at least that is what Violet had thought.

Iris placed the necklace into the case and handed it to her daughter. She told her, “I’m sure you’ll take good care of it.”

Violet’s jaw dropped as she sat on her parent’s king-sized bed. “Oh, Mom—no!” she exclaimed. “You can’t do that! You just found it, so why? Grandma gave it to you!”

Iris sat down beside her daughter. “I can give it to you, and I just did”, she insisted. “Anyway, it is a tradition to pass down jewelry from a mother to her firstborn daughter. And since you’re my only one, it goes to you. Someday, it can go to your daughter.”

Violet had tears in her eyes. She opened the box and smoothed her fingers over the pearls.
“Mom, you won’t lose it again. I am sure you won’t!”

“Because I’m giving it to you, dear. I know I can see it again so don’t look so guilty!” Violet gave her mom a huge hug, her growing belly pressing against her. The deed was done, for Violet knew that she couldn’t talk her mother out of things once her mind was set.

Iris shared with her, “You know that when I was born—Uncle Zack, too—my parents thought they were done with having children. My sister and brother were about the same level to each other as me and Zack were. It was like two, different families.”

Iris’s sister, Miriam, known to everyone as Mimi, was fifteen years older than the twins, and Ray Jr. was almost thirteen years older. Being nearly grown, Mimi and Ray were out on their own in a few years after the twins were born. Mimi married at nineteen and had three sons and two daughters, very much content in her role as a homemaker. Ray went into the army and remained a bachelor for the rest of his life.

“I never knew I was any different from Mimi or Ray until I overheard my Aunt Gerty talking to my mother”, she told Violet. “I mean I knew they were much older, but that was normal to me.”

“What did she say?” Violet had wondered.

“Well”, Iris explained, “I was going into the kitchen when I stopped to listen to something I had a feeling that I shouldn’t be hearing.”

Her mother was washing dishes, and Aunt Gerty was drying them with a towel and putting them away. Gerty said in her judgmental tone, “You’ve ended up just like Mother. You entered your forties and got stuck with more children to care for. How you got yourself in this mess…well…nothing you can do about it now. Those children are going to wear you down!”

Gerty was two years younger than Aster, and considered the family old maid, never walking down the aisle, herself.  She prided having her own freedom, unrestricted from a husband’s demands or the constant needs of crying or whiny children.

Aster replied to her sister, with defensive sternness, “Yes, I’ve made my bed and I’m lying in it! Do you have to be so high and mighty about it?”

“I couldn’t even move”, Iris told Violet. “I was frozen in my tracks. Probably was about eight or nine—no older than ten. I heard it loud and clear. For the first time in my life, I felt unwanted. It just never occurred to me before that my mother ever felt this way. Now I heard her admit to it. She didn’t say to my aunt that she was dead wrong.”

Iris’s mother came from a big family—the third of eight children and the oldest daughter—so she saw her mother having to bring up children well into her forties and older, and it wasn’t very appealing. Her mother never acted burdened by it, but Aster probably viewed her mother as stuck.

“That’s terrible. I don’t have to ask if that hurt.  I can see how hurt you are just in telling me”, Violet told her with sadness and compassion. “I don’t remember Aunt Gerty. I barely remember Grandma. She wasn’t ever mean to me, but she seemed like a very strict, no-nonsense woman.”  

“Oh, she was, Iris admitted. “I don’t even know how her and my father ever connected—complete opposites. Unless she changed from a young, happy lady to hard, bitter one. I don’t know. You would have loved your grandfather, though, Violet. He liked to crack jokes and was fun to be around. My mother was so stern that she never knew how to tell a joke or a funny story. Dutiful—that’s how I’d describe her. She was dutiful in her role—she did her job right—but I began to realize that she wasn’t affectionate. Except for your Aunt Mimi—their bond was there and wished I had it. Mimi was more ladylike and more like a mother’s shadow. Their personalities suited each other, I suppose.”  

Iris pulled out an old photo album out of a drawer. There was a black and white, head and shoulders portrait of her mother in her most typical look in Iris’s childhood. She had a short, stiff 1950s style bob of silvery gray hair and wore cat eye glasses. Not a hint of a smile was upon her lips—like she never knew how.

“Do you really think Grandma resented you and Uncle Zack?” Violet asked.

Iris responded, “Well, I’m sure my mother preferred having one child of each and didn’t wake up one day and say, ‘I’d like to have twins now’. I mean, she had a perfect set and my mom liked perfection. That’s all it was going to be—at least she thought. Nobody waits over a dozen years to have more. If my mother really resented getting pregnant again, now she had to deal with two screaming babies instead of one.  Must have come as quite a shock and she was about to turn forty.”

“It’s a shame, but woman have children past that age”, Violet pointed out.

“Sure, and some wait to start families until they have done some of the things they always wanted to do. But if I was to ask my mother if she wanted children that time in her life—which I never dared to—I think she’d have wanted to say, ‘not at all.’”

“It’s a shame”, Violet repeated. “Grandma should never have treated you two any differently.” Iris wasn’t trying to knock her mother, but Violet felt the need to be very protective for her against this grandmother that she barely remembered. Aster has been dead since Violet was six-years-old, and she had a foggy memory of her in her coffin, cold to the touch and very matriarchal in her navy blue dress.

Iris admitted, “I knew Mimi was her favorite, and I was my father’s favorite because I was the youngest girl. Zack and I we

Soowee, soowee. Top of our lungs
That’s how we used to call the hogs
And every time they would come,
Running just like well trained dogs,
Because they knew it meant food
Even though that food was just slop,
Those pigs have nothing like taste.
But nothing could make them stop.

Lately I have noticed human beings
Who seem to behave the same way.
They gobble the media slop they hear
Every day after mind-numbing day.
They too seem to have no taste
And smell something they really dig;
Nothing any sensible creature eats
But it seems to be ambrosia to a pig.

Squee, squee, squee they snort
And salivate, squeal and chow down
On the unpalatable pap served up
By the greedy media super-clowns.
It’s almost like they would pass up
A meal of honest, unvarnished truth
To gorge themselves to a stupor
On the crap they loved as a youth.

I’m always surprised that these folks,
This metaphoric, too human swine
Don’t go out in public in pajamas
Like worn by young neighbors of mine
With cartoon mice and supermen
Instead of the clothes of an adult.
They go vote like uninformed fools.
And current Congress is the result.

SMOKE of the fields in spring is one,
Smoke of the leaves in autumn another.
Smoke of a steel-mill roof or a battleship funnel,
They all go up in a line with a smokestack,
Or they twist ... in the slow twist ... of the wind.
  
If the north wind comes they run to the south.
If the west wind comes they run to the east.
  By this sign
  all smokes
  know each other.
Smoke of the fields in spring and leaves in autumn,
Smoke of the finished steel, chilled and blue,
By the oath of work they swear: "I know you."
  
Hunted and hissed from the center
Deep down long ago when God made us over,
Deep down are the cinders we came from-
You and I and our heads of smoke.
  
Some of the smokes God dropped on the job
Cross on the sky and count our years
And sing in the secrets of our numbers;
Sing their dawns and sing their evenings,
Sing an old log-fire song:
  
You may put the damper up,
You may put the damper down,
The smoke goes up the chimney just the same.
  
Smoke of a city sunset skyline,
Smoke of a country dusk horizon-
  They cross on the sky and count our years.
  
Smoke of a brick-red dust
  Winds on a spiral
  Out of the stacks
For a hidden and glimpsing moon.
This, said the bar-iron shed to the blooming mill,
This is the slang of coal and steel.
The day-gang hands it to the night-gang,
The night-gang hands it back.
  
Stammer at the slang of this-
Let us understand half of it.
  In the rolling mills and sheet mills,
  In the harr and boom of the blast fires,
  The smoke changes its shadow
  And men change their shadow;
  A ******, a ***, a bohunk changes.
  
  A bar of steel-it is only
Smoke at the heart of it, smoke and the blood of a man.
A runner of fire ran in it, ran out, ran somewhere else,
And left-smoke and the blood of a man
And the finished steel, chilled and blue.
  
So fire runs in, runs out, runs somewhere else again,
And the bar of steel is a gun, a wheel, a nail, a shovel,
A rudder under the sea, a steering-gear in the sky;
And always dark in the heart and through it,
  Smoke and the blood of a man.
Pittsburg, Youngstown, Gary-they make their steel with men.
  
In the blood of men and the ink of chimneys
The smoke nights write their oaths:
Smoke into steel and blood into steel;
Homestead, Braddock, Birmingham, they make their steel with men.
Smoke and blood is the mix of steel.
  
  The birdmen drone
  in the blue; it is steel
  a motor sings and zooms.
  
Steel barb-wire around The Works.
Steel guns in the holsters of the guards at the gates of The Works.
Steel ore-boats bring the loads clawed from the earth by steel, lifted and lugged by arms of steel, sung on its way by the clanking clam-shells.
The runners now, the handlers now, are steel; they dig and clutch and haul; they hoist their automatic knuckles from job to job; they are steel making steel.
Fire and dust and air fight in the furnaces; the pour is timed, the billets wriggle; the clinkers are dumped:
Liners on the sea, skyscrapers on the land; diving steel in the sea, climbing steel in the sky.
  
Finders in the dark, you Steve with a dinner bucket, you Steve clumping in the dusk on the sidewalks with an evening paper for the woman and kids, you Steve with your head wondering where we all end up-
Finders in the dark, Steve: I hook my arm in cinder sleeves; we go down the street together; it is all the same to us; you Steve and the rest of us end on the same stars; we all wear a hat in hell together, in hell or heaven.
  
Smoke nights now, Steve.
Smoke, smoke, lost in the sieves of yesterday;
Dumped again to the scoops and hooks today.
Smoke like the clocks and whistles, always.
  Smoke nights now.
  To-morrow something else.
  
Luck moons come and go:
Five men swim in a *** of red steel.
Their bones are kneaded into the bread of steel:
Their bones are knocked into coils and anvils
And the ******* plungers of sea-fighting turbines.
Look for them in the woven frame of a wireless station.
So ghosts hide in steel like heavy-armed men in mirrors.
Peepers, skulkers-they shadow-dance in laughing tombs.
They are always there and they never answer.
  
One of them said: "I like my job, the company is good to me, America is a wonderful country."
One: "Jesus, my bones ache; the company is a liar; this is a free country, like hell."
One: "I got a girl, a peach; we save up and go on a farm and raise pigs and be the boss ourselves."
And the others were roughneck singers a long ways from home.
Look for them back of a steel vault door.
  
They laugh at the cost.
They lift the birdmen into the blue.
It is steel a motor sings and zooms.
  
In the subway plugs and drums,
In the slow hydraulic drills, in gumbo or gravel,
Under dynamo shafts in the webs of armature spiders,
They shadow-dance and laugh at the cost.
  
The ovens light a red dome.
Spools of fire wind and wind.
Quadrangles of crimson sputter.
The lashes of dying maroon let down.
Fire and wind wash out the ****.
Forever the **** gets washed in fire and wind.
The anthem learned by the steel is:
  Do this or go hungry.
Look for our rust on a plow.
Listen to us in a threshing-engine razz.
Look at our job in the running wagon wheat.
  
Fire and wind wash at the ****.
Box-cars, clocks, steam-shovels, churns, pistons, boilers, scissors-
Oh, the sleeping **** from the mountains, the ****-heavy pig-iron will go down many roads.
Men will stab and shoot with it, and make butter and tunnel rivers, and mow hay in swaths, and slit hogs and skin beeves, and steer airplanes across North America, Europe, Asia, round the world.
  
Hacked from a hard rock country, broken and baked in mills and smelters, the rusty dust waits
Till the clean hard weave of its atoms cripples and blunts the drills chewing a hole in it.
The steel of its plinths and flanges is reckoned, O God, in one-millionth of an inch.
  
Once when I saw the curves of fire, the rough scarf women dancing,
Dancing out of the flues and smoke-stacks-flying hair of fire, flying feet upside down;
Buckets and baskets of fire exploding and chortling, fire running wild out of the steady and fastened ovens;
Sparks cracking a harr-harr-huff from a solar-plexus of rock-ribs of the earth taking a laugh for themselves;
Ears and noses of fire, gibbering gorilla arms of fire, gold mud-pies, gold bird-wings, red jackets riding purple mules, scarlet autocrats tumbling from the humps of camels, assassinated czars straddling vermillion balloons;
I saw then the fires flash one by one: good-by: then smoke, smoke;
And in the screens the great sisters of night and cool stars, sitting women arranging their hair,
Waiting in the sky, waiting with slow easy eyes, waiting and half-murmuring:
  "Since you know all
  and I know nothing,
  tell me what I dreamed last night."
  
Pearl cobwebs in the windy rain,
in only a flicker of wind,
are caught and lost and never known again.
  
A pool of moonshine comes and waits,
but never waits long: the wind picks up
loose gold like this and is gone.
  
A bar of steel sleeps and looks slant-eyed
on the pearl cobwebs, the pools of moonshine;
sleeps slant-eyed a million years,
sleeps with a coat of rust, a vest of moths,
a shirt of gathering sod and loam.
  
The wind never bothers ... a bar of steel.
The wind picks only .. pearl cobwebs .. pools of moonshine.

I used to think in numbers.
1: There’s one of me. Alone. Plus
4: my family. Still 1, but 5, or
4 plus 1; that’s me, alone.
I used to think in numbers.
36: That’s weeks of school;
That’s weeks of math class,
math class, calculator;
Father, Son, and Calculator.
Trinity: the holy three, the three, the
3 times 36: that’s 108.
I used to think in numbers.
Math class, algebra, room 108.
I hate, I hate, I love, I hate,
I hate the way they look at me.
They look at me like man at dog,
like planet hogs,
throw books at me like cannons cogged
at ninety-minute intervals at cinder walls
until I fault and cringe and fall, and fall
like London Bridge and crash, and fall like
Blown-out glass gone back to class. I pass the
tests and cash regrets like rent checks
bounced across the bridge that they knocked down.
Because I used to think in numbers, yeah,
but now?

        Well, sure. Abrasions hurt.
And yeah, we all want friends.
But at least equations work
and keep their balance on both ends.
So I will rock this scatter-plot of
social contract to its peak until
my hands are red meat.
I am no dead beat;
I hold the world record for blood lost
to a summer camp spread sheet.

But then,
but then somewhere along that number line,
a 6 stared down its stage fright when just
1, 2, 3, 4, 5, 6, 7 days before the show,
I met a girl who barred my better judgment
like a cage fight,
and thank God she did,
because for once, I put away the calculator,
and I listened to her voice,
and it sounded like…
well, it sounded like it sounded.
And for once, I sat and wrote about the things
that can’t be counted.
I surrendered to the cage fight,
and I fell into a deep hole.
And to be honest,

I don’t miss spreadsheet summers,
‘cause it’s easier to keep cool.
I used to think in numbers,
yeah,
but now I think in people.

JESUS emptied the devils of one man into forty hogs and the hogs took the edge of a high rock and dropped off and down into the sea: a mob.

The sheep on the hills of Australia, blundering fourfooted in the sunset mist to the dark, they go one way, they hunt one sleep, they find one pocket of grass for all.

Karnak? Pyramids? Sphinx paws tall as a coolie? Tombs kept for kings and sacred cows? A mob.

Young roast pigs and naked dancing girls of Belshazzar, the room where a thousand sat guzzling when a hand wrote: Mene, mene, tekel, upharsin? A mob.

The honeycomb of green that won the sun as the Hanging Gardens of Nineveh, flew to its shape at the hands of a mob that followed the fingers of Nebuchadnezzar: a mob of one hand and one plan.

Stones of a circle of hills at Athens, staircases of a mountain in Peru, scattered clans of marble dragons in China: each a mob on the rim of a sunrise: hammers and wagons have them now.

Locks and gates of Panama? The Union Pacific crossing deserts and tunneling mountains? The Woolworth on land and the Titanic at sea? Lighthouses blinking a coast line from Labrador to Key West? Pigiron bars piled on a barge whistling in a fog off Sheboygan? A mob: hammers and wagons have them to-morrow.

The mob? A typhoon tearing loose an island from thousand-year moorings and bastions, shooting a volcanic ash with a fire tongue that licks up cities and peoples. Layers of worms eating rocks and forming loam and valley floors for potatoes, wheat, watermelons.

The mob? A jag of lightning, a geyser, a gravel mass loosening...

The mob ... kills or builds ... the mob is Attila or Ghengis Khan, the mob is Napoleon, Lincoln.

I am born in the mob-I die in the mob-the same goes for you-I don't care who you are.

I cross the sheets of fire in No Man's land for you, my brother-I slip a steel tooth into your throat, you my brother-I die for you and I **** you-It is a twisted and gnarled thing, a crimson wool:
                One more arch of stars,
                In the night of our mist,
                In the night of our tears.

Writing,
for you
--is a river
a revelation
a sleepless constant gift-- so out-to-see
in a flimsy boat
you built by mathematic rote and laced with ivy
to hold together ******* boards of crazy
with the ease of breathing
Your giant storehouse
wealth-of-words
Your granary of data
the grist of
Music
You imagine wine
from mind
almost without limits
You command it all!
Dancing
in the grapes of moonlight
with tides of words
Their endless-- almost blind
come-ons and gone
in waves!

(my sullen heart)....
still stays

I am digging here
in a low spot
seeking water
with robins and a sparrow
in the puddles
Awaiting rain
Flipping-off the muddy shallows with our wings
I suppose their songs
will count for something
Tasting happenstance
of bugs in flight
maybe catch a firefly or two
at the edge of day
Tearing half a worm
from weeds...the brown of drying grass
near the small lagoon
collecting
'neath my car
Hiding
in an afternoon
too warm for flight
resorting to a place of shade
to smell the fresh-mown
sweet grass

Riding with my training-wheels
in the parade
Like a fool between those bikers' “Hogs”
Turning down my street
by mistake
laughing at the dead-end
of it all

Pulling poetry out my ***
_

by Ashley Capps

Ophelia, when she died,
lay in the water like the river’s bride, all pale
and stark and beautiful against the somber rocks,
her hair an endless golden ceremony.
She made the water sing for her; it flowed
over her folded arms.

Not so my father’s sister Karen,
swollen in a day-old tub of water
when they found her,
needle tucked into the fold of her arm,
her last thing: a wing.

So everything went as nameless as the men
who lifted her naked from the tub,
or those who rolled her
into the mouth of the furnace,
which is what you get
when you don’t get a service,
when your mother’s years of grief turn
last to rage: I won’t pay for it.
Leave me out of it.

And even though they finally said
it wasn’t suicide; a mistake—
no one knew what to do
with all of that anger,
or in the end how not to blame her.

Even now, in her unmarked container.

*


People once believed a deeper reason, some dark secret
motivation to the way the lemmings threw themselves
en masse into the sea. Were they weary
of their lives; could they, too, despair?
Or like those second-vessel swine
when Jesus exorcised two babbling men of their demons,
driving the demons through a pack of bewildered hogs—
the way they plunged?

The truth we know now: they leave when food is scarce,
when they’ve grown too many;
believe the roads they follow
lead to new meadows, a place to start over.

I think of Karen, feeding
and feeding her veins, how it is possible
she saw us all suddenly there—miraculous
and festive on some bright and other shore,
like the life she had been swimming toward
all along, trying to get right.
Like those sailors long ago,
that tropical disease, calenture—
when, far from everything they knew,
men grew sometimes delirious
and mistook the waving sea for green fields.
Rejoicing, they leapt overboard,
and so were lost forever,
even though they thought it was real, though
they thought they were going home.

—by Ashley Capps

Living a life full of shadows, full of echoes
Voices from my past bellows
In my head and in my heart
They seem to want to tear me apart
To make me pay a price I don't owe
The devil put a price on my soul
He's tried to crush me
Rush me
Brush me aside
Make me hide
God's angels join in
Chasing away any friend

I'm not ment for heaven or hell
I just ride the growing swell
Until I'm dropped into the hole
Where all the unwanted souls go
The black abyss will be a welcome sight
No longer having to put up a fight
There in the darkness I'll dwell in delight
Far from hell's dogs
Or those heavenly hogs

Whining dog...we just went outside.
Wading through internet DATs and cogs and bandwidth hogs, outside still raining cats and dogs.
double-click trawling pics and blogs searching for remedies and laws that inhibit logs to saw.
Wide-eyed, face down I sprawl still awake, redefining  my character flaws,
fearing my falling into the trappings of urban sprawl or
investing your mind then hitting the wall.
Lose or draw,
a new artistic affair or creative outlet dares you daily to fall.
"Late" is now "Early"
Dawn's illuminating looming, night to be soon consumed.
Insomnia vacuums,
drama typhoons,
crooning tunes....
It'll be June soon.
Feeling marooned waiting for the opportune...well, I'm still waiting,
Whining dog...we just went outside...Fine!
Rain drains backlogged in the AM black...****** dog. Decide! He takes his time.
Three nights of showers,
cowering under this street corner lighted power tower,
unrequited efforts to stay dry.
Moon still high, clouded bright behind the wetness...
Wait, what if I see "her"?
Should I dare bare my soul, take control, or say simply "Hello?" just to know?
Do I want to know "yes" or "no"?
Grandmother always said "The truth is the most powerful force you'll ever face, trace, disgrace or embrace"
I remember my last pursuance of the truth.
You remember college...
The ubiquitous responsibility of apologies for the skewed knowledge sleuth colleges preclude.
A four, no five year matterless smattering reviewing the hows, whys and whos who of Impressionist imbued hues;
the politics of subdued Katmandu coups,
Homer's muses; many a Siren sank the boats I crewed;
news crews that flew the bird flu news coop and recouped,
skewed suing over Golden Arch morning brew,
tragedies, sonnets, and nothing adieus,
spewed formulas and equations notecard ques,
standing in long line registration cues every time we change Major views,
all fueled by a boozing, smokey ballyhoo of Tullamore Dew, hopped brews, tattoos, crude food, music muses and quoted virtues.
What’s even true and what would you do if you knew, ****** logic class…
And alas, you're through! “Here’s your paper, now choose.”
The ****** inequity of iniquity dams me so I can't break free.
Such an abrupt disruption could erupt great corruption,
the self-destruction is tempting, but doesn't pay rent.
Not today, but maybe soon.
June's coming...dryer and higher noon.

R.Craig David- copyright 2008
Redux Edition April 1st, 2013
Inspired by rain, blame shame, the game and a cute girl just 3 doors down that still remains a stranger in my old college town.

Tiny hogs *******
away a bright little dream
bit transparent screens.

When midnight comes a host of dogs and men
Go out and track the badger to his den,
And put a sack within the hole, and lie
Till the old grunting badger passes by.
He comes an hears—they let the strongest loose.
The old fox gears the noise and drops the goose.
The poacher shoots and hurries from the cry,
And the old hare half wounded buzzes by.
They get a forked stick to bear him down
And clap the dogs and take him to the town,
And bait him all the day with many dogs,
And laugh and shout and fright the scampering hogs.
He runs along and bites at all he meets:
They shout and hollo down the noisy streets.

He turns about to face the loud uproar
And drives the rebels to their very door.
The frequent stone is hurled where’er they go;
When badgers fight, then everyone’s a foe.
The dogs are clapped and urged to join the fray’
The badger turns and drives them all away.
Though scarcely half as big, demure and small,
He fights with dogs for hours and beats them all.
The heavy mastiff, savage in the fray,
Lies down and licks his feet and turns away.
The bulldog knows his match and waxes cold,
The badger grins and never leaves his hold.
He drives the crowd and follows at their heels
And bites them through—the drunkard swears and reels

The frighted women take the boys away,
The blackguard laughs and hurries on the fray.
He tries to reach the woods, and awkward race,
But sticks and cudgels quickly stop the chase.
He turns again and drives the noisy crowd
And beats the many dogs in noises loud.
He drives away and beats them every one,
And then they loose them all and set them on.
He falls as dead and kicked by boys and men,
Then starts and grins and drives the crowd again;
Till kicked and torn and beaten out he lies
And leaves his hold and crackles, groans, and dies.

If stone is breakable then why is a stone hearted person less likely to take emotional damage.
Does this mean that someone with a stone heart will only be hurt more when something gets though to them.

It would be nearly impossible to have a cold, frozen heart unless you were dead, because wouldn't your body heat warm your heart and thaw it out.

I personally would prefer a paper heart, although they are the most likely to burn and your blood would most likely saturate it, which I guess would stop it from burning so that's good. A paper heart would probably be easily broken as paper is easily torn, but I guess you could do origami with it, but then I guess you'd die because you wouldn't have a heart.

So I guess that maybe a flesh heart is the best. ( **** I was really hoping that origami heart idea would catch on, like adding the word hogs onto the end of other words to make them sound cooler, all the cool kids are doing it-hogs, or so I'm telling myself)

Hiding behind text messages
we believe immunizes the heart
is a forced loneliness
a perpetual confinement
in a dark room, with low music
which only breeds madness

In such famine, the body desires touch
the soul craves fellowship
the mind requires intellectualism
laughs between true friends
and shared tears
of kindred spirits

Once we can no longer bear starvation
comes the gluttonous feast
As wretched hogs at a trough
any form of attention is consumed
to fill the growing chasm of
worthlessness

Blinded by false admiration on backlit screens
the body, the soul, and the mind savors
cheap flattery of dark temptations
Vulgarity drools thick as blood from blackened lips
The sweet tinge of grief
that bitter hit of hatred
spirals descent into the dark void
that forever hides the light

Dancers can't have eating disorders.
We are meant to be thin.
We are made this way
We are made to hide food
to starve
to throw it up
As long as no one sees us
As long as we can fake it
Cause as dancers
We have to fake it till we make it
And we aren't going to make
it if we are as fat as pigs.
People don't like watching hogs dance.
Don't worry the mirrors will tell us if we are the size of a stick or a stump.
So no I don't have an eating disorder
Dancers can't have those.
We are created this way.

{SM}

By the run of wine, by Champagne's flow,
Swine did dine and watch the show,
'tween Squelch and Squeal, they Screamed, "Bravo!"
As merry went, did jolly go,

They drink their drinks, they oinked along,
To cabarets enchanting song,
So hypnotized, it won't be long,
'til Something goes horribly wrong....

For how were the jolly hogs to know
That butchers sat in the fifth row?
As blades grew sharp, their haste did grow,
Impatient to get on the go,

The sows were deafened by the tune,
The boars blinded by drunkards view,
But tact is what the butchers do,
But time at hand is profit due...  

So nice the price of pork these days,
And chops and ribs are all the craze,
A roast in beer with honey glaze...
Makes fortunes for the butchers blades.

Had the swine been wise, for moments thought,
To greed they are cash to caught,
They could have run, they could have fought
And not been swine to the onslaught,

But they danced and sang, stupid and heavy
As butchers killed the swine of many,
That now sit in pieces, at a deli,
Their wage in wallet, meat in belly.

You hear those saint fainted swines? Slopping around ****** in muck. For hogs seeking bogs, bespatter the pink with thick mire. Dull sluggish foul smelled trolls, basking a bridges under cove, feasting on distant mare. But old boar’s belly’s’ under grown, he has not self meat to spare. Go elsewhere wise butcher. Go elsewhere. Grieve not thy ******* of purification, instead satisfactory of sales. He has not the soul to touch rare blood of a bessy hung by hook. Sars covered hands, sars drenched the feet. Not here butcher, elsewhere lay menial meat.

The world may end tomorrow  but  tonight will  not
you keep shifting and kicking and snorting and  if  I
could see  in  the dark I might confirm it  is you  and
not  that  thing in the attic that  I saw earlier  the one
of the three lying flat on its belly with the elongated
snout and tusks,  I know I don’t see very well  and I
need to be  fitted  for  glasses   so  I  tell  myself  that
what I see is bigger  than what you see  I  believe its
called an  “Ames  Room”  an   optical   illusion   that
makes a big person small  and a small person big its
just the  angle  of the view  so maybe  what  I  see  is
what  you see  just bigger  and in fact your view just
recently   changed    when    you     started   wearing
prescription  glasses  remember  the day you picked
them  up   you  backed   your  car   into  another  car
another  trick  of  "angulated" vision  I  suppose  but
vision  isn’t  my  main  concern  right  now   I  mean
partially  but  more  important  I  wish  your  noises
would  cease  being   noises   and  sound  more   like
breathing so I might see that you are still you  in the
creeping light of dawn and smile and close my eyes
and rest for maybe 30 minutes more before  its  time
to rise and make the coffee.

I sit on a long wooden balance beam
Asking *"please, just give me a break."

There are colors yet unknown in my finite view of Earth , artistic wonders undiscovered , to this day quite alone .. Geometric shapes where Sweetgum trees silhouette the majestic Dawn .. Enchantment with every turn go I , to study my religion by day , collect my thoughts and observations by night .. To interplay among life undiscovered  , to revel someday in its happenstance ... The weathered profiles of a million botanicals unknown or forgotten . An ocean whose riddles remain unsolved , seventy percent of our precious world where exploration has barely scratched the surface .. Dark , rainy afternoons reconfigured with burst of light , the surface of oceans ever mysterious , highlighted by the Moon on hazy nights .. I flew over Moccasin Creek to sample fresh water and take in mountain greenery ..Walked the treetops of the Oconee Forest to witness the floor of the woodlands as a squirrel , crow or eagle ..Slithered along the Georgia clay like a Black Racer , cautiously studied each image before me with the curiosity of a Red fox .. Enthralled with the Savannah Dancers of Tybee Island , precious gulls , blue ***** and brown pelicans .. Welcome every change of season , Dark pine thickets tell of death and renewal ...

                                                          II­
Jagged , blue grass approaches , green straw tops , quiet
cinnamon needle oceans connected by silver streak spider webbing ..
Warm winds divide earthen cover , lifeless termite ridden forefathers lay in testament to bitter destruction ... Our Noon star nourishes bold , sylvan seedlings , beneath her languishing February predicament however ... Grassy field roads lay locked in period of service , daylight path corrections , marble land buoy sentries within thistle , dandelion and Sawgrass .. Gold , knee high cover caresses , reaching skyward beside the field road , lying forgotten , left to the mercy of kudzu , marble and granite .. Scrags reclaim rusted encroachments , tin in battle with the tepid wail of afternoon wind as stick pines mimic the Appalachians , gently roll toward the awaiting lavender blue horizon ... As pasture returns to woodlands , blanketed in hues of brown with forest echoes , carry whispered voices into tomorrow ... Lively crows live to tell their wintry tale , resting among scuttled pulp wood entanglements , to be born again , covered in the pity of lingering broom sage ...                                                              ­                                                  

                                                        III    ­                                                                 ­Across the edge of twilight where soft lavender hues lay at
rest atop her riparian horizon .. Dandelion blooms pepper the
red clay embankments , lone bucks survey brown fields of harvested
corn ..Mourning doves cry for the end of day , wild hogs lay tracks at the rivers edge . Toms sing of their loneliness  , persimmons lay bitter along country lanes , the meat of Chestnut not harvested , the final years of tall , stately Pecans go shamefully unnoticed .. Barbed wire divisions etch Winter burned pasture , Morgans and Appaloosas graze the fertile , ambrosial green narrows .. Manmade pools dot the Crescent lady , cattle ditches appear along creeks and rivers holding Rock bass , Shell ******* , Yellowbellies and Bluegills ferociously hunting the waters surface , Alligator Snappers and Mudcats work the turbulent bottoms ... Hayfields , peach and muscadine arbors flourish , boiled peanuts and sorghum syrup , collards and sweet potatoes ...Blackberry , grape , watermelon and okra ..Water oaks have taken command of the front yard ,  moss and honeysuckle line fence rows , flowing patches of wild grass and snake berry , rocks from Cotton Indian Creeks line hand built flower beds and walkways .. Rhode Island Reds , Buff Orpington's and White Leghorns work these plantations . Sassafras and dewberry , wild plum and rabbit tobaccos . Gardenia , Crape Myrtle , Magnolia , Pine and Chestnut trees  flourish to this day .. The Old Bridge behind Millers Mill still visible , what stories this elder pass could tell before the confluence of the Indian Creeks .. Crayfish , Bream , Largemouth bass , Crappie , Yellow perch and Flathead catfish ! The tale of the Crescent lady lives forever and ever ..

working "backwards" from something already
started in: collateral and the chicken scratching exercise...

how can you not have a hard-on
for mel gibson's beard...
in... the professor and the madman -
detailing the... etymological events
surrounding something more dear to me...
than the pslams of king david
or the: wisdoms of king solomon...
the wisdom: thus derived...
after a man becomes: ostensibly...
bored with a harem...
that would become the blueprint
of envy for future men of the world...

alexander the great...
muhammad...
           it's not a bible... it's a...
dic-tio-nary... stop the press...
pluck all the feathers from all the magpies
in the land... tell Xerxes to stop
whistling at the sea and...
can we just stop with the b.d.s.m.
of the waves?

        head: rotondo! spin ****** spin!
anything in the "pejorative"...
god... this moloch of grammar of a deity...
we need to ensure there's a scrutiny
of each and every, yes: every word...
we need to sieve them through
the categories!

i put to mind:
     it's a comparison of catchphrases...
the war hogs cite it as:
collateral damage...
the civilian will rummage and pluck out:
the... "rhetorical question"...
can... you... put... rhetoric: to a question?
can a rhetorical question:
actually exist... like a unicorn can?
oh wait... kangaroo yes...
a platypus... oh a double yes...

can you... can you... "rhetorical question"?
what the hell is a rhetorical question:
if not, something akin to a fashion statement...
of the calibre: a short-black-'un...
a coco chanel mini-skirt...

what is... a rhetorical question?
a question is, i hope...
something that manages to endorse
the dialectic...
and anyone who engages with a dialectic
will / or should know:
there's no rhetorical question...
when being asked:
one doesn't... "somehow"...
find a magic plot of a forest with smurfs...
and goes off on a tangent speaking...
persuasively...
a rhetoric question isn't a question
at all...

        collateral damage among the war hogs
is a rhetorical question among the civilians...

the story of professor james murray
and dr. william minor...
and to think... the alienists (psychiatrists)
at the time thought that...
enforced regurgitation...
could animate the body to conjure up
an already exhausted soul...
what ancient romans did for masochistic pleasure:
bulimia in the rudiment of:
a fork of fingers agitating the throat
and subsequently the oesophagus
to: bring back... what was already in fractions...

some call it soul, some call it x... y...
that... indispensable will: for animation...
to perform the 80 year old (in total) magic trick
of being: immune...
to the ills and forgivings of others...
a standard praise of solipsism...
as a thought-experiment... nothing more...
from which one can...
come and go as freely as one can vote
in a democracy...

come when summoned... leave when...
not made into any greater necessity other than:
to make fair of the count...

truly: a hard-on for mel gibson's beard...
some can claim ***** envy...
i have beard envy...
like to-hat envy when someone is 5'11"
and i'm still the same old 6'2"...

rhetorical question... i always found questions
to be... of a... dialectical nature...
i can hardly think of a rhetorical question
or rhetorical answer...
a rhetorical question implies:
the questioner has more to say...
than the person intended to answer...
i can hardly anyone burn through oration
when being posed a question...
a question: per se... is not something one
can be certain about: esp. when giving a reply...

a rhetorical question is a k.f.c. mouse urban
myth... a bit like collateral damage:
did we destroy a bullet making factory?
no... but we killed some civilians...
or some sort of entreating variation of worshipping
the drugging and bullet dodging machinery
of: cold the bullet bit...

how can you pose a rhetorical question?
is someone about to make a rhetorical answer?
robots would behave within rhetorical confines
of being asked an absolute:
error message - replying with an absolute yes / no...

a rhetorical question would beg
for a ore rotundo: with a voice filled with assurance...
the question is imposed...
with a curiosity... at best: with doubt...
uncertainty... at worst: with a negation:
waiting for the wrong answer...
but no dialectic is ever to be established
working from a rhetorical question...
a socrates would be:
the dialectical surgeon...
the affair of the question doesn't go beyond...
whoever is questioning:

oh!           oh!
a rhetorical question is... not for someone
to address the question...
but a pursuit of the questioner to continue asking
question...
a rhetorical question is... to further the lineage
of questions... to be therefore "rhetorical"
is to inquire more... rather than reply with
a rhetorical certainty...
a rhetorical question isn't a question...
it's a cascade of questions...

******* and the myth of the gateway...
after **** i did the next best thing...
i rediscovered bourbon as ms. amber...
that once you watch just a little bit of it...
you will turn toward finding out more graphic
content...
so... me looking out for the most *******
music: combichrist... :wumpscut,
vomito *****...
                  *****... graphic... *******?
or... gloryhole ***** *******...
               or pregnant women: so *****...
       or japanese gravure models...
"problem" with japanese models...
              *** bots? aren't they here already...
with these porcelain mannequins?
touch a hand it breaks or fizzles into...
ash...
  as happens when you've been at "it"...
puritanical victorian von krafft-ebbing...
i sometimes know what the ******* is for...
i hardly think it necessary to listen to what's
"moral" from circumcised... gentile...
north-h'americans...
                    jerking off since aged 8...
brain rot started way back... in 1994...
which is before the internet...
   gateway... my ***...
         japanese gravure and Agnolo Bronzino...

who needs "more"... when you have a mel gibson
beard-envy!

the chair can remain a chair...
but there's a termite colony wriggling in it...
i don't need to see it...
i just need to hear it...
combichrist: like to thank my buddies,
    today i woke to the rain of blood...
                   all pain is gone...
       cheap thrill seeing heaven:
better tamed - attempting to listen to the litanies
escaping hell...
a written word in hell is like...
     because the hands are being crushed
in monkey-wrenches and there's Spinoza
cackling...

   who needs more ******* and ride-me-timmy
the horses' laugh when music can
compensate... and otherwise find the better
kind of: the feeding outlet...

a rhetorical question: is that for the answer to
be tinged with rhetorical gravitas?
no... then every question socrates every posed
what a rhetorical question:
and the concern for dialectics is a dummy...
which is probably true: reading what sort
of answers those put under the scrutiny give:
is response...

i must be wrong: a rhetorical question:
is not simply a question...
a rhetorical question could perhaps give
the person answering a spark of rhetoric...
a rhetorical question should:
by default... provide you with a rhetorical
answer... but all it does is...
further a second question...
and a third... a fourth...
    so more for the "famous" dialectic...
when all that seems to happen...
one only becomes a rhetorician: via question...
rather than merely: talking...

the rhetorical question is therefore
the basis of "dialectics": which is no basis for
dialectics per se...
it's the persuaded question-prone antagonist:
who is hardly the narrator...
and the answer is always the same:
shut up! i'm talking over you...
i'll just disguise this whole affair in a question
and minor answer cited: a perfectly well
equipped yes: or no... will suffice:
or a nod of approval worded...
                  socrates the bane of sophists
and rhetoricians...
a subtle project... you are not interrupted...
when to stress an invocation
of fake curiosity: by asking a question...
the sort of question...
a rhetorical question... that will not usurp
your original: intent monologue of sophistry...

an echo is all the rave when it comes
to a rhetorical question...
a rhetorical question feeds of: yes / no answers...
and there i was thinking that a rhetorical
question implies:
whoever answers... will break into
a rhetorical answer... verbatim the quran
akin to a hafiz! nope...
a rhetorical question is a punctuation mark:
one hopes... of what a rhetorician would usually do...
when having a voice in the congregation
of docile elders...

socrates: the elder... found an audience
among the athenian young... because?
        he stressed that rhetoric had to have overtones
of questioning: without really questioning...
what sort of "dialectic" is there to be had:
what: dialogue...
when... the dialogue leaves one side with
a narrator and protagonist semblance?
and the characters: ergo? are nothing but nail-heads
for the hammer to plough through?!

oddly enough... Plato ****** off Socrates so
hard... that Socrates became...
the first non-hasidi...
to be circumcised... by pursed lips...
yep... Plato ****** off Socrates' *******:
right off... thinking the phallus...
was in the no-man's land of comparsion
to a chicken drum-stick!
antagonism: of how favourable the "dialogues"
are cited...
i've had a similar experience...
i really don't know what this... "e-prostitution"
is about...
before the internet... i am probably one of
the last few who blushed when buying a magazine
at the newsagent with all them *******...
and: curated ***** hairs:
less of a chin and more...
the pelvic "hubris" / canvas...

                 brothel: tick...
strip-club: tick...
              what's given everyone a hot-cross bun
shivers...
          "never paid"... but otherwise paid:
for the insinuation...
and the insinuation was: a date...
look at it as... no ******* dysfunction...
and no money for a date...
straight back into the salt mines
and trench digging... no time for honey:
oh boobie and frankly my dear:
i don't drown herrings...

       a rhetorical question is also a compound-misnomer...
yep... the idea of a rhetorical-question
is a compound-misnomer:

take me on a chain to the goblet...
pay the extra to rid the matter:
seven tongues instead of one...
gorging on the inquiry of Gomorrah...
to better couplet to the banquet of *****!
that ***** treat us Gomorrah civically dutied:
as worse than rats and shadows...
and the plebs just entertain...
       what would ever come from
the mouth of ***** as:
       prized bulls of drag-queen story-hour...
shame those without foreskins...
comparison...
a o.k. to be gay...
                what's date-night?
is that... something -esque having coupled
a mahjong with a niqab?!
why don't all the muslim women take
the best route... join the surgeon mask-equipped
crowds... and no... simple forget the hijab...
donning the full niqab?!
why?!

who needs seeking more depraved *****
beside... Bronzino and japanese gravure models...
and all that elasticity of:
electricity passing through an iron maiden
via... combichrist: sent to destroy...
hardly "destroy": cultivate...
recycle... call the parasites into hubris *******
haitus...

also "in response" to: the kinks and the...
"celibate" priesthood...
        because: you know, the kinks and all that:
******* music and fine detaiks of:
when the butcher will be cited...
looking at a slab of meat...
and calling a harem of pigs...
that floral... pinky tidbit "in the middle":
avert your eyes:
how god's finger touched adam's...
and via what...

it doesn't come more ******* than...
drinking lukewarm whiskey...
that i can stand...
but if anyone's drinking ***** not suberged
into gomme syrop consistency...
there's: should we say...
a... "spot of bother"...

              i wouldn't mind...
that bourbon as a quiet distinct perfume
associated with brothels...
and it's just that...
          but... e-prostitution: for the "tease"?
the wrath of adam:
sort of ******* in between:
when the ****** brigade comes along
and stops at thge madonna-***** complex?
i'm scratching my head:
either i'm thinking of a ? or my i.q.
one internet sight should be in existance...
dedicated... to the unabashed puritanism
of dogs licking their genitals...
because: a priori: who would have "known"...

and also to chronicle the sights and wonders
of... KMFDM stand-out tracks...
but a sight levereging "*****" of...
dogs teasing testicles with "prudence"
of a... the fastest waggle in all of: "arizona"...
chant!
chant! F.S.A. - which makes it more and less:
"united"
   the federal states of h'america...
     number 1 subscriber...
albert razin...
    is this... is this... what "integration" looks like?
like hell i'll give up what's
festering knee-deep at the rim...
i'll talk english just fine with
the natives... but when the natives:
tell me that:
true integration is a complete whitewash
of your "former" identity: you
integrate by "forgetting" your mother tongue...
i have... this juggernaut... craze-fit in
my eyes...
   then, why, don't, you, send, me,
a, postcard, from france: IN FWENCH!
this global mantra of: english solves everything...
not unless you're of a Dutch or
Scandinavian origin...
you have already learned this...
"lingua franca": this l'inglese...
lucky for the WELSH! who are you...
you anglo-saxon globalist mongrel?!
where is your anglo- counterfeit bypasser...
UND... wohin ist ihr Sachsen?
and where is your saxony: saxon?
have i an axe to better grind?
           jude-nomade-mischling!
you're no better than your claim!
ficken-jude-sächsisch-anglo-anlage-gehenvolk...
all this: for the insomnia parade?!
24 / 7 news reels?!
         alles diese... für was?!

if they only spoke two languages...
perhaps... less retards spreading the "crown":
licking ice-cream tubs...
open / the end... closed: also the end...
verzögernzüchtung...
          ******-breeding...
        ­                i have to admit... it sounds as crisp as:
gin
                                   &                        tonic...
and lapses into epilepsy...
because the "hierarchy" says: such words...
such words: no no: with a BIG no-no
when used...

                here too, i... will ****...
on every prematurely demented kin of moi...
because... the hierarchy of termites and of ants...
dictates so... while the congregation of:
man and ape... isn't sure... what animal is worth
borrowing a metaphor from!
to... "progress"...
like little **** and please staging all that
copernican ******* ever did...
the surgical masks...
shot dead in the Philippines
for not wearing one... "stigma" and the niqab...
at least the cherries on these cream-pies...
could at least turn proper ortho-and-doxing...
with a niqab...
pwetty pwease...  

all the airs and graces...
some nut would have made it this far...
Kierkegaard as proof...
"you don't think before you speak":
i rather, i much rather entertain
the freedom to think... and extend this freedom
into writing...
before i have to eat my own *****
when having to place editorial pressures
on having made video content...
i much prefer the ignoble citation:
and the devil has had these hands busy-bodied...
and all the blessings to the devil for that...
because...
is there such a concept as:
an idle tongue?

               i don't know:
i would like to, though...
live a month's worth of living...
on a salary of a... h'american...
             preacher...
under communism:
no brain-drain...
not best of the best will ever rise...
but at the same time...
so too will not the mediocre...
i thought it could be cited at:
the meek shall inherit the earth...
   talk about a disparity between
the meek and the mediocre...

if only i was the "correct" pronoun
to want: but i do...
have the capacity and enough excuses...
to start donning...
corsets and... high-heel shoes...
then again: if i joined the army...
nothing stand-out...
not uniforms to stand out within
a caste system... uniforms for
the napoleonic era... and that noting me as...
quick-off-the-mark...
suregon of the needle... and quiffs...
until the wehrmacht period...

  ha! the poles on horseback: "once upon a time"
looked bewildering...
the charge of the Krojanty...
well... horses do not seem that bad...
the poles on horses...
when back west...
you had the Dutch... on bicycles...
oh sure... the horse was somehow the "joke"...
but the bicycle was...
   like the pope appeasing the fuhrer...
and "they" would wonder:
        who's who....
the bicycle is gone...
who's who on the left-over peddlestool?!
postman pat proof:
  i think i oops... forgot to detail
the whole idea and economy with...
licking something... beside...
   that quick-and-made-essential:
              amnesia rubric count... which was?

yep... the poles on horseback look
and will forever look more ridiculous...
than... the dutch defence...
on... ha ha! bicycles!

read my proof: am i... "integrated"
is my: english not a word salad:
the scrutiny will come from someone sobering
up from an irish heritage...
is there a niqab or a bindi or a turban on me?
is my language still a word salad?
am i, integrated... "enough"...
not enough i dare say...

       well... about time these natives
learn some postcard and tourisms' worth
of second lingo... italian would be just fine...
since... they are still... hung up on being
so pround of being the afghanistan of the roman
empire...
          and... where is afghanistan when is comes
to... the house of saud and arabia?
i'd grovel... for that kind of goat herders...
and... pashtun poetics!
   queen of the floral: no **** mind to spare...
and if only this wasn't...
rummaging in essex...
more for the cause! new york!
n'aaaaaah...
                
                        i speak for the devil i speak
in about 12... with variations of invocation...
but this is not god speaking...
i am... not a monolingual pre-nomad arab taste...
sitting on a coal-**** turning liquid into
oil: "all of a sudden"...

Often, the shallows are a good place to be,
Once out of there, no going back, not ever,
Once noticed, return is virtually impossible,
And all pedestals are shaky, no roots: none!

Ensure buoyancy, for one must sink or swim,
So much expected, so much demanded,
One may think shallows are unkind, a waste,
They are safe, though, friendly, pleasant,
Conducive company encouraging creation.

Once out of them, away from safe shores,
New challenges arise, new horizons, all new,
Making one desperate not to fail, not to sink,
One must swim, swim for your life; swim hard,
For it hurts to disappoint, it hurts so much.

Without the grassy bank and sandy bottom,
Creation is difficult, beware the sharks: teeth,
Scoot around the crocs, teeth snapping: biting,
Desiring your tender unsuspecting flesh!

See the glory-hogs wallowing, laughing at you,
Howling with derision; they know nothing,
Stupid hacks, every one of them, frolicking,
Performing in the deep, dark, dangerous-depths,
Unaware their blood will soon feed others,
The swirling waters running red: eventually.

Safer here with golden fish and humble toads,
Prometheus swims here as well as anywhere,
Savour the shallows, dance with creativity,
If you must leave, identity switch required,
Even then, watch sharks and crocs: teeth biting,
Often, the shallows are a good place to be.

©Paul Chafer 2014

I dreamt of a field of flowers
Where white crosses are planted
Families still together
Content with life
Genuine grins covering faces

I dreamt of full bellies
On the dark continent
Soccer ***** rolling between feet
Of children who also dream
Of lives as happy as theirs

I dreamt of fresh air
And clean water and growing forests
The cleanliness of nature unrivaled
As animals mingled around the watering hole
Roaming freely with homes

But I awoke and saw war
Fires melting the lives of millions
Dropping bombshells of grief
Destroying homes from within
And children dead or weeping

I awoke and saw despair
Fat bellied greed hogs
Rollin in muddy money pits
While babies died without food
And an entire land stripped and sold

I awoke amd saw nothing
But smoke stacks emitting poison
And the homes of the forest creatures
Being carried into lumber mills
And brown water filling drinking glasses

This dot kami’s ‘Nam when I see you’re all neutral
To futile lords still passin’ Acts of Removal
Pretentious performers as if upon stages
Of casting call characters caught up in cages
Like ****** who off-shore **** the poor on vacations
I’m diggin’ up dirt on the founders’ plantations
When bail-outs are ballots and bullets are mallets
Why not be a rabbit hole in Hefner’s palace?
And dare call it talent, a gift or a passion
Just model behavior for slaves to a fashion
Show running the breadlines when crimes are a dime
In the dozens of ***** Weinsteins on your minds

Instead of the felons when court is in Sessions
Instead of the under-oath treason confessions
In rapid succession they feed you the buzz
Until nobody cares what the debt ceiling was
When the roof has been raised for the privatize party
The right wants us dead and the left shows up tardy
I’m sorry “you people” are making me sick
Guess I’ll just pop a pill from the cabinet pick
Like has-been Michael Flynn’s and these Ex-Tillersons
Resource hogs cloggin’ bogs up with smogs of odd jobs
They’re the slEASIEST Slytherins still seemin’ Jesus
Pro-life until *** aid is the fetus
Egregious excesses of who the **** needs this
Huge 2nd place trophy wife ivory tower
Big guns for a stickless diplomacy coward

Here’s my ******* tricklin’ down your faces
You blatantly ****** repeal and replacists
You war-profiteering, grand **** of old Racists and fakers, uranium cakers
Still stuffing the stockings of doomsday clock-makers
With melting North Pole lumps of coal-hearted cash
‘Till every last Christmas trees nothing but ash
As the fascist machine builds its pyramid scheme
On the dreams of the themes of your Disney World screen
But the credits will roll as the talking heads stroll in
The shoe bombs of Terrorist’s livelihoods stolen
But I leave ‘em spinnin’ like Christopher Nolan

Hey there, Maurice
This man could take the **** outta pistola
Tall as Yosemite
and twice as wild

Then here's Greer,
Man's... a little queer.
Drinks carrot juice with carbonated soda
Says its good for joints and inertia.

Don't quite know what that means,
But here--You don't gotta know a thing.

We smack the back of railroad tracks
Zoom down the 8 to the 102
And great! Who can we appreciate?

Pretty ladies and dancing lights
red eyes our fill of delight

These guys walk with a gun to their stride
claim to humane:
use hollow-point.

Infused with botanicals
Drinking gin
Beefeater talking heads
Drowning sins

You laugh at them now?
Bunch of rowdy gamblers
Playing dice with life
Spinning their chambers
Faster than you probably could.

there they are!
On Downey street
The place where the hackers and potheads meet

They deal in prose and green cloth!
words and promises and fear of light,

Man, these guys are outta my mind!

And I hither to and fro their
Business stand and hated flair

Told me the world would set me free
That perhaps we'd all get there eventually

But in that mean time
Hollow-points hang their claim
Grasp for cloth and modem dollar
Shackled by a diamond collar

Dreaming of fancy little rocks
A yacht of metal, a house of blocks

I dream of simple things
Of green and flowers and Poppy seeds
Wherein I find that happy guy
and revel in warm alibi

Maurice and Greer
Me and her
She and I,
We'll be there

And there is here,
There I despair
And watch awake with placid eyes

The drain choked with misplaced hair

Folksy blokes, like ya struttin’ ya thang
If you’ve come out of da Grand Ole Opry
But, won’t stay around for any old music sang
If it’s causing their head, to bob up and down and go all floppy
While rugged mountain men riding in some country rodeo
Can just step right up, to a Appalachia recording studio
Put down several tracks and become a worldwide pop star
They sing about hillbilly ways, while cogging or flatfooting from afar
Talking ‘bout wild hogs, gators, foxes & how so many more
Taste so great, using leftovers as bait & making real men roar
Old fables, told through pictures and patterns, upon knitted quilt
Even showing the feuding days of the Hatfields versus McCoys
From both sides of Tug Fork stream, with many unemployed  
Although Asa and Devil Anse, said, ‘they hadn’t much guilt’
All because of a judge and 5000 acres of unusable swamp land
Once owned, by a close kissin’ cousin named, Perry Cline
Who didn’t even get any blood on his hand
They started a war, that could’ve been stopped
By a bottle or two, of good ole mountain moon-shine
Both clans almost wiped out, if last man standing had accidentally dropped.

i'm thirty six now
thrice a rat
and i must say
it ain't that bad

you'd think i'd shed a tear
or two
but after all
the sky's still blue
the sun still shines
the rain still falls
my fam would even take my calls

i'm frens with cats
i'm frens with dogs
some people too
a couple hogs

i walk and saunter
skip and hop
taking my time
around the block

i'm looking back
and all i see:
those things i did
were meant to be

i'm looking forth
and realise:
you can't prepare
for each surprise
that life may throw
at you or yours
you can't predict
as to which doors
will blow wide open
unexpected
and which will ever
be protected

no key, no lock
how to get past?
to secrets guarded
fierce and fast...

another thirty six to live?
so full of joy, and toil, and grief...
or, one day, have just what it takes
to boldly go and up the stakes?..

mid-summer autumn
rat three times
feels good as hell!
unshod and blithe...

Oh universe
How you sustain all lives
Is so marvellous

Mother Nature
You constant watcher
You are not a quitter

The seas know their space
The sun sets in the west
And never loses that course

The trees  cleanse the air
Herbs with sweet smelling fragrance
And wild honey tastes so sweet

Oh universe
How do you manage this
With so many of us?

The hogs eliminate snakes
The pests  feed on wastes
Vultures take care of  dead carcasses

We all look to you when we need food
You provide it
We eat it

Every one of your dependants
Know their expectations
In  selfregulation
The eater and the eaten

Life never ceases
It only changes form
Rotting plants become humus
And sustain growing plants

Edible animals become part of man
man's DNA lives on in their descendants...
And then man grew a few beards

With his advancements
Interfering with all others
Breaking laws
Creating disaters

In the eco
thick smokes of toxic
chemicals that destroy flora and fauna
Massive deforestation

and then he turns to you
expecting you to produce
When he ploughs your soils
Looking up to the clouds

You used to give a ****
But now you feed them back their poison
And their lives shorten

Retribution for being stubborn
And interfering with you
Mother nature

You heard them talking of space exploration
Look for life in another planet as solution
You just laughed

They think that they can destroy you
And leave for another planet
You are the only One

Blessed among the stars
To sustain lives
They will come running to you
Like the prodigal son

And maybe the rebellious
Shall have learnt a few lessons

Oh Universe
Its so fabulous
that you sustain all lives