Forget every single thing that you were told
Power through inception; for only you – behold

Your pathways through time
You’re sure to grow old

The magic, the fortune of love
The gift, the spirit of your soul
The power, through inception
Never to be replaced or forgotten

Through the Rayne & through Shine
You should know that you’re mine
If you think otherwise
Know that it’s LIES

Forget every single thing that you were told
Power through inception; only for you – behold

The magic, the gift, the feeling of up-
Lifting the weight of the world in just your hands
You don’t know the pain
But I still can tell that you understand

1
I celebrate myself, and sing myself,
And what I assume you shall assume,
For every atom belonging to me as good belongs to you.

I loafe and invite my soul,
I lean and loafe at my ease observing a spear of summer grass.

My tongue, every atom of my blood, form’d from this soil, this air,
Born here of parents born here from parents the same, and their
parents the same,
I, now thirty-seven years old in perfect health begin,
Hoping to cease not till death.

Creeds and schools in abeyance,
Retiring back a while sufficed at what they are, but never forgotten,
I harbor for good or bad, I permit to speak at every hazard,
Nature without check with original energy.

2
Houses and rooms are full of perfumes, the shelves are crowded with
perfumes,
I breathe the fragrance myself and know it and like it,
The distillation would intoxicate me also, but I shall not let it.

The atmosphere is not a perfume, it has no taste of the
distillation, it is odorless,
It is for my mouth forever, I am in love with it,
I will go to the bank by the wood and become undisguised and naked,
I am mad for it to be in contact with me.

The smoke of my own breath,
Echoes, ripples, buzz’d whispers, love-root, silk-thread, crotch and
vine,
My respiration and inspiration, the beating of my heart, the passing
of blood and air through my lungs,
The sniff of green leaves and dry leaves, and of the shore and
dark-color’d sea-rocks, and of hay in the barn,

The sound of the belch’d words of my voice loos’d to the eddies of
the wind,
A few light kisses, a few embraces, a reaching around of arms,
The play of shine and shade on the trees as the supple boughs wag,
The delight alone or in the rush of the streets, or along the fields
and hill-sides,
The feeling of health, the full-noon trill, the song of me rising
from bed and meeting the sun.

Have you reckon’d a thousand acres much? have you reckon’d the
earth much?
Have you practis’d so long to learn to read?
Have you felt so proud to get at the meaning of poems?

Stop this day and night with me and you shall possess the origin of
all poems,
You shall possess the good of the earth and sun, (there are millions
of suns left,)
You shall no longer take things at second or third hand, nor look
through the eyes of the dead, nor feed on the spectres in
books,
You shall not look through my eyes either, nor take things from me,
You shall listen to all sides and filter them from your self.

3
I have heard what the talkers were talking, the talk of the
beginning and the end,
But I do not talk of the beginning or the end.

There was never any more inception than there is now,
Nor any more youth or age than there is now,
And will never be any more perfection than there is now,
Nor any more heaven or hell than there is now.

Urge and urge and urge,
Always the procreant urge of the world.

Out of the dimness opposite equals advance, always substance and
increase, always ***,
Always a knit of identity, always distinction, always a breed of
life.
To elaborate is no avail, learn’d and unlearn’d feel that it is so.

Sure as the most certain sure, plumb in the uprights, well
entretied, braced in the beams,
Stout as a horse, affectionate, haughty, electrical,
I and this mystery here we stand.

Clear and sweet is my soul, and clear and sweet is all that is not
my soul.

Lack one lacks both, and the unseen is proved by the seen,
Till that becomes unseen and receives proof in its turn.

Showing the best and dividing it from the worst age vexes age,
Knowing the perfect fitness and equanimity of things, while they
discuss I am silent, and go bathe and admire myself.

Welcome is every ***** and attribute of me, and of any man hearty
and clean,
Not an inch nor a particle of an inch is vile, and none shall be
less familiar than the rest.

I am satisfied - I see, dance, laugh, sing;
As the hugging and loving bed-fellow sleeps at my side through the
night, and withdraws at the peep of the day with stealthy
tread,
Leaving me baskets cover’d with white towels swelling the house with
their plenty,
Shall I postpone my acceptation and realization and scream at my
eyes,
That they turn from gazing after and down the road,
And forthwith cipher and show me to a cent,
Exactly the value of one and exactly the value of two, and which is
ahead?

4
Trippers and askers surround me,
People I meet, the effect upon me of my early life or the ward and
city I live in, or the nation,
The latest dates, discoveries, inventions, societies, authors old
and new,
My dinner, dress, associates, looks, compliments, dues,
The real or fancied indifference of some man or woman I love,
The sickness of one of my folks or of myself, or ill-doing or loss
or lack of money, or depressions or exaltations,
Battles, the horrors of fratricidal war, the fever of doubtful news,
the fitful events;
These come to me days and nights and go from me again,
But they are not the Me myself.

Apart from the pulling and hauling stands what I am,
Stands amused, complacent, compassionating, idle, unitary,
Looks down, is *****, or bends an arm on an impalpable certain rest,
Looking with side-curved head curious what will come next,
Both in and out of the game and watching and wondering at it.

Backward I see in my own days where I sweated through fog with
linguists and contenders,
I have no mockings or arguments, I witness and wait.

5
I believe in you my soul, the other I am must not abase itself to
you,
And you must not be abased to the other.

Loafe with me on the grass, loose the stop from your throat,
Not words, not music or rhyme I want, not custom or lecture, not
even the best,
Only the lull I like, the hum of your valved voice.

I mind how once we lay such a transparent summer morning,
How you settled your head athwart my hips and gently turn’d over
upon me,
And parted the shirt from my *****-bone, and plunged your tongue
to my bare-stript heart,
And reach’d till you felt my beard, and reach’d till you held my
feet.

Swiftly arose and spread around me the peace and knowledge that pass
all the argument of the earth,
And I know that the hand of God is the promise of my own,
And I know that the spirit of God is the brother of my own,
And that all the men ever born are also my brothers, and the women
my sisters and lovers,
And that a kelson of the creation is love,
And limitless are leaves stiff or drooping in the fields,
And brown ants in the little wells beneath them,
And mossy scabs of the worm fence, heap’d stones, elder, mullein and
poke-****.

6
A child said What is the grass? fetching it to me with full hands;
How could I answer the child? I do not know what it is any more
than he.

I guess it must be the flag of my disposition, out of hopeful green
stuff woven.

Or I guess it is the handkerchief of the Lord,
A scented gift and remembrancer designedly dropt,
Bearing the owner’s name someway in the corners, that we may see
and remark, and say Whose?

Or I guess the grass is itself a child, the produced babe of the
vegetation.

Or I guess it is a uniform hieroglyphic,
And it means, Sprouting alike in broad zones and narrow zones,
Growing among black folks as among white,
Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I
receive them the same.

And now it seems to me the beautiful uncut hair of graves.

Tenderly will I use you curling grass,
It may be you transpire from the ******* of young men,
It may be if I had known them I would have loved them,
It may be you are from old people, or from offspring taken soon out
of their mothers’ laps,
And here you are the mothers’ laps.

This grass is very dark to be from the white heads of old mothers,
Darker than the colorless beards of old men,
Dark to come from under the faint red roofs of mouths.

O I perceive after all so many uttering tongues,
And I perceive they do not come from the roofs of mouths for
nothing.

I wish I could translate the hints about the dead young men and
women,
And the hints about old men and mothers, and the offspring taken
soon out of their laps.

What do you think has become of the young and old men?
And what do you think has become of the women and children?

They are alive and well somewhere,
The smallest sprout shows there is really no death,
And if ever there was it led forward life, and does not wait at the
end to arrest it,
And ceas’d the moment life appear’d.

All goes onward and outward, nothing collapses,
And to die is different from what any one supposed, and luckier.

7
Has any one supposed it lucky to be born?
I hasten to inform him or her it is just as lucky to die, and I know
it.

I pass death with the dying and birth with the new-wash’d babe, and
am not contain’d between my hat and boots,
And peruse manifold objects, no two alike and every one good,
The earth good and the stars good, and their adjuncts all good.

I am not an earth nor an adjunct of an earth,
I am the mate and companion of people, all just as immortal and
fathomless as myself,
(They do not know how immortal, but I know.)

Every kind for itself and its own, for me mine male and female,
For me those that have been boys and that love women,
For me the man that is proud and feels how it stings to be slighted,
For me the sweet-heart and the old maid, for me mothers and the
mothers of mothers,
For me lips that have smiled, eyes that have shed tears,
For me children and the begetters of children.

Undrape! you are not guilty to me, nor stale nor discarded,
I see through the broadcloth and gingham whether or no,
And am around, tenacious, acquisitive, tireless, and cannot be
shaken away.

8
The little one sleeps in its cradle,
I lift the gauze and look a long time, and silently brush away flies
with my hand.

The youngster and the red-faced girl turn aside up the bushy hill,
I peeringly view them from the top.

The suicide sprawls on the ****** floor of the bedroom,
I witness the corpse with its dabbled hair, I note where the pistol
has fallen.

The blab of the pave, tires of carts, sluff of boot-soles, talk of
the promenaders,
The heavy omnibus, the driver with his interrogating thumb, the
clank of the shod horses on the granite floor,
The snow-sleighs, clinking, shouted jokes, pelts of snow-*****,
The hurrahs for popular favorites, the fury of rous’d mobs,
The flap of the curtain’d litter, a sick man inside borne to the
hospital,
The meeting of enemies, the sudden oath, the blows and fall,
The excited crowd, the policeman with his star quickly working his
passage to the centre of the crowd,
The impassive stones that receive and return so many echoes,
What groans of over-fed or half-starv’d who fall sunstruck or in
fits,
What exclamations of women taken suddenly who hurry home and
give birth to babes,
What living and buried speech is always vibrating here, what howls
restrain’d by decorum,
Arrests of criminals, slights, adulterous offers made, acceptances,
rejections with convex lips,
I mind them or the show or resonance of them-I come and I depart.

9
The big doors of the country barn stand open and ready,
The dried grass of the harvest-time loads the slow-drawn wagon,
The clear light plays on the brown gray and green intertinged,
The armfuls are pack’d to the sagging mow.

I am there, I help, I came stretch’d atop of the load,
I felt its soft jolts, one leg reclined on the other,
I jump from the cross-beams and seize the clover and timothy,
And roll head over heels and tangle my hair full of wisps.

10
Alone far in the wilds and mountains I hunt,
Wandering amazed at my own lightness and glee,
In the late afternoon choosing a safe spot to pass the night,
Kindling a fire and broiling the fresh-****’d game,
Falling asleep on the gather’d leaves with my dog and gun by my
side.

The Yankee clipper is under her sky-sails, she cuts the sparkle
and scud,
My eyes settle the land, I bend at her prow or shout joyously from
the deck.

The boatmen and clam-diggers arose early and stopt for me,
I tuck’d my trowser-ends in my boots and went and had a good time;
You should have been with us that day round the chowder-kettle.

I saw the marriage of the trapper in the open air in the far west,
the bride was a red girl,
Her father and his friends sat near cross-legged and dumbly smoking,
they had moccasins to their feet and large thick blankets
hanging from their shoulders,
On a bank lounged the trapper, he was drest mostly in skins, his
luxuriant beard and curls protected his neck, he held his bride
by the hand,
She had long eyelashes, her head was bare, her coarse straight locks
descended upon her voluptuous limbs and reach’d to her
feet.

The runaway slave came to my house and stopt outside,
I heard his motions crackling the twigs of the woodpile,
Through the swung half-door of the kitchen I saw him limpsy and
weak,
And went where he sat on a log and led him in and assured him,
And brought water and fill’d a tub for his sweated body and bruis’d
feet,
And gave him a room that enter’d from my own, and gave him some
coarse clean clothes,
And remember perfectly well his revolving eyes and his awkwardness,
And remember putting piasters on the galls of his neck and ankles;
He staid with me a week before he was recuperated and pass’d north,
I had him sit next me at table, my fire-lock lean’d in the corner.

11
Twenty-eight young men bathe by the shore,
Twenty-eight young men and all so friendly;
Twenty-eight years of womanly life and all so lonesome.

She owns the fine house by the rise of the bank,
She hides handsome and richly drest aft the blinds of the window.

Which of the young men does she like the best?
Ah the homeliest of them is beautiful to her.

Where are you off to, lady? for I see you,
You splash in the water there, yet stay stock still in your room.

Dancing and laughing along the beach came the twenty-ninth
bather,
The rest did not see her, but she saw them and loved them.

The beards of the young men glisten’d with wet, it ran from their
long hair,
Little streams pass’d all over their bodies.

An unseen hand also pass’d over their bodies,
It descended tremblingly from their temples and ribs.

The young men float on their backs, their white bellies bulge to the
sun, they do not ask who seizes fast to them,
They do not know who puffs and declines with pendant and bending
arch,
They do not think whom they ***** with spray.

12
The butcher-boy puts off his killing-clothes, or sharpens his knife
at the stall in the market,
I loiter enjoying his repartee and his shuffle and break-down.

Blacksmiths with grimed and hairy chests environ the anvil,
Each has his main-sledge, they are all out, there is a great heat in
the fire.

From the cinder-strew’d threshold I follow their movements,
The lithe sheer of their waists plays even with their massive arms,
Overhand the hammers swing, overhand so slow, overhand so sure,
They do not hasten, each man hits in his place.

13
The ***** holds firmly the reins of his four horses, the block swags
underneath on its tied-over chain,
The ***** that drives the long dray of the stone-yard, steady and
tall he stands pois’d on one leg on the string-piece,
His blue shirt exposes his ample neck and breast and loosens over
his hip-band,
His glance is calm and commanding, he tosses the slouch of his hat
away from his forehead,
The sun falls on his crispy hair and mustache, falls on the black of
his polish’d and perfect limbs.

I behold the picturesque giant and love him, and I do not stop
there,
I go with the team also.

In me the caresser of life wherever moving, backward as well as
forward sluing,
To niches aside and junior bending, not a person or object missing,
Absorbing all to myself and for this song.

Oxen that rattle the yoke and chain or halt in the leafy shade, what
is that you express in your eyes?
It seems to me more than all the print I have read in my life.

My tread scares the wood-drake and wood-duck on my distant and
day-long ramble,
They rise together, they slowly circle around.

I believe in those wing’d purposes,
And acknowledge red, yellow, white, playing within me,
And consider green and violet and the tufted crown i

Man life know just set eyes way like young world soul day hunger space mouth earth thoughts ignorance blind things mind knew final moment human creation kind creatures souls high forgotten dream love spoke self existence face holy deep bound think home void say surrender ear forever called held ephemeral red state end shall heed hope edge living waking fall sea wake garden need February thought past wanderer got men page colored tepid terrible **** proudly untitled features point painted faceless box forgot render wild spring splendor  handfuls looking half brain lost torn ancestral  unseen vision inner summer honor mister owned banner save today fear groans wasn't smoke  street fable strange year contrast black years  able pain body spoken word known motion  palpitate reeling nature culture disclaimers  cancer beg attentive frames ****** base profound double remember wholly finger death token  cries continue folk oh fishing form broken true  divides spread ah twas away breathe wait warning hallowed wish closer lens turn eye live  constant current author hung theory dangle  bramble chemical new force changes adderall  anymore giving beneath possess pardon commentaries eternity internal walk reason  long change does idea glimpse consciousness  wandering simply wonder physical dreams war  sleep told rest benign prior begging truth little  2012 born tale crow bowels allegory animal rule  exasperate making horse curse hands ones read  rearrange capture doing command fail awake  aperture seedlings shift steely sir nap spead ****** demons slits clever telling loud spits la-la-di-dah killing slip game reflected nameless ask  lovers rabid bear salivate plunder shameless  famously savior mint rides menthol bully fate traded melodies play misunderstand mammals gentle witless fine utterly savage silt tongue-less  dirt dilutes pure non-sensory taste briefly ravage dismember it''ll shedding ruined curtain  knots offers plot fulfills munificent two-act  relegates boxz bug altruistic wintergreen tossing  callously guise grovels one's singers treachery ashes mid-life mutter fashion parading  ambiguity separatist liars staple steeping neath  guidelines scoffing stitch moans civil wrote  Fictitious undoing fables table effigies serve  sonnets staged remark psalm swoll praise harken  beggar verse bread lines heavily electricity detection snow sack-happy preaching credit  spotted wicked best gravity gun campaign owe  barge choir revelry celebratory satiated sinking  headline pack hound persistently propaganda  gentlemen excluding diminished ******* run idles  occupied levies wolfishly honestly misinformation cuba vehemently dumb grace spectator erasing  toned sage crowded secrets inter-connectivity  loaned prayer hymns grave mistaken magnified  vandals selective jump leak escapes says minister  buckle mass honesty shut tar children's hats  monument doping long-lived electrical ladle  exaggerated cartoons address seconds cool cradle bleak yang's mind-framed hypnotic  walker caps folly treble claim streaks mixtures  swelled interstate elapse teasing spoon mobile  succulent witchcraft borderline fatal 99 temple stacks sups plastics creeps neurotic ills tossed  meek sipping old crack interlock wax alleyway  coughing blown freak clock birthdays societies  slow flashing viscous candy argument toothless  pills cerebral rapt wall bisect lives wheezing  photo kid starter foiled pair saturated self-castrating pre-packed naked uncertainly pill  used came chaos coated reprisal fells wrack  irreverent mirth sickly disinherited proudest  collate wheeze appearance palette disharmony  discontented bastardized emotive bio inhale diction beat spoiled reclamation loudest tempo  totally disembodied matte imperfect shells flat  struck sounding imparts flak origin severance remarked bone walls snared leaflets mocking  hot scripting adjective noun agape seemingly  resistant gawk calamity passage paintings wind  trashcans signings sits cheap makers poetry persist scrap slipping individual talk wonders  leaving questions fold actor fancy parchment  fates engenders flown jaws stripped longer music  sacrifice fakers book boldly frown sigh atop patient hang trade occupation blows spectacular  whispers worthy backward waving certainty danced suppose needn't ‘drawkcab’ second-guessing  boys forget marched motto heads tightly lies two-tone earthbound harp twice turns goodnight  lying ***** internally indiscriminate nickname  drunk convictions myth steep  in-consumption  fitting artist **** universal sick expressions bad  du spell melody big siphon proud learn sprawls song spastic something temperaments utter check  fissures stomp totality blend definitely thrall sing rug voice shade pestilence ties commiserate round devil steady brains emotional certain gate  suckling gates dearth decay weight bounce pound  carrier pangs glass startle contest earthen web  tug pressed air patience flush amassed guest gone apprehension staring empathize captain believe fading in-perceivable deathbed guarder makes surrounds scatter drooling ebb blink cob tome  venom near door lair derision draws host stairs scent parts curiosities spider webbing surprise wares tips stepping ascetics starkness realize picture surroundings dictations grand pillars  deaf limited comparisons greet visual residents  personal settings dismiss alien law stability common earthly shiftless places prelude  understanding mosaic keen trifling embodiments  geared inception whisper visible jowls kiss murky  puddle rank dawn dichotomy single faithful fraying pays tailor veil climb mores pence whim  breath wellspring samara god stony pear  shadows fruiting forebodes moonlit looming  shown passed bog gold wracked faint tongues  noble preachers mirror shifting layered depth  threads jungle narcissus bemused seamstress self-worshiping architect's wore slumber anomalous  opened barren seam lip caustic scene coupled brick gardener's clenches -with forms idle breed  embodied lore starving empathy design illusion  tree coat fabricate lucid mason scatter-all  narrative seeking imbued 16th shivering chemicals 17th 15thrisk improperly dare  deliberate plan purge try brought chapter speed  aide utmost spirit leading intervention felt  recall recent advent sincerity times diary  lackluster piously lasting happy holding hear  stem tasteless whimpers wet spine monstrosity  dripping causes position quite softly claws pallet  answer digging tearing beast satiating circle breaks skips redwoods beckoning rotted hushed  gray lapsing monoliths deities creborus  imbuement hand stroll paradigm rendered chorus shy whispering forest residual tension  surrenders tolerance lull anew sentenced  bearing tide birds dirge divergent rim joined  cogs wood hesitant mist emergent towering offer  awareness confinement inverted faultier stowed  plane sanctified blanketing trusting memory fossil flash twists laden self-indulgent fleeting invitation agony grip shore impetus lingering  crows promise gift union swallowing endless floor supposed ecstasy sensory intent  psychotropic cradling placement interned  jagged connectivity exchange congenial begun  summons singular spiral assumes ambient reciprocates re-entry fruition reached aggregate lifetime limbs birthed instinct  frightening tarry proper entire light  boundaries innocence pursuit ago discover left  youth's unknowing sacred time place meager  simple fact cast ceaseless wide-eyed literal  apparent coincidence create boldness morphed  crooked kempt mere stumble buried shutter fairy  pivotal definitive months worth shear ambition sound required journeyed self-reflections title  facets vague restless intimation gut wanderer's  leap motivate path account boy soon bears faith  question tripped reasons uproot awaited confronted days step heal provocations wisps crushing transcend chronicles instance  directness raw drove occurrence objective-less  real enters slightest confident nondescript  typify  foreshortened interment paradox bitter heart  devoid jeopardy angry sensation confidential guilty arrogance mercy compliance reprieve  vincent deadening factual sign emotion awe  inhibition shackled butterflies absence actual sciences acknowledgement violent stagnant  spiritual American doors roots lack matted fore  gestures society cause streams intensity hair impossible discord lonely hearts resounding  jest  what's flavored pains closed toxic contented  happenstance scientific knowledge yeah  wizardry shaking stifled withdrawn bloom  jitter dreads settle asocial hulton make  predisposed figurative reflections demeanors  wondered affect hulton's projected sense  morning industry arrays ghosts feeling  certainly endomorphic where's partially wrath  passer mornings jovial unease advertized asking  trash onward wished tempers media mentality connect pasts sharp-toothed scramble great colours trial test salvation continually lent  degree secretly subjection social waned  disconnected colors grimly intellectual civilization cash trading baffling particular  digest myths monumental ending seasons winter  repetition introducing agent everlasting  shoulders delivered honestly-- possession funny  continence history unsightly function suffering propulsion profession divulge familiar tugs era  importance capability perpetuation spite inventory words entirety leveling fray insight  date record continues writer getting evermore fellow tongue possessions identical proof accuracy education similar sack admittance  favor unravel conveyance guilt gives beginnings  predicting audacity definition bobby heady eaters frameless learned release stone grandeur sang  speak molds sleeps split built seats people folded  sheer pour evoked playhouse liquid boring  tellers frayed stark walked reality pleas doth  preformed shows beak pride squawks opinions  greatest bold stunning sightings he'd loudly slain  sunk watch legend precipice theater deeper compound commentator civility justly silly sin  reverent seen prophetic moral confounds notion  lacking explain attempt prolific viral estrange proclivity scorn hide blur pious strung eden's  horror cut skin arch cruel twig mother vile  pass lend woods peach shrunken trail man's canopy worn 434 eat warm limb familiar father delete.

You are what your reading lady. Now would you hold this gun?

Here is a primer on the history of poetry

Features of Modernism

To varying extents, writing of the Modernist period exhibits these features:

1. experimentation

belief that previous writing was stereotyped and inadequate
ceaseless technical innovation, sometimes for its own sake
originality: deviation from the norm, or from usual reader expectations
ruthless rejection of the past, even iconoclasm

2. anti-realism

sacralisation of art, which must represent itself, not something beyond preference for allusion (often private) rather than description
world seen through the artist's inner feelings and mental states
themes and vantage points chosen to question the conventional view
use of myth and unconscious forces rather than motivations of conventional plot

3. individualism

promotion of the artist's viewpoint, at the expense of the communal
cultivation of an individual consciousness, which alone is the final arbiter
estrangement from religion, nature, science, economy or social mechanisms
maintenance of a wary intellectual independence
artists and not society should judge the arts: extreme self-consciousness
search for the primary image, devoid of comment: stream of consciousness
exclusiveness, an aristocracy of the avant-garde

4. intellectualism

writing more cerebral than emotional
work is tentative, analytical and fragmentary, more posing questions more than answering them
cool observation: viewpoints and characters detached and depersonalized
open-ended work, not finished, nor aiming at formal perfection
involuted: the subject is often act of writing itself and not the ostensible referent

............
Expressionism

Expressionism was a phase of twentieth-century writing that rejected naturalism and romanticism to express important inner truths. The style was generally declamatory or even apocalyptic, endeavoring to awaken the fears and aspirations that belong to all men, and which European civilization had rendered effete or inauthentic. The movement drew on Rimbaud and Nietzsche, and was best represented by German poetry of the 1910-20 period. Benn, Becher, Heym, Lasker-Schüler, Stadler, Stramm, Schnack and Werfel are its characteristic proponents, {1} though Trakl is the best known to English readers. {2} {3}

Like most movements, there was little of a manifesto, or consensus of beliefs and programmes. Many German poets were distrustful of contemporary society — particularly its commercial and capitalist attitudes — though others again saw technology as the escape from a perceived "crisis in the old order". Expressionism was very heterogeneous, touching base with Imagism, Vorticism, Futurism, Dadaism and early Surrealism, many of which crop up in English, French, Russian and Italian poetry of the period. Political attitudes tended to the revolutionary, and technique was overtly experimental. Nonetheless, for all the images of death and destruction, sometimes mixed with messianic utopianism, there was also a tone of resignation, a sadness of "the evening lands" as Spengler called them.

Expressionism also applies to painting, and here the characteristics are more illuminating. The label refers to painting that uses visual gestures to transmit emotions and emotionally charged messages. In the expressive work of Michelangelo and El Greco, for example, the content remains of first importance, but content is overshadowed by technique in such later artists as van Gogh, Ensor and Munch. By the mid twentieth-century even this attenuated content had been replaced by abstract painterly qualities — by the sheer scale and dimensions of the work, by colour and shape, by the verve of the brushwork and other effects.

Expressionism often coincided with rapid social change. Germany, after suffering the horrors of the First World War, and ineffectual governments afterwards, fragmented into violently opposed political movements, each with their antagonistic coteries and milieu. The painting of these groups was very variable, but often showed a mixture of aggression and naivety. Understandably unpopular with the establishment  — denounced as degenerate by the Nazis — the style also met with mixed reactions from the picture-buying public. It seemed to question what the middle classes stood for: convention, decency, professional expertise. A great sobbing child had been let loose in the artist's studio, and the results seemed elementally challenging. Perhaps German painting was returning to its Nordic roots, to small communities, apocalyptic visions, monotone starkness and anguished introspection.

What could poetry achieve in its turn? Could it use some equivalent to visual gestures, i.e. concentrate on aspects of the craft of poetry, and to the exclusion of content? Poetry can never be wholly abstract, a pure poetry bereft of content. But clearly there would be a rejection of naturalism. To represent anything faithfully requires considerable skill, and such skill was what the Expressionists were determined to avoid. That would call on traditions that were not Nordic, and that were not sufficiently opposed to bourgeois values for the writer's individuality to escape subversion. Raw power had to tap something deeper and more universal.

Hence the turn inward to private torments. Poets became the judges of poetry, since only they knew the value of originating emotions. Intensity was essential.  Artists had to believe passionately in their responses, and find ways of purifying and deepening those responses — through working practices, lifestyles, and philosophies. Freud was becoming popular, and his investigations into dreams, hallucinations and paranoia offered a rich field of exploration. Artists would have to glory in their isolation, moreover, and turn their anger and frustration at being overlooked into a belief in their own genius. Finally, there would be a need to pull down and start afresh, even though that contributed to a gradual breakdown in the social fabric and the apocalypse of the Second World War.

Expressionism is still with us. Commerce has invaded bohemia, and created an elaborate body of theory to justify, support and overtake what might otherwise appear infantile and irrational. And if traditional art cannot be pure emotional expression, then a new art would have to be forged. Such poetry would not be an intoxication of life (Nietzsche's phrase) and still less its sanctification.  Great strains on the creative process were inevitable, moreover, as they were in Georg Trakl's case, who committed suicide shortly after writing the haunting and beautiful piece given below

................
SYMBOLIST POETS
symbolism in poetry

Symbolism in literature was a complex movement that deliberately extended the evocative power of words to express the feelings, sensations and states of mind that lie beyond everyday awareness. The open-ended symbols created by Charles Baudelaire (1821-67) brought the invisible into being through the visible, and linked the invisible through other sensory perceptions, notably smell and sound. Stéphane Mallarmé (1842-98), the high priest of the French movement, theorized that symbols were of two types. One was created by the projection of inner feelings onto the world outside. The other existed as nascent words that slowly permeated the consciousness and expressed a state of mind initially unknown to their originator.

None of this came about without cultivation, and indeed dedication. Poets focused on the inner life. They explored strange cults and countries. They wrote in allusive, enigmatic, musical and ambiguous styles. Rimbaud deranged his senses and declared "Je est un autre". Von Hofmannstahl created his own language. Valéry retired from the world as a private secretary, before returning to a mastery of traditional French verse. Rilke renounced wife and human society to be attentive to the message when it came.

Not all were great theoreticians or technicians, but the two interests tended to go together, in Mallarmé most of all. He painstakingly developed his art of suggestion, what he called his "fictions". Rare words were introduced, syntactical intricacies, private associations and baffling images. Metonymy replaced metaphor as symbol, and was in turn replaced by single words which opened in imagination to multiple levels of signification. Time was suspended, and the usual supports of plot and narrative removed. Even the implied poet faded away, and there were then only objects, enigmatically introduced but somehow made right and necessary by verse skill. Music indeed was the condition to which poetry aspired, and Verlaine, Jimenez and Valéry were among many who concentrated efforts to that end.

So appeared a dichotomy between the inner and outer lives. In actuality, poets led humdrum existences, but what they described was rich and often illicit: the festering beauties of courtesans and dance-hall entertainers; far away countries and their native peoples; a world-weariness that came with drugs, isolation, alcohol and bought ***. Much was mixed up in this movement — decadence, aestheticism, romanticism, and the occult — but its isms had a rational purpose, which is still pertinent. In what way are these poets different from our own sixties generation? Or from the young today: clubbing, experimenting with relationships and drugs, backpacking to distant parts? And was the mixing of sensory perceptions so very novel or irrational? Synaesthesia was used by the Greek poets, and indeed has a properly documented basis in brain physiology.

What of the intellectual bases, which are not commonly presented as matters that should engage the contemporary mind, still less the writing poet? Symbolism was built on nebulous and somewhat dubious notions: it inspired beautiful and historically important work: it is now dead: that might be the blunt summary. But Symbolist poetry was not empty of content, indeed expressed matters of great interest to continental philosophers, then and now. The contents of consciousness were the concern of Edmund Husserl (1859-1938), and he developed a terminology later employed by Heidegger (1889-1976), the Existentialists and hermeneutics. Current theories on metaphor and brain functioning extend these concepts, and offer a rapprochement between impersonal science and irrational literary theory.

So why has the Symbolism legacy dwindled into its current narrow concepts? Denied influence in the everyday world, poets turned inward, to private thoughts, associations and the unconscious. Like good Marxist intellectuals they policed the area they arrogated to themselves, and sought to correct and purify the language that would evoke its powers. Syntax was rearranged by Mallarmé. Rhythm, rhyme and stanza patterning were loosened or rejected. Words were purged of past associations (Modernism), of non-visual associations (Imagism), of histories of usage (Futurism), of social restraint (Dadaism) and of practical purpose (Surrealism). By a sort of belated Romanticism, poetry was returned to the exploration of the inner lands of the irrational. Even Postmodernism, with its bric-a-brac of received media images and current vulgarisms, ensures that gaps are left for the emerging unconscious to engage our interest

......................

.
IMAGIST POETRY
imagist poetry

Even by twentieth-century standards, Imagism was soon over. In 1912 Ezra Pound published the Complete Poetical Works of its founder, T.E. Hulme (five short poems) and by 1917 the movement, then overseen by Amy Lowell, had run its course. {1} {2} {3} {4} {5} The output in all amounted to a few score poems, and none of these captured the public's heart. Why the importance?

First there are the personalities involved — notably Ezra Pound, James Joyce, William Carlos Williams {6} {7} {8} {9} — who became famous later. If ever the (continuing) importance to poets of networking, of being involved in movements from their inception, is attested, it is in these early days of post-Victorian revolt.

Then there are the manifestos of the movement, which became the cornerstones of Modernism, responsible for a much taught in universities until recently, and for the difficulties poets still find themselves in. The Imagists stressed clarity, exactness and concreteness of detail. Their aims, briefly set out, were that:

1. Content should be presented directly, through specific images where possible.
2. Every word should be functional, with nothing included that was not essential to the effect intended.
3. Rhythm should be composed by the musical phrase rather than the metronome.

Also understood — if not spelled out, or perhaps fully recognized at the time — was the hope that poems could intensify a sense of objective reality through the immediacy of images.

Imagism itself gave rise to fairly negligible lines like:

You crash over the trees,
You crack the live branch…  (Storm by H.D.)

Nonetheless, the reliance on images provided poets with these types of freedom:

1. Poems could dispense with classical rhetoric, emotion being generated much more directly through what Eliot called an objective correlate: "The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." {10}

2. By being shorn of context or supporting argument, images could appear with fresh interest and power.

3. Thoughts could be treated as images, i.e. as non-discursive elements that added emotional colouring without issues of truth or relevance intruding too mu
...............
PROSE BASED POETRY
prose based poetry

When free verse lacks rhythmic patterning, appearing as a lineated prose stripped of unnecessary ornament and rhetoric, it becomes the staple of much contemporary work. The focus is on what the words are being used to say, and their authenticity. The language is not heightened, and the poem differs from prose only by being more self-aware, innovative and/or cogent in its exposition.

Nonetheless, what looks normal at first becomes challenging on closer reading — thwarting expectations, and turning back on itself to make us think more deeply about the seemingly innocuous words used. And from there we are compelled to look at the world with sharper eyes, unprotected by commonplace phrases or easy assumptions. Often an awkward and fighting poetry, therefore, not indulging in ceremony or outmoded traditions.
What is Prose?

If we say that contemporary free verse is often built from what was once regarded as mere prose, then we shall have to distinguish prose from poetry, which is not so easy now. Prose was once the lesser vehicle, the medium of everyday thought and conversation, what we used to express facts, opinions, humour, arguments, feelings and the like. And while the better writers developed individual styles, and styles varied according to their purpose and social occasion, prose of some sort could be written by anyone. Beauty was not a requirement, and prose articles could be rephrased without great loss in meaning or effectiveness.

Poetry, though, had grander aims. William Lyon Phelps on Thomas Hardy's work: {1}

"The greatest poetry always transports us, and although I read and reread the Wessex poet with never-lagging attention — I find even the drawings in "Wessex Poems" so fascinating that I wish he had illustrated all his books — I am always conscious of the time and the place. I never get the unmistakable spinal chill. He has too thorough a command of his thoughts; they never possess him, and they never soar away with him. Prose may be controlled, but poetry is a possession. Mr. Hardy is too keenly aware of what he is about. In spite of the fact that he has written verse all his life, he seldom writes unwrinkled song. He is, in the last analysis, a master of prose who has learned the technique of verse, and who now chooses to express his thoughts and his observations in rime and rhythm."

.............
OPEN FORMS IN POETRY
open forms in poetry

Poets who write in open forms usually insist on the form growing out of the writing process, i.e. the poems follow what the words and phrase suggest during the composition

Vindictive viral inception,
Sneaking in my thoughts pretending
ta be the Ego inside o’ me
No!Free! Digo me,
Quickly

WHEN,WHERE,HOW, WHY? come the questions
“No answers” quoth the clouds as they transfigure by.

I am done defending why
I don’t think I need to take my slice of the pie.
Take a look; exclaim ow, oh my
I got a piece of SKELL truth in my eye

Sincerely instead of me, so trickster
this shadow amphetamine

But my light is gone
A denser Vibration I adorn

One of Absorbtion,
no reflection ever
since this inception

…of attachment
…of suffering
…of another love

So in love it tears me apart
So in love it wears my heart

so instead of being asleep
I’m desecrating thoughts, tainting delete.

Making others worry and weep
as I sweep my gaze

From external to internal
infernal extension

referral to station
impatient inflation
we stand together in the dirt o’ the nation

so in love I seem to flirt
So in love I always hurt

I read the text on the screen….and **** NO!
It can’t mean…eye look, I scream.

Shock sets in, while I’m translated in the hug of a friend.

We lock eyes and she knows why…
Darkness sets in and she helps me cry;

tears from near realized fears,
tears from the suffering

desire steers.

My boy is in trouble
I’m in a hurry and on the double
STAND BACK
PLEASE SLACK
this information noose is too tight to *******…and my throats so t.i.g.h.t I can’t taste the air. This isn’t fair! What a cruel affair to send me into such disrepair.

Mental suffering burns like a flame, so I use cigarette burns to tame
the Pain in my heart…………..fading away.
My body cools off and with a different pain I can face the day.

So often I pray for the day where my loved ones can stay in zion with me, oh wait hypocrisy risin inside o’ me
please state, the ideas deriving me, Caged in my psyche, found the lock, but lost the key.

gotta get outta my mind, gotta get outta my body
opaque and dense, and way late for defense
Wee wait in such suspense for LIFE to dispense, of us and our love.

WhyohWhydotheseideasresideinme, if i leave my body will i be free, they think you justgottado1morethingtosee.

I just hope to god they don't try again.  I just can't take that part of the plan....
Please live. and be glad for it.

A presence
presenting
a continuous torment
torturing
incessantly
until, even with cessation
only a tenuous self
is present
leaving only the resin

The maniacal
manifestation
is an infestation
festering around in my head
Its existence,
a creation
created at inception,
hacking my brain
Forever a trap
creating a
maniac

Acrimonious
to all mankind
Not acting
like a man
Not one word
that's kind
Committing crimes
and getting oneself
committed
A deviation
creating a deviant
Shifted values
due to a devalued
self

An esoteric
essence
seemingly sentenced
on this journey
by judge and jury,
not by one's peers
because the many
not able
to peer
into this individuality
The duplicity
of duality
that is my reality

Challenging myself
to a dual
One in which
I both
win and lose
But in the end
not breaking even
or coming out ahead
Always ending
further back
instead

Its back breaking
and always aching
Pain from which
not capable of
faking
Effort I’m taking
Of myself making
Time for a new king
For kinsmanship
is aloof
And this man’s ship
has sailed away
Sipping a port
at a shipping port
And yet
slipping away

Deeper still
In the depth
of still water
Sinking
into the abyss
Lost and gone
But not missed
Is this the end
of our fable?
Or will our “hero”
enable himself
and in the end
be able
Deciding who to be?
Cain or Abel?
For the hurricane
is hurrying along
Its aim always the same
Constant pain
A payment he feels
for the displaced
placement
which just in case
is placed
same place
he went

Ink in the face
A disgrace
When suddenly
encased in his brain
are racing thoughts
of a plan
he’s ace’n

A label of insanity
given by those
who claim sanity
when the reality
is their thoughts are free
and optimize
a sanitized
and homogenized
batter
And in the end
it doesn’t matter

Offering suggestions
in which they
feel threatened
Pathways congested
and protested
Testing them
Even worse,
bested
A problem beset
upon them
Time to steady
the flock
Roll n’ Rock
Inoculations we’re getting
Start the injections

“It’s been an honor”
Mounting my Lipizzaner
A disarmer
A charmer
The armor
‘mi amor’
Leaving me
wanting more
But as they keep score
the task is daunting
A life that’s haunting
with such splendid decor
-
Yet, can’t take any more
Their taunting
is leaving me sore
So to the atmosphere
I open that door
and flying up above
I soar

Forever more
Feel pain no more...

As I stood in front of critical eyes, I had to convey myself today.
In my mind, I have designed the whole system as requested,
in my eyes, I have emitted my internal confidence of myself,
But when on stage, I feel compelled to watch my words,
My words sometimes have a way to stray, searching for the best combination.
The fear is not within my abilities of my craft, but my ability to sell myself, as a representation of the system I momentarily created. The anxiety of proposing my logic mixed with the doubt of being over-pretentious became me.
      As I look into their eyes, I take a mental breath, and proposed my system within layers as suggested in my mind. I felt compelled, yet nervous to present my thoughts and ideas. I am confident, yet thoughtful of every instance that could make or break my deal.
     That said, believing in yourself and knowing your facts to prove your bases, is the key to the eyes of inception that we call cultural matching to the masses.

Concieved perceptions
Perceive conceptions,
But where sits inception,
As child's conception's
Defined: "pregnancies inception,"
But what worth's that definition?!
Dazed by repetition, losing ambition.
Where sits inception?

sometimes you look at these people and think:
is it better me drinking whiskey, or is it better treating
them ontologically as zoological specimen
                                                  and worth of caging?
i think that the Aristotelian awe-principle
for the practice of philosophy was
overly-exaggerated with dues
that consider science, i think that science
confiscated the emotional
imprint of philosophy that's bound to awe
and said: willcommen unto die phobia-realm...
which i still ascribe to postcolonialism...
  the times' propaganda say:
             arachnophobia is perfectly suited
to match-up to a billionth remark of Islam,
which is why i find Islamophobia so weird...
   arachnophobia consists of only one spider...
minding the phobic in Islam?
                          it's not a case of one spider...
it's a case of spiders...
                             they can't reason with
the Big Brother opportunism, which exists...
turning the blind eye won't help...
  it will simply aggrivate such people...
and using this language has created such
frustrations... correctly? aggravate,
dance of vowels. phobias aren't big, they're small...
miniscule... tell people that something is
small when it's actually big enforcers
a postcolonial past more so...
   i see these children like the psychotic reaction
to a prophesy kindred ot Harold II's slaughter
of the innocents...
                  they're there to edorese someone...
      after all: who gives a **** about these people?
                                                         ­  (endorse)
the psychiatrist gets paid, the mental health nurse
gets paid... why would they give a **** in a way
that says: i wasn't paid for this bollocking!
  maybe up in Manchester... but down here in London,
they don't buy disguises, you're
labelled Romanian: you're bound home where
you could have been a plumber but are reduced
to a straitjacket because: some ******* said
you didn't **** her... Philip Collins and hey:
welcome to paradise.
                        down 'ere in Loon-town you get
your money's worth...      
                   i wish they took care of me...
   silence pays... you get your cringe's worth of ****
to the Kilimanjaro's worth of calling
               bottled crema-foam on a phallus
an anorexia... as i see it: anorexia in Freudian lingo
is an objection toward treating ****** artefacts
in culinary terms... means that paradox
of having a cake and eating it too...
                obviously you'll sexualise problems...
i think anorexia is a question of making
          ****** parts culinary aggregates...
                i'm not jotting: girl, aged, 16, ***-starved..
i mean in general... making ****** objects
equivalent toward a culinary status for a care
to make them more appealing in being ******...
the anorexic might start thinking: so i **** it,
and don't eat it?   penguin clap for an icecream cone!
ruffian yoga minus the slippers and the seal clapping...
the loudest revision of applause: i can guarantee....
cos the flippers were wet... hence the additional
aquatic acoustic.
                    this is very much akin to that quantum
theory of: tornado at coordinate a.,
         and a butterfly as coordinate b.,
          i can see anorexia as a substitute to sexualised
preferences in making body-parts partially edible...
            i see **** i think of the cow's ******-pouch / pillow...
    i don't know, maybe because being in my 30s
i can still fake arousal when looking at it...
       i am not the original alienist... some martian
took my title role...
          but i can understand anorexia as a way to rebel
against putting potato mash and a steak and a few
veggies with the same duty nod as one might put
a ******* object into one's mouth and having to
a Werther's Original suckling tactic on it and
never attach a bone to it, i.e. never eat it...
      anorexia by my standard is verily sexualised...
   you put something into an open space and
it's almost a trans-transgender movement...
      which is why i find the transgender "curiosities"
obstructs in art... post-transgender occupancies
           are not reserved for the easily pleased...
anorexics are such people...
             this is sexuality confused with dietary requirements...
this isn't a circumstance of pronouns politicised
and exploits of modern medicine...
                   i do tend to abuse seafood
whenever i am cringed by the suggested floral pattern
whenever i dare not see the benefits of cesarean...
and i just can't see islamophobia fitting the irrational
rationality of other conscripted phobias...
          poor choice of Greek to be honest...
                      i think they're referring to:
a subtler suggestion, minus the crusading empowerment
that's yet to be honed on...
                        well **** yeah...
once you've actually a philosophy book,
   you'll become immune to any writing advice...
                you'll actually become immune
to advice for writers.... bhy writers... because you'll
realise their opinions are disputable and therefore
disposable... because they forgot that the one thing
that democracy hates... is its subversion,
                     art is the foremost stealth-seeker of
despotism in democracy... because it simply loathes
plagiarism... art is despotism in democracy...
               and it knows it... it's just too "shy" (aah...
wee wee poo poo) to admit it...
                 from what i learned from athos?
the best advice? is to not give any advice.
                    athos? alex dumas, the three musketeers.
the moment you finish a philosophy book,
a creative writing workshop and a quote by
Hemingway will seems as nothing but a bad dream -
these quotes come from people who abhorred
the mere concept of spelling, due and through
it being an "inconvenience"...
this is from people who suggested you were always
an incapable narrator without a daydream to
escape into... these writers began sounding like
your english teachers...
              then again... is sexualising problem better
than abstracting them? personally, and
without due approval: and all the more happy for
such a circumstance having been presented for me...
            we know the sane are too numerous
because they are allowed to make too much sense
of their dreams...
                     i contend anorexia, not as an eating disorder,
but as a disorder of a culinary aversion toward
          sexualising non-culinary objects in culinary terms...
or adding cream to the phallus or melted chocolate
to the ****...
                 i find that certain culinary objects are
oversexualised...
   and this is the norm: that extends into what
quantifies as the norm, for the norm is always
a quantifiable parameter than a qualifiable
      exchange, since an exchange never appreciates
     a qualification, or a grocer's worth of norm
for a conversation of two quid's worth of earning
equates to 20 tomatoes...
    we have assumed to know it all
whereas we are congregating in a plughole
     of close proximity prefixes, i.e.
re-: reflect, reflection, reflexion, reflex,
  reiteration, reimagining, retraction, reaffirmation...
    it's a tsunami of language / lounging with too
many images... it's "lounging" with too many images...
it's the proximity of prefixes... twinned with
the opportunism of the genus of synonyms creating
a deaf-shaft of faking rhetoric...
     i still placard the whole circumstance
a dance of vowels, or the unforced deviation of
keeping up an aesthetic....
                     no, i can't claim schooling,
because i don't want to claim being indoctrinated...
     and perhaps my Freudian is a little-bit
copper-wired / ageist...
                  but isn't food for the anorexic
  a bit like turning a ****** object into food
          for the ennobled aggregational stereotype?
the jokes aren't jokes for anorexics...
  the cucumber is doubly manifest
                         as both edible, as both sexually
arrogant... and thirdly as "inspiration" for
an architectural project...
                      oh **** fame... little albino blondie
can **** on my testicular cancer for all i care...
               and say the bulge was: like
******* on a cowish ******...
                                      i like puppets anyway,
cos i'm a bit laxed in that way...
                         for all the things that might be
given, of the few things that can't be translated
from house or car, or a wife and 3.4 children statistic:
personal integrity.
        obviously certain people can only hum along
to the achievements of a zenith's worth of a house
and a car and a dog...
                            personal integrity is almost too much
for them, such "essential" components of being
a human rather than doing a human reaction
       later involve the cliche of the ultimate gamble...
and we all know how humans love to gamble...
well... few ever manage to gamble the stake of:
a leap of faith... and we all know how Nolan's inception
         ends...           that's me seeing the film a few years later...
      so how does man, the gambler fair
   when he's asked to gamble with the odds
  leap ratioed against a stumble?
                                      numbered is that 10:1?
it's just fascinating that vowels are the sole assured
                        proprietor of "dyslexia",
or as i care to mind: even with a language proficiency...
and tongue-tied waggle that's excusable for
anyone ready to write something down.
      i can appreciate being an individual,
but i can't celebrate it... i'll only utilise my individuality
to create a new plateau, a norm, the most
distinguished liberalism of my individualism;
     i will only utilise my individuality to create a new
norm - and anything that comes against it:
can burn in hell.

Do You Ever Find … ?
That Words Sometimes …
KEEP On … " Runnin' " …
Through Your Mind … ?!?

Sometimes ...
My Rhymes And Words Are …
...... STUNNING ….. !!!!!

These Days I Find My Word Designs …
Refine And Dine Just Like FINE Wine … !!!

So Here's A Few To Give You … " Clues " ...
of Some of The Ways My Wordplay Moves …

Wordplay … ?
Just … RIDICULOUS … !!!

Volume … ?
Straight Up … INFINITE … !!!

Inception Is … " Synonymous " …
With BIG VIRGE The … EPONYMOUS … !!!!!

Conception …
NOT …. " Inglorious " …. !!!!!

******* NOPE … ERRONEOUS … !!!!!

My Use of Verse Is … " GLORIOUS " … !!!!!

In Fact It's … " MERITORIOUS " . !!!!!!!

Because It's TIGHT NOT Porous ….

Chorus … NO … !!!
Because It Flows …
And Has NO PLACE In …
... " Talent Shows " … !!!!!

TALENT ... ???
Whoooooaaaaa You'd Better KNOW … !!!!!
What I Construct May One Day BLOW … !!!

A Hole In ALL These Shows For … " **'s " … !!!!!

Prostitution …. NO …. !!!
NOT How I Roll … !!!!!!!!!!!!!!!!!!

Talking of THOSE …
NO TIME For Coc’ … !!!
Or Yes … ******* … !!!

Because My Nose ...
Does NOT House Notes … !!!!!
Where AIR Should Flow … !!!!!

FLOWS … ?!?
I Got …Those … !!!

QUOTES That Rock Boats … !!!
Races Places So Many Faces …

Sometimes My Mind ...
DEFINES … INVASIVE …

WAIT .................................................................­.... !!!

I'm Just PLAYING And Relaying ...

Words of Verse …
From The Thoughts of …
….. " Big Virge " ….. !!!

My Head … ???
It HURTS ... Just Like My Arm … !!!

Because I Write …
Like Those Who Fight …
And Wear The Garms' …
  
of Those Who Choose To ...
YES … " Bear Arms " … ?!?

Violent … NAH … !?!

Big Virge Is …
….. Calm ….............................................................

I'd Rather Charm …
But PLEASE BE SMART … !!!
Before My Words …
Get In Your ... " CLAAT " … !!!
Or Your …... " RASSHOLE' " ….. !!!

Am I Bajan … ???
NO ... But Here's The Quote …

I'm … ENGLISH Born …
So Know of Their Scorn … !!!!!

But Am Now REBORN … !!!
With … CARIBBEAN Views …
Just Down The Road …
From My NEW Bedroom … !!!!!
On BAJAN' Shores …. !!!
NOT Cold But WARM … !!!

I'm HAPPIER NOW … !!!
That I Have FOUND …
A Place For Myself …
On My Parents' Ground … !!!!!

Africa Next … ?

Well … More or Less …
So MUCH of This WORLD … !!!!!
I Haven't Seen … YET … ?!?

Girls … ?!?!?

That's Where This Poem ENDS.

SO MANY Look FINE But I Just Can't find …
One Whose Down To … " Fool Around " … !!!!!

With The Man … Big Virge  ...
  
... " The Connoisseur of Spoken Words " ...

I Guess That's Why … ?
I Write These Rhymes …
And Put In Verse …
Words That … " Traverse " …

That I NOW FIND …

" Run Through My Mind " …..

You’re waiting for a train
A train that takes you far away
But then you remember
You already played  this game

Inception is what they mean
For they who can’t dream
Forever is what you get
As long as you have left

Buildings fall ocean rising
Forever might seem surprising
Untouchable it seems
But promises are to keep

You think you are awake
While you are actually asleep
Wanting to wake up
You have to die

Totems are the key
To see what is reality
Gravity rules
For they who are awake
And alive

We are all animals of a baser kind
elementary creatures, reveling in our complexity
an assembly of simple machines, each playing part
in an inseparable chorus of flesh and ego

Boastful beings, claiming we are contrived by gods
fashioned from particles, or the dust of dead giants
though truly, we are merely creations of vanity and chance
the eyes of a universe looking back upon itself in awe

How grand and vain, this cosmic mirror!
****** upon eyes that only stare in wonder

I'm expressing my possesions
Trapped in other dimensions
Recreating realistic inventions
A suggestion?
I put out that "I have a question!"
Should I wait or give up before our world's perfection?
Why should I wait for mankind's progression?
I'm ready, I already dreamt the "inception....."

and there i am in the midst of it all, conscious of what appears to be existent, yet knowing it is illusory.  and if time is occurring synchronously then how can i look back with contrition?  for if i have the capacity to move backwards and forwards in quantum leaps, i can erase the past like pastel chalk on an antique blackboard, then start anew.  is not the sky my canvas and the arc of the rainbow my palette?  and the stars in lustrous luminosity light my way so that ev’n at dusk I can paint.  yet pain ne’er ceases to hollow me out.  then through a barren vessel i catch more rain, and pour it out upon the parched terrain.  just when i thought enlightenment was nigh, a sharp edge is discovered.  must it necessitate additional sandpapering from the wind?  when will the gemstone sparkle without further pressure?  does it lie in its power to simply shimmer sans duress?  perhaps it was dazzling at its inception, relinquishing its luster upon domestication.  with this proviso, as it nears twilight i shall tarry and blend with the night.  i’ll dance with a moonbeam knowing the jewel will glisten afresh upon the rise of the golden sun.

@2016janetaylor

Dreaming in the dream (Broken inception)

-Alexis J. Meighan-
11-12-2013 10:45:45pm

I could try.... Exhale
I could sigh
Read the menu, make my choice
Clear and simple tone in my voice
I make the healthy decision.
The one all the world says work best.
The one the waiter recommended, **** near on knees bent

But yet there's an error on the dish I receive. "That's not what I ordered"
I double checked my choice and even went along with the spectators cohesion, and ample coercing.

"I ordered what you suggested, to be your best
and
Yet I am wrong for being wronged by the establishment's
I need to see your management. This plate of food is an embarrassment
And most of all not what you said I would get"

I ask my mates around the table, a bowl of this is what you praised, yet a plate of Bul+#!t is what she gave
How can you say it is what it is not
When we all want the same dish BUT
Different is what I got and you say its all the same and I assure you madam it is not

Then I am made out to be insane. Patronized!
I am told "we are aware that you believe that you are
entitled to what you claim"
Though the table and server don't feel the same.
I should keep asking for that in-correct entree(They say)

I Demand a bowl of that
Waitress then replies
"yes sir I will obliged"
She returns with plate of this
Again enraged I explain again and again
"That not the F#€@ng bowl of fiddles you keep insisting when I maintain my choice from menu is undermined and obscured with plates of bull$#+t now I want out of this place"

I stand and scowl at all around
throw my napkin on the ground
i can't believe this waitress audacity to mock my effort and good intent
with her insisting insults that my brain lacks presence.
Like I don't know what I want and how to ask.
Exiting the building I look back and I ask
"Are you people all crazy?"
Everyone makes eyes contact to my brow, all wearing mask that resembles cats.

They begin to clap and whistle. And in unison chant
"You can't win, you can't win, you can't win, YOU CAN'T WIN"
I cover my ears and close my eyes then it all stops and to my surprise,
I fix my stare to where I had disappeared to.... Like a dream I am woken in confusion ear to phone,
hearing the unrecognizable babble from a voice in my home.
Then a click, dial tone, a beep as I touch the green button, I raw rush of pain postponed, as it (the sensation) passes,
the calm, the rational, the point where I am aware, that I am alone in thinking I've grown, destitute in comparison to the riches of the idealistic child I saw playing peekaboo with his scars in the mirror,
when now there is always doubt on how we proceed and believe. The doubt that my dreams and my reality, altered state or sober receiving the wrong plate, can it ever get along. always somber from the vast knowledge, always knowing more than I let on.

A good title for a sandy beach, sunset and drum stick, kind of song.

......Xin

A cumulonimbus caused the gloom that day. It went shedding drops of rain that looked like bead of pearls glittering in the grey autumn sky, vanishing as they plunge on leafless laurel trees and solitary cypresses. He watched them dance to pitter-patter on every umbrella that opened towards the heavens, their colors of rich black calling out to such empathy. Finally, the drops kiss the graze of withered grasses and thirsty dandelions, reviving their foliage and greenness. Slowly, the rainfall collect to become one with soil and mud crawled down to the six feet depression where a coffin was laid. It was white like ivory and carved with elaborate insignias as a token of love and undying memories. Soon, it was all covered with crimson roses that carry the last parting words of the bereaved. The priest waved out his hands above with mournful eyes, lisping his beseeching of earnest favors while spades of loam filled up the burrow. He saw faces of despair around the pit, gasping for reprieve and sympathy. If only the rain could also bring back her life, he implored.

This, in his senses, was belongingness. This, in his heart, was death.

It had been two long weeks since Roxanne’s death and Vincent couldn’t get his feet back on the ground. He still couldn’t believe he had lost her and that their seemingly endless love has flown away from him for all eternity. He’d make believe that this was all just a dream and at some point of this nightmare he would finally be unchained and awakened. Days became niches of shackled memories that kept haunting his love-fletched soul and nights were nothing more than a requiem of lovelorn longings that still linger in his mind. He remembers it all, the feel of her name on his lips, the smell of her hair, and the sound of her laugh. Everything is still as fresh as the dewdrops of June and as vivid as the most cinematic imagery a mortal could immortalize. The ultimate fight of this melodramatic transition was to remain whole when all the strength Vincent has built up begins to crumble by a mere reminiscence of the tragedy that gets freeze-framed from beginning to end over and over again.

It was a rainy Friday evening on the 22nd of May and everyone’s feeling the smell of the weekend rush. Vincent was already at a friend's house party and called Roxanne that he’ll be waiting. Roxanne was driving the Lexus behind a small truck that seemed to plod toward the upcoming red light. She was a few minutes late on her way and watching these two people ahead of her jabber away in that truck was getting her out of her ecstatic  mood. The light turned green, but the truck too slowly moved forward. Roxanne became frustrated as the driver fixated to the right. He visibly gasped at what was just about to come into her view. A brand new grey-blue Chevy Silverado blazed through the opposing stop light to broadside his little truck. Roxanne tried to stop, but her car slid into the Chevy's rear side and went tossing down the highway to an explosion.

All these is what Vincent needs to drown himself to agony. It’s as if Atlas gave up the bearing of the world for him to endure. Wretched and perplexed was he, blaming the world for such a prejudiced conspiracy. How could an angel like Roxanne be bound to such an end? How could an invincible love become vulnerable on the visage of death? But then again, his heart starts to concoct a spell of phantasm, bringing back the most prized memories of him and her together, infiltrating his whole system and gaining power over the bitterness and pain. In this test of sensations, he himself wasn’t sure if this two-edged delusion is a boon or bane. But one thing was becoming clear to him-he cannot be like this for the rest of his life. If this nightmare must be proven real, he must find a way out. Whatever may lie ahead, he must keep going, recreate his own world and be able to break free from the fetters of this mishap that surely promises him nothing but living scars, frustrations and sorrow.

Two years have passed and the town of New Hope has undergone a lot of changes. New coffee shops and cafes run down a block away from the University premise as well as convenient stores and parlors. New establishments stood welcoming and billboards mushroomed the skyway. The streets are crowded with more and more busy people, indicative of a metropolitan evolution of lifestyle. Summer has ended and without a trace, the arid autumn and the frigid winter fluttered to oblivion.

The same is true for New Hope University which, in its current enrollment period, has its student population increased by two thousand. The institute’s remarkable performance rating in board examinations and national competitions attracted other towns to invest their education to the latter. It was nearly the start of class and everyone is busy catching up the enrollment pace. But not Vincent, who, in the first day of inception has already completed the enrollment process. He was ecstatic, more of curious how his life as a senior student could turn into this academic year. He met faces of different kinds-some familiar and some entirely strangers. Those he doesn’t recognize would just pause and pay a smile while others he knew jsut pass by and make him feel invisible. On a ledge in front of his course department’s office he sat. He in himself was New Hope town in human transfiguration- braver, brighter and better. He looked from afar, with eyes playing on the nimble of heads and shoulders of people passing through the corridor. He drenched himself to an illusion of how each head turns toward him with a infectious smile, that once in a while, happiness is sought even in the gallows of solitude. Solitude-it wasn’t a strange name to him anymore. It never was. He was entangled with it on that day the sickles of death took his love away. Somehow, through the passage of time, the wound that was scourged deep in his heart has mended and the thought of being alone became amusing that he has managed to laugh about it over the seasons. He is more human now, away from the devious portal of his mundane imagining.

The daydream was shattered when out of the blue a silhouette of a familiar figure took the stage. She was elegantly tall, with hair of pure ebony lolling on her shoulders. Each step enraptures, and each gentle sway of a hand is a compelling rhythm. She draws closer to where he was and he's left slack jawed. She entered the office and he was back to his senses. Maybe not. What he beheld was something farfetched, something that he cannot comprehend. Vincent saw it all coming back to him. A remnant of his long buried love has come to life. It was Roxanne and it is more certain than breathing. He couldn’t explain what he felt. It was a maelstrom of joy and surprise, of hope and fear. It was the face he yearned to see, so long that the yearning turned to hate and despair. But now that it came to pass, his humanity fell apart. Although he is a mere victim of his own circumstances, the serendipity took a shot straight to his heart and there is nothing he could do about it.

Perhaps there is, and he is now pretty preoccupied. He wanted to know her. He must unknot this puzzle that has challenged his whole conviction. He must find every answer and throw all of its questions behind. Whatever there is that the road has in store for him is not essential anymore. He couldn’t care less to fathom this enigma and once more, find something worth living. But now that he is hanging in midair, he planned to fall back. He jumped out of the ledge and headed out the campus, afraid that she might be at sight and all the strength in him shall subside. He was up all night, thinking of how he could get a chance to meet and talk to her. He had thoughts of crafting schemes, devising methods and inventing tricks.

And nothing of it worked.

The first day of class commenced. New Hope University is buzzing with ecstatic students. Vincent giggled with utmost excitement, carelessly bumping shoulders and brushing elbows with other students in the corridors.  He molested his tattered COR and skimmed for his first class. It is in room 101 scheduled 9:00. He reviewed through the digital clock and he hurried as it ticked to 8:58. Luckily, he is safe from prime tardiness, though he seemed to be the last comer. He seated at the back, knowing that after thirty minutes, he’d helplessly succumb to napping since it is his favorite subject-English 8, Technical Writing.

And so she happened.

It was her, Roxanne’s doppelganger who broke the charts. She was 15 minutes late and unforgivably beautiful with her sequined tee and skinny jeans. She realized what she has gotten into and apologized with the kindest gesture. The professor gave her a hand and led her to the seat beside Vincent. She felt awkward. He was worse. They both sat like lifeless puppets with the puppeteer gone until she broke the silence.

“I’m Katherine,” she muttered. “Katherine Evans, glad to be your block mate”. She took it off with a smile that sent Vincent to hyperventilation. He couldn’t shake her hands. They’re already shaking with butterflies. The poor guy mounted his strength. He could not afford to lose the chance. “Vincent, Vincent Smith”. That was all and a nod. It was rare for Vincent to survive the thirty-minute nap attack but he did this time, although the victory seemed unnoticed. They enjoyed the remaining hour sharing thoughts and ideas with Vincent succeeding in all his attempts to stint his best jokes. He has come to know who she is at the basics-a transferee from Dakota University, a cheerleader and an adventurist. He also looks forward to know more about her in the days to come- hoping that she likes cheese, watching live wrestling fights and attending Sunday mass.

Perhaps she doesn't.

Two weeks was enough a time for the two of them to get closer to each other. They were both open to let the affinity they share to grow and blossom. It was very apparent that the two knew where their relationship is going and they both seemed ready for it.

Months have passed and the two were no more than couples. But Vincent was too overwhelmed of what he had let enter his life. Katherine is no Roxanne. She doesn’t like cheese, wrestling or Sunday masses. She was more self-driven, conceited and unwelcoming. Sooner he realized that he isn’t in love with Katherine, nor will he ever be. He just created his Utopia by painting Roxanne’s memories on Katherine’s facade. He believed to have loved again and he believed in vain.

It was a candlelight dinner at Katherine's and it was all set. She suggested it herself. She would always do this, steering their affair on a one man tag and turning the tides whichever she likes it to be. She seemed obsessed about Vincent, about their friendship, about their bond. This was her biggest mistake: to let Vincent get drowned in her self-consumed devotion.

Vincent is on his way. To break her heart.

When he came, Katherine pranced in glee. She presented the menu. And the drinks too. She was on the midst of telling Vincent her summer getaway plans when he told her to stop and listen. He undid it to her gently by taking all the blames, that it was his butter fingered actions which led them both bruised and bleeding. It was a self-defeating battle preordained by the gods. A tear fell down from Katherine’s eyes, and she didn’t want to show him more. She fled her way out the dining room with a tormented soul, like Aphrodite torn by Adonis, and hurried to her room with the banging of the door. Vincent was left with only the deafening silence, keeping his severed heart together.

As he sat out there slowly losing substance, he began to notice a set of picture frames that showed two happy faces, one of them Vincent was able to recognize in just a matter of seconds. But what puzzled him most is the picture's relevance to Katherine. He thought of a reason to make his way out the riddle. He looked closer to the girl beside Roxanne and found a spot of mole that was identical to Katherine's.

Vincent stumbled to a discovery he wished he had never known.

On the night Roxanne met death, she was not alone. She was with company. The girl that happened to live is Vicky Duran, Roxanne’s best friend. She was secretly in love with Vincent. And she was prepared to change her entire life for a streak of a chance that she’ll have what she was living for.

And she almost succeeded.

Vincent, still staggered on how things turned out insane, went to Roxanne’s grave. He shattered from an implosion of mixed emotions and he cried out like a child who lost his treasured toy. He curled on the ground with so much pain and bearing contained inside him. He called out Roxanne’s name with pure longing, bringing back his old self and his memories of that grey autumn, of that unwanted Friday that took her life away.

Footsteps cracked from the ground and Vincent ceased his outburst of melancholy.

“Let me end your misery,” a trembling voice came from behind him. It was Vicky, whose face is neither Roxanne’s nor Katherine’s. It was a face of a hopeless woman, wretched and determined for something. She was wearing rugged clothes and she held a gun on her hand. To Vicky, living is no different from death. She has now understood why the very person she loves has turned away from her when she gave all that she never was. But the realization priced too much of her reality that she cannot anymore take back. She decided to **** him and then take her own life.

She pointed the gun towards Vincent. He jumped at her to take the gun away. They grappled on the ground, the weapon still on Vicky’s hands. Vincent managed to overpower her but she kicked him, tumbling back to the gravestone. A shot was heard from afar with a man’s cry.

It rained that day. Brown withered leaves of tall laurels hovered with the wind while branches of solitary Cypresses dance to every whirl. The breeze whispered to the clouds of grey, a mark of autumn’s return. Vincent crawled to Roxanne's grave. It was a weeping of a true love that echoed away. Raindrops keep descending from the heavens, washing away the blood that kept flowing to the ground of mud.  Perhaps, on the last moments of his life he found happiness, even from a love that was never his to keep.

 

- by Larry Potter

INCEPTION
The time after you've gone to sleep,
Deep sleep,
Is the time when I stay awake for a while.
And "a while" is just for me but in real world terms, you can say a few hours.
I stay awake to witness an extraordinary
phenomenon.
Believe me, Physics can't define this.
Don't know is that some kind of aurora, those northern lights or something beyond it.
But my room, full of darkness, so much that even light couldn't escape.
And in that darkness I see your face.
Your moonlit face.
God! I knew you were an angel..
If you weren't then, why the light from the moon entering through a small hole of my window, falls on nothing but your pretty face.
Enhancing your look, which is the best as it is free from any anxiety.
You have a carefree childlike smile.
My god!!! How can I stop myself....
I want to extend my arms a little to touch those pearly white cheeks of yours.
I want to come a little closer to you and kiss your forehead.
But No!!!!!!!

I stop myself.
How could I touch that divine aura of yours? I am just a normal human being and I believe you aren't.
And then
Then something unexpected happens.
This happens every time..
Every night..
I don't know why happiness is so temporary.
(It would be interesting to see your reaction....)
The brightness of my phone start dimming.....screen time out...
God!!!!
**** imagination!!!

Beastly is this monster state yet many damsels cannot avoid
Some may call it disturbingly conflicting and become annoyed
Where rationality coexists with irrationality in an unstable realm
Pretty monster states navigate this journey as captains at the helm

Pretty monster states, Pretty monster states
No need to disguise your fury or depressions
Pretty monster states, Pretty monster states
This is just part of your amazing expressions

Wonder is this monster state since the inception of Adam and Eve
Men can only hope to be compassionate, steadfast and never peeved
One moment, pretty monster states can be loving and best friends
Next moment, challenging one’s good nature and spirit to extreme ends

Pretty monster states, Pretty monster states
No need to disguise your fury or depressions
Pretty monster states, Pretty monster states
This is just part of your amazing expressions

Frightful is this monster state like a suspenseful thriller or mystery
Only those who are not faint of heart can sleuth this case history
Where a profound will of character serves to stabilize one’s constitution
Bringing the monster state to an uneventful but amenable restitution

Pretty monster states, Pretty monster states
No need to disguise your fury or depressions
Pretty monster states, Pretty monster states
This is just part of your amazing expressions.

You see me as the bacteria
And yourself as the antibiotic
I see you across the cafeteria
Acting psychotic
Because of what I find ******
You treat me like I'm toxic
But you're seen as normal
So I hide beneath the coral
To avoid your aggression
That will teach me a lesson
About correctly guessing
Where your fists will go next
You tell me I want it like ***
This is your way to flex
To show you have an edge
You single out the marginalized
There's no way you'll hedge
When you have harm in your eyes
And then use charm as a disguise
To make me cry over spilt milk
Because I am not of your ilk
For I am as soft as silk
Like the sheets I want to roll in with you
Instead you shoved my face into poo
As my ***** grew

I think of killing myself
With my gun
When I think of filling myself
With your ***
While pretending I'm your son
And swallowing you like gum
Those are my ideas of fun
Yours is to tell me to run
From your intensely penetrating fists
That make me regret my penetrating wish
As you brandish the weapon
From the movie Inception
That launches you into my dreams
Giving my thoughts a singular theme
As my mouth continually screams
I was born on the wrong team

You wanted to exhibit your power
In this seemingly arbitrary hour
So you broke my nose
To show off for your hoes
An off the cuff
Attempt to be tough
But I found it deeply affecting
When I could feel your hatred injecting
Making me wonder if I'd ever be free
After I saw the only ending I could see

You move to strike me again
This time I have my mac 10
That I brought to school
For a one sided duel
You changed the trajectory of my life
By changing the trajectory of my bullets
You taught me about strife
You taught me how power is the coolest
You taught me to move on to your friends
Their lives I must remember to end
This is the message I'm choosing to send
When they sat back and watched the hate
Like it was 1938
I lost my sympathy
After being treated differently
And gained a ruthless anger
That turned me into a stranger
So I let the automatic gun spray
Faster than they could pray
For their hoots and hollers
I shoot their collars
Creating shade in the halls
That I make when they fall
The feeling goes to my *****
I become strangely intoxicated
By the death of those who hated
So I go back to your dead body
And do what you felt was so naughty
And now there is no one even around for you to tell
That I ****** your corpse while you watched from Hell

Inception - Inspire Me
-Jimmy Desire

See I knew we could vibe sexually
But then you went and intrigued me in ways I had not perceived
I had a sample of what you had to offer
And soon after, I wanted you to feed me what it seems I’ve been deprived of all my life,
Intellect
Or even better
Someone who can challenge my thoughts with responses that make me even question my thinking
All the girls in the past,
they're minds were as vast as the oceans that we strive off of
But empty,
Lacking any substance or comprehension
Robbing me from a nutrient I thought helped the world develop
Draining me from patience I had once built up to protect me from the world's ignorance
She helped me regain it
A tree of knowledge
I reach and feast upon the fruit she produces but hold on to the seeds
So that hopefully I can plant them in the minds of others
And they will blossom spreading from mind to mind creating an idea that an entire population could understand
infection,
it spreads because they're learning and turning the pages of history books to find out
why this and that didn't work and what could make it better
So don't ever say that one person can't make a difference
because revolution is overwhelming
especially when you discover that one can become one million within a matter of days
information is power and with the media keeping the public in the dark its no wonder that we're sour
politicians tweaking stories so that they may stand atop tower
these laws and rules are scandalous when even the presidents decide to take a risk
lets make a list and discover which
presidents had accomplished this successfully

As long as there are borders, we will continue to break them
but then why do people continue to make them?
All this from a mind filled with intellect
so won't you take a minute with me and just recollect
that mind is a beautiful thing.

It is not often I dream of you.
Dressed in copper and brick,
Growing green with vines,
Climbing your crumbling walls.

This castle you once kept in an
Easily forgotten part of my body.
A bastion against burial
Between shoulder blade and spine.

You who choose never to announce your
Presence when entering the room.
Simply sit in the corner, tilting your wine glass
Till I notice your ever increasing stare.

Most nights, I ignore you.
Ignore your black miniskirt and pearls,
Ignore your orange sundress
And turquoise necklace,

Ignore gladiator sandals,
And Barcelona bracelet,
First worn when we still
Had the simplicity of spring.

Some rare nights like this one
I grab you by your thumbs
And pull you under the table.
Relive our longing out of the sight

Of these new dinner guests,
Crawling awkwardly between their legs.

This is how
You have always worked.
Drawing ink from my body,
One pen:knife awakening at a time

In a dream,
Nothing like this.
Coming to reality, but
Everything is so strange.
People always
Telling me which way to go.       All
I* want is to go back to my *dream land.
Only than wanting to go back to reality.
None-the-less this is how I dream.
                                                          ­                                ?


                       ­                  "Dreams feel real while we're in them. It's only when we
                                      wake up that we realize something was actually strange."
                                                      ­                                                    ~Cobb (Inception)

r
                      R      E  
A         d   D               A     e
                        M
                        M
ensconced
m­agically transforming everything i am
shrinking pungent times that shock
a jolt that makes apparent the
          I      
L       lies       E
         S
the tragic muse she swells and fills
                                                        k  ­            p
every sense that confuses and  s            i               s
drawing blood with every breath
a hurt that transcends the depth
of sanity
the boundaries that fate decree
a dwelling that disallows the free
                 R
a      T     rap      A
                  P
until all i do is go round about
a confusion that deepens
the maze that thickens
a black-red ooze that congeals
and seals
the burial grounds of dreams
that steal
the memories of a deeper psyche
that swirl and swarm in our midst
the ghosts of a beaten past.

Vijayalakshmi Harish
23.08.2012
Copyright © Vijayalakshmi Harish

I.      I had once thought and so there for told you
that action is more important
than thought
So here I am writing my heart

II.    You say you like
My words
I say that everything I want
I turn into phantoms

        At days end for you, I am striving to be a rock, one that you
        Might hold onto in rough waters
and yet,
I am floating
in my own great, salty sea

III. I'll dream that we take
a long weekend in the city
it's raining
and it seems as though
the whole East Side
May float away
We order room service
and we intertwine
and it feels like the bond of
root in earth
of tide to beach
as atom to atom
as eve to adam
and we fall asleep
Things are quiet
You no longer bare that weight
on your narrow shoulders
My passed has passed
We fall in love and into sleep
and we do not
sleep to dream
any longer
We are living one

Life is all about what you perceive personal perception
Dream big even I'm your dreams until you reach inception
The early bird gets the worm but that's a misconception
If you don't know where it is you have a common misdirection
Say it out loud have a sensing session
Until you reach the top early birds look for that interception

I love a good debate,
[science mixed with illusion]
and this year was no exception:
the debate on the best shapes for a kite
from design implementation, inception and execution

some sturdy string and industrial-strength glue
the machinations of whether to use plywood or bamboo
and of course built by your own fair hand
such was the intensity of discussion it continued
with an after-lunch stroll on the beach, where the uncles
drew their prize-winning geometry
with a primitive stick
in the sand

a question on the mathematics of aerodynamics aside
its currently a battle of the cyclic quadrilaterals
and documented film of it successfully tested and tried;
years of perfection honed by the skills of Fatherhood
to know instinctively the difference
between the brilliance of genius
and the borderline
just plain good

If nothing else has come from this
I now
know
[so as not to lose]

K = p/q over 2
or
K = ab – sin Ø

[are the formulas to use]

It’s not true; not all the way, but they say “it’s all about your choices.”
It makes no sense to me. I’ve never been much for inexplicable and
       inexhaustible benevolence.
I find I spend copious time figuring my meaning, in situations I over
       analyze into mathematical equations...am I conscious,
                or just a calculator?
Or...have I been (and hopefully still am) living, breathing, feeling…?
      flesh.
I question...is this stealing life?
This is evading death.

Arguably, our beginning is our end, no? Upon inception of life, have
      we not inherited death?
Yet again ponder...is there fate? Do they matter? (that is, my choices.)
I was once told, “if you can dream it, you can do it”. Shall I still build
      the perfect life?
I’m beginning to be overtaken with impatience that surpasses my
      innate benevolence.
I cannot say which is weaker, my spirit, or my flesh.
Once I’ve punched in my last numerical decision, how long will my
     finger hover above ‘enter’-
how long until the outcome appears on my mortality calculator?

I often lose myself in the turmoil of emotion. Not cool and collected
        like the others. It’s been decided, no I’m no calculator.
She seems to always descend at an uncanny time. An uncouth cold-
          caller, that Mistress Death.
“I feel young”, I croon. Unanswered by my withering flesh.
I consider my carelessness, wishing I had been the master of more of
     my choices.
Sometimes, it’s one-in-the-same, self-defense and benevolence.
I’m just trying to find some connection, but still I question, “is that all
        that makes this life?”

Will I ever find definition and solid intention strong enough to be
     named the same as all the other countless, hazy perceptions we
                call life?
I find myself to be robotic in response and anxious in nature. Perhaps I
      AM an inhumane Calculator.
I consider myself a fine hostess, even admittedly, to thoughts that strip
        down my benevolence.
“Death to those demons!” is my rising cry, “death!”
Death to unfavorable and unforgivable decisions, may they be buried  
        in my future choices.
May I think logically, and not be seduced into lethargy by the sinister
        siren calls of mortal flesh.
I cannot quench my questions, they crawl in droves beneath my flesh.
What am I do to? What shall I make of my life?
How little do I truly control with personal decisions, how much will I
        suffer from others choices?
Is it more dangerous to be over zealous or indeed catastrophic to
      function merely as a calculator?
How does one prepare for the permanence of death?
Have we soured into surface common courtesy in the guise of true
      benevolence?

I contemplate this often. What it would take to retain a group consciousness in distress…
     true benevolence.
Perhaps if we did not so often succumb to the momentary gratification  
        of pleasing our flesh
we would feel more peaceful, knowing we gave our best, to enter the
      vault of death
grateful and complete, finishing the entirety of our life
with no devious schemes for feigned success or entitlement; no
       manipulated calculations.
we’ve all heard it before, “It’s all about your choices”

But the choices of the best differ from the choices of the rest and
        it all depends on who’s willing to fight
their own flesh for a chance at life before imminent death.
       There’s no calculation for conglomerate benevolence.
Human flaw will always persist.

C.e.M. Written 0ct.5 Edited Oct 6

It happened to be a Frontier of deception
cowards in fear with no visual perception
Tender feet blister from the miles they run
Enlightenment was needed, we lost the meaning of fun
Struggle was a word that become a wish in our heads
For what We were going through ripped our courage to shreds
A weeping song vibrated at night
To carry my brother to the never ending light
Forsaken children taken from the ones that they loved
Family's driven through madness, here his life had been shoved
Down a drain where one should take there last breath
So there for Inception was the misconception before my best friends unmeaningful death

Every word you say is precious dear,
Unfortunately, we can't be together, we're not even peers,
Like a balloon, you bring my heart up high,
You bring it up, up, up into the sky,
Not a single imperfection could replace you,
N**ot a single angel could see you through.

‘Inception’ implies
Much more
Than the word
That is commonly heard
When we dig deeper
This well has no bottom
Dive like a swan
Into that pit
And you’ll not find
The end of it

At Bookshop Santa Cruz
I look at a book about the East Bay then and now
One picture strikes me: 1969 Sproul Plaza
Govener Ronald Reagan has the National Guard spray
tear gas on protesters on the steps of this Berkeley Administration Building
People run in black and white
they look like my parents
The helicopter is so close to the ground, like the Vietnam War

I was three
In the backseat of our VW Bug
My mother was driving me to Strawberry Canyon
for a swim
Then she got scared--something on the radio
We turned around
I didn't understand
She had to protect us from tear gas
We lived in a war zone
Everyone was very upset
We were attacked by our own government
Even children were fair game

An innocent frog is placed in water
If the water temperature is raised gradually
the frog will sit there until it dies

In 1980 Ronald Reagan became our President
Much to our dismay
"70% of pollution comes from trees" he had announced
as Governer, he was obviously a man of science

The vice grip clenched, the water temperature raised
as we felt around us the world becoming more
difficult as a middle class
we were supposed to wait for crumbs to fall
from the table of the rich folks
fighting over the bits like starving animals

Budgets were cut
Prices rose, wages fell or disappeared completely
We were at war

1985: I took a class in Economics in college, a UC
I learned that Supply Side Economics was
a silly idea written on a napkin at a fancy restaurant
where the fat ones eat
and the crumbs are thrown away

It was all a sham
An excuse
The vice grip tightened, the world became
more difficult
not the American Dream my parents grew up in
To be middle class was to struggle and struggle and still
not have anything

The frog began to die
Somehow we saw that
Reagan drifted away, but his ghost
remained, a respite in the 90's

Then we were at war again
Not just tear gas, but carpet bombing
Guerilla warfare in the streets of a hot arid country
Oil companies, already saturating our ground and our air with their products
Cashed in

The frog is near death
We struggle, and nothing gets better
Only a respite

At a fancy restaurant
on a napkin someone wrote
a new theory of Economics
that became like Scientology
Outgrew it's ridiculous inception
And became real

Ronald Reagan dropped tear gas
from helicopters on Sproul Plaza
and it drifted to Strawberry Canyon
where children learned to swim

But that is child's play now
the frog is about to die
I want to pull it out.